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Call No: 740.1 APO
Source: UK
Place: London
Publisher: Lanham Rowman & Littlefield
PubDate: c2016
PhysDes: xxii, 231 pages : illustrations ; 24 cm.
Subject: APOCALYPSE IN FILMS; DISASTER FILMS; CIVILISATION (US, Raymond B. West, 1916); [FOUR] 4 HORSEMEN OF THE APOCALYPSE, THE (US, Rex Ingram, 1921); BED SITTING ROOM, THE (UK, Richard Lester, 1969); [DOCTOR] DR STRANGELOVE: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (UK, Stanley Kubrick, 1964); MELANCHOLIA (DK/SW/FR/G, Lars von Trier, 2011); OFFRET [SACRIFICE, THE] (SW/FR, Andrei Tarkovsky, 1986)
Summary: We live in a world at risk. Dire predictions about our future or the demise of planet earth persist. Even fictional representations depict narratives of decay and the end of a commonly shared social reality. Along with recurring Hollywood blockbusters that imagine the end of the world, there has been a new wave of zombie features as well as independent films that offer various visions of the future. The Apocalypse in Film: Dystopias, Disasters, and Other Visions about the End of the World offers an overview of Armageddon in film from the silent era to the present. This collection of essays discusses how such films reflect social anxieties—ones that are linked to economic, ecological, and cultural factors. Featuring a broad spectrum of international scholars specializing in different historical genres and methodologies, these essays look at a number of films, including the silent classic The Four Horsemen of the Apocalypse, the black comedy Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, the Mayan calendar disaster epic, 2012, and in particular, Lars Von Trier’s Melancholia, the focus of several essays. As some filmmakers translate the anxiety about a changing global climate and geo-political relations into visions of the apocalypse, others articulate worries about the planet’s future by depicting chemical warfare, environmental disasters, or human made destruction. This book analyzes the emergence of apocalyptic and dystopic narratives and explores the political and social situations on which these films are based. Contributing to the dialogue on dystopic culture in war and peace, The Apocalypse in Film will be of interest to scholars in film and media studies, border studies, gender studies, sociology, and political science. -- taken from publisher's site
Notes: Includes bibliographical references and index
ISBN: 9781442260276
Donation: donated by Senses of Cinema, 2016
Contents: Introduction / Karen A. Ritzenhoff and Angela Krewani -- THE EARLY DEPICTIONS OF DISASTER. World War One and Hollywood's First Modern Armageddon: Understanding Wartime and Post-Conflict Representations of a Global Cataclysm in Civilization (1916) and The Four Horsemen of the Apocalypse (1921) / Cle´mentine Tholas-Disset -- The end of the world: loss and redemption in Four horsemen of the apocalypse / Karen Randell -- GLOBAL DEMISE AND COLD WAR. "Radiation's rising, but one mustn't grumble too much": nuclear apocalypse played as farce in Richard Lester's The bed-sitting room / Thomas Prasch -- The legacy of Dr. Strangelove: Stanley Kubrick, science fiction blockbusters and the future of humanity / Peter Kra¨mer -- "Gentleman, you can't fight in here": gender symbolism and the end of the world in Dr. Strangelove and Melancholia / Catriona Mcavoy -- MELANCHOLIA AND OTHER REPRESENTATIONS OF THE APOCALYSPE. Is there an end to it? fictional shelters and shelter-fiction / Solvejg Nitzke -- Melancholia and the apocalypse within / Pierre Floquet -- Eco apocalypse: environmentalism, political alienation and therapeutic agency / Philip Hammond and Hugh Ortega Breton --POLOITICS OF SHOWING THE UNTHINKABLE. Disaster films: the end of the world and the risk society hero / Frederick Wasser -- The (gender) politics of disaster in 2012 / Charles Antoine Courcoux -- Tarkovsky's The sacrifice: a religious humanist apocalypse / Tatjana Ljuji -- Dead narratives: defining humanity through stories / A. Fiona Pearson and Scott Ellis -- MOVING BEYOND THE END OF THE WORLD. Opposing Thatcherism: filmic apocalypse as a political strategy in 1980s Britain / Angela Krewani -- Painting in time: on the use of digital visual effects in Melancholia / Andreas Kirchner -- The corporate and corporeal: min(d)ing the body conscience and consumption in early 21st century Hollywood dystopia / Wendy Sterba.

PhysDes: Article
Subject: CROSSTALK [HIGH RISE / WALL TO WALL] (AT, Mark Egerton, 1982); GOODBYE PARADISE (AT, Carl Schultz, 1982); BEST OF FRIENDS, THE (AT, Michael Robertson, 1982); DOUBLE DEAL (AT, Brian Kavanagh, 1983); NEXT OF KIN (AT, Tony Williams, 1982); DARK ROOM, THE (AT, Paul Harmon, 1982); DANGEROUS SUMMER, A (AT, Quentin Masters, 1982); EARLY FROST (AT, Brian McDuffie, 1981); KITTY AND THE BAGMAN (AT, Donald Crombie, 1982); FIGHTING BACK (AT, Michael Caulfield, 1982); WE OF THE NEVER NEVER (AT, Igor Auzins, 1982); LONELY HEARTS (AT, Paul Cox, 1982); SQUIZZY TAYLOR (AT, Kevin Dobson, 1982); MONKEY GRIP (AT, Ken Cameron, 1982); DEAD EASY (AT, Bert Deling, 1982); STARSTRUCK (AT, Gillian Armstrong, 1982); CLINIC, THE (AT, David Stevens, 1982); FREEDOM (AT, Scott Hicks, 1982); NORMAN LOVES ROSE (AT, Henri Safran, 1982); HEATWAVE (AT, Phillip Noyce, 1981); RUNNING ON EMPTY (AT, John Clarke, 1982); BREAKFAST IN PARIS (AT, John Lammond, 1982); KILLING OF ANGEL STREET, THE (AT, Donald Crombie, 1981); WINTER OF OUR DREAMS (AT, John Duigan, 1981); DUSTY (AT, John Richardson, 1983); CANNES FILM FESTIVAL
Summary: List of Australian films and their credits screening at the 1982 Cannes Film Festival.

PhysDes: Article
Subject: CANNES FILM FESTIVAL; BUSH CHRISTMAS (AT, Henri Safran, 1981); SETTLEMENT, THE (AT, Gillian Leahy, 1977); DUSTY (AT, John Richardson, 1983); MOVING OUT (AT, Chris Warner & Mandy Smith, 1986); GINGER MEGGS (AT, Jonathan Dawson, 1982); CLINIC, THE (AT, David Stevens, 1982); DARK ROOM, THE (AT, Paul Harmon, 1982); MIDNITE SPARES (AT, Quentin Masters, 1983); NEXT OF KIN (AT, Tony Williams, 1982); DANGEROUS SUMMER, A (AT, Quentin Masters, 1982); FAR EAST (AT, John Duigan, 1982); CITY'S EDGE, THE (AT, Ken Quinnell, 1983); YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982)
Summary: Article and cast and crew information on Australian filmes selected to screen at Cannes, 1983.

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: [BLUE ROOM, THE] CHAMBRE BLEUE, LA (FR, Mathieu Amalric, 2014)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: CHAT ROOM, THE [TV] (AT, 2003)

Call No: 81DEH FRE
Author: Freebury, Jane
Source: AT
Place: Straberry Hills, NSW
Publisher: Currency Press
PubDate: 2015
PhysDes: 351 pages : illustrations, portraits, photographs ; 24 cm
Subject: DE HEER, ROLF; TAIL OF THE TIGER (AT, Rolf de Heer, 1984); INCIDENT AT RAVEN'S GATE (AT, Rolf de Heer, 1988); DINGO (AT/FR, Rolf de Heer, 1991); BAD BOY BUBBY (AT, Rolf de Heer, 1993); EPSILON (AT/IT, Rolf de Heer, 1995); QUIET ROOM, THE (AT/IT, Rolf de Heer, 1996); DANCE ME TO MY SONG (AT, Rolf de Heer, 1998); OLD MAN WHO READ LOVE STORIES (AT/SP/FR/NL, Rolf de Heer, 2000); TRACKER (AT, Tina Dalton & Gary Steer, 1996); ALEXANDRA'S PROJECT (AT, Rolf De Heer, 2003); TEN CANOES (AT, Rolf De Heer, 2006); [DOCTOR] DR PLONK (AT, Rolf de Heer, 2007); KING IS DEAD, THE (AT, Rolf de Heer, 2012); CHARLIE'S COUNTRY (AT, Rolf de Heer, 2013)
Summary: Dancing to His Song, is the first comprehensive review of the work of Rolf de Heer, Australia's most prolific auteur, an idiosyncratic filmmaker famed for never repeating himself. Film by film, Jane Freebury searches for the sources of de Heer's inspiration and finds the secret to his success in an ethic of hard work, flexibility and self-reliance that meets challenges and obstacles with in genuity without ever losing sight of his vision. His remarkable career as an independent filmmaker has much to teach young producers and directors. [Taken from the back of the book]
Notes: Includes bibliographical references (pages 287-348)
ISBN: 9781925005585
Contents: Introducing Rolf de Heer -- Tail of a Tiger: under the radar -- Incident at Raven's Gate: encounters with critics -- Dingo: jamming in the wilderness -- Bad Boy Bubby: do or die -- Epsilon: African Queen with a cosmic lean? -- The Quiet Room -- through the eyes of a child -- Dance Me To My Song: taking it to the audience -- The Old Man Who Read Love Stories: overseas partners -- The Tracker: how the West was lost -- Alexandra's Project: unhappily ever after -- Ten Canoes: the Ramo Mob, indigenous partners -- Dr. Plonk: seriously comedy -- The King is Dead! Ah'ma tha one! -- Charlie's Country: between two worlds -- The wrap

