Search Catalogue

Call No: 753.8VER
Author: Verrone, William
Source: UK
Place: London
Publisher: Bloomsbury academic
PubDate: 2013
PhysDes: vi, 275 p. ; 24 cm
Subject: ADAPTATIONS; AVANT-GARDE FILMS; EXPERIMENTAL FILMS; GREENAWAY, PETER; GODARD, JEAN-LUC; MADDIN, GUY; SVANKMAJER, JAN; SCORPIO RISING (US, Kenneth Anger, 1964); FRUIT OF PARADISE [OVOCE STROMU RAJSKYCH JÍME] (CS/BE, Vera Chytilova, 1970); FRUIT OF PARADISE [OVOCE STROMU RAJSKYCH JÍME] (CS/BE, Vera Chytilova, 1970); HITLER, A FILM FROM GERMANY (GW/UK/FR, Hans Jurgen Syberberg, 1977) SEE HITLER - EIN FILM AUS DEUTSCHLAND; STREET OF CROCODILES (UK, Brothers Quay, 1986); DANTE QUARTET, THE (US, Stan Brakhage, 1987); ALICE (SZ/GW/UK, Jan Svankmajor, 1988) SEE NECO Z ALENKY; ALICE [NECO Z ALENKY] (SZ/GW/UK, Jan Svankmajer, 1988); PROSPERO'S BOOKS (UK/FR, Peter Greenaway, 1991); WISCONSIN DEATH TRIP (US, James Marsh, 1999); SPECTRES OF THE SPECTRUM (US, Craig Baldwin, 1999); DRACULA: PAGES FROM A VIRGIN'S DIARY (CN, Guy Maddin, 2002)
Summary: Adaptations have occurred regularly since the beginning of cinema, but little recognition has been given to avant-garde adaptations of literary or other texts. This compelling study corrects such omissions by detailing the theory and practice of alternative adaptation practices from major avant-garde directors. Avant-Garde films are often relegated to the margins because they challenge our traditional notions of what film form and style can accomplish. Directors who choose to adapt previous material run the risk of severe critical dismay; making films that are highly subjective interpretations or representations of existing texts takes courage and foresight. An avant-garde adaptation provokes spectators by making them re-think what they know about film itself, just as much as the previous source material.Adaptation and the Avant-Garde examines films by Peter Greenaway, Jean-Luc Godard, Guy Maddin, Jan Svankmajer and many others, offering illuminating insights and making us reconsider the nature of adaptation, appropriation, borrowing, and the re-imagining of previous sources. -- extract taken from the back of the book. --
Notes: Formerly CIP. -- Includes bibliographical references and index --
ISBN: 9781441163523
Contents: -- pt. I Historical and Theoretical Background -- ch. 1 Defining the Avant-Garde Film -- ch. 2 Adaptation Theory and Practice -- ch. 3 Appropriation -- ch. 4 The Exploitative Adaptation -- ch. 5 Why Avant-Garde? -- pt. II A Chronology of Avant-Garde Film Adaptation -- ch. 6 A Brief Narrative History of Avant-Garde Film Adaptation or, Some Instances of Avant-Garde Adaptation -- pt. III Case Studies -- ch. 7 The Fall of the House of Usher -- ch. 8 Scorpio Rising -- ch. 9 Fruit of Paradise -- ch. 10 Hitler: A Film from Germany -- ch. 11 Street of Crocodiles -- ch. 12 The Dante Quartet -- ch. 13 Alice -- ch. 14 Prospero's Books -- ch. 15 Wisconsin Death Trip -- ch. 16 Spectres of the Spectrum -- ch. 17 Dracula: Pages from a Virgin's Diary --

Call No: 771.1(73) JAM
Author: James, David E., 1945
Place: Princeton, N.J.
Publisher: Princeton University Press
PubDate: 1989
PhysDes: xiii, 388 p. : ill. ; 26 cm
Subject: UNDERGROUND FILMS; POLITICAL FILMS; BLACK POWER FILMS; WOMEN AND THE CINEMA; ART CINEMA. USA; VIETNAM WAR FILMS; BRAKHAGE, STAN; ANGER, KENNETH; WARHOL, ANDY; MEKAS, JONAS; FILM ABOUT A WOMAN WHO... (US, Yvonne Rainer, 1974); EASY RIDER (US, Dennis Hopper, 1969)
Notes: Includes index; Bibliography: p. 362-377
ISBN: 0691047553 (alk. paper); 0691006040 (pbk.)
LON: 5820741
Contents: Stan Brakage, p29-57 -- Andy Warhol, p58-84 -- Jonas Mekas, p100-118 -- "Film that cannot be one: Kenneth Anger" p149-155 -- "Yvonne Rainer: Film about a woman who...", p326-334 -- "Allegories of production: Easy rider", p12-17 -- "Cinema and black liberation", p177-194 -- "Film and the war: representing Vietnam", p195-212 --

Call No: 71(73) AME
Author: Hillier, Jim
Place: London
Publisher: British Film Institute
PubDate: 2001
PhysDes: xvii, 283 p. : ill., ports. ; 24 cm
Subject: USA; INDEPENDENT FILMS. USA; CASSAVETES, JOHN; BRAKHAGE, STAN; WARHOL, ANDY; ETHNIC GROUPS IN FILMS. USA; BLACK FILMMAKERS. US; DASH, JULIE; DAUGHTERS OF THE DUST (US, Julie Dash, 1991); RIGGS, MARLON; TONGUES UNTIED (US, Marlon Riggs, 1989); CROOKLYN (US, Spike Lee, 1994); FRIDAY (US, F. Gary Gray, 1995); CLOCKERS (US, Spike Lee, 1995); LEE, SPIKE; GIRL SIX (US, Spike Lee, 1996); GET ON THE BUS (US, Spike Lee, 1996); SLAM (US, Marc Levin, 1998); HOMOSEXUALITY AND THE CINEMA; POISON (US, Todd Haynes, 1991); MY OWN PRIVATE IDAHO (US, Gus Van Sant, 1991); VAN SANT, GUS; SWOON (US, Tom Kalin, 1992); GO FISH (US, Rose Troche, 1994); TOTALLY F***ED UP (US, Gregg Araki, 1993); HAYNES, TODD; SAFE (US, Todd Haynes, 1995); DOOM GENERATION, THE (US, Gregg Araki, 1995); PEIRCE, KIMBERLY; BOYS DON'T CRY (US, Kimberly Peirce, 1999); JARMUSCH, JIM; NIGHT ON EARTH (US, Jim Jarmusch, 1991); SLACKER (US, Richard Linklater, 1990); SURE FIRE (US, Jon Jost, 1990); LINKLATER, RICHARD; BEFORE SUNRISE (US, Richard Linklater, 1995); LIVING IN OBLIVION (US, Tom DiCillo, 1995); WALKING AND TALKING (US, Nicole Holofcener, 1996); HARTLEY, HAL; HENRY FOOL (US, Hal Hartley, 1997); HAPPINESS (US, Todd Solondz, 1998); GHOST DOG: THE WAY OF THE SAMURAI (US, Jim Jarmusch, 1999); TIMECODE (US, Mike Figgis, 2000); ALTMAN, ROBERT; SHORT CUTS (US, Robert Altman, 1993); ANDERSON, PAUL THOMAS; BOOGIE NIGHTS (US, Paul Thomas Anderson, 1997); MAGNOLIA (US, Paul Thomas Anderson, 1999); FERRARA, ABEL; BAD LIEUTENANT (US, Abel Ferrara, 1992); BLACKOUT, THE (US, Abel Ferrara, 1997); ADDICTION, THE (US, Abel Ferrara, 1995); FUNERAL, THE (US, Abel Ferrara, 1996); JONZE, SPIKE; BEING JOHN MALKOVICH (UK/US, Spike Jonze, 1999); KORINE, HARMONY; GUMMO (US, Harmony Korine, 1997); JULIEN DONKEY-BOY (US, Harmony Korine, 1999); LYNCH, DAVID; TWIN PEAKS: FIRE WALK WITH ME (US, David Lynch, 1992); LOST HIGHWAY (US, David Lynch, 1996); SAYLES, JOHN; CITY OF HOPE (US, John Sayles, 1991); LONE STAR (US, John Sayles, 1996); LIMBO (US, John Sayles, 1999); HENRY: PORTRAIT OF A SERIAL KILLER (US, John McNaughton, 1986); ONE FALSE MOVE (US, Carl Franklin, 1991); BALLAD OF LITTLE JO, THE (US, Maggie Greenwald, 1993); EVEN COWGIRLS GET THE BLUES (US, Gus Van Sant, 1993); PULP FICTION (US, Quentin Tarantino, 1994); Tarantino, Quentin; USUAL SUSPECTS, THE (US, Bryan Singer, 1995); BOUND (US, Larry Wachowski & Andy Wachowski, 1996); NORMAL LIFE (US, John McNaughton, 1996); THIS WORLD, THEN THE FIREWORKS (US, Michael Oblowitz, 1997); JACKIE BROWN (US, Quentin Tarantino, 1997); BIG LEBOWSKI, THE (US, Joel Coen, 1998); OUT OF SIGHT (US, Steven Soderbergh, 1998); LIMEY, THE (US, Steven Soderbergh, 1999); SODERBERGH, STEVEN; HANGIN' WITH THE HOMEBOYS (US, Joseph B. Vasquez, 1991); JUST ANOTHER GIRL ON THE I.R.T. (US, Leslie Harris, 1992)
ISBN: 0851707580 : ¦40.00; 0851707599(pbk.) : ¦12.99
LON: 20980358

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: ANLIAN TAOHUAYUAN (TZ, Stan Lai, 1992)

