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DR. JOHN BRINKLEY was, at one time, the wealthiest doctor of his time, undeniably the most Barnum-esque promoter in medicine in his time, vilified and prosecuted as a quack, praised as saint by the amazing number of men who flocked to him for his 'fountain of youth'---and by their wives. This book delves deeply into his TWENTY-ONE MARKETING PRINCIPLES, to provide a blueprint for adventurous advertising, marketing, promotion and personal promotion that can install a 'fountain of profits' in just about any business! IF YOU’D LIKE TO---AND WOULD PROFIT FROM---making yourself or your business famous and magnetically attractive, locally or globally, this in-depth analysis of The Lost Secrets behind this amazing success story are for you! IN THIS BOOK---DISCOVER...Dynamic pathways to Maximum AUTHORITY---so that you are sought out and your 'prescriptions' accepted without question; two kinds of CLARITY essential for marketing success---missing from most businesses; THE question to ask yourself, that, when answered, dramatically multiplies the power of advertising and elevates you above all competition; the 3-Step Brinkley Blueprint for savvy use of media---the trap most businesspeople fall victim to; a most radical, revolutionary change to your entire approach to selling---why the sale delayed can be the sale more easily made; the Brinkley Prescription for virtually unlimited PRICE ELASTICITY & the all-time, best-ever answer to any and every price objection; and the Brinkley Secret to BEING ADMIRED---as means of attracting customers especially eager to do business with you. INCLUDED: TRANSCRIPT of a Brinkley Radio Broadcast ...ARCHIVE EXAMPLES of actual Dr. Brinkley sales literature and sales copy from his advertising. PLUS, MONEYMAKING SECRETS & LESSONS FROM Napoleon Hill (author, Think and Grow Rich), Donald Trump, Martha Stewart, Dr. Atkins, Zig Ziglar, Dave Thomas (Wendy’s), and Avatar.
In the past twenty years, we have seen the rise of digital effects cinema in which the human performer is entangled with animation, collaged with other performers, or inserted into perilous or fantastic situations and scenery. Making Believe sheds new light on these developments by historicizing screen performance within the context of visual and special effects cinema and technological change in Hollywood filmmaking, through the silent, early sound, and current digital eras. Making Believe incorporates North American film reviews and editorials, actor and crew interviews, trade and fan magazine commentary, actor training manuals, and film production publicity materials to discuss the shifts in screen acting practice and philosophy around transfiguring makeup, doubles, motion capture, and acting to absent places or characters. Along the way it considers how performers and visual and special effects crew work together, and struggle with the industry, critics, and each other to define the aesthetic value of their work, in an industrial system of technological reproduction. Bode opens our eyes to the performing illusions we love and the tensions we experience in wanting to believe in spite of our knowledge that it is all make believe in the end.
Making Believe responds to a remarkable flowering of art by Mennonites in Canada. After the publication of his first novel in 1962, Rudy Wiebe was the only identifiable Mennonite literary writer in the country. Beginning in the 1970s, the numbers grew rapidly and now include writers Patrick Friesen, Sandra Birdsell, Di Brandt, Sarah Klassen, Armin Wiebe, David Bergen, Miriam Toews, Carrie Snyder, Casey Plett, and many more. A similar renaissance is evident in the visual arts (including artists Gathie Falk, Wanda Koop, and Aganetha Dyck) and in music (including composers Randolph Peters, Carol Ann Weaver, and Stephanie Martin). Confronted with an embarrassment of riches that resist survey, Magdalene Redekop opts for the use of case studies to raise questions about Mennonites and art. Part criticism, part memoir, Making Believe argues that there is no such thing as Mennonite art. At the same time, her close engagement with individual works of art paradoxically leads Redekop to identify a Mennonite sensibility at play in the space where artists from many cultures interact. Constant questioning and commitment to community are part of the Mennonite dissenting tradition. Although these values come up against the legacy of radical Anabaptist hostility to art, Redekop argues that the Early Modern roots of a contemporary crisis of representation are shared by all artists. Making Believe posits a Spielraum or play space in which all artists are dissembling tricksters, but differences in how we play are inflected by where we come from. The close readings in this book insist on respect for difference at the same time as they invite readers to find common ground while making believe across cultures.
Marcus offers this animated history of the visionaries--editors, illustrators, and others--whose books have transformed American childhood and American culture.
Representations in visual arts and fiction play an important part in our lives and culture. Walton presents a theory of the nature of representation, which shows its many varieties and explains its importance. His analysis is illustrated with examples from film, art, literature and theatre.
In The Case for Make Believe, Harvard child psychologist Susan Linn tells the alarming story of childhood under siege in a commercialized and technology-saturated world. Although play is essential to human development and children are born with an innate capacity for make believe, Linn argues that, in modern-day America, nurturing creative play is not only countercultural—it threatens corporate profits. A book with immediate relevance for parents and educators alike, The Case for Make Believe helps readers understand how crucial child's play is—and what parents and educators can do to protect it. At the heart of the book are stories of children at home, in school, and at a therapist's office playing about real-life issues from entering kindergarten to a sibling's death, expressing feelings they can't express directly, and making meaning of an often confusing world. In an era when toys come from television and media companies sell videos as brain-builders for babies, Linn lays out the inextricable links between play, creativity, and health, showing us how and why to preserve the space for make believe that children need to lead fulfilling and meaningful lives.
This is the deliciously entertaining memoir by the coal miner's son who became an international star of stage, screen, and television. Keel speaks his mind about his many co-stars, including Judy Garland, Betty Hutton, Tammy Grimes and Katherine Greyson, to name a few.
Looks at the Turkish territory of Northern Cyprus, a self-defined state, which is actually imaginary (because it is only recognized by Turkey). This title examines the sense of haunted property and objects lost and gained in the partition, along with people's relation to the fictive remapping of places and history by this new state.
With the rise of digital effects in cinema the human performer is increasingly the only "real" element on screen. Making Believe sheds new light on screen performance by historicizing it within the context of visual and special effects cinema and technological change in filmmaking, through the silent, early sound, and current digital eras.
Presents more than 100 ideas for constructing costumes using materials found at home.