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The Devil's Advocate
'The Devil's Advocate' brings a fresh approach to the do's and don'ts of good advocacy. Written with humour and style, the title explains clear techniques, taking the reader through the practical application of advocacy step-by-step.
The Devil's Advocates
From the authors of the acclaimed Ladies and Gentlemen of the Jury, and featuring some of the most important cases in criminal law, The Devil's Advocates is the final volume of a must-have trilogy of the best closing arguments in American legal history. Criminal law is considered by many to be the most exciting of the legal specialties, and here the authors turn to the type of dramatic crimes and trials that have so captivated the public -- becoming fodder for countless television shows and legal thrillers. But the eight cases in this collection have also set historical precedents and illuminated underlying principles of the American criminal justice system. Future president John Adams makes...
The Devil's Advocate
A revolution is waged against a totalitarian regime in this “courageous” novel of a dystopian near-future America by a #1 New York Times–bestselling author (Chicago Tribune). In the heart of Philadelphia, insurgent Andrew Durant has been nursing a festering rage. And he’s not alone. Through underground networks, he’s found himself among a secret thousands, building an army called the Minute Men. They’re readying themselves for war to reclaim what was once America. In the nation now known as the Democracy, independent thought is a thing of the past. The Constitution is waste paper. A conscienceless president has been appointed by the military—for life. The government has co-opte...
Devil's Advocates
This humorous work addresses such topics as the early history of the legal profession, the world's worst lawyers and the most ludicrous courtroom strategies.
Shivers
Shivers (1975) was David Cronenberg’s first commercial feature and his first horror film. Luke Aspell’s analysis addresses shot composition, lighting, cinematographic texture, sound, the use of stock music, editing, costume, make-up, optical work, the screenplay, the casting, and the direction of the actors.
The Thing
Consigned to the deep freeze of critical and commercial reception upon its release in 1982, The Thing has bounced back spectacularly to become one of the most highly regarded productions from the 1980s 'Body Horror' cycle of films, experiencing a wholesale and detailed reappraisal that has secured its place in the pantheon of modern cinematic horror. Thirty years on, and with a recent prequel reigniting interest, Jez Conolly looks back to the film's antecedents and to the changing nature of its reception and the work that it has influenced. The themes discussed include the significance of The Thing's subversive antipodal environment, the role that the film has played in the corruption of the onscreen monstrous form, the qualities that make it an exemplar of the director's work and the relevance of its legendary visual effects despite the advent of CGI. Topped and tailed by a full plot breakdown and an appreciation of its notoriously downbeat ending, this exploration of the events at US Outpost 31 in the winter of 1982 captures The Thing's sub-zero terror in all its gory glory.
John Mortimer
John Mortimer was a promising barrister who married a successful novelist (Penelope Mortimer) and then started writing himself. At first he wrote plays, most famously the autobiographical A VOYAGE ROUND MY FATHER, about his blind barrister father. Alec Guinness, Laurence Olivier and Michael Redgrave were among those who played the role.But it was Mortimer's creation of Rumpole of the Bailey, the irrascible barrister created on TV by Leo McKern, which catapulted him to wider fame and fortune, as his career as a novelist and screenwriter took off. He is credited with the hugely successful TV adaptation of Evelyn Waugh's Brideshead Revisited (Olivier, Jeremy Irons, Anthony Andrews, Toyah Wilcox) and then Summers Lease (John Gielgud), based on his own story.Meanwhile he had become increasingly well-known as a lawyer. His most famous case was his (initially unsuccessful) defence of two of the three editors of the underground magazine Oz on a charge of obscenity in 1971.
Devil's Advocate
The author sets in context the changes that have overtaken Britain in a forty-year period. He debates the issues he believes should concern us all, challenges our changing social and moral values and questions the direction society is taking. Is this where we would choose to be? If not what are we going to do about it?
The Devil's Advocate
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The Blood on Satan's Claw
Widely regarded as one of the foundational 'Unholy Trinity' of folk horror film, The Blood on Satan's Claw (1971) has been comparatively over-shadowed, if not maligned, when compared to Witchfinder General (1968) and The Wicker Man (1973). While those horror bedfellows are now accepted as classics of British cinema, Piers Haggard's film remains undervalued, ironically so, given that it was Haggard who coined the term 'folk horror' in relation to his film. In this Devil's Advocate, David Evans-Powell explores the place of the film in the wider context of the folk horror sub-genre; its use of a seventeenth-century setting (which it shares with contemporaries such as Witchfinder General and Cry of the Banshee) in contrast to the generic nineteenth-century locales of Hammer; the influences of contemporary counter-culture and youth movement on the film; the importance of localism and landscape; and the film as an expression of a wider contemporary crisis in English identity (which can also be perceived in Witchfinder General, and in contemporary TV serials such as Penda's Fen).
