Search Catalogue

Call No: 71 (6) AFR
Author: Australian Film Institute
Place: Sydney
Publisher: Australian Film Institute
PhysDes: 32 unnumbered pages : illustrations ; 21 cm
Subject: VISAGES DE FEMMES (IV, Desire Ecare, 1985); FINYE (ML, Souleymane Cisse, 1982); NYMANTON (ML, Cheik Omar Sissoko, 1986); HARVEST: 3000 YEARS (ET, Haile Gerima, 1976); AFRICAN CAMERA (TI, Ferid Boughedir, 1983); WEST INDIES STORY (MU, Med Hondo, 1979); VIE EST BELLE, LA (CG/BE/FR, Benoit Lamy & Ngangura Mweze, 1987); TOUKI BOUKI (SG, Djibril Diop Mambety, 1973); KADDU BEYKAT (SG, Safi Faye, 1975); BOPHA (US/SA, Daniel Riesenfeld, 1986); SONG OF THE SPEAR (UK, 1985); ANVIL AND THE HAMMER, THE (UK, Barry Feinberg, 1985); MANDELA (US, Peter Davis, 1986); CONSUMING HUNGER (US, Ilan Ziv & Freke Vuijst, 1987); SAMBIZANGA (AL, Sarah Maldoror, 1972); MANDABI [MONEY ORDER, THE] (SG, Ousmane Sembene, 1968); AFRICA; AFRICA IN FILMS; SOUTH AFRICA; SOUTH AFRICA IN FILMS
Notes: Title from cover. "This monograph was produced to accompany African camera, a festival of recent African cinema imported by the Australian Film Institute in September/ October 1987--Page 2. Includes bibliographical references (page 31)

Call No: 730.5.0(6) DOV
Author: Dovey, Lindiwe
Source: US
Place: New York
Publisher: Columbia University Press
PubDate: 2009
PhysDes: xviii, 334 p. : ill.
Series: Film and culture
Subject: AFRICA IN FILMS; AFRICAN COUNTRIES; SOUTH AFRICA; SOUTH AFRICA IN FILMS; VIOLENCE IN FILMS; FOOLS (FR/SA/MZ/RH, Ramadan Suleman, 1996); TSOTSI (UK/SA, Gavin Hood, 2005); WALK IN THE NIGHT, A (SA, Mickey Madoda Dube, 1998); CRY THE BELOVED COUNTRY (US, Darrell Roodt, 1995); KARMEN GEÏ (SG/FR, Joseph Gaï Ramaka, 2001); GENESE, LA (ML/FR, Cheick Oumar Sissoko, 1999)
Summary: "Analysing a range of South African and West African films inspired by African and non-African literature, Lindiwe Dovey idenitifies a specific trend in contemporary African filmmaking - one in which filmmakers are using the embodied audiovisual medium of film to offer a critique of physical and psychological violence." - TAKEN FROM BACK COVER
ISBN: 9780231147552
Donation: donated by Senses of Cinema, 2012
Contents: Cinema and violence in South Africa -- Fools and victims : adapting rationalized rape into feminist film -- Redeeming features : screening HIV/AIDS, screening out rape in Gavin Hood's Tsotsi -- From black and white to "coloured" : racial identity in 1950s and 1990s South Africa in two versions of A walk in the night -- Audio-visualizing "invisible" violence : remaking and reinventing Cry, the beloved country -- Cinema and violence in francophone West Africa -- Losing the plot, restoring the lost chapter : Aristotle in Cameroon -- African incar(me)nation : Joseph Gai¨ Ramaka's Karmen gei¨ -- Humanizing the Old Testament's origins, historicizing genocide's origins : Cheick Oumar Sissoko's La gene`se

PhysDes: Article
Subject: INDUSTRY, FILM. SOUTH AFRICA; DISTRIBUTION; DISTRIBUTION. AUSTRALIA
Summary: Brief article on an Australian distributor having trouble purchasing South African films.

