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The survivor of a plane crash wakes up in a hospital in Canada, his memory a blank. Then in walks Kitty, a gorgeous woman, who tells him that he is Paul Madden, a photographer, and her fiancé. Not bad. Except that a man on the phone keeps calling him Matt Helm. Things don’t add up. This can only mean trouble...
Focusing on the work of four contemporary filmmakers—Ang Lee, Edward Yang, Hou Hsiao-hsien, and Tsai Ming-liang—the authors explore how these filmmakers broke from tradition, creating a cinema that is both personal and insistent on examining Taiwan's complex history. Featuring stills, anecdotes, and close readings of films, the authors consider the influence of Hong Kong and martial arts films, directors' experiments with autobiography, the shifting fortunes of the Taiwanese film industry, and Taiwan cinema in the context of international cinema's aesthetics and business practices.
Successful spies change history. Failures are never heard from again. From simple data theft or sabotage to protecting state secrets and last-ditch gambles that alter the tides of war, it's the spy—professional or amateur—who gets the job done! Whether it's for King and country or private vendetta, it is often the lone agent, through stealth, skill, and sometimes a little luck, who makes the difference. If only it were that easy. In Last-Ditch you'll find sixteen original stories of men, women, aliens, and even creatures who face seemingly insurmountable odds to achieve their goals. So come join in on a little heart-pounding espionage, as Jason M. Hough, Tanya Huff, L.E. Modesitt, Jr., D. Thomas Minton, Nemma Wollenfang, Hayden Trenholm, Edward Willett, Blake Jessop, Steve Perry, Ember Randall, Derryl Murphy, Chadwick Ginther, Russell Hugh McConnell, Gary Kloster, E.C. Ambrose, and Donald McCarthy put it all on the line to take you behind the scenes and behind enemy lines.
In this groundbreaking work, Robert Sternberg opens the book of love and shows you how to discover your own story--and how to read your relationships in a whole new light. What draws us so strongly to some people and repels us from others? What makes some relationships work so smoothly and others burst into flames? Sternberg gives us new answers to these questions by showing that the kind of relationship we create depends on the kind of love stories we carry inside us. Drawing on extensive research and fascinating examples of real couples, Sternberg identifies 26 types of love story--including the fantasy story, the business story, the collector story, the horror story, and many others--each with its distinctive advantages and pitfalls, and many of which are clashingly incompatible. These are the largely unconscious preconceptions that guide our romantic choices, and it is only by becoming aware of the kind of story we have about love that we gain the freedom to create more fulfilling and lasting relationships. As long as we remain oblivious to the role our stories play, we are likely to repeat the same mistakes again and again. But the enlivening good news this book brings us is that though our stories drive us, we can revise them and learn to choose partners whose stories are more compatible with our own. Quizzes in each chapter help you to see which stories you identify with most strongly and which apply to your partner. Are you a traveler, a gardener, a teacher, or something else entirely? Love is a Story shows you how to find out.
In the Taiwanese film industry, the dichotomy between 'art-house' and commercially viable films is heavily emphasized. However, since the democratization of the political landscape in Taiwan, Taiwanese cinema has become internationally fluid. As the case studies in this book demonstrate, filmmakers such as Hou Hsiao-hsien, Edward Yang, Tsai Ming-liang, and Ang Lee each engage with international audience expectations. New Taiwanese Cinema in Focus therefore presents the Taiwanese New Wave and Second Wave movements with an emphasis on intertextuality, citation and trans-cultural dialogue. Wilson argues that the cinema of Taiwan since the 1980s should be read emblematically; that is, as a representation of the greater paradox that exists in national and transnational cinema studies. She argues that these unlikely relationships create the need for a new way of thinking about 'transnationalism' altogether, making this an essential read for advanced students and scholars in both Film Studies and Asian Studies.
Critical theory and popular wisdom are rife with images of surveillance as an intrusive, repressive practice often suggestively attributed to eastern powers and opposed to western liberalism. Hollywood-dominated global media has long promulgated a geopoliticized east-west axis of freedom vs. control. This book focuses on Asian and Asia-based films and cinematic traditions obscured by lopsided western hegemonic discourse and—more specifically—probes these films’ treatments of a phenomenon that western film often portrays with neo-orientalist hysteria. Exploring recent and historical movies made in post-social and anti-Communist societies such as China, Hong Kong, Taiwan, Vietnam and South Korea, the book picks up on the political and economic concerns implicitly underlying Sinophobic and anti-Communist Asian images in Hollywood films while also considering how these societies and states depict the issues of centralization, militarization and technological innovation so often figured as distinctive of the difference between eastern despotism and western liberalism.
