By James Luceno
From New York Times bestselling writer James Luceno comes an all-new Star Wars event that unearths the motion and intrigue unfolding without delay prior to Episode I: The Phantom Menace.
Mired in greed and corruption, tangled in paperwork, the Galactic Republic is crumbling. within the outlying structures, the place the exchange Federation keeps a stranglehold on delivery routes, tensions are boiling over?while again within the convenience of Coruscant, the hub of civilized house and seat of the Republic executive, few senators appear susceptible to enquire the matter. and those that suspect ideally suited Chancellor Valorum of getting a hand within the machinations are baffled?especially while Jedi grasp Qui-Gon Jinn and his apprentice Obi-Wan Kenobi foil an assassination try out at the Chancellor.
With the problem escalating, Valorum demands an emergency exchange summit. As people and extraterrestrial beings assemble, conspiracies sealed with huge sums of cash run rampant, and not anyone is fullyyt above suspicion. however the maximum danger of all is still unknown to everybody other than 3 contributors of the exchange Federation who've entered right into a shadowy alliance with a dismal overlord. whereas the trio could be content material with more cash and less difficulties, Darth Sidious has grander, way more terrifying plans.
It is a time that checks the mettle of all those that try to carry the Republic together?none extra so than the Jedi Knights, who've lengthy been the galaxy's top wish for conserving peace and justice. but regardless of their such a lot valiant efforts, the assembly will explode into fiery chaos past everyone?s worst fears . . .
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Additional resources for Cloak of Deception (Star Wars)
This, he sees, as Godard’s ‘counter-cinema’. 57 This statement also serves to reassert in emphatic terms the dichotomy that Wollen is keen to highlight: Godard versus the Hollywood cinema. It is not possible or necessary to address each of Wollen’s distinctions within the context of our discussion here but, keeping in mind my move towards a study of alternative worlds in films, we are bound to find ourselves drawn to Wollen’s concept of single diegesis versus multiple diegesis, and the ways in which he attributes one category to Hollywood cinema and one against it.
47. 33. ’ p. 23. 34. Ibid. p. 25. 35. Ibid. p. 26. 36. Ibid. p. 19. 37. Ibid. p. 17. 38. Ibid. p. 20. 39. Ibid. p. 19. 40. Ibid. p. 20. 41. Ibid. pp. 35–36 The use of ‘barrier’ here relates back to Cavell’s earlier terminology, rather than being a term offered in Perkins’ argument specifically. 42. Perkins Film as Film p. 63. 43. Ibid. 44. Ibid. p. 70. 45. Ibid. p. 122. 46. Ibid. pp. 122–123. 38 | alternative worlds in hollywood cinema 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58.
Imagined Worlds | 51 Spellbound The Persistence of Memory Thus, although it might be argued that the camera quite poorly reproduces the nature and quality of human sight through the use of drifting, fluid tracking shots and a series of zooms, this point-of-view style resists become disconcerting as it coheres with the odd, near-hallucinogenic composition of the imagined world as Ballantine remembers it (and as depicted in Dalí’s designs). Thus, as Hitchcock’s camera movement suggests mobility distinct from the restrictions of ordinary physical laws, such an occurrence does not present a challenge to our sense of coherence and conceivability as we watch the surrealistic dream images.