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The big picture : The fight for the future of movies / Ben Fritz Boston: Eamon Dolan Book/ Houghton Mifflin Harcourt, 2018.
Call No: 210.31(73) FRIAuthor: Fritz, Ben Source: USPlace: BostonPublisher: Eamon Dolan Book/ Houghton Mifflin HarcourtPubDate: 2018PhysDes: xxv, 278 pages ; 24 cm.Subject: SONY CORPORATION ; MARVEL ENTERTAINMENT ; AMAZON ; NETFLIX ; IMAX ; WALT DISNEY PRODUCTIONS ; BUENA VISTA INTERNATIONAL ; WARNER BROS. ; FRANCHISES ; STAR WARS [...] (US, 1977-2015) Summary: "The stunning metamorphosis of twenty-first-century Hollywood and what lies ahead for the art and commerce of film. In the past decade, Hollywood has endured a cataclysm on a par with the end of silent film and the demise of the studio system. Stars and directors have seen their power dwindle, while writers and producers lift their best techniques from TV, comic books, and the toy biz. The future of Hollywood is being written by powerful corporate brands like Marvel, Amazon, Netflix, and Lego, as well as censors in China. Ben Fritz chronicles this dramatic shakeup with unmatched skill, bringing equal fluency to both the financial and entertainment aspects of Hollywood. He dives deeply into the fruits of the Sony hack to show how the previous model, long a creative and commercial success, lost its way. And he looks ahead through interviews with dozens of key players at Disney, Marvel, Netflix, Amazon, IMAX, and others to discover how they have reinvented the business. He shows us, for instance, how Marvel replaced stars with "universes," and how Disney remade itself in Apple's image and reaped enormous profits. But despite the destruction of the studios' traditional playbook, Fritz argues that these seismic shifts signal the dawn of a new heyday for film. The Big Picture shows the first glimmers of this new golden age through the eyes of the creative mavericks who are defining what our movies will look like in the new era." -- Book jacket.Notes: Includes bibliographical references (pages 247-263) and index.ISBN: 9780544789760Contents: A notes on sources ix -- Introduction: Groundhog Day-How franchises killed originality in Hollywood xii -- Part 1: How Hollywood got here -- The Odd Couple: Lynton and Pascal's glory days at Sony -- Reality Bites: How everything went wrong for the movie business -- Inception: The secret origin of the superhero movie -- Revenge of the Nerds: The rise of Marvel Studios -- Spiderman: Homecoming- why Sony gave up its most valuable asset -- Star Wars: The decline of the A-list -- A Star is Born: Netflix, the new home for movie stars -- Frozen: Why studios stopped making mid-budget dramas -- Trading places: How tv stole movies' spot atop Hollywood -- Part 2: Where Hollywood is headed -- The Terminator: Disney, the perfect studio for the franchise age -- The Producers: Creativity meets franchise managment -- The Shop Around the Corner: Amazon saves the indie film business -- Apt Pupil: China's shifting relationship with Hollywood -- Field of Dreams: Studio defectors and the future of nonfranchise films -- The Last Picture Show?
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Documentary display : re-viewing nonfiction film and videos / Keith Beattie London: Wallflower, 2008.
Call No: 761 BEAAuthor: Beattie, Keith Place: LondonPublisher: WallflowerPubDate: 2008PhysDes: xiv, 187 p. ; 24 cmSubject: DOCUMENTARY FILMS ; CINEMA-DIRECT ; COMPILATION FILMS ; IMAX ; MONTAGE ; NON-FICTION FILMS ; BUNUEL, LUIS ; GRIERSON, JOHN ; MAYSLES, ALBERT & DAVID ; PENNEBAKER, D. A. ; VERTOV, DZIGA ; VIGO, JEAN ; DONT LOOK BACK (US, D.A. Pennebaker, 1967) Summary: "Not all documentary films and videos are sober depictions of the real world. Documentary representations can present expressive, entertaining and spectacular images. This book examines such innovative approaches as they occur within the process of 'documentary display' - a practice which emphasises the visual attractions of documentary representation. Works of documentary display explore modes of exhibitionistic 'showing' in which sensation is frequently the vehicle of cognition and knowledge. Such a display is analysed within the popular and prominent forms of found-footage film, 'rockumentary', the city film, nonfiction surf film and video, and certain views of natural science topics. This accessible and informed study - with its focus on entertaining, popular, spectacular and sensational froms of nonfiction representation - makes an important contribution to theoretical analyses of documentary film and video."--BOOK JACKETNotes: Includes bibliographical references (p. 155-181) and index.ISBN: 9781905674725 (pbk)Contents: Introduction -- 1. Show and tell: revealing documentary display -- 2. The corporeal and the urban: from city symphony to global city film -- 3. Direct cinema and performance: it's not only rock and roll -- 4. Found-footage film and history: seeing double -- 5. Nonfiction surf film and video: sick, filthy and delirious -- 6. Natural science film: from microcinema to IMAX -- Afterward
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Documentary screens : non-fiction film and television / Keith Beattie Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004.
