Northern Ontario legend Joe "Wolf Man" LaFlamme captivated a nation with his wild and eccentric lifestyle taming wolves. Nothing stopped this burly bushman and his outlandish ideas. He was a celebrity adored by the media, both in Canada and the United States, particularly when his moose accompanied him to ABC Radio's studio in Manhattan. A man driven by passion and ingenuity, he tempted fate by trying to tame wild animals, a feat he even realized was impossible. LaFlamme's biographer, Suzanne F. Charron, has done extensive research to bring his story to life and establish the Wolf Man in the canon of Canadian legends. In this second edition, Suzanne has provided newly uncovered details about his life and provides a better understanding of the relationship between man and wolf. She shares a selection of 47 rare photos that capture this larger-than-life character. Discover the man behind the legend and learn about the remarkable life Joseph LaFlamme led, challenging the conventions of his time and establishing himself as a true Canadian adventurer. Book jacket.

A hilarious new system for evaluating Canada's political leaders, from the best-selling author of Why I Hate Canadians.

Contains the revised contents of Crime Fiction III, continued through 2000. Includes indexes by author, title, series, character, and setting of over 106,000 detective and mystery novels and over 6,600collections. Includes author, title and contents lists of stories in single author collections, chronological list of books and stories, publisher list, and an index of over 4,500 films derived from the books and stories.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.