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Call No: 71(497.2) TWE
Author: Film Bulgaria
CorpAuthor: Film Distribution State Enterprise, Sofia
Source: BU
Publisher: Film Distribution State Enterprise, Sofia
PubDate: 1969 (approx.)
PhysDes: 1 v. : ill., ports. ; 27cm
Subject: BULGARIA; NATIONAL CULTURE AND THE CINEMA; EDUCATIONAL FILMS; ANIMATED FILMS; DOCUMENTARIES; BULGARIAN FILM LIBRARY
Language: English/Bulgarian

Call No: 462-054.72 NAF
Author: Naficy, Hamid
Source: US
Place: Princeton, N.J.
Publisher: Princeton University Press
PubDate: 2001
PhysDes: v, 374 p. : ill. ; 24 cm
Subject: NATIONAL CULTURE AND THE CINEMA; EMIGRANT FILM WORKERS; EGOYAN, ATOM; KHLEIFI, MICHEL; NAIR, MIRA; SOLANAS, FERNANDO E.; AKERMAN, CHANTAL; NADERI, AMIR; MEKAS, JONAS; MARKER, CHRIS; GITAI, AMOS; TARKOVSKY, ANDREI
Notes: Includes bibliographical references and index.
ISBN: 0691043914

Call No: 71(6) DIA
Author: Diawara, Manthia, 1953
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1992
PhysDes: ix, 192 p. : ill. ; 25 cm
Series: Blacks in the diaspora
Subject: IMPERIALISM AND THE CINEMA. AFRICAN COUNTRIES; POLITICS AND THE CINEMA. AFRICAN COUNTRIES; FEPACI; FESTIVALS. OUAGADOUGOU; AFRICAN COUNTRIES; AFRICA IN FILMS; NATIONAL CULTURE AND THE CINEMA. AFRICAN COUNTRIES; SEMBENE, OUSMANE; ROUCH, JEAN; CISSE, SOULEYMANE
Notes: Includes bibliographical references (p. [178]-184)
ISBN: 0253317045 (alk. paper); 025320707X (pbk. : alk. paper)
LON: 8344982

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

Call No: 408.1(540) ROB
Author: Roberge, Gaston
Source: II
Place: Calcutta
Publisher: Seagull Books
PubDate: 1985
PhysDes: 151p. : ill. ; 22cm
Subject: CRITICISM; HISTORY OF CINEMA. INDIA; INDUSTRY, FILM. INDIA; NATIONAL CULTURE AND THE CINEMA. ASIAN COUNTRIES; POLITICS AND THE CINEMA; SOCIETY AND THE CINEMA; BAZIN, ANDRE; EISENSTEIN, SERGEI M.; RAY, SATYAJIT; WELLES, ORSON; BRON, PETER; BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); GANDHI (UK/II, Richard Attenborough, 1982); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NAPOLEON (FR, Abel Gance, 1927)
Summary: "Father Gaston Roberge, Director of Chitrabani, a Calcutta-based institution involved in development communication, and a media critic in his own right, with five title to his credit already, proposes, in his latest work, a militant programme... for another cinema committed to the building up of another society.' He offers revaluations of the established systems of film aesthetics, with fresh insights into the thoughts and works of Eisenstein, Bazin, Welles, and Ray; before analysing the Indian social scene in depth and detail, to suggest a comprehensive model for a parallel Indian cinema, complete with a new scheme for film and media education for the new cinema" -Book blurb
ISBN: 0861320751
Donation: donated by the family of Wayne Levy, 2006
Contents: Preface -- Part one: cinema -- Introduction: a militant programme -- What is it in cinema that makes it cinema -- Montage: the formative principle -- An anthropology of the cinema -- An exercise in film appreciation or the magnificent Andre Bazin -- Author-ity, text-uality and read-in(g) -- Part two: society -- The end of a film era -- Nine and one facts and not a few illusions -- Of many movies and some words to talk about them -- Films for social change -- Politics in film -- The politics of non-political cinema -- The cultural and social influence of foreign films -- History through films and filmed history -- Conclusion -- Film education for a new movie-man -- index

Author: Brook, Scott
PhysDes: Article
Subject: ASIANS AND THE CINEMA. AUSTRALIA; ASIANS IN FILMS. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; FINISHED PEOPLE, THE (AT, Khoa Do, 2003)
Summary: This article considers the production of the independent feature The Finished People (Khoa Do, 2003) in terms of a key factor reviewers and critics chose to play down: namely, that the director sought to capture public interest in Cabramatta (a suburb in Sydney's south west promoted as Australia's ‘most multicultural suburb’) in order to lift a Community Cultural Development (CCD) project out of the suburbs and deliver it to audiences of art-house cinema. While the film's representational strategies clearly reflect a tradition of independent Asian Australian cinema that critically negotiates the identity politics of state-sponsored multiculturalism, the film's mode of production had less to do with the avant-garde agendas reviewers compared it with, and more to do with an enduring governmental regime of pastoral pedagogy dedicated to the correction of ‘at risk’ subjects. Furthermore, the project strongly anticipated recent policy reforms to CCD initiated by the Australia Council for the Arts in 2004. Under the flexible rubric ‘Creative Communities’ these reforms seek to steer CCD workers away from cultural development as a narrow target of government intervention, and towards a more open and flexible range of policy goals and objectives. A close reading of the film's context of production reveals how such a policy shift might be expected to increase opportunities for local content to move between fields of cultural production, even as it multiplies dilemmas of formal accountability and aesthetic evaluation. -- Abstract
Notes: Part of Special Issue: Transnational Asian Australian Cinema, part 2

Call No: 408.1(94) ART
CorpAuthor: Arts Action Australia Inc; Monash University. National Centre for Australian Studies; Ideas for Australia 1991-92 Program
Source: AT
Place: Clayton, Vic.
Publisher: Ideas for Australia 1991-1992 Program in association with the National Centre for Australian Studies
PubDate: 1991
PhysDes: 12 p. ; 30 cm
Subject: NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NATIONAL CULTURE AND TV. AUSTRALIA
Notes: Cover title
ISBN: 0732602793
LON: 8395440

Call No: 756(5) TEO
Author: Teo, Stephen
Source: UK
Place: Oxford [Oxfordshire] ; New York
Publisher: Routledge
PubDate: 2013
PhysDes: xv, 269 p. : ill., ports. ; 24 cm
Series: Media, culture and social change in Asia ; 30
Subject: INDIAN CINEMA; CITY OF SADNESS, A [; JAPAN; KOREA; TAIWAN; THAILAND; SINGAPORE; MALAYSIA; IRAN; BOLLYWOOD; POPULAR CULTURE AND THE CINEMA; CULTURE AND THE CINEMA; NATIONALISM AND THE CINEMA; THEORY; ASIAN COUNTRIES; NATIONAL CULTURE AND THE CINEMA. ASIAN COUNTRIES; WORLD CINEMA; BLOCKBUSTERS; ANIMATION; HORROR FILM; GHOST FILMS; EROTIC FILMS; EROTIC FILMS. ASIA
Summary: "This book explores the range and dynamism of contemporary Asian cinemas, covering East Asia (China, Japan, South Korea, Hong Kong, Taiwan), Southeast Asia (Thailand, Singapore, Malaysia), South Asia (Bollywood), and West Asia (Iran), in order to discover what is common about them and to engender a theory or concept of "Asian Cinema". It goes beyond existing work which provides a field survey of Asian cinema, probing more deeply into the field of Asian Cinema, arguing that Asian Cinema constitutes a separate pedagogical subject, and putting forward an alternative cinematic paradigm. The book covers "styles", including the works of classical Asian Cinema masters, and specific genres such as horror films, and Bollywood and Anime, two very popular modes of Asian Cinema; "spaces", including artistic use of space and perspective in Chinese cinema, geographic and personal space in Iranian cinema, the private "erotic space" of films from South Korea and Thailand, and the persistence of the family unit in the urban spaces of Asian big cities in many Asian films; and "concepts" such as Pan-Asianism, Orientalism, Nationalism and Third Cinema. The rise of Asian nations on the world stage has been coupled with a growing interest, both inside and outside Asia, of Asian culture, of which film is increasingly an indispensable component--this book provides a rich, insightful overview of what exactly constitutes Asian Cinema." -- BOOK BLURB
Notes: Includes bibliographic references and index; Includes filmography
ISBN: 9781138815780
Contents: pt. I Styles -- 1.Kurosawa and classical style in Asian Cinema -- 2.Satyajit Ray and the Indian sensitivity of affect -- 3.The historical blockbuster style -- 4.The abstract transnational style of anime -- 5.Asian horror and the ghost-story style -- 6.The `Bollywood' style -- pt. II Spaces -- 7.Space in Asian melodrama -- 8.Iranian cinema and inward space -- 9.Domestic space and the family in South Korean cinema -- 10.Erotic space in Asian films -- pt. III Theory -- 11.The world and Asian Cinema -- 12.Asian Cinema and other cinemas.

Call No: 151(73) AUSTRALIAN "1978"
CorpAuthor: New South Wales Film Corporation Australian Films Office Inc.
Source: AT
Publisher: New South Wales Film Corporation Australian Films Office Inc.
PubDate: [1978]
PhysDes: 32 leaves : illustrations ; 30 cm
Subject: FESTIVALS. AUSTRALIA; INDUSTRY, FILM. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NEW SOUTH WALES FILM CORPORATION; NOYCE, PHILLIP; SHARMAN, JIM; THOMPSON, JACK; CADDIE (AT, Donald Crombie, 1976); GETTING OF WISDOM, THE (AT, Bruce Beresford, 1977); NEWSFRONT (AT, Phillip Noyce, 1978); NIGHT THE PROWLER, THE (AT, Jim Sharman, 1978); STORM BOY (AT, Henri Safran, 1976); SUNDAY TOO FAR AWAY (AT, Ken Hannam, 1975)
Summary: A collection of clippings from US print media relating to the Australian Film Festival in 1978.

Call No: 408.1(94) ORE
Copy Management: 2 copies
Author: O'Regan, Tom, 1956
Place: London New York
Publisher: Routledge
PubDate: 1996
PhysDes: ix, 405 p. ; 24 cm
Series: National cinemas series
Subject: INDUSTRY, FILM. AUSTRALIA; POPULAR CULTURE AND THE CINEMA. AUSTRALIA; SOCIETY AND THE CINEMA. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; CRITICISM. AUSTRALIA
Notes: Includes bibliographical references (p. [376]-391) and indexes
ISBN: 0415057310 (pbk.); 0415057302
LON: 12193364
Contents: 1. Introducing Australian national cinema -- 2. Theorizing Australian cinema -- 3. A national cinema -- 4. A medium-sized English-language cinema -- 5. Formations of value -- 6. Making meaning -- 7. Diversity -- 8. Unity -- 9. Negotiating cultural transfers -- 10. A distinct place in the cinema -- 11. Problematizing the social -- 12. Problematizing gender -- 13. Problematizing nationhood -- 14. Critical dispositions.

Call No: 408.1(94) DER
Author: Dermody, Susan; Jacka, Elizabeth
Edition: June, 1983
Place: Broadway, [NSW]
Publisher: News South Wales Institute of Technology
PhysDes: 22 pages ; 30 cm
Series: Media Papers; No. 18
Subject: INDUSTRY, FILM. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA
Notes: Occasional papers in Media Studies; Faculty of Humanities and Social Sciences

Call No: 71(94) AUS
Author: Moran, Albert, 1942; O'Regan, Tom, 1956
Place: Ringwood, Vic.
Publisher: Penguin
PubDate: 1989
PhysDes: xvi, 304 p., 16 p. of plates : ill., ports. ; 23 cm
Subject: NATIONAL CULTURE AND THE CINEMA. AUSTRALIA
Notes: Includes index; Bibliography: p. 257-286
ISBN: 0140110240 (pbk.) : price unknown
LON: anb14011024; 6171822

Call No: 79BAR MOR
Author: Moore, Tony
Source: AT
Place: Sydney
Publisher: Currency Press, Australian Film Commission
PubDate: 2005
PhysDes: x, 86 p. : ill. ; 19 cm.
Series: Australian screen classics
Subject: AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; COMEDIES. AUSTRALIA; EVERAGE, DAME EDNA; BERESFORD, BRUCE; HUMPHRIES, BARRY; ADAMS, PHILLIP; BARRY MCKENZIE HOLDS HIS OWN (AT, Bruce Beresford, 1974); ADVENTURES OF BARRY MCKENZIE, THE (AT, Bruce Beresford, 1972)
Summary: With irresponsible humour and sharp-witted insight Tony Morre explores the subversive satire of the films, their influence on his generation, and what they have to say about who we are today. Included is a glossary of Bazza-isms written by Barry Humphries.
ISBN: 0868197483
ISSN: 1447557X

Call No: 71(485) BAS
Author: Lindfors, Rolf; Wredlund, Bertil; Ahlander, Lars
CorpAuthor: The Swedish Film Institute; Svenska Filminstitutet; The Swedish Institute
Source: SW
Place: Stockholm, Sweden
Publisher: The Swedish Film Institute; Svenska Filminstitutet; The Swedish Institute
PubDate: [1984?]
PhysDes: 6 p. : ill. ; 30cm
Subject: SWEDEN; SVENSKA FILMINSTITUTET; NATIONAL CULTURE AND THE CINEMA
Notes: Reprinted from 'Chaplin', 25 anniversay issue 1984
Contents: Headings: 'The Swedish Film Institute', 'The Film and Video Agreement', 'Cinema Statistics', 'Film Festivals', 'Education and Research', 'Film Censorship', 'Video', 'Distribution'

Call No: 408.1(94) MOL
Author: Molloy, Bruce
Place: St. Lucia, Qld.
Publisher: University of Queensland Press
PubDate: 1990
PhysDes: xviii, 244 p., [32] p. of plates : ill., ports. ; 22 cm
Subject: AUSTRALIA; NATIONAL IDENTITY IN FILMS. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; FAMILY IN FILMS. AUSTRALIA; MYTH AND THE CINEMA; CINESOUND STUDIOS; CHAUVEL, CHARLES; BITTER SPRINGS (AT, Ralph Smart, 1950); HERITAGE (AT, Charles Chauvel, 1935); ON OUR SELECTION (AT, Ken G. Hall, 1932); SQUATTER'S DAUGHTER, THE (AT, Ken G. Hall, 1933); DAD RUDD M.P. (AT, Ken G. Hall, 1940); [FORTY THOUSAND] 40,000 HORSEMEN (AT, Charles Chauvel, 1940); IT ISN'T DONE (AT, Ken G. Hall, 1937); JEDDA (AT, Charles Chauvel, 1955); OVERLANDERS, THE (UK, Harry Watt, 1946); RATS OF TOBRUK, THE (AT, Charles Chauvel, 1944); SHIRALEE, THE (AT, Leslie Norman, 1957); SONS OF MATTHEW (AT, Charles Chauvel, 1949)
Notes: Includes index; Bibliography: p. [219]-229
ISBN: 0702222690 (pbk.)
LON: 6791823
Contents: Charles Chauvel, p101-164 -- Bitter Springs, p189-194 -- Dad Rudd, p60-65 -- Forty Thousand Horsemen, p144-152 -- Heritage, p107-114 -- It isn't done, p87-92 -- Jedda, p203-208 -- On Our Selection, p48-53 -- The Overlanders, p165-171 -- The Rats of Tobruk, p152-161 -- The Shiralee, p178-181 -- Sons of Matthew, p114-124 -- The Squatter's Daughter, p65-69

Call No: 408.1(46) KIN
Author: Kinder, Marsha
Place: Berkeley
Publisher: University of California Press
PubDate: 1993
PhysDes: xi, 553 p. : ill. ; 24 cm
Subject: SPAIN; INDUSTRY, FILM. UK; NATIONAL CULTURE AND THE CINEMA. SPAIN; NATIONAL IDENTITY IN FILMS. SPAIN; SPAIN: CATALONIA; VIOLENCE IN FILMS. SPAIN; DIRECTORS. USA; ERICE, VICTOR; SAURA, CARLOS; ALMODOVAR, PEDRO; BUNUEL, LUIS; SURCOS (SP, Jose Antonio Nieves Conde, 1951); MUERTE DE UN CICLISTA (SP, Juan Antonio Bardem, 1955); GOLFOS, LOS (SP, Carlos Saura, 1959); COCHECITO, EL (SP, Marco Ferreri, 1959); ESPIRITU DE LA COLMENA, EL (SP, Victor Erice, 1973); RIO ABAJO (SP, Jose Luis Borau, 1984)
Notes: "A Centennial book."; Includes bibliographical references (p. 507-522) and index
ISBN: 0520081536 (alk. paper); 0520081579 (pbk. : alk. paper)
LON: 9293143

Call No: 71(52) BER
Author: Berger, Michael
Source: US
Place: Berkeley, California
Publisher: Pacific Film Archive, University of California, Berkeley
PubDate: 1974
PhysDes: 32 p. : ill. ; 28 cm
Subject: JAPAN; NATIONAL CULTURE AND THE CINEMA. JAPAN
Summary: Based around a thriteen week series on the American Public Broadcasting System, this guide comments on the Japanese films shown in the series and the various shared themes presented by the films in a way to help American's in business with the Japanese to understand their culture better.; The films shown are: Sanjuro (Akira Kurosawa), Ugetsu (Kenji Mizoguchi), Harp of Burma (Kon Ichikawa), Double Suicide (Masahiro Shinoda), Harakiri (Masaki Kobayashi), Boy (Nagisa Oshima), Night Drum (Tadashi Imai), Ikuru (Akira Kurosawa), When a Woman Ascends the Stairs (Mikio Naruse), Sansho the Bailiff (Kenji Mizoguchi), Twenty-Four Eyes (Keisuke Kinoshita), Gate of Hell (Teinosuke Kinugasa), Early Summer (Yasujiro Ozu).

Call No: 71(51) ZHA
Author: Zhang, Yingjin
Source: US
Place: New York
Publisher: Routledge
PubDate: 2004
PhysDes: 328 p. ; ill. ; 24 cm
Subject: CITY OF SADNESS, A [; INDUSTRY, FILM. CHINA; INDUSTRY, FILM. HONG KONG; HISTORY OF CINEMA; NATIONAL CULTURE AND THE CINEMA. CHINA
Summary: ‘This introduction to Chinese national cinema, by a leading critic, covers three ‘Chinas’: mainland China, Hong Kong and Taiwan. It traces the formation, negotiation and problematization of the national on the Chinese screen over ninety years. Historical and comparative perspectives bring out the parallel developments in the three Chinas, while critical analysis explores thematic and stylistic changes over time…’ (Back cover)
ISBN: 041517290
Contents: 1. Introduction: National cinema and China -- 2. Cinema and national traditions, 1896-1929 -- 3. Cinema and the nation-people, 1930-49 -- 4. Cinematic reinvention of the national in Taiwan, 1896-1978 -- 5. Cinematic revival of the regional in Hong Kong, 1945-78 -- 6. Cinema and the nation-state in the PRC, 1949-78 -- 7. Cinema and national/regional cultures, 1979-89 -- 8. Cinema and the transnational imaginary, 1990-2002

Call No: 408.1(5) CIN
Author: Dissanayake, Wimal
CorpAuthor: Institute of Culture and Communication (East-West Center)
Place: Lanham, MD
Publisher: University Press of America
PubDate: 1988
PhysDes: vii, 214 p. ; 24 cm
Subject: INDUSTRY, FILM. ASIAN COUNTRIES; INDUSTRY, FILM. CHINA; INDUSTRY, FILM. JAPAN; INDUSTRY, FILM. INDIA; WOMEN IN FILMS; NATIONAL CULTURE AND THE CINEMA. ASIAN COUNTRIES; GENRES; SAMURAI FILMS; RAY, SATYAJIT
Notes: "Co-published by arrangement with the East-West Center, Institute of Culture and Communication"--T.p. verso; Includes bibliographies and index
ISBN: 0819169455 (alk. paper); 0819169463 (pbk.)
LON: 5986435
Contents: PART I. JAPAN -- 1. Viewing Japanese film: some considerations / Donald Richie -- 2. The destiny of Samurai films / Michitaro Tada -- 3. The multilayered nature of the tradition of acting in Japanese cinema / Tadao Sato -- 4. Japanese film genres / Audie Bock -- 5. Change in the image of mother in Japanese cinema and television / Tadao Sato -- PART 2. INDIA -- 6. Innovation and imitation in the Indian cinema / Mira Reym Binford -- 7. Art, vision, and culture: Satiyajit Ray's Apu trilogy revisited / Wimal Dissanayake -- 8. The woman: myth and reality in Indian cinema / Aruna Vasudev -- 9. The painted face of politics: the actor politicians of South India / Chidananda Das Gupta -- 10. Songs in Hindi films: nature and function / Teri Skillman -- PART 3. CHINA -- 11. The Chinese film in the 1980s: art and industry / Ma Qiang -- 12. The sinification of cinema: the foreignness of film in China / Paul Clark -- 13. The position of women in new Chinese cinema / Tony Rayns -- 14. Chinese films amidst the tide of reform / Shao Mujun

Call No: 756 CIN
Source: UK/USA
Place: Bristol, UK ; Chicago, USA
Publisher: Intellect
PubDate: 2010
PhysDes: 315 p. ; 23 cm
Subject: CINEMATOGRAPHY; LOCATION SHOOTING; LANDSCAPES IN FILMS; LANDSCAPES IN FILMS. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA; HERZOG, WERNER; CHOCOLATE [CHOCOLAT] (FR, Claire Denis, 1988); RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001)
Summary: Cinema and Landscape frames up contemporary film landscapes across the world, in a concentrated examination and interrogation of screen aesthetics and national ideology, film form and cultural geography, cinematic representation and the human environment.
Notes: includes filmography; includes index
ISBN: 9781841503097
Contents: 1. Introduction - cinema and landscape -- Part I: The invention of the cinematic landscape : 2. Landscape and the fantasy of moving pictures: early cinema's phantom rides / Tom Gunning -- Part II: Mapping cinematic landscapes : 3. 'One foot in the air?' Landscape in the Soviet and Russian road movie / Emma Widdis -- 4. Landscape of the mind: the indifferent Earth in Werner Herzog's films / Brad Prager -- 5. Visions of Italy: the sublime, the postmodern and the apocalyptic / William Hope -- 6. Landscape in Spanish cinema / Marvin D'Lugo -- 7. Landscape and Irish cinema / Martin McLoone -- 8. The ownership of woods and water: landscapes in British cinema 1930-1960 / Sue Harper -- 9. Filming the (post-)colonial landscape: Claire Denis' Chocolat (1988) and Beau travail (1998) / Susan Hayward. 10. Landscaping the revolution: the political and social geography of Cuba reflected in its cinema / Bob Britton -- 11. Landscapes of meaning in cinema: two Indian examples / Wimal Dissanayake -- 12. The geography of cinema - Zimbabwe / Martin Mhando -- 13. Crises, Economy and landscape: the modern film face of new China / Kate Taylor -- 14. Japanese cinema and landscape / Paul Spicer -- 15. A version of beauty and terror: Australian cinematic landscapes / Graham Harper -- 16. Battlefields of vision: New Zealand filmscapes / Jonathan Rayner -- 17. The landscapes of Canada's features: articulating nation and nature / Jim Leach -- 18 Science fiction/fantasy films, fairy tales and control: landscape stereotypes on a wilderness to ultra-urban continuum / Christina Kennedy, Tia´nna and Me´lisa Kennedy

Call No: 203(73) GRI
Author: Grievson, Lee
Edition: 2018
Place: Oakland, California
Publisher: University of California Press
PhysDes: xvi, 466 pages : illustrated ; 24cm
Subject: ECONOMICS AND THE CINEMA. US; NATIONAL CULTURE AND THE CINEMA. USA; CAPITALISM AND THE CINEMA; FINANCING. USA; INTERNATIONAL DISTRIBUTION. USA
Summary: Cinema and the Wealth of Nations explores how media, principally in the form of cinema, was used during the interwar years by elite institutions to establish and sustain forms of liberal political economy beneficial to their interests. It examines the media produced by institutions such as states, corporations, and investment banks, as well as the emergence of a corporate media industry and system supported by state policy and integral to the establishment of a new consumer system. Lee Grieveson shows how media was used to encode liberal political and economic power during the period that saw the United States eclipse Britain as the globally hegemonic nation and the related inauguration of new forms of liberal economic globalization. But this is not a distant history. Cinema and the Wealth of Nations examines a foundational conjuncture in the establishment of media forms and a media system instrumental in, and structural to, the emergence and expansion of a world system that has been—and continues to be—brutally violent, unequal, and destructive. -- publisher's web site
ISBN: 9780520291690
Contents: List of Illustrations -- Acknowledgments -- -- 1. The Silver Screen and the Gold Standard -- 2. The Panama Caper -- 3. Empire of Liberty -- 4. Liberty Bonds -- 5. The State of Extension -- 6. The Work of Film in the Age of Fordist Mechanization -- 7. The Pan-American Road to Happiness and Friendship -- 8. Highways of Empire -- 9. League of Corporations -- 10. The Silver Chains of Mimesis -- 11. The Golden Harvest of the Silver Screen -- 12. Welfare Media -- 13. The World of Tomorrow—Today! -- -- Notes -- Sources and Bibliography -- Index

Call No: 71(45) CIN
Author: Blasetti, Alexandre; Rondi, Jean Louis
Source: IT
Place: Rome
Publisher: Carlo Bestetti
PubDate: [1950?]
PhysDes: 213 p. : ill., ports. ; 31 cm
Subject: ITALY; NATIONAL CULTURE AND THE CINEMA; NEOREALISM
Notes: Authors: Zavattini, Cesar (preface); Carancini, Gaetan; Meccoli, Dominque; Marinucci, Vinicio; Guidi, Guidarino; Giannelli, E.; Verdone, Marius; Includes bibliography; Includes filmography of Italian films from 1945-1950; Includes index
Language: French

Call No: 71(93) CIN
Source: UK
Place: London
Publisher: Wallflower
PubDate: 2007
PhysDes: xiii, 259 p. : ill. ; 24 cm.
Series: 24 Frames
Subject: AUSTRALIA; NEW ZEALAND; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. NEW ZEALAND; STORY OF THE KELLY GANG, THE (AT, Charles Tait, 1906); WOMAN SUFFERS, THE (AT, Raymond Longford, 1918); DAD AND DAVE COME TO TOWN (AT, Ken G. Hall, 1938); PHANTOM STOCKMAN, THE (AT, Lee Robinson, 1953); BACK OF BEYOND, THE (AT, John Heyer, 1954); JEDDA (AT, Charles Chauvel, 1955); FREE RADICALS (NZ, Len Lye, 1958); RUNAWAY (NZ, John O'Shea, 1964); THEY'RE A WEIRD MOB (AT, Michael Powell, 1966); ONE NIGHT THE MOON (AT, Rachel Perkins, 2001); SLEEPING DOGS (NZ, Roger Donaldson, 1977); VIGIL (NZ, Vincent Ward, 1984); IN THIS LIFE'S BODY (AT, Corinne Cantrill, 1984); PIANO, THE (AT, Jane Campion, 1993); YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994); OSCAR AND LUCINDA (AT, Gillian Armstrong, 1997); AFTER MABO (AT, Richard Frankland, 1997); CHOPPER (AT, Andrew Dominik, 2000); GODDESS OF 1967, THE (AT, Clara Law, 2000); MOULIN ROUGE (AT/US, Baz Luhrmann, 2001); LORD OF THE RINGS: FELLOWSHIP OF THE RING, THE (US, Peter Jackson, 2001); TWO LAWS (AT, Alessandro Cavadini & Carolyn Strachan, 1981); RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001)
Summary: A collection of essays celebrating the commercially successful narrative feature films from Australia and New Zealand, including key documentaries, shorts and independent films. This coverage also invokes issues of national identity, race, history and the ability of two small film cultures to survive the economic and cultural threat from Hollywood.
Notes: Includes filmography. Includes bibliography and index.
ISBN: 9781904764960

Call No: 71(512.317) CIN
Author: Desser, David; Fu, Poshek
Source: UK
Place: Cambridge
Publisher: Cambridge University Press
PubDate: 2000
PhysDes: v-xi, 333p .; illus.; 23cm.
Subject: NATIONAL CULTURE AND THE CINEMA. HONG KONG; HUI, ANN; HU, KING; WOO, JOHN [pseud. of Wu Yusen]; HUI, MICHAEL
Notes: Includes index and a selected bibliography
ISBN: 0521776023

Call No: 71 (52) CIN; RARE BOOK; FOLIO
Place: Tokyo
Publisher: Kokusai Bunka Shinkokai (The Society for International Cultural Relations)
PubDate: 1938
PhysDes: 82 p. : ill., ports. ; 32cm
Subject: JAPAN; NATIONAL CULTURE AND THE CINEMA; PERIODICALS, FILM; ORGANIZATIONS; NEWSREELS; KOREA; SHOCHIKU; TOHO; NIKKATSU; KAZE NO NAKA NO KODOMO (JA, Hiroshi Shimizu, 1937); KOJO NO TSUKI (JA, Keisuke Sasaki, 1937); HANA-KAGO NO UTA (JA, Heinosuke Gosho, 1937); ASAKUSA NO HI (JA, Yasujiro Shimazu, 1937); SOBO (JA, Hisatora Kumagai, ?); TABIJI (JA, Ri Keikwan, ?); ATARASHIKI TSUCHI (JA, Mansaku Itami, 1937); HADAKA NO MACHI (JA, Tomu Uchida, 1937); SHINSEN GUMI (JA, Sotoji Kimura, 1937); SHINJITSU ICHIRO (JA, Tomotaka Tasaka, 1937); SHUKUJO WA NANI O WASURETA KA (JA, Yasujiro Ozu, 1937); OSAKA NATSU NO JIN (JA, Teinosuke Kinugasa, 1937); AI EN KYO (JA, Kenji Mizoguchi, 1937); WAKAI HITO (JA, Shiro Toyoda, 1937); KAGIRINAKI ZENSHIN (JA, Tomu Uchida, 1937)

Author: Khoo, Olivia
PhysDes: Article
Subject: MULTICULTURALISM AND THE CINEMA. AUSTRALIA; ASIANS AND THE CINEMA. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; REALISM IN FILMS. AUSTRALIA; ETHICS AND THE CINEMA; JAMMED, THE (AT, Dee McLachlan, 2007); FINISHED PEOPLE, THE (AT, Khoa Do, 2003); RA CHOI (AT, M. Frank, 2005)
Summary: This article examines the use of realist aesthetics in three Australian films, Dee McLachlan's The jammed (2007), Khoa Do's The Finished People (2003) and M. Frank's Ra Choi (2005) as a way of creating ‘value’ within the terms of an Australian national cinema. ‘These films, among other examples of an emergent Asian Australian cinema’, deploy techniques of realism to build an authenticity of experience for spectators, unfamiliar with seeing portrayals of Asian Australians on screen. This article will consider what is at stake in the accepted, and often replicated, relationship between multiculturalism and realism characterizing filmic representations of Asian Australians, and will shift the focus to explore the place of idealism in the creation of value. By examining the aesthetics of what I will call ‘multicultural realism’ I aim to consider how these stylistic strategies seek to politicize certain representations over others in the films' attempt to build an alternative vision of the Australian nation and its diasporic constituents. -- Abstract
Notes: Part of Special Issue: Transnational Asian Australian Cinema. Part 1

Call No: 408.3(5) CIN
Author: Ehrlich, Linda C. (Linda Channah), 1952; Desser, David
Edition: 1st ed
Place: Austin, Tex.
Publisher: University of Texas Press
PubDate: 1994
PhysDes: xii, 345 p., [4] leaves of plates : ill. ; 25 cm
Subject: CITY OF SADNESS, A [; JAPAN; NATIONAL CULTURE AND THE CINEMA. CHINA; NATIONAL CULTURE AND THE CINEMA. JAPAN; HUANG TUDI (CC, Chen Kaige, 1985); HEI PAO SHI JIAN (CC, Huang Jianxin, 1986); BLACK CANNON INCIDENT, THE (CC, Huang Jianxin, 1986); HAIZI WANG (CC, Chen Kaige, 1988); JU DOU (CC/JA, Zhang Yimou, 1990); GENROKU CHUSHINGURA (JA, Kenji Mizoguchi, 1942); YUKINOJO HENGE (JA, Kon Ichikawa, 1964)
Summary: China and Japan both have traditional art forms that have been highly developed and long studied. Noted film and art scholars explore how the spatial consciousness, compositionaltechniques and construciton of images in thesetraditional and moderm art forms also inform filmmaking in these two countries, so that film and art share the same culturally defined "methods of seeing."Of interest to historians and film scholars with applications beyond the Far Eastern context. It demonstrates that while mainstream Hollywood cinema has influenced filmmaking everywhere, other national cinemas cannot be completely understood without considering their indigenous traditions
Notes: Filmography: p. 323-326; Includes bibliographical references and index
ISBN: 0292720866 (alk. paper); 0292720874 (pbk. : alk. paper)
LON: 10645466

Call No: 747.2(47) CIN
Source: US
Place: Bloomington IN
Publisher: Indiana University Press
PubDate: c2010
PhysDes: x, 331 p. ; 23 cm
Subject: CHILDREN AND THE CINEMA; FAMILY IN FILMS; MASCULINITY IN FILMS; MEN AND THE CINEMA; NATIONAL CULTURE AND THE CINEMA. RUSSIA; RUSSIA; RUSSIA IN FILMS; USSR; U.S.S.R IN FILMS
Summary: "This wide-ranging collection investigates the father/son dynamic in post-Stalinist Soviet cinema and its Russian successor. Contributors analyze complex patterns of identification, disavowal, and displacement in films by such diverse directors as Khutsiev, Motyl', Tarkovsky, Balabanov, Sokurov, Todorovskii, Mashkov, and Bekmambetov. Several chapters focus on the difficulties of fulfilling the paternal function, while others show how vertical and horizontal male bonds are repeatedly strained by the pressure of redefining an embattled masculinity in a shifting political landscape." - BOOK BLURB
Notes: Includes index.
ISBN: 9780253221872
Contents: Preface -- Introduction - Cinepaternity: the psyche and its heritage --; Part One: Thaw, stagnation, perestroika -- The myth of the great family in Marlen Khutsiev's Lenin's Guard and Mark Osep'ian's Three Days of Viktor Chernyshev: Alexander Prokhorov -- Mending the rupture: the war trope and the return of the imperial father in 1970s cinema: Elena Prokhorova -- Models of male kinship in perestroika cinema: Seth Graham --; Part two: war in the post-Soviet dialogue with paternity -- The fathers' war through the sons' lens: Tatiana Smorodinskaya -- War as the family value: failing fathers and monstrous sons in My Stepbrother Frankenstein: Mark Lipovetsky -- A surplus of surrogates: Mashkov's fathers: Helena Goscilo --; Part three: Reconceiving filial bonds -- Resurrected fathers and resuscitated sons: homosocial fantasies in The Return and Koktebel: Yana Hashamova -- The forces of kinship: Timur Bekmambetov's Night Watch cinematic trilogy: Vlad Stukov -- Fathers, sons and brothers: redeeming patriarchal authority in The Brigade: Brian James Baer --; Four: Auteurs and the psychological/philosophical -- Fraught filiation: Andrei Tarkovsky's transformations of personal trauma: Helena Goscilo -- Vision and blindness in Sokurov's Father and Son: Jose Alaniz

Call No: 408.1(5) COL
Author: Dissanayake, Wimal
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1994
PhysDes: xxix, 224 p. ; 25 cm
Subject: IMPERIALISM AND THE CINEMA. ASIAN COUNTRIES; NATIONAL IDENTITY IN FILMS. ASIAN COUNTRIES; NATIONAL CULTURE AND THE CINEMA. ASIAN COUNTRIES; JAPAN; CITY OF SADNESS, A [; TAIWAN; KOREA; THAILAND; INDONESIA; INDIA; SRI LANKA; VIETNAM; INDUSTRY, FILM. AUSTRALIA; HONG GAOLIANG (CC, Zhang Yimou, 1988); SHATRANJ KE KHILARI (II, Satyajit Ray, 1977)
Notes: Includes bibliographical references and index
ISBN: 0253208955 (pbk. : alk. paper); 0253318041 (alk. paper)
LON: 10720440
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Call No: 408.1(5) COL
Author: Dissanayake, Wimal
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1994
PhysDes: xxix, 224 p. ; 25 cm
Subject: IMPERIALISM AND THE CINEMA. ASIAN COUNTRIES; NATIONAL IDENTITY IN FILMS. ASIAN COUNTRIES; NATIONAL CULTURE AND THE CINEMA. ASIAN COUNTRIES; JAPAN; CITY OF SADNESS, A [; TAIWAN; KOREA; THAILAND; INDONESIA; INDIA; SRI LANKA; VIETNAM; INDUSTRY, FILM. AUSTRALIA; HONG GAOLIANG (CC, Zhang Yimou, 1988); SHATRANJ KE KHILARI (II, Satyajit Ray, 1977)
Notes: Includes bibliographical references and index
ISBN: 0253208955 (pbk. : alk. paper); 0253318041 (alk. paper)
LON: 10720440
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Call No: 71(519) LEE
Author: Lee Hyangjin
Source: UK
Place: Manchester
Publisher: Manchester University Press.
PubDate: 2001
PhysDes: 244 p. : ill. ; 22 cm.
Subject: KOREA; KOREAN WAR FILMS; ADAPTATIONS; NATIONAL CULTURE AND THE CINEMA. KOREA; CLASS AND THE CINEMA. KOREA
Summary: "This book examines the role of the Korean film as a cultural text of Koreans in both the North and the South, and focuses on the conflicting self-identities of a people still strongly committed to their cultural traditions despite political divisions. The book defines the significance of film-making and film-viewing in Korean society. It covers the introduction of motion pictures in Korea inn 1903 ... up to the 1990s. It introduces the works of Korea's major directors, and analyses the Korean film industry in terms of film production, distribution and reception. Based on this historical analysis, the study investigates ideological constructs in seventeen films, eight from North Korea and nine South Korea."
Notes: Includes bibliographical references and index. Includes filmography Based on the author's thesis (Ph. D.): Common culture, divided nation. Includes bibliographical references (p. [222]-234) and index. Filmography: p. [194]-221.
ISBN: 0719060087(pbk.)

Call No: 161(94) CRE AUS
CorpAuthor: Creating Culture Conference (1994 : Canberra, A.C.T.); Australia. Dept. of Communications and the Arts
Place: [Canberra]
Publisher: Commonwealth Dept. of Communications and the Arts
PubDate: 1994]
PhysDes: 195 p. : ill., ports. ; 30 cm
Subject: INDUSTRY, FILM. AUSTRALIA; INDUSTRY, TV. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; GOVERNMENT AID. AUSTRALIA; STATE AND THE CINEMA. AUSTRALIA
Notes: Cover title; "These are the edited transcripts of speeches given at the "Creating Culture - the new growth industries" conference held at Parliament House, Canberra on 11 and 12 August 1994."--P. [1]; Conference organised under the Cultural Industry Development Program of the Dept. of Communications and the Arts
ISBN: 0642224307
LON: 11325570

Call No: 10857
Author: Summers, Anne
Edition: 1991
Place: Clayton, Vic.
Publisher: Ideas for Australia 1991-92 Program in association with the National Centre for Australian Studies, Monash University.
PhysDes: 32 pages ; 26 cm
Subject: AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NATIONAL IDENTITY AND AUSTRALIA; NATIONAL IDENTITY IN FILMS. AUSTRALIA
ISBN: 9780732602505

Author: Lamond, Julianne
PhysDes: Article
Subject: NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; AUDIENCES. AUSTRALIA; HALL, KEN G.; DAD RUDD M.P. (AT, Ken G. Hall, 1940)
Summary: This article contextualizes Ken G. Hall's 1940 film Dad Rudd, M.P. with the history of Dad Rudd, a fictional character who pervaded Australian popular culture throughout the first half of the twentieth century. It argues that the fiction, theatre, film, cartoon and radio narratives in which he appeared have been instrumental in the creation of the idea of a pupular Australian audience that can be defined in relation to a particular set of national symbols. Addressing Hall's film as well as the promotional material and public debate surrounding it, the article demonstrates that conceptualizations of an Australian national audience have been influenced by the genres and narratives of popular culture, historical circumstance and American cultural production. --Abstract

Call No: 408.1(68) KER
Author: Kerr, David
Source: G
Place: Bayreuth
Publisher: Eckhard Breitinger
PubDate: 1998
PhysDes: 286 p. ; 21 cm
Series: Bayreuth African Studies ; 43
Subject: AFRICA; AFRICAN COUNTRIES; BROADCASTING; CULTURE AND THE CINEMA; ENTERTAINMENT; MEDIA; NATIONAL CONTENT. AFRICAN COUNTRIES; NATIONAL CULTURE AND THE CINEMA. AFRICAN COUNTRIES
Summary: "David Kerr examines the development of popular entertainment in Zambia and Malawi. He deals with media such as film, radio and television drama as well as with the way modernisation has transformed inidigenous forms of dance and narrative. Kerr also discusses the role of performance related research and the instrumental use of African culture for development purposes." -- BOOK BLURB
Notes: Includes bibliographical references (p. 259-275) and index
ISBN: 3927510440
Donation: donated by the family of Wayne Levy, 2006
Contents: -- acknowledgments -- introduction -- section A: Dance and oral narrative -- section B: media entertainment -- section C: drama for popular mobilisation -- appendicies --

Call No: 71(47)DOY
Author: Sovexportfilm
CorpAuthor: Sovexportfilm
Source: UR
Place: Moscow
Publisher: Sovexportfilm
PubDate: 1965
PhysDes: 70 p. : ill. ; 21cm
Subject: USSR; NATIONAL CULTURE AND THE CINEMA
Language: Russian/English/French

Call No: 408.3(44) DUR
Author: Durham, Carolyn A
Place: Hanover, NH
Publisher: Dartmouth University Press of New England
PubDate: c1998
PhysDes: xi, 246 p. : ill. ; 24 cm
Series: Contemporary French culture and society
Subject: BIRDCAGE, THE (US, Mike Nichols, 1996); CAGE AUX FOLLES, LA (IT/FR, Edouard Molinaro, 1978); HOMOSEXUALITY IN FILMS; MARRIAGE IN FILMS; REMAKES; NATIONAL CULTURE AND THE CINEMA. FRANCE; NATIONAL CULTURE AND THE CINEMA. USA; GENDER AND THE CINEMA. USA; GENDER AND THE CINEMA. FRANCE; BREATHLESS (FR, Jean-Luc Godard, 1959); BREATHLESS (US, Jim McBride, 1983); A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959); COUSINS (US, Joel Schumacher, 1989); COUSIN, COUSINE (FR, Jean-Charles Tacchella, 1975); MAN WHO LOVED WOMEN, THE (US, Blake Edwards, 1983); HOMME QUI AMAIT LES FEMMES, L' (FR, Francois Truffaut, 1977); I WANT TO GO HOME (FR, Alain Resnais, 1989)
Notes: Filmography: p. 231-235; Includes bibliographical references (p. 221-229) and index
LON: 13921589

Call No: 408.1(41) HUN
Author: Hunter, Jefferson
Source: US
Place: Bloomington IN
Publisher: Indiana University Press
PubDate: c2010
PhysDes: xii, 357 p. ; 23 cm
Subject: ADAPTATIONS; ADAPTATIONS. DICKENS, CHARLES; ADAPTATIONS. ORWELL, GEORGE; BRITISH CINEMA; CRIME DRAMAS; LITERATURE AND THE CINEMA; NATIONAL CULTURE AND THE CINEMA. UNITED KINGDOM; WORLD WAR II AND THE CINEMA; WORLD WAR II FILMS. UK; BRIEF ENCOUNTER (UK, David Lean, 1945); CANTERBURY TALE, A (UK, Michael Powell & Emeric Pressburger, 1944); LISTEN TO BRITAIN (UK, Humphrey Jennings/Stewart McAllister, 1942); LOOK BACK IN ANGER (UK, Tony Richardson, 1959); REMAINS OF THE DAY, THE (UK/US, James Ivory, 1993); SINGING DETECTIVE, THE [TV] (UK, Jon Amiel, 1986)
Summary: "Jefferson Hunter examines English films and television dramas as they relate to English culture in the twentieth century. He traces themes such as the influence of US crime drama on English film, and film adaptations of literary works as they appear in screen work from the 1930s to the present. A Canterbury Tale and the documentary Listen to Britain are analyzed in the context of village pageants and other wartime explorations of Englishness at risk. English crime dramas are set against the writings of George Orwell, while a famous line from Noel Coward also leads to a discussion of music and image in works including Brief Encounter and Look Back in Anger. Screen adaptation is also broached in analyses of the 1985 BBC version of Dickens's Bleak House and Merchant-Ivory's The Remains of the Day." - BOOK BLURB
Notes: Includes notes and index
ISBN: 9780253221773

Call No: 71(4) FOR
Author: Street, Sarah; Forbes, Jill
Place: Hampshire, [Eng.] New York
Publisher: Palgrave
PubDate: 2000
PhysDes: xvi, 216 p. : ill. ; 24 cm
Subject: EUROPEAN COUNTRIES; NATIONAL CULTURE AND THE CINEMA. EUROPEAN COUNTRIES; NATIONAL IDENTITY AND THE CINEMA. EUROPEAN COUNTRIES; STUDIOS, FILM. EUROPEAN COUNTRIES; STARS. EUROPEAN COUNTRIES; GENRES. EUROPEAN COUNTRIES; BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); LODGER, THE (UK, Alfred Hitchcock, 1926); REGLE DU JEU, LA (FR, Jean Renoir, 1939); VIRIDIANA (SP/MX, Luis Bunuel, 1961); ALICE IN DEN STADTEN (GW, Wim Wenders, 1973); CARMEN (SP, Carlos Saura, 1983); GOOD MORNING BABYLON [GOOD MORNING BABILONIA] (IT/FR/US, Paol Taviani & Vittorio Taviani, 1987); VERSPRECHEN, DAS (GG/FR, Margarethe von Trotta, 1994); HAINE, LA [HATE] (FR, Mathieu Kassovitz, 1995); TRAINSPOTTING (UK, Danny Boyle, 1996)
Notes: Includes bibliographical references and indexes
ISBN: 0333752090; 0333752104 (pbk.); 0312237464; 0312237472 (pbk.)
LON: 21467101

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: 71(480)FIL
Author: Astala, Erkki
CorpAuthor: Suomen elokuvasaatio; Finnish Film Foundation
Source: FI
Place: Helsinki, Finland
Publisher: Suomen elokuvasaatio; Finnish Film Foundation
PubDate: 1986
PhysDes: 55 p. : ill. ; 28 cm
Subject: FINLAND; NATIONAL CULTURE AND THE CINEMA; TRAVEL IN FILMS; DONNER, JORN; ENGSTROM, INGEMO; HALLSTROM, ARTO AF; HARTZELL, PAIVI; HONKASALO, PIRJO; HUMANLOJA, TIMO; KASSILA, MATTI; KAURISMAKI, AKI; KAURISMAKI, MIKA; KURKVAARA, MAUNU; KYRONSEPPA, KARI; LEHMUSKALLIO, MARKKU; LEHTINEN, VIRKE; MANTTARI, ANSSI; MOLLBERG, RAUNI; NISKANEN, MIKKO; NISKANEN, TUIJA-MAIJA; PAKKASVIRTA, JAAKKO; PARTANEN, HEIKKI; PEIPPO, ANTTI; PYHALA, JAAKKO; ROSMA, JUHA; TORHONEN, LAURI; VAANANEN, KARI; TUNTEMATON SOTILAS (FI, Rauni Mollberg, 1986); SININEN IMETTAJA (FI, Markku Lehmuskallio, 1986); FLUCHT IN DEN NORDEN (FI, Ingemo Engstrom, 1986); NYKYTAITEEN MUSEO (FI, Antti Peippo, 1986); MORENA (FI, Anssi Manttari, 1986); YLOSNOUSEMUS (FI, Anssi Manttari, 1985); RIISUMINEN (FI, Lauri Torhonen, 1986); ROSSO (FI, Mika Kaurismaki, 1985); HUOMENNA (FI, Juha Rosma, 1986); HARMAGEDON (FI, Juha Rosma, 1986); VALKOINEN KAAPIO (FI, Timo Humanloja, 1986); DA CAPO (FI, Pirjo Honkasalo, 1985); SUURI ILLUSIONI (FI, Tuija-Maija Niskanen, 1985); LAULU (FI, Arto af Hallstrom, 1986); PERHOSEN UNI (FI, Maunu Kurkvaara, 1986); NISKAVUORI (FI, Matti Kassila, 1984); CALAMARI UNION (FI, Aki Kaurismaki, 1985); PESSI JA ILLUSIA (FI, Heikki Partanen, 1983); En SMUTSIG HISTORIA (FI, Jorn Donner, 1984); KLAANI TARINA SAMMAKOITTEN SUVUSTA (FI, Mika Kaurismaki, 1984); JON - KERTOMUS MAAILMAN LOPUSTA (FI, Jaakko Pyhala, 1983); RIKOS JA RANGAISTUS (FI, Aki Kaurismaki, 1983); ARVOTTOMAT (FI, Mika Kaurismaki, 1982); SKIERRI, VAIVAISKOIVUJEN MAA (FI, Markku Lehmuskallio, 1982); RAKKAUSELOKUVA (FI, Anssi Manttari, 1984); KUNINGAS JOLLA EI OLLUT SYDANTA (FI, Paivi Hartzell, 1982); KOLME MIESTA (FI, Virke Lehtinen, 1984); LINNA (FI, Jaakko Pakkasvirta, 1986); KUNINGAS LAHTEE RANSKAAN (FI, Anssi Manttari, 1986); LUMIKUNINGATAR (FI, Paivi Hartzell, 1986); URSULA (FI, Jaakko Pyhala, 1986); JAAN KAABTOPIIRI (FI, Lauri Torhonen, 1987); VARJOJA PARATIISISSA (FI, Aki Kaurismaki, 1986); ELAMAN VONKAMIES (FI, Mikko Niskanen, 1986); V.Y. VIHDOINKIN YHDESSA (FI, Kari Kyronseppa, 1986)
Notes: Translation: Ukka and Mark Shackleton
ISBN: 9519349421

Call No: 81DEN FIL
Author: Vecchio, Marjorie; Wenders, Wim
Source: US
Place: New York
Publisher: I.B. Tauris
PubDate: 2014
PhysDes: xxiii, 237 pages : illustrations ; 24 cm
Subject: AESTHETICS; AFRICA; ART CINEMA; CANNIBALISM IN FILMS; CRITICISM; DANCE IN FILMS; DIRECTORS; DIRECTORS. FRANCE; FAMILY IN FILMS; IMPERIALISM AND THE CINEMA; LANDSCAPES IN FILMS; MUSIC AND THE CINEMA; MUSIC IN FILMS; NATIONAL CULTURE AND THE CINEMA; NATIONAL IDENTITY AND THE CINEMA; RACIAL ISSUES AND THE CINEMA; TIME IN FILMS; WORKERS IN FILMS; WORKING CLASS IN FILMS; DENIS, CLAIRE; CHOCOLATE [CHOCOLAT] (FR, Claire Denis, 1988); INTRUDER, THE (FR, Claire Denis, 2004) SEE INTRUS, L'; INTRUS, L' (FR, Claire Denis, 2004); J'AI PAS SOMMEIL (FR/SZ, Claire Denis, 1994); I CAN'T SLEEP (FR/SZ, Claire Denis, 1994); NENETTE AND BONI (FR, Claire Denis, 1996) SEE NENETTE ET BONI; NENETTE ET BONI (FR, Claire Denis, 1996); BEAU TRAVAIL [TROUBLE EVERY DAY] (FR/GG/JA, Claire Denis, 1999); FRIDAY NIGHT (FR, Claire Denis, 2002) SEE VENDREDI SOIR; VENDREDI SOIR (FR, Claire Denis, 2002); WHITE MATERIAL (FR/CM, Claire Denis, 2009)
Summary: "The films of Claire Denis probe the idea of global citizenship and trace the borderlines of family, desire, nationality and power. Her films, including 'Chocolat', 'Beau travail' and 'White Material' explore connections between national experience and individual circumstance, visualising the complications of such dualities. Following a foreword by Wim Wenders, international contributors explore the themes she addresses in her films, such as kinship and landscape, neo-colonialism and New French Extremity. Original interviews with an editor, actor and two composers familiar with Denis's working style and with Denis herself, also reveal fresh facets of this intrepid filmmaker." - BOOK BLURB
Notes: Includes list of illustrations, bibliographic references and index
ISBN: 9781848859548
Contents: --List of illustrations -- Notes on contributors -- Preface -- Foreword: 'Klarchen' --Part I Interviews -- 'To let the image sing': Conversations with Dickon Hinchliffe and Stuart Staples: Martine Beugnet -- Interview with Nelly Quettier: Kirsten Johnson -- Interview with Alex Descas: Kirsten Johnson -- Interview with Claire Denis: Jean-Luc Nancy -- -- Part II Relations -- La famille Denis: Catherine Wheatley -- Reinventing community, or non-relational relations in Claire Denis's 'I Can't Sleep': Sam Ishii-Gonzales -- Beyond the other: grafting relations in the films of Claire Denis: James S. Williams -- -- Part III Global citizenship -- Beyond postcolonialism? From 'Chocolat' to 'White Material': Cornelia Ruhe -- 'Trouble Every Day: the neo-colonialists bite back: Florence Martin -- Forgiveness and employment: a study of the role of work in the films of Claire Denis: Rafael Ruiz Pleguezuelos -- 'The Intruder' according to Claire Denis: Jean-Luc Nancy -- --Part IV Within film -- Delivering: Claire Denis's opening sequences: Noelle Rouxel-Cubberly -- Rhythms of nationality: Denis and dance: Laura McMahon -- That interrupting feeling: interstitial disjunctions in Claire Denis's 'L'Intrus': Firoza Elavia -- Points of flight, lines of fracture: Claire Denis's uncanny landscape: Henrik Gustafsson -- Arthouse/grindhouse: Claire Denis and the 'New French Extremity': Adam Nayman and Andrew Tracy --Bibliography -- Index

Call No: 71(480) COW
Author: Cowie, Peter
Source: UK/US
Place: London; Cranbury, New Jersey
Publisher: Tantivy Press; A.S. Barnes & Co.
PubDate: 1976
PhysDes: 128 p. : ill., ports. ; 18cm
Subject: FINLAND; NATIONAL CULTURE AND THE CINEMA; TAPIOVAARA, NYRKI; BLOMBERG, ERIK; KASSILA, MATTI; WITIKKA, JACK; KURKVAARA, MAUNU; DONNER, JORN; MOLLBERG, RAUNI; JARVA, RISTO; KIVIKOSKI, ERKKO; NISKANEN, MIKKO; PAKKASVIRTA, JAAKKO; MAKINEN, AITO; VALKOINEN PEURA (FI, Erik Blomberg, 1953)
Notes: Includes index; Bibliography, p. 126-127; Published in association with the Finnish Film Foundation, Helsinki
ISBN: 0498020126 (USA); 0904208567 (UK)

Call No: 79FIR CON
Author: Connolly, Bob; Anderson, Robin
Place: New York, N.Y., U.S.A.
Publisher: Penguin Books
PubDate: 1988, c1987
PhysDes: vii, 316 p., [2] p. of plates : ill., map, ports. ; 23 cm
Subject: NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; FIRST CONTACT (AT, Bob Connolly & Robin Anderson, 1983)
Notes: Subtitle on cover: New Guinea's highlanders encounter the outside world; Bibliography: p. [313]-316
ISBN: 0140074651 (pbk.)
LON: 5768908 5768908

Call No: 408.1(44) BUS
Author: Buss, Robin
Place: London
Publisher: Batsford
PubDate: 1988
PhysDes: 165 p., [32] p. of plates : ill. ; 25 cm
Subject: NATIONAL CULTURE AND THE CINEMA. FRANCE; FRANCE; SOCIETY AND THE CINEMA. FRANCE; FILMOGRAPHIES. FRANCE; HISTORICAL FILMS. FRANCE; FAMILY IN FILMS. FRANCE; BRESSON, ROBERT; CHABROL, CLAUDE; GODARD, JEAN-LUC; MALLE, LOUIS; PAGNOL, MARCEL; RENOIR, JEAN; CARNE, MARCEL; CLAIR, RENE; DEMY, JACQUES; DUVIVIER, JULIEN; GABIN, JEAN; GANCE, ABEL; TRUFFAUT, FRANCOIS; PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); DIMANCHE A LA CAMPAGNE, UN (FR, Bertrand Tavernier, 1984)
Notes: French cinema films,. 1900-1985. Social aspects (BNB/PRECIS); Includes index; Filmography: p. 91-156
ISBN: 0713453605
LON: 5952835

