19 products were found matching your search for Media Camp in 3 shops:

Removable hood with oversized camp collar Long sleeves Button tab cuffs Button front Tie belt Side welt pockets Lined Face fabric: Polyester Backing fabric: Polyurethane Hand wash Imported SIZE & FIT About 42" from shoulder to hem Model shown is 5'10" (177cm) wearing US size Small. Womens - W Outerwear > Saks Off 5th. Andrew Marc. Color: Antler. Size: S.

Removable hood with oversized camp collar Long sleeves Button tab cuffs Button front Tie belt Side welt pockets Lined Face fabric: Polyester Backing fabric: Polyurethane Hand wash Imported SIZE & FIT About 42" from shoulder to hem Model shown is 5'10" (177cm) wearing US size Small. Womens - W Outerwear > Saks Off 5th. Andrew Marc. Color: Antler. Size: M.

Removable hood with oversized camp collar Long sleeves Button tab cuffs Button front Tie belt Side welt pockets Lined Face fabric: Polyester Backing fabric: Polyurethane Hand wash Imported SIZE & FIT About 42" from shoulder to hem Model shown is 5'10" (177cm) wearing US size Small. Womens - W Outerwear > Saks Off 5th. Andrew Marc. Color: Antler. Size: L.

Removable hood with oversized camp collar Long sleeves Button tab cuffs Button front Tie belt Side welt pockets Lined Face fabric: Polyester Backing fabric: Polyurethane Hand wash Imported SIZE & FIT About 42" from shoulder to hem Model shown is 5'10" (177cm) wearing US size Small. Womens - W Outerwear > Saks Off 5th. Andrew Marc. Color: Antler. Size: XL.

Removable hood with oversized camp collar Long sleeves Button tab cuffs Button front Tie belt Side welt pockets Lined Face fabric: Polyester Backing fabric: Polyurethane Hand wash Imported SIZE & FIT About 42" from shoulder to hem Model shown is 5'10" (177cm) wearing US size Small. Womens - W Outerwear > Saks Off 5th. Andrew Marc. Color: Black. Size: XS.

Removable hood with oversized camp collar Long sleeves Button tab cuffs Button front Tie belt Side welt pockets Lined Face fabric: Polyester Backing fabric: Polyurethane Hand wash Imported SIZE & FIT About 42" from shoulder to hem Model shown is 5'10" (177cm) wearing US size Small. Womens - W Outerwear > Saks Off 5th. Andrew Marc. Color: Black. Size: L.

Removable hood with oversized camp collar Long sleeves Button tab cuffs Button front Tie belt Side welt pockets Lined Face fabric: Polyester Backing fabric: Polyurethane Hand wash Imported SIZE & FIT About 42" from shoulder to hem Model shown is 5'10" (177cm) wearing US size Small. Womens - W Outerwear > Saks Off 5th. Andrew Marc. Color: Black. Size: S.

Removable hood with oversized camp collar Long sleeves Button tab cuffs Button front Tie belt Side welt pockets Lined Face fabric: Polyester Backing fabric: Polyurethane Hand wash Imported SIZE & FIT About 42" from shoulder to hem Model shown is 5'10" (177cm) wearing US size Small. Womens - W Outerwear > Saks Off 5th. Andrew Marc. Color: Black. Size: M.

Removable hood with oversized camp collar Long sleeves Button tab cuffs Button front Tie belt Side welt pockets Lined Face fabric: Polyester Backing fabric: Polyurethane Hand wash Imported SIZE & FIT About 42" from shoulder to hem Model shown is 5'10" (177cm) wearing US size Small. Womens - W Outerwear > Saks Off 5th. Andrew Marc. Color: Black. Size: XL.

