An author, an institutionalized shadow man, twists the histories of his characters--Alger Hiss, Daisy Buchanan, Robert Oppenheimer, Jack Kennedy, and others--into a kaleidoscopic pastiche of twentieth-century America.

Where is semiotics now? As the promised science of the social life of signs in general, semiotics has not been good to its word. Although well-established institutionally today--through specialist journals, research centres, international conferences, professional associations and the like--semiotics now seems quaintly out of place in a world where text, culture and technology defy metadisciplinary, if not metaphysical, explanation. When the semiotician has finished explaining the music of Primal Scream, the textuality of an email message or the culture of the internet, most would believe there was still lots to be said. A generation ago, the radical humanities scholar turned to semiotics for the last word on news production, cinematic desire or the meaning of youth style. Today that last word (which is always the latest word too) is more likely to go to cultural studies, literary theory or postmodernism--all of which are in several senses 'beyond' semiotics even while remaining indebted to it. In addition, we can't so easily presume to separate notions of production and desire, say, or news and cinema, precisely because we can no longer say for sure where the differences lie between notions of text, culture and technology. Beyond Semiotics provides an approach to these three interdependent concepts of text, culture and technology, in order to show what semiotics had always had to marginalize, forget, or not see in the quest to professionalize itself. Meanwhile, outside the limitation of any discipline, the secular mysteries of text, culture and technology today continue to call for a response--not with the aim of laying bare the truth, but of opening up the sign.

Bearded bomb-throwers, self-indulgent nihilists, dangerous subversives.these characteristic clichés of anarchists in the popular imagination are often reproduced in the cinema. In Film and the Anarchist Imagination, the first comprehensive survey of anarchism in film, Richard Porton deconstructs such stereotypes while offering an authoritative account of films featuring anarchist characters and motifs. From the early cinema of Griffith and René Clair, to the work of Godard, Lina Wertmüller, Lizzie Borden and Ken Loach, Porton analyzes portrayals of anarchism in film, presenting commentaries and critiques of such classics as Zéro de Conduite, Tout Va Bien, and Love and Anarchy. In addition, he provides an excellent guide to the complex traditions of anarchist thought, from Bakunin and Kropotkin to Emma Goldman and Murray Bookchin, disclosing a rich historical legacy that encompasses the Paris Commune, the Haymarket martyrs, the anarcho-syndicalists of the Spanish Civil War, as well as more familiar contemporary avatars like the Situationists and the enragés of May 1968.

While every new TV series has to face some problems, no show had to overcome greater obstacles than Gilligan's Island. In spite of that, no series has achieved greater success, as measured by the fact that Gilligan's Island has given rise to three TV movies, two animated series, and is the most rerun program in the entire history of television. Now, Sherwood Schwartz, creator, writer, and producer of Gilligan's Island, tells the life story of the show: from the labor pains of scripting, casting, and production to its golden years of afternoon reruns. Fascinating history that could be known only by the show's creator is enhanced by wonderful photos, sketches, and other illustrations from the author's personal collection, as well as the guest forewords by all seven "Castaways." An appendix lists plots, writers and directors for every episode. All this behind-the-scenes information makes the book a special treat, not only for fans, but for anyone interested in an inside look at the television industry.

An analysis of the under-studied sitcom Gilligan’s Island that addresses key questions about American social life in the 1960s.

Join the creator of Gilligan's Island for a three-hour tour! Just sit right back and you'll hear a tale, A tale of a fateful show, That started as just one man's dream, A long, long time ago. That man was a mightily wily guy, With smarts enough for eight. If the brass upstairs let him be, The program would be great. The program would be great. The meddlesome executives Blew up a mighty storm, If not for the courage of the fearless man, The program would be lost. The program would be lost. The show's preserved in the leaves of this Terrific kooky book. With anecdotes, synopses too, Rare photographs and drawings. The whole story And lots, lots more Are here Inside Gilligan's Island! Find out: Where the Howells got all those clothes! Learn: Did Gilligan and the Skipper ever get hurt when the coconuts hit them on the head? Discover: What was "Lovey's" real name? Imagine: What kind of a pet the studio almost gave Gilligan! Sing: The original lyrics to the theme song!