Old collection
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Blake Edwards / by Peter Lehman & William Luhr Athens: Ohio: Ohio University Press, c1981.
Call No: 81EDW LUHAuthor: Lehman, Peter Source: USPlace: Athens: OhioPublisher: Ohio University PressPubDate: c1981PhysDes: 268p. : ill., ports. ; 24 cmSubject: EDWARDS, BLAKE ; PINK PANTHER, THE (US, Blake Edwards, 1964) ; SHOT IN THE DARK, A (UK, Blake Edwards, 1964) ; TRAIL OF THE PINK PANTHER (UK, Blake Edwards, 1982) ; REVENGE OF THE PINK PANTHER (UK, Blake Edwards, 1978) ; SELLERS, PETER ; PSYCHOANALYSIS AND THE CINEMA Notes: Includes index.
Filmography: v.1 p. 267-283,
Bibliography: v.1 p. 263-265,.ISBN: 0821406167Language: English
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book
CineTech : film, convergence and new media / Stephen Keane Basingstoke [England]: Palgrave Macmillan, 2007.
Call No: 220.1(-5) KEAAuthor: Keane, Stephen Source: US/UKPlace: New York; Basingstoke [England]Publisher: Palgrave MacmillanPubDate: 2007PhysDes: viii, 181 pages ; 22 cmSubject: TIMECODE (US, Mike Figgis, 2000) ; MY LITTLE EYE (UK/US/FR, Marc Evans, 2003) ; [TWENTY-EIGHT] 28 DAYS LATER (UK/US, Danny Boyle, 2002) ; STAR WARS: EPISODE II - THE ATTACK OF THE CLONES (US, George Lucas, 2002) ; LORD OF THE RINGS: THE TWO TOWERS, THE (US, Peter Jackson, 2002) ; STAR WARS: EPISODE III - REVENGE OF THE SITH (US, George Lucas, 2005) ; SIN CITY (US, Frank Miller and Robert Rodriguez, 2005) ; RESIDENT EVIL (US, Paul W.S. Anderson, 2002) ; MATRIX, THE [...] (US, Larry Wachowski & Andy Wachowski, 1999-2003) ; FANS ; TECHNOLOGICAL DEVELOPMENTS ; INTERNET ; CONVERGENCE Summary: What does it mean to regard cinema as technology? How do special effects change our experience of contemporary film? How important is the Internet to the film industry and film fans? CineTech explores these debates and examines the important intersection between film and new media. Providing a comprehensive introduction to the digital practices used in film, this book moves from historical perspectives to up-to-date analysis. Applying these debates through specific case studies, examples are drawn from recent Hollywood blockbusters such as the Star Wars prequels and the Matrix trilogy. Case studies, exercises, and suggestions for further study make this an ideal resource for courses and student assignments in both film and media studies.Notes: Includes bibliographical references (p. 162-176) and index.ISBN: 9781403936943Contents: 1. Screens -- 2. Digital film -- 3. Digital special effects -- 4. Films, fans and the Internet -- 5. Films and videogames -- 6. Entering the matrix -- Conclusion.
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journal article
D.W Griffith - the rise of film art in Classic Images (January 1983) iss.91 p.28-29
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Online resource
digital clippings file
DO REVENGE : (US, Jennifer Kaytin Robinson, 2022) Digital clippings file available
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FATHER'S REVENGE, A : [TV] (US, John Herzfeld, 1988)
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GAMERA 3: IRIS KAKUSEI : (JA, Shusuke Kaneko, 1999)
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HALLOWEEN 5: THE REVENGE OF MICHAEL MYERS : (US, Dominique Othenin-Girard, 1989)
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HISSATSU 4: URAMI HARASHIMASU : (JA, Fukasaku Kinji, 1987)
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JAWS THE REVENGE : (US, Joseph Sargent, 1987)
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LUST AND REVENGE : (AT, Paul Cox, 1996)
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MFA [REVENGE ARTIST, THE] : (US, Natalie Leite, 2017)
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Michael Bay / by Lutz Koepnick Urbana, Illinois: University of Illinois Press, c2018.
