Search Catalogue

Call No: 626:396 SIL
Author: Silverman, Kaja
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1988
PhysDes: x, 257 p. ; 25 cm
Series: Theories of representation and difference
Subject: PSYCHOANALYSIS AND THE CINEMA; SEMIOLOGY; FEMINISM AND THE CINEMA; FREUD, SIGMUND
Summary: Analysis of the sound-track of films specifically focused on the female voice, understood not only as dialogue, narration or commentary but as means of generating subjectivity.
Notes: Includes index; Bibliography: p. 235-253
ISBN: 0253204747 (pbk.); 0253302846
LON: 87045834; 5540482
Contents: Lost objects and mistaken subjects: a prologue -- Body talk -- The fantasy of the maternal voice: female subjectivity and the negative Oedipus complex -- Disembodying the female voice : Irigaray, experimental feminist cinema, and femininity -- The female authorial voice

Call No: 81VAR DER
Author: DeRoo, Rebecca J.
Source: US
Place: Oakland, California
Publisher: University of California Press
PubDate: c2018
PhysDes: x, 238 pages : illustrations ; 23 cm
Subject: FILM; CRITICISM; FEMININITY IN FILMS; FEMINISM AND THE CINEMA; NOUVELLE VAGUE; MOVEMENTS AND STYLES IN FILM HISTORY; FRANCE; VARDA, AGNES; POINTE COURTE, LA (FR, Agnes Varda, 1954); BONHEUR, LE (FR, Agnes Varda, 1965); ONE SINGS, THE OTHER DOESN’T (FR/BE, Agnes Varda, 1977); DAGUERREOTYPES (FR/G, Agnes Varda, 1978)
Summary: "Agnes Varda is a prolific film director, photographer, and artist whose cinematic career spans more than six decades. Today she is best known as the innovative “mother” of the French New Wave film movement of the 1950s and '60s and for her multimedia art exhibitions. Varying her use of different media, she is a figure who defies easy categorization. In this extensively researched book, Rebecca J. DeRoo demonstrates how Varda draws upon the histories of art, photography, and film to complicate the overt narratives in her works and to advance contemporary cultural politics. Based on interviews with Varda and unparalleled access to Varda's archives, this interdisciplinary study constructs new frameworks for understanding one of the most versatile talents in twentieth and twenty-first century culture. " -- BOOK BACK COVER
Notes: Includes bibliographical references and index; Also issued online
ISBN: 9780520279414
Contents: -- Acknowledgments -- Reinterpreting Varda: the mother of the new wave reframes its histories -- Complicating neorealism and the new wave: La Pointe Courte -- Filmic and feminist strategies: questioning ideals of happiness in Le Bonheur -- Reconsidering contradictions: feminist politics and the musical genre in L'une Chante, L'autre Pas -- The limits of documentary: identity and urban transformation in daguerreotypes -- Melancholy and merchandise: documenting and displaying widowhood in L'iIe Et Elle -- Varda now: autobiography, memory, and retrospective -- notes -- bibliography -- index --

Call No: 626:396 DEL
Author: De Lauretis, Teresa
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1984
PhysDes: ix, 220 p. ; 25 cm
Subject: FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA; THEORY; SEMIOLOGY; PSYCHOANALYSIS AND THE CINEMA; NARRATIVE IN FILMS; LANGUAGE AND THE CINEMA
Notes: Includes bibliographical references and index
ISBN: 0253304679; 0253203163 (pbk.)
LON: 83048189; 2925665

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: 62 APP
Author: Hollows, Joanne; Jancovich, Mark
Place: Manchester New York New York
Publisher: Manchester University Press Distributed exclusively in the USA and Canada by St. Martin's Press
PubDate: 1995
PhysDes: 203 p. : ill. ; 23 cm
Series: Inside popular film
Subject: GENRES; AUTEUR THEORY; FEMINISM AND THE CINEMA; THEORY; POPULAR CULTURE AND THE CINEMA; STARS
Notes: Includes bibliographical references (p. [192]-196) and index
ISBN: 0719043921; 071904393X (pbk.)
LON: 11213175
URL status: URL: 'http://-' Checked: 31/08/2021 12:35:22 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

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: 71(94) BAR
Author: Barber, Susan
Edition: 2023
Place: New York
Publisher: Bloomsbury Academic
PubDate: 9 Feb 2023
PhysDes: 280 pages ; 24 cm
Subject: AUSTRALIA; MASCULINITY IN FILMS. AUSTRALIA; FEMINISM AND THE CINEMA. AUSTRALIA; ROAD MOVIES. AUSTRALIA; MOTHERS IN FILMS; ADVENTURES OF BARRY MCKENZIE, THE (AT, Bruce Beresford, 1972); ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, THE (AT, Stephan Elliott, 1994); MAD MAX [...] (AT, 1979-85); BACKROADS (AT, Philip Noyce, 1977); CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974); CHANT OF JIMMIE BLACKSMITH, THE (AT, Fred Schepisi, 1978); DON'S PARTY (AT, Bruce Beresford, 1976); GETTING OF WISDOM, THE (AT, Bruce Beresford, 1977); HIGH TIDE (AT, Gillian Armstrong, 1987); MAN FROM SNOWY RIVER II, THE (AT, Geoff Burrowes, 1988); MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001); TRACKER, THE (AT, Rolf de Heer, 2002); WRONG SIDE OF THE ROAD (AT, Ned Lander, 1981)
Summary: The Australian Film Revival: 70s, 80s, and Beyond explores the matrix of forces – artistic, cultural, economic, political, governmental, and ideological – that gave rise to, shaped, and sustained this remarkable film movement. This engaging new study brings fresh perspectives, insights, and innovative approaches to a variety of films from a diversity of filmmakers. Areas of focus include the complex and contentious subjects of masculinity, femininity and feminism, the maternal, as well as the Indigenous road film and the protean Australian gothic. During the formative years of the revival, Australian films seemed to emerge from out of the blue in terms of global film history, with many features including Picnic at Hanging Rock (l975), Caddie (l976), The Last Wave (l977), The Chant of Jimmie Blacksmith (l978), and My Brilliant Career (l979) receiving international distribution and enthusiastic critical acclaim with strong box office results. By the time the film revival was in full swing, not only did Australian audiences flock to theaters to see “homegrown” films, but the quantity of Australian films on overseas screens was so high that ardent critics declared this outpouring an Australian “New Wave.” The eyes of the world had turned to a compelling and largely unknown culture. -- publisher's web site
ISBN: 9781501390029
Contents: Acknowledgements -- Dedication -- In Memory Of -- Introduction -- 1. The Ocker: Chauvinistic and Oedipal -- 2. Alternate Masculinities of Paul Cox and John Duigan -- 3. Historical Women and the Bush -- 4. Negligent, Runaway, and Abject Mothers -- 5. The Indigenous Road Film -- 6. Australian Gothic -- Index

Call No: 67(94) VER
Author: By Verevis, Constantine and Williams, Deane
Place: United Kingdom
Publisher: Intellect
PubDate: 2018
Subject: EXPERIMENTAL FILM AND TELEVISION FUND; BIRTLES, FRANCIS; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); GILDA (US, Charles Vidor, 1946); FEMINISM AND THE CINEMA. AUSTRALIA; PORNOGRAPHY AND THE CINEMA. AUSTRALIA; DOCUMENTARIES. AUSTRALIA; MAD MAX BEYOND THUNDERDOME (AT, George Miller & George Ogilvie, 1985); CHAUVEL, CHARLES
ISBN: 9781783208371

Call No: 744.9 HAR
Author: Harris, Geraldine
Source: US
Place: Manchester ; New York
Publisher: Manchester University Press, distributed exclusively in the USA by Palgrave
PubDate: 2006
PhysDes: 210 p. ; 23 cm
Subject: DRAMAS; REALISM ON TV; AESTHETICS; RACIAL ISSUES AND TV; MARXISM AND THE CINEMA; POSTMODERNISM AND THE CINEMA; FEMINISM AND THE CINEMA; IMPERIALISM AND THE CINEMA; HOMOSEXUALITY AND TV; GLOBALISATION; ALLY MCBEAL [TV] (US, 1997-); BILL, THE [TV] (UK, 1984-); STAR TREK [TV] [...] (US, 1966-69, 1987-); QUEER AS FOLK [TV] (UK, 1999-2000); ABSOLUTELY FABULOUS [TV] (UK, 1992 - 1996); BUFFY THE VAMPIRE SLAYER [TV] (US, 1997-2004); [DOCTOR] DR WHO [TV] (UK, 1963-1989, 2005-); DYNASTY [TV] (AT, 1970); PRIME SUSPECT 3 [TV] (UK, David Drury, 1993); SOPRANOS, THE [TV] (US, 1999); TIPPING THE VELVET [TV] (UK, Geoffrey Sax, 2002); WILL & GRACE[TV] (US, 1998-); XENA: WARRIOR PRINCESS [TV] (US, 1995-)
Summary: Beyond representation, poses the question, as to whether over the last 30 years, there have been signs of progress/progressiveness, in the representation of marginalised or subaltern identity categories, within television drama, in Britain, and the US. In doing so, it interrogates some of the key assumptions concerning the relationship between aesthetics and the politics of identity, that have influenced and informed television drama criticism during this period. [Taken from the back cover]
Notes: Bibliography: p.191-20; Includes index
ISBN: 0719074584 (hdbk)
Donation: Donated by Senses Of Cinema, 2009

Call No: REFERENCE SECTION; 027(94) SYD CAT
Copy Management: Copy 1; Copy 2
CorpAuthor: Sydney Women's Film Group
Source: AT
Place: Sydney
Publisher: Sydney Women's Film Group
PubDate: 1979
PhysDes: 80p. : ill. ; 29cm
Subject: WOMEN, FILMS MADE BY. AUSTRALIA; FEMINISM AND THE CINEMA. AUSTRALIA
Notes: Cinema films directed by women. Australia. Catalogues (ANB/PRECIS SIN 0239739); Cover title; Index; Bibliography: p.73-75
ISBN: 0959839925 : $1.50 Aust; 0959839925
LON: 1590040 1590040

Call No: 802.253 CEL
Source: UK
Place: Twickenham
Publisher: Supernova Books
PubDate: 2014
PhysDes: 383 pages : illustrations ; 20 cm
Series: Women and the arts
Subject: WOMEN DIRECTORS; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA
Summary: "With Katherine Bigelow making history as the first woman to win an Oscar for directing, is this a new era for female filmmakers? The numbers suggest otherwise. A San Diego University study published last year states that only 9% of Hollywood directors in 2008 were women - the same figure recorded in 1998. Celluloid Ceiling seeks to redress the imbalance in the ratio of male to female film directors by exploring the most inspiring new work appearing in the UK, US and across the globe. Highlighting emerging female directors alongside recognised pioneers (eg. Bigelow, Campion, Coppola), placing all in context and examining their influences, Celluloid Ceiling offers a one-stop guide to the leading female directors of 21st century. With particular attention paid to women making films in traditionally male-dominated areas - such as action movies and films featuring violence or pornography - the author hopes to show all budding filmmakers that women can overcome the challenges within this industry." -- BOOK BLURB
Notes: Includes bibliographical references
ISBN: 9780956632906
Donation: donated by Senses of Cinema, 2014
Contents: Introduction / Gabrielle Kelly and Cheryl Robson -- Africa -- African Women Directors: Edited version of a speech given at the colloquy 'Francophone African Women Filmmakers: 40 years of cinema, Paris (1972-2012)' / Beti Ellerson -- Speak Up! Who's Speaking?: African Female Filmmakers Speak for Themselves / Maria Williams-Hawkins -- Americas -- The home, the body and otherness: Canadian representations of identity and feminism in Mary Harron's American Psycho, Sarah Polley's Away From Her and the Soska Sisters' American Mary / Karen Oughton -- Female Filmmakers in Latin America / Ana Maria Bahiana -- USA: Flouting the System: Lois Weber, Dorothy Arzner and Ida Lupino / Jacqui Miller -- From Hollywood to Indiewood to Chinawood: Women Film Directors in the US / Gabrielle Kelly -- US: Women Film Directors of the Indie World / Nathan Shaw -- Oscar-worthy Women Directors / Patricia Di Risio -- Interview with Kathryn Bigelow / Ana Maria Bahiana -- Asia -- Moving Up: Women Directors and South-east Asian Cinema / Anchalee Chaiworaporn -- Films from an Unknown Woman: Remediating the absence of gender politics in the films of women directors in China, Taiwan and Hong Kong / Pieter Aquilia -- Women Filmmakers of South Korea / Anchalee Chaiworaporn -- 'Why are you making such a big deal just because I am a woman?' Women Directors of Popular Indian Cinema / Coonoor Kripalani -- Cats and Dogs and Wild Berries: New Voices in Japanese Cinema / Adam Bingham -- To Direct Patriarchy / Women Film Directors in Pakistan / Iram Parveen Bilal -- Australia & New Zealand -- Brilliant Careers: Three Waves of Australian, New Zealand and Indigenous Women Film Directors / Pieter Aquilia -- Europe -- Alice Guy-Blache, True Pioneer / Tania Field -- A Century of Madchen: Femmes and Frauen in Facist, New Wave, and Contemporary European Cinema / Heidi Honeycutt -- Hidden Histories on Film: Female Directors from South Eastern Europe / Dina Iordanova -- Iron and Reel: Russian Women Directors Through the Soviet Era and Beyond / Karlanna Lewis -- Where's Britannia / Melody Bridges -- Middle East -- Coming Forth (Day) by Day: Arab Female Filmmakers Making Strides / Ronan Doyle -- In their Own Words: Interviews with Contemporary Women Directors from the Middle East / Elhum Shalerikar -- Voices of Israeli Women Filmmakers / Amy Kronish -- Summary / Gabrielle Kelly

Call No: 626:396 RIC
Author: Rich, B. Ruby
Source: US
Place: Durham, NC
Publisher: Duke University Press
PubDate: 1998
PhysDes: xix, 419 p., [8] p. of plates : ill. ; 24 cm.
Subject: FEMINISM AND THE CINEMA; CRITICISM; RICH, B. RUBY; DAUGHTER RITE (US, Michelle Citron, 1979); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982)
Summary: "If there was a moment during the sixties, seventies, or eighties that changed the history of the women's film movement, B. Ruby Rich was there. Part journalistic chronicle, part memoir, and 100 percent pure cultural historical odyssey, Chick Flicks- with its definitive, the-way-it-was collection of essays - captures the birth and growth of feminist film as no other book has done. For over three decades Rich has been one of the most important voices in feminist film crticism. Her presence at film festivals (such as Sundance, where she is a member of the selection committee), her film reviews in major national publications, and her commentaries on the public radio program "The World" have secured her a place as a central figure in the remarkable history of what she deems "cinefeminism." In the hope that a new generation of feminist film culture might be revitalized by reclaiming its own history, Rich introduces each essay with an autobiographical prologue that describes the intellectual, political, and personal moments from which the work arose. Travel, softball, sex and voodoo all somehow fit into a book that includes classic Rich articles covering such topics as the antiporn movement, the films of Yvonne Rainer, a Julie Christie visit to Washington, and the historically evocative film Maedchen in Uniform. The result is a volume that traces the development not only of women's involvement in cinema but one of its key players as well. The first book-length work from Rich - whose stature and influence in the world of film criticism and theory continue to grow- Chick Flicks exposes unexplored routes and forgotten byways of a past that's recent enough to be remembered and far away enough to be memorable. " -- BOOK BLURB
Notes: A collection of the author's essays from the 1970s and 1980s; Includes index
ISBN: 0822321211 (pbk. : alk. paper)
LON: 98012052; 13736840
Contents: acknowledgements -- preface: Jews without books xv, introduction p1 -- prologue. I found it at the movies p7-- 1: film in the sixties p13 -- prologue. Hippie chick in the Art World p19 -- 2: Carolee Schneemann's Fuses p27 -- prologue. Angst and Joy on the Women's Film Festival Circuit p29 -- 3: Leni Riefenstahl: the deceptive myth p40 -- prologue. Life, Death, and Tragic Homecoming p48 -- 4: Voodoo Verite: Maya Deren's Divine Horsemen p52 -- prologue. An Iguana, Some wolves, and the dawn of theory p57 -- 5: in the name of feminist film criticism p62 -- prologue. O brave new world p85 -- 6: One way or another: Sara Gomez and the Cuban experience p92 -- prologue. A women's declaration of secession from the avant-garde p103 -- 7: sex and the cinema p109 -- prologue. Love's labor lost p116 -- 8: Misconception: laboring under no illusions p121 -- prologue. Cows and hero-worship 125 -- 9: the films of Yvonne Rainer p129 -- prologue. Knokke-Heist and the Fury that was Edinburgh p156 -- 10: Designing desire: Chantal Akerman p169 -- prologue. Euphoria reclaims history p174 -- 11: From repressive tolerance to erotic liberation: Maedchen in Uniform p179 -- prologue. Softball, the goddess, and the lesbian film culture p207 -- 12: The right of re-vision: Michelle Citron's Daughter Rite p212 -- prologue, The allure of alchemy p220 -- 13: Femicide Investigation: Thriller p227 -- prologue. Sour Grapes p233 -- 14. She says, he says: the power of the narrator in modernist film politics p238 -- prologue. Sex, gender, and consumer culture p253 -- 15: Antiporn: soft issue, hard world (Not a Love Story?) p261 -- prologue. Unguided tours p274 -- 16: The feminist avant-garde p281 -- prologue. Attacking the sisters, or the limits of disagreement p386 -- 17: Cinemafeminism and its discontents p291 -- prologue. Libel threats and exile tactics p299 -- 18: Truth, faith and the individual: thoughts on U.S documentary film practice p305 -- Prologue. Disempoerment and the politics of rage p315 -- 19: Lady Killers: A question of silence p319 -- Prologue. Film star as outstanding human being p326 -- 20: Julie Christie goes to Washington p329 -- prologue: Blaming the victim p337 -- 21. Good girls, bad girls: Joyce Chopra's Smooth Talk p344 -- prologue. The berks and the sex wars p347 -- 22: Feminism and sexuality in the Eighties p350 -- Epilogue: charting the Eighties p376 -- notes p391 -- index 409 --

Call No: 45:32 CIN
Author: Georgakas, Dan; Rubenstein, Lenny
CorpAuthor: Cineaste
Source: US
Place: Chicago
Publisher: Lake View Press
PubDate: c1983
PhysDes: xiv, 396 p., [8] p. of plates : ill. ; 23 cm
Subject: BERTOLUCCI, BERNARDO; CANBY, VINCENT; COSTA-GAVRAS, CONSTANTIN; CRITICISM; FASSBINDER, RAINER WERNER; FEMINISM AND THE CINEMA; FONDA, JANE; GUTIERREZ ALEA, TOMAS; LITTIN, MIGUEL; MAKAVEJEV, DUSAN; PARKS, GORDON; PETRI, ELIO; POLITICS AND THE CINEMA; PONTECORVO, GILLO; Ray, Satyajit; ROCHA, GLAUBER; ROSI, FRANCESCO; ROSSELLINI, ROBERTO; SARRIS, ANDREW; SAYLES, JOHN; SCHRADER, PAUL; SCRIPTWRITERS; SEMBENE, OUSMANE; TAVERNIER, BERTRAND; WERTMULLER, LINA; Writers Guild of America; VARDA, AGNES; WAJDA, ANDRZEJ; ZANUSSI, KRZYSZTOF
Notes: Includes bibliographical references and index
ISBN: 0941702022 : $25.00
LON: 2921398

Call No: 70(04) CIN
Author: Cook, Pam; Bernink, Mieke
Edition: 2nd ed
Place: London
Publisher: British Film Institute
PubDate: 1999
PhysDes: x, 406 p. : ill. ; 30 cm
Subject: USA; STUDIOS, FILM. USA; STUDIO SYSTEM; STARS; NARRATIVE IN FILMS; EXPRESSIONISM; GERMANY; USSR; NEOREALISM; NOUVELLE VAGUE; UNITED KINGDOM; ART CINEMA; ASIAN COUNTRIES; AVANT-GARDE FILMS; THIRD CINEMA; THIRD WORLD; GENRES; WESTERNS; MELODRAMA; GANGSTER FILMS; FILM NOIR; HORROR FILMS; MUSICALS; YOUNG PEOPLE IN FILMS; COMEDIES; ACTION FILMS; AUTHORSHIP; AUTEUR THEORY; STRUCTURALISM; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; SPECTATORSHIP; AUDIENCE RESEARCH; SARRIS, ANDREW
Notes: Previous ed.: 1985
ISBN: 0851707297; 0851707262 (pbk.) ª23.99; 0851707297; 0851707262 (pbk.)
LON: 14510520

Call No: 71(73) LEV
Author: Levy, Emanuel, 1947
Source: US
Place: New York
Publisher: New York University Press
PubDate: c1999
PhysDes: xiii, 601 p. : ill. ; 24 cm
Subject: INDEPENDENT FILMS. USA; HOMOSEXUALITY AND THE CINEMA. USA; OUTSIDERS IN FILMS; MEN IN FILMS; FILM NOIR; FEMINISM AND THE CINEMA. USA; TYPE CHARACTERS IN FILMS; COMEDIES. USA; BLACK CINEMA. US; ETHNIC GROUPS IN FILMS. USA; YOUNG PEOPLE AND THE CINEMA; FESTIVALS. PARK CITY. SUNDANCE; ARAKI, GREGG; NUNEZ, VICTOR; BROOKS, ALBERT; SMITH, KEVIN; COEN, JOEL & ETHAN; FERRARA, ABEL; WATERS, JOHN (US); HARTLEY, HAL; HAYNES, TODD; JARMUSCH, JIM; JOST, JON; LEE, SPIKE; LINKLATER, RICHARD; LYNCH, DAVID; MAMET, DAVID; NAIR, MIRA; SAYLES, JOHN; CASSAVETES, NICK; SODERBERGH, STEVEN; SOLONDZ, TODD; SEX, LIES AND VIDEOTAPE (US, Steven Soderbergh, 1989); BLOOD SIMPLE (US, Joel Coen, 1984); BOYZ N THE HOOD (US, John Singleton, 1991); IN THE COMPANY OF MEN (US, Neil Labute, 1997); GAS FOOD LODGING (US, Allison Anders, 1992); PULP FICTION (US, Quentin Tarantino, 1994); RESERVOIR DOGS (US, Quentin Tarantino, 1992); MEAN STREETS (US, Martin Scorsese, 1973)
Summary: "Cinema of Outsiders is the first and only comprehensive chronicle of contemporary independent movies from the late 1970s up to the present. From the hip, audacious early works of maverick David Lynch, Jim Jarmusch, and Spike Lee, to the contemporary Oscar-winning success of indie dynamos, such as the Coen brothers (Fargo), Quentin Tarantino (Pulp Fiction), and Billy Bob Thornton (Sling Blade), Levy describes in a lucid and accessible manner the innovation and diversity of American indies in theme, sensibility, and style."--BOOK JACKET
Notes: Includes bibliographical references (p. 539-571) and index
ISBN: 0814751237 (alk. paper)
LON: 20253533

Call No: 735.1 CLO
Author: Penley, Constance, 1948
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 1991
PhysDes: xi, 298 p. : ill. ; 24 cm
Series: Camera obscura book
Subject: FEMINISM AND THE CINEMA; FAMILY IN FILMS; FANS; SCIENCE-FICTION FILMS; ROBOTS IN FILMS; METROPOLIS (G, Fritz Lang, 1926); FRIENDSHIP'S DEATH (UK, Peter Wollen, 1987); ALIEN (UK, Ridley Scott, 1979)
Notes: An expanded version of an earlier special issue of Camera Obscura (Fall 1986) entitled Science fiction and sexual difference; Includes bibliographical references and index
ISBN: 0816619115 (acid-free paper); 0816619123 (pbk. : acid-free paper)
LON: 7392223

Call No: 71(73) CON
Author: Neale, Stephen; Smith, Murray, 1962
Place: London New York
Publisher: Routledge
PubDate: 1998
PhysDes: xxii, 338 p. : ill. ; 24 cm
Subject: USA; TECHNOLOGY AND THE CINEMA; DISTRIBUTION. USA; EXHIBITION. USA; WIDE-SCREEN SYSTEMS; SPECTATORSHIP; MEN IN FILMS. USA; MELODRAMA; MUSIC, FILM; SOUND TRACKS; TELEVISION AND THE CINEMA; FAMILY IN FILMS. USA; NARRATIVE IN FILMS; BLACK CINEMA. USA; ETHNIC GROUPS IN FILMS. USA; BLOCKBUSTERS; FEMINISM AND THE CINEMA; GENDER AND THE CINEMA; CENSORSHIP. USA; INDEPENDENT FILMS. USA; WOMEN, FILMS FOR; WOMEN IN FILMS. USA; HORROR FILMS. USA; CHILDREN, FILMS FOR; ACTION FILMS; AUDIENCES; MIRAMAX FILMS; NEW LINE CINEMA; TIME WARNER; VERHOEVEN, PAUL; COPPOLA, FRANCIS FORD; HAMILTON, LINDA; MCDORMAND, FRANCES; ELFMAN, DANNY; E.T. THE EXTRA TERRESTRIAL (US, Steven Spielberg, 1982); FARGO (US, Ethan Coen, 1996); BASIC INSTINCT (US, Paul Verhoeven, 1992); BRAM STOKER'S DRACULA (US, Francis Ford Coppola, 1992); BATMAN (US, Tim Burton, 1989); BATMAN RETURNS (US, Tim Burton, 1992); RAIDERS OF THE LOST ARK (US, Steven Spielberg, 1981); JURASSIC PARK (US, Steven Spielberg,, 1993); LION KING, THE (US, Roger Allers & Rob Minkoff, 1994); TERMINATOR 2: JUDGMENT DAY (US, James Cameron, 1991)
Notes: Includes bibliographical references (p. [312]-318) and index
ISBN: 0415170095; 0415170109 (pbk.)
LON: 98005952; 13736490

Call No: 71 (931) NEW
Author: Conrich, Ian (ed); Murray, Stuart(ed)
Place: London
Publisher: I.B. Tauris
PubDate: 2008
PhysDes: xiv, 273 p. : ill. ; 24 cm
Series: I.B Taruris world cinema series
Subject: FEMINISM AND THE CINEMA; FESTIVALS. NEW ZEALAND; MAORI CINEMA; MASCULINITY IN FILMS; NEW ZEALAND FILM COMMISSION; NEW ZEALAND IN FILMS; REALISM IN FILMS; RELIGION IN FILMS; BARCLAY, BARRY; CAMPION, JANE; CURTIS, CLIFF; DUFF, ALAN; DONALDSON, ROGER; DENNIS, JONATHAN; Grierson, John; JACKSON, PETER (NZ); LAWRENCE, BRUNO; MUNE, IAN; MURPHY, GEOFFREY; LANGE, DAVID; MACLEAN, ALISON; MITA, MERATA; MORRIESON, RONALD HUGH; MORRISON, TEMUERA; MULDOON, ROBERT; NEILL, SAM; PRESTON, GAYLENE; SARGESTON, FRANK; SARKIES, ROBERT; TAMAHORI, LEE; WARD, VINCENT; BAISE-MOI (FR, Virginie Despentes, 2000); BRAINDEAD (NZ, Peter Jackson, 1992); CAME A HOT FRIDAY (NZ, Ian Mune, 1985); CHANNELLING BABY (NZ, Christine Parker, 1999); CINEMA OF UNEASE: A PERSONAL JOURNEY BY SAM NEILL (NZ, Sam Neill & Judy Reimer, 1995); CRUSH (NZ, Alison MacLean, 1992); DESPERATE REMEDIES (NZ, Stewart Main & Peter Wells, 1993); END OF THE GOLDEN WEATHER, THE (NZ, Ian Mune, 1991); GOODBYE PORK PIE (NZ, Geoffrey Murphy, 1980); HEAVENLY CREATURES (NZ, Peter Jackson, 1994); IRREFUTABLE TRUTH ABOUT DEMONS ((NZ, Glenn Standring, 2000); JUBILEE (NZ, Michael Hurst, 2000); LORD OF THE RINGS, THE (US, Peter Jackson, 2001-2003); MAGIK AND ROSE (NZ, Vanessa Alexander, 1999); NGATI (NZ, Barry Barclay, 1987); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994); PIANO, THE (AT, Jane Campion, 1993); PRICE OF MILK, THE (NZ, Harry Sinclair, 2000); QUIET EARTH, THE (NZ, Geoffrey Murphy, 1985); RAIN (NZ, Christine Jeffs, 2001); SAVING GRACE (NZ, Costa Botes, 1997); SCARECROW, THE (NZ, Sam Pillsbury, 1982); SCARFIES (NZ, Robert Sarkies, 1999); SKIN DEEP (NZ, Geoff Steven, 1978); SNAKESKIN (NZ, Gillian Ashurst, 2001); SLEEPING DOGS (NZ, Roger Donaldson, 1977); SMASH PALACE (NZ, Roger Donaldson, 1981); TOPLESS WOMEN TALK ABOUT THEIR LIVES (NZ, Harry Sinclair, 1997); UTU (NZ, Geoffrey Murphy, 1983); VIGIL (NZ, Vincent Ward, 1984); WHALE RIDER (NZ/GG, Niki Caro, 2002)
Summary: "Focusing on industrial and commercial concerns, questions of aesthetics and form, and the cultural debates surrounding nation and identity, the book surveys the full range of filmmaking in New Zealand. It displays the rich diversity of film production in the country, and in doing so highlights a number of specific contexts - Maori, documentary and short filmmaking, literary adaptations, the development of the national Film Commission and Archive, marketing and censorship, in addition to explorations into the place of bicultural relations, spirituality, masculinity and disability - that have created a cinema of global significance. Featuring critical accounts of internationally-acclaimed features like The Piano and Once Were Warriors, as well as the growth of the national infrastructure that made such films possible, Contemporary New Zealand Cinema is the most thorough study available of a vibrant filmmaking culture. The book also includes a fully comprehensive filmography detailing all New Zealand feature and television films."--BOOK JACKET
Notes: Filmography: p.[239]-253 Bibliography: p. 255- 258; Includes index
ISBN: 9781845118372

