Video Books

And one of the ten most impressive people I've ever read about, period. I can't say too much about how awed I am of the life of Ida B. Wells. Had I been her contemporary I would have worn out my knees trying to propose to her until she married me. McMurry's book shows how this woman has been short changed by history due to her uncompromising belief in African American equal rights and self-respect. She and people like another African American who doesn't get his due, Monroe Trotter, have been marginalized merely because in their day they demanded the same degree of self-respect and political and educational rights that Caucasians of every stripe took for granted. They were considered "radical" and "militant" for not compromising the way virtually all other African American leaders did during their era. Their marginalization goes a long way in explaining why the African American persona has never featured the degree of chutzpah and daring it has needed for us to advance farther than we have. Instead, all of us have been too heavily influenced by leaders promoted over Wells-Barnett and Trotter, who instilled caution within us as a people, virtually as second nature. Not even W.E.B. Du Bois conducted himself with the degree of pride and fortitude that people like Wells-Barnett and Trotter did. McMurry's book deserves a place on all reading lists in American history classes so that everyone can truly understand the troubling forces that made this country what it is today, and the manner in which people like Wells-Barnett were purposely silenced as part of a plan to keep African Americans oppressed.

I came away from this book with new respect for Wells, and her courage. I was overwhelmed with sadness after reading some of the details of the lynchings and the effect on the survivors. The book contains an excellent analysis of the real reason for many lynchings:economic competition.

McMurray's biography of Ida B. Wells-Barnett is a rare triumph. Wells-Barnett was a courageous American whose valor is depicted in full color. All too frequently, when there is a discussion of the impact of race, there is a mistaken assumption that black males comprise the affected population. Similarly, when gender is raised as an issue, the false assumption is that white women are the only ones to be affected. Wells-Barnett was an American woman of African descent who fought the societally-mandated strictures of race and sex until her death. I am emboldened by her deeds since too many of the same strictures still exist. I applaud McMurray for her scholarship in this biography's portrayal of the life of Wells-Barnett. This book is definitely recommended.

This book is interesting and easy to read, but hard to take. Ida B. Wells-Barnett was a complex person: incredibly smart, brave and strong, but at the same time, prickly and ultra sensative.The book also puts America's current racial and gender problems into perspective, showing us that we haven't come very far from the late 19th century's attitudes toward and treatment of African-Americans and women. This book is a must-read for anyone who cares about a great American or wants to face and learn more about America's shameful history. That said, the author's style makes it easy to read. Amazingly enough for a scholarly biography, I would often find myself reading late into the night because I couldn't put it down.

This is an excellent appraisal of Tolkien's work and its reverberance throughout contemporary culture. Just as remarkably, it is very distinct from the growing body of Tolkien scholarship, offering an original perspective and context for the evaluation Tolkien's complex and beloved works. That said, there are only two points I can add to the reviews already here, and they both might easily be worthless.

First, Rosebury expends a good deal of thought and energy articulating the manner in which the literary establishment categorizes, accepts or rejects "The Lord of the Rings". As in a similar attempt by Marjorie Burns, this opening chapter is excellent in its linearity, breadth of information and depth of context. But in the end it shapes up as either preaching to the choir or another apologia to the critics who refuse to apply their own attention to the work. I'm happy that Rosebury seems unable to admit that the only threshold to cross in accepting or rejecting Tolkien is, right or wrong, simply one of taste -- even though such acknowledgment does nothing to diminish Tolkien's accomplishment. And to be fair to those critics who do not grasp what a singular accomplishment The Lord of the Rings is, I have to confess that despite the esteem I have for that work it is possible to see the opposition's point. The analogy might be this: while much of 20th Century literature is safely viewed as the work of artists, Tolkien's work -- implicated as it is with his professorial status in language -- can be seen from that vantage as the accomplishment of a highly gifted engineer.

Just as some self-taught painters are categorized as "outsider artists" there is no shame in leaving Tolkien --to his credit -- an outsider. Take into account his late-in-life doubts about "creativity" (not to mention his willful addition of the prefix "sub") and we see a very Catholic doubt that was most recently repackaged and forcibly dragged into the 21st Century by no less a figure than Pope Ratzinger in his 2006 screed against this innately human pursuit. And I doubt the distinction would mean much to Tolkien personally -- we owe at least as much to the brilliance and creativity of engineers as we do artists and often the distinction can be artificial.

