1 comments about Caesar: De Bello Gallico I (Caesar).

1. Basic text. Makes for some interesting war tactics. Considering how Caesar loved to play propaganda, it makes one wonder how much is near what truly happened.
   **Recommend for entertaining reading of early Roman
   empire--Sci-Fi novel called Damsel in the Rough. It's a
   first-person take on events after Caesar's death by a woman
   from Brooklyn.

5 comments about Stop-Motion Puppet Sculpting: A Manual of Foam Injection, Build-Up and Finishing Techniques.

1. I am not sorry I purchased this book but I must agree with several other reviewers that the information contained in this book is rather shallow and the poor quality (printed on cheap paper, muddy b/w photos, etc...) only underscore the problem. The same info can be had in a number of superior quality books that also feature sections on other aspects of stopmotion filmmaking (storyboarding, lighting, camera work, etc...) for a lesser price. Also I must say aside from the poor photo reproductions featured the actual work on display is less than inspiring. The majority of books available on the subject feature cartoony characters this book attempts to present a more balanced example by demonstrating the construction of a fantasy monster creature unfortunately the results reveal a distinct lack of artistic ability in reproducing lifelike dynamic anatomy and detail.Also the chapter on sculpting employs a TERRIBLE and bizzare nude female character that seems inapropriate for the purposes of casting a workable model, this assessment is borne out by the fact that no model derived from this poorly done sculpture is demonstrated.Buy this only if you wish to fill out your book collection on the subject.



2. Book came very quickly and in great shape. That's all I ask. Thanks so much.



3. As the title of the manual suggests, the book is a primer of learning the fundamentals of foam injection and build-up techniques, material which is (especially the unique process of build-up technique) difficult to find when wishing to create realistic Ray Harryhausen/Willis O'Brien-type animation puppets (as outlined in the build-up chapter of the manual).
   
   The book is called "A Manual of Foam Injection, Build-Up, and Finishing Techniques", not "The Manual...", and therefore one would assume before purchasing it that is yet another text on creating stop-motion puppets, and would be a viable addition to one's stop-motion library. The copy at the back the manual (as well as in web advertisements) indicates that this manual also covers the creation of replacement models for animation. This topic was discontinued by the author for a later manual that he is writing on stop-motion animation, lighting and cinematography. Prior to going to press, the author contacted the published to edit the replacement models topic out of the advertisements, but they did not do so.
   
   If would behoove web/book advertisers of this manual (or any book/manual) to include the page count of a given manuscript, so that consumers can know the size of the book in question.
   
   The cost of this manual is, in my opinion, overpriced, but the pricing was the decision of the publisher, not the author. The manual is also printed on substandard paper stock.
   
   Other stop-motion books currently on the market do not cover build-up technique as detailed as this manual, especially as it pertains to a machined armature. Virtually all stop-motion books on the market cover sculpted puppets using only wire armatures.
   
   The manual adequately explains what it set out to do, namely to explain the process of foam injection and foam buildup techniques. A chapter is devoted to basic sculpting techniques to initiate a beginner in the amenities of muscle structure and its importance to the creation of more realistic stop-motion models. This was, however, not the crux of the manual per se, which is why only one chapter was devoted to sculpting.
   
   The primarily complaints seem to be in its cost and the quality of the paper stock and images, as well as absence of more material to make the book more "saleable". However, further detail explanations of other types of anatomies (i.e. quadrupeds, fantasy creatures, etc.), would have driven the cost of the manual up exponentially. The manual is overpriced as it is.
   
   An entire chapter is devoted to the foam injection technique, and is explained in a simple and concise easy-to-follow explanation. As such, the manual has been geared to people interested in the art form, but who do not have advanced skill levels in sculpting, mold making, and foam injection.
   
   Regrettably, the publisher chose to use black and white photographs, and at low resolution. As such, the images suffer. It would have been preferable to use higher resolution images, and in color.
   
   If a kitchen oven cannot be used for foam injection in one's home, one might try to be resourceful enough to not give up and think of an alternative solution; namely, to use a kiln oven in a garage or other room that is out of harms way. It is common knowledge in the visual effects/stop-motion community that hot foam can be difficult and toxic to work with. The manual only confirms this.
   
   Given the subject matter and material covered within the manual, it should be less expensive, given what one gets for their investment. One should consider contacting the publisher if they feel that the manual is overpriced, or at the very least return the item if they are not satisfied.



4. I would probably be more forgiving if this book were less than half the price it is, but since this is nearly a $50 investment I have slightly higher expectations.
   
