L. Frank Baum's novel, The Wizard of Oz, has spawned 39 official sequels, over 100 unofficial sequels, well nearly 40 films, several TV series, music videos, commercials, computer games, radio shows and more. It has received a number of different interpretations: an African-American slant, a Turkish low-budget fantasy, Japanese anime, and American pornography, among others. This book provides synopses and basic bibliographical information for the forty Oz books in the original series and a number of related books by the Royal Historians of Oz; synopses and credits for live performances (videos and made-for-television performances are included here) based on the Oz books and on Baum's non-Oz fantasies; comic book and comic strip adaptations of Oz; synopses and credits for radio shows and dramatic performances on audiobook or vinyl records; synopses and credits for theatrical films and shorts; documentaries and educational films; synopses and credits for television series and episodes based on Oz; video and computer games; useful websites; and short scenes on television or in movies that have an Oz element.

If you went to a big rodeo in the 1940s, you might have seen Gene Autry singing and jumping his horse, Champ, through a flaming hoop. In the same era, familiar rodeo personalities like Hoot Gibson, Texas Rose Bascom, Slim Pickens and Ben Johnson could be seen in movies or television shows. At a rodeo in the 1960s, you might have seen Lorne Greene and Dan Blocker acting out a skit from their hit television show Bonanza. This reference book provides career profiles of both types of performers who crossed over between acting and cowboying in the period from the 1930s to the 1970s, when Hollywood and the rodeo circuit were closely linked. The first part, ""Rodeo Personalities with a Hollywood Connection,"" traces the careers of notable rodeo stars who also appeared on film or television. The next two sections detail the rodeo appearances of stars better known for their work on the screen (whether small or silver); one of these two sections focuses on performers who tended to appear solo, while the other focuses on famous casts, such as the folks of Bonanza or Gunsmoke. A fourth section alphabetically lists rodeo-related films. Appendices present further information on golden age rodeo personalities, rodeos presenting western stars, and eleven special rodeos distinguished by such features as size, prestige and Western star power.

This work seeks to illuminate the art of George Cukor, the director of some of the most acclaimed and popular films ever to come out of Hollywood. Eight films, ranging in time from David Copperfield (1935) to Rich and Famous (1981) and in mood from the fairy-tale comedy of The Philadelphia Story to the intense melodrama of Cukor's masterpiece, A Star is Born, are closely analysed in search for the elusive secret of Cukor's art. The search reveals that through his long and varied body of work Cukor was preoccupied with certain themes of enduring significance that found expression through his mastery of film direction. More than a mere Hollywood craftsman or the congenial collaborator of such Hollywood luminaries as Hepburn, Grant, Tracy, and Monroe, George Cukor was a true film artist.

Using interviews with Jerry Lewis and many of his co-stars, this book analyses his collaborative efforts with Dean Martin, his subsequent solo work, his writing and directorial careers, and more recent movies such as Hardly Working (1979) and The King of Comedy (1982). Comprehensive filmographic data are provided for each of the films, with cast and production credits, studio, release date, and running time. Lewis's own reflections on his work are included for many of the entries.

A thorough survey of great interest and value to scholars in this field.

This analysis examines several recent reimagined science fiction franchises (Star Trek, Battlestar Galactica, V, and Star Wars) in order to capture how ""reboots"" work from a fan perspective. Previous encounters with these stories make the reboot experience distinct for fan-viewers, who bring with them a set of expectations and knowledge, often tied to franchise canon, that cannot be separated from the new film or television series. Even when elements of the original versions are maintained, memories of them influence the narrative encounter. This book considers reimagined texts from several levels, including the medium, the characters and the world building, to break down and then explore the reboot experience.

While much of Tom Stoppard's early work (Rosencrantz and Guildenstern Are Dead and The Real Inspector Hound, for instance) is postmodern, the remainder of his career essentially tracks backward from there--becoming ""late modernist"" in the 1970s (Travesties) and fully modernist in the 80s and 90s (The Real Thing and Arcadia). This pattern also makes sense of Stoppard's recent and uncharacteristic foray into dramatic realism with The Coast of Utopia (2002) and Rock 'n' Roll (2006). The playwright seems to embrace what he sees as the more straightforward rhetorical advantages of literary realism.

