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- 1 Man charged with putting camera in ex's shower says he was filming chickens
- 2 Study seeks to analyze hunter-bear interactions
- 3 Prosecutors: Man burned girlfriend with cigarette, made kids flush his meth needles
- 4 Bleskin injury further tangles Bobcats' QB situation
- 5 Father: 'Nothing could prepare you to lose part of your soul'
Shenae Blakemore
Stomach contents of trophy buck help convict Wyoming poachers
CODY, Wyo. -- Some CSI-style investigation helped Wyoming Game and Fish wardens hold two men and a woman accountable for illegally shooting a trophy-class mule deer in late 2010.
3 Worland residents sentenced in poaching case
CODY, Wyo. -- Three Worland residents have been sentenced in the poaching of a trophy-class mule deer.
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Anti-violence advocates fear an abuse allegation against philanthropist Sir Owen Glenn has derailed work done by the White Ribbon campaign and the Glenn Inquiry.
The millionaire businessman's inquiry into domestic violence and child abuse faces further pressure after revelations he was accused of physically abusing a young woman in Hawaii in 2002.
Court documents seen by Fairfax Media show Sir Owen offered a plea of no contest when the case came before the Hawaiian courts in 2003.
That plea means the charge was not contested or admitted. It was dismissed in 2004 when the probationary period ended.
Sir Owen has said there was no truth to the allegation.
He had applied to become an ambassador for White Ribbon, a campaign to stop violence against women, but now committee chairman Peter Boshier is concerned the organisation has been damaged. "We're in a position where there's undoubted damage to us and I'm unhappy about it."
Judge Boshier said he expected absolute honesty and transparency from anyone applying to become an ambassador. Sir Owen had to sign a statement that "nothing in my past or current personal life would damage the credibility of the campaign".
The White Ribbon committee would discuss Sir Owen's future with the organisation in the next few days, the judge said.
"Personally, I'm uncomfortable that the message of family violence that is so important has now been deflected by this issue."
He said there was a very thorough checking process for all ambassador nominations, but a police check would not have picked up these allegations.
Yesterday's revelation comes after 10 staff and advisers walked away from the inquiry in recent months and after concerns about the confidentiality of information being passed on.
Sir Owen has defended his decision not to tell either White Ribbon or inquiry members about the allegations, saying he had no history of violence toward women.
Glenn Inquiry chairman Bill Wilson said he was told about the claims on Saturday morning after Fairfax Media contacted a person working with the inquiry. A board meeting would be held in the next 10 days to discuss the future of the inquiry.
Mr Wilson said based on the information Sir Owen had given him, he was satisfied there was no substance to the allegations.
"It's perfectly understandable that White Ribbon is concerned about possible damage, but it's for them to assess whether this publicity will adversely affect their campaign."
Mr Wilson was not concerned about the allegations and did not know of any board members who were. "I quite understand why he completed the declaration forms in the way that he did. This is a great example though of hindsight being a wonderful thing."
It is understood the inquiry panel was strongly considering spending nearly $1 million on a public relations exercise, timed to promote the inquiry in the lead-up to next election.
The PR exercise would have been based more on exposure for Sir Owen's campaign and less about results, because data from the inquiry would not have been collected and analysed at that point. It would have included a massive publicity push into as many New Zealand homes as possible with details about Sir Owen being behind the project, sources told The Dominion Post.
Mr Wilson said any information about an expensive PR exercise was "plainly wrong". "All work of the inquiry could benefit from PR advice but any suggestions that sort of money is being spent is simply not correct."
Sir Owen set up his inquiry last year, saying he would spend $8m on producing a blueprint to solve the issues of domestic violence and child abuse.
Women's Refuge chief executive Heather Henare and Kim Workman, of Rethinking Crime and Punishment, are independent reviewers for the Glenn Inquiry.
Ms Henare said she would continue to work with the inquiry regardless of the allegations against Sir Owen. "The work continues and we will be reporting back in several weeks."
Prime Minister John Key said he only learnt of the allegations yesterday and had no reason to doubt Sir Owen's denial of them. "I take an extremely dim view of anybody [who] would strike a woman - that is totally unacceptable - but he's arguing he didn't do that."
- The Dominion Post
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This property allows you to book online with a credit card. After submitting a reservation request, the owner or manager has 24 hours to accept, at which time your card will be charged and you will receive an email confirmation
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Recent South Central reviews
"The home is beautiful. Everything needed for a great vacation. Rio Grande just out the back door. Deer visited the yard each evening at dusk. Close enough to any day trip with a welcome home atmosphere when returning to rest. The view from every direction is wonderful. Cannot say enough about how clean and well equipped the cabin is. We are already looking forward to returning."Guest: Lisa W. Date of Stay: June 2014 Review Submitted: June 22, 2014View listing
"My husband and I stayed here after going on a retreat to relax and more fully unwind. It was perfect! The house is stunning and has a very peaceful and magical energy. The views are amazing, which are contrasted by the shaded backyard with a creek running through it. My favorite part was waking up in the morning to sounds of the creek, with sun shining in and inspiring views of the mountains. It is also very convenient to town, hikes, and pretty much everything!"Guest: Shannon Date of Stay: September 2014 Review Submitted: September 9, 2014View listing
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"The house accommodated five adults and two kids very well. There is plenty of room in the open living area and on the decks and balconies. The house was very clean. The location and views are hard to beat. The owner was very nice and easy to work with. The best in Crestone!"Guest: Tim W. Date of Stay: October 2014 Review Submitted: October 14, 2014View listing
Featured Destinations: The Villages, Rosemary Beach, Destin, Amelia Island, Myrtle Beach, Outer Banks


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(832): View more from Houston, Texas
just apologized to a random stranger while waiting in line for coffee. last night was that drunk
Tap Here to view the Mobile Optimized TFLN
just apologized to a random stranger while waiting in line for coffee. last night was that drunk
I should have some sort of frequent buyer card or something. I just bought my third bottle of Captain this week. It's Wednesday.
I wish there were college classes that were useful to your daily life, like how to pack a proper bowl in pitch black darkness.
If your dick isn't up when i get home you're catching tonight.
Question: does the slut gene come from the mother or the father? im trying to figure out who to blame.
so i finally decided to ask her out. she started mumbling, then she puked on me. i think i'll try again when she's sober
You said "i miss him" not "i miss his dick." You're getting emotionally attatched. Shame.
So I vaguely remember making out with you this morning, I think you were on a date?
