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History of cancer
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A tumor removed by surgery in 1689.
The history of cancer describes the development of the field of oncology and its role in the history of medicine.
Contents
1 Early diagnoses
2 Modern era
3 Mechanism
4 Therapies
5 War on Cancer
6 See also
7 References
8 Further reading
Early diagnoses[edit]
The earliest known descriptions of cancer appear in several papyri from Ancient Egypt. The Edwin Smith Papyrus was written around 1600 BC (possibly a fragmentary copy of a text from 2500 BC) and contains a description of cancer, as well as a procedure to remove breast tumours by cauterization.[1]
Hippocrates (ca. 460 BC – ca. 370 BC) described several kinds of cancer, referring to them by the term karkinos (carcinos), the Greek word for crab or crayfish, as well as carcinoma.[2] This comes from the appearance of the cut surface of a solid malignant tumour, with "the veins stretched on all sides as the animal the crab has its feet, whence it derives its name".[3] Since it was against Greek tradition to open the body, Hippocrates only described and made drawings of outwardly visible tumors on the skin, nose, and breasts. Treatment was based on the humor theory of four bodily fluids (black and yellow bile, blood, and phlegm). According to the patient's humor, treatment consisted of diet, blood-letting, and/or laxatives. Celsus (ca. 25 BC - 50 AD) translated karkinos into cancer, the Latin word for crab or crayfish.
In the 2nd century AD, the Greek physician Galen used oncos (Greek for swelling) to describe all tumours, reserving Hippocrates' term carcinos for malignant tumours. Galen also used the suffix -oma to indicate cancerous lesions. It is from Galen's usage that we derive the modern word oncology.[4]
Through the centuries it was discovered that cancer could occur anywhere in the body, but Hippocrates' humor-theory based treatment remained popular until the 19th century with the discovery of cells.
Modern era[edit]
A surgical operation to remove a malignant tumor, 1817
In the 16th and 17th centuries, it became more acceptable for doctors to dissect bodies to discover the cause of death. The German professor Wilhelm Fabry believed that breast cancer was caused by a milk clot in a mammary duct. The Dutch professor Francois de la Boe Sylvius, a follower of Descartes, believed that all disease was the outcome of chemical processes, and that acidic lymph fluid was the cause of cancer. His contemporary Nicolaes Tulp believed that cancer was a poison that slowly spreads, and concluded that it was contagious.[5]
The first cause of cancer was identified by British surgeon Percivall Pott, who discovered in 1775 that cancer of the scrotum was a common disease among chimney sweeps. The work of other individual physicians led to various insights, but when physicians started working together they could draw firmer conclusions.
With the widespread use of the microscope in the 18th century, it was discovered that the 'cancer poison' eventually spreads from the primary tumor through the lymph nodes to other sites ("metastasis"). This view of the disease was first formulated by the English surgeon Campbell De Morgan between 1871 and 1874.[6] The use of surgery to treat cancer had poor results due to problems with hygiene. The renowned Scottish surgeon Alexander Monro saw only 2 breast tumor patients out of 60 surviving surgery for two years. In the 19th century, asepsis improved surgical hygiene and as the survival statistics went up, surgical removal of the tumor became the primary treatment for cancer. With the exception of William Coley who in the late 19th century felt that the rate of cure after surgery had been higher before asepsis (and who injected bacteria into tumors with mixed results), cancer treatment became dependent on the individual art of the surgeon at removing a tumor. The underlying cause of his results might be that infection stimulates the immune system to destroy left tumor cells. During the same period, the idea that the body was made up of various tissues, that in turn were made up of millions of cells, laid rest the humor-theories about chemical imbalances in the body.
Mechanism[edit]
1938 American Society for the Control of Cancer poster.
The genetic basis of cancer was recognised in 1902 by the German zoologist Theodor Boveri, professor of zoology at Munich and later in Würzburg.[7] He discovered a method to generate cells with multiple copies of the centrosome, a structure he discovered and named. He postulated that chromosomes were distinct and transmitted different inheritance factors. He suggested that mutations of the chromosomes could generate a cell with unlimited growth potential which could be passed on to its descendants. He proposed the existence of cell cycle check points, tumour suppressor genes and oncogenes. He speculated that cancers might be caused or promoted by radiation, physical or chemical insults or by pathogenic microorganisms.
1938 poster identifying surgery, x-rays and radium as the proper treatments for cancer.
Therapies[edit]
When Marie Curie and Pierre Curie discovered radiation at the end of the 19th century, they stumbled upon the first effective non-surgical cancer treatment. With radiation also came the first signs of multi-disciplinary approaches to cancer treatment. The surgeon was no longer operating in isolation, but worked together with hospital radiologists to help patients. The complications in communication this brought, along with the necessity of the patient's treatment in a hospital facility rather than at home, also created a parallel process of compiling patient data into hospital files, which in turn led to the first statistical patient studies.
The American Cancer Society was founded in 1913 by 15 physicians and businessmen in New York City under the name American Society for the Control of Cancer (ASCC). The current name was adopted in 1945.[8]
A founding paper of cancer epidemiology was the work of Janet Lane-Claypon, who published a comparative study in 1926 of 500 breast cancer cases and 500 control patients of the same background and lifestyle for the British Ministry of Health. Her ground-breaking work on cancer epidemiology was carried on by Richard Doll and Austin Bradford Hill, who published "Lung Cancer and Other Causes of Death In Relation to Smoking. A Second Report on the Mortality of British Doctors" followed in 1956 (otherwise known as the British doctors study). Richard Doll left the London Medical Research Center (MRC), to start the Oxford unit for Cancer epidemiology in 1968. With the use of computers, the unit was the first to compile large amounts of cancer data. Modern epidemiological methods are closely linked to current[when?] concepts of disease and public health policy. Over the past 50 years, great efforts have been spent on gathering data across medical practice, hospital, provincial, state, and even country boundaries to study the interdependence of environmental and cultural factors on cancer incidence.
Cancer patient treatment and studies were restricted to individual physicians' practices until World War II, when medical research centers discovered that there were large international differences in disease incidence. This insight drove national public health bodies to enable the compilation of health data across practices and hospitals, a process found in many countries today. The Japanese medical community observed that the bone marrow of victims of the atomic bombings of Hiroshima and Nagasaki was completely destroyed. They concluded that diseased bone marrow could also be destroyed with radiation, and this led to the development of bone marrow transplants for leukemia. Since World War II, trends in cancer treatment are to improve on a micro-level the existing treatment methods, standardize them, and globalize them to find cures through epidemiology and international partnerships.
In 1968 Anthony Epstein, Bert Achong and Yvonne Barr identified the first human cancer virus, called the Epstein-Barr Virus.[9]
War on Cancer[edit]
Main article: War on Cancer
The political 'war' on cancer began with the National Cancer Act of 1971, a United States federal law.[10] The act was intended "to amend the Public Health Service Act so as to strengthen the National Cancer Institute in order to more effectively carry out the national effort against cancer". It was signed into law by then U.S. President Richard Nixon on December 23, 1971.[11]
In 1973, cancer research led to a cold war incident,[12] where co-operative samples of reported oncoviruses were discovered to be contaminated by HeLa.
In 1984, Harald zur Hausen discovered first HPV16 and then HPV18 responsible for approximately 70% of cervical cancers. For discovery that human papillomaviruses (HPV) cause human cancer, zur Hausen won a 2008 Nobel Prize.[13]
Since 1971 the United States has invested over $200 billion on cancer research; that total includes money invested by public and private sectors and foundations.[14]
Despite this substantial investment, the country has seen just a five percent decrease in the cancer death rate (adjusting for size and age of the population) between 1950 and 2005.[15] Longer life expectancy may be a contributing factor to this, as cancer rates and mortality rates increases significantly with age, more than three out of five cancers are diagnosed in people aged 65 and over.[16]
See also[edit]
Cancer (2015 PBS film)
References[edit]
Jump up ^ "The History of Cancer". American Cancer Society. 2009.
