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With the ever-expanding presence of China in the global economy, Americans more and more look east for goods and trade. But as Caroline Frank reveals, this is not a new development. China loomed as large in the minds and account books of eighteenth-century Americans as it does today. Long before they had achieved independence from Britain and were able to sail to Asia themselves, American mariners, merchants, and consumers were aware of the East Indies and preparing for voyages there. Focusing on the trade and consumption of porcelain, tea, and chinoiserie, Frank shows that colonial...

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...

Challenging the classic horror frame in American film

American filmmakers appropriate the look of horror in Holocaust films and often use Nazis and Holocaust imagery to explain evil in the world, say authors Caroline Joan (Kay) S. Picart and David A. Frank. In "Frames of Evil" "The Holocaust as Horror in American Film," Picart and Frank challenge this classic horror framethe narrative and visual borders used to demarcate monsters and the monstrous. After examining the way in which directors and producers of the most influential American Holocaust movies default to this Gothic frame,...