Book Description
This classic account of the history of the visual arts from the end of World War II to the new millennium has now been completely rewritten, revised, expanded, and updated. The fifth edition reflects the latest developments in a wide-ranging introduction and nine new chapters that deal with the radical transformations that have taken place in contemporary art. Among the topics covered are the increasing dominance of photography, film, and video, and the emergence of a new post-Post-Expressionist group of "Abject" artists whose work stresses feelings of alienation in Western industrial societies, often through the reintroduction of narrative. The emergence of an opposing trend of idealizing classicism, particularly in Italy and Russia, is discussed, and there is increased coverage of the burgeoning practice of art "on the periphery" in Third World countries, where artists have absorbed Western modernism and then created new terms of reference for artistic expression adapted to their own cultures. Numerous additional reproductions illustrate all the recent developments in this completely redesigned edition, and there are a full bibliography and comprehensive chronologies of key events. No other account of the art of the last fifty-five years provides as much up-to-date information about art issues, developments, and players. 100 color and 190 b/w illustrations.
Book Description
No other introductory book presents the diversity and complexity of postwar American art from Abstract Expressionism to the present as clearly and succinctly as this groundbreaking survey. David Joselit traces and analyzes the contradictory formal, ideological, and political conditions during this period that made American art predominant throughout the world.
Social and cultural transformations rooted in mass media technologies—photography, television, video, and the Internet—elevated consumer commodities to the status of legitimate art subjects, as in pop and installation art, and also brought about a mechanization of the creative act. Canonical movements and figures are discussed at length—Pollock, Rothko, Krasner, Oldenburg, Johns, Warhol, Paik, Ruscha, Sherman, Schnabel, Koons, Barney, and others—in juxtaposition with lesser known contemporary artists and practices. 183 illustrations, 80 in color.
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Movements in Art Since 1945
Manufacturer: Thames & Hudson
ProductGroup: Book
Binding: Paperback
ASIN: B000GQV5PC |
Average customer rating:
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Worker's Playtime: Theatre and the Labour Movement Since 1970 (THEATRE)
Alan D. Filewod , and
David Watt
Manufacturer: Currency Pr
ProductGroup: Book
Binding: Paperback
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| Performing Arts
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ASIN: 0868196312 |
Customer Reviews:
Poetic fun.......2002-08-05
It is amazing that poetry has sunk so far in value to our culture that much of it has to be packaged as books for children. In this wonderfully illustrated book, some of the best poems by Nancy Willard and Jane Yolen (both established authors of adult literature), all dealing with angels, have been collected. This book is a great way to introduce children to the complexities and fun of poetry, but is also a good book for adults who appreciate fine poetry.
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A Christmas Sampler
Manufacturer: Ideals
ProductGroup: Book
Binding: Hardcover
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ASIN: B000NFFOVC |
Product Description
Poems. stories, recipes, crafts, songs. Well illustrated in black and white and color. Large format.
Average customer rating:
- Outstanding, the pictures are breath taking
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Majesty: Visions from the Heart of Elk Country
Rocky Mountain Elk Foundation
Manufacturer: Falcon Pr Pub Co
ProductGroup: Book
Binding: Hardcover
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ASIN: 1560442506 |
Book Description
Majesty. Too grand a word? Hardly. The challenge rises in trying to describe a great wild ruggedness with a language born on a small island of green hills. Or, on a deeper level, trying to reduce the imperfect harmony of a roaring flute-an 800-pound, urine soaked, mud-slathered, wild-eyed flute-to a few flat syllables. Plenty of folks have tried. And a few, in sublime moments, have crossed over, the pages of their books suddenly smelling like pine duff and elk musk. Those sublime moments are gathered together here-the words of dozens of people who have loved elk and elk country over the past century. And these passages are coupled with a language of greater clarity-photographs that need no words, images that ring with something very much like the sound of a faint bugle drifting down out of the fog. Listen well as you turn these pages. There is majesty here.
Customer Reviews:
Outstanding, the pictures are breath taking.......1999-02-06
This is one of the best picture books of all time if you are a elk lover. The people who made this book really out did themselves.
Book Description
Chock-Full of Straight Talk About America. . . And Some Jokes, Too!
Larry the Cable Guy on . . .
NASCAR: It’s a lotta good old-fashioned fun started by a buncha moonshiners. Just seein’ all the ZZ Top–lookin’ folks drinkin’ beer, havin’ a good time, and not givin’ a darn is awesome. And that’s just the women!