Arranged chronologically, this reference work provides production company-written plot synopses or, when a synopsis was not available, trade paper reviews of 476 films about moonshining, feuding, coal mining, mountain love triangles, and many other topics. Also provided are studio, date of release, and length.

What happens when freedom of artistic expression offends freedom of religion? A nationwide controversy arose when America's first professional Passion play, staged in San Francisco in 1879, was pronounced a ""sacrilege"" by Protestant ministers. (Author Salmi Morse's play, The Passion, was in reality a pious description of the Gospel story). This work shows that Morse and his play were actually the victims of the Protestant church's struggle to maintain power during the late 1800's a time when America was changing into a more urban nation. This saga of a society's attempt to control ""immoral""art by government intervention is also a disconcerting look at how easily artistic freedom can be sacrificed on the alter of political expediency.

References to western movies scattered over some 250 narrative works by more than 130 authors constitute the subject matter of this book, arranged in an encyclopedic format. The entries are distributed among western movies, television series, big screen and television actors, western writers, directors and miscellaneous topics related to the genre. The entries vary in size, from a classic like High Noon to a more obscure title such as Drum Beat, or from, a mega-star like John Wayne to someone like Tom Tyler. While the time span of the presented data exceeds a period of a hundred years--from The Great Train Robbery (1903) to No Country for Old Men (2007)--the entries include many western film milestones (from The Aryan through Shane to Unforgiven), television classics (Gunsmoke, Bonanza) and great screen cowboys of both the ""A"" and ""B"" productions.

Discover the complete history of Godzilla in this definitive, official guide to the King of the Monsters. Godzilla: The Official Guide to the King of the Monsters celebrates more than 60 years of movie mayhem in an exceptional, fully illustrated book. An official publication in partnership with Toho Co., this must-read guide brings together every incarnation of the world's most famous creature for the first time – including all the Japanese and Western movies, as well as Godzilla's most celebrated appearances in TV, comics and video games. Inside you'll find detailed reviews, spectacular stills and behind-the-scenes images from every Godzilla movie, from 1954's Gojira to 2021's Godzilla vs. Kong, along with countless insights into the making of one of cinema's most enduring, innovative and successful franchises. Packed with essential info, incredible trivia and stunning artwork, this is the ultimate illustrated reference to all things Godzilla.

When Throckmorton P. Gildersleeve bid farewell to Fibber McGee and Molly and left Wistful Vista on a train in 1941, no one could have predicted that he would be riding the airwaves until 1957. But when one listens to episodes of radio's first spinoff, it becomes clear the The Great Gildersleeve succeeded because its likable and amusing characters were appealingly fallible, much like the folks each of us knew in our hometowns. This book is a guide to more than 500 episodes of The Great Gildersleeve that are in circulation and also to the scripts of 46 episodes for which no recordings exist. Background on the development of the program is included, and the appendices include a list of episodes as well as provide information about cast members, notable occurrences on the program, ratings, and the films and TV series.

From 1906 until 1922, Geraldine Farrar was the Metropolitan Opera's most popular and glamorous prima donna. Convinced that music must always serve the drama, this beautiful and magnetic singer often sacrificed tonal beauty to dramatic effect. Her acting was noted for its intensity and realism. Nevertheless, Farrar was a superb singer, possessing a beautiful lyric soprano voice. Enrico Caruso was her frequent operatic partner, guaranteeing sold-out houses. She performed 493 times in 29 roles, creating Puccini's Madama Butterfly in 1906. Farrar was also a star of the silent screen, appearing in 14 films from 1915 to 1920. In retirement, she was mentor and friend to the African-American diva Camilla Williams, enabling her to become the first African American to have a regular contract with a major American opera company.

Isabelle Cornaro, based in Paris and Geneva, holds degrees in art history and visual arts. She has a strong interest in experimental cinema and devotes herself to the narrative, symbolic, and economic origins of things. In her work she assumes an anthropologist-type manner to investigate people's seemingly fixated attachment to emotionally charged, even fetishised objects, creating large stage installations and short movies. This book is part of the new On Words series that presents conversations with contemporary women artists. Through them, readers come to understand the sources from which they draw inspiration, the themes in their work, and their view of the world. Edited by Julie Enckell, Federica Martini, and Sarah Burkhalter and bringing together a wide range of viewpoints, the On Words series adds a new narrative to polyphonic art history as told by those who actively shape it. Text in English and French.

