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Books on the topic 'Screen types'

Author: Grafiati

Published: 30 June 2021

Last updated: 12 February 2022

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1

Malone, Peter. Mirror, mirror on the screen: Type and movies. Gaithersburg, MD: Type Resources, 1996.

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2

Mills, Kyle. Smoke screen. New York: G.P. Putnam's Sons, 2003.

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3

Mills, Kyle. Smoke screen. Waterville, Me: Thorndike Press, 2003.

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4

Blue screen. Waterville, Me: Thorndike Press, 2006.

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5

Blue screen. New York: G. P. Putnam's Sons, 2006.

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6

B, Parker Robert. Blue Screen. New York: Penguin Group USA, Inc., 2008.

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7

Sandra, Brown. Smoke Screen. New York: Simon & Schuster, 2008.

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8

Sandra, Brown. Smoke screen. New York: Pocket Books, 2009.

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9

Sandra, Brown. Smoke screen. New York: Simon & Schuster, 2008.

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10

Sandra, Brown. Smoke screen. New York: Simon & Schuster, 2008.

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11

Sandra, Brown. Smoke screen. Waterville, Me: Thorndike Press, 2008.

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12

Sandra, Brown. Smoke screen. London: Hodder & Stoughton, 2008.

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13

Sandra, Brown. Smoke screen. New York: Simon & Schuster, 2008.

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14

The strong, silent type: Over 100 screen cowboys, 1903-1930. Jefferson, N.C: McFarland, 2004.

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15

Caplan, Thomas. The spy who jumped off the screen. Waterville, Maine: Thorndike Press, 2012.

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16

The spy who jumped off the screen. Waterville, Maine: Thorndike Press, 2012.

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17

Woodward, Ian. Audrey Hepburn: Fair lady of the screen. Bath: Chivers Press, 1994.

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18

Windeler, Robert. Julie Andrews: A life on stage and screen. New York: Carol Pub., 1997.

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19

Julie Andrews: A life on stage and screen. Thorndike, Me: Thorndike Press, 1998.

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20

Edelman, Rob. AngelaLansbury: A life on stage and screen. New York: Carol Publishing Group, 1996.

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21

Edelman, Rob. Angela Lansbury: A life on stage and screen. Secaucus, NJ: Carol Pub. Group, 1996.

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22

Edelman, Rob. Angela Lansbury: A life on stage and screen. Secaucus, N.J: Carol Pub. Group, 1997.

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23

Edelman, Rob. Angela Lansbury: A life on stage and screen. Thorndike, Me., USA: G. K. Hall & Co., 1996.

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24

Edelman, Rob. Angela Lansbury: A life on stage and screen. Thorndike, Me., USA: G. K. Hall & Co., 1996.

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25

Michael, Collins. The silent scream. SOUTH YARMOUTH [MASS.]: JOHN CURLEY, 1988.

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26

Daheim, Mary. Silver Scream. New York: HarperCollins, 2007.

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27

Zindel, Paul. The scream museum. New York: Hyperion, 2001.

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28

Zindel, Paul. The scream museum. Waterville, Me: Thorndike Press, 2002.

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29

O'Brien, Kevin. One last scream. New York: Pinnacle Books, 2008.

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30

One last scream. Waterville, Me: Thorndike Press, 2008.

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31

Kings of the jungle: An illustrated guide to "Tarzan" on screen and television. Jefferson, N.C: McFarland, 2008.

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32

Fury, David. Kings of the jungle: An illustrated guide to "Tarzan" on screen and television. Jefferson, N.C: McFarland, 2008.

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33

Strout, Elizabeth. Olive Kitteridge. New York: Random House, 2007.

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34

Olive Kitteridge. Thorndike, Me: Center Point Pub., 2008.

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35

Strout, Elizabeth. Olive Kitteridge. New York: Random House Publishing Group, 2008.

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36

Strout, Elizabeth. Olive Kitteridge. New York: Random House, 2008.

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37

Strout, Elizabeth. Olive Kitteridge. New York: Random House, 2008.

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38

Strout, Elizabeth. Olive Kitteridge. New York: Random House, 2008.

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39

Strout, Elizabeth. On the coast of Maine: The olive stories. New York: Random House, 2007.

