By the end of its five-year run on television, The Muppet Show had transformed its motley cast from fistfuls of felt to multi-media celebrities. Sophisticated and highly individuated, each of the Muppets embodied a conventional character type from classic television comedy. Kermit functioned as straight man to the majority of the show's jokes. Miss Piggy, the resident diva, evolved from first season chorus girl to full-fledged megastar. A Costello to Kermit's Abbot, Fozzie peddled his vaudevillian shtick to a tough audience, but his genuine sweetness made him lovable even when his jokes were lame. These essays represent the work and ideas of a global community of scholars and Muppet enthusiasts, providing a unique perspective on just how Kermit and the rest of the frogs, dogs, bears, and chickens became cultural icons with influences reaching far beyond the world of 1970s television comedy.

Jim Henson’s creations have inspired generations with characters that are among the world’s most recognizable cultural icons. From Kermit the Frog, Miss Piggy and their Muppet friends to the legendary Sesame Street and Children’s Television Workshop, Henson revolutionized children’s educational entertainment. Combining live action and puppeteering into fantastical narratives like The Dark Crystal and Labyrinth, as well as the whimsical Fraggle Rock and The Storyteller, Henson transformed imagination into reality, weaving together powerful philosophical messages on identity, community, diversity, love, death, and friendship. Henson never shied away from exploring deep questions, nor did he underestimate the ability of children (or adults) to grapple with profound philosophical questions. Jim Henson and Philosophy explores the entertaining and educational world of the genius’s creations, revealing what it is about Henson’s world that has touched us so deeply and improved our lives in such meaningful ways. Contributions by: Lauren Ashwell, Kimberly Baltzer-Jaray, David R. Burns, Samantha Brennan, Amanda Cawston, Brooke Covington, Christopher M. Culp, Ryan Cox, Natalie M. Fletcher, Victoria Hubbell, Dena Hurst, Christopher Ketcham, S. Evan Kreider, Shaun Leonard, Jennifer Marra, Michael J. Muniz, Laurel Ralston, Rhona Trauvitch, and Sheryl Tuttle Ross

Jim Henson was the creative force behind a huge catalog of television series, films, specials, and other productions, even excepting the Muppets. This collection of essays delves into the rest of Henson's body of work, including projects developed during his lifetime and those that represent his legacy. Covered here are Fraggle Rock, The Dark Crystal, Labyrinth, The Jim Henson Hour, Dinosaurs, Farscape, and more. Henson's influence on both audiences and later productions remains palpable on screens large and small, as this collection attests.

Jim Henson was the creative force behind a huge catalog of television series, films, specials, and other productions, even excepting the Muppets. This collection of essays delves into the rest of Henson's body of work, including projects developed during his lifetime and those that represent his legacy. Covered here are Fraggle Rock, The Dark Crystal, Labyrinth, The Jim Henson Hour, Dinosaurs, Farscape, and more. Henson's influence on both audiences and later productions remains palpable on screens large and small, as this collection attests.

Outside of music, the importance of sound and listening have been greatly overlooked in Latin American history. Visual media has dominated cultural studies, affording an incomplete record of the modern era. This edited volume presents an original analysis of the role of sound in Latin American and Caribbean societies, from the late nineteenth century to the present. The contributors examine the importance of sound in the purveyance of power, gender roles, race, community, religion, and populism. They also demonstrate how sound is essential to the formation of citizenship and nationalism. Sonic media, and radio in particular, have become primary tools for contesting political issues. In that vein, the contributors view the control of radio transmission and those who manipulate its content for political gain. Conversely, they show how, in neoliberal climates, radio programs have exposed corruption and provided a voice for activism. The chapters address sonic production in a variety of media: radio, Internet, digital recordings, phonographs, speeches, carnival performances, fireworks festivals, and the reinterpretation of sound in literature. They examine the embodied experience of listening and its importance to memory coding and identity formation. This collection looks to sonic media as an essential vehicle for transmitting ideologies, imagined communities, and culture. As the contributors discern, sound is ubiquitous, and its study is therefore crucial to understanding the flow of information and influence in Latin America and globally.

