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Call No: 408.3 (73/94) AME
Author: Danks, Adrian (ed.); Gaunson, Stephen (ed.); Kunze, Peter C. (ed.)
Source: SZ/AT
Place: Cham, Switzerland
Publisher: Palgrave Macmillan
PubDate: c2018
PhysDes: xvii, 333 pages : illustrations ; 22 cm
Subject: TRANSNATIONAL CINEMA; TRANSNATIONALISM AND THE CINEMA; NATIONAL IDENTITY AND THE CINEMA; NATIONAL CULTURE IN FILMS; AUSTRALIA; USA; GLOBALISATION; HISTORY OF CINEMA; HISTORY OF CINEMA. AUSTRALIA; FOR THE TERM OF HIS NATURAL LIFE (AT, Norman Dawn, 1927); MAD MAX (AT, George Miller, 1979); NOT QUITE HOLLYWOOD (AT, Mark Hartley, 2008); BABADOOK , THE (AT, Jennifer Kent, 2014); PETER PAN (US, P.J. Hogan, 2003); GREAT GATSBY, THE (US/AT, Baz Luhrman, 2013)
Summary: "This edited collection assesses the complex historical and contemporary relationships between US and Australian cinema by tapping directly into discussions of national cinema, transnationalism and global Hollywood. While most equivalent studies aim to define national cinema as independent from or in competition with Hollywood, this collection explores a more porous set of relationships through the varied production, distribution and exhibition associations between Australia and the US. To explore this idea, the book investigates the influence that Australia has had on US cinema through the exportation of its stars, directors and other production personnel to Hollywood, while also charting the sustained influence of US cinema on Australia over the last hundred years. It takes two key points in time—the 1920s and 1930s and the last twenty years—to explore how particular patterns of localism, nationalism, colonialism, transnationalism and globalisation have shaped its course over the last century. The contributors re-examine the concept and definition of Australian cinema in regard to a range of local, international and global practices and trends that blur neat categorisations of national cinema. Although this concentration on US production, or influence, is particularly acute in relation to developments such as the opening of international film studios in Melbourne, Sydney, Adelaide and the Gold Coast over the last thirty years, the book also examines a range of Hollywood financed and/or conceived films shot in Australia since the 1920s." -- BOOK BACK COVER
Notes: Includes bibliographical references and index
ISBN: 9783319666754
Donation: Stephen Gaunson
Contents: -- 1 Where I'm Calling From: An American-Australian Cinema? / Peter C Kunze -- pt I Across the Pacific: Looking to America -- 2 Rudimentary Modernism: Ken G Hall, Rear-Projection and 1930s Hollywood / Adrian Danks -- 3 Simulated Scenery: Travel Cinema, Special Effects and For the Term of His Natural Life / Leslie DeLassus -- 4 Representations and Hybridizations in First Nation Cinema: Change and Newness by Fusion / Jane Mills -- 5 Of Mothers and Madwomen: Mining the Emotional Terrain of Toni Collette's Anti-Star Persona / Fincina Hopgood -- pt II The View From There: Australian Films in the US -- 6 Accented Relations: Mad Max on US Screens / Tessa Dwyer -- 7 Talking Trash with Tarantino: Auteurism, Aesthetics and Authority in Not Quite Hollywood / Peter C Kunze -- 8 Australian Horror Movies and the American Market / Mark David Ryan -- 9 The Terrible Terrace: Australian Gothic Reimagined and the (Inner) Suburban Horror of The Babadook / Amanda Howell -- pt III Here and There: Crossing Between Australian, US and International Cinemas -- 10 American Cartel: Block Bookings and the Paramount Plan / Stephen Gaunson -- 11 The Multiplex Era / Jock Given -- 12 "Zest to the jaded movie palate": Wallace Worsley, Scott R Dunlap and The Romance of Runnibede / Jeannette Delamoir -- 13 Defining Neverland: P J Hogan, J M Barrie and Peter Pan in Post-Mabo Australia / Jerod Ra'Del Hollyfield -- 14 Baz Luhrmann's The Great Gatsby Telling a National Iconic Story Through a Transnational Lens / Lesley Hawkes -- index --

