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Approaches to popular film / edited by Joanne Hollows and Mark Jancovich Manchester New York New York: Manchester University Press Distributed exclusively in the USA and Canada by St. Martin's Press, 1995.
Call No: 62 APPAuthor: Hollows, Joanne ; Jancovich, Mark Place: Manchester New York New YorkPublisher: Manchester University Press Distributed exclusively in the USA and Canada by St. Martin's PressPubDate: 1995PhysDes: 203 p. : ill. ; 23 cmSeries: Inside popular filmSubject: GENRES ; AUTEUR THEORY ; FEMINISM AND THE CINEMA ; THEORY ; POPULAR CULTURE AND THE CINEMA ; STARS Notes: Includes bibliographical references (p. [192]-196) and indexISBN: 0719043921; 071904393X (pbk.)LON: 11213175URL status: URL: 'http://-'
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Aural Auteur : sound in the films of Rolf De Heer / David Bruno Starrs Brisbane, Queensland: 2009.
Call No: 81:634DEH STAAuthor: Starrs, David Bruno Source: ATPlace: Brisbane, QueenslandPubDate: 2009PhysDes: 263 p. : ill. ; 30 cmSubject: AUTEUR THEORY ; DIRECTORS. AUSTRALIA ; SOUND ; THEORY ; DE HEER, ROLF ; DANCE ME TO MY SONG (AT, Rolf de Heer, 1998) ; [DOCTOR] DR PLONK (AT, Rolf de Heer, 2007) ; EPSILON (AT/IT, Rolf de Heer, 1995) ; OLD MAN WHO READ LOVE STORIES (AT/SP/FR/NL, Rolf de Heer, 2000) ; PROPOSITION, THE (AT/UK, John Hillcoat, 2005) ; TRACKER, THE (AT, Rolf de Heer, 2002) Summary: "An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of his or her films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-makers' body of work, neglecting the potentially significant role played by sound.
The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed Rolf de Heer, asking the question, "Does his use of sound make Rolf de Heer and aural auteur?" In so far as the term 'aural' encompasses everything in the film that is heard by the audience, the analysis seeks to discover if de Heer has, as Peter Wollen suggests of the auteur and her or his directing of the visual components (1968, 1972 and 1998), unconsciously left a detectable aural signature on his films.
The thesis delivers an innovative outcome by demonstrating that auteur analysis that goes beyond the mise-en-scene (i.e. visuals) is productive and worthwhile as an interpretative response to film. De Heer's use of the aural point of view and binaural sound recording, his interest in providing a 'voice' for marginalised people, his self-penned song lyrics, his close and early collaboration with composer Graham Tardif and sound desinger Jim Currie, his 'hands-on' approach to sound recording and sound editing and his predilection for making films about sound are all shown to be examples of de Heer's aural auteurism.
As well as the three published (or accepted for publication) interviews with de Heer, Tardif and Currie, the dissertation consists of seven papers refereed and published (or accepted for publication) in journals and internatiional conference proceedings, a literature review and a unifying essay. The papers presented are close textual analyses of de Heer's films which, when considered as a whole, support the thesis' overall argument and serve as comprehensive auteur analysis, the first such sustained study of his work, and the first with an emphasis on the aural. " -- ABSTRACTNotes: Presented to the Creative Industries Faculty, Queensland University of Technology. Thesis (Ph.D.)--Queensland University of Technology, Brisbane, 2009; Includes bibliographical references (p. 213-231)Contents: -- part one: introduction -- chapter 1: the research problem, objective/aims, subject and methodologies -- chapter 2: the literature and contextual review -- part two: the seven refereed and published papers of the thesis -- chapter 3: a paper utilising genre analysis and signalling an interest in the auteurism of Rolf de Heer -- chapter 4: the first of two papers utilising standard auteur analysis -- chapter 5: the second of two papers utilising standard auteur analysis -- chapter 6: a paper arguing for the methodological innovation of the thesis: aural auteur analysis -- chapter 7: the first of three papers utilising aural auteur analysis -- chapter 8: the second of three papers utilising aural auteur analysis -- chapter 9: the third of three papers utilising aural auteur analysis -- part three: conclusion -- chapter 10: the unifying essay -- 11: references/bibliography and filmography -- 12: appendicies -- list of figures --
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AUTEUR THEORY
Call No: SUBJECT CLIPPINGS FILEPhysDes: ClippingsSubject: AUTEUR THEORY
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The auteur theory myths and magic in Metro Education (2000) iss.12 p.13-16
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Auteurs and authorship : a film reader / edited by Barry Keith Grant Malden, MA: Blackwell Publishing, 2008.
Call No: 621(04) GRAAuthor: Grant, Barry Keith Source: USPlace: Malden, MAPublisher: Blackwell PublishingPubDate: 2008PhysDes: xv, 323p. : ill. ; 25cmSubject: AUTEUR THEORY Summary: Collection of critical essays on film authorship.Notes: Includes bibliographic referencesISBN: 9781405153348Language: EnglishContents: A certain tendency of the French cinema (1954) / Francois Truffaut -- La politique des auteurs (1957) / Andre Bazin -- Films, directors, and auteurs (1962) / Ian Cameron -- Notes on the auteur theory in 1962 (1962) / Andrew Sarris -- Circles and squares (1963) / Pauline Kael -- The auteur theory (1969) (excerpt) / Peter Wollen -- Direction and authorship (1972) (excerpt) / V.F. Perkins -- Ideas of authorship (1973) / Edward Buscombe -- Ideology, genre, auteur (1977) / Robin Wood -- The death of the author (1968) / Roland Barthes -- The English cine-structuralists (1973) / Charles Eckert -- Alternatives to auteurs (1973) / Graham Petrie -- Women's cinema as counter-cinema (1973) / Claire Johnston -- Refocusing authorship in women's cinema (2003) / Angela Martin -- The men with the movie cameras (1972) / Richard Kosarzski -- Notes on a screenwriter's theory, 1973 (1974) / Richard Corliss -- Who makes the movies? (1976) / Gore Vidal -- Script/performance/text : performance theory and auteur theory (1978) / Peter Lehman -- Studio authorship (2006) (excerpt) / Jerome Christensen -- The producer as auteur (2006) / Matthew Bernstein -- Authorship, design, and execution (1987) / Bruce Kawin -- Hitchcock's imagery and art (1977) / Maurice Yacowar -- John Ford's Young Mr. Lincoln (1970) / editors of Cahiers du Cinema -- Towards an analysis of the Sirkian system (1972) / Paul Willeman -- My name is Joseph H. Lewis (1983) / Paul Kerr -- Authorship as a commodity: the art cinema and The cabinet of Dr. Caligari (1984) / Michael Budd -- The place of women in the cinema of Raoul Walsh (1974) / Claire Johnston and Pam Cook -- Female authorship reconsidered (the case of Dorothy Arzner) (1990) / Judith Mayne -- Man's favorite sport?--the action films of Kathryn Bigelow (2004) / Barry Keith Grant -- Todd Haynes and queer authorship (2006) / Michael DeAngelis -- Twoness in the style of Oscar Micheaux (1993) / J. Ronald Green -- Spike's joint (1998) (excerpt) / S. Craig Watkins.
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Authorship in Wide Angle (1984) vol.6 iss.1 p.[whole issue]
Author: Lehman, Peter PhysDes: ArticleSubject: AUTEUR THEORY ; COME AND GET IT (US, Howard Hawks and William Wyler, 1936) ; LADY IN THE LAKE (US, Robert Montgomery, 1946) ; [DOCTOR] DR STRANGELOVE: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (UK, Stanley Kubrick, 1964) ; VIDEO, FILMS ON ; CABINET OF DR. CALIGARI, THE [CABINET DES DR. CALIGARI, DAS] (G, Robert Wiene, 1920) ; A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959) ; BREATHLESS (FR, Jean-Luc Godard, 1959) Summary: Entire edition on authorship/auteurism. Articles on 'Breathless', 'The Cabinet of Dr. Caligari', 'Come and Get It', 'The Lady in the Lake', and 'Dr. Strangelove'. An interview with Judith Barry on video art, and an interview with Manny Kirchheimer.
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Authorship and Hollywood in Wide Angle (1983) vol.5 iss.3 p.16-22
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Authorship and the films of David Lynch : aesthetic receptions in contemporary Hollywood / Antony Todd London: I.B. Tauris, 2012.
Call No: 81LYN TODAuthor: Todd, Antony Source: UKPlace: LondonPublisher: I.B. TaurisPubDate: 2012PhysDes: ix, 181 p. : ill. ; 24 cmSubject: AESTHETICS ; AUTEUR THEORY ; LYNCH, DAVID ; DUNE (US, David Lynch, 1984) ; BLUE VELVET (US, David Lynch, 1986) ; TWIN PEAKS [TV] (US, David Lynch & others, 1990-1991) ; MULHOLLAND DRIVE (US, David Lynch, 2001) Summary: "This fresh contribution to studies on authorship and film explores the ways in which shared and disputed opinions on aesthetic quality, originality and authorial essense have shaped receptions of David Lynch's films. it is also the first book to approach Lynch as a figure composed through language, history and text.
Antony Todd traces the development of Lynch's career from cult obscurity with Eraserhead to star auteur through the release of Blue Velvet, as well as the television event of the early 1990s, Twin Peaks. He investigates how Lynch's idiosyncratic style introduced the term 'Lynchian' to the colloquial speech of new Hollywood and helped establish Lynch as the leading light among contemporary American auteurs. Through the evidence of critical and promotional ephemera and the texts carrying Lynch's name, Todd explores contemporary manners and attitudes for artistic reputation building. He also reviews the standards by which Lynch's reputation was dismantled following the release of Wild at Heart and Twin Peaks: Fire Walk with Me, only to be reassembled once more through films such as Lost Highway, Mulholland Dr. and INLAND EMPIRE.
This book also ventures beyond its empirical findings by addressing authorship concerns pertaining to the ways in which, and to whom, the contemporary auteur has meaning. In its account of the experiences at play in the encounter between ephemera, text and reader, Authorship and the Films of David Lynch explores how authors functions for pleasure in the modern filmgoer's everyday consumption of films."-BOOK BLURBNotes: includes bibliographical references; includes indexISBN: 9781848855809Contents: -- introduction -- 1.Towards a Textual Historicity -- 2.David Lynch: The Making of a Post-classical Auteur -- 3.Meanings and Authorships in Dune -- 4.Critical Theory and `Cruel Jokes': Principles of Ethics and Pleasure, and the Reception of Blue Velvet -- 5.Twin Peaks: The Rise and Fall of a Public Auteur -- 6.Brand Lynch -- 7.Receiving Mulholland Dr.: `A Contemporary Film Noir Directed by David Lynch' -- conclusion -- notes -- bibliography -- index --
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Beyond auteurism : new directions in authorial film practices in France, Italy and Spain since the 1980s / Rosanna Maule Bristol, U.K. ; Chicago, USA: Intellect, 2008.
Call No: 621 MAUAuthor: Maule, Rosanna Source: UK/USPlace: Bristol, U.K. ; Chicago, USAPublisher: IntellectPubDate: 2008PhysDes: 294 p. : ill. ; 24 cmSubject: AUTEUR THEORY ; AESTHETICS Notes: Includes bibliographical references (p. [275]-286) and indexISBN: 9781841502045Contents: The film author and the survival of European cinema -- The middle generation: Maurice Pialat, Gianni Amelio, and Victor Erice -- The difficult legacy of the Nouvelle Vague: Olivier Assayas and French film authors at the end of auteurism -- For an impure cinema: Gabriele Salvatores and the hybrid nature of film authorship in contmporary Italian cinema -- A different type of cinephilia: Alejandro Amena´bar and the new generation of Spanish film authors -- Made in Europa: Luc Besson and the question of cultural exception in post-auteur France -- Auteurism and women's cinema in France, Italy and Spain -- Female authors and gendered identity in film: Claire Denis's post-subjective representation -- Feminine matters: Francesca Archibugi and the reconfiguration of women in the private sphere
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The Big Heat in Montage (June 1965) p.14-16
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Borrowed Time in Montage (March 1970) p.5-8
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The Cinema book / edited by Pam Cook London: BFI, 1985.
