The Village of the Smileys (Ali and the Land of the Shining Emerald Book 1)

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Satisfying adventure stories in their own right, with a good helping of humour to ease and then emphasise the tension, these are also excellent introductions to the works of the great man himself. Put your detective skills to the test with this fun quiz! But there are two big problems in his life: no-one ever tells him anything, and his dad disappeared when Rory was three. To find out why, he decides to become a detective — despite the derision of his big brother.

The two, of course, get into all sorts of trouble, and to the surprise of everyone, unearth some real villains in the process. Words and illustrations are both very funny and surprisingly touching. A great new series for young readers. The story will satisfy its readers thoroughly and Max looks set to give Dork diarist Nikki a run for her money. Finding out just what leads up to this is very funny indeed and readers will be pleased to hear that Rafe still returns home something of a hero.

It's much more serious than that. From Hillsborough to Munich and the Heysel Stadium, Alan Gibbons examines the worst events in football in a way that enables young fans to understand what happened and why. A fan himself, his book still celebrates the best of football too as a way to bring people together. Like Mowgli, he forms friendships with a bear and panther, and is attacked by a pack of vicious monkeys but comes up against poachers too. There are more adventures for Mak promised, good news for readers. March Book of the Month A touching and amusing story about belonging and the search for an heroic identity.

Adam has always known that he was adopted and it never seemed to matter. After all, he loves his mum and dad and even his sisters Minnie and Velvet. But when he overhears his mum talking about a secret he jumps to the wrong conclusion and begins to feel left out. Determined to take matters into his own hands Adam dreams of finding his real mother and of making himself more special by becoming a superhero.

And it is. To save them he and his twin sister Pandora team up with a couple of unscrupulous if well-equipped tomb robbers. After years of academic failure Jake can finally use his true talents, dodging explosions, outthinking the bad guys, even wrestling a giant snake. This is definitely one to recommend to fans of the Alex Rider books, and readers would also enjoy Defender of the Realm by Nick Ostler and Mark Huckerby. Fortunately for Arthur and his family Mr P is polite and friendly and his stay as a guest brings about all sorts of changes for the better.

This is all mixed up in a funny, often surreal story about the challenges of managing a polar bear at school, and with a sub-plot concerning a tense football match. Described as Metamorphosis for young readers, this story by Ted Hughes is indeed filled with a sense of transformation, visceral and almost terrifying in its vitality. There's nothing out of the ordinary about Fred, except that he seems to have a particularly acute relationship with the universe, super-aware of himself as a living being.

While his ability to think himself into other heads helps at school, a tiger prowls through his dreams which become ever more real and frightening. Inventive, spare, tough and beautifully told, this demands to be read aloud. Striking illustrations by Joe McLaren add to its special appeal. This is a hilarious story of dead fish, gorillas with bananas in their ears, poetry, cunning plans and highly legal documents kind of.

Great Books for Boys

Oh and iPads, iPhones and vlogging of course. Oh the horror, the indignity! The days when people would sit around the fire playing board games, take long walks and do jigsaw puzzles — all the time. Will Louis convince his parents that social media and technology are good things after all? Or will Louis have to find another way to make his voice heard? In an age where the issue of technology and social media addiction is becoming ever more topical and debated, How to Update Your Parents provides a fresh outlook on the subject and shows both sides of the argument in a thoroughly entertaining, non-judgmental, and hilarious way.

The juxtaposition of monsters and the mundane is very funny, and the action scenes everything they should be — monstrous fun! Fans of Artemis Fowl will enjoy visiting Darkmouth. In a nutshell: the agony and the ecstasy of the pre-teen The return of Arthur Bean, self-proclaimed creative genius and star of one already highly successful diary-based narrative is to be welcomed. It makes for varied, refreshing reading and feels both real and true. As well as the usual issues of friendships and first romances, Arthur is also mourning the loss of his mother, and this too is sensitively handled.

Julia Eccleshare's Pick of the Month, June Debut author Francesca Armour-Chelu has created a desperate flooded dystopian world in this fast-paced story of one boy's survival. When Fenn's parents are killed by the vicious Terra Ferma who are determined to wipe out all Seaborns, Fenn survives thanks to Halflin who does everything he can to keep Fenn safe.

But Fenn is a child with a special destiny and Chilstone, the heartless leader of Terra Firma, is determined to get him. Can Fenn stay one step ahead of his pursuers? James Patterson continues to do sterling work turning reluctant readers onto books, and this latest instalment in the ongoing trials of Rafe Khatchadorian will more than satisfy his young fans.

The only person showing any enthusiasm for his return is his least favourite person in the world, Miller, aka the Killer. But as readers know, Raffe is nothing less than resilient, and things might not turn out as badly as he expects. Short action-packed chapters, snappy dialogue, lots of humour, cartoons and extra graphics, they all contribute to make these some of the most accessible page-turners around.

Brilliantly visualised, these graphic novel versions of the best-selling stories of boy spy Alex Rider add a fantastic new dimension to the original and terrific for getting even the most reluctant of readers to enjoy the experience of reading. Following the death of his guardian, Alex is forcibly recruited into MI6 and so finds himself off on some seriously hair raising missions in which he faces terrible danger and the real risk of death.

In Stormbreaker, the first in the series, he pits his wits against a sinister organisation run by arch crook Darrius Sayle. Alex Rider is a perfect hero. To view other graphic novels click here. A bold and stylish reissue of the groundbreaking and hugely popular graphic adaptation of Alex Rider's very first mission. Instead of being trainee wizards however, these young people are at shapeshifter school learning to turn themselves into animals.

As strife between the shapeshifters and the different factions of the animal kingdom grows, this is a great opener to a new series that will satisfy readers who like their adventures action- and animal-packed. But times are hard. The fish are all being eaten by seals. But can Bobby kill a seal? Especially, can he kill his pet seal? The choice he makes will mark him adult or child. Another dose of terrific escapist fiction from an author who excels at this kind of gadget-packed high action drama.

Meet Finn, shrunk to 9mm tall by his uncle in order to save mankind by stopping a killing machine from wreaking havoc. Full of humour and high action adventure even if its characters are very small. Charlie is the captain of the local youth team, North Star Galaxy. He eats, sleeps, and breathes football. But when Colts steal all of North Star's best players, it's up to Charlie and his friends to save the team Told in Charlie's own words and doodles - this book will make you laugh, groan, and cheer! Other authors creating addictive and irresistible page-turners for young readers include Steve Cole, Liz Pichon and Jim Smith.

Dan Hope may be an ordinary boy, in an ordinary home, in an ordinary town but he has an extraordinary amount of hope in his heart particularly when it comes to his dad who has left the family home. A story about his dreams and wishes, his fears and worries, and his search for hope. Because in life sometimes things are complicated and messy, not everyone is perfect, things can surprise us, they can make us laugh but they can also make us cry.

This is Dan's story, about what makes the world go round, what brings people and families together, and most of all, how hope helps you dream. It's a book that we all loved and we couldn't be more proud to share the wonder that is A Boy called Hope with you. Invisible to all but Hatty, a lonely little girl, Tom enjoys the most wonderful adventures with her including skating through the night to Ely. The rich imagination of the original is portrayed in a new and also stimulating way.


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Stories give us so much delight, so many characters to get to know, so many places to explore — and so much sheer entertainment. Really great stories deserve to be shared with as many different people as possible, in many different ways — as we have seen with Harry Potter in film, Matilda in musical form, Tracy Beaker on TV, and so many others. The power of the story shines through in each case, brought to life in different ways by different forms. So it is incredibly exciting to have a brand new way of sharing this story — in this beautiful graphic novel, adapted and illustrated by French graphic novelist Edith.

No-one expected that the dinosaurs would also bring a disease deadly to mankind. One of these hiding humans is twelve-year-old Sky. Her search takes her up against not just the man-eating dinosaurs, but devious grown-ups too. Sky is a tough, appealing central character and the thrills come fast and furious. The background is vividly described, and fascinating, whether you know your nunchaku from your shuriken or not, and Chris Bradford is an expert at keeping the tension high.

