Search Catalogue

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: ALIAS RUBY BLADE (US, Alex Meillier,2012)

Call No: 735.1 KUH
Author: Kuhn, Annette
Source: UK/US
Place: London New York
Publisher: Verso
PubDate: 1990
PhysDes: viii, 231 p. : ill. ; 24 cm
Subject: FEMINISM AND THE CINEMA; POSTMODERNISM AND THE CINEMA; SCIENCE-FICTION FILMS; SEX IN FILMS; TECHNOLOGY IN FILMS; ALIEN (UK, Ridley Scott, 1979); BLADE RUNNER (US, Ridley Scott, 1982)
Notes: Includes bibliographical references (p. 229-231)
ISBN: 0860912787; 0860919935 (pbk.)
LON: 6923144
Contents: -- Introduction : cultural theory and science fiction cinema / Annette Kuhn -- Visions of the future in science fiction films from 1970 to 1982 / H. Bruce Franklin -- The alien messiah / Hugh Ruppersberg -- Commodity futures / Thomas B. Byers -- Technophobia / Michael Ryan and Douglas Kellner -- Making culture into nature / Michael Stern -- Feminism, humanism and science in Alien / James H. Kavanagh -- Feminism and anxiety in Alien / Judith Newton -- Primal conditions and conventions : the genre of science fiction / Daniel Dervin -- The virginity of astronauts : sex and the science fiction film / Vivian Sobchack -- Time travel, primal scene and the critical dystopia / Constance Penley -- Alien and the monstrous-feminine / Barbara Creed -- The doubles of fantasy and the space of desire / J.P. Telotte -- 'You've got to be fucking kidding!' : knowledge, belief and judgement in science fiction / Steve Neale -- Cataract surgery : cinema in the year 2000 / Paul Virilio -- Ramble city : postmodernism and Blade runner / Giuliana Bruno -- Who programs you? : the science fiction of the spectacle / Scott Bukatman -- Gynesis, postmodernism and the science fiction horror film / Barbara Creed -- Feminist futures : a generic study / Anne Cranny-Francis

Call No: 735.1 KUH
Author: Kuhn, Annette
Place: London New York
Publisher: Verso
PubDate: 1999
PhysDes: 308 p. : ill. ; 20 cm
Subject: SCIENCE-FICTION FILMS; CITIES IN FILMS; BODY IN FILMS; DIGITAL TECHNOLOGY; UTOPIA IN FILMS; FANS; INTERNET AND THE CINEMA; MASCULINITY IN FILMS; POSTMODERNISM AND THE CINEMA; RACIAL ISSUES AND THE CINEMA; SPECTATORSHIP; ADAPTATIONS. WELLS, H.G.; VAN DAMME, JEAN-CLAUDE; SCHWARZENEGGER, ARNOLD; CREED, BARBARA; TRUMBULL, DOUGLAS; JOHNNY MNEMONIC (US, Robert Longo, 1995); THINGS TO COME (UK, William Cameron Menzies, 1936); BLADE RUNNER (US, Ridley Scott, 1982); ALIEN [...] (UK/US, 1979-92); ALIEN (UK, Ridley Scott, 1979); ALIENS (US, James Cameron, 1986); ALIEN RESURRECTION (US, Jean-Pierre Jeunet, 1997); BRAZIL (UK, Terry Gilliam, 1985); DEMOLITION MAN (US, Marco Brambilla, 1993); MAX HEADROOM [TV] (US, 1987-89); METROPOLIS (G, Fritz Lang, 1926); TOTAL RECALL (US, Paul Verhoeven, 1990); [TWO THOUSAND AND ONE] 2001: A SPACE ODYSSEY (UK, Stanley Kubrick, 1968)
Notes: Filmography: p. [276]-284; Includes bibliographical references (p. [285]-298) and index
ISBN: 1859842593 (paper); 1859847463 (cloth)
LON: 20466609

Call No: 735.1 SZE
Author: Szendy, Peter; Bishop, Will; Webber, Samuel
Edition: 2015
Place: New York
Publisher: Fordham University Press
PubDate: 2015
PhysDes: xx, 160 p. : illustrations ; 22 cm
Series: French Voices
Subject: APOCALYPSE IN FILMS; MELANCHOLIA (DK/SW/FR/G, Lars von Trier, 2011); LAST MAN ON EARTH, THE (US/IT, Ubaldo Ragona, 1964); TERMINATOR, THE (US, James Cameron, 1984); [TWENTY-TWELVE] 2012 (US/CN, Roland Emmerich, 2009); A.I: ARTIFICIAL INTELLIGENCE (US, Steven Spielberg, 2001); WATCHMEN (US, Zack Snyder, 2009); SUNSHINE (UK/US, Danny Boyle, 2007); BLADE RUNNER (US, Ridley Scott, 1982); [TWELVE] MONKEYS (US, Terry Gilliam, 1995); ROAD, THE (US, John Hillcoat, 2009); BLOB, THE (US, Chuck Russell, 1988)
Summary: Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and The Terminator. By looking at blockbusters that play with general annihilation while also paying close attention to films like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this book suggests that in the apocalyptic genre, film gnaws at its own limit. Apocalypse-cinema is, at the same time and with the same double blow, the end of the world and the end of the film. It is the consummation and the (self-)consumption of cinema, in the form of an acinema that Lyotard evoked as the nihilistic horizon of filmic economy. The innumerable countdowns, dazzling radiations, freeze-overs, and seismic cracks and crevices are but other names and pretexts for staging film itself, with its economy of time and its rewinds, its overexposed images and fades to white, its freeze-frames and digital touch-ups. The apocalyptic genre is not just one genre among others: It plays with the very conditions of possibility of cinema. And it bears witness to the fact that, every time, in each and every film, what Jean-Luc Nancy called the cine-world is exposed on the verge of disappearing. In a Postface specially written for the English edition, Szendy extends his argument into a debate with speculative materialism. Apocalypse-cinema, he argues, announces itself as cinders that question the “ultratestimonial” structure of the filmic gaze. The cine-eye, he argues, eludes the correlationism and anthropomorphic structure that speculative materialists have placed under critique, allowing only the ashes it bears to be heard. -- publisher's web site
ISBN: 9780823264810

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BLADE (US, Stephen Norrington, 1998)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BLADE II (US, Guillermo Del Toro, 2002)

Call No: 79BLA BUK
Author: Bukatman, Scott, 1957
CorpAuthor: British Film Institute
Place: London
Publisher: British Film Institute
PubDate: 1997
PhysDes: 96 p. : ill. (chiefly col.) ; 19 cm
Series: BFI modern classics
Subject: BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982)
Notes: Bibliography: p. 94-96
ISBN: 0851706231
LON: abn97229245; 13314329

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Publicity
Subject: BLADE RUNNER (US, Ridley Scott, 1982)

Author: Mitchell, Milo
PhysDes: Article
Subject: BLADE RUNNER (US, Ridley Scott, 1982)

Author: Steranko
PhysDes: Article
Subject: BLADE RUNNER (US, Ridley Scott, 1982)
Summary: Ill.