Call No: 744(=924)(430) KAE
Author: Kaes, Anton
Place: Cambridge, Mass.
Publisher: Harvard University Press
PubDate: 1989
PhysDes: xiii, 273 p. : ill. ; 25 cm
Subject: GERMANY; NATIONAL CULTURE AND THE CINEMA. GERMANY; NATIONAL IDENTITY IN FILMS. GERMANY; MYTH AND THE CINEMA. GERMANY; HEIMAT FILMS; GENOCIDE IN FILMS; EHE DER MARIA BRAUN, DIE (GW, Rainer Werner Fassbinber, 1979); PATRIOTIN, DIE (GW, Alexander Kluge, 1979); DEUTSCHLAND, BLEICHE MUTTER (GW, Helma Sanders-Brahms, 1980); HEIMAT: A CHRONICAL OF GERMANY [HEIMAT: EINE DEUTSCHE CHRONIK] [TV] (GW, Edgar Reitz, 1984); HEIMAT: A CHRONICAL OF GERMANY [HEIMAT: EINE DEUTSCHE CHRONIK] [TV] (GW, Edgar Reitz, 1984)
Notes: Rev. and enl. translation of: Deutschlandbilder; Includes index
ISBN: 0674324552 (alk. paper)
LON: 6295319

Call No: 62(082) GEN
Author: Codell, Julie F.
Source: US
Place: Malden, Massachusetts
Publisher: Blackwell Publishing
PubDate: 2006
PhysDes: ix, 474 pages ; 25 cm
Subject: BOLLYWOOD; CULTURE AND THE CINEMA; CULTURAL IMPERIALISM; FILM NOIR; GENDER AND THE CINEMA; GENRES; WORLD CINEMA; GLOBALISATION; RACIAL ISSUES AND THE CINEMA; IDENTITY IN FILMS; IDEOLOGY AND THE CINEMA; IRAN; MELODRAMA; NATIONAL CULTURE AND THE CINEMA; NATIONAL IDENTITY AND THE CINEMA; RACIAL ISSUES AND THE CINEMA; RACIAL ISSUES IN FILMS; ETHNIC GROUPS IN FILMS; WORLD CINEMA; KAIGE, CHEN; NAIR, MIRA; CRYING GAME, THE (UK, Neil Jordan, 1992); FIGHT CLUB (US, David Fincher, 1999); HSI YEN (TZ, Ang Lee, 1993); INDIAN IN THE CUPBOARD, THE (US, Frank Oz, 1995); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); POCAHONTAS (US, Mike Gabriel & Eric Goldberg, 1995); SMOKE SIGNALS (US, Chris Eyre, 1998); ALL ABOUT MY MOTHER (SP/FR, Pedro Almodovar, 1999) SEE TODO SOBRE MI MADRE; TODO SOBRE MI MADRE (SP/FR, Pedro Almodovar, 1999); TRAFFIC (US, Steven Soderbergh, 2000)
Summary: "a collection of essays that introduces the study of film theory through contemporay issues...Using four topics- genre, gender, race, and 'third cinema' - the book encourages critical discussions of films by students with a beginner's knowledge of film history. American, Asian, European and African cinema are all included."
ISBN: 1405132337
Contents: Preface -- General introduction: film and identities --; Part I Genres: ever-changing hybrids -- Introduction and further reading -- Conclusion: a semantic/syntactic/pragmatic approach to genre: Rick Altman -- Film bodies: gender, genre, and excess: Linda Williams -- The body and Spain: Pedro Almodovar's 'All About My Mother': Ernesto R. Acevedo-Munoz -- Enjoy your fight! - 'Fight Club' as a symptom of the network society: Bulent Diken and Carsten Bagge Laustsen -- Film and changing technologies: Laura Kipnis -- Postmodern cinema and Hollywood culture in an age of corporate colonization: Carl Boggs and Tom Pollard --; Part II Genders: more than two -- Introduction and further reading -- Mobile identities, digital stars, and post cinematic selves: Mary Flanagan -- "Nothing is as it seems": re-viewing 'The Crying Game': Lola Young -- Crying over the melodramatic penis: melodrama and male nudity in the films of the 90s: Peter Lehman -- Travels with Sally Potter's 'Orlando': gender, narrative, movement: Julianne Pidduck -- Body matters: the politics of provocation in Mira Nair's films: Alpana Sharma -- Cowgirl Tales: Yvonne Tasker --; Part III Race: stereotypes and multiple realisms -- Introduction and further reading -- The family changes colour: interracial families in contemporary Hollywood cinema: Nicola Evans -- Black on white: film noir and the epistemology of race in recent African American cinema: Dan Flory -- Becoming Asian American: Chan is missing: Peter X. Feng -- 'The Wedding Banquet': global Chinese cinema and the Asian American experience: Gina Marchetti -- Another fine example of the oral tradition? Identification and subversion in Sherman Alexie's 'Smoke Signals': Jhon Warren Gilroy -- Playing Indian in the nineties: 'Pocahontas' and 'The Indian in the Cupboard': Pauline Turner Strong -- "You are alright, but..." Individual and collective representations of Mexicans, Latinos, Anglo-Americans and African-Americans in Steven Soderbergh's 'Traffic': Deborah Shaw --; Part IV World cinema: joining local and global -- Introduction and further reading -- Theorizing "third-world" film spectatorship: the case of Iran and Iranian cinema: Hamid Naficy -- The open image: poetic realism and the new Iranian cinema: Shohini Chaudhuri and Howard Finn -- The seductions of homecoming: place, authenticity and Chen Kaige's 'Temptress Moon': Rey Chow -- Cultural identity and diaspora in contemporary Hong Kong cinema: Julian Stringer -- "And yet my heart is still Indian": the Bombay film industry and the (H)indianization of Hollywood: Tejaswini Ganti -- Future past: integrating orality into Francophone West African film: Melissa Thackway -- Acknowledgements

Call No: 409(73) NAT
Author: Natoli, Joseph, 1943
Place: Albany
Publisher: State University of New York Press
PubDate: 1994
PhysDes: xi, 238 p. ; 24 cm
Series: SUNY series in postmodern culture
Subject: SOCIETY AND THE CINEMA. USA; POPULAR CULTURE AND THE CINEMA. USA; NATIONAL CULTURE AND THE CINEMA. USA; CULTURE AND THE CINEMA. USA; POLITICS AND THE CINEMA. USA; NATIVE AMERICANS IN FILMS; ROBIN HOOD IN FILMS; KING, RODNEY; PHOENIX, RIVER; STONE, OLIVER; CAPE FEAR (US, J. Lee Thompson, 1961); CAPE FEAR (US, Martin Scorsese, 1991); BASIC INSTINCT (US, Paul Verhoeven, 1992); PRINCE OF TIDES, THE (US, Barbra Streisand, 1991); HAND THAT ROCKS THE CRADLE, THE (US, Curtis Hanson, 1991); OTHER PEOPLE'S MONEY (US, Norman Jewison, 1991); ROBIN HOOD : PRINCE OF THIEVES (US, Kevin Reynolds, 1991); GRAND CANYON (US, Lawrence Kasdan, 1991); GODFATHER [...], THE (US, Francis Ford Coppola, 1972-); BIS ANS ENDE DER WELT (GG/FR/AT, Wim Wenders, 1991); SILENCE OF THE LAMBS, THE (US, Jonathan Demme, 1991); MY OWN PRIVATE IDAHO (US, Gus Van Sant, 1991); WALL STREET (US, Oliver Stone, 1987); UNFORGIVEN (US, Clint Eastwood, 1992); DO THE RIGHT THING (US, Spike Lee, 1989); BOB ROBERTS (US, Tim Robbins, 1992)
Notes: Includes bibliographical references (p. 227-238)
ISBN: 0791421546 (pbk. : acid-free paper); 0791421538 (acid-free paper)
LON: 10867366

Call No: 408.1(512.317) ABB
Author: Abbas, M. A. (M. Ackbar)
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 1997
PhysDes: vii, 155 p. : ill. ; 24 cm
Series: Public worlds ; v. 2
Subject: NATIONAL CULTURE AND THE CINEMA. HONG KONG; NATIONAL IDENTITY AND THE CINEMA. HONG KONG; WONG KAR-WAI; KWAN, STANLEY; TSUI, HARK; HUI, ANN
Summary: The Culture of Hong Kong encompasses Jackie Chan and John Woo, British colonial architecture and postmodern skyscrapers. Ironically, it was not until they were faced with the imposition of Mainland power - with the signing of the Sino-British Joint Agreement in 1984 - that the denizens of the colony began the search for a Hong Kong identity. According to Abbas, Hong Kong's peculiar lack of identity is due to its status as "not so much a place as a space of transit," whose residents think of themselves as transients and migrants on their way from China to somewhere else. In this intriguing and provocative exploration of its cinema, architecture, photography, and literature, Ackbar Abbas considers what Hong Kong, with its unique relations to decolonization and disappearance, can teach us about the future of both the colonial city and the global city
Notes: Includes bibliographical references (p. 147-150) and index
ISBN: 0816629242 (hard : alk. paper); 0816629250 (pbk. : alk. paper)
LON: 12802637 12802637
ID2: 291

Call No: 732(5-011) HUM
Author: Revi, Gayatri (ed.); Rahman, Najat (ed.)
Source: US
Place: Detroit
Publisher: Wayne State University Press
PubDate: c2014
PhysDes: 282 pages ; 23 cm
Series: Contemporary approaches to film and media
Subject: AFGHANISTAN; ARAB COUNTRIES; AUDIENCE RECEPTION; BOLLYWOOD; CENSORSHIP; COMEDIES. MIDDLE EASTERN COUNTRIES; CULTURAL IMPERIALISM. US; EGYPT; HUMOUR IN FILMS; INDIA; IRAN; IRAQ; ISRAEL; IRONY IN FILMS; NATIONAL CULTURE AND THE CINEMA; PALESTINE; POLITICAL FILMS; ETHNIC GROUPS IN FILMS; SATIRE IN FILMS; TYPE CHARACTERS IN FILMS; PAKISTAN; CHAHINE, YOUSSEF; DHOUIB, MONCEF; KIAROSTAMI, ABBAS; ZARHIN, SHEMI; AMERIKALI (TU, Serif Gören, 1993); BAD MA RA KHAHAD BORD (IR/FR, Abbas Kiarostami, 1999); DIVINE INTERVENTION (FR/MR/G/PA, Elia Suleiman, 2002); ALEXANDRIA... WHY? [ISKANDARIYA....LEEH?] (UA/AE, Youssef Chahine, 1978); ALEXANDRIA... WHY? [ISKANDARIYA....LEEH?] (UA/AE, Youssef Chahine, 1978); TELE ARRIVE, LA (TI, Moncef Dhouib, 2006); TERE BIN LADEN (II, Abhishek Sharma, 2010); TV IS COMING, THE (TI, Moncef Dhouib, 2006)
Summary: "While Middle Eastern culture does not tend to be associated with laughter and levity in the global imagination, humor—often satirical—has long been a staple of mainstream Arabic film. In Humor in Middle Eastern Cinema, editors Gayatri Devi and Najat Rahman shed light on this tradition, as well as humor and laughter motivated by other intent—including parody, irony, the absurd, burlesque, and dark comedy. Contributors trace the proliferation of humor in contemporary Middle Eastern cinema in the works of individual directors and from the perspectives of genre, national cinemas, and diasporic cinema. Humor in Middle Eastern Cinema explores what humor theorists have identified as an “emancipatory,” “liberatory,” even “revolutionary” function to humor. Among the questions contributors ask are: How does Middle Eastern cinema and media highlight the stakes and place of humor in art and in life? What is its relation to the political? Can humor in cinematic art be emancipatory? What are its limits for its intervention or transformation? Contributors examine the region’s masterful auteurs, such as Abbas Kiarostami, Youssef Chahine, and Elia Suleiman and cover a range of cinematic settings, including Egypt, Iran, Israel, Lebanon, Palestine, Syria, Tunisia, and Turkey. They also trace diasporic issues in the distinctive cinema of India and Pakistan. This insightful collection will introduce readers to a variety of contemporary Middle Eastern cinema that has attracted little critical notice. Scholars of cinema and media studies as well as Middle Eastern cultural history will appreciate this introduction to a complex and fascinating cinema." -- GOOGLE BOOKS
Notes: Contains bibliography and filmography -- contains index -- contains list of contributors
ISBN: 9780814339374
Contents: Introduction / Gayatri Devi and Najat Rahman -- Humor, loss, and the possibility for politics in recent Palestinian cinema / Najat Rahman -- Strategies of subversion in Ben Ali's Tunisia: allegory and satire in Moncef Dhouib's TV Is Coming / Robert Lang -- Satiric traversals in the comedy of Mehran Modiri: space, irony, and national allegory on Iranian television / Cyrus Ali Zargar -- Ethnic humor, stereotypes, and cultural power in Israeli cinema / Elise Burton -- The laughter of Youssef Chahine / Najat Rahman -- Comedic meditations: war and genre in The Outcasts / Somy Kim -- Humor and the cinematic sublime in Kiarostami's The Wind Will Carry Us / Gayatri Devi -- America the oppressively funny: humor and anti-americanisms in modern Turkish cinema / Perin Gurel -- Laughter across borders: the case of the Bollywood film Tere Bin Laden / Mara Matta

