With an array of stunning performances in blockbusters as diverse as Big, The Da Vinci Code, Forrest Gump, Philadelphia, and Saving Private Ryan to his name, he has an outstanding reputation as one of the world's greatest leading men. Yet behind the many roles lies an intensely complex figure. This wonderful portrait of a dedicated family man and professional explores Tom Hanks' fractured childhood, the breakdown of his first marriage, his friendship with Princess Diana, his relationship with Bill Clinton, his moral and political stances, his family life, and the highs and lows of his stellar career.

    But to do so robs the millions who suffered in bondage of their full legacy.As historian Edward Baptist reveals in The Half Has Never Been Told, the expansion of slavery in the first eight decades after American independence drove the evolution and modernization of the United States. In the span of a single lifetime, the South grew from a narrow coastal strip of worn-out tobacco plantations to a continental cotton empire, and the United States grew into a modern, industrial, and capitalist economy. Until the Civil War, Baptist explains, the most important American economic innovations were ways to make slavery ever more profitable. Through forced migration and torture, slave owners extracted continual increases in efficiency from enslaved African Americans. Thus the United States seized control of the world market for cotton, the key raw material of the Industrial Revolution, and became a wealthy nation with global influence.Told through intimate slave narratives, plantation records, newspapers, and the words of politicians, entrepreneurs, and escaped slaves, The Half Has Never Been Told offers a radical new interpretation of American history. It forces readers to reckon with the violence at the root of American supremacy, but also with the survival and resistance that brought about slavery’s end—and created a culture that sustains America’s deepest dreams of freedom.

    While some deaths make headlines, most are personal tragedies suffered within families and communities. Worse, these killings are done one person at a time, so as not to raise alarm. While it is much more difficult to justify killing many people at once, in dramatic fashion, the result is the same—genocide.Taking on such high-profile cases as Trayvon Martin, Michael Brown, and a host of others, Crump witnessed the disparities within the American legal system firsthand and learned it is dangerous to be a black man in America—and that the justice system indeed only protects wealthy white men.In this enlightening and enthralling work, he shows that there is a persistent, prevailing, and destructive mindset regarding colored people that is rooted in our history as a slaveowning nation. This biased attitude has given rise to mass incarceration, voter disenfranchisement, unequal educational opportunities, disparate health care practices, job and housing discrimination, police brutality, and an unequal justice system. And all mask the silent and ongoing systematic killing of people of color.Open Season is more than Crump’s incredible mission to preserve justice, it is a call to action for Americans to begin living up to the promise to protect the rights of its citizens equally and without question.

    (“Every single frame,” declared Cate Blanchett, “is burned into my retina.”) As Dyer guides us into the zone of Tarkovsky’s imagination, we realize that the film is only the entry point for a radically original investigation of the enduring questions of life, faith, and how to live. In a narrative that gives free rein to the brilliance of Dyer’s distinctive voice—acute observation, melancholy, comedy, lyricism, and occasional ill-temper—Zona takes us on a wonderfully unpredictable journey in which we try to fathom, and realize, our deepest wishes.Zona is one of the most unusual books ever written about film, and about how art—whether a film by a Russian director or a book by one of our most gifted contemporary writers—can shape the way we see the world and how we make our way through it.

    Discover hidden stories behind movies you love (and, er, don't love so much), and find out just why the most dangerous place to be is in a Tom Hanks film.Fascinating, surprisingly and hugely entertaining, this leftfield movie guide is gold for film buffs, and might just bring out the geek - hidden or otherwise - within you...Includes:Alternative movie endings that were binned Movie sequels you didn't know existedMassive box office hits that were huge gamblesThe collateral damage of Tom Hanks moviesHidden subtexts in family moviesDisastrous things that went wrong on modern movie sets...and much, much more!

    Commenting on artists such as Avedon, Clifford, Mapplethorpe, and Nadar, Roland Barthes presents photography as being outside the codes of language or culture, acting on the body as much as on the mind, and rendering death and loss more acutely than any other medium. This groundbreaking approach established Camera Lucida as one of the most important books of theory on this subject, along with Susan Sontag's On Photography.