Jump up ^ "The History of Cancer. Institut Jules Bordet (Association Hospitalière de Bruxelles - Centre des Tumeurs de ULB). Retrieved 2010-11-19". Bordet.be. Retrieved 2011-01-29.
Jump up ^ Moss, Ralph W. (2004). "Galen on Cancer". CancerDecisions. Archived from the original on July 16, 2011.
Jump up ^ Karpozilos A, Pavlidis N (2004). "The treatment of cancer in Greek antiquity". European Journal of Cancer. 40 (14): 2033–40. doi:10.1016/j.ejca.2004.04.036. PMID 15341975.
Jump up ^ Marilyn Yalom "A history of the breast" 1997. New York: Alfred A. Knopf. ISBN 0-679-43459-3
Jump up ^ Grange JM, Stanford JL, Stanford CA (2002). "Campbell De Morgan's 'Observations on cancer', and their relevance today" (PDF). Journal of the Royal Society of Medicine. 95 (6): 296–9. doi:10.1258/jrsm.95.6.296. PMC 1279913. PMID 12042378.
Jump up ^ Boveri, Theodor (2008). "Concerning The Origin of Malignant Tumours". Journal of Cell Science. 121 (Supplement 1): 1–84. doi:10.1242/jcs.025742. PMID 18089652.
Jump up ^ name="charitynavigator.org"
Jump up ^ Epstein MA, Achong BG, Barr YM (March 1964). "Virus Particles in Cultured Lymphoblasts from Burkitt's Lymphoma". Lancet. 1 (7335): 702–3. doi:10.1016/S0140-6736(64)91524-7. PMID 14107961.
Jump up ^ "Milestone (1971): National Cancer Act of 1971". Developmental Therapeutics Program Timeline. National Cancer Institute. Retrieved 2009-08-09.
Jump up ^ "National Cancer Act, Legislative History". Office of Government and Congressional Relations. National Cancer Institute. Retrieved 2009-08-09.
Jump up ^ Gold, Michael. A Conspiracy of Cells: One Woman's Immortal Legacy and the Medical Scandal It Caused. ISBN 978-0-88706-099-1.
Jump up ^ "Harald zur Hausen - Autobiography". Nobelprize.org. Retrieved 2010-03-17.
Jump up ^ Sharon Begley (2008-09-16). "Rethinking the War on Cancer". Newsweek. Retrieved 2008-09-08.
Jump up ^ Kolata, Gina (April 23, 2009). "Advances Elusive in the Drive to Cure Cancer". The New York Times. Retrieved 2009-05-05.
Jump up ^ "Cancer incidence by age". Cancer Research UK. Retrieved 2012-09-24.
Further reading[edit]
Devita, V. T.; Rosenberg, S. A. (2012). "Two Hundred Years of Cancer Research". New England Journal of Medicine. 366 (23): 2207–2214. doi:10.1056/NEJMra1204479. PMID 22646510.
The Emperor of All Maladies: A Biography of Cancer, Siddhartha Mukherjee, 2010.
Palaeo-oncology: The Antiquity of Cancer, Spyros Retsas, 1986.
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Ghostbusters II
From Wikipedia, the free encyclopedia
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Ghostbusters II
Theatrical release poster
Directed by
Ivan Reitman
Produced by
Ivan Reitman
Written by
Harold Ramis
Dan Aykroyd
Starring
Bill Murray
Dan Aykroyd
Sigourney Weaver
Harold Ramis
Rick Moranis
Ernie Hudson
Annie Potts
Music by
Randy Edelman
Cinematography
Michael Chapman
Edited by
Donn Cambern
Sheldon Kahn
Production
company
Columbia Pictures
Distributed by
Columbia Pictures
Release date
June 16, 1989 (1989-06-16)
Running time
108 minutes
Country
United States
Language
English
Budget
$37 million
Box office
$215.4 million[1]
Ghostbusters II is a 1989 American supernatural comedy film directed and produced by Ivan Reitman, written by Dan Aykroyd and Harold Ramis and starring Bill Murray, Aykroyd, Sigourney Weaver, Ramis, Ernie Hudson and Rick Moranis. It is the sequel to the 1984 film Ghostbusters, and follows the further adventures of the three parapsychologists and their organization that combats paranormal activities.
Despite generally mixed reviews from critics, the film grossed $112.5 million in the United States and $215.4 million worldwide, becoming the eighth-highest-grossing film of 1989.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
4 Reception
4.1 Box office
4.2 Critical response
5 Home media
6 Merchandise
6.1 Comic book adaptation
6.2 Video games
7 Soundtrack
8 Cancelled sequel and reboot
9 See also
10 References
11 External links
Plot[edit]
After saving New York City from the demi-god Gozer, the Ghostbusters—Egon Spengler, Ray Stantz, Peter Venkman, and Winston Zeddemore—are sued for the property damage they caused, and barred from investigating the supernatural, forcing them out of business. Ray owns an occult bookstore and works as an unpopular children's entertainer with Winston, Egon works in a laboratory conducting experiments into human emotion, and Peter hosts a pseudo-psychic television show. Peter's former girlfriend Dana Barrett has had a son, Oscar, with an ex-husband, and works at the Museum of Modern Art. After an incident in which Oscar's baby carriage is controlled by an unseen force and drawn to a busy junction, Dana turns to the Ghostbusters for help. Meanwhile, Dana's colleague Dr. Janosz Poha is indoctrinated by the spirit of Vigo the Carpathian, a powerful legendary sixteenth-century tyrant and magician trapped in a painting in the gallery. Vigo orders Janosz to locate a child that Vigo can possess, allowing him to return to life on the New Year.
The Ghostbusters' investigation leads them to illegally excavate First Avenue at the point where the baby carriage stopped. Lowered underneath, Ray discovers a river of pink slime filling the abandoned Beach Pneumatic Transit line. Attacked by the slime after obtaining a sample, Ray accidentally causes a citywide blackout, and the Ghostbusters are arrested. They are found guilty of investigating the supernatural, but before they can be taken away, the slime taken as evidence reacts to the judge's angry outburst and explodes, releasing two ghosts who were murderers that the judge had executed that proceed to devastate the courtroom. The Ghostbusters imprison the ghosts in exchange for the restraining order being rescinded and that they be allowed to resume their Ghostbusting business.
Later, the slime invades Dana's apartment and attacks her and Oscar. She seeks refuge with Peter, and the two begin to renew their relationship. Investigating the slime and Vigo's history, the Ghostbusters discover that the slime reacts to emotions, and suspect that it has been generated by the negative attitudes of New Yorkers. While Peter and Dana have dinner together, Egon, Ray, and Winston explore the underground river of slime. While measuring the depth, Winston gets pulled into the flowing river, and Ray and Egon jump in after him. After they escape back to the surface Ray and Winston begin arguing, but Egon realizes that they are being influenced by the slime, so they strip off their clothes. They also learn the river is flowing directly to the museum.
The Ghostbusters go to the mayor with their suspicions, but are dismissed; the mayor's assistant, Jack Hardemeyer, has them committed to a psychiatric hospital to protect the mayor's interests as he runs for governor. Meanwhile, a spirit resembling Janosz kidnaps Oscar from Peter's apartment, and Dana pursues them to the museum alone. After she enters, the museum is covered with a barrier of impenetrable slime.
New Year's Eve sees a sudden increase of supernatural activity as the slime rises from the subway line and onto the city streets, causing widespread paranormal activity with ghosts attacking citizens. In response, the mayor fires Hardemeyer and has the Ghostbusters released. After heading to the museum, they are unable to breach the power of the slime barrier with their proton packs. Determining that they need a symbol of powerful positivity to rally the citizens and weaken the slime, the Ghostbusters use positively-charged mood slime, and a remix of "Higher and Higher" to animate the Statue of Liberty and pilot it through the streets before the cheering populace. As they arrive at the museum, the slime begins to recede and they use the Statue's torch to break through the museum's ceiling to attack Vigo and Janosz.
