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Call No: 753 ADA
Author: Kennedy-Karpat, Colleen
Place: Cham, Switzerland
Publisher: Springer International Publishing
PubDate: 2017
PhysDes: ix, illustrations (colour), 22cm
Series: Palgrave studies in adaptation and visual culture
Subject: ADAPTATIONS; ADAPTATIONS. AUSTEN, JANE; ADAPTATIONS. SHAKESPEARE, WILLIAM; AUTHORSHIP; COMIC STRIPS; CULTURE AND THE CINEMA; INTERTEXUALITY; TARANTINO, QUENTIN; ALL ABOUT EVE (US, Joseph L. Mankiewicz, 1950); GREAT GATSBY, THE (US/AT, Baz Luhrmann, 2013); MUSIC IN FILMS; WOLF HALL [TV] (UK, 2015)
Summary: This book explores the intersection between adaptation studies and what James F. English has called the “economy of prestige,” which includes formal prize culture as well as less tangible expressions such as canon formation, fandom, authorship, and performance. The chapters explore how prestige can affect many facets of the adaptation process, including selection, approach, and reception. The first section of this volume deals directly with cycles of influence involving prizes such as the Pulitzer, the Man Booker, and other major awards. The second section focuses on the juncture where adaptation, the canon, and awards culture meet, while the third considers alternative modes of locating and expressing prestige through adapted and adaptive intertexts. This book will be of interest to students and scholars of adaptation, cultural sociology, film, and literature. -- [taken from publishers site]
Notes: Includes index
ISBN: 9783319528533
Contents: 1.Adaptation and Systems of Cultural Value / Eric Sandberg -- 2.The Pulitzers Go to Hollywood / Thomas Leitch -- 3.Beware of Imitations: All about Eve (1950) / Laurence Raw -- 4.Hilary Mantel's Wolf Hall(s) and the Circulation of Cultural Prestige / Eric Sandberg -- 5.Adapting Queerness, Queering Adaptation: Fun Home on Broadway / Joanna Mansbridge -- 6.Oliver's Auteurs: The Cases of Lean and Polanski / Jeffrey E. Jackson -- 7.Origins, Fidelity, and the Auteur: The Bengali Films of Tapan Sinha / Priyanjali Sen -- 8.The Fortunes of Jane Austen as Chick Lit and Chick Flick / Anne-Marie Scholz -- 9.Jazz, Prestige, and Five Great Gatsby Film Adaptations / Michael Saffle -- 10.Trash Cinema and Oscar Gold: Quentin Tarantino, Intertextuality, and Industry Prestige / Colleen Kennedy-Karpat -- 11.The Hollywood Remake Massacre: Adaptation, Reception, and Value / Laura Mee -- 12."How do I act so well?" The British "Shakespearean" Actor and Cultural Cachet / Anna Blackwell.

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

Call No: 621 WIL
Author: Williamson, Dugald
Edition: [2nd ed.]
Place: Sydney
Publisher: Local Consumption Publications
PubDate: 1989
PhysDes: 98 p. ; 21 cm
Series: Critical categories series ; no. 1
Subject: AUTHORSHIP; CRITICISM; METHODOLOGY OF FILM CRITICISM; WEIR, PETER
Notes: Previous ed.: Sydney : Local Consumption Publication, [1986?]; Includes index; Bibliography: p. 89-94
ISBN: 0949793167 (pbk.) : $10.00
LON: anb94979316; 6320460

Author: Crofts, Stephen
PhysDes: Article
Subject: AUTEUR THEORY; AUTHORSHIP; HOLLYWOOD
Summary: Analyses the auteur theory in relation to Hollywood films.

Call No: 730.2 BIS
Author: Perkins, Claire; Verevis, Constantine
Source: US
Place: Albany, New York
Publisher: State University of New York Press
PubDate: c2014
PhysDes: xi, 262 pages : illustrations ; 24 cm
Subject: AESTHETICS; AUTHORSHIP; B-MOVIES; CULT FILMS; CULTURE AND THE CINEMA; EXPLOITATION FILMS; POLITICS AND THE CINEMA; SUBTITLES; CANDY (AT, Neil Armfield, 2005); EVIL DEAD, THE (US, Sam Raimi, 1982 [prod. 1980]); MARNIE (US, Alfred Hitchcock, 1964)
Summary: B Is For Bad Cinema continues and extends, but does not limit itself to, the trends in film scholarship that have made cult and exploitation films and other "low" genres increasingly acceptable objects for critical analysis. Springing from discussions of taste and value in film, these original essays mark out the broad contours of "bad" - that is, aesthetically, morally, or commercially disreputable - cinema. While some of the essays share a kinship with recent discussions of B movies and cult films, they do not describe a single aesthetic category or represent a single methodology or critical agenda, but variously approach badcinema in terms of aesthetics, politics and cultural value. The volume covers a range of issues, from the aesthetic and industrial mechanics of low-budget production through the terrain of audience responses and cinematic effect, and onto the broader moral and ethical implications of the material. As a result, B Is For Bad Cinema takes an interest in a variety of film examples - overblown Hollywood blockbusters, faux pornographic works, and European art house films - to consider those that lurk on the boundaries of acceptability." -- BOOK BLURB
Notes: Includes bibliographical references and index.
ISBN: 9781438449951
Contents: Introduction: B for bad cinema / Claire Perkins and Constantine Verevis; Part 1: Aesthetics -- Explosive apathy / Jeffrey Sconce -- B-grade subtitles / Tessa Dwyer -- Being in two places at the same time: the forgotten geography of rear-projection / Adrian Danks -- Redeeming cruising: tendentiously offensive, coherently incoherent, strangely pleasurable / R. Barton Palmer -- The villain we love: notes on the dramaturgy of screen evil / Murray Pomerance -- From bad to good and back to bad again? cult cinema and its unstable trajectory / Jamie Sexton; Part 2: Authorship -- Coffee in paradise: the horn blows at midnight / Tom Conley -- The risible: on Jean-Claude Brisseau / Adrian Martin -- The evil dead DVD commentaries, amateurishness and "bad film" discourse / Kate Egan -- Liking The magus / I.Q. Hunter -- BADaptation: is candy faithful? / Constantine Verevis