   As an earlier reviewer noted, this book is 74 pages in length (including an index and glossary). If it weren't bound, this book could have been stapled together. I don't have a problem with a short book if it is packed with unique, focused insight into a topic, but unfortunately in my opinion this book only achieves this on a shallow level.
   
   This is a book focusing on a specialized technique by an industry professional. I would expect it to contain a wealth of insight reinforced by a number of examples outlining different levels of complexity and various challenges facing foam puppet builders. Instead this book offers one simplistic example of sculpting a figure on a wire armature. It then takes the reader through a single example of the steps to create a foam injection puppet and an example of the foam build up technique. In about 25 pages the author covers sculpting, mold making, foam mixing, injecting, baking, removing the cast and painting. It feels more like an instruction pamphlet than a resource on the topic. I would have liked to see multiple examples illustrating varying levels of complexity. How would the author have dealt with a 4-legged puppet?
   
   After reading this book (in about an evening) I'm left with many basic questions, such as materials appropriate or to be avoided in armatures for foam injection, issues surrounding undercuts in puppet sculptures, poses puppet sculptures need to be in for an injection mold, and there's practically nothing on feet anchors, a topic I believe there must be enough information out there to fill a few pages. I also completely agree with a complaint from a previous reviewer. Most of the illustrative photos in the book are low resolution, pixilated and muddy. Nowhere near the quality of the beautiful colour photo on the cover. In my opinion there is no excuse for this in a published book, especially at this price.
   
   For the price of this book you could get a number of books focused on various aspects touched on in this book. For mold making I recommend The Prop Builder's Molding & Casting Handbook, by Thurston James ($13.59). I also recommend Stop Motion: Craft Skills for Model Animation (Focal Press Visual Effects and Animation) by Susannah Shaw ($23.07 )which looks at foam injection puppets (in almost as much depth) plus other puppet building techniques along with information on lighting, animation and set building, for less than half of this book's price.
   
   Also, a word of warning for those of us who thought we could create foam injection puppets at home. The author states that standard ovens in our kitchen don't generate a consistent enough heat and special curing ovens that have fans to circulate heat are required to bake foam. He also notes that curing foam releases toxic fumes, something you probably don't want in your kitchen. So homemade foam injection puppets seem to be out of the question.



5. This book details the processes of foam injection and build-up technique for stop-motion animation; techniques that are very difficult to find in other publications. Because of the advanced technical nature of the two processes, one should assume that puppets fabricated using these techniques are beyond the interest and scope of most children. More easy to understand publications for pre-teen children (as well as adults) on how to build more simple "cartoony" characters would be Craft Skills for Stop-Motion, by Susannah Shaw, and Creating 3D Animation, By Peter Lord. Both of these publications are outstanding sources of stop-motion material.
   
   A consumer might find some of the manual's material "inappropriate". Chapter 2 of Stop-Motion Puppet Fabrication is devoted to anatomical sculpting, which details the clay rendering of a female nude in a dance pose. I suggest that before anyone criticizes such art through prejudicial censorship, they should well note that such innocuous anatomical nude figure studies can be found in centuries-old masterpieces: (Michelangelo's David, and the genius of Auguste Rodin [Lovers, etc.]. The general public (including children) are exposed to such masterful works of art on a daily basis, either in books or at museums. I champion the ideal that the human form is a natural sculpture of beauty and should be regarded as such. The best source of studying human anatomy for the pursuit and study of fine art is to go to the source; the human form. There is nothing distasteful or inappropriate about it, unless it becomes [...], which I do not personally advocate in my own work.
   
   Chapter 5 outlines the rather difficult process of foam build-up. This technique enables the modeler/animator the ability to create very realistic models in the vein of the models of Ray Harryhausen, Willis O'Brien, Ladislaw Starevitch, et. al, if that is their aim. As very few, if any, publications have been devoted to realistic buildup technique, the aim of Stop-Motion Puppet Fabrication was to do just that. The puppet study detailed in Chapter 5 is of the minotaur, from classical Greek mythology. The sculpture is realistic, but in a classical stylized fashion.
   
   The book is printed on low-quality paper, which I found rather disappointing, but this was the choice of the publisher. For the rarity of the subject matter (foam injection and build-up techniques), the manual is, in my opinion, appropriately the length it needs to be, though it may be a bit overpriced for such length.

5 comments about Acting Up! How to get your kidz in the biz!.

1. I bought this book because my little brother decided that he wanted to enter this crazy industry and become an actor. I bought it because it never hurts to have a guide to look back at, plus, maybe there was some info in regards to kids that I already did not know. This is a great book. That only reason I gave it a four is because I did not really learn something new, but then again, I plan on working in the entertainment industry once I graduate so I already know alot in regards to breaking into it. But it is a great book. Also, it's an easy ready. Seriously, I read it in less than 45 minutes (and that's with me watching tv at the same time).



