L'épisode final !
Arcames, petit village pittoresque et sans histoire... ou creuset d'une secte apocalyptique préparant l'indicible ?
Ici, l'on se tait, et l'étranger est suspect.
Part One offers nine essays originally compiled for a symposium designed to recognize the composer’s unique and varied contributions to music. The authors include performers, musicologists, and music theorists, and their work will appeal to a wide diversity of readers. The topics and methodologies range from archival research and analysis of text and music to theoretical modelling using techniques such as set theory, metric theory, and prolongation. While the papers were initially conceived in isolation from one another, the collaborative focus of the symposium created opportunities for authors to expose points of intersection. This deliberate reconciliation of lines of inquiry has yielded a more balanced and unified collection of essays than typically found in a simple record of proceedings. Furthermore, the chapters presented here benefit from the wealth of Britten research produced since the 2013 centenary.
Part Two provides an account of the symposium performances and lecture recitals that accompanied and enriched the academic presentations. The reader will encounter fully the journey taken by symposium presenters, participants, and attendees by reviewing the concerts, lecture recitals, and papers in the context of the full symposium program.
Through means of close textual analysis, David Forrest advances the case that social realism has provided British national culture with a consistent and distinctive art cinema, arguing that a theoretical re-assessment of the mode can enable it to be located within the context of broader traditions of global cinema.
The book begins with the documentary movement and British wartime cinema, before moving to the British new wave and social problem cycle; the films of Ken Loach; the films of Mike Leigh; realism in the 1980s, specifically the work of Stephen Frears and Alan Clarke; before concluding with a discussion of contemporary realist cinema, specifically the work of Shane Meadows, Andrea Arnold and other recent exponents of the mode. These case studies give a thorough platform to explore the most prominent and diverse examples of realist practice in Britain over the last 80 years. The construction and critical analysis of this ‘social realist canon’ creates the conditions to reassess and look anew at this most British of cinematic traditions.
And the consequences can be fearsome, as the unsleeping
dead walk again, as strange emotions stir inanimate things
to murderous life, as horrors beyond our imagining cross the
threshold into our world; can anyone be sure that all is as it
After you read these thirteen tales of terror, can you?
When he first sets foot on his inheritance, Albert quickly realises that there is absolutely nothing there, nothing except for the frequent presence of Victoria, a very attractive young girl in search of a suntan.
Just as the two are getting to know each other better, a Russian trawler (spy ship) runs aground on the Island.
The other side of the Island is soon occupied by the United States Marines and Victoria and Albert find themselves caught up in a precarious and hilarious Cold War stand off.
And to My Nephew Albert...is a classic satire from the author(s) of The Great Dinosaur Robbery and After Me, The Deluge.
Hidden somewhere in the skeleton is a microdot containing Chinese military secrets that could be vital to the survival of the British Empire.
And they aren't the only ones looking for the stolen secrets. Chinese spies and American counter-espionage agents both have a bone to pick with Nannie Hettie and her cohorts.
The Great Dinosaur Robbery is a British comedy classic that inpired the Disney film One of Our Dinosaurs is Missing starring Peter Ustinov.
Only Father Benoir and his misfit flock will be saved, but they must hurry, said God, and build an ark like Noah's.
AFTER ME, THE DELUGE is an outrageous, irreverent comedy which inspired one of Italy's longest running stage musicals which has been seen by over fifteen million people since it's debut in 1974.