Call No: 761 BEAAuthor: Beattie, Keith Source: UKPlace: Houndmills, Basingstoke, HampshirePublisher: Palgrave MacmillanPubDate: 2004PhysDes: 276 p ; 21cmSubject: DOCUMENTARY FILMS ; DOCUMENTARY DRAMAS ; IMPERIALISM AND THE CINEMA ; CINEMA VERITE ; CINEMA-DIRECT ; JOURNALISTS, FILM ; POPULAR CULTURE AND TV ; REALITY TV ; TABLOID JOURNALISM ; POPULAR CULTURE AND THE CINEMA ; AUSTRALIAN BROADCASTING CORPORATION ; BRITISH BROADCASTING CORPORATION ; COLUMBIA BROADCASTING SYSTEM ; NATIONAL FILM BOARD OF CANADA ; NATIONAL INDIGENOUS DOCUMENTARY FUND ; NBC TELEVISION NETWORK ; PUBLIC BROADCASTING SERVICE ; NETWORK TEN ; VIDEODISCS ; GRANADA ; IMAX ; INDEPENDENT TELEVISION COMMISSION ; INTERACTIVE TV ; MUSIC TELEVISION ; TELEVISION JOURNALISTS ; BUERK, MICHEAL ; CAVADINI, ALESSANDRO ; DE ANTONIO, EMILE ; DREW, ROBERT ; DYLAN, BOB ; FLAHERTY, ROBERT ; GRIERSON, JOHN ; LEACOCK, RICHARD ; LORENTZ, PARE ; MAYSLES, ALBERT ; MAYSLES, DAVID ; MCELWEE, ROSS ; MOORE, MICHAEL ; MORIN, EDGAR ; O'ROURKE, DENNIS ; PENNEBAKER, D. A. ; PILGER, JOHN ; ROUCH, JEAN ; RUTTMAN, WALTER ; TAJIRI, REA ; VERTOV, DZIGA ; ATOMIC CAFE, THE (US, Kevin Rafferty & Jane Loader & Pierce Rafferty, 1982) ; CHEQUER-BOARD [TV] (AT, 1969-1975) ; [FOUR] 4 CORNERS [TV] (AT, 1961-) ; BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925) ; BIG BROTHER [TV] (AT, 2001-) ; BIGGIE AND TUPAC (US, Nick Broomfield, 2001) ; BILL, THE [TV] (UK, 1984-) ; BIRTH OF A NATION, THE (US, David Wark Griffith, 1915) ; BOWLING FOR COLUMBINE (US/CA, Michael Moore, 2002) ; BUENA VISTA SOCIAL CLUB (GG/US, Wim Wenders, 1999) ; CAMBODIA: YEAR ZERO (AT, John Pilger, 1989) ; CANE TOADS : AN UNNATURAL HISTORY (AT, Mark Lewis, 1987) ; CANNIBAL TOURS (AT, Dennis O'Rourke, 1987) ; CATHY COME HOME (UK, Ken Loach, 1966) ; COPS AND ROBBERSONS (US, Michael Ritchie, 1994) ; CROCODILE DUNDEE (AT, Peter Faiman, 1986) ; CUNNAMULLA (AT, Dennis O'Rourke, 2000) ; DEATH OF A PRINCESS [TV] (UK/US/NZ/AT/NE, Antony Thomas, 1980) ; DISMISSAL, THE [TV] (AT, George T. Miller & others, 1983) ; DON'T LOOK BACK (US, D.A. Pennebaker, 1967) ; GOOD WOMAN OF BANGKOK, THE (AT, Dennis O'Rourke, 1991) ; LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980) ; MABO: LIFE OF AN ISLAND MAN (AT, Trevor Graham, 1997) ; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929) ; MONTEREY POP (US, D. A. Pennebaker, 1968) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; POLICE STATE (AT, Chris Noonan, 1989) ; SYLVANIA WATERS [TV] (AT, Brian Hill & Kate Woods, 1993) ; WALKING WITH DINOSAURS[TV] (UK, 1999) ; WAR GAME, THE (UK, Peter Watkins, 1966) Summary: Documentary Screens is a comprehensive and critical examination of the formal features and histories of central categories of documentary film and television. Among the categories examined are autobiographical, indigenous and ethnographic documentary, compilation films, direct cinema and cinema verite and television documentary journalism. The book also considers recent so called popular factual entertainment and the future of documentary film, television and new media. [Taken from back cover].ISBN: 033374117XURL status: URL: 'http://-'
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Future visions : new technologies of the screen / edited by Philip Hayward & Tana Wollen London: BFI Pub. Arts Council of Great Britain, 1993.
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digital clippings file
IMAX Digital clippings file available
Call No: SUBJECT CLIPPINGS FILE; DIGITAL CLIPPINGS FILEPhysDes: Clippings; Study guideSubject: IMAX ID2: 22URL status: URL: 'http://file://Q:/S/IMAX.zip'
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title clippings file
IMAX NUTCRACKER, THE : (US, Christine Edzard, 1997)
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Maximum vision : large-format and special-venue cinema / by Scott McQuire for the Communications Law Centre Woolloomooloo, NSW Brisbane: Australian Film Commission Australian Key Centre for Cultural and Media Policy, 1999.
