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This eBook edition of "A Royal Prisoner" has been formatted to the highest digital standards and adjusted for readability on all devices. The King of Hesse-Weimar is arriving in, with a famous diamond of tremendous worth in his keeping. Fantômas bites the bait and foils the ingenious and diabolical plot to steal the diamond, but the redoubtable Inspector Juve and his faithful sidekick Fandor know Fantômas too well not to anticipate it.
First published in France in 1911, this novel was the fifth in the Fantomas series, detailing the further adventures of the Lord of Terror. It was published in the US in 1917 and has remained out of print until now. The plot revolves around the King of Hesse-Weimar's arrival in Paris, with a diamond of fabulous worth in his keeping...and Fantomas of course rises to the bait with typically ingenious and diabolical stratagems. At this installment's close a nasty surprise also awaits the redoubtable Inspector Juve, leaving him and his sidekick Fandor in serious peril. Has evil triumphed? Good fun for lovers of pulp fiction.
The daring exploits of Fantomas in his attempts to get possession of the King of Hesse-Weimar's famous diamond. Marcel Allain (1885-1970) was a French writer mostly remembered today for his co-creation with Pierre Souvestre of the fictional arch-villain and master criminal Fantomas. The son of a Parisian bourgeois family, Allain studied law before becoming a journalist. He then became the assistant of Souvestre, who was already a well-known figure in literary circles. In 1909, the two men published their first novel, Le Rour. Investigating Magistrate Germain Fuselier, later to become a recurring character in the Fantomas series, appears in the novel. Then, in February 1911, Allain and Souvestre embarked upon the Fantomas book series at the request of publisher Artheme Fayard, who wanted to create a new monthly pulp magazine. The success was immediate and lasting. After Souvestre's death in February 1914, Allain continued the Fantomas saga alone, then launched several other series, such as Tigris, Fatala, Miss Teria and Ferocias, but none garnered the same popularity as Fantomas. In 1926, Allain married Souvestre's girl-friend, Henriette Kistler. In total, Allain wrote more than 400 novels in his prolific career."
Marcel Allain (1885-1970) was a French writer mostly remembered today for his co-creation with Pierre Souvestre of the fictional arch-villain and master criminal Fantomas. Pierre Souvestre (1874-1914) was a French lawyer, journalist, writer and organizer of motor races. Allain became the assistant of Souvestre, when he was already a well-known figure in literary circles. In 1909, the two men published their first novel, Le Rour. Investigating Magistrate Germain Fuselier, later to become a recurring character in the Fantomas series, appears in the novel. Then, in 1911, Allain and Souvestre embarked upon the Fantomas book series at the request of publisher Artheme Fayard, who wanted to create a new monthly pulp magazine. The success was immediate and lasting. After Souvestre's death in 1914, Allain continued the Fantomas saga alone, then launched several other series, such as Tigris, Fatala, Miss Teria and Ferocias, but none garnered the same popularity as Fantomas. In total, Allain wrote more than 400 novels in his prolific career. Their works include: Un Roi Prisonnier de Fantomas (1911), Le Fiacre de Nuit (1911), La Livree du Crime (1912) and Le Jockey Masque (1913). Fantomas is a fictional character created by French writers Marcel Allain (1885-1970) and Pierre Souvestre (1874-1914). One of the most popular characters in the history of French crime fiction, Fantomas was created in 1911 and appeared in a total of 32 volumes written by the two collaborators, then a subsequent 11 volumes written by Allain alone after Souvestre's death. The character was also the basis of various film, television, and comic book adaptations. His importance in the history of crime fiction cannot be overestimated, as he represents a transition from Gothic novel villains of the 1800s, to modern-day serial killers.
First published in France in 1911, this novel was the fifth in the Fantomas series, detailing the further adventures of the Lord of Terror. It was published in the US in 1917 and has remained out of print until now. Original editions of this book are among the rarest of all the Fantomas novels. E-text of this novel occasionally turn up on the internet, but those versions are missing the end of the novel. This is currently the only unexpurgated version of A ROYAL PRISONER available in any format! This edition also includes and introduction and many rare images that trace Fantomas' place in American popular culture.
This is a crime fiction novel by a French author who co-wrote with another author, Allain Marcal. Together they created the archvillain character Fantomas, who became an immediate hit with the reading public of 1911, as he embarked on a series of dastardly deeds.
The Citadel of Fear, an anthology showcasing the work of Gertrude Barrows Bennett, who wrote under the pseudonym Francis Stevens, is a cornerstone in the foundation of science fiction literature. Within its pages, readers will discover an array of speculative narratives that transcend time and space, weaving together elements of fantasy, horror, and early science fiction. The collection encapsulates the diverse and groundbreaking storytelling techniques of its era, offering a splendid display of Stevens' pioneering imagination and mastery over the speculative. Its standout pieces not only explore the unknown but also delve into the complexities of human emotion and the interplay between fear and curiosity, making it a significant contribution to the genre's evolution. The authors behind these narratives, particularly Stevens, are considered trailblazers in science fiction. Bennett, an unsung heroine of her time, effectively laid the groundwork for future generations of writers within these genres. Through her unique lens, readers are offered a glimpse into the early 20th century's burgeoning fascination with the speculative and the fantastic. The anthology aligns with pivotal moments in literary history, where the boundaries of reality are pushed, and new worlds are conceived, cementing its place within the pantheon of science fiction classics. This collection is recommended for those intrigued by the roots of science fiction and the remarkable breadth of themes it encompasses. It offers a unique opportunity to experience the visionary work of Gertrude Barrows Bennett, whose contributions have significantly shaped the landscape of speculative fiction. The Citadel of Fear serves not only as a portal to imaginative realms but also as a critical resource for understanding the evolution of science fiction. Readers, scholars, and enthusiasts alike will find value in this anthology, for it fosters a greater appreciation of the genre's complexities and the diverse perspectives that have contributed to its enduring legacy.
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Avant-garde film is almost indefinable. It is in a constant state of change and redefinition. In his highly-acclaimed history of experimental film, A.L. Rees tracks the movement of the film avant-garde between the cinema and modern art (with its postmodern coda). But he also reconstitutes the film avant-garde as an independent form of art practice with its own internal logic and aesthetic discourse. In this revised and updated edition, Rees introduces experimental film and video to new readers interested in the wider cinema, as well as offering a guide to enthusiasts of avant-garde film and new media arts. Ranging from Cézanne and Dada, via Cocteau, Brakhage and Le Grice, to the new wave of British film and video artists from the 1990s to the present day, this expansive study situates avant-garde film between the cinema and the gallery, with many links to sonic as well as visual arts. The new edition includes a review of current scholarship in avant-garde film history and includes updated reading and viewing lists. It also features a new introduction and concluding chapter, which assess the rise of video projection in the gallery since the millennium, and describe new work by the latest generation of experimental film-makers. The new edition is richly illustrated with images of the art works discussed.