I'm babysitting my fucking roommate he took out the screen and is trying to throw dishware in our fucking pool after he repelled off our balcony
No no no...you park the car, stick your tongue down his throat, slip your number in his pocket, invite him to insomnia, and THEN LEAVE. You go from awkward to epic in a matter of seconds.
he said good things come in small packages and I decided to hook up with someone else
Update... last night a man tried to bite my ear. I think he swallowed my pearl earring.
Seriously? We dated for 2 weeks. TWO. And I've crushed his soul and put out the light in his dark world? What the actual fuck.
just really comprehended the fact that I'm getting high at the same place I used to play as a child. the nostalgia and thc is mixing together in one, intense wave. WHO HAVE I BECOME
He fed us edamame like baby birds. Slowly all coming back to me.


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Automobile: Honda NSX
Group DescriptionGames where the player can drive the Honda NSX (Acura NSX in North America and Hong Kong). Includes all versions: NSX-T, NSX-R GT etc.
- The car must be playable! If the car only appears in a game but the player can't drive it, the game should not be included in this game group.
- Only real cars! No fictional types or lookalikes with similar sounding names accepted.
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Closing Notice: Libraries will close early at 5 PM on Wed., Nov. 26, and will be closed all day on Thurs., Nov. 27.
Join our librarians for lively discussions about popular and thought-provoking books! Meets at the Main Library in Warren.
Thursday, November 13 at 2 p.m.: My Name is Resolute by Nancy Turner
© 2014 Warren-Trumbull County Public Library444 Mahoning Avenue N.W. Warren, Ohio 44483 (330) 399-8807


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Dark matter in the universe: proceedings of the Third Nishinomiya-Yukawa Memorial Symposium, Nishinomiya City, 10-11 November 1988
Springer-Verlag, 1990 - Science - 137 pages
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Tracing LargeScale Structure in the Universe
Cosmic Background Radiation in the Submillimeter Range
Mass Density of the Universe and Dark Matter
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Common terms and phrases
absorption absorption-line systems Ap.J Arecibo sample Astrophys astrophysical axion axion mass baryon calibration catalog cavity coherence cold dark matter constraints cosmic axion strings cosmic rays cosmological detection detector dipole distribution emission energy density evolution factor Figure fluctuations flux galactic halo galaxy formation Geller Giovanelli high-density region Hubble constant Huchra intergalactic IRAS galaxies isocurvature km s_1 large-scale structure Lett low-density region luminosity density luminosity function Lyman magnetic field mass density microwave background neutrinos nucleon nucleosynthesis number density observed omion optical Ostriker particle peculiar velocity phase transition photons Phys physical Pisces-Perseus power spectrum preprint present primordial primordial nucleosynthesis proton diffusion QSOs quark phase radiation range redshift survey reionization right ascension Sato scale scenario Schechter solar spectra submillimeter temperature theory universe upper limit vacuum expectation value Virgo cluster void wavelength wavenumber WIMPs


text: I came here for dinner when in town and I was not disappointed! It's not a large restaurant so I would suggest making reservations if you're going on a busy night. We ordered the cheese plate to start which was so good. The honey-truffle dip was delicious. I could have drank a cup of that stuff. The entrees were great-... More


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STRAVINSKY: Firebird / Pulcinella (PAL) Igor Stravinsky (1882-1971) Pulcinella (ballet with song in one act) Winner of the RAI Prize at the 1982 Prix Italia The Royal Danish Ballet Choreography: Glen Tetley Royal Danish Orchestra, Conductor: Poul Jorgensen The Firebird (ballet in two acts) Scapino Ballet, Rotterdam Choreography: Nils Christe London Symphony Orchestra Conductor: Claudio Abbado Running Time: Pulcinella: 40 min | Firebird: 56 min Menu languages: D, GB, F, SP Subtitle languages: D, GB, F Picture Format: 4:3 Sound Format: PCM Stereo Region Code: 2,5 Year of Recording: Pulcinella: 1988 | Firebird: 1982 Sel.No. 100 130 PAL Stravinsky, who was born in Oranienbaum near St. Petersburg in 1882, moved with his family to Switzerland in 1910. His neo-classical period between the years of 1920 and 1939 is indicated among other things by the dance comedy Pulcinella, which was written in 1919/20, a commedia dell'arte adaptation for mime artists and singers which was first performed by the Ballets russes at the Paris Opera House in 1920. Stravinsky had already composed his other major ballet success for Serge Diaghilev in 1909/10, L'Oiseau de feu (The Firebird), the work with which the composer's world renown was to begin. The service of bringing modern dance and New Music forward by huge leaps can only be ascribed to Stravinsky in conjunction with his impresario Serge Diaghilev (1872-1929), who was ten years his senior. The commissions of this inspired go-between of Russian art and western European modernism, including those for the subsequently formed Ballets russes, delineate the Great Master's period of brilliance from 1908/09 up until the death of Diaghilev in 1929. Building on the Italian improvised comedy of the 17th and 18th centuries, choreographer Nils Christe, together with his set designer Tom Schenk and the costume designer Nelly van de Velden, created a vital and expressive dance version of Pulcinella for the Scapino Ballet Rotterdam which corresponded largely to the slapstick humor of the Italian example. This production of the ballet The Firebird was performed by the famous Royal Danish Ballet in 1982, with choreography by the American ballet master Glen Tetley.


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The Top 10 In Action Sports
01From Cycling The World To Rowing The Arctic... We Talk Adventure With Mark Beaumont
02Four Mini Adventures That Are Closer Than You Know
03This Odyssey Vancouver Edit Will Give You The BMX Fix You Desperately Need
04This Stunning Footage Will Make You Want To See The Northern Lights
05Did Dan Atherton And Red Bull Just Create The Toughest Downhill Track Ever?
065 Action Sports You Should Try On Your Gap Year
07The Drone Footage Of This Abandoned City Will Leave You Absolutely Stunned
08Want To Be A Better Skater? These Scientific Secrets Will Help You On Your Way
09This Hollywood Stuntman Just Dropped An Air Bag Edit That's Flippin' Mad
10This Ken Block Gymkhana Parody Is The Best Thing We've Seen In Weeks
King of the Road 2010: Episode 5
A Skateboarding video by thrashermag - 5,076 views
Texas legend Chris Gentry went way out of his way for the Etnies team on King of the Road this year - inviting them to Houston's famous Rap-A-Lot studio to throw guest vocals on his next club banger "King of the Road."