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The cinema book / edited by Pam Cook and Mieke Bernink London: British Film Institute, 1999.
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The cinema of Jean Renoir and the concept of the author in Metro (1997) iss.111 p.21-26
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The Cinematic Director as a Creative Being in Montage (1967) iss.1 p.18-19
Author: Ioannou, Simon PhysDes: ArticleSubject: AUTEUR THEORY ; CHAPLIN, CHARLES ; AUTHORSHIP Summary: Subjective essay which explores the notion of the director as artist; writer believes that the only true cinematic genius was Charlie Chaplin as he had complete ownership and control over his work.
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A companion to Australian cinema / Edited by Felicity Collins, Jane Landman, and Susan Bye Hoboken, New Jersey: Wiley-Blackwell, 2019. Available at ProQuest (RMIT login required)
Call No: 71(94) COMAuthor: Collins, Felicity ; Columpar, Corinn ; Rutherford, Anne ; Ford, Felicity ; Kelada, Odette ; Clark, Maddee ; Verevis, Constantine ; Goldsmith, Ben ; French, Lisa ; David Marshall, P. ; Bennett, James ; Grace, Helen ; Khoo, Olivia ; Yue, Audrey ; Bye, Susan ; Sandars, Diana ; Stadler, Jane ; Gaunson, Stephen ; Trevisanut, Amanda Malel ; Turnbull, Sue ; McCutcheon, Marion ; Goritsas, Helen ; Tiwary, Ana ; Lambert, Anthony ; Gibson, Ross ; Cunningham, Stuart ; Swift, Adam ; Williams, Deane ; Smaill, Belinda ; Neumark, Norie Source: US/UKPlace: Hoboken, New JerseyPublisher: Wiley-BlackwellPubDate: 2019PhysDes: xxii, 581 pages ; 26 cmSeries: Wiley Blackwell companions to national cinemaSubject: AUSTRALIA ; FILM ; INDUSTRY, FILM ; INDUSTRY, FILM. AUSTRALIA ; INDIGENOUS ; ABORIGINAL AUSTRALIAN CINEMA ; TRANSNATIONAL CINEMA ; HISTORY OF CINEMA ; HISTORY OF CINEMA. AUSTRALIA ; TELEVISION AND THE CINEMA ; TELEVISION AND THE CINEMA. AUSTRALIA ; AUTEUR THEORY ; GENRES ; THEORY ; CAMPION, JANE ; CHARLIE'S COUNTRY (AT, Rolf de Heer, 2013) ; SPEAR (AT, Stephen Page, 2015) ; MAD MAX (AT, George Miller, 1979) ; MAD MAX: FURY ROAD (AT/US, George Miller, 2015) ; MAD MAX BEYOND THUNDERDOME (AT, George Miller & George Ogilvie, 1985) ; MAD MAX II (AT, George Miller, 1981) ; LEGO MOVIE, THE (US/AT/DK, Phil Lord and Christopher Miller, 2014) ; ROCKET, THE (AT/TH/LS, Kim Mordaunt, 2013) ; SERANGOON ROAD [TV] (AT/SI, 2013 -) ; KETTERING INCIDENT, THE [TV](AT, 2015-) ; BACK OF BEYOND, THE (AT, John Heyer, 1953) Summary: The essays assembled here address six thematically organized propositions - that Australian cinema an Indigenous screen culture, an international cinema, a minor transnational imaginary, an auteur-genre-landscape cinema, a televisual industry and a multiplatform ecology. Offering fresh critical perspectives and extending previous scholarship, case studies range from The Lego Movie, Mad Max and Australian stars in Hollywood, to transnational co-productions, YouTube channels, transmedia and naturecam documentaries. New research on trends such as the Blak Wave, the convergence of television and film, digital transformations of screen production and the shifting roles of women, on and off-screen, highlight how established precedents have been transformed by new realities beyond both cinema and national borders. --
Written in an accessible style that does not require knowledge of cinema studies or Australian studies. --
Presents original research on Australian actors such as Cate Blanchett and Chris Hemsworth, evaluating their training, branding and path from Australia to Hollywood. --
Explores the films and filmmakers of the Blak Wave and their challenge to Australian settler-colonial history and white identity. --
Introduces readers to founding texts in Australian screen studies. --
Felicity Collins is Reader/ Associate Professor in Screen Studies, La Trobe University, Melbourne, Australia --
Jane Landman was Senior Lecturer, Victoria University, Melbourne, Australia --
Susan Bye is Education Programmer, Australian Centre for the Moving Image, Melbourne, Australia. --Book JacketNotes: Includes bibliographical references and index -- signed by Felicity CollinsISBN: 9781118942529Contents: You Are Here: Living Maps of Deep Time, Clock Time / Felicity Collins -- Charlie's Country, Gulpilil's Body / Corinn Columpar -- Ivan Sen's Cinematic Imaginary: Restraint, Complexity, and a Politics of Place / Anne Rutherford
-- Shadowing and Disruptive Temporality in Bangarra Dance Theatre's Spear / Felicity Ford -- Beyond the Wonderland of Whiteness: The Blak Wave of Indigenous Women Shaping Race on Screen / Maddee Clark / Odette Kelada -- Another Green World: The Mad Max Series / Constantine Verevis -- Is Everything Awesome?: The LEGO Movie and the Australian Film Industry / Ben Goldsmith -- Jane Campion: Girlshine and the International Auteur / Lisa French -- Constructing Persona: Mediatisation, Performativity, Quality, and Branding in Australian Film Actors's; Migration to Hollywood / P. David Marshall -- Interpreting Anzac and Gallipoli through a Century of Anglophone Screen Representations / James Bennett -- Unsettling the Suburban: Space, Sentiment, and Migration in National Cinematic Imaginaries / Helen Grace -- The Rocket: Small, Foreign-Language Cinema / Olivia Khoo -- Serangoon Road: The Convergent Culture of Minor Transnationalism / Audrey Yue -- An Independent Spirit: Robert Connolly as Auteur-Producer / Susan Bye -- Disruptive Daughters: The Heroine's Journey in Four Films / Diana Sandars -- Atopian Landscapes: Gothic Tropes in Australian Cinema / Jane Stadler -- Spirits Do Come Back: Bunyips and the European Gothic in The Babadook / Stephen Gaunson -- Between Public and Private: How Screen Australia, the ABC and SBS have shaped Film and Television Convergence / Amanda Malel Trevisanut -- Quality vs Value: The Case of The Kettering Incident / Marion McCutcheon / & Sue Turnbull -- The Evolution of Matchbox Pictures: A New Business Model / Helen Goritsas & Ana Tiwary -- Schapellevision: Screen Aesthetics and Asian Drug Stories / Anthony Lambert -- CHURN: Cinema Made Sometime Last Night / Ross Gibson -- Over the Horizon: YouTube Culture Meets Australian Screen Culture / Adam Swift & Stuart Cunningham -- Digital Transmedia Forms and Transnational Documentary Networks / Deane Williams -- Ecological Relations: FalconCam in Conversation with The Back of Beyond / Belinda Smaill -- Where Am I?: The Terror of Terra Nullius / Norie Neumark
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The Critics and the Movies in Montage (1967) iss.1 p.22
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Dutch tilt, Aussie auteur : the films of Rolf De Heer / D. Bruno Starrs Saarbrucken, Germany: VDM, Verlag Dr Muller, 2009.
Call No: 81DEH STAAuthor: Starrs, D. Bruno Source: GPlace: Saarbrucken, GermanyPublisher: VDM, Verlag Dr MullerPubDate: 2009PhysDes: 105 p. ; 23 cmSubject: AUTEUR THEORY ; DE HEER, ROLF ; TAIL OF THE TIGER (AT, Rolf de Heer, 1984) ; INCIDENT AT RAVEN'S GATE (AT, Rolf de Heer, 1988) ; DINGO (AT/FR, Rolf de Heer, 1991) ; BAD BOY BUBBY (AT, Rolf de Heer, 1993) ; EPSILON (AT/IT, Rolf de Heer, 1995) ; QUIET ROOM, THE (AT/IT, Rolf de Heer, 1996) ; DANCE ME TO MY SONG (AT, Rolf de Heer, 1998) ; OLD MAN WHO READ LOVE STORIES (AT/SP/FR/NL, Rolf de Heer, 2000) ; TRACKER, THE (AT, Rolf de Heer, 2002) ; ALEXANDRA'S PROJECT (AT, Rolf De Heer, 2003) ; TEN CANOES (AT, Rolf De Heer, 2006) ; [DOCTOR] DR PLONK (AT, Rolf de Heer, 2007) Summary: " 'Dutch Tilt, Aussie Auteur: the Films of Rolf De Heer' is an auteur analysis of the twelve feature films directed (mostly written and produced) by Holland-born Australian Rolf De Heer. From the children's story about the restoration of a Tiger Moth biplane, "Tail of a Tiger "(1984), to his break-out cult sensation " Bad Boy Bubby" (1993) which "tore Venice apart," to the first Aboriginal Australian language film "Ten Canoes" (2006) which scooped the pool at the AFI awards and won the Special Jury prize at Cannes Film Festival, de Heer has been consistently unpredictable. However, Starr's close study of his work suggests that Australia's most innovative and respected Arthouse film-maker has a signature pre-occupation with giving a voice to marginalized, non-hyper-masculine protagonists. Demonstrating a propensity to write and direct in a European-like style, de Heer's "Dutch tilt" is very much non-mainstream Hollywood, but is nevertheless representative of a typically Australian world-view." -- BOOK BLURBNotes: Includes bibliographical references (p. 90-104)ISBN: 9783639168341
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The elusive auteur : the question of film authorship throughout the age of cinema / by Barrett Hodsdon Jefferson, North Carolina: McFarland & Company Inc, c2017.
Call No: 621 HODAuthor: Hodsdon, Barrett Source: USPlace: Jefferson, North CarolinaPublisher: McFarland & Company IncPubDate: c2017PhysDes: x, 327 pages : illustrations ; 26 cmSubject: AUTHORSHIP ; ADAPTATIONS ; AUTEUR THEORY Summary: "The director's authorial role in filmmaking has been much debated among film critics and scholars for decades. Examining the controversy in relation to Hollywood directors, the author compares directors and would-be auteurs of the classic studio system with those of contemporary Hollywood and its new climate of cultural entrepreneurship"-- publisher's web siteNotes: Includes bibliographical references (pages 307-319) and indexISBN: 9781476668734Contents: Acknowledgments
Introduction
Notes on Terminology
Part I: Critical Origins
1. Authorial Function and Historical Precedents
2. Cahiers du Cinema and Founding the Discourse of Auteur Criticism: Snapshots in Time
3. Andrew Sarris and the Auteur Re-Evaluation of Hollywood
Part II: Auteur Concepts and Problematics
4. Reconsidering the Underpinnings of Traditional Auteur Criticism
5. Agency and Authorship: Forms of Mediation
6. Extending the Lineages of Authorship: Art Cinema and the Avant-Garde
Part III: The Director in the Classic Hollywood System
7. The Hierarchy of Directors and Work Relations
8. Reconciling the Director with Creative Contributors
9. Reformulating Authorial Presence: The Value of a Neoformalist Designation
10. Triumphs, Accommodations, Victims and Mavericks: 15 Examples
Part IV: Cinephilia Revisited
11. Cinephilia and Its Historical Trajectory
12. Recapturing the Sublime Moment: A Spectrum of Films
Part V: The Changing Face of Hollywood
and the Shifting Sands of Authorship Since the 1970s
13. From Vision to Branding
14. Contemporary Hollywood Directors and Auteur Slippage: Illustrating the New Breed of Auteurs
Part VI: Auteur Displacement in the Digital Age
15. The Inheritance from the Past
16. The Enclave of Art Cinema
17. Old Notions of Authorship Unhinged
18. Revamping Cinephilia in a Postmodern Climate
19. Implications of the Media Revolution
The Last Word
Chapter Notes
Bibliography
Index
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The emergence of film art : the evolution and development of the motion picture as an art, from 1900 to the present New York: Hopkinson and Blake, [c1969].