Call No: 71(94) AUS
Author: Craven, Ian
Place: London
Publisher: Frank Cass
PubDate: 2001
PhysDes: 239 p. ; 22 cm
Subject: AUSTRALIA; MULTICULTURALISM AND THE CINEMA. AUSTRALIA; ABORIGINAL AUSTRALIANS ON TV; GONSKI REPORT; INDUSTRY, FILM. AUSTRALIA; LANDSCAPES IN FILMS. AUSTRALIA; MEN IN FILMS. AUSTRALIA; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; SUBURBS IN FILMS. AUSTRALIA; SOCIETY AND TV; DINGO, ERNIE; ADVENTURES OF BARRY MCKENZIE, THE (AT, Bruce Beresford, 1972); BABE (AT, Chris Noonan, 1995); BIG STEAL, THE (AT, Nadia Tass, 1990); CASTLE, THE (AT, Rob Sitch, 1997); DEATH IN BRUNSWICK (AT, John Ruane, 1991); HEARTBREAK KID, THE (AT, Michael Jenkins, 1993); HEARTLAND [TV] (AT, 1994); IDIOT BOX (AT, David Caesar, 1996); LAST DAYS OF CHEZ NOUS, THE (AT, Gillian Armstrong, 1992); LOVE SERENADE (AT, Shirley Barrett, 1996); METAL SKIN (AT, Geoffrey Wright, 1994); MONKEY GRIP (AT, Ken Cameron, 1982); MURIEL’S WEDDING (AT, P.J. Hogan, 1994); STRICTLY BALLROOM (AT, Baz Luhrmann, 1992)
Notes: Includes index and bibliography
ISBN: 0714649740; 0714680346(pbk.) : ª16.50
LON: 21663632
Contents: 1. Australian cinema towards the millennium / Ian Craven -- 2. Patterns of production and policy: the Australian film industry in the 1990s / Lisa French -- 3. Unhappy endings: the heterosexual dynamic in Australian film / Nigel Spence and Leah McGirr -- 4. Vulnerable bodies: creative disabilities in contemporary Australian film / Liz Ferrier -- 5. Becoming a man in Australian film in the early 1990s: The big steal, Death in Brunswick, Strictly ballroom and The heartbreak kid / Philip Butterss -- 6. His natural whiteness: modes of ethnic presence and absence in some recent Australian films / David Callahan -- 7. All quiet on the western front? Suburban reverberations in recent Australian cinema / Ben Goldsmith -- 8. Romance and sensation in the 'glitter' cycle / Emily Rustin -- 9. A pig in space? Babe and the problem of landscape / Tara Brabazon -- 10. The castle: 1997's 'battlers' and the ir/relevance of the aesthetic / Stephen Crofts -- 11. Idiot box: television, urban myths and ethical scenarios / Kaye Ferres -- 12. Ernie Dingo: reconciliation (a love story forged against the odds?) / Alan McKee -- Australian cinema in the 1990s: filmography / Samantha Searle -- Australian cinema in the 1990s: a select bibliography / Linda Smith
ID2: 306

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

Author: Nugent, Maria; Konishi, Shino
PhysDes: Article
Subject: ABORIGINAL AUSTRALIANS IN FILMS; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; ETHNIC GROUPS IN FILMS. AUSTRALIA; LUHRMANN, BAZ; AUSTRALIA (UK/AT/US, Baz Luhrmann, 2008)
Summary: Short editorial discussion summarising critical and academic response to Baz Luhrmann's film Australia

Call No: 408.1 CIN
Author: Hjort, Mette; MacKenzie, Scott, 1967
Place: London New York
Publisher: Routledge
PubDate: 2000
PhysDes: xvi, 332 p., ill., 25 cm
Subject: NATIONAL IDENTITY AND THE CINEMA; COPRODUCTION. EUROPEAN COUNTRIES; UNITED KINGDOM : SCOTLAND; INDONESIA; POLAND; TURKEY; INDIA; GERMANY; STATE AND THE CINEMA; CAPRA, FRANK
Summary: Leading film scholars, philosophers and sociologists consider the ways in which film production and reception are shaped by ideas of national identity and belonging. The contributors discuss a wide range of cinemas, in Europe, Asia and the Americas, exploring the relationship between nation states for both the concept and the reality of national cinema. In the book’s first three sections, contributors explore sociological approaches to national identity, challenge established ideas about ‘national cinema’, and consider the ways in which national states – from the former Soviet Union to Contemporary Scotland – use cinema in their efforts to create a national cinema, and consider how images of the nation are understood by audiences both at home and abroad. Taken from back cover.
Notes: Includes bibliographical references and index
ISBN: 0415208629 (alk. paper); 0415208637 (pbk. : alk. paper); 0415208629; 0415208637(pbk.) : ¦14.99; 0415208629(cased) : No price; 0415208637(pbk.) : No price
LON: 21459338

Call No: 71(94) RAY
Author: Rayner, Jonathan
Source: UK
Place: Manchester
Publisher: Manchester University Press
PubDate: 2000
PhysDes: vi, 203 p. : ill. ; 23 cm
Subject: AUSTRALIA; FANTASTIC FILMS. AUSTRALIA; HISTORICAL FILMS. AUSTRALIA; AUSTRALIAN FILM COMMISSION; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; MASCULINITY IN FILMS. AUSTRALIA; LANDSCAPES IN FILMS. AUSTRALIA; AUSTRALIAN FILM FINANCE CORPORATION; ROAD MOVIES. AUSTRALIA; SCHEPISI, FRED; ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, THE (AT, Stephan Elliott, 1994); BREAKER MORANT (AT, Bruce Beresford, 1980); CHANT OF JIMMIE BLACKSMITH, THE (AT, Fred Schepisi, 1978); CROCODILE DUNDEE (AT, Peter Faiman, 1986); GALLIPOLI (AT, Peter Weir, 1981); GETTING OF WISDOM, THE (AT, Bruce Beresford, 1977); MAD MAX [...] (AT, 1979-85); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); SIRENS (AT/UK, John Duigan, 1994); BETWEEN WARS (AT, Michael Thornhill, 1974); ODD ANGRY SHOT, THE (AT, Tom Jeffrey, 1979)
Notes: Includes bibliographical references (p. [194]-199) and index
ISBN: 0719053269 (hbk.); 0719053277 (pbk.); 0719053269
LON: 22455173

Call No: 753.8 MAZ
Author: Mazdon, Lucy
CorpAuthor: British Film Institute
Place: London
Publisher: British Film Institute
PubDate: 2000
PhysDes: [vi], 169 p. : ill. ; 24 cm
Subject: FRANCE; REMAKES; CULTURE AND THE CINEMA; CULTURAL IMPERIALISM. US; NATIONAL IDENTITY AND THE CINEMA; NATIONAL IDENTITY AND THE CINEMA. FRANCE; A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959); SOMMERSBY (US, Jon Amiel, 1993); NIKITA (FR/IT, Luc Besson, 1990); LEON (FR, Luc Besson, 1994); BIRDCAGE, THE (US, Mike Nichols, 1996); BREATHLESS (FR, Jean-Luc Godard, 1959); BREATHLESS (US, Jim McBride, 1983); CAGE AUX FOLLES, LA (IT/FR, Edouard Molinaro, 1978); TRUE LIES (US, James Cameron, 1994); SORCERER (US, William Friedkin, 1977); MON PERE, CE HEROS (FR, Gerard Lauzier, 1991); MAN WITH ONE RED SHOE, THE (US, Stan Dragoti, 1985); PEPE LE MOKO (FR, Julien Duvivier, 1937); ELEPHANT CA TROMPE ENORMEMENT, UN (FR, Yves Robert, 1976); TROIS HOMMES ET UN COUFFIN (FR, Coline Serreau, 1985); TOTALE!, LA (FR, Claude Zidi, 1991); THREE MEN AND A BABY (US, Leonard Niimoy, 1987); RETOUR DE MARTIN GUERRE, LE (FR, Daniel Vigne, 1982); WOMAN IN RED, THE (US, Gene Wilder, 1984); ALGIERS (US, John Cromwell, 1938); CASBAH (US, John Berry, 1948); SALAIRE DE LA PEUR, LE (FR, Henri-Georges Clouzot, 1953); GRAND BLOND AVEC UNE CHAUSSURE NOIRE, LE (FR, Yves Robert, 1972)
Notes: Includes bibliographical references and index
ISBN: 0851708005(cased) : ¦45.00; 0851708005
LON: 21532807

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: 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: 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: 451-02(71) GEN
Author: Armatage, Kay
Place: Toronto
Publisher: University of Toronto Press
PubDate: 1999
PhysDes: xi, 329 p
Subject: WOMEN IN FILMS. CANADA; CANADA; WOMEN, FILMS MADE BY. CANADA; GENDER AND THE CINEMA. CANADA; FEMINISM AND THE CINEMA. CANADA; DOCUMENTARY FILMS. CANADA; AVANT-GARDE FILMS. CANADA; LANDSCAPES IN FILMS. CANADA; IMPERIALISM AND THE CINEMA. CANADA; NATIONAL IDENTITY AND THE CINEMA. CANADA; HOMOSEXUALITY AND THE CINEMA. CANADA; BODY IN FILMS. CANADA; ROZEMA, PATRICIA; POIRIER, ANNE CLAIRE; FAR SHORE, THE (CN, Joyce Wieland, 1975); LOYALTIES (CN, Anne Wheeler, 1986); MOUVEMENTS DU DESIR (CN/SZ, Lea Pool, 1994)
Notes: Includes bibliographical references and index
ISBN: 0802041205 (bound) : $70.00; 0802079644 (pbk.) : $21.95; 0802041205 (bound); 0802079644 (pbk.)
LON: 14526441

Call No: 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

Author: Bennett, James
PhysDes: Article
Subject: NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; MULTICULTURALISM AND THE CINEMA. AUSTRALIA; ETHNIC GROUPS IN FILMS. AUSTRALIA; STRICTLY BALLROOM (AT, Baz Luhrmann, 1992); HEAD ON (AT, Ana Kokkinos, 1998)
Summary: ...1990s Australian cinema provides a key site for the examination of Australian identity in multicultural terms. Drawing on the work of Ghassan Hage, Stuart Hall and Daniel Nourry, this article investigates how notions of Australian identity in a multicultural society are played out (and with) by Australian cinema in the 1990s. Particular attention is paid to Head on (Kokkinos, 1998) and Strictly ballroom (Lurhmann, 1992), as examples of different approaches to this issue. -- Taken from Abstract

