Search results for ""Carnival""

This run of stories featuring Tom Baker as the Fourth Doctor features four stories, loosely connected as the Doctor finds himself the target of an enemy. This set contains: The Sinestran Kill by Andrew Smith. When the Doctor decides to trace an anomalous energy signature on twentieth century Earth, he stumbles into an assassination attempt. Gangland thugs are trying to murder a seemingly innocent shopkeeper, and it’s only the intervention of the Doctor and Ann Kelso – a WPC who happens to be on the scene – that prevents a tragedy. But why do the gangsters want the shopkeeper dead? And what does this have to do with alien technology? The first stages of a grand conspiracy are about to be revealed. And finding the answers will take Ann Kelso on a journey like no other. Planet of the Drashigs by Phil Mulryne. When the TARDIS lands on an alien planet, the Doctor’s intentions to show Ann Kelso an advanced future society are thrown into disarray. Because they have arrived on DrashigWorld - a park where every known species of the terrifying predators has been gathered together to entertain and thrill the public. The familiar wetland Drashigs, the albino burrowing Drashigs of the desert, and deadliest of all, the tiny Emerald Drashigs of the rain forests. And it’s not the best day to have arrived. The park has been shut down due to a visitor fatality. A Galactic Attractions inspector is on site meaning everyone is extremely tense and under pressure. It’s exactly the right circumstances in which someone might make a mistake. And on Drashigworld, mistakes are deadly. The Enchantress of Numbers by Simon Barnard and Paul Morris. The TARDIS lands in the grounds of Newstead Abbey, Nottinghamshire, in 1850. Mistaken for a medic and his maid, the Doctor and Ann are brought to meet Ada Lovelace - the mother of computing and daughter of Lord Byron - who has recently fallen ill. But the travellers are not here by chance. Something odd is happening on Earth, and they’ve determined that this place is the centre of it. Strange figures are walking the land. Strange figures wearing bird-like masks. What do they want with Ada? And how will it change the future of humanity? The False Guardian by Guy Adams. Ann Kelso doesn’t like mysteries. Keen to investigate the trail of the Sinestrans, she sets the TARDIS on a new course... but flies into danger. Arriving on a desolate world that the Doctor finds somehow familiar, the TARDIS crew discover that something is wrong with time. The inhabitants of an unusual complex are experimenting at the command of their enigmatic director... somebody who has quite a strong grudge against the Doctor.Facing an old foe who was presumed dead, the travellers are soon trapped in a diabolical scheme. But is it just the tip of the iceberg? Planet of the Drashigs features the eponymous flesh-eating monsters for the first time on audio, after their fan favourite debut in the Jon Pertwee story The Carnival of Monsters! CAST: Tom Baker (The Doctor), Jane Slavin (WPC Ann Kelso), John Leeson (K9), Frank Skinner (DCI Scott Neilson), Glynis Barber (Kathy Blake), Finty Williams (Ada Lovelace), Fenella Woolgar (Vanessa Seaborne), Ewan Bailey (Hugo Blake), Nicholas Khan (Jimmy Lynch), Leon Williams (Tony Reynolds), Jeremy Clyde (Lord Braye), Lizzie Roper (Trencher), Andrew Ryan (Titus Wayland), Andrew Havill (Colonel Wildman), Eve Webster (Hettie / Lady Cleverley), Barnaby Edwards (Mr. Hobhouse), Glen McCready (Edvard Scheutz /Lord Byron / Harry), John Shrapnel (Nigel Colloon), Anna Acton (Brox), Blake Ritson (Elmore), Roger May (Mac Foley), Tracy Wiles (Drones). Other parts played by members of the cast.

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Because silent cinema is widely perceived as having been exactly that-silent-no one has fully examined how souns was used to accompany the films of this era. Silent Film Sound reconsiders all aspects of sound practices during the entire silent film period. Based on extensive origianl reserach and accompanied by gorgeous illustrations, the book challenges the assumptions of earlier histories of this period in film and reveals the complexity and swiftly changing nature of American silent cinema. Contrary to received opinion, silent films were not always accompanied, nor were accompaniments uniform. Beginning with sound practices before cinema's first decade and continuing through to the more familiar sound practices of the 1920s, Rick Altman discusses the variety of sound strategies and the way early cinema exhibitors used these strategies to differentiate their products. During the nickelodeon period prior to 1910, this variety reached its zenith, with theaters often deploying half a dozen competing sound strategies-from carniva-like music in the street, automatic pianos at the rear of the theater, and small orchestras in the pit to lecturers, synchronized sound systems, and voices behind the screen. During this period, musical accompaniment had not yet begun to support the story and its emotions as it would in later years. But in the 1910s, film sound acquiesced to the demands of the burgeoning cinema industry, who successfully argued that accompaniment should enhance film's narrative and emotional content rather than score points by burluesqiung or "kidding" the film. The large theaters and blockbuster productions of the mid-1910s provided a perfect crucible for new instruments, new music publication projects, and the development of a new style of film msuic. From that moment on, film music would become an integral part of the film rather than its adversary, and a new style of cinema sound would favor accompaniment that worked in concert with cinema story-telling. For the first time, Silent Film Sound details the ways in which these diverse intersts and industires cam together to produce an extraordinarily successful audiovisual art. Because silent cinema is widely perceived as having been exactly that-silent-no one has fully examined how sound was used to accompany the films of this era. Silent Film Sound reconsiders all aspects of sound practices during the entire silent film period. Based on extensive original research and accompanied by gorgeous illustrations, the book challenges the assumptions of earlier histories of this period in film and reveals the complexity and swiftly changing nature of American silent cinema. Contrary to received opinion, silent films were not always accompanied, nor were accompaniments uniform. Beginning with sound practices before cinema's first decade and continuing through to the more familiar sound practices of the 1920s, Rick Altman discusses the variety of sound strategies and the way early cinema exhibitors used these strategies to differentiate their products. During the nickelodeon period prior to 1910, this variety reached its zenith, with theaters often deploying half a dozen competing sound strategies-from carnival-like music in the street, automatic pianos at the rear of the theater, and small orchestras in the pit to lecturers, synchronized sound systems, and voices behind the screen. During this period, musical accompaniment had not yet begun to support the story and its emotions as it would in later years. But in the 1910s, film sound acquiesced to the demands of captains of the burgeoning cinema industry, who successfully argued that accompaniment should enhance the film's narrative and emotional content rather than score points by burlesquing or "kidding" the film. The large theaters and blockbuster productions of the mid-1910s provided a perfect crucible for new instruments, new music-publication projects, and the development of a new style of film music. From that moment on, film music would become an integral part of the film rather than its adversary, and a new style of cinema sound would favor accompaniment that worked in concert with cinema storytelling. For the first time, Silent Film Sound details the ways in which these diverse interests and industries came together to produce an extraordinarily successful audiovisual art.

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