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Faith and Reason: Beware the Devil and all her works: The Archdeacon of York, the Ven George Austin, continues our series on Catholicism and feminism. He warns against the use of 'creative' language which strays from orthodoxy.
Saturday 23 July 1994
Aesthetics are another matter, for words like personhood or humankind or a phrase like the ravages of dysfunction which once appeared in an American liturgy can hardly be said to grace the English language, let alone the worship of almighty God. So in this respect, while the Synod may be debasing the language of worship as well as allowing the fanatics to steer the ship, at least they are not dabbling in heresy.
The commission moreover promised that traditional forms of address to God 'should not be consciously avoided or deliberately softened in use', though there will certainly be instances where the word God will be repeated in order to avoid the use of personal male pronouns. Curiously, the commission claims that this 'does not necessarily involve acceptance of the ideology that may have motivated some of the proponents' and that 'there is no suggestion of departure from the classic terms of Christian orthodoxy'.
But that is exactly what must happen if traditional, scripturally based patterns are avoided or abandoned. If a passage such as 'Glory be to the Father and to the Son and to the Holy Spirit' becomes, say, 'Honour and Glory to God, and to God's eternal Word and to God's Spirit', the personal God of the New Testament revelation, who may be addressed as 'Abba, Father' has been replaced by an altogether depersonalised deity unknown to Christian theology.
If the familiar 'Blessed be the Lord God of Israel: for he has visited and redeemed his people' becomes 'Blessed are you, Lord, the God of Israel, you have come to your people to set them free', precisely to avoid the use of the male pronoun (and that is the stated reason), then whatever is left in traditional texts, the principle that God ought not properly to be addressed as 'He' has been established. It is a departure from orthodoxy which is unacceptable to the Catholic Anglican, and for more than one reason.
Anglican liturgical usage has always had at its heart the principle of lex orandi, lex credendi and therefore, if what I find in liturgy is something I do not believe, then I cannot pray it. To find - as I did at a recent service at a General Synod Standing Committee with both archbishops present - that I would be expected to pray to the 'Holy Spirit herself' left me with two choices: I could stay and thus endorse the phrase as orthodox belief, or I must leave the service, which is what I did.
We call God 'He' not because we believe He is male rather than female, but because we cannot diminish Him by calling Him 'It'. The Judaeo-Christian revelation is of a God who is not like the pagan gods and goddesses of their theologically inferior neighbours. He is a God who - in the words of the first of the Anglican 39 Articles - is 'without body, parts and passions; of infinite power, wisdom, and goodness' in whose unity are three Persons, 'of one substance, power, and eternity: the Father, the Son, and the Holy Ghost'.
It is we who are made in His image, not He in ours, and if in calling Him Father some would make Him an old man in the sky, that mistake is not rectified by compounding it in naming God 'Mother'. One heresy is not corrected by creating another more serious one. And heresy it is, for it overturns the very scripture which is meant to be our foundation.
A leading liturgist, the Rev Michael Perham, made this clear six years ago when he wrote that biblical revelation is 'irredeemably masculine'. 'We are forced to the view,' he writes, 'that texts that affirm the feminine will have to be new ones, without much scripture or tradition even as source. Is the Church willing,' he asks, 'to sanction that sort of creativity?' Apparently so, for the report which the Synod received encourages 'creative and qualitatively excellent liturgical writing which makes use of a wider range of metaphors for God than has been evident in existing authorised texts'.
Perham adds: 'Nothing less than our doctrine of God is at stake.' Indeed it is, and one is left wondering if the Synod really knew what it was doing. It probably did, and the schism produced by the ordination of women will be as nothing to this, which follows it as surely as the night succeeds the day.
It is moreover merely the precursor of worse heresies, and these are already beginning to be evident here as they are prevalent in America. An image of 'Christa' was carried in Manchester Cathedral recently at a service 'in solidarity with women', a direct importation from our sister church in the US. Christa's purpose is graphically explained by the Rev Carter Heyward, in her book Touching Her Strength: 'She (Christa) can represent for Christian women precisely what the Church has crucified with a vengeance . . .: the erotic as power and the love of God as embodied by erotically empowered women.'
No one would suggest that this represents in any way the view of the Liturgical Commission. But both they and the Synod need to be aware where they are being led by the Devil and all her works.
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Microsoft Game Studios has announced a new Xbox 360-exclusive project, developed in collaboration with Germany's Crytek. "Codename Kingdoms" appears to be a violent, historical gladiator game. Microsoft has not announced any further details or a release date. But are you not entertained by the idea of Crytek taking a break from the sci-fi FPS genre?
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Dying Light cancelled on Xbox 360, PS3
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The Famous Wok family of restaurants is set to begin rolling out digital signage menu boards from E Display Inc. to its locations across the U.S. and Canada, according to an announcement from the digital signage company.
E Display Inc., a turnkey digital signage solution provider, said it has initiated deploying digital menu boards for Famous Wok to allow the quick-service restaurant chain to lift sales of promoted items and steadily cycle through its menu features and promotions with minimal cost or effort.
The Famous Wok restaurant brand family includes Kung Pao Wok, Sizzling Wok and Flaming Wok with a franchise network that is spread across the U.S. and Canada offering Chinese cuisine.
According to the announcement, the move was spurred because the cost of replacing menus and promotional printed materials for the chain's outdated static menu displays throughout the year was becoming unsustainable. Also, price changes were becoming more frequent but were being held up or put off due to the long turnaround and high cost of reprinting and refitting menu displays.
Famous Wok initiated the launch of its digital signage network at two pilot locations, and the initial launch phase provided the brand with the opportunity to review the software, hardware and installation process of replacing static menu boards with digital menu boards.
E Display deployed five commercial-grade 47-inch HD displays at these two Famous Wok locations, and the screens were networked online using media player PCs selected to offer the quality and durability needed to perform in tough commercial environments.
As part of fully-managed service, E Display uses its proprietary signage-as-a-service platform, E Display SaaS, to manage the display content from a central location. The screens display a mixture of content ranging from Flash-based promotional and product information to the complete menu items offered by Famous Wok. A variety of menu layouts were created to let Famous Wok offer different products, prices and promotions.
Learn more about digital menu boards.