Call No: 771 ART
Author: Leighton, Tanya
Source: UK
Place: London
Publisher: Tate Publishing in association with Afterall
PubDate: 2008
PhysDes: 496 p. Ilustrations (some color) ; 25cm
Subject: ACCONCI, VITO; BARTHES, ROLAND; BELLOUR, RAYMOND; BENJAMIN, WALTER; BRAKHAGE, STAN; CONRAD, TONY; DANEY, SERGE; DEBORD, GUY; DELEUZE, GILLES; DUCHAMP, MARCEL; EXPANDED CINEMA; EXPERIMENTAL FILMS; EXPORT, VALIE; FAROCKI, HARUN; GODARD, JEAN-LUC; HUYGHE, PIERRE; KUBELKA, PETER; MCLUHAN, MARSHALL; MEKAS, JONAS; ONO, YOKO; PAIK, NAM JUNE; RESNAIS, ALAIN; SCHNEEMANN, CAROLEE; SNOW, MICHAEL; STRUCTURAL FILMS; STRUCTURALISM; VIDEO ART; VIOLA, BILL; WARHOL, ANDY; WOLLEN, PETER
Summary: "The mutual fascination between art and cinema has had a great influence on contemporary culture. For the past fifty years, the love/hate affair between the two has triggered vital aesthetic, social and political responses that constantly renew the way we understand our age. This book traces the story from early spatial experiments with film and video technologies to the current widespread use of projected images in museums and galleries. Why has there been a turn to the cinematic in contemporary art? What happens to the moving image when it shifts from the black box to the white cube, when cinema is exhibited? How does this challenge the traditional mediums of film, painting and sculpture? 'Art and the Moving Image' gathers together key texts including new, translated and previously unavailable essays by eminent writers and theorists including Giorgio Agamben, Beatriz Colomina, Serge Daney, Rosalind Krauss, Maurizio Lazzaratto and Peter Wollen. It offers an essential introduction to the complex field of art and the projected image for both students and general readers." -- Publisher's website.
Notes: Includes bibliographical references and index.
ISBN: 9781854376251
Donation: Adrian Miles
Contents: Preface / Charles Esche -- Introduction / Tanya Leighton -- Colour plates -- Part I. Histories and revisions -- Fluxfilms in three false starts / Bruce Jenkins -- 'Culture: Intercom' and expanded cinema: a proposal and manifesto / Stan VanDerBeek -- Enclosed by images: the Eameses' multimedia architecture / Beatriz Colomina -- 'My mind split open': Andy Warhol's exploding plastic inevitable / Branden W. Joseph -- The Museum of attractions: marcel Broodthaers and the 'Section Cine´ma' / Eric de Bruyn -- Paul Sharits and the active spectator / Federico Windhausen -- Bare lives / Pamela M. Lee -- Leisure 73 / Sabeth Buchmann -- The two avant-gardes / Peter Wollen -- Modes of film practice in the avant-garde / Jonathan Walley -- Part II. The agonistic relationship between video and television -- Hardware: the videosphere / Gene Youngblood -- Video: the aesthetics of narcissism / Rosalind Krauss -- Tale of the tape: 'Radical Software' / David Joselit -- Dependent participation: Bruce Nauman's environments / Janet Kraynak -- After the cull / Elizabeth Bennett Hupp -- Live on tape: video, liveness and the immediate / William Kaizen -- The art of the possible: notes about some installations by Harun Farocki / Christa Blu¨mlinger -- Video, flows and real time / Maurizo Lazzarato -- Five years later / Bill Horrigan -- Part III. From cinema to post-cinema -- Deleuze's time, or how the cinematic changes our idea of art / John Rajchman -- Difference and repetition: on Guy Debord's films / Giorgio Agamben -- From movies to moving / Serge Daney -- The time of re-departure: after cinema, the cinema of the subject / Jean-Chrisotphe Royoux -- Dissolution of the frame: immersion and participation in video installations / Ursula Frohne -- Video projection: the space between screens / Liz Kotz -- Siting cinema / Andrew V. Uroskie -- Moving images moving images / John Kelsey -- Of an other cinema / Raymond Bellour -- The gap between film and installation art / Alexander Alberro -- White cube, black box and grey areas: venues and values / Gregor Stemmrich -- Art and cinema: some critical reflections / Mark Nash -- 'You Never Know the Whole Story': Ute Friederike Ju¨rss and the aesthetics of the heterochronic image / Thomas Y. Levin.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BEAT STREET (US, Stan Lathan, 1984)

Author: Lebowitz, Fran
PhysDes: Article
Subject: DIRTY LITTLE BILLY (US, Stan Dragoti, 1972)
Summary: Reviews

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG STAN (US, Rob Schneider, 2007)

Call No: PERSONALITY CLIPPINGS FILE; PERSONALITY MICROFILM COLLECTION
PhysDes: Clippings
Subject: BRAKHAGE, STAN

Call No: 802 AIT
Author: Aitken, Doug
Source: US
Place: New York
Publisher: Distributed Art Publishers
PubDate: 2006
PhysDes: 302 p. : col. ill. ; 25 cm
Subject: AITKEN, DOUG; AHTILA, EIJA-LIISA; ALTMAN, ROBERT; ANGER, KENNETH; BALDESSARI, JOHN; BARNEY, MATHEW; BURDEN, CHRIS; CONNER, BRUCE; DENIS, CLAIRE; DOUGLAS, STAN; ELIASSON, OLAFUR; FERRO, PABLO; FIGGIS, MIKE; HERZOG, WERNER; HILL, GARY; HOLLER, CARSTEN; HUYGHE, PIERRE; JODOROWSKY, ALEXANDRO; KOOLHAAS, REM; LYNN, GREG; NICOLAI, CARSTEN; PRINCE, RICHARD; RIST, PIPILOTTI; RONDINONE, UGO; RUSCHA, ED; VOGEL, AMOS; WILSON, ROBERT; OBRIST, HANS ULRICH
Summary: Broken Screen is comprised of informal conversations between artist Doug Aitken and a roster of 25 carefully chosen artists, filmmakers, designers, and architects. Part guidebook and part manifesto, the book takes a fresh look at what it's like to create work in a world that has become increasingly fragmentary. Through casual and direct discussions Broken Screen offers a detailed navigation through the ideas behind the important yet under-documented visual language of nonlinear narratives, split screens, and fragmentary visual planes that define the most progressive moving images today.
ISBN: 1933045264

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: CHILD'S GARDEN AND THE SERIOUS SEA, A (US, Stan Brackage, 1991)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: CHILD SAVER, THE [TV] (US, Stan Lathan, 1988)

Author: Ogilive, George
PhysDes: Article
Subject: COMEDIES; COMEDIES. AUSTRALIA; THEATRE AND THE CINEMA; AUDIENCE RECEPTION; FIELDS, W.C.; LEWIS, JERRY; Keaton, Buster; LAUREL, STAN; HARDY, OLIVER; CHAPLIN, CHARLES
Summary: Transcript of a talk given by George Ogilive of the Melbourne Theatre Company, where he discusses basic aspects of comedy including rhythm and timing, as well as criticising the work of Jerry Lewis in his films "Three on a Couch" and "The Patsy.

Call No: 67-047.53 MEK
Author: Mekas, Jonas
Edition: 2018
Place: Leipzig
Publisher: Spector Books
PubDate: 2018
PhysDes: 260 pages : illustrated ; 31 cm
Subject: HILL, JEROME; MARKOPOULOS, GREGORY; KUCHAR, GEORGE; KUCHAR, MIKE; WARHOL, ANDY; PAPATAKIS, NICO; CHANT D`AMOUR, UN (FR, Jean Genet, 1950); VANDERBEEK, STAN; MEAD, TAYLOR; CLARKE, SHIRLEY; MAYSLES, DAVID; MAYSLES, ALBERT; CONRAD, TONY; MEKAS, JONAS; KUBELKA, PETER; JACOBS, KEN; WHITNEY, JAMES; DWOSKIN, STEPHEN; VARDA, AGNES; SONTAG, SUSAN; DE ANTONIO, EMILE; SMITH, HARRY; CASSAVETES, JOHN; MAKAVEJEV, DUSAN; SNOW, MICHAEL
Summary: Jonas Mekas, born in Lithuania, came to Brooklyn via Germany in 1949 and began shooting his first films there. Mekas developed a form of film diary in which he recorded his daily observations. He became the barometer of the New York art scene and a pioneer of American avant-garde cinema. Every week, from 1958 until 1977, he published his “Movie Journal” column in the Village Voice, conducting numerous interviews with filmmakers from all over the world. Conversations is the first time that these interviews with his filmmaker friends and associates have been put together in a book. Mekas recorded the conversations with his camera. From the films he shot with his interlocutors, Mekas selected one photo or still to introduce each interview. The collection of texts is supplemented by letters and extracts from related scenarios /scriptsand rounded out with an index of the people involved. Jonas Mekas in conversation with Storm de Hirsch and Louis Brigante, Andy Warhol, Nico Papatakis, Albert and David Maysles, Peter Kubelka, Agnes Varda, Harry Smith, John Cassavetes, Stan Brakhage -- publisher's web site
ISBN: 9783959050807

Call No: 802.25 MAC
Author: MacDonald, Scott
Edition: 2005
Place: Berkeley and Los Angeles, California
Publisher: University of California Press
PubDate: 2005
PhysDes: 410 p. ; 23 cm
Series: A critical cinema
Subject: STAN BRAKHAGE; EXPERIMENTAL FILMS; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA; INDEPENDENT FILMMAKERS
Summary: A Critical Cinema 4 is the fourth volume in Scott MacDonald's Critical Cinema series, the most extensive, in-depth exploration of independent cinema available in English. In this new set of interviews, MacDonald once again engages filmmakers in detailed discussions of their films and of the personal experiences and political and theoretical currents that have shaped their work. The interviews are arranged to express the remarkable diversity of modern independent cinema and the network of interconnections within the community of filmmakers. A Critical Cinema 4 includes the most extensive interview with the late Stan Brakhage yet published; a conversation with P. Adams Sitney about his arrival on the New York independent film scene; a detailed discussion with Peter Kubelka about the experience of making Our African Journey; a conversation with Jill Godmilow and Harun Farocki on modern political documentary; Jim McBride's first extended published conversation in thirty years; a discussion with Abigail Child about her evolution from television documentarian to master editor; and the first extended interview with Chuck Workman. This volume also contains discussions with Chantal Akerman about her place trilogy; Lawrence Brose on his examination of Oscar Wilde's career; Hungarian Peter Forgács about his transformation of European home movies into video operas; Iranian-born Shirin Neshat on working between two cultures; and Ellen Spiro about exploring America with her video camera and her dog. Each interview is supplemented by an introductory overview of the filmmaker's contributions. A detailed filmography and a selected bibliography complete the volume. -- publisher's blurb
ISBN: 9780520242715
Contents: Introduction P. Adams Sitney Stan Brakhage Jill Godmilow (and Harun Farocki) Peter Kubelka Jim McBride Abigail Child Chuck Workman Chantl Akerman Lawrence Brose Peter Forgacs Shirin Neshat Ellen Spiro Filmography Bibliography Index