Author: Lucas, Bret
PhysDes: Article Review Biography Credits Bibliography
Subject: BIG HEAT, THE (US, Fritz Lang, 1953); LANG, FRITZ; AUTEUR THEORY; AUTHORSHIP; HITCHCOCK, ALFRED; RAY, NICHOLAS
Summary: Essay examines Fritz Lang's career as an auteur director, including quotes by Lang, as well as a review of "The Big Heat".

PhysDes: Article
Subject: AUTHORSHIP; AUTEUR THEORY; CAHIERS DU CINEMA; TRUFFAUT, FRANCOIS; PENN, ARTHUR; KUBRICK, STANLEY; NICHOLS, MIKE; Fellini, Federico; GODARD, JEAN-LUC; ANTONIONI, MICHELANGELO
Summary: Essay describes the emergence of auteur theory in 'Cahiers du Cinema', and discusses issues of control of films with regard to Hollywood directors. Reprinted from "Time" 4/7/1969.

Call No: 62 BRA
Author: Branston, Gill
Source: US
Place: Philadelphia
Publisher: Open University Press
PubDate: 2000
PhysDes: p. cm
Series: Issues in cultural and media studies
Subject: POPULAR CULTURE AND THE CINEMA; MODERNISM AND THE CINEMA; AUTHORSHIP; STAR SYSTEM; AUDIENCES; GLOBALISATION; CAPITALISM AND THE CINEMA; CLASS AND THE CINEMA; WALT DISNEY PRODUCTIONS; CULTURE AND THE CINEMA; HOLLYWOOD; INTERNET AND THE CINEMA; PERCEPTION; NARRATIVE IN FILMS; GENDER AND THE CINEMA; TYPE CHARACTERS IN FILMS; STUDIO SYSTEM; GAZE IN FILMS; CONSUMERISM AND THE CINEMA; MULVEY, LAURA; THELMA & LOUISE (US, Ridley Scott, 1991)
Summary: "Cinema and Cultural Modernity carves a path through the complex histories and issues of film and cinema studies and vividly explores these in their social and political contexts. It focuses on selected topics such as Hollywood's histories and how authorship, stardom and globalized blockbuster cinema, its pleasures and disappointments, might be thought out. Gill Branston outlines the need for cinema study that is both sensitive to the formal 'textiness' of films, but also less anxious about arguing for its position within broad agendas of representation. She shows how such debates and histories might connect both the very real pleasures of 'consuming' cinema with the need for a critical politics to address the persistent social and cultural inequalities of modernity." -- BOOK COVER
Notes: Includes bibliographical references and index
ISBN: 033520077X (HB); 0335200761 (PB)
LON: 21519736

Call No: 70(04) CIN
Author: Cook, Pam
Place: London
Publisher: BFI
PubDate: 1985
PhysDes: vi, 377 p. : ill. ; 30 cm
Subject: HISTORY OF CINEMA; USA; STARS; GENRES; WESTERNS; MELODRAMA; GANGSTER FILMS; FILM NOIR; HORROR FILMS; MUSICALS; AUTEUR THEORY; AUTHORSHIP; STRUCTURALISM; NARRATIVE IN FILMS; BAZIN, ANDRE; METZ, CHRISTIAN; BARTHES, ROLAND; PROPP, VLADIMIR; LEVI-STRAUSS, CLAUDE
Notes: Includes index
ISBN: 0851701442 (pbk.)
LON: bnb85170144; 4277881

Call No: 70(04) CIN
Author: Cook, Pam; Bernink, Mieke
Edition: 2nd ed
Place: London
Publisher: British Film Institute
PubDate: 1999
PhysDes: x, 406 p. : ill. ; 30 cm
Subject: USA; STUDIOS, FILM. USA; STUDIO SYSTEM; STARS; NARRATIVE IN FILMS; EXPRESSIONISM; GERMANY; USSR; NEOREALISM; NOUVELLE VAGUE; UNITED KINGDOM; HOLLYWOOD; ART CINEMA; ASIAN COUNTRIES; AVANT-GARDE FILMS; THIRD CINEMA; THIRD WORLD; GENRES; WESTERNS; MELODRAMA; GANGSTER FILMS; FILM NOIR; HORROR FILMS; MUSICALS; YOUNG PEOPLE IN FILMS; COMEDIES; ACTION FILMS; AUTHORSHIP; AUTEUR THEORY; STRUCTURALISM; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; SPECTATORSHIP; AUDIENCE RESEARCH; SARRIS, ANDREW
Notes: Previous ed.: 1985
ISBN: 0851707297; 0851707262 (pbk.) ª23.99; 0851707297; 0851707262 (pbk.)
LON: 14510520

Author: Ioannou, Simon
PhysDes: Article
Subject: 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.