    By posing the question, "What does the loss of any one life mean to the rest of the nation?" Lowery examines the cumulative effect of decades of racially biased policing in segregated neighborhoods with failing schools, crumbling infrastructure and too few jobs.Studded with moments of joy, and tragedy, They Can't Kill Us All offers a historically informed look at the standoff between the police and those they are sworn to protect, showing that civil unrest is just one tool of resistance in the broader struggle for justice. As Lowery brings vividly to life, the protests against police killings are also about the black community's long history on the receiving end of perceived and actual acts of injustice and discrimination. They Can't Kill Us All grapples with a persistent if also largely unexamined aspect of the otherwise transformative presidency of Barack Obama: the failure to deliver tangible security and opportunity to those Americans most in need of both. They Can't Kill Us All is a galvanizing book that offers more than just behind-the-scenes coverage of the story of citizen resistance to police brutality. It will also explain where the movement came from, where it is headed and where it still has to go.

    Once called "alarmist," Bagdikian's claims are uncanny and chilling in their accuracyl This much-needed sixth edition follows up on the digital revolution, revealing startling details of a new communications cartel within the United States.

    From music and fashion to activism and language, black culture constantly achieves worldwide influence. Yet, when it comes to who is allowed to thrive from black hipness, the pioneers are usually left behind as black aesthetics are converted into mainstream success—and white profit. Weaving together narrative, scholarship, and critique, Lauren Michele Jackson reveals why cultural appropriation—something that’s become embedded in our daily lives—deserves serious attention. It is a blueprint for taking wealth and power, and ultimately exacerbates the economic, political, and social inequity that persists in America. She unravels the racial contradictions lurking behind American culture as we know it—from shapeshifting celebrities and memes gone viral to brazen poets, loveable potheads, and faulty political leaders.An audacious debut, White Negroes brilliantly summons a re-interrogation of Norman Mailer’s infamous 1957 essay of a similar name. It also introduces a bold new voice in Jackson. Piercing, curious, and bursting with pop cultural touchstones, White Negroes is a dispatch in awe of black creativity everywhere and an urgent call for our thoughtful consumption.

    They could be seen in news reports, clad all in black with balaclavas covering their faces, fighting police at the presidential inauguration, and on California college campuses protesting right-wing speakers…Simply, antifa aims to deny fascists the opportunity to promote their oppressive politics—by any means necessary. Critics say shutting down political adversaries is anti-democratic; antifa adherents argue that the horrors of fascism must never be allowed the slightest chance to triumph again.In a smart and gripping investigation, historian and former Occupy Wall Street organizer Mark Bray provides a one-of-a-kind look inside the movement, including a detailed survey of its history from its origins to the present day—the first transnational history of postwar anti-fascism in English. Based on interviews with anti-fascists from around the world, Antifa details the tactics of the movement and the philosophy behind it, offering insight into the growing but little understood resistance fighting back against the alt-right.

    This text's consistent and comprehensive focus on writing allows students to master film vocabulary and concepts while learning to formulate rich interpretations. Part I introduces readers to the importance of film analysis, offering helpful strategies for discerning the way films produce meaning. Part II examines the fundamental elements of film, including narrative form, mise en scene, cinematography, editing, and sound, and shows how these concepts can be used to interpret films. Part III moves beyond textual analysis to explore film as a cultural institution and introduce students to essential areas of film studies research.

