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Call No: 611 MIT
Author: Mitry, Jean
Source: US
Place: Bloomington and Indianapolis, Indiana
Publisher: Indiana University Press
PubDate: 1997
PhysDes: xv, 403 pages ; 27 cm
Series: The Society for Cinema Studies translation series
Subject: BAZIN, ANDRE; PSYCHOLOGICAL EFFECTS OF FILMS; AESTHETICS; THEATRE AND THE CINEMA
Summary: "The Aesthetics and Psychology of the Cinema supplies the missing link between classical film theorists like Balacz and Munsterberg and the film semioticians like Metz. Mitry is the apotheosis and grand summation of the psychological and formalist views of film. This one-volume condensation of the classic Esthetique et psychologie du cinema concentrates purely on film matter." -- taken from the National Library of Australia Catalogue Record
Notes: "Translated from the abridged edition ... (1990)"--T.p. verso. -- Includes bibliographical references (pages 381-387) and index.
ISBN: 0253333024
Contents: pt. 1: Preliminaries -- Cinema and creation -- Cinema and language -- Word and image -- pt. 2: The film image -- The image itself -- Structures of the image -- pt. 3: Rhythm and montage -- The beginnings of montage -- Cinematic rhythm -- The psychology of montage -- pt. 4: Rhythm and moving shots -- The liberated camera and depth-of-field -- Speech and sound -- pt. 5: Time and space of the drama -- In search of a dramatic structure -- Content and form.

Call No: 62 AES
Author: Aumont, J. (Jacques)
CorpAuthor: EsthTtique du film. English
Edition: 1st ed
Place: Austin
Publisher: University of Texas Press
PubDate: 1992
PhysDes: x, 269 p. : ill. ; 24 cm
Series: Texas film studies series
Subject: SPECTATORSHIP; SEMIOLOGY; AESTHETICS; NARRATIVE IN FILMS; MONTAGE; REALISM IN FILMS; THEORY; LANGUAGE AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; BAZIN, ANDRE; BARTHES, ROLAND; INTOLERANCE (US, David Wark Griffith, 1916)
Notes: Includes bibliographical references (p. [253]-259) and index
ISBN: 0292704372 (pbk.); 0292704283 (alk. paper)
LON: 8459109

Call No: 81BAZ AND
Author: Andrew, Dudley, 1945
Edition: Morningside ed
Place: New York
Publisher: Columbia University Press
PubDate: 1990
PhysDes: xxi, 277 p. : ill. ; 22 cm
Subject: BAZIN, ANDRE
Notes: "Appendix, 'Andre Bazin from 1945 to 1950: the time of struggles and consecration,' by Jean-Charles Tacchella."; Reprint. Originally published: London : Oxford University Press, 1978; Includes bibliographical references (p. 261-272) and index
ISBN: 0231073984 (acid-free paper); 0231073992 (pbk. : acid-free paper); 023173984 (cover)
LON: 90039363; 7329950

Call No: 81BAZ AND
Author: Andrew, Dudley, 1945
Place: New York
Publisher: Oxford University Press
PubDate: 1978
PhysDes: xi, 253 p. : ill. ; 22 cm
Subject: BAZIN, ANDRE
Notes: Includes bibliographical references (p. 236-247) and index
ISBN: 0195021657 : $11.95
LON: 77009409; 861550

Call No: 408.1(540) ROB
Author: Roberge, Gaston
Source: II
Place: Calcutta
Publisher: Seagull Books
PubDate: 1985
PhysDes: 151p. : ill. ; 22cm
Subject: CRITICISM; HISTORY OF CINEMA. INDIA; INDUSTRY, FILM. INDIA; NATIONAL CULTURE AND THE CINEMA. ASIAN COUNTRIES; POLITICS AND THE CINEMA; SOCIETY AND THE CINEMA; BAZIN, ANDRE; EISENSTEIN, SERGEI M.; RAY, SATYAJIT; WELLES, ORSON; BRON, PETER; BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); GANDHI (UK/II, Richard Attenborough, 1982); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NAPOLEON (FR, Abel Gance, 1927)
Summary: "Father Gaston Roberge, Director of Chitrabani, a Calcutta-based institution involved in development communication, and a media critic in his own right, with five title to his credit already, proposes, in his latest work, a militant programme... for another cinema committed to the building up of another society.' He offers revaluations of the established systems of film aesthetics, with fresh insights into the thoughts and works of Eisenstein, Bazin, Welles, and Ray; before analysing the Indian social scene in depth and detail, to suggest a comprehensive model for a parallel Indian cinema, complete with a new scheme for film and media education for the new cinema" -Book blurb
ISBN: 0861320751
Donation: donated by the family of Wayne Levy, 2006
Contents: Preface -- Part one: cinema -- Introduction: a militant programme -- What is it in cinema that makes it cinema -- Montage: the formative principle -- An anthropology of the cinema -- An exercise in film appreciation or the magnificent Andre Bazin -- Author-ity, text-uality and read-in(g) -- Part two: society -- The end of a film era -- Nine and one facts and not a few illusions -- Of many movies and some words to talk about them -- Films for social change -- Politics in film -- The politics of non-political cinema -- The cultural and social influence of foreign films -- History through films and filmed history -- Conclusion -- Film education for a new movie-man -- index

