A marvellous, life-enhancing book for all ages, now a major animated film starring Jim Broadbent, Brenda Blethyn and Luke Treadaway Utterly original, deeply moving and very funny, Ethel & Ernest tells the story of Raymond Briggs' parents' marriage, lady's maid Ethel and milkman Ernest, from their first chance encounter in 1928, through the birth of their son Raymond in 1934, to their deaths, within months of each other, in 1971. Told in Brigg`s unique strip-cartoon format, Ethel and Ernest live through the defining moments of the twentieth century: the darkness of the Great Depression, the build up to World War II, the trials of the war years, the euphoria of VE Day and the emergence of a generation from post war austerity to the cultural enlightenment of the 1960s. Ethel & Ernest is a heartfelt and affectionate tribute to an ordinary couple and an extraordinary generation.

THE CINEMA OF HAYAO MIYAZAKI

Born on January 5, 1941 in Tokyo, Hayao Miyazaki is known as the 'Japanese Disney', a filmmaker as revered - and as popular - as Walt Disney or Steven Spielberg. Miyazaki, in short, is a true phenomenon in contemporary animation and in world cinema. Miyazaki's movies include Princess Mononoke, Spirited Away, Howl's Moving Castle, Laputa: Castle In the Sky and My Neighbor Totoro.

Hayao Miyazaki may be the most talented fantasy filmmaker of his generation: not even the finest filmmakers of Hollywood can rival his films when it comes to creating fantasy worlds, and fantastical characters and events. Miyazaki has millions of fans around the world, not least among fellow animators and filmmakers, for whom he is a genius.

What Hayao Miyazaki's films do is to bring you completely into a fantasy world that is instantly recognizable and familiar. It's as if these fantasy realms have always existed - very much like J.R.R. Tolkien's Middle-earth or Ursula Le Guin's Earthsea (both influences on Miyazaki). The visionary and magical elements are fused with the domestic and familial and social elements, so that it seems completely ordinary and believable that, say, flying machines soar overhead which have flapping wings like an insect, or that little white creatures pop up out of trees and make strange clicking noises.

To write one hit animation movie is amazing, to write eleven is remarkable. To write and direct one spectacular animated picture is very impressive, to write and direct eleven features is unheard-of in the world of contemporary commercial animation.

This new study considers all of his films and TV shows (and his manga work). It also includes chapters on Studio Ghibli on fellow director Isao Takahata Miyazaki's influences his contemporaries and colleagues his characters his movies' relation to Western animation (including the Walt Disney Company) his unmade films and his themes and motifs. Japanese animation, its production and style, some classics of anime, and digital animation are also explored.

Includes quotes by Miyazaki; fans on Miyazaki; and resources. The second edition has been completely updated and revised.

Fully illustrated. With filmography, bibliography and notes. 520 pages. ISBN 9781861713902. www.crmoon.com AUTHOR'S NOTE: I hope this book offers readers some new insights into the films of the incredible filmmaker Hayao Miyazaki, so they can go back and enjoy them all over again. I have looked at all of the key research for this book, which was begun years ago. I have focussed mainly on the movies themselves, exploring each one in detail. The book also includes technical info on animation, a chapter on the animation industry in Japan, and comparisons between Miyazaki's films and those in the West, including Walt Disney's work. There are chapters on the output of Studio Ghibli, and also Isao Takahata, Miyazaki's colleague.

Animating Film Theory provides an enriched understanding of the relationship between two of the most unwieldy and unstable organizing concepts in cinema and media studies: animation and film theory. For the most part, animation has been excluded from the purview of film theory. The contributors to this collection consider the reasons for this marginalization while also bringing attention to key historical contributions across a wide range of animation practices, geographic and linguistic terrains, and historical periods. They delve deep into questions of how animation might best be understood, as well as how it relates to concepts such as the still, the moving image, the frame, animism, and utopia. The contributors take on the kinds of theoretical questions that have remained underexplored because, as Karen Beckman argues, scholars of cinema and media studies have allowed themselves to be constrained by too narrow a sense of what cinema is. This collection reanimates and expands film studies by taking the concept of animation seriously. Contributors. Karen Beckman, Suzanne Buchan, Scott Bukatman, Alan Cholodenko, Yuriko Furuhata, Alexander R. Galloway, Oliver Gaycken, Bishnupriya Ghosh, Tom Gunning, Andrew R. Johnston, Herve Joubert-Laurencin, Gertrud Koch, Thomas LaMarre, Christopher P. Lehman, Esther Leslie, John MacKay, Mihaela Mihailova, Marc Steinberg, Tess Takahashi

