Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

The first part of a three-volume work devoted to mapping the transnational history of Australian film studies, Australian Film Theory and Criticism, Volume 1 provides an overview of the period between 1975 and 1990, during which the discipline first became established in the academy. Tracing critical positions, personnel, and institutions across this formative period, Noel King, Constantine Verevis and Deane Williams examine a multitude of books and journal articles published in Australia and distributed internationally though such processes as publication in overseas journals, translation and reprinting. At the same time, they offer important insights about the origins of Australian film theory and its relationship to such related disciplines as English and cultural studies. Ultimately, Australian Film Theory and Criticism, Volume 1 delineates the historical implications - and reveals the future possibilities - of establishing new directions of inquiry for film studies in Australia and internationally. Australian Film Theory and Criticism, Volume 2 and 3 are also now available from Intellect.

This volume adopts a transversal South-South approach to the study of visual culture in transnational, transcultural, and geopolitical contexts. Every day hundreds of people travel back and forth between southern countries, including Australia, Argentina, Brazil, Chile, New Zealand, Indonesia, Timor-Leste, and South Africa. With these people travel cultures, experiences, memories, and images. This creates the conditions for the generation, sharing, and circulation of new knowledge that is both southern and about the South as a specific kind of material and imaginary territory (or territories). It does so through the study of the southern hemisphere's screen cultures, addressing the broad spectrum of cultural expression in both traditional and new screen media, including film, television, video, digital, interactive, and online and portable technologies. This book was originally published as a special issue of Critical Arts.

This volume will be a 'time capsule' of the first 10 years of Studies in Documentary Film (2007-2016), tracing not only the development of the journal but also of documentary studies in the same period. Issues such as the rise of digital documentary forms and authorship, documentary activism, and the Chinese Independent documentary, as well as diverse political issues, will be raised in the introduction and evidenced in the articles. The chapters have been chosen for the various themes they raise in documentary studies but also the broader field of documentary scholarship (including publishing), and the rise of the internet as a powerful force in documentary studies.

The third part of a three-volume work devoted to mapping the transnational history of Australian film studies, Volume 3: Documents concludes the project by gathering together the documents that were produced during the rise of film studies in Australian academia from 1975-85. Through these sources we see the development of the particularities of Australian film theory and criticism, its relationship to its international counterparts and the establishment of key positions and the directions in which they develop. Editors Deane Williams and Constantine Verevis here collect key articles, including the works of Paul Willemen, Sam Rohdie, Ross Gibson and Meaghan Morris, among many others, in order to conclude this pioneering historiographic account of Australian film studies.

In the wake of the explosion in the production of essay films over the last 25 years and its subsequent theorization in scholarly literature, this volume seeks to historicize these intertwined developments within the 'long duree' of the 20th century and into the 21st. By raising the issue of 'beyond the essay film', this collection seeks not only to acknowledge the influential predecessors of this - in the view of many critics, the most interesting type of contemporary filmmaking - but also to speculate about its possible transformation as we move forward into the uncharted waters of the 21st - digital - century. Beyond the Essay Film focusses on three specific axes that underpin and shape the articulation of the essay film as a specific cultural form - subjectivity, textuality, and technology - to explore how changes along and across these dimensions affect historical shifts within the essay-film practice and its relation to other types of cinema and neighbouring art forms.

Centered around the royal family of Paflagonia eating breakfast together: King Valoroso, his wife, the Queen, and their daughter, Princess Angelica. Through the course of the meal, it is discovered that Prince Bulbo, heir to the neighbouring kingdom of Crim Tartary, and son of King Padella is due to visit Paflagonia. It is also discovered, after the two females have left the table, that King Valoroso stole his crown, and all his wealth, from his nephew, Prince Giglio, when the prince was an infant.

A three-volume project tracing key critical positions, people, and institutions in Australian film, "Australian Film Theory and Criticism "interrogates not only the origins of Australian film theory but also its relationships to adjacent disciplines and institutions. The second volume in the series, this book gathers interviews with national and international film theorists and critics to chart the development of different discourses in Australian film studies through the decades. Seeking to examine the position of film theorists and their relationship to film industry practitioners and policy makers, this volume succeeds mightily in reasserting Australian film's place on the international scholarly agenda.

This volume adopts a transversal South-South approach to the study of visual culture in transnational, transcultural, and geopolitical contexts. Every day hundreds of people travel back and forth between southern countries, including Australia, Argentina, Brazil, Chile, New Zealand, Indonesia, Timor-Leste, and South Africa. With these people travel cultures, experiences, memories, and images. This creates the conditions for the generation, sharing, and circulation of new knowledge that is both southern and about the South as a specific kind of material and imaginary territory (or territories). It does so through the study of the southern hemisphere's screen cultures, addressing the broad spectrum of cultural expression in both traditional and new screen media, including film, television, video, digital, interactive, and online and portable technologies. This book was originally published as a special issue of Critical Arts.