With a great twist to it, this is a witty story of growing up and all the complications and unfairness of family and friends that go with it. Adam Meltzer is on an unusual mission. He wants to find out the mystery of his own death. Although Adam looks just like his old self and still has his Obsessive Compulsive Disorder he is actually — a zombie. Not the typical crazed, flesh-eating kind but the living dead nonetheless.

So, what was going on? A brilliantly funny story about a boy who makes a very rash wish! And it starts with his terrible name. He goes on to blame them for being so boring, being so mean to him about letting him play out and, above all, for never giving him an exciting birthday party! Parenting is far harder than Barry had ever imagined! Kenny Wright is smart, polite, and really good at chess, none of which does anything to impress the kids at his new Middle School, which is one tough place. As ever with Patterson, this is sharp and funny, first-rate page-turning fiction.

He makes serious points about the importance of ensuring everyone in society gets a proper education, but without it every feeling preachy. Cartoons of Kenny in his would-be superhero guise of Stainlezz Steel add an extra layer to the plot and are great fun too. While Demolition Dad unashamedly plugs the many delights of wrestling - and could well inspire a whole new army of fans - it is really a book about love, in particular the love between a boy and his dad. A warm, funny and genuinely touching story of family relationships, in a lycra wrapping.

Chevie can use her time travel to save the past and change the future. Chevie has been back into the past before. This time she is trying to save the past from an attack with weapons using lethal technology from the future. Can Chevie save the day? This time the wormhole drops all three into , i. Eleven year old Danny, with his new found link to an ancient and dangerous magic is understandably scared and confused, this makes him feel alive and so very real. This is a book that encourages imaginations to run riot for a while, at times scary and sad it also has an undercurrent of reassurance and strength running throughout.

There are questions left unanswered and as this is the first in a trilogy, the door is left wide open for another exciting tale. Quirky, original and hugely entertaining, this is a debut novel of fantastical proportions. The first in a secretive series, The Name of this Book is SECRET is accompanied by a website, part of which is in code so important information is only given to the brave or foolhardy.

It provides even more insight into the twisted villains and their lair. But shhh The sequel to this novel is also now published. To view it click here. When a bag stuffed full of money falls out of a train and into their camp, Damian and Anthony are suddenly rich. Very, very rich, to be precise. But, there is a problem. They only have a few days in which to spend the money. The bestselling novel from Frank Cottrell Boyce - screenwriter and writer of the London Olympics Opening Ceremony - now with a fantastic new cover to celebrate its ten year anniversary.

Saving the rain forest! The precious forest is being cleared by loggers leaving the wild life at risk. The orang-utans will be especially vulnerable if their precious habit is destroyed. Using all their cunning, skill and intimate knowledge of the forest, Saker and Sinter and their friends dare to challenge the loggers despite the enormous dangers they face as they do so. A page turning adventure that will inspire young readers to care about their environment. Operation Sting is the first book in an exciting, fast-paced and action-packed new series, SWARM full of spying and military action.

Granny Samurai is back for a second hilarious and thrilling adventure. And she is still not to be messed with! As before, Samuel Johnson tells the story of his unusual next door neighbour who drives a truck and keeps a top secret nano-thruster hidden in her wooden leg. Will they be able to bring Philip back safely? It all looks very dangerous! Beanie is being treated for leukaemia but, when he comes across a young chimpanzee in a deserted house, he knows he must do everything he can to keep him safe from those who want to exploit him.

Luckily, Beanie is very tenacious — and he has a lot of support from family and friends. Thanks to him, both he and his monkey friend are safe. Zoe is a lovely little girl with a terrible life; she is bullied at school and her stepmother treats her like a slave. Zoe has adopted Armitage, a pet rat. Dripping with atmosphere and gothic gore, Wild Boy will appeal to fans of Sherlock Holmes, gothic horror and all things murderous and mysterious. You can vote in your local library or at www.

Voting closes on Friday 25th April and the winners will be announced on Tuesday 20th May. See below for the entire shortlist. The boy at the centre of the story — we never learn his name — is poor, lonely and bullied by other children because of his selective mutism. The dog he rescues from a car crash that has killed its owner is subject to its own set of painful compulsions, finding out why is one of the surprises and rewards of the story.

This will absorb readers, from the opening page to its warm, uplifting final line. His life is quite literally an uphill struggle, but his instinct to help others leads him to a healing bond with an extraordinary little dog and ultimately to find his voice again. He doggedly persists until he achieves his goals — working hard to understand what the little dog is trying to communicate to him. The final twist of the story highlights the lightness of touch and humour throughout.

A Different Dog draws on many experiences in these fields. And of course, it also draws on my own childhood. It was a matter of putting my hand into the lucky dip of my own mind. One of the influences on a writer would have to be the books that he or she has read themselves. But somewhere in the back of our minds are tucked the stories we have enjoyed in the past. Of the books that I loved when I was aged between thirteen and fifteen I can think of three which I turn back to and read again and again.

They are still readily available more than fifty years later. Teenagers and adults love these stories. I still have my old copies and like to look at their torn and worn covers which beckon me from years gone by. Here they are: Huckleberry Finn by Mark Twain. A boy and a runaway slave on the Mississippi River. How I wished I was on that raft. And little did I know that I would still be amazed by their wonderful adventures all these years later.

The Snow Goose by Paul Gallico. A girl, a bird and disabled man feature in this moving story. When you finish it you just know that there is an untold truth hinted at within the main story and it makes you think for weeks after you have read it. This is a lovely story about a boy, an old man and a fish. I can tell you how I think A Different Dog came into being. When I was eight years old, I had to bury a dead dog. This unpleasant memory was the starting point for my new book. I began writing about how I felt while I was digging the grave for the poor animal. But as the story developed I dropped this bit out altogether and came up with a dog named Chase that was alive but very strange indeed.

As the wrapping paper came off, something else revealed itself and the story changed completely. It was not about death any more but had ended up being about … Well, what do you think? Paul Jennings, What if a teenage boy washed up on the banks of the River Thames, soaked to the skin and unable to explain who he is? What if the only clue to the boy's identity is a sketch he made of a strange symbol? Who would help him? Who would hunt him? Who is River Boy? Unable to communicate, the River Boy is given paper and a pencil and begins to scribble. Soon a symbol emerges, but the boy has no idea why he has drawn it even thought it's the only clue to the mystery of his identity As the boy begins to build a new life under a new name, the hunt for his real identity begins.

In this stylish re-issue, Horowitz's world-renowned teen super-spy Alex Rider's fourth mission is turned into a slick, thrilling, fast-paced and stylish graphic adaptation. It brings to life all the adventure, thrills and spills of this bestselling story. Following the triumphant, international publication of Stormbreaker: The Graphic Novel, the whole graphic novel series has gained wide recognition among reviewers, fans and literacy experts. Recent government initiatives encourage us to examine the reading habits of boys - with literacy levels among children in the UK lower than ever.

This is a series of books that may offer an accessible and compelling alternative for otherwise reluctant readers. A spine-tingling collection of fearful stories, cleverly framed by an equally chilling storytelling device. Twelve story tellers sit around the table leaving one chair empty and one story still to be told. Each lit only by a single candle, one by one the storytellers deliver their sometimes bloodthirsty, sometimes mysterious and always creepy stories. When finished they each blow their candle out. As the room gets darker the atmosphere gets more terrifying.

Who will tell the last story? A brilliant collection for those who love shivery stories.

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We love the fact that the focus of the book is on story-telling itself - a clever trick that layers on the chilling irony of the plot as it unfolds. Dave Shelton is an extraordinarily versatile and clever author and his second book with DFB is such a tour de force. Tense, and creepy, there are real thrills in this absorbing story. Noah has a strange and unsettling talent — gift or curse? Moving to a new place to start a new life gives him the chance to reinvent himself, particularly when he makes friends with a girl, Beth, but the past seems to haunt him.

The unscrupulous crew of the Albatross take the pair of them to London to sell to Queen Victoria, who has developed an obsession with monsters. Mel and co make a great gang, and their adventures are rip-roaring stuff. Author: M. This exciting new series is based on an original idea from Thunderbirds creator Gerry Anderson. Our hero is Ben Cameron, sixteen years old. His father has been killed in a climbing accident, and the book opens at the funeral, with an impressive fly-past organised as part of the commemorations. When something goes wrong, two of the pilots are left dangling from their parachutes thousands of feet up and first his mother, and then Ben goes to their rescue.

