Bertrand Tavernier (b. 1941) is widely considered to be the leading light in a generation of French filmmakers who launched their careers in the 1970s, in the wake of the New Wave. In just over forty years, he has directed twenty-two feature films in an eclectic range of genres, from intimate family portrait to historical drama and neo-Western. Beginning with his debut feature--L'Horloger de Saint-Paul (1974), which won the prestigious Louis Delluc prize--Tavernier has shown himself to be a public intellectual. Like his films, he is deeply engaged with the pressing issues facing France and the world: the consequences of war, colonialism and its continuing aftermath, the price of heroism, and the power of art. A voracious cinephile, he is immensely knowledgeable about world cinema and American film in particular. Tavernier's roots are in Lyon, the birthplace of the cinema. He founded and presides over the Institut Lumiere, which hosts retrospectives and an annual film festival in the factory where the Lumiere brothers made the first films. In this collection, containing numerous interviews translated from French and available in English for the first time, he discusses the arc of his career following in the lineage of the Lumiere brothers, in that his goal, like theirs, is to ""show the world to the world."" It is no surprise, then, that an interview with Tavernier is a treat. Beginning with discussions of his own films, the interviews in this volume cover a vast range of topics. At the core are his thoughts about the ways cinema can inspire the imagination and contribute to the broadest possible public conversation.

This book was developed to compare the real life educational experiences of an average child during the last generation in which the United States led the world in education to a real child's experiences today (when the United States is no longer in the top 20). The practice of labeling students with a disability has reached the status of a dangerous standard practice. Increasing demands for educational accountability will lead to more students being labeled and left behind. Written from a unique in-depth child's point-of-view, this book is designed to trigger a paradigm shift from automatically labeling children to patiently allowing them to grow into themselves. The author compares common disabilities chapter-by-chapter in sync with the child's intentions (or lack thereof). This sharing of the educational lives of two children, coupled with peer reviewed literature and research, provides powerful motivation for change.

Does love exist? Is this emotion this feeling that has inspired and dazzled humankind throughout history in fact provable? This is the question that baffles Lewis Maxen. A doubting romantic, Lewis hopes that love is real, and he thinks he has found his true soul mate in Jamie Hollister. If only he could be sure.

Over nearly sixty years, Agnes Varda (b. 1928) has given interviews that are revealing not only of her work, but of her remarkably ambiguous status. She has been called the ""Mother of the New Wave"" but suffered for many years for never having been completely accepted by the cinematic establishment in France. Varda's first film, La Pointe Courte (1954), displayed many of the characteristics of the two later films that launched the New Wave, Truffaut's 400 Blows and Godard's Breathless. In a low-budget film, using (as yet) unknown actors and working entirely outside the prevailing studio system, Varda completely abandoned the ""tradition of quality"" that Truffaut was at that very time condemning in the pages of Cahiers du cinema. Her work, however, was not ""discovered"" until after Truffaut and Godard had broken onto the scene in 1959. Varda's next film, Cleo from 5 to 7, attracted considerably more attention and was selected as France's official entry for the Festival in Cannes. Ultimately, however, this film and her work for the next fifty years continued to be overshadowed by her more famous male friends, many of whom she mentored and advised. Her films have finally earned recognition as deeply probing and fundamental to the growing awareness in France of women's issues and the role of women in the cinema. ""I'm not philosophical,"" she says, ""not metaphysical. Feelings are the ground on which people can be led to think about things. I try to show everything that happens in such a way and ask questions so as to leave the viewers free to make their own judgments."" The panoply of interviews here emphasize her core belief that ""we never stop learning"" and reveal the wealth of ways to answer her questions.