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Stills
Subject: DARK ROOM, THE (AT, Paul Harmon, 1982)

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 5 photographs : b&w ; 21 x 26 cm
Subject: CASSELL, ALAN; MONTICELLI, ANNA-MARIA; KOVICH, SVET; DARK ROOM, THE (AT, Paul Harmon, 1982)
Summary: Five black and white photographs relating to the film The dark room

Call No: 81DEH STA
Author: Starrs, D. Bruno
Source: G
Place: Saarbrucken, Germany
Publisher: VDM, Verlag Dr Muller
PubDate: 2009
PhysDes: 105 p. ; 23 cm
Subject: AUTEUR THEORY; DE HEER, ROLF; TAIL OF THE TIGER (AT, Rolf de Heer, 1984); INCIDENT AT RAVEN'S GATE (AT, Rolf de Heer, 1988); DINGO (AT/FR, Rolf de Heer, 1991); BAD BOY BUBBY (AT, Rolf de Heer, 1993); EPSILON (AT/IT, Rolf de Heer, 1995); QUIET ROOM, THE (AT/IT, Rolf de Heer, 1996); DANCE ME TO MY SONG (AT, Rolf de Heer, 1998); OLD MAN WHO READ LOVE STORIES (AT/SP/FR/NL, Rolf de Heer, 2000); TRACKER, THE (AT, Rolf de Heer, 2002); ALEXANDRA'S PROJECT (AT, Rolf De Heer, 2003); TEN CANOES (AT, Rolf De Heer, 2006); [DOCTOR] DR PLONK (AT, Rolf de Heer, 2007)
Summary: " 'Dutch Tilt, Aussie Auteur: the Films of Rolf De Heer' is an auteur analysis of the twelve feature films directed (mostly written and produced) by Holland-born Australian Rolf De Heer. From the children's story about the restoration of a Tiger Moth biplane, "Tail of a Tiger "(1984), to his break-out cult sensation " Bad Boy Bubby" (1993) which "tore Venice apart," to the first Aboriginal Australian language film "Ten Canoes" (2006) which scooped the pool at the AFI awards and won the Special Jury prize at Cannes Film Festival, de Heer has been consistently unpredictable. However, Starr's close study of his work suggests that Australia's most innovative and respected Arthouse film-maker has a signature pre-occupation with giving a voice to marginalized, non-hyper-masculine protagonists. Demonstrating a propensity to write and direct in a European-like style, de Heer's "Dutch tilt" is very much non-mainstream Hollywood, but is nevertheless representative of a typically Australian world-view." -- BOOK BLURB
Notes: Includes bibliographical references (p. 90-104)
ISBN: 9783639168341

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FORBIDDEN ROOM, THE (CN/US, Guy Maddin/Evan Johnson, 2015)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FORBIDDEN ROOM, THE (CN/US, Guy Maddin/Evan Johnson, 2015)
Notes: Simon import_20/06/19

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FORBIDDEN ROOM, THE (CN/US, Guy Maddin/Evan Johnson, 2015)
Notes: Simon import_190718

Call No: SUBJECT CLIPPINGS FILE; FESTIVALS. AUSTRALIA. FRENCH
Author: McDonald, John
PhysDes: Clippings File Article
Subject: FESTIVALS. AUSTRALIA. FRENCH; GEMMA BOVERY (FR/UK, Anne Fontaine, 2014); CHAMBRE BLEUE, LA (FR, Mathieu Amalric, 2014); BLUE ROOM ,THE (FR, Mathieu Amalric, 2014); NEW GIRLFRIEND, THE (FR, Francois Ozon, 2014); NOUVELLE AMIE, UNE (FR, Francois Ozon, 2014); SAINT LAURENT (FR/BE, Bertrand Bonello, 2014); SAMBA (FR, Olivier Nakache & Eric Toledano, 2014)
Notes: in the FESTIVALS. AUSTRALIA. FRENCH 2015 file

