Winner at the 2013 Moonbeam Children’s Book Awards. Visit this fair full of magic, where a simple movement of the hand can set in motion all the rides. Once upon a time, my dad took me to a very special fair a long, long way from home. As soon as we arrived, he asked me to wave my hands in the air like a magician so that the lights would turn on or off as I pleased. “It’s amazing!” I shouted with joy. Today my dad has taken me to the fair, and you can't imagine how excited I am. It is a magical place, full of lights, colors, music and, above all, fun! However, this fair has something special that makes it different from the others... A witch has hung up her broom to become the driver of a flying train, a snow-capped Helter Skelter, and Bumper Cars that can zoom off to wherever the driver wants and ride through the venue... This fair seems to have come to life!

"running away from home" aged 15 Bernard Ross joined a travelling funfair, this book follows his adventures as one of the last live funfair wrestlers in the UK

The American artist Man Ray was one of the most influential figures of the historical avant-garde, contributing significantly to the development of both Dadaism and Surrealism. Whilst his pioneering work in photography assured him international acclaim, his activity in other areas, notably film, is to this day both unknown and undervalued. During the 1920s Man Ray made four short experimental films and collaborated on a host of other projects with people such as Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. These works, along with a series of cinematic essays and home movies made during the 1920s and 1930s, represent the most important contribution to the development of an alternative mode of filmmaking in the early twentieth century. This book explores Man Ray's cinematic interactions from the perspective of his interdisciplinary artistic sensibility, creating links between film, photography, painting, poetry, music, architecture, dance and sculpture. By exposing his preoccupation with form, and his ambiguous relationship with the politics and aesthetics of the Dada and Surrealist movements, the author paints an intimate and complex portrait of Man Ray the filmmaker.

"ICT Connect" provides a manageable and flexible solution for teaching ICT skills across the primary age range. It is fully matched to the QCA Scheme of Work for ICT and offers opportunities for cross-curricular links.

Are you brave? When the mysterious Amelia Pigeon turns up at Kirby's bedroom window in the dead of night, this is the question she asks him – immediately before they tumble into a world of ancient malevolent spirits who have torn their way into Kirby's boring seaside village. Kirby isn't feeling brave at all. His mother is in a coma following a freak (or was it?) accident, and he's hardly talking to his dad. He's convinced a spider is watching him, and now a weird girl in a yellow raincoat – who claims to be a powerful, evil-banishing Shadowsmith – is dragging him into unknown danger. How brave is he really? Ross MacKenzie, author of the Blue Peter award-winning The Nowhere Emporium, weaves a world of magic and adventure which twists and turns magnificently and will keep thrilled young readers guessing right to the end.

A multitude of devices and technological tools now exist to make, share, and store memories and moments with family, friends, and even strangers. Memory practices such as home movies, which originated as the privilege of a few, well-to-do families, have now emerged as ubiquitous and immediate cultures of sharing. Departing from the history of home movies, this volume offers a sophisticated understanding of technologically mediated, mostly ritualized memory practices, from early beginnings in the fin-de-siècle to today. Departing from a longue durée perspective on home movie practices, Materializing Memories moves beyond a strict historical study to grapple with highly theorized fields, such as media studies, memory studies, and science and technology studies (STS). The contributors to this volume reflect on these different intellectual backgrounds and perspectives, but all chapters share a common framework by addressing practices of use, user configurations, and relevant media landscapes. Grasping the cultural dynamics of such multi-faceted practices requires a multidimensional conceptual approach, here achieved by centering around three concepts as central analytical lenses: dispositifs, generations, and amateurs.

With reference to recent neurological research into Post-Traumatic Stress Disorder (PTSD) using new imaging technologies and models of implicit and explicit memory systems developed from this research, The Performance of Trauma in Moving Image Art examines the capacity of an artist’s cinema of experimental and avant-garde film to perform and communicate traumatic experience. De Bruyn analyses key films from the 1940s to the present that perform aspects of overwhelming experience through their approach, structure, content and perceptual impact, mapping a trajectory from analogue to contemporary digital moving image practice. He argues for the inclusion of Peter Gidal’s 1970s conception of ‘materialist film’ into the genre of ‘trauma cinema’ through its capacity to articulate un-locatability and perceptually perform dis-orientation and a flashback effect, all further identified here as key characteristics of digital moving image practice. The discussion explores the following questions. Can ‘materialist film’ model traumatic memory and perform the traumatic flashback? Does the capacity to articulate trauma’s un-speakability and invisibility give this practice a renewed relevance in digital media’s preoccupation with surface and the impact of information overload? De Bruyn’s phenomenological ‘traumatic’ reading of materialist film steps beyond Gidal’s original anti-illusionist rationale to incorporate critiques effectively mounted against it by the founders of a ‘70s feminist psychoanalytic counter-cinema. This contemporary re-reading further re-evaluates the Minimalist turn in painting and sculpture after the Second World War, arguing that this development is not essentialist or visionary but makes visible the implicit mechanisms of denial and erasure at the core of traumatic remembering. For de Bruyn, the initial traumatic impact of industrialization on the body’s perceptual apparatus, traceable through the advent of cinema and train travel, is communicated by such moving image art. The development of digital technology marks a new cycle of such perceptual re-balancing for which materialist film is uniquely positioned and which it critically addresses.