Children's adventure drama following the unusual relationship between a military search and rescue robot and an unpopular schoolkid. When Henry (Bobby Coleman) finds an abandoned robot called Cody (voice of Jae Head) in a dumpster, he decides to take it home and fix it. As Cody then becomes conscious, Henry soon realises that he is much more than a toy when it becomes apparent that the military lab that created Cody would very much like to get him back.

Horror meister John Carpenter directs this remake of the 1960 sci-fi classic. When an unseen force invades the village of Midwich, ten women are found to be mysteriously pregnant. All the babies, who are born simultaneously, have white hair, glowing eyes, strange psychic powers, and an unsettling desire to dominate anyone who crosses their path. Local doctor Alan Chaffee (Christopher Reeve) and government scientist Susan Verner (Kirstie Alley) set out to investigate.

This book is concerned with the aporias, or impasses, of forgiveness, especially in relation to the legacy of the crimes against humanity perpetrated by the Nazis and their collaborators during World War II. Banki argues that, while forgiveness of the Holocaust is and will remain impossible, we cannot rest upon that impossibility. Rather, the impossibility of forgiveness must be thought in another way. In an epoch of "worldwidization," we may not be able simply to escape the violence of scenes and rhetoric that repeatedly portray apology, reconciliation, and forgiveness as accomplishable acts. Accompanied by Jacques Derrida's thought of forgiveness of the unforgivable, and its elaboration in relation to crimes against humanity, the book undertakes close readings of literary, philosophical, and cinematic texts by Simon Wiesenthal, Jean Amery, Vladimir Jankelevitch, Robert Antelme and Eva Mozes Kor. These texts contend with the idea that the crimes of the Nazis are inexpiable, that they lie beyond any possible atonement or repair. Banki argues that the juridical concept of crimes against humanity calls for a thought of forgiveness-one that would not imply closure of the infinite wounds of the past. How could such a forgiveness be thought or dreamed? Banki shows that if today we cannot simply escape the "worldwidization" of forgiveness, then it is necessary to rethink what forgiveness is, the conditions under which it supposedly takes place, and especially its relation to justice.

Horror meister John Carpenter directs this remake of the 1960 sci-fi classic. When an unseen force invades the village of Midwich, ten women are found to be mysteriously pregnant. All the babies, who are born simultaneously, have white hair, glowing eyes, strange psychic powers, and an unsettling desire to dominate anyone who crosses their path. Local doctor Alan Chaffee (Christopher Reeve) and government scientist Susan Verner (Kirstie Alley) set out to investigate.

Festive comedy starring Maria Thayer and Sam Page. When Santa Claus (Peter Jason)'s daughter Annie (Thayer) decides she needs a change of scenery he allows her to travel to her desired location of California but results to keeping an eye on her through a magic snow globe. As Annie settles in to her new home she makes friends with Lucy (Vivica A. Fox), the owner of Candy Cane Inn and gets a job at Wonderland Toys. When Wonderland Toys owner Ted (Page) reveals to Annie that his business is in trouble, she sets a plan in motion to help save the shop.

Western revenge drama set at the end of the American Civil War. Louisiana plantation overseer Reese Paxton (Eric Braeden) decides to fight for justice for his workers, former slaves who now work for a pittance, who have been brutally attacked by the local town elite after going on strike for better pay. After he and his family are targetted by the sadistic Billy Duke (James Patrick Stuart), Reese finds himself imprisoned by Billy's corrupt father, Judge Duke (George Kennedy). Now, having survived humiliation and savage beatings, Reese sets out for his former home, determined to wreak havoc and bloody revenge.

Box set featuring eight Steven Seagal movies. In 'Exit Wounds' (2000) gangster Latrell Walker (DMX) is faced with a potential loss of income when 50 kilos of heroin is stolen from the property vaults of a top security Detroit prison, so he quickly determines to track down the culprits. But cop Orin Boyd (Seagal) is also on the case, and after some initial confrontations, the two form an unlikely alliance, pooling their resources to find those responsible. In 'Out for Justice' (1991) Seagal plays Gino Felino, a martial-artist cop who vows to kill the man who murdered his best friend. During his investigation, Gino encounters numerous small-time hoodlums and kicks his way through the lot of them. In 'Under Siege' (1992) a battleship is captured by a disgruntled CIA agent and his small private army, who pose as a rock band. The only man who can save the vessel, which has nuclear capability, is Casey Ryback (Seagal), the ship's cook and former Navy SEAL. In 'Fire Down Below' (1997) Seagal plays Jack Taggert, an EPA Marshall out to avenge the murder of a colleague. When he is appointed to investigate the dumping of toxins in the hills of Jackson, Kentucky, he enters an atmosphere of enforced silence, and realises that he must go undercover to complete his mission. In 'Nico' (1988) Seagal plays Nico Toscani, a martial arts detective who discovers that a group of drug barons are about to bring chaos to the streets of Chicago. With the help of his partner (Pam Grier) he soon discovers that the drugs cartel is run by Zagon (Henry Silva), a CIA official with whom Nico had worked with during the Vietnam war. In 'Under Siege 2' (1995) a passenger train gets hijacked by an electronics expert and turned into a command centre for a rogue weapons satellite. The hijacker plans to blow up Washington DC and only one man can stop him, former Navy SEAL Casey Ryback (Seagal). In 'Executive Decision' (1996) a hijacked 747 stacked full of dangerous chemical weapons is heading straight for Washington DC. Pentagon defence analyst David Grant (Kurt Russell) realises that attempts at negotiation will be fruitless and consequently resolves to board the 747 himself. But the mission, led by Special Operations expert Austin Travis (Seagal), gets off to a bad start when the experimental aircraft they are using to board the 747 goes wildly out of control during the docking procedure. Finally, in 'The Glimmer Man' (1996), Seagal plays Jack Cole, a determined detective on the trail of a Los Angeles psychopath. When he gets teamed with homicide detective Jim Campbell (Keenan Ivory Wayans), the pair stumble upon a conspiracy that leads back to Cole's past - as a top secret government agent known as the 'Glimmer Man'.

