Hijacked honeymoon (Romance)

Rees, Eleanor

Mills& Boon

Hijacked Honeymoon

Thorndike Pr

This book highlights the significant role that production artists played when Russian cinema was still in its infancy. It uncovers Russian cinema's connections with other art forms, examining how production artists drew on both aesthetic traditions and modernist experiments in architecture, painting and theatre as they explored the new medium of cinema and its potential to engender new models of perception and forms of audience engagement. Drawing on set design sketches, archival documents and film-makers' memoirs, Eleanor Rees reveals how less-canonical films such as Behind the Screen (Kulisy ekrana, 1919) and Palace and Fortress (Dvorets i krepost´, 1923), were remarkable from a design perspective, and also provides new readings of well-known films, such as Children of the Age (Deti veka, 1915) and Strike (Stachka, 1925). Rees brings to light information on significant but understudied figures such as Vladimir Egorov and Sergei Kozlovskii, and highlights the involvement of well-known figures such as Lev Kuleshov and Aleksandr Rodchenko. Unlike the majority of late Imperial directors and camera operators, many early-Russian production artists continued to work in cinema in the Soviet era and to draw on practices forged before the 1917 Revolution. In spanning the entire silent era, this book highlights the often overlooked continuities between the late-Imperial and early-Soviet periods of cinema, thus questioning traditional historical periodisations.

Designing Russian Cinema: The Production Artist and the Material Environment in Silent Era Film (KINO - The Russian and Soviet Cinema)

Arts & Photography

History & Criticism

Bloomsbury Academic

This book highlights the significant role that production artists played when Russian cinema was still in its infancy. It uncovers Russian cinema's connections with other art forms, examining how production artists drew on both aesthetic traditions and modernist experiments in architecture, painting and theatre as they explored the new medium of cinema and its potential to engender new models of perception and forms of audience engagement.Drawing on set design sketches, archival documents and film-makers' memoirs, Eleanor Rees reveals how less-canonical films such as Behind the Screen (Kulisy ekrana, 1919) and Palace and Fortress (Dvorets i krepost´, 1923), were remarkable from a design perspective, and also provides new readings of well-known films, such as Children of the Age (Deti veka, 1915) and Strike (Stachka, 1925). Rees brings to light information on significant but understudied figures such as Vladimir Egorov and Sergei Kozlovskii, and highlights the involvement of well-known figures such as Lev Kuleshov and Aleksandr Rodchenko. Unlike the majority of late Imperial directors and camera operators, many early-Russian production artists continued to work in cinema in the Soviet era and to draw on practices forged before the 1917 Revolution. In spanning the entire silent era, this book highlights the often overlooked continuities between the late-Imperial and early-Soviet periods of cinema, thus questioning traditional historical periodisations.

In her third full-length collection Blood Child, Eleanor Rees hones and extends her startling use of language and imagery to enact the many aspects of change - fleeting, elusive or moored in a negotiation of the material world as she roams through the landscapes of self and city. The idea of generation is explored in all its possibilities, the 'child' and the 'girl' are recurrent motifs, immanent and on the threshold of a magical or imaginative transformation. Landscapes are crossed, swum, burrowed under or flown above; skins and edges are sheared or lost, new coverings found and remade. Rees's poems ask how new routes can be forged across shifting terrain and she offers the emergent space of the imagination as the only answer.

Blood Child (Pavilion Poetry)

Literature & Fiction

Poetry

Pavilion Poetry

The Well at Winter Solstice (Salt Modern Poets)

Salt

Eleanor Rees's first collection, Andraste's Hair was shortlisted for Best First Collection in the 2007 Forward Prizes and for the 2008 Glen Dimplex Poetry Award. In her second full-length collection she continues to play the role of mythologiser and tale teller, moving away from her previous subject, the imagined city, into the magical psyches of changeling creatures. In powerful nocturnal encounters silent visitors travel from the dark world, take on elemental form and embrace Rees's narrators with sensual and erotic urgency. Laced with tales of physical transformations, Rees's use of fairy stories and night visions radically reimagines the female experience through the psychic collisions of the body and our desires. Eliza and the Bear offers a man who gives birth, trees that sing, a dissolving house, a woman trapped in walls, a peasant farmer in his barren fields, the wife of a Victorian botanist who longs for a child while her husband `discovers' the new world, winter songs and red hot hearths: mysterious forces which have their home within us all.

Eliza and the Bear (Salt Modern Poets)

Salt Publishing

Eleanor Rees's first collection, "Andraste's Hair" was shortlisted for Best First Collection in the 2007 Forward Prizes and for the 2008 Glen Dimplex Poetry Award. In her second full-length collection she continues to play the role of mythologiser and tale teller, moving away from her previous subject, the imagined city, into the magical psyches of changeling creatures.

Eliza and the Bear

A Burial of Sight

The Word Hoard

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Books by Rees, Eleanor