Mit den einzigartig hellen Farbnuancen in der Screen Queen Highlighting Palette aus dem Kosmetikhaus ZOEVA betonen Damen jeden Bereich in ihrem Gesicht beim Schminken perfekt. Insgesamt stehen ihnen drei Highlighter in dieser optisch ansprechend designten Palette zur Verfügung. Das Kosmetiklabel ZOEVA hat die Auswahl der Farbnuancen Aloof Beauty, Absolutely Flawless sowie Pearls and Fine Silks der goldenen Ära Hollywoods gewidmet. Daher kommen Damen beim Auftragen ihres Make-up in den Genuss von purem Glamour auf ihrer Haut. Die schillernden Farbtöne zaubern einen Hauch der berühmten Stars in den Alltag der Damen. Nach Wunsch können die hochpigmentierten Highlighter mit den pastellfarbenen Tönen Creme, Flieder und Pfirsich auch kombiniert werden, um alle Bereiche des Gesichts optimal zur Geltung zu bringen.Screen Queen Highlighting Palette - luxuriöses Make-up für anspruchsvolle DamenDie drei Highlighter von ZOEVA in der Screen Queen Highlighting Palette sind frei von Duftstoffen und Parabenen. Nach dem Finish mit den beliebten Pastelltönen bekommt die Haut einen einzigartig strahlenden Glow. Die geheimnisvoll glitzernden Farben können in Kombination mit oder ohne losen Puder als Finish des Make-up auf Brauenbögen, Wangenknochen, Nasenrücken und auch auf dem Lippenbogen aufgetragen werden. Mühelos lassen sich alle Farbkomponenten für einen ebenmäßigen Teint miteinander verblenden.
Einen unwiderstehlichen Kussmund mit sanfter Farbe zaubert der ZOEVA Screen Queen Lip Crayon. Die limitierten Lip Crayons sind Lipliner und Lippenstift in einem und sind in vier zeitlos schönen Farben erhältlich: sanftem Himbeerrot, gold-schimmerndem Rosé, glänzendem Nude-Apricot und zartem Rosenholz. Die dezenten und doch unglaublich glamourösen Farben ziehen alle Blicke auf sich, perfektionieren das Make-up und sorgen für einen perfekten Auftritt. Die Rezeptur ist zudem mit Sheabutter angereichert, die Ihre Lippen den ganzen Tag pflegt und nahezu schwerelos ist. Dank der federleichten Textur hinterlassen die Lip Crayons einen sanften Film, der den Lippen Geschmeidigkeit, Luxus und Glamour verleiht.Wie wird die ZOEVA - Screen Queen Lip Crayon angewendet?Die Lip Crayons besitzen eine praktische Lip-Pencil-Form und sind besonders einfach und doch präzise in der Anwendung. Zuerst nutzen Sie sie als Lipliner und zeichnen die Konturen Ihrer Lippen nach. Anschließend füllen Sie die Lippen mit der Farbe auf. So einfach ist es mit dieser Lipliner/Lippenstift-Kombination, das Make-up mit einem unwiderstehlichen Kussmund zu perfektionieren.
