A Walk Through History is a Russian publishing house specializing in children’s nonfiction. Since 2011 it has created and designed about 50 titles on various periods of history and other subjects such as mathematics, sport, plants and animals.
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Can You Believe Your Eyes? Dorian has been living on the streets since running away from home, and has always managed to fend for himself pretty well. But when he wakes up one morning beside a dead homeless man who has evidently been murdered, Dorian panics – he can’t remember anything of what happened the previous night. Is he responsible for the man’s murder? Then a stranger appears with an unexpected offer of help, and Dorian seizes the opportunity with both hands – this is his chance to hide from the police. The stranger works with young people in need, and he takes Dorian to a villa where he is given food, new clothes and even schooling.But Dorian soon learns that you get nothing for free in this life. In return for being looked after at the villa, Dorian is expected to distribute mysterious free gifts – gifts which are very carefully sealed. And when an unexpected turn of events results in him keeping one of the gifts, he finds himself being hunted by merciless pursuers. After the international YA-bestseller Erebos, Saeculum and The Eleria-Trilogy Ursula Poznanski now presents her new thriller: Layers Awarded with the Hans-Jörg-Martin Prize 2016 for the best YA-Thriller! More information also available under: www.layers-buch.de
"LAST CHANCE." Nika looks in the mirror one Sunday morning, feeling rather hungover, to see this message daubed on the glass. Who wrote it? And what does it mean? Where are Nika’s house keys and her phone? Where’s Jenny, her flatmate? And why does she feel so terrible this morning – surely she didn’t have that much to drink last night? It’s only when she turns on the TV and sees the morning news that Nika realises it’s not Sunday at all – it’s Tuesday. Two whole days have gone by, and she has no memory of them. During those two days something terrible must have happened. But what?With Aquila, Ursula Poznanski has produced a true psychological thriller. She tells the story almost entirely in reverse, keeping the reader on tenterhooks until the very last page. Not until the shocking twist at the end of the book do we find out what really happened to Nika during those two lost days.
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Where do we go when Nowhere is the only destination left? Kerrybrook is Jana‘s favourite virtual escape. An idyllic fishing village with beautiful nature and, every now and then, a breeze of fresh air from the nearby sea. Jana, is this world‘s designer and person in power, she’s satisfied with her masterpiece. Best job so far. Until one day, a dead body is found, in both, ’Virtual Reality‘ and the real world. In times of climate change, VR is the only safe place for humankind. That‘s why Jana needs to solve the crime, she’s responsible for stopping the destruction. • CliFi Thriller (Climate Fiction): Climate change & virtual reality • For fans of Black Mirror (Netflix) • All age readers • Strong, female protagonist • Highly relevant topic WHITE RAVENS recommendation (2021): "In the not too distant future, the world is an inhospitable place: droughts, storms, floods. That’s why world designers construct »alternative realities«, such as landscapes populated by dinosaurs, life at court in the Middle Ages, and surfing and chilling out on a beach. People can switch between these worlds at will and, when they die there, they are not truly dead; instead, they merely return to the »real world« – same as at night when they sleep. Then they are reunited with their body, which is lying inside a capsule. In »Cryptos«, Ursula Poznanski pulls out all the stops of storytelling: She embeds numerous references to human and intellectual history in an action-packed and extremely suspenseful thriller plot. In the process, she raises central existential and ontological questions that result from the interplay between the real and the virtual worlds. This complex dystopian novel is narrated in such an enjoyable way that readers will hardly notice their brains going into overdrive as they devour it."
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What if you created your own conspiracy theory - and suddenly, everyone believed in it?What happens when a party gets so out of hand that some hungover students come up with a crazy idea? On a whim, Benny and his friends invent a harebrained story about the visit of aliens. They make up a secret symbol that they spray all over town and post them under fake social media accounts. Benny, Nando, Till, Darya and Liv are mostly curious to see what will happen and if people will believe their conspiracy theory - Liv is also excited to have a topic for her bachelor's thesis in psychology. But to their own surprise, more and more people believe in the story, especially when an anonymous user called "Octavio" starts dropping mysterious hints. Benny’s attempt to clear everything up soon puts his life in danger.Bestselling author (#1 for German YA) Ursula Poznanski's new thriller is a vigilant analysis of the mechanisms of modern superstition and a shocking thriller about a prank that becomes confusing reality.
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Sam Kornberg liebt Trash-Filme, Hochliteratur und seine Frau Lala. Als die ihn verlässt, bricht für Sam eine Welt zusammen. Um sie wiederzugewinnen, ist er zum Äußersten bereit – er sucht sich einen Job. Den erstbesten, den er kriegen kann: Assistent eines Privatdetektivs. Sein Chef ist Solar Lonsky, ein kränkliches, fettleibiges Genie, das sein Haus nicht verlassen kann. Sams erster Auftrag ist die Beschattung einer mysteriösen Frau. Eigentlich muss er nichts weiter tun, als ihr durch Los Angeles zu folgen, doch schon bald verfällt er ihr hoffnungslos und wird in einen Mordfall verwickelt, in dem Satanisten, Succubi, Untergrundfilmer, Hollywoodstars und mexikanische Gangster eine nicht unbedeutende Rolle spielen. Mystery Girl ist ein Thriller über die Gefahren von Kunst und Liebe, ein Schnellkurs in »Verfall der westlichen Zivilisation« und ein durchgeknallter Trip durch L.A. Und, ach ja, es ist eine irre spannende, wahnsinnig gewiefte und brutal komische Geschichte.
