DOCSLIB.ORG

Tual Working Time) Set by the Com­ Puter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tual Working Time) Set by the Com­ Puter • F I L M R E v I E w 5 • tual Working Time) set by the com­ puter. All these workers talk of the THE BIG SNIT psychological stress of being monitored MIN I REVIEWS In the city, an odd married couple by a machine which "spies on you and by Pat Thompson play Scrabble. She keeps taking off reports everything." One woman can­ • • her eyeballs (rather like pince-nez') didly admits about her home-life that "I and shaking them during the game. yell a lot these days." He shuffles his letters endlessly and, But it is precisely this spark of protest since he's dithering about, she goes that Quel nurnero/What Number? com­ off to vacuum. With great glee, the veys and honours. In their interviews husband turns on the TV to his fa­ and discussions for this film, the women vourite program, Sawing for Teens. workers are wonderfully alive and witty With saw in hand, he watches in ut­ and incisive in their assessment of the ter delight. Falling asleep in front of technological revolution. Whether in the screen, he misses the emergency pooling their talents to write the theme announcement of a worldwide nu­ song for the film, or in acting out satir­ clear war! ical skits that reveal the pressures of The husband awakes and ignores their jobs, these women consistently the noise of paniC in the streets, and convey a spirited energy that resists de­ the noise of his wife vacuuming the feat. As Bissonnette has written in her bathroom, including tub and taps, production notes for Quel numero/ and the inside of a large cupboard. What Number? "Where does hope re­ She returns to the Scrabble game, side in this film? For me, it lies in the and accuses her husband of looking strength, the humour and the desire for • The camera just loves Linda Griffiths in Passion at her letters. He counters with yells change of the women who participate of, "You're always shaking your in it." eyes!" She bellows, "Stop sawing the Yet the very fact that this film dares THE AGE OF INVENTION table," while the husband attempts to challenge the dominant ideology of to conceal his pet saw. computerized "progress" is in itself This month, films from two recent A short sharp overview of the transition The shooting match peaks, the grounds for hope. By its point of view festivals. The first two were at To­ from The Age of Innocence to The Age wife rushes out in tears. Attempting and structure, it does more than inform. ronto's Festival of Festivals, and the of Invention. The fascination of this pie­ a reconciliation, the husband goes It enrages and energizes, reminding us third one at the Montreal World ce is the skillful editing of archival ma­ into the hall and plays his concertina that (as the women's song says) "When Film Festival. terial - a wide variety of still photo­ to soothe and serenade her. Overco­ the machine has hands/I won't be graphs plus early film - into a smoothly me with loving emotion, they make needed anymore." cohesive and interesting whole. The up and, unaware of the disintegrating The film reaches its moment of su­ soundtrack is particularly artful, utili­ world, open the door to go outside... preme irony in a sequence devoted to zing to great effect old phonograph re­ Another winner from Richard one of the nine new computerized cord~, voices from the past, and the Condie, the talented animator who machines now used to send out un­ PASSION: wonderful clackings, rumblings, ring­ gave us the procrastinating teenager employment insurance cheques. As the A LETTER IN 16MM ings ~nd hissings of machinery. in Getting Started, and the prolific technology writes out the cheque, Covering the steam engine, the type­ bugs smuggled through Customs in places it in the envelope, addresses and writer, and up to tl).e movie camera, Anna, filmmaker., delivers a cinema­ Pig bird. The wonderfully detailed pewriter, and up to the movie camera, tic message to a departed lover. Her drawing and bizarre characters serve monologue to the camera, intercut radio and the aeroplane, with the final horrors of the machine-gun and tank in to heighten and punch across the with flashbacks as she recalls the idea of what really constitutes The "obsession, passion and ecstasy," ex­ World War I, this snappy, evocative pre­ sentation manages to impart a lot of in­ Big Snit. The human emotions dis­ poses some of the problems and di­ played, though small in comparison, lemmas of today's woman. Full of formation (coupled with a dash of so­ are every bit as earth-shattering as energy and talent, wanting to make cial comment) in an engrossing