serial
Afterimage [Rochester, N.Y.]: Visual Studies Workshop,
Call No: held v.5, no.1-v.14, no.2 May/June 1977-Sept. 1986 incompleteCorpAuthor: Visual Studies WorkshopSource: USPlace: [Rochester, N.Y.]Publisher: Visual Studies WorkshopPhysDes: v. ill. 45 cmSubject: ART CINEMA ISSN: 0300-7472Frequency: Monthly (except July & Aug.); Formerly: Monthly (except July, Aug., and Sept.)LON: 79644959; 1004898
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Allegories of cinema : American film in the sixties / David E. James Princeton, N.J.: Princeton University Press, 1989.
Call No: 771.1(73) JAMAuthor: James, David E., 1945 Place: Princeton, N.J.Publisher: Princeton University PressPubDate: 1989PhysDes: xiii, 388 p. : ill. ; 26 cmSubject: UNDERGROUND FILMS ; POLITICAL FILMS ; BLACK POWER FILMS ; WOMEN AND THE CINEMA ; ART CINEMA. USA ; VIETNAM WAR FILMS ; BRAKHAGE, STAN ; ANGER, KENNETH ; WARHOL, ANDY ; MEKAS, JONAS ; FILM ABOUT A WOMAN WHO... (US, Yvonne Rainer, 1974) ; EASY RIDER (US, Dennis Hopper, 1969) Notes: Includes index; Bibliography: p. 362-377ISBN: 0691047553 (alk. paper); 0691006040 (pbk.)LON: 5820741Contents: Stan Brakage, p29-57 -- Andy Warhol, p58-84 -- Jonas Mekas, p100-118 -- "Film that cannot be one: Kenneth Anger" p149-155 -- "Yvonne Rainer: Film about a woman who...", p326-334 -- "Allegories of production: Easy rider", p12-17 -- "Cinema and black liberation", p177-194 -- "Film and the war: representing Vietnam", p195-212 --
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The Andy Warhol of philosophy and the philosophy of Andy Warhol in Critical inquiry (Summer 1998) vol.24 iss.4 p.965-987
Call No: PERSONALITY CLIPPINGS FILE; WARHOL, ANDYAuthor: Mattick, Paul PhysDes: ArticleSubject: ART CINEMA ; WARHOL, ANDY Summary: Much of the consideration critics and philosophers have given Andy Warhol is superficial, ignoring some of the more profound levels of Warhol's work. -- article abstract provided by publisher.
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ART CINEMA
Call No: SUBJECT CLIPPINGS FILEPhysDes: ClippingsSubject: ART CINEMA
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Byte me : art + culture + technology, Bendigo Art Gallery, 10 July - 1 August 1999 / Linda Dement ... [et al.] Bendigo, Vic.: Bendigo Art Gallery, 1999.
Call No: 175 BYTAuthor: Dement, Linda Source: ATPlace: Bendigo, Vic.Publisher: Bendigo Art GalleryPubDate: 1999PhysDes: 16 p. : col. ill. ; 21 cmSubject: ART CINEMA. AUSTRALIA Summary: Brochure of the Byte Me exhibition, held at the Bendigo Art Gallery in 1999Notes: Writers: Julie Clarke, Kevin Murray, Darren Tofts. -- Exhibition curator: Anonda Bell. -- Artists: Linda Dement, Pat Hoffie, Troy Innocent, Jon McCormack, Patricia Piccinini, Josephine Starrs, Leon Cmielewski, James VerdonISBN: 09492215228
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Cantrills filmnotes [Melbourne, Australia: A. Cantrill, 1971.
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The cinema as art / Ralph Stephenson & J. R. Debrix Harmondsworth: Penguin, 1969.
Call No: 63 STEAuthor: Stephenson, Ralph ; Debrix, J. R. CorpAuthor: PenguinEdition: Revised edition, reprintPlace: HarmondsworthPublisher: PenguinPubDate: 1969PhysDes: 270 p., [32] p. of plates ; 18 cmSubject: AESTHETICS ; ART AND THE CINEMA ; ART CINEMA ; EDITING ; CINEMATOGRAPHY ; SOUND ; COSTUMES ; MAKE-UP ; COLORIZATION ; LIGHTING Summary: “The cinema as art”, to those brought up on the “movie show and bubblegum” image, must look like a pretentious contradiction in terms. As this book demonstrates, however, the cinema stands for an art form which is almost unique in immediacy and scope. The authors explain, with over 300 examples taken from films of every country and period, the stages by which a director isolates what is mentally and emotionally significant in a situation. The reader is shown, from the inside, how the director may achieve this end by exploiting any or all of the cinematic techniques from script-planning to final editing, from camera movement to costume from sound to soft-focus. [Taken from back cover.]Notes: Illustrated. Includes index.Donation: Donated by La Trobe University Library
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The cinema book / edited by Pam Cook and Mieke Bernink London: British Film Institute, 1999.
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The documentary film book / edited by Brian Winston London: Palgrave Macmillan, 2013.
Call No: 761 DOCAuthor: Winston, Brian CorpAuthor: British Film InstituteSource: UKPlace: LondonPublisher: Palgrave MacmillanPubDate: 2013PhysDes: 416 pages ; 25 cmSubject: AFRICA ; ART CINEMA ; ANTHROPOLOGY AND THE CINEMA ; BLACK CINEMA ; BRAZIL ; CINEMA-DIRECT ; CINEMA VERITE ; DOCUMENTARIES ; DOCUMENTARY FILMS ; DOCUMENTARY DRAMAS ; ETHICS AND THE CINEMA ; ETHNOGRAPHIC FILMS ; HISTORY ON TV ; HOMOSEXUALITY AND THE CINEMA ; ISRAEL ; INTERNET AND THE CINEMA ; LATIN AMERICAN COUNTRIES ; PALESTINE ; POLITICAL FILMS ; RACE AND THE CINEMA ; REVOLUTIONARY THEMES IN FILMS ; MOVEMENTS IN FILM HISTORY ; REALITY TV ; GRIERSON, JOHN ; MOORE, MICHAEL ; VERTOV, DZIGA ; AFRICA RISING (US, Paula Heredia, 2009) ; AILEEN: LIFE AND DEATH OF A SERIAL KILLER (UK, Nick Bloomfield & Joan Churchill, 2003) ; CHRONIQUE D' UN ETE (FR, Jean Rouch/Edgar Morin, 1961) ; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929) ; MAN WITH A MOVIE CAMERA (UR, Dziga Vertov, 1929) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) Summary: Powerfully posing questions of ethics, ideology, authorship and form, documentary film has never been more popular than it is today. Edited by one of the leading British authorities in the field, The Documentary Film Book is an essential guide to current thinking on documentary film.
