Brian Price – författare

Become an expert at C++ by learning all the key C++ concepts and working through interesting exercisesKey FeaturesExplore C++ concepts through descriptive graphics and interactive exercisesLearn how to keep your development bug-free with testing and debuggingDiscover various techniques to optimize your codeBook DescriptionC++ is one of the most widely used programming languages and is applied in a variety of domains, right from gaming to graphical user interface (GUI) programming and even operating systems. If you're looking to expand your career opportunities, mastering the advanced features of C++ is key.The book begins with advanced C++ concepts by helping you decipher the sophisticated C++ type system and understand how various stages of compilation convert source code to object code. You'll then learn how to recognize the tools that need to be used in order to control the flow of execution, capture data, and pass data around. By creating small models, you'll even discover how to use advanced lambdas and captures and express common API design patterns in C++. As you cover later chapters, you'll explore ways to optimize your code by learning about memory alignment, cache access, and the time a program takes to run. The concluding chapter will help you to maximize performance by understanding modern CPU branch prediction and how to make your code cache-friendly.By the end of this book, you'll have developed programming skills that will set you apart from other C++ programmers.What you will learnDelve into the anatomy and workflow of C++Study the pros and cons of different approaches to coding in C++Test, run, and debug your programsLink object files as a dynamic libraryUse templates, SFINAE, constexpr if expressions and variadic templatesApply best practice to resource managementWho this book is forIf you have worked in C++ but want to learn how to make the most of this language, especially for large projects, this book is for you. A general understanding of programming and knowledge of using an editor to produce code files in project directories is a must. Some experience with strongly typed languages, such as C and C++, is also recommended.

This is the first anthology devoted exclusively to the subject of colour in film and its history, production and technology.Set out in thematic sections, the book addresses key issues in the field including: the development of colour technologyhow visual stule was affected by the shift from black and white to colourcolour in film theory and the writings of authors such as Bresson, Eisenstein and Oshimacolour in the films of Godard, Hitchcock, Almodovar and many more.Including case studies too, this is the perfect introductory guide to a key element in film form and theory. A must for any student starting a film studies course.

This is the first anthology devoted exclusively to the subject of colour in film and its history, production and technology.Set out in thematic sections, the book addresses key issues in the field including: the development of colour technologyhow visual stule was affected by the shift from black and white to colourcolour in film theory and the writings of authors such as Bresson, Eisenstein and Oshimacolour in the films of Godard, Hitchcock, Almodovar and many more.Including case studies too, this is the perfect introductory guide to a key element in film form and theory. A must for any student starting a film studies course.

This title considers the films of Michael Haneke, who has emerged as a major figure in world cinema over the last fifteen years. Austrian director Michael Haneke is recognized for films that explore the most pressing social questions of our time while simultaneously pushing the boundaries of style with innovative visual and sonic practices. ""On Michael Haneke"" is one of the very first and most extensive considerations of Haneke's work. Editors Brian Price and John David Rhodes have gathered contributors whose own work combines critical inquiry and close formal analysis to explore the philosophical, historical, and stylistic complexity of Haneke's films. This volume is divided into three parts, beginning with 'Violence and Play', in which contributors explore the relation in Haneke's films between violence and playfulness that complicates questions of media, representation, and morality. Essays in part 2, 'Style and Medium', investigate Haneke's stylistic innovation and the ways in which he can be seen as indebted to previous traditions and filmmakers, including the Italian neorealists, Alfred Hitchcock, Antonioni, and Robert Bresson. Part 3 addresses questions of 'Culture and Conflict' by looking at the cultural and historical problems suggested by Haneke's films and exploring the relation between culture and film style. ""On Michael Haneke"" is both an introduction to the work of a major figure in world cinema and a model for modern media criticism. Scholars of film and television studies, cinephiles, and anyone interested in contemporary film culture will enjoy ""On Michael Haneke"".

