The 5-minute pediatric consult is written in an easy to read outline format. The writers have eliminated unnecesary obscure data and offer a concise outline of all major pediatric diseases. The topics are designed to be read in 5 minutes or less and all the up to date information to diagnose and treat a specific illness is included. The topics are alphabetized, so they are easy to look up. The writers are accomplised experts in their fields and the book has been edited by the distinguished Dr. Schwartz, at the Children's Hospital of Philadelphia. As a professor of Pediatrics, I highly recommend this book to practicing pediatricians, family practitioners, nurses and students.

when will the CD be available? I travel to several schools providing healthcare to uninsured children and would like to use this valuable reference. (a PNP)

love the format. listed alphabetically, the items are presented in a easy to read format. Just about all I want to know about the problem when working in a busy office. I can read more later but this gets the job done. an excellent 90's type of book. where is the CD?

The first film covered by Charles Mitchell in this fine book happens to be my favorite "devil" movie of all time - the film noir "Alias Nick Beal," starring Ray Milland as Satan and Audrey Totter as his unwilling femme fatale accomplice out to ensnare the soul of an ambitious politician (Thomas Mitchell). And reeling me in, Mr. Mitchell also includes such classics as "The Devil and Daniel Webster" and "Heaven Can Wait," the wonderfully camp "The Devil's Rain" (with Ernest Borgnine, of all people, as the Devil), and the abysmal "Satan's School for Girls." In addition to the ninety-five films and terrific photos presented in this exhaustive work, there are two appendices - one listing more than 100 obscure "devil" films dating from 1896 to 2000 and another covering 18 actors, including Fred Astaire, Burgess Meredith, Mickey Rooney, and Julie Newmar(!), who have portrayed the Devil on television. Mr. Mitchell, the author of "Screen Sirens Scream!" and "The Hitler Filmography," has written a detailed and entertaining book that deserves to be in every film buff's library.

This is a dun book with a "Devil may Care" approach. Each film is completely annotated with witty and sometime hilarious reviews (and, as a change of pace, a few profound observations). Are you looking to learn more about the silent classics? STUIDENT OF PRAGUE (1913 or 1927) or Murnau's FAUST. This is the right place to come. Many delightful photos, plus rating system that separates the wheat from the chaff. You will find more scree devil's than you ever dreamed existed..singing devils (such as Ray Walston and Danny Elfman), comic devils (such as George Burns and Stanley Holloway), charming devils (such as Laird Cregar and Vincent Price), charming devils (such as Ray Milland or Max von Sydow), sinister devils (such as Richard Burton or Victor Buono) or really creepy devils (such as Jeff Goldblum or Michael York). This book can be enjoyable when read in short spurts or an all night readathon. Plus the information in the appendix alone is an expert compendium. Recommended

When I first began reading THE DEVIL ON SCREEN, I looked for my favorite films---Mitchell begins with ALIAS NICK BEAL (1949)with Ray Milland as 'the Devil.' He goes through all of the screen credits, gives an annotated cast listing, an appraisal and succinct synopsis, a word on the actor's performances and finally, some notable quotes from the screenplay. Stills and lobby cards are included wherever possible.

The author's forte is that he uses this configuration for every film he analyzes---and his perception is always on target!

For example, besides the fantasy element in BEAL, Mitchell also
catches the aspects of "film noir," which make his review doubly rewarding. He knows his film music, especially the noirish Franz Waxman score (which has gone unrecorded all of these years) but more importantly, despite all of the detailed turns of the plot, Mitchell uses original source information to enhance the chapter.

He interviwed Audrey Totter, one of the film's stars, who related some "inside information" about her fellow actors, their attitudes on the set and her dissatisfaction with the studio, Paramount, which promoted the film badly. Mitchell hopes for its "rediscovery" and as a reader, I applaud his critique---not for just this film but the hundred or so films he accurately and astutely examines with his fine sense of critical purview.

