Sarah Street

A heartless beast A sister's sacrifice And a love so strong it will drown the raging sea ... THIS FAIRYTALE IS CURSED In a kingdom that fears the sea, Ria Lucroy longs to be brave. Bodies are washing ashore and everyone knows who's to blame. Legends of the Heartless King shroud the continent in fear; they call him a pirate, a monster, a god. When his mercenaries raid her father's merchant ship, Ria's family is faced with a horrifying demand. They will spare his life, in exchange for one of his daughters. Determined to save her sisters, Ria launches herself into the world of pirates. Face-to-face with the Heartless King, she finds he is far more than the stories told. He is a man, with a human name and blood-stained hands, bound to the seas by a centuries-old curse. As their chemistry blooms into something more, Ria finds herself caught in an ancient web of secrets. Battling creatures of the deep alongside those that reign its surface, Ria discovers how to love a heartless man and that some curses aren't so easy to break. Prepare for stormy seas and swoony romance in this addictive retelling of Beauty and the Beast ... Perfect for fans of Brigid Kemmerer's Cursebreakers series and Sarah J Maas's A Court of Thorns and Roses.

A Curse of Salt

Curse of Salt

Sea of Wolves

Tim Bergfelder

Since its maiden voyage and sinking in April 1912, Titanic has become a monumental icon of the 20th century and has inspired a wealth of interpretations across literature, art and media. This book offers a comprehensive discussion of the diverse representations of the connections and differences in the way generations of artists and audiences have approached and used the tragedy. In the final section is an in-depth study of James Cameron's blockbuster film "Titanic".

Representations in Visual and Literary Culture

The Titanic in Myth and Memory

Keith M. Johnston

Paul Frith

Carolyn Rickards

The story of Eastmancolor's arrival on the British filmmaking scene is one of intermittent trial and error, intense debate and speculation before gradual acceptance. This book traces the journey of its adoption in British Film and considers its lasting significance as one of the most important technical innovations in film history. Through original archival research and interviews with key figures within the industry, the authors examine the role of Eastmancolor in relation to key areas of British cinema since the 1950s; including its economic and structural histories, different studio and industrial strategies, and the wider aesthetic changes that took place with the mass adoption of colour. Their analysis of British cinema through the lens of colour produces new interpretations of key British film genres including social realism, historical and costume drama, science fiction, horror, crime, documentary and even sex films. They explore how colour communicated meaning in films ranging from the Carry On series to Monty Python's Life of Brian (1979), from Lawrence of Arabia (1962) to A Passage to India (1984), and from Goldfinger (1964) to 1984 (1984), and in the work of key directors and cinematographers of both popular and art cinema including Nicolas Roeg, Ken Russell, Ridley Scott, Peter Greenaway and Chris Menges.

The Eastmancolor Revolution

Colour Films in Britain

Eastmancolor and branding -- Institutions and Eastmancolor -- Comedy and satire -- Social realism and contemporary drama -- The colour of crime -- The colour fantastic : fantasy, horror and science fiction -- Historical and costume films -- Musicals, pop music and the concert film -- Colour and collaboration -- Art, experimental/avant grade practices -- Amateur colour filmmaking -- Short, documentary and advertising films -- Sex and Eastmancolor -- Cultures and practices of preservation and restoration.

Simon Brown

Liz Watkins

This new AFI Film Reader is the first comprehensive collection of original essays on the use of color in film. Contributors from diverse film studies backgrounds consider the importance of color throughout the history of the medium, assessing not only the theoretical implications of color on the screen, but also the ways in which developments in cinematographic technologies transformed the aesthetics of color and the nature of film archiving and restoration. Color and the Moving Image includes new writing on key directors whose work is already associated with color—such as Hitchcock, Jarman and Sirk—as well as others whose use of color has not yet been explored in such detail—including Eric Rohmer and the Coen Brothers. This volume is an excellent resource for a variety of film studies courses and the global film archiving community at large.

History, Theory, Aesthetics, Archive

Color and the Moving Image

Brings a refreshing new perspective to the key debates on British cinema, by using neglected documentary material. Illustrated through a series of case studies such as the fan cultures surrounding stars.