Janosz is neutralized with positively-charged slime, but Vigo immobilizes the Ghostbusters and attempts a transfer into Oscar's body. A chorus of "Auld Lang Syne" by the citizens outside weakens Vigo, returning him to the painting and freeing the Ghostbusters. Vigo momentarily possesses Ray, and the other Ghostbusters attack him with a combination of proton streams and positively-charged mood slime. Dressed in full Ghostbusters attire, Louis attacks the weakened slime barrier around the building with a proton stream of his own. This combination destroys Vigo and changes the painting to a likeness of the four Ghostbusters standing protectively around Oscar. Outside, the Ghostbusters receive a standing ovation from the crowd and, at a later ceremony to restore the Statue, the Key to the City from the mayor.
Cast[edit]
Main article: List of Ghostbusters characters
Bill Murray as Peter Venkman
Dan Aykroyd as Ray Stantz
Sigourney Weaver as Dana Barrett
Harold Ramis as Egon Spengler
Rick Moranis as Louis Tully
Ernie Hudson as Winston Zeddemore
Annie Potts as Janine Melnitz
Peter MacNicol as Dr. Janosz Poha
Harris Yulin as Judge Stephen Wexler
Janet Margolin as Prosecuting Attorney "Kitten"
David Margulies as Mayor "Lenny"
Kurt Fuller as Jack Hardemeyer
William T. Deutschendorf and Hank J. Deutschendorf II as Baby Oscar
Wilhelm von Homburg as Vigo the Carpathian
Ivan Reitman as the voice of Slimer
Some notable cast members in the film include one of Bill Murray's siblings, Brian Doyle-Murray, who played the psychiatric doctor, Dan Aykroyd's niece, Karen Humber, who played one of the school children, and Ben Stein, who played a public works official for the mayor. Jason Reitman, son of director Ivan Reitman, plays the boy who insults the Ghostbusters at a birthday party. Cheech Marin is the dock supervisor who witnesses the arrival of the Titanic, and Philip Baker Hall is the city police chief. Bobby Brown is the doorman to Gracie Mansion when the Ghostbusters go to see the mayor of New York City (also performing on the soundtrack). The physical role of Vigo was played by Wilhelm von Homburg, and his dialog was dubbed by Max von Sydow.
Production[edit]
Development[edit]
After the success of the first film and the animated series, The Real Ghostbusters, Columbia Pictures pressed the producers to make a sequel.[2] Dan Aykroyd, Harold Ramis and Ivan Reitman were uncomfortable with this, as the original film was intended to be conclusive and they wished to work on other projects. Eventually, they agreed and created a script.[3]
Reception[edit]
Box office[edit]
This section needs expansion. You can help by adding to it. (March 2012)
At its release, Ghostbusters II was the biggest three-day opening weekend gross in history with $29.5 million,[4] a record that was broken one week later by Batman ($40.5 million).[5] Ghostbusters II eventually grossed $112.4 million in North America and $102.9 million internationally for a total of $215.3 million worldwide.[6]
Critical response[edit]
Variety said the film had amusing visuals and a clever plot.[7] On their show, Gene Siskel and Roger Ebert gave the picture two thumbs down, disappointed that the film did not try anything new and like many sequels, merely re-treated the first film. Siskel stated "The film contains little comic invention. It looks as if the filmmakers, particularly the writers, simply didn't try to do anything special. As if they simply filmed the first draft." Ebert stated that he saw the movie in a theater in Michigan and out of a packed house, there was only one laugh.[8] Murray remarked how disappointed he was with it all as "Those special-effects guys took over. It was too much of the slime and not enough of us."
Home media[edit]
The Blu-ray version, released in September 2014, was scanned and mastered in 4K and preserves the original aspect ratio of 2.35:1. An earlier DVD version was also transferred in the correct scope ratio. The VHS and Laserdisc releases of Ghostbusters II were made differently, however: instead of being produced in either the original 2.35:1 or panned and scanned at 1.33:1, the movie was panned and scanned in a 1.66:1 frame. This version, often shown on television, shows slightly more image at the edges than a "proper" pan and scan version at 1.33:1.
Merchandise[edit]
A great deal of merchandise (such as coloring books) came out with the release of this film. As was the case with the Real Ghostbusters cartoon, the makers of this material may have wanted to avoid likeness fees and as a result, the main characters in these bear little resemblance to any other version of the characters.
As a tie-in with the release of the movie, approximately 3,100 Hardee’s fast food restaurants offered a kids meal-deal that included a toy called the “Ghostblaster”, a small noisemaker embossed with the movie’s signature logo on one side and made different sounds when one of two buttons were activated. However, officials at the U.S. Consumer Product Safety Commission deemed that the toy posed a potential choking hazard to small children because the toy was operated with small watch-sized batteries and recalled at least 2 million units.
Comic book adaptation[edit]
During this period, The Real Ghostbusters comic book produced by NOW Comics ran a three-part adaptation of the film, using the cartoon character designs instead of the likenesses of the actors. The overall story received minor alterations to run as a three-part series, and includes several scenes that were in the shooting script but were not included in the released movie. An example is a scene set after their first visit at the museum (and Ray's first encounter with Vigo). In this scene, Ray is momentarily possessed while driving the Ecto-1A, and as a result tries to crash the car and kill the Ghostbusters. They soon bring Ray around to his senses after speeding through New York streets, and he apologizes, unable to account for his actions. They never connect it to Vigo since, while possessed, Ray never mentions him. The comic panels further reinforce the movie's scene where Ray is briefly hypnotized by Vigo (leading to him being chosen as a host at the end).
Video games[edit]
Main article: List of Ghostbusters video games § Ghostbusters II video game
Soundtrack[edit]
Ghostbusters II
Soundtrack album by various artists
Released
1989
Genre
New jack swing,[9][10] R&B,[10] rap[10]
Length
45:40
Label
MCA
Ghostbusters soundtrack chronology
Ghostbusters
(1984)Ghostbusters1984 Ghostbusters II
(1989) Ghostbusters
(2016)Ghostbusters2016
Singles from Ghostbusters II
"On Our Own"
Released: May 1989
"Ghostbusters"
Released: July 12, 1989
Original Soundtrack Album[11]
No.
Title
Writer(s)
Performer(s)
Length
1. "On Our Own" L.A. Reid, Babyface, Daryl Simmons[12][13] Bobby Brown 4:54
2. "Supernatural" Jellybean Johnson, Jimmy Jam and Terry Lewis New Edition 4:34
3. "The Promised Land" Bobby Caldwell, Paul Gordon James "J.T." Taylor 4:17
4. "We're Back" Bobby Brown, Dennis Austin, Larry White, Kirk Crumple Original Bobby Brown 5:10
5. "Spirit" Doug E. Fresh, Bernard Wright Doug E. Fresh and the Get Fresh Crew 5:03
6. "Ghostbusters" Ray Parker, Jr. Run-D.M.C. 4:10
7. "Flesh 'N Blood" Danny Elfman Oingo Boingo 4:17
8. "Love is a Cannibal" Elton John, Bernie Taupin Elton John 3:54
9. "Flip City" Glenn Frey, Hawk Wolinski Glenn Frey 5:12
10. "Higher and Higher" Gary Jackson, Carl Smith, Raynard Miner Howard Huntsberry 4:09
Total length: 45:40
The film also features the original versions of "Ghostbusters" by Ray Parker, Jr. and "Higher and Higher" by Jackie Wilson, though neither appears on the soundtrack album.
The album was made available in digital form on Tuesday, May 27, 2014.