Mitchell's book is an A to Z of "devil films," with two excellent appendices, a thorough and useable index and wonderful stills and lobby cards that entice the reader to read a review of a film that he or she may NOT have seen. His publisher has also done justice to the author's work because of its beautiful, artful and colorful front and back covers and has produced a library bound edition worthy for purchase for collectors, libraries and for those of us who are fascinated by the theme of the "devil in cinema."

Too bad Mitchell had to begin his critical analysis in 1913 and ended it in 2000---for there must be some "devilish" films out there through 2002---and his gaze is not only on American cinema but international films that come under his critical view--such as the 1922 silent Danish work by Ben Christensen, HAXAN, which was recently brought out on DVD by Criterion and that French sound marvel from 1942, LES VISITEURS DU SOIR with Arletty and Jules Berry as the Devil. Certainly, Mitchell's exploration of the theme is comprehensive, detailed, insightful and at times, even humorous.

This is a book I have always wanted for my own collection---and Mitchell's other books, one on APOCALYPTIC CINEMA and a GUIDE TO FILMS OF CHARLIE CHAN (both published by Greenwood Press)[Note: Mitchell's book on CHAN is the BEST ONE ON THE MARKET!]-- are worthy forerunners in film criticsm to this new DEVIL work from McFarland & Co. I hear by the critical grapevine that Mitchell has something in the works about "HITLER IN FILM" and possibly a biography of RICHARD BASEHART, one of the most neglected character actors of the late forties and early fifties. I hope my sources are correct and we also see these future volumes--but I am still content with THE DEVIL ON SCREEN for now---there is so much good "stuff" in it that I can hardly put it down.

This remrkable book covers 150 film titles involving various nd of the world scenarios. 50 of the titles are explored in great depth, including Cornel Wilde's NO BLADE OF GRASS, DR. STRANGELOVE, ON THE BEACH, H. G. Wells' THE MAN WHO COULD WORK MIRACLES, DELUGE, THE LAST MAN ON EARTH, THE LAST WOMAN ON EARTH, CRACK IN THE WORLD, THE SATAN BUG, MARS ATTACKS, METEOR, THE SEVENTH SIGN and many more. The introduction divides apocalyptic films into eight categories and the author explains the differences between apocalyptic and post-apocalyptic genres. A spellbinding and essential film resource book.

This is a fascinating, comprehesive study of END OF THE WORLD films ranging from comedies such as THE HORN BLOWS AT MIDNIGHT to profound and dark films like NO BLADE OF GRASS and THE SAY THE EARTH CAUGHT FIRE. Mitchell also makes a unique distinction between apocalyptic and postapocalyptic films. He examines a hundred examples of aocalyptic films and fifty of postapocalyptic as contrast. Fifty films are provided in depth coverage. My three favorites are the whimsical treatment of THE MAN WHO COULD WORK MIRACLES, the penetrating study of Abel Gance's truncated Thirties masterpiece, END OF THE WORLD, and DELUGE. My examples are all Thirties films, but all decades are included up to ARMAGEDDON and END OF DAYS. There are a number of interesting photos as well, including a mock newspaper headline from the rare Thirties film DELUGE, as well as a shot showing the Statue of Liberty getting swept away in a flood. This is a genuine first rate fimography. Recommended

I have always been a fan of Charles Mitchell's work. His SCREEN SIRENS and DEVIL ON SCREEN (both McFarland publications) are now trumped by this truly original latest work, THE HITLER FILMOGRAPHY: Worldwide Feature Film & TV Miniseries Portrayals, 1940-2000, again, beautifully published by McFarland with a terrific hard cover and sprinkled with wonderful stills.
Mitchell provides excellent annotations for casts, plot outlines, all major credits and is particular good at providing "behind the scenes" information for hundreds of films with Hitler as a major (or minor) character. He deals with all American and international films with Hitler as a character...although I could not find THE DEVIL STRIKES AT MIDNIGHT (my favorite Hitler Siodmak film in German), his renditions of THE GREAT DICTATOR (Chaplin) and TO BE OR NOT TO BE (Lubitsch) are wonderfully famous and indispensible inclusions in this vast 303 page book. All film fans will love this beautifully produced book which also belongs in all libraries throughout the world. Although it is an A to Z format, you can pick up the book and start anywhere. Mitchell also provides an excellent index and bibliography. Although my life is "film noir"---and there are some excellent Hiltler noir films, I recommend this book highly for its depth of analysis and creative display by the author.
Another Mitchell triumph!

