One of the advertising world's all-time greats--the first woman president of an advertising agency and the first woman CEO of a company on the New York Stock Exchange--tells her riveting story. 36 photos.
Creative thinking made easy Being creative can be tough - and trying to come up with great ideas under pressure can leave the great ideas under wraps! Creative Thinking For Dummies helps you apply creative thinking techniques to everything you touch, whether it's that novel you have inside you or the new business idea you've had that will make you the next hot entrepreneur ??? or anything in between. Creative Thinking For Dummies is a practical, hands-on guide packed with techniques and examples of different ways to think creatively. It covers a range of techniques, including brainstorming, lateral thinking, mind mapping, synectics, drawing and doodling your way to great ideas, meditation and visualization, word and language games, and divergent thinking. See the world in a different way, and realise that you are surrounded by creative inspiration Brainstorm new ideas successfully and try out some lateral thinking exercises Open your mind to a new way of thinking and nail down those great ideas Discover creative thinking techniques using games, words, drawings, and storytelling Let creativity enhance all aspects of your life, whether developing your personal skills, becoming more professionally effective, or using creative thinking techniques to help your children develop their creative minds You'll soon discover that everybody, including you, has a wealth of creative potential within—you just need to tap into it!
Love Me or Kill Me is the first study of Sarah Kane, the most significant British dramatist in post-war theater. It covers all of Kane's major plays and productions, contains hitherto unpublished material and reviews, and looks at her continuing influence after her tragic early death. Locating the main dramatic sources and features of her work as well as centralizing her place within the 'new wave' of emergent British dramatists in the 1990's, Graham Saunders provides an introduction for those familiar and unfamiliar with her work.
The purpose of the book is to provide an overall view of advertising in the twentieth century while filling in the gap of information that exists in Italy ? where just a few names are known. The book also provides a leading thread about those professionals who, in the second half of the 20th century, were the protagonists of the creative revolution and whose influence has been seminal on both American and English advertising. The book has no historical intentions nor aims at classifying people into schools or categories (as such an approach would be pretentious and inadequate in a profession so deeply entangled with economics and consumer attitudes). The content in brief: The book is made up of short biographies of famous and well known advertising people ? mainly art directors and copywriters ? interspersed with a few explanatory chapters that are simply summaries on certain subjects. For instance The Big Agencies outlines the origins of historical agencies, such as J.W. Thompson, BBDO, and Young & Rubicam. The State of Things explains what happened after the (so called) Creative Revolution. The Spot-Makers presents people like Howard Zieff, Joe Pytka, Rick Levine, and Bob Giraldi. Old School Ties and Colonels is about British advertising before Collett Dickinson and Pearce. La Grande Parade depicts the peculiarities of French advertising and Carosello and its Victims explains the unusual features of the Italian Carosello (an early TV format that hosted commercials), etc. Biographies are structured differently along the lines of individual stories and, generally, tend to highlight the meaningful events in one s career rather than their early life and experiences. This way of telling a story is, of course, somewhat influenced by the author s experiences and point of view and represents the original aspect of the book. Among the influentials , Americans and Britons outnumber French and Italians. A final section with Contributions by various authors and famous copywriters: Gossage, Della Femina, Abbott, Séguéla, Marcantonio, Pirella, etc. completes the book.
How does one become a theater critic in London? What do the theater critics think of their profession? How are they judged by those they critique? What do both critics and theatre-makers think of their mutual object of desire - the British Theatre? Who Keeps the Score on the London Stages? sets out to find the answers to these questions and many more in this long overdue publication on Britain's current theatre scene. Included are comprehensive interviews with more than fifty major London theatre critics and theater-makers, including Sir Alan Ayckbourn, Stephen Berkoff, Michael Billington, Martin Coveney, Nicholas de Jongh, Sir Richard Eyre, Sir Peter Hall, Sir Cameron Mackintosh, Adrian Noble, Sir Trevor Nunn and Irving Wardle. The author has gathered together a lively discussion about the contrmporary state of the British theatre, drawing a picture of its strengths, weaknesses and the problems it faces today. This volume serves as a long overdue guide to the Theatre critics' profession in Britain.
Braniff Airways: Flying Colors takes readers on a magical flight through the history of Braniff International Airways, beginning with its small-town Oklahoma roots to its high-flying and stylish span of the globe. Braniff brought together the mystery of aviation with the glamorous fields of fashion, art, and design, and taught the flying world how to fly with style and beauty. It is this remarkable joining of forces that has made Braniff as popular today as it was when flying in style across the Atlantic and Pacific.
For a full list of entries and contributors, a generous selection of sample entries, and more, visit the The "Advertising Age" Encyclopedia of Advertising website. Featuring nearly 600 extensively illustrated entries, The Advertising Age Encyclopedia of Advertising provides detailed historic surveys of the world's leading agencies and major advertisers, as well as brand and market histories; it also profiles the influential men and women in advertising, overviews advertising in the major countries of the world, covers important issues affecting the field, and discusses the key aspects of methodology, practice, strategy, and theory. Also includes a color insert.
The Art Gallery on Stage is the first book to consider the representation of the art gallery on the contemporary British stage and to discuss how playwrights have begun to regard it as inspiration, location, focus or theme in an ever-more intense game of cross-fertilization. The study analyzes the impact on dramatic form and theatrical presentation of what has been a paradigmatic shift in the way art galleries and museums display their collections and how these are perceived, establishing a hitherto unexplored connection between modes of exhibiting and modes of representation. It traces a trajectory from plays that were initially performed in traditional theatres in accordance with a naturalistic play structure to plays that favour of a radical reconfiguration of visual representation. Indeed, since the beginning of the new millennium, playwrights and theatre-makers have increasingly experimented with new dramatic forms and site-specific venues, while forging collaborations with art makers and curators. The book focuses on plays from the 1980s onwards, such as Howard Barker's Scenes from an Execution, Nick Dear's The Art of Success, Alan Bennett's A Question of Attribution, Timberlake Wertenbaker's Three Birds Alighting on a Field and The Line, David Edgar's Pentecost, Martin Crimp's Attempt on Her Life, Rebecca Lenkiewicz's Shoreditch Madonna and The Painter, David Leddy's Long Live the Little Knife, and Tim Crouch's My Arm, An Oak Tree and England, and considers the vital contribution to the field made by set designers. Ultimately, through this study, we come to understand how modern drama can offer a set of interpretative tools to enhance our understanding of the mechanisms underlying the social construction of art and, furthermore, the potential of theatre and the gallery space to question our fundamental cultural assumptions and values.