Topics: Digital Signage , Display Technology , Menu Boards
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Kyra is a singer/songwriter who plays original music in a unique style she calls "gospel-folk." Often referred to as a "Christian Joni Mitchell" she is a thoughtful writer who incorporates all kinds of styles into her songs from folk/rock to gospel, jazz, blues and reggae. Faith is definitely the motivation behind her music. Kyra has been making up stories and songs about things as far back as she can remember. She grew up in a family of artists, writers and teachers, and moved naturally into the art of playing guitar and storytelling at age 14. In 2004 she won 1st place in songwriting at the Babbie Mason Music Conference, and has since co-written and published songs with the Universal Music Publishing Group in Nashville, recorded several demo CDs, appeared on the television program, "Babbie's House," and recorded with the Bethel Writers' Group in Redding, California. Kyra has traveled and performed for many conferences, churches and events and was recently a judge for an American Idol-style competition, North Dekalb Mall Idol. She has played in many places on the east and west coasts, recently including a Military Base in Fort Benning, GA, events in Honolulu Hawaii and in BC, Canada. Kyra's most recent demo, that was released this December, features gospel
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A wildly successful alternative to traditional day spas—its more than 300 locations blanket 36 states and half a dozen countries—Planet Beach Contempo Spa is a futuristic relaxation station where state-of-the-art machines administer all the spa and tanning services. These friendly automatons sometimes replace familiar treatments, as in the Luminous facial, a light-based service that delivers blemish-busting results similar to those of a conventional facial. But other equipment maps out new spa territory entirely: the Hydro-Derma Fusion chamber moisturizes the whole body with nutrient-rich steam in order to offset the effects of a dry climate or a rear-end collision with a salt truck. Other machines whiten teeth, spray tan skin, and massage muscles.
Planet Beach operates on a gym-style membership system, meaning members purchase packages or pay flat monthly rates. As members spend more time at the spa, they get to know the helpful assistants who are always on hand to demonstrate how to use the equipment without activating its ability to cry.
Eclipse Tanning & Fitness tackles bodily beauty from a variety of angles. Six private tanning rooms and a full line of tanning lotions work to help clients achieve a summer glow. A team of personal trainers motivates clients to reach their fitness goals, and a certified massage therapist works to relieve stress and muscular tension. No matter which of the services clients come in for, they can take advantage of Eclipse Tanning & Fitness's complimentary towel and water-bottle service to wipe sweat off of their foreheads and rehydrate the hamsters that power the treadmill.
At The Beach Club, 14 rooms play host to tanning beds, UV and UV-free spray booths, and custom airbrush sessions. Five levels of tanning beds deliver the desired level of bronze, and are kept in tip-top shape thanks to an onsite trained factory tanning-bed technician, who is also The Beach Club's owner. In addition to gilding services, The Beach Club helps shed inches and wedged inner tubes with the fat-busting Fit body wrap, boosts collagen production with red-light-skin-rejuvenation-booth sessions, and eases aches with hydro massage.
With a focus on customer satisfaction and green ingredients, Simply Slim's wrap masters swathe clients in solutions designed to burn fatty tissues and sculpt figures. Their repertoire of eight different wraps swaddles guests in solution-soaked bandages, which can be targeted to stubborn, back-talking areas.
Newly slimmed silhouettes can also benefit from the center's full range of spa services. A custom spray-tanning formula, rejuvenating facials, and wax made with natural herbs all do their part to ensure complexions complement toned curves and anatomical T-shirts.
Haute Tan Airbrush Tanning's trained and certified airbrush technicians immerse skin of all hues in plumes of gentle bronzing mist. Rather than subject customers to mechanized tanning booths, their steady hands spritz skin evenly to prevent streaks and splotches. The bronzing boutique also stocks a collection of swimsuits to complement burnished bodies as they strut through sand or frolic through neighbors' sprinklers.
The tanning beds at Magic Tan Spa don?t just bronze skin. They also play music, dispense aromatherapy, and proofread any essays about how awful the sun is. Alternatively, VersaSpa spray-tanning booths cover bodies in a variety of UV-free formulas, depending on the type of tan clients want to achieve.


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Lists will be posted at Swinburne Ave and Glen St on Thursday 13th November for entries to the 2014 Ladies Singles Championship.
Please consider that Mens and Womens Championship's need to be completed before the year end.
Nov 12
Lists will be posted at Swinburne Ave and Glen St on Thursday 13th November for entries to the 2014 Ladies Singles Championship.
Please consider that Mens and Womens Championship's need to be completed before the year end.
Oct 26
Our Christmas Lunch, for bowlers, their families and friends will be held at Swinburne Avenue on Sunday 14th December 2014 at 12 pm. Cost will be $30 per person, free of charge for children under 5 years, and half price for 5 to 15 year olds..
The usual great celebation is assured, and hopefully we can persuade Santa to make an appearance.
Please add names to lists at Swinburne Avenue and Glen Street by 7/12/14, if more information is required contact Rae Graham (firstname.lastname@example.com)
Oct 15
Our second Coaching Session will be held on Monday 20 October, 5:30 – 6:30 (or later if anyone wishes to discuss further)
The topic this session will be:
Shot Selection and Head Building
Oct 14
Oct 13
The Committee decided that all members who play pennant would be eligible for the Club Singles.
IF YOU WISH TO OPT OUT OF THE SINGLES please advise before Thursday 16 October by email to Ian Smith.
The draw will be published on the evening of Thursday 16 October and the first two rounds are to be completed by Sunday 26th October.
For this reason the greens are reserved on Sunday 16th for all members to play games on that day.
Oct 08
Members and guests are invited to attend our Melbourne Cup Day celebrations at Swinburne Avenue on Tuesday 4th November at 10.30 am.
A drink and nibbles will be provided on arrival, followed by a social game of bowls till lunch time. (BYO lunch) As usual, prizes will be awarded to the best Cup Day hats, (Men and Women). Sweeps will be conducted on the Cup, and we hope the usual great day will be enjoyed by all attending.
All inclusive cost will be $20. Please put names on the lists at Swinburne Avenue and Glen Street.
Sep 25
List are available at Glen St and Swinburne Ave for pennant un-availability.
Please list your name where appropriate at your earliest convenience.
Sep 25
Thursday 2nd October
Pizza Night
All members welcome!
Come and enjoy the company of your fellow members and listen to a short talk from our new coach.
For catering purposes please names on list at Swinburne Avenue & Glen Street
Sep 25
George Newman, who played pennant for MCC last season and was a regular visitor when the Port boys played at MCC passed away last weekend.
His funeral will be held at Ern Jensen Funeral Home, cnr Bruce and Mary Sts, Preston, on Monday (Sept. 29, 2014) at 12.30 p. m. followed by Private Cremation.
