This significant book provides a comprehensive analysis of the global dimension of European Union (EU) counter-terrorism. It focuses on the growth of the EU as a global counter-terrorism actor, from it having almost no role in 2001 to becoming a significantly greater force in recent years. Analysing one of the most important policy areas of European integration, authors Christian Kaunert, Alex MacKenzie and Sarah Leonard consider the key question of why the EU may have become a global actor in counter-terrorism. The authors then develop a unique theoretical approach in the form of actorness and collective securitization, which analyses the EU's evolution as a counter-terrorism actor in different case studies, such as counter-terrorism in the transatlantic relationship, North Africa, the Middle East and South Asia. Overall, this book highlights that the EU is, in fact, becoming a counter-terrorism actor of growing importance and with an ever-diversifying number of policy options available. Addressing topical matters, this book will be a key resource for scholars, researchers and students in fields such as European studies, international relations, political science and governance. It will also attract the attention of practitioners, politicians, non-governmental and civil society organisations.

"DAMP: Contemporary Vancouver Media Arts," is a singular effort, a visually exuberant work that is also on the vanguard of theoretical engagement, a symbiosis of form and content, in full-colour throughout, inclusive of extensive imagery, graphic intrigues and typographical accent--a rare and desirable art-infused statement of the city's media art scene--now. "DAMP" is a long overdue critical engagement regarding the specificities of contemporary Vancouver media arts. The editors' effort is not so much to look to the past, nor to confine themselves within the borders of a collective of one sort or another. Their intent is to examine and speak to the now and the future of practice in Vancouver, its relationship to world art-media, and to the strategies of artists in this particular region. Origins of thought--from First Nations source code onwards--create a framework and starting point from which to study this mediacity. By re-focussing on the relative unknowns of this scene--the hidden and supressed histories, the city's internal and external mythologies and imaginary futures--they are revealing a plainly visible but unacknowledged praxis. "DAMP" will act as a catalyst for discussion that stretches well beyond this locale, as it creates response and reaction from points east, internal, and beyond nation borders.

"DAMP" includes over 25 contributions from such artists as Laiwan, Fiona Bowie, Ann Marie Fleming, David Rimmer, Warren Arcan, and Yum Lam Li, and critical essays by such well respected Vancouver theorists as Clint Burnham, Jayce Salloum, and Randy Lee Cutler.

Directorial debut of Bill Forsyth following four unemployed Glaswegian teenagers in the 1970s. When Ronnie (Robert Buchanan) discovers that stainless steel sinks are worth a lot of money, he recruits friends Wal (Billy Greenlees), Alec (Allan Love) and Vic (John Hughes) to help him steal 90 of them from a nearby warehouse. The leader of the gang hatches a complex scheme that requires Vic and Wal to dress up as girls and use a sleeping potion, concocted by chemistry expert Bobby (Derek Millar), to borrow a bakery delivery truck for their cunning getaway. With Ronnie at the helm, can the friends pull off the heist and obtain their small fortune?

Ealing Studios comedy set in the Scottish isles. Hollywood's Paul Douglas plays Marshall, an American businessman who becomes involved with The Maggie, a rundown old shipping vessel captained by the taciturn skipper (Alex Mackenzie), when he is trying to find a way to convey his luggage to a remote island. It doesn't take Marshall long to realise that the skipper and his crew have pulled a fast one on him - but what can he do to stop them?

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.