2. I Have been in show buisness for over 20 years, and my greatest fear has always been parents [paying too muchy for] acting teachers, photograghers and agents. This book will prevent that from happening. And save you many hours of frustration and regret. If your starting out, and even if you've been at it a while, this book is a MUST. Simple and straight forward.



3. As the mother of a young performer and a producer and performer myself, I am familiar with all the pitfalls, perils and pluses of having a child in "the biz". Lucia has accurately addressed the most important issues and then some. This is a MUST READ for anyone contemplating getting their child started in the business. Run, do not walk and buy this book. This book is easy to understand and covers all the major topics needed to make good decisions. Thank you Lucia it is about time someone wrote this book!!



4. This is a great resource for parents whose kids are eager to tap into their talents. In detailed and nicely organized chapters, it covers everything from how to deal with your child's aspirations and dreams in the business world to how to find and deal with representation. It's comprehensive, easy to follow and most importantly, stresses the "fun" factor for kids. Stage moms beware! This is a MUST READ for every parent with a future star in the family or a very expressive child.



5. This great "how to" book provides the information you need to get your children into show business. Clear, succinct information....and forms to walk you through your own experience.

1 comments about Communication Research Methods (with InfoTrac ).

1. This was the required text for my Communication Research Methods class, so buying it wasn't really an option.
   
   After flipping through the book to see what I was in for this semester, I found the layout of the book to be pretty organized.
   
   1.) Each chapter has an abstract at the beginning and a summary at the end that gives a brief overview of the chapter.
   2.) Each chapter has an outline at the beginning to show you how the chapter lays out the topic.
   3.) Vocab words are bolded, which is great if you have to know them for a test, and a list of "Key Terms" is at the end of each chapter.
   4.) Throughout the chapter, the authors provide examples of warrants and claims to illustrate the points they're trying to make.
   5.) Appendix A - A good guide to writing research reports and essays. Definitely helpful with assignments.
   
   Overall, I think that this is a pretty good textbook. The reading tends to be pretty dry, but not completely untolerable.

1 comments about The Best Burlesque Sketches: As Adapted for Sugar Babies and Other Entertainments.

1. Peter Larkin is a real lover of old time Burlesque. He's lovingly researched the old sketches, and updated them making them more accessable for a modern audience. He's done a wonderful job, and this volume is a great resource. Between the sketches and Mr. Larkin's excellent notes the reader really gets to see what this lost form of entertainment was all about.

1 comments about Capek: Four Plays.

1. Be prepared to enter another world. The Capek's (for many of the plays are actually written by Karel and his brother - and expressionist artist - Joseph) speak to us today loud and clear from a realm linked to ours but slightly askew. Their perceptions are insightful and their vision resonates still. Whether exploring the inhumanity of man or the humanity of the machine, the futility of labour or the glory of the prolitariate, Capek demands consideration.

   The translation of the four plays contained in this volume are engaging in their use of the contemporary idiom, though show a little excess due to hindsight ( especially in R.U.R. ). It is however good to have a new version of these pieces, Selvers translation ( which is available in other editions )being used since 1921, though good, has not the clarity necessary for the current century.

   Thanks must go to the publishers for bringing these plays back into the public domain. I for one hope to see further volumes so a new audience can truely grasp the bredth and depth of both Karel and Joseph Capek's creative vision.

No comments about Theatricality as Medium.

1 comments about HERE WE GO AGAIN: My Life In Television (A LISA DREW BOOK).

1. This book is light, easy reading, but really boring. Betty tells the story of her remarkable career but the book is lacking. Where is the dish? Where are the juicy parts? Betty writes as if it is one big happy press release. She likes everything and everybody. Everything is hunky-dorey. She never minded getting fired from jobs, she never minded being uprooted, she never minded long, tedious work hours. Betty drops names of some of the most famous people in the world and barely comments on them. She gives her meeting with the Queen Mother one sentence in the whole book! She was married to Allen Ludden for 18 years, but until she mentions this toward the end of the book, the reader doesn't even realize that all of their experiences took place over that length of time. She was best friends with Mary Tyler Moore and her husband Grant Tinker and although she tells of many anicdotes, nothing delves very deeply. Betty was on two classic TV shows of all times, "The Mary Tyler Moore Show" and "The Golden Girls", yet she glosses over these experiences and doesn't go into any details about any of it. Apparently Betty's life experience is not able to fit into one book and trying to fit it in one book makes it all seem like an outline rather than a story. Readers will look for some juicy "Mary Tyler Moore Show" stories and some backstage gossip about "The Golden Girls", but they will not find that. They will get Betty's ramblings and squeeky clean attitude about not saying anything if you dont have anything nice to say.... apparently she had nothing nice to say so she glossed over much of her life. I really would have loved to know how she truly felt about her coworkers and how they interacted on and off stage. Some funny "blooper" moments would have been great and some real life gossip would make her seem more human. I love Betty White, I just didn't get all I thought I would from this book. But Betty truly is a Golden Girl, she has done it all

No comments about Legacies of Twentieth-Century Dance.

