Bøger af Sue Harper

Provides lively and stimulating activities for children. Each book focuses on one specific aspect of play offering clear and detailed guidance on how to plan and enjoy wonderful play experiences with minimum fuss and maximum success. Split into four sections, this book focuses on outdoor play and how nature contributes to a child's development.

This volume draws a map of British film culture in the 1970s and provides a wide-ranging history of the period. It examines the cross-cultural relationship between British cinema and other media, including popular music and television. The analysis covers mainstream and experimental film cultures, identifying their production contexts and the economic, legislative and censorship constraints on British cinema throughout the decade.The essays in Part I contextualise the study and illustrate the diversity of 1970s moving image culture. In Part II, Sue Harper and Justin Smith examine how gender relations and social space were addressed in film. They show how a shared visual manner and performance style characterises this fragmented cinema, and how irony and anxiety suffuse the whole film culture. This volume charts the shifting boundaries of permission in 1970s film culture and changes in audience taste.This book is the culmination of an AHRC-funded project at the University of Portsmouth, For more information about '1970s British Cinema, Film and Video: Mainstream and Counter-Culture' (2006-2009) please visit the project website at www.1970sproject.co.uk.

About two things, Sue Harper was absolutely certain. Paris was the most exciting city in the world and retirement was supposed to be a time when anything was possible. But she was terrified. From the tragic life of a French diva to the story of a Jewish family destroyed by the Nazis, Harper discovered connections to Paris and to herself as she struggled with retirement.When the rush of post-work life - that time when everything seemed possible - crashed into the panic of "Oh-oh, what now?" Harper felt rootless and disengaged. Worse still, from the outside, her retirement looked perfect. She and her partner travelled, skied in two hemispheres, and seemed to have it all. But at home, she filled her days with obsessive exercising, coffee dates and endless hours of mindless television.Then her partner was accepted into an art course in Paris. Harper claimed she was going to be like Hemingway, become a flâneur and write about her adventures. She knew it was a lie. But slowly, as she mapped out her walks through cobblestoned neighbourhoods, city cemeteries and halls of ancient Greek vases in the vast Louvre museum, she found her way back to herself.

A survey of the ways in which women have been represented in British cinema from the 1930s to the end of the 20th century. Using archive and interview material, it analyzes the input women have had on the industry, and charts the difficulties they encountered and the successes they achieved.