Second, Rosebury is manifestly at his best in evaluating the Jackson film version of the book. But there is another nagging nit here, and that is Rosebury's willingness to chime in with the conventional wisdom claiming dramatic necessity concerning some of Jackson's less questionable indiscretions with the text. Perhaps we all need to understand that the more questionable indiscretions were decided purely for reasons of commerce, not for drama. The amount of money involved in the production of Jackson's three films -- and the volumes of profit they were designed to generate -- is all you need to know about what shaped such decisions in making the film version of the book. There is certainly no legitimate cinematic reason for the distortions: you need look no further than the films which comprise the art house canon to see that cinematic form is more pliable than Hollywoodland would have you think. Resorting as Jackson's films do to overt and routine cliff-hangerism, the only explanation remains this: neither cinematic nor dramatic concerns but Popular Cinema and Commercial concerns were the guideposts. A book as eccentric and disdainful of contemporary forms as "The Lord of the Rings" does not demand to be made into a film of such nakedly conventional form. Place that in the context of Tolkien's own views on matters of either commerce or form and you can reasonably conclude that the only "Return" of importance here was good ol' ROI -- "Return on Investment" safely remains King.

Don't get me wrong: I love the books and I appreciate and enjoy the films. Rosebury makes a good argument in support of the idea that the film versions will not ultimately subsume the text, as has been the outcome in other cases where movies dumb down their sources. In the end, "Tolkien: A Cultural Phenomenon", is one of the clearest and most contemporary assessments of the works and their influence: highly recommended to anyone wishing to delve into the text and the cultural interactions with it.

Tolkein: A Cultural Phenomenon is a unique offering of literary criticism of Tolkein in that it includes and integrates recent cinematic and other media related criticism in its analysis.Even more intriguing to the game oriented youth set of Tolkein enthusiasts, Tolkein: A Cultural Phenomenon contains an exhaustive sampling and review of many Tolkein based computer and video games, as well as card and role playing games. These he categorizes under relabeling assimilation, imitation, and adaptation, and his reduction and analysis of the game phenomena is riveting, insightful, and direct. Rosebury's view at times seems almost hyperfocussed, not that this is a bad thing. Of very great interest to me and many other readers is his review of the Peter Jackson "Lord of The Rings" award-winning movie series. I would say his criticism is not all positive, but also not unjustified. He tends to give full credit for the work presented in the media itself, rather than only seeing it as a pale or incomplete version of the much richer literature upon which it is based.

However, I was also very interested in Rosebury's section on Tolkein in the History of Ideas (chapter 5, pp.158-192). In it he compares many other Tolkein critics' views, muses about his own previous analyses, and draws a pervasive conclusion that is only partially summarized by the following quotation:

'"Through all the crannies of the world we filled with elves and goblins, though we dared to build gods and their houses out of dark and light, and sowed the seed of dragons, 'twas our right (used or misused). The right has not decayed. We make still by the law in which we're made (from Tolkein's 'Mythopoeia')."'

'For Tolkein the fundamental derived human right is the right to create. The idea, with its romantic exaltation of the creative artist, its implied rejection of the classical notion of art as imitation, has its immediate roots in Coleridge, whose celebrated but cumbrous jargon of Fancy and Imagination Tolkein makes a bold attempt to improve upon in 'On Fairy Stories.'58 But Tolkein saw perhaps more clearly than Coleridge that creative power was as capable of corrupting its owner as any other gift. his view of artistic 'subcreation', both as a self-conscious artist himself and as a depictor of artists in his work, is at once a continuation of the romantic tradition and a critique of it. (page 191)." Rosebury then goes on to state he had changed his earlier view on Tokein's 'anarchist' element and was somewhat more sympathetic, understanding that Tolkein's "anti-political stance, like Tolstoy's, rests on a considered and consistent metaphysic, and is more than just the indulgence of a pious wish that everyone would act rightly without any need of politics (pages 191-192)"

There is obviously much more, the prose of Rosebury is challenging and relentlessly dense, but quite rewarding to take the effort to understand. Although Tolkein: A Cultural Phenomenon is definitely a scholarly work, it will translate well and appeal to a wider audience than purist Tolkein scholars and graduate students. Clearly it has its deserved place among these, but in this era of self educated internet students or non-students alike, works such as Tolkein: A Cultural Phenomenon have doubly lasting impact and educational value. Perhaps parallel to the impact of Peter Jackson's movie adaptation, Rosebury's work will send the serious reader to other possibly original sources and experiences for further education.

