Search Catalogue

Call No: 71(73)WOO
Author: Wood, Jason
Place: London
Publisher: bfi Publishing
PubDate: 2004
PhysDes: xiii, 263 p. : ill. ; 17 cm
Series: BFI screen guides
Subject: INDEPENDENT FILMS. USA; FESTIVALS. CANNES; AWARDS. INDEPENDENT SPIRIT; FESTIVALS. PARK CITY. SUNDANCE; BUSCEMI, STEVE; CASSAVETES, JOHN; LYNCH, DAVID; LEE, SPIKE; SAYLES, JOHN; SODERBERGH, STEVEN; SCORSESE, MARTIN; Tarantino, Quentin; GODARD, JEAN-LUC; HARTLEY, HAL; HOPPER, DENNIS; SEX, LIES AND VIDEOTAPE (US, Steven Soderbergh, 1989); EASY RIDER (US, Dennis Hopper, 1969)
Summary: This guide defines and outlines a personal but representative selection of 100 recommneded American independent films. Each entry includes a plot synopsis, a commentary on the film's significance, production and exhibition history and cross-references to other films. [Taken from back cover].
Notes: Includes preface by Scott McGehee and David Siegel; Bibliography: p. 245-248.; Includes index
ISBN: 1844570061

Call No: 753 ADA
Author: Kennedy-Karpat, Colleen
Place: Cham, Switzerland
Publisher: Springer International Publishing
PubDate: 2017
PhysDes: ix, illustrations (colour), 22cm
Series: Palgrave studies in adaptation and visual culture
Subject: ADAPTATIONS; ADAPTATIONS. AUSTEN, JANE; ADAPTATIONS. SHAKESPEARE, WILLIAM; AUTHORSHIP; COMIC STRIPS; CULTURE AND THE CINEMA; INTERTEXUALITY; TARANTINO, QUENTIN; ALL ABOUT EVE (US, Joseph L. Mankiewicz, 1950); GREAT GATSBY, THE (US/AT, Baz Luhrman, 2013); MUSIC IN FILMS; WOLF HALL [TV] (UK, 2015)
Summary: This book explores the intersection between adaptation studies and what James F. English has called the “economy of prestige,” which includes formal prize culture as well as less tangible expressions such as canon formation, fandom, authorship, and performance. The chapters explore how prestige can affect many facets of the adaptation process, including selection, approach, and reception. The first section of this volume deals directly with cycles of influence involving prizes such as the Pulitzer, the Man Booker, and other major awards. The second section focuses on the juncture where adaptation, the canon, and awards culture meet, while the third considers alternative modes of locating and expressing prestige through adapted and adaptive intertexts. This book will be of interest to students and scholars of adaptation, cultural sociology, film, and literature. -- [taken from publishers site]
Notes: Includes index
ISBN: 9783319528533
Contents: 1.Adaptation and Systems of Cultural Value / Eric Sandberg -- 2.The Pulitzers Go to Hollywood / Thomas Leitch -- 3.Beware of Imitations: All about Eve (1950) / Laurence Raw -- 4.Hilary Mantel's Wolf Hall(s) and the Circulation of Cultural Prestige / Eric Sandberg -- 5.Adapting Queerness, Queering Adaptation: Fun Home on Broadway / Joanna Mansbridge -- 6.Oliver's Auteurs: The Cases of Lean and Polanski / Jeffrey E. Jackson -- 7.Origins, Fidelity, and the Auteur: The Bengali Films of Tapan Sinha / Priyanjali Sen -- 8.The Fortunes of Jane Austen as Chick Lit and Chick Flick / Anne-Marie Scholz -- 9.Jazz, Prestige, and Five Great Gatsby Film Adaptations / Michael Saffle -- 10.Trash Cinema and Oscar Gold: Quentin Tarantino, Intertextuality, and Industry Prestige / Colleen Kennedy-Karpat -- 11.The Hollywood Remake Massacre: Adaptation, Reception, and Value / Laura Mee -- 12."How do I act so well?" The British "Shakespearean" Actor and Cultural Cachet / Anna Blackwell.

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: 81TAR BRA
Author: Brancati, Simona
Edition: English
Source: US
Place: Washington, DC
Publisher: New Academia Publishing
PubDate: 2014
PhysDes: x, 186 pages : color facsimiles ; 23 cm.
Subject: TARANTINO, QUENTIN; PULP FICTION (US, Quentin Tarantino, 1994); KILL BILL VOLUME 1 (US, Quentin Tarantino, 2003); KILL BILL VOLUME 2 (US, Quentin Tarantino, 2004); INGLORIOUS BASTARDS (US/G, Quentin Tarantino, 2009); DJANGO UNCHAINED (US, Quentin Tarantino, 2012); RESERVOIR DOGS (US, Quentin Tarantino, 1992); TRUE ROMANCE (US, Tony Scott, 1993); NATURAL BORN KILLERS (US, Oliver Stone, 1994); [FOUR] 4 ROOMS (US, Allison Anders & Alexandre Rockwell & Robert Rodriguez & Quentin Tarantino, 1995); FROM DUSK TILL DAWN (US, Robert Rodriquez, 1996); JACKIE BROWN (US, Quentin Tarantino, 1997); DEATH PROOF (US, Quentin Tarantino, 2007)
Notes: Translated from: Quentin Tarantino : asfalto nero e acciaio rosso sangue, ©2014.; Includes bibliographical references (pages 182-186); Includes filmography (pages 173-181)
ISBN: 9780989916981
Contents: The event -- A survey of what borders the "Postmodern" -- Metamorphosis of a murder -- The interrogation : reality or 35 mm.? -- The most powerful weapon: Writing -- The find.

