Search Catalogue

Call No: 62(04) AFT
Source: K
Place: Abingdon
Publisher: Routledge
PubDate: 2012
PhysDes: viii, 173 pages ; 25 cm.
Subject: B-MOVIES; CRITICISM; RECEPTION; AMATEUR FILMS; LOW BUDGET FILMS; CULTURE AND THE CINEMA; SOCIETY AND THE CINEMA; POPULAR CULTURE AND THE CINEMA
Summary: In the wake of the debates over high/low culture distinction spilling into the effective dismantling of the boundary that once separated them, the past decade has seen the explosion of ‘bad taste’ production on screen. Starting with paracinema or ‘badfilm’ – a movement that has grown up around sleazy, excessive, or poorly executed B-movies and has come to encompass disreputable and unworthy films – this trend has been evident in various formats: on television and in video-art, low-budget and straight to TV films, amateur and home movies. The proliferation of trash on screen can be seen as delivering the final blow to the vexed issue of taste. More importantly, it prompts a reconsideration of some critical issues surrounding production, circulation, understanding and teaching of ‘bad objects’ in the media. This collection of essays, written by international film and television scholars, provides detailed critical analysis of the issues surrounding judgements of cultural value and taste, feeling and affect, cultural morals and politics, research methodologies and teaching strategies in the new landscape of ‘after taste’ media. Addressing global and local developments – from global Hollywood to Australian indigenous film and television, through auteurs Sergei Eisenstein to Jerry Bruckheimer, on to examples such as Twilight to Sukiyaki Western Django – the essays in this book offer a range of critical tools for understanding the recent shifts affecting cultural, aesthetic and political value of the moving image. This book was originally published as a special issue of Continuum: Journal of Media & Cultural Studies.
Notes: Includes bibliographical references and index.
ISBN: 9780415845939
Contents: 1. Introduction: after taste: cultural value and the moving image / Julia Vassilieva and Constantine Verevis -- Part I: Critical methods and approaches. 2. `An idleness bordering on the wacky': Paul Cox and the contradictions of an Australian art cinema / Adrian Martin -- 3. Hollywood: bad cinema's bad `other' / Jane Mills -- 4. Cultural value and viscerality in Sukiyaki Western Django: towards a phenomenology of bad film / Jane Stadler -- 5. Sergei Eisenstein's Que viva Mexico! through time: historicizing value judgement / Julia Vassilieva -- Part II: Taste and value. 6. Transitional tastes: teen girls and genre in the critical reception of Twilight / Lisa Bode -- 7. `Flesh dissolved in an acid of light': the B-movie as second sight / Simon Sellars -- 8. Making the commercial personal: the authorial value of Jerry Bruckheimer television / Tom Steward -- 9. Blowing chunks: Fear Factor, reality television and abjection as a disciplinary practice / Scott Wilson -- Part III: Feeling and affect. 10. Labours of love: home movies, paracinema, and the modern work of cinema spectatorship / Minette Hillyer -- 11. Dead time: cinema, Heidegger, and boredom / Richard Misek -- Part IV: Teaching bad objects forum. 12. Teaching bad objects: introduction / Jodi Brooks -- 13. The state of the discipline: film studies as bad object / Jodi Brooks -- 14. Beyond good/should/bad: teaching Australian Indigenous film and television / Therese Davis -- 15. Teaching Australian television studies / Belinda Smaill.

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Clippings
Subject: AMATEUR (US, Hal Hartley, 1994)

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: AMATEUR FILMS

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Stills; Publicity
Subject: AMATEUR, THE (US, Charles Jarrot, 1982)

Call No: 22 SAT
Author: Satariano, Cecil
Place: London
Publisher: Bachman and Turner
PubDate: 1973
PhysDes: 74, [28] p. illus., ports. 23 cm
Subject: AMATEUR FILMS; PRODUCTION
ISBN: 0859740021
LON: 317370

