PDF Download The Complete Idiot's Guide to Filmmaking, by Joanne Parrent

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The Complete Idiot's Guide to Filmmaking, by Joanne Parrent

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The most comprehensive introduction to film making.

Some how-to books on filmmaking focus on making specific types of films, such as short dramatic films or documentaries. Others focus on one aspect of filmmaking, such as directing or editing. Still others focus on a particular medium, such as digital filmmaking.

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Product details

Series: The Complete Idiot's Guide

Paperback: 341 pages

Publisher: Alpha; 1st edition (March 7, 2002)

Language: English

ISBN-10: 0028643402

ISBN-13: 978-0028643403

Package Dimensions:

8.9 x 7.3 x 0.9 inches

Shipping Weight: 1.2 pounds (View shipping rates and policies)

Average Customer Review:

3.9 out of 5 stars

6 customer reviews

Amazon Best Sellers Rank:

#1,788,290 in Books (See Top 100 in Books)

Teaches idiots how make a move good buy.

Great book for the price

Joanne Parrent plagiarized an article I wrote in 2000 called "Film Festival Strategy: Guerilla Marketing" and published it in this book under her own name. I contacted Mike Saunders, the editor of the book, and he admitted that she had used my work without permission. I sued them but lost, they had much better attorneys than I did. Anyway, you can enjoy my writing in this book if you decide to purchase it. I agree with the other reviewer that said the book was a "wanna be's dream and a professional's nightmare". Except the part I wrote, can't remember which pages they were but just look for the word for word copy of my article. You can Google my version and compare and contrast.

This book was an enormous help for me. As an (former) amateur in the 'biz', there were techniques contained within that helped me put my script into shape for presentation. The top ten reasons why scripts get rejected inspired me to rethink my structure before I submitted it for representation. I made quick changes, and actually obtained representation by an agent who was impressed with my work. Had I not consulted this manual, I probably would have been rejected....again.By keeping things simple and readable for a low level audience, the author keeps the pespective on the basic fundamentals of writing and shooting for beginners. This book will not provide you with equipment, motivation, or experience, you have to provide your own.The chapter on directing, and in particular the areas of creating movement and the rules of three, were valuable tools for me when I shot my first short. Since I did not go to USC film school, nor is my family in the 'biz', these tips really helped me out and were crucial in my completing a competent product that I was able to submit to Slamdance.Now I can save the $20,000.00 I would have spent at film school and shoot another short, and gain more hands-on experience.I was puzzled by a previous bitter review of this book. This text is only a guide for beginners, and clearly not meant for the seasoned, well established professional. If you have knowledge of, and access to, complex and sophisticated equipment, along with the skills to operate it, you obviously don't need this manual. I did.

As an aspiring filmmaker, I have found the opening sections, describing the history of the film industry, the basics of film theory, and production basics, the most helpful. Joanne Parrent provides an ideal springboard. Even a budding film critic will find these chapters informative and necessary.The latter sections of the book describe scriptwriting, production schedules, budgeting, editing, post-production, and distribution. Clearly, Parrent intends this book to be kept at the filmmaker's side during each stage of production of her first film-and subsequent films. It will be at my side.

One of the best books around if you want to get your foot in the movie business door. Give you indepth facts from financing your move to actually making it. Don't pass this book up it could make your dreams of being a filmmaker come to life.

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The Complete Idiot's Guide to Filmmaking, by Joanne Parrent PDF

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Download PDF The Canterbury Tales [Blackstone]

Download PDF The Canterbury Tales [Blackstone]

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The Canterbury Tales [Blackstone]

Download PDF The Canterbury Tales [Blackstone]

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Product details

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Audible Audiobook

Listening Length: 20 hours and 48 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Blackstone Audio, Inc.