Among the most innovative and influential filmmakers of the twentieth century, Alain Resnais (1922-2014) did not originally set out to become a director. He trained as an actor and film editor and, during the sixty-eight years of his working life, delved into virtually every corner of filmmaking, working at one time or another as screenwriter, assistant director, camera operator and cinematographer, special effects coordinator, technical consultant, and even author of source material. From such award-winning documentaries as Van Gogh and Night and Fog to the groundbreaking dramas Hiroshima mon amour, Last Year at Marienbad, and Muriel, Resnais's films experiment with such themes as consciousness, memory, and the imagination. Distinguishing himself from associations with the French New Wave movement, Resnais considered his films to be ""anti-illusionist,"" never allowing his spectators to forget they were watching a work of art. In Alain Resnais: Interviews, editor Lynn A. Higgins collects twenty-one interviews with the filmmaker, twelve of which are translated into English for the first time. Spanning his entire career from his early short subjects to his final feature film, the volume highlights Resnais's creative strategies and principles, illuminates his place in world cinema history, and situates his work relative to the New Wave, American film, and experimental filmmaking more broadly. Like his films, the interviews collected here reveal a creator who is at once an intellectual, a philosopher, an entertainer, a craftsman, and an artist.

"Spectacular" Independent

An uneasy peace reigns in France, but behind the scenes Catholics, Protestants and the agents of foreign powers are still locked in secretive, bloody, combat. As his country's future hangs in the balance, Pierre de Siorac's apparent employment as a doctor masks a more deadly occupation - as a spy working for King Henry IV and his ally Elizabeth I of England, using fair means and foul to protect the peace of two realms.

As the plots against his king thicken and the Spanish Armada prepares to sail, Pierre finds himself struggling to save not only his country, but the lives of his entire family. With his back to the wall, he will need a keen wit and a steady sword arm to fight his way to safety.

Among the most innovative and influential filmmakers of the twentieth century, Alain Resnais (1922-2014) did not originally set out to become a director. He trained as an actor and film editor and, during the sixty-eight years of his working life, delved into virtually every corner of filmmaking, working at one time or another as screenwriter, assistant director, camera operator and cinematographer, special effects coordinator, technical consultant, and even author of source material. From such award-winning documentaries as Van Gogh and Night and Fog to the groundbreaking dramas Hiroshima mon amour, Last Year at Marienbad, and Muriel, Resnais's films experiment with such themes as consciousness, memory, and the imagination. Distinguishing himself from associations with the French New Wave movement, Resnais considered his films to be ""anti-illusionist,"" never allowing his spectators to forget they were watching a work of art. In Alain Resnais: Interviews, editor Lynn A. Higgins collects twenty-one interviews with the filmmaker, twelve of which are translated into English for the first time. Spanning his entire career from his early short subjects to his final feature film, the volume highlights Resnais's creative strategies and principles, illuminates his place in world cinema history, and situates his work relative to the New Wave, American film, and experimental filmmaking more broadly. Like his films, the interviews collected here reveal a creator who is at once an intellectual, a philosopher, an entertainer, a craftsman, and an artist.

"A master of the historical novel" Guardian

After a deadly duel with a jealous rival, Pierre de Siorac must travel to Paris, to seek his pardon from the King. In the capital city he finds a world of sweet words and fierce pride, where coquettish smiles hide behind fans, and murderous intents behind elegant bows. But the court's elaborate social graces mask a simmering tension that will soon explode to engulf the entire city.

When it does, Pierre faces the greatest challenge of his young existence - not merely to win a royal pardon, but to escape from Paris with his life, and the lives of his beloved companions, intact.

Over nearly sixty years, Agnes Varda (b. 1928) has given interviews that are revealing not only of her work, but of her remarkably ambiguous status. She has been called the ""Mother of the New Wave"" but suffered for many years for never having been completely accepted by the cinematic establishment in France. Varda's first film, La Pointe Courte (1954), displayed many of the characteristics of the two later films that launched the New Wave, Truffaut's 400 Blows and Godard's Breathless. In a low-budget film, using (as yet) unknown actors and working entirely outside the prevailing studio system, Varda completely abandoned the ""tradition of quality"" that Truffaut was at that very time condemning in the pages of Cahiers du cinema. Her work, however, was not ""discovered"" until after Truffaut and Godard had broken onto the scene in 1959. Varda's next film, Cleo from 5 to 7, attracted considerably more attention and was selected as France's official entry for the Festival in Cannes. Ultimately, however, this film and her work for the next fifty years continued to be overshadowed by her more famous male friends, many of whom she mentored and advised. Her films have finally earned recognition as deeply probing and fundamental to the growing awareness in France of women's issues and the role of women in the cinema. ""I'm not philosophical,"" she says, ""not metaphysical. Feelings are the ground on which people can be led to think about things. I try to show everything that happens in such a way and ask questions so as to leave the viewers free to make their own judgments."" The panoply of interviews here emphasize her core belief that ""we never stop learning"" and reveal the wealth of ways to answer her questions.

