book
A casebook on film / Charles Thomas Samuels New York: Van Nostrand Reinhold, 1970.
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Film : readings in the mass media / Allen Kirschner and Linda Kirschner New York: The Odyssey Press, c1971.
Call No: 62(04) KIRAuthor: Kirschner, Allen
Kirschner, Linda Place: New YorkPublisher: The Odyssey PressPubDate: c1971PhysDes: 315 pages : 23 cmSubject: CRITICISM ; HISTORY OF CINEMA ; AUDIENCES ; RATING FOR FILMS. USA ; INDUSTRY, FILM. USA ; COMEDIES ; DIRECTION ; GRADUATE, THE (US, Mike Nichols, 1967) Summary: A collection of essays on the history, art and effects of film separated into 3 sections (form and technique, audience and effects, and critics and criticism) with the final section focussing largely on the film The GraduateNotes: Bibliography: p. 313-315.Contents: Movies: the reel world / Marshall McLuhan -- Comedy's greatest era / James Agee -- from King of comedy / Mack Sennett -- The movies 100 years from now / David Wark Griffith -- The modern photoplay / Irving Thalberg -- The movies / H.L. Mencken -- Film and reality / Rudolf Arnheim -- Direction / Alfred Hitchcock -- Reflections on the film actor / Michelangelo Antonioni -- What is "film making"? / Ingmar Bergman -- The reality of New Cinema / Ken Kelman -- Where are we, the underground? / Jonas Mekas -- What makes a good screen story? / Mervyn LeRoy -- The writer and the film / Dudley Nichols -- The movies are now high art / Richard Schickel -- The movies are better than the theater / Walter Kerr -- The film generation / Stanley Kauffmann -- Engaging the eye-minded / Arthur Knight -- Movies: morals, violence, sex: anything goes / Judith Christ -- Film as environment / Anthony Schillaci -- Loverboy of the bourgeoisie / Tom Wolfe -- Freedom of speech in a mass medium / Richard S. Randall -- Rating code / Motion Picture Association of America -- Movies, the desperate art / Pauline Kael -- Should American films be subsidized? / William Fadiman -- The movie industry and the film culture / Ernest Callenbach -- On reviewing, I: Turnstiles / Renata Adler -- Is film criticism only propaganda? / Parker Tyler -- The graduate: four reviews. The graduate makes out / Hollis Alpert ; Tales out of school / Bosley Crowther ; Summa cum laude / Joseph Morgenstern ; The graduate / Stephen Farber and Estelle Changas -- Mike Nichols talks about The graduate / Joseph Gelmis -- The future of film / Members of the National Society of Film Critics: Hollis Alpert ; Brendan Gill ; Philip T. Hartung ; Stanley Kauffmann ; Arthur Knight ; Joseph Morgenstern ; Andrew Sarris ; Richard Schickel ; Wilfrid Sheed ; John Simon
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Film 67/68 : An anthology by the National Society of Film Critics / edited by Richard Schickel and John Simon Indianapolis [etc.]: Bobbs-Merrill Co. [etc.], c1968.
Call No: 67(04) FILAuthor: Schickel, Richard (ed) ; Simon, John (ed) CorpAuthor: National Society of Film Critics (U.S.)Place: Indianapolis [etc.]Publisher: Bobbs-Merrill Co. [etc.]PubDate: c1968PhysDes: 320 p. ; 22 cmSubject: ACCIDENT (UK, Joseph Losey, 1967) ; BATTLE OF ALGIERS, THE [BATTAGLIA DI ALGERI, LA] (IT/AE, Gillo Pontecorvo, 1966) ; BEDAZZLED (US, Stanely Donen, 1967) ; BONNIE AND CLYDE (US, Arthur Penn, 1967) ; CASINO ROYALE (UK, John Huston & Ken Hughes & Val Guest & Robert Parrish & Joseph McGrath, 1967) ; CHAPPAQUA (US, Conrad Rooks, 1966) ; COMEDIANS, THE (US, Peter Glenville, 1967) ; COOL HAND LUKE (US, Stuart Rosenberg, 1967) ; COUNTESS FROM HONG KONG, A (UK/US, Charles Chaplin, 1967) ; DIRTY DOZEN, THE (US, Robert Aldrich, 1967) ; [DOCTOR] DR DOLITTLE (US, Richard Fleischer, 1967) ; DUTCHMAN (UK, Anthony Harvey, 1967) ; EL DORADO (SP/FR, Carlos Saura, 1988) ; ELVIRA MADIGAN (SE/DA, Bo Widerberg, 1967) ; DIVORCE, AMERICAN STYLE (US, Bud Yorkin, 1967) ; FAMILY WAY, THE (UK, Ray Boultng, 1967) ; FAR FROM THE MADDING CROWD (UK, John Schlesinger, 1967) ; GRADUATE, THE (US, Mike Nichols, 1967) ; GUESS WHO'S COMING TO DINNER (US, Stanley Kramer, 1967) ; HOW I WON THE WAR (UK, Richard Lester, 1967) ; HUNT, THE [CAZA, LA] (SP, Carlos Saura, 1966) ; HURRY SUNDOWN (US, Otto Preminger, 1967) ; IN COLD BLOOD (US, Richard Brooks, 1967) ; IN LIKE FLINT (US, Gordon Douglas, 1967) ; IN THE HEAT OF THE NIGHT (US, Norman Jewison, 1967) ; JOKERS, THE (UK, Michael