Call No: 761 DOC
Author: Grant, Barry Keith; Sloniowski, Jeanette
Place: Detroit MI
Publisher: Wayne State University Press
PubDate: 1998
PhysDes: 488 p. ; 23 cm
Subject: DOCUMENTARY FILMS; FLAHERTY, ROBERT; VERTOV, DZIGA; EISENSTEIN, SERGEI M.; BUNUEL, LUIS; WRIGHT, BASIL; RIEFENSTAHL, LENI; NANOOK OF THE NORTH (US, Robert Flaherty, 1922); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); QUE VIVA MEXICO! (UR, Sergei Eisenstein, [prod. 1932]); HURDES, LAS (SP, Luis Bunuel, 1933); SONG OF CEYLON, THE (UK, Basil Wright, 1934); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); PLOW THAT BROKE THE PLAINS, THE (US, Pare Lorentz, 1936); CITY, THE (US, Ralph Steiner and Willard Van Dyke, 1939); SPANISH EARTH, THE (US, Joris Ivens, 1937); LISTEN TO BRITAIN (UK, Humphrey Jennings/Stewart McAllister, 1942); BLOOD OF THE BEASTS (FR, Georges Franju,1949); SANG DES BETES, LE (FR, Georges Franju,1949); MAITRES FOUS, LES (FR, Jean Rouch, 1955); NUIT ET BROUILLARD (FR, Alain Resnais, 1955); DONT LOOK BACK (US, D.A. Pennebaker, 1967); TITICUT FOLLIES (US, Frederick Wiseman, 1967); HORA DE LOS HORNOS, LA (AG, Fernado E. Solanos, 1968); ACT OF SEEING WITH ONE'S OWN EYES, THE (US, Stan Brakhage, 1971); AMERICAN FAMILY, AN [TV](US, 1973); DAISY, THE STORY OF A FACELIFT (CN, Michael Rubbo, 1982); THIS IS SPINAL TAP (US, Rob Reiner, 1984); SHERMAN'S MARCH (US, Ross McElwee, 1986 [prod. 1981]); I DO NOT KNOW WHAT IT IS I AM LIKE (US, Bill Viola, 1986); JOURNEY, THE (CN, Peter Watkins, 1987); THIN BLUE LINE, THE (US, Errol Morris, 1988); ROGER AND ME (US, Michael Moore, 1989); TONGUES UNTIED (US, Marlon Riggs, 1989); PARIS IS BURNING (US, Jennie Livingston, 1990); FINDING CHRISTA (US, Camille Billops/James Hatch, 1991)
Summary: Documenting the Documentary features essays by twenty-seven film scholars from a wide range of critical and theoretical perspectives. Each essay focuses on one or two important documentaries, engaging in questions surrounding ethics, ideology, politics, power, race, gender, and representation -- but always in terms of how they arise out of or are involved in the reading of specific documentaries as particular textual constructions. By closely reading documentaries as rich visual works, this anthology fills a void in the critical writing on documentaries, which tends to privilege production over aesthetic pleasure. As we perceive and comprehend the world through visual media increasingly, understanding the textual strategies by which individual documentaries are organized has become critically important. Together, the essays cover the significant developments in the history of the documentary, from the first commercially released feature, Nanook of the North (1922), to modern independent productions, such as An American Family (1973), Tongues Untied (1989), and Finding Christa (1991), and including important national and stylistic movements and various production contexts from the mainstream to the avant-garde. Seth Feldman places Dziga Vertov's Man with a Movie Camera (1929) within the context of constructivism and futurism; Vivian Sobchack discusses the strategies of Bunuel's Las Hurdas (Land without Bread, 1931) in relation to surrealism; and Joanne Hershfield explores Que viva Mexico! (1932) as the presentation of an exotic culture by a European director. Documenting the Documentary offers clear, serious, and insightful analyses of documentary films, and is a welcome balancebetween theory and criticism, abstract conceptualization and concrete analysis. --FROM PUBLISHER'S SITE
Notes: includes bibliiographic references and index
ISBN: 0814326390
Contents: Filmmaker as hunter / William Rothman -- Peace between man and machine / Seth Feldman -- Paradise regained / Joanne Hershfield -- Synthetic vision / Vivian Sobchack -- Art of national projection / William Guynn -- Mass psychology of fascist cinema / Frank P. Tomasulo -- American documentary finds its voice / Charlie Keil -- Men cannot act before the camera in the presence of death / Thomas Waugh -- Poetics of propaganda / Jim Leach -- It was an atrocious film / Jeannette Sloniowski -- Dialogic imagination of Jean Rouch / Diane Scheinman -- Documenting the ineffable / Sandy Flitterman-Lewis -- Don't you ever just watch? / Jeanne Hall -- Ethnography in the first person / Barry Keith Grant -- Two avant-gardes / Robert Stam -- Seeing with experimental eyes / Bart Testa -- Bastard union of several forms / Jeffrey K. Ruoff -- Documentary of displaced persona / Joan Nicks -- Gender, power, and a cucumber / Carl Plantinga -- Documentary film and the discourse of hysterical/historical narrative / Lucy Fischer -- Subjectivity lost and found / Catherine Russell -- Filmmaker as global circumnavigator / Scott MacDonald -- Mirrors without memories / Linda Williams -- Documentaphobia and mixed modes / Matthew Bernstein -- Silence and its opposite / Sheila Petty -- Containing fire / Caryl Flinn -- Contested territory / Julia Lesage

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: 81BRA BRA
Author: Brakhage, Stan; McPherson, Bruce R
Source: US
Place: Kingston, New York
Publisher: McPherson and Company
PubDate: c2001
PhysDes: 232 pages : illustrations ; 22 cm
Subject: PHILOSOPHY AND THE CINEMA; THEORY; FILMMAKING; BRAKHAGE, STAN
Summary: "Essential Brakhage gathers twenty-one manifestos, screening lectures, Q&A sessions, drawings, poems, shooting scenarios, stills, narrative scripts, and theoretical essays on the art of filmmaking written over the last five decades by one of the acknowledged masters of independent American cinema. Film annotations and a current bibliography are included." -- BOOK BACK COVER
Notes: Includes bibliographical references (p. 230-232); "Selected film annotations": p. 212-229
ISBN: 092970164X
Contents: -- foreword -- selections from metaphors on vision -- metaphors on vision -- the camera eye -- my eye -- his story -- notes of anticipation -- margin alien -- selections from Brakhage scrapbook -- make place for the artist -- Film and music -- a moving picture giving and taking book -- eight questions -- with love -- film : dance -- the stars are beautiful -- angels -- in defence of amateur -- manifest -- the seen -- poetry and film -- recent writings -- Gertrude Stein -- manifesto -- inspirations -- selected film annotations -- selected bibliography --

Call No: 385.83 DIX
Author: Dixon, Wheeler Winston, and Foster, Gwendolyn Audrey
Source: UK
Place: London
Publisher: Routledge
PubDate: 2002
PhysDes: 356 p. : ill.; 23 cm
Subject: EXPERIMENTAL FILMS; AVANT-GARDE FILMS. USA; AVANT-GARDE FILMS. EUROPEAN COUNTRIES; STRUCTURALISM; DEREN, MAYA; ANGER, KENNETH; SMITH, JACK; WARHOL, ANDY; BRAKHAGE, STAN; CONNER, BRUCE; SNOW, MICHAEL; FRAMPTON, HOLLIS; JULIEN, ISAAC; DASH, JULIE; HAMMER, BARBARA
Summary: Brings together key writings on American avant-garde cinema to explore the long tradition of underground filmmaking from its origins in the 1920’s to the work of contemporary film and video artists. Each section features an editor’s introduction setting debates in their context. Sections include: Origins of the American avant-garde cinema, The 1960’s experimental cinema explosion, Structuralism in the 1970’s and Alternative cinemas.
ISBN: 0415277876

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FEIXIA AHDA (TZ, Stan Lai, 1994)

Call No: 62 MAC
Author: MacCann, Richard Dyer
Edition: 1st ed
Place: N.Y.
Publisher: Dutton
PubDate: 1966
PhysDes: 384 p. : movie stills ; 18 cm
Subject: THEORY; AESTHETICS; DOCUMENTARIES; CINEMASCOPE; NEOREALISM; PUDOVKIN, VSEVELOD; CLAIR, RENE; HITCHCOCK, ALFRED; KNOX, ALEXANDER; NICHOLS, DUDLEY; BERGMAN, INGMAR; BALAZS, BELA; SENNETT, MACK; VORKAPICH, SLAVKO; RICHTER, HANS; Grierson, John; ZAVATTINI, CESARE; KRACAUER, SIEGFRIED; ROEMER, MICHAEL; BACHMANN, GIDEON; DREW, ROBERT; LEACOCK, RICHARD; PENNEBAKER, D. A.; DREYER, CARL TH.; VANDERBEEK, STAN; MEKAS, JONAS; KAEL, PAULINE; TRUFFAUT, FRANCOIS; Fellini, Federico
ISBN: 0525471812
LON: 21441213

Call No: 771 HAM
Author: Hamlyn, Nicky
CorpAuthor: BFI
Source: UK
Place: London
Publisher: British Film Institute
PubDate: 2003
PhysDes: 224 p. : ill. ; 24cm
Subject: ART CINEMA; AESTHETICS; VIDEO ART; EXPERIMENTAL FILMS; BRAKHAGE, STAN; LE GRICE, MALCOLM; SNOW, MICHAEL; SHERWIN, GUY; SMITH, JOHN; HALL, DAVID; HILL, TONY; LARCHER, DAVID; RABAN, WILLIAM
Summary: "Hamlyn's major new study treats artists' film conceptually in order to explore key categories that connect different works and film-makers: from framing to digital media, installation to interactivity, point of view to sound. In so doing he considers the work of Stan Brakhage, Malcolm Le Grice and Michael Snow as well as younger artists such as Karen Mirza and Brad Butler, Jennifer Nighting ale, and Colin Crockatt, among many others. Film Art Phenomena is a crucial intervention in debates about the modes of film-making that diverge from and oppose the mainstream." -- Back cover
Notes: Includes bibliography p. 188; includes index p. 195
ISBN: 0851709710. m
Contents: I. MEDIA -- 1. Film and video -- 2. Digital media -- 3. Expanded technologies -- 4. Installation and its audience -- II. THE APPARATUS -- 5. The frame and its dissolution -- 6. Framing -- 7. Holding the camera -- 8. Point of view -- III. AESTHETICS -- 9. Space -- 10. Location -- 11. Interactivity -- 12. Sound, sync, performance -- 13. Film, art, ideology

Call No: 771.1 BRA
Author: Brakhage, Stan
Edition: 1st ed
Place: Kingston, N.Y.
Publisher: Documentext
PubDate: 1989
PhysDes: 183 p., [16] p. of plates : ill. ; 24 cm
Subject: AVANT-GARDE FILMS; BRAKHAGE, STAN; BROUGHTON, JAMES; CONNER, BRUCE; DEREN, MAYA; HILL, JEROME; JACOBS, KEN; MACLAINE, CHRISTOPHER; MEKEN, MARIE; PETERSON, SIDNEY
Notes: Includes index; Filmographies: p. 171-177
ISBN: 092970116x (pbk.); 0914232991 (alk. paper)
LON: 6319522

Call No: 802 FIL vol.2
Author: McBride, Joseph
CorpAuthor: American Film Institute
Edition: 1st ed
Place: Los Angeles Boston
Publisher: J.P. Tarcher Distributed by Houghton Mifflin Co.
PubDate: c1983
PhysDes: ports. ; 24 cm
Subject: LEAR, NORMAN; LEVINE, JOSEPH E.; RENOIR, JEAN; TOWNE, ROBERT; HESTON, CHARLTON; DAVIS, BETTE; GOLDSMITH, JERRY; HEAD, EDITH; SELZNICK, DAVID O.; BRAKHAGE, STAN; DE HAVILLAND, OLIVIA; MORRISSEY, PAUL; NICHOLSON, JACK; POLANSKI, ROMAN; SCHAFFNER, FRANKLIN J.; WYLER, WILLIAM; ALONZO, JOHN; HORNER, HARRY; GOOD TIMES (US, William Friedkin, 1967); ALL ABOUT EVE (US, Joseph L. Mankiewicz, 1950); CHINATOWN (US, Roman Polanski, 1974); GRANDE ILLUSION, LA (FR, Jean Renoir, 1937); HEIRESS, THE (US, William Wyler, 1949); HUSTLER, THE (US, Robert Rossen, 1961); TOUCH OF EVIL (US, Orson Welles, 1958)
Notes: Includes bibliographies and indexes
ISBN: 0874772664 (v. 1) : $15.95 (per vol.); 0874772672 (v. 2); 0874772494 (pbk. : v. 1) : $7.95 (per vol.); 0874772508 (pbk. : v. 2)
LON: 2606290

Author: McKee, Alan
PhysDes: Article; Bibliography
Subject: ABORIGINAL AUSTRALIANS IN FILMS; ABORIGINAL AUSTRALIANS ON TV; ETHNIC GROUPS IN FILMS. AUSTRALIA; ETHNIC GROUPS ON TV. AUSTRALIA; GRANT, STAN; JEDDA (AT, Charles Chauvel, 1955); BLACKFELLAS (AT, James Ricketson, 1992); CHANT OF JIMMIE BLACKSMITH, THE (AT, Fred Schepisi, 1978); REAL LIFE [TV] (AT, 1988)
Summary: The article suggests that while the medium of film has tended to search for an Aboriginality which looks 'right', television allows the racial identity of indigenous Australians to be understood in other ways.

