Enthralled: The Sex Goddess (The Erotic Adventures of Jane in the Jungle Book 3)

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Enthralled (Erotic Adventures of Jane in the Jungle, book 3) by Colette Gale

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Dec 26, Sheila Melo rated it it was amazing. Once again, this story contains consensual and non-consensual erotic encounters. I find Jane's adventures entertaining and this one has more relationship building with Zaren. Her sexual prowess must be on public display. Zaren tries to find out what happened to Jane and to rescue her. She has encounters here with men and women. This story is purely entertainment and is not really intended to be taken seriously.

I mean she ends up having sex instead of escaping when given the opportunity! I find these stories entertaining and escapism. The entirety of the story is told tongue in cheek with crazier and more unrealistic episodes each time.

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This one is notable because we get to see more of Zaren and get to see his commitment to Jane. Despite all Jane's sexual exploits, there remains a connection between Zaren and Jane. Don't read these books if you are going to examine them closely, you will be disappointed. Each book in this series is short pages and ends on a cliffhanger as the story is told in serialized form. This is a serialized story where every novella is connected and telling one story.

Each book ends on a cliffhanger. The books are meant to be read together. This review was originally posted on Top10RomanceBooks. Jul 17, Sarah Peterson rated it did not like it. Not going for Jul 15, Jujubee rated it really liked it Shelves: challenge-read , anthology-or-boxed-set , on-nook , genre-historical. This offering is pure erotic fantasy, safe and consensual ahem.

Well, erotic fantasies MUST have an element of danger or taboo to work, right? Book 3, for me, smooths out the sleaze view spoiler [ Mr. Darkdale, own it! I like Jane. And if Devilish Grin will be in any future stories.

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Just sayin. A well written jungle erotic fantasy series, just be warned not everything goes Jane's way. Solid 3. Dec 22, Lori rated it it was amazing. What can I say about this series? This 3rd installment is just as intense and oh so hot as the first two. Each book tells the story of Tarzan and Jane but with an erotic twist. The story just pulls you in from the opening to the visual setting of the jungle laid out for you.

There is more here than just the erotic parts, we find out what fascinating research lured Jane's father into the jungle as well as action packed scenes from live plants to huge man-eating snakes.

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Everything fascinating and What can I say about this series? Everything fascinating and fearful about the Madagascar Jungle. The intense erotic edge this series has is over the top. James Wingate — were seen as generally ineffective. Joy had to review films a year using a small staff and little power. One factor in ignoring the Code was the fact that some found such censorship prudish.

Therefore, events such as the Boston Tea Party could not be portrayed. And if clergy were always to be presented positively, then hypocrisy could not be examined either. Additionally, the Great Depression of the s motivated studios to produce films with racy and violent content, which boosted ticket sales.

Entwined, Entangled & Enthralled

In , The Hollywood Reporter mocked the code, and Variety followed suit in In the same year as the Variety article, a noted screenwriter stated that "the Hays moral code is not even a joke any more; it's just a memory. Although the liberalization of sexuality in American film had increased during the s, [31] the pre-Code era is either dated to the start of the sound film era, or more generally to March , when the Hays Code was first written.

Ohio by instituting a censorship board in Virginia followed suit the next year, [34] and eight individual states had a board by the advent of sound film. Many of these boards were ineffectual. By the s, the New York stage, a frequent source of subsequent screen material, had topless shows; performances were filled with curse words, mature subject matter, and sexually suggestive dialogue. Irving G. Allen of Paramount responded by collaborating on a list they called the "Don'ts and Be Carefuls", based on items that were challenged by local censor boards, and which consisted of eleven subjects best avoided, and twenty-six to be handled very carefully.

Director Cecil B. DeMille was responsible for the increasing discussion of sex in cinema in the s. The Great Depression presented a unique time for film-making in the United States. The economic disaster brought on by the stock market crash of changed American values and beliefs in various ways. Themes of American exceptionalism and traditional concepts of personal achievement, self-reliance, and the overcoming of odds lost great currency.