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: 401 MOR
Author: Morris, Meaghan
Source: UK
Place: London
Publisher: Sage Publications
PubDate: 2006
PhysDes: x, 250p. : 25cm.
Subject: CULTURE AND THE CINEMA; IDENTITY IN FILMS; NATIONAL IDENTITY AND THE CINEMA
Summary: "How is identity produced in global textual environments? What forms of narrative generate solidarity in a world in which globalization and trans-nationality can often appear to be a fait accompli? This brilliant, coruscating book, written by one of the most formidable and original thinkers in Cultural Studies, examines questions of nationality, identity, the use of anecdote to build solidarity and the role of institutions in shaping culture. Ranging across many fields, including film and media, gender, nationality, globalization and popular culture, it provides a mind-clearing exercise in recognizing what culture is, and how it works, today. Illustrated with a fund of relevant and insightful examples, it addresses the central questions in cultural studies today: identity, post-identity, the uses of narrative and textual analysis, the industrial organization of solidarity and the opportunities and dilemmas of globalization. Penetrating, arresting and inimitable, the book is a major contribution to the field of Cultural Studies. It will be of interest to students of Cultural Studies, Media, Film and Cultural Sociology.
Notes: Includes index
ISBN: 139780761961161
Language: English

Call No: 71(417) MCL
Author: McLoone, Martin
CorpAuthor: British Film Institute
Place: London
Publisher: British Film Institute
PubDate: 2000
PhysDes: 234 p. : ill. ; 24 cm
Subject: REPUBLIC OF IRELAND; NATIONAL IDENTITY AND THE CINEMA. REPUBLIC OF IRELAND; LANDSCAPES IN FILMS; BUTCHER BOY, THE (US, Neil Jordan, 1997); POLITICAL FILMS; POLITICS AND THE CINEMA; FLAHERTY, ROBERT; HUSH-A-BYE-BABY (UK, Margo Hakin, 1990); IN THE NAME OF THE FATHER (IE/UK/US, Jim Sheridan, 1993); JORDAN, NEIL; MAEVE (UK/IE, Pat Murphy & John Davies, 1981); MAN OF ARAN (UK, Robert Flaherty, 1934); NOTHING PERSONAL (UK/IE, Thaddeus O'Sullivan, 1995); OUR BOYS (IE, Cathal Black, 1981); PATRIOT GAMES (US, Philip Noyce, 1992); QUIET MAN, THE (US/IR, John Ford, 1952); SHERIDAN, JIM; THIS IS MY FATHER (US, Paul Quinn, 1998); TITANIC (US, James Cameron, 1997)
Notes: Includes bibliographical references and index
ISBN: 0851707920(cased) : ¦45.00; 0851707939(pbk.) : ¦14.99; 0851707920; 0851707939 (pbk.); 0851707920 (cased); 0851707939 (pbk.); 0851707920 (cased) : ¦45.00; 0851707939 (pbk.) : ¦14.99
LON: 21663034 21663034

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: Percopo, Luisa
PhysDes: Article
Subject: NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; MULTICULTURALISM AND THE CINEMA. AUSTRALIA; ETHNIC GROUPS IN FILMS. AUSTRALIA; LOOKING FOR ALIBRANDI (AT, Kate Woods, 2000)
Summary: This article addresses Kate Woods' film Looking for Alibrandi (2000), its concern with the interdependence of space and subjectivity and its role in presenting alternative discourses of the Australian nation. Drawing on the spatial theorization of French anthropologist Marc Auge, I contend that the film offers new models of identity through the protagonist's subversion of the categorization of public and private spaces. I argue that Josie Alibrandi is portrayed in the film as an agent of change, and her 'acts of improvisation' result both in an active manipulation of cultural constructions grounded in these spaces, and in her claim to a multiplicity of identities.--Abstract

Author: De Souza, Pascale
PhysDes: Article
Subject: MAORI IN FILMS; NATIONAL IDENTITY AND THE CINEMA. NEW ZEALAND; WHALE RIDER (NZ/GG, Niki Caro, 2002); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994)
Summary: Whale rider and Once were warriors portray families who struggle to reconcile their Maori identity with life in twentieth-century Aotearoa/New Zealand. The two movies mirror one another in so far as the former features a Maori chieft struggling to prevent the loss of Maori culture within his rural tribal group while the latter follows a nuclear family struggling to reconcile its urban identity with its rural Maori roots. Both movies pit an image of the city as an urban ghetto associated with 'social deprivation and lack of traditional culture' against that of the country as site of 'Maori cultural identity and salvation' (Spooner 2001: 95). The task of reconciling both falls to women who must undergo symbolical and/or actual death before being reborn as leaders. Though both movies conclude on a hopeful note, the path to reconciliation they suggest points 'to a contradiction which continues unresolved in practical reality' (Webster 1998: 39) and fails to address issues inherent in the concept of Maoritanga'

