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A Family Affair

RRP $241.99

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The family unit has been a central theme in movies since the earliest days of the medium- whether as a locus of domestic bliss, a dysfunctional source of drama, a collection of comic personalities or an inferno of repressed feelings. This new anthology brings the subject into sharp focus, collecting a range of multidisciplinary perspectives that attempt to directly penetrate the questions raised by the role of the family onscreen. Discussing a wide range of contemporary and classic films, fromHouse of Strangers (1949) and Mary Poppins (1964) to Superstar (1987),The Royal Tenenbaums (2001) and Brokeback Mountain (2005), this study addresses the nature of family values in cinema, and the 'family' nature of the Hollywood production system itself. With a wealth of historical background and contemporary analysis, this volume is a penetrating view of the oldest and most influential social institution as imagined for the screen.


The Right To A Fair Trial

RRP $575.99

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The right to a fair trial is often held as a central constitutional protection. It nevertheless remains unclear what precisely should count as a 'fair' trial and who should decide verdicts. This already difficult issue has become even more important given a number of proposed reforms of the trial, especially for defendants charged with terrorism offences. This collection, The Right to a Fair Trial, is the first to publish in one place the most influential work in the field covering a number of topics, including the idea of a fair trial, the right to jury trial and lay participation in trials, jury nullification, trial reform, the civil trial, and the more recent issue of terrorism trials. The collection should help inform both scholars and students coming to the area for the first time of both the importance and complexity of the right to a fair trial, as well as shed light on how the trial might be further improved.


A Fair Barbarian (1881). By

RRP $17.99

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Miss Belinda Bassett's niece arrives in a small England town. Octavia Bassett arrives from Nevada with her trunks of fancy clothes, diamond jewelry, and gold coins for the poor. She soon becomes friends with Lucia Gaston, the repressed granddaughter of the village matriarch, Lady Theobald.Frances Eliza Hodgson Burnett (24 November 1849 - 29 October 1924) was an English-American novelist and playwright. She is best known for the three children's novels Little Lord Fauntleroy (published in 1885-1886), A Little Princess (1905), and The Secret Garden (1911).Frances Eliza Hodgson was born in Cheetham, England. After her father died in 1852, the family fell on straitened circumstances and in 1865 immigrated to the United States, settling near Knoxville, Tennessee. There Frances began writing to help earn money for the family, publishing stories in magazines from the age of 19. In 1870, her mother died, and in 1872 Frances married Swan Burnett, who became a medical doctor. The Burnetts lived for two years in Paris, where their two sons were born, before returning to the United States to live in Washington, D.C., Burnett then began to write novels, the first of which (That Lass o' Lowrie's), was published to good reviews. Little Lord Fauntleroy was published in 1886 and made her a popular writer of children's fiction, although her romantic adult novels written in the 1890s were also popular. She wrote and helped to produce stage versions of Little Lord Fauntleroy and A Little Princess.Burnett enjoyed socializing and lived a lavish lifestyle. Beginning in the 1880s, she began to travel to England frequently and in the 1890s bought a home there where she wrote The Secret Garden. Her oldest son, Lionel, died of tuberculosis in 1890, which caused a relapse of the depression she had struggled with for much of her life. She divorced Swan Burnett in 1898, married Stephen Townsend in 1900, and divorced him in 1902. A few years later she settled in Nassau County, Long Island, where she died in 1924 and is buried in Roslyn Cemetery.In 1936 a memorial sculpture by Bessie Potter Vonnoh was erected in her honour in Central Park's Conservatory Garden. The statue depicts her two famous Secret Garden characters, Mary and Dickon.


Trust In A Decentralised Mobile Social Network

RRP $263.99


World's Fairs In A Southern Accent

RRP $287.99

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The South was no stranger to world's fairs prior to the end of the nineteenth century.
Atlanta first hosted a fair in the 1880s, as did New Orleans and Louisville, but after the
1893 World's Columbian Exposition in Chicago drew comparisons to the great exhibitions
of Victorian-era England, Atlanta's leaders planned to host another grand exposition that
would not only confirm Atlanta as an economic hub the equal of Chicago and New York,
but usher the South into the nation's industrial and political mainstream. Nashville and
Charleston quickly followed suit with their own exhibitions.

In the 1890s, the perception of the South was inextricably tied to race, and more specifically
racial strife. Leaders in Atlanta, Nashville, and Charleston all sought ways to distance
themselves from traditional impressions about their respective cities, which more often
than not conjured images of poverty and treason in Americans barely a generation removed
from the Civil War. Local business leaders used large-scale expositions to lessen this stigma
while simultaneously promoting culture, industry, and economic advancement. Atlanta's
Cotton States and International Exposition presented the city as a burgeoning economic
center and used a keynote speech by Booker T. Washington to gain control of the national
debate on race relations. Nashville's Tennessee Centennial and International Exposition
chose to promote culture over mainstream success and marketed Nashville as a ?Centennial
City" replete with neoclassical architecture, drawing on its reputation as ?the Athens of the
south." Charleston's South Carolina Inter-State and West Indian Exposition followed in
the footsteps of Atlanta's exposition. Its new class of progressive leaders saw the need to
reestablish the city as a major port of commerce and designed the fair around a Caribbean
theme that emphasized trade and the corresponding economics that would raise Charleston
from a cotton exporter to an international port of interest.

Bruce G. Harvey studies each exposition beginning at the local and individual level
of organization and moving upward to explore a broader regional context. He argues that
southern urban leaders not only sought to revive their cities but also to reinvigorate the
South in response to northern prosperity. Local businessmen struggled to manage all the
elements that came with hosting a world's fair, including raising funds, designing the fairs'
architectural elements, drafting overall plans, soliciting exhibits, and gaining the backing
of political leaders. However, these businessmen had defined expectations for their expositions
not only in terms of economic and local growth but also considering what an international
exposition had come to represent to the community and the region in which they
were hosted. Harvey juxtaposes local and regional aspects of world's fair in the South and
shows that nineteenth-century expositions had grown into American institutions in their
own right.

Bruce G. Harvey is an independent consultant and documentary photographer with
Harvey Research and Consulting based in Syracuse, New York. He specializes in historic
architectural surveys and documentation photography.



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