'At only 33, Hayden Cox is one of the surf industry's most successful and innovative businessmen. He revolutionised design by creating the Hypto Krypto, an initially weird-looking surfboard that has become the biggest selling model in world surfing history' -- The Australian 'Hayden is like a hip quantum physicist. He buzzes with numbers, degrees, fibre weaves and parabolas' -- Surfing Magazine 'A young Australian inventor who has reshaped surfboard technology for the better' -- GQ Magazine This book is about creating something -- no matter your passion, age or industry. Behind every innovative product there is a creator, a vision and a story. New Wave Vision centres around Hayden Cox's story -- a young person in business who started his brand Haydenshapes at age 15, challenged an industry and, through passion, grit and enterprise, created a global bestselling surfboard brand known for innovative design and collaborations with the world's best. This book is experience driven and shares the realities, the lessons, the highs and the lows. It is not an overnight success story nor is it a how-to. It's a candid first-hand take on nearly two decades of building from ground up, innovation, surviving through challenges and backing yourself -- with insights and real experiences shared by some of the most influential names in the business world, from the co-founder of Google Maps to skater Tony Hawk, the founder Oakley, Aesop, and others.

Analyse van de "Nouvelle Vague", een stroming in de Franse film uit de jaren 1960-1970, gezien vanuit Amerikaans standpunt

Steve Case, co-founder of America Online (AOL) and one of America's most accomplished entrepreneurs, shares a roadmap for how anyone can succeed in a world of rapidly changing technology. We are entering, he explains, a new paradigm called the "Third Wave" of the Internet. The first wave saw AOL and other companies lay the foundation for consumers to connect to the Internet. The second wave saw companies like Google and Facebook build on top of the Internet to create search and social networking capabilities, while apps like Snapchat and Instagram leverage the smartphone revolution. Now, Case argues, we're entering the Third Wave: a period in which entrepreneurs will vastly transform major "real world" sectors like health, education, transportation, energy, and food-and in the process change the way we live our daily lives.

The Age of New Waves examines the origins of the concept of the "new wave" in 1950s France and the proliferation of new waves in world cinema over the past three decades. The book suggests that youth, cities, and the construction of a global market have been the catalysts for the cinematic new waves of the past half century. It begins by describing the enthusiastic engagement between French nouvelle vague filmmakers and a globalizing American cinema and culture during the modernization of France after World War II. It then charts the growing and ultimately explosive disenchantment with the aftermath of that massive social, economic, and spatial transformation in the late 1960s. Subsequent chapters focus on films and visual culture from Taiwan and contemporary mainland China during the 1980s and 1990s, and they link the recent propagation of new waves on the international film festival circuit to the "economic miracles" and consumer revolutions accompanying the process of globalization. While it travels from France to East Asia, the book follows the transnational movement of a particular model of cinema organized around mise en scène--or the interaction of bodies, objects, and spaces within the frame--rather than montage or narrative. The "master shot" style of directors like Hou Hsiao-Hsien, Tsai Ming-Liang, and Jia Zhangke has reinvented a crucial but overlooked tendency in new wave film, and this cinema of mise en scène has become a key aesthetic strategy for representing the changing relationships between people and the material world during the rise of a global market. The final chapter considers the interaction between two of the most global phenomena in recent film history--the transnational art cinema and Hollywood--and it searches for traces of an American New Wave.

Examines the work of Alain Tanner, the most important filmmaker to emerge from the new Swiss cinema in the late 1960s.

Cinemulacrum, a conflation of "cinema," the art of the Hollywood film, and simulacrum, a reality counterfeit, was coined to designate contemporary media culture. This period is distinguished by the advent of digital film/video, an ideology of fantasy as the central narrative of movies and television, and a ruling audience demographic of the young adult. A pre-cinemulacrum era (1960-1980) and Age of Cinemulacrum (1980 to the present day) are demarcated to examine the fall--and rise--of classical Hollywood and the hegemony of television in a media dyad of movies and television. Cinemulacrum argues that the convergence of technology, ideology, and audience represent the primary factors surrounding the social immediacy of movies and television, and that video, fantasy, and the young adult have replaced film, realism, and the family as the outstanding attributes of contemporary media culture. A contemporary vision of media culture emerges in the 1980s. George Lucas and Steven Spielberg lead a populist new wave, combining technological modernity with a retro sensibility grounded both in B-movie melodramas and the genteel, domesticated television sit-coms of the 1950s. Television, however, gains an unrivaled authority through the spinoff production model and the expanded resources of cable with its 24/7 news, sports, and movies. Advocating a new or alternate history of movies and television, the author assesses critical trends from America's hybrid media culture. The pre-cinemulacrum era is unraveled through an "apocrypha of violence"--a cycle of conflicting portrayals of movie violence and heroism in Bonnie and Clyde, Dirty Harry, The Godfather, Taxi Driver, and Rocky. The Age of Cinemulacrum is then characterized by the 'making of simulacra'--the proliferating nature of movie sequels, prequels, and "special editions"--and by television's multi-generational young adult demographic of The Cosby Show, Seinfeld, and The Simpsons. The author concludes his study with an annotated timeline--"The Seven Ages of Cinemulacrum"--listing the history-making movies and television programs in contemporary media culture.

Masculine Singular is an original interpretation of French New Wave cinema by one of France’s leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema’s formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they “wrote” in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema. Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers’ focus on gender relations, Sellier reflects on the careers of New Wave’s iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier’s thorough exploration of early New Wave cinema culminates in her contention that its principal legacy—the triumph of a certain kind of cinephilic discourse and of an “auteur theory” recognizing the director as artist—came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema’s modernity was accompanied by an association of creativity with masculinity.