Wizard of Oz

Wizard of Oz

Search term used: Wizard of Oz
Records returned: 17 (one record omitted)

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WIZARD OF OZ, THE : (US, Victor Fleming, 1939)
CALL NO:
TITLE CLIPPINGS FILE

SUBJECT:
1. WIZARD OF OZ, THE (US, Victor Fleming, 1939)
RECORD TYPE
Clippings file
PHYSICAL DESCRIPTION:
Stills
ID
20085
________________________________________

FILM MOMENTS : criticism, history, theory / Brown, Tom; Walters, James. — London: Palgrave Macmillan on behalf of the British Film Institute, 2010.
CALL NO:
62(04) FIL

SUBJECT:
1. FILM. 2. CRITICISM. 3. HISTORY OF CINEMA. 4. THEORY.
SUMMARY:
“The 38 specially commissioned essays in Film Moments examine a wide selection of key scenes aross a broad spectrum of national cinemas, historical periods and genres, featuring films by renowned auteurs including Alfred Hitchcock, Jean Renoir and Vincente Minnelli and important contemporary directors such as Pedro Costa, Zhang Ke Jia and Quentin Tarantino, addressing films including City Lights, Gone with the Wind, The Wizard of Oz, The Night of the Hunter, Wild Strawberries, 8 1/2, Bonnie and Clyde, Star Wars, Conte d’ete, United 93, and Lord of the Rings: Return of the King.

Film Moments provides both an enlightening introduction for students to the diversity of approaches and concerns in the study of film, and a dynamic and vibrant account of key film sequences for anyone interested in enhancing their understanding of cinema” — BOOK BLURB
CONTENTS:
– Shadow play and dripping teat The Night of the Hunter (1955) / Tom Gunning — Between melodrama and realism Under the Skin of the City (2001) / Laura Mulvey — Internalising the musical The Band Wagon (1953) / Andrew Klevan — The visitor’s discarded clothes in Theorem (1968) / Stella Bruzzi — Style and sincerity in Quentin Tarantino’s Kill Bill Vol. 2 (2004) / James Walters — The moves Blood (1989) / Adrian Martin — The properties of images Lust for Life (1956) / Steve Neale — Two views over water action and absorption in Ingmar Bergman’s Wild Strawberries (1957) / Edward Gallafent — Making an entrance Bette Davis’s first appearance in Jezebel (1938) / Martin Shingler — A narrative parenthesis in Life is Beautiful (1997) / Deborah Thomas — The end of summer Conte d’e´te´ (1996) / Jacob Leigh — Enter Lisa Rear Window (1954) / Douglas Pye — Opening up The Secret Garden (1993) / Susan Smith — A magnified meeting in Written on the Wind (1956) / Steven Peacock — “Everything is connected, and everything matters” relationships in I [heart] Huckabees (2004) / John Gibbs — The Ending of 8 1 / 2 (1963) / Richard Dyer — Haptic vision and consumerism a moment from Fritz Lang’s Siegfried (1924) / Thomas Elsaesser — Visions of sound in City Lights (1931) / Charles Barr — “Entertainment and dystopia” Maurice Chevalier performs Avec le sourire (1936) / Tom Brown — Music, crime and the gaze La Be^te humaine (1938) / Ginette Vincendeau — Thunder and lightning Gone with the Wind (1939) and the Logic of Synchronisation / Rick Altman — Hearing, fearing the sonic design of suspense in Cat People (1942) / Helen Hanson — “I’ve seen him take his knife–” The Searchers (1956) / R.J. Ellis — Another story myth and history in Bonnie and Clyde (1967) / Pam Cook — A sculptural moment the epilogue to Les Deux Anglaises et le Continent (1971) / Mark Broughton — Star Wars (1977) back and forth in time and space / Jonathan Bignell — Between freedom and confinement music in The World (2004) / Claudia Gorbman — Performance, with strings attached Team America’s (2004) snub to the actor / Alex Clayton — E´loge de l’Amour (2001) moments in time / Alison Butler — Contested endings interpreting The Piano’s (1993) final scenes / Barbara Klinger — Mourning, loss and trauma, and the ambiguities of proper and improper desire in Exotica (1994) / Elizabeth Cowie — Stepping out of Blockbuster mode the lighting of the beacons in The Lord of the Rings The Return of the King (2003) / Kristin Thompson — Dorothy’s dream mindscreen in The Wizard of Oz (1939) / Bruce F. Kawin — Looking on and looking the other way Hotel Rwanda (2004) and the racialised ethics of spectatorship / Michele Aaron — Working through the body textual-corporeal strategies in United 93 (2006) / Lisa Purse — “I wasn’t expecting that!” cognition and shock in Alien’s (1979) chestburster scene / Jonathan Frome — The inflection of a dream in Scarlet Street (1945) / George M. Wilson — Judy’s plan a reading of the “Flashback” sequence in Vertigo (1958) / William Rothman — index –
NOTES:
Includes bibliographical references and index.
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
xii, 178 p. : ill. ; 25 cm
ISBN:
9781844573356
ID
58459
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THE EYES HAVE IT : cinema and the reality effect / Pomerance, Murray. — New Jersey: Rutgers University Press, c2013.
CALL NO:
630.3 POM

