One of Texas's true renaissance men, Tom Lea (1907-2001) was already a noted artist, muralist, and book illustrator when he published his first novel, The Brave Bulls, in 1949. This suspenseful story of bullfighting in Mexico, elegantly illustrated by the author, spent several weeks on the New York Times bestseller list and was hailed by Time magazine as the best first novel of the year. It also won the Carr P. Collins Award from the Texas Institute of Letters, went through numerous reprints and translations, and became a 1951 movie starring Mel Ferrer and Anthony Quinn.

A fascinating exploration of an oft-overlooked aspect of classical Hollywood films, Projecting the World offers a series of striking new analyses that will entice cinema lovers, film historians, and those interested in the history of American neocolonialism.

Offering both a short history and a theoretical framework, this book is the first extended study of the soundtracked book as a media form. A soundtracked book is a print or digital publication for which a recorded, musical complement has been produced. Early examples were primarily developed for the children's market, but by the middle of the twentieth century, ethnographers had begun producing book-and-record combinations that used print to contextualize musical artifacts. The last half-century has witnessed the rapid expansion of the adult market, including soundtracked novels from celebrated writers such as Ursula K. Le Guin, Kathy Acker, and Mark Z. Danielewski. While often dismissed as gimmicks, this volume argues that soundtracked books represent an interesting case study in media consumption. Unlike synchronous multimedia forms, the vast majority of soundtracked books require that audience activity be split between reading and listening, thus defining the user experience and often shaping the content of singing books as well. Mapping the form's material evolution, this book charts a previously unconsidered pathway through more than a century of recording formats and packaging strategies, emphasizing the synergies and symbioses that characterize the marriage of sound and print. As such, it will be of value to scholars and postgraduate students working in media studies, literary studies, and sound studies.

From every part of the ancient world, these stories try to explain the mysteries of the where, why, and when. This is the search of man for himself, looking at the horizon, seeing what is always there: leading, following, falling, rising, never reachable. From "Seal Island" to "The Aztec," these stories will delight the reader. What is a rainbow? Why does a jackal laugh? Where did music come from? Who is the earth eater? Is there a Dreamtime? In our world of reality, this is fascinating reading.

Of great utility for every scientist faced with publicizing their discoveries via the media, this book addresses questions of responsibility for the balance and accuracy of scientific reporting, and attempts to be a guide for the scientist in their quest to inform the general public about their research in honest, truthful, and still interesting ways. Case studies by leading scholars in the fields of bioethics (pharmaceutical research (Declan Doogan, Senior VP Pfizer), medical journal editing (Jerome Kassirer, former editor of NEJM), science journalism, philosophy of science, history of medicine (John Warner, chair history of medicine Yale), public health (Ruth Katz, Dean public health, George Washington University), and philosophy of religion (Reverend Wesley Carr, former Dean of Westminster) illustrate positions and points of view and offer unique perspectives on the complex dance between science and the media. - Provides a compelling overview and analysis of the difficulties of dealing with mass media and collects tips and solutions. - Includes case studies from the experience of a number of high-profile contributors from different fields - Provides an easy-to-read, carefully selected and synthesized overview well suited to teaching and as further reading source in respective classes - Includes a famous movie from Jose Delgado that shows his attempts in the 60s to demonstrate "remote control" of a bull

For more than a century, directors from both sides of the border have chosen Mexico as the location to create their cinematic art, leaving an indelible imprint on the imaginations of moviegoers and filmmakers worldwide. Now, for the first time, Made in Mexico: Hollywood South of the Border presents a comprehensive examination of more than one hundred Hollywood theatrical feature films made in Mexico between 1914 and the present day. Lavishly illustrated throughout, Made in Mexico examines how Hollywood films depicted Mexico and how Mexico represented itself in relation to the films shot on location. It pulls back the curtain on how Hollywood filmmakers influenced Mexican films and Mexican filmmakers influenced Hollywood. Listed chronologically and featuring cast, credits, synopsis, and contemporary reviews along with a production history for each entry, this book highlights the concept of “crossing borders ” in which artists from both nations collaborated with one another. Made in Mexico also provides a brief historical perspective on the aesthetics, economics, and politics of the film industries in each country, giving readers a glimpse of the external forces at play in the production of these films. With motion pictures permeating the cultural and historical landscape of both Mexico and the United States, this compulsively readable compendium demonstrates the far-reaching influences of the featured films on the popular culture of both nations.