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Call No: 736.1 BUS
Author: Buscombe, Edward
CorpAuthor: BFI
Source: UK
Place: London
Publisher: British Film Institute
PubDate: 2006
PhysDes: 248 p. : 17 cm
Series: BFI Screen Guides
Subject: WESTERNS; NATIVE AMERICANS IN FILMS; GENRES; BUSCOMBE, EDWARD; ANTONIO DAS MORTES (BL, Glauber Rocha, 1969); BEGUILED, THE (US, Don Siegel, 1971); BIG SKY, THE (US, Howard Hawkes, 1952); BROKEN ARROW (US, Delmer Daves, 1950); BULLET FOR THE GENERAL, A (IT, Damiano Damiani, 1966); BUTCH CASSIDY AND THE SUNDANCE KID (US, George Roy Hill, 1969); CALAMITY JANE (US, David Butler, 1953); COWBOY (US, Delmer Davies, 1958); DANCES WITH WOLVES (US, Kevin Costner, 1990); DEAD MAN (US, Jim Jarmusch, 1995); DESTRY RIDES AGAIN (US, George Marshall, 1939); DODGE CITY (US, Michael Curtiz, 1939); DUEL IN THE SUN (US, King Vidor, 1946); PER UN PUGNO DI DOLLARI (IT/SP/GW, Sergio Leone, 1964); PER QUALCHE DOLLARO IN PIU (IT/SP/GW, Sergio Leone, 1965); FORT APACHE (US, John Ford, 1948); BUONO, IL BRUTTO, IL CATTIVO, IL (IT, Sergio Leone, 1966); GO WEST (US, Buster Keaton, 1925); GREAT TRAIN ROBBERY, THE (US, Edwin S. Porter, 1903); GREY FOX, THE (CN, Philip Borsos, 1982); HANGING TREE, THE (US, Delmer Daves, 1958); HEAVEN'S GATE (US, Michael Cimino, 1980); HIGH NOON (US, Fred Zinnemann, 1952); HIGH PLAINS DRIFTER (US, Clint Eastwood, 1973); IRON HORSE, THE (UK, John Ford, 1924); JOHNNY GUITAR (US, Nicholas Ray, 1954); LAST OF THE MOHICANS, THE (US, Michael Mann, 1992); LAST WAGON, THE (US, Delmer Daves, 1956); LITTLE BIG MAN (US, Arthur Penn, 1970); LONG RIDERS, THE (US, Walter Hill, 1980); MAGNIFICENT SEVEN, THE (UK, John Sturges, 1960); MAN FROM LARAMIE, THE (US, Anthony Mann, 1955); MAN OF THE WEST (US, Anthony Mann, 1958); MAN WHO SHOT LIBERTY VALANCE, THE (US, John Ford, 1962); MCCABE AND MRS MILLER (US, Robert Altman, 1971); MISSOURI BREAKS, THE (US, Arthur Penn, 1976); MONTE WALSH (US, William A. Fraker, 1970); MY DARLING CLEMENTINE (US, John Ford, 1946); C`ERA UNA VOLTA IL WEST (IT/FR, Sergio Leone, 1968); ONE-EYED JACKS (US, Marlon Brando, 1961); OPEN RANGE (US, Kevin Costner, 2003); OUTLAW JOSEY WALES, THE (US, Clint Eastwood, 1976); PAT GARRETT AND BILLY THE KID (US, Sam Peckinpah, 1973); PURSUED (US, Raoul Walsh, 1947); RAMROD (US, Andre de Toth, 1947); RANCHO NOTORIOUS (US, Fritz Lang, 1952); RED RIVER (US, Howard Hawks, 1948); RIDE THE HIGH COUNTRY (US, Sam Peckinpah, 1962); RIO BRAVO (US, Howard Hawks, 1959); SEARCHERS, THE (US, John Ford, 1956); SHANE (US, George Stevens, 1953); SHE WORE A YELLOW RIBBON (US, John Ford, 1949); SHOOTING, THE (US, Monte Hellman, 1966); SHOOTIST, THE (US, Donald Siegel, 1976); STAGECOACH (US, John Ford, 1939); SUPPORT YOUR LOCAL SHERIFF (US, Burt Kennedy, 1969); FA TALAI JONE (TH, Wisit Sasanatieng, 2000); TWO RODE TOGETHER (US, John Ford, 1961); ULZANA'S RAID (US, Robert Aldrich, 1972); UNFORGIVEN (US, Clint Eastwood, 1992); VIVA MARIA (US, Louis Malle, 1965); WILD BUNCH, THE (US, Sam Peckinpah, 1969); DAVES, DELMER; WAYNE, JOHN; Stewart, James; EASTWOOD, CLINT; FORD, JOHN
Summary: The Western is one of Hollywood cinema’s most potent and enduring genres, bound up with America’s understanding of itself as a frontier nation. Edward Buscombe provides an illuminating guide to a hundred key films of the genre, from Broken Arrow to The Wild Bunch by way of Butch Cassidy and the Sundance Kid, A Fistful of Dollars, The Magnificent Seven and The Searchers. Each entry includes a plot synopsis, major credits, and a commentary on the film’s significance, together with its production and exhibition history. Edward Buscombe’s introduction to the volume discusses the criteria for selecting a mere hundred essential Westerns out of the thousands that have been made since the birth of cinema. He considers the relative weight to be attached to the acknowledged great directors of the genre, such as John Ford and Sam Peckinpah, and to lesser known but significant figures such as Delmer Daves. He takes stock of the contribution of the great Western stars, including John Wayne, James Stewart and Clint Eastwood. And he argues for a selection that takes into account Westerns of the silent era, B-Westerns and singing cowboys, and those Westerns made outside America. [Taken from back cover.]
ISBN: 1844571122

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: ALIEN BIG CATS (AT, Christopher Gogos & Alkinos Tsilimidos, 1997)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: I AM BIG BIRD: THE CAROLL SPINNEY STORY (US, Dave LaMattina and Chad N. Walker, 2014)

Call No: 409(73) AME
Author: O'Connor, John E; Jackson, Martin A
Place: New York
Publisher: Ungar
PubDate: c1979
PhysDes: xxix, 290 p. : ill. ; 22 cm
Subject: NATIONAL IDENTITY IN FILMS. USA; NATIONAL CULTURE AND THE CINEMA. USA; ETHNIC GROUPS IN FILMS. USA; BLACK CINEMA. US; WORKING CLASS IN FILMS. USA; COMMUNISM AND THE CINEMA. USA; HISTORICAL FILMS. USA; WORLD WAR II FILMS. USA; HISTORY AND THE CINEMA. USA; STEAMBOAT ROUND THE BEND (US, John Ford, 1935); SCAR OF SHAME, THE (US, Frank Peregini, 1927); PUBLIC ENEMY, THE (US, William Wellmen, 1931); WAY DOWN EAST (US, David Wark Griffith, 1920); BIG PARADE, THE (US, King Vidor, 1925); DRUMS ALONG THE MOHAWK (US, John Ford, 1939); MISSION TO MOSCOW (US, Michael Curtiz, 1943); BEST YEARS OF OUR LIVES, THE (US, William Wyler, 1946); RED RIVER (US, Howard Hawks, 1948); VIVA ZAPATA (US, Elia Kazan, 1952); INVASION OF THE BODY SNATCHERS (US, Don Siegel, 1956); [DOCTOR] DR STRANGELOVE: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (UK, Stanley Kubrick, 1964); BONNIE AND CLYDE (US, Arthur Penn, 1967); ROCKY (US, John G. Avildsen, 1976)
Notes: Includes index; Bibliography p. 279-282
ISBN: 0804422635 : $12.50; 0804466165(pbk. :) $3.95
LON: 1282547

Call No: 71(73) AME
Author: Hillier, Jim
Place: London
Publisher: British Film Institute
PubDate: 2001
PhysDes: xvii, 283 p. : ill., ports. ; 24 cm
Subject: USA; INDEPENDENT FILMS. USA; CASSAVETES, JOHN; BRAKHAGE, STAN; WARHOL, ANDY; ETHNIC GROUPS IN FILMS. USA; BLACK FILMMAKERS. US; DASH, JULIE; DAUGHTERS OF THE DUST (US, Julie Dash, 1991); RIGGS, MARLON; TONGUES UNTIED (US, Marlon Riggs, 1989); CROOKLYN (US, Spike Lee, 1994); FRIDAY (US, F. Gary Gray, 1995); CLOCKERS (US, Spike Lee, 1995); LEE, SPIKE; GIRL SIX (US, Spike Lee, 1996); GET ON THE BUS (US, Spike Lee, 1996); SLAM (US, Marc Levin, 1998); HOMOSEXUALITY AND THE CINEMA; POISON (US, Todd Haynes, 1991); MY OWN PRIVATE IDAHO (US, Gus Van Sant, 1991); VAN SANT, GUS; SWOON (US, Tom Kalin, 1992); GO FISH (US, Rose Troche, 1994); TOTALLY F***ED UP (US, Gregg Araki, 1993); HAYNES, TODD; SAFE (US, Todd Haynes, 1995); DOOM GENERATION, THE (US, Gregg Araki, 1995); PEIRCE, KIMBERLY; BOYS DON'T CRY (US, Kimberly Peirce, 1999); JARMUSCH, JIM; NIGHT ON EARTH (US, Jim Jarmusch, 1991); SLACKER (US, Richard Linklater, 1990); SURE FIRE (US, Jon Jost, 1990); LINKLATER, RICHARD; BEFORE SUNRISE (US, Richard Linklater, 1995); LIVING IN OBLIVION (US, Tom DiCillo, 1995); WALKING AND TALKING (US, Nicole Holofcener, 1996); HARTLEY, HAL; HENRY FOOL (US, Hal Hartley, 1997); HAPPINESS (US, Todd Solondz, 1998); GHOST DOG: THE WAY OF THE SAMURAI (US, Jim Jarmusch, 1999); TIMECODE (US, Mike Figgis, 2000); ALTMAN, ROBERT; SHORT CUTS (US, Robert Altman, 1993); ANDERSON, PAUL THOMAS; BOOGIE NIGHTS (US, Paul Thomas Anderson, 1997); MAGNOLIA (US, Paul Thomas Anderson, 1999); FERRARA, ABEL; BAD LIEUTENANT (US, Abel Ferrara, 1992); BLACKOUT, THE (US, Abel Ferrara, 1997); ADDICTION, THE (US, Abel Ferrara, 1995); FUNERAL, THE (US, Abel Ferrara, 1996); JONZE, SPIKE; BEING JOHN MALKOVICH (UK/US, Spike Jonze, 1999); KORINE, HARMONY; GUMMO (US, Harmony Korine, 1997); JULIEN DONKEY-BOY (US, Harmony Korine, 1999); LYNCH, DAVID; TWIN PEAKS: FIRE WALK WITH ME (US, David Lynch, 1992); LOST HIGHWAY (US, David Lynch, 1996); SAYLES, JOHN; CITY OF HOPE (US, John Sayles, 1991); LONE STAR (US, John Sayles, 1996); LIMBO (US, John Sayles, 1999); HENRY: PORTRAIT OF A SERIAL KILLER (US, John McNaughton, 1986); ONE FALSE MOVE (US, Carl Franklin, 1991); BALLAD OF LITTLE JO, THE (US, Maggie Greenwald, 1993); EVEN COWGIRLS GET THE BLUES (US, Gus Van Sant, 1993); PULP FICTION (US, Quentin Tarantino, 1994); Tarantino, Quentin; USUAL SUSPECTS, THE (US, Bryan Singer, 1995); BOUND (US, Larry Wachowski & Andy Wachowski, 1996); NORMAL LIFE (US, John McNaughton, 1996); THIS WORLD, THEN THE FIREWORKS (US, Michael Oblowitz, 1997); JACKIE BROWN (US, Quentin Tarantino, 1997); BIG LEBOWSKI, THE (US, Joel Coen, 1998); OUT OF SIGHT (US, Steven Soderbergh, 1998); LIMEY, THE (US, Steven Soderbergh, 1999); SODERBERGH, STEVEN; HANGIN' WITH THE HOMEBOYS (US, Joseph B. Vasquez, 1991); JUST ANOTHER GIRL ON THE I.R.T. (US, Leslie Harris, 1992)
ISBN: 0851707580 : ¦40.00; 0851707599(pbk.) : ¦12.99
LON: 20980358

Call No: 79 AND HOP
Author: Hopgood, Alan
Edition: 2nd ed.
Source: AT
Place: Richmond, Vic.
Publisher: Heinemann Educational Australia
PubDate: 1988
PhysDes: xii, 100 p., [4] p. of ports. ; 25 cm
Series: Australian Theatre Workshop; 2
Subject: AND THE BIG MEN FLY [TV] (AT, 1974)
ISBN: 0858594943
Donation: donated by the family of Wayne Levy, 2006

Call No: 736.11
Author: Grant, Kevin
Edition: August 2013
Place: Godalming, Surrey
Publisher: FAB Press
PubDate: May 2011
PhysDes: 480 pages : illustrated ; 26 cm
Subject: WESTERNS. EUROPEAN COUNTRIES; WESTERNS. ITALY; LEONE, SERGIO; NERO, FRANCO; BIG GUNDOWN, THE [RESA DEI CONTI, LA] (IT/SP, Sergio Sollima, 1966); BLINDMAN (US/IT, Ferdinando Baldi, 1972); BULLET FOR THE GENERAL, A (IT, Damiano Damiani, 1966); CORBUCCI, SERGIO; EASTWOOD, CLINT; FULCI, LUCIO; HILL, TERENCE; SPENCER, BUD; VAN CLEEF, LEE
Summary: The success of Sergio Leone's 'Dollars' trilogy in the '60s sparked a gold rush, as a legion of European film-makers - many of them sharing the get-rich-quick mentality of Leone's mercenary anti-heroes - followed the master's lead to create some of the wildest Westerns ever made. Cynical and stylish, bloody and baroque, Euro-westerns replaced straight-shooting sheriffs and courageous cowboys with amoral adventurers, whose murderous methods would shock the heroes of Hollywood Westerns. These films became box-office sensations around the world, and their influence can still be felt today. Any Gun Can Play puts the phenomenon into perspective, exploring the films' wider reaches, their recurrent themes, characters, quirks and motifs. It examines Euro-westerns in relation to their American ancestors and the mechanics of the Italian popular film industry, and spotlights the unsung actors, directors and other artists who subverted the 'code' of the Western and dragged it into the modern age. Based on years of research backed up by interviews with many of the genre's leading lights, including actors Franco Nero, Giuliano Gemma and Gianni Garko, writer Sergio Donati, and directors Sergio Sollima and Giuliano Carnimeo, Any Gun Can Play will satisfy both connoisseurs and the curious. Complete with a foreword by Euro-Western legend Franco Nero, this stunningly illustrated reference guide takes aim at the lingering notion that the genre has little to offer beyond the 'Dollars' films and a fistful of others, exposing the full, vibrant history of the Euro-western. -- publisher's web site
Notes: Foreword by Franco Nero
ISBN: 9781903254615

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Publicity
Subject: ARTISTS UNDER THE BIG TOP, THE: PERPLEXED [ARTISTEN IN DER ZIRKUSKUPPEL, DIE: RATLOS] (GW, Alexander Kluge, 1968)

Author: Prisk, Tracey
PhysDes: Production report
Subject: BIG FISH (AT, Pascal Franchot, in prod.)
Summary: Austen Tayshus has completed his feature "Big Fish".

Call No: 71(94) AUS
Author: Craven, Ian
Place: London
Publisher: Frank Cass
PubDate: 2001
PhysDes: 239 p. ; 22 cm
Subject: AUSTRALIA; MULTICULTURALISM AND THE CINEMA. AUSTRALIA; ABORIGINAL AUSTRALIANS ON TV; GONSKI REPORT; INDUSTRY, FILM. AUSTRALIA; LANDSCAPES IN FILMS. AUSTRALIA; MEN IN FILMS. AUSTRALIA; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; SUBURBS IN FILMS. AUSTRALIA; SOCIETY AND TV; DINGO, ERNIE; ADVENTURES OF BARRY MCKENZIE, THE (AT, Bruce Beresford, 1972); BABE (AT, Chris Noonan, 1995); BIG STEAL, THE (AT, Nadia Tass, 1990); CASTLE, THE (AT, Rob Sitch, 1997); DEATH IN BRUNSWICK (AT, John Ruane, 1991); HEARTBREAK KID, THE (AT, Michael Jenkins, 1993); HEARTLAND [TV] (AT, 1994); IDIOT BOX (AT, David Caesar, 1996); LAST DAYS OF CHEZ NOUS, THE (AT, Gillian Armstrong, 1992); LOVE SERENADE (AT, Shirley Barrett, 1996); METAL SKIN (AT, Geoffrey Wright, 1994); MONKEY GRIP (AT, Ken Cameron, 1982); MURIEL’S WEDDING (AT, P.J. Hogan, 1994); STRICTLY BALLROOM (AT, Baz Luhrmann, 1992)
Notes: Includes index and bibliography
ISBN: 0714649740; 0714680346(pbk.) : ª16.50
LON: 21663632
Contents: 1. Australian cinema towards the millennium / Ian Craven -- 2. Patterns of production and policy: the Australian film industry in the 1990s / Lisa French -- 3. Unhappy endings: the heterosexual dynamic in Australian film / Nigel Spence and Leah McGirr -- 4. Vulnerable bodies: creative disabilities in contemporary Australian film / Liz Ferrier -- 5. Becoming a man in Australian film in the early 1990s: The big steal, Death in Brunswick, Strictly ballroom and The heartbreak kid / Philip Butterss -- 6. His natural whiteness: modes of ethnic presence and absence in some recent Australian films / David Callahan -- 7. All quiet on the western front? Suburban reverberations in recent Australian cinema / Ben Goldsmith -- 8. Romance and sensation in the 'glitter' cycle / Emily Rustin -- 9. A pig in space? Babe and the problem of landscape / Tara Brabazon -- 10. The castle: 1997's 'battlers' and the ir/relevance of the aesthetic / Stephen Crofts -- 11. Idiot box: television, urban myths and ethical scenarios / Kaye Ferres -- 12. Ernie Dingo: reconciliation (a love story forged against the odds?) / Alan McKee -- Australian cinema in the 1990s: filmography / Samantha Searle -- Australian cinema in the 1990s: a select bibliography / Linda Smith
ID2: 306

Call No: 71(94) AUS
Author: Moran, Albert, 1942; O'Regan, Tom, 1956
Place: Sydney
Publisher: Currency Press
PubDate: 1985
PhysDes: 391 p. ; 21 cm
Series: Australian screen
Subject: FEMINISM AND THE CINEMA. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; AVANT-GARDE FILMS. AUSTRALIA; SUPER-8 MM FILMS. AUSTRALIA; WOMEN IN FILMS. AUSTRALIA; BERESFORD, BRUCE; WEIR, PETER; CHAUVEL, CHARLES; Grierson, John; HALL, KEN G.; SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919); GALLIPOLI (AT, Peter Weir, 1981); SCHOOL IN THE MAILBOX (AT, Stanley Haews, 1946?); FROM THE TROPICS TO THE SNOW (AT, Richard Mason and Jack Lee, 1964); BIG COUNTRY, A (AT, 1979); LAST TASMANIAN, THE (AT, Tom Haydon, 1978); MAN FROM SNOWY RIVER, THE (AT, George T. Miller, 1982); SERIOUS UNDERTAKINGS (AT, Helen Grace, 1983); INDONESIA CALLING (AT, Joris Ivens, 1948)
Notes: Includes index; Bibliography: p. 376-379
ISBN: 086819123X (pbk.) : $24.95 Aust
LON: anb86819123; 4105507