Cancelled sequel and reboot[edit]
In 1999, Dan Aykroyd wrote a script for a possible third film, titled Ghostbusters III: Hellbent.[14] In a 2004 interview, Bill Murray stated that he didn't want to appear in a potential third installment and for that reason, the cast considered replacing him with Ben Stiller.[15]
In 2014, after Harold Ramis' death, Ivan Reitman abandoned the project.[16] Film directors Phil Lord and Christopher Miller were in talks to direct the film, but passed on the project, leading to its cancellation.[17] In August 2014, Paul Feig revealed that he was in talks for direct a third film in the franchise, but with women in the lead roles.[18] He later revealed that the film will be a reboot and not a sequel for Ghostbusters II. The rebooted Ghostbusters was released on July 15, 2016.
See also[edit]
Film portal
List of ghost films
References[edit]
Jump up ^ "Ghostbusters II (1989)". BoxOfficeMojo. Retrieved October 20, 2014.
Jump up ^ Park, Jeannie (1988-12-25). "FILM; Slime? Don't Worry! The Ghostbusters Are Back". The New York Times. Retrieved 2010-11-08.
Jump up ^ Klady, Leonard (1987-05-17). "Ghostly Movie". The Los Angeles Times. Retrieved 2010-11-08.
Jump up ^ Puig, Claudia (1989-06-20). "Record-Busting Opening for 'Ghostbusters II". The Los Angeles Times. Retrieved 2010-11-08.
Jump up ^ "Batman Sets Record And So Does Hollywood". The New York Times. 1989-06-27. Retrieved 2010-11-08.
Jump up ^ Dick, Bernard F. (1992) "Columbia Pictures: Portrait of a Studio" (p. 51). The University Press of Kentucky. ISBN 0-8131-1769-0.
Jump up ^ "Ghostbusters II". Variety. 1988-12-31. Retrieved 2010-11-14.
Jump up ^ Murphy, Jim. "Batman/Honey, I Shrunk the Kids/Tummy Trouble/Ghostbusters II/Kung-Fu Master!" (June 24, 1989). Television: Siskel & Ebert. Burbank: Buena Vista Television.
Jump up ^ Patrin, Nate (June 30, 2016). "Something Strange Indeed: The Music of Ghostbusters". Stereogum. Retrieved August 4, 2016.
^ Jump up to: a b c Heaney, Gregory. "Original Soundtrack – Ghostbusters II". AllMusic. All Media Network. Retrieved August 4, 2016.
Jump up ^ Ghostbusters II – Original Soundtrack at AllMusic
Jump up ^ "Bobby Brown: On Our Own (1989)", 80s Music Channel, October 1, 2008, retrieved January 10, 2009.
Jump up ^ Grein, Paul; Goldstein, Patrick (1989-04-09). "Ghostbusters Sequel: The red-hot Bobby Brown, coming off..." The Los Angeles Times. Retrieved 2010-11-08.
Jump up ^ Van Camp, Jeffrey (December 29, 2009). "Could Ghostbusters 3 Start Filming This Summer?". Collider.com. Retrieved December 30, 2009.
Jump up ^ Setoodeh, Ramin (October 14, 2014). "'Ghostbusters' Reboot: Will Bill Murray Return in Smaller Role?". Variety. Retrieved July 29, 2016.
Jump up ^ Reed, Ryan (March 19, 2014). "Director Ivan Reitman Backs Out of 'Ghostbusters' Sequel". Rolling Stone. Retrieved July 28, 2014.
Jump up ^ "Twitter / NikkiFinke: Hot duo to direct #Ghostbusters3? ..." Archived from the original on March 28, 2014. Retrieved October 30, 2014. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ Whitney, Erin (August 2, 2014). "Paul Feig Reportedly In Talks To Direct Female-Centered 'Ghostbusters' Reboot". The Huffington Post. Retrieved August 2, 2014.
External links[edit]
Wikiquote has quotations related to: Ghostbusters II
Ghostbusters II on IMDb
Ghostbusters II at AllMovie
Ghostbusters II at Rotten Tomatoes
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Nobody Puts Baby in a Corner
From Wikipedia, the free encyclopedia
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This article is about the episode of Veronica Mars. For the film quote, see Dirty Dancing.
"Nobody Puts Baby in a Corner"
Veronica Mars episode
Episode no.
Season 2
Episode 7
Directed by
Nick Marck
Written by
Diane Ruggiero
Production code
2T7207
Original air date
November 16, 2005 (2005-11-16)
Guest appearance(s)
Charisma Carpenter as Kendall Casablancas
Steve Guttenberg as Woody Goodman
Michael Muhney as Don Lamb
Krysten Ritter as Gia Goodman
Rick Peters as Dr. Tom Griffith
Geoff Pierson as Stewart Manning
Kari Coleman as Mrs. Deborah Philipina Hauser
Kate McNeil as Betina Casablancas
Lisa Long as Jessica Fuller
Katie Mitchell as Rose Manning
Michael Kostroff as Samuel Nelson Pope
Episode chronology
← Previous
"Rat Saw God" Next →
"Ahoy, Mateys!"
Veronica Mars (season 2)
List of Veronica Mars episodes
"Nobody Puts Baby in a Corner" is the seventh episode of the second season of the American mystery television series Veronica Mars, and the twenty-ninth episode overall. Written by Diane Ruggiero and directed by Nick Marck, the episode premiered on UPN on November 16, 2005.
The series depicts the adventures of Veronica Mars (Kristen Bell) as she deals with life as a high school student while moonlighting as a private detective. In this episode, Duncan (Teddy Dunn) calls on Veronica to help investigate a subject of child abuse mentioned in his ex-girlfriend, Meg's (Alona Tal) journal. Meanwhile, the Casablancas family splits up Dick Sr.'s (David Starzyk) assets.
Contents
[hide]
1 Synopsis
2 Cultural references
3 Arc significance
4 Music
5 Production
6 Reception
6.1 Ratings
6.2 Reviews
7 References
8 External links
Synopsis[edit]
Veronica and Duncan make out before Logan (Jason Dohring), who is now living there, walks in the door. Logan invites Kendall (Charisma Carpenter) into the hotel room, making Duncan and Veronica uncomfortable. In a Future Business Leaders of America meeting, Cassidy (Kyle Gallner) comes out on top of the hypothetical business contest. Keith talks to new mayor Woody Goodman (Steve Guttenberg), who states his plan to redesign Neptune, and Woody offers to make Keith police chief. Logan meets Veronica in the girls bathroom and asks her to investigate the “witness” to the murder of Felix Toombs, and she agrees. Duncan has searched through Meg’s files and finds evidence that she was attempting to help an unknown abused child between 7-10 years old. Meg babysat constantly, and Veronica and Duncan will have to break into Meg’s house for more evidence.
The Casablancas talk to a lawyer. Kendall has received nothing, and Dick (Ryan Hansen) and Beaver each have a trust fund. Veronica signs up for a babysitting job with one of the people who Meg babysat for, and Gia (Krysten Ritter) invites Veronica over to school. At the babysitting job, the kid’s parents say that they almost let Meg go because of Duncan. Logan appears at the door of Veronica’s babysitting house. Veronica presents information on Logan’s accuser. The boy, Edwin’s, dad starts acting weirdly towards Veronica and hands her Edwin’s drawing of a head coming off a body.
Dick and Beaver’s biological mother appears at their house. Veronica wins the babysitting job from a high-pressure teacher. However, her son is bratty and high-maintenance. Veronica talks to Logan’s witness, Dr. Griffith (Rick Peters), who is a plastic surgeon. Although he seems honest at first, Veronica trails him to a cigar shop. Veronica sees all the signs of emotional abuse when she goes to Gia’s house. Gia “surprises” Veronica with a girl’s night sleepover. Logan ends his friends-with-benefits relationship with Kendall. Kendall tries to seduce Duncan. Veronica meets Gia’s little brother, Rodney, who is extremely anxious. Veronica overhears Woody telling Rodney that he’ll have to tell his mother about him spilling a cup of water on the floor, and the mother leads Rodney to an unknown room. Dick and Beaver, drunk, raid Gia’s sleepover.
