Film Junkie Amp Amp 39 S Guide To North Carolina

Film Junkie's Guide to North Carolina is the first and only travel guide to detail locations where films were made across the state, from the mountains to the sea, in places large and small. It presents a unique and lively perspective on Tar Heel film through a prism that blends history and pop culture. The Star Tracks sections will take you to sites where stars, directors, and crew members have slept, dined, and played. Also included are trivia questions that will test your North Carolina film expertise and side bars focusing on film festivals, outdoor dramas, Tar Heel authors whose work has been adapted for the screen, and other movie-related tidbits.

For most of the last 20 years, North Carolina has ranked third in the nation behind California and New York in U.S. film production. North Carolina also boasts more productions studios and sound stages than any state except California. The idea for a travel guide originated when Connie Nelson wrote an article about movie locations across the state for Reel Carolina Journal, of Film & Video. Years later, Connie was reminded of this interest when visitors, flocked to sites for Dawson's Creek and other projects filmed in the Wilmington area. She joined forces with Floyd Harris, a fellow alum from Reel Carolina, and the book was born. The 160-plus entries in their guide are arranged geographically and include information about what movies and television series were filmed at each site. The guide also provides information about how to find the locations. The reader-will especially enjoy the Star Tracks sections, which provide gossipy tidbits about where stars ate and stayed while making their films. Whether it's Annie Savoy's (Susan Sarandon's) house in Bull Durham, the apartment building where Blue Lady Dorothy Vallens (Isabella Rossellini) lived in Blue Velvet; or the outflow dam where Dr. Richard Kimball (Harrison Ford) escaped from United States marshal Sam Gerard (Tommy Lee Jones) in The Fugitive, this combination travel guide and film history can provide all the details needed to satisfy the most discerning film buff's lust for trivia.

The Art of the Political Putdown is a book of over 300 witty verbal jabs and ripostes from politicians around the world, all of whom share a common sharp tongue. Liberal or conservative, humor can be a powerful weapon in any politician's arsenal, and political journalists Chris Lamb and Will Moredock have seen their fair share of quips, witty remarks, and sarcastic pleasantries. In mining the past few thousand years of political history, they've unearthed a treasure trove of humorous exchanges, from ancient Rome to modern day, to compile this collection of hilarious comebacks and putdowns.• Features 11 brief essays analyzing the use of humor and wit in various political contexts • Even-handed, intelligent, and lighthearted political humor that gives readers from the Left and the Right something to laugh about • Contains 20 political cartoon-style illustrations The Art of the Political Putdown is filled with famous and lesser-known politicians at their sassiest, along with short essays and illustrations. This is a comprehensive, nonpartisan collection of witticisms, scathing burns, and mic-drop-worthy insults throughout history. • A rare political humor book with something for everyone, and a welcome reminder that politics can also be a source of laughter • Perfect for politics and history buffs and for anyone who appreciates smart humor and top-notch wit • Great for those who loved Whose Boat Is This Boat?: Comments That Don't Help in the Aftermath of a Hurricane by the Staff of The Late Show with Stephen Colbert, Shade: A Tale of Two Presidents by Pete Souza, and The Wit & Wisdom of Winston Churchill by James C. Humes

A landmark American drama that inspired a classic film and a Broadway revival—featuring an introduction by David Mamet A blistering character study and an examination of the American melting pot and the judicial system that keeps it in check, Twelve Angry Men holds at its core a deeply patriotic faith in the U.S. legal system. The play centers on Juror Eight, who is at first the sole holdout in an 11-1 guilty vote. Eight sets his sights not on proving the other jurors wrong but rather on getting them to look at the situation in a clear-eyed way not affected by their personal prejudices or biases. Reginald Rose deliberately and carefully peels away the layers of artifice from the men and allows a fuller picture to form of them—and of America, at its best and worst. After the critically acclaimed teleplay aired in 1954, this landmark American drama went on to become a cinematic masterpiece in 1957 starring Henry Fonda, for which Rose wrote the adaptation. More recently, Twelve Angry Men had a successful, and award-winning, run on Broadway. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

How to set a scene? What's the best camera angle? How does the new technology interact with scenes? And how does one even get the financing to make a movie? These basic questions and much more are all covered in this exquisite packaged book on the film industry and making movies as a profession. Written by Neil Landau, an experienced screenwriter and script consultant to the major movie studios, this is the perfect book for anyone who wants to know about the inner-workings of this industry. Whether it's someone who wants to make movies as a full-timecareer, or just someone who is interested in film, this book covers it all.