Dieting: I once went on the “liquid diet.” I was supposed to drink nothin’ but liquids for a week. But I got so drunk and sick of that Jim Beam and Coke, I’ll never drink it again.
Why his catchphrase “git-r-done” is better than other catchphrases: Ya can’t be at a ball game with two outs in the ninth inning and yell to the pitcher “Bounty is the quicker picker-upper!!” It makes no sense. But you could yell “Git-r-done” and everyone would know what you meant.
The red state–blue state divide: Is Dr. Seuss runnin’ the government?
Larry’s mom on Larry’s book: “There’s really not much I can say here except for I apologize to everyone ahead of time for the crap you are about to read.” —Larry’s mom
Also available as an eBook.
Download Description
Larry the Cable Guy is one of America’s funniest—and most successful—stand-up comedians, appearing solo and as part of the Blue Collar Comedy Tour. Larry’s debut CD, Lord, I Apologize (2001), was in the top 20 on the comedy charts for nearly two full years and has been RIAA-certified gold. In 2003, a Comedy Central airing of Blue Collar Comedy Tour: The Movie was the highest-rated movie in the network’s history. A year later, Larry released Larry the Cable Guy: Git-R-Done on DVD, which sold more than a million and a half copies, and since then he’s become part of the highly rated television show Blue Collar TV. His latest CD, The Right to Bare Arms, is the only comedy album ever to debut at number one on the country charts, where it stayed for four weeks, and is also RIAA-certified gold. Git-R-Done is his first book.
From the Hardcover edition.
Customer Reviews:
Larry's book is good........2007-05-14
I'm not the leading authority on comedy, but i did enjoy Larry's book. The one problem i do have is that i hate the word "retard" and this book has that word on almost every page.
But enough of the negative. The book is damn hilarious, and Larry does deserve the fame he's got and is getting. He has worked hard for it, and even his book shows his talent worth.
It's Comedy. Deal With It.......2007-02-20
The reviewer that wrote that the book is disingenuous must be an uptight New England Liberal or something.
It's COMEDY! It ain't rocket science.
We all know that Larry the Cable Guy's real name ain't Larry. So what? John Wayne's real name was MARION!
The book is hilarious. It's hard to read all at once, though. I had to give my abs some rest from laughing so hard.
[Note to parents: the material in the book is NOT for kids.]
Fun for small minds.......2007-02-19
To sum it up quite clearly, I don't like this kind of humor. It's dishonest and "Larry the cable Guy" is closer to the comedy of Andrew Dice Clay than anyone else, and he also claims that the person on stage is not the same as the man doing the show.
Right.
I didn't think it was possible to distill mental retardation and place it into a book, but here it is.
I tried to find out why people thought this guy was funny. I know now. They're stupid. The typical fan of Larry the Cable Guy lacks sophistication and wit, and observations beyond "Okay, I was lying" make thier minds hurt because it requires some thought.
A real waste, unless of course, you like this kind of tripe.
Disingenuous pandering, but hey, private jets need fuel........2006-11-18
This book was not actually written by "Larry the Cable Guy," but a gentleman named Dan Whitney. Whitney is the human being who plays the character "Larry the Cable Guy" in concerts, movies, TV shows, CDs, and now this book. What Dan Whitney really thinks about anything is up for conjecture, but he certainly knows what he wants people to think his character "Larry the Cable Guy" thinks. In that way, this book succeeds marvelously, it makes fun of all the things Whitney has observed as making LTCG fans mad, and like president they all voted for, he tells them what something is and whether it is good, bad, or funny (i.e., jesus = good, fart = funny, being retarded = funny, not supporting the Bush administration = bad) and requires only confirmation by repetition of the catch phrase title of the book, and purchase of sundry items bearing the same inscription. It is brilliantly targeted and presented for maximum cash-in value, with very little discussion and no thought involved at all. It is the easiest thing in the world to be a Larry fan because you don't even have to know what is funny, good, or bad, just wait for Larry to sum it up in the simplest little joke imaginable. That is because he has calculated that if he talks in a thick southern accent (the origin of which is never revealed because it is an amalgam) people will think "wow, he really must be a down to earth fellow to unabashadly parade his hick background instead of trying to "unhickify" himself to reach a wider audience. The unhickified Dan Whitney was boring and not funny, so he devised the Larry character to play on people who thought a brash, "honest" guy from the south was more funny. It's a beautiful formula, and Larry is a gazillionaire as a result. He may have paid a few visits to a Waffle House to take notes, but you can be assured that establishment does not cater the spread on Dan Whitney's Gulfstream V.