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 3 photographs : b&w ; 18 x 12 cm
Subject: JOHNSTON, DUANE; MONTGOMERY, FAYE; DRYDEN, STAN; FLY PEEWEE, FLY! (AT, Sally Riley, 1995)
Summary: Three black and white photographs from the film Fly peewee, fly!

Call No: 738(71) MAC
Author: MacDonald, Scott
Place: Berkeley, California
Publisher: University of California Press
PubDate: 2001
PhysDes: xxvi, 461 p. : ill. (some colour) ; 24cm
Subject: INDEPENDENT FILMS; NATURE IN FILMS; PLACE IN FILMS; PLACE IN FILMS. USA; CITIES IN FILMS; NEW YORK IN FILMS; GOTTHEIM, LARRY; COLE, THOMAS; MURPHY, J. J.; ANGER, KENNETH; MENKEN, MARIE; SCHNEEMANN, CAROLEE; BRAKHAGE, STAN; KELLER, MARJORIE; ROBERTSON, ANNE CHARLOTTE; LOWDER, ROSE; MANGOLTE, BABETTE; BENNING, JAMES; STONE, OLIVER; SPIRO, ELLEN; DEBONT, JAN; KUCHAR, GEORGE; BURCKHARDT, RUDY; WEEGEE; THOMPSON, FRANCIS; MENKEN, MARIE; HARRIS, HILARY; LEE, SPIKE; STAUFFACHER, FRANK; BAILLIE, BRUCE; RUDNICK, MICHAEL; GEHR, ERNIE; O'NEILL, PAT; MARTIN, EUGENE; MEKAS, JONAS; GREAVES, WILLIAM; FRAMPTON, HOLLIS; HUOT, ROBERT; DORSKY, NATHANIEL; HUTTON, PETER; DASH, JULIE; FRANKLIN, CARL; CONNER, BRUCE; HERZOG, WERNER; LANZMANN, CLAUDE; STRAND, CHICK; NOREN, ANDREW; PIERCE, LEIGHTON; GATTEN, DAVID
Summary: "Explores the evocations of place, and particularly American place, that have become so central to the representational and narrative strategies of alternative and mainstream film and video. Scott MacDonald contextualises his discussion with wide-ranging and deeply informed analysis of the depiction of place in nineteenth and twentieth-century literature, painting and photography. Examining the representation of nature and landscape in particular, and location in general, MacDonald offers new readings of films under consideration as well as an expanded sense of modern film history."
Notes: Includes distribution sources for films and videos (in US), notes and index
ISBN: 0520227387

Author: Moynihan, Maura
PhysDes: Article
Subject: LOVE AT FIRST BITE (US, Stan Dragoti, 1979)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: GO TELL IT ON THE MOUNTAIN (US, Stan Lathan, 1984)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: GOD OF DAY HAD GONE DOWN UPON HIM, THE (US, Stan Brakhage, 2000)

Call No: PERSONALITY CLIPPINGS FILE
PhysDes: Clippings
Subject: GRANT, STAN

Call No: 451-015 MAL
Author: Maltin, Leonard
Place: New York
Publisher: Crown Publishers
PubDate: 1978
PhysDes: xvii, 238 p. : ill. ; 26 cm
Subject: COMEDIANS; CHAPLIN, CHARLES; ARBUCKLE, ROSCOE "FATTY"; LLOYD, HAROLD; ROGERS, WILL; FIELDS, W.C.; THREE STOOGES; HOPE, BOB; KAYE, DANNY; SKELTON, RED; LEWIS, JERRY; ALLEN, WOODY; LAUREL, STAN; HARDY, OLIVER; NORMAND, MABEL; LANGDON, HARRY; CHASE, CHARLEY [psued. of Charles Parrott]; GRIFFITH, RAYMOND; DRESSLER, MARIE; BROWN, JOE E.; MARX BROTHERS; COSTELLO, LOU
Notes: Includes filmographies and index
ISBN: 0517532417
LON: 77020233; 1040069

Call No: 226 NIE
Author: Nieland, Justus
Edition: 2020
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 2020
PhysDes: 424 pages : illustrated ; 23 cm
Subject: ART DIRECTION; MODERNISM AND THE CINEMA; BARTHES, ROLAND; COMMUNICATIONS; DEREN, MAYA; EISENSTEIN, SERGEI M.; MCLUHAN, MARSHALL; VAN DER BEEK, STAN; WOLLEN, PETER
Summary: Happiness by Design offers a fresh cultural history of midcentury modernism through the film and multimedia experiments of Charles and Ray Eames and their peers. Justus Nieland traces how Cold War designers engaged in creative activities that spanned disciplines and blended art and technoscience while reckoning with the environmental reach of media at the dawn of the information age. -- publisher's web site
ISBN: 9781517902056
Contents: Contents -- Introduction -- 1. Happy Furniture: On the Media Environments of the Eames Chair -- 2. The Scale Is the World: Designer Pedagogy and Expanded Cinema -- 3. Management Cinema: Film, Communication, and Postwar World-Making in Aspen -- 4. Memories of Overdevelopment: The Vision Conferences and the Fate of Environmental Design -- 5. Designer Film Theory: Techniques of Happiness -- 6. Designer Film Theory, II: Media Pedagogy and Modernist Information Aesthetics -- Coda: The Norton Chair, Circa 1970: Trilling or Eames? -- Acknowledgments -- Notes -- Index

Call No: 771(410) GAA
Author: Gaal-Holmes, Patti
Source: UK
Place: London
Publisher: Palgrave Macmillan
PubDate: 2015
PhysDes: xviii, 231 pages ; 23 cm.
Subject: EXPERIMENTAL FILMS. UK; EXPERIMENTAL FILMS; BRAKHAGE, STAN; DWOSKIN, STEPHEN; GIDAL, PETER; JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (BE/FR, Chantal Akerman, 1975); LE GRICE, MALCOLM; MARXISM AND THE CINEMA; MCCALL, ANTHONY; VIDEO ART; WARHOL, ANDY; WOLLEN, PETER
Summary: "This comprehensive historical account demonstrates the rich diversity in 1970s British experimental filmmaking. It acts as a form of reclamation by integrating films having received inadequate historical and critical recognition and placing these alongside films existing as accepted texts of the decade. This history challenges the problematic 'return to image' thesis, providing examples of written evidence and demonstrating how this has problematically perpetuated a flawed account of the decade. This is the first extensive overview of 1970s filmmaking, contextualizing films within broader aesthetic, theoretical and socio-political frameworks. The detailed textual and comparative analyses offer unique approaches to individual films, shedding light on technical, aesthetic and economic decisions informing filmmaking. As such, it provides a unique understanding of how experimental filmmaking grew from a small handful of films and filmmakers, at the start of the 1970s, to a veritable 'explosion' in filmmaking by the end of the decade"-- TROVE
Notes: Includes bibliographical references and index
ISBN: 9781349474912
Language: English
Contents: Introduction -- 1. Questions of history -- 2. Institutional frameworks and organisational strategies -- 3.Experimental film and other visual arts -- 4. Visionary, mythopoeia and diary films -- 5. Experiments with structure and material -- 6. Women and film -- Conclusion: (Re)cognitions and (Re)considerations for This History -- Notes -- Bibliography -- Index
ID2: 343

Call No: 771.3(73) REN
Author: Renan, Shelton
Edition: 1st ed.
Place: New York
Publisher: E.P. Dutton
PubDate: 1967
PhysDes: 318 p. : ill. ; 19 cm.
Subject: EXPANDED CINEMA; UNDERGROUND FILMS. USA; EXPERIMENTAL FILMS. USA; AVANT-GARDE FILMS. USA; ANGER, KENNETH; BAILLIE, BRUCE; BELSON, JORDAN; BRAKHAGE, STAN; BRANAMAN, ROBERT; BREER, ROBERT; BURCKHARDT, RUDY; CONNER, BRUCE; CONRAD, TONY; D'AVINO, CARMEN; EMSHWILLER, ED; GOLDMAN, PETER EMANUEL; JACOBS, KEN; JORDAN, LARRY; KAYE, STANTON; KUCHAR, GEORGE; KUCHAR, MIKE; LANDOW, GEORGE; MARKOPOULOS, GREGORY; MEKAS, JONAS; MENKEN, MARIE; NELSON, ROBERT; RICE, RON; SMITH, HARRY; SMITH, JACK; VAN DER BEEK, STAN; WARHOL, ANDY
Summary: A study of the American Underground Film, its subject matter and stylistic elements. Also a history of avant garde film in America with director and actor profiles.
Notes: Bibliography: p. 295-296 Includes index.
Contents: -- What is the underground film? -- A history of the avant-garde/experimental/underground film in America -- A gallery of film-makers -- Stars of the underground films -- The underground establishment -- Expanded Cinema

Call No: 670 INV GRI
Author: Grieveson, Lee; Wasson, Haidee
Source: UK
Place: Durham
Publisher: Duke University Press
PubDate: 2008
PhysDes: xxxii, 446 p. : ill. ; 24 cm
Subject: American Film Institute; AVANT-GARDE FILMS; COMPUTER GENERATED IMAGERY; CRITICISM; FILM ART MEDIA; FILM CULTURE; FILM NOIR; FILM STUDY AND RESEARCH; FILMOGRAPHIES; HISTORY OF CINEMA. SILENT PERIOD; MARXISM AND THE CINEMA; MOTION PICTURE ASSOCIATION OF AMERICA; MUSEUM OF MODERN ART [NEW YORK]; PHILOSOPHY AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; REALISM IN FILMS; SOCIETIES, FILM; SOCIOLOGY AND THE CINEMA; SPECTATORSHIP; ALTHUSSER, LOUIS; BACHMANN, GIDEON; BARRY, IRIS; BAZIN, ANDRE; BELLOUR, RAYMOND; BERGSTROM, JANET; BORDWELL, DAVID; BRAKHAGE, STAN; BURGESS, ERNEST; BUSCOMBE, ED; CHAPLIN, CHARLES; COOK, PAM; DEREN, MAYA; FOUCAULT, MICHEL; FULLER, SAMUEL; GODARD, JEAN-LUC; GRIERSON, JOHN; GRIFFITH, DAVID WARK; GRIFFITHS, RICHARD; HAWKS, HOWARD; HAYS, WILL; HEATH, STEPHEN; HUFF, THEODORE; MACCABE, COLIN; METZ, CHRISTIAN; PARK, ROBERT; PATTERSON, FRANCES TAYLOR; PENLEY, CONSTANCE; RAINER, YVONNE; RAMSAYE, TERRY; RICHTER, HANS; ROTHA, PAUL; SARRIS, ANDREW; SCORSESE, MARTIN; SELDES, GILBERT; SHORT, REV WILLIAM H; STERN, SEYMOUR; THRASHER, FREDRICK; VOGEL, AMOS; VON STROHEIM, ERICH; WEINBERG, HERMAN G; WHANNEL, PADDY; WOLLEN, PETER
Summary: Inventing Film Studies offers original and provocative insights into the institutional and intellectual foundations of cinema studies. Many scholars have linked the origins of the discipline to late-1960s developments in the academy such as structuralist theory and student protest. Yet this collection reveals the broader material and institutional forces—both inside and outside of the university—that have long shaped the field. Beginning with the first investigations of cinema in the early twentieth century, this volume provides detailed examinations of the varied social, political, and intellectual milieus in which knowledge of cinema has been generated. The contributors explain how multiple instantiations of film study have had a tremendous influence on the methodologies, curricula, modes of publication, and professional organizations that now constitute the university-based discipline. Extending the historical insights into the present, contributors also consider the directions film study might take in changing technological and cultural environments. -- Publisher description
Notes: Includes bibliographical references and index
ISBN: 9780822342892
Contents: The Academy and Motion Pictures / Lee Grieveson, Haidee Wasson -- Making Cinema Knowable -- Cinema Studies and the Conduct of Conduct / Lee Grieveson Taking Liberties: The Payne Fund Studies and the Creation of the Media Expert / Mark Lynn Anderson "Reaching the Multimillions": Liberal Internationalism and the Establishment of Documentary Film / Zoe Druick Young Art, Old Colleges: Early Episodes in the American Study of Film / Dana Polan -- Making Cinema Educational -- Studying Movies at the Museum: The Museum of Modern Art and Cinema's Changing Object / Haidee Wasson Classrooms, Clubs, and Community Circuits: Cultural Authority and the Film Council Movement, 1946-1957 / Charles R. Acland Experimental Film and the Development of Film Study in America / Michael Zryd From Cinephilia to Film Studies / Laura Mulvev, Peter Wollen -- Making Cinema Legible -- Experimentation and Innovation in Three American Film Journals of the 1950s / Haden Guest Screen and 1970s Film Theory / Philip Rosen (Re)Inventing Camera Obscura / Amelie Hastie, Lynne Joyrich, Patricia White, Sharon Willis Little Books / Mark Betz -- Making and Remaking Cinema Studies -- Footstool Film School: Home Entertainment as Home Education / Alison Trope Dr. Strange Media, or How I Learned to Stop Worrying and Love Film Theory / D. N. Rodowick

