Nineteen-year-old Harold Chasen is obsessed with death. He fakes suicides to shock his self-obsessed mother, drives a hearse, and attends funerals of complete strangers. Seventy-nine-year-old Maude Chardin, on the other hand, adores life. She liberates trees from city sidewalks and transplants them to the forest, paints smiles on the faces of church statues, and “borrows� cars to remind their owners that life is fleeting— here today, gone tomorrow! A chance meeting between the two turns into a madcap, whirlwind romance, and Harold learns that life is worth living, and how to play the banjo.   Harold and Maude started as Colin Higgins’s master’s thesis at UCLA film school before being made into the 1971 film directed by Hal Ashby. The quirky, dark comedy gained a loyal cult following, and in 1997 it was selected for inclusion on the National Film Registry at the Library of Congress. Higgins’s novelization was released with the original film but has been out of print for more than thirty years. Fans who have seen the movie dozens of times will find this a valuable companion, as it gives fresh elements to watch for and answers many of the film’s unresolved questions.

This is a stage adaptation of the movie about the suicidal 19 year old boy who finally learns how to truly live when he meets that delightfully wacky octogenarian, Maude. Harold is the proverbial poor little rich kid. His alienation has caused him to attempt suicide several times, though these incidents are more cries for attention than actual attempts. His peculiar attachment to Maude, whom he meets at a funeral (a mutual passion) is what saves him and what captivates us. This stage version, a hit in France directed by the internationally renowned Jean Louis Barrault, will certainly delight both aficionados of the film and new comers to the story.

We now catalog in a post-AACR2 world. RDA: Resource Description and Access is designed to cover all types of content and media, but communities of practice are still evolving for motion picture and video materials. This handbook clarifies the protocol for DVDs and Blu-ray discs, expanding upon established guidelines for AACR2 and integrating them into the new standard. Along the way, Higgins introduces the fundamentals of filmmaking, including its history and technical vocabulary, providing context that will help catalogers quickly find the information relevant to their bibliographic records. Organized by familiar MARC 21 fields, this comprehensive reference walks readers through such topics as Unraveling the complexity of film and the ways it is packaged and presented on optical disc, to help quickly determine the title statement and statement of responsibility Explaining the roles of the individuals and organizations involved in the creation and publication of film, and where to record them in catalog records Deciphering the technical terms and abbreviations used on DVDs and Blu-ray discs Using subject and genre headings Cataloging television and streaming media Dealing with unusual formats, such as videotape and reels of photochemical film Outlining the MARC 21 fields where AACR2 practices differed from RDA With the expert guidance contained in this book, readers will learn how to apply RDA instructions to the cataloging of every type of film and video collection, whatever the medium.

The entire second season of the 1970s BBC sci-fi series. 'Redemption' sees Orac's prediction of the Liberator's destruction looking likely to be fulfilled when the ship's original owners arrive and take the rebels prisoner. In 'Shadow', Blake becomes involved with an interplanetary crime syndicate. 'Weapon' sees Blake and crew set out to steal a deadly 'delayed-effect' gun, which Servalan also wishes to possess. In 'Horizon', the Liberator heads for the edge of the Galaxy, only to be taken prisoner on the planet Horizon. 'Pressure Point' sees Blake attempting to destroy the Federation's control centre, only to walk into a trap set by Travis. In 'Trial', Travis is made a scapegoat by Servalan for their failure to capture Blake. 'Killer' sees Blake and his crew stumbling upon a derelict spaceship whilst on a mission to crack the Federation's new transmission code. The craft houses a deadly plague which could threaten the existence of the entire universe. In 'Hostage', Travis tries to trap Blake by kidnapping his cousin, Inga. 'Countdown' sees Blake and crew coming to the aid of the planet Albian, whose population are dying from radiation poisoning. In 'Voice from the Past', a telepathic signal forces Blake to reroute the Liberator to an asteroid where Travis lies in wait. Whilst 'Gambit' sees Blake, Cally and Jenna visit a gambling world to find the man who knows the location of the Federation's Star One. Avon and Villa, meanwhile, choose to take Orac on an illicit gambling spree. In 'The Keeper', Blake tries to obtain the key to Star One from a tribal chief on the planet Goth. However, Travis has beaten him to it. Finally, 'Star One' sees Blake at last launch his attack on the Federation's headquarters, unaware that an alien fleet is poised to invade.