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Call No: PERSONALITY CLIPPINGS FILE; PERSONALITY MICROFILM COLLECTION
PhysDes: Clippings
Subject: ANDERSON, WES

Call No: 81AND DIL
Author: Dilley, Whitney Crothers
Source: US/UK
Place: London New York
Publisher: Wallflower Press
PubDate: c2017
PhysDes: vii, 246 pages ; 24 cm
Series: Directors' cuts
Subject: CRITICISM; ANDERSON, WES; RUSHMORE (US, Wes Anderson, 1998); BOTTLE ROCKET (US, Wes Anderson, 1996); ROYAL TENENBAUMS, THE (US, Wes Anderson, 2001); LIFE AQUATIC WITH STEVE ZISSOU, THE (US, Wes Anderson, 2004); DARJEELING LIMITED, THE (US, Wes Anderson, 2007); FANTASTIC MR FOX (US/UK, Wes Anderson, 2009); MOONRISE KINGDOM (US, Wes Anderson, 2012); GRAND BUDAPEST HOTEL, THE (UK/G, Wes Anderson, 2014)
Summary: "Wes Anderson is considered one of the most important directors of the post-Baby Boom generation, making films such as Rushmore (1998) and The Royal Tenenbaums (2001) in a style so distinctive that his films are often recognizable from a single frame. Through the travelogue The Darjeeling Limited (2007) and the stop-motion animation of Fantastic Mr. Fox (2009), his films examine issues of gender, race, and class through dysfunctional family dynamics, with particular focus on masculinity and male bonding. Anderson's auteur status is enriched by his fascination with Truffaut and the French New Wave, as well as his authorship of every one of his screenplays, drawing on influences as diverse as Mark Twain, J. D. Salinger, Roald Dahl, and Stefan Zweig. Works such as Moonrise Kingdom (2012) and The Grand Budapest Hotel (2014) continue to fascinate with their postmodern, hyper-nostalgic attention to detail. This book explores the filmic and literary influences that have helped make Anderson a major voice in 21st century "indie" culture, and reveals why Wes Anderson is one of the most inventive filmmakers working in cinema today." -- BOOK BACK COVER
Notes: Includes bibliographical references and index
ISBN: 9780231180696
Contents: -- acknowledgments -- 1 Introduction: Wes Anderson as Auteur -- A History -- 2 Wes Anderson: His Position in American Cinema and Culture -- 3 Gender, Youth, and the Exploration of Masculinity in Bottle Rocket -- 4 "Sic Transit Gloria": Transgressing the Boundaries of Adolescence in Rushmore -- 5 The Interplay of Narrative Text, Language, and Film: Literary Influence and Intertextuality in The Royal Tenenbaums -- 6 Opposition and Resolution: The Dissonance of Celebrity in The Life Aquatic with Steve Zissou -- 7 Fragmentary Narratives/Incomplete Identities in The Darjeeling Limited -- 8 Adaptation and Homage: The World of Roald Dahl and Fantastic Mr. Fox -- 9 Reconstitution of the "Family" and Construction of Normalized Gender in Moonrise Kingdom -- 10 Literary Influence and Memory: Stefan Zweig and The Grand Budapest Hotel -- 11 Wes Anderson's Short Films and Commercial Work -- conclusion : memory and narrative in the works of Wes Anderson -- filmography -- bibliography -- index --

Call No: 721.3(73) BIS
Author: Biskind, Peter
Place: London
Publisher: Bloomsbury
PubDate: 2004
PhysDes: 24 cm ; 545 p
Subject: DIRECTORS. USA; HOLLYWOOD; USA; AWARDS. ACADEMY; INDEPENDENT DISTRIBUTION; INDEPENDENT FILMS. USA; INDEPENDENT PRODUCTION; INDEPENDENT PRODUCTION. USA; DISTRIBUTION. USA; FESTIVALS. PARK CITY. SUNDANCE; MIRAMAX FILMS; AFFLECK, BEN; ALTMAN, ROBERT; ANDERS, ALLISON; ANDERSON, PAUL THOMAS; ANDERSON, WES; ARAKI, GREGG; ARONOFSKY, DARREN; ARTETA, MIGUEL; WEINSTEIN, BOB; WEINSTEIN, HARVEY; ALLEN, WOODY; ALL THE PRETTY HORSES (US, Billy Bob Thornton, 2000); FABULEUX DESTIN D'AMELIE POULAIN, LE (FR/GG, Jean-Pierre Jeunet, 2001); APOSTLE, THE (US, Robert Duvall, 1997); AMERICAN BEAUTY (US, Sam Mendes, 1999); RESERVOIR DOGS (US, Quentin Tarantino, 1992)
Summary: In Down and Dirty Pictures, Peter Biskind tells the story of the filmmakers and the independent distributors who revitalised Hollywood in the 1990s. He follows the growth of Sundance from a regional film festival to the premier showcase of independent film that it became, showing how it succeeded almost despite Robert Redford, whose visionary plans were often thwarted by his quixotic personality. He charts the meteoric rise of the controversial Harvey Weinstein, often described as the last mogul who, with his brother Bob, left a trail of carnage in his wake, yet created an Oscar factory that is the envy of the studios. [Taken from inner jacket sleeve].
ISBN: 0747565708
ID2: 341