Call No: 747.77(73) AUT
Author: Pomerance, Murray; Palmer, R. Barton
Edition: 2022
Place: Austin
Publisher: University of Texas Press
PubDate: April 2022
PhysDes: 324 pages ; 23.5 cm
Subject: PEOPLE WITH DISABILITIES IN FILMS; STAR TREK - THE NEXT GENERATION [TV] (US, 1987-1994); LIFE, ANIMATED (FR/US, Roger Ross Williams, 2016); RAIN MAN (US, Barry Levinson, 1988); GOOD DOCTOR, THE [TV] ( US, 2017 - ); BIG SHORT, THE (US, Adam McKay, 2015); STRANGER THINGS [TV] (US, 2016); SOCIAL NETWORK, THE (US, David Fincher, 2010); NIGHTCRAWLER (US, Dan Gilroy, 2014); ACCOUNTANT, THE (US, Gavin O'Connor, 2016); BEING THERE (US, Hal Ashby, 1979); PHANTOM THREAD (US, Paul Thomas Anderson, 2017); DAVID AND LISA (US, Frank Perry, 1962); MARY POPPINS (US, Robert Stevenson, 1964)
Summary: Global awareness of autism has skyrocketed since the 1980s, and popular culture has caught on, with film and television producers developing ever more material featuring autistic characters. Autism in Film and Television brings together more than a dozen essays on depictions of autism, exploring how autistic characters are signified in media and how the reception of these characters informs societal understandings of autism. Editors Murray Pomerance and R. Barton Palmer have assembled a pioneering examination of autism’s portrayal in film and television. Contributors consider the various means by which autism has been expressed in films such as Phantom Thread, Mercury Rising, and Life Animated and in television and streaming programs including Atypical, Stranger Things, Star Trek: The Next Generation, and Community. Across media, the figure of the brilliant, accomplished, and “quirky” autist has proven especially appealing. Film and television have thus staked out a progressive position on neurodiversity by insisting on screen time for autism but have done so while frequently ignoring the true diversity of autistic experience. As a result, this volume is a welcome celebration of nonjudgmental approaches to disability, albeit one that is still freighted with stereotypes and elisions. -- publisher's web site
ISBN: 9781477324912
Contents: -- -- Preface: Two Meditations: Who Am I? (Murray Pomerance) Before Neurodiversity (R. Barton Palmer) -- 1. Autistic Android? The Curious Instance of Star Trek’s Data (Ina Rae Hark) -- 2. Life, Animated: Adapting a Book about a Hero with Autism (Rebecca Bell-Metereau) -- 3. Where Is the Autism in Rain Man? (Daniel Sacco ) -- 4. The Good Doctor: Images of Autism and Augmented Intelligence (Burke Hilsabeck) -- 5. Oddity and Catastrophe in The Big Short (Jason Jacobs) -- 6. Diagnosing the Detective: Sherlock Holmes and Autism in Contemporary Television (Christina Wilkins) -- 7. She’s So Unusual: The Autist in Stranger Things (Brenda Austin-Smith) -- 8. Autism, Performance, and Sociality: Isolated Attention in The Social Network (Elliott Logan) -- 9. Hidden Worlds of Female Autism (Daniel Varndell) -- 10. Eye Contact in Juárez: Borderline Empathy and the Autistic Detective (Douglas McFarland) -- 11. The Creative Evolution and Reception of Netflix’s Atypical (Christine Becker) -- 12. Community’s Human Laugh Track: Neurodiversity in a Metamodern Sitcom (Joshua Schulze) -- 13. Portrait of the Autist as a Young Man (Fincina Hopgood) -- 14. Due Diligence: Exploring ASD in Nightcrawler and The Accountant (Dominic Lennard) -- 15. Mind the Gap: Autistic Viewpoint in Film (Alex Clayton) -- 16. Performative Restraint and the Challenges of Empathy in Being There and Phantom Thread (Matthew Cipa) -- 17. “A Spoonful of Sugar”: Watching Movies Autistically (Mark Osteen) -- 18. David and Lisa: The Healing Power of the Group (R. Barton Palmer) -- 19. Jesse: Torture That Autist (Murray Pomerance) -- Works Cited and Consulted -- Photo Captions and Credits -- Contributors -- Index.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Publicity
Subject: AWFULLY BIG ADVENTURE, AN (UK, Mike Newell, 1995)

Call No: 81STA DIO
Author: DiOrio, Al
Source: US
Place: New York
Publisher: Berkley Books
PubDate: 1985, c1983
PhysDes: 247 p. : ill. ; 18cm
Subject: Stanwyck, Barbara; BROADWAY NIGHTS (US, Jospeph Boyle, 1927); LOCKED DOOR, THE (US, George Fitzmaurice, 1929); MEXICALI ROSE (US, Erle Kenton, 1929); LADIES OF LEISURE (US, Frank Capra, 1930); ILLLICIT (US, Archie Mayo, 1931); TEN CENTS A DANCE (US, Lionel Barrymore, 1931); NIGHT NURSE (US, William Wellman, 1931); MIRACLE WOMAN, THE (US, Frank Capra, 1931); FORBIDDEN (US, FrankCapra, 1932); SHOPWORN (US, Nicholas Grinde, 1932); SO BIG (US, William Wellman, 1932); PURCHASE PRICE, THE (US, William Wellman, 1932); BITTER TEA OF GENERAL YEN, THE (US, Walter Wanger, 1933); LADIES THEY TALK ABOUT (US, Howard Bretherton and William Keighley, 1933); BABYFACE (US, Alfred Green, 1933); EVER IN MY HEART (US, Archie Mayo, 1933)
Notes: Filmography and credit listing included of all Stanwycks films.
ISBN: 0425094553

Call No: 67(04) BES
Place: New York
Publisher: St. Martin's
PubDate: 1999
PhysDes: 280 p.
Subject: WOMEN IN FILMS; RELIGION AND THE CINEMA; ADAPTATIONS; HISTORY OF CINEMA. SOUND PERIOD; ETHNIC GROUPS IN FILMS; GAZE IN FILMS; FAMILY IN FILMS; WAR FILMS; BOORMAN, JOHN; FRANKENHEIMER, JOHN; SINATRA, FRANK; FORD, JOHN; THOMPSON, KAY; YASUJIRO OZU; MANGOLD, JAMES; RISKIN, ROBERT; SPIELBERG, STEVEN; SCORSESE, MARTIN; SARRIS, ANDREW; MCCAREY, LEO; BOGDANOVICH, PETER; CAPRA, FRANK; VIDAL, GORE; DOVE, BILLIE; GRANT, CARY; BURNETT, CHARLES; HAPPINESS (US, Todd Solondz, 1998); SEARCHERS, THE (US, John Ford, 1956); EVE'S BAYOU (US, Kasi Lemons, 1997); TOUCH OF EVIL (US, Orson Welles, 1958); L.A. CONFIDENTIAL (US, Curtis Hanson, 1997); SWEET SMELL OF SUCCESS (US, Alexander Mackendrick, 1957); GENERAL, THE (UK, John Boorman, 1998); RONIN (US, John Frankenheimer, 1998); STARDUST MEMORIES (US, Woody Allen, 1980); TROUBLE IN PARADISE (US, Ernst Lubitsch, 1932); RED RIVER (US, Howard Hawks, 1948); DETOUR (US, Edgar G. Ulmer, ,1946); WRITTEN ON THE WIND (US, Douglas Sirk, 1956); NOTORIOUS (US, Alfred Hitchcock, 1946); BIG SLEEP, THE (US, Howard Hawkes, 1946); LADY EVE, THE (US, Preston Sturges, 1941); M (G, Fritz Lang, 1931); WOMAN UNDER THE INFLUENCE, A (US, John Cassavetes, 1974)
ISBN: 0312244832
ID2: 291

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Posters; Clippings; Press kit
Subject: BIG (US, Penny Marshall, 1988)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG ADVENTURE, THE [TV] (AT, 1984)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG AND THE BLUES (CN, Marrin Canell, 1981)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BAD JOHN (US, Burt Kennedy, 1990)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BAD LOVE (US, Arliss Howard, 2001)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BAD LOVE (AT, Briony Benjamin, 2016)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BAD MAMA (US, Steve Carver, 1974)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BAD MAMA II (US, Jim Wynorski, 1987)

Call No: DIGITAL CLIPPINGS FILE
PhysDes: Press kit
Subject: BIG BAD WOLVES (IS, Aharon Keshales & Navot Papushado, 2013)
Cross Reference: BIG BAD WOLVES

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BAG'S JAPANESE ADVENTURE (AT, Michael Buckley & Jack White, 1998)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BANDICOOT (AT, John Mabey, 1991)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BANG, THE (US, James Toback, 1989)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BANG THEORY, THE [TV] (US, 2007-)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BOUNCE, THE (US, George Armitage, 2004)

Call No: DIGITAL CLIPPINGS FILE
PhysDes: Press kit
Subject: BIG BOY (US, Bryan Campbell , 2014)
Cross Reference: BIG BOY

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BOYS GONE BANANAS (SW/DK/G/US/UK, Fredrik Gertten, 2011)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BRASS RING, THE (US, Thomas Bezucha, 2000)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Stills
Subject: BIG BRAWL, THE (US, Robert Clouse, 1980)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BROTHER OF CHRISTMAS ISLAND (AT, Mathew Kelley, 1999)

Author: Hemphill, Brooke
PhysDes: Article
Subject: BIG BROTHER [TV] (AT, 2001-)
Summary: Hemphill visits the set of the reality television show Big Brother

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Publicity
Subject: BIG BROTHER [TV] (AT, 2001-)
URL status: URL: 'http://file://Q:/T/BIG_BROTHER.TV.zip' Checked: 31/08/2021 1:07:20 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: PERSONALITY CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BROTHER [TV] (AT, 2001-)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BULLY (US, Steve Miner, 1996)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BIG BUSINESS (US, Jim Abrahams, 1988)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG CHILL, THE (US, Lawrence Kasdan, 1983)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG CLOCK, THE (US, John Farrow, 1947)

Call No: 79 BIG IDD
Author: Iddon, Ron Mabey, John
Source: AT
Place: Sydney
Publisher: Australian Broadcasting Commission
PubDate: [1974]
PhysDes: 28 cm; 93 p.
Subject: BIG COUNTRY, A (AT, 1979)
ISBN: 0642975760
Donation: donated by the family of Wayne Levy, 2006

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 2 photographs : b&w ; 20.5 x 25 cm.
Subject: BIG COUNTRY, A (AT, 1984)
Summary: Photographs from the Australian television series A Big Country, from the episode "Kiwis - rugby dance," aired 26/5/1984.

Author: Pugh, Jan
PhysDes: Article
Subject: BIG CUBE, THE (US/MX, Tito Davison, 1968)
Summary: Review

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BIG DADDY (US, Dennis Dugan, 1999)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG DIS, THE (US, Gordon Eriksen & John O'Brien, 1989)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG DREAMERS (AT, Camille Hardman, 2007)

Call No: P BIG
PhysDes: 1 poster : col. ; 85 X 60 cm
Subject: BIG DREAMERS (AT, Camille Hardman, 2007)
Summary: Image/s: man, shown from behind, looking up at a giant gumboot with a giant frog on the side of it/two men standing either side of main image, apparently on pedestals. Text: 'BarkingCat Productions and the Australian Film Commision present Big Dreamers: one man's Quixotic struggle to build the world's biggest gumboot. World premiere: Big Sky Documentary Festival, Wilma Theatre, Monday 19th February 5.30pm, don't be late!!!'
Notes: Fold lines on poster
ID2: 134

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BIG EASY, THE (US, Jim McBride, 1986)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG EDEN (PL, Jerzy Stuhr, 2000)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG EYES (US/CN, Tim Burton, 2014)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BIG FAT LIAR (US, Shawn Levy, 2002)

Call No: TITLE CLIPPINGS FILE; MY BIG FAT GREEK WEDDING 2 (US, Kirk Jones, 2016)
Author: Wilson, Jake
PhysDes: Clippings File Article
Subject: MY BIG FAT GREEK WEDDING 2 (US, Kirk Jones, 2016)
Summary: Review of the film MY BIG FAT GREEK WEDDING 2
Rating: 2 out of 5 stars

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG FELLA, THE (UK, J. Elder Wills, 1937)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG FISH (US, Tim Burton, 2003)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG FISH DOWN UNDER (AT, John Hetherington, 1982)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG FIX, THE (US, Jeremy Paul Kagan, 1978)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG GIG, THE [TV] (AT, Ted Robinson, 1989)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG GIRLS DON'T CRY...THEY GET EVEN (US, Joan Macklin Silver, 1992)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG GREEN, THE (US, Holly Goldberg Sloan, 1995)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG GUNS TALK : THE STORY OF THE WESTERN (US, Len Morris, 1997)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG H (AT, David Perry, ?)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG HAIR WOMAN (AT, Don Parham, 1996)

Call No: 79BIG MCA
Author: McArthur, Colin
CorpAuthor: British Film Institute
Place: London
Publisher: BFI Publishing
PubDate: 1992
PhysDes: 80 p. : ill., ports. ; 19 cm
Series: BFI film classics
Subject: BIG HEAT, THE (US, Fritz Lang, 1953)
Notes: Bibliography: p 80
ISBN: 0851703429 (pbk)
LON: bnb85170342; 9219900

Author: Lucas, Bret
PhysDes: Article Review Biography Credits Bibliography
Subject: BIG HEAT, THE (US, Fritz Lang, 1953); LANG, FRITZ; AUTEUR THEORY; AUTHORSHIP; HITCHCOCK, ALFRED; RAY, NICHOLAS
Summary: Essay examines Fritz Lang's career as an auteur director, including quotes by Lang, as well as a review of "The Big Heat".

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG HEAT, THE (US, Fritz Lang, 1953)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG HERO 6 (US, Don Hall & Chris Williams, 2014)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BIG HIT, THE (US, Che-Kirk Wong, 1998)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG HOUSE, THE [TV] (AT, David Goldie, 1997)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG HOUSE, THE (AT, Rachel Ward, 2000)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG HOUSE, THE (AT, Rachel Ward, 2000)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG HURT, THE (AT, Barry Peak, 1986)

Call No: 79BIG NEA
Author: Neale, Peter
Source: AT
Place: Port Melbourne, Vic
Publisher: Mammoth
PubDate: 1993
PhysDes: 143p. ; 20cm
Subject: BIG IDEAS [TV] (UK/AT, 1992)
ISBN: 1836602204

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG IN JAPAN (AT/JP, Lachlan Mcleod & Louis Dai, 2017)

Call No: S BIG
Author: Rueff, Roger
PubDate: 1999
PhysDes: 102 p
Subject: BIG KAHUNA, THE (US, John Swanbeck, 1999)
Notes: Unpublished script
Donation: donated by the Australian Writers Guild

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG KAHUNA, THE (US, John Swanbeck, 1999)

Call No: 79BIG TYR
Author: Tyree, J. M.; Walters, Ben
Source: UK
Place: London
Publisher: British Film Institute
PubDate: 2007
PhysDes: 123 p. : ill. ; 19 cm.
Series: BFI film classics
Subject: BIG LEBOWSKI, THE (US, Joel Coen, 1998)
Summary: "Ethan and Joel Coen's The Big Lebowski was released in 1998 to general bafflement. A decade on, it has become a cult classic, inspiring a thriving circuit of 'Lebowski Fasts' during which costumed devotees gather at bowling alleys and guzzle White Russians. Beyond its superabundance of deliciously quotable lines, how has the movie inspired such remarkable affection? And why does its critical stock continue to rise?" "The film's unlikely anchor is Jeff Bridges' career-best performance as Jeffrey Lebowski, a fully-baked 1960s radical turned Venice Beach drop-out known to his friends as 'the Dude'. Mistaken for an identically-named grandee whose young trophy wife is in trouble, the Dude finds himself embroiled in an impossibly convoluted kidnap plot involving pornographers, nihilists and threats to his 'Johnson'. Worst of all, it conflicts with his bowling commitments." "In part an irreverent pastiche of Raymond Chandler's The Big Sleep (at filmed by Howard Hawks), The Big Lebowski is also a jukebox of film history, littered, with playful and subversive references to everything from Hitchcock and Altman to Busby Berkeley. This riot of addled quotations reflects the film's Los Angeles setting, a discombobulated world inhabited by flakes, phonies and poseurs with put-on identities." "Like many Coen works, the movie plays havoc with the conventions of the crime genre and the absurdities of classical American 'heroism'. But The Big Lebowski is also that rare thing, a comedy that gets richer, funnier and more affecting with each viewing. Beneath its breakneck pacing and foul-mouthed ribaldry, the Dude's story offers disarmingly humane lessons in the value of simple things: friendship, laughter and bowling."-- Extract taken from the back of the book
Notes: Bibliography: p. 122-123.
ISBN: 9781844571734
Contents: The mix-tape movie -- Out of the past -- What makes a man? -- The religion of laughter.

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BIG LEBOWSKI, THE (US, Joel Coen, 1998)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG LIE THE [TV] (AT, Terry Carlyon, 2005)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG LITTLE LIES [TV] (US, 2017)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Publicity
Subject: BIG MAMMA'S BOY (AT, Franco di Chiera, 2011)
ID2: 63

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Publicity
Subject: BIG MEAT EATER (CN, Chris Windsor, 1982)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG MOMMA'S HOUSE (US, Raja Gosnell, 2000)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG MOMMA'S HOUSE 2 (US, John Whitesell, 2006)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG MOUTH, THE (US, Jerry Lewis, 1967)
ID2: 323

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG MOUTH [TV] (AT, 2008)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG NIGHT (US, Campbell Scott & Stanely Tucci, 1996)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG NIGHT OUT, THE (AT, Tim Boyle, 1999)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG ONE, THE (US, Michael Moore, 1997)

Author: Auty, Martyn
PhysDes: Article
Subject: BIG PARADE, THE (US, King Vidor, 1925)
Summary: Credits

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG PARADE, THE (US, King Vidor, 1925)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG PEOPLE, SMALL PEOPLE (AT, Don Parham, 1992)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG PICTURE, THE (US, Christopher Guest, 1989)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG PICTURE, THE (AT, Michael Spierig & Peter Spierig, 2001)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG RED ONE, THE (US, Samuel Fuller, 1980)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG REEF [TV] (AT, 2004)

Call No: SUBJECT CLIPPINGS FILE; BIG REVIEW TV
Author: Foreshew, Jennifer
PhysDes: Clippings File Article
Subject: BIG REVIEW TV
Summary: Report on Big Review TV's growth during recent quarterly period and the companies focus on aggregating and creating video reviews on various businesses

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG RIVER ADVENTURE, THE (AT, [1984])

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG ROADS MEAN BIG LORRIES (AT, Brett Houghton, 1982)

PhysDes: Conference report; Illustration(s)
Subject: CONFERENCES. AUSTRALIA. SMALL SCREEN BIG PICTURE TELEVISION; COPRODUCTION. AUSTRALIA; GOVERNMENT AID. AUSTRALIA

Author: Harty, Jason
PhysDes: Conference report; Illustration(s)
Subject: CONFERENCES. AUSTRALIA. SMALL SCREEN BIG PICTURE TELEVISION; DIGITAL BROADCASTING. AUSTRALIA; INDUSTRY, TV. GERMANY
Summary: Digital and interactive broadcasting was featured at the 2000 Small Screen Big Picture conference. Guest speakers included industry representatives from Germany.

Call No: DIGITAL FILE
Author: Randolph, Charles; McKay, Adam; Lewis,Michael
PhysDes: 171 leaves
Subject: BIG SHORT, THE (US, Adam McKay, 2015)
Notes: Unpublished script
Donation: AFI/AACTA

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG SHORT, THE (US, Adam McKay, 2015)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG SHOTS (US, Robert Mandel, 1987)

Call No: S BIG
Author: Gordon, Emily; Nanjiani, Kumail
Place: US
PhysDes: 114 pages ; 30 cm
Subject: BIG SICK, THE (US, Michael Showalter, 2017)
Notes: Unpublished script

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BIG SICK, THE (US, Michael Showalter, 2017)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG SKY [TV] (AT, 1996)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG SLEEP, THE (US, Howard Hawkes, 1946)

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Clippings
Subject: BIG SNIT, THE (CN, Richard Condie, 1985)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG SQUEEZE, THE (US, Marcus DeLeon, 1996)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG STAN (US, Rob Schneider, 2007)

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BIG STAR : NOTHING CAN HURT ME (US, Drew DeNicola & Olivia Mori, 2012)
URL status: URL: 'http://file://Q:/T/BIG_STAR.zip' Checked: 31/08/2021 1:31:54 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: D The big steal
Edition: Widescreen collectors edition
Place: [Australia]
Publisher: Umbrella Entertainment
PubDate: [2003]
PhysDes: 1 DVD (96 min.) : sd., col. ; 4 3/4 in.
Subject: BIG STEAL, THE (AT, Nadia Tass, 1990)
ID2: 306
Technical Details: PAL ; All regions.
Credits: Director: Nadia Tass; Screenplay: David Parker, Max Dann; DOP: DavidParker; Music: Philip Judd; Editor: Peter Carrodus; Prod Design:Paddy Reardon; Co-Producer: Timothy White; Producers: Nadia Tass,David Parker.
Standard Number: 9322225015012
Performer: Ben Mendelsohn, Claudia Karvan, Marshall Napier, Damon Herriman,Angelo D'Angelo, Tim Robertson, Maggie King,Steve Bisley, SherylMunks, Lise Rodgers, Frankie J. Holden, Mark Hennessy, Roy Edmunds,Mike Nikol, Andrew Spence.

