Fresh on the heels of the best-selling book Lost Drag Strips comes a new look at other long-lost and forgotten drag racing facilities from the 1950s, 1960s, and 1970s. In the first volume, the author examined the birth of drag racing and its subsequent popularity that invaded every city and community across America. Unfortunately, after the initial explosion of popularity, it waned, and various drag strips closed for a myriad of reasons. Financial pressure for the real estate they occupied, suburban sprawl, and waning participation were all reasons for the change in fortunes for the small, and even not-so-small, racetracks. The first volume was great, but readers demanded more! Lost Drag Strips II picks up where the first volume left off, covering even more tracks with archival photos of racing in the tracks' heyday, the cars that ran there, and coverage of the tracks as they exist today. This volume also includes some of the tracks that survived, those that fought off the economic demons and the urban sprawl and continue to run today. Tracks in this volume include: Fort Wainwright/Racing Lions Motorsports Park, Avenue G Drag Strip, Fremont/Baylands Drag Strip, San Fernando Drag Strip, Fontana Drag City, Inyokern Drag Strip, Kahuku Air Strip, Las Vegas Speedrome, Continental Divide Raceways, SRCA Drag Strip, Southwest Raceway, Willow Run Raceway, Minnesota Dragways, KCTA Drag Strip, Detroit Dragway, Niagara Airport Dragstrip, New York National Speedway, York US 30 Drag-O-Way, South Mountain Raceway, La Place Dragway, Yellow River Drag Strip, Thunderbolt Dragway, and more.

By employing the lens of the most recent critical studies on intermediality, the author analyses the interaction between literature and photography in three contemporary hybrid novels ( Miss Peregrine's Home for Peculiar Children by Ransom Riggs, 2011, Extremely Loud and Incredibly Close by Jonathan Safran Foer, 2005, and The Dark Room by Rachel Seiffert, 2001) sharing the narration of traumatic historical events. The intermedial dimension realised by the confluence of the two media devices offers new ways to create meaning and to reflect upon the nature of collective and individual trauma, by re-enacting the distortion and the inaccessibility to the memories of those experiences. In this context, the reader emerges as an active participant in the process of fiction-making, as the act of reading becomes a renewed act of witnessing.

This book investigates the role of the moving image in cultural memory, taking into account the impact of digital technologies on visual culture.

A reprint of eleven case studies of successful history museum exhibitions supplying a compendium of highly regarded installations which can stand as a creative guide to other institutions. The contributing museum specialists analyze what works in an outstanding history exhibition from building new audiences and experimenting with new subjects to design techniques and working with consultants. Among the exhibitions featured are the Hispanic Heritage Wing of the Museum of International Folk Art and the Indianapolis Children's Museum. Includes photographs. Originally published by the American Association for State and Local History. Annotation copyrighted by Book News, Inc., Portland, OR

DIVA rethinking of the differing national memories of the Second World War in the Pacific in light of recent theories of nationalism, imperialism, and colonialism./div

Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. Emmanuel Alloa retraces the history of Western attitudes toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory—Aristotle’s concept of the diaphanous milieu of vision—and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices.