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Money Can't Buy Me Love

RRP $17.99

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The second hilarious diary from the unforgettable Poppet Montague Jones...

Poppet is back with Kwame, and keeping it a secret from her family and curious best friends Vixen and Striker…

But it is not easy having a double life and sneaking out of Hampstead to an estate in Kilburn twice a week….But when Poppet’s mother Jocasta finds out what’s going on, Poppet is shocked at how snobby her ‘liberal’ mother is.

Poppet knows she’s a lucky girl…she’ll never ever know what it’s like to be poor…But all the money in the world can’t buy you true love…

About the Author

Grace Dent is one of the hottest names in teen fiction right now. No other author nails how young people REALLY speak and behave. In fact, the many 1000s of SBW fans refuse to believe that the vivid Essex sensation is a fictional character! Grace says: ....kids who claim to have never read anything longer than a text message are ploughing through my books nagging for the for the next one. This makes me insanely proud.

Grace is a comedy writer and broadcaster specialising in all aspects of Pop Culture . She is a presenter on The Culture Show on BBC2 and has recently interviewed Mitchell and Webb and the cast of Gavin and Stacey. She lives in East London with her husband, who works in the music industry. Previous Books: Diary of a Chav titles 1 to 6: Trainers V Tiaras; Slinging the Bling; Too Cool for School; Ibiza Nights; Fame and Fortune; Keeping it Real Diary of a Snob 1: Poor Little Rich Girl.


Film And Stereotype

RRP $255.99

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Since the early days of film, critics and theorists have contested the value of formula, cliche, conventional imagery, and recurring narrative patterns of reduced complexity in cinema. Whether it's the high-noon showdown or the last-minute rescue, a lonely woman standing in the window or two lovers saying goodbye in the rain, many films rely on scenes of stereotype, and audiences have come to expect them. Outlining a comprehensive theory of film stereotype, a device as functionally important as it is problematic to a film's narrative, Jorg Schweinitz constructs a fascinating though overlooked critical history from the 1920s to today.

Drawing on theories of stereotype in linguistics, literary analysis, art history, and psychology, Schweinitz identifies the major facets of film stereotype and articulates the positions of theorists in response to the challenges posed by stereotype. He reviews the writing of Susan Sontag, Roland Barthes, Theodor W. Adorno, Rudolf Arnheim, Robert Musil, Bela Balazs, Hugo Munsterberg, and Edgar Morin, and he revives the work of less-prominent writers, such as Rene Fulop-Miller and Gilbert Cohen-Seat, tracing the evolution of the discourse into a postmodern celebration of the device. Through detailed readings of specific films, Schweinitz also maps the development of models for adapting and reflecting stereotype, from early irony (Alexander Granowski) and conscious rejection (Robert Rossellini) to critical deconstruction (Robert Altman in the 1970s) and celebratory transfiguration (Sergio Leone and the Coen brothers). Altogether a provocative spectacle, Schweinitz's history reveals the role of film stereotype in shaping processes of communication and recognition, as well as its function in growing media competence in audiences beyond cinema.



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