Winner, 1967) ; ROI DE COUER, LE (FR/IT, Philippe de Broca, 1966) ; WAR IS OVER, THE [GUERRE EST FINIE, LA] (FR/SW, Alain Resnais, 1966) ; LUV (US, Clive Donner, 1967) ; MARAT/SADE (UK, Peter Brook, 1967) ; PERSONA (SW, Ingmar Bergman, 1966) ; POINT BLANK (US, John Boorman, 1967) ; PRESIDENT'S ANALYST, THE (US, Theodoro J.Flicker, 1967) ; PRIVILEGE, THE (UK, Peter Watkins, 1967) ; STRANGER, THE (US/AG, Adolfo Aristarain, 1987) ; TAMING OF THE SHREW, THE (IT/US, Franco Zefferelli, 1967) ; TO SIR, WITH LOVE (UK, James Clavell, 1967) ; TRIP, THE (US, Roger Corman, 1967) ; ULYSSES (UK/US, Joseph Strick, 1967) ; UP THE DOWN STAIRCASE (US, Robert Mulligan, 1967) ; WAR GAME, THE (UK, Peter Watkins, 1966) ; WHISPERERS, THE, (UK, Byan Forbes, 1967) ; YOU'RE A BIG BOY NOW (US, Francis Ford Coppola, 1966) ; YOU ONLY LIVE TWICE (UK, Lewis Gilbert, 1967) Summary: Review of films produced in 1966-1967ISSN: 0071-4860 0015-1076LON: 68019946; 894646Contents: -- Bonnie And Clyde / Joseph Morgenstern, John Simon, Stanley Kauffmann And Pauline Kael -- Point Blank / Richard Schickel And Andrew Sarris -- In Cold Blood / Arthur Knight And Andrew Sarris -- A Countess From Hong Kong / Wilfrid Sheed, Philip T. Hartung And Andrew Sarris -- Falstaff / Joseph Morgenstern, Andrew Sarris, Stanley Kauffmann, Pauline Kael And John Simon -- The Exterminating Angel / Richard Schickel -- Two For The Road / Pauline Kael -- A Guide For The Married Man, Divorce American Style And Luv / Wilfrid Sheed -- Elvira Madigan / Stanley Kauffmann -- Accident / Brendan Gill, Pauline Kael And John Simon -- The Family Way / Richard Schickel -- You're A Big Boy Now / Hollis Alpert And Richard Schickel -- The Graduate / Joseph Morgenstern And Richard Schickel -- Closely Watched Trains / Joseph Morgenstern And John Simon -- The War Game / Richard Schickel And Wilfrid Sheed -- La Guerre Est Finie / Brendan Gill And John Simon -- The Dirty Dozen / Richard Schickel -- King Of Hearts / Wilfrid Sheed -- The Battle Of Algiers / Joseph Morgenstern And Stanley Kauffmann -- How I Won The War / Stanley Kauffmann And John Simon -- In Like Flint / Arthur Knight -- Casino Royale / Wilfrid Sheed -- You Only Live Twice / Pauline Kael -- The Jokers / Philip T. Hartung -- Bedazzled / Stanley Kauffmann -- The President's Analyst / Andrew Sarris -- Ulysses / Brendan Gill, John Simon And Brad Darrach / The Taming Of The Shrew -- Hollis Alpert And Wilfrid Sheed -- Marat/Sade / Phillip T. Hartung, Brendan Gill And Brad Darrach -- The Comedians / Stanley Kauffmann -- Far From The Maddening Crowd / Hollis Alpert And Richard Schickel -- Dr. Dolittle / Joseph Morgenstern -- El Dorado / Andrew Sarris -- The War Wagon / Richard Schickel -- El Dorado, The War Wagon And The Way West / Pauline Kael -- Persona / John Simon And Pauline Kael -- The Stranger / Stanley Kauffmann And Joseph Morgenstern -- The Trip / Hollis Alpert -- The Trip And Chappaqua / Wilfrid Sheed -- Dutchman / Brendan Gill And John Simon -- In The Heat Of The Night / Andrew Sarris -- To Sir, With Love And In The Heat Of The Night / Hollis Alpert -- Hurry Sundown, In The Heat Of The Night And Cool Hand Luke / Wilfrid Sheed -- Cool Hand Luke / Andrew Sarris -- Guess Who's Coming To Dinner / Wilfrid Sheed -- Up The Down Staircase / Arthur Knight And Andrew Sarris -- Privilege / John Simon And Arthur Knight -- The Hunt / Richard Schickel -- The Whisperers / Andrew Sarris -- Goal! / Brendan Gill -- Africa Addio / Joseph Morgenstern -- A King's Story / Philip T. Hartung -- Lenny Bruce / Wilfrid Sheed -- The Koumiko Mystery And Echoes Of Silence / Brendan Gill -- The Titicut Follies / Richard Schickel -- Don't Look Back / Andrew Sarris -- Portrait Of Jason / Joseph Morgenstern -- The Underground Film / Brad Darrach -- Expo 67 / Joseph Morgenstern And Arthur Knight -- Blow-Up / Stanley KauffmannID2: 277
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digital clippings file
GRADUATE, THE : (US, Mike Nichols, 1967) Digital clippings file available
Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILEPhysDes: Press kit; ClippingsSubject: GRADUATE, THE (US, Mike Nichols, 1967) URL status: URL: 'http://file://Q:/T/GRADUATE,_THE.zip'
Checked: 31/08/2021 1:04:30 PM
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script
GRADUATE THE : Final Draft / Australian Writes Guild [1967].
