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At the root of all these noble races, the beast of prey, the splendid blond beast prowling greedily in search of spoils and victory, cannot be mistaken.
Narrative Consequence vs. Symbolic Circumstance
Alfred Hitchcock and Michelangelo Antonioni each have an affinity for featuring love triangles in their films. For Hitchcock, each reincarnation of the love triangle features a variation on the characters involved and the motivation for their relationships, but each holds on to an established narrative structure to present the displacement of a protagonist into a foreign environment, develop a love triangle, then consequentially destroy of one of its members and inflict harm on the environment. 1,933 more words
Item One: The cover art for Wollstone is here, and it be a beauty:
And here’s the blurb:
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The moment Emil Gogean sets foot inside Wollstone Academy’s fairy tale-like campus, he realizes his freshman year in high school is bound to be a very strange one.
Six of the best…
If proof were needed that Daphne du Maurier knew how to tell a chilling tale, then the fact that Hitchcock chose to make three of her stories into films surely provides it. 799 more words