Call No: 734.1 HIR
Author: Hirsch, Foster
Edition: [1st Limelight ed.]
Place: New York
Publisher: Limelight Editions
PubDate: [1999]
PhysDes: 398 p. : ill. ; 23 cm
Subject: FILM NOIR; FEMME FATALE; FILM NOIR. FRANCE; FULLER, SAMUEL; CHANDLER, RAYMOND; Wenders, Wim; WOOLRICH, CORNELL; Tarantino, Quentin; FROM DUSK TILL DAWN (US, Robert Rodriquez, 1996); CRISS CROSS (US, Robert Siodmak, 1948); GETAWAY, THE (US, Sam Peckinpah, 1972); USUAL SUSPECTS, THE (US, Bryan Singer, 1995); L.A. CONFIDENTIAL (US, Curtis Hanson, 1997); LAST SEDUCTION, THE (US, John Dahl, 1994); NATURAL BORN KILLERS (US, Oliver Stone, 1994); TIREZ SUR LE PIANISTE (FR, Francois Truffaut, 1960); AGAINST ALL ODDS (US, Taylor Hackford, 1984); BETRAYED (US, Constantin Costa-Gavras, 1988); BLUE VELVET (US, David Lynch, 1986); BOYZ N THE HOOD (US, John Singleton, 1991); CAPE FEAR (US, J. Lee Thompson, 1961); CAPE FEAR (US, Martin Scorsese, 1991); CHINATOWN (US, Roman Polanski, 1974); CONVERSATION, THE (US, Francis Ford Coppola, 1974); DEATH WISH (US, Michael Winner, 1974)
Notes: SEE REPAIRS; Filmography: p. 329-377; Includes bibliographical references (p. 325-327) and index
ISBN: 0879102888
Order Received: 2000
LON: 20214725

Call No: 753 FIL
Author: Vincendeau, Ginette, 1948
CorpAuthor: British Film Institute
Place: London
Publisher: British Film Institute
PubDate: 2001
PhysDes: 284p. : ill. ; 24 cm
Subject: ADAPTATIONS; ADAPTATIONS. DICKENS, CHARLES; ADAPTATIONS. JAMES, HENRY; ADAPTATIONS. LEONARD, ELMORE; ADAPTATIONS. SHAKESPEARE, WILLIAM; ADAPTATIONS. THOMPSON, JIM; HISTORICAL FILMS; LITERATURE AND THE CINEMA; ARMSTRONG, GILLIAN; BASS, RON; TARANTINO, QUENTIN; AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); AMERICAN PSYCHO (US, Mary Harron, 1999); BEACH, THE (US, Danny Boyle, 1999); BELLE EPOQUE (SP/PO/FR, Fernando Trueba, 1992); BOSSU, LE (FR/IT/GG, Philippe de Broca, 1997); BRAM STOKER'S DRACULA (US, Francis Ford Coppola, 1992); CARRINGTON (UK/FR, Christopher Hampton, 1995); COMO AGUA PARA CHOCOLATE (MX, Alfonso Arau, 1992); CRASH (CN, David Cronenberg, 1996); CYRANO DE BERGERAC (FR, Jean-Paul Rappeneau, 1990); DEAD AGAIN (US, Kenneth Branagh, 1991); EDWARD II (UK, Derek Jarman, 1991); ELIZABETH (UK, Shekhar Kapur, 1998); END OF THE AFFAIR, THE (UK, Neil Jordan, 1999); GERMINAL (FR, Claude Berri, 1993); GRIFTERS, THE (US, Stephen Frears, 1990); HOWARDS END (UK, James Ivory, 1992); JACKIE BROWN (US, Quentin Tarantino, 1997); INTERVIEW WITH THE VAMPIRE (US, Neil Jordan, 1994); L.A. CONFIDENTIAL (US, Curtis Hanson, 1997); LITTLE WOMEN (US, Gillian Armstrong, 1994); LOLITA (US, Adrian Lyne, 1997); MADAME BOVARY (FR, Claude Chabrol, 1991); MADNESS OF KING GEORGE, THE (US, Nicholas Hytner, 1994); MAESTRO DE ESGRIMA, EL (SP, Pedro Olea, 1992); MANSFIELD PARK (UK/US, Patricia Rozema, 1999); MARY SHELLEY'S FRANKENSTEIN (US, Kenneth Branagh, 1994); MASK OF ZORRO (US, Martin Campbell, 1998); MISERABLES, LES (FR, Claude Lelouch, 1995); MRS BROWN (UK, John Madden, 1997); MRS DALLOWAY (US, Marleen Gorris, 1997); NAKED LUNCH (CN/UK, David Cronenberg, 1991); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); OUT OF SIGHT (US, Steven Soderbergh, 1998); PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996); PROSPERO'S BOOKS (UK/FR, Peter Greenaway, 1991); REINE MARGOT, LA (FR/GG/IT, Patrice Chereau, 1994); REMAINS OF THE DAY, THE (UK/US, James Ivory, 1993); RIDICULE (FR, Patrice Leconte, 1996); SECRET GARDEN, THE (US, Agnieszka Holland, 1993); SENSE AND SENSIBILITY (US, Ang Lee, 1995); SHAKESPEARE IN LOVE (UK, John Madden, 1998); SHORT CUTS (US, Robert Altman, 1993); TALENTED MR. RIPLEY, THE (US, Anthony Minghella, 1999); TEA WITH MUSSOLINI (IT, Franco Zeffirelli, 1997); THIS WORLD, THEN THE FIREWORKS (US, Michael Oblowitz, 1997); THREE MUSKETEERS, THE (US, Stephen Herek, 1993); TITUS (US, Julie Taymor, 1999); TRAINSPOTTING (UK, Danny Boyle, 1996); WILDE (UK/US/JA/GG, Brian Gilbert, 1997); WILLIAM SHAKESPEARE'S ROMEO + JULIET (US, Baz Luhrmann, 1996)
Summary: "Period costume dramas are major box office commodities, exploiting the lucrative gap between the blockbuster and art film with their mixture of rich visuals, popular sensibility and literary association. But 'heritage cinema' is all too often discussed from literary (not cinematic) perspectives, and criticism of the films has long been overshadowed by the question of a film's fidelity to the original text. This volume of essays, reviews, and interviews seeks to redress this imbalance, by examining the often antagonistic relationship between literature and film - presenting both sides of the argument about whether heritage cinema's elaborate aesthetics owe more to nostalgia than to historical accuracy. In her challenging introduction to the volume, Ginette Vincendeau sketches the terms of the debate, arguing that the genre is an important, but often critically neglected, form of popular cinema. Film/Literature/Heritage, the latest in a series of 'Sight and Sound Readers', embraces a wide range of literary adaptation, from William Shakespeare to William Burroughs, covering films from Orlando to LA Confidential, and directors from Martin Scorcese to Peter Greenaway." - BOOK BLURB
ISBN: 0851708420; 0851708412(pbk.) : ¦13.99
LON: 22285912

