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'I've long wished perfumery to be taken seriously as an art, and for scent critics to be as fierce as opera critics, and for the wearers of certain "fragrances" to be hissed in public, while others are cheered. This year has brought Perfumes: The Guide by Luca Turin and Tania Sanchez, which I breathed in, rather than read, in one delighted gulp.' Hilary Mantel, Guardian Perfumes: The Guide is the culmination of Turin's lifelong obsession and rare scientific flair and Sanchez's stylish and devoted blogging about every scent that she's ever loved and loathed. Together they make a fine and utterly persuasive argument for the unrecognised craft of perfume-making. Perfume writing has certainly never been this honest, compelling or downright entertaining.
This book explores the various personal and social narratives within the songs of Brassens and Brel, the auteurs-compositeurs-interpretes who epitomised what is now widely regarded as the golden era of chanson francaise during the 1950s and 60s. Tinker's discussion reveals the tensions in thenarrators' relationship with themselves, other individuals, and society. The book builds upon, and moves beyond, the two dominant critical approaches used to write about French song: the exclusively biographical oriented approach and the purely linguistic analysis. Tinker focuses both on identity,viewed primarily as a relational process, and on representation: linguistic, musical, vocal, and gestural.
This volume is the first to examine the films of Jean-Jacques Beineix, a contraversial film maker often viewed as the best example of the 1980's Cinéma du Look. After an introduction which places Beineix in the context of the 1980's and the arguments centering on postmodern cinema, Phil Powrie devotes a chapter to each of Beineix's feature films. This first edition includes a forward by Jean-Jacques Beineix.
This work maps the rich, varied cinema of Eastern Europe, Russia and the former USSR. Over 200 entries cover a variety of topics spanning a century of endeavour and turbulent history from Czech animation to Soviet montage, from the silent cinemas dating back to World War I through to the varied responses to the conflicts in the former Yugoslavia. It includes entries on actors and actresses, film festivals, studios, genres, directors, film movements, critics, producers and technicians, taking the coverage up to the late 1990s. In addition to the historical material of key figures like Eisenstein and Wadja, the editors provide separate accounts of the trajectory of the cinemas of Eastern Europe and of Russia in the wake of the collapse of communism.