Audible.com Release Date: September 18, 2008

Language: English, English

ASIN: B001GDU4R4

Amazon Best Sellers Rank:

The OBG Classics edition published September 11, 2017, claims to be "the new translation." But IF it is somehow new -- and, by the way, no translator is identified -- what exactly has been translated? What is new about it? It is still written in the difficult-to-understand Middle English Chaucer used, and apart from spelling (or misspelling?) "his" as "hise" in line-1 [see NOTE at end] and throwing in some extra commas, this is pretty much the standard version. It is handsomely formatted and has an active TOC, but no introduction, no clarifications of archaic words, nothing but the seemingly original Middle English text. Calling itself "the new translation" strongly suggests this has been translated into easier-to-understand Modern English, but such is not the case here. Chaucer certainly rates 5-stars, but I have deducted one for the misrepresentation.FYI: An excellent Modern English version will be found in the Kindle Store for $.99 by A. S. Kline.NOTE: The first line normally reads: "Whan that Aprill with his shoures soote...." The words "shoures" and "soote" are each two syllables in Middle English pronunciation; thus the entire line rightly has the number of accented syllables Chaucer intended. If "his" (a one-syllable word) were improperly changed to "hise" (turning it into a two-syllable word, pronounced his-uh) -- as is done here -- that adds an unintended and, therefore, unacceptable extra syllable. I have to assume this is merely a typo; but how many other such errors are contained herein?

If you are going to read The Canterbury Tales, this is the way to go. The Middle-English may seem intimidating at first, but it is easier than one might think to sound out and understand. Of course, the annotation helps quite a bit too. These tales and their frame perfectly capture medieval life with it's lively characters and various settings. Ranging from poetic diversions, to dramatic, to adventures, all the the way to gruesome fables, and plenty of very funny (and memorable) bawdy humor. This earthy group of classic stories has something for everyone. The modern translation is also worth having as a companion, but this fine paperback is the one for authenticity.

Let's get this clear at the start: This is a review of Jill Mann's edition of the Canterbury Tales in its Kindle version. (It's a shame that Amazon can't distinguish between different editions of the classics when posting reviews! -- hint!) About the Tales themselves, I'll say only that they are both a classic and a blast, and if you can handle the Middle English, you have to read them in that language. Jill Mann's editorial work is smart and thorough, too. The print edition is a bargain at the price -- again, if you're OK reading Middle English. The Kindle edition, though was a little clumsy to use -- though, to be fair, I don't see how all the glosses and notes could have been presented better in a e-book. Wait, yes I can. The glosses on individual words and expressions are easy to find; the more extensive notes, which are very valuable, are not. It shouldn't have been hard to add a marginal symbol to reference a Note. Hence it's only four stars, not five. But it may well be the best e-book version on the market.

Here is a brief synopsis.At the Tabard Inn, a tavern in Southwark, near London, the narrator joins a company of twenty-nine pilgrims. The pilgrims, like the narrator, are traveling to the shrine of the martyr Saint Thomas Becket in Canterbury. The narrator gives a descriptive account of twenty-seven of these pilgrims, including a Knight, Squire, Yeoman, Prioress, Monk, Friar, Merchant, Clerk, Man of Law, Franklin, Haberdasher, Carpenter, Weaver, Dyer, Tapestry-Weaver, Cook, Shipman, Physician, Wife, Parson, Plowman, Miller, Manciple, Reeve, Summoner, Pardoner, and Host. (He does not describe the Second Nun or the Nun’s Priest, although both characters appear later in the book.) The Host, whose name, we find out in the Prologue to the Cook’s Tale, is Harry Bailey, suggests that the group ride together and entertain one another with stories. He decides that each pilgrim will tell two stories on the way to Canterbury and two on the way back. Whomever he judges to be the best storyteller will receive a meal at Bailey’s tavern, courtesy of the other pilgrims.I won't go into detail about all the tales that are told except to say that I found them witty, entertaining, and thoughtful.