Call No: 626:396 MEL
Author: Mellencamp, Patricia
Place: Philadelphia
Publisher: Temple University Press
PubDate: 1995
PhysDes: xiii, 330 p. : ill. ; 24 cm
Series: Culture and the moving image
Subject: FEMINISM AND THE CINEMA; FEMINISM AND THE CINEMA. AUSTRALIA; BODY IN FILMS; EXPRESSIONISM; DASH, JULIE; DELEUZE, GILLES; CAMPION, JANE; ARMSTRONG, GILLIAN; POTTER, SALLY; Tarantino, Quentin; CHRISTIE, JULIE; DAVIS, GEENA; DAVIS, JUDY; EPHRON, NORA; GLYN, ELINOR; GOGOBERIDZE, LANA; HANKS, TOM; JAYAMANNE, LALEEN; LAFFONT, COLLETTE; LANGTON, MARCIA; RYAN, MEG; MOFFATT, TRACEY; HOOKS, BELL; PREER, EVELYN; STONE, SHARON; SWINTON, TILDA; TAYLOR, CLYDE; SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952); THELMA & LOUISE (US, Ridley Scott, 1991); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990); ANGIE (US, Martha Coolidge, 1994); NIGHT CRIES : A RURAL TRAGEDY (AT, Tracey Moffatt, 1990); NICE COLOURED GIRLS (AT, Tracey Moffatt, 1987); DAUGHTERS OF THE DUST (US, Julie Dash, 1991); MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979); BASIC INSTINCT (US, Paul Verhoeven, 1992); BEDEVIL (AT, Tracey Moffat, 1993); SILENCE OF THE LAMBS, THE (US, Jonathan Demme, 1991); COVER GIRL (US, Charles Vidor, 1944); DOLLY SISTERS (US, Irving Cummings, 1945); FORBIDDEN LOVE: THE UNASHAMED STORIES OF LESBIAN LOVE (CN, Aerlyn Weissman & Lynne Fernie, 1993); GOLD DIGGERS, THE (US, Sally Potter, 1983); GOLD DIGGERS OF 1933 (US, Mervyn LeRoy, 1933); GROUNDHOG DAY (US, Harold Ramis, 1993); ILLUSIONS (US, Julie Dash, 1983?); LITTLE WOMEN (US, Gillian Armstrong, 1994); PRIVILEGE (US, Yvonne Rainer, 1990); PULP FICTION (US, Quentin Tarantino, 1994); QUICK AND THE DEAD, THE (US/JA, Sam Raimi, 1995); SHERLOCK, JR. (US, Buster Keaton, 1924); SOMETHING TO TALK ABOUT (US, Lasse Hallstrom, 1995); THRILLER (UK, Sally Potter, 1979); JEDDA (AT, Charles Chauvel, 1955); PIANO, THE (AT, Jane Campion, 1993); METROPOLIS (G, Fritz Lang, 1926)
Notes: Includes bibliographical references (p. 291-324) and index; Five ages of film feminism
ISBN: 1566394015 (pbk.: acid-free paper); 1566394007 (hbk.: acid-free paper)
LON: 11870265

