Peter Turner – författare

Sealy and Hooley's Commercial Law: Text, Cases, and Materials provides students with an extensive and valuable range of extracts from key cases and writings in this most dynamic field of law. The authors' expert commentary and questions enliven each topic while emphasizing the practical application of the law in its business context. Five renowned experts in the field continue the legacy of Richard Hooley and Len Sealy, capturing the essence of this fascinating topic at a time of significant legislative, regulatory, and political change.Digital formats and resourcesThis edition is available for students and institutions to purchase in a variety of formats. The e-book offers a mobile experience and convenient access along with functionality tools, navigation features and links that offer extra learning support: www.oxfordtextbooks.co.uk/ebooks

The London Court of Arbitration (LCIA) is one of the world's foremost arbitration institutions, with a growing annual caseload. The LCIA Arbitration Rules are among the most modern and forward-looking of the various sets of institutional arbitration rules but until now have not been the subject of in-depth study. This is the first full length and comprehensive commentary on the rules, written by two well-known and experienced arbitration practitioners. Portable and functional, this book acts as a guide and provides an indispensable resource for all involved in international arbitration under the LCIA rules. Grouped thematically, the commentary to each rule provides 1) a description of the rule and its intended meaning 2) the provenance and history of the rule 3) the practical effect of the rule with reference to previous case law and jurisprudence and 4) a comparative look at conceptual and practical differences between each rule. Focusing specifically on how the rules of the LCIA differ from those of the ICC and the UNCITRAL, this title emphasises the international nature of the LCIA and provides the only dedicated reference to the Rules.

This book adopts a cognitive theoretical framework in order to address the mental processes that are elicited and triggered by found footage horror films. Through analysis of key films, the book explores the effects that the diegetic camera technique used in such films can have on the cognition of viewers. It further examines the way in which mediated realism is constructed in the films in order to attempt to make audiences either (mis)read the footage as non-fiction, or more commonly to imagine that the footage is non-fiction. Films studied include The Blair Witch Project, Rec, Paranormal Activity, Exhibit A, Cloverfield, Man Bites Dog, The Last Horror Movie, Noroi: The Curse, Autohead and Zero DayThis book will be of key interest to Film Studies scholars with research interests in horror and genre studies, cognitive studies of the moving image, and those with interests in narration, realism and mimesis. It is an essential read for students undertaking courses with a focus on film theory, particularly those interested specifically in horror films and cognitive film theory.

Were holy men historical figures or figments of the theological imagination? Did the biographies devoted to them reflect facts or only the ideological commitments of their authors? For decades, scholars of late antiquity have wrestled with these questions when analysing such issues as the Christianization of Europe, the decline of paganism, and the 'rise of the holy man' and of the hagiographical genre. In this book Peter Turner suggests a new approach to these problems through an examination of a wide range of spiritual narrative texts from the third to the sixth centuries A.D.: pagan philosophical biographies, Greek and Latin Christian saints' lives, and autobiographical works by authors such as Julian and Augustine. Rather than scrutinizing these works for either historical facts or religious and intellectual attitudes, he argues that a deeper historicity can be found only in the interplay between these types of information. On the textual level, this analysis recognises the genuine commitment of spiritual authors to write truthfully and to record realistically a world felt to be replete with spiritual and symbolic meaning. On the historical level, it argues that holy men, expecting the same symbolism within their own lives, adopted lifestyles which ultimately provoked and confirmed this world view. Such praxis is detectable not only in the holy men who inspired biography but also in the period's scattered autobiographical writings. As much a historical as a textual phenomenon, this spiritually-minded scrutiny of the world created interpretations which were always open and contested. Therefore, this book also associates spiritual narrative texts with only one possible voice of religious experience in a constant dialogue between believers, opponents, and the sceptical undecided.

