Patrick Buchanan stars in this Irish sci-fi thriller co-written and directed by Alan Leonard and Michael O'Flaherty. Set in an alternate Earth, Rez (Buchanan) is coerced into testing a stolen time machine, called Titus, that can send its user eight hours into the future. Sent to gather future market information, Rez witnesses a devastating nuclear explosion. Upon his return to the present, Rez has eight hours to determine the cause of the tragedy and prevent it from destroying the planet before time runs out...

Adventure feature in which a young man must prepare himself to do battle with the dragon that killed his father. Will Shepherd (Richard McWilliams) lives a simple and rustic life in the mountains until the unfortunate death of his father. Forced to seek a living in the lowlands thereafter, Will ends up in the employment of Sterling (Ian Cullen), a local land owner and knight. Sterling thinks little of Will and sends him to work on the farm, but the old man's daughter, Kate (Nicola Posener), befriends the boy from the mountains. The pair set about unravelling a past mystery which has bound their families together and getting Will ready for the rite of passage in which he must take on and destroy the dragon.

The important and groundbreaking volume, The Professional Identity of the Human Rights Field Officer, completes the study of human rights field work begun in the earlier The Human Rights Field Operation: Law Theory and Practice (2007: Ashgate). Building on the critique of the field's historical development and current situation featured in the earlier volume, O'Flaherty, Ulrich and their fellow contributors focus on the specific responsibilities of the individual human rights officer, and concentrate on vital issues of professionalism beyond the confines of any specific organization. Their expansion of the analysis in the case studies section of the first volume has resulted in an up to date global edition of significant academic interest to anyone within the field of human rights law.

Book by Jack Kyrieleison. Story by Jack Kyrieleison & Ron Holgate. Traditional music adapted by Michael O'Flaherty / Characters: 4m, 2f, extras / Historical, Drama / A moving musical narrative of the Civil War, told in the words of the very diverse men and women who sided with the Union. Presented as a musical entertainment years after the events by the rag-tag company of actor Harry Hawk, the man who stood alone on stage when Lincoln was shot by Booth. Reunion is an attempt to tell the story of the Civil War through the eyes of those who took up the Union cause--an intersection of theatre and history, weaving together songs, visual images and dialogue. It is designed as a Victorian entertainment--the great American epic as it might have been told by a 19th-Century Homer and a wandering company of actors. "Reunion should be seen across the country." -The New York Times. "CRITIC'S PICK! Charming...heartwarming...brought to vivid life. Reunion underlines the common futility of all wars and the mess we're still dealing with from this particular one. You'll learn something without feeling lectured to." -Backstage. "A haunting glimpse into history. Reunionresonates at Ford's." -Washington Post. The songs date from the Civil War or before, and the dialogue is drawn from or inspired by participants' accounts of actual events. The original production got a lot of sound out of 6 actor-singers and a 5-piece orchestra--piano/synthesizer, trumpet, percussion, guitar/banjo, and violin. About the Music The 26 songs in Reunion-all from the Civil War or earlier-tell the human stories of the struggle within the North for the soul of the war. All of the songs are used to advance the narrative. As none was chosen solely because of popularity, there are some familiar Northern songs that won't be found in Reunion, including "When Johnny Comes Marching Home" and "Just Before the Battle, Mother." The familiar songs that are in the show are given unique treatments. And a couple of songs written in the South are included, because they were as popular in the North as they were in the South. All have new arrangements by musical supervisor Michael O'Flaherty.

The important and groundbreaking volume, The Professional Identity of the Human Rights Field Officer, completes the study of human rights field work begun in the earlier The Human Rights Field Operation: Law Theory and Practice (2007: Ashgate). Building on the critique of the field's historical development and current situation featured in the earlier volume, O'Flaherty, Ulrich and their fellow contributors focus on the specific responsibilities of the individual human rights officer, and concentrate on vital issues of professionalism beyond the confines of any specific organization. Their expansion of the analysis in the case studies section of the first volume has resulted in an up to date global edition of significant academic interest to anyone within the field of human rights law.