Call No: 761 SPE
Author: Spence, Louise; Navarro, Vinicius
Source: US/UK
Place: New Brunswick, NJ
Publisher: Rutgers University Press
PubDate: c2011
PhysDes: x, 281 p. : ill. ; 26 cm
Subject: AESTHETICS; AUTHORSHIP; BIOGRAPHICAL FILMS; CINEMATOGRAPHY; COMMENTARY; CONSTRUCTIVISM; CONTINUITY; CINEMA-DIRECT; DOCUMENTARIES; DOCUMENTARY FILMS; EDITING; ETHNOGRAPHIC FILMS; HISTORY AND THE CINEMA; INTERVIEWING; INTERVIEWS IN FILMS; LIGHTING; LOCATION SHOOTING; MEMORY IN FILMS; MUSIC IN FILMS; NARRATIVE IN FILMS; NON-FICTION FILMS; PALESTINE; PHOTOGRAPHY AND THE CINEMA; REALISM IN FILMS; SOUND; SOUND EQUIPMENT; THEORY; TRUTH IN FILMS; VOICE OVER; WORLD WAR II AND THE CINEMA; AFRIQUE, JE TE PLUMERAI (CM/FR/G, Jean-Marie Téno, 1992); BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927); CHRONIQUE D' UN ETE (FR, Jean Rouch/Edgar Morin, 1961); CHRONICLE OF A SUMMER (FR, Jean Rouch & Edgar Morin, 1961); GOKUSHITEKI EROSU: RENKA 1974 (JA, Kazuo Hara, 1974); FAR FROM POLAND (US, Jill Godmilow, 1984); HALVING THE BONES (US, Ruth Ozeki Lounsbury, 1995); HANDSWORTH SONGS (UK, John Akomfrah, 1986); HEARTS AND MINDS (US, Peter Davis, 1974); JOYCE AT 34 (US, Joyce Chopra, 1972); LESSONS OF DARKNESS (GG, Werner Herzog, 1992); LEKTIONEN IN FINSTERNIS (GG, Werner Herzog, 1992); LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NEKAM ACHAT MISHTEY EYNAY (FR/IS, Avi Mograbi, 2005); NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936); PRELUDE TO WAR (US, Frank Capra & Anatole Litvak, 1942); SANS SOLEIL (FR, Chris Marker, 1983); SHOAH (FR/SZ, Claude Lanzmann, 1985); TIES THAT BIND, THE (US, Su Friedrich, 1984); TITICUT FOLLIES (US, Frederick Wiseman, 1967); WAR GAME, THE (UK, Peter Watkins, 1966)
Summary: "Although nonfiction film may have captured imaginations, many viewers enter and leave theaters with a naive concept of "reality"- for them, documentaries are sources of information. But is truth or reality readily available, easily acquired, or undisputed? Or do documentaries convey illusions of reality? What aesthetic means are used to build these illusions? Crafting truth illuminates the way these films tell their stories; how they use the camera, editing, sound, and performance; what rhetorical devices they employ; and what the theoretical, practical, and ethical implications of those choices are. Complex documentary concepts are presented through easily accessible language, images, and a discussion of a wide range of films and videos to encourage new ways of thinking about and seeing nonfiction cinema. " -- BOOK BLURB
ISBN: 9780813549033
Contents: -- acknowledgments -- Introduction -- Authenticity -- Evidence -- Authority -- Responsibility -- Argument -- Dramatic stories, poetic and essay documentaries -- Editing -- Camerawork -- The profilmic -- Sounds / coauthored with Carl Lewis --index --
ID2: 90

Call No: 62(04) CRI
Source: US
Place: London ; New York
Publisher: Wallflower Press
PubDate: c2011
PhysDes: xvi, 299 p. : ill. ; 24 cm.
Subject: THEORY; AESTHETICS; SEMIOLOGY; SPECTATORSHIP; FEMINISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; PHILOSOPHY AND THE CINEMA; RANCIERE, JACQUES; SCRIPTWRITING; AUTHORSHIP
Summary: Critical Cinema: Beyond the Theory of Practice purges the obstructive line between the making of and the theorising on film, uniting theory and practice in order to move beyond the commercial confines of Hollywood. Opening with an introduction by Bill Nichols, one of the world's leading writers on nonfiction film, this volume features contributions by such prominent authors as Noel Burch, Laura Mulvey, Peter Wollen, Brian Winston and Patrick Fuery. Seminal filmmakers such as Peter Greenaway and Mike Figgis also contribute to the debate, making this book a critical text for students, academics and independent filmmakers as well as for any reader interested in new perspectives on culture and film. -- taken from the back of the book.
Notes: Includes bibliographical references and index.
ISBN: 9781906660369
Contents: Machine generated contents note: 1.Theoretical Practice: Diegesis Is Not a Code of Cinema / Clive Myer -- 2.Cinema, Theory, Women / Clive Myer -- 3.Theory and Practice / Noel Burch -- 4.Passing Time: Reflections on the Old and the New / Peter Wollen -- 5.Sublime Acts: The Fate of Resistance between Film Theory and Practice / Laura Mulvey -- 6.Rancie`re and the Persistence of Film Theory / Patrick Fuery -- 7.Behind the Mask of the Screenplay: The Screen Idea / Nico Baumbach -- 8.The Theory-Practice Interface in Film Education: Observational Documentary in India / Ian W. MacDonald -- 9.The Student Author, Lacanian Discourse Theory and La nuit ame´ricaine / Aparna Sharma -- 10.Just Because You Have Eyes Does Not Mean You Can See / Coral Houtman -- 11.Theory for Practice: Ceci n'est pas l'e´piste´mologie / Peter Greenaway -- 12.Film and Philosophy: An Interview with Mike Figgis / Brian Winston -- 13.Playing with New Toys: An Interview with Peter Greenaway / Clive Myer -- Contents note continued: 14.An Interview with Noel Burch: Playing with Toys by the Wayside / Clive Myer.