Veronica learns from Keith (Enrico Colantoni) that the cigar shop she went into is notorious for drug dealing. Logan tells Veronica that Kendall went into Duncan’s room for a little while. Veronica and Duncan break into Meg’s house. Duncan steals a letter without showing Veronica. Veronica figures out that Meg is actually covering for the child abuse of her sister. Veronica finds Grace Manning locked in a closet. However, Meg’s dad (Geoff Pierson) goes in and fakes that Veronica and Duncan were just breaking in for no reason. Sheriff Lamb (Michael Muhney) arrests Veronica and Duncan but soon figures out that Meg’s dad is the guilty one. After briefly driving away with Veronica and Duncan, he soon lets them go and waits menacingly outside of Meg’s father’s house.
Cultural references[edit]
Many cultural references are made in the episode. They include:[1]
At the beginning of the episode, Veronica and Duncan are watching The Big Lebowski.
Mr. Pope references "What a Diff'rence a Day Made".
Veronica mentions both "Twist and Shout" and a famous scene from Ferris Bueller's Day Off.
One of the teachers quotes the song "The Gambler".
In an email to Wallace, Veronica quotes a famous Juliet monologue.
In a voiceover, Veronica compares her letters to Wallace to Doogie Howser's journal.
Dick and Beaver's biological mother quotes a lyric from "You've Got a Friend".
Gia references "I'm So Excited".
Veronica says that her "Spidey sense is tingling."
Logan quotes part of the iconic line, "Frankly, my dear, I don't give a damn", spoken by Rhett Butler in Gone With the Wind.
One of the girls at the party says that Pretty Woman is her favorite movie.
Dick and Beaver expect there to be Spin the bottle at the party.
Veronica jokingly mentions Winnie-the-Pooh and Goodnight Moon.
Arc significance[edit]
The newly discovered witness to Felix's murder is Dr. Tom Griffith, a plastic surgeon. Logan asks Veronica to prove that Griffith is lying and says that he wasn't the man on the bridge.
Woody Goodman tells Keith of his plan for Neptune, which involves incorporating the wealthy part of the town.
Dick and Beaver's real mother shows up to unlock their trust funds.
Duncan finds a letter in the vent in Meg's room and pockets it.
Sheriff Lamb hints that he was abused by his own father; this is, presumably, his reason for letting Duncan and Veronica go and then returning to the Manning residence. This also marks one of the few times that he immediately takes Veronica seriously when she reports a crime. When cuffing her, he leans forward, to show that he wants her to whisper something in his ear. She then tells him where to look for the secret room.
Music[edit]
The following songs are heard in the episode:[2]
"Pon de Replay" by Rihanna
"The Nth Degree" by Morningwood
"Run" by Air
Production[edit]
Diane Ruggiero wrote the episode.
The episode was written by Diane Ruggiero and directed by Nick Marck, marking Ruggiero's ninth writing credit for Veronica Mars and Marck's sixth directing credit for the show. [3][4] Despite being credited, Weevil (Francis Capra), Wallace, and Jackie (Tessa Thompson) do not appear in "Nobody Puts Baby in a Corner." Among the episode's guest stars are important recurring characters, including Don Lamb (Michael Muhney), Gia Goodman (Krysten Ritter), Woody Goodman (Steve Guttenberg), and Kendall Casablancas (Charisma Carpenter). Ritter noted that her scene in the episode was one of the favorite scenes she filmed."[5] The episode's title refers to a famous line spoken by the character Johnny (Patrick Swayze) in the 1987 coming-of-age romantic drama Dirty Dancing.
Reception[edit]
Ratings[edit]
In its original broadcast, "Nobody Puts Baby in a Corner" received 2.94 million viewers, marking a decrease from "Rat Saw God".[6]
Reviews[edit]
Rowan Kaiser, writing for The A.V. Club thought that the episode was quirky, especially in the scenes involving Veronica's babysitting. On the episode's tone, he added, "And this is fine. This is great, even. Combined with things like Veronica's vision of Lilly in the season premiere, it makes me think that Veronica Mars is moving in a much more metaphorical direction."[7] Television Without Pity gave the episode a "B".[8]
Price Peterson of TV.com gave a glowing review, writing that "Nobody Puts Baby in a Corner" was "[a]nother great episode, with its perfect blend of teenage awfulness (the slumber party), [and] Neptune's seedy underbelly…I mean, what's not to like? But really, the closing sequence in which Lamb arrested and then set free Veronica and Duncan was incredible. One of the more subtle and powerful moments I've seen on any TV show in a while."[9]
References[edit]
Jump up ^ "Nobody Puts Baby in a Corner Cultural References". Mars Investigations: The (In)Complete Guide to Veronica Mars. Retrieved March 22, 2015.
Jump up ^ "The Music Of Veronica Mars: Episode 2-7: Nobody Puts Baby In A Corner". Mars Investigations: The (In)Complete Guide to Veronica Mars. Retrieved March 22, 2015.
Jump up ^ "Diane Ruggiero". TV.com. Retrieved March 23, 2015.
Jump up ^ "Nick Marck". TV.com. Retrieved March 23, 2015.
Jump up ^ "Krysten Ritter (Gia Goodman) Interview". MI.net. September 9, 2006. Retrieved May 3, 2015.
Jump up ^ "Weekly Program Rankings". ABC Medianet. November 22, 2005. Retrieved July 29, 2008.
Jump up ^ Kaiser, Rowan (December 2, 2011). "Review: Veronica Mars: "Rat Saw God" / "Nobody Puts Baby in a Corner"". The A.V. Club. Retrieved March 19, 2015.
Jump up ^ "Veronica Mars Nobody Puts Baby in a Corner Recap". Television Without Pity. November 15, 2005. Retrieved March 23, 2015.
Jump up ^ Peterson, Price (June 30, 2012). "The Veronica Mars Season 2 Dossier: Episodes 5-8". TV.com. Retrieved March 13, 2015.
External links[edit]
Wikiquote has quotations related to: Veronica Mars#Nobody Puts Baby in a Corner
"Nobody Puts Baby in a Corner" on IMDb
"Nobody Puts Baby in a Corner" at Mars Investigations
[hide]
v
t
e
Veronica Mars
Episodes
Season 1
"Pilot"
"Credit Where Credit's Due"
"Meet John Smith"
"The Wrath of Con"
"You Think You Know Somebody"
"Return of the Kane"
"The Girl Next Door"
"Like a Virgin"
"Drinking the Kool-Aid"
"An Echolls Family Christmas"
"Silence of the Lamb"
"Clash of the Tritons"
"Lord of the Bling"
"Mars vs. Mars"
"Ruskie Business"
"Betty and Veronica"
"Kanes and Abel's"
"Weapons of Class Destruction"
"Hot Dogs"
"M.A.D."
"A Trip to the Dentist"
"Leave It to Beaver"
Season 2
"Normal Is the Watchword"
"Driver Ed"
"Cheatty Cheatty Bang Bang"
"Green-Eyed Monster"
"Blast from the Past"
"Rat Saw God"
"Nobody Puts Baby in a Corner"
"Ahoy, Mateys!"
