An account of a controversial murder case describes how two college students, Atif Rafay and his best friend, Sebastian Burns, were charged with the bludgeoning deaths of Rafay's parents and the near fatal beating of his sister, despite the seemingly airtight alibis and lack of evidence in the killings of the quiet Muslim family in the wealthy Seattle suburb of Bellevue. Original.
An account of a controversial murder case describes how two college students, Atif Rafay and his best friend, Sebastian Burns, were charged with the bludgeoning deaths of Rafay's parents and the near fatal beating of his sister, despite the seemingly airtight alibis and lack of evidence in the killings of the quiet Muslim family in the wealthy Seattle suburb of Bellevue. Original.
Much of what constitutes our experience of our immediate environment is quite ordinary and familiar, in particular, where we live. While policymakers and academics are constantly seeking transformations in housing, what we seek from our own housing is stability and lack of change. We seek secure roots to our lives rather than step-changes and radical reform. This book considers this ordinary experience of housing and how we come to depend upon it. The notion of the ordinary is used to argue against the conceits of policymaking and the fetish for domestic design. Using a variety of methods such as critical analysis and film criticism (looking at the work of film-makers as diverse as Bergman, Dreyer, Shyamalan, Tarkovsky, Tati and the Wachowski Brothers), it provides an original, impressionistic view of the role housing plays in our lives.
In this “dishy…superbly reported” (Entertainment Weekly) New York Times bestseller, Peter Biskind chronicles the rise of independent filmmakers who reinvented Hollywood—most notably Sundance founder Robert Redford and Harvey Weinstein, who with his brother, Bob, made Miramax Films an indie powerhouse. As he did in his acclaimed Easy Riders, Raging Bulls, Peter Biskind “takes on the movie industry of the 1990s and again gets the story” (The New York Times). Biskind charts in fascinating detail the meteoric rise of the controversial Harvey Weinstein, often described as the last mogul, who created an Oscar factory that became the envy of the studios, while leaving a trail of carnage in his wake. He follows Sundance as it grew from a regional film festival to the premier showcase of independent film, succeeding almost despite the mercurial Redford, whose visionary plans were nearly thwarted by his own quixotic personality. Likewise, the directors who emerged from the independent movement, such as Quentin Tarantino, Steven Soderbergh, and David O. Russell, are now among the best-known directors in Hollywood. Not to mention the actors who emerged with them, like Matt Damon, Ben Affleck, Ethan Hawke, and Uma Thurman. Candid, controversial, and “sensationally entertaining” (Los Angeles Times) Down and Dirty Pictures is a must-read for anyone interested in the film world.
A complete introduction to analyzing and enjoying a wide variety of movies, for film students and movie lovers alike Thinking About Movies: Watching, Questioning, Enjoying, Fourth Edition is a thorough overview of movie analysis designed to enlighten both students and enthusiasts, and heighten their enjoyment of films. Readers will delve into the process of thinking about movies critically and analytically, and find how doing so can greatly enhance the pleasure of watching movies. Divided roughly into two parts, the book addresses film studies within the context of the dynamics of cinema, before moving on to a broader analysis of the relationship of films to the larger social, cultural, and industrial issues informing them. This updated fourth edition includes an entirely new section devoted to a complete analysis of the film adaptation of The Girl with the Dragon Tattoo, along with many in-depth discussions of important films such as Citizen Kane and Silence of the Lambs. The chapter on television integrates a major expansion distinguishing between television in the digital era of the convergence of the entertainment and technology industries in comparison to the era of broadcast analogue television. The final chapter places film within the current context of digital culture, globalization, and the powerful rise of China in film production and exhibition. The authors clearly present various methodologies for analyzing movies and illustrate them with detailed examples and images from a wide range of films from cult classics to big-budget, award-winning movies. This helps viewers see new things in movies and also better understand and explain why they like some better than others. Thinking About Movies: Watching, Questioning, Enjoying, Fourth Edition is ideal for film students immersed in the study of this important, contemporary medium and art form as well as students and readers who have never taken a class on cinema before.
This is a comprehensive overview of zombie movies in the first 11 years of the new millennium, the most dynamic and vital period yet in the history of the zombie genre. It serves not only as a follow-up to its predecessor (The Zombie Movie Encyclopedia, McFarland 2001), which covered movies from 1932 up until the late 1990s, but also as a fresh exploration of what uniquely defines the genre in the 2000s. In-depth entries provide critical analysis of the zombie as creature in more than 280 feature-length movies, from 28 countries and filmed on six continents. An appendix offers shorter entries for more than 100 shorts and serials.