Call No: 626:396 GRE
Author: Green, Philip, 1932
Place: Amherst
Publisher: University of Massachusetts Press
PubDate: c1998
PhysDes: viii, 262 p. : ill. ; 25 cm
Subject: GENDER AND THE CINEMA. USA; FEMINISM AND THE CINEMA. USA; FILM NOIR. USA; CREED, BARBARA; MULVEY, LAURA; STONE, SHARON; ALIENS (US, James Cameron, 1986); BASIC INSTINCT (US, Paul Verhoeven, 1992); FATAL ATTRACTION (US, Adrian Lyne, 1987); FURNESS, DEBORRA-LEE; GILDA (US, Charles Vidor, 1946); IMPULSE (US, Sandra Locke, 1990); LAST SEDUCTION, THE (US, John Dahl, 1994); MS 45 (US, Abel Ferrara, 1981); NORMA RAE (US, Martin Ritt, 1979); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); RIVER WILD, THE (US, Curtis Hanson, 1994); SHAME (AT, Steve Jodrell, 1988); SHAME [TV] (US, 1992); SWEET SWEETBACK'S BAADASSSSS SONG (US, Melvin Van Peebles, 1971); THELMA & LOUISE (US, Ridley Scott, 1991); VANISHING, THE (US, George Sluizer, 1993); SPOORLOOS (NE/FR, George Sluizer, 1988)
Summary: Distinguishing his own neo-Marxist approach from that of other media scholars, Philip Green pursues two interrelated themes. In the first part of the book, he looks at the strategies Hollywood has employed to deflect or absorb the ideological challenges posed by the feminist critique of contemporary American society. He demonstrates the ways in which mainstream movies and television programs, no matter how unconventional or "subversive" they may appear, produce and reproduce familiar images of sexuality and gender identity. In the second part, Green highlights instances in which reproduction of the dominant ideology is less successful by examining several recent cinematic genres - the female action movie, the rape-revenge cycle, and the new film noir - that portray the real ambiguities of a social order in upheaval; As a male consumer of the cultural commodities being discussed, the author offers a perspective on American films and television different from that of most other feminist critics
Notes: Includes bibliographical references (p. [213]-248) and index
ISBN: 1558491198 (cloth : alk. paper); 1558491201 (pbk. : alk. paper)
LON: 13262384
ID2: 290

Call No: 62(04) CRI
Source: US
Place: London ; New York
Publisher: Wallflower Press
PubDate: c2011
PhysDes: xvi, 299 p. : ill. ; 24 cm.
Subject: THEORY; AESTHETICS; SEMIOLOGY; SPECTATORSHIP; FEMINISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; PHILOSOPHY AND THE CINEMA; RANCIERE, JACQUES; SCRIPTWRITING; AUTHORSHIP
Summary: Critical Cinema: Beyond the Theory of Practice purges the obstructive line between the making of and the theorising on film, uniting theory and practice in order to move beyond the commercial confines of Hollywood. Opening with an introduction by Bill Nichols, one of the world's leading writers on nonfiction film, this volume features contributions by such prominent authors as Noel Burch, Laura Mulvey, Peter Wollen, Brian Winston and Patrick Fuery. Seminal filmmakers such as Peter Greenaway and Mike Figgis also contribute to the debate, making this book a critical text for students, academics and independent filmmakers as well as for any reader interested in new perspectives on culture and film. -- taken from the back of the book.
Notes: Includes bibliographical references and index.
ISBN: 9781906660369
Contents: Machine generated contents note: 1.Theoretical Practice: Diegesis Is Not a Code of Cinema / Clive Myer -- 2.Cinema, Theory, Women / Clive Myer -- 3.Theory and Practice / Noel Burch -- 4.Passing Time: Reflections on the Old and the New / Peter Wollen -- 5.Sublime Acts: The Fate of Resistance between Film Theory and Practice / Laura Mulvey -- 6.Rancie`re and the Persistence of Film Theory / Patrick Fuery -- 7.Behind the Mask of the Screenplay: The Screen Idea / Nico Baumbach -- 8.The Theory-Practice Interface in Film Education: Observational Documentary in India / Ian W. MacDonald -- 9.The Student Author, Lacanian Discourse Theory and La nuit ame´ricaine / Aparna Sharma -- 10.Just Because You Have Eyes Does Not Mean You Can See / Coral Houtman -- 11.Theory for Practice: Ceci n'est pas l'e´piste´mologie / Peter Greenaway -- 12.Film and Philosophy: An Interview with Mike Figgis / Brian Winston -- 13.Playing with New Toys: An Interview with Peter Greenaway / Clive Myer -- Contents note continued: 14.An Interview with Noel Burch: Playing with Toys by the Wayside / Clive Myer.

Call No: 408 CUL
Author: Braendlin, Bonnie
CorpAuthor: Florida State University Conference on Literature and Film (14th : 1989)
Place: Tallahassee Gainesville, FL
Publisher: Florida State University Press Orders to University Presses of Florida
PubDate: 1991
PhysDes: vii, 202 p. ; 21 cm
Subject: POPULAR CULTURE AND THE CINEMA; FEMINISM AND THE CINEMA; ADVERTISING; ANDY HARDY IN FILMS; GENRES; HORROR FILMS; CRITICS; SCHWARTZ, DELMORE; ORDINARY PEOPLE (US, Robert Redford, 1980); WALL STREET (US, Oliver Stone, 1987); HAIRSPRAY (US, John Waters, 1988); FRIDAY THE 13TH [...] (US, 1980-); NIGHTMARE ON ELM STREET[...], A (US, 1984-)
Notes: Includes bibliographical references and index
ISBN: 0813010969
LON: 90027304; 7695410

Call No: 71(55) MOT
Author: Mottahedeh, Negar
Source: US
Place: Durham
Publisher: Duke University Press
PubDate: 2008
PhysDes: xiii, 199 p. : ill. ; 24 cm
Subject: IRAN; WOMEN IN FILMS. IRAN; FEMINISM AND THE CINEMA. IRAN; BAYA'I, BAHRAM; KIAROSTAMI, ABBAS
Donation: donated by Senses of Cinema, 2010
Contents: Introduction: Producing a National Cinema, a Woman's Cinema -- 1 Nationalizing Sense Perception: Bahram Bayza'i -- 2 Cleansing Vision: Abbas Kiarostami, Le Secret Magnifique -- 3 Post-Revolutionary Iranian Cinema and 1970s Feminist Film Theory

Call No: 462-02(94) FRE
Author: French, Lisa
PubDate: 1995
PhysDes: 139 leaves
Subject: FEMINISM AND THE CINEMA. AUSTRALIA; WOMEN FILMMAKERS. AUSTRALIA; WOMEN, FILMS MADE BY. AUSTRALIA; TASS, NADIA; MASLIN, SUE; HOASS, SOLRUN; WALLACE-CRABBE, GEORGIA
Notes: Submitted to the School of Arts and Media; Bibliography: leaves 136-139
LON: abn96158253; 12276603

Call No: 761 SMA
Author: Smaill, Belinda
Source: UK
Place: Basingstoke, England
Publisher: Palgrave Macmillan
PubDate: 2010
PhysDes: vii, 221 p. : ill. ; 23 cm
Subject: ASIAN COUNTRIES; CHILDREN AND THE CINEMA; CHILDREN IN FILMS; CULTURE AND THE CINEMA; DOCUMENTARIES; DOCUMENTARIES. AUSTRALIA; EMOTION IN FILMS; FEMINISM AND THE CINEMA; IDENTITY IN FILMS; IDEOLOGY AND THE CINEMA; IMMIGRATION IN FILMS AND TELEVISION; PSYCHOLOGY AND THE CINEMA; REALITY TV; SEX IN FILMS; SOCIAL PROBLEMS IN FILMS; THEORY; VIEWERS; WOMEN FILMMAKERS; LOVELACE, LINDA; BORN INTO BROTHELS: CALCUTTA'S RED LIGHT KIDS (II/US, Zana Briski, Ross Kauffman, 2004); CORPORATION, THE (CN, Jennifer Abbott & Mark Achbar, 2003); DAY I WILL NEVER FORGET, THE (UK, Kim Longinotto, 2002); DIVORCE IRANIAN STYLE (UK, Kim Longinotto & Ziba Mir-Hosseini, 1998); ENRON: THE SMARTEST GUYS IN THE ROOM (US, Alex Gibney, 2005); FINISHED PEOPLE, THE (AT, Khoa Do, 2003); FIX: THE STORY OF AN ADDICTED CITY (CN, Nettie Wild, 2002); INSIDE DEEP THROAT (US, Fenton Bailey & Randy Barbato, 2005); LETTERS TO ALI (AT, Clara Law, 2004); SADNESS: A MONOLOGUE BY WILLIAM YANG (AT, Tony Ayres, 1999); SEX: THE ANNABEL CHONG STORY (CN, Gough Lewis, 1999)
Summary: "The Documentary: Politics, Emotion, Culture proposes that emotions such as pleasure, hope, pain, empathy or nostalgia play a powerful role in the circulation and reception of documentaries. Emotion shapes how political issues and individuals are represented and perceived in documentary and it is crucial to how we engage with the vicissitudes of the public sphere. In the past documentary has been popularly perceived in ways that align it with education, science, history and the rational realm. This frame has never been adequate for understanding the broad array of styles and themes that can be seen in the documentary genre. Focusing on the question of subjectivity, Smail analyses various different kinds of individuals that can be found in documentaries, such as the female porn star, the politically disenfranchised, children, and the documentary auteur. She envisages an interdisciplinary approach to documentary drawing on scholarship from not only film studies, but also gender studies, queer theory, cultural theories of affect, critical race studies, political theory and pyschoanalysis. " -- BOOK BLURB
Notes: Includes bibliographical references (p. 200-209) and index
ISBN: 9780230237513 (hbk.)
Contents: -- list of illustrations -- acknowledgments -- part one: documentary and pleasure -- 1: introduction: representation and documentary emotion -- 2: pleasure and disgust: desire and the female porn star -- part two: pain and the other -- 3: Injury, identity and recognition: Rize and Fix: the story of an addicted city -- 4: women, pain and the documentaries of Kim Longinotto -- part three: the labour of authorship: caring and mourning -- 5: loss and care: Asian Australian documentary -- 6: civic love and contemporary dissent documentary -- part four: past, present and future: hope and nostalgia -- 7: children, futurity and hope: Born into Brothels -- 8:nostalgia, historical time and reality television: the idol series -- epilogue -- notes -- bibliography -- index --

Call No: 462-02 GLE
Author: Gledhill, Christine; Knight, Julia
Source: US
Place: Urbana
Publisher: University of Illinois Press
PubDate: 2015
PhysDes: 278 pages : illustrations ; 24 cm
Series: Women and film history international
Subject: WOMEN IN FILMS; FEMINISM AND THE CINEMA; FILMMAKING; APTE, SHANTA; KLONARIS, MARIA; THOMADAKI, KATERINA; BIGELOW, KATHRYN; MURILLO, MARY
Summary: "Cutting-edge and inclusive, Doing Women's Film History ventures into topics in the United States and Europe while also moving beyond to explore the influence of women on the cinemas of India, Chile, Turkey, Russia, and Australia. Contributors grapple with historiographic questions that cover film history from the pioneering era to the present day. Their scope and interests encompasses not only different kinds of filmmaking -- mainstream fiction, experimental, and documentary - but also practices -- publicity, journalism, distribution and exhibition -- seldom explored in the past." -- BOOK BLURB
ISBN: 9780252081187
Contents: Searching for Sources, Rewriting Histories. Scandalous Evidence: Looking for the Bombay Film Actress in an Absent Archive (1930s-1940s) / Debashree Mukherjee -- Reading between the Lines: History and the Studio Owner's Wife / Michele Leigh -- Imagining Women at the Movies: Male Writers and Early Film Culture in Istanbul / Canan Balan -- When Iris Skaravaiou Met Iris Barry: The First Greek Film Reviewer and West European Modernity / Eliza Anna Delveroudi -- Searching for Mary Murillo / Luke McKernan -- Feminism, Politics, and Aesthetics. Alice Guy's Great Cinematic Adventure / Kimberly Tomadjoglou -- A Major Contribution to Feminist Film History: Maria Klonaris and Katerina Thomadaki's Cine´ma corporel/Cinema of the Body / Ce´cile Chich -- Feminism and Women's Film History in 1980s Turkey / Eylem Atakav -- Traveling Memories: Women's Reminiscences of Displaced Childhood in Chilean Postdictatorship Documentary / Elizabeth Rami´rez Soto -- Revising the Colonial Past, Undoing "National" Histories: Women Filmmakers in Kannada, Marathi, and Bengali Cinemas / Rashmi Sawhney -- Hollywood Transgressor or Hollywood Transvestite: The Reception of Kathryn Bigelow's The Hurt Locker / Katarzyna Paszkiewicz -- Women at Work. Gossip, Labor, and Female Stardom in Pre-Independence Indian Cinema: The Case of Shanta Apte / Neepa Majumdar -- American Women Screenwriters in the 1920s / Giuliana Muscio -- A Suitable Job for a Woman: Color and the Work of Natalie Kalmus / Sarah Street -- Cinema of Women: The Work of a Feminist Distributor / Julia Knight -- "Our Place": Women at the Cinema in Rural Australia / Karina Aveyard -- Barbara Willis Sweete: Queen of HD Transmissions / Kay Armatage

Call No: 462-02(94) DON
Copy Management: Copy 1; Copy 2
Author: Blonski, Annette; Creed, Barbara; Freiberg, Freda
Place: Richmond, Vic.
Publisher: Greenhouse
PubDate: 1987
PhysDes: 400 p. : ill., facsims., ports. ; 28 cm
Subject: WOMEN AND THE CINEMA. AUSTRALIA; WOMEN FILM WORKERS. AUSTRALIA; INDEPENDENT FILMMAKERS. AUSTRALIA; INDEPENDENT FILMS. AUSTRALIA; EXPERIMENTAL FILMS. AUSTRALIA; FEMINISM AND THE CINEMA. AUSTRALIA; ADDIS, ERIKA; ANSARA, MARTHA; ASH, EVE; CANTRILL, ARTHUR & CORINNE; FISKE, PAT; GIBSON, SARAH; GRACE, HELEN; LAMBERT, SUSAN; HARTMAN, RIVKA; HOASS, SOLRUN; KEARNEY, BRIANN; KELLY, GABRIELLE; ROLLE, DI; SCHWARZ, MONIQUE; THORNLEY, JENI; TILSON, ALISON; ARMSTRONG, GILLIAN; CAMPION, JANE; BEHIND CLOSED DOORS (AT, Sarah Gilbert & Susan Lambert, 1980); IN THIS LIFE'S BODY (AT, Corinne Cantrill, 1987); FOR LOVE OR MONEY (AT, Megan McMurchy & Jeni Thornley, 1983); MY LIFE WITHOUT STEVE (AT, Gillian Leahy, 1986); WE AIM TO PLEASE (AT, Robin Laurie & Margot Nash, 1977); SERIOUS UNDERTAKINGS (AT, Helen Grace, 1983); SONG OF CEYLON, A (AT, Laleen S.B. Jayamanne, 1984)
Summary: Don't shoot darling! affirms the significant role played by women filmmakers. Various contributors examine the institutions and organisation which provide support for women's films; the achievements and limitations of affirmative action training schemes for women; and the reception and coverage of women's independent films by the press. A number of particular films - among them, For love or mone, My life without Steve, Serious Undertakings and Behind closed doors - are analused from feminist critical perspectives, and the book includes a collection of statements by individual women filmmakers about their own experiences and attitudes. -- Back cover
Notes: Includes bibliographical references and indexes
ISBN: 0864360584 : price unknown
LON: anb86436058; 5042996
Contents: Preface -- Beginnings -- Big brother - women and the state -- Feminist initiatives -- Training and affirmative action -- Personal statements -- The press -- Textual analysis

Call No: 71(48) IMR
Place: New York; London
Publisher: Routledge
PubDate: 2006
PhysDes: xxvi, 259 p. ; 23 cm
Series: AFI film readers
Subject: EASTERN EUROPEAN COUNTRIES; FEMINISM AND THE CINEMA; POLITICS AND THE CINEMA; GENDER AND THE CINEMA
Summary: Eastern Europe has produced rich and varied film cultures--Czech, Hungarian, and Serbian among them--whose histories have been intimately tied to the transition from Soviet domination to the complexities of post-Communist life. This latest volume in the AFI Film Readers series presents a long-overdue reassessment of East European cinemas from theoretical, psychoanalytic, and gender perspectives, moving the subject beyond the traditional "area studies" approach to the region's films. This ambitious collection, situating Eastern Europe's many cinemas within global paradigms of film study, will be an essential work for all students of cinema and for anyone interested in the relation of film to culture and society. [Taken from back cover.]
ISBN: 041597268X

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: 626:396 FAB
Author: Gaines, Jane, 1943; Herzog, Charlotte, 1946
Place: New York
Publisher: Routledge
PubDate: 1990
PhysDes: vii, 295 p. : ill. ; 24 cm
Series: AFI film readers
Subject: FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA; WOMEN IN FILMS; BODY IN FILMS; COSTUMES; FASHION AND THE CINEMA; NARRATIVE IN FILMS; DIETRICH, MARLENE; FAME (US, Alan Parker, 1980); FLASHDANCE (US, Adrian Lyne, 1983); FIG LEAVES (US, Howard Hawks, 1926)
Notes: Includes bibliographical references (p. 278-294)
ISBN: 0415900611; 041590062X (pbk.)
LON: 6468521

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: 721.1(391) ROB
Author: Robinson, Felicity
Edition: 1st ed.
Source: Australia
Place: Sydney
Publisher: Murdoch Books
PubDate: 2005
PhysDes: 192 p. : b+w ill. ; 22cm
Series: Australian Memories
Subject: NEWSREELS; AUSTRALIA; CINESOUND STUDIOS; FASHION AND THE CINEMA; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA; NOSTALGIA IN FILMS; HISTORICAL FILMS. AUSTRALIA; TABBERER, MAGGIE
Summary: The second title in the Australian Memories series, Fashion is a collection of film stills taken from the Cinesound and Movietone newsreels, which played in Australian cinemas from 1933 to 1975. Over the decades the newsreels covered women’s fashions in parades at nightclubs and restaurants, department stores, on the beach and in the streets. Informative captions and excerpts from the original voice-overs are accompanied by succinct and witty essays outlining the history of fashion during this period. [Taken from back cover]
ISBN: 1740456084

Call No: 79ANG COT
Author: Cottingham, Laura
Edition: 1st ed.
Source: UK
Place: London UK
Publisher: British Film Institute
PubDate: 2005
PhysDes: 86 p. : col, b&w, ill. ; 19 cm
Series: BFI film classics
Subject: RACIAL ISSUES IN FILMS; RACIAL ISSUES AND THE CINEMA; HUMAN RELATIONS IN FILMS; MARRIAGE IN FILMS; REALISM IN FILMS; GERMAN FEDERAL REPUBLIC; SEXUALITY AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; FEMINISM AND THE CINEMA; WOMEN IN FILMS; FALLEN WOMEN IN FILMS; BIOGRAPHICAL FILMS; DRUGS IN FILMS; FASSBINDER, RAINER WERNER; WARHOL, ANDY; SIRK, DOUGLAS; RIEFENSTAHL, LENI; ALL THAT HEAVEN ALLOWS (US, Douglas Sirk, 1955); WRITTEN ON THE WIND (US, Douglas Sirk, 1956); EHE DER MARIA BRAUN, DIE (GW, Rainer Werner Fassbinber, 1979); BERLIN ALEXANDERPLATZ (GW/IT, Rainer Werner Fassbinder, 1980); QUERELLE (GW/FR, Rainer Werner Fassbinder, 1982); FAUSTRECHT DER FREIHEIT (GW, Rainer Werner Fassbinder, 1975); BITTEREN TRANEN DER PETRA VON KANT, DIE (GW, Rainer Werner Fassbinder, 1972)
Summary: Set in Munich in the 1970s, Fear Eats the Soul melds the convention of melodrama with a radical sensibility in order to present a portrait of racism and everyday hypocrisy in post-war Germany. Laura Cottingham celebrates Fassbinder’s achievement, placing Fear Eats the Soul in relation to his extraordinary prolific career in theatre, film and television. Her analysis pulls back the thin curtain that separated his work from his tumultuous life. [Taken from back cover].
Notes: includes film credits
ISBN: 1844570711

Call No: 761-02 FRE
Author: French, Lisa
Edition: 2021
Place: Cham, Switzerland
Publisher: Palgrave Macmillan
PhysDes: 276 pages : illustrated ; 22 cm
Subject: WOMEN FILMMAKERS; DOCUMENTARIES; FEMINISM AND THE CINEMA; HONKASALO, PIRJO; LONGINOTTO, KIM; JAIN, NISHTHA; MANDY, MARIE; KATES, NANCY; ARMSTRONG, GILLIAN
Summary: The Female Gaze in Documentary Film – an International Perspective makes a timely contribution to the significant rise in interest in recent times in the status, presence, achievements and issues for women in contemporary screen industries. It examines the works, contributions and participation of female documentary directors globally. The central preoccupation of the book is to consider what might constitute a ‘female gaze’, an inquiry that has had a long history in filmmaking, film theory and women’s art. It fills a gap in the literature which to date has not substantially examined the work of female documentary directors. Moreover, research on sex, gender and the gaze has been relatively infrequently the subject of scholarship on documentary film, particularly in comparison to narrative film or television drama. A distinctive feature of the book is that it is based on interviews with significant female documentarians from Europe, Asia and North America. -- publisher's web site
ISBN: 9783030680930
Contents: Front Matter – Introduction. PART ONE -- Women’s Documentary Practice, Theory and Histories -- Women and Documentary -- The ‘Female Gaze’ -- Aesthetics and the Influence of Gender -- Feminisms, Feminist Theory and Documentary Practice. PART TWO -- Case Studies: Female Documentary Directors in Focus -- Documentary as Artform: Pirjo Honkasalo’s Cinematic Poetics -- Transnational Feminism in the Cinema of Kim Longinotto -- Nishtha Jain: An Auto-ethnographic and a Postcolonial Feminist Gaze -- Marie Mandy: Female Subjectivity and Aesthetics -- A View from the Margins: The Films of Nancy D Kates -- Gillian Armstrong: The Line Between Fact and Fiction. Conclusion: Rendering Female Reality.

Call No: 632.53 FEM
Author: Pribram, E. Deidre
Place: London New York
Publisher: Verso
PubDate: 1988
PhysDes: vii, 199 p., [12] p. of plates : ill. ; 24 cm
Series: Questions for feminism
Subject: FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA; SPECTATORSHIP; PSYCHOANALYSIS AND THE CINEMA; MUSIC TELEVISION; DIRECTORS; WOMEN ON TV; FEMINISM AND TV; BODY ON TV; MILDRED PIERCE (US, Michael Curtis, 1945); REAR WINDOW (US, Alfred Hitchcock, 1954); COLOR PURPLE, THE (US, Steven Spielberg, 1985)
Notes: Bibliography: p. 196-197
ISBN: 0860912043; 0860919226 (pbk.)
LON: 5927013

Call No: 761:626[396] FEM
Author: Waldman, Diane (editor); Walker, Janet (editor)
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 1999
PhysDes: ix, 365 p : ill. ; 26 cm
Series: Visible Evidence, volume 5
Subject: DOCUMENTARIES; DOCUMENTARIES. ARMENIA; DOCUMENTARIES. GERMANY; DOCUMENTARIES. TURKEY; FEMINISM AND THE CINEMA; DONT LOOK BACK (US, D.A. Pennebaker, 1967); ARMENIAN JOURNEY, AN (US, Theodore Bogosian, 1988); ROGER AND ME (US, Michael Moore, 1989); AMERICAN DREAM (US, Barbara Kopple, 1990)
Summary: Documentary and feminist film studies have long been separate or parallel universes that need to converse or collide. The essays in this volume, written by prominenet scholars and filmmakers, demonstrate the challenges that feminist perspectives pose for documentary theory, history, and practice. They also show how fuller attention to documentary enriches and complicates feminist theory, especially regarding the relationship between gender and sexuality, race and ethnicity, class and nation. This book includes an extensive filmography and videography with useful distribution information and a bibliography of work in this neglected area of scholarship. [Taken from back cover.]
ISBN: 0816630062
Contents: Introduction -- Part I: Historicizing documentary -- 1. Sentimental contracts: dreams and documents of American labor / Paula Rabinowitz -- 2. Flaherty's midwives / Patricia R. Zimmerman -- 3. New subjectivities: documentary and self-representation in the post-verite age / Michael Renov -- 4. Bad girls come and go, but a lying girl can never be fenced in / Alexandra Juhasz -- Part II: Filmmaker/subject: self/other -- 5. (Pass through) the mirror moment and 'Don't look back': music and gender in rockumentary / Susan Knobloch -- 6. Identities unmasked / empowerment unleashed: the documentary style of Michelle Parkerson / Gloria J. Gibson -- 7. Cross-cultural filmmaking, Japanese style / Ann Kaneko -- Part III: Going back (with a camera): gender, nation and documentary returns -- 8. Return, transference and the constructedness of experience in German/Turkish documentary film / Silvia Kratzer Juilfs -- 9. Melancholic memories and manic politics: feminism, documentary, and the Armenian diaspora / Anahid Kassabian and David Kazanjian -- 10. Fetishes and fossils: notes on documentary and materiality / Laura U. Marks -- 11. On silence and other disruptions / Deborah Lefkowitz -- Part IV: Innovative (auto)biographies -- 12. Fleeing from documentary: autobiographical film/video and the 'ethics of responsibility' / Michelle Citron -- 13. From rupture to rapture through experimental bio-pics: Leslie Thornton's 'There was an unseen cloud moving' / Chris Holmlund -- 14. Women's fragmented consciousness in feminist experimental autobiographical video / Julia Lesage

Call No: 626:396 HUM
Author: Humm, Maggie
Place: Edinburgh
Publisher: Edinburgh University Press
PubDate: 1997
PhysDes: x, 246 p. ; 24 cm
Subject: FEMINISM AND THE CINEMA; AUTEUR THEORY; ETHNIC GROUPS IN FILMS; POSTMODERNISM AND THE CINEMA; CRONENBERG, DAVID; MULVEY, LAURA; KUHN, ANNETTE; KAPLAN, E. ANN; ALTHUSSER, LOUIS; ROSE, JACQUELINE; WOOLF, VIRGINIA; DAUGHTERS OF THE DUST (US, Julie Dash, 1991); DEAD RINGERS (CN, David Cronenberg, 1988); KLUTE (US, Alan J. Pakula, 1971); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982)
ISBN: 0748609008
Order Received: 1998
LON: abn97233530; 13317515

Author: Lehman, Peter (ed)
PhysDes: Article
Subject: FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA; WOMEN IN FILMS; ARZNER, DOROTHY; HARD, FAST AND BEAUTIFUL (US, Ida Lupino, 1951); CLAYTON, SUSAN
Summary: Whole edition on feminism and women in cinema and films. Includes articles on Dorothy Arzner, women in the early film industry, an interview with Susan Clayton, and anlysis of 'The Seashell and the Clergyman', 'Les Girls', and 'Hard, Fast and Beautiful'.