Call No: 79 BLA RED
Author: Redmond, Sean
Edition: 2016
Place: Leighton Buzzard
Publisher: Auteur
PhysDes: 90 pages : illustrated ; 20 cm
Series: Constellations
Subject: BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982)
Summary: Ridley Scott's 1982 film Blade Runner is now widely recognized as an undisputed masterwork of science fiction cinema and one of the most influential films released in the last forty years. Yet on its original release it was both a critical and commercial failure, criticized for its perceived prioritizing of style over content and a narrative that did not deliver the anticipated high octane action that its star casting and large budget normally promise. How did a film that was removed from circulation within a month of its premiere come to mean so much to modern audiences and provide such a rich seam of material for film and media studies? Sean Redmond excavates the many significances of the film – its breakthrough use of special effects as a narrative tool; its revolutionary representation of the future city; its treatment of racial and sexual politics; and its unique status as a text whose meaning was fundamentally altered in its re-released Director's Cut form, then further revised in a Final Cut in 2007, and what this means in an institutional context. This volume was previously published as Studying Blade Runner in 2008. -- publisher's web site
ISBN: 9781911325093
Donation: Senses of Cinema
Contents: Contents -- Introduction: Reading (into) the Greatest Science Fiction Film Ever Made -- 1. Genre -- 2. Narrative -- 3. Representation -- 4. Institutions and Authors -- 5. Audiences -- 6. Textual Analysis -- Conclusion: What Does it Mean to be Human? -- Afterword (2016): AfterHuman -- Bibliography and Filmography

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BLADE RUNNER 2049 (US/UK/CN, Denis Villeneuve, 2017)
ID2: 280

Call No: DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: BLADE RUNNER 2099 [TV] (US, 2022)

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Clippings; Publicity
Subject: BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BLADE: TRINITY (US, David S. Goyer, 2004)

Call No: 409(73) RYA
Copy Management: Copy 1; Copy 2
Author: Ryan, Michael, 1951; Kellner, Douglas, 1943
Place: Bloomington, Ind.
Publisher: Indiana University Press
PubDate: 1988
PhysDes: xiii, 328 p. : ill. ; 25 cm
Subject: DISASTERS IN FILMS. USA; SOCIAL PROBLEMS IN FILMS. USA; WORKING CLASS IN FILMS. USA; ETHNIC GROUPS IN FILMS. USA; SOUTH IN FILMS. USA; WOMEN IN FILMS. USA; BUDDY FILMS. USA; FAMILY IN FILMS. USA; VIETNAM WAR IN FILMS; HORROR FILMS. USA; VIETNAM WAR FILMS; POLITICS AND THE CINEMA. USA; FANTASY FILMS. USA; UTOPIA IN FILMS. USA; COMMUNISM AND THE CINEMA. USA; TECHNOLOGY AND THE CINEMA. USA; CONSPIRACY FILMS. USA; SPIELBERG, STEVEN; COPPOLA, FRANCIS FORD; BORDEN, LIZZIE; CIMINO, MICHAEL; Peckinpah, Sam; Reagan, Ronald; ROMERO, GEORGE; SCORSESE, MARTIN; HOOPER, TOBE; FRIEDKIN, WILLIAM; BROOKS, JAMES L.; DE PALMA, BRIAN; LUCAS, GEORGE; KUBRICK, STANLEY; MILIUS, JOHN; PAKULA, ALAN J.; SCOTT, RIDLEY; STAR WARS (US, George Lucas, 1977); CARNAL KNOWLEDGE (US, Mike Nichols, 1971); CLOSE ENCOUNTERS OF THE THIRD KIND (US, Steven Spielberg, 1977); DEATH WISH (US, Michael Winner, 1974); DEER HUNTER, THE (US, Michael Cimino, 1978); DRESSED TO KILL (US, Brian De Palma, 1980); E.T. THE EXTRA TERRESTRIAL (US, Steven Spielberg, 1982); FRENCH CONNECTION, THE (US, William Friedkin, 1971); JAWS (US, Steven Spielberg, 1975); TERMS OF ENDEARMENT (US, James L. Brooks, 1983); UNDER FIRE (US, Roger Spottiswoode, 1983); SHINING, THE (UK, Stanley Kubrick, 1980); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); DESPERATELY SEEKING SUSAN (US, Susan Seidelman, 1985); DIRTY HARRY (US, Don Siegel, 1971); GODFATHER, THE (US, Francis Ford Coppola, 1972); KLUTE (US, Alan J. Pakula, 1971); BLADE RUNNER (US, Ridley Scott, 1982)
Notes: Includes index; Bibliography: p. 321-324
ISBN: 0253313341
LON: 5193671

