Search Catalogue

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: AVATAR (US, James Cameron, 2009)

Call No: DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: AVATAR: THE WAY OF WATER (US, James Cameron, 2022)

Call No: 246.8 WEE
Author: Weetch, Owen
Source: UK
Place: Basingstoke
Publisher: Palgrave Macmillan
PubDate: [2016]
PhysDes: xi, 168 pages : illustrations (colour) ; 22 cm
Series: Palgrave close readings in film and television
Subject: 3-D ANIMATION; 3-D AND THE CINEMA; 3-D FILMS; AVATAR (US, James Cameron, 2009); GRAVITY (US/UK, Alfonso Cuaron, 2013); HOLE, THE (US, Joe Dante, 2009); GREAT GATSBY, THE (US/AT, Baz Luhrman, 2013); FROZEN (US, Chris Buck & Jennifer Lee, 2013)
Summary: "This book puts forward a more considered perspective on 3D, which is often seen as a distracting gimmick at odds with artful cinematic storytelling. Owen Weetch looks at how stereography brings added significance and expressivity to individual films that all showcase remarkable uses of the format. Avatar, Gravity, The Hole, The Greta Gatsby and Frozen all demonstrate that stereography is a rich and sophisticated process that has the potential to bring extra meaning to a film's narrative and themes." - taken from back cover.
Notes: Includes index. -- Includes glossary of stereoscopic terms.
ISBN: 9781349712946
Contents: 1.Introduction: The Expressivity of Space -- 2.'I See You': Avatar, Narrative Spectacle and Accentuating Continuity -- 3.`You're Going to Make It': Ride Alignment and the Mastery of Stereographic Space in Gravity -- 4.`You Only Looked that Way Because I was Little': Spaces of Terror and Reaching Maturity in The Hole -- 5.`There's an Ocean in the Way': Written Words, Unreachability and Competing Testimonies in The Great Gatsby -- 6.`Against the Wall': Frozen's Expressive Planarity, Attempts to Connect and Ambivalent Utopias -- 7.Conclusion: A Special Plea for Off-the-Screen Space.

Call No: 33 MIN
Author: Mingant, Nolwenn; Tirtaine, Cecilia; Augros, Joel
Source: UK
Place: London
Publisher: BFI book published by Palgrave
PubDate: 2015
PhysDes: xii, 200 pages : illustrations ; 24 cm
Subject: ADVERTISING FOR FILMS; ADVERTISING; DIGITAL TECHNOLOGY; TRANSNATIONAL CINEMA; DISTRIBUTION; INTERNET AND THE CINEMA; COMPUTERS AND THE CINEMA; MY BIG FAT GREEK WEDDING (US, Joel Zwick, 2002); MY LIFE IN RUINS (US, Donald Petrie, 2009); ICE AGE (US, Chris Wedge & Carlos Saldanha, 2002); ICE AGE: CONTINENTAL DRIFT (US, Steve Martino/Michael Thurmeier, 2012); HOBBIT, THE: AN UNEXPECTED JOURNEY (US/NZ, Peter Jackson, 2012); HOBBIT, THE: THE DESOLATION OF SMAUG (US/NZ, Peter Jackson, 2013); HOBBIT, THE: THE BATTLE OF THE FIVE ARMIES (US/NZ , Peter Jackson, 2014); BAIT (AT, Kimble Rendall, 2012); AVATAR (US, James Cameron, 2009)