"My Mother, the Fiend"
"One Angry Veronica"
"Donut Run"
"Rashard and Wallace Go to White Castle"
"Ain't No Magic Mountain High Enough"
"Versatile Toppings"
"The Quick and the Wed"
"The Rapes of Graff"
"Plan B"
"I Am God"
"Nevermind the Buttocks"
"Look Who's Stalking"
"Happy Go Lucky"
"Not Pictured"
Season 3
"Welcome Wagon"
"My Big Fat Greek Rush Week"
"Wichita Linebacker"
"Charlie Don't Surf"
"President Evil"
"Hi, Infidelity"
"Of Vice and Men"
"Lord of the Pi's"
"Spit & Eggs"
"Show Me the Monkey"
"Poughkeepsie, Tramps and Thieves"
"There's Got to Be a Morning After Pill"
"Postgame Mortem"
"Mars, Bars"
"Papa's Cabin"
"Un-American Graffiti"
"Debasement Tapes"
"I Know What You'll Do Next Summer"
"Weevils Wobble But They Don't Go Down"
"The Bitch Is Back"
Characters
Veronica Mars
Cassidy "Beaver" Casablancas
Wallace Fennel
Don Lamb
Parker Lee
Cindy "Mac" Mackenzie
Keith Mars
Stosh "Piz" Piznarski
Others
Locations
Play It Again, Dick
Film
"We Used to Be Friends"
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text:
Political interpretations of The Wonderful Wizard of Oz
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Cartoonist W. A. Rogers in 1906 sees the political uses of Oz: he depicts William Randolph Hearst as Scarecrow stuck in his own Ooze in Harper's Weekly
Political interpretations of The Wonderful Wizard of Oz include treatments of the modern fairy tale (written by L. Frank Baum and first published in 1900) as an allegory or metaphor for the political, economic, and social events of America in the 1890s. Scholars have examined four quite different versions of Oz: the novel of 1900,[1] the Broadway play of 1901,[2] the Hollywood film of 1939,[3] and the numerous follow-up Oz novels written after 1900 by Baum and others.[4]
The political interpretations focus on the first three, and emphasize the close relationship between the visual images and the story line to the political interests of the day. Biographers report that Baum had been a political activist in the 1890s with a special interest in the money question of gold and silver, and the illustrator William Wallace Denslow was a full-time editorial cartoonist for a major daily newspaper. For the 1901 Broadway production Baum inserted explicit references to prominent political characters such as President Theodore Roosevelt.
Contents
[hide]
1 Monetary policy
2 Social groups
3 Alternative allegory
4 References
5 Bibliography
6 Further reading
Monetary policy[edit]
In a 1964 article,[5] educator and historian Henry Littlefield outlined an allegory in the book of the late 19th-century debate regarding monetary policy. According to this view, for instance, the Yellow Brick Road represents the gold standard, and the silver slippers (ruby in the 1939 film version) represent the Silverite sixteen to one silver ratio (dancing down the road). The City of Oz earns its name from the abbreviation of ounces "Oz" in which gold and silver are measured.
The thesis achieved considerable popular interest and elaboration by many scholars in history, economics and other fields,[6] but that thesis has been challenged.[7][8][9] Certainly the 1901 musical version of Oz written by Baum, was for an adult audience and had numerous explicit references to contemporary politics,[2] though in these references Baum seems just to have been "playing for laughs".[10] The 1902 stage adaptation mentioned, by name, President Theodore Roosevelt and other political celebrities.[11] For example, the Tin Woodman wonders what he would do if he ran out of oil. "You wouldn't be as badly off as John D. Rockefeller", the Scarecrow responds, "He'd lose six thousand dollars a minute if that happened."[2]
Littlefield's knowledge of the 1890s was thin, and he made numerous errors, but since his article was published, scholars in history,[8] political science,[1] and economics[7] have asserted that the images and characters used by Baum closely resemble political images that were well known in the 1890s. Quentin Taylor, for example, claimed that many of the events and characters of the book resemble the actual political personalities, events and ideas of the 1890s.[11] Dorothy—naïve, young and simple—represents the American people. She is Everyman, led astray and seeking the way back home.[11] Moreover, following the road of gold leads eventually only to the Emerald City, which may symbolize the fraudulent world of greenback paper money that only pretends to have value.[11] It is ruled by a scheming politician (the Wizard) who uses publicity devices and tricks to fool the people (and even the Good Witches) into believing he is benevolent, wise, and powerful when really he is a selfish, evil humbug. He sends Dorothy into severe danger hoping she will rid him of his enemy the Wicked Witch of the West. He is powerless and, as he admits to Dorothy, "I'm a very bad Wizard".[12]
Social groups[edit]
Historian Quentin Taylor sees additional metaphors, including:
The Scarecrow as a representation of American farmers and their troubles in the late 19th century
The Tin Man representing the industrial workers, especially those of American steel industries
The Cowardly Lion as a metaphor for William Jennings Bryan
Taylor also claimed a sort of iconography for the cyclone: it was used in the 1890s as a metaphor for a political revolution that would transform the drab country into a land of color and unlimited prosperity. It was also used by editorial cartoonists of the 1890s to represent political upheaval.[11]
Other putative allegorical devices of the book include the Wicked Witch of the West as a figure for the actual American West; if this is true, then the Winged Monkeys could represent another western danger: Indigenous peoples of the Americas. The King of the Winged Monkeys tells Dorothy, "Once we were a free people, living happily in the great forest, flying from tree to tree, eating nuts and fruit and doing just as we pleased without calling anybody master. ... This was many years ago, long before Oz came out of the clouds to rule over this land."[10]
In fact, Baum proposed in two editorials he wrote in December 1890 for his newspaper, the Saturday Pioneer, the total genocidal slaughter of all remaining indigenous peoples. "The Whites," Baum wrote, "by law of conquest, by justice of civilization, are masters of the American continent, and the best safety of the frontier settlements will be secured by the total annihilation of the few remaining Indians. Why not annihilation?"[13][14]
However this may have been sarcastic or a rhetorical question, as he also wrote "An eastern contemporary, with a grain of wisdom in its wit, says that "when the whites win a fight, it is a victory, and when the Indians win it, it is a massacre."[15]. The beginning of his Saturday Pioneer editorial also seems sympathetic to Sitting Bull "He was an Indian with a white man's spirit of hatred and revenge for those who had wronged him and his. In his day he saw his son and his tribe gradually driven from their possessions: forced to give up their old hunting grounds and espouse the hard working and uncongenial avocations of the whites. And these, his conquerors, were marked in their dealings with his people by selfishness, falsehood and treachery. What wonder that his wild nature, untamed by years of subjection, should still revolt? What wonder that a fiery rage still burned within his breast and that he should seek every opportunity of obtaining vengeance upon his natural enemies."[16].
Alternative allegory[edit]
Other writers have used the same evidence to lead to precisely opposite allegorical interpretations.[8]
Apart from intentional symbolism, scholars have speculated on the sources of Baum's ideas and imagery. The "man behind the curtain" could be a reference to automated store window displays of the sort famous at Christmas season in big city department stores; many people watching the fancy clockwork motions of animals and mannequins thought there must be an operator behind the curtain pulling the levers to make them move (Baum was the editor of the trade magazine read by window dressers).[17]
Additional allegories have been developed, without claims that they were originally intended by Baum. The text has been treated as a theosophical allegory.[18] In 1993, W. Geoffrey Seeley recast the story as an exercise in treachery, suggesting the supposed "Good Witch Glinda" used an innocent, ignorant patsy (Dorothy) to overthrow both her own sister witch (Witch of the West) and the Wizard of Oz, leaving herself as undisputed master of all four corners of Oz: North, East, West and South (and presumably the Emerald City). She even showed her truest "Machiavellian brilliance" by allowing the story to be entitled after the weakest of her three opponents. Glinda could have told Dorothy that the "silver slippers would easily do the job [of returning Dorothy to her beloved home] but decided that a destabilizing force such as Dorothy might be just the thing to shake up her other rival [The Wizard of Oz]."[19] Kassinger, in her book Gold: From Greek Myth to Computer Chips, purports that "The Wizard symbolizes bankers who support the gold standard and oppose adding silver to it... Only Dorothy's silver slippers can take her home to Kansas," meaning that by Dorothy not realizing that she had the silver slippers the whole time, Dorothy, or "the westerners", never realized they already had a viable currency of the people.[20]
References[edit]
^ Jump up to: a b Ritter, Gretchen (August 1997). "Silver slippers and a golden cap: L. Frank Baum's The Wonderful Wizard of Oz and historical memory in American politics". Journal of American Studies. 31 (2): 171–203. doi:10.1017/s0021875897005628. JSTOR 27556260.
