This well illustrated, full-color, site-by-site survey of prehistory captures the popular interest, excitement, and visual splendor of archaeology as it provides insight into the research, interpretations, and theoretical themes in the field. The new edition maintains the authors' innovative solutions to two central problems of the course: first, the text continues to focus on about 80 sites, giving students less encyclopedic detail but essential coverage of the discoveries that have produced the major insights into prehistory; second, it continues to be organized into essays on sites and concepts, allowing professors complete flexibility in organizing their courses..

Wallie Funk, editor and co-publisher of the Anacortes American newspaper in Anacortes, Wash., from 1950 to 1964, wrote a series of delightful Anacortes history stories, which ran as a guest column in the American from 1994 to 2001. This book reprints many of the best of those informative, humorous and surprisingly relevant columns. It is lavishly illustrated with more than 180 photos -- most of them from the Anacortes Museum's massive Wallie Funk Collection.Topics include the history of early Fidalgo Island pioneers and Anacortes' founders; lumber and plywood mills; publishing and photography; the arrival of Shell Oil; the successful All-America City effort; the local fishing fleet; theaters; parks; local sports; the Anacortes Arts Festival and the Marineers' Pageant; and the development of hospitals, schools, and other public amenities.

An Impressionist painting, hanging for decades in the Art Institute of Chicago and donated by the charismatic philanthropist Taylor Woodmere, is challenged by an elderly woman as a Nazi theft. In discovering its story, this compelling saga sweeps through Chicago, Paris and Berlin, reliving events from pre-World War II Europe.

The Paper Time Machine is a book that will change the way you think about the past.It contains 130 historical black-and-white photographs, reconstructed in colour and introduced by Wolfgang Wild – creator and curator of the Retronaut website. The site has become a global phenomenon, collecting images that collapse the distance between the past and present and tear a hole in our map of time. The Paper Time Machine goes even further. Early photographic technology lacked a crucial ingredient – colour. As early as the invention of the medium, skilled artisans applied colour to photographs by hand, attempting to convey the vibrancy and immediacy of life in vivid detail. In most cases this was crude and unconvincing. Until now. The time-bending images in The Paper Time Machine have been painstakingly restored and rendered in full and accurate colour by Jordan Lloyd of Dynamichrome, a company that has taken the craft of colour reconstruction to a new level. Each element of every photograph has been researched and colour-checked for historical authenticity. Behold American child labourers from the early twentieth century, alongside the construction of the Statue of Liberty. Marvel at crisp photographs from the Crimean War in 1855, balanced with never-before-seen pictures from the Walt Disney archive. As the layers of colour build up, the effect is disorientingly real and the decades and centuries fall away. It is as though we are standing at the original photographer’s elbow. This is a landmark photographic book – a collection of historical ‘remixes’ that exist alongside the original photographs but draw out qualities, textures and details that have hitherto remained hidden. Let The Paper Time Machine transport you. It is as close to time travel as we are ever likely to get.

The ability to view recorded moving pictures has had a major impact on human culture since the development of the necessary technologies over a century ago. For most of this time people have gone to the movies to be entertained and perhaps edified, but in the meantime television, the videocassette recorder (VCR), the digital versatile disk (DVD) player, the personal computer (desktop and laptop), the internet and other technologies have made watching moving pictures possible at home, in the classroom and just about anywhere else. Today, moving images are everywhere in our culture. Every day, moving picture cameras record millions of hours of activity, human and otherwise, all over the world: your cell phone makes a little video of your friends at a party; the surveillance camera at the bank keeps on eye on customers; journalists’ shoulder-carried cameras record the latest from the war zone; and across the world film artists work on all kinds of movies, from low-budget independent projects to the next big-budget Hollywood blockbuster. Moving pictures have had a great influence on human culture, and this book focuses on using moving images as historical evidence. Studying history means examining evidence from the past to understand, interpret and present what has happened in different times and places. We talk and write about what we have learned, hoping to establish credibility both for what we have determined to be the facts and for whatever meaning or significance we may attach to our reconstruction of the past. Studying history is a scientific process, involving a fairly set methodology. We tend to favor written sources, and we have tended to favor writing as a means of presenting our views of the past. But historians also use all kinds of other documents and artifacts in their work of interpreting the past, including moving pictures.

Envisioning the Past: Archaeology and the Image is a groundbreaking collection of original essays that brings together archaeologists, art historians and anthropologists to provide new perspectives on the construction of knowledge concerning the antiquity of man. Covers a wide variety of time periods and topics, from the Renaissance and the 18th century to the engravings, photography, and virtual realities of today Questions what we can learn from considering the use of images in the past and present that might guide our responsible use of them in the future Available within the prestigious New Interventions in Art History series, published in connection with the Association of Art Historians.

Some Hispanic Americans living today can recall a time when barrio or ranch life was marked by a simplicity and neighborliness that has vanished with progress. These thirteen first-person accounts of southern Arizona residents capture a spirit evocative of the Hispanic presence in the Southwest—whether in San Antonio, Santa Fe, Pueblo, or Los Angeles—while striking photographs reflect the grace and dignity of these indomitable individuals.