A summary analysis of Charlie Chaplin's films that star his alter-ego, Charlie, which is to say, for the most part, Chaplin's silent films and not his sound films. In the book I stress Chaplin's often underrated skills as a film-director as well as his work as a mimetic satirist. And I structure the book according to the key ideas and ingredients of Chaplin's art, rather than by the chronological, film-by-film, structure that has characterized the vast majority of critical works on Chaplin. My goal is not to summarize the arc of Chaplin's career but to carve out the essence of his art, to offer a lexicon of his filmic nature. I mean the book for Chaplin scholars but, just as much, for the general reader who is looking for a cogent, but thorough, introduction to Chaplin, who would like to know why it is that critics take Chaplin as seriously as they do.

Few directors are characterized by both extraordinary film craft and the ironic reputation for lowbrow films. Despite his many achievements as a child of the Italian Cinecitta studios, however, Sergio Leone has been judged severely by writers who find his films lacking in ideas and moralists who find his films unduly cynical. Nevertheless, Leone's greatest cinematic achievement, Once Upon a Time in the West, served to refute these criticisms while exposing the director's unique romanticism and artistic ambition. As Leone's fourth successful American western film, Once Upon a Time in the West earned him acclaim for liberating the western genre, restoring it to a place of antique American simplicity. The principal goal of this book is to sharpen an appreciation for Sergio Leone and his most famous American western. The first two chapters deal with the relationship between Once Upon a Time in the West and the western films that preceded it, particularly those of John Ford. Subsequent chapters concentrate on the central characters of Once Upon a Time in the West, with special attention to Jill, Leone's first female protagonist and a surprisingly successful character, central to the plot and accorded a kind of existential strength usually reserved for men in Westerns. The sixth, seventh and eighth chapters address Leone's visual style, which represents a unique fusion of Hollywood classicism and modernism, and reveals the influences of Italian Surrealism and the French New Wave. The final chapters explore the rhythm, romanticism, and musical character of Once Upon a Time in the West, espousing the theory that Leone's approach to film is, above all, musical.

Contamination of water supplies, whether by chemical, biological or radioactive agents, requires a rapid and effective response in order to reduce or avoid impact on the environment or consumers. Using seven major incident case studies (including the Milwaukee Cryptosporidium incident, Chernobyl and the UK Foot and Mouth outbreak), Water Contamination Emergencies: Can We Cope? looks at the complete handling of emergency incidents relating to water contamination emergencies. With contributions from experts involved in real life international incidents, the book also looks at: monitoring requirements; trying to prove the absence of contamination; novel approaches to screening analysis; health risks; the importance of efficient communication; the perception of the public; and the international height of alert situation with respect to potential terrorist acts. Anyone involved in water contamination emergencies, whether researchers and professionals in the water or health industries, or government agencies, should welcome this title as a review of lessons learnt in the past and as an identification of ways in which to improve response in the future.

Desalination Technology: Health and Environmental Impacts covers the latest developments in desalination, examining the environmental and public health-related impacts of these technologies. Written by international experts, the text presents specifications for assessing water quality, technical issues associated with desalination technologies, and the chemical aspects of desalinated water and its microbiology.

The book also discusses environmental protection issues that assist in the optimization of proposed and existing desalination facilities to ensure that nations and consumers enjoy the benefits of the expanded access to desalinated water. This includes coverage of health and environmental issues such as energy conservation and sustainability as well as protection of delicate coastal ecosystems and groundwater from contamination by surface disposal of concentrates-challenges that must be addressed during the design, construction, and operation of a desalination facility.

Development of new and improved desalinization technologies, including major cost reduction trends, have significantly broadened the opportunities to access large quantities of safe water in many parts of the world. And while there are many books available on desalination, this book's unusual approach blends technical coverage of the latest technologies with coverage of the environmental and public health-related impacts of these technologies, setting it apart from other resources. It provides technical guidance based on the practical expertise of a balanced group of international scientists and engineers.

Although we tend to accord our highest praise to films with strong messages, Hollywood is resolutely unserious in its goals, and closer perhaps to music than to literature in this regard. Thus, in order to appreciate Hollywood's classic movies, we have to understand them as the result of a style of filmmaking that justifies itself through the grace and beauty of its form. This beauty, when seen, challenges our notion of film as the poorer cousin of the high arts, or as worthwhile only when it serves a social purpose. "The Hidden Art of Hollywood" draws from a huge fund of recorded interviews with the directors, writers, cinematographers, set designers, producers, and actors who were a part of the studio process, in order to give the filmmakers themselves the chance to explain a very elusive phenomenon: the glancing beauty of the Hollywood film.

While the greatness of the classic Hollywood film is, for many of us, settled business, there are also a great number who have difficulty understanding why these films--which can often seem dated and unrealistic compared to modern fare--are taken as seriously as they are. Although we tend to accord our highest praise to films with strong and often didactic messages, Hollywood is resolutely unserious in its goals, and closer perhaps to music than to literature in this regard. Thus, in order to appreciate classic American movies, we have to understand them as the result of a style of filmmaking that justifies itself not through ideas or social relevance, but through the grace and beauty of its form.

The beauty of the Hollywood film challenges our notion of film as the poorer cousin of the high arts, or as worthwhile only when it serves a social purpose. In his effort to answer the many questions that classic American cinema suggests, author John Fawell considers previous criticism of Hollywood, but also draws from a huge fund of recorded interviews with the directors, writers, cinematographers, set designers, producers, and actors who were a part of the studio process, in order to give the filmmakers themselves the chance to explain a very elusive phenomenon: the glancing beauty of the Hollywood film. The films of certain great auteurs, including Charlie Chaplin, Ernst Lubitsch, Preston Sturges, Alfred Hitchcock, Billy Wilder, John Ford, and Orson Welles, receive particular attention here, but this book is organized by ideas rather than films or artists, and it draws from a wide array of Hollywood films, both successes and failures, to make its points.

In the process of providing the most extensive analysis of Alfred Hitchcock's "Rear Window "to date, John Fawell also dismantles many myths and cliches about Hitchcock, particularly in regard to his attitude toward women.
Although "Rear Window" masquerades quite successfully as a piece of light entertainment, Fawell demonstrates just how complex the film really is. It is a film in which Hitchcock, the consummate virtuoso, was in full command of his technique. One of Hitchcock's favorite films, "Rear Window "offered the ideal venue for the great director to fully use the tricks and ideas he acquired over his previous three decades of filmmaking. Yet technique alone did not make this classic film great; one of Hitchcock's most personal films, "Rear Window" is characterized by great depth of feeling. It offers glimpses of a sensibility at odds with the image Hitchcock created for himself--that of the grand ghoul of cinema who mocks his audience with a slick and sadistic style.
Though Hitchcock is often labeled a misanthrope and misogynist, Fawell finds evidence in "Rear Window "of a sympathy for the loneliness that leads to voyeurism and crime, as well as an empathy for the film's women. Fawell emphasizes" "a more feeling, humane spirit than either Hitchcock's critics have granted him or Hitchcock himself admitted to, and does so in a manner of interest to film scholars and general readers alike.