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A deliciously dark Wizard of Oz for the twenty-first century. A funny, scary and magical fantasy for young readers, this full-colour graphic novella features art from the film of Mirrormask (story by Gaiman and McKean, directed by McKean, produced by the Jim Henson Company) interspersed with new illustrations
Over the past twenty years, Neil Gaiman has developed into the premier fantasist of his generation, achieving that rarest of combinations—unrivaled critical respect and extraordinary commercial success. From the landmark comic book series The Sandman to novels such as the New York Times bestselling American Gods and Anansi Boys, from children's literature like Coraline to screenplays for such films as Beowulf, Gaiman work has garnered him an enthusiastic and fiercely loyal, global following. To comic book fans, he is Zeus in the pantheon of creative gods, having changed that industry forever. For discerning readers, he bridges the vast gap that traditionally divides lovers of "literary" and "genre" fiction. Gaiman is truly a pop culture phenomenon, an artist with a magic touch whose work has won almost universal acclaim. Now, for the first time ever, Prince of Stories chronicles the history and impact of the complete works of Neil Gaiman in film, fiction, music, comic books, and beyond. Containing hours of exclusive interviews with Gaiman and conversations with his collaborators, as well as wonderful nuggets of his work such as the beginning of an unpublished novel, a rare comic and never-before-seen essay, this is a treasure trove of all things Gaiman. In addition to providing in depth information and commentary on Gaiman's myriad works, the book also includes rare photographs, book covers, artwork, and related trivia and minutiae, making it both an insightful introduction to his work, and a true "must-have" for his ever growing legion of fans.
Shroud of Eternity picks up where Terry Goodkind’s New York Times bestseller Death’s Mistress left off, promising a thrilling brew of bloodshed, sex, deception, and sorcery. The formidable sorceress Nicci and her companions—the newly powerless Nathan and the youthful Bannon—set out on another quest after driving ruthless Norukai slavers out of Renda Bay. Their mission: restore Nathan’s magic and, for Nicci, save the world. Guided by the witch-woman Red's mysterious prophecy, the trio makes their way south of Kol Adair towards a wondrous city shrouded behind time, Ildakar. But the grotesque omens on their path to Nathan's salvation—severed Norukai heads on pikes, a genetically modified monster, and a petrified army of half a million—are just a taste of the unimaginable horrors that await within the Shroud of Eternity. The Nicci Chronicles 1. Death's Mistress 2. Shroud of Eternity 3. Siege of Stone At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
'Gaiman is god in the universe of story' Stephen Fry 'A perfect antidote to cynicism and a paean to the power of reading' Observer --- 'Literature does not occur in a vacuum. It cannot be a monologue. It has to be a conversation' This collection will draw you in to exchanges on making good art and Syrian refugees, the power of a single word and playing the kazoo with Stephen King, writing about books, comics and the imagination of friends, being sad at the Oscars and telling lies for a living. Here Neil Gaiman opens our minds to the people he admires and the things he believes might just mean something - and welcomes us to the conversation too. 'If this book came to you during a despairing night, by dawn, you would believe in ideas and hope and humans again' Caitlin Moran NEIL GAIMAN. WITH STORIES COME POSSIBILITIES.
Set in the world of the Sword of Truth saga, a legendary battle may just destroy the ancient city of Ildakar. The sorceress Nicci, the wizard Nathan Rahl, and the young swordsman Bannon are under siege. Having liberated the legendary city of Ildakar from the despotic reign of the wizard's council, they now face the council's final act of vengeance: an ancient spell has been revoked and half a million hostile warriors released from fifteen centuries of stone-bound stasis. Surrounded, trapped inside the city walls, the companions must stand shoulder-to-shoulder with the newly-freed citizenry to repel an ancient foe sworn to the destruction of their city. But Nicci, the one-time Sister of Darkness, knows that there more at stake than just Ildakar. If she can't destroy the approaching army at the city gates, there is nothing to stop it sweeping into the Old World and laying waste to D'Hara itself.
In this, the first collection of essays to address the development of fairy tale film as a genre, Pauline Greenhill and Sidney Eve Matrix stress, "the mirror of fairy-tale film reflects not so much what its audience members actually are but how they see themselves and their potential to develop (or, likewise, to regress)." As Jack Zipes says further in the foreword, “Folk and fairy tales pervade our lives constantly through television soap operas and commercials, in comic books and cartoons, in school plays and storytelling performances, in our superstitions and prayers for miracles, and in our dreams and daydreams. The artistic re-creations of fairy-tale plots and characters in film—the parodies, the aesthetic experimentation, and the mixing of genres to engender new insights into art and life—mirror possibilities of estranging ourselves from designated roles, along with the conventional patterns of the classical tales.” Here, scholars from film, folklore, and cultural studies move discussion beyond the well-known Disney movies to the many other filmic adaptations of fairy tales and to the widespread use of fairy tale tropes, themes, and motifs in cinema.
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
This collection of new essays looks carefully at the broad spectrum of Neil Gaiman’s work and how he interacts with feminism. Sixteen diverse essays from Gaiman scholars examine highlights from Gaiman’s graphic novels, short stories, novels, poems and screenplays, and confront the difficult issues he raises, including femininity, the male gaze, issues of age discrimination, rape, and feminine agency. Altogether the essays probe the difficult and complex representation of women and issues of femininity in the worlds of Neil Gaiman.
Circuses and film are a natural pairing, and the new essays making up this volume begin the exploration of how these two forms of entertainment have often worked together to create a spectacle of onscreen alchemy. The films discussed herein are an eclectic group, ranging from early silent comedies to animated, 21st century examples, in which circuses serve as liminal or carnivalesque spaces wherein characters--and by extension audience members--can confront issues as far-reaching as labor relations, sensuality, identity, ethics, and more. The circus as discussed in these essays encompasses the big top, the midway, the sideshow and the freak show; it becomes backdrop, character, catalyst and setting; and it is welcoming, malicious or terrifying. Circus performers are family, friends, foe or all of the above. And film is the medium that brings it all together. This volume starts the conversation about how circuses and film can combine to form productive, exciting spaces where almost anything can happen.