Call No: 81HAR THE
Source: US
Place: New York
Publisher: Wallflower Press published by Columbia University Press
PubDate: 2017
PhysDes: x, 197 pages ; illustrations ; 24 cm
Series: Directors' cuts
Subject: HARTLEY, HAL; POSEY, PARKER; AMATEUR (US, Hal Hartley, 1994); FLIRT (US/GG/JA, Hal Hartley, 1995); HENRY FOOL (US, Hal Hartley, 1997)
Summary: This collection explores Hartley's work from a variety of aesthetic, cultural, and econimic contexts, while also looking closely at his collaborations with actors, the contexts of his authorial reputaion, his reworking of the romantic comedy and other genres, and the shifting economics of his filmmaking -- Taken from back cover
ISBN: 9780231176170
Donation: Senses of Cinema
Contents: Machine generated contents note: 1.Up Close and Impersonal: Hal Hartley and the Persistence of Tradition / David Bordwell -- 2.`Young. Middle-Class. College-Educated. Unskilled': Hal Hartley in 1991 / Mark L. Berrettini -- 3.`Some Things Shouldn't Be Fixed': Frameworks of Critical Reception and the Early Career of Hal Hartley / Jason Davids Scott -- 4.The Locality of Hal Hartley: The Aesthetics and Business of Smallness / Steven Rawle -- 5.Hal Hartley's Romantic Comedy / Sebastian Manley -- 6.A New Man: The Logic of the Break in Hal Hartley's Amateur / Daniel Varndell -- 7.Not Getting It: Flirt as Anti-Puzzle Film / Steven Rybin -- 8.Poiesis and Media in The Book of Life and No Such Thing / Fernando Gabriel Pagnoni Berns -- 9.Bodies, Space and Theatre in The Unbelievable Truth (and its American Precursors) / Zachary Tavlin -- 10.Parker Posey as Hal Hartley's `Captive Actress' / Jennifer O'Meara -- 11.The Figure Who Writes: On the Henry Fool Trilogy / Steven Rybin.

Author: O'Sullivan, Mardie
PhysDes: Article; Bibliography; Illustration(s)
Subject: AMATEUR FILMS; GRAIL FILM GROUP, THE; WOMEN FILMMAKERS. AUSTRALIA
Summary: The article examines the interplay between context, gender and cultural themes in the work of Australian women film-makers and photographers in the 1930's and 1940's.

Call No: 71(41) FIL
CorpAuthor: British Film Institute
Source: UK
Place: London
Publisher: Published by Sight & Sound for the British Film Institute
PubDate: [1951]
PhysDes: 72 p. illus. 28 cm
Subject: RANK ORGANISATION; CENSORSHIP. UK; CHILDREN, FILMS FOR. UK; SOCIETIES, FILM. UNITED KINGDOM; AMATEUR FILMS. UK; FESTIVALS. EDINBURGH; EDUCATION, FILM. UK; INDUSTRY, FILM. UK; KORDA, ALEXANDER; EALING STUDIOS; REED, CAROL; CLARKE, T E B; Cardiff, Jack; HARRIS, JACK; OLIVIER, LAURENCE; ALWYN, WILLIAM; HOBSON, VALERIE; BALCON, MICHAEL; Grierson, John
Summary: Focuses on a number of different films, people, and areas within the British film industry at the time of publication.
Notes: Includes list of film companies and studios -; Includes list of distribution and exhibition companies -; Includes list of production organisations -; Includes bibliography

Author: Salter, Denbeigh
PhysDes: Article
Subject: WE OF THE NEVER NEVER (AT, Igor Auzins, 1982); LONELY HEARTS (AT, Paul Cox, 1982); AMATEUR, THE (US, Charles Jarrot, 1982); CRITICISM
Summary: Denbeigh Salter's thgouhts on 'We of the Never Never', 'Lonely Hearts', and 'The Amateur'.

