Lake of Fire

The Ravanmark Saga

Book 5
Onda Mountain Books
1
Free sample

 Alannys and her friends have finally set out to perform the

acts that will prove her--or ruin her--for all time. With Baronet

Athniss hunting them, they arrive at last at Mount Mouseion. But

they discover more among the ruins of the Spire of Glory than

simple murder. The ancient monument conceals many secrets,

some of which could change the world as they know it.


Unanticipated consequences of the acts of the Redeemer

throw Alannys and her dearest friends into mortal jeopardy. As

they close in on the Lord's Retainers and those who seek to 'bring

the power of the few to the many,' they discover an even bigger

threat lurking in the shadows--a threat vast beyond imagining.


Join Alannys and her friends as they fight to save each other,

Ravanmark...and the world.

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Additional Information

Publisher
Onda Mountain Books
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Published on
Sep 16, 2018
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Pages
701
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Language
English
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Genres
Fiction / Fairy Tales, Folk Tales, Legends & Mythology
Fiction / Fantasy / Romantic
Fiction / Romance / Fantasy
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Content Protection
This content is DRM protected.
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Available on Android devices
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Seminar paper from the year 2003 in the subject Communications - Movies and Television, grade: High Distinction, James Cook University (James Cook University), course: Communication, Information & Society, language: English, abstract: Alfred Hitchcock used non-verbal communication extensively in his filmmaking to convey meaning and to create suspension for the audience. His critical and disparaging opinion of dialogue in film shows clearly that he did not consider language to be a privileged cinematic medium for communication - quite the opposite and he remarks that language “should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms” (Hitchcock in Truffaut 272). The possibilities of the camera for conveying meaning was paramount to Hitchcock’s storytelling. As a film-maker, he is widely acknowledged for his use of point-of-view shots, tracking shots, and other techniques that reinforce the power of looking or the role of the gaze in cinema. A well-known example of his use of camera movement is Rear Window (1954), a film that evokes a viewing experience for the spectator in the form of “a mental process, done by the use of the visual” (Spoto 224). As director, Hitchcock makes intensive use of his prerogative to manipulate points of view thereby controlling the viewer’s gaze with narrative frames. The directing of the gaze is both an exercise of power and an imposition on those whom it captures. Theatrical and cinematic effects dominate in his work with the use of proxemics, stance and gestures of actors. Other visual clues are clothes and accessories worn by actresses. In Rear Window, most of the female’s protagonist’s dresses are mirrored in the dresses worn by other women. By coding dresses in such a way and juxtaposing them in different frames, they signify different states of mind and intentions; they act as emotional referents that connect the women through their visual appearance.
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