Film It!: YouTube Projects for the Real World is packed with projects inspired by the features and functions of the popular social media site. Young filmmakers or podcasters will learn how to create a storyboard, make a stop-motion video, and more! An introduction to YouTube, vibrant photos, and step-by-step directions bring each physical project and digital activity to life. Aligned to Common Core Standards and correlated to state standards. Checkerboard Library is an imprint of Abdo Publishing, a division of ABDO.
"From Shaft to Superfly, Foxy Brown to Cleopatra Jones, What It Is...What It Was! presents a vivid pictorial and oral history of the best movies to emerge from a singularly American film movement. The book explores this film explosion. Between 1970 and 1980 over 200 films with Black themes including family dramas, mysteries, horror films, comedies, and action films, were released by both major and independent studios. The book preserves cinema history with the first book to highlight the movie poster artwork while presenting the people who created this history on screen. With the increased use of photography, this period would be the last time that top artists would draw and paint the vibrant bold movie poster images that in themselves were classics. Groundbreaking producer-director-writer Melvin Van Peebles, actors Fred Williamson, Pam Grier, and William Marshall, composer Isaac Hayes, along with many other artists, talk about this body of cinema that has withstood the test of time and influenced American culture. The films are described as powerful, funky, sexy, exuberant, violent, hip, and just plain fun. They also became a target of debate as some coined the sweeping term "blaxploitation." Samuel L. Jackson, John Singleton, Reginald Hudlin, Ice-T, Keenen Ivory Wayans, Quentin Tarantino, and others offer insightful commentary into the history and impact of the films in their work."--back cover.
It: Chapter Two—now a major motion picture! Stephen King’s terrifying, classic #1 New York Times bestseller, “a landmark in American literature” (Chicago Sun-Times)—about seven adults who return to their hometown to confront a nightmare they had first stumbled on as teenagers…an evil without a name: It. Welcome to Derry, Maine. It’s a small city, a place as hauntingly familiar as your own hometown. Only in Derry the haunting is real. They were seven teenagers when they first stumbled upon the horror. Now they are grown-up men and women who have gone out into the big world to gain success and happiness. But the promise they made twenty-eight years ago calls them reunite in the same place where, as teenagers, they battled an evil creature that preyed on the city’s children. Now, children are being murdered again and their repressed memories of that terrifying summer return as they prepare to once again battle the monster lurking in Derry’s sewers. Readers of Stephen King know that Derry, Maine, is a place with a deep, dark hold on the author. It reappears in many of his books, including Bag of Bones, Hearts in Atlantis, and 11/22/63. But it all starts with It. “Stephen King’s most mature work” (St. Petersburg Times), “It will overwhelm you…to be read in a well-lit room only” (Los Angeles Times).
IT'S ONLY A MOVIE is as close to an autobiography by Alfred Hitchcock that you could ever have. Drawn from years of interviews with her subject, his friends and the actors who worked with him on such classics as THE BIRDS, PSYCHO and REAR VIEW WINDOW, Charlotte Chandler has created a rich, complex, affectionate and honest picture of the man and his milieu. This is Hitchcock in his own voice and through the eyes of those who knew him better than anyone could.
Children, Film and Literacy explores the role of film in children's lives. The films children engage in provide them with imaginative spaces in which they create, play and perform familiar and unfamiliar, fantasy and everyday narratives and this narrative play is closely connected to identity, literacy and textual practices. Family is key to the encouragement of this social play and, at school, the playground is also an important site for this activity. However, in the literacy classroom, some children encounter a discontinuity between their experiences of narrative at home and those that are valued in school. Through film children develop understandings of the common characteristics of narrative and the particular 'language' of film. This book demonstrates the ways in which children are able to express and develop distinct and complex understandings of narrative, that is to say, where they can draw on their own experiences (including those in a moving image form). Children whose primary experiences of narrative are moving images face particular challenges when their experiences are not given opportunities for expression in the classroom, and this has urgent implications for the teaching of literacy.
Once derided as senseless entertainment, movies have gradually assumed a place among the arts. Raymond Haberski's provocative and insightful book traces the trajectory of this evolution throughout the twentieth century, from nickelodeon amusements to the age of the financial blockbuster. Haberski begins by looking at the barriers to film's acceptance as an art form, including the Chicago Motion Picture Commission hearings of 1918–1920, one of the most revealing confrontations over the use of censorship in the motion picture industry. He then examines how movies overcame the stigma attached to popular entertainment through such watershed events as the creation of the Museum of Modern Art's Film Library in the 1920s. The arguments between Pauline Kael and Andrew Sarris's heralded a golden age of criticism, and Haberski focuses on the roles of Kael, Sarris, James Agee, Roger Ebert, and others, in the creation of "cinephilia." Described by Susan Sontag as "born of the conviction that cinema was an art unlike any other," this love of cinema centered on coffee houses, universities, art theaters, film festivals, and, of course, foreign films. The lively debates over the place of movies in American culture began to wane in the 1970s. Haberski places the blame on the loss of cultural authority and on the increasing irrelevance of the meaning of art. He concludes with a persuasive call for the re-emergence of a middle ground between art and entertainment, "something more complex, ambiguous, and vexing—something worth thought."
In It's Only a Movie, the incomparable Mark Kermode takes us into the weird world of a life lived in widescreen. Join him as he gets lost in Russia on the trail of a low-budget horror flick, gasp as he's shot at in Hollywood while interviewing Bavarian director Werner Herzog, cheer as he gets thrown out of the Cannes film festival for heckling in very bad French, and cringe as he's handbagged by Helen Mirren at London's glitzy BAFTA Awards. Written with sardonic wit and wry good humour, this compelling cinematic memoir is genuinely 'inspired by real events'.
