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Call No: 753.1(73) SLE
Author: Slethaug, Gordon E.
Source: US
Place: New York
Publisher: Bloomsbury
PubDate: 2014
PhysDes: vi, 275 p. : ill. ; 23 cm.
Subject: ADAPTATIONS; LITERATURE AND THE CINEMA; CRITICISM; USA; THEORY; POSTMODERNISM AND THE CINEMA; POSTMODERNISM AND THE CINEMA. USA; SIX DEGREES OF SEPARATION (US, Fred Schepisi, 1993); SHORT CUTS (US, Robert Altman, 1993); AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); GANGS OF NEW YORK (GG/IT/US, Martin Scorsese, 2002); GREAT GATSBY, THE (US/AT, Baz Luhrmann, 2013); SMOKE SIGNALS (US, Chris Eyre, 1998); SMOKE (US, Wayne Wang, 1995); DO THE RIGHT THING (US, Spike Lee, 1989); BROKEN FLOWERS (US, Jim Jarmusch, 2005); SNOW WHITE AND THE HUNTSMAN (US, Rupert Sanders, 2012); SNOW WHITE AND THE SEVEN DWARFS (US, David Hand, 1937)
Summary: "Exploring Hollywood feature films as well as small studio productions, Adaptation Theory and Criticism provides the reader with an informative background on adaptation theory and postmodern methodology and includes eight case studies on more than a dozen American films, some of which have been used before (Age of Innocence, Gangs of New York, The Great Gatsby, and Do the Right Thing) and some that have received less consideration (Six Degrees of Seperation, Smoke, Smoke Signals, Broken Flowers, and various Snow White narratives including Enchanted, Mirrir Mirror, and Snow White and the Huntsman. Useful for both film and literary studies, Gordon Slethaug's Adaptation theory and criticism cogently combines existing scholarship with new theories and insights, encouraging readers to think about intertextual connections between literature and film in the USA." -- BOOK BLURB
Notes: Includes bibliographical references (p. [255]-269) and index
ISBN: 9781623564407
Donation: Senses of Cinema
Contents: -- introduction -- 1.Modernism/postmodernism and origin/intertextual play in adaptation theory -- Modernism: High culture, poetic genius, and influence -- Postmodernism: Textuality, intertextuality, pastiche/bricolage, freeplay, and interculturalism -- 2.Adaptation, surplus value, and supplementation in Six Degrees of Separation and Short Cuts -- Surplus, supplementation, and transformation in John Guare's Six Degrees of Separation -- E Pluribus Unum: Raymond Carver's fiction and Robert Altman's Short Cuts -- 3.Intertextual doubling in The Age of Innocence, Gangs of New York, and The Great Gatsby -- Tribalization as intertextual symptom: Scorcese's The Age of Innocence and Gangs of New York -- Ironized intertextuality: The Age of Innocence and The Great Gatsby -- 4.Freeplay, citation, and ethnocriticism: Single and multiple sources in Smoke Signals, SMOKE, and Do the Right Thing -- -- Ethnocriticism and adaptation: Sherman Alexie's The Lone Ranger and Tonto Fistfight in Heaven and Chris Eyre's Smoke Signals -- From Lee to Auster and Wang: Postmodern indeterminacy and racial relations in Do the Right Thing and SMOKE -- Beyond Auster's short story: Do the Right Thing and SMOKE -- 5.Palimpsests and bricolage: Playful and serious citation in Broken Flowers and Snow White's offspring -- Palimpsest, play, and the myth of filiation in Broken Flowers: Clues, signs, and referential mania -- Snow White's offspring: The hyper-palimpsest -- 6.Conclusion -- works cited -- index --

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Clippings
Subject: AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993)