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subject clippings file
NASCAR 3D: THE IMAX EXPERIENCE : (US, Simon Wincer, 2004)
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newspaper article
Short cuts : IMAX cinema to shut down in Sydney Morning Herald (25/08/2016) p.20
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newspaper article
Short cuts : IMAX switch in Sydney Morning Herald (08/09/2016) p.18
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newspaper article
Short cuts : behind the scenes : our IMAX will be the world's biggest in The Age (08/09/2016) p.28
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journal article
Waxing Imax : enlarging the myth of total cinema in Metro education (1998) iss.16 p.24-30
Author: Yecies, Brian PhysDes: Article; Illustration(s)Subject: IMAX ; BAZIN, ANDRE Summary: Yecies explores the development of IMAX and the level of participation experienced by the audience. He compares IMAX to Bazin's myth of total cinema.
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Widescreen worldwide / edited by John Belton, Sheldon Hall and Steve Neale New Barnet, U.K: John Libbey, c2010.
Call No: 701 WIDAuthor: Belton, John (ed.) ; Hall, Sheldon (ed.) ; Neale, Steve (ed.) Source: UKPlace: New Barnet, U.KPublisher: John LibbeyPubDate: c2010PhysDes: viii, 236 p. : ill. ; 27 cmSubject: WIDE-SCREEN SYSTEMS ; CINEMASCOPE ; IMAX ; PREMINGER, OTTO ; Peckinpah, Sam ; MANN, ANTHONY Summary: "The essays in this anthology provide a comprehensive portrait of widescreen cinema as an aesthetic and industrial phenomenon from the vantage point of twenty-first century film studies." - Book BlurbNotes: Includes bibliographical references and indexISBN: 9780861966943Contents: -- Fox and 50mm film : John Belton -- Standing tall and wide: the selling of VistaVision : Tom Vincent -- IMAX: the Hollywood experience : Paul McDonald -- Cheap but wide: the stylistic exploitation of CinemaScope in black-and-white low-budget American films : Lisa Dombrowski -- Preminger and Peckinpah: seeing and shaping widescreen worlds : John Gibbs and Douglas Pye -- The art of the palpable: composition and staging in the widescreen films of Anthony Mann : Steve Neale -- Alternative versions in the early years of CinemaScope : Sheldon Hall -- Conspicuous consumption: the spectacle of widescreen comedy in the Populuxe era : Kathrina Glitre -- The scope of their ambition: British independent film production and the widescreen formats in the 1950s : Steve Chibnall -- Before Techniscope: the penetration of foreign widescreen technology in Italy, 1953-59 : Federico Vitella -- Widescreen composition and transnational influence: early anamorphic filmmaking in Japan : Eric Crosby -- Another Shaw production: anamorphic adventures in Hong Kong : David Bordwell --
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Wildlife Films Philadelphia PA: University of Pennsylvania Press, 2005.
Call No: 738.5 BOUAuthor: Bouse Derek Place: Philadelphia PAPublisher: University of Pennsylvania PressPubDate: 2005PhysDes: 23 cm ; 280 ppSubject: NATURAL HISTORY FILMS ; COUSTEAU, JACQUES ; SCIENCE IN FILMS ; DOCUMENTARY FILMS ; IMAX ; ADVENTURE FILMS Summary: Wildlife and natural history films have boomed in popularity and have become one of modern society's most important sources of information about the natural world. Yet they have been largely ignored by film and television critics and scholars - up until now. In Wildlife Films, Derek Bouse challenges conventional thinking about this neglected area of film and television, arguing that the wildlife genre has been underrated as an area of filmic creativity, yet overrated as a tool for science education and nature conservation. He argues that wildlife films owe a greater debt formally and thematically to Hollywood entertainment than to documentary. Indeed, throughout its history, the wildlife film's most salient attribute has been its proclivity for telling stories rather than for revealing scientific fact. Through storytelling devices, such as individualizing animal behaviour to engage audiences' emotions, wildlife films have become enormously successful at popularizing science. Wildlife Films asks, however, whether an overreliance on storytelling devices may also lead to distorted portrayals of evolutionary biology, and to depictions of animal family and social interactions that may sometimes be better reflections of our own values than of behavioural realities. Bouse argues that if the projection onto nature of our moral vision and our models of society comes at the expense of scientific accuracy, it is the predictable result of the "tyranny of formula" in popular film and television, where the pressures of convention are imposed by the economics of a competitive, ratings-driven industry. Wildlife Films considers the entire history of the wildlife and natural history genre, from its nineteenth-century origins, to the safari films of the 1920s and '30s, to the studio-bound television programs of the '50s, right up to today's animal "docu-soaps" and spectacular IMAX productions. It shows how a film genre unfairly dismissed by media historians and critics has given rise to a powerful global industry that is today helping to spearhead digital high-definition television. Tracing over 100 years of wildlife and natural history filmmaking, Wildlife Films shows that this is a significant force in broadcasting and a genre as vibrant and creative as any. [Taken from back cover]ISBN: 0812217284
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