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Soon after film came into existence, the term epic was used to describe productions that were lengthy, spectacular, live with action, and often filmed in exotic locales with large casts and staggering budgets. The effort and extravagance needed to mount an epic film paid off handsomely at the box office, for the genre became an immediate favorite with audiences. Epic films survived the tribulations of two world wars and the Depression and have retained the basic characteristics of size and glamour for more than a hundred years. Length was, and still is, one of the traits of the epic, though monolithic three- to four-hour spectacles like Gone with the Wind (1939) and Lawrence of Arabia (1962) have been replaced today by such franchises as the Harry Potter films and the Lord of the Rings trilogy. Although the form has evolved during many decades of existence, its central elements have been retained, refined, and modernized to suit the tastes of every new generation. The Encyclopedia of Epic Films identifies, describes, and analyzes those films that meet the criteria of the epic—sweeping drama, panoramic landscapes, lengthy adventure sequences, and, in many cases, casts of thousands. This volume looks at the wide variety of epics produced over the last century—from the silent spectacles of D. W. Griffith and biblical melodramas of Cecil B. DeMille to the historical dramas of David Lean and rollercoaster thrillers of Steven Spielberg. Each entry contains: Major personnel behind the camera, including directors and screenwriters Cast and character listings Plot summary Analysis Academy Award wins and nominations DVD and Blu-ray availability Resources for further study This volume also includes appendixes of foreign epics, superhero spectaculars, and epics produced for television, along with a list of all the directors in the book. Despite a lack of overall critical recognition and respect as a genre, the epic remains a favorite of audiences, and this book pays homage to a form of mass entertainment that continues to fill movie theaters. The Encyclopedia of Epic Films will be of interest to academics and scholars, as well as any fan of films made on a grand scale.
At 1pm on 26 June 1996 the Sunday Independent's crime reporter Veronica Guerin was shot dead by a motorcycle pillion passenger as she waited at traffic lights on the outskirts of Dublin - the victim of her own crusading expos-s of leading criminals. Her death profoundly shocked the country. Both the President and the Taoiseach attended her funeral; tributes were paid to her in parliament, and hundreds of bouquets of flowers were placed in her memory by members of the public. Within a month new anti-crime measures had been introduced and two of the leading murder suspects had fled the country. While Guerin was hailed as a heroine, the finest journalist of her generation, the Sunday Independent was busy denying any culpability in her death, and its officials vigorously refuted accusations that the paper's cult of personality and cynical controversialism put its writers in danger. Emily O'Reilly's book exposes the frightening moral bankruptcy of the media and the devastating consequences of this - for the individual and for society.
The cultural agenda of Philippe de Vigneulles, translator of the Lorraine epic cycle into Middle French prose. Over fifty chansons de geste were reworked into prose between the fourteenth and sixteenth centuries for patrons and audiences who demanded updated, de-rhymed versions of heroic songs. While most prose translations were commissioned by noble patrons, Philippe de Vigneulles (1471-1527), a cloth merchant of Metz, operated outside the system of patronage on self-imposed projects with a pronounced civic bias. His translation of the monumental Lorraine epic cycle into Middle French prose afforded him an opportunity to reconfigure the city's legendary past and validate the concerns of a prosperous merchant class. The craft of mise en prose is examined in the context of the author's larger cultural agenda as he weaves the epic legend into his civic, personal and aesthetic preoccupations. This perspective illuminates a previously neglected sphere of medieval literary production, revealing fundamental assumptions about the epic tradition and the power of prose in urban culture. CATHERINE M. JONES is Associate Professor of French and Provençal at the University of Georgia.