Two-time Emmy Award Winner and Annie Award Nominee Christophe Vacher brings together for the first time a compilation of his personal Art mixed with works for the movie and gaming industries. In this first volume, Christophe Vacher introduces a wide range of pieces, illustrating his versatile career, alternately as a painter, concept artist/illustrator and art director. From his haunting and dream-like personal paintings often inspired by his European background and the Imaginary Realism movement, to his animation and movie work for major Hollywood studios, along with a variety of concept art and illustrations for the entertainment industry, the book presents a selection of both traditional and digital artworks, spanning over a period of more than 20 years. This edition contains both English, French and Chinese translations all combined within the same book.

PRINCESS MONONOKE: HAYAO MIYAZAKI: POCKET MOVIE GUIDE

This book focusses on Hayao Miyazaki's 1997 masterpiece Princess Mononoke.

Princess Mononoke is a work of genius. It is a masterpiece. It is one of the most staggeringly incredible films you will ever see. By any standards you want to apply, the level of imagination and artistry and detail and insight and energy in this movie is simply astounding. As well as being a visionary piece, with the highest quality animation achievable, with fascinating characters, stupendous action, brilliant set-pieces, and with some deeply poetic episodes, Princess Mononoke is also a thematically rich movie. There are many levels to this wonderful picture.

This new study of Hayao Miyazaki's Princess Monoke includes sections on Miyazaki's influences his contemporaries and colleagues (including Akira Kurosawa) his characters his movies' relation to Western animation (including the Walt Disney Company) and his themes and motifs. The book also explores Japanese animation, its production and style, some classics of anime, and digital animation.

Born on January 5, 1941 in Tokyo, Hayao Miyazaki is known as the 'Japanese Disney', a filmmaker as revered - and as popular - as Walt Disney or Steven Spielberg. Miyazaki, in short, is a true phenomenon in contemporary animation and in world cinema. Miyazaki's movies include Princess Mononoke, Spirited Away, Howl's Moving Castle, Laputa: Castle In the Sky and My Neighbor Totoro.

Hayao Miyazaki may be the most talented fantasy filmmaker of his generation: not even the finest filmmakers of Hollywood can rival his films when it comes to creating fantasy worlds, and fantastical characters and events. Miyazaki has millions of fans around the world, not least among fellow animators and filmmakers, for whom he is a genius.

What Hayao Miyazaki's films do is to bring you completely into a fantasy world that is instantly recognizable and familiar. It's as if these fantasy realms have always existed - very much like J.R.R. Tolkien's Middle-earth or Ursula Le Guin's Earthsea (both influences on Miyazaki).

Includes quotes by Miyazaki; reviews by fans; and resources. Fully illustrated. With filmography, bibliography and notes.208 pages. ISBN 9781861713711. www.crmoon.com AUTHOR'S NOTE: I hope this book offers readers some new insights into Princess Monoke and the movies of the incredible filmmaker Hayao Miyazaki, so they can go back and enjoy the movie all over again. The book also includes technical info on animation, a chapter on the animation industry in Japan, and comparisons between Miyazaki's films and those in the West, including Walt Disney's work.

SPIRITED AWAY: HAYAO MIYAZAKI: POCKET MOVIE GUIDE

This book focusses on Hayao Miyazaki's 2001 masterpiece Spirited Away, winner of the Best Animated Movie Oscar. Spirited Away (Sen to Chihiro no Kamikakushi) is without a doubt a masterpiece of cinema, and one of Hayao Miyazaki's great works. It is one of the most spectacular films of colour you will ever see. It's the movie that brought Miyazaki to a global audience, even more perhaps than Princess Mononoke (though by the time of Spirited Away, Miyazaki was a household name in Japan).

Born on January 5, 1941 in Tokyo, Hayao Miyazaki is known as the 'Japanese Disney', a filmmaker as revered - and as popular - as Walt Disney or Steven Spielberg. Miyazaki, in short, is a true phenomenon in contemporary animation and in world cinema.

Hayao Miyazaki's movies include Princess Mononoke, Spirited Away, Howl's Moving Castle, Laputa: Castle In the Sky and My Neighbor Totoro.

Hayao Miyazaki may be the most talented fantasy filmmaker of his generation: not even the finest filmmakers of Hollywood can rival his films when it comes to creating fantasy worlds, and fantastical characters and events. Miyazaki has millions of fans around the world, not least among fellow animators and filmmakers, for whom he is a genius.

What Hayao Miyazaki's films do is to bring you completely into a fantasy world that is instantly recognizable and familiar. It's as if these fantasy realms have always existed - very much like J.R.R. Tolkien's Middle-earth or Ursula Le Guin's Earthsea (both influences on Miyazaki). The visionary and magical elements are fused with the domestic and familial and social elements, so that it seems completely ordinary and believable that, say, flying machines soar overhead which have flapping wings like an insect, or that little white creatures pop up out of trees and make strange clicking noises.

This new study of Hayao Miyazaki's Spirited Away includes chapters on Miyazaki's influences his contemporaries and colleagues his characters his movies' relation to Western animation (including the Walt Disney Company) and his themes and motifs. The book also explores Japanese animation, its production and style, some classics of anime, and digital animation.

Includes quotes by Miyazaki; and resources. Fully illustrated. With filmography, bibliography and notes. ISBN 9781861713476. www.crmoon.com AUTHOR'S NOTE: I hope this book offers readers some new insights into Spirited Away and the movies of the incredible filmmaker Hayao Miyazaki, so they can go back and enjoy the movie all over again. The book also includes technical info on animation, a chapter on the animation industry in Japan, and comparisons between Miyazaki's films and those in the West, including Walt Disney's work.

THE CINEMA OF HAYAO MIYAZAKI

Born on January 5, 1941 in Tokyo, Hayao Miyazaki is known as the 'Japanese Disney', a filmmaker as revered - and as popular - as Walt Disney or Steven Spielberg. Miyazaki, in short, is a true phenomenon in contemporary animation and in world cinema.

Hayao Miyazaki's movies include Princess Mononoke, Spirited Away, Howl's Moving Castle, Laputa: Castle In the Sky and My Neighbor Totoro.

Hayao Miyazaki may be the most talented fantasy filmmaker of his generation: not even the finest filmmakers of Hollywood can rival his films when it comes to creating fantasy worlds, and fantastical characters and events. Miyazaki has millions of fans around the world, not least among fellow animators and filmmakers, for whom he is a genius.

What Hayao Miyazaki's films do is to bring you completely into a fantasy world that is actually instantly recognizable and familiar. It's as if these fantasy realms have always existed - very much like J.R.R. Tolkien's Middle-earth or Ursula Le Guin's Earthsea (both influences on Miyazaki). The visionary and magical elements are fused with the domestic and familial and social elements, so that it seems completely ordinary and believable that, say, flying machines soar overhead which have flapping wings like an insect, or that little white creatures pop up out of trees.

To write one hit animation movie is amazing, to write seven is remarkable. To write and direct one spectacular animated picture is very impressive, to write and direct seven features is almost unheard-of in the world of contemporary commercial animation.

This new study of Hayao Miyazaki considers all of his films and TV shows (and his manga work). It also includes chapters on Studio Ghibli on fellow director Isao Takahata Miyazaki's influences his contemporaries and colleagues his characters his movies' relation to Western animation (including Disney) his unmade films and his themes and motifs.

The Cinema of Hayao Miyazaki also explores Japanese animation, its production and style, some classics of anime, and digital animation.

Includes quotes by Miyazaki; fans on Miyazaki; and resources. Fully illustrated. With filmography, bibliography and notes.

A pictorial journey through which "The Story of Night & Day" travelled on its way to a successful theatrical debut and a series of congratulatory awards from the motion picture industry.

New Revised 2013 Edition published by Lexington Avenue Press Great behind the scenes look at how the groundbreaking animated series ROBOTECH and the voice for Rand (The New Generation) were created. Also, lots of information about getting into and working in voice over and animation.

Stopmotion is an incredibly fun, hands-on way to make amazing films, using simple software, inexpensive equipment, and stuff that's already lying around your house. Stopmotion Explosion will have you making your first stopmotion film within minutes of picking up the book. It's that easy

Stopmotion has enjoyed a renaissance in recent years, as the tools required are now widely available to anyone with a story to tell. Filmmakers, animators, and artists have reached new levels of visual creativity using Stopmotion Explosion's techniques. Now you too can join the revolution

Unlike traditional cel and 3D animation, which both require a high level of artistry and technical skill, stopmotion films can be made by nearly anyone. Using Stopmotion Explosion's techniques, stopmotion films have been made by animators as young as 8 (with adult supervision).

Stopmotion Explosion contains 292 pages of example projects, hundreds of illustrations, and detailed step-by-step instructions for screenwriting, video editing, animating, audio recording and video processing software, no prior expertise required.

HISTORY
Learn stopmotion science through an illustrated history of film and animation. See how stopmotion was first used in the special effects industry. Learn how "stopmotion" solved a heated debate among artists, and changed the way paintings were created forever.

ANIMATION
Make animations with inexpensive webcams, digital point-and-shoot cameras, and digital camcorders. Learn how to adjust camera settings to achieve the best image, and what features to look for in a stopmotion camera. See breakdowns of walk, run, and speech animations. Build your own wire stopmotion armature, and learn about some of the best toys to animate.

Animate intense battle sequences with frame-by-frame breakdowns of roundhouse kicks, uppercuts, and punches. Add gigantic explosions, gunfire, laser blasters, lightsabers and rocket-launch effects. Make your characters fly like Superman with special flying rigs and photo-editing magic.

Complete instructions for two stopmotion programs. Grab frames from your camera, preview your animations and make detailed tweaks using onion skinning. Export movie files that can be edited and uploaded to YouTube.

STORYTELLING
Ready-to-go movie ideas, story mashups, and proven techniques for creating memorable characters. Learn how to write for film and draw storyboards. Adapt scenes from your favorite films and video games. Use your screenplays and storyboards to plan camera angles, design sets, build characters, even organize your files while animating.

AUDIO
Record great-sounding audio and character voices, then enhance and morph your sounds using hundreds of audio effects and free recording software.

SETS & LIGHTING
Build stopmotion movie sets using household items and construction toys. Light your sets Hollywood-style with three-point lighting techniques, desk lamps, clip lights, flashlights, lasers, and colored cellophane.

CINEMATOGRAPHY
Add punch to your animations with our illustrated guide to image composition, Learn about the rule of thirds, the rule of triangles, depth of field, and the differences between standard and widescreen video frames.

VIDEO EDITING
Edit your animation, combine multiple video files, and add video effects, transitions, sounds, titles, and rolling credits using free video editing software.

Quickly perform common stopmotion tasks, such as transforming a series of still images into a video file, learn the best settings for encoding online video, and definitions of common digital video terms and technology.

Start your own movie studio with Stopmotion Explosion today

Twenty years ago, animated features were widely perceived as cartoons for children. Today, though, they encompass an astonishing range of films, styles and techniques. There is the powerful adult drama of Waltz with Bashir; the Gallic sophistication of Belleville Rendez-Vous; the eye-popping violence of Japan's Akira; and the stop-motion whimsy of Wallace & Gromit in The Curse of the Were-Rabbit. Andrew Osmond provides an entertaining and illuminating guide to the endlessly diverse world of animated features, with entries on 100 of the most interesting and important animated films from around the world, from the 1920s to the present day. There are key studio brands such as Disney, Pixar and Dreamworks, but there are also recognised auteur directors such as America's Brad Bird (The Incredibles) and Japan's Hayao Miyazaki (Spirited Away). Technologies such as motion-capture, used in films such as Avatar, blur the distinctions between live-action and animation. Meanwhile, lone artists such as Nina Paley (Sita Sings the Blues) and Bill Plympton (Idiots and Angels) make entire films by themselves. Blending in-depth history and criticism, 100 Animated Feature Films balances the blockbusters with local success stories from Eastern Europe to Hong Kong. There are entries on Dreamworks' Shrek, Pixar's Toy Story, and Disney's The Jungle Book, but you will also find pieces on Germany's silhouette-based The Adventures of Prince Achmed, the oldest surviving animated feature; on the thirty year production of Richard Williams' legendary opus, The Thief and the Cobbler; and on the lost work of Argentina's Quirino Cristiani, who reputedly made the first animated feature in 1917.

Animation variously entertains, enchants, and offends, yet there have been no convincing explanations of how these films do so. Shadow of a Mouse proposes performance as the common touchstone for understanding the principles underlying the construction, execution, and reception of cartoons. Donald Crafton's interdisciplinary methods draw on film and theater studies, art history, aesthetics, cultural studies, and performance studies to outline a personal view of animated cinema that illuminates its systems of belief and world making. He wryly asks: Are animated characters actors and stars, just like humans? Why do their performances seem live and present, despite our knowing that they are drawings? Why is animation obsessed with distressing the body? Why were California regional artists and Stanislavsky so influential on Disney? Why are the histories of animation and popular theater performance inseparable? How was pictorial space constructed to accommodate embodied acting? Do cartoon performances stimulate positive or negative behaviors in audiences? Why is there so much extreme eating? And why are seemingly insignificant shadows vitally important? Ranging from classics like The Three Little Pigs to contemporary works by Svankmajer and Plympton, these essays will engage the reader's imagination as much as the subject of animation performance itself.

Celebrating the celluloid expression of the Beat spirit--arguably the most sustained legacy in U.S. counterculture--Naked Lens is a comprehensive study of the most significant interfaces between the Beat writers, Beat culture, and cinema. Naked Lens features key Beat players and their collaborators, including William Burroughs, Allen Ginsberg, Jack Kerouac, Charles Bukowski, Brion Gysin, Antony Balch, Ron Rice, John Cassavetes, Andy Warhol, Bob Dylan, Klaus Maeck, and Gus van Sant. As well as examining clearly Beat-inspired films such as Pull My Daisy, Chappaqua, and The Flower Thief, Jack Sargeant discusses cinema verite and performance films (Shadows and Wholly Communion), B-movies (The Subterraneans and Roger Corman's Bucket of Blood), and Hollywood adaptations (Heart Beat and Barfly). The second half of the book is devoted to an extensive analysis of the films relating to William Burroughs, from Antony Balch's Towers Open Fire to David Cronenberg's Naked Lunch. This book also contains the last ever interview with writer Allen Ginsberg, recorded three months before his death in April 1997.

If you're not old enough to remember Falstaff on The Fred Allen Show, perhaps you recall Fred Flintstone from The Flintstones, that modern stoneage family. Both boisterous voices - and more - came from the talented mouth of Alan Reed, one of the greatest actors ever to light up radio, television and films. This is his story, published for the first time, complete with rare photos and credit list.

Tells the incredible story of the way Japanese entertainment and popular art continue to grow and draw two very different worlds together.Anime and Manga are hot - the popularity of these media is only increasing. As both become more mainstream, the pool of those interested in learning more about them is going to get bigger.A contributor for publications like the Village Voice; Kelts is young, hip, and making waves.Opens the topic for those who are not anime fans - while hardcore anime fans remain the most important force behind the success of Susan Napier's book, more and more people are now learning about anime through friends and family. This book will open a window on anime that is accessible to all.Japanamerica is the first book that directly addresses the Western experience of the Japanese pop culture craze - looking at anime, Hayao Miyazaki's epics, the burgeoning world of hentai, Haruki Murakami's fiction, and including interviews with the inventor of Pac-man and executives from TokyoPop.

