Visiting European royalty as well as American women returning from the International Exhibition in Paris in 1867 stimulated fashion awareness — and it was in this climate that the magazine Harper's Bazar flowered. Dedicated to being "A repository of Fashion, Pleasure, and Instruction," it brought to American women inside glimpses of the very latest European and American fashions, all in carefully detailed engravings. It was much the finest source for high fashion for this period.This book consists of the finest illustrations from Harper's Bazar between the years 1867 and 1898, the period of its peak importance. These illustrations not only show you what apparel appealed to our Victorian ancestors, but give you an idea of the evolutionary nature of fashion as well. You will see bustles come and go, natural forms become the vogue only to be superseded by the constricting hourglass figure. Each look is illustrated with a number of different garments. There are gowns for the morning hours, dinner dresses, sporting costumes, traveling clothes and apparel for special occasions: weddings, communions, funerals, etc. Since no costume was complete without accessories, a full line of hats, fans, parasols, muffs, gloves, handkerchiefs, jewelry, shoes and hair styles is shown as well. A selection of children's attire is also included. An introduction by Stella Blum covers the history of Harper's Bazar and examines the various phases fashion went through between 1867 and 1898.

    In this book, Shaun McNiff, a leader in expressive arts therapy for more than three decades, reflects on a wide spectrum of activities aimed at reviving art's traditional healing function. In chapters ranging from "Liberating Creativity" and "The Practice of Creativity in the Workplace" to "From Shamanism to Art Therapy," he illuminates some of the most progressive views in the rapidly expanding field of art therapy:    •  The "practice of imagination" as a powerful force for transformation    •  A challenge to literal-minded psychological interpretations of artworks ("black colors indicate depression") and the principle that even disturbing images have inherent healing properties    •  The role of the therapist in promoting an environment conducive to free expression and therapeutic energies    •  The healing effects of group work, with people creating alongside one another and interacting in the studio    •  "Total expression," combining arts such as movement, storytelling, and drumming with painting and drawing

    Brave enough to confront the most vicious of demons, and strong enough to destroy them every time, he unfortunately could not conquer his own pride. Foolishly, he turned his adoring brother, Sugreeva, into a mortal enemy and drove him to take the help of that supreme warrior, the mighty Lord Rama.

    Times are tough and, to support her sister, Daisy has to work hard as a dancer in a nightclub, getting home late and hardly seeing Mary-Jane. One night a fire starts and Mary-Jane is alone in the house. The night's events lead to the sisters being split up and Daisy May begins to fear that she will never see Mary-Jane again...

    Bresson on Bresson collects the most significant interviews that Bresson gave (carefully editing them before they were released) over the course of his forty-year career to reveal both the internal consistency and the consistently exploratory character of his body of work. Successive chapters are dedicated to each of his fourteen films, as well as to the question of literary adaptation, the nature of the sound track, and to Bresson’s one book, the great aphoristic treatise Notes on the Cinematograph. Throughout, his close and careful consideration of his own films and of the art of film is punctuated by such telling mantras as “Sound...invented silence in cinema,” “It’s the film that...gives life to the characters—not the characters that give life to the film,” and (echoing the Bible) “Every idle word shall be counted.” Bresson’s integrity and originality earned him the admiration of younger directors from Jean-Luc Godard and Jacques Rivette to Olivier Assayas. And though Bresson’s movies are marked everywhere by an air of intense deliberation, these interviews show that they were no less inspired by a near-religious belief in the value of intuition, not only that of the creator but that of the audience, which he claims to deeply respect: “It’s always ready to feel before it understands. And that’s how it should be.”

    Included is a profile of Arthur Penn's career followed by a new comparative study of Oliver Stone, who mirrors Penn's practice of drawing his films out of historical and ideological currents. Placing the films of Penn, Stone, Kubrick, Scorsese, Spielberg, and Altman in an ideological perspective, Kolker both illuminates their relationship to one another and to larger currents in our culture, and emphasizes the statements their films make about American society and culture. This edition includes a new preface, a requiem for Stanley Kubrick, updated filmography, and 48 images from various films discussed through the text.