The French auteur Robert Bresson, director of such classics as Diary of a Country Priest (1951), The Trial of Joan of Arc (1962), The Devil, Probably (1977), and L’Argent (1983), has long been thought of as a transcendental filmmaker preoccupied with questions of grace and predestination and little interested in the problems of the social world. This book is the first to view Bresson’s work in an altogether different context. Rather than a religious-or spiritual-filmmaker, Bresson is revealed as an artist steeped in radical, revolutionary politics. Situating Bresson in radical and aesthetic political contexts, from surrealism to situationism, Neither God nor Master shows how his early style was a model for social resistance. We then see how, after May 1968, his films were in fact a series of reflections on the failure of revolution in France-especially as “failure” is understood in relation to Bresson’s chosen literary precursors, Dostoyevsky and Tolstoy, and Russian revolutionary culture of the nineteenth century.Restoring Bresson to the radical political culture from which he emerged-and to which he remained faithful-Price offers a major revision of the reputation of one of the most celebrated figures in the history of French film. In doing so, he raises larger philosophical questions about the efficacy of revolutionary practices and questions about interpretation and metaphysical tendencies of film historical research that have, until now, gone largely untested.

In A Theory of Regret Brian Price contends that regret is better understood as an important political emotion than as a form of weakness. Price shows how regret allows us to see that our convictions are more often the products of our perceptual habits than the authentic signs of moral courage that we more regularly take them to be. Regret teaches us to give up our expectations of what we think should or might occur in the future, and also the idea that what we think we should do will always be the right thing to do. Understood instead as a mode of thoughtfulness, regret helps us to clarify our will in relation to the decisions we make within institutional forms of existence. Considering regret in relation to emancipatory theories of thinking, Price shows how the unconditionally transformative nature of this emotion helps us become more sensitive to contingency and allows us, in turn, to recognize the steps we can take toward changing the institutions that shape our lives.

In A Theory of Regret Brian Price contends that regret is better understood as an important political emotion than as a form of weakness. Price shows how regret allows us to see that our convictions are more often the products of our perceptual habits than the authentic signs of moral courage that we more regularly take them to be. Regret teaches us to give up our expectations of what we think should or might occur in the future, and also the idea that what we think we should do will always be the right thing to do. Understood instead as a mode of thoughtfulness, regret helps us to clarify our will in relation to the decisions we make within institutional forms of existence. Considering regret in relation to emancipatory theories of thinking, Price shows how the unconditionally transformative nature of this emotion helps us become more sensitive to contingency and allows us, in turn, to recognize the steps we can take toward changing the institutions that shape our lives.

Since we first arrived on the planet, we’ve been telling each other stories, whether of that morning’s great saber-tooth tiger hunt or the latest installment of the Star Wars saga. And throughout our history, despite differences of geography or culture, we’ve been telling those stories in essentially the same way. Why?Because there is a RIGHT way to tell a story, one built into our very DNA.In his seminal work Poetics, Aristotle identified the patterns and recurring elements that existed in the successful dramas of his time as he explored precisely why we tell stories, what makes a good one, and how to best tell them. In Classical Storytelling and Contemporary Screenwriting, Brian Price examines Aristotle’s conclusions in an entertaining and accessible way and then applies those guiding principles to the most modern of storytelling mediums, going from idea to story to structure to outline to final pages and beyond, covering every relevant screenwriting topic along the way. The result is a fresh new approach to the craft of screenwriting—one that’s only been around a scant 2,500 years or so—ideal for students and aspiring screenwriters who want a comprehensive step-by-step guide to writing a successful screenplay the way the pros do it.

Since we first arrived on the planet, we’ve been telling each other stories, whether of that morning’s great saber-tooth tiger hunt or the latest installment of the Star Wars saga. And throughout our history, despite differences of geography or culture, we’ve been telling those stories in essentially the same way. Why?Because there is a RIGHT way to tell a story, one built into our very DNA.In his seminal work Poetics, Aristotle identified the patterns and recurring elements that existed in the successful dramas of his time as he explored precisely why we tell stories, what makes a good one, and how to best tell them. In Classical Storytelling and Contemporary Screenwriting, Brian Price examines Aristotle’s conclusions in an entertaining and accessible way and then applies those guiding principles to the most modern of storytelling mediums, going from idea to story to structure to outline to final pages and beyond, covering every relevant screenwriting topic along the way. The result is a fresh new approach to the craft of screenwriting—one that’s only been around a scant 2,500 years or so—ideal for students and aspiring screenwriters who want a comprehensive step-by-step guide to writing a successful screenplay the way the pros do it.