Call No: 81DIC DIC
Author: Dickson, W. K. L.
Edition: Facsim. reprint ed.
Source: US
Place: Madison
Publisher: Fairleigh Dickinson University Press
PubDate: 1995
PhysDes: xix, 300 p. : ill. ; 21 cm
Subject: SOUTH AFRICA IN FILMS; DOCUMENTARY FILMS. AFRICAN COUNTRIES
Summary: First published in 1901 and now a rare collector's item, this is cameraman Dickson's diary kept during the Biograph Company's filming on the battlefields of the Boer War. The book is being republished in a facsimile edition, with a specially commissioned introduction from film historian Richard Brown. It tells of one man's absolute determination to bring back - against great odds - a filmed record of war, at a time when the medium itself was in its infancy. Dickson's huge machine, designed by himself, weighed nearly half a ton and had to be transported everywhere in South Africa by horse-drawn cart, requiring the combined efforts of several strong men each time it had to be set up. The book is exceptional among the handful of written accounts produced in the first years of the cinema. It is a human document, written not in a mood of quiet reflection after the event, but as a vital diary recording dangerous and difficult conditions at the Front. [summary taken from Australian Library Collections]
ISBN: 083863654

Call No: FESTIVAL CATALOGUE SHELVES; held 1980-1982, 1984, 1996
Place: Cape Town, South Africa
PubDate: 1980-1996
PhysDes: 5 v. : ill. ; 21-30 cm
Subject: FESTIVALS. CAPE TOWN; SOUTH AFRICA; WORLD CINEMA; DOCUMENTARY FILMS
Notes: The Cape Town International Film Festival includes a selection of feature length films and documentaries. The festival also hosts a variety of special programs related to film genres, as well as retrospectives on classic film directors. The catalogues also include numerous black and white stills and film synopses.
ID2: 106

Call No: 411.11 CIN
Author: Dennison, Stephanie; Dwyer, Rachel
Edition: 2021
Place: Edinburgh
Publisher: Edinburgh University Press
PubDate: 2021
PhysDes: xiv,242 pages : illustrated ; 25 cm
Subject: MASHA AND THE BEAR [TV] (RU, 2007-); ANIMATED FILMS; BRAZIL; RUSSIA; INDIA; CITY OF SADNESS, A [; SOUTH AFRICA; BRICS COUNTRIES; SCIENCE FICTION DRAMAS; BOLLYWOOD; VIKING (RU, Andrey Kravchuk, 2016); SKYFALL (UK/US, Sam Mendes, 2012)
Summary: The apparent shift in power relations between the developed and developing world, along with the increasing emphasis that national and transnational organisations place on the role of ‘soft power’ in global foreign policy, has profound implications for global film culture. Focusing primarily on the BRICS countries (Brazil, Russia, India, China and South Africa), this innovative collection examines the diverse and often competing ways the group as a whole engages with film as a medium of artistic expression, and as a ‘soft power’ resource. The contributors explore the wider implications for world cinema of its members’ differing and dynamic positions in the global media landscape, and the book includes a comparative analysis by examining the post-imperial soft power of the UK at the time of Brexit. -- publisher's web site
ISBN: 9781474456272
Contents: Preface -- Introduction: Film as Soft Power / Stephanie Dennison -- 1. Soft Power and Cinema: A Methodological Reflection and Some Chinese Inflections / Song Hwee Lim -- 2. Building BRICS: soft power and audio-visual relations in transnational context / Stephanie Dennison -- 3. The Global Animation Market: Opportunities for Developing Countries / Alessandra Meleiro -- 4. (Masha and) the Bear Diplomacy: Russian Soft Power and Non-Governmental Agency / Vlad Strukov -- 5. The Limits of Hollywood as an Instrument of Chinese Public Diplomacy and Soft Power / Chris Homewood -- 6. The Second World War, Soviet Sports, and Furious Space Walks: Soft Power and Nation Branding in the Putin 2.0 Era / Stephen M. Norris -- 7. Popular Geopolitics, Soft Power and Strategic Narratives in Viking (2016) and Guardians (2017) / Robert A. Saunders -- 8. Challenging Imagined Communities: ‘Reversing the Gaze’ of Soft Power and Community Film Culture: the Case of South Africa / Paul Cooke -- 9. New Myths for an Old Nation: Bollywood, Soft Power and Hindu Nationalism / Rachel Dwyer -- 10. Soft Power and National Cinema: James Bond, Great Britain and Brexit / Andrew Higson -- Notes on Contributors