Call No: 70 JACAuthor: Jacobs, Lewis, comp Place: New YorkPublisher: Hopkinson and BlakePubDate: [c1969]PhysDes: 453 p. illus. 25 cmSubject: HISTORY OF CINEMA ; HISTORY OF CINEMA. SILENT PERIOD ; HISTORY OF CINEMA. SOUND PERIOD ; COLORIZATION ; SOCIETY AND THE CINEMA ; GERMANY ; ANIMATED FILMS ; CINEMA VERITE ; AUTEUR THEORY ; NOUVELLE VAGUE ; MUSIC IN FILMS ; NEOREALISM ; AVANT-GARDE FILMS ; MELIES, GEORGES ; GRIFFITH, DAVID WARK ; CLAIR, RENE ; FORD, JOHN ; PORTER, EDWIN S. ; LESTER, RICHARD ; DISNEY, WALT ; BERGMAN, INGMAR ; TRUFFAUT, FRANCOIS ; SARRIS, ANDREW ; KAEL, PAULINE ; KUROSAWA AKIRA ; RESNAIS, ALAIN ; FELLINI, FEDERICO ; ANTONIONI, MICHELANGELO ; BASS, SAUL ; MEKAS, JONAS ; CITIZEN KANE (US, Orson Welles, 1941) ; BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; BIRTH OF A NATION, THE (US, David Wark Griffith, 1915) ; PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928) Notes: Bibliography: p. 438-439LON: 5011ID2: 291
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Feminism and film / Maggie Humm Edinburgh: Edinburgh University Press, 1997.
Call No: 626:396 HUMAuthor: Humm, Maggie Place: EdinburghPublisher: Edinburgh University PressPubDate: 1997PhysDes: x, 246 p. ; 24 cmSubject: FEMINISM AND THE CINEMA ; AUTEUR THEORY ; ETHNIC GROUPS IN FILMS ; POSTMODERNISM AND THE CINEMA ; CRONENBERG, DAVID ; MULVEY, LAURA ; KUHN, ANNETTE ; KAPLAN, E. ANN ; ALTHUSSER, LOUIS ; ROSE, JACQUELINE ; WOOLF, VIRGINIA ; DAUGHTERS OF THE DUST (US, Julie Dash, 1991) ; DEAD RINGERS (CN, David Cronenberg, 1988) ; KLUTE (US, Alan J. Pakula, 1971) ; ORLANDO (UK/RU/FR/NE, Sally Potter, 1992) ; STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982) ISBN: 0748609008Order Received: 1998LON: abn97233530; 13317515
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Film : an introduction / John L. Fell New York: Praeger Publishers, 1975.
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Film adaptation and its discontents : from Gone with the wind to The Passion of the Christ / by Thomas Leitch Baltimore MD: John Hopkins University Press, 2007.
Call No: 753 LEIAuthor: Leitch, Thomas Edition: John Hopkins paperback edition, 2009Source: USPlace: Baltimore MDPublisher: John Hopkins University PressPubDate: 2007PhysDes: xi, 354 p. ; 24 cmSubject: ADAPTATIONS ; ADAPTATIONS. AUSTEN, JANE ; ADAPTATIONS. DOYLE, ARTHUR CONAN ; ADAPTATIONS. SHAKESPEARE, WILLIAM ; ADAPTATIONS. DICKENS, CHARLES ; AUTEUR THEORY ; AUTHORSHIP ; LITERATURE AND THE CINEMA ; STONE, OLIVER ; GONE WITH THE WIND (US, Victor Fleming, 1939) ; PASSION OF THE CHRIST, THE (US, Mel Gibson, 2004) ; PRIDE AND PREJUDICE [TV] (UK/US, Simon Langton, 1995) Summary: "Most books on film adaptation - the relation between films and their literary sources - focus on a series of close one-to-one comparisons between specific films and canonical novels. This volume identifies and investigates a far wider array of problems posed by the process of adaptation.
Thomas Leitch considers how the creators of short silent films attempted to give them the weight of literature, what sorts of fidelity are possible in an adaptation of sacred scripture, what it means for an adaptation to pose as an introduction to, rather than a transcription of, a literary classic, and why and how some films have sought impossibly close fidelity to their sources. Leitch's analysis moves beyond literary sources to consider why a small number of adaptors have risen to the status of auteurs and how illustrated books, comic strips, video games, and true stories have been adaptated to the screen." -- BOOK BLURBNotes: Formerly CIP; Includes bibliographical references (p. [325]-338) and indexISBN: 9780801892714Contents: -- acknowledgments -- 1: Literature versus literacy -- 2: One-reel epics -- 3: The word made film -- 4: Entry-level Dickens -- 5: Between adaptation and allusion -- 6: Exceptional fidelity -- 7: Traditions of quality -- 8: Streaming pictures -- 9: The hero with a hundred faces -- 10: The adapter as auteur -- 11: Postliterary adaptation -- 12: Based on a true story -- notes -- bibliography -- index --
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Film as social practice / Graeme Turner London New York: Routledge, 1988.
Call No: 408 TURAuthor: Turner, Graeme Place: London New YorkPublisher: RoutledgePubDate: 1988PhysDes: xv, 187 p. : ill. ; 20 cmSeries: Studies in communicationSubject: POPULAR CULTURE AND THE CINEMA ; INDUSTRY, FILM ; INDUSTRY, FILM. AUSTRALIA ; AUTEUR THEORY ; NARRATIVE IN FILMS ; STARS ; SPECTATORSHIP ; AUDIENCES ; AUSTRALIA ; IDEOLOGY AND THE CINEMA ; BAZIN, ANDRE ; WRIGHT, WILL ; BUTCH CASSIDY AND THE SUNDANCE KID (US, George Roy Hill, 1969) ; DESPERATELY SEEKING SUSAN (US, Susan Seidelman, 1985) ; METROPOLIS (G, Fritz Lang, 1926) Summary: “Explores the feature film as entertainment, as narrative, and as cultural event. Graeme Turner discusses the major theoretical issues surrounding the history of film production and film studies, using them to examine the cultural function of film and its place in our popular culture. This updated third edition includes: discussion of classical and popular contemporary films, updated and expanded discussion of debates surrounding film narrative and arguments revised throughout to take into account recent developments in film and cultural theory and changing cinematic trends.” [Taken from back cover]Notes: Includes index; Bibliography: p. 180-184ISBN: 0415007348; 0415007356 (pbk.)LON: 5742606
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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 ; YASUJIRO OZU ; 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 genre reader II / edited by Barry Keith Grant Austin: University of Texas Press, 1995.
Call No: 64GEN FILAuthor: Grant, Barry Keith, 1947 Edition: 1st edPlace: AustinPublisher: University of Texas PressPubDate: 1995PhysDes: viii, 581 p. : ill. ; 24 cmSubject: GENRES ; WESTERNS ; GANGSTER FILMS ; FILM NOIR ; DISASTER FILMS ; EPIC FILMS ; HORROR FILMS ; MELODRAMA ; COMEDIES ; TRANSVESTISM ; WOMEN IN FILMS ; VIETNAM WAR FILMS ; MUSICALS ; ETHNIC GROUPS IN FILMS ; CANADA ; AUTEUR THEORY ; NARRATIVE IN FILMS ; DETECTIVE FILMS ; FEMINISM AND THE CINEMA ; HOMOSEXUALITY AND THE CINEMA ; HISTORICAL FILMS ; PHILOSOPHY AND THE CINEMA ; PORNOGRAPHY AND THE CINEMA ; PSYCHOANALYSIS AND THE CINEMA ; SCIENCE-FICTION FILMS ; SEMIOLOGY ; STRUCTURALISM ; HITCHCOCK, ALFRED ; MICHEAUX, OSCAR ; CRONENBERG, DAVID ; FORD, JOHN ; PENN, ARTHUR ; SIRK, DOUGLAS ; CAVELL, STANLEY ; CHANDLER, RAYMOND ; FRYE, NORTHROP ; MINNELLI, VINCENTE ; TODOROV, TZVETAN ; ZOO LA NUIT, UN (CN, Jean-Cluade Lauzon, 1987) ; SOME LIKE IT HOT (US, Billy Wilder, 1959) ; SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943) ; BARKLEYS OF BROADWAY, THE (US, Charles Walters, 1949) ; YENTL (US, Barbara Streisand, 1983) ; IT HAPPENED ONE NIGHT (US, Frank Capra, 1934) ; IT'S A WONDERFUL LIFE (US, Frank Capra, 1946) ; MY DARLING CLEMENTINE (US, John Ford, 1946) ; STAGECOACH (US, John Ford, 1939) ; SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952) ; THING, THE (US, Christian Nyby, 1951) ; [TWENTY] 20 MILLION MILES TO EARTH (US, Nathan Juran, 1957) ; VICTOR VICTORIA (UK, Blake Edwards, 1982) ; WRITTEN ON THE WIND (US, Douglas Sirk, 1956) ; NIGHT OF THE LIVING DEAD (US, George A. Romero, 1968) ; FLY, THE (US, David Cronenberg, 1986) ; DESPERATELY SEEKING SUSAN (US, Susan Seidelman, 1985) ; CHINATOWN (US, Roman Polanski, 1974) ; APOCALYPSE NOW (US, Francis Ford Coppola, 1979) ; CHINATOWN (US, Roman Polanski, 1974) Notes: Includes bibliographical references (p. [495]-559) and indexISBN: 0292727771 (cloth : alk. paper); 029272778X (pbk. : alk. paper)LON: 11563059
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Film theory : an introduction / Robert Lapsley and Michael Westlake Manchester, UK New York: Manchester University Press Distributed exclusively in the USA and Canada by St. Martin's Press, 1988.
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Film Theory : an introduction / by Robert Stam Malden, MA ; Oxford: Blackwell Publishing, 2000. Available at ProQuest (RMIT login required)
Call No: 62 STAAuthor: Stam, Robert Source: US/UK/ATPlace: Malden, MA ; OxfordPublisher: Blackwell PublishingPubDate: 2000PhysDes: x, 381 pages ; 23 cmSubject: FILM ; THEORY ; AUTEUR THEORY ; FORMALISM ; MOVEMENTS AND STYLES IN FILM HISTORY ; MOVEMENTS IN FILM HISTORY ; STRUCTURALISM ; REALISM IN FILMS ; POSTMODERNISM AND THE CINEMA ; PSYCHOANALYSIS AND THE CINEMA ; FEMINISM AND THE CINEMA ; HOMOSEXUALITY AND THE CINEMA ; HOMOSEXUALITY IN FILMS ; RACIAL ISSUES AND THE CINEMA ; POSTCOLONIALISM AND THE CINEMA ; PHILOSOPHY AND THE CINEMA Summary: " Film Theory: An Introduction offers a comprehensive history of film theory during the "century of cinema." The book moves all the way from silent-era theorists like Vachel Lindsay and Hugo Munsterberg through to the latest developments in film theory and cultural studies (cognitive theory, Deleuze, queer theory, postcolonial theory, digital theory), international in scope, the volume ranges over developments in such countries as France, Germany, Russia, Italy, Great Britain, the United States, Mexico, Brazil and Argentina, trying always to stress the links between these developments. The book also contextualizes film theory within larger historical and philosophical currents.Written in sophisticated yet accessible language, Film Theory: An Introduction provides a lucid and coherent introduction to a rich and variegated field. " -- BOOK BACK COVERNotes: Includes bibliographical references and indexISBN: 9780631206545Contents: -- preface -- introduction -- The antecedents of film theory -- Film and film theory : the beginnings -- Early silent film theory -- The essence of cinema -- The Soviet montage-theorists -- Russian formalism and the Bakhtin School -- The historical avant-gardes -- The debate after sound -- The Frankfurt School -- The phenomenology of realism -- The cult of the auteur -- The Americanization of auteur theory -- Third world film and theory -- The advent of structuralism -- The question of film language -- Cinematic specificity revisited -- Interrogating authorship and genre -- 1968 and the leftist turn -- The classic realist text -- The presence of Brecht -- The politics of reflexitivity -- The search for alternative aesthetics -- From linguistics to psychoanalysis -- From feminist intervention -- The postsructuralist mutation -- Textual analysis -- Interpretation and its discontents -- From text to intertext -- The amplification of sound -- The rise of cultural studies -- The birth of the spectator -- Cognitive and analytic theory -- Semiotics revisited -- Just in time : the impact of Deleuze -- The coming out of queer theory -- Multiculturalism, race, and representation -- Third cinema revisited -- Film and the postcolonial -- The poetics and politics of postmodernism -- The social valence of mass-culture -- Post-cinema : digital theory and the new media -- The pluralization of film theory -- notes -- select bibliography -- index --
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Film theory and criticism : introductory readings / [edited by] Gerald Mast, Marshall Cohen New York: Oxford University Press, 1985.
