I am neither an employee of Ventana Publication, nor am I paid to write good words about this book. I have always been a fan of John Sexton's work. Who else alive can match his fantastic printmaking skills. I will say it with confident; none. John Sexton is the only person I know who comes close to the printmaking standards of Ansel Adams. "Places of Power" is all about beautiful prints. I am not a technology "freak," so I am in no postion to comment in this area. But if you love black-and-white images, photography, the zone system or large format images, this IS the book for you. Personally, I think $60.00 is a small price to pay to be able to appreciate John Sexton's work.

Since 1992, John Boorman and friends have put together Projections, a yearly forum where filmmakers from all disciplines write about their craft. Projections 4 was published in 1995, to coincide with the 100th anniversary of the first public exhibition of the Lumiere Brothers' new invention, Le Cinematograph.

This year's edition is split into seventeen articles divided into six sections. The Centenary begins with a transcript of a 1948 interview with Louis Lumiere, followed by what has perennially been my favorite continuing section, The Burning Question. This year's question, "In this year, when we celebrate 100 years of cinemas, what is the greatest gift and worst legacy of the movies?", is answered by 16 directors from all around the world, whose careers span the past half century. Some answers are short and to the point, while more than one filmmaker spends pages clarifying their viewpoint. Then Martin Scorsese talks about his former fears of shooting anamorphically.

The Journal. Every year, Boorman recruits a director to keep a copious diary recounting their previous year. In 1994, Boorman asked writer/director James Toback, whose year started out with a large quake in Los Angeles and proceeded to go downhill from there.

The Career talks to Arthur Penn and Ken Burns about their years struggling to maintain their individual vision.

The Process is rather self explanatory. Six articles about filmmaking from various points of view. The first two cover Oscar winning screenwriter Leslie Howard's tumultuous Hollywood career, in his own words. We then move to a dilapidated theatre in New York, where Louis Malle, Andre Gregory and the cast of "Vanya on 42nd Street" offer their views on making this unique movie. Sound design guru Walter Murch speaks about the early days of American Zoetrope and sound in cinema. From the Malaysian set of Beyond Rangoon, John Boorman has a great exchange with Eddie Fowler, longtime prop master to David Lean. This section ends with cinematographer John Seale comparing his collaborative efforts with many of his directors.

Gotta Dance includes what became one of Gene Kelly's last discussions about the art of choreography in film. Sally Potter adds her thoughts about dance in cinema, during post production for her own "The Tango Lesson".

Farewell sums up the lives of two artists who were lost in 1994, Federico Fellini and Sandy Dennis. The book ends with Lindsey Anderson's summation of working with John Ford on The Quiet Man.

I bought the first Projections book on the recommendation of a filmmaker friend shortly after its release. I have pre-ordered every issue since, often before I even knew what the contents would entail in any particular year. The entire series has consistently been that good.

If you are a major film fan or a budding filmmaker, this series must be on your bookshelf. Although, if you are like me, they'll never spend much time on the bookshelf.

This book, which includes viewpoints of authors from England, New Zealand, Australia, Canada, and the U.S., is a valuable contribution to an understanding of resistance and power in the context of labor process theory and subjectivity. Moving from the thought of writers including Foucault, Braverman, and Marx; the authors deconstruct dualistic thinking to explore the relationship of power, resistance, and compliance. Most of the chapters examine actual cases of resistance in specific organizational and socio-cultural settings. While eschewing grand theorization, the book does look for conclusions about sources, strategies, and effectiveness of resistance. It also provides a model of outflanking strategies employed by organizations, Finally, resistance is discussed in relationship to a typology of consciousness of power.

This book makes for excellent reference material for those thinking of investing in a great rifle or simply enthusiastic about the art of rifles today.Exhaustive gun list covering most commercial rifles of today and yesterday without wasting too many pages on worthless ballistic charts.Highly recommended reference for hunters,competitive shooters,collectors or simply gun enthusiasts.

If you are interested in firearms in general or the smaller type weapons in particular, you must have this book. Well-written and illustrated, it is a joy to read.

Podrazik certainly knows the Fab Four. Having previously collaborated on the definitive three volume discography on the Beatles, he uses the opportunity of the new releases on CD of the Beatles' music to update us on their music, the impact of it on the world, and that intimate minutiae that only a real scholar can dig up. Well worth buying and reading. Michael Class

The main contents of the book,please

This is in my opinion the best way to learn how to become a good putter. By breaking down the process into smaller simple steps you really absorb the information. This book isn't rocket science it is the simple way to become a good putter.

Walter Inglis Anderson was that rarest of humans, a true visionary, so much so that the word "vision" weakly captures the fiery luminescence of his drawings, watercolors, and paintings. The works photographed and discussed in this book are perfect examples. Largely unheralded in his lifetime and for many years after his death in 1965, Anderson's work deserves more caring and careful studies like this. Co-published by the University Press of Mississippi and the Walter Anderson Museum of Art, this book presents astounding photographs as well as insightful commentary on the murals Anderson painted on rolls and sheets of paper as well as on the walls of the Ocean Springs Community Center and his cottage near Shearwater Pottery in Ocean Springs. This book is a must for all lovers of the ineffable, mystical qualities of seeing.