Author: Durgnat, Raymond
PhysDes: Article
Subject: AUTEUR THEORY; AUTHORSHIP; CRITICISM; CRITICS; CRITICISM: METHODOLOGY OF FILM CRITICISM; HAWKS, HOWARD; HITCHCOCK, ALFRED
Summary: Essay examines the emergence of auteur theory and criticises the way critics of the time in the journal 'Cahiers du cinema' discerned which directors could be labelled 'auteurs'.

Call No: 81HER AUS
CorpAuthor: Australian Film Institute
Source: AT
Place: Melbourne, Vic.
PubDate: 1983
PhysDes: 36 p. ; 28 cm
Subject: FILMMAKING; AUTHORSHIP; LOCATION SHOOTING; PRODUCTION; CRITICISM, TV.; HERZOG, WERNER; ISLAND (AT, Paul Cox, 1989); JEDER FUR SICH UND GOTT GEGEN ALLE (GW, Werner Herzog, 1974); KASPAR HAUSER (GE, Peter Sehr, 1993)
Summary: Transcript of a discussion with Werner herzog at the AFI Longford Cinema, Melbourne.
Language: English

Call No: 432.4(94) SPE
Author: Spender, Lynne
CorpAuthor: Australian Society of Authors
Place: Strawberry Hills, N.S.W.
Publisher: Australian Society of Authors
PubDate: 1997
PhysDes: 32 p. : ill. ; 15 x 21 cm
Subject: COPYRIGHT. AUSTRALIA; DIGITAL TECHNOLOGY. AUSTRALIA; AUTHORSHIP. AUSTRALIA
ISBN: 0958707200 : $10.00
LON: abn97047928; 13026458

Call No: 621 HOD
Author: Hodsdon, Barrett
Source: US
Place: Jefferson, North Carolina
Publisher: McFarland & Company Inc
PubDate: c2017
PhysDes: x, 327 pages : illustrations ; 26 cm
Subject: 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 site
Notes: Includes bibliographical references (pages 307-319) and index
ISBN: 9781476668734
Contents: 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

Call No: 753 LEI
Author: Leitch, Thomas
Edition: John Hopkins paperback edition, 2009
Source: US
Place: Baltimore MD
Publisher: John Hopkins University Press
PubDate: 2007
PhysDes: xi, 354 p. ; 24 cm
Subject: 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 BLURB
Notes: Formerly CIP; Includes bibliographical references (p. [325]-338) and index
ISBN: 9780801892714
Contents: -- 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 --

Call No: 62 ARM
Author: Armes, Roy
Place: Harmondsworth, Middlesex
Publisher: Penguin
PubDate: 1974
PhysDes: 254 p. ; 18 cm
Subject: MODERNISM AND THE CINEMA; REALISM IN FILMS; DOCUMENTARIES; DOCUMENTARY FILMS; CINEMA VERITE; NEOREALISM; EXPRESSIONISM; SURREALISM AND THE CINEMA; UNDERGROUND FILMS; ANIMATION; HISTORY OF CINEMA. SILENT PERIOD; STUDIO SYSTEM; NARRATIVE IN FILMS; STARS; AUTHORSHIP; WALT DISNEY PRODUCTIONS; WESTERNS; LUMIERE, AUGUSTE & LOUIS; MELIES, GEORGES; FLAHERTY, ROBERT; VERTOV, DZIGA; VON STROHEIM, ERICH; RENOIR, JEAN; ROSSELLINI, ROBERTO; EDISON, THOMAS ALVA; GRIFFITH, DAVID WARK; HITCHCOCK, ALFRED; BUNUEL, LUIS; RESNAIS, ALAIN; GODARD, JEAN-LUC; ANGER, KENNETH; LOACH, KENNETH; CHAPLIN, CHARLES
Summary: Explores the history of cinema by looking at three broad areas - Film Realism, Film Illusion, and Film Modernism, and describes within these areas the most important film-makers, directors and companies within the film industry.
Notes: contains index; contains bibliography with descriptions and recommendations for the books sourced.
ISBN: 0140217010
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Call No: 802.25 FIL
Place: Harmondsworth
Publisher: Penguin
PubDate: 1967
PhysDes: 18 cm; 303 p.
Subject: AUTHORSHIP; LUMIERE, LOUIS; PORTER, EDWIN S.; SENNETT, MACK; GRIFFITH, DAVID WARK; FLAHERTY, ROBERT; CHAPLIN, CHARLES; VON STROHEIM, ERICH; VERTOV, DZIGA; DREYER, CARL TH.; HITCHCOCK, ALFRED; RICHARDSON, TONY; COCTEAU, JEAN; RESNAIS, ALAIN; ROBBE-GRILLET, ALAIN; BUNUEL, LUIS; BERGMAN, INGMAR; FELLINI, FEDERICO; VON STERNBERG, JOSEF; ANTONIONI, MICHELANGELO; LANG, FRITZ; WAJDA, ANDRZEJ; WELLES, ORSON; RAY, SARYAJIT; KUROSAWA AKIRA; ANDERSON, LINDSAY; LEAN, DAVID; RENOIR, JEAN; BARDEM, JUAN ANTONIO; ANGER, KENNETH
Summary: Does the making of films – a group activity – permit anything that can be called self-expression? Can a director, as the conductor of an orchestra of writers, actors, cameramen and technicians, stamp his personal vision on the films he makes? This and related questions are raised by this collection of statements made by famous directors about their art. Harry Geguld’s anthology of “patristic writings” runs from the days (in 1895) when Louis Lumiere filmed a train entering a station, by way of Charlie Chaplin’s knockabout ad-libbing, to the sophisticated ruminations of Antonioni and Bergman and the ideas behind the nouvelle vague. Here is D.W. Griffith’s scouting the very idea of talking pictures; Mack Sennett on custard pies; Eisenstein on three-dimensional film; Cocteau on the raw materials of illusion; Kurosawa on filming in Japan; Hitchcock on the macabre; and some other twenty leading directors on aspects of their work. In his introduction, Harry Geguld assesses the unique characteristics of motion pictures and comments refreshingly on the eternal controversy of “book into film”. [Taken from back cover.]
ID2: 291