Compiled by two skilled librarians and a Taiwanese film and culture specialist, this volume is the first multilingual and most comprehensive bibliography of Taiwanese film scholarship, designed to satisfy the broad interests of the modern researcher. The second book in a remarkable three-volume research project, An Annotated Bibliography for Taiwan Film Studies catalogues the published and unpublished monographs, theses, manuscripts, and conference proceedings of Taiwanese film scholars from the 1950s to 2013. Paired with An Annotated Bibliography for Chinese Film Studies (2004), which accounts for texts dating back to the 1920s, this series brings together like no other reference the disparate voices of Chinese film scholarship, charting its unique intellectual arc. Organized intuitively, the volume begins with reference materials (bibliographies, cinematographies, directories, indexes, dictionaries, and handbooks) and then moves through film history (the colonial period, Taiwan dialect film, new Taiwan cinema, the 2/28 incident); film genres (animated, anticommunist, documentary, ethnographic, martial arts, teen); film reviews; film theory and technique; interdisciplinary studies (Taiwan and mainland China, Taiwan and Japan, film and aboriginal peoples, film and literature, film and nationality); biographical materials; film stories, screenplays, and scripts; film technology; and miscellaneous aspects of Taiwanese film scholarship (artifacts, acts of censorship, copyright law, distribution channels, film festivals, and industry practice). Works written in multiple languages include transliteration/romanized and original script entries, which follow universal AACR-2 and American cataloguing standards, and professional notations by the editors to aid in the use of sources.
Volume 2 Number 2 of The Mystery Fancier, March 1978, contains: "The Matt Helm Series," by Banks and Townsend, "Professor Without a Pseudonym," by Larry L. French, "Bouchercon VIII, Murder at the Waldorf," by Mary Ann Grochowski, "Miscellaneous Mystery Mish-mash, Part II, The California Switch," by Marvin Lachman, "The (Very Temporary) Return of Skull-Face," by Robert E. Briney, and "The Nero Wolfe Saga, Part VI," by Guy M. Townsend.
The Mystery Fancier, Volume 2 Number 1, January 1978, contains: "The Professorial Sleuth of Roy Winsor," by Larry L. French, "The Vengeance Novels of Brian Garfield," by George Kelley, "Miscellaneous Mystery Mis-Mash," by Marvin Lachman, "Chance and Illogic and The Black Box Murder," by E. F. Bleiler, "An Index of Books Reviewed in TMF Volume 1 (Including the Preview Issue)," compiled by Jeff Meyerson, and "The Nero Wolfe Saga, Part V," by Guy M. Townsend.
Transnational Representations focuses on a neglected period in Taiwan film scholarship: the golden age of the 1960s and 1970s, which saw innovations in plot, theme and genre as directors highlighted the complexities of Taiwan’s position in the world. Combining a concise overview of Taiwan film history with analysis of representative Taiwan films, the book reveals the internal and external struggles Taiwan experienced in its search for global identity. This cross-disciplinary study adopts a transnational approach which presents Taiwan’s film industry as one that is intertwined with that of mainland China, challenging previous accounts that present the two industries as parallel yet separate. The book also offers productive comparisons between Taiwan films and contemporary films elsewhere representing the politics of migration, and between the antecedents of new cinema movements and Taiwan New Cinema of the 1980s. “James Wicks’s book offers a most nuanced, sensible, and timely account of the 1960s to 1970s Taiwan films in terms of plot, theme, language, and generic innovations. It zooms in on works by such prominent directors as Li Xing, Bai Jingrui, Song Cunshou, and others, highlighting local, regional, and transnational flows, while not losing sight of the complexities in the island-state’s identity and modernity formation processes.” —Ping-hui Liao, University of California, San Diego “Wicks’s engaging study forges a comparative approach to Taiwanese cinema that is enlivened and inspired by the possibility of close reading, historical research, and interviews. Most importantly, it draws attention to seminal films so rarely discussed in the English language.” —Brian Hu, artistic director of the San Diego Asian Film Festival