Call No: 71(68) TOM
Author: Tomaselli, Keyan
Source: SA
Place: Sandton
Publisher: Radix
PubDate: 1989
PhysDes: 299 p. ; 22 cm
Subject: INDUSTRY, FILM. SOUTH AFRICA; POLITICS AND THE CINEMA; RACIAL ISSUES AND THE CINEMA; CLASS AND THE CINEMA; CENSORSHIP. SOUTH AFRICA; DISTRIBUTION. SOUTH AFRICA
Summary: Tomaselli's approach, combing historical, political and aesthetic analysis, offers a unique view of a country in turmoil. The Cinema of Apartheid may prove to be not only the definitve book on South African cinema, but also a model study of an entertainment industry. [Taken from back cover.]
ISBN: 0947024271
Donation: donated by the family of Wayne Levy, 2006

Call No: 738.66 CIN
Author: McLean, Adrienne L. (ed.)
Place: New Brunswick, N.J.
Publisher: Rutgers University Press
PubDate: 2014
PhysDes: x, 272 p. ; 24 cm ;
Subject: DOGS IN MOTION PICTURES; LASSIE COME HOME (US, Fred M. Willcox, 1943); BABE (AT, Chris Noonan, 1995); BABE: PIG IN THE CITY (AT, George Miller, 1998); THING, THE (US, John Carpenter, 1982); HITCHCOCK, ALFRED; RED DOG (AT, Kriv Stenders, 2011); [EIGHT] 8 BELOW (US, Frank Marshall, 2006); SOUTH AFRICA; ANTARCTICA
Summary: Dogs have been part of motion pictures since the movies began. They have been featured onscreen in various capacities, from any number of “man’s best friends” (Rin Tin Tin, Asta, Toto, Lassie, Benji, Uggie, and many, many more) to the psychotic Cujo. The contributors to Cinematic Canines take a close look at Hollywood films and beyond in order to show that the popularity of dogs on the screen cannot be separated from their increasing presence in our lives over the past century. The representation and visualization of dogs in cinema, as of other animals, has influenced our understanding of what dogs “should” do and be, for us and with us. Adrienne L. McLean expertly shepherds these original essays into a coherent look at “real” dogs in live-action narrative films, from the stars and featured players to the character and supporting actors to those pooches that assumed bit parts or performed as extras. Who were those dogs, how were they trained, what were they made to do, how did they participate as characters in a fictional universe? These are a just a few of the many questions that she and the outstanding group of scholars in this book have addressed. Often dogs are anthropomorphized in movies in ways that enable them to reason, sympathize, understand and even talk; and our shaping of dogs into furry humans has had profound effects on the lives of dogs off the screen. Certain breeds of dog have risen in popularity following their appearance in commercial film, often to the detriment of the dogs themselves, who rarely correspond to their idealized screen versions. In essence, the contributors in Cinematic Canines help us think about and understand the meanings of the many canines that appear in the movies and, in turn, we want to know more about those dogs due in no small part to the power of the movies themselves. -- publisher's web site
ISBN: 9780813563558
Contents: Acknowledgments -- Introduction: Wonder Dogs / Adrienne L. McLean -- Answering a Growl: Roscoe Arbuckle’s Talented Canine Co-Star, Luke / Joanna E. Rapf -- The Dogs Who Saved Hollywood: Strongheart and Rin Tin Tin / Kathryn Fuller-Seeley and Jeremy Groskopf -- Asta the Screwball Dog: Hollywood’s Canine Sidekick / Sara Ross and James Castonguay -- Promoting Lassie: The Animal Star and Constructions of “Ideal” American Heroism / Kelly Wolf -- Dogs at War: Military Dogs in Film / Aaron Skabelund -- Loaded Dogs: Dogs, Domesticity, and “the Wild” in Australian Cinema / Jane O’Sullivan -- Bullies and Curs: Overlords and Underdogs in South African Cinema / Giuliana Lund -- Things from Another World: Dogs, Aliens, and Antarctic Cinema / Elizabeth Leane and Guinevere Narraway -- Hitchcock’s Canine Uncanny / Murray Pomerance -- The Dog at the Side of the Shot: Incongruous Dog (Canisfamiliaris) Behavior in Film / Alexandra Horowitz -- Afterword: Dogs at the Digital Divide / Adrienne L. McLean -- Works Cited -- Notes on Contributors -- Index