The technology is up to date, but the ingenuity and action-based plotlines that made Thunderbirds so distinctive is the same. Great fun for fans of Young Bond. You need all of your creative wits about you to imagine the essential and fantastical machinery and transportation at the teams disposal. Ben Carrington, the new kid on the adventure block isn't perfect, he makes mistakes and a few rash decisions along the way but he's immensely likeable and a great addition to the fascinating crew of Gemini Force, this feels like the perfect introduction to an exciting new series.

Such people, Ferals, are in danger though, the sinister and terrifying Spinning Man is coming after them. Caw shares characteristics with superheroes and makes an appealing central character for young readers, boys in particular. This high-octane adventures ticks lots of boxes for fans of fantasy action. Chief amongst them is Kit Wagstaffe, adopted son of the Ravenmaster at the Tower of London, a boy with a rare gift: he can communicate with the ravens.

With flocks of feathered spies to help, Kit discovers a plot against the young Princess Elizabeth, one he is determined to foil out of his loyalty to and affection for Anne. The events of May — the days of the fall of the Boleyn regime — are still cloudy and mysterious, and it is possible that the birds of the air know as much as the rest of us about what really happened and why.

Without it, the Nine Worlds will be powerless against the onslaught of an army of giants. Someone Had to Say It being particular personal favourites. Author: D. Gosh, this is a full on adventurous tale about hope and survival! Sam tells his own tale, after the small plane he and his dad were in crashes in an Amazonian jungle river, miles from anywhere.

The first sentence seizes your attention, and the book doesn't let it go until the last page. Brazier has created a jungle that bites, it is scary, and powerful and made me wince and cringe as I read. The story just races along, there are brushes with death, but then there are also moments of quiet, where a beautiful sunrise sears the pages. In Holes, best-selling author Louis Sachar showed his understanding and compassion for a group of boys who have got outside the system. Bradley seems unable to change but then Carla arrives.

Carla believes in Bradley; gradually Bradley begins to believe in himself. Without preaching and with his familiar humour, Sachar tells a heartwarming story. Perfect for Reluctant Readers as well as keen readers. To view other titles we think are suitable for reluctant readers please click here. Gripping, scary and unputdownable from the first page of the first book in this brilliantly plotted series right through to the last word in this the sixth and final heart-stopping instalment in the bestselling GONE series that really put dystopia back on the map in the 21st century.

It is an exceptional page-turner. Escapism just doesn't get better than this. At the start of the series it was seen as The Lord of the Flies for the Heroes generation and that very much still holds true now we've come to the end of a series that will in time become a classic. The complete list of books in this epic series is Here's a taster We have discovered a better series than The Hunger Games. Click here to read what they thought. Gregorovich is ruthless and calculating; he is a contract killer who will do the business. But how did he get to be in that position?

And what is his link to Alex Rider? In a story of trickery, cruelty, ruthlessness and all out violence, Anthony Horowitz shows how some terrible choices are made. Anthony Horowitz discussed Russian Roulette in a special live event that was streamed into schools on Monday 16th June. For more information go to www. An absolute must-read after finishing the Alex Rider series rather than before the series.

Anthony Horowitz discussed Russian Roulette in a special live event that was streamed into schools. The harsh realities of 18th century life, of slavery, of prejudice, of tragedy, of corruption, of the haves and the have nots are woven together incredibly intricately and yet quite simply told too. Rest assured this book will have significant impact on a teenager, just as it will an adult and I do urge you the parent to read it as well for it won't disappoint, in fact you'll find it wonderfully exciting and totally unputdownable.

It was a well-deserved winner of the Whitbread Children's Book Award in The harsh realities of 18th century life, of slavery, of prejudice, of tragedy, of corruption, of the haves and the have-nots are woven together incredibly intricately and yet quite simply told too. A whopping adventure with some thrilling chases, heart-racing paranormal moments, unexplained criminal activity, a robot with the unlikely name of Gustav Klimt, a secret enterprise called Unicorne and Michael, a great schoolboy hero, at its heart.

Did his father have special powers? And does he? No question — and thank goodness some people have powers that can alter stuff so we can at least get a twist on reality to stay ahead. No question. Get reading. This is your chance to play a crime solving sleuth alongside one of the greatest fictional detectives of all time, because the clues are there, ready for you to unravel them. Even if you haven't come across Young Sherlock before, this works really well as a standalone novel despite it, technically, being the 7th in the series.

Enter Oxford and a fascinating world of body part snatchers, houses that move position overnight and a particularly vicious weapon wielding monkey. Sherlock is at his best with an accomplice alongside and Matty is particularly adept at the more crooked side of life. The author allows you to work alongside the Young Sherlock, to observe as he learns his craft, to meet the intriguing people who shape his life. This is a hugely enjoyable cracker of a read. Where once misery was just on a domestic scale, Zinny is caught up in doing delivery jobs for a bunch of crooks.

With seemingly no one to turn to, Zinny is soon in fear of his life! There's nothing that can't be built in Minecraft, but with so many possibilities, where do you start? And how will you ever match the creative style of the experts? This title is packed with tips and step-by-step instructions from master build team FyreUK.

Our books are unique because they are created in partnership with Mojang and Minecraft superfans. Fans from the Minecraft community tell us that our books are every bit as awesome as the game itself, and that makes us immensely proud. And if you're new to Minecraft check out the Official Beginner's Handbook. Always one step ahead of catastrophe, Skulduggery Pleasant must now make new alliances if he is to save the world from total destruction as foes of all kinds forge new and deadly alliances. In addition to our Lovereading expert opinion for Skulduggery Pleasant: Last Stand of Dead Men a small number of children were lucky enough to be invited to review this title.

All I can say now is you've GOT to buy this book!!!!!!!!!!!!! See below for links to all the series books: 1. Skulduggery Pleasant 2. Playing with Fire 3. The Faceless Ones 4. Dark Days 5. Mortal Coil 6. Death Bringer 7. Kingdom of the Wicked 8. Last Stand of Dead Men 9. The Dying of the Light. Joe being Joe of course, things are bound to go awry. Tom Ward is now a fully-fledged Spook and, as such, his life is dedicated to protecting the County from all manner of terrors, among them beastly boggarts, scuttling skelts and wild witches.

He now also has charge of his own apprentice, Jenny, who claims to be the seventh daughter of a seventh daughter, as he was the seventh son of a seventh son. As ever, the writing is as elegantly incisive as it is chilling. In fact, the entire Spooks saga has a real sense of classic timelessness and glorious inter-generational appeal. A powerful contemporary novel set in the shady world of underground cage fighting, from a Carnegie Medal-winning author.

While their underground tunnel location and identities must remain secret, each fight is broadcast, with proceeds going to a homeless charity and the fighters being given a sum of money to help them get back on their feet once the last match has been fought. But this tension turns out to be the least of their problems. When Kai and Raven leave the tunnels on a recce for Spartacus, they spot someone - Bird Girl - spying on the entrance to their secret subterranean world while searching for her missing sister.

With an outsider in their midst and heightened risk of exposure to the authorities, tension mounts as the group gears up for the last stages of the tournament. September Book of the Month In a Nutshell: Historical haunting Eerie intrigue Sinister secrets Chilling historical novel in which an orphan becomes entangled in a web of supernatural goings-on and family secrets. While William tries to settle into these unfamiliar, unfriendly circumstances his uncle is arrogant, ill-humoured and makes William work as a valet to his stepson, Toby , he witnesses a series of unsettling occurrences - the sound of a woman sobbing for help, the sight of a cloaked figure near the cliffs, words written in frost on his window.

Could these haunting happenings be the work of the Hag of the Mist, as claimed by Rhiannon, the superstitious scullery maid? William is unconvinced, but the home truths turn out to be even more terrifying than local folklore. Alongside the thrilling unfolding of the mystery, this truly gripping tale also features a strong strand about seeing the good in people and acting nobly.

Perceptive, good-natured and empathetic, William is a character you really do root for he even finds it in his heart to understand how Toby came to be such an idle brat, and he even risks his own life to protect him , and his action-packed story would surely make an enthralling screen adaptation. Imagine his surprise and excitement therefore when he develops special powers including telekinesis. Could this be his chance to get his own back on the bullies, impress the gorgeous Indira and even join super-heroes unlimited the Vigils?

