Targeting the needs and interests of today's readers, the author uses down-to-earth language and builds on readers' familiarity with narrative devices in film, television, and other popular media to teach this new approach to literary analysis. Unit I of the book analyzes the philosophical, political, and religious roots of terrorist activities around the world and discusses the national, regional, and global effects of historical and recent acts of terrorism. The authors are well connected - both Ray Whittington and Kurt Pany served as members of the Audit Standards Board, and Whittington recently completed his term as President of the Auditing Section of the American Accounting Association. Make no mistake, Das Boot is high cinematic art, but Doldinger's score, while it is inseparable from the film's narrative, is a stunning and moving work of art on its own.((MP3 torrent)) Das Boot Soundtrack (by Klaus Doldinger). There are no moments of filler on this soundtrack, made longer by the fact that it now accompanies Petersen's director's cut issued in 1998. In the more driven parts of the score where battle is to be engaged, Doldinger offers simultaneous portraits of horror and grandeur as his strings become the pulse of approaching death and his horns and synths become the courageous, fearless, steely eyed gaze into its face. His subtle yet profound use of synthesizers as well as a symphony orchestra and the classical guitar created an atmosphere that made the footage under the sea tense and suffocating, full of the kind of adrenaline-pumping wonder Petersen's narrative called for.

In his episodic moments where merely incidental music was called for, Doldinger composed mini-epochs of motion and emotion. Doldinger fashioned a score that felt more like a symphony than a soundtrack. Doldinger apparently felt it was a gift from the heavens because he put everything he'd forgotten into creating a soundtrack that was every bit as fine a piece of work as the film it accompanied. Enter director Wolfgang Petersen who was a Doldinger fan and recruited him to write a score for his WWII epoch about the war in the ocean. His groundbreaking jazz-rock fusion band Passport had become mired in the muck of schlocky feel-good instrumentals that didn't even register with his most ardent fans anymore, and he had lost his musical direction. It was a good thing Klaus Doldinger was offered this opportunity: to write a score for a German film utilizing all the various forms of his musical training.

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