This historical novel recounts the life of Saint Germaine Cousin, who lived as a shepherdess in Pibrac France during the 16th century. Like the fable of Cinderella, she was mentally and physically abused by her wicked stepmother and her three stepsisters, and gently accepted her suffering for the love of God. But unlike the fable, the miraculous events surrounding her life are true

This is the French translation of GERMAINE: REQUIEM OF SOUL/The True Story of Cinderella. It describes the true life of Germaine Cousin who lived in Pibrac France during the end of the 16th century. The fable of Cinderella pales in comparison to the wondrous mystical phenomena that surrounded her life. This historical novel will touch the reader deeply

The true story of Cinderella begins in the late 16th century with the birth of Germaine Cousin in the small village of Pibrac France. At a tender age her mother is taken away by the plague. Her father quickly remarries a widow who had three daughters of her own. It does not take long before the new stepmother and step-sisters began physically and mentally abusing the little girl. The fable of Cinderella is but child's play compared to the true story recounted in these pages. Indeed, the dark, sinister treatment this little sixteenth-century French shepherdess received, at the hands of her stepmother and three stepsisters, is so appalling that it scandalizes anyone who reads the accounts of her life. This poor little shepherdess is, however, not left completely defenseless, but unlike the fable, the events surrounding her life are true.

Although mistreated by her stepmother and stepsisters, Cinderella meets her prince with the help of her fairy godmother.

Story of cinema -- How movies are made -- Movie genres -- World cinema -- A-Z directors -- Must-see movies.

The year was 1896, the woman was Alice Guy-Blaché, and the film was The Cabbage Fairy. It was less than a minute long. Guy-Blaché, the first female director, made hundreds of movies during her career. Thousands of women with passion and commitment to storytelling followed in her footsteps. Working in all aspects of the movie industry, they collaborated with others to create memorable images on the screen. This book pays tribute to the spirit, ambition, grit and talent of these filmmakers and artists. With more than 1200 women featured in the book, you will find names that everyone knows and loves—the movie legends. But you will also discover hundreds and hundreds of women whose names are unknown to you: actresses, directors, stuntwomen, screenwriters, composers, animators, editors, producers, cinematographers and on and on. Stunning photographs capture and document the women who worked their magic in the movie business. Perfect for anyone who enjoys the movies, this photo-treasury of women and film is not to be missed.

Called "a feminist classic" by Judith Shulevitz in the New York Times Book Review, this pathbreaking book of literary criticism is now reissued with a new introduction by Lisa Appignanesi that speaks to how The Madwoman in the Attic set the groundwork for subsequent generations of scholars writing about women writers, and why the book still feels fresh some four decades later. "Gilbert and Gubar have written a pivotal book, one of those after which we will never think the same again."--Carolyn G. Heilbrun, Washington Post Book World

This book provides a comprehensive and lively introduction to the major trends in film scoring from the silent era to the present day, focussing not only on dominant Hollywood practices but also offering an international perspective by including case studies of the national cinemas of the UK, France, India, Italy, Japan and the early Soviet Union. The book balances wide-ranging overviews of film genres, modes of production and critical reception with detailed non-technical descriptions of the interaction between image track and soundtrack in representative individual films. In addition to the central focus on narrative cinema, separate sections are also devoted to music in documentary and animated films, film musicals and the uses of popular and classical music in the cinema. The author analyses the varying technological and aesthetic issues that have shaped the history of film music, and concludes with an account of the modern film composer's working practices.