You Gotta See This

In time for Oscar season, Hollywood’s top stars talk about the movies that move them Everyone has a favorite movie—even movie stars themselves. In You Gotta See This, veteran entertainment reporter Cindy Pearlman gets the scoop on the top movie picks of Hollywood’s entertainment elite. Through over one hundred interviews with actors, writers, and directors, Pearlman discovers the eclectic—and sometimes surprising—tastes of the people who make the movies we love: * Jet Li discusses the “Buddhist themes” that made him a lifelong Star Wars fan * Johnny Depp talks about how The Wizard of Oz gave him hope of escaping his bleak childhood in rural Florida * Jennifer Lopez recalls the inspiration of seeing “proof that my people could sing, dance, and act” in West Side Story * Vin Deisel explains why he considers Gone With the Wind “the ultimate action movie” From Bruce Willis on Dr. Strangelove to Jim Carrey on Network, You Gotta See This is a compulsively readable, star-studded tribute to the movies.

"This tour guide is filled with more than 250 color photos, tons of fun facts, list of popular and little-known sites, journal pages, and a souvenir pocket -- back cover.

How do you become Vine famous? What is life like when you have millions of followers on Facebook, Twitter, Snapchat, and Instagram?

This award-winning book continues to resonate with teachers and inspire their teaching because it focuses on the joy of reading and how it can engage and even transform readers. In a time of next-generation standards that emphasize higher-order strategies, text complexity, and the reading of nonfiction, “You Gotta BE the Book” continues to help teachers meet new challenges, including those of increasing cultural diversity. At the core of Wilhelm’s foundational text is an in-depth account of what highly motivated adolescent readers actually do when they read, and how to help struggling readers take on those same stances and strategies. His work offers a robust model teachers can use to prepare students for the demands of disciplinary understanding and for literacy in the real world. The Third Edition includes new commentaries and tips for using visual techniques, drama and action strategies, think-aloud protocols, and symbolic story representation/reading manipulatives. Book Features: A data-driven theory of literature and literary reading as engagement. A case for undertaking teacher research with students. An approach for using drama and visual art to support readers’ comprehension. Guidance for assisting students in the use of higher-order strategies of reading (and writing) as required by next-generation standards like the Common Core. Classroom interventions to help all students, especially reluctant ones, become successful readers. Online resources, including inquiry unit templates, tools for teaching with drama, and tips for using visual techniques.

Given Herzog’s own pronouncement that ‘film is not the art of scholars, but of illiterates,’ it is not surprising that his work has aroused ambivalent and contradictory responses. Visually and philosophically ambitious and at the same time provocatively eccentric, Herzog’s films have been greeted equally by extreme adulation and extreme condemnation. Even as Herzog’s rebellious images have gained him a reputation as a master of the German New Wave, he has been attacked for indulging in a romantic naiveté and wilful self-absorption. To his hardest critics, Herzog’s films appear as little more than Hollywood fantasies disguised as high seriousness. This book is an attempt to illuminate these contradictions. It gathers essays that focus from a variety of angles on Herzog and his work. The contributors move beyond the myths of Herzog to investigate the merits of his work and its place in film history. A challenging range of films is covered, from Fata Morgana and Aguirre, the Wrath of God to more recent features such as Nosferatu and Where the Green Ants Dream, offering the reader ways of understanding why, whatever the controversies surrounding Herzog and his films, he remains a major and popular international filmmaker. Orignally published in 1986.

The line began forming after eight o'clock. Sal, short and heavy-set, kept everyone busy. Neat, in a white shirt and sports jacket, with his grey fedora cocked to the side, his crooked grin made you smile. Without warning the heavy door would swing open and the waiters would come outside to join him. They were dressed in pajamas or prison garb, with hats and horns, and were there to warm up the crowd. Some in line expected this, others were shocked. The pink polka dot building should have been a warning. Complete strangers in line became chummy, exchanging stories they had heard; toilet seat covers to serve drinks on, microphones in the ladies room, toilet paper for napkins. Most had brought their friends there to be roasted. The line of people varied in age. They all dressed casually because they'd heard you could get a pie in the face or a squirt in the eye. The club's routines were blue in color, but harmless. If you were lucky you might see a "Balls for the Queen" or a "Singing beer." The price was always right for a good time and Warm Beer and Lousy Food was the place to be.

Features an audio read-along! With a simple, witty story and free-spirited illustrations, Peter H. Reynolds entices even the stubbornly uncreative among us to make a mark -- and follow where it takes us. Her teacher smiled. "Just make a mark and see where it takes you." Art class is over, but Vashti is sitting glued to her chair in front of a blank piece of paper. The words of her teacher are a gentle invitation to express herself. But Vashti can’t draw - she’s no artist. To prove her point, Vashti jabs at a blank sheet of paper to make an unremarkable and angry mark. "There!" she says. That one little dot marks the beginning of Vashti’s journey of surprise and self-discovery. That special moment is the core of Peter H. Reynolds’s delicate fable about the creative spirit in all of us.