Call No: 79BIG PAR
Author: Parker, David, 1947
Place: St. Lucia, Qld.
Publisher: University of Queensland Press
PubDate: 1991
PhysDes: x, 66 p., [8] p. of plates : ill. ; 20 cm
Subject: BIG STEAL, THE (AT, Nadia Tass, 1990)
ISBN: 0702223727 : price unknown
LON: abn90382201; 7679258
ID2: 306

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Stills; Transparency; Press kit
Subject: BIG STEAL, THE (AT, Nadia Tass, 1980)
ID2: 306

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 16 photographs : b&w ; 21 x 26 cm + 1 photograph : b&w ; 13 x 18 cm
Subject: KARVAN, CLAUDIA; MENDELSOHN, BEN; NAPIER, MARSHALL; HERRIMAN, DAMON; ROBERTSON, TIM; BISLEY, STEPHEN; BIG STEAL, THE (AT, Nadia Tass, 1990)
Summary: 17 black and white photographs of scenes from the film starring Claudia Karvan, Ben Mendelsohn and Steve Bisley.
Notes: 1 image donate by Brian McFarlane

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG TEASE, THE (US/UK, Kevin Allen, 1999)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG TIME (US, Chris Blum, 1988)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG TIME (DK, Kaspar Astrup Schröder, 2017)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG TIME OPERATORS (UK, Basil Dearden, 1957); SMALLEST SHOW ON EARTH, THE (UK, Basil Dearden, 1957)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG TNT SHOW, THE (US, Larry Peerce, 1965)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Publicity
Subject: BIG TOP PEE-WEE (US, Randal Kleiser, 1988)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG TOWN, THE (US, Ben Bolt, 1987)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG TROUBLE (US, John Cassavetes, 1986)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG TROUBLE (US, Barry Sonnenfeld, 2002)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG TROUBLE (US, Barry Sonnenfeld, 2002)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG TROUBLE IN LITTLE CHINA (US, John Carpenter, 1986)

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG UN LIMITED

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG VALLEY, THE [TV] (US, 1965-1969)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG WEDDING, THE (US, Justin Zackham, 2013)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Stills; Press kit
Subject: BIG WEDNESDAY (US, John Milius, 1978)

Call No: DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG WHITE, THE (GG/CN/NZ/US, Mark Mylod, 2005)

Call No: N79BIG HEP
Author: Hepworth, John and Spears, Steve J.
Source: AT
Place: Ringwood
Publisher: McPhee Gribble / Penguin Books
PubDate: 1990
PhysDes: 128p. ; 20cm
Series: More Winners
Subject: BIG WISH, THE (AT, Esben Storm, 1990)
ISBN: 0140144625

Call No: 802.22 BAZ
Author: Bazalgette, Peter
Source: UK
Place: London
Publisher: Time Warner
PubDate: 2005
PhysDes: viii, 306 p. ; b&w ill. : 24cm.
Subject: REALITY TV; SMITH, PAUL; DE MOL, JOHN; PARSONS, CHARLIE; BIG BROTHER [TV] (AT, 2001-); WHO WANTS TO BE A MILLIONAIRE? [TV]; SURVIVOR [TV]
Summary: Story of how Paul Smith, Charlie Parsons and John de Mol brought 'Who wants to be a millionaire?', 'Survivor' and 'Big brother' to popular television.
Notes: Includes bibliographic references and index
ISBN: 0316729159
Language: English

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BOB'S BIG SURPRISE (UK, 1999)

Call No: 81BOG MCC
Author: McCarty, Clifford
Source: US
Place: New Jersey
Publisher: Citadel Press
PubDate: 1979
PhysDes: 187 p. : ports. ; 28 cm
Subject: BOGART, HUMPHREY; DEAD END (US, William Wyler, 1937); BLACK LEGION (US, Archie L. Mayo, 1936); STAND-IN (US, Tay Garnett, 1937); ANGELS WITH DIRTY FACES (US, Michael Curtiz, 1938); ROARING TWENTIES, THE (US, Raoul Walsh, 1939); HIGH SIERRA (US, Raoul Walsh, 1941); MALTESE FALCON, THE (US, John Huston, 1941); BEAT THE DEVIL (UK/IT/US, John Huston, 1953); CAINE MUTINY, THE (US, Edward Dmytryk, 1954); SABRINA (US, Billy Wilder, 1954); BAREFOOT CONTESSA, THE (US, Joseph L. Mankiewicz, 1954); KEY LARGO (US, John Huston, 1948); IN A LONELY PLACE (US, Nicholas Ray, 1950); AFRICAN QUEEN, THE (US, John Huston, 1952); BIG SLEEP, THE (US, Howard Hawkes, 1946); CASABLANCA (US, Michael Curtiz, 1942)
Summary: A list of Bogart’s films from 1930s to the 1950s, with the casts and descriptions of each film.
ISBN: 0806500018

Call No: 732(94) JOH
Author: Johnson, Rob, 1969; Smiedt, David
Place: Rydalmere, N.S.W.
Publisher: Hodder Headline Australia
PubDate: 1999
PhysDes: viii, 376 p. : ill., ports. ; 24 cm
Subject: COMEDIES. AUSTRALIA; COMEDY PROGRAMMES. AUSTRALIA; COMEDIENNES. AUSTRALIA; ADAMS, PHILLIP; GLEISNER, TOM; MCDERMOTT, PAUL; O'DONOGHUE, RORY; BAILEY, BERT; BOND, GRAHAME; BOURNE, SHANE; BROWN, NOELINE; CILAURO, SANTO; CHATER, GORDON; CREYTON, BARRY; DENTON, ANDREW; FAHEY, MARYANNE; FERGUSON, TIM; GILLIES, MAX; GRILLS, LUCKY; GYNGELL, KIM; HALL, KEN G.; HARMER, WENDY; HOGAN, PAUL; HUMPHRIES, BARRY; KENNEDY, GRAHAM; LAMOND, TONI; MCDONALD, GARRY; QUANTOCK, ROD; RAYE, CAROL; REILLY, GARY; SITCH, ROB; SORRENTI, VINCE; SZUBANSKI, MAGDA; ADVENTURES OF BARRY MCKENZIE, THE (AT, Bruce Beresford, 1972); BIG GIG, THE [TV] (AT, Ted Robinson, 1989); FRONTLINE [TV] (AT, 1994- ); MAVIS BRAMSTON SHOW [TV] (AT, 1964-1968); IN MELBOURNE TONIGHT [TV] (AT, 1957-?, 1997-); AUNTY JACK SHOW, THE [TV] (AU, 1972-73); COMEDY COMPANY, THE [TV] (AT, 1988-1990); D-GENERATION [TV] (AT, 1986-?); FAST FORWARD [TV] (AT, 1988-1989?)
Notes: Includes index; "An Allison Pressley book."
ISBN: 0733609384 : $24.95
LON: 14529909

Call No: 92(058) BOY
Place: London
Publisher: Fleetway House
PubDate: [1951]
PhysDes: 160 p. : illus. ; 26 cm
Subject: TREASURE ISLAND (US, Byron Haskin, 1950); STAGECOACH (US, John Ford, 1939); BLUE LAMP (UK, Basil Dearden, 1949); HIGH JINKS IN SOCIETY (UK, John Guillermin & Robert Jordan Hill, 1949); SO DEAR TO MY HEART (US, Harold Schuster & Hamilton Luske, 1949); BIG CAT, THE (US, Phil Karlson, 1949); SAVAGE SPLENDOUR (US, Lewis Cotlow/Armand Denis, 1949); UNKNOWN ISLAND (US, Jack Bernhard, 1948); GUNGA DIN (US, George Stevens, 1939); AMAZON QUEST (US, Steve Sekely, 1949)

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Clippings; Press kit
Subject: BRIGHT LIGHTS, BIG CITY (US, James Bridges, 1988)

Call No: 71(51) CHI
Author: Berry, Chris
Edition: Second Edition
Source: UK
Place: Basingstoke [England] ; New York
Publisher: British Film Institute/Palgrave Macmillan
PubDate: 2008
PhysDes: 287 pages : illustrations ; 24 cm
Subject: CITY OF SADNESS, A [; TAIWAN; CULTURE AND THE CINEMA. CHINA; [FIFTEEN] 15 (SI, Royston Tan, 2003); BIG SHOT'S FUNERAL (HK/CC, Feng Xiaogang, 2002); DA WAN (HK/CC, Feng Xiaogang, 2002); BLACK CANNON INCIDENT, THE (CC, Huang Jianxin, 1986); HEI PAO SHI JIAN (CC, Huang Jianxin, 1986); MANG JING (CC/G/HK, Yang Li, 2003); BLIND SHAFT [MANG JING] (CC/GG/HK, Li Yang, 2003); BOAT PEOPLE (HK, Ann Hui, 1982); TOU-PEN NU-HAI (HK, Ann Hui, 1982); CENTER STAGE (HK, Stanley Kwan, 1991); RUAN LINGYU (HK, Stanley Kwan, 1991); CHINESE GHOST STORY, A (HK, Ching Siu Tung, 1987); SINNUI YAUMAN (HK, Ching Siu Tung, 1987); CHUNGKING EXPRESS [CHONGQING SENLIN] (HK, Wong Kar-Wai, 1994); CHUNGKING EXPRESS [CHONGQING SENLIN] (HK, Wong Kar-Wai, 1994); CROUCHING TIGER, HIDDEN DRAGON (HK, Ang Lee, 2000); ERMO (HK/CC, Zhou Xiaowen, 1994); FAREWELL MY CONCUBINE (HK, Chen Kaige, 1993); GODDESS, THE (C, Yonggang Wu, 1934); HERO (HK/C, Yimou Zhang, 2002); IN THE MOOD FOR LOVE [FA YEUNG NIN WA] (HK, Wong Kar-Wai, 2000); YELLOW EARTH (CC, Chen Kaige, 1985); WAN ZHONG (CC, Wu Ziniu, 1989); FLOATING LIFE (AT, Clara Law, 1996); HIBISCUS TOWN [FU RONG ZHEN] (CC, Xie Jin, 1987); IN THE MOOD FOR LOVE [FA YEUNG NIN WA] (HK, Wong Kar-Wai, 2000); YI GE DOU BU NENG SHAO (C, Zhang Yimou, 1999); TONG NIEN WANG SHI (TZ, Hou Hsiao-Hsien, 1986); HSIA NU (TZ, King Hu [pseud. of Hu Chin-Chuan], 1969); AIQING WANSUI (TZ, Tsai Ming-Liang, 1994); HSI YEN (TZ, Ang Lee, 1993); HUANG TUDI (CC, Chen Kaige, 1985); YI YI (JA/TZ, Edward Yang, 2000)
Summary: "Chinese cinema continues to go from strength to strength. After art-house hits like Chen Kaige's Yellow Earth (1984) and Wong Kar-wai's In the Mood for Love (2000), the Oscar-winning success of Ang Lee's Crouching Tiger, Hidden Dragon (2000) disproved the old myth that subtitled films could not succeed at the multiplex. Chinese Films in Focus II updates and expands the original Chinese Films in Focu: 25 New Takes with fourteen brand new essays, to offer thirty-four fresh and insightful readings of key individual films. The new edition addresses films from mainland China, Taiwan, Hong Kong and other parts of the Chinese diaspora and the historical coverage ranges from the 1930s to the present." -- BOOK BLURB
Notes: Includes list of illustrations and index -- includes lists of Chinese names and Chinese film titles
ISBN: 9781844572373
Contents: Notes on contributors -- Introduction: one film at a time - again / Chris Berry -- 15: The Singapore failure story, 'slanged up' / Song Hwee Lim -- Big Shot's Funeral: Performing a post-modern cinema of attractions / Yingjin Zhang -- Black Cannon Incident: Countering the counter-espionage fantasy / Jason McGrath -- Blind Shaft: Performing the 'underground' on and beyond the screen / Jonathan Noble -- Boat People: Second thoughts on text and context / Julian Springer -- Centre Stage: A shadow in reverse / Berenice Reynaud -- A Chinese Ghost Story: Ghostly counsel and innocent man / John Zou -- Chungking Express: Time and its displacements / Janice Tong -- Crouching Tiger, Hidden Dragon: Cultural migrancy and translatability / Felicia Chan -- Crows and Sparrows: Allegory on a historical threshold / Yiman Wang -- Durian Durian: Defamiliarisation of the 'real' / Esther M. K. Cheung -- Ermo: (Tele)visualising urban/rural transformation / Ping Fu -- Farewell My Concubine: National myth and city memories / Yomi Braester -- Flowers of Shanghai: Visualising ellipses and (colonial) absence / Gary G. Xu -- Formula 17: Mainstream in the margins / Brian Hu -- The Goddess: Fallen woman of Shanghai / Kristine Harris -- Hero: The return of a traditional masculine ideal in China / Kam Louie -- In the Mood for Love: Intersections of Hong Kong modernity / Audrey Yue -- Kekexili: Mountain Patrol: Moral dilemma and a man with a camera / Shuqin Cui -- The Love Eterne: Almost a (heterosexual) love story / Tan See-Kam and Annette Aw -- Not One Less: The fable of a migration / Rey Chow -- The Personals: Backwards glances, knowing looks and the voyuer film / Margaret Hillenbrand -- PTU: Re-mapping the cosmopolitan crime zone / Vivian Lee -- The Red Detachment of Women: Resenting, regendering, remembering / Robert Chi -- Riding Alone for Thousands of Miles: Redeeming the father by way of Japan? / Faye Hui Xiao -- Spring in a Small Town: Gazing at Ruins / Carolyn FitzGerald -- A Time to Live, A Time to Die: A time to grow / Corrado Neri -- A Touch of Zen: Action in martial arts movies / Mary Farquhar -- Vive L'Amour: Eloquent Emptiness / Fran Martin -- Wedding Banquet: A family (melodrama) affair / Chris Berry -- Woman, Demon, Human: The spectral journey home / Haiyan Lee -- Xiao Wu: Watching time go by / Chris Berry -- Yellow Earth: Hesitant apprenticeship and bitter agency / Helen Hok-sze Leung -- Yi Yi: Reflections on modernity in Taiwan / David Leiwei Li

Call No: 81 COE NAY
Author: Nayman, Adam
Source: US
Place: New York
Publisher: Abrams Books
PubDate: 2018
PhysDes: 320 pages : illustrations (some colour) ; 32 cm
Subject: COEN, JOEL & ETHAN; BLOOD SIMPLE (US, Joel Coen, 1984); RAISING ARIZONA (US, Joel Coen, 1987); MILLER'S CROSSING (US, Joel Cohen, 1990); BARTON FINK (US, Joel Cohen, 1991); HUDSUCKER PROXY, THE (US, Joel Coen, 1994); FARGO (US, Ethan Coen, 1996); BIG LEBOWSKI, THE (US, Joel Coen, 1998); O BROTHER, WHERE ART THOU? (US, Joel Coen, 2000); MAN WHO WASN'T THERE, THE (US, Joel Coen, 2001); INTOLERABLE CRUELTY (US, Joel Coen & Ethan Coen, 2003); LADYKILLERS, THE (US, Joel Coen & Ethan Coen, 2004); NO COUNTRY FOR OLD MEN (US, Ethan Coen & Joel Coen, 2007); BURN AFTER READING (US/UK/FR, Ethan Coen/Joel Coen, 2008); SERIOUS MAN, A (US/UK/FR, Ehan Coen, Joel Coen, 2009); TRUE GRIT (US, Coen Brothers, 2010); HAIL, CAESAR! (UK/US, Ethan Coen and Joel Coen, 2016)
Summary: "From such cult hits as Raising Arizona (1987) and The Big Lebowski (1998) to major critical darlings Fargo (1996), No Country for Old Men (2007), and Inside Llewyn Davis (2013), Ethan and Joel Coen have cultivated a bleakly comical, instantly recognizable voice in modern American cinema. In The Coen Brothers: This Book Really Ties the Films Together, film critic Adam Nayman carefully sifts through their complex cinematic universe in an effort to plot, as he puts it, “some Grand Unified Theory of Coen-ness.” The book combines critical text—biography, close film analysis, and enlightening interviews with key Coen collaborators—with a visual aesthetic that honors the Coens’ singular mix of darkness and levity. Featuring film stills, beautiful and evocative illustrations, punchy infographics, and hard insight, this book will be the definitive exploration of the Coen brothers’ oeuvre." - taken from publisher's website.
Notes: Includes bibliographical references.
ISBN: 9781419727405
Contents: An introduction -- Out of nowhere -- Blood simple -- Raising Arizona -- Miller's crossing -- Interview: Michael Miller -- Barton Fink -- Hits and misses -- The hudsucker proxy -- Fargo -- Interview: The Zellner Brothers -- The Big Lebowski -- Interview: Lisa Walker -- Can't stop what's coming -- O brother, where are thou? -- The man who wasn't there -- Interview: Carter Burwell -- Intolerable cruelty -- The ladykillers -- Mysterious ways -- No country for old men -- Interview: Roger Deakins -- Tuillries & world cinema -- Burn after reading -- A serious man -- Interview: J. Todd Anderson -- That's entertainment! -- True grit -- Interview: Mary Zophres -- Inside Llewyn Davis -- Hail, Caesar! -- Interview: Jess Gonchor -- An outroduction -- Credits -- Bibliography

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: CONFERENCES. AUSTRALIA. SMALL SCREEN BIG PICTURE TELEVISION

Call No: 81COE RED
Author: Redmon, Allen H.
Source: US/UK
Place: New York : London
Publisher: Rowman & Littlefield
PubDate: c2015
PhysDes: xviii, 173 pages ; 24 cm
Subject: CRITICISM; COEN, JOEL & ETHAN; LADYKILLERS, THE (US, Joel Coen & Ethan Coen, 2004); BARTON FINK (US, Joel Cohen, 1991); RAISING ARIZONA (US, Joel Coen, 1987); HUDSUCKER PROXY, THE (US, Joel Coen, 1994); MAN WHO WASN'T THERE, THE (US, Joel Coen, 2001); INTOLERABLE CRUELTY (US, Joel Coen & Ethan Coen, 2003); NO COUNTRY FOR OLD MEN (US, Ethan Coen & Joel Coen, 2007); BIG LEBOWSKI, THE (US, Joel Coen, 1998); O BROTHER, WHERE ART THOU? (US, Joel Coen, 2000); BURN AFTER READING (US/UK/FR, Ethan Coen/Joel Coen, 2008); SERIOUS MAN, A (US/UK/FR, Ehan Coen, Joel Coen, 2009)
Summary: "In Constructing the Coens: From Blood Simple to Inside Llewyn Davis, Allen Redmon looks beyond the postmodern sensibilities of every film written and directed by the Coens to find an unexpected range of recurring ideas expressed in and about contemporary film. Redmon tackles all of the films in the Coen brothers’ canon by examining—among other topics—narrative coherence in The Man Who Wasn’t There, intertextuality in No Country for Old Men, and sexuality in Burn after Reading and O Brother, Where Art Thou? Additional chapters examine the films through the prisms of gender studies, adaptation studies, and a constructivist sensibility weaved throughout their work." -- BOOK BLURB
Notes: Formerly CIP; Includes bibliographical references (pages 155-160), filmography (pages 161-163) and index
ISBN: 9781442244849
Donation: Sense of cinema
Contents: -- acknowledgments -- introduction -- 1: "It's a problem of 'perception'": identifying the Coens' constructivist sensibility -- 2: "You don't want to be tried and found wantin'": triggering the ongoing adaptation of the the Ladykillers -- 3: "I will destroy him": negotiating the image in Barton Fink and Raising Arizona -- 4: "That gag's got whiskers on it": achieving narrative coherence in the Hudsucker proxy and The man who wasn't there -- 5: "The coin don't have no say": examining intertextuality in the Hudsucker proxy, Intolerable cruelty, and No country for old men -- 6: "A lotta ins, a lotta outs": interweaving genres in the Big Lebowski and O brother, where art thou? -- 7: "Appearances can be deceptive" : investigating sexuality in O brother, where art thou?, Intolerable cruelty, and Burn after reading -- 8: "I haven't done anything funny": scrutinizing gender in the Coens' arrangements of a bunch of men around one woman -- 9: "Accept the mystery": resisting final construction of A serious man -- Conclusion -- bibliography -- filmography -- index -- about the author --

Author: Harty, Jason
PhysDes: Article; Illustration(s)
Subject: GOVERNMENT AID. AUSTRALIA; CONFERENCES. AUSTRALIA. SMALL SCREEN BIG PICTURE TELEVISION
Summary: Summary of talk on relationship between globalisation of the film industry and government funding of Australian film by WA premier, Richard Court, at 1999 Small Screen, Big Picture conference in Perth.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: COXY'S BIG BREAK [TV] (AT, 2004-)