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Download Ebook Mathematical Theory of Quantum Fields (International Series of Monographs on Physics)

Download Ebook Mathematical Theory of Quantum Fields (International Series of Monographs on Physics)

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Mathematical Theory of Quantum Fields (International Series of Monographs on Physics)

Download Ebook Mathematical Theory of Quantum Fields (International Series of Monographs on Physics)

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Review

"This slender little volume of a little over 200 pages is a miracle ... a remarkable achievement of concision and clarity. It is a lovely introduction to algebraic quantum theory. Even workers in the field can read it with profit."--Mathematical Reviews "This slender little volume of a little over 200 pages is a miracle ... a remarkable achievement of concision and clarity. It is a lovely introduction to algebraic quantum theory. Even workers in the field can read it with profit."--Mathematical Reviews "This slender little volume of a little over 200 pages is a miracle ... a remarkable achievement of concision and clarity. It is a lovely introduction to algebraic quantum theory. Even workers in the field can read it with profit."--Mathematical Reviews

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About the Author

Professor Huzihiro Araki, Department of Mathematics, Faculty of Science and Technology, Science University of Tokyo, 2641 Yamazaki, Nuda-city, Chiba-kem 278, JAPAN. Tel: +81 471 24 1501; fax: +81 471 23 9762; email: araki@ma.noda.sut.ac.jp

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Product details

Series: International Series of Monographs on Physics (Book 101)

Hardcover: 248 pages

Publisher: Oxford University Press; 1 edition (January 20, 2000)

Language: English

ISBN-10: 0198517734

ISBN-13: 978-0198517733

Product Dimensions:

6.3 x 0.8 x 9.3 inches

Shipping Weight: 1.1 pounds (View shipping rates and policies)

Average Customer Review:

Be the first to review this item

Amazon Best Sellers Rank:

#1,782,903 in Books (See Top 100 in Books)

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Ebook Download , by Laura F. Marsh

Ebook Download , by Laura F. Marsh

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, by Laura F. Marsh

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Product details

File Size: 2339 KB

Print Length: 32 pages

Publisher: National Geographic Children's Books (July 24, 2012)

Publication Date: July 24, 2012

Sold by: Amazon Digital Services LLC

Language: English

ASIN: B008OBR9KG

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Amazon Best Sellers Rank:

#55,032 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

My son has a subscription to National Geographic Kids and he loves it, so I started buying the NG books as well. He has a lot of them that are really fasinating like Storms, Bats, and Ants. Since Halloween is coming up, I order this book thinking it would go into detail about the Day of the Dead and other traditions; however, I was extremely disapointed. This book is a basic, basic, basic explaination of what Halloween is. If you have a child that has EVER experienced or heard anything about Halloween, this book will be boring to them. The author tells kids that they dress up for Halloween to go trick or treating, that people carve pumpkins, and that some people dress their animals up. My son looked at this for maybe a minute as he laughed at the dogs dressed in costume and then it retired to the never returning place in the bottom of his toy box. If you want to get books to teacher your child, don't get this one. As I said, the other books are a lot better with information.

I enjoyed this book. More importantly, Mini-Me enjoyed it. I like how it discusses Halloween and trick-or-treating basics. I like how it goes over some cultural aspects of the holiday. I do wish it had elaborated on them more. We have this on our ereader- something that is incredibly convenient.I do wish it had more content and went more into the cultural aspects of it.Overalll, we give this 3 stars. Worth picking up, but it doesn't have the "Wow! This is great!" factor like some of the other National Geographic Readers.

Cute book that covers the first Halloween, Halloween today and the Day of the Dead. My daughter loves it

Informative.

While I agree with the poor ratings that this book garners, I disagree as to why with the other reviewers of this book. Yes, it presents the basics of Halloween- but I believe the writer did so because it is supposed to be an easy reader. However, it fails at that job. "Level 1" is supposed to be for kids "beginning to read on their own". My kid could not read "Ireland", "Europe", "decorate", "honor", "skeleton", "ancient", and "tradition". She had trouble going with the flow of this book. Maybe the other reviewers' kids are advanced; my kid had a good amount of trouble when she first began to read. Now, she is 7.9, and this book holds no interest for her. I know that she would still struggle with those same words if she was to pick it up again. (She is in second grade now; at a "J" level.) Highlights: bright photos, riddles here and there (one with a difficult word: "restaurant"). And, like I said, there is basic info here, but only some- most of the book has facts on Halloween that kids will not know unless they are fifth graders. Decent info with writing aimed at wrong age group.

We love National Geographic Kids, and have tons of these books. Even for a Level 1 book, this is way to basic. Have your kids heard of trick or treating? Costumes? Jack-o-lanterns? Yes? Then you don't need this book. A great one, however, is National Geographic Kids Halloween Book of Fun. It has games, interesting facts, crafts, etc.