So if you're wondering whether Larry sounds like he's from east Texas, western Louisiana, central Alabama, northeast Arkansas, Northen Florida, southern South Carolina, or smack dab in the middle of Georgia, don't labor too hard, he comes from Nebraska and the accent is fake. Just like all the heartfelt nonsense in this book he is simply describing what he thinks the big fans of LTCG want to hear. So if you want to be told what you want to hear by what is basically a cartoon character, instead of engaging in thought about a real human being, then welcome to the world of Larry The Cable Guy. Just like Santa Claus, The Easter Bunny, and Jesus, he's not real. Is that un-PC enough for you, Dan?
Laughing so hard I;m doing #1 in my uderbritches.......2006-11-17
Just when you thought you've heard all Larry has to offer... it gets WAY better... I've only just started reading it the past 2 days, but I have to say it.. I DON'T CARE WHO YOU ARE THAT'S FUNY RIGHT THERE!!!!!
He's got hte downhome Good Ole Boy humor mixed 9at least i see it that way) with a good interpretation of how ALL "blue coller" working class people are. I may be a yankee.. but I'm from the great city of PITTSBURGH PENNSYLVANIA..... AND WE LIVE AND THRIVE ON GOOD OLE AMERICAN LIVING. Funny how Redneck verbage and Pittsburghese IS errily SIMILAR. Makes me PROUD to wave, wear and salute the red white and blue.
Product Description
12 pictures for each month of 2006 depicting Larry the Cable Guy in different poses and a new joke with each picture.
Book Description
This digital document is an article from Snow Goer, published by Ehlert Publishing Group on February 1, 2006. The length of the article is 1006 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Git 'er done! Hauck's GHT-R-Dun kit gives RX-1s more power.(Pat Hauck)
Author: Tim Erickson
Publication:
Snow Goer (Magazine/Journal)
Date: February 1, 2006
Publisher: Ehlert Publishing Group
Volume: 16
Issue: 5
Page: 62(2)
Distributed by Thomson Gale
Average customer rating:
- Original and Incisive
- Brilliant Book -- But Where's Bogey in The Nixon Mix?
- images and reflections
- "My fellow American moviegoers . . ."
- Siskel, Ebert, and Nixon?
|
Nixon at the Movies: A Book about Belief
Mark Feeney
Manufacturer: University Of Chicago Press
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Binding: Hardcover
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ASIN: 0226239683 |
Book Description
Was it an omen? Richard Nixon and the film industry arrived in Southern California in the same year, 1913. As Mark Feeney relates in this unusual and unusually absorbing book, Nixon and the movies have shared a long and complex history. Some of that history—the president's multiple screenings of Patton before and during the invasion of Cambodia, or Oliver Stone's Nixon—is well known. Yet much more is not. How many are aware, for example, that Nixon was an enthusiastic filmgoer who watched more than five hundred movies during his presidency?
Nixon at the Movies takes a new and often revelatory approach to looking at Nixon's career—and Hollywood's. From the obvious (All the President's Men) to the less so (Elvis Presley movies and Nixon's relationship to '60s youth culture) to several onscreen "alternate" Nixons (Fred MacMurray in Double Indemnity, Tony Curtis in The Sweet Smell of Success, Gene Hackman in The Conversation), Feeney sees aspects of Nixon's character, and the nation's, refracted and reimagined in film. Conversely, Feeney argues that Nixon can help us see the movies in a new light, making a strong case for Nixon as the movies' tutelary deity during the early '70s, playing a role in Hollywood's Silver Age comparable to FDR's during its Golden Age.
Stylishly written and bracingly eclectic, Nixon at the Movies draws on biography, politics, cultural history, and film criticism to show just how deeply in the twentieth-century American grain lies the pair of seemingly incongruous nouns in its title. As Nixon once remarked to Garry Wills: "Isn't that a hell of a thing, that the fate of a great country can depend on camera angles?"
Customer Reviews:
Original and Incisive.......2005-09-03
Mark Feeney's book provides a more intelligent examination of Richard Nixon, the movies and the twentieth century than anyone writing. That he blends them all together in a seamless narrative is just amazing. He is fair minded and, rare for an intellectual, brimming with common sense.
