Sarah Walkley – författare

If you think of dolls houses as usually being period houses, it's time to think again! In this amazing compendium of miniature buildings, author Sarah Walkley looks at the many other styles of construction created by miniatures enthusiasts including:cozy cottagesmodern loft apartmentschurchesgarden shedslighthouseswindmillsEach of the 12 chapters will be accompanied by tips on the key techniques needed to recreate a particular style of property. This will include, for example, how to lay wooden floors or work with molding to create a grand country estate, or how to install lighting in a lighthouse.It aims to provide inspiration to those that are new to the hobby, or want to take their model-making a stage further, as well as being a delightful read for those who are simply fascinated by all things miniature.

This is the first book to examine whether France’s ongoing defence of the cultural exception as a means to maintain cultural policies and defend cultural diversity is justifiable in the digital age. It questions whether the arrival of new players such as Apple and Netflix makes defence impossible, and whether an explosion in the number of films available makes policies for cultural promotion increasingly unnecessary. The book takes a critical look at French film policy to establish whether it promotes cultural diversity across cinema and video on demand and the implications for ongoing defence of the cultural exception. Sarah Walkley ultimately makes the case for a more disciplined approach to discussion of the cultural exception and cultural diversity in France supporting ideological arguments about competition, freedom of expression, consumer choice and national identity with concrete evidence of the success of French policies in countering US film market dominance.

This is the first book to examine whether France’s ongoing defence of the cultural exception as a means to maintain cultural policies and defend cultural diversity is justifiable in the digital age. It questions whether the arrival of new players such as Apple and Netflix makes defence impossible, and whether an explosion in the number of films available makes policies for cultural promotion increasingly unnecessary. The book takes a critical look at French film policy to establish whether it promotes cultural diversity across cinema and video on demand and the implications for ongoing defence of the cultural exception. Sarah Walkley ultimately makes the case for a more disciplined approach to discussion of the cultural exception and cultural diversity in France supporting ideological arguments about competition, freedom of expression, consumer choice and national identity with concrete evidence of the success of French policies in countering US film market dominance.