This volume of the Golden Age of Illustration Series contains Hans Christian Andersen’s ‘The Red Shoes’. This classic fairy tale has been continuously in print in different editions since its first publication, with many, many, different artists illustrating the story over the years. This edition features a beautiful collection of the best of that art, taken from the likes of Arthur Rackham, Edmund Dulac, Harry Clarke, Honor Appleton, Jennie Harbour, among others. This series of books celebrates the Golden Age of Illustration. During this period, the popularity, abundance and – most importantly – the unprecedented upsurge in the quality of illustrated works marked an astounding change in the way that publishers, artists and the general public came to view this hitherto insufficiently esteemed art form. The Golden Age of Illustration Series, has sourced the rare original editions of these books and reproduced the beautiful art work in order to build a unique collection of illustrated fairy tales. ‘The Red Shoes’ was first published in April of 1845, as part of Andersen’s New Fairy Tales: First Volume, Third Collection. Andersen explained the source of the story as being an incident he had witnessed as a small child. His father, he stated, had been sent a piece of red silk by a rich lady, who wanted the material converted into a pair of dancing slippers. Andersen’s father produced the slippers, but the rich woman was horrified at the result, and in reaction to her harsh criticism, he cut the shoes up in front of her.

This volume of the Golden Age of Illustration Series contains Hans Christian Andersen’s ‘The Snow Queen’. This classic fairy tale has been continuously in print in different editions since its first publication, with many, many, different artists illustrating the story over the years. This edition features a beautiful collection of the best of that art, taken from the likes of Arthur Rackham, Edmund Dulac, Harry Clarke, Honor Appleton, Jennie Harbour, among others. This series of books celebrates the Golden Age of Illustration. During this period, the popularity, abundance and – most importantly – the unprecedented upsurge in the quality of illustrated works marked an astounding change in the way that publishers, artists and the general public came to view this hitherto insufficiently esteemed art form. The Golden Age of Illustration Series, has sourced the rare original editions of these books and reproduced the beautiful art work in order to build a unique collection of illustrated fairy tales.

Unique anthology presents scores of color and black-and-white artworks by 22 of the best women illustrators of the early 20th century, including Beatrix Potter, Kate Greenaway, and Jessie Willcox Smith.

The unsung heroes of film, storyboard artists are the first to give vision to a screenplay, translating words on the page into shots for the screen. Their work is a unique art form in itself. Many storyboards are beautiful in their own right, but ultimately the skill of the artist lies in their visual communication of a script, with multiple factors to consider: composition, movement, camera angles, special effects, and the rhythm and pacing of a scene. The Art of Movie Storyboards celebrates this art, showcasing a vast collection of storyboards in a range of styles, and including some of cinema's greatest moments. The collection includes the work of pioneers such as William Cameron Menzies (Gone with the Wind) and Saul Bass (Psycho, Spartacus), as well as contemporaries such as Raúl Monge (Pan's Labyrinth) and Jane Clark (Harry Potter and the Goblet of Fire). Many are seen here for the first time, and all are accompanied by insights into the films featured, their directors, and, of course, the storyboard artists.

This book examines major British and American missionary films during the Golden Age of Hollywood to explore the significance of race, gender, and spirituality in relation to the lives of the missionaries portrayed in film during the middle third of the twentieth century. Film both influences and reflects culture, and racial, gender, and religious identities are some of the most debated issues globally today. In the movies explored in this book, missionary interactions with various people groups reflect the historical changes which took place during this time.

Amihay offers a pioneering study of the unique nexus between literature and photography in the works of Hebrew authors. Exploring the use of photography—both as a textual element and through the inclusion of actual images— Amihay shows how the presence of visual elements in a textual work of fiction has a powerful subversive function. Contemporary Hebrew authors have turned to photography as a tool to disrupt narratives and give voice to marginalized sectors in Israel, including women, immigrants, Mizrahi Israelis, LGBTQ+ individuals, second-generation Holocaust survivors, and traumatized army veterans. Amihay discusses standard novels alongside graphic novels, challenging the dominance of the written word in literature. In addition to providing a poetic analysis of imagetext pages, Amihay addresses the social and political issues authors are responding to, including gender roles, Zionism, the ethnic divide in Israel, and its Palestinian minority. In exploring these avant-garde novels and their authors, Amihay elevates their significance and calls for a more expansive definition of canonical Hebrew literature.

In all his films, Wes Anderson turns the mundane into magic by building distinctive and eccentric worlds. But how well do you know the man behind the camera? Discover the inspirations of one of our most revered auteurs with The Worlds of Wes Anderson. Anderson’s playful and vibrant aesthetic is universally admired – but how has he managed to create such a recognisable identity? From Hitchcock and Spielberg to Truffaut and Varda, there are countless homages and references scattered throughout Anderson’s filmography, while his cultural anchor points go far beyond film and into the worlds of art and literature. Evocations of place and time underpin his work, from mid-century Paris in The French Dispatch to grand pre-war Europe in The Grand Budapest Hotel, while cultural institutions – such as Jacques Cousteau and The New Yorker magazine – are other touchstones. For Wes Anderson fans and cinephiles alike, this is an essential insight into the creative process of one of the world’s most unique filmmakers.

A window is thrown open and sudden light illuminates the face of Orson Welles. Harry Lime's return from the dead in 'The Third Man' (1949), Carol Reed's unique thriller set in occupied Vienna, is one of the most famous scenes in all cinema. But there is more besides: the zither score, the tilted shots, the cuckoo-clock speech, the desperate manhunt in the city sewers. A British-American co-production overseen by Alexander Korda and David O. Selznick, 'The Third Man' was written by Graham Greene, photographed by Robert Krasker and featured, along with Welles, Joseph Cotten, Alida Valli and Trevor Howard. All of the did superb work under Reed's subtle direction. After 'The Third Man', Carol Reed was hailed as one of the world's great directors. This title sets out to understand what kind of artist Reed was and whether he deserved such accolades. Rob White explores how the film came to be made and seeks to explain its fascination.