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* A straightforward yet comprehensive guide about risk specifically
for smaller businesses. * Fraud is an increasing area of concern,
and one that particularly impacts SMEs. This easy-to-access book
provides, in one place, key details of all of the primary fraud
types affecting SMEs so that they do not have to carry out their
own extensive and very time-consuming research. * Case studies are
presented throughout to give real life instances of fraud events.
* A straightforward yet comprehensive guide about risk specifically
for smaller businesses. * Fraud is an increasing area of concern,
and one that particularly impacts SMEs. This easy-to-access book
provides, in one place, key details of all of the primary fraud
types affecting SMEs so that they do not have to carry out their
own extensive and very time-consuming research. * Case studies are
presented throughout to give real life instances of fraud events.
When Dr. No premiered at the London Pavilion on October 5, 1962, no
one predicted that it would launch the longest-running series in
cinema history. It introduced the James Bond formula that has been
a box-office fixture ever since: sensational plots, colorful
locations, beautiful women, diabolical villains, thrilling action
set pieces, and a tongue-in-cheek tone. An explosive cocktail of
action, spectacle, and sex, Dr. No transformed popular cinema.
James Chapman provides a lively and comprehensive study of Dr. No,
marshaling a wealth of archival research to place the film in its
historical moment. He demonstrates that, contrary to many fan
myths, the film was the product of a carefully considered
transnational production process. Chapman explores the British
super-spy's origins in Ian Fleming's snobbery-with-violence
thrillers, examining the process of adaptation from page to screen.
He considers Dr. No in the contexts of the UK and Hollywood film
industries as well as the film's place in relation to the changing
social and cultural landscape of the 1960s, particularly Cold War
anxieties and the decline of the British Empire. The book also
analyzes the film's problematic politics of gender and race and
considers its cultural legacy. This thorough and insightful account
of Dr. No will appeal to film historians and Bond fans alike.
When Dr. No premiered at the London Pavilion on October 5, 1962, no
one predicted that it would launch the longest-running series in
cinema history. It introduced the James Bond formula that has been
a box-office fixture ever since: sensational plots, colorful
locations, beautiful women, diabolical villains, thrilling action
set pieces, and a tongue-in-cheek tone. An explosive cocktail of
action, spectacle, and sex, Dr. No transformed popular cinema.
James Chapman provides a lively and comprehensive study of Dr. No,
marshaling a wealth of archival research to place the film in its
historical moment. He demonstrates that, contrary to many fan
myths, the film was the product of a carefully considered
transnational production process. Chapman explores the British
super-spy's origins in Ian Fleming's snobbery-with-violence
thrillers, examining the process of adaptation from page to screen.
He considers Dr. No in the contexts of the UK and Hollywood film
industries as well as the film's place in relation to the changing
social and cultural landscape of the 1960s, particularly Cold War
anxieties and the decline of the British Empire. The book also
analyzes the film's problematic politics of gender and race and
considers its cultural legacy. This thorough and insightful account
of Dr. No will appeal to film historians and Bond fans alike.
Did you know that in German, a pig doesn’t say oink, it says gruntz, and when you sneeze in Japanese it’s hakushon, not achoo? With vibrant comics and fun facts, Sounds All Around will teach you interesting and funny onomatopoeias from all over the world!
Words that imitate sounds are known as onomatopoeia, and they are a wonderfully strange and interesting part of language. After all, we all hear the same sounds, but we interpret and write them differently in different languages. Sounds All Around is a fun and funny illustrated guide to how people say many of these sounds all around the globe. Inside you’ll learn what a cat sounds like in French, what a yawn sounds like in Norwegian, what a bell sounds like in Hindi, and much, much more!
The release of No Time To Die in 2021 heralds the arrival of the
twenty-fifth installment in the James Bond film series. Since the
release of Dr. No in 1962, the cinematic James Bond has expedited
the transformation of Ian Fleming's literary creation into an icon
of western popular culture that has captivated audiences across the
globe by transcending barriers of ideology, nation, empire, gender,
race, ethnicity, and generation. The Cultural Life of James Bond:
Specters of 007 untangles the seemingly perpetual allure of the
Bond phenomenon by looking at the non-canonical texts and contexts
that encompass the cultural life of James Bond. Chronicling the
evolution of the British secret agent over half a century of
political, social, and cultural permutations, the fifteen chapters
examine the Bond-brand beyond the film series and across media
platforms while understanding these ancillary texts and contexts as
sites of negotiation with the Eon franchise.