People's participation has begun to influence the practice of development substantially. This study provides an interpretation of how participation occurs, uses case studies to highlight various approaches, and develops elements of a strategy and a methodology.
Bundled with the eBook, which will be updated regularly as new information about each virus is available, this text serves as the authoritative, up-to-date reference book for virologists, infectious disease specialists, microbiologists, and physicians, as well as medical students pursuing a career in infectious diseases.
AUTHOR'S NOTE: This book is unconventional. A self-conscious experiment in form that draws together two vernaculars: anthropological thought and the pop culture of my youth. It is a fraught exercise. I write as a White guy about angst and alienation in the privileged spaces of anthropology and higher education. I appreciate the irony. I hope nonetheless that my experiences with and critical perspectives on social conventions, the culture of liberalism, and ableism in academia might be useful. I seek to expand possibilities of anthropological representation while challenging epistemological, aesthetic, and professional norms in my discipline. It bothers me that anthropology can be so sanctimonious. I take aim at the ableist conceit that anthropologists are non-characters studying a messy world. Much of my life has been a mess. My work has been undertaken amid struggles with pregnancy loss, bipolar disorder, and drug addiction. I have deep regrets about my participation in an exploitative field. I have deep regrets about many things. I have hurt people and been hurt by people. I hope my stories and reflections add to what others have already written about a more open, honest, and self-deprecating anthropology"--
To understand contemporary times, we must appreciate the extent to which our lives are affected by the cultural and political struggle between "official" narratives and the counternarratives which emerge as oppositional responses. Counternarratives develops a concept of "postmodern counternarratives" as a frame for exploring the politics of media, technology and education within everyday struggles for human identities and loyalties. The authors identify two forms of counternarratives. One functions as a critique of the modernist propensity for grand narratives. The second concept, which is the focus of the book, builds on the first; the idea of "little stories" addressing cultural and political opposition to the "official" narratives used to manipulate public consciousness. Each marks an important point of contestation within contemporary education and culture: curriculum, pedagogy, literacy, media representations and applications of new technologies.
While the anti-establishment rebels of 1969's Easy Rider were morphing into the nostalgic yuppies of 1983's The Big Chill, Seventies movies brought us everything from killer sharks, blaxploitation, and disco musicals to a loving look at General George S. Patton. Indeed, as Peter Lev persuasively argues in this book, the films of the 1970s constitute a kind of conversation about what American society is and should be—open, diverse, and egalitarian, or stubbornly resistant to change. Examining forty films thematically, Lev explores the conflicting visions presented in films with the following kinds of subject matter: Hippies (Easy Rider, Alice's Restaurant) Cops (The French Connection, Dirty Harry) Disasters and conspiracies (Jaws, Chinatown) End of the Sixties (Nashville, The Big Chill) Art, Sex, and Hollywood (Last Tango in Paris) Teens (American Graffiti, Animal House) War (Patton, Apocalypse Now) African-Americans (Shaft, Superfly) Feminisms (An Unmarried Woman, The China Syndrome) Future visions (Star Wars, Blade Runner) As accessible to ordinary moviegoers as to film scholars, Lev's book is an essential companion to these familiar, well-loved movies.
There is never a shortage of priest characters on our screens. Even Spencer Tracy, Bing Crosby and Barry Fitzgerald won Oscars for playing priests. Robert de Niro has been ordained four times (including a bishop). Many stars have been eager to play priests, as have numerous supporting actors. The question arises: how have been priests portrayed over the decades? There have been kindly priests with their advice, stern priests who laid down the law, heroic priests on mission, in more recent years, priests who have been abusers. And there have been priests who were part of the scenery, especially at funerals. This is something of a comprehensive look at priests on screen, looking at portrayals from the late 19th century, over the decades, for 120 years. The films considered are mainly English-language but quite there are a number from other cultures. The book offers some Church background and developments, the range of films, a highlighting of a key film representing each decade. It also has separate chapters on Irish priests, Australian priests, exorcism priests and a chapter on films and abuse. There also Appendices on historical films, saint priests and popes. While one could read the book from cover to cover, it is mainly a book for reference. There are some detailed appreciations. There are some shorter considerations. Not everyone can see every film, not for want of trying! There are Indexes for exploring: film titles, directors, and actors who have played priests. Screen Priests is a fascinating historical look at films about Roman Catholic priests from the first until Martin Scorseses 2016 religious and cinematic masterpiece Silence. With the scope spanning decades and the breadth embracing films mostly from the United States, Britain, Ireland, Canada and Australia, the researcher will find a treasure trove and the film aficionado will relish Peter Malones encyclopedia knowledge and sometimes trivia of the world of priests on the silver screen.
