This is a story of a person arriving in this country in this country and in this city where he eventually ended up in the middle of the night, not knowing a soul in Canada and having just about $10.- in his pocket. Using my imagination I let this imaginary person - Peter- show the reader the adventures and misadventures he and eventually his family experienced in this for him so strange and at the same time exciting new place. I decided to cover a period of roughly the first 25 years Peter spent in his new chosed homeland. I could have continued showing the development of his and his family's life after the 25 year period, but I decided against that. I wanted this story to have closure. Another possible book would show the reader how Peter's life continued after 25 years and would show us how he and his loved ones continued with their lives with its ups and downs. The gist of the events occured from the mid 1950's until the early 1980's. I actually completed this book in 1982. It was lying in my filing cabinet for 30 years, because I never had either the time or inclination to publish in writing. The title of this publication: "Destiny has no Favorites" is correct. Destiny, or fate, has no favorites and we all are at the mercy of this destiny destined for us by that higher power we may call God, Nature, the Absolute Being, the Creator, Providence, the Omnipotent, Being the Supreme Soul or whatever mage us feel better to accept the unacceptable.

In the last several decades, the number of films featuring female protagonists has increased significantly. Many of these films reflect the vast cultural and sociological changes that have taken place since the early 1960s, highlighting not only a wide spectrum of female characters depicted onscreen, but the creative work of women behind the camera as well. In Reel Women: An International Directory of Contemporary Feature Films about Women, media librarian Jane Sloan has assembled an impressive list of more than 2400 films—from nearly 100 countries—that feature female protagonists. Each entry includes a brief description of the film and cites key artistic personnel, particularly female directors, producers, and screenwriters involved in its production. Reel Women also contains a critical survey in which Sloan charts the changes women have undergone both on screen and off, as moviemaking and audience sensibilities have evolved in the last forty-plus years. Listing many more films on the subject of women than can be found in any other source, this reference brings together important titles from area studies and genre markets along with titles associated with women's cinema and feminist film. In addition to title and actor indexes, the book contains a subject index that provides detailed access to place names, historical characters, time periods, and storylines, as well as the backgrounds—religious, racial, and ethnic—of the main characters. This directory is an ideal reference tool for researchers studying the evolution of female characters in films around the world, from Afghanistan to Zimbabwe. It is also a resource for casual viewers who are looking for films that reflect the diversity of women's roles that can be found in independent and national cinemas as well as commercial blockbusters.

This is the first English-language book to provide a critical panorama of the last twenty years of Peruvian cinema. Through analysis of the nation’s diverse modes of filmmaking, it offers an insight into how global debates around cinema are played out on and off screen in a distinctive national context. The insertion of post-conflict Peru within neoliberalism resulted in widespread commodification of all areas of life, significantly impacting cinema culture. Consequently, the principal structural concept of this collection is the interplay between film production and market forces, an interaction which makes dynamism and instability the defining features of 21st-century Peruvian cinema.

When the World Laughs is a book about the intersection of humor, history, and culture. It explores how film comedy, one of the world's most popular movie genres, reflects the values and beliefs of those who enjoy its many forms, its most enduring characters and stories, its most entertaining routines and funniest jokes. What people laugh at in Europe, Africa, or the Far East reveals important truths about their differences and common bonds. By investigating their traditions of humor, by paying close attention to what kinds of comedy cross national boundaries or what gets lost in translation, this study leads us to a deeper understanding of each other and ourselves. Section One begins with a survey of the theories and research that best explain how humor works. It clarifies the varieties of comic forms and styles, identifies the world's most archetypal figures of fun, and traces the history of the world's traditions of humor from earliest times to today. It also examines the techniques and aesthetics of film comedy: how movies use the world's rich repertoire of amusing stories, gags, and wit to make us laugh and think. Section Two offers a close look at national and regional trends. It applies the concepts set forth earlier to specific films-across a broad spectrum of sub-genres, historical eras, and cultural contexts-providing an insightful comparative study of the world's great traditions of film comedy.

This engaging book explores some of the most significant films to emerge from Latin America since 2000, an extraordinary period of international recognition for the region's cinema. Each chapter assesses an individual film, with some contributors considering the reasons for the unprecedented commercial and critical successes of movies such as City of God, The Motorcycle Diaries, Y tu mamá también, and Nine Queens, while others examine why equally important films failed to break out on the international circuit. Written by leading specialists, the chapters not only offer textual analysis, but also trace the films' social context and production conditions, as well as critical national and transnational issues. Their well-rounded analyses provide a rich picture of the state of contemporary filmmaking in a range of Latin American countries. Nuanced and thought-provoking, the readings in this book will provide invaluable interpretations for students and scholars of Latin American film. Contributions by: Sarah Barrow, Nuala Finnegan, David William Foster, Miraim Haddu, Geoffrey Kantaris, Deborah Shaw, Lisa Shaw, Rob Stone, Else R. P. Vieira, and Claire Williams.

This new go-to reference book for global melodrama assembles contributions by experts from a wide range of disciplines, including cultural studies, film and media studies, gender and queer studies, political science, and postcolonial studies. The melodramas covered in this volume range from early 20th century silent movies to contemporary films, from independent ›arthouse‹ productions to Hollywood blockbusters. The comprehensive overview of global melodramatic film in the Lexicon constitutes a valuable resource for scholars and practitioners of film, teachers, film critics, and anyone who is interested in the past and present of melodramatic film on a global scale. The Lexicon of Global Melodrama includes essays on All That Heaven Allows, Bombay, Casablanca, Die Büchse der Pandora, In the Mood for Love, Nosotros los Pobres, Terra Sonâmbula, and Tokyo Story.

In those rare moments of inspiration life changes for the better/worse. A chronicle of feelings, thoughts, and attitudes. A glimpse at the edge of another cliff.

1931 Contents: the Entire Universe is Alive; Secrets Revealed by Number; Principal Numbers of Your Name; Number Values of Letters; How the Same Numbers Differ in Their Meaning; How to Find Out Whether One is Living Up to His Best in Life; Messages.

She was originally an unfavoured Third Miss in the Minister Palace, and she was forced to death. He was a handsome, lofty prince. Ten years ago, she had pulled his pants off and kicked him into the lake. Ten years later, she, who had been reborn, had returned blood-soaked. She was determined to wash away her past shame and avenge her mother. However, she did not want to meet him again, and thus was pestered by him. He treated her like a treasure in his palm, but she desperately wanted to escape until she had nowhere to run. Thus, she simply turned around and directly threw him onto the ground. Why, on the night of the wedding, he smiled with eyes as black as ink. He looked at her and asked, "My wife, ten years ago, the one who kicked I into the lake was you, right?" When she met him, it was as if they had met each other, and she had already defeated countless others in the human world. It was a one on one duel between strong men and strong women. If they were to join hands, they could guarantee that they would not fall into the trap.