Re-introduced to the Tour in 1976, Alpe d’Huez has risen to mythical status, thanks initially to a string of victories by riders from Holland, whose exploits attracted tens of thousands of their compatriots to the climb, which has become known as ‘Dutch mountain’. A snaking 13.8-kilometre ascent rising up through 21 numbered hairpins at an average gradient of 7.8%, Alpe d’Huez is the climb on which every great rider wants to win. Many of the sport’s most famous and now even infamous names have won on the Alpe, including Bernard Hinault, Joop Zoetemelk, Lucho Herrera, Marco Pantani and Lance Armstrong. As well as days of brilliance, there have controversies such as the high-speed and drug-fuelled duels of the EPO years in the 1990s and into the new millennium.  In Alpe d’Huez, veteran cycling journalist Peter Cossins reveals the triumphs, passion and despair behind the great exploits on the Alpe and discloses the untold details that have led to the mountain becoming as important to the Tour as the race is to resort at its summit. It is a tale of man and machine battling against breath-taking terrain for the ultimate prize.

    It has many thousands of devotees who are a ready market for this timely and entertaining book which, with over twenty individual stories from former Lightning pilots, relates the highs and lows, the dramas and the demands of those who operated this iconic aircraft from the sharp end.

    When Monster Magazine reporter Clint Stockbern sets out to interview the legendary '50s horror movie director Landis Woodley, he uncovers a bizarre story of real-life horror.Flashback to Hollywood, 1957. Woodley is shooting his latest zombie movie, Cadaver, in a real morgue when he has a brainstorm that will help him pinch some pennies. But when zombie make-up effects are replaced by real corpses, a deadly curse begins to take its toll on those foolish enough to become involved with the filming of the soon-to-be cult classic, Cadaver.

    Soon after they marry and move into an idyllic Gloucestershire village, Hope discovers she is pregnant. The glamorous Petersons, Henrik and Mandy, appear as new neighbours, and both couples become close. But appearances can be deceptive.

    The mystery haunts her, and she hopes her job in a busy city Garda Station will one day help her find answers.The case of a man shot dead crosses her desk – and Anna is shocked to discover that the main suspect is her childhood friend Kate Crowley. Certain that Kate is innocent, Anna is determined to help her clear her name. But first she has to find her …Tom Gallagher’s son David is dead, and Tom believes Kate is responsible. Now his older son John is missing – unable to grieve for one son until he finds the other, desperation can cause a man to do terrible things … Then the German Meier brothers descend on the city, intent on finding an item David had offered to sell them. Even Tom doesn’t know where it is, but he suspects Kate Crowley must have taken it.Kate is on the run. She is trapped in the dead man’s city – can her old friend help her find a way out?In a week where a political summit is taking place and the city is on high alert, Kate must struggle to stay hidden and stay alive. And Anna is drawn into the twisted race against time, falling deeper into danger.

    I. PUDOVKIN Translated by IVOR MONTAGU Introduction by LEWIS JACOBS BONANZA BOOKS NEW YORK CONTENTS PAGE CONTENTS FILM TECHNIQUE A separate table of contents for FILM ACTING appears at the beginning of that volume. INTRODUCTION BY LEWIS JACOBS iii INTRODUCTION TO THE GERMAN EDITION . . xiii I. THE FILM SCENARIO AND ITS THEORY FOREWORD 1 PART I. THE SCENARIO .... 3 The meaning of the shooting-script The construction of the scenarioThe theme The action-treatment of the theme Conclusion. PART H. THE PLASTIC MATERIAL . . 26 The simplest specific methods of shooting-Method of treatment of the material struc tural-editing Editing of the scene Editing of the sequence Editing of the Scenario-Editing as an instrument of impression rela tional editing. II. FILM DIRECTOR AND FILM MATERIAL PART I. THE PECULIARITIES OF FILM MATERIAL 51 The film and the theatre The methods of the film Film and reality Filmic space and time The material of films Analysis Editing the logic of filmic analysis The necessity to interfere with movement Organisation of the material to be shot Arranging setups The organisation of chance material Filmic form The technique of directorial work. PART H. THE DIRECTOR AND THE SCENARIO 93 The director and the scenarist The environ ment of the film-The characters in the envir iv uUC aiY MO. 7158987 PAGE onment The establishment of the rhythm of the film. PABT III. THE DIRECTOR AND THE ACTOR 105 Two kinds of production The film actor and the film type Planning the acting of the film type The ensemble Expressive movement-Expressive objects The director as creator of the ensemble. PART IV. THE ACTOR IN THE FRAME . 118 The actor and the filmic image The actor and light. PART V. THE DIRECTOR AND THE CAMERA MAN 120 The cameraman and the camera The camera and its viewpoint The shooting of movement The camera compels the spectator to see as the director wishes The shaping of the com position-The laboratory-Collectivism the basis of film-work. III. TYPES INSTEAD OF ACTORS . 137 IV. CLOSE-UPS IN TIME 146 V. ASYNCHRONISM AS A PRINCIPLE OF SOUND FILM 155 VL RHYTHMIC PROBLEMS IN MY FIRST SOUND FILM 166 VII. NOTES AND APPENDICES A. GLOSSARIAL NOTES . 175 B. SPECIAL NOTES 180 C. ICONOGRAPHY OF PUDOVKINs WORKS . 192 D. INDEX OF NAMES .... 196 The numerals in the text refer to Appendix B. INTRODUCTION THERE are few experiences more important in the education of a newcomer to motion pic tures than the discovery of V. I. Pudovkins Film Technique and Film Acting. No more valuable manuals of the practice and theory of film making have been written than these two handbooks by the notable Soviet director. So sound are their points of view, so valid their tenets, so revelatory their analyses, that they remain today, twenty years after their initial appear ance, the foremost books of their kind. First published abroad in 1929 and 1933 respectively, Film Technique and Film Acting brought to the art of film making a code of principles and a rationale that marked the mediums analytic coming of age. Until their publication, the motion picture maker had to eke out on his own any intellectual or artistic considera tions of film craft. No explicit body of principles existed upon which the film maker could draw with confidence. Film technique was a more or less hit or miss affair that existed in a kind of fragmentary state which, in the main, leaned heavily upon theatrical methods. These pioneering books made clear at once that movie making need no longer flounder for a methodol ogy or for its own standards. They elucidated what iv FILM TECHNIQUE AND FILM ACTING were the fundamentals of film art and defined the singular process of expression that distinguished it from all other media. Now film theory and practice could be attacked with greater assurance and efficiency...