    In this chronicle, Norris remembers the education she received, both formal and fortuitous; the influence of her mentor Betty Kray, who shunned the spotlight while serving as a guiding force in the poetry world of the late 20th century; her encounters with such figures as James Merrill, Jim Carroll, Denise Levertov, Stanley Kunitz, Patti Smith, and Erica Jong; and her eventual decision to leave Manhattan for the less-crowded landscape she described so memorably in Dakota. This account of the making of a young writer will resonate with anyone who has stumbled bravely into a bigger world and found the poetry that lurks on rooftops and in railroad apartments—and with anyone who has enjoyed the blessings of inspiring teachers and great friends.

    Pop culture fans will delight in author Trina Robbinss chronological commentary (with attitude) on the authors, artists, trends, and sassy, brassy characters featured in comic books for the last half-century. Meet the bubble-headed bombshells of the '40s, the lovelorn ladies of the '50s, the wimmin libbers of the '70s, and the grrrowling grrrlz of today. Her commentary is paired with a ton of rare comic book art pulled from the best girl comics published since World War II. Bridging the gap between Ms. and Sassy, between Miss America and Naomi Wolf, From Girls to Grrrlz reminds us how comic book characters humorously—and critically—reflect our changing culture.

    A woman's journey ended at the altar. Professor Heilbrun notes that the diversity of women's lives now makes it possible for women to dare to choose their own scripts.

    It is fitting, then, that the companion book to his movie Sleepy Hollow is a big and beautiful hardback, full of images that range from quietly eerie to eye-popping. The book contains Burton's sketches, paintings from production designer Rick Heinrichs and costume designer Colleen Atwood, and dozens of stills from the film itself. All of this is juxtaposed with Andrew Kevin Walker's screenplay of Washington Irving's story. The result is a unique opportunity to see how a film comes together. Bare words on a page result in Burton's quirky roughs, which are fleshed out into more detailed paintings by Burton and the production team. Finally it all comes together in photographs of the end product. In addition to an engrossing screenplay (Careful! It's far from a direct cribbing of the original story, so see the movie before reading too far if you don't want the plot spoiled), the reader gets to see the evolution of Ichabod's binocular glasses and creepy yet strangely charming autopsy instruments. The book as a whole illustrates one of the most interesting aspects of Burton's vision--frightening images are clearly meant to be seen as beautiful at the same time. The Art of Sleepy Hollow is entertaining on several levels: as a good story, as a step-by-step tour of the way a film's design comes together, and as a fascinating picture book for grownups. --Ali Davis

    In Poetics of Cinema, Ruiz takes a fresh approach to the major themes haunting our audio-visual civilization: the filmic unconscious, questions of utopia, the inter-contamination of images, the art of the copy, the relations between artistic practices and institutions. Based on a series of lectures given recently at Duke University in North Carolina, Poetics of Cinema develops an acerbically witty critique of the reigning codes of cinematographic narration, principally derived from the dramatic theories set forth by Aristotle's Poetics and characterized by Ruiz as the -central-conflict theory.- Ruiz's impressive knowledge of theology, philosophy, literature and the visual arts never outstrips his powerful imagination. Poetics of Cinema not only offers a singularly pertinent analysis of the seventh art, but also shows us an entirely new way of writing and thinking about images.

    The indie music world is littered with females who have not only withstood the racket of punk’s intolerance, but have twisted our societal notions of femininity in knots.Raha focuses on the United States and England in the 70s and 80s, and illuminates how the seminal women of this time shaped the female rockers of the 90s and today. Groups profiled range from The Runaways, The Slits, and The Plasmatics to L7, Sleater-Kinney, and Le Tigre. The book includes women not often featured in "women in rock" titles, such as Exene Cervenka of X, Eve Libertine and Joy de Vivre of Crass, and Poison Ivy Rorschach of the Cramps. Includes rare interviews and more than forty B&W photos.

    The book unveils a truth of universal importance, namely, by helping others in need we can become their miracles.

    

    Joyce Tenneson presents 80 portraits of women aged 65 to 100, who comment on their experiences of ageing.