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Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Clippings; Press kit; Publicity
Subject: ANTONIA AND JANE (UK, Beeban Kidron, 1991)
ID2: 79

PhysDes: Article
Subject: COPRODUCTION. CHINA; BARNARD, ANTONIA; PAINTED VEIL, THE (C/US, John Curran, 2006)
Summary: A series of short articles that refer to the Australian co-production treaty. Tracey Prisk reports on co-productions with China and Singapore with comments from AFC's Catherine Waters. Producer Antonia Barnard, THE PAINTED VEIL and Flying Bark Productions also comment on their experience of being involved in co-productions in Asia.

Call No: PERSONALITY CLIPPINGS FILE; PERSONALITY MICROFILM COLLECTION
PhysDes: Clippings
Subject: BIRD, ANTONIA

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FACE (UK, Antonia Bird, 1997)

Call No: 626:396 RAM
Author: Ramanathan, Geetha
Edition: 2006
Place: London
Publisher: Wallflower Press
PhysDes: viii,240 pages : illustrations ; 24 cm
Subject: FEMINISM AND THE CINEMA; BORDEN, LIZZIE; KAPLAN, NELLY; CHADHA, GURINDER; DURAS, MARGUERITE; DENIS, CLAIRE; VARDA, AGNES; SANS TOIT NI LOI (FR, Agnes Varda, 1985); INDIA SONG (FR, Marguerite Duras, 1975); BHAJI ON THE BEACH (UK, Gurinder Chadha, 1993); CHOCOLATE [CHOCOLAT] (FR, Claire Denis, 1988); DAUGHTERS OF THE DUST (US, Julie Dash, 1991); DANZON (MX, Maria Novaro, 1991); MALOU (GW, Jeanine Meerapfel, 1981); ANTONIA (NE/BE/UK, Marleen Gorris, 1995); HORA DA ESTRELA, A (BL, Suzana Amaral, 1985)
Summary: Feminist Auteurs examines a rich and diverse body of work that has received insufficient attention both in film studies and in feminist theory on film. Looking at individual films within the context of feminist film as a genre, Ramanathan examines film from diverse cultural traditions, while paying close attention to what might be regarded as feminist in different cultural contexts. The films chosen expand our ideas of feminism covering as they do film from Africa, Latin America, Europe, Asia and the US. Full-length interpretations of twenty-four films, both older and contemporary, including Vagabond, India Song, Bhaji on the Beach, Chocolat, and Daughters of the Dust lay out a complete and powerful framework for reading women's film. - publisher's web site
ISBN: 9781904764694

Call No: PERSONALITY CLIPPINGS FILE
PhysDes: Clippings
Subject: KIDMAN, ANTONIA

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: MAD LOVE (US, Antonia Bird, 1995)

Call No: PERSONALITY MICROFILM COLLECTION
PhysDes: Clippings
Subject: MURPHY, ANTONIA

Call No: TITLE CLIPPINGS FILE
PhysDes: Publicity; Press kit; Stills; Clippings
Subject: PRIEST (UK, Antonia Bird, 1994)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: RAVENOUS (US/UK/CZ, Antonia Bird, 1999)

