Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

The essays in A Moving Picture Feast discuss every Hollywood film made from a Hemingway work and represent the most diverse response yet to the Hemingway-Hollywood relationship. The contributors examine the popular public image Hollywood created of Hemingway the man and offer a provocative look at the esthetic relationship between fiction and cinema. They criticize the films themselves as art, in many cases with scene-by-scene analysis, and explore the process by which films are adapted from novels and short stories. Their research includes inside decisions made by producers and directors that affected the final versions of specific films. With its valuable bibliography, listing nearly 400 articles, reviews, and screenplay typescripts, A Moving Picture Feast will be an important resource for film buffs as well as any student or scholar of Hemingway. Oliver's collection of 15 articles about film versions of Ernest Heminway's works conducts an interesting and worthwhile conversation about the possible relationships between art in one media and the work it inspires in another. "Choice"

This collection of 15 chapters by Hemingway film scholars discusses every Hollywood film made from a Hemingway work and represents the most diverse response yet to the Hemingway-Hollywood relationship. The contributors go beyond discussing the failure of the film medium to be worthy of Hemingway to criticize the films themselves as art and in one case with scene-by-scene analysis. They explore the process by which films are adapted from novels and short stories. Their research includes inside decisions made by producers and directors that affected the final versions of specific films. Their analysis is of diverse subjects--from the dichotomy of Hemingway as private person and celebrity, to the prevailing film morality of revising original stories to fit Hollywood standards. This important addition to the small body of literature on Hemingway films will shed light on a neglected area of Hemingway studies. With its valuable bibliography listing nearly 400 titles--articles, reviews, and screenplay typescripts--"A Moving Picture Feast" will be an important resource for film buffs as well as for any student or scholar of Hemingway.

The book is divided into three sections. The chapters in the first section explore the similarities and vast differences between Hemingway's style and general cinematic techniques. The contributors examine the popular public image Hollywood created of Hemingway and offer a provocative look at the esthetic relationship between fiction and cinema. The chapters in the second section examine the films made from Hemingway novels. One chapter compares three different versions of "To Have and Have Not"; another discusses Hemingway's extensive collaboration on the documentary film "The Spanish Earth." The third section examines the films made from the short stories. This section includes a compelling discussion of film noir and how this technique applies to the film versions of "The KillerS." Another chapter offers a fascinating comparison of the esthetics of the short stories of "In Our Time" and the classic D. W. Griffith film "The Birth of a Nation."

In Crossing Traditions: American Popular Music in Local and Global Contexts, a wide range of scholarly contributions on the local and global significance of American popular music examines the connections between selected American blues, rock and roll, and hip-hop music and their equivalents from Senegal, Nigeria, England, India, and Mexico. Contributors show how American popular music promotes local and global awareness of such key issues as economic inequality and social marginalization while inspiring cross-cultural and interethnic influences among regional and transnational communities. Specifically, Crossing Traditions highlights the impact of American popular music on the spread of sounds, rhythms, styles, and ideas about freedom, justice, love, and sexuality among local and global communities, all of which share the same desires, hopes, and concerns despite geographic differences. Contributors look at the local contexts of Chicago blues, early rock and roll, white Christian rap, and Frank Zappa alongside the global influence of Mahalia Jackson on Senegalese blues, the transatlantic character of the British Invasion's relationship to African American rock, and the impact of Latin house music, global hip-hop, and Bhangra in cross-cultural settings. Essays also draw on a broad range of disciplines in their analyses: American studies, popular culture studies, transnational studies, history, musicology, ethnic studies, literature and media studies, and critical theory. Crossing Traditions will appeal to a wide range of readers, including college and university professors, undergraduate and graduate students, and music scholars in general.

The fundamentals of figure drawing--anatomy and perspective -- seldom receive a thorough treatment within the same book. This volume, written by an experienced teacher, covers both aspects and provides a basic understanding of how to convey the structure and functions of the human figure. Oliver discusses and illustrates the principles involved in figure drawing -- including its representation by such simple forms as the cube, the cylinder, and the sphere-- as well as anatomical features, from the trunk and limbs to the head and facial features.

The Making of the Modern Law: Legal Treatises, 1800-1926 includes over 20,000 analytical, theoretical and practical works on American and British Law. It includes the writings of major legal theorists, including Sir Edward Coke, Sir William Blackstone, James Fitzjames Stephen, Frederic William Maitland, John Marshall, Joseph Story, Oliver Wendell Holmes, Jr. and Roscoe Pound, among others. Legal Treatises includes casebooks, local practice manuals, form books, works for lay readers, pamphlets, letters, speeches and other works of the most influential writers of their time. It is of great value to researchers of domestic and international law, government and politics, legal history, business and economics, criminology and much more.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++Georgia University Law LibraryCTRG98-B1837Includes index.London: E. Arnold, 1912. vii, 344 p.: ill., forms; 19 cm

Six classic movies starring Margaret Lockwood. 'The Wicked Lady' (1945) is set during the reign of King Charles II. Lockwood stars as Lady Skelton, an aristocrat who attempts to relieve the tedium of her day-to-day life by secretly acting as a highway robber. Lady Skelton soon finds herself caught up in a tangled web of romance, danger, and jealousy. In 'Love Story' (1944), Lissa (Lockwood) discovers she only has a short time to live, so travels to Cornwall for a final fling. While there, she falls in love with young mineral prospector, Kit (Stewart Granger). However, the course of true love does not run smoothly. In 'Bank Holiday' (1938), a group of people set off on an August bank holiday, including a raucous Cockney family, a would-be beauty queen, and two young lovers - whose relationship starts to come apart when one has to deal with a bereavement at the hospital where she works. In 'Give Us the Moon' (1944), a young man, Sascha (Vic Oliver), joins a group called 'The Elephants' whose principle is to abide by a complete disregard for work. However chaos ensues when the group decides to help run the hotel owned by Sascha's father. In 'Highly Dangerous' (1950), when British Intelligence discovers that an Iron Curtain country is developing insects as weapons, they dispatch entomologist Frances Gray (Lockwood) to get into the country and collect specimens. However her cover is almost immediately blown on her arrival and her contact is murdered. Finally, in 'The Lady Vanishes' (1938), when the elderly Miss Froy (Dame May Whitty) goes missing on a train bound for England, her friend Iris Henderson (Lockwood) sets out to find her. However, Iris' attempts are immediately frustrated by her fellow passengers, who question whether Miss Froy ever even existed. Only music scholar Gilbert Redman (Michael Redgrave) is prepared to believe Iris, and together they set about getting to the bottom of the mystery.