Book Description
Why can none of us hear our own recorded voice without wincing? Why is the telephone still full of such spookiness and erotic possibility? Why does the metaphor of ventriloquism, the art of 'seeming to speak where one is not', speak so resonantly to our contemporary technological condition? These are the kind of questions which impel Steven Connor's wide-ranging, restlessly inquisitive history of ventriloquism and the disembodied voice. He tracks his subject from its first recorded beginnings in ancient Israel and Greece, through the fulminations of early Christian writers against the unholy (and, they believed, obscenely produced) practices of pagan divination, the aberrations of the voice in mysticism, witchcraft and possession, and the strange obsession with the vagrant figure of the ventriloquist, newly conceived as male rather than female, during the Enlightenment. He retrieves the stories of some of the most popular and versatile ventriloquists and polyphonists of the nineteenth century, and investigates the survival of ventriloquial delusions and desires in spiritualism and the 'vocalic uncanny' of technologies like telephone, radio, film, and internet. Learned but lucid, brimming with anecdote and insight, this is much more than an archaeology of one of the most regularly derided but tenaciously enduring of popular arts. It is also a series of virtuoso philosophical and psychological reflections on the problems and astonishments, the raptures and absurdities of the unhoused voice.
Customer Reviews:
How can this volume possibly sell for $96.00?.......2006-07-10
Does it come with a ventriloquist dummy... AND a ventriloquist?
HUH?.......2005-07-07
This book is an example of psuedo-intellectual overthinking of the highest order. It's dense, wordy and unreadable in every way. Why would any writer spend what appears to be LOTS of time and energy on this of all subjects: Ventriloquism's effect on CULTURE?!
The resultant product amounts to little more than an uninteresting mess.
Skip it.
cultural ventriloquism suddenly verrrry interesting.......2004-10-11
I enjoyed this text, recommended by a colleague, for other reasons, but thought of it immediately when the possibility of George W. Bush's use of a wire and "ear" during the first debate with John Kerry began to surface on the internet in the last day or so. Talk about the "vocalic uncanny"! Is "wiregate" merely(!) a part of the trend of increasing technological possibilities for problematizing the relation between voice and body?
Are you talking to me?
Is this thing on?
Steven Connor should write the next chapter. Meanwhile, read his deft connections and analysis of diverse phenomena associated with "cultural ventriloquism" and think about the (allleged) voice in our president's ear, and what that does to the (alleged) significance of his speech as he (allegedly) addresses the citizenry.
Is ventriloquism more acceptable if we are in on the trick?
Are we in on this (alleged) trick, anyway? I mean, we all know how packaged and predicted and rehearsed the responses to the questions posed in the debates are anyway--but a line has been (allegedly) crossed here, and that's the line Connor's book charts. Good stuff, and timely.
Book Description
Puppets have existed in one form or another in nearly every culture throughout human history. From the intriguing shadow puppets of Java to the romantically challenged Miss Piggy, from African carved-wood actors with outsize genitalia to merry maniac Mr. Punch, puppets are incredibly diverse, reflecting the varied cultures, environments, and personalities of their creators.
In this lavishly illustrated volume, Eileen Blumenthal provides a comprehensive overview of the history and techniques of puppetry, examining the unique nature and abilities of puppets and illustrating the countless roles they (and their creators) have played in societies across the globe for thousands of years. She draws on examples from an astonishing array of puppeteers, performances, and historical artifacts, providing readers with an in-depth view of this intricate world of constructed actors and the eclectic-and often eccentric-artists who create them. With a lively and accessible text and a wealth of illustrations, this one-of-a kind volume will be treasured by lovers of both visual and theater arts. AUTHOR BIO: Eileen Blumenthal is professor of theater arts at Mason Gross School of the Arts, Rutgers University, and a writer on contemporary Asian and Western theater. She has written hundreds of articles and reviews. She is also the author of Joseph Chaikin: Exploring at the Boundaries of Theatre and coauthor, with Julie Taymor, of Abrams' highly acclaimed Julie Taymor: Playing with Fire.
Customer Reviews:
Puppetry: A World History.......2007-03-08
I have been a professional puppeteer for over 50 years and now concentrate on the History of Puppets
throughout the World from the Mists of Time to the present day.
It is one of the best books I have read on the subject, profusely illustrated and well researched in the main, concentrating on the USA, Europe, the Orient and the Eastern bloc.