Call No: 451-054(73) WIL
Author: Willis, Sharon
Place: Durham, N.C.
Publisher: Duke University Press
PubDate: 1997
PhysDes: 266 p. ; 24 cm
Subject: RACIAL ISSUES AND THE CINEMA; ACTION FILMS; GENDER AND THE CINEMA. USA; MEN IN FILMS; WOMEN IN FILMS; LEE, SPIKE; LYNCH, DAVID; TARANTINO, QUENTIN; DIE HARD (US, John McTiernan, 1988); LETHAL WEAPON [...] (US, Richard Donner, 1987-92); BASIC INSTINCT (US, Paul Verhoeven, 1992); THELMA & LOUISE (US, Ridley Scott, 1991); TERMINATOR 2: JUDGMENT DAY (US, James Cameron, 1991); WILD AT HEART (US, David Lynch, 1990); PULP FICTION (US, Quentin Tarantino, 1994); DO THE RIGHT THING (US, Spike Lee, 1989); FATAL ATTRACTION (US, Adrian Lyne, 1987)
Summary: In High Contrast, Sharon Willis examines the dynamic relationships between racial and sexual difference in Hollywood film from the 1980s and 1990s. Seizing on the way these differences are accentuated, sensationalized, and eroticized on the screen - most often with little apparent regard for the political context in which they operate - Willis restores that context through close readings of a range of movies from cinematic blockbusters to the work of the new auteurs, Spike Lee, David Lynch, and Quentin Tarantino
Notes: Includes bibliographical references (p. [217]-257) and index
ISBN: 0822320290 (cloth : acid-free paper); 082232041X (pbk. : acid-free paper)
LON: 97013147; 13158378
Contents: Part 1. Battles of the sexes -- 1. Mutilated Masculinties and Their Prostheses: Die Hards and Lethal Weapons -- 2. Insides Out: Public and Private Exchanges from Fatal Attraction to Basic Instinct -- 3. Combative Femininity: Thelma and Louise and Terminator 2 -- Part II. Ethnographies of the "White" Gaze -- 4. Do the Wrong Thing: David Lynch's Perverse Style -- 5. Tell the Right Story: Spike Lee and the Politics of Representative Style -- 6. Borrowed "Style": Quentin Tarantino's Figures of Masculinity

Call No: 71(73) LYO
Author: Lyons, Donald
Place: New York
Publisher: Ballantine
PubDate: 1994
PhysDes: xiv, 337 p., [8] p. of plates : ports. ; 21 cm
Subject: INDEPENDENT FILMS. USA; ALMEREYDA, MICHAEL; ANDERS, ALLISON; COEN, JOEL & ETHAN; CRONENBERG, DAVID; DASH, JULIE; DAVIS, JUDY; EGOYAN, ATOM; FERRARA, ABEL; HARTLEY, HAL; LEE, SPIKE; LINKLATER, RICHARD; PHOENIX, RIVER; SODERBERGH, STEVEN; Tarantino, Quentin; VAN SANT, GUS; ARAKI, GREGG; BIGELOW, KATHRYN; DICKERSON, ERNEST R.; GOMEZ, NICK; JARMUSCH, JIM; LEHMANN, MICHAEL; MORRISSEY, PAUL; O'BRIEN, JOHN; COCHRAN, STACY; COOLIDGE, MARTHA; DAVIS, TAMRA; FRANKLIN, CARL; HARRIS, LESLIE; LEGROS, JAMES; LYNCH, DAVID; MCNAUGHTON, JOHN; MUNCH, CHRISTOPHER; THORNTON, BILLY BOB; RODRIGUEZ, ROBERT; ROCKWELL, ALEXANDRE; SINGLETON, JOHN; SAYLES, JOHN; SAVOCA, NANCY; GAS FOOD LODGING (US, Allison Anders, 1992); MARIACHI, EL (US, Robert Rodriguez, 1992); BOYZ N THE HOOD (US, John Singleton, 1991); BODIES, REST & MOTION (US, Michael Steinberg, 1993); BARTON FINK (US, Joel Cohen, 1991); PASSION FISH (US, John Sayles, 1992); ONE FALSE MOVE (US, Carl Franklin, 1991); MYSTERY TRAIN (US, Jim Jarmusch, 1989); MY NEW GUN (US, Stacy Cochran, 1992); MS 45 (US, Abel Ferrara, 1981); METROPOLITAN (US, Whit Stillman, 1990); MALA NOCHE (US, Gus Van Sant, 1986); JUST ANOTHER GIRL ON THE I.R.T. (US, Leslie Harris, 1992); JUICE (US, Ernest R. Dickerson, 1992); IN THE SOUP (US, Alexandre Rockwell, 1992); HOURS AND TIMES, THE (US, Christopher Munch, 1992); HENRY: PORTRAIT OF A SERIAL KILLER (US, John McNaughton, 1986); HEATHERS (US, Michael Lehmann, 1989); GUN CRAZY (US, Joseph H.Lewis, 1949); LIVING END, THE (US, Gregg Araki, 1992); MY OWN PRIVATE IDAHO (US, Gus Van Sant, 1991); NAKED LUNCH (CN/UK, David Cronenberg, 1991); BAD LIEUTENANT (US, Abel Ferrara, 1992); DO THE RIGHT THING (US, Spike Lee, 1989); DRUGSTORE COWBOY (US, Gus Van Sant, 1989); RAMBLING ROSE (US, Martha Coolidge, 1991); RESERVOIR DOGS (US, Quentin Tarantino, 1992); SEX, LIES AND VIDEOTAPE (US, Steven Soderbergh, 1989); SHE'S GOTTA HAVE IT (US, Spike Lee, 1986); SIMPLE MEN (US, Hal Hartley, 1992); SLACKER (US, Richard Linklater, 1990); TO SLEEP WITH ANGER (US, Charles Burnett, 1990); TRUE LOVE (US, Nancy Savoca, 1989); TRUST (US, Hal Hartley, 1990); UNBELIEVABLE TRUTH, THE (US, Hal Hartley, 1989); VERMONT IS FOR LOVERS (US, John O'Brien, 1992); WILD AT HEART (US, David Lynch, 1990)
Notes: Includes filmography and index
ISBN: 0345382498 (pbk.)
LON: 11029535