100 historical and contemporary texts give a detailed insight into the last 150 years of animation studies in this seminal, four-volume reference work on the field. Beginning with the many definitions, or lack thereof, of animation, the set delves into the nature of animation production, explores how we can establish greater space within animation discourse for the consideration of broadcast and interactive animation, and gives a greater contextual understanding of the field of animation studies. Key themes are 'Authorship', 'Genre', 'Identity Politics', and 'Spectatorship', and the set is ordered in such a way that avoids imposing an overly simplistic chronological framework, thereby allowing debates that have developed over years (and even decades) to stand side by side. Each volume is separately introduced and the essays structured into coherent sections on specific themes

Around the world there are grandparents, parents, and children who can still sing ditties by Tigger or Baloo the Bear or the Seven Dwarves. This staying power and global reach is in large part a testimony to the pizzazz of performers, songwriters, and other creative artists who worked with Walt Disney Records.

"Mouse Tracks: The Story of Walt Disney Records" chronicles for the first time the fifty-year history of the Disney recording companies launched by Walt Disney and Roy Disney in the mid-1950s, when Disneyland Park, Davy Crockett, and the Mickey Mouse Club were taking the world by storm. The book provides a perspective on all-time Disney favorites and features anecdotes, reminiscences, and biographies of the artists who brought Disney magic to audio.

Authors Tim Hollis and Greg Ehrbar go behind the scenes at the Walt Disney Studios and discover that in the early days Walt Disney and Roy Disney resisted going into the record business before the success of "The Ballad of Davy Crockett" ignited the in-house label. Along the way, the book traces the recording adventures of such Disney favorites as Mickey Mouse, Donald Duck, Cinderella, Bambi, Jiminy Cricket, Winnie the Pooh, and even Walt Disney himself. Mouse Tracks reveals the struggles, major successes, and occasional misfires. Included are impressions and details of teen-pop princesses Annette Funicello and Hayley Mills, the Mary Poppins phenomenon, a Disney-style "British Invasion," and a low period when sagging sales forced Walt Disney to suggest closing the division down.

Complementing each chapter are brief performer biographies, reproductions of album covers and art, and facsimiles of related promotional material. "Mouse Tracks" is a collector's bonanza of information on this little-analyzed side of the Disney empire.

Tim Hollis lives in Birmingham, Alabama. Three of his previous books--histories of tourism and children's television--are published by University Press of Mississippi. Two-time Grammy nominee Greg Ehrbar, a twenty-year Disney company veteran, is a writer of advertising, books, television specials, radio shows, compact discs, and Walt Disney Records Read-Alongs.

Learn more about the book and the authors at www.mousetracksonline.com.

Max Fleischer (1883--1972) was for years considered Walt Disney's only real rival in the world of cartoon animation. The man behind the creation of such legendary characters as Betty Boop and the animation of Popeye the Sailor and Superman, Fleischer asserted himself as a major player in the development of Hollywood entertainment. Out of the Inkwell: Max Fleischer and the Animation Revolution is a vivid portrait of the life and world of a man who shaped the look of cartoon animation. While deeply engaged with his characters, Fleischer also sought ways to improve his art through technical innovation. Among the many patented inventions Fleischer created was his Rotoscope, a device that helped track live action on-screen and revolutionized the way animated characters appeared and moved. In the 1920s, Fleischer and his brother Dave teamed up to create a series of "Out of the Inkwell" films, which led to a deal with Paramount. Films featuring their character Ko-Ko the Clown introduced new special effects such as startling combinations of live action and animation. In one piece, Ko-Ko emerges from an inkblot and appears on-screen with footage of Fleischer himself. As the sound revolution hit film, the studio produced shorts featuring the characters interacting with songs. The Fleischers involved jazz artists such as Cab Calloway and Louis Armstrong, and the sound cartoons were a howling success. In the next decade, Fleischer Studios produced the features Gulliver's Travels and Mr. Bug Goes to Town and soon went to work on an animated Superman series, which won widespread critical and popular acclaim. In spite of its great popularity and success, however, the studio was abruptly closed. The animated cartoon industry was shocked, and the event went unexplained for many years. Now, Max's son Richard has at last solved the mystery of the shuttering of Fleischer Studios. Max Fleischer's story is one of a creative genius struggling to fit in with the changing culture of golden age cinema. Out of the Inkwell captures the twists and turns, the triumphs and disappointments, and most of all the breathless energy of a life vibrantly lived in the world of animation magic.