Summary: "How do you sell English humour to a French audience? Could piracy actually be good for the film business? Why are the revolutionary technologies used in the making of The Hobbit not mentioned in some adverts? Exploring these questions and many more, Film Marketing into the Twenty-First Century draws on insights from renowned film scholars and leading industry professionals to chart the evolution of modern film marketing. The first part of the book focuses on geographical considerations, showing how marketers have to adapt their strategies locally as films travel across borders. The second covers new marketing possibilities offered by the Internet, as Vine, Facebook and other participative websites open new venues for big distributors and independents alike. Straddling practical and theoretical concerns and including case studies that take us from Nollywood to Peru, this book provides an accessible introduction to the key issues at stake for film marketing in a global era." -- BOOK BLURB
Notes: Includes bibliographical references and index
ISBN: 9781844578382
Contents: -- acknowledgments -- notes on contributors -- foreword / Janet Wasko -- 1: introduction / Nolwenn Mingant, Cecilia Tirtaine and Joel Augros -- `My job is to find the right signals at the right moment for the right people' an interview with Benoit Mely / Laurent Creton and Nolwenn Mingant -- I.MARKETING AND FILM CULTURE -- `There simply Isn't one-shape-fits-all for film' an interview with Michael Williams-Jones / Nolwenn Mingant -- And Tom Cruise Climbed the Burj Khalifa, or How Marketing Shapes Hollywood Film Production / Nolwenn Mingant -- `My Big Fat Life in Ruins' Marketing Greekness and the Contemporary US Independent Film / Yannis Tzioumakis and Lydia Papadimitriou -- Carry On Laughing Selling English Humour in France / Cecilia Tirtaine and Joel Augros -- Hearing Voices Dubbing and Marketing in the Ice Age Series A case study / Nolwenn Mingant -- Hollywood in China Continuities and Disjunctures in Film Marketing / Michael Curtin, Wesley Jacks and Yongli Li -- Film Marketing in Nollywood A case study / Alessandro Jedlowski -- Marketing High Frame Rate in The Hobbit Trilogy A Spectacular Case of Promoting and Un-promoting New Cinema Technology / Miriam Ross -- Niche Marketing in Peru An Interview / Nolwenn Mingant -- II.MARKETING FOR AND BY THE CONSUMER -- Leaked Information and Rumours The Buzz Effect A case study / Joel Augros -- Brave New Films, Brave New Ways The Internet and the Future of Low- to No Budget Film Distribution and Marketing / Hayley Trowbridge -- Between Storytelling and Marketing, the SocialSamba Model An Interview with Aaron Williams / Nolwenn Mingant -- Promoting in Six Seconds New Advertising Strategies Using the Video Social Network Vine in Spain A case study / Javier Lozano Delmar and Jose Antonio Muniz-Velazquez -- Piracy and Promotion Understanding the Double-edged Power of Crowds / Ramon Lobato -- Marketing Bait (2012) Using SMART Data to Identify e-guanxi Among China's `Internet Aborigines' / Brian Yecies, Jie Yang, Matthew Berryman and Kai Soh -- From Marketing to Performing the Market The Emerging Role of Digital Data in the Independent Film Business / Michael Franklin, Dimitrinka Stoyanova Russell and Barbara Townley -- POSTSCRIPT: THE INVISIBLE SIDE OF BUSINESS: B-TO-B MARKETING -- marketing the `Avatar Revolution', or How to Sell Digital Technology to Exhibitors / Kira Kitsopanidou -- `It's Africa. It's Arizona. It's Antarctica. It's Afghanistan. Actually, it's Alberta' Marketing Locations to Film Producers / Ben Goldsmith -- select bibliography -- index --

Call No: 737(73) GIL
Author: Gilman, Owen W.