Call No: 756.1-25 SAY
Author: Sayyad, Nezar Al
Source: UK/US
Place: New York : London
Publisher: Routledge
PubDate: 2006
PhysDes: xiii, 256 p. : ill. ; 25 cm
Subject: MODERNISM AND THE CINEMA; ARCHITECTURE AND THE CINEMA; ARCHITECTURE IN FILMS; ART AND THE CINEMA; CITIES IN FILMS; HISTORY OF CINEMA; POSTMODERNISM AND THE CINEMA; THEORY; ANNIE HALL (US, Woody Allen, 1977); BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982); BRAZIL (UK, Terry Gilliam, 1985); DO THE RIGHT THING (US, Spike Lee, 1989); END OF VIOLENCE, THE (US/FR, Wim Wenders, 1997); FALLING DOWN (US, Joel Schumacher, 1993); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); MANHATTAN (US, Wody Allan, 1979); METROPOLIS (GG, Fritz Lang, 1927); METROPOLIS (G, Fritz Lang, 1926); MODERN TIMES (US, Charles Chaplin, 1936); MON ONCLE (FR/IT, Jacques Tati, 1958); MY BEAUTIFUL LAUNDRETTE (UK, Stephen Frears, 1985); PLAYTIME (FR, Jacques Tati, 1967); PLEASANTVILLE (US, Gary Ross, 1998); REAR WINDOW (US, Alfred Hitchcock, 1954); SLIVER (US, Phillip Noyce, 1993); TAXI DRIVER (US, Martin Scorsese, 1976); TRUMAN SHOW, THE (US, Peter Weir, 1998)
Summary: "Cinematic Urbanism presents an urban history of modernity and postmodernity through the lens of cinema while arguing that urbanism cannot be understood outside the space of the celluloid city." "Nezar AlSayyad traces the dissolution of the boundary between real and reel through time and space via a series of films that represent different modernities. He contrasts the 'rational' European city of early twentieth-century industrial modernity as portrayed by Berlin: Symphony of a Big City (1927) with its American counterpart in Modern Times (1936). He illustrates the different forms of small town life and an urbanizing modernity across the Atlantic as exemplified by Cinema Paradiso (1989) and It's a Wonderful Life (1946). Using Metropolis (1927) and Brazil (1985), he shows how utopian ideals harbour within them their dystopian realities, while Jacques Tati's nostalgia for tradition in Mon Oncle (1958) and Playtime (1967) reveals a cynical modernity and a rebelling against its idealism." "AlSayyad argues that the postmodern city of Blade Runner (1982) and Falling Down (1993) illustrates some of the urban outcomes of a globalizing economy. Turning to spectacle and surveillance, he examines Rear Window (1954), Sliver (1993), and The End of Violence (1997) as a voyeuristic modernity. To understand the city experienced by individuals of different social backgrounds, he takes Manhattan (1979), Annie Hall (1977), and Taxi Driver (1976), while Do the Right Thing (1989) and My Beautiful Laundrette (1985) are used to explore a modernity of race and ethnicity. Finally, he uses Pleasantville (1998) and The Truman Show (1998) to unpack the hyperreality of exurban postmodernity and to demonstrate how today the real and the reel have become mutually constitutive." "By considering how the real city and the reel city reference each other in an act of mutual representation and definition, this book advances the discussion on cinematic space and theories of the city."--BOOK BLURB.
Notes: Formerly CIP; Includes bibliographical references and index
ISBN: 0415700493
Contents: -- about the author -- preface -- Introduction : the cinematic city and the quest for the modern -- 1. Industrial modernity : the flaneur and the tramp in the early twentieth century city -- 2. Urbanizing modernity : the traditional cinematic small town -- 3. Orwellian modernity : utopia/dystopia and the city of the future past -- 4. Cynical modernity, or the modernity of cynicism -- 5. From postmodern condition to cinematic city -- 6. Voyeuristic modernity : the lens, the screen and the city -- 7. The modernity of the sophisticate and the misfit : the city through different eyes -- 8. An alternative modernity : race, ethnicity and the urban experience -- 9. Exurban postmodernity : utopia, simulacra and hyper-reality -- epilogue -- illustration credits and sources -- selected bibliography -- index --

Call No: 735.1 SHA
Author: Shaviro, Steven
Source: US
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 2003
PhysDes: xiii, 289 p. ; 22 cm
Series: Electronic Mediations ; v. 9
Subject: VIDEODROME (CN, David Cronenberg, 1983); NEW ROSE HOTEL (US, Abel Ferrara, 1998); ALPHAVILLE (FR, Jean-Luc Godard, 1965); SPACE IS THE PLACE (US, Sun Ra,1972); MAN WHO FELL TO EARTH, THE (UK, Nicholas Roeg, 1976); DAWN OF THE DEAD (US, George A. Romero, 1979); BLADE RUNNER (US, Ridley Scott, 1982); MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999); EMPIRE (US, Andy Warhol, 1964); BURROUGHS, WILLIAM
Summary: "Shaviro argues that our strange new world is increasingly being transformed in ways, and by devices, that seem to come out of the pages of science fiction, even while the world itself is becoming a futuristic landscape. The result is that science fiction provides the most useful social theory, the only form that manages to be as radical as reality itself. Original and compelling, Connected shows how the continual experimentation of science fiction, like science and technology themselves, conjures the invisible social and economic forces that surround us." -- BOOK BLURB
Notes: Includes notes, bibliographical references, filmography and index.
ISBN: 0816643636
Donation: Adrian Miles

Call No: 62 ORR
Author: Orr, John, 1943
Place: Edinburgh
Publisher: Edinburgh University Press
PubDate: c1998
PhysDes: xi,243 p. : ill. ; 24 cm
Subject: CANADA; CITY OF SADNESS, A [; MASCULINITY IN FILMS; RELIGION AND THE CINEMA; COMMUNISM AND THE CINEMA; DOUBLES IN FILMS; EXPRESSIONISM; FILM NOIR; POLAND; PSYCHOLOGY AND THE CINEMA; SEX IN FILMS; SURREALISM AND THE CINEMA; ALLEN, WOODY; ALTMAN, ROBERT; ANTONIONI, MICHELANGELO; BEATTY, WARREN; BELMONDO, JEAN-PAUL; BERGMAN, INGMAR; BINOCHE, JULIETTE; BONNAIRE, SANDRINE; BURTON, TIM; CAGE, NICOLAS; CAMPION, JANE; CHABROL, CLAUDE; CHEUNG, LESLIE; COPPOLA, FRANCIS FORD; COSTNER, KEVIN; CRONENBERG, DAVID; DAHL, JOHN; DE NIRO, ROBERT; DE PALMA, BRIAN; DERN, LAURA; EGOYAN, ATOM; FIGGIS, MIKE; GERE, RICHARD; GONG, LI; GREENAWAY, PETER; HAUER, RUTGER; JAMESON, FREDRIC; KIESLOWSKI, KRZYSZTOF; LYNCH, DAVID; MALICK, TERRENCE; Pasolini, Pier Paolo; ROSSELLINI, ISABELLA; SCORSESE, MARTIN; SCOTT, RIDLEY; STONE, OLIVER; TRAN, ANH HUNG; WEIR, PETER; Wenders, Wim; WONG KAR-WAI; YOUNG, SEAN; ZHANG, YIMOU; ANDERSSON, BIBI; AUDRAN, STEPHANE; DUVALL, SHELLY; GIDLEY, PAMELA; JANDA, KRYSTYNA; KANESHIRO, TANESHI; LEUNG, TONY; LIN, BRIGITTE; KROTKI FILM O MILOSCI (PL, Krzysztof Kieslowski, 1988); KILL ME AGAIN (US, John Dahl, 1989); DAYS OF BEING WILD [AH FEI ZHENG ZHUANG] (HK, Wong Kar-Wei, 1991); WINGS OF DESIRE [HIMMEL UBER BERLIN, DER] (GW/FR, Wim Wenders, 1987); ADJUSTER, THE (CN, Atom Egoyan, 1991); BELLE NOISEUSE, LA (FR, Jacques Rivette, 1991); BLADE RUNNER (US, Ridley Scott, 1982); BLOWUP (UK/IT, Michelangelo Antonioni, 1966); CHINATOWN (US, Roman Polanski, 1974); COOK, THE THIEF, HIS WIFE & HER LOVER, THE (NE/FR, Peter Greenaway, 1989); DAYS OF HEAVEN (US, Terrence Malick, 1978); JFK (US, Oliver Stone, 1991); LAST SEDUCTION, THE (US, John Dahl, 1994); LIEBESTRAUM (US, Mike Figgis, 1991); MCCABE AND MRS MILLER (US, Robert Altman, 1971); CZLOWIEK Z MARMURA (PL, Andrzej Wajda, 1977); ONE FALSE MOVE (US, Carl Franklin, 1991); PERSONA (SW, Ingmar Bergman, 1966); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); RAGING BULL (US, Martin Scorsese, 1980); DAHONG DENGLONG GAOGAO GUA (CC/HK/TZ, Zhang Yimou, 1991); DESERTO ROSSO, IL (IT/FR, Michelangelo Antonioni, 1964); SHINING, THE (UK, Stanley Kubrick, 1980); STALKER (UR, Andrei Tarkovsky, 1979); TROIS COULEURS: BLEU (FR, Krzysztof Kieslowski, 1993); TWIN PEAKS: FIRE WALK WITH ME (US, David Lynch, 1992); WILD AT HEART (US, David Lynch, 1990); CYCLO [XICH LO] (FR/V, Tran Anh Hung, 1995)
Summary: "'Contemporary cinema' is a major study of key developments in the cinema over the last thirty years. It reworks Pasolini's landmark concept of 'the cinema of poetry' to look at the transformation of film form in its encounter with society, the sacred, the subjective and the presence of the camera. In the 1970s, the influential forms of a cinema of poetry are analysed in key features by Altman, Herzog, Malick, Scorsese, Weir, Von Trotta and Tarkovsky while in the 1980s and 1990s the emergence of new filmmakers has meant a diffusion of different cinemas of poetry using new techniques and new poetries. Of key importance here is the work of Kieslowski, Lynch, Egoyan, Campion, Greenaway, Zhang Yimou, Tran Anh Hung and Wong Kar-Wai, as well as the reinvention of science fiction and film noir in American genre." Taken from back cover.
Notes: Includes bibliographical references and index
ISBN: 0748608362(pbk.) : No price
LON: 13772409
ID2: 291