In a series of fascinating essays, key international experts discuss the theory of documentary, outline current understandings of its history (from pre-Flaherty to the post-Griersonian world of digital 'i-Docs'), survey documentary production (from Africa to Europe, and from the Americas to Asia), consider documentaries by marginalised minority communities, and assess its contribution to other disciplines and arts. Brought together here in one volume, these scholars offer compelling evidence as to why, over the last few decades, documentary has come to the centre of screen studies. -- BOOK BLURBISBN: 9781844573417Contents: Acknowledgments -- Notes on Contributors -- Foreword: Why Documentaries Matter -- Introduction: The Filmed Documentary --; PART I: DOCUMENTARY VALUES -- The Question of Evidence, the Power of Rhetoric and Documentary Film: Bill Nichols -- 'I'll Believe It When I Trust the Source': Documentary Images and Visual Evidence: Carl Plantinga -- 'The Performance Documentary': The Performing Film-Maker, the Acting Subject: Stella Bruzzi -- On Truth, Objectivity and Partisanship: The Case of Michael Moore: Douglas Kellner -- CGI and the End of Photography as Evidence: Taylor Downing -- Drawn From Life: The Animated Documentary: Andy Glynne -- Dramadoc? Docudrama? The Limits and Protocols of a Televisual Form: Derek Paget -- Ambiguous Audiences: Annette Hill -- Life As Narrativised: Brian Winston -- The Dance of Documentary Ethics: Pratap Rughani -- Deaths, Transfigurations and the Future: John Corner --; PART II: DOCUMENTARY PARADIGMS -- Problems in Historiography: The Documentary Tradition Before Nanook of the North: Charles Musser -- John Grierson and the Documentary Film Movement: Ian Aitken -- Challenges For Change: Canada's National Film Board: Thomas Waugh and Ezra Winton -- Grierson's Legacies: Australia and New Zealand: Deane Williams -- New Deal Documentary and the North Atlantic Welfare State: Zoe Druick and Jonathan Kahana -- The Triumph of Observationalism: Direct Cinema in the USA: Dave Saunders -- Russian and Soviet Documentary: From Vertov to Sokurov: Ian Christie -- The Radical Tradition in Documentary Film-making, 1920s–50s: Bert Hogenkamp -- Le Groupe des trente: The Poetic Tradition: Elena Von Kassel Siambani -- Cinéma Vérité: Vertov Revisited: Genevieve Van Cauwenberge -- Beyond Sobriety: Documentary Diversions: Craig Hight --; PART III: DOCUMENTARY HORIZONS -- Eastwards: Abe Mark Nornes -- Africa N.: Frank Ukadike -- Images From the South: Contemporary Documentary in Argentina and Brazil: Ana Amado and Maria Dora Mourao -- 'Roadblock' Films, 'Children's Resistance' Films and 'Blood Relations' Films: Israeli and Palestinian Documentary Post-Intifada: Il Raya Morag -- Sacred, Mundane and Absurd Revelations of the Everyday – Poetic Vérité in the Eastern European Tradition; Susanna Helke --; PART IV: DOCUMENTARY VOICES -- First-Person Political: Alisa Lebow -- Feminist Documentaries: Finding, Seeing and Using Them: Julia Lesage -- Pioneers of Black Documentary Film: Pearl Bowser -- LGTBs' Documentary Identity: Christopher Pullen -- Docusoaps: The Ordinary Voice as Popular Entertainment: Richard Kilborn -- Reality TV: A Sign of the Times?: Anita Biressi and Heather Nunn --; PART V: DOCUMENTARY DISCIPLINES -- Anthropology: The Evolution of Ethnographic Film: Paul Henley -- Science, Society and Documentary: Tim Boon -- History Documentaries for Television: Ann Gray -- Music, Documentary, Music Documentary: Michael Chanan -- Art, Documentary as Art; Michael Renov --; PART VI: DOCUMENTARY FUTURES -- Documentary as Open Space: Helen de Michiel and Patricia R. Zimmermann -- 'This Great Mapping of Ourselves': New Documentary Forms Online: John Dovey and Mandy Rose -- New Platforms for 'Docmedia': 'Varient of a Manifesto': Peter Wintonick --; Afterword: The Unchanging Question: Brian Winston -- Index
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The Euro-American cinema / Peter Lev Austin: University of Texas Press, 1993.
Call No: 408.3 LEVAuthor: Lev, Peter, 1948 Edition: 1st edSource: USPlace: AustinPublisher: University of Texas PressPubDate: 1993PhysDes: xv, 170 p. : ill. ; 24 cmSeries: Texas film studies seriesSubject: ART CINEMA. USA ; POPULAR CULTURE AND THE CINEMA ; CULTURAL IMPERIALISM ; USA ; EUROPEAN COUNTRIES ; MEPRIS, LE (FR/IT, Jean-Luc Godrad, 1963) ; BLOWUP (UK/IT, Michelangelo Antonioni, 1966) ; PARIS, TEXAS (GW/US, Wim Wenders, 1984) ; RACCONTI DI CANTERBURY, I (IT/FR, Pier Paolo Pasolini, 1973) ; LAST EMPEROR, THE (UK/CC, Bernardo Bertolucci, 1987) Summary: "Peter Lev departs from the traditional approach of national cinema histories and discusses some of the blens, overlaps, and hegemonies that are typical of the world film industry of recent years. In Part One, he gives an overview of what he terms the "Euro-American art film," which is characterized by prominent use of the English language, a European art-film director, cast and crew from at least two countries, and a stylistic mixing of European art film and American entertainment.
The second part of Lev's study examines in detail five examples of the Euro-American art film: Contempt (Jean-Luc Godard, 1963), Blow-up (Michelangelo Antonioni, 1966), The Canturbury Tales (Pier Paolo Pasolini, 1972), and The Last Emperor (Bernardo Bertolucci, 1987). These case studies reveal that the European art film has had a strong influence on world cinema and that many Euro-American films are truly cultural blends rather than abject takeovers by Hollywood cinema." -- Back coverNotes: Filmography: p. [141]-156; Includes bibliographical references (p. [157]-160) and indexISBN: 0292746784 (pbk. : alk. paper); 0292746776 (cloth : alk. paper)LON: 9657097
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European Film Industries / Anne Jackel London: British Film Institute, 2003.