Call No: SUBJECT CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: FEMINISM AND THE CINEMA
URL status: URL: 'http://file://Q:/S/FEMINISM_AND_THE_CINEMA.zip' Checked: 31/08/2021 12:42:08 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: 626:396 FEM
Author: Gunew, Sneja; Yeatman, Anna
Place: St. Leonards, N.S.W.
Publisher: Allen & Unwin
PubDate: 1993
PhysDes: xxv, 254 p. : ill. ; 22 cm
Subject: FEMINISM AND THE CINEMA; NIGHT CRIES : A RURAL TRAGEDY (AT, Tracey Moffatt, 1990)
Notes: CIP confirmed; Includes bibliographical references and index
ISBN: 1863736026; 1863735089 (pbk.)
LON: 10149727

Call No: 744.7 FEM
Author: Radner, Hilary; Stringer, Rebecca
Source: US
Place: London ; New York
Publisher: Routledge
PubDate: 2011
PhysDes: ix, 310 pages : illustrations ; 23 cm
Subject: FEMINISM AND THE CINEMA; GENRES; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; IDENTITY IN FILMS; JAMES BOND IN FILMS; MARRIAGE IN FILMS; MASCULINITY IN FILMS; MUSIC IN FILMS; POPULAR CULTURE AND THE CINEMA; RACIAL ISSUES AND THE CINEMA; SEXUALITY AND THE CINEMA; WOMEN AND THE CINEMA; WOMEN DIRECTORS; WOMEN FILMMAKERS; YOUNG PEOPLE AND THE CINEMA; YOUNG PEOPLE IN FILMS; [THIRTEEN] 13 GOING ON 30 (US, Gary Winick, 2004); BABY MAMA (US, Michael McCullers, 2008); BEND IT LIKE BECKHAM (UK, Gurinda Chadha, 2002); BRAVE ONE, THE (US/AT, Neil Jordan, 2007); BRIDE WARS (US, Gary Winick, 2009); CASINO ROYALE (CZ/US/UK, Martin Campbell, 2006); ENCHANTED (US, KEVIN LIMA, 2007); [FORTY] 40 YEAR OLD VIRGIN, THE (US, Judd Apatow, 2005); FRIENDS WITH MONEY (US, Nicole Holofcener, 2006); HARD CANDY (US, David Slade, 2005); JUNO (US/CN, Jason Reitman 2007); KISSING JESSICA STEIN (US, Charles Herman-Wurmfeld, 2001); MARIE ANTOINETTE (US, Sofia Coppola, 2006); MICHAEL CLAYTON (US, Tony Gilroy, 2007); MISS CONGENIALITY (US, Donald Petrie, 2000); SECRET LIFE OF BEES (US, Gina Prince-Bythewood, 2008); SEX AND THE CITY: THE MOVIE (US, MICHAEL PATRICK KING, 2008); SINGLE MAN, A (US, Tom Ford, 2009); SISTERHOOD OF THE TRAVELLING PANTS, THE (US, Ken Kwapis, 2005); WAR OF THE WORLDS (US, Steven Spielberg, 2005)
Summary: "Feminism at the Movies: Understanding Gender in Contemporaty Popular Cinema examines the way that contemporary film reflects today's changing gender roles. The book offers a comprehensive overview of the central issues in feminist film criticism with analyses of over twenty popular contemporary films across a range of genres, such as chick flicks, teen pics, hommecoms, horror, action adventure, indie flicks, and women lawyer films. Contributors explore issues of masculinity as well as femininity, reflecting on the interface of popular cinema with gendered realities and feminist ideas. Topics include the gendered political economy of cinema, the female director as auteur, postfeminist fatherhood, consumer culture, depictions of professional women, transgender, sexuality, gendered violence, and the intersections of gender, race, and ethnic identities." - BOOK BLURB
Notes: Includes list of figures, bibliographical references and index
ISBN: 9780415895880
Contents: List of figures -- Acknowledgements; Introduction: "Re-vision"?: Feminist film criticism in the twenty-first century / Hilary Radner and Rebecca Stringer; Part I: Masculinity in question -- "The first Bond who bleeds, literally and metaphorically": gendered spectatorship for "pretty boy" action movies / Janet Staiger -- Queer memories and universal emotions: A Single Man (2009) / Michael DeAngelis -- "Lad flicks": discursive reconstruction of masculinity in popular film / David Hansen-Miller and Rosalind Gill -- Transamerica (2005): the road to the multiplex after New Queer Cinema / Gary Needham; Part II: New feminine subjects: a space for women? -- Enchanted (2007) by postfeminism: gender, irony, and new romantic comedy / Yvonne Tasker -- Neoliberal feminism in Miss Congeniality (2000) / Yael D Sherman -- Girls' sexualities in The Sisterhood of the Travelling Pants universe: feminist challenges and missed opportunities / Sarah Projansky -- Michael Clayton (2007): women lawyers betrayed - again / Taunya Lovell Banks -- Crossing race, crossing sex in Gurinder Chadha's Bend It Like Beckham (2002): managing anxiety in multicultural Britain / Mridula Nath Chakraborty -- Speaking the name of the father in the neo-romantic comedy: 13 Going On 30 (2004) / Hilary Radner; Part III: Consuming culture(s) -- No country for old women: gendering cinema in conglomerate Hollywood / Rob Schaap -- Music and the woman's film: Sex and the City: The Movie (2008) / Peter Stapleton -- Independence at what cost? Economics and desire in Nicole Holofcener's Friends With Money (2006) / Michele Schreiber -- The feminist politics of Sofia Coppola: spectacle and self-consciousness in Marie Antoinette (2006) / Christine Lane and Nicole Richter; Part IV: Relationships, identity and family -- "Eggs in many baskets": Juno (2007), Baby Mama (2008), and the new intimacies of reproduction / JaneMaree Maher -- Temporarily Kissing Jessica Stein (2001): negotiating (and negating) lesbian sexuality in popular film / Kelly Kessler -- "Die, Bridezilla, die!": Bride Wars (2009), wedding envy, and chick flicks / Heather Brook -- Extreme parenting: recuperating fatherhood in Steven Spielberg's War of the Worlds (2005) / Hannah Hamad; Part V: Gender and violence -- Kinship and racist violence in Gina Prince-Blythwood's The Secret Life of Bees (2008) / Ewa Plonowska Ziarek -- From victim to vigilante: gender, violence, and revenge in The Brave One (2007) and Hard Candy (2005) / Rebecca Stringer -- "When the woman looks": Haute Tension (2003) and the horrors of heteronormativity / Barry Keith Grant; Contributors -- Index

Author: Morris, Chrisopher
PhysDes: Article
Subject: FEMINISM AND THE CINEMA; VERTIGO (US, Alfred Hitchcock, 1958)
Summary: The essay considers the way Vertigo anticipates and allegorizes the feminist dilemma of reading it. The author considers that Vertigo poses challenges to feminist and deconstructive criticsim.

Call No: 626:396 MOD
Author: Modleski, Tania, 1949
Place: New York
Publisher: Routledge
PubDate: 1991
PhysDes: xi, 188 p. ; 24 cm
Subject: FEMINISM AND THE CINEMA; GENDER AND THE CINEMA; THEORY; WOMEN IN FILMS; MEN IN FILMS; WAR FILMS; ETHNIC GROUPS IN FILMS; BODY IN FILMS
Summary: Feminism Without Women examines the operation of "postfeminism" in popular culture, especially popular film, and in cultural studies. By scrutinizing a variety of feminist and poststructuralist theoretical positions and freqently juxtaposing her discussions with analyses of contemporary movies (ranging from Pee-wee's Big Adventure to Lethal Weapon and Three Men and a Baby ), Modleski offers a broad perspective on the future of feminism. In particular, she shows how women as social subjects are once again being relegated to the margins of discourse and society, only now, ironically, they are in danger of being marginalized by feminism itself . Feminism Without Women is a multifaceted response to the shift within feminist theory from "gynocritics" (a woman-centred critical practice) to an increasingly male-oriented "gender studies". This move has been accompanied by feminist/philosophical attempts to abolish the very category of "woman". A large portion of the book is devoted to analyzing the state of "male feminism" and argues that the "new masculinities" being heralded by some feminists are less revolutionary than is often claimed; that these kinder , gentler masculinit are in many ways perfectly consonant with the conservative times. Modleski situates her discussions of criticism and theory in the context of popular culture, and social issues relevant to feminism: surrogate mothering, women and war, the debates over pornography, gay representation in the era of AIDS, the controversy within feminism over lesbian S&M, and the intensification of racism in the 1980s and 1990s. -- PUBLISHER
Notes: Includes bibliographical references (p. 165-182) and index
ISBN: 0415904161 : $39.95; 041590417X (pbk) : $13.95
LON: bnb41590416; 7924353
Contents: Part I: Theory and methodology -- 1. Postmortem on postfeminism -- 2. Femininity as mas(s)querade -- 3. Some functions of feminist criticism; or, the scandal of the mute body -- Part II: Masculinity and male feminism -- 4. A father is being beaten: male feminism and the war films -- 5. Three men and baby m -- 6. The incredible shrinking he(r)man: male regression, the male body, and film -- Part III: Race, gender, and sexuality -- 7. Cinema and the dark continent: race and gender in popular film -- 8. Lethal bodies: thoughts on sex, gender, and representation from the mainstream to the margins
ID2: 31

Call No: 626:396 FEM
Author: Rogers, Anna Backman; Mulvey, Laura
Edition: 2015
Place: Amsterdam
Publisher: Amsterdam University Press
PhysDes: 276 pages : illustrations ; 24 cm
Series: the key debates: mutations and appropriations in European film studies
Subject: FEMINISM AND THE CINEMA
Summary: "Forty years after "Visual Pleasure and Narrative Cinema" Mulvey and Backman Rogers's Feminisms demonstrates the rich, diverse, and lasting legacy of feminist film studies. From female agencies in television series to digitized heroines in film to the aging female star, Feminisms combines compelling analyses of contemporary images of women and their narratives with insightful reflections and interviews on the developments and differentiation in the history, theory, and practice of women and film and in the larger field of media studies. It is not only a pleasure to read but also an indispensable book for generations of emancipated (film and media) scholars to come.." - Patricia Pisters, professor of film studies at the Department of Media Studies, University of Amsterdam -- publisher's web site
ISBN: 9789089646767
Contents: Editorial -- Preface -- Acknowledgments -- Introduction: 1970s Feminist Film Theory and the Obsolescent Object: Laura Mulvey PART I New Perspectives -- Images and the Female Body Disconnected Heroines, Icy Intelligence: Reframing Feminism(s) and Feminist Identities at the Borders Involving the Isolated Female TV Detective in Scandinavian-Noir: Janet McCabe -- Lena Dunham’s Girls: Can-Do Girls, Feminist Killjoys, and Women Who Make Bad Choices: Anna Backman Rogers -- Destroy Visual Pleasure: Cinema, Attention, and the Digital Female Body (Or, Angelina Jolie Is a Cyborg): William Brown -- The Intertextual Stardom of Iris: Winslet, Dench, Murdoch, and Alzheimer’s Disease: Lucy Bolton PART II Theory in Contemporary Contexts -- Imagining Safe Space in Feminist Pornography: Ingrid Ryberg -- Uncommon Sensuality: New Queer Feminist Film/Theory: Sophie Mayer -- The Promise of Touch: Turns to Affect in Feminist Film Theory: Anu Koivunen -- Sound and Feminist Modernity in Black Women’s Film Narratives: Geetha Ramanathan PART III History and Practice -- The “New” Experimentalism? Women In/And/On Film: Jenny Chamarette -- Conditions of Activism: Feminist Film Activism and the Legacy of the Second Wave: Leshu Torchin -- US Independent Women’s Cinema, Sundance Girls, and Identity Politics: Veronica Pravadelli PART IV Contextualizing History: New Frontiers in Feminist Journals Suddenly, One Summer: Frauen und Film since 1974: Annette Brauerhoch -- (Re)Inventing Camera Obscura: Amelie Hastie, Lynne Joyrich, Patricia White, Sharon Willis PART V Discussions: Dialoguing Difference and Extremity in Contemporary Cinemas -- Film, Corporeality, Transgressive Cinema: A Feminist Perspective: Martine Beugnet and Laura Mulvey -- Disconnection Notices: Interview with Miranda July: Miranda July and Anna Backman Rogers Notes -- General Bibliography -- Notes on Contributors -- Index of Names -- Index of Film Titles

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

Call No: 626:396 CHA
Author: Chaudhuri, Shohini
Source: UK
Place: London ; New York
Publisher: Routledge
PubDate: 2006
PhysDes: x, 148 p. ; 20 cm
Series: Routledge critical thinkers
Subject: FEMINISM AND THE CINEMA; CRITICISM; MULVEY, LAURA; CREED, BARBARA; SILVERMAN, KAJA; DE LAURETIS, TERESA
Summary: "Since it began in the 1970s, feminist film theory has revolutionized the way that films and their spectators can be understood. This book focuses on the groundbreaking work of Laura Mulvey, Kaja Silverman, Teresa de Lauretis, and Barbara Creed. Each of these thinkers has opened up a new and distinctive approach to the study of film and this book provides the most detailed account so far of their ideas. It illuminates six key concepts and demonstrates their value as tools for film analysis."--BOOK JACKET.
Notes: Includes bibliographical references and index.
ISBN: 9780415324335
Contents: Why Mulvey, Silverman, de Lauretis, and Creed? -- 1. Beginnings -- The eternal feminine -- Psychoanalysis and feminism -- The tools of film theory -- 2. The male gaze -- Sexual politics -- Lust of the eyes -- The female spectator -- 3. The female voice -- Female confessions -- Fantasies of the maternal voice -- The 'homosexual-maternal fantasmatic' -- Female authorship -- 4. Technologies of gender -- Beyond the paradox of woman -- The technology of sex -- The technology of gender -- Rethinking women's cinema -- Desire in narrative -- 5. Queering desire -- Film and the visible -- Sexual indifference -- Lesbian fetishism -- 6. The monstrous-feminine -- The abject -- The archaic mother -- Medusa's head -- The deadly femme castratrice -- Crisis TV -- 7. Masculinity in crisis -- The dominant fiction -- Historical trauma -- The screen and the gaze -- Male masochism -- After Mulvey, Silverman, de Lauretis, and Creed.

Call No: 626[396]:79CLE NER
Author: Neroni, Hilary
Source: US/UK
Place: New York
Publisher: Bloomsbury Academic
PubDate: 2016
PhysDes: 160 pages ; 20 cm
Series: Film theory in practice
Subject: FEMINISM AND THE CINEMA; WOMEN IN FILMS; CRITICISM; THEORY; CLEO FROM 5 TO 7 [CLEO DE 5 A 7] (FR, Agnes Varda, 1962); CLEO FROM 5 TO 7 [CLEO DE 5 A 7] (FR, Agnes Varda, 1962)
Summary: "The Film theory in practice series marries the explanation of a film theory with the interpretation of a film. Through three key concepts - identification, framing the women's body, and the female auteur - Hilary Neroni lays bare the debates and approaches used throughout the vibrant history of feminist film theory, providing a point of entry to the theory that ranges from its inception to today. Considering Agnes Varda's classic film in this light, Feminist Film Theory and Cleo from 5 to 7 unlocks new ways of looking at both film and feminist theory." -- BOOK BLURB
Notes: Formerly CIP
ISBN: 9781501313691
Donation: Senses of Cinema
Contents: -- Introduction -- Feminist Film Theory -- Feminism and Cleo from 5 to 7 --conclusion -- Further reading -- index --

Call No: 67(04):396 MAI
Author: Maio, Kathi, 1951
Place: Freedom, CA
Publisher: Crossing Press
PubDate: c1988
PhysDes: 223 p., [1] leaf of plates : ports. ; 18 cm
Subject: FEMINISM AND THE CINEMA; CRITICISM
ISBN: 0895943220 (pbk.) : $7.95; 0895943239 (hard) : $23.95
LON: 5982754

Call No: 626[396] FEM
Edition: 2022
Place: Berlin
Publisher: The MIT Press
PubDate: 2022
PhysDes: 512 pages : illustrated : 22 cm
Subject: TRINH, T. MINH-HA; MALDOROR, SARAH; FEMINISM AND THE CINEMA; WOMEN FILMMAKERS
Summary: Intersectional, intergenerational, and international perspectives on nonfiction filmmaking by women, generously illustrated, with film stills and other images. This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit major figures, contexts, and debates across a polycentric, global geography. They explore how the moving image has been a crucial terrain of feminist struggle—a way of not only picturing the world but remaking it. The contributors consider key decolonial filmmakers, including Trinh T. Minh-ha and Sarah Maldoror; explore collectively produced films with ties to women's liberation movements in different countries; and investigate the cinematic expressions of tensions and alliances between feminism and anti-imperialist struggles. They grapple with the need for a broader more inclusive definition of the term “feminism”; meditate on the figure of the grandmother; reflect on realist aesthetics; and ask what a feminist film historiography might look like. The book, generously illustrated with film stills and other images, many in color, offers ten original texts, two conversations, and eight short essays composed in response to historical texts written by filmmakers. The historical texts, half of which are published in English for the first time, appear alongside the essays. -- publisher's web site
ISBN: 9780262544528

Call No: 626:396 DOA
Author: Doane, Mary Ann
Place: New York
Publisher: Routledge
PubDate: 1991
PhysDes: viii, 312 p. : ill. ; 24 cm
Subject: FEMINISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; THEORY; WOMEN IN FILMS; GAZE IN FILMS; STAR SYSTEM; GILDA (US, Charles Vidor, 1946); BUCHSE DER PANDORA, DIE (G, Georg Wilhelm Pabst, 1929); ADYNATA : MURDER IS NOT A STORY (US, Leslie Thornton, 1983); SIGNORA DI TUTTI, LA (IT, Max Ophuls, 1934)
Summary: In this major new work of feminist film criticism, Mary Ann Doane examines questions of sexual difference and knowledge in cinematic, theoretical, and psychoanalytic discourses. Femmes Fatales examines Freud, the female spectator, the meaning of the close-up, and the nature of stardom. Duane's analyses of such figures as Pabst's Lulu and Rita Hayworth's Gilda trace the thematics and mechanics of maskes, masquerade, and veiling, with specific attention to the form and technology of the cinema. Working through and against the intellectual frameworks of post-structuralist and psychoanalytic theory, Doane interrogates cinematic and theoretical claims to truth about women which rely on judgements about vision and its stability or instability. Reflecting the shift in conceptual priorities within feminist film theory over the last decade, Femmes Fatales addresses debates over female spectatorhsip, essentialism and anti-essentialism, the tensions between psychoanalysis and history, and the relations between racial and sexual difference. Doane's nuanced and original readings of the femme fatale in cinema demonstrates that confrontations between feminism, film theory and psychoanalysis can be productively destabilizing for each discipline. -- PUBLISHER
Notes: Includes bibliographical references (p. 269-300) and index
ISBN: 041590319X; 0415903203 (pbk.)
LON: 91003659; 8050789

Call No: 408 TUR
Author: Graeme Turner (ed.)
Place: London; New York
Publisher: Routledge
PubDate: 2002
PhysDes: 524 p. ; 24 cm
Subject: CULTURE AND THE CINEMA; GENRES; AESTHETICS; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA; SPECTATORSHIP; AUDIENCE RECEPTION; AUDIENCE RESEARCH; SOUND; THEORY; CREED, BARBARA; KUHN, ANNETTE; NATIONAL CULTURE AND THE CINEMA; POSTMODERNISM AND THE CINEMA; GLOBALISATION; USA; MONROE, MARILYN; SEX IN FILMS; HORROR FILMS; ACTION FILMS; HOMOSEXUALITY IN FILMS; THRILLERS; COLOR PURPLE, THE (US, Steven Spielberg, 1985); PIANO, THE (AT, Jane Campion, 1993); AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); TECHNOLOGY AND THE CINEMA; INDUSTRY, FILM
Summary: This companion reader to Film as Social Practice brings together key writings on contemporary cinema, exploring film as a social and cultural phenomenon. Key features of the reader include: thematic sections, each with an introduction by the editor; a general introduction by Graeme Turner; sections on understanding film, film technology, film industries, meanings and pleasures, identities, audiences and consumption.
ISBN: 0415252822

Call No: 64GEN FIL
Author: Grant, Barry Keith, 1947
Edition: 1st ed
Place: Austin
Publisher: University of Texas Press
PubDate: 1995
PhysDes: viii, 581 p. : ill. ; 24 cm
Subject: GENRES; WESTERNS; GANGSTER FILMS; FILM NOIR; DISASTER FILMS; EPIC FILMS; HORROR FILMS; MELODRAMA; COMEDIES; TRANSVESTISM; WOMEN IN FILMS; VIETNAM WAR FILMS; MUSICALS; ETHNIC GROUPS IN FILMS; CANADA; AUTEUR THEORY; NARRATIVE IN FILMS; DETECTIVE FILMS; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HISTORICAL FILMS; PHILOSOPHY AND THE CINEMA; PORNOGRAPHY AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; SCIENCE-FICTION FILMS; SEMIOLOGY; STRUCTURALISM; HITCHCOCK, ALFRED; MICHEAUX, OSCAR; CRONENBERG, DAVID; FORD, JOHN; PENN, ARTHUR; SIRK, DOUGLAS; CAVELL, STANLEY; CHANDLER, RAYMOND; FRYE, NORTHROP; MINNELLI, VINCENTE; TODOROV, TZVETAN; ZOO LA NUIT, UN (CN, Jean-Cluade Lauzon, 1987); SOME LIKE IT HOT (US, Billy Wilder, 1959); SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943); BARKLEYS OF BROADWAY, THE (US, Charles Walters, 1949); YENTL (US, Barbara Streisand, 1983); IT HAPPENED ONE NIGHT (US, Frank Capra, 1934); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); MY DARLING CLEMENTINE (US, John Ford, 1946); STAGECOACH (US, John Ford, 1939); SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952); THING, THE (US, Christian Nyby, 1951); [TWENTY] 20 MILLION MILES TO EARTH (US, Nathan Juran, 1957); VICTOR VICTORIA (UK, Blake Edwards, 1982); WRITTEN ON THE WIND (US, Douglas Sirk, 1956); NIGHT OF THE LIVING DEAD (US, George A. Romero, 1968); FLY, THE (US, David Cronenberg, 1986); DESPERATELY SEEKING SUSAN (US, Susan Seidelman, 1985); CHINATOWN (US, Roman Polanski, 1974); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); CHINATOWN (US, Roman Polanski, 1974)
Notes: Includes bibliographical references (p. [495]-559) and index
ISBN: 0292727771 (cloth : alk. paper); 029272778X (pbk. : alk. paper)
LON: 11563059