Call No: 62 LAP
Author: Lapsley, Robert; Westlake, Michael
Place: Manchester, UK New York
Publisher: Manchester University Press Distributed exclusively in the USA and Canada by St. Martin's Press
PubDate: 1988
PhysDes: viii, 248 p. : 1 ill. ; 23 cm
Series: Images of culture
Subject: SEMIOLOGY; IDEOLOGY AND THE CINEMA; POLITICS AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; AVANT-GARDE FILMS; REALISM IN FILMS; NARRATIVE IN FILMS; AUTHORSHIP; AUTEUR THEORY
Notes: Includes index; Bibliography: p. [238]-240
ISBN: 0719026024 (pbk.); 0719018897 : $30.00 (est.)
LON: bnb71901889; 5574489
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Call No: 81CAP MCB
Author: McBride, Joseph
Source: US
Place: New York
Publisher: Simon & Schuster
PubDate: 1992
PhysDes: 768 p. : ill. ; 26 cm
Subject: COMEDIES; AUTHORSHIP; COLUMBIA PICTURES; HOLLYWOOD; DIRECTORS; COMMUNISM AND THE CINEMA. USA; Metro-Goldwyn-Mayer; CAPRA, FRANK; COHN, HARRY; RISKIN, ROBERT; IT HAPPENED ONE NIGHT (US, Frank Capra, 1934); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); LADY FOR A DAY (US, Frank Capra, 1933); LOST HORIZON (US, Frank Capra, 1937); MEET JOHN DOE (US, Frank Capra, 1941); MR. DEEDS GOES TO TOWN (US, Frank Capra, 1936); MR. SMITH GOES TO WASHINGTON (US, Frank Capra, 1939); WHY WE FIGHT SERIES (US, 1942-44); YOU CAN'T TAKE IT WITH YOU (US, Frank Capra, 1938)
Summary: "FRANK CAPRA: THE CATASTROPHE OF SUCCESS is the first major biography of one of the greatest directors in Hollywood history, the man behind such classic films as IT HAPPENED ONE NIGHT, MR. DEEDS GOES TO TOWN, YOU CAN'T TAKE IT WITH YOU, MR. SMITH GOES TO WASHINGTON, and IT'S A WONDERFUL LIFE [...] FRANK CAPRA: THE CATASTROPHE OF SUCCESS is the result of more than seven years of work. It is drawn from extensive archival research and interviews with 175 people who knew or worked with Capra, as well as many hours of interviews with Capra himself. In this biography, Joseph McBride gives us the definitive portrait of one of our greatest filmmakers." [Taken from book jacket]
Notes: Filmography: p. [117]-731; Includes bibliographical references and index
ISBN: 0671797883 (pbk.); 0671734946 : $27.50
LON: abn92038576; 8711584

Call No: 753HIT OST
Author: Osteen, Mark (editor)
Source: UK
Place: Lanham, Maryland
Publisher: Rowman & Littlefield
PubDate: c2014
PhysDes: xxxviii, 314 pages ; 24 cm
Subject: 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 book
Notes: Includes filmography -- Includes bibliographical references, filmography and index
ISBN: 9781442230873
Contents: 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.