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Hoffman vs Hoffman : the actor and the man / Patrick Agan London: R Hale, 1987.
Call No: 81HOF AGAAuthor: Agan, Patrick Source: UKPlace: LondonPublisher: R HalePubDate: 1987PhysDes: x, 166 p, [20] p. of plates : ill. ; 25cmSubject: HOFFMAN, DUSTIN ; TIGER MAKES OUT (US, Arthur Hiller, 1967) ; GRADUATE, THE (US, Mike Nichols, 1967) ; MIDNIGHT COWBOY (US, John Schlesinger, 1969) ; JOHN AND MARY (US, Peter Yates, 1969) ; LITTLE BIG MAN (US, Arthur Penn, 1970) ; WHO IS HARRY KELLERMAN AND WHY IS HE SAYING THOSE TERRIBLE THINGS ABOUT ME? (US, Ulu Grosbard, 1971) ; STRAW DOGS (UK, Sam Peckinpah, 1971) ; PAPILLON (US, Franklin J. Schaffner, 1973) ; LENNY (US, Bob Fosse, 1974) ; ALL THE PRESIDENT'S MEN (US, Alan J. Pakula, 1976) ; AGATHA (UK, Michael Apted, 1979) ; KRAMER VS. KRAMER (US, Robert Benton, 1979) ; TOOTSIE (US, Sydney Pollack, 1982) Summary: The book deals the life and career of Dustin Hoffman, and the large variety of roles he undertook in the less than 20 films he made. It deals with the academy award, he won in Kramer vs Kramer, and the other 4 nominations he recieved.He is presented as a diminutive perfectionist, or as an unlikely superstarNotes: Includes index; Filmography: p 151-159ISBN: 045041731
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Illuminating shadows : the mythic power of film / Geoffrey Hill Boston: Shambhala, 1992.
Call No: 632.43 HILAuthor: Hill, Geoffrey Michael, 1950 Place: BostonPublisher: ShambhalaPubDate: 1992PhysDes: viii, 319 p. : ill. ; 23 cmSubject: MYTH AND THE CINEMA ; IT'S A WONDERFUL LIFE (US, Frank Capra, 1946) ; SHANE (US, George Stevens, 1953) ; COOK, THE THIEF, HIS WIFE & HER LOVER, THE (NE/FR, Peter Greenaway, 1989) ; BLUE VELVET (US, David Lynch, 1986) ; RUMBLE FISH (US, Francis Ford Coppola, 1983) ; TAXI DRIVER (US, Martin Scorsese, 1976) ; REPO MAN (US, Alex Cox, 1984) ; SAILOR WHO FELL FROM GRACE WITH THE SEA, THE (UK, Lewis John Carlino, 1976) ; SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957) ; INSIGNIFICANCE (UK, Nicolas Roeg, 1985) ; ROK SPOKOJNEGO SLONCA (PL/US/GW, Krzysztof Zanussi, 1984) ; BABETTES GAESTEBUD (DK, Gabriel Axel, 1987) ; LITTLE SHOP OF HORRORS (US, Frank Oz, 1986) ; LITTLE SHOP OF HORRORS, THE (US, Roger Corman, 1960) ; TRIP TO BOUNTIFUL, THE (US, Peter Masterson, 1985) ; GRADUATE, THE (US, Mike Nichols, 1967) ; SANTA SANGRE (IT, Alexandro Jodorowsky, 1989) ; FIELD OF DREAMS (US, Phil Alden Robinson, 1989) Notes: Includes bibliographical references (p. 313-319)ISBN: 0877736456 (pbk. : alk. paper)LON: 8202303
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Lights! Camera! Action! : Hollywood: Its platinum years / by Bob Willoughby. Text by Richard Schickel New York: Random House, [1974].
Call No: 71(73) WIL; FOLIOAuthor: Willoughby, Bob ; Schickel, Richard Place: New YorkPublisher: Random HousePubDate: [1974]PhysDes: 268 p. illus. 32 cmSubject: USA ; FROM HERE TO ETERNITY (US, Fred Zinneman, 1953) ; STAR IS BORN, A (US, George Cukor, 1954) ; REBEL WITHOUT A CAUSE (US, Nicholas Ray, 1955) ; MY FAIR LADY (US, George Cukor, 1964) ; MARNIE (US, Alfred Hitchcock, 1964) ; MAN FOR ALL SEASONS, A (US, Fred Zinnemann, 1966) ; GRADUATE, THE (US, Mike Nichols, 1967) ; PETULIA (US, Richard Lester, 1968) ; ROSEMARY'S BABY (US, Roman Polanski, 1968) ; LION IN WINTER, THE (UK, Anthony Harvey, 1968) ; CATCH 22 (US, Mike Nichols, 1970) ; KLUTE (US, Alan J. Pakula, 1971) ; COWBOYS, THE (US, Mark Rydell, 1972) ; CAINE MUTINY, THE (US, Edward Dmytryk, 1954) ; RAINTREE COUNTRY (US, Edward Dmytryk, 1957) ; GUYS AND DOLLS (US, Joseph L. Mankiewicz, 1955) ; MAN WITH THE GOLDEN ARM, THE (US, Otto Preminger, 1955) ; OCEAN'S ELEVEN (US, Lewis Milestone, 1960) ; GREAT RACE, THE (US, Blake Edwards, 1965) ; WHO'S AFRAID OF VIRGINIA WOOLF? (US, Mike Nichols, 1966) ; [DOCTOR] DR DOLITTLE (US, Richard Fleischer, 1967) ; THEY SHOOT HORSES, DON'T THEY? (US, Sydney Pollack, 1969) Notes: "A Ridge Press book."ISBN: 039449380XLON: 437365 437365
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Movies into film : film criticism 1967-1970 / John Simon New York: Dell Publishing, 1971.