Call No: 62 FIL
Author: MacKenzie, Scott (ed.)
Source: US
Place: Berkeley London
Publisher: University of California Press
PubDate: 2014
PhysDes: xxi, 651 p. ; 26 cm
Subject: AVANT-GARDE FILMS; CONSTRUCTIVISM; SURREALISM AND THE CINEMA; STRUCTURALISM; NOUVELLE VAGUE; IMPERIALISM AND THE CINEMA; GENDER AND THE CINEMA; FEMINISM AND THE CINEMA; PORNOGRAPHY AND THE CINEMA; DOCUMENTARY FILMS; DOCUMENTARIES; PHILOSOPHY AND THE CINEMA; WORLD CINEMA; LATIN AMERICAN COUNTRIES; AESTHETICS; ARCHIVES & INSTITUTES, FILM
Summary: Film Manifestoes and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture. -- extract taken from the back of the book
Notes: Includes index -- Includes bibliographical references and index.
ISSN: 9780520276741
Contents: Introduction. “An Invention without a Future” -- 1. The Avant-Garde(s) -- The Futurist Cinema (Italy, 1916) F.T. Marinetti, Bruno Corra, et al. -- Lenin Decree (USSR, 1919) Vladimir Ilyich Lenin -- The ABCs of Cinema (France, 1917–1921) Blaise Cendrars -- WE: Variant of a Manifesto (USSR, 1922) Dziga Vertov -- The Method of Making Workers’ Films (USSR, 1925) Sergei Eisenstein -- Constructivism in the Cinema (USSR, 1928) Alexei Gan -- Preface: Un chien Andalou (France, 1928) Luis Buñuel -- Manifesto of the Surrealists Concerning L’Age d’or (France, 193) The Surrealist Group -- Manifesto on “Que Viva Mexico” (USA, 1933) The Editors of Experimental Film -- Spirit of Truth (France, 1933) Le Corbusier -- An Open Letter to the Film Industry and to All Who Are Interested in the Evolution of the Good Film (Hungary, 1934) László Moholy-Nagy -- Light*Form*Movement*Sound (USA, 1935) Mary Ellen Bute -- Prolegomena for All Future Cinema (France, 1952) Guy Debord -- No More Flat Feet! (France, 1952) Lettriste International -- The Lettristes Disavow the Insulters of Chaplin (France, 1952) Jean-Isidore Isou, Maurice Lemaître, and Gabriel Pomerand -- The Only Dynamic Art (USA, 1953) Jim Davis -- A Statement of Principles (USA, 1961) Maya Deren -- The First Statement of the New American Cinema Group (USA, 1961) New American Cinema Group -- Foundation for the Invention and Creation of Absurd Movies (USA, 1962) Ron Rice -- From Metaphors on Vision (USA, 1963) Stan Brakhage -- Kuchar 8mm Film Manifesto (USA, 1964) George Kuchar -- Film Andepandan [Independents] Manifesto (Japan, 1964) Takahiko Iimura, Koichiro Ishizaki, et al. -- Discontinuous Films (Canada, 1967) Keewatin Dewdney -- Hand-Made Films Manifesto (Australia, 1968) Ubu Films, Thoms -- Cinema Manifesto (Australia, 1971) Arthur Cantrill and Corinne Cantrill -- For a Metahistory of Film: Commonplace Notes and Hypotheses (USA, 1971) Hollis Frampton -- Elements of the Void (Greece, 1972) Gregory Markopoulos -- Small Gauge Manifesto (USA, 1980) JoAnn Elam and Chuck Kleinhans -- Cinema of Transgression Manifesto (USA, 1985) Nick Zedd -- Modern, All Too Modern (USA, 1988) Keith Sanborn -- Open Letter to the Experimental Film Congress: Let’s Set the Record Straight (Canada, 1989) Peggy Ahwesh, Caroline Avery, et al. -- Anti-1 Years of Cinema Manifesto (USA, 1996) Jonas Mekas -- The Decalogue (Czech Republic, 1999) Jan Švankmajer -- Your Film Farm Manifesto on Process Cinema (Canada, 212) Philip Hoffman -- 2. National and Transnational Cinemas -- From “The Glass Eye” (Italy, 1933) Leo Longanesi -- The Archers’ Manifesto (UK, 1942) Michael Powell and Emeric Pressburger -- What Is Wrong with Indian Films? (India, 1948) Satyajit Ray -- Buñuel the Poet (Mexico, 1951) Octavio Paz -- French Cinema Is Over (France, 1952) Serge Berna, Guy Debord, et al. -- Some Ideas on the Cinema (Italy, 1953) Cesare Zavattini -- A Certain Tendency in French Cinema (France, 1954) François Truffaut -- Salamanca Manifesto & Conclusions of the Congress of Salamanca (Spain, 1955) Juan Antonio Bardem -- Free Cinema Manifestos (UK, 1956–1959) Committee for Free Cinema -- The Oberhausen Manifesto (West Germany, 1962) Alexander Kluge, Edgar Reitz, et al. -- Untitled [Oberhausen 1965] (West Germany, 1965) Jean-Marie Straub, Rodolf Thome, Dirk Alvermann, et al. -- The Mannheim Declaration (West Germany, 1967) Joseph von Sternberg, Alexander Kluge, et al. -- Sitges Manifesto (Spain, 1967) Manuel Revuelta, Antonio Artero, Joachin Jordà, and Julián Marcos -- How to Make a Canadian Film (Canada, 1967) Guy Glover -- How to Not Make a Canadian Film (Canada, 1967) Claude Jutra -- From “The Estates General of the French Cinema, May 1968” (France, 1968) Thierry Derocles, Michel Demoule, Claude Chabrol, and Marin Karmitz -- Manifesto of the New Cinema Movement (India, 1968) Arun Kaul and Mrinal Sen -- What Is to Be Done? (France, 1970) Jean-Luc Godard -- The Winnipeg Manifesto (Canada, 1974) Denys Arcand, Colin Low, Don Shebib, et al. -- Hamburg Declaration of German Filmmakers (West Germany, 1979) Rainer Werner Fassbinder, Werner Herzog, Wim Wenders, et al. -- Manifesto I (Denmark, 1984) Lars von Trier -- Manifesto II (Denmark, 1987) Lars von Trier -- Manifesto III: I Confess! (Denmark, 199) Lars von Trier -- The Cinema We Need (Canada, 1985) R. Bruce Elder -- Pathways to the Establishment of a Nigerian Film Industry (Nigeria, 1985) Ola Balogun -- Manifesto of 1988 (German Democratic Republic, 1988) Young DEFA Filmmakers -- In Praise of a Poor Cinema (Scotland, 1993) Colin McArthur -- Dogme ’95 Manifesto and Vow of Chastity (Denmark, 1995) Lars von Trier and Thomas Vinterberg -- I Sinema Manifesto (Indonesia, 1999) Dimas Djayadinigrat, Enison Sinaro, et al. -- 3. Third Cinemas, Colonialism, Decolonization, and Postcolonialism -- Manifesto of the New Cinema Group (Mexico, 1961) El grupo nuevo cine -- Cinema and Underdevelopment (Argentina, 1962) Fernando Birri -- The Aesthetics of Hunger (Brazil, 1965) Glauber Rocha -- For an Imperfect Cinema (Cuba, 1969) -- Julio García Espinosa Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World (Argentina, 1969) Fernando Solanas and Octavio Getino -- Film Makers and the Popular Government Political Manifesto (Chile, 1970) Comité de cine de la unidad popular -- Consciousness of a Need (Uruguay, 1970) Mario Handler -- Militant Cinema: An Internal Category of Third Cinema (Argentina, 1971) Octavio Getino and Fernando Solanas -- For Colombia 1971: Militancy and Cinema (Colombia, 1971) Carlos Alvarez -- The Cinema: Another Face of Colonised Québec (Canada, 1971) Association professionnelle des cinéastes du Québec -- 8 Millimeters versus 8 Millions (Mexico, 1972) Jaime Humberto Hermosillo, Arturo Ripstein, Paul Leduc, et al. -- Manifesto of the Palestinian Cinema Group (Palestine, 1973) Palestinian Cinema Group -- Resolutions of the Third World Filmmakers Meeting (Algeria, 1973) Fernando Birri, Ousmane Sembene, Jorge Silva, et al. -- The Luz e Ação Manifesto (Brazil, 1973) Carlos Diegues, Glauber Rocha, et al. -- Problems of Form and Content in Revolutionary Cinema (Bolivia, 1976) Jorge Sanjinés -- Manifesto of the National Front of Cinematographers (Mexico, 1975) Paul Leduc, Jorge Fons, et al. -- The Algiers Charter on African Cinema (Algeria, 1975) FEPACI (Fédération panafricaine des cinéastes) -- Declaration of Principles and Goals of the Nicaraguan Institute of Cinema (Nicaragua, 1979) Nicaraguan Institute of Cinema -- What Is the Cinema for Us? (Mauritania, 1979) Med Hondo -- Niamey Manifesto of African Filmmakers (Niger, 1982) FEPACI (Fédération panafricaine des cinéastes) -- Black Independent Filmmaking: A Statement by the Black Audio Film Collective (UK, 1983) John Akomfrah -- From Birth Certificate of the International School of Cinema and Television in San Antonio de Los Baños, Cuba, Nicknamed the School of Three Worlds (Cuba, 1986) Fernando Birri -- FeCAViP Manifesto (France, 1990) Federation of Caribbean Audiovisual Professionals -- Final Communique of the First Frontline Film Festival and Workshop (Zimbabwe, 1990) SADCC (South African Development Coordination Conference) -- Pocha Manifesto #1 (USA, 1994) Sandra Peña-Sarmiento -- Poor Cinema Manifesto (Cuba, 24) Humberto Solás -- Jollywood Manifesto (Haiti, 28) Ciné Institute -- The Toronto Declaration: No Celebration of Occupation (Canada, 29) John Greyson, Naomi Klein, et al. -- 4. Gender, Feminist, Queer, Sexuality, and Porn Manifestos -- Woman’s Place in Photoplay Production (USA, 1914) Alice Guy-Blaché -- Hands Off Love (France, 1927) Maxime Alexandre, Louis Aragon, et al. -- The Perfect Filmic Appositeness of Maria Montez (USA, 1962) Jack Smith -- On Film No. 4 (In Taking the Bottoms of 365 Saints of Our Time) (UK, 1967) Yoko Ono -- Statement (USA, 1969) Kenneth Anger -- Wet Dream Film Festival Manifesto (The Netherlands, 1970) S.E.L.F. (Sexual Egalitarianism and Libertarian Fraternity) -- Women’s Cinema as Counter-Cinema (UK, 1973) Claire Johnston -- Manifesto for a Non-sexist Cinema (Canada, 1974) FECIP (Fédération européenne du cinéma progressiste) -- Womanifesto (USA, 1975) Feminists in the Media -- Visual Pleasure and Narrative Cinema (UK, 1975) Laura Mulvey -- An Egret in the Porno Swamp: Notes of Sex in the Cinema (Sweden, 1977) Vilgot Sjöman -- For the Self-Expression of the Arab Woman (France, 1978) Heiny Srour, Salma Baccar, and Magda Wassef -- Manifesto of the Women Filmmakers (West Germany, 1979) Verband der Filmarbeiterinnen -- Wimmin’s Fire Brigade Communiqué (Canada, 1982) Wimmin’s Fire Brigade -- Thoughts on Women’s Cinema: Eating Words, Voicing Struggles (USA, 1986) Yvonne Rainer -- The Post Porn Modernist Manifesto (USA, 1989) Annie Sprinkle, Veronica Vera, et al. -- Statement of African Women Professionals of Cinema, Television and Video (Burkina Faso, 1991) FEPACI (Fédération panafricaine des cinéastes) -- Puzzy Power Manifesto: Thoughts on Women and Pornography (Denmark, 1998) Vibeke Windeløv, Lene Børglum, et al. -- Cinema with Tits (Spain, 1998) Icíar Bollaín -- My Porn Manifesto (France, 22) Ovidie -- No More Mr. Nice Gay: A Manifesto (USA, 29) Todd Verow -- Barefoot Filmmaking Manifesto (UK, 29) Sally Potter -- Dirty Diaries Manifesto (Sweden, 29) Mia Engberg -- 5. Militating Hollywood -- Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures (Motion Picture Production Code) (USA, 193) Motion Picture Producers and Distributors of America -- Red Films: Soviets Spreading Doctrine in U.S. Theatres (USA, 1935) William Randolph Hearst -- Statement of Principles (USA, 1944) Motion Picture Alliance for the Preservation of American Ideals -- Screen Guide for Americans (USA, 1947) Ayn Rand -- White Elephant Art vs. Termite Art (USA, 1962) Manny Farber -- Super Fly: A Summary of Objections by the Kuumba Workshop (USA, 1972) Kuumba Workshop -- The World Is Changing: Some Thoughts on Our Business (USA, 1991) Jeffrey Katzenberg -- Full Frontal Manifesto (USA, 21) Steven Soderbergh -- 6. The Creative Treatment of Actuality-- Towards a Social Cinema (France, 1930) Jean Vigo -- From “First Principles of Documentary” (UK, 1932) John Grierson -- Manifesto on the Documentary Film (UK, 1933) Oswell Blakeston -- Declaration of the Group of Thirty (France, 1953) Jean Painlevé, Jacques-Yves Cousteau, Alain Resnais, et al. -- Initial Statement of the Newsreel (USA, 1967) New York Newsreel -- Nowsreel, or the Potentialities of a Political Cinema (USA, 1970) Robert Kramer, New York Newsreel -- Documentary Filmmakers Make Their Case (Poland, 1971) Bohdan Kosinski, Krzysztof Kieslowski, and Tomasz Zygadlo -- The Asian Filmmakers at Yamagata YIDFF Manifesto (Japan, 1989) Kidlat Tahimik, Stephen Teo, et al. -- Minnesota Declaration: Truth and Fact in Documentary Cinema (Germany, 1999) Werner Herzog -- Defocus Manifesto (Denmark, 2) Lars von Trier -- Kill the Documentary as We Know It (USA, 22) Jill Godmilow -- Ethnographic Cinema (EC): A Manifesto{ths}/{ths}A Provocation (USA, 23) Jay Ruby -- Reality Cinema Manifesto (Russia, 25) Vitaly Manskiy -- Documentary Manifesto (USA, 28) Albert Maysles -- China Independent Film Festival Manifesto: Shamans * Animals (People’s Republic of China, 211) By several documentary filmmakers who participated and also who did not participate in the festival -- 7. States, Dictatorships, the Comintern, and Theocracies -- Capture the Film! Hints on the Use of, Out of the Use of, Proletarian Film Propaganda (USA, 1925) Willi Münzenberg -- The Legion of Decency Pledge (USA, 1938) Archbishop John McNicholas -- Creative Film (Germany, 1935) Joseph Goebbels -- Vigilanti Cura: On Motion Pictures (Vatican City, 1936) Pope Pius XI -- Four Cardinal Points of A Revolução de Maio (Portugal, 1937) António Lopes Ribeiro -- From On the Art of Cinema (North Korea, 1973) Kim Jong-il -- 8. Archives, Museums, Festivals, and Cinematheques -- A New Source of History: The Creation of a Depository for Historical Cinematography (Poland/France, 1898) Boleslaw Matuszewski -- The Film Prayer (USA, c. 192) A. P. Hollis -- The Film Society (UK, 1925) Iris Barry -- Filmliga Manifesto (The Netherlands, 1927) Joris Ivens, Henrik Scholte, Men’no Ter Bbaak, et al. -- Statement of Purposes (USA, 1948) Amos Vogel, Cinema 16 -- The Importance of Film Archives (UK, 1948) Ernest Lindgren -- A Plea for a Canadian Film Archive (Canada, 1949) Hye Bossin -- Open Letter to Film-Makers of the World (USA, 1966) Jonas Mekas -- A Declaration from the Committee for the Defense of La Cinémathèque française (France, 1968) Committee for the Defense of La Cinémathèque française -- Filmmakers versus the Museum of Modern Art (USA, 1969) Hollis Frampton, Ken Jacobs, and Michael Snow -- Anthology Film Archives Manifesto (USA, 1970) P. Adams Sitney -- Toward an Ethnographic Film Archive (USA, 1971) Alan Lomax -- Brooklyn Babylon Cinema Manifesto (USA, 1998) Scott Miller Berry and Stephen Kent Jusick -- Don’t Throw Film Away: The FIAF 7th Anniversary Manifesto (France, 28) Hisashi Okajima and La fédération internationale des archives du film Manifesto Working Group -- The Lindgren Manifesto: The Film Curator of the Future (Italy, 21) Paolo Cherchi Usai -- Film Festival Form: A Manifesto (UK, 212) Mark Cousins -- 9. Sounds and Silence -- A Statement on Sound (USSR, 1928) Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov -- A Rejection of the Talkies (USA, 1931) Charlie Chaplin -- A Dialogue on Sound: A Manifesto (UK, 1934) Basil Wright and B. Vivian Braun -- Amalfi Manifesto (Italy, 1967) Michelangelo Antonioni, Bernardo Bertolucci, Pier Paolo Pasolini, et al. -- 10. The Digital Revolution -- Culture: Intercom and Expanded Cinema: A Proposal and Manifesto (USA, 1966) Stan VanDerBeek -- The Digital Revolution and the Future Cinema (Iran, 2) Samira Makhmalbaf -- The Pluginmanifesto (UK, 21) Ana Kronschnabl -- Digital Dekalogo: A Manifesto for a Filmless Philippines (The Philippines, 23) Khavn de la Cruz -- 11. Aesthetics and the Futures of the Cinema -- The Birth of the Sixth Art (France, 1911) Ricciotto Canudo -- Memo from Walt Disney to Don Graham (USA, 1935) Walt Disney -- The Birth of a New Avant Garde: La caméra-stylo (France, 1948) Alexandre Astruc -- From Preface to Film (UK, 1954) Raymond Williams -- The Snakeskin (Sweden, 1965) Ingmar Bergman -- Manifesto (Italy, 1965) Roberto Rossellini, Bernardo Bertolucci, Tinto Brass, et al. -- Manifesto on the Release of La Chinoise (France, 1967) Jean-Luc Godard -- Direct Action Cinema Manifesto (USA, 1985) Rob Nilsson -- Remodernist Film Manifesto (USA, 28) Jesse Richards -- The Age of Amateur Cinema Will Return (People’s Republic of China, 21) Jia Zhangke --

Call No: 62 STA
Author: Stam, Robert
Source: US/UK/AT
Place: Malden, MA ; Oxford
Publisher: Blackwell Publishing
PubDate: 2000
PhysDes: x, 381 pages ; 23 cm
Subject: FILM; THEORY; AUTEUR THEORY; FORMALISM; MOVEMENTS AND STYLES IN FILM HISTORY; MOVEMENTS IN FILM HISTORY; STRUCTURALISM; REALISM IN FILMS; POSTMODERNISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; RACIAL ISSUES AND THE CINEMA; POSTCOLONIALISM AND THE CINEMA; PHILOSOPHY AND THE CINEMA
Summary: " Film Theory: An Introduction offers a comprehensive history of film theory during the "century of cinema." The book moves all the way from silent-era theorists like Vachel Lindsay and Hugo Munsterberg through to the latest developments in film theory and cultural studies (cognitive theory, Deleuze, queer theory, postcolonial theory, digital theory), international in scope, the volume ranges over developments in such countries as France, Germany, Russia, Italy, Great Britain, the United States, Mexico, Brazil and Argentina, trying always to stress the links between these developments. The book also contextualizes film theory within larger historical and philosophical currents.Written in sophisticated yet accessible language, Film Theory: An Introduction provides a lucid and coherent introduction to a rich and variegated field. " -- BOOK BACK COVER
Notes: Includes bibliographical references and index
ISBN: 9780631206545
Contents: -- preface -- introduction -- The antecedents of film theory -- Film and film theory : the beginnings -- Early silent film theory -- The essence of cinema -- The Soviet montage-theorists -- Russian formalism and the Bakhtin School -- The historical avant-gardes -- The debate after sound -- The Frankfurt School -- The phenomenology of realism -- The cult of the auteur -- The Americanization of auteur theory -- Third world film and theory -- The advent of structuralism -- The question of film language -- Cinematic specificity revisited -- Interrogating authorship and genre -- 1968 and the leftist turn -- The classic realist text -- The presence of Brecht -- The politics of reflexitivity -- The search for alternative aesthetics -- From linguistics to psychoanalysis -- From feminist intervention -- The postsructuralist mutation -- Textual analysis -- Interpretation and its discontents -- From text to intertext -- The amplification of sound -- The rise of cultural studies -- The birth of the spectator -- Cognitive and analytic theory -- Semiotics revisited -- Just in time : the impact of Deleuze -- The coming out of queer theory -- Multiculturalism, race, and representation -- Third cinema revisited -- Film and the postcolonial -- The poetics and politics of postmodernism -- The social valence of mass-culture -- Post-cinema : digital theory and the new media -- The pluralization of film theory -- notes -- select bibliography -- index --

Call No: 626[396] CUM
Author: Cummins, Kathleen
Source: CN
Place: Toronto, Ontario
Publisher: York University
PubDate: [2014]
PhysDes: 344 pages : illustrations ; 30 cm
Subject: FEMINISM AND THE CINEMA; MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979); BEDEVIL (AT, Tracey Moffat, 1993); MY AMERICAN COUSIN (US, Sandy Wilson, 1985); LOYALTIES (CN, Anne Wheeler, 1986); PIANO, THE (AT, Jane Campion, 1993); DAUGHTERS OF THE DUST (US, Julie Dash, 1991); THOUSAND PIECES OF GOLD (US/UK, Nancu Kelly, 1991); BALLAD OF LITTLE JO, THE (US, Maggie Greenwald, 1993)
Summary: "A dissertation submitted to the faculty of graduate studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy." - taken from title page.
Notes: Bibliography: pages 330-344.
Contents: Introduction: Filming Feminist Frontiers/Frontier Feminisms (1979-1993) -- Why These Ten Films? -- Secondary Literature on Films -- Methodology -- Chapter 1: Women's Storytelling: Narrative, Genre and Voice -- Women's Storytelling and Feminism -- Genre: An Overview -- Conclusion -- Chapter 2 - Filming Homes on the Range: Revisioning Melodrama, the Western and Horror -- Revisioning and Deconstructing Frontier Stories -- The Decolonizing Frontier Films -- The Revisionist Frontier Films -- Revisioning the Myth of the Frontier Through a Decolonizing Lens: White Complicity -- Conclusion -- Chapter 3: Filming Frontier Spaces Through the Lens of Motherhood -- The Motherhood Debates -- Frontier Narratives Through a Maternal Gaze -- The Anti-Racist/Colonial Motherhood Narrative: Subaltern Mothers Saving the Threatened Subaltern Family/Community -- The Anti-Patriarchal Maternal Narratives -- Conclusion -- Chapter 4: Filming "Women's Work" in Gendered Frontier Economies -- Feminist Scholarship on Women's Work and Gendered Economies -- The White Settler Household Narrative -- The Wage Labour Narrative -- Subaltern Settlement Narrative -- Conclusion -- Chapter 5: Filming Female Sexuality in a "Women-less Milieu": Through Her Desiring Gaze -- Feminist Scholarship on Sexuality and Desire -- Frontier Sexuality and Desire Narratives -- Conclusion -- Conclusion: Filming Feminist Frontiers/Frontier Feminisms -- Recommendations for Future Research -- Notes

Author: Rhodes, Katie
PhysDes: Article
Subject: EDUCATION AND THE CINEMA; FEMINISM AND THE CINEMA. AUSTRALIA; WOMEN AND THE CINEMA. AUSTRALIA; EDGAR, PATRICIA
Summary: Article on the making of the film GOT AT by a group of female education students at La Trobe University. Article situates the film in part of a larger discourse about feminist filmmaking about women's experiences

Call No: 409 PAL
Author: Palmer, William J.
Source: US
Place: Carbondale
Publisher: Southern Illinois University Press
PubDate: 1993
PhysDes: xv, 335 pages : illustrations ; 24 cm
Subject: HISTORY OF CINEMA. 1980's; SOCIETY AND THE CINEMA; VIETNAM WAR IN FILMS; WAR AND THE CINEMA; NUCLEAR WARFARE IN FILMS; TERRORISM AND THE CINEMA; FEMINISM AND THE CINEMA
Summary: "In this remarkable sequel to his Films of the Seventies: A Social History, William J. Palmer examines more than three hundred films as texts that represent, revise, parody, comment upon, and generate discussion about major events, issues, and social trends of the eighties. Palmer defines the dialectic between film art and social history, taking as his theoretical model the 'holograph of history' that originated from the New Historicist theories of Hayden White and Dominick LaCaprra. In the eighties,such issues included the war in Vietnam, the preservation of the American farm, terrorism, nuclear holocaust, changes in Soviet-American relations, neoconservative feminism, and yuppies. Among the films Palmer examines are Platoon, The Killing Fields, The River, Out of Africa, Little Drummer Girl, Kiss of the Spiderwoman, Silkwood, The Day After, Red Dawn, Moscow on the Hudson, Troop Beverly Hills, and Fatal Attraction. Utilizing the principles of New Historicism, Palmer demonstrates that film can analyze and critique history as well as present it." -- BOOK BLURB
Notes: Includes bibliographical references and index
ISBN: 9780809320295
Contents: The holograph of history -- The Vietnam War as film text -- The "coming home" films -- The terrorism film texts -- The nuclear war film texts -- From the "evil empire" to Glasnost -- The feminist farm crisis and other neoconservative feminist texts -- The yuppie texts -- Film in the holograph of new history

Call No: 626:396 MEL
Author: Mellencamp, Patricia
Place: Philadelphia
Publisher: Temple University Press
PubDate: 1995
PhysDes: xiii, 330 p. : ill. ; 24 cm
Series: Culture and the moving image
Subject: FEMINISM AND THE CINEMA; FEMINISM AND THE CINEMA. AUSTRALIA; BODY IN FILMS; EXPRESSIONISM; DASH, JULIE; DELEUZE, GILLES; CAMPION, JANE; ARMSTRONG, GILLIAN; POTTER, SALLY; Tarantino, Quentin; CHRISTIE, JULIE; DAVIS, GEENA; DAVIS, JUDY; EPHRON, NORA; GLYN, ELINOR; GOGOBERIDZE, LANA; HANKS, TOM; JAYAMANNE, LALEEN; LAFFONT, COLLETTE; LANGTON, MARCIA; RYAN, MEG; MOFFATT, TRACEY; HOOKS, BELL; PREER, EVELYN; STONE, SHARON; SWINTON, TILDA; TAYLOR, CLYDE; SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952); THELMA & LOUISE (US, Ridley Scott, 1991); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990); ANGIE (US, Martha Coolidge, 1994); NIGHT CRIES : A RURAL TRAGEDY (AT, Tracey Moffatt, 1990); NICE COLOURED GIRLS (AT, Tracey Moffatt, 1987); DAUGHTERS OF THE DUST (US, Julie Dash, 1991); MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979); BASIC INSTINCT (US, Paul Verhoeven, 1992); BEDEVIL (AT, Tracey Moffat, 1993); SILENCE OF THE LAMBS, THE (US, Jonathan Demme, 1991); COVER GIRL (US, Charles Vidor, 1944); DOLLY SISTERS (US, Irving Cummings, 1945); FORBIDDEN LOVE: THE UNASHAMED STORIES OF LESBIAN LOVE (CN, Aerlyn Weissman & Lynne Fernie, 1993); GOLD DIGGERS, THE (US, Sally Potter, 1983); GOLD DIGGERS OF 1933 (US, Mervyn LeRoy, 1933); GROUNDHOG DAY (US, Harold Ramis, 1993); ILLUSIONS (US, Julie Dash, 1983?); LITTLE WOMEN (US, Gillian Armstrong, 1994); PRIVILEGE (US, Yvonne Rainer, 1990); PULP FICTION (US, Quentin Tarantino, 1994); QUICK AND THE DEAD, THE (US/JA, Sam Raimi, 1995); SHERLOCK, JR. (US, Buster Keaton, 1924); SOMETHING TO TALK ABOUT (US, Lasse Hallstrom, 1995); THRILLER (UK, Sally Potter, 1979); JEDDA (AT, Charles Chauvel, 1955); PIANO, THE (AT, Jane Campion, 1993); METROPOLIS (G, Fritz Lang, 1926)
Notes: Includes bibliographical references (p. 291-324) and index; Five ages of film feminism
ISBN: 1566394015 (pbk.: acid-free paper); 1566394007 (hbk.: acid-free paper)
LON: 11870265

Author: Landman, Jane
PhysDes: Book review; Bibliography; Illustration(s)
Subject: FEMINISM AND THE CINEMA
Summary: Review of 'A fine romance: five ages of film feminism', by Patricia Mellencamp.

Call No: 45:93 HIS
Author: Hutton, Anne
CorpAuthor: Australian History and Film Conference (1st :, 1981 : Canberra, A.C.T.); Australian Film and Television School
Place: North Ryde, N.S.W.
Publisher: Australian Film and Television School
PubDate: 1982
PhysDes: 298 p. ; 30 cm
Subject: HISTORICAL FILMS; HISTORY AND THE CINEMA; HISTORICAL FILMS. AUSTRALIA; ARCHIVES & INSTITUTES, FILM. AUSTRALIA; PRESERVATION OF FILMS. AUSTRALIA; USA. 1927-32; PSYCHOLOGY AND THE CINEMA; MYTH AND THE CINEMA; FEMINISM AND THE CINEMA. JAPAN; PROPAGANDA FILMS; EALING STUDIOS; FILMS FROM THE RAJ (UK, 1977); UNCIVILISED (AT, Charles Chauvel, 1936); CASABLANCA (US, Michael Curtiz, 1942); GALLIPOLI (AT, Peter Weir, 1981)
Notes: Australia. Historical sources: Films. Conference proceedings (ANB/PRECIS SIN 0633798); Includes bibliographical references
ISBN: 0642925402 (corrected) : price unknown 064292540
LON: 2465451

Call No: 79 MAD FUR
Author: Boylan, Alexis L.; Duane, Anna Mae; Gill, Michael; Gurr, Barbara
Edition: 2020
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 2020
PhysDes: xix, 73 pages ; 18 cm
Series: Forerunners: ideas first; 40
Subject: MAD MAX: FURY ROAD (AT/US, George Miller, 2015); FEMINISM AND THE CINEMA. AUSTRALIA; WOMEN AND THE CINEMA. AUSTRALIA; PEOPLE WITH DISABILITIES IN FILMS. AUSTRALIA; MAD MAX [...] (AT, 1979-85)
Summary: While both fans and foes point to Mad Max: Fury Road’s feminist credentials, Furious Feminisms asks: is there really anything feminist or radical happening on the screen? The four authors—from backgrounds in art history, American literature, disability studies, and sociology—ask what is possible, desirable, or damaging in theorizing feminism in the contested landscape of the twenty-first century. -- publisher's web site
ISBN: 9781517909192
Contents: Cover -- Title Page -- Copyright Page -- Contents -- Introduction -- Welcome to the Wasteland: Some Terms -- Just a Warrior at the End of the World -- Is the Future Disabled? -- We Are Not Things! Fury Road’s White Slavery Story -- Post-Post-Post Beauty at the End of the World -- We and Not We: Conclusion -- Notes

Call No: 626:396 PEN
Author: Penley, Constance, 1948
Place: London
Publisher: Routledge
PubDate: 1989
PhysDes: xx, 207 p. : ill. ; 23 cm
Subject: FEMINISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; THEORY; WOMEN IN FILMS; DIRECTORS; AVANT-GARDE FILMS; SAUVE QUI PEUT (LA VIE) (FR/SZ, Jean-Luc Godard, 1980); FRANCE/TOUR/RETOUR/DEUX ENFANTS [TV](FR, Jean-Luc Godard, 1978); JETEE, LA (FR, Chris Marker, 1963); TERMINATOR, THE (US, James Cameron, 1984); PEE-WEE'S PLAYHOUSE [TV] (US, 1986-91)
Summary: "'The future of an illusion' documents the pivotal role Constance Penley has played in the development of feminist film theory. Penley analyzes the primary movements that have shaped the field: the conjunction of feminism, film theory, and psychoanalysis, and the inherent debates surrounding the politics of women and representation. These debates centre on the position of women in the classical Hollywood narrative, the construction of the spectator's desire in pornography and eroticism and the implicit male bias in the psychoanalytically oriented film theory." -- BOOK COVER
Notes: Women. Portrayal by mass media (BNB/PRECIS); Includes bibliographical references and index
ISBN: 0415041546 (pbk) : ª7.95 : CIP confirmed
LON: bnb41504154; 6267645
Contents: Feminism and the avant-garde: 1. The avant-garde and its imaginary -- 2. The avant-garde: histories and theories -- Feminism and film theory: 3. "A certain refusal of difference": feminism and film theory -- 4. Feminism, film theory, and the bachelor machines -- Feminism and femininity in Godard: 5. Pornography, eroticism (on 'Every man for himself') -- 6. Les enfants de la patrie (on 'France/tour/detour/two children') -- Sexual difference in popular culture -- 7. Time travel, primal scene, and the critical dystopia (on 'The terminator' and 'La jetee') -- 8. The cabinet of Dr. Pee-wee: consumerism and sexual terror -- Feminism and pedagogy: 9. Teaching in your sleep: feminism and psychoanalysis

Call No: 626:396 HEK
Author: Hekman, Susan J
Place: Oxford
Publisher: Polity
PubDate: 1990
PhysDes: vi, 212 p. : 26 cm
Subject: POSTMODERNISM AND THE CINEMA; FEMINISM AND THE CINEMA; DERRIDA, JACQUES; FOUCAULT, MICHEL; LACAN, JACQUES; DE BEAUVOIR, SIMONE
Notes: Includes index; Bibliography: p. [191]-209
ISBN: 0745606539; 074561048X (pbk.)
LON: 6794166

Call No: 451(430) HAN
Author: Hans, Anjeana K
Source: US
Place: Detroit MI
Publisher: Wayne State University Press
PubDate: 2014
PhysDes: vii, 302 pages : 23 cm
Series: Contemporary approaches to film and media series
Subject: GERMAN FEDERAL REPUBLIC; GERMANY; GENDER AND THE CINEMA; SEXUALITY AND THE CINEMA; FEMINISM AND THE CINEMA; MASCULINITY IN FILMS
Notes: Includes bibliographic references and index
ISBN: 9780814338940
Donation: donated by Senses of Cinema, 2014
Contents: 1.The World Turned Upside Down: Changing Society, Changing Gender Roles, Changing Medium in Weimar Germany -- 2.The Eyes of the Mummy (Die Augen der Mumie Ma^, Ernst Lubitsch, 1918): From the Monster with the "Eyes That Live" to the Passive Object of the Male Gaze -- 3.Uncanny Tales {Unheimliche Geschichten, Richard Oswald, 1919): The Many Guises of the Dangerous Woman -- 4.Warning Shadows {Schatten: Eine nachtliche Halluzination, Artur Robison, 1923): Transgression, Abjection, Projection -- 5.The Hands of Orlac (Orlacs Hande, Robert Wiene, 1924): War Trauma, Injury, and the Return to a Changed World -- 6.A Daughter of Destiny {Alraune, Henrik Galeen, 1928) and Daughter of Evil (Alraune, Richard Oswald, 1930): From Dangerous Hybrid to Self-Sacrificing Woman--Conclusion

Call No: 721-02 ERH
Author: Erhart, Julia
Source: UK
Place: London
Publisher: I.B. Tauris & Co. Ltd.
PubDate: 2018
Series: Library of gender and popular culture
Subject: FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA; WOMEN DIRECTORS; WOMEN FILMMAKERS; LEAGUE OF THEIR OWN, A (US, Penny Marshall, 1992); MONSTER (US, Patty Jenkins, 2003); IRON LADY, THE (UK, Phyllida Lloyd, 2011)
Notes: Includes bibliographical references (pages 159-195), filmography (pages 197-200), and index.
ISBN: 978784535285
Contents: Introduction; Chapter Summary --1 Women Writing History Through Film; Women Writing History: Contexts and Opportunities; Performative Authorship; History on Film: from Robert Rosenstone to A League of Their Own; 'Citable in all its Moments': In-between Spaces and Sewing Machines; Conclusion --2 Reclaiming Undeserving Women: Contemporary Female Biopics. From Positive Images to Undeserving Subjects: A Place for Women?; Oppositional Medicine: The Case of Augustine; Class and Voice: Ambiguity in Monster; Affect and Ageing: The Iron Lady --3 Feminist First-Person Documentaries: Migration, Internment, Reconciliation; First-Person Documentary: Terms and Terrain; First-Person Documentary: Women Directors; Performing Memory --4 Revisiting Resistance and Occupation in Holocaust Films; Complicating Collaboration; Europeanising the Holocaust; Reconfiguring Resistance; Women and Resistance; Mimicry and Doubling; Vergangenheitsbewa¨ltigung.--5 Gendering Iraq and Afghanistan War Movies; The Paradox of Exceptionalism; Gendering the War 'Back Home'; Movies from the Periphery: Occupation; Conclusion --Conclusion

Call No: 451-02(71) GEN
Author: Armatage, Kay
Place: Toronto
Publisher: University of Toronto Press
PubDate: 1999
PhysDes: xi, 329 p
Subject: WOMEN IN FILMS. CANADA; CANADA; WOMEN, FILMS MADE BY. CANADA; GENDER AND THE CINEMA. CANADA; FEMINISM AND THE CINEMA. CANADA; DOCUMENTARY FILMS. CANADA; AVANT-GARDE FILMS. CANADA; LANDSCAPES IN FILMS. CANADA; IMPERIALISM AND THE CINEMA. CANADA; NATIONAL IDENTITY AND THE CINEMA. CANADA; HOMOSEXUALITY AND THE CINEMA. CANADA; BODY IN FILMS. CANADA; ROZEMA, PATRICIA; POIRIER, ANNE CLAIRE; FAR SHORE, THE (CN, Joyce Wieland, 1975); LOYALTIES (CN, Anne Wheeler, 1986); MOUVEMENTS DU DESIR (CN/SZ, Lea Pool, 1994)
Notes: Includes bibliographical references and index
ISBN: 0802041205 (bound) : $70.00; 0802079644 (pbk.) : $21.95; 0802041205 (bound); 0802079644 (pbk.)
LON: 14526441