Sep 24
To the players who have put there names down for the Sunday 28th intra club practice matches could you please be
there by 12.30pm for the teams to be read out. Roll up will be at 12.45pm, game starts at 1.00pm with 21 ends.
Thank you, Selection Committee.


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296 of 305 people found the following review helpful
5.0 out of 5 stars Good lessons in visual storytelling
Having taught screenwriting for UCLA's Writing Program as well as being a working screenwriter for the past 20 years I've always been asked what separates a professional screenplay from the thousands of amateur screenplays out there. One of the things aspiring writers lack is what we call "getting your chops", a term borrowed from musicians. Meaning real, live experience...
Published on September 10, 2005 by Jymack
140 of 164 people found the following review helpful
1.0 out of 5 stars Don't Let Good Reviews Fool You
I read many reviews before I commit to getting a book. Because this book was so well reviewed, I thought it would be perfect.
I am a screenwriter and I recently directed my first commercial. I turned to this book to expand my visual vocabulary. I expected to see many visual conventions explained in graphic detail that I could adopt or at least be aware about...
Published on November 5, 2009 by Real Director
Most Helpful First | Newest First
296 of 305 people found the following review helpful
5.0 out of 5 stars Good lessons in visual storytelling,
Jymack (Los Angeles) - See all my reviews
This review is from: Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know (Paperback)
Having taught screenwriting for UCLA's Writing Program as well as being a working screenwriter for the past 20 years I've always been asked what separates a professional screenplay from the thousands of amateur screenplays out there. One of the things aspiring writers lack is what we call "getting your chops", a term borrowed from musicians. Meaning real, live experience that simply can't be taught. And usually, the only way to get it is by having your material produced. Jennifer Van Sijll's book CINEMATIC STORYTELLING, is the first book I've read to take an intensive look at what takes years and lots of produced credits to learn. By using written scenes from movies, coupled with actual film scenes printed alongside, Jennifer teaches visual storytelling in a way few books have done.
What I learned early on in this business is that there are several drafts after the one you sell. Many of us refer to them as the producer's draft, the director's draft, the actor's draft and the crew's draft. And you will make changes in all of those areas for reasons of character development, budget, schedule, location and ego.
Do writers really need to know about how films are shot and edited, even how sound can enhance a screenplay? The answer is yes and Jennifer's book, very appropriately titled provides invaluable information, something all writers whether aspiring ones or seasoned pros like myself need to consider. What she illustrates are the various parts of a movie and how they relate to the screenplay. The book is divided into chapters with topics like framing, locations, sound effects, transitions, camera motion and lenses, lighting, props and many more. Each chapter has many specific written scenes and still photo clips from well-known movies
Consider transitions, difficult for aspiring writers and even some pros. Learning to write good transitions between scenes rarely is taught in writing courses, and often left to the director, producer or editor. CINEMATIC STORYTELLING presents the reader written scenes from Citizen Kane, Fatal Attraction and many more movies, illustrating how sound and visual transitions are used in a finished film. A good writer can add smooth transitions into their screenplay and make their screenplay read more like a movie and more likely to be read. I've always been told my screenplays are easy reads, meaning that the reader is quickly engaged in the story, and this is directly due to my knowledge of visuals including transitions, close-ups, wide shots and sound cues. The secret here is writing it like it's part of the natural organic form of the screenplay rather than clumsy, noticeable descriptions. You don't have to write CLOSE UP, to indicate one.
Experience teaches the working writer and Jennifer's book is a solid attempt at dealing with this interconnected world of writing and making movies using many classic movies like Citizen Kane, Chinatown, The Searchers (my personal favorite), as well as contemporary movies like Pulp Fiction and lesser-known indie films including the cult favorite Harold and Maude to give a really good balance to her observations. She has focuses on framing, sound effects, transitions, camera motion, lighting, even camera lenses, which may not sound like anything a writer need know. However, a working knowledge of all those elements can and will contribute to a well-written screenplay.
I've always taught students that screenplays should be entertaining to read, in the same way movies should be entertaining, no matter how serious the subject. Breaking the rules is fine once you've sold your big feature, but don't forget the old saying, "you gotta learn the rules before you can break them". You have to write some thing that readers will want to read, to turn the page, to "see the movie". By knowing what directors, editors and even actors will need to interpret your screenplay, you can write a richer, clearer story. It's one of the best ways to protect the story you want to write, a lesson that took me years to learn. There are two things to remember when you're writing a screenplay, write a good story and write a good movie. Jennifer's book will help you make your screenplay more like a screenplay and will be useful time and time again.
149 of 161 people found the following review helpful
5.0 out of 5 stars Review for "Cinematic Storytelling" that appeared on Microfilmmaker.com,
Jeremy T. Hanke "Jeremy Hanke" (Lexington, KY) - See all my reviews
This review is from: Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know (Paperback)
I recently reviewed a great debut film called 'Ascension' from a new microcinema director. The story and shooting style were fairly direct and straightforward; but--as this movie showed--just because the script didn't call for Michael Bay-style camera moves, it didn't mean that the shots had to be boring! A lot of beginning filmmakers (and even some that have more experience) can feel that they have to have lots of swooping crane or dramatic steadicam shots in order to have a great-looking movie. This isn't true. In reality, if you don't know how to effectively use the camera in the first place (visually speaking, not technically), you have no business putting it on a crane or steadicam; these devices cannot fix a visually uninteresting or inappropriate shot.
Enter Cinematic Storytelling. Using some of the most iconic and well-known films as examples, Jennifer Van Sijll explains how to use visual composition, lenses, editing, sound effects, transitions, camera position, and much more to give emphasis and convey information and emotion in your movie.
One of (the many) cool things about this book is that you don't have to have had any prior experience working with cameras to be able to understand the material. If you can read English and can look at the picture examples given (still photos from various films), then you can understand the concepts conveyed in the book.
Concepts and techniques (such as montages, intercutting, visual foreshadowing, etc.) are defined and clarified; even very subtle techniques that are almost unnoticeable in movies are pointed out and their effect explained. (For example, in describing the X-axis in screen direction, Van Sijll notes:
"As Westerners we read left-to-right. If you rented fifty studio-made movies, there's a good chance that the 'good guy' will enter screen left every time. When the 'good guy' moves left-to-right, our eyes move comfortably. Subconsciously, we begin to make positive inferences. Conversely, the antagonist usually enters from the right. Since our eyes aren't used to moving from right to left, the antagonist's entrance makes us uncomfortable. The screenwriter exploits this by transferring our learned discomfort to the characters" (4).