Call No: 71(45) ITA
Author: Bondanella, Peter
Source: UK
Place: London
Publisher: British Film Institute ; Palgrave Macmillan
PubDate: 2014
PhysDes: xi, 380 pages : illustrations ; 25 cm
Subject: ITALY; ITALY IN FILMS; NEOREALISM; NATIONAL CULTURE AND THE CINEMA; NATIONAL IDENTITY AND THE CINEMA; FASCISM AND THE CINEMA. ITALY; HISTORY OF CINEMA. ITALY; REALISM IN FILMS; SCRIPTWRITING; HOLOCAUST IN FILMS; FASHION AND THE CINEMA; GANGSTER FILMS; WESTERNS. ITALY; WOMEN FILMMAKERS. ITALY; BLASETTI, ALESSANDRO; CAMERINI, MARIO; DE SICA, VITTORIO; LOREN, SOPHIA; LOLLOGRIGIDA, GINA; MONICELLI, MARIO; MORETTI, NANNI
Summary: "The Italian Cinema Book is an essential guide to the most important historical, aesthetic and cultural aspects of Italian cinema, from 1895 to the present day. With contributions from 39 leading international scholars, the book is structured around six chronologically organised sections [...] Acutely aware of the contemporary 'rethinking' of Italian cinema history, Peter Bondanella has brought together a diverse range of essays which represent the cutting edge of Italian film theory and criticism." -- BOOK BLURB
Notes: Includes bibliographic references and index -- "A BFI book published by Palgrave Macmillan." - title page.
ISBN: 9781844574049
Contents: Introduction / Peter Bondanella; PART ONE THE SILENT ERA -- Silent Italian Cinema: An International Story / Giorgio Bertellini -- The Beginnings of Film Stardom and the Print Media of Divismo / John P. Welle -- The Diva Film: Context, Actresses, Issues / Angela Dalle Vacche -- Italian Silent Film Genres: Comics, Serials, Historical Epics and Strongmen / Jacqueline Reich; PART TWO THE BIRTH OF THE TALKIES AND THE FASCIST ERA -- Fascism and Italian Cinema / David Forgacs -- Italian Matinee Idols in the Era of the Talkies / Marcia Landy -- The First Comedy, Italian Style: Blasetti, Camerini and De Sica / Vito Zagarrio -- Censorship from the Fascist Period to the Present / Guido Bonsaver; PART THREE POSTWAR CINEMATIC CULTURE – REALISM AND BEYOND -- Neorealism and Left-wing Culture / Stephen Gundle -- Cityscapes and Cinematic Space / Mark Shiel -- Dislocated Spaces for New Thought: Paths of Nomadic Wandering in Neorealist Film and Literature / Torunn Haaland -- Seeing Anew: Children in Italian Cinema, 1944 to the Present / Giovanna De Luca -- Italian Cinema from the Perspective of Female Friendship / Danielle Hipkins --The Maggiorata or Sweater Girl of the 1950s: Mangano, Lollobrigida, Loren / Pauline Small -- Hollywood and Italy: Industries and Fantasies / Robert S. C. Gordon; PART FOUR THE GOLDEN AGE OF ITALIAN CINEMA -- Material Dreams: Costume and Couture Italian Style: From Hollywood on the Tiber to the Italian Screen / Reka Buckley --Italian Film Music / M. Thomas Van Order -- Production around 1960 / Christopher Wagstaff -- The Muscleman Peplum: From Le fatiche di Ercole (1958) to Hercules and the Princess of Troy (1965) / Jon Solomon -- Mondo Cane and the Invention of the Shockumentary / Gino Moliterno -- Spaghetti Westerns and Their Audience / Flavia Brizio-Skov -- Chronicles of a Hastened Modernisation: The Cynical Eye of the Commedia all'italiana / Remi Fournier Lanzoni -- The Political Film / Gaetana Marrone -- The Giallo and the Spaghetti Nightmare Film / Mikel J. Koven -- European Co-productions and Artistic Collaborations: The Italian Response to the Hollywood Studio System / Jean A. Gili -- How the Italians Happened to Cherish and Then to Disdain Their Cinema / Pierre Sorlin; PART FIVE AN AGE OF CRISIS, TRANSITION AND CONSOLIDATION -- Scriptwriting, Italian Style: Scriptwriting for Fellini / Gianfranco Angelucci -- Modern Mob Movies: Twenty Years of Gangsters on the Italian Screen / Dana Renga -- Screening Terrorism: Cinematic Portrayals of the Italian Armed Struggle / Giancarlo Lombardi -- Italian Cinema and Holocaust Memory / Millicent Marcus -- Italian National Cinema: The Cinepanettone / Alan O'Leary -- Stars and Masculinity in Contemporary Italian Cinema / Catherine O'Rawe -- Women behind the Camera: New Horizons in Contemporary Cinema / Flavia Laviosa; PART SIX NEW DIRECTIONS IN CRITICAL APPROACHES TO ITALIAN CINEMA -- Italian Cinema in the Post-national Age / Laura Rascaroli -- Post-colonial Theory and Italy's `Multicultural' Cinema / Aine O'Healy -- Italian Film Genres and Mario Bava / Mary P. Wood -- The Unwanted Guest: Some Remarks on Italian Cinema's Love Affair with Psychoanalysis / Fabio Vighi -- Fellini and Contemporary International Cinema / Peter Bondanella -- The Heritage of the Past and New Frontiers for the History of Italian Cinema / Gian Piero Brunetta.

Author: Rayner, Jonathan
PhysDes: Article
Subject: NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; IRWIN, STEVE; CROCODILE HUNTER: COLLISION COURSE, THE (US/AT, John Stainton, 2002)
Summary: This article examines the star status and screen persona of the late Steve Irwin. and offers an analysis of the nature and construction of his star image, its integration within other incarnations of Australian cultural identity, and its significance in national terms.--Taken from Abstract

Call No: 62(081) WIL
Author: Willemen, Paul
CorpAuthor: British Film Institute
Place: Bloomington London
Publisher: Indiana University Press British Film Institute
PubDate: 1994
PhysDes: 263 p. ; 25 cm
Subject: THIRD CINEMA; NATIONAL IDENTITY IN FILMS; NATIONAL CULTURE AND THE CINEMA; BAHTIN, MIHAIL; BRECHT, BERTOLT; FASSBINDER, RAINER WERNER; METZ, CHRISTIAN; MULVEY, LAURA; OSHIMA, NAGISA; ROCHA, GLAUBER; SIRK, DOUGLAS; OPHULS, MAX; DWOSKIN, STEPHEN; EPSTEIN, JEAN; GITAI, AMOS; KING, NOEL; SOLANAS, FERNANDO E.; TOKYO SENSO SENGO HIWA (JA, Nagisa Oshima, 1971)
Notes: Includes bibliographical references and index
ISBN: 0851703992 (pbk.); 0851703984
LON: 10340810
ID2: 346
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Call No: 71(72) NOB
Author: Noble, Andrea
Source: UK
Place: Abingdon, Oxon, UK
Publisher: Routledge
PubDate: 2005
PhysDes: viii, 224p. : ill. ; 23cm
Subject: MEXICO; MEXICO IN FILMS; NATIONAL CULTURE AND THE CINEMA. MEXICO; NATIONAL CULTURE IN FILMS. MEXICO; INDUSTRY, FILM. MEXICO; AUDIENCES. MEXICO; MOVEMENTS AND STYLES IN FILM HISTORY; POLITICS IN FILMS. MEXICO; POLITICAL FILMS. MEXICO; REVOLUTION AND THE CINEMA. MEXICO; DOCUMENTARY FILMS. MEXICO; MELODRAMA. MEXICO; MUJER DEL PUERTO, LA (MX, Arcady Boytler, 1933); MUJER DEL PUERTO, LA (MX, Arturo Ripstein, 1991); MARIA CANDELARIA (MX, Emilio Fernández, 1943); FAMILIA DE TANTAS, UNE (MX, Alejandro Galindo, 1948); CASTILLO DE LA PUREZA, EL (MX, Arturo Ripstein, 1972); MIDAQ ALLEY [CALLEJON DE LOS MILAGROS, EL] (MX, Jorge Fons, 1995); QUE VIVA MEXICO! (UR, Sergei Eisenstein, [prod. 1932]); ESPALDAS MOJADAS (MX, Alejandro Galindo, 1955); JARDIN DEL EDÉN, EL (MX, María Novaro, 1994); Y TU MAMA TAMBIEN (MX, Alfonso Cuaron, 2001)
Summary: Mexican National Cinema offers an account of the development of Mexican cinema from the intense cultural nationalism of the Mexican Revolution, through the "Golden Age" of the 1940s and the Nuevo Cine of the 1960s, to the renaissance in Mexican cinema in the 1990s. The book moves from broad historical and theoretical context, particularly theories of nation, emergent discourses of "mexicanidad" and the establishment and development of the Mexican industry, towards readings of key film texts and genres. Individual chapters discuss the relationship between Hollywood cinema and Mexican cinema, the stars of the "Golden Age," the role of foreign auteurs in the founding of Mexican cinema, tensions in the industry in the 1960s, and the national and international reception of contemporary films and film-makers. The author then examines the portrayal of Mexican nationhood through critical analysis of film genres including Revolutionary films, machismo and "mexicanidad," the prostitute, and the work of female auteurs.
ISBN: 0415230101

Call No: 408.1(44) AND
Author: Andrew, Dudley, 1945
Place: Princeton, N.J.
Publisher: Princeton University Press
PubDate: 1995
PhysDes: xv, 409 p. : ill. ; 24 cm
Subject: FRANCE; NATIONAL CULTURE AND THE CINEMA. FRANCE; POETIC REALISM; SURREALISM AND THE CINEMA; ALLEGRET, MARC; BECKER, JACQUES; BERNARD, RAYMOND; CHENAL, PIERRE; FEUILLADE, LOUIS; FEYDER, JACQUES; GREMILLON, JEAN; MAC ORLAN, PIERRE; MEERSON, LAZARE; PREVERT, JACQUES; VIGO, JEAN; ZOLA, EMILE; PAGNOL, MARCEL; RENOIR, JEAN; BUNUEL, LUIS; CARNE, MARCEL; CLAIR, RENE; DUVIVIER, JULIEN; GABIN, JEAN; QUAI DES BRUMES, LE (FR, Marcel Carne, 1938); ENFANTS DU PARADIS, LES (FR, Marcel Carne, 1945); JOUR SE LEVE, LE (FR, Marcel Carne, 1939); ATALANTE, L' (FR, Jean Vigo, 1934); BELLE EQUIPE, LA (FR, Julien Duvivier, 1936); PEPE LE MOKO (FR, Julien Duvivier, 1937); BETE HUMAINE, LA (FR, Jean Renoir, 1938); CASQUE D'OR (FR, Jacques Becker, 1952); CHIENNE, LA (FR, Jean Renoir, 1931); CRIME DE M. LANGE, LE (FR, Jean Renoir, 1936); MARSEILLAISE, LA (FR, Jean Renoir, 1938); AGE D'OR, L' (FR, Luis Bunuel, 1930)
Notes: Includes bibliographical references (p. [391]-396) and indexes
ISBN: 0691008833 (pbk.); 0691056862 (hard)
LON: 10901107

Call No: 71(5) MUL
Source: US
Place: Philadelphia PA
Publisher: Temple University Press
PubDate: 2003
PhysDes: 250 p. ; 25 cm
Subject: ASIAN COUNTRIES; GLOBALISATION; CITY OF SADNESS, A [; TAIWAN; JAPAN; KOREA; NATIONAL CULTURE AND THE CINEMA. ASIAN COUNTRIES; NATIONAL IDENTITY AND THE CINEMA; GENDER AND THE CINEMA. CHINA; KWOK WAH LAU JENNY
Summary: Multiple Modernities explores the cultural terrain of East Asia. Arguing that becoming modern happens differently in different places, the contributors examine popular culture – most notably cinema and television – to see how modernization, as both a response to the West and a process that is unique in its own right in the region, operates on a mass level. Included in this collection are significant explorations of popular culture in East Asia, including Chinese new cinema and rock music, Korean cinema, and Taiwanese television, as well as discussions of alternative arts in general. While each essay focuses on specific nations or cinemas, the collective effect of reading them is to offer a comprehensive, in-depth picture of how popular culture in East Asia operates to both generate and reflect the immense change this significant region of the world is undergoing. [Taken from back cover.]
ISBN: 1566399866

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: NATIONAL CULTURE AND THE CINEMA

Call No: SUBJECT CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: NATIONAL CULTURE AND THE CINEMA. AUSTRALIA
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Call No: 403(94) NEL
Author: Dermody, Susan; Docker, John, 1945; Modjeska, Drusilla
Source: AT
Place: Malmsbury, Vic.
Publisher: Kibble Books
PubDate: 1982]
PhysDes: 288 p., [4] leaves of plates : ill., ports. ; 23 cm
Subject: POPULAR CULTURE AND THE CINEMA. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NATIONAL IDENTITY IN FILMS. AUSTRALIA; AUSTRALIA; CINEMAS. AUSTRALIA; HISTORY OF TV. AUSTRALIA; AUSTRALIA. 1927-1932; LONGFORD, RAYMOND; SMITH, ARTHUR; ON OUR SELECTION (AT, Ken G. Hall, 1932); ON OUR SELECTION (AT, Raymond Longford, 1920); SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919); SENTIMENTAL BLOKE, THE (AT, F.W. Thring, 1932); PRISONER [TV] (AT, 1979-86)
Notes: Australian culture. Essays (ANB/PRECIS SIN 0610070); Includes bibliographical references and index
ISBN: 0908150032 (corrected) : price unknown 09081500302; 0908150040 (pbk.) : $14.95 Aust
LON: anb90815003; 2274011
ID2: 40

Call No: 71(519-13) NEW
Author: Stringer, Julian and Shin, Chi-Yun
Source: UK
Place: Edinburgh
Publisher: Edinburgh University Press
PubDate: 2005
PhysDes: x, 234p. ; b+w ill. : 24cm.
Subject: KOREA; INDUSTRY, FILM. KOREA; NATIONAL CULTURE AND THE CINEMA; FESTIVALS; GENRES; HORROR FILMS; COMEDIES; MELODRAMA; ROMANTIC FILMS; YOUNG PEOPLE IN FILMS; CHUNHYANG (KO, Im Kwon-Taek, 2000); TEL MI SSEOMTING (KO, Chang Youn-Hyun, 2000); BOKSEUNEUN NAEUI GEOS (KO, Park Chan-wook, 2002); CHINGU (KO, Kwak Kyeong-Taek, 2001); GOYANGIREUL BUTAKHAE (KO, Jeong Jae-eun, 2001); JUYUSO SEUBGYUKSAGEUN (KO, Kim Sang-Jin, 1999); SARA-INNUN RYONGHONGDUL (KO, Kim Chun-song, 2001); YURYEONG (KO, Min Biong Hun, 1999); BAKHA SATANG (KO, Lee Chang-Dong, 1999); SAENG-HWAL-EUI BAL-GYUN (KO, Hong Sangsoo, 2002); YEOGO GOEDAM II (KO, Kim Tae-Yong, 2000); SUN AE BO (KO, E J-Young, 2001)
Summary: "New Korean Cinema provides a comprehensive overview of the production, circulation, and reception of this vibrant cinema, which has begun to flourish again in the past decade, following the lifting of repressive government policies. In addition to providing a cultural, historical, and social context for understanding this burgeoning cinema, the book considers the political economy of South Korea's film industry, strategies of domestic and international distribution and marketing, and the consumption of Korean films throughout the world. The volume also includes a glossary of key terms and a bibliography of works on Korean cinema."
Notes: Includes bibliographical references, glossary, websites and index
ISBN: 9780814740309
Language: English