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Experimenta : Australia's first national exhibition of art film and video : Melbourne, Nov. 18th-27th, 1988 / presented by Modern Image Makers Association Inc. (MIMA) Melbourne: MIMA, 1988.
Call No: 771(94) MODAuthor: Modern Image Makers Association Source: ATPlace: MelbournePublisher: MIMAPubDate: 1988PhysDes: 48 p. ; 30 cmSubject: ART AND THE CINEMA ; ART CINEMA. AUSTRALIA ; EXHIBITION. AUSTRALIA ; EXPERIMENTAL FILMS. AUSTRALIA ; MONDO FILMS ; MARTIN, ADRIAN ; CANTRILL, ARTHUR & CORINNE ; Gibson, Ross ; ALEXANDER, GEORGE Summary: Program for the Experimenta exhibition 1988. Includes short essays from various performers and presenters as well as the list of exhibits and exhibiting artistsNotes: State Film Theatre, City Gallery, 200 Gertrude Street Gallery, Australian Centre for Contemporary Art, National Gallery of VictoriaISBN: 731641730Contents: Experimenta Program -- Theatrical -- Performance -- Installation -- Seminars; Project: last written words -- Hello comrade: Adrian Martin -- Last and first words: Fiona Mackie -- Some thoughts on the practice of film as art in Australia: Arthur Cantrill -- I used to speak French: Ross Gibson -- Against the grain: Kris Hemensley -- Mondo video: George Alexander --; Exhibiting artists; Experimenta at a glance
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Extreme cinema : the transgressive rhetoric of today's art film culture / Mattias Frey New Brunswick, N.J.: Rutgers University Press, 2016.
Call No: 722.71 FREAuthor: Frey, Mattias Source: USPlace: New Brunswick, N.J.Publisher: Rutgers University PressPubDate: 2016PhysDes: viii, 285 pages : illustrations ; 24 cmSubject: ART CINEMA ; AESTHETICS ; VIOLENCE IN FILMS ; PORNOGRAPHY ; SEX IN FILMS ; HANEKE, MICHAEL ; VON TRIER, LARS Summary: "From Shortbus to Shame and from Oldboy to Irreversible, film festival premieres regularly make international headlines for their schockingly graphic depictions of sex and violence. Film critics and scholars alike often regard these movies as the work of visionary auteurs, hailing directors like Michael Haneke and Lars von Trier as heirs to a tradition of transgressive art. In this provocative new book, Mattias Frey ofers a very different perspective on these films, exposing how they are also calculated products, designed to achieve global notoriety in a competitive marketplace. Extreme Cinema includes original interviews with the programmers of several leading international film festivals and with niche distributors and exhibitors, giving readers a revealing look at how these institutions enjoy a symbiotic relationship with the 'taboo-breakers' of arthouse cinema." -- BOOK BLURBNotes: Includes bibliographical references and indexISBN: 9780813576497Contents: 1. Transgression and Distinction: Filmmaker Discourses -- 2. The Aesthetic Embrace and the Cynicism Criticism: Reception Discourses -- 3. The Rhetoric and Role of Film Festivals -- 4. Discourses and Modes of Distribution -- 5. The Interpretations of Regulation -- 6. The Added Value of International Distribution -- 7. Sex, Violence, and Self-Exoticization -- 8. Aesthetic Innovation and the Real: Academic Debate over Sexually Graphic Art Films -- 9. A Discursive Approach to Hardcore Art Cinema
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Film and fiction : the dynamics of exchange / Keith Cohen New Haven: Yale University Press, 1979.
Call No: 753 COHAuthor: Cohen, Keith Source: USPlace: New HavenPublisher: Yale University PressPubDate: 1979PhysDes: xii, 216 p. : ill. ; 22 cmSubject: ADAPTATIONS ; AESTHETICS ; ART CINEMA ; LITERATURE AND THE CINEMA ; PHILOSOPHY AND THE CINEMA ; PSYCHOLOGY AND THE CINEMA ; TIME IN FILMS Summary: This book considers not only the narrative exchange that occurs when a novel is adapted to film, but the stylistic exchange between cinema and the written word that has occurred throughout the twentireth century. Cohen argues that as cinema has become a more dominant media, the novel itself has adapted to take on more cinematic qualities and vice versa.Notes: Includes bibliographical references and indexISBN: 0300023669 : $12.50LON: 79064073; 1425482
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Film art phenomena / Nicky Hamlyn London: British Film Institute, 2003.
Call No: 771 HAMAuthor: Hamlyn, Nicky CorpAuthor: BFISource: UKPlace: LondonPublisher: British Film InstitutePubDate: 2003PhysDes: 224 p. : ill. ; 24cmSubject: ART CINEMA ; AESTHETICS ; VIDEO ART ; EXPERIMENTAL FILMS ; BRAKHAGE, STAN ; LE GRICE, MALCOLM ; SNOW, MICHAEL ; SHERWIN, GUY ; SMITH, JOHN ; HALL, DAVID ; HILL, TONY ; LARCHER, DAVID ; RABAN, WILLIAM Summary: "Hamlyn's major new study treats artists' film conceptually in order to explore key categories that connect different works and film-makers: from framing to digital media, installation to interactivity, point of view to sound. In so doing he considers the work of Stan Brakhage, Malcolm Le Grice and Michael Snow as well as younger artists such as Karen Mirza and Brad Butler, Jennifer Nighting ale, and Colin Crockatt, among many others. Film Art Phenomena is a crucial intervention in debates about the modes of film-making that diverge from and oppose the mainstream." -- Back coverNotes: Includes bibliography p. 188; includes index p. 195ISBN: 0851709710. mContents: I. MEDIA -- 1. Film and video -- 2. Digital media -- 3. Expanded technologies -- 4. Installation and its audience -- II. THE APPARATUS -- 5. The frame and its dissolution -- 6. Framing -- 7. Holding the camera -- 8. Point of view -- III. AESTHETICS -- 9. Space -- 10. Location -- 11. Interactivity -- 12. Sound, sync, performance -- 13. Film, art, ideology
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Film as art : a travelling exhibition commencing in September 1982 which has been assisted by the Visual Arts Board, Australia Council, the Australian Film Commission and the Victorian Arts Ministry / Victorian College of the Arts Gallery Melbourne: Victorian College of the Arts, [1982].
