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The world's preeminent word-of-mouth marketing experts demonstrate how in-person social networking, not online marketing, is the secret to soaring revenues.
Filled with breakthrough research, the book explains how to identify the facial expression of basic emotions and how to tell when people try to mask, simulate or neutralize their expression. Features practical exercises to help build skills.
Nigerian-born author and poet Chris Abani gives a profound and gorgeously wrought short memoir that navigates the stories written upon his own face. Beginning with his early childhood immersed in the lgbo culture of West Africa, Abani unfurls a lushly poetic, insightful, and funny narrative that investigates the roles that race, culture, and language play in fashioning our sense of self
Edward S. Curtis's The North American Indian is the most ambitious photographic and ethnographic record of Native American cultures ever produced. Published between 1907 and 1930 as a series of twenty volumes and portfolios, the work contains more than two thousand photographs intended to document the traditional culture of every Native American tribe west of the Mississippi. Many critics have claimed that Curtis's images present Native peoples as a "vanishing race," hiding both their engagement with modernity and the history of colonial violence. But in this major reappraisal of Curtis's work, Shamoon Zamir argues instead that Curtis's photography engages meaningfully with the crisis of culture and selfhood brought on by the dramatic transformations of Native societies. This crisis is captured profoundly, and with remarkable empathy, in Curtis's images of the human face. Zamir also contends that we can fully understand this achievement only if we think of Curtis's Native subjects as coauthors of his project. This radical reassessment is presented as a series of close readings that explore the relationship of aesthetics and ethics in photography. Zamir's richly illustrated study resituates Curtis's work in Native American studies and in the histories of photography and visual anthropology.
A landmark publication offering a definitive overview of one of the most influential transatlantic magazines produced in the 1980s and 1990s Launched by NME editor and Smash Hits creator Nick Logan in 1980, The Face became an icon of “style culture,” the benchmark for the latest trends in art, design, fashion, photography, film, and music being defined by a thriving youth culture. The Story of The Face tracks the exciting highs and calamitous lows of the life of the magazine in two parts. Part one focuses on the rise of the magazine in the 1980s, highlighting its striking visual identity—embodied by Neville Brody’s era-defining graphic designs, Nick Knight’s dramatic fashion photography, and the “Buffalo” styling of Ray Petr— and its unflinching approach to journalism. Contributors included a host of writers who subsequently made their impact in the wider world, from Julie Burchill, Robert Elms, Tony Parsons, and James Truman to Jon Savage, Richard Benson, and Sheryl Garratt. Part two shows how in the 1990s, after surviving a disastrous Jason Donovan libel suit, the magazine heralded the post-acid house era of Britpop and Brit Art. However, after the magazine had become the engine of the booming British magazine industry, the end of this decade also saw the eventual demise of The Face. Including an introduction by Dylan Jones, The Story of The Face is an engaging behind-the-scenes look at the rise and fall of one of the 80s and 90s’ most influential music and style publications.
WTF? Why the Face: A Practical Guide to Understanding Health and Personality through Facial Diagnosis is based on decades of research and clinical experience, as well as hundreds of years of traditional Chinese medicine and Western healing philosophies. Coauthors Dr. Todd Frisch and Abbie Frisch Belliston share their passion for facial diagnosis in an easy-to-read, easy-to-use book that's equal parts medical textbook, clinical case studies and practical advice. Learn how to decipher facial shapes and facial markings so you can more effectively understand, diagnose, treat and communicate with patients. Not a medical professional? That's okay! This book is for you, too. Use facial reading techniques to build stronger connections with coworkers, friends, family members, customers, students, athletes and others with whom you interact daily. You might even learn a few things about yourself.
A hilarious guessing game of facial reactions created by the author of bestselling This Is Not A Book Jean Jullien tickles the funnybone once again with a book of facial overreactions. Faces are presented first, allowing the reader to wager predictions of what may have prompted such an expression, before the dramatic answer is revealed. Why the face? reads the text alongside an agitated boy with eyes and nose scrunched up. Pick up the full-page flap to reveal a whole mess of smelly items, from stinky socks to an oozing trash can, and the text, Whoa, that stinks. Jullien masterfully provides enough clues for the reader to piece together the narrative, including both predictable and surprising scenarios. Based on young children's natural fascination with faces, this book encourages readers to practice empathy and build emotional intelligence, with cleverly simplified and humorously satisfying vignettes. A brilliant addition to Phaidon's growing Jean Jullien board book library. Ages 2-4
There was a time in screen culture when the facial close-up was a spectacular and mysterious image... The constant bombardment of the super-enlarged, computer-enhanced faces of advertising, the endless 'talking heads' of television and the ever-changing array of film stars' faces have reduced the face to a banal image, while the dream of early film theorists that the 'giant severed heads' of the screen could reveal 'the soul of man' to the masses is long since dead. And yet the end of this dream opens up the possibility for a different view of the face on the screen. The aim of the book is to seize this opportunity to rethink the facial close-up in terms other than subjectivity and identity by shifting the focus to questions of death and recognition. In doing so, the book proposes a dialectical reversal or about-face. It suggests that we focus our attention on the places in contemporary media where the face becomes unrecognisable, for it is here that the facial close-up expresses the powers of death. Using Walter Benjamin's theory of the dialectical image as a critical tool, the book provides detailed studies of a wide range of media spectacles of faces becoming unrecognisable. It shows how the mode of recognition enabled by these faces is a shock experience that can open our eyes to the underside of the mask of self - the unrecognisable mortal face of self we spend our lives trying not to see. Turning on itself, so to speak, the face exposes the fragile relationship between social recognition and facial recognizability in the images-cultures of contemporary media.