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Julius Caesar presents a performance history of a controversial play, moving from its 1599 opening all the way into the new millennium with particular emphasis on its twentieth- and twenty-first-century incarnations on stage and screen. The book tracks the play's evolution from being a play about the oratorical skill of noble Romans to its recent manifestations as a dark political thriller. Chapters in this theoretically savvy and global study consider productions such as Orson Welles's groundbreaking examination of European Fascism, Joseph Mankeiwicz's Oscar winning 1953 film, politically complex productions at the Royal Shakespeare Company, and shows from around the world which interrogate their own cultural and educational context as well as pressing contemporary concerns such as the reach of mass media.
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Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike. ;
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Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.
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Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.
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Despite his controversial reputation and international notoriety as a film-maker, no full-length study of Clouzot has ever been published in English. This book offers a significant revaluation of Clouzot's achievement, situating his career in the wider context of French cinema and society, and providing detailed and clear analysis of his major films (Le Corbeau, Quai des Orfèvres, Le Salaire de la peur, Les Diaboliques, Le Mystère Picasso). Clouzot's films combine meticulous technical control with sardonic social commentary and the ability to engage and entertain a broad public. Although his films are characterised by an all-controlling perfectionism, allied to documentary veracity and a disturbing bleakness of vision, Clouzot is well aware that his is an art of illusion. His fondness for anatomising social pretence, the deception, violence and cruelty practised by individuals and institutions, drew him repeatedly to the thriller as a convenient and compelling model for plots and characters, but his source texts and the usual conventions of the genre receive distinctly unconventional treatment. ;
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This collection offers a new lens through which to examine Spain's cinema production following the isolation imposed by the Franco regime. The seventeen key films analysed in the volume span a period of thirty-five years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. They encompass different genres (horror, thriller, melodrama, social realism, documentary), both popular (Los abrazos rotos/Broken Embraces, Vicky Cristina Barcelona) and more select art house fare (En la ciudad de Sylvia/In the City of Sylvia, El espíritu de la colmena/Spirit of the Beehive) and are made in English (as both first and second language), Basque, Castilian, Catalan and French. Offering an expanded understanding of 'national' cinemas, the volume explores key works by Guillermo del Toro and Lucrecia Martel alongside an examination of the ways in which established auteurs (Almodóvar, José Garci, Carlos Saura) and the younger generations of filmmakers (Cesc Gay, Amenábar, Bollaín) have harnessed cinematic language towards a commentary on the nation-state.
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This book is the first to explore three visual media in contemporary Spain: cinema, television and the internet. It also examines cultural products in each of these media in terms of three vital themes: emotion, location and nostalgia. The first two chapters focus on emotion. They analyze the 'emotional imperative' in a recent Almodóvar feature film and in Spanish television's top-rated period drama, and investigate the politics of affect in TV drama in the last decade. The next pair of chapters deal with location. They use cultural geography to re-read contradictory accounts of the movida (the post-Franco cultural boom) and examine an attempt to anchor a US-derived genre (the youth movie) in the urban landscape of Madrid. The fifth and sixth chapters introduce the theme of location into nostalgia. They treat the unique cases of a successful Spanish heritage movie and a contemporary Spanish thriller remade in Hollywood. The peunultimate chapter investigates electronic artists and the virtual universe, and the book ends with a look at the implications of Hispano-Mexican co-productions and the interconnectedness of economic and aesthetic cultural forms. ;
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This collection offers a new lens through which to examine Spain's cinema production following the isolation imposed by the Franco regime. The seventeen key films analysed in the volume span a period of 35 years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. They encompass different genres (horror, thriller, melodrama, social realism, documentary), both popular (Los abrazos rotos/Broken Embraces, Vicky Cristina Barcelona) and more select art house fare (En la ciudad de Sylvia/In the City of Sylvia, El espíritu de la colmena/Spirit of the Beehive) and are made in English (as both first and second language), Basque, Castilian, Catalan and French. Offering an expanded understanding of 'national' cinemas, the volume explores key works by Guillermo del Toro and Lucrecia Martel alongside an examination of the ways in which established auteurs (Almodóvar, José Garci, Carlos Saura) and younger generations of filmmakers (Cesc Gay, Amenábar, Bollaín) have harnessed cinematic language towards a commentary on the nation-state. The result is a bold new study of the ways in which film has created new prisms that have determined how Spain is positioned in the global marketplace.