It is a child's book. I thought for some reason it would be geared for everyone. Cute pictures. Simple language. Suitable for a real young kid.

It's that time of year! Enjoy a good National Geographic for Kids book yourself, or read it with a child!

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Download , by Michael Thomas Ford

Download , by Michael Thomas Ford

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, by Michael Thomas Ford

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Product details

File Size: 1802 KB

Print Length: 349 pages

Page Numbers Source ISBN: 0062791206

Publisher: HarperTeen (April 9, 2019)

Publication Date: April 9, 2019

Sold by: HarperCollins Publishers

Language: English

ASIN: B07BQFXWXK

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Amazon Best Sellers Rank:

#571,632 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

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Ebook Download Managed DirectX 9 Kick Start: Graphics and Game Programming

Ebook Download Managed DirectX 9 Kick Start: Graphics and Game Programming

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Managed DirectX 9 Kick Start: Graphics and Game Programming

Ebook Download Managed DirectX 9 Kick Start: Graphics and Game Programming

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About the Author

Tom Miller is the development lead for Managed DirectX, as well as the designer of the API. He has worked on the DirectX team for the last four years, including the SDK team writing samples, as well as the DirectX for Visual Basic team. Previously at Microsoft, he worked on the Visual Basic and Office teams.

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Product details

Paperback: 432 pages

Publisher: Sams Publishing (November 3, 2003)

Language: English

ISBN-10: 0672325969

ISBN-13: 978-0672325960

Product Dimensions:

8 x 1 x 8.7 inches

Shipping Weight: 1.6 pounds

Average Customer Review:

3.4 out of 5 stars

39 customer reviews

Amazon Best Sellers Rank:

#3,838,875 in Books (See Top 100 in Books)

I got this book because I wanted to learn to use DirectX with C# in a managed-code environment - exactly what this book attempts to address.Unfortunately, my progress has been hampered from missing blocks of text in both the prose and code samples. The author introduces topics and moves on without completing them.For example in Chapter 1, page 16, he introduces a prototype for a "public static Microsoft.DirectX.Matrix PerspectiveFovLH(...)" method. He explains the parameter list, and then moves on. On the next page, he gives a SetupCamera method which calls the aforementioned PerspectiveFovLH method and declares on page 18 that "we've got our triangle drawn now." Only we don't. The body of that function never got filled in. I didn't get past the next page before encountering a similar case.The other problem may be a question of versioning, but there are frequent invocations of "Set[Something]" methods, such as a CustomerVertex.Positioned.SetPosition method, which doesn't actually exist in my environment. (Granted, I am using Framework 2.0 and not 1.1, also Visual Studio 2005 rather than 2003, but deprecated methods are usually supported for backwards compatibility. So, was it ever really there?) I managed to get around this by simpling assigning a value to the Position property.Perhaps I could navigate a few typos and errors if the writing were more straightforward, but it doesn't help that the author's pedagogical approach is to confuse the reader with a few examples of code that doesn't work and then to say "let's examine why." The facts of how the methods and concepts are supposed to work need to be stated plainly from the outset.Last but not least, I am left to languish in my frustration, because no means of contacting the author has been provided.

This book truely is what it claims to be: A kickstart! It moves fast and may give people who are not familiar with Visual Studio .NET a hard time keeping up. But this is what I really liked about this book! You want to learn how to program? Find a different book! You want to get into DirectX development? Look no further!Just the first chapter explains more than practically any other book about Managed DirectX I have read. Sure, it doesn't have all the long and ellaborate explanations some of the other books have. But for some reason, I still felt like a had a better understanding of how to do things the 'right way' after reading this book. This may have to do with the fact that the author of the book is also the author of the API.The book covers a lot of ground. Most of the chapters deal with Direct3D (which is what I was interested in), although the author does touch on other subjects such as DirectInput. The pace is fast and the author covers the whole range from primitive drawing techniques to using higher level concepts, such as meshes, and eve the HLSL (high level shader language), which many would consider an advanced topic. Well, I do anyway... ;-)The book doesn't just provide shallow introductions. In fact, the author doesn't even shy away from topics such as skeletal anomation of meshes, or writing pixel and vertex shaders to create specular highlights and per-pixel lighting effects.Well done! This book will explain a lot, and it does so quickly. However, if you have no experience with 3d graphics at all, you may want to follow up with another book, such as 'Introduction to 3D Game Programming with DX9' by Frank D. Luna, which will give you a good understanding of related topics, such as a lot of the underlying math used for matrix transformation and vector mechanics. This can be done as a second step though, since this book does not require knowledge of these things, as it uses functions provided by the Managed API for practically everything it does.As we are starting do work more with 3d graphics as a company, I have a need to get team members up to speed on the subject matter. This is the book I recommended they all read...

