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Ben Myers play "Walking with Shadows" is one of several plays he wrote whilst at the renowned Watermill Theatre in Newbury, Berkshire. His work has appeared on the WJEC GCSE drama curriculum in the UK, and been widely studied in schools for several years. He has worked as a creative education consultant for National Drama and the Arts Council, delivering workshops to Drama and English teachers. He is also a published childrens author, pioneering creative practice in primary education for the involvement of children in the creation of a novel, discussing this on Radio 4. He moved from theatre to film in 2005 when he adapted "Walking with Shadows" into a feature length film starring Leslie Phillips, assuming the roles of Director and Executive Producer. He was a guest lecturer and Artist in Residence at the Midnite International Dramatic Arts Festival in Perth, Western Australia, and has regularly appeared in the media discussing his various creative and educational projects. He is an award winning independent filmmaker as writer/director of "Nuryan", which won the best horror/sci fi category at the London Independent Film festival (LIFF)
Trez "Latimer" doesn't really exist. And not just because the identity was created so that a Shadow could function in the underbelly of the human world. Sold by his parents to the Queen of the S'Hsibe as a child, Trez escaped the Territory and has been a pimp and an enforcer in Caldwell, NY for years -- all the while on the run from a destiny of sexual servitude. He's never had anyone he could totally rely on... except for his brother, iAm. iAm's sole goal has always been to keep his brother from self-destructing -- and he knows he's failed. It's not until the Chosen Serena enters Trez's life that the male begins to turn things around... but by then it's too late. The pledge to mate the Queen's daughter comes due and there is nowhere to run, nowhere to hide, and no negotiating. Trapped between his heart and a fate he never volunteered for, Trez must decide whether to endanger himself and others -- or forever leave behind the female he's in love with. But then an unimaginable tragedy strikes and changes everything. Staring out over an emotional abyss, Trez must find a reason to go on or risk losing himself and his soul forever. And iAm, in the name of brotherly love, is faced with making the ultimate sacrifice.
Ethnomusicological fieldwork has significantly changed since the end of the the 20th century. Ethnomusicology is in a critical moment that requires new perspecitves on fieldwork - perspectives that are not addressed in the standard guides to ethnomusicological or anthropological method. The focus in ethnomusicological writing and teaching has traditionally centered around analyses and ethnographic representations of musical cultures, rather than on the personal world of understanding, experience, knowing, and doing fieldwork. Shadows in the Field deliberately shifts the focus of ethnomusicology and of ethnography in general from representation (text) to experience (fieldwork). The "new fieldwork" moves beyond mere data collection and has become a defining characteristic of ethnomusicology that engages the scholar in meaningful human contexts. In this new edition of Shadows in the Field, renowned ethnomusicologists explore the roles they themselves act out while performing fieldwork and pose significant questions for the field: What are the new directions in ethnomusicological fieldwork? Where does fieldwork of "the past" fit into these theories? And above all, what do we see when we acknowledge the shadows we cast in the field? The second edition of Shadows in the Field includes updates of all existing chapters, a new preface by Bruno Nettl, and seven new chapters addressing critical issues and concerns that have become increasingly relevant since the first edition.
Forbidden passions have been the hallmark of the Dollanganger clan since Flowers in the Attic debuted more than forty years ago. In this third book of a new related trilogy, witness the birth of the Dollanganger curse as Corrine Foxworth’s children learn that family is but destiny by another, crueler name. As a young girl in France, Marlena Hunter’s life was a fairy tale. She had a talented artist for a father, a doting mother, and a brother she couldn’t be closer to. She loved her family; she just didn’t know what her family actually was. When a car crash kills their parents, Marlena and Yvon lose not only France, but also their identity. Sent to Richmond, Virginia, they arrive at the home of two aunts they’ve never met before, who tell them that their true last name is Dawson, that their father had fled the family years back—and that now the family is calling in the debt. Trapped in a mansion with as many secrets as rooms, Marlena yearns for escape. But in America, you can either make friends or make profit, and Yvon suddenly seems much more interested in the latter. While he is free to leave the house, Marlena is left to avoid lecherous tutors and the secretary-to-wife track expected of a woman. Caught between mastering the game to escape it and falling prey to its allure, she needs to learn fast—for Malcolm Foxworth has cast his eye in her direction. And no family name can protect her from the twisted roots of the Dollanganger family tree.