Call No: 64POS CRI
Author: Sharrett, Christopher
Place: Washington, D.C.
Publisher: Maisonneuve Press
PubDate: 1993
PhysDes: 282 p. : ill. ; 24 cm
Subject: POSTMODERNISM AND THE CINEMA; DISASTERS IN FILMS; DISASTER FILMS; SEX AND THE CINEMA; DEATH IN FILMS; REPO MAN (US, Alex Cox, 1984); RUMBLE FISH (US, Francis Ford Coppola, 1983); CASANOVA (IT, Federico Fellini, 1976); BRAZIL (UK, Terry Gilliam, 1985); TAXI DRIVER (US, Martin Scorsese, 1976); BLADE RUNNER (US, Ridley Scott, 1982); MAD MAX (AT, George Miller, 1979)
Notes: Includes bibliographical references and index
ISBN: 0944624189 (cloth); 0944624197 (paper)
LON: 9605442

Author: Mayer, Geoff
PhysDes: Article; Illustration(s)
Subject: PROOF (AT, Jocelyn Moorhouse, 1991); WHAT'S EATING GILBERT GRAPE (US, Lasse Hallstrom, 1993); BLADE RUNNER (US, Ridley Scott, 1982); MEDIA STUDIES
Summary: Examines methods for approaching film analysis for teachers by examining particular films and the means they have used to communicate.

Call No: 735.1 SPR
Author: Springer, Claudia
Source: US
Place: Austin, TX
Publisher: University of Texas Press
PubDate: c1996
PhysDes: x, 182 pages : illustrations ; 23 cm
Subject: AUTOMOBILES IN FILMS; BODY IN FILMS; COMIC STRIPS AND THE CINEMA; COMPUTERS AND THE CINEMA; COMPUTERS IN FILMS; COMPUTERS AND TV; FEMINISM AND THE CINEMA; FEMINISM AND TV; GENDER AND THE CINEMA; GENDER AND TELEVISION; POSTMODERNISM AND THE CINEMA; ROBOTS IN FILMS; ROBOTS ON TV; SCIENCE AND THE CINEMA; SCIENCE-FICTION FILMS; SEXUALITY AND THE CINEMA; TECHNOLOGY AND THE CINEMA; TECHNOLOGY AND TV; TECHNOLOGY IN FILMS; TECHNOLOGY ON TV; VIRTUAL REALITY; BLADE RUNNER (US, Ridley Scott, 1982); EVE OF DESTRUCTION (US, Duncan Gibbins, 1991); LAWNMOWER MAN, THE (US, Brett Leonard, 1992); ROBOCOP (US, Paul Verhoeven, 1987); TERMINATOR 2: JUDGMENT DAY (US, James Cameron, 1991); TERMINATOR, THE (US, James Cameron, 1984)
Summary: "The love affair between humans and the machines that have made us faster and more powerful has expanded into cyberspace, where computer technology seems to offer both the promise of heightened erotic fulfilment and the threat of human obsolescence. In this pathfinding study, Claudia Springer explores the techno-erotic imagery in recent films, cyberpunk fiction, comic books, television, software, and writing on virtual reality and artificial intelligence to reveal how these futuristic images actually encode current debates concerning gender roles and sexuality." -- BOOK BLURB
Notes: Includes index
ISBN: 0292776977
Donation: M.S. Counihan

Call No: 735 FAN
Author: Donald, James
Place: London
Publisher: BFI Pub.
PubDate: 1989
PhysDes: 298 p. : ill. ; 24 cm
Subject: FANTASTIC FILMS; FETISHISM IN FILMS; GERMANY. 1895-1930; SLASHER FILMS; GENDER AND THE CINEMA; SEX AND THE CINEMA; FEMINISM AND THE CINEMA; SURREALISM AND THE CINEMA; BARTHES, ROLAND; SVANKMAJER, JAN; CONDIT, CECELIA; BAHTIN, MIHAIL; BORDWELL, DAVID; DURAS, MARGUERITE; LYOTARD, JEAN-FRANCOIS; HITCHCOCK, ALFRED; ALIEN (UK, Ridley Scott, 1979); BLADE RUNNER (US, Ridley Scott, 1982); BENEATH THE SKIN (US, Cecelia Condit, 1981); CABINET OF DR. CALIGARI, THE [CABINET DES DR. CALIGARI, DAS] (G, Robert Wiene, 1920); INDIA SONG (FR, Marguerite Duras, 1975); PSYCHO (US, Alfred Hitchcock, 1960); STUDENT VON PRAG, DER (G, Stellan Rye, 1913); TERMINATOR, THE (US, James Cameron, 1984); TEXAS CHAIN SAW MASSACRE, THE (US, Tobe Hooper, 1974); VAMPYR : DER TRAUM DES ALLAN GRAY (G/FR, Carl Th. Dreyer, 1932)
Notes: Includes bibliographical references (p. 287-291) and indexes
ISBN: 0851702287; 0851702295 (pbk.)
LON: 6190057