Call No: 734 HUG
Author: Hughes, Howard
Edition: 1st ed.
Source: UK
Place: London
Publisher: I.B.Taurus
PubDate: 2006
PhysDes: xxviii, 236 p. : ill., ports. ; 25 cm
Subject: GANGSTER FILMS; DETECTIVE FILMS; PUBLIC ENEMY, THE (US, William Wellmen, 1931); HIGH SIERRA (US, Raoul Walsh, 1941); MALTESE FALCON, THE (US, John Huston, 1941); WHITE HEAT (US, Raoul Walsh, 1949); ASPHALT JUNGLE, THE (US, John Huston, 1950); KISS ME DEADLY (US, Robert Aldrich, 1955); BIG COMBO, THE (US, Joseph H. Lewis, 1955); POINT BLANK (US, John Boorman, 1967); BONNIE AND CLYDE (US, Arthur Penn, 1967); ON HER MAJESTY'S SECRET SERVICE (UK, Peter Hunt, 1969); GET CARTER (UK, Mike Hodges, 1971); SHAFT (US, Gordon Parks Jr., 1971); DIRTY HARRY (US, Don Siegel, 1971); GODFATHER [...], THE (US, Francis Ford Coppola, 1972-); CHINATOWN (US, Roman Polanski, 1974); GODFATHER PART II, THE (US, Francis Ford Coppola, 1974); ONCE UPON A TIME IN AMERICA (US, Sergio Leone, 1984); LETHAL WEAPON (US, Richard Donner, 1987); GOODFELLAS (US, Martin Scorsese, 1990); PULP FICTION (US, Quentin Tarantino, 1994); L.A. CONFIDENTIAL (US, Curtis Hanson, 1997); OCEAN'S ELEVEN (US, Steven Soderbergh, 2001)
Summary: "Crime movies inhabit dark and desperate worlds, yet they account for many of Hollywood's most triumphant successes. In full acknowledgement of this achievement, Crime Wave offers an authoritative and informative, stimulating and entertaining guide to the crime movie phenomenon, from its early days to the present, charting its history and celebrating the people who have given it a special and enduring place in cinema goers' affections. Chapters focus on landmark Hollywood films - from 1931's The Public Enemy, through The Maltese Falcon, Point Blank, Dirty Harry, The Godfather trilogy and Goodfellas, to LA Confidential and Oceans 11 - telling their stories and on the way discussing many more crime movies, both major and lesser known." "Crime Wave represents and investigates gangster and heist movies, blaxploitation and noir, murder mysteries, vehicles for vigilante or buddy cops, even a gangster love story. It features biographies and filmographies detailing the key participants and background details of the film's making, locations and sets. It also explores each film's sources and influences, its impact on the crime genre and current fashion, including spin-offs, copies and sequels. It examines the films' themes, style and box office fortunes."--BOOK JACKET.
Notes: Includes bibliographical references (p. 221-224) and index; Includes bibliographical references (p. 221-224) and index; Filmography: p. 213-220
ISBN: 9781845112196
Donation: Donated by Senses Of Cinema, 2009

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Clippings
Subject: DA WAN (HK/CC, Feng Xiaogang, 2002); BIG SHOT'S FUNERAL (HK/CC, Feng Xiaogang, 2002)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BROTHER [DAI SI HING] (HK, Kam Ka-Wai , 2018)

Call No: 734 HIR
Author: Hirsch, Foster
Edition: 1st ed
Place: San Diego London
Publisher: A. S. Barnes Tantivy Press
PubDate: 1981
PhysDes: 229 p. : ill. ; 29 cm
Subject: FILM NOIR; BAD GUYS; EXPRESSIONISM; WOMEN IN FILMS; BOGART, HUMPHREY; CHANDLER, RAYMOND; DASSIN, JULES; HITCHCOCK, ALFRED; LANG, FRITZ; HAMMETT, DASHIELL; MURDER MY SWEET (US, Edward Dmytryk, 1945); SORRY, WRONG NUMBER (US, Anatole Litvak, 1948); BIG CLOCK, THE (US, John Farrow, 1947); BIG HEAT, THE (US, Fritz Lang, 1953); BIG SLEEP, THE (US, Howard Hawkes, 1946); DOUBLE INDEMNITY (US, Billy Wilder, 1944); KILLERS, THE (US, Robert Siodmak, 1946); MALTESE FALCON, THE (US, John Huston, 1941); NIGHT AND THE CITY (US, Jules Dassin, 1950); PROWLER, THE (US, Joseph Losey, 1950); EDGE OF DOOM (US, Mark Robson, 1950); MURDER MY SWEET (US, Edward Dmytryk, 1945); GUN CRAZY (US, Joseph H. Lewis, 1949); BIG COMBO, THE (US, Joseph H. Lewis, 1955)
Notes: Includes index; Bibliography: p. 211-212; Filmography: p. 213-220
ISBN: 049802234X
LON: 80028955; 1868575

Call No: 761 BEA
Author: Beattie, Keith
Source: UK
Place: Houndmills, Basingstoke, Hampshire
Publisher: Palgrave Macmillan
PubDate: 2004
PhysDes: 276 p ; 21cm
Subject: DOCUMENTARY FILMS; DOCUMENTARY DRAMAS; IMPERIALISM AND THE CINEMA; CINEMA VERITE; CINEMA-DIRECT; JOURNALISTS, FILM; POPULAR CULTURE AND TV; REALITY TV; TABLOID JOURNALISM; POPULAR CULTURE AND THE CINEMA; AUSTRALIAN BROADCASTING CORPORATION; BRITISH BROADCASTING CORPORATION; COLUMBIA BROADCASTING SYSTEM; NATIONAL FILM BOARD OF CANADA; NATIONAL INDIGENOUS DOCUMENTARY FUND; NBC TELEVISION NETWORK; PUBLIC BROADCASTING SERVICE; NETWORK TEN; VIDEODISCS; GRANADA; IMAX; INDEPENDENT TELEVISION COMMISSION; INTERACTIVE TV; MUSIC TELEVISION; TELEVISION JOURNALISTS; BUERK, MICHEAL; CAVADINI, ALESSANDRO; DE ANTONIO, EMILE; DREW, ROBERT; DYLAN, BOB; FLAHERTY, ROBERT; GRIERSON, JOHN; LEACOCK, RICHARD; LORENTZ, PARE; MAYSLES, ALBERT; MAYSLES, DAVID; MCELWEE, ROSS; MOORE, MICHAEL; MORIN, EDGAR; O'ROURKE, DENNIS; PENNEBAKER, D. A.; PILGER, JOHN; ROUCH, JEAN; RUTTMAN, WALTER; TAJIRI, REA; VERTOV, DZIGA; ATOMIC CAFE, THE (US, Kevin Rafferty & Jane Loader & Pierce Rafferty, 1982); CHEQUER-BOARD [TV] (AT, 1969-1975); [FOUR] 4 CORNERS [TV] (AT, 1961-); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); BIG BROTHER [TV] (AT, 2001-); BIGGIE AND TUPAC (US, Nick Broomfield, 2001); BILL, THE [TV] (UK, 1984-); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); BOWLING FOR COLUMBINE (US/CA, Michael Moore, 2002); BUENA VISTA SOCIAL CLUB (GG/US, Wim Wenders, 1999); CAMBODIA: YEAR ZERO (AT, John Pilger, 1989); CANE TOADS : AN UNNATURAL HISTORY (AT, Mark Lewis, 1987); CANNIBAL TOURS (AT, Dennis O'Rourke, 1987); CATHY COME HOME (UK, Ken Loach, 1966); COPS AND ROBBERSONS (US, Michael Ritchie, 1994); CROCODILE DUNDEE (AT, Peter Faiman, 1986); CUNNAMULLA (AT, Dennis O'Rourke, 2000); DEATH OF A PRINCESS [TV] (UK/US/NZ/AT/NE, Antony Thomas, 1980); DISMISSAL, THE [TV] (AT, George T. Miller & others, 1983); DON'T LOOK BACK (US, D.A. Pennebaker, 1967); GOOD WOMAN OF BANGKOK, THE (AT, Dennis O'Rourke, 1991); LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980); MABO: LIFE OF AN ISLAND MAN (AT, Trevor Graham, 1997); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); MONTEREY POP (US, D. A. Pennebaker, 1968); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); POLICE STATE (AT, Chris Noonan, 1989); SYLVANIA WATERS [TV] (AT, Brian Hill & Kate Woods, 1993); WALKING WITH DINOSAURS[TV] (UK, 1999); WAR GAME, THE (UK, Peter Watkins, 1966)
Summary: Documentary Screens is a comprehensive and critical examination of the formal features and histories of central categories of documentary film and television. Among the categories examined are autobiographical, indigenous and ethnographic documentary, compilation films, direct cinema and cinema verite and television documentary journalism. The book also considers recent so called popular factual entertainment and the future of documentary film, television and new media. [Taken from back cover].
ISBN: 033374117X
URL status: URL: 'http://-' Checked: 31/08/2021 1:11:55 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: DOWN AMONG THE BIG BOYS (UK, Charles Gormley, 1993)

Call No: TITLE CLIPPINGS FILE; BIG EYES (US/CA, Tim Burton, 2014)
Author: Hawker, Phillipa
PhysDes: Clippings File Article
Subject: BIG EYES (US/CN, Tim Burton, 2014)
Summary: Review of the film Big Eyes
Rating: 3 out of 5 stars

Call No: TITLE CLIPPINGS FILE; BIG EYES (US/CA, Tim Burton, 2014)
Author: McDonald, John
PhysDes: Clippings File Article
Subject: BIG EYES (US/CN, Tim Burton, 2014)
Summary: Review of Big Eyes

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Clippings; Press kit; Publicity
Subject: FAVOUR, THE WATCH AND THE VERY BIG FISH, THE (FR/UK, Ben Lewin, 1991)

Call No: 45:641 LIN
Author: Lindenfeld, Laura; Parasecoli, Fabio
Source: US
Place: New York
Publisher: Columbia University Press
PubDate: 2017
PhysDes: ix, 261 pages : illustrations ; 23 cm
Subject: FOOD IN FILMS; EATING IN FILMS; MULTICULTURALISM AND THE CINEMA; LIKE WATER FOR CHOCOLATE (MX, Alfonso Arau, 1992); WOMAN ON TOP (US, Fina Torres, 2000); BIG NIGHT (US, Campbell Scott & Stanely Tucci, 1996)
Summary: "A major force in mainstream entertainment, American food films shape our sense of who belongs, who has a voice, and who has opportunities in American society. They facilitate the virtual consumption of traditional notions of identity and citizenship, reworking and reinforcing ingrained ideas of power. Feasting Our Eyes looks at Hollywood films and independent cinema, documentaries and docufictions, from the 1990s to today, assessing their commitment to racial diversity, tolerance, and liberal political ideas." -- BOOK BLURB
Notes: Includes bibliographical references and index
ISBN: 9780231172516
Donation: donated by Senses of Cinema

Author: Griffiths, Peter
PhysDes: Article; Illustration(s)
Subject: INTERNET AND TV. AUSTRALIA; LITTLE DOVE - BIG VOYAGE [TV] (AT, [in prod.])

PhysDes: Article
Subject: BIG COMBO, THE (US, Joseph H. Lewis, 1955)
Summary: Film appraisals

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: FESTIVALS. AUSTRALIA. BIG SCREEN

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: FESTIVALS. AUSTRALIA. LITTLE BIG SHOTS

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: FESTIVALS. MELBOURNE. LITTLE BIG SHOTS

Call No: 67(04) FIL
Author: Schickel, Richard (ed); Simon, John (ed)
CorpAuthor: National Society of Film Critics (U.S.)
Place: Indianapolis [etc.]
Publisher: Bobbs-Merrill Co. [etc.]
PubDate: c1968
PhysDes: 320 p. ; 22 cm
Subject: ACCIDENT (UK, Joseph Losey, 1967); BATTLE OF ALGIERS, THE [BATTAGLIA DI ALGERI, LA] (IT/AE, Gillo Pontecorvo, 1966); BEDAZZLED (US, Stanely Donen, 1967); BONNIE AND CLYDE (US, Arthur Penn, 1967); CASINO ROYALE (UK, John Huston & Ken Hughes & Val Guest & Robert Parrish & Joseph McGrath, 1967); CHAPPAQUA (US, Conrad Rooks, 1966); COMEDIANS, THE (US, Peter Glenville, 1967); COOL HAND LUKE (US, Stuart Rosenberg, 1967); COUNTESS FROM HONG KONG, A (UK/US, Charles Chaplin, 1967); DIRTY DOZEN, THE (US, Robert Aldrich, 1967); [DOCTOR] DR DOLITTLE (US, Richard Fleischer, 1967); DUTCHMAN (UK, Anthony Harvey, 1967); EL DORADO (SP/FR, Carlos Saura, 1988); ELVIRA MADIGAN (SE/DA, Bo Widerberg, 1967); DIVORCE, AMERICAN STYLE (US, Bud Yorkin, 1967); FAMILY WAY, THE (UK, Ray Boultng, 1967); FAR FROM THE MADDING CROWD (UK, John Schlesinger, 1967); GRADUATE, THE (US, Mike Nichols, 1967); GUESS WHO'S COMING TO DINNER (US, Stanley Kramer, 1967); HOW I WON THE WAR (UK, Richard Lester, 1967); HUNT, THE [CAZA, LA] (SP, Carlos Saura, 1966); HURRY SUNDOWN (US, Otto Preminger, 1967); IN COLD BLOOD (US, Richard Brooks, 1967); IN LIKE FLINT (US, Gordon Douglas, 1967); IN THE HEAT OF THE NIGHT (US, Norman Jewison, 1967); JOKERS, THE (UK, Michael Winner, 1967); ROI DE COUER, LE (FR/IT, Philippe de Broca, 1966); WAR IS OVER, THE [GUERRE EST FINIE, LA] (FR/SW, Alain Resnais, 1966); LUV (US, Clive Donner, 1967); MARAT/SADE (UK, Peter Brook, 1967); PERSONA (SW, Ingmar Bergman, 1966); POINT BLANK (US, John Boorman, 1967); PRESIDENT'S ANALYST, THE (US, Theodoro J.Flicker, 1967); PRIVILEGE, THE (UK, Peter Watkins, 1967); STRANGER, THE (US/AG, Adolfo Aristarain, 1987); TAMING OF THE SHREW, THE (IT/US, Franco Zefferelli, 1967); TO SIR, WITH LOVE (UK, James Clavell, 1967); TRIP, THE (US, Roger Corman, 1967); ULYSSES (UK/US, Joseph Strick, 1967); UP THE DOWN STAIRCASE (US, Robert Mulligan, 1967); WAR GAME, THE (UK, Peter Watkins, 1966); WHISPERERS, THE, (UK, Byan Forbes, 1967); YOU'RE A BIG BOY NOW (US, Francis Ford Coppola, 1966); YOU ONLY LIVE TWICE (UK, Lewis Gilbert, 1967)
Summary: Review of films produced in 1966-1967
ISSN: 0071-4860 0015-1076
LON: 68019946; 894646
Contents: -- Bonnie And Clyde / Joseph Morgenstern, John Simon, Stanley Kauffmann And Pauline Kael -- Point Blank / Richard Schickel And Andrew Sarris -- In Cold Blood / Arthur Knight And Andrew Sarris -- A Countess From Hong Kong / Wilfrid Sheed, Philip T. Hartung And Andrew Sarris -- Falstaff / Joseph Morgenstern, Andrew Sarris, Stanley Kauffmann, Pauline Kael And John Simon -- The Exterminating Angel / Richard Schickel -- Two For The Road / Pauline Kael -- A Guide For The Married Man, Divorce American Style And Luv / Wilfrid Sheed -- Elvira Madigan / Stanley Kauffmann -- Accident / Brendan Gill, Pauline Kael And John Simon -- The Family Way / Richard Schickel -- You're A Big Boy Now / Hollis Alpert And Richard Schickel -- The Graduate / Joseph Morgenstern And Richard Schickel -- Closely Watched Trains / Joseph Morgenstern And John Simon -- The War Game / Richard Schickel And Wilfrid Sheed -- La Guerre Est Finie / Brendan Gill And John Simon -- The Dirty Dozen / Richard Schickel -- King Of Hearts / Wilfrid Sheed -- The Battle Of Algiers / Joseph Morgenstern And Stanley Kauffmann -- How I Won The War / Stanley Kauffmann And John Simon -- In Like Flint / Arthur Knight -- Casino Royale / Wilfrid Sheed -- You Only Live Twice / Pauline Kael -- The Jokers / Philip T. Hartung -- Bedazzled / Stanley Kauffmann -- The President's Analyst / Andrew Sarris -- Ulysses / Brendan Gill, John Simon And Brad Darrach / The Taming Of The Shrew -- Hollis Alpert And Wilfrid Sheed -- Marat/Sade / Phillip T. Hartung, Brendan Gill And Brad Darrach -- The Comedians / Stanley Kauffmann -- Far From The Maddening Crowd / Hollis Alpert And Richard Schickel -- Dr. Dolittle / Joseph Morgenstern -- El Dorado / Andrew Sarris -- The War Wagon / Richard Schickel -- El Dorado, The War Wagon And The Way West / Pauline Kael -- Persona / John Simon And Pauline Kael -- The Stranger / Stanley Kauffmann And Joseph Morgenstern -- The Trip / Hollis Alpert -- The Trip And Chappaqua / Wilfrid Sheed -- Dutchman / Brendan Gill And John Simon -- In The Heat Of The Night / Andrew Sarris -- To Sir, With Love And In The Heat Of The Night / Hollis Alpert -- Hurry Sundown, In The Heat Of The Night And Cool Hand Luke / Wilfrid Sheed -- Cool Hand Luke / Andrew Sarris -- Guess Who's Coming To Dinner / Wilfrid Sheed -- Up The Down Staircase / Arthur Knight And Andrew Sarris -- Privilege / John Simon And Arthur Knight -- The Hunt / Richard Schickel -- The Whisperers / Andrew Sarris -- Goal! / Brendan Gill -- Africa Addio / Joseph Morgenstern -- A King's Story / Philip T. Hartung -- Lenny Bruce / Wilfrid Sheed -- The Koumiko Mystery And Echoes Of Silence / Brendan Gill -- The Titicut Follies / Richard Schickel -- Don't Look Back / Andrew Sarris -- Portrait Of Jason / Joseph Morgenstern -- The Underground Film / Brad Darrach -- Expo 67 / Joseph Morgenstern And Arthur Knight -- Blow-Up / Stanley Kauffmann
ID2: 277

