Amelia Hartliss is employed by British Security Services to defend the nation against attacks. She is used to that, but in the normal run of things, the assaults are coming from abroad, from extremists not born and raised in this country. It is therefore a nasty surprise to find terrorists on her own doorstep, right in her home town. It's a new challenge, and a bigger fight than anything she's ever seen. If only she had help - but her time and attention are being distracted by her cousin Liv, who is asking Melia for help in clearing the name of a mutual friend who has been sent to prison for a crime he says he didn't commit. It's a nasty business, made worse by the fact that the 'crime' is something that polite people don't like to talk about. Her absence only makes things worse at Regional Office, where the Deputy Director finds himself with a new job - clearing out the stable. He has an idea: Melia could be the first to go.

The morning after a storm, Rico searches the beach for rare and unusual objects. He doesn't believe his eyes, the sand is covered with dozens of giant eggs. Rico and his friend, Dr. Agon, will soon discover that the eggs are not the key to treasure but a doorway to terror!

The morning after a storm, Rico searches the beach for rare and unusual objects. He doesn't believe his eyes, the sand is covered with dozens of giant eggs. Rico and his friend, Dr. Agon, will soon discover that the eggs are not the key to treasure but a doorway to terror!

About 2,500 genre films are entered under more than 100 subject headings, ranging from abominable snowmen through dreamkillers, rats, and time travel, to zombies, with a brief essay on each topic: development, highlights, and trends. Each film entry shows year of release, distribution company, country of origin, director, producer, screenwriter, cinematographer, cast credits, plot synopsis and critical commentary.

First came video and more recently high definition home entertainment, through to the internet with its streaming videos and not strictly legal peer-to-peer capabilities. With so many sources available, today’s fan of horror and exploitation movies isn’t necessarily educated on paths well-trodden — Universal classics, 1950s monster movies, Hammer — as once they were. They may not even be born and bred on DAWN OF THE DEAD. In fact, anyone with a bit of technical savvy (quickly becoming second nature for the born-clicking generation) may be viewing MYSTICS IN BALI and S.S. EXPERIMENT CAMP long before ever hearing of Bela Lugosi or watching a movie directed by Dario Argento. In this world, H.G. Lewis, so-called “godfather of gore,” carries the same stripes as Alfred Hitchcock, “master of suspense.” SPINEGRINDER is one man’s ambitious, exhaustive and utterly obsessive attempt to make sense of over a century of exploitation and cult cinema, of a sort that most critics won’t care to write about. One opinion; 8,000 reviews (or thereabouts.

DigiCat Publishing presents to you this special edition of "Blue Ridge Country" by Jean Thomas. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Too often, existing literature has conflated the discourses that enabled the 'War on Terror', ignoring the contextual specificities of the states that make up the ‘Coalition of the Willing’. Australia's 'war on terror' Discourse fills this gap by providing a full and sustained critical analysis of Australian foreign policy discourse along with the theoretical synthesis for a specific model of critical discourse analysis of the subject. The language of then Prime Minister Howard is the primary focus of the book but attention is also paid to the language of key ministers, political opponents and other prominent actors. The voices of those who challenged the dominant discourse are also considered to shed light on the ways in which discourses can be destabilised. Kathleen Gleeson shows how Howard successfully invoked narratives of identity and sovereignty that resonated with his audience and promoted his reworked narrative of Australia whilst facing dissent from many actors who voiced their opposition most successfully when they capitalised on inconsistencies within the discourse.