and ly­ shattering the earth. That's one easy a mark in her profession - yet stri­ rical vein. interpretation, but there are many ving to preserve a private, intimate Note: The NFB have prepared an at­ others to be deduced from this little personal life - Anna struggles and tractive little illustrated information animated film, which may even lead suffers. folder on this film, giving a few details to a new national diversion - sawing! The camera loves Linda Griffiths and dates relating to the inventions, which is worth reading. (the Maggie and Pierre actress) and, dJscJanim. Richard Condie, p . Michael Scott, without her, one's attention would Condie, anim,cam. Gordon Manson, inker: Sha­ flag. This good-looking debut film pJdJed. Albert Kish, exec.p. Adam SymanskylBarrie ron Condie, sd.ed. Ken Rodeck, mus. Patrick Howells, cam. Andy Kitzanuk, loc.sd. Bev Davidson! Godfrey, voices: Jay Brazeau, Ida Osler, Randy from Patricia Rozema falls down on Hans Domes, mus. Ben Low, running time: 10 mins. Woods, Bill Guest, running time: 9 mins.49 its script. Such florid phrases as "an 45 secs., col. I6mmlvideotape. p.c. & dist. National secs., col. 35mmll6mmlvideotape. pc. and dist.: exquisite ache," "the sublime mad­ Film Board. National film Board. ness," and "perhaps what it is all about is my being able to say to you without fear or blame, it is over," at the finish, serve to emphasize that the writing leaves much to be desi­ 'licks' it, and applies proper postage, we red. realize that not only do machines have Griffiths' shining performance is hands and tongues, they also increas­ the mainstay here - a lesser actress ingly have all the jobs. What's left for would have foundered in the words. human beings to do seems to be It's to be hoped that the interpreta­ epitomized in the film by the computer tion was decided upon between this convention salesmen who dutifully sing talented player and the director. How­ the praises for their new technological ever, it's fair to say that this ambi­ masters. tious first film, with good production Joyce Nelson • values squeezed out of (one guesses) a small budget, certainly engenders an anticipatory feeling for the next QUEL NUMEROIWHAT NUMBER?: one. THE ELECTRONIC SWEATSHOP d. Sophie Bissonnette p. Jean-Roeh Marcotte, Bisson· d J ed./sc. Patricia Rozema. cam. Peter Mettler. nette Serge Giguere ed. Liette Aubin res. Sophie cam. Iighting/assl.cam. Doug Koch, art.d. Barbara Bissonnette sd. Diane Carriere, Claude Beaugrand Tranter, casl. Maria Armstrong, I.p. Linda Grif­ mus. jean Sauvageau, Denis Larochelle, Clemence De­ fiths, 16mm, col., running time: 26 mins. Availa­ srochers 16mm., color, running time: HI minutes, bility: Vos Productionsrroronto (q 16) q61-H87~ . 1985 dist. (English Version) DEC Films, 229 College, Produced with assistance from the Onuri" Arts S!., Toronto, (416) 964-6901 , (French Version) CounciVNalional Film BoardfThe Canada Council. • The wife with the removable eyes in The Big Snit Cinema Libre, 4872 rue Papineau, Montreal, (5 H) 526·0473. November 1985 - Cinema Canadal31 .
Load more

Recommended publications
  • Short Film Programme
    SHORT FILM PROGRAMME If you’d like to see some of the incredible short films produced in Canada, please check out our description of the Short Film Programme on page 50, and contact us for advice and assistance. IM Indigenous-made films (written, directed or produced by Indigenous artists) Films produced by the National Film Board of Canada NFB CLASSIC ANIMATIONS BEGONE DULL CARE LA FAIM / HUNGER THE STREET Norman McLaren, Evelyn Lambart Peter Foldès 1973 11 min. Caroline Leaf 1976 10 min. 1949 8 min. Rapidly dissolving images form a An award-winning adaptation of a An innovative experimental film satire of self-indulgence in a world story by Canadian author Mordecai consisting of abstract shapes and plagued by hunger. This Oscar- Richler about how families deal with colours shifting in sync with jazz nominated film was among the first older relatives, and the emotions COSMIC ZOOM music performed by the Oscar to use computer animation. surrounding a grandmother’s death. Peterson Trio. THE LOG DRIVER’S WALTZ THE SWEATER THE BIG SNIT John Weldon 1979 3 min. Sheldon Cohen 1980 10 min. Richard Condie 1985 10 min. The McGarrigle sisters sing along to Iconic author Roch Carrier narrates A wonderfully wacky look at two the tale of a young girl who loves to a mortifying boyhood experience conflicts — global nuclear war and a dance and chooses to marry a log in this animated adaptation of his domestic quarrel — and how each is driver over more well-to-do suitors. beloved book The Hockey Sweater. resolved. Nominated for an Oscar.
