From “one of the great short story writers of our time” (The Philadelphia Inquirer)—nine stories and a poem that offer a searing portrait of American innocence and loss—and formed the basis for the film “Short Cuts” directed by Robert Altman. With deadpan humor and enormous tenderness, this is the work of “one of the true contemporary masters” (The New York Review of Books). Features stories from the collections Will You Please Be Quiet, Please?, Where I’m Calling From, What We Talk About When We Talk About Love, and A New Path to the Waterfall; including an introduction by Robert Altman.

Published to coincide with the release of Altman's film based on nine interlocking stories by Raymond Carver, this screenplay weaves dramatic themes together without affecting the integrity of the stories. Color portraits of the 22 main characters, including Tim Robbins, Lily Tomlin, and Jack Lemmon.

Year after year, Rafe Esquith’s fifth-grade students excel. They read passionately, far above their grade level; tackle algebra; and stage Shakespeare so professionally that they often wow the great Shakespearen actor himself, Sir Ian McKellen. Yet Esquith teaches at an L.A. innercity school known as the Jungle, where few of his students speak English at home, and many are from poor or troubled families. What’s his winning recipe? A diet of intensive learning mixed with a lot of kindness and fun. His kids attend class from 6:30 A.M. until well after 4:00 P.M., right through most of their vacations. They take field trips to Europe and Yosemite. They play rock and roll. Mediocrity has no place in their classroom. And the results follow them for life, as they go on to colleges such as Harvard, Princeton, and Stanford. Possessed by a fierce idealism, Esquith works even harder than his students. As an outspoken maverick of public education (his heroes include Huck Finn and Atticus Finch), he admits to significant mistakes and heated fights with administrators and colleagues. We all—teachers, parents, citizens—have much to learn from his candor and uncompromising vision.

"An examination of strategies for effective organizing"--

Film Editing provides an introduction to the craft of editing in the non-silent film. In clear and accessible language, Valerie Orpen considers editing as an expressive strategy rather than a mere technique. She reveals that editing can be approached and studied in a similar way to other aspects of film. Traditionally, studies on editing or montage tend to focus on silent cinema, yet this book claims that an examination of editing should also consider the role of the soundtrack. The aim of Film Editing is to examine the way in which editing can make meaning. The book addresses editing as part of a wider context and as a crucial element of the overarching design and vision of a film. Consequently, this book incorporates other parameters, such as mise-en-scène, framing, sound, genre, history, and performance. By examining a number of mainstream and art films, such as Godard's A bout de souffle, Hitchcock's Rear Window, and Scorsese's Raging Bull, Film Editing seeks to dispel the notion that editing is necessarily polarized as continuity versus discontinuity.

Clear, concise compendium of about 150 time-saving math short-cuts features faster, easier ways to add, subtract, multiply, and divide. Each problem includes an explanation of the method. No special math ability needed.