SUBJECT:
1. ART DIRECTION. 2. CINEMATOGRAPHY. 3. COMPUTER GENERATED IMAGERY. 4. MOTION CONTROL. 5. REALISM IN FILMS. 6. SET DECORATING. 7. SET DESIGNING. 8. SPECIAL EFFECTS. 9. HITCHCOCK, ALFRED. 10. KELLY, GENE. 11. Metro-Goldwyn-Mayer. 12. 40 DAYS AND 40 NIGHTS (US, Michael Lehmann, 2002). 13. ANNIE HALL (US, Woody Allen, 1977). 14. ARIZONA DREAM (FR, Emir Kusturica, 1992). 15. BRIGADOON (US, Vincente Minnelli, 1954). 16. CLOVERFIELD (US, Matt Reeves, 2008). 17. DARK PASSAGE (US, Delmer Daves, 1947). 18. DEFIANCE [US, Edward Zwick, 2008]. 19. DR STRANGELOVE (UK, Stanley Kubrick, 1964). 20. FIELD OF DREAMS (US, Phil Alden Robinson, 1989). 21. IN HARM’S WAY (US, Otto Preminger, 1965). 22. NORTH BY NORTHWEST (US, Alfred Hitchcock, 1959). 23. RANDOM HARVEST (US, Mervyn LeRoy, 1942). 24. SIGNS (US, M. Night Shyamalan, 2002). 25. THELMA & LOUISE (US, Ridley Scott, 1991). 26. VERTIGO (US, Alfred Hitchcock, 1958). 27. WIZARD OF OZ, THE (US, Victor Fleming, 1939)
SUMMARY:
The Eyes Have It explores those rarified screen moments when viewers are confronted by sights that seem at once impossible and present, artificial and stimulating, sensory and definitive. Beginning with a penetrating study of five cornfield sequences – including The Wizard of Oz, Arizona Dream, and Signs – Murray Pomerance journeys through a vast array of cinematic moments, technical methods, and laborious collaborations from the 1930s to the 200s to show how the viewer’s experience of “reality” is put in context, challenged, and wilfully engaged. Four meditations deal with “reality effects” from different philosophical and technical angles. “Vivid Rivals” assesses active participation and critical judgement in seeing effects with works such as Defiance, Cloverfield, Knowing, and Thelma & Louise. “The Two of Us” considers double placement and doubled experience with films such as The Prestige, Niagara and A Stolen Life. “Being There” discusses cinematic performance and the problems of believability, highlighting such films as Gran Torino, The Manchurian Candidate, In Harm’s Way, and other films. “Fairy Land” explores the art of scenic backing, focusing on the fictional world of Brigadoon, which borrows from both hard-edged realism and evocative landscape painting.” – BOOK BLURB
NOTES:
Contains illustrations, bibliographic references and index.
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
xii, 268 pages : illustrations ; 23 cm
ISBN:
9780813560588
ID
A63077
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THE WRITER’S JOURNEY : mythic structure for storytellers and screenwriters / Vogler, Christopher, 1949. — 2nd rev. ed. — London: Pan, 1998.
CALL NO:
632.43 VOG

SUBJECT:
1. SCRIPTWRITING. 2. MYTH AND THE CINEMA. 3. BEVERLY HILLS COP (US, Martin Brest, 1984). 4. FULL MONTY, THE (UK/US, Robert Cattaneo, 1997). 5. LION KING, THE (US, Roger Allers & Rob Minkoff, 1994). 6. OFFICER AND A GENTLEMAN, AN (US, Taylor Hackford, 1982). 7. PULP FICTION (US, Quentin Tarantino, 1994). 8. ROMANCING THE STONE (US, Robert Zemeckis, 1984). 9. COMEDIES. 10. STAR WARS (US, George Lucas, 1977). 11. TITANIC (US, James Cameron, 1997). 12. WIZARD OF OZ, THE (US, Victor Fleming, 1939)
NOTES:
This ed. originally published: London: Boxtree, 1996. Bibliography: p302. – Includes index.
PHYSICAL DESCRIPTION:
xxiii,326 p. ; 22 cm
ISBN:
0330375911(pbk.) : ª14.99
ID
26822
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COLOR : the film reader / Dalle Vacche, Angela; Brian Price. — New York, London: Routledge, 2006.
CALL NO:
633.22 COL