Call No: 408 TUR
Author: Graeme Turner (ed.)
Place: London; New York
Publisher: Routledge
PubDate: 2002
PhysDes: 524 p. ; 24 cm
Subject: CULTURE AND THE CINEMA; GENRES; AESTHETICS; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA; SPECTATORSHIP; AUDIENCE RECEPTION; AUDIENCE RESEARCH; SOUND; THEORY; CREED, BARBARA; KUHN, ANNETTE; NATIONAL CULTURE AND THE CINEMA; POSTMODERNISM AND THE CINEMA; HONG KONG; HOLLYWOOD; GLOBALISATION; USA; MONROE, MARILYN; SEX IN FILMS; HORROR FILMS; ACTION FILMS; HOMOSEXUALITY IN FILMS; THRILLERS; COLOR PURPLE, THE (US, Steven Spielberg, 1985); PIANO, THE (AT, Jane Campion, 1993); AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); TECHNOLOGY AND THE CINEMA; INDUSTRY, FILM
Summary: This companion reader to Film as Social Practice brings together key writings on contemporary cinema, exploring film as a social and cultural phenomenon. Key features of the reader include: thematic sections, each with an introduction by the editor; a general introduction by Graeme Turner; sections on understanding film, film technology, film industries, meanings and pleasures, identities, audiences and consumption.
ISBN: 0415252822

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, Fernando Trueba, 1992); BOSSU, LE (FR, 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); HUSSARD SUR LE TOIT, LE (FR, Jean-Paul Rappeneau, 1995); 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: 512.1 PAR
Author: Partridge, Dinah
Place: South Melbourne
Publisher: Oxford University Press
PubDate: c2000
PhysDes: xxi, 210 p. : ill. ; 26 cm
Subject: ADAPTATIONS; TEACHING MATERIALS; AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); ANIMAL FARM (UK, John Halas & Joy Batchelor, 1954); GREAT GATSBY, THE (US, Jack Clayton, 1974); HAMLET (US, Franco Zeffirelli, 1990); L.A. CONFIDENTIAL (US, Curtis Hanson, 1997); OF MICE AND MEN (US, Gary Sinise, 1992); OUTSIDERS, THE (US, Francis Ford Coppola, 1983); RADIANCE (AT, Rachel Perkins, 1998); SHORT CUTS (US, Robert Altman, 1993); TO KILL A MOCKINGBIRD (US, Robert Mulligan, 1962); WASHINGTON SQUARE (US, Agnieszka Holland, 1997); WELL, THE (AT, Samantha Lang, 1997); YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982)
ISBN: 0195508491
LON: 21264241

Call No: 81SCO DOU
Author: Dougan, Andy
Source: UK
Place: London
Publisher: Orion
PubDate: 1997
PhysDes: 144 p. : ill., ports. ; 20 cm.
Subject: SCORSESE, MARTIN; AFTER HOURS (US, Martin Scorsese, 1985); AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); CAPE FEAR (US, Martin Scorsese, 1991); CASINO (US, Martin Scorsese, 1995); GOODFELLAS (US, Martin Scorsese, 1990); KING OF COMEDY, THE (US, Martin Scorsese, 1983); LAST TEMPTATION OF CHRIST, THE (US/CN, Martin Scorsese, 1988); LAST WALTZ, THE (US, Martin Scorsese, 1978); KUNDUN (US, Martin Scorsese, 1997); MEAN STREETS (US, Martin Scorsese, 1973); NEW YORK, NEW YORK (US, Martin Scorsese, 1977); RAGING BULL (US, Martin Scorsese, 1980); TAXI DRIVER (US, Martin Scorsese, 1976); WHO'S THAT KNOCKING AT THE DOOR (US, Martin Scorsese, 1968); ALICE DOESN'T LIVE HERE ANY MORE (US, Martin Scorsese, 1974); BOXCAR BERTHA (US, Martin Scorsese, 1972); COLOUR OF MONEY,THE (US, Martin Scorsese, 1986); NEW YORK STORIES (US, Woody Allen, Martin Scorsese, Francis Ford Coppola, 1989)
Summary: Complete "Variety" unabridged reviews for all Scorsese films inc. full credit lists
ISBN: 0752811754