Call No: 432.4 DEC
Author: Decherney, Peter
Source: US
Place: New York
Publisher: Columbia University Press
PubDate: 2013
PhysDes: xii, 287 pages : illustrations ; 23 cm
Subject: AUTHORSHIP; COPYRIGHT; COPYRIGHT. USA; HISTORY OF CINEMA; HOLLYWOOD; HOME VIDEO; INTERNET; INTERNET AND THE CINEMA; LAW AND THE CINEMA; LAW AND TV; PARODY; PIRACY; PLAGIARISM; CHAPLIN, CHARLES; EDISON, THOMAS ALVA; LUCAS, GEORGE; MOTION PICTURE ASSOCIATION OF AMERICA; YOUTUBE
Summary: "Beginning with Thomas Edison's aggressive copyright disputes and concluding with recent lawsuits against YouTube, Hollywood's Copyright Wars follows the struggle of the film, television, and digital media industries to influence and adapt to copyright law. Though much of Hollywood's engagement with the law occurs offstage, in the larger theater of copyright, many of Hollywood's valued treasures - from Modern Times (1936) to Star Wars (1977) - cannot be fully understood without appreciating their legal controversies. Peter Decherney shows that the history of intellectual property in Hollywood has not always mirrored the evolution of the law and recounts these extralegal solutions and their impact on American media and culture." - BOOK BLURB
Notes: Contains list of illustrations and index
ISBN: 9780231159470

Author: Thiemeyer, Anne
PhysDes: Article
Subject: NOUVELLE VAGUE; AUTEUR THEORY; AUTHORSHIP; BIRDS, THE (US, Alfred Hitchcock, 1963); HITCHCOCK, ALFRED; Mizoguchi, Kenji
Summary: Point by point account of the history of internation cinematic trends, with examples of specific films. Emphasis on French New Wave, Auteur theory and the nature of cinematic experience.

Call No: 62 STA
Author: Staiger, Janet
Place: Princeton, N.J.
Publisher: Princeton University Press
PubDate: 1992
PhysDes: xiv, 274 p. : ill. ; 25 cm
Subject: 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 index
ISBN: 0691047979 (alk. paper); 0691006164 (pbk. : alk. paper)
LON: 8200386
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Call No: 753CAM TIN
Author: Tincknell, Estella
Source: UK
Place: Basingstoke, Hampshire
Publisher: Palgrave Macmillan
PubDate: 2013
PhysDes: 139 pages : illustrated ; 22 cm
Series: The adaptation series
Subject: 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 BLURB
Notes: Contains bibliographic references and index -- list of illustrations included as looseleaf in front of book
ISBN: 9780230229006
Contents: -- 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 --

Call No: 751.1(73) OXF
Author: Knapp, Raymond; Morris, Mitchell; Wolf, Stacy
Edition: paperback
Source: US/UK
Place: Oxford ; New York
Publisher: Oxford University Press
PubDate: 2011, 2013
PhysDes: x, 470 pages : illustrations ; 25 cm
Subject: AUDIENCES; AUTHORSHIP; BLACKS AND THE CINEMA. US; BOX OFFICE. USA; COMEDIES; DANCE IN FILMS; GENDER AND THE CINEMA; HISTORY AND THE CINEMA. USA; HISTORY OF CINEMA; HOLLYWOOD; IDENTITY IN FILMS; IDEOLOGY IN FILMS; MEDIA AND THE CINEMA; MUSIC IN FILMS; MUSIC AND THE CINEMA; MUSICALS. USA; RACE AND THE CINEMA; THEATRE AND THE CINEMA; ANDREWS, JULIE; ASTAIRE, FRED; BERLIN, IRVING; FOSSE, BOB; HAMMERSTEIN, OSCAR, II; KERN, JEROME; MERMAN, ETHEL; ROBBINS, JEROME; SONDHEIM, STEPHEN; BLACK CROOK, THE (US, Robert G. Vignola, 1916); CABARET (US, Bob Fosse, 1972); CHICAGO (US, Rob Marshall, 2002); CHORUS LINE (US, Richard Attenborough, 1985); FIDDLER ON THE ROOF (US, Norman Jewison, 1971); GUYS AND DOLLS (US, Joseph L. Mankiewicz, 1955); GYPSY (US, Emile Ardolino, 1994); MY FAIR LADY (US, George Cukor, 1964); OKLAHOMA! (US, Fred Zinneman, 1955); PRODUCERS, THE (US, Mel Brooks, 1967); SHOWBOAT (US, George Sidney, 1951); SOUND OF MUSIC, THE (US, Robert Wise, 1965); WEST SIDE STORY (US, Robert Wise, 1961)
Summary: "The Oxford Handbook of The American Musical offers new and cutting-edge essays on the most important and compelling issues and topics in the growing, interdisciplinary field of musical-theater and film-musical studies. Taking the form of a "keywords" book, it introduces readers to the concepts and terms that define the history of the musical as a genre and that offer ways to reflect on the specific creative choices that shape musicals and their performance on stage and screen. The handbook offers a cross-section of essays written by leading experts in the field, organized within broad conceptual groups, which together capture the breadth, direction, and tone of musicals studies today." - GOOGLE BOOKS
Notes: Includes bibliographic references and index
ISBN: 9780199987368
Contents: Part I: Historiography. Narratives and values / Mitchell Morris -- Texts and authors / Jim Lovensheimer -- Musical styles and song conventions / Paul R. Laird -- Evolution of dance in the golden age of the American "book musical" / Liza Gennaro; Part II: Transformations. Minstrelsy and theatrical miscegenation / Thomas L. Riis -- Tin Pan Alley songs on stage and screen before World War II / Raymond Knapp and Mitchell Morris -- Integration / Geoffrey Block -- After the "golden age" / Jessica Sternfeld and Elizabeth L. Wollman; Part III: Media. Theater / Tamsen Wolff -- The filmed musical / Raymond Knapp and Mitchell Morris -- The television musical / Robynn J. Stilwell -- The animated film musical / Susan Smith -- The evolution of the original cast album / George Reddick; Part IV: Identities. Race, ethnicity, performance / Todd Decker -- Gender and sexuality / Stacy Wolf -- The politics of region and nation in American musicals / Chase A. Bringardner -- Class and culture / David Savran; Part V: Performance. The institutional structure of the American musical theater / David Sanjek -- Orchestration and arrangement : creating the Broadway sound / Dominic Symonds -- Musical theater directors / Barbara Wallace Grossman -- Sets, costumes, lights, and spectacle / Virginia Anderson -- Acting / John M. Clum -- Singing / Mitchell Morris and Raymond Knapp -- Dance and choreography / Zachary A. Dorsey; Part VI: Audiences. Box office / Steven Adler -- Audiences and critics / Michelle Dvoskin -- Stars and fans / Holley Replogle-Wong -- Knowing your audience / Jennifer Chapman -- Performance, authenticity, and the reflexive idealism of the American musical / Raymond Knapp