SUBJECT:
1. COLOUR. 2. AESTHETICS. 3. CINEMATOGRAPHY. 4. TECHNICOLOR. 5. BAZIN, ANDRE. 6. ARNHEIM, RUDOLF. 7. ROHMER, ERIC. 8. BATCHELOR, JOHN. 9. OSHIMA, NAGISA. 10. BRAKHAGE, JANE. 11. HITCHCOCK, ALFRED. 12. ANDERSON, PAUL THOMAS. 13. HOU, HSIAO-HSIEN. 14. GODARD, JEAN-LUC. 15. ANTONIONI, MICHELANGELO. 16. JARMAN, DEREK. 17. MAMOULIAN, ROUBEN. 18. SIRK, DOUGLAS. 19. ALL THAT HEAVEN ALLOWS (US, Douglas Sirk, 1955). 20. DESERTO ROSSO, IL (IT/FR, Michelangelo Antonioni, 1964). 21. DIAL M FOR MURDER (US, Alfred Hitchcock, 1954). 22. GIGI (US, Vincente Minnelli, 1958). 23. IMITATION OF LIFE (US, Douglas Sirk, 1959). 24. REBECCA (US, Alfred Hitchcock, 1940). 25. VERTIGO (US, Alfred Hitchcock, 1958). 26. WIZARD OF OZ, THE (US, Victor Fleming, 1939)
SUMMARY:
“The first anthology devoted to the subject of color in film. Thematic sections will address the development of color technology and how visual style was affected by the shift from black and white to color; look at color in film theory, including writings from auteurs such as Bresson, Eisenstein and Oshima on the subject; and finally, there will be a number of case studies of color in films by Godard, Hitchcock, Almodovar and others.”[ Taken from the back of the book]
NOTES:
Bibliography: (p [202]-205). Includes index.
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
x, 214 p, [6] p. of plates : col. ill. ; 24 cm
ISBN:
0415324424 9780415324427
ID
47886
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THE BEST AMERICAN MOVIE WRITING 1998 / Plimpton, George. — New York: St. Martin’s Griffin, 1998.
CALL NO:
67(04) BES

SUBJECT:
1. PRODUCERS. 2. CAMP. 3. CENTENARY OF CINEMA. 4. HOMOSEXUALITY AND THE CINEMA. 5. SCORSESE, MARTIN. 6. Fry, Stephen. 7. CAMPION, JANE. 8. BEATTY, WARREN. 9. STABILE, SALVATORE. 10. POLANSKI, ROMAN. 11. DANDRIDGE, DOROTHY. 12. HITCHCOCK, ALFRED. 13. STREISAND, BARBRA. 14. WATERS, JOHN (US). 15. WILDE (UK/US/JA/GG, Brian Gilbert, 1997). 16. WIZARD OF OZ, THE (US, Victor Fleming, 1939). 17. GODFATHER [...], THE (US, Francis Ford Coppola, 1972-). 18. MIRROR HAS TWO FACES, THE (US, Barbra Streisand, 1996)
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
xvi, 265 p. ; 21 cm
ID
18427
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THE MOVIE THAT CHANGED MY LIFE — New York: Penguin, 1993.
CALL NO:
67(049.32) THE

SUBJECT:
1. BEST FILMS. 2. PORNOGRAPHIC FILMS. 3. BAMBI (US, David Hand, 1942). 4. LAST TRAIN FROM MADRID, THE (US, James P. Hogan, 1937). 5. SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943). 6. PREMATURE BURIAL (US, Roger Corman, 1962). 7. THING, THE (US, Christian Nyby, 1951). 8. DRACULA (US, Tod Browning, 1931). 9. GILDA (US, Charles Vidor, 1946). 10. GONE WITH THE WIND (US, Victor Fleming, 1939). 11. LOVE ME OR LEAVE ME (US, Charles Vidor, 1955). 12. BOY WITH GREEN HAIR, THE (US, Joseph Losey, 1948). 13. [THREE] 3 WOMEN (US, Robert Altman, 1977). 14. OUR VINES HAVE TENDER GRAPES (US, Roy Rowland, 1945). 15. FATAL GLASS OF BEER, THE (US, Clyde Bruckman, 1933). 16. WOMEN, THE (US, George Cukor, 1939). 17. BIRTH OF A NATION, THE (US, David Wark Griffith, 1915). 18. Z (FR/AE, Constantin Costa-Gavras, 1969). 19. JOURNAL D’UN CURE DE CAMPAGNE (FR, Robert Bresson, 1951). 20. BELLE ET LA BETE, LA (FR, Jean Cocteau, 1946). 21. SEVEN BRIDES FOR SEVEN BROTHERS (US, Stanley Donen, 1954). 22. WIZARD OF OZ, THE (US, Victor Fleming, 1939)
SUMMARY:
Exploring 23 writer’s cultural experiences in relation to movies.
NOTES:
First published : 1991 : Viking Penguin.
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
xv, 304 p. ; 22 cm
ISBN:
0140169520
DONATION
donated by the family of Wayne Levy, 2006
ID
41925
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ALTERNATIVE WORLDS IN HOLLYWOOD CINEMA : Resonance between realms / Walters, James. — Bristol;Chicago: Intellect, 2008.
CALL NO:
735.3 (73) WAL

