This volume contains three new screenplays (Bedrock, Old World and New, and Falling Angels) by the writer-director of the prize-winning films Nothing But a Man, The Plot against Harry, Vengeance Is Mine, and Pilgrim, Farewell.

From the critically-acclaimed independent filmmaker, Michael Roemer, comes Film Stories: Screenplays as Story, a highly-anticipated first collection of screenplays. Beyond film scripts, Film Stories is designed to help film students master concepts like three-act structure, conflict, surprise, rising action, and crisis, while crafting not only a story, but a story that tells. Volume One contains the screenplays for Nothing But a Man, The Plot Against Harry, Stone My Heart, and Pilgrim, Farewell. Volume One also features a comprehensive introduction entitled "Beginnings," in which Roemer discusses the creation of his screenplays and includes anecdotes on the making and distribution of his films that any screenwriter or filmmaker will find invaluable. Volume Two contains the screenplays for Losing Emily, Famous Long Ago, Mortal Longings, Act of God, and Sad but Funny.

Why do funny movies make us laugh? In this thoughtful essay, by turns stimulating and meditative, distinguished filmmaker and Yale professor Michael Roemer shares his musings on what causes us to chortle, snort, and guffaw when we watch antics onscreen or onstage. Roemer keeps us chuckling as he dissects punchy one-liners, Shakespearean plays, and everything in-between. Incorporating theories from such great thinkers as Sigmund Freud, Charles Baudelaire, Henri-Louis Bergson, and Soren Kierkegaard with the work of classic comedians like Charlie Chaplin, Buster Keaton, and the Marx Brothers, Roemer examines the purpose of comedy in our lives and in society. Shocked But Connected provides a serious reflection on a lighthearted subject.

This volume contains three new screenplays by the writer-director of the prize-winning films "Nothing But a Man, The Plot Against Harry, Vengeance is Mine" and" Pilgrim, Farewell."

From the critically-acclaimed independent filmmaker, Michael Roemer, comes Film Stories: Screenplays as Story, a highly-anticipated first collection of screenplays. Beyond film scripts, this volume (the second of two) is designed to help film students master concepts like three-act structure, conflict, surprise, rising action, and crisis, while crafting not only a story, but a story that tells. Volume Two contains the screenplays for Losing Emily, Famous Long Ago, Mortal Longings, Act of God, and Sad but Funny.

From the critically-acclaimed independent filmmaker, Michael Roemer, comes Film Stories: Screenplays as Story, a highly-anticipated first collection of screenplays. Beyond film scripts, Film Stories is designed to help film students master concepts like three-act structure, conflict, surprise, rising action, and crisis, while crafting not only a story, but a story that tells. Volume One contains the screenplays for Nothing But a Man, The Plot Against Harry, Stone My Heart, and Pilgrim, Farewell. Volume One also features a comprehensive introduction entitled 'Beginnings, ' in which Roemer discusses the creation of his screenplays and includes anecdotes on the making and distribution of his films that any screenwriter or filmmaker will find invaluable. Volume Two contains the screenplays for Losing Emily, Famous Long Ago, Mortal Longings, Act of God, and Sad but Funny.

Examensarbeit aus dem Jahr 2003 im Fachbereich Geschichte Europa - Deutschland - 1848, Kaiserreich, Imperialismus, Note: 2,8, Westfalische Wilhelms-Universitat Munster, Sprache: Deutsch, Abstract: Cognatio movet invidiam. 1 Erasmus (nach Aristoteles) Ein Grossteil der kolonialen Beziehungen der Deutschen zu den Niederlandern kann plausibel mit oben zitierter Redewendung beschrieben werden. Wahrend mit, Niederlandern" heute gemeinhin die Staatsburger der Niederlande gemeint sind, bezeichnete der Begriff in Deutschland zur Zeit des Imperialismus gleichzeitig ein deutsch-niederlandisches Verwandtschaftsverhaltnis. Auch der aktuelle Brockhaus von 2001 definiert Niederlander als ein germanisches Volk, das in den Niederlanden lebe und seine eigene Sprache aus dem Altniederdeutschen entwickelt hatte. Diese - nicht abzustreitende - Verwandtschaftsbeziehung konnte jenen in Deutschland willkommen sein, die Interesse daran hatten, aus einer, naturlichen" Verbundenheit Kapital zu schlagen. Dieses Interesse entstand, weil die Verwandten etwas besassen, was Deutschland nicht hatte oder Deutsche glaubten, nicht in ausreichender Menge zu haben: Kolonien, bzw. Besitzungen ausserhalb Europas. Als "niederdeutsche Stammesbruder" wurden ausser den europaischen niederlandischen Nachbarn2 vor allem auch die Buren in Sudafrika bezeichnet, die im Zuge des Sudafrikanischen Krieges3 grosse Sympathien in Europa weckten. Versuche, diese lang zuruckliegende Verwandtschaft zu instrumentalisieren, trafen auf ein Selbstverstandnis der Niederlander, das historisch vom Kampf um Unabhangigkeit und Neutralitat gekennzeichnet war. Schon seit dem Westfalischen Frieden 1648 waren die Niederlande eine international anerkannte Republik, und auch die Buren waren standig um Unabhangigkeit - zunachst sogar von den Niederlandern, spater von den Briten - bemuht. Der Stammverwandtschaftsgedanke, der von den Alldeutschen zur politischen Ideologie entwickelt wurde, soll daraufhin untersucht werden, inwiefern e