Sequels

A study of sequel production within recent Hollywood and beyond in terms of its industrial, cultural and global implications.

A guide to series fiction lists popular series, identifies novels by character, and offers guidance on the order in which to read unnumbered series.

There are many elements in the concept of visual continuity, and they are all interrelated. In films or film series that are described as sequels, establishing a visual integrity relationship between films comes to the fore. The concept of the sequel appears in two ways. Sometimes, while the ideas are scripted, the story is divided into more than one part. Sometimes the story is planned as a single movie, and after a certain time, it can be realized as a follow-up movie/film for different reasons. In both systems of expression, it is necessary to seek harmony between all elements of visual design. Examinations and Analysis of Sequels and Serials in the Film Industry examines certain contents through the concepts of cinematography and narrative, focusing more on the practical side of cinema and partially on the theoretical side. It examines samples, sequels, serials, and trilogy universes on the axis of cinematography and narration. Covering topics such as film landscape, repeated narrative elements, and storytelling, this premier reference source is an excellent resource for film industry workers, film students and educators, sociologists, librarians, academicians, and researchers.

This book offers to delineate a key phenomenon in contemporary Anglophone fiction: novel expansion, when the plot and characters from a finished novel are retrieved to be developed in new adventures set before, after or during the narrative time of the source-text. If autographic and allographic sequels are almost as old as literature, prequels – that imagine the anteriority of a narrative – and coquels – that develop secondary characters in the same story time as the source-text – are more recent. The overall trend for novel expansion spread in the mid-1980s and 1990s and has since shown no sign of abating. This volume is organised following three types of relationships to the source-texts even if these occasionally combine to produce a more complex structure. This book comprises 11 essays, preceded by an introduction, that examine narrative strategies, aesthetic, ethical and political tendencies underlying these novel expansions. Following the overview provided in the introduction, the reader will find case studies of prequels, coquels and sequels before a final chapter that encompasses them all and more.

Eleven new tales of fantasy and horror based upon the classic originals by H. P. Lovecraft, Oscar Wilde, Hans Christian Andersen, Arthur Conan Doyle, Robert Louis Stevenson, Jules Verne, H. Rider Haggard, and Bram Stoker.

The Andy Griffith Show begat Gomer Pyle: U.S.M.C. The Mary Tyler Moore Show spun-off Rhoda and Phyllis. An episode of All in the Family became Maude and another episode became The Jeffersons. You remember the successful spin-offs, but you may now know about the spin-offs that never were. Why did the characters of Fred and Ethel Mertz from I Love Lucy never star in their own spin-off? What animated spin-off pilot could be considered a forerunner of The Simpsons? Which situation comedy has had the greatest number of attempted spin-offs? Why did the idea of a Krusty the Clown spin-off from The Simpsons never become a series? What could have been the first gay family comedy? What was the live-action Monsignor Martinez pilot from the King of the Hill series all about? Discover rare summaries of treatments, scripts, and pilots along with comments from fifty writers, directors, producers, and actors involved with proposed spin-offs and sequels: actress Elinor Donahue remarks about the Father Knows Best reunion movies; actor Patrick Cassidy talks about his audition for The Nanny spin-off; former actress Sheila James describes why her character, Zelda from The Many Loves of Dobie Gillis, never got her own series; Eddie Mekka from Laverne & Shirley comments on the Lenny & Squiggy in the Army spin-off. Richard Irvin is also the author of Forgotten Laughs: An Episode Guide to 150 Sitcoms You Probably Never Saw (Bear Manor Media).

A National Jewish Book Award winning study presents sequential versions of biblical stories to demonstrate how later texts will often comment on, or even subvert, earlier versions, using the parshanut interpretation method to reveal previously untapped layers of meaning while posing a dialogue between feminist and traditional Bible commentary. Reprint.

In 1989 alone, for example, there were some forty-five major motion pictures which were sequels or part of a series. The film series phenomenon crosses all genres and has been around since the silent film era. This reference guide, in alphabetical order, lists some 906 English Language motion pictures, from 1899 to 1990, when the book was initially published. A brief plot description is given for each series entry, followed by the individual film titles with corresponding years, directors and performers. Animated pictures, documentaries and concert films are not included but movies released direct to video are.