#1 NATIONAL BESTSELLER • The epic account of the storm on the summit of Mt. Everest that claimed five lives and left countless more—including Krakauer's—in guilt-ridden disarray. "A harrowing tale of the perils of high-altitude climbing, a story of bad luck and worse judgment and of heartbreaking heroism." —PEOPLE A bank of clouds was assembling on the not-so-distant horizon, but journalist-mountaineer Jon Krakauer, standing on the summit of Mt. Everest, saw nothing that "suggested that a murderous storm was bearing down." He was wrong. By writing Into Thin Air, Krakauer may have hoped to exorcise some of his own demons and lay to rest some of the painful questions that still surround the event. He takes great pains to provide a balanced picture of the people and events he witnessed and gives due credit to the tireless and dedicated Sherpas. He also avoids blasting easy targets such as Sandy Pittman, the wealthy socialite who brought an espresso maker along on the expedition. Krakauer's highly personal inquiry into the catastrophe provides a great deal of insight into what went wrong. But for Krakauer himself, further interviews and investigations only lead him to the conclusion that his perceived failures were directly responsible for a fellow climber's death. Clearly, Krakauer remains haunted by the disaster, and although he relates a number of incidents in which he acted selflessly and even heroically, he seems unable to view those instances objectively. In the end, despite his evenhanded and even generous assessment of others' actions, he reserves a full measure of vitriol for himself. This updated trade paperback edition of Into Thin Air includes an extensive new postscript that sheds fascinating light on the acrimonious debate that flared between Krakauer and Everest guide Anatoli Boukreev in the wake of the tragedy. "I have no doubt that Boukreev's intentions were good on summit day," writes Krakauer in the postscript, dated August 1999. "What disturbs me, though, was Boukreev's refusal to acknowledge the possibility that he made even a single poor decision. Never did he indicate that perhaps it wasn't the best choice to climb without gas or go down ahead of his clients." As usual, Krakauer supports his points with dogged research and a good dose of humility. But rather than continue the heated discourse that has raged since Into Thin Air's denouncement of guide Boukreev, Krakauer's tone is conciliatory; he points most of his criticism at G. Weston De Walt, who coauthored The Climb, Boukreev's version of events. And in a touching conclusion, Krakauer recounts his last conversation with the late Boukreev, in which the two weathered climbers agreed to disagree about certain points. Krakauer had great hopes to patch things up with Boukreev, but the Russian later died in an avalanche on another Himalayan peak, Annapurna I. In 1999, Krakauer received an Academy Award in Literature from the American Academy of Arts and Letters--a prestigious prize intended "to honor writers of exceptional accomplishment." According to the Academy's citation, "Krakauer combines the tenacity and courage of the finest tradition of investigative journalism with the stylish subtlety and profound insight of the born writer. His account of an ascent of Mount Everest has led to a general reevaluation of climbing and of the commercialization of what was once a romantic, solitary sport; while his account of the life and death of Christopher McCandless, who died of starvation after challenging the Alaskan wilderness, delves even more deeply and disturbingly into the fascination of nature and the devastating effects of its lure on a young and curious mind."

From 1928 to 1972, the Alberta Sexual Sterilization Act, Canada’s lengthiest eugenic policy, shaped social discourses and medical practice in the province. Sterilization programs—particularly involuntary sterilization programs—were responding both nationally and internationally to social anxieties produced by the perceived connection between mental degeneration and heredity. Psychiatry and the Legacies of Eugenics illustrates how the emerging field of psychiatry and its concerns about inheritable conditions was heavily influenced by eugenic thought and contributed to the longevity of sterilization practices in Western Canada. Using institutional case studies, biographical accounts, and media developments from Western Canada and Europe, contributors trace the impact of eugenics on nursing practices, politics, and social attitudes, while investigating the ways in which eugenics discourses persisted unexpectedly and remained mostly unexamined in psychiatric practice. This volume further extends historical analysis into considerations of contemporary policy and human rights issues through a discussion of disability studies as well as compensation claims for victims of sterilization. In impressive detail, contributors shed new light on the medical and political influences of eugenics on psychiatry at a key moment in the field’s development. With contributions by Ashley Barlow, W. Mikkel Dack, Diana Mansell, Guel A. Russell, Celeste Tuong Vy Sharpe, Henderikus J. Stam, Douglas Wahlsten, Paul J. Weindling, Robert A. Wilson, Gregor Wolbring, and Marc Workman.

In this fascinating collection of essays, an international group of scholars explores the sonic consequences of transcultural contact in the early modern period. They examine how cultural configurations of sound impacted communication, comprehension, and the categorisation of people. Addressing questions of identity, difference, sound, and subjectivity in global early modernity, these authors share the conviction that the body itself is the most intimate of contact zones, and that the culturally contingent systems by which sounds made sense could be foreign to early modern listeners and to present day scholars. Drawing on a global range of archival evidence—from New France and New Spain, to the slave ships of the Middle Passage, to China, Europe, and the Mediterranean court environment—this collection challenges the privileged position of European acoustical practices within the discipline of global-historical musicology. The discussion of Black and non-European experiences demonstrates how the production of ‘the canon’ in the cosmopolitan centres of colonial empires was underpinned by processes of human exploitation and extraction of resources. As such, this text is a timely response to calls within the discipline to decolonise music history and to contextualise the canonical works of the European past. This volume is accessible to a wide and interdisciplinary audience, not only within musicology, but also to those interested in early modern global history, sound studies, race, and slavery.