A breathless, clothes-in-a-heap romp or a naughty tease before the elevator doors slide open. Even better when it’s a quick sex story you can read again and again. “Turn me on in 50 words or less and I’ll follow you home,” writes editor and erotica aficionado Alison Tyler about Got a Minute? The lovers in Marie Potoczny’s “The Other Side of Sleep” revel in the delicious pause between sleep and waking. Sharon Wachsler’s “Perfect” is a love story that happens to include ropes, rough play, and butterfly pillows. The 60 short and spicy stories in Got a Minute? will rev your motor and leave you aching for more. When it comes to hot sex, who doesn’t have a minute?

    Amid recession, depression, poverty, increasing violence and rising inequality, our current politics is exhausted and inadequate. In Red Tory, Phillip Blond argues that only a radical new political settlement can tackle the problems we face.Red Toryism combines economic egalitarianism with social conservatism, calling for an end to the monopolisation of society and the private sphere by the state and the market. Decrying the legacy of both the Labour and Conservative parties, Blond proposes a genuinely progressive Conservatism that will restore social equality and revive British culture. He calls for the strengthening of local communities and economies, ending dispossession, redistribution of the tax burden and restoration the nuclear family.Red Tory offers a different vision for our future and asks us to question our long-held political assumptions. No political thinker has aroused more passionate debate in recent times. Phillip Blond's ideas have already been praised or attacked in every major British newspaper and journal. Challenging, stimulating and exhilarating, this is a book for our times.

    This book has struck a chord worldwide and is being translated into several languagesAfter a short introduction to basic principles, a variety of shots are deconstructed in the following format:- Why It Works: an introduction to a particular type of shot- How It Works: callouts point out exactly how the shot works the way it does--the visual rules and technical aspects in action- Technical Considerations: the equipment and techniques needed to get the shot.- Breaking the Rules: examples where the rules are brilliant subverted

    These infamous posters were, in turn, central fixtures in Chinese homes, railway stations, schools, journals, magazines, and just about anywhere else where people were likely to see them. Chairman Mao, portrayed as a stoic superhero (a.k.a. the Great Teacher, the Great Leader, the Great Helmsman, the Supreme Commander), appeared in all kinds of situations (inspecting factories, smoking a cigarette with peasant workers, standing by the Yangzi River in a bathrobe, presiding over the bow of a ship, or floating over a sea of red flags), flanked by strong, healthy, ageless men and "masculinized" women and children wearing baggy, sexless, drab clothing. The goal of each poster was to show the Chinese people what sort of behavior was considered morally correct and how great the future of Communist China would be if everyone followed the same path toward utopia by uniting together. Combining fact and fiction in a way typical of propaganda art, these posters exuded positive vibes and seemed to suggest that Mao was an omnipresent force that would accompany China to happiness and greatness. This book brings together a selection of colorful propaganda artworks and cultural artifacts from photographer Michael Wolf's vast collection of Chinese propaganda posters, many of which are now extremely rare.

    Maintaining his innocence of these crimes, Chessman lived in Cell 2455, a four-by-ten foot space on Death Row in San Quentin for the twelve years between his sentencing and eventual execution. He spent this time, punctuated by eight separate stays of execution, writing this memoir — a moving and pitiless account of his life in crime and the early life that produced it. Chessman's clarity of mind and ability to bring his thoughts directly to the page, even within the stifling walls of San Quentin, help make this work the most literate and authentic expose ever written by a criminal about his crimes.

    Robert Bresson makes some quite radical distinctions between what he terms "cinematography" and something quite different: "cinema"—which is for him nothing but an attempt to photograph theater and use it for the screen.Director of The Trial of Joan of Arc, Pickpocket, A Prisoner Escapes, Diary of a Country Priest, Money, and many other classic films, Robert Bresson is, quite simply, one of the most brilliant cinematographers in the history of film.

    The guide includes all the icons, from Boris Karloff to Wes Craven and Frankenstein to Freddie Kruger, including classics from Argentina, Pakistan, South Africa and the recent chillers from East Asia. The canon of fifty essential horror movies features The Cabinet of Dr Caligari and Switchblade Romance, via Psycho and The Exorcist. Everything you need to know is covered from festivals, adaptations, magazines and merchandise. The guide tells the stories behind the movies that have scared us throughout the twentieth century.