    [Show full text]
  • Senior 1 Art. Interim Guide. INSTITUTION Manitoba Dept
    DOCUMENT RESUME ED 375 054 SO 024 441 AUTHOR Hartley, Michael, Ed. TITLE Senior 1 Art. Interim Guide. INSTITUTION Manitoba Dept. of Education and Training, Winnipeg. REPORT NO ISBN-0-7711-1162-2 PUB DATE 93 NOTE 201p.; Photographs might not produce well. AVAILABLE FROMManitoba Dept. of Education and Training, Winnipeg, Manitoba, Canada. PUB TYPE Guides Classroom Use Teaching Guides (For Teacher)(052) EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS *Art Activities; Art Appreciation; Art Criticism; *Art Education; Course Content; Curriculum Guides; Foreign Countries; Grade 9; High Schools; *Secondary School Curriculum IDENTIFIERS Manitoba ABSTRACT This Manitoba, Canada curriculum guide presents an art program that effectively bridges Canadian junior and senior high school art levels. Content areas include media and techniques, history and culture, criticism and appreciation, and design. Four core units present fundamental art knowledge through themes based on self and environmental exploration. Media and techniques used include drawing, collage, sculpture and ceramics. Four secondary units are enrichment oriented. Maskmaking expands on self-exploration by examining different faces humans present to establish identity and communication. Mass media introduces students to concepts of advertisement communication. Differences between need and want are explored. Landscape is studied as interpretations of environment as seen, remembered, or imagined. Investigation of the future allows for exploration of various scenarios with a wide variety of materials. The teaching method employed is problem solving/inquiry. Idea journals and portfolios are identified and used as evaluation tools. Appendices and bibliographies are included. (MM) ********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** 1993 Senior I Art U S.
    [Show full text]
  • Showing Our Shorts
    (J1UWUe (Ju1de • GREG KLYMKIW music industry support program and represents the efforts of a Winnipeg band called The Cheer. The video has already been screened on Much Music and will be touring non-theatrically as a Showing our warm-up short to Greg Hanec's music-oriented feature Tunes A Plenty . Schizophrenic Cinema Dept. : M. B. Duggan's 23-minute drama Mike The Movie, is currently in post-production. The $60,000,00 pic takes a realistic look at the surrealistic life of a young shorts schizophrenic. Duggan, a social-worker-turned-filmmaker, spent a few pre-production weeks acquainting the cast with the ins and outs of schizophrenia and the social programmes presiding over oon Cat Meets Fish Called Wanda Dept. : With three major awards from Zagreb, Winnipeg them. The film will be released in January. animator Cordell Barker's seven-minute The Cat Came Back is warming-up the crowds nationally for the new MGM release of A Fish Called Wanda. Over three years in the making, Barker's film was produced through The National Film Board and boasts a coproducing credit from Oscar-nominated Richard Condie. Audience-reaction at Winnipeg's Polo Park CinemaT has been extremely positive. Theatre management reports that guffaws and applause are tie .ftJ-a~ee ftJ-~ btJ-tJ-i.f Nt common occurrences during the seven minutes preceding the John Cleese comedy that Cat has been paired with. Kudos are certainly in order for Famous Players for bringing back alittle showmanship into their presentation byprogr amming ashort that not only provides alittle something extra for the moviegoers' six-and-a-half bucks, but more-than-adequately warms-up the audience for the lunacy f/L~· Ttl.· II/OE() that follows in A Fish Called WalIda .
    [Show full text]
  • AWNMAG5.05 Cover
    Table of Contents AUGUST 2000 VOL.5 NO.5 5 Editor’s Notebook Go Web Young (Wo)Man, Go Web 7 Letters: [email protected] InternetCOMIC BOOKS Animation 8 Your Move… Jacquie Kubin looks at how and why packaged gaming companies are adding on-line elements to their business plans. 12 Alter-Net-ive Worlds How would the world of animation be different if instead of being a new tool the Web was an old one? Get ready for some pretty wild “classics.” Martin “Dr. Toon” Goodman takes us theorizing… 16 The Aesthetics of Internet Animation Think Web tools are restrictive creatively? Think again! Chris Lanier, creator of Wildbrain’s Romanov, explains why, in the vein of comics, they are actually a source of freedom. 2000 20 Is There Life Beyond Flash? Flash is the leading tool for Internet animation, but there are a few other options for production and augmentation. Here industry leaders reveal their secrets from high tech 3D software to good, old-fashioned talent. 23 Getting Started On-Line So you want to get into this Internet game? Two of AtomStudios’ animators, Kwesi Ako Kennedy and James Dalby, not only tell you how, but offer tips for success. ComputerADULT ANIMATION Animation 25 Vancouver’s Mainframe Entertainment Since their first 3D CGI television show, the groundbreaking Reboot, Mainframe Entertainment has been producing quality children’s television. Don Perro goes for a tour and finds they are working on more than television now. 29 Writing for CGI:A Talk With Ian Boothby UGUST Ian Boothby, co-writer of Casper’s Haunted Christmas, gives us some insight on the pitfalls and joys of writing for CGI.
