Over the last decade Spain and Mexico have both produced an extraordinary wealth of television drama. Drawing on both national practices of production and reception and international theories of textual analysis this book offers the first study of contemporary quality TV drama in two countries where television has displaced cinema as the creative medium that shapes the national narrative. As dramatized societies, Spain and Mexico are thus at once reflected and refracted by the new series on the small screen.

This pioneering book is the first to argue that cinema and television in Spain only make sense when considered together as twin vehicles for screen fiction. The Spanish audiovisual sector is now one of the most successful in the world, with feature films achieving wider distribution in foreign markets than nations with better known cinematic traditions and newly innovative TV formats, already dominant at home, now widely exported. Beyond the industrial context, which has seen close convergence of the two media, this book also examines the textual evidence for crossover between cinema and television at the level of narrative and form. The book, which is of interest to both Hispanic and media studies, gives new readings of some well-known texts and discovers new or forgotten ones. For example it compares Almodovar's classic feature Mujeres al borde de un ataque de nervios ('Women on the Verge of a Nervous Breakdown') with his production company El Deseo's first venture into TV production, the 2006 series also known as Mujeres ('Women'). It also reclaims the lost history of female flat share comedy on Spanish TV from the 1960s to the present day. It examines a wide range of prize winning workplace drama on TV, from police shows, to hospital and legal series. Amenabar's Mar adentro ('The Sea Inside') an Oscar-winning film on the theme of euthanasia, is contrasted with its antecedent, an episode of national network Tele5's top-rated drama Periodistas. The book also traces the attempt to establish a Latin American genre, the telenovela, in the very different context of Spanish scheduling. Finally it proposes two new terms: 'Auteur TV' charts the careers of creators who have established distinctive profiles in television over decades; 'sitcom cinema' charts, conversely, the incursion of television aesthetics and economics into the film comedies that have proved amongst the most popular features at the Spanish box office in the last decade.

Though unjustly neglected by English-language audiences, Spanish film and television not only represent a remarkably influential and vibrant cultural industry; they are also a fertile site of innovation in the production of "transmedia" works that bridge narrative forms. In Spanish Lessons, Paul Julian Smith provides an engaging exploration of visual culture in an era of collapsing genre boundaries, accelerating technological change, and political-economic tumult. Whether generating new insights into the work of key figures like Pedro Almodovar, comparing media depictions of Spain's economic woes, or giving long-overdue critical attention to quality television series, Smith's book is a consistently lively and accessible cultural investigation.

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Unit Operations of Chemical Engineering, 7th edition continues its lengthy, successful tradition of being one of McGraw-Hill's oldest texts in the Chemical Engineering Series. Since 1956, this text has been the most comprehensive of the introductory, undergraduate, chemical engineering titles available. Separate chapters are devoted to each of the principle unit operations, grouped into four sections: fluid mechanics, heat transfer, mass transfer and equilibrium stages, and operations involving particulate solids. Now in its seventh edition, the text still contains its balanced treatment of theory and engineering practice, with many practical, illustrative examples included. Almost 30% of the problems have been revised or are new, some of which cover modern topics such as food processing and biotechnology. Other unique topics of this text include diafiltration, adsorption and membrane operations.

Though unjustly neglected by English-language audiences, Spanish film and television not only represent a remarkably influential and vibrant cultural industry; they are also a fertile site of innovation in the production of "transmedia" works that bridge narrative forms. In Spanish Lessons, Paul Julian Smith provides an engaging exploration of visual culture in an era of collapsing genre boundaries, accelerating technological change, and political-economic tumult. Whether generating new insights into the work of key figures like Pedro Almodovar, comparing media depictions of Spain's economic woes, or giving long-overdue critical attention to quality television series, Smith's book is a consistently lively and accessible cultural investigation.

