Theatre owners in small towns and big cities alike built new showplaces in this style or renovated older buildings to catch the mood of the moment. Streamlined with flowing curves in gleaming metal, replete with geometric patterns and a wealth of frosted and mirrored glass, these "moderne" theatres were the height of fashion through the 1930s and 1940s, and they remain cherished landmarks.".

A celebration of corn palaces, crop art, and butter sculpture from the late nineteenth and early twentieth centuries

Glittery & colorful movie theatre facades & marquees have tempted Americans to step inside & see films for 100 years. In the late 1920s, the old exotic style of huge theatres gave way to smaller buildings in a version of the Art Deco style. Streamlined with flowing curves in gleaming metal, replete with geometric patterns & a wealth of frosted & mirrored glass, these moderneÓ theatres were the height of fashion through the 1930s & 1940s, & they remain cherished landmarks. Noted realist painter Cone has made these classic movie theatres the subject of all of his paintings, 80 of which are reproduced here in stunning color. Also, relates the changing economics of the movie bus., tells how films were dist., & describes the new architectural design.

In this engrossing history of the Hawkeye State, Dorothy Schweider reveals a place of fascinating grassroots politics, economic troubles and triumphs, surprising cultural diversity, and unsung natural beauty. Above all, this is the history of the people of Iowa and the lives they have led—the accomplishments of both ordinary and not-so-ordinary Iowans.

In the mid-1800's Maisie Ferris and her father travel to England to introduce the American phenomenon of popcorn.

A unique Pocket Poets anthology of a hundred years of poetic tributes to the silver screen, from the silent film era to the present. The variety of subjects is dazzling, from movie stars to bit players, from B-movies to Bollywood, from Clark Gable to Jean Cocteau. More than a hundred poets riff on their movie memories: Langston Hughes and John Updike on the theaters of their youth, Jack Kerouac and Robert Lowell on Harpo Marx, Sharon Olds on Marilyn Monroe, Louise Erdrich on John Wayne, May Swenson on the James Bond films, Terrance Hayes on early Black cinema, Maxine Kumin on Casablanca, and Richard Wilbur on The Prisoner of Zenda. Orson Welles, Leni Riefenstahl, and Ingmar Bergman share the spotlight with Shirley Temple, King Kong, and Carmen Miranda; Bonnie and Clyde and Ridley Scott with Roshomon, Hitchcock, and Bresson. In Reel Verse, one of our oldest art forms pays loving homage to one of our newest—the thrilling art of cinema.