An accessible presentation of the philosophy and practice of the traditional Chinese martial art known as qigong, a form of meditative exercise aimed at promoting good health, this book contains easy-to-follow descriptions of the eight essential movements, accompanied by numerous photos. 100 photos. 30 illustrations.
Devoted to his craft--sometimes to the detriment of his reputation--cinematographer John Alton (1901-1996) was sought after by such directors as Vincente Minnelli, Richard Brooks and Anthony Mann but was disdained by others of comparable talent. An auteur in the truest sense, Alton established a landmark body of work described by Variety film critic Todd McCarthy as "The essence, and ultimate example, of film noir ... logically created by a cinematographer, not a director." This collection of new essays by filmmakers and film scholars explores the central role Alton's distinctive style of "painting with light" played in formulating the aesthetics of noir, as well as his contributions to other genres.
Devoted to his craft--sometimes to the detriment of his reputation--cinematographer John Alton (1901-1996) was sought after by such directors as Vincente Minnelli, Richard Brooks and Anthony Mann but was disdained by others of comparable talent. An auteur in the truest sense, Alton established a landmark body of work described by Variety film critic Todd McCarthy as "The essence, and ultimate example, of film noir ... logically created by a cinematographer, not a director." This collection of new essays by filmmakers and film scholars explores the central role Alton's distinctive style of "painting with light" played in formulating the aesthetics of noir, as well as his contributions to other genres.
Nobody knows what can happen any given day, or moment, that can forever change his or her life. Such was the case one day for this middle-aged interior designer, John. His usual wait for the signal at the northeast corner of 13th and Willow streets suddenly required him to respond to a different kind of signal. It is his response to this kind of signal that forever changed his life involving twin sisters who caused a ripple effect of new emotions and unexpected adventures.
In 1952, at age sixteen, Sylvia Earle—then a budding marine biologist—borrowed a friend’s copper diving helmet, compressor, and pump and slipped below the waters of a Florida river. It was her first underwater dive. Since then, Earle has descended to more than 3,000 feet in a submersible and, despite beginning at a time when few women were taken seriously as marine scientists, has led or participated in expeditions totaling more than 7,000 hours underwater, and counting. Equal parts memoir, adventure tale, and call to action, Sea Change: A Message of the Oceans has become a classic of environmental literature, at once the gripping adventure story of Earle’s three decades of undersea exploration, an insider’s introduction to the dynamic field of marine biology, and an urgent plea for the preservation of the world’s fragile and rapidly deteriorating ocean ecosystems. Featuring a gallery of color photographs and a new preface by Earle, this new edition of Sea Change arrives at a uniquely pivotal time when its message is needed more than ever before. She writes, “I want to share the exhilaration of discovery, and convey a sense of urgency about the need for all of us to use whatever talents and resources we have to continue to explore and understand the nature of this extraordinary ocean planet.” Her message is clear: how we treat the oceans now will determine the future health of the planet—and our species.
A sensational collection of stories of the American experience from the Depression to the aftermath of 9/11, by one of the most gifted American writers of the twentieth century and the author of the acclaimed Rabbit series. John Updike mingles narratives of Pennsylvania with stories of New England suburbia and of foreign travel: “Personal Archaeology” considers life as a sequence of half-buried layers, and “The Full Glass” distills a lifetime’s happiness into one brimming moment of an old man’s bedtime routine. High-school class reunions, in “The Walk with Elizanne” and “The Road Home,” restore their hero to youth’s commonwealth where, as the narrator of the title story confides, “the self I value is stored, however infrequently I check on its condition.” Exotic locales encountered in the journeys of adulthood include Morocco, Florida, Spain, Italy, and India. The territory of childhood, with its fundamental, formative mysteries, is explored in “The Guardians,” “The Laughter of the Gods,” and “Kinderszenen.” Love’s fumblings among the bourgeoisie yield the tart comedy of “Free,” “Delicate Wives,” “The Apparition,” and “Outage.”
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Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumière Cinématographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.