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This book shows 11 different hairstyles you can comb from one basic setting. These styles include several Grecian variations, "Tiara," "The Portrait," "Whistler's Mother--Moderne," several pony tail variations, "Undulation," "Miss Muffin," "Christian Dior Chignon," "Flight," and "Everyman's Dreamgirl."
Expanded and back in print, this popular resource to recreating authentic period hairstyles covers everything from short hairdos popular in the early 1940s to the cut-to-fit look made popular by Christian Dior in the late 1940s. Hundreds of vintage illustrations, photographs, and diagrams accompany detailed instructions and techniques for replicating the styles of the decade. Fun facts and trivia related to the hairstyles of the time are included, as is a look at wartime hair and regulations brought about by the government. Comprehensive lists of the beauty tools needed to create these hairdos, where to purchase the various hard-to-find items discussed, and hairstyles based on hair length and type are all included for those interested in revisiting the period beauty of the 1940s.
In the years between the world wars, Manhattan's Fourteenth Street-Union Square district became a center for commercial, cultural, and political activities, and hence a sensitive barometer of the dramatic social changes of the period. It was here that four urban realist painters--Kenneth Hayes Miller, Reginald Marsh, Raphael Soyer, and Isabel Bishop--placed their images of modern "new women." Bargain stores, cheap movie theaters, pinball arcades, and radical political organizations were the backdrop for the women shoppers, office and store workers, and consumers of mass culture portrayed by these artists. Ellen Wiley Todd deftly interprets the painters' complex images as they were refracted through the gender ideology of the period. This is a work of skillful interdisciplinary scholarship, combining recent insights from feminist art history, gender studies, and social and cultural theory. Drawing on a range of visual and verbal representations as well as biographical and critical texts, Todd balances the historical context surrounding the painters with nuanced analyses of how each artist's image of womanhood contributed to the continual redefining of the "new woman's" relationships to men, family, work, feminism, and sexuality.
This book examines issues of censorship, publicity and teenage fandom in 1950s Britain surrounding a series of controversial Hollywood films: The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock. It also explores British cinema’s commentary on juvenile delinquency through a re-examination of such British films as The Blue Lamp, Spare the Rod and Serious Charge. Taking a multi-dimensional approach, the book intersects with star studies and social history while reappraising the stardom of Marlon Brando, James Dean and Elvis Presley. By looking at the specific meanings, pleasures and uses British fans derived from these films, it provides a logical and sustained narrative for how Hollywood star images fed into and disrupted British cultural life during a period of unprecedented teenage consumerism.
During the past three decades, feminist scholars have successfully demonstrated the ubiq uity and omnirelevance of gender as a sociocultural construction in virtually all human collectivities, past and present. Intrapsychic, interactional, and collective social processes are gendered, as are micro, meso, and macro social structures. Gender shapes, and is shaped, in all arenas of social life, from the most mundane practices of everyday life to those of the most powerful corporate actors. Contemporary understandings of gender emanate from a large community of primarily feminist scholars that spans the gamut of learned disciplines and also includes non-academic activist thinkers. However, while in corporating some cross-disciplinary material, this volume focuses specifically on socio logical theories and research concerning gender, which are discussed across the full array of social processes, structures, and institutions. As editor, I have explicitly tried to shape the contributions to this volume along several lines that reflect my long-standing views about sociology in general, and gender sociology in particular. First, I asked authors to include cross-national and historical material as much as possible. This request reflects my belief that understanding and evaluating the here-and-now and working realistically for a better future can only be accomplished from a comparative perspective. Too often, American sociology has been both tempero- and ethnocentric. Second, I have asked authors to be sensitive to within-gender differences along class, racial/ethnic, sexual preference, and age cohort lines.