Call No: 67 (04) FIL
Source: US
Place: New York
Publisher: Simon and Schuster
PubDate: c1971
PhysDes: 319 p. ; 22 cm
Subject: WAR FILMS; REVOLUTION AND THE CINEMA; MUSIC AND THE CINEMA; POLITICS IN FILMS; ADAPTATIONS; MUSICALS; PORNOGRAPHY AND THE CINEMA; DISASTERS IN FILMS; BERGMAN, INGMAR; ANTONIONI, MICHELANGELO; Keaton, Buster; [FIVE] 5 EASY PIECES (US, Bob Rafelson, 1970); JOE (US, John G. Avildsen, 1970); LITTLE BIG MAN (US, Arthur Penn, 1970); HUSBANDS (US, John Cassavetes, 1970); PATTON (US, Franklin J. Schaffner, 1970); M*A*S*H (US, Robert Altman, 1969); CATCH 22 (US, Mike Nichols, 1970); SOLDIER BLUE (US, Ralph Nelson, 1970); MOLLY MAGUIRES, THE (US, Martin Ritt, 1969); BALLAD OF CABLE HOGUE, THE (US, Sam Peckinpah, 1970); ICE (US, Robert Kramer, 1970); WOODSTOCK (US, Michael Wadleigh, 1970); GIMME SHELTER (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1970); PERFORMANCE (UK, Nicholas Roeg & Donald Cammell, 1970 [prod. 1968]); MA NUIT CHEZ MAUD (FR, Eric Rohmer, 1969); DIARY OF A MAD HOUSEWIFE (US, Frank Perry, 1970); OWL AND THE PUSSYCAT, THE (US, Herbert Ross, 1970); LOVE STORY (US, Arthur Hiller, 1970); QUEIMADA! (IT/FR, Gillo Pontecorvo, 1970); WINTER WIND (HU, Miklos Jancso, 1969); SIROKKO (HU, Miklos Jancso, 1969); ZABRISKIE POINT (US, Michelangelo Antonioni, 1970); FELLINI-SATYRICON (IT/FR, Federico Fellini, 1969); DAMNED, THE [CADUTA DEGLI DEI, LA] (IT/GW, Luchino Visconti, 1969); SIRENE DU MISSISSIPPI, LA (FR/IT, Francois Truffaut, 1969); MISSISSIPPI MERMAID (FR/IT, Francois Truffaut, 1969); [TWO OR THREE] 2 OR 3 THINGS I KNOW ABOUT HER [DEUX OU TROIS CHOSES QUE JE SAIS D'ELLE (FR, Jean-Luc Godard, 1967); SYMPATHY FOR THE DEVIL (UK, Jean-Luc Godard, 1968); GAI SAVOIR, LE (FR/GW, Jean-Luc Godard, 1969); TRISTANA (SP/IT/FR, Luis Bunuel, 1970); WOMEN IN LOVE (UK, Ken Russell, 1969); VIRGIN AND THE GYPSY, THE (UK, Christopher Miles, 1970); GREAT WHITE HOPE, THE (US, Martin Ritt, 1970); BOYS IN THE BAND, THE (US, William Friedkin, 1970); ON A CLEAR DAY YOU CAN SEE FOREVER (US, Vincente Minnelli, 1970); SCROOGE (UK, Ronald Neame, 1970); TORA! TORA! TORA! (US/JA, Richard Fleischer, 1970); RYAN'S DAUGHTER (UK, David Lean, 1970); AIRPORT (US, George Seaton, 1970); MYRA BRECKENRIDGE (US, Mike Sarne, 1970); BEYOND THE VALLEY OF THE DOLLS (US, Russ Meyer, 1970); ANGEL LEVINE, THE (US, Jan Kadar, 1970); CONFESSION, THE (FR/IT, Costa-Gavras, 1970); AVEU, L' (FR/IT, Costa-Gavras, 1970)
Summary: A cross section of critical opinion on the most interesting films of the year, reflections on emerging trends, genres and moods, and a sampling of the work of individual critics [editorial note]
Notes: Includes index
ISBN: 671210483
Contents: -- Five Easy Pieces / Jacob Brackman, Harold Clurman, John Simon -- Joe / Gary Arnold, Penelope Gilliatt -- Loving / Pauline Kael -- The Ballad Of Cable Hogue / Joseph Morgenstern -- Little Big Man / Stefan Kanfer, David Denby -- Husbands / Paul D.Zimmerman, Jacob Brackman -- Patton / Pauline Kael -- M*A*S*H / Jospeh Morgenstern, David Denby, Brad Darrach -- Catch - 22 / Arthur Schlesinger Jr., Stefan Kanfer, Hollis Alpert, Jacob Brackman -- Soldier Blue / Hollis Alpert -- The Molly Maguires / Arthur Schlesinger Jr. -- Getting Straight / Jacob Brackman -- The Strawberry Statement and Getting Straight / David Denby -- The Revolutionary / Jay Cocks, Bruce Williamson -- Ice / Pauline Kael -- Woodstock / Jay Cocks, Joseph Morgenstern -- Gimme Shelter / Arthur Schlesinger Jr. -- Performance / Jay Cocks -- My Night at Maud's / Penelope Gilliatt -- Diary Of A Mad Housewife / Paul D.Zimmerman, John Simon -- The Owl And The Pussycat / Gary Arnold -- Love Story / Gary Arnold, Arthur Knight, Philip T.Hartung -- Burn / Pauline Kael -- The Confession and Investigation Of A Citizen Above Suspicion / Robert Hatch -- Winter Wind / Stanley Kauffmann -- The Passion Of Anna / Penelope Gilliatt, Richard Schikel -- Zabriskie Point / Arthur Schlesinger Jr., Andrew Sarris -- Fellini Satyricon / Stefan Kanfer, Robert Hatch -- The Damned / Robert Hatch, Brad Darrach -- Zabriskie Point, Fellini Satyricon and The Damned / Richard Schickel -- Mississippi Mermaid / Gary Arnold -- The Wild Child / Robert Hatch, David Denby -- The Rise Of Louis XIV / Stanley Kauffmann, Bruce Williamson -- Two Or Three Things I Know About Her / Penelope Gilliatt -- Sympathy For The Devil / Jay Cocks -- Le Gai Savoir / Bruce Williamson -- Tristana / Harold Clurman -- Women In Love / Arthur Schlesinger Jr., Bruce Williamson -- The Virgin And The Gypsy / Penelope Gilliatt, Stanley Kauffmann -- The Great White Hope / Andrew Sarris -- I Never Sang For My Father / Arthur Knight -- The Angel Levine / Arthur Knight -- The Boys In The Band / Hollis Alpert -- On A Clear Day You Can See Forever / Jospeh Morgenstern -- Scrooge and Song Of Norway / Philip T.Hartung -- Scrooge / Jay Cocks -- Darling Lili / Arthur Knight -- Tora! Tora! Tora! / Gary Arnold -- Ryan's Daughter / Hollis Alpert, John Simon -- Airport / Gary Arnold -- Myra Breckinridge / Jospeh Morgenstern -- Beyond The Valley Of The Dolls / Paul D. Zimmerman -- Buster Keaton / Penelope Gilliatt -- Porn and man at Yale / Richard Schickel -- Numbing the audience / Pauline Kael -- Bang! Apocolypse for sale / Jospeh Morgenstern

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: 734 FIL
Author: Silver, Alain, 1947; Ursini, James
Edition: 1st Limelight ed. July 1999
Place: New York
Publisher: Limelight Editions
PubDate: 1999
PhysDes: x, 346 p. : ill., ports. ; 23 cm
Subject: FILM NOIR; POLICE FILMS; OPENINGS OF FILMS; JAZZ IN FILMS; FILM NOIR. UK; FEMME FATALE; WOMEN IN FILMS; WOOLRICH, CORNELL; HITCHCOCK, ALFRED; FULLER, SAMUEL; POSTMAN ALWAYS RINGS TWICE, THE (US, Bob Rafaelson, 1981); POSTMAN ALWAYS RINGS TWICE, THE (US, Tay Garnett, 1946); FILE ON THELMA JORDON, THE (US, Robert Siodmak, 1949); PUSHOVER (US, Richard Quine, 1954); BIG HEAT, THE (US, Fritz Lang, 1953); KISS ME DEADLY (US, Robert Aldrich, 1955); DOUBLE INDEMNITY (US, Billy Wilder, 1944)
Notes: Includes bibliographical references
LON: 21222408

Call No: TITLE CLIPPINGS FILE; OPENING SHOT [TV](AT, 2016)
Author: Thomas, Sarah
PhysDes: Clippings File Article
Subject: OPENING SHOT [TV](AT, 2016); BIG BAD LOVE (AT, Briony Benjamin, 2016); PSYCHICS IN THE SUBURBS (AT, Cassie Charlton, 2016)
Summary: Interview about two documentaries made as part of the OPENING SHOT series shown on the ABC. First is with filmmaker Briony Benjamin and writer Becky Lucas about BIG BAD LOVE, which looks at abusive relationships that can occur with young adult women. Filmmaker Cassie Charlton is interivewed in regards to PSYCHICS IN THE SUBURBS
Notes: similar article in Canberra Times, date 14/11/2016

Call No: 81HAW WIL
Author: Willis, Donald C.
Place: Metuchen, NJ
Publisher: Scarecrow Press
PubDate: 1975
PhysDes: viii, 235 p. : ill. ; 22 cm.
Subject: HAWKS, HOWARD; BRINGING UP BABY (US, Howard Hawks, 1938); HIS GIRL FRIDAY (US, Howard Hawks, 1940); I WAS A MALE WAR BRIDE (US, Howard Hawks, 1949); MONKEY BUSINESS (US, Howard Hawks, 1952); TWENTIETH CENTURY (US, Howard Hawks, 1934); BALL OF FIRE (US, Howard Hawks, 1942); SONG IS BORN, A (US, Howard Hawks, 1947); FIG LEAVES (US, Howard Hawks, 1926); MAN'S FAVORITE SPORT? (US, Howard Hawks, 1963); RED RIVER (US, Howard Hawks, 1948); RIO BRAVO (US, Howard Hawks, 1959); RIO LOBO (US, Howard Hawks, 1970); EL DORADO (US, Howard Hawks, 1966); BIG SKY, THE (US, Howard Hawkes, 1952); BIG SLEEP, THE (US, Howard Hawkes, 1946); ONLY ANGELS HAVE WINGS (US, Howard Hawks, 1939); CEILING ZERO (US, Howard Hawks, 1936); CROWD ROARS, THE (US, Howard Hawks, 1932); GIRL IN EVERY PORT, A (US, Howard Hawks, 1928); TIGER SHARK (US, Howard Hawks, 1932); BARBARY COAST (US, Howard Hawks, 1935); COME AND GET IT (US, Howard Hawks and William Wyler, 1936); SCARFACE (US, Howard Hawks, 1932); GENTLEMEN PREFER BLONDES (US, Howard Hawks, 1953); CRIMINAL CODE, THE (US, Howard Hawks, 1931); LAND OF THE PHARAOHS (US, Howard Hawks, 1955); TO HAVE AND HAVE NOT (US, Howard Hawks, 1944); AIR FORCE (US, Howard Hawks, 1943); SARGEANT YORK (US, Howard Hawks, 1941); ROAD TO GLORY, THE (US, Howard Hawks, 1936)
Summary: The films of Howard Hawks are organised by genre and reviewed to give a sense of the director as auteur.
Notes: Includes bibliographical references and index.
ISBN: 0810808609

Author: Clancy, Laurie
PhysDes: Article
Subject: LANG, FRITZ; M (G, Fritz Lang, 1931); YOU ONLY LIVE ONCE (US, Fritz Lang, 1937); WOMAN IN THE WINDOW, THE (US, Fritz Lang, 1944); BIG HEAT, THE (US, Fritz Lang, 1953); AUTEUR THEORY
Summary: Article on the films of Fritz Lang. Mentions the director's belief in auteurism and discusses various themes found throughout his work.

Author: Puner, Maggie
PhysDes: Article
Subject: LITTLE FAUSS AND BIG HALSY (US, Sydney J. Furie, 1970)
Summary: Review

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: GO BIG (AT, Tony Tilse, 2003)

Call No: DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: GO BIG (AT, Lachlan Ross, 2021)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: GOING OFF BIG TIME (UK, Jim Doyle, 2000)

Call No: TITLE CLIPPINGS FILE; BIG EYES (US/CA, Tim Burton, 2014)
Author: Dent, Nick
PhysDes: Clippings File Article
Subject: BIG EYES (US/CN, Tim Burton, 2014)
Summary: Film Review of Big Eyes
Rating: 2.5 out of 5 stars

Call No: 71(45) VER
Author: Vermilye, Jerry
Place: Secaucus, N.J.
Publisher: Carol Pub. Group
PubDate: 1994
PhysDes: 254 p. : ill. ; 28 cm
Subject: ITALY; RISO AMARO (IT, Guiseppe de Santis, 1949); BELLISSIMA (IT, Luchino Visconti, 1951); AIDA (IT, Clemente Fracassi, 1953); SENSO (IT, Luchino Visconti, 1954); STRADA, LA (IT, Federico Fellini, 1954); CRY, THE [GRIDO, IL] (US/IT, Michelangelo Antonioni, 1957); NOTTI DI CABIRIA, LE (IT, Federico Fellini, 1957); KAPO (IT/FR/YU, Gillo Pontecorvo, 1960); DOLCE VITA, LA (FR/IT, Federico Fellini, 1960); AVVENTURA, L' (IT/FR, Michelangelo Antonioni, 1960); ROCCO E I SUOI FRATELLI (IT/FR, Luchino Visconti, 1960); CIOCIARIA, LA (IT/FR, Vittorio De Sica, 1960); ECLISSE, L' (FR/IT, Michelangelo Antonioni, 1962); [OTTO E MEZZO]8 1/2 (IT, Federico Fellini, 1963); BATTLE OF ALGIERS, THE [BATTAGLIA DI ALGERI, LA] (IT/AE, Gillo Pontecorvo, 1966); ROMEO AND JULIET (UK/IT, Franco Zeffirelli, 1968); DAMNED, THE [CADUTA DEGLI DEI, LA] (IT/GW, Luchino Visconti, 1969); C`ERA UNA VOLTA IL WEST (IT/FR, Sergio Leone, 1968); FELLINI-SATYRICON (IT/FR, Federico Fellini, 1969); CONFORMIST, THE [CONFORMISTA, IL] (IT/FR, Bernardo Bertolucci, 1970); DEATH IN VENICE [MORTE A VENEZIA] (IT/FR, Luchino Visconti, 1971); AMARCORD (IT/FR, Frederico Fellini, 1973); PANE E CIOCCOLATA (IT, Franco Brusati, 1974); PASQUALINO SETTEBELLEZZE (IT, Lina Wertmuller, 1976); INNOCENTE, L' (IT/FR, Luchino Visconti, 1976); ALBERO DEGLI ZOCCOLI, L' (IT, Ermanno Olmi, 1978); GINGER AND FRED [GINGER E FRED] (IT/FR/GW, Federico Fellini, 1986); GINGER AND FRED [GINGER E FRED] (IT/FR/GW, Federico Fellini, 1986); OTELLO (IT, Franco Zeffirelli, 1986); LAST EMPEROR, THE (UK/CC, Bernardo Bertolucci, 1987); ROMA CITTA APERTA (IT, Roberto Rossellini, 1945); FABIOLA (IT, Alessandro Blasetti, 1947); ROMA ORE 11 (IT, Giuseppe De Santis, 1951); AMICI PER LA PELLE (IT, Franco Rossi, 1955); BIG DEAL ON MADONNA STREET [SOLITI IGNOTI, I] (IT, Mario Monicelli, 1958); BUONO, IL BRUTTO, IL CATTIVO, IL (IT, Sergio Leone, 1966); QUEIMADA! (IT/FR, Gillo Pontecorvo, 1970); TOSCA [TV] (IT, 1992); STANNO TUTTI BENE (IT/FR, Guiseppe Tornatore, 1990)
Notes: "A Citadel Press book."
ISBN: 0806514809 (pbk.) : $17.95
LON: 93045771; 10646564

Call No: TITLE CLIPPINGS FILE; BIG SHORT, THE (US, Adam McKay, 2015)
Author: -
PhysDes: Clippings File Article
Subject: McKAY, ADAM; BIG SHORT, THE (US, Adam McKay, 2015)
Summary: Interview with Adam McKay, the director of the film THE BIG SHORT. He discusses the reasons why he wanted to make a film about the world of high finance

Call No: 81HOF AGA
Author: Agan, Patrick
Source: UK
Place: London
Publisher: R Hale
PubDate: 1987
PhysDes: x, 166 p, [20] p. of plates : ill. ; 25cm
Subject: HOFFMAN, DUSTIN; TIGER MAKES OUT (US, Arthur Hiller, 1967); GRADUATE, THE (US, Mike Nichols, 1967); MIDNIGHT COWBOY (US, John Schlesinger, 1969); JOHN AND MARY (US, Peter Yates, 1969); LITTLE BIG MAN (US, Arthur Penn, 1970); WHO IS HARRY KELLERMAN AND WHY IS HE SAYING THOSE TERRIBLE THINGS ABOUT ME? (US, Ulu Grosbard, 1971); STRAW DOGS (UK, Sam Peckinpah, 1971); PAPILLON (US, Franklin J. Schaffner, 1973); LENNY (US, Bob Fosse, 1974); ALL THE PRESIDENT'S MEN (US, Alan J. Pakula, 1976); AGATHA (UK, Michael Apted, 1979); KRAMER VS. KRAMER (US, Robert Benton, 1979); TOOTSIE (US, Sydney Pollack, 1982)
Summary: The book deals the life and career of Dustin Hoffman, and the large variety of roles he undertook in the less than 20 films he made. It deals with the academy award, he won in Kramer vs Kramer, and the other 4 nominations he recieved.He is presented as a diminutive perfectionist, or as an unlikely superstar
Notes: Includes index; Filmography: p 151-159
ISBN: 045041731

Call No: 736.35(512.317) LOG
Author: Logan, Bey
Place: London
Publisher: Titan Books
PubDate: 1995
PhysDes: 191 p. ; ill. (some col.) ; 28cm
Subject: ACTION FILMS. HONG KONG; WOMEN IN FILMS. HONG KONG; CHAN, JACKIE; WOO, JOHN [pseud. of Wu Yusen]; CHOW, YUN-FAT; LEE, BRUCE; LAU KAR LEUNG; HUNG, SAMO; CHENG PEI PEI; ROTHROCK, CYNTHIA; PENN, KIM MAREE; CRAWFORD, SOPHIA; ACES GO PLACES (HK, Tsang Chi Wai, 1982); ARMOUR OF GOD, THE [; JINGCHA GUSHI (HK, Jackie Chan [pseud. of Cheng Long], 1985); [BIG BOSS, THE] (HK, Lo Wei, 1971); [FIST OF FURY] (HK, Lo Wei, 1972); LASHOU SHENTAN (HK, John Woo [pseud. of Wu Yusen], 1992); SINNUI YAUMAN (HK, Ching Siu Tung, 1987); CHINESE GHOST STORY, A (HK, Ching Siu Tung, 1987); [CITY ON FIRE] (HK, Ringo (Ling-Tung) Lam, 1987); [DRUNKEN MASTER, THE] (HK, Yuen Woo-Ping, 1978); [EASTERN CONDORS] (HK, Samo Hung, 1987); [PEDICAB DRIVER] (HK, Samo Hung, 1990); ENTER THE DRAGON (US/HK, Robert Clouse, 1973); WAY OF THE DRAGON, THE (HK, Bruce Lee, 1973); YINGXIONG BENSE (HK, John Woo [pseud. of Wu Yusen], 1986); [BULLET IN THE HEAD] (HK, John Woo [pseud. of Wu Yusen], 1990); DIEXUE SHUANG XIONG (HK, John Woo [pseud. of Wu Yusen], 1989)
Notes: Includes index; Bibliography: p. 188
ISBN: 1852865407 (pbk)
LON: 11245180

Call No: 461.25 WHI
Author: Cheryl-Anne Whitlock
CorpAuthor: University of Wollongong - School of Creative Arts
Source: AT
Place: Wollongong, NSW
Publisher: University of Wollongong
PubDate: 2012
PhysDes: xii, 297 leaves ; 30cm
Subject: REALITY TV; REALITY TV. AUSTRALIA; BIG BROTHER [TV] (AT, 2001-); BIG BROTHER [TV] (AT, 2001-); BIG BROTHER UNCUT [TV] (AT, 2001-); AUSTRALIAN IDOL [TV] (AT, 2003-)
Summary: "The main purpose of the thesis is to determine to what extent duty of care is extended to reality television participants, to what extent elements of reality television programming are manipulated and whether those manipulations are ethical. Program participants are encouraged to be their ‘real’ and authentic selves, yet reality programming itself is often so extensively manipulated that the genre renders its own output inauthentic, thus compromising participants’ contributions and casting their performance in the same false light. Despite this, reality television continues to be promoted and marketed as representative of the real, despite evidence to the contrary and accusations that the generic term is a falsehood. This research employed a methodology combining textual analysis with a mixed method study. Input was sought from scholars and psychologists from the United States of America (US), Australia and the United Kingdom (UK). The research revealed that almost every stakeholder in the genre manipulated other stakeholders in a cannibalistic and parasitic business model. It was found that some manipulations were considered necessary, while others were even deemed ethical when situated in Kantian moral philosophy. Some manipulations were considered blatantly unethical when viewed through the same prism in the context of stakeholders using others to serve their own ends. It was also found that a range of important production processes were not standardised and this lack of standardisation allowed for the use of duplicitous production methods. The research process also uncovered that between 1994 and 2011, 20 former reality television participants reportedly committed suicide following their contribution to a reality program. The psychological effects of participation in this programming has not been measured in any meaningful way and there is a considerable push from consulting psychologists to monitor participants for a year following their filmed participation to study the psychological effects of taking part." -- FROM THESIS ABSTRACT.
Notes: Thesis -- ring bound -- includes abstract - incudes table of contents -- includes bibliography -- includes list of abbreviations - includes appendeces
Language: EN
Contents: Prologue -- Literature review -- Television in practice -- Methodology -- Results -- Case studies -- Discussion and conclusions

Author: Caputo, Raffaele & Kathy Bail
PhysDes: Article
Subject: BIG EASY, THE (US, Jim McBride, 1986)
Summary: Interview

Call No: 81LAD LIN
Author: Linet, Beverly
Source: US
Place: New York
Publisher: Berkley Books
PubDate: 1980
PhysDes: xxv, 291 p.,[8] leave of plates : ill., ports, ; 24 cm
Subject: LADD, ALAN; THIS GUN FOR HIRE (US, Frank Tuttle, 1942); CHINA (US, John Farrow,1943); BLUE DAHLIA, THE (US, George Marshall, 1946); GREAT GATSBY, THE (US, Elliott Nugent, 1949); SHANE (US, George Stevens, 1953); DRUM BEAT (US, Delmer Daves, 1954); BIG LAND, THE (US, Gordon Douglas, 1957)
Summary: The book deals with the life, career, and tragic death of the enigmatic star, Alan Ladd. It deals with his lifelong love affair with his agent/wife, Sue Carol, and his "secret " son who became president of a major Hollywood studio. The book also deals with the inner workings of the studio system itself; the deals and mis-deals, the movie mags, and the fan machines, the front office, and the back lot.
ISBN: 0425057313

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: LAST BIG THING, THE (US, Dan Zukovic, 1996)