Call No: 512.1 PAR
Author: Partridge, Dinah; Hughes, Peter, 1949
Edition: 2nd ed
Source: AT
Place: Melbourne
Publisher: Oxford University Press
PubDate: 1998
PhysDes: viii, 248 p. : ill., ports. ; 26 cm
Subject: TEACHING MATERIALS; PRINCESS BRIDE, THE (US, Rob Reiner, 1987); ABSOLUTELY FABULOUS [TV] (UK, 1992 - 1996); BLADE RUNNER (US, Ridley Scott, 1982); CITIZEN KANE (US, Orson Welles, 1941); CHARACTERIZATION IN FILMS; CLUELESS (US, Amy Heckerling, 1995); COOLBAROO CLUB, THE (AT, Roger Scholes, 1996); [DOCTOR] DR STRANGELOVE: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (UK, Stanley Kubrick, 1964); EMMA (UK, Douglas McGrath, 1996); FRONTLINE [TV] (AT, 1994- ); GALLIPOLI (AT, Peter Weir, 1981); GENRES; HANDMAID'S TALE, THE (US/GW, Volker Schlondorff, 1990); HEARTS OF DARKNESS : A FILMMAKERS APOCALYPSE (US, Fax Bahr & George Hinkenlooper, 1991); HOUSEKEEPING (US, Bill Forsyth, 1987); MITT LIV SOM HUND (SW, Lass Hallestrom, 1985); MURIEL'S WEDDING (AT, P.J. Hogan, 1994); NARRATIVE IN FILMS; NOT FOURTEEN AGAIN (AT, Gillian Armstrong, 1996); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994); POLICE ON TV; PROOF (AT, Jocelyn Moorhouse, 1991); REALISM IN FILMS; SCHINDLER'S LIST (US, Steven Spielberg, 1993); SECRET GARDEN, THE (US, Agnieszka Holland, 1993); SEINFELD [TV] (US, 1990-98); SENSE AND SENSIBILITY (US, Ang Lee, 1995); SHAME (AT, Steve Jodrell, 1988); SHINE (AT/UK, Scott Hicks, 1996); SITUATION COMEDY; STAR WARS (US, George Lucas, 1977); WILLIAM SHAKESPEARE'S ROMEO + JULIET (US, Baz Luhrmann, 1996)
Notes: Bibliography
ISBN: 0195506774 : $26.95; 0195506774 (pbk.)
LON: 13455821
ID2: 290

Author: Salter, Denbeigh
PhysDes: Article
Subject: NIGHT SHIFT (US, Ron Howard, 1982); SWORD AND THE SORCERER, THE (US, Albert Pyun, 1982); BLADE RUNNER (US, Ridley Scott, 1982); CRITICISM
Summary: Reviews of 'Blade Runner', 'Night Shift', and 'The Sword and the Sorcerer' by Denbeigh Salter.

Call No: 79BLA SAM
Author: Sammon, Paul M
Place: London
Publisher: Orion
PubDate: 1997
PhysDes: xix, 441 p. : ill. ; 25 cm
Subject: SCOTT, RIDLEY; BLADE RUNNER (US, Ridley Scott, 1982)
Notes: Includes index; Bibliography: p. 433-435
ISBN: 0752807390
LON: abn97157224; 13203136

Call No: 756.1-25 GLO
Author: Andersson, Johan; Webb, Lawrence
Edition: 2016
Place: New York; Chichester, UK
Publisher: Wallflower Press
PubDate: 2016
PhysDes: vii, 262 pages : illustrated ; 24 cm
Subject: CITIES IN FILMS; NIGERIA; JAMES BOND IN FILMS; ANNIE HALL (US, Woody Allen, 1977); BLADE RUNNER (US, Ridley Scott, 1982); BOURNE IDENTITY, THE (US, Doug Liman, 2002); BOURNE LEGACY, THE (US, Tony Gilroy, 2012); BOURNE LEGACY, THE (US, Tony Gilroy, 2012); BOURNE ULTIMATUM, THE (US, Paul Greengrass, 2007); TOMORROW NEVER DIES (US, Roger Spottiswoode, 1997); HER (US, Spike Jonze, 2013)
Notes: Cinema and audiovisual media are integral to the culture, economy and social experience of the contemporary global city. But how has the relationship between cinema and the urban environment evolved in the era of digital technology, new media and globalization? And what are the critical tools and concepts with which we can grasp this vital interconnection between space and screen, viewer and built environment? Engaging with a rapidly transforming urban world, the contributions to this collection rethink the 'cinematic city' at a global scale. By presenting a global constellation of screen cities within one volume, the book encourages juxtapositions and comparisons across the North and South to capture the global city and its dynamics of exchange, hybridity, and circulation. The contributions examine film and screen cultures in a range of locations spanning five continents: Antibes, Beijing, Buenos Aires, Busan, Cairo, Caracas, Copenhagen, Jakarta, Kolkata, Lagos, Los Angeles, Malmö, Manila, Mumbai, Nairobi, Paris, Seoul, Sète, and Shanghai. The chapters address topics that range across the contemporary film and media landscape, from popular cinema, art cinema, and film festivals to serial television, public screens, multimedia installations, and video art. -- publisher's web site
ISBN: 9780231177474
Contents: Notes on Contributors -- Introduction: Decentring the Cinematic City—Film and Media in the Digital Age Part 1: Transnational Screen Cities -- 1. In the City but Not Bounded by It: Cinema in the Global, the Generic and the Cluster City, by Thomas Elsaesser -- 2. Traversing the Øresund: the Transnational Urban Region in Bron/Broen, by Pei-Sze Chow -- 3. Neoliberalism, Nollywood, and Lagos, by Jonathan Haynes Part 2: Global City Imaginaries -- 4. New Urban and Media Ecologies in Contemporary Buenos Aires, by Joanna Page -- 5. When Harry Met Siri: Digital Romcom and the Global City in Spike Jonze's Her, by Lawrence Webb -- 6. Cinephilia and the City: the Politics of Place in Contemporary Bengali Cinema, by Malini Guha -- Part 3: Public Screens and New Media Landscapes -- 7. Screen Cultures and the 'Generic City': Public Screens in Cairo and Shanghai, by Chris Berry -- 8. The City as Found Footage: the Reassemblage of Chinese Urban Space, by Yomi Braester -- 9. Remediating the 'Other Half': Planet Slum as Transmedia Project, by Igor Krstic Part 4: New Narrative Topographies -- 10. Interstitial Cityspace and the Immigrant Experience in Contemporary French Cinema, by William Higbee -- 11. Seoul, Busan and Somewhere Near: Korean Gangster Noir and Social Immobility, by Jinhee Choi -- 12. Chase Sequences and Transport Infrastructure in Global Hollywood Spy Films, by Christian B. Long Index

