Romantic comedy in which a man whose girlfriend has recently left him finds new love with the help of an injured duck. Doug (Rhys Darby) is devastated when his girlfriend, Susan (Faye Smith), announces that she has had enough of him and is dumping him. When he stumbles upon an injured duck, his black mood is such that he only just decides to help it. However, caring for the duck brings out another side of Doug - one even he may not have been aware of - and he gradually begins to develop a new perspective on life. Even better, through the duck Doug meets Holly (Sally Hawkins), a vet, and the pair hit it off. But, with the return of Susan to the scene, will their fledgling relationship take off?

This is a well-researched and highly-illustrated biography of one of the most influential educational leaders of the 20th century. John Henry Brookes was a driving force in the development of education throughout the city of Oxford. Determined, kind and visionary, his ideas and energy profoundly affected many lives, and Oxford Brookes University was named in his honour. The book describes his early life, the influential thinkers that shaped his views, his arts and crafts career, and his long struggle that led to the Headington campus of what is now the highly-respected Oxford Brookes University. With photography dating form the early years of the 20th century, and beautiful colour reproductions of artwork produced by Brookes, the biography will provide a compelling insight into the life of a man who was determined to change education for young people in Oxford.

The term 'theatre laboratory' has entered the regular lexicon of theatre artists, producers, scholars and critics alike, yet use of the term is far from unified, often operating as an catch-all for a web of intertwining practices, territories, pedagogies and ideologies. Russian theatre, however, has seen a clear emergence of laboratory practice that can be divided into two distinct organisational structures: the studio and the masterskaya (artisanal guild). By assessing these structures, Bryan Brown offers two archetypes of group organisation that can be applied across the arts and sciences, and reveals a complex history of the laboratory's characteristics and functions that support the term's use in theatre. This book's discursive, historical approach has been informed substantially by contemporary practice, through interviews with and examinations of practitioners including Slava Polunin, Anatoli Vassiliev, Sergei Zhenovach and Dmitry Krymov.

Henry Taunt was one of the great photographers of the nineteenth and early twentieth centuries. He was a master of the camera and possessed of a profoundly creative sense of scene and composition. First published in 1973, this collection of Henry Taunt's finest work includes artistic prints as well as images which are of importance to architectural and social historians. Sympathetically introduced and captioned by Bryan Brown, this book is a striking visual essay on the Victorian and Edwardian eras and a magnificent record of places and their past.

Henry Taunt was one of the great photographers of the nineteenth and early twentieth centuries. He was a master of the camera and possessed of a profoundly creative sense of scene and composition. First published in 1973, this collection of Henry Taunt's finest work includes artistic prints as well as images which are of importance to architectural and social historians. Sympathetically introduced and captioned by Bryan Brown, this book is a striking visual essay on the Victorian and Edwardian eras and a magnificent record of places and their past.

The term 'theatre laboratory' has entered the regular lexicon of theatre artists, producers, scholars and critics alike, yet use of the term is far from unified, often operating as an catch-all for a web of intertwining practices, territories, pedagogies and ideologies. Russian theatre, however, has seen a clear emergence of laboratory practice that can be divided into two distinct organisational structures: the studio and the masterskaya (artisanal guild). By assessing these structures, Bryan Brown offers two archetypes of group organisation that can be applied across the arts and sciences, and reveals a complex history of the laboratory's characteristics and functions that support the term's use in theatre. This book's discursive, historical approach has been informed substantially by contemporary practice, through interviews with and examinations of practitioners including Slava Polunin, Anatoli Vassiliev, Sergei Zhenovach and Dmitry Krymov.

Follow-on from the 1986 film 'FX - Murder by Illusion' in which Tyler (Bryan Brown) is now semi-retired. However, he is talked out of the quiet life after five years and into taking part in a police-sting operation by his girlfriend's ex-husband. When the latter is murdered, Tyler investigates, with the help of his old police partner (Brian Dennehy) and soon they are trapped in a dangerous web of murder, treachery and deceit.

In the first FX movie, special effects expert Rollie Taylor (Bryan Brown) is hired to fake a gangster's murder, but it soon becomes clear that someone wants Rollie dead. He has to use all his special effects skills to stay alive. The sequel has the special effects man called out of retirement to take part in a police investigation.

An engrossing collection of gritty, raw and sometimes very funny short stories with fully realised characters and surprising twists and turns. This is Aussie noir at its best by one of Australia's great actors. In the tradition of Peter Temple, Australia has found its new voice of urban crime fiction.

Encountering Ensemble, is a text for students, teachers, researchers and practitioners who wish to develop a deeper understanding of the history, conceptual foundations and practicalities of the world of ensemble theatre. It is the first book to draw together definitions and practitioner examples, making it a cutting edge work on the subject. Encountering Ensemble combines historical and contemporary case studies with a wide range of approaches and perspectives. It is written collaboratively with practitioners and members from the academic community and is divided into three sections: 1. Introduction and an approach to training ensembles 2. Practitioner case studies and analysis of specific practical approaches to training ensembles (or individuals in an ensemble context) 3. Succinct perspectives from practitioners reflecting on a range of questions including: What is an ensemble?; the place of ensemble in the contemporary theatre landscape; and training issues.

Black and White version of the book no color plates "Every Insult and Indignity" The Life, Genius and Legacy of Major Patrick Ferguson An exploration of the care and feeding of Patrick Ferguson's Breech Loading Ordnance Rifle. Looking at the evolution and development of the firelock. And we share tips to make reproduction Ferguson Ordinance Rifles shoot like the 18th century assault rifle it was We explore Patrick Ferguson the man and his life. Including never before seen evidence of the Ferguson Ordinance Rifle at the Battle of Kings Mountain SC.