Call No: 81TAR WOO
Author: Woods, Paul A
Place: London
Publisher: Plexus
PubDate: 1996
PhysDes: 160 p., [8] p. of plates : ill. (some col.) ; 23 cm
Subject: Tarantino, Quentin; RESERVOIR DOGS (US, Quentin Tarantino, 1992); PULP FICTION (US, Quentin Tarantino, 1994); NATURAL BORN KILLERS (US, Oliver Stone, 1994); TRUE ROMANCE (US, Tony Scott, 1993)
Notes: Filmography: p. 158-160
ISBN: 0859652351
LON: 12302477

Call No: 634 MUS
Author: Wierzbicki, James (ed.)
Source: US/UK
Place: New York : London
Publisher: Routledge
PubDate: 2012
PhysDes: xv, 210 p. : ill. ; 23 cm
Series: Routledge music and screen media series
Subject: DIRECTORS; FILM; FILM WORKERS; LYNCH, DAVID; MUSIC AND THE CINEMA; MUSIC IN FILMS; PRODUCERS; SOUND; SOUND EDITING; SOUND EFFECTS; SOUND RECORDING; ANDERSON, WES; BERGMAN, INGMAR; COEN, JOEL & ETHAN; GREENAWAY, PETER; KIESLOWSKI, KRZYSZTOF; KUBRICK, STANLEY; SELZNICK, DAVID O.; TARANTINO, QUENTIN; TARKOVSKY, ANDREI; VAN SANT, GUS
Summary: "Music, Sound and filmmakers: Sonic Style in Cinema examines the work of filmmakers whose concern is not just for the eye, but also for the ear. The bulk of the text focuses on the work of directors Wes Anderson, Ingmar Bergman, the Coen brothers, Peter Greenaway, Krzysztof Kieslowski, Stanley Kubrick, David Lynch, Quentin Tarantino, Andrey Tarkovsky and Gus Van Sant. Significantly, the anthology includes a discussion of films administratively controlled by such famously sound-conscious producers as David O. Selznick and Val Lewton. Written by the leading film music scholars from Europe, North America, and Australia, Music, Sound and Filmmakers: Sonic Style in Cinema will complement other volumes in Film Music Coursework, or stand on its own among a body of research. " -- BOOK BLURB
Notes: Formerly CIP; Includes bibliographical references and index
ISBN: 9780415898942
Contents: -- series foreword -- preface -- acknowledgments -- 1: sonic style in cinema / James Wierzbicki -- 2: Music, sound, and silence in the films of Ingmar Bergman / Per F. Broman -- 3: Andrey Tarkovsky : the refrain of the sonic fingerprint / Elizabeth Fairweather -- 4: "It's all really happening" : sonic shaping in the films of Wes Anderson / Ben Winters -- 5: Kieslowski's musique concre`te / Joseph G. Kickasola -- 6: Gus Van Sant's soundwalks and audio-visual musique concre`te / Danijela Kulezic-Wilson -- 7: Blowin' in the wind : music and meaning in the Coen Brothers' films / Matthew McDonald -- 8: Sound and uncertainty in the horror films of the Lewton Unit / Michael Lee -- 9: Conducting the composer : David O. Selznick and the Hollywood film score / Nathan Platte -- 10: The Stanley Kubrick experience : music, firecrackers, disorientation, and you / Kate McQuiston -- 11: The filmmaker's contract : controlling sonic space in the films of Peter Greenaway / Ian Sapiro -- 12: The attractions of repetition : Tarantino's sonic style / Lisa Coulthard -- 13: Dream timbre : notes on Lynchian sound design / Isabella van Elferen -- list of contributors -- bibliography -- index --

Author: Luke Goodsell
PhysDes: Article
Subject: HARTLEY, MARK; Tarantino, Quentin; NOT QUITE HOLLYWOOD (AT, Mark Hartley, 2008)
Summary: Review of Not Quite Hollywood

Call No: 634.6 POP
Author: Lannin, Steve; Caley, Matthew
Source: UK
Place: Bristol, UK; Porland, Oregon
Publisher: Intellect
PubDate: 2005
PhysDes: 173 p. : 23 cm
Subject: POP MUSIC AND THE CINEMA; POP MUSIC IN FILMS; MUSIC AND THE CINEMA; MUSIC IN FILMS; ADVERTISING FOR FILMS; COHEN, LEONARD; MORETTI, NANNI; DOORS, THE; COPPOLA, FRANCIS FORD; SOGGY BOTTOM BOYS; COEN, JOEL & ETHAN; PFEIFFER, MICHELLE; DAMON, MATT; KLOVES, STEVE; MINGHELLA, ANTHONY; VALLI, FRANKIE; CIMINO, MICHAEL; RIGHTEOUS BROTHERS; ZUCKER, JERRY; REED, LOU; BOYLE, DANNY; STEALERS WHEEL; Tarantino, Quentin; BAKER, CHET; WEBER, BRUCE; WINGS; ARMITAGE, GEORGE; COLLINS, PHIL; BRICKMAN, PAUL; MASSIVE ATTACK; WONG KAR WAI; CARO DIARIO (IT/FR, Nanni Moretti, 1993); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); O BROTHER, WHERE ART THOU? (US, Joel Coen, 2000); FABULOUS BAKER BOYS, THE (US, Steve Kloves, 1989); TALENTED MR. RIPLEY, THE (US, Anthony Minghella, 1999); DEER HUNTER, THE (US, Michael Cimino, 1978); GHOST (US, Jerry Zucker, 1990); TRAINSPOTTING (UK, Danny Boyle, 1996); RESERVOIR DOGS (US, Quentin Tarantino, 1992); LET'S GET LOST (US, Bruce Weber, 1988); GROSSE POINTE BLANK (US, George Armitage, 1997); RISKY BUSINESS (US, Paul Brickman, 1983); DUOLUO TIANSHI (HK, Wong Kar-Wai, 1995)
Summary: "'Pop Fiction's unique essays individually consider one song within a cinematic context. Unlike previous collected volumes about pop music in film, where a generalised approach has been adopted, it offers instead a close examination of these two most pervasive and significant mediums in contemporary culture. "The collection introspects, assembling the pop song into various guises and documenting how individuals dissemble the multiple roles that the pop song plays in all and one audio-visual moment. The song as: ghost, role-play, memory trigger, narrator, marketing device, translator, alienator, membership rite, etc." (Taken from the back cover)
Notes: Includes index
ISBN: 184150078X

