A vent’anni dal suo debutto, l’idea di Alan Moore di unire tutte le narrative dell’immaginario esistente in un universo coerente, e di far disegnare quel mondo a Kevin O’Neill giunge a conclusione in questo volume che tocca ogni aspetto tematico e temporale mai affrontato nei tre volumi precedenti e negli spin-off Nemo e Black Dossier.

The graphic novel that inspired the hit Warner Bros. motion picture and DVD from the Wachowski Bros., the directors of THE MATRIX films and SPEED RACER. In the near future, England has become a corrupt, totalitarian state, opposed only by V, the mystery man wearing a white porcelain mask who intends to free the masses through absurd acts of terrorism.

This final collection of master comics writer Alan Moore's award-winning run on SWAMP THING begins across the galaxy, where the Swamp Thing's consciousness has been hurled. In his attempts to finds his way back to Earth, Swamp Thing stops over on Thanagar, home of Hawkman; Rann, home of Adam Strange; and also encounters the Green Lantern of a world of sentient plants.

This book shows the work of Alberto Giacometti and Francis Bacon which was inspired by Isabel Rawsthorne. Isabel herself was an artist who moved to Paris in the mid-1930s and both the artists had a unique and special relationship with Isabel at different times in their lives.

Essays on “how motion pictures in the first two decades of the 20th century constructed ‘communities of nationality’ . . . recommended.” —Choice While many studies have been written on national cinemas, Early Cinema and the “National” is the first anthology to focus on the concept of national film culture from a wide methodological spectrum of interests, including not only visual and narrative forms, but also international geopolitics, exhibition and marketing practices, and pressing linkages to national imageries. The essays in this richly illustrated landmark anthology are devoted to reconsidering the nation as a framing category for writing cinema history. Many of the 34 contributors show that concepts of a national identity played a role in establishing the parameters of cinema’s early development, from technological change to discourses of stardom, from emerging genres to intertitling practices. Yet, as others attest, national meanings could often become knotty in other contexts, when concepts of nationhood were contested in relation to colonial/imperial histories and regional configurations. Early Cinema and the “National” takes stock of a formative moment in cinema history, tracing the beginnings of the process whereby nations learned to imagine themselves through moving images.

'It is not a recognized mental illness like agoraphobia or depression ... It's largely a matter of luck whether one suffers from border syndrome: it depends where you were born. I was born in Albania.' After spending his childhood and school years in Albania, imagining that the miniskirts and quiz shows of Italian state TV were the reality of life in the West, and fantasizing accordingly about living on the other side of the border, the death of Hoxha at last enables Gazmend Kapllani to make his escape. However, on arriving in the Promised Land, he finds neither lots of willing leggy lovelies nor a warm welcome from his long-lost Greek cousins. Instead, he gets banged up in a detention centre in a small border town. As Gazi and his fellow immigrants try to find jobs, they begin to plan their future lives in Greece, imagining riches and successes which always remain just beyond their grasp. The sheer absurdity of both their plans and their new lives is overwhelming. Both detached and involved, ironic and emotional, Kapllani interweaves the story of his experience with meditations upon 'border syndrome' - a mental state, as much as a geographical experience - to create a brilliantly observed, amusing and perceptive debut.