Author: Durgnat, Raymond
PhysDes: Article
Subject: AUTEUR THEORY; AUTHORSHIP; AESTHETICS; STAR SYSTEM; FANS; CINEPHILIA; SPECTATORSHIP; AUDIENCE RECEPTION; AUDIENCES
Summary: Essay discusses the star system with regard to audience spectatorship: why some actors become stars and attract fanbases, in the cinema.

Call No: 432.4(94) PRO
Source: AT
Place: Canberra
Publisher: [Australian Government Publishing Service]
PubDate: 1994
PhysDes: 78 p. ; 25 cm
Subject: AUTHORSHIP. AUSTRALIA; COPYRIGHT. AUSTRALIA; LEGISLATION. AUSTRALIA; PIRACY. AUSTRALIA
Summary: "This paper sets out the background to moral rights and the present forms of protection in Australia and examines Australia's legal obligations under the Berne Convention for the Protection of Literary and Artistic Works. It also outlines the majority and minority recommendations of the Copyright Law Review Committee in its 1988 Report on Moral Rights, developments in Australia since the Report, the particular problems of Aboriginal artists, and comparisons of legislation in the United Kingdom, United States, Canada and France. The impact of new technology is also addressed. It then outlines a possible moral rights legislative regime for Australia in respect to each of the relevant categories of copyright creators covered by the Berne Convention. In summary, the proposed scheme would involve an amendment to the Copyright Act to accord relevant copyright creators the right of attribution and the right of integrity." - FROM INTRODUCTION
Notes: At head of title: Discussion paper -- "Prepared by officers in the Attorney-General's Department, in conjunction with officers in the Department of Communications and the Arts"
ISBN: 0642208107

Call No: 753.4 MIL
Author: Miller, Gabriel, 1948
Place: New York
Publisher: F. Ungar Pub. Co.
PubDate: 1980
PhysDes: xv, 208 p. : ill. ; 22 cm
Series: Ungar Film Library
Subject: ADAPTATIONS; AUTHORSHIP; DIRECTORS; LITERATURE AND THE CINEMA; HESTER STREET (US, Joan Micklin Silver, 1975); GANGSTER, THE (US, Gordon Wiles, 1947); PATHS OF GLORY (US, Stanley Kubrick, 1957); PAWNBROKER, THE (US, Sidney Lumet, 1964); POSTMAN ALWAYS RINGS TWICE, THE (US, Tay Garnett, 1946); SUSAN LENOX: HER FALL AND RISE (US, Robert Z. Leonard, 1931); THEY SHOOT HORSES, DON'T THEY? (US, Sydney Pollack, 1969); TREASURE OF THE SIERRA MADRE, THE (US, John Huston, 1948)
Summary: "This book retrieves the lost literary treasures that inspired eight popular films. Prompted by the widespread success of these films, Gabriel Miller here re-evaluates the careers of the eight neglected novelists whose works inspired eight different directors - among them Sidney Lumet, Stanley Kubrick, John Huston, and Sidney Pollack. Each chapter offers a detailed interpretation of a particular film, its literary source, and the overall career of the novelist [...] Some of these interesting novels have never been dealt with at all; others have only recently attracted critical attention. The films, too, benefit from extended reassessment. Despite the fact that the movies were successful, moreso than the novels, they have attracted little in the way of useful analysis. Taken together, the double examination of the novel and film raises some important questions about the nature and problems of cinematic adaptation." -- BOOK BLURB
Notes: Includes index; Bibliography: p. 199-203; Filmography: p. 196-198; Typo in the table of contents gives 'The Gangster' release date as 1957, it is actually 1947
ISBN: 0804426228 : $9.95
LON: 79048071; 1682173

