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Chen Yan travels through time, only to end up becoming an honorable prince in the Middle Ages of Europe. Yet this world was not quite as simple as he thought. Witches with magical powers abound, and fearsome wars between churches and kingdoms rage throughout the land. Roland, a prince regarded as hopeless by his own father and assigned to the worst fief, spends his time developing a poor and backward town into a strong and modern city, while fighting against his siblings for the throne and absolute control over the kingdom. Join Roland as he befriends and allies with witches and, through fighting and even farming, pushes back invaders from the realm of evil.
Chen Yan travels through time, only to end up becoming an honorable prince in the Middle Ages of Europe. Yet this world was not quite as simple as he thought. Witches with magical powers abound, and fearsome wars between churches and kingdoms rage throughout the land. Roland, a prince regarded as hopeless by his own father and assigned to the worst fief, spends his time developing a poor and backward town into a strong and modern city, while fighting against his siblings for the throne and absolute control over the kingdom. Join Roland as he befriends and allies with witches and, through fighting and even farming, pushes back invaders from the realm of evil.
Chen Yan travels through time, only to end up becoming an honorable prince in the Middle Ages of Europe. Yet this world was not quite as simple as he thought. Witches with magical powers abound, and fearsome wars between churches and kingdoms rage throughout the land. Roland, a prince regarded as hopeless by his own father and assigned to the worst fief, spends his time developing a poor and backward town into a strong and modern city, while fighting against his siblings for the throne and absolute control over the kingdom. Join Roland as he befriends and allies with witches and, through fighting and even farming, pushes back invaders from the realm of evil.
Chen Yan travels through time, only to end up becoming an honorable prince in the Middle Ages of Europe. Yet this world was not quite as simple as he thought. Witches with magical powers abound, and fearsome wars between churches and kingdoms rage throughout the land. Roland, a prince regarded as hopeless by his own father and assigned to the worst fief, spends his time developing a poor and backward town into a strong and modern city, while fighting against his siblings for the throne and absolute control over the kingdom. Join Roland as he befriends and allies with witches and, through fighting and even farming, pushes back invaders from the realm of evil.
Chen Yan travels through time, only to end up becoming an honorable prince in the Middle Ages of Europe. Yet this world was not quite as simple as he thought. Witches with magical powers abound, and fearsome wars between churches and kingdoms rage throughout the land. Roland, a prince regarded as hopeless by his own father and assigned to the worst fief, spends his time developing a poor and backward town into a strong and modern city, while fighting against his siblings for the throne and absolute control over the kingdom. Join Roland as he befriends and allies with witches and, through fighting and even farming, pushes back invaders from the realm of evil.
The witch is a symbol of power for women across the world. She represents defiance, transcendence, healing, feminine monstrosity, and connection with the natural and supernatural worlds. From her wands and flora, to her bonds of kinship, POWER & MAGIC VOLUME 2 explores what gives each witch her power and how she'll choose to use it.
Hollis Frampton was an American filmmaker, photographer, and theorist who bridged the experimental film and contemporary art worlds in the 1960s and 1970s. Best known for avant-garde films including Zorns Lemma (1970) and (nostalgia) (1971), Frampton spent his later years working on the unfinished epic Magellan, a monumental cycle that used the metaphor of Ferdinand Magellan’s circumnavigation of the world to rethink the natures and meanings of history, modernity, and cinema. Frampton’s career was cut short by cancer at age 48, with his vast ambitions for the project left incomplete. This book is a groundbreaking and comprehensive account of this remarkable figure’s work in its totality, from Frampton’s earliest films through Magellan. Michael Zryd explores the connections linking Frampton’s art and thought to other media forms, histories, and cultural frameworks. He foregrounds Frampton’s notion of the “infinite cinema,” which redefined the parameters of the medium to encompass all forms of moving image and sound media across the past and future of cinematic possibility. Zryd analyzes Frampton’s ambivalent relationship with modernism and the Enlightenment, showing how the artist navigated between attraction to radical artistic investigation and awareness of this tradition’s implication in colonialism and other oppressive power structures. Shedding new light on Frampton’s project of exploring and critiquing how cinema attempts to capture and understand the world, this book also considers his significance for contemporary art.