Call No: 721.210.8 MIN
Author: Ishizuka, Karen L; Zimmerman, Patricia R
Source: US
Place: Berkely and Los Angeles, California
Publisher: University of California Press
PubDate: 2008
PhysDes: xix, 333 p. : ill. ; 23 cm
Subject: AMATEUR FILMS; HOME MOVIES; COMPILATION FILMS; ARCHIVES & INSTITUTES, FILM; WITTGENSTEIN TRACTATUS (HU, Peter Foracs, 1992); SONG OF AIR (AT, Merilee Bennett, 1987); MAELSTROM, THE (NE, Peter Forgacs, 1997); [NINETY] 90 MILES (US, Juan Carlos Zaldivar, 2001); SOMETHING STRONG WITHIN (US, Robert A. Nakamura, 1994)
Notes: Outgrowth of an international symposium at the Getty Center, Los Angeles in 1998, called The past as present: the home movie as cinema of record. Includes bibliographical references (p. 299-307) and index Includes filmography and videography: p. 289-297
ISBN: 9780520248076
Donation: Donated by Senses Of Cinema, 2009
Contents: 1 Remaking home movies: Richard Fung -- 2 The human studies film archives, Smithonian institution: John Homiak and Pamela Wintle -- 3 Wittgenstein Tractatus: personal reflections on home movies: Peter Forgacs -- 4 La Filmoteca de la Universidad Nacional Autonama de Mexico: Ivan Trujillo -- 5 Ordinary film: Peter Forgac's The Maelstrom: Michael S. Roth -- 6 The imperial war musueum film and video archive: Kay Gladstone -- 7 90 Miles: The politics and aesthetics of personal documentary: Amy Villarejo -- 8 The Florida moving image archive: Steven Davidson -- 9 Something strong within: a visual essay: Karen L. Ishizuka and Robert A Nakamura -- 10 something strong within us as historical memory: Robert Rosen -- 11 the moving image archive of Japanese American National Museum: Karen L. Ishizuka -- 12 The home movie and the film registry: The story of topaz: karen L. Ishizuka and Patricia R Zimmerman -- 13 The Nederlands archive/Museum institute: Nico de Klerk -- 14 Home away from home: private films from the old Dutch East Indies: Nico de Klerk -- 15 The Library of Congress: Brian Taves -- 16 -- Detoriating memories: blurring fact and fiction in home movies in India: Ayisha Abraham -- 17 The movie queen: Northeast historic film: Karan Sheldon and Dwight Swanson -- 18 The WPA film library: Carolyn Faber -- 19 Mule racing in the Mississippi Delta: Karen Glynn -- 20 The Academy film archive: Lynne Kirste -- 21 "As if by magic" : Authority, aesthetics, and visions of the workplace in home movies, circa 1931-1949: Heather Norris Nicholson -- 22 The New Zealand FIlm archive/Nga Kaitiaki o Ngta: Taonga Whitiahua -- 23 Working people, topical Films, and home movies: the case of the North-West Film Archives: Maryann Gomes -- 24 the oregon state historical society's moving images archives: Michele Kribs -- 25 Reflections on the family home movie as document: a semi-pragmatic approach: Roger Odin -- 26 The Stephen Lighthill Collection at the UCLA Film and television archive - Ross Lipman -- 27 Morphing history in histories: from amateur film to the archive of the future: Patricia R. Zimmerman

Call No: 22(07.7) PIP
Author: Piper, James
Source: US
Place: Reston, VA
Publisher: Reston Publishing
PubDate: 1975
PhysDes: 269 p. : ill. ; 21 cm
Subject: FILMMAKING; AMATEUR FILMS
Summary: "Explains how to produce movies with low-cost, accessible 8mm equipment and ordinary homw or school recording equipment. Includes scripting, shooting, editing and preparing sound tracks" -- tp verso
Notes: Includes index; Includes three screenplays - "The cross walk" by Dave Cutter, "The rabbit theory' by Joan E. Carter, and "The first and last day" by Larry Foster
ISBN: 0879096128
Donation: donated by the family of Wayne Levy, 2006
Contents: Chapter one : Selecting equipment -- Chapter two : Ideas for films -- Chapter three : Scripting and planning -- Chapter four : Directing and acting -- Chapter five : Shooting: technical matters -- Chapter six : Shooting: creative options -- Chapter seven : Editing -- Chapter eight : The possibilities of sound -- Chapter nine : Screening - and film festivals -- Chapter ten : What next?