The author then goes on to show stills and a script excerpt from Hitchcock's Strangers on a Train to illustrate the effect of this principle.
Depth of Information
The book covers a tremendous amount of information, starting with the conventions of stationary camera techniques and progressing through editing, sound, lenses, camera movement and positioning, lighting, and finally, environment (location, wardrobe, props, etc.). However, each topic has still photos of at least one movie that exemplifies that certain technique, as well as an explanation of its dramatic value. This latter part is essential, because it's pointless to just talk about certain camera shots, effects, movements, etc. if you don't explain why they are important or what they are effective for. Additionally, the techniques are explained in the context of the movie photos, thus illustrating their effect.
[Quick side note: Jennifer Van Sijll draws from both old and new movies as examples. From Fritz Lang's 1927 milestone Metropolis, to Citizen Kane, Psycho, Pulp Fiction, The Piano, and Requiem for a Dream, all of the films she picks are excellent for viewing. You might want to add the "example movies" in this book to your Netflix or Blockbuster rental list. (Not like it's probably already long enough as it is!]
Interest Level
I found that it was very easy to maintain interest in this book. Truth be told, I was rather skeptical at first when I was informed that I'd be reviewing a book entitled Cinematic Storytelling; I was expecting a textbook-sized tome with simple drawings and technical words. Not so. The format is very easy-to-follow; each chapter has approximately between 4-10 sections, with each section usually covered in one full page. This makes for quick reading and easy comprehension. There are no big, technical-geeky words to wade through, and the explanations and summaries are brief, but detailed and thorough.
This book is definitely a must-have investment for a filmmaker; whether you are just starting your first short or are working on your tenth full-length feature, this is a book you'll want to have within reach while planning your shot sheets and/or storyboards. And you'll probably find yourself coming back to it again and again with each new project you do.
Value vs. Cost
While the listed retail price this book being $25, it is worth far more for the information and ideas it provides. If you've never taken any kind of cinematic layout class (and even if you have!) this book is well worth the price. This book helps you to make the maximum impact with your main artistic tool: the camera itself. Just like writers understand the impact of their words, and painters understand how colors are used on their canvas, so must the filmmaker understand and know how to use the camera without relying solely on special effects and equipment.
Overall Comment
This book belongs on the shelf of anyone interested or involved in filmmaking, storyboarding, camerawork, cinematography, producing, and/or directing. Too many filmmakers--both microcinema and "big Hollywood"--don't fully understand the purposes and implications of various shots; this book will help you make the best use of your time, equipment, story, planning, and ideas.
Understandability - 9
Depth of Information - 9.5
Interest Level - 9.0
Reusability - 10.0
Value vs. Cost - 10.0
Total Score - 8.3
Reviewed by Kari Ann Morgan
32 of 33 people found the following review helpful
5.0 out of 5 stars Writers, look through someone else's eyes.,
This review is from: Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know (Paperback)
What a fascinating book for a scriptwriter to read! At first, you think "This isn't meant for me--it has chapters on camera lenses and camera positions, and wardrobe and sound effects! That's stuff directors and cinematographers and other people work with." From understanding the medium you're working in, comes better work.
Jennifer Van Sijll's Cinematic Storytelling provides 100 film conventions (as mentioned in the full title) in concise, two-page examples. The pages are index card-like in their brevity, but are so well-done there is no need for extra words. First, she lists the filmmaking element, such as "Motion," and gives an explanation. Next, she gives a film example, such as E.T., and explains the scene pictured in stills and how the particular scene conveys the element. If needed, she lists a script note or two and then explains what the dramatic value is of the element. Lastly, she lists a few other films that can serve as examples. The page with movie stills also contains the scene's script passage to show how the element was written. A writer will find the pieces of script excellent examples from which to learn.
Van Sijll's layout and logical progression through the different elements of film, from frame composition to locations and lighting, are easy to follow and almost Zen-like in their simplicity. Despite that simplicity, they do make an impact and stay with you long after you've put the book down. You'll find that when you sit down to write, you'll try and put those elements into your script with just a few well-chosen words (so not to look as if you're trying to direct). There are no exercises or homework and there is no general format information or advice on what the latest trick is to get your script seen. This is straightforward instruction presented in an easy-to-follow way.
After each chapter, Van Sijll inserts a "Chapter Credits by Film Element" index where you'll find a segment on each film she's highlighted. Within the segment, you'll find its release date, writer, director, production company and distributor. It's an unconventional scriptwriting book, for sure, and definitely worth checking out. Van Sijll teaches at San Francisco State University, holds seminars, and also works as a script analyst for producers. I enjoyed this book thoroughly.
140 of 164 people found the following review helpful
1.0 out of 5 stars Don't Let Good Reviews Fool You,
Real Director "Jimmy" (Los Angeles, California United States) - See all my reviews
This review is from: Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know (Paperback)
I read many reviews before I commit to getting a book. Because this book was so well reviewed, I thought it would be perfect.
I am a screenwriter and I recently directed my first commercial. I turned to this book to expand my visual vocabulary. I expected to see many visual conventions explained in graphic detail that I could adopt or at least be aware about.
Don't let the reviews fool you. This book is academic jargon. Deconstructionist dribble. Postmodern silliness. It is not -- I repeat, NOT -- practical cinematic storytelling devices put on paper by a working professional, but reads more like an undergraduate film student's take on Citizen Kane, Raging Bull, etc...
If you like film criticism, great. But this book claims to be a resource for screenwriters hoping to use a richer visual technique, or for directors who need to know the most common shots and visual conventions.
So you understand what I am saying, understand: the very first chapter/point is "The Horizontal Axis." Our young author -- with no real experience -- then goes on to relate how often times good characters move from left to right, and villains move from right to left. If you don't see how annoying and impractical and just plain theoretical this book can be, let me choose another example.
Chapter 14: Triangular Composition.
Using the film "Witness" as an example, our naive author goes on to show how the filmmakers used triangles to show a love triangle between three central characters. First of all, there isn't any use of triangles in any obvious way, even in the picture she chose. Second of all, because she overlays the screenplay, you can see how there is no notion as such in the screenplay as well. Worst of all, the author then claims that the other elements in the frame --a birdhouse, picket fence -- are themselves triangular and part of the thematic message.
This is the BS that they taught me in college English courses. This is what they call deconstructionism where the author's intent has nothing to do with a reader's ability to derive whatever meaning they want.