A lucid, insightful, sympathetic discussion of Tolkien's "Lord of the Rings" as a 20th-century novel with the values appropriate to canonical 20th-century novels. To Rosebury, Tolkien has flaws but is a significant, though not great, literary figure with much to offer. His other work is also discussed, as is his place in literature.

Most of his argument is that there is no excuse for critics to dismiss "Lord of the Rings" as a bestseller and therefore bad: it has the literary qualities in conception and narrative that these critics should be looking for and appreciating.

Tom Shippey says much the same in "J.R.R. Tolkien: Author of the Century." But the books differ: Shippey is more concerned with broad cultural context, while Rosebury focuses more narrowly on the text as an object of literary art. He writes a cool analysis with only occasional touches of exasperation at wrong-headed criticism, where Shippey is a polemicist.

Rosebury is equipped to tell critics why they should be reading Tolkien. Ane he does his telling in plain English, so we may all follow him and learn a great deal.

I read this book in its previous incarnation (from the early 90's) and was put off by its sneering attitude toward the legions of fans who had embraced all things Middle-earth, assuming somehow that their devotion was lowering the standards by which Tolkien would or should be judged by those with higher taste and academic credentials. Anyway, some of that attitude is gone in this edition.

What I thought was a strength of Rosebury's study is still there and in some places elaborated on, namely, an actual study of Tolkien's writing style (as opposed to a study of his sources). Rosebury's discussion of the "high style" found in The Silmarillion and some passage of The Lord of the Rings is thought-provoking. I agree with his assessment of the writing in the story "The Fall of Gondolin" from The Book of Lost Tales, that Tolkien writes with "ruthless energy" and a strength that evokes "panic and disorder while maintaining narrative coherence."

I also found his chapter on the films interesting. I have to totally agree with his assessment of Galadriel's temptation scene - her transformation resembles a "roaring seagreen hellhag." Exactly my feeling about that not-so-special effect!

This new edition improves an already worthwhile book, but could have used one final proofing polish. You expect to find a few typos in any book on Tolkien because of the complicated spellings and names, but this edition seemes to have a bit more than its share.

Anyway, I do recommend this edition of Rosebury's book.

bets game in the worl

It will be cool

The kingdoms hintbook is, without a doubt the most brilliant, moving and ultimately breathtaking novel of its day. It will grab you from the beginning and never let go. Few authors come to mind in comparison to this masterwork. Among them Chaucer, Dickens, and Mary Higgens Clark. I highly recomend this chef d'ouvre to anyone who enjoys classicly pronounced literature.

I'd like to know how those two guys rated a book and a game that has not been released yet? Why would the web master allow these comments to be published. Lets all be a little more responsible please.

It's too bad that this book isn't available new anymore. It's easy to gauge its value by the price it's holding as a used book. I'm the moderator of the yahoo motioncapture group, and this book was the stepping stone for me to begin developing my own motion capture system. This book is so useful, that I've got two copies. That way I can lend one to a friend, and keep one handy to solve the hard problems that come up as I develop my system. There are a couple of newer books that cover the basics, but if you want to get into the technical details of how it's done, this is still the reference to use. If you are a provider or consumer of mocap, this book covers both points of view and details project and cost considerations too. There really is no other mocap book that covers everything this one does.

Our department is working on Motion Capture research. This book helps us to direct a practical approach on not only academic perspective but also entertainment applicaiton.

The historical overview in the first half gave an excellent and entertaining background. It tells the stories of various well known motion capture projects so readers can immediately relate to the real world applications of motion capture and understand what sorts of applications will not work. The technical information was well organized and clearly written. This is a must have for anyone considering motion capture as a part of their project! ---Scott Whitney

At last a no-nonsense book for both users of the technology and those considering using it in their future productions.

The first half deals with the checkered history of motion capture and it's use and misuse to date. Unfortunately most of the stories fall into the negative vein and concentrate on the cases where the use of motion capture turned out to be a costly mistake, but this is all to the benefit of the reader lest he/she should be aligning themselves to make the same mistakes!