The Lost Cinema of Mexico is the first volume to challenge the dismissal of Mexican filmmaking during the 1960s through 1980s, an era long considered a low-budget departure from the artistic quality and international acclaim of the nation's earlier Golden Age. This pivotal collection examines the critical implications of discovering, uncovering, and recovering forgotten or ignored films.This largely unexamined era of film reveals shifts in Mexican culture, economics, and societal norms as state-sponsored revolutionary nationalism faltered. During this time, movies were widely embraced by the public as a way to make sense of the rapidly changing realities and values connected to Mexico's modernization. These essays shine a light on many genres that thrived in these decades: rock churros, campy luchador movies, countercultural superocheros, Black melodramas, family films, and chili westerns.Redefining a time usually seen as a cinematic "crisis," this volume offers a new model of the film auteur shaped by productive tension between highbrow aesthetics, industry shortages, and national audiences. It also traces connections from these Mexican films to Latinx, Latin American, and Hollywood cinema at large.

The Lost Cinema of Mexico is the first volume to challenge the dismissal of Mexican filmmaking during the 1960s through 1980s, an era long considered a low-budget departure from the artistic quality and international acclaim of the nation's earlier Golden Age. This pivotal collection examines the critical implications of discovering, uncovering, and recovering forgotten or ignored films.This largely unexamined era of film reveals shifts in Mexican culture, economics, and societal norms as state-sponsored revolutionary nationalism faltered. During this time, movies were widely embraced by the public as a way to make sense of the rapidly changing realities and values connected to Mexico's modernization. These essays shine a light on many genres that thrived in these decades: rock churros, campy luchador movies, countercultural superocheros, Black melodramas, family films, and chili westerns.Redefining a time usually seen as a cinematic "crisis," this volume offers a new model of the film auteur shaped by productive tension between highbrow aesthetics, industry shortages, and national audiences. It also traces connections from these Mexican films to Latinx, Latin American, and Hollywood cinema at large.

Editor Martin Edwards has commissioned an entertaining range of stories from the membership of the world's most celebrated group of crime and mystery writers, the Crime Writers' Association (CWA). Founded over 70 years ago by John Creasey, the Crime Writers’ Association supports, promotes and celebrates this most durable, adaptable and successful of genres, while supporting writers of every kind of crime fiction and non-fiction. In this new collection, enjoy 23 original, thrilling mysteries packed full of enthralling characters, drama and intrigue, by the following authors: Martine Bailey, Christine Poulson, Dea Parkin, Martin Edwards, C.J. Carver, Kate Ellis, Shawn Reilly Simmons, Phil Lecomber, L.C. Tyler, Glenda Young, Antony Johnston, Simon Dinsdale, Renita D’Silva, Paul Gitsham, Yvonne Eve Walus, Brian Price, Pam Plumb, Nick Guthrie, Margaret Holbrook, Andy Sykes, Cath Staincliffe, Roland Moore and Rachel Amphlett.The Flame Tree Beyond and Within short story collections bring together tales of myth and imagination by modern and contemporary writers, carefully selected by anthologists, and sometimes featuring short stories from a single author. Overall, the series presents a wide range of diverse and inclusive voices with myth, folkloric-inflected short fiction, and an emphasis on the supernatural, science fiction, the mysterious and the speculative. The books themselves are gorgeous, with foiled covers, printed edges and published only in hardcover editions, offering a lifetime of reading pleasure.

A cogent reconsideration of Assayas's cinematic oeuvre and what it teaches us about the political todayThe films of Olivier Assayas are widely celebrated for their complex responses to the many shifts that globalization has introduced in our time. Brian Price contends that they offer a different way of regarding the so-called problem of cultural and political enmeshment that Carl Schmitt and other conservative thinkers fear, including a contention that enmeshment is not a problem at all, in fact, but rather a different mode of social and political organization. Price puts Assayas's films in dialogue not only with Schmitt's theory of the political but also with the history of political philosophy after Schmitt, especially in the work of Hannah Arendt, Jacques Derrida, and Chantal Mouffe, all of whom have attempted to reckon with the friend/enemy dynamic at the core of the political.At the heart of Assayas's cinematic oeuvre, and of this book, is a reflection on what it means to be politically serious, which, Price shows, cannot be reduced to criteria that can simply be applied or repeated. The boundaries between the political and the varied forms of the social demand a sensitivity to change and the unknown, none of which can be accessed in the states of absolute certainty that are derived from crises that do not repeat in the same ways. The messiness and nuances of modern life are held together by moving images, which insist that we know why we value what we demand and seek to protect.