Source: US
Place: Jackson
Publisher: University Press of Mississippi
PubDate: 2018
PhysDes: x, 252 pages ; 24 cm
Subject: WAR AND THE CINEMA; WAR AND THE CINEMA. USA; WAR FILMS. USA; WAR IN FILMS. AFGHANISTAN; WAR IN FILMS. IRAQ; AMERICAN SNIPER (US, Clint Eastwood, 2014); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); AVATAR (US, James Cameron, 2009); BILLY LYNN'S LONG HALFTIME WALK (CC/UK/US, Ang Lee, 2016); BODY OF LIES (US, Ridley Scott, 2008); BOURNE ULTIMATUM, THE (US, Paul Greengrass, 2007); DA VINCI CODE, THE (US, Ron Howard, 2006); DEER HUNTER, THE (US, Michael Cimino, 1978); [DOCTOR] DR STRANGE (US, Scott Derrickson, 2016); FAHRENHEIT 9/11 (US, Michael Moore, 2004); FULL METAL JACKET (UK, Stanley Kubrick, 1987); GRACE IS GONE (US, James C. Strouse, 2007); GREEN BERETS, THE (US, Ray Kellogg & John Wayne, 1968); GREEN ZONE (FR/US/UK/SP, Paul Greengrass, 2010); HARRY POTTER AND THE HALF BLOOD PRINCE (UK/US, David Yates, 2009); HARRY POTTER AND THE ORDER OF THE PHOENIX (UK/US, David Yates, 2007); HURT LOCKER, THE (US, Kathryn Bigelow, 2008); JARHEAD (US, Sam Mendes, 2005); INFERNO (US/JA/TU/HU, Ron Howard, 2016); MULAN (US, Barry Cook & Tony Bancroft, 1998); REDACTED (US, Brian De Palma, 2007); UP (US, Pete Docter and Bob Peterson, 2009); WHISKEY TANGO FOXTROT (US, Glenn Ficarra & John Requa, 2016); ZERO DARK THIRTY (US, Kathryn Bigelow, 2012)
Notes: Includes bibliographical references and index.
ISBN: 9781496815767
Contents: The Long Arc of War Experience for Americans. A Brief Introduction: Veterans Face the Challenge of American Fantasyland at War -- On Going to War the American Way -- America's Recent War Experience Comes Home in Imaginative Texts. The Efforts of Journalists and Writers of Creative Nonfiction to Deliver War for Readers at Home -- The Contribution of Films, from The Hurt Locker to American Sniper with Many Films Ignored -- Poets Capture War in Brief for a Small Audience -- American Fiction (and Hellish Truth) from Wars in Afghanistan and Iraq -- Veterans Lost as Distractions Rule in Fantasyland America. American Fantasyland in Time of War: the Hell Veterans Face at Home -- America and Future Wars: Fantasyland Ready for More War.

Call No: 738.1 VAU
Author: Vaughan, Hunter
Source: US
Place: New York
Publisher: Columbia University Press
PubDate: 2019
PhysDes: 243 pages : illustrations ; 23 cm
Series: Film and culture series
Subject: ENVIRONMENTAL ISSUES IN FILMS; AVATAR (US, James Cameron, 2009); DAY AFTER TOMORROW, THE (US, Roland Emmerich, 2004); DISASTER FILMS; GONE WITH THE WIND (US, Victor Fleming, 1939); SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952); TWISTER (US, Jan De Bont, 1996); ZERO DARK THIRTY (US, Kathryn Bigelow, 2012)
Summary: "In an era when many businesses have come under scrutiny for their environmental impact, the film industry has for the most part escaped criticism and regulation. Its practices are more diffuse; its final product, less tangible; and Hollywood has adopted public-relations strategies that portray it as environmentally conscious. In Hollywood's Dirtiest Secret, Hunter Vaughan offers a new history of the movies from an environmental perspective, arguing that how we make and consume films has serious ecological consequences." - taken from back cover.
Notes: Includes bibliographical references, filmography and index -- subtitle on verso 'the hidden environmental costs of our screen culture'
ISBN: 9780231182416
Contents: Introduction: The Big Picture -- Chapter 1: Burning down the house: fire, the eco-ethics of destruction, and authorship in the film spectacle -- Chapter 2: "Five Hundred Thousand Kilowatts of Stardust:" resource use and the formula for packaging nature in Singin' in the rain -- Chapter 3: Winds of change: twister and the visualization of environmental disaster in the digital age -- Chapter 4: Apocalypse tomorrow: Avatar and the myth of Earth's end in the digital era -- Chapter 5: The fifth element: production culture studies, relational values, and the human side of environmental media -- Conclusion: An element of hope

Call No: 70 STO
Author: Stock, Francine; Hughes, Stephen
Source: UK
Place: London
Publisher: Pimlico
PubDate: 2011
PhysDes: 344 p. ; 25 cm.