If you are looking for a good practical shot guide, or anything to expand your moviemaking technique, do not get this book. It is not written by a filmmaker. A PA would no more about film than this woman.
If you like post-modern crap, then get this book. I wish I could get rid of it.
24 of 25 people found the following review helpful
3.0 out of 5 stars Can't completely recommend it,
Darkmatters "Stop Motion Animator and filmmaker" (Edge of everywhere) - See all my reviews
This review is from: Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know (Paperback)
I can't say I completely recommend it, at least not until after reading more informative books about directing and cinematic composition such as Film Directing Shot by Shot: Visualizing from Concept to Screen (Michael Wiese Productions) and Film Directing: Cinematic Motion, Second Edition, both by Steven D Katz and The Filmmaker's Eye: Learning (and Breaking) the Rules of Cinematic Composition by Gustavo Mercado. I'm actually a little surprised at all the overwhelmingly positive reviews of this book and thought it needed a bit of more critical appraisal.
It seems to be part of a series of books all made in the "widescreen" format, I think trying to cash in on the HD craze. The layout of these books is similar to the 16:9 HD aspect ratio, and the books are designed to be visually appealing, but seem to be very sparse on information. There's a lot of blank white space, and what few words there are suffer from a stiffly formulaic presentation loaded with pointless repetition. Each page only features a few brief paragraphs and feels like it could have been developed a lot more. And then to waste more space, each chapter pointlessly lists the credits for each movie mentioned in that chapter - what's the point of that? I wouldn't mind it if it seemed the actual descriptions of the cinematic conventions themselves -- the meat and potatoes of the book - were more fully presented first, but it seems the credits listing eats up valuable space that should have been devoted to more fully developed discussion of those conventions.
I'm not completely panning the book... it IS a good brief introduction to "100 cinematic conventions every filmmaker should know". But that's all it is. To make an analogy, it's like a book that lists 100 great ingredients with very brief notes as to how each tastes and what kind of dish it can be used in, but has no recipes in it. The books mentioned above have those recipes... they go into great detail about staging and blocking and how to arrange actors and scene elements for various effects. The information in those books is presented in such a way that you come out with coherent understanding of how to set up certain types of scenes.
Once you have a grounding in that kind of detailed info, then a book like Cinematic Storytelling is a good addition... some additional ingredients to add to your dishes once you know how to cook them. But that listing of ingredients does no good until you know some recipes.
10 of 10 people found the following review helpful
5.0 out of 5 stars EXCELLENT REMINDER FOR SCREENWRITERS,
Matthew Terry (Seattle, WA USA) - See all my reviews
This review is from: Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know (Paperback)
Years ago I placed two stickers on my computer monitor. One sticker said: "You are a storyteller." And the other sticker said: "Think Visually." The first sticker was to remind me that, in my simplest form, all I wanted to do was tell stories to move and entertain people. The second sticker was to remind me to not be so clinical in my writing and think visually as to how I want the scene to look; to look at other approaches, VISUAL approaches, so I don't become a static writer writing just the basic words to get the scene across.
Years later, those stickers are gone but the core ideas are not.
It is the most common thing I write on a script that I am editing: "How do you show?" The character is angry. "How do you show?" The character wears a t-shirt. "Does it say anything?" The character drives up in a car. "What kind of car is it?" And, more often than not, the writer looks at me with a blank look on their face to say: "You expect me to put that in?" "OF COURSE I EXPECT YOU TO PUT THAT IN! AREN'T YOU A WRITER?"
Then the argument comes back to me: "I've heard that Producers don't want lots of detail." "I've heard that Producers look at how much white space there is before they'll read the script." "I'm trying to keep it as basic as possible." Which tells me they want to keep it BORING! You are a WRITER. WRITE!
"Cinematic Storytelling" is a book that rubber stamps my continued arguments with writers. It breaks down, by explanation, script examples and photos, how a scene is put together visually - and all the different combinations there-in. The subtitle to the book is: "The 100 Most Powerful Film Conventions Every Filmmaker Must Know"
Jennifer Van Sijll, using examples from the silent film "Metropolis" to Quentin Tarantino's "Kill Bill 1" (and everything in between) explores those 100 Powerful Film Conventions in great detail.
The book is broken up in 17 chapters, each with an introduction and then within those chapters she breaks down each convention. For instance, Chapter 5 deals with "Time" while Chapter 9 deals with "Lenses." As you read through this book she provides you with an explanation to the convention, she will often provide the bit of the script that refers to that convention, and then photographs from the scene to reinforce the convention.
In the chapter on "Lighting" (Chapter 12) she breaks down "Motion Lighting" showing how the opening scenes of ET used lights in motion to heighten the suspense of ET running through the forest. First, with the truck head-lights and then, secondly, with the flashlights the pursuers use. She also re-prints the part of the script where this scene is described to show you, the writer, how it translated from the page to the screen. There are quite a number of "script segments" that are, of course, different from the draft or shooting script to what was actually shot, printed and shown. Did you know the opening to the film "Adaptation" was actually in the 2nd Act of that film?
Besides the above, she also includes details on each example she used at the end of each chapter: Title, date, writer(s), director, production company and distributor. I think this information would be very helpful if you're doing research on these persons or the process.
I found myself, as I read through this book, thinking about the films I had most recently seen trying to find examples of what she was referring to. I was questioning some of my favorite films confirming a lot of what she explains in the book. These conventions really do add to the whole story-telling process and they do help the page "come alive" on the screen.
There are two complaints I have with this book:
1. 90% of the script portions she uses come from films that were directed by the writer. Joel and Ethan Cohen ("Fargo" and "Barton Fink"), Orson Welles ("Citizen Kane"), Luc Besson ("The Professional), etc. Obviously their vision is going to be more "complete" because they are directing what they have written. What I feel would have been more beneficial, especially for amateur screenwriters, is to show how a "Spec" Script was modified from the written version to what the director envisioned. Did the sparse description turn into a riveting scene because of what the director did with the script? Or was there enough on the page for the director to work with? As an amateur writer there is a "less is more" approach to writing which, in my opinion, saps the writer from being creative and stamping their script with a particular vision. A few more examples of this would have been helpful.
2. The other complaint piggy-backs the first. Many of the script examples she provides came from screenplays that were obviously shooting scripts or scripts that had been through the Hollywood mill. Jennifer explains in the "Note on Credits and Script Sources" how she came to the scripts and what she had to work with. I think it's excellent to have the script portions in the book and extremely helpful to the reader - but it also may confuse new writers who suddenly feel they have to include scene numbers or every single camera angle. She DOES note when the script portion is a draft or a shooting script but I still think this could add to some confusion.