My only criticism is that the coverage of puppetry, apart from Punch, is very slight when mentioning the United Kingdom notably Harry Whanslaw who wrote many books on the subject and was a founder of the British Puppet and Model Theatre Guild, The Lanchester Marionettes, The Field Marionettes who invented the lip synch for the t.v. series 'The Telegoons'. Many other puppets included Sooty still going strong to-day after many years, Muffin the Mule, Gerry Anderson's films- 'Thunderbird', 'Stingray' etc. I should like to see a Part 2. of this book.
Entertaining, informative and beautiful.......2006-03-10
This book is a wonder. How the author could bring together sthe quantity of scholarly information and beautiful photographs under one cover is beyond thinking.
Even persons who have no interest in the subject will be fascinated and entertained by the variety,ingenuity and artfulness of the puppets.
Welcome but with some reservations.......2005-11-26
This is not a history book told in a chronological order. It is a survey with a point of view that jumbles puppeteers and their puppets into themes. It is extremely well researched, but because of the many, many listings of puppeteers and the odd juxtapositions of their work, it might be hard for a reader to get a sense of which puppeteers were actually more influencial and successful than others. Some very famous people are not mentioned at all, and some, frankly contemporary, mediocre puppeteers are given great mention. Also, the field of children's theatre which is quite important and which many puppeteers take very seriously, is given short shrift.
A Great Gift for Lovers of Beautiful Books.......2005-09-27
"Puppetry is one of the most beautiful books in print, filled with vivid color photgraphs on heavy glossy paper that bring to life hundreds of puppets of all types. Blumenthal is a terrifically witty writer and provides volumes of information that is clearly written and very well organized. While this book is a good addition to one's coffee table, it is also good food for the mind.
two part review.......2005-09-21
This book is a coffee table book---fine constuction and photos but a bit unwieldly to read . As the title implies this book is an overview not an in depth study-- a good beginning.
Book Description
A complete guide to the design, construction, and control of string puppets.
Customer Reviews:
Good reference on the subject.......2006-02-26
Very interesting book on creating and using marionettes. It touches on making a variety of different types, including making 4-legged animal marionettes, and using an assortment of materials. Well worth having on hand.
Gorgeous state-of-the-art book.......2005-04-07
This is a gorgeously printed state-of-the-art book on marionette making. I have so many books from the past on this, but it is so delightful to see something current, and this is it. This is bound to become a collectible book. Be sure and get this one before it is out of print - I doubt many were made. Great stuff on trick marionettes, as well.
Book Description
The ultimate gift for Muppet lovers everywhere, this extraordinary tribute celebrates 40 years of Henson's creative genius--from his best-known inventions to his lesser known but equally fascinating notions for everything from designs for futuristic nightclubs and homes to experimental films. 500 color illus.
Customer Reviews:
A read worthy of Henson's genius........2007-09-03
Complete with full color pictures, as well as black and white photos of Jim's early years, this book is not only a great read. -It's fun to look at too! Even young children can sit and appreciate the magic of Jim Henson's creations through the artwork and photo-journalistic shots throughout.
This book contains a great deal of biographical information on Jim throughout his life, and includes a great deal of his earlier forrays into the world of experimental art and design.
Definitely a good buy.
Letting the lights shine warmly on Jim Henson.......2007-03-29
It's hard to believe Jim Henson has now been gone for over 16 years. Christopher Finch's book stands as a great testament to Henson's amazingly prolific work and his larger-then-life existence. Despite Henson's natural shyness and reticence and quiet manner, the thing that strikes you in the book is how many lives this guy touched. He bestowed livelihoods on literally thousands of people. Their gratitude is expressed in these pages time and again in fervent, emotional recollections. To say Jim Henson inspired devotion only begins to get at what this guy meant to his family, friends and employees.
My hat is off to Christopher Finch for this wonderful collection, which is still available here as a beautiful and hardily-constructed first-edition hardback. Mr. Finch gets an extra level of respect for the decision (of which he no doubt had a say) to keep his name off the dustcover front. He's graciously stepped aside to let the lights shine warmly on Jim Henson.