5 comments about Gene Kelly: A Life of Dance and Dreams.

1. I have my own personal barometer to indicate whether or not a book is second-rate (or worse). I start counting the typos, and when I hit "five," I officially distrust the author/editors. I hit five by the third chapter and knew I was in for a bumpy ride. This author should have concentrated on spell-checking and fact-checking, rather than obsessing with his thinly veiled,homophobic assertions (as mentioned by another reader, his repeated reference to "Leo McCrary" nearly made me hurl the book across the room!). This really was a maddening read, and it is hardly the biography that the great Gene Kelly deserves. Makes one even sadder to ponder that Kelly's own autobiography was lost when his house burned down in the 80's. That would have been a helluva read.



2. I'm currently only up to page 175, and for the first time in recent memory, I'm giving up on a book. I've wasted way too much time on this piece of utter garbage. I have to thank the other knowledgeable and discerning reviewers here on Amazon for making me realize that there's just no point in continuing with this thing.
   
   From what I've actually managed to get through, it's clear that Yudkoff is many things, but, first and foremost, he's a bad writer. No, strike that: He's a horrible writer. One thing I've always felt is important with biographies is accuracy. Not Yudkoff. He seems to value contradictions and poor research. How poor? I just read the section about HUAC, and he expressed great disdain for director Leo McCarey. He had several paragraphs about him, and mentioned his name numerous times. Now, if you're going to mention someone over and over in your book, one would think that you would at least research him enough to get his name right. Yudkoff calls him Leo McCrary.
   
   The inaccuracies aren't the worst part of the book, by far. Yudkoff seems to be a Communist sympathizer, and that viewpoint is one of the main thrusts of his book. A couple years ago, I read Myrna Loy's autobiography. She was one of those who let her politics run her life, instead of the other way around, and every opinion, encounter and experience was tinged/tainted by her political view. She seemed to have a desire to bed every man in Hollywood, but only if they were a "good Democrat." As awash with politics as her book was, though, it pales in comparison to the hammer and sickle-waving contempt for all things right of Lennin found here. Combined with the glaring inaccuracies (not to mention the outright libel in some passages--Yudkoff takes courage from Cary Grant being in the grave to state his rumored homosexuality as fact), it's impossible to take this book seriously, and nearly impossible to take it at all.
   
   One thing that's essential when reading a biography is trust: you have to be able to trust the author and his account of the person's life, otherwise it's a wasted effort. Very little of what Yudkoff writes--outside of direct quotes (and even those are suspect based on his glaringly poor fact-checking)--can be accepted as fact. This book was clearly written with an agenda, but unfortunately, that agenda doesn't seem to include an accurate retelling of Kelly's life. Avoid this like the bird flu.



3. I love Gene Kelly but I don't love this book. I don't see the point in the AFI tribute, just get to the history. The only good thing I can say about this book is that Gene Kelly's talent and determination come through, but that is nothing the author did, that was Gene Kelly and you can get that from any book, any movie, and any story told about him.



4. Ugh, where to begin? As others have written before me, there are so many basic errors in this book that I wonder at the author's "research." If he had spent more time getting the facts straight instead of pretending to know what Gene Kelly was thinking during the AFI tribute, then this book may not be the shambles we readers have had to endure. As I was reading, finding the errors actually became a game for me. I would sit there with my book and pen and paper, just daring Yudkoff to pitch out another mistake. Here are the ones I found: (I'm sure there are several others.)
   
   1. Shirley Maclaine's dress at the AFI Tribute is BLACK not RED. An error that is SO basic, it shows how careless this author is throughout the entire book.
   
   2. In For Me and My Gal, Judy Garland's character was NOT engaged to the George Murphy character. Hey Yudkoff, it would help if you saw the movies of the person about whom you're writing, don't you think???
   
   3. Again, in For Me and My Gal, the Judy Garland and Gene Kelly characters are NOT "immediate sensations," as the author states. Sheesh.
   