Call No: 45:2 PLA
Author: Plate, S. Brent
Edition: second
Place: New York; Chichester, U.K.
Publisher: Columbia University Press
PubDate: 2017
PhysDes: xviii,207 p. : illus. ; 23cm
Subject: RELIGION AND THE CINEMA; PURPLE ROSE OF CAIRO, THE (US, Woody Allen, 1985); TIDELAND (CN/UK, Terry Gilliam, 2005); BIG FISH (US, Tim Burton, 2003); MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999); PASSION OF THE CHRIST, THE (US, Mel Gibson, 2004); BLUE VELVET (US, David Lynch, 1986); CHOCOLAT (US, Lasse Hallstrom, 2000); ANTONIA'S LINE (NE/BE/UK, Marleen Gorris, 1995) SEE ANTONIA; ANTONIA (NE/BE/UK, Marleen Gorris, 1995); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); BARAKA (US, Ron Fricke, 1992); MONSTERS, INC. (U S, Peter Docter & David Silverman, 2001); KIKI'S DELIVERY SERVICE (JA, Hayao Miyazaki, 1989); METROPOLIS (G, Fritz Lang, 1926); ACT OF SEEING WITH ONE'S OWN EYES, THE (US, Stan Brakhage, 1971); BEN HUR (US, William Wyler, 1959); KING OF KINGS (US, Nicholas Ray, 1961); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); STRAIGHT STORY, THE (US/FR/UK, David Lynch, 1999)
Summary: Religion and cinema share a capacity for world making, ritualizing, mythologizing, and creating sacred time and space. Through cinematography, mise-en-scène, editing, and other production activities, film takes the world “out there” and refashions it. Religion achieves similar ends by setting apart particular objects and periods of time, telling stories, and gathering people together for communal actions and concentrated focus. The result of both cinema and religious practice is a re-created world: a world of fantasy, a world of ideology, a world we long to live in, or a world we wish to avoid at all costs. Religion and Film introduces readers to both religious studies and film studies by focusing on the formal similarities between cinema and religious practices and on the ways they each re-create the world. Explorations of film show how the cinematic experience relies on similar aesthetic devices on which religious rituals have long relied: sight, sound, the taste of food, the body, and communal experience. Meanwhile, a deeper understanding of the aesthetic nature of religious rituals can alter our understanding of film production. Utilizing terminology and theoretical insights from the study of religion as well as the study of film, Religion and Film shows that by paying attention to the ways films are constructed, we can shed new light on the ways religious myths and rituals are constructed and vice versa. This thoroughly revised and expanded new edition is designed to appeal to the needs of courses in religion as well as film departments. In addition to two new chapters, this edition has been restructured into three distinct sections that offer students and instructors theories and methods for thinking about cinema in ways that more fully connect film studies with religious studies. -- publisher's web site
ISBN: 978023117650
Donation: Senses of Cinema
Contents: List of Illustrations Preface to the Second Edition Preface to the First Edition Acknowledgments Introduction: Worldmaking On-Screen and at the Altar Part I. Before the Show: Pulling the Curtain on the Wizard 1. Audio-Visual Mythologizing 2. Ritualizing Film in Space and Time 3. Sacred and Cinematic Spaces: Cities and Pilgrimages Part II. During the Show: Attractions and Distractions 4. Religious Cinematics: Body, Screen, and Death 5. The Face, the Close-Up, and Ethics Part III. After the Show: Re-Created Realities 6. The Footprints of Film: Cinematic After-Images in Sacred Time and Space Notes References Filmography Index
ID2: 283

Call No: 201(4) FIN
Author: Finney, Angus, 1964
Place: London
Publisher: Cassell
PubDate: 1996
PhysDes: x, 262 p. ; 24 cm
Subject: INDUSTRY, FILM. EUROPEAN COUNTRIES; EDUCATION, FILM. EUROPEAN COUNTRIES; STARS. EUROPEAN COUNTRIES; DISTRIBUTION. EUROPEAN COUNTRIES; TECHNOLOGY AND THE CINEMA. EUROPEAN COUNTRIES; POLYGRAM; EURIMAGES; NAME OF THE ROSE, THE [NAME DER ROSE, DER] (GW/IT/FR, Jean-Jacques Annaud, 1986); TRAINSPOTTING (UK, Danny Boyle, 1996); FARINELLI IL CASTRATO (FR/BE/IT, Gerard Corbiau, 1994); ROB ROY (US, Michael Caton-Jones, 1995); TALES FROM A HARD CITY (FR/UK, Kim Flitcroft, 1994); BREAKING THE WAVES (DK/FR, Lars Von Trier, 1996); GUILTRIP (IE, Gerard Stembridge, 1995); ANTONIA (NE/BE/UK, Marleen Gorris, 1995); CIRCLE OF FRIENDS (US, Pat O'Connor, 1995); FLOWER OF MY SECRET, THE [FLOR DE MI SECRETO, LA] (SP/FR, Pedro Almodovar, 1995)
Notes: "Includes transpotting case study"--Cover; Includes index; Bibliography: p. 255
ISBN: 0304333026 (pbk)
LON: abn96337602; 12766083