To charity workers, Dadaab refugee camp is a humanitarian crisis; to the Kenyan government, it's a "nursery for terrorists"; to the western media, it's a dangerous no-go area; but to its half a million residents, it is their last resort.     Situated hundreds of miles from any other settlement, in the midst of the inhospitable desert of northern Kenya where only thorn bushes grow, Dadaab is a city like no other. Its buildings are made from mud and its citizens survive on rations and luck. Over the course of four years, Ben Rawlence became a first-hand witness to a strange and desperate limbo-land, getting to know many of the individuals who have sought sanctuary in the camp. Among them are Guled, a former child soldier who lives for soccer; Nisho, who scrapes together an existence by pushing a wheelbarrow and dreaming of riches; Tawane, the indomitable youth leader; and schoolgirl Kheyro, whose future hangs upon her education.     With deep compassion and rare eloquence, Rawlence interweaves the stories of nine individuals to show what life is like in the camp and to sketch the wider political forces that keep the refugees trapped there. Lucid, vivid and illuminating, City of Thorns is an urgent human story with profound international repercussions, brought to life through the people who call Dadaab home.

Media planning was a cost; a base-camp support group for those highly paid troops on the front line. That has changed. Agency Media has come a long way from the mail-room assignment of simply delivering the message. Today, media planners are responsible for understanding the process of communication and the way advertising works. The book covers the different aspects of advertising communication process so essential for todays media planners .

As world attention is renewed and refocused on the Israeli-Palestinian conflict at the sixtieth anniversary of its seminal year of 1948, Marda Dunsky takes a close look at how more than two dozen major American print and broadcast outlets have reported the conflict in recent years. Beginning with the failed Camp David summit of July 2000 through the waning of the second Palestinian uprising in the summer of 2004, she finds that the media omit two key contextual elements: the significant impact that U.S. policy has had and continues to have on the trajectory of the conflict, and the way international law and consensus have addressed the key issues of Israeli settlement and annexation policies and Palestinian refugees. Dunsky explores how reports of the conflict routinely take on the contours of American policy and rarely challenge the premises of this "Washington consensus." She also examines the media's responses to allegations of biased coverage and gauges the effect that mainstream news reporting has on public opinion and U.S. foreign policy.

Sam Massarsky's 'MUSIC TIME' is an iParenting Media Award Winner For Outstanding Children's Products for 2007. KID-TESTED, PARENT-APPROVED, AND TEACHER RECOMMENDED !!! Its been an interesting musical journey from being a song leader and camp counselor in the 60s playing music for young children at summer camps, to the folk and rock music scene in the coffee houses and clubs along the Jersey Shore while attending Monmouth College in West Long Branch, to the West Coast clubs and the st

American art of the 1980s is as misunderstood as it is notorious. Critics of the time feared that market hype and self-promotion threatened the integrity of art. They lashed out at contemporary art, questioning the validity of particular media and methods and dividing the art into opposing camps. While controversies have since subsided, critics still view art of the 1980s as a stylistic battlefield. Alison Pearlman rejects this picture, which is truer of the period's criticism than of its art.Pearlman reassesses the works and careers of six artists who became critics' biggest targets. In each of three chapters, she pairs two artists the critics viewed as emblematic of a given trend: Julian Schnabel and David Salle in association with Neo-Expressionism; Jean-Michel Basquiat and Keith Haring vis-à-vis Graffiti Art; and Peter Halley and Jeff Koons in relation to Simulationism. Pearlman shows how all these artists shared important but unrecognized influences and approaches: a crucial and overwhelming inheritance of 1960s and 1970s Conceptualism, a Warholian understanding of public identity, and a deliberate and nuanced use of past styles and media. Through in-depth discussions of works, from Haring's body-paintings of Grace Jones to Schnabel's movie Basquiat, Pearlman demonstrates how these artists' interests exemplified a broader, generational shift unrecognized by critics. She sees this shift as starting not in the 1980s but in the mid-1970s, when key developments in artistic style, art-world structures, and consumer culture converged to radically alter the course of American art.Unpackaging Art of the 1980s offers an innovative approach to one of the most significant yet least understood episodes in twentieth-century art.