SUBJECT:
1. HOLLYWOOD. 2. FANTASTIC FILMS. 3. FANTASY FILMS. 4. DREAMS IN FILMS. 5. MEMORY IN FILMS. 6. INNOCENCE IN FILMS. 7. REPETITION IN FILMS. 8. TIME IN FILMS. 9. POINT-OF-VIEW. 10. NARRATIVE IN FILMS. 11. FLEMING, VICTOR. 12. LANG, FRITZ. 13. GONDRY, MICHEL. 14. CAPRA, FRANK. 15. RAMIS, HAROLD. 16. MINNELLI, VINCENTE. 17. ROSS, GARY. 18. WIZARD OF OZ, THE (US, Victor Fleming, 1939). 19. WOMAN IN THE WINDOW, THE (US, Fritz Lang, 1944). 20. ETERNAL SUNSHINE OF THE SPOTLESS MIND (US, Michael Gondry, 2004). 21. IT’S A WONDERFUL LIFE (US, Frank Capra, 1946). 22. GROUNDHOG DAY (US, Harold Ramis, 1993). 23. BRIGADOON (US, Vincente Minnelli, 1954). 24. PLEASANTVILLE (US, Gary Ross, 1998). 25. DONNIE DARKO (US, Richard Kelly, 2001). 26. BACK TO THE FUTURE [...] (US, Robert Zemeckis, 1985-90). 27. ABRE LOS OJOS (SP, Alejandro Amenabar, 1997). 28. AWFUL TRUTH, THE (US, Leo McCarey, 1937). 29. LAST TEMPTATION OF CHRIST, THE (US/CN, Martin Scorsese, 1988). 30. MAGNIFICENT AMBERSONS, THE (US, Orson Welles, 1942). 31. LETTER FROM AN UNKNOWN WOMAN (US, Max Ophuls, 1948)
SUMMARY:
“The use of alternate realities in cinema has been brought to new heights by such recent films as ‘Eternal Sunshine of the Spotless Mind’ and ‘Donnie Darko’. ‘Alternative Worlds in Hollywood Cinema’ is the first book to analyze these imaginary realms, tracing their construction and development across periods, genres and history.
“Through an analysis of such landmark films as ‘The Wizard of Oz’, ‘It’s a Wonderful Life’ and ‘Groundhog Day’, Walters reveals how unconventional worlds are crucial to each film’s dramatic agenda and narrative structure. This groundbreaking volume unifies decades of divergent work by film scholars and points the way towards a new theoretical framework for understanding fantasy in the context of popular film. ‘Alternative Worlds in Hollywood Cinema’ will be an essential resource for film studies scholars and movie buffs alike.” (Taken from the back cover.)
NOTES:
Includes Filmography, Bibliography and Index

.
RECORD TYPE
Book Interim
PHYSICAL DESCRIPTION:
232 p. : ill. ; 23 cm
ISBN:
9781841502021
ID
50048
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CHILDREN’S NOVELS AND THE MOVIES / Street, Douglas. — New York: F. Ungar Pub. Co. 1983.
CALL NO:
753.131-053.2 CHI

SUBJECT:
1. ADAPTATIONS. 2. CHILDREN AND THE CINEMA. 3. ALICE IN WONDERLAND (US, Clyde Geronimi & Wilfred Jackson & Hamilton Luske & Brice Mack, 1951). 4. ALICE’S ADVENTURES IN WONDERLAND (UK, William Sterling, 1972). 5. CHARLOTTE’ S WEB (US, Charles A. Nichols & Iwao Takamoto, 1973). 6. CHITTY CHITTY BANG BANG (UK, Ken Hughes, 1968). 7. FROM THE MIXED UP FILES OF MRS. BASIL E. FRANKENWEILER (US, Fielder Cook, 1973). 8. HERO AIN’T NOTHING BUT A SANDWICH, A (US, Ralph Nelson, 1977). 9. HOBBIT, THE (US, Jules Bass & Arthur Rankin Jr., 1977). 10. ISLAND OF THE BLUE DOLPHINS (US, James B. Clark, 1964). 11. KIDNAPPED (UK, Delbert Mann, 1971). 12. KIM (US, Victor Saville, 1950). 13. LION, THE WITCH AND THE WARDROBE, THE (UK/US, Bill Melendez, 1979). 14. LITTLE LORD FAUNTLEROY (UK, Jack Gold, 1981). 15. LITTLE LORD FAUNTLEROY (US, John Cromwell, 1936). 16. LITTLE PRINCE, THE (UK/US, Stanley Donen, 1974). 17. LITTLE WOMEN (US, George Cukor, 1933). 18. LITTLE WOMEN (US, Mervyn LeRoy, 1948). 19. PINOCCHIO (US, Ben Sharpsteen & Hamilton Luske, 1940). 20. PIPPI LANGSTRUMP (GG, Olle Hellbom, 1969). 21. PIPPI LONGSTOCKING (GG, Olle Hellbom, 1969). 22. RAILWAY CHILDREN, THE (UK, Lionel Jeffries, 1970). 23. SECRET GARDEN, THE (BL, Fred M. Wilcox, 1949). 24. SOUNDER (US, Martin Ritt, 1972). 25. TOBY TYLER, OR TEN WEEKS WITH A CIRCUS (US, Charles Barton, 1960). 26. TOM BROWN’S SCHOOLDAYS (UK, Gordon Parry, 1951). 27. TREASURE ISLAND (US, Victor Fleming, 1934). 28. TREASURE ISLAND (US, Byron Haskin, 1950). 29. TREASURE ISLAND (US, Andrea Bianchi & Jon Hough, 1972). 30. WATERSHIP DOWN (UK, Martin Rosen, 1978). 31. WILLY WONKA AND THE CHOCOLATE FACTORY (US, Mel Stuart, 1971). 32. WIZARD OF OZ, THE (US, Victor Fleming, 1939)
SUMMARY:
“For the young and the young in heart, film versions of old favourites renew the magic of first acquaintance with these wonderful stories. Several landmark films are covered here in lively examinations of the art of successful cinematic adaptation, covering children’s literature from the Victorian age to the present – from Tom Brown’s Schooldays to A Hero Ain’t Nothing but a Sandwich [...] This is the first book to devote itself exclusively to film adaptations of children’s classics. All the writers are equally at home in children’s fiction and film studies. Their essays, with one exception, were especially prepared for this volume. All together, a rewarding look at old and new favourites in literature and the movies, and at the elements that have made them lastingly successful.” — BOOK BLURB
NOTES:
Includes index. Filmography: p. 253-273. Bibliography: p. 280-290.
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
xxiv, 304 p., [16] p. of plates : ill. ; 22 cm
ISBN:
0804428409 : $14.95 0804468834 (pbk.) : $6.95
ID
20471
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THE CLASSIC AMERICAN NOVEL AND THE MOVIES / Peary, Gerald; Shatzkin, Roger. — New York: Ungar, 1977.
CALL NO:
753.4 CLA