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Five directors : auteurism from Assayas to Ozon / edited by Kate Ince Manchester, UK ; New York: Manchester University Press, 2008.
Call No: 621 INCSource: UK/USPlace: Manchester, UK ; New YorkPublisher: Manchester University PressPubDate: 2008PhysDes: viii, 157 p. ; 21 cmSubject: NOUVELLE VAGUE ; AUTEUR THEORY ; EUROPEAN CINEMA ; ASSAYAS, OLIVIER ; AUDIARD, JACQUES ; DARDENNE, JEAN-PIERRE & LUC ; HANEKE, MICHAEL ; OZON, FRANCOIS Summary: "This new appraisal of the continuing relevence of the auteur to filmmmaking in French will reinvigorate debate about the historic place of auteurism in both French and European cinema.
Auteurism - the ideea that a director of a film is its source of meaning and should retain creative control over the finished product - has been one of film studies' most important paradigms ever since the French 'nouvelle vague' of the late 1950s, and the adoption of the term auteur by Andrew Sarris.
Through the work of five important contemporary directors working in the French language, this book explores the ways in which the meaning of auteur has changed over this half-century. Its five dense and wide-ranging introductory essays to the films of Olivier Assayas, Jacques Audiard, the Dardenne brothers, Michael Haneke and Francois Ozon combine French philosophical and sociological approaches with methodologies from the Anglo-American fields of gender studies, queer theory and postmodernism.
This volume will be of interest to researchers working in French and European cinema and to students of film studies, European cinema, and French and Francophone studies, as well as to film enthusiasts."-BOOK BLURBNotes: includes bibliographical references
includes filmography; includes indexISBN: 9780719086410Contents: Olivier Assayas and the cinemna of catastrophe / Paul Sutton -- Jacques Audiard : contesting filiations / Julia Dobson -- Ethics in the ruin of politics : the Dardenne brothers / Martin O'Shaughnessy -- Close encounters with distant suffering : Michael Haneke's disarming visions / Libby Saxton -- Franc¸ois Ozon's cinema of desire / Kate Ince
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Francis Ford Coppola Springfield, Illinois.: University of Illinois Press, 2014.
Call No: 81COP MENAuthor: Menne, Jeff Edition: 1st ed.Source: USPlace: Urbana, Illinois.; Chicago, Illinois.; Springfield, Illinois.Publisher: University of Illinois PressPubDate: 2014PhysDes: 168 pages ; 21 cmSeries: Contemporary Film DirectorsSubject: AUTEUR THEORY ; DIRECTORS. USA ; COPPOLA, FRANCIS FORD Summary: "Analyzing films like The Godfather (1972) and the overlooked Tucker: The Man and His Dream (1988) through Coppola's use of opera, Menne illustrates how Coppola developed a defining musical aesthetic while making films that reflected the idea of a corporation as family - and how his studio, American Zoetrope, came to represent a new brand of auteurism and the model for post-Fordist Hollywood." -- BOOK BLURBNotes: Contains twenty black and white photographs. -- Includes contents, bibliographic references and indexISBN: 9780252080371
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journal article
Fritz Lang : The Ambiguity of Innocence in Lumiere (June, 1973) iss.24 p.23-27
Author: Clancy, Laurie PhysDes: ArticleSubject: LANG, FRITZ ; M (G, Fritz Lang, 1931) ; YOU ONLY LIVE ONCE (US, Fritz Lang, 1937) ; WOMAN IN THE WINDOW, THE (US, Fritz Lang, 1944) ; BIG HEAT, THE (US, Fritz Lang, 1953) ; AUTEUR THEORY Summary: Article on the films of Fritz Lang. Mentions the director's belief in auteurism and discusses various themes found throughout his work.
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Hitchcock and adaptation : on the page and screen / edited by Mark Osteen Lanham, Maryland: Rowman & Littlefield, c2014.
Call No: 753HIT OSTAuthor: Osteen, Mark (editor) Source: UKPlace: Lanham, MarylandPublisher: Rowman & LittlefieldPubDate: c2014PhysDes: xxxviii, 314 pages ; 24 cmSubject: ADAPTATIONS ; AUTHORSHIP ; AUTEUR THEORY ; HITCHCOCK, ALFRED ; THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935) ; SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943) ; LIFEBOAT (US, Alfred Hitchcock, 1944) ; REAR WINDOW (US, Alfred Hitchcock, 1954) ; VERTIGO (US, Alfred Hitchcock, 1958) ; MARNIE (US, Alfred Hitchcock, 1964) ; FRENZY (US, Alfred Hitchcock, 1972) Summary: In Hitchcock and Adaptation: On the Page and Screen, Mark Osteen has assembled a wide-ranging collection of essays that explore how Hitchcock and his screenwriters transformed literary and theatrical source material into masterpieces of cinema. Some of these essays look at adaptations through a specific lens, such as queer aesthetics applied to Rope, Strangers on a Train, and Psycho, while others tackle the issue of Hitchcock as author, auteur, adaptor, and, for the first time, present Hitchcock as a literary source. Film adaptations discussed in this volume include The 39 Steps, Shadow of a Doubt, Lifeboat, Rear Window, Vertigo, Marnie, and Frenzy. Additional essays analyze Hitchcock-inspired works by W. G. Sebald, Don DeLillo, Bret Easton Ellis, and others.
These close examinations of Alfred Hitchcock and the creative process illuminate the significance of the material he turned to for inspiration, celebrate the men and women who helped bring his artistic vision from the printed word to the screen, and explore how the director has influenced contemporary writers. A fascinating look into an underexplored aspect of the director’s working methods, Hitchcock and Adaptation will be of interest to film scholars and fans of cinema’s most gifted auteur. -- Extract from the back of bookNotes: Includes filmography -- Includes bibliographical references, filmography and indexISBN: 9781442230873Contents: Part 1. Hitchcock and authorship. -- Thomas M. Leitch: Hitchcock the author --
Walter Raubicheck and Walter Srebnick: Wrong men on the run: The 39 steps as Hitchcock's espionage paradigm --
Patrick Faubert: the role and presence of authorship in Suspicion --
Part 2. Hitchcock adapting -- Ken Mogg: Melancholy elephants: Hitchcock and ingenious adaptation --
Matthew Paul Carlson: Conrad's The secret agent, Hitchcock's Sabotage, and the inspiration of "public uneasiness" --
Leslie H. Abramson: Stranger(s) than fiction: adaptation, modernity, and the menace of fan culture in Hitchcock's Strangers on a train --
Heath A. Diehl: Reading Hitchcock/ reading queer: adaptation, narrativity, and a queer mode of address in Rope, Strangers on a train, and Psycho --
Nicholas Andrew Miller: "Dear Miss Lonelyhearts": voyeurism and the spectacle of human suffering in Rear window -- John Bruns: "The proper geography": Hitchcock's adaptation of Daphne du Maurier's "The birds" -- Tony Williams: From Kaleidoscope to Frenzy: Hitchcock's second British homecoming --
Part 3. Hitching a ride: the collaborations -- Donna Kornhaber: Hitchcock's diegetic imagination, Thornton Wilder, Shadow of a doubt and Hitchcock's mise-en-sce`ne -- Maria A. Judnick: "The name of Hitchcock! the fame of Steinbeck! The legacy of Lifeboat -- Christina Lane and Jo Botting: "What did Alma think?" continuity, writing, editing, and adaptation --
Part 4. Adapting Hitchcock -- Russell J. A. Kilbourn: The second look, the second death: W. G. Sebald's orphic adaptation of Hitchcock's Vertigo -- Dennis R. Perry and Carl H. Sederholm: Dark adaptations: Robert Bloch and Hitchcock on the small screen -- Mark Osteen: Extraordinary renditions: Delillo's Point omega and Hitchcock's Psycho -- David Seed: The culture of spectacle in American psycho.
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Hollywood hybrids : mixing genres in contemporary films / Ira Jaffe Lanham, MD: Rowman & Littlefield, 2008.
Call No: 622 JAFAuthor: Jaffe, Ira Source: USPlace: Lanham, MDPublisher: Rowman & LittlefieldPubDate: 2008PhysDes: ix, 182 p. ; ill. ; 23 cmSeries: Genre and beyondSubject: GENRES ; AUTEUR THEORY Summary: "Through close readings of work by major U.S. filmmakers such as Quentin Tarantino, David Lynch, Errol Morris, Todd Haynes, and Joel and Ethan Cohen, Hollywood Hybrids studies provocative, disorientating strategies of genre mixing in contemporary cinema. The book also investigates foreign parallels to U.S. hybrid cinema in films by such directors as Pedro Almodovar and Stephen Chow. Rather than explore genre primarily from the standpoint of movie critics, producers, marketers, and spectators, Hollywood Hybrids focuses on genre mixing as a key creative interest motivating celebrated fimmakers, and thus relates genre to auteur theory. The book also links recent hybrid cinema to earlier instances of hybrid film and other arts, including painting, music, literature, and architecture."-BOOK JACKETNotes: includes filmography; includes bibliographical references; includes indexISBN: 9780742539518Donation: donated by Senses of CinemaContents: -- Acknowledgements-- Introduction -- 1. Fact and Fiction -- 2. Gangster and Warrior -- 3. Melodrama and Teen Romance -- 4. Tragicomic Accidents -- 5. Global Parallels -- Selected Bibliography -- Selected Filmography -- Index --
About the Author --
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The Hollywood interviews / Cahiers du Cinéma; translated by John Flower Oxford, UK: Berg, 2006.
Call No: 802.25 CAHSource: UKPlace: Oxford, UKPublisher: BergPubDate: 2006PhysDes: v, 154 p. ; 19 cmSubject: AUTEUR THEORY ; COPPOLA, FRANCIS FORD ; DE PALMA, BRIAN ; SCORSESE, MARTIN ; EASTWOOD, CLINT ; BURTON, TIM ; COEN, JOEL & ETHAN Summary: Interviews with Francis Ford Coppola, Brian de Palma, Martin Scorsese, Clint Eastwood, and Tim Burton.Notes: Formerly CIP.; Includes filmographies.; Translated from the French.ISBN: 1845204417
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journal article
International Trends in the Cinema : A Summary of Ken Mogg's Talk to Monash Film Group Discussion Group in Montage (1966) iss.2 p.18-21
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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 ; RACIAL ISSUES 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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An introduction to film studies / edited by Jill Nelmes London: Routledge, 1999.