Call No: 632.53 DIX
Author: Dixon, Wheeler W., 1950
Place: Albany
Publisher: State University of New York Press
PubDate: 1995
PhysDes: xv, 238 p. : ill. ; 24 cm
Series: SUNY series in postmodern culture
Subject: GAZE IN FILMS; UTOPIA IN FILMS; INTERACTIVE CINEMA; WARHOL, ANDY; BRAKHAGE, STAN; GUY-BLACHE, ALICE; VINYL (US, Andy Warhol, 1965?)
Summary: This book is a study of one of the most insidious and pervasive phenomena in the study and reception of cinema: the "returned gaze" from the screen in which the audience is actually surveilled by the film being projected on the screen. Rather than the usual process of watching a film, in those films which return the gaze of the viewer, the film looks at us, confronting our voyeur's embrace of the spectacle it presents. The book cites examples as diverse as Andy Warhol's Vinyl, Laurel and Hardy two-reel comedies, the films of Jean-Marie Straub, Jean-Luc Godard, Roberto Rossellini, and Wesley E. Barry's Creation of The Humanoids. It also discusses the history of the returned gaze in video, pornography, surveillance systems, and the related plastic arts
Notes: Includes bibliographical references (p. 203-226) and index
ISBN: 0791423409 (pbk.); 0791423395
LON: 10868713

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: JANE (US, Stan Brakhage, 1985)

Call No: PERSONALITY CLIPPINGS FILE; PERSONALITY MICROFILM COLLECTION
PhysDes: Clippings
Subject: LAUREL, STAN

Call No: PERSONALITY CLIPPINGS FILE
PhysDes: Clippings
Subject: LEE, STAN

Call No: 771 TAB
Author: Taberham, Paul
Edition: 2018
Place: New York & Oxford
Publisher: Berghahn Books
PhysDes: 214 pages : illustrated ; 24 cm
Subject: EXPERIMENTAL FILMS; PERCEPTION; PSYCHOLOGICAL EFFECTS OF FILMS; BREER, ROBERT; BRAKHAGE, STAN; DEREN, MAYA; BELSON, JORDAN
Summary: Narrative comprehension, memory, motion, depth perception, synesthesia, hallucination and dreaming have long been objects of fascination for cognitive psychologists. They have also been among the most potent sources of creative inspiration for experimental filmmakers. Lessons in Perception melds film theory and cognitive science in a stimulating investigation of the work of iconic experimental artists such as Stan Brakhage, Robert Breer, Maya Deren, and Jordan Belson. In illustrating how avant-garde filmmakers draw from their own mental and perceptual capacities, author Paul Taberham offers a compelling for how their works expand the range of aesthetic sensitivity and open creative vistas uncharted by commercial cinema. -- publisher's web site
ISBN: 9781785336416
Donation: Senses of Cinema
Contents: List of Illustrations -- Acknowledgements -- Introduction -- PART I: COGNITION --Chapter 1. The Specter of Narrative -- Chapter 2. Ghost Films of the Avant-Garde -- PART II: VISUAL PERCEPTION -- Chapter 3. Bottom Up Processing, Entoptic Vision and the Innocent Eye in the Films of Stan Brakhage -- Chapter 4. Robert Breer and the Dialectic of Eye and Camera -- PART III: AUDIO-VISUAL PERCEPTION -- Chapter 5. Synaesthetic Film Reconsidered - Chapter 6. Three Dimensions of Visual Music -- Conclusion -- Bibliography

Call No: 771.1 WEE
Author: Wees, William C
Place: Berkeley
Publisher: University of California Press
PubDate: 1992
PhysDes: xii, 199 p. : ill. ; 24 cm
Subject: AVANT-GARDE FILMS; ANGER, KENNETH; BRAKHAGE, STAN; BELSON, JORDAN; SHARITS, PAUL; SNOW, MICHAEL; WHITNEY, JAMES; SCORPIO RISING (US, Kenneth Anger, 1964)
Notes: Includes bibliographical references (p. 191-194) and index
ISBN: 0520073673 (alk. paper); 0520073681 (pbk. : alk. paper)
LON: 8159526

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: LOVE AT FIRST BITE (US, Stan Dragoti, 1979)

Call No: 721-051[7] ZIN
Author: Zinman, Gregory
Edition: 2020
Place: Oakland, California
Publisher: University of California Press
PubDate: 2020
PhysDes: xvi, 372 pages : illustrated ; 26cm
Subject: EXPERIMENTAL FILMS; BELSON, JORDAN; BRAKHAGE, STAN; DEBORD, GUY; LYE, LEN; MCLAREN, NORMAN; PAIK, NAM JUNE; RICHTER, HANS; TRAITE DE BAVE ET D'ETERNITE (FR, Isidore Isou, 1951); SCHNEEMANN, CAROLEE; VIDEO ART
Summary: Making Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue. This book provides a comprehensive history of this tradition of “handmade cinema” from the early twentieth century to the present, opening up new conversations about the production, meaning, and significance of the moving image. From painted film to kinetic art, and from psychedelic light shows to video synthesis, Gregory Zinman recovers the range of forms, tools, and intentions that make up cinema’s shadow history, deepening awareness of the intersection of art and media in the twentieth century, and anticipating what is to come. -- publisher's web site
ISBN: 9780520302730
Donation: Footprint Books

Author: Toplin, Robert Brent
PhysDes: Article
Subject: DENMARK VESEY'S REBELLION [TV] (US, Stan Lathan, 1980)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: MAN WITH ONE RED SHOE, THE (US, Stan Dragoti, 1985)

Call No: 771(73) PIP
Author: Pipolo, Tony
Edition: 2021
Place: New York
Publisher: Oxford University Press
PubDate: 2021
PhysDes: x, 200 pages : illustrated ; 25 cm
Subject: MESHES OF THE AFTERNOON (US, Maya Deren & Alexander Hammid, 1943); AT LAND (US, Maya Deren, 1944); RITUAL IN TRANSFIGURED TIME (US, Maya Deren, 1946); BRAKHAGE, STAN; MARKOPOULOS, GREGORY; GEHR, ERNIE; DEREN, MAYA; BEAVERS, ROBERT
Summary: The prevalence of loss and mourning, and of charged relationships with parents or parental figures has had a surprising influence on several American avant-garde filmmakers' work . To date, however, little attention has been given to these themes. In The Melancholy Lens, author Tony Pipolo offers a detailed look at the significant role of underlying biographical and psychological factors in specific works by leading avant-garde filmmakers. Covering a range of filmmakers including Maya Deren, Stan Brakhage, Gregory Markopoulos, Robert Beavers, Ken Jacobs, and Ernie Gehr, The Melancholy Lens takes a sensitive approach to understand the motivations of each filmmaker as related to a given work. Pipolo argues, for example, that the work of Deren and Brakhage lends itself to a more aggressive appreciation of psychoanalytic principles. The Deren films studied-Meshes of the Afternoon, At Land, and Ritual in Transfigured Time-are read as varying responses to the death of her father, with whom she had a strained relationship. Tortured Dust-the final film Brakhage made about his first family-was, by his own account, a work of contention and desperation. The elusiveness of Gregory Markopoulos' The Mysteries cannot conceal its naked obsession with death any more than it can diminish the film's poignancy. Robert Beavers' Sotiros is an especially rich and vivid exposure of a vulnerable chapter in the filmmakers's life. In the final two chapters on Ken Jacobs and Ernie Gehr, Pipolo looks outward for artistic motivation to show how both filmmakers' fascination with the history of film and video manifests as a melancholic view of greater history in their work. In the afterword, the author considers later figures whose work is kindred to the theme of this book, among them Nathaniel Dorsky, Phil Solomon, David Gatten, and Lewis Klahr. -- publisher's web site
ISBN: 9780197551172
Contents: Introduction -- Chapter 1. Father Time: Maya Deren's Meshes of the Afternoon, At Land, and Ritual in Transfigured Time -- Chapter 2. This Common Clay: Stan Brakhage and Tortured Dust -- Chapter 3. A Dance with Death: Gregory Markopoulos and The Mysteries -- Chapter 4. Eros Interrupted: Robert Beavers's The Ground and Sotiros -- Chapter 5. The Tempering Frame: Ernie Gehr's Media Romance -- Afterword -- Notes -- Index

Author: Bergroth, Trevor & Koller, Michael
PhysDes: Article
Subject: DOG STAR MAN (US, Stan Brakhage, 1961)
Summary: Film reviews

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Posters; Publicity
Subject: [MISTER] MR MOM (US, Stan Dragoti, 1983)

Call No: 771 MUS
Author: Rogers, Holly; Barham, Jeremy
Edition: 2017
Place: New York
Publisher: Oxford Univesity Press
PhysDes: xvi, 320 pages : illustrations ; 24 cm
Subject: EXPERIMENTAL FILMS; COLOUR BOX, A (UK, Len Lye, 1935); AVANT-GARDE FILMS; LYE, LEN; MCLAREN, NORMAN; BRAKHAGE, STAN; AKERMAN, CHANTAL; SMITH, JOHN; COMPILATION FILMS; CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928)
Summary: This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing. -- publisher's web site
ISBN: 9780190469900
Contents: Preface - Jeremy Barham -- Introduction - Holly Rogers -- Chapter 1: Absolute Sounding Images: Abstract Film and Radio Drama of the 1920s as Complementary Forms of a Media Specific Art - Dieter Daniels -- Chapter 2: A Primitivism of the Senses: The Role of Music in Len Lye's Experimental Animation, -- Malcolm Cook -- Chapter 3: An Educational Avant-Garde: Sound and Music in Julien Bryan's OIAA Films on Latin America, 1942-1949 - James Tobias -- Chapter 4: bup bup bup: Aural Innovation in the Films of Norman McLaren - Terence Dobson -- Chapter 5: Sights and Sounds of the Moving Mind: The Visionary Soundtracks of Stan Brakhage - Eric Smigel -- Chapter 6: Discontinuities and Resynchronisations: The Use of Sound in Polish Experimental Cinema from the 1930s to the 1980s - Daniel Muzyczuk -- Chapter 7: Grid Intensities: Hearing Structures in Chantal Akerman's Films of the 1970s - Paul Hegarty -- Chapter 8: Meaning and Musicality: Sound-Image Relations in the Films of John Smith - Andy Birtwistle -- Chapter 9: Audiovisual Dissonance in Found-Footage Film - Holly Rogers -- Chapter 10: Rebalancing the Picture/Sound Relationship: The Audiovisual Compositions of Lis Rhodes - Aimee Mollaghan -- Chapter 11: Sounding Decay in the Digital Age: Audio-Visions of Decasia (2002) and Lyrical Nitrate (1991) - Nessa Johnston -- Chapter 12: The Sound of Queer Experimental Film - Juan A. Suárez -- Chapter 13: Avant-Gardists and the Lure of Pop Music - Carol Vernallis -- Chapter 14: The Music of Gustav Mahler in Experimental Film Contexts: Questions of Visual Music and Intermedial Theory - Jeremy Barham -- index

