Peachtree Publishing Company Inc. is a trade book publisher based in Atlanta, Georgia, specializing in children’s books, including board books, picture books, and middle grade and young adult fiction and nonfiction. We create books that educate, entertain, encourage, and endure.
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TheUnited States Insitute of Peace was created by the US congress as a federally funded presscreatingworks toprevent and resolve global conflict by providing education and resources to work towards peace.
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Oscar is a very pretty peacock with beautiful feathers, yet he is never arrogant. Meanwhile, Willy, a brown cockerel is jealous of Oscar's feathers and always bullies Oscar. One day, Willy is stuck in a bush. No animal wants to help him, except a certain beautiful peacock.
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»Mit Geschichten geht es wie mit vielen Menschen, sie werden mit zunehmendem Alter schöner und schöner, und das ist wirklich erfreulich!« (Hans Christian Andersen) Des Kaisers neue Kleider; Der standhafte Zinnsoldat; Der fliegende Koffer; Das kleine Mädchen mit den Schwefelhölzern und fünf weitere Märchen versammelt dieser Band. Sie zeigen Hans Christian Andersen als »Dichter für sämtliche Lebensalter«. Die eindrucksvollen Illustrationen von Rotraut Susanne Berner unterstreichen die Modernität seiner Geschichten.
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One of Britain's foremost TV practitioners, Andrew Davies is the creator of programmes such as 'A Very Peculiar Practice', 'To Serve Them All My Days', 'Pride and Prejudice', 'Othello' and 'The Way We Live Now'. Although best known for his adaptations of the work of writers such as Jane Austen and George Eliot, he has written numerous original drama series, single plays, films, stage plays and books. This volume offers a critical appraisal of Davies's work, and assesses his contribution to British television. Cardwell also explores the conventional notions of authorship and auteurism which are challenged by Davies's work. Can we identify Davies as the author of the varied texts attributed to him? If so, does an awareness of his authorial role aid our interpretation and evaluation of those texts? How does the phenomenon of adaptation affect the issue of authorship? How important is 'the author' to television? This book will appeal to both an academic readership, and to the many people who have taken pleasure in Davies's work. ;
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Tony Garnett is the first book-length study of one of the most respected and prolific producers working in British television. From ground-breaking dramas from the 1960s such as Up the Junction and Cathy Come Home to the 'must see' series in the 1990s and 2000s such as This Life and The Cops, Garnett has produced some of the most important and influential British television drama. This book charts Garnett's career from his early days as an actor to his position as executive producer and head of World Productions. Drawing on personal interviews, archival research, contextual analysis and selected case studies, Tony Garnett examines the ways in which Garnett has helped to define the role of the producer in British television drama. Arguing that Garnett was both a key creative and political influence on the work he produced and an enabler of the work of others, the book traces his often combative relationships with broadcasting institutions (especially the BBC). Additionally, the study discusses the films he made for the cinema and considers some of the ways in which Garnett's experiments in film technology 16 mm in the 1960s, digital video in the 1990s have shaped his creative output. Tony Garnett will be of interest to all levels of researchers and students of British television drama, media and film. ;
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Lynda La Plante is Britain's most successful and well known screenwriter and the first woman to win the prestigious Dennis Potter writer's award. Attracting millions of viewers, the popular and critical success of La Plante's work is central to understanding changes that shook the UK television industry in the late twentieth century. This critical introduction, the first account of her work, focuses on three innovative serials: Widows (ITV, 1983), Prime Suspect (ITV 1991) and Trial and Retribution (ITV 1997). In each chapter questions of gender and genre, acting and stardom and authorship and value are mapped against the changing relationship between women and the television industry. The final chapter traces La Plante's metamorphosis from 'just a writer for hire' to the astute businesswoman she has become through a focus on the trans-national appeal of dramas such as Killer Net (C4 1997) and Bella Mafia (CBS 1997). ;
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A journey to the Italian cinema that overturns established views and opens up new perspectives and interpretations. Its itinerary is organized in four stages. The first is an analysis of the theories of Cesare Zavattini on neorealism which overturns widely accepted positions both on Zavattini and on neorealism. The second confronts a key film of the post-war Italian cinema, Roberto Rossellini's Paisà, by examining the nature of its realism. The third is dedicated to Luchino Visconti: to questions of the use of language exemplified in his La terra trema, the use of settings, costume and light as agents of meaning in his Il Gattopardo and Vaghe stelle dell'Orsa. The final voyage of the film is to the physical and symbolic construction of heaven and earth in the work of Pasolini. Particular attention is given to the representation of the body in his last four films: the grotesque and mythical bodies in popular tradition in his Trilogia di vita and the tortured bodies destroyed by the mass media in Salò. ;
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Comprised of fourteen chapters, the book opens with studies of Louis Feuillade, Jean Painlevé, Jean Vigo and Georges Franju. In each case the author finds original points of reference and cross-reference to other film-makers, and visual artists, particularly within modernism. Successful as free-standing short essays on their subject, the chapters also situate the work of these film-makers less within the context of French cinema history, than within other cinema histories and intellectual traditions. This is an important gesture both in terms of the general architecture of the book, and in terms of its commitment to reclaiming the work of these figures for a wide community of film and cinema studies teachers, students, and enthusiasts, particularly those interested in developing (or disagreeing with!) alternative approaches to the history and language of cinema. Undoubtedly, Intersections is a provocative and challenging read, but that does not make it any less urgent or necessary. ;
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A journey to the Italian cinema that overturns established views and opens up new perspectives and interpretations. Its itinerary is organized in four stages. The first is an analysis of the theories of Cesare Zavattini on neorealism which overturns widely accepted positions both on Zavattini and on neorealism. The second confronts a key film of the post-war Italian cinema, Roberto Rossellini's Paisà, by examining the nature of its realism. The third is dedicated to Luchino Visconti: to questions of the use of language exemplified in his La terra trema, the use of settings, costume and light as agents of meaning in his Il Gattopardo and Vaghe stelle dell'Orsa. The final voyage of the film is to the physical and symbolic construction of heaven and earth in the work of Pasolini. Particular attention is given to the representation of the body in his last four films: the grotesque and mythical bodies in popular tradition in his Trilogia di vita and the tortured bodies destroyed by the mass media in Salò.
