Classic posters from the last 300 years and the stories behind them. Posters have always been designed to seek an immediate response. From the time when paper was first affordable, the poster has been used to provoke a direct reaction, whether a public appeal, a legal threat, a call to arms, or the offer of entertainment. Newspapers might have the advantage of ubiquity in spreading the word, but a poster could be tightly targeted by its location. Organized chronologically, 100 Posters That Changed the World charts the history of poster design from their earliest forms as a means of information communication to the more subtle visual communication of the 21st century. As printing became cheaper, posters were used for more than just promoting the capture of local villains or announcing government decrees. Advertisements took over, citing up-and-coming events, auctions, public meetings, political rallies, sports games, lectures and theatrical performances. The technological leaps from engraving to aquatints to lithography, chromolithography and the offset press, all had their impact on what could be advertised by poster, and the art form took off spectacularly in the late 19th century with the influence of Lautrec and the Paris nightclubs. From then on, the poster became a sophisticated means of visual communication. In the West it was used to sell products – in the East it was used to sell regimes and control behaviour. Along with historic moments in poster evolution, 100 Posters That Changed the World charts the most impactful designs of the last 300 years – images that communicate a message whether commercial or political, images that sell a film, a musical, a cause or used for decoration, inspiration, motivation and affirmation. The affirmation for teenagers in the 1970s that Farah Fawcett was looking at you.
James Bond in World and Popular Culture: The Films are Not Enough provides the most comprehensive study of the James Bond phenomena ever published. The 40 original essays provide new insights, scholarship, and understanding to the world of James Bond. Topics include the Bond girl, Bond related video games, Ian Fleming’s relationship with the notorious Aleister Crowley and CIA director Alan Dulles. Other articles include Fleming as a character in modern fiction, Bond Jr. comics, the post Fleming novels of John Gardner and Raymond Benson, Bond as an American Superhero, and studies on the music, dance, fashion, and architecture in Bond films. Woody Allen and Peter Sellers as James Bond are also considered, as are Japanese imitation films from the 1960s, the Britishness of Bond, comparisons of Bond to Christian ideals, movie posters and much more. Scholars from a wide variety of disciplines have contributed a unique collection of perspectives on the world of James Bond and its history. Despite the diversity of viewpoints, the unifying factor is the James Bond mythos. James Bond in World and Popular Culture: The Films are Not Enough is a much needed contribution to Bond studies and shows how this cultural icon has changed the world.
This extensive work explores the changing world of religions, faiths and practices. It discusses a broad range of issues and phenomena that are related to religion, including nature, ethics, secularization, gender and identity. Broadening the context, it studies the interrelation between religion and other fields, including education, business, economics and law. The book presents a vast array of examples to illustrate the changes that have taken place and have led to a new world map of religions. Beginning with an introduction of the concept of the “changing world religion map”, the book first focuses on nature, ethics and the environment. It examines humankind’s eternal search for the sacred, and discusses the emergence of “green” religion as a theme that cuts across many faiths. Next, the book turns to the theme of the pilgrimage, illustrated by many examples from all parts of the world. In its discussion of the interrelation between religion and education, it looks at the role of missionary movements. It explains the relationship between religion, business, economics and law by means of a discussion of legal and moral frameworks, and the financial and business issues of religious organizations. The next part of the book explores the many “new faces” that are part of the religious landscape and culture of the Global North (Europe, Russia, Australia and New Zealand, the U.S. and Canada) and the Global South (Latin America, Africa and Asia). It does so by looking at specific population movements, diasporas, and the impact of globalization. The volume next turns to secularization as both a phenomenon occurring in the Global religious North, and as an emerging and distinguishing feature in the metropolitan, cosmopolitan and gateway cities and regions in the Global South. The final part of the book explores the changing world of religion in regards to gender and identity issues, the political/religious nexus, and the new worlds associated with the virtual technologies and visual media.
Why did collectors seek out posters and collect ephemera during the late-nineteenth and the twentieth centuries? How have such materials been integrated into institutional collections today? What inspired collectors to build significant holdings of works from cultures other than their own? And what are the issues facing curators and collectors of digital ephemera today? These are among the questions tackled in this volume-the first to examine the practices of collecting prints, posters, and ephemera during the modern and contemporary periods. A wide range of case studies feature collections of printed materials from the United States, Latin America, France, Germany, Great Britain, China, Japan, Russia, Iran, and Cuba. Fourteen essays and one roundtable discussion, all specially commissioned from art historians, curators, and collectors for this volume, explore key issues such as the roles of class, politics, and gender, and address historical contexts, social roles, value, and national and transnational aspects of collecting practices. The global scope highlights cross-cultural connections and contributes to a new understanding of the place of prints, posters and ephemera within an increasingly international art world.
In Dialogues with Creative Legends, you will find answers to some of the perplexing questions talented people confront. From these dialogues emerge a startling range of ideas, from beginning a creative career to developing client relationships, mentoring, and the role of design thinking in society. The author's gradual revelations about the intertwined contributions of creator and patron will resonate with students and practitioners in all the creative professions. This remarkable book explores the role of creativity in commerce and culture. It's a quest for livelihood and meaning that is at once highly personal--and strikingly universal. Come along as the author interviews many of the creative luminaries of the late 20th century, including: Saul Bass, Buckminster Fuller, Paul Rand, Lou Dorfsman, Herb Lubalin, Don Trousdell, Charles & Ray Eames, George Nelson, Massimo Vignelli, Heinz Edelmann, Victor Papanek, and Hermann Zapf.
More than three hundred photographs from the archives of Getty Images and National Geographic capture one hundred days that represent pivotal moments of the past 150 years, including Lincoln's assassination, the 1929 Wall Street crash, Kristallnacht, Chernobyl, September 11, and other events and personalities who shaped the world. 125,000 first printing.
Proceedings of the 13th International Echinoderm Conference, January 5-9 2009, University of Tasmania, Hobart Tasmania, Australia
Author: Craig Johnson
Publisher: CRC Press
Echinoderms are an ancient and diverse group of marine animals with a rich fossil record. They occur abundantly in all modern oceans and at all depths, where they contribute importantly to patterns in biodiversity and to the structure and functioning of marine systems. It is therefore vital to understand how they will respond to a rapidly cha
Abstracts of journal articles, books, essays, exhibition catalogs, dissertations, and exhibition reviews. The scope of ARTbibliographies Modern extends from artists and movements beginning with Impressionism in the late 19th century, up to the most recent works and trends in the late 20th century. Photography is covered from its invention in 1839 to the present. A particular emphasis is placed upon adding new and lesser-known artists and on the coverage of foreign-language literature. Approximately 13,000 new entries are added each year. Published with title LOMA from 1969-1971.