Subject: HISTORY AND THE CINEMA; HISTORY OF CINEMA. 1930's; HISTORY OF CINEMA. 1940's; HISTORY OF CINEMA. 1950's; HISTORY OF CINEMA. 1960's; HISTORY OF CINEMA. 1970's; HISTORY OF CINEMA. 1980's; HISTORY OF CINEMA. 1990's; BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); CABINET OF DR. CALIGARI, THE [CABINET DES DR. CALIGARI, DAS] (G, Robert Wiene, 1920); CABINET OF DR. CALIGARI, THE (G, Robert Wiene, 1920) SEE CABINET DES DR. CALIGARI, DAS; FLESH AND THE DEVIL (US, Clarence Brown, 1926); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927); SCARFACE (US, Howard Hawks, 1932); GOLD DIGGERS OF 1933 (US, Mervyn LeRoy, 1933); BETE HUMAINE, LA (FR, Jean Renoir, 1938); BAMBI (US, David Hand, 1942); SPELLBOUND (US, Alfred Hitchcock, 1945); STRADA, LA (IT, Federico Fellini, 1954); SEARCHERS, THE (US, John Ford, 1956); INVASION OF THE BODY SNATCHERS (US, Don Siegel, 1956); PEEPING TOM (UK, Michael Powell, 1960); BANDE A PART (FR, Jean-Luc Godard, 1964); [TWO THOUSAND AND ONE] 2001: A SPACE ODYSSEY (UK, Stanley Kubrick, 1968); CARRIE (US, Brian De Palma, 1976); AGUIRRE, THE WRATH OF GOD [AGUIRRE, DER ZORN GOTTES] (GW, Werner Herzog, 1972); AGUIRRE, THE WRATH OF GOD [AGUIRRE, DER ZORN GOTTES] (GW, Werner Herzog, 1972); ANNIE HALL (US, Woody Allen, 1977); E.T. THE EXTRA TERRESTRIAL (US, Steven Spielberg, 1982); TOP GUN (US, Tony Scott, 1986); WHEN HARRY MET SALLY. . . (US, Rob Reiner, 1989); BASIC INSTINCT (US, Paul Verhoeven, 1992); NATURAL BORN KILLERS (US, Oliver Stone, 1994); THREE COLOURS: RED (FR/SZ/PL, Krzysztof Kieslowski, 1993) SEE TROIS COULEURS: ROUGE; THREE COLOURS: RED (FR/SZ/PL, Krzysztof Kieslowski, 1993) SEE TROIS COULEURS: ROUGE; THREE COLOURS: WHITE (FR/SZ/PL, Krzysztof Kieslowski, 1993) SEE TROIS COULEURS: BLANC; TROIS COULEURS: BLANC (FR/SZ/PL, Krzysztof Kieslowski, 1993); TROIS COULEURS: BLEU (FR, Krzysztof Kieslowski, 1993); TROIS COULEURS: ROUGE (FR/SZ/PL, Krzysztof Kieslowski, 1994); ETERNAL SUNSHINE OF THE SPOTLESS MIND (US, Michael Gondry, 2004); AVATAR (US, James Cameron, 2009); UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (TH/UK/FR/G/SP/NE, Apichatpong Weerasethakul, 2010)
Summary: Charting key films from the past hundred years, along with technological developments and historical landmarks, Francine Stock explores in compelling detail the nature of our relationship with film - from the first screenings of the Lumiere Brothers' short films, which saw audiences shrinking from oncoming trains, to the perception-altering 3-D Avatar. The twenties saw the birth of celebrity, still so influential even today. With the influence of Freud and the unconscious came film noir, anticipated by dark European classics like La Bete Humaine; Hollywood in the fifties turned ideological fears into lurid sci-fi and body-snatching horror; with the social change of the sixties came refracted ways of seeing, from Alfie to theStargate sequence in 2001: A Space Odyssey or a compelling seventies nightmares like Carrie. Moving towards our own century, Francine Stock considers how film reflects back on itself, bending time and technology to look to the future. More than a century on from those earliest awe-inspiring images, we are still in thrall to the power of film. In this fascinating, entertaining and illuminating book Francine Stock shows how film both reflects and remakes our world.
