What The Dark Room Revealed

Immerse yourself in the captivating world of Roy Judson Snell's adventure-packed children's story. Written by the renowned American author known for his engaging fiction aimed at young readers, this thrilling tale weaves a mesmerizing mystery that will intrigue readers' curiosity from beginning to end.

THE DARKROOM contains the script for Duras' 1977 radically experimental film Le camion (The Truck), as well as four manifesto-like propositions in which Duras protests that most movies "beat the imagination to death" because they "are the same every time they are played." She also accuses the gatekeepers of traditional cinema of treating intelligence as if it were a "class phenomenon" and distinguishes her own approach: a cinema based on ideas and sensory experience. In the dialogue with Michelle Porte at the end of the book, Duras further describes her filmmaking style, discussing everything from her biography to her critique of Marxism. Much of the film consists of the sounds and images of a truck rumbling through an industrial landscape dotted with dilapidated, immigrant shantytowns. Periodically, the images of the truck are interrupted by cutaways of Duras and Gérard Depardieu sitting in Duras' living room, reading from a script that includes a dialogue between a staunchly communist truck driver and an anonymous, ethnically-unidentifiable woman who stands in as an alter-ego for Duras and at the same time is a substitute for "everyone." Neither of the characters are ever shown on-screen. Via an afterimage effect, the juxtaposed voice-over text and cutaways help the film's audience members project their own images of the truck driver and hitchhiker onto the screen. The truck driver quickly decides the hitchhiker is "a reactionary" suffering from some kind of "mental disturbance." Using the "mad," uneducated woman (who, is, nevertheless, interested in everything from the position of the earth in the universe to politics to such august personalities as Proust, Corneille, and Marx), Duras criticizes the invasion of Prague by the Soviets in 1968 and its support by the French Communist Party. Between the images of the truck, juxtaposed voice-overs, and cutaways to Duras and Depardieu, the art of film becomes the art of opening audience members to the possibility of engaging multiple faculties-not only the visual and the aural, but also memory, imagination, and desire.

A debut novel that retells the history of twentieth-century Germany through the experiences of three ordinary Germans. Helmut: A boy born with a physical deformity finds work as a photographer’s assistant during the 1930s and captures on film the changing temper of Berlin, the city he loves. But his acute photographic eye never provides him with the power to understand the significance of what he sees through his camera. . . . Lore: In the weeks following Germany’s surrender, a teenage girl whose parents are both in Allied captivity takes her younger siblings on a terrifying, illegal journey through the four zones of occupation in search of her grandmother. . . . Micha: Many years after the war, a young man trying to discover why the Russians imprisoned his grandfather for nine years after the war meets resistance at every turn; the only person who agrees, reluctantly, to help him is compromised by his own past. The Dark Room evokes the experiences of the individual with astonishing emotional depth and psychological authenticity. With dazzling originality and to profound effect, Rachel Seiffert has re-envisioned and illuminated signal moments of the twentieth century in all their drama and complexity.

"In what kinds of spaces do we become most aware of the thoughts in our own heads? My Dark Room is a book about the intimate sites of inner experience in eighteenth-century England and their role in the rise both of interiority and the novel. Julie Park considers sites such as grottos, cottages, closets, and especially the camera obscura, that beguiling enclosure into which the outside world is projected through a lens. This type of "dark room" and the projections within it serve Park as a paradigm for the fleeting states of interiority that eighteenth-century figures felt compelled to generate and experience. Park integrates material analyses of these "interior" spaces with close readings of novelistic and proto-novelistic texts. Taken together, these case studies amount to a fresh narrative of the novel's development as a genre of interiority from 1650 to 1811. They include Andrew Marvell's country house poem, Upon Appleton House; Margaret Cavendish's loosely fictional letters about domestic life, Sociable Letters, and the utopian fantasy/critique of the new science, The Blazing World; and Alexander Pope's long poem, Eloisa to Abelard. Park's innovative method of "spatial formalism" reveals how physical settings enable psychic interiors to achieve vitality in fictive and real lives"--

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DigiCat Publishing presents to you this special edition of "By Bursting Flash Bulbs" by Roy J. Snell. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

The author tells her story of being a Latina in the Jim Crow South.

A lucid and delicate exploration of memory and grief from the author of Essayism.