The Money Behind the Screen maps the changing landscape of film
finance in Britain during a transformative period for the film
industry. It is the first book to document the sources of finance
for film-making, the relations between film producers and
financiers, and the wider fiscal and economic landscape of the
British film production industry. It covers a period characterised
by recurrent crises for the British film industry which also saw
profound and far-reaching changes in the provision of film finance,
including the establishment of state support mechanisms for British
producers (the National Film Finance Corporation and the Eady
levy), the shift from producer-finance to distributor-finance, and
the growth of American investment in the British production sector.
The book explores three interrelated aspects of the history of film
finance: the institutional and economic structure of the production
sector of the industry; the sources of production finance,
including private and public capital and British and foreign
investment; and the role of government in providing support for
film production. It is an essential reference work for anyone
studying the British film industry.
The evidence continues to grow that the effective management of
risk is the very kernel of successful project management. Its
absence frequently leaves project sponsors lamenting missed
objectives and shareholders coming to terms with an organisation's
poor bottom line performance. Dr Robert Chapman's The Rules of
Project Risk Management stands out from other risk management texts
because it provides very practical guidance, supported by numerous
mini case studies, many of which have attracted considerable
publicity. The book brings to life both the benefits of project
risk management when effectively applied and the ramifications when
it is misunderstood or receives scant attention. The structure of
the book is based on International Standard ISO 31000 seen through
the lens of general systems theory - where projects are undertaken
by organisations which have an external context and internal
sub-systems. A project system is seen to be composed of seven key
subject areas. Practical short 'rules' or implementation
guidelines, written in an engaging style, are offered to support
each of these subject areas and aid quick assimilation of key risk
management messages. Each rule focuses on a specific aspect of
effective risk management which warrants attention in its own
right. Taken together the rules will provide those implementing
projects with the building blocks to secure a project's objectives.
They have been drawn from a wealth of experience gained from
applying risk management practices across multiple industries from
Europe to Africa, the Middle East and Asia.
The early twenty-first century has seen the emergence of a new
style of television drama in Britain that adopts the professional
practices and production values of high-end American television
while remaining emphatically 'British' in content and outlook. This
book analyses eight of these dramas - Spooks, Foyle's War, Hustle,
Life on Mars, Ashes to Ashes, Downton Abbey, Sherlock and
Broadchurch - which have all proved popular with audiences and in
their different ways represent the thematic and formal paradigms of
post-millennial drama. James Chapman locates new British drama in
its institutional and economic contexts, considers their critical
and popular reception, and analyses their social politics in
relation to their representations of class, gender and nationhood.
He demonstrates how contemporary drama has mobilised both new and
residual elements in re-configuring genres such as the spy series,
cop show and costume drama for the cultural tastes of modern
audiences. And it concludes that television drama has played an
integral role in both the economic and the cultural export of
'Britishness'.
Fiction. STET tells the life story of Stet, a filmmaker from Soviet
Leningrad, who is sent for his artistic crimes to a prison camp in
the 1960's, and dies there without having produced much more than a
single film. Narrated in an extravagant third-person voice that
emulates the sound and attitude of the classic "Russian
Novel,"--opinionated, discursive, soulful--the novel depicts the
fate of the artist, or of the individual, in any society. It
imagines a world where we do not live by our judgments of others,
nor by our fear of what other people think of us. "Fascinating,
gorgeous...in a dense, imagistic style reminiscent of Michael
Ondaatje or Gyorgy Konrad... For the uncommon reader..."--King's
English.
The early twenty-first century has seen the emergence of a new
style of television drama in Britain that adopts the professional
practices and production values of high-end American television
while remaining emphatically 'British' in content and outlook. This
book analyses eight of these dramas - Spooks, Foyle's War, Hustle,
Life on Mars, Ashes to Ashes, Downton Abbey, Sherlock and
Broadchurch - which have all proved popular with audiences and in
their different ways represent the thematic and formal paradigms of
post-millennial drama. James Chapman locates new British drama in
its institutional and economic contexts, considers their critical
and popular reception, and analyses their social politics in
relation to their representations of class, gender and nationhood.
He demonstrates how contemporary drama has mobilised both new and
residual elements in re-configuring genres such as the spy series,
cop show and costume drama for the cultural tastes of modern
audiences. And it concludes that television drama has played an
integral role in both the economic and the cultural export of
'Britishness'.