Call No: 71(73) WOO
Author: Wood, Robin, 1931
Place: New York
Publisher: Columbia University Press
PubDate: 1986
PhysDes: x, 328 p. : ill., ports. ; 24 cm
Subject: USA; HORROR FILMS; NARRATIVE IN FILMS; WOMEN IN FILMS. USA; BUDDY FILMS; HORROR FILMS. USA; ALTMAN, ROBERT; COHEN, LARRY; SCORSESE, MARTIN; CIMINO, MICHAEL; ROMERO, GEORGE; DE PALMA, BRIAN; LUCAS, GEORGE; SPIELBERG, STEVEN; CHASE, THE (US, Arthur Penn, 1966); RAGING BULL (US, Martin Scorsese, 1980); KING OF COMEDY, THE (US, Martin Scorsese, 1983); DEER HUNTER, THE (US, Michael Cimino, 1978); HEAVEN'S GATE (US, Michael Cimino, 1980); BLADE RUNNER (US, Ridley Scott, 1982); POLTERGEIST (US, Tobe Hooper, 1982)
Notes: Includes index; Bibliography: p. [319]-320
ISBN: 0231057768 (alk. paper); 0231057776 (pbk)
LON: 3796463

Call No: 738.1 BRE
Author: Brerton, Pat
Source: UK
Place: Bristol, UK
Publisher: Intellect Books
PubDate: 2004
PhysDes: 270 p. ; 24 cm
Subject: NATURE IN FILMS; ENVIRONMENTAL ISSUES IN FILMS; WESTERNS; LANDSCAPES IN FILMS; ROAD MOVIES; CONSPIRACY FILMS; ANDROMEDA STRAIN, THE (US, Robert Wise, 1971); ALIEN RESURRECTION (US, Jean-Pierre Jeunet, 1997); BLADE RUNNER (US, Ridley Scott, 1982); DANCES WITH WOLVES (US, Kevin Costner, 1990); EASY RIDER (US, Dennis Hopper,1969); INCREDIBLE SHRINKING MAN, THE (US, Jack Arnold, 1957); JAWS (US, Steven Spielberg, 1975); LAST OF THE MOHICANS, THE (US, Michael Mann, 1992); MEN IN BLACK (US, Barry Sonnenfeld, 1997); SOYLENT GREEN (US, Richard Fleischer, 1973); TERMINATOR 2: JUDGMENT DAY (US, James Cameron, 1991); THELMA & LOUISE (US, Ridley Scott, 1991); TITANIC (US, James Cameron, 1997); YEARLING, THE (US, Clarence Brown, 1947)
Summary: "Hollywood Utopia applies a range of interdisciplinary strategies to trace the evolution of ecological representations in Hollywood film from 1950s to the present. Popular science fiction, westerns, nature and road movies are extensively analysed while privileging ecological moments of sublime expression often dramatized in the closing moments of these films. "
Notes: Bibliography: p. 241-267 Filmography: p. 9-10
ISBN: 1841501174
Donation: donated by Senses of Cinema, 2009

Call No: 408.1(73) MOV
Author: Belton, John
Place: New Brunswick, NJ
Publisher: Rutgers University Press
PubDate: 1996
PhysDes: viii, 279 p. : ill. ; 24 cm
Series: Rutgers depth of field series
Subject: NATIONAL IDENTITY IN FILMS. USA; CULTURE AND THE CINEMA. USA; POPULAR CULTURE AND THE CINEMA. USA; FILM NOIR. USA; FAMILY IN FILMS. USA; POSTMODERNISM AND THE CINEMA. USA; ETHNIC GROUPS IN FILMS. USA; POLITICS AND THE CINEMA. USA; SOCIETY AND THE CINEMA. USA; CONSUMERISM IN FILMS. USA; FASHION AND THE CINEMA. USA; NOSTALGIA IN FILMS. USA; POPULISM AND THE CINEMA. USA; GRIFFITH, DAVID WARK; BERKELEY, BUSBY; Lombard, Carole; DAMES (US, Ray Enright, 1934); E.T. THE EXTRA TERRESTRIAL (US, Steven Spielberg, 1982); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); BLADE RUNNER (US, Ridley Scott, 1982)
Notes: Includes bibliographical references (p. 265-269) and index
ISBN: 0813522277 (cloth : alk. paper); 0813522285 (pbk.)
LON: 11604013

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BLADE OF THE IMMORTAL [MUGEN NO JUNIN] (JA/UK/SO, Takashi Miike, 2017)

Call No: 735.23 GEL
Author: Gelder, Ken
Source: UK
Place: London
Publisher: British Film Institute ; Palgrave Macmillan
PubDate: 2012
PhysDes: ix, 155 pages : illustrations ; 24 cm
Subject: DRACULA IN FILMS; HORROR FILMS; REMAKES; VAMPIRE FILMS; BRAM STOKER'S DRACULA (US, Francis Ford Coppola, 1992); SHADOW OF THE VAMPIRE (UK/US, E. Elias Merhige, 2000); BUFFY THE VAMPIRE SLAYER (US, Fran Rubel Kuzui, 1992); INTERVIEW WITH THE VAMPIRE (US, Neil Jordan, 1994); QUEEN OF THE DAMNED, THE (US/AT, Michael Rymer, 2002); LET THE RIGHT ONE IN (SW, Tomas Alfredson, 2008); LAT DEN RATTE KOMMA IN (SW, Tomas Alfredson, 2008); LET ME IN (UK/US, Matt Reeves, 2010); NIGHT WATCH, THE (RU, Timur Bekmanbetov, 2004); DAY WATCH (RU, Timur Bekmambeton, 2006); DNEVNOY DOZOR (RU, Timur Bekmambeton, 2006); IRMA VEP (FR, Oliver Assayas, 1996); VAMPIRE HUNTER D. (JA, Yoshiaki Kawajiri, 2000); BLOOD: THE LAST VAMPIRE (CN, Micahel Storey, 1998); THIRST (SK, Park Chan-wook, 2009); BAKJWI (SK, Park Chan-wook, 2009); NADJA (US, Michael Almereyda, 1994); ADDICTION, THE (US, Abel Ferrara, 1995); HABIT (US, Larry Fessenden, 1996); VAMPIRE IN BROOKLYN (US, Wes Craven, 1995); TWILIGHT (US, Catherine Hardwicke, 2008); ECLIPSE: TWILIGHT 3 (US, David Slade, 2010); CRONOS (MX, Guillermo del Toro, 1993); FROM DUSK TILL DAWN (US, Robert Rodriquez, 1996); BLADE (US, Stephen Norrington, 1998); BLADE II (US, Guillermo Del Toro, 2002); BLADE: TRINITY (US, David S. Goyer, 2004); UNDERWORLD (US, Len Wiseman, 2003); UNDERWORLD: EVOLUTION (US, Len Wiseman, 2005); PERFECT CREATURE (NZ/UK, Glenn Standring, 2006); DAYBREAKERS (US, Michael Spierig & Peter Spierig, 2008)
Summary: "New Vampire Cinema lifts the coffin lid on forty vampire films, from 1992 to the present day, charting the evolution of a genre that is, rather like its subject, at once exhausted and vibrant, inauthentic and 'original', insubstantial and self-sustaining. Ken Gelder's fascinating study begins by looking at Francis Ford Coppola's Bram Stoker's Dracula and Fran Rubel Kuzui's Buffy the Vampire Slayer - films that seemed for a moment to take vampire cinema in completely opposite directions. New Vampire Cinema then examines what happened afterwards, across a remarkable range of reiterations of the vampire that take it far beyond its original Transylvanian setting: the suburbs of Sweden (Let the Right One In), the forests of North America (the Twilight films), New York City (Nadja, The Addiction), Mexico (Cronos, From Dusk Till Dawn), Japan (Blood: The Last Vampire, Vampire Hunter D: Bloodlust), South Korea (Thirst), New Zealand (Perfect Creature), Australia (Daybreakers), and elsewhere. In a series of exhilarating readings, Gelder determines what is at stake when the cinematic vampire and the modern world are made to encounter one another - where the new, the remake and the sequel find the vampire struggling to survive the past, the present and, in some cases, the distant future." -- BOOK BLURB
Notes: Includes bibliographical references and index
ISBN: 9781844574407