Beginning with Charlie Chaplin's Shoulder Arms, released in America near the end of World War I, the military comedy film has been one of Hollywood's most durable genres. This generously illustrated history examines over 225 Army, Navy and Marine-related comedies produced between 1918 and 2009, including the abundance of laughspinners released during World War II in the wake of Abbott and Costello's phenomenally successful Buck Privates (1941), and the many lighthearted service films of the immediate postwar era, among them Mister Roberts (1955) and No Time for Sergeants (1958). Also included are discussions of such subgenres as silent films (The General), military-academy farces (Brother Rat), women in uniform (Private Benjamin), misfits making good (Stripes), anti-war comedies (MASH), and fact-based films (The Men Who Stare at Goats). A closing filmography is included in this richly detailed volume.

From December 1957 through October 1959, Chicago TV viewers were held in thrall by ""Marvin,"" the ghoulishly hilarious host of WBKB-TV's late-night horror film series Shock Theatre. Marvin and his lady friend ""Dear"" (her face ever hidden from the camera) introduced thousands of Chicagoland youngsters to such classic Universal chillers as Frankenstein, Dracula and The Wolf Man. This history of Shock Theatre focuses on the series and its creator, Marvin himself--in real life, the multi-talented Terry Bennett, whose wife Joy played ""Dear."" Terry's son Kerry Bennett provides an affectionate foreword, while celebrated horror host Count Gore De Vol (Dick Dyszel) supplies the afterword. Included are dozens of photos and vintage advertisement reproductions, as well as two appendices featuring a resume of Terry Bennett's career and a list of films telecast during his two-year Shock Theatre run.

The first daytime dramas began as early as 1930, with Painted Dreams. Programmers soon discovered that housewives often controlled the purse strings, and soaps become an advertiser's gold mine. They now generate more than $900 million in network revenues annually. Around 50 million people (reportedly including congressmen and rock stars as well as two-thirds of all American television-watching women) tune in each weekday afternoon for a dosage of love, loss and libido via ""the soaps."" This scholarly study examines the soap phenomenon from a sociological point of view. Included in the analysis is classic research by Rudolf Arnheim, Herta Hartzog and Helen Kaufman as well as contemporary studies and previously unpublished research. The evolution of popular plotlines and characters, as assessment of reality in today's plots, which people watch soaps and why, specific plotlines for the 13 soaps presently aired, 40+ family trees illustrating program changes, the future of soaps--all are covered.

This collection of essays looks at the question ""What is history?"" and how history is shaped in different socioeconomic contexts. The writers take a transdisciplinary approach, in the belief that everyone who deals with history--including professional historians, novelists, and poets--constructs narratives of the past to make sense of the present as well as to determine their future courses of action. With contributions from a variety of specialists in media studies, literature, history and anthropology, this book breaks new ground in adaptation studies.

This book is a study of Grigory Kozintsev's two cinematic Shakespeare adaptations, Hamlet (Gamlet 1964), and King Lear (Korol Lir 1970). The films are considered in relation to the historical, artistic and cultural contexts in which they appear, as well as the contributions of Dmitri Shostakovich, who wrote the films' scores, and Boris Pasternak, whose translations were used in both films. The films are also analyzed respective to their place in the translation and performance history of Hamlet and King Lear from their first appearances in Tsarist Russian arts and letters; in particular, the ways in which these plays have been used as a means to critique the government and the country's problems in an age in which official censorship was commonplace. Kozintsev's films (as well as his theatrical productions of Hamlet and Lear, which are also analyzed in this study) continue along this trajectory by also providing a means for him and his collaborators to address the oppression, violence and corruption of Soviet society. It was just this sort of covert political protest that finally effected the dissolution and fall of the USSR.

Horror films, books and video games engage their audiences through combinations of storytelling practices, emotional experiences, cognitive responses and physicality that ignite the sensorium--the sensory mechanics of the body and the intellectual and cognitive functions connected to them. Through analyses of various mediums, this volume explores how the horror genre affects the mind and body of the spectator. Works explored include the films 28 Days Later and Death Proof, the video games Resident Evil 4 and Doom 3, the theme park ride The Revenge of the Mummy, transmedia experiences associated with The Dark Knight and True Blood, and paranormal romance novels featuring Anita Blake and Sookie Stackhouse. By examining how these diverse media generate medium-specific corporeal and sensory responses, it reveals how the sensorium interweaves sensory and intellectual encounters to produce powerful systems of perception.