Call No: 409 ROS
Author: Rosenbaum, Jonathan
Place: Chicago
Publisher: A Capella
PubDate: 2000
PhysDes: v, 234 p. ; 24 cm
Subject: DISTRIBUTION; EXHIBITION; GLOBALISATION; AUDIENCES; American Film Institute; FESTIVALS; AUDIENCE RECEPTION; FESTIVALS. CANNES; NATIONAL IDENTITY AND THE CINEMA. US; MIRAMAX FILMS; BEST FILMS; BEST FILMS. US; CRITICISM; PERIODICALS, FILM; WELLES, ORSON; DANTE, JOE; BRESSON, ROBERT; EBERT, ROGER; WEINSTEIN, HARVEY; KIAROSTAMI, ABBAS; MASLIN, JANET; SMALL SOLDIERS (US, Joe Dante, 1998); MAGNIFICENT AMBERSONS, THE (US, Orson Welles, 1942); STARSHIP TROOPERS (US, Paul Verhoeven, 1997); STAR WARS : EPISODE I - THE PHANTOM MENACE (US, George Lucas, 1999); TOUCH OF EVIL (US, Orson Welles, 1958)
Notes: Includes index
ISBN: 1556524064
LON: 21468355

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: 408.1(4) RAV
Author: Ravetto-Biagioli, Kriss
CorpAuthor: ProQuest
Place: New York
Publisher: Columbia University Press
PubDate: 2017
PhysDes: 314 pages : illustrations ; 24 cm.
Subject: NATIONAL IDENTITY AND THE CINEMA. EUROPEAN COUNTRIES; RUSSKIJ KOVCHEG (RU, Aleksandr Sokurov, 2002); DESTRICTED (UK/US, various, 2006); NOTRE MUSIQUE (FR/SZ, Jean-Luc Godard, 2004); MEGALEXANDROS, O (GR/IT, Theo Angelopoulos, 1980)
Summary: "In Mythopoetic Cinema, Kriss Ravetto-Biagoli explores how contemporary European filmmakers treat mythopoetics as a critical practice that questions the constant need to provide new identities in a new Europe, and with it a new European cinema after the fall of the Soviet Union. Examining the work of Alexander Sokurov, Theodoros Angelopoulos, Marina Abramovic, and Jean-Luc Godard, she analyzes the ways in which these filmmakers engage and evaluate the recent reconceptualization of Europe's borders, mythic figures, and identity paradoxes, as well as how their work questions the ability of the moving image to challenge conventional ways of understanding history."
Notes: Also issued online. ProQuest Ebook Central Rental. Includes bibliographical references (pages 277-304) and index. In English.
ISBN: 9780231182195
Contents: Introduction Floating on the borders of Europe : Aleksandr Sokurov's Russian ark O Megalexandros : falling in and out of dreams In Balkan : Marina Abramovic and the politics of the suffering body Notre musique : on the ruins of the divine Epilogue : the politics of confrontation.

Author: Conor, Liz
PhysDes: Article
Subject: ABORIGINAL AUSTRALIANS IN FILMS; IMPERIALISM AND THE CINEMA AUSTRALIA; GENDER AND THE CINEMA. AUSTRALIA; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; AUSTRALIA (UK/AT/US, Baz Luhrmann, 2008)
Summary: Examines the influence of Xavier Herbert's novel 'Poor fellow my country' on Baz Lurhmann's film Australia, reflecting on the use of the 'creamy' Aboriginal child as a redemptive emplem of reconciliation in cultural imaginings.
Notes: Illustrated

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

Author: Stadler, Jane; Mitchell, Peta
PhysDes: Article
Subject: AESTHETICS; IMPERIALISM AND THE CINEMA AUSTRALIA; LANDSCAPES IN FILMS. AUSTRALIA; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; AUSTRALIA (UK/AT/US, Baz Luhrmann, 2008)

Call No: 70 (04) CHA
Author: Chapman, James and Glancy, Mark and Harper, Sue
Source: UK
Place: Basingstoke, Hampshire
Publisher: Palgrave Macmillan
PubDate: 2007
PhysDes: xi, 256p. : 23cm.
Subject: MOTION PICTURES - HISTORY; HISTORY AND THE CINEMA; NATIONAL IDENTITY AND AUSTRALIA; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; CRIMINALS IN FILMS; INDUSTRY, FILM. UK; SCRIPTWRITERS; MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD (US, Peter Weir, 2003); NOW, VOYAGER (US, Irving Rapper, 1942); GONE WITH THE WIND (US, Victor Fleming, 1939); GALLIPOLI (AT, Peter Weir, 1981); BLACKMAIL (UK, Alfred Hitchcock, 1929); BLACK NARCISSUS (UK, Michael Powell & Emeric Pressburger, 1947); WICKER MAN, THE (UK, Robin Hardy, 1973); FONDA, JANE; BERGMAN, INGMAR
Notes: Includes bibliographical references and index; Contents:; Gone with the wind (1939) and the lost cause : a critical view / Melvyn Stokes; History and representation : the case of 1970s British cinema / Sue Harper 27; Gallipoli (1981) : 'a poignant search for national identity' / Mark Connelly 41; 'This ship is England' : history, politics and national identity in Master and commander : the far side of the world (2003) / James Chapman 55; Art in context : British film design of the 1940s / Laurie Ede 73; The author as author : restoring the screenwriter to British film history / Andrew Spicer 89; When 'Hanoi Jane' conquered Hollywood : Jane Fonda's films and activism, 1977-81 / Peter Kramer 104; The politics of the swashbuckler / Jeffrey Richards 119; The Stalinist musical / Richard Taylor 137; Now, voyager (1942) : melodrama then and now / Martin Shingler 152; From gangsta to gangster : the hood film's criminal allegiance with Hollywood / Jonathan Munby 166; Blackmail (1929), Hitchcock and film nationalism / Mark Glancy 185; British cinema, American reception : Black Narcissus (1947) and the legion of decency / Sarah Street 201; Studying cross-cultural marketing and reception : Ingmar Bergman's Persona (1966) / Ingrid Stigsdotter, and Tim Bergfelder 215; The wicker man (1973) email digest : a case study in Web ethnography / Justin Smith 229
ISBN: 9780230001695
Language: English