SUBJECT:
1. ADAPTATIONS. 2. BOGDANOVICH, PETER. 3. EISENSTEIN, SERGEI M.. 4. ADVENTURES OF TOM SAWYER, THE (US, Norman Taurog, 1938). 5. ALICE ADAMS (US, George Stevens, 1935). 6. BABBITT (US, Harry Beaumont, 1924). 7. BILLY BUDD (UK, Peter Ustinov, 1962). 8. CARRIE (US, William Wyler, 1952). 9. DAISY MILLER (US, Peter Bogdanovich, 1974). 10. DODSWORTH (US, William Wyler, 1936). 11. FAREWELL TO ARMS, A (US, Frank Borzage, 1933). 12. GREAT GATSBY, THE (US, Elliott Nugent, 1949). 13. GREAT GATSBY, THE (US, Jack Clayton, 1974). 14. GREED (US, Erich von Stroheim, 1925). 15. HEIRESS, THE (US, William Wyler, 1949). 16. HOUSE OF SEVEN GABLES, THE (US, Joe May, 1940). 17. I MARRIED A DOCTOR (US, Archie L. Mayo, 1936). 18. INNOCENTS, THE (UK, Jack Clayton, 1962). 19. LAST OF THE MOHICANS, THE (US, Maurice Tourneur, 1920). 20. LITTLE WOMEN (US, George Cukor, 1933). 21. LITTLE CAESAR (US, Mervyn LeRoy, 1931). 22. LITTLE WOMEN (US, Mervyn LeRoy, 1948). 23. MOBY DICK (UK, John Huston, 1956). 24. PRINCE AND THE PAUPER, THE (US, William Keighley, 1937). 25. RED BADGE OF COURAGE, THE (US, John Huston, 1951). 26. SEA WOLF, THE (US, Michael Curtiz, 1941). 27. SCARLET LETTER, THE (US, Victor Sjostrom, 1926). 28. SOUND AND THE FURY, THE (US, Martin Ritt, 1959). 29. SUN ALSO RISES, THE (US, Henry King, 1957). 30. VIRGINIAN, THE (US, Stuart Gilmore, 1946). 31. VIRGINIAN, THE (US, Victor Fleming, 1929). 32. WIZARD OF OZ, THE (US, Victor Fleming, 1939)
SUMMARY:
“Does a successfl novel make a good movie? That question and others are explored in this first comprehensive collection of essays on novel into film adaptations – from Cooper’s The Last of the Mohicans (1826) to Faulkner’s The Sound and the Fury (1929). Over two thirds of these essays were written expressly for this volume, the work of a new generation of literature-trained but film-oriented teachers and critics. Together they examine how novels and their film adaptations differ from one another in technique, characterisation, scope, and ideological content. To the original essays the editors have added some of the best available writings on adaptations by such critics as Stanley Kauffman and Manny Farber, plus selected commentaries from the actual participants in the process of adaptations – screenwriters and film directors.” — BOOK BLURB
NOTES:
Includes index. Filmography: p. 321-336. Bibliography: p. 337-344.
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
xii, 356 p. : ill. ; 22 cm
ISBN:
0804426813 : $12.50. 0804466475 pbk. : $4.95
ID
20486
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FILM REMAKES, ADAPTATIONS AND FAN PRODUCTIONS : remake/remodel / Loock, Kathleen (ed.); Verevis, Constantine (ed.) — Basingstoke, England: Palgrave Macmillan, 2012.
CALL NO:
753.81 FIL