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: NECESSARY ROUGHNESS (US, Stan Dragoti, 1991)

Call No: SUBJECT CLIPPINGS FILE; PRODUCTION, TV. AUSTRALIA
Author: Quinn, Karl
PhysDes: Clippings File Article
Subject: NETFLIX; STAN; PRODUCTION, TV. AUSTRALIA; VIDEO ON DEMAND; STATE AND TV. AUSTRALIA
Summary: Report on the chatter that streaming subscription services in Australia may need to produce more Australian productions to be allowed to continue to broadcast in Austalia

Call No: SUBJECT CLIPPINGS FILE; INDUSTRY, TV. AUSTRALIA
Author: Kalina, Paul
PhysDes: Clippings File Article
Subject: INDUSTRY, TV. AUSTRALIA; STAN; ICETV; MCGUIRE, XANDER; SATURDAY NIGHT LIVE [TV] (US, 1975-); NEIGHBOURS [TV] (AT, 1985-); EUROVISION SONG CONTEST [TV] (1956 - ); WEEKLY, THE [TV](AT, 2015)
Summary: Round up of television industry news from Australia and the world

Call No: SUBJECT CLIPPINGS FILE; INDUSTRY, FILM & TV. AUSTRALIA (weekly summaries)
Author: Idato, Michael
PhysDes: Clippings File Article
Subject: INDUSTRY, TELEVISION. AUSTRALIA; AUSTRALIAN BROADCASTING CORPORATION; STAN; HATCH, RICHARD; WOLF CREEK [TV] (AT, 2016-); PLEASE LIKE ME [TV] (AT, 2013 - )
Summary: Round-up of TV industry news including: Stan has approved the second series of the WOLF CREEK tv show; death of US TV actor Richard Hatch; PLEASE LIKE ME is wrapping up its forth and final season; former Foxtel staffer Josie Mason-Campbell has been recruited to the ABC
Notes: same article in Sydney Morning Herald, same page, same date

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: PUMPKINHEAD (US, Stan Winston, 1988)

Call No: 802(73) MOO
Author: Moon, Spencer
Source: US
Place: Westport, Conn
Publisher: Greenwood Press
PubDate: 1997
PhysDes: xvi, 396 p. : ill., ports. ; 25 cm
Subject: PRODUCERS. USA; ALEXANDER, WILLIAM; BOURNE, ST. CLAIR; BURNETT, CHARLES; CHENZIRA, AYOKA; DASH, JULIE; DUKE, BILL; FANAKA, JAMAA; FRANKLIN, CARL; GREAVES, WILLIAM; HAMPTON, HENRY; HUDLIN, REGINALD; HUDLIN, WARRINGTON; JACKSON, GEORGE; LEE, SPIKE; MICHEAUX, OSCAR; PARKERSON, MICHELLE; PARKS, GORDON; RIGGS, MARLON; ROBERTSON, HUGH A.; SINGLETON, JOHN; TOWNSEND, ROBERT; WARREN, MARK; WAYANS, KEENEN IVORY; WAYANS, MARLON; WAYANS, SHAWN; WILLIAMS, SPENCER; ALMA'S RAINBOW (US, Ayoka Chenzira, 1994); AMAZING GRACE AND CHUCK (US, Mike Newell, 1987); AMOS 'N' ANDY SHOW, THE [TV] (US, 1951-53); BEAT STREET (US, Stan Lathan, 1984); BETTER OFF DEAD (US, Savage Steve Holland, 1985); BLESS THEIR LITTLE HEARTS (US, Billy Woodberry, 1984); BRIDE PRICE (KE, Shatrujit Paul, 1991); CARBON COPY (US, Michael Schultz, 1981); CEMETERY CLUB, THE (US, Bill Duke, 1993); CHILD SAVER, THE [TV] (US, Stan Lathan, 1988); P.O.V : COLOR ADJUSTMENT (US, Marlon Riggs, 1992); CROOKLYN (US, Spike Lee, 1994); DEEP COVER (US, Bill Duke, 1992); DEVIL IN A BLUE DRESS (US, Carl Franklin, 1995); DISORDERLIES (US, Michael Schultz, 1987); DO THE RIGHT THING (US, Spike Lee, 1989); RAW (US, Robert Townsend, 1987); EYES ON THE PRIZE [TV] (US, 1987-1990); [FIVE] 5 HEARTBEATS, THE (US, Robert Townsend, 1991); GLASS SHIELD, THE (US, Charles Burnett, 1994); GREASED LIGHTNING (US, Michael Schultz, 1977); HIGHER LEARNING (US, John Singleton, 1994); HOLLYWOOD SHUFFLE (US, Robert Townsend, 1987); INKWELL, THE (US, Matty Rich, 1994); JASON'S LYRIC (US, Doug McHenry, 1994); KILLING FLOOR, THE (US, Bill Duke, 1985); KRUSH GROOVE (US, Michael Schultz, 1985); LAUREL AVENUE (US, Carl Franklin, 1993); MENACE II SOCIETY (US, Allen Hughes & Albert Hughes, 1993); OBEAH (US, Hugh A. Robertson, 1986); PANTHER (US, Mario Van Peebles, 1995); PENITENTIARY II (US, Jamaa Fanaka, 1982); POETIC JUSTICE (US, John Singleton, 1993); QUESTION OF COLOR, A (US, Kathe Sandler, 1993 [1992]); RAISIN IN THE SUN, A (US, Daniel Petrie, 1961); SCAVENGER HUNT (US, Michael Schultz, 1979); SHAFT (US, Gordon Parks Jr., 1971); TO SLEEP WITH ANGER (US, Charles Burnett, 1990); STILL A BROTHER: INSIDE THE NEGRO MIDDLE CLASS (US, William Greaves, 1968); STRAIGHT OUT OF BROOKLYN (US, Matty Rich, 1991); VEILED ARISTOCRATS (US, Oscar Micheaux, 1932); WHICH WAY IS UP? (US, Michael Schultz, 1977); WITHIN OUR GATES (US, Oscar Micheaux, 1919)
Summary: This is the first book by an African American on contemporary African American filmmakers. Here directors and producers speak for themselves, posing challenges to current thinking in the field. Special emphasis is given to the filmmakers production and their experiences. Essays on historic figures reveal the rich history of the African American contribution to cinema.
Notes: Includes filmographies, bibliographical references (p. [385] - 386) and index
ISBN: 0313298300
Contents: Foreward: Ninety-plus years of filmmaking/George Hill- William Alexander-Madeline Anderson-Neema Barnette- St Clair Bourne - Charles Burnette - Roy Campanella II - Ayoka Chenzira - Francee Covington - Julie Dash - Ivan Dixon - Bill Duke - Jamaa Fanaka - Carl Franklin - Wendell Franklin - William Greaves - Henry Hampton - Hobart Whitaker Harris - Wendell Burks Harris Jr - Reginald and Warrington Hudlin - Albert and Allen Hughes - George Jackson and Doug McHenry - Ashley James - Avon Kirkland - Stan Lathan - Spike Lee -Louis Massiah - Oscar Devereaux Micheaux - Floyd Norman and Leo Sullivan - Michelle Parkerson - Gordon Alexander Parks Sr - Matty Rich - Marlon Riggs - Hugh Robertson - Michael Schultz - Jackie Shearer - John Singleton - Arlando C. Smith - Robert Townsend - Mario Van Peebles - Melvin Van Peebles - Mark Warren III - The Wayans Family: Keenan Ivory, Damon, Shawn and Marlon - Spencer William Jr - Allen Willis

Call No: 45:2 PLA
Author: Plate, S. Brent
Edition: second
Place: New York; Chichester, U.K.
Publisher: Columbia University Press
PubDate: 2017
PhysDes: xviii,207 p. : illus. ; 23cm
Subject: RELIGION AND THE CINEMA; PURPLE ROSE OF CAIRO, THE (US, Woody Allen, 1985); TIDELAND (CN/UK, Terry Gilliam, 2005); BIG FISH (US, Tim Burton, 2003); MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999); PASSION OF THE CHRIST, THE (US, Mel Gibson, 2004); BLUE VELVET (US, David Lynch, 1986); CHOCOLAT (US, Lasse Hallstrom, 2000); ANTONIA'S LINE (NE/BE/UK, Marleen Gorris, 1995) SEE ANTONIA; ANTONIA (NE/BE/UK, Marleen Gorris, 1995); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); BARAKA (US, Ron Fricke, 1992); MONSTERS, INC. (U S, Peter Docter & David Silverman, 2001); KIKI'S DELIVERY SERVICE (JA, Hayao Miyazaki, 1989); METROPOLIS (G, Fritz Lang, 1926); ACT OF SEEING WITH ONE'S OWN EYES, THE (US, Stan Brakhage, 1971); BEN HUR (US, William Wyler, 1959); KING OF KINGS (US, Nicholas Ray, 1961); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); STRAIGHT STORY, THE (US/FR/UK, David Lynch, 1999)
Summary: Religion and cinema share a capacity for world making, ritualizing, mythologizing, and creating sacred time and space. Through cinematography, mise-en-scène, editing, and other production activities, film takes the world “out there” and refashions it. Religion achieves similar ends by setting apart particular objects and periods of time, telling stories, and gathering people together for communal actions and concentrated focus. The result of both cinema and religious practice is a re-created world: a world of fantasy, a world of ideology, a world we long to live in, or a world we wish to avoid at all costs. Religion and Film introduces readers to both religious studies and film studies by focusing on the formal similarities between cinema and religious practices and on the ways they each re-create the world. Explorations of film show how the cinematic experience relies on similar aesthetic devices on which religious rituals have long relied: sight, sound, the taste of food, the body, and communal experience. Meanwhile, a deeper understanding of the aesthetic nature of religious rituals can alter our understanding of film production. Utilizing terminology and theoretical insights from the study of religion as well as the study of film, Religion and Film shows that by paying attention to the ways films are constructed, we can shed new light on the ways religious myths and rituals are constructed and vice versa. This thoroughly revised and expanded new edition is designed to appeal to the needs of courses in religion as well as film departments. In addition to two new chapters, this edition has been restructured into three distinct sections that offer students and instructors theories and methods for thinking about cinema in ways that more fully connect film studies with religious studies. -- publisher's web site
ISBN: 978023117650
Donation: Senses of Cinema
Contents: List of Illustrations Preface to the Second Edition Preface to the First Edition Acknowledgments Introduction: Worldmaking On-Screen and at the Altar Part I. Before the Show: Pulling the Curtain on the Wizard 1. Audio-Visual Mythologizing 2. Ritualizing Film in Space and Time 3. Sacred and Cinematic Spaces: Cities and Pilgrimages Part II. During the Show: Attractions and Distractions 4. Religious Cinematics: Body, Screen, and Death 5. The Face, the Close-Up, and Ethics Part III. After the Show: Re-Created Realities 6. The Footprints of Film: Cinematic After-Images in Sacred Time and Space Notes References Filmography Index
ID2: 283

