They were calling it the Twentieth Century -- "She is a little animal, surely" -- "He's my son, and I'll break his neck any way I want to" -- "The locomotive of juveniles" -- A little hell-raising Huck Finn -- The boy who couldn't be damaged -- "Make me laugh, Keaton" -- Speed mania in the kingdom of shadows -- Pancakes at Childs -- Comique -- Roscoe -- Brooms -- Mabel at the wheel -- Famous players in famous plays -- Home, made -- Rice, shoes, and real estate -- The shadow stage -- Battle-scarred risibilities -- One for you, one for me -- The "darkie shuffle" -- The collapsing façade -- Grief slipped in -- The road through the mountain -- Not a drinker, a drunk -- Old times -- The coming thing in entertainment -- Coda: Eleanor.

This book tells of Mathew B. Brady, a Civil War photographer, with over 300 reproductions of his work.

Describes the life and career of the man who revolutionized photography by developing a camera simple enough for anyone to use.

This new edition of an all-time best-seller is completely revised and updated and details the components and step-by-step use of over forty of the most widely used film cameras. Significant new topics include time code and time code slates, video assist, and the Steadicam film stabilizing system. Among a few of the new camera systems are the Aaton 16mm; Arriflex 535, 35-3, 35-BL3 and -BL4, and 16BL; Fries 35R3; and the all new Panavision Panaflex 35mm and 16mm. The book teaches basic film camera procedures and troubleshooting techniques. It also looks at all the components, accessories (including lenses), and support systems.

A collection of pictures of African Americans taken around Columbi.

The noted cinematographer discusses his technical and aesthetic approaches to cinematography in forty of his films and profiles some of the major stars and directors with whom he has worked

OVER THE TARGET... The movie camera in my hands was ready as we entered our run over the oil fields of Ploesti. Cracking towers, smokestacks, huge oil storage tanks and outbuildings almost scraped the Witch’s belly as we let go the incendiaries. Through the camera’s lens I saw a B-24 fly into a barrage balloon cable. The plane spun, corkscrewed to the ground and exploded. Beyond, I saw another smash into a smokestack and instantly dissolve into a fireball. The heat from the storage tank fires turned the Witch into an oven, searing my hair and eyebrows. I swung the camera to see planes crisscrossing, exploding in air, being swallowed up in the raging fires and curling black smoke. Ahead, four hundred deadly German fighters hovered high overhead—waiting for revenge.... This is the thrilling story of Sergeant Jerry Joswick, COMBAT CAMERAMAN Dodging bullets and bombs, he “shot” his way through some of the most savage fighting in World War II, taking memorable pictures of the terrible face of war— —in Africa, on a commando raid behind Rommel’s lines —on the disastrous Ploesti air raid, which he was the only cameraman of sixteen to survive —in the first wave of D-Day on Omaha Beach —in the Battle of the Bulge, where he traded camera for rifle to stay alive —parachuting into Germany with the Airborne Thrills, action, the shock of battle—and the determinate to get the picture, no matter what the danger—make COMBAT CAMERAMAN one of the most thrilling books to come out of the Second World War.

This new edition of an all-time best-seller is completely revised and updated and details the components and step-by-step use of over forty of the most widely used film cameras. Significant new topics include time code and time code slates, video assist, and the Steadicam film stabilizing system. Among a few of the new camera systems are the Aaton 16mm; Arriflex 535, 35-3, 35-BL3 and -BL4, and 16BL; Fries 35R3; and the all new Panavision Panaflex 35mm and 16mm. The book teaches basic film camera procedures and troubleshooting techniques. It also looks at all the components, accessories (including lenses), and support systems.

Emil Sher's acclaimed YA debut is now in paperback! T-- is used to getting grief. Grief from his mother, who worries about him constantly; grief from Mr. Lam, who runs the corner store and suspects every kid of stealing; grief from the trio of bullies he calls Joined at the Hip, whose cruelty has left T-- so battered he fears even his whole name could be used against him. But T-- has his own strength too: his camera, which he uses to capture the unique way he sees the world. His photos connect him to Ms. Karamath, the kind librarian at school; his friend Sean, whose passion for mysteries is matched only by his love for his dog, Watson; and most of all to Lucy, a homeless woman who shares his admiration for the photographer Diane Arbus. When Lucy is attacked by Joined at the Hip, T-- captures the assault on film. But those images lead him into even deeper trouble with the bullies, who threaten to hurt Sean if T-- tells. What's the right thing to do? Do pictures ever tell the whole truth? And what if the truth isn't always the right answer?