Call No: 62(081) MAR
Author: Martin, Adrian
Edition: 2018
Place: Amsterdam
Publisher: Amsterdam University Press
PhysDes: 424 pages ; 24 cm
Series: film culture in transition
Subject: AVANT-GARDE FILMS; CINEPHILIA; CRITICISM: METHODOLOGY OF FILM CRITICISM; THEORY. AUSTRALIA; FILM HISTORY; AKERMAN, CHANTAL; ALMODOVAR, PEDRO; CASSAVETES, JOHN; DE PALMA, BRIAN; FULLER, SAMUEL; GARREL, PHILIPPE; GODARD, JEAN-LUC; HITCHCOCK, ALFRED; POLANSKI, ROMAN; RESNAIS, ALAIN; RUIZ, RAUL; SCORSESE, MARTIN; AFTER HOURS (US, Martin Scorsese, 1985); AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); COTTON CLUB, THE (US, Francis Ford Coppola, 1984); ANNEE DERNIERE A MARIENBAD, L' (FR, Alain Resnais, 1961); ONCE UPON A TIME IN AMERICA (US, Sergio Leone, 1984); HATEFUL EIGHT, THE (US, Quentin Tarantino, 2015); TODO SOBRE MI MADRE (SP/FR, Pedro Almodovar, 1999)
Summary: The essays of distinguished film critic Adrian Martin have long been difficult to access, so this anthology, which collects his work in one volume, will be welcomed throughout film studies. He offers in-depth analysis of many genres of films while providing a broad understanding of the history of cinema and the history of film criticism and culture. These vibrant, highly personal essays balance breadth across cinema theory with almost encyclopedic detail, ranging between aesthetics, cinephilia, film genre, criticism, philosophy, and cultural politics. -- publisher's web site
ISBN: 9789462986831
Contents: PART I - LETTERS OF INTRODUCTION -- 1. Retying the Threads -- 2. The Path and the Passeur -- 3. That Summer Feeling PART II – SCENOGRAPHIES -- 4. Scenes -- 5. Wishful Thinking -- 6. Entities and Energies -- 7. Entranced PART III - A CINEPHILE IN AUSTRALIA -- 8. No Flowers for the Cinephile: The Fates of Cultural Populism PART IV - THE LYRICAL IMPULSE -- 9. Refractory Characters, Shards of Time and Space -- 10. The Trouble with Fiction -- 11. Ball of Fire: The Mysteries -- 12. The Ever-Tested Limit: Cinematic Apparitions -- 13. Delirious Enchantment PART V - GENRE GAMES -- 14. Mr Big: Gangsters and Power -- 15. Unlawful Entries: Anatomy of a Film Cycle -- 16. Lady, Beware: Paths of the Female Gothic -- 17. Live to Tell: Teen Movies Yesterday, Today and Tomorrow -- 18. In the Mood for (Something Like) Love -- 19. Shivers, Surprise and Discomfort: Sadism and Sublimation in Contemporary Cinema PART VI – INTERVENTIONS -- 20. Making a Bad Script Worse: The Curse of the Scriptwriting Manual -- 21. The Offended Critic: Film Reviewing and Social Commentary -- 22. Wild Psychoanalysis of a Precarious, Unstable Reality PART VII - ENVOI -- 23. No Direction Home: Creative Criticism -- 24. Farewells, Full Circles and Ellipses -- 25. My Back Pages -- 26. The File We Accompany, with Cristina lvarez Lopez Notes -- Sources of Texts -- Index

Call No: 81:747.5SCO NIC
Author: Mark Nicholls
CorpAuthor: Pluto Press
Place: Melbourne, Australia
Publisher: Pluto Press
PubDate: 2004
PhysDes: 24 cm; 191 pp
Subject: SCORSESE, MARTIN; AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); RAGING BULL (US, Martin Scorsese, 1980); TAXI DRIVER (US, Martin Scorsese, 1976); GOODFELLAS (US, Martin Scorsese, 1990); CAPE FEAR (US, Martin Scorsese, 1991); MEN IN FILMS. USA
Summary: Martin Scorsese is the most influential director of his generation and, with his work regularly included among the top twenty films of all time, his place in cinema history is indisputable. Scorsese’s films have defined the cinematic essence of each decade since the 1960s and have set the standard of New Hollywood cinema. Join author Mark Nicholls as he traces Martin Scorsese’s central theme of melancholia, nostalgia and loss through five films from the legendary director: The Age of Innocence, Raging Bull, Taxi Driver, Goodfellas and Cape Fear. Scorsese’s melancholic hero, Nicholls argues, is the Hamlet of Hollywood cinema. His journey is driven by an encounter with a corrupt and conservative mob and by his own overpowering experience of loss. Refusing to renounce that loss, under pressure from the mob, Scorsese’s men construct an elaborate and intriguing fantasy of perverse male desire. [Taken from back cover.]
ISBN: 1864031565
ID2: 45

