Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus. This book brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan. Contributors explore such topics as the tension between remembrance and performance, the function of moving images in the execution of political violence, and nonfiction filmmaking methods that facilitate communities of survivors to respond to, recover, and redeem a history that sought to physically and symbolically annihilate them

Provides both a history and overview of poisons and presents a few actual poisoning cases solved by systematic analysis.

This version of 'Shadows from the Walls of Death' is a tribute to Robert Clark Kedzie, who produced the originals of which there are now only two left in existence. They are located at the University of Michigan and Michigan State University. The originals are approximately 22 x 30 inches containing a title page and an 8 page preface followed by 86 samples cut from rolls of arsenic impregnated wallpaper. The book is sealed in a protective container and each individual page is encapsulated. This particular edition does not actually contain any arsenic. Further to that the content of this volume including both text and images are for entertainment purposes.

NATIONAL BESTSELLER • PEOPLE PICK • OPTIONED BY SISTER PICTURES FOR TELEVISION • The discovery of a girl abandoned by the side of the road threatens to unearth the long-buried secrets of a Texas town’s legendary cold case in this superb, atmospheric novel from the internationally bestselling author of Black-Eyed Susans “If you only read one thriller this year, let it be this one. Psychologically absorbing, original and atmospheric. I could not turn the pages fast enough.”—Elin Hilderbrand, #1 New York Times bestselling author of 28 Summers It’s been a decade since Trumanell Branson disappeared, leaving only a bloody handprint behind. Her pretty face still hangs like a watchful queen on the posters on the walls of the town’s Baptist church, the police station, and in the high school. They all promise the same thing: We will find you. Meanwhile, Tru’s brother, Wyatt, lives as a pariah in the desolation of the old family house, cleared of wrongdoing by the police but tried and sentenced in the court of public opinion and in a new documentary about the crime. When Wyatt finds a lost girl dumped in a field of dandelions, making silent wishes, he believes she is a sign. The town’s youngest cop, Odette Tucker, believes she is a catalyst that will ignite a seething town still waiting for its own missing girl to come home. But Odette can’t look away. She shares a wound that won’t close with the mute, one-eyed mystery girl. And she is haunted by her own history with the missing Tru. Desperate to solve both cases, Odette fights to save the lost girl in the present and to dig up the shocking truth about a fateful night in the past—the night her friend disappeared, the night that inspired her to become a cop, the night that wrote them all a role in the town’s dark, violent mythology. In this twisty psychological thriller, Julia Heaberlin paints unforgettable portraits of a woman and a girl who redefine perceptions of physical beauty and strength. Praise for We Are All the Same in the Dark “This chilling tale of buried sins is relentlessly unpredictable.”—The Times (South Africa) “[Julia] Heaberlin knows how to build to a truly shocking twist, how to break a reader’s heart and then begin mending it. ‘What’s coming is always unimaginable,’ Odette’s one-time therapist tells her, ‘and by that, I mean just that. It cannot be imagined. What’s coming never acts or behaves the way we think it will.’ That’s true for this novel, too.”—The Dallas Morning News

What do detectives do if they need help identifying a body or a cause of death? Experts are called in to investigate! Learn how sketch artists use skulls or witness descriptions to figure out what a victim or perpetrator may have looked like. Follow the steps toxicologists take when examining bodies and crime scenes for traces of poison. Analyze bones as forensic anthropologists identify victims--all to help the police crack the case!

Designed for public librarians, school media specialists, teachers, and anyone with an interest in supporting teen literacy, this book features 133 nonfiction booktalks to use with both voracious and reluctant teen readers. These booktalks cover a wide and varied range of nonfiction genres, including science, nature, history, biography, graphic novels, true crime, art, and much more. Each includes a set of discussion questions and sample project ideas which could be easily expanded into a classroom lesson plan or full library program. Also included are several guidelines for classroom integration, tips for making booktalks more interactive and interesting, and selections for further reading.

Former art forger Annie Kincaid has reinvented her life and now operates a legitimate decorative painting business, but memories are long in the art world. Here, with the blessing of the FBI Art Squad, Annie uses her underworld connections to boost her new art investigation business, where she’s partnered with her ex-art thief/love interest Michael X. Johnson. At first it’s strictly business, but she stumbles across a body in an exclusive Nob Hill men’s club. Then an insurance adjuster asks her to find a stolen -- and forged -- erotic painting. Then her Uncle Anton is attacked and Annie’s on the trail of more than just art. Moving easily between high and low circles, she makes the rounds of Nob Hill and Chinatown, a sex club, and the artists’ studios to find justice.