With ruminations on drawing, colour and caricature, on the political meaning of fairy-tales, talking animals and human beings as machines, Hollywood Flatlands brings to light the links between animation, avant-garde art and modernist criticism. Focusing on the work of aesthetic and political revolutionaries of the inter-war period, Esther Leslie reveals how the animation of commodities can be studied as a journey into modernity in cinema. She looks afresh at the links between the Soviet Constructivists and the Bauhaus, for instance, and those between Walter Benjamin and cinematic abstraction. She also provides new interpretations of the writings of Siegfried Kracauer on animation, shows how Theodor Adorno's and Max Horkheimer's film viewing affected their intellectual development, and reconsiders Sergei Eisenstein's famous handshake with Mickey Mouse at Disney's Hyperion Studios in 1930.

It's a rare comic character who can make audiences laugh for well over half a century--but then again, it's a pretty rare cartoon hero who can boast of forearms thicker than his waist, who can down a can of spinach in a single gulp, or who generally faces the world with one eye squinted completely shut. When E.C. Segar's gruff but lovable sailor man first tooted his pipe to the public on January 7, 1929, it was not in the animated cartoon format for which he is best known today (and which would become the longest running series in film history). Instead it was on the comics page of the New York Journal, as Segar's Thimble Theatre strip. Over the decades to come, Popeye was to appear on radio, television, stage, and even in a live-action feature film. This comprehensive and lavishly illustrated history is a thoroughly updated and revised edition of the highly acclaimed 1994 work. Animated series and films are examined, noting the different directions each studio took and the changing character designs of the Popeye family. Popeye in other media--comics, books, radio, and a stage play--is thoroughly covered, as are Robert Altman's 1980 live-action film, and Popeye memorabilia.

'The Tender Whisper of Death' is a new collection of tales from the extraordinary pen of Jean Resnik. Writing with an ear for the spiritual dimensions of language, Resnik investigates the emotional and sexual psyches of characters who have been crushed by life. But all of these people are survivors, in the strongest sense of the phrase, and each one, although beaten down by experience, is seeking a final, inexorable awakening. At once both fatalistic and inspiring. 'The Tender Whisper of Death' will appeal to anyone with an interest in the psychology of doomed love.

"The Rocky and Bullwinkle Show" featured some of the wittiest, most inspired, and relentlessly hilarious animation ever created. The legendary Jay Ward and Bill Scott produced the gleeful wonder and cumulative joy that transcended the crude drawings and occasionally muddy sound. Jay Ward was the magnificent visionary, the outrageous showman, while Bill Scott was the genial, brilliant head writer, coproducer, and all-purpose creative whirlwind. With exclusive interviews, original scripts, artwork, story notes, letters and memos, Keith Scott has written the definitive history of Jay Ward Productions.
"The Moose That Roared" tells the story of a rare and magical relationship between two artists wildly, exuberantly ahead of their time, and a fascinating account of the struggle to bring their vision of bad puns and talking animals to unforgettable life.

Sound Design for Moving Image offers a clear introduction to sound design theory and practice to help you integrate sound ideas into your productions. Contemporary soundtracks are often made up of hundreds of separate tracks, and thousands of individual sounds, including elements of dialogue, music and sound effects. As a result, many budding filmmakers find them a daunting prospect, and are tempted to leave sound to the last stages of post-production. This book, from award-winning Sound Designer Kahra Scott-James, encourages you to incorporate sound into your pre-production planning, to make the most of this powerful narrative tool. Adopting a specific framework in order to help demystify sound design for moving image, the book isn't designed as a sound engineering handbook, but as a guide for moving image content creators wanting to explore sound and collaborate with sound designers. Regardless of medium, the same, or similar concepts can be adopted, adapted, and applied to any project employing sound. Includes detailed and insightful interviews with leading sound designers, including Randy Thom, Director of Sound Design at Skywalker Sound, and Glenn Kiser, Director of the Dolby Institute, as well as practical projects to help you hone your skills using video and sound files available from the companion website - https://bloomsbury.com/cw/sound-design-for-moving-image - making this is a complete sound course to take you from novice skills to confident practitioner.