Call No: 802 PRO v.3
Author: Boorman, John, 1933; Donohue, Walter
Place: London
Publisher: Faber and Faber
PubDate: 1994
PhysDes: xiv, 290 p. : ill., ports; 24 cm
Subject: COPPOLA, FRANCIS FORD; LINSON, ART; Tarantino, Quentin; VAN SANT, GUS; CHEN, KAIGE; POLLACK, SYDNEY; WILLNER, HAL; ALMEREYDA, MICHAEL; KASDAN, LAWRENCE; TOLKIN, MICHAEL; POTTER, SALLY; STANLEY, RICHARD; HARTLEY, HAL; OGRESTA, ZRINKO; LOWENSTEIN, RICHARD; SHORT CUTS (US, Robert Altman, 1993); FLIRT (US/GG/JA, Hal Hartley, 1995); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992)
Notes: Includes filmography: p. [289]-290
ISBN: 0571170471 (pbk)
LON: abn94201432; 10975435

Call No: 802 PRO v.5
Author: Boorman, John, 1933; Donohue, Walter
Place: London
Publisher: Faber and Faber
PubDate: 1996
PhysDes: viii, 312 p. : ill. ; 24 cm
Subject: CURTIS, JAMIE LEE; DE PALMA, BRIAN; Tarantino, Quentin; Stewart, James; VACHON, CHRISTINE; CURTIS, TONY; HARRYHAUSEN, RAY; PARK, NICK; SELICK, HENRY; WELLMAN, WILLIAM; MALLE, LOUIS; STAREVITCH, LADISLAS; PUMMELL, SIMON; ANNAUD, JEAN-JACQUES; ZINNEMANN, FRED; HAYNES, TODD; MOORE, JULIEANNE; WINGS (US, William Wellmann, 1927); SAFE (US, Todd Haynes, 1995); BEYOND RANGOON (US, John Boorman, 1995)
Notes: Includes filmography
ISBN: 0571178111 (pbk.)
LON: abn96281398; 12597197

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

Call No: 79PUL TAR
Author: Tarantino, Quentin
Source: UK
Place: London
Publisher: Faber
PubDate: 1994
PhysDes: vii, 198 p. : ill., port ; 22 cm
Subject: PULP FICTION (US, Quentin Tarantino, 1994); SCRIPTS; Tarantino, Quentin
Summary: "Pulp Fiction is a trio of stories rotating around the violent misadventures of a collection of outlaws right out of the pages of the old hardboiled pulp fiction. The interweaving of the characters and stories is masterly; the trajectory of the characters' lives drawn with great genenerosity of spirit. Quentin Tarantino belongs to the new generation of super-literate film-makers whose work is as much about the movies they admire as anything else. But what makes Tarantino unique among his contemporaries is the visceral character of his writing and an exuberant wit and elegant style that makes his scripts compellingly readable" - BOOK BLURB
ISBN: 0571175465 (pbk)
LON: 11317223

Call No: 79PUL TAR
Author: Tarantino, Quentin
Source: UK
Place: London
Publisher: Faber
PubDate: 1999
PhysDes: 198 p. : ill. ; 18 cm.
Subject: PULP FICTION (US, Quentin Tarantino, 1994); SCRIPTS; TARANTINO, QUENTIN
Summary: "Winner of the Academy Award for Best Screenplay and the prestigious Palme d'Or at the Cannes Film Festival, Pulp Fiction exploded on to the screen in 1994 and transformed the direction of contemporary cinema. This trio of masterfully interwoven crime stories is witty, gritty and shamelessly violent, displaying Tarantino's visceral approach to character and plot. Tarantino has spawned a whole host of wannabes in the wake of this, the defining movie of the decade. But none has demonstrated the elegant style and compassion that make his scripts so compellingly readable." - BOOK BLURB
Notes: First published in 1996. Reprinted in paperback 1999.
ISBN: 0571200680 (pbk.)

