The Atomic Kid

The third volume in the author's Horror and Science Fiction Films series covers new titles released from 1981 to 1983, and updates entries in the original list.

Now, from time to time you might hear the term “nuclear bomb” used, while other times you may hear the term “atomic bomb”. What is the difference? Any bomb that uses tiny reactions inside the nucleus of a microscopic atom is, by definition, a “nuclear bomb”. However, the first nuclear bombs were much simpler than today’s bombs, which use multiple steps to produce their large explosions. The first nuclear bombs that were produced relied only on this special microscopic reaction in the atom and so are called “atomic bombs”; and it is this kind that we will be talking about. Find out about this exciting and complex period of time in this kid's book.

BLAKE EDWARDS Blake Edwards: Film Director as Multitalented Auteur is the first critical analysis to focus on the dramatic works of Blake Edwards. Best known for successful comedies such as The Pink Panther series with Peter Sellers, Blake Edwards wrote, produced, and directed serious works in radio, television, film, and theater for seven decades. Although hit films such as Breakfast at Tiffany’s and ‘10’ remain popular, many of Edwards’s dramas have been forgotten or marginalized. In this unique book, William Luhr and Peter Lehman draw on original research from numerous set visits and personal interviews with Edwards and many of his creative and business collaborators to explore his dramas, radio and television work, theatrical productions, one-man art shows, and unproduced screenplays. In-depth chapters analyze non-comedic films including Experiment in Terror, Days of Wine and Roses, and The Tamarind Seed, the theatrical feature film Gunn and the made-for-television film Peter Gunn, the musical adaptation of Victor/Victoria, and lesser-known films written but not directed by Edwards, such as Drive a Crooked Road. Throughout the book, the authors apply contemporary film theory to auteur criticism of different works while sharing original insights into how Edwards worked creatively in disparate genres and media using composition, editing, sound, and visual motifs to shape his films and radio and television series. A one-of-a-kind examination of one of the most influential film directors of his generation, Blake Edwards: Film Director as Multitalented Auteur is an excellent supplementary text for university courses in American cinema, genres, auteurs, and film criticism, and a must-read for critics, scholars, and general readers interested in the works of Blake Edwards.

Today we take it for granted that political leaders and presidential administrations will address issues related to children and teenagers. But in the not-so-distant past, politicians had little to say, and federal programs less to do with children—except those of very specific populations. This book shows how the Cold War changed all that. Against the backdrop of the postwar baby boom, and the rise of a distinct teen culture, Cold War Kids unfolds the little-known story of how politics and federal policy expanded their influence in shaping children’s lives and experiences—making way for the youth-attuned political culture that we’ve come to expect. In the first part of the twentieth century, narrow and incremental policies focused on children were the norm. And then, in the postwar years, monumental events such as the introduction of the Salk vaccine or the Soviet launch of Sputnik delivered jolts to the body politic, producing a federal response that included all children. Cold War Kids charts the changes that followed, making the mid-twentieth century a turning point in federal action directly affecting children and teenagers. With the 1950 and 1960 White House Conferences on Children and Youth as a framework, Marilyn Irvin Holt examines childhood policy and children’s experience in relation to population shifts, suburbia, divorce and family stability, working mothers, and the influence of television. Here we see how the government, driven by a Cold War mentality, was becoming ever more involved in aspects of health, education, and welfare even as the baby boom shaped American thought, promoting societal acceptance of the argument that all children, not just the poorest and neediest, merited their government’s attention. This period, largely viewed as a time of “stagnation” in studies of children and childhood after World War II, emerges in Holt’s cogent account as a distinct period in the history of children in America.

Bill Warren’s Keep Watching the Skies! was originally published in two volumes, in 1982 and 1986. It was then greatly expanded in what we called the 21st Century Edition, with new entries on several films and revisions and expansions of the commentary on every film. In addition to a detailed plot synopsis, full cast and credit listings, and an overview of the critical reception of each film, Warren delivers richly informative assessments of the films and a wealth of insights and anecdotes about their making. The book contains 273 photographs (many rare, 35 in color), has seven useful appendices, and concludes with an enormous index. This book is also available in hardcover format (ISBN 978-0-7864-4230-0).

The United States, the only country to have dropped the bomb, and Japan, the only one to have suffered its devastation, understandably portray the nuclear threat differently on film. American science fiction movies of the 1950s and 1960s generally proclaim that it is possible to put the nuclear genie back in the bottle. Japanese films of the same period assert that once freed the nuclear genie can never again be imprisoned. This book examines genre films from the two countries released between 1951 and 1967--including Godzilla (1954), The Mysterians (1957), The Incredible Shrinking Man (1957), On the Beach (1959), The Last War (1961) and Dr. Strangelove (1964)--to show the view from both sides of the Pacific.

From the inception of the science fiction film, writers, directors, producers, and actors have understood that the genre lends itself to a level of social commentary not available in other formats. Viewers find it easier to accept explorations of such issues as domestic violence, war, xenophobia, faith, identity, racism, and other difficult topics when the protagonists exist in future times or other worlds that are only vaguely similar to our own. The 22 original essays in this collection examine how the issues in particular science fiction films—from 1930’s High Treason to 1999’s The Iron Giant—reflect and comment on the prevailing issues of their time. The 16 writers (including such noted contributors as Ted Okuda, Gary Don Rhodes, Bryan Senn, John Soister and Ken Weiss) provide insight on how the genre’s wistful daydreaming, forthcoming wonders, and nightmarish scenarios are often grounded in the grimmer realities of the human condition. Films covered include It Came from Outer Space, Godzilla, The 27th Day, Alien and Starship Troopers, plus television’s The Adventures of Superman, the Flash Gordon serials, and vintage space cartoons by Fleischer.