Call No: 67(04) SIMAuthor: Simon, John Source: USPlace: New YorkPublisher: Dell PublishingPubDate: 1971PhysDes: xiii, 446 p. ; 21 cmSubject: CRITICISM ; SEX IN FILMS ; VIOLENCE IN FILMS ; MUSICALS ; FESTIVALS ; AWARDS ; ADAPTATIONS ; BERGMAN, INGMAR ; MARAT/SADE (UK, Peter Brook, 1967) ; TAMING OF THE SHREW, THE (IT/US, Franco Zefferelli, 1967) ; ULYSSES (UK/US, Joseph Strick, 1967) ; FAR FROM THE MADDING CROWD (UK, John Schlesinger, 1967) ; REFLECTIONS IN A GOLDEN EYE (US, John Huston, 1967) ; VOYNA I MIR (RU, Sergei Bondarchuk, 1968) ; HEART IS A LONELY HUNTER, THE (US, Robert Ellis Miller, 1968) ; KILLING OF SISTER GEORGE, THE (US, Robert Aldrich, 1968) ; PRIME OF MISS JEAN BRODIE, THE (UK, Ronald Neame, 1968) ; JUSTINE (US, George Cukor, 1969) ; TROPIC OF CANCER (US, Joseph Strick, 1969) ; WOMEN IN LOVE (UK, Ken Russell, 1969) ; VIRGIN AND THE GYPSY, THE (UK, Christopher Miles, 1970) ; WAR IS OVER, THE [GUERRE EST FINIE, LA] (FR/SW, Alain Resnais, 1966) ; DUTCHMAN (UK, Anthony Harvey, 1967) ; COOL HAND LUKE (US, Stuart Rosenberg, 1967) ; SALESMAN (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1969) ; MEDIUM COOL (US, Haskell Wexler, 1969) ; THEY SHOOT HORSES, DON'T THEY? (US, Sydney Pollack, 1969) ; Z (FR/AE, Constantin Costa-Gavras, 1969) ; PATTON (US, Franklin J. Schaffner, 1970) ; WOODSTOCK (US, Michael Wadleigh, 1970) ; REVOLUTIONARY, THE (UK, Paul Williams, 1970) ; JOE (US, John G. Avildsen, 1970) ; GRADUATE, THE (US, Mike Nichols, 1967) ; ROMEO AND JULIET (UK/IT, Franco Zeffirelli, 1968) ; YELLOW SUBMARINE (UK, George Dunning, 1968) ; IF... (UK, Lindsay Anderson, 1968) ; THREE IN THE ATTIC (US, Richard Wilson, 1968) ; LAST SUMMER, THE (US, Frank Perry, 1969) ; EASY RIDER (US, Dennis Hopper, 1969) ; ALICE'S RESTAURANT (US, Arthur Penn, 1969) ; STERILE CUCKOO, THE (US, ALAN J. PAKULA, 1969) ; MAGIC GARDEN OF STANLEY SWEETHEART, THE (US, Leonard Horn, 1970) ; LET IT BE (UK, Michael Lindsay-Hogg, 1970) ; FOX, THE (US, Mark Rydell, 1968) ; HERE WE GO ROUND THE MULBERRY BUSH (UK, Clive Donner, 1968) ; BELLE DE JOUR (FR/IT, Luis Bunuel, 1967) ; BARBARELLA (FR/IT, Roger Vadim, 1967) ; PRISONNIERE, LA (FR/IT, Henri-Georges Clouzot, 1968) ; TEOREMA (IT, Pier Paolo Pasolini, 1968) ; COMING APART (US, Milton Moses Ginsberg, 1970) ; MYRA BRECKENRIDGE (US, Mike Sarne, 1970) ; FREEDOM TO LOVE (IT, Phyllis & Eberhard Kronhausen, 1969) ; BEYOND THE VALLEY OF THE DOLLS (US, Russ Meyer, 1970) ; BONNIE AND CLYDE (US, Arthur Penn, 1967) ; WILD BUNCH, THE (US, Sam Peckinpah, 1969) ; IN COLD BLOOD (US, Richard Brooks, 1967) ; TRUE GRIT (US, Henry Hathaway, 1969) ; BUTCH CASSIDY AND THE SUNDANCE KID (US, George Roy Hill, 1969) ; TELL THEM WILLIE BOY IS HERE (US, Abraham Polonsky, 1969) ; ROSEMARY'S BABY (US, Roman Polanski, 1968) ; BRIDE WORE BLACK, THE [MARIEE ETAIT EN NOIR] (FR, Francios Truffaut, 1968) ; BAISERS VOLES (FR, Francois Truffaut, 1968) ; HISTOIRES EXTRAORDINAIRES (FR/IT, Louis Malle & Roger Vadim & Federico Fellini, 1968) ; SATYRICON (IT/FR, Federico Fellini, 1969) ; ZABRISKIE POINT (US, Michelangelo Antonioni, 1970) ; SIRENE DU MISSISSIPPI, LA (FR/IT, Francois Truffaut, 1969) ; PASSAGER DE LA PLUIE, LE (FR/IT, Rene Clement, 1970) ; PERSONA (SW, Ingmar Bergman, 1966) ; VARGTIMMEN (SW, Ingmar Bergman, 1967) ; SKAMMEN (SW, Ingmar Bergman, 1968) ; CHINOISE, LA (FR, Jean-Luc Godard, 1967) ; BICHES, LES (FR/IT, Claude Chabrol, 1968) ; CHAMADE, LA (FR/IT, Alain Cavalier, 1968) ; FEMME INFIDELE, LA (FR/IT, Claude Chabrol, 1968) ; SYMPATHY FOR THE DEVIL (UK, Jean-Luc Godard, 1968) ; CHINA IS NEAR [CINA E VICINA, LA] (IT, Marco Bellocchio, 1967) ; POOR COW (UK, Kenneth Loach, 1967) ; TANTE ZITA (FR, Robert Enrico, 1968) ; BULLITT (US, Peter Yates, 1968) ; FACES (US, John Cassavetes, 1968) ; HAR HAR DU DITT LIV (SW, Jan Troell, 1966) ; CSILLAGOSOK, KATONAK (HU, Miklos Jancso, 1967) ; PUTNEY SWOPE (US, Robert Downey, 1969) ; DOWNHILL RACER (US, Michael Ritchie, 1969) ; M*A*S*H (US, Robert Altman, 1969) ; PAINT YOUR WAGON (US, Joshua Logan, 1969) ; CAMELOT (US, Joshua Logan, 1967) ; OLIVER (UK, Carol Reed, 1968) ; ON A CLEAR DAY YOU CAN SEE FOREVER (US, Vincente Minnelli, 1970) ; HOW I WON THE WAR (UK, Richard Lester, 1967) ; MIDNIGHT COWBOY (US, John Schlesinger, 1969) ; PETULIA (US, Richard Lester, 1968) ; LION IN WINTER, THE (UK, Anthony Harvey, 1968) ; MAGUS, THE (US, Guy Green, 1968) ; CANDY (FR/IT/US, Christian Marquand, 1968) ; [TWO THOUSAND AND ONE] 2001: A SPACE ODYSSEY (UK, Stanley Kubrick, 1968) ; THOMAS CROWN AFFAIR, THE (US, Norman Jewison, 1968) ; CATCH 22 (US, Mike Nichols, 1970) ; RACHEL, RACHEL (US, Paul Newman, 1968) ; CHARLIE BUBBLES (UK, Albert Finney, 1967) Summary: The author critically analyses a number of films from the period 1967-1970 as a means to show the changes that occured during this time, the historical context of this period and films, and to predict future directions.Notes: Includes index.ISBN: 44005880295Donation: donated by the family of Wayne Levy, 2006Contents: -- adaptations -- politics and society -- the youth film -- sex -- the new violence -- declines and pratfalls of major directors -- Ingmar Bergman -- French film in eclipse -- young directors -- is Hollywood going contemporary? -- musicals -- pseudo-art -- the festival and awards game -- critical mattersID2: 41
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Negative space : Manny Farber on the movies / new preface by Robert Walsh New York: Da Capo Press, 1998.
Call No: 67(04) FARAuthor: Farber, Manny Edition: Expanded edPlace: New YorkPublisher: Da Capo PressPubDate: 1998PhysDes: xiv, 412 p. ; 21 cmSubject: FESTIVALS. NEW YORK ; HAWKS, HOWARD ; HUSTON, JOHN ; LEWTON ,VAL ; AGEE, JAMES ; STURGES, PRESTON ; CAPRA, FRANK ; SIEGEL, DON ; FULLER, SAMUEL ; SNOW, MICHAEL ; GODARD, JEAN-LUC ; BUNUEL, LUIS ; WALSH, RAOUL ; ROEG, NICOLAS ; HERZOG, WERNER ; FASSBINDER, RAINER WERNER ; FARBER, MANNY ; AKERMAN, CHANTAL ; JONES, CHUCK ; Stewart, James ; FORD, JOHN ; WALSH, RAOUL ; WARHOL, ANDY ; PATTERSON, PATRICIA ; WAVELENGTH (US, Michael Snow, 1967) ; FAR COUNTRY, THE (US, Anthony Mann, 1954) ; CARABINIERS, LES (FR/IT, Jean-Luc Godard, 1963) ; DETECTIVE STORY (US, William Wyler, 1951) ; HOME OF THE BRAVE (US, Mark Robson, 1949) ; SPY WHO CAME IN FROM THE COLD, THE (UK, Martin Ritt, 1965) ; HOW I WON THE WAR (UK, Richard Lester, 1967) ; CITIZEN KANE (US, Orson Welles, 1941) ; GRADUATE, THE (US, Mike Nichols, 1967) ; IN COLD BLOOD (US, Richard Brooks, 1967) ; JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (BE, Chantal Akerman, 1975) ; TAXI DRIVER (US, Martin Scorsese, 1976) ; THIRD MAN, THE (UK, Carol Reed, 1949) ; SKAMMEN (SW, Ingmar Bergman, 1968) ; CHINOISE, LA (FR, Jean-Luc Godard, 1967) ; BELLE DE JOUR (FR/IT, Luis Bunuel, 1967) Summary: Manny Farber, one of the most important and entertaining critics in movie history, championed the American action film - the bravado of Howard Hawks, the art brut styling of Samuel Fuller, the crafty, sordid entertainments of Don Siegel - at a time when other critics dismissed the genre. His witty, incisive criticism later worked exacting language into an exploration of the feelings and strategies that went into low-budget and radical films as diverse as Michael Snow's Wavelength, Werner Herzog's Fata Morgana, and Shantal Akerman's Jeanne Dielman. Expanded with an in-depth interview and seven essays written in collaboration with his wife, artist Patricia Patterson, Negative Space gathers Farber's most influential writings, making this an indispensable collection for all lovers of filmNotes: "First Da Capo Press edition"--T.p. verso; Includes indexISBN: 0306808293 (pbk. : alk. paper)LON: 13667387
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Offscreen onscreen : the inside stories of 60 great films / Peter van Gelder London: Aurum, 1990.