Call No: 81TAR QUE
Author: Tarantino, Quentin; Peary, Gerald
Place: Jackson
Publisher: University Press of Mississippi
PubDate: 1998
PhysDes: xxiv, 215 p. : ill. ; 23 cm
Series: Conversations with filmmakers series
Subject: Tarantino, Quentin
Notes: Filmography: p. [xxi]-xxiv; Includes bibliographical references and index
ISBN: 1578060516 (pbk. : alk. paper); 1578060508 (cloth : alk. paper)
LON: 98017837; 13818861

Call No: 81 TAR ROC
Author: Roche, David
Source: US
Place: Jackson
Publisher: University Press of Mississippi
PubDate: [2018]
PhysDes: viii, 341 pages : illustrations ; 24 cm
Subject: TARANTINO, QUENTIN
Summary: "Quentin Tarantino's films beg to be considered metafiction: metacommentaries that engage with the history of cultural representations and exalt the aesthetic, ethical, and political potential of creation as re-re-creation and resignification. Covering all eight of Quentin Tarantino's films according to certain themes, David Roche combines cultural studies and neoformalist approaches to highlight how closely the films' poetics and politics are intertwined. Each in-depth chapter focuses on a salient feature, some which have drawn much attention (history, race, gender, violence), others less so (narrative structure, style, music, theatricality). Roche sets Tarantino's films firmly in the legacy of Howard Hawks, Jean-Luc Godard, Sergio Leone, and the New Hollywood, revising the image of a cool pop-culture purveyor that the American director cultivated at the beginning of his career. Roche emphasizes the breadth and depth of his films' engagement with culture, highbrow and lowbrow, screen and print, American, East Asian, and European." -- Provided by publisher.
Notes: Includes bibliographical references and index. -- Filmography and Bibliography: pages 319-331.
ISBN: 9781496821157
Contents: Ch. One "What Shall the History Books Read?" History and Film History -- Ch. Two "Black Man, White Hell" Identity Politics Vol. 1: Race and Ethnicity -- Ch. Three "That's the Excuse You Guys Use Whenever You Want to Exclude Me from Something" Identity Politics Vol. 2: Gender (and Sexuality) -- Ch. Four "Revenge Is Never a Straight Line" A Neoformalist Approach Vol. 1: Narrative Structures and Paradigms -- Ch. Five "Everything's the Same Except for One Change" A Neoformalist Approach Vol. 2: Narration and Style -- Ch. Six "Lookin' Back on the Track, Gonna Do It My Way" The Use of Preexisting Music -- Ch. Seven "Come On, Let's Get into Character" Acting and Theatricality -- Ch. Eight "He's Just Not Used to Seein' a Man Ripped Apart by Dogs Is All" Violence and Spectacle. -- Conclusion

Call No: 744 HOO
Author: Hooks, Bell
Place: New York, NY
Publisher: Routledge
PubDate: 1996
PhysDes: 244 p. ; 24 cm
Subject: RACIAL ISSUES AND THE CINEMA; SEX AND THE CINEMA; CLASS AND THE CINEMA; ETHNIC GROUPS IN FILMS; AVANT-GARDE FILMS; FAMILY IN FILMS; LOOK IN FILMS; SPECTATORSHIP; DEATH IN FILMS; HOMOSEXUALITY IN FILMS; STRIPTEASE IN FILMS; YOUNG PEOPLE IN FILMS; FEMINISM AND THE CINEMA; Tarantino, Quentin; LEE, SPIKE; DASH, JULIE; CLARK, LARRY; JAFFA, ARTHUR; BURNETT, CHARLES; BILLOPS, CAMILLE; ALDERMAN, MARIE-FRANCE; WANG, WAYNE; LIVINGSTON, JENNIE; KILLER OF SHEEP (US, Charles Burnett, 1978); GIRL SIX (US, Spike Lee, 1996); CROOKLYN (US, Spike Lee, 1994); WAITING TO EXHALE (US, Forest Whitaker, 1995); LEAVING LAS VEGAS (US, Mike Figgis, 1995); EXOTICA (CN, Atom Egoyan, 1994); ATTENDANT, THE (UK, Isaac Julien, 1992); FINDING CHRISTA (US, Camille Billops/James Hatch, 1991); KIDS (US, Larry Clark, 1995); HOOP DREAMS (US, Steve James, 1994); PARIS IS BURNING (US, Jennie Livingston, 1990); SHE'S GOTTA HAVE IT (US, Spike Lee, 1986); PULP FICTION (US, Quentin Tarantino, 1994)
Notes: Includes index
ISBN: 0415918235 (HB : acid-free cover); 0415918243 (PB : acid-free cover)
LON: 96026474; 12664107

Call No: PERSONALITY CLIPPINGS FILE; TARANTINO, QUENTIN
Author: Maddox, Garry
PhysDes: Clippings File Article
Subject: TARANTINO, QUENTIN
Summary: Snippet on Quentin Tarantino having a Q&A sessions about Australian films MAD DOG MORGAN and THE CHANT OF JIMMIE BLACKSMITH