ISBN: 9781845951993

Call No: 81CAM JAM
Author: Dunham, Brent
Source: US
Place: Jackson
Publisher: University of Mississippi
PubDate: 2012
PhysDes: xxxix, 219 p. ; 23 cm
Series: Conversations with filmmakers series
Subject: CAMERON, JAMES; TERMINATOR, THE (US, James Cameron, 1984); ALIENS (US, James Cameron, 1986); TITANIC (US, James Cameron, 1997); AVATAR (US, James Cameron, 2009)
Summary: "James Cameron (b.1954) is lauded as one of the most successful and innovative filmmakers of the the last thirty years. His films often break records, both in their massive budgets and in their box-office earnings. They include such hits as The Terminator, Aliens, The Abyss, Titanic, and Avatar. Part scientist, part dramatist, Cameron combines these two qualities into inventive and captivating films that often push the boundaries of special effects to accomodate his imagination. James Cameron: Interviews chronicles the writer-director's rise through the Hollywood system, highlighted by his "can-do" attitude and his insatiable drive to make the best film possible. As a young boy growing up in Canada, Cameron imagined himself an astronaut, a deep-sea explorer, a science fiction writer, or a filmmaker. Transplanted to southern California, he would go on to realize many of those boyhood fantasies. This collection of interviews provides glimpses of the filmmaker as he advances from Roger Corman's underling to "king of the world." The interviews are drawn from a number of sources including TV appearances and blog conversations, which have never been published in print. Spanning more than twenty years, this collection constructs a concise and thorough examination of James Cameron, a filmmaker who has almost single-handedly ushered Hollywood into the twenty-first century." -- BOOK BLURB
Notes: Includes index; Includes bibliographical references and index; Includes filmography
ISBN: 9781617031328
Donation: Donated by Senses of Cinema, 2013
Contents: -- introduction -- chronology -- filmography -- How to direct a terminator / Thomas McKelvey Cleaver/1984 -- The 1984 movie revue: James Cameron interviewed by David Chute / David Chute/1985 -- Writer-director shows the special effect energy can radiate / JoAnn Rhetts/1986 -- Aliens: an out of this world communication with director James Cameron / Victor Wells/1986 -- James Cameron takes a plunge / Alan Jones/1989 -- James Cameron takes a second plunge / Alan Jones/1989 -- Aliens: James Cameron interview / Nigel Floyd/1992 -- The hero's journey / Syd Field/1992 -- Approaching the sequel / Syd Field/1992 -- Iron Jim / John H. Richardson/1994 -- Rich and strange / Ray Greene/1995 -- 20,000 leagues under the sea: the movie director as Captain Nemo / Bill Moseley/1998 -- A drive of Titanic proportions : academy of achievement/1999 -- The final frontier / Anne Thompson/2000 -- James Cameron: The second coming / Jenny Cooney Carrillo/2002 -- Sound of silence / John Reading/2002 -- James Cameron / Adrian Wootton/2003 -- My Titanic obsession / James Rampton/2005 -- King of all he surveys / James Rampton/2006 -- James Cameron: a life in pictures / Francine Stock/2009 -- James Cameron / Tavis Smiley/2009 -- James Cameron Interview: Avatar Blu-Ray, also talks Titanic 3D and Avatar 2 / Sara Wyland/2010 -- James Cameron interview! talks Avatar re-release, sequels, 3D conversions, and working with Del Toro / Jim Dorey/2010 -- index --

Call No: 629 POS BAS
Author: Basu Thakur, Gautam
Source: US/UK