SUBJECT:
1. ADAPTATIONS. 2. FANS. 3. FILM. 4. REMAKES. 5. ADVENTURES OF MERLIN, THE [TV] (UK, 2008-). 6. ALL THE KINGS MEN (US, Robert Rossen, 1949). 7. INVASION OF THE BODY SNATCHERS (US, Don Siegel, 1956). 8. INVASION OF THE BODY SNATCHERS (US, Philip Kaufman, 1978). 9. MANCHURIAN CANDIDATE, THE (US, John Frankenheimer, 1962). 10. MANCHURIAN CANDIDATE, THE (US, John Frankenheimer, 1962). 11. MANCHURIAN CANDIDATE, THE (US, Jonathon Demme, 2004). 12. SHERLOCK HOLMES (US/G, Guy Ritchie, 2009). 13. STEPFORD WIVES, THE (US, Bryan Forbes, 1975). 14. STEPFORD WIVES, THE (US, Frank Oz, 2004). 15. WIZARD OF OZ, THE (US, Victor Fleming, 1939). 16. WUTHERING HEIGHTS (US, William Wyler, 1939). 17. WUTHERING HEIGHTS (UK/US, Peter Kosminsky, 1992). 18. WUTHERING HEIGHTS (UK, Robert Fuest, 1970). 19. WUTHERING HEIGHTS (UK, Andrea Arnold, 2011)
SUMMARY:
” This book provides a dynamic investigation of processes of cultural reproduction – remaking and remodelling – in film, television and new media. Drawing on a wide variety of Hollywood and other examples, this impressive group of contributors considers a wide range of film adaptations, remakes and fan productions from various industrial, textual and critical perspectives. Their case studies discuss new versions of popular texts such as The Manchurian Candidate, Invasion of the Body Snatchers and The Stepford Wives. They provide new perspectives on the unlimited cultural production of classics like The Wizard of Oz, Wuthering Heights and The Adventures of Sherlock Holmes, and they analyze the groundbreaking work of fan appropriations, including Batman and Spiderman fanvids, and fanfic trailer revisions for The Shining and television’s The Adventures of Merlin.” — BOOK BLURB
CONTENTS:
– list of illustrations — acknowledgments — notes on contributors — introduction: remake,remodel / Kathleen Loock and Constantine Verevis — pt. I Adapt — 1: Toto, I Think We’re in Oz Again’ (and Again and Again) remakes and popular seriality / Frank Kelleter — 2: Guy Ritchie’s Sherlock Bond, the Deerstalker and Remediation / Stephanie Sommerfeld — 3: a battle on two fronts: Wuthering Heights and adapting the adaptation / Amy Martin — 4: of political visions and visionary politicians: Adapting All the King’s Men to the Big Screen / Birte Otten — pt. II Remake — 5: remaking The Stepford Wives, remodeling feminism / Kathryn Schweishelm — 6: The Return of the Pod People: remaking cultural anxieties in Invasion of the Body Snatchers / Kathleen Loock — 7: Cyber-noia? remaking The Manchurian Candidate in a global age / Sonja Georgi — 8: a personal matter: H Story / Constantine Verevis — pt. III Remodel — 9: Remaking Texts, Remodeling Scholarship / Robin Anne Reid — 10.”Prince Arthur Spotted Exiting Buckingham Palace!”: the re-imagined worlds of fanfic trailers / Sibylle Machat — 11:you’ll never see this on the silver screen: the film trailer as a template for the appropriation and transformation of Hollywood Movies / Lili Hartwig — 12: spoofin’ spidey—rebooting the bat: immersive story worlds and the narrative complexities of video spoofs in the era of the superhero blockbuster / Daniel Stein — index –
NOTES:
Includes bibliographical references and index. Tertiary/Undergraduate, Postgraduate.
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
xiii, 252 p. : ill. ; 23 cm
ISBN:
9781137263346
ID
59926
________________________________________

THE ROAD MOVIE BOOK / Cohan, Steven; Hark, Ina Rae. — London New York: Routledge, 1997.
CALL NO:
754.11 ROA

SUBJECT:
1. ROAD MOVIES. 2. BUDDY FILMS. 3. HOMOSEXUALITY IN FILMS. 4. AIDS IN FILMS. 5. EASY RIDER (US, Dennis Hopper, 1969). 6. MAD MAX [...] (AT, 1979-85). 7. THEY LIVE BY NIGHT (US, Nicholas Ray, 1949). 8. PARIS, TEXAS (GW/US, Wim Wenders, 1984). 9. RAIN MAN (US, Barry Levinson, 1988). 10. SEARCHERS, THE (US, John Ford, 1956). 11. ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, THE (AT, Stephan Elliott, 1994). 12. BONNIE AND CLYDE (US, Arthur Penn, 1967). 13. BOYS ON THE SIDE (US, Herbert Ross, 1995). 14. FASTER PUSSYCAT! KILL! KILL! (US, Russ Meyer, 1966). 15. LIVING END, THE (US, Gregg Araki, 1992). 16. MIDNIGHT RUN (US, Martin Brest, 1988). 17. MY OWN PRIVATE IDAHO (US, Gus Van Sant, 1991). 18. NATURAL BORN KILLERS (US, Oliver Stone, 1994). 19. PERFECT WORLD, A (US, Clint Eastwood, 1993). 20. SORPASSO, IL (IT, Dino Risi, 1962). 21. THELMA & LOUISE (US, Ridley Scott, 1991). 22. TO WONG FOO, THANKS FOR EVERYTHING! JULIE NEWMAR (US, Beeban Kidron, 1995). 23. WITHOUT RESERVATIONS (US, Mervyn LeRoy, 1946). 24. WIZARD OF OZ, THE (US, Victor Fleming, 1939)
NOTES:
Includes bibliographical references and indexes.
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
xv, 379 p. : ill. ; 24 cm
ISBN:
0415149363 (hbk.) 0415149371 (pbk.)
ID
2273
________________________________________

LOST HIGHWAYS : an illustrated history of road movies / Sargeant, Jack; Watson, Stephanie. — London: Creation, 1999.
CALL NO:
754.11 SAR

