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Thirty years after the original film took the world by storm, Ghostbusters is back and fully rebooted for a new generation. Director Paul Feig combines all the paranormal-fighting elements that made the original franchise so beloved with a cast of new characters, played by the funniest actors working today. The Ghostbusters are back and ready to save the world! Boys and girls ages 3 to 7 will love this laugh-out-loud Little Golden Book retelling, which features some of their favorite moments from the new hit film!
If your house is haunted, call the Ghostbusters--Abby, Erin, Holtzmann, and Patty--to zap and trap your trespassing phantoms.
Thirty years after the original film took the world by storm, Ghostbusters is back and fully rebooted for a new generation. Director Paul Feig combines all the paranormal-fighting elements that made the original franchise so beloved with a cast of new characters, played by the funniest actors working today. The Ghostbusters are back and ready to save the world! Boys and girls ages 3 to 7 will love having both the new and classic Ghostbusters Little Golden Books in one big hardcover edition!
“Rarely has a movie this expensive provided so many quotable lines.” So wrote Roger Ebert in his review of Ghostbusters, the 1984 blockbuster that handed our paranormal fears over to some of the sharpest comic minds of the day. Ghostbusters instantly resonated with audiences thanks to eye-popping special effects and crackling wit; to date, it remains the highest-grossing horror comedy of all time. The film spawned an Emmy-nominated Saturday morning cartoon, a tentpole 1989 sequel, a contentious 2016 reboot, legions of merchandise, and one of the most dedicated fan bases in history. Ghostbusters also elevated its players to superstardom, something a few cast members found more daunting than the Stay Puft Marshmallow Man. Now, for the first time, the entire history of the slime-soaked franchise is told in A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever. The cohesion of talent during the mid-’70s comedy revolution, the seat-of-their-pants creation of the first Ghostbusters, the explosive success that seemed to mandate a franchise, the five year struggle to make Ghostbusters II, the thirty-one-year struggle to make Ghostbusters III—it’s all here, with incredible attention to detail. Thoroughly researched and engaging, A Convenient Parallel Dimension smashes long-held myths and half truths about the dynamics behind this cultural juggernaut and presents the real story, down to the last drop of ectoplasm.
IN THE 13TH NOVEL OF THE HOUSEWIFE ASSASSIN SERIES: Housewife assassin Donna Stone's mission: go under deep cover in order to investigate the resurrection of known terrorists where were thought to be long dead and buried.
THE STORY: After the death of his father, meek Jason finds an outlet for his anxiety at the Christian Puppet Ministry, in the devoutly religious, relatively quiet small town of Cypress, Texas. Jason’s complicated relationships with the town pastor, the school bully, the girl next door, and—most especially—his mother are thrown into upheaval when Jason’s puppet, Tyrone, takes on a shocking and dangerously irreverent personality all its own. HAND TO GOD explores the startlingly fragile nature of faith, morality, and the ties that bind us.
The past is fixed – what happened happened. But our descriptions of that past are in constant flux, creating branching networks of contradictory accounts more complex than any fictional franchise. Revising Reality uses pop culture and media concepts of revision to untangle our real-world histories – with startlingly revelatory results. Novels, comics, films, and TV shows can continue previous events (sequels), reinterpret events (retcons), or restart events (remakes), and audiences can ignore any of these revisions (rejects). Drawing on these four kinds of revision derived from franchises such as Star Wars, Harry Potter, The Lord of the Rings, and Marvel comics, Chris Gavaler and Nat Goldberg make sense of the stories we tell about a remarkable range of actual events, including scientific discoveries, Supreme Court cases, historical moments, folk heroes, and even trans names and human memory. They ask: – What happened to the original, green-scaled dinosaurs after scientists decided dinosaurs had multi-colored feathers? When overturning Roe v. Wade, did the Supreme Court end the right to abortion, or did the Court claim that the right of the previous half century never existed? Since Ronald Reagan increased taxes, expanded government, and championed amnesty for undocumented immigrants, who is the Ronald Reagan whom today's conservatives champion as a model president? When a trans person comes out as trans, has their gender changed or has their gender remained consistent? Are our memories accounts of real events or some kind (or kinds) of revision? And if our memories are in flux, what does that say about our memory-dependent identities? Revising Reality answers these and so many more questions, providing surprising new tools for explaining the world and our relationship to it.