Background: No professional programming experience, but i wrote MUDs in the late 90s. I learned C++ at a junior college. 4 classes of C++, analysis and design, discrete math, calculus, and a class of java. (and some other unrelated stuff)I will recommend reading Ron Pentons MDX book before this one... it's much simpler (even though his sprite implementation is from dx 9.0b and won't compile... but learning how to fix it is good for you :P)Tom does a great job of leaving out all of the baby stuff (like how to set up your IDE, install DX, etc etc.) and goes right into the meat and potatoes. So, for people who get bored too fast skipping simple concepts... this book is great for you.I recommend getting this book, reading each chapter twice, then printing the sample code and hand typing it (don't let intellisense do the work). You'll quickly memorize the methods in MDX that way. Then read the chapter a third time to recap what you just did.Hope you all enjoy learning as I have.

You get what you pay for. For the admission price, you get a quick no-nonsense walkthrough of someone else's exploratory code in Direct3D. You don't get commentary on what, why, and motivations. Maybe I'm a bit jaded, or maybe C# reads almost like English. The shallow explanatory text is a little jarring to read after browsing the code listings. ("Didn't I just read this?")Polished versions of the book's code ships with the DX9.0c SDK. This is both good and bad. The book was written by a key member of the managed DirectX team. This is a good thing. OTOH, the accompanying text offers very little beyond the SDK samples. There is some compensating value in being able to browse it offline.The coding style is clear and linear, perhaps just right for illustrating concepts, but not one you want to emulate. Overall, the book lacks the deeper discussion that the SDK samples want for; you won't find that between its covers. While far from a hearty recommendation, it's not at all a condemnation. The book is precisely what it purports to be: a kickstart primer to programming DirectX in C#, teaching by example but not much beyond.

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Free PDF Ballet for Martha: Making Appalachian Spring

Free PDF Ballet for Martha: Making Appalachian Spring

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Ballet for Martha: Making Appalachian Spring

Free PDF Ballet for Martha: Making Appalachian Spring

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Product details

MP3 CD

Publisher: Brilliance Audio; Unabridged edition (October 11, 2016)

Language: English

ISBN-10: 153188167X

ISBN-13: 978-1531881672

Product Dimensions:

6.5 x 0.6 x 5.5 inches

Shipping Weight: 4.8 ounces (View shipping rates and policies)

Average Customer Review:

4.3 out of 5 stars

19 customer reviews

Amazon Best Sellers Rank:

#6,150,331 in Books (See Top 100 in Books)

Delightful storytelling for young readers; America dances when "Pacific Overtures" meets "Appalachian Spring". All America celebrates when Martha and Aaron and Isamu do the "Shaker."The noted and revered American artist, Isamu Noguchi, born in Los Angeles, was taken to Japan by his mother to meet his estranged father when he was three, and then sent back to America when thirteen to "reclaim his heritage". "Thirteen-year-old Isamu, his suitcase packed with his carpenter tools, traveled alone by steamship to California, then by train to Indiana to a boarding school his mother had read about in a magazine. Like Martha, his first view of the huge American landscape was through a train window. He arrived at the school, only to find that it had been closed to become an army base to train troops for World War I (1914-1918). Isamu stayed with a [local] family in a nearby town [LaPorte IN] until he graduated [from the local Public High School in 1922]." In his own words he had become "a real Hoosier."That historic aside doesn't interfere with the delightfully pictured storytelling that takes a youngster soaring in his mind's eye through Americana. --Glenn Ralston

I bought this to use in my classroom with the book. It is a great resource to introduce students to ballet, choreography, stage, and composing.