Call No: TITLE CLIPPINGS FILE; COLOR PURPLE, THE (US, Steven Spielberg, 1985)
Author: Berlant, Lauren
PhysDes: Article
Subject: COLOR PURPLE, THE (US, Steven Spielberg, 1985); GENDER AND THE CINEMA. USA; RACIAL ISSUES AND THE CINEMA; NATIONAL IDENTITY AND THE CINEMA. US

Author: Morton, John
PhysDes: Article
Subject: ABORIGINAL AUSTRALIANS IN FILMS; IMPERIALISM AND THE CINEMA AUSTRALIA; MYTH AND THE CINEMA. AUSTRALIA; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; AUSTRALIA (UK/AT/US, Baz Luhrmann, 2008)
Summary: Baz Luhrmann's film Australia is considered as a meditation on the problem of national legitimacy, particularly in relation to the Stolen Generations narrative.

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(41) PET
Author: Petrie, Duncan J., 1963
CorpAuthor: British Film Institute
Place: London
Publisher: British Film Institute
PubDate: 2000
PhysDes: 250 p. : ill., ports. ; 24 cm
Subject: UNITED KINGDOM : SCOTLAND; NATIONAL IDENTITY AND THE CINEMA. UK : SCOTLAND; CHANNEL FOUR; DOUGLAS, BILL; FORSYTH, BILL; Grierson, John; BOYLE, DANNY; MACKENDRICK, ALEXANDER; Powell, Michael; MULLAN, PETER; MCDOUGALL, PETER; GRIGOR, MURRAY; CAUGHIE, JOHN; MACKENZIE, JOHN; BROTHERS, THE (UK, David MacDonald, 1947); SHIPBUILDERS, THE (UK, John Baxter, 1943); WHISKY GALORE (UK, Alexander MacKendrick, 1949); BRAVEHEART (US, Mel Gibson, 1995); BREAKING THE WAVES (DK/FR, Lars Von Trier, 1996); I KNOW WHERE I'M GOING! (UK, Michael Powell & Emeric Pressburger, 1945); MY NAME IS JOE (UK/GG, Kenneth Loach, 1998); ORPHANS (UK, Peter Mullan, 1997); RATCATCHER (UK, Lynne Ramsey, 1999); ROB ROY (US, Michael Caton-Jones, 1995); SHALLOW GRAVE (UK, Danny Boyle, 1994); TRAINSPOTTING (UK, Danny Boyle, 1996)
Notes: Includes bibliographical references (p. [231]-237) and index
ISBN: 085170784X(cased) : No price; 0851707858(pbk.) : ¦14.99
LON: 21532814

Call No: 744.9[325.1](4) LOS
Author: Loshitzky, Yosefa
Source: US
Place: Bloomington IN
Publisher: Indiana University Press
PubDate: c2010
PhysDes: 214 p. ; 23 cm
Series: New directions in national cinemas
Subject: CULTURAL IMPERIALISM; EUROPEAN CINEMA; IMMIGRATION IN FILMS AND TELEVISION; NATIONAL IDENTITY AND THE CINEMA. EUROPEAN COUNTRIES; RACIAL ISSUES AND THE CINEMA; REFUGEES; WINTERBOTTOM, MICHAEL; BESIEGED (IT, Bernardo Bertolucci, 1998); CODE 46 (UK/US, Michael Winterbottom, 2003); DIRTY PRETTY THINGS (UK, Stephen Frears, 2002); HAINE, LA [HATE] (FR, Mathieu Kassovitz, 1995); IN THIS WORLD (UK, Michael Winterbottom, 2002); ROAD TO GUANTANAMO, THE (UK, Michael Winterbottom and Mat Whitecross, 2006)
Summary: "Yosefa Loshitzky challenges the utopian notion of a post-national "New Europe" by focusing on the waves of migrants and refugees that some view as a potential threat to European identity, a concern heightened by the rhetoric of the war on terror, the London Underground bombings, and the riots in Paris's banliues. Opening a cinematic window onto this struggle, Loshitzky determines patterns in the representation and negotiation of European identity in several European films from the late twentieth and early twenty-first centuries, including Bernardo Bertolucci's Besieged, Stephen Frears's Dirty Pretty Things, Mathieu Kassovitz's La Haine, and Michael Winterbottom's In This World, Code 46, and The Road to Guantanamo." - BOOK BLURB
Notes: Includes notes and index
ISBN: 9780253221827

