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It’s the first day at Wendelby horse riding camp when eleven-year-old Kristina sees a pale little face in the attic window of an abandoned — and possibly haunted — house. Kristina’s parents have just separated, and she has moved with her mum and little sister to her mum’s hometown in the south of Sweden. Kristina feels awkward and clumsy most of the time, and her friends at school don’t exactly make her feel better about herself. Turning up at the camp not knowing anyone, she feels alone and a little scared. But it’s not long until she meets Anna, a girl who seems to have no fear, and Finesse, the chestnut horse that opens Kristina’s heart. Kristina and her new-found friends sneak out at night to investigate the mysterious house. A woman used to live there — some say she could talk to animals, others say she was a witch who will return from the dead to make sure no one disturbs the house. Who is the child in the attic? And what happened to the people that used to live there? Kristina finds letters from the 1950s that talk about longing, grief and loneliness, but also about great kindness and love. Back at the camp, an overheard phone conversation late at night suggests that Viktoria, the two-faced riding instructor, is about to do something suspicious. Set in Sweden, in the magical long days and white nights of summer, this is a story about a haunted house, a stolen horse and a man that disappeared more than sixty years ago. It’s also a story about friendship, belonging and the strong bond between a girl and a horse.
The Italian Gothic horror genre underwent many changes in the 1980s, with masters such as Mario Bava and Riccardo Freda dying or retiring and young filmmakers such as Lamberto Bava (Macabro, Demons) and Michele Soavi (The Church) surfacing. Horror films proved commercially successful in the first half of the decade thanks to Dario Argento (both as director and producer) and Lucio Fulci, but the rise of made-for-TV products has resulted in the gradual disappearance of genre products from the big screen. This book examines all the Italian Gothic films of the 1980s. It includes previously unpublished trivia and production data taken from official archive papers, original scripts and interviews with filmmakers, actors and scriptwriters. The entries include a complete cast and crew list, plot summary, production history and analysis. Two appendices list direct-to-video releases and made-for-TV films.
The "Gothic" style was a key trend in Italian cinema of the 1950s and 1960s because of its peculiar, often strikingly original approach to the horror genre. These films portrayed Gothic staples in a stylish and idiosyncratic way, and took a daring approach to the supernatural and to eroticism, with the presence of menacing yet seductive female witches, vampires and ghosts. Thanks to such filmmakers as Mario Bava (Black Sunday), Riccardo Freda (The Horrible Dr. Hichcock), and Antonio Margheriti (Castle of Blood), as well the iconic presence of actress Barbara Steele, Italian Gothic horror went overseas and reached cult status. The book examines the Italian Gothic horror of the period, with an abundance of previously unpublished production information drawn from official papers and original scripts. Entries include a complete cast and crew list, home video releases, plot summary and the author's analysis. Excerpts from interviews with filmmakers, scriptwriters and actors are included. The foreword is by film director and scriptwriter Ernesto Gastaldi.
Italian Gothic horror films of the 1970s were influenced by the violent giallo movies and adults-only comics of the era, resulting in a graphic approach to the genre. Stories often featured over-the-top violence and nudity and pushed the limits of what could be shown on the screen. The decade marked the return of specialist directors like Mario Bava, Riccardo Freda and Antonio Margheriti, and the emergence of new talents such as Pupi Avati (The House with the Laughing Windows) and Francesco Barilli (The Perfume of the Lady in Black). The author examines the Italian Gothic horror of the period, providing previously unpublished details and production data taken from official papers, original scripts and interviews with filmmakers, scriptwriters and actors. Entries include complete cast and crew lists, plot summaries, production history and analysis. An appendix covers Italian made-for-TV films and mini-series.
A collection of the best gay and lesbian cartoonists in America today, compiled from the 12-issue comic series Gay Comix and other national and regional gay periodicals.
Dr. Wertham was senior psychiatrist for the Department of Hospitals in New York City. This book, thoroughly documented by facts and cases, gives the substance of Dr. Wertham's expert opinion on the effects that comic books have on the minds and behavior of children who come in contact with them. Reprint of the 1954 edition with a new comprehensive Introduction by James E. Reibman, Ph.D.
Set in the 1960s, Judy Fong Bates’s much-talked-about debut novel is the story of a young girl, the daughter of a small Ontario town’s solitary Chinese family, whose life is changed over the course of one summer when she learns the burden of secrets. Through Su-Jen’s eyes, the hard life behind the scenes at the Dragon Café unfolds. As Su-Jen’s father works continually for a better future, her mother, a beautiful but embittered woman, settles uneasily into their new life. Su-Jen feels the weight of her mother’s unhappiness as Su-Jen’s life takes her outside the restaurant and far from the customs of the traditional past. When Su-Jen’s half-brother arrives, smouldering under the responsibilities he must bear as the dutiful Chinese son, he forms an alliance with Su-Jen’s mother, one that will have devastating consequences. Written in spare, intimate prose, Midnight at the Dragon Café is a vivid portrait of a childhood divided by two cultures and touched by unfulfilled longings and unspoken secrets.
Arts and Entertainment.
From the skilled author of The Belle of Amherst and Barrymore. Julie Harris starred on Broadway and in the national tour as Baroness Karen Blixen, aka Isak Dinesen, author of Out of Africa and Seven Gothic Tales. Preparing for a trip to America, the flamboyant author tells of how she traveled to Africa, married a baron, and suffered his neglect and faithlessness while contracting syphillis in the bargain. In Act Two, she reveal