To Jim..........2006-11-06
I remember the day Jim Henson died. I was in complete shock. In fact, I sat there, first in disbelief and then before I knew it, I was sobbing. Did I know him, personally? No. Not really. I only knew the man through his creativity through his artistry, through what he gave to me as a child, a teenager, and as an adult. It seemed that no matter what age I was, the muppets and Jim Henson were always there.
My first introduction to them was through, of course, Sesame Street. My favorite characters were Bert and Ernie. In fact, my dad, to this day, feels as though my whole life has been patterned after Ernie. I did, love Ernie's sense of humor and his willingness to always laugh at himself no matter what he went through. I haven't always done this, but during those times when I took myself and the world too seriously, I always seemed to have "disastrous" results, but during those times where I have approached things with levity and with humor, I always felt as though I was more in control of the situation than instead of the situation controlling me. That's how the Ernie character was. He was always "in control" of things because he could laugh at things...even those things he felt scared of or worried about or frustrated over. Sometimes I watch clips of Sesame Street and I am always amazed at "human" those skits were. Even though they were acted out by muppets, they were things that a child or even an adult might be feeling about certain things. Those skits always had a deep sense of humanity about them. They were never condescending or degrading. They always spoke to the spirit of the individual and that is a very rare thing to be able to pull off and pull off consistently and effectively.
Jim Henson seemed to have his finger on the pulse of the human soul. He knew it in its folly and in its wisdom. Kermit the Frog is a character that, I heard, mostly resembles Jim Henson. He seems to be surrounded by craziness and disorder and chaos. But instead of being consumed by it, he deals with it. He makes the most of it. And isn't that really what we are to do in any given situation? I think sometimes we "fight" too hard, when really, maybe what we really need to do is throw up our hands and let the "stream of Life" take us to where we need to go....
Merrily, Merrily, Merrily, Life is but a dream
And then there were the Muppet Movies. Even though I was in my early teens when the first one came out, I secretly went to it. I loved Jim Henson's humor. It was gentle and non-abrasive and yet there were, at times, sarcastic undertones. Not that he was being malicious or mean-spirited, but sometimes in our exasperation or frustration, we do get sarcastic because sometimes things are so absurd, so strange, so ultimately crazy, that sarcasm is warranted in that particular situation.
Jim Henson left this world at such a young age. I believe he was only 54. But with everything he did, he gave the world all of himself. He never held back, he never skimped out, he always gave each and every production he was involved with, his all. Maybe it's something we can learn to do, as well. To stop looking at how we'll be compensated or reimbursed, but to just start knowing and feeling that the universe will always take care of the details and that we will be compensated many times over if we give the world all of our mind, all of our heart, all of our soul because like the universe itself, our minds, hearts, and souls are connected to that which is Infinite, Inexhaustible, Immeasureable...we are all connected to Life Itself.
Jim Henson knew this. Jim Henson lived this. And I thank him from the bottomless bottom of my heart. I know that he is not resting in peace, because that wasn't his style, but he probably has the next life "in pieces" with his humor, his creativity, and his joy for life Itself.
Peace and Blessings, Fellow Beings of Light and Love...
A Great Inspiration.......2006-03-03
Everyone who knows me as an adult thinks that I must have been a huge Disney fan as a child. While I've always enjoyed Disney films and shorts, my childhood was focused mainly on three things: Peanuts, Star Wars, and The Muppets.
This week's book spotlight is Jim Henson, The Works - yet another of my most prized books in my library. In it, we not only read biographies and histories of the characters that we've grown to love, but we also learn about some of the projects that he would have like to have produced and how much of an artist and visonary Jim Henson really was.
The book contains some of the most creative and unique page layout designs that I have ever seen. I especially enjoy the small "Jim Henson: The Early Years" book which is about a quarter of the page dimensions of the rest of the book which is tipped-in to the binding. The entire volume appears to have been assembled as thoughtfully and lovingly as you can imagine Jim doing all of the projects during his life.
In a nutshell, I would highly recommend this book-not just to people who are fans of the Muppets, like myself, but to anyone who likes to have a peek into what makes creative people tick, and maybe glean some inspiration in the process.
What made me decide to comment on this book-besides seeing it on my bookshelf every day at work-is my recent purchase of The Muppet Show: First Season on DVD. I was a little nervous when I first got it that I wouldn't enjoy the humor as much as an adult as I did when I was a kid, but I couldn't have been more mistaken. It is so nice to see the sophisticated wit in the writing of this show that still makes me laugh out loud. I was also happy to see that my 5 & 7 year old daughters also laughed quite a bit at the show and often ask to watch them over again. The shows still have value today as great entertainment and I would highly recommend them.