Call No: 761 COM
Source: US
Place: Malden, MA
Publisher: John Wiley and Sons
PubDate: 2015
PhysDes: xvi, 674 pages : illustrations, portraits ; 25 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; ENVIRONMENTAL ISSUES IN FILMS; SEA IN FILMS; IMMIGRATION IN FILMS AND TELEVISION; WORKERS IN FILMS; YUGOSLAVIA; SEX IN FILMS; WOMEN MAKE MOVIES [organisation]; DISEASES IN FILMS; SCIENCE AND THE CINEMA; SCIENCE IN FILMS; AIDS ON TV. SOUTH AFRICA; RELIGION AND THE CINEMA; WAR FILMS; BAL, MIEKE; ZILNIK, ZELIMIR; TRAN VAN THUY; FAROCKI, HARUN; CRUDE AWAKENING: THE OIL CRASH A (SZ, Basil Gelpke & Ray McCormack, 2006); CRUDE (US, Joe Berlinger, 2009); H [TWO] 2 OIL (CN, Shannon Walsh, 2009); PLANET, THE (SW/NO/DK, Michael Stenberg / John Soderberg / Linus Torell, 2006); INTO ETERNITY: A FILM FOR THE FUTURE (DK/FI/SW/IT, Michael Madsen, 2010); OTOLITH I [OTOLITH 1] (UK, Anjalika Sagar and Kodwo Eshun, 2003); OTOLITH II [OTOLITH 2] (UK, Anjalika Sagar and Kodwo Eshun, 2007); OTOLITH III [OTOLITH 3] (UK, Anjalika Sagar and Kodwo Eshun, 2009); INCONVENIENT TRUTH, AN (US, Davis Guggenheim, 2006); SOMEPLACE WITH A MOUNTAIN (US/FM, Steve Goodall, 2010); CONTAINED MOBILITY (SZ, Ursula Biemann, 2004); SAHARA CHRONICLE (SZ, Ursula Biemann, 2006-2009); GHOSTS (UK, Nick Broomfield, 2006); LOVE ON DELIVERY [FRA THAILAND TIL THY] (DK, Janus Metz Pedersen, 2007); TICKET TO PARADISE [FRA THY TIL THAILAND] (DK, Janus Metz Pedersen, 2008); WHEN MOTHER COMES HOME FOR CHRISTMAS (II/GR, Nilita Vachani, 1996); H [TWO] 2 WORKER (US, Stephanie Black, 1990); LIFE AND DEBT (US, Stephanie Black, 2001); MAQUILAPOLIS: CITY OF FACTORIES (MX/US, Sergio de la Torre and Vicky Funari, 2006); DECENT FACTORY, A (FR/FI/UK/AT/DK, Thomas Balmes, 2004); WHY CYBRACEROS? (US,Alex Rivera, 1997); WHY BRACEROS? (US, 1959); VALLEY CENTRO, EL (US, James Benning, 1999); LOS (US, James Benning, 2001); DOUBLE TIDE (US/AU, Sharon Lockhart, 2009); GLEANERS AND I, THE [GLANEURS ET LA GLANEUSE, LES] (FR, Agnes Varda, 2000); GLANEURS ET LA GLANEUSE, LES: DEUX ANS APRES (FR, Agnes Varda, 2002); WORKINGMAN'S DEATH (AU/GG, Michael Glawogger, 2005); OLD SCHOOL OF CAPITALISM, THE [STARA SKOLA KAPITALIZMA] (SB, Zelimir Zilnik, 2009); LIVE NUDE GIRLS UNITE! (US, Julia Query & Vicky Funari, 2000); TALES OF THE NIGHT FAIRIES (II, Shohini Ghosh, 2002); SCARLET ROAD (AT, Catherine Scott, 2011); PLACE OF RAGE, A [WARRIOR MARKS] (UK, Pratibha Parmar, 1991); DAY I WILL NEVER FORGET, THE (UK, Kim Longinotto, 2002); AFRICA RISING (US, Paula Heredia, 2009); SENORITA EXTRAVIADA [MISSING YOUNG WOMAN] (MX, Lourdes Portillo, 2001); PARIS IS BURNING (US, Jennie Livingston, 1990); WILDNESS (US, Wu Tsang, 2012); INNER LIFE OF THE CELL (US, XVIVO, 2006); BEAT IT! [TV] (SA, 2001); MY REINCARNATION (SZ/NE/IT/GG/FI/VE/US/TZ/SI/MY/RM/CC/MX/RU/IS/AU, Jennifer Fox, 2011); GEVALD (IS, Netalie Braun, 2009); BLACK BUS (IS, Anat Zuria, 2010); REBELLIOUS SON, THE (IS, Shosi Greenfield, 2009); STORY OF KINDNESS [CHUYEN TU TE] (V, Tran Van Thy, 1987); NICHT LOSCHBARES FEUER [INEXTINGUISHABLE FIRE] (GR, Harun Farocki, 1969); IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR [BILDER DER WELT UND INSCHRIFT DES KRIEGES] (GW, Harun Farocki, 1988); SERIOUS GAMES [series] (GG, Harun Farocki, 2009); I ONLY WISH I COULD WEEP (LE, Wallid Raad, 2002); MIRACULOUS BEGINNINGS (LE, Walid Raad); SPIRITUAL VOICES: FROM THE DIARIES OF WAR [DUKHOVNYE GOLOSA, IZ DNEVNIKOV VOYNY. POVESTVOVANIE V PYATI CHASTYAKH] [TV] (RU, Aleksandr Sokurov, 1995); DAY OF THE SPARROW [DER TAG DES SPATZEN] (GG, Philip Scheffner, 2010); [FORTY-EIGHT] 48 (PO, Susana de Sousa Dias, 2010); ENEMIES OF THE PEOPLE (UK/CB, Thet Sambath and Rob Lemkin, 2009); DUCH: MASTER OF THE FORGES OF HELL (CB, Rithy Panh, 2011); SKINNY ALEJANDRA: LIVES AND DEATHS OF A CHILEAN WOMAN [LA FLACA ALEJANDRA: VIDAS Y MUERTES DE UNA CHILENA] (CL, Carmen Castillo, 1994); OPERATION ATROPOS (CL, Coco Fusco, 2005); ROAD TO GUANTANAMO, THE (UK, Michael Winterbottom and Mat Whitecross, 2006); TAXI TO THE DARK SIDE (US, Alex Gibney, 2007); BRIDGE, THE (UK/US, Eric Steel, 2006)