There is good practical advice on how to come out of a motion capture session with useable data and some extremely useful math to allow you to transfer it to your character. If you are using off the shelf software some of this may be superfluous, but if you have the opportunity to supplement it with your own proprietary code it could save you months of work. Either way it is genuinely useful in understanding how raw data can be used to drive a computer generated character.

It is hard to find fault with this book. If there is one it is just that the reader is left wanting more of the invaluable 'war-stories' from those who have used the process in the past, and possibly more recently on projects like 'Titanic' and 'The Mummy', if those studios are willing to divulge the detils. Mr Menache warns that facial motion capture is beyond the range of this text but hints that there may be another one to follow to make up for this. It is comforting to see that he himself ran a motion capture studio for many years, and you can be sure that the sum of his experience is inside the pages.

Just buy it BEFORE you start your production!

Col Rich Hemenez has created the finest and most complete compilation of Marines in the media I have ever read. The reader finds a virtual treasure trove of information about Marine related books, as well as movies and television shows starring ex-Marines or featuring actors playing Marines. This book is truly the definitive source about Marine Corps activities in the public eye; it is a must have for researchers, libraries, and trivia buffs.
Ron Brown, author of A FEW GOOD MEN: The Story of the Fighting Fifth Marines

AS A FORMER HISTORY MAJOR AT DARTMOUTH COLLEGE (MANY YEARS AGO), I WAS PLEASANTLY SURPRISED TO BUY AND READ THIS OUTSTANDING HISTORY OF THE MARINE CORPS. EVERYTHING IN PRINT, MOVIES, TAPES, ETC. IS LISTED. IT IS A FANTASTIC WORK OF ART AND I HATE TO THINK HOW MANY, HOURS AND DAYS RICHARD L. HERMENEZ SPENT IN COMPPILING THIS MASTERPIECE. I RECOMMEND THIS HIGHLY TO ALL MARINES AND OTHERS WHO ARE INTERESTED IN THE HISTORY OF THE CORPS. SEMPER FIDELIS, PAUL W. GLOVER JR.

The author has provided a most valuable and long needed reference works for anyone interested in Marine Corps History. Much of what is known to us of our military history and heritage has come to us from those who have set down in writing their personal experiences, perceptions and thoughts of events know to them. And many of these writings, many of them diaries, personal letters, etc. have eventually developed into, books, movies, television productions, etc. Browsing through the pages of this new book, I have found listed many of the films and books I knew as a very young man, and, in part, through which I knew that I would one day earn the title of U.S. Marine. I also found in these pages many more resources which I had forgotten, been looking for, or had never known of. What a great way to find that training film I saw way back in the early '50s--was it William Bendix who portaryed the master mortarman of the Marine Corps, Lou Diamond, or was it Ward Bond as other Marines have argued over the years? What about that movie titled "Retreat Hell?" Is it true that Col. Pete Ortiz, the famous OSS Marine of WWII, had a part in that movie? How many books have been written about the Marine Raiders of WWII? And, what about Captain Jinks of the Horse Marines? What was that referring to? Now, at last, all of the above questions, and more, can be searched out in one single volume. The book has provided us a means to relive, remember, and reconsider those many experiences of many years ago. Semper Fidelis Dick Gaines GySgt USMC (Ret.) 1952-72 GunnyG@hotmail.com

Colonel Hemenez's amazing compilation of Marines in performing arts is a Public Affairs dream. Listing thousands of Marine-related works in novels, poetry, plays, films, and many other different genres, this book is a must for any Marine, former Marine, library, or historian. Colonel Hemenez has ingeniously filled a vast hole in researching Marine Corps History through the arts. In the close to 15 years I have shared with the Marine Corps, I have never read a book that has told me as many stories about the Marine Corps. It is great to see how powerful a force the Marine Corps has been in the artistic and popular culture.
Semper Fi,
GySgt Barry Pawelek, Marine Corps Public Affairs, 1987-present

The unique approach to handing the history of `virtual art' is scholarly and innovative, undermining popular conceptions of the notion of `virtuality'. I would have appreciated colour plates, since the subject matter often pertains to the study of many forms of visual art. A glossary of terms also would have been helpful. The addition of these to elements would make the book much more accessible to readers who are introducing themselves to these concepts and artworks.