SUBJECT:
1. ROAD MOVIES. 2. WESTERNS. 3. MOTORCYCLE FILMS. 4. HORROR FILMS. 5. VAMPIRE FILMS. 6. SCIENCE-FICTION FILMS. 7. Wenders, Wim. 8. LYNCH, DAVID. 9. ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, THE (AT, Stephan Elliott, 1994). 10. AGUIRRE, DER ZORN GOTTES (GW, Werner Herzog, 1972). 11. ALICE IN DEN STADTEN (GW, Wim Wenders, 1973). 12. APOCALYPSE NOW (US, Francis Ford Coppola, 1979). 13. BACKROADS (AT, Philip Noyce, 1977). 14. BADLANDS (US, Terrence Malick, 1973). 15. BLUE VELVET (US, David Lynch, 1986). 16. BONNIE AND CLYDE (US, Arthur Penn, 1967). 17. BUTTERFLY KISS (UK, Michael Winterbottom, 1995). 18. CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974). 19. CRASH (CN, David Cronenberg, 1996). 20. DELIVERANCE (US, John Boorman, 1972). 21. EASY RIDER (US, Dennis Hopper, 1969). 22. EL TOPO (MX, Alexando Jodorowsky, 1971). 23. FROM DUSK TILL DAWN (US, Robert Rodriquez, 1996). 24. GALLIVANT (UK, Andrew Kotting, 1996). 25. GUN CRAZY (US, Joseph H. Lewis, 1949). 26. I WAS A MALE WAR BRIDE (US, Howard Hawks, 1949). 27. KALIFORNIA (US, Dominic Sena, 1993). 28. IM LAUF DER ZEIT (GW, Wim Wenders, 1976). 29. KISS OR KILL (AT, Bill Bennett, 1997). 30. HEAVEN’S BURNING (AT, Craig Lahiff, 1997). 31. JETEE, LA (FR, Chris Marker, 1963). 32. LOST HIGHWAY (US, David Lynch, 1996). 33. MAD MAX [...] (AT, 1979-85). 34. MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999). 35. MESHES OF THE AFTERNOON (US, Maya Deren & Alexander Hammid, 1943). 36. NATURAL BORN KILLERS (US, Oliver Stone, 1994). 37. NEAR DARK (US, Kathryn Bigelow, 1987). 38. NIGHT OF THE HUNTER (US, Charles Laughton, 1955). 39. F.J. HOLDEN, THE (AT, Michael Thornhill, 1977). 40. THELMA & LOUISE (US, Ridley Scott, 1991). 41. THEY LIVE BY NIGHT (US, Nicholas Ray, 1949). 42. TO WONG FOO, THANKS FOR EVERYTHING! JULIE NEWMAR (US, Beeban Kidron, 1995). 43. TRUE ROMANCE (US, Tony Scott, 1993). 44. TWO LANE BLACKTOP (US, Monte Hellman, 1971). 45. JOHN CARPENTER’S VAMPIRES (US, John Carpenter, 1998). 46. VANISHING POINT (UK, Richard C. Sarafian, 1971). 47. WALKABOUT (UK, Nicolas Roeg, 1971). 48. WEEK-END (FR/IT, Jean-Luc Godard, 1968). 49. WILD AT HEART (US, David Lynch, 1990). 50. WILD BUNCH, THE (US, Sam Peckinpah, 1969). 51. HIMMEL UBER BERLIN, DER (GW/FR, Wim Wenders, 1987). 52. WIZARD OF OZ, THE (US, Victor Fleming, 1939)
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
256 p. : ill. ; 25 cm
ISBN:
1871592682(pbk.) : ª14.95
ID
1305
________________________________________

THE MAKING OF THE WIZARD OF OZ / Harmetz, Aljean. — London: Pavilion, 1989.
CALL NO:
79WIZ HAR

SUBJECT:
1. WIZARD OF OZ, THE (US, Victor Fleming, 1939)
NOTES:
American cinema films: Wizard of Oz. Production (BNB/PRECIS)
Includes bibliographical references.
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
xx, 331 p. : ill ; 25 cm.
ISBN:
1851453474
DONATION
donated by the family of Wayne Levy, 2006
ID
44514
________________________________________

OFFSCREEN ONSCREEN : the inside stories of 60 great films / Van Gelder, Peter. — London: Aurum, 1990.
CALL NO:
792(047.1) GEL