Stories and observation's from America's best motorcycle journalist. Peter Egan's writing invites you to pull up a chair, pour a little scotch, and relax while he shares with you his tales from the road, his motorcycling philosophy, and his keen observations about the two-wheeled life. His columns and feature articles are among Cycle World's most anticipated each month. Egan's legions of fans know they will always leave his articles with a fresh perspective. Leanings 3 offers a fresh collection of Egan's motorcycle musings delivered in his signature wise but amusing style. For added perspective, each feature article is preceded by fresh commentary from the author. This is an unforgettable collection of the works of a master writer whose simple adventures of life remind us all why we love to ride.
Essays considering what it means to love art, culture, and people in an age of accelerating disaster. This is a book about loving things—books, songs, people—in the shadow of a felt, looming disaster. Through lyrical, funny, heart-wrenching essays, Peter Coviello considers pieces of culture across a fantastic range, setting them inside the vivid scenes of friendship, dispute, romance, talk, and loss, where they enter our lives. Alongside him, we reencounter movies like The Shining, shows like The Sopranos; videos; poems; novels by Sam Lipsyte, Sally Rooney, and Paula Fox; as well as songs by Joni Mitchell, Gladys Knight, Steely Dan, Pavement, and the much-mourned saint of Minneapolis, Prince. Navigating an overwhelming feeling that Coviello calls “endstrickenness,” he asks what it means to love things in calamitous times, when so much seems to be shambling toward collapse. Balancing comedy and anger, exhilaration and sorrow, Coviello illuminates the strange ways the things we cherish help us to hold on to life and to its turbulent joys. Is There God after Prince? shows us what twenty-first-century criticism can be, and how it might speak to us, in a time of ruin, in an age of “Last Things.”
Offering unparalleled coverage of infectious diseases in children and adolescents, Feigin & Cherry’s Textbook of Pediatric Infectious Diseases 8th Edition, continues to provide the information you need on epidemiology, public health, preventive medicine, clinical manifestations, diagnosis, treatment, and much more. This extensively revised edition by Drs. James Cherry, Gail J. Demmler-Harrison, Sheldon L. Kaplan, William J. Steinbach, and Peter J. Hotez, offers a brand-new full-color design, new color images, new guidelines, and new content, reflecting today’s more aggressive infectious and resistant strains as well as emerging and re-emerging diseases Discusses infectious diseases according to organ system, as well as individually by microorganisms, placing emphasis on the clinical manifestations that may be related to the organism causing the disease. Provides detailed information regarding the best means to establish a diagnosis, explicit recommendations for therapy, and the most appropriate uses of diagnostic imaging. Features expanded information on infections in the compromised host; immunomodulating agents and their potential use in the treatment of infectious diseases; and Ebola virus. Contains hundreds of new color images throughout, as well as new guidelines, new resistance epidemiology, and new Global Health Milestones. Includes new chapters on Zika virus and Guillain-Barré syndrome. Expert ConsultTM eBook version included with purchase. This enhanced eBook experience allows you to search all of the text, figures, and references from the book on a variety of devices.
In the child welfare system some youth do well in their lives, but far too many do not experience positive outcomes by the time they are leaving government services. The youth often feel marginalized and that they were not involved in decisions about their own lives, leaving them with a sense of hopelessness and helplessness. This book focuses on high-risk youth - whose struggles include neglect and abuse, alcohol and drug abuse, the risk of being exploited, mental health issues, and the inability to self-regulate and trust - a population of youth that government child welfare services and community agencies struggle to serve adequately. The focus has traditionally been on punishment-consequence interventions and demanding compliance, but experience and research shows they can be better served through relationship-based practice incorporating harm reduction principles, resiliency and strength-based approaches, community collaboration, and an understanding that these youth typically come from experiences of early trauma impacting their brain development and their ability to form attachments. This book provides an overview of the Get Connected practice framework and philosophy, and provides strategies for engaging and working with the most disconnected, challenging, and troubled youth in society.