Well, yes and no. The story that follows is a sharply-observed comedy of teen life, with a serious undertone. Amongst the comic-book action Burstein shows what heroism - the kind that calls for real courage — really is, and reminds readers that heroes and villains too are often those we least expect them to be. Now available in audio CD. The first in the trilogy is Keeper and the final one is Exposure. Shortlisted for the Booktrust Teenage Prize A bombing campaign and invasion by their neighbours in the Old Country makes things even worse.

Somehow though Charlie remains positive. He makes friends with Pav, a refugee from the Old Country, and together they turn an old shed into a homely refuge until circumstances leave Charlie owing favours to the terrifying Big Man, and facing an awful choice. Decent, determined and brighter than he makes out, Charlie finds a solution. Hugely entertaining and highly original. An adventurous rescue attempt out on the north face of Everest, sits alongside the tale of a Tibetan family as they flee for their lives.

The two separate stories blend into each other until they beat with one heart. Everest sits brooding, occasionally rumbling and roaring, ever present, ever mysterious. With evocative chapter heading illustrations, this is a simply told, yet dark tale that doesn't shy away from desperate deeds. Set in the mid-nineteenth century, war has broken out between France and England as the two mighty powers struggle for global supremacy. With steam driven automatons, warships and hidden floating cities you are transported into a wonderfully created new world.

The beautifully drawn and explained pull out diagrams and plans of the steam entities pull you further into this sensational alternative reality. The adventures undertaken are tense, and the characters need grit and guts galore to try to complete their mission. A fabulous read! Each has suffered heartache and each has experienced loss, yet dealt with it in very different ways.

They meet in unusual circumstances and soon find themselves battling for their lives. The introduction set me on high alert, it took me a few seconds to understand what I was looking at, it was certainly intriguing and I immediately wanted to know more. Matt Dickinson doesn't shy away from difficult subjects, he exposes pain, corruption, loss, fear and meets them head on, yet with undeniable sensitivity. Matt says: Yes, probably I am best known for my Everest adventures, but I have plenty of other themes that I want to explore.

In my previous series Mortal Chaos, I based the stories around chaos theory and the chain reactions that cause disasters. With Lie Kill Walk Away I wanted to create a very different form of adventure, a thriller environment in which two teenage protagonists are trying, quite literally, to save the world. We think this is great book for reluctant readers and Matt agrees.. Reluctant readers are often boys with short attention spans.

I am the same in my reading habits; I strongly dislike books that are overwritten or just way too slow. I can promise readers of Lie Kill Walk Away that they will be in for a very fast read. This is painful, often uncomfortable, yet utterly fascinating… this is quite simply a novel to bury yourself in. Mara finds herself in a frightening new world, with the Messenger of Fear acting as her mentor she struggles to understand her role and the terrors that surround her. Mara has lessons to learn, memories to grasp and truth to recognise. This is not a story about an answer, this is a story about a totally gripping and compelling journey.

First published in the United States in and described perfectly as a novel-in-verse, this is a story about basketball playing twins, Josh and Jordan. I initially wondered, as I looked at the visual impact of the first page, how easy it would be to read, as the words themselves slant and grow and fill the page with attitude. The answer is that this is a remarkably beautiful and accessible read, at times I even read out loud, the sounds resonating and rolling from the page.

This style really encourages feeling and understanding to grow, and before I knew it I was fully immersed in the story and letting the words ebb and flow through my mind. Department 19 is utterly addictive. Packed with great characters and brilliantly plotted, the series sets a new benchmark for YA thrillers. They were essentially gimmick films that showed objects thrown at the audience with little or no connecting plot.

Both used the Anaglyphic system of 3-D. Anaglyphic entailed shooting with two interlocked 35mm cameras that photographed the action at slightly different angles, which replicated how the two human eyes see things. For release printing, the two negatives were printed onto one strip of film at Technicolor, which imbibed the two tints. Glasses were worn by the audience that contained the same tinted filters reversed, with the left eye receiving the red tint and the right eye the blue tint. The brain did the rest of the trick: the filters canceled each other out and the viewer perceived the image in three dimensional depth.

Unfortunately, the red and blue glasses caused eyestrain. A more sensible method, known as Polarized 3-D, was developed in Italy and Germany in the s. The same method was used in principal photography, with two interlocked cameras photographing the action at slightly different perspectives.

For projection, the two prints were shown through two different polarizing filters. A silver screen was required to project 3-D to reflect the light and brighten the image. The Polarized system enabled films to be shot in color, an impossibility in the Anaglyphic method. Anaglyphic color 3-D was tried on broadcast television in the s with poor results. Low budget producer Arch Obler dusted off this process and reintroduced it on November 24, , with his 3-D feature Bwana Devil , photographed and printed on Ansco color stock. Interlocked with the 3-D prints was a four track magnetic stereo 35mm fullcoat on a sound dubber.

Whenever something was thrown at the audience, the viewer went cross-eyed trying to merge the two images. When used to create a sense of distance between foreground and background, it was more effective. They also made dye transfer dual strip 3-D prints on features shot with color negatives and with Monopack positives. Dye transfer 3-D as well as standard 2-D features derived from color negatives did not have halftone key images printed under the dyes because they did not require registration adjustments, as did matrices derived from three strip negatives.

In addition, the sharpness was increased since the matrices were made from a single element. Although color fringing was alleviated, grain increased, which bothered Kalmus. He put his research department to work on an emergency basis, and the grain problem was resolved by Thereafter, dye transfer prints derived from color negatives had a grain-free appearance that surpassed Eastmancolor positives. RKO used the Monopack stock for their 3-D color films. Many of the features were interlocked with four channel magnetic stereophonic soundtracks, although all were printed with optical tracks.

The Technicolor 3-D prints of the fifties really did give the illusion of depth. The fact that dye transfer prints generated a three dimensional appearance anyway helped the process. The most creative use of the process was in the previously mentioned Dial M for Murder , but by then it was too late. By the end of , 3-D has fizzled out, and other processes like CinemaScope and VistaVision attracted more attention.

A specially prepared blank stock was created that had emulsion on both sides and the appropriate polarizing tints. The right eye color image was transferred onto one side of the film and the left eye image on the opposite side. Both images were thus contained, with the polarized tints, on one strip of film, and the system required only one projector.

The process could be resurrected some day by the Polaroid company and Beijing Film Lab. After the success of Cinerama, 20th Century-Fox purchased the rights of the Hypergonar process credited to Professor Henri Chretien, who developed it in The Hypergonar process involved an anamorphic lens attachment screwed onto a standard 35mm prime lens. Fox dubbed the process CinemaScope and came up with an attractive logo. The first feature film released in the format was The Robe in October Although the release prints contained a 2 x 1 compression and unsqueezed 2.

No backup optical track was printed onto the release copy, and the projected image included the area usually reserved for the soundtrack. To play back the magnetic tracks a Pentouse adapter was necessary. A Penthouse was a small magnetic dubber attached to the top of the projector between the top magazine and gate. The film was threaded through the dubber, and the unit had four outputs that had to be wired to four amplifiers and speakers.

This involved extensive theater modification, and exhibitors complained. It was one thing to get another lens attachment and a bigger screen but costly to rewire the entire sound system. Fox stuck to its guns and released magnetic only CinemaScope prints on many titles through Eventually, exhibitor pressure forced Fox to modify the release prints to contain both magnetic and optical tracks.

Theaters had the choice of playing the magnetic stereo tracks or a mono optical soundtrack. All CinemaScope films made after were distributed in this method, eliminating the magnetic only format. Since the optical track cropped the image slightly, the aspect ratio was permanently reduced to 2. The first dye transfer prints of The Robe were a disaster. The latter was not entirely due to the matrix stock. The CinemaScope lens attachments cut down on the amount of light transmitted to the color negative and also tended to distort closeups, since the image was being photographed through so much glass.

These prints did not have the grain problem because the image was not being stretched out. Kalmus and Goldberg called an emergency meeting with Kodak to request an improved panchromatic matrix stock that would work with CinemaScope color negatives. According to Goldberg, Kodak showed interest in promoting their Eastmancolor process and suggested that Technicolor abandon the dye transfer format and switch to positive printing. Kalmus and company felt they had a unique product with superior color, contrast and quality control to Eastmancolor and went to other stock manufacturers for the solution.

