There S No Place Like Home Video

From its recording of family events to its influence on filmmaking, home video defies easy categorization and demands serious consideration. In There's No Place Like Home Video, James Moran takes on this neglected aspect of popular culture. He offers a history of amateur home video, exploring its technological and ideological predecessors, the development of event videography, and its symbiotic relationship with television and film. He also investigates the broader field of video, taking on the question of medium specificity: the attempt to define its unique identity, to capture what constitutes its pure practice. Rather than look for a grand narrative to define its specificity, Moran places video and home video at the intersections of multiple forms of communication. Book jacket.

A hilarious story about finding your place in the world George is a bit of a grump. He doesn’t like ice cream, his tiny house, or the crowded city he lives in. Perhaps he would be happier if he could find a place that truly feels like home. And so George decides to go exploring… Young children will delight in this fun, inviting story about discovering where you really belong.

Against a background of debate around global ageing and what this means in terms of the future care need of older people, this book addresses key concerns about the nature and site of care and care-giving. Following a critical review of research into who cares, where and how, it uses geographical perspectives to present a comprehensive analysis of how the intersection of informal care-giving within domestic, community and residential care homes can create complex landscapes and organizational spatialities of care. Drawing on contemporary case studies largely, but not exclusively from the UK, the book reviews and develops a theoretical basis for a geographical analysis of the issue of care. By relating these theoretical concepts to empirical data and case studies it illustrates how formal and informal care-giver responses to the changing landscape of care can act to facilitate or constrain the development of inclusionary models of care.

Cathy Blount has a unique gift of being able to communicate her story with heart-wrenching honesty and emotion, yet with God's strength and hope. For anyone who loves someone who is gay, this book is for you. You will go on a rollercoaster journey with Cathy as she shares her feelings of shock, sadness, anger, despair, and finally acceptance with anticipation that nothing is impossible with God. This book is an encouragement to any Christian parent who has faced disappointment and heartache because of their child's unfair suffering or unwise choices. Cathy will inspire you as you read her words of faith, hope, and love. a "Nancy H. Burgess, Director of Heart and Soul Connection"

Liza Barclay, aged 10, shot her mother while trying to protect her from her violent stepfather, ex-FBI agent Charley Foster. Despite her stepfather's claim that it was a deliberate act, the Juvenile Court ruled the death an accident. Many people, however, agreed with Foster and tabloids compared Liza to the infamous murderess, Lizzie Borden, pointing even to the similarity in name. Growing up with adoptive parents who tried to erase every trace of her past, her name is changed to Celia. Always, though, the fear hung over her and the family - that someday, her vengeful stepfather would reappear to harm her. Aged 25, a successful interior designer, she marries a childless sixty-year old widower and they have a son. Before their marriage, she had confided her earlier life to her husband. Two years on, on his deathbed, he tells her that he would want her to re-marry, but makes her swear never to reveal her past to anyone, so that their son would not carry the burden of this family tragedy - a promise that plunges her into a new cycle of violence. Three years later, happily re-married, Celia is shocked when her second husband presents her with a gift -- the house where she killed her mother. When the real estate agent who has made the sale recognises her and, soon after, is murdrered, Celia is accused of the crime. Once again, she is home -- the place where she is stamped as a murderess.

When author and teacher Jane Bedard shifted from working mom to Stay-at-Home Mom, her eyes opened to a brand new world, so different from the one she returned home to each night. With her autopilot control turned off, she was surprised to find a vegetarian, a carnivore, a pescetarian, and two nuggetarians at her kitchen table. When did that happen, and what else awaited her? Join Jane as she addresses daily dilemmas so many of us face, such as: When is it a good idea to tell a stranger to stick a piece of garlic up her ass? Why is Batmom better than Supermom? If you unexpectedly find yourself in a Thai brothel for a massage, how much do you tip? Is it irresponsible parenting if a game of catch accidentally lands your kids at the edge of the Grand Canyon? How do you say goodbye to the people you love? THERE’S NO PLACE LIKE HOME celebrates that most domestic and exotic of all professions: The Stay-at-Home Mom, yet embraces women from all vocations with poignant and hilarious commentary on motherhood & childhood, sisterhood & daughterhood, wifehood & friendshiphood... all from within Toronto’s hood and beyond.

Liza Barclay, aged 10, shot her mother while trying to protect her from her violent stepfather, ex-FBI agent Charley Foster. Despite her stepfather's claim that it was a deliberate act, the Juvenile Court ruled the death an accident. Many people, however, agreed with Foster and tabloids compared Liza to the infamous murderess, Lizzie Borden, pointing even to the similarity in name. Growing up with adoptive parents who tried to erase every trace of her past, her name is changed to Celia. Always, though, the fear hung over her and the family - that someday, her vengeful stepfather would reappear to harm her. Aged 25, a successful interior designer, she marries a childless sixty-year old widower and they have a son. Before their marriage, she had confided her earlier life to her husband. Two years on, on his deathbed, he tells her that he would want her to re-marry, but makes her swear never to reveal her past to anyone, so that their son would not carry the burden of this family tragedy - a promise that plunges her into a new cycle of violence. Three years later, happily re-married, Celia is shocked when her second husband presents her with a gift -- the house where she killed her mother. When the real estate agent who has made the sale recognises her and, soon after, is murdrered, Celia is accused of the crime. Once again, she is home -- the place where she is stamped as a murderess.