Call No: 81BAC BAC
Author: Bacall, Lauren
Place: London
Publisher: Cape
PubDate: 1979
PhysDes: [6], 377 p., 32 p. of plates : facsims, ports. ; 25cm
Subject: ACTORS; BACALL, LAUREN; BIG SLEEP, THE (US, Howard Hawkes, 1946); TO HAVE AND HAVE NOT (US, Howard Hawks, 1944)
Summary: The book traces Lauren Bacall's career as first a model, and then as a movie star. It looks at her leading men, and in particuliar Humphrey Bogart, wth whom she had a relationship.
Notes: American cinema films. Acting. Bacall, Lauren. Autobiographies (BNB/PRECIS); Originally published: New York : Knopf, 1978
ISBN: 022401692X :

Call No: TITLE CLIPPINGS FILE; BIG HERO 6 (US, Don Hall/Chris Williams, 2014)
Author: Stratton, David
PhysDes: Clippings File Article
Subject: BIG HERO 6 (US, Don Hall & Chris Williams, 2014)
Summary: Review of film Annie
Rating: 3.5 out of 5 stars

Call No: TITLE CLIPPINGS FILE; BIG EYES (US/CA, Tim Burton, 2014)
Author: Cummings, Pip
PhysDes: Clippings File Article
Subject: BIG EYES (US/CN, Tim Burton, 2014)
Summary: Article about Amy Adams in relation to her new film Big Eyes

Call No: PERSONALITY CLIPPINGS FILE; ADAMS, AMY
Author: Cummings, Pip
PhysDes: Clippings File Article
Subject: ADAMS, AMY; BIG EYES (US/CN, Tim Burton, 2014)
Summary: Interview with Amy Adams in relation to the relaes of the fil Big Eyes

Call No: 11339
Author: Godfrey, Nicholas
Edition: 2018
Place: New Brunswick
Publisher: Rutgers University Press
PubDate: 2018
PhysDes: xii, 270 pages : illustrated ; 24 cm
Subject: AUTEUR THEORY; EASY RIDER (US, Dennis Hopper, 1969); [FIVE] 5 EASY PIECES (US, Bob Rafelson, 1970); TWO-LANE BLACKTOP (US, Monte Hellman, 1971); VANISHING POINT (UK, Richard C. Sarafian, 1971); LITTLE FAUSS AND BIG HALSY (US, Sydney J. Furie, 1970); ADAM AT SIX AM (US, Robert Scheerer, 1970); DIRTY HARRY (US, Don Siegel, 1971); FRENCH CONNECTION, THE (US, William Friedkin, 1971); LAST MOVIE, THE (US, Dennis Hopper, 1971); HIRED HAND, THE (US, Peter Fonda, 1971)
Summary: The New Hollywood era of the late 1960s and early 1970s has become one of the most romanticized periods in motion picture history, celebrated for its stylistic boldness, thematic complexity, and the unshackling of directorial ambition. The Limits of Auteurism aims to challenge many of these assumptions. Beginning with the commercial success of Easy Rider in 1969, and ending two years later with the critical and commercial failure of that film’s twin progeny, The Last Movie and The Hired Hand, Nicholas Godfrey surveys a key moment that defined the subsequent aesthetic parameters of American commercial art cinema. The book explores the role that contemporary critics played in determining how the movies of this period were understood and how, in turn, strategies of distribution influenced critical responses and dictated the conditions of entry into the rapidly codifying New Hollywood canon. Focusing on a small number of industrially significant films, this new history advances our understanding of this important moment of transition from Classical to contemporary modes of production. -- publisher's web site
ISBN: 9780813589145

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: LITTLE BIG LEAGUE (US, Andrew Scheinman, 1984)

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Clippings
Subject: LITTLE BIG MAN (US, Arthur Penn, 1970)

Call No: S LIT
Author: Cole, Beck
Edition: Post production script
Place: AT
PubDate: c2017
PhysDes: 31 leaves ; 30 cm.
Subject: LITTLE J & BIG CUZ [TV] (AT, 2017)
Summary: "Little J's new undies have special powers - so how can he play basketball without them?" - IMDb
Notes: Unpublished script
Donation: AFI / AACTA

Call No: S LIT
Author: Bell, Jon; Madsen, Clare
Edition: Post production script
Place: AT
PubDate: c2017
PhysDes: 30 leaves ; 30 cm.
Subject: LITTLE J & BIG CUZ [TV] (AT, 2017)
Summary: "Big Cuz tricks Little J into believing that the Giant Wombat is not extinct." - IMDb
Notes: Unpublished script
Donation: AFI / AACTA

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: LITTLE J & BIG CUZ [TV] (AT, 2017)

Call No: TITLE CLIPPINGS FILE; BIG SHORT, THE (US, Adam McKay, 2015)
Author: Stratton, David
PhysDes: Clippings File Article
Subject: BIG SHORT, THE (US, Adam McKay, 2015)
Summary: Review of the film THE BIG SHORT
Rating: 3.5 out of 5 stars

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: MAX KEEBLE'S BIG MOVE (US, Tim Hill, 2001)

Author: Bergroth, Trevor; Koller, Michael
PhysDes: Article
Subject: ARTISTEN IN DER ZIRKUSKUPPEL, DIE: RATLOS (GW, Alexander Kluge, 1968) ARTISTS AT THE TOP OF THE BIG TOP: DISORIENTED (GW, Alexander Kluge, 1968)
Notes: Credits. - synopsis. - reviews

Call No: 753.4 MOD
Author: Peary, Gerald; Shatzkin, Roger
Place: New York
Publisher: Ungar
PubDate: 1978
PhysDes: xii, 461 p. : ill. ; 22 cm
Series: Ungar Film Library
Subject: ADAPTATIONS; LITERATURE AND THE CINEMA; ALL THE KINGS MEN (US, Robert Rossen, 1949); BIG SLEEP, THE (US, Howard Hawkes, 1946); BREAKFAST AT TIFFANY'S (US, Blake Edwards, 1961); CATCH 22 (US, Mike Nichols, 1970); DAY OF THE LOCUST, THE (US, John Schlesinger, 1975); DELIVERANCE (US, John Boorman, 1972); FOUNTAINHEAD, THE (US, King Vidor, 1949); FOR WHOM THE BELL TOLLS (US, Sam Wood, 1943); GRAPES OF WRATH, THE (US, John Ford, 1940); HEART IS A LONELY HUNTER, THE (US, Robert Ellis Miller, 1968); HUMAN COMEDY, THE (US, Clarence Brown, 1943); IN THIS OUR LIFE (US, John Huston, 1942); INTRUDER IN THE DUST (US, Clarence Brown, 1949); LAST HURRAH, THE (US, John Ford, 1958); LITTLE BIG MAN (US, Arthur Penn, 1970); LOLITA (US, Stanley Kubrick, 1962); LONELYHEARTS (US, Vincent J. Donehue, 1958); MAN WITH THE GOLDEN ARM, THE (US, Otto Preminger, 1955); NAKED AND THE DEAD, THE (US, Raoul Walsh, 1958); NATIVE SON (AG, Pierre Chenal, 1951); NIGHT OF THE HUNTER (US, Charles Laughton, 1955); OF MICE AND MEN (US, Lewis Milestone, 1939); OLD MAN AND THE SEA, THE (US, John Sturges, 1958); ONE FLEW OVER THE CUCKOO'S NEST (US, Milos Forman, 1975); RABBIT, RUN (US, Jack Smight, 1970); SLAUGHTERHOUSE-FIVE (US, George Roy Hill, 1972); TARNISHED ANGELS, THE (US, Douglas Sirk, 1957); THEY SHOOT HORSES, DON'T THEY? (US, Sydney Pollack, 1969); TO HAVE AND HAVE NOT (US, Howard Hawks, 1944); TOBACCO ROAD (US, John Ford, 1941); TREASURE OF THE SIERRA MADRE, THE (US, John Huston, 1948); WET PARADE, THE (US, Victor Fleming, 1932)
Summary: "Does a movie have the same impact as the novel on which it is based? Here are some of the stimulating - and occasionally surprising - answers to that question. This book is a follow-up to The Classic American Novel and the Movies, which ended in 1929, but it can be read on its own. [This book] covers novels and films from the 1930s to the 1970s, from Erskine Caldwell's Tobacco Road to James Dickey's Deliverance. In between, many film translations of notable novels are scrutinized - works by such authors as Faulkner, Hemingway, Steinbeck, McCullers, Nabokov, Updike, Kesey, and Vonnegut [...] Style, characterisation, theme, and ideology come under review. And we get behind-the-scenes insights into the actual filming of some celebrated novels. Of special value to scholars and students of film: extended filmographies by both author and film title of adaptations of American novels published between 1930 and 1975. In addition, there is a bibliography covering the same period, plus complete rental information on the films themselves." -- BOOK BLURB
Notes: Includes index; Filmography: p. 349-428; Bibliography: p. 429-443; Sequel/companion to The Classic American Novel and the Movies, also in the Collection
ISBN: 0804426821 : $14.50. 0804466491 pbk. : $6.95
LON: 78004373; 1250638

Call No: 70 ROT
Author: Rotha, Paul
Place: London New York
Publisher: The Studio, ld. The Studio publications, inc
PubDate: [1936]
PhysDes: ix,142 p. : illus. ; 30 cm
Subject: ADVENTURE FILMS; AVANT-GARDE FILMS; COMEDIES; CRIME FILMS; DOCUMENTARIES; INSTRUCTIONAL FILMS; EPIC FILMS; FANTASTIC FILMS; HISTORICAL FILMS; HISTORY OF CINEMA. 1920's; HISTORY OF CINEMA. 1930's; INSTRUCTIONAL FILMS; MELODRAMA; MUSICALS; ROMANIES IN FILM; SATIRE IN FILMS; WAR FILMS; WESTERNS; BIG PARADE, THE (US, King Vidor, 1925); CHYORTOVO KOLESO (UR, Grigori Kozintsev & Leonid Trauberg, 1926); [FOUR] HORSEMEN OF THE APOCALYPSE, THE (US, Vincente Minnelli, 1962); GENERAL, THE (UK, John Boorman, 1998); GOLD RUSH, THE (US, Charles Chaplin, 1925); GREAT TRAIN ROBBERY, THE (US, Edwin S. Porter, 1903); IRON HORSE, THE (UK, John Ford, 1924); LOST PATROL, THE (US, John Ford, 1934); OUR HOSPITALITY (US, Buster Keaton & John Blystone, 1923); PUBLIC ENEMY, THE (US, William Wellmen, 1931); QUICK MILLIONS (US, Rowland Brown, 1931); SON OF KONG (US, Ernest B. Schoedsack, 1933); SPEEDY (US, Ted Wilde, 1928); TABU (US, Friedrich Wilhelm Murnau, 1931); TESTAMENT DES DOKTOR MABUSE, DAS (G, Fritz Lang, 1933); WINGS (US, William Wellman, 1927); WOMAN OF PARIS, A (US, Charles Chaplin, 1923)
Notes: Title on two leaves; "Pictorial survey ... some 600 stills ... from all parts of the world."--p. [iv]
LON: 1376838

Call No: 67(04) FAR
Author: Farber, Manny
Place: New York
Publisher: Hillstone
PhysDes: viii, 288 p., [18] of plates : ill. ; 21 cm.
Subject: ACTORS; EXPERIMENTAL FILMS; FESTIVALS. NEW YORK; UNDERGROUND FILMS; AGEE, JAMES; ALDRICH, ROBERT; ANTONIONI, MICHELANGELO; BERGMAN, INGMAR; BOGARDE, DIRK; BOGART, HUMPHREY; BRESSON, ROBERT; BUNUEL, LUIS; BURTON, RICHARD; DENEUVE, CATHERINE; FONDA, HENRY; FORD, JOHN; FULLER, SAMUEL; GODARD, JEAN-LUC; HAWKS, HOWARD; HITCHCOCK, ALFRED; HUSTON, JOHN; KAZAN, ELIA; MANN, ANTHONY; MOREAU, JEANNE; SIEGEL, DON; SNOW, MICHAEL; STEVENS, GEORGE; STURGES, PRESTON; TAYLOR, ELIZABETH; ASPHALT JUNGLE, THE (US, John Huston, 1950); BELLE DE JOUR (FR/IT, Luis Bunuel, 1967); BIG CLOCK, THE (US, John Farrow, 1947); BIG SLEEP, THE (US, Howard Hawkes, 1946); BODY SNATCHER, THE (US, Robert Wise, 1945); CURSE OF THE CAT PEOPLE, THE (US, Gunther von Fritsch & Robert Wise, 1944); DETECTIVE STORY (US, William Wyler, 1951); FLAMING STAR (US, Don Siegel, 1960); HIGH SIERRA (US, Raoul Walsh, 1941); HIS KIND OF WOMAN (US, John Farrow, 1951); HIS GIRL FRIDAY (US, Howard Hawks, 1940); KILLERS, THE (US, Robert Siodmak, 1946); ODD MAN OUT (UK, Carol Reed, 1947); LADY FROM SHANGHAI, THE (US, Orson Welles, 1948); PICKUP ON SOUTH STREET (US, Samuel Fuller, 1953); PROWLER, THE (US, Joseph Losey, 1950); RED RIVER (US, Howard Hawks, 1948); ROARING TWENTIES, THE (US, Raoul Walsh, 1939); SCAR OF SHAME, THE (US, Frank Peregini, 1927); SET-UP (US, Kathryn Bigelow, 1978); SKAMMEN (SW, Ingmar Bergman, 1968); SULLIVAN'S TRAVELS (US, Preston Sturges, 1942); SUNSET BOULEVARD (US, Billy Wilder, 1950); THIRD MAN, THE (UK, Carol Reed, 1949)
Notes: Includes index.; Orginally published as: Negative space

Call No: 70"192" MUL
Author: Muller, Jurgen
Edition: 2007
Place: Koln
Publisher: Taschen GMBH
PubDate: 2007
PhysDes: 482 pgaes : illustrated ; 26 cm
Subject: HISTORY OF CINEMA. 1920's; HISTORY OF CINEMA. SILENT PERIOD; TRIP TO THE MOON [VOYAGE DANS LA LUNE] (FR, George Melies, 1902); GREAT TRAIN ROBBERY, THE (US, Edwin S. Porter, 1903); STUDENT VON PRAG, DER (G, Stellan Rye, 1913); CABIRIA (IT, Giovanni Pastrone, 1914); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); INTOLERANCE (US, David Wark Griffith, 1916); MADAME DUBARRY (G, Ernst Lubitsch, 1919); CABINET OF DR. CALIGARI, THE [CABINET DES DR. CALIGARI, DAS] (G, Robert Wiene, 1920); EROTIKON (SW, Mauritz Stiller, 1920); GOLEM, THE [; KID, THE (US, Charles Chaplin, 1921); FOOLISH WIVES (US, Erich Von Stroheim, 1922); [FOUR] 4 HORSEMEN OF THE APOCALYPSE, THE (US, Rex Ingram, 1921); THREE MUSKETEERS, THE (US, Fred Niblo, 1921); ABENTEUER DES PRINZEN ACHMED, DIE (GE/GG, Carl Koch & Lotte Reiniger, 1925); TOL'ABLE DAVID (US, Henry King, 1921); NOSFERATU - EINE SYMPHONIE DES GRAUENS (G, Friedrich Wilhelm Murnau, 1922); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); HAXAN [WITCHCRAFT THROUGH THE AGES] (SW/DK, Benjamin Christensen, 1922); [DOCTOR] DR MABUSE: THE GAMBLER [DR. MABUSE DER SPIELER] (G, Fritz Lang, 1922); SAFETY LAST (US, Fred Newmayer/Sam Taylor, 1923); HUNCHBACK OF NOTRE DAME (US, Wallace Worsley, 1923); TEN COMMANDMENTS, THE (US, Cecil B. DeMille, 1923); WACHSFIGURENKABINETT, DAS (G, Paul Leni, 1924); THIEF OF BAGDAD (US, Raoul Walsh, 1924); SHERLOCK, JR. (US, Buster Keaton, 1924); NIBELUNGEN, DIE (G, Fritz Lang, 1922-24); LETZIE MANN, DER (G, Friedrich Wilhelm Murnau, 1924); NAVIGATOR, THE (US, Buster Keaton & Donald Crisp, 1924); GREED (US, Erich von Stroheim, 1925); IRON HORSE, THE (UK, John Ford, 1924); GOLD RUSH, THE (US, Charles Chaplin, 1925); BEN HUR (US, Fred Niblo, 1925); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); VARIETE (G, E.A. Dupont, 1925); BIG PARADE, THE (US, King Vidor, 1925); FREUDLOSE GASSE, DIE (G, Wilhelm Pabst, 1925); PHANTOM OF THE OPERA, THE (US, Rupert Julian, 1925); SON OF THE SHEIK, THE (US, George Fitzmaurice, 1926); LODGER, THE (UK, Alfred Hitchcock, 1926); GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927); BLACK PIRATE, THE (US, Albert Parker, 1926); FAUST (G, Friedrich Wilhelm Marnau, 1926); ABENTEUER DES PRINZEN ACHMED, DIE (GE/GG, Carl Koch & Lotte Reiniger, 1925); METROPOLIS (G, Fritz Lang, 1926); KONETS SANKT-PETERSBURGA (UR, Vsevolod Pudovkin, 1927); NAPOLEON (FR, Abel Gance, 1927); CHAPEAU DE PAILLE D'ITALIE, UN (FR, Rene Clair, 1927); SUNRISE (US, Friedrich Wilhelm Murnau, 1927); JAZZ SINGER, THE (US, Alan Crosland, 1927); PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); CROWD, THE (US, King Vidor, 1928); WIND, THE (US, Victor Sjostrom, 1928); CIRCUS, THE (US, Charles Chaplin, 1928); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); BLACKMAIL (UK, Alfred Hitchcock, 1929); BUCHSE DER PANDORA, DIE (G, Georg Wilhelm Pabst, 1929); CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928); LITTLE CAESAR (US, Mervyn LeRoy, 1931); BLAUE ENGEL, DER (G, Josef von Sternberg, 1930); ALL QUIET ON THE WESTERN FRONT (US, Lewis Milestone, 1930); SOUS LES TOITS DE PARIS (FR, Rene Clair, 1929); MOROCCO (US, Josef von Sternberg, 1930); WESTFRONT 1918 (G, Georg Wilhelm Pabst, 1930); AGE D'OR, L' (FR, Luis Bunuel, 1930)
Notes: From the invention of the moving picture to the first sound movies From the first moving pictures (the Lumiere brothers' 1895 L'arrive d'un train), early westerns, fantastic pictures, and nickelodeons all the way through the golden age of silent film in the 1920s, this book covers the first three decades of the moving picture around the world. In America, we witness the birth of Hollywood, circa 1910, where film quickly became a powerful industry and D. W. Griffith put American cinema on the map; later, Charlie Chaplin and Buster Keaton developed a new language of visual comedy while eccentrics like Erich von Stroheim and Cecil B. DeMille turned cinema into a high art form and show biz respectively, and sex symbols like Rudolph Valentino and Greta Garbo heated up the screens. Meanwhile, in Europe, German directors such as Ernst Lubitsch and Fritz Lang were establishing their careers and Russian greats Eisenstein and Pudovkin were already revolutionizing a nascent art form. At the end of the 1920s the very first "talkies", albeit rudimentary ones, brutally crushed the silent art, but by 1930 sound masterpieces such as Sternberg's The Blue Angel and Milestone's All Quiet on the Western Front were produced. This exploration of the founding years of cinema offers a fascinating perspective on a period in movie history that is far too often overlooked in our times. -- jacket blurb
ISBN: 9783822846131
Donation: Megan McMurchy

Call No: TITLE CLIPPINGS FILE; MY BIG FAT GREEK WEDDING 2 (US, Kirk Jones, 2016)
Author: Johnson, Neala
PhysDes: Clippings File Article
Subject: VARDALOS, NIA; MY BIG FAT GREEK WEDDING 2 (US, Kirk Jones, 2016)
Summary: Interivew with Nia Vardals the star, writer, and executive producer of MY BIG FAT GREEK WEDDING 2

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: MY BIG FAT GREEK LIFE [TV] (US, 2003-)

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Clippings
Subject: MY BIG FAT GREEK WEDDING (US, Joel Zwick, 2002)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: MY BIG FAT GREEK WEDDING 2 (US, Kirk Jones, 2016)

Call No: DIGITAL FILE
Author: Vardalos, Nia
PhysDes: 102 leaves
Subject: MY BIG FAT GREEK WEDDING 2 (US, Kirk Jones, 2016)
Notes: Unpublished script
Donation: AFI/AACTA

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: MY BIG FAT OBNOXIOUS BOSS [TV] (US, 2004-2005)

Call No: SUBJECT CLIPPINGS FILE; INDUSTRY, TELEVISION. AUSTRALIA
Author: Idato, Michaek
PhysDes: Clippings File Article
Subject: INDUSTRY, TELEVISION. AUSTRALIA; SCREEN NSW; NETWORK TEN; APPLE; HILL, DAVID; BIG BANG THEORY, THE [TV] (US, 2007-); GO BACK TO WHERE YOU CAME FROM [TV] (AT, 2011)
Summary: Snippets on various aspects of the Australian television industry. Stories reported upon this week are: Seven Network buys screening rights for the first seven season of the BIG BANG THEORY, David Hill to produce 2016 Academy Awards, Courtney Gibson is new Chief Executive of Screen NSW, GO BACK TO WHERE YOU CAME FROM to be made in Holland, Network Ten staff changes

Call No: S NEX
Author: Walsh, Alicia
PubDate: [1998]
PhysDes: 117 leaves
Subject: NEXT BIG THING, THE (AT)
Notes: Unpublished script

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: NEXT BIG THING, THE (AT, Mick Bradshaw, 2000)

Author: Reid, Mary Anne
PhysDes: Article
Subject: GILLIES, MAX; PEAK, BARRY; KIELY, CHRIS; AS TIME GOES BY (AT, Barry Peak, 1987); FUTURE SCHLOCK (AT, Barry Peak & Chris Kiely, 1984); CHANNEL CHAOS (AT, Barry Peak, 1984); BIG HURT, THE (AT, Barry Peak, 1986)
Summary: Mary Anne Reid reveals that actor Max Gillies was originally offered the villain's role in "As Time Goes By" but successfully requested that he have the main role of the alien instead. Reid then moves on to discuss other Barry Peak and Chris Kiely collaborations such as "Future Schlock", "Channel Chaos", and "The Big Hurt". The remainder and majority of the article is dedicated to a synopsis of "As Time Goes By", as well as location and budget details
Notes: Location report on "As Time Goes By". - synopsis. - credits. - illus.

