Warlords and Wastrels
- 370pagine
- 13 ore di lettura
The final book in the Duellist's trilogy - a fast-paced adventure from one of the most exciting new British talents in fantasy
Julia Knight Ordine dei libri
1 gennaio 1957
Questa autrice crea fantasy epico con un forte elemento romantico, spinta da una passione per tutta la vita per il genere iniziata nell'infanzia. Le sue opere si immergono profondamente in mondi fantastici, tessendo narrazioni avvincenti con significative trame romantiche. Incana il suo amore per il genere nella creazione di racconti avvincenti che attraggono i fan del fantasy epico. La sua scrittura riflette un apprezzamento per una vasta gamma di autori fantasy e i loro diversi approcci.
- 2015
- 2015
Legends and Liars
- 384pagine
- 14 ore di lettura
The second book in the Duellist's trilogy - a fast-paced adventure from one of the most exciting new British talents in fantasy
- 2015
Swords and Scoundrels
- 384pagine
- 14 ore di lettura
The first book in the Duellist's trilogy - a fast-paced adventure from one of the most exciting new British talents in fantasy
- 1992
There were virtually no women film directors in germany until the 1970s. today there are proportionally more than in any other film-making country6, and their work has been extremely influential. Directors like Margarethe von Trotta, Helma Sanders-Brahms, Ulrike Ottinger and Helke Sander have made a huge contribution to feminist film culture, but until now critical consideration of New German Cinema in Britain and the United States has focused almost exclusively on male directors such as Rainer Werner Fassbinder and Wim Wenders. In Women and the New German Cinema Julia Knight examines how restrictive social, economic and institutional conditions have compounded the neglect of the new women directors. Rejecting the traditional auteur approach, she explores the principal characteristics of women’s film-making in the 1970s and 1980s, in particular the role of the women’s movement, the concern with the notion of a ‘feminine aesthetic’, women’s entry into the mainstream, and the emergence of a so-called post-feminist cinema. This timely and comprehensive study will be essential reading for everyone concerned with contemporary cinema and feminism.