Sword-and-sandal disaster epic directed by Paul W.S. Anderson and starring Kit Harington. Set before and during the Mount Vesuvius eruption of 79 AD, the film follows the plight of slave-turned-gladiator Milo (Harington) who falls in love with Cassia (Emily Browning), the daughter of a wealthy merchant who has recently become engaged to Corvus (Kiefer Sutherland), an influential Roman Senator. As the mountain erupts and quickly destroys the city of Pompeii as well as its surrounding communities, Milo must track down his one true love before all hope of survival is annihilated.

Supernatural horror about a group of college students who are terrorised by malevolent supernatural being The Bye Bye Man (Doug Jones). Trouble begins when the three friends move into an old house together off-campus. There, The Bye Bye Man begins to stalk them and appears whenever they say his name or even dare to think about him. Their investigations into the history of The Bye Bye Man lead them to believe he may be responsible for possessing a number of historical murderers and forcing them to carry out their killing sprees. Meanwhile, he enters their minds and grows in power the more they think about him. They decide the only way to get rid of the evil entity is to try and forget about him and keep his existence a secret for all of time, but can they first save themselves and stop others from being hunted by The Bye Bye Man?

The first intimate look at the cracked fairytale life of Hollywood's first family, the Farrows.   John Farrow was Hollywood royalty. An Academy Award-winning director and screenwriter, he was married to the talented and beautiful actress Maureen O'Sullivan, best known for playing Jane in Tarzan films with Johnny Weissmuller. Together they had seven children, including esteemed actress Mia Farrow, mother of journalist Ronan Farrow. From the outside, they were a fairytale Hollywood family. But all was not as it seemed. The Farrows of Hollywood: Their Dark Side of Paradise reveals that Mia Farrow's allegations of sexual molestation by Woody Allen of their seven-year-old adopted daughter, Dylan, has roots in Farrow’s childhood relationship with her father, John Farrow. John was often an abusive father to his children, his wife, and to his co-workers in Hollywood. Called the most disliked man in Hollywood, John Farrow was a tortured, tragic artist and father. He left his children a legacy of trauma and pain that the family kept hidden. It erupted only years later when Mia Farrow unknowingly revealed her pain through her words and behavior in her allegations aimed at Allen. The book includes new research, never-before-revealed interviews with actors who worked with John Farrow, and an original theory from author, biographer, and documentarian Marilyn Ann Moss.

Collected in this volume are the best articles and symposia from Poverty & Race, the bimonthly newsletter journal of The Poverty & Race Research Action Council (PRRAC), a Washington, DC-based national public interest organization founded in 1990. Poverty & Race in America includes over six-dozen works originally published between mid-2001 and 2005, many of which have been updated and revised. The contributors represent the best of progressive thought and activism on America's two most salient, and seemingly intractable, domestic problems-race and poverty. Divided into topical sections, this volume considers the issues of race, poverty, housing, education, health, and democracy. Poverty & Race in America is especially concerned with the links between and among these areas, both for purposes of analysis and policy prescriptions. Featuring a foreword by Congressman Jesse L. Jackson, Jr., this edited collection will be of great interest to policy makers and human rights activists and hopefully stimulate creative thought and action to bring an end to racism and poverty.

Collected in this volume are the best articles and symposia from Poverty & Race, the bimonthly newsletter journal of The Poverty & Race Research Action Council (PRRAC), a Washington, DC-based national public interest organization founded in 1990. Poverty & Race in America includes over six-dozen works originally published between mid-2001 and 2005, many of which have been updated and revised. The contributors represent the best of progressive thought and activism on America's two most salient, and seemingly intractable, domestic problems-race and poverty. Divided into topical sections, this volume considers the issues of race, poverty, housing, education, health, and democracy. Poverty & Race in America is especially concerned with the links between and among these areas, both for purposes of analysis and policy prescriptions. Featuring a foreword by Congressman Jesse L. Jackson, Jr., this edited collection will be of great interest to policy makers and human rights activists and hopefully stimulate creative thought and action to bring an end to racism and poverty.

This hugely successful blockbuster stars Keanu Reeves as Neo, a young computer hacker who comes to believe that the world around him is not as it appears to be. With the aid of mysterious subversive Morpheus (Laurence Fishburne), Neo discovers that his whole existence as he knows it is a lie. Together with Morpheus' acolyte Trinity (Carrie-Anne Moss), Neo begins to fight back against the computerised hierarchy which is secretly manipulating the human race.