Popular media depict miners as a rough-and-tumble lot who diligently worked the placers along scenic rushing rivers while living in roaring mining camps in the foothills of the Sierra Nevada Mountains. Trafzer and Hyer destroy this mythic image by offering a collection of original newspaper articles that describe in detail the murder, rape, and enslavement perpetrated by those who participated in the infamous gold rush. "It is a mercy to the Red Devils," wrote an editor of the Chico Courier, "to exterminate them." Newspaper accounts of the era depict both the barbarity and the nobility in human nature, but while some protested the inhumane treatment of Native Americans, they were not able to end the violence. Native Americans fought back, resisting the invasion, but they could not stop the tide of white miners and settlers. They became "strangers in a stolen land."

This book sets out to explore dark tourism; that is, the representation of inhuman acts, and how these are interpreted for visitors at a number of places throughout the world, for example the sites of concentration camps in both Western and Eastern Europe. Many people wish to experience the reality behind the media images, or are prompted to find out more by a personal association with places or events. The phenomenon raises ethical issues over the status and nature of objects, the extent of their interpretation, the appropriate political and managerial response and the nature of the experience as perceived by the visitor, their residents and local residents. Events, sites, types of visit and host reactions are considered in order to construct the parameters of the concept of dark tourism. Many acts of inhumanity are celebrated as heritage sites in Britain (for example, the Tower of London, Edinburgh Castle), and the Berlin Wall has become a significant attraction despite claiming many victims.

THE PRISONER'S DILEMMA is the first in Powys Media's new line of novels based on the classic television series, THE PRISONER. Things are changing in the Village--the charming holiday camp for the disappeared, the civilized prison for those who know too much. The authorities have found new ways of exploiting community spirit... using a lost pioneer of computer science to put their stamp on the coming Information Age. But then there's Number 18. She's a murderer... for the best of reasons. She's a bit of a collaborator, for reasons of her own. She's fiercely protective of herself. And she may be Number 6's best chance of out-thinking the authorities' newest attempt at control. But it all depends on what the Village's masters are really aiming for. Do they expect him to trust her... or destroy her? THE PRISONER'S DILEMMA features a foreword by J. MICHAEL STRACZYNSKI, the multiple Hugo-Award-winning creator of BABYLON 5.

This book sets out to explore dark tourism; that is, the representation of inhuman acts, and how these are interpreted for visitors at a number of places throughout the world, for example the sites of concentration camps in both Western and Eastern Europe. Many people wish to experience the reality behind the media images, or are prompted to find out more by a personal association with places or events. The phenomenon raises ethical issues over the status and nature of objects, the extent of their interpretation, the appropriate political and managerial response and the nature of the experience as perceived by the visitor, their residents and local residents. Events, sites, types of visit and host reactions are considered in order to construct the parameters of the concept of dark tourism. Many acts of inhumanity are celebrated as heritage sites in Britain (for example, the Tower of London, Edinburgh Castle), and the Berlin Wall has become a significant attraction despite claiming many victims.

American art of the 1980s is as misunderstood as it is notorious. Critics of the time feared that market hype and self-promotion threatened the integrity of art. They lashed out at contemporary art, questioning the validity of particular media and methods and dividing the art into opposing camps. While controversies have since subsided, critics still view art of the 1980s as a stylistic battlefield. Alison Pearlman rejects this picture, which is truer of the period's criticism than of its art.Pearlman reassesses the works and careers of six artists who became critics' biggest targets. In each of three chapters, she pairs two artists the critics viewed as emblematic of a given trend: Julian Schnabel and David Salle in association with Neo-Expressionism; Jean-Michel Basquiat and Keith Haring vis-à-vis Graffiti Art; and Peter Halley and Jeff Koons in relation to Simulationism. Pearlman shows how all these artists shared important but unrecognized influences and approaches: a crucial and overwhelming inheritance of 1960s and 1970s Conceptualism, a Warholian understanding of public identity, and a deliberate and nuanced use of past styles and media. Through in-depth discussions of works, from Haring's body-paintings of Grace Jones to Schnabel's movie Basquiat, Pearlman demonstrates how these artists' interests exemplified a broader, generational shift unrecognized by critics. She sees this shift as starting not in the 1980s but in the mid-1970s, when key developments in artistic style, art-world structures, and consumer culture converged to radically alter the course of American art.Unpackaging Art of the 1980s offers an innovative approach to one of the most significant yet least understood episodes in twentieth-century art.