    [Show full text]
  • Short Film Programme
    SHORT FILM PROGRAMME If you’d like to see some of the incredible short films produced in Canada, please check out our description of the Short Film Programme on page 43, and contact us for advice and assistance. IM Indigenous-made films (written, directed or produced by Indigenous artists) Films produced by the National Film Board of Canada NFB CLASSIC ANIMATIONS BEGONE DULL CARE LA FAIM / HUNGER THE STREET Norman McLaren, Evelyn Lambart Peter Foldès 1973 11 min. Caroline Leaf 1976 10 min. 1949 8 min. Rapidly dissolving images form a An award-winning adaptation of a An innovative experimental film satire of self-indulgence in a world story by Canadian author Mordecai consisting of abstract shapes and plagued by hunger and poverty. This Richler about how families deal with colours shifting in sync with jazz Oscar-nominated film was among older relatives, and the emotions COSMIC ZOOM music performed by the Oscar the first to incorporate computer- surrounding a grandmother’s death. Peterson Trio. animation technology. THE SWEATER THE BIG SNIT THE LOG DRIVER’S WALTZ Sheldon Cohen 1980 10 min. Richard Condie 1985 10 min. John Weldon 1979 3 min. Iconic author Roch Carrier narrates A wonderfully wacky look at two Kate and Anna McGarrigle sing a mortifying boyhood experience conflicts — global nuclear war and a along to the tale of a young girl who in this animated adaptation of his domestic quarrel — and how each is loves to dance and chooses to marry beloved book The Hockey Sweater. resolved. Nominated for an Oscar. a dancing log driver over her more well-to-do suitors.
    [Show full text]
  • Animerte Perler - Animasjonsklassikere Fra National Film Board of Canada [DVD] Animerte Perler - Animasjonsklassikere Fra National Film Board of Canada [DVD]
    Animerte perler - Animasjonsklassikere fra National Film Board of Canada [DVD] Animerte perler - Animasjonsklassikere fra National Film Board of Canada [DVD] Animerte perler samler 14 animerte kortfilmer produsert av National Film Board of Canada i tidsrommet 1949-1993. Utgivelsen er en tidløs animert fest! Animerte perler Diverse regissører National Film Board of Canada 1949-1993 Norsk filminstitutt 4:3 Fullskjerm Dolby 2.0 131 min. 2 6 Blame Canada Det er ikke mulig å overdrive hvilken rolle National Film Board of Canada (NFB) har spilt i å utvikle en alternativ rute for animasjonsfilmskapere som ønsker å skape et kunstuttrykk på siden av Disney og de andre dominerende amerikanske studioene. Etter etableringen på slutten av 1930-tallet har NFB produsert mer enn 13.000 dokumentarfilmer, animerte og live-action kortfilmer og tatt med Oscar-statuetten hvem til Canada 12 ganger, inkludert en æresoscar i 1988. Da Norman McLaren ble ansatt ved NFB i 1941 startet også animasjonsproduksjonen og som følge av McLarens pionerarbeid, økte anseelsen til NFB, og særlig animasjonsdivisjonen, betraktelig. Med utgivelsen av Animerte perler har Norsk filminstitutt samlet 14 animerte kortfilmer produsert av NFB i tidsrommet 1949-1993, og viser med dette hvilken sterk posisjon NFB har innen internasjonal animasjon og hvordan de har jobbet målrettet og metodisk over lang tid for å bli en ledende produsent av den frie, kunstneriske animerte kortfilmen. Første del av utgivelsen er naturlig nok viet Norman McLaren - banebrytende dokumentarist og animasjonsfilmskaper, som ikke bare har skapt en rekke fabelaktige produksjoner, men langt på vei satt standarden for filmproduksjonen hos National Film Board of Canada.