This volume will be a 'time capsule' of the first 10 years of Studies in Documentary Film (2007-2016), tracing not only the development of the journal but also of documentary studies in the same period. Issues such as the rise of digital documentary forms and authorship, documentary activism, and the Chinese Independent documentary, as well as diverse political issues, will be raised in the introduction and evidenced in the articles. The chapters have been chosen for the various themes they raise in documentary studies but also the broader field of documentary scholarship (including publishing), and the rise of the internet as a powerful force in documentary studies.

Although best known as an Academy Award winning actor, Sean Penn's directorial works The Indian Runner (1991), The Crossing Guard (1995), The Pledge (2001), and Into the Wild (2007), consist of some of the most interesting and singular films made in the United States over the past twenty years. Each of Penn's directorial films and much of the cinema he has acted in are set in an immediate past in which a "stalled" time and a restricted locale apply narrative constraints. At the same time, these films all feature a sophisticated web of intertextual relations, involving actors, songs, books, films, and directors, and the political lineage to which Penn belongs, which reveal the deep cultural structures that concern each particular film.

Sean Connery and Ian McShane stars in this classic British thriller. Set in Scandinavia, it interweaves two terrorist situations; the kidnapping of the British ambassador and the hijacking of a plane while still on the tarmac. Connery plays the smooth talking Colonel who is sent in to make sense of and solve both situations.

A collection of films by Liverpudlian filmmaker Terence Davies. 'The Terence Davies Trilogy' comprises three short films: 'Children' (1976), 'Madonna and the Child' (1980) and 'Death and Transfiguration' (1983). Taken together, the three films trace the life of Robert Tucker, the director's alter ego, from childhood to the grave. 'Distant Voices, Still Lives' (1988) looks back on Davies's working class upbringing in post-war Liverpool. Told in flashback, the films begins and ends with family weddings, held several years apart, and is scored with songs from the period. 'The Long Day Closes' (1992) traces moments in the childhood of Bud (Leigh McCormack), a Liverpudlian schoolboy in 1955. Plucked from his cosy home when he is sent to his new Catholic school, the film looks at his loneliness as teachers and pupils pick on him and his increasing isolation at home as he hovers between childhood and adolescence. His beloved film idols and screen stories keep him company in his imagination but in the real world he feels increasingly like a misfit. 'Of Time and the City' (2008) is a highly personal portrait of Davies's native city, Liverpool, and shares his musings on his relationship with the place where he was born and lived until his late twenties. Composed largely of atmospheric archive footage accompanied by Davies's lyrical narration and a melancholy, nostalgic soundtrack, the film seamlessly intersperses Davies's personal memories and experiences with observations about the history and culture of this iconic city.

Terence Davies directs this autobiographical portrait of working class family life in post-war Liverpool. Told in flashback and set to an evocative soundtrack, the film explores the emotional fallout of a family dominated by an overtly cruel father (Pete Postlethwaite) and follows the repercussions, including failed marriages, that the relentless abuse visits on the various family members as they attempt to lead a life away from the family unit.

Dean Williams, acclaimed Executive Coach and author, shares his coaching diary - offering insights that will benefit existing and developing coaches, as well as leaders and managers that want to develop their conversational style and impact. Essentially this book is a replay of 100 actual coaching sessions that were conducted through a calendar year. The book provides a record and reflection of significant and memorable interventions during each session; be it questions (from a `pure coaching' approach), challenge or implants of wisdom - an Executive Coach's voice!

Wow! The Path to Financial Peace is a treasure chest full of wisdom. This book is a dream come true and a breath of fresh air for anyone who desires to acquire wealth. The authors have managed to creatively package the best financial success principals throughout time and pack it all in one book. Sprinkled with humour and exciting practical action points, this is one of the best financial tools I have come across. It doesn't do justice to simply call this a book. It's more of a manual and home study course to develop the millionaire mind-set. Junior Ogunyemi Author of How to be a student Entrepreneur ""Concise, practical, to the point. If you are ready to take control of your finances, this book is a great place to start."" Kolarele Sonaike President 100 Black Men of London

With a million or more business books available in print and digital, THRIVE attempts to be different. Whilst we touch on aspects of leadership and inspirations, this book has been written to give you immediate actionable insights wherever you are in your career. The structure of the book allows you to 'plug in and play' wherever you want to start, rather than following a traditional linear reading approach. Outlining a tried and tested roadmap, aspiring individuals, who are after continued sustainable career success, will take a big step to achieving their ambitions if they read this book.