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Just Flesh and Blood is the highly anticipated conclusion in the popular trilogy about Queen Elizabeth I. 'A terrible dread took hold in my belly. The only bed left to me was my deathbed and I was not ready for that – not yet. No, not yet.' Although she lies unmoving on a pile of cushions, Elizabeth is a survivor. The unwanted daughter of an executed queen, she endured the perils of her childhood to take the throne as Queen of England. Just a girl at coronation, Elizabeth has now ruled for over four decades, withstanding political upheavals, war and plots against her life. But as she contemplates the successes and failures of that life, she weighs up all that she has relinquished – love, marriage, children, family of any kind – for power. She was not just a queen, but a flesh-and-blood woman – will her final moments be ones of regret? In this bittersweet book readers will be filled with admiration and compassion for a woman who grasped her destiny with both hands and, by doing so, made herself one of the greats of history.

The producer behind such celebrated films as The Four Feathers and The Third Man is one of the most colourful and important figures in the history of the British cinema. This gripping biography tells how with extraordinary ambition, enterprise and showmanship, Alexander Korda established in Britain a film industry that rivalled Hollywood, built Europe's biggest studio, and created world-class stars, including Charles Laughton and Vivien Leigh. The biography traces Korda's path from his rural childhood in a remote part of Hungary to a British knighthood. Korda's legacy, it argues, was a film industry that dared to dream on the largest possible scale. But he also exemplified the pattern of boom and bust that dogged the British cinema ever since he first came into the limelight in 1933 with the international success of The Private Life of Henry VIII. To understand his often turbulent career is to gain a profound insight into the nature of the British cinema both then and now.

Although it started as a British television show with a small but devoted fan base, Doctor Who has grown in popularity and now appeals to audiences around the world. In the fifty-year history of the program, Doctor Who’s producers and scriptwriters have drawn on a dizzying array of literary sources and inspirations. Elements from Homer, classic literature, gothic horror, swashbucklers, Jacobean revenge tragedies, Orwellian dystopias, Westerns, and the novels of Agatha Christie and Evelyn Waugh have all been woven into the fabric of the series. One famous storyline from the mid-1970s was rooted in the Victoriana of authors like H. Rider Haggard and Arthur Conan Doyle, and another was a virtual remake of Anthony Hope’s The Prisoner of Zenda—with robots! In Doctor Who and the Art of Adaptation: Fifty Years of Storytelling, Marcus Harmes looks at the show’s frequent exploration of other sources to create memorable episodes. Harmes observes that adaptation in Doctor Who is not just a matter of transferring literary works to the screen, but of bringing a diversity of texts into dialogue with the established mythology of the series as well as with longstanding science fiction tropes. In this process, original stories are not just resituated, but transformed into new works. Harmes considers what this approach reveals about adaptation, television production, the art of storytelling, and the long-term success and cultural resonance enjoyed by Doctor Who. Doctor Who and the Art of Adaptation will be of interest to students of literature and television alike, and to scholars interested in adaptation studies. It will also appeal to fans of the series interested in tracing the deep cultural roots of television’s longest-running and most literate science-fiction adventure.

Better Left Unsaid is in the unseemly position of defending censorship from the central allegations that are traditionally leveled against it. Taking two genres generally presumed to have been stymied by the censor's knife-the Victorian novel and classical Hollywood film-this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art. As much as Victorianism is equated with such cultural impulses as repression and prudery, few scholars have explored the Victorian novel as a \"censored\" commodity-thanks, in large part, to the indirectness and intangibility of England's literary censorship process. This indirection stands in sharp contrast to the explicit, detailed formality of Hollywood's infamous Production Code of 1930. In comparing these two versions of censorship, Nora Gilbert explores the paradoxical effects of prohibitive practices. Rather than being ruined by censorship, Victorian novels and Hays Code films were stirred and stimulated by the very forces meant to restrain them.

