Karina Halle

Scott Mackenzie

Rocked Up is a STANDALONE rockstar romance and the sexy, fun brainchild of the husband and wife writing duo, Scott Mackenzie and New York Times bestselling author Karina Halle. I've been watching him since I was a young girl. He didn't notice me back then and it didn't matter. Brad Snyder, guitarist and singer for one of the world's greatest bands, was my entire life. My father, the CEO of Ramsey Records, takes credit for all of Brad's success, trying to control him in the same way he's controlled me. But I finally get an opportunity to prove myself. To be wild. To be free. Today I'm auditioning to be the replacement bass player for Brad's band. If I get the job, I'll go on tour and work with Brad every day, in very close proximity. There's only one rule: he's not allowed to touch the boss's daughter. Remember when I said that Brad never used to notice little ol' me? Well, Brad's noticing me now. In a way that's going to get us both in trouble. My name is Lael Ramsey and we all know how this will turn out.

Rocked Up

A STANDALONE FULL-LENGTH EROTIC ROMANCE - NOT FOR THE FAINT OF HEART Enigmatic, wealthy and wickedly handsome, Jack Willow is more than just a talented musician. He's a man with a sordid past. And a man of many dark secrets. When he meets a seemingly innocent girl by the name of Leah, he pulls her into a secret sexual world, a world that will both test their limits and bring them together. But Leah is not who she seems. Neither is Jack.

Sex, Love and Rock N' Roll

Mette Hjort

Associate Professor of English Mette Hjort

Ideas of national identity, nationalism and transnationalism are now a central feature of contemporary film studies, as well as primary concerns for film-makers themselves. Embracing a range of national cinemas including Scotland, Poland, France, Turkey, Indonesia, India, Germany and America, Cinema and Nation considers the ways in which film production and reception are shaped by ideas of national belonging and examines the implications of globalisation for the concept of national cinema. In the first three Parts, contributors explore sociological approaches to nationalism, challenge the established definitions of 'national cinema', and consider the ways in which states - from the old Soviet Union to contemporary Scotland - aim to create a national culture through cinema. The final two Parts address the diverse strategies involved in the production of national cinema and consider how images of the nation are used and understood by audiences both at home and abroad.

Scott Mackenzie

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