    [Show full text]
  • The Richard Condie Fonds and Archiving Animation
    Animation Matters: The Richard Condie fonds and Archiving Animation by Erin Acland A Thesis submitted to the Faculty of Graduate Studies of the University of Manitoba in partial fulfillment of the requirements of the degree of MASTER OF ARTS Department of History (Archival Studies) Joint Master's Program University of Manitoba/ University of Winnipeg Winnipeg, Manitoba Copyright © 2016 by Erin Acland i TABLE OF CONTENTS Abstract..............................................................................................................................ii Acknowledgements...........................................................................................................iv Introduction........................................................................................................................1 Chapter One: The History and Functions of Animation and Animation Archives...........9 Chapter Two: Richard Condie and the History of the Record.........................................45 Chapter Three: Media of Communication and Preservation of Records of Animation..68 Conclusion........................................................................................................................98 Bibliography...................................................................................................................100 ii ABSTRACT Animation simultaneously functions as commercial asset, fine art form, mode of communication, and shaper of culture, and so its archives is worth preserving. A precursory analysis of animation
    [Show full text]
  • Animation Cel Preservation and Storage for the Nelvana Animation Collection
    UNBOXING NELVANA: ANIMATION CEL PRESERVATION AND STORAGE FOR THE NELVANA ANIMATION COLLECTION By Heather Tinker BA Communication and Film Studies, Wilfrid Laurier University, 2013 A practical report presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Film and Photography Preservation and Collections Management Toronto, Ontario, Canada, 2016 © Heather Tinker 2016 Unboxing Nelvana: Animation Cel Preservation and Storage for the Nelvana Animation Collection Heather Tinker Master of Arts, 2016 Film and Photographic Preservation and Collections Management Ryerson University, Toronto, Ontario in coordination with Media Commons, University of Toronto Libraries, Toronto, Ontario Abstract With no concrete preservation practices in place, the conservation and preservation of animation cels is a challenge for the stewards of animation-related collections. Characterized as mixed media artefacts, animation cels fall somewhere between illustrative art and motion picture film, which partially accounts for the lack of defined guidelines. Studies researching the conservation of animation cels, such as the one conducted by the Getty Conservation Institute in collaboration with the Disney Animation Research Library are so recent that, to date, no conclusive findings have been established. This practical report focuses on the organization, conservation, and storage of the Nelvana Animation Collection housed at Media Commons, University of Toronto Libraries. The information and recommendations
    [Show full text]
  • Lending Her Voice Life in the Middle East Is Both Dangerous and Beautiful for Journalist Nahlah Ayed Asper Onman Feb08 2/8/08 1:53 PM Page 1
    APRIL 2008 CONNECTING ALUMNI AND FRIENDS OF THE UNIVERSITY OF MANITOBA Lending her voice Life in the Middle East is both dangerous and beautiful for journalist Nahlah Ayed Asper_OnMan_feb08 2/8/08 1:53 PM Page 1 in business education or 60 years, the Asper School of The Asper Executive Education Business has been a leader in deliv- program, designed to meet ering on the needs of the market- the higher level needs of the place through programs that offer province and the business Frelevant learning and hands-on experience. community, provides business Businesses of every size recruit from the leaders and executives with Asper Co-operative Education program, professional learning opportunities because Co-op students gain in an executive setting. MANITOBA’S practical work experience We are changing how Manitoba does BUSINESS during their studies and business: Almost 90% of our graduates SCHOOL can hit the ground running choose to remain in Manitoba to live and as productive employees. work, making our School a major contribu- Celebrating 60 years tor to economic growth in this province. of business education The Asper MBA provides relevant leadership education from real-life business experts. This program (204) 474-8960 is consistently in demand – and growing: [email protected] Our enrolment doubled last fall. umanitoba.ca/asper Contents 14 GRIDIRON PERFECTION ON THE COVER: The Bison football squad capped their perfect Nahlah Ayed [Bsc (Hons)/92, MA/02] regular season with a national championship. foreign correspondent with the Canadian Broadcasting Corporation 19 BEYOND THE HEADLINE Photo: Sarah Hunter Nahlah Ayed tells stories of everyday people stuck in the Mideast maelstrom.
