Skip to main content

Crafted Wonder: The Puppet’s Place Within Popular Special Effects Reception

  • Chapter
  • First Online:
The Crafty Animator

Part of the book series: Palgrave Animation ((PAANI))

Abstract

This chapter explores the reception of Hollywood’s 1980s puppet blockbusters by contextualising such films within the industrial landscape of the time. It offers up an analysis of this cycle of filmmaking in order to shed light on the specificity of puppetry as a special effect, understanding the uniqueness of live-action puppet cinema in relation to the wider culture of popular effects reception. At the same time, it contends that the puppet’s role within the reception of the early blockbuster gestures towards a shifting relationship between animation and craft being played out within popular culture during this crucial phase of Hollywood production.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 109.00
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Hardcover Book
USD 139.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

References

  • Anon. 1978. Pictures: On the Road with The Muppets. Variety. August 30.

    Google Scholar 

  • Bacon, Matt. 1997. No Strings Attached: The Inside Story of Jim Henson’s Creature Workshop. New York: MacMillan.

    Google Scholar 

  • Banks, Mark. 2010. “Craft Labour and Creative Industries.” International Journal of Cultural Policy 16 (3): 305–321.

    Article  Google Scholar 

  • Bode, Lisa. 2010. “No Longer Themselves? Framing Digitally Enabled Posthumous ‘Performance’.” Cinema Journal 49: 46–70.

    Article  Google Scholar 

  • Bonifer, Michael. 2010. The Art of Tron. New York: Simon & Schuster.

    Google Scholar 

  • Brandt, Anthony. 1980. “The Shadows of the Imagination.” The Tampa Tribune. July 20.

    Google Scholar 

  • Brosnan, John. 1974. Movie Magic: The Story of Special Effects in the Cinema. London: St. Martin’s Press.

    Google Scholar 

  • Brown, Les. 1978. “The Muppet Show—Very Much at Home Abroad, Thank You.” The New York Times. January 8.

    Google Scholar 

  • Butler, David. 2009. Fantasy Cinema: Impossible Worlds on Screen. New York: Wallflower Press.

    Google Scholar 

  • Caldwell, John. 2008. Production Culture. Durham, NC: Duke University Press.

    Book  Google Scholar 

  • Culhane, John. 1981. Special Effects in the Movies. New York: Ballantine.

    Google Scholar 

  • Culhane, John. 1982. “Special Effects.” Des Moines Tribune. July 15.

    Google Scholar 

  • Delson, James. 1980. “The Force Bogs Down.” The New York Daily News. May 18.

    Google Scholar 

  • Denslow, Philip Kelly. 2011. “What Is Animation and Who Needs to Know?” In A Reader in Animation Studies, edited by Jayne Pilling, 1–4. New Barnet, Herts: John Libbey.

    Google Scholar 

  • Dormer, Peter. 1997. “The Salon de Refuse?” In The Culture of Craft, edited by Peter Dormer, 2–16. Manchester: Manchester University Press.

    Google Scholar 

  • Finch, Christopher. 1983. The Making of the Dark Crystal: Creating a Unique Film. New York: Henry Holt.

    Google Scholar 

  • Finch, Christopher. 1984. Special Effects: Making Movie Magic. New York: Abbeville Press.

    Google Scholar 

  • Giesen, Rolf, and Anna Khan. 2018. Animation: The Art of Animated Films, Acting and Visualising. Boca Raton, FL: CRC Press.

    Google Scholar 

  • Greenhalgh, Paul. 1997. “The Progress of Captain Ludd.” In The Culture of Craft, edited by Pete Dormer, 104–115. Manchester: Manchester University Press.

    Google Scholar 

  • Gross, Kenneth. 2011. Puppet: An Essay on Uncanny Life. Chicago: The University of Chicago Press.

    Book  Google Scholar 

  • Harmetz, Aljean. 1982. “At the Movies.” Southern Illinoisian. September 8.

    Google Scholar 

  • Hooks, Ed. 2005. Acting in Animation. Abingdon: Routledge.

    Google Scholar 

  • Hume. Kathryn. 1984. Fantasy and Mimesis: Responses to Reality in Western Literature. New York: Methuen.

    Google Scholar 

  • Hunter, Stephen. 1982. “On Film.” The Balitmore Sun. December 21.

    Google Scholar 

  • Jensen, Lisa. 1979. “The Muppet Movie.” Cinefantastique 9.

    Google Scholar 

  • Kleiner, Dick. 1983. “Head Muppet Shows His Dark Side.” Philadelphia Daily News p. 15. January 22.

