Trials of the Redeemer

The Ravanmark Saga

Book 3
Onda Mountain Books
10
Free sample

 THE HERO’S JOURNEY GETS BUMPY... While Ravanmark buckles down for civil war with the Dark Alliance and their supporters, King Dorramon has been playing a dangerous game with Cadenda, refusing to hear their requests to honor his engagement to their princess, buying time for his forbidden love with Alannys. With international war threatening, tensions are high and fuses are short. 

Alannys is traveling the country with the itinerant Singari, continuing her mission to build support for Dorramon and promote public acceptance of the Talents. After a deadly journey through Eversnow Pass, they come down on the other side of the Cloudytop Mountains into Orinthal Holding--only to find the real trials have just begun. 

Join Alannys as she faces her most grueling tests yet, losing everyone and everything she ever cared about, in the continuing battle for the future of Ravanmark, the love of her life--and herself.
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Additional Information

Publisher
Onda Mountain Books
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Published on
Jan 2, 101
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Pages
464
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Language
English
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Genres
Fiction / Fairy Tales, Folk Tales, Legends & Mythology
Fiction / Fantasy / Epic
Fiction / Fantasy / General
Fiction / Romance / Fantasy
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Content Protection
This content is DRM free.
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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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Winter is coming. Such is the stern motto of House Stark, the northernmost of the fiefdoms that owe allegiance to King Robert Baratheon in far-off King’s Landing. There Eddard Stark of Winterfell rules in Robert’s name. There his family dwells in peace and comfort: his proud wife, Catelyn; his sons Robb, Brandon, and Rickon; his daughters Sansa and Arya; and his bastard son, Jon Snow. Far to the north, behind the towering Wall, lie savage Wildings and worse—unnatural things relegated to myth during the centuries-long summer, but proving all too real and all too deadly in the turning of the season.
 
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