Author: Johinke, Rebecca
PhysDes: Article
Subject: NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; DEAD END DRIVE-IN (AT, Brian Trenchard-Smith, 1986)
Summary: This article suggests that Dead End Drive-In (1986), Brian Trenchard-Smith's little-known Ozploitation film, deserves reconsideration from Australasian film scholars because it offers a valuable contribution to discussions about Australian masculinity, car culture, phobic narratives and the White Australia Policy. It is argued that the drive-in as detention centre foreshadows later Australian anxieties about immigration and border protection. Clearly a phobic narrative full of white panic (Morris, 1989, 1998), it exhibits many of the anxieties about Australians and auto-immobility that Catherine Simpson (2006) discusses, and fits neatly into Tranter's (2003) discussion of cars and governance and Bode's (2006a) arguments about whiteness and Australian masculinity in crisis. -- Abstract

Author: Joyce, Hester
PhysDes: Article
Subject: INDUSTRY, FILM. NEW ZEALAND; MAORI IN FILMS; NATIONAL CULTURE AND THE CINEMA. NEW ZEALAND; IMPERIALISM AND THE CINEMA; NGATI (NZ, Barry Barclay, 1987); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994); WHALE RIDER (NZ/GG, Niki Caro, 2002)
Summary: This article explores the development of New Zealand cinema as one of unease, as reflective of the disintegration of the utopian dream inherent in the founding settler era. It examines three films from consecutive decades, Ngati (Barclay, 1987), Once Were Warriors (Tamahori, 1994) and Whale Rider (Caro, 2002), and compares representations of Maori as illustrative of Pakeha (white settler) anxieties about Maori/Pakeha relations. It argues that while Ngati and Once Were Warriors contain elements of postcolonial critique, Whale Rider returns to a model of segregation, invoking spirituality of Maori as nostalgia for a lost utopian past. -- Abstract

Author: Goldsmith, Ben
PhysDes: Article
Subject: INDUSTRY, FILM. AUSTRALIA; PRODUCTION DEALS. AUSTRALIA; DISTRIBUTION. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA
Summary: The writer examines how dynamic and shifting relations between the local/national and the international have transformed the ways in which people think about what constitutes Australian cinema. Noting that over the last 20 years or so, Australian cinema's international relations in production and policy have expanded and become more complex, while those with Hollywood have been transformed, he illustrates how relations of commonality and continuity with the international called up in the new arrangements challenge the dominant articulation in policy of difference from other kinds of filmmaking as the basis of Australian cinema. -- Provided by publisher

Author: Martin, Adrian
PhysDes: Article
Subject: INDUSTRY, FILM. AUSTRALIA; GENRES. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NOT QUITE HOLLYWOOD (AT, Mark Hartley, 2008)
Summary: Discussion of critical attention given to 'Ozploitation' films particularly after 'Not Quite Hollywood'. Martin argues suggests current focus on this repressed strain of national cinema excludes many genres and therefore provides limited insight into Australian cinema.
Notes: Australian exploitation cinema of the 1970s and 1980s has swiftly become a fashionable topic for analysis, rehabilitation and celebration, especially in the wake of the popular documentary Not Quite Hollywood featuring Quentin Tarantino. Is this Australian cinema's ‘return of the repressed’, at last, in the form of tough, vulgar, anarchic genre pictures – and does this show the way forward for our national cinema? This essay questions many aspects of the ‘Ozploitation’ craze, including its exclusion of art, intellectual or experimental cinema, and its peculiar streamlining of an extremely variegated and still obfuscated national film history. In particular, I argue for a comparative approach to national film cultures – which, in this case, would compel us to ask other, more stringent questions about the ultimate value of the currently baptized Ozploitation ‘classics’. -- ABSTRACT

Author: Craven, Allison
PhysDes: Article
Subject: GENDER AND THE CINEMA. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; ABORIGINAL AUSTRALIANS IN FILMS; IRISHMAN, THE (AT, Don Crombie, 1978)
Summary: The Irishman (Crombie 1978) has long been regarded as typical of the Australian period film genre of the late 1970s, which is said to collectively exhibit the Australian Film Commission's influences on national culture. In this article, The Irishman is seen as a ‘heritage’ film for the way locations and authentic sets and decor are featured, and for the nostalgic performances of gender and race. Regional influences on the genesis and production of The Irishman in North Queensland are also considered, and its adaptation from the novel, The Irishman: A Novel of Northern Australia (Elizabeth O'Conner 1960). Heritage, it is argued, can be seen as a cinematic mode in which regional and national elements of production are synthesized. Heritage also offers a framework through which to view other Australian period films, including Australia (Luhrmann 2008), which was also shot partly in North Queensland locations. -- Abstract

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: 71(47) "199-200" HAS
Author: Hashamova, Yana
Place: Bristol, UK
Publisher: Intellect
PubDate: 2007
PhysDes: 144 p. ; 24 cm
Subject: NATIONAL CULTURE AND THE CINEMA. RUSSIA; RUSSIA
Summary: Through the looking-glass of Russian national cinema, Pride and Panic explores Russia’s anxious adjustment towards the expansion of Western culture. Russian film is shown, in both its creation and perception, to expose the intriguing dynamics of societal psychological conditions. Using specific film examples, the book delves into the subterranean recesses of Russian national consciousness, exposing an internal ambivalence and complex cultural reaction towards the rise of the West. These fears, fantasies and tremulous anxieties are examined through the representation of the West in films by both established and lesser-known Russian directors. [Taken from back cover.]
ISBN: 9781841501561

Call No: 023(94) FIL
Author: Film Australia
Source: AT
Place: Australia
Publisher: Film Australia
PubDate: 1990
PhysDes: 38 p. ; 30 cm
Subject: FILM AUSTRALIA; NATIONAL IDENTITY AND AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; PRODUCTION; PRODUCTION COMPANIES & STUDIOS. AUSTRALIA
Summary: Film Australia's annual report on programs produced for 1989/90
Contents: Brief project description along with festival and awards information for the following films and documentaries -- The Snowy: A Dream of Growing Up (Stephen Ramsey, 1989) -- How Wonderful (Lynn Hegarty, 1990) -- Great National Parks of Australia (Eddie Moses, 1990) -- Mortgage (Bill Bennett, 1990) -- Shearing the Rams (Martin Daley, 1990) -- Kakadu Man (Michael Balson, 1990) -- Breakthrough Series

Call No: 71(94) DER v.2
Author: Dermody, Susan; Jacka, Elizabeth
Place: Sydney
Publisher: Currency Press
PubDate: 1987-<1988
PhysDes: v. <1-2 > ; 21 cm
Series: Australian screen series
Subject: BUDDY FILMS. AUSTRALIA; AUSTRALIA; THEORY. AUSTRALIA; CULTURAL IMPERIALISM. AUSTRALIA; CLASS AND THE CINEMA. AUSTRALIA; NATIONAL IDENTITY IN FILMS. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; COMEDIES. AUSTRALIA; WOMEN IN FILMS. AUSTRALIA; MEN IN FILMS. AUSTRALIA; POLITICAL FILMS. AUSTRALIA; SEX IN FILMS. AUSTRALIA; REALISM IN FILMS. AUSTRALIA; AUSTRALIAN FILM COMMISSION; BREAKER MORANT (AT, Bruce Beresford, 1980); ADVENTURES OF BARRY MCKENZIE, THE (AT, Bruce Beresford, 1972); CAREFUL, HE MIGHT HEAR YOU (AT, Carl Schultz, 1983); GALLIPOLI (AT, Peter Weir, 1981); MAD MAX (AT, George Miller, 1979); MAN FROM SNOWY RIVER, THE (AT, George T. Miller, 1982); MY BROTHER JACK (AT, Gil Brealey, 1965); ALVIN PURPLE (AT, Tim Burstall, 1973); CHANT OF JIMMIE BLACKSMITH, THE (AT, Fred Schepisi, 1978); FAR EAST (AT, John Duigan, 1982); F.J. HOLDEN, THE (AT, Michael Thornhill, 1977); HEATWAVE (AT, Phillip Noyce, 1981); KILLING OF ANGEL STREET, THE (AT, Donald Crombie, 1981); MAD MAX II (AT, George Miller, 1981); NEWSFRONT (AT, Phillip Noyce, 1978); PALM BEACH (AT, Albie Thoms, 1979); PHAR LAP (AT, Simon Wincer, 1983); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); SUNDAY TOO FAR AWAY (AT, Ken Hannam, 1975); TOWN LIKE ALICE, A (AT, David Stevens, 1980); WE OF THE NEVER NEVER (AT, Igor Auzins, 1982)
Notes: Includes bibliographies and index
ISBN: 0861911876 (v. 2); 0868191876 (v. 2)
LON: 5369777

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: 802.3(94) ANS; FOLIO SECTION
Author: Ansara, Martha
Source: AT
Place: Sydney
Publisher: Austcine Publishing
PubDate: c2012
PhysDes: 288 p. : ill. (some col.) ; 25 cm
Subject: CINEMATOGRAPHY. AUSTRALIA; HISTORY OF CINEMA. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NEWSREELS
Summary: "Contains photographs of working cinematographers from 1901 to the present, with historical text, biographies of Australian cinematographers & fascinating personal anecdotes from the film industry. Reveals little-known information about the role of cinematographers in Australian cinema, & challenges popular conceptions of our national film history." - TROVE -- The following cinematographers are included in this book: Burt Ive, the Higgins Brothers, Lacey Percival, Frank Hurley, the Burnes, J.W. (Bill) Trerise, George Heath, Damien Parer, Ross Wood, Volk Mol, Ron Windon, Neil Davis, David Brill, Russell Boyd, Don McAlpine, Peter James, Jim Frazier, David Parer, Jan Kenny, Dean Semler, John Seale, Andrew Lesnie, Pieter de Vries, Dion Beebe.
Notes: Includes index; Warning to Walpiri: Please be aware that there is a photo in this book which may contain images of deceased Walpiri people
ISBN: 9780987225214

Author: Grace, Helen
PhysDes: Article
Subject: ASIANS AND THE CINEMA. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; ASIANS IN FILMS. AUSTRALIA; LANDSCAPES IN FILMS. AUSTRALIA; LITTLE FISH (AT, Rowan Woods, 2005); FINISHED PEOPLE, THE (AT, Khoa Do, 2003); LUCKY MILES (AT, Michael James Rowland, 2007)
Summary: :In considering three films that I link in this speculation on ‘Asian Australian cinema’, I want to argue that if, before The Finished People (Khoa Do, 2003), Asian Australian stories tended to be marginal and community based, the success of Khoa Do's film (and life) has opened out migrant experience to broader empathy so that now it can be drawn upon to speak for general humanity beyond ‘Australianness’. If The Finished People and Little Fish (Rowan Wood, 2005) belong to a period of film industry decline in Australia, corresponding with a parallel social/cultural depression in Australia — the worst of the Howard years — Lucky Miles (Michael James Rowland, 2007) reworks the trauma of those years, as a new Back of Beyond (John Heyer, 1954) — globalized rather than nationalized, its references less to the subsistence aesthetics and economy of postwar nation-building and more to a globalized commodities export market and the genres of global film-making styles. So we no longer need to have quintessential ‘Australian’ battlers to demonstrate resilience; asylum seekers are now better at doing this and much more appealing than Aussie battlers (like the Heart family in Little Fish, notwithstanding the attempt to rescue them by importing global/local stars to perform their abjection) — all the more so if one of the refugees has come in search of his Australian father And if the landscape of the original Back of Beyond provided a counterpoint to the economic centrality of suburban Australia as site of commodity consumption in the 1950s, the Pilbara landscape setting of Lucky Miles is above all a key site of commodity production and export in the globalized economy which also draws the characters to export themselves into the flow of this market. -- Abstract
Notes: Part of Special Issue: Transnational Asian Australian Cinema, part 2

Author: Kevin, Catherine
PhysDes: Article
Subject: ABORIGINAL AUSTRALIANS IN FILMS; HISTORICAL FILMS. AUSTRALIA; IMPERIALISM AND THE CINEMA AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; WOMEN IN FILMS. AUSTRALIA; CHILDREN IN FILMS. AUSTRALIA; AUSTRALIA (UK/AT/US, Baz Luhrmann, 2008); JEDDA (AT, Charles Chauvel, 1955)
Summary: Article examining the expression of national assimilation policies played out through the maternal desires of Jedda's Sarah McMann, and Australia's Sarah Ashley.