Were holy men historical figures or figments of the theological imagination? Did the biographies devoted to them reflect facts or only the ideological commitments of their authors? For decades, scholars of late antiquity have wrestled with these questions when analysing such issues as the Christianization of Europe, the decline of paganism, and the 'rise of the holy man' and of the hagiographical genre. In this book Peter Turner suggests a new approach to these problems through an examination of a wide range of spiritual narrative texts from the third to the sixth centuries A.D.: pagan philosophical biographies, Greek and Latin Christian saints' lives, and autobiographical works by authors such as Julian and Augustine. Rather than scrutinizing these works for either historical facts or religious and intellectual attitudes, he argues that a deeper historicity can be found only in the interplay between these types of information. On the textual level, this analysis recognises the genuine commitment of spiritual authors to write truthfully and to record realistically a world felt to be replete with spiritual and symbolic meaning. On the historical level, it argues that holy men, expecting the same symbolism within their own lives, adopted lifestyles which ultimately provoked and confirmed this world view. Such praxis is detectable not only in the holy men who inspired biography but also in the period's scattered autobiographical writings. As much a historical as a textual phenomenon, this spiritually-minded scrutiny of the world created interpretations which were always open and contested. Therefore, this book also associates spiritual narrative texts with only one possible voice of religious experience in a constant dialogue between believers, opponents, and the sceptical undecided.

This book adopts a cognitive theoretical framework in order to address the mental processes that are elicited and triggered by found footage horror films. Through analysis of key films, the book explores the effects that the diegetic camera technique used in such films can have on the cognition of viewers. It further examines the way in which mediated realism is constructed in the films in order to attempt to make audiences either (mis)read the footage as non-fiction, or more commonly to imagine that the footage is non-fiction. Films studied include The Blair Witch Project, Rec, Paranormal Activity, Exhibit A, Cloverfield, Man Bites Dog, The Last Horror Movie, Noroi: The Curse, Autohead and Zero DayThis book will be of key interest to Film Studies scholars with research interests in horror and genre studies, cognitive studies of the moving image, and those with interests in narration, realism and mimesis. It is an essential read for students undertaking courses with a focus on film theory, particularly those interested specifically in horror films and cognitive film theory.

Film classification and censorship in the UK has been extensively researched by scholars. What requires further analysis is audiences' experiences of watching films that had been subject to BBFC interventions. The classification system attempted to ensure that only viewers of or above specific ages (15 or 18) would be able to watch certain films. However, significant numbers of child viewers saw films deemed inappropriate for their age group, whether at the cinema or more commonly by watching videos. This book investigates how these audiences managed to see age-inappropriate films, exploring the memories of over 300 questionnaire and 30 interview respondents. The responses detail what the children of the 1980s remember watching, viewer memories of the how, when and where they were watched, how genre affected the experience and what the post-viewing experience was like for these viewers, including the effects of these viewings on social dynamics, identity formation and later cinephilia.

On 29 September 1981, Peter Turner received a phone call that would change his life. His former lover, Hollywood actress Gloria Grahame, had collapsed in a Lancaster hotel and was refusing medical attention. He had no choice but to take her into his chaotic and often eccentric family's home in Liverpool. Liverpool born and bred, Turner had first set eyes on Grahame when he was a young actor, living in London. Best known for her portrayal of irresistible femme fatales in films such as The Big Heat, Oklahoma and The Bad and the Beautiful, for which she won an Oscar, Grahame electrified audiences with her steely expressions and heavy lidded eyes and the heroines she bought to life were often dark and dangerous. Turner and Grahame became firm friends and remained so ever after their love affair had ended. And it was to him she turned in her final hour of need.Film Stars Don't Die in Liverpool is an affectionate, moving and wryly humorous memoir of friendship, love and stardom.

On 29 September 1981, Peter Turner received a phone call that would change his life. His former lover, Hollywood actress Gloria Grahame, had collapsed in a Lancaster hotel and was refusing medical attention. He had no choice but to take her into his chaotic and often eccentric family's home in Liverpool. Liverpool born and bred, Turner had first set eyes on Grahame when he was a young actor, living in London. Best known for her portrayal of irresistible femme fatales in films such as The Big Heat, Oklahoma and The Bad and the Beautiful, for which she won an Oscar, Grahame electrified audiences with her steely expressions and heavy lidded eyes and the heroines she bought to life were often dark and dangerous. Turner and Grahame became firm friends and remained so ever after their love affair had ended. And it was to him she turned in her final hour of need.Film Stars Don't Die in Liverpool is an affectionate, moving and wryly humorous memoir of friendship, love and stardom.