The Cocktail Keys introduces the reader to the six 'key'cocktails that provide the basis for the vast majority of cocktail varieties enjoyed today. Instead of giving exact measurements for ingredients, they are explained in terms of proportions. This allows the reader to tailor each recipe to suit their glassware. Once each key cocktail is introduced, variations on each theme enable the home bartender to create thousands of original cocktail recipes while still retaining the fundamental principles that ensure each drink is simple, elegant and a classic in its own right.
In recent years the pace of reform in health policy and the NHS has been relentless. But how are policies formed and implemented? This fully updated edition of a bestselling book explores the processes and institutions that make health policy, examining what constitutes health policy, where power lies, and what changes could be made to improve the quality of health policy making. Drawing on original research by the author over many years, and a wide range of secondary sources, the book examines the role of various institutions in the formation and implementation of health policy. Unlike most standard texts, it considers the impact of devolution in the UK and the role of European and international institutions and fills a need for an up-to-date overview of this fast-moving area. It features new case studies to illustrate how policy has evolved and developed in recent years. This new edition has been fully updated to reflect policies under the later years of New Labour and the Coalition government. Although written particularly with the needs of students and tutors in mind, this accessible textbook will also appeal to policy makers and practitioners in the health policy field.
Martin Scorsese's Cape Fear (1991) opens with a shot of water andclimaxes on a raging river. Despite, or perhaps because of, the film's great commercialsuccess, critical analysis of the film typically does not delve beneath the surface of Scorsese's first major box office hit. As it reaches its 30th anniversary, Cape Fear is now ripe for a full appraisal. The remake of J. Lee Thompson's 1962 Cape Fear was originally conceived as a straightforward thriller intended for Steven Spielberg. Author Rob Daniel investigates the fascinating ways Scorsese's style and preoccupations transform his version into a horror epic. The director's love of fear cinema, his Catholicism and filmmaking techniques shift Cape Fear into terrifying psychological and psychosexual waters. The analysis also examines the influence of Gothic literature and fairy tales, plus how academic approaches to genre aid an understanding of the film.
This illustrated collection offers fascinating insight on restoring the wolf population to the Southern Rockies. Detailed reports by wildlife biologists, geographers, legal and policy experts, and conservationists provide a comprehensive look at not only the ecological imperatives, but also the history, legal framework, and public attitudes affecting the future of wolves.
Created’ by Steven Spielberg yet officially directed by Tobe Hooper, Poltergeist (1982) can be best described as ‘family horror movie’ both in its target audience and in its narrative context, the story of an All-American suburban family, the Freelings, whose home suddenly becomes the site of a spectacular haunting, apparently summoned by their young daughter. The film is somewhat of an anachronism and this Devil's Advocate explores this in both the scope of production and narrative. The book discusses the duality of the text highlighting debates surrounding both Spielberg's somewhat saccharine portrayal of middle-class Americana and his more subversive cinematic endeavours. The duality of the text also will also be discussed in the context of the film's production – with both Spielberg and Hooper on set for much of the time, the result was a movie with the production values, effects and marketing of a high budget mainstream cinema blockbuster apparently directed by a subversive 'grindhouse' cinema auteur. Yet Poltergeist is neither nor both of those things, instead being a unique hybrid of genres and styles taking the best and worst from both aspects of family blockbuster and cult horror film, and as such can be seen as a text that is something unique – a classic modern take on the traditional haunted house story.
Redressing a gap in Chartism studies, Rob Breton focuses on the fiction that emerged from the movement, placing it in the context of the Victorian novel and reading it against the works aimed at the middle-class. Breton examines works by well-known writers such as Ernest Jones and Thomas Cooper alongside those of obscure or anonymous writers, rejecting the charge that Chartist fiction fails aesthetically, politically, and culturally. Rather, Breton suggests, it constitutes a type of anti-fiction in which the expectations of narrative are revealed as irreconcilable to the real world. Taking up a range of genres, including the historical romance and social-problem story, Breton theorizes the emergence of the fiction against Marxist conceptualizations of cultural hegemony. In situating Chartist fiction in periodical print culture and specific historical moments, this book shows the ways in which it serves as a critique of mainstream Victorian fiction.
Rob Ray was known as one of the NHL’s toughest players of the 1990s. During his thirteen seasons with the Buffalo Sabres he twice lead the league in time spent in the penalty box. Ray was known for his jersey-off fighting style, which eventually led to the “Rob Ray Rule” banning that practice. In Rayzor’s Edge, Ray shares many humorous and insightful stories from his Sabres career.
In recent years the police have become one of the most watched and most visible organisations, and across the media there has been constant interest in the police. In such a situation the police themselves have been intensely concerned with promoting, projecting and protecting the police image. This book is concerned to document and to explain this image work, the activities in which the police engage that construct and project images of policing. Drawing upon first-hand research with the police themselves (including such examples as the way the South Yorkshire Police handled the Miners Strike and the Hillsborough stadium disaster), the book includes a detailed look at police press and public relations officers at work, and at operational policing and police work. Its broader argument is that image work has the capacity to both legitimate policing and to mask problems of legitimation. At a time of intense debate about the future role and nature of the police this book makes a key contribution, and raises important questions about the implications of police image work for both democratically accountable policing and the wider transformations in society being brought about by the media and its management.
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