Search results for ""Author Sarah Street""

The romantic Beauty and the Beast retelling of your dreams - perfect for fans of reimagined fairy tales and dark, brooding love interests ... A heartless beastA sister's sacrificeAnd a love so strong it will drown the raging sea ...THIS FAIRY TALE IS CURSEDIn a kingdom that fears the sea, Ria Lucroy longs to be brave. Bodies are washing ashore and everyone knows who's to blame. Legends of the Heartless King shroud the continent in fear; they call him a pirate, a monster, a god. When his mercenaries raid her father's merchant ship, Ria's family is faced with a horrifying demand. They will spare his life, in exchange for one of his daughters.Determined to save her sisters, Ria launches herself into the world of pirates. Face-to-face with the Heartless King, she finds he is far more than the stories told. He is a man, with a human name and blood-stained hands, bound to the seas by a centuries-old curse. As their chemistry blooms into something more, Ria finds herself caught in an ancient web of secrets. Battling creatures of the deep alongside those that reign its surface, Ria discovers how to love a heartless man and that some curses aren't so easy to break.Prepare for stormy seas and swoony romance in this addictive enemies-to-lovers fairytale romance set on a cursed pirate ship. Perfect for fans of Brigid Kemmerer's Cursebreakers series and Sarah J Maas's A Court of Thorns and Roses.

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"'Black Narcissus", now heralded as a masterpiece, is a landmark film in the influential canon of Michael Powell and Emeric Pressburger. With the centenary of Powell's birth in 2005 this timely book - the first dedicated exclusively to the film - draws on archival documents, original set drawings and stills to demonstrate its remarkable achievements, both as a production and as a vehicle for ideas. Looking at the film's enduring images of both place and gender, Sarah Street also examines "Black Narcissus" as a masterly technical accomplishment - with cinematographer Jack Cardiff's experiments in Technicolor just one of its many advances - as well as a meditation on the end of empire. Looking too at the film's controversial reception by international critics and censors, and its subsequent impact on experimental filmmakers, Street explores issues of technique, style, performance and interpretation to reveal the continued relevance of "Black Narcissus" today.

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Set in the same world as A Curse of Salt, a heartbreaking sapphic romantasy inspired by Little Red Riding Hood.A broken treatyA wolf in sheep''s clothing And a love that will need to defy all odds to survive HER RED HOOD CAN''T PROTECT HER HEART . . .A fifty-year-old treaty between pirates and the city of Bray lies in tatters, so Mersey sets out to free her city - and herself - from the clutches of the Heartless King. But when her reckless plan fails, she finds herself captured by the world''s most notorious pirate crew.As Mersey battles between fighting for Bray''s safety and falling into the arms of the ship''s cold-blooded first mate, Golde, she''s soon caught up in the beginnings of a war; one she knows will have disastrous consequences for the people she loves, but just might be the thing to set her free. Amid lies, betrayal and a blossoming love for someone she is supposed to want dead, Mersey is torn between two lives.

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This open access book examines how Pinewood came to be Britain's dominant film studio complex, focusing on key years following the Second World War.

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This illuminating study provides a comprehensive reassessment of Deborah Kerr's career, highlighting lesser-known aspects of her star persona. Sarah Street traces the specific qualities of Kerr's screen performances, paying close attention to facial expression, gesture, voice and costume. Covering many iconic films, including The Life and Death of Colonel Blimp, Black Narcissus, From Here to Eternity, An Affair to Remember, The Innocents and Bonjour Tristesse, this book follows Kerr’s journey from her foundational image as an 'English rose' to her performances of challenging roles in which she was cast against type. Illustrated with images from Kerr’s films, this unique case study contributes to the critical understanding of film stars and screen performance.

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SARAH STREET is Professor of Film at the University of Bristol. Her publications include Cinema and State: The Film Industry and the British Government, 192784 (co-authored with Margaret Dickinson, 1985); British National Cinema (1997, 2nd edition 2009); British Cinema in Documents (2000); Transatlantic Crossings: British Feature Films in the USA (2002); Black Narcissus (2005), and Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema (coauthored with Tim Bergfelder and Sue Harris, 2007). She is a member of the editorial boards of the Journal of British Cinema and Television and of Screen. Technical appendix by Simon Brown: SIMON BROWN is Director of Studies for Film and Television at Kingston University, UK. A historian and former film archivist, he has published widely on early and British cinema, including pieces on British colour films in the 1920s and in the 1930s, with a particular focus on Dufaycolor. Alongside Sarah Street and Liz Watkins,