The cynicism, challenging of traditional beliefs, and political controversy of Hollywood films during this period mirrored the attitudes of many of their patrons. Scott Fitzgerald commented in Although films experienced an unprecedented level of freedom and dared to portray things that would be kept hidden for several decades, many in America looked upon the stock market crash as a product of the excesses of the previous decade. Joan Crawford ultimately reforms her ways and is saved; less fortunate is William Bakewell , who continues on the careless path that leads to his ultimate self-destruction.

Pre-Code Hollywood

The song was repeated sarcastically by characters in several films such as Under Eighteen and 20, Years in Sing Sing Less comical was the picture of the United States' future presented in Heroes for Sale that same year , in which a hobo looks into a depressing night and proclaims, "It's the end of America". Heroes for Sale was directed by prolific pre-Code director William Wellman and featured silent film star Richard Barthelmess as a World War I veteran cast onto the streets with a morphine addiction from his hospital stay.

In Wild Boys of the Road , the young man played by Frankie Darrow leads a group of dispossessed juvenile drifters who frequently brawl with the police. Complicating matters for the studios, the advent of sound film in required an immense expenditure in sound stages, recording booths, cameras, and movie-theater sound systems, not to mention the new-found artistic complications of producing in a radically altered medium.

The studios were in a difficult financial position even before the market crash as the sound conversion process and some risky purchases of theater chains had pushed their finances near the breaking point. Even so, 60 million Americans went to the cinema weekly. Apart from the economic realities of the conversion to sound, were the artistic considerations.

Early sound films were often noted for being too verbose. Seething beneath the surface of American life in the Depression was the fear of the angry mob, portrayed in panicked hysteria in films such as Gabriel Over the White House , The Mayor of Hell , and American Madness Groups of agitated men either standing in breadlines, loitering in hobo camps, or marching the streets in protest became a prevalent sight during the Great Depression. Although social issues were examined more directly in the pre-Code era, Hollywood still largely ignored the Great Depression, as many films sought to ameliorate patrons' anxieties rather than incite them.

Hays remarked in [62]. This we must keep before us at all times and we must realize constantly the fatality of ever permitting our concern with social values to lead us into the realm of propaganda Hays and others, such as Samuel Goldwyn , obviously felt that motion pictures presented a form of escapism that served a palliative effect on American moviegoers.

The length of pre-Code films was usually comparatively short, [66] but that running time often required tighter material and did not affect the impact of message films. Employees' Entrance received the following review from Jonathan Rosenbaum : "As an attack on ruthless capitalism, it goes a lot further than more recent efforts such as Wall Street , and it's amazing how much plot and character are gracefully shoehorned into 75 minutes. He also threatens to fire Loretta Young 's character, who pretends to be single to stay employed, unless she sleeps with him, then attempts to ruin her husband after learning she is married.

Films that stated a position about a social issue were usually labeled either "propaganda films" or "preachment yarns". Warner , was the most prominent maker of these types of pictures and preferred they be called "Americanism stories". The Jazz Age prelude was almost singularly used to cast shame on the boisterous behavior of the s. Cabin in the Cotton is a Warner Bros. The film takes place in an unspecified southern state where workers are given barely enough to survive and taken advantage of by being charged exorbitant interest rates and high prices by unscrupulous landowners.

In many parts of the South today, there exists an endless dispute between rich land-owners, known as planters, and the poor cotton pickers, known as "peckerwoods". The planters supply the tenants with the simple requirements of everyday life and; in return, the tenants work the land year in and year out. A hundred volumes could be written on the rights and wrongs of both parties, but it is not the object of the producers of Cabin in the Cotton to take sides. We are only concerned with the effort to picture these conditions. In the end, however, the planters admit their wrongdoing and agree to a more equitable distribution of capital.

The avaricious businessman remained a recurring character in pre-Code cinema. In The Match King , Warren William played an industrialist based on real-life Swedish entrepreneur Ivar Kreuger , himself nicknamed the "Match King", who attempts to corner the global market on matches. William's vile character, Paul Kroll, commits robbery, fraud, and murder on his way from a janitor to a captain of industry.

Americans' mistrust and dislike of lawyers was a frequent topic of dissection in social problem films such Lawyer Man , State's Attorney , and The Mouthpiece In films such as Paid , the legal system turns innocent characters into criminals. The life of Joan Crawford 's character is ruined and her romantic interest is executed so that she may live free, although she is innocent of the crime for which the district attorney wants to convict her.