Call No: 412.3 KEL
Author: Keller, Sarah
Edition: 2020
Place: New York
Publisher: Columbia University Press
PhysDes: vii, 302 pages : illustrated ; 24 cm
Subject: APOCALYPSE IN FILMS; BLOWUP (UK/IT, Michelangelo Antonioni, 1966); BAZIN, ANDRE; FILM CULTURE; CINEPHILIA; DIGITAL CINEMA; FRANCE; MAD MAX: FURY ROAD (AT/US, George Miller, 2015); STAR WARS [...] (US, 1977-2015); WAR OF THE WORLDS (US, Steven Spielberg, 2005); WORLD WAR Z (US/MT, Marc Forster, 2013)
Summary: The advent of new screening practices and viewing habits in the twenty-first century has spurred a public debate over what it means to be a “cinephile.” In Anxious Cinephilia, Sarah Keller places these competing visions in historical and theoretical perspective, tracing how the love of movies intertwines with anxieties over the content and impermanence of cinematic images. Keller reframes the history of cinephilia from the earliest days of film through the French New Wave and into the streaming era, arguing that love and fear have shaped the cinematic experience from its earliest days. This anxious love for the cinema marks both institutional practices and personal experiences, from the curation of the moviegoing experience to the creation of community and identity through film festivals to posting on social media. Through a detailed analysis of films and film history, Keller examines how changes in cinema practice and spectatorship create anxiety even as they inspire nostalgia. Anxious Cinephilia offers a new theoretical approach to the relationship between spectator and cinema and reimagines the concept of cinephilia to embrace its diverse forms and its uncertain future. -- publisher's web site
ISBN: 9780231180870
Contents: Acknowledgments -- Introduction -- 1. Ardor and Anxiety: The History of Cinephilia -- 2. Enchanting Images -- 3. Cinephilia and Technology: Anxieties and Obsolescence -- 4. The Exquisite Apocalypse -- Conclusion: Anxious Times, Anxious Cinema -- Notes -- Selected Bibliography -- Index

Call No: PERSONALITY CLIPPINGS FILE
PhysDes: Clippings
Subject: BAZIN, ANDRE

Call No: 629 CON
Author: Conley, Tom
Source: US
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 2007
PhysDes: viii, 265 p. : ill. ; 23 cm
Subject: IMAGE ANALYSIS; CARTOGRAPHY AND THE CINEMA; BAZIN, ANDRE; DELEUZE, GILLES; RENOIR, JEAN; BOUDU SAUVE DES EAUX (FR, Jean Renoir, 1932); AMANTS, LES (FR, Louis Malle, 1958); CASABLANCA (US, Michael Curtiz, 1942); CRIME DE M. LANGE, LE (FR, Jean Renoir, 1936); DESPERATE JOURNEY (US, Raoul Walsh, 1942); [FOUR HUNDRED] 400 BLOWS, THE [; GLADIATOR (US, Ridley Scott, 2000); GRANDE ILLUSION, LA (FR, Jean Renoir, 1937); HAINE, LA [HATE] (FR, Mathieu Kassovitz, 1995); HIGH SIERRA (US, Raoul Walsh, 1941); MISTONS, LES (FR, François Truffaut, 1957); PARIS QUI DORT (FR, Rene Clair, 1923); RAIDERS OF THE LOST ARK (US, Steven Spielberg, 1981); REGLE DU JEU, LA (FR, Jean Renoir, 1939); ROMA CITTA APERTA (IT, Roberto Rossellini, 1945); THELMA & LOUISE (US, Ridley Scott, 1991)
Summary: Examines the affinites of maps and movies through comparative theory and close analysis of films from the silent era to the French New Wave to Hollywood blockbusters. This reveals that most of the movies we see contain maps of various kinds and almost invariably constitute a projective apparatus similar to cartography.[taken from back cover]
ISBN: 0816643571
Contents: 1. Icarian cinema : Paris qui dort -- 2. Jean Renoir : cartographies in deep focus -- 3. Maps and theaters of torture : Roma, citta aperta -- 4. A desperate journey : From Casablanca to Indiana Jones -- 5. Juvenile geographies : Les Mistons -- 6. Michelin Tendre : Les Amants -- 7. Paris underground : Les 400 coups -- 8. A road map for a road movie : Thelma and Louise -- 9. Cronos, cosmos, and Polis : La Haine

