From the #1 international bestselling author of The Revenant – the book that inspired the award-winning movie – comes the remarkable true story of the worst mining disaster in American history.
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The second book in the Mephiston trilogy, showcasing the infamous space vampire - Mephiston. As the Great Rift tears the galaxy apart, portents and darkness beset Mephiston. At the time when he needs his psychic sight the most, the Chief Librarian's powers are rendered blind by some inexplicable force. Haunted by the ghosts of the damned, their purpose unclear, Mephiston takes his ship the Blood Oath and the Blood Angels in his charge to the world of Morsus where he believes source of his psychic blindness is to be found. But Morsus is embroiled in conflict too, a longstanding struggle between the Imperium and some of its most ancient foes called the Revenant Crusade.
Things that go bump in the night are just the beginning when a summer film project becomes a real-life ghost story! Avery is looking forward to another summer at Grandma’s farm, at least until her brother says he’s too old for “Kingdom,” the imaginary world they’d spent years creating. Lucky for her, there’s a new kid staying in the cottage down the road: a city boy with a famous dad, Julian’s more than a little full of himself, but he’s also a storyteller like Avery. So when he announces his plan to film a ghost story, Avery is eager to join in. Unfortunately, Julian wants to film at Hilliard House, a looming, empty mansion that Grandma has absolutely forbidden her to enter. As terrified as Avery is of Grandma’s wrath, the allure of filmmaking is impossible to resist. As the kids explore the secrets of Hilliard house, eerie things begin to happen, and the “imaginary” dangers in their movie threaten to become very real. Have Avery and Julian awakened a menacing presence? Can they turn back before they go too far?
Art of the Cut provides an unprecedented look at the art and technique of contemporary film and television editing. It is a fascinating "virtual roundtable discussion" with more than 50 of the top editors from around the globe. Included in the discussion are the winners of more than a dozen Oscars for Best Editing and the nominees of more than forty, plus numerous Emmy winners and nominees. Together they have over a thousand years of editing experience and have edited more than a thousand movies and TV shows. Hullfish carefully curated over a hundred hours of interviews, organizing them into topics critical to editors everywhere, generating an extended conversation among colleagues. The discussions provide a broad spectrum of opinions that illustrate both similarities and differences in techniques and artistic approaches. Topics include rhythm, pacing, structure, storytelling and collaboration. Interviewees include Margaret Sixel (Mad Max: Fury Road), Tom Cross (Whiplash, La La Land), Pietro Scalia (The Martian, JFK), Stephen Mirrione (The Revenant), Ann Coates (Lawrence of Arabia, Murder on the Orient Express), Joe Walker (12 Years a Slave, Sicario), Kelley Dixon (Breaking Bad, The Walking Dead), and many more. Art of the Cut also includes in-line definitions of editing terminology, with a full glossary and five supplemental web chapters hosted online at www.routledge.com/cw/Hullfish. This book is a treasure trove of valuable tradecraft for aspiring editors and a prized resource for high-level working professionals. The book’s accessible language and great behind-the-scenes insight makes it a fascinating glimpse into the art of filmmaking for all fans of cinema.
