The infamous Seriti Commission into the arms deal. The Glenister case following the disbanding of the Scorpions. Busting open the bread manufacturers’ cartel.

High drama; high stakes brought to South Africa courtesy of the Accountability Now NGO, and its founder Paul Hoffman.

Join him in his journey from jaded silk to corruption buster – a fly-on-the-wall account of courtroom battles, influential personalities, secrets and lies in the battle to speak truth to power.

Why Plot Never Matters: Telling the Screen Stories in Your Heartis designed to fill a significant and widely ignored gap between the theory and the practice of screenwriting. The approach of this text is equally applicable to all modes of writing popular fiction, including movies, television, novels,and stage plays. Why Plot Never Matters: Telling the Screen Stories in Your Heart helps new writers: discover their personal artistic voice. learn the overlooked creative methods allprofessional screenwriters actually use to build their stories. This textbook will take the reader on a journey of self-discovery, one that reveals the core beliefs and life lessons that constitute the unique creative voice of every writer.

Unlike the metamorphosis that occurs to a butterfly or a frog, telling a story will probably not dramatically alter your character, physical structure, or even circumstances. However, as a storyteller, you can imagine it did. Anchored by the need to write about storytelling in a human way, So, What's Your Story? Discovering the Story in You weaves theory and practice while infusing exercises and examples to help demonstrate and support vital storytelling principles. The second edition of So, What's Your Story? is a multimedia masterpiece that includes access to online supplements at no additional charge. The online supplements include terrific audio and video story samples from former students, discussion friendly remarks from the author, and stories told by exceptional tellers who performed on Houston's KPFT So, What's Your Story?. So, What's Your Story? Discovering the Story in You: Features a flexible format instructors can teach confidently any chapter in any order creating their own segues and incorporating their own pedagogical style. Features new story samples in each chapter; all of which can be found on the online supplement, along with a brief remark about the learning principle with which each is associated. Integrates a set of new exercises within the text to encourage frequent and meaningful practice. Peppers story excerpts throughout the text from former students to boost the reader's comprehension and improve their overall storytelling performance.

Seminar paper from the year 2006 in the subject American Studies - Literature, grade: 1,3, Dresden Technical University (Amerikanische Kultur- und Literaturwissenschaften), course: American Film Comedies, 0 entries in the bibliography, language: English, comment: "Something's Gotta Give" / "Cactus Flower", abstract: This dialogue from "Cactus Flower" is very likely to catch the attention of a 21stcentury woman instantly because of its chauvinist, discriminating tone against women. It is very intriguing to find this conversation in a film which was shot in the so-called liberal sixties, and which raised the question to me whether patriarchal values are only detectable in older romantic comedies such as "Cactus Flower" (1969) or whether these values became obsolete in newer romantic comedies such as "Something's Gotta Give" (2003). In spite of the constant success of romantic comedies "There's Something about Mary" (2001), for instance, passed the "gold record line" of $100 million with flying colours little attention has been paid to analyzing this film genre. The few critics who analyzed and interpreted film comedies tend to focus on masterpieces and on auteur films such as "The General" by Buster Keaton, but they are likely to neglect romantic comedies. Therefore, this paper focuses deliberately on romantic comedies which are neither in the canon of masterpieces nor directed by an auteur. Interestingly, critics have not been able to agree on a final definition of romantic comedies, for which reason I chose to draw on Thomas Schatz's definition: Romantic comedies are "fast-paced, witty comedies of manners exploiting the foibles of America's leisure class" (Classical Hollywood Comedies 126). An additional characteristic of romantic comedies, is the fact that focus is put on the mating of the major characters, with the result that gender quarrels play a major role. Consequently, romantic comedies propose to the spectatorship how to find true love, and they c

This title presents the proceedings of the 2012 EUROCALL Conference.