Call No: 175(94)FIL FILSource: ATPlace: MelbournePublisher: Victorian College of the ArtsPubDate: [1982]PhysDes: [11] p. : ill. ; 30 cmSubject: ART CINEMA. AUSTRALIA ; EXPERIMENTAL FILMS. AUSTRALIA ; TRAVELLING EXHIBITION ; VICTORIAN COLLEGE OF THE ARTS, SCHOOL OF FILM AND TELEVISION Summary: Programme listing of the different films and filmmakers featured within the 'Film as Art' exhibition (which toured around Australia). Filmmakers listed include: Sue Ford, John Dunkley-Smith, Mike Parr, William Anderson, (aka. Tch Tch Tch) (Some lost advertisements), Ivan Durrant, Paul Winkler, Arthur and Corinne Cantill, Dirk de Bruyn, Jonas Balsaitas, George Gittoes
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Film fables / Jacques Rancier ; translated by Emiliano Battista New York: Berg Publishers, 2006.
Call No: 63 RANAuthor: Rancier, Jacques ; Battista, Emiliano Source: FR/USPlace: New YorkPublisher: Berg PublishersPubDate: 2006PhysDes: viii, 196 pages ; 24 cmSubject: AESTHETICS ; ART AND THE CINEMA ; ART CINEMA ; AUTEUR THEORY ; CINEMATOGRAPHY ; DOCUMENTARY FILMS ; HISTORY AND THE CINEMA ; HISTORY OF CINEMA ; NARRATIVE IN FILMS ; PHILOSOPHY AND THE CINEMA ; SYMBOLISM IN FILMS ; BRESSON, ROBERT ; DELEUZE, GILLES ; EPSTEIN, JEAN ; EISENSTEIN, SERGEI M. ; GODARD, JEAN-LUC ; HITCHCOCK, ALFRED ; LANG, FRITZ ; MANN, ANTHONY ; MARKER, CHRIS ; MEDVEKIN, ALEXANDER ; MURNAU, FRIEDRICH WILHELM ; OZU YASUJIRO ; RAY, NICHOLAS ; ROSSELLINI, ROBERTO ; VERTOV, DZIGA ; AU HASARD, BALTHAZAR (FR/SW, Robert Bresson, 1966) ; BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925) ; CHINOISE, LA (FR, Jean-Luc Godard, 1967) ; FAUST (G, Friedrich Wilhelm Marnau, 1926) ; WHILE THE CITY SLEEPS (US, Fritz Lang, 1955) Summary: "Film Fables traces the history of modern cinema, moving effortlessly from Eisenstein's and Murnau's transition from theatre to film to Fritz Lang's confrontation with television, from the classical poetics of Mann's Westerns to Ray's romantic poetics of the image, from Rossellini's neo-realism to Deleuze's philosophy of the cinema and Marker's documentaries."Notes: Includes indexISBN: 9781845201685ID2: 291
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Film in Australia : an introduction / Albert Moran and Errol Vieth Port Melbourne: Cambridge University Press, 2006.
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Film world : a guide to cinema / by Ivor Montagu Harmondsworth, England: Penguin Books, 1964.
Call No: 62 MONAuthor: Montagu, Ivor Goldsmid Samuel, 1904 Source: USPlace: Harmondsworth, EnglandPublisher: Penguin BooksPubDate: 1964PhysDes: 327 pages : illustrations ; 18 cmSubject: AESTHETICS ; ART CINEMA ; BUDGETING ; CINEMATOGRAPHY ; EDITING ; INDUSTRY, FILM ; REALISM IN FILMS ; PRODUCTION COSTS ; SCIENCE AND THE CINEMA ; SOUND ; SPECIAL EFFECTS ; EISENSTEIN, SERGEI M. Summary: "At a moment when the cinema is struggling to escape from both the Hollywood blockbuster and the art form, FILM WORLD is a reminder of the true nature of cinema itself. In a personal survey of astonishing range and uncommon perception of Ivor Montagu shows us the facts of the film as art form, as undustry, and as a means of social communication. The four parts of the book - Film as Science, Film as Art, Film as Commodity, and Film as Vehicle - cover every aspect of the medium - its history, its resemblance to and difference from other arts, its aesthetic laws, the compound effects of sound and vision, the business side and in particular the inherent tendency towards monopoly." [Taken from book blurb]Notes: Contains indexLON: nla07041764; 6387892URL status: URL: 'http://-'
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The films of Claire Denis : intimacy on the border / edited by Marjorie Vecchio ; with a foreword by Wim Wenders New York: I.B. Tauris, 2014.
Call No: 81DEN FILAuthor: Vecchio, Marjorie ; Wenders, Wim Source: USPlace: New YorkPublisher: I.B. TaurisPubDate: 2014PhysDes: xxiii, 237 pages : illustrations ; 24 cmSubject: AESTHETICS ; AFRICA ; ART CINEMA ; CANNIBALISM IN FILMS ; CRITICISM ; DANCE IN FILMS ; DIRECTORS ; DIRECTORS. FRANCE ; FAMILY IN FILMS ; IMPERIALISM AND THE CINEMA ; LANDSCAPES IN FILMS ; MUSIC AND THE CINEMA ; MUSIC IN FILMS ; NATIONAL CULTURE AND THE CINEMA ; NATIONAL IDENTITY AND THE CINEMA ; RACE AND THE CINEMA ; TIME IN FILMS ; WORKERS IN FILMS ; WORKING CLASS IN FILMS ; DENIS, CLAIRE ; BEAU TRAVAIL (FR, Claire Denis, 1999) ; CHOCOLAT (FR, Claire Denis, 1988) ; INTRUDER, THE (FR, Claire Denis, 2004)
SEE
INTRUS, L' ; INTRUS, L' (FR, Claire Denis, 2004) ; J'AI PAS SOMMEIL (FR/SZ, Claire Denis, 1994) ; I CANT SLEEP (FR/SZ, Claire Denis, 1994) ; NENETTE AND BONI (FR, Claire Denis, 1996)
SEE
NENETTE ET BONI ; NENETTE ET BONI (FR, Claire Denis, 1996) ; TROUBLE EVERY DAY (FR/G/JA, Claire Denis, 2001) ; FRIDAY NIGHT (FR, Claire Denis, 2002)
SEE
VENDREDI SOIR ; VENDREDI SOIR (FR, Claire Denis, 2002) ; WHITE MATERIAL (FR/CM, Claire Denis, 2009) Summary: "The films of Claire Denis probe the idea of global citizenship and trace the borderlines of family, desire, nationality and power. Her films, including 'Chocolat', 'Beau travail' and 'White Material' explore connections between national experience and individual circumstance, visualising the complications of such dualities. Following a foreword by Wim Wenders, international contributors explore the themes she addresses in her films, such as kinship and landscape, neo-colonialism and New French Extremity. Original interviews with an editor, actor and two composers familiar with Denis's working style and with Denis herself, also reveal fresh facets of this intrepid filmmaker." - BOOK BLURBNotes: Includes list of illustrations, bibliographic references and indexISBN: 9781848859548Contents: --List of illustrations -- Notes on contributors -- Preface -- Foreword: 'Klarchen'