The Theatre of García Lorca offers radical new readings of his major plays, drawing on cultural studies, women's and gay studies, psychoanalysis, and previously unexamined archival material. It also juxtaposes Lorca with major figures such as Gregorio Marañón, Langston Hughes, André Gide, and Lluis Pasqual, enabling us to see his theater in a new light. In addition, the book presents a new psychoanalytic reading of the plays, which returns to Freud's early clinical texts.

Over the last decade Spain and Mexico have both produced an extraordinary wealth of television drama. Drawing on both national practices of production and reception and international theories of textual analysis this book offers the first study of contemporary quality TV drama in two countries where television has displaced cinema as the creative medium that shapes the national narrative. As dramatized societies, Spain and Mexico are thus at once reflected and refracted by the new series on the small screen.

"Amores Perros" (2000), directed by first-time film-maker Alejandro Gonzalez Inarittu, with its intersecting storylines and treatment of urban violence and decay, kick-started a renaissance for Mexico's film industry. It was the first Mexican film for generations to achieve major international success, winning many awards, including the Critics' Prize at Cannes. An edgy, complex and sometimes shocking view of life, love and death in the most populous metropolis on the planet, Amores Perros achieves the rare feat of speaking to an international audience while never oversimplifying its indigenous culture.
In the first book-length study of this remarkable film, Paul Julian Smith opens up that culture, revealing the film's relationship to television soap operas, pop music and contemporary debates about what it means to be Mexican. Having researched into the production records and interviewed key personnel, he also shows how the film came to be such a success before going on to analyse how its outstanding acting, music and cinematography combine to create 'a uniquely powerful work in world cinema'.

A new guide to Spain's most popular and dynamic medium, which celebrates its fiftieth anniversary in 2006. Any follower of Spanish cinema who turns to television finds that the locally produced programs most appreciated by both audiences and critics are as creative and original as any feature film. This book, the first of its kind, gives close readings of TV programmes broadcast from the 1970s to the present day. They embrace drama, comedy, and talk/reality shows and are currently available on DVD. It also treats the obsessive theme of television in Almodovar, Spain's most celebrated film director, arguing for a re-reading of his work in the light of TV studies. In addition to analysing particular programmes, this book examines TV channels, production companies, governments, and the role of the press, academy, and audience. PAUL JULIAN SMITH is Professor of Spanish at the University of Cambridge.

This book is the first to explore three visual media in contemporary Spain: cinema, television and the internet. It also examines cultural products in each of these media in terms of three vital themes: emotion, location and nostalgia. The first two chapters focus on emotion. They analyze the 'emotional imperative' in a recent Almodovar feature film and in Spanish television's top-rated period drama, and investigate the politics of affect in TV drama in the last decade. The next pair of chapters deal with location. They use cultural geography to re-read contradictory accounts of the movida (the post-Franco cultural boom) and examine an attempt to anchor a US-derived genre (the youth movie) in the urban landscape of Madrid. The fifth and sixth chapters introduce the theme of location into nostalgia. They treat the unique cases of a successful Spanish heritage movie and a contemporary Spanish thriller remade in Hollywood. The peunultimate chapter investigates electronic artists and the virtual universe, and the book ends with a look at the implications of Hispano-Mexican co-productions and the interconnectedness of economic and aesthetic cultural forms. -- .

This book is the first to explore three visual media in contemporary Spain: cinema, television and the internet. It also examines cultural products in each of these media in terms of three vital themes: emotion, location and nostalgia. The first two chapters focus on emotion. They analyze the 'emotional imperative' in a recent Almodovar feature film and in Spanish television's top-rated period drama, and investigate the politics of affect in TV drama in the last decade. The next pair of chapters deal with location. They use cultural geography to re-read contradictory accounts of the movida (the post-Franco cultural boom) and examine an attempt to anchor a US-derived genre (the youth movie) in the urban landscape of Madrid. The fifth and sixth chapters introduce the theme of location into nostalgia. They treat the unique cases of a successful Spanish heritage movie and a contemporary Spanish thriller remade in Hollywood. The peunultimate chapter investigates electronic artists and the virtual universe, and the book ends with a look at the implications of Hispano-Mexican co-productions and the interconnectedness of economic and aesthetic cultural forms. -- .