If you didn't know beforehand why Jim Henson was so great,.......2004-09-14
... you will after you read this book!
I had this book overdue from the library for a MONTH. I know, I know... but really, it's gorgeous, just looking at the pictures, and the text made me long to work for Jim Henson Productions. You need to read this book, you NEED to learn about this wonderful man.
Book Description
While Carlo Collodi's internationally revered Pinocchio may not have been the single source of the modernist fascination with puppets and marionettes, the book's appearance on the threshold of the modernist movement heralded a new artistic interest in the making of human likenesses. And the puppets, marionettes, and other forms that figure so vividly and provocatively in modernist and avant-garde drama can, according to Harold Segel, be regarded as Pinocchio's progeny.
Segel argues that the philosophical, social, and artistic proclivities of the modernist movement converged in the discovery of an exciting new relevance in the puppet and marionette. Previously viewed as entertainment for children and fairground audiences, puppets emerged as an integral component of the modernist vision. They became metaphors for human helplessness in the face of powerful forces -- from Eros and the supernatural to history, industrial society, and national myth. Dramatists used them to satirize the tyranny of bourgeois custom and convention, to deflate the arrogance of the powerful, and to breathe new life into a theater that had become tradition-bound and commercialized.
Pinocchio's Progeny offers a broad overview of the uses of these figures in European drama from 1890 to 1935. It considers developments in France, Spain, Italy, Austria, Germany, Sweden, Russia, Poland and Czechoslovakia. In his introduction, Segel reviews the premodernist literary and dramatic treatment of the puppet and marionette from Cervantes' Don Quixote to the turn-of-the- century European cabaret. His epilogue considers the appearance of puppets and marionettes in postmodern European and American drama by examining works by such dramatists as Jean-Claude Van Itallie, Heiner Müller, and Tadeusz Kantor.
Customer Reviews:
Best Book Ever.......2002-04-26
This is an amazing book, not to be taken lightly as the cover suggests. The writing displays a certain amount of eloquence that only a brilliant writer like Harold Segal could pull off successfully. Thank you, Harold, for this essential piece of literature.
Best Book Ever.......2002-04-26
This book is amazing. It covers every aspect of avant-garde puppetry with a certain amount of eloquence only a brilliant writer could display.
Book Description
Stop-motion puppet animation is one of the most unusual and demanding art forms in the world. It uses a variety of skills, including design, sculpting, metal work, mold making and casting, taxidermy, filmmaking, storytelling and acting, and can be seen in the simplest commercial spots on television to more complex animated shorts and science fiction and fantasy feature films.
This work explains research and design of puppets, and details the fabrication of stop-motion puppets around a metal armature skeleton using the build up and foam injection processes. The former technique uses pre-cut blocks of foam formed with a pair of scissors or other instrument into the shape desired and attaching them to the armature. In the latter technique, the character is sculpted in clay over the armature. This clay sculpture is then replaced with foam by using a plaster mold and injection gun techniques. Finishing techniques described include the making of hair, eyes, eyelids, teeth, horns, nails, and chitinous (insect-shell-like) surfaces. The manual also covers the process of creating replacement heads using rubber molds (such as RTV) and urethane castings. A glossary and bibliography complete the extensively illustrated work.
Customer Reviews:
For completists only!.......2006-09-28
I am not sorry I purchased this book but I must agree with several other reviewers that the information contained in this book is rather shallow and the poor quality (printed on cheap paper, muddy b/w photos, etc...) only underscore the problem. The same info can be had in a number of superior quality books that also feature sections on other aspects of stopmotion filmmaking (storyboarding, lighting, camera work, etc...) for a lesser price. Also I must say aside from the poor photo reproductions featured the actual work on display is less than inspiring. The majority of books available on the subject feature cartoony characters this book attempts to present a more balanced example by demonstrating the construction of a fantasy monster creature unfortunately the results reveal a distinct lack of artistic ability in reproducing lifelike dynamic anatomy and detail.Also the chapter on sculpting employs a TERRIBLE and bizzare nude female character that seems inapropriate for the purposes of casting a workable model, this assessment is borne out by the fact that no model derived from this poorly done sculpture is demonstrated.Buy this only if you wish to fill out your book collection on the subject.