--Part I Interviews -- 'To let the image sing': Conversations with Dickon Hinchliffe and Stuart Staples: Martine Beugnet -- Interview with Nelly Quettier: Kirsten Johnson -- Interview with Alex Descas: Kirsten Johnson -- Interview with Claire Denis: Jean-Luc Nancy --
-- Part II Relations -- La famille Denis: Catherine Wheatley -- Reinventing community, or non-relational relations in Claire Denis's 'I Can't Sleep': Sam Ishii-Gonzales -- Beyond the other: grafting relations in the films of Claire Denis: James S. Williams --
-- Part III Global citizenship -- Beyond postcolonialism? From 'Chocolat' to 'White Material': Cornelia Ruhe -- 'Trouble Every Day: the neo-colonialists bite back: Florence Martin -- Forgiveness and employment: a study of the role of work in the films of Claire Denis: Rafael Ruiz Pleguezuelos -- 'The Intruder' according to Claire Denis: Jean-Luc Nancy --
--Part IV Within film -- Delivering: Claire Denis's opening sequences: Noelle Rouxel-Cubberly -- Rhythms of nationality: Denis and dance: Laura McMahon -- That interrupting feeling: interstitial disjunctions in Claire Denis's 'L'Intrus': Firoza Elavia -- Points of flight, lines of fracture: Claire Denis's uncanny landscape: Henrik Gustafsson -- Arthouse/grindhouse: Claire Denis and the 'New French Extremity': Adam Nayman and Andrew Tracy
--Bibliography -- Index
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Forms of being : cinema, aesthetics, subjectivity. / Leo Bersani / Ulysse Dutoit London: British Film Institute, 2004.
Call No: 62 BERAuthor: Bersani, Leo ; Dutoit, Ulysse Source: UKPlace: LondonPublisher: British Film InstitutePubDate: 2004PhysDes: 185 p. : ill. ; 24cm.Subject: THIN RED LINE, THE (US, Terrence Malick, 1998) ; TODO SOBRE MI MADRE (SP/FR, Pedro Almodovar, 1999) ; ART CINEMA ; AESTHETICS ; MEPRIS, LE (FR/IT, Jean-Luc Godrad, 1963) Summary: This work discusses new ways of approaching cinema as visual art via the close analysis of three films – Jean-Luc Godard’s ‘Le Mepris’(1963), Pedro Almodovar’s ‘All About My Mother’ (1999) and Terrence Malick’s ‘The Thin Red Line’ (1998). Also attempts to redefine the ways in which subjectivity, sexuality, relationality and aesthetics can be understood and transformed.Notes: Includes indexISBN: 1844570169 (pbk.)
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Global art cinema : new theories and histories / edited by Rosalind Galt and Karl Schoonover New York: Oxford University Press, c2010.
Call No: 62(04) GLOAuthor: Galt, Rosalind (ed) ; Schoonover, Karl (ed) Source: USPlace: New YorkPublisher: Oxford University PressPubDate: c2010PhysDes: xxiv, 384 p. : ill. ; 26 cmSubject: AESTHETICS ; INDEPENDENT FILMMAKERS ; INDEPENDENT FILMS ; ART CINEMA Summary: " 'Art Cinema' has for more than fifty years defined how audiences and critics imagine film outside Hollywood, but surprisingly little scholarly attention has been paid to the concept since the 1970s. And yet in the last thirty years art cinema has flourished worldwide. The emergence of East Asian and Latin American new waves, the reinvigoration of European film, the success of Iranian directors, and the rise of the film festival have transformed the landscape of world cinema. This book brings into focus art cinema's core internationalism, demonstrating its centrality to uunderstanding film as a global phenomenon. This collection reassesses the field of art cinema in light of recent scholarship on world film cultures. In adddition to analysis of key regions and films, the essays cover topics including theories of the film image; industrial, aesthetic, and political histories; and art film's intersections with debates on genre, sexuality, new media forms, and postcolonial cultures. Global Art Cinema brings together a diverse group of scholars in a timely conversation that reaffirms the category of art cinema as relevant, provocative, and, in fact, fundamental to contemporary film studies." -- BOOK BLURBNotes: Includes bibliographical references and indexISBN: 9780195385632Contents: Introduction : the impurity of art cinema / Rosalind Galt, Karl Schoonover -- Beyond Europe : on parametric transcendence / Mark Betz -- The fantastic trajectory of pink art cinema from Stalin to Bush / Sharon Hayashi -- Toward an inclusive, exclusive approach to art cinema / David Andrews -- Unthinking heterocentrism : bisexual representability in art cinema / Maria San Filippo -- Interactive art cinema : between "old" and "new" media with Un chien Andalou and eXistenZ / Adam Lowenstein -- Art/cinema and cosmopolitanism today / Brian Price -- Between auditorium and gallery : perception in Apichatpong Weerasethakul's films and installations / Jihoon Kim -- Pasolini's exquisite flowers : the "cinema of poetry" as a theory of art cinema / John David Rhodes -- From index to figure in the European art film : the case of The conformist / Angelo Restivo -- Surrealism in art and film : face and time / Angela Dalle Vacche -- The volcano and the barren hill : Gabriel Figueroa and the space of art cinema / Patrick Keating -- The essay film as a cinema of ideas / Timothy Corrigan -- The cloud-capped star : Ritwik Ghatak on the horizon of global art cinema / Manishita Dass -- Notes on art cinema and the emergence of sub-Saharan film / Philip Rosen -- Disentangling the international festival circuit : genre and Iranian cinema / Azadeh Farahmand -- European art cinema, affect, and postcolonialism : Herzog, Denis, and the Dardenne brothers / E. Ann Kaplan -- Offering tales they want to hear : transnational European film funding as neo-orientalism / Randall Halle -- Abderrahmane Sissako : second and third cinema in the first person / Rachel Gabara -- Tsai Ming-liang's haunted movie theater / Jean Ma -- Traveling theory, shorts, and players : Jorge Sanjine´s, new Latin American cinema, and the European art film / Dennis Hanlon.