In a richly developed fictional universe, Doctor Who, a wandering survivor of a once-powerful alien civilization, possesses powers beyond human comprehension. He can bend the fabric of time and space with his TARDIS, alter the destiny of worlds, and drive entire species into extinction. The good doctor’s eleven “regenerations” and fifty years’ worth of adventures make him the longest-lived hero in science-fiction television. In The Language of Doctor Who: From Shakespeare to Alien Tongues, Jason Barr and Camille D. G. Mustachio present several essays that use language as an entry point into the character and his universe. Ranging from the original to the rebooted television series—through the adventures of the first eleven Doctors—these essays explore how written and spoken language have been used to define the Doctor’s ever-changing identities, shape his relationships with his many companions, and give him power over his enemies—even the implacable Daleks. Individual essays focus on fairy tales, myths, medical-travel narratives, nursery rhymes, and, of course, Shakespeare. Contributors consider how the Doctor’s companions speak with him through graffiti, how the Doctor himself uses postmodern linguistics to communicate with alien species, and how language both unites and divides fans of classic Who and new Who as they try to converse with each other. Broad in scope, innovative in approach, and informed by a deep affection for the program, TheLanguage of Doctor Who will appeal to scholars of science fiction, television, and language, as well as to fans looking for a new perspective on their favorite Time Lord.

British Science Fiction Cinema is the first substantial study of a genre which, despite a sometimes troubled history, has produced some of the best British films, from the prewar classic Things to Come to Alien made in Britain by a British director. The contributors to this rich and provocative collection explore the diverse strangeness of British science fiction, from literary adaptions like Nineteen Eighty-Four and A Clockwork Orange to pulp fantasies and 'creature features' far removed from the acceptable face of British cinema.Through case studies of key films like The Day the Earth Caught Fire, contributors explore the unique themes and concerns of British science fiction, from the postwar boom years to more recent productions like Hardware, and examine how science fiction cinema drew on a variety of sources, from TV adaptions like Doctor Who and the Daleks, to the horror/sf crossovers produced from

An engrossing read in the successful Chronicles of Hugh de Singleton, Surgeon series.Lady Philippa, the wife of Sir Aymer - a knight of the realm - disappears while travelling from her husband's manor to Bampton.She and her maid are travelling in an enclosed wagon, whilst her husband and his grooms and a squire are mounted.

A scandalous double life in 17th-century England.First published in 1944, Magdalen King-Hall's Life and Death of the Wicked Lady Skelton tells the story of Barbara Skelton, a well-born young woman trapped in a loveless marriage.To escape the tedium of her life, Barbara leads a double life as a highway robber.

It's 1887 and Nancy Astley sits in the audience at her local music hall: she doesn't know it yet, but the next act on the bill will change her life. Tonight is the night she'll fall in love… with the thrill of the stage and with Kitty Butler, a girl who wears trousers. Giddy with desire and hungry for experience, Nancy follows Kitty to London where unimaginable adventures await. Sarah Waters' debut novel, Tipping the Velvet was highly acclaimed and was chosen by The New York Times and The Library Journal as one of the best books of 1998. Reviewers have offered the most praise for Tipping the Velvet's use of humour, adventure, and sexual explicitness. The novel was adapted into a somewhat controversial three-part series of the same name produced and broadcast by the BBC in 2002.

The novel that T. S. Eliot called \"the first, the longest, and the best of the modern English detective novels\" Guarded by three Brahmin priests, the Moonstone is a religious relic, the centerpiece in a sacred statue of the Hindu god of the moon. It is also a giant yellow diamond of enormous value, and its temptation is irresistible to the corrupt John Herncastle, a colonel in the British Army in India. After murdering the three guardian priests and bringing the diamond back to England with him, Herncastle bequeaths it to his niece, Rachel, knowing full well that danger will follow. True to its enigmatic nature, the Moonstone disappears from Rachel's room on the night of her eighteenth birthday, igniting a mystery so intricate and thrilling it has set the standard for every crime novel of the past one hundred fifty years. Widely recognized, alongside the stories of Edgar Allan Poe, as establishing many of the most enduring conventions of detective fiction,  The Moonstone is Wilkie Collins's masterwork and one of the greatest novels of the nineteenth century. This ebook has been professionally proofread to ensure accuracy and readability on all devices.