Call No: 626 FAL
Author: Falzon, Christopher
Edition: third edition
Place: London
Publisher: Routledge
PubDate: 2002
PhysDes: 330p. : illustrations ; 24 cm
Subject: PHILOSOPHY AND THE CINEMA; THEORY; FOUCAULT, MICHEL; A NOUS, LA LIBERTE! (FR, Rene Clair, 1931); ADDICTION, THE (US, Abel Ferrara, 1995); AGNES OF GOD (US, Norman Jewison, 1985); AGUIRRE, DER ZORN GOTTES (GW, Werner Herzog, 1972); ALIEN RESURRECTION (US, Jean-Pierre Jeunet, 1997); ALL OF ME (US, Carl Reiner, 1984); ALPHAVILLE (FR, Jean-Luc Godard, 1965); AMADEUS (US, Milos Forman, 1984); AMATEUR (US, Hal Hartley, 1994); ANGEL HEART (US, Alan Parker, 1987); ANTZ (US, Eric Darnell, Lawrence Guterman & Tim Johnson II, 1998); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); BASIC INSTINCT (US, Paul Verhoeven, 1992); BEAVIS AND BUTTHEAD DO AMERICA (US, Mike Judge, 1996); BEDAZZLED (US, Stanely Donen, 1967); BEING JOHN MALKOVICH (UK/US, Spike Jonze, 1999); BEING THERE (US, Hal Ashby, 1979); BIG (US, Penny Marshall, 1988); BIG SLEEP, THE (US, Howard Hawkes, 1946); BLADE RUNNER (US, Ridley Scott, 1982); BLAISE PASCAL (IT, Roberto Rossellini, 1972); BLUE VELVET (US, David Lynch, 1986); BOB ROBERTS (US, Tim Robbins, 1992); BRAZIL; BREAKER MORANT (AT, Bruce Beresford, 1980); A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959); BREATHLESS (FR, Jean-Luc Godard, 1959); CABARET (US, Bob Fosse, 1972); CASABLANCA (US, Michael Curtiz, 1942); CASPER (US, Brad Silberling, 1995); CHANCES ARE (US, Emile Ardolino, 1989); CHINATOWN (US, Roman Polanski, 1974); CINEMA PLUS; CITIZEN KANE (US, Orson Welles, 1941); CLOCKWORK ORANGE, A (UK, Stanley Kubrick, 1971); COLOSSUS: FORBIN PROJECT (US, Joseph Sargent, 1970); CONFORMISTA, IL (IT/FR, Bernardo Bertolucci, 1970); COOK, THE THIEF, HIS WIFE & HER LOVER, THE (NE/FR, Peter Greenaway, 1989); CRIMES AND MISDEMEANORS (US, Woody Allen, 1989); CRIMES OF PASSION (US, Ken Russell, 1984); CRUCIBLE, THE (US, Nicholas Hytner, 1996); CRYING GAME, THE (UK, Neil Jordan, 1992); DANGEROUS LIAISONS (US, Stephen Frears, 1988); DARK CITY (US, Alex Proyas, 1997); DARK STAR (US, John Carpenter, 1974); DEAD AGAIN (US, Kenneth Branagh, 1991); DEVIL'S PLAYGROUND (AT, Fred Schepisi, 1976); DRACULA (US, Tod Browning, 1931); EASY RIDER (US, Dennis Hopper, 1969); EDUCATING RITA (UK, Lewis Gilbert, 1983); ELEPHANT MAN, THE (US, David Lynch, 1980); ENEMY OF THE STATE (US, Tony Scott, 1998); JEDER FUR SICH UND GOTT GEGEN ALLE (GW, Werner Herzog, 1974); FACE/OFF (US, John Woo [pseud. of Wu Yusen], 1997); FAHRENHEIT 451 (UK, Francois Truffaut, 1966); FATAL ATTRACTION (US, Adrian Lyne, 1987); FIVE EASY PIECES (US, Bob Rafelson, 1970); FLY, THE (US, David Cronenberg, 1986); FORTRESS (AT/US, Stuart Gordon, 1993); FRANKENSTEIN (US, James Whale, 1931); FRIGHTENERS, THE (NZ/US, Peter Jackson, 1996); FULL METAL JACKET (UK, Stanley Kubrick, 1987); GATTACA (US, Andrew Niccol, 1997); GHOST (US, Jerry Zucker, 1990); GHOSTS. . . OF THE CIVIL DEAD (AT, John Hillcoat, 1988); ANGST DES TORMANNS BEIM