    [Show full text]
  • ALIVE and KICKING a Cultural Response from Manitoba Filmmakers
    APPLtBOT ALIVE AND KICKING A cultural response from Manitoba filmmakers The look ol Western animation - a scene from the 10-minute film Bob Dog by prairie animators. Credo Group The signatories to this document have As far as A-H is concerned, there are no artists are no less valuable for their and hardy as its components may be, several things in common - none of us regional communities. Well, A-H is distance from RoUing Stone, the New the eco-system of the tundra is delicate are full-time employees of the National wrong. We are here and kicking, and we York Review of Books and MOMA. We and fragile. The slightest disturbance Film Board, the CBC, or any other federal hope by this document to bring that fact are a healthy, spirited and determined reverberates, threatening to destroy the or provincial agenc> All of us make our to your attention and assist you in creat­ group and we deeply resent being entire system. The harshness of the living or are attempting to make our ing a film policy tobenefit all of Canada. ignored. enyironraent makes every element living from the film industry in Mani­ We are not unaccustomed to this. To We will tell you a bit about our dependent for its very existence on toba. .And all are disappointed in the be a have-not province far from the industry. We'll tell you something of every other. So it is with us. Those things film recommendations of the Federal Golden Triangle is to be constantly at what we think of the various federal which nourish us can't be separated Cultural Policy Review Committee.
    [Show full text]
  • At Home with Richard Condie an INTERVIEW by GREG KL YMKIW
    CINEMA CAN • A D A At home with Richard Condie AN INTERVIEW BY GREG KL YMKIW t's a Sunday afternoon . It's very hot , and I could be sitting in an air-conditioned movie Cinema Canada: 50 YOII didn 'l gel involl'ed wilh theatre watching Hulk Hogan's silver screen debut in No Holds Barred. Instead, I'm Ihose Fille Arls people Ihallllllch 1 supposed to trot over to Richard Condie's house. I think I'm probably going to have a better time with Richard. "NORI NG. NO REF. NORULES , " proclaims the Hulk Richard Condie: No, it was a different kind of education, a different kind of art. Although I Hogan ad copy . I'm not swayed. Condieis aWinnipeg-based animator whose work has wis h I had. dIelighted audiences (inclu ding myself) all over the world. His last fi lm , The Big Snit, was nominated foran Academy Award and copped aGenie Award for Best Animated film. I'd be Cinema Canada : Why did YOII , IIh , lUere YOII .. afool to blow my deadline for 90 minutes of Hulk Hogan kicking ass. So I drive over to Richard Condie: No. Richard's house. Cinema Canada: No1 Richard cracks open some Perrier and we go up to his study to pass the time of day . I'm Richard Condie: No. sure he has better things to do. Unfortunately, Idon't, so I'm thankful for this brief vacation from th eemptiness of my existence. Cinema Canada: No, Okny . Why , IIh.. And so it goes , as Kurt Vonnegut would say.
    [Show full text]
  • Comic Art of the United States Through 2000, Animation and Cartoons: an International Bibliography
    Comic Art of the United States through 2000, Animation and Cartoons: An International Bibliography John A. Lent PRAEGER Comic Art of the United States through 2000, Animation and Cartoons Recent Titles in Bibliographies and Indexes in Popular Culture Humor Scholarship: A Research Bibliography Don L.F. Nilsen The Comic Art Collection Catalog: An Author, Artist, Title, and Subject Catalog of the Comic Art Collection, Special Collections Division, Michigan State University Libraries Randall W. Scott, compiler Animation, Caricature, and Gag and Political Cartoons in the United States and Canada: An International Bibliography John A. Lent, compiler Comic Books and Comic Strips in the United States: An International Bibliography John A. Lent, compiler Comic Art of Europe: An International, Comprehensive Bibliography John A. Lent, compiler Robert Benchley: An Annotated Bibliography Gordon E. Ernst, Jr., compiler Comic Art in Africa, Asia, Australia, and Latin America John A. Lent, compiler The Frankenstein Film Sourcebook Caroline Joan (“Kay”) S. Picart, Frank Smoot, and Jayne Blodgett Comic Art of Europe through 2000: An International Bibliography, Volumes I and II John A. Lent Justice Denoted: The Legal Thriller in American, British, and Continental Courtroom Literature Terry White, compiler and editor Comic Art in Africa, Asia, Australia, and Latin America through 2000: An International Bibliography John A. Lent Comic Art of the United States through 2000, Animation and Cartoons An International Bibliography John A. Lent Bibliographies and Indexes in Popular Culture, Number 12 Westport, Connecticut London Library of Congress Cataloging-in-Publication Data is available at www.loc.gov British Library Cataloguing in Publication Data is available. Copyright © 2005 by John A.
    [Show full text]