Of all the great cities in the world, few personify their country like New York City. As America´s largest city and best known immigration gateway into the country, NYC represents the beauty, diversity and sheer strength of the United States, a global financial center that has enticed people chasing the ´´American Dream´´ for centuries. America´s prototypical metropolis was once a serene landscape in which Native American tribes farmed and fished, but when European settlers arrived its location on the Eastern seaboard sparked a rapid transformation. Given its history of rapid change, it is ironic that the city´s inhabitants often complain about the city´s changing and yearn for things to stay the same. The website EV Grieve, whose name plays on the idea that the East Village ´´grieves´´ for the history and character the neighborhood loses every day to market forces and gentrification, regularly features a photo of some site, usually of little interest: an abandoned store, a small bodega, a vacant lot. The caption says, simply, that this is what the site looked like on a given day. The editors of the website are determined to document everything and anything for future generations. That is hardly a modern phenomenon. New Yorkers have always grieved over the city´s continuous upheavals and ever-increasing size and complexity. By the 1820s, Wall Street had lost whatever charm it might have had; former residents complained that two-story houses had given way to intimidating five-story office buildings. The New York Commercial Advertiser noted in 1825 that ´´Greenwich is no longer a country village,´´ but rather an up-and-coming neighborhood. Today, it´s hard to find a history of New York City that doesn´t refer to Henry James’s famous 1908 story The Jolly Corner, in which a man returns to New York after decades abroad only to be horrified by an unfamiliar hellscape of commercial growth. He finds his once-jolly childhood home nearly buried ´´among the 1. Language: English. Narrator: Scott Clem. Audio sample: http://samples.audible.de/bk/acx0/089518/bk_acx0_089518_sample.mp3. Digital audiobook in aax.
Nineteen Cent Theat Spain:Bib: Margaret A Rees
Nineteen Cent Theat Spain:Bib: Margaret A Rees
Manuela Reibold-Rolinger ist die ´´Bauretterin´´: Im Fernsehen und in ihrer Anwaltskanzlei setzt sie sich für Bauherren und deren Nöte ein. In dem Sachbuch ´´Das war im Plan nicht eingezeichnet´´ erzählt sie ihre krassesten, tragischsten und merkwürdigsten Geschichten von der Baustelle. Skrupellose Baufirmen, die den letzten Cent aus ihren Kunden pressen und nach Fertigstellung des Rohbaus unauffindbar sind; Schimmelflecken an den Wänden nur wenige Wochen nach dem Einzug; tiefe Risse in der Fassade mit einer ernüchternden Diagnose des Sachverständigen: einsturzgefährdet. Sehr häufig wird der Traum vom Eigenheim zum Alptraum. Verbraucher-Anwältin Manuela Reibold-Rolinger berät seit 20 Jahren in ihrer Kanzlei Bauherren. Die teils existenzbedrohenden Schicksale ihrer Mandanten wecken den Kampfgeist in ihr - ebenso wie arrogante Banker und Baufirmen, die ihr als Frau nichts zutrauen. So hat sie schon zahlreiche aussichtslose Fälle gelöst, wie sie auch in ihrer Sendung ´´Die Bauretter´´ aufRTL II zeigt. Ein unterhaltsames Buch mit spannenden Fallgeschichten und gleichzeitig ein guter Ratgeber für Verbraucher!
High Quality Content by WIKIPEDIA articles! Tara D. Reid (born November 8, 1975) is an American actress. She is known for her roles in the films The Big Lebowski (1998), Urban Legend (1998), American Pie (1999), American Pie 2 (2001), Josie and the Pussycats (2001), National Lampoon´s Van Wilder (2002), My Boss´s Daughter (2003), and Alone in the Dark (2005). Reid was born and raised in Wyckoff, New Jersey, the daughter of Donna and Tom Reid, both of whom were teachers and day-care center owners. She attended St. Elizabeth´s Catholic Elementary, Dwight D. Eisenhower Middle School, Ramapo High School, John F. Kennedy High School in Granada Hills and graduated from Barnstable Academy, an alternative high school. She also attended Professional Children´s School, in Manhattan, along with fellow actors Christina Ricci, Jerry O´Connell, Sarah Michelle Gellar and Macaulay Culkin.