Spinning the Child examines music for children on records, radio and television by assessing how ideals of entertainment, education, ‘the child’ and ‘the family’ have been communicated through folk music, the BBC’s children’s radio broadcasting, the children’s songs of Woody Guthrie, Sesame Street, The Muppet Show and Bagpuss, the contemporary children’s music industry and other case studies. The book provides the first sustained critical overview of recorded music for children, its production and dissemination. The music, lyrics and sonics of hundreds of recorded songs are analysed with reference to their specific social, historical and technological contexts. The chapters expose the attitudes, morals and desires that adults have communicated both to and about the child through the music that has been created and compiled for children. The musical representations of age, race, class and gender reveal how recordings have both reflected and shaped transformations in discourses of childhood. This book is recommended for scholars in the sociology of childhood, the sociology of music, ethnomusicology, music education, popular musicology, children’s media and related fields. Spinning the Child’s emphasis on the analysis of musical, lyrical and sonic texts in specific contexts suggests its value as both a teaching and research resource.

This is a collection of essays that analyze the presence of ableism in superhero narratives from television shows, films, and comics. Contributors use critical disability studies, media studies, cultural studies, and other interdisciplinary fields to unveil the misinformation, stigma, and exclusion caused by ableist representations of disability or disability-related experiences. Ableism is unmasked in media franchises such as DC Comics, Marvel, Sesame Street, and more. These essays go beyond what is currently available in critical disability superhero studies, and explore both the well-known and lesser-known characters including Iron Man, Daredevil, Dr. Strange, Thor, Nick Fury, Jessica Jones, War Machine, Wonder Woman, Dr. Poison, the Joker, Bucky Barnes, Punisher, Rocket and Groot, Luke Cage, Captain America, and Sesame Street's Super Grover. They also offer insightful intersectional analyses of entire series, films, and shows such as Arrowverse and The Ables.

Hollywood continues to reign supreme; from award-winning dramas to multimillion-dollar, special-effects-laden blockbusters, Tinseltown produces the films that audiences around the world go to the cinema to see. While the film industry has dramatically changed over the years – stars have come and gone, studios have risen and fallen, new technologies have emerged to challenge directors and entice audiences – Hollywood remains the centre of global media entertainment. The second volume of Directory of World Cinema: American Hollywood builds on its predecessor by exploring how the industry has evolved and expanded throughout its history. With new essays that discuss the importance of genre, adaptation, locations and technology in the production of film, this collection explores how Hollywood has looked to create, innovate, borrow and adapt new methods of filmmaking to capture the audience’s imaginations. Touching on classic films such as North by Northwest and Dirty Harry alongside CGI blockbusters like The Lord of the Rings and The Dark Knight as well as comedies such as When Harry Met Sally and Jerry Maguire, this landmark book charts the changing tastes of cinema-goers and the diverse range of offerings from Hollywood. User-friendly and concise, yet dense and wide-ranging, Directory of World Cinema: American Hollywood 2 demonstrates that Hollywood, despite its challenges from independent filmmakers and foreign directors, remains the undisputed king of moviemaking in the twenty-first century.

In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the many tropes and themes through which undead Westerns make the genre’s inner plagues and demons visible, and lay siege to a frontier tied to myths of strength, ingenuity, freedom, and independence. The volume is divided into three sections: “Reanimating Classic Western Tropes” examines traditional Western characters, symbolism, and plot devices and how they are given new life in undead Westerns; “The Moral Order Under Siege” explores the ways in which the undead confront classic values and morality tales embodied in Western films; and “And Hell Followed with Him” looks at justice, retribution, and retaliation at the hands of undead angels and avenger. The subjects explored here run the gamut from such B films as Curse of the Undead and Billy the Kid vs. Dracula to A-list features like From Dusk ‘til Dawn and Jonah Hex, as well as animated films (Rango) and television programs (The Walking Dead and Supernatural). Other films discussed include Sam Raimi’s Bubba Ho-Tep, John Carpenter’s Vampires, George Romero’s Land of the Dead, andSergio Leone’s Once Upon a Time in the West. Featuring several illustrations and a filmography, Undead in the West will appeal to film scholars, especially those interested in hybrid genres, as well as fans of the Western and the supernatural in cinema.

Analyses aspects of the cultural history of the legal profession in England, Canada, Australia, France, Germany, Italy, Sweden, Switzerland, Norway and Finland. It examines ways in which lawyers were imaginatively and institutionally constructed, and their larger cultural significance.