But how does this book help that writer who's afraid a Producer will balk when they see a camera movement or a highly detailed description? What I feel this book DOES do is confirm that writing a screenplay is more than just typing: "Joan walks into a bar." And turns it into: "Joan, mid-thirties and wearing a slinky red dress, slinks into a smoke-filled sports bar." If a Producer doesn't get more drawn in with example number two - then you probably would not want to work with that Producer.
Overall this is an excellent book which goes beyond the typical screenwriting books. There is no mention of proper formatting. No talk of three act structure. The book challenges you, the storyteller, to look at your script in a visual way. To push those visual clues and see how you can write a script and add those images that fit YOUR vision, too.
Screenwriters, whether amateur or not, need to be reminded that they are, indeed, storytellers and they must tell their stories visually. This book helps you explore those visual options.
"Cinematic Storytelling" reminded me of the basics of screenwriting: "Telling a story in a visual way." It's a lesson all screenwriters need to learn - it's a lesson all screenwriters need to remember.
5 of 5 people found the following review helpful
5.0 out of 5 stars MARIE JONES, ABSOLUTEWRITE.COM BOOK REVIEWER WRITES:,
Bookdynamo (Rev. Marie Jones) - See all my reviews
This review is from: Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know (Paperback)
The language of cinema gets full exposure in this comprehensive reference guide that takes a look at 100 years of film history and technique, focusing on elements such as lighting, editing, sound and direction as key tools for powerful storytelling.
Most of us think of visual effects and dialog as the most obvious tools of communication when it comes to film, but a deeper examination of what makes a good film great reveals true artistry that goes beyond what is being said and done on the screen. Author Jennifer Van Sijll, a screenwriting teacher at San Francisco State with an MFA from USC's Dept. of Cinema-Television, has undertaken a huge task here, compiling dozens upon dozens of examples of how the use of sound, camera motion, angles and picture quality all serve to enhance the magic of cinema.
Chapters cover the gamut from screenwriting and directing technique to the use of space and dimension, frame composition, editing, using the expansion and contraction of time, sound effects, scene transitions (both audio and visual), lighting, use of color, props, camera motion, differing camera lenses, where to position the camera, wardrobe and locations and so much more. In fact, if it isn't included in this virtual encyclopedia of film technique and artistry, it must not exist.
Each chapter includes plenty of film grabs from the most memorable films in history, from "The Graduate" to ""Pulp Fiction" to "Citizen Kane," as well as photographs that compliment the description and give the reader a more visual sense of the technique's effect. There are also descriptions of the dramatic value achieved with each technique, as well as actual pages from the screenplays that drive the point home. Sijll also includes suggested reading and additional films to view that compliment the elements being discussed, so filmmakers can continue to explore the concepts and techniques outside of the content of this book.
Making films is all about telling a story and that is not just done with words on a page, or even pictures on a screen. There are so many elements involved in the creation of a film, and understanding how to use those elements can truly make the difference between a movie and a masterpiece. For anyone interested in a career in film, "Cinematic Storytelling" is a priceless guide to creating memories on screen that will last a lifetime and beyond.
9 of 11 people found the following review helpful
5.0 out of 5 stars Spectacular,
Fred "Fred" (ID, USA) - See all my reviews
This review is from: Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know (Paperback)
To call me a newbie screenwriter would be to insult newbie screenwriters. I'm a fledgling, nascent, inchoate, and very bad screenwriter. And if you would read the mere one-page script I wrote yesterday, you'd call me some choice names but I daresay 'screenwriter' will not be one of the myriad.
That said, this is such a great book, the highest quality through and through, from the binding to the clear type and the clear picture examples of each shot type. I found myself reading this like I would an easy novel: it was literally a page-turner and filled with so much information, and information I could immediately start using.
With each example, I popped in the respective DVD and found the particular shots and marveled at how the author's description and subsequent interpretation of the scene was spot on, a real "Aha!" moment on each page. In my long and very arduous road to screenwriting mediocrity, I believe 'Cinematic Storytelling' will be a staunch ally, immovable from its perch as a resident of my reference bookshelf.
4 of 4 people found the following review helpful
4.0 out of 5 stars A Solid Shelf Reference,
Michael Mandaville "Author: Citizen Soldier H... (California, USA) - See all my reviews
This review is from: Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know (Paperback)
As a Line producer/Unit Production Manager (DGA) in the film industry, I wish more first time directors - and even seasoned ones - had books like this sitting on their shelves. They might learn a few more techniques about planning shots and informing the crew to make for a more efficient, cost-effective production. That time and money could always be used to make the film better in another aspect. Unfortunately, some directors believe that giving information to the Keys and the crew gives away their Directorial vision. They are 'organic' directors which means that they have the brains of a potato. Sharing the vision gets a better vision from the Keys and the crew. Worthwhile Reference.
19 of 25 people found the following review helpful
3.0 out of 5 stars Flawed format. Wait for DVD!,
Daniel Benson (Klamath Falls, Oregon) - See all my reviews
This review is from: Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know (Paperback)
I certainly agree with the existing reviews regarding content, and have nothing to add in this regard.
HOWEVER, there are two problems:
1. The book measures 7 1/2" tall and 11" wide. This makes it hard to hold and fits poorly on the reference bookshelf where it belongs.
2. The book mentions an upcoming DVD. This would a MUCH better format than book.
This book tries to illustrate various cinimatographic points with still shots from exemplary movies. Sometimes these still shots cannot illustrate the point adequately, while a video clip would be TREMENDOUS at illustrating the point. (For example: various transitions: How in the heck can you illustrate transitions with still photos?!)
WAIT FOR THE DVD. It should be TREMENDOUS,and well worth the purchase.
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Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know by Jennifer Van Sijll (Paperback - August 1, 2005)
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Police arrest Marquez Martin and Jordan Maxwell in fatal Ga. double shooting
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Three Macon teens have been arrested in the deaths of 2 men who were found shot last week.
Monroe County Sheriff J.C. Bittick Monday said 19-year-old Marquez Martin and 18-year-old Jordan Maxwell have been taken into custody. Bittick says a 16-year-old girl has also been arrested and police are still searching for a 17-year-old boy in connection with the slayings.
Authorities have said 36-year-old Russell Jacobs and 40-year-old Pittman Woods were found dead at their house by Woods' father May 7.
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