Summary: This book presents a collection of original essays that explore major issues surrounding the state of current documentary films and their capacity to inspire and effect change. This book presents a comprehensive collection of essays relating to all aspects of contemporary documentary films It includes nearly 30 original essays by top documentary film scholars and makers, with each thematic grouping of essays sub-edited by major figures in the field. This book explores a variety of themes central to contemporary documentary filmmakers and the study of documentary film the planet, migration, work, sex, virus, religion, war, torture, and surveillance. This book considers a wide diversity of documentary films that fall outside typical canons, including international and avant-garde documentaries presented in a variety of media.
ISBN: 9780470671641
Contents: Machine generated contents note: pt. I Planet / Juan Francisco Salazar -- 1.Crude Aesthetics: The Politics of Oil Documentaries / Imre Szeman -- 2.Anticipatory Modes of Futuring Planetary Change in Documentary Film / Juan Francisco Salazar -- 3.Projecting Sea Level Rise: Documentary Film and Other Geolocative Technologies / Janet Walker -- pt. II Migration / Aniko Imre -- Introduction / Aniko Imre -- 4.Videogeographies / Ursula Biemann -- 5.Rates of Exchange: Human Trafficking and the Global Marketplace / Leshu Torchin -- 6.Documenting What? Auto-Theory and Migratory Aesthetics / Mieke Bal -- pt. III Work / Silke Panse -- Introduction / Silke Panse -- 7.The Work of the Documentary Protagonist: The Material Labor of Aesthetics / Silke Panse -- 8.Old School Capitalism in Post-Socialism: The Struggles of Zelimir Zilnik's Workers / Ewa Mazierska -- 9.Capturing the Labors of Sex Work: The Pedagogical Role of Documentary Film / Anna E. Ward -- pt. IV Sex / Laura Hyun Yi Kang -- Contents note continued: Introduction / Laura Hyun Yi Kang -- 10.Documentary Practice and Transnational Feminist Theory: The Visibility of FGC / Patricia White -- 11.Transforming Terror: Documentary Poetics in Lourdes Portillo's Senorita Extraviada (2001) / Rosa-Linda Fregoso -- 12.Reading Realness: Paris Is Burning, Wildness, and Queer and Transgender Documentary Practice / Eve Oishi -- pt. V Virus / Bishnupriya Ghosh -- Introduction / Bishnupriya Ghosh -- 13.Animating Informatics: Scientific Discovery Through Documentary Film / Kirsten Ostherr -- 14.HIV on Documentary Television in Post-Apartheid South Africa / Rebecca Hodes -- 15.Digital AIDS Documentary: Webs, Rooms, Viruses, and Quilts / Alexandra Juhasz -- pt. VI Religion / Alisa Lebow -- Introduction / Alisa Lebow -- 16.Rising in the East, Sett(l)ing in the West: The Emergence of Buddhism as Contemporary Documentary Subject / Angelica Fenner -- Contents note continued: 17.The New Religious Wave in Israeli Documentary Cinema: Negotiating Jewish Fundamentalism During the Second Intifada / Raya Morag -- 18.Tran Van Thuy's Story of Kindness: Spirituality and Political Discourse / Dean Wilson -- pt. VII War / Jeffrey Skoller -- Introduction / Jeffrey Skoller -- 19.Second Thoughts on "The Production of Outrage: The Iraq War and the Radical Documentary Tradition" / Jane M. Gaines -- 20.One, Two, Three Montages ... Harun Farocki's War Documentaries / Nora M. Alter -- 21.The Unwar Film / Alisa Lebow -- pt. VIII Torture / Alisa Lebow -- Introduction / Alisa Lebow -- 22.(In)visible Evidence: The Representability of Torture / Susana de Sousa Dias -- 23.Interviewing the Devil: Interrogating Masters of the Cambodian Genocide / Deirdre Boyle -- 24.The Female Perpetrator: La Flaca Alejandra and Operation Atropos / Macarena Gomez-Barris -- 25.Toward the Dark Side: Seeing Detainee Bodies in Documentary Film / Anjali Nath -- Contents note continued: pt. IX Surveillance / Elizabeth Cowie -- Introduction / Elizabeth Cowie -- 26.Architectures of Control and Points of Resistance: Surveillance Culture and Digital Documentaries / Sharon Lin Tay -- 27.The World Viewed: Documentary Observing and the Culture of Surveillance / Elizabeth Cowie -- 28.Surveillance in the Service of Narrative / Brian Winston -- 29.Face Blind: Documentary Media and Subversion of Surveillance / Patrik Sjoberg.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: COUNTDOWN TO FREEDOM: 10 DAYS THAT CHANGED SOUTH AFRICA (??, Danny Schechter, 1995?)