Call No: 81 BAY KOEAuthor: Koepnick, Lutz P. (Lutz Peter), (author.) Source: USPlace: Urbana, IllinoisPublisher: University of Illinois PressPubDate: c2018PhysDes: 192 pages : illustrations ; 21 cmSeries: Contemporary Film DirectorsSubject: BAY, MICHAEL ; ACTION FILMS ; BAD BOYS (US, Michael Bay, 1995) ; ROCK, THE (US, Michael Bay, 1996) ; ARMAGEDDON (US, Michael Bay, 1998) ; PEARL HARBOR (US, Michael Bay, 2001) ; BAD BOYS II (US, Michael Bay, 2003) ; ISLAND, THE (US, Michael Bay, 2005) ; TRANSFORMERS (US, Michael Bay, 2007) ; TRANSFORMERS: REVENGE OF THE FALLEN (AT, Michael Bay, 2009) ; TRANSFORMERS: DARK OF THE MOON (US, Michael Bay, 2011) ; PAIN & GAIN (US, Michael Bay, 2013) ; TRANSFORMERS: AGE OF EXTINCTION (US/C, Michael Bay, 2014) ; [THIRTEEN] 13 HOURS (US, Michael Bay, 2016) ; TRANSFORMERS: THE LAST KNIGHT (US/C/CN, Michael Bay, 2017) Summary: "If size counts for anything, Michael Bay towers over his contemporaries. His ability to mastermind breathtaking spectacles of action, mayhem, and special effects continually pushes the movie industry as much as the medium of film toward new frontiers.
Lutz Koepnick engages the bigness of works like Armageddon and the Transformers movies to explore essential questions of contemporary filmmaking and culture. Combining close analysis and theoretical reflection, Koepnick shows how Bay's film, knowingly or not, address profound issues about what it means to live in the late twentieth and early twenty-first centuries. According to Koepnick's astute readings, no one eager to understand the state of cinema today can ignore Bay's work. Bay's cinema of world-making and transnational reach not only exemplifies interlocking processes of cultural and economic globalization, it urges us to contemplate the future of moving images, of memory, matter, community, and experience, amid a time of rampant political populism and ever-accelerating technological change." -- BOOK BLURBNotes: Includes bibliographical references and index
Includes filmographyISBN: 9780252083204Donation: Senses of CinemaContents: World Cinema in the Age of Populism -- Cinema -- Action -- Time -- Matter -- Sound -- Politics -- Interviews -- Filmography -- Bibliography -- Index.
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title clippings file
NIGHTMARE ON ELM STREET, PART 2: FREDDY'S REVENGE, A : (US, Jack Sholder, 1985)
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PORKY'S REVENGE : (CN, James Komack, 1985)
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Return of the monstrous-feminine : feminist new wave cinema / Barbara Creed New York: Routledge, 2022.
Call No: 744.7 CREAuthor: Creed, Barbara Edition: 2022Place: New YorkPublisher: RoutledgePubDate: 2022PhysDes: x, 168 pagesSubject: FEMINISM AND THE CINEMA ; HORROR FILMS ; BABADOOK , THE (AT, Jennifer Kent, 2014) ; HANDMAID'S TALE, THE [TV] (US, 2017 - ) ; PROMISING YOUNG WOMAN, A (UK/US, Emerald Fennell, 2020) ; REVENGE (FR, Coralie Fargeat, 2017) ; NIGHTINGALE, THE (AT, Jennifer Kent, 2017) ; NOMADLAND (US/GG, Chloé Zhao, 2020) ; CAROL (UK/US/FR, Todd Haynes, 2015) ; ASSISTANT, THE (US, Kitty Green, 2019) ; GIRL WALKS HOME ALONE AT NIGHT, A ( US, Ana Lily Amirpour, 2014) ; UNDER THE SKIN (UK/US/SZ, Jonathan Glazer, 2013) ; JENNIFER'S BODY (US, Karyn Kusama, 2009) ; LURE, THE [CORKI DANCINGU] (PL, Agnieszka Smoczynska, 2015) ; THELMA (NO/FR/DK/SW, Joachim Trier, 2017) ; RAW [GRAVE] (FR/BE, Julia Ducournau, 2016) ; BEAU TRAVAIL [TROUBLE EVERY DAY] (FR/GG/JA, Claire Denis, 1999) ; IN MY SKIN [DANS MA PEAU] (FR, Marina de Van, 2002) ; SPOOR [POKOT] (PL/GG/CZ/SW/SO, Agnieszka Holland & Kasia Adamik, 2017) ; WOMAN AT WAR (IC/FR/UE, Benedikt Erlingsson, 2018) ; MAD MAX: FURY ROAD (AT/US, George Miller, 2015) Summary: This follow-up to the classic text of The Monstrous-Feminine analyses those contemporary films which explore social justice issues such as women’s equality, violence against women, queer relationships, race and the plight of the planet and its multi-species.
