In This Is a Picture and Not the World, Joseph Natoli employs the lingua franca of film itself—screenplay dialogue—as well as the more recent form of the political blog to present a hyperreal account of popular film as both a creator and a reflector of our post-9/11 mass psyche. Drawing on both classic and contemporary film examples, the book also offers a quasihistory of film genres, including science fiction, the western, film noir, and screwball comedy, emphasizing how these genres have been shaken up, recontextualized, recombined, turned self-reflexive, and parodied over the past couple of decades. Taken together, these satirical parodies of screenplays and blogs reveal and perform how our very gaze has shifted from modern to postmodern, from a direct view of the world to a filtered one.

From the author and illustrator of the bestselling God Gave Us You series, a delightful tale of Little Cub discovering the beauty of diversity as she realizes the world is so much bigger than she ever imagined! Little Cub’s trip to a special museum exhibit, “Bears Around the World,” sparks a flurry of questions from the young polar bear who is just beginning to learn about life beyond her North Pole home. As Mama Bear shares with her about the different types of places that God has put the various types of bears, with their different kinds of fur and food, Little Cub begins to wonder: Why didn’t God make us all the same? With Mama’s loving guidance, Little Cub is taught to see the vastness of God’s wonderful creation; His abilities as an amazing, inventive Creator; His desire for us to care for our world, and especially the important lesson that… “Every bear has a special place in God’s great, big world.”

ccording to Scripture, humankind was created in the image of God. Hoekema discusses the implications of this theme, devoting several chapters to the biblical teaching on God's image, the teaching of philosophers and theologians through the ages, and his own theological analysis. Suitable for seminary-level anthropology courses, yet accessible to educated laypeople. Extensive bibliography, fully indexed.

Jesus Christ is arguably the most famous man who ever lived. His image adorns countless churches, icons, and paintings. He is the subject of millions of statues, sculptures, devotional objects and works of art. Everyone can conjure an image of Jesus: usually as a handsome, white man with flowing locks and pristine linen robes. But what did Jesus really look like? Is our popular image of Jesus overly westernized and untrue to historical reality? This question continues to fascinate. Leading Christian Origins scholar Joan E. Taylor surveys the historical evidence, and the prevalent image of Jesus in art and culture, to suggest an entirely different vision of this most famous of men. He may even have had short hair.

This uplifting tale will encourage young hearts by exploring the glory and design of God’s messengers, while turning toward him with praise—part of the bestselling God Gave Us series, with more than 5 million books sold! “What do angels do all day, Papa?” When Papa finds Little Cub looking for angels, it gives him a chance to tell his beloved child about those that may be in their midst, even when they can’t be seen. Exploring their exhilarating Arctic world as they talk, Papa lovingly answers all of Little Cub’s questions about angels—and as usual, she has a lot. She wants to know what they do, how they look, how they guard God’s loved ones, and best of all, how they serve the Creator of the world. “God really created angels to serve him more than us, Little Cub. They love him and would do anything for him.” Also available: God Gave Us You God Gave Us Two God Gave Us Christmas God Gave Us Heaven God Gave Us Love God Gave Us the World God Gave Us Easter God Gave Us Thankful Hearts

The modern media world came into being in the nineteenth century, when machines were harnessed to produce texts and images in unprecedented numbers. In the visual realm, new industrial techniques generated a deluge of affordable pictorial items, mass-printed photographs, posters, cartoons, and illustrations. These alluring objects of the Victorian parlor were miniaturized spectacles that served as portals onto phantasmagoric versions of 'the world.' Although new kinds of pictures transformed everyday life, these ephemeral items have received remarkably little scholarly attention. Picture World shines a welcome new light onto these critically neglected yet fascinating visual objects. They serve as entryways into the nineteenth century's key aesthetic concepts. Each chapter pairs a new type of picture with a foundational keyword in Victorian aesthetics, a familiar term reconceived through the lens of new media. 'Character' appears differently when considered with caricature, in the new comics and cartoons appearing in the mass press in the 1830s; likewise, the book approaches 'realism' through pictorial journalism; 'illustration' via illustrated Bibles; 'sensation' through carte-de-visite portrait photographs; 'the picturesque' by way of stereoscopic views; and 'decadence' through advertising posters. Picture World studies the aesthetic effects of the nineteenth century's media revolution: it uses the relics of a previous era's cultural life to interrogate the Victorian world's most deeply-held values, arriving at insights still relevant in our own media age.

This annotated resource by veteran children's book reviewer Isaacs surveys the best 250 nonfiction/informational titles for ages 3 through 10, helping librarians make informed collection development and purchasing decisions.