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The endurance of the Frankenstein narrative as a modern cinematic myth is undeniable. Its flexibility has produced classic and contemporary horror film-most notably the Universal films of the thirties-but it has also resulted in unusual hybrids, such as musical horror-comedy (The Rocky Horror Picture Show), hyperbolic parody (Flesh for Frankenstein), and science fiction (the Alien and Terminator series). This sourcebook provides a complete guide to all of the story's filmic incarnations-including essential information such as cast, creative personnel, and plot summaries-and also guides the reader to relevant primary texts such as scripts, posters, production histories, and newspaper clippings. Utilizing an approach that is both popular and scholarly, and including spotlight essays that deal with contemporary academic approaches to the subject, The Frankenstein Film Sourcebook reveals the depth of the cinematic range of interpretations of a classic modern myth.Comprehensive in its scope, The Frankenstein Film Sourcebook provides an alphabetical guide to two hundred films that incorporate the Frankenstein narrative. It also delves into both primary and secondary perspectives and includes discussions of aspects of the films, such as their depiction of women, which is relevant to current scholarly critiques.

One of four volumes dealing with the world of comic art, this volume is a comprehensive, international bibliography dealing with animation, caricature, gag, illustrative, magazine, and political cartoons in the United States and Canada.

This annotated bibliography brings together in one volume citations to most of Benchley's collected and uncollected works. The volume contains chapters on Benchley's books, essays, newspaper writings, dramatic criticism, secondary sources about him, a filmography, and a discography.

Encompassing 29 countries of Europe, this detailed bibliography covers the field of comic art. Art Historian David Kunzle, who has written the definitive histories of comic art precursors, wrote a personalized foreword.

Journeying through the comic art worlds of Africa, Asia, Australia, and Latin America, one cannot help being deeply impressed with the longevity, magnitude, and versatility of their cartooning traditions.

The foreword by Mort Walker deals with comics over the years and the topic of political correctness, and the introduction by Jerry Robinson gives a history of comic art.