Call No: 67(04) WOL
Author: Wollen, Peter
Source: UK/US
Place: London ; New York
Publisher: Verso
PubDate: 2002
PhysDes: vi, 314 p. ; 21 cm
Subject: ARCHITECTURE IN FILMS; DIRECTORS; FILM; THEORY; MOVEMENTS IN FILM HISTORY; MOVEMENTS AND STYLES IN FILM HISTORY; BURROUGHS, WILLIAM; EGGELING, VIKING; GODARD, JEAN-LUC; HAWKS, HOWARD; HITCHCOCK, ALFRED; ROUCH, JEAN; BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); FREUD (US, John Huston, 1962); RULES OF THE GAME, THE (FR, Jean Renoir, 1939); REGLE DU JEU, LA (FR, Jean Renoir, 1939)
Summary: "In this new collection of essays on the cinema, all written over the last ten years, Peter Wollen explores an extraordinarily wide range of topics, stretching from an analysis of time in film and video art to a study of Riff-Raff Realism in British film. Provocative essays discuss the work both of established auteur directors such as Howard Hawks and Alfred Hitchcock as well as the filmmaking careers of such experimental moviemakers as William Burroughs and Viking Eggeling, the dadaist pioneer of abstract film. The collection also includes fascinating studies of a number of film classics, such as John Huston's Freud, Jean Renoir's Rules of the Game and Ridley Scott's Blade Runner.". "Paris Hollywood suggests new approaches to thinking about film and many unexpected connections between film studies and the history of such strangely related activities as espionage, psychoanalysis, dance, architecture, anthropology, Stalinism, love of speed and digital technology. Wollen's book is based on the premise that there are no fixed ways of writing about the cinema but, rather, a plethora of paths leading in very different directions, each contributing to a new understanding of the 20th century's major art form."--BOOK JACKET
Notes: Includes bibliographical references and indexes Includes filmography
ISBN: 1859843913
Contents: -- 1: an alphabet of Cinema -- Part 1: directors and filmmakers -- 2: guerilla conditions: the cinema of William Seward Burroughs -- 3: viking eggeling -- 4: who the hell is Howard Hawks? -- 5: hitch: a tale of two cities (London and Los Angeles) -- 6: JLG -- 7: Jean Rouch -- part 2: films and movements -- 8: Freud as adventurer -- 9: Blade Runner -- 10: spies ansd spivs: an anglo-austrian engagement -- 11: rules of the game -- 12: the last new wave -- 13: riff-raff realism -- 14: architecture and film: places and non-places -- 15: the canon -- 16: time in film and video art -- 17: mismatches (& Acousmetres) -- 18 back to the future -- 19: speed and the cinema -- notes -- film-makers/director index -- filmography -- general index --

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: 79 BLA FLI
Author: Flisfeder, Matthew
Edition: 2017
Place: London; New York
Publisher: Bloomsbury
PhysDes: 176 p. : illustrated ; 2 cm
Series: Film Theory in Practice
Subject: BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982)
Summary: Matthew Flisfeder introduces readers to key concepts in postmodern theory and demonstrates how it can be used for a critical interpretation and analysis of Blade Runner, arguably 'the greatest science fiction film'. By contextualizing the film within the culture of late 20th and early 21st-century capitalism, Flisfeder provides a valuable guide for both students and scholars interested in learning more about one of the most significant, influential, and controversial concepts in film and cultural studies of the past 40 years. The "Film Theory in Practice" series fills a gaping hole in the world of film theory. By marrying the explanation of film theory with interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Postmodern Theory and Blade Runner offers a concise introduction to Postmodernism in jargon-free language and shows how this theory can be deployed to interpret Ridley Scott's cult film Blade Runner. -- publisher's web site
ISBN: 9781501311796
Contents: Acknowledgements -- Introduction -- Chapter One: Postmodernism and Postmodern Theory -- Chapter Two: Postmodernism and Blade Runner --Conclusion: Postmodern Theory After The End Of History -- Further Reading

Call No: 735.14 HOC
Author: Rushing, Janice Hocker; Frentz, Thomas S
Place: Chicago
Publisher: University of Chicago Press
PubDate: 1995
PhysDes: x, 261 p. : ill. ; 24 cm
Series: New practices of inquiry
Subject: ROBOTS IN FILMS; MYTH AND THE CINEMA; JAWS (US, Steven Spielberg, 1975); DEER HUNTER, THE (US, Michael Cimino, 1978); MANCHURIAN CANDIDATE, THE (US, John Frankenheimer, 1962); BLADE RUNNER (US, Ridley Scott, 1982); TERMINATOR 2: JUDGMENT DAY (US, James Cameron, 1991); TERMINATOR, THE (US, James Cameron, 1984)
Notes: Includes bibliographical references (p. 222-244) and index
ISBN: 0226731677 (paper : alk. paper); 0226731669 (cloth : alk. paper)
LON: 95030431; 11723431

