What do Michael Milken and Martha Stewart have in common? (Answer: Both became public scapegoats for an outrageous era of greed and excess.) What was the most outrageous party thrown by a financial baron of the twentieth century? (Answer: Tough call, but either Michael MilkenÂ’s Predators Ball in 1985, or Dennis KozlowskiÂ’s Sardinian birthday bash in 2001, with its vodka-spouting sculpture.) Which U.S. war hero president became party to, and victim of, an unabashed con man known as the Napoleon of Wall Street? (Answer: Ulysses S. Grant, but itÂ’s a long story.) These questions and more are discussed in Scott Mac- Donald and Jane HughesÂ’ Separating Fools from Their Money. The authors trace the history of financial scandals from the early days of the young republic through the Enron/WorldCom debacle of modern times. A host of colorful characters inhabit the pages of this history, revealing human nature in all of its dubious shades of gray. At the same time, the book exposes themes common to all financial scandals, which remain astonishingly unchanged over more than two centuries-greed, hubris, media connections, self-interested politicians, and booms-gone-bust, to name a few. Informative and entertaining, Separating Fools should engage the interest of investors and casual business readers, as well as economists interested in supplemental reading for their students. A new introduction focuses on trends since publication of the original, with a postscript on the financial panic of 2008....

Over the past twenty-five years, Scott MacDonald's kaleidoscopic explorations of independent cinema have become the most important chronicle of avant-garde and experimental film in the United States. In this collection of thematically related personal essays and conversations with filmmakers, he takes us on a fascinating journey into many under-explored territories of cinema. MacDonald illuminates topics including race and avant-garde film, the political implications of the nature film, the inventive single shot films of the late 1960s and early 1970s, why men use pornography and what they are looking at when they do, poetry and the poetic in avant-garde film, the widespread failure of film studies academicians to honor those who keep film exhibition alive, and other topics.
Several of the interviews--those with Korean filmmaker Gina Kim, French nature filmmakers Claude Nuridsany and Marie Pérennou (Microcosmos), Canadian media artist Clive Holden, formalist/conceptualist David Gatten, and New York's Film Forum director Karen Cooper--are the first substantial conversations with these filmmakers available in English....