That doesn't mean that I agree with his analysis of Nixon. In particular, there are three substantive events of the Nixon era on which it is easy to disagree with Feeney:
1. Cambodia: Feeney seems to buy the line that Nixon brought about the fall of Cambodia. He should have read less Anthony Summers and more Lewis Sorley. No respectable historian believes Summers, William Shawcross and their ilk anymore. Sorley (no friend of Nixon) shows just how nearly we came to winning. A quick glance at the map should show anyone that once South Vietnam fell, so would Cambodia. Blaming Nixon is just the way the left avoids its responsibility for genocide.
2. Yom Kippur: Feeney treats Nixon's rescue of Israel in a couple of subordinate clauses, but this was one of the great moments of his Presidency and it was Nixon's personal peculiarities that brought it about. The military tried to block him, his advisors were unenthusiastic ("Get off your fat ass and get those planes in the air, Henry," Nixon is quoted as saying) and the left accused Nixon of organizing a coup d'etat. Only Nixon made it happen and saved Israel in the process.
3. Civil Rights: there have only been 5 US Presidents who furthered civil rights (Grant, Harding, Truman, LBJ and Nixon). Interestingly, they all left office at the bottom of the list of Presidential reputations and they all have revisionist cheerleaders, although only Truman has been pulled out of the gutter so far (Grant will be next). Nixon's signal acheivement was to pursue a liberal civil rights program (integrating the schools in the South, affirmative action, etc.) while winning white southerners to the Republicans. This depoliticized civil rights to such an extent that today the most conservative institution in America - the military - is also the least racist.
There is far too much emphasis generally on Nixon's anger and poverty creating the "Nixon Era" of break-ins and wiretaps (Feeney does a better job than most). The "Nixon Era" began in 1931 when Herbert Hoover used Naval Intelligence to break into the office of an unfriendly biographer (see Conflict of Duty by Dorwert). FDR, JFK and LBJ expanded the "Nixon Era" until, about the time Bill Moyers, then LBJ's aide, ordered the FBI to dig up dirt on Republican homosexuals for blackmail purposes, the FBI decided to go freelance, setting up COINTELPRO and assorted other programs without outside knowledge (possibly even without J. Edgar's knowledge). Ironically, it was Nixon's efforts to make the FBI more responsive to elected officials that turned Mark Felt into Deep Throat and brought Nixon down.
Nixon ended the Nixon Era by being so uncharismatic. Just as OJ, Robert Blake and Michael Jackson could get away with their crimes because of their celebrity, FDR and JFK could, too. The growth of government has not been ended but the growth of its shadier bits is firmly under control thanks to Nixon, because when he fell, so did a lot of average people. The rules changed for public servants. "Just following orders" no longer got you a gig on public television the way it did Bill Moyers (just compare the good Charles Colson has done for society with what Moyers, a premature angry old man has failed to do). Bill Clinton's sale of technological secrets to China for private gain was made known by the Director of the FBI, because he knew that if he stonewalled, he would be punished.
And Nixon's contempt for the Ivy League was far healthier than LBJ's awe of them. LBJ had big doubts about Vietnam but yielded to the "Harvards" in his administration who ran the war into the ground. Nixon's contempt for their intellect kept them in line ("Get off your fat ass, Henry"). Nixon may have been angry at Kissinger's attempt to steal credit for his own ideas, but he must have gained a certain satisfaction out of it, too. What better way to prove your superiority than to have a Harvard professor cheat by copying from your exam?
Today, it is obvious that Nixon really won. Richard Ben-Veniste, the golden boy of Watergate, was last seen engineering a crude and sordid coverup of a scandal in which, unlike Watergate, Americans did die, thousands of them. The media now is rated by the public [another irony!] on a par with used car salesmen. Dan Rather, the newsreader who delighted in tormenting Nixon, was forced to resign, proving himself to be both unethical and stupid to boot. And for the first time since 1930, conservatives control all three branches of the government.
It is that last point with which Nixon would not take so much satisfaction. Nixon was the most leftist President we ever had, the "last liberal," Garry Wills called him. "I gave them a sword," Nixon told David Frost. But he didn't give it to the Democrats; he gave it to the right wing of his own party. It was Barry Goldwater and Howard Baker who told Nixon that he had to resign because the rightwing wouldn't stand by him. The right took Nixon's sword and gave us the modern world of Reagan and Bush2 by thrusting it into the belly of liberal Republicanism.
