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Two villains looking for buried pirate treasure upset the lives of some swamp creatures.
Includes entries for maps and atlases.
The authors provide an organized source of examples of Library of Congress cataloguing practice according to Anglo-American Cataloguing Rules, Second Edition (AACR 2) and seek to save the cataloger's time and assist them in maintaining consistency in their catalogs. The examples are arranged by AACR 2 rule numbers. The book includes numerous examples of descriptive cataloguing and of serial cataloguing, while it does not include examples of chapters 7-11 of the rules, which cover motion-pictures and video recordings, graphic materials, machine readable data files, three-dimensional artifacts and microforms, and of rules covering geographic names and references. Throughout the book, few examples are given for rules requiring little or no interpretation and many when individual judgement is required. ISBN 0-8108-1683-0 : $19.50 (For use only in the library).
Born from daydreams, meditations on color, character and form, and sheer inventiveness, Disney's pioneering animated films begin in the imagination of the "inspired sketch" artist. Now, for the first time ever, noted animation historian John Canemaker chronicles the lives and work of these artists, from the 1930s to the present, situating them in the history of modern art and analyzing their influence on the form. 300 illustrations.
Songs written for Disney productions over the decades have become a potent part of American popular culture. Since most Americans first discovered these songs in their youth, they hold a special place in one's consciousness. The Disney Song Encyclopedia describes and discusses hundreds of famous and not-so-famous songs from Disney films, television, Broadway, and theme parks from the 1930s to the present day. Over 900 songs are given individual entries and presented in alphabetical order. The songwriters and original singers are identified, as well as the source of the song and other venues in which it might have been used over the years. Notable recordings of the song are also listed. But most important, the song is described and what makes it memorable is discussed. This is not a reference list but a true encyclopedia of Disney songs. The book also contains a preface describing the criteria for selecting the songs, a glossary of song terms, a list of all the Disney songs and their sources, a songwriter's directory in which every song by each composer/lyricist is listed, a bibliography, a guide to recordings and DVDs of Disney productions, and an index of people and titles.
Bianca and Bernard, agents for The Prisoners' Aid Society of Mice, rescue prisoners and outwit villains in this enchanting story, made world-famous by the Walt Disney film.
Science fiction, fantasy, comics, romance, genre movies, games all drain into the Cultural Gutter, a website dedicated to thoughtful articles about disreputable art-media and genres that are a little embarrassing. Irredeemable. Worthy of Note, but rolling like errant pennies back into the gutter. The Cultural Gutter is dangerous because we have a philosophy. We try to balance enthusiasm with clear-eyed, honest engagement with the material and with our readers. This book expands on our mission with 10 articles each from science fiction/fantasy editor James Schellenberg, comics editor and publisher Carol Borden, romance editor Chris Szego, screen editor Ian Driscoll and founding editor and former games editor Jim Munroe.
An in-depth view of the way popular female stereotypes were reflected in—and were shaped by—the portrayal of women in Disney’s animated features. In Good Girls and Wicked Witches, Amy M. Davis re-examines the notion that Disney heroines are rewarded for passivity. Davis proceeds from the assumption that, in their representations of femininity, Disney films both reflected and helped shape the attitudes of the wider society, both at the time of their first release and subsequently. Analyzing the construction of (mainly human) female characters in the animated films of the Walt Disney Studio between 1937 and 2001, she attempts to establish the extent to which these characterizations were shaped by wider popular stereotypes. Davis argues that it is within the most constructed of all moving images of the female form—the heroine of the animated film—that the most telling aspects of Woman as the subject of Hollywood iconography and cultural ideas of American womanhood are to be found. “A fascinating compilation of essays in which [Davis] examined the way Disney has treated female characters throughout its history.” —PopMatters