Call No: 792(047.1) GELAuthor: Van Gelder, Peter Place: LondonPublisher: AurumPubDate: 1990PhysDes: 288 p. : ill. ; 24 cmSubject: FLYING HIGH II [ ; ANNIE HALL (US, Woody Allen, 1977) ; APOCALYPSE NOW (US, Francis Ford Coppola, 1979) ; BATMAN (US, Tim Burton, 1989) ; BEVERLY HILLS COP (US, Martin Brest, 1984) ; BONNIE AND CLYDE (US, Arthur Penn, 1967) ; BRIEF ENCOUNTER (UK, David Lean, 1945) ; BUTCH CASSIDY AND THE SUNDANCE KID (US, George Roy Hill, 1969) ; CARRY ON CLEO (UK, Gerald Thomas, 1964) ; CASABLANCA (US, Michael Curtiz, 1942) ; CHARIOTS OF FIRE (UK, Hugh Hudson, 1981) ; CITIZEN KANE (US, Orson Welles, 1941) ; CROCODILE DUNDEE (AT, Peter Faiman, 1986) ; DAM BUSTERS, THE (UK, Michael Anderson, 1955) ; DIRTY HARRY (US, Don Siegel, 1971) ; DUCK SOUP (US, Leo McCarey, 1933) ; EASY RIDER (US, Dennis Hopper, 1969) ; E.T. THE EXTRA TERRESTRIAL (US, Steven Spielberg, 1982) ; EXORCIST, THE (US, William Friedkin, 1973) ; FANTASIA (US, Walt Disney, 1940) ; FATAL ATTRACTION (US, Adrian Lyne, 1987) ; [FORTY-SECOND] 42ND STREET (US, Lloyd Bacon, 1933) ; FRANKENSTEIN (US, James Whale, 1931) ; FRENCH CONNECTION, THE (US, William Friedkin, 1971) ; GENEVIEVE (UK, Henry Cornelius, 1953) ; GODFATHER, THE (US, Francis Ford Coppola, 1972) ; GOLDFINGER (UK, Guy Hamilton, 1964) ; GONE WITH THE WIND (US, Victor Fleming, 1939) ; GRADUATE, THE (US, Mike Nichols, 1967) ; GREASE (US, Randal Kleisner, 1978) ; HARD DAY'S NIGHT, A (UK, Richard Lester, 1964) ; HENRY V (UK, Laurence Olivier, 1944) ; HIGH NOON (US, Fred Zinnemann, 1952) ; HIGH SOCIETY (US, Charles Walters, 1956) ; IT HAPPENED ONE NIGHT (US, Frank Capra, 1934) ; KING KONG (US, Merian C. Cooper & Ernest B. Schoedsack, 1933) ; LAVENDER HILL MOB, THE (UK, Charles Crichton, 1951) ; LAWRENCE OF ARABIA (UK, David Lean, 1962) ; MAGNIFICENT SEVEN, THE (UK, John Sturges, 1960) ; MALTESE FALCON, THE (US, John Huston, 1941) ; M*A*S*H (US, Robert Altman, 1969) ; ONE FLEW OVER THE CUCKOO'S NEST (US, Milos Forman, 1975) ; PINK PANTHER, THE (US, Blake Edwards, 1964) ; PSYCHO (US, Alfred Hitchcock, 1960) ; RAIDERS OF THE LOST ARK (US, Steven Spielberg, 1981) ; RAMBO : FIRST BLOOD PART II (US, George Pan Cosmatos, 1985) ; REBEL WITHOUT A CAUSE (US, Nicholas Ray, 1955) ; ROAD TO MOROCCO (US, David Butler, 1942) ; SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952) ; SNOW WHITE AND THE SEVEN DWARFS (US, David Hand, 1937) ; SOME LIKE IT HOT (US, Billy Wilder, 1959) ; SOUND OF MUSIC, THE (US, Robert Wise, 1965) ; STAGECOACH (US, John Ford, 1939) ; STAR WARS (US, George Lucas, 1977) ; THIRD MAN, THE (UK, Carol Reed, 1949) ; TOOTSIE (US, Sydney Pollack, 1982) ; TOP HAT (US, Mark Sandrich, 1935) ; [TWO THOUSAND AND ONE] 2001: A SPACE ODYSSEY (UK, Stanley Kubrick, 1968) ; WHO FRAMED ROGER RABBIT (US, Roger Zemekis, 1988) ; WIZARD OF OZ, THE (US, Victor Fleming, 1939) ISBN: 1854101617; 1854101617 (pbk) : ¦9.95 : CIP confirmedLON: bnc85410161; 7335916
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Post-Fordist cinema : Hollywood auteurs and the corporate counterculture / Jeff Menne New York: Columbia University Press, 2019.