    The collection begins with a summation of the costumes created for Disney animation, early live action, and television, along with show wardrobes sported at the Disney Parks by Audio-Animatronics figures and Cast Members. The next section details a timeless case study: Cinderella's ball gown. A diverse group of designers has been called upon over the years to address and improvise the creative and practical needs each time the fairy tale Cinderella has been reimagined. Each project has brought with it inherent cultural challenges when bringing a familiar and beloved tale to life again and again, and all have yielded stunning and distinct results. At last, the full galleries (organized by the character archetypes of heroes and villains, and those complex, always interesting, "spaces between") showcase costumes across more than thirty Disney films. At each turn, this volume offers a one-of-a-kind backstage view of remarkable works of art, and it inspires a true appreciation for the highly skilled and talented costumers who created them.

    Featuring insights from Fortune 100 executives, headhunters, career counselors, and MBA graduates, this guidebook arms you with information you should know about an interviewing company, its industry, the position, and the interviewers themselves.

    Yet despite dazzling success with the public, it never received its fair share of praise from the critics. Gene Kelly's genius as a performer is there for all to see. What is less acknowledged is his innovatory contribution as director. Peter Wollen has finally done justice to this landmark film. In a brilliant shot-by-shot analysis of the famous title number, illustrated by specially produced frame stills, he shows how skillfully Kelly binds the dance and musical elements into the narrative, and how he successfully combines two distinctive traditions within American Dance, tap and ballet.Scriptwriters Betty Comden and Adolph Green, and indeed Kelly himself, were all under threat from the McCarthyism which menaced Hollywood at this time. The ethos in which the film was conceived could not long survive in the era of blacklisting. Wollen argues convincingly that "Singin' in the Rain" was the high point in the careers of those who worked on it.

    In each chapter, titled after a letter of the alphabet, an anonymous narrator details his experiences, travelling to cruising grounds and sex clubs, exploring the boundaries of sex, desire, pleasure, and the body, while reflecting on the limits of language and the act of writing.In the tradition of Georges Bataille, Kathy Acker and Jean Genet, these pieces take us to places language doesn't often go. Kemp powerfully stages a series of anonymous encounters, describing the relentless pursuit of sexual pleasure with luminous intensity, while at the same time facing the impossibility of capturing the moments he describes. This is a bold and challenging work, unashamedly sensual and searching. Kemp beautifully counterpoises explicit description with a searing interrogation of the extreme measures taken in the quest for sexual fulfillment.

     It was the first major offensive by Allied forces against the Empire of Japan. John B. George’s wonderful account of his early overseas experiences as a rifleman in the Guadalcanal campaign presents the viewpoint not of a brass hat, but instead of doughboy who saw the conflict from the ground. He begins with the story of his early years in the 132nd Infantry of the Illinois National Guard, training on the ranges in various ranges across America, before he and his regiment were inducted into the United States Army just months before the terrible events at Pearl Harbor. George and his regiment landed on Guadalcanal just one day after the invasion had begun and were thrown quickly into the action to secure the beachhead and defend Lunga Point. Being a crack shot George records the many hours that he spent hidden in the bush sniping at his enemies if any opportunities arose. What makes this memoir different from others is the fact that George not only uncovers the conflicts that he witnesses and took part in but he also gives extensive information about the tactics that the U.S. military implemented as well as in depth descriptions of all the weapons that they used along with those of their enemies. “Johnny George is a fine officer and an able Infantryman. As a leader he was always capable and aggressive; as an individual rifleman he never lost an opportunity to kill or harass the enemy.” Colonel George F. Ferry, Commanding Officer of 132nd Infantry Regiment. John B. George served in the U.S. Army from 1941 to 1947 in the Pacific and China-Burma-India theaters and held the rank of lieutenant colonel. After this he went to Princeton and later joined the State Department’s Foreign Affairs Institute as a consultant, lecturer, and writer on African affairs. His book Shots Fired in Anger was first published in 1947 and he passed away in 2009.