Download e-book for iPad: Music in the Night (Logan Family, Book 4) by V. C. Andrews

By V. C. Andrews

ISBN-10: 1451637063

ISBN-13: 9781451637069

Laura Logan goals of an excellent Cape Cod day whilst all of the darkish secrets and techniques are swept away....

For Laura Logan, lifestyles on Cape Cod has been approximately excellent, choked with magical days spent having fun with the ocean together with her cherished dual brother, Cary. yet then, just like the creeping of the tides, the vicious rumors in school commence -- merciless voices announcing unspeakable issues in regards to the Logans. Laura attempts to disregard them, yet now not until eventually good-looking, light Robert Royce strikes to their city does she think actually carefree and chuffed again.

While Robert's smile drives the shadows from Laura's center, she nonetheless concerns approximately Cary, whose gloomy moods waft in just like the coastal fog. after which Grandma Olivia concerns a chilling probability, forbidding Laura to work out Robert ever back. by myself to undergo due to darkish secrets and techniques not anyone will clarify, Laura obeys...until the miracle of a wonderful summer time leads her again into Robert's palms. yet darkish thunderclouds were accumulating at the horizon, and after they without warning burst with tragedy, they howl a reputation from the Logans' shameful earlier that plunges Laura right into a silent, negative discomfort. Now Laura can in simple terms dream of the nice and cozy, sun-filled existence she so desperately desires....

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Extra info for Music in the Night (Logan Family, Book 4)

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This scheme turns more on the soundtrack than the visuals, because miseen-scène and style of acting are both impeccably naturalistic, thus preserving continuity with the documentary mode, whereas the soundtrack juggles with voice and music in different combinations. There are two types of voicing: synchronous dialogue in Quechua, and commentary in Spanish. The fictional narrative is thus framed by a voiceover commentary in the style of the ethnographic documentary, not dissimilar to the style of Jean Rouch in the 1950s, which positions the filmmaker as mediator and the viewer as outsider.

Such rapid evolution depended on a marriage of convenience between capital and aesthetic experiment. The medium demanded it. The condition for the evolution of film language from its simple origins to its capacity for sustained narrative was that filmmaking should become a problem-solving activity, where in the course of the inevitable process of trial and error, successful innovations are incorporated into the mainstream. This is what happened with Italian neorealism. But beyond the aesthetically narrow confines of industrial cinema, this is still going on, and Kiarostami is one of its exemplary figures.

The camera’s position is not revealed in the reflection, but instead the dozen or so patrons, talking, listening, moving to the music. Some appear to look toward their reflection in the mirror. (To see the camera that sees them? ) Next, a series of low-angle shots among the patrons, glasses of beer, money changing hands, cigar stubs. The camera centers on a black man in a grey suit just as the whistled intro gives way to the vocalist’s entrance. “Ay, Pepita, no me dejes . ” The man in the grey suit stops his conversation to dance in place, topping off a few steps with a graceful, half-time turn, arm flexed over head.

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Music in the Night (Logan Family, Book 4) by V. C. Andrews

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