Matthew Lau – författare

A companion to The Unofficial Guide to Getting into Medical School, this new book focuses on the most stressful part of the application process - the interview.Rather than the traditional question and answer format, Mastering the Interviews takes a completely fresh approach to interview preparation. It guides the reader through the most common themes that will be raised in the interview, and provides marking criteria, interview scenarios and supportive tools so students can practise interview questions with their friends, parents or teachers.Written in conjunction with Medefine Education, experts on improving access to medical school, this unique book is also packed full of tips, tricks and advice provided by dozens of medical students and recent successful applicants who have aced their own medical school interviews.

Explores how modernist films use classical music in ways that restore the music's original subversive energy.Classical music masterworks have long played a key supporting role in the movies-silent films were often accompanied by a pianist or even a full orchestra playing classical or theatrical repertory music-yet the complexity of this role has thus far been underappreciated. Sounds Like Helicopters corrects this oversight through close interpretations of classical music works in key modernist films by Francis Ford Coppola, Werner Herzog, Luis Buñuel, Stanley Kubrick, Jean-Luc Godard, Michael Haneke, and Terrence Malick. Beginning with the famous example of Wagner's "Ride of the Valkyries" in Apocalypse Now, Matthew Lau demonstrates that there is a significant continuity between classical music and modernist cinema that belies their seemingly ironic juxtaposition. Though often regarded as a stuffy, conservative art form, classical music has a venerable avant-garde tradition, and key films by important directors show that modernist cinema restores the original subversive energy of these classical masterworks. These films, Lau argues, remind us of what this music sounded like when it was still new and difficult; they remind us that great music remains new music. The pattern of reliance on classical music by modernist directors suggests it is not enough to watch modernist cinema: one must listen to its music to sense its prehistory, its history, and its obscure, prophetic future.