Great book.......2006-07-03
Book came very quickly and in great shape. That's all I ask. Thanks so much.
Adequate description of stop-motion puppets but overpriced.......2005-01-09
As the title of the manual suggests, the book is a primer of learning the fundamentals of foam injection and build-up techniques, material which is (especially the unique process of build-up technique) difficult to find when wishing to create realistic Ray Harryhausen/Willis O'Brien-type animation puppets (as outlined in the build-up chapter of the manual).
The book is called "A Manual of Foam Injection, Build-Up, and Finishing Techniques", not "The Manual...", and therefore one would assume before purchasing it that is yet another text on creating stop-motion puppets, and would be a viable addition to one's stop-motion library. The copy at the back the manual (as well as in web advertisements) indicates that this manual also covers the creation of replacement models for animation. This topic was discontinued by the author for a later manual that he is writing on stop-motion animation, lighting and cinematography. Prior to going to press, the author contacted the published to edit the replacement models topic out of the advertisements, but they did not do so.
If would behoove web/book advertisers of this manual (or any book/manual) to include the page count of a given manuscript, so that consumers can know the size of the book in question.
The cost of this manual is, in my opinion, overpriced, but the pricing was the decision of the publisher, not the author. The manual is also printed on substandard paper stock.
Other stop-motion books currently on the market do not cover build-up technique as detailed as this manual, especially as it pertains to a machined armature. Virtually all stop-motion books on the market cover sculpted puppets using only wire armatures.
The manual adequately explains what it set out to do, namely to explain the process of foam injection and foam buildup techniques. A chapter is devoted to basic sculpting techniques to initiate a beginner in the amenities of muscle structure and its importance to the creation of more realistic stop-motion models. This was, however, not the crux of the manual per se, which is why only one chapter was devoted to sculpting.
The primarily complaints seem to be in its cost and the quality of the paper stock and images, as well as absence of more material to make the book more "saleable". However, further detail explanations of other types of anatomies (i.e. quadrupeds, fantasy creatures, etc.), would have driven the cost of the manual up exponentially. The manual is overpriced as it is.
An entire chapter is devoted to the foam injection technique, and is explained in a simple and concise easy-to-follow explanation. As such, the manual has been geared to people interested in the art form, but who do not have advanced skill levels in sculpting, mold making, and foam injection.
Regrettably, the publisher chose to use black and white photographs, and at low resolution. As such, the images suffer. It would have been preferable to use higher resolution images, and in color.
If a kitchen oven cannot be used for foam injection in one's home, one might try to be resourceful enough to not give up and think of an alternative solution; namely, to use a kiln oven in a garage or other room that is out of harms way. It is common knowledge in the visual effects/stop-motion community that hot foam can be difficult and toxic to work with. The manual only confirms this.
Given the subject matter and material covered within the manual, it should be less expensive, given what one gets for their investment. One should consider contacting the publisher if they feel that the manual is overpriced, or at the very least return the item if they are not satisfied.
Overpriced - Not Comprehensive.......2005-01-06
I would probably be more forgiving if this book were less than half the price it is, but since this is nearly a $50 investment I have slightly higher expectations.
As an earlier reviewer noted, this book is 74 pages in length (including an index and glossary). If it weren't bound, this book could have been stapled together. I don't have a problem with a short book if it is packed with unique, focused insight into a topic, but unfortunately in my opinion this book only achieves this on a shallow level.
This is a book focusing on a specialized technique by an industry professional. I would expect it to contain a wealth of insight reinforced by a number of examples outlining different levels of complexity and various challenges facing foam puppet builders. Instead this book offers one simplistic example of sculpting a figure on a wire armature. It then takes the reader through a single example of the steps to create a foam injection puppet and an example of the foam build up technique. In about 25 pages the author covers sculpting, mold making, foam mixing, injecting, baking, removing the cast and painting. It feels more like an instruction pamphlet than a resource on the topic. I would have liked to see multiple examples illustrating varying levels of complexity. How would the author have dealt with a 4-legged puppet?