SUBJECT:
1. AIRPLANE (US, Jim Abrahams & David Zucker & Jerry Zucker, 1980). 2. ANNIE HALL (US, Woody Allen, 1977). 3. APOCALYPSE NOW (US, Francis Ford Coppola, 1979). 4. BATMAN (US, Tim Burton, 1989). 5. BEVERLY HILLS COP (US, Martin Brest, 1984). 6. BONNIE AND CLYDE (US, Arthur Penn, 1967). 7. BRIEF ENCOUNTER (UK, David Lean, 1945). 8. BUTCH CASSIDY AND THE SUNDANCE KID (US, George Roy Hill, 1969). 9. CARRY ON CLEO (UK, Gerald Thomas, 1964). 10. CASABLANCA (US, Michael Curtiz, 1942). 11. CHARIOTS OF FIRE (UK, Hugh Hudson, 1981). 12. CITIZEN KANE (US, Orson Welles, 1941). 13. CROCODILE DUNDEE (AT, Peter Faiman, 1986). 14. DAM BUSTERS, THE (UK, Michael Anderson, 1955). 15. DIRTY HARRY (US, Don Siegel, 1971). 16. DUCK SOUP (US, Leo McCarey, 1933). 17. EASY RIDER (US, Dennis Hopper, 1969). 18. E.T. THE EXTRA TERRESTRIAL (US, Steven Spielberg, 1982). 19. EXORCIST, THE (US, William Friedkin, 1973). 20. FANTASIA (US, Walt Disney, 1940). 21. FATAL ATTRACTION (US, Adrian Lyne, 1987). 22. [FORTY-SECOND] 42ND STREET (US, Lloyd Bacon, 1933). 23. FRANKENSTEIN (US, James Whale, 1931). 24. FRENCH CONNECTION, THE (US, William Friedkin, 1971). 25. GENEVIEVE (UK, Henry Cornelius, 1953). 26. GODFATHER, THE (US, Francis Ford Coppola, 1972). 27. GOLDFINGER (UK, Guy Hamilton, 1964). 28. GONE WITH THE WIND (US, Victor Fleming, 1939). 29. GRADUATE, THE (US, Mike Nichols, 1967). 30. GREASE (US, Randal Kleisner, 1978). 31. HARD DAY’S NIGHT, A (UK, Richard Lester, 1964). 32. HENRY V (UK, Laurence Olivier, 1944). 33. HIGH NOON (US, Fred Zinnemann, 1952). 34. HIGH SOCIETY (US, Charles Walters, 1956). 35. IT HAPPENED ONE NIGHT (US, Frank Capra, 1934). 36. KING KONG (US, Merian C. Cooper & Ernest B. Schoedsack, 1933). 37. LAVENDER HILL MOB, THE (UK, Charles Crichton, 1951). 38. LAWRENCE OF ARABIA (UK, David Lean, 1962). 39. MAGNIFICENT SEVEN, THE (UK, John Sturges, 1960). 40. MALTESE FALCON, THE (US, John Huston, 1941). 41. M*A*S*H (US, Robert Altman, 1969). 42. ONE FLEW OVER THE CUCKOO’S NEST (US, Milos Forman, 1975). 43. PINK PANTHER, THE (US, Blake Edwards, 1964). 44. PSYCHO (US, Alfred Hitchcock, 1960). 45. RAIDERS OF THE LOST ARK (US, Steven Spielberg, 1981). 46. RAMBO : FIRST BLOOD PART II (US, George Pan Cosmatos, 1985). 47. REBEL WITHOUT A CAUSE (US, Nicholas Ray, 1955). 48. ROAD TO MOROCCO (US, David Butler, 1942). 49. SINGIN’ IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952). 50. SNOW WHITE AND THE SEVEN DWARFS (US, David Hand, 1937). 51. SOME LIKE IT HOT (US, Billy Wilder, 1959). 52. SOUND OF MUSIC, THE (US, Robert Wise, 1965). 53. STAGECOACH (US, John Ford, 1939). 54. STAR WARS (US, George Lucas, 1977). 55. THIRD MAN, THE (UK, Carol Reed, 1949). 56. TOOTSIE (US, Sydney Pollack, 1982). 57. TOP HAT (US, Mark Sandrich, 1935). 58. [TWO THOUSAND AND ONE] 2001: A SPACE ODYSSEY (UK, Stanley Kubrick, 1968). 59. WHO FRAMED ROGER RABBIT (US, Roger Zemekis, 1988). 60. WIZARD OF OZ, THE (US, Victor Fleming, 1939)
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
288 p. : ill. ; 24 cm
ISBN:
1854101617 1854101617 (pbk) : ¦9.95 : CIP confirmed
ID
2072
________________________________________

THE WIZARD OF OZ / Rushdie, Salman. / British Film Institute. — London: BFI Pub. 1992.
CALL NO:
792WIZ RUS

SUBJECT:
1. WIZARD OF OZ, THE (US, Victor Fleming, 1939)
NOTES:
Includes bibliographical references (p. 69)
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
69 p. : ill. (some col.) ; 19 cm
ISBN:
0851703003
ID
23444
________________________________________

THE SCORSESE CONNECTION / Stern, Lesley. — London: British Film Institute, 1995.
CALL NO:
81SCO STE

SUBJECT:
1. SCORSESE, MARTIN. 2. REMAKES. 3. RAGING BULL (US, Martin Scorsese, 1980). 4. TAXI DRIVER (US, Martin Scorsese, 1976). 5. CAPE FEAR (US, Martin Scorsese, 1991). 6. CAPE FEAR (US, J. Lee Thompson, 1961). 7. SEARCHERS, THE (US, John Ford, 1956). 8. RED SHOES, THE (UK, Michael Powell & Emeric Pressburger, 1948). 9. WIZARD OF OZ, THE (US, Victor Fleming, 1939). 10. BLUE VELVET (US, David Lynch, 1986). 11. DUEL IN THE SUN (US, King Vidor, 1946). 12. GIRL CAN’T HELP IT, THE (US, Frank Tashlin, 1956). 13. GONE WITH THE WIND (US, Victor Fleming, 1939). 14. NIGHT OF THE HUNTER (US, Charles Laughton, 1955)
NOTES:
Includes bibliographical references and index.
RECORD TYPE
Book
PHYSICAL DESCRIPTION:
vii, 257 p. : ill. ; 24 cm
ISBN:
085170512X : ª35.00 0851705138 (pbk.) 0253210119 (pbk) 0253329523 (hbk)
ID
39380

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