    Google Scholar 

  • Llewellyn, J.J. 1982. The World of The Dark Crystal. New York: Alfred A. Knopf.

    Google Scholar 

  • Mandell, Paul. 1983. “Stop-Frame Fever: Post-animation Blues.” Cinefex p. 12.

    Google Scholar 

  • Matthews, Jack. 1982. “Films at a Glance.” Detroit Free Press. December 31.

    Google Scholar 

  • McClean, Shilo T. 2007. Digital Storytelling: The Narrative Power of Visual Effects in Film. Cambridge, MA: MIT Press.

    Book  Google Scholar 

  • Mills, Nancy. 1982. “Muppet Maker Turns to Fairy Tale.” The Indianapolis News. November 5.

    Google Scholar 

  • Mihailova, Mihaela. 2016. “Collaboration Without Representation: Labor Issues in Motion and Performance Capture.” Animation: An Interdisciplinary Journal 11 (1): 40–58.

    Google Scholar 

  • Nelson, Victoria. 2003. The Secret Life of Puppets. Cambridge, MA: Harvard University Press.

    Google Scholar 

  • O’Connor, Jane, and Katy Hall. 1980. Magic in the Movies: The Story of Special Effects. Garden City, NY: Doubleday.

    Google Scholar 

  • Pallant, Chris. 2013. Demystifying Disney. London: Bloomsbury.

    Google Scholar 

  • Pierson, Michele. 2002. Special Effects: In Search of Wonder. New York: Columbia University Press.

    Google Scholar 

  • Prince, Stephen. 1996. “True Lies: Perceptual Realism, Digital Images, and Film Theory.” Film Quarterly 49 (3): 27–37.

    Google Scholar 

  • Rehak, Bob. 2018. More Than Meets the Eye: Special Effects and the Fantastic Transmedia Franchise. New York: New York University Press.

    Google Scholar 

  • Rosenthal, David N. 1983. “Henson’s Visions Finally Crystalize.” The Cincinnati Enquirer. January 6.

    Google Scholar 

  • Ryan, Desmond. 1982. “Special Effects Wreck Sci-Fi Plot Lines.” The Dispatch. August 22.

    Google Scholar 

  • Samuelson, D.W. 1982. “Creating a World for The Dark Crystal.” American Cinematographer. December.

    Google Scholar 

  • Scott, Vernon. 1984. “Overdose: Special-Effects Expert Decries Films That Are All Flash, No Content.” Arizona Republic. June 3.

    Google Scholar 

  • Sennett, Richard. 2008. The Craftsmen. New Haven: Yale University Press.

    Google Scholar 

  • Shales, Tom. 1977. “Ta-Dahhh! It’s Jim Henson Creator of Kermit the Frog and King of the Muppets.” The Washington Post. January 25.

    Google Scholar 

  • Telotte, J.P. 2008. The Mouse Machine: Disney and Technology. Chicago: University of Illinois.

    Google Scholar 

  • Ward, Paul. 2000. “Defining ‘Animation’: The Animated Film and the Emergence of the Film Bill.” Scope. https://www.nottingham.ac.uk/scope/documents/2000/december-2000/ward.pdf.

  • Wells, Paul. 1998. Understanding Animation. London: Routledge.

    Google Scholar 

  • Whissel, Kristen. 2014. Spectacular Digital Effects: CGI and Contemporary Cinema. Durham, NC: Duke University Press.

    Book  Google Scholar 

  • Williamson, Colin. 2015. Hidden in Plain Sight: An Archaeology of Magic and the Cinema. New Brunswick, NJ: Rutgers University Press.

    Google Scholar 

  • Wright, Andrea. 2008. “Selling the Fantastic: The Marketing and Merchandising of the British Fairytale Film in the 1980s.” Journal of British Cinema and Television 2 (2): 256–274.

    Google Scholar 

  • Wyatt, Gene. 1980. “The Empire Strikes Back with a 2-Foot Tall Star.” The Tennessean. May 18.

    Google Scholar 

Download references

Author information

Authors and Affiliations

Authors

Corresponding author

Correspondence to Alexander Sergeant .

Editor information

Editors and Affiliations

Rights and permissions

Reprints and permissions

Copyright information

© 2019 The Author(s)

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Sergeant, A. (2019). Crafted Wonder: The Puppet’s Place Within Popular Special Effects Reception. In: Ruddell, C., Ward, P. (eds) The Crafty Animator. Palgrave Animation. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-13943-8_8

Download citation

Publish with us

Policies and ethics