This is a fascinating book covering all films in which Hitler is depicted, over 100 worldwide. Most are comedies, including Chaplin's THE GREAT DICTATOR, Woody Allen's ZELIG, Jerry Lewis' WHICH WAY TO THE FRONT and Danny Kaye's ON THE DOUBLE (and MEL Brooks is not forgotten either!). then there are straight wartime dramas, THE HITLER GANG, THE DESERT FOX etc. I enjoy the fantasy films, such as FATHERLAND, an alternate history story and THE EMPTY MIRROR in which Hitler must atone for his crimes in Hell. Then there are foreign films, such as the Soviet propaganda films sch as FALL OF BERLIN, and the Czech science fiction film in which Nazis attempt time travel to win the war. Other films are more serious, such as the mini-series WAR AND REMENBRACE with poignant scenes of the holocaust. Mitchell writes and analyzes well, and manages to strike the right tone about why Hitler is reprsented so frequently in films. Mitchell writes, by focusing on Hitler, film makers are attempting to ensure that such a monster could never again gain power, In any case, Mitchell's book is fascinating and highly recommended. I never knew so many actors played Hitler, including Alec Guiness, Robert Vaughn, Moe Howard, Richard Basehart, Anthony Hopkins, Luther Adler and the all time record holder, Robert Bobby Watson. Many great illustrations. A great book!

It's really about experiencing and analyzing the spacial environment. Well written & illustrated. I've used it as a supplemental text in a history of L.A. course, & students have found it really valuable. I've just plain enjoyed it.

Good examples of different aspects of the landscape. Explains different types of gardens well. It was an assigned book for a class, which made me not want to read it, but I'm glad that I did. Well written with good diagrams.

This is a colorful and entertaining collection of interview articles with a varied group of interesting female performers, including Faith Domergue, Linda Christian (Tyrone Power's wife), Joan Taylor and Mary Harris, the little girl who appeared in the original FRANKENSTEIN. A REFRESHING AND DELIGHTFUL TREAUSRY THAT YOU WILl READ AND REREAD OFTEN.

Screen Sirens Scream! showcases fascinating interviews with twenty actresses from science fiction, horror, film noir, and mystery films of the 1930s through the 1960s. Each interview is preceded by an informative introduction. The actresses range from Sandy Descher and Mary Murphy to Paula Raymond and Joan Taylor. The films span the cinematic spectrum from The Mummy's ghost, Tarzan and the Mermaids, and This Island Earth, to Frankenstein, Phantom from Space, and Earth vs. the Flying Saucers. Some of these interviews were gleaned from fan magazines, others are original with this volume. Screen Sirens Scream! is a valued, insightful, highly recommended addition to film buff and cinema student move reference book collections.

This medical reference guide is easy to understand and follow; all symptoms of illnesses are clearly grouped into diagrams/charts that lead you through a set of yes-no questions to lead to probable diagnosis and recommendations for treatment. The illustrations are also excellent. I use my copy all the time and always buy extras to give at wedding and baby showers, Every family should have a copy of this guide.

After finishing this book, it is hard to imagine there can be anything left to say about Charles James Fox. The familiar picture emerges of a politician who didn't have the skills or temperament of Pitt the Younger and hence was in opposition for most of his career. Yet Mitchell also makes two very interesting observations. First, Fox often preferred his private social life to politics. Did he, in fact, spend more time at the race track and at his London club than at the House of Commons? Secondly, Fox was less of a radical than most of his contemporaries thought. He was not, for instance, especially keen on far-reaching parliamentary reform. A big thumbs-up for this biography, not least for quoting verbatim from the strong language of certain original sources!

