Janet Frame died in Dunedin in January 2004, aged 79, from acute myeloid leukaemia , shortly after becoming one of the first recipients of the New Zealand "Icon" award.   A number of posthumous works have been released [ by whom? ] since her death, including a volume of poetry entitled The Goose Bath , which was awarded New Zealand's top poetry prize in 2007. This generated a minor controversy among critics who felt the posthumous prize "set an awkward precedent".   A novella, Towards Another Summer, was also published posthumously, a work inspired by a weekend Frame spent with British journalist Geoffrey Moorhouse and his family.   In 2008, two previously unpublished short stories set in mental hospitals appeared in The New Yorker.  Another previously unpublished short story was carried in The New Yorker in 2010.  In March 2011, the New Zealand branch of Penguin Books acquired the rights to publish three new editions of Frame's work. These were: Janet Frame In Her Own Words (2011), a collection of interviews and nonfiction, Gorse is Not People: New and Uncollected Stories (2012) (Published in the US as Between My Father and the King: New and Uncollected Stories ), and the novel In the Memorial Room (2013).
Magical movie memories
16. . BLUES – (Short) Movie Trailer – 0:27
17. Pocketful Of Rainbows (Duet with ‘Juliet Prowse’) – 2:42
18. What’s She Really Like (Shower song) – 0:20
19. Tonight’s All Right For Love (German single version) – 2:13
20. . Blues – UK Radio Advert No 1 – 0:18
21. Frankfort Special (Train version) – 2:29
22. . Blues – UK Radio Advert No 2 – 0:19
23. Wooden Heart (Puppet show version) – 2:08
24. . Blues – UK Radio Advert No 3 – 0:17
25. Shoppin’ Around (Live nightclub version) – 1:50
26. . Blues – UK Radio Advert No 4 – 0:29
27. Big Boots – (Slow 2nd Version - Take 6) – 1:11
28. . Blues – (Long) Movie Trailer – 2:43
The use of Gilliam's surreal , collage stop motion animations was another innovative intertextual element of the Python style. Many of the images Gilliam used were lifted from famous works of art, and from Victorian illustrations and engravings . The giant foot which crushes the show's title at the end of the opening credits is in fact the foot of Cupid , cut from a reproduction of the Renaissance masterpiece Venus, Cupid, Folly and Time by Bronzino . This foot, and Gilliam's style in general, are visual trademarks of the programme.