Other books that might interest you

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  Whistler The: Boiling Point

  Joe Fugano

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  An idea develops which involves a bridge, until the boiling point is finally reached! Kelly never knew exactly when it was that he decided to kill her. Thinking it over afterwards, he realized that murder is something like a pot boiling over. The fire is underneath for a long time and nothing happens, and then all at once the heat reaches a certain point and there it blows and you look back in horror to find that you've killed someone…

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  The Six Shooter - Volume 5 - The...

  Frank Burt

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  The American West has always provided larger than life characters, righting wrongs to make the world a better place and all set in a mythic landscape.   
   
  In ‘The Six-Shooter’ James Stewart starred as Britt Ponset, a drifting cowboy in the sunset years of the wild west. Episodes ranged from straight western drama to light and sentimental comedy.  Stewart being one of the reigning stars of Hollywood at the time also brought his own touches to bear. His use of whispered narration during tense scenes created a heightened sense of drama and then relief when the situation was resolved. 
   
  The American West that radio, movies, and TV portrayed is the stuff of legends; a fictional concoction usually far from the truth but ‘The Six-Shooter’ did something that few other radio shows could provide; entertainment that captivated the listener.

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  Human Punk For Real - An...

  Marco Thiede

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  If you used to be a punk, you never where!
  I wasn't even twelve years old in 1976 when I heard about this "New Thing" from England called: PUNK ROCK! Something completely new, snotty and revolutionary. A musical and verbal revolution against the Establishment! A punch right in the face of the whining love song era! I was immediately affected…or better said: infected!
  It started with The Sex Pistols and The Damned - but when I heard Jean Jacques Burnel's bass guitar in "Goodbye Toulouse" by The Stranglers I was totally stoked!
  Then as now, the music has never lost its power and energy, and I love all these songs like the first day I heard them!
  In this book I'm attempting to describe the beginning of the Punk movement in Bremen - a very unpopular and rough German city - especially in the 80s. About the ongoing battles with right-wing Skinheads, and how we had to scrape together every penny just so we could go to as many cool shows as possible. First in Bremen, then other German cities, then in England (the Promised Land of Punk Rock!), and later in California. To me, it's an ongoing, never-ending adventure. Finally, In 2012, I "landed" in the Bay Area.
  In December 2014 I became 50 years old and Punk Rock is still, to this day, the only kind of music that always gives me goose bumps! And this will never change - as with many of the other "infected" - to my last breath!

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  John Coates - The Man Who Built...

  Marie Beardmore

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  An abundantly illustrated biography of the British animation producer behind Yellow Submarine, The Snowman, and other classics. 
   
  John Coates is best known as the producer of The Snowman, When the Wind Blows, Wind in the Willows, Willows in Winter, and Famous Fred—and as the man behind the Beatles film Yellow Submarine. In his long, eventful career, he earned a BAFTA and a CableACE Award as well as Primetime Emmy and Academy Award nominations. 
   
  This intimate biography takes us on a journey through Coates’s youth, his years as an army officer in the 11th Hussars in World War II, and his postwar life, working as a distributor for Rank Films throughout Asia before returning to England and eventually taking over TVC’s animation studio. 
   
  With a foreword by Raymond Briggs and an epilogue by John Coates

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  The Ground of the Image

  Jean-Luc Nancy

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  The renowned philosopher provides “noteworthy contributions to themes connected with images, imagination, representation, aesthetics, and . . . religion.” —Journal of American Academy of Religion 
   
  What is this power that lies in the depths and recesses of an image—which is always only an impenetrable surface? What secrets are concealed in the ground or in the figures of an image—which never does anything but show just exactly what it is and nothing else? How does the immanence of images open onto their unimaginable others, their imageless origin? 
   
  In this collection of writings on images and visual art, Jean-Luc Nancy explores such questions through an extraordinary range of references. From Renaissance painting and landscape to photography and video, from the image of Roman death masks to the language of silent film, from Cleopatra to Kant and Heidegger, Nancy pursues a reflection on visuality that goes far beyond the many disciplines with which it intersects. He offers insights into the religious, cultural, political, art historical, and philosophical aspects of the visual relation, treating such vexed problems as the connection between image and violence, the sacred status of images, and, in a profound and important essay, the forbidden representation of the Shoah. In the background of all these investigations lies a preoccupation with finitude, the unsettling forces envisaged by the images that confront us, the limits that bind us to them, the death that stares back at us from their frozen traits and distant intimacies. 
   
  In these vibrant and complex essays, a central figure in European philosophy continues to work through some of the most important questions of our time.

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  Impressionism

  Nathalia Brodskaïa

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  Just before his death, Claude Monet wrote: “I’m still sorry to have been the cause of the name given to this group, most of whom were not in the least bit impressionistic”. Starting with this paradox – an ensemble that saw itself as a coherent group, while affirming artistic individuality as the ultimate goal – the author, Nathalia Brodskaïa, explores the contradictions of late nineteenth–century art. Was it not Manet who evoked the definitive formula: “I paint what I see and not what others want to see” ? There would be a long way to go before the world recognised the difference between traditional, academic art and the birth of modern, non-figurative painting. After analysing the essential elements of the Impressionist movement, Nathalia Brodskaïa pursues, across the œuvre of each of the main players, the search for “that conviction they had, of justice in their principles and value in their art”. From this assertion of difference, modern painting was born.

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