Place: New York : London
Publisher: Bloomsbury Academic, an imprint of Bloomsburg Publishing
PubDate: 2016
PhysDes: ix, 195 pages : illustrations ; 21 cm
Series: Film theory in practice
Subject: POSTCOLONIALISM AND THE CINEMA; IMPERIALISM AND THE CINEMA; THEORY; CAMERON, JAMES; AVATAR (US, James Cameron, 2009); CACHE (FR/AU/GG/IT, Michael Haneke, 2005)
Notes: Formerly CIP. -- Includes bibliographical references and index
ISBN: 9781628925630
Contents: Machine generated contents note: -- Introduction -- Section 1: The Postcolonial Avatar: A Brief History of Postcolonial Theory -- Section 2: Postcolonial Theory and Avatar, Or, Postcolonial Criticism in a Multicultural World -- Conclusion -- Appendices -- - Further Reading -- - Filmography

Call No: SUBJECT CLIPPINGS FILE; INDUSTRY, FILM & TV. AUSTRALIA (WEEKLY SUMMARIES)
Author: Bodey, Michael
PhysDes: Clippings File Article
Subject: BREATH (AT, Simon Baker, 2017); SEE PICTURES; TICKET TO RIDE [company]; WALT DISNEY PRODUCTIONS; BOX OFFICE. AUSTRALIA; FESTIVALS. AUSTRALIA. ESSENTIAL INDEPENDENTS; WATTS, NAOMI; GYPSY [TV] in production; AVATAR sequels in production; JUSTICE LEAGUE, THE in production; STUFFED (AT, Warwick Young, 2014)
Summary: Round-up of film/tv industry news stories for the week, including: Simon Baker starting shooting of the film BREATH, AVATAR sequels production has begun, THE JUSTICE LEAGUE film starting shooting with well-known producers onboard including Dr George Miller Doug Mitchell, Barrie Osbourne, Managing Director of Australia/NZ Disney Catherine Powell is moving just as Disney's box office share in Australia is growing, Richard Sowada has put together a festival of American Independent cinema, Warwick Young has won Best Foreign Film category at the Beverly Hills Film Festival for his film STUFFED, Naomi Watts will produce and act in the Netflix series GYPSY

Call No: 735(73) BIS
Author: Biskind, Peter
Source: UK
Publisher: Penguin Books
PubDate: 2019
PhysDes: 12 unnumbered pages, 272 pages ; 20 cm
Subject: AVATAR (US, James Cameron, 2009); CAMERON, JAMES; CAPTAIN AMERICA: CIVIL WAR (US, Anthony Russo/Joe Russo, 2016); DARK KNIGHT, THE (US, Christopher Nolan, 2008); GAME OF THRONES [TV] (US, 2011-); HAWKINS, SALLY; LEFT BEHIND (US, Vic Sarin, 2001); MARTIAN, THE (US, Ridley Scott, 2015); PLANET OF THE APES (US, Franklin J. Schaffner, 1967); SHAPE OF WATER, THE (US, Guillermo del Toro, 2017); TRUE BLOOD [TV] (US, 2008-); WALKING DEAD, THE [TV] (US, 2010 - ); ZOMBIES IN FILMS AND TV; SUPERHEROES IN FILMS; APOCALYPSE IN FILMS
Summary: A bestselling cultural journalist takes us on a wild ride through pop culture, showing how it paved the way for today's extreme politics Are Batman and 24's Jack Bauer heroic loners defending our way of life - or right-wing vigilantes attacking it? Is Avatar just a National Geographic version of Star Wars or a passionate assault on capitalism? And what about Game of Thrones - sword and sorcery fantasy, or lesson in mainstream politics? In The Sky is Falling! bestselling cultural critic Peter Biskind takes us on a dizzying ride across two decades of pop culture to show how the TV and movies we love have taught us to love political extremism. Welcome to a darkly pessimistic, apocalyptic world where winter has come, the dead are walking, and ultra violence, revenge and torture are all in a day's work. Welcome to the new normal. -- publisher's website
Notes: Includes bibliographical references and index.