Bill Clinton was a bigger crook than Nixon (beginning with Hillary's shortsales of pharmaceutical stocks as a newly appointed health care czar and ending with a wholesale auction of pardons to any gangster with enough Benjamins). He was also as rightwing as Nixon was leftwing, with his main accomplishment being the shutting down of the SEC, turning Wall Street over to crooks who cost the economy a larger share of the national wealth than was lost in the Great Depression. Clinton gave the leftwing of his party a sword too, but the left, fools that they are, committed hari kiri with it.
Feeney may disagree with the above, but his splendid book shows how we got here nonetheless.
Brilliant Book -- But Where's Bogey in The Nixon Mix?.......2005-07-29
I absolutely loved this book! Every chapter is full of insights into Nixon and the movies. Mark Feeney takes five movies Nixon is known to have enjoyed, and wrings out all kinds of fascinating connections between the story line and Nixon's own personality. Not only politics, but culture and sex and money and ambition and pain -- this book teaches amazing lessons on everything that shaped Nixon. Don't miss the sections on Elvis and Nixon as twin icons of un-cool!
My only complaint is that Feeney never brings Humphrey Bogart into the mix. The amazing and authentic "movie diary" at the end of the book makes it clear that Nixon screened both THE CAINE MUTINY and THE TREASURE OF THE SIERRA MADRE while in the White House. Why didn't Mark Feeney jump on the SCREAMINGLY obvious ties between Nixon and Bogey?
Look at Humphrey Bogart's face -- the mean, kicked around face of Richard Nixon. Look at the unshaved beard, the shifty, beady little eyes. Look at how every man Bogart ever played was a cold, paranoid loner at heart, often with a homicidal streak. It's much easier for me to see Nixon as the vicious small time prospector Fred C. Dobbs (in TREASURE) or as the frightened, incompetent naval officer Philip Queeg (in CAINE) than as the smooth, sexually confident insurance salesman played by Fred MacMurray in DOUBLE INDEMNITY.
Note how Fred C. Dobbs is convinced everyone is after him. Note how he's capable of holding on to sanity -- just barely -- until he finally strikes it rich. The fact of finally having gold is what makes him lose his fragile grip on reality -- just the way Nixon survived years of political exile but cracked up the moment all his dreams were within his grasp. By turning on his buddies in bandit country, Dobbs ensures his own downfall systematically. He commits all the most horrifying acts of betrayal, but in his tortured mind it's always a matter of self-preservation. ("No, not murder, partner, not murder, your mistake! I'm saving my life that you'd be taking from me!")Sound familiar?
And how could Feeney have skipped writing a chapter on Bogart's role as Commander Philip Queeg in THE CAINE MUTINY? Nixon is so obviously Queeg it's like the movie was an eerie prophecy. Queeg is a weak, shifty eyed nervous wreck pathetically masquerading as a heroic military commander. Queeg knows he's not the John Wayne type. And he knows his officers know it. He constantly feels menaced by "disloyal officers" and insists "from the first they were all against me." Queeg routinely lies and cheats in order to avoid taking responsibility for his own ineptness as a commander. ("Take the towline . . . defective equipment . . . nothing more!")Queeg longs to rouse and inspire with his speeches, but his attempts at frank man to man talk are pathetically hollow. ("I kid you not.")THE CAINE MUTINY is the best movie ever made about Watergate.
Humphrey Bogart would have been the most logical choice to play Nixon in a major motion picture. He understood Nixon and acted out his tragedy back when Nixon himself was just a young congressman from California. How did the brilliant Mark Feeney miss the Bogart connection?
images and reflections.......2005-07-21
This is an incredible book, approaching Nixon's life through the movies he was known to have seen and liked. The result is an overlapping portrait that is both unexpected and insightful--in one chapter he's being likened to Walter Neff from Double Indemnity; in the next he's seen wishing desperately (yet a touch ambivalently) to be John Wayne. I'm entranced--something I never thought I'd say about anything related to Nixon.
"My fellow American moviegoers . . .".......2005-03-09
There should be equal time for a book about JFK and the movies. JFK appears everywhere in the American cinema, from THE MANCHURIAN CANDIDATE to PT-109 to THE GREEK TYCOON, not to mention his own real life romances with movie stars like Gene Tierney. His father made a pass at becoming a tycoon during his own affair with silent star Gloria Swanson. It might be, however, as Feeney suggests, that Nixon is a more natural film subject, if only because the shadows are darker when it comes to Nixon, and the contrasts between the light of California and the darkness of Watergate and Cambodia is more shocking.
