Video Movie Guide 1991


Book Description




Video Movie Guide 1992


Book Description










Film and Television In-Jokes


Book Description

In Only the Lonely (1991), Ally Sheedy appeases prospective mother-in-law Maureen O'Hara by going along to see the 1939 film How Green Was My Valley--starring Maureen O'Hara. Richard LaGravenese, slighted by critic Gene Siskel over his screenplay for The Fisher King (1991) wrote an unsavory character named Siskel into The Ref (1994). Movies and television shows often feature inside jokes. Sometimes there are characters named after crew members. Directors are often featured in cameo appearances--Alfred Hitchcock's silhouette can be seen in Family Plot (1976), for example. This work catalogs such occurrences. Each entry includes the title of the film or show, year of release, and a full description of the in-joke.




The Movie Guide


Book Description

From The Big Sleep to Babette's Feast, from Lawrence of Arabia to Drugstore Cowboy, The Movie Guide offers the inside word on 3,500 of the best motion pictures ever made. James Monaco is the president and founder of BASELINE, the world's leading supplier of information to the film and television industries. Among his previous books are The Encyclopedia of Film, American Film Now, and How to Read a Film.




Video Movie Guide 1998


Book Description

Reviews thousands of movies and rates each film according to a five-star rating system, and features cross-indexing by title, director, and cast.




Wild Animal Story


Book Description

At the beginning of the twentieth century, the wild animal story emerged in Canadian literature as a distinct genre, in which animals pursue their own interests—survival for themselves, their offspring, and perhaps a mate, or the pure pleasure of their wildness. Bringing together some of the most celebrated wild animal stories, Ralph H. Lutts places them firmly in the context of heated controversies about animal intelligence and purposeful behavior. Widely regarded as entertaining and educational, the early stories—by Charles G. D. Roberts, Ernest Thompson Seton, John Muir, Jack London and others—had an avid readership among adults and children. But some naturalists and at least one hunter—Theodore Roosevelt—discredited these writers as "nature fakers," accusing them of falsely portraying animal behavior. The stories and commentaries collected here span the twentieth century. As present day animal behaviorists, psychologists, and the public attempt to sort out the meaning of what animals do and our obligations to them, Ralph Lutts maps some of the prominent features of our cultural landscape. Tales include: • The Springfield Fox by Ernest Thompson Seton • The Sounding of the Call by Jack London • Stickeen by John Muir • Journey to the Sea by Rachel Carson Other selections include esssays by Theoore Roosevelt, John Burroughs, Margaret Atwood, and Ralph H. Lutts. postamble();




Television Musicals


Book Description

In this reference work 222 musicals developed specifically for television are fully detailed, including musical episodes from nonmusical shows, animated specials that appealed to adults as well as children, and operas and related works commissioned for the small screen. Each entry provides air date, network, running time, cast and credits, and a listing of all the songs. A plot synopsis follows, focusing on the show itself and the story from which it was adapted; information on award nominations and awards won, recordings, videos and published music is then provided. Contemporary reviews of the show complete the entry.




The Horror Spoofs of Abbott and Costello


Book Description

While Bud Abbott and Lou Costello are more famously known for their straight comedy routines, they did make a number of films in which horror played a crucial role. The first part of this critical reference examines the Abbott and Costello "Meet the Monsters" spoof films (Frankenstein, The Invisible Man, Dr. Jekyll and Mr. Hyde and The Mummy). The second sections deals with Abbott and Costello's films with horror elements that do not follow this formula: Hold That Ghost, The Time of Their Lives and Abbott and Costello Meet the Killer, Boris Karloff. The plot of each film is examined in detail with special attention paid to the comedians' styles of comedy, the effect of the horror scenes, and the place of the film in the Abbott and Costello canon. The reactions of critics (then and now) and the influences the films have had on the horror and comedy genres and on pop culture are also discussed. A lengthy introduction provides background on the lives of Bud Abbott and Lou Costello and the development of Universal Studios as the premier horror factory.