ISBN: 9780241373873
Contents: Beyond the fringe : an introduction -- Part I. Winter has come. Apocalypse now -- Bleeding hearts -- Doing the right thing -- Part II. Who'll stop the rain?. Gone fishin' -- Coming apart -- Draining the swamp -- Part III. Breaking bad. The silence of the lambs -- Beauty in the beast -- License to kill -- Part IV. Heaven can't wait. What a piece of work was man -- Anywhere but here -- No exit -- Conclusion : the return of the center.

Call No: 725.236 JON
Author: Jones, Nick
Edition: 2020
Place: New York
Publisher: Columbia University Press
PubDate: 2020
PhysDes: xiv, 288 pages : illustrated ; 25 cm
Series: film and culture series
Subject: 3D DIGITAL; AVATAR (US, James Cameron, 2009); GOODBYE TO LANGUAGE (FR, Jean-Luc Godard, 2014); LOVE (FR/BE, Gaspar Noe, 2015); CLASH OF THE TITANS (UK/US, Louis Leterrier, 2010)
Summary: Digital 3D has become a core feature of the twenty-first-century visual landscape. Yet 3D cinema is a contradictory media form: producing spaces that are highly regimented and exhaustively detailed, it simultaneously relies upon distortions of vision and space that are inherently strange. Spaces Mapped and Monstrous explores the paradoxical nature of 3D cinema to offer a critical analysis of an inescapable part of contemporary culture. Considering 3D’s distinctive visual qualities and its connections to wider digital systems, Nick Jones situates the production and exhibition of 3D cinema within a web of aesthetic, technological, and historical contexts. He examines 3D’s relationship with computer interfaces, virtual reality, and digital networks as well as tracing its lineage to predigital models of visual organization. Jones emphasizes that 3D is not only a technology used in films but also a tool for producing, controlling, and distorting space within systems of surveillance, corporatization, and militarization. The book features detailed analysis of a wide range of films—including Avatar (2009), Goodbye to Language (2014), Love (2015), and Clash of the Titans (2010)—demonstrating that 3D is not merely an augmentation of 2D cinema but that it has its own unique properties. Spaces Mapped and Monstrous brings together media archaeology, digital theory, and textual analysis to provide a new account of the importance of 3D to visual culture today. -- publisher's web site
ISBN: 9780231194235
Donation: Senses of Cinema
Contents: List of Illustrations -- Acknowledgments -- Introduction -- Part I: Contexts -- 1. History: The Long View of 3D Film and Theory -- 2. Visualization: From Perspective to Digital 3D -- Part II: Mapped Spaces -- 3. Simulation: Dematerializing and Enframing -- 4. Immersion: Entering the Screen -- 5. Surveillance: Converting Image to Space, World to Data -- Part III: Monstrous Spaces -- 6. Defamiliarization: Rethinking the Screen Plane -- 7. Distortion: Unfamiliar and Unconventional Space -- 8. Intimacy: The Boundedness of Stereoscopic Media -- Conclusion: Seeing in 3D -- Notes -- Bibliography -- Index.