Call No: 62(081) COM
Author: Comolli, Jean-Louis
Place: Amsterdam
Publisher: Amsterdam University Press
PubDate: 2015
PhysDes: 345 pages : illustrations ; 24 cm.
Series: Film theory in media history
Subject: COMOLLI, JEAN-LOUIS; BAZIN, ANDRE; EISENSTEIN, SERGEI M.; GODARD, JEAN-LUC; GRIFFITH, DAVID WARK; LUMIERE, AUGUSTE & LOUIS; MITRY, JEAN; STRAUB, JEAN-MARIE; VERTOV, DZIGA; WELLES, ORSON
Notes: Includes bibliographical references and index.
ISBN: 9789089645548
Contents: Cinema against Spectacle -- I.Opening the Window? -- II.Inventing the Cinema? -- III.Filming the Disaster? -- IV.Cutting the Figure? -- V.Changing the Spectator? -- Technique and Ideology: Camera, Perspective, Depth of Field -- I.On a Dual Origin, The ideological place of the "base apparatus", Birth = deferral: The invention of the cinema -- II.Depth of Field: The Double Scene, Bazin's "surplus realism", The work of "transparency", For a materialist history of the cinema, "For the first time..." -- III."Primitive" Depth of Field -- IV.Effacement of Depth/ Advent of Speech -- V.Which Speech?.

Call No: 626(51) FAN
Author: Fan, Victoria
Source: US
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 2015
PhysDes: xii, 277 pages : illustrations ; 22 cm
Subject: POLITICS AND THE CINEMA; CRITICISM. CHINA; THEORY; HISTORY OF CINEMA. CHINA; HISTORY OF CINEMA. HONG KONG; BAZIN, ANDRE
Summary: Examines ways in which Chinese and Euro-American film theorists conceptualize reality and cinema. In Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through the 1940s. The result is an eye-opening exploration of the potentialities in approaching cinema anew, especially in the photographic materiality following its digital turn. -- taken from the publisher's site
Notes: Includes bibliographical references, filmography (253-255) and index.
ISBN: 9780816693573
Contents: Introduction -- Approaching reality: Chinese ontology and the potentiality of time -- Cinema of thought: directed consciousness in Chinese Marxist film theory -- Soft film theory: life in all its presence and concreteness -- Fey Mou: the presence of an absence -- Cinema of ideation, cinema of play: the early Cantonese sound film -- Conclusion

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: 633.22 COL
Author: Dalle Vacche, Angela; Brian Price
Source: US
Place: New York, London
Publisher: Routledge
PubDate: 2006
PhysDes: x, 214 p, [6] p. of plates : col. ill. ; 24 cm
Series: In focus - Routledge film readers
Subject: COLOUR; AESTHETICS; CINEMATOGRAPHY; TECHNICOLOR; BAZIN, ANDRE; ARNHEIM, RUDOLF; ROHMER, ERIC; BATCHELOR, JOHN; OSHIMA, NAGISA; BRAKHAGE, JANE; HITCHCOCK, ALFRED; ANDERSON, PAUL THOMAS; HOU HSIAO-HSIEN; GODARD, JEAN-LUC; ANTONIONI, MICHELANGELO; JARMAN, DEREK; MAMOULIAN, ROUBEN; SIRK, DOUGLAS; ALL THAT HEAVEN ALLOWS (US, Douglas Sirk, 1955); DESERTO ROSSO, IL (IT/FR, Michelangelo Antonioni, 1964); DIAL M FOR MURDER (US, Alfred Hitchcock, 1954); GIGI (US, Vincente Minnelli, 1958); IMITATION OF LIFE (US, Douglas Sirk, 1959); REBECCA (US, Alfred Hitchcock, 1940); VERTIGO (US, Alfred Hitchcock, 1958); WIZARD OF OZ, THE (US, Victor Fleming, 1939)
Summary: "The first anthology devoted to the subject of color in film. Thematic sections will address the development of color technology and how visual style was affected by the shift from black and white to color; look at color in film theory, including writings from auteurs such as Bresson, Eisenstein and Oshima on the subject; and finally, there will be a number of case studies of color in films by Godard, Hitchcock, Almodovar and others."[ Taken from the back of the book]
Notes: Bibliography: (p [202]-205); Includes index
ISBN: 0415324424; 9780415324427