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A history of artists' film and video in Britain / David Curtis London: British Film Institute, 2007.
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A history of experimental film and video : from the canonical avant-garde to contemporary British practice / A.L. Rees London: bfi Publishing, 2011.
Call No: 771 REEAuthor: Rees, A. L. Edition: 2nd EditionSource: UKPlace: LondonPublisher: bfi PublishingPubDate: 2011PhysDes: viii, 196 : ill. ; 25 cm.Subject: EXPERIMENTAL FILMS ; VIDEO ART ; ART CINEMA ; AVANT-GARDE FILMS Summary: Avant-garde film is almost indefinable. It is in a constant state of change and redefinition. In his highly-acclaimed history of experimental film, A.L. Rees tracks the movement of the film avant-garde between the cinema and modern art (with its postmodern coda). But he also reconstitutes the film avant-garde as an independent form of art practice with its own internal logic and aesthetic discourse.
In this revised and updated edition, Rees introduces experimental film and video to new readers interested in the wider cinema, as well as offering a guide to enthusiasts of avant-garde film and new media arts. Ranging from Cézanne and Dada, via Cocteau, Brakhage and Le Grice, to the new wave of British film and video artists from the 1990s to the present day, this expansive study situates avant-garde film between the cinema and the gallery, with many links to sonic as well as visual arts.
The new edition includes a review of current scholarship in avant-garde film history and includes updated reading and viewing lists. It also features a new introduction and concluding chapter, which assess the rise of video projection in the gallery since the millennium, and describe new work by the latest generation of experimental film-makers. The new edition is richly illustrated with images of the art works discussedNotes: Includes bibliographical references and index.ISBN: 9781844576203Contents: Pt. 1. The canonical avant-garde. Origins of the moving image (1780-1880). Photography. Art and the avant-garde: summary 1909-20. The cubists. Primitives and pioneers (1880-1915). Futurists. Abstract film. The comic burlesque. The Art Cinema and its circuit. Cine-poems and lyric abstraction. Origins of abstract film. The absolute film. Cubism and poular film. Dada and surrealist film. The French avant-garde 1924-32. Voice and vision in the pre-war avant-garde. Transition: into the 1930s and documentary. Reviewing the first avant-garde. Origins of the post-war avant-garde. Underground. Two avant-gardes (mark 1)? Structural -- Pt. 2. Britain, 1966-98. English structuralists. Primitives and post-structuralists. Video stirs. Art and politics. A cinema of small gestures. Rebel waves. Art Cinema's odd couple: Derek Jarman and Peter Greenaway. New pluralism. Black British. Electronic arts. yBa. 'Where are we now?'. Points of resistance.
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Hollywood androgyny / Rebecca Bell-Metereau New York: Columbia University Press, 1993.
Call No: 749.5 BELAuthor: Bell-Metereau, Rebecca Louise Edition: 2nd edPlace: New YorkPublisher: Columbia University PressPubDate: 1993PhysDes: xxii, 345 p. : ill. ; 23 cmSubject: TRANSVESTISM ; AIDS IN FILMS ; ART CINEMA. EUROPEAN COUNTRIES ; UNDERGROUND FILMS ; HOMOSEXUALITY IN FILMS ; SEX IN FILMS ; WESTERNS ; WILDER, BILLY ; GARBO, GRETA ; HEPBURN, KATHARINE ; CURTIS, TONY ; DIETRICH, MARLENE ; MADONNA ; MONROE, MARILYN ; SCOTT, RIDLEY ; ADLER, LOU ; DAY, DORIS ; CROSBY, BING ; EDWARDS, BLAKE ; GRANT, CARY ; LEMMON, JACK ; REA, STEPHEN ; SHERIDAN, ANN ; YENTL (US, Barbara Streisand, 1983) ; VICTOR VICTORIA (UK, Blake Edwards, 1982) ; ALIEN [...] (UK/US, 1979-92) ; CAGE AUX FOLLES, LA (FR/IT, Edouard Molinaro, 1978) ; CALAMITY JANE (US, David Butler, 1953) ; COME BACK TO THE FIVE AND DIME JIMMY DEAN, JIMMY DEAN (US, Robert Altman, 1982) ; CRYING GAME, THE (UK, Neil Jordan, 1992) ; I WAS A MALE WAR BRIDE (US, Howard Hawks, 1949) ; KILLING OF SISTER GEORGE, THE (US, Robert Aldrich, 1968) ; SOME LIKE IT HOT (US, Billy Wilder, 1959) ; THELMA & LOUISE (US, Ridley Scott, 1991) ; JOHNNY GUITAR (US, Nicholas Ray, 1954) ; PSYCHO (US, Alfred Hitchcock, 1960) ; DRESSED TO KILL (US, Brian De Palma, 1980) ; BLUE VELVET (US, David Lynch, 1986) ; WORLD ACCORDING TO GARP, THE (US, George Roy Hill, 1982) ; TOOTSIE (US, Sydney Pollack, 1982) ; SYLVIA SCARLETT (US, George Cukor, 1935) ; ROCKY HORROR PICTURE SHOW, THE (UK, Jim Sharman, 1975) ; QUEEN CHRISTINA (US, Rouben Mamoulian, 1934) ; PLAINSMAN, THE (US, Cecil B. DeMille, 1936) ; PARIS IS BURNING (US, Jennie Livingston, 1990) ; NO WAY TO TREAT A LADY (US, Jack Smight, 1968) ; MYRA BRECKENRIDGE (US, Mike Sarne, 1970) Notes: Includes bibliographical references (p. [315]-327) and indexISBN: 0231084676 (acidb-sfree paper)LON: 10110408
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Incorporating images : film and the rival arts / Brigitte Peucker Princeton, New Jersey: Princeton University Press, 1995.
