It's an essential ingredient in pop music and high art. Why do we choose accusations of elitism over open-mindedness? What do our anxieties about "pretending" say about us?Co-editor of frieze, Europe's foremost magazine of contemporary art and culture, Dan Fox has authored over two hundred essays, interviews, and reviews and contributed to numerous catalogues and publications produced by major international art galleries and institutions.

    Introducing students to a variety of established theories of art, he presents the traditional sets of criteria of Realism, Expressionism, and Formalism, which are in turn updated by recent sources of Poststructuralism. Barrett applies each of these theories to challenging works of contemporary art, pointing out the strengths and weaknesses of each mode of interpretation. He encourages students to consider many criteria when evaluating an artwork, to critically examine judgments made by others, and to make informed judgments of their own. Ideal for courses in aesthetics, art theory, art criticism, and the philosophy of art, Why Is That Art? is organized chronologically according to the history of aesthetics. It features sixty-seven illustrations (twenty-six in a full-color insert), discusses a wide range of American and European artists, and includes an exceptional overview of postmodern pluralism. This unique book will provide students with a newfound appreciation for contemporary art, scholarship, and reasoned argumentation, giving them the confidence to join the fascinating discourse on contemporary art.

    Comedy in Three Men and a Baby, Hannah and Her Sisters, Ghostbusters, and Back to the Future; all a teenager needs to know in Pretty in Pink, Ferris Bueller’s Day Off, Say Anything, The Breakfast Club, and Mystic Pizza; the ultimate in action from Top Gun, Die Hard, Beverly Hills Cop, and Indiana Jones and the Temple of Doom; love and sex in 9 1/2 Weeks, Splash, About Last Night, The Big Chill, and Bull Durham; and family fun in The Little Mermaid, ET, Big, Parenthood, and Lean On Me.In Life Moves Pretty Fast, Hadley puts her obsessive movie geekery to good use, detailing the decade’s key players, genres, and tropes. She looks back on a cinematic world in which bankers are invariably evil, where children are always wiser than adults, where science is embraced with an intense enthusiasm, and the future viewed with giddy excitement. And, she considers how the changes between movies then and movies today say so much about society’s changing expectations of women, young people, and art—and explains why Pretty in Pink should be put on school syllabuses immediately.From how John Hughes discovered Molly Ringwald, to how the friendship between Dan Aykroyd and John Belushi influenced the evolution of comedy, and how Eddie Murphy made America believe that race can be transcended, this is a “highly personal, witty love letter to eighties movies, but also an intellectually vigorous, well-researched take on the changing times of the film industry” (The Guardian).

    Being Mortal by Atul Gawande - A 20-minute Summary Inside this Instaread Summary: • Overview of the entire book• Introduction to the important people in the book• Summary and analysis of all the chapters in the book• Key Takeaways of the book• A Reader's Perspective Preview of this summary: Chapter 1 Gawande grew up in Ohio. His parents were immigrants from India and both were doctors. His grandparents stayed in India, and there were few older people in his neighborhood, so he had little experience with aging or death until he met his wife’s grandmother, Alice Hobson. Hobson was seventy-seven and living on her own in Virginia. She was a spirited widow who fixed her own plumbing and volunteered with Meals On Wheels. However, Hobson was losing strength and height steadily each year as her arthritis worsened.Gawande’s father enthusiastically adopted the customs of his new country, but he could not understand the way in which seniors were treated in the US. In India, the elderly were treated with great respect and lived out their lives with family.In the United States, Sitaram Gawande, Gawande’s grandfather, likely would have been sent to a nursing home like most of the elderly who cannot handle the basics of daily living by themselves. However, in India, Sitaram Gawande was able to live in his own home and manage his own affairs, with family constantly around him. He died at the age of one hundred and ten when he fell off a bus during a business trip.Until recently, most elderly people stayed with their families. Even as the nuclear family unit became predominant, replacing the multi-generational family unit, people cared for their elderly relatives. Families were large and one child, usually a daughter, would not marry in order to take care of the parents.This has changed in much of the world, where elderly people end up struggling to live alone, like Hobson, rather than living with dignity amid family, like Sitaram Gawande.One cause of this change can be found in the nature of knowledge. When few people lived to be very old, elders were honored. Their store of knowledge was greatly useful. People often portrayed themselves as older to command respect. Modern society’s emphasis on youth is a complete reversal of this attitude. Technological advances are perceived as the territory of the young, and everyone wants to be younger. High-tech job opportunities are all over the world, and young people do not hesitate to leave their parents behind to pursue them.In developed countries, parents embrace the concept of a retirement filled with leisure activities. Parents are happy to begin living for themselves once children are grown. However, this system only works for young, healthy retirees, but not for those who cannot continue to be independent. Hobson, for example, was falling frequently and suffering memory lapses. Her doctor did tests and wrote prescriptions, but did not know what to do about her deteriorating condition. Neither did her family… About the Author With Instaread Summaries, you can get the summary of a book in 30 minutes or less. We read every chapter, summarize and analyze it for your convenience.

