The Red Book Ritual(2022)
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As the trio of friends tell this quintet of tales, they find themselves encountering some unusual phenomena in their house. They then believe the only way to counteract this paranormal activity is to finish telling the stories from the book, in order to complete the game.
It tool seven directors(they being Nicholas Peterson,Tony Morales,Brian Deane,Oliver Garland,Christopher West,Nicolas Onetti,Victor Catala,and [the film's co-writer] Guillermo Lockhart) to construct this New Zealand//Argentine horror anthology that has a coed trio of friends(who consist of Valeria San Martin,)Marlene Pederson Chauviere,and Agustin Olcese[UNCANNY VALLEY,THE 100 CANDLES GAME]) who read the title satanic book that offers them five stories that center on lesbianism,religious staunchism,death in a hospital,a Korean wife who works on killing her ailing husband,a road trip turned fatal,a ghostly black cat,and a fully nude woman who runs amuck on a farm.
\"Every page is a new way to die.\"Three friends are playing a game with an old red book. The bundle acts as a channel for ghosts. The book answers the questions of the players through stories. For example, 'Stray' revolves around a cat who may be possessed and a couple in 'Little One' struggles with a recent event. 'Nose Nose Nose Eyes!' sees a woman holding her husband hostage and in 'Release' someone is on a ventilator in the hospital. The final story, \"The Sermon,\" deals with a religious sect and their views on same-sex relationships.
The film tells the story of friends who decide to play the paranormal game The Red Book. Every question they ask the book, they are closer and closer to the evil that is waiting to be unleashed. Each story they read from the book is accompanied by a short film that tells the story they are reading and each short within the film has a different director.
2010Book Reviews3gg analysis by Douglas Scott, an archeologist with the National Park Service. Using crime-lab techniques developed during his ground-breaking archeological study of the Batde of Litde Bighorn, Scott was able to identify firearm types and individual weapons. Cartridge and bullet type and size allowed the Red River War researchers to distinguish between military and Indian weaponry. Individual weapons were recognized by unique firing pin impressions, cartridge extractor marks, and rifling grooves. Cruse used the find spots of identified weaponry to identify firing positions across the landscape and unravel the sequence of events. While the U.S. Army fought with standard-issue weapons such as the 1 873 Springfield carbine, the firearm analysis demonstrated that the Indians used a large assortment of weapons, most of them outdated, inferior arms including muzzle loaders and bows and arrows. The archeological data suggest that claims of large numbers ofwell-armed Indian combatants by army officers were often exaggerated: no more than 50 percent of the Indians had firearms and significandy fewer Indians took part in many of the batdes. One ofthe major contributions ofthe study is the archival research by historian Martha Freeman, who delved deeply into the National Archives and unearthed many new war-related documents including eyewitness accounts, maps, and correspondence . Collectively, these records detail military and Indian tactics and show that the war unfolded in unexpected ways, as the army struggled to react to highly mobile and unconventional adversaries. The study effectively couples archeological investigation with documentary research to significantly improve our understanding of the Red River War. It also highlights the potential of this multidisciplinary approach to reveal many more details of a pivotal episode in American history. It will appeal to historians, archeologists , and Panhandle residents alike. The archeological findings and interpretations are well-organized, clearly presented, and lavishly illustrated with many color images including dozens of large- and small-scale maps and excellent artifact photographs. Appendices provide lists of Indian prisoners, military ordnance inventories, sketches of the war's Medal of Honor recipients, and detailed artifact analyses of five batdes. Texas State UniversityStephen L. Black Death Lore: Texas Rituals, Superstitions, and Legends oftLHereafter. Edited by Kenneth L. Untiedt. Publications ofthe Texas Folklore Society LXV. (Denton: University of North Texas Press, 2008. Illustrations, notes, index. ISBN 9781574412567, $36.95 cloth.) According to its website, the Texas Folklore Society is \"dedicated to collecting, preserving, and sharing the folklore ofTexas and the Southwest.\" In keeping with its goals, it prefers to celebrate the past rather than merely record or interpret it. As one of its presidents once explained, \"I do not believe that our purpose is to proliferate esotérica and pedantry among a small, specially educated clique\" (from www.texasfolkloresociety.org/AboutTFS.htm) . 400Southwestern Historical QuarterlyJanuary Death Lore cannot and should not be judged as a work of history. The book's study of the formal and informal rituals surrounding death is neither an examination of the nineteenth-century \"art of dying\" nor a catalogued explication of these rituals. It can only be critiqued for what it purports to be: a description of the subjective impact of death on the living, as told in personal stories. The essays in Death Lore touch on several ethnic groups in Texas, but the vast majority are stories about the authors' own friends and relatives, primarily Anglo, told in first person with occasional accompanying poetry or folksongs, many written by the authors themselves. One memorable essay, for instance, describes life at a Lubbock funeral parlor belonging to the author's family. Another deals with the struggle to bury a beloved pet cat. The final essay, apparendy the author's reflections on consciousness and the supernatural, is at the far end of the spectrum. There arc notable exceptions to this pattern, however; two árdeles regarding the celebratíon Día de hs Muertos (Day of the Dead) among Hispanic Texans focus more on the anthropological and historical underpinnings to the ritual. Due to die nature of the essays included, the resultant book is highly anecdotal but largely uninformative. The atmosphere is reminiscent of a family reunion, where old friends share their stories and their sympathies with others oflike mind. Although the...
Chapter 6 picks up on several threads that run throughout the previous chapters, including community and performance, refrains and collective memory, the mobility or mouvance of refrains, and the question of place and locality for the performance and dissemination of Latin refrain songs, and puts them into a broader cultural and historical context. Chapter 6 also points to further contexts for the refrain song outside the scope of the book, as well as possible avenues of interpretation and research for songs and refrains that were not discussed, such as secular refrains. The chapter also briefly discusses the afterlives of Latin refrain songs, from the late medieval carol and the rise of print culture to modern recording practices.
In my teens I marched with classmates who waved \"Little Red Books\" full of \"thoughts of Mao\". Because it was all a lark, which only despicably solemn boys took seriously, I waved a little blue book, distributed by my school and entitled The Thought of Cicero. No one ever responded with more than a good-natured joke. While Mao, we subsequently discovered, was a monster, most Maoists were good. Similarly, from a previous generation, fellow travellers who stuck with Stalin were typically generous, albeit deluded. John Rabe was the \"good Nazi\" who saved victims of the rape of Nanking: I suppose there were others, insufficiently sung. There were good Fascists. We can look back on almost all the morally disfiguring hatreds of the twentieth century with emotions recollected in tranquillity and acknowledge that there is no cause so bad as to repel all goodness, nor any so good as to monopolize virtue. 59ce067264
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