Bøger af Sarah Kozloff

Sarah Kozloff, author of Queen of Raiders, continues her breathtaking and cinematic epic fantasy series The Nine Realms with book three, A Broken Queen, and all four books will be published within a month of each other, so you can binge your favorite new fantasy series.Time can heal all wounds, but not all wounds are visible.Barely surviving her ordeal in Oromondo and scarred by its Fire Spirit, Cerulia is taken to a recovery house in Wyeland to heal from the trauma. In a ward with others who are all bound to serve each other, she discovers that not all scars are visible, and dying can be done with grace and acceptance.While she would like to stay in this place of healing, will she ever be able to leave the peace she has found to re-take the throne?The Nine Realms Series#1 A Queen in Hiding#2 The Queen of Raiders#3 A Broken Queen March 2020#4 The Cerulean Queen April 2020At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Sarah Kozloff continues the breathtaking and cinematic epic fantasy series The Nine Realms with book two, The Queen of Raiders.

Debut author Sarah Kozloff offers a breathtaking and cinematic epic fantasy in the vein of Naomi Novik's Uprooted and Erika Johansen's The Queen of the Tearling.

Discusses dozens of classic and contemporary films ranging from "Bringing Up Baby" to "Terms of Endearment", from "Stagecoach" to "Reservoir Dogs". This book studies the use of dialogue in American film. It shows why dialogue has been neglected in the analysis of narrative film.

"e;Let me tell you a story,"e; each film seems to offer silently as its opening frames hit the screen. But sometimes the film finds a voice-an off-screen narrator-for all or part of the story. From Wuthering Heights and Double Indemnity to Annie Hall and Platoon, voice-over narration has been an integral part of American movies.Through examples from films such as How Green Was My Valley, All About Eve, The Naked City, and Barry Lyndon, Sarah Kozloff examines and analyzes voice-over narration. She refutes the assumptions that words should only play a minimal role in film, that "e;showing"e; is superior to "e;telling,"e; or that the technique is inescapably authoritarian (the "e;voice of god"e;). She questions the common conception that voice-over is a literary technique by tracing its origins in the silent era and by highlighting the influence of radio, documentaries, and television. She explores how first-person or third-person narration really affects a film, in terms of genre conventions, viewer identification, time and nostalgia, subjectivity, and reliability. In conclusion she argues that voice-over increases film's potential for intimacy and sophisticated irony.