Call No: 408.1 THE
Author: Vitali, Valentina; Willemen, Paul
CorpAuthor: BFI
Source: UK
Place: London
Publisher: British Film Institute, London
PubDate: 2006
PhysDes: 326 p. ill. : 24 cm
Subject: ASIAN COUNTRIES; NATIONAL CULTURE AND THE CINEMA; JAPAN; KOREA; REPUBLIC OF IRELAND; LATIN AMERICAN COUNTRIES; KRACAUER, SIEGFRIED; BURCH, NOEL; RUSSIA; FRANCE; TAIWAN; PALESTINE; ARAB COUNTRIES; INDIA; ASIAN COUNTRIES; EUROPEAN COUNTRIES; NATIONAL CULTURE AND THE CINEMA; NATIONAL CULTURE IN FILMS; NATIONAL IDENTITY AND THE CINEMA; NATIONAL IDENTITY IN FILMS; GLOBALISATION
Summary: Why do we think of clusters of films as a 'national cinema'? Why has the relationship between the nation and film become so widely and uncritically accepted? Theorising National Cinema is a major contribution to work on national cinemas, by many of the leading scholars in the filed. It addresses the knotty and complex relationships between cinema and national identity, showing that the nationality of a cinema production company, and of the films it made, have not always been seen as pertinent. The volume begins by reviewing and rethinking the concept of national cinema in an age of globalisation, and it goes on to chart the parallel developments of national film industries and the idea of the nation state in countries as diverse as Japan, South Korea, Russia, France and Italy. The issue of a 'national cinema' for nation states of contested status, with disputed borders or displaced peoples, is discussed in relation to film-making in Taiwan, Ireland and Palestine. The contributors also consider the future of national cinema in an age of transnational cultural flows, exploring issues of national identity and cinema in Latin America, Asia, the Middle-East, India, Africa and Europe.
ISBN: 1844571203

Author: Bowles, Kate
PhysDes: Article
Subject: HISTORY OF CINEMA. AUSTRALIA; AUDIENCES. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; INDUSTRY, FILM. AUSTRALIA
Summary: 'Cinema studies in Australia has conventionally focused on the national production industry, the government policies that sustain and protect it, and the films that it has produced. The role of the Australian audience in shaping the market for Australian films is less well understood, and yet assumptions about audiences and the benefit offered to them in terms of cultural learning and national identity are embedded in policy rhetoric, and are necessarily invoked in the critique of content which accompanies a textually focused approach to national cinema. This article proposes that Australian cinema audiences, whatever they are watching, play a more significant role in the Australian public sphere than Australian films...' -- Taken from abstract

Call No: 408 HAR
Author: Harvey, Sylvia (ed.)
Source: UK
Place: Eastleigh, Hampshire
Publisher: John Libbey
PubDate: 2006
PhysDes: xi, 236p. ;b+w ill. : 23cm.
Subject: CULTURE AND THE CINEMA; NATIONAL CULTURE AND THE CINEMA; POLITICS AND TV; POLITICS AND THE CINEMA; IMPORT OF FILMS
Notes: includes index
ISBN: 0861966694
Language: English

Call No: 709 TRA
Source: UK
Place: Edinburgh
Publisher: Edinburgh University Press
PubDate: 2006
PhysDes: 266 p. : 24 cm
Subject: NATIONAL CULTURE AND THE CINEMA; GLOBALISATION; HISTORY OF CINEMA; MOVEMENTS IN FILM HISTORY; NEOREALISM; NOUVELLE VAGUE; EXPRESSIONISM; CZECHOSLOVAKIA; BRITAIN; DOGMA; COMMUNISM AND THE CINEMA; BRAZIL; ARGENTINA; AFRICA IN FILMS; ISRAEL; IRAN; INDIA; CITY OF SADNESS, A [; MELODRAMA; SONGS IN FILMS; JAPAN; HORROR FILMS; USA
Summary: The core volume in the Traditions in World Cinema series, this book brings together a colourful and wide-ranging collection of world cinematic traditions – national, regional and global – all of which are in need of introduction, investigation and, in some cases, reassessment. Topics include: German expressionism, Italian neorealism, French New Wave, British new wave, Czech new wave, Danish Dogma, post-Communist cinema, Brazilian post-Cinema Novo, new Argentine cinema, pre-revolutionary African traditions, Israeli persecution films, new Iranian cinema, Hindi film songs, Chinese wenyi pian melodrama, Japanese horror, new Hollywood cinema and global found footage cinemas.
ISBN: 0748618635

Call No: 408.1 BEE
Author: Beeton, Sue
Edition: 2015
Place: Bristol
Publisher: Channel View Publications
PubDate: 2015
PhysDes: xiv, 240 pages : illustrated ; 22 cm
Series: Tourism and cultural change
Subject: TOURISM AND THE CINEMA; TRAVEL IN FILMS; WAR FILMS; SPY FILMS; NATIONAL CULTURE AND THE CINEMA; ROAD MOVIES
Summary: This book explores the relationship between tourism and the moving image, from the early era of silent moving pictures through to cinema as mass entertainment. It examines how our active and emotional engagement with moving images provides meaning and connection to a place that can affect our decision-making when we travel. It also analyses how our touristic experiences can inform our film-viewing. A range of genres and themes are studied including the significance of the western, espionage, road and gangster movies, along with further study of film studio theme parks and an introduction to the relationship between gaming and travel. This book will appeal to tourism scholars as well as film studies professionals, and is written in an accessible manner for a general audience. -- publisher's web site
ISBN: 9781845415273

Call No: 71(540) TRA
Author: Roy, Anjali Gera (ed.); Huat, Chua Beng (ed.)
Source: UK/II
Place: New Delhi
Publisher: Oxford University Press
PubDate: 2012
PhysDes: xxxi, 356 pages ; 23 cm
Subject: BOLLYWOOD; INDIA; INDIA IN FILMS; MUSICALS; GLOBALISATION; MULTICULTURALISM AND THE CINEMA; RACIAL ISSUES AND THE CINEMA; NATIONAL CULTURE AND THE CINEMA; HISTORY OF CINEMA. INDIA; SLUMDOG MILLIONAIRE (UK/US, Danny Boyle and Loveleen Tandan, 2008)
Summary: "This volume brings together perspectives on Indian popular cinema, universally known as Bollywood now, from different disciplinary and geographical locations to look afresh at national cinemas. It shows how Bollywood cinema has always crossed borders and boundaries: from the British Malaya, Fiji, Guyana, Trinidad, Mauritius, and East and South Africa to the former USSR, West Asia, the UK, the USA, Canada, and Australia. While looking at the meanings of nation, diaspora, home, and identity in cinematic texts and contexts, the essays also examine how localities are produced in the new global process by broadly addressing nationalism, regionalism, and transnationalism, politics, and aesthetics, as well as spectatorship and viewing contexts." -- BOOK JACKET
Notes: Formerly CIP; Includes bibliographical references
ISBN: 0198075987; 9780198075981
Contents: pt. 1 Modernity, Globalization, Globality -- 1.Bollywood, Postcolonial Transformation, and Modernity / Bill Ashcroft -- 2.Cultural Flows, Travelling Shows: Bombay Talkies, Global Times / Makarand Paranjape -- 3.Mustard Fields, Exotic Tropes, and Travels through Meandering Pathways: Reframing the Yash Raj Trajectory / Madhuja Mukherjee -- pt. 2 Love Across the Border -- 4.The Lahore Film Industry: A Historical Sketch / Ishtiaq Ahmed -- 5.From Chandigarh to Vancouver: Reimagining Home and Identity in the Films of Harbhajan Mann / Nicola Mooney -- 6.Bollywood, Tollywood, Dollywood: Re-visiting Cross-border Flows and the Beat of the 1970s in the Context of Globalization / Anuradha Ghosh 7. Cinematic border crossings in Two Bengals: cultural translation as communalization? / Zakir Hossain Raju -- pt.3 The other film industry -- 8. Region, Language, and Indian Cinema: Mysore and Kannada Language Cinema of the 1950s / M.K Raghavendra -- 9. Modernity and Male anxieties in early Malayalam cinema / Meena T. Pillai -- 10. Cinema in motion: tracking Tamil cinema's assemblage / Vijay Devadas and Selvaraj Velayutham -- pt.4 Village in the city -- 11. Migrant, Diaspora, NRI: Bhojpuri cinema and the 'Local in the global' / D. Parthasarathy -- 12. Welcome to Sajjan: Theatre and Transnational Hindi Cinema / Nandi Bhatia -- pt.5 The travels of Bollywood Cinema: From Bombay to LA -- 13. Diasporic Bollywood: in the tracks of a twice-displaced community / Manas Ray -- 14. Marketing, Hybridity, and Media industries: Globalization and Expanding audiences for popular Hindi Cinema / Kavita Karan and David J. Schaefer -- 15. 'It was Filmed in My Home Town': Diasporic audiences and foreign locations in Indian popular cinema / Andrew Hassam -- 16. Yaari with Angrez: Whiteness for a New Bollywood Hero / Teresa Hubel -- 17. Bollywood films and African audiences / Gwenda Vander Steene -- 18. From Ghetto to Mainstream : Bollywood in/and South Africa / Haseenah Ebrahim --list of contributors -- index --

Call No: 634.6 HIL
Author: Hillman, Roger
Source: US
Place: Bloomington, Indiana
Publisher: Indiana University Press
PubDate: 2005
PhysDes: 219 p. : ill. ; 24 cm
Subject: MUSIC AND THE CINEMA; GERMANY; NEW GERMAN CINEMA; CLASSICAL MUSIC IN FILMS; MOVEMENTS IN FILM HISTORY; MUSIC IN FILMS; NATIONAL CULTURE AND THE CINEMA. GERMANY; FASCISM AND THE CINEMA. GERMANY; NATIONALISM AND THE CINEMA. GERMANY; POLITICS AND THE CINEMA. GERMANY; SYBERBERG, HANS JURGEN; KLUGE, ALEXANDER; FASSBINDER, RAINER WERNER; HERZOG, WERNER; VISCONTI, LUCHINO; DIE PATRIOTIN (GW, Alexander Kluge, 1979); LILI MARLEEN (GW, Rainer Werner Fassbinder, 1981); SENSO (IT, Luchino Visconti, 1954); WOYZECK (GW, Werner Herzog, 1979); FITZCARRALDO (GW, Werner Herzog, 1982); LEKTIONEN IN FINSTERNIS (GG, Werner Herzog, 1992); DIE ALLSEITIG REDUZIERTE PERSÖNLICHKEIT - REDUPERS (GW, Helke Sander, 1977); NOSTALGHIA (IT, Andre Tarkovsky, 1983); COVEK NIJE TICA (YU, Dusan Makavejev, 1965); STALKER (UR, Andrei Tarkovsky, 1979)
Summary: "'Unsettling Scores: German Film, Music, and Ideology' examines the use of classical music in film, particularly in the New German Cinema of the 1970s and early 1980s. By integrating the music of Beethoven, Mahler, and others into their films, directors such as Fassbinder, Kluge, and Syderberg consciously called attention to its cultural significance. Through this music their films could reference and, in some cases, explore an embedded cultural tradition that included German nationalism and the rise of Nazism, especially during a period when German films were gaining international attention for the first time since the 1920s. Classical music conditioned the responses of German audiences in the 1970s and 1980s and was, in turn, reinterpreted in new cinematic contexts. In this pioneering volume, Hillman enriches our understanding of the powerful effects of music in cinema and the aesthetic and dramatic concerns of postwar German filmmakers." (Taken from back cover)
Notes: Includes selected bibliography, index
ISBN: 0253217547
Donation: Donated by Senses of Cinema, 2009

Author: Johnston, Meg
PhysDes: Article
Subject: NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; ETHNIC GROUPS IN FILMS. AUSTRALIA; LAW, CLARA; LETTERS TO ALI (AT, Clara Law, 2004)
Summary: This article focuses on Clara Law's Letters to Ali (2004) as a recent example of a refugee-focused documentary film that both complicates and destabilizes the essential and exclusive categories of ‘whiteness’ and ‘otherness’ that have shaped Australian identity politics through recent politics. Centrally, this article will position Letters to Ali as a subversive project in accordance with Homi Bhabha's ideas of unsettling, displacing and disturbing the authority of normative whiteness that pervades our national identity in this climate. Through positioning whiteness as neither fixed nor final due to the ‘incommensurable differences’ it must take into account, this article will discuss both formal and narrative elements of Letters to Ali as working towards destabilizing an essential and static whiteness and, instead, focusing on its ‘marked’ and constructed nature. Critiquing whiteness as an ideal, according to Bhabha, Ghassan Hage and others, this discussion will displace and disrupt its ‘invisibility’ or normativity. In doing so, whiteness will be examined as part of national strategies of dominance and subordination, rather than as an authentic or singular identity, ‘reveal[ing] within the very integuments of “whiteness” the agonistic elements that makes it the unsettled, disturbed form of authority’. Clara Law's position as Asian Australian film-maker in relation to other national others such as ‘Ali’, the refugee subject of the film, will be crucial to this disruption: Law's own story of migration, of resettlement and naturalization is foregrounded in the film's narrative and, as such, she — and partner Eddie Fong — are the national citizens against which the refugee is to be measured in this binary logic. Taking into account these ‘incommensurable differences’ of the white identity, the categories of ‘Us’ and ‘Them’; of Australians and others, are ruptured and the frameworks of national membership are opened up to more liminal, transnational notions of identity and belonging. -- Abstract
Notes: Part of Special Issue: Transnational Asian Australian Cinema: Part 1

Call No: 408.1 WOR
Author: Durovicova, Natasa (ed.); Newman, Kathleen (ed.)
Source: US/UK
Place: New York
Publisher: Routledge
PubDate: c2010
PhysDes: xv, 368 p. : 23 cm
Subject: NATIONAL CULTURE AND THE CINEMA; GLOBALISATION; WORLD CINEMA
Summary: "The standard analytical category of "national cinema" has increasingly been called into question by the category of the "transnational". This anthology examines the premises and consequences of the coexistance of these two categories and the parameters of historiographical approaches that cross the borders of nation-states. The three sections of World Cinemas, Transnational Perspectives cover the geopolitical imaginary, transnational cinematic institutions, and the uneven flow of words and images. " -- BOOK BLURB
ISBN: 9780415976541
Contents: -- Preface -- acknowledgments -- Part One: The Geopolitical Imaginary of Cinema Studies -- 1. Transnational Film Theory: Decentered Subjectivity, Decentered Capitalism / Kathleen Newman -- 2. On the Plurality of Cinematic Transnationalism / Mette Hjort -- 3. Tracking "Global Media" in the Outposts of Globalization / Bhaskar Sarkar -- 4. Time Zones and Jetlag: The Flows and Phases of World Cinema / Dudley Andrew -- 5. Vector, Flow, Zone: Towards a History of Cinematic Translatio / Natasa Durovicova -- Part Two: Cinema as Transnational Exchange -- 6. Chinese Cinema and Transnational Film Studies / Yingjin Zhang -- 7. A National Cinema Abroad: From Production to Viewing /Toby Miller -- 8. Aural Identity, Genealogies of Sound Technologies, and Hispanic Transnationality on Screen / Marvin D'Lugo -- 9. How Movies Move (Between Hong Kong and Bulawayo, Between Screen and Stage...) / Lesley Stern -- 10. New Paradoxes of Africa's Cinemas / Olivier Barlet -- 11. The Transnational Other: Street Kids in Contemporary Brazilian Cinema / Joao Luiz Vieira -- Part Three: Comparative Perspectives -- 12. Fantasy in Action / Paul Willemen -- 13. Vernacular Modernism: Tracking Cinema on a Global Scale / Miriam Hansen -- 14. Globalization and Hybridization / Fredric Jameson -- 15. From Playtime to The World: The Expansion and Depletion of Space Within Global Economies / Jonathan Rosenbaum --Bibliography -- Contributors -- Index --