Simon Brown – författare

This new AFI Film Reader is the first comprehensive collection of original essays on the use of color in film. Contributors from diverse film studies backgrounds consider the importance of color throughout the history of the medium, assessing not only the theoretical implications of color on the screen, but also the ways in which developments in cinematographic technologies transformed the aesthetics of color and the nature of film archiving and restoration. Color and the Moving Image includes new writing on key directors whose work is already associated with color—such as Hitchcock, Jarman and Sirk—as well as others whose use of color has not yet been explored in such detail—including Eric Rohmer and the Coen Brothers. This volume is an excellent resource for a variety of film studies courses and the global film archiving community at large.

This new AFI Film Reader is the first comprehensive collection of original essays on the use of color in film. Contributors from diverse film studies backgrounds consider the importance of color throughout the history of the medium, assessing not only the theoretical implications of color on the screen, but also the ways in which developments in cinematographic technologies transformed the aesthetics of color and the nature of film archiving and restoration. Color and the Moving Image includes new writing on key directors whose work is already associated with color—such as Hitchcock, Jarman and Sirk—as well as others whose use of color has not yet been explored in such detail—including Eric Rohmer and the Coen Brothers. This volume is an excellent resource for a variety of film studies courses and the global film archiving community at large.

Pocket Sci-Fi is part of Pocket Reads, a superb collection of quality books that really capture children's imaginations! Pocket Reads have fantastic breadth and variety of genre, with Pocket Facts, Pocket Tales and Pocket Chillers making up the rest of the collection of independent readers. The fiction books are beautifully illustrated and are guaranteed to appeal to even the most reluctant of readers. The non-fiction readers are equally as stunning and will captivate and excite children with fascinating facts. The 105 pocket-sized fiction and non-fiction readers have each been carefully levelled to the National Curriculum and Book-Banded to ensure children make progression. You can therefore be assured that every reading experience is one that counts.

Art teacher Amanda returns home to find her husband, Mathew, murdered. The police have no leads and the only clue is a missing photograph album. Amanda soon learns that her husband had been taking out loans against her home, leaving her in negative equity, a fact the police are quick to latch onto. And despite the threatening letters that have been arriving daily, with photographs from the stolen album, Amanda quickly becomes the main suspect.Terrified, panicked and with no one to turn to, Amanda flees to her aunt Dorothy, in London, where she tries to put together the pieces of Mathew’s mysterious past. Can Amanda, with Dorothy’s guidance, ever come to terms with what has happened? And can she solve the mystery before the sender of the threatening letters finds her?‘Death of a Butterfly’ is the story of an incredible transformation.

This book offers an industrial, economic and aesthetic history of the early years of the British film industry from 1899–1911, through a case study of one of the most celebrated pioneer film makers, Cecil Hepworth.Presenting a picture of daily life in his film studio, an analysis of Hepworth’s films is offered including the development of their content, production methods and marketing in this formative period.The early twentieth century saw British film production develop from a cottage industry of artisans to a multi-modal complex economic system with a global reach. Changes in the nature of exhibition and distribution caused a major crisis in the years 1908–1911, whereby Britain lost its status as a world leader in film making. Existing histories of this period lay this crisis at the feet of pioneers like Hepworth, whose perceived inability to improve the quality of film production led to stagnation.Brown attempts to challenge this assumption by analysing Hepworth’s development of production methods as well as his strategies towards sales in the market to demonstrate the impact on the modernisation of the film industry.

This is an authoritative and comprehensive reference for understanding clinical photography and improving the reader's ability to hone their skills and knowledge.The book first explores the rationale for clinical photography before going on to provide a practical guide to equipment selection, standardized techniques and digital workflows in a range of settings, from the professional studio to the DIY enthusiast, whilst also including telemedicine.Written and edited by three of the UK’s most experienced and qualified clinical photographers, with additional chapters written by other specialists, it is richly illustrated with numerous example images and suggested protocols and covers basic photographic theory, suitable equipment, digital image workflow and a major chapter on standardized representational photography, the cornerstone of professional clinical photography.Some medical specialties are covered in detail, including dermatology, dental and oral medicine, pediatrics, orthopedics, telemedicine and photography in surgery and the operating room. As well as a practical guide to clinical photography, the book also discusses the legal, moral and ethical contexts within which photography in medicine operates and, for the first time, explores the societal, cultural and religious factors for practicing in today’s digitally literate, multicultural world.This book will provide a valuable resource for biomedical photography students, practitioners and clinicians interested in developing their photography skills and applying them to medicine.