Call No: 81 ARM ERH
Author: Erhart, Julia
Source: UK
Place: Edinburgh
Publisher: Edinburgh University Press
PubDate: 2020
PhysDes: x, 189 pages : illustrations ; 22 cm
Series: Visionaries
Subject: FEMINISM AND THE CINEMA. AUSTRALIA; AUSTRALIAN FILM AND TELEVISION SCHOOL; WOMEN FILMMAKERS. AUSTRALIA; ARMSTRONG, GILLIAN; SATDEE NIGHT (AT, Gillian Armstrong, 1973); GRETEL (AT, Gillian Armstrong, 1973); MRS SOFFEL (US, Gillian Armstrong, 1984); LITTLE WOMEN (US, Gillian Armstrong, 1994); CHARLOTTE GRAY (GG/UK/AT, Gillian Armstrong, 2001); DEATH DEFYING ACTS (UK/AT, Gillian Armstrong, 2007); FIRES WITHIN (US, Gillian Armstrong, 1991); MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979); OSCAR AND LUCINDA (AT, Gillian Armstrong, 1997); STARSTRUCK (AT, Gillian Armstrong, 1982); LAST DAYS OF CHEZ NOUS, THE (AT, Gillian Armstrong, 1992); UNFOLDING FLORENCE: THE MANY LIVES OF FLORENCE BROADHURST (AT, Gillian Armstrong, 2005); WOMEN HE'S UNDRESSED (AT, Gillian Armstrong, 2015); HIGH TIDE (AT, Gillian Armstrong, 1987); [FOURTEEN'S] 14'S GOOD, 18'S BETTER (AT, Gillian Armstrong, 1981)
Summary: A commercially successful Australian director of over eighteen feature films and documentaries, including My Brilliant Career (1979), Gillian Armstrong is an early, notable example of a woman director connecting with mass audiences. Armstrong’s films are unique in their aesthetic expression and in the ethical relationships that they depict, framed through the language of gender inclusivity and due in part to her foregrounding of original, complex and nuanced female characters. This important book fills a gap in the literature on women screen practitioners and is a long overdue response to demands for new insight into the work of this significant director. [Edinburgh University Press website]
Notes: Includes bibliographical references and index
ISBN: 9781474434324
Contents: -- Introduction -- 1. An authorial cinema -- 2. A popular, commercial cinema: Mrs. Soffel, Little Women, Charlotte Gray, Death Defying Acts -- 3. An Australian genre cinema: My Brilliant Career, Oscar and Lucinda, Starstruck -- 4. A sensual cinema: Last Days of Chez Nous, Unfolding Florence: The Many Lives of Florence Broadhurst, Women He’s Undressed -- 5. An ethical cinema: High Tide and The Story of Kerry, Josie and Diana -- Conclusion: A collaborative cinema

Call No: 626:396 ROB
Author: Robertson, Pamela, 1964
Place: Durham
Publisher: Duke University Press
PubDate: 1996
PhysDes: ix, 195 p. : ill. ; 24 cm
Subject: CAMP; FEMINISM AND THE CINEMA; SPECTATORSHIP; WOMEN IN FILMS; BURLESQUE; TRANSVESTISM; FANS; MUSICALS; BAXTER, WARNER; CAGNEY, JAMES; DOANE, MARY ANN; DYER, RICHARD; GARBO, GRETA; BERKELEY, BUSBY; FISCHER, LUCY; OTTINGER, ULRIKE; MONROE, MARILYN; MADONNA; Crawford, Joan; WEST, MAE; DESIGNING WOMEN [TV] (US, 1986-89); BELLE OF THE NINETIES (US, Leo McCarey, 1934); FOOTLIGHT PARADE (US, Lloyd Bacon, 1933); [FORTY-SECOND] 42ND STREET (US, Lloyd Bacon, 1933); JOAN DOES DYNASTY [TV] (US, Joan Braderman, 1986); GOLD DIGGERS OF 1933 (US, Mervyn LeRoy, 1933); JOHNNY GUITAR (US, Nicholas Ray, 1954)
Notes: Originally presented as the author's thesis (Ph.D.--University of Chicago); Includes bibliographical references (p. [175]-187) and index
ISBN: 0822317486 (pa : alk. paper); 0822317516 (cl : alk. paper)
LON: 12009413

Author: Hemmeter, Thomas
PhysDes: Serial
Subject: FEMINISM AND THE CINEMA; HITCHCOCK, ALFRED; SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943)
Summary: The article proposes an alternative feminist reading of 'Shadow of a Doubt' as a critique of the patriarchal ideology it represents.
ID2: 203

Call No: 733 HOM
Author: Gledhill, Christine
CorpAuthor: British Film Institute
Place: London
Publisher: BFI Pub.
PubDate: 1987
PhysDes: 364 p. : ill. ; 22 cm
Subject: MELODRAMA; FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA; MINNELLI, VINCENTE; SIRK, DOUGLAS; GRIFFITH, DAVID WARK; NOW, VOYAGER (US, Irving Rapper, 1942); STELLA DALLAS (US, King Vidor, 1937); BROKEN BLOSSOMS (US, David Wark Griffith, 1919)
Notes: Includes index; Bibliography: p. 350-356
ISBN: 0851702007 (pbk.); 085170199X : ª18.00
LON: bnb85170199; 5363079

Call No: 721-02 CRI
Author: Cristall, Ferne
Source: CN
Place: Toronto, Ontario
Publisher: Between the lines
PubDate: 1986
PhysDes: 120 p. ; illus. ; 21 cm
Subject: FEMINISM AND THE CINEMA
Notes: Includes bibliography and filmography.
ISBN: 0919946682

Call No: 771:396 MEL
Author: Mellencamp, Patricia
Place: Bloomington
Publisher: Indiana University Press
PubDate: c1990
PhysDes: xix, 234 p. ; 24 cm
Series: Theories of contemporary culture ; v. 12
Subject: AVANT-GARDE FILMS. USA; POSTMODERNISM AND THE CINEMA; FEMINISM AND THE CINEMA; CONDIT, CECELIA; DELEUZE, GILLES; GUATTARI, FELIX; FRAMPTON, HOLLIS; MULVEY, LAURA; NELSON, ROBERT; PAIK, NAM JUNE; POTTER, SALLY; RAINER, YVONNE; SNOW, MICHAEL; MAN WHO ENVIED WOMEN, THE (US, Yvonne Rainer, 1985); GOLD DIGGERS, THE (US, Sally Potter, 1983)
Notes: Includes bibliographical references (p. [215]-231) and index
ISBN: 0253337437 (alk. paper); 0253205875 (pbk. : alk. paper)
LON: 6933865

Call No: 761 NIC
Author: Nichols, Bill
Source: US
Place: Bloomington IN
Publisher: Indiana University Press
PubDate: 2001
PhysDes: 223 p. ; ill. ; 23 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; EDITING; ETHICS AND THE CINEMA; FEMINISM AND THE CINEMA; REALISM IN FILMS; SOCIAL PROBLEMS IN FILMS; VIDEO, FILMS ON; VOICE OVER; LAND WITHOUT BREAD (SP, Luis Bunuel, 1933); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NIGHT AND FOG (FR, Alain Resnais, 1995); NUIT ET BROUILLARD (FR, Alain Resnais, 1955); THIN BLUE LINE, THE (US, Errol Morris, 1988)
Summary: Introduction to Documentary provides an overview of the most important topics and issues in documentary history and criticism. Designed for students in any field that makes use of visiual evidence and persuasive strategies, this book spells out the distinguishing qualities of documentary. This book offers suggestive answers to basic issues that have stood at the centre of all debate on documentary from its very beginnings to today. It covers questions of ethics, form, modes, voice, history, and politics among others. A final chapter addresses the question of how to write about documentary in a clear, convincing manner.
Notes: Includes Notes on source material pp.179-190; Filmography pp.191-201; List of Distributors pp.201-218; Index pp.219-223
ISBN: 0253214696
Contents: 1. Why are ethical issues central to documentary filmmaking -- 2. How do documentaries differ from other types of film -- 3. What gives documentary films a voice of their own? -- 4. What are documantaries about? -- 5. How did documentary filmmaking get started? -- 6. What types of documentary are there? -- 7. How have documentaries addressed social and political issues? -- 8. How can we write effectively about documentary?
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Call No: 62 INT
Author: Nelmes, Jill, 1954
Edition: 2nd ed
Place: London
Publisher: Routledge
PubDate: 1999
PhysDes: xviii, 522 p. : ill. ; 26 cm
Subject: WARNER BROS.; STUDIO SYSTEM; AUDIENCES; GENRES; DOCUMENTARY FILMS; ANIMATION; COMPUTERS AND THE CINEMA; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; UNITED KINGDOM; INDIA; USSR; GERMANY; NARRATIVE IN FILMS; SPECTATORSHIP; CENSORSHIP; STARS; AUTEUR THEORY; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA; KULESOV, LEV; KAPOOR, RAJ; Ray, Satyajit; DOVZENKO, ALEKSANDR; SHUB, ESTHER; FLAHERTY, ROBERT; JENNINGS, HUMPHREY; RIEFENSTAHL, LENI; WISEMAN, FREDERICK; POTTER, SALLY; TOCCAFONDO, GIANLUIGI; FELLOW TRAVELLER (UK/US, Philip Saville, 1990); DUCK AMUCK (US, Chuck Jones, 1953); GIRLS' NIGHT OUT (UK, Joanna Quinn, 1987); COLOUR BOX, A (UK, Len Lye, 1935); DEADSY (UK, David Anderson, 1989); DILWALE DULHANIYA LE JAYENGE (II, Aditya Chopra, [1995]); JAWS (US, Steven Spielberg, 1975); CRYING GAME, THE (UK, Neil Jordan, 1992); PLATOON (US, Oliver Stone, 1986); MARS ATTACKS! (US, Tim Burton, 1996); ROBOCOP (US, Paul Verhoeven, 1987); GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927); IF... (UK, Lindsay Anderson, 1968); PULP FICTION (US, Quentin Tarantino, 1994); NEW YORK, NEW YORK (US, Martin Scorsese, 1977); HOOP DREAMS (US, Steve James, 1994); WHEN WE WERE KINGS (US, Leon Gast, 1996); GIRLS LIKE US (US, Jane C. Wagner & Tina De Feliciantonio, 1997); CREATURE COMFORTS (UK, Nick Park, 1991); NEIGHBOURS (US, Norman McLaren, 1952); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); GOLD DIGGERS, THE (US, Sally Potter, 1983); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); PIANO, THE (AT, Jane Campion, 1993); VICTIM (UK, Basil Dearden, 1961); DESERT HEARTS (US, Donna Deitch, 1985); LIVING END, THE (US, Gregg Araki, 1992); LOOKING FOR LANGSTON (UK, Isaac Julien, 1989); GO FISH (US, Rose Troche, 1994); TRAINSPOTTING (UK, Danny Boyle, 1996); FULL MONTY, THE (UK/US, Robert Cattaneo, 1997); ABSCHIED VON GESTERN (GW, Alexander Kluge, 1966); AMERIKANISCHE FREUND, DER (GW/FR, Wim Wenders, 1977); DEUTSCHLAND, BLEICHE MUTTER (GW, Helma Sanders-Brahms, 1980)
Notes: Includes bibliographical references and index
ISBN: 0415173094 (hb); 0415173108 (pb)
LON: 14043939
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Call No: 62 INT
Author: Nelmes, Jill, 1954
Edition: 3rd ed
Place: London
Publisher: Routledge
PubDate: 2003
PhysDes: xviii, 522 p. : ill. ; 26 cm
Subject: WARNER BROS.; STUDIO SYSTEM; AUDIENCES; GENRES; DOCUMENTARY FILMS; ANIMATION; COMPUTERS AND THE CINEMA; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; UNITED KINGDOM; INDIA; USSR; GERMANY; NARRATIVE IN FILMS; SPECTATORSHIP; CENSORSHIP; STARS; AUTEUR THEORY; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA; KULESOV, LEV; KAPOOR, RAJ; Ray, Satyajit; DOVZENKO, ALEKSANDR; SHUB, ESTHER; FLAHERTY, ROBERT; JENNINGS, HUMPHREY; RIEFENSTAHL, LENI; WISEMAN, FREDERICK; POTTER, SALLY; TOCCAFONDO, GIANLUIGI; FELLOW TRAVELLER (UK/US, Philip Saville, 1990); DUCK AMUCK (US, Chuck Jones, 1953); GIRLS' NIGHT OUT (UK, Joanna Quinn, 1987); COLOUR BOX, A (UK, Len Lye, 1935); DEADSY (UK, David Anderson, 1989); DILWALE DULHANIYA LE JAYENGE (II, Aditya Chopra, [1995]); JAWS (US, Steven Spielberg, 1975); CRYING GAME, THE (UK, Neil Jordan, 1992); PLATOON (US, Oliver Stone, 1986); MARS ATTACKS! (US, Tim Burton, 1996); ROBOCOP (US, Paul Verhoeven, 1987); GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927); IF... (UK, Lindsay Anderson, 1968); PULP FICTION (US, Quentin Tarantino, 1994); NEW YORK, NEW YORK (US, Martin Scorsese, 1977); HOOP DREAMS (US, Steve James, 1994); WHEN WE WERE KINGS (US, Leon Gast, 1996); GIRLS LIKE US (US, Jane C. Wagner & Tina De Feliciantonio, 1997); CREATURE COMFORTS (UK, Nick Park, 1991); NEIGHBOURS (US, Norman McLaren, 1952); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); GOLD DIGGERS, THE (US, Sally Potter, 1983); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); PIANO, THE (AT, Jane Campion, 1993); VICTIM (UK, Basil Dearden, 1961); DESERT HEARTS (US, Donna Deitch, 1985); LIVING END, THE (US, Gregg Araki, 1992); LOOKING FOR LANGSTON (UK, Isaac Julien, 1989); GO FISH (US, Rose Troche, 1994); TRAINSPOTTING (UK, Danny Boyle, 1996); FULL MONTY, THE (UK/US, Robert Cattaneo, 1997); ABSCHIED VON GESTERN (GW, Alexander Kluge, 1966); AMERIKANISCHE FREUND, DER (GW/FR, Wim Wenders, 1977); DEUTSCHLAND, BLEICHE MUTTER (GW, Helma Sanders-Brahms, 1980)
Summary: Reference work covering a wide range of concepts, theories and ideas about film studies covering different periods and countries. Attempts to present the diversity of thought within film theory. First published in 1996.
Notes: Includes annotated key reading for each chapter, bibliography, glossary of key terms and index.
ISBN: 0415173094 (hb); 0415173108 (pb)
LON: 14043939

Call No: 626:396 ERE
Author: Erens, Patricia, 1938
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1990
PhysDes: xxvi, 450 p. : 24 cm
Subject: FEMINISM AND THE CINEMA; THEORY; WOMEN IN FILMS; MELODRAMA; ETHNIC GROUPS IN FILMS; HOMOSEXUALITY IN FILMS; DIRECTORS; SPECTATORSHIP
Summary: "Issues in Feminist Film Criticism brings together a wide variety of theoretical writings and methodologies by U.S. and British feminist film scholars. The twenty-seven essays represent some of the most influential work on Hollywood film, women's cinema, and documentary filmmaking to appear during the last decade and beyond. Among the subjects treated are images of women on the screen; questions of film realism; the notion of counter-cinema; the concept of "reading against the grain"; the use of psychoanalytic theories; concerns over female spectatorship; women's place in specific genres, especially film melodrama; and issues related to the representations of lesbians and women of color." -- BACK COVER
Notes: Includes bibliographical references (p. 425-438) and index
ISBN: 0253319641 (alk. paper); 0253206103 (pbk. : alk. paper)
LON: 89046336; 7125665

Call No: 753AUS JAN
Author: Greenfield, Sayre N., 1956; Troost, Linda, 1957
Source: US
Place: Lexington
Publisher: University Press of Kentucky
PubDate: c1998
PhysDes: 202 p., [16] p. of plates : ill. ; 24 cm
Subject: ADAPTATIONS. AUSTEN, JANE; FEMINISM AND THE CINEMA; MASCULINITY IN FILMS; WOMEN AND THE CINEMA; MEN IN FILMS; WOMEN IN FILMS; THOMPSON, EMMA; EMMA (UK, Douglas McGrath, 1996); CLUELESS (US, Amy Heckerling, 1995); SENSE AND SENSIBILITY (US, Ang Lee, 1995); PRIDE AND PREJUDICE (US, Robert Z. Leonard, 1940); PRIDE AND PREJUDICE [TV] (UK/US, Simon Langton, 1995); PERSUASION (UK, Roger Michell, 1995)
Summary: "In 1995 and 1996 six film or television adaptations of Jane Austen's novels were produced - an unprecedented number. More amazing, all were critical and/or box office successes. What accounts for this explosion of interest? Much of the appeal of these films lies in our nostalgic desire at the end of the millenium for an age of greater politeness and sexual reticence. Austen's ridicule of deceit and pretentiousness also appeals to our fin de siècle sensibilities. The novels were changed, however, to enhance their appeal to a wide popular audience, and the revisions reveal much about our own culture and its values. These recent productions espouse explicitly twentieth-century feminist notions and reshape the Austenian hero to make him conform to modern expectations. Linda Troost and Sayre Greenfield present fourteen essays examining the phenomenon of Jane Austen as cultural icon, providing thoughtful and sympathetic insights on the films through a variety of critical approaches. The contributors debate whether these productions enhance or undercut the subtle feminism that Austen promoted in her novels." - BOOK JACKET
Notes: Includes bibliographical references (p. 186-187) and index
ISBN: 0813120845 (alk. paper)
LON: 13891695
Contents: Introduction: watching ourselves watching / Linda Troost and Sayre Greenfield -- Out of the drawing room, onto the lawn / Rachel M. Brownstein -- Balancing the courtship hero: masculine emotional display in film adaptation of Austen's novels / Cheryl L. Nixon -- Misrepresenting Jane Austen's ladies: revising texts (and history) to sell films / Rebecca Dickson -- Austen, class and the American market / Carol M. Dole -- Jane Austen, film, and the pitfalls of postmodern nostalgia / Amanda Collins -- "A correct taste in landscape": Pemberley as fetish and commodity / H. Elisabeth Ellington -- Mr. Darcy's body: privileging the female gaze / Lisa Hopkins -- Emma becomes Clueless / Suzanne Ferriss -- "As if!": translating Austen's ironic narrator to film / Nora Nachumi -- Emma Thompson's Sense and Sensibility as gateway to Austen's novel / M. Casey Diana -- "Piracy is our only option": postfeminist intervention in Sense and Sensibility / Kristin Flieger Samuelian -- Feminist implications of the silver screen Austen / Devoney Looser -- Mass marketing Jane Austen: men, women, and courtship in two film adaptations / Deborah Kaplan

Call No: 753CAM TIN
Author: Tincknell, Estella
Source: UK
Place: Basingstoke, Hampshire
Publisher: Palgrave Macmillan
PubDate: 2013
PhysDes: 139 pages : illustrated ; 22 cm
Series: The adaptation series
Subject: ADAPTATIONS; ADAPTATIONS. JAMES, HENRY; AUTEUR THEORY; AUTHORSHIP; DIRECTORS; FEMINISM AND THE CINEMA; GENRES; LITERATURE AND THE CINEMA; MYTH AND THE CINEMA; CAMPION, JANE; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990); BRIGHT STAR (UK/AT/FR, Jane Campion, 2009); IN THE CUT (US/AT, Jane Campion, 2003); PIANO, THE (AT, Jane Campion, 1993); PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996); SWEETIE (AT, Jane Campion, 1989); TOP OF THE LAKE [TV] (AT/UK, Jane Campion/Garth Davis, 2013)
Summary: "In Jane Campion and Adaptation Estella Tincknell presents a compelling analysis of the interplay between literature and cinema in relation to Campion's work. The text takes a distinct approach to understanding Campion's films, positioning them not simply as the work of a cinematic auteur, but as the culmination of a complex set of textual relationships and practices. In doing so, Tincknell argues persuasively that the director's use of adaptation goes well beyond the conventionally respectful approach to literary texts, opting instead for a playful, subversive and challenging re-imagining of the connections between literature, myth, cultural identity and cinema." -- PORTION OF BOOK BLURB
Notes: Contains bibliographic references and index -- list of illustrations included as looseleaf in front of book
ISBN: 9780230229006
Contents: -- pt. One Versions -- `A Jane Campion film': authorships and adaptations -- Collaborations, credibility, creativity -- Cultural value and the fidelity question -- `Adding to' not taking from: textual ontologies redux -- pt. Two Visions and Voices -- Multiple voices, different visions -- Gothic visions, feminine fables -- Shadow Males and Super Males -- Angels, fairies, demons -- Demythologising space and place -- Attending to the past -- pt. Three Genres -- Art cinema or feminist cinema? -- Re-articulating film genres one: the anti-heritage text - The Portrait of a Lady -- Playfulness and respect -- Costume drama, feminism and the `affect' of history -- Indexing the past -- Adapting the self -- Auditory affect, musical boxes -- Re-articulating film genres two: The Piano as melodrama -- Re-articulating film genres three: An Angel at My Table and the biopic - public lives, private selves -- From the margins to the centre - Bright Star as biopic -- Re-articulating film genres four: In the Cut's rewriting of film noir -- conclusion -- notes -- bibliography -- index --

Call No: 626:396 KIS
Author: Jayamanne, Laleen
Place: Sydney
Publisher: Power Publications
PubDate: 1995
PhysDes: 285 p. ; 22 cm
Subject: FEMINISM AND THE CINEMA; BIGELOW, KATHRYN; RUIZ, RAUL; MOFFATT, TRACEY; JAYAMANNE, LALEEN; PATRIOTIN, DIE (GW, Alexander Kluge, 1979); BAD TIMING (UK, Nicolas Roeg, 1980); NEAR DARK (US, Kathryn Bigelow, 1987); BLUE STEEL (US, Kathryn Bigelow, 1989); POINT BREAK (US, Kathryn Bigelow, 1991); EHE DER MARIA BRAUN, DIE (GW, Rainer Werner Fassbinber, 1979); ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990); NIGHT CRIES : A RURAL TRAGEDY (AT, Tracey Moffatt, 1990); BEDEVIL (AT, Tracey Moffat, 1993); RAGING BULL (US, Martin Scorsese, 1980); RED SHOES, THE (UK, Michael Powell & Emeric Pressburger, 1948)
Notes: Includes bibliographical references
ISBN: 0909952264
LON: 11555393

Call No: held 1976-1984
CorpAuthor: Women in the Visual Arts Collective; Lip (Carlton, Vic.)
Source: AT
Place: Carlton, Vic.
Publisher: Women in the Visual Arts Collective
PubDate: 1976
PhysDes: v. : ill. ; 30 cm
Subject: ART CINEMA. AUSTRALIA; FEMINISM AND THE CINEMA. AUSTRALIA; WOMEN AND THE CINEMA. AUSTRALIA
Summary: Lip was an interdisciplinary feminist arts journal founded in 1976 in Carlton. In 1975, one of Lip’s founders, Suzanne Spunner, coordinated the Melbourne edition of the International Women’s Film Festival, held at the Palais Theatre and RMIT. The festival was held in every state capital across Australia and was provoked by the lack of women’s films at the 1975 Sydney Film Festival. The festival was a success and proved to dismissive distributors that there was an appetite and an audience for women’s films. To compliment the festival, Spunner, Christine Johnston, Pat Longmore and Sue Johnston, had prepared related articles, interviews and reviews for a special edition of Cinema Papers devoted to women and film. When the issue was inexplicably pulled, Cinema Papers purportedly agreed to publish only a short piece on the festival - for a sum below the usual writer’s commission. Outraged, the group resolved to publish a feminist film magazine. With the “paltry proceeds” from Cinema Papers and some jumble sales on the streets of Carlton, as well as the support of the Women’s Art Register and the Women’s Theatre Group, Lip was born. Lip was a strikingly visual publication, which featured artworks, essays, interviews, articles and critical reviews. The editorial team of Lip functioned as a “collective of feminists” and held open evaluation meetings after each issue to critically discuss the ideas raised in the publication. The magazine featured the work of many highly regarded Australian artists, including Ponch Hawkes and Mirka Mora - the artist behind the image here of a Melbourne tram. Lip magazine ceased print publication in 1984. The AFIRC holds incomplete physical copies of Lip Magazine from 1976 to 1984. -- AFIRC
Notes: Imprint varies: Lip Magazine Co-operative Ltd., <1984-; Description based on surrogate; title from cover
ISSN: 0313-4288
Missing Issues: 1977
LON: cvx00300222; 2506359

Call No: 67(41) MOO
Author: Moore, Suzanne
Source: UK
Place: London
Publisher: Serpent's Tail
PubDate: 1991
PhysDes: ix, 305 pages ; 20 cm
Subject: CRITICISM; FEMINISM AND THE CINEMA; JAMES BOND IN FILMS; POPULAR CULTURE AND THE CINEMA; ALWAYS (US, Steven Spielberg, 1989); BIRD (US, Clint Eastwood, 1988); BLACK RAIN (US, Ridley Scott, 1989); BLUE STEEL (US, Kathryn Bigelow, 1989); BROKEN NOSES (US, Bruce Weber, 1987); CHOCOLATE [CHOCOLAT] (FR, Claire Denis, 1988); DEAD RINGERS (CN, David Cronenberg, 1988); DECLINE OF WESTERN CIVILISATION PART II: THE METAL YEARS, THE (US, Penelope Spheeris, 1988); DO THE RIGHT THING (US, Spike Lee, 1989); FAMILY VIEWING (CN, Atom Egoyan, 1987); FAREWELL TO THE KING (US, John Milius, 1989); GHOSTS... OF THE CIVIL DEAD (AT, John Hillcoat, 1988); GOOD MOTHER, THE (US, Leonard Nimoy, 1988); JESUS OF MONTREAL (CN/FR, Denys Arcand, 1989); KAMIKAZE HEARTS (US, Juliet Bashore, 1986); KROTKI FILM O ZABIJANIU (PL, Krzysztof Kieslowski, 1988); LONGTIME COMPANION (US, Norman Rene, 1990); MADONNA: TRUTH OR DARE (US, Alek Keshishian, 1991); MARUSA NO ONNA (JA, Juzo Itami, 1987); PARIS BY NIGHT (UK, David Hare, 1989); PATTY HEARST (US, Paul Schrader, 1988); ROGER AND ME (US, Michael Moore, 1989); SCANDAL (UK, Michael Caton-Jones, 1989); SERPENT AND THE RAINBOW (US, Wes Craven, 1988); SHE-DEVIL (US, Susan Seidelman, 1989); SHE MUST BE SEEING THINGS (US, Sheila McLaughlin, 1987); SKIN DEEP (US, Blake Edwards, 1989); SLEEPING WITH THE ENEMY (US, Joesph Ruben, 1991); SOMETHING WILD (US, Jonathan Demme, 1986); STAR TREK V: THE FINAL FRONTIER (US, William Shatner, 1989); SWEETIE (AT, Jane Campion, 1989); TEENAGE MUTANT NINJA TURTLES (US, Steve Barron, 1990); THIN BLUE LINE, THE (US, Errol Morris, 1988); THIRTYSOMETHING [TV] (US, 1987-91); TIE ME UP! TIE ME DOWN! (SP, Pedro Almodovar, 1990) SEE ATAME!; TORCH SONG TRILOGY (US, Paul Bogart, 1988); TOTAL RECALL (US, Paul Verhoeven, 1990); TUCKER (US, Francis Ford Coppola, 1988); TWIN PEAKS [TV] (US, David Lynch & others, 1990-1991); UNHOLY, THE (US, Camilio Vila, 1988); WAR OF THE ROSES, THE (US, Danny DeVito, 1989); WIRED (US, Larry Peerce, 1989); WORLD APART, A (UK, Chris Menges, 1988); BAUDRILLARD, JEAN; TARKOVSKY, ANDREI; WINDSOR, BARBARA
Summary: "In her articles and essays, Suzanne Moore takes a vitriolic look at the icons of modern life - post feminism, Baudrillard, Laura Ashley, Twin Peaks, the new man, safe sex, James Bond, a green planet. In her film reviews, she dissects the 'mega' filmmakers of our time - Steven Spielberg, Federico Fellini, Akira Kurosawa, Pedro Almodovar, Ken Russell and David Lynch. Definitely not 'one of the boys', Suzanne Moore's attitude to the good and famous is refreshing and irreverent." -Book blurb.
Notes: Contains bibliography
ISBN: 1852422424
Contents: Introduction -- Feminism -- Men: Men against men; Target man; The brothers grim; Toy soldiers or wicked willies; Prince; Torch Song tightrope; Here's looking at you, kid -- Women: Material girl; Hi, I'm Anneka - fly me; Green light spells danger; The odds of getting even; A call to underarms; Fatal fantasies; Happiness is a warm gun; Close-up as the cookie crumbles; Women who read too much; The great awakening; Modern romance; The merry life of Windsor -- Children: Hiding in the wardrobe; Hung-up on Father Christmas; Politics of choice; Birth and death; Maternal melodramas; Eternal childhood; Unhappy families; Heroes in a half-shell -- Fantasy -- Fear: Killjoy culture; Filming by numbers; The death of intimacy; To hell and back; Murder most foul; Electric shocks; Fag end; Soft soap -- Flesh: Good vibrations; Deviant laws; Everyday eroticism; One big act; A screw of convenience?; Missionary sex; The struggle for safe endings -- Faith: Kidnapped by the counter-culture; Sculpting in time; Playing Jesus by night; Nithing but the truth; Always a love story; Jazz junkie -- Power: Pleasure: Understimulation; And now for the news; Film slobs; The metal age; All night long; The money game; Mall-content?; Mini-politics: saying no in public; Belushi's last high; something to stay home about; Reach for the stars; Starship stories -- Politics: Political poison; Junk culture; Never really at home; A problem of identities; Brand loyalty; Sun rises in the east; You can't do the right thing all the time; Great expectations -- Populism: Postmodern paralysis; Britain's macho man; On the side of the man in the street; Against the sober grain -- Postmodernism: Politics of seduction; Getting a bit of the other - the pimps of postmodernism.
ID2: 291