Call No: 46(794) MENAuthor: Menne, Jeff Edition: 2019Place: New YorkPublisher: Columbia University PressPubDate: 2019PhysDes: viii, 260 pages : illustrated ; 23 cmSeries: Film and cultureSubject: AUTEUR THEORY ; FORD, JOHN ; DOUGLAS, KIRK ; ALTMAN, ROBERT ; BEATTY, WARREN ; BONNIE AND CLYDE (US, Arthur Penn, 1967) ; EASY RIDER (US, Dennis Hopper, 1969) ; GRADUATE, THE (US, Mike Nichols, 1967) ; JAWS (US, Steven Spielberg, 1975) ; KING OF MARVIN GARDENS, THE (US, Bob Rafelson, 1972) ; SCHNEIDER, BERT ; SPIELBERG, STEVEN ; SUGARLAND EXPRESS, THE (US, Steven Spielberg, 1974) ; WASSERMAN, LEW Summary: The New Hollywood boom of the late 1960s and 1970s is celebrated as a time when maverick directors bucked the system. Against the backdrop of counterculture sensibilities and the prominence of auteur theory, New Hollywood directors such as Robert Altman and Francis Ford Coppola seemed to embody creative individualism. In Post-Fordist Cinema, Jeff Menne rewrites the history of this period, arguing that auteur theory served to reconcile directors to Hollywood’s corporate project.
Menne traces the surprising affinities between auteur theory and management gurus such as Peter Drucker, who envisioned a more open and flexible corporate style. In founding production companies, New Hollywood filmmakers took part in the creation of new corporate models that emphasized entrepreneurial creativity. For firms such as Kirk Douglas’s Bryna Productions, Altman’s Lion’s Gate Films, the Zanuck-Brown Company, and BBS Productions, the counterculture ethos limbered up the studio system’s sclerotic production process—with striking parallels to how management theory conceived of the role of the individual within the firm. Menne offers insightful readings of how films such as Lonely Are the Brave, Brewster McCloud, Jaws, and The King of Marvin Gardens narrate the conditions in which they were created, depicting shifting notions of work and corporate structure. While auteur theory allowed directors to cast themselves as independent creators, Menne argues that its most consequential impact came as a management doctrine. An ambitious rethinking of New Hollywood, Post-Fordist Cinema sheds new light on the cultural myth of the great director and the birth of the “creative economy.” -- publisher's web siteISBN: 9780231183710Contents: Acknowledgments -- Introduction: The Business of Auteur Theory -- 1: Post (Henry and John) Fordism: Kirk Douglas and Guerilla Economy -- 2. The Cinema of Defection: The Corporate Counterculture and Robert Altman’s Lion’s Gate -- 3. Television Totalities: Zanuck-Brown and the Privately-Held Company -- 4. The Ethos of Incorporation: BBS and the Law of Unnatural Persons -- Afterword: Auteurs, Amateurs, Animators -- Notes -- Index
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Remapping cinema, remaking history : XIVth Biennial Conference of the Film and History Association of Australia and New Zealand: Refereed Abstracts / edited by Catherine Fowler and Rochelle Simmons Dunedin, NZ: University of Otago - Department of Media, Film & Communication, 2008.
Call No: 45:93HISAuthor: Film and History Associationof Australia and New Zealand Conference (14th : 2008 : Dunedin, NZ) Source: NZPlace: Dunedin, NZPublisher: University of Otago - Department of Media, Film & CommunicationPubDate: 2008PhysDes: v, 223 p. ; 21 cmSubject: CONFERENCES. AUSTRALIA. FILM AND HISTORY ; HOLLYWOOD MEMORY IN FILMS ; MOTION PICTURES - EUROPEAN ; MOTION PICTURES - HISTORY ; NEW ZEALAND ; ASHBY, HAL ; SCHLESINGER, JOHN ; HALL, CONRAD ; COPPOLA, FRANCIS FORD ; NICHOLS, MIKE ; CIMINO, MICHAEL ; ALTMAN, ROBERT ; KUBRICK, STANLEY ; HILL, WALTER ; SPIELBERG, STEVEN ; KAURISMAKI, AKI ; MILLER, GEORGE ; FRENCH CONNECTION, THE (US, William Friedkin, 1971) ; ONE FROM THE HEART (US, Francis Ford Coppola, 1982) ; DAY OF THE LOCUST, THE (US, John Schlesinger, 1975) ; WITCHES OF EASTWICK, THE (US, George Miller, 1987) ; GODFATHER [...], THE (US, Francis Ford Coppola, 1972-) ; GRADUATE, THE (US, Mike Nichols, 1967) ; STREETS OF FIRE (US, Walter Hill, 1984) ; LONG GOODBYE, THE (US, Robert Altman, 1973) ; MCCABE AND MRS MILLER (US, Robert Altman, 1971) ; SHINING, THE (UK, Stanley Kubrick, 1980) ; SUGARLAND EXPRESS, THE (US, Steven Spielberg, 1974) ; KENNY (AT, Clayton Jacobson, 2006) ; SYLVIA (NZ, Michael Firth, 1985) ; RED ROAD (UK/DK, Andrea Arnold, 2006) ; THIS IS ENGLAND (UK, Shane Meadows, 2006) ; STALINGRAD (GG, Joseph Vilsmaier, 1992) ; BAND OF BROTHERS (US, David Frannel & Tom Hanks & David Leland & Richard Loncraine & David Nutter & Phil Alden Robinson & Mikael Salomon & Tony To, 2001) Summary: The film and history conference is held every two years and is an opportunity for international scholars, archivists and filmmakers to present their thoughts on recent debates and events in the fields of film history, history and film, national and transnational cinemas, film theory, film practice, and the importance of cinema to specific communitiesNotes: "27-30 November 2008"- cover includes bibliographical reference and indexISBN: 9780473138899; 9780473148867Contents: v.1 refereed abstracts/ edited by Catherine Fowler and Rochelle Simmons- v. 2 select refereed papers/ edited by Hilary Radner and Pam fosser; Part 1: Re-thinking Film History. 