X-Men Noir: Mark Of Cain GN-TPB
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Gizmos, Gadgets, Noir and Steampunk
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Each of these four Gothic stories reveals a psychological tale of isolation and monomania. H. Walpole’s ‘The Castle of Otranto’ is filled with terror and ghostly interventions. William Beckford’s ‘Vathek’ alternates grotesque comedy with scenes of exotic magnificence. ‘The Monk’, by Matthew Lewis and M. Shelley’s ‘Frankenstein’ are also included.
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Read by Tony Robinson. `When you start believing in Spirits you start believing in demons and then before you know where you are you’re believing in Gods. And then you’re in trouble. Reality is all very well in small doses. It’s a perfectly conventional and convenient way of neutralising the imagination. But sometimes when there’s more than one reality at play imagination just won’t be neutralised and the walls between realities come tumbling down. Unfortunately there’s usually a damned good reason for there being walls between them in the first place. To keep things out. ; ; Things who want to make mischief and play havoc with the natural order…
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Headline is thrilled to be publishing the sensational New York Times bestselling author Laurell K. Hamilton, the queen of vampire fiction
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A combined edition of: ‘March Violets’, ‘The Pale Criminal’, and, ‘A German Requiem’.
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Describes the process of erecting the great cathedrals in the Gothic era. This text explains the building equipment and falsework needed, the actual operations undertaken, and the sequence of these operations as far as they can be deduced from manuscript illuminations and pictorial representations.
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The term ‘film noir’ still conjures images of a uniquely American malaise: hard-boiled detectives, fatal women, and the shadowy hells of urban life. This book examines how film noir crosses national boundaries, speaks to diverse international audiences, and dramatizes local crimes and the crises of local spaces in the face of global phenomena.
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A book on the British horror movie to detect and analyse the roots of British horror, identifying it as ‘the only staple cinematic myth which Britain can properly claim as its own.’ It has revised author’s original work, bringing the story into the 21st century.
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