ELFMETER, DIE (GW/AU, Wim Wenders, 1972); GROUNDHOG DAY (US, Harold Ramis, 1993); HANDMAID'S TALE, THE (US/GW, Volker Schlondorff, 1990); HANNAH AND HER SISTERS (US, Woody Allen, 1986); HE SAID, SHE SAID (US, Ken Kwapis and Marisa Silver, 1991); HIGH HOPES (UK, Mike Leigh, 1988); HIGH NOON (US, Fred Zinnemann, 1952); HILARY AND JACKIE (UK, Anand Tucker, 1998); MONTY PYTHON AND THE HOLY GRAIL (UK, Terry Gilliam & Terry Jones, 1974); IF... (UK, Lindsay Anderson, 1968); INHERIT THE WIND (US, Stanley Kramer, 1960); INTERIORS (US, Woody Allen, 1978); INTERVIEW WITH THE VAMPIRE (US, Neil Jordan, 1994); INVASION OF THE BODY SNATCHERS (US, Don Siegel, 1956); ISLAND OF LOST SOULS, THE (US, Erle C. Kenton, 1932); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); JUDGMENT AT NUREMBERG (US, Stanley Kramer, 1961); JURASSIC PARK (US, Steven Spielberg,, 1993); KOYAANISQATSI (US, Godfrey Reggio, 1982); LADYBIRD, LADYBIRD (UK, Kenneth Loach, 1994); ULTIMA CENA, LA (CU, Tomas Gutierrez Alea, 1976); MONTY PYTHON'S LIFE OF BRIAN (UK, Terry Jones, 1979); LOVE AND DEATH (US, Woody Allen, 1975); M (G, Fritz Lang, 1931); MAD MAX (AT, George Miller, 1979); MALTESE FALCON, THE (US, John Huston, 1941); MANCHURIAN CANDIDATE, THE (US, John Frankenheimer, 1962); MATEWAN (US, John Sayles, 1987); MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999); MONTY PYTHON'S THE MEANING OF LIFE (UK, Terry Jones, 1983); MEPHISTO (HU/GW, Istvan Szabo, 1981); METROPOLIS (G, Fritz Lang, 1926); MISSION, THE (UK, Roland Joffe, 1986); MODERN TIMES (US, Charles Chaplin, 1936); MON ONCLE (FR/IT, Jacques Tati, 1958); MONTY PYTHON AND THE HOLY GRAIL (UK, Terry Gilliam & Terry Jones, 1974); MONTY PYTHON'S FLYING CIRCUS[TV] (UK, 1969-1974); MY FAIR LADY (US, George Cukor, 1964); NAME DER ROSE, DER (GW/IT/FR, Jean-Jacques Annaud, 1986); NORMA RAE (US, Martin Ritt, 1979); NUTTY PROFESSOR, THE (US, Jerry Lewis, 1963); O LUCKY MAN! (UK, Lindsay Anderson, 1973); OKTIABR [OCTOBER] (UR, Sergei Eisenstein, 1928); OLIVIER, OLIVIER (FR, Agnieszka Holland, 1992); ON THE BEACH (US, Stanley Kramer, 1959); ON THE WATERFRONT (US, Elia Kazan, 1954); ONE FLEW OVER THE CUCKOO'S NEST (US, Milos Forman, 1975); PEOPLE VS LARRY FLYNT, THE (US, Milos Forman, 1996); PLAYER, THE (US, Robert Altman, 1992); PLAYTIME (FR, Jacques Tati, 1967); PRINCESS BRIDE, THE (US, Rob Reiner, 1987); PURA FORMALITA, UNA (IT/FR, Guiseppe Tornatore, 1994); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); QUIZ SHOW (US, Robert Redford, 1994); RAIN (US, Louis Milestone, 1932); RAIN MAN (US, Barry Levinson, 1988); RAPTURE, THE (US, Michael Tolkin, 1991); RASHOMON (JA, Akira Kurosawa, 1950); REAR WINDOW (US, Alfred Hitchcock, 1954); REBEL WITHOUT A CAUSE (US, Nicholas Ray, 1955); RETOUR DE MARTIN GUERRE, LE (FR, Daniel Vigne, 1982); ROBOCOP (US, Paul Verhoeven, 1987); ROSENCRANTZ AND GUILDENSTERN ARE DEAD (UK, Tom Stoppard, 1990); SALT OF THE EARTH (US, Herbert J. Biberman, 1954); SAVING PRIVATE RYAN (US, Steven Spielberg, 1998); SCHINDLER'S