We knew that Nixon watched a lot of movies while he was President, but it's startling indeed to see him attending several movies a week even when he was "in between jobs." Feeney shows how Nixon and American film grew up at the same time, even though he may be stretching a point to cite De Mille's SQUAW MAN (1913) as the first American full length film, that's simply wrong. You might as well call John Waters' SERIAL MOM the last American movie, since bizarrely enough that was the number one movie at the box office the day Nixon died (April 22, 1994).
I liked Feeney's writing throughout, and the parallels he makes between Nixon's character, and the character of several American film heroes (like the part Jack Lemmon plays in THE APARTMENT) is always clever and rings surprisingly true. There is something, perhaps, about identifying oneself as a member of the moviegoing audience, as Nixon did, that makes you a little more --what, passive? -- than other US politicians.
Siskel, Ebert, and Nixon?.......2004-12-25
Did Nixon miss his calling? Should he have been a Hollywood film reviewer? Nixon was born near Hollywood, where characters were reshaped and manufactured, in 1913, the same year that Hollywood produced its first film, Cecil B. DeMille's "The Squaw Man." In a time before DVD's and VHS/Betamax (when "R" rating meant Regular, not Restricted (hehe)), he watched 538 films during his 67 months in the Presidency (not counting his Vice Presidency under Eisenhower); he was screening about two 35mm films per week, sitting in a darkened room. But aside telling us that Nixon viewed PATTON three times during the VietNam War and Cambodian incursion (both Patton and Nixon suffered the indignities of serving under Eisenhower), or that he loved the works of John FOrd, and in his last White House years, more classic films were selected for him, the author creates a fascinating portrayal of Nixon and a cultural history of America's hopes and dreams and myths and realities, specifically through the metaphors of some of the following films: THE CONVERSATION (1974, Gene Hackman is filled with guilt and secrets, hidden away); PATTON (1970, war, leadership, and Eisenhower); MISTER ROBERTS (1955, the banality of being an administrator); DARK VICTORY (1939, Reagan plays a playboy as Bette David is dying and George Brent is trying to sure her, contrasting Nixon's ambitions to those of a playboy); and DOUBLE INDEMNITY (1944, growing up in Southern California)
Book Description
This digital document is an article from Cineaste, published by Thomson Gale on September 22, 2005. The length of the article is 1597 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Nixon at the Movies: A Book About Belief.(Book Review)
Author: Charles Maland
Publication:
Cineaste (Magazine/Journal)
Date: September 22, 2005
Publisher: Thomson Gale
Volume: 30
Issue: 4
Page: 71(3)
Article Type: Book Review
Distributed by Thomson Gale
Average customer rating:
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Guitar Legends: The Definitive Guide to the World's Greatest Guitar Players
Chris Gill
Manufacturer: Harpercollins
ProductGroup: Book
Binding: Paperback
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ASIN: 0062733524 |
Book Description
Thirty-five winding mazes challenge young treasure hunters as they navigate their way through haunted woods; past swamp creatures, vampire bats, bewitched dogs, falling rocks, a ghost ship, poisonous spikes, fiery lakes, deadly stone statues, and much more. Captions explain objectives; solutions appear at the end.
Customer Reviews:
MAZE CRAZY.......2007-03-11
My son lves mazes. I bought this for him as a Christmas gift. There were some hard ones in there for him but he loved the book.
Average customer rating:
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The Economics, Technology and Content of Digital TV (Economics of Science, Technology and Innovation)
Manufacturer: Springer
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Binding: Hardcover
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ASIN: 0792383257 |
Book Description
As the world of television moves from analog to digital, political and economic forces are being brought to bear on companies as they attempt to deal with changes occurring in their industries. The impetus for the conversion from analog to digital TV comes from many quarters, including the broadcasting industry, the computer industry, governments, consumer electronics manufacturers, content developers, and the Internet. The widespread acceptance of digital technology in both the home and the workplace account for the ready acceptance of the belief that the move to digital television is an appropriate advancement. Not all authors in this volume however are believers.
This book is divided into four sections each dealing with one aspect of the transition from analog to digital TV broadcasting. The first section presents the various technologies. It establishes a structure for understanding the technologies currently in use as well as those being developed by the industries involved in the delivery of digital television. Section two presents information about consumer TV viewing and includes examples of innovative, experimental interactive programs. Economics and financial issues are addressed from a variety of perspectives in section three. Section four concludes the book with a look at the international environment and the history of digital TV globally.
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Books Index
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