Q3772 Recommended Books

Jeremy Thorn and his wife, Katherine, have just welcomed the newest member of their family to the their beautiful son Damien. But as the boy grows, so does the terror surrounding him. Fatal accidents, suicides, and unexplained violence seem to follow the Thorns wherever they go—but why? And how can Damien have anything to do with the carnage and bloodshed? He is only a child. But Damien Thorn is like no child on Earth. He bears the mark of the beast. And his time is at hand.

An autobiography of controversial German dancer, actress and eventually Hitler's top national film executive, Leni Riefenstahl.

Nineteen-year-old Harold Chasen is obsessed with death. He fakes suicides to shock his self-obsessed mother, drives a hearse, and attends funerals of complete strangers. Seventy-nine-year-old Maude Chardin, on the other hand, adores life. She liberates trees from city sidewalks and transplants them to the forest, paints smiles on the faces of church statues, and “borrows” cars to remind their owners that life is fleeting— here today, gone tomorrow! A chance meeting between the two turns into a madcap, whirlwind romance, and Harold learns that life is worth living, and how to play the banjo. Harold and Maude started as Colin Higgins’s master’s thesis at UCLA film school before being made into the 1971 film directed by Hal Ashby. The quirky, dark comedy gained a loyal cult following, and in 1997 it was selected for inclusion on the National Film Registry at the Library of Congress. Higgins’s novelization was released with the original film but has been out of print for more than thirty years. Fans who have seen the movie dozens of times will find this a valuable companion, as it gives fresh elements to watch for and answers many of the film’s unresolved questions.

In great shape

Orca-the killer whale-is one of the most intelligent creatures in the universe. He hunts in packs, like a wolf. Incredibly, he is the only animal other than man who kills for revenge. He has one mate, and if she is harmed by man, he will hunt down that person with a relentless, terrible vengeance-across seas, across time, across all obstacles.

German cinema of the Third Reich, even a half-century after Hitler's demise, still provokes extreme reactions. "Never before and in no other country," observes director Wim Wenders, "have images and language been abused so unscrupulously as here, never before and nowhere else have they been debased so deeply as vehicles to transmit lies." More than a thousand German feature films that premiered during the reign of National Socialism survive as mementoes of what many regard as film history's darkest hour.As Eric Rentschler argues, however, cinema in the Third Reich emanated from a Ministry of Illusion and not from a Ministry of Fear. Party vehicles such as Hitler Youth Quex and anti-Semitic hate films such as Jew Süss may warrant the epithet "Nazi propaganda," but they amount to a mere fraction of the productions from this era. The vast majority of the epoch's films seemed to be "unpolitical"--melodramas, biopix, and frothy entertainments set in cozy urbane surroundings, places where one rarely sees a swastika or hears a "Sieg Heil."Minister of propaganda Joseph Goebbels, Rentschler shows, endeavored to maximize film's seductive potential, to cloak party priorities in alluring cinematic shapes. Hitler and Goebbels were master showmen enamored of their media images, the Third Reich was a grand production, the Second World War a continuing movie of the week. The Nazis were movie mad, and the Third Reich was movie made. Rentschler's analysis of the sophisticated media culture of this period demonstrates in an unprecedented way the potent and destructive powers of fascination and fantasy. Nazi feature films--both as entities that unreeled in moviehouses during the regime and as productions that continue to enjoy wide attention today--show that entertainment is often much more than innocent pleasure.

A decent copy with no markings. Medium wear evenly. A typical used book. Several photograhic sections.

Raised within the confines of a system that has done nothing but provide him with pain, Alex Hamilton's frustration and anger are completely natural--and inherently dangerous.Since his parents split up, Alex has been constantly running from foster homes and institutions, yearning to be with his father, a broken man who cannot give his son the home he desperately needs. The only constant in Alex's life is no-good, criminally-minded peers, who are all too ready to plant illegal ideas in an intelligent mind. Bunker writes, "His unique potential would develop into unique destructiveness."