This is an authoritative and comprehensive reference for understanding clinical photography and improving the reader's ability to hone their skills and knowledge.The book first explores the rationale for clinical photography before going on to provide a practical guide to equipment selection, standardized techniques and digital workflows in a range of settings, from the professional studio to the DIY enthusiast, whilst also including telemedicine.Written and edited by three of the UK’s most experienced and qualified clinical photographers, with additional chapters written by other specialists, it is richly illustrated with numerous example images and suggested protocols and covers basic photographic theory, suitable equipment, digital image workflow and a major chapter on standardized representational photography, the cornerstone of professional clinical photography.Some medical specialties are covered in detail, including dermatology, dental and oral medicine, pediatrics, orthopedics, telemedicine and photography in surgery and the operating room. As well as a practical guide to clinical photography, the book also discusses the legal, moral and ethical contexts within which photography in medicine operates and, for the first time, explores the societal, cultural and religious factors for practicing in today’s digitally literate, multicultural world.This book will provide a valuable resource for biomedical photography students, practitioners and clinicians interested in developing their photography skills and applying them to medicine.

Since the 1970s, the name Stephen King has been synonymous with horror. His vast number of books has spawned a similar number of feature films and TV shows, and together they offer a rich opportunity to consider how one writer’s work has been adapted over a long period within a single genre and across a variety of media-and what that can tell us about King, about adaptation, and about film and TV horror. Starting from the premise that King has transcended ideas of authorship to become his own literary, cinematic, and televisual brand, Screening Stephen King explores the impact and legacy of over forty years of King film and television adaptations.Simon Brown first examines the reasons for King’s literary success and then, starting with Brian De Palma’s Carrie, explores how King’s themes and style have been adapted for the big and small screens. He looks at mainstream multiplex horror adaptations from Cujo to Cell, low-budget DVD horror films such as The Mangler and Children of the Corn franchises, non-horror films, including Stand by Me and The Shawshank Redemption, and TV works from Salem’s Lot to Under the Dome. Through this discussion, Brown identifies what a Stephen King film or series is or has been, how these works have influenced film and TV horror, and what these influences reveal about the shifting preoccupations and industrial contexts of the post-1960s horror genre in film and TV.

Since the 1970s, the name Stephen King has been synonymous with horror. His vast number of books has spawned a similar number of feature films and TV shows, and together they offer a rich opportunity to consider how one writer’s work has been adapted over a long period within a single genre and across a variety of media-and what that can tell us about King, about adaptation, and about film and TV horror. Starting from the premise that King has transcended ideas of authorship to become his own literary, cinematic, and televisual brand, Screening Stephen King explores the impact and legacy of over forty years of King film and television adaptations.Simon Brown first examines the reasons for King’s literary success and then, starting with Brian De Palma’s Carrie, explores how King’s themes and style have been adapted for the big and small screens. He looks at mainstream multiplex horror adaptations from Cujo to Cell, low-budget DVD horror films such as The Mangler and Children of the Corn franchises, non-horror films, including Stand by Me and The Shawshank Redemption, and TV works from Salem’s Lot to Under the Dome. Through this discussion, Brown identifies what a Stephen King film or series is or has been, how these works have influenced film and TV horror, and what these influences reveal about the shifting preoccupations and industrial contexts of the post-1960s horror genre in film and TV.

This is the first comprehensive guide to cover JSP 2 and 2.1. It supplies you with the tools and techniques to develop web applications with JSP and Java servlets. You'll learn to choose and implement the best persistence option for your web applications, and how to secure web sites against malicious attack and accidental misuse. You will improve the performance and scalability of JSP pages, as well as architect reliable, stable applications. The authors describe all of the rich JSP 2 features, and explain JSF integration with JSP. Completing the thorough package, this book examines how integration with open source projects like Ant, Struts, XDoclet, JUnit, and Cactus can make web development even easier.

