In Brown/Suter/Churchill's BASIC MARKETING RESEARCH, 10th Edition, you will learn how to convert marketplace data into actionable marketing information using the two dominant approaches, behavioral data that exists and customer insights gathered for a specific purpose, and how interactions in the research process give managers and researchers confidence in the result. BASIC MARKETING RESEARCH's easy-to-read writing style helps you see the research process from the perspectives of researchers who gather information and marketing managers who use it and helps you apply your market research skills in experiential learning activities.

Professor Elemental: Misunderstood and benevolent genius, evil killer, or slightly deluded idiot? Private investigator Algernon Spoon really isn't sure, but as the bodies mount up, it looks like someone is bent on slaughter. But who? And why? And is there going to be Battenberg?

"'Twas the night before Christmas, and all through the house ..." For decades families have gathered together to read Clement C. Moore's enchanting holiday poem. Featuring beautiful original illustrations by award-winning artist Tom Browning, this stunning edition stands apart from the rest. Browning has created a classic Saint Nick--the quintessential round, jolly, white-bearded figure that everyone imagines. The look is timeless, filled with warmth and sentiment: exactly what Christmas should be.
The story's enduring charm and Browning's memorable art make "The Night Before Christmas" a must-have for any child who is just discovering the tale--and every adult who has loved it forever.

The church of Jesus Christ is in crisis. Congregations are splitting and decreasing in size. Marriages are crumbling. Biblical intelligence is on the decline. Where is the power? Where are the miracles? What has happened to today's church? Author Tim Brown argues that we have forgotten that our duty to share the mission of Jesus Christ-to defeat the adversary who rules this world. Today, too many churches refuse to mention the devil or teach about the reality of Satan. The result is a weak and anemic church that struggles to convert doubters, rescue those in crisis, or witness the deliverance of oppressed souls in the clutches of the devil.

Professor Elemental: Misunderstood and benevolent genius, evil killer, or slightly deluded idiot? Private investigator Algernon Spoon really isn't sure, but as the bodies mount up, it looks like someone is bent on slaughter. But who? And why? And is there going to be Battenberg?

The church of Jesus Christ is in crisis. Congregations

are splitting apart and decreasing in size. Marriages are

crumbling. Biblical intelligence is on the decline. Where is

the power? Where are the miracles? What has happened to

today's church?

Author Tom Brown argues that we have forgotten our

duty to share the mission of Jesus Christ to defeat the

adversary who rules this world. Today, too many churches

refuse to mention the devil or teach about the reality of

Satan. The result is a weak and anemic church that struggles

to convert doubters, rescue those in crisis, or witness the

deliverance of oppressed souls in the clutches of the devil.

Spectacle is not often considered to be a significant part of the style of 'classical' cinema. Indeed, some of the most influential accounts of cinematic classicism define it virtually by the supposed absence of spectacle. Spectacle in 'Classical' Cinemas: Musicality and Historicity in the 1930s brings a fresh perspective on the role of the spectacular in classical sound cinema by focusing on one decade of cinema (the 1930s), in two 'modes' of filmmaking (musical and historical films), and in two national cinemas (the US and France). This not only brings to light the special rhetorical and affective possibilities offered by spectacular images but refines our understanding of what 'classical' cinema is and was.

Spectacle is not often considered to be a significant part of the style of 'classical' cinema. Indeed, some of the most influential accounts of cinematic classicism define it virtually by the supposed absence of spectacle. Spectacle in 'Classical' Cinemas: Musicality and Historicity in the 1930s brings a fresh perspective on the role of the spectacular in classical sound cinema by focusing on one decade of cinema (the 1930s), in two 'modes' of filmmaking (musical and historical films), and in two national cinemas (the US and France). This not only brings to light the special rhetorical and affective possibilities offered by spectacular images but refines our understanding of what 'classical' cinema is and was.

Heralded as "the most significant invention [for film] since the coming of sound" (The Observer 2003), by 2005 DVD players were in approximately 84 million homes in the US, making it the "fastest selling item in history of US consumer electronics market" (McDonald 2007: 135). This book examines the phenomenal growth of DVDs in relation to the cultures, economies, texts, audiences and histories of film, television and new media. Film and Television After DVD brings together a group of internationally renowned scholars to provide the first focused academic inquiry into this important technology. The book picks up on key issues within contemporary media studies, making a particularly significant contribution to debates about convergence and interactivity in the digital media landscape. Essays consider DVD as a technology that exists outside the boundaries of "new" and "old" media, examining its place within longer histories of home film cultures and production practices of the film and television industries, whilst also critically evaluating what is genuinely "new" about digital media technologies. From DVDs to downloading, peer-to-peer networking and HD-DVD, this book speaks of the rapidly evolving digital mediascape. Ultimately, Film and Television After DVD is a book that considers the convergence of film, television and new media and their academic disciplines through the DVD as a distinct cultural object, pointing to persistent questions in the study of audiovisual culture that will remain intriguing long after the shelf-life of the DVD itself.

