The Nightmare On Elm Street Collection features seven films across seven discs plus a disc of bonus content.

A Nightmare On Elm Street
Nancy (Heather Langenkamp) is having grisly nightmares. Meanwhile, her high-school friends, who are having the very same dreams, are being slaughtered in their sleep by the hideous fiend of their shared nightmares. When the police ignore her explanation, she herself must confront the killer in his shadowy realm... From modern horror master Wes Craven comes a timeless shocker that remains the standard bearer for terror. Featuring Johnny Depp in his first starring role, this horror classic gave birth to one of the most infamous undead villains in cinematic history: Freddy Krueger.

A Nightmare on Elm Street 2: Freddy's Revenge
Five years have passed since Freddy Krueger (Robert Englund) was sent howling back to hell. But now, a new kid on Elm Street is being haunted every night by gruesome visions of the deadly dream stalker and if his twisted soul takes possession of the boy's body, Freddy will return from the dead to wreak bloody murder and mayhem upon the entire town.

A Nightmare On Elm Street 3: Dream Warriors
The last of the Elm Street kids are now at a psychiatric ward where Freddy haunts their dreams with unspeakable horrors. Their only hope is dream researcher and fellow survivor Nancy Thompson (Heather Langenkamp of the original Nightmare), who helps them battle the supernatural psycho on his own hellish turf.

A Nightmare On Elm Street 4: The Dream Master
Proving there's no rest for the wicked, the unspeakably evil Freddy Krueger is again resurrected from the grave to wreak havoc upon those who dare to dream. As her friends succumb one by one to Freddy's wrath, telepathically gifted Kristen embarks on a desperate mission to destroy the satanic dream stalker and release the tortured souls of his victims once and for all.

A Nightmare On Elm Street 5: The Dream Child
Unable to overpower the Dream Master who vanquished him in A Nightmare On Elm Street 4, Freddy haunts the innocent dreams of her unborn child and preys upon her friends with sheer horror. Will the child be saved from becoming Freddy's newest weapon or will the maniac again resurrect his legacy of evil?

A Nightmare On Elm Street 6: Freddy's Dead - The Final Nightmare
They tried to burn him, bury him, wash him away with holy water. Freddy hitches a ride inside some poor soul's dream to the nearest town and hey, quicker than you can say "Nine, ten, never sleep again", the dreamstalker's back in business...

A Nightmare On Elm Street 7: Wes Craven's New Nightmare
In a frightening new twist in the terror on Elm street, Wes Craven (director of the original film) finds that his dreams have begun to dictate real-life horrors for the stars of the film.

Scholars of language ideology have encouraged us to reflect on and explore where social categories come from, how they have been reproduced, and whether and to what extent they are relevant to everyday interactional practices. Taking up on these issues, this book focuses on how ethnicity has been semiotically constructed, valued, and reproduced in Indonesia since Dutch colonial times, and how this category is drawn upon in everyday talk. In doing so, this book also seeks to engage with scholarship on superdiversity while highlighting some points of engagement with work on ideas about community. The book draws upon a broad range of scholarship on Indonesia, recordings of Indonesian television from the mid-1990s onwards, and recordings of the talk of Indonesian students living in Japan. It is argued that some of the main mechanisms for the reproduction and revaluation of ethnicity and its links with linguistic form include waves of technological innovations that bring people into contact (e.g. changes in transportation infrastructure, introduction of print media, television, radio, the internet, etc.), and the increasing use of one-to-many participation frameworks such as school classrooms and the mass media. In examining the talk of sojourning Indonesians the book goes on to explore how ideologies about ethnicity are used to establish and maintain convivial social relations while in Japan. Maintaining such relationships is not a trivial thing and it is argued that the pursuit of conviviality is an important practice because of its relationship with broader concerns about eking out a living.

The second of three epic instalments in director Peter Jackson's blockbuster prequel to 'The Lord of the Rings' trilogy. Set in Middle-Earth 60 years before events in 'The Lord of the Rings', the story follows the adventures of Hobbit Bilbo Baggins (Martin Freeman), who, at the instigation of the wizard Gandalf (Ian McKellen), suddenly finds himself co-opted into joining a company of 13 Dwarves led by Thorin Oakenshield (Richard Armitage) to help reclaim the lost kingdom of the Lonely Mountain from the clutches of Smaug the dragon (voice of Benedict Cumberbatch). In this film, while Gandalf heads south on his own, Bilbo, Thorin and the Dwarves enter the treacherous Mirkwood Forest on their way to the mountain. When they reach Lake-town Bilbo will have to perform the role he was assigned at the start of the quest - to find a secret door that will lead him to the lair of the dragon...

Disney double bill following the adventures of young Native American woman Pocahontas (voice of Irene Bedard). 'Pocahontas' (1995) follows the eponymous character and her tribe, whose lives are dramatically changed by the arrival of a shipload of English settlers. Amongst them is handsome adventurer Captain John Smith (Mel Gibson) who falls for Pocahontas, although their cultural differences seem destined to keep them apart. In the sequel, 'Pocahontas 2 - Journey to a New World' (1998), Pocahontas is on a mission of peace to England, accompanied by dashing sea captain John Rolfe (Billy Zane). Upon arrival in London, Pocahontas prepares for the King's Ball, but the reappearance of both former-beau John Smith (Donal Gibson) and disgraced Governor Ratcliffe (David Ogden Stiers) throws her into a quandary.

Robert Fucilla and Billy Zane star in this low-budget British special forces action thriller. Former SAS man turned mercenary Andy Marlow (Fucilla) is sent into the Balkans to rescue an American ambassador and his aide in the wake of a military coup.

To do ethnography, a researcher must have rapport with research subjects. But what is rapport? Ethnography and ethnographic methods have increasingly become a feature of social inquiry in general and sociolinguistics in particular, and rapport is generally considered a prerequisite for fieldwork. And yet, unlike related terms such as "communication" and "phatic communion," this concept has remained largely unexamined. Reimagining Rapport turns a critical eye to the use of the term "rapport" across disciplines. The collection analyzes the very idea of rapport, both exploring how it has been shaped by historical forces and actors within sociocultural anthropology, and questioning its usefulness. Rather than viewing the term as simply denoting a type of positive social relationship that needs to be formed between researcher and consultant before research can begin, this book invites us to reimagine rapport theoretically, methodologically, and meta-methodologically. Zane Goebel and other leading sociolinguists challenge readers to think about how rapport has been constructed within these disciplines, and ultimately to see rapport as an emergent, co-constructed social relationship that is actively built during situated multimodal encounters. The contributors collectively examine the role of ideology and mediation in the construction of rapport, and argue that reconceptualizing research-subject relationships is essential for establishing more sophisticated ways of understanding, interpreting, and representing research context. A valuable resource for scholars and students of sociolinguistics and linguistic anthropology-as well as for others engaged in ethnographic fieldwork-Reimagining Rapport is the first collection to provide an in-depth investigation of this critically important but previously unexamined concept.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Zane Grey (1872-1939) was an American author best known for his popular adventure novels and pulp fiction that presented an idealized image of the rugged Old West. "To the Last Man" is the story of a feud based on the notorious real-life Pleasant Valley W

Zane Grey (1872-1939) was an American author best known for his popular adventure novels and pulp fiction that presented an idealized image of the rugged Old West. "To the Last Man" is the story of a feud based on the notorious real-life Pleasant Valley W