A deal was struck with Du Pont to make upgraded dye transfer materials which were used on a number of features. Some of the VistaVision films used Du Pont materials, which were an improvement over the early Kodak panchromatic stock. Dye transfer prints made on Du Pont stock displayed less apparent grain and contained the identification on the sprockets. With the upgraded Du Pont materials, Kalmus went to Kodak and asked them to match it or lose their business.

Since Technicolor was still their largest client, Kodak took a more enlightened attitude and improved their dye transfer matrix and blank stock, which eventually surpassed the quality of the Du Pont stock. The remaining Du Pont inventory was used through and then discontinued. A new generation of Kodak matrix and blank stock, which replaced the earlier panchromatic films, was introduced in and again in A separate color sensitive matrix was developed that improved the resolution.

The yellow matrix stock was sensitive to blue and ultraviolet light; the cyan was sensitive to red, blue and ultra violet, and somewhat sensitive in the green; and the magenta stock was sensitive to green, blue ultraviolet and a little to the red. Appropriate filters placed over the Kodak or Ansco color negatives provided the desired separation in the optical printer.

One could see the improvements from the scope IBs of The Robe. In the Radio City Music Hall screening of A Star Is Born , an original dye transfer copy printed on Kodak stock was shown that had excellent sharpness and little apparent grain, even on the enormous screen. Technicolor also made optical only dye transfer CinemaScope prints that had no mag tracks. This was accomplished by recentering the 2. The final scope dye transfer release copy had a slight edge cropping but retained the correct center of the frame and widescreen composition.

The competing Eastmancolor labs did not have this capability, since they were using the contact printing system, which did not allow for any adjustments. When a 2. The flexibility of the dye transfer process allowed the optical printer to crop the frame to any format required. For example, Technicolor was able to derive a masked 1. Some tides may have been printed in optical mono format for theaters not equipped with Penthouse adapters. Other titles were developed at competing labs and release printed at Technicolor.

Paramount got into the widescreen craze and introduced VistaVision in Although VistaVision was not really a widescreen process, it was adaptable to this kind of presentation. It entailed shooting with a large format negative, which improved the resolution of both contact positive and dye transfer release prints. A standard 35mm negative was exposed horizontally during principal photography, using the equivalent image area of two frames.

The uncropped aspect ratio was 1. From this horizontal negative, 35mm reduction matrices were made in a specially designed optical printer that enabled an eight sprocket intermittent movement. The soundtrack often contained a Perspecta sound, a method of encoding a standard mono optical track with subaudio tones of 30 cycles for the left channel, 35 cycles for the center channel and 40 cycles for the right channel. When decoded, the mono signal was sent through three front speakers to generate directional pseudostereophonic sound.

Exhibitors liked it because the Perspecta tracks could also be played as a standard mono signal, with the tones inaudible to the audience. General release copies were dye transfer reduction prints in the standard 35mm format. White Christmas was the first VistaVision film given both horizontal Eastmancolor as well as dye transfer reduction 35mm presentations. Paramount suggested cropping the image to 1. It is uncertain whether Technicolor ever manufactured 35mm horizontal eight sprocket dye transfer prints.

The major advantage to the process was a dramatic improvement in the conventional 35mm dye transfer prints. By reduction printing a large negative to a conventional 35mm size set of matrices, the grain structure was shrunk, which resulted in an ultrasharp IB print. The fine grain image could be cropped and enlarged for the CinemaScope screens without a loss of quality. When standard 35mm dye transfer prints were cropped and enlarged, apparent grain was increased, since so little of the available frame was being projected.

VistaVision retained a fine grain image when given this kind presentation. The general release VistaVision prints were so impressive, Paramount eventually phased out large format horizontal positive prints by and used the process exclusively for dye transfer reduction printing.

Technicolor had a series of masks they used for the latter, although most were reduction printed with a 1. White frame-line markings were contained on the first shot of each reel. Original 35mm dye transfer prints of these titles were true works of art and vastly superior to the Eastmancolor reissues of the eighties. Many of the early films were given large format presentations. All were reduction printed to standard 35mm Technicolor. Other studios adopted their own cropped ratios. The Walt Disney company used a 1. One of the first features to use this projector cropping was Universale 3-D production It Came from Outer Space , presented in a 1.

Later releases, like Thunder Bay , advertised as presented in Wide Vision, compensated for the cropping during principal photography so the heads and feet of the actors would not be chopped off, as they were when standard 1. As previously mentioned, apparent grain was increased and sharpness decreased when films were cropped and enlarged in this manner, since only a portion of the available image was projected. Dye transfer prints held up better than Eastmancolor prints because the rich colors and superior contrast of the former drew attention away from the problems.

VistaVision dye transfer reduction prints were best suited for this kind of presentation fig. In , the Technicolor research department developed a method of A and B rolling of the negatives of films processed there. Each reel of the negative was assembled onto two rolls so that when a fade or dissolve was required, the effect could be incorporated directly into the matrix and the use of the grainy color internegative stock could be avoided. After , most dye transfer prints had sharp opticals, and Eastmancolor prints grainy opticals. Another major development from the research department was the Wet Gate Optical Printer, implemented in The printing gate contained a solution that had a refractive index similar to that of celluloid and that filled in scratches on the base of the preprint with the liquid so that light rays traveled at a consistent angle through the base.

The other color labs did not have this technology and often displayed scratches and cinch marks on their release copies. The superior color combined with the first generation opticals and scratch free image did not go unnoticed by the competing color labs. Throughout the fifties, many labs sent negatives processed at their facility to Technicolor for dye transfer release printing.

Many WarnerColor features and some DeLuxe color titles were printed in the dye transfer process. Some titles were printed in the dye transfer process only in London. There may be more features developed at other labs and printed at Technicolor not included in this list, since no printing records survive for defunct facilities like Warner Color or Ansco Color.

Much of this list was compiled by film collectors who have preserved the bulk of the Technicolor release print output. Few prints exist at the distribution companies — some cannot find their negatives! Par, Hatari! Who and the Daleks Ind, Ecco! Ind, Family Jewels Par, Git! Robinson Caruso U. In , Albert H. Reynolds and Dowlen Russell of Texas tried to re-create the Cinerama process using two rather than three cameras. When two interlocked projectors played the two prints, a 2.

Only one feature was made in the process, Thrillarama Adventure , which played for one week in Houston, Texas, then closed. Both panels were printed in the dye transfer process, with the left panel in the mag only format with fox sprockets, and the right panel silent with conventional sprockets.

One complete print exists in a private collection. In , Fox tried to upgrade their CinemaScope process by adapting it for use with a large format negative. Kodak manufactured a special 55mm color negative and print film which was processed at DeLuxe. They named the process CinemaScope It used the same anamorphic compression as the 35mm format, retaining the 2. Since a larger negative was used, sharpness and resolution were increased.

Another development was the use of anamorphic prime lenses rather than attachments. A series of lenses was created with different focal lengths that had the squeeze built in which had foreshadowed the Panavision anamorphic system. Fox noticed the quality of the VistaVision reduction prints coming out of Technicolor and had DeLuxe build them an optical printer to derive standard 35mm scope prints from the 55mm negative.

The 35mm Eastmancolor scope reduction prints of the first feature, Carousel , were so sharp that it was never shown in the large format. The second feature, The King and I , also made in , reportedly played 55mm for some limited engagements. Although better than standard 35mm scope positives, reduction printing in Eastmancolor did not work as well as it did in the dye transfer process. For the reissue, Fox sent the reduction 35mm internegative to Technicolor and had 35mm dye transfer prints made in a cropped 2.

Both 55mm features were also printed in the 16mm dye transfer scope process as well. Future large scale Fox films were shot in 65mm. In the rush to widescreen, Howard Hughes and his RKO company wanted to compete, but the billionaire had no intention of paying a franchise fee to Fox for use of their CinemaScope lens attachment. He made a deal with the Tushinsky brothers, equipment manufacturers, to develop a new anamorphic system known as SuperScope.

