![]() ![]() ![]() Arriving in the wake of his centenary, Kazan Revisited engages and moves beyond existing debates regarding Kazan's contributions to film, tackling the social, political, industrial, and aesthetic significance of his work from a range of critical perspectives. But much of Kazan's influential cinematic legacy remains unexamined. His reputation has rested on his Academy award-winning work with actors, his provocative portrayal of sexual, moral, and generational conflict, and his unpopular decision to name former colleagues as Communists before the House Un-American Activities Committee in 1952. In landmark motion pictures such as A Streetcar Named Desire, On the Waterfront, East of Eden, and Splendor in the Grass, Kazan crafted an emotionally raw form of psychological realism. Top critics and scholars reconsider the cinematic legacy of Elia KazanĪ groundbreaking filmmaker dogged by controversy in both his personal life and career, Elia Kazan was one of the most important directors of postwar American cinema. ![]()
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![]() ![]() Koffi’s power ultimately saves Ekon, but his choice to let her flee dooms his hopes of becoming a warrior.ĭesperate to redeem himself, Ekon vows to hunt the Shetani and end its reign of terror, but he can’t do it alone. ![]() But on the night of his final rite of passage, Ekon encounters not only the Shetani-a vicious monster that has plagued the city for nearly a century and stalks his nightmares-but Koffi who seems to have the power to ward off the beast. But the night those she loves are gravely threatened by the Zoo’s cruel master, Koffi unleashes a power she doesn’t fully understand, upending her life completely.Īs the second son of a decorated hero, Ekon is all but destined to become a Son of the Six-an elite warrior-and uphold a family legacy. There’s no such thing as magic in the broken city of Lkossa, especially for sixteen-year-old Koffi, who indentured to the notorious Night Zoo, knows the fearsome creatures in her care and paying off her family's debts to secure their eventual freedom can be her only focus. ![]() “Rich in magic and mythos, Beasts of Prey is a feast for all the senses.” -Renée Ahdieh, New York Times bestselling author of The BeautifulĪn Instant New York Times and Indie Bestseller In this blockbuster fantasy series, perfect for fans of Firekeeper’s Daughter and Iron Widow, fate binds two Black teenagers together as they journey into a magical jungle to hunt down a vicious monster. ![]() ![]() Athsheans, as I demonstrate in this paper, put up a resistance to Terran practices that are grounded not in violence (although they unwillingly apply it) but in holding fast to a worldview that is nondualist and dream-based that can serve to inform us in resisting the logic that has led us to the Anthropocene in the first place.Īnthropocene Resistance Literature Ursula K Le Guin DystopiaĮste artigo analisa “The glass abattoir”, um dos contos de Moral tales (COETZEE, no prelo b), entendido como uma sequência de A vida dos animais (COETZEE, 2003), ambos escritos por JM Coetzee. These practices and depictions of the earth resonate with the dilemmas of the Anthropocene, the “age of humans,” where loss in biodiversity, climate change, massive deforestation, among other things are sounding an alarm that many associate with the end of the world as we know it. On planet Athshe, Terrans find dense forests and a peaceful population of humans, and are quick to reproduce practices founded in the dualistic logic that sets humans (culture) against nature. Le Guin imagines a dystopian future where humans (Terrans) are faced with the task of plundering other planets for the resource they have caused the earth to be depleted of: wood. ![]() ![]() ![]() ![]() In The Word for World is Forest (1972) Le Guin, Ursula K. ![]() |