   4. Yup, another one regarding For Me and My Gal: the "author" (I'm beginning to use this term more loosely) states that Gene Kelly's character is a solo act in Europe. NOT TRUE. Watch the movie you careless dolt!
   
   5. In Living in a Big Way, Yudkoff says that there is a dance with a trained dog and a dance with a statue. AHEM! They are the same dance. Yikes, this is getting embarrassing! I'm glad I'm not this author!
   
   6. Here's one of the worst: When Yudkoff refers to Vera-Ellen's character in On the Town as "MISS SUBWAYS!" Oh my gosh. Her title was "Miss Turnstiles." Hmm..sounds like someone really needs to sit down with some of the movies before writing any more books.
   
   7. Now here's something I've never seen before in any book, using the exact same quote TWICE. On page 197 and on page 202 he uses the same GK quote in referring to the pioneering on-location film technique of On the Town. (Of course, by this time, who knows if those are even real quotes? So much has already been fabricated!)
   
   SHAME ON THE AUTHOR, THE EDITOR, and THE PUBLISHER who bought the book!!! Gene Kelly fans have waited for 20 years for an updated biography of this legendary dancer, choreographer, and director. The readers deserve better and so does Mr. Kelly himself.
   
   Other annoying things are the way the author's internal monologue Gene Kelly is having with himself at the AFI Tribute(which I gave up on and stopped reading) basically just criticizes and insults everyone. And don't even get me started on the way he keeps hinting at homosexual rumors and portrays a young Betsy Blair as this side of a nymphomaniac. Plus, the book only focuses on about half of Gene Kelly's life. Twenty years are sideswiped in a couple of paragraphs and 40-some years are glossed over in a few pages. How about giving Gene Kelly some credit for being a single widowed father who raised his two younger children who lost their mother to cancer at ages 8 and 11? How about informing your readers that this generous father turned down numerous projects so that he could provide a stable home for his children and this was when he was in his 60's? All Yudkoff cares about are the glamour days. Not a nice way to treat your subject, who you claim to admire.
   
   If you're as frustrated as I am, do what the author did, just learn what you can about Gene Kelly from the 1974 book written by Clive Hirschhorn. You get several treats in one: ACTUAL quotes from Gene Kelly and those who knew him, ACTUAL facts about the man, and a thoroughly enjoyable read.
   
   As for this book: IT IS A DISGRACE! The entire thing is written like the author is wearing a neon sign saying, "Hey everyone! Look at me! I'm writing a book about Gene Kelly!" OK! So you wrote your terrible book, now do something useful like apologize to your readers. If I was Betsy Blair, or Kerry, Timothy, or Bridget Kelly, I would sue the pants off this guy. Ugh, ugh, and again I say, UGH!



5. This is a rather strange little tome that succeeds to some extent almost in spite of itself. It has a cheap look and feel. It is not especially well-written, and it contains many, many factual errors. But it nevertheless turns out to be a fairly interesting read -- especially once Gene hits the big-time on Broadway and in Hollywood. (The first -- and dullest -- part of the book contains way too much detail about Gene's life and times running his chain of dance studios in Pittsburgh, PA, and the surrounding 'burghs. This part may be of some regional interest to those from the Pittsburgh area, but otherwise it can easily be skipped by the reader.) In any event, the author takes the high road throughout, focusing almost exclusively on Gene's many professional successes (and, of course, a few major failures) as he climbed the ladder to 1940s and 1950s superstardom. A bit more information about Gene's family life, particularly with his first wife, actress Betsy Blair (who was blacklisted as a Commie sympathizer during the Red scare of the '50s, and had to leave the United States to find work -- which this book doesn't mention, by the way, and who, also by the way, a few years ago wrote a wonderful and heartfelt memoir of her exceptional life -- including the periods before and after her marriage to Gene -- entitled "The Memory of All That," that is well worth reading) and his three children, might have added some additional interest. But it would also appear Gene may have had a few . . . ummmmm . . . pecadillos (concerning his attraction to "barely legal" young ladies -- one of whom, the aforementioned Betsy Blair, he married when he was over thirty and she was just 18) that are best left to the imagination, so the author's discretion in terms of Gene's personal life may be a blessing in disguise. Anyway, this is not a bad book for what is it, and it may come in handy as a ready-reference the next time "For Me and My Gal," "Cover Girl," "An American in Paris," "Singin' in the Rain," "Brigadoon," and many other film's graced by Gene's one-of-kind talent appears on TV. But if you want a true taste of Gene's genius, get ahold of a copy of the DVD entitled "Gene Kelly: Anatomy of Dancer."