All SuperScope entailed was the adaption of a standard 1. Since the frame was being cropped and enlarged, the resulting dye transfer release prints were grainy and lacked sharpness. The SuperScope prints were made in a 2 x 1 ratio by printing black borders on the sides of the image fig. A projector plate would crop the image, but a standard anamorphic lens could be used. The Tushinskys also made a new kind of lens attachment that was really a box with two mirrors that gave a variable anamorphic compression, in the event future formats were introduced that did not use the standard 2 x 1 compression.

The Tushinsky SuperScope projection attachments were difficult to adjust, and no matter how an operator turned the knob on top of the box to unsqueeze the image, it looked slightly distorted. Since the same 2 x 1 ratio could be achieved by cropping a standard release print without adding anamorphic compression, and since the resulting print had less grain, SuperScope was a pretty worthless process and was quickly phased out after Hughes sold RKO to General Tire in Several features that were originally released in 1.

The last was the most ridiculous; each animated sequence was given a different cropped aspect ratio, including an anamorphic squeeze in some that made the figures appear fat. The only interesting thing about this version was that it was the only dye transfer reissue that contained the Fantasound stereo tracks in the magnetic only format. Future stereo reissues of Fantasia were in the Eastmancolor process and lacked the vibrant colors and rich contrast of the Technicolor originals.

One of the partners in the Cinerama company was veteran theatrical showman Michael Todd.

He had supervised the European sequences of This Is Cinerama. Todd had reservations about the join lines that made up the widescreen image and the problems of keeping so many separate elements in synch. He sold off his interests in Cinerama and decided to develop his own proprietary format that would simulate the panoramic image without the join lines and contain the stereo tracks on the release copies. Todd formed a partnership with Dr.

A set of extremely wide angle lenses was developed that attempted to replicate the field of vision of Cinerama. Todd had Kodak manufacture him a special 65mm negative stock for principal photography. For contact positive release prints, Kodak developed a 70mm stock. The extra 5mm was necessary for the six channels of magnetic strips applied to the base inside and outside the normal sized sprockets.

The projected aspect ratio was 2. The Todd AO 70mm release prints, with their improved sharpness and resolution, represented the best quality available in the Eastmancolor process at the time. Since the wide frame was spherical rather than anamorphic, Todd AO prints displayed none of the distortion associated with the CinemaScope attachments. The only problem with the process was adapting it to 35mm for general release: There were no 35mm projectors in the U.

The first Todd AO production, Oklahoma! During principal photography, the actors had to perform their roles for the 65mm cameras and then play the same scenes over to be shot in 35mm CinemaScope. Technicolor made the 35mm dye transfer magnetic only release prints in the full frame 2. I, lab manufactured the 70mm positives. It was obvious that the CinemaScope version was inferior to the 70mm version.

For his own production of Around the World in 80 Days , released in , Todd wanted the capability of making top-notch 35mm dye transfer general release copies as well as large format prints. His approach was both unusual and typical of the showmanship common in this era. Two 65mm negatives were exposed during principal photography. The grain structure was finer, which increased apparent sharpness. VistaVision, Todd AO and other large negative printdowns represented the best color image possible on 35mm film. The method of making the 35mm prints was similar to the VistaVision process.

The 65mm negative would be reduced in an optical printer to 35mm by adding an anamorphic compression to the matrices. The three matrices were then transferred in a conventional manner. Several different 35mm versions were made of Around the World in 80 Days. For four-track magnetic-only prints, the 24 frames per second 65mm color negative was reduction printed to full frame matrices using the entire silent aperture ratio with a lesser 1.

When unsqueezed in a SuperScope variable anamorphic attachment, the 70mm aspect ration of 2. These unusual 35mm dye transfer prints also had a Perspecta encoding on the rear channel to direct the sound to three speakers in the back of the theater. This same version was released in England but transferred onto thinner 34mm blank stock to get around the 35mm import fees and derived from the 30 frames per second 65mm negative. Special motors had to be adapted to screen these 35mm Technicolor copies, referred to as Cinestage prints, at the faster 30 frames per second speed.

No Cinestage copy seems to have survived. For general release, the 24 frames per second 65mm negative was reduction printed to matrices with a conventional 2 x 1 squeeze and a projected aspect ratio of 2. This resulted in a slight cropping on the top and bottom of the 2. General release Technicolor prints of Around the World in 80 Days were made with a Perspecta optical soundtrack. The picture was a tremendous hit and won the Academy Award for Best Picture of , although Todd had to sell off his interests in both Cinerama and Todd AO to finance the film.

Sadly, he died in a plane crash while on a promotional tour, and the world lost a great showman. After his death, the distribution of the film passed through two companies who proceeded to cut the negatives and allow them to deteriorate. The new Eastmancolor prints display serious negative fading and are 40 minutes shorter than the original Roadshow. Fortunately, a number of uncut 35mm Technicolor prints exist in archives and private collections. After Todd died, the Todd AO company decreased the speed to the standard 24 frames per second to make reduction printing easier.

Most of the remaining Todd AO productions were released in the dye transfer process in 35mm, resulting in superior sharpness, albeit with a slight cropping on the top and bottom of the frame. One way to make huge profits in the fifties was to own and sublicense a new widescreen process. Fox was raking in money by licensing their CinemaScope lenses. Kalmus put his research department to work on creating their own proprietary widescreen method, which they called Technirama.

Technirama was a combination of VistaVision and CinemaScope.

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The research department devised a series of lenses that added a slight 1. During matrix manufacture, the negative was given an additional compression as it was reduction printed to generate a standard 2. With the introduction of Technirama, Technicolor was able to offer an ultrasharp scope image that rivaled the quality of Todd AO reduction IBs but had the advantage of using 35mm rather than 65mm film for principal photography.

Meanwhile, the popularity of 70mm Roadshow prints inspired the research department to modify the process further. They adapted a printer to optically derive a 70mm positive from the 35mm Technirama negative, thus launching Super Technirama As previously mentioned, optical printing in Eastmancolor did not work as well as it did in the dye transfer process. The grain structure of the silver halides that generated the latent image of the matrix was finer and more precise than the dye couplers exposed during Eastmancolor reductions or enlargements.

As a result, the 70mm optical prints derived from Technirama negatives were not as good as those contact printed from 65mm negatives, although audiences probably would not have noticed the difference. The bulk of the release copies of Super Technirama 70 features continued to be 35mm dye transfer prints. The cameras used for Technirama features were modified three strip units. The Panavision company supplied the lenses for the process. The Panavision company entered the widescreen field in with its improved series of anamorphic lenses. A series of standard prime lenses 25mm, 50mm, etc.

This resulted in a scope image that was sharper than that shot with CinemaScope attachments. The first dye transfer release to be photographed with the upgraded Panavision primes was The Big Circus in Other studios began using these lenses throughout the sixties, while Fox stayed with their CinemaScope attachments.

Eventually, Fox switched over to Panavision, and the obsolete attachments were abandoned except for use in some independent, low budget features. The Cardinal was the first feature presented this way. As with any optical enlargement, the 70mm prints made in this fashion were not as sharp as those made from 65mm negatives. Given careful handling of fully exposed 35mm Panavision negatives that used high key lighting, the blowups could look good.

In all cases, the bulk of the release prints were made in the 35mm dye transfer process see fig. General release prints were in the dye transfer process. A number of other anamorphic systems that used lens attachments or primes came and went over the years. Most were comparable to CinemaScope quality; all fell short of the Panavision optics. Listed below are the names of the formats and studios that released the film. The Panavision company developed anamorphic lenses for 65mm camera units that contained a slight 1. The 70mm Eastmancolor positives were printed and shown in the six track Todd AO format.

For projection, an anamorphic lens with the same 1. Only two features were made in this process. The first film, Raintree County , had reduction matrices derived from the anamorphic 65mm negative in the standard 2. The dye transfer reduction copies had comparable quality to Todd AO and Technirama prints, although the edges of the image were slightly cropped. When unsqueezed, the complete 2. Special projection plates had to be made to crop the borders. It would appear that all dye transfer prints contained magnetic and optical tracks. Matrices were shipped to the London Technicolor facility, which made mono optical copies.