    Altho they have no bodies to move around with, they're free to mentally visit any of the other residents, & engage in all the emotional, intellectual & pseudo-sexual congress that they desire. This is the story of a projection of life in the 25th century. People have been reduced to Cerebromorphs--disembodied brains stored in tanks in huge Depositories & wired up to computers, memory files & mammoth study programmes. In the tanks they're supposed to pass thru various levels of understanding before they are liberated, implanted in hatchery-nurtured perfect bodies & sent back into a pastoral paradise flourishing outside. The novel follows a small group of these brains: that of a 12-year-old boy killed in an air crash; an ex-movie queen, fastidious, rich & lethal; a former Nigerian sculptor & the last of the great humanists.

    Perhaps that was the trouble--no one really took a good look at Ronald. Except for his devoted mother, who saw only the son she wanted to see. Who, then, is Ronald? Ronald is that faceless unknown who waits - to take, to grab what he needs, to become the ultimate invader.

    But faster than light isn't fast enough anymore. The interfaces of the Keilor-Vincicoff Organisation bring planets light years distant a simple step away. Then a man with half a face offers ex-engineman Ralph Mirren the chance to escape his ruined life and push a ship to an undiclosed destination. The Nada-Continuum holds the key to Ralph's future. What he cannot anticipate is its univerala importance-nor the mystery awaiting him on the distant colony world.

    Librarian's note: An alternate cover edition can be found hereThis novel tells the story of America's race to Mars and the web of passionate conflict it weaves among the astronauts and their wives -- and between Russia and the United States, the contestants in this deadly race.

    Then his roommate’s missing brother turns up in a local hospital having sliced open his own chest and legs for some sick, inexplicable reason. In Oakland, the Reverend Garner, a recovering addict, leaves his ministry in search of his teenage daughter, who was last seen in the company of her ghoulish kidnapper. And the Los Angeles police are meanwhile baffled in their hunt for the elusive “Wetbones” serial killer who leaves nothing of his victims behind except a damp, grisly pile of bones. Though Tom, the reverend, and the LAPD are on separate quests for answers, they are all being led into the darkest shadows of Hollywood, where the debauchery never ceases and pleasure is a drug that devours human flesh, blood, and sanity. But the true source of the all-consuming addiction is the most horrifying revelation of all, for it is not of this rational Earth. From International Horror Guild Award–winning author John Shirley, the acclaimed “splatterpunk” classic Wetbones combines the monstrous inventiveness of H. P. Lovecraft with the exquisite excess of Clive Barker. A true masterwork of modern terror, it’s decidedly not for the faint of heart.

    For the better part of three decades, the enormously popular host of "The Tonight Show" was welcomed into millions of American homes -- as a friend, an entertainer, and an inexhaustibly sage and witty commentator on our lives and times. But there was a dark side to this charming and inscrutable enigma that only those closest to Carson ever saw -- a sadness, mistrust, and cruelty behind the glitter and glamour, intensified by a lifelong pursuit of power, wealth, and fame.Based on more than two years of intensive research including more than 700 personal interviews with ex-wives, ex-friends, colleagues, and celebrities -- with all-new, never-before-published material on Johnny's post-"Tonight Show" life, from his retirement through his final days -- Laurence Learner's King of the Night is an intimate and powerful portrait of an unforgettable personality, at once a tribute and a revelation.

    Kristen, his beloved daughter, dying, pounded bloody and broken by feet and fists. Kristen, dead-as dead as Lucas' most hidden desires.In Lucas Ellington's eyes, the mindless crowd of rock n' rollers is blameless. His child was murdered by Whip Hand, the Ultimate Party Band. The main event.Whip Hand dissolved soon after the arena disaster but the musicians are still alive out there, still alive and kicking.Not for long. Lucas has sacrified one set of dreams; he will not surrender another. Instead of Kristen, he cradles revenge to his breast.His ultimate target: Gabriel Stannard. Whip Hand's lead singer.

    Having successfully sold his business, he can look forward to an exciting new chapter in his life with his beautiful wife and teenage daughter. But his father shunned him as he was growing up, and the old man's coldness still causes deep pain.His father spent the war ferrying SOE agents across the channel into occupied France, and Iain knows that his change in personality dated from a mission in 1944 that ended in disaster, with his father barely making it home. Now, on her death-bed, Iain's mother gives him a clue about what happened on that fateful night, and Iain sets off for the tiny Breton village of St Cyriac determined to discover the truth. At first the villagers are welcoming, remembering his father as a hero, but as he nears the final, extraordinary revelation, Iain realizes that he has unleashed terrible forces that might destroy them all.

    Starting from his first musical endeavors as a child, Neal bears his soul as he recalls the pitfalls, heartaches and temptations along his journey.This hard-hitting, inspirational expose' takes the reader from Neal's club days to the formation of Spock's Beard and from the rigors of musical and personal burnout to the wondrous joy of spiritual fulfillment and purpose. The book spans approximately 230 pages in paperback form, and includes photos from all stages of Neal's life.