This is s good source of ideas for teaching your kids about how to act and react to their environment.

"The Hunting of the Snark" is a brilliant nonsense-poem. Yet Gardner has seen fit to put pretentious, geeky, ...pedantic annotations all over it. Now I like nonsense, but the vulgarly rational "sense" of some of these annotations irritates me. Do we really need to know that the word "BOMB" begins and ends with B (thereby relating it to the Boojum) and that OM is the Hindu name of God??? Do we really need to know of a political cartoon in which Kruschev says "BOO", and does Gardner have to tell us that he was trying to say Boojum??

Annotations should be done in the manner of Gardner's own annotations of Alice in Wonderland. Now those were annotations that made *sense*. Annotations that simply explained out of date concepts, gave relevant details from Carroll's own life, or obscure humour. That's all! That is what annotations should be like.

The pedantic geekery of these annotations remind me of the...games of Star Trek fanatics (or Sherlock Holmes fanatics).

The poem is brilliant, though; and the illustrations were funny, before the annotations over-analysed them.

Lewis Carroll is brilliant in this piece. First of all the poetical music is perfect, absolutely perfect, and yet the words don't mean much. Many of these words are not even to be found in any dictionary. Be it only for the music, this piece is astonishingly good. But the piece has a meaning. I will not enter the numerical value of the numbers used in the poem : 3, 42, 6, 7, 20, 10, 992, 8, and I am inclined to say etc because some are more or less hidden here and there in the lines. Hunting for these numbers is like hunting for the snark, an illusion. But the general meaning of the poem is a great allegory to social and political life. A society, any society gives itself an aim, a target, a purpose and everyone is running after it without even knowing what it is. What is important in society is not what you are running after or striving for, but only the running and the striving. Lewis Carroll is thus extremely modern in this total lack of illusions about society, social life and politics : just wave a flag of any kind, or anything that can be used as a flag and can be waved, in front of the noses of people and they will run after it or run in the direction it indicates. They love roadsigns and social life is a set of roadsigns telling you where to go. Everyone goes there, except of course the roadsigns themselves who never go in the direction they indicate. Lewis Carroll is thus the first post-modern poet of the twenty-first century. He just lived a little bit too early.

Dr Jacques COULARDEAU

I am a fan of Lewis Carroll, but somehow was unaware of the existence of an edition of "The Hunting of the Snark" with annotations. As someone who tremendously enjoys Martin Gardner's "Annotated Alice," I heartily recommend this book to like-minded readers. Gardner's annotations and introduction set the stage for the reader, putting the composition of the poem in its proper context in Victorian England, and in Lewis Carroll's life. And as with "Annotated Alice" the annotations are fascinating and amusing in their own right. "The Hunting of the Snark" is one of Carroll's lesser-appreciated (or at least lesser-known) works, and this paperback is an excellent introduction.

I noticed some confusion in the Amazon listings for this book, so let me clarify that the edition with Gardner's annotations is the paperback, and for illustrations it contains reproductions of Henry Holiday's original woodcuts from the 1800's. There are only eight pictures, and these are in old-fashioned style which may turn off some modern readers. This edition does not contain the illustrations - listed in the review of the hardcover editions - by Jonathan Dixon, nor the illustrations by Mervyn Peake also listed as available in hardcover from Amazon.

To Snark fans, though, I would unhesitatingly recommend both those editions as well. Dixon's is little-known, but excellent, the most profusely illustrated Snark, with pictures on every page in lush, gorgeously detailed and humorous pen and ink. It may still be available through the website of the Lewis Carroll Society of North America, who published it in a small edition. Peake's drawings are also in beautiful black and white, and capture his own rather dark, quirky "Gormenghast" take on the poem. (A good companion, too, to the recently released editions of "Alice" with Peake's drawings.)