Although the process was discontinued after Ben-Hur , the Panavision company developed a near identical process named Ultra Panavision 70, which was used for a few features and some single panel Cinerama releases in the midsixties. A different 65mm camera was used for principal photography; otherwise, the aspect ratio was the same. The 35mm dye transfer reduction prints were made on all titles in the cropped 2. In , Kalmus and associates launched Technicolor Italiana in Rome, and the new facility began making dye transfer prints for the European markets not handled by the London lab.

Technicolor Italiana continued to use the dye transfer process for several years after the U. According to the surviving U. As the fifties came to a close, the aging Kalmus decided to retire. He had achieved his goal of creating a near perfect color image with the advent of large format photography and dye transfer reduction printing.

No other multihued process was able to match the ultrasharpe appearance, vibrant color or grain free image. For standard flat and scope releases, the competing laps like WarnerColor and DeLuxe continued to send their top features to Technicolor for dye transfer printing.

Technicolor expanded its facility to include large format positive printing. The 70mm Roadshow prints of South Pacific and Porgy and Bess were made there, along with the 35mm dye transfer reduction copies. Both formats featured first generation opticals via A and B roll negative process and scratch free images due to wet gate printing.

For second run theaters and reissues, Eastmancolor features posed a real problem. The release prints were faded as well. After the release of Spartacus , Kalamus went on a European vacation and retired from management. He assumed that the standards he set would be maintained by his staff. Unfortunately, some in business outside of the industry noticed the price of Technicolor stock soar. One of them was Patrick Frawley, who made his fortune marketing the Bic pen. When Kalamus returned, he had lost his influence on the process he had nurtured and perfected for 32 years.

Haines, Richard W. The History of Dye Transfer Printing. Jefferson, North Carolina: McFarland, pp. This rarely used process is employed in the arts field and for making particularly stable colour prints. Three sensitised gelatin matrices are prepared corresponding to the blue, green and red tricolour selection, which form images in relief.

These matrices, inked with yellow, magenta and cyan dyes, printed on the same gelatin-coated paper base give a co our photograph. The process, called Dye Transfer, has been launched by Kodak. Il colore nei mass media tra e Reggio Emilia: Edizioni Diabasis, pp. Its original negative stock therefore was essentially three layers of black and white film on a single base mutually self-filtering and recording information about the red, blue and green light entering the lens.

In processing, this information was converted into dyes for printing. This could be done conventionally or with the richer, slower imbibition method. The Film Reader. New York: Routledge, , pp. Color also emphasizes the emotional register of the film. Yet analysis of the color system of All That Heaven Allows does not merely show that the film is an exemplary instance of color participating in the conventions of melodrama.

As we shall see, color has three additional functions in the film: 1 as part of the realist aesthetics of the Hollywood film; 2 as a device for pulling the film away from or decentering it from conventional Hollywood film practice; and 3 as a means of blocking concentration on the story and thereby impeding the emotional trajectory of melodrama. It is not compartmentalized into separate family or social functions. Social interaction is flexible in this adaptable space; it is more intimate, less formal. This opposition is made visible through the design of interior space and the degree to which characters can comfortably move within it.

It is rougher in texture and the furniture appears more casually placed in the room. This use of color in the narrative space has meaning in that it helps to make the contrasts in lifestyle visible. However, the color system and realist narrative space in All That Heaven Allows do not simply establish a binary opposition between suburban conformity and an alternative Walden-like existence. Color also functions in excess of narrative primacy in several ways. Color functions as a signifier of the psychic and sexual energy that cannot be contained or expressed by the narrative in the usual ways.

In this scene the potential of color to function as spectacle is not solely motivated by the emotional register of melodrama. The scene begins when Kay enters her room, tossing her jacket down on a chair by a window that is apparently constructed of stained glass. Fabric has been positioned outside the window to give the effect of colored glass.

While this scene is an isolated and conspicuous instance of color that is neither harmonious nor uncomplicated, the film uses red, yellow, and blue in similar ways. These colors are within the conventions of realist color filmmaking, and they also comment on the ideologies the film takes up. Red is sometimes obedient to color conventions in that it functions as a specific signifier of character and narrative development.

When Cary decides to rejoin the social world on her date with Harvey, her children take notice of her red dress. In her prior social excursions outside the home Cary wore a black velvet dress more suitable to her status as a widow. The strength of the color red also functions to markedly separate Cary from other characters and from the settings of her home and the country club.

She stands out as protagonist as her character progresses through the narrative. Kay has undergone a transition from an immature and cold intellectual to a woman who is loved. Cary, having succumbed to the pressure of her children and turned away from a relationship with Ron, listens to Kay in some misery. The red costumes each woman wears stand out against the more uniform color of the mise-en-scene. Yet these costumes also have specific meaning for the narrative and for the development of the characters of Cary and Kay.

When Cary walks through the Christmas tree lot after her breakup with Ron, men in red jackets interfere with viewer identification of Ron, who is also in a red jacket, standing on the truck. The color system of the film does not always use red to separate objects or characters from the setting in order to emphasize the narrative or to comment on ideologies. Unlike the color red, the colors blue and yellow appear to participate in more uniform color systems. Throughout the film blue is a signifier for nighttime while yellow indicates warm interior lighting. The evening after Ron and Cary meet, Cary has placed the tree branches Ron has given her in a vase on her dresser.

The deep blue from the night and the yellow from the hallway compete for viewer attention, making it unclear where the eye should go in the narrative space. This use of color complicates the otherwise realist narrative space of the bedroom. But at this point the combination of blue and yellow does not yet function as a specific signifier of narrative meaning.

The yellow from the interior and the blue from the night are visually contentious. Blue and yellow in combination complicate the realist narrative space and help to. In one scene blue comes very close to functioning as an emphasis in itself, intruding on the realist narrative space. After the Christmas scene in which Cary learns that her children have plans to live their own lives outside of the family home, Cary comes to regret her decision not to marry Ron.

She wanders around her living room and possessions. It is night and Cary pauses in an intense blue light. While this blue is not a specific signifier of narrative meaning, it does serve to capture Cary in this space.

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Because the intensity of the light exceeds verisimilitude, it is somewhat disruptive to this narrative space. In All That Heaven Allows , however, Moorehead functions more strongly as the source of color spectacle than Wyman does. However, using color to embed Cary within narrative space is also a subtle way of underscoring the primacy of the melodrama narrative. Sara is separated from the background by color while Cary wears the blue-grey tones of her suburban home.

However, even as the color system of All That Heaven Allows splits the functions of protagonist and spectacle between Cary and Sara, at a key moment in the film this split subverts the emotional trajectory of the melodrama.

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A maid is vacuuming the hallway floor in the background while Sara, in an orange dress, talks with Cary about her decision. The color system in All That Heaven Allows is very complex whether considered within the conventions of color film practice or within the conventions of melodrama. In some very orthodox ways the color system of the film helps make ideologies visible by giving material existence to the oppositional social formations that structure the film.

Research into the industrial conditions of production of All That Heaven Allows and other s color melodramas can further our understanding of the apparent contradictions between melodrama and studio-produced commercial entertainment. Fassbinder, Rainer Werner. Edinburgh Film Festival. Mulvey, Laura. London: British Film Institute. Neale, Steve. Cinema and Technology: Image, Sound, Color. Bloomington: Indiana University Press. Color, Narrative Space and Melodrama. In narrative films the meaning of color is primarily contextual, arising from the association of a color with a character, event, object, or situation that gives it meaning.

To some extent, this mirrors the status of color as an epistemological phenomenon. It takes its identity, in part, from the object possessing that particular color. As an attribute of the object, it has no object status in itself in this way, it resembles sound which is always the sound of something; a color is always the color of something. As an attribute of the purse and these other objects , yellow takes its meaning as a color from them and from its relation to other colors in the film.

The color yellow is associated with the use of money to buy affection: as Bill Paul suggests, in the scene in Mrs. Yellow is used to signify the power that position and wealth gives to certain characters. The color red, however, behaves differently. When Marnie encounters red, the nature of the object that is red is less significant than the fact of its redness; she responds primarily to the color, not to the object.

Take, for example, the first bright red object — the red gladioli. However, Marnie reacts to the flowers before she knows of their association with Jesse and she clearly reacts not to the flowers but to the color red, a reaction made clear by the red suffusion over her reaction shot. The attribute of red functions independently of the as-yet unknown meaning of the flowers.