After reading this book (in about an evening) I'm left with many basic questions, such as materials appropriate or to be avoided in armatures for foam injection, issues surrounding undercuts in puppet sculptures, poses puppet sculptures need to be in for an injection mold, and there's practically nothing on feet anchors, a topic I believe there must be enough information out there to fill a few pages. I also completely agree with a complaint from a previous reviewer. Most of the illustrative photos in the book are low resolution, pixilated and muddy. Nowhere near the quality of the beautiful colour photo on the cover. In my opinion there is no excuse for this in a published book, especially at this price.
For the price of this book you could get a number of books focused on various aspects touched on in this book. For mold making I recommend The Prop Builder's Molding & Casting Handbook, by Thurston James ($13.59). I also recommend Stop Motion: Craft Skills for Model Animation (Focal Press Visual Effects and Animation) by Susannah Shaw ($23.07 )which looks at foam injection puppets (in almost as much depth) plus other puppet building techniques along with information on lighting, animation and set building, for less than half of this book's price.
Also, a word of warning for those of us who thought we could create foam injection puppets at home. The author states that standard ovens in our kitchen don't generate a consistent enough heat and special curing ovens that have fans to circulate heat are required to bake foam. He also notes that curing foam releases toxic fumes, something you probably don't want in your kitchen. So homemade foam injection puppets seem to be out of the question.
Stop-Motion Puppet Fabrication.......2004-12-27
This book details the processes of foam injection and build-up technique for stop-motion animation; techniques that are very difficult to find in other publications. Because of the advanced technical nature of the two processes, one should assume that puppets fabricated using these techniques are beyond the interest and scope of most children. More easy to understand publications for pre-teen children (as well as adults) on how to build more simple "cartoony" characters would be Craft Skills for Stop-Motion, by Susannah Shaw, and Creating 3D Animation, By Peter Lord. Both of these publications are outstanding sources of stop-motion material.
A consumer might find some of the manual's material "inappropriate". Chapter 2 of Stop-Motion Puppet Fabrication is devoted to anatomical sculpting, which details the clay rendering of a female nude in a dance pose. I suggest that before anyone criticizes such art through prejudicial censorship, they should well note that such innocuous anatomical nude figure studies can be found in centuries-old masterpieces: (Michelangelo's David, and the genius of Auguste Rodin [Lovers, etc.]. The general public (including children) are exposed to such masterful works of art on a daily basis, either in books or at museums. I champion the ideal that the human form is a natural sculpture of beauty and should be regarded as such. The best source of studying human anatomy for the pursuit and study of fine art is to go to the source; the human form. There is nothing distasteful or inappropriate about it, unless it becomes [...], which I do not personally advocate in my own work.
Chapter 5 outlines the rather difficult process of foam build-up. This technique enables the modeler/animator the ability to create very realistic models in the vein of the models of Ray Harryhausen, Willis O'Brien, Ladislaw Starevitch, et. al, if that is their aim. As very few, if any, publications have been devoted to realistic buildup technique, the aim of Stop-Motion Puppet Fabrication was to do just that. The puppet study detailed in Chapter 5 is of the minotaur, from classical Greek mythology. The sculpture is realistic, but in a classical stylized fashion.
The book is printed on low-quality paper, which I found rather disappointing, but this was the choice of the publisher. For the rarity of the subject matter (foam injection and build-up techniques), the manual is, in my opinion, appropriately the length it needs to be, though it may be a bit overpriced for such length.
Book Description
Puppets and Puppet Theatre contains everything one needs to know to progress from a beginner's level to a high standard of artistry. Puppeteer David Currell concentrates on designing, making, and performing with the main types of puppets, offering detailed information on: the nature and heritage of puppet theater; the anatomy of a puppet and its design and structure; materials and methods for sculpting, modeling, and casting puppet parts; step-by-step instructions for constructing marionettes as well as glove, hand, rod, and shadow puppets; and the control and manipulation of all these types of puppets. The author then covers: staging principles, stage and scenery design, and construction methods; principles of lighting and sound as well as their equipment and techniques; and the basics of producing a show. Lavishly illustrated and filled with expert tips and insights, this is a must-have book for anyone drawn to the magical world of puppets and puppet theater.
Customer Reviews:
The Best Book on Puppetry Ever!!!!!!!! from a 15 year old.......2004-01-16
This book tells you everything you need to know about how to do a puppet show. If you are interested in puppetry, even just a little bit, get this book right away. Hint: if you want to use latex to make a hand puppet, sculpt the head with a open mouth.