Popular Culture, Social Media, and the Politics of Identity advances a novel methodological approach – pop culture as political object – to capture the centrality of popular culture as an object of a broad range of political contests and debates that constitute pop culture artefacts by generating and informing specific meanings and understandings of them. It is no longer novel to claim that popular culture matters to world politics. The literature on Popular Culture and World Politics (PCWP) has demonstrated the cultural basis of political action and meaning-making. However, this book argues that in doing so, the PCWP literature has focused primarily on the traditionally narrow range of issues, actors, and things that mainstream International Relations regards as part of world politics. While PCWP challenges restrictive disciplinary understandings of the sites of legitimate inquiry where one can purposefully gain knowledge about world politics, comparatively little has been done to challenge constricted understandings of what world politics is, who it involves, and where it takes place. Methodological approaches in the literature largely treat popular culture and politics as separate and therefore focus on understanding how popular culture relates to and intersects with a relatively circumscribed notion of world politics. Focusing on the everyday politics of how audiences perceive and contest popular cultural artefacts, this book demonstrates that pop culture does not merely intersect with or reflect discrete political processes; it is also directly situated as an object of politics. The author analyses current debates over identity politics across a range of contemporary pop cultural artefacts, including films and video games. This book will be of interest to scholars and students of International Relations, Political Science, and Cultural and Media Studies.
Tiny Chasm, the third book of poetry by Jeanette Powers, explores the miniscule openings in our psyches in order to reveal the vast infrastructures of our neuroses, anxieties, and joys. It ponders the responsibilities of self to child and society; the ways we are manipulated and conditioned; the struggles of loss and longing; as well as the pathways into awareness and being present. These poems challenge societal standards, reveal surprising taboos, and don't hesitate to demand accountability. For example, "Enough Pussyfooting" accuses religious radicals of suffering from Stockholm Syndrome, "Shadow Children" reviles absent fathers, and "Breadbox" bombastically demeans those who don't press criminal charges against violators of children. The finger-pointing, however, turns inward as well, by taking total acerbic (and existential) responsibility for how one moves forward from victimization and abuse. Yet alongside the vitriol and unabashed lashing out at cultural injustices, the absurdest side of Jeanette frolics in light-hearted pieces about finding happiness and dating yourself ("Things I Learned from Bill Murray" and "Tangible, Peculiar"). The volume also includes a number of previously unpublished slam poems from her controversial tenure with PoUnd SLAM, a selection of prose, and one of her notorious persona poems, "Just Cause," which is written from the voice of an incipient revolution. Thus, Tiny Chasm is about the value of things that seem insignificant but are intrinsically essential.
Hybrid films that straddle more than one genre are not unusual. But when seemingly incongruous genres are mashed together, such as horror and comedy, filmmakers often have to tread carefully to produce a cohesive, satisfying work. Though they date as far back as James Whale’s Bride of Frankenstein (1935), horror-comedies have only recently become popular attractions for movie goers. In The Laughing Dead: The Horror-Comedy Film from Bride of Frankenstein to Zombieland, editors Cynthia J. Miller and A. Bowdoin Van Riper have compiled essays on the comic undead that look at the subgenre from a variety of perspectives. Spanning virtually the entire sound era, this collection considers everything from classics like The Canterville Ghost to modern cult favorites like Shaun of the Dead. Other films discussed include Abbott and Costello Meet Frankenstein, Beetlejuice, Ghostbusters, House on Haunted Hill, ParaNorman, Scream, Vampire’s Kiss, and Zombieland. Contributors in this volume consider a wide array of comedic monster films—from heartwarming (The Book of Life) to pitch dark (The Fearless Vampire Killers) and even grotesque (Frankenhooker). The Laughing Dead will be of interest to scholars and fans of both horror and comedy films, as well as those interested in film history and, of course, the proliferation of the undead in popular culture.