^ Jump up to: a b c Swartz, Mark Evan (2000). Oz Before the Rainbow: L. Frank Baum's "The Wonderful Wizard of Oz" on Stage and Screen to 1939. The Johns Hopkins University Press. ISBN 0-8018-6477-1.
Jump up ^ Olson, James (2001). Historical Dictionary of the Great Depression, 1929–1940. Greenwood. pp. 315–316. ISBN 0-313-30618-4.
Jump up ^ Hearn, Michael Patrick, ed. (2000). The Annotated Wizard of Oz. W. W. Norton & Company. ISBN 0-393-04992-2.
Jump up ^ Littlefield, Henry (1964). "The Wizard of Oz: Parable on Populism" (PDF). American Quarterly. 16 (1): 47–58. doi:10.2307/2710826. Retrieved 2016-05-20.
Jump up ^ Sanders, Mitch (July 1991). "Setting the Standards on the Road to Oz". The Numismatist. American Numismatic Association: 1042–1050. Archived from the original on 14 June 2011. Retrieved 2011-10-28.
^ Jump up to: a b Hansen, Bradley A. (2002). "The Fable of the Allegory: The Wizard of Oz in Economics" (PDF). Journal of Economic Education. 33 (3). JSTOR 1183440. Archived from the original (PDF) on 3 April 2003. Retrieved 2011-10-28.
^ Jump up to: a b c Parker, David B. (1994). "The Rise and Fall of The Wonderful Wizard of Oz as a 'Parable on Populism'". Journal of the Georgia Association of Historians. 15: 49–63. Retrieved 2011-10-28.
Jump up ^ Gjovaag, Eric (2006). "The Wonderful Wizard of Oz Frequently Asked Questions: About The Oz Books". The Wonderful Wizard of Oz Website. Retrieved 29 September 2017.
^ Jump up to: a b Dighe, Ranjit S., ed. (2002). The historian's Wizard of Oz: reading L. Frank Baum's classic as a political and Monetary Allegory. ISBN 0-275-97418-9.
^ Jump up to: a b c d e Taylor, Quentin P. (2004-12-02). "Money and Politics in the Land of Oz". The Independent Institute. Retrieved 2011-10-28.
Jump up ^ Baum, L. Frank; Denslow, William Wallace; Hearn, Michael Patrick (2000), Denslow, William Wallace; Hearn, Michael Patrick, eds., The Annotated Wizard of Oz: The Wonderful Wizard of Oz, W. W. Norton & Company, p. 271, ISBN 9780393049923
Jump up ^ Byrd, Jodi A. (Spring 2007). "'Living My Native Life Deadly': Red Lake, Ward Churchill, and the Discourses of Competing Genocides". American Indian Quarterly. 31 (2): 310–332; 319.
Jump up ^ Hastings, A. Waller. "L. Frank Baum's Editorials on the Sioux Nation". Northern.edu. Complete text of Baum's editorials. Archived from the original on August 13, 2008. Retrieved November 9, 2016.
Jump up ^ Frank Baum’s Editorials on the Sioux Nation
Jump up ^ Frank Baum’s Editorials on the Sioux Nation
Jump up ^ Culver, Stuart (1988). "What Manikins Want: The Wonderful Wizard of Oz and The Art of Decorating Dry Goods Windows and Interiors". Representations. 21: 97–116. doi:10.1525/rep.1988.21.1.99p02045.
Jump up ^ Algeo, John (1988). "Oz and Kansas: A Theosophical Quest". In Gannon, Susan R.; Thompson, Ruth Anne. Proceedings of the Thirteenth Annual Conference of the Children's Literature Association. Kansas City: University of Missouri. pp. 135–39. Retrieved 2011-10-28.
Jump up ^ Seeley, W. Geoffrey (1993-12-26). "The Geo-Politics of Oz; Now It Can Be Told! Treachery, Tin Men, Hegemony and Toto". The Washington Post. Retrieved 2011-10-28.
Jump up ^ Kassinger, Ruth (2003). Gold: From Greek Myth to Computer Chips. 21st Century. ISBN 0-7613-2110-1.
Bibliography[edit]
Barrett, Laura (March 22, 2006). "From Wonderland to Wasteland: The Wonderful Wizard of Oz, The Great Gatsby, and the New American Fairy Tale". Papers on Language and Literature. Southern Illinois University Edwardsville. Retrieved 2011-10-28.
Baum, L. Frank. The Wonderful Wizard of Oz (1900), online edition with black and white illustrations; online version from Gutenberg, without illustrations; online version with color illustrations
Blythe, Martin (2006). "Oz is China: A Political Fable of Chinese Dragons and White Tigers". Sexual Fables. Retrieved 2011-10-28.
Bernstein, Robin (2011). Racial Innocence: Performing American Childhood from Slavery to Civil Rights,. New York University Press. ISBN 978-0-8147-8708-3.
Clanton, Gene (1991). Populism: The Humane Preference in America, 1890–1900. Twayne Pub. ISBN 0-8057-9744-0.
Culver, Stuart (1992). "Growing Up in Oz". American Literary History. 4 (4). JSTOR 489788.
Erisman, Fred L. (1968). "L. Frank Baum and the Progressive Dilemma". American Quarterly. 20 (3): 616–623. doi:10.2307/2711021. JSTOR 2711021.
Gessel, Michael; Koupal, Nancy Tystad; Erisman, Fred (2001). "The Politics of Oz: a Symposium". South Dakota History. 31 (2): 146–168. ISSN 0361-8676.
Gilead, Sarah (March 1991). "Magic Abjured: Closure in Children's Fantasy Fiction". PMLA. 106 (2). JSTOR 462663.
Griswold, Jerry (1987). "There's No Place But Home: The Wizard of Oz". The Antioch Review. 45 (4): 462–75. doi:10.2307/4611799.
Jahangir, Rumeana (2009-03-17). "Secrets of the Wizard of Oz". BBC News Magazine. Retrieved 2011-10-28.
Jensen, Richard (1971). The Winning of the Midwest: Social and Political Conflict, 1888–1896. Chicago: University of Chicago Press. ISBN 0-226-39825-0. chapter 10
Karp, Andrew (1998). "Utopian Tension in L. Frank Baum's Oz". Utopian Studies. Retrieved 2011-10-28.
Kim, Helen M. (1996). "Strategic Credulity: Oz as Mass Cultural Parable". Cultural Critique (33): 213–233. JSTOR 1354392.
Leach, William. Land of Desire: Merchants, Power, and the Rise of a New American Culture (1993), pp. 248–260. excerpt and text search
Leach, William. "The Clown from Syracuse: The Life and Times of L. Frank Baum. " introduction to Leach, ed. The Wonderful Wizard of Oz 1991. pp 1–34.
Nesbet, Anne (2001). "In Borrowed Balloons: The Wizard of Oz and the History of Soviet Aviation". The Slavic and East European Journal. American Association of Teachers of Slavic and East European Languages. 45 (1): 80–95. doi:10.2307/3086411. JSTOR 3086411.
Riley, Michael O. (1997). Oz and Beyond: The Fantasy World of L. Frank Baum. University of Kansas Press. ISBN 0-7006-0832-X.
Ritter, Gretchen (1999). Goldbugs and Greenbacks: The Anti-Monopoly Tradition and the Politics of Finance in America. Cambridge University Press. ISBN 0-521-65392-4.
Rockoff, Hugh (August 1990). "The 'Wizard of Oz' as a Monetary Allegory" (PDF). Journal of Political Economy. 98 (4). doi:10.1086/261704. JSTOR 2937766. Archived from the original (PDF) on 2011-11-19.