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 --

Call No: 802 PRO v.11
Author: Lippy, Tod
Place: London
Publisher: Faber and Faber Limited
PubDate: 2001
PhysDes: 320p. : ill. ; 24 cm
Subject: HOPE, TED; SCHAMUS, JAMES; MCDORMAND, FRANCES; BURWELL, CARTER; LEE, SPIKE; ROBBINS, TIM; COCHRAN, STACY; ANDERSON, WES; MEKAS, JONAS; VACHON, CHRISTINE; Pierson, John; LUMET, SIDNEY; EPHRON, NORA; JARMUSCH, JIM; KORINE, HARMONY; HENRY, BUCK; BERNSTEIN, WALTER; KUSAMA, KARYN; RUSSELL, DAVID O.; GROSBARD, ULU; DEPREZ, THERESE
ISBN: 0571205917(pbk.)
LON: 22055635

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: 81 AND KOR
Author: Kornhaber, Donna, 1979-, (author.)
Source: US
Place: Urbana, Illinois
Publisher: University of Illinois Press
PubDate: c2017
PhysDes: xii, 176 pages : illustrations ; 21 cm
Series: Contemporary Film Directors
Subject: ANDERSON, WES; ROYAL TENENBAUMS, THE (US, Wes Anderson, 2001); DARJEELING LIMITED, THE (US, Wes Anderson, 2007); FANTASTIC MR FOX (US/UK, Wes Anderson, 2009); RUSHMORE (US, Wes Anderson, 1998); LIFE AQUATIC WITH STEVE ZISSOU, THE (US, Wes Anderson, 2004); BOTTLE ROCKET (US, Wes Anderson, 1996); MOONRISE KINGDOM (US, Wes Anderson, 2012); GRAND BUDAPEST HOTEL, THE (UK/G, Wes Anderson, 2014)
Summary: "The Grand Budapest Hotel and Moonrise Kingdom have made Wes Anderson a prestige force. Rushmore and The Royal Tenenbaums have become quotable cult classics. Yet every new Anderson release brings out droves of critics eager to charge him with stylistic excess and self-indulgent eclecticism. Donna Kornhaber approaches Anderson's style as the necessary product of the narrative and thematic concerns that define his body of work. As Kornhaber shows, Anderson's films offer nothing less than a fascinating study in the sensation of belonging--told by characters who possess it the least. " -- LIBRARIES AUSTRALIA
Notes: Includes bibliographical references and index
ISBN: 9780252082726
Donation: Senses of Cinema
Contents: A Collector's Cinema -- Theorizing the Collector -- Collecting with Style -- Anderson's Worlds -- Anderson's Comedy -- Anderson's Camera -- The Contents of the Curio Cabinet -- Shelf 1: Anderson's Family Heirlooms -- The Royal Tenenbaums -- The Darjeeling Limited -- Fantastic Mr Fox -- Shelf 2: Anderson's Faux Families -- Rushmore -- The Life Aquatic with Steve Zissou -- Bottle Rocket -- Shelf 3: Anderson's Matched Pairs -- Moonrise Kingdom -- The Grand Budapest Hotel -- Collecting Wes Anderson -- Anderson's Collected Works -- Building the Collection: Anderson's Method of Production -- The Collector as Author -- The Reorganization of Life: An Interview with Wes Anderson -- Filmography -- Bibliography -- Index.