Call No: 626:159.964.2 LEB
Author: Lebeau, Vicky, 1963
Place: London New York
Publisher: Routledge
PubDate: 1995
PhysDes: 172 p. : ill. ; 25 cm
Subject: PSYCHOANALYSIS AND THE CINEMA; YOUNG PEOPLE AND THE CINEMA; FEMINISM AND THE CINEMA; SPECTATORSHIP; COPPOLA, FRANCIS FORD; ELLIS, BRET EASTON; HINTON, S.E.; FERRIS BUELLER'S DAY OFF (US, John Hughes, 1986); RIVER'S EDGE (US, Tim Hunter, 1986); RUMBLE FISH (US, Francis Ford Coppola, 1983); OUTSIDERS, THE (US, Francis Ford Coppola, 1983)
Notes: Includes bibliographical references (p. [160]-165) and index
ISBN: 0415107210 (pbk.); 0415107202
LON: 10868509

Call No: 626:396(94) WRI
Author: Wright, Robin, 1963
PubDate: 1992
PhysDes: 110 leaves : col. ill. ; 30 cm
Subject: LANDSCAPES IN FILMS. AUSTRALIA; FEMINISM AND THE CINEMA. AUSTRALIA; NATIONAL IDENTITY IN FILMS. AUSTRALIA; MAN FROM SNOWY RIVER, THE (AT, George T. Miller, 1982); SUNDAY TOO FAR AWAY (AT, Ken Hannam, 1975); WE OF THE NEVER NEVER (AT, Igor Auzins, 1982); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); PLAINS OF HEAVEN, THE (AT, Ian Pringle, 1982)
Summary: This thesis examins the representation of the Australian landscape in five Australian films released between 1975 and 1982. The films are 'The Man From Snowy River', 'Sunday Too Far Away', 'We of the Never Never', 'Picnic at Hanging Rock' and 'The Plains of Heaven'. These five texts are examined in light of feminist theories dealing with subjectivity and representation. The analysis of the place and role of femininity within the texts is conducted through the examination of symbols and metaphors associated with the landscape which operate within the film structure. The thesis concludes that the Australian landscape is constructed within these films in such a way as to support the concept of a white, masculine Australian identity..." -- taken from summary
Notes: Submitted in partial fulfilment of the requirements for the degree of Master of Arts, Centre for Womens Studies; Summary: [unpaged] at front of text; Typescript; Includes bibliographical references (leaves 104-110)
LON: abn93171145; 10039377
Contents: 1. Introduction -- 2. Feminist strategies -- 3. The production context -- 4. The man from Snowy River -- 5. Sunday too far away -- 6. We of the never never -- 7. Picnic at hanging rock -- 8. The plains of heaven -- 9. Ideological position and Australian identity

Call No: TITLE CLIPPINGS FILE; STELLA DALLAS (US, King Vidor, 1937)
Author: Scheman, Naomi
PhysDes: Article
Subject: FEMINISM AND THE CINEMA; STELLA DALLAS (US, King Vidor, 1937)
Summary: The nature of the gaze, both of the characters within a film and of the spectator addressed by the film, is discussed in relation to feminist film theory. Three possible responses to the recognition that women do see, desire and know are examined--despite the theoretical demonstrations of the maleness of the gaze, of desire and of epistemic authority. -- article abstract provided by publisher

Call No: 44 MIL
Author: Mills, Jane
Source: AT
Place: Annandale, N.S.W
Publisher: Pluto Press
PubDate: 2001
PhysDes: xxv, 255 p. : ill. ; 22 cm
Subject: CENSORSHIP. AUSTRALIA; CRITICISM. AUSTRALIA; FEMINISM AND THE CINEMA. AUSTRALIA; VIOLENCE IN FILMS; SEX IN FILMS
Notes: Includes index. Bibliography: p. 237-243
ISBN: 1864031425

Call No: 626:396 CRE
Author: Creed, Barbara
Place: London New York
Publisher: Routledge
PubDate: 1993
PhysDes: viii, 182 p., [24] p. of plates : ill. ; 24 cm
Series: Popular fiction series
Subject: FEMINISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; HORROR FILMS; SEX AND THE CINEMA; SEX IN FILMS; PSYCHO (US, Alfred Hitchcock, 1960); ALIEN [...] (UK/US, 1979-92); EXORCIST, THE (US, William Friedkin, 1973); CARRIE (US, Brian De Palma, 1976); BROOD, THE (CN, David Cronenberg, 1979); HUNGER, THE (US, Tony Scott, 1983)
Notes: Includes bibliographical references (p. 167-171) and index
ISBN: 0415052599 (pbk.); 0415052580
LON: 93000445; 9905552

Call No: 62(082) MOV v.1
Author: Nichols, Bill
Place: Berkeley
Publisher: University of California Press
PubDate: c1976
PhysDes: xi, 640 p. : ill. ; 24 cm
Subject: STRUCTURALISM; CRITICISM; IDEOLOGY AND THE CINEMA; IDEOLOGY IN FILMS; POLITICS AND THE CINEMA; POLITICS IN FILMS; GENRES; AUTEUR THEORY; FILM NOIR; THEORY; WESTERNS; WOMEN AND THE CINEMA; FILM NOIR; SEMIOLOGY; METHODOLOGY OF FILM CRITICISM; ETHNOGRAPHIC FILMS; FEMINISM AND THE CINEMA; CAPRA, FRANK; RAY, NICHOLAS; VON STERNBERG, JOSEF; GODARD, JEAN-LUC; CITIZEN KANE (US, Orson Welles, 1941); SERPICO (US, Sidney Lumet, 1973); GODFATHER PART II, THE (US, Francis Ford Coppola, 1974); VENT D'EST (FR/IT/GW, Jean-Luc Godard & Dziga Vertov Group, 1970); WIND FROM THE EAST (FR/IT/GW, Jean-Luc Godard & Dziga Vertov Group, 1970); VIVRE SAVIE (FR, Jean-Luc Godard, 1962); KLUTE (US, Alan J. Pakula, 1971); TRUFFAUT, FRANCOIS; SHOCK CORRIDOR (US, Samuel Fuller, 1963); TO HAVE AND HAVE NOT (US, Howard Hawks, 1944); BLOW JOB (US, Andy Warhol, 1963); RIO LOBO (US, Howard Hawks, 1970); YOUNG MR. LINCOLN (US, John Ford, 1939)
Summary: "Film teachers and students will welcome this new anthology, which makes available in one source a comprehensive selection of recent theoretical work on film, including many articles difficult to locate in the scattered literature. The contents are drawn almost entirely from the publications of the past fifteen years, and include work by the most original film thinkers - some well known to a wide public, some widely known among readers of film journals. Several important film-makers are also represented." -- BOOK BLURB
Notes: Includes index; This is volume 1
ISBN: 0520031512
LON: cln74022969; 10151896
Contents: --- part 1 contextual criticism -- political criticism -- genre criticism -- feminist criticism -- part 2 formal criticism -- auteur criticism -- mise-en-scene criticism -- part 3 theory -- film theory -- structuralism-semiology --

Call No: 62(082) MOV v.2
Author: Nichols, Bill (ed.)
Source: US/UK
Place: Berkeley
Publisher: University of California Press
PubDate: c1985
PhysDes: xii, 753 p. : ill. ; 24 cm
Subject: CRITICISM; GENRES; FEMINISM AND THE CINEMA; STRUCTURALISM; SEMIOLOGY; PSYCHOANALYSIS AND THE CINEMA; SADISM / MASOCHISM IN FILMS; PHILOSOPHY AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; AVANT-GARDE FILMS; NARRATIVE IN FILMS; IDEOLOGY AND THE CINEMA; HORROR FILMS; CINEMA VERITE; BAZIN, ANDRE; WALSH, RAOUL; GODARD, JEAN-LUC; DAUGHTER RITE (US, Michelle Citron, 1979); JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (BE/FR, Chantal Akerman, 1975); SEARCHERS, THE (US, John Ford, 1956); MILDRED PIERCE (US, Michael Curtiz, 1945); STAGECOACH (US, John Ford, 1939)
Summary: "The original Movies and Methods volume (1976) captured the dynamic evolution of film theory and criticism into an important new discipline, incorporating methods from structuralism, semiotics, and feminist thought. Now there is again ferment in the field. Movies and Methods, Volume II, captures the developments that have given history and genre studies imaginative new models and indicates how feminist, structuralist, and psychoanalytic approaches to film have achieved fresh, valuable insights." -- BOOK BLURB
Notes: This is volume II
ISBN: 0520054091
Contents: -- historical criticism -- genre criticism -- feminist criticism -- structuralist semiotics -- psychoanalytic semiotics -- countercurrents --

Call No: 79 MSF HEL
Author: Heller-Nicholas, Alexandra
Place: New York; Chichester, UK
Publisher: Wallflower Press published by Columbia University Press
PubDate: 2017
PhysDes: viii,148 p. : illustrated ; 18 cm
Series: Cultographies
Subject: MS 45 (US, Abel Ferrara, 1981); FEMINISM AND THE CINEMA; FERRARA, ABEL
Summary: Despite its association with the broadly disparaged rape-revenge category, Abel Ferrara's Ms. 45 is today considered one of the most significant feminist cult films of the 1980s. Straddling mainstream, arthouse, and exploitation film contexts, Ms. 45 is a potent case study for cult film analysis. At its heart lies two figures: Ferrara himself, and the movie's star, the iconic Zoe Lund, who would further collaborate with Ferrara on later projects such as Bad Lieutenant. This book explores the entwining histories and contexts that led to Ms. 45's creation and helped establish its enduring legacy, particularly in terms of feminist cult film fandom, and the film's status as one of the most important, influential, and powerful rape-revenge films ever made. -- publisher's web site
ISBN: 9780231179850
Contents: Acknowledgements -- Introduction: Mea Culpa -- 1. Prima facie – Towards Ms. 45 -- 2. Locus delecti – Watching Ms. 45 -- 3. Modus operandi – After Ms. 45 -- 4. Post mortem – Beyond Ms. 45 -- Notes -- Bibliography -- Index
ID2: 298

Call No: 626:396 MUL
Author: Carson, Diane; Dittmar, Linda, 1938; Welsch, Janice R
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 1994
PhysDes: ix, 547 p. : ill. ; 24 cm
Subject: FEMINISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; WOMEN IN FILMS. MEXICO; WOMEN IN FILMS. CHINA; WOMEN IN FILMS. THIRD WORLD; WOMEN IN FILMS. CUBA; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; ETHNIC GROUPS IN FILMS; BORDEN, LIZZIE; DASH, JULIE; DIETRICH, MARLENE; DOANE, MARY ANN; GARBO, GRETA; GORRIS, MARLEEN; GUY-BLACHE, ALICE; MULVEY, LAURA; TRINH, T. MINH-HA; BAHTIN, MIHAIL; ARZNER, DOROTHY; FIELD, CONNIE; CHENZIRA, AYOKA; SAYONARA (US, Joshua Logan, 1957); AWFUL TRUTH, THE (US, Leo McCarey, 1937); LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980); SWING SHIFT (US, Jonathan Demme, 1984); SUZANNE, SUZANNE (US, Camille Billops & James Hatch, 1982); RAMPARTS D'ARGILE (FR/AE, Jean-Louis Bertuccelli, 1970); SALT OF THE EARTH (US, Herbert J. Biberman, 1954); BORN IN FLAMES (US, Lizzie Borden, 1983); DRY WHITE SEASON, A (US, Euzhan Palcy, 1989); MARRYING KIND, THE (US, George Cukor, 1952); MARTY (US, Delbert Mann, 1954); MOROCCO (US, Josef von Sternberg, 1930); PILLOW TALK (US, Michael Gordon, 1959); RETRATO DE TERESA (CU, Pastor Vega, 1979); QINGCHUN JI (CC, Zhang Nuanxin, 1986); SURNAME VIET GIVEN NAME NAM (US, Trinh T. Minh-ha, 1989); BLACK FURY (US, Michael Curtiz, 1934); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982)
Notes: Includes bibliographical references and index
ISBN: 0816622728(acid-free paper); 0816622736 (pbk.)
LON: 10052767

Call No: 626:396 REA
Author: Read, Jacinda
Source: UK
Place: Manchester, UK
Publisher: Manchester University
PubDate: 2000
PhysDes: 290 p; 22 cm
Series: Inside Popular Film
Subject: FEMINISM AND THE CINEMA; FEMINISM AND TV; CRIME IN FILMS; SLEEPING WITH THE ENEMY (US, Joesph Ruben, 1991); WESTERNS; SPECTATORSHIP
Summary: In this, the first full-length study of the rape-revenge film, Jacinda Read suggests that the rape-revenge cycle can be read as one of the primary ways in which Hollywood has attempted to make sense of feminism and the changing shape of heterosexual femininity in the post-1970 period. Arguing that rape-revenge is better understood not as a genre, but as a narrative structure, the author analyses the ways in which various deployments of this structure rework the ‘mass cultural fictions of femininity’ inscribed in the genres over which they have been mapped. (from backcover).
ISBN: 0719059054

Call No: 626:396(45) OFF
Author: Bruno, Giuliana; Nadotti, Maria
CorpAuthor: Conference "Italian and American Directions: Women's Film Theory and Practice (1984 : New York, N.Y.)
Place: London New York
Publisher: Routledge
PubDate: 1988
PhysDes: xiii, 200 p. : ill. ; 22 cm
Subject: ITALY; WOMEN AND THE CINEMA. ITALY; WOMEN FILMMAKERS. ITALY; FEMINISM AND THE CINEMA. ITALY; SPECTATORSHIP. ITALY; WOMEN IN FILMS. ITALY; SCUOLA SENZA FINE (IT, Adriana Monti, 1983?); LADY FROM SHANGHAI, THE (US, Orson Welles, 1948)
Notes: Some papers translated from Italian; Papers presented at the Conference "Italian and American Directions: Women's Film Theory and Practice," held in New York, Dec. 1984; Includes index; "Filmography: Women in film in Italy": p. [165]-190; Bibliography: p. [191]-193
ISBN: 0415008565; 0415008573 (pbk.)
LON: 5606579

Call No: 81 FIS MIZ
Author: Mizejewski, Linda; Zuk, Tanya D.
Edition: 2021
Place: Detroit, Michigan
Publisher: Wayne State University Press
PhysDes: xii, 306 pages : illustrated ; 23 cm
Series: Contemporary approaches to film and media series
Subject: FISHER, CARRIE; STAR WARS [...] (US, 1977-2015); FEMINISM AND THE CINEMA. USA; ACTORS
Summary: Our Blessed Rebel Queen: Essays on Carrie Fisher and Princess Leia is the first full-length exploration of Carrie Fisher’s career as actress, writer, and advocate. Fisher’s entangled relationship with the iconic Princess Leia is a focal point of this volume. Editors Linda Mizejewski and Tanya D. Zuk have assembled a collection that engages with the multiple interfaces between Fisher’s most famous character and her other life-giving work. The contributors offer insights into Fisher as science-fiction idol, author, feminist inspiration, and Lucasfilm commodity. Jennifer M. Fogel examines the thorny "ownership" of Fisher’s image as a conflation of fan nostalgia, merchandise commodity, and eventually, feminist icon. Philipp Dominik Keidl looks at how Carrie Fisher and her iconic character are positioned within the male-centric history of Star Wars. Andrew Kemp-Wilcox researches the 2016 controversy over a virtual Princess Leia that emerged after Carrie Fisher’s death. Tanya D. Zuk investigates the use of Princess Leia and Carrie images during the Women’s March as memetic reconfigurations of historical propaganda to leverage political and fannish ideological positions. Linda Mizejewski explores Carrie Fisher’s autobiographical writing, while Ken Feil takes a look at Fisher’s playful blurring of truth and fiction in her screenplays. Kristen Anderson Wagner identifies Fisher’s use of humor and anger to challenge public expectations for older actresses. Cynthia Hoffner and Sejung Park highlight Fisher’s mental health advocacy, and Slade Kinnecott personalizes how Fisher’s candidness and guidance about mental health were especially cherished by those who lacked a support system in their own lives. Our Blessed Rebel Queen is distinct in its interdisciplinary approach, drawing from a variety of methodologies and theoretical frameworks. Longtime fans of Carrie Fisher and her body of work will welcome this smart and thoughtful tribute to a multimedia legend. -- publisher's web site
ISBN: 9780814346860

Call No: 62(04) CRE
Author: Creed, Barbara
Source: AT
Place: Melbourne
Publisher: Australian Centre for the Moving Image
PubDate: 2004
PhysDes: xi, 144 p. ; 21 cm
Subject: HISTORY AND THE CINEMA; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; THEORY; PHILOSOPHY AND THE CINEMA
Summary: Brings together a collection of classic essays on the important topic of contemporary film theory from the influence of feminism to queer theory and the reasons for the powerful effect of horror films.
Notes: Includes bibliographical references and index.
Contents: Acknowledgements -- Introduction -- 1: Feminist Film Theory: history and debates -- 2: The monstrous-feminine: horror, theory, film -- 3: Me Jane: you Tarzan! race and gender in the jungle -- 4: Dream Screen: film and psychoanalytic theory -- 5: From here to modernity: feminist and postmodern theory -- 6: In the pink: queer theory, queer cinema -- Index

Call No: 735.21 CRE
Author: Creed, Barbara
Source: AT
Place: Carlton, Vic
Publisher: Melbourne University Press
PubDate: c2005
PhysDes: xix, 232 p. : ill, ports ; 21cm
Subject: CRIMINALS IN FILMS; DRACULA IN FILMS; FEMINISM AND THE CINEMA; FRANKENSTEIN; FREDDY KREUGER IN FILMS; GHOSTS IN FILMS; HORROR FILM; JACK THE RIPPER IN FILMS; MASCULINITY IN FILMS; MONSTERS IN FILMS; REALISM IN FILMS; VAMPIRE IN FILMS; VIOLENCE IN FILMS; WERWOLVES IN FILMS
Summary: In Phallic Panic, Barbara Creed explores the nature of male monstrosity, through twentieth century form of cinema. Whether vampire, mad scientist, cannibal, or Freud's wolf man, these monsters all strike at the heart of masculinity, and what it means to a society.
Notes: Bibliography: p. 215-224; Filmography: p.212-214; Includes index
ISBN: 052285172

Call No: 626 PHI
Author: Freeland, Cynthia A; Wartenberg, Thomas E
Place: New York
Publisher: Routledge
PubDate: 1995
PhysDes: 258 p. ; 24 cm
Subject: PHILOSOPHY AND THE CINEMA; FEMINISM AND THE CINEMA; FILM NOIR; HORROR FILMS; ETHNIC GROUPS IN FILMS; LEE, SPIKE; SEA OF LOVE (US, Harold Becker, 1989); CASABLANCA (US, Michael Curtiz, 1942); GHOST (US, Jerry Zucker, 1990); WHITE PALACE (US, Luis Mandoki, 1990); [TWO THOUSAND AND ONE] 2001: A SPACE ODYSSEY (UK, Stanley Kubrick, 1968); EUROPA, EUROPA (FR/GW, Agnieszka Holland, 1990); PERSONA (SW, Ingmar Bergman, 1966)
Notes: Includes bibliographical references and index
ISBN: 0415909201; 041590921X (pbk.)
LON: 11213335

Call No: 79PIA JON
Author: Jones, Gail
CorpAuthor: Australian Film Commission: National Film and Sound Archive
Source: Australia
Place: Strawberry Hills, NSW
Publisher: Currency Press
PubDate: 2007
PhysDes: viii, 85 p. : ill. ; 20cm
Series: Australian Screen Classics
Subject: NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. NEW ZEALAND; REGIONAL CINEMA. AUSTRALIA; REGIONAL CINEMA. NEW ZEALAND; IMPERIALISM AND THE CINEMA. AUSTRALIA; IMPERIALISM AND THE CINEMA. NEW ZEALAND; NEW ZEALAND IN FILMS; PEOPLE WITH DISABILITIES IN FILMS; SPEECH; ROMANCE IN FILMS; LOVE IN FILMS; SEA IN FILMS; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA; RACE AND THE CINEMA. NEW ZEALAND; MOTHERS IN FILMS; CHILDREN IN FILMS; MUSIC IN FILMS; SILENCE IN FILMS; EROTICISM IN FILMS; VIOLENCE IN FILMS; JANE CAMPION; PIANO, THE (AT, Jane Campion, 1993)
Summary: "When 'The Piano' opened in 1993 it was hailed by many as a modern masterpiece. Written and directed by Jane Campion, it won the Palme d'Or at Cannes, making her the first woman ever to win this prestigious award. It went on to win Academy Awards for Best Original Screenplay (Campion), Best Actress (Holly Hunter) and Best Supporting Actress (Anna Paquin). "In this thoughtful and perceptive critique, Gail Jones assesses the film's unearthly and controversial visions, its poetic power and its capacity to entrance and to alienate."
Notes: Includes notes, bibliography, filmography, 'The Piano' credits and synopses of other books in the 'Australian Screen Classics' series.
ISBN: 9780868197999

Call No: 64POS MOR
Author: Morris, Meaghan
Place: London New York
Publisher: Verso
PubDate: 1988
PhysDes: x, 287 p. : ill., map ; 24 cm
Series: Questions for feminism
Subject: FEMINISM AND THE CINEMA; POSTMODERNISM AND THE CINEMA; Baudrillard, Jean; FOUCAULT, MICHEL; SONTAG, SUSAN; CROCODILE DUNDEE (AT, Peter Faiman, 1986)
Notes: Includes bibliographical notes; Bibliography: p. 17-23
ISBN: 0860919269 (pbk.) : $16.95; 0860912124 : $50.00
LON: 88017209; 5907285

Call No: 744.7 MAY
Author: Mayer, Sophie
Edition: 2016
Place: London ; New York
Publisher: I.B. Tauris
PubDate: 2016
PhysDes: xii,260 : illustrated ; 23 cm
Subject: FEMINISM AND THE CINEMA; FEMININITY IN FILMS; WOMEN AND THE CINEMA; BELLE (UK, Amma Asante, 2013); FROZEN (US, Chris Buck & Jennifer Lee, 2013); BIGELOW, KATHRYN; CAMPION, JANE; VARDA, AGNES; PERSEPOLIS (FR, Marjane Satrapi, 2007)
Summary: Feminist filmmakers are hitting the headlines. The last decade has witnessed: the first Best Director Academy Award won by a woman; female filmmakers reviving, or starting, careers via analogue and digital television; women filmmakers emerging from Saudi Arabia, Palestine, Pakistan, South Korea, Paraguay, Peru, Burkina Faso, Kenya and The Cree Nation; a bold emergent trans cinema; feminist porn screened at public festivals; Sweden's A-Markt for films that pass the Bechdel Test; and Pussy Riot's online videos sending shockwaves around the world. A new generation of feminist filmmakers, curators and critics is not only influencing contemporary debates on gender and sexuality, but starting to change cinema itself, calling for a film world that is intersectional, sustainable, family-friendly and far-reaching. Political Animals argues that, forty years since Laura Mulvey's seminal essay 'Visual Pleasure and Narrative Cinema' identified the urgent need for a feminist counter-cinema, this promise seems to be on the point of fulfilment. Forty years of a transnational, trans-generational cinema has given rise to conversations between the work of now well-established filmmakers such as Abigail Child, Sally Potter and Agnes Varda, twenty-first century auteurs including Kelly Reichardt and Lucretia Martel, and emerging directors such as Sandrine Bonnaire, Shonali Bose, Zeina Daccache, and Hana Makhmalbaf. A new and diverse generation of British independent filmmakers such as Franny Armstrong, Andrea Arnold, Amma Asante, Clio Barnard, Tina Gharavi, Sally El Hoseini, Carol Morley, Samantha Morton, Penny Woolcock, and Campbell X join a worldwide dialogue between filmmakers and viewers hungry for a new and informed point of view. Lovely, vigorous and brave, the new feminist cinema is a political animal that refuses to be domesticated by the persistence of everyday sexism, striking out boldly to claim the public sphere as its own. -- publisher's web site
ISBN: 9781784533724

Call No: 62 POS
Author: Bordwell, David, 1947; Carroll, Noel (NoFl E.)
Place: Madison
Publisher: University of Wisconsin Press
PubDate: 1996
PhysDes: 564 p. : 23 cm
Series: Wisconsin studies in film
Subject: THEORY; FILM STUDY AND RESEARCH; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; HORROR FILMS; TRUTH IN FILMS; MUSIC, FILM; NON-FICTION FILMS; REALISM IN FILMS; AVANT-GARDE FILMS; SPECTATORSHIP; JAPAN; DENMARK; EXHIBITION; CHARACTERIZATION IN FILMS; AUDIENCES; CONSTRUCTIVISM; EDITING; PERCEPTION; PSYCHOLOGICAL EFFECTS OF FILMS; GENRES; LOVE IN FILMS; MELODRAMA; NARRATIVE IN FILMS; COLUMBIA PICTURES; WARNER BROS.; BRECHT, BERTOLT; GIBSON, JAMES J.; COHN, HARRY; JAMESON, FREDRIC; MANDEL, ERNEST; RENOV, MICHAEL; JAZZ SINGER, THE (US, Alan Crosland, 1927); CASABLANCA (US, Michael Curtiz, 1942); ACCUSED, THE (US, Jonathan Kaplan, 1988)
Notes: Includes bibliographical references and index
ISBN: 0299149404 (cloth : alk. paper); 0299149447 (pbk. : alk. paper)
LON: 95037052; 11859923

Call No: 626:159.964.2 PSY
Author: Kaplan, E. Ann
Place: New York
Publisher: Routledge
PubDate: 1990
PhysDes: xi, 249 p. : ill. ; 24 cm
Series: AFI film readers
Subject: PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; AVANT-GARDE FILMS; FAMILY IN FILMS; TOURNEUR, JACQUES; PABST, GEORG WILHELM; THREE FACES OF EVE, THE (US, Nunnally Johnson, 1957); GEHEIMNISSE EINER SEELE (G, Georg Wilhelm Pabst, 1926); M (G, Fritz Lang, 1931); DUEL IN THE SUN (US, King Vidor, 1946); CAT PEOPLE (US, Jacques Tourneur, 1942); BEST YEARS OF OUR LIVES, THE (US, William Wyler, 1946); ADYNATA : MURDER IS NOT A STORY (US, Leslie Thornton, 1983); ANNE OF THE INDIES (UA, Jacques Tourneur, 1951)
Notes: Includes bibliographical references (p. 239-243) and indexes
ISBN: 041590028X; 0415900298 (pbk.)
LON: 89006339; 6416156

Call No: 626:396 REV
Copy Management: Copy 1; Copy 2
Author: Doane, Mary Ann; Mellencamp, Patricia; Williams, Linda, 1946
Place: Frederick, MD
Publisher: University Publications of America
PubDate: 1984
PhysDes: xi, 169 p. ; 24 cm
Series: American Film Institute monograph series ; v. 3
Subject: FEMINISM AND THE CINEMA; WOMEN IN FILMS; CRITICISM; GAZE IN FILMS; MADCHEN OHNE GRENZEN (DK, Geza Radvanyi, 1958); BAD TIMING (UK, Nicolas Roeg, 1980)
Notes: Includes bibliographies
ISBN: 0890935858; 0890935866 (pbk.)
LON: 83023366; 2976768
Contents: Feminist film criticism: an introduction -- Developments in feminist film criticism -- The woman at the keyhole: women's cinema and feminist criticism -- The 'woman's film': possession and address -- When the woman looks -- From repressive tolerance to erotic liberation: 'Madchen in uniform' -- Dis-embodying the female voice -- Now and nowhere: Roeg's 'Bad timing'

Call No: 744 HOO
Author: Hooks, Bell
Place: New York, NY
Publisher: Routledge
PubDate: 1996
PhysDes: 244 p. ; 24 cm
Subject: RACIAL ISSUES AND THE CINEMA; SEX AND THE CINEMA; CLASS AND THE CINEMA; ETHNIC GROUPS IN FILMS; AVANT-GARDE FILMS; FAMILY IN FILMS; LOOK IN FILMS; SPECTATORSHIP; DEATH IN FILMS; HOMOSEXUALITY IN FILMS; STRIPTEASE IN FILMS; YOUNG PEOPLE IN FILMS; FEMINISM AND THE CINEMA; Tarantino, Quentin; LEE, SPIKE; DASH, JULIE; CLARK, LARRY; JAFFA, ARTHUR; BURNETT, CHARLES; BILLOPS, CAMILLE; ALDERMAN, MARIE-FRANCE; WANG, WAYNE; LIVINGSTON, JENNIE; KILLER OF SHEEP (US, Charles Burnett, 1978); GIRL SIX (US, Spike Lee, 1996); CROOKLYN (US, Spike Lee, 1994); WAITING TO EXHALE (US, Forest Whitaker, 1995); LEAVING LAS VEGAS (US, Mike Figgis, 1995); EXOTICA (CN, Atom Egoyan, 1994); ATTENDANT, THE (UK, Isaac Julien, 1992); FINDING CHRISTA (US, Camille Billops/James Hatch, 1991); KIDS (US, Larry Clark, 1995); HOOP DREAMS (US, Steve James, 1994); PARIS IS BURNING (US, Jennie Livingston, 1990); SHE'S GOTTA HAVE IT (US, Spike Lee, 1986); PULP FICTION (US, Quentin Tarantino, 1994)
Notes: Includes index
ISBN: 0415918235 (HB : acid-free cover); 0415918243 (PB : acid-free cover)
LON: 96026474; 12664107

Author: White, Mimi
PhysDes: Article
Subject: LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980); SWING SHIFT (US, Jonathan Demme, 1984); FEMINISM AND THE CINEMA; WORLD WAR II FILMS; WOMEN IN FILMS
Summary: Article on the representation of women in the films 'The Life and Times of Rosie the Riveter' and 'Swing Shift', both films being set in World War II and focusing on women in the workforce.