1. What's new about New Cinema History/ Kate Bowles and Richard Maltby--Part 2: Memory and History 2. Fixing visual memories and history: film and the Chinese Cultural Revolution/ Paul Clark-- 3. Folding History back on itself / Dirk de Bruyn -- 4. Testimony and Memory : rewriteable video memoirs / Stephen Goddard -- Part 3: Australia and New Zealand. 5. this land speaks for " Us" : the price of milk and the articulation of New Zealand's "Difficult" history/ Scott Wilson -- the location of referents: double time, atemporality and colonial heritage cinema/ Olivia Macassey -- Part 4: European Narratives. 7. Still in the shadows : reconsidering history through intertextual references in Aki Kaurismaki's European films/ Sanna Peden-- 8. Imaging/imagining a history of violence: Red Road and This is England/ Steven Allen--9. " I am not a Nazi": The past as present in portrayals of wartime German forces in Stalingrad and Band of Brothers/ Stephanie Cousineau--10. Neoliberalism and the fate of the collective in recent German cinema/ Simon Ryan-- Part 5: Music and Historical Representation-- 11. The representation of Rapanui 9 Easter Island) in feature film/ Dan Bendrups-- 12. Beating the East german blues: musical representations of freedom in Leander Haussmann's Sonnenallee and Michael Schorr's Schultze gets the Blues/ Andrew Wright Hurley--Part 6 : Historical Fictions? Documentary, Mockumentary and the Biopic--13. Getting the story crooked: Errol Morris and Narrativist Historiography/ Pam Fossen -- Kenny and Australian cinema in the Howard era/ Lisa Milner -- 15. The life of Lady Lazarus? An analysis of the film Sylvia as historical document/Bronwyn Polaschek-- Part 7: Considering Hollywood -- 16. Battling Hollywood: The 1930 Trade War between the New Zealand government and Hollywood/ David Newman -- 17. Reality and pictoriality : Hollywood style from the 1970s to the 1980s/ Paul Ramaeker
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Scenes from a revolution : the birth of the new Hollywood / Mark Harris Edinburgh: Canongate, 2008.
Call No: 71 (73) HARAuthor: Harris Mark Place: EdinburghPublisher: CanongatePubDate: 2008PhysDes: 490 p., [16] p. of plates : ill. ; 25 cmSubject: COLUMBIA PICTURES ; CRITICISM ; CRITICS ; DIRECTORS. USA ; HISTORY AND THE CINEMA. USA ; HOLLYWOOD IN FILMS ; JAMES BOND IN FILMS ; TWENTIETH CENTURY-FOX ; WALT DISNEY PRODUCTIONS ; ALLEN, WOODY ; ANTONIONI, MICHELANGELO ; ASHBY, HAL ; BANCROFT, ANNE ; BEATTY, WARREN ; BENTON, ROBERT ; BERGMAN, INGRID ; BLAKE, ROBERT ; BRANDO, MARLON ; BURTON, RICHARD ; CAINE, MICHAEL ; CARON, LESLIE ; CUKOR, GEORGE ; COLLINS, JOAN ; CONNERY, SEAN ; COPPOLA, FRANCIS FORD ; CORMAN, ROGER ; DANIELS, WILLIAM ; DAVIS, SAMMY, Jr. ; DAY, DORIS ; DUNAWAY, FAYE ; DUVALL, ROBERT ; FELLINI, FEDERICO ; FLEISCHER, RICHARD ; FONDA, JANE ; FRANKOVICH, MIKE ; GODARD, JEAN-LUC ; HARRISON, REX ; HENRY, BUCK ; HEPBURN, KATHARINE ; HOFFMAN, DUSTIN ; NEWMAN, DAVID ; BONNIE AND CLYDE (US, Arthur Penn, 1967) ; CAMELOT (US, Joshua Logan, 1967) ; CLEOPATRA (US, Joseph L. Mankiewicz, 1963) ; COOL HAND LUKE (US, Stuart Rosenberg, 1967) ; [DOCTOR] DR DOLITTLE (US, Richard Fleischer, 1967) ; GRADUATE, THE (US, Mike Nichols, 1967) ; GUESS WHO'S COMING TO DINNER (US, Stanley Kramer, 1967) ; KAEL, PAULINE ; IN THE HEAT OF THE NIGHT (US, Norman Jewison, 1967) Summary: In this book, Mark Harris looks at 1967, and marks it as a pivotal moment in Hollywood's history: the shift from studio -generated epics, westerns and musicals, such as "Doctor Doolitle"to the director-centred European aesthetic seen in "Bonnie & Clyde" and "The Graduate". It was the birth of the New Hollywood. The book look at five films made in this year- "Bonnie & Clyde", "In the heat of the night", "Doctor Doolittle" "The Graduate" and "Guess who's coming to dinner" from the. first draft of the scripts to the impact of their release. The author interviews most of the actors in volved in the making of these films and presents a book about Hollywood and the United States at a critical juncture in their history. [Taken from the cover]Notes: Includes bibliographical references (p. [432]-438) and index.ISBN: 9781847671028ID2: 277
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