Call No: TITLE CLIPPINGS FILE; BIG SHORT, THE (US, Adam McKay, 2015)
Author: Johnson, Neala
PhysDes: Clippings File Article
Subject: CARELL, STEVE; BIG SHORT, THE (US, Adam McKay, 2015)
Summary: Interview with Steve Carell about his role in the new film THE BIG SHORT, as well as discussing his career

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: PEE-WEE'S BIG ADVENTURE (US, Tim Burton, 1985)

Call No: 626 FAL
Author: Falzon, Christopher
Edition: third edition
Place: London
Publisher: Routledge
PubDate: 2002
PhysDes: 330p. : illustrations ; 24 cm
Subject: PHILOSOPHY AND THE CINEMA; THEORY; FOUCAULT, MICHEL; A NOUS, LA LIBERTE! (FR, Rene Clair, 1931); ADDICTION, THE (US, Abel Ferrara, 1995); AGNES OF GOD (US, Norman Jewison, 1985); AGUIRRE, THE WRATH OF GOD [AGUIRRE, DER ZORN GOTTES] (GW, Werner Herzog, 1972); ALIEN RESURRECTION (US, Jean-Pierre Jeunet, 1997); ALL OF ME (US, Carl Reiner, 1984); ALPHAVILLE (FR, Jean-Luc Godard, 1965); AMADEUS (US, Milos Forman, 1984); AMATEUR (US, Hal Hartley, 1994); ANGEL HEART (US, Alan Parker, 1987); ANTZ (US, Eric Darnell, Lawrence Guterman & Tim Johnson II, 1998); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); BASIC INSTINCT (US, Paul Verhoeven, 1992); BEAVIS AND BUTTHEAD DO AMERICA (US, Mike Judge, 1996); BEDAZZLED (US, Stanely Donen, 1967); BEING JOHN MALKOVICH (UK/US, Spike Jonze, 1999); BEING THERE (US, Hal Ashby, 1979); BIG (US, Penny Marshall, 1988); BIG SLEEP, THE (US, Howard Hawkes, 1946); BLADE RUNNER (US, Ridley Scott, 1982); BLAISE PASCAL (IT, Roberto Rossellini, 1972); BLUE VELVET (US, David Lynch, 1986); BOB ROBERTS (US, Tim Robbins, 1992); BRAZIL; BREAKER MORANT (AT, Bruce Beresford, 1980); A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959); BREATHLESS (FR, Jean-Luc Godard, 1959); CABARET (US, Bob Fosse, 1972); CASABLANCA (US, Michael Curtiz, 1942); CASPER (US, Brad Silberling, 1995); CHANCES ARE (US, Emile Ardolino, 1989); CHINATOWN (US, Roman Polanski, 1974); CINEMA PLUS; CITIZEN KANE (US, Orson Welles, 1941); CLOCKWORK ORANGE, A (UK, Stanley Kubrick, 1971); COLOSSUS: FORBIN PROJECT (US, Joseph Sargent, 1970); CONFORMIST, THE [CONFORMISTA, IL] (IT/FR, Bernardo Bertolucci, 1970); COOK, THE THIEF, HIS WIFE & HER LOVER, THE (NE/FR, Peter Greenaway, 1989); CRIMES AND MISDEMEANORS (US, Woody Allen, 1989); CRIMES OF PASSION (US, Ken Russell, 1984); CRUCIBLE, THE (US, Nicholas Hytner, 1996); CRYING GAME, THE (UK, Neil Jordan, 1992); DANGEROUS LIAISONS (US, Stephen Frears, 1988); DARK CITY (US, Alex Proyas, 1997); DARK STAR (US, John Carpenter, 1974); DEAD AGAIN (US, Kenneth Branagh, 1991); DEVIL'S PLAYGROUND (AT, Fred Schepisi, 1976); DRACULA (US, Tod Browning, 1931); EASY RIDER (US, Dennis Hopper, 1969); EDUCATING RITA (UK, Lewis Gilbert, 1983); ELEPHANT MAN, THE (US, David Lynch, 1980); ENEMY OF THE STATE (US, Tony Scott, 1998); JEDER FUR SICH UND GOTT GEGEN ALLE (GW, Werner Herzog, 1974); FACE/OFF (US, John Woo [pseud. of Wu Yusen], 1997); FAHRENHEIT 451 (UK, Francois Truffaut, 1966); FATAL ATTRACTION (US, Adrian Lyne, 1987); [FIVE] 5 EASY PIECES (US, Bob Rafelson, 1970); FLY, THE (US, David Cronenberg, 1986); FORTRESS (AT/US, Stuart Gordon, 1993); FRANKENSTEIN (US, James Whale, 1931); FRIGHTENERS, THE (NZ/US, Peter Jackson, 1996); FULL METAL JACKET (UK, Stanley Kubrick, 1987); GATTACA (US, Andrew Niccol, 1997); GHOST (US, Jerry Zucker, 1990); GHOSTS... OF THE CIVIL DEAD (AT, John Hillcoat, 1988); GROUNDHOG DAY (US, Harold Ramis, 1993); HANDMAID'S TALE, THE (US/GW, Volker Schlondorff, 1990); HANNAH AND HER SISTERS (US, Woody Allen, 1986); HE SAID, SHE SAID (US, Ken Kwapis and Marisa Silver, 1991); HIGH HOPES (UK, Mike Leigh, 1988); HIGH NOON (US, Fred Zinnemann, 1952); HILARY AND JACKIE (UK, Anand Tucker, 1998); MONTY PYTHON AND THE HOLY GRAIL (UK, Terry Gilliam & Terry Jones, 1974); IF... (UK, Lindsay Anderson, 1968); INHERIT THE WIND (US, Stanley Kramer, 1960); INTERIORS (US, Woody Allen, 1978); INTERVIEW WITH THE VAMPIRE (US, Neil Jordan, 1994); INVASION OF THE BODY SNATCHERS (US, Don Siegel, 1956); ISLAND OF LOST SOULS, THE (US, Erle C. Kenton, 1932); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); JUDGMENT AT NUREMBERG (US, Stanley Kramer, 1961); JURASSIC PARK (US, Steven Spielberg,, 1993); KOYAANISQATSI (US, Godfrey Reggio, 1982); LADYBIRD, LADYBIRD (UK, Kenneth Loach, 1994); ULTIMA CENA, LA (CU, Tomas Gutierrez Alea, 1976); MONTY PYTHON'S LIFE OF BRIAN (UK, Terry Jones, 1979); LOVE AND DEATH (US, Woody Allen, 1975); M (G, Fritz Lang, 1931); MAD MAX (AT, George Miller, 1979); MALTESE FALCON, THE (US, John Huston, 1941); MANCHURIAN CANDIDATE, THE (US, John Frankenheimer, 1962); MATEWAN (US, John Sayles, 1987); MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999); MONTY PYTHON'S THE MEANING OF LIFE (UK, Terry Jones, 1983); MEPHISTO (HU/GW, Istvan Szabo, 1981); METROPOLIS (G, Fritz Lang, 1926); MISSION, THE (UK, Roland Joffe, 1986); MODERN TIMES (US, Charles Chaplin, 1936); MON ONCLE (FR/IT, Jacques Tati, 1958); MONTY PYTHON AND THE HOLY GRAIL (UK, Terry Gilliam & Terry Jones, 1974); MONTY PYTHON'S FLYING CIRCUS [TV] (UK, 1969-1974); MY FAIR LADY (US, George Cukor, 1964); NAME OF THE ROSE, THE [NAME DER ROSE, DER] (GW/IT/FR, Jean-Jacques Annaud, 1986); NORMA RAE (US, Martin Ritt, 1979); NUTTY PROFESSOR, THE (US, Jerry Lewis, 1963); O LUCKY MAN! (UK, Lindsay Anderson, 1973); OKTIABR [OCTOBER] (UR, Sergei Eisenstein, 1928); OLIVIER, OLIVIER (FR, Agnieszka Holland, 1992); ON THE BEACH (US, Stanley Kramer, 1959); ON THE WATERFRONT (US, Elia Kazan, 1954); ONE FLEW OVER THE CUCKOO'S NEST (US, Milos Forman, 1975); PEOPLE VS LARRY FLYNT, THE (US, Milos Forman, 1996); PLAYER, THE (US, Robert Altman, 1992); PLAYTIME (FR, Jacques Tati, 1967); PRINCESS BRIDE, THE (US, Rob Reiner, 1987); PURA FORMALITA, UNA (IT/FR, Guiseppe Tornatore, 1994); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); QUIZ SHOW (US, Robert Redford, 1994); RAIN (US, Louis Milestone, 1932); RAIN MAN (US, Barry Levinson, 1988); RAPTURE, THE (US, Michael Tolkin, 1991); RASHOMON (JA, Akira Kurosawa, 1950); REAR WINDOW (US, Alfred Hitchcock, 1954); REBEL WITHOUT A CAUSE (US, Nicholas Ray, 1955); RETOUR DE MARTIN GUERRE, LE (FR, Daniel Vigne, 1982); ROBOCOP (US, Paul Verhoeven, 1987); ROSENCRANTZ AND GUILDENSTERN ARE DEAD (UK, Tom Stoppard, 1990); SALT OF THE EARTH (US, Herbert J. Biberman, 1954); SAVING PRIVATE RYAN (US, Steven Spielberg, 1998); SCHINDLER'S LIST (US, Steven Spielberg, 1993); SEA OF LOVE (US, Harold Becker, 1989); SEVEN [SE7EN] (US, David Fincher, 1995); SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957); SHOCKER (US, Wes Craven, 1989); SILENCE OF THE LAMBS, THE (US, Jonathan Demme, 1991); SIMON DEL DESIERTO (MX, Luis Bunuel, 1965); SLEEPER (US, Woody Allen, 1973); SOPHIE'S CHOICE (US, Alan J. Pakula, 1982); STAGE FRIGHT (UK, Alfred Hitchcock, 1950); STAR TREK II: THE WRATH OF KHAN (US, Nicholas Meyer, 1982); STAR TREK; STAR WARS (US, George Lucas, 1977); SUTURE (US, Scott McGehee & David Siegel, 1993); SWITCH (US, Blake Edwards, 1991); TERMINATOR, THE (US, James Cameron, 1984); TERMINATOR 2: JUDGMENT DAY (US, James Cameron, 1991); TESTAMENT DU DOCTEUR CORDELIER, LE (FR, Jean Renoir, 1961); THINGS TO COME (UK, William Cameron Menzies, 1936); TROIS COULEURS: BLEU (FR, Krzysztof Kieslowski, 1993); THREE FACES OF EVE (US, Nunnally Johnson, 1957); TOTAL RECALL (US, Paul Verhoeven, 1990); TRUMAN SHOW, THE (US, Peter Weir, 1998); USUAL SUSPECTS, THE (US, Bryan Singer, 1995); VICE VERSA (US, Brian Gilbert, 1988); JUNGFRUKALLAN (SW, Ingmar Bergman, 1960); WAG THE DOG (US, Barry Levinson, 1997); WALL STREET (US, Oliver Stone, 1987); WILD ONE, THE (US, Laslo Benedek, 1953); WITTGENSTEIN (UK, Derek Jarman, 1993); YOU ONLY LIVE ONCE (US, Fritz Lang, 1937)
Summary: Now emulated in several competing publications, but still unsurpassed in clarity and insight, Philosophy Goes to the Movies: An Introduction to Philosophy, Third Edition builds on the approach that made the two earlier editions so successful. Drawing on many popular and some lesser known films from around the world, Christopher Falzon introduces students to key areas in philosophy, like: Ethics, Social and Political Philosophy, The Theory of Knowledge, The Self and Personal Identity, Critical Thinking. Perfect for beginners, this book guides the reader through philosophy using illuminating cinematic works, like Avatar, Inception, Fight Club, Wings of Desire, Run Lola Run, A Clockwork Orange, Blade Runner, Dirty Harry and many other films. The fully revised and updated Third Edition features: an expanded introduction that provides a new discussion of the relationship between film and philosophy; new material on notable philosophers such as Aristotle, Merleau-Ponty and Rawls; and coverage of new topics like virtue ethics and what Socrates offers for critical thinking. An updated glossary, references and bibliography, and a filmography, are also included in the Third Edition. -- publisher's web site
Notes: Includes glossary
ISBN: 9780415538169
Contents: Preface -- Introduction -- 1 - Plato’s Picture Show - the theory of knowledge -- 2 - All of Me - the self and personal identity -- 3 - Crimes and Misdemeanors - moral philosophy -- 4 - Antz - social and political philosophy -- 5 - Modern Times - society, science, and technology -- 6 - The Holy Grail - critical thinking -- Further Reading -- Glossary -- Bibliography -- Filmography -- Index

Call No: 734.1 PHI
Author: Sanders, Steven M.; Skoble, Aeon J.
Place: Lexington, KN
Publisher: University of Kentucky Press
PubDate: c2008
PhysDes: viiii, 272 p. ; 24 cm
Series: the philosophy of popular culure
Subject: AESTHETICS; ALIENS IN FILMS; CHARACTERIZATION IN FILMS; ETHICS AND TV; FILM NOIR; RELIGION AND TV; CARTER, CHRIS; FOUCAULT, MICHEL; GREENE, GRAHAM; BIG SLEEP, THE (US, Howard Hawkes, 1946); CSI: CRIME SCENE INVESTIGATION [TV] (US/CA, 2000-); DARK CITY (US, Alex Proyas, 1997); D.O.A. (US, Ruldolph Mate, 1950); DOUBLE INDEMNITY (US, Billy Wilder, 1944); FUGITIVE, THE (US, Andrew Davis, 1993); HE WALKS BY NIGHT (US, Alfred Werker, 1948); LEVIATHAN (US/IT, George Pan Cosmatos, 1989); NAKED CITY [TV] (US, 1958-1963); X-FILES, THE [TV] (US, 1993-)
Summary: Film noir reflects the fatalistic themes and visual style of hard-boiled novelists and many emigre filmmakers in 1940s and 1950s America, emphasizing crime, alienation, and moral ambiguity. In The Philosophy of TV Noir, Steven M. Sanders and Aeon J. Skoble argue that the legacy of film noir classics such as The Maltese Falcon, Kiss Me Deadly, and The Big Sleep is also found in episodic television from the mid-1950s to the present. In this first-of-its-kind collection, contributors from philosophy, film studies, and literature raise fundamental questions about the human predicament, giving this unique volume its moral resonance and demonstrating why television noir deserves our attention." "With this focus on the philosophical dimensions of crime, espionage, and science fiction series, The Philosophy of TV Noir draws out the full implications of film noir and establishes TV noir as an art form in its own right."--BOOK JACKET
Notes: Includes bibliographical references and index
ISBN: 9780813124490
Contents: Dragnet, film noir, and postwar realism / R. Barton Palmer -- Naked city: the relativist turn in TV noir / Robert E. Fitzgibbons -- John Drake in Greeneland: noir themes in Secret agent / Sander Lee -- Action and integrity in The fugitive / Aeon J. Skoble -- Noir et blanc in color: existentialism and Miami vice / Steven M. Sanders -- 24 and the existential man of revolt / Jennifer L. McMahon -- Carniva`le knowledge: give me that old-time noir religion / Eric Bronson -- The Sopranos, film noir, and nihilism / Kevin L. Stoehr -- CSI and the art of forensic detection / Deborah Knight, George McKnight -- Detection and the logic of abduction in The X-files / Jerold J. Abrams, Elizabeth Cooke -- Kingdom of darkness: autonomy and conspiracy in The X-files and Millennium / Michael Valdez Moses -- The prisoner and self-imprisonment / Shai Biderman, William J. Devlin -- Twin Peaks, noir, and open interpretation / Jason Holt.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: PIGLET'S BIG MOVIE (US, Francis Glebas, 2003)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: PLACE APART- BIG SUR, CALIFORNIA, A (US, Jeanne LePage, 1989)

Author: Harris, Paul
PhysDes: Article
Subject: BIG TROUBLE IN LITTLE CHINA (US, John Carpenter, 1986)

Call No: TITLE CLIPPINGS FILE; BIG EYES (US/CA, Tim Burton, 2014)
Author: Hall, Sandra
PhysDes: Clippings File Article
Subject: BIG EYES (US/CN, Tim Burton, 2014)
Summary: Review of Big Eyes
Rating: 4 out of 5 stars

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: POUND PUPPIES AND THE LEGEND OF BIG PAW (US, Pierre DeCelles, 1988)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: GETTING TO KNOW THE BIG, WIDE WORLD [ POZNAVAYA BELYY SVET] (UR, Kira Muratova, 1979)

Call No: TITLE CLIPPINGS FILE; AM BIG BIRD, I: THE CAROLL SPINNEY STORY (US, Dave LaMattina and Chad N. Walker, 2014)
Author: Stratton, David
PhysDes: Clippings File Article
Subject: I AM BIG BIRD: THE CAROLL SPINNEY STORY (US, Dave LaMattina and Chad N. Walker, 2014)
Summary: Review of the documentary film I AM BIG BIRD: THE CAROLL SPINNEY STORY
Rating: 2.5 out of 5 stars

Call No: 734.7KEH
Author: Kehrwald, Kevin
Place: Chichester, U.K.; New York
Publisher: Wallflower Press published by Columbia University Press
PhysDes: vii,21p. : illustrated ; 21 cm
Series: Short Cuts
Subject: PRISON FILMS; I WANT TO LIVE! (US, Robert Wise, 1958); BIG HOUSE, THE (US, George W. Hill, 1930); DEFIANT ONES, THE (US, Stanley Kramer, 1958); COOL HAND LUKE (US, Stuart Rosenberg, 1967); MIDNIGHT EXPRESS (UK, Alan Parker, 1978); ESCAPE FROM ALCATRAZ (US, Donald Siegel, 1979); SHAWSHANK REDEMPTION, THE (US, Frank Darabont, 1994); STARRED UP (UK, David Mackenzie, 2013)
Summary: Prison Movies: Cinema Behind Bars traces the public fascination with incarceration from the silent era to the present. Often considered an offshoot of the gangster film, the prison film precedes the gangster film and is in many ways its opposite. Rather than focusing on tragic figures heading for a fall, the prison film focuses on fallen characters seeking redemption. The gangster's perverse pursuit of the American dream is irrelevant to the prisoner for whom that dream has already failed. At their core, prison films are about self-preservation at the hands of oppressive authority. Like history itself, prison films display long stretches of idleness punctuated by eruptions of violence, dangerous moments that signify liberation and the potential for change. The enclosed world of the prison is a highly effective microcosm, one that forces characters and audiences alike to confront vexing issues of race, class, gender, and sexuality. These portrayals of men and women behind bars have thrived because they deal with such fundamental human themes as freedom, individuality, power, justice, and mercy. -- publisher's web site
Notes: Acknowledgements -- Introduction: After the Crime is Over -- 1. Prison Films of Pre-Code Hollywood: Big Houses, Death Houses and Chain Gangs -- 2. Women's Prison Films of the 1950s and Early 1960s -- 3. Identity and Violence in Popular Prison Films from the 1960s to the 1990s -- Afterword: Post-9/11 Prison Movies and the Era of Mass Incarceration -- Bibliography -- Index
ISBN: 9780231181150