This nonfiction children's books celebrates the collaboration of Aaron Copland's majestic, yet playful, "Appalachian Spring", Martha Graham's innovative dance, and Isamu Noguchi's minimalist artistry. The illustrations convey movement and music. The book does a marvelous job of introducing children to ballet, Appalachia, innovators, and collaborators. The only improvement I could see would have been to include a CD of Copland's score. When using this book in a library program I play Copland's piece. I gave this book as a high school graduation gift to a young woman who is a ballet dancer and who has a passion for children's literature. A perfect fit.

When I made this purchase I was not aware that this was a childrens history/picture book of the creative process of making "Appalachian Spring." Although I very much enjoy the drawings and information it is very much a book for children. I think this would be great for a teacher or library that wanted to teach that Graham was more than a cracker.If your looking for a deep, all-telling description of the making of Appalachian Spring...Ballet for Martha this may not be for you. However its a honestly enjoyable picture book for anyone who enjoys Graham.

This book provides an lovely story while sharing history. It's perfect as a read aloud for young ballet lovers or for an elementary student to read on their own.

A remarkable book, by two people who could not have known Martha. Accurate and illustrated by some one with a real feeling for dance. Appropriate for young people and adults with an interest ln dance.

We checked this book out of the library because it was illustrated by Brian Floca, a favorite at our house. He did not disappoint! The illustrations are powerful and moving; a great tribute to the ballet.This story is actually more interesting than I thought it would be. The book is essentially the biography of the ballet Appalachian Spring much like The Music in George's Head: George Gershwin Creates Rhapsody in Blue is a biography of Rhapsody in Blue. I was not familiar with Martha Graham or Isamu Noguchi but I enjoyed learning about them, along with Aaron Copeland, with my daughter. I also particularly enjoyed some of the Martha Graham quotes included. “My dancers never fall to simply fall. They fall to rise.” I also liked the quote, “Ugliness, if given a powerful voice, can be beautiful.”