The Five C´s of Cinematography is one of the three most important books on cinematic technique ever published -- American Cinematographer Mr. Mascelli provides the attentive reader with the equivalent of a complete course in filmmaking. -- New York Times The Five C´s is the most widely respected book on cinematography ever published. With the aid of hundreds of photographs and diagrams, it clearly and concisely presents al of the essential concepts and techniques of motion picture camera work. Used copies of this timeless, long-out-of-print volume, which was first published in 1965, have been fetching hundreds of dollars per copy from students and teachers of cinematography and filmmaking. Now it is published for the first time in a paperback edition. The five C´s, and some of the related subjects this book covers, are: Camera Angles -- Objective, Subjective, Point-of-View, Subject Size, Subject Angle, Camera Height Continuity -- Cinematic Time and Space, Filming Action, Master Scenes, Screen Direction, Transitional Devices Cutting -- Types of Editing, Cross-Cutting, Cutting on Action Close-ups -- Over-the-Shoulder, Cut-in, Cutaway Composition -- Compositional Rules, Compositional Language, Types of Balance, Attracting or Switching the Center of Interest.
This book is a study of the relation between theatre art and ideology in the Chinese experimentations with new selfhood as a result of Ibsen´s impact. It also explores Ibsenian notions of self, women and gender in China and provides an illuminating study of Chinese theatre as a public sphere in the dissemination of radical ideas. Ibsen is the major source of modern Chinese selfhood which carries notions of personal and social liberation and has exerted great impacts on Chinese revolutions since the beginning of the twentieth century. Ibsen´s idea of the self as an individual has led to various experimentations in theatre, film and fiction to project new notions of selfhood, in particular women´s selfhood, throughout the history of modern China. Even today, China is experimenting with Ibsen´s notions of gender, power, individualism and self. Kwok-kan Tam is Chair Professor of English and Dean of Humanities and Social Science at the Hang Seng University of Hong Kong. He was Head (2012-18) and is currently a member of the International Ibsen Committee, University of Oslo. He is a Foundation Fellow of the Hong Kong Academy of the Humanities. He has held teaching, research and administrative positions in various institutions, including the East-West Center, the Chinese University of Hong Kong and the Open University of Hong Kong. He has published numerous books and articles on Ibsen, Gao Xingjian, modern drama, Chinese film, postcolonial literature, and world Englishes. His recent books include Ibsen, Power and the Self: Postsocialist Experimentations in Stage Performance and Film (2019), The Englishized Subject: Postcolonial Writings in Hong Kong, Singapore and Malaysia (2019), and a co-edited volume Fate and Prognostication in the Chinese Literary Imagination (2019).
Step inside the frontlines of the hit TV show Mr. Robot with this new in-world fiction book by series creator and showrunner Sam Esmail and series writer Courtney Looney-the first and only book to tie in to USA´s Golden Globe® Award-winning series. The book will tell a brand-new story, reveal secrets from the show´s second season, and tease developments to come. With removable items from the world of the show, the book will give readers a chance to hold a piece of the series in their own hands. Mr. Robot is a new kind of television show-one that explores, more realistically than any of its contemporaries, mental health issues, income inequality, data security, and corporate power, all through the lens of the generation just coming of age. The New York Times called it ´´relentless, sensational, and unabashedly suspenseful,´´ the New Yorker called it ´´terrific´´ and listed it among the year´s best TV, and Rolling Stone said it´s ´´easily the year´s most audacious drama´´ and the ´´best TV show of 2015.´´ Stars Rami Malek and Christian Slater took home a Critics´ Choice® Award and a Golden Globe Award, respectively, and the show itself received a Golden Globe Award and a Critics´ Choice Award for best television drama. In Mr. Robot , Elliot Alderson is a troubled young computer coder who struggles with depression and paranoia. His day job as a cybersecurity specialist doesn´t fully utilize his talents, so he turns to vigilantism in his free time as a ´´white hat´´ hacker, fighting for causes society fails to champion. He self-medicates with dangerous drugs, and, as he´s drawn into the web of an anarchist known as Mr. Robot, we begin to understand the secrets he´s been keeping from himself. Soon, Elliot´s hacking skills plunge him into a battle to destroy a key center of society´s power and finance-the world´s largest, and most maleficent, corporation. At the same time, we see that Elliot has been anything but a reliable narrator, with the details of his past and damaged psyche surfacing in ways that endanger the entire world.