The former director of the CIA discusses the hidden wars and operations that the U.S. waged against world Communism, discusses the CIA's role in the collapse of Communism in the Soviet bloc, and assesses the various presidents and officials for whom he worked. 60,000 first printing. Tour.
Both on the continent and off, “Africa” is spoken of in terms of crisis: as a place of failure and seemingly insurmountable problems, as a moral challenge to the international community. What, though, is really at stake in discussions about Africa, its problems, and its place in the world? And what should be the response of those scholars who have sought to understand not the “Africa” portrayed in broad strokes in journalistic accounts and policy papers but rather specific places and social realities within Africa? In Global Shadows the renowned anthropologist James Ferguson moves beyond the traditional anthropological focus on local communities to explore more general questions about Africa and its place in the contemporary world. Ferguson develops his argument through a series of provocative essays which open—as he shows they must—into interrogations of globalization, modernity, worldwide inequality, and social justice. He maintains that Africans in a variety of social and geographical locations increasingly seek to make claims of membership within a global community, claims that contest the marginalization that has so far been the principal fruit of “globalization” for Africa. Ferguson contends that such claims demand new understandings of the global, centered less on transnational flows and images of unfettered connection than on the social relations that selectively constitute global society and on the rights and obligations that characterize it. Ferguson points out that anthropologists and others who have refused the category of Africa as empirically problematic have, in their devotion to particularity, allowed themselves to remain bystanders in the broader conversations about Africa. In Global Shadows, he urges fellow scholars into the arena, encouraging them to find a way to speak beyond the academy about Africa’s position within an egregiously imbalanced world order.
Don't miss Shadows, Dawson Black’s story in Jennifer L. Armentrout's bestselling Lux series, now available as a standalone in print for the first time! "An unmissable series!" –Samantha Young, New York Times bestselling author of On Dublin Street “This is the stuff swoons are made of.” —Wendy Higgins, New York Times bestselling author of Sweet Evil The last thing Dawson Black expected was Bethany Williams. As a Luxen, an alien life-form on Earth, human girls are...well, fun. But since the Luxen have to keep their true identities a secret, falling for one would be insane. Dangerous. Tempting. Undeniable. Bethany can't deny the immediate connection between her and Dawson. And even though boys aren't a complication she wants, she can't stay away from him. Still, whenever they lock eyes, she's drawn in. Captivated. Lured. Loved. Dawson is keeping a secret that will change her existence...and put her life in jeopardy. But even he can't stop risking everything for one human girl. Or from a fate that is as unavoidable as love itself. Want to read the LUX series on your ereader? Each book is sold individually in e-format: #1: Obsidian #2: Onyx #3: Opal #4: Origin #5: Opposition Dawson’s story: Shadows
This book is the first to analyze the environmental impact of Japanese trade, corporations, and aid on timber management in the context of Southeast Asian political economies. It is also one of the first comprehensive studies of why Southeast Asian states are unable to enforce forest policies and regulations.
Noël Burch's singularly perceptive view of film and its origins will interest all who care about film theory and history. Life to Those Shadows presents a critique of "classical" approaches to film: the assumptions that what we call the language of film was a natural, organic development, and that it lay latent from the outset in the basic technology of the camera, waiting for the prescient pioneers to bring it into being. The view that film language was a universal, neutral medium, innocent of any social or historical meaning in itself, is also challenged here. Burch's major thesis is that, on the contrary, film language has a social and economic history, that it evolved in the way it did because of when and where it was constructed—in the capitalist and imperialist West between 1892 and 1929. From this perspective, the book examines the emergence of what it defines as cinema's Institutional Mode of Representation and the sociohistorical circumstances in which it took place. Central to the Institutional Mode are the principles of visualization—camera placement and movement, lighting, editing, mise-en-scène—that filmmakers and audiences came to internalize over the first three decades. Special emphasis is laid on the all-important change that occurred in the placing of the spectator, from a position of exteriority to the film image—implicit in both film-form and viewing conditions during the primitive era (pre-1909)—to the imaginary centering of the spectator-subject—completed only with the generalization of lip-synch sound after 1929. Burch contends that this imaginary centering of a sensorially isolated spectator is the keystone of the cinematic illusion of reality, still achieved today by the same means as it was sixty years ago.
Focusing on African diaspora groups that have been virtually ignored in discussions of Canadian multiculturalism, the authors explore the re-creation of communities in exile and the myths of 'homeland' and 'return.'