The advertising campaigns launched by Kodak in the early years of snapshot photography stand at the center of a shift in American domestic life that goes deeper than technological innovations in cameras and film. Before the advent of Kodak advertising in 1888, writes Nancy Martha West, Americans were much more willing to allow sorrow into the space of the domestic photograph, as evidenced by the popularity of postmortem photography in the mid-nineteenth century. Through the taking of snapshots, Kodak taught Americans to see their experiences as objects of nostalgia, to arrange their lives in such a way that painful or unpleasant aspects were systematically erased. West looks at a wide assortment of Kodak's most popular inventions and marketing strategies, including the "Kodak Girl," the momentous invention of the Brownie camera in 1900, the "Story Campaign" during World War I, and even the Vanity Kodak Ensemble, a camera introduced in 1926 that came fully equipped with lipstick. At the beginning of its campaign, Kodak advertising primarily sold the fun of taking pictures. Ads from this period celebrate the sheer pleasure of snapshot photography--the delight of handling a diminutive camera, of not worrying about developing and printing, of capturing subjects in candid moments. But after 1900, a crucial shift began to take place in the company's marketing strategy. The preservation of domestic memories became Kodak's most important mission. With the introduction of the Brownie camera at the turn of the century, the importance of home began to replace leisure activity as the subject of ads, and at the end of World War I, Americans seemed desperately to need photographs to confirm familial unity. By 1932, Kodak had become so intoxicated with the power of its own marketing that it came up with the most bizarre idea of all, the "Death Campaign." Initiated but never published, this campaign based on pictures of dead loved ones brought Kodak advertising full circle. Having launched one of the most successful campaigns in advertising history, the company did not seem to notice that selling a painful subject might be more difficult than selling momentary pleasure or nostalgia. Enhanced with over 50 reproductions of the ads themselves, 16 of them in color, Kodak and the Lens of Nostalgia vividly illustrates the fundamental changes in American culture and the function of memory in the formative years of the twentieth century.

Focusing on early cinema's relationship with the pictorial arts, this pioneering study explores how cinema's emergence was grounded in theories of picture composition, craft and arts education – from magic lantern experiments in 1890s New York through to early Hollywood feature films in the 1920s. Challenging received notions that the advent of cinema was a celebration of mechanisation and a radical rejection of nineteenth-century traditions of representation, Kaveh Askari instead emphasises the overlap between craft traditions and modernity in early film. Opening up valuable new perspectives on the history of film as art, Askari links American silent cinema with the practice of teaching the public how to appreciate fine art; charts its entrance into arts education via art schools and university film courses; shows how concepts of artistic production entered films through a material interest in the studio; and examines the way in which Maurice Tourneur and Rex Ingram made early art films by shaping an image of the film director around the idea of the fine artist.

Boys' Life is the official youth magazine for the Boy Scouts of America. Published since 1911, it contains a proven mix of news, nature, sports, history, fiction, science, comics, and Scouting.

This is a true story of young men who fought and died for their country. It puts the reader behind the stick of a Sopwith Camel from the pilot's point of view. This is volume 1 and volume 2 combined for the ebook edition. Part One of this comprehensive study covers the life of Captain Arthur Roy Brown, who is well-known as an ace fighter pilot. The basic story is told in Brown’s own words, via his previously unpublished letters home and the entries in his Pilot’s Flying Log Book. Part Two of the book covers Captain Brown’s encounter with Manfred von Richthofen, the Red Baron, in detail. In 1995 Alan Bennett toured the site in France where Captain Brown had attacked the Red Baron on 21 April, 1918. As an experienced pilot of similar aircraft, he had grave doubts as to the truth of some parts of the story. The eventual result was a book written in conjunction with Norman Franks: THE RED BARON’S LAST FLIGHT. After plentiful information from readers, Captain Roy Brown’s family, and Wop May’s son, plus further research in France, a considerably different picture of the entire event and of Roy Brown’s life emerged. This new book, Captain Roy Brown, tells the complete definitive story.