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CO2. A WORLD WITH NO TOMORROW is a fast-paced science thriller. For this story, Tom Roth takes movements such as Fridays for Future and the increasingly radical protests for climate change as his inspiration and point of departure. It seems that increasing numbers of people see themselves justified in resorting to radical measures in their efforts to save the planet and the future of humanity (children). And for the first time in history, the movement is emanating primarily from children and young people – whose future is at stake. Twelve children from twelve nations are kidnapped. They’ve been participating in a climate camp in Australia. From now on, one child will die every week unless the international community meets certain demands of the kidnappers for climate protection. As mankind waits with bated breath in anticipation of the first ultimatum expiring, the governments of the countries concerned are fighting over solutions. It soon becomes clear that this race is about much more than the lives of individuals, and that time knows no mercy. A topical issue of our times, highly emotional For readers of Marc Elsberg and Andreas Eschbach English outline and sample translation available
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This volume is the first English-language collection exclusively dedicated to the study of genre in relation to Spanish cinema. Providing a variety of critical perspectives, the collection gives the reader a thorough account of the relationship between Spanish cinema and genre, drawing on case studies of several of the most remarkable Spanish films in recent years. The book analyses the significant changes in the aesthetics, production and reception of Spanish film from 1990 onwards. It brings together European and North American scholars to establish a critical dialogue on the topics under discussion, while providing multiple perspectives on the concepts of national cinemas and genre theory. In recent years film scholarship has attempted to negotiate the tension between the nationally specific and the internationally ubiquitous, discussing how globalisation has influenced film making and surrounding cultural practice. These broader social concerns have prompted scholars to emphasise a redefinition of national cinemas beyond strict national boundaries and to pay attention to the transnational character of any national site of film production and reception. This collection provides a thorough investigation of contemporary Spanish cinema within a transnational framework, by positing cinematic genres as the meeting spaces between a variety of diverse forces that necessarily operate within but also across territorial spaces. Paying close attention to the specifics of the Spanish cinematic and social panorama, the essays investigate the transnational economic, cultural and aesthetic forces at play in shaping Spanish film genres today.
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This volume is the first English-language collection exclusively dedicated to the study of genre in relation to Spanish cinema. Providing a variety of critical perspectives, the collection gives the reader a thorough account of the relationship between Spanish cinema and genre, drawing on case studies of several of the most remarkable Spanish films in recent years. The book analyses the significant changes in the aesthetics, production and reception of Spanish film from 1990 onwards. It brings together European and North American scholars to establish a critical dialogue on the topics under discussion, while providing multiple perspectives on the concepts of national cinemas and genre theory. In recent years film scholarship has attempted to negotiate the tension between the nationally specific and the internationally ubiquitous, discussing how globalisation has influenced film making and surrounding cultural practice. These broader social concerns have prompted scholars to emphasise a redefinition of national cinemas beyond strict national boundaries and to pay attention to the transnational character of any national site of film production and reception. This collection provides a thorough investigation of contemporary Spanish cinema within a transnational framework, by positing cinematic genres as the meeting spaces between a variety of diverse forces that necessarily operate within but also across territorial spaces. Paying close attention to the specifics of the Spanish cinematic and social panorama, the essays investigate the transnational economic, cultural and aesthetic forces at play in shaping Spanish film genres today.
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Wer willst du sein? Opfer oder Täter? Nach jahrelangem, heftigem Mobbing an der Schule hofft Link, dass sie alle tot sind. Dass sie umgekommen sind bei dem Flugzeugabsturz, den er wie durch ein Wunder überlebt hat. Aber sein Hochgefühl währt nur kurz. Denn Links Mitschüler sind alle noch da - sie sind mit ihm auf einer tropischen Insel gestrandet und mehr als bereit, ihn weiter zu erniedrigen. Ziemlich schnell jedoch ist klar: Hier in der Wildnis steht die Schulhierarchie auf dem Kopf. Das Recht des körperlich Stärkeren ist außer Kraft gesetzt und einzig Link als Nerd verfügt über das Wissen zum Überleben. *** Sie haben dich gedemütigt, bis du am Boden lagst. Was würdest du tun, wenn endlich DU am Drücker wärst? Wie schlimm wäre deine Rache? Jetzt machst DU die Regeln. Jetzt wird das Opfer zum Täter. Provokant und schillernd böse: Dieser Thriller der Extraklasse ist bis zur letzten Seite ein packender Kampf ums Überleben! Für alle Thriller- und Krimi-Leser ab 14.
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This is the first book-length study of the most prolific and most critically acclaimed director working in British cinema today. Michael Winterbottom has also established himself, and his company, Revolution Films, as a dynamic force in world cinema. No other British director can claim such an impressive body of work in such a variety of genres, from road movie to literary adaptation, from musical to sex film, to stories of contemporary political significance. The authors of this book use a range of critical approaches to analyse the filmmaker's eclectic interests in cinema and the world at large. With this in mind, the realist elements of such films as Welcome to Sarajevo are examined in the light of a long history of cinema's dealings with realism, as far back as post-war Italian neo-realist filmmaking; whereas Jude and The claim are approached as both literary adaptations (a continuing strand in British cinema history) and examples of other reworked genres (the road movie, the western). This lively study of his work, written in a wholly accessible style, will engage all those who have followed his career as well as those with a wide-ranging interest in British cinema.
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