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Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: AMAZON (US, Mika Kaurismaki, 1991)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: AMAZON (US, Kieth Merrill, 1998?)

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

Call No: SUBJECT CLIPPINGS FILE; AMAZON
PhysDes: Clippings File Article
Subject: AMAZON; STREAMING USE: VIDEO ON DEMAND
Summary: Amazon is announcing that it will produce and release films for both theatrical and video streaming relaese. Currently only to be available in the US.

Call No: DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: AMAZON PRIME VIDEO

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: AMAZON WOMEN ON THE MOON (US, Robert K. Weiss & Joe Dante & John Landis & Carl Gottlieb & Peter Horton, 1987)

Call No: 210.31(73) FRI
Author: Fritz, Ben
Source: US
Place: Boston
Publisher: Eamon Dolan Book/ Houghton Mifflin Harcourt
PubDate: 2018
PhysDes: xxv, 278 pages ; 24 cm.
Subject: SONY CORPORATION; MARVEL ENTERTAINMENT; AMAZON; NETFLIX; IMAX; WALT DISNEY PRODUCTIONS; BUENA VISTA INTERNATIONAL; WARNER BROS.; FRANCHISES; STAR WARS [...] (US, 1977-2015)
Summary: "The stunning metamorphosis of twenty-first-century Hollywood and what lies ahead for the art and commerce of film. In the past decade, Hollywood has endured a cataclysm on a par with the end of silent film and the demise of the studio system. Stars and directors have seen their power dwindle, while writers and producers lift their best techniques from TV, comic books, and the toy biz. The future of Hollywood is being written by powerful corporate brands like Marvel, Amazon, Netflix, and Lego, as well as censors in China. Ben Fritz chronicles this dramatic shakeup with unmatched skill, bringing equal fluency to both the financial and entertainment aspects of Hollywood. He dives deeply into the fruits of the Sony hack to show how the previous model, long a creative and commercial success, lost its way. And he looks ahead through interviews with dozens of key players at Disney, Marvel, Netflix, Amazon, IMAX, and others to discover how they have reinvented the business. He shows us, for instance, how Marvel replaced stars with "universes," and how Disney remade itself in Apple's image and reaped enormous profits. But despite the destruction of the studios' traditional playbook, Fritz argues that these seismic shifts signal the dawn of a new heyday for film. The Big Picture shows the first glimmers of this new golden age through the eyes of the creative mavericks who are defining what our movies will look like in the new era." -- Book jacket.
Notes: Includes bibliographical references (pages 247-263) and index.
ISBN: 9780544789760
Contents: A notes on sources ix -- Introduction: Groundhog Day-How franchises killed originality in Hollywood xii -- Part 1: How Hollywood got here -- The Odd Couple: Lynton and Pascal's glory days at Sony -- Reality Bites: How everything went wrong for the movie business -- Inception: The secret origin of the superhero movie -- Revenge of the Nerds: The rise of Marvel Studios -- Spiderman: Homecoming- why Sony gave up its most valuable asset -- Star Wars: The decline of the A-list -- A Star is Born: Netflix, the new home for movie stars -- Frozen: Why studios stopped making mid-budget dramas -- Trading places: How tv stole movies' spot atop Hollywood -- Part 2: Where Hollywood is headed -- The Terminator: Disney, the perfect studio for the franchise age -- The Producers: Creativity meets franchise managment -- The Shop Around the Corner: Amazon saves the indie film business -- Apt Pupil: China's shifting relationship with Hollywood -- Field of Dreams: Studio defectors and the future of nonfranchise films -- The Last Picture Show?

Call No: 92(058) BOY
Place: London
Publisher: Fleetway House
PubDate: [1951]
PhysDes: 160 p. : illus. ; 26 cm
Subject: TREASURE ISLAND (US, Byron Haskin, 1950); STAGECOACH (US, John Ford, 1939); BLUE LAMP (UK, Basil Dearden, 1949); HIGH JINKS IN SOCIETY (UK, John Guillermin & Robert Jordan Hill, 1949); SO DEAR TO MY HEART (US, Harold Schuster & Hamilton Luske, 1949); BIG CAT, THE (US, Phil Karlson, 1949); SAVAGE SPLENDOUR (US, Lewis Cotlow/Armand Denis, 1949); UNKNOWN ISLAND (US, Jack Bernhard, 1948); GUNGA DIN (US, George Stevens, 1939); AMAZON QUEST (US, Steve Sekely, 1949)

Call No: SUBJECT CLIPPINGS FILE; AMAZON
Author: Mason, Max
PhysDes: Clippings File Article
Subject: ADVERTISING. AUSTRALIA; AMAZON
Summary: Looking at the impact of having online marketplace company Amazon entering the Australian retail market and also on advertising revenue on Australian TV

Author: O'Hara, Ashley
PhysDes: Article
Subject: B-MOVIES; AMAZON QUEST (US, Steve Sekely, 1949); ASTOUNDING SHE MONSTER, THE (US, Ronnie Ashcroft, 1958); BREED OF THE WEST (US, Alan James, 1930); DRACULA VS. FRANKENSTEIN (US, Al Adamson, 1971); FRANKENSTEIN'S DAUGHTER (US, Richard E. Cunha, 1958); IT'S ALIVE (US, Larry Buchanan, 1969); SATAN'S CHEERLEADERS (US, Greydon Clark, 1977)
Summary: A personal selection, with credits and synopsis, of favourite "bad" cinema or "b-grade" movies by Ashley O'Hara including "Amazon Quest", "The Astounding She Monster", "Breed of the West", "Dracula Vs. Frankenstein", "It's Alive" and "Satan's Cheerleaders"
Notes: Review. - synopsis. - credits

Call No: SUBJECT CLIPPINGS FILE; NATIONAL CONTENT. AUSTRALIA
Author: Max Mason
PhysDes: Clippings File Article
Subject: NATIONAL CONTENT. AUSTRALIA; VIDEO ON DEMAND; NETFLIX; AMAZON; TAXES. AUSTRALIA; GOVERNMENT AID. AUSTRALIA
Summary: Subscription video on-demand services such as Netflix, Stan and Amazon should have access to government production incentives, but they need to have local content obligations, Screen Producers Australia argues. m In its submission to the Turnbull government's Australian and Children's Screen Content Review, SPA argues, among 12 recommendations it is making, that government incentives should be platform agnostic, so that streaming services can have access to incentives, such as tax offsets.