Call No: 62 DOU
Author: Doughty, Ruth; Etherington-Wright, Christine
Edition: Second edition
Source: UK
Place: [England]
Publisher: Palgrave Macmillan
PubDate: 2018
PhysDes: xiv, 325 pages : illustrations ; 26 cm
Subject: FILM; THEORY; AUTEUR THEORY; ADAPTATIONS; GENRES; FORMALISM; MOVEMENTS AND STYLES IN FILM HISTORY; MOVEMENTS IN FILM HISTORY; STRUCTURALISM; MARXISM AND THE CINEMA; REALISM IN FILMS; POSTMODERNISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; MASCULINITY IN FILMS; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; RACIAL ISSUES AND THE CINEMA; POSTCOLONIALISM AND THE CINEMA; TRANSNATIONAL CINEMA; STARS; AUDIENCE RESEARCH; AUDIENCE RECEPTION; HUNGER GAMES, THE (US, Gary Ross, 2012); RUN LOLA RUN (G, Tom Tykwer, 1998); LOLA RENNT (G, Tom Tykwer, 1998); ONCE UPON A TIME IN THE WEST (IT/FR, Sergio Leone, 1968) SEE C`ERA UNA VOLTA IL WEST; LEGO MOVIE, THE (US/AT/DK, Phil Lord and Christopher Miller, 2014); ACT OF KILLING, THE (DK/NO/UK, Joshua Oppenheimer, (2012); MOULIN ROUGE (AT/US, Baz Luhrmann, 2001); OLDBOY (KO, Park Chan-wook, 2003); OLDEUBOI (KO, Park Chan-wook, 2003); FROZEN (US, Chris Buck & Jennifer Lee, 2013); BLUE IS THE WARMEST COLOR (FR/BE/SP, Abdellatif Kechiche, 2013); DJANGO UNCHAINED (US, Quentin Tarantino, 2012); AVATAR (US, James Cameron, 2009)
Summary: -- "Film theory has a reputation for being challenging. Often requiring time and effort to fully grasp it and seeming rather old-fashioned, it can be difficult to approach the subject with enthusiasm and appreciate its relevance to modern day. Understanding Film Theory aims to disassociate theory from these connotations and bring a fresh, contemporary and accessible approach to the discipline. Now comprehensively updated in a second edition, the book’s sixteen chapters - including a new chapter on Adaptations - continue to provide an insight into the main areas of debate. Taking the application of theory as its central theme, the text incorporates a number of innovative features: ‘Reflect and Respond’ sections encourage readers to engage critically with theoretical concepts, while seminal texts are concisely summarised without oversimplifying key points. Throughout the book the authors illustrate why theory is important and demonstrate how it can be applied in a meaningful way, with relevant case studies drawn from both classic and contemporary cinema including: Once Upon a Time in the West (1968), Run Lola Run (1998), The Hunger Games (2012), Blue is the Warmest Colour (2013) and The Lego Movie (2014). Additional case studies address key genres (the British Gangster film and the musical), film movements (Dogme 95), individual actors (Ryan Gosling, Judi Dench and Amitabh Bachchan) and directors (Alfred Hitchcock and Guillermo del Toro). Understanding Film Theory is an approachable and extensive introduction to film theory. It is the ideal entry point for any student studying film, using clear definitions and explaining complex ideas succinctly. " -- BOOK BACK COVER
Notes: Includes index; Includes bibliographical references, filmography and index
ISBN: 9781137528230
Contents: -- List of illustrations -- Acknowledgements -- Introduction -- 1 Auteur Theory Case study: Alfred Hitchcock -- Case study: Guillermo del Toro -- 2 Adaptations Case study: The Hunger Games (Gary Ross, 2012) -- 3 Genre Theory -- Case study: The British Gangster Film -- Case study: The Musical -- 4 Formalism Case study: Lola Rennt/Run Lola Run (Tom Tykwer, 1998) -- 5 Structuralism and Post-Structuralism -- Case study: Once Upon a Time in the West (Sergio Leone, 1968) -- 6 Marxism -- Case study: The Lego Movie (Phil Lord & Christopher Miller, 2014) -- 7 Realism -- Case study: Dogme 95 -- Case study: The Act of Killing (Joshua Oppenheimer, 2012) -- 8 Postmodernism -- Case study: Moulin Rouge! (Baz Luhrmann, 2001) -- 9 Psychoanalysis -- Case study: Oldboy (Chan-Wook Park, 2003) -- 10 Feminism -- Case study: Frozen (Chris Buck and Jennifer Lee, 2013) -- 11 Masculinity -- Case study: Ryan Gosling -- 12 Queer Theory -- Case study: Blue is the Warmest Colour (Abdellatif Kechiche, 2013) -- 13 Race and Ethnicity -- Case study: Django Unchained (Quentin Tarantino, 2012) -- 14 Postcolonial and Transnational Cinemas -- Case study: Avatar (James Cameron, 2009) -- 15 Stars -- Case study: Amitabh Bachchan -- Case study: Dame Judi Dench -- 16 Audience -- Research and Reception -- Case study: Tartan Video -- Conclusion -- filmography -- Index --