    It is fundamental to Philosophical Taoism. Specially formatted for the Amazon Kindle, with easy navigation table of contents, and adjustable font size.

    In interviews with Hollywood screenwriters from across the board—Oscar winners and novices alike—Cohen explores what sets apart the blockbuster successes from the downright disasters.Tracing the fortunes of twenty-five films, including Troy, Erin Brockovich, Lost in Translation, and The Aviator, Cohen offers insider access to back lots and boardrooms, to studio heads, directors, and to the over-caffeinated screenwriters themselves. As the story of each film evolves from the drawing board to the big screen, Cohen proves that how a script is written, sold, developed, and filmed can be just as dramatic and intriguing as the movie itself—especially when the resulting movie is a fiasco.Covering films of all kinds—from tongue-in-cheek romps like John Waters's A Dirty Shame to Oscar winners like Monster's Ball and The Hours—Screen Plays is an anecdote-filled, often inspiring, always revealing look at the alchemy of the movie business. With Cohen as your expert guide, Screen Plays exposes how and why certain films (such as Gladiator) become "tent poles," those runaway successes every studio needs to survive, and others become train wrecks. Full of critical clues on how to sell a script—and avoid seeing it destroyed before the director calls Action!—it's the one book every aspiring screenwriter will find irresistible.

    In this collection, including two never-before-published essays, Nussbaum writes about her passion for television that began with stumbling upon "Buffy the Vampire Slayer"—a show that was so much more than it appeared—while she was a graduate student studying Victorian literature. What followed was a love affair with television, an education, and a fierce debate about whose work gets to be called “great” that led Nussbaum to a trailblazing career as a critic whose reviews said so much more about our culture than just what’s good on television. Through these pieces, she traces the evolution of female protagonists over the last decade, the complex role of sexual violence on TV, and what to do about art when the artist is revealed to be a monster. And she explores the links between the television antihero and the rise of Donald Trump.The book is more than a collection of essays. With each piece, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism that resists the false hierarchy that elevates one form of culture over another. It traces her own struggle to punch through stifling notions of “prestige television,” searching for a wilder and freer and more varied idea of artistic ambition—one that acknowledges many types of beauty and complexity, and that opens to more varied voices. It’s a book that celebrates television as television, even as each year warps the definition of just what that might mean.

    Born with an unshakeable belief that she was destined for greatness, Alma de Bretteville Spreckels (1881-1968) rose from poverty to become one of San Francisco's most powerful women. Alma's humble beginnings and scandalous lifestyle would alienate her from the cream of San Francisco society: she became an artists' model, befriended European royalty, married sugar magnate Adolph Spreckels, lived in the grandest mansion in San Francisco, and at age fifty-seven chartered a plane and eloped with a cowboy. But that same larger-than-life personality was a fruitful asset in the many pursuits that claimed her passions, the most notable of which still stands high on the Golden Gate headlands. Big Alma celebrates the woman who brought Rodin's works to America and built the Palace of the Legion of Honor to hold them.

    . . Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on paraphilosophical modes of discourse. The sections on Céline, for example, are indispensable reading for those interested in this writer and place him within a context that is both illuminating and of general interest." -Paul de Man

    Highly recommended." —Tim Cahill, author of Lost in My Own Backyard, Hold the Enlightenment and Jaguars Ripped My Flesh"After over a decade in the country, Hopkins knows and loves his subject dearly—that much is obvious—and his vivid portrait projects that love from every page." —Jann Wenner, editor and founder of Rolling Stone Magazine"A loving expose of everything that's wonderful about Thailand, and much that isn't. Should be required reading for all newcomers." —Joe Cummings, author of the Lonely Planet Thailand GuideWriter Jerry Hopkins came to Thailand for a visit in the 1980s, and ended up a permanent resident with a temporary visa—a big, white farang haunting the bars and back alleys of Bangkok. His essays explore the mystery and mayhem of "The Land of Smiles" to hilarious—and sometimes disturbing—effect. Travel with him to a place where whisky is rum, water buffaloes are gay, insects are dinner, dildos are lucky charms, and your wildest adolescent fantasies can come true (for a nominal fee).