Call No: 409.1 COO
Author: Cook, Pam
Source: UK
Place: London ; New York
Publisher: Routledge
PubDate: 2005
PhysDes: xiii, 246 p. : ill. ; 24 cm
Subject: HISTORY AND THE CINEMA; NOSTALGIA IN FILMS; NATIONAL CULTURE AND THE CINEMA. EUROPEAN COUNTRIES; GENDER AND THE CINEMA; MEN IN FILMS; WOMEN IN FILMS; FEMINISM AND THE CINEMA; SEXUALITY AND THE CINEMA; TYPE CHARACTERS IN FILMS; MELODRAMA; WESTERNS; SCORSESE, MARTIN; BIGELOW, KATHRYN; HAYNES, TODD; WONG KAR WAI; AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); GOLD DIGGERS, THE (US, Sally Potter, 1983); LAST TEMPTATION OF CHRIST, THE (US/CN, Martin Scorsese, 1988); MILDRED PIERCE (US, Michael Curtiz, 1945); RAGING BULL (US, Martin Scorsese, 1980); MANDY (UK, Alexander Mackendrick, 1952); DANCE WITH A STRANGER (UK, Mike Newell, 1985)
Summary: Exploring film culture's obsession with the past through analyses of a wide range of films, from Mildred Pierce and Brief Encounter to Raging Bull and Dance With a Stranger. Examines current debates about the role of cinema in mediating history through memory and nostalgia through a discussion of In the Mood for Love and Far From Heaven, with the suggestion that many films use strategies of memory to challenge established ideas of history, and the traditional role of historians."--BOOK JACKET
Notes: Includes bibliographical references and index (pp. 241-46)
ISBN: 0415183758 (pbk. : alk. paper)
Contents: Introduction: the past today -- Rethinking nostalgia: In the mood for love and Far from heaven -- Duplicity in Mildred Pierce -- Women and the Western -- The pleasures and perils of exploitation films -- Melodrama and the women's picture -- Mandy: daughter of transition -- Memory in British cinema: brief encounters -- Stars and politics -- The gold diggers -- No fixed address: the women's picture from Outrage to Blue Steel -- Masculinity in crisis? -- The last temptation of Christ -- Scorsese's masquerade -- The age of innocence -- Fashion and sexual display in 1950s Hollywood -- Replicating the past: memory and history in Dance with a stranger -- Fictions of identity: style, mimicry, and gender in the films of Kathryn Bigelow.

Call No: 226.4 BRU
Author: Bruzzi, Stella, 1962
Place: London New York
Publisher: Routledge
PubDate: 1997
PhysDes: xxi, 226 p. : ill. ; 24 cm
Subject: COSTUMES; FASHION AND THE CINEMA; GANGSTER FILMS; BLACKS IN FILMS; FEMME FATALE; TRANSVESTISM; GENDER AND THE CINEMA; SHAFT (US, Gordon Parks Jr., 1971); SABRINA (US, Billy Wilder, 1954); PRETTY WOMAN (US, Garry Marshall, 1990); TROP BELLE POUR TOI (FR, Bertrand Blier, 1989); READY TO WEAR (US, Robert Altman, 1994); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); PIANO, THE (AT, Jane Campion, 1993); PULP FICTION (US, Quentin Tarantino, 1994); LEON (FR, Luc Besson, 1994); NEW JACK CITY (US, Mario Van Peebles, 1991); BOYZ N THE HOOD (US, John Singleton, 1991); WAITING TO EXHALE (US, Forest Whitaker, 1995); DISCLOSURE (US, Barry Levinson, 1994); SINGLE WHITE FEMALE (US, Barbet Schroeder, 1992); LAST SEDUCTION, THE (US, John Dahl, 1994); GLEN OR GLENDA - I LED TWO LIVES (US, Edward D. Wood, Jr., 1953); ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, THE (AT, Stephan Elliott, 1994); MRS. DOUBTFIRE (US, Chris Columbus, 1993); BALLAD OF LITTLE JO, THE (US, Maggie Greenwald, 1993); CRYING GAME, THE (UK, Neil Jordan, 1992); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992)
Notes: Includes bibliographical references (p. 208-216) and index; Filmography: p. 204-207
ISBN: 0415139562 (hbk : alk. paper); 0415139570 (pbk : alk. paper)
LON: 97007260; 13082009
ID2: 38