THE MOST INDELIBLE ADAPTATION OF THE CLASSIC NOVEL, IN A NEW SPECIAL EDITION! In the hands of the renowned experimental theatre director PETER BROOK, William Golding’s legendary novel on the primitivism lurking beneath civilization becomes a film as raw and ragged as the lost boys at its centre. Taking an innovative documentary-like approach, Brook shot Lord of the Flies with an off-the-cuff naturalism, seeming to record a spontaneous eruption of its characters’ ids. The result is a rattling masterpiece, as provocative as its source material. Special Features: New, restored 4K digital film transfer, supervised by cameraman and editor Gerald Feil, with uncompressed monaural soundtrack Audio commentary featuring director Peter Brook, producer Lewis Allen, director of photography Tom Hollyman, and Feil Audio recordings of William Golding reading from his novel Lord of the Flies, accompanied by the corresponding scenes from the film Deleted scene, with optional commentary and reading by Golding Interview with Brook from 2008 Collection of behind-the-scenes material, featuring home movies, screen tests, outtakes, and stills New interview with Feil Excerpt from Feil’s 1972 documentary The Empty Space, showcasing Brook’s theatre methods Something Queer in the Warehouse, a piece composed of never-before-seen footage shot by the boy actors during production, with new voice-over by Tom Gaman, who played Simon Trailer PLUS: A booklet featuring an essay by film critic Geoffrey Macnab and an excerpt from Brook’s book The Shifting Point
Set beinhaltet:104 Buffer108 Face Finish127 Luxe Sheer Cheek134 Luxe Powder Fusion135 Petit Face Define142 Concealer Buffer226 Smudger227 Luxe Soft Definer228 Luxe Crease230 Luxe Pencil234 Luxe Smoky Shader235 Contour Shader317 Wing Liner322 Brow Line329 Lip DefinerClutch
Strikingly beautiful and exceptionally talented, Montgomery Clift was at the peak of his fame in 1956 when a devastating car crash nearly destroyed his face. While this traumatic event robbed him of his heartthrob status and turned him into a somewhat disturbing, socially alienated character, author Elisabetta Girelli argues that Clift had always combined on-screen erotic ambiguity with real-life sexual nonconformity. In Montgomery Clift, Queer Star she maps the development of Clift's subversive image over the span of his entire career, approaching Clift as a queer signifier who defied normative cultural structures. From the sexually ambivalent "beautiful boy" of his early films, to the seemingly asexual, transgressive, and often distressed man of his last years, Girelli argues that Clift shows remarkable consistency as a star: his presence always challenges established notions of virility, sexuality, and bodily "normality." Girelli's groundbreaking analysis uses queer theory to assess Clift's disruptive legacy, engaging with key critical concepts such as the closet, performativity, queer shame, crip theory, and queer temporality. She balances theoretical frameworks with extensive close readings of his performances and a consideration of how Clift's personal life, and public perceptions of it, informed his overall image as a deviant star and man. 1. Language: English. Narrator: Sara Morsey. Audio sample: http://samples.audible.de/bk/acx0/050350/bk_acx0_050350_sample.mp3. Digital audiobook in aax.
Set beinhaltet: 134 Luxe Powder Fusion 137 Petit Fan 145 Concealer Blender 225 Luxe Eye Blender 227 Luxe Soft Definer 228 Luxe Crease 230 Luxe Pencil 234 Luxe Smoky Shader 239 Luxe Soft Shader 241 Precision Smudger 315 Fine Liner 317 Wing Liner Clutch
Meet Haskell Hodge. At 16, he’s already garnered some fame as a former child actor and star of a popular cereal commercial. But that doesn’t do much for him when he’s dumped at his aunt’s house in the suburbs of Los Angeles to face an assortment of neighborhood bullies. He thinks he might be gay. In fact, he could be the only gay person in the valley, maybe on the entire planet. Even if he does manage to find a boyfriend, their relationship would have to be secret and invisible. After all, it’s 1966. And though Time Magazine claims the sexual revolution is in full swing, the freedoms straight people are enjoying don’t seem to apply to everyone. And as much as Haskell attempts to hide his true self, carefully navigating the tricky and risky terrain of being queer, he’s still taunted and teased relentlessly. Rather than give in to the irrationality of this hate, Haskell fights back, eventually finding an unlikely outlet to vent his frustration and angst — playing a bully in a screen test for a major motion picture. If he plays his cards right, it could catapult him into Hollywood stardom. Of course, like most things in life, it comes with a heavy price Haskell’s not certain he’s willing to pay. 1. Language: English. Narrator: Brian Lore Evans. Audio sample: http://samples.audible.de/bk/acx0/199508/bk_acx0_199508_sample.mp3. Digital audiobook in aax.
Celebrate Pride with Shangela (RuPaul’s Drag Race), Nikki Levy (Don’t Tell My Mother!), and six fabulous storytellers as they share heartfelt, hilarious, true tales about coming out. Coming Out Party, produced especially for Pride Month in collaboration with the acclaimed live show Don’t Tell My Mother!, brings Audible members a collection of uplifting, raw, and hilarious stories from queer actors, comedians, and personalities. Cohosted by beloved drag queen Shangela and storytelling maven Nikki Levy, Coming Out Party is a joyous celebration of LGBTQIA+ people and personalities. You’ll hear live stories from Grey’s Anatomy star Jake Borelli, whose on-screen journey inspired him to come out IRL, comic Nicky Paris (Wendy Williams), whose high school production of Peter Pan taught him "how to grow up", and comic Daniel Webb, who was so fabulous he never really needed to come out...that is, until he met Barack Obama in a BBQ joint. You’ll also hear stories told from inside the closet (literally, from our makeshift home studios - a certain virus cancelled our live shows, but it can’t hurt our pride). Hear how The L Word’s Rosanny Zayas had her first kiss with the coolest girl in school, how Pose’s Angelica Ross navigated “Don’t Ask Don’t Tell” during her time in the navy, and how author Lisa Dickey came out...to the secretary of state himself. Pride might look different this year, but it can never be canceled! Listen in! 1. Language: English. Narrator: Nikki Levy, Shangela, full cast. Audio sample: http://samples.audible.de/or/orig/001308/or_orig_001308_sample.mp3. Digital audiobook in aax.
