Over 100,000 sold!• Great for individuals and teams• Includes provocative discussion questions“I wish I had your gift!”How do you handle those words as a creative artist? Somewhere between pride and self-abasement lies true humility—just one aspect of the balanced character God wants to instill in you as an actor, a musician, a visual artist, or other creative person involved in ministry. God is interested in your art and your heart.The Heart of the Artist deals head-on with issues every person in an arts ministry faces: • Servant hood Versus Stardom• Excellence Versus Perfectionism• The Spiritual Disciplines of the Artist• The Artist in Community . . . and moreThe Heart of the Artist will give you a better understanding of yourself and your unique place in the body of Christ. You’ll find wisdom and encouragement that can help you survive the challenges and reap the rich joys of a ministry in the creative arts.“Breathtakingly personal, practical, and poignant.”—Timothy Tie, New York, New York“I am better for having applied these principles. . . . A must-read for church staff, creative types, growing Christians, human beings.”—Rev. Ginny Allen, Jackson, Mississippi“Rory Noland pinpoints issues that often arise in the life of the artist, and gives good, biblical solutions. A must-have for Christian artists in any field.”—Tom Hinkle, Tulsa, OklahomaRory Noland is director of Heart of the Artist Ministries (www.heartoftheartist.org), an organization dedicated to turning teams of church artists into communities of grace. A composer songwriter, author, and speaker, Rory is a graduate of the Chicago Musical College at Roosevelt University and served for twenty years as music director at Willow Creek Community Church.

Dan Duryea (1907–1968) made a vivid impression on moviegoers with his first major screen appearance as the conniving Leo Hubbard in 1941's classic melodrama The Little Foxes. His subsequent film and television career would span from 1941 until his death. Duryea remains best known for the nasty, scheming villains he portrayed in such noir masterpieces as Scarlet Street, Criss Cross, and The Woman in the Window. In each of these, he wielded a blend of menace, sleaze, confidence, and surface charm. This winning combination led him to stardom and garnered him the adoration of female fans, even though Duryea's onscreen brutality so often targeted female characters. Yet this biography's close examination of Duryea's oeuvre finds him excelling in various roles in many genres—war films, westerns, crime dramas, and even the occasional comedy. Dan Duryea: Heel with a Heart is a full-scale, comprehensive biography that examines the tension between Duryea's villainous screen image and his Samaritan personal life. At home, he proved to be one of Hollywood's most honorable and decent men. Duryea remained married to the former Helen Bryan from 1931 until her death in 1967. A dedicated family man, he and Helen took an active role in raising their children and in the community. In his career, Duryea knew villainous roles were what the public wanted—there would be a public backlash if fans read an article depicting what a decent guy he was. Frustrated that he couldn't completely shake his screen image and public persona, he wrestled with this restriction throughout his career. Producers and the public did not care to follow any new directions he hoped to pursue. This book, written with Duryea's surviving son Richard's cooperation, fully explores the life and legacy of a Hollywood icon ready for rediscovery.

Hollywood’s Africa after 1994 investigates Hollywood’s colonial film legacy in the postapartheid era, and contemplates what has changed in the West’s representations of Africa. How do we read twenty-first-century projections of human rights issues—child soldiers, genocide, the exploitation of the poor by multinational corporations, dictatorial rule, truth and reconciliation—within the contexts of celebrity humanitarianism, “new” military humanitarianism, and Western support for regime change in Africa and beyond? A number of films after 1994, such as Black Hawk Down, Hotel Rwanda, Blood Diamond, The Last King of Scotland, The Constant Gardener, Shake Hands with the Devil, Tears of the Sun, and District 9, construct explicit and implicit arguments about the effects of Western intervention in Africa. Do the emphases on human rights in the films offer a poignant expression of our shared humanity? Do they echo the colonial tropes of former “civilizing missions?” Or do human rights violations operate as yet another mine of sensational images for Hollywood’s spectacular storytelling? The volume provides analyses by academics and activists in the fields of African studies, English, film and media studies, international relations, and sociology across continents. This thoughtful and highly engaging book is a valuable resource for those who seek new and varied approaches to films about Africa. Contributors Harry Garuba and Natasha Himmelman Margaret R. Higonnet, with Ethel R. Higgonet Joyce B. Ashuntantang Kenneth W. Harrow Christopher Odhiambo Ricardo Guthrie Clifford T. Manlove Earl Conteh-Morgan Bennetta Jules-Rosette, J. R. Osborn, and Lea Marie Ruiz-Ade Christopher Garland Kimberly Nichele Brown Jane Bryce Iyunolu Osagie Dayna Oscherwitz

The Orlando Sentinel described The Grove Book of Hollywood as "a marvelous overview of the mythical world of Screenland through the eyes of those who observed it firsthand." In pieces by bemused outsiders like P. G. Wodehouse and Evelyn Waugh and consummate insiders like Jack Warner, Ben Hecht, and Budd Schulberg, it tells the story of Hollywood's birth as a dusty village outside L.A., through the blacklist, to its present-day role as a high-stakes cultural capital of power players, touchy egos, schlock, and genius. Full of priceless bits -- Jean Harlow's satire of young hopefuls, John Huston's fistfight with Errol Flynn, Frank Capra on working for Mack Sennett, and William Goldman on the ubiquitous Hollywood meeting -- The Grove Book of Hollywood is a must for anyone who loves movies. "A superb anthology.... A feast for those who love Hollywood and those who hate it." -- J. G. Ballard, The Observer (London) "Enchanting ... I marveled at [its] resourcefulness.... Have you gone out to buy this book yet?" -- David Thomson, Bookforum "....strange tribal rites, and tarnished idols of the celluloid jungles, the book is a feast." -- L. S. Klepp, Entertainment Weekly