PhysDes: Article
Subject: LIBIDO (AT, John B. Murray & others, 1973); ANDROMEDA STRAIN, THE (US, Robert Wise, 1971); DIRTY LITTLE BILLY (US, Stan Dragoti, 1972); DUEL (US, Steven Spielberg, 1972); SLAUGHTERHOUSE-FIVE (US, George Roy Hill, 1972); THOMS, ALBIE
Summary: Reviews of LIBIDO, SUNSHINE CITY, THE ANDROMEDA STRAIN, EVERYTHING YOU'VE ALWAYS WANTED TO KNOW ABOUT SEX, DIRTY LITTLE BILLY, DUEL, SLAUGHTERHOUSE-FIVE, and DORIAN GRAY.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: SHE'S OUT OF CONTROL (US, Stan Dragoti, 1989)

Call No: TITLE CLIPPINGS FILE in production; SECOND, THE (AT, Maira Cameron) in production
Author: Maddox, Garry
PhysDes: Clippings File Article
Subject: STAN; SECOND, THE (AT, Mairi Cameron, 2018)
Summary: Snippet on the first feature film production by streaming service Stan, called THE SECOND. Funded is provided by Screen Queensland but the director would consider expanding the budget if she could gain the services of a high profile actress such as Naomi Watts

Call No: 732 KER; FOLIO
Author: Kerr, Walter, 1913
Edition: 1st ed
Place: New York
Publisher: Knopf
PubDate: 1975
PhysDes: 372 p. : ill. ; 31 cm
Subject: COMEDIANS; COMEDIES; Keaton, Buster; HARDY, OLIVER; LAUREL, STAN; GRIFFITH, RAYMOND; LANGDON, HARRY; SENNETT, MACK; LLOYD, HAROLD; CHAPLIN, CHARLES
Notes: Includes index
ISBN: 0394469070 : $17.95
LON: 384380

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: SIRIUS REMEMBERED (US, Stan Brakhage, 1960)

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: STAN

Call No: DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: STAN

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Posters; Press kit; Publicity
Subject: STAN AND GEORGE'S NEW LIFE (AT, Brian McKenzie, 1990)

Call No: P STA
PhysDes: 1 poster : col. ; 100 X 66 cm.
Subject: STAN AND GEORGE'S NEW LIFE (AT, Brian McKenzie, 1990)
Summary: Image: woman reclines to man. Text: 'A sunny love story in an overcast world.'
Notes: Tears on the right hand side and bottom side.

Call No: 81BRA STA
Author: Brakhage, Stan
CorpAuthor: Arts Council of Great Britain
Place: London
Publisher: Arts Council of Great Britain
PubDate: 1980
PhysDes: 45 p. : ill. ; 19 x 23 cm
Subject: BRAKHAGE, STAN
Notes: Bibliography: p.44
ISBN: 0728702185
LON: isb72870218; 2945711

Call No: S STA
Author: McKenzie, Brian; Cox, Deborah
PubDate: [1990]
PhysDes: 122 leaves
Subject: STAN AND GEORGE'S NEW LIFE (AT, Brian McKenzie, 1990)
Notes: Unpublished script

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: STAN & OLLIE (UK/CN/US, Jon S. Baird, 2018)

Call No: SUBJECT CLIPPINGS FILE; STAN
Author: Bodey, Michael
PhysDes: Clippings File Article
Subject: VIDEO ON DEMAND; STAN; NETFLIX
Summary: Interview with Stan chief executive Mike Sneesby who discusses the companies strategy to promote Australian productions with its video on demand service

Call No: SUBJECT CLIPPINGS FILE; VIDEO ON DEMAND
Author: -
PhysDes: Clippings File Article
Subject: NETFLIX; STAN; VIDEO ON DEMAND
Summary: Report on the various SVOD (Streaming Video on Demand) services in Australia that are producing exclusive content. Discusses two of the services, Stan, and Netflix in some detail

Call No: VIDEO ON DEMAND
PhysDes: Clippings File Article
Subject: VIDEO ON DEMAND; STAN; NETFLIX
Summary: Stan is the first SVOD to commission exclusive content for it s service. Other subscription video-on-demand have been acquiring and licensing local content.

Call No: SUBJECT CLIPPINGS FILE; VIDEO ON DEMAND
Author: Francis, Hannah
PhysDes: Clippings File Article
Subject: STREAMING USE: VIDEO ON DEMAND; VIDEO ON DEMAND; NETFLIX; STAN; QUICKFLIX; PRESTO
Summary: Looking at the explosion of internet film and tv distribution services in Australia, and the impact it has had on the internet industry

Call No: 62 KRA
Author: Kracauer, Siegfried
Place: New York
Publisher: Oxford University Press
PubDate: 1965
PhysDes: xix, 364 p. ill., 20 cm.
Subject: ACTORS; ADAPTATIONS; EXPERIMENTAL FILMS; THEORY; AGEE, JAMES; ALEXANDROV, GROGORIO; ANGER, KENNETH; ANSTEY, EDGAR; ARNHEIM, RUDOLF; ASTAIRE, FRED; BALAZS, BELA; BENJAMIN, WALTER; BERGMAN, INGMAR; BOGART, HUMPHREY; BRAKHAGE, STAN; BRANDO, MARLON; BUNUEL, LUIS; CAGNEY, JAMES; CAPRA, FRANK; CASTELLANI, RENATO; CAVALCANTI, ALBERTO; CHANEY, LON; CHAPLIN, CHARLES; CLAIR, RENE; CLEMENT, RENE; CLOUZOT, HENRI-GEORGES; COCTEAU, JEAN; DALI, SALVADOR; DE FILIPPO, EDUARDO; DEMILLE, CECIL B.; DE SICA, VITTORIO; DISNEY, WALT; DOVZENKO, ALEKSANDR; DREYER, CARL TH.; DUCHAMP, MARCEL; DUVIVIER, JULIEN; ELTON, ARTHUR; ENGEL, MORRIS; EPSTEIN, JEAN; FELLINI, FEDERICO; FEUILLADE, LOUIS; FEYDER, JACQUES; FISCHINGER, OSKAR; FLAHERTY, ROBERT; FORD, JOHN; FRANJU, GEORGES; FREUD, SIGMUND; GANCE, ABEL; GARNETT, GALE; GIDE, ANDRE; GREENE, GRAHAM; GRIERSON, JOHN; GRIFFITH, DAVID WARK; GRIFFITHS, RICHARD; GUITRY, SACHA; HARRINGTON, CURTIS; HILL, DAVID; HITCHCOCK, ALFRED; WACHSFIGURENKABINETT, DAS (G, Paul Leni, 1924); SMULTRONSTALLET (SW, Ingmar Bergman, 1957); VITELLONI, I (IT, Federico Fellini, 1953); VAMPYR: THE STRANGE ADVENTURE OF ALLEN GRAY [VAMPYR: DER TRAUM DES ALLAN GRAY] (G/FR, Carl Th. Dreyer, 1932); VARIETE (G, E.A. Dupont, 1925); VALLEY TOWN - A STUDY OF MACHINES AND MEN (US, Willard Van Dyke, 1940); UMBERTO D. (IT, Vittorio De Sica, 1952); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); THIRD MAN, THE (UK, Carol Reed, 1949); OKTIABR (UR, Sergei M. Eisenstein, 1928); TEN COMMANDMENTS, THE (US, Cecil B. DeMille, 1956); SYMPHONIE PASTORALE, LA (FR, Jean Delannoy, 1946); SWING TIME (US, George Stevens, 1936); STRADA, LA (IT, Federico Fellini, 1954); ROMAN D'UN TRICHEUR, LE (FR, Sacha Guitry, 1936); MATTER OF LIFE AND DEATH, A (UK, Michael Powell & Emeric Pressburger, 1946); SPIONE (G, Fritz Lang, 1928); SPELLBOUND (US, Alfred Hitchcock, 1945); SOUS LES TOITS DE PARIS (FR, Rene Clair, 1930); SNOW WHITE AND THE SEVEN DWARFS (US, David Hand, 1937); SMILING LIEUTENANT, THE (US, Ernst Lubitsch, 1931); SHANE (US, George Stevens, 1953); SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957); GEHEIMNISSE EINER SEELE (G, Georg Wilhelm Pabst, 1926); SCARFACE (US, Howard Hawks, 1932); SANG DES BETES, LE (FR, Georges Franju,1949); SAN FRANCISCO (US, W.S. Van Dyke, 1936); ROUE, LA (FR, Abel Gance, 1922); ROMEO I DZULETTA (UR, Lev Arnstam & Leonid Lavrovskij, 1954); RICHARD III (UK, Laurence Olivier, 1955); REGLE DU JEU, LA (FR, Jean Renoir, 1939); RED SHOES, THE (UK, Michael Powell & Emeric Pressburger, 1948); RASHOMON (JA, Akira Kurosawa, 1950); REGEN (NE, Joris Ivens, 1929); PYGMALION (UK, Anthony Asquith & Leslie Howard, 1938); PLACE IN THE SUN, A (US, George Stevens, 1951); PATHER PANCHALI (II, Satyajit Ray, 1955); PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); PARIS 1900 (FR, Nicole Vedres, 1948); PARADINE CASE, THE (US, Alfred Hitchcock, 1947); OTELLO (UR, Sergej Jutkevic, 1956); ON THE WATERFRONT (US, Elia Kazan, 1954); OLVIDADOS, LOS (MX, Luis Bunuel, 1951); OF MEN AND MUSIC (US, Irving Reis, 1950); NOSFERATU - EINE SYMPHONIE DES GRAUENS (G, Friedrich Wilhelm Murnau, 1922); NIGHT MAIL (UK, Harry Watt & Basil Wright, 1936); NIGHT AT THE OPERA, A (US, Sam Wood, 1935); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); MOULIN ROUGE (UK, E.A. Dupont, 1928); MONSIEUR VERDOUX (US, Charles Chaplin, 1947); MODERN TIMES (US, Charles Chaplin, 1936); MOBY DICK (UK, John Huston, 1956); MOANA (US, Robert Flaherty, 1926); MILLION, LE (FR, Rene Clair, 1931); METROPOLIS (GG, Fritz Lang, 1927); MESHES OF THE AFTERNOON (US, Maya Deren & Alexander Hammid, 1943); MENSCHEN AM SONNTAG (G, Robert Siodmak & Edgar G. Ulmer, 1929); MARTY (US, Delbert Mann, 1954); MAN WHO KNEW TOO MUCH, THE (UK, Alfred Hitchcock, 1936); MAJOR BARBARA (UK, Gabriel Pascal, 1941); MADAME BOVARY (FR, Claude Chabrol, 1991); MACBETH (US, Orson Welles, 1948); M (G, Fritz Lang, 1931); LOVE PARADE, THE (US, Ernst Lubitsch, 1929); LIMELIGHT (US, Charles Chaplin, 1952); LIFEBOAT (US, Alfred Hitchcock, 1944); OSTATNI ETAP (PL, Wanda Jakubowska, 1948); LADY IN THE LAKE (US, Robert Montgomery, 1946); KID, THE (US, Charles Chaplin, 1921); JULIUS CAESAR (US, Joseph L. Mankiewicz, 1953); JAZZ SINGER, THE (US, Alan Crosland, 1927); IVAN GROZNY [IVAN THE TERRIBLE] (UR, Sergei Eisenstein, pt.1:1945, pt.2:1958[prod.1946]); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); INVISIBLE MAN, THE (US, James Whale, 1933); INTOLERANCE (US, David Wark Griffith, 1916); HUMAN DESIRE (US, Fritz Lang, 1954); HOUSING PROBLEMS (UK, Edgar Anstey & Arthur Elton, 1935); HOTEL DES INVALIDES (FR, Georges Franju, 1952); HIGH NOON (US, Fred Zinnemann, 1952); HENRY V (UK, Laurence Olivier, 1944); HEIRESS, THE (US, William Wyler, 1949); HATFUL OF RAIN, A (US, Fred Zinnemann, 1957); HAMLET (UK, Laurence Olivier, 1948); HALLELUJAH (US, King Vidor, 1929); GREED (US, Erich von Stroheim, 1925); GREAT EXPECTATIONS (UK, David Lean, 1946); GRAPES OF WRATH, THE (US, John Ford, 1940); GRANDE ILLUSION, LA (FR, Jean Renoir, 1937); GOLD RUSH, THE (US, Charles Chaplin, 1925); GLASS MENAGERIE, THE (US, Irving Rapper, 1950); VORMITTAGSSPUK (G, Hans Richter, 1928); GHOST GOES WEST, THE (UK, Rene Clair, 1935); GHOST AND MRS MUIR, THE (US, Joseph L. Mankiewicz, 1947); GERVAISE (FR, Rene Clement, 1956); JIGOKUMON (JA, Teinosuke kinugasa, 1953); FURY (US, Fritz Lang, 1936); [FOUR] HORSEMEN OF THE APOCALYPSE, THE (US, Vincente Minnelli, 1962); FARREBIQUE [FARREBIQUE OU LES QUATRE SAISONS] (FR, Georges Rouquier, 1946); FANTASIA (US, Walt Disney, 1940); ZEMLJA (UR, Alexksandr Dovzenko, 1930); DESTRY RIDES AGAIN (US, George Marshall, 1939); DESTINY [MUDE TOD, DER] (G, Fritz Lang, 1921); DEATH OF A SALESMAN (US, Laslo Benedek, 1951); DEAD OF NIGHT (UK, Alberto Cavalcanti & Charles Crichton & Basil Dearden & Robert Hamer, 1945); CONDAMNE A MORT S`EST ECHAPPE, UN (FR, Robert Bresson, 1956); CITY LIGHTS (US, Charles Chaplin, 1931); CITIZEN KANE (US, Orson Welles, 1941); CINDERELLA (US, Wilfred Jackson & Hamilton Laske & Clyde Geronomi, 1950); CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928); BROKEN BLOSSOMS (US, David Wark Griffith, 1919); BROADWAY MELODY OF 1938 (US, Norman Taurog, 1940); BRIEF ENCOUNTER (UK, David Lean, 1945); BOOMERANG (US, Elia Kazan, 1947); SANG D'UN POETE, LE (FR, Jean Cocteau, 1932); BLACKMAIL (UK, Alfred Hitchcock, 1929); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); LADRI DI BICICLETTE (IT, Vittorio De Sica, 1949); BEZZERIDES, A.I.; BEN HUR (US, Fred Niblo, 1925); BAMBI (US, David Hand, 1942); BALLET MECANIQUE, LE (FR, Fernand Leger, 1924); BACK STREET (US, John M. Stahl, 1932); ATALANTE, L' (FR, Jean Vigo, 1934); A PROPOS DE NICE (FR, Jean Vigo, 1930); APARAJITO (II, Satyajit Ray, 1957); ANNA CHRISTIE (US, Clarence Brown, 1930); ANATOMY OF A MURDER (US, Otto Preminger, 1959); AMERICAN TRAGEDY, AN (Josef von Sternberg, 1931); ALEKSANDR NEVSKI (UR, Sergei M. Eisenstein, 1938); BROADWAY MELODY, THE (US, Harry Beaumont, 1929); LETZIE MANN, DER (G, Friedrich Wilhelm Murnau, 1924)
Notes: Frist published 1960; Previously published as: Nature of films. England : Dobson ;1965; Includes bilbiograpy: p. 351-364; Includes index
URL status: URL: 'http://-' Checked: 31/08/2021 1:14:06 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: 61[77] DAN
Author: Danks, Adrian
PhysDes: 233 p. ; 29 cm.
Subject: AESTHETICS; PHOTOGRAPHY AND THE CINEMA; AUTEUR THEORY; AVANT-GARDE FILMS; AVANT-GARDE FILMS. AUSTRALIA; EXPERIMENTAL FILMS; EXPERIMENTAL FILMS. AUSTRALIA; Powell, Michael; PRESSBURGER, EMERIC; BELLE NOISEUSE, LA (FR, Jacques Rivette, 1991); BADLANDS (US, Terrence Malick, 1973); SONG OF AIR (AT, Merilee Bennett, 1987); CANTERBURY TALE, A (UK, Michael Powell & Emeric Pressburger, 1944); PEEPING TOM (UK, Michael Powell, 1960); JFK (US, Oliver Stone, 1991); CALENDAR (CN/GG/AR, Atom Egoyan, 1993); WINDOW WATER BABY MOVING (US, Stan Brakhage, 1959)
Summary: This thesis analyses the representation of 'home' photographic materials within a range of historically, aesthetically and generically diverse cinematic works. [Taken from thesis summary.]
Notes: PhD thesis

