Editora: BookRix
There Is a Fountain Sheet Music for String Quartet 1. Full Score C-Major 2. Solo Instruments: (Violin 1, Violin 2, Viola, Cello) Tune: American Melody Instrumentation: String Quartet Type of Score: Full Score, 4 Solo Parts Difficulty Level: Advanced/Professional Arranged and Produced by Viktor Dick
Transform Your Screenplay: Secrets to Captivating Storytelling ⭐⭐ Simplified Guide & Explanations Included ⭐⭐ Are you eager to elevate your storytelling skills and master the art of screenplay writing? In search of a thorough guide that equips you with the essential elements to create captivating narratives? Look no further! This guide is your ultimate companion for enhancing your storytelling abilities, applying new techniques, and engaging in practical exercises. With it, you're set on the path to success. Updated for the Latest Screenplay Writing Techniques. Key Features of This Enhanced Guide: - Valuable insights into captivating storytelling. - Comprehensive breakdown of narrative elements. - Effective strategies for crafting engaging scripts. Our guide stands out due to its extensive coverage, which is crucial for your storytelling prowess. We don't just skim the surface; we explore concepts in depth. Please note that this guide operates independently and is not affiliated with any official organizations in the film industry. Crafted with a clear structure and accessible language, our guide guarantees smooth transitions throughout the content. Say goodbye to convoluted jargon and welcome direct, articulate, and technically accurate information. Don’t wait any longer! Click the BUY NOW button, secure your guide, and embark on your journey to storytelling mastery! Transform Your Screenplay: Secrets to Captivating Storytelling awaits you!Ver livro
The work of Stanley Kubrick amounts to a sustained reflection on the male condition: past, present, and future. The persistent theme of his filmmaking is less violence or sex than it is the pressurized exertion of masculinity in unusual or extreme circumstances, where it may be taxed or exaggerated to various effects, tragic and comic—or metamorphosed, distorted, and even undone. The stories that Kubrick's movies tell range from global nuclear politics to the unpredictable sexual dynamics of a marriage; from a day in the life of a New York City prizefighter preparing for a nighttime bout to the evolution of humankind. These male melodramas center on sociality and asociality. They feature male doubles, pairs, and rivals. They explore the romance of men and their machines, and men as machines. They figure intensely conflicted forms of male sexual desire. And they are also very much about male manners, style, taste, and art. Examining the formal, thematic, and theoretical affiliations between Kubrick's three bodies of work, Kubrick's Men offers new vantages on to the question of gender and sexuality, including the first extended treatment of homosexuality in Kubrick's male-oriented work. Contains mature themes.Ver livro
When Bruce Springsteen went back on the road in 1984, he opened every show by shouting out, ""one, two, one, two, three, four,"" followed by the droning synth chords of ""Born in the U.S.A."" Max Weinberg hit his drums with a two-fisted physicality that cut through the swelling chords. With a rolled-up red kerchief around his head and heavy black boots under his faded jeans, Springsteen looked like the character of the song, and from the very first line (""Born down in a dead man's town"") he sang with the throat-scraping desperation of a man with his back against the wall. When he reached the crucial lines, though, the guitars and bass dropped out and Weinberg switched to just the hi-hat. Springsteen's voice grew a bit more private and reluctant as he sang, ""Nowhere to run. Nowhere to go."" It was as if he weren't sure if this were an admission of defeat or the drawing of a line in the sand. But when the band came crashing back at full strength—building a crescendo that fell apart in the cacophony of Springsteen's and Weinberg's wild soloing, paused and then came together again in the determined, marching riff—it was clear that the singer was ready to make a stand.
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Wallis, Diana and Meghan: Three Wives, One Narrative One was a married American socialite who embarked on a scandalous affair with the future king of England. Another was an aristocratic ingenue whose winsome charm captured the world’s imagination. And the third was a thirty-something actress whose outspokenness put her on a collision course with the British public. The marriages of Wallis Simpson, Diana Spencer, and Meghan Markle into the British royal family sparked a series of crises that at times seemed to threaten the future of the monarchy itself. In Unroyal, veteran New York Times reporter and former London correspondent Sarah Lyall revisits how each royal wife threatened the stability of—and was ultimately rejected by—this most ancient and opaque of institutions. Using archival material and interviews with experts like the bestselling author Tina Brown, the royal biographer Andrew Morton, and the social commentator and broadcaster Afua Hirsch, Lyall’s audio documentary examines three pivotal TV interviews in which each woman pushed up against the official royal narrative: Wallis in 1970, Diana in 1995, and Meghan in 2021. Lyall describes the differences and highlights the similarities between the women at these three flexion points to examine the endless codependent dance between the monarchy, the public, and the news media and to shed fresh light on the fraught intersection of power, fame, and family politics in an institution torn between tradition and modernization. Narrated by the author against a beguiling soundscape of contemporaneous news footage and a spectral score, Unroyal blends the probing inquisition of You’re Wrong About with the historical intrigue of The Crown, serving both neophytes and obsessives a delectable royal feast for the ears.Ver livro
Science. Serial killers. Liberation. Alien planets. Trauma. Zen koans. Amorous vampires. Gay stuff. Tentacle beasts. In these five short stories (with ten full-page illustrations!), you'll find all this and more! Horror is transformational. Overwhelm is the dissolution of the ego within the knowledge that what you are is a fleeting instant in an incomprehensibly vast universe. But will this understanding lead to destruction, or will it grant liberation? Open yourself to strange new worlds, and worlds eerily familiar in this debut anthology from author and illustrator Simon Shadows!Ver livro
After an unparalleled string of artistic and commercial triumphs in the 1950s and 1960s, Alfred Hitchcock hit a career lull with the disappointing Torn Curtain and the disastrous Topaz. In 1971, the depressed director traveled to London, the city he had left in 1939 to make his reputation in Hollywood. The film he came to shoot there would mark a return to the style for which he had become known and would restore him to international acclaim. Like The 39 Steps, Saboteur, and North by Northwest before, Frenzy repeated the classic Hitchcock trope of a man on the run from the police while chasing down the real criminal. But unlike those previous works, Frenzy also featured some elements that were new to the master of suspense’s films, including explicit nudity, depraved behavior, and a brutal act that would challenge Psycho’s shower scene for the most disturbing depiction of violence in a Hitchcock film. In Alfred Hitchcock’s Frenzy: The Last Masterpiece, Raymond Foery recounts the history—writing, preprodVer livro
