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Title: The Gold Lotus Sub title: Thousands of Cupid’s Arrows on the Battlefield of Love Author: A.D. Dauphinais Publisher: Goff Books Soft bound & Hardbound : 430pages Series: Trilogy (Book 1) Language: UK English ISBN-13#: 9781951541590 UNSPSC Code: 52199 Dimensions: 5.5 X 1.2 X 8 Release date: March, 2021 Genres: Asian Fantasy, Fiction, Epic Fantasy, High Fantasy, Drama, Magical Realism, Costume and Period, Action Adventure, Historical Fantasy, Historical Drama, Cultural Heritage Fiction, Sword & Sorcery Fantasy, Asian Drama, K-pop drama, K- pop Fantasy Rating: PG-13 Short description: This is an epic tale; a fantasy replete with grand romances and countless avenues leading to divine love. Venture through diverse time perspectives and complex mythologies of the Gods in this multi-dimensional drama, inspired by ancient Asian principles. The Gold Lotus is a dance in written form; a saga with a rhythmic delivery that will transport you through intricate plots, legendary wars, unsettling separations, and passionate love, unbound. for a journey brought on by Muniji, the minstrel saint, to face a destiny that stands betweenManifested destruction in aand time salvation. of darkness Weaving and war, through the celestialthe ways being of love Kānu and prepares power, discovering the deepest desires of the heart and defeating evil — both within and without.the almighty Kānu will learn to become the saviour of his heavenly kingdom while As the heavenly kingdom yearns for its saviour, a formidable and broken God of War comes to battle with an unpredictable foe that has bested the mightiest of warriors before him: finding the lost love capable of fulfilling the void in his heart. What (or who) he finds as the answer proves to be a riddle never before beings that oversee the forces of existence, the celestial war for balance is far from wonencountered and the stakesby the growrevered higher warrior. with Alongsideevery heartbeat. Kānu and a kingdom of mystical Credits: Publisher: Gordon Goff Editor: Alejandro Guzman-Avila Development editing and copyediting: Stephanie Marohn Proofreading: Kirby Anderson Character Artwork: Marie-Eve Soleil Book cover design: Damian Scott and Sarah Cunard Map co-design: Brooke Biro Book layout: Pablo Mandel Special Thanks to my husband for all his support during my author phase .

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QUADERNS ISSN (electronic): 2014-2242 / www.cac.cat DEL CAC Hybridisation strategies in reality TV in mass television programmes MIQUEL GARCIA HORCAJO Head of the Televisió de Catalunya New Formats Department [email protected] Abstract Resum The reality of a multi-platform setting, the fragmentation of La realitat d’un context multiplataforma, la fragmentació de the TV on offer and the recession are forcing channels to com- l’oferta televisiva i la situació de crisi econòmica obliguen les pete with low-cost products and to surprise viewers with nov- cadenes a haver de competir amb productes de baix cost i a elties. Hybridisation is a basic premise for evolution and for sorprendre les persones espectadores amb novetats. La hibri- innovation, hence the proliferation in recent years of genres dació és una premissa bàsica per a l’evolució i per a la inno- that combine ingredients from a range of formats and prove- vació. D’aquí la proliferació, en els darrers anys, de gèneres nances. Such neologisms as infotainment, docutainment, que barregen ingredients de diversos formats i procedències. docufiction, docureality, mockumentary, etc. have entered TV Neologismes com ara infotainment, docutainment, docufiction, schedules, increasingly established in an entertainment role. docureality, mockumentary, etc., s’han incorporat de nou a les graelles de les televisions, cada cop més establertes en un rol Key words d’entreteniment. Television, genres, formats, hybridisation, multi-platform, multi-format, multi-genre, factual, docutainment, infotain- Paraules clau ment, docureality, docufiction, coaching, mockumentary Televisió, gèneres, formats, hibridació, multiplataforma, mul- tiformat, multigènere, factual, docutainment, infotainment, docureality, docufiction, coacking, mockumentary Factual, infotainment, docutainment, docureality..
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The Historian-Filmmaker's Dilemma: Historical Documentaries in Sweden in the Era of Häger and Villius
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Confronting Historical Stereotypes of African Americans on the Big Screen Melissa Ann Garrett Iowa State University
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How Bilbo Lost His Innocence: Media Audiences and the Evaluation of the Hobbit As a ‘Children’S Film’
.F-E Volume 13, Issue 2 November 2016 How Bilbo lost his innocence: Media audiences and the evaluation of The Hobbit as a ‘Children’s Film’ Lars Schmeink, Institut für Kultur- und Medienmanagement Hamburg, Germany Abstract: The Hobbit (1937) by J. R. R. Tolkien is one of Britain’s, if not one of the world’s, most beloved children’s books. It thus stands to reason that the film adaptation by Peter Jackson (2012-2014) should be similarly beloved as children’s films. Yet indeed, the largest audience study to date, the World Hobbit Project, suggests otherwise. Of all the possible ‘types of film’ that audiences could choose from they were least comfortable with ‘Children’s Story’ and in their qualitative answers described the films as not ‘suitable’ for children. The essay analyzes the historical relation between the categories of ‘Children’s Story’ and the fantasy genre, by contrasting early reviews of the novel with audience reactions from the survey. At the core of the argument are audience expectations of what makes a story appropriate or intended for children and what the genre fantasy deals with. The analysis shows how these two expectations have diverged and now seem to be at odds with each other, clearly marking a shift in the meaning-making process surrounding the genre. Keywords: The Hobbit, Fantasy, Children, Audiences, Genre When the extended version of The Hobbit: The Battle of the Five Armies was released on DVD and Blu-ray in November 2015, it was not only remarkable for its length, extending the 144-min theatrical cut by an additional 20 minutes and thus boosting the runtime of all three parts of the film to 532 minutes.
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Historical Drama
"'I\II!!!'fl"'" HERBERT LINDENBERC;E R y como siempre ha sido 10 que mas ha alegrado y divertido la representaci6n bien aplaudida, y es representaci6n la humana vida, una comedia sea HISTORICAL la que hoy el cielo en tu teatro vea. The Maker to the World, in Calderon, El gran teatro del mundo DRAMA Und jetzt an des Jahrhunderts ernstem Ende, Wo selbst die Wirklichkeit zur Dichtung wird ... The Relation Schiller, Prologue to Wallenstein of Literature Vergangenes historisch artikulieren heisst nicht, es erkermen "wie es denn eigentlich gewesen ist ." Es heisst, sich einer Erinnerung bernachtigen, wie sie im Augenblick einer Gefahr aufbIitzt. and Reality Walter Benjamin, "Geschichtsphilosophische Thesen" THE llNIVERSTTY OF CHICAGO PRESS CIIICA(;O AND LONDON PREFACE ONE California, Riverside; and Rose Zimbardo of the State University of New York, Stony Brook, for their willingness to chat with me about various aspects of the project and to offer suggestions, information, and ideas. HISTORICAL DRAMA I wish to express my gratitude, as well, to the John Simon Guggenheim Memorial Foundation for its generous fellowship; to Washington University, AND HISTORICAL REALITY St. Louis, for granting me a sabbatical leave early in the project; to Stanford University for funds for typing and photocopying; to Evelyn Barnes and Jo Guttadauro for patiently and accurately typing the manuscript; and to the Comparative Literature secretary at Stanford, Mrs. Gloria Spitzer, for her usual persistence and skill in supervising its difficult early and final stages. LEVELS OF REALITY Before you study the history study the historian ....Before you study the historian, study his historical and social environment.
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