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40

Churchill, Jill. A midsummer night's scream: A Jane Jeffry mystery. Waterville, Me: Thorndike Press, 2005.

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41

A midsummer night's scream: A Jane Jeffry mystery. New York: William Morrow, 2004.

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42

Silver scream: A bed-and-breakfast mystery. Waterville, Me: Thorndike Press, 2002.

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43

Silver scream: A bed-and-breakfast mystery. New York: William Morrow, 2002.

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44

Borelli, Melissa Blanco, ed. The Oxford Handbook of Dance and the Popular Screen. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.001.0001.

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This anthology offers contemporary perspectives on dance in the context of the popular screen. It analyzes the role played by the dancing body in popular culture and its multi-layered meanings in film, television, music videos, video games, commercials, and Internet sites such as YouTube. It explores how dance and choreography function within the filmic apparatus, and how the narrative, dancing bodies, and/or dance style set in motion multiple choreographies of identity such as race, gender, sexuality, class, and nation. It also considers the types of bodies that are associated with specific dances and their relation to power, access, and agency, as well as the role(s) of a specific film in the genealogy of Hollywood dance films. The book is divided into five sections that examine dance in films such asMoulin Rouge!, Dance Girl Dance, Dirty Dancing, and Save the Last Dance; the different aspects of commercial dance films in the context of identity politics, technology, commercialism, and the politics of moving bodies; how dance and its practice are constructed in films as a form of self-discovery and individual expression; the impact of music videos on popular dance and its dissemination; and how dance video games such as Dance Central influence concepts of choreography, embodiment, and dance pedagogy.

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45

Plantinga, Carl. Engagement and Estrangement. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190867133.003.0006.

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Suppose that we accept the view that screen stories are rhetorically powerful. How should ethical critics respond? In this chapter I identify two contrasting types of response. One I call “estrangement theory” and the other “engagement theory.” It will be the purpose of this second part of the book to argue that, while some basic tenets of estrangement theory are useful, others are counterproductive. Overall, I will argue, an ethics of engagement can incorporate the insights of estrangement theory, and through its more complete understanding of the nature of emotion in the viewer’s experience, engagement theory can contribute to a less defensive and more nuanced ethics, one that focuses as much on the potential benefits of screen stories as on their drawbacks.

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46

Franceschi, Silvia, Hashem B. El-Serag, David Forman, Robert Newton, and Martyn Plummer. Infectious Agents. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190238667.003.0024.

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Eleven infectious agents (seven viruses, three parasites, and one bacterium) have been classified by the International Agency for Research on Cancer as carcinogenic to humans for one or more cancer sites: hepatitis B virus; hepatitis C virus; thirteen types of human papillomavirus (HPV); human immunodeficiency virus type 1 (HIV-1); human T-cell leukemia virus type 1; Epstein-Barr virus; Kaposi sarcoma herpesvirus; Helicobacter pylori; Opisthorchis viverrini; Clonorchis sinensis; and Schistosoma haematobium. Other infectious agents, such as Merkel cell polyomavirus, Plasmodium falciparum, and cutaneous HPVs, have been classified as “probably carcinogenic” or “possibly carcinogenic.” Accurate biomarkers of chronic infection have been essential for estimating risk and ascribing a causal role to infectious agents in cancer. Of the 14 million cases of cancer estimated to have occurred worldwide in 2012, 2.2 million were caused by infectious agents. Vaccination and screen-and-treat programs have the potential for greatly reducing the burden of cancer caused by infections.

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47

Ingham, Mike. Popular Song and Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.18.

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Popular song is a genre that is characterized by adaptation and appropriation practices, in much the same way that other creative media and literary and screen genres are. In arguing that the relationship between the economically and socially significant creative song industry and adaptation theory and practice has not been sufficiently recognized hitherto, Chapter 18 introduces a framework for exploring both intramedial and intermedial varieties of adaptation. Taking off from American song composer Ned Rorem’s provocative designation of the song form as “a bastard,” the essay propounds a taxonomy of types and variations, providing and discussing illustrative examples of each.

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48

Rainey, Buck. Strong, Silent Type: Over 100 Screen Cowboys, 1903-1930. McFarland & Company, Incorporated Publishers, 2014.

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49

Color & Type for the Screen (Digital Media Design Series). Rotovision, 1998.

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50

Smoke Screen. Hodder, 2008.

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