The Oxford Handbook of Shakespeare and Embodiment brings together 40 of the most important scholars and intellectuals writing on the subject today. Extending the purview of feminist criticism, it offers an intersectional paradigm for considering representations of gender in the context of race, ethnicity, sexuality, disability, and religion. In addition to sophisticated textual analysis drawing on the methods of historicism, psychoanalysis, queer theory, andposthumanism, a team of international experts discuss Shakespeare's life, contemporary editing practices, and performance of his plays on stage, on screen, and in the classroom. This theoretically sophisticated yet elegantly written Handbook includes an editor's Introduction that provides a comprehensiveoverview of current debates.
Queering Contemporary French Popular Cinema combines close film analysis with a small-scale qualitative investigation of audience responses to examine images of queerness in contemporary French popular cinema and their reception. Through its blending of the textual and the empirical, this book provides a unique insight into the ways in which sexuality and gender are represented on the cinema screen, as well as the spectator reactions they elicit. Since the mid-1990s, depictions of lesbians, gay men, and queer forms of sexual desire and identity have shifted to the mainstream of French cinematographic representation - as evidenced by the box-office success of a series of highly commercial comic films, including Gazon maudit (Josiane Balasko, 1995), Pédale douce (Gabriel Aghion, 1996), Le Placard (Francis Véber, 2000), and Chouchou (Merzak Allouache, 2003). Alongside this commercial strand, a series of small-budget alternative comedies and other genre films have also challenged heteronormative conceptualizations of sexuality and gender. Films such as Sitcom (François Ozon, 1998), L'Homme est une femme comme les autres (Jean-Jacques Zilbermann, 1997), Pourquoi pas moi? (Stéphane Giusti, 1999), Drôle de Félix (Olivier Ducastel and Jacques Martineau, 2000), and Les Chansons d'amour (Christophe Honoré, 2007) portray desire as fluid and/or gender as unfixed. With their use of parody and their blending of comedy with the musical, melodrama, romance or road movie, these and other similar films have resonated with a burgeoning viewing public, tired of having to seek queerness in connotation, of appropriating marginal characters in ostensibly straight narratives, and of tragedy and trauma as the principal modes of representation and spectator address.
Todd Haynes's 2002 film Far From Heaven has been hailed as a homage to 1950s Hollywood melodrama, although anyone tempted to take the film at face value should be warned that it aims to subvert as much as celebrate that genre. Impeccably constructed, with a care for detail unknown in films from the era, it sets out to make key themes from the genre - romance across racial barriers and class lines, and perhaps the period's greatest taboo, romance between members of the same sex - utterly explicit, when half a century ago those themes had to be encoded in allusion and metaphor. Haynes took as his main source Douglas Sirk's 1955 classic, All That Heaven Allows, although Far From Heaven also references Rainer Werner Fassbinder's bleak portrayal of inter-racial love, Fear Eats the Soul (1974). In the context of Haynes's background in the New Queer Cinema movement, with films such as Superstar, Poison and [safe], this admixture makes Far From Heaven a rather more complex film than just another well-dressed period pastiche.John Gill provides a revealing insight into how Haynes confronts issues of race, sexuality and class in a suburban 1950s American neighbourhood. Haynes has been evasive when pressed for a definitive explanation of his film, although as Gill contends, he has left enough evidence lying around on screen for the keen viewer to pick up on numerous disturbing strands at work beneath the glossy surface of this sumptuously presented weepie. While it may affect to pass as a classic of the genre, Haynes's ultimate aim, Gill contends, is to undermine the nature and notion of cinema and storytelling.