Horror is one of the most enduring and controversial of all cinematic genres. Horror films range from the subtle and the poetic to the graphic and the gory but what links them all is their ability to frighten, disturb, shock, provoke, delight, irritate, amuse, and bemuse audiences. Horror's capacity to serve as an outlet to capture the changing patterns of our fears and anxieties has ensured not only its notoriety but also its long-term survival and its international popularity. Above all, however, it is the audience's continual desire to experience new frights and evermore-horrifying sights that continue to make films like The Exorcist, A Nightmare on Elm Street, Halloween, Night of the Living Dead, The Texas Chainsaw Massacre, Psycho, Ringu, and The Shining captivate viewers. The A to Z of Horror Cinema traces the development of horror cinema from the beginning of the 20th century to the present day. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries. Entries cover all the major movie villains, including Frankenstein and his monster, the vampire, the werewolf, the mummy, the zombie, the ghost, and the serial killer; the film directors, producers, writers, actors, cinematographers, make-up artists, special effects technicians, and composers who have helped to shape horror history; significant production companies and the major films that have come to stand as milestones in the development of the horror genre; and the different national traditions in horror cinema as well as horror's most popular themes, formats, conventions, and cycles.
In his youth, Peter Finch wove his way through a series of exploits and adventures. Travels took him to Canada, where a fateful encounter in the Rocky Mountains opened up new horizons. In midlife he and his wife Gundi made the shift to country living, ushering in a new phase in their life, as they set down roots in the hills and settled into a deliberately simplified lifestyle. Peter relates how he and Gundi immersed themselves in ways guided by nature. As she created and sold glass sculptures, he sunk his hands and tools into pure glacial-till soils, sowing, planting, and growing culinary and medicinal herbs, heirloom vegetables and salad greens to take to farmers markets and restaurants in and around Toronto. Invigorated by the pleasures and health benefits of growing, selling, and eating fresh organic food, Peter reveals how he became a passionate advocate of traditional, small-scale, chemical-free farming. High Up in the Rolling Hills shares the personal journey of an independent couple as they explore the vital role of nature, creativity, and healthy food in life.
A 'dwelling', or the physical space we call a house, is full of meaning for us. It can be implacable, in that it can work for or against us, depending on how we are able to access and use it. This means that we have to learn to accept dwelling as it is and find some accommodation with our surrounding environment. This book develops a new approach to looking at dwelling and how we use it. It explores the manner in which we use housing to exclude others and so protect our privacy. It also argues we need to exclude others in order to protect and nurture our loved ones. The book combines philosophical analysis and literary and film criticism to put forward an innovative and insightful new approach to looking at housing. It draws on the work of thinkers as diverse as Aristotle, Derrida, Kierkegaard, Nussbaum and Scruton and the films of Chaplin, Bergman, Lynch, Tarr, Teshigahara and Van Sant to construct a new theoretical approach to housing research.
The Documentary Handbook is mandatory reading for those who want a critical understanding of the place of factual formats in today’s exploding television and media industry, as well as expert guidance in complex craft skills in order to fully participate. The practical advice and wisdom here is second to none.' – Tony Steyger, Principal Lecturer, Southampton Solent University, UK The Documentary Handbook is a critical introduction to the documentary film, its theory and changing practices. The book charts the evolution of documentary from screen art to core television genre, its metamorphosis into many different types of factual TV programme and its current emergence in forms of new media. It analyses those pathways and the transformation of means of production through economic, technical and editorial changes. The Documentary Handbook explains the documentary process, skills and job specifications for everyone from industry entrants to senior personnel, and shows how the industrial evolution of television has relocated the powers and principles of decision-making. Through the use of professional Expert Briefings it gives practical pointers about programme-making, from research, developing and pitching programme ideas to their production and delivery through a fast-evolving multi-platform universe.
