In this stark and powerful book, Bruce Jackson and Diane Christian explore life on Death Row in Texas and in other states, as well as the convoluted and arbitrary judicial processes that populate all Death Rows. They document the capriciousness of capital punishment and capture the day-to-day experiences of Death Row inmates in the official "nonperiod" between sentencing and execution. In the first section, "Pictures," ninety-two photographs taken during their fieldwork for the book and documentary film Death Row illustrate life on cell block J in Ellis Unit of the Texas Department of Corrections. The second section, "Words," further reveals the world of Death Row prisoners and offers an unflinching commentary on the judicial system and the fates of the men they met on the Row. The third section, "Working," addresses profound moral and ethical issues the authors have encountered throughout their careers documenting the Row. Included is a DVD of Jackson and Christian's 1979 documentary film, Death Row.

The renowned radio host and one of the most trusted voices in the nation candidly and compassionately addresses the hotly contested right-to-die movement, of which she is one of our most inspiring champions. The basis for the acclaimed PBS series. Through interviews with terminally ill patients and their relatives, as well as physicians, ethicists, religious leaders, and representatives of both those who support and vigorously oppose this urgent movement, Rehm gives voice to a broad range of people personally linked to the realities of medical aid in dying. With characteristic evenhandedness, she provides the full context for this highly divisive issue and presents the fervent arguments—both for and against—that are propelling the current debate: Should we adopt laws allowing those who are dying to put an end to their suffering? Featuring a deeply personal foreword by John Grisham, When My Time Comes is a response to many misconceptions and misrepresentations of end-of-life care. It is a call to action—and to conscience—and it is an attempt to heal and soothe, reminding us that death, too, is an integral part of life.

Witness in Our Time traces the recent history of social documentary photography in the words of twenty-nine of the genre's best photographers, editors, and curators, showing how the profession remains vital, innovative, and committed to social change. The second edition includes a new section of interviews on documentary photography in the field and an exploration of the role of photojournalism in 21st-century media. Witness in Our Time provides an insider's view of a profession that continues to confront questions of art and truth while extending the definitions of both.

Finding the theoretical space where cinema and philosophy meet, Malin Wahlberg's sophisticated approach to the experience of documentary film aligns with attempts to reconsider the premises of existential phenomenology. The configuration of time is crucial in organizing the sensory affects of film in general but, as Wahlberg adroitly demonstrates, in nonfiction films the problem of managing time is writ large by the moving image's interaction with social memory and historical figures. Wahlberg discusses a thought-provoking corpus of classical and recent experiments in film and video (including Andy Warhol's films) in which creative approaches to the time of the image and the potential archive memory of filmic representation illuminates meanings of temporality and time experience. She also offers a methodological account of film and brings Deleuze and Ricoeur into dialogue with Bazin and Mitry on the subject of cinema and phenomenology. Drawing attention to the cultural significance of the images' imprint as a trace of the past, Documentary Time brings to bear phenomenological inquiry on nonfiction film while at the same time reconsidering the existential dimensions of time that have always puzzled humans. Malin Wahlberg is a research fellow in cinema studies at Stockholm University.

A wide ranging, interdisciplinary exploration of media time and mediated temporalities. The chapters explore the diverse ways in which time is articulated by media technologies, the way time is constructed, represented and communicated in cultural texts, and how it is experienced in different social contexts and environments.

Marc Chagall (1887-1985) traversed a long route from a boy in the Jewish Pale of Settlement, to a commissar of art in revolutionary Russia, to the position of a world-famous French artist. This book presents for the first time a comprehensive collection of Chagall's public statements on art and culture. The documents and interviews shed light on his rich, versatile, and enigmatic art from within his own mental world. The book raises the problems of a multi-cultural artist with several intersecting identities and the tensions between modernist form and cultural representation in twentieth-century art. It reveals the travails and achievements of his life as a Jew in the twentieth century and his perennial concerns with Jewish identity and destiny, Yiddish literature, and the state of Israel. This collection includes annotations and introductions of the Chagall texts by the renowned scholar Benjamin Harshav that elucidate the texts and convey the changing cultural contexts of Chagall's life. Also featured is the translation by Benjamin and Barbara Harshav of the first book about Chagall's work, the 1918 Russian The Art of Marc Chagall.

From New Yorker film critic Richard Brody, Everything Is Cinema: The Working Life of Jean-Luc Godard presents a "serious-minded and meticulously detailed . . . account of the lifelong artistic journey" of one of the most influential filmmakers of our age (The New York Times). When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable. In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers. Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.