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: MY BIG GAY ITALIAN WEDDING [PUOI BACIARE LO SPOSO] (IT, Alessandro Genovesi, 2018)

Call No: 76:759 REA
Author: Susan Murray (ed.); Laurie Ouellette (ed.)
Place: New York; London
Publisher: New York University Press
PubDate: 2004
PhysDes: 23 cm ; 358 p
Subject: REALITY SHOWS, TV. AUSTRALIA; DOCUMENTARIES; GAMES SHOWS; PROGRAMME GENRES; OSBOURNES, THE [TV] (US, 2002-); WOMEN AND TV; VIOLENCE ON TV; BIG BROTHER [TV] (AT, 2001-)
Summary: Beginning by unearthing its historical roots in early reality shows like Candid Camera and wending its way through An American Family, Cops and The Real World to the most recent crop of reality programs, Reality TV is the first book to address the economic, visual, cultural, and audience dimensions of reality television. The essays provide a complex and comprehensive picture of how and why this genre emerged, what it means, how it differs from earlier television programming, and how it engages societies, industries, and individuals. Topics range from the construction of televisual “reality” to the hanging face of criminal violence on TV, to issues of surveillance, taste, and social control. By spanning reality television’s origins in the late 1940s to its current overwhelming popularity, Reality TV demonstrates both the tenacity of the format and its enduring ability to speak to our changing political and social desires and anxieties. [Taken from the back cover].
ISBN: 0814756883

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: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG GUNDOWN, THE [RESA DEI CONTI, LA] (IT/SP, Sergio Sollima, 1966)
ID2: 316

Call No: 62:61[741.5] TRE
Author: Trembles, Rick
Source: UK
Place: Surrey
Publisher: FAB Press
PubDate: 2004
PhysDes: 191 p. : 24 cm
Subject: CRITICISM; CARTOONS; COMIC STRIPS AND THE CINEMA; TITANIC (US, James Cameron, 1997); POSSESSION (FR/GW, Andrzej Zulawski, 1981); NIGHT OF THE HUNTER (US, Charles Laughton, 1955); URBAN LEGEND (US, Jamie Blanks, 1998); BIG CHILL, THE (US, Lawrence Kasdan, 1983)
Summary: From the pages of free weekly The Montreal Mirror comes the best of Rick Trembles’ distinctive hybrid film-review/column/comic strip Motion Picture Purgatory! A novel new form of film criticism, the medium of sequential art lends itself well to the dissection of motion pictures; frequently resembling storyboards, plotline trajectories are diagrammatically tracked via elaborate cross-sections and aerial views with an obsessive attention to detail! Trembles has developed a worldwide reputation over the years distributing his own comix and appearing in a variety of anthologies including Robert Crumb’s Weirdo, Fantagraphics’ Pictopia and Danny Hellman’s Legal Action Comix! [Taken from back cover.]
ISBN: 1903254302

Author: Cordait, Hunter
PhysDes: Article
Subject: BIG RUN, THE (PL, Jerzy Domaradzki, 1987)
Summary: Interview with director Jerzy Domaradzki about his film The Big Run which focuses on the race towards socialsim in Poland recently screened in Australia.

Call No: TITLE CLIPPINGS FILE in production; BIG LITTLE LIES [TV] in production
Author: Maddox, Garry
PhysDes: Clippings File Article
Subject: BIG LITTLE LIES [TV] (US, 2017)
Summary: Report on the development of the new TV series BIG LITTLE LIES, which has Reese Witherspoon and Nicole Kidman as co-stars and Executive Producers, with Shailene Woodley also starring

Call No: SUBJECT CLIPPINGS FILE; AWARDS. WOMEN IN FILM AND TV. THE BIG PINEAPPLE
Author: None
PhysDes: Clippings File Article
Subject: AWARDS. WOMEN IN FILM AND TV. THE BIG PINEAPPLE
Summary: Snippet on a new film prize sponsored by the Women in Film and TV organisation called The Big Pineapple, which will be awarded to a female driven film idea

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: SLOW DANCING IN THE BIG CITY (US, John G. Avildsen, 1978)

Call No: 626:396SMA
Author: Duncan, Stephen R.; Meade, Melissa; Chinen Biesen, Sheri; Levitt, Linda; Whitney, Allison; Feroli, Mikaela; Reese, De Anna J.; Tally, Margaret; Campbell, Raewyn; Stone, Amanda; Berstein, Rachel S.
Source: US
Place: Lanham
Publisher: Rowman & Littlefield
PubDate: c2014
PhysDes: 245 pages ; 23 cm
Series: Film and History
Subject: WOMEN IN FILMS; WOMEN ON TV; FEMININITY IN FILMS; FEMINISM AND THE CINEMA; HOLLIDAY, JUDY; CONTACT (AT, Bentley Dean & Martin Butler, 2009); MAD MEN [TV] (US, 2007); GREY'S ANATOMY [TV] (US, 2005-); GIRLS [TV] (US, 2012); SOME LIKE IT HOT (US, Billy Wilder, 1959); BORN YESTERDAY (US, George Cukor, 1950); BIG BANG THEORY, THE [TV] (US, 2007-); ELEMENTARY [TV] (US, 2012-)
Summary: While women have long been featured in leading roles in film and television, the intellectual depictions of female characters in these mediums are out of line with reality. Women continue to be marginalized for their choices, overshadowed by men, and judged by their bodies. In fact, the intelligence of women is rarely the focus of television or film narratives, and on the rare occasion when smart women are showcased, their portrayals are undermined by socially awkward behavior or their intimate relationships are doomed to perpetual failure. While Hollywood claims to offer a different, more evolved look at women, these movies and shows often just repackage old character types that still downplay the intelligence and savvy of women. In Smart Chicks on Screen: Representing Women’s Intellect in Film and Television, Laura Mattoon D’Amore brings together an impressive array of scholarship that interrogates the portrayal of females on television and in movies. Among the questions that the volume seeks to answer are: In what ways are women in film and television limited, or ostracized, by their intelligence? How do female roles reinforce standards of beauty, submissiveness, and silence over intellect, problem solving, and leadership? Are there women in film and television who are intelligent without also being objectified? The thirteen essays by international, interdisciplinary scholars offer a wide range of perspectives, examining the connections—and disconnections—between beauty and brains in film and television. Smart Chicks on Screen will be of interest to scholars not only of film and television but of women’s studies, reception studies, and cultural history, as well. -- [Extract taken from the back of book]
Notes: Includes bibliographical references and index.
ISBN: 9781442237476
Contents: 1.Not Just Born Yesterday: Judy Holliday, the Red Scare, and the (Miss-)Uses of Hollywood's Dumb Blonde Image / Stephen R. Duncan -- 2.The Fuzzy End of the Lollypop: Protofeminism and Collective Subjectivity in Some Like It Hot / Melissa Meade -- 3.Brainy Broads: Images of Women's Intellect in Film Noir / Sheri Chinen Biesen -- 4.Troubling Binaries: Women Scientists in 1950s B-Movies / Linda Levitt -- 5."The High Priestess of the Desert": Female Intellect and Subjectivity in Contact / Allison Whitney -- 6.Mad Men's Peggy Olson: A Prefeminist Champion in a Postfeminist TV Landscape / Stefania Marghitu -- 7.A Deeper Cut: Enlightened Sexism and Grey's Anatomy / Mikaela Feroli -- 8."There Is No Genius": Dr. Joan Watson and the Rewriting of Gender and Intelligence on CBS's Elementary / Natasha Patterson -- 9.Stories Worth Telling: How Kerry Washington Balances Brains, Beauty, and Power in Hollywood / De Anna J. Reese -- 10. Postfeminism, Sexuality, and the Question of Millennial Identity on HBO's Girls / Margaret J. Tally -- 11. I Can't Believe I Fell for Muppet Man!: Female Nerds and the Order of Discourse / Raewyn Campbell -- 12.Brains, Beauty, and Feminist Television: The Women of The Big Bang Theory / Amanda Stone -- 13.Too Smart for Their Own Good?: Images of Young Jewish Women in Television and Film / Rachel S. Bernstein

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG DEAL ON MADONNA STREET [SOLITI IGNOTI, I] (IT, Mario Monicelli, 1958)

Call No: 802.24 DAR
Author: Dardis, Tom
Place: New York
Publisher: Scribner
PubDate: c1976
PhysDes: 274 p. : ill. ; 24 cm
Subject: AGEE, JAMES; LOOS, ANITA; MANKIEWICZ, JOSEPH L.; POWELL, ANTHONY; FITZGERALD, F. SCOTT; FAULKNER, WILLIAM; WEST, NATHANAEL; HUXLEY, ALDOUS; OBER, HOWARD; STROMBERG, HUNT; WOMAN'S VENGEANCE, A (US, Zoltan Korda, 1947); YANK AT OXFORD, A (UK, Jack Conway, 1937); AFRICAN QUEEN, THE (US, John Huston, 1952); BIG SLEEP, THE (US, Howard Hawkes, 1946); PRIDE AND PREJUDICE (US, Robert Z. Leonard, 1940); THREE COMRADES (US, Frank Borzage, 1938); TO HAVE AND HAVE NOT (US, Howard Hawks, 1944)
Notes: Includes index; Bibliography: p. 253-256
ISBN: 0684145634 : 9.95
LON: 747707

Call No: TITLE CLIPPINGS FILE; BIG LITTLE LIES [TV] (US, 2017)
Author: Blundell, Graeme
PhysDes: Clippings File Article
Subject: BIG LITTLE LIES [TV] (US, 2017)
Summary: Long review of the TV series BIG LITTLE LIES, which is based on the Australian novel by Liane Moritary and stars Reese Witherspoon, Nicole Kidman, Shailene Woodley, and Alexander Skarsgard

Call No: TITLE CLIPPINGS FILE; BIG SHORT, THE (US, Adam McKay, 2015)
Author: Wilson, Jake
PhysDes: Clippings File Article
Subject: BIG SHORT, THE (US, Adam McKay, 2015)
Summary: Review of the film THE BIG SHORT
Notes: same article in Canberra Times. 16/01/2016. Section: Panorama. p. 13. Article Title: Comic premise exposes financial industry
Rating: 3.5 out of 5 stars

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: STEAL BIG, STEAL LITTLE (US, Andrew Davis, 1995)

Author: Harty, Jason
PhysDes: Article; Illustration(s)
Subject: CONFERENCES. AUSTRALIA. SMALL SCREEN BIG PICTURE TELEVISION; FILMS MADE FOR TV
Summary: Report on the Big Pitch competition for telemovie scripts at the 1999 Small Screen Big Picture conference in Perth.

Call No: 759.3(41) MAC
Author: Macdonald, Chrissie
Source: AT
Place: Hartwell, Vic
Publisher: Sid Harta Publishers
PubDate: 2002
PhysDes: ix, 297 p. : ill., ports. ; 21 cm
Subject: COMEDY PROGRAMMES. UK; HUMOUR ON TV; RICHARDSON, PETER; MAYALL, RIK; PLANER, NIGEL; SAUNDERS, JENNIFER; FRENCH, DAWN; ALLEN, KEITH; COLTRANE, ROBBIE; EDMONDSON, ADRIAN; PEACOCK, DANIEL; YOUNG ONES, THE [TV] (UK, 1982-84); COMIC STRIP PRESENTS..., THE [TV] (UK, 1982-); RED DWARF [TV] (UK, 1988-93, 97); FILTHY RICH AND CATFLAP [TV] (UK, 1987); BOTTOM [TV] (UK, 1991-); SATURDAY NIGHT LIVE [TV] (US, 1975-); BIG GIG, THE [TV] (AT, Ted Robinson, 1989); ABSOLUTELY FABULOUS [TV] (UK, 1992 - 1996); HAPPY FAMILIES [TV] (UK, 1992); FRENCH AND SAUNDERS [TV] (UK, 1987-); VICAR OF DIBLEY, THE [TV] (UK, 1994); BLACKADDER [TV] (UK, 1983)
Summary: Some called it “alternative comedy”. Others called it “the new rock ‘n’ roll”. Whatever it was, it spawned “The Young Ones”. Comedy changed on the 9th November 1982 when Rick, Vyvyan, Neil and Mike infiltrated the safe world of the television sitcom. They farted, swore, hit each other and shouted a lot and comedy hasn’t been the same since. They weren’t nice; they were NASTY! This is the story of the conception and birth of “The Young Ones”, their ancestors, their playmates and, eventually, their offspring. [Taken from back cover]
Notes: Cover subtitle: The story of a revolution in the world of TV comedy. Includes index. Includes some short biographies of British comedians, producers and writers: p. 259-281. Bibliography: p. 283-4.
ISBN: 1877059242
Language: English

Call No: P BIG
PhysDes: 1 poster : colour ; 68 X 33 cm.
Subject: BIG EASY, THE (US, Jim McBride, 1986)
Summary: Image: a man and a woman on a bed. Text: 'He's got to hide the truth. She'll stop at nothing to find it. But tonight, everything's off the record.'
Notes: Two fold lines, slightly curled at bottom edge.
ID2: 136

Call No: TITLE CLIPPINGS FILE; BIG EYES (US/CA, Tim Burton, 2014)
Author: Stratton, David
PhysDes: Clippings File Article
Subject: BIG EYES (US/CN, Tim Burton, 2014)
Summary: Review of Big Eyes
Rating: 3.5 out of 5 stars

Call No: 76(94):759(94) MUR
Author: Murphy, Kerrie
Source: AT
Place: Milton, Qld
Publisher: John Wiley & Sons,
PubDate: 2006
PhysDes: xii, 260 p., [8] p. of plates : ill., ports. ; 24 cm
Subject: REALITY TV. AUSTRALIA; REALITY TV; PROGRAMME GENRES; HISTORY OF TV. AUSTRALIA; AUDIENCE RECEPTION; PERSONALITIES ON TV; BIG BROTHER [TV] (AT, 2001-); AUSTRALIAN IDOL [TV] (AT, 2003-); SURVIVOR [TV]
Summary: You may not realise it, but reality television has been around longer than you think. Looks at the country's love/hate relationship with reality TV. Explores our viewing habits and our favourite programs.
Notes: Includes bibliographical references and index
ISBN: 9781740311380 (ISBN 13); 1740311388 (ISBN 10)
ID2: 128

Call No: TITLE CLIPPINGS FILE; MY BIG FAT GREEK WEDDING 2 (US, Kirk Jones, 2016)
Author: Stratton, David
PhysDes: Clippings File Article
Subject: MY BIG FAT GREEK WEDDING 2 (US, Kirk Jones, 2016)
Summary: Film review of MY BIG FAT GREEK WEDDING 2.
Rating: 2.5 out of 5 stars

Call No: 734.2(73) MCA
Author: McArthur, Colin, 1934
CorpAuthor: British Film Institute
Place: London
Publisher: Secker and Warburg [for] the British Film Institute
PubDate: 1972
PhysDes: 176 p. illus., ports. 20 cm
Subject: GENRES; GANGSTER FILMS. USA; THRILLERS. USA; LANG, FRITZ; HUSTON, JOHN; DASSIN, JULES; SIODMAK, ROBERT; KAZAN, ELIA; RAY, NICHOLAS; FULLER, SAMUEL; SIEGEL, DON; MELVILLE, JEAN-PIERRE; PUBLIC ENEMY, THE (US, William Wellmen, 1931); BIG HEAT, THE (US, Fritz Lang, 1953); MALTESE FALCON, THE (US, John Huston, 1941); BIG SLEEP, THE (US, Howard Hawkes, 1946); LITTLE CAESAR (US, Mervyn LeRoy, 1931); SCARFACE (US, Howard Hawks, 1932)
ISBN: 0436098857 0436098849 (pbk.)
LON: 73155714; 541899

Call No: 76:759.5 ALE
Author: Sophie Alexiadis
Place: Melbourne
PubDate: 2004
PhysDes: 185 p ; 30 cm
Subject: REALITY SHOWS, TV. AUSTRALIA; BIG BROTHER [TV] (AT, 2001-); GAMES SHOWS; GAMES SHOWS. AUSTRALIA; PROGRAMME GENRES; AESTHETICS
Summary: This thesis conducts a formal analysis of the ways in which phenomenal television successes Survivor and Big Brother are situated in histories of dcumentary, reality television and game shows; and how they may indicate a broader change in television production aesthetics and viewing practices for the new millenium. Historically, the reality game shows Survivor and Big Brother can be seen as belonging to and perpetuating a form which commenced with the first television broadcasts: the game show genre. Yet, with hybridized formats incorporating elements of news, soap opera, talk shows or fly-on-the-wall documentaries, these recent shows exploit the latest television technology. How shows such as Survivor and Big Brother expand or subvert the game show genre is, therefore, central to this thesis. [Taken from thesis summary].
Notes: RMIT masters thesis

Call No: 76:759 SAL
Author: Salamon, Winnie
Source: AT
Place: Melbourne
PubDate: 2010
PhysDes: 275 leaves, bound ; 30 cm
Subject: PERSONALITIES ON TV; PERSONALITIES ON TV. AUSTRALIA; POPULAR CULTURE AND TV; POPULAR CULTURE AND TV. AUSTRALIA; REALITY SHOWS, TV. AUSTRALIA; REALITY SHOWS. AUSTRALIA; REALITY TV; REALITY TV. AUSTRALIA; RESEARCH TV; TELEVISION; AUSTRALIAN IDOL [TV] (AT, 2003-); BIG BROTHER [TV] (AT, 2001-); BIG BROTHER [TV] (AT, 2001-); BIG BROTHER [TV] (AT, 2001-); BIG BROTHER UNCUT [TV] (AT, 2001-); BIGGEST LOSER, THE [TV] (AT, 2006)
Summary: "This thesis examines first person accounts of former reality television participants who have appeared on Australian versions of Big Brother, Australian Idol and The Biggest Loser. While scholars have researched audience responses to a wide range of reality shows, little research has been conducted on the participants themselves. My qualitative research study involving 15 semi-structed one-on-one interviews with reality TV participants addresses this gap, using these accounts to explore broader issues surrounding late modern identity and subjectivity" -- ABSTRACT
Notes: Typescript; Thesis (Ph.D.)--University of Melbourne, School of Culture and Communication, 2011; Includes bibliographical references
Contents: -- acknowledgments -- introduction -- chapter one: reality tv and our collective selves: a history and review of the literature -- chapter two: qualitative research and reflexivity: interviewing through an ethnographic gaze -- chapter three: 'there's no reality in reality tv': performing the real in a 'reality flavoured' universe -- chapter four: what about me? reality tv and the self-governed citizen -- chapter five: brand new world: reality tv and the branded human -- chapter six: reality is a bitch: expectations and disappointments in reality tv -- chapter seven: hijacking the branded self: reality tv and the politics of subversion -- conclusion -- appendix 1: the interviewees -- appendix 2: interview questions -- bibliography --

Call No: TITLE CLIPPINGS FILE; MY BIG FAT GREEK WEDDING 2 (US, Kirk Jones, 2016)
Author: Johnson, Neala
PhysDes: Clippings File Article
Subject: MY BIG FAT GREEK WEDDING 2 (US, Kirk Jones, 2016)
Summary: Neala Johnson writes about the making and casting of My Big Fat Greek Wedding and subsequent sequel, with actors Nia Vardalos and John Corbett.

Call No: P WIE
PhysDes: 1 poster : col. ; 97 X 65 cm.
Subject: BIG RACE, THE [WIELKI BIEG] (PL, Jerzy Domaradzki, 1981)
Summary: Image: Two athletes.
Notes: Have some fold lines; Double sided poster; The title on the poster is the great race but on imdb is the big race.

Call No: 227.4KOE
Author: Koehler, William R.
CorpAuthor: `
Place: New York
Publisher: Howell Book House
PubDate: 1979
PhysDes: 252 p. : ill. ; 26 cm
Subject: ANIMALS IN FILMS; WALT DISNEY PRODUCTIONS; BIG RED (US/CA, Norman Tokar, 1962); INCREDIBLE JOURNEY, THE (CN/US, Flecher Markle, 1963); SHAGGY DOG, THE (US, Charles Barton, 1959); SWISS FAMILY ROBINSON (UK, Ken Annakin, 1960); THAT DARN CAT! (US, Robert Stevenson, 1965); THOSE CALLOWAYS (US, Norman Tokar, 1965); TOBY TYLER, OR TEN WEEKS WITH A CIRCUS (US, Charles Barton, 1960); UGLY DACHSHUND, THE (US, Norman Tokar, 1966)
ISBN: 0876058101
Donation: donated by the family of Wayne Levy, 2006

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills
Subject: YOU'RE A BIG BOY NOW (US, Francis Ford Coppola, 1966)