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Featuring tons of fun facts about the series alongside a walkthrough of all books and covers in the Goosebumps collections, this art book is a must-have for old and new fans alike! In the summer of 1992, Scholastic tasked two terrifyingly talented artists with creating the cover paintings for the books that would premiere the Goosebumps series. At that time, four books in the line were being market-tested by the publisher to see how young readers would react to R.L. Stine’s particular brand of humor-tinged horror. One element that was sure to catch the attention of little eyes everywhere was striking cover art, and, boy, did they find it! The imagery provided by the covers of the Goosebumps series is part and parcel to the 90s Kid zeitgeist, helping to create a visual brand for R.L. Stine’s smash-hit horror series. The covers helped set the tone for the numerous adaptations of the series, including a television series, a theatre experience, and, more recently, blockbuster films!
Das Bewusstsein der Relationalität und Relativität von Kultur bestimmt die wissenschaftliche Karriere Daniel Drasceks, die sich besonders auch mit der Entwicklung der Vergleichenden Kulturwissenschaft am Standort Regensburg verbindet. Dabei charakterisiert eine kritische Distanz gegenüber selbstgewissen Absolutheiten und eindimensionalen Antworten seine Arbeit, die sich stets einem feinen Blick für leise Zwischentöne und verdeckte soziale, räumliche und zeitliche Bezüge verpflichtet. Sein 60. Geburtstag bietet seinen ehemaligen und aktuellen Regensburger Kolleginnen und Kollegen die Chance, seine Forschungsinteressen zu würdigen. Unter der Prämisse des Vergleichs greift diese Festgabe die vielfältigen Impulse von Daniel Drasceks wissenschaftlichem Werk in Bereichen wie Zeit und Alter, Kulturerbe, Interkulturalität mit Schwerpunkt Osteuropa, der Ritual- und Brauchforschung oder der Erzählforschung auf. Sie entwickelt so auch das Panorama einer dezidiert Vergleichenden Kulturwissenschaft, wie sie der Jubilar in den letzten beiden Jahrzehnten in Regensburg maßgeblich geprägt und entwickelt hat.
More horror movies are produced and released each year than any other film genre. While horror enjoys broad popularity, many hardcore fans voraciously consume films from their favorite subgenres while avoiding others entirely. This says something interesting about the films and their audiences. This primer and reference guide defines and explores 75 alphabetically listed subgenres of horror film, from Abduction to Witchcraft and two Zombie subgenres. Each sizeable entry provides a critical survey of the subgenre, a detailed examination of its characteristic elements and themes, and a discussion of three or four exemplary titles as well as other titles of interest.
Fascinating biography of this man who began as a Sunday School teacher and became a major force in British cinema.
Film plays a vital role in the celebration of Christmas. For decades, it has taught audiences about what the celebration of the season looks like – from the decorations to the costumes and to the expected snowy weather – as well as mirrors our own festivities back to us. Films like It’s a Wonderful Life and Home Alone have come to play key roles in real-life domestic celebrations: watching such titles has become, for many families, every bit as important as tree-trimming and leaving cookies out for Santa. These films have exported the American take on the holiday far and wide and helped us conjure an image of the perfect holiday. Rather than settling the ‘what is a Christmas film?’...
John Kenneth Muir is back! This time, the author of the acclaimed Horror Films of the 1970s turns his attention to 300 films from the 1980s. From horror franchises like Friday the 13th and Hellraiser to obscurities like The Children and The Boogens, Muir is our informative guide. Muir introduces the scope of the decade's horrors, and offers a history that draws parallels between current events and the nightmares unfolding on cinema screens. Each of the 300 films is discussed with detailed credits, a brief synopsis, a critical commentary, and where applicable, notes on the film's legacy beyond the 80s. Also included is the author's ranking of the 15 best horror films of the 80s.
Presiding over the "golden era" of the British Film Industry from the mid to late 1940s, J. Arthur Rank financed movies such as Oliver Twist, The Red Shoes, Brief Encounter, Caesar and Cleopatra and Black Narcissus. Never before, and never since, has the industry risen to such heights. J. Arthur Rank charts every aspect of the robust film culture that Rank helped to create. Having started out with relatively little knowledge of the cinema, Rank's sponsorship was to bring about astounding progress within the industry, and by establishing an organization comparable in size to any of the major Hollywood studios, Rank briefly managed to reconcile and consolidate the competing demands of "art" and "business" - an achievement very much absent from today's diminished and fragmented film industry. Macnab goes on to explain the eventual collapse of the Rank experiment amidst the economic and political maelstrom of post-war Britain, highlighting the problems still facing the industry today. By meshing archival research with interviews with Rank's contemporaries and members of his family, this definitive study firmly restores Rank to his rightful place at the hub of British film history.
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How do we rank a man who raises millions for people in need but whose actions waste millions in support of unworthy mates and poor public policy? How do we define someone who on his own finds jobs for the out of work but who routinely trashes the careers of others? These are some of the many paradoxes of Alan Jones. Why is he adored? Why is he reviled? Why does this talk radio host have the power to dine with presidents, lecture prime ministers and premiers, and influence government ministers? And how is it that he could not only survive a scandal such as the 'cash for comment' affair, but go on to greater reward? Fully revised and updated edition of the 2006 smash hit.