The Muppets made Jim Henson a household name, but they were only part of his remarkable story.This extraordinary biography--written with the generous cooperation of the Henson family--covers the full arc of Henson's all-too-brief life: from his childhood in Leland, Mississippi, through the years of burgeoning fame in Washington D.C., New York, and London, to the decade of international celebrity that preceded his untimely death at age fifty-three. Drawing on hundreds of hours of new interviews with Jim Henson's family, friends, and closest collaborators, as well as unprecedented access to private family and company archives--including never-before-seen interviews, business documents, and Henson's private letters--Brian Jay Jones explores the creation of the Muppets, Henson's contributions to Sesame Street and Saturday Night Live, and his nearly ten year campaign to bring The Muppet Show to television. Jones provides the imaginative context for Henson's non-Muppet projects, including the richly imagined worlds of The Dark Crystal and Labyrinth-as well as fascinating misfires like Henson's dream of opening an inflatable psychedelic nightclub or of staging an elaborate, all-puppet Broadway show.An uncommonly intimate portrait, Jim Henson captures all the facets of this American original: the master craftsman who revolutionized the presentation of puppets on television, the savvy businessman whose deal making prowess won him a reputation as "the new Walt Disney," and the creative team leader whose collaborative ethos earned him the undying loyalty of everyone who worked for him. Here also is insight into Henson's intensely private personal life: his Christian Science upbringing; his love of fast cars, high-stakes gambling, and expensive art; and his weakness for women. Though an optimist by nature, Henson was haunted by the notion that he would not have time to do all the things he wanted to do in life-a fear that his heartbreaking final hours would prove all too well-founded.An up-close look at the charmed life of a legend, Jim Henson gives the full measure to a man whose joyful genius transcended age, language, geography, and culture-and continues to beguile audiences worldwide.

    Cultural critic Michael Bronski collects a sampling of these now little-known gay erotic writings—some by writers long forgotten, some never known and a few now famous. Through them, Bronski challenges many long-held views of American postwar fiction and the rise of gay literature, as well as of the culture at large.

    Colonel Cammermeyer's dismissal from the U.S. Army has stirred debate all the way to the Presidency; now she writes of her decision to challenge official policy on homosexuality. 16-page photo insert.

    They had already made films that redefined the gangster movie, the screwball comedy, the fable, and the film noir, among others. No Country is just one of many Coen brothers films to center on the struggles of complex characters to understand themselves and their places in the strange worlds they inhabit. To

    Featuring an exclusive interview with recently deceased director Ken Russell and new interviews with cast, crew, and historians, Raising Hell examines this beautifully blasphemous movie about an oversexed priest and a group of sexually repressed nuns in 17th century France. From the film’s inception through its headline-making production and controversial reception, Richard Crouse explores what it is about Russell’s rarely seen cult classic that makes it a cinematic treasure.

    This is both one man's remarkable story and an essential guide for anyone who has a celluloid story to tell and the dreams and determination to see it through.  Part production diary, part how-to manual, Rodriguez unveils how he was able to make his influential first film on only a $7,000 budget.  Also included is the appendix, 'The Ten Minute Film Course,” a tell-all on how to save thousands of dollars on film school and teach yourself the ropes of film production, directing, and screenwriting.

    In this first collection of Harlan Ellison's cinema criticism (with expanded, never-before-collected articles as well as an essay written especially for this volume) come from the darkened interiors of a thousand movie houses where this most peculiar of all Observers of the Passing Scene has spent much of his life. The view is guaranteed to make you grind your teeth in anger, nod your head in blessed agreement, and open your eyes in a manner of judging films that is definitely not plebeian. Harlan Ellison's love affair with movies is obvious. As an essayist, he has no equal; as a film critic he has no friends. Take care.

    Features interviews with all the original cast members and a comprehensive episode guide. Photos.

    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.

    Through vigorous draftsmanship, charismatic voices, irreverent sight gags, crass humor, and stellar character acting, animation's most talented and disturbed artists created an entity for the Nickelodeon cable network that pulled the art form out of a 25-year rut. The world has never been quite the same since - and we're eternally grateful!Now you too can join the rollercoaster ride that is the fascinating, insane real-life story of art, money, and ego that gave birth to Ren Hoek and Stimpson J. Cat. History Eraser Buttons need not apply. No stone has been unturned, no magic nose goblins unpicked, in this extensively detailed history of the show that defined a generation and changed an entire medium.It's everything you wanted to know about Ren & Stimpy - but were afraid to ask!