"Joanna Hubbs has found the trace of Baba Yaga and the rusalki and Moist Mother Earth and other fascinating feminine myths in Russian culture, and has added richly to the growing interest in popular culture." -- New York Times Book Review "... brave... fascinating... immensely enjoyable... " -- Times Higher Education Supplement "... a stimulating and original study... vivid and readable." -- Russian Review "An immensely stimulating, beautifully written work of scholarship." -- Francine du Plessix Gray "Joanna Hubbs has provided scholars... with a wealth of significant interpretive material to inform if not reform views of both Russian and women's cultures." -- Journal of American Folklore A ground-breaking interpretation of Russian culture from prehistory to the present, dealing with the feminine myth as a central cultural force.
King Kong (Collection) (1968-2008) consist of : King Kong (001-006)(1991-1992) Kong – King of Skull Island (000-005)(2007-2008) Enterprise Special 03 (19xx) (UK) (King Kong Spectacular) Fangoria 249 (2006 King Kong) King Kong (1968) (Gold Key) (Griffin) MAD 464 (2006) April – King Kong Satire Monsters Series – King Kong (text) Philip Jose Farmer – After King Kong Fell (text) King Kong – The 8th Wonder of the World TPB (2005-Dark Horse) King Kong 01 (2006)
In this landmark collection spanning three centuries and four waves of feminist activism and writing, Burn It Down! is a testament to what is possible when women are driven to the edge. The manifesto-raging and wanting, quarreling and provoking-has always played a central role in feminism, and it's the angry, brash feminism we need now. Collecting over 75 manifestos from around the world, Burn It Down! is a rallying cry and a call to action. Among this confrontational sisterhood, you'll find Dyke Manifesto by the Lesbian Avengers The Ax Tampax Poem Feministo by the Bloodsisters Project The Manifesto of Apocalyptic Witchcraft by Peter Grey Simone de Beauvoir's pro-abortion Manifesto of the 343 Double Jeopardy: To Be Black and Female by Frances M. Beal The Futurist Manifesto of Lust by Valentine de Saint-Point Zapatista Women's Revolutionary Laws Riot Grrrl Manifesto by Bikini Kill Anarchy and the Sex Question by Emma Goldman Breanne Fahs argues that we need manifestos in all their urgent rawness-their insistence that we have to act now, that we must face this, that the bleeding edge of rage and defiance ignites new and revolutionary possibilities is where new ideas are born.
Ancient Egypt in the Popular Imagination by David Huckvale Pdf
Ancient Egypt has long been a source of fascination in Western popular culture. Movies such as The Mummy (1932, 1959), Biblical epics like The Ten Commandments (1923, 1956), and pharaonic films like Cleopatra (1934, 1963) and The Egyptian (1954) have all recreated the glamour and allure of Egyptian art and civilization for Western audiences. This work traces how these and other films were inspired by writers like Bram Stoker and Sir Arthur Conan Doyle and by the art of Victorian painters. Similarly, it shows how the soundtracks to such films belong to a Romantic musical tradition stretching back beyond Verdi and Mozart. Exploring these artistic endeavors addresses the question of whether the fantasy of ancient Egypt represents racist misunderstandings of a far more significant reality, or a way for Western culture to understand itself.
Animated by a singularly subversive spirit, the fiendishly intelligent works of Stuart Gordon (1947–2020) are distinguished by their arrant boldness and scab-picking wit. Provocative gems such as Re-Animator, From Beyond, Dolls, The Pit and the Pendulum, and Dagon consolidated his fearsome reputation as one of the masters of the contemporary horror film, bringing an unfamiliar archness, political complexity, and critical respect to a genre so often bereft of these virtues. A versatile filmmaker, one who resolutely refused to mellow with age, Gordon proved equally adept at crafting pointed science fiction (Robot Jox, Fortress, Space Truckers), sweet-tempered fantasy (The Wonderful Ice Cream Suit), and nihilistic thrillers (King of the Ants, Edmond, Stuck), customarily scrubbing the sharply drawn lines between exploitation and arthouse cinema. The first collection of interviews ever to be published on the director, Stuart Gordon: Interviews contains thirty-six articles spanning a period of fifty years. Bountiful in anecdote and information, these candid conversations chronicle the trajectory of a fascinating career—one that courted controversy from its very beginning. Among the topics Gordon discusses are his youth and early influences, his founding of Chicago’s legendary Organic Theatre (where he collaborated with such luminaries as Ray Bradbury, Kurt Vonnegut, and David Mamet), and his transition into filmmaking where he created a body of work that injected fresh blood into several ailing staples of American cinema. He also reveals details of his working methods, his steadfast relationships with frequent collaborators, his great love for the works of Lovecraft and Poe, and how horror stories can masquerade as sociopolitical commentaries.
