Post-Pop Cinema - The Search for Meaning in New American Film
Starting in the early 1990s, artists such as Quentin Tarantino, David Foster Wallace, and Kurt Cobain contributed to a swelling cultural tide of pop postmodernism that swept through music, film, literature, and fashion. In cinema in particular, some of the art's most fundamental aspects--stories, characters, and genres, for instance--assumed such a trite and trivialized appearance that only rarely could they take their places on the screen without provoking an inward smirk or a wink from the audience.
It's hard to imagine a material more versatile than polymer clay. What other medium yields perfectly convincing simulations of everything from marble, wood, ivory, and jade to metal, porcelain, mosaic, enamel, and semiprecious stones--not to mention flowers, food, and sculptural forms? With a thoroughness rarely found in other books on the subject, Sue Heaser explains all of these methods and more, supplementing her excellent instructions with good, clear photos.
Added by: badaboom | Karma: 5364.29 | Fiction literature | 24 October 2010
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The Stolen Child
Folk legends of the changeling serve as a touchstone for Donohue's haunting debut, set vaguely in the American northeast, about the maturation of a young man troubled by questions of identity. At age seven, Henry Day is kidnapped by hobgoblins and replaced by a look-alike impostor. In alternating chapters, each Henry relates the tale of how he adjusts to his new situation. Human Henry learns to run with his hobgoblin pack, who never age but rarely seem more fey than a gang of runaway teens. Hobgoblin Henry develops his uncanny talent for mimicry into a music career and settles into an otherwise unremarkable human life.
Added by: Alexey | Karma: 38.69 | Other | 4 June 2009
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Estelle Derclaye’s book is indeed a Handbook on EU copyright law, since practically every aspect of copyright law is examined through the lens of EU law by foremost European specialists. But it goes further than providing an understanding of what has been and ought to be happening in EU copyright law: each chapter can touch a raw nerve in the copyright law of any country in the world. Rarely has it been so obvious that EU copyright law can be considered a laboratory for copyright law in general.’ - Ysolde Gendreau, Universite de Montreal, Canada