"Unraveling French Cinema" provides a much needed introduction to the complexities of French film for students, cineastes, and the movie-loving public.

Looks at the differences between French and American national cinema

Explores how French directors shape their films around two potentially divergent goals: the narration of a story and an elaboration of some theory about film itself.

Demystifies the "difficulty" of French cinema, allowing the American movie-goer to enjoy films that are too often perplexing at a first viewing.

Offers extended analyses of classic, New Wave, and contemporary French films--including "L'Atalante," "Adele H.", "The Rules of the Game," and "Cache."

Best-selling suspense author Mary Higgins Clark invites you on a tour of Manhattan's most iconic neighborhoods in this anthology of all-new stories from Mystery Writers of America, produced to commemorate its 70th anniversary. In Lee Child's The Picture of the Lonely Diner, legendary drifter Jack Reacher interrupts a curious stand-off in the shadow of the Flatiron Building. In Jeffery Deaver's The Baker of Bleecker Street, an Italian immigrant becomes ensnared in WWII espionage. And in The Five-Dollar Dress, Mary Higgins Clark unearths the contents of a mysterious hope chest found in an apartment on Union Square. With additional stories from T. Jefferson Parker, S. J. Rozan, Nancy Pickard, Ben H. Winters, Brendan DuBois, Persia Walker, Jon L. Breen, N. J. Ayres, Angela Zeman, Thomas H. Cook, Judith Kelman, Margaret Maron, Justin Scott, and Julie Hyzy, Manhattan Mayhem is teeming with red herrings, likely suspects, and thoroughly satisfying mysteries. Illustrated with iconic photography of New York City and packaged in a handsome hardcover, Manhattan Mayhem is a delightful read for armchair detectives and armchair travelers alike!

There is a growing reliance on all health care workers to understand and practice economic evaluation. This comprehensive book written in jargon-free language provides a basic introduction to the subject. It succeeds in explaining both the principles of economic evaluation and how to use them.
The second edition has been revised throughout and now includes a chapter on decision making, which explains the tools of systematic reviewing so bringing the book right up to date.

It’s no secret that authors have a love-hate relationship with Hollywood. The oft-repeated cliché that “the book was better than the movie” holds true for more reasons than the average reader will ever know. When asked about selling their book rights to Hollywood authors like to joke that they drive their manuscripts to the border of Arizona and California and toss them over the fence, driving back the way they came at breakneck speed. This is probably because Hollywood just doesn’t “get it.” Its vision for the film or TV series rarely seems to match the vision of the author. And for those rare individuals who’ve had the fortune of sitting across the desk from one of the myriad, interchangeable development execs praising the brilliance of their work while ticking off a never-ending list of notes for the rewrite, the pros of pitching their work to Hollywood rarely outweigh the cons.

Stephen Jay Schwartz has sat on both sides of that desk―first as the Director of Development for film director Wolfgang Petersen, then as a screenwriter and author pitching his work to the film and television industry. He’s seen all sides of what is known in this small community as “Development Hell.” The process is both amusing and heartbreaking. Most authors whose work contains a modicum of commercial potential eventually find themselves in “the room” taking a shot at seeing their creations re-visualized by agents, producers or development executives. What they often discover is that their audience is younger and less worldly as themselves. What passes for “story notes” is often a mishmash of vaguely connected ideas intended to put the producer’s personal stamp on the project.

Hollywood Versus The Author is a collection of non-fiction anecdotes by authors who’ve had the pleasure of experiencing the development room firsthand―some who have successfully managed to straddle the two worlds, seeing their works morph into the kinds of feature films and TV shows that make them proud, and others who stepped blindsided into that room after selling their first or second novels. All the stories in this collection illustrate the great divide between the world of literature and the big or small screen. They underscore the insanity of every crazy thing you’ve ever heard about Hollywood. For insiders and outsiders alike, Hollywood Versus The Author delivers the goods.

