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Elevate your viewing experience with VEVOR TV Stand Mount, With a non-suspension design, it will not damage the wall and can be easily moved to other spaces. The adjustable height can meet your different needs. Supports ±30° rotation, suitable for multi-angle viewing in the living room, bedroom or kitchen. Color: Black. Material: Glass.

The adjustable mobile TV stand is perfect to watch television from wherever you are. This item is great for home offices, studies, expos, tradeshows, hotels, classrooms, conferences, etc. This TV stand is made of high quality and strong materials, guaranteeing it will last a long time. All of the storage shelves and parts are secured tightly by screws and metal to support your screen. The device tray and two metal shelves provide a more convenient storage area for equipment. They can easily be unscrewed and adjusted. This product also features 2 locking wheels, about a 13 degree tilting TV mount, and ventilated shelves. Simple assembly is required. Color: Black. Material: Stainless Steel.

Expand your knowledge of the world while adding exceptional style to the living room, study, den, office or room of your choice. All Replogle globes have up to date cartography as recognized by the U.S. State Department. The attention to detail and high quality materials will assure this globe will be a valued part of your home decor accessories for years to come. Color: Antique.

Alan Nadel's provocative new book reminds us that most of the images on early TV were decidedly Caucasian and directed at predominantly white audiences. Television did not invent whiteness for America, but it did reinforce it as the norm—particularly during the Cold War years. Nadel now shows just how instrumental it was in constructing a narrow, conservative, and very white vision of America.Nadel depicts a time when television effectively hijacked and monopolized the nation's vision of itself to create a virtual but severely distorted civic space. On Cold War TV's three channels there were no double beds, no liberated housewives, no social criticism, and no homosexuality. And the few available black faces overwhelmingly belonged to athletes, musical entertainers, and actors playing menial roles. Even America's beloved Walt Disney promoted his highly popular TV and theme-park versions of society as utterly homogeneous representations of reality.During this era, prime-time TV was dominated by "adult westerns," with heroes like The Rebel's Johnny Yuma reincarnating southern values and Bonanza's Cartwright family reinforcing the notion of white patriarchy—programs that, Nadel shows, bristled with Cold War messages even as they spoke to the nation's mythology. America had become visually reconfigured as a vast Ponderosa, crisscrossed by concrete highways designed to carry suburban white drivers beyond the moral challenge of racism and racial poverty and increasingly vocal civil rights demands.Television in Black-and-White America revisits a time and space that some might miss for its simplicity and relative innocence. Nadel, however, entreats us to look beyond such nostalgia to see how, even in its earliest days, television had already become a powerful mediator of social norms that both controlled and warped our sense of reality.

Buy with confidence! Book is in new, never-used condition 3.55

In this study of Hutu refugees from Burundi, driven into exile in Tanzania after their 1972 insurrection against the dominant Tutsi was brutally quashed, Liisa Malkki shows how experiences of dispossession and violence are remembered and turned into narratives, and how this process helps to construct identities such as "Hutu" and "Tutsi." Through extensive fieldwork in two refugee communities, Malkki finds that the refugees' current circumstances significantly influence these constructions. Those living in organized camps created an elaborate "mythico-history" of the Hutu people, which gave significance to exile, and envisioned a collective return to the homeland of Burundi. Other refugees, who had assimilated in a more urban setting, crafted identities in response to the practical circumstances of their day to day lives. Malkki reveals how such things as national identity, historical consciousness, and the social imagination of "enemies" get constructed in the process of everyday life. The book closes with an epilogue looking at the recent violence between Hutu and Tutsi in Rwanda and Burundi, and showing how the movement of large refugee populations across national borders has shaped patterns of violence in the region.

Alan Nadel's provocative new book reminds us that most of the images on early TV were decidedly Caucasian and directed at predominantly white audiences. Television did not invent whiteness for America, but it did reinforce it as the norm—particularly during the Cold War years. Nadel now shows just how instrumental it was in constructing a narrow, conservative, and very white vision of America.Nadel depicts a time when television effectively hijacked and monopolized the nation's vision of itself to create a virtual but severely distorted civic space. On Cold War TV's three channels there were no double beds, no liberated housewives, no social criticism, and no homosexuality. And the few available black faces overwhelmingly belonged to athletes, musical entertainers, and actors playing menial roles. Even America's beloved Walt Disney promoted his highly popular TV and theme-park versions of society as utterly homogeneous representations of reality.During this era, prime-time TV was dominated by "adult westerns," with heroes like The Rebel's Johnny Yuma reincarnating southern values and Bonanza's Cartwright family reinforcing the notion of white patriarchy—programs that, Nadel shows, bristled with Cold War messages even as they spoke to the nation's mythology. America had become visually reconfigured as a vast Ponderosa, crisscrossed by concrete highways designed to carry suburban white drivers beyond the moral challenge of racism and racial poverty and increasingly vocal civil rights demands.Television in Black-and-White America revisits a time and space that some might miss for its simplicity and relative innocence. Nadel, however, entreats us to look beyond such nostalgia to see how, even in its earliest days, television had already become a powerful mediator of social norms that both controlled and warped our sense of reality.

Discusses how major league baseball got where it is today and what can be expected in the 1990s

Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 1.01

Unread book in perfect condition.