This book is concerned with the aporias, or impasses, of forgiveness, especially in relation to the legacy of the crimes against humanity perpetrated by the Nazis and their collaborators during World War II. Banki argues that, while forgiveness of the Holocaust is and will remain impossible, we cannot rest upon that impossibility. Rather, the impossibility of forgiveness must be thought in another way. In an epoch of "worldwidization," we may not be able simply to escape the violence of scenes and rhetoric that repeatedly portray apology, reconciliation, and forgiveness as accomplishable acts. Accompanied by Jacques Derrida's thought of forgiveness of the unforgivable, and its elaboration in relation to crimes against humanity, the book undertakes close readings of literary, philosophical, and cinematic texts by Simon Wiesenthal, Jean Amery, Vladimir Jankelevitch, Robert Antelme and Eva Mozes Kor. These texts contend with the idea that the crimes of the Nazis are inexpiable, that they lie beyond any possible atonement or repair. Banki argues that the juridical concept of crimes against humanity calls for a thought of forgiveness-one that would not imply closure of the infinite wounds of the past. How could such a forgiveness be thought or dreamed? Banki shows that if today we cannot simply escape the "worldwidization" of forgiveness, then it is necessary to rethink what forgiveness is, the conditions under which it supposedly takes place, and especially its relation to justice.

A state-of-the-art overview of the latest theory and research in music psychology, written by leaders in the field. This authoritative, landmark volume offers a comprehensive state-of-the-art overview of the latest theory and research in music perception and cognition. Eminent scholars from a range of disciplines, employing a variety of methodologies, describe important findings from core areas of the field, including music cognition, the neuroscience of music, musical performance, and music therapy. The book can be used as a textbook for courses in music cognition, auditory perception, science of music, psychology of music, philosophy of music, and music therapy, and as a reference for researchers, teachers, and musicians. The book's sections cover music perception; music cognition; music, neurobiology, and evolution; musical training, ability, and performance; and musical experience in everyday life. Chapters treat such topics as pitch, rhythm, and timbre; musical expectancy, musicality, musical disorders, and absolute pitch; brain processes involved in music perception, cross-species studies of music cognition, and music across cultures; improvisation, the assessment of musical ability, and singing; and music and emotions, musical preferences, and music therapy. Contributors Fleur Bouwer, Peter Cariani, Laura K. Cirelli, Annabel J. Cohen, Lola L. Cuddy, Shannon de L'Etoile, Jessica A. Grahn, David M. Greenberg, Bruno Gingras, Henkjan Honing, Lorna S. Jakobson, Ji Chul Kim, Stefan Koelsch, Edward W. Large, Miriam Lense, Daniel Levitin, Charles J. Limb, Psyche Loui, Stephen McAdams, Lucy M. McGarry, Malinda J. McPherson, Andrew J. Oxenham, Caroline Palmer, Aniruddh Patel, Eve-Marie Quintin, Peter Jason Rentfrow, Edward Roth, Frank A. Russo, Rebecca Scheurich, Kai Siedenburg, Avital Sternin, Yanan Sun, William F. Thompson, Renee Timmers, Mark Jude Tramo, Sandra E. Trehub, Michael W. Weiss, Marcel Zentner

For those who make their living in the arts, from acting and directing to music and the visual arts, here is the latest edition of this succinct and essential guide to understanding tax returns and maximizing tax deductions. The book includes an overview of today's tax landscape and general discussions of different types of income, expenses, and IRS-allowed tax deductions, as well as the unique tax situations relevant to each category of artist. Riley also offers specific advice on reducing taxes, explains how to prepare for an audit, and suggests ways to locate, evaluate, choose, and effectively work with a professional arts-oriented tax adviser. The book's appendixes include a listing of relevant IRS forms and publications.

This book opens with basic material that applies to everyone, offering a roadmap through today's tax landscape and general discussions of different types of income, various kinds of expenses and IRS-allowed tax deductions. Following art the chapters that deal with the specific tax deductions. Following are the chapters that deal with the specific tax situation relevant to each category of artist. These range from the cost of acting lessons and make-up to depreciation of guitars and the maintenance of home studios to income from teaching jobs and royalties. In the final sections of the book, the author considers various ways performers and other arts professionals can reduce their taxes, explains how to prepare for a tax audit without going into shock and suggests ways to locate, evaluate, choose and effectively work with a professional arts-oriented tax adviser.