Call No: 62 INTAuthor: Nelmes, Jill, 1954 Edition: 2nd edPlace: LondonPublisher: RoutledgePubDate: 1999PhysDes: xviii, 522 p. : ill. ; 26 cmSubject: WARNER BROS. ; STUDIO SYSTEM ; AUDIENCES ; GENRES ; DOCUMENTARY FILMS ; ANIMATION ; COMPUTERS AND THE CINEMA ; WOMEN AND THE CINEMA ; FEMINISM AND THE CINEMA ; HOMOSEXUALITY AND THE CINEMA ; HOMOSEXUALITY IN FILMS ; UNITED KINGDOM ; INDIA ; USSR ; GERMANY ; NARRATIVE IN FILMS ; SPECTATORSHIP ; CENSORSHIP ; STARS ; AUTEUR THEORY ; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA ; KULESOV, LEV ; KAPOOR, RAJ ; Ray, Satyajit ; DOVZENKO, ALEKSANDR ; SHUB, ESTHER ; FLAHERTY, ROBERT ; JENNINGS, HUMPHREY ; RIEFENSTAHL, LENI ; WISEMAN, FREDERICK ; POTTER, SALLY ; TOCCAFONDO, GIANLUIGI ; FELLOW TRAVELLER (UK/US, Philip Saville, 1990) ; DUCK AMUCK (US, Chuck Jones, 1953) ; GIRLS' NIGHT OUT (UK, Joanna Quinn, 1987) ; COLOUR BOX, A (UK, Len Lye, 1935) ; DEADSY (UK, David Anderson, 1989) ; DILWALE DULHANIYA LE JAYENGE (II, Aditya Chopra, [1995]) ; JAWS (US, Steven Spielberg, 1975) ; CRYING GAME, THE (UK, Neil Jordan, 1992) ; PLATOON (US, Oliver Stone, 1986) ; MARS ATTACKS! (US, Tim Burton, 1996) ; ROBOCOP (US, Paul Verhoeven, 1987) ; GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927) ; IF... (UK, Lindsay Anderson, 1968) ; PULP FICTION (US, Quentin Tarantino, 1994) ; NEW YORK, NEW YORK (US, Martin Scorsese, 1977) ; HOOP DREAMS (US, Steve James, 1994) ; WHEN WE WERE KINGS (US, Leon Gast, 1996) ; GIRLS LIKE US (US, Jane C. Wagner & Tina De Feliciantonio, 1997) ; CREATURE COMFORTS (UK, Nick Park, 1991) ; NEIGHBOURS (US, Norman McLaren, 1952) ; STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982) ; GOLD DIGGERS, THE (US, Sally Potter, 1983) ; ORLANDO (UK/RU/FR/NE, Sally Potter, 1992) ; PIANO, THE (AT, Jane Campion, 1993) ; VICTIM (UK, Basil Dearden, 1961) ; DESERT HEARTS (US, Donna Deitch, 1985) ; LIVING END, THE (US, Gregg Araki, 1992) ; LOOKING FOR LANGSTON (UK, Isaac Julien, 1989) ; GO FISH (US, Rose Troche, 1994) ; TRAINSPOTTING (UK, Danny Boyle, 1996) ; FULL MONTY, THE (UK/US, Robert Cattaneo, 1997) ; ABSCHIED VON GESTERN (GW, Alexander Kluge, 1966) ; AMERIKANISCHE FREUND, DER (GW/FR, Wim Wenders, 1977) ; DEUTSCHLAND, BLEICHE MUTTER (GW, Helma Sanders-Brahms, 1980) Notes: Includes bibliographical references and indexISBN: 0415173094 (hb); 0415173108 (pb)LON: 14043939URL status: URL: 'http://-'
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An introduction to film studies / edited by Jill Nelmes London: Routledge, 2003.
Call No: 62 INTAuthor: Nelmes, Jill, 1954 Edition: 3rd edPlace: LondonPublisher: RoutledgePubDate: 2003PhysDes: xviii, 522 p. : ill. ; 26 cmSubject: WARNER BROS. ; STUDIO SYSTEM ; AUDIENCES ; GENRES ; DOCUMENTARY FILMS ; ANIMATION ; COMPUTERS AND THE CINEMA ; WOMEN AND THE CINEMA ; FEMINISM AND THE CINEMA ; HOMOSEXUALITY AND THE CINEMA ; HOMOSEXUALITY IN FILMS ; UNITED KINGDOM ; INDIA ; USSR ; GERMANY ; NARRATIVE IN FILMS ; SPECTATORSHIP ; CENSORSHIP ; STARS ; AUTEUR THEORY ; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA ; KULESOV, LEV ; KAPOOR, RAJ ; Ray, Satyajit ; DOVZENKO, ALEKSANDR ; SHUB, ESTHER ; FLAHERTY, ROBERT ; JENNINGS, HUMPHREY ; RIEFENSTAHL, LENI ; WISEMAN, FREDERICK ; POTTER, SALLY ; TOCCAFONDO, GIANLUIGI ; FELLOW TRAVELLER (UK/US, Philip Saville, 1990) ; DUCK AMUCK (US, Chuck Jones, 1953) ; GIRLS' NIGHT OUT (UK, Joanna Quinn, 1987) ; COLOUR BOX, A (UK, Len Lye, 1935) ; DEADSY (UK, David Anderson, 1989) ; DILWALE DULHANIYA LE JAYENGE (II, Aditya Chopra, [1995]) ; JAWS (US, Steven Spielberg, 1975) ; CRYING GAME, THE (UK, Neil Jordan, 1992) ; PLATOON (US, Oliver Stone, 1986) ; MARS ATTACKS! (US, Tim Burton, 1996) ; ROBOCOP (US, Paul Verhoeven, 1987) ; GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927) ; IF... (UK, Lindsay Anderson, 1968) ; PULP FICTION (US, Quentin Tarantino, 1994) ; NEW YORK, NEW YORK (US, Martin Scorsese, 1977) ; HOOP DREAMS (US, Steve James, 1994) ; WHEN WE WERE KINGS (US, Leon Gast, 1996) ; GIRLS LIKE US (US, Jane C. Wagner & Tina De Feliciantonio, 1997) ; CREATURE COMFORTS (UK, Nick Park, 1991) ; NEIGHBOURS (US, Norman McLaren, 1952) ; STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982) ; GOLD DIGGERS, THE (US, Sally Potter, 1983) ; ORLANDO (UK/RU/FR/NE, Sally Potter, 1992) ; PIANO, THE (AT, Jane Campion, 1993) ; VICTIM (UK, Basil Dearden, 1961) ; DESERT HEARTS (US, Donna Deitch, 1985) ; LIVING END, THE (US, Gregg Araki, 1992) ; LOOKING FOR LANGSTON (UK, Isaac Julien, 1989) ; GO FISH (US, Rose Troche, 1994) ; TRAINSPOTTING (UK, Danny Boyle, 1996) ; FULL MONTY, THE (UK/US, Robert Cattaneo, 1997) ; ABSCHIED VON GESTERN (GW, Alexander Kluge, 1966) ; AMERIKANISCHE FREUND, DER (GW/FR, Wim Wenders, 1977) ; DEUTSCHLAND, BLEICHE MUTTER (GW, Helma Sanders-Brahms, 1980) Summary: Reference work covering a wide range of concepts, theories and ideas about film studies covering different periods and countries. Attempts to present the diversity of thought within film theory. First published in 1996.Notes: Includes annotated key reading for each chapter, bibliography, glossary of key terms and index.ISBN: 0415173094 (hb); 0415173108 (pb)LON: 14043939
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Jane Campion and adaptation : angels, demons and unsettling voices / Estella Tincknell Basingstoke, Hampshire: Palgrave Macmillan, 2013.
Call No: 753CAM TINAuthor: Tincknell, Estella Source: UKPlace: Basingstoke, HampshirePublisher: Palgrave MacmillanPubDate: 2013PhysDes: 139 pages : illustrated ; 22 cmSeries: The adaptation seriesSubject: ADAPTATIONS ; ADAPTATIONS. JAMES, HENRY ; AUTEUR THEORY ; AUTHORSHIP ; DIRECTORS ; FEMINISM AND THE CINEMA ; GENRES ; LITERATURE AND THE CINEMA ; MYTH AND THE CINEMA ; CAMPION, JANE ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; BRIGHT STAR (UK/AT/FR, Jane Campion, 2009) ; IN THE CUT (US/AT, Jane Campion, 2003) ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; SWEETIE (AT, Jane Campion, 1989) ; TOP OF THE LAKE [TV] (AT/UK, Jane Campion/Garth Davis, 2013) Summary: "In Jane Campion and Adaptation Estella Tincknell presents a compelling analysis of the interplay between literature and cinema in relation to Campion's work. The text takes a distinct approach to understanding Campion's films, positioning them not simply as the work of a cinematic auteur, but as the culmination of a complex set of textual relationships and practices. In doing so, Tincknell argues persuasively that the director's use of adaptation goes well beyond the conventionally respectful approach to literary texts, opting instead for a playful, subversive and challenging re-imagining of the connections between literature, myth, cultural identity and cinema." -- PORTION OF BOOK BLURBNotes: Contains bibliographic references and index -- list of illustrations included as looseleaf in front of bookISBN: 9780230229006Contents: -- pt. One Versions -- `A Jane Campion film': authorships and adaptations -- Collaborations, credibility, creativity -- Cultural value and the fidelity question -- `Adding to' not taking from: textual ontologies redux -- pt. Two Visions and Voices -- Multiple voices, different visions -- Gothic visions, feminine fables -- Shadow Males and Super Males -- Angels, fairies, demons -- Demythologising space and place -- Attending to the past -- pt. Three Genres -- Art cinema or feminist cinema? -- Re-articulating film genres one: the anti-heritage text - The Portrait of a Lady -- Playfulness and respect -- Costume drama, feminism and the `affect' of history -- Indexing the past -- Adapting the self -- Auditory affect, musical boxes -- Re-articulating film genres two: The Piano as melodrama -- Re-articulating film genres three: An Angel at My Table and the biopic - public lives, private selves -- From the margins to the centre - Bright Star as biopic --
Re-articulating film genres four: In the Cut's rewriting of film noir -- conclusion -- notes -- bibliography -- index --
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Jean-Luc Godard : son + image, 1974-1991 / edited by Raymond Bellour with Mary Lea Bandy New York: Museum of Modern Art : Distributed by H.N. Abrams, c1992.
