Two-movie collection featuring Disney's classic live-action/animation and the 2016 remake. In 'Pete's Dragon' (1977) lonely orphan Pete (Sean Marshall) finds a new friend in a surprising form: Elliott (voice of Charlie Callas), a 12-foot tall dragon that has the power to make itself invisible. Together they innocently cause chaos in their sleepy home town, but their partnership is put in jeopardy when visiting medicine seller Dr Terminus (Jim Dale) tries to kidnap Elliott. In 'Pete's Dragon' (2016) young boy Pete (Oakes Fegley) is found by forest ranger Grace (Bryce Dallas Howard) after having lived in a forest for the last six years alongside his best friend, a dragon called Elliot (voice of John Kassir). After taking him home to try and find his family, Grace is shocked to learn of the dragon's existence. However, when Elliot comes under threat from a hunter (Karl Urban), Pete, Grace, her father Meacham (Robert Redford) and lumber mill owner Jack (Wes Bentley)'s daughter Natalie (Oona Laurence) set out to protect him.

David Lowery directs this Disney fantasy adventure remake starring Bryce Dallas Howard, Oakes Fegley and Robert Redford. Young boy Pete (Fegley) has lived in a forest for the last six years alongside his best friend, a dragon called Elliot (voice of John Kassir). When forest ranger Grace (Dallas Howard) discovers the boy she takes him home with her, hoping to help find his family. She soon learns of the dragon's existence and, when he comes under threat from a hunter (Karl Urban), Pete, Grace, her father (Redford) and lumber mill owner (Wes Bentley)'s daughter Natalie (Oona Laurence) set out to protect him.

David Lowery directs this Disney fantasy adventure remake starring Bryce Dallas Howard, Oakes Fegley and Robert Redford. Young boy Pete (Fegley) has lived in a forest for the last six years alongside his best friend, a dragon called Elliot (voice of John Kassir). When forest ranger Grace (Dallas Howard) discovers the boy she takes him home with her, hoping to help find his family. She soon learns of the dragon's existence and, when he comes under threat from a hunter (Karl Urban), Pete, Grace, her father (Redford) and lumber mill owner (Wes Bentley)'s daughter Natalie (Oona Laurence) set out to protect him.

Brilliantly illustrated and designed by the London-based film magazine Little White Lies, Bong Joon-ho examines the career of the South Korean writer/director, who has been making critically acclaimed feature films for more than two decades. First breaking out into the international scene with festival-favorite Barking Dogs Never Bite (2000), Bong then set his sights on the story of a real-life serial killer in 2003's Memories of Murder and once again won strong international critical attention, taking home the prize for Best Director at the San Sebastian Film Festival. But it was 2006's The Host that proved to be a huge breakout moment both for Bong and the Korean film industry. The monster movie, set in Seoul, premiered at Cannes and became an instant hit-South Korea's widest release ever, setting new box office records and selling remake rights in the US to Universal. Bong's next feature, Mother (2009) also premiered at Cannes, once again earning critical acclaim and appearing on many "best-of" lists for 2009/2010. Bong's first English-language film, Snowpiercer (2013)-set on a postapocalyptic train where class divisions erupt into class warfare-followed on its heels, bringing his work outside of the South Korean and film festival markets and onto the stage of global commercial cinema. With 2017's Okja (which became a center of controversy due to its being produced and released by Netflix), Bong became even more of an internationally known name, with the New York Times' A. O. Scott calling the film "a miracle of imagination and technique." Bong's next film, the 2019 black comedy/thriller Parasite, simultaneously scaled back-the film is mostly set in just two locations, with two Korean families taking center stage-and took his career to new heights, winning the Palme d'Or with a unanimous vote, as well as history-making Academy Awards for Best Picture, Best Director, Best Original Screenplay, and Best International Feature Film. Parasite's jarring shifts in tone-encompassing darkness, drama, slapstick, and black humor-and its unsubtle critiques of late capitalism and American imperialism are in conversation with Bong's entire body of work, and this mid-career monograph will survey the entirety of that work, including his short films, to flesh out the stories behind the films with supporting analytical text and interviews with Bong's key collaborators. The book also explores Bong's rise in the cultural eye of the West, catching up readers with his career before his next masterpiece arrives.

The Politics of Dissatisfaction: Citizens, Services, and Urban Institutions is destined to be a classic in public administration and public policy; it makes major theoretical and empirical contributions to the literature in both fields. It is a rigorous empirical attempt to assess the public choice view of citizenship and local government. The research upon which this book is based was founded on conversations between two of its authors, W. E. Lyons and David Lowery, during the early 1980s.

This volume summarizes the origins and development of the organization ecology approach to the study of interest representation and lobbying, and outlines an agenda for future research. Multiple authors from different countries and from different perspectives contribute their analysis of this research program.

"Understanding United States Government Growth" develops and tests alternative explanations of government growth since World War II. It opens with an analysis of debate about the causes and consequences of government growth, including the excessive government view that the public sector has grown beyond the scope demanded by citizens due to its own structural defects, and the responsive interpretation that government has gown because it has reacted appropriately to external public demands. The authors review the major political and economic explanations for government growth and criticize earlier empirical attempts to test these explanations. In the second half of the book, they distinguish four components of government growth: growth in the cost of government and growth in the scope of government activities in three domains--transfer payments, domestic purchases, and defense purchases. Both responsive and excessive explanations of each of these components of growth are developed and tested to allow an evaluation of the validity of the two contrasting views about big government.