Call No: 408.1-054(=951) SIN
Author: Yue, Audrey (editor); Khoo, Olivia (editor)
Source: AU
Place: London ; New York
Publisher: Palgrave Macmillan
PubDate: 2014
PhysDes: xvi, 231 pages : illustrations ; 23 cm
Subject: CHINA IN FILMS; COPRODUCTION; COPRODUCTION. AUSTRALIA; COPRODUCTION. CHINA; CULTURE AND THE CINEMA. CHINA; CULTURE AND THE CINEMA; LANGUAGE AND THE CINEMA; MASCULINITY IN FILMS; NATIONAL IDENTITY AND THE CINEMA; SHORT FILMS; SINGAPORE; TAIWAN; TRANSNATIONAL CHINESE CINEMA; TRANSNATIONAL CINEMA; TRANSNATIONALISM AND THE CINEMA; SHIH, SHU-MEI; CHILDREN OF THE SILK ROAD, THE (AT/CC/GE, Roger Spottiswoode, 2007); CROUCHING TIGER, HIDDEN DRAGON (HK, Ang Lee, 2000); FLIGHT OF THE RED BALLOON [VOYAGE DU BALLON ROUGE, LE] (FR, Hsiao-hsien Hou, 2008)
Summary: "Sinophone Cinemas considers a range of multilingual, multidialect and multi-accented cinemas produced in Chinese-language locations outside mainland China. Showcasing a variety of new and fascinating case studies from Britain, Hong Kong, Taiwan, Singapore and Australia, and canvassing a range of formats including commercial co-productions, short films, documentaries and independent films, the book highlights the contemporary screen cultures of Chinese-language communities situated on the margins of China and Chineseness. It engages new sites of localisation, multilingualism and differences that have emerged in Chinese film studies, ones that are not easily contained by the notion of diaspora. The chapters cover a number of historical periods, geographical locations, and critical and methodological perspectives, such as the political economy of Sinophone film production, distribution, consumption and regulation; cinematic practices of Chinese and non-Chinese language resistance, complicity and transformation; and Sinophone communities as sites of cultural production and visual economies." - BOOK BLURB
Notes: Contains list of figures and notes on Chinese names and film titles -- Includes filmography, bibliographic references and index
ISBN: 9781137311191
Contents: Part 1: Theorising Sinophone cinemas -- Framing Sinophone cinemas / Audrey Yue and Olivia Khoo -- Genealogies of four critical paradigms in Chinese-language film studies / Sheldon H. Lu -- Alter-centring Sinophone cinema / Yiman Wang -- Festivals, censorship and the canon: the making of Sinophone cinemas / Yifen T. Beus -- The voice of the Sinophone / Song Hwee Lim -- Singapore, Sinaphone, nationalism: sounds of language in the films of Tan Pin Pin / Olivia Khoo; Part 2: Contemporary Sinophone cinemas -- Mandarin pop-culture meets Tokyo jazz: gender and popular youth culture in late-1960s Hong Kong musicals / Jennifer Feeley -- Sinophone libidinal economy in the age of neoliberalization and mainlandization: masculinities in Hong Kong SAR and New Wave cinema / Mirana M. Szeto -- Singlish and the Sinophone: non-standard (Chinese/English) languages in recent Singaporean cinema / Alison M. Groppe -- British Chinese short films: challenging the limits of the Sinophone / Felicia Chan and Andy Willis -- Contemporary Sinophone cinema: Australia-China coproductions / Audrey Yue

Author: Delamoir, Jeannette
PhysDes: Article
Subject: AUSTRALIA. 1895-1930; AUSTRALIA. 1927-1932; EXHIBITION. AUSTRALIA; INDUSTRY, FILM. AUSTRALIA; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; STATE AND THE CINEMA. AUSTRALIA
Summary: This article looks at how the 1927 Royal commission grappled with the financial viability of the local industry in a global marketplace. It examines the relationships between government support, cultural production, cultural consumption and national indentity
Notes: The impetus for the 1927 Royal Commission into the Moving Picture Industry was the US film companies' `stranglehold' on the Australian film industry, the effects of which were perceived as undermining both Australian film businesses and Australian national identity. The Commissioners took evidence in seven Queensland towns, some quite small and isolated, with almost all exhibitors from these locations represented. This evidence constructs an in-depth picture of film business and consumption in regional Australia, as well as a social, cultural and economic portrait of the country on the cusp of the Great Depression. This article takes as its starting point the Commissioners' repeated comparison of the film industry and Queensland's sugar industry, and their suggestions that the film industry's problems could be solved by replicating the intervention and support given to the sugar industry by both State and Federal Governments. These references, the article argues, reveal the Commissioners' understanding of the film industry, and conjectures that these conceptualizations may still influence the way Australian films are watched today -- Abstract