Call No: 81GOD JEASource: UKPlace: New YorkPublisher: Museum of Modern Art : Distributed by H.N. AbramsPubDate: c1992PhysDes: 240 p. : ill. (some col.) ; 32 cmSubject: NOUVELLE VAGUE ; CAHIERS DU CINEMA ; POLITICS AND THE CINEMA ; SPECTATORSHIP ; THEORY ; PSYCHOANALYSIS AND THE CINEMA ; TELEVISION AND THE ARTS ; AUTEUR THEORY ; TOUT VA BIEN (FR/IT, Jean-Luc Godard & Jean-Pierre Gorin, 1972) ; FEMME EST UNE FEMME, UNE (FR, Jean-Luc Godard, 1961) ; WOMAN IS A WOMAN, A (FR, Jean-Luc Godard, 1961) ; VIVRE SAVIE (FR, Jean-Luc Godard, 1962) ; CARABINIERS, LES (FR/IT, Jean-Luc Godard, 1963) ; MEPRIS, LE (FR/IT, Jean-Luc Godrad, 1963) ; BANDE A PART (FR, Jean-Luc Godard, 1964) ; FEMME MARIEE, UNE (FR, Jean-Luc Godard, 1964) ; ALPHAVILLE (FR, Jean-Luc Godard, 1965) ; PIERROT LE FOU (FR/IT, Jean-Luc Godard, 1965) ; MASCULIN-FEMININ (FR, Jean-Luc Godard, 1966) ; WEEK-END (FR/IT, Jean-Luc Godard, 1968) ; GAI SAVOIR, LE (FR/GW, Jean-Luc Godard, 1969) ; ONE PLUS ONE (UK, Jean-Luc Godard, 1968) ; ONE A.M. (FR/US, Jean-Luc Godard, 1968) ; BRITISH SOUNDS (UK, Jean-Luc Godard & Jean-Henri Roger, 1969) ; PRAVDA (FR, Jean-Luc Godard, 1970) ; VENT D'EST (FR/IT/GW, Jean-Luc Godard & Dziga Vertov Group, 1970) ; [TWO OR THREE] 2 OR 3 THINGS I KNOW ABOUT HER [DEUX OU TROIS CHOSES QUE JE SAIS D'ELLE (FR, Jean-Luc Godard, 1967) ; WEEK-END (FR/IT, Jean-Luc Godard, 1968) ; CHINOISE, LA (FR, Jean-Luc Godard, 1967) ; A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959) ; BREATHLESS (FR, Jean-Luc Godard, 1959) ; LUTTES EN ITALIE (FR/IT Jean-Luc Godard & Jean-Pierre GORIN, 1969) ; TOUT VA BIEN (FR/IT, Jean-Luc Godard & Jean-Pierre Gorin, 1972) ; SAUVE QUI PEUT (LA VIE) (FR/SZ, Jean-Luc Godard, 1980) ; PASSION (FR/SZ, Jean-Luc Godard, 1982) ; JE VOUS SALUE MARIE (FR/SZ, Jean-Luc Godard, 1985) ; SOIGNE TA DROITE (FR/SZ, Jean-Luc Godard, 1987) ; NOUVELLE VAGUE (Fr, Jean-Luc Godard, 1990) ; PRENOM CARMEN (FR/SW, Jean-Luc Godard, 1983) Notes: "Published on the occasion of the exhibition ... October 30-November 30, 1992, organized by Mary Lea Bandy, director, Laurence Kardish, curator, and Barbara London, assistant curator, video ... and Colin MacCabe, guest curator"--T.p. verso.
Filmography: p. 232-235.
Includes bibliographical references (p. 236-238)
Some articles translated from the French.ISBN: 0810961148Language: English
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Jungian film studies : the essential guide / Helena Bassil-Morozow / Luke Hockley London ; New York: Routledge, 2017.
Call No: 626[159.964.2] MORAuthor: Bassil-Morozow, Helena ; Hockley,Luke Source: UK/USPlace: London; London ; New YorkPublisher: RoutledgePubDate: 2017PhysDes: viii, 200 pages ; 24 cmSeries: Jung: the essential guidesSubject: PSYCHOANALYSIS AND THE CINEMA ; PSYCHOLOGICAL EFFECTS OF FILMS ; PSYCHOLOGY AND THE CINEMA ; FILM ; NARRATIVE IN FILMS ; AUTEUR THEORY ; GENRES Summary: "Written in a growing academic field it is the first book to bring together all the different strands, and arguments in the dicipline, and guide the reader through the various ways in which Jungian psychology can be applied to moving images." -- adapted from book blurb.Notes: includes bibliography, list of names and indexISBN: 9780415531450Contents: Introduction -- Methods The Context of Jungian film studies; Using Jung to analyse narrative tools and concepts -- Jungian Psychology: signs and symbols -- Applications; combining different methodologies in visual narrative analysis -- The Auteur Theory: A Jungian view -- Film genres and archetypes -- Jungian vs. Freudians: gender, identity and sexuality on screen -- The body: phenomenology and cinema
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The limits of auteurism : case studies in the critically constructed New Hollywood / Nicholas Godfrey New Brunswick: Rutgers University Press, 2018.
Call No: 11339Author: Godfrey, Nicholas Edition: 2018Place: New BrunswickPublisher: Rutgers University PressPubDate: 2018PhysDes: xii, 270 pages : illustrated ; 24 cmSubject: AUTEUR THEORY ; EASY RIDER (US, Dennis Hopper, 1969) ; [FIVE] 5 EASY PIECES (US, Bob Rafelson, 1970) ; TWO-LANE BLACKTOP (US, Monte Hellman, 1971) ; VANISHING POINT (UK, Richard C. Sarafian, 1971) ; LITTLE FAUSS AND BIG HALSY (US, Sydney J. Furie, 1970) ; ADAM AT SIX AM (US, Robert Scheerer, 1970) ; DIRTY HARRY (US, Don Siegel, 1971) ; FRENCH CONNECTION, THE (US, William Friedkin, 1971) ; LAST MOVIE, THE (US, Dennis Hopper, 1971) ; HIRED HAND, THE (US, Peter Fonda, 1971) Summary: The New Hollywood era of the late 1960s and early 1970s has become one of the most romanticized periods in motion picture history, celebrated for its stylistic boldness, thematic complexity, and the unshackling of directorial ambition. The Limits of Auteurism aims to challenge many of these assumptions. Beginning with the commercial success of Easy Rider in 1969, and ending two years later with the critical and commercial failure of that film’s twin progeny, The Last Movie and The Hired Hand, Nicholas Godfrey surveys a key moment that defined the subsequent aesthetic parameters of American commercial art cinema.
The book explores the role that contemporary critics played in determining how the movies of this period were understood and how, in turn, strategies of distribution influenced critical responses and dictated the conditions of entry into the rapidly codifying New Hollywood canon. Focusing on a small number of industrially significant films, this new history advances our understanding of this important moment of transition from Classical to contemporary modes of production. -- publisher's web siteISBN: 9780813589145
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Mouchette in Melbourne Film Bulletin (1968) iss.4 p.22-24
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Movies and methods : an anthology / edited by Bill Nichols Berkeley: University of California Press, c1976.
Call No: 62(082) MOV v.1Author: Nichols, Bill Place: BerkeleyPublisher: University of California PressPubDate: c1976PhysDes: xi, 640 p. : ill. ; 24 cmSubject: STRUCTURALISM ; CRITICISM ; IDEOLOGY AND THE CINEMA ; IDEOLOGY IN FILMS ; POLITICS AND THE CINEMA ; POLITICS IN FILMS ; GENRES ; AUTEUR THEORY ; FILM NOIR ; THEORY ; WESTERNS ; WOMEN AND THE CINEMA ; FILM NOIR ; SEMIOLOGY ; METHODOLOGY OF FILM CRITICISM ; ETHNOGRAPHIC FILMS ; FEMINISM AND THE CINEMA ; CAPRA, FRANK ; RAY, NICHOLAS ; VON STERNBERG, JOSEF ; GODARD, JEAN-LUC ; CITIZEN KANE (US, Orson Welles, 1941) ; SERPICO (US, Sidney Lumet, 1973) ; GODFATHER PART II, THE (US, Francis Ford Coppola, 1974) ; VENT D'EST (FR/IT/GW, Jean-Luc Godard & Dziga Vertov Group, 1970) ; WIND FROM THE EAST (FR/IT/GW, Jean-Luc Godard & Dziga Vertov Group, 1970) ; VIVRE SAVIE (FR, Jean-Luc Godard, 1962) ; KLUTE (US, Alan J. Pakula, 1971) ; TRUFFAUT, FRANCOIS ; SHOCK CORRIDOR (US, Samuel Fuller, 1963) ; TO HAVE AND HAVE NOT (US, Howard Hawks, 1944) ; BLOW JOB (US, Andy Warhol, 1963) ; RIO LOBO (US, Howard Hawks, 1970) ; YOUNG MR. LINCOLN (US, John Ford, 1939) Summary: "Film teachers and students will welcome this new anthology, which makes available in one source a comprehensive selection of recent theoretical work on film, including many articles difficult to locate in the scattered literature. The contents are drawn almost entirely from the publications of the past fifteen years, and include work by the most original film thinkers - some well known to a wide public, some widely known among readers of film journals. Several important film-makers are also represented." -- BOOK BLURBNotes: Includes index; This is volume 1ISBN: 0520031512LON: cln74022969; 10151896Contents: --- part 1 contextual criticism -- political criticism -- genre criticism -- feminist criticism -- part 2 formal criticism -- auteur criticism -- mise-en-scene criticism -- part 3 theory -- film theory -- structuralism-semiology --
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Personal views : explorations in film / Robin Wood London: G. Fraser, 1976.
Call No: 67(04) WOOAuthor: Wood, Robin, 1931 Place: LondonPublisher: G. FraserPubDate: 1976PhysDes: 254, [1] p. : ill. ; 22 cmSubject: REALISM IN FILMS ; IDEOLOGY AND THE CINEMA ; CHILDREN IN FILMS ; AUTEUR THEORY ; HAWKS, HOWARD ; WOLLEN, PETER ; TOURNEUR, JACQUES ; LETTER FROM AN UNKNOWN WOMAN (US, Max Ophuls, 1948) ; TOUCH OF EVIL (US, Orson Welles, 1958) ; UGETSU MONOGATARI (JA, Kenji Mizoguchi, 1953) ; SANSHO DAYU (JA, Kanji Mizoguchi, 1954) ; SCARLET EMPRESS, THE (US, Joseph von Sternberg, 1934) Notes: Includes index; Bibliography: p. [255]ISBN: 090040664X : ª5.90LON: 793105
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Peter Weir : a creative journey from Australia to Hollywood / by Serena Formica Bristol ; Chicago: Intellect Books, 2012. Available at ProQuest (RMIT login required)
Call No: 81WEI FORAuthor: Formica, Serena Source: USPlace: Bristol ; ChicagoPublisher: Intellect BooksPubDate: 2012PhysDes: vii, 202 p. : ill. ; 23 cmSubject: AUTEUR THEORY ; INDUSTRY, FILM. AUSTRALIA : NEW SOUTH WALES ; WEIR, PETER ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982) ; WITNESS (US, Peter Weir, 1985) ; TRUMAN SHOW, THE (US, Peter Weir, 1998) Summary: "The cinematic output of Australian director Peter Weir has garnered numerous awards and widespread critical acclaim-from his early short films of the 1970s to the Hollywood hits he's helmed since 1985, including the likes of Witness, Dead Poets Society, The Truman Show, and Master and Commander.
Drawing on contemporary concepts from transnational cinema studies, this book investigates Weir's entire three-decade career, paying particular attention to his journey from his native Sydney, with its largely auteur-driven national cinema, to the miltimillion-dollar Hollywood film industry with its many genre conventions. Along the way, the author explores a host of questions accompanying this move, including Weir's status as a transnational filmmaker and a more generalised discussion of the critically controversial idea of the auteur. Rounding out this volume are interviews with leading Hollywood filmmakers who discuss Weir's work."-BOOK BLURBNotes: Includes bibliographical references (p. 173-193) and filmography (p. 195-202)ISBN: 9781841504773Contents: -- acknowldegments -- Introduction -- Migrations and transnationalism in the cinema -- Perspectives on Peter Weir -- Australian production context in the 1970s and early 1980s -- Peter Weir's four key steps from Australia to Hollywood -- Conclusions -- Bibliography -- Appendix 1: Filmography - main credits -- Appendix 2: Films made in Hollywood by Australian directors --URL status: URL: 'https://ebookcentral.proquest.com/lib/rmit/detail.action?docID=1069409'
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Peter Weir : interviews / edited by John C. Tibbetts ; foreword by David Thomson Jackson, Mississippi: University Press of Mississippi, 2014.