Exceptional puppet making book.......2002-03-09
This book is good for beginner puppeteers as well as for professional puppet makers. It is full of photographs and ideas, from puppet construction to theater and performance. Is one of those rare books that contains a great amount of useful information.
A high quality book.......2002-01-08
This is a book for professional and seriuous amateurs who want to improve their technical skills about puppet design, stages, and perfomances. Sharing the experience of excelent puppetters, with excelent photos and diagrams. Also is a very well design book, hardcover and sharp quality book. We strongly recommend it, it is one of the most complete and easy to read book we had seen.
Customer Reviews:
Prepare to be boarded!.......2007-02-22
Know this first: I'm a huge fan of all things Disney, especially POTC the ride.
Imagineer Surrell's book is very well-done. This is one of those (along with his earlier work on the Haunted Mansion) that I go to again and again, like watching a favorite movie or listening to a favorite album. Maybe I'll notice on the 50th reading ONE MORE DETAIL I somehow missed...
I especially enjoyed the look at the other parks' version of the ride. Rock on, Jason!
Con: Woulda liked it in HARDCOVER.
Now, as with any OTHER topical subject, some of the info goes out of date the day the book is published, and will continue to "go stale". The 2nd, 3rd, and even talked-about 4th movies are, of course, not included. The much-publicized ride rehabs are not either. This is the same with Jason's earlier Disney's Haunted Mansion book (a good companion piece, by the way). That said, the HM book goes off into a hopeful description of the actually-miserable HM movie, touting it as the best thing since Bela Lugosi. This was written well in advance of the actual public release of the HM movie, I guess, so they were gambling the public would love what turned out to be a huge embarrasment. ( When I need cheering up, I sometimes imagine HM Director Minkoff at what I hope is his new day job, asking people if they want to add a cherry turnover to their order for just 50 cents more ). Okay, here's your soapbox back.
They shouldn't have pushed the HM movie so hard in THAT book.
Not so in THIS book: Because they "got burned" on the HM movie, there's a decidedly less-throat-cramming push for Curse of the Black Pearl, which, of course, in hindsight, they could have laid on thicker, now that the movie has generated some kind of Star-Wars-level cultural shift.
Buy the book. You know you want it.
I know I want more books on CLASSIC Disney attractions, and I only want 'em writ by Jason Surrell. Amen.
Daughter loves it!!!.......2007-01-12
My daughter just loves all the background information. She's very happy with it.
Updated version now available!.......2006-12-12
As of November, 2006, a newer, updated version of Mr. Surrell's book is now available! Look for the version with the compass rose in the upper right corner of the cover.
Cheers!
Beck
BIG BIG BIG BIG fan of the movies :).......2006-10-01
I love Disney world and I love love The Pirates Of The Carribbean! Great if you like both!
Fascinating read for Disneyland fans.......2006-09-13
I really enjoed the first chapter on how the concept translated into the final product of a ride. Amazing how these things come together. The second chapter comparing the ride throughs between the four parks I found a bit frustrating - hard to really picture it unless you're there (for me). I was more interested in the ride portion than the movie chapter myself. Worth the buy (though I bought it used).
Average customer rating:
- The ultimate sourcebook....almost
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The Stop-Motion Filmography: A Critical Guide to 297 Features Using Puppet Animation
Neil Pettigrew
Manufacturer: McFarland & Company
ProductGroup: Book
Binding: Library Binding
 General
| Photography
| Arts & Photography
| Subjects
| Books
Puppets & Puppetry
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ASIN: 0786404469 |
Book Description
This is a major McFarland reference work providing in-depth analyses of all puppet animation sequences in every film that has featured the process, including King Kong and Jason and the Argonauts. The focus is on how effective the sequence was and how it was executed. In addition to the analysis, each entry provides title, year of release, cast and production credits including producer, director, screenplay, director of photography, art director or production designer, music, stop-motion animators, armature builders, puppet makers, stop-motion cameramen, sequence supervisors, and more. Ratings of the film and of the effectiveness of its stop-motion sequences are also given.