The gladioli turn out to be an exception that proves the rule — the rule that red objects resist the obvious chain of associations characterized by the color yellow. The red gladioli would seem to have no apparent connection to the red ink, the polka dots, or the hunting jacket. In other words, unlike most color films, where color plays a secondary role as an adjectival property of an object which is primary and takes on the meaning of that object or chain of objects, the color red in Marnie enjoys an independent existence.

Its relation to its object is often obscure. This chapter thus argues that the color red in Marnie is more than any single object; it has a meaning that transcends the objects with which it is associated. The mystery at the heart of the film is not that of a typical detective whodunit. It is not the nominal, outer identity of the criminal that is in question but her inner identity. The mystery is not who stole the money but why. If we can discover why she responds so to red or what red means to her, perhaps we can uncover the source of those problems and solve the mystery.

As such, they are objectifications of it and of her trauma. They are signs that point to an experience that has been repressed. The red suffusions mark the return of that repressed. Initially an attribute of an object, red becomes, over the course of the film, an object in itself.

But the meaning of the color red is blocked — both for Marnie who is unable to understand her traumatic responses to the color and for the audience who, though in no way traumatized as Marnie is, experience the red suffusions as incomprehensible barriers to any access to the character of Marnie herself. The meaning of the color red has been repressed by both Marnie and the film. It is only at the end, when the color red is reconnected with its object, that the blockage will be removed and the mystery of the color red resolved.


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If color, like everything else in classical Hollywood cinema, is typically characterized by transparency, the color red in Marnie is non-transparent, opaque — at best, translucent. Of course, the color red, especially with the value and saturation that it has been given here by the Technicolor dye transfer process, enjoys a natural, eye-catching visibility. But the red suffusions necessarily differ from red colored objects in that they are inherently expressionistic, calling attention to themselves as intrusive markers of heightened subjectivity.

They are symptomatic manifestations of the hysteria that erupts and momentarily paralyzes both the character Marnie and the normal operations of the film text itself. The red suffusions quite literally constitute a blockage that obscures meaning — they function like curtains that have been drawn at crucial points between the narrative as it unfolds and our access to it.

The red suffusions with one notable exception are presented primarily as subjective, traumatic affect in reaction shots. Though prompted by red objects or other traumatic stimuli, they exist independently of those off-screen sources. These red suffusions mark the transformation of a simple diegetic color — e. The mystery of the suffusions is complicated by the fact that they are not always responses to the presence of the color red.

There are a total of seven suffusions. Four of these are prompted by a red stimulus. In these exceptions to the rule, Marnie responds to audio and audio-visual stimuli. The suffusions also occur during a thunder and lightning storm. During the storm, the red suffusions shift from reaction shots of her face the norm for six of the seven suffusions to a red suffusion over her point-of-view shot of a white curtain. This is the notable exception referred to earlier: the red suffusion shifts from her reaction shot to her point-of-view pov shot.

The storm sequence does the same. These various audio and visual motifs allude to a primal scene of sorts, to a traumatic event whose repression has left behind a disparate assortment of fragmentary pieces that remain-illegible until the penultimate sequence of the film. They are clues to the mystery that Hitchcock and his screenwriter, Jay Presson Allen, have planted that will pay off in the final flashback. The common denominator that binds these motifs together into a single scenario is that of the red suffusions. Structurally, the pattern is remarkable in its order and overall symmetry.

Hitchcock alternates between red and non-red stimuli see italics. The two nightmares occupy the second and the penultimate positions in the pattern see boldface. And the pov shot stands at its center see boldface and italics. Red Suffusions 1. Red Gladioli 2.

First Nightmare three taps 3. Red Ink 4. Lightning Storm red tinted pov shot 5. Second Nightmare three taps 7. Red Hunting Coat. At the same time, the last three red stimuli constitute a clear progression that culminates in the final images of the flashback and that clarifies the interconnection of red and white introduced in the first instance of red gladioli against a white window curtain.

The drop resembles a drop of blood; even her co-workers think that Marnie has been injured, reinforcing the association between red and blood, which Marnie has repressed and which she, knowing that it is only red ink, denies. At the race-track, Marnie visits the paddock to see Telepathy, a horse she once saw train as a two-year-old. At the hunt, the connection between red and blood is directly established. As the hounds tear at the captured fox and the other members of the hunt look on with amused smiles on their faces, Marnie reacts in horror.

This time, she sees a scarlet riding jacket, which sets her off. In each instance, from one drop of red to several polka dots to the red drenched jacket, red has taken us closer and closer, through its tangle of associations, to the repressed killing of the sailor. Like the earlier game of free association, which works on a verbal level, this sequence of color associations involving red and shirts is anything but free — it is carefully calculated to get us and Marnie closer and closer to the truth.

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The action is seen through stylizing devices which mark it as traumatic. The color used here is desaturated. It looks faded, evoking the past. This desaturated color makes the intensity of the climax all the more powerful when the frame fills with highly-saturated, bright red blood. By detaching red from red objects, Hitchcock explores the gap between color and object, extending it to create a color mystery.

In detaching red from its objects, Hitchcock engages his audience in a game of detection in which the meaning of the color red is the goal. Red proves to mean blood. One might ask how the solution of the color mystery in Marnie can hinge on the rather trite revelation that red stands for blood. We all know that; it is one of the most common cultural associations that the color has.

Does the film merely pretend that there is a mystery on the level of color, when all along there is no mystery? Is the mystery manufactured? The point, I think, is that though the meaning of the color red is obvious, it is repressed — both by Marnie and by Hitchcock, who encourages us to continue to look for its meaning, who prolongs that whole process as part of a narrative strategy that links us ultimately with Marnie. Like her, we recover a meaning that we had repressed because it was so obvious.

The slow disclosure of the meaning of red engages the spectator in a psychoanalytic process, as if red were an element of the recurrent nightmare that Marnie has. There is no red in her nightmare. It is one major element of the original trauma that Marnie has repressed. She recalls the lightning storm, the three taps, being taken from a warm bed into the cold, and the men in the white suits. It is thus the crucial element that, when identified, will solve the mystery of her recurrent dream and lead hopefully to her cure.

The fact that Rosebud is a sled explains nothing about what Rosebud meant to Kane. It stands in for everything that Kane desired but which eluded him; it stands in for a profound inaccessibility that thwarts desire. It is not just blood. Nor is it the sum total of the trauma depicted in the flashback. It is everything that the film says and leaves unsaid about its central character, her relationships with others, and her experience in the world.

Paul, W. Belton ed. Peucker, B. Leitch and L. Sarris, A. Belton, John: Color and Meaning in Marnie. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. Harris drove to an underground archival vault in Greenwich, Connecticut, where he would store each newly found piece of lost footage from Lawrence Of Arabia. The vault had been specifically built to preserve magnetic computer records for some of the large corporations in the area, and it suited his needs for proper humidity, temperature, and safety. Harris had seen the camera negative, and it was warped, dried, and the splices were starting to open.

He knew, too, that it was fading, or changing, as camera negatives do. It was 26 years old. The negative was in Eastman color, and when Eastman color negatives deteriorate the blacks are lost. They go dark green or dark brown, depending on where the shift is in the dyes. The first print Harris saw off the negative was extraordinarily yellow. He was concerned about his chances of saving the film at all. About two weeks before Harris was to go out to the West Coast for the actual restoration phase of the project, Sir David Lean visited him at his Mamaroneck office.

That is bloody good, you know. It works. Lean had not seen Lawrence in 25 years, and was unaware, until that moment, just how extensively his film had been mutilated by studio indifference and time. But first it had to be restored to its length. As someone watching the project unfold during the past three years, I found myself having fewer problems with the immensity of the restoration — which took longer than it took Lean to make the film originally — than with understanding how Lawrence ever could have come to this sorry state.

But the desecration did not occur after the first two years of release. It began well before the film opened, when Sam Spiegel, the producer, rushed it into release, forcing six or more months of postproduction to be crammed into four. In: Films in Review , 40,5, , pp. So they had one of their people throw a killer deal point in at the last minute — basically that we would share in revenues for an extraordinarily limited period of time, even though we were putting up half the money.