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The Archaeology of Martin's Hundred explores the history and artifacts of a 20,000-acre tract of land in Tidewater, Virginia, one of the most extensive English enterprises in the New World. Settled in 1618, all signs of its early occupation soon disappeared, leaving no trace above ground. More than three centuries later, archaeological explorations uncovered tantalizing evidence of the people who had lived, worked, and died there in the seventeenth century. Part I: Interpretive Studies addresses four critical questions, each with complex and sometimes unsatisfactory answers: Who was Martin? What was a hundred? When did it begin and end? Where was it located? We then see how scientific detective work resulted in a reconstruction of what daily life must have been like in the strange and dangerous new land of colonial Virginia. The authors use first-person accounts, documents of all sorts, and the treasure trove of artifacts carefully unearthed from the soil of Martin's Hundred. Part II: Artifact Catalog illustrates and describes the principal artifacts in 110 figures. The objects, divided by category and by site, range from ceramics, which were the most readily and reliably datable, to glass, of which there was little, to metalwork, in all its varied aspects from arms and armor to rail splitters' wedges, and, finally, to tobacco pipes. The Archaeology of Martin's Hundred is a fascinating account of the ways archaeological fieldwork, laboratory examination, and analysis based on lifelong study of documentary and artifact research came together to increase our knowledge of early colonial history. Copublished with the Colonial Williamsburg Foundation.

The Archaeology of Martin's Hundred explores the history and artifacts of a 20,000-acre tract of land in Tidewater, Virginia, one of the most extensive English enterprises in the New World. Settled in 1618, all signs of its early occupation soon disappeared, leaving no trace above ground. More than three centuries later, archaeological explorations uncovered tantalizing evidence of the people who had lived, worked, and died there in the seventeenth century. Part I: Interpretive Studies addresses four critical questions, each with complex and sometimes unsatisfactory answers: Who was Martin? What was a hundred? When did it begin and end? Where was it located? We then see how scientific detective work resulted in a reconstruction of what daily life must have been like in the strange and dangerous new land of colonial Virginia. The authors use first-person accounts, documents of all sorts, and the treasure trove of artifacts carefully unearthed from the soil of Martin's Hundred. Part II: Artifact Catalog illustrates and describes the principal artifacts in 110 figures. The objects, divided by category and by site, range from ceramics, which were the most readily and reliably datable, to glass, of which there was little, to metalwork, in all its varied aspects from arms and armor to rail splitters' wedges, and, finally, to tobacco pipes. The Archaeology of Martin's Hundred is a fascinating account of the ways archaeological fieldwork, laboratory examination, and analysis based on lifelong study of documentary and artifact research came together to increase our knowledge of early colonial history. Copublished with the Colonial Williamsburg Foundation.

Williamsburg archaeology proves that careful excavation and study can produce an unsuspected wealth of data on garden fences and walls, steps and garden houses, flower pots and urns, tools and equipment, and sometimes about the plants and the planters of colonial times.

In the late sixteenth century, the English started expanding westward, establishing control over parts of neighboring Ireland as well as exploring and later colonizing distant North America. Audrey Horning deftly examines the relationship between British colonization efforts in both locales, depicting their close interconnection as fields for colonial experimentation. Focusing on the Ulster Plantation in the north of Ireland and the Jamestown settlement in the Chesapeake, she challenges the notion that Ireland merely served as a testing ground for British expansion into North America. Horning instead analyzes the people, financial networks, and information that circulated through and connected English plantations on either side of the Atlantic. In addition, Horning explores English colonialism from the perspective of the Gaelic Irish and Algonquian societies and traces the political and material impact of contact. The focus on the material culture of both locales yields a textured specificity to the complex relationships between natives and newcomers while exposing the lack of a determining vision or organization in early English colonial projects.

Funny yet down-to-earth, honest yet full of exaggeration, actor Walter Matthau (1920-2000) will always occupy a place in America's heart as one of the great comic talents of his generation. Born Walter Matuschanskayasky into Jewish tenements on New York's Lower East Side, he was a child actor in New York Yiddish theater, and later a World War II Air Force radioman-gunner. He paid dues for ten years on Broadway, in summer stock, and on television before landing his film debut The Kentuckian in 1955. By the time of his 1968 casting as cantankerous but lovable slob Oscar Madison in the film version of Neil Simon's The Odd Couple, Matthau had won major Hollywood stardom. Based on dozens of interviews and extensive research, this book covers the breadth of his often-complicated personal life and multi-faceted career, including his unforgettable performances in such films as The Fortune Cookie, A Guide for the Married Man, Plaza Suite, Charley Varrick, The Taking of Pelham One Two Three, The Sunshine Boys, The Bad News Bears, California Suite, and Grumpy Old Men.

A Short History of Film, Second Edition, provides a concise and accurate overview of the history of world cinema, detailing the major movements, directors, studios, and genres from 1896 through 2012. Accompanied by more than 250 rare color and black-and-white stills—including many from recent films—the new edition is unmatched in its panoramic view, conveying a sense of cinema's sweep in the twentieth and early twenty-first centuries as it is practiced in the United States and around the world. Wheeler Winston Dixon and Gwendolyn Audrey Foster present new and amended coverage of the industry in addition to updating the birth and death dates and final works of notable directors. Their expanded focus on key films brings the book firmly into the digital era and chronicles the death of film as a production medium. The book takes readers through the invention of the kinetoscope, the introduction of sound and color between the two world wars, and ultimately the computer-generated imagery of the present day. It details significant periods in world cinema, including the early major industries in Europe, the dominance of the Hollywood studio system in the 1930s and 1940s, and the French New Wave of the 1960s. Attention is given to small independent efforts in developing nations and the more personal independent film movement that briefly flourished in the United States, the significant filmmakers of all nations, and the effects of censorship and regulation on production everywhere. In addition, the authors incorporate the stories of women and other minority filmmakers who have often been overlooked in other texts. Engaging and accessible, this is the best one-stop source for the history of world film available for students, teachers, and general audiences alike.