Designed to help in planning a baby shower, including location, theme, invitations, decorations, menus, games, etc.

Hundreds of ideas on how to make a party special and appropriate to the occasion cover when to send out the invitations, how to make a guest list, how to create a theme, and much more.

[This text] provide[s] coverage of the writing process for today's visually oriented students. The text also included a wealth of rhetorical strategies that instructors and students found accessible and helpful. [It] reinforces these strengths with enhanced coverage of many important topics such as analyzing the rhetorical situation, evaluating sources, avoiding plagiarism, and developing visual literacy.-Pref.

In a bold rethinking of the Hollywood blacklist and McCarthyite America, Joseph Litvak reveals a political regime that did not end with the 1950s or even with the Cold War: a regime of compulsory sycophancy, in which the good citizen is an informer, ready to denounce anyone who will not play the part of the earnest, patriotic American. While many scholars have noted the anti-Semitism underlying the House Un-American Activities Committee’s (HUAC’s) anti-Communism, Litvak draws on the work of Theodor W. Adorno, Hannah Arendt, Alain Badiou, and Max Horkheimer to show how the committee conflated Jewishness with what he calls “comic cosmopolitanism,” an intolerably seductive happiness, centered in Hollywood and New York, in show business and intellectual circles. He maintains that HUAC took the comic irreverence of the “uncooperative” witnesses as a crime against an American identity based on self-repudiation and the willingness to “name names.” Litvak proposes that sycophancy was (and continues to be) the price exacted for assimilation into mainstream American culture, not just for Jews, but also for homosexuals, immigrants, and other groups deemed threatening to American rectitude. Litvak traces the outlines of comic cosmopolitanism in a series of performances in film and theater and before HUAC, performances by Jewish artists and intellectuals such as Zero Mostel, Judy Holliday, and Abraham Polonsky. At the same time, through an uncompromising analysis of work by informers including Jerome Robbins, Elia Kazan, and Budd Schulberg, he explains the triumph of a stoolpigeon culture that still thrives in the America of the early twenty-first century.

Hal Wallis (1898-1986) might not be as well known as David O. Selznick or Samuel Goldwyn, but the films he produced—Casablanca, Jezebel, Now, Voyager, The Life of Emile Zola, Becket, True Grit, and many other classics (as well as scores of Elvis movies)—have certainly endured. As producer of numerous films, Wallis made an indelible mark on the course of America's film industry, but his contributions are often overlooked. Bernard Dick offers the first comprehensive assessment of the producer's incredible career. A former office boy and salesman, Wallis first engaged with the film business as the manager of a Los Angeles movie theater in 1922. He attracted the notice of the Warner brothers, who hired him as a publicity assistant. Within three months he was director of the department, and appointments to studio manager and production executive quickly followed. Wallis went on to oversee dozens of productions and formed his own production company in 1944. Dick draws on numerous sources such as Wallis's personal production files and exclusive interviews with many of his contemporaries to finally tell the full story of his illustrious career. Dick combines his knowledge of behind-the-scenes Hollywood with fascinating anecdotes to create a portrait of one of Hollywood's early power players.

Western Heritage Award, Best Western Nonfiction Book, National Cowboy and Western Heritage Museum Nothing can change the terrible facts of the Sand Creek Massacre. The human toll of this horrific event and the ensuing loss of a way of life have never been fully recounted until now. In Sand Creek and the Tragic End of a Lifeway, Louis Kraft tells this story, drawing on the words and actions of those who participated in the events at this critical time. The history that culminated in the end of a lifeway begins with the arrival of Algonquin-speaking peoples in North America, proceeds through the emergence of the Cheyennes and Arapahos on the Central Plains, and ends with the incursion of white people seeking land and gold. Beginning in the earliest days of the Southern Cheyennes, Kraft brings the voices of the past to bear on the events leading to the brutal murder of people and its disastrous aftermath. Through their testimony and their deeds as reported by contemporaries, major and supporting players give us a broad and nuanced view of the discovery of gold on Cheyenne and Arapaho land in the 1850s, followed by the land theft condoned by the U.S. government. The peace treaties and perfidy, the unfolding massacre and the investigations that followed, the devastating end of the Indians’ already-circumscribed freedom—all are revealed through the eyes of government officials, newspapers, and the military; Cheyennes and Arapahos who sought peace with or who fought Anglo-Americans; whites and Indians who intermarried and their offspring; and whites who dared to question what they considered heinous actions. As instructive as it is harrowing, the history recounted here lives on in the telling, along with a way of life destroyed in all but cultural memory. To that memory this book gives eloquent, resonating voice.

The 10th-anniversary edition of this landmark investigation into how the Internet is dramatically changing how we think, remember and interact, with a new afterword.

Story of cinema -- How movies are made -- Movie genres -- World cinema -- A-Z directors -- Must-see movies.

Accompanying CD-ROM provides short film clips that reinforce the key concepts and topics in each chapter.

First published in 1970 and widely regarded as a prophetic masterpiece, this is a groundbreaking experimental novel by the acclaimed author of ‘Crash’ and ‘Super-Cannes’.