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Julia Knight

    1. január 1957

    Autorka tvorí epickú fantasy s výrazným romantickým prvkom, inšpirovaná celoživotní láskou k žánru, ktorá sa začala už v detstve. Jej diela sa vyznačujú hlbokým ponorom do fantastických svetov a silnými romantickými líniami. Využíva svoju vášeň pre tento žáner na vytváranie pútavých príbehov, ktoré oslovujú fanúšikov epickej fantasy. Jej písanie odráža obdiv k širokému spektru fantasy autorov a ich odlišným štýlom.

    Swords and Scoundrels
    Legends and Liars
    Warlords and Wastrels
    Women and the new German cinema
    • 2015

      Warlords and Wastrels

      • 370 stránok
      • 13 hodin čítania
      3,5(10)Ohodnotiť

      The final book in the Duellist's trilogy - a fast-paced adventure from one of the most exciting new British talents in fantasy

      Warlords and Wastrels
    • 2015

      Legends and Liars

      • 384 stránok
      • 14 hodin čítania
      3,6(16)Ohodnotiť

      The second book in the Duellist's trilogy - a fast-paced adventure from one of the most exciting new British talents in fantasy

      Legends and Liars
    • 2015

      Swords and Scoundrels

      • 384 stránok
      • 14 hodin čítania
      3,1(26)Ohodnotiť

      The first book in the Duellist's trilogy - a fast-paced adventure from one of the most exciting new British talents in fantasy

      Swords and Scoundrels
    • 1992

      There were virtually no women film directors in germany until the 1970s. today there are proportionally more than in any other film-making country6, and their work has been extremely influential. Directors like Margarethe von Trotta, Helma Sanders-Brahms, Ulrike Ottinger and Helke Sander have made a huge contribution to feminist film culture, but until now critical consideration of New German Cinema in Britain and the United States has focused almost exclusively on male directors such as Rainer Werner Fassbinder and Wim Wenders. In Women and the New German Cinema Julia Knight examines how restrictive social, economic and institutional conditions have compounded the neglect of the new women directors. Rejecting the traditional auteur approach, she explores the principal characteristics of women’s film-making in the 1970s and 1980s, in particular the role of the women’s movement, the concern with the notion of a ‘feminine aesthetic’, women’s entry into the mainstream, and the emergence of a so-called post-feminist cinema. This timely and comprehensive study will be essential reading for everyone concerned with contemporary cinema and feminism.

      Women and the new German cinema