Heralded as "the most significant invention [for film] since the coming of sound" (The Observer 2003), by 2005 DVD players were in approximately 84 million homes in the US, making it the "fastest selling item in history of US consumer electronics market" (McDonald 2007: 135). This book examines the phenomenal growth of DVDs in relation to the cultures, economies, texts, audiences and histories of film, television and new media. Film and Television After DVD brings together a group of internationally renowned scholars to provide the first focused academic inquiry into this important technology. The book picks up on key issues within contemporary media studies, making a particularly significant contribution to debates about convergence and interactivity in the digital media landscape. Essays consider DVD as a technology that exists outside the boundaries of "new" and "old" media, examining its place within longer histories of home film cultures and production practices of the film and television industries, whilst also critically evaluating what is genuinely "new" about digital media technologies. From DVDs to downloading, peer-to-peer networking and HD-DVD, this book speaks of the rapidly evolving digital mediascape. Ultimately, Film and Television After DVD is a book that considers the convergence of film, television and new media and their academic disciplines through the DVD as a distinct cultural object, pointing to persistent questions in the study of audiovisual culture that will remain intriguing long after the shelf-life of the DVD itself.

The biographical film or biopic is a staple of film production in all major film industries and yet, within film studies, its generic, aesthetic, and cultural significance has remained underexplored. The Biopic in Contemporary Film Culture fills this gap, conceptualizing the biopic with a particular eye toward the "life" of the genre internationally. New theoretical approaches combine with specially commissioned chapters on contemporary biographical film production in India, Italy, South Korea, France, Russia, Great Britain, and the US, in order to present a selective but well-rounded portrait of the biopic's place in film culture. From Marie Antoinette to The Social Network, the pieces in this volume critically examine the place of the biopic within ongoing debates about how cinema can and should represent history and "real lives." Contributors discuss the biopic's grounding in the conventions of the historical film, and explore the genre's defining traits as well as its potential for innovation. The Biopic in Contemporary Film Culture expands the critical boundaries of this evolving, versatile genre.

Why is BASIC MARKETING RESEARCH the best-selling marketing textbook? It is a best seller because it's written from a student's perspective. Authors Brown, Suter, and Churchill know that for a marketing textbook to be effective, students have to be able to understand it. And they've achieved that time and again. This edition is packed with the features that made it a best-seller in the first place, from study tools to updated content to an easy-to-read writing style. Plus, in this volume you'll learn more about how experts gather data and how to use it yourself to turn greater profits.

The biographical film or biopic is a staple of film production in all major film industries and yet, within film studies, its generic, aesthetic, and cultural significance has remained underexplored. The Biopic in Contemporary Film Culture fills this gap, conceptualizing the biopic with a particular eye toward the "life" of the genre internationally. New theoretical approaches combine with specially commissioned chapters on contemporary biographical film production in India, Italy, South Korea, France, Russia, Great Britain, and the US, in order to present a selective but well-rounded portrait of the biopic's place in film culture. From Marie Antoinette to The Social Network, the pieces in this volume critically examine the place of the biopic within ongoing debates about how cinema can and should represent history and "real lives." Contributors discuss the biopic's grounding in the conventions of the historical film, and explore the genre's defining traits as well as its potential for innovation. The Biopic in Contemporary Film Culture expands the critical boundaries of this evolving, versatile genre.

Symptoms: the initial signs of a problem. Diagnosis: analysis of the problem. Treatment: suggested solutions. Henry McLeish, former First Minister of Scotland and Tom Brown, one of Scotland's leading political commentators, are joined by eminent psychologist Anne Ellis as they follow on from their politically provocative Scotland: the Road Divides by putting Scotland on the therapist's couch. They assess what in our past has led to a present nation that is such a strange clamjamfry. Light and dark, brash but with a constant chip on its shoulder, Scotland's Jekyll and Hyde nature is shown to have had led to serious social and political problems including anti-social behaviour, and borderline or real poverty. The first part of the book asks us 'tae see ourselves as ithers see us' and the remainder deals with how Scotland should see itself. It asks the difficult question: Scotland - who are we? We ourselves are typical Scots, conscious that we have our fair share of the flaws examined in this book. Recognising our failings is the first step... We warmly encourage readers - be they policymakers or otherwise - to engage in these issues. In this complex modern world there are no easy answers. But we have to keep asking the questions. - TOM BROWN and HENRY McLEISH

This book examines the role of direct address within fiction cinema. Film characters are not supposed to look at the camera, so what happens when they do acknowledge our presence as spectators? It is often assumed that this is incompatible with the voyeurism and the presence - absence that defines the cinema experience and disrupts our involvement in the fiction. This book revaluates these and other fundamental assumptions about the medium by demonstrating that direct address is compatible with - and is in some cases a convention of - various traditions of filmmaking. Breaking the Fourth Wall is the first book to provide a broad understanding of the role of direct address within fiction cinema. Chapters on the role of direct address in Hollywood comedies and musicals, as well as in some 'alternative' film practices, are accompanied by extended readings of individual films in which the illusion of eye contact between spectator and character offers a rich metaphor for the problems of vision (insight, foresight, other kinds of perceptiveness) that are so often the currency of movie narratives. In examining direct address, it returns the reader to fundamental and foundational debates concerning how cinema has been defined since the early part of the 20th century, making it an invaluable resource for students and researchers in Film Studies.

This innovative and timely collection offers a wide-reaching critical evaluation of performance in television, mapping out key conventions, practices and concerns while introducing performance theory and criticism to the established field of television studies. Chapters from leading scholars move through a range of examples from different styles and genres, from Game of Thrones to America's Next Top Model. Individual performances are analysed in close detail as the authors debate central questions of meaning, value and achievement. Opening out new pathways for inquiry and investigation, this book is an important touchstone for undergraduate and postgraduate students of television, media and theatre studies with an interest in the work of actors and non-actors on screen.