Sealed With A Kiss Brushes Set for Photoshop ABR | 6,2 mb

KISS - Asylum (1985) [1st Japan press] RESTORED
FLAC+CUE+LOG or MP3 CBR 320 | 38:55 min | 324 or 90 MB
The First CD pressing | This album was originally titled "Out Of The Asylum"

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Imponderables(R): Fun and Games
H-rper | 2006 | ISBN-10: 0060898852 | EPUB | 240 pages | 0,6 MB

Why does an "X" stand for a kiss?

1280x720 | English | 23.976 fps | AAC 48000KHz

Outside a movie premiere, enthusiastic fan Peppy Miller literally bumps into the swashbuckling hero of the silent film, George Valentin. The star reacts graciously and Peppy plants a kiss on his cheek as they are surrounded by photographers. The headlines demand: "Who's That Girl?" and Peppy is inspired to audition for a dancing bit-part at the studio. However as Peppy slowly rises through the industry, the introduction of talking-pictures turns Valentin's world upside-down.

Street with No Name: A History of the Classic American Film Noir
Publisher: The Uni]\versi]ty Pre]ss of Kent\\ucky 2002 | 328 Pages | ISBN: 0813122430 | PDF | 4 MB
Flourishing in the United States during the 1940s and 50s, the bleak, violent genre of filmmaking known as film noir reflected the attitudes of writers and auteur directors influenced by the events of the turbulent mid-twentieth century. Films such as Force of Evil, Night and the City, Double Indemnity, Laura, The Big Heat, The Killers, Kiss Me Deadly and, more recently, Chinatown and The Grifters are indelibly American. Yet the sources of this genre were found in Germany and France and imported to Hollywood by emigre filmmakers, who developed them and allowed a vibrant genre to flourish. Andrew Blah Blahos's Street with No Name traces the film noir genre back to its roots in German Expressionist cinema and the French cinema of the interwar years. Blah Blahos describes the development of the film noir in America from 1941 through the 1970s and examines how this development expresses a modern cinema. Blah Blahos examines notable directors such as Orson Welles, Fritz Lang, John Huston, Nicholas Ray, Robert Aldrich, Samuel Fuller, Otto Preminger, Robert Siodmak, Abraham Polonsky, Jules Dassin, Anthony Mann and others. He also charts the genre's influence on such celebrated postwar French filmmakers as Jean-Pierre Melville, Francois Truffaut, and Jean-Luc Godard. Addressing the aesthetic, cultural, political, and social concerns depicted in the genre, Street with No Name demonstrates how the film noir generates a highly expressive, raw, and violent mood as it exposes the ambiguities of modern postwar society.