Girl In A White Hat

In her grandmother's attic, an imaginative girl named Annabelle finds a floppy white hat that makes all her dreams come true.

Kid's Box is a six-level course for young learners. Bursting with bright ideas to inspire both teachers and students, Kid's Box American English gives children a confident start to learning English. It also fully covers the syllabus for the Cambridge Young Learners English (YLE) tests. This Resource Pack contains extra activities to reinforce and extend each unit of the Student's Book, allowing teachers to cater for mixed-ability classes, as well as tests suitable for YLE preparation. It is accompanied by an Audio CD complete with songs, listening exercises and tests. Level 4 completes the Movers cycle (CEF level A1).

The story of W.K.L. Dickson—assistant to Edison, inventor, and key figure in early cinematography: “Valuable and comprehensive.” —Communication Booknotes Quarterly W.K.L. Dickson was Thomas Edison’s assistant in charge of the experimentation that led to the Kinetoscope and Kinetograph—the first commercially successful moving image machines. In 1891–1892, he established what we know today as the 35mm format. Dickson also designed the Black Maria film studio and facilities to develop and print film, and supervised production of more than one hundred films for Edison. After leaving Edison, he became a founding member of the American Mutoscope Company, which later became the American Mutoscope & Biograph, then Biograph. In 1897, he went to England to set up the European branch of the company. Over the course of his career, Dickson made between five hundred and seven hundred films, which are studied today by scholars of the early cinema. This well-illustrated book offers a window onto early film history from the perspective of Dickson’s own oeuvre.

In the first comprehensive exploration of women’s bands in American history, contributors trace women's emerging roles in town, immigrant, family, school, suffrage, military, swing, and rock bands, as well as society at large. Contributors bring together a series of disciplines in this unique work, including musicology, American history, women's studies, and history of education.

Since the moment William Ferris's parents gave their twelve-year-old son a Kodak Brownie Hawkeye camera for Christmas in 1954, Ferris passionately began to photograph his world. He has never stopped. The sixties and seventies were a particularly significant period for Ferris as he became a pathbreaking documentarian of the American South. This beautiful, provocative collection of 100 of Ferris's photographs of the South, taken during this formative period, capture the power of his color photography. Color film, as Ferris points out in the book's introduction, was not commonly used by documentarians during the latter half of the twentieth century, but Ferris found color to work in significant ways in the photographic journals he created of his world in all its permutations and surprises. The volume opens with images of his family's farm and its workers--family and hired--southeast of Vicksburg, Mississippi. The images are at once lyrical and troubling. As Ferris continued to photograph people and their homes, churches, and blues clubs, their handmade signs and folk art, and the roads that wound through the region, divisive racial landscapes become part of the record. A foreword by Tom Rankin, professor of visual studies and former director of the Center for Documentary Studies at Duke University, provides rich insight into Ferris's work.

This is filled with hilarious stories of small-town life. It is the remarkable story of two women coming of age in the newspaper business and an extraordinary slice of Americana.

The case for narrowing the gender gap is well established, and programs seeking to empower women in sub-Saharan Africa have multiplied. Yet a critical piece is missing: a focus on rural girls from zero to ten years old. Discrimination and social norms that penalize girls and women do not start at adolescence, and by the time many rural girls are 10, it is often too late to undo the damage that has already been done. As an African woman leader who has grown up on the African soil, Joyce Banda, Malawi's first female president and Africa's second, has seen firsthand how young rural girls face obstacles in areas that are critical in shaping their future. This book makes the case of how, if African girls are to realize their potential as leaders and change the narrative of their continent, gender interventions should and can be started from day one. For we cannot to leave any girl behind.