Call No: REFERENCE SECTION; 025(6) SHI
Source: UK
Place: London
Publisher: Flicks Books
PubDate: 1992
PhysDes: 194 p.
Subject: SOUTH AFRICA; SEMBENE, OUSMANE; FILMOGRAPHIES
ISBN: 0948911603

Author: Hookham, John
PhysDes: Article; Illustration(s)
Subject: BIOGRAPHICAL FILMS; SOUTH AFRICA IN FILMS; WORLD APART, A (UK, Chris Menges, 1988)
Summary: Hookham travelled to South Africa to shoot part of his autobiographical documentary. He discusses how "A world apart" works as an autobiographical film. He believes that autobiographical work must be truthful, comprehensible, reveal the social context and explore the private as well as public.

Call No: DVD RESEARCH FOLDER
Author: Staff writers
Subject: EXHIBITION. SOUTH AFRICA; TAXES. SOUTH AFRICA
Notes: accessed from: Encore Magazine. Reed Business. AFI Research Collection, RMIT University. (14 June 2007).

Call No: FESTIVAL CATALOGUE SHELVES
Place: Cape Town, South Africa
Publisher: [s.n.]
PubDate: 1983
PhysDes: 1 v. : ill. ; 21 cm
Subject: FESTIVALS. CAPE TOWN; SOUTH AFRICA; GERMANY; EUROPEAN CINEMA; FASSBINDER, RAINER WERNER; SANDERS-BRAHMS, HELMA
Notes: The German Film Exposition showcases a selection of contemporary feature length films. The festival also includes a retrospective on the works of German director, Helma Sanders-Brahms, as well as the final film of Rainer Werner Fassbinder, Querelle. The catalogue contains numerous black and white stills and film synopses.

