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Designed for courses in corporate finance, this text is a detailed description of the valuation process, providing an integrated, comprehensive method for valuing assets, firms, and securities across a wide variety of industries. The presentation begins with a review of financial and accounting techniques, proceeds with a presentation of the valuation process, leading towards the development of pro-forma financial statements and the translation of these projections into values. A key strength of this text is teaching students how to use pro forma financial statements as a basis for valuation..
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Brought vividly to life on screen, the myth of ancient Rome resonates through modern popular culture. Projecting the Past examines how the cinematic traditions of Hollywood and Italy have resurrected ancient Rome to address the concerns of the present. The book engages contemporary debates about the nature of the classical tradition, definitions of history, and the place of the past in historical film..
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Reports of NATO's death have been greatly exaggerated. Characterizations of NATO as a "relic" of the past do not square with the fact that the Alliance is busier today than at any time in its history As Europe has become more unified and more democratic, NATO has assumed new layers of significance in the global security environment. In a post-September 11 world, the old 1990s debate about what is "in area" and what is "out of area" is a luxury that the Alliance can no longer afford. Decisions made at the 2004 Istanbul summit aimed at enhancing NATO's partnerships with the states of Central Asia and extending the partnership concept to the Greater Middle East reflect the Alliance's new, more global presence as do new military missions in Afghanistan, Iraq, and Sudan. Moore argues that a careful analysis of NATO's new, more global focus suggests that it's not the nature of NATO's mission that has changed, but rather its scope. NATO is approaching its new "out of area" missions with the political tools developed after the Soviet threat faded in the early 1990s when the Allies agreed that, rather than merely defend an old order, they would now create a new one grounded in liberal democratic values, including individual liberty and the rule of law. Indeed, the mission of projecting stability eastward was understood to be inextricable from the promotion of these values. This new mission required that NATO devote greater attention to its political dimension. In fact, as the United States turned to promoting democracy around the world in the wake of September 11, it ultimately sought to enlist NATO in its mission of extending democracy beyond Europe to Central Asia and the Middle East. As Moore demonstrates in her attempt to provide a full and comprehensive understanding of the new NATO, while divisions within the Alliance persist as to just how global NATO should be, the post-September 11 security environment ensures that NATO's survival depends upon its willingness to project security beyond Europe. That mission will be as much political as it is military..
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In Projecting a Camera, film theorist Edward Branigan offers a groundbreaking approach to understanding film theory. Why, for example, does a camera move? What does a camera "know"? (And when does it know it?) What is the camera's relation to the subject during long static shots? What happens when the screen is blank? Through a wide-ranging engagement with Wittgenstein and theorists of film, he offers one of the most fully developed understandings of the ways in which the camera operates in film.

With its thorough grounding in the philosophy of spectatorship and narrative, Projecting a Camera takes the study of film to a new level. With the care and precision that he brought to Narrative Comprehension and Film, Edward Branigan maps the ways in which we must understand the role of the camera, the meaning of the frame, the role of the spectator, and other key components of film-viewing. By analyzing how we think, discuss, and marvel about the films we see,Projecting a Camera, offers insights rich in implications for our understanding of film and film studies..
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In this accessible, clear, jargon free, and comprehensive text, Projecting the Holocaust into the Present offers an insightful historical perspective on how public conceptions of the Holocaust in film have changed over time..
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A lit cigarette glows in the dark. A faceless voice describes sinister forces that are hard at work behind the scenes-a hidden conspiracy that controls our lives and perhaps even our thoughts. Then, like a ghost in the night, the voice is gone, leaving a residue of unease and a whisper of paranoia.

As emblematic as "Deep Throat" in All the President's Men or the "Cigarette Smoking Man" in the wildly popular X-Files, that ghostly presence stands in for numerous other "voices" in a wide range of American films from the classic era of film noir through Oliver Stone's JFK and Curtis Hanson's L.A. Confidential. In this sweeping and idiosyncratic synthesis of film and politics, Ray Pratt shows us how such movies are deeply rooted in postwar American culture and continue to exert an enormous influence on the national imagination.

For decades American cinema has mirrored and promoted the postmodern anxieties and paranoid perceptions embedded in our society. Tapping into the moviegoing audience's own projected fears, many Hollywood films seem to confirm our belief that there are indeed secret sinister forces at work and that our lives are at risk because of them.

Pratt revisits blockbusters and cult favorites alike and shows how their images of conspiracy have been fostered by the public's increasing distrust of large organizations, producing in turn a cinematic "narrative of resistance" that challenges the status quo. He offers Seven Days in May and Dr. Strangelove as signposts of Cold War hysteria; Chinatown, The Conversation, and Missing as clear reflections of our distrust of political and corporate elites in the wake of Vietnam and Watergate; and Blue Velvet and The Stepfather as dark countermyths to the "family values" touted by Ronald Reagan in the 1980s. He also considers gender paranoia in films like Klute, Fatal Attraction, and Silence of the Lambs and reminds us that sometimes, as in Serpico, our guardian police forces need a bit of guarding themselves.

Deftly interweaving cultural, political, and film theory with fresh insights into film noir detectives, nuclear angst, sexual predators, and government conspiracies, Projecting Paranoia is essential reading for anyone interested in the American psyche or great moviemaking.

This book is part of the CultureAmerica series..
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