Broad in breadth and depth, Virtual Art: From Illusion to Immersion traces the history of virtual art through studying the history of `immersion' and `illusion' in the arts, and relates these ideas to the current developments in `virtual reality'. It is unlikely that the general public, or even most arts professionals, would consider the panoramic frescoes of ancient Pompeii a precursor to the 1980's notion of goggled cybernetic digitalia, nor the recent developments in transgenic art, yet this book includes very convincing arguments that link these ideas to the development of today's virtual art. Self-proclaimed as the `first' to link art history and immersive visual culture to the field of contemporary digital environment-based art experiences, this innovative and convincing research is laid out before the reader in an intellectual, yet accessible fashion, complete with diagrams and illustrations to illuminate key ideas. Many interesting works of art are chronicled here, placed within a contextual framework that demonstrates the significance of the ideas and technology supporting the works. Gathering this information in a print format also allows these works to live on and influence other thinkers outside of directly experiencing the works, which is often not technically possible, given the temporal nature of many immersion-based artworks. Ideas do not develop in a vacuum, but through the dialogues of overlapping discourses, combined with critical thought. Grau demonstrates that virtual art is not exactly new, and it satisfies a basic human desire for experiencing the `other', whether through looking at panoramic paintings of mythology or faraway lands, or designing a prototype Holodeck (Star Trek). Unexpected parallels abound, making this a very informative read that may forever change the reader's interpretations of classical art history as well as of virtual reality.

It is likely that Grau reaches the academic arts audience he sets out to reach with this book, as is demonstrated by the numerous references to this book online, in various journals, blogs, and academic websites. This focus on art history as media history would be thoroughly appreciated by Marshall McLuhan fans, as well as art historians who specialize in media studies. Artists and historians interested in 3-D modeling, avatar development, online immersive environments, transgenic art, and historical instances of illusion in the arts will also find this book a valuable and up-to-date resource. This book would make a welcome addition to a University library, a gallery or artist-run centre's library, or the personal collection of savvy technophiles.

WIRED spoke about a "great read" and Lev Manovich decribed Grau's book as a "must-read for anyone interested in new media, art history, and any field using virtual images." - Grau lives up to expectations !  He analyzes what is new in media art by balancing recent works and historic media development, and so retells art history as media history. An interdisciplinary study in art history, media history, and new media art, the cross fertilization enriches his analysis and helps clarify the essence of immersion and Virtual Reality.  Beyond Grau's analysis, I was thankful to see so many artists involved - many hot names. This book will be valuable for both practitioners and theoreticians. Hopefully there will be a paperback soon for students.

This book is an excellent rendition for electro-visual labs.
The work is perfect if you are looking for new ideas on interior
decorating for the home. There are many exotic art forms
depicted in this work.

Virtual reality is integrated into art immersion. The work
provides a panoramic view of the Battle of Sedan. There are
pictures of the Futurama in the 1939 World Fair. In addition,
a screenshot portrays the Home of the Brain. The work is
excellent for anticipated student school projects.
This work is perfect for art enthusiasts, historians,
interior decorators, architects , photographers and a whole
host of professionals in varied fields.

This book is a outstanding contribution to the upcoming new field image science.

Film is all about the image, and Bruce Block gives you a visual toolkit. With this book, you can construct images that help to tell your story, set the mood, and control how the image affects the audience. He helps you build your film shot by shot. His techniques, illustrated with new art and images from films, will make any film stronger and all filmmakers more confident and creative. Many of Hollywood's leading directors have benefited from his expertise. Now the rest of us can, too. I highly recommend this book.

I teach a class called "Story" at Los Angeles Film School and this book is on my Recommend Reading List for all students but I especially tout it to cinematography, production design and directing majors. There are many books that talk about the basics (shot size, 180 degree rule, etc.) but if you want to go beyond that to find out what kinds of choices the great filmmakers make and why, this is the book with the answers.

One thing young filmmakers and students often fail to understand about the auteurs and master directors is that they base their shots on what serves the story, not the fact that the shot "looks cool." I love the fact that author Bruce Block talks so much about the need for the visuals to follow and reflect the ups and downs of the underlying story structure. I also love the fact that that he takes film theory and shows the filmmaker how to apply it. Ordinarily, film theory and film practice are two separate worlds.

I never thought I'd find a film book I liked better than the first edition of "The Visual Story," but now I have: It's the 2nd edition, which has a bigger, easier-to-read format, many more color illustrations and more, updated examples. The students who've taken my advice and read this book are blown away by it. I believe it should be mandatory reading for anyone who is in the film business or who hopes to be.