Call No: 802.25(71) MOT
Author: Mottram, James
Source: UK
Place: London
Publisher: Faber and Faber
PubDate: 2006
PhysDes: xxix, 480 p. : ill. ; 24cm
Subject: INDEPENDENT FILMS. USA; SUNDANCE INSTITUTE; SODERBERGH, STEVEN; Tarantino, Quentin; RUSSELL, DAVID O.; RODRIGUEZ, ROBERT; LINKLATER, RICHARD; FINCHER, DAVID; JONZE, SPIKE; ANDERSON, PAUL THOMAS; ANDERSON, WES; LEONARD, ELMORE; COPPOLA, SOFIA; PEIRCE, KIMBERLY; SINGER, BRYAN; KAUFMAN, CHARLIE; PAYNE, ALEXANDER
Summary: From Publishers Weekly Mottram covers the same territory Sharon Waxman did in 2005's Rebels on the Backlot, including extensive considerations of directors Steven Soderbergh and Quentin Tarantino, but the British film journalist adds several filmmakers into the mix, including Sofia Coppola and Wes Anderson, concentrating primarily on hot young talents discovered at the Sundance Film Festival. He's also more interested in what's on the screen than Waxman was, so nearly every chapter has lengthy analyses of the movies discussed. But these interpretive flights distract from the reportage, especially when Mottram dismisses successful directors like Robert Rodriguez (who arguably have taken back Hollywood) because he doesn't consider movies like Spy Kids mature enough for serious consideration, or when he insists on linking every modern maverick to a counterpart in '70s cinema. He also links some films together by simplistic means, grouping a trilogy of films set in high schools in one chapter and building another chapter around Elmore Leonard adaptations. Mottram does give insight into the career trajectories of a few of his subjects, most notably Soderbergh, David Fincher and Bryan Singer, making his history a useful starting point.
Notes: Includes notes, general index and index of films
ISBN: 0571222676

Call No: SUBJECT CLIPPINGS FILE; CINEMAS. AUSTRALIA. SUN THEATRE
Author: Johnson, Neala
PhysDes: Clippings File Article
Subject: CINEMAS. AUSTRALIA. SUN THEATRE; CINEMAS. AUSTRALIA. HAYDEN ORPHEUM; TARANTINO, QUENTIN; HATEFUL EIGHT, THE (US, Quentin Tarantino, 2015)
Summary: Report looking at the success of the independent cinemas who screened the film THE HATEFUL EIGHT in 70mm as well as a short profile on Quentin Tarantino and his popularity
Notes: shortened version of this article in Sunday Herald Sun. 7 Feb 2016. p. 89.

Call No: PERSONALITY CLIPPINGS FILE; PERSONALITY MICROFILM COLLECTION; DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: Tarantino, Quentin
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Call No: 79 TRU TAR
Author: Tarantino, Quentin
Source: UK
Place: London
Publisher: Faber and Faber
PubDate: 1995
PhysDes: x, 133 p. : ports. ; 22 cm.
Subject: TRUE ROMANCE (US, Tony Scott, 1993); Tarantino, Quentin
Summary: "The first screenplay Quentin Tarantino ever wrote, True Romance is in many ways his most personal film to date, reflecting as it does the days he spent working behind the counter at Video Archives in Manhatten Beach, California. True Romance's hero, Clarence, played by Christian Slater in the film, works in a comic book shop and absconds with a suit-case full of drugs and his girlfriend Alabama, pursued cross-country from Detroit to LA by a bunch of mobsters out to retrieve their stolen goods. Containing all the Tarantino trademarks like bravura conversational crossfire and audicious narrative structure, True Romance, resonates throughout with intimations of what was to come (Reservoir Dogs and Pulp Fcition) and clearly demonstrates why Tarantino os one of the most dynamic voices working in cinema today" -BOOK BLURB
Notes: Filmscript.
ISBN: 0 571 93284 3

Call No: REFERENCE SECTION; 058 INT "1995"
Author: Cowie, Peter
Edition: 31st ed
Place: London Hollywood
Publisher: Hamlyn Samuel French
PubDate: [1994]
PhysDes: 448 p. : ill., ports. ; 25 cm
Subject: POLAND; FESTIVALS. LA ROCHELLE; CAMPION, JANE; EASTWOOD, CLINT; KAURISMAKI, AKI; LOACH, KENNETH; Tarantino, Quentin
Notes: Includes index to advertisers
ISBN: 0600585166 (pbk.)
LON: 11327343

Call No: 802.24 NOR
Author: Marc Norman
Edition: 2008
Place: London
Publisher: Aurum
PubDate: 2007
PhysDes: 554 pages : illustrations ; 25 cm
Subject: ACADEMY AWARDS; BLACKLISTING. USA; BEATTY, WARREN; BOGART, HUMPHREY; BRANDO, MARLON; CHAYEFSKY, PADDY; COLUMBIA PICTURES; COPPOLA, FRANCIS FORD; DEMILLE, CECIL B.; EDISON, THOMAS ALVA; FITZGERALD, F. SCOTT; GOLDWYN, SAMUEL; GRIFFITH, DAVID WARK; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA; HITCHCOCK, ALFRED; HUSTON, JOHN; JONZE, SPIKE; KEITEL, HARVEY; KOCH, HOWARD; KUBRICK, STANLEY; LARDNER, RING, Jr.; LOOS, ANITA; MANKIEWICZ, HERMAN J.; MANKIEWICZ, JOSEPH L.; MILIUS, JOHN; NICHOLSON, JACK; PENN, ARTHUR; PORTER, EDWIN S.; SCHRADER, PAUL; SOUTHERN, TERRY; SPIELBERG, STEVEN; STEWART, DONALD OGDEN; TARANTINO, QUENTIN; WEINSTEIN, HARVEY; ZANUCK, DARRYL F.; ZUKOR, ADOLPH; AMERICAN GRAFFITI (US, George Lucas, 1973); ALTERED STATES (US, Ken Russell, 1980); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); BONNIE AND CLYDE (US, Arthur Penn, 1967); CLOSE ENCOUNTERS OF THE THIRD KIND (US, Steven Spielberg, 1977); EASY RIDER (US, Dennis Hopper, 1969); INFORMER, THE (US, John Ford, 1935); RAIN PEOPLE, THE (US, Francis Ford Coppola, 1969); STAR WARS (US, George Lucas, 1977)
ISBN: 9781845133245