Science fiction, fantasy and horror movies have spawned more sequels and remakes than any other film genre. Following Volume I, which covered 400 films made 1931-1995, Volume II analyzes 334 releases from 1996 through 2016. The traditional cinematic monsters are represented--Dracula, Frankenstein, the Wolf Man, a new Mummy. A new wave of popular series inspired by comics and video games, as well as The Lord of the Rings trilogy, could never have been credibly produced without the advances in special effects technology. Audiences follow the exploits of superheroes like Captain America, Iron Man, Spider-Man and Thor, and such heroines as the vampire Selene, zombie killer Alice, dystopian rebels Katniss Everdeen and Imperator Furiosa, and Soviet spy turned American agent Black Widow. The continuing depredations of Jason Voorhees, Freddy Krueger and Michael Myers are described. Pre-1996 movies that have since been remade are included. Entries features cast and credits, detailed synopsis, critics' reviews, and original analysis.

With sequels, prequels, remakes, spin-offs, or copies of successful films or franchises dominating film and television production, it sometimes seems as if Hollywood is incapable of making an original film or TV show. These textual pluralities or multiplicities—while loved by fans who flock to them in droves—tend to be dismissed by critics and scholars as markers of the death of high culture. Cycles, Sequels, Spin-offs, Remakes, and Reboots takes the opposite view, surveying a wide range of international media multiplicities for the first time to elucidate their importance for audiences, industrial practices, and popular culture. The essays in this volume offer a broad picture of the ways in which cinema and television have used multiplicities to streamline the production process, and to capitalize on and exploit viewer interest in previously successful and/or sensational story properties. An impressive lineup of established and emerging scholars talk seriously about forms of multiplicity that are rarely discussed as such, including direct-to-DVD films made in Nigeria, cross-cultural Japanese horror remakes, YouTube fan-generated trailer mash-ups, and 1970s animal revenge films. They show how considering the particular bonds that tie texts to one another allows us to understand more about the audiences for these texts and why they crave a version of the same story (or character or subject) over and over again. These findings demonstrate that, far from being lowbrow art, multiplicities are actually doing important cultural work that is very worthy of serious study.

In this book, I review 200 of my favorite horror movie sequels. The movies are ranked. Their position in the list is established by the sum of 8 types of ratings: stars, gimmick, rewatchability, story, creativity, acting, quality, and creepiness. How many have you seen?

Just when filmmakers thought it was safe to make a sequel, director John D. Hancock ran into huge difficulties making Jaws 2 (1978), a thriller film and the first sequel to Steven Spielberg's Jaws (1975). Until now, the full story of the sea of troubles during the making of the film has never been told. Authors Louis R. Pisano and Michael A. Smith fished from the original cast and crew the full no-holds-barred story from their behind the scenes experiences, a tale as action packed and occasionally as bloody as the film. Based on Peter Benchley's original Jaws novel, Jaws 2 starred Roy Scheider as a police chief dealing with another great white shark terrorizing the waters of a resort. The original director, John D. Hancock, proved unable to handle the action film and was replaced by Jeannot Szwarc. Actor Roy Scheider, who only made the film to end a contractual issue with Universal, was also unhappy during production and had several heated exchanges with Szwarc. Follow the entire fascinating production of the unforgettable film from concept to the impact the film made on Hollywood after Jaws 2 achieved a spot on Variety's list of Top 10 box office hits. About the authors: Louis R. Pisano is the director of the very popular series of “JawsFEST” fan DVDs. Michael A. Smith is the co-founder of MediaMikes.com and is a long-serving officer of the Kansas City Film Critics Circle. Jaws 2 The Making of the Hollywood Sequel is their first book. Includes Footnotes and illustrated with more than 200 rare behind-the-scenes photos taken by the cast and crew.

Snakes' Legs examines sequels (xushu), a common but long-neglected literary phenomenon in traditional China. What prompted writers to produce sequels despite their poor reputation as a genre? What motivated readers to read them? How should we characterize the nature of the relationship between sequels and rewritings? Contributors to this volume illuminate these and other questions, and the collection as a whole offers a comprehensive consideration of this vigorous genre while suggesting fascinating new directions for research. Xushu as a discursive practice reinforces the paradox that innovation is impossible without imitation. It presents us with fertile ground for studying the intricate ties that bind the writer and reader of traditional Chinese fiction: the writer of xushu is always self-consciously assuming the dual role of author and reader and in the writing process must consider both the work in progress as well as its precursor(s). Snakes' Legs contains detailed discussions of some representative xushu works from the late Ming and Qing periods, many of which have received little scholarly attention. It will shed light on the development of Chinese fiction and the various textual practices in traditional China as well as account for the genre’s continuing vitality in modern times. Contributors: Robert E. Hegel, Siao-chen Hu, Martin W. Huang, Keith McMahon, Qiancheng Li, Ying Wang, Ellen Widmer, Laura H. Wu, Shuhui Yang.

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