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Jewel Stone was wholly unaware of the ancient bloodlines of Gypsy Healers, mates to Canis lupis and protectors of the packs-much less that she carried that blood herself. But when a beautiful but deadly woman showed up in her home and ripped her from her realm, she knew her life would never be the same. Her mother, Gem, a fortune teller, had warned her that something was coming, that her life was about to change dramatically, but like everyone else, Jewel had dismissed her as a crazy person. Jewel was the laughing stock of her school simply because Gem was her mother. And up until now, her life was one big disappointment after another. Instead of heeding her mother's warning, she hid in her books, burying herself behind knowledge, both fact and fiction. She escaped into worlds created by others and filled her mind with facts of every kind in an effort to push away the hurtful words that others bombarded her with. Despite all of her knowledge and all of her fantastical stories, she never dreamed her own future would be full of adventure, danger, passion and the possibility of unconditional love. As she lay unconscious after her first bloody encounter in the fae realm, her only chance of survival lay in the hands of a man scarred by his past, disfigured both emotionally and physically, and beyond the reach of any who had tried to help him. Can two broken people, who carry the other half of each other's souls span the chasm between them and restore the innocence ripped from both their lives? Will they let the promise of healing love overcome the difference in age and experience, and the separation of species and realms? 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And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies.   From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montès offers a detailed explication of Gilles Deleuze’s writings on film – from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985).  Building on this foundation, Rushton provides an interpretation of Max Ophuls’s classic film Lola Montès as an example of how Deleuzian film theory can function in the practice of film interpretation.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":50697698246929,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ NEW \/ GARDNERS","offer_id":50697700704529,"sku":"NGR9781501345760","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52402105843985,"sku":"NLS9781501345760","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1501345761.jpg?v=1751986054"},{"product_id":"modern-european-cinema-and-love-book-richard-rushton-9781526191229","title":"Modern European Cinema and Love","description":"Modern European cinema and love examines nine European directors working from the 1950s onwards whose films contain stories about and reflections on romantic love and marriage. -- .","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51606523740433,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ NEW \/ GARDNERS","offer_id":51606524133649,"sku":"NGR9781526191229","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52627316965649,"sku":"NLS9781526191229","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":52751679095057,"sku":"NIN9781526191229","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1526191229.jpg?v=1751373761"},{"product_id":"cinema-after-deleuze-book-richard-rushton-9780826438928","title":"Cinema After Deleuze","description":"Offers an introduction to Deleuze's writings on cinema which may appeal both to undergraduates and specialists in film studies and philosophy. 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