The past few years have featured such blockbusters as "Super-Size Me," "Fahrenheit 9/11," "Sicko," "March of the PenguinS," and "An Inconvenient Truth." And as news articles proclaim a new era in the history of documentary films, more and more new directors are making their first film a nonfiction one. But in addition to posing all of the usual challenges inherent to more standard filmmaking, documentaries also present unique problems that need to be understood from the outset. Where does the idea come from? How do you raise the money? How "much" money do you need? What visual style is best suited to the story? What are the legal issues involved? And how can a film reach that all-important milestone and find a willing distributor? Epstein, Friedman, and Wood tackle all of these important questions with examples and anecdotes from their own careers. The result is an informative and entertaining guide for those just starting out, and an enlightening read for anyone interested in a behind-the-scenes look at this newly reinvigorated field of film.

This book examines women's writing in Italy from Unification to the present day, exploring the lives and works of women writers within the context of Italian history, culture and politics. The changing face of Italian social and political life since Unification has greatly affected the position of women in Italy. This work discusses the relation between the changing role of women over this period, their struggle for social and political emancipation and equality, and the search by women writers for a personal and authentic literary voice. Wood's other publications include "Woman as Object: Narrative and Gender in the Work of Alberto Moravia" (1990). The series provides a survey, country by country of women's writing from the beginnings of the major struggle for emancipation up to the present day. While the main emphasis is on literature, the social, political and cultural development of each country provides a context for understanding the position and preoccupations of women writers. Modern critical currents are also taken into account in relating feminist criticism to recent critical theory. Other volumes in this series include "Norwegian Women's Writing 1850-1990" and the forthcoming "Swedish Women's Writing 1850-1990."

How has it happened that from being politely ignored or marginalized just half a century ago, women writers in Italy are now at the centre of literary activity? To what extent does writing by women reflect the successes and failures of Italy in the post-war period? What form did the feminist movement in Italy take, and how did this affect what - and how - women wrote? And how are women who write responding to a more fragmented post-modern age? These are just some of the questions asked of the relationship between women and fiction in post-war Italy in this anthology. It includes stories by Cialente, Ginzburg, Ortese, Morante, Romano, Maraini and Duranti as well as Bompiani, Sanvitale, Mizzau, Scaramuzzino, Capriolo and Petrignani. The thirteen stories presented offer a range of style and content indicative of the wealth and diversity of writing by women, and their reading is supported by critical notes and an extensive vocabulary. This is a clear and challenging introduction to the rich field of women and fiction in Italy. -- .

This volume offers a comprehensive historical account of writing by women in Italy. Covering writing from the Middle Ages to the present day, it moves away from narrow definitions of literature, and brings to light other forms of expression such as letter writing, religious and devotional writing, travel writing, and journalism. Contributors point to the considerable practical, social and ideological difficulties faced by women in writing and presenting their work to a wider reading public, but also highlight the determination of women through the centuries in making their voices heard.

This volume offers a comprehensive historical account of writing by women in Italy. Covering writing from the Middle Ages to the present day, it moves away from narrow definitions of literature, and brings to light other forms of expression such as letter writing, religious and devotional writing, travel writing, and journalism. Contributors point to the considerable practical, social and ideological difficulties faced by women in writing and presenting their work to a wider reading public, but also highlight the determination of women through the centuries in making their voices heard.

While driving home from work, banker Rhetta McCarter's quiet evening is shattered when she witnesses a fatal hit-and-run accident. Her world is soon turned upside-down when she learns the dead man, a total stranger has no identification, except her business card. Then Rhetta's long estranged and presumed dead father leaves her a voice mail telling her that he can prove the victim was murdered. He also tells her he and the victim served together in Vietnam. But how can the caller be her father when she has his death certificate? The unknown victim is soon identified-as a soldier who died on the same day as her father in 1973 Rhetta is thrown full throttle into a deadly mystery surrounding her father and a secret trust that has already claimed three lives. Will she be the fourth?

Banker Rhetta McCarter's ongoing battles usually involve mortgage loans, federal lending regulations, threats of bulges on her butt, and her closet-drinking husband. But after one of her mortgage clients dies in a mysterious car accident, she stumbles upon evidence of a terrorist plot to wipe out the entire Midwest power grid. No one believes her-not the FBI, local law enforcement, or her husband. Rhetta convinces her assistant, and loan officer, Woody, a former Marine, to help her stop the attack. Problems mount and time begins running out, leaving Rhetta alone to stop the bad guys. Can she do it? Praise for Killerwatt: "Oh, I love Rhetta McCarter She's hilarious, smart, savvy, tenacious, loving-and just the teensiest bit stubborn. (Good thing, or her hometown would be in serious trouble.) "Killerwatt" is a high-voltage, high-speed adventure-with humor, heart, and a frighteningly realistic story " Hank Phillippi Ryan, Anthony, Macavity and Agatha-winning author "Feisty amateur sleuth Rhetta McCarter takes us along on a thrilling ride in her '79 Camaro as she tries to stop a terrorist plot that could mean lights out for the country...and for Rhetta An exciting, fast-paced thriller from a promising debut author." Sharon Potts, award-winning author of In Their Blood and Someone's Watching

When Rhetta McCarter's '79 Camaro is destroyed in a fire, her best friend and mechanic Victoria (Ricky) Lane, finds a replacement, a "barnfind" vintage Camaro in perfect condition, except for one major flaw: a body buried beneath it. Later, Ricky is arrested when a second victim is found murdered in the same barn. Rhetta is convinced not only that Ricky is innocent, but that the two murders are connected. The police don't agree, so Rhetta is forced to fight her way through a labyrinth of danger and misdirection to find the real murderer before the killer finds her first.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ South Africa's Leading Managers 2 Sharon Wood, Corporate Research Foundation UK. Corporate Research Foundation, 1909 Business & Economics; Management; Business & Economics / Leadership; Business & Economics / Management; Business enterprises; Executives; Management; Success in business

This book explores the work of a writer, Annie Chartres Vivanti (1866-1942), who brought a transnational dimension to the marked provincialism of the Italian novel by addressing issues of gender, ethnicity, and sexuality on personal and international levels, and by creating work that distanced itself from much of the female-penned literature of the day, scorning both decorum and social respectability. Chapters in this book examine Vivanti's output from multiple perspectives, taking into account her politics and her career as a journalist, writer, and singer, as well as her literary work.

Elsa Morante has long been recognized internationally as one of the most significant, innovative, and important writers of the 20th century Italy. Nonetheless, there has, to date, been no full-length study in English dedicated to her work. Critical perspectives on Morante's literary achievement have shifted dramatically in recent years, and while this volume proposes to offer the first comprehensive evaluation of Morante to appear outside Italy, it also aims to take into account modern critical and theoretical developments. The authors' aim is to underline Morante's centrality in a broader context which goes beyond Italian national frontiers and deserves critical attention across a range of transcultural disciplines, departing from the traditional realm of philological analysis to encompass approaches informed by cultural and interdisciplinary studies. This volume gives a comprehensive insight into current thinking on and understanding of Elsa Morante's work. This book places her work in a much wider context of European culture, and traces her influence on a younger generation of writers.

The stories in "For Solo Voice", Susanna Tamaro's first book, explore the historical and emotional traumas which lie beneath consciousness and threaten to erupt into everyday life. She exposes with analytical clarity, spectres of our past that abide in us as individuals and as a society, disfiguring our humanity.