Peter Bogdanovich, known primarily as a director, film historian and critic, has been working with professional actors all his life. He started out as an actor (he debuted on the stage in his sixth-grade production of Finian’s Rainbow); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director). Now, in his new book, Who the Hell’s in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart. Bogdanovich captures—in their words and his—their work, their individual styles, what made them who they were, what gave them their appeal and why they’ve continued to be America’s iconic actors. On Lillian Gish: “the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress.” On Marlon Brando: “He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon—the recognizable human commodity each new film was built around . . . The funny thing is that Brando’s charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. ” Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: “I was five years old. My mom and dad had a tux made—I worked in the borscht circuit with them—and I came out and I sang, ‘Brother, Can You Spare a Dime?’ the big hit at the time . . . It was 1931, and I stopped the show—naturally—a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed—they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning.” John Wayne to Bogdanovich, on the early years of Wayne’s career when he was working as a prop man: “Well, I’ve naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I’d been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford’s need for a goose-herder just seemed to fit my pistol.” These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich’s book is a celebration and a farewell.
Like a pizza delivery driver who travels everywhere by moped, or a volcanologist who keeps turning the central heating up, I'm a film critic who loves going to the cinema.' - Peter Bradshaw. Peter Bradshaw is the film reviewer for intelligent, curious cinemagoers; he has worked at the Guardian for twenty years. The Films That Made Me collates his finest reviews from the last two decades, which carry with them his deep experience, knowledge and understanding of film. Introducing each section with a brief introductory article in his light, humorous tone, and ranging from The Cat in the Hat and the Twilight Saga to Synecdoche: New York, Bradshaw shares the films that he loved, the films that he hated, the films that made him laugh, cry, swoon and scared. Bradshaw's reviews range from the insightful and introspective to the savage and funny. The Films That Made Me is a must read for all film fanatics.
Horror is one of the most enduring and controversial of all cinematic genres. Horror films range from subtle and poetic to graphic and gory, but what links them together is their ability to frighten, disturb, shock, provoke, delight, irritate, and amuse audiences. Horror’s capacity to take the form of our evolving fears and anxieties has ensured not only its notoriety but also its long-term survival and international popularity. This second edition has been comprehensively updated to capture all that is important and exciting about the horror genre as it exists today. Its new entries feature the creative personalities who have developed innovative forms of horror, and recent major films and cycles of films that ensure horror’s continuing popularity and significance. In addition, many of the other entries have been expanded to include reference to the contemporary scene, giving a clear picture of how horror cinema is constantly renewing and transforming itself. The Historical Dictionary of Horror Cinema traces the development of the genre from its beginnings to the present. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries. The entries cover all major movie villains, including Frankenstein and his monsters, the vampire, the werewolf, the mummy, the zombie, the ghost and the serial killer; film directors, producers, writers, actors, cinematographers, make-up artists, special-effects technicians, and composers who have helped shape horror history; significant production companies; major films that are milestones in the development of the horror genre; and different national traditions in horror cinema – as well as popular themes, formats, conventions, and cycles.
The Historical Dictionary of United States-Japan Relations traces this one hundred and fifty year relationship through a chronology, an introduction, appendixes, a bibliography, and cross-referenced dictionary entries on key persons, places, events, institutions, and organizations. Covering everything from Walt Whitman's poem, A Broadway Pageant, commemorating the visit of the Shogun's Embassy to the U.S. in 1860, to zaibatsu, this ready reference is an excellent starting point for the study of Japan's dealings with the U.S.
Your First Page is unlike any other craft book on writing. It is based on the premise that practically everything that can go right or wrong in a work of fiction or memoir goes wrong or right on the first page. Those first 300 or so words function like canaries in coal mines, forecasting success or predicting trouble. They establish the crucial bond between writer and reader, setting them off together on a path toward the heart or climax of a story—or they fail to do so. From first pages we stand to learn most of what we need to know to succeed as authors. This new workshop and classroom edition of Your First Page has been revised to better fit the needs of creative writing classrooms and workshops.
Developing key topics in depth and introducing students to the notion of independent study, this full colour, highly illustrated textbook is designed to support students through the transition from AS to A2 and is the perfect guide for the new WJEC A2 Media Studies syllabus. Individual chapters, written by experienced teachers and examiners cover the following key areas: • Introduction: From AS to A2 • 1. Key Concepts: genre, narrative, representation, audience • 2. Developing Textual Analysis • 3. Theoretical Perspectives • 4. Passing MS4: Text, Industry and Audience • 5. Passing MS3: Media Investigation and Production • Epilogue Specially designed to be user-friendly, A2 Media Studies: The Essential Introduction for WJEC includes activities, key terms, case studies, sample exam questions and over 120 full colour images.
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