Call No: 81WEI PETAuthor: Tibbetts, John C ; Thomson, David Source: USPlace: Jackson, MississippiPublisher: University Press of MississippiPubDate: 2014PhysDes: xlii, 261 pages ; 24 cmSeries: Conversations with filmmakers seriesSubject: ADAPTATIONS ; AUTEUR THEORY ; DIRECTORS ; EDITING ; INTERVIEWING ; REALITY TV ; WAR IN FILMS ; WEIR, PETER ; BOYD, RUSSELL ; CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974) ; DEAD POETS SOCIETY (US, Peter Weir, 1989) ; FEARLESS (US, Peter Weir, 1993) ; GALLIPOLI (AT, Peter Weir, 1981) ; GREEN CARD (AT/FR, Peter Weir, 1990) ; HOMESDALE (AT, Peter Weir, 1971) ; LAST WAVE, THE (AT, Peter Weir, 1977) ; MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD (US, Peter Weir, 2003) ; MOSQUITO COAST, THE (US, Peter Weir, 1986) ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; PLUMBER, THE (AT, Peter Weir, 1980) ; TRUMAN SHOW, THE (US, Peter Weir, 1998) ; WAY BACK, THE (US, Peter Weir, 2010) ; WITNESS (US, Peter Weir, 1985) ; YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982) Summary: 'Peter Weir: Interviews' is the first volume of interviews to be published on the esteemed Australian director. Although Weir (b. 1944) has acquired a reputation of being guarded about his life and work, these interviews by archivists, journalists, historians, and colleagues reveal him to be a most amiable and forthcoming subject. [...] Interviews discuss Weir's diverse and impressive range of work - his earlier films 'Picnic at Hanging Rock', 'The Last Wave', 'Gallipoli', and 'The Year of Living Dangerously', as well as Academy Award-nominated 'Witness', 'Dead Poets Society', 'Green Card', 'The Truman Show', and 'Master and Commander'. This book confirms the trajectory of Weir's life and work parallels and embodies Australia's quest to define and express a historical and cultural identity." -- BOOK BLURBNotes: Includes chronology and filmography for Peter Weir's work; includes indexISBN: 9781617038976Contents: Foreword by David Thomson -- Introduction: "unmet friends": encounters with Peter Weir -- Chronology -- Filmography -- Peter Weir: reclaiming a Sydney boyhood: John C. Tibbetts / 2012 -- Peter Weir: snapshots in time: John C. Tibbetts / 2012 -- Peter Weir: early days: Sue Mathews / 1985 -- Small screens and big screens: television and film: Graham Shirley / 1991 -- The first features: 'The Cars That Ate Paris: Tom Hogan / 1973 -- "Weir, weird, and weirder still": the riddle of Hanging Rock: David Castell / 1976 -- Years of living dangerously: 'The Last Wave', 'The Plumber', 'Gallipoli', 'The Year of Living Dangerously': Sue Mathews / 1985 -- Interview with Peter Weir: Luisa Ceretto and Andrea Morini / 1999 -- Peter Weir: master of unease: Terry Dowling and George Mannix / 1980 -- Towards the center: Tom Ryan and Brian McFarlane / 1981 -- The swizzle stick: Peter Weir and Hollywood genres: Jonathan Rayner / 1993 -- The iceman cometh: 'Mosquito Coast': Digby Diehl / 1986 -- 'Fearless': the poetry of apocalypse: John C. Tibbetts / 1993 -- Poetry man: 'Dead Poets Society': Nancy Griffin -- Weir's worlds: 'The Truman Show': Virginia Campbell -- This is your life: 'The Truman Show': Eric Rudolph / 1998 -- He's fought his own way back to work: Terence Rafferty / 2011 -- "I am your eyes": interviews with Russell Boyd, ACS, ASC: John C. Tibbetts / 2012 -- Appendix: Notes on 'Gallipoli -- Interview with executive producer Francis O'Brien -- Peter Weir's Anzac lecture -- additional sources -- index
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Pleading an Aesthetic Excuse in Montage (September 1968) p.9-13
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Post-Fordist cinema : Hollywood auteurs and the corporate counterculture / Jeff Menne New York: Columbia University Press, 2019.
Call No: 46(794) MENAuthor: Menne, Jeff Edition: 2019Place: New YorkPublisher: Columbia University PressPubDate: 2019PhysDes: viii, 260 pages : illustrated ; 23 cmSeries: Film and cultureSubject: AUTEUR THEORY ; FORD, JOHN ; DOUGLAS, KIRK ; ALTMAN, ROBERT ; BEATTY, WARREN ; BONNIE AND CLYDE (US, Arthur Penn, 1967) ; EASY RIDER (US, Dennis Hopper, 1969) ; GRADUATE, THE (US, Mike Nichols, 1967) ; JAWS (US, Steven Spielberg, 1975) ; KING OF MARVIN GARDENS, THE (US, Bob Rafelson, 1972) ; SCHNEIDER, BERT ; SPIELBERG, STEVEN ; SUGARLAND EXPRESS, THE (US, Steven Spielberg, 1974) ; WASSERMAN, LEW Summary: The New Hollywood boom of the late 1960s and 1970s is celebrated as a time when maverick directors bucked the system. Against the backdrop of counterculture sensibilities and the prominence of auteur theory, New Hollywood directors such as Robert Altman and Francis Ford Coppola seemed to embody creative individualism. In Post-Fordist Cinema, Jeff Menne rewrites the history of this period, arguing that auteur theory served to reconcile directors to Hollywood’s corporate project.
Menne traces the surprising affinities between auteur theory and management gurus such as Peter Drucker, who envisioned a more open and flexible corporate style. In founding production companies, New Hollywood filmmakers took part in the creation of new corporate models that emphasized entrepreneurial creativity. For firms such as Kirk Douglas’s Bryna Productions, Altman’s Lion’s Gate Films, the Zanuck-Brown Company, and BBS Productions, the counterculture ethos limbered up the studio system’s sclerotic production process—with striking parallels to how management theory conceived of the role of the individual within the firm. Menne offers insightful readings of how films such as Lonely Are the Brave, Brewster McCloud, Jaws, and The King of Marvin Gardens narrate the conditions in which they were created, depicting shifting notions of work and corporate structure. While auteur theory allowed directors to cast themselves as independent creators, Menne argues that its most consequential impact came as a management doctrine. An ambitious rethinking of New Hollywood, Post-Fordist Cinema sheds new light on the cultural myth of the great director and the birth of the “creative economy.” -- publisher's web siteISBN: 9780231183710Contents: Acknowledgments -- Introduction: The Business of Auteur Theory -- 1: Post (Henry and John) Fordism: Kirk Douglas and Guerilla Economy -- 2. The Cinema of Defection: The Corporate Counterculture and Robert Altman’s Lion’s Gate -- 3. Television Totalities: Zanuck-Brown and the Privately-Held Company -- 4. The Ethos of Incorporation: BBS and the Law of Unnatural Persons -- Afterword: Auteurs, Amateurs, Animators -- Notes -- Index
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Postmodernism in the cinema / edited by Cristina Degli-Esposti New York: Berghahn Books, 1998.
Call No: 61 POS DEGAuthor: Degli-Esposti, Christina Source: USPlace: New YorkPublisher: Berghahn BooksPubDate: 1998PhysDes: viii, 264 p. : ill. ; 22 cmSubject: POSTMODERNISM AND THE CINEMA ; POSTMODERNISM AND TV/VIDEO ; POSTMODERNISM AND TV/VIDEO. USA ; POSTMODERNISM AND THE CINEMA. USA ; POSTMODERNISM AND THE CINEMA. JAPAN ; POSTMODERNISM AND THE CINEMA. POLAND ; POLAND ; TRAVEL IN FILMS ; FRANCE ; IMPERIALISM AND THE CINEMA. AFRICAN COUNTRIES ; IMPERIALISM AND THE CINEMA. FRANCE ; HISTORY AND THE CINEMA ; ETHNIC GROUPS IN FILMS ; ANIMATION ; YOUNG PEOPLE, FILMS FOR ; ADAPTATIONS. FORSTER, E. M. ; ADAPTATIONS. GENET, JEAN ; AUTEUR THEORY ; DEGLI-ESPOSTI, CHRISTINA ; BARON, CYNTHIA ; KRAIDY, MARWAN ; WEINSTEIN, DAVID ; SHARY, TIMOTHY ; BRUNS, JOHN ; MAULE, ROSANNA ; FALKOWSKA, JANINA ; STRAIN, ELLEN ; BOLUS-REICHERT, CHRISTINE ; LAGA, BARRY ; DEUTELBAUM, MARSHALL ; HOLDEN-MOSES, PHILIP ; WILES, MARY ; ALTMAN, ROBERT ; JAMESON, FREDRIC ; ITAMI, JUZO ; FORSTER, E. M. ; COEN, JOEL & ETHAN ; KUROSAWA AKIRA ; GREENAWAY, PETER ; FASSBINDER, RAINER WERNER ; PLAYER, THE (US, Robert Altman, 1992) ; ALADDIN (US, John Musker & Ron Clements, 1992) ; SIMPSONS, THE [TV] (US, 1989-) ; BILL AND TED'S EXCELLENT ADVENTURE (US, Stephen Herek, 1989) ; WAYNE'S WORLD (US, Penelope Spheeris, 1992) ; SINGLES (US, Cameron Crowe, 1992) ; REALITY BITES (US, Ben Stiller, 1994) ; TAMPOPO (JA, Juzo Itami, 1986) ; A NOS AMOURS (FR, Maurice Pialat, 1983) ; MESSA E FINITA, LA (IT, Nanni Moretti, 1985) ; QUE HE HECHO PARA MERECER ESTO!! (SP, Pedro Almodovar, 1984) ; PSY (PL, Wladyslaw Pasikowski, 1993) ; CZLOWIEK Z ... (PL, Konrad Szolajski, 1993) ; WHERE ANGELS FEAR TO TREAD (UK, Charles Sturridge, 1991) ; ROOM WITH A VIEW, A (UK, James Ivory, 1986) ; PASSAGE TO INDIA, A (US/UK, David Lean, 1984) ; CHOCOLATE [CHOCOLAT] (FR, Claire Denis, 1988) ; BARTON FINK (US, Joel Cohen, 1991) ; DREAMS (US, Akira Kurosawa, 1990) ; DROWNING BY NUMBERS (UK, Peter Greenaway, 1988) ; QUERELLE (GW/FR, Rainer Werner Fassbinder, 1982) Summary: By offering sophisticated and multi-faceted, yet highly accessible discussions on a number of key issues, Postmodernism in the Cinema presents new strategies for reading and understanding postmodernism and opens up the horizons of investigation to address the dynamic relationship between the art of moving images and complex concepts of postmodern theory. Organized according to specific themes such as auteurism, metacinema, national cinema, and the parodic, this anthology includes thirteen essays and examines films including The Player, Aladdin, Singles, Reality Bites, Wayne’s World, Tampopo, A Room with a View, Barton Fink, Akira Kurosawa’s Dreams, Drowning by Numbers, Coup de torchon, Querelle, and more. [Taken from back cover]Notes: Papers from a conference held in 1994 at Kent State University, Kent, Ohio.; Includes bibliographical references and index.ISBN: 1571811060Contents: Introduction: Postmodernism(s) Cristina Degli-Esposti -- Chapter 1: The Player's parody of Hollywood: A different kind of suture - Cynthia Baron -- Chapter 2: Intertextual maneuvers around the subaltern: Aladdin as postmodern text - Marwan Kraidy -- Chapter 3: Of Mice and Bart: The Simpsons and the postmodern - David Weinstein -- Chapter 4: Reification and loss in postmodern puberty: The cultural logic of Fredric Jameson and American youth movies - Timothy Shary -- Chapter 5: Refiguring pleasure: Itami and the postmodern Japanese film - John Bruns -- Chapter 6: De-authorizing the auteur: postmodern politics of interpellation in contemporary European cinema - - Rosanna Maule -- Chapter 7: Postmodernist condition in post-socialist eastern European films: the case of a political pastiche and the socialist-hollywood thriller in recent films of Polish filmmakers - Janina Falkowska -- Chapter 8: E.M. Forster's anti-touristic tourism and the sightseeing gaze of cinema - Ellen Strain -- Chapter 9: Imaginary geographies: the colonial subjects in contemporary French cinema - Christine Bolus-Reichert -- Chapter 10: Decapitated spectators: Barton Fink, (Post)history, and cinematic pleasure - Barry Laga -- Chapter 11: Something like an autobiography in Akira Kurosawa's Dreams - Marshall Deutelbaum -- Chapter 12: Not waving but drowning by numbers: Peter Greenaway's cautionary tale - Philip Holden-Moses -- Chapter 13: A double voice: the dual paternity of Querelle - Mary WilesID2: 291
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The Producer as Author in Wide Angle (1985) vol.7 iss.3 p.24-33
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Signs and meaning in the cinema / Peter Wollen London: Secker and Warburg in association with the British Film Institute, 1972.