I am a visual person. I'm currently taking a film class and had to purchase The Visual Story for class. Let me first say that I am an aspiring filmmaker. I have an incredible library of handpicked books catering to any and all aspects of the filmmaking experience and this is by FAR among the very top of my selections! It is really terrific at not only explaining concepts very concisely, but it also is full of real visual examples. Terrific book. Buy it! You'll be glad you did.

There are plenty of books out there about how to write a great screenplay. But film is a VISUAL medium, and books about telling stories VISUALLY are few and far between. Not only does Bruce Block have a superior instinct for visual composition, but he's able to explain the often complex relationships between subjects, light, color and motion in ways that are easily accessible. If you're interested in writing or directing movies, THE VISUAL STORY will help you immeasureably along your career path. And if you just like to see movies, this book will give you insights into cinematic storytelling elements you've always FELT, but probably never before recognized. This is an essential book for anyone who loves to make or enjoy motion pictures.

Sleeping Beauty was, of course a good movie for those Disney fans who love the great artist's works. The three good fairies, Flora, Fauna and Merryweather offered a single gift to the newborn princess. But the evil Maleficent crashed the party and cursed Aurora by pricking her finger to the venomous spindle of a spinning wheel and die at her 16th birthday. As a Disney fan, I'm considering that this beautiful young princess will be saved at last by the third of the fairy trio, Merryweather, who had given to her this almost tiny gift: When Aurora pricks her finger into evil witch Maleficent's spinning wheel, she cannot die. Instead of death, the princess will sleeping into a deep slumber until a charming prince wake her with the true love's kiss. So Maleficent turns herself into an evil black fire-breathing dragon to stop Prince Phillip to rescue sleeping Aurora. But the good fairies combine their magic to the mighty Sword of Truth, chanting "Now, Sword of Truth, fly swift and sure. That evil die and good endure!", and the prince throw his magic sword straight as an arrow into the dragon's heart. I'm sure that's a nice movie and I strongly recommend it to all the children beginning from 5 to 12 years old.

This book is a real treasure. Based on Walt Disney's widescreen animated fairytale epic "Sleeping Beauty," this is a nostalgic exact reprint of the storybook created for the film in 1959. It is illustrated with original artwork created especially for storybooks. It is a shame that more people have not discovered this wonderful book. It's one of those books that you can read to your children at bedtime and they can be captivated by the illustrations. It is one of those books that you keep in your bookcase after the children have gown up and you can pull it out from time to time and just reminisce.

This is a beautiful book. It is reminiscent of the images and style of children's books published at the time when Disney originally released SLEEPING BEAUTY. This is a real tribute and a cherished edition to have from one of Disney's best and often overlooked fairy tale classics. It has a real place in my heart.

This is a beautiful book. With Amazon not carrying a picture of it, I was a little afraid to order it, fearing what I might get. I am so pleased with it. The illustrations are very stylized, very 1950's era. The colors are brilliant, even to the endpaper. I love the angles of the characters' faces and shoulders. To get a general idea what the book looks like, check out "Walt Disney's Classic Storybook" and imagine a ten times more beautiful version. Enjoy!

This is the real deal.
While reading it my life flashed before me. Its graphic depiction of every TV season , going all the way back to 1944,
brought back a torrent of memories.
Nothing has been left out. Watching TV is best book written about this medium. A medium that touches each an every one of us.
If you love television you'll love this book.

The great risk in doing a book like "Watching TV," which both takes television history seriously and has fun with it, is that it may prove to be neither fish nor fowl -- too scholarly for those that want mere nostalgia, and with too much affection for its subject to please those who just want the facts.

Happily, "Watching TV" avoids this pitfall. In the end, the book leans more to the scholarly side than the trivial, but given the vital role the medium plays in our society, the balance feels right.

In this second edition of their 1982 book, Harry Castleman and Wally Podrazik take us up to the 2002-03 season, covering, in the updated material: NBC's return to respectability; cable's steady march to power, the emergence of Fox, the WB and UPN's debuts as broadcast networks, the regulatory shift that has concentrated ownership in a way not seen in decades; the beginnings of the reality show phenomenon, the launch of new technology that promises to change the medium forever, and more.