Customer Reviews:
The ultimate sourcebook....almost.......1999-11-19
This HUGE (almost 850 pages) tome is the ultimate reference guide to the motion pictures that utilize the fine art of stop-motion photography. From the obvious (King Kong, Jason and The Argonauts) to the obscure (Winterbeast, Frostbiter), this covers them all. Almost. I did notice a few omissions, most notably the Lou Ferrigno HERCULES movies from the early 80's, both of which I believe employed this process. Also missing was Godzilla Vs. Destroyah, which used the process briefly, and Godzilla Vs. Biollante, which had test footage in this process (the book covers other films that stop-motion was only used as test footage for). It also misses a couple of movies that utilized footage from Planet of Dinosaurs (Galaxy of Dinosaurs and Time Tracers). But other than these minor gripes, the book is fascinating, full of great pictures of all the monsters you forgot about (remember the stop-motion creatures from Coneheads? Howard the Duck? Didn't think so. But you SHOULD.). A great buy at it's high price tag, and well worth every penny.
Average customer rating:
- Nice book but a little dated...
- Helen Fling's Marionettes - Most Information for Least Money
- Helen Fling's Marionettes - Most Information for Least Money
|
Marionettes
Helen Fling
Manufacturer: Dover Publications
ProductGroup: Book
Binding: Paperback
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Similar Items:
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Making and Manipulating Marionettes
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The Complete Book of Marionettes
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The Complete Book of Puppetry
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Puppets and Puppet Theatre
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Strings, Hands, Shadows: A Modern Puppet History (DIAgram (Detroit Institute of Arts))
ASIN: 0486229092 |
Book Description
The complete book of marionette craft. Solid, easy-to-follow advice and over 400 illustrations.
Customer Reviews:
Nice book but a little dated..........2004-11-05
I wanted to make a marionette of my own so I ordered up this book. Like the reviewers before me stated it's a good book for the money but it has 30 year old information. Many of the materials used in this book are really dated! Like using leather and shellac! I would have enjoyed it much more if the book was revised to include all the great new materials available today!
Helen Fling's Marionettes - Most Information for Least Money.......2000-04-06
This is a Dover reprint which consolidates in one book four previously published mini-volumes on aspects of puppetry (primarily marionettes though some hand puppet specifics are given and there is overlap between the two), including 1) making puppet heads; 2) making and assembling puppet bodies (human form), including hands and feet; 3) making one- and two- handed control sticks and stringing plus costuming, manipulation basics, props, storage, and limited discussion of animal puppet construction; and 4) stage design and construction, stagecraft, backdrop designs, production suggestions, and a sample script.
All four sections are profusely and clearly illustrated with literally hundreds of line drawings, which are both technically useable and quite charmingly humorous. The text, like the illustrations, simply and clearly presents steps in construction of puppets from beginning to end.
I have been researching puppetry books in the past year and think this is one of the best practical construction manuals still in print. It provides a great deal of information at an extremely reasonable price. Because of the funny illustration style and the simple and straightforward text, it would make an excellent textbook for teaching children (and adults who do not take themselves too seriously) the fundamentals of string puppetry.
Most "how-to" books include photographs; this one does not, and in my experience illustrations can sometimes misrepresent how to accomplish certain tasks, leading to confusion and mistake. This book is, happily, not guilty of that failing. Prospective purchasers should also be aware that no historical information is included.
Helen Fling's Marionettes - Most Information for Least Money.......2000-04-06
This is a Dover reprint which consolidates in one book four previously published mini-volumes on aspects of puppetry (primarily marionettes though some hand puppet specifics are given and there is overlap between the two), including 1) making puppet heads; 2) making and assembling puppet bodies (human form), including hands and feet; 3) making one- and two- handed control sticks and stringing plus costuming, manipulation basics, props, storage, and limited discussion of animal puppet construction; and 4) stage design and construction, stagecraft, backdrop designs, production suggestions, and a sample script.
All four sections are profusely and clearly illustrated with literally hundreds of line drawings, which are both technically useable and quite charmingly humorous. The text, like the illustrations, simply and clearly presents steps in construction of puppets from beginning to end.
I have been researching puppetry books in the past year and think this is one of the best practical construction manuals still in print. It provides a great deal of information at an extremely reasonable price. Because of the funny illustration style and the simple and straightforward text, it would make an excellent textbook for teaching children (and adults who do not take themselves too seriously) the fundamentals of string puppetry.
Most "how-to" books include photographs; this one does not, and in my experience illustrations can sometimes misrepresent how to accomplish certain tasks, leading to confusion and mistake. This book is, happily, not guilty of that failing. Prospective purchasers should also be aware that no historical information is included.
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