Call No: 744.7 CRE
Author: Creed, Barbara
Edition: 2022
Place: New York
Publisher: Routledge
PubDate: 2022
PhysDes: x, 168 pages
Subject: FEMINISM AND THE CINEMA; HORROR FILMS; BABADOOK , THE (AT, Jennifer Kent, 2014); HANDMAID'S TALE, THE [TV] (US, 2017 - ); PROMISING YOUNG WOMAN, A (UK/US, Emerald Fennell, 2020); REVENGE (FR, Coralie Fargeat, 2017); NIGHTINGALE, THE (AT, Jennifer Kent, 2017); NOMADLAND (US/GG, Chloé Zhao, 2020); CAROL (UK/US/FR, Todd Haynes, 2015); ASSISTANT, THE (US, Kitty Green, 2019); GIRL WALKS HOME ALONE AT NIGHT, A ( US, Ana Lily Amirpour, 2014); UNDER THE SKIN (UK/US/SZ, Jonathan Glazer, 2013); JENNIFER'S BODY (US, Karyn Kusama, 2009); LURE, THE [CORKI DANCINGU] (PL, Agnieszka Smoczynska, 2015); THELMA (NO/FR/DK/SW, Joachim Trier, 2017); RAW [GRAVE] (FR/BE, Julia Ducournau, 2016); BEAU TRAVAIL [TROUBLE EVERY DAY] (FR/GG/JA, Claire Denis, 1999); IN MY SKIN [DANS MA PEAU] (FR, Marina de Van, 2002); SPOOR [POKOT] (PL/GG/CZ/SW/SO, Agnieszka Holland & Kasia Adamik, 2017); WOMAN AT WAR (IC/FR/UE, Benedikt Erlingsson, 2018); MAD MAX: FURY ROAD (AT/US, George Miller, 2015)
Summary: This follow-up to the classic text of The Monstrous-Feminine analyses those contemporary films which explore social justice issues such as women’s equality, violence against women, queer relationships, race and the plight of the planet and its multi-species. Examining a new movement – termed by Creed as Feminist New Wave Cinema – The Return of the Monstrous-Feminine explores a significant change that has occurred over the past two decades in the representation of the monstrous-feminine in visual discourse. The Monstrous-Feminine is a figure in revolt on a journey through the dark night of abjection. Taking particular interest in women directors who create the figure of the Monstrous-Feminine, in cinema that foregrounds everyday horrors in addition to classic horror, Creed looks at a range of diverse films including The Babadook, A Girl Walks Home Alone at Night, Nomadland, Carol, Raw, Revenge, and the television series The Handmaid’s Tale. These films center on different forms of revolt, from inner revolt to social, supernatural and violent revolt, which appear in Feminist New Wave Cinema. These relate in the main to the emergence of a range of social protest movements that have gathered momentum in the new millennium and given voice to new theoretical and critical discourses. These include: third and fourth wave feminism, the #MeToo movement, queer theory, race theory, the critique of anthropocentrism and human animal theory. These theoretical discourses have played a key role in influencing Feminist New Wave Cinema whose films are distinctive, stylish and diverse. This is an essential companion to the original classic text and is ideal for students in Gender and Media, Gender and Horror, Gender and Film and Feminist Film theory courses. -- publisher's web site
ISBN: 9780367478162
Contents: Introduction: The Monstrous-Feminine In Feminist New Wave Cinema -- The Monstrous Mother As Magician: The Babadook -- Unwomen: Dare To Revolt – The Handmaid’s Tale, Film & Tv Series -- #Metoo: Rape & Revolt: Promising Young Woman, Revenge, The Nightingale. -- The Monstrous-Feminine Forgets Her Manners: Nomadland, Carol, The Assistant -- Vampires, Feminism & Ethnicity: A Girl Walks Home Alone At Night -- The Monstrous-Feminine As Femme Fatale, Alien & Black: Under The Skin -- Queering The Monstrous-Feminine: Jennifer’s Body, The Lure, Thelma -- Female Cannibalism & Eating The Other: Raw, Trouble Everyday, In My Skin -- Furiosa: Eco-Horror & The Woman Warrior: Spoor, Woman At War, Mad Max: Fury Road – Filmography -- Index

Call No: 409.1 COO
Author: Cook, Pam
Source: UK
Place: London ; New York
Publisher: Routledge
PubDate: 2005
PhysDes: xiii, 246 p. : ill. ; 24 cm
Subject: HISTORY AND THE CINEMA; NOSTALGIA IN FILMS; NATIONAL CULTURE AND THE CINEMA. EUROPEAN COUNTRIES; GENDER AND THE CINEMA; MEN IN FILMS; WOMEN IN FILMS; FEMINISM AND THE CINEMA; SEXUALITY AND THE CINEMA; TYPE CHARACTERS IN FILMS; MELODRAMA; WESTERNS; SCORSESE, MARTIN; BIGELOW, KATHRYN; HAYNES, TODD; WONG KAR WAI; AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); GOLD DIGGERS, THE (US, Sally Potter, 1983); LAST TEMPTATION OF CHRIST, THE (US/CN, Martin Scorsese, 1988); MILDRED PIERCE (US, Michael Curtiz, 1945); RAGING BULL (US, Martin Scorsese, 1980); MANDY (UK, Alexander Mackendrick, 1952); DANCE WITH A STRANGER (UK, Mike Newell, 1985)
Summary: Exploring film culture's obsession with the past through analyses of a wide range of films, from Mildred Pierce and Brief Encounter to Raging Bull and Dance With a Stranger. Examines current debates about the role of cinema in mediating history through memory and nostalgia through a discussion of In the Mood for Love and Far From Heaven, with the suggestion that many films use strategies of memory to challenge established ideas of history, and the traditional role of historians."--BOOK JACKET
Notes: Includes bibliographical references and index (pp. 241-46)
ISBN: 0415183758 (pbk. : alk. paper)
Contents: Introduction: the past today -- Rethinking nostalgia: In the mood for love and Far from heaven -- Duplicity in Mildred Pierce -- Women and the Western -- The pleasures and perils of exploitation films -- Melodrama and the women's picture -- Mandy: daughter of transition -- Memory in British cinema: brief encounters -- Stars and politics -- The gold diggers -- No fixed address: the women's picture from Outrage to Blue Steel -- Masculinity in crisis? -- The last temptation of Christ -- Scorsese's masquerade -- The age of innocence -- Fashion and sexual display in 1950s Hollywood -- Replicating the past: memory and history in Dance with a stranger -- Fictions of identity: style, mimicry, and gender in the films of Kathryn Bigelow.

Call No: 115 287 (430.1) GRA
Author: Gramann, Karola
Edition: 1st ed.
Source: Federal Republic of Germany
Place: Munich
Publisher: Goethe Institute
PubDate: 1987
PhysDes: 52 p ; 20cm + b&w ill.
Subject: SHORT FILMS; GERMAN FEDERAL REPUBLIC; NON-FICTION FILMS; WORKERS IN FILMS; WOMEN IN FILMS; FEMINISM AND THE CINEMA; POLITICAL FILMS; NAZIS IN FILMS; HISTORICAL FILMS; WORLD WAR II AND THE CINEMA; PEWAS, PETER; WILMS, ELISABETH; KOERBER, MARTIN; TICHAWSKY, HEINRICH; NESTLER, PETER; HERZ, HORST; DOERRIES, BERNHARD; KLUGE, ALEXANDER; SCHAMONE, PETER; STRAUB, JEAN-MARIE; KRISTL, VLADO; THOME, RUDOLPH; FASSBINDER, RAINER WERNER; STOCKL, ULA; OTTINGER, ULRIKE; HERBST, HELMUT; SANDERS-BRAHMS, HELMA; FAROCKI, HARUN; GIEFER, THOMAS; BERSWORDT-WALLRABE, VON, ALEXANDER; MERBACH, ROSEMARIE; SCHUBERT, DIETRICH; WINZENSTEN, FRANZ; LANG, MARIA; NOLL BRINCKMANN; JORITZ, CATHY; MIKESCH, ELFI; KLEINE CHAOS, DAS (GR, Rainer Werner Fassbinder, 1966); MENSCHEN, STADTEN, SCHIENEN (GR,Peter Pewas, 1949); DORTMUND DAMALS (GR, Elisabeth Wilms, 1947); HERBSTBEDANKEN (GR, Peter Pewas, 1950); VELORENES BERLIN, EIN (GR,Richard Kostelanetz, Martin Koerber, 1983); NOTIZEN AUS DEM ALTMUHTAL (GR,Hans Rolf Strobel, Heinrich Tichawsky, 1961); MULHEIM/RUHR (GR, Peter Nestler, 1964); ES LOBT DEN MANN DIE ARBEIT UND DIE TAT (GR, Horst Herz, 1982); MANNEQUIN, DAS (GR, Bernhard Doerries, 1960); BRUTALITAT IN STEIN - DIE EWIGKEIT VON GESTERN (GR, Alexander Kluge, Peter Schamoni, 1960); MACHORKA MUFF (GR, Jean-Marie Straub, 1962); MADELEINE-MADELEINE (GR, Vlado Kristl, 1963); VERSOHNUNG, DIE (GR, Rudolf Thome, 1964/65); ANTIGONE (GR, Ula Stockl, 1964); SUPERBIA (GR, Ulrike Ottinger, 1986); SCHWARZ, WEISS, ROT (GR, Helmut Herbst, 1964); INDUSTRIELLE RESERVEARMEE, DIE, Helena Sanders-Brahms, 1970/71); NICHT LOSCHBARES FEUER (GR, Harun Farocki, 1969); TERROR AUCH IM WESTERN (GR, Thomas Giefer, 1968); ABSTECHER NACH ENKBACH, EIN (GR, Alexander von Berswordt-Wallrabe, 1979); MAMMA HEMMERS GEHT MIT IHREM PASTOR ZUM LETZEN MAL UBER'N HEINRICHPLATZ; KREUZBERG ADIO (GR, S.M Rosi, 1979); GEHT UM MEHR ALS NUR UMS UBERLEBEN, ES (GR, Dietrich Schubert, 1982); ANPROBE, DIE - 1938 (GR, Franz Winzenstein, 1985); ANGELIKA URBAN, VERKAUFERIN, VERLOBT (GR, Helma Sanders-Brahms, 1969); FAMILY CRYPT [FAMILIENGRUFT: EIN LIEBESGEDICHT AN MEINE MUTTER] (GW, Maria Lang, 1982); HALF A LIFE [HALBES LEBEN, EIN] (GW, Christine Noll Brinckmann, 1983); NEGATIVE MAN (GR, Cathy Joritz, 1985); EXECUTION-A STUDY OF MARY (GR, Elfi Mikesch, 1979)
Summary: This program presents a comprehensive survey of the Federal Republic of Germany’s contribution to the field of short films. Among other things it is a journey through the history of the former West Germany and the social changes it underwent, reflected in the various forms of political documentation and aesthetic innovation in the films.

Call No: 451-02 FIS
Author: Fischer, Lucy
Place: Basingstoke
Publisher: Macmillan Education
PubDate: 1989
PhysDes: xii, 348 p. : ill. ; 22 cm
Subject: FEMINISM AND THE CINEMA; WOMEN, FILMS MADE BY; ROMANTIC FILMS; MUSICALS; HOMOSEXUALITY IN FILMS; MYTH AND THE CINEMA; DOUBLES IN FILMS; TWINS IN FILMS; ROSE, KATHY; GORRIS, MARLEEN; FLICKORNA (SW, Mai Zetterling, 1968); TAKE OFF (US, Gunvor Nelson, 1973); MITTEN INS HERZ (GW, Doris Dorrie, 1983); RECITAL (?, Stephanie Beroes, 1978); DANCE, GIRL, DANCE (US, Dorothy Arzner, 1940); COBRA WOMAN (US, Robert Siodmak, 1943); ANNEES 80, LES (FR/BE/SZ, Chantal Akerman, 1983); STOLEN LIFE, A (UK, Paul Czinner, 1939); DARK MIRROR, THE (US, Robert Siodmak, 1946); BAD SISTER, THE (UK, Laura Mulvey & Peter Wollen, 1983); LADY FROM SHANGHAI, THE (US, Orson Welles, 1948); RIDDLES OF THE SPHINX (UK, Laura Mulvey & Peter Wollen, 1977); DAMES (US, Ray Enright, 1934); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); PERSONA (SW, Ingmar Bergman, 1966); LETTER FROM AN UNKNOWN WOMAN (US, Max Ophuls, 1948); SCHWESTERN, ODER DIE BALANCE DES GLUCKS (GW, Margarethe von Trotta, 1979); RICH AND FAMOUS (US, George Cukor, 1981); GIRLFRIENDS (US, Claudia Weill, 1978); SOTTO...SOTTO...STRAPAZZATO DA ANOMALA PASSIONE (IT, Lina Wertmuller, 1984); LIANNA (US, John Sayles, 1983); VIOLETTE NOZIERE (FR/CN, Claude Chabrol, 1978); MAN WHO ENVIED WOMEN, THE (US, Yvonne Rainer, 1985)
Notes: Cinema films. Women directors (BNB/PRECIS); Cinema films. - Feminist viewpoints (BNB/PRECIS); Includes bibliographical references and index
ISBN: 0333480600 (cased) : ¦30.00; 0333480619 (pbk.) : ¦8.95
LON: bnb33348060; 6147621

Call No: 761 SHO
Author: Waugh, Thomas, 1948
Place: Metuchen, N.J.
Publisher: Scarecrow Press
PubDate: 1984
PhysDes: xxvii, 508 p. : ill. ; 23 cm
Subject: NEWSREELS; FEMINISM AND THE CINEMA; DOCUMENTARY FILMS; DOCUMENTARY FILMS. THIRD WORLD; ALVAREZ, SANTIAGO; VERTOV, DZIGA; SHUB, ESTHER; BRECHT, BERTOLT; GODARD, JEAN-LUC; IVENS, JORIS; RENOIR, JEAN; SOLANAS, FERNANDO E.; VAN DONGEN, HELEN; STRAND, PAUL; SCHEUMANN, PETER; MIEVILLE, ANNE-MARIE; KOPPLE, BARBARA; GUZMAN, PATRICIO; GETINO, OCTAVIO; ELAM, JOANN; ALLENDE, SALVADOR; BIRRI, FERNANDO; HURWITZ, LEO; VIE EST A NOUS, LA (FR, Jean Renoir & others, 1936); FINALLY GOT THE NEWS (US, League of Revolutionary Black Workers, 1970); NIGHTCLEANERS (UK, Berwick Street Film Collective, 1975); HARLAN COUNTY, U.S.A. (US, Barbara Kopple, 1976); SANRIZUKA: DAINI TORIDE NO HITOBITO (JA, Shinsuke Ogawa, 1971); HORA DE LOS HORNOS, LA (AG, Fernado E. Solanos, 1969); ICI ET AILLEURS (FR, Jean-Luc Godard & Anne-Marie Mieville, 1976); WAVES OF REVOLUTION (II, Arnaud Patwardhan, 1975); HABLANDO DEL PUNTO CUBANO (CU, Octavio Cortazar, 1972); POR PRIMERA VEZ (CU, Octavio Cortazar, 1967); NOW (CU, Santiago Alvarez, 1965); NATIVE LAND (US, Leo Hurwitz & Paul Strand, 1942); RAPE (US, JoAnn Elam, 1975); KRIEG DER MUMIEN, DER (GE, Walter Heynowski & Gerhard Scheumann, 1974); SPANISH EARTH, THE (US, Joris Ivens, 1937)
Summary: "This anthology of 25 articles is both historical and cross- cultural, covering the pioneering period of the twenties and thirties and the dynamic growth of committed documentary since the sixties; recent feminist initiatives in North America and Britain; committed documentary in the Third World over the last 25 years; the use of film within the American 'New Left;' and the particular problematic of radical film distribution. Contributors include such well-known activists and scholars as Joan Braderman, Julianne Burton, Guy Hennebelle, John Hess, Claire Johnstone, E. Ann Kaplan, Chuck Kleinhans, Julia Lesage, Steve Neale, Bill Nichols, Anand Patwardhan, and Paul Willemen. Filmmakers and collectives discussed include Dziga Vertov, Joris Ivens, Jean Renoir, Frontier Films, Newsreel, Chris Marker, Barbara Kopple, JoAnn Elam, Michelle Citron, Shinsuke Ogawa, Fernando Birri, Patricio Guzman, Santiago Alvarez, Fernando Solanas, Jean-Luc Godard, Anand Patwardhan, and the Nicaraguan Studio 'Incine.'" -- AMAZON BOOKS
Notes: Includes bibliographies and indexes
ISBN: 0810822172 (pbk.); 0810817063
LON: 84005603; 3178777
Contents: Introduction: why documentary filmmakers keep trying to change the world, or why people changing the world keep making documentaries / Thomas Waugh; Part 1: Pioneers -- "Cinema Weekly" and "Cinema Truth": Dziga Vertov and the Leninist Proportion / Seth Feldman -- Esther Shub: Film as a historical discourse / Vlada Petric -- Workers' newsreels in Germany, the Netherlands, and Japan during the Twenties and Thirties / Bert Hogenkamp -- Radical documentary in the United States, 1930-1942 / Russell Campbell -- The Communist Party and La Vie est a nous: document and fiction, poetics and politics / Daniel Serceau -- Joris Iven's The Spanish Earth: committed documentary and the popular front / Thomas Waugh --; Part 2: Contemporaries: The West -- Newsreel, 1967-1972: film and revolution / Bill Nichols -- Finally Got the News: the making of a radical documentary / Dan Georgakas -- French radical documentary after May 1968 / Guy Hennebelle -- Brecht in Britain: The Nightcleaners and the independent political film / Claire Johnston and Paul Willemen -- Theory and practice of the realist documentary form in Harlan County, U.S.A. / E. Ann Kaplan -- Feminist documentary: aesthetics and politics / Julia Lesage -- Talking about our lives and experiences: some thoughts about feminism, documentary, and "talking heads" / Barbara Halpern Martineau -- Shinsuke Ogawa's Peasants of the Second Fortress: guerrilla documentary in Japan / Joan Braderman -- Committed documentary in Quebec: a still-birth? / Real La Rochelle -- The challenge of radical film distribution: Conversations with Toronto's DEC Films Collective / Margaret Cooper -- Forms, politics, makers and contexts: basic issues for a theory of radical political documentary / Chuck Kleinhans --; Part 3: Contemporaries: The Third World -- Democratizing documentary: modes of address in the Latin American cinema, 1958-72 / Julianne Burton -- Santiago Alvarez: Cine-agitator for the Cuban Revolution and the Third World / John Hess -- Democracy as participation: the Battle of Chile / Victor Wallis and John D. Barlow -- Children of Vertov in the land of Brecht / Pierre Veronneau -- Notes and questions on political cinema: from Hours of the Furnaces to Ici et ailleurs / Steve Neale -- The guerrilla film, underground and in exile: a critique and a case study of Waves of Revolution / Anand Patwardhan -- The Sandinista documentary: a historical contextualization / John Ramirez
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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: 81COP HAN
Author: Handyside, Fiona
Source: UK/US
Place: London ; New York
Publisher: I.B. Tauris
PubDate: 2017
PhysDes: ix, 201 pages : illustrations ; 24 cm
Series: International Library of the Moving Image ; 39
Subject: COPPOLA, SOFIA; STARS. USA; FEMININITY IN FILMS; FEMINISM AND THE CINEMA; HOUSES AND GARDENS IN FILMS; VIRGIN SUICIDES, THE (US, Sofia Coppola, 2000); LOST IN TRANSLATION (US, Sofia Coppola, 2003); MARIE ANTOINETTE (US, Sofia Coppola, 2006); SOMEWHERE (US/UK/IT/JA, Sofia Coppola, 2010); BLING RING, THE (US/UK/G/FR, Sofia Coppola, 2013)
Summary: Sofia Coppola is widely regarded as one of the most astute, provocative and visionary directors in the contemporary film industry. She has received numerous accolades including an Academy Award and two Golden Globes, and in 2004 became the first ever American woman to be nominated for a Best Director Oscar. From 'The Virgin Suicides' to 'The Bling Ring', her work carves out new spaces for the expression of female subjectivity that embraces rather than rejects femininity. Fiona Handyside here considers the careful counter-balance of vulnerability with the possibilities and pleasures of being female in Coppola's films - albeit for the white and the privileged - through their recurrent themes of girlhood, fame, power, sex and celebrity
ISBN: 9781784537159
Contents: Machine generated contents note: 1.Sofia Coppola: Postfeminist [d]au[gh]te[u]r? -- 2.Luminous Girlhoods: Sparkle and Light in Coppola's Films -- 3.`There's No Place Like Home!' The Exploded Home as Postfeminist Chronotope -- 4.Dressing Up and Playing About: Costume and Fashion

Call No: 81COP BAC
Author: Backman Rogers, Anna
Source: US
Place: New York; Oxford
Publisher: Berghahn Books
PubDate: [2019]
PhysDes: 177 pages : illustrations ; 23 cm
Subject: WOMEN, FILMS MADE BY; WOMEN AND THE CINEMA; WOMEN DIRECTORS; WOMEN IN FILMS; FEMINISM AND THE CINEMA; CRITICISM; USA; COPPOLA, SOFIA; VIRGIN SUICIDES, THE (US, Sofia Coppola, 2000); BEGUILED, THE (US, Sofia Coppola, 2017); LOST IN TRANSLATION (US, Sofia Coppola, 2003); SOMEWHERE (US/UK/IT/JA, Sofia Coppola, 2010); MARIE ANTOINETTE (US, Sofia Coppola, 2006); BLING RING, THE (US/UK/G/FR, Sofia Coppola, 2013)
Summary: "All too often, the movies of Sofia Coppola have been dismissed as "all style, no substance." But such an easy caricature, as this engaging and accessible survey of Coppola's oeuvre demonstrates, fundamentally misconstrues what are rich, ambiguous, meaningful films. Drawing on insights from feminist philosophy and psychology, the author here takes an original approach to Coppola, exploring vital themes from the subversion of patriarchy in The Virgin Suicides to the "female gothic" in The Beguiled. As Rogers shows, far from endorsing a facile and depoliticized postfeminism, Coppola's films instead deploy beguilement, mood, and pleasure in the service of a robustly feminist philosophy." - taken from back cover.
ISBN: 9781785339752
Contents: Introduction : the surface of the image is political -- Part I. Imaging absence as abjection and imaging the female gothic as rage. Chapter 1. The Virgin Suicides (1999) -- Chapter 2. The Beguiled (2017) -- Part II. Empty subjectivities and masculinity as void. Chapter 3. Lost in Translation (2003) -- Chapter 4. Somewhere (2010) -- Part III. The female body as patriarchal currency and the commodification of female identity. Chapter 5. Marie Antoinette (2006) -- Chapter 6. The Bling Ring (2013) -- Conclusion : On Beguilement.

Call No: 721.02 (94) CHA
Author: Chapman, Jan
Edition: 1st ed.
Source: Australia
Place: Australia
Publisher: Screen sound Australia
PubDate: 2002
PhysDes: 1 v ; 20.5 cm, b&w ill.
Series: Longford Lyell lecture 2002, ScreenSound Australia Monograph no.3
Subject: WOMEN AND THE CINEMA. AUSTRALIA; WOMEN FILM WORKERS. AUSTRALIA; WOMEN FILMMAKERS. AUSTRALIA; WOMEN IN FILMS; WOMEN ON TV. AUSTRALIA; WOMEN, FILMS FOR; WOMEN, FILMS MADE BY; FEMINISM AND THE CINEMA; FEMINISM AND TV; CHAPMAN, JAN; ARMSTRONG, GILLIAN; CAMPION, JANE; LYELL, LOTTIE; BARRETT, SHIRLEY; MILLIKEN, SUE; Lovell, Patricia; ROBB, JILL; SCOTT, JANE; LONG, JOAN; FINK, MARGARET; DAVIS, JUDY; LEVY, SANDRA; GRIFFITHS, RACHEL; BLANCHETT, CATE; KIDMAN, NICOLE; COLLETTE, TONI; SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919); WOMAN SUFFERS, THE (AT, Raymond Longford, 1918); ON OUR SELECTION (AT, Raymond Longford, 1920); SHOWTIME (AT, Jan Chapman, 1978); SWEET AND SOUR [TV] (AT, 1984); SINGER AND THE DANCER, THE (AT, Gillian Amrstrong, 1977); SMOKES AND LOLLIES (AT, Gillian Armstrong, 1976); BINGO BRIDESMAIDS AND BRACES (AT, Gillian Armstrong, 1988); MORE SMOKES, LESS LOLLIES (AT, Gillian Armstrong, 1981); MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979); ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990); PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996); WELL, THE (AT, Samantha Lang, 1997); LAST DAYS OF CHEZ NOUS, THE (AT, Gillian Armstrong, 1992); TWO FRIENDS [TV] (AT, Jane Campion, 1986); LITTLE WOMEN (US, Gillian Armstrong, 1994); OSCAR AND LUCINDA (AT, Gillian Armstrong, 1997); CHARLOTTE GRAY (GG/UK/AT, Gillian Armstrong, 2001); PIANO, THE (AT, Jane Campion, 1993); GIRL'S OWN STORY, A (AT, Jane Campion, 1983)
Summary: The ScreenSound Australia Annual Longford Lyell Lecture was established in 2001. It is named in honour of two significant pioneers of Australian cinema, Lottie Lyell and Raymond Longford, who were the foremost creative partnership in the pioneering years of Australian cinema. Jan Chapman is one of Australia’s most famous producers having been involved in the production of ‘Come in Spinner’, ‘Sweet and Sour’, ‘the Piano’ and ‘Lantana’ to name but a few. Chapman talks about the development of her career in relation to other Australian women involved in filmmaking such as Gillian Armstrong and New Zealand born Jane Campion
ISBN: 0642365172

Call No: 451 02 "192" CON
Author: Conor, Liz
Edition: 1st ed.
Source: USA
Place: Bloomington, Indiana
Publisher: Indiana University Press
PubDate: 2004
PhysDes: 334 p. : b+w ill. ; 23 cm
Subject: WOMEN AND THE CINEMA; WOMEN IN FILMS; FEMINISM AND THE CINEMA; WOMEN, FILMS FOR; PROSTITUTES IN FILMS; POPULAR CULTURE AND THE CINEMA; HISTORY AND THE CINEMA; MEDIA; TECHNOLOGY AND THE CINEMA; SOCIETY AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; ADVERTISING; CARTOONS; CELEBRITIES IN FILMS; IMPERIALISM AND THE CINEMA; FASHION AND THE CINEMA; MODERNISM AND THE CINEMA; RACIAL ISSUES AND THE CINEMA; DE BEAUVOIR, SIMONE; KELLERMAN, ANNETTE; VALENTINO, RUDOLPH; LYELL, LOTTIE; MOTH OF MOONBI, THE (AT, Charles Chauvel, 1926); GIRL OF THE BUSH, A (AT, Franklyn Barrett, 1921); FOR THE TERM OF HIS NATURAL LIFE (AT, Norman Dawn, 1927); SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919); GREENHIDE (AT, Charles Chauvel, 1926)
Summary: In The Spectacular Modern Woman, Liz Conor illustrates how technological advances in image reproduction transformed Wetter industrial societies into visual or ‘oculacentric’ cultures with significant and complex consequences for women’s lives. With the rise of mass media, Conor shows how women’s identities were intimately tied to the visual culture of the day. [Taken from back cover].
ISBN: 0253216702

