Meet Dolly, Polly, Holly, Lolly, Jolly and Molly, new fashion paper dolls Dollys and Friends. You can begin creating your collection of paper dolls with this book which has 3 paper dolls and more than 35 outfits. With this coloring book you get to decide on the color of their outfits, and create unique wardrobe pieces. If you like the coloring book version you may also like their full colored paper dolls collections. Paper doll lovers and coloring enthusiasts of all ages will find hours of entertainment with more than 35 pieces of vintage style outfits. If you want your creations to last longer; color the outfit pages and then glue them to card stock before cutting. This book includes an extra copy of each of the outfits, so you can try different colors and combinations, or have a back-up in case of an error you made. Please be aware that these paper dolls require careful hand cutting. For adults, paper dolls may be a gateway to childhood memories but they also make great gifts for children. Younger children may need the help to cut these dolls out since the dolls and clothes are not perforated. However, this is a nice opportunity for fun family time. Paper dolls can bring adults and children together, and collections of paper dolls have always passed down to younger generations. New generations can learn a lot while playing with paper dolls. In a digital era where dress up games allow us to change clothes on paper dolls by only touching a screen, cutting these dolls the traditional way is a great help for developing motor skills. Playing together also helps to develop communication and cooperation between friends and family. Playing games goes hand in hand with storytelling, role-playing and fantasy so everyone can treasure the time spent playing with these paper dolls as memories full of creativity and imagination. Paper dolls have a long history, and although inspired by antique and vintage paper dolls, Dollys and Friends are modern fashion dolls. Still, most of their wardrobe pieces are vintage fashions or period costumes. While these clothes are created after research, each outfit may not be authentic for that time period. Although there are many costumes and designer fashions for vintage themed books, it is still best to describe them as inspired by historical periods but not exact period costumes. Especially undergarments are more modern for the dolls to be used with different wardrobe choices. Every new outfit from Dollys and Friends Originals Books you will get will be wearable by these Original Dollys. Collecting these paper dolls and sharing them with children can also make fashion and history become one of their passions.

Paper dolls to cut out, with costumes representative of the turn of the century to World War I.

Inspired by a popular PBS series, this collection features two dolls and 30 sumptuously detailed outfits from 1910 to the 1920s era. Original costumes include outfits for travel, parties, theater, and other activities.

Paper dolls, with costumes representative of the clothes, pets, and toys for the Dingle Dell characters between 1913-1925 and clothes from other countries for Dolly Dingle.

Despite the longevity of animation and its significance within the history of cinema, film theorists have focused on live-action motion pictures and largely ignored hand-drawn and computer-generated movies. Thomas Lamarre contends that the history, techniques, and complex visual language of animation, particularly Japanese animation, demands serious and sustained engagement, and in The Anime Machine he lays the foundation for a new critical theory for reading Japanese animation, showing how anime fundamentally differs from other visual media. The Anime Machine defines the visual characteristics of anime and the meanings generated by those specifically “animetic” effects—the multiplanar image, the distributive field of vision, exploded projection, modulation, and other techniques of character animation—through close analysis of major films and television series, studios, animators, and directors, as well as Japanese theories of animation. Lamarre first addresses the technology of anime: the cells on which the images are drawn, the animation stand at which the animator works, the layers of drawings in a frame, the techniques of drawing and blurring lines, how characters are made to move. He then examines foundational works of anime, including the films and television series of Miyazaki Hayao and Anno Hideaki, the multimedia art of Murakami Takashi, and CLAMP’s manga and anime adaptations, to illuminate the profound connections between animators, characters, spectators, and technology. Working at the intersection of the philosophy of technology and the history of thought, Lamarre explores how anime and its related media entail material orientations and demonstrates concretely how the “animetic machine” encourages a specific approach to thinking about technology and opens new ways for understanding our place in the technologized world around us.

The book distinctive is listed in points (i) it focuses on Eastern European art covering the historical avant-garde to the post-war and contemporary periods of; (ii) it looks at some key artists in the countries that have not been given so much attention within this content i.e. Georgia, Dagestan, Chechnya and Central Asia; (iii) it looks beyond Eastern Europe to the influence of Russia/Soviet Union in Asia. It explores the theoretical models developed for understanding contemporary art across Eastern Europe and focus on the new generation of Georgian artists who emerged in the immediate years before and after the country’s independence from the Soviet Union; and on to discuss the legacy and debates around monuments across Poland, Russia and Ukraine.helps in Better understanding the postwar and contemporary art in Eastern Europe.

Over the last two decades, Yasujiro Ozu has won international recognition as a major filmmaker. Combining biographical information with discussions of the films' aesthetic strategies and cultural significance, David Bordwell questions the popular image of Ozu as the traditional Japanese artisan and examines the aesthetic nature and functions of his cinema.