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Dino Fino GmbH
The children's books from Dino Fino Publishing are a possibly unique feature worldwide. Two siblings of different ages offer stories and books for children from diapers to braces. All the picture books have been or will be filmed word for word. Children who want to learn to read can therefore read along with the movie word for word. We call that picture book cinema. The first book about “Schnecki” is available on our website as PDFs in numerous languages, and the films can also be viewed there. The Feodora + Gino stories are divided into two book series: Large-format picture books are for children aged 2 to 4. When the children are a bit older and can understand slightly more complex stories, they switch to our reading books about Feodora + Gino. And when they have grown out of that age, they can read the books about Fee's brother and his cheeky little T-Rex friend. The book series about Dino + Ricky is written for children aged 6 to 10. These books are a little more challenging, cheeky and exciting, Our stories can therefore accompany children throughout their childhood. One of our readers once said: “The books from Dino Fino Publishing are like eating chips: Once you start, you never want to stop”.
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The ArtsMay 2020Empires of light
Vision, visibility and power in colonial India
by Niharika Dinkar
Light was central to the visual politics and imaginative geographies of empire, even beyond its role as a symbol of knowledge and progress in post-Enlightenment narratives. This book describes how imperial mappings of geographical space in terms of 'cities of light' and 'hearts of darkness' coincided with the industrialisation of light (in homes, streets, theatres) and its instrumentalisation through new representative forms (photography, film, magic lanterns, theatrical lighting). Cataloguing the imperial vision in its engagement with colonial India, the book evaluates responses by the celebrated Indian painter Ravi Varma (1848-1906) to reveal the centrality of light in technologies of vision, not merely as an ideological effect but as a material presence that produces spaces and inscribes bodies.
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