Pop culture/Memoir/autobiography This NEW EDITION contains updates, new information, additional photographs and contributions. This is a significant and very personal book. Dr. Drew Pinsky: "I commend you for having the courage to step up and do it and do it thoroughly and do it properly. I think that's a very good thing." David Carradine, The Eye Of My Tornado has been inducted into the Johnny Grant Hollywood Walk of Fame Library ..".it was one long rollercoaster thrill... Mr. Toad's wild ride...intense passion and emotion. He was the eye of my tornado." Marina Anderson. Marina Anderson was just starting out taking acting lessons at Warner Bros., when she wandered one afternoon onto the candlelit set of a Shaolin temple and met for the first time, the volatile, dark and brilliant personality that was actor and icon, David Carradine. Two dynamic people merging into a karmic-destined, intense and turbulent love relationship. Each struggling with their own demons including sexual abuse and incest. Their private life was replete with love, passion, erotic pleasure and eventually bondage, sexual experimentation, and pain as an avenue to pleasure. Their marriage was marred by a toxic secret that could not be ignored. Her writing speaks to readers universally by focusing on their personal journey, revealing the truth about the couple, addresses conquering fear and overcoming obstacles, self discovery, recovery, re-inventing and rebuilding one's self. It's her personal survival while desperately trying to save the marriage as well as Carradine's constant struggle to be someone he wasn't, but wished he could be. Spirituality, psychic John Edward, other psychics and astrologers who helped her are written about in the book as well. They were married on the Warner Bros. back lot and their six-year relationship was a whirl of auditions, star-studded parties, exotic locations, red carpets and a star on the Hollywood Walk of Fame. Marina, who was already an established actress, became Carradine's personal manager and set about rehabilitating the career of an actor who was now known for his heavy drinking. She introduced him to Quentin Tarantino, who cast David in a lead role in the popular Kill Bill films. This vaulted Carradine back onto the Hollywood A-list. After their divorce with the help of re-known celebrity Dr. Drew Pinsky (Celebrity Rehab, Sober House), issues are addressed in the consultation verbatim, occupying an entire chapter. Anderson was able to finally exorcise the demons that have haunted her for so long about their relationship and herself that almost destroyed her. "This book is an avenue for his fans and the general public to know, understand and hopefully accept him as a man, not a celluloid fantasy...to be admired for his talents and the motivations behind certain issues in his life understood. It's also to reveal the very personal interior of a marriage that people can relate to. What we do for love. We are all human beings with our faults. He was afraid people wouldn't remember him. That will never happen. The legend continues." David Carradine's acting career spanned four decades onstage, television and cinema. He became an international sensation as Kwai Chang Caine in the 1970s hit television series Kung Fu and cemented his cult hero status with his role in the classic movie Death Race 2000. He portrayed Woody Guthrie in Hal Ashby's Bound for Glory and Bill in Quentin Tarantino's Kill Bill films. Carradine received four Golden Globe nominations. He was a talented songwriter and musician and performed in a band called Cosmic Rescue Team. He died in a Bangkok hotel room, June 3, 2009, an apparent victim of autoerotic asphyxiation. Amid sensational media speculation, Marina refused to let David's death remain stigmatized like it was and launched her own investigation into the death of her ex-husband. Suicide? Foul play? A sex act gone wrong? Was he alone? Was there a cover-up? Her concl

Carradine's ex-wife and author Marina Anderson reveals the dark side of David's intense persona with a balanced portrayal - both critical and sympathetic. What was David Carradine really like behind the cameras?

The quirky, strange and utterly sagacious meditations of David Caradine written during the making of Quentin Tarantino's contemporary classic in which Carradine played the lead role. When Carradine landed the lead role in Quentin Tarantino's new film, Kill Bill, it catapulted him into the Hollywood limelight. This journal captures his experience of being courted by Tarantino for the role of Bill and the subsequent two years spent making the two-part feature film with co-star Uma Thurman, nominated for a Best Actress Golden Globe. In its mixture of autobiography and behind-the-scenes diary, The Kill Bill Diary takes the reader on a fascinating and witty journey into the world of film-making and the art of an acclaimed director. Along the way Carradine describes the martial arts training required for the role, the experience of filming in China, working with Tarantino and falling in love with Uma Thurman while 'swinging a steel-tempered Samurai sword at her head'. In describing the pre-production, production and promoting of the film, Carradine gives readers a rare and wholly authentic insight into the creation of a Hollywood blockbuster and the experience of a screen legend.

(Music Pro Guides). Today, musical composition for films is more popular than ever. In professional and academic spheres, media music study and practice are growing; undergraduate and postgraduate programs in media scoring are offered by dozens of major colleges and universities. And increasingly, pop and contemporary classical composers are expanding their reach into cinema and other forms of screen entertainment. Yet a search on Amazon reveals at least 50 titles under the category of film music, and, remarkably, only a meager few actually allow readers to see the music itself, while none of them examine landmark scores like Vertigo , To Kill a Mockingbird , Patton , The Untouchables , or The Matrix in the detail provided by Scoring the Screen: The Secret Language of Film Music . This is the first book since Roy M. Prendergast's 1977 benchmark, Film Music: A Neglected Art , to treat music for motion pictures as a compositional style worthy of serious study. Through extensive and unprecedented analyses of the original concert scores, it is the first to offer both aspiring composers and music educators with a view from the inside of the actual process of scoring-to-picture. The core thesis of Scoring the Screen is that music for motion pictures is indeed a language , developed by the masters of the craft out of a dramatic and commercial necessity to communicate ideas and emotions instantaneously to an audience. Like all languages, it exists primarily to convey meaning . To quote renowned orchestrator Conrad Pope (who has worked with John Williams, Howard Shore, and Alexandre Desplat, among others): "If you have any interest in what music 'means' in film, get this book. Andy Hill is among the handful of penetrating minds and ears engaged in film music today."

Carradine, the son of a Shakespearean actor, traces his life from a disrupted childhood, through the Beat generation and the sixties to the television show "Kung Fu."

In this fifth edition of A Cognitive Psychology of Mass Communication, author Richard Jackson Harris continues his examination of how our experiences with media affect the way we acquire knowledge about the world, and how this knowledge influences our attitudes and behavior. Presenting theories from psychology and communication along with reviews of the corresponding research, this text covers a wide variety of media and media issues, ranging from the commonly discussed topics – sex, violence, advertising – to lesser-studied topics, such as values, sports, and entertainment education. The fifth and fully updated edition offers: highly accessible and engaging writing contemporary references to all types of media familiar to students substantial discussion of theories and research, including interpretations of original research studies a balanced approach to covering the breadth and depth of the subject discussion of work from both psychology and media disciplines. The text is appropriate for Media Effects, Media & Society, and Psychology of Mass Media coursework, as it examines the effects of mass media on human cognitions, attitudes, and behaviors through empirical social science research; teaches students how to examine and evaluate mediated messages; and includes mass communication research, theory and analysis.