LIST (US, Steven Spielberg, 1993); SEA OF LOVE (US, Harold Becker, 1989); SEVEN [SE7EN] (US, David Fincher, 1995); SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957); SHOCKER (US, Wes Craven, 1989); SILENCE OF THE LAMBS, THE (US, Jonathan Demme, 1991); SIMON DEL DESIERTO (MX, Luis Bunuel, 1965); SLEEPER (US, Woody Allen, 1973); SOPHIE'S CHOICE (US, Alan J. Pakula, 1982); STAGE FRIGHT (UK, Alfred Hitchcock, 1950); STAR TREK II: THE WRATH OF KHAN (US, Nicholas Meyer, 1982); STAR TREK; STAR WARS (US, George Lucas, 1977); SUTURE (US, Scott McGehee & David Siegel, 1993); SWITCH (US, Blake Edwards, 1991); TERMINATOR, THE (US, James Cameron, 1984); TERMINATOR 2: JUDGMENT DAY (US, James Cameron, 1991); TESTAMENT DU DOCTEUR CORDELIER, LE (FR, Jean Renoir, 1961); THINGS TO COME (UK, William Cameron Menzies, 1936); TROIS COULEURS: BLEU (FR, Krzysztof Kieslowski, 1993); THREE FACES OF EVE (US, Nunnally Johnson, 1957); TOTAL RECALL (US, Paul Verhoeven, 1990); TRUMAN SHOW, THE (US, Peter Weir, 1998); USUAL SUSPECTS, THE (US, Bryan Singer, 1995); VICE VERSA (US, Brian Gilbert, 1988); JUNGFRUKALLAN (SW, Ingmar Bergman, 1960); WAG THE DOG (US, Barry Levinson, 1997); WALL STREET (US, Oliver Stone, 1987); WILD ONE, THE (US, Laslo Benedek, 1953); WITTGENSTEIN (UK, Derek Jarman, 1993); YOU ONLY LIVE ONCE (US, Fritz Lang, 1937)
Summary: Now emulated in several competing publications, but still unsurpassed in clarity and insight, Philosophy Goes to the Movies: An Introduction to Philosophy, Third Edition builds on the approach that made the two earlier editions so successful. Drawing on many popular and some lesser known films from around the world, Christopher Falzon introduces students to key areas in philosophy, like: Ethics, Social and Political Philosophy, The Theory of Knowledge, The Self and Personal Identity, Critical Thinking. Perfect for beginners, this book guides the reader through philosophy using illuminating cinematic works, like Avatar, Inception, Fight Club, Wings of Desire, Run Lola Run, A Clockwork Orange, Blade Runner, Dirty Harry and many other films. The fully revised and updated Third Edition features: an expanded introduction that provides a new discussion of the relationship between film and philosophy; new material on notable philosophers such as Aristotle, Merleau-Ponty and Rawls; and coverage of new topics like virtue ethics and what Socrates offers for critical thinking. An updated glossary, references and bibliography, and a filmography, are also included in the Third Edition. -- publisher's web site
Notes: Includes glossary
ISBN: 9780415538169
Contents: Preface -- Introduction -- 1 - Plato’s Picture Show - the theory of knowledge -- 2 - All of Me - the self and personal identity -- 3 - Crimes and Misdemeanors - moral philosophy -- 4 - Antz - social and political philosophy -- 5 - Modern Times - society, science, and technology -- 6 - The Holy Grail - critical thinking -- Further Reading -- Glossary -- Bibliography -- Filmography -- Index