Since the publication of the Stern Review, economists have started to ask more normative questions about climate change. Should we act now or tomorrow? What is the best theoretical carbon price to reach long-term abatement targets? How do we discount the long-term costs and benefits of climate change? This provocative book argues that these are the wrong sorts of questions to ask because they don't take into account the policies that have already been implemented. Instead, it urges us to concentrate on existing policies and tools by showing how the development of carbon markets could dramatically reduce world greenhouse gas (GHG) emissions, triggering policies to build a new low-carbon energy system while restructuring the way agriculture interacts with forests. This provides an innovative new perspective on how a post-Kyoto international climate regime could emerge from agreements between the main GHG emitters capping their emissions and building an international carbon market.

Film theory: an introduction offers a highly readable account of film theory and is an indispensable resource for students. The discussion ranges from the late 1960s to the present, a period in which a number of conceptual strands, notably politics, semiotics and psychoanalysis were woven together in an ambitious synthesis. In this book, the authors chart the construction of this synthesis and its subsequent fragmentation, and clearly explain the various intellectual currents which have contributed to it. Divided into two parts, the first covers the conceptual background of film theory, dealing with historical materialism, semiotics and psychoanalysis, whilst in the second the authors concentrate on particular topics such as authorship, narrative, realism, the avant-garde and postmodernism. For this new edition, the authors have added a new foreword, a fully updated and expanded bibliography, and a 60-page Retrospect outlining developments within film theory since the book's original publication in 1988. This Retrospect identifies a number of broad readings of Theory, each with a different perspective on the main content of the book. As such, it provides a new and original mapping of the 'post-theory' moment in this complex and often fractured terrain. Accessible and authoritative, this book is essential reading for students of film theory, or indeed anyone seeking a deeper understanding of modern cinema. -- .

Since the publication of the Stern Review, economists have started to ask more normative questions about climate change. Should we act now or tomorrow? What is the best theoretical carbon price to reach long-term abatement targets? How do we discount the long-term costs and benefits of climate change? This provocative book argues that these are the wrong sorts of questions to ask because they don't take into account the policies that have already been implemented. Instead, it urges us to concentrate on existing policies and tools by showing how the development of carbon markets could dramatically reduce world greenhouse gas (GHG) emissions, triggering policies to build a new low-carbon energy system while restructuring the way agriculture interacts with forests. This provides an innovative new perspective on how a post-Kyoto international climate regime could emerge from agreements between the main GHG emitters capping their emissions and building an international carbon market.

Many believe economic growth is incompatible with ecological preservation. Green Capital challenges this argument by shifting our focus away from the scarcity of raw materials and toward the deterioration of the great natural regulatory functions (such as the climate system, the water cycle, and biodiversity). Although we can find substitutes for scarce natural resources, we cannot replace a natural regulatory system, which is incredibly complex. It is therefore critical that we introduce a new price into the economy that measures the costs of damage to these regulatory functions. This change in perspective justifies such innovations as the carbon tax, which addresses not the scarcity of carbon but the inability of the atmosphere to absorb large amounts of carbon without upsetting the climate system. Brokering a sustainable peace between ecology and the economy, Green Capital describes a range of valuation schemes and their contribution to the goals of green capitalism, proposing a new approach to natural resources that benefits both businesses and the environment.

The world of World Enough is configured differently. From the opening page the reader is confronted by a succession of "anomalies" that create a transform of the world we are familiar with. Set against the backcloth of an imagined history spanning Russia, France, Greater Israel, the United States of Africa and the colonies of North America engaged in a war of liberation, World Enough is narrated in a series of flashbacks and varied temporal registers by the novel's four main characters: Katerina and Padua, sisters born in pre-revolutionary Russia, and two Africans, Quaque and Million M'loy. Their four accounts, switching back and forth throughout the novel, complement and sometimes contradict each other in their construction of an epic tale of romance, espionage, chess, geopolitics, war and the prolongation of people's natural lifespan, running from the early 20th century through to some unspecified time in the 21st.