    He was the sage who stood apart from all others in Chinese history. He was a unique presence, a great mind like no one before or since. Chuang Tzu quickly distinguished himself and became well known for his deep understanding and sense of humor. His mastery was such that he could explain the Tao with simple stories, and his humor was such that he could see the joy in ordinary things. He taught his students about “carefree wandering”—the path of moving through life with a free and happy heart, regardless of how turbulent the journey might be. It is time for modern readers to join in on the fun. Chuang Tzu’s wisdom is not just for Eastern culture, but for all of humanity. We may not have the instability or the clash of massive armies indicative of Chuang Tzu’s time, but we have a lot of stress and tension in our modern world. Many of us find ourselves fighting little battles on the personal front just to get through the day. We can benefit greatly from Chuang Tzu’s teachings. These parables are presented throughout this book and juxtaposed with the charming and intelligent prose of modern-day Taoist teacher and author Derek Lin. Together, Chuang Tzu and Lin will present you with simple lessons that will have a lasting impact on your life.

    After a whirlwind courtship, a move across the world, and the unexpectedly difficult re-entry from a year overseas, Leeana finds her life (and her soul) has been changed forever.With an artist’s eye, Tankersley uses each chapter to piece together moments and memories from her journey—a handwritten note from Kuwait, a braid of fringe from a Persian rug, an original poem, a bit of basting thread, a swatch of black silk from a borrowed abaya, a mesquite leaf, a Navy SEAL trident, a receipt from the Russian-Georgian restaurant on Louisiana Street—to create a work of unexpected beauty.Found art emerges … a literary collage created from salvaged stories of loss, hope, and belief that just might change your soul, too.

    and Fosse comes the revelatory account of the making of a modern American masterpiece Chinatown is the Holy Grail of 1970s cinema. Its twist ending is the most notorious in American film and its closing line of dialogue the most haunting. Here for the first time is the incredible true story of its making.In Sam Wasson's telling, it becomes the defining story of the most colorful characters in the most colorful period of Hollywood history. Here is Jack Nicholson at the height of his powers, as compelling a movie star as there has ever been, embarking on his great, doomed love affair with Anjelica Huston. Here is director Roman Polanski, both predator and prey, haunted by the savage death of his wife, returning to Los Angeles, the scene of the crime, where the seeds of his own self-destruction are quickly planted. Here is the fevered dealmaking of "The Kid" Robert Evans, the most consummate of producers. Here too is Robert Towne's fabled script, widely considered the greatest original screenplay ever written. Wasson for the first time peels off layers of myth to provide the true account of its creation.Looming over the story of this classic movie is the imminent eclipse of the '70s filmmaker-friendly studios as they gave way to the corporate Hollywood we know today. In telling that larger story, The Big Goodbye will take its place alongside classics like Easy Riders, Raging Bulls and The Devil's Candy as one of the great movie-world books ever written.Praise for Sam Wasson:"Wasson is a canny chronicler of old Hollywood and its outsize personalities...More than that, he understands that style matters, and, like his subjects, he has a flair for it." - The New Yorker "Sam Wasson is a fabulous social historian because he finds meaning in situations and stories that would otherwise be forgotten if he didn't sleuth them out, lovingly." - Hilton Als

    In addition to Jeff Bridges, whose portrayal of The Dude has become iconic, and John Goodman, his bowling buddy, the film stars Steve Buscemi, Julianne Moore, John Turturro, Willem Dafoe, Sam Elliot, and Ben Gazzara. Not given to talking publicly about their work, the Coens gave access to Tricia Cooke and William Preston Robertson to interview the cast and crew. In a prose style that complements the Coens filmic one, the book discusses the Coens oeuvre, the themes of their films, their atypical brand of humor, their craft, and their artistic vision. Several scenes of The Big Lebowski are examined closely to see how the movie goes from idea to reality, making this an ideal book for fans, filmmakers, and filmmaking students."

    Scott Poole traces the confluence of history, technology, and art that gave us modern horror films and literatureIn the early twentieth century, World War I was the most devastating event humanity had yet experienced. New machines of war left tens of millions killed or wounded in the most grotesque of ways. The Great War remade the world’s map, created new global powers, and brought forth some of the biggest problems still facing us today. But it also birthed a new art form: the horror film, made from the fears of a generation ruined by war.From Nosferatu to Frankenstein’s monster and the Wolf Man, from Fritz Lang, F. W. Murnau, and Albin Grau to Tod Browning and James Whale, the touchstones of horror can all trace their roots to the bloodshed of the First World War. Historian W. Scott Poole chronicles these major figures and the many movements they influenced. Wasteland reveals how bloody battlefields, the fear of the corpse, and a growing darkness made their way into the deepest corners of our psyche.On the one-hundredth anniversary of the signing of the armistice that brought World War I to a close, W. Scott Poole takes us behind the front lines of battle to a no-man’s-land where the legacy of the War to End All Wars lives on.