Books about Projecting from Amazon.com

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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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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EM Encountering Bigotry /EM examines the occurrence of emotionally fraught and socially provocative expressions, such as racism, sexism, homophobia, anti-Semitism, classism, and other forms of hatred of outgroups or others, in everyday experience.  The editors categorize such remarks as projections, particular forms of perceiving oneself and others in the world.  This projection allows the person to perceive emotional intensity without owning (i.e., without attributing to the self) the feeling or experiencing anxiety-producing emotions.  Such projections are not pathological, they observe, but rather faulty and not beyond repair. Utilizing experiences gathered from various people and settings, and deriving theory from common psychoanalytic and Gestalt therapy, the observations and conclusions found in EM Encountering Bigotry /EM  are as applicable in any social context as they are in the therapeutic relationship.     .
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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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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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The National Film Board of Canada, now in its seventh decade, is internationally acclaimed as a beacon of non-commercial filmmaking. In Projecting Canada Zoë Druick shows that the NFB, born out of a nation-building project, continues to be inextricably involved in the crises of nation, technology, and social scientific knowledge that shape the Canadian cultural landscape. Based on newly uncovered archival information and a close reading of numerous NFB films, Projecting Canada explores the NFB's involvement with British Empire communication theory and American social science. Using a critical cultural policy studies framework, Druick develops the concept of "government realism" to describe films featuring ordinary people as representative of segments of the population. She demonstrates the close connection between NFB production policies and shifting techniques developed in relation to the evolution of social science from the 1940s to the present and argues that government policy has been the overriding factor in determining the ideology of NFB films. Projecting Canada offers a compelling new perspective on both the development of the documentary form and the role of cultural policy in creating essential spaces for aesthetic production..
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