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: GAME ROOM, THE (AT, Joe Tornatore, 1999)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: JALSAGHAR (II, Satyajit Ray, 1958); MUSIC ROOM, THE (II, Satyajit Ray, 1958)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: LIVING ROOM, THE [TV] (AT, 2012-)

Call No: 802 PRO v.7
Author: Boorman, John, 1933; Donohue, Walter
Place: London
Publisher: Faber & Faber
PubDate: 1997
PhysDes: x, 301 p. : ill., ports. ; 24 cm
Subject: SCORSESE, MARTIN; CAPRA, FRANK; BARRON, BEBE; DORMAEL, JACO VAN; SCHOONMAKER, THELMA; DE NIRO, ROBERT; FORD, JOHN; ROCHA, GLAUBER; BERTOLUCCI, BERNARDO; RENOIR, JEAN; OPHULS, MAX; MASTROIANNI, MARCELLO; FERRARA, ABEL; ASSAYAS, OLIVIER; CURTIS, JAMIE LEE; LEIGH, JANET; BURNS, LILLIAN; GIRARDOT, HIPPOLYTE; MCDORMAND, FRANCES; MITCHUM, ROBERT; HODGSON, PIERRE; COX, BRIAN; CARON, LESLIE; SYMS, SYLVIA; WRIGHT, TERESA; COPPOLA, FRANCIS FORD; DE PALMA, BRIAN; SPIELBERG, STEVEN; LUCAS, GEORGE; Tarantino, Quentin; WALSH, RAOUL; HUSTON, JOHN; MCCAREY, LEO; Lupino, Ida; CASSAVETES, JOHN; WELLES, ORSON; HITCHCOCK, ALFRED; WOO, JOHN [pseud. of Wu Yusen]; DAFOE, WILLEM; SIRK, DOUGLAS; ALMEREYDA, MICHAEL; BOORMAN, JOHN; BAD LIEUTENANT (US, Abel Ferrara, 1992); CASINO (US, Martin Scorsese, 1995); TAXI DRIVER (US, Martin Scorsese, 1976); MEAN STREETS (US, Martin Scorsese, 1973); NEW YORK, NEW YORK (US, Martin Scorsese, 1977); RAGING BULL (US, Martin Scorsese, 1980); KING OF COMEDY, THE (US, Martin Scorsese, 1983); GOODFELLAS (US, Martin Scorsese, 1990); CAPE FEAR (US, Martin Scorsese, 1991); MANHUNTER (US, Michael Mann, 1986); L-SHAPED ROOM, THE (UK, Bryan Forbes, 1962); VICTIM (UK, Basil Dearden, 1961); SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943); FORBIDDEN PLANET (US, Fred McLeod Wilcox, 1956); DEAD MAN (US, Jim Jarmusch, 1995); CAHIERS DU CINEMA
Notes: Filmography: p. 300-301
ISBN: 0571190332
LON: abn97280608; 13386768

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Press kit; Clippings
Subject: QUIET ROOM, THE (AT/IT, Rolf de Heer, 1996)

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 2 photographs : b&w ; 26 x 21 cm
Subject: QUIET ROOM, THE (AT/IT, Rolf de Heer, 1996)
Summary: Two black and white photographs from the film 'The quiet room'

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: ROOM, THE (US, Tommy Wiseau, 2003)

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Stills
Subject: SAPPHIRE ROOM, THE (AT, Sean O'Brien, 1997)

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 2 photographs : b&w ; 21 x 26 cm
Subject: WOODS, ROWAN; SAPPHIRE ROOM, THE (AT, Sean O'Brien, 1997)
Summary: 2 black and white photographs of cabaret singer Ali Higson and MC Rowan Woods.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Posters; Press kit; Stills; Publicity
Subject: SEWING ROOM, THE (AT, Rick Randall, 1994)

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 4 photographs : b&w ; 13 x 18 cm
Subject: SEWING ROOM, THE (AT, Rick Randall, 1994)
Summary: 4 black and white photographs of Maude Davey, Robert Menzies and Nicholas Anderson.

PhysDes: Article
Subject: DARK ROOM, THE (AT, Paul Harmon, 1982); FILMCO; HARMON, PAUL; INDUSTRY, FILM. AUSTRALIA; HAYDON, TOM; CASSELL, ALAN; JEMISON, ANNA SEE MONTICELLI, ANNA-MARIA
Summary: Article on Filmco's 'The Dark Room', followed by a synopsis of the film.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: WAR ROOM, THE (US, D.A. Pennebaker & Chris Hegedus, 1993)

Author: Quinlivan, Beth
PhysDes: Article
Subject: COLD ROOM, THE [TV] (UK/GW, James Dearden, 1984)