Call No: 732.1-02 HEN
Author: Hennefeld, Maggie
Edition: 2018
Place: New York
Publisher: Columbia University Press
PubDate: 2018
PhysDes: xvii, 364 pages : illustrated ; 23 cm
Series: Film and culture
Subject: HISTORY OF CINEMA. SILENT PERIOD; WOMEN AND THE CINEMA; GRIFFITH, DAVID WARK; DRESSLER, MARIE; FEMINISM AND THE CINEMA; GENDER AND THE CINEMA; GISH, LILLIAN; NORMAND, MABEL; PATHE; SENNETT, MACK; TURNER, FLORENCE; VITAGRAPH
Summary: Women explode out of chimneys and melt when sprayed with soda water. Feminist activists play practical jokes to lobby for voting rights, while overworked kitchen maids dismember their limbs to finish their chores on time. In early slapstick films with titles such as Saucy Sue, Mary Jane’s Mishap, Jane on Strike, and The Consequences of Feminism, comediennes exhibit the tensions between joyful laughter and gendered violence. Slapstick comedy often celebrates the exaggeration of make-believe injury. Unlike male clowns, however, these comic actresses use slapstick antics as forms of feminist protest. They spontaneously combust while doing housework, disappear and reappear when sexually assaulted, or transform into men by eating magic seeds—and their absurd metamorphoses evoke the real-life predicaments of female identity in a changing modern world. Specters of Slapstick and Silent Film Comediennes reveals the gender politics of comedy and the comedic potentials of feminism through close consideration of hundreds of silent films. As Maggie Hennefeld argues, comedienne catastrophes provide disturbing but suggestive images for comprehending gendered social upheavals in the early twentieth century. At the same time, slapstick comediennes were crucial to the emergence of film language. Women’s flexible physicality offered filmmakers blank slates for experimenting with the visual and social potentials of cinema. Specters of Slapstick and Silent Film Comediennes poses major challenges to the foundations of our ideas about slapstick comedy and film history, showing how this combustible genre blows open age-old debates about laughter, society, and gender politics. -- publisher's web site
ISBN: 9780231179478
Donation: Senses of Cinema
Contents: List of Illustrations -- Acknowledgments -- Introduction -- Part I. Early Film Combustion -- 1. Early Cinema and the Comedy of Female Catastrophe -- 2. Female Combustion and Feminist Film Historiography -- Part II. Transitional Film Metamorphosis -- 3. Slapstick Comediennes in Transitional Cinema: Between Body and Medium -- 4. The Geopolitics of Transitional Film Comedy: American Vitagraph Versus French Pathé-Freres -- 5. D. W. Griffith’s Slapstick Comediennes: Female Corporeality and Narrative Film Storytelling -- Part III. Feminist Slapstick Politics -- 6. Film Comedy Aesthetics and Suffragette Social Politics -- 7. Radical Militancy and Slapstick Political Violence -- Postscript: Haunted Laughter at Late Comediennes -- Annotated Filmography -- Notes -- Bibliography -- Index

Call No: 465 STA Copy 1
CorpAuthor: British Film Institute
Source: UK
Place: London
Publisher: British Film Institute
PubDate: 1982
PhysDes: 83 p. ; 30 cm.
Subject: STAR SYSTEM; POLITICS AND THE CINEMA; FEMINISM AND THE CINEMA; THEORY; DUEL IN THE SUN (US, King Vidor, 1946)

Call No: REFERENCE SECTION; 036-02 STR
Author: Clarke, Nicola; Gordon, Stephen; Johnston, Louise; Khan, Ayesha; Smart, Emma
Source: UK
Place: London
Publisher: BFI National Library
PubDate: c2001
PhysDes: 77 p ; 30 cm
Series: National Library 16+ guides
Subject: WOMEN IN FILMS; FEMINISM AND THE CINEMA; TODO SOBRE MI MADRE (SP/FR, Pedro Almodovar, 1999); ALLY MCBEAL [TV] (US, 1997-); BASIC INSTINCT (US, Paul Verhoeven, 1992); BHAJI ON THE BEACH (UK, Gurinder Chadha, 1993); BOUND (AT, Serhat Caradee, 2000); BUFFY THE VAMPIRE SLAYER (US, Fran Rubel Kuzui, 1992); BUFFY THE VAMPIRE SLAYER [TV] (US, 1997-2004); CHARLIE'S ANGELS (US, McG, 2000); WO HU ZANG LONG (HK, Ang Lee, 2000); ELIZABETH (UK, Shekhar Kapur, 1998); ERIN BROKOVICH (US, Stephen Soderbergh, 2000); LARA CROFT: TOMB RAIDER (US, Simon West, 2001); LAST SEDUCTION, THE (US, John Dahl, 1994); NIKITA (FR/IT, Luc Besson, 1990); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); ROSEANNE [TV] (US, 1988- ); RUN LOLA RUN (G, Tom Tykwer, 1998); SENSE AND SENSIBILITY (US, Ang Lee, 1995); SILENCE OF THE LAMBS, THE (US, Jonathan Demme, 1991); TERMINATOR 2: JUDGMENT DAY (US, James Cameron, 1991); WAITING TO EXHALE (US, Forest Whitaker, 1995); XENA: WARRIOR PRINCESS [TV] (US, 1995-); X-FILES, THE [TV] (US, 1993-); CROUCHING TIGER, HIDDEN DRAGON (HK, Ang Lee, 2000)
Notes: This and other bfi National Library 16+ Guides available from http://www.bfi.org.uk/16+
ID2: 150

Call No: REFERENCE SECTION; 036 -02 STR
Author: Esteban, Jose de; Thomas, Wendy
Source: UK
Place: London
Publisher: BFI National Library
PubDate: c2003
PhysDes: 14 p. ; 30 cm
Series: 16+ Source guides
Subject: WOMEN IN FILMS; GENDER AND THE CINEMA; FEMINISM AND THE CINEMA; TODO SOBRE MI MADRE (SP/FR, Pedro Almodovar, 1999); JACKIE BROWN (US, Quentin Tarantino, 1997); OTHERS, THE (US/SP, Alejandro Amenabar, 2001); PANIC ROOM (US, David Fincher, 2002); BEND IT LIKE BECKHAM (UK, Gurinda Chadha, 2002)
Donation: Donated by Senses Of Cinema, 2009

Call No: 626[396] MUR
Author: Murray, Terri
Edition: 2019
PubDate: 2019
PhysDes: 136 pages : illustrated ; 22 cm
Subject: FEMINISM AND THE CINEMA; GAZE IN FILMS; BLONDE VENUS (US, Josef von Sternberg, 1932); BASIC INSTINCT (US, Paul Verhoeven, 1992); STRANGE DAYS (US, Kathryn Bigelow, 1995)
Notes: "First published in 2007 as 'Feminist Film Theory: A Teacher's Guide.'"
ISBN: 9781911325796

Call No: 626:396 DEL
Author: De Lauretis, Teresa
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1987
PhysDes: xi, 151 p. ; 25 cm
Series: Theories of representation and difference
Subject: FEMINISM AND THE CINEMA; GAZE IN FILMS; SEMIOLOGY; THEORY; GENDER AND THE CINEMA; WOMEN IN FILMS
Notes: Includes bibliographies and index
ISBN: 0253358531; 0253204410 (pbk.)
LON: 86046317; 5123996
Contents: The technology of gender -- The violence of rhetoric: considerations on representation and gender -- Gaudy rose: Eco and narcissism -- Calvino and the Amazons: reading the (post)modern text -- Gramsci notwithstanding, or, the left hand of history -- Fellini's 9 1/2 -- Strategies of coherence: narrative cinema, feminist poetics, and Yvonne Rainer -- Rethinking women's cinem: aesthetics and feminist theory

Call No: 761 RAB
Author: Rabinowitz, Paula
Place: London New York
Publisher: Verso
PubDate: 1994
PhysDes: xi, 264 p. : ill. ; 24 cm
Subject: CINEMA VERITE; CLASS AND THE CINEMA; DOCUMENTARIES; DOCUMENTARY DRAMAS; ETHNOGRAPHIC FILMS; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; MASCULINITY IN FILMS; NATIONALISM AND THE CINEMA; POLITICS AND THE CINEMA; PSYCHOLOGICAL EFFECTS OF FILMS; PSYCHOLOGY AND THE CINEMA; SOCIAL PROBLEMS IN FILMS; VIETNAM WAR IN FILMS; VOYEURISM AND THE CINEMA; BENJAMIN, WALTER; FREUD, SIGMUND; FAR FROM POLAND (US, Jill Godmilow, 1984)
Summary: "They must be represented examines documentary in print, photography, television and film from the 1930s through the 1980s, using the lens of recent feminist film theory as well as scholarship on race, class and gender emerging from the new interdisciplinary approach of American cultural studies. Paula Rabinowitz discusses the ways in which these four media shaped truth-claims and political agency over the decades: in the 1930s about poverty, labor and popular culture during the depression; in the 1960s, about the Vietnam War, racism, work and the counterculture; and in the 1980s, about feminist and gay critiques of gender, history, narrative and cinema...Rabinowitz argues that the gendering ov vision that occurs when narratives conform to conventional genres profoundly affects the relation of documentarian to subject. She goes on to define this gendering of vision in documentary as an ethnographic process. Ultimately, this polemical study challenges the construction of the spectato in psychoanalytic film theory, and articulates a new model for theorizing power relations in culture and history." -- taken from back cover.
Notes: Includes bibliographical references (p. 221-251) and index
ISBN: 1859849253; 1859840256 (pbk.)
LON: bnc85984925; 11201643
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Call No: 626:396(44) FLI
Author: Flitterman-Lewis, Sandy, 1946
Place: Urbana
Publisher: University of Illinois Press
PubDate: 1990
PhysDes: xii, 340 p. : ill. ; 23 cm
Subject: FEMINISM AND THE CINEMA; THEORY; INDUSTRY, FILM. FRANCE; HISTORY OF CINEMA; VARDA, AGNES; DULAC, GERMAINE; EPSTEIN, MARIE
Summary: Using biographic, historical, and textual analyses to elaborate an alternative, feminist cinematic tradition, this groundbreaking study presents an exploration of the impact of three French women filmmakers: Germaine Dulac, Marie Epstein, and Agnes Varda.
Notes: Originally presented as the author's thesis (Ph. D.--University of California, Berkeley); Includes index; Bibliography: p. [321]-332
ISBN: 0252016548 (alk. paper)
LON: 89031664; 6319232
Contents: 1. Introduction -- 2. Germaind Dulac: first feminist of the avant-garde -- 3. Dulac in context: French film production in the twenties -- 4. From fantasy to structure of the fantasm: 'The smiling mme Beudet' and 'The seashell and the clergyman' -- Marie Epstein: a woman in the shadows -- 6. Epstein in context: French film production in the thirties -- 7. Nursery/rhymes: primal scenes in 'La maternelle' -- 8. Agnes Varda and the woman seen -- 9. Varda in context: French film production in the early sixties - the new wave -- 10. From deesse to idee: 'Cleo from 5-7' -- 11. The "impossible portrait" of femininity: 'Vagabond' -- 12. Conclusion

Author: Marks, Dick
PhysDes: Article
Subject: DOCUMENTARY FILMS. AUSTRALIA; FEMINISM AND THE CINEMA. AUSTRALIA; SOCIAL ISSUES IN FILMS; GREEN, KITTY; LATHAM, MICHAEL; UKRAINE IS NOT A BROTHEL (AT/UE, Kitty Green, 2013)
Summary: Interview with Director Kitty Green and Director of Photography Michael Latham, about their experiences filming in Ukraine, whilst working on the documentary, Ukraine Is Not a Brothel, profiling the Ukrainian feminist social activist group FEMEN
Notes: Interview

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

Call No: 634 WAL
Author: Walker, Elsie
Source: UK/US
Place: New York
Publisher: Oxford University Press
PubDate: c2015
PhysDes: ix, 435 pages : illustrations ; 26 cm
Subject: SOUND; SOUND TRACKS; SOUNDTRACKS; THEORY; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; GENRES; IMPERIALISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; SEARCHERS, THE (US, John Ford, 1956); DEAD MAN (US, Jim Jarmusch, 1995); RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001); TEN CANOES (AT, Rolf De Heer, 2006); TO HAVE AND HAVE NOT (US, Howard Hawks, 1944); PIANO, THE (AT, Jane Campion, 1993); SHUTTER ISLAND (US, Martin Scorsese, 2010); REBECCA (US, Alfred Hitchcock, 1940); HEAVENLY CREATURES (NZ, Peter Jackson, 1994); BIGGER THAN LIFE (US, Nicholas Ray, 1956)
Summary: "Understanding Sound Tracks Through Film Theory breaks new ground by redirecting the arguments of foundational texts within film theory to film sound tracks. Walker includes sustained analyses of particular films according to a range of theoretical approaches: psychoanalysis, feminism, genre studies, post-colonialism, and queer theory. The films come from disparate temporal and industrial contexts: from Classical Hollywood Gothic melodrama (Rebecca) to contemporary, critically-acclaimed science fiction (Gravity). Along with sound tracks from canonical American films including The Searchers and To Have and Have Not, Walker analyzes independent Australasian films: examples include Heavenly Creatures, a New Zealand film that uses music to empower its queer female protagonists; and Ten Canoes, the first Australian feature film with a script entirely in Aboriginal languages. Understanding Sound Tracks Through Film Theory thus not only calls new attention to the significance of sound tracks, but also focuses on the sonic power of characters representing those whose voices have all too often been drowned out. Understanding Sound Tracks Through Film Theory is both rigorous and accessible to all students and scholars with a grasp of cinematic and musical structures. Moreover, the book brings together film studies, musicology, history, politics, and culture and therefore resonates across the liberal arts." -- BOOK BLURB
Notes: Formerly CIP; Includes bibliographical references, filmography (page 419) and index; Includes filmography
ISBN: 9780199896325
Donation: Oxford University Press
Contents: -- acknowledgments -- general introduction -- pt. I GENRE STUDIES -- 1.Introduction: "A Semantic/Syntactic Approach to Film Genre" / Rick Altman -- 2.The Searchers -- 3.Dead Man -- pt. II POSTCOLONIALISM -- 4.Introduction: "Colonialism, Racism, and Representation: An Introduction" / Robert Stam and Louise Spence -- 5.Rabbit-Proof Fence -- 6.Ten Canoes -- pt. III FEMINISM -- 7.Introduction: "Visual Pleasure and Narrative Cinema" / Laura Mulvey -- 8.To Have and Have Not -- 9.The Piano -- pt. IV PSYCHOANALYSIS -- 10.Introduction: "Looking for the Gaze: Lacanian Film Theory and Its Vicissitudes" / Todd McGowan -- 11.Bigger Than Life -- 12.Shutter Island -- pt. V QUEER THEORY -- 13.Introduction: "Imitation and Gender Insubordination" / Judith Butler -- 14.Rebecca -- 15.Heavenly Creatures -- coda -- select filmography -- further perceiving -- select glossary index --

Call No: 451-025 ROW
Author: Rowe, Kathleen, 1947
Edition: 1st ed
Place: Austin, Tex.
Publisher: University of Texas Press
PubDate: 1995
PhysDes: x, 272 p. : ill. ; 23 cm
Series: Texas film studies series
Subject: COMEDIENNES; FEMINISM AND THE CINEMA; COMEDIES; TRANSVESTISM; MELODRAMA; SITUATION COMEDY; CARNIVAL AND THE CINEMA; HEPBURN, KATHARINE; ARNOLD, ROSEANNE; MISS PIGGY; WEST, MAE; STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); ROSEANNE [TV] (US, 1988- ); SOME LIKE IT HOT (US, Billy Wilder, 1959); BRINGING UP BABY (US, Howard Hawks, 1938); BALL OF FIRE (US, Howard Hawks, 1942); BORN YESTERDAY (US, George Cukor, 1950); LADY EVE, THE (US, Preston Sturges, 1941); MOONSTRUCK (US, Norman Jewison, 1987); PRETTY WOMAN (US, Garry Marshall, 1990); SHE DONE HIM WRONG (US, Lowell Sherman, 1933); IT HAPPENED ONE NIGHT (US, Frank Capra, 1934); SYLVIA SCARLETT (US, George Cukor, 1935); GENTLEMEN PREFER BLONDES (US, Howard Hawks, 1953)
Summary: Unruly women have been making a spectacle of themselves in film and on television from Mae West to Roseanne Arnold. In this groundbreaking work, Kathleen Rowe explores how the unruly woman - often a voluptuous, noisy, joke-making rebel or "woman on top" - uses humor and excess to undermine patriarchal norms and authority. At the heart of the book are detailed analyses of two highly successful unruly women - the comedian Roseanne Arnold and the Muppet Miss Piggy. Putting these two figures in a deeper cultural perspective, Rowe also examines the evolution of romantic film comedy from the classical Hollywood period to the present, showing how the comedic roles of actresses such as Katharine Hepburn, Barbara Stanwyck, and Marilyn Monroe offered an alternative, empowered image of women that differed sharply from the "suffering heroine" portrayed in classical melodramas; This feminist study of comedy in film and television offers exciting new opportunities for understanding these media. Written with verve and humor, it will be important reading for a wide popular and scholarly audience in mass communications, gender studies, and popular culture
Notes: Includes bibliographical references (p. [247]-260) and index
ISBN: 0292790724; 0292770693 (pbk.)
LON: 94013656; 10900401

Call No: 67(04) MUL
Author: Mulvey, Laura
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1989
PhysDes: xvi, 201 p., [12] p. of plates : ill. ; 24 cm
Series: Theories of representation and difference
Subject: FEMINISM AND THE CINEMA; THEORY; NARRATIVE IN FILMS; EXPERIMENTAL FILMS; MELODRAMA; PERCEPTION; WOMEN IN FILMS; GODARD, JEAN-LUC; SIRK, DOUGLAS; FASSBINDER, RAINER WERNER; DUEL IN THE SUN (US, King Vidor, 1946); RIDDLES OF THE SPHINX (UK, Laura Mulvey & Peter Wollen, 1977)
Notes: Includes bibliographies
ISBN: 0253362261; 0253204941 (pbk.)
LON: 88009627; 5820595
Contents: I. ICONOCLASM -- 1. The spectacle is vulnerable: Miss World 1970 -- 2. Fears, fantasies and the male unconsious or 'You don't know what is happening, do you Mr. Jones?' -- 3. Visual pleasure and narrative cinema -- II. MELODRAMA -- 4. Afterthoughts on 'Visual pleasure and narrative cinema' inspired by King Vidor's Duel in the sun (1946) -- 5. Notes on Sirk and melodrama -- 6. Fassbinder and Sirk -- 7. Images of women, images of sexuality: some films by J. L. Godard -- 8. Melodrama inside and outside the house -- III. ON THE MARGINS -- 9. Frida Kahlo and Tina Modotti -- IV. Avant-Garde -- 10. Film, feminism and the avant-garde -- 11. Dialogue with spectatorship: Barbara Kruger and Victor Burgin -- 12. 'Magnificent obsession': an introduction to the work of five photographers -- 13. Impending time: Mary Kelly's Corpus -- V. BOUNDARIES -- 14. Changes: thoughts on myth, narrative and historical experience -- 15. The Oedipus myth: beyond the Riddles of the Sphinx

Call No: 721-02 THO
Author: Thornham, Sue
Source: UK
Place: London
Publisher: Palgrave macmillan [on behalf of the] bfi
PubDate: 2012
PhysDes: vi, 236 p. : ill., ports. ; 24 cm
Subject: WOMEN AND THE CINEMA; WOMEN DIRECTORS; WOMEN FILMMAKERS; WOMEN IN FILMS; FEMINISM AND THE CINEMA; WOOLF, VIRGINIA; ARMSTRONG, GILLIAN
Summary: "What happens when women tell their own stories in film? In What If I Had Been the Hero?, Sue Thornham addresses this question through an exploration of a wide range of films, from experimental feminist film to mainstream Hollywood, and from the 1970s to the present day, by film-makers including Sally Potter, Jane Campion, Deepa Mehta, Patricia Rozema and Lynne Ramsay. Her discussion takes in films from India and Argentina as well as Europe, Canada, Australia and the US. Drawing on a wide range of feminist theoretical sources, What If I Had Been the Hero? makes an important intervention into contemporary debates, situating film-making within a rich history of female creativity, and insisting on the continuing importance of feminist theory." -- BOOK BLURB
Notes: Includes bibliographic references and index; Includes filmography
ISBN: 9781844573639
Contents: Part One: Questions -- Chapter One: 'What If I Had Been The Hero?' -- Chapter Two: Women's Liberation Cinema? -- Chapter Three: Unexplored Territories --; Part Two: Explorations -- Chapter Four: Heroes and Writers -- Chapter Five: Landscapes and Stories -- Chapter Six: Bodies and Passions -- Conclusion: Unfinished Business

Author: Millard, Kathryn
PhysDes: Book review; Bibliography
Subject: FEMINISM AND THE CINEMA
Summary: A review of Laleen Jayamanne's edited collection, 'Kiss me deadly: feminism and the cinema for the moment'.

Call No: 626:396 MAY
Author: Mayne, Judith
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1990
PhysDes: x, 260 p. : ill. ; 25 cm
Series: Theories of representation and difference
Subject: WOMEN IN FILMS; FEMINISM AND THE CINEMA; GAZE IN FILMS; DIRECTORS
Summary: This book examines how contemporary women filmmakers working in North America, Europe, and Australia have attempted to reinvent cinema as a narrative and visual form. It analyzes 'women's films' within the context of film histories, genres, theories and feminist thinking through study of the techniques, themes and images of both mainstream and avant-garde filmmaking.
Notes: Includes bibliographical references (p. 229-253) and index
ISBN: 0253337194 (alk. paper); 0253206065 (pbk. : alk. paper)
LON: 90034125; 7165246
Contents: I. Spectacle and narrative -- Spectacle, narrative and screen -- Screen tests -- II. Female authorship -- Female authorship reconsidered -- Mistresses of discrepancy -- III. Early cinema and women's films -- "Primitive narration" -- Revising the "primative"

Call No: 014 SMI
Author: Smith, Prudence
Edition: 1984
Place: London
Publisher: BFI Education
PubDate: June 1984
PhysDes: 132 pages : 30 cm
Subject: WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA

Author: Longmore, Pat
PhysDes: Article
Subject: WOMEN IN FILMS; FEMINISM AND THE CINEMA
Summary: Response to the 1973 Women Vision weekend, held in Sydney, which screened and discussed films that upheld or dismanteled the stereotypical portrayal of women in films.

Call No: 734:451-02 WOM
Author: Kaplan, E. Ann
Edition: Rev. and expanded ed
Place: London
Publisher: BFI Publishing
PubDate: 1998
PhysDes: ix, 238 p. : ill. ; 24 cm
Subject: WOMEN IN FILMS; FILM NOIR; FEMINISM AND THE CINEMA; ETHNIC GROUPS IN FILMS; HOMOSEXUALITY AND THE CINEMA; FEMME FATALE; POSTMODERNISM AND THE CINEMA; HAUNTING, THE (US, Robert Wise, 1963); BOUND (US, Larry Wachowski & Andy Wachowski, 1996); CAT PEOPLE (US, Jacques Tourneur, 1942); LADY FROM SHANGHAI, THE (US, Orson Welles, 1948); KLUTE (US, Alan J. Pakula, 1971); MILDRED PIERCE (US, Michael Curtis, 1945); BLUE GARDENIA, THE (US, Fritz Lang, 1953); DOUBLE INDEMNITY (US, Billy Wilder, 1944); GILDA (US, Charles Vidor, 1946)
Notes: Includes bibliographical references
ISBN: 0851706665 (pbk.); 0851706657 (hbk.)
LON: 14106071

Call No: 626[396] JUH
Author: Juhasz, Alexandra
Source: US
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: c2001
PhysDes: xiii, 343 p. : ill. ; 27 cm.
Series: Visible evidence ; v. 9
Subject: FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA; BOWSER, PEARL; SCHEEMANN, CAROLEE; HAMMER, BARBARA; HORSEFIELD, KATE; CAPLES, MARGARET; REICHERT, JULIA; CITRON, MICHELLE; GREEN, VANALYNE; PENLEY, CONSTANCE; MOGUL, SUSAN; LEIGH, CAROL; MOHAMMED, JUANITA; QUINN, WENDY; VESNA, VICTORIA; SOE, VALERIE; WELBON, YVONNE; NEGRON-MUNTANER, FRANCES; DUNYE, CHERYL; OISHI, EVE; CUNNINGHAM, MEGAN
Summary: "Alexandra Juhasz asked twenty-one women to tell their stories - women whose names make up a who's who (and who will be) of independent and experimental film and video. What emerged in the resulting conversations is a compelling (and previously underdocumented) history of feminism and feminist film and video, from its origins in the fifties and sixties to its apex in the seventies, to today." "Women of Vision is a companion piece to Juhasz's 1998 documentary of the same name. The book presents the complete interviews, allowing readers to hear directly the voices of these articulate, passionate women in an interactive remembering of feminist media history. Juhasz's introduction provides a historical, theoretical, and aesthetic context for the interviews." "Interviewees include: Pearl Bowser; Margaret Caples; Michelle Citron; Megan Cunningham; Cheryl Dunye; Vanalyne Green; Barbara Hammer; Kate Horsfield; Carol Leigh; Susan Mogul; Juanita Mohammed; Frances Negron-Muntaner; Eve Oishi; Constance Penley; Wendy Quinn; Julia Reichert; Carolee Scheemann; Valerie Soe; Victoria Vesna; and Yvonne Welbon."--BOOK JACKET.
Notes: Includes bibliographical references (p. 331-339)
ISBN: 081663372X

Call No: 626:396 WHI
Author: White, Patricia
Source: UK
Place: Durham; London
Publisher: Duke University Press
PubDate: c2015
PhysDes: ix, 270 pages : illustrations ; 24 cm
Subject: WOMEN DIRECTORS; WOMEN FILM WORKERS; WOMEN FILMMAKERS; WOMEN IN FILMS; WOMEN, FILMS MADE BY; FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA
Summary: "In Women's Cienma, World Cinema the author explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women's Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture." -- BACK COVER BOOK BLURB
Notes: Formerly CIP; Also issued online; Includes filmography; Includes bibliographical references (pages 235-246) and index
ISBN: 9780822358053
Contents: -- acknowledgments -- introduction -- To each her own cinema : world cinema and the woman cineaste : Jane Campion's Cannes connections; Lucrecia Martel's vertiginous authorship; Samira Makhmalbaf's sororal cinema -- Framing feminisms : women's cinema as art cinema : Deepa Mehta's elemental feminism; Iranian diasporan women directors and cultural capital -- Feminist film in the age of the chick flick : global flows of women's cinema : engendering new Korean cinema in Jeong Jae-eun's Take care of my cat; Nadine Labaki's celebrity -- Network narratives : Asian women directors two-timing the system in Nia Dinata's Love for share -- Zero Chou and the spaces of Chinese lesbian film -- Is the whole world watching? Fictions of women's human rights : Sabiha Sumar's Democratic cinema; Jasmila Zbanic´'s Grbavica and Balkan cinema's incommensurable gazes; Claudia Llosa's Trans/national address -- afterword -- notes -- bibliography -- filmography -- index --

Call No: 626:396 KUH
Author: Kuhn, Annette
Edition: 2nd ed
Place: London New York
Publisher: Verso
PubDate: 1994
PhysDes: xiv, 285 p. : ill. ; 23 cm
Subject: FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; DIRECTORS; SEMIOLOGY; THEORY
Summary: "This pioneering and influential work of feminist theory has been extensively updated by the author to chart the changes in feminist film theory and practice between the eighties and the nineties...the author discusses and demystifies the current methods of analysis, including semiotic and psychoanalytical approaches. The films used as points of discussion are drawn from both mainstream adn alternative cinema, institutions which are themselves examined in relation to their production, distribution and exhibition practices." -- BACK COVER
Notes: Includes bibliographical references (p. 262-273) and index
ISBN: 1859840108 (pbk.) : $17.95; 1859849105 : $59.95
LON: 94011624; 10900045

Call No: 626:396 KUH
Author: Kuhn, Annette
Place: London Boston
Publisher: Routledge & K. Paul
PubDate: 1982
PhysDes: xiv, 226 p. : ill. ; 21 cm
Subject: FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA
Notes: Includes index; Bibliography: p. [211]-217
ISBN: 0710090447 : $9.00
LON: 81021168; 2144256

Call No: 626:396 ROS
Author: Rosenberg, Jan
Place: Ann Arbor, Mich.
Publisher: UMI Research Press
PubDate: 1983
PhysDes: viii, 143 p. ; 24 cm
Series: Studies in cinema ; no. 22
Subject: FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA; DIRECTORS; HISTORY OF CINEMA; CLASS AND THE CINEMA; DOCUMENTARIES; AVANT-GARDE FILMS; POLITICS AND THE CINEMA; YUDIE (US, Mirra Banks, 1974)
Notes: Revision of the author's thesis, University of Massachusetts, 1979; Includes index; Bibliography: p. [137]-139
ISBN: 0835714004
LON: 83001271; 2470905
Contents: Part 1. Introduction: an overview of political film movements in America -- Introduction: culture and politics -- Political film in America: the larger historical context -- Part 2. Feminism and film -- Introduction -- Women's rights and the movies -- Women's liberation and the feminist film movement -- Part 3. The filmmakers -- Introduction -- Class, family, and education -- Class and film culture -- Age and generational experience -- Older filmakers: the documentarists -- Older filmmakers: the avant-garde -- Younger filmmakers: documentarists and avant-gardists -- Part 4. The films -- Introduction -- The larger political context -- Population and sample -- Feminist films; issue, portrait, and avant-garde -- Part 5. Inventing and routinizing a market -- Introduction -- Processes -- Institutionalization of the economics of the feminist film movement: changes across the decade -- Conclusion by way of an example: the history of a feminist film -- Part 6. Conclusion

Call No: 81HIT MOD
Author: Modleski, Tania, 1949
Place: New York
Publisher: Methuen
PubDate: 1988
PhysDes: 149 p., [16] p. of plates : ill. ; 23 cm
Subject: HITCHCOCK, ALFRED; FEMINISM AND THE CINEMA; REBECCA (US, Alfred Hitchcock, 1940); REAR WINDOW (US, Alfred Hitchcock, 1954); BLACKMAIL (UK, Alfred Hitchcock, 1929); MURDER (UK, Alfred Hitchcock, 1930); NOTORIOUS (US, Alfred Hitchcock, 1946); VERTIGO (US, Alfred Hitchcock, 1958); FRENZY (US, Alfred Hitchcock, 1972)
Notes: Includes index; Bibliography: p. [139]-145
ISBN: 0416017118 (pbk.) : $10.95; 0416017010 (hard) : $25.00
LON: 87015387; 5409834