This book brings together for the first time five French directors who have established themselves as among the most exciting and significant working today: Bruno Dumont, Robert Guédiguian, Laurent Cantet, Abdellatif Kechiche, and Claire Denis. Whatever their chosen habitats or shifting terrains, each of these highly distinctive auteurs has developed unique strategies of representation and framing that reflect a profound investment in the geophysical world. The book proposes that we think about cinematographic space in its many different forms simultaneously (screenspace, landscape, narrative space, soundscape, spectatorial space). Through a series of close and original readings of selected films, it posits a new 'space of the cinematic subject'. Accessible and wide-ranging, this volume opens up new areas of critical enquiry in the expanding interdisciplinary field of space studies. It will be of immediate interest to students and researchers working not only in film studies and film philosophy, but also in French/Francophone studies, postcolonial studies, gender and cultural studies.Listen to James S. Williams speaking about his book http://bit.ly/13xCGZN. (Copy and paste the link into your browser)
For fifteen years after the end of the war all official Admiralty records showed the German submarine U 110 as sunk on 9 May 1941 by the surface escorts of convoy OB.318. As this book was the first to reveal, this was a deliberate deception, as the U-boat was actually captured and its contents fully investigated before being allowed to sink a day later, a fact skilfully kept from even the survivors of the submarines crew. As the official historian of the naval war, Roskill had followed the party line when writing his authorised account, but provoked by exaggerated claims concerning a US Navy capture of a U-boat in 1944, Roskill decided to set the record straight. His narrative is prefaced by brief coverage of previous submarine captures by the Royal Navy three Italian and one German before covering the U 110 operation in great detail, underlining the skill and bravery of those involved.We now know that the reason for the secrecy was that the U-boat gave up valuable codebooks, charts, ciphers and, most significantly, a complete and undamaged Enigma machine. At the time of the books first publication, Ultra was still a secret, so Roskill (who clearly knew about it) had to be discreet about the exact details of what was taken from the submarine while insisting on its crucial value to the war effort. However, a new introduction puts the capture into context, making clear its vital importance in the history of allied codebreaking in World War Two.
With a chapter on public procurement by Sarah Hannaford ; A commentary on JCT forms of contract by Adirian Williamson, and a commentary of the infrastructure conditions of contract by John Uff
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