This is the first comprehensive study of the Renaissance commonplace-book. Commonplace-books were the information-organizers of Early Modern Europe, notebooks of quotations methodically arranged for easy retrieval. From their first introduction to the rudiments of Latin to the specialized studies of leisure reading of their later years, the pupils of humanist schools were trained to use commonplace-books, which formed an immensely important element of Renaissance education. The common-place book mapped and resourced Renaissance culture's moral thinking, its accepted strategies of argumentation, its rhetoric, and its deployment of knowledge. In this ground-breaking study Ann Moss investigates the commonplace-book's medieval antecedents, its methodology and use as promulgated by its humanist advocates, its varieties as exemplified in its printed manifestations, and the reasons for its gradual decline in the seventeenth century. The book covers the Latin culture of Early Modern Europe and its vernacular counterparts and continuations, particularly in France. Printed Commonplace-Books and the Structuring of Renaissance Thought is much more than an account of humanist classroom practice: it is a major work of cultural history.

This book is a major study of the development of French poetry in the Renaissance, which examines changes in style and vision by looking both at how poetry was read in this period and how it was written. Dr Moss examines vernacular versions of fables from Ovid's Metamorphoses, published between the end of the fifteenth century and beginning of the seventeenth century, which reveal fundamental changes both in reading habits and in assumptions about literary aesthetics and the relationship of literature to truth. Through detailed analysis of mythological narratives in the Ovidian tradition composed by Lemaire de Beiges, Francois Habert, Baif and Ronsard, among others, and by concentrating on a few specific mythological subjects Dr Moss is able to identify the salient features in these developments and so broaden our understanding of the aesthetic revolution which transformed the literature and mentality of France and Western Europe during the Renaissance.

Renaissance Truth and the Latin Language Turn provides an entirely new look at an era of radical change in the history of West European thought, the period between 1480 and 1540, mainly in France and Germany. The book's main thesis is that the Latin language turn was not only concurrent with other aspects of change, but was a fundamental instrument in reconfiguring horizons of thought, reformulating paradigms of argument, and rearticulating the relationship between fiction and truth. Its topics include Latin dictionaries and phrase-books; religious disputation; and early approaches to literary criticism.

Raoul Walsh (1887--1980) was known as one of Hollywood's most adventurous, iconoclastic, and creative directors. He carved out an illustrious career and made films that transformed the Hollywood studio yarn into a thrilling art form. Walsh belonged to that early generation of directors -- along with John Ford and Howard Hawks -- who worked in the fledgling film industry of the early twentieth century, learning to make movies with shoestring budgets. Walsh's generation invented a Hollywood that made movies seem bigger than life itself. In the first ever full-length biography of Raoul Walsh, author Marilyn Ann Moss recounts Walsh's life and achievements in a career that spanned more than half a century and produced upwards of two hundred films, many of them cinema classics. Walsh originally entered the movie business as an actor, playing the role of John Wilkes Booth in D. W. Griffith's The Birth of a Nation (1915). In the same year, under Griffith's tutelage, Walsh began to direct on his own. Soon he left Griffith's company for Fox Pictures, where he stayed for more than twenty years. It was later, at Warner Bros., that he began his golden period of filmmaking. Walsh was known for his romantic flair and playful persona. Involved in a freak auto accident in 1928, Walsh lost his right eye and began wearing an eye patch, which earned him the suitably dashing moniker "the one-eyed bandit." During his long and illustrious career, he directed such heavyweights as Humphrey Bogart, James Cagney, Errol Flynn, and Marlene Dietrich, and in 1930 he discovered future star John Wayne.

Raoul Walsh (1887--1980) was known as one of Hollywood's most adventurous, iconoclastic, and creative directors. He carved out an illustrious career and made films that transformed the Hollywood studio yarn into a thrilling art form. Walsh belonged to that early generation of directors -- along with John Ford and Howard Hawks -- who worked in the fledgling film industry of the early twentieth century, learning to make movies with shoestring budgets. Walsh's generation invented a Hollywood that made movies seem bigger than life itself. In the first ever full-length biography of Raoul Walsh, author Marilyn Ann Moss recounts Walsh's life and achievements in a career that spanned more than half a century and produced upwards of two hundred films, many of them cinema classics. Walsh originally entered the movie business as an actor, playing the role of John Wilkes Booth in D. W. Griffith's The Birth of a Nation (1915). In the same year, under Griffith's tutelage, Walsh began to direct on his own. Soon he left Griffith's company for Fox Pictures, where he stayed for more than twenty years. It was later, at Warner Bros., that he began his golden period of filmmaking. Walsh was known for his romantic flair and playful persona. Involved in a freak auto accident in 1928, Walsh lost his right eye and began wearing an eye patch, which earned him the suitably dashing moniker "the one-eyed bandit." During his long and illustrious career, he directed such heavyweights as Humphrey Bogart, James Cagney, Errol Flynn, and Marlene Dietrich, and in 1930 he discovered future star John Wayne.