Velde, Francois R. (2002). "Following the Yellow Brick Road: How the United States Adopted the Gold Standard". Economic Perspectives. 26 (2). doi:10.2139/ssrn.377760. SSRN 377760  .
Ziaukas, Tim (1998). "100 Years of Oz: Baum's 'Wizard of Oz' as Gilded Age Public Relations". Public Relations Quarterly. Retrieved 2011-10-28.
Further reading[edit]
The Yellow Brick Road to Utopia—a comparison of the book and film
Pros and cons of Oz as an allegory
[show]
v
t
e
The Wonderful Wizard of Oz
Canonical books
L. Frank Baum
The Wonderful Wizard of Oz (1900)
The Marvelous Land of Oz (1904)
Ozma of Oz (1907)
Dorothy and the Wizard in Oz (1908)
The Road to Oz (1909)
The Emerald City of Oz (1910)
The Patchwork Girl of Oz (1913)
Tik-Tok of Oz (1914)
The Scarecrow of Oz (1915)
Rinkitink in Oz (1916)
The Lost Princess of Oz (1917)
The Tin Woodman of Oz (1918)
The Magic of Oz (1919)
Glinda of Oz (1920)
Ruth Plumly
Thompson
The Royal Book of Oz (1921)
Kabumpo in Oz (1922)
The Cowardly Lion of Oz (1923)
Grampa in Oz (1924)
The Lost King of Oz (1925)
The Hungry Tiger of Oz (1926)
The Gnome King of Oz (1927)
The Giant Horse of Oz (1928)
Jack Pumpkinhead of Oz (1929)
The Yellow Knight of Oz (1930)
Pirates in Oz (1931)
The Purple Prince of Oz (1932)
Ojo in Oz (1933)
Speedy in Oz (1934)
The Wishing Horse of Oz (1935)
Captain Salt in Oz (1936)
Handy Mandy in Oz (1937)
The Silver Princess in Oz (1938)
Ozoplaning with the Wizard of Oz (1939)
Others
The Wonder City of Oz (1940)
The Scalawagons of Oz (1941)
Lucky Bucky in Oz (1942)
The Magical Mimics in Oz (1946)
The Shaggy Man of Oz (1949)
The Hidden Valley of Oz (1951)
Merry Go Round in Oz (1963)
Yankee in Oz (1972)
The Enchanted Island of Oz (1976)
The Forbidden Fountain of Oz (1980)
The Ozmapolitan of Oz (1986)
The Wicked Witch of Oz (1993)
The Giant Garden of Oz (1993)
The Runaway in Oz (1995)
The Rundelstone of Oz (2000)
The Emerald Wand of Oz (2005)
Trouble Under Oz (2006)
Alternate
Dorothy of Oz (1989)
Locations
and elements
Land of Oz
Emerald City
Munchkin Country
Gillikin Country
Winkie Country
Quadling Country
Yellow brick road
Oogaboo
Deadly Desert
Nonestica
Forest of Burzee
Land of Ev
Merryland
Mo
Ix
Nome Kingdom
Noland
Ruby slippers
Silver Shoes
The Oz Film Manufacturing Company
Characters
Dorothy Gale
Toto
Princess Ozma
The Wizard of Oz
Scarecrow
Tin Woodman
Cowardly Lion
Jack Pumpkinhead
Tik-Tok
Sawhorse
Hungry Tiger
Good Witch of the North
Glinda, the Good Witch of the South
Wicked Witch of the West
Wicked Witch of the East
Aunt Em
Uncle Henry
Betsy Bobbin
Billina
Boq
Button-Bright
Cap'n Bill
Eureka
Glass Cat
Jellia Jamb
Jinjur
Jinnicky the Red Jinn
John Dough
Kabumpo
Mombi
Munchkins
Nine Tiny Piglets
Nome King
Ojo the Lucky
Pastoria
Patchwork Girl
Peter Brown
Pigasus
Polychrome
Queen Lurline
Shaggy Man
Soldier with the Green Whiskers
Trot
Winged monkeys
Woggle-Bug
Other writers
Authors
John R. Neill
Jack Snow
Rachel Cosgrove Payes
Eloise Jarvis McGraw
Dick Martin
Alexander Volkov
Gregory Maguire
Sherwood Smith
Roger S. Baum
Illustrators
William Wallace Denslow
Frank Kramer
Dirk Gringhuis
Dick Martin
Eric Shanower
William Stout
[show]
Adaptations and other derivative works
Films
The Fairylogue and Radio-Plays (1908)
The Wonderful Wizard of Oz (1910)
Dorothy and the Scarecrow in Oz (1910)
The Land of Oz (1910)
John Dough and the Cherub (1910)
The Patchwork Girl of Oz (1914)
The Magic Cloak of Oz (1914)
His Majesty, the Scarecrow of Oz (1914)
The Wizard of Oz (1925)
The Wizard of Oz (1933)
The Wizard of Oz (1939)
Return to Oz (1964)
The Wonderful Land of Oz (1969)
Ayşecik ve Sihirli Cüceler Rüyalar Ülkesinde (1971)
Journey Back to Oz (1974)
The Wonderful Wizard of Oz (1975)
The Wiz (1978)
The Wizard of Oz (1982)
Return to Oz (1985)
Dorothy Meets Ozma of Oz (1987)
The Dreamer of Oz: The L. Frank Baum Story (1990)
Lion of Oz (2000)
The Muppets' Wizard of Oz (2005)
Tom and Jerry and the Wizard of Oz (2011)
Dorothy and the Witches of Oz (2011)
After the Wizard (2011)
Oz the Great and Powerful (2013)
Legends of Oz: Dorothy's Return (2014)
Ozland (2014)
Guardians of Oz (2015)
Tom and Jerry: Back to Oz (2016)
Stage
The Wizard of Oz (1902)
The Woggle-Bug (1905)
The Tik-Tok Man of Oz (1913)
The Wizard of Oz (1942)
The Wiz (1974)
The Marvelous Land of Oz (1981)
The Wizard of Oz (1987)
The Wonderful Wizard of Oz (2000)
The Wizard of Oz (2011)
The Woodsman (2012)
Television
Tales of the Wizard of Oz (1961)
Off to See the Wizard (1967)
The Wonderful Wizard of Oz (1986)
The Wizard of Oz (1990)
The Oz Kids (1996)
Lost in Oz (2002)
Once Upon a Time (since 2011)
The Wiz Live! (2015)
Lost In Oz (2015)
Emerald City (2017)
Dorothy and the Wizard of Oz (2017)
Comics
Queer Visitors from the Marvelous Land of Oz (1904–05)
Adventures in Oz (1986–92)
The Enchanted Apples of Oz (1986)
Oz Squad (1991)
Lost Girls (1991–92)
Oz (1994)
Dorothy of Oz (2006)
The Wonderful Wizard of Oz (2009)
Video
games
The Wizard of Oz (1993)
The Wizard of Oz: Beyond the Yellow Brick Road (2008)
Emerald City Confidential (2009)
Parodies
The Wozard of Iz
Os Trapalhões e o Mágico de Oróz
The Wonderful Wizard of Ha's
Wizard of Odd
Reimagining
The Wizard of Mars (1965)
Hunter (1973)
Zardoz (1974)
Oz (1976)
The Number of the Beast (1980)
A Barnstormer in Oz (1982)
The Wizard of A.I.D.S. (1987)
The Wonderful Galaxy of Oz (1990)
Twister (1994)
The Dark Tower IV: Wizard and Glass (1997)
Tin Man (2007)
Dorothy Must Die (2014)
The Wicked Will Rise (2015)
The Wicked
Years
Wicked
Son of a Witch
A Lion Among Men
Out of Oz
Wicked (musical)
Characters
Others
Rainbow Road to Oz
MÄR
The Wizard of Oz (pinball)
The Wizard of Oz (arcade game)
Related
The International Wizard of Oz Club
The Baum Bugle
Category
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