Finalist for the Shirley Jackson Award: “Beautiful and brutal nightmares . . . made all the more terrifying by the history in which they’re grounded.” —Publishers Weekly, starred review Three neighboring villages on the Ukrainian/Romanian border are the final refuge for the last of the mythical creatures of Eastern Europe. Now, on the eve of the war that may eradicate their kind—and with the ruthless Night Police descending upon their sanctuary—they tell their stories and confront their destinies. The Rusalka, the beautiful, vengeful water spirit who lives in lakes and ponds and lures men and children to their deaths. The Vovkulaka, who changes from her human form into that of a wolf and hides with her kind deep in the densest forests. The Strigoi, a revenant who feasts on blood and twists the minds of those who love, serve, and shelter him. The Drevniye, an apparition that impersonates its victim and draws him into a web of evil in order to free itself. And the Bone Mother, a skeletal crone with iron teeth who lurks in her house in the heart of the woods, and cooks and eats those who fail her vexing challenges. Eerie and unsettling like the best fairy tales, these incisor-sharp portraits of ghosts, witches, sirens, and seers—and the mortals who live at their side and in their thrall—will chill your marrow and tear at your heart. “A fable filled with mythical creatures ranging from werewolves to witches . . . set, in part, among the villages of eastern Europe on the eve of the Second World War.” —The Globe and Mail (Toronto) “Extraordinary . . . A dark and shining mosaic of a story with unforgettable imagery and elegant, evocative prose.” —Publishers Weekly, starred review Longlisted for the 2017 Scotiabank Giller Prize Winner of the 2018 Sunburst Award Longlisted for the 2018 Toronto Book Awards
Like Rip Van Winkle returning to his hometown to find that all has changed, Nathan Zuckerman comes back to New York, the city he left eleven years before. Alone on his New England mountain, Zuckerman has been nothing but a writer: no voices, no media, no terrorist threats, no women, no news, no tasks other than his work and the enduring of old age. Walking the streets like a revenant, he quickly makes three connections that explode his carefully protected solitude. One is with a young couple with whom, in a rash moment, he offers to swap homes. They will flee post-9/11 Manhattan for his country refuge, and he will return to city life. But from the time he meets them, Zuckerman also wants to swap his solitude for the erotic challenge of the young woman, Jamie, whose allure draws him back to all that he thought he had left behind: intimacy, the vibrant play of heart and body. The second connection is with a figure from Zuckerman’s youth, Amy Bellette, companion and muse to Zuckerman’s first literary hero, E. I. Lonoff. The once irresistible Amy is now an old woman depleted by illness, guarding the memory of that grandly austere American writer who showed Nathan the solitary path to a writing vocation. The third connection is with Lonoff’s would-be biographer, a young literary hound who will do and say nearly anything to get to Lonoff’s “great secret.” Suddenly involved, as he never wanted or intended to be involved again, with love, mourning, desire, and animosity, Zuckerman plays out an interior drama of vivid and poignant possibilities. Haunted by Roth’s earlier work The Ghost Writer, Exit Ghost is an amazing leap into yet another phase in this great writer’s insatiable commitment to fiction.
A witch and a revenant. One full of life, the other technically dead. Fifer and Schuyler's relationship is nothing if not unusual. Some might even call it ill-advised. But try as they might to push each other away, something keeps bringing them back together. Then a force stronger than their attraction comes between them: Lord Blackwell, the Inquisitor and most powerful man in Anglia. He sends Schuyler on a mission--a mythical sword, rumored to make its owner invincible, lies somewhere in Anglia and it's Schuyler's job to find it. Meanwhile, left behind in Harrow with her studies, Fifer can't help but worry what's become of her undead paramour. Schuyler's been missing for weeks and Fifer may be the one who can--or who cares enough to--find him. An enthralling new Witch Hunter series novella.
Much of what the world knows about the United States of America is constructed and spread through global media. One can hardly find a country where news events involving the U.S.A. do not attract media attention, controversy, or at least invoke some level of critical thought. Popular Representations of America in Non-American Media provides emerging research exploring how non-American media covers and represents the U.S.A. through a critical review that demonstrates how foreign media representations of the country have varied according to periods in history, political leadership, and current ideological and socio-cultural affinities. The publication also conversely examines Americans perceptions of foreign media representations of their country. Featuring coverage on a broad range of topics such as neocolonialism, political science, and popular culture, this book is ideally designed for students, scholars, media specialists, policymakers, international relation experts, politicians, and other professionals seeking current research on different perspectives on non-American medias representation of the U.S.A. and Americans.
This book examines the Western genre in the period since Westerns ceased to be a regular feature of Hollywood filmmaking. For most of the 20th Century, the Western was a major American genre. The production of Westerns decreased in the 1960s and 1970s; by the 1980s, it was apparent that the genre occupied a less prominent position in popular culture. After an extended period as one of the most prolific Hollywood genres, the Western entered its “afterlife”. What does it now mean for a Hollywood movie to be a Western, and how does this compare to the ways in which the genre has been understood at other points in its history? This book considers the conditions in which the Western has found itself since the 1980s, the latter-day associations that the genre has acquired and the strategies that more recent Westerns have developed in response to their changed context.
A collection of biographical accounts is a lyrical tribute to the mountain adventurers of early America, from the early nineteenth-century's John Colter, who escaped captivity by the Blackfeet; to Hugh Glass, who survived a grizzly attack and crawled three hundred miles to safety; to Kit Carson, who served as a guide for John C. Fremont's westward explorations. Reprint.