Call No: 735.14 TEL
Author: Telotte, J. P., 1949
Place: Urbana
Publisher: University of Illinois Press
PubDate: 1995
PhysDes: 222 p. : ill. ; 24 cm
Subject: SCIENCE-FICTION FILMS; ROBOTS IN FILMS; DOUBLES; FORBIDDEN PLANET (US, Fred McLeod Wilcox, 1956); TECHNOLOGY AND THE CINEMA; BLADE RUNNER (US, Ridley Scott, 1982); METROPOLIS (G, Fritz Lang, 1926); TERMINATOR 2: JUDGMENT DAY (US, James Cameron, 1991); TERMINATOR, THE (US, James Cameron, 1984); CHERRY 200 (US, Steve de Jarnatt, 1988); FUTUREWORLD (US, Richard Heffron, 1976); TOTAL RECALL (US, Paul Verhoeven, 1990); WESTWORLD (US, Michael Crichton, 1973)
Notes: Filmography: p. [197]-208; Includes bibliographical references (p. [209]-215) and index
ISBN: 0252021770 (cloth : acidb-sfree paper); 0252064666 (paper)
LON: 95006586; 11513238

Call No: 81SCO SAM
Author: Sammon, Paul M.
Place: London
Publisher: Orion Media
PubDate: 1999
PhysDes: 144 p. : col. ill. ; 19 cm
Subject: SCOTT, RIDLEY; ALIEN (UK, Ridley Scott, 1979); BLADE RUNNER (US, Ridley Scott, 1982); BLACK RAIN (US, Ridley Scott, 1989); THELMA & LOUISE (US, Ridley Scott, 1991)
ISBN: 0752812157
LON: 20441048

Author: Mitchell, Milo
PhysDes: Article
Subject: BLADE RUNNER (US, Ridley Scott, 1982)
Summary: Interview; Ill.

PhysDes: Article
Subject: BOX OFFICE. AUSTRALIA; BEST FRIENDS (US, Norman Jewison, 1982); NIGHT SHIFT (US, Ron Howard, 1982); WORLD ACCORDING TO GARP, THE (US, George Roy Hill, 1982); FIRST BLOOD (US, Ted Kotcheff, 1982); CLINIC, THE (AT, David Stevens, 1982); BLADE RUNNER (US, Ridley Scott, 1982); MIDNITE SPARES (AT, Quentin Masters, 1983)
Summary: Roadshow films at the Australian box office.

PhysDes: Article
Subject: BOX OFFICE. AUSTRALIA; TABLE FOR FIVE (US, Robert Lieberman, 1983); NIGHT SHIFT (US, Ron Howard, 1982); WORLD ACCORDING TO GARP, THE (US, George Roy Hill, 1982); BEST FRIENDS (US, Norman Jewison, 1982); FIRST BLOOD (US, Ted Kotcheff, 1982); CLINIC, THE (AT, David Stevens, 1982); BLADE RUNNER (US, Ridley Scott, 1982)
Summary: Roadshow films at the Australian box office.

Call No: TITLE CLIPPINGS FILE in production; BLADE RUNNER PROJECT (Denis Villeneuve) in production
Author: Maddox, Garry
PhysDes: Clippings File Article
Subject: SCOTT, RIDLEY; BLADE RUNNER 2049 (US/UK/CN, Denis Villeneuve, 2017)
Summary: Snippet on Ridley Scott's upcoming films, including a producer role for a BLADE RUNNER sequel to be directed by Denis Villeneueve

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit; Publicity
Subject: SLING BLADE (US, Billy Bob Thornton, 1996)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: SOME FOLKS CALL IT A SLING BLADE (US, George Hickenlooper, 1993)

Call No: 236 FIN
Author: Finch, Christopher
Source: US
Place: New York
Publisher: Abbeville Press
PubDate: c1984
PhysDes: 252 p. : ill. (some col.) ; 27 cm
Subject: COMPUTER GRAPHICS; DIGITAL TECHNOLOGY; COMPUTERS AND THE CINEMA; COMPUTERIZED ANIMATION AND SPECIAL EFFECTS; COMPUTER GENERATED IMAGERY; COSTUME DESIGNING; TECHNICAL DEVELOPMENTS; MOTION CONTROL; MAKE UP; TECHNOLOGY AND THE CINEMA; PRODUCTION TECHNOLOGY; SPECIAL EFFECTS; CINEMATOGRAPHY; SET DESIGNING; KING KONG (US, Merian C. Cooper & Ernest B. Schoedsack, 1933); BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982); TRON (US, Steven Lisberger, 1982)
Summary: "Special effects is an art that sets itself the task of putting on screen anything a filmmaker can imagine, however strange or fantastic. From King Kong to Star Wars, this book details the secrets behind the magic that has thrilled and delighted generations of movie-goers." -- BOOK BLURB
Notes: Includes index; Bibliography: p. 244
ISBN: 0896594521
Contents: -- acknowledgements -- prologue -- part 1: the art of deception -- 1: tricks and treats -- 2: masks and mirrors -- 3: silent magic -- 4: the coming of sound -- 5: king kong -- 6: invisible effects -- 7: new aspects -- 8: monsters and myths -- part II: odysseys -- 9: new beginnings -- 10: the making of 2001 -- 11: back to earth -- 12: pitching -- 13: star wars -- 14: close encounters -- 15: phone home -- 16: innovations -- 17: blade runner -- 18:state of the art -- part III: sons of hal -- 19: coordinates -- 20: the making of tron -- 21: simulation -- 22: the future -- bibliography -- glossary -- index --

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: SWING BLADE (US, Nicholas Goodman, 1997)

PhysDes: Article
Subject: WARNER BROS.; FIREFOX (US, Clint Eastwood, 1982); LOONEY LOONEY LOONEY BUGS BUNNY MOVIE (US, Friz Freleng & others..., 1981); THIS IS ELVIS (US, Andrew Solt & Malcolm Leo, 1981); MIDSUMMER NIGHT'S SEX COMEDY, A (US, Woody Allen, 1982); EVERY WHICH WAY BUT LOOSE (US, James Fargo, 1978); HOUSE OF WAX (US, Andre de Toth, 1953); SUPERMAN II (US, Richard Lester, 1980); BLADE RUNNER (US, Ridley Scott, 1982); NIGHT SHIFT (US, Ron Howard, 1982); WORLD ACCORDING TO GARP, THE (US, George Roy Hill, 1982); BEST FRIENDS (US, Norman Jewison, 1982); LOVE CHILD (US, Larry Peerce, 1982); SHINING, THE (UK, Stanley Kubrick, 1980); HONKYTONK MAN (US, Clint Eastwood, 1982); NATIONAL LAMPOON'S VACATION (US, Harold Ramis, 1983); STROKER ACE (US, Hal Needham, 1983); TWICE UPON A TIME (US, John Korty & Charles Swenson, 1983); SUPERMAN III (US, Richard Lester, 1983)
Summary: List of current, coming, and in-production titles from Warner Bros.

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Press kit; Clippings
Subject: ZORRO, THE GAY BLADE (US, Peter Medak, 1981)