Collaboration. True life stories of collaboration told in a picture book format. It's a challenge that I give myself: Name such stories off the top of your head. If you're a children's librarian then surely you can think of one or two, yes? So I start to think about it. Let's see . . . well, there was Amelia And Eleanor Go For A Ride, but that was more a story about two strangers meeting nicely than a tale of collaboration (the same could be said for When Harriet Met Sojourner). It shouldn't be that hard to think of such stories though, right? I mean, we're constantly telling our kids that cooperation is an essential skill. We teach them to share. We (hopefully) give them the chance to learn about the essential give and take that exists when two or more people try to create something new together. Yet my mind is a perfect blank until I look over and see my copy of Ballet for Martha perched on the arm of my chair. The tale of how a dancer, a composer, and an artist/set designer is a true story that shows how professional adults can work together, regardless of differences in background, ethnicity, or experience."Sometimes art is made by one artist, working alone, but sometimes it is the result of artists working together - collaborating - to forge something new." New was not an unfamiliar word to dancer Martha Graham. She spent a great deal of her life exploring new types of dance in the mid-20th century. And when she wanted to make a dance about American living, she turned to composer Aaron Copland. With much revision to her vision, Copland wrote for Martha music based on the old Shaker hymn "Simple Gifts". After that, Isamu Noguchi was hired to create the spare sets for the production. The show was called "Appalachian Spring" and it has since become an American classic. The kind that can be recreated and reenacted forever, all because three different people got together to make a ballet that displayed their best works. A "Curtain Call" afterword says more about the lives of each of the three artists and a Notes and Sources section includes a Bibliography, Web Sites, and additional Notes.Now as I see it, it would make very little sense to write a book about the creation of "Appalachian Spring" if you used an overabundance of flowery language. As such, I can't help but think that Greenberg and Jordan made a conscious decision at some point in the game to write the book with plain, simple text. The words are full of description but don't overwhelm Floca's illustrations. Sentences like "The bridegroom twirls with his bride. Then she prances in quick small steps" do an excellent job at conveying precisely what this ballet would feel like to watch. Even before you get to the pictures, the authors have synthesized the show's process into a scant 48 pages. And while the bulk of the focus rests on Martha, the writers continually pull the focus back to the music, the set, the set, the music. Even if Copland and Noguchi aren't prancing around the stage with Martha, they're present in even piece of the dance. They are as much a part of this show as she is. This book works because it doesn't shove them off to the side or conveniently forget about them. After all, all shows are collaborations. And as the very last sentence reads, in cases where new productions of "Appalachian Spring" are mounted, ". . . the collaboration will be created anew."At first I felt that the book was near bereft of conflict. This is Martha Graham we're talking about. She knew what she wanted, she got it, and she was not a pushover. One has to assume that there were moments of tension within this collaboration. Rereading Ballet for Martha, though, I located those moments. There was the dancers' initial discomfort with Noguchi's set, for example. Or the fact that sometimes when Martha couldn't get a dance right, "She has a tantrum. She screams. She yells. She throws a shoe. The dancers wait. Martha figures it out." When writing her plan for the ballet to Aaron he had her rewrite her ideas until they made sense. The conflict is there, but it's useful conflict. The kind that includes the kind of give-and-take you need to work on a single vision with someone else.When it comes to establishing a time or era set in the past, Mad Men's got nuthin' on Brian Floca, and you can quote me on that. The man's range is extraordinary. One minute it's cute little mice in books by Avi, the next he's delving into a light fantasy, and then the next thing you know he's taking our men to the moon. Ballet for Martha reigns Floca in a bit, after the massive success of Moonshot though the two books have more similarities than differences. For example, Floca allows himself the occasional sweeping vista, as when we see the fictional farmer and bride staring out over a vast, near empty prairie. But where Moonshot was all about the mechanics and grandiose heart-stopping breadth of space itself, Ballet for Martha zeroes in on the individual. That's a funny thing to say, considering that the book is collaboration-based, but it's true. Floca shows us the human body in motion. From Graham's distinctive contraction and release style to the ways in which a person moves in a single space. He's also very good at showing collaborative dancing, where a person is meant to share space and movement with another. In essence, share the spotlight. Which, to a large degree, is the very point of the book itself.Beyond the watercolors, I was interested in the ways in which Floca uses handwriting to make a point. This happens only three or four times in the book, but it was enough to catch my eye. The most riveting picture, possibly in the whole book, is the one Floca created for Graham's 1929 piece "Heretic". There we see a wall of women in black, a single woman in white on her knees before them, and the words "Heretic, 1929" scrawled in white in a lower right hand corner. This imposing use of handwriting stands in contrast to previous page where the black on white writing explains the contraction and release movements so aligned with Graham's work. The only other real time handwriting is invoked comes when Floca illustrates the orchestra. Though the text explains who is present, Floca's handwriting touches on each member's instrument. You might not notice that there is handwriting in the book on a first or second read, but on the third or fourth it catches your eye. Maybe that's why Floca chooses to use it. It's a way of drawing your attention to something in a firm but subtle way. Something to ponder, anyway.The book would pair very well with individual biographies of each of the three collaborators, like Noguchi's bio, The East-West House: Noguchi's Childhood in Japan by Christy Hale or Russell Freedman's Martha Graham: A Dancer's Life or Mike Venezia's Aaron Copland (there's not a lot on Copland out there for kids). Alas, the Bibliography at the back of this book contains a list of titles more appropriate for adults than kids, so you won't find any of these books mentioned there. Still and all, I suspect that there's enough information in this book to get some people interested in seeking out the original music (or video of the performance on YouTube for that matter).Just as the original ballet was a collaboration between three people, so too is this book. Two authors plus one illustrator equals a way of telling a story that is too often ignored. Practical applications for collaborating with others based on real world events in a picture book form? Rare. Books that read and look this good together? Rarer still. A book that works as both a practical object and a beautiful text. Sometimes we just need stories that show us how to make things.

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Ballet for Martha: Making Appalachian Spring PDF

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Ballet for Martha: Making Appalachian Spring PDF

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