Call No: 623.3 WOLAuthor: Wollen, Peter, 1938 Edition: 3rd. ed., rev. and enlPlace: LondonPublisher: Secker and Warburg in association with the British Film InstitutePubDate: 1972PhysDes: 176 p. : ill. ; 20 cmSeries: Cinema one ; 9Subject: AUTEUR THEORY ; SEMIOLOGY Notes: Bibliography: p.174-175ISBN: 0436470022; 0436480028 (pbk)LON: cvx00750640; 2599034
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Theories of authorship : a reader / edited by John Caughie London Boston: Routledge & Kegan Paul in association with the British Film Institute, 1981.
Call No: 621 THEAuthor: Caughie, John CorpAuthor: British Film InstitutePlace: London BostonPublisher: Routledge & Kegan Paul in association with the British Film InstitutePubDate: 1981PhysDes: ix, 316 p., [4] p. of plates : ill. ; 23 cmSeries: British Film Institute readers in film studiesSubject: AUTHORSHIP ; AUTEUR THEORY ; CAHIERS DU CINEMA ; SARRIS, ANDREW ; FORD, JOHN ; SEARCHERS, THE (US, John Ford, 1956) ; STAGECOACH (US, John Ford, 1939) ; SEVEN WOMEN (US, John Ford, 1965) Notes: Includes indexes; Bibliography: p. 302-308ISBN: 0710006497; 0710006500 (pbk.)LON: 80041575; 2070811Contents: Part One - Auteurism --
1. Introduction --
A. Auteurism in theory -- 2. M H Abrams: 'Literature as a revelation of personality' -- 3. Edward Buscombe: 'Ideas of authorship --
B. The theory in practice -- 4. Cahiers du Cinema -- 5. Movie -- 6. Andew Sarris --
C. Dossier on John Ford -- 7. Louis Marcorelles: 'Ford of the movies' -- 8. Lindsay Anderson: 'The searchers' -- 9. Andrew Sarris: 'The searchers' -- 10. Robin Wood: 'Shall we gather at the river? the late films of John Ford' -- 11. Peter Wollen (Lee Russell): 'John Ford' -- 12. Jean-Louis Comolli: 'Signposts on the trail' -- 13. Jean Narboni: 'Casting out the eights: John Ford's Seven Women' --
Part Two - Auteur-structuralism --
14. Introduction -- 15. Claude Levi-Strauss: 'The structural study of myth' (extract) -- 16. Geoffrey Nowell-Smith: Visconti (extract) -- 17. Peter Wollen: 'The auteur theory' (extract) -- 18. Charles Eckert: 'The English cine-structuralists' -- 19. Brian Henderson: 'Critique of cine-structuralism' (part 1) -- 20. Jean-Pierre Oudart: 'Conclusion to the Cahiers du Cinema editors' "John Ford's Young Mr Lincoln"' (extract) -- 21. Pierre Macherey: 'Literary analysis: the tomb of the structures' (extract) --
Part Three - Fiction of the author/author of the fiction --
22. Introduction -- 23. Roland Barthes: 'The death of the author' -- 24. Stephen Heath: 'Comment on "The idea of authorship" -- 25. Geoffrey Nowell-Smith: 'Six authors in pursuit of The searchers' (extract) -- 26. Christian Metz: 'History/discourse: a note on two voyeurisms' -- 27. Geoffrey Nowell-Smith: 'A note on "history/discourse"' -- 28. Sandy Flitterman: 'Woman, desire and the look: feminism and the enunciative apparatus in cinema' -- 29. Nick Browne: 'The rhetoric of the specular text with reference to Stagecoach' -- 30. Jean-Pierre Oudart: 'The absent field of the Author' -- 31. Pam Cook: 'The point of self-expression in avant-garde film' -- 32. Michel Foucault: 'What is an author?' (extract)
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Theories of film / Andrew Tudor London: Secker & Warburg, 1974.
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"To become immortal and then die" : The representation of home photographic materials in cinema / Adrian Danks
Call No: 61[77] DANAuthor: Danks, Adrian PhysDes: 233 p. ; 29 cm.Subject: AESTHETICS ; PHOTOGRAPHY AND THE CINEMA ; AUTEUR THEORY ; AVANT-GARDE FILMS ; AVANT-GARDE FILMS. AUSTRALIA ; EXPERIMENTAL FILMS ; EXPERIMENTAL FILMS. AUSTRALIA ; Powell, Michael ; PRESSBURGER, EMERIC ; BELLE NOISEUSE, LA (FR, Jacques Rivette, 1991) ; BADLANDS (US, Terrence Malick, 1973) ; SONG OF AIR (AT, Merilee Bennett, 1987) ; CANTERBURY TALE, A (UK, Michael Powell & Emeric Pressburger, 1944) ; PEEPING TOM (UK, Michael Powell, 1960) ; JFK (US, Oliver Stone, 1991) ; CALENDAR (CN/GG/AR, Atom Egoyan, 1993) ; WINDOW WATER BABY MOVING (US, Stan Brakhage, 1959) Summary: This thesis analyses the representation of 'home' photographic materials within a range of historically, aesthetically and generically diverse cinematic works. [Taken from thesis summary.]Notes: PhD thesis
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Understanding Film Theory / Ruth Doughty and Christine Etherington-Wright [England]: Palgrave Macmillan, 2018.
Call No: 62 DOUAuthor: Doughty, Ruth ; Etherington-Wright, Christine Edition: Second editionSource: UKPlace: [England]Publisher: Palgrave MacmillanPubDate: 2018PhysDes: xiv, 325 pages : illustrations ; 26 cmSubject: FILM ; THEORY ; AUTEUR THEORY ; ADAPTATIONS ; GENRES ; FORMALISM ; MOVEMENTS AND STYLES IN FILM HISTORY ; MOVEMENTS IN FILM HISTORY ; STRUCTURALISM ; MARXISM AND THE CINEMA ; REALISM IN FILMS ; POSTMODERNISM AND THE CINEMA ; PSYCHOANALYSIS AND THE CINEMA ; FEMINISM AND THE CINEMA ; MASCULINITY IN FILMS ; HOMOSEXUALITY AND THE CINEMA ; HOMOSEXUALITY IN FILMS ; RACIAL ISSUES AND THE CINEMA ; POSTCOLONIALISM AND THE CINEMA ; TRANSNATIONAL CINEMA ; STARS ; AUDIENCE RESEARCH ; AUDIENCE RECEPTION ; HUNGER GAMES, THE (US, Gary Ross, 2012) ; RUN LOLA RUN (G, Tom Tykwer, 1998) ; LOLA RENNT (G, Tom Tykwer, 1998) ; ONCE UPON A TIME IN THE WEST (IT/FR, Sergio Leone, 1968)
SEE
C`ERA UNA VOLTA IL WEST ; LEGO MOVIE, THE (US/AT/DK, Phil Lord and Christopher Miller, 2014) ; ACT OF KILLING, THE (DK/NO/UK, Joshua Oppenheimer, (2012) ; MOULIN ROUGE (AT/US, Baz Luhrmann, 2001) ; OLDBOY (KO, Park Chan-wook, 2003) ; OLDEUBOI (KO, Park Chan-wook, 2003) ; FROZEN (US, Chris Buck & Jennifer Lee, 2013) ; BLUE IS THE WARMEST COLOR (FR/BE/SP, Abdellatif Kechiche, 2013) ; DJANGO UNCHAINED (US, Quentin Tarantino, 2012) ; AVATAR (US, James Cameron, 2009) Summary: -- "Film theory has a reputation for being challenging. Often requiring time and effort to fully grasp it and seeming rather old-fashioned, it can be difficult to approach the subject with enthusiasm and appreciate its relevance to modern day.
Understanding Film Theory aims to disassociate theory from these connotations and bring a fresh, contemporary and accessible approach to the discipline. Now comprehensively updated in a second edition, the book’s sixteen chapters - including a new chapter on Adaptations - continue to provide an insight into the main areas of debate. Taking the application of theory as its central theme, the text incorporates a number of innovative features: ‘Reflect and Respond’ sections encourage readers to engage critically with theoretical concepts, while seminal texts are concisely summarised without oversimplifying key points.
Throughout the book the authors illustrate why theory is important and demonstrate how it can be applied in a meaningful way, with relevant case studies drawn from both classic and contemporary cinema including: Once Upon a Time in the West (1968), Run Lola Run (1998), The Hunger Games (2012), Blue is the Warmest Colour (2013) and The Lego Movie (2014). Additional case studies address key genres (the British Gangster film and the musical), film movements (Dogme 95), individual actors (Ryan Gosling, Judi Dench and Amitabh Bachchan) and directors (Alfred Hitchcock and Guillermo del Toro).
Understanding Film Theory is an approachable and extensive introduction to film theory. It is the ideal entry point for any student studying film, using clear definitions and explaining complex ideas succinctly. " -- BOOK BACK COVERNotes: Includes index; Includes bibliographical references, filmography and indexISBN: 9781137528230Contents: -- List of illustrations -- Acknowledgements -- Introduction -- 1 Auteur Theory
Case study: Alfred Hitchcock -- Case study: Guillermo del Toro -- 2 Adaptations
Case study: The Hunger Games (Gary Ross, 2012) -- 3 Genre Theory -- Case study: The British Gangster Film -- Case study: The Musical -- 4 Formalism
Case study: Lola Rennt/Run Lola Run (Tom Tykwer, 1998) -- 5 Structuralism and Post-Structuralism -- Case study: Once Upon a Time in the West (Sergio Leone, 1968) -- 6 Marxism -- Case study: The Lego Movie (Phil Lord & Christopher Miller, 2014) -- 7 Realism -- Case study: Dogme 95 -- Case study: The Act of Killing (Joshua Oppenheimer, 2012) -- 8 Postmodernism -- Case study: Moulin Rouge! (Baz Luhrmann, 2001) -- 9 Psychoanalysis -- Case study: Oldboy (Chan-Wook Park, 2003) -- 10 Feminism -- Case study: Frozen (Chris Buck and Jennifer Lee, 2013) -- 11 Masculinity -- Case study: Ryan Gosling -- 12 Queer Theory -- Case study: Blue is the Warmest Colour (Abdellatif Kechiche, 2013) -- 13 Race and Ethnicity -- Case study: Django Unchained (Quentin Tarantino, 2012) -- 14 Postcolonial and Transnational Cinemas -- Case study: Avatar (James Cameron, 2009) -- 15 Stars -- Case study: Amitabh Bachchan -- Case study: Dame Judi Dench -- 16 Audience -- Research and Reception -- Case study: Tartan Video -- Conclusion -- filmography -- Index --
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The world in a frame : what we see in films / Leo Braudy Garden City, N.Y.: Anchor Press, 1976.
Call No: 62 BRAAuthor: Braudy, Leo Source: USPlace: Garden City, N.Y.Publisher: Anchor PressPubDate: 1976PhysDes: 274 p. ; 22 cmSubject: CRITICISM ; CRITICISM: METHODOLOGY OF FILM CRITICISM ; AESTHETICS ; THEORY ; AUTEUR THEORY ; SEMIOLOGY ; BRAUDY, LEO Summary: "After an introduction that discusses the special problems faced by film criticism, the three major sections focus in turn on the objects within a film and the visual forms they produce; the typical plots that films follow and the cinematic conventions (like those of the western or musical) which support them; and finally the ways in which movies have portrayed human nature, their methods of characterization, and the role of film-acting within American society." - taken from cover.ISBN: 0385035926URL status: URL: 'http://-'
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