Call No: 71(68) DAV
Author: Davis, Peter
Source: SA
Place: Randburg
Publisher: Ravan
PubDate: 1996
PhysDes: viii, 214 p., [6 p.] plates ; 22 cm
Subject: INDUSTRY, FILM. SOUTH AFRICA; RACIAL ISSUES IN FILMS; ETHNIC GROUPS IN FILMS; TYPE CHARACTERS IN FILMS
ISBN: 0869754432
Donation: donated by the family of Wayne Levy, 2006

Call No: 45:39 MYT
Author: Tomaselli, Keyan G., 1948
Place: Bellville [South Africa]
Publisher: Anthropos
PubDate: 1986
PhysDes: xi, 126 p. : ill. ; 21 cm
Series: Critical studies in African anthropology ; no. 1
Subject: SOUTH AFRICA; SOUTH AFRICA IN FILMS; ETHNOGRAPHIC FILMS; PROPAGANDA FILMS; PROPAGANDA FILMS. SOUTH AFRICA; THEY CAME FROM THE EAST [TV](SA, 1976)
Summary: "Myth, Race and Power: South Africans Imaged on Film and TV examines films, videos and television series made by local and overseas producers. Amongst the titles discussed in detail are Laurens van der Post's Testament to the Bushman, various films made by John Marshall on the !Kung, the SABC's They Came From the East sand the British made White Tribe of Africa. The authors discuss the very thin line between propaganda and documentary, and show how ethnographic films become prograganda in particular viewing contexts. State propaganda films examined include To Act A Lie, A Place Called Soweto and White Roots in Africa. The book offers the most exhustive bibliography and filmography available on South African ethnographic film
Notes: Includes index; Bibliography: p. 107-115; Filmography: p. 116-121
ISBN: 0620090030 (pbk.)
LON: 5431246

Call No: 744.6 CLE
Author: Clelland-Stokes, Sacha
Source: NZ
Place: Hojbjerg, Denmark
Publisher: Intervention Press
PubDate: 2007
PhysDes: 217 p. ; 21 cm
Subject: INDIGENOUS; MAORI CINEMA; SOUTH AFRICA IN FILMS; ABORIGINAL AUSTRALIAN CINEMA; GREAT DANCE: A HUNTER'S STORY, THE (US, Craig Foster & Damon Foster); LAST WAVE, THE (AT, Peter Weir, 1977); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994)
Summary: The book looks at aborigines in Australia, South Africa, and New Zealand, and examines the social, and political attidudes of the rest of society towards these peoples. It attempts to show how film reflects these values , and concentrates on three films: The great dance - a hunter's story, The last wave, and Once were warriors.
Notes: Bibliography: p. 207-217
ISBN: 9788789825151

Call No: FESTIVAL CATALOGUE SHELVES
Place: Durban, South Africa
Publisher: [s.n.]
PubDate: 1984
PhysDes: 1 v. : ill. ; 21 cm
Subject: FESTIVALS. DURBAN; SOUTH AFRICA; WORLD CINEMA; EUROPEAN CINEMA; ANIMATION
Notes: The Sixth Durban International Film Festival includes a selection of feature length films and animated films. The festival program includes a special focus on contemporary German cinema, as well as compilations of British and Canadian animation. The catalogue also includes numerous black and white stills and film synopses.

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: SOUTH AFRICA

Call No: TITLE CLIPPINGS FILE
PhysDes: Publicity
Subject: SOUTH AFRICA BELONGS TO US (UK, Chris Austin, 1981)

Call No: 213.13 TRU
Author: Emile Fallaux (ed.); Malu Halasa (ed.); Nupu Press (ed.)
CorpAuthor: International Film Festival Rotterdam
PubDate: 2003
PhysDes: 24 cm ; 164 p + CD
Subject: FINANCING. EUROPEAN COUNTRIES; FINANCING; AESTHETICS; FESTIVALS. ROTTERDAM; THIRD CINEMA; IRAN; MEHRUJUI, DARIUSH; PALESTINE; TURKEY; ARGENTINA; KUREISHI, HANIF; CITY OF SADNESS, A [; INDIA; NETHERLANDS; SOUTH AFRICA; LATIN AMERICAN COUNTRIES; MEXICO; RUSSIA
Summary: World Cinema in the Global Village. Variety in the age of globalization. Hollywood, Bollywood and Hong Kong may produce and export the bulk of the world’s movies but a steady supply of films from other cultures creates real diversity. Filmmakers who work in the context of emerging national cinemas need support to express themselves. For fifteen years, the Hubert Bals Fund of the International Film Festival Rotterdam has been providing that support. And the benefits have been mutual. [Taken from inside book].
Notes: Also contains a CD