One Minute Movies is a collection of work intended to paint vivid and colorful scenes in the readers head. Let each page transport you in to the environment created by the written word. Live, love, laugh, and experience the short films that make up each and every day.

Industriële films worden gezien als een apart filmgenre van de twintigste eeuw. Ze werden geproduceerd en gesponsord door de overheid en grote bedrijven en moesten vooral aan de wensen van de sponsors voldoen, en niet zo zeer aan die van de filmmakers. In de hoogtijdagen werkten er duizenden mensen aan deze industriële films. Zo zijn er vakbladen en filmfestivals ontstaan door samenwerking met grote bedrijven als Shell en AT & T. Daarnaast hebben belangrijke regisseurs, zoals Buster Keaton, John Grierson en Alain Resnais, aan deze films meegewerkt. Toch lijkt de industriële film geen spoor te hebben achtergelaten in het filmische culturele discours. Films that Work is het eerste boek waarin de industriële film en zijn opmerkelijke geschiedenis worden onderzocht.

As Christopher Nolan’s Batman films and releases from the Marvel Cinematic Universe have regularly topped the box office charts, fans and critics alike might assume that the “comic book movie” is a distinctly twenty-first-century form. Yet adaptations of comics have been an integral part of American cinema from its very inception, with comics characters regularly leaping from the page to the screen and cinematic icons spawning comics of their own. Movie Comics is the first book to study the long history of both comics-to-film and film-to-comics adaptations, covering everything from silent films starring Happy Hooligan to sound films and serials featuring Dick Tracy and Superman to comic books starring John Wayne, Gene Autry, Bob Hope, Abbott & Costello, Alan Ladd, and Dean Martin and Jerry Lewis. With a special focus on the Classical Hollywood era, Blair Davis investigates the factors that spurred this media convergence, as the film and comics industries joined forces to expand the reach of their various brands. While analyzing this production history, he also tracks the artistic coevolution of films and comics, considering the many formal elements that each medium adopted and adapted from the other. As it explores our abiding desire to experience the same characters and stories in multiple forms, Movie Comics gives readers a new appreciation for the unique qualities of the illustrated page and the cinematic moving image.

Movies are a passion shared by people of all ages and backgrounds. Maurice Rapf, the first director of the Film Studies Program at Dartmouth College, recognizes that most people who profess a love of the movies have not spent much time learning about them. He has written this text as an attempt to fill in some of the information that movie-lovers should have but usually don't. The information contained in the book has been gleaned from courses that he has taught at Dartmouth over the past thirty years. From 30 years of experience, Rapf assembles the essential information every movie lover should know. It begins with a brief history, followed by a description of the movie-making process, broken down into five components—literary, administrative, shooting, editing and post-production, and marketing. Drawing from his own experience as a magazine film critic, Rapf then outlines how critics work and how studios woo their favor. He also touches on some of the forms movies have taken—as animation, documentary, avant-garde, and as promotion and education. Not to be read as an all-inclusive guide, this work can be seen instead as a launching-point for a deeper appreciation of the movies.

In the years between 1940 and 2000, the American Far West went from being a relative backwater of the United States to a considerably more developed, modern, and prosperous region—one capable of influencing not just the nation but the world. By the dawn of the twenty-first century, the population of the West had multiplied more than four times since 1940, and western states had transitioned from rural to urban, becoming the most urbanized section of the country. Massive investment, both private and public, in the western economy had produced regional prosperity, and the tourism industry had undergone massive expansion, altering the ways Americans identified with the West. In The Mobilized American West, 1940–2000, John M. Findlay presents a historical overview of the American West in its decades of modern development. During the years of U.S. mobilization for World War II and the Cold War, the West remained a significant, distinct region even as its development accelerated rapidly and, in many ways, it became better integrated into the rest of the country. By examining events and trends that occurred in the West, Findlay argues that a distinctive, region-wide political culture developed in the western states from a commitment to direct democracy, the role played by the federal government in owning and managing such a large amount of land, and the way different groups of westerners identified with and defined the region. While illustrating western distinctiveness, Findlay also aims to show how, in its sustaining mobilization for war, the region became tethered to the entire nation more than ever before, but on its own terms. Findlay presents an innovative approach to viewing the American West as a region distinctive of the United States, one that occasionally stood ahead of, at odds with, and even in defiance of the nation.

How did Hawaiian and Polynesian culture come to dramatically alter American music, fashion and decor, as well as ideas about race, in less than a century? It began with mainland hula and musical performances in the late 19th century, rose dramatically as millions shipped to Hawaii during the Pacific War, then made big leap with the advent of low-cost air travel. By the end of the 1950s, mainlanders were hosting tiki parties, listening to exotic music, lazing on rattan furniture in Hawaiian shirts and, of course, surfing. Increasingly, they were marrying people outside of their own racial groups as well. The author describes how this cultural conquest came about and the people and events that led to it.

One of the central events of modern history, World War I has been poorly presented in English language films. Torn between the powerful isolationist movement in the U.S. and a growing hatred of the "Hun," contemporary films were mainly propaganda calling citizens to arms. The American film industry used the outbreak of the war and the government's interest in promoting patriotic sacrifice as a means to expand and take the lead in the film industry worldwide. More a business model than an art form, these early efforts claimed a place of respectability for film among the arts. Twenty years later, though films produced about the war were few, they were technically superior and generally carried conflicting messages about the war's mission and value, while focusing more on storyline than history. This study of English Language World War I films examines nearly 350 films from 1914 to 2014. Descriptions and critiques of each of the films are included, with stories and details about the actors and directors.