PhysDes: Article
Subject: VIDEO, FILMS ON. AUSTRALIA; ADVERTISING FOR FILMS; INDUSTRY, FILM. AUSTRALIA; MAD MAX (AT, George Miller, 1979); CALIGULA (IT, Giovanni Tinto Brass, 1979); LOVE AT FIRST BITE (US, Stan Dragoti, 1979)
Summary: Article on the success of Roadshow Home Video, and the announcement of their new marketing manager, Toni Hamilton.

Call No: 21(73) LEW
Author: Lewis, Jerry
Source: UK
Place: London
Publisher: Vision
PubDate: 1974
PhysDes: 208p. : ill. ; 22cm
Subject: DIRECTION; INDUSTRY, FILM. USA; PRODUCTION; BRANDO, MARLON; CHAPLIN, CHARLES; HARDY, OLIVER; LAUREL, STAN; LEWIS, JERRY; WISE, ROBERT; WYLER, WILLIAM; BONNIE AND CLYDE (US, Arthur Penn, 1967); MODERN TIMES (US, Charles Chaplin, 1936)
Summary: "Adapted from his lectures to university post-graduate students, The Total Film-Maker is Jerry Lewis's frank, sometimes irreverent account, from the director's viewpoint, of the splendours and miseries of film-making. Replete with anecdotes and asides, the book details almost every aspect of the production of a motion picture, including the marshalling of actors and technicians, the preparation for filming itself, the cutting and editing processes, and the not always amicable transactions with distributors and would-be exploiters that follow the making of a film. The final section deals with the art of film comedy: how it is created, what makes it work, and who the great comedians are and why" -Book blurb
ISBN: 01854780238
Donation: donated by the family of Wayne Levy, 2006
Contents: To the reader -- Prologue -- Part one - production -- The humanities of film -- The total film-maker -- The money man -- Script and writer -- Actors -- The million-dollar hug -- Pre-production chores -- The crew -- Homework -- Filming it! -- Part two - post-production -- Editing -- Music and dubbing -- distribution and exploitation -- Other film-makers, other films -- Part three - comedy -- Laughs are our thing -- The visuals of comedy -- The comedians -- Kind of a wrap

Call No: PERSONALITY MICROFILM COLLECTION
PhysDes: Clippings
Subject: VANDERBEEK, STAN

Call No: 771.1(73) SIT
Author: Sitney, P. Adams
Edition: 2d ed
Place: New York
Publisher: Oxford University Press
PubDate: 1979
PhysDes: xiv, 463 p. : ill. ; 24 cm
Subject: AVANT-GARDE FILMS. USA; SURREALISM AND THE CINEMA; ANGER, KENNETH; BEAVERS, ROBERT; BELSON, JORDAN; BRAKHAGE, STAN; BREER, ROBERT; CROWLEY, ALEISTER; BRAKHAGE, JANE; BAILLIE, BRUCE; BROUGHTON, JAMES; CLARKE, SHIRLEY; CONNER, BRUCE; DEREN, MAYA; FRAMPTON, HOLLIS; GEHR, ERNIE; JACOBS, KEN; JORDAN, LARRY; LANDOW, GEORGE; LYE, LEN; MACLAINE, CHRISTOPHER; MARKOPOULOS, GREGORY; MEKAS, JONAS; NELSON, ROBERT; PETERSON, SIDNEY; RAINER, YVONNE; SHARITS, PAUL; SMITH, HARRY; SMITH, JACK; SNOW, MICHAEL; WARHOL, ANDY; WHITNEY, JAMES; RICE, RON; MAAS, WILLARD; KUBELKA, PETER; DUCHAMP, MARCEL; CORNELL, JOSEPH
Notes: Includes bibliographical references and index
ISBN: 0195024850 : $15.95; 0195024869(pbk.)
LON: 1228317

Author: Moran, Albert
PhysDes: Article
Subject: GENRES; WESTERNS; MAN WHO SHOT LIBERTY VALANCE, THE (US, John Ford, 1962); DIRTY LITTLE BILLY (US, Stan Dragoti, 1972)
Summary: Extensive article on the Western film genre, it's early roots and how it is represented in films today.

Call No: PERSONALITY MICROFILM COLLECTION
PhysDes: Clippings
Subject: WINSTON, STAN

Call No: PERSONALITY CLIPPINGS FILE
PhysDes: Clippings
Subject: WINSTON, STAN

Call No: 802.253 BET
Author: Betancourt, Jeanne
Source: US
Place: Dayton, Ohio
Publisher: Pflaum Pub.
PubDate: c1974
PhysDes: xxii, 186 p. : ill. ; 23 cm
Subject: WOMEN IN FILMS; WOMEN FILMMAKERS; BRAKHAGE, STAN; DEREN, MAYA; VARDA, AGNES; WINDOW WATER BABY MOVING (US, Stan Brakhage, 1959); CLEO FROM 5 TO 7 [CLEO DE 5 A 7] (FR, Agnes Varda, 1962); CLEO FROM 5 TO 7 [CLEO DE 5 A 7] (FR, Agnes Varda, 1962); DIARY OF A PREGNANT WOMAN (FR, Agnes Varda, 1958); OPERA MOUFFE, L' (FR, Agnes Varda, 1958); MESHES OF THE AFTERNOON (US, Maya Deren & Alexander Hammid, 1943); RITUAL IN TRANSFIGURED TIME (US, Maya Deren, 1946); THIGH LYNE LYRE TRIANGULAR (US, Stan Brakhage, 1961); AT LAND (US, Maya Deren, 1944)
Summary: "I hope Women in focus can serve many people. By reading about and seeing films that present real women, those who have been oblivious to the stereotypes of women in film may begin to recognize them by the contrast offered in the films I suggest. " -- Introduction, Women in Focus
Notes: Reviews of films; Includes indexes; Bibliography: p. 168-181
ISBN: 0827802609
LON: 74078728; 462301
Contents: -- introduction -- the films index -- the filmmakers -- the films -- thematic index -- program possibilities -- bibliography -- distributors of the films --