Examining a new movement – termed by Creed as Feminist New Wave Cinema – The Return of the Monstrous-Feminine explores a significant change that has occurred over the past two decades in the representation of the monstrous-feminine in visual discourse. The Monstrous-Feminine is a figure in revolt on a journey through the dark night of abjection. Taking particular interest in women directors who create the figure of the Monstrous-Feminine, in cinema that foregrounds everyday horrors in addition to classic horror, Creed looks at a range of diverse films including The Babadook, A Girl Walks Home Alone at Night, Nomadland, Carol, Raw, Revenge, and the television series The Handmaid’s Tale. These films center on different forms of revolt, from inner revolt to social, supernatural and violent revolt, which appear in Feminist New Wave Cinema. These relate in the main to the emergence of a range of social protest movements that have gathered momentum in the new millennium and given voice to new theoretical and critical discourses. These include: third and fourth wave feminism, the #MeToo movement, queer theory, race theory, the critique of anthropocentrism and human animal theory. These theoretical discourses have played a key role in influencing Feminist New Wave Cinema whose films are distinctive, stylish and diverse.
This is an essential companion to the original classic text and is ideal for students in Gender and Media, Gender and Horror, Gender and Film and Feminist Film theory courses. -- publisher's web siteISBN: 9780367478162Contents: Introduction: The Monstrous-Feminine In Feminist New Wave Cinema -- The Monstrous Mother As Magician: The Babadook -- Unwomen: Dare To Revolt – The Handmaid’s Tale, Film & Tv Series -- #Metoo: Rape & Revolt: Promising Young Woman, Revenge, The Nightingale. -- The Monstrous-Feminine Forgets Her Manners: Nomadland, Carol, The Assistant -- Vampires, Feminism & Ethnicity: A Girl Walks Home Alone At Night -- The Monstrous-Feminine As Femme Fatale, Alien & Black: Under The Skin -- Queering The Monstrous-Feminine: Jennifer’s Body, The Lure, Thelma -- Female Cannibalism & Eating The Other: Raw, Trouble Everyday, In My Skin -- Furiosa: Eco-Horror & The Woman Warrior: Spoor, Woman At War, Mad Max: Fury Road – Filmography -- Index
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Old collection
book
Returning to the scene : Blake Edwards / by Peter Lehman & William Luhr Athens: Ohio: Ohio University Press, c1989.
Call No: 81EDW LUHAuthor: Lehman, Peter Source: USPlace: Athens: OhioPublisher: Ohio University PressPubDate: c1989PhysDes: 268p. : ill., ports. ; 24 cmSubject: EDWARDS, BLAKE ; S.O.B. (US, Blake Edwards, 1981) ; VICTOR/VICTORIA (UK, Blake Edwards, 1982) ; PINK PANTHER, THE (US, Blake Edwards, 1964) ; SHOT IN THE DARK, A (UK, Blake Edwards, 1964) ; MAN WHO LOVED WOMEN, THE (US, Blake Edwards, 1983) ; TRAIL OF THE PINK PANTHER (UK, Blake Edwards, 1982) ; MICKI AND MAUDE (US, Blake Edwards, 1984) ; REVENGE OF THE PINK PANTHER (UK, Blake Edwards, 1978) Notes: Includes index.
Filmography: v.2 p. 253-260.
Bibliography: v.2 p. 249-251.ISBN: 0821409182Language: English
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title clippings file
REVENGE : (US, Tony Scott, 1990)
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REVENGE : (FR, Coralie Fargeat, 2017)
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REVENGE INC. : (AT, Daniel Einfeld & Sam de Brito, 1998)
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REVENGE OF THE NERDS : (US, Jeff Kanew, 1984)
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REVENGE OF THE NERDS II: NERDS IN PARADISE : (US, Joe Roth, 1987)
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REVENGE OF THE NERDS III: THE NEXT GENERATION : (US, Roland Mesa, 1992)
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REVENGE OF THE NINJA : (US, Sam Firstenberg, 1983)
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REVENGE OF THE PINK PANTHER : (UK, Blake Edwards, 1978)
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REVENGE OF THE RED BALLOON, THE : (US, Gregg Rossen, 2000)
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REVENGE [TY] : (US, 2011)
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A splurch in the kisser : the movies of Blake Edwards / Sam Wasson Middletown, Connecticut: Wesleyan University Press, 2009.
