Möbius Media explores the interplay of popular and traditional cultures, reminding readers that expressive cultural forms are never mutually exclusive but exist in a state of creative tension and interconnection, merging and (re)defining one another. With this insightful volume, editors Jeffrey Tolbert and Michael Dylan Foster build on their earlier work, The Folkloresque, by considering how folklore is understood and mobilized within a variety of popular discourses and commercial marketplaces. The collection challenges readers to consider the stakes of labeling something as folklore or folk. It demonstrates the rhetorical and political potency of ideas such as traditionality, heritage, and community in storytelling venues (including films, games, and even podcasts), in the construction and policing of genres, and in the selling of commodities. By interrogating popular media and expressions that make use of ideas such as folklore, tradition, authenticity, and heritage, Möbius Media further develops the theoretical applicability of the folkloresque concept and encourages productive interdisciplinary dialogue. Through the lens of the folkloresque, scholars can better see the hidden ideologies that inform the marketplace and influence contemporary modes of communication. This interdisciplinary work will appeal to scholars and students of cultural studies, media studies, popular culture, literature, anthropology, and related areas.

This extensive bibliography and reference guide is an invaluable resource for researchers, practitioners, students, and anyone with an interest in Canadian film and video. With over 24,500 entries, of which 10,500 are annotated, it opens up the literature devoted to Canadian film and video, at last making it readily accessible to scholars and researchers. Drawing on both English and French sources, it identifies books, catalogues, government reports, theses, and periodical and newspaper articles from Canadian and non-Canadian publications from the first decade of the twentieth century to 1989. The work is bilingual; descriptive annotations are presented in the language(s) of the original publication. Canadian Film and Video / Film et vidéo canadiens provides an in-depth guide to the work of over 4000 individuals working in film and video and 5000 films and videos. The entries in Volume I cover topics such as film types, the role of government, laws and legislation, censorship, festivals and awards, production and distribution companies, education, cinema buildings, women and film, and video art. A major section covers filmmakers, video artists, cinematographers, actors, producers, and various other film people. Volume II presents an author index, a film and video title index, and a name and subject index. In the tradition of the highly acclaimed publication Art and Architecture in Canada these volumes fill a long-standing need for a comprehensive reference tool for Canadian film and video. This bibliography guides and supports the work of film historians and practitioners, media librarians and visual curators, students and researchers, and members of the general public with an interest in film and video.

Border Town Blood is a contemporary horror novel in three acts. "But I'm not really into horror," you may say. Well, Border Town Blood is like an excellent submarine sandwich (or a po' boy for my friends in the Deep South); there is something in it for everyone: horror, fantasy, romance, inspiration and even a little comic relief tossed in for good measure. Border Town Blood is set in a geographically accurate Fort Smith. I have always believed that fear thrives on the familiar. Television programs like The Twilight Zone were much more frightening and disturbing for their real world setting. Sure having a homicidal alien chasing someone around a spaceship is scary; but having a horde of zombies rise from the cemetery you drive past every day at dusk is terrifying! In Border Town Blood, I have taken great pains to describe local geography and local businesses exactly where they are. To paraphrase the great American storyteller Louis L'Amour, if I tell you there's a water hole somewhere, if you follow my directions, you will end up with a cool drink. Of course, it has been necessary to fictionalize most of the names of the businesses and people, but there is still a barbecue place where Nealson's stands, a record storage business where Centralized Record Storage stands and, as of January 2009, the Mallalieu Church still stands right where Ellis left it. I am confident that Mayor Ray Baker would love to have the fans of Border Town Blood visit Fort Smith and spend a day or two driving around on a Border Town Blood tour. Border Town Blood is based on actual historic events and authentic Native American mythology. Many of today's most successful television programs brag that their stories are "ripped from the headlines." Border Town Blood takes that premise and stands it on its head. The stories in Border Town Blood are ripped from the history books. The Trail of Tears is one of the most shameful events in our country's history. The carnival atmosphere of the public hangings in 19th Century Fort Smith were probably more raucous than I portray them. The multiple waves of refugees and displaced persons referenced by Alice Harvey were actual events. In the forties, Camp Chaffee was a German prisoner of war camp. Fort Chaffee was the Middle American staging ground for fifty-one thousand Hmong, Indochinese, and Vietnamese men, women and children in the seventies; and in the eighties over twenty-five thousand Cuban refugees passed through Fort Smith. Over ten thousand refugees from Hurricane Katrina were housed in Fort Chaffee in 2005. What is so special about Fort Smith that, time and again, the disenfranchised and the footloose end up here? Border Town Blood poses an answer to that and many other questions. Native American mythology is a rich and largely untapped seedbed of tales and legends. Border Town Blood borrows a few of these myths and weaves them into a tapestry that is rooted in history and flies high in the firmament of modern imagination. Tsul Kalu and Jumlin are genuine figures in Native American pantheons. Shapeshifters, dreamwalkers and warriors mighty enough to slay gods are part and parcel of Native American oral tradition. Border Town Blood tells its story through the eyes of those experiencing the action. Unlike the bird's eye view of many third-person novels or the solo inside-out view of a first-person narrative, Border Town Blood puts you the reader inside the heads and hearts of the stories' characters. You get to know the characters, their feelings and their motivations through their own eyes: unvarn