British Cinema in Documents

Giovanna Fossati

Sparked by a groundbreaking Amsterdam workshop titled YDisorderly Order: Colours in Silent Film, OE scholarly and archival interest in colour as a crucial aspect of film form, technology and aesthetics has enjoyed a resurgence in the past twenty years. In the spirit of the workshop, this anthology brings together international experts to explore a diverse range of themes that they hope will inspire the next twenty years of research on colour in silent film. Taking an interdisciplinary approach, the book explores archival restoration, colour film technology, colour theory, and experimental film alongside beautifully saturated images of silent cinema.

Chromatic Worlds of Silent Cinema

The Colour Fantastic

Joshua Yumibe

The era of silent film, long seen as black and white, has been revealed in recent scholarship as bursting with color. Yet the 1920s remain thought of as a transitional decade between early cinema and the rise of Technicolor—despite the fact that new color technologies used in film, advertising, fashion, and industry reshaped cinema and consumer culture. In Chromatic Modernity, Sarah Street and Joshua Yumibe provide a revelatory history of how the use of color in film during the 1920s played a key role in creating a chromatically vibrant culture. Focusing on the final decade of silent film, Street and Yumibe portray the 1920s as a pivotal and profoundly chromatic period of cosmopolitan exchange, collaboration, and experimentation in and around cinema. Chromatic Modernity explores contemporary debates over color’s artistic, scientific, philosophical, and educational significance. It examines a wide range of European and American films, including Opus 1 (1921), L’Inhumaine (1923), Die Nibelungen (1924), The Phantom of the Opera (1925), The Lodger (1927), Napoléon (1927), and Dracula (1932). A comprehensive, comparative study that situates film among developments in art, color science, and industry, Chromatic Modernity reveals the role of color cinema in forging new ways of looking at and experiencing the modern world.

Color, Cinema, and Media of the 1920s

Chromatic Modernity

Costume and Cinema: Dress Codes in Popular Film presents an overview of the literature on film costume, together with a series of detailed case studies which highlight how costume is a key signifier in film texts. Sarah Street demonstrates how costume relates in fundamental ways to the study of film narrative and mise-en-scène, in some cases constituting a language of its own. In particular the book foregrounds the related issues of adaptation and embodiment in a variety of different genres and investigates this under-explored area through extensive analysis of popular films including The Talented Mr Ripley, Desperately Seeking Susan, and The Matrix.

Dress Codes in Popular Film

Costume and Cinema

Sue Harris

Summary: "Film Architecture and the Transnational Imagination presents for the first time a comparative study of European film set design in the late 1920s and 1930s; based on a wealth of designers ʼ drawings, film stills and archival documents, the book offers a new insight into the development and significance of trans-national artistic collaboration during this period. European cinema from the late 1920s to the late 1930s is famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema provides a comprehensive analysis of the practices, styles, and function of cinematic production design during this period, and its influence on subsequent filmmaking patterns."--Publisher description.

Set Design in 1930s European Cinema

Film Architecture and the Transnational Imagination

This illuminating study provides a comprehensive reassessment of Deborah Kerr's career, highlighting lesser-known aspects of her star persona. Sarah Street traces the specific qualities of Kerr's screen performances, paying close attention to facial expression, gesture, voice and costume. Covering many iconic films, including The Life and Death of Colonel Blimp, Black Narcissus, From Here to Eternity, An Affair to Remember, The Innocents and Bonjour Tristesse, this book follows Kerr's journey from her foundational image as an 'English rose' to her performances of challenging roles in which she was cast against type. Illustrated with images from Kerr's films, this unique case study contributes to the critical understanding of film stars and screen performance.

Deborah Kerr

The first substantial overview of the British film industry with emphasis on its genres, stars, and socioeconomic context, British National Cinema by Sarah Street is an important title in Routledge's new National Cinemas series. British National Cinema synthesizes years of scholarship on British film while incorporating the author' fresh perspective and research. Street divides the study of British cinema into four sections: the relation between the film industry and government; specific film genres; movie stars; and experimental cinema. In addition, this beautifully illustrated volume includes over thirty stills from every sphere of British cinema. British National Cinema will be of great interest to film students and theorists as well as the general reader interested in the fascinating scope of British film.

Sarah Street

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