Stand amid soaring Douglas fir in the great hall of Glacier Park Lodge or sit in the setting sun and gaze into the Grand Canyon at El Tovar. This beautiful gift book will transport you to the majestic lodges of our national parks to relive the glory of past vacations or plan adventures anew. This book and the PBS television series of the same title (to air in spring 2002) take armchair travelers into these architectural wonders and explore the surrounding natural beauty of our national parks. Lodges, wildlife, and stunning vistas are showcased in 175 full-color photographs, along with historical documents from the PBS series. In his introduction, Richard Moe, president of the National Trust for Historic Preservation, offers a call to preserve this national heritage, and a portion of the proceeds from the sale of this book go toward the rehabilitation of these magnificent buildings.

Expand your knowledge of the world while adding exceptional style to the living room, study, den, office or room of your choice. All Replogle globes have up to date cartography as recognized by the U.S. State Department. The attention to detail and high quality materials will assure this globe will be a valued part of your home decor accessories for years to come. Color: Black.

Endowed with natural resources, majestic bodies of fresh water, and a relatively mild climate, the Great Lakes region of Central Africa has also been the site of some of the world's bloodiest atrocities. In Rwanda, Burundi, and the Congo-Kinshasa, decades of colonial subjugation—most infamously under Belgium's Leopold II—were followed by decades of civil warfare that spilled into neighboring countries. When these conflicts lead to horrors such as the 1994 Rwandan genocide, ethnic difference and postcolonial legacies are commonly blamed, but, with so much at stake, such simple explanations cannot take the place of detailed, dispassionate analysis.The Dynamics of Violence in Central Africa provides a thorough exploration of the contemporary crises in the region. By focusing on the historical and social forces behind the cycles of bloodshed in Rwanda, Burundi, and the Congo-Kinshasa, René Lemarchand challenges much of the conventional wisdom about the roots of civil strife in former Belgian Africa. He offers telling insights into the appalling cycle of genocidal violence, ethnic strife, and civil war that has made the Great Lakes region of Central Africa the most violent on the continent, and he sheds new light on the dynamics of conflict in the region.Building on a full career of scholarship and fieldwork, Lemarchand's analysis breaks new ground in our understanding of the complex historical forces that continue to shape the destinies of one of Africa's most important regions.

This book is the first to focus on the role of European television crime drama on the international market. As a genre, the television crime drama has enjoyed a long and successful career, routinely serving as a prism from which to observe the local, national and even transnational issues that are prevalent in society. This extensive volume explores a wide range of countries, from the US to European countries such as Spain, Italy, the Scandinavian countries, Germany, England and Wales, in order to reveal the very currencies that are at work in the global production and circulation of the TV crime drama. The chapters, all written by leading television and crime fiction scholars, provide readings of crime dramas such as the Swedish-Danish The Bridge, the Welsh Hinterland, the Spanish Under Suspicion, the Italian Gomorrah, the German Tatort and the Turkish Cinayet. By examining both European texts and the ‘European-ness’ of various international dramas, this book ultimately demonstrates that transnationalism is at the very core of TV crime drama in Europe and beyond.  

Relates the history of Japanese cinema during the U.S. occupation and sheds light on modern U.S.-Japanese relations

By the time of his death in 1878, Joseph Henry was America's most eminent physical scientist. His achievements in the study of electricity, magnetism, and telegraphy during an era of national scientific aspiration had led to a thirty-year tenure as the first secretary of the Smithsonian, assuring his place in history as a key builder of an institutional framework for scientific inquiry.In this first biography of Henry since 1950, Albert E. Moyer reconstructs the crucial early phases of Henry's career, tracing how a boy of modest means in a nation of scant scientific resources attained international prominence in the field of physics. Moyer also offers a revisionist view of Henry's most enduring contribution -- the discovery of mutual induction -- and explains how the parallel work of British researcher Michael Faraday, who traditionally has been credited with the discovery, depended on a powerful electromagnet designed by Henry. Detailing Henry's progress from aspiring engineer leading a ragtag survey party in New York State's back country to adored Princeton professor teaching a generation not only the concepts but also the moral and religious implications of physics, the book concludes with Henry's candidacy in 1846 for the secretaryship of the fledgling Smithsonian Institution.Describing the ways in which Joseph Henry influenced and was influenced by a young nation's scientific and cultural currents, this biography illuminates not only the character of nineteenth-century scientific exploration but also the place of science in American culture.

H.R. Pufnstuf, Lidsville, Sigmund and the Sea Monsters, Land of the Lost: For a generation of children growing up in the late sixties and early seventies, these were some of the most memorable shows on Saturday morning television. At a time when television cartoons had lost some of their luster, two puppeteers named Sid and Marty Krofft put together a series of shows that captivated children. Using colorful sets and mysterious lands full of characters that had boundless energy, the Kroffts created a new form of children's television, rooted in the medium's earliest shows but nevertheless original in its concept. This work first provides a history of the Kroffts' pretelevision career, then offers discussions of their 11 Saturday morning shows. Complete cast and credit information is enhanced by interviews with many of the actors and actresses, behind-the-scenes information, print reviews of the series, and plot listings of the individual episodes. The H.R. Pufnstuf feature film, the brothers' other television work, and their short-lived indoor theme park are also detailed.

Former library book; may include library markings. Used book that is in excellent condition. May show signs of wear or have minor defects.

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