Call No: 62 PEUAuthor: Peucker, Brigitte Source: USPlace: Princeton, New JerseyPublisher: Princeton University PressPubDate: 1995PhysDes: xi, 227 pages : illustrations ; 24 cmSeries: Princeton paperbacksSubject: ART AND THE CINEMA ; ART CINEMA ; AESTHETICS ; DEATH IN FILMS ; GERMANY ; NARRATIVE IN FILMS ; PERCEPTION Summary: "Film, a latecomer to the realm of artistic media, alludes to, absorbs, and undermines the discourses of the other arts--literature and painting especially--in order to carve out a position for itself among them. Exposing the anxiety in film's relation to its rival arts, Brigitte Peucker analyzes central issues involved in generic boundary crossing as they pertain to film and situates them in a theoretical framework. The figure of the human body takes center stage in Peucker's innovative study, for it is through this figure that the conjunction of literary and painterly discourses persistently articulates itself. It is through the human body, too, that film's consciousness of itself as a hybrid text and as a "machine for simulation" makes itself deeply felt." -- taken from back coverNotes: Includes bibliographical references (pages 175-213), index, and notes.ISBN: 978691002811Donation: Adrian MilesContents: Introduction: Bodies and Boundaries -- Movement, Fragmentation, and the Uncanny. Unnatural Conjunctions: The Heterogeneous Text. "Its Strange Mixture of the Natural and the Artificial": The Presence of Kleist. "Bits of Bodies": The Fragmented Text. Man and the Cinema Machine: Magician, Psychoanalyst, Scientist: The Case of Dr. Caligari. Fritz Lang, the Apparatus, and the Fissured Text. Magician and Surgeon. "Knife Phobia" "Doing It with Scissors": Dismemberment in Hitchcock -- Monstrous Births: The Hybrid Text. Miscegenation and the Sister Arts: Griffith's Broken Blossoms. Hitchcock's "Half-Caste" Murnau. Cinematic Vampirism. Painting and Repression. Herzog's Unassimilable Bodies. Witchcraft, Vision, and Incest: Dreyer's Day of Wrath. The Phantom of the Cinema: Body and Voice -- Incorporation: Images and the Real. Trompe l'Oeil Effects. Cinema and the Real. Body Language: Kleist's and Rohmer's Marquise. Hitchcock as Pygmalion.
Wings of Desire: Reality, Text, Embodiment. Kleist, Tableau Vivant, and the Pornographic. Fassbinder's Cinema of Mixed Modes: Tableau Vivant and the Real. Incorporation in Greenaway. Painful Images -- Afterword: Ut pictura poesis
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Interpreting films : studies in the historical reception of American cinema / Janet Staiger Princeton, N.J.: Princeton University Press, 1992.
Call No: 62 STAAuthor: Staiger, Janet Place: Princeton, N.J.Publisher: Princeton University PressPubDate: 1992PhysDes: xiv, 274 p. : ill. ; 25 cmSubject: SPECTATORSHIP ; AUDIENCES ; ART CINEMA ; AUTEUR THEORY ; AUTHORSHIP ; HOMOSEXUALITY IN FILMS ; SOCIETY AND THE CINEMA ; IDEOLOGY AND THE CINEMA ; MODERNISM AND THE CINEMA ; NARRATIVE IN FILMS ; PARODY ; RACE AND THE CINEMA ; BAHTIN, MIHAIL ; BORDWELL, DAVID ; DYER, RICHARD ; HITCHCOCK, ALFRED ; GRIFFITH, DAVID WARK ; GARLAND, JUDY ; FOOLISH WIVES (US, Erich Von Stroheim, 1922) ; BIRTH OF A NATION, THE (US, David Wark Griffith, 1915) ; ZELIG (US, Woody Allen, 1983) ; STAR IS BORN, A (US, George Cukor, 1954) ; UNCLE TOM'S CABIN (US, Edwin S. Porter, 1903) ; REAR WINDOW (US, Alfred Hitchcock, 1954) Notes: Includes bibliographical references (p. [259]-269) and indexISBN: 0691047979 (alk. paper); 0691006164 (pbk. : alk. paper)LON: 8200386URL status: URL: 'http://-'
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Kino-eye : the writings of Dziga Vertov / edited with an introduction by Annette Michelson ; translated by Kevin O'Brien Berkeley, Ca.: University of California Press, 1984.
Call No: 81VER KINAuthor: Vertov, Dziga, 1896-1954 ; Michelson, Annette Source: USPlace: Berkeley, Ca.Publisher: University of California PressPubDate: 1984PhysDes: lxi, 344 p. : ill. ; 23 cmSubject: ART CINEMA ; CINEMATOGRAPHY ; DOCUMENTARIES ; DOCUMENTARY FILMS. USSR ; EDITING ; INDUSTRY, FILM. USSR ; NEWSREELS ; POLITICS AND THE CINEMA ; REVOLUTION AND THE CINEMA ; SOCIALISM AND THE CINEMA ; WOMEN AND THE CINEMA ; VERTOV, DZIGA ; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929) ; MAN WITH A MOVIE CAMERA (UR, Dziga Vertov, 1929) ; KINOGLAZ (UR, Dziga Vertov, 1924) ; KOLYBELNAYA (UR, Dziga Vertov, 1937) ; LULLABY (UR, Dziga Vertov, 1937) ; THREE SONGS ABOUT LENIN (UR, Dziga Vertov, 1934) ; TRI PESNI O LENINE (UR, Dziga Vertov, 1934) Summary: "Vertov's writings, collected here, range from calculated manifestoes setting forth a new, heroic version of film's potentiual to dark rumination on the inactivity forced upon him by the growing bureaucratization of the of the Soviet state and its film industry. His theory was at every point elaborated in direct, vigorous relation with practice; his doctrine of kino-eye, breaking with film's subjection to traditional narrative purposes, was a passionate call to action. Vertov's spirit of revolutionary optimism leaps from his pages. Articles, memoranda, speeches, letters, proposals for films, poured from his pen - explaining, defining, persuading. In voluminous notebooks and diaries he proposed a cinema implicated in the process of revolutionary transformation, one that would play a leading role in the construction of socialism." -- BOOK BLURBNotes: Includes index; Filmography: p. [330]-334ISBN: 0520046242 (cloth); 0520047605 (pbk.); 0520056302 (alk. paper)LON: 82011189; 2248486
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Lip Carlton, Vic.: Women in the Visual Arts Collective, 1976.
Call No: held 1976-1984CorpAuthor: Women in the Visual Arts Collective; Lip (Carlton, Vic.)Source: ATPlace: Carlton, Vic.Publisher: Women in the Visual Arts CollectivePubDate: 1976PhysDes: v. : ill. ; 30 cmSubject: ART CINEMA. AUSTRALIA ; FEMINISM AND THE CINEMA. AUSTRALIA ; WOMEN AND THE CINEMA. AUSTRALIA Notes: Imprint varies: Lip Magazine Co-operative Ltd., <1984-; Description based on surrogate; title from coverISSN: 0313-4288Missing Issues: 1977LON: cvx00300222; 2506359
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New Bris. cinema part of Arts Centre in Australasian Cinema (6/8/1982) vol.11 iss.14 p.2
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The new European cinema : redrawing the map / Rosalind Galt New York: Columbia University Press, 2006.