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The era of silent film, long seen as black and white, has been revealed in recent scholarship as bursting with color. Yet the 1920s remain thought of as a transitional decade between early cinema and the rise of Technicolor—despite the fact that new color technologies used in film, advertising, fashion, and industry reshaped cinema and consumer culture. In Chromatic Modernity, Sarah Street and Joshua Yumibe provide a revelatory history of how the use of color in film during the 1920s played a key role in creating a chromatically vibrant culture.Focusing on the final decade of silent film, Street and Yumibe portray the 1920s as a pivotal and profoundly chromatic period of cosmopolitan exchange, collaboration, and experimentation in and around cinema. Chromatic Modernity explores contemporary debates over color’s artistic, scientific, philosophical, and educational significance. It examines a wide range of European and American films, including Opus 1 (1921), L’Inhumaine (1923), Die Nibelungen (1924), The Phantom of the Opera (1925), The Lodger (1927), Napoléon (1927), and Dracula (1932). A comprehensive, comparative study that situates film among developments in art, color science, and industry, Chromatic Modernity reveals the role of color cinema in forging new ways of looking at and experiencing the modern world.

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Since its maiden voyage and sinking in April 1912, Titanic has become a monumental icon of the 20th century and has inspired a wealth of interpretations across literature, art and media. This book offers a comprehensive discussion of the diverse representations of the connections and differences in the way generations of artists and audiences have approached and used the tragedy. In the final section is an in-depth study of James Cameron's blockbuster film "Titanic".

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The story of Eastmancolor's arrival on the British filmmaking scene is one of intermittent trial and error, intense debate and speculation before gradual acceptance. This book traces the journey of its adoption in British Film and considers its lasting significance as one of the most important technical innovations in film history. Through original archival research and interviews with key figures within the industry, the authors examine the role of Eastmancolor in relation to key areas of British cinema since the 1950s; including its economic and structural histories, different studio and industrial strategies, and the wider aesthetic changes that took place with the mass adoption of colour. Their analysis of British cinema through the lens of colour produces new interpretations of key British film genres including social realism, historical and costume drama, science fiction, horror, crime, documentary and even sex films. They explore how colour communicated meaning in films ranging from the Carry On series to Monty Python's Life of Brian (1979), from Lawrence of Arabia (1962) to A Passage to India (1984), and from Goldfinger (1964) to 1984 (1984), and in the work of key directors and cinematographers of both popular and art cinema including Nicolas Roeg, Ken Russell, Ridley Scott, Peter Greenaway and Chris Menges.

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The story of Eastmancolor's arrival on the British filmmaking scene is one of intermittent trial and error, intense debate and speculation before gradual acceptance. This book traces the journey of its adoption in British Film and considers its lasting significance as one of the most important technical innovations in film history. Through original archival research and interviews with key figures within the industry, the authors examine the role of Eastmancolor in relation to key areas of British cinema since the 1950s; including its economic and structural histories, different studio and industrial strategies, and the wider aesthetic changes that took place with the mass adoption of colour. Their analysis of British cinema through the lens of colour produces new interpretations of key British film genres including social realism, historical and costume drama, science fiction, horror, crime, documentary and even sex films. They explore how colour communicated meaning in films ranging from the Carry On series to Monty Python's Life of Brian (1979), from Lawrence of Arabia (1962) to A Passage to India (1984), and from Goldfinger (1964) to 1984 (1984), and in the work of key directors and cinematographers of both popular and art cinema including Nicolas Roeg, Ken Russell, Ridley Scott, Peter Greenaway and Chris Menges.

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A Cultural History of Color in the Modern Age covers the period 1920 to the present, a time of extraordinary developments in colour science, philosophy, art, design and technologies. The expansion of products produced with synthetic dyes was accelerated by mass consumerism as artists, designers, architects, writers, theater and filmmakers made us a ‘color conscious’ society. This influenced what we wore, how we chose to furnish and decorate our homes, and how we responded to the vibrancy and chromatic eclecticism of contemporary visual cultures.The volume brings together research on how philosophers, scientists, linguists and artists debated color’s polyvalence, its meaning to different cultures, and how it could be measured, manufactured, manipulated and enjoyed. Color shapes an individual’s experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts. Anders Steinvall is Senior Lecturer in English Linguistics at Umeå University, Sweden. Sarah Street is Professor of Film at the University of Bristol, UK. Volume 6 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf

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