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New Zealand Filmmakers (Paperback)
Ian Conrich, Stuart Murray; Contributions by Stacey Abbott, Bruce Babington, Terence Bayler, …
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R1,164
Discovery Miles 11 640
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Ships in 12 - 17 working days
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This volume contains twenty in-depth studies of prominent New
Zealand directors, producers, actors, and cinematographers. ""New
Zealand Filmmakers"" outlines and examines three major constituent
groups who are responsible for the industry as it appears today:
those involved in pioneering film in New Zealand, those associated
with the New Wave of the 1970s and 1980s, and those post -
mid-1980s visionaries and fantasists who have produced striking
individual productions. A comprehensive introduction situates the
New Zealand film industry in cultural, historical, and ideological
contexts.The book displays the diversity of filmmaking in New
Zealand and highlights the specific industrial, aesthetic, and
cultural concerns that have created a film culture of international
significance. With the majority of the contributions in the book
containing analysis developed through dialogue with the filmmakers,
""New Zealand Filmmakers"" is an authoritative study of the film
industry in New Zealand. Each essay also includes a thorough and
definitive filmography, detailing the full nature of the work
produced by each individual, with key titles highlighted.Filmmakers
covered in this volume include Barry Barclay, David Blyth, Jane
Campion, Roger Donaldson, Rudall Hayward, Peter Jackson, John
Laing, Bruno Lawrence, Len Lye, Alison Maclean, Merata Mita, Ian
Mune, Geoff Murphy, Leon Narbey, John O'Shea, Gaylene Preston, John
Reid, Vincent Ward, Jennifer Ward-Lealand, and Peter Wells. This
collection is illustrated with 50 film prints, many of which have
never before been published. With the New Zealand film industry
poised to become a center of film production and already a major
topic of critical interest, this volume will find many interested
readers among film scholars and educators.
This sumptuously illustrated volume, edited by eminent war
historian Joanna Bourke, offers a comprehensive visual, cultural
and historical account of the ways in which armed conflict has been
represented in art. Covering the last two centuries, the book shows
how the artistic portrayal of war has changed, from a celebration
of heroic exploits to a more modern, truthful depiction of warfare
and its consequences. Featuring illustrations by artists including
Paul Nash, Judy Chicago, Pablo Picasso, Melanie Friend, Francis
Bacon, Kathe Kollwitz, Yves Klein, Robert Rauschenberg, Dora
Meeson, Otto Dix and many others, as well as those who are often
overlooked, such as children, women, non-European artists and
prisoners of war, this extensive survey is a fitting and timely
contribution to the understanding, memory and commemoration of war,
and will appeal to a wide audience interested in warfare, art,
history or politics. Introduction by Joanna Bourke, with essays by
Jon Bird, Monica Bohm-Duchen, Joanna Bourke, Grace Brockington,
James Chapman, Michael Corris, Patrick Crogan, Jo Fox, Paul Gough,
Gary Haines, Clare Makepeace, Sue Malvern, Sergiusz Michalski,
Manon Pignot, Anna Pilkington, Nicholas J. Saunders, John
Schofield, John D. Szostak, Sarah Wilson and Jay Winter.
James Chapman's history of Doctor Who has been acclaimed by fans
and scholars alike as a definitive book on the world's
longest-running television science fiction series. In this new
edition, published to mark the 50th anniversary of everyone's
favourite Time Lord, Chapman has brought the story up to date to
include the new series of Doctor Who as well as its spin offs
Torchwood and The Sarah Jane Adventures. With new material on the
eras of showrunners Russell T. Davies and Steven Moffat, and the
latest incarnations of the Doctor in David Tennant and Matt Smith,
this updated edition of Inside the Tardis shows how Doctor Who has
triumphantly reinvented itself for the twenty-first century. Doctor
Who has not only become essential viewing once again, but it is
also one of television's most successful exports. Chapman maps both
the continuities with classic Doctor Who, as well as exploring how
the series has evolved to take account of new institutional and
cultural contexts. Written by someone who is a life-long Doctor Who
fan as well as a historian, this new edition of Inside the Tardis
is essential and enjoyable reading for all those interested in both
the classic series and its thoroughly modern reincarnation.
Cinema and science fiction were made for each other. Science
fiction has been at the cutting edge of film technology and the
genre has produced some of the most ambitious, imaginative and
visually spectacular films ever made. Yet science fiction cinema is
about more than just state-of-the-art special effects. It has also
provided a vehicle for film-makers and writers to comment on their
own societies and cultures. In this new study of the genre, James
Chapman and Nicholas Cull examine a series of landmark science
fiction films from the 1930s to the present. They include genre
classics, including 'Things to Come', 'Forbidden Planet', 'Planet
of the Apes' and '2001: A Space Odyssey', alongside modern
blockbusters 'Star Wars' and 'Avatar'. They consider both screen
originals and adaptations of the work of major science fiction
authors such as H.G. Wells and Arthur C. Clarke. They range widely
across the genre from pulp adventure and space opera to political
allegory and speculative documentary- there is even a science
fiction musical. Chapman and Cull explore the contexts and document
the production histories of each film to show how they made their
way to the screen- and why they turned out the way they did.
Informed throughout by extensive original research in US and
British archives, Projecting Tomorrow will be essential reading for
all students and fans of science fiction cinema.
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