By Marion Zimmer Bradley
Rascar, duc d'Hammerfell, vient d'épouser Erminie, sa jeune pupille. Ils viennent d'avoir deux fils jumeaux, Conn et Alastair. L'avenir va-t-il leur sourire ? Non, motor vehicle les Hammerfell et les Storn, depuis cinq générations, se livrent une vendetta sans merci dont nul ne saurait plus dire l. a. reason. Rascar succombe à son travel dans l'attaque de son château. Un vieux serviteur sauve Conn et s'enfuit avec lui dans los angeles forêt. L'enfant grandit, rêvant de vengeance. Que sont devenus sa mère et son frère ? Sans doute ont-ils été victimes des Storn eux aussi. Mais Conn a le laran ; à vingt ans, assailli par des rêves et des visions, il comprend qu'Alastair n'est peut-être pas mort. Deux frères jumeaux peuvent communiquer à distance ; alliés, ils seraient invincibles, et les Storn sentiraient le poids de leur colère. Allons, Conn doit partir pour Thendara l. a. grand'ville ; c'est là-bas, il le despatched, que le destin l'attend ...
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Rascar, duc d'Hammerfell, vient d'épouser Erminie, sa jeune pupille. Ils viennent d'avoir deux fils jumeaux, Conn et Alastair. L'avenir va-t-il leur sourire ? Non, motor vehicle les Hammerfell et les Storn, depuis cinq générations, se livrent une vendetta sans merci dont nul ne saurait plus dire l. a. reason.
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Additional info for Les Héritiers d'Hammerfell (La Romance de Ténébreuse, Tome 5)
He tried to do more than just give us faceless unidentified Inuit or Samoans or Irishmen. He pushed film to its filmic specific limit, letting the audience enjoy and identify with a real, albeit exotic, individual. This may be Flaherty’s most important contribution to ethnographic film, and its influence is clear in The Hunters and Dead Birds. It is safe to say that no ethnographic film has suffered from focusing too much on an individual, and many are flawed by not doing so. Flaherty tried to tell a story: not, as in novels or scripted film, a story of human interaction or passion or the search for love or wealth or power, but a story of the individual facing crisis.
Another film called simply Eskimo treats an Inuit love story disrupted by the captain of a trading vessel frozen in the ice near a village. This tradition continues on in the United States with such recent films as the 1974 Inuit story White Dawn and in Canada with the first Inuit-made film, Atanarjuat: The Fast Runner. Other masterpieces of what might be called ethnographic fiction are Satyajit Ray’s Apu Trilogy (Pather Panchali, 1955; The Unvanquished, 1956; and The World of Apu, 1959), which follows Apu and his family from boyhood in a Bengal village to university life in Calcutta (see Wood 1971); and the Algerian-French production Ramparts of Clay (1969), based on Jean Duvignaud’s monograph on a Tunisian village, Change at Shebika (1970).
We will consider this question and its implications in the next chapter. n at iv e fee d b a c k The Flaherty legend relates how Flaherty developed his footage each evening and screened it for his subjects, getting their reactions and advice and thus making them real collaborators in the filmmaking process. This is a fascinating idea. It has the potentially great advantage of making film more truly reflective of the natives’ insight into their own culture. Flaherty may have first showed his footage to his Inuit friends as entertainment.