This is a new release of the original 1923 edition.

Bertrand Tavernier (b. 1941-2021) was widely considered to be the leading light in a generation of French filmmakers who launched their careers in the 1970s in the wake of the New Wave. In just over forty years, he directed twenty-two feature films in an eclectic range of genres from intimate family portrait to historical drama and neo-Western. Beginning with his debut feature-L'Horloger de Saint-Paul (1974), which won the prestigious Louis Delluc prize-Tavernier showed himself to be a public intellectual. Like his films, he was deeply engaged with the pressing issues facing France and the world: the consequences of war, colonialism and its continuing aftermath, the price of heroism, and the power of art. A voracious cinephile, he was immensely knowledgeable about world cinema and American film in particular. Tavernier's roots were in Lyon, the birthplace of the cinema. He founded and presided over the Institut Lumiere, which hosts retrospectives and an annual film festival in the factory where the Lumiere brothers made the first films. In this collection, containing numerous interviews translated from French and available in English for the first time, he discusses the arc of his career following in the lineage of the Lumiere brothers, in that his goal, like theirs, is to "show the world to the world." It is no surprise, then, that an interview with Tavernier is a treat. Beginning with discussions of his own films, the interviews in this volume cover a vast range of topics. At the core are his thoughts about the ways cinema can inspire the imagination and contribute to the broadest possible public conversation.

Cinema has always been "literary" in its desire to tell stories and in its need to borrow plots and narrative techniques from novels. But the French New Wave directors of the 1950s self-consciously rejected the idea that film was a mere extension of literature. With subversive techniques that exploded traditional methods of film narrative, they embraced fragmentation and alienation. Their cinema would be literature's rival, not its apprentice. In "Screening the Text," T. Jefferson Kline argues that the New Wave's rebellious stance is far more complex and problematic than critics have acknowledged. Challenging conventional views of film and literature in postwar France, Kline explores the New Wave's unconscious obsession with the tradition it claimed to reject. He uncovers the wide range of the literary and cultural texts--American films, classical mythology, French literature, and a variety of Russian, Norwegian, German, and English writers and philosophers--as "screened" in seven films: Truffaut's "Jules et Jim"; Malle's "Les Amants"; Resnais's "L'Annee derniere a Marienbad"; Chabrol's "Le Beau Serge"; Rohmer's "Ma Nuit chez Maud"; Bresson's "Pickpocket"; and Godard's "Pierrot le fou."

This is a new release of the original 1923 edition.

This book was developed to compare the real life educational experiences of an average child during the last generation in which the United States led the world in education to a real child's experiences today (when the United States is no longer in the top 20). The practice of labeling students with a disability has reached the status of a dangerous standard practice. Increasing demands for educational accountability will lead to more students being labeled and left behind. Written from a unique in-depth child's point-of-view, this book is designed to trigger a paradigm shift from automatically labeling children to patiently allowing them to grow into themselves. The author compares common disabilities chapter-by-chapter in sync with the child's intentions (or lack thereof). This sharing of the educational lives of two children, coupled with peer reviewed literature and research, provides powerful motivation for change.

From three-time Edgar(R) Award winner T. Jefferson Parker comes the explosive finale in his Charlie Hood series, which will bring together the destinies of three men caught between light and darkness....
Los Angeles County sheriff's deputy Charlie Hood is attached to the ATF, working undercover on the illegal arms trade that flows across the U.S.-Mexico border. The sparkle of the diamond fillings he wears in his left canine distracts his task force targets and is often the first step toward a long stay behind bars.
Meanwhile, Bradley Jones--sheriff's deputy, employee of the Baja Cartel, and son of the love of Charlie's life--is expecting a son of his own. Bradley, supposedly descended from the famed Mexican outlaw Joaquin Murrieta, has reaped the rewards of his treachery, keeping a hoard of cash and jewelry in a secret lair on his property.
Charlie knows Bradley's secrets, all of them; the question is what he'll do with the information. But he still has to contend with the devilish Mike Finnegan, who flits in and out of the lives of his friends, knows things he should not know, is seemingly immortal, and delights in the havoc he wreaks in the orbits of everyone he touches....
All three are about to meet. But all will not survive....