Blood In The Moonlight


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More options. Find it at other libraries via WorldCat Limited preview. Bibliography Includes bibliographical references p.

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Contents Sympathy and the devil It's a criminal world History, the unconscious, and hyperreality Renewed dialogue Translating ritual time and symbolic exchange The decay of dialogue Reviewing the dialogue A blast from the past. Summary Director and screenwriter Michael Mann is the creative force behind such movies as Last of the Mohicans and Ali. Markedly reticent, Mann's personal background remains an enigma, but his disparate films contain clear and consistent messages. One of Mann's focuses is on the Information Age.

He addresses the nature of modern communication, its use to manipulate and coerce, and the resultant subjugation of truth. The perils inherent in modern technology and communication stand in stark contrast to the power of symbolic and oral exchange, the trusted medium of Mann's protagonists.

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This critical exploration of the films of Michael Mann examines his recurring focus on the nature of modern communication and information, and their effect on the individual and society. Mann's films highlight the struggle to maintain a connection to reality in a world where information and truth are commodities manipulated and abused by forces that exert increasing control over their content and dissemination. Each chapter examines one of Mann's films - including Manhunter, The Keep, Last of the Mohicans, The Insider and Ali - in which the protagonist longs for a sense of human connection but is pitted against forces that devalue and destroy individuality.

Separate different tags with a comma. To include a comma in your tag, surround the tag with double quotes. Please enable cookies in your browser to get the full Trove experience. Skip to content Skip to search. Wildermuth, Mark E.

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Published Jefferson, N. Language English. Author Wildermuth, Mark E. Mann, Michael, -- Criticism and interpretation. Summary "This book examines the films of Michael Mann. Each chapter examines one of Mann's films--including Manhunter, The Keep, Last of the Mohicans, The Insider and Ali--in which the protagonist longs for a sense of human connection but is pitted against forces that devalue and destroy individuality"--Provided by publisher.

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Contents Sympathy and the devil It's a criminal world History, the unconscious, and hyperreality Renewed dialogue Translating ritual time and symbolic exchange The decay of dialogue Reviewing the dialogue A blast from the past. Notes Formerly CIP. Includes bibliographical references p. The producer had suggested she try this tactic at least once, to play to the audience.

In fact, most vampires become born-again Christians when they are turned. After all, we know for an absolute fact that there are evil demons roaming the earth seeking the downfall of humanity. To deny this would be to deny ourselves. And we vampires are not known for denying ourselves anything. Her hand involuntarily crept up to her neck.

Why is it that so many women are drawn to you when they know it is almost certain to mean a horrible fate? Except for the one case in five, I suppose. The vampire tilted his head down and peered up at her, eyes smoldering under his brows. The tip of his tongue darted out and licked at the corner of his lips. Sarah felt a warm flush run through her body.


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  • Her awareness narrowed to his face, as if she were prey staring into the jaws of a predator. Perhaps it is submissive rape fantasies and a desire to submit to a dominant figure they cannot control. But they are always wrong. We stake the naggers and the shrews ourselves. Better the pliant teenager types. How old were you again? Sarah giggled nervously, unbuttoning the top button on her blouse. An errant drop of perspiration was trickling down her neck, and she defiantly tossed her head back.

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    He was still looking at her, his gaze steady, unblinking. So this is what they mean, she thought , by devouring with his eyes.


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    • Detectives, policemen, that sort of thing. Renaldo finally frowned, then snarled. For a moment, Sarah saw the animal under the pale skin, and all her sweat froze, her body suddenly cold to its core. The cameraman stepped away, and Jodi the assistant producer, the girl from Minnesota, fell backwards and paper went flying. Everywhere we go, they follow us.

      Renaldo regained his composure, and laughed politely. They say they are out to get us. It is why we have gone public. We need protection from them. Are you serious?

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