    Mike Nichols' 2003 HBO adaptation starring Meryl Streep, Mary-Louise Parker, and Al Pacino was itself a tour de force, winning 11 Emmys and introducing the play to an even wider public. This generation-defining classic continues to shock, move, and inspire viewers worldwide.Now, on the 25th anniversary of that Broadway premiere, Isaac Butler and Dan Kois offer the definitive account of Angels in America in the most fitting way possible: through oral history, nearly 200 voices in vibrant conversation and debate. The intimate storytelling of actors (including Streep, Parker, Jeffrey Wright, and Nathan Lane), directors, producers, and Kushner himself reveals the turmoil of the play's birth-a hard-won miracle in the face of artistic roadblocks, technical disasters, and disputes both legal and creative. And historians and critics help to situate the play in the arc of American culture, from the staunch activism of the AIDS crisis through civil-rights triumphs to our current era, whose politics are a dark echo of the Reagan '80s. The World Only Spins Forward is both a rollicking theater saga and an uplifting testament to one of the great works of American art of the past century, from its gritty San Francisco premiere to the starry revival that electrified London in 2017.

    Indeed, in this pioneering exploration of the cinema of fear, Barry Keith Grant and twenty other film critics posit that horror is always rooted in gender, particularly in anxieties about sexual difference and gender politics.The book opens with the influential theoretical works of Linda Williams, Carol J. Clover, and Barbara Creed. Subsequent essays explore the history of the genre, from classic horror such as King Kong and Bride of Frankenstein to the more recent Fatal Attraction and Bram Stoker's Dracula. Other topics covered include the work of horror auteurs David Cronenberg, Dario Argento, and George Romero; the Aliens trilogy; and the importance of gender in relation to horror marketing and reception.Other contributors include Vera Dika, Thomas Doherty, Lucy Fischer, Christopher Sharrett, Vivian Sobchack, Tony Williams, and Robin Wood. Writing across a full range of critical methods from classic psychoanalysis to feminism and postmodernism, they balance theoretical generalizations with close readings of films and discussions of figures associated with the genre.The Dread of Difference demonstrates that horror is hardly a uniformly masculine discourse. As these essays persuasively show, not only are horror movies about patriarchy and its fear of the feminine, but they also offer feminist critique and pleasure.

    Their delightful films rank alongside the most popular non-English language films ever made, with each new eagerly-anticipated release a guaranteed box-office smash. Yet this highly profitable studio has remained fiercely independent, producing a stream of imaginative and individual animations. The studio’s founders, long-time animators Isao Takahata and Hayao Miyazaki, have created timeless masterpieces. Although their films are distinctly Japanese their themes are universal—humanity, community, and a love for the environment. No other film studio, animation or otherwise, comes close to matching Ghibli for pure cinematic experience. All their major works are examined here, as well the early output of Hayao Miyazaki and Isao Takahata, exploring the cultural and thematic threads that bind these films together.

    Dredged from his subconscious mind, Lynch’s work is primed to act on our own subconscious, combining heightened, contradictory emotions into something familiar but inscrutable. No less than his art, Lynch’s life also evades simple categorization, encompassing pursuits as a musician, painter, photographer, carpenter, entrepreneur, and vocal proponent of Transcendental Meditation.David Lynch: The Man from Another Place, Dennis Lim’s remarkably smart and concise book, proposes several lenses through which to view Lynch and his work: through the age-old mysteries of the uncanny and the sublime, through the creative energies of surrealism and postmodernism, through ideas of America and theories of good and evil. Lynch himself often warns against overinterpretation. And accordingly, this is not a book that seeks to decode his art or annotate his life—to dispel the strangeness of the Lynchian—so much as one that offers complementary ways of seeing and understanding one of the most distinctive bodies of work in modern cinema. Its spirit is true to its subject, in remaining suggestive rather than definitive, in allowing what Lynch likes to call “room to dream,” and in honoring the allure of the unknown and the unknowable.

    In these memoirs, coming out is less important than coming of age and coming to the realization that young gay people experience the world in ways quite unlike straight boys. Whether it is a fascination with soap opera, an intense sensitivity to their own difference, or an obsession with a certain part of the male anatomy, gay kids — or kids who would eventually identify as gay — have an indefinable but unmistakable gay sensibility. Sometimes the result is funny, sometimes it is harrowing, and often it is deeply moving. Essays by lauded young writers like Alex Chee (Edinburgh), Aaron Hamburger (Faith for Beginners), Karl Soehnlein (The World of Normal Boys), Trebor Healy (Through It Came Bright Colors), Tom Dolby (The Trouble Boy), David Bahr, and Austin Bunn, are collected along with those by brilliant, newcomers such as Michael McAllister, Jason Tougaw, Viet Dinh, and the wildly popular blogger, Joe.My.God.