Practical Pharmaceutics contains essential knowledge on the preparation, quality control, logistics, dispensing and use of medicines. It features chapters written by experienced pharmacists and scientists working in hospitals, academia and industry throughout Europe, including practical examples as well as information on current GMP and GMP-based guidelines and EU-legislation. In this second edition all chapters have been updated with numerous new as well as didactically revised illustrations and tables. A completely new chapter about therapeutic proteins and Advanced Therapy Medicinal Products was added. From prescription to production, from usage instructions to procurement and the impact of medicines on the environment, the book provides step-by-step coverage that will help a wide range of readers, students as well as professionals. It offers product knowledge for all pharmacists working directly with patients and it will enable them to make the required medicine available, to store medicines properly, to adapt medicines if necessary and to dispense medicines with the appropriate information for patients as well as caregivers about product care and how to maintain the quality of the product. The basic knowledge presented in the book will also be valuable for industrial pharmacists to remind and focus them on the application of the medicines manufactured. The basic and practical knowledge on the design, preparation and quality management of medicines can directly be applied by the pharmacists whose main duty is production in community and hospital pharmacies and in industry. Undergraduate as well as graduate pharmacy students will find knowledge presented in a coherent way and fully supported with relevant examples. Practical Pharmaceutics has become a reliable and recognised source for the acquisition of pharmaceutical-technological knowledge. The book is used in the curriculum of a number of international universities and schools of Pharmacy.

This book focuses on some of the best known and most important books, feature films, and television series in contemporary Span, and addresses three pairs of linked issues central to Hispanic studies and beyond: history and memory, authority and society, and genre and transitivity.

Y Tu Mama Tambien (2001), an intelligent and sensual road movie directed by Alfonso Cuaron and co-written by him and his brother Carlos, is both an acclaimed feature by a director who would go on to win Oscars and a box office success abroad and in its native Mexico, where it was the biggest grossing local film of all time. Its teenage protagonists Gael Garcia Bernal and Diego Luna went on to be major stars of global cinema. Yet on its release the film was vilified by established Mexican critics as a coarse comedy and 'Penthouse fantasy' of youthful lust for an older woman. Paul Julian Smith's lucid study of the film argues that Y Tu Mama Tambien not only addresses with playful seriousness such major issues as gender, race, class, and space, which are yet more urgent now than they were on its release; but that the film's apparently casual aesthetic masks a sophisticated audiovisual style, one which brings together popular genre film and auteurist experiment. Smith suggests Y Tu Mama Tambien remains an example for world cinema of how a very local film can connect with a global audience that is ignorant of such niceties. Combining production and distribution history, based on unexplored material held in Mexico City archives, with close textual analysis, Smith makes an argument for Cuaron's film as an enduring masterpiece that hides in plain sight as an ephemeral teen movie.

Gender representation in Mexico's contemporary audio-visual landscape This book focusses on gender and the audio-visual landscape of Mexico since 2010, examining popular culture as expressed in the still distinct but rapidly converging media forms of cinema, television, and streaming platforms. It tracks how changes in producers and genres coincide with changes in gender representations and engages with depictions of feminism, women's sexuality, masculinity, and teen homosexuality. It aims to move beyond the art, auteur or specialist film that is vaunted by film festivals but little seen by Mexicans at home, focussing instead on a wider world of media content and practices available in Mexico itself. Close attention is also paid to the social media footprint of the productions studied and the way it is used for promotion and engagement with the target audience. The book proposes a new approach to audio-visual studies, combining textual analysis with field surveys and the useof industrial sources perhaps unfamiliar to scholars in Anglo-American Hispanism and Latin American media studies in the UK and USA

The amazing true story of Julian Smith, who retraced the journey of legendary British explorer Ewart "The Leopard" Grogan, the first man to cross the length of Africa, in hopes of also winning the heart of the woman he loved.

