Welcome to our book review site www.go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Rule of Vampire
Jamie is on the run. Nobody taught her how to be a vampire; no one told her the Rules of Vampire. How was she supposed to know her limits? Now the vampire hunters want her dead, and the Council of Vampires is looking for her, too. Every human Jamie bites becomes a vampire, and the feral Wilderings she creates are rampaging through the town of Crescent City. To stop this infestation, the legendary Terrill joins forces with the Vampire Council and confronts the danger. But something unexpected happens along the way. Terrill becomes the first of a new breed—a golden Vampire who can walk in the sunlight. "If you like your undead to be more Fright Night than Twilight, Duncan McGeary's Vampire Evolution Trilogy will be your cup of gore." ~ Steve Perry, New York Times Bestselling Author of Men in Black, The Mask, and Star Wars: Shadows of the Empire
Genealogy of the Descendants of John Gar
Andreas Garr (born 1685), son of John and Elizabeth Gar, married Eve Seidelmann in 1711, and emigrated from Bavaria, Germany to Orange County, Virginia in 1732. Descendants (chiefly spelling the surname Garr, with some spelling it Gaar) lived in Virginia, Mississippi, Kentucky, Indiana, Illinois, Iowa, Missouri, Kansas, Texas, and elsewhere. Includes some genealogy of ancestry in Germany.
The Drive-In
The Drive-In meaningfully contributes to the complex picture of outdoor cinema that has been central to American culture and to a history of US cinema based on diverse viewing experiences rather than a select number of films. Drive-in cinemas flourished in 1950s America, in some summer weeks to the extent that there were more cinemagoers outdoors than indoors. Often associated with teenagers interested in the drive-in as a 'passion pit' or a venue for exploitation films, accounts of the 1950s American drive-in tend to emphasise their popularity with families with young children, downplaying the importance of a film programme apparently limited to old, low-budget or independent films and char...
Congressional Record
None
Authors and Adaptation
This book studies British literary writers’ engagement with adaptations of their work across literary, theatrical, and film media in the nineteenth and early twentieth centuries. It considers their critical, reflective, and autobiographical writings about the process of adaptation, and traces how their work was shaped, as well as delimited, by their involvement with adaptations to different media and intermedial writing. Linking canonical and non-canonical writers both chronologically and contemporaneously, and bridging studies of prose fiction adaptation from nineteenth-century theatre to early twentieth-century film, this book offers an interdisciplinary, transhistorical, cultural, and analytical study of adaptation and the variable positions of writers within and across media.
Experiencing Cinema
Film is often conceived as a medium that is watched rather than experienced. Existing studies of film audiences, and of media reception more broadly, have revealed the complexity of viewing practices and cultures surrounding cinema-going and its exhibition spaces. Experiencing Cinema offers the first in-depth study of participant engagement with a range of experiential media forms derived from cinema culture. From sing-a-long screenings to theatrical extravaganzas, a broad spectrum of alternative film-going practices and immersive spaces are explored and analysed in this original audience study. Moving from intimate community gatherings to blockbuster urban venues, from isolated farmhouses to Olympic stadia, Experiencing Cinema considers the lure and value of these popular events. Often attracting a diverse, intergenerational range of participants, from early-adopter urban hipsters to DIY rural communities, the growing demand for participatory cinema within the contemporary marketplace is analysed alongside broader debates circulating around the move away from traditional tiered seating and increased audience mobility and the de-centring of the film text.
That Light We See
None