    But one rogue researcher looked at the data and decided everyone was wrong. Franz Boas was the very image of a mad scientist: a wild-haired immigrant with a thick German accent. By the 1920s he was also the foundational thinker and public face of a new school of thought at Columbia University called cultural anthropology. He proposed that cultures did not exist on a continuum from primitive to advanced. Instead, every society solves the same basic problems--from childrearing to how to live well--with its own set of rules, beliefs, and taboos.Boas's students were some of the century's intellectual stars: Margaret Mead, the outspoken field researcher whose Coming of Age in Samoa is one of the most widely read works of social science of all time; Ruth Benedict, the great love of Mead's life, whose research shaped post-Second World War Japan; Ella Deloria, the Dakota Sioux activist who preserved the traditions of Native Americans of the Great Plains; and Zora Neale Hurston, whose studies under Boas fed directly into her now-classic novel, Their Eyes Were Watching God. Together, they mapped vanishing civilizations from the Arctic to the South Pacific and overturned the relationship between biology and behavior. Their work reshaped how we think of women and men, normalcy and deviance, and re-created our place in a world of many cultures and value systems. Gods of the Upper Air is a page-turning narrative of radical ideas and adventurous lives, a history rich in scandal, romance, and rivalry, and a genesis story of the fluid conceptions of identity that define our present moment.

    The meme is also one of the most important--and controversial--concepts to emerge since 'The Origin of the Species' appeared nearly 150 years ago.In 'The Meme Machine' Susan Blackmore boldly asserts: "Just as the design of our bodies can be understood only in terms of natural selection, so the design of our minds can be understood only in terms of memetic selection." Indeed, Blackmore shows that once our distant ancestors acquired the crucial ability to imitate, a second kind of natural selection began, a survival of the fittest amongst competing ideas and behaviors. Ideas and behaviors that proved most adaptive - making tools, for example, or using language--survived and flourished, replicating themselves in as many minds as possible. These memes then passed themselves on from generation to generation by helping to ensure that the genes of those who acquired them also survived and reproduced. Applying this theory to many aspects of human life, Blackmore offers brilliant explanations for why we live in cities, why we talk so much, why we can't stop thinking, why we behave altruistically, how we choose our mates, and much more.With controversial implications for our religious beliefs, our free will, our very sense of "self," 'The Meme Machine' offers a provocative theory everyone will soon be talking about.

    But the Africans then living in the colonies overwhelmingly sided with the British. In this trailblazing book, Gerald Horne shows that in the prelude to 1776, the abolition of slavery seemed all but inevitable in London, delighting Africans as much as it outraged slaveholders, and sparking the colonial revolt.Prior to 1776, anti-slavery sentiments were deepening throughout Britain and in the Caribbean, rebellious Africans were in revolt. For European colonists in America, the major threat to their security was a foreign invasion combined with an insurrection of the enslaved. It was a real and threatening possibility that London would impose abolition throughout the colonies--a possibility the founding fathers feared would bring slave rebellions to their shores. To forestall it, they went to war.The so-called Revolutionary War, Horne writes, was in part a counter-revolution, a conservative movement that the founding fathers fought in order to preserve their right to enslave others. The Counter-Revolution of 1776 brings us to a radical new understanding of the traditional heroic creation myth of the United States.

    Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country.”—Edward Bernays, PropagandaA seminal and controversial figure in the history of political thought and public relations, Edward Bernays (1891–1995), pioneered the scientific technique of shaping and manipulating public opinion, which he famously dubbed “engineering of consent.” During World War I, he was an integral part of the U.S. Committee on Public Information (CPI), a powerful propaganda apparatus that was mobilized to package, advertise and sell the war to the American people as one that would “Make the World Safe for Democracy.” The CPI would become the blueprint in which marketing strategies for future wars would be based upon.Bernays applied the techniques he had learned in the CPI and, incorporating some of the ideas of Walter Lipmann, became an outspoken proponent of propaganda as a tool for democratic and corporate manipulation of the population. His 1928 bombshell Propaganda lays out his eerily prescient vision for using propaganda to regiment the collective mind in a variety of areas, including government, politics, art, science and education. To read this book today is to frightfully comprehend what our contemporary institutions of government and business have become in regards to organized manipulation of the masses.This is the first reprint of Propaganda in over 30 years and features an introduction by Mark Crispin Miller, author of The Bush Dyslexicon: Observations on a National Disorder.