Created as a companion volume to a major history of colour in British Cinema (also by Sarah Street), British Colour Cinema is a book based on a series of unique interviews conducted by Sarah Street and Elizabeth I Watkins with practitioners who worked in the UK with Technicolor and/or Eastmancolor during the 1930s-1950s.

"The Healer" presents a life changing philosophy that incorporates Zen Buddhism within a romantic story. It is a new age novel that openly explores the disappointments, excesses and arrogance that can befall a guru as well as the heart warming, healing interactions and profound, positive thoughts that are found within new age movements. This is a thought-provoking story about a young man's transformation from a mundane life to that of a healer and ultimately his starting a new religion. Yet, at the pinnacle of his success, his life is shattered through arrogance and personal tragedy precipitating the painful rebuilding of his new life and new self. In "The Healer", Simon Brown delicately mixes in the feminine, intuitive, nurturing side of healing as a series of amazingly insightful women deliver much of the philosophy as well as romance.This book will appeal to anyone who longs for change, seeks to expose themselves to unimaginable possibilities, and get back to the realities of what makes humans happy.

Diving the Thistlegorm is a unique in-depth look at one of the world's best-loved shipwrecks, the World War II British Merchant Navy steamship, featuring award-winning underwater photography. In this highly visual guide, cutting edge photographic methods enable views of the famous wreck and its fascinating cargo which were previously impossible. Sitting upright in 30m of clear, inviting Red Sea waters, the ship is packed with the materials of war. Largely complete lorries, trucks, motorbikes, aircraft spares and airfield equipment are crammed into the forward holds and the remains of other vehicles lie amongst boxes of ammunition in the exploded aft holds. Often referred to as an underwater museum, the wreck fascinates visitors for dive after dive. The book is the culmination of decades of experience, archaeological and photographic expertise, many hours underwater, months of computer processing time, and days spent researching and verifying the history of the ship and its cargo. For the first time, Diving the Thistlegorm brings the rich and complex contents of the wreck together, identifying individual items and illustrating where they can be found. As the expert team behind the underwater photography, reconstructions and explanations take you through the wreck in incredible detail, you will discover not only what has been learned but also what mysteries are still to be solved. Limited run of hardbacks.

Diving the Thistlegorm is a unique in-depth look at one of the world's best-loved shipwrecks, the World War II British Merchant Navy steamship, featuring award-winning underwater photography. In this highly visual guide, cutting edge photographic methods enable views of the famous wreck and its fascinating cargo which were previously impossible. Diving the Thistlegorm is the culmination of decades of experience, archaeological and photographic expertise, many hours underwater, months of computer processing time, and days spent researching and verifying the history of the ship and its cargo. For the first time, this book brings the rich and complex contents of the wreck together, identifying individual items and illustrating where they can be found. As the expert team behind the underwater photography, reconstructions and explanations take you through the Thistlegorm in incredible detail, you will discover not only what has been learned but also what mysteries are still to be solved.

Released in cinemas in 1982, Creepshow is typically regarded as a minor entry in both the film output of George A. Romero and the history of adaptations of the works of Stephen King. Yet this lack of critical attention hides the fact that Creepshow is the only full collaboration between America’s bestselling author of horror tales and one of the masters of modern American horror cinema. Long considered too mainstream for the director of Dawn of the Dead (1978), too comic for the author that gave audiences the film versions of Carrie (1976) and The Shining (1980), and too violent for a cinemagoing public turning away from gore cinema in the autumn of 1982, Creepshow is here reassessed by Simon Brown, who examines the making and release of the film and its legacy through a comic book adaptation and two sequels. His analysis focuses on the key influences on the film, not just Romero and King, but also the anthology horrors of Amicus Productions, body horror cinema, and the special make up effects of Tom Savini, the relationship between horror and humor, and most notably the tradition of EC horror comics of the 1950s, from which the film draws both its thematic preoccupations and its visual style. Ultimately the book argues that not only is Creepshow a major work in the canons of Romero and King, but also that it represents a significant example of the portmanteau horror film, of the blending of horror and comedy, and finally, decades before the career of Zack Snyder (Watchmen, Man of Steel), of attempting to recreate a comic book aesthetic on the big screen.