Author: Cameron, Allan
PhysDes: Article
Subject: NATIONAL IDENTITY AND THE CINEMA. NEW ZEALAND; HORROR FILMS. NEW ZEALAND; INDUSTRY, FILM. NEW ZEALAND; FANTASTIC FILMS; LOCALS, THE (NZ, Greg Page, 2003); BLACK SHEEP (NZ, Jonathan King, 2006); FERRYMAN, THE (NZ/UK, Chris Graham, 2007); TATTOOIST, THE (NZ/SI, Peter Berger, 2007); PERFECT CREATURE (NZ/UK, Glenn Standring, 2006)
Summary: Article arguing the connectedness between otherness of horror with the otherness of cultural identities within New Zealand horror film.
Notes: Recent years have seen a conspicuous resurgence of the horror genre in New Zealand cinema. What sets recent New Zealand horror films apart from their local antecedents, however, is their self-conscious reframing of local identity against an international backdrop. Contemporary Kiwi horrors such as The Locals, Black Sheep, The Tattooist and Perfect Creature effectively extend horror’s characteristic focus on questions of otherness to the otherness of local and global cultural identities. In this way, they subject New Zealand cinema’s Gothic tradition to a type of remapping, in which the Gothic is ironized, hybridized or displaced. In a number of these films (several of which are international co-productions) the Gothic even comes untethered from the local landscape and moves across national frontiers. By reworking the tropes of New Zealand horror, these films take up the challenge of re-articulating New Zealand identities for the early twenty-first century, producing a palimpsestic vision of nationhood determined not by essences but by codes.--Abstract

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

Call No: 408.3 TRA
Author: Ezra, Elizabeth (ed.) Rowden, Terry (ed.)
Source: UK
Place: Abingdon, Oxon, UK
Publisher: Routledge
PubDate: 2006
PhysDes: 244 pages ; 25 cm
Series: in focus: Routledge film readers
Subject: TRANSNATIONAL CINEMA; TRANSNATIONALISM AND THE CINEMA; NATIONAL IDENTITY AND THE CINEMA; DIASPORIC CINEMA; TERRORISM AND THE CINEMA; INDIGENOUS; MIGRATION; GLOBALISATION; WORLD CINEMA
Summary: "Transnational Cinema: The Film Reader provides an overview of the key concepts and debates within the developing field of transnational cinema. Bringing together seminal essays from a wide range of sources, this volume engages with films that fashion their narrative and aesthetic dynamics in relation to more than one national or cultural community. The reader is divided into four sections: From National to Transnational Cinema / Global Cinema in the Digital Age / Motion Pictures: Film, Migration and Diaspora / Tourists and Terrorists." -- PUBLISHERS WEB SITE
ISBN: 9780415371589
Contents: Introduction: What is Transnational Cinema? / Elizabeth Ezra and Terry Rowden -- Introduction to Section I: From National to Transnational Cinema -- The Limiting Imagination of National Cinema? / Andrew Higson -- Africans Filming Africa: Questioning Theories of an Authentic African Cinema / David Murphy -- Post-Third-Worldist Culture: Gender, Nation, and the Cinema / Ella Shohat -- Bombay Boys and Girls: Transnational Gender and Sexual Politics in the New Indian Cinema in English / Jigna Desai -- Introduction to Section II: Global Cinema in the Digital Age -- The Instantaneous Worldwide Release: Coming Soon to Everyone, Everywhere / Robert E. Davis -- Lord of the Rings, Star Wars, and Participatory Fandom: Mapping New Congruencies Between the Internet and Media Entertainment Culture /Elana Shefrin -- Transnational Documentary: A Manifesto / John Hess and Patricia R. Zimmermann -- Introduction to Section III: Motion Pictures: Film, Migration, and Diaspora -- Situating Accented Cinema? / Hamid Naficy -- Beur Cinema and the Politics of Location: French Immigration Politics and the Naming of a Film Movement / Peter Bloom -- Diaspora and National Identity: Exporting 'China' through the Hong Kong Cinema / David Desser -- Migrancy and the Latin American Cinemascape: Towards a Post-National Critical Praxis / Ann Marie Stock -- Introduction to Section IV: Tourists and Terrorists -- Romance And/As Tourism: Heritage Whiteness and the (Inter)National Imaginary in the New Woman's Film? / Diane Negra -- Four Forms for Terrorism: Horror, Dystopia, Thriller, and Noir / John S. Nelson -- Terror and After... / Homi K. Bhabha --

Call No: 62(043) VER
Author: Verhoeven, Deb
Source: AT
Place: Melbourne
PubDate: 2004
PhysDes: 278p. : ill. ; 31cm
Subject: ANIMALS IN FILMS; AUSTRALIA IN FILMS; NATIONAL IDENTITY AND AUSTRALIA; NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; REPETITION IN FILMS; SQUATTER'S DAUGHTER, THE (AT, Ken G. Hall, 1933); BITTER SPRINGS (AT, Ralph Smart, 1950)
Notes: Includes bibliographical references Includes filmography