THE COMPLETE SABRINA THE TEENAGE WITCH series collects the history of Sabrina the Teenage Witch from her first appearance in 1962 onward in black and white, in the popular mass-market format of Best of Archie and Archie's Giant Kids' Joke Book. This title should appeal to comic book collectors, pop culture afficianados and fans of comic book history. It's back to the beginning with Sabrina in this first of a new series compiling the entire history of everyone's favorite Teenage Witch! This black and white graphic novel chronologically collects all the stories starring Sabrina the Teenage Witch from 1972 to 1973.

Heroic Girls looks at the recent proliferation of young girl heroes in many recent mainstream films and books. These contemporary ‘final’ girls do not just survive but rather suggest that in doing so they have fundamentally changed something about themselves and or the world around them, seeing them become the ‘First Girls’ of this altered reality. The collection brings together a wide range of perspectives and cultural viewpoints that describe many recent narratives that explore the idea of a Final Girl and her “after-story”. The essays are divided into four sections, beginning with more theoretical approaches; cross-cultural examples; the ways in which fictional narratives bear strong relation to real-world circumstances; examples that more strongly depict themes of resistance, survival, and individual agency; and, finally, those that describe something more fundamental and transformative. Films and television shows covered in the collection include The Girl with All the Gifts, The Witcher, The Hunger Games, Star Wars, The Fear Street and Pan’s Labyrinth. This book will be of interest to researchers and students of film studies, gender studies, and media studies.

Once consigned almost exclusively to Saturday morning fare for young viewers, television animation has evolved over the last several decades as a programming form to be reckoned with. While many animated shows continue to entertain tots, the form also reaches a much wider audience, engaging viewers of all ages. Whether aimed at toddlers, teens, or adults, animated shows reflect an evolving expression of sophisticated wit, adult humor, and a variety of artistic techniques and styles. The Encyclopedia of American Animated Television Series encompasses animated programs broadcast in the United States and Canada since 1948. From early cartoon series like Crusader Rabbit, Rocky and His Friends, and The Flintstones to 21st century stalwarts like The Simpsons, South Park, and Spongebob Squarepants, the wide range of shows can be found in this volume. Series from many networks—such as Comedy Central, the Disney Channel, Nickleodeon, and Cartoon Network— are included, representing both the diversity of programming and the broad spectrum of viewership. Each entry includes a list of cast and characters, credit information, a brief synopsis of the series, and a critical analysis. Additional details include network information and broadcast history. The volume also features one hundred images and an introduction containing an historical overview of animated programming since the inception of television. Highlighting an extensive array of shows from Animaniacs and Archer to The X-Men and Yogi Bear, The Encyclopedia of American Animated Television Series is an essential resource for anyone interested in the history and evolution of this constantly expanding art form.

Sabrina the Teenage Witch, the most iconic magical character in comic books if not all of pop culture, is back with a bevy of spell-binding tales, featuring the classic ensemble of Salem the cat, Harvey, and Sabrina’s two bewitching aunts Hilda and Zelda, as well as some new friends and an all-new love interest. With stories written by Bill Golliher and illustrated by award winning artist Holly G!, Sabrina the Teenage Witch is sure to cast her spell on you!

In a freshly revisited and important text, Stuart Fischer summarizes the golden age of Kids' TV with entries for every important children's television program which aired between 1947 and 1972. It's a nostalgic journey that highlights the programs of imagination and creativity which influenced the baby boom generation and their children, listing important factual information for everything from "Howdy Doody" to "Sealab 2020."

The information herein was accumulated of fifty some odd years. The collection process started when TV first came out and continued until today. The books are in alphabetical order and cover shows from the 1940s to 2010. The author has added a brief explanation of each show and then listed all the characters, who played the roles and for the most part, the year or years the actor or actress played that role. Also included are most of the people who created the shows, the producers, directors, and the writers of the shows. These books are a great source of trivia information and for most of the older folk will bring back some very fond memories. I know a lot of times we think back and say, "Who was the guy that played such and such a role?" Enjoy!

With the recent explosion of activity and discussion surrounding comics, it seems timely to examine how we might think about the multiple ways in which comics are read and consumed. Graphic Encounters moves beyond seeing the reading of comics as a debased or simplified word-based literacy. Dale Jacobs argues compellingly that we should consider comics as multimodal texts in which meaning is created through linguistic, visual, audio, gestural, and spatial realms in order to achieve effects and meanings that would not be possible in either a strictly print or strictly visual text. Jacobs advances two key ideas: one, that reading comics involves a complex, multimodal literacy and, two, that by studying how comics are used to sponsor multimodal literacy, we can engage more deeply with the ways students encounter and use these and other multimodal texts. Looking at the history of how comics have been used (by churches, schools, and libraries among others) will help us, as literacy teachers, best use that knowledge within our curricula, even as we act as sponsors ourselves.