Call No: 81EDW WASAuthor: Wasson, Sam Source: USPlace: Middletown, ConnecticutPublisher: Wesleyan University PressPubDate: 2009PhysDes: xii, 353 p. : ill. ; 24 cmSubject: EDWARDS, BLAKE ; CRITICISM ; BLIND DATE (US, Blake Edwards, 1987) ; BREAKFAST AT TIFFANY'S (US, Blake Edwards, 1961) ; CAREY TREATMENT, THE (US, Blake Edwards, 1972) ; CURSE OF THE PINK PANTHER (US, Blake Edwards, 1983) ; FINE MESS, A (US, Blake Edwards, 1986) ; GREAT RACE, THE (US, Blake Edwards, 1965) ; MAN WHO LOVED WOMEN, THE (US, Blake Edwards, 1983) ; MICKI AND MAUDE (US, Blake Edwards, 1984) ; PARTY, THE (US, Blake Edwards, 1968) ; PINK PANTHER, THE (US, Blake Edwards, 1964) ; REVENGE OF THE PINK PANTHER (UK, Blake Edwards, 1978) ; SHOT IN THE DARK, A (UK, Blake Edwards, 1964) ; SKIN DEEP (US, Blake Edwards, 1989) ; S.O.B. (US, Blake Edwards, 1981) ; SON OF THE PINK PANTHER (US, Blake Edwards, 1993) ; SUNSET (US, Blake Edwards, 1988) ; SWITCH (US, Blake Edwards, 1991) ; TRAIL OF THE PINK PANTHER (UK, Blake Edwards, 1982) ; VICTOR/VICTORIA (UK, Blake Edwards, 1982) Summary: "With one of the longest and most controversial careers in Hollywood history, it's about time for Blake Edwards, a director of raving chutzpuh, to take hist seat at the table of greats. His rambunctious filmography remains an artistic force on par with Hollywood's greatest comic directors: Chaplin, Lubitsch, Sturges, and Wilder. Like Wilder, Edward's propensity for hilarity is double-helixed with pain, and in films like Breakfast at Tiffany's, The Pink Panther, and even days of Wine and Roses, we can hear him off-screen, laughing in the dark. And yet, despite those enormous successes, he was at one time considered a Hollywood villain. After his marriage to Julie Andrews, Edwards's Darling Lili nearly sunk both of them and brought Paramount Pictures to its knees. Almost overnight, Blake became an industry pariah, which ironically fortified his sense of satire, and allowed him to simultaneously fight the Hollywood tide as he rode it. Employing keen visual analysis, meticulous research, and troves of interviews and production files, Sam Wasson delivers the first complete account of one of the maddest figures Hollywood has ever known." - BOOK JACKETNotes: Includes filmography.; Includes bibliographical references and index.ISBN: 9780819569158Donation: Donated by Senses Of Cinema, 2009Contents: Prologue: Breaking in, 1922-1955 -- Blake begins, 1955-1959 -- Blake builds, 1959-1962 -- Blake blossoms, 1963-1968 -- Blake burns, 1968-1974 -- Panther pictures (Blake banks) -- Blake booms, 1979-1982 -- Blake breaks, 1983-1988 -- Blake bows, 1988-1991 -- Epilogue: Making out, October 24, 1993.
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STAR WARS: EPISODE III - REVENGE OF THE SITH : (US, George Lucas, 2005)
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SUCCESS IS THE BEST REVENGE : (UK/FR, Jerzy Skolimowski, 1984)
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SWEET REVENGE : (US, Mark Sobel, 1987)
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SWEET REVENGE : (US, Gordon McLennan, 2001)
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TRANSFORMERS: REVENGE OF THE FALLEN : (AT, Michael Bay, 2009)-
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VENGANZA DE LA MOMIA, LA : (SP, Carlos Aured, 1973)
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VENGANZA DE LA MOMIA, LA : (SP, Carlos Aured, 1973)
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VENGANZA DE LA MOMIA, LA : (SP, Carlos Aured, 1973)
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VENGANZA DE LA MOMIA, LA : (SP, Carlos Aured, 1973)
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newspaper article
Zero tolerance : A journey through the worst films Rotten Tomatoes has to offer in Sydney Morning Herald [The Shortlist] (06/03/2015) p.1
Call No: Subject Clipping; WORST FILMSAuthor: Munro, Peter PhysDes: Clippings File ArticleSubject: WORST FILMS ; JAWS THE REVENGE (US, Joseph Sargent, 1987) ; MANOS: THE HANDS OF FATE (US, Harold P.Warren, 1966) ; HEARTBEAT AWAY, A (AT, Gale Edwards, 2011) ; BEHAVING BADLY (US, Tim Garrick, 2014) Summary: What it takes for a film to score 0 on Rotten Tomatoes when a 0 per cent score means it is unloved by every critic.
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