This work profiles a stellar lineup of talented, versatile character actors who regularly appeared in horror and science fiction films during Hollywood's golden age. Many are well known by genre buffs and casual fans, including Lionel Atwill, John Carradine, Dwight Frye, Rondo Hatton, Dick Miller, J. Carroll Naish, Maria Ouspenskaya, Glenn Strange, Edward Van Sloan, and George Zucco. Also featured are performers not so well known but equally at home in the horror and science fiction field, such as Anthony Carbone, Harry Cording, Rosemary La Planche, Dick Purcell, Elizabeth Russell and Mel Welles. A chapter is devoted to each, complete with a biography and in-depth analyses of his or her best performances, and together demonstrating how important these personalities were to the success of their genre films with audiences and critics alike.

In the mid-20th century, Mickey Spillane was the sensation of not just mystery fiction but publishing itself. The level of sex and violence in his Mike Hammer thrillers (starting with I, The Jury in 1947) broke down long-held taboos and engendered a near hysterical critical backlash. Nonetheless, Spillane's influence has been felt--reflections of Hammer are visible in nearly every subsequent tough guy of fiction and film, including James Bond, Dirty Harry, Shaft, Billy Jack, and Jack Bauer. Spillane's fiction came to the screen in a series of films that include Kiss Me Deadly (1955) and The Girl Hunters (1963) with the author himself playing his private eye. These films, and television series starring Darren McGavin and Stacy Keach respectively, are examined in a lively, knowledgeable fashion by Spillane experts. Included are cast and crew listings, brief biographical entries on key persons, and a lengthy interview with Spillane.

The narrative surrounding the Titanic's voyage, collision, and sinking in April 1912 seems tailor-made for film. With clear categories of gender, class, nationality, and religion, the dominating Titanic myth offers a wealth of motifs ripe for the silver screen--heroism, melodrama, love, despair, pleasure, pain, failure, triumph, memory and eternal guilt. This volume provides a detailed overview of Titanic films from 1912 to the present and analyses the six major Titanic films, including the 1943 national socialist production, the 1953 Hollywood film, the 1958 British docudrama A Night to Remember, the 1979 TV production S.O.S. Titanic, the 1996 mini-series Titanic, and James Cameron's 1997 blockbuster. By showing how each film follows and builds on a pattern of fixed scenes, motifs and details called the ""Titanic code,"" this work yields telling insights into why this specific disaster has maintained such great relevance into the 21st century.

Nineteenth-Century French Drawings explores the history of this medium, and chronicles the remarkable part it has played throughout the past decades at the Cleveland Museum of Art. There are works by such iconic artists as Honoré Daumier, Berthe Morisot and Auguste Renoir, a luminous coloured pencil study by symbolist artist Alexandre Séon and a group of “noir” drawings—named for their use of varied black drawing media—by Henri Fantin-Latour, Albert-Charles Lebourg and Adolphe Appian, among others. Entries illuminate the role of drawing within 41 artists’ works and five essays by leading scholars shed new light on the making and collecting of drawings in France during this extraordinary period. In 19th-century France, drawing expanded from a means of artistic training to an independent medium with rich potential for experimentation. A variety of new materials became available to artists, encouraging figures ranging from Jean-Auguste-Dominique Ingres to Paul Cezanne to reconsider drawing’s place within their practice. Public and private exhibition venues increasingly began to display their works, building an audience attracted by the intimacy of drawings and their unique techniques and subjects.

Luchino Visconti's trilogy of films Ludwig, Death in Venice and The Damned explore the complex relationship between the themes and ideals of German Romanticism and their impact on the catastrophe of the Third Reich. The personality and works of Richard Wagner to a large extent epitomize German Romanticism as a whole, while the writings of Thomas Mann and Friedrich Nietzsche provide the greatest critique of this dark and troubled but sublime and emotionally overwhelming culture. Along with contrasting approaches to this subject by other filmmakers such as Hans-Jurgen Syberberg, Ken Russell and Tony Palmer, this book explores how the preoccupations of the German Romantic movement led to Nazism, and contrasts the ways in which filmmakers have presented this continuum. The book also discuses the impact of Wagner's musical dramas on the art form of the cinema itself.