One of the remarkable aspects of the book remains its refusal to traffic in simple answers. If you're sure that Castleman and Podrazik are making a quick, easy generalization, keep reading: You'll soon see that they will articulate the issue's complexity.

The easiest temptation for two Baby Boomer authors would have been to write a lament for "the good old days" of television. But Castleman and Podrazik point out the good and the bad in every season, in artistic, commercial and social terms.

The season-by-season structure has several advantages. One is that you get the sense, moreso than in any other book about TV history, of how the networks have competed with one another. While it's fun to look at the various fall schedules, the text in each chapter often explains why certain shows were placed into certain slots, how another network sought to counterprogram that same slot, and the results of such moves.

ABC, which for many years was a perennial third-place finisher during the three-network days, is worth keeping an eye on throughout the book, because its desperation to get out of last place made it willing to take bold chances. We learn, for instance why CBS programming head James Aubrey was fired during the 1964-65 season, following some scheduling tactics by ABC that threatened the Tiffany Network's prime time supremacy (and set the precedent for a practice that is only now beginning to fade). And because the book is chronological, you already know from the previous chapter how ABC planted the seeds for its near-upset. If I'm making all of this sound like boring corporate infighting that no one could possibly care about today, that isn't the way it's presented in the book. The shows from that season are discussed in fun detail, but the added context of how the networks used them gives the book heft.

Another fascinating network vs. network storyline again involves ABC, this time concerning its challenge to the No. 1 spot in the 1975-76 season. Castleman and Podrazik explain how CBS' momentum was stopped by the new "family hour" that was mandated by the FCC (8-9 p.m.), as it allowed its program development to be hamstrung by the rule. ABC chief Fred Silverman recognized the opportunity and seized it, utilizing "Happy Days," "Welcome Back Kotter" and other now-fondly remembered shows to steer the network to ratings success. The authors have put themselves in a good position to sustain the drama inherent in Silverman's maneuverings, having explained ABC's self-sabotage in previous seasons. The '75-'76 chapter essentially ends on a cliffhanger, as Silverman is poised to take the lead, but hasn't quite gotten there. ABC does finish No. 1 in 1976-77, and Castleman and Podrazik know how to make that chapter pay off.

Another thing that works about the season-by-season approach is that the authors revisit shows and events along different points on a timeline. It's one thing to have a book that explains in a few paragraphs that "Gunsmoke" debuted in 1955 as a half-hour show, moved to an hour in 1961, was almost canceled in 1967, but was saved and became a big hit again. But in "Watching TV," you get a real sense of how different an atmosphere the show thrived in during its early years was from the one it basked in later.

Make no mistake, though, the book can be very funny. My personal favorite example of this is the authors' description of "Gilligan's Island." I won't spoil it here, but suffice it to say that Castleman and Podrazik have more than a few problems with the tale of those seven stranded castaways. As always, they put the show in full context, pointing out other escapist sitcoms that appeared around the same time.

The second edition of "Watching TV" is a very worthwhile purchase for devoted buffs who care about the past, present, and future of our most important medium.

Unlike most of the TV reference books, this is a season-by-season narrative of the history of television. One can pick up the book and turn to any chapter and, even if one is too young to remember that particular TV season, get the flavor of the events of that season and the major programs and trends. A good, informative read, with an objective, down-the-middle viewpoint.

The long-awaited update of this classic is finally here!

Castleman and Podrazik's original "Watching TV" is a meticulously researched, wittily-written history of the medium from 1940 to 1980. Filled with insider tidbits, network schedules and classic photos, it's a tv trivia buff's dream come true. The new, updated book is even better!

A definite must for the tv room coffee table.

I loved I

"Genious" is spelled "g-e-n-i-u-s". Then again, I'd wouldn't expect much more out of a St. Mary's graduate. As for Anthony Pena, I haven't read his book, but I'm sure it's good...

I've been in the gaming industry for years, and this is one of the finest books I have read to date. Although it's one of the few books I've read in my lifetime, it has inspired me to take my game playing to a new level. Anthony Pena is a genious! He is the Tony Robbins of the 21st Century!

This is one of the most informative books on professional wrestling in the WCW today that I have ever read. I have read almost every book on pro wrestling ever written, and this one is one of my very favorites. It helped me a lot with planning strategies for the game. I highly recommend it for anyone serious about pro wrestling and video game strategy both.