In 1898, the dashing young British explorer Ewart "the Leopard" Grogan was in love. In order to prove his mettle to his beloved--and her aristocratic stepfather--he set out on a quest to become the first person to walk across Africa, "a feat hitherto thought by many explorers to be impossible" (New York Times, 1900).

In 2007, thirty-five-year-old American journalist Julian Smith faced a similar problem with his girlfriend of six years . . . and decided to address it in the same way Grogan had more than a hundred years before: he was going to retrace the Leopard's 4,500-mile journey for love and glory through the lakes, volcanoes, savannas, and crowded modern cities of Africa.

Smith interweaves both adventures into a seamless narrative in Crossing the Heart of Africa the story of two explorers, a century apart, who both traversed the length of Africa to prove themselves . . . and came back changed men.

The Theatre of Garcia Lorca offers radical new readings of his major plays, drawing on cultural studies, women's and gay studies, psychoanalysis, and previously unexamined archival material. It provides fascinating historical accounts of productions in different times and places, from New York in the 1930s to Madrid in the 1980s. It also juxtaposes Lorca with major figures such as Gregorio Maranon, Langston Hughes, Andre Gide, and Lluis Pasqual, enabling us to see his theatre in a new light. In addition, the book presents a new psychoanalytic reading of the plays, which returns to Freud's early clinical texts. Examining the complex and productive intersection of history and fantasy that is characteristic both of Garcia Lorca's theatre and of the cult to which it has given rise, this study offers a thorough reassessment of Lorca's work.

This is the first book to analyze Spanish and Spanish-American literature in light of several theories of sexuality advanced since Freud. Bringing into discussion such writers as Fuentes, Neruda, Garcia Lorca, Galdos, and St. Teresa of Avila, Smith draws on critical approaches derived from Marx, Lacan, Foucault, Barthes, and French theoretical feminism (Kristeva and Irigaray). He argues that in spite of the variety of texts and theories treated, there are three broad areas of coherence or coincidence: the status of women in a male culture; the possibility of resistance to authority; and the role of the body as protagonist in that resistance.

A PACIFIC NORTHWEST BOOKSELLERS ASSOCIATION BESTSELLER "A fascinating look" (Esquire) at the thrilling world of smokejumpers, the airborne firefighters who parachute into the most remote and rugged areas of the United States, confronting the growing threat of nature's blazes. Forest and wildland fires are growing larger, more numerous, and deadlier every year - record drought conditions, decades of forestry mismanagement, and the increasing encroachment of residential housing into the wilderness have combined to create a powder keg that threatens millions of acres and thousands of lives every year. One select group of men and women are part of America's front-line defense: smokejumpers. The smokejumper program operates through both the U.S. Forest Service and the Bureau of Land Management. Though they are tremendously skilled and only highly experienced and able wildland firefighters are accepted into the training program, being a smokejumper remains an art that can only be learned on the job. Forest fires often behave in unpredictable ways: spreading almost instantaneously, shooting downhill behind a stiff tailwind, or even flowing like a liquid. In this extraordinarily rare memoir by an active-duty jumper, Jason Ramos takes readers into his exhilarating and dangerous world, explores smokejumping's remarkable history, and explains why their services are more essential than ever before.

This book, the first study of its kind to adopt a post-structuralist viewpoint, offers new readings of the major texts of the Spanish Renaissance, or Golden Age. Beginning with a comparison of Renaissance and modern theories of discourse, the main substance of the book appeals to terms borrowed from Jacques Derrida for the analysis of the three most important genres of the period: lyric poetry, picaresque narrative, and drama. Authors discussed include Gongora, Quevedo, Lope de Vega, Calderon, and Cervantes, the popularity of Don Quijote being attributed to its (apparent) repression of characteristics common to other Golden Age texts. In the conclusion it is suggested that Spain itself is the place of marginality, the supplement to a Europe which cannot admit it but dare not exclude it. Writing in the Margin is addressed to all specialists in Spanish literature and in the comparative literature of the Renaissance. There are translations of the Spanish quotations.