Explores the epic human drama behind the making of the five movies nominated for Best Picture in 1967-Guess Who's Coming to Dinner, The Graduate, In the Heat of the Night, Doctor Doolittle, and Bonnie and Clyde-and through them, the larger story of the cultural revolution that transformed Hollywood, and America, forever.

The work started in the 1940s is written in the vernacular of the period. From the volume -As in the case of some other titles in the United States Army in World War II series, Ulysses Lee's The Employment of Negro Troops has been long and widely recognized as a standard work on its subject. Although revised and consolidated before publication, the study was written largely between 1947 and 1951. If the now much-cited title has an echo of an earlier period, that very echo testifies to the book's rather remarkable twofold that Lee wrote it when he did, well before the Civil Rights movement of the 1960s, and that its reputation—for authority and objectivity—has endured so well. Recognizing that the story of Negro participation in military service during World War II was of national interest as well as of great value for future military planning, the Assistant Secretary of War in February 1944 recommended preparation of a book on this subject. The opportunity to undertake it came two years later with the assignment to the Army's Historical Division of the author, then a captain and a man highly qualified by training and experience to write such a work. After careful examination of the sources and reflection Captain Lee concluded that it would be impractical to write a comprehensive and balanced history about Negro soldiers in a single volume. His plan, formally approved in August 1946, was to focus his own work on the development of Army policies in the use of Negroes in military service and on the problems associated with the execution of these policies at home and abroad, leaving to the authors of other volumes in the Army's World War II series, then taking shape, the responsibility for covering activities of Negroes in particular topical areas. The volume opens with background chapters recalling the experience of Negroes in the Army in World War I, the position of Negroes in the Army between wars, and Army planning for their use in another great war, as well as the clash of public and private views over employment of Negroes as soldiers. It continues with chapters on the particular problems associated with absorbing large numbers of Negroes into the Army—the provision of separate facilities for them, their leadership and training difficulties, their physical fitness for service, morale factors influencing their eagerness to serve, and the disorders that attracted so much attention to the problems oftheir service. The concluding eight chapters are concerned principally with the employment of Negro soldiers overseas, in ground and air combatunits and in service units.

A journalist's twenty-year fascination with the Manson murders leads to shocking new revelations about the FBI's involvement in this riveting reassessment of an infamous case in American history. Over two grim nights in Los Angeles, the young followers of Charles Manson murdered seven people, including the actress Sharon Tate, then eight months pregnant. With no mercy and seemingly no motive, the Manson Family followed their leader's every order-their crimes lit a flame of paranoia across the nation, spelling the end of the sixties. Manson became one of history's most infamous criminals, his name forever attached to an era when charlatans mixed with prodigies, free love was as possible as brainwashing, and utopia-or dystopia-was just an acid trip away. Twenty years ago, when journalist Tom O'Neill was reporting a magazine piece about the murders, he worried there was nothing new to say. Then he unearthed shocking evidence of a cover-up behind the "official" story, including police carelessness, legal misconduct, and potential surveillance by intelligence agents. When a tense interview with Vincent Bugliosi-prosecutor of the Manson Family, and author of Helter Skelter-turned a friendly source into a nemesis, O'Neill knew he was onto something. But every discovery brought more questions:Who were Manson's real friends in Hollywood, and how far would they go to hide their ties?Why didn't law enforcement, including Manson's own parole officer, act on their many chances to stop him?And how did Manson-an illiterate ex-con-turn a group of peaceful hippies into remorseless killers?O'Neill's quest for the truth led him from reclusive celebrities to seasoned spies, from San Francisco's summer of love to the shadowy sites of the CIA's mind-control experiments, on a trail rife with shady cover-ups and suspicious coincidences. The product of two decades of reporting, hundreds of new interviews, and dozens of never-before-seen documents from the LAPD, the FBI, and the CIA, CHAOS mounts an argument that could be, according to Los Angeles Deputy District Attorney Steven Kay, strong enough to overturn the verdicts on the Manson murders. This is a book that overturns our understanding of a pivotal time in American history.