Call No: 81MIY MIY
Author: Miyazaki, Hayao
Edition: English edition
Source: JA/US
Place: San Francisco, California
Publisher: VIZ Media
PubDate: c2009
PhysDes: 461 pages : colour illustrations ; 23 cm
Subject: ANIMATION. JAPAN; ANIMATORS; AUTHORSHIP; DIRECTION; DIRECTORS. JAPAN; JAPAN; MANGA; STUDIO GHIBLI; MIYAZAKI, HAYAO
Summary: "In the first two decades of his career, filmmaker Hayao Miyazaki laid the groundwork for his legendary movies. Starting Point: 1979-1006 is a collection of essays, interviews, and memoirs that go back to the roots of Miyazaki's childhood, the formulation of his theories of animation, and the founding of Studio Ghibli. Before directing such acclaimed films as Spirited Away, Miyazaki was just another salaried animator, but with a vision of his own. Follow him as he takes his first steps on the road to success; experience his frustrations with the manga and animation industries that often suffocate creativity; and realise the importance of bringing the childhood dreams of the world to life." -- BOOK BLURB
Notes: Originally published: Japan : Tokuma Shoten, 1996. -- includes biographical chronology -- translated into English from the Japanese -- Miyazaki's second autobiography, Turning Point, is also available in the collection
ISBN: 9781421561042
Language: English

Call No: 224 MCK
Author: McKee, Robert
Source: UK
Place: London
Publisher: Methueun Publishing Ltd.
PubDate: 1998
PhysDes: 466p. ill. 23cm
Subject: SCRIPTWRITING; AUTHORSHIP
Notes: Bibliography: p421-422. Includes index; Filmography: p.423-455
ISBN: 0413715507. m

Call No: 512.1 CRE
CorpAuthor: BFI
Source: UK
Place: London
Publisher: British Film Institute
PubDate: 2006
PhysDes: 192 p. : 25 cm
Subject: AESTHETICS; AUTHORSHIP; FACTUAL ENTERTAINMENT PROGRAMMES; PROGRAMME GENRES; NON-FICTION PROGRAMMES; AU REVOIR LES ENFANTS (FR/GW Louis Malle, 1987); GLOBALISATION; CONVERGENCE; NEWS PRESENTATION; NEWS PROGRAMMES; CREEBER, GLEN
Summary: Tele-visions provides a comprehensive and authoritative introduction to television studies. Contributions by leading international scholars address all the major issues, debates, concepts and methodologies in the field. The discussion is illuminated throughout by case studies of key programmes and genres, selected reading guides and full bibliographies, combining to offer a complete picture of how television is produced, broadcast, consumed and critically examined. From textual analysis to audience studies; from TV drama to rolling news; from policy and regulation to globalization; from authorship to ideology; and from television’s histories to its futures, Tele-visions is an essential guide for anyone studying television and the media today. [Taken from back cover.]
ISBN: 184457086X

Call No: 621 THE
Author: Caughie, John
CorpAuthor: British Film Institute
Place: London Boston
Publisher: Routledge & Kegan Paul in association with the British Film Institute
PubDate: 1981
PhysDes: ix, 316 p., [4] p. of plates : ill. ; 23 cm
Series: British Film Institute readers in film studies
Subject: 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. 302-308
ISBN: 0710006497; 0710006500 (pbk.)
LON: 80041575; 2070811
Contents: 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)

Call No: 62 TUD
Author: Tudor, Andrew
Source: UK
Place: London
Publisher: Secker & Warburg
PubDate: 1974
PhysDes: 168 p. ; 20 cm
Series: Cinema one ; 23
Subject: THEORY; AESTHETICS; AUTEUR THEORY; AUTHORSHIP; CRITICISM; GENRES; Grierson, John; BAZIN, ANDRE; KRACAUER, SIEGFRIED
ISBN: 436099373
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Call No: 81MIY MIY
Author: Hayao Miyazaki
Edition: English edition
Source: JA/US
Place: San Francisco, California
Publisher: VIZ Media
PubDate: c2014
PhysDes: 452 pages : colour illustrations ; 24 cm
Subject: ANIMATION. JAPAN; ANIMATORS; AUTHORSHIP; DIRECTION; DIRECTORS. JAPAN; JAPAN; MANGA; STUDIO GHIBLI; MIYAZAKI, HAYAO; HOWL'S MOVING CASTLE (JA, Hayao Miyazaki, 2004); HAURU NO UGOKU SHIRO (JA, Hayao Miyazaki, 2004); PRINCESS MONONOKE (JA, Hayao Miyazaki, 1997); MONONOKE HIME (JA, Hayao Miyazaki, 1997); SEN TO CHIHIRO NO KAMIKAKUSHI (JA, Hayao Miyazaki, 2001); SPIRITED AWAY (JA, Hayao Miyazaki, 2001); PONYO (JP, Hayao Miyazaki, 2008); GAKE NO EU NO PONYO (JP, Hayao Miyazaki, 2008)
Summary: "In the mid-1990s, filmmaker Hayao Miyazaki moved from success to success as his work found an audience outside of Japan. His animated films of the era, including Princess Mononoke, Howl's Moving Castle, and Ponyo, were internationally lauded, and Miyazaki won an Academy Award in 2003 for his popular and critical hit Spirited Away. Follow Miyazaki as his vision matures, as cinema-lovers worldwide embrace his creations, and critics such as Roger Ebert take up the cause of animation and Miyazaki's films." -- BOOK BLURB
Notes: Originally published in Japan as Orikaeshiten, 1997-1998, by Iwanami Shoten, Publishers, 2008 -- Miyazaki's first autobiography, Starting Point, also available in the collection
ISBN: 9781421560908
Language: English