Call No: 71(4) "198-199" GALAuthor: Galt, Rosalind Source: USPlace: New YorkPublisher: Columbia University PressPubDate: 2006PhysDes: viii, 296 p. : ill., maps ; 24 cmSeries: Film and cultureSubject: EUROPEAN COUNTRIES ; WORLD WAR II FILMS ; COLD WAR AND THE CINEMA ; GENRES ; LANDSCAPES IN FILMS ; REALISM IN FILMS ; ART CINEMA ; UNITED KINGDOM ; NEOREALISM ; REED, CAROL ; WILDER, BILLY ; BENJAMIN, WALTER ; TORNATORE, GIUSEPPE ; SALVATORES, GABRIELE ; KUSTURICA, EMIR ; TRIER, LARS VON ; MEDITERRANEO (IT, Gabriele Salvatores, 1991) ; AFFAIRE DE FEMMES, UNE (FR, Claude Chabrol, 1988) ; NUOVO CINEMA PARADISO (IT/FR, Giuseppe Tornatore, 1988) ; POSTINO, IL (IT/FR/BE, Michael Radford, 1994) ; MEDITERRANEO (IT, Gabriele Salvatores, 1991) ; UNDERGROUND (FR/GG/HU, Emir Kusturica, 1995) ; EUROPA (DK/FR/GG, Lars Von Trier, 1991) ; FOREIGN AFFAIR, A (US, Billy Wilder, 1948) ; THIRD MAN, THE (UK, Carol Reed, 1949) Summary: The new European cinema offers a compelling response to the changing cultural shapes of Europe, charting political, aesthetic, and historical developments through innovative readings of some of the most popular and influential European films of the 1990s [taken from back cover]Notes: Formerly CIP
Includes bibliographical references (p. [267]-277) and index
Filmography: p. [279]-284ISBN: 0231137176Contents: 1. Mapping European cinema in the 1990s -- 2. The dialectic of landscape in Italian popular melodrama -- 3. A conspiracy of cartographers? -- 4. Yugoslavia's impossible spaces -- 5. Back-projecting Germany -- 6. Toward a theory of European space
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Realtime Rushcutters Bay, N.S.W.: Open City Inc., 1994. Available here
Call No: held no.1- Jan. 1994-Source: ATPlace: Rushcutters Bay, N.S.W.Publisher: Open City Inc.PubDate: 1994PhysDes: v. : ill. ; 43 cmSubject: ART CINEMA ; ART AND THE CINEMA ; ART CINEMA. AUSTRALIA ; AVANT-GARDE FILMS. AUSTRALIA Notes: Cover title; Subtitle : performance and the national arts; Has supplement: Onscreen : film, media & techno-artsISSN: 1321-4799Order Notes: CurrentFrequency: MonthlyLON: abn94139680; 10857727URL status: URL: 'https://www.realtime.org.au/archives/'
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Roman Polanski / James Morrison Urbana, Ill ; Chicago: University of Illinois Press, 2007.
Call No: 81POL MORAuthor: Morrison, James Source: USPlace: Urbana, Ill ; ChicagoPublisher: University of Illinois PressPubDate: 2007PhysDes: xi, 191 p. ; 22 cmSeries: Contemporary Film DirectorsSubject: ART CINEMA ; ADAPTATIONS. DICKENS, CHARLES ; ADAPTATIONS. SHAKESPEARE, WILLIAM ; ADAPTATIONS. HARDY, THOMAS ; ADAPTATIONS ; MODERNISM AND THE CINEMA ; AESTHETICS ; IMAGE ANALYSIS ; POLANSKI, ROMAN ; BORDWELL, DAVID ; REPULSION (UK, Roman Polanski, 1965) ; CUL-DE-SAC (UK, Roman Polanski, 1966) ; ROSEMARY'S BABY (US, Roman Polanski, 1968) ; MACBETH (UK, Roman Polanski, 1971) ; CHINATOWN (US, Roman Polanski, 1974) ; LOCATAIRE, LE (FR, Roman Polanski, 1976) ; TESS (FR/UK, Roman Polanski, 1979) ; BITTER MOON (FR/UK, Roman Polanski, 1992) ; PIANIST, THE (UK/GG/FR/PL, Roman Polanski, 2002) ; OLIVER TWIST (FR/UK/CZ, Roman Polanski, 2005) ISBN: 9780252074462Contents: Captive minds: Polanski and modernity. -- Comedy, melodrama, and gentrification in Polanski's films -- Cul-de-Sac and the 1960's art cinema -- Polanski in the new Hollywood -- Polanski and the art film's second wave -- Rendering classics: Macbeth and Tess -- Discovering the Figural in Polanski's films -- Interviews with Roman Polanski -- filmography, bibliography, index
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Screening Europe : image and identity in contemporary European cinema / edited by Duncan Petrie London: BFI Pub., 1992.
Call No: 408.1(4) SCRAuthor: Petrie, Duncan J., 1963 CorpAuthor: British Film InstitutePlace: LondonPublisher: BFI Pub.PubDate: 1992PhysDes: viii, 120 p. ; 21 cmSeries: BFI working papersSubject: NATIONAL IDENTITY IN FILMS ; EUROPEAN COUNTRIES ; ART CINEMA. EUROPEAN COUNTRIES ; AKERMAN, CHANTAL ; JAMESON, FREDRIC ; GODARD, JEAN-LUC ; TEMPEST, THE (UK, Derek Jarman, 1979) ; EDWARD II (UK, Derek Jarman, 1991) ; CHOCOLAT (FR, Claire Denis, 1988) ; DOM ZA VESANJE (YU, Emir Kusturica, 1989) ; YOUNG SOUL REBELS (UK, Isaac Julien, 1991) ; PASSION (FR/SZ, Jean-Luc Godard, 1982) ; MUJERES AL BORDE DE UN ATAQUE DE NERVIOS (SP, Pedro Almodovar, 1988) Notes: Proceedings of a conference sponsored by the British Film Institute at the National Film Theatre, London, in June 1991; Filmography: p. 114-120; Includes bibliographuical referencesISBN: 0851703216LON: bnb85170321; 9141124
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Screening modernism : European art cinema, 1950-1980 / Andras Balint Kovaccs Chicago: University of Chicago Press, 2007.
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