Sue Harper – författare

In this definitive and long-awaited history of 1950s British cinema, Sue Harper and Vincent Porter draw extensively on previously unknown archive material to chart the growing rejection of post-war deference by both film-makers and cinema audiences. Competition from television and successive changes in government policy all forced the production industry to become more market-sensitive. The films produced by Rank and Ealing, many of which harked back to wartimestructures of feeling, were challenged by those backed by Anglo-Amalgamated and Hammer. The latter knew how to address the rebellious feelings and growing sexual discontents of a new generation of consumers. Even the British Board of Film Censors had to adopt a more liberal attitude. The collapse of thestudio system also meant that the screenwriters and the art directors had to cede creative control to a new generation of independent producers and film directors. Harper and Porter explore the effects of these social, cultural, industrial, and economic changes on 1950s British cinema.

In this definitive and long-awaited history of 1950s British cinema, Sue Harper and Vincent Porter draw extensively on previously unknown archive material to chart the growing rejection of post-war deference by both film-makers and cinema audiences. Competition from television and successive changes in government policy all forced the production industry to become more market-sensitive. The films produced by Rank and Ealing, many of which harked back to wartime structures of feeling, were challenged by those backed by Anglo-Amalgamated and Hammer. The latter knew how to address the rebellious feelings and growing sexual discontents of a new generation of consumers. Even the British Board of Film Censors had to adopt a more liberal attitude. The collapse of the studio system also meant that the screenwriters and the art directors had to cede creative control to a new generation of independent producers and film directors. Harper and Porter explore the effects of these social, cultural, industrial, and economic changes on 1950s British cinema.

In this definitive and long-awaited history of 1950s British cinema, Sue Harper and Vincent Porter draw extensively on previously unknown archive material to chart the growing rejection of post-war deference by both film-makers and cinema audiences. Competition from television and successive changes in government policy all forced the production industry to become more market-sensitive. The films produced by Rank and Ealing, many of which harked back to wartime structures of feeling, were challenged by those backed by Anglo-Amalgamated and Hammer. The latter knew how to address the rebellious feelings and growing sexual discontents of a new generation of consumers. Even the British Board of Film Censors had to adopt a more liberal attitude. The collapse of the studio system also meant that the screenwriters and the art directors had to cede creative control to a new generation of independent producers and film directors. Harper and Porter explore the effects of these social, cultural, industrial, and economic changes on 1950s British cinema.

This volume draws a map of British film culture in the 1970s and provides a wide-ranging history of the period. It examines the cross-cultural relationship between British cinema and other media, including popular music and television. The analysis covers mainstream and experimental film cultures, identifying their production contexts and the economic, legislative and censorship constraints on British cinema throughout the decade.The essays in Part I contextualise the study and illustrate the diversity of 1970s moving image culture. In Part II, Sue Harper and Justin Smith examine how gender relations and social space were addressed in film. They show how a shared visual manner and performance style characterises this fragmented cinema, and how irony and anxiety suffuse the whole film culture. This volume charts the shifting boundaries of permission in 1970s film culture and changes in audience taste.This book is the culmination of an AHRC-funded project at the University of Portsmouth, For more information about '1970s British Cinema, Film and Video: Mainstream and Counter-Culture' (2006-2009) please visit the project website at www.1970sproject.co.uk.

A survey of the ways in which women have been represented in British cinema from the 1930s to the end of the 20th century. It analyzes the input women have had on the industry, and charts the difficulties they encountered and the successes they achieved. Using a range of archive and interview material, the author raises the issues of representation and the studio system, and different types of creative control. She also establishes the historically specific nature of the social and sexual fantasies produced by the cinema. The book is written in a lively and confrontational manner and contains some swinging attacks on received opinions about women and the cinema.

Expert PL/SQL Practices is a book of collected wisdom on PL/SQL programming from some of the best and the brightest in the field. Each chapter is a deep-dive into a specific problem, technology, or feature set that you’ll face as a PL/SQL programmer. Each author has chosen their topic out of the strong belief that what they share can make a positive difference in the quality and scalability of code that you write.The path to mastery begins with syntax and the mechanics of writing statements to make things happen. If you’ve reached that point with PL/SQL, then let the authors of Expert PL/SQL Practices show you how to combine syntax and mechanics with features and techniques to really make the language sing. You’ll learn to do more with less effort, to write code that scales and performs well, and to eliminate and avoid defects.These authors are passionate about PL/SQL and the power it places at your disposal. They want you to succeed, to know all that PL/SQL can offer. Let Expert PL/SQL Practices open your eyes to the full power of Oracle’s world-class language for the database engine. Goes beyond the manual to cover good techniques and best practices Delivers knowledge usually gained only by hard experience Covers the functionality that distinguishes PL/SQL as a powerful and scalable programming language for deploying logic inside the database engine

Expert PL/SQL Practices is a book of collected wisdom on PL/SQL programming from some of the best and the brightest in the field. Each chapter is a deep-dive into a specific problem, technology, or feature set that you’ll face as a PL/SQL programmer. Each author has chosen their topic out of the strong belief that what they share can make a positive difference in the quality and scalability of code that you write.

The path to mastery begins with syntax and the mechanics of writing statements to make things happen. If you’ve reached that point with PL/SQL, then let the authors of Expert PL/SQL Practices show you how to combine syntax and mechanics with features and techniques to really make the language sing. You’ll learn to do more with less effort, to write code that scales and performs well, and to eliminate and avoid defects.

These authors are passionate about PL/SQL and the power it places at your disposal. They want you to succeed, to know all that PL/SQL can offer. Let Expert PL/SQL Practices open your eyes to the full power of Oracle’s world-class language for the database engine.

Goes beyond the manual to cover good techniques and best practices Delivers knowledge usually gained only by hard experience Covers the functionality that distinguishes PL/SQL as a powerful and scalable programming language for deploying logic inside the database engine

This book takes a broad perspective and analyses the ways in which the British film industry has dealt with women and their creativity from 1930 to the present. The first part of the book deals comprehensively with different historical periods in British film culture, showing how the 'agency' of production company, director, distribution company or scriptwriter can bring about new patterns of female stereotyping. The second part looks at the input of women workers into the film process. It assesses the work of women in a variety of roles: directors such as Wendy Toye and Sally Potter, producers such as Betty Box, scriptwriters such as Clemence Dane and Muriel Box, costume designers such as Shirley Russell and Jocelyn Rickards, and editors and art directors. This is a polemical book which is written in a lively and often confrontational manner. It uses fresh archival material and takes energetic issue with those explanatory models of film analysis which impose easy answers onto complex material.