Call No: 620 DEL BOG
Author: Bogue, Ronald
Source: US
Place: New York
Publisher: Routledge
PubDate: 2003
PhysDes: x, 231 p. ; 24 cm.
Subject: BAZIN, ANDRE; DELEUZE, GILLES; CASSAVETES, JOHN; CHAPLIN, CHARLES; EISENSTEIN, SERGEI M.; FELLINI, FEDERICO; GODARD, JEAN-LUC; RESNAIS, ALAIN; ROBBE-GRILLET, ALAIN; ROUCH, JEAN; WELLES, ORSON
Summary: This text provides a thorough and reliable guide to Deleuze's thought on the art of film, elucidating in clear language the shape and thrust of Deleuze's arguments found in his influential books on cinema.
Notes: Includes bibliographical references (pages 219-222) and index.
ISBN: 0415966043
Donation: Estate of Adrian Miles
Contents: Ch. 1. Bergson and Cinema; Deleuze's Bergson; Three Bergsonian Theses on Movement; Image, Movement, Matter, Light; The Three Movement-Images --Ch. 2. Frame, Shot, and Montage; Frame and Shot; Montage: Organic and Dialectic; Montage: Quantitative and Intensive --Ch. 3. Eighteen Signs (More or Less); Peirce and Signs; The Perception-Image; The Affection-Image; The Impulse-Imag; The Action-Image; The Reflection-Image; The Relation-Image --Ch. 4. Hyalosigns: Crystals of Time; Opsigns; Mnemosigns and Onirosigns; Hyalosigns; Crystalline States --Ch. 5. Chronosigns: The Order of Time and Time as Series; Sheets of the Past, Peaks of the Present; Robbe-Grillet, Welles, and Resnais; Powers of the False; Rouch's Ethnofictions; Bodies and Categories --Ch. 6. Noosigns and Lectosigns: Image and Thought, Sight and Sound; The Classic Image of Thought; The Thought of the Outside; The Spiritual Automaton; Silent and Audible Lectosigns; The Modern Lectosign; A Note on Cinema, Theater, and Television.

Call No: 630:761 WAH
Author: Wahlberg, Malin
Source: US
Place: Minneopolis
Publisher: University of Minnesota Press
PubDate: c2008
PhysDes: xvii, 170 p. : ill. ; 26 cm
Series: Visible evidence ; v. 21
Subject: PHILOSOPHY AND THE CINEMA; DOCUMENTARIES; WARHOL, ANDY; DELEUZE, GILLES; BAZIN, ANDRE; MITRY, JEAN
Summary: The book attempts to look at the idea of time for both the maker of documentaries, and the viewer of such works; it attempts to bring together the philosophy of time and the ideas of documentary making [Taken from the back of the book]
Notes: Bibliography: p.151-164; Includes index
ISBN: 9780816649686

Call No: 747.7 STE
Author: Steimatsky, Noa
Edition: 2017
Place: New York
Publisher: Oxford Univesity Press
PubDate: 2017
PhysDes: 280 p. : illustrated ; 26 cm
Subject: FACE IN FILMS; AU HASARD, BALTHAZAR (FR/SW, Robert Bresson, 1966); ANTONIONI, MICHELANGELO; BARTHES, ROLAND; BAZIN, ANDRE; BENJAMIN, WALTER; BRESSON, ROBERT; EISENSTEIN, SERGEI M.; DREYER, CARL TH.; PROCES DE JEANNE D'ARC (FR, Robert Bresson, 1962); GODARD, JEAN-LUC; HITCHCOCK, ALFRED; SEDGWICK, EDIE; WARHOL, ANDY; OUTER AND INNER SPACE (US, Andy Warhol, 1965); WRONG MAN, THE (US, Alfred Hitchcock, 1957); FUNNY FACE (US, Stanley Donen, 1957)
Notes: The human face was said to have been rediscovered with the advent of motion pictures, in which it was often viewed as expressive locus, as figure, and even as essence of the cinema. But how has this modern, technological, mass-circulating medium revealed the face in ways that are also distinct from any other? How has it altered our perception of this quintessential incarnation of the person? The archaic powers of masks and icons, the fashioning of the individual in the humanist portrait, the modernist anxieties of fragmentation and de-figuration—these are among the cultural precedents informing our experience in the movie theatre. Yet the moving, time-based image also offers radical new confrontations with the face: Dreyer's Passion of Joan of Arc, Donen's Funny Face, Hitchcock's The Wrong Man, Bresson's Au hazard, Balthazar, Antonioni's Screen Test, Warhol's filmic portraits of celebrity and anonymity. Such intense encounters, examined in this book, manifest a desire for transparency and plenitude, but—especially in post-classical cinema—also betray a profound ambiguity that haunts the human countenance, confronting interiority as opacity, treading the gap between image and language. The spectacular impact of the cinematic face is uncannily intertwined with a reticence, an ineffability; but is it not for this very reason that—like faces in the world—it still enthralls us? -- publisher's web site
ISBN: 9780199863167
Contents: Acknowledgements -- Preface: Face Moving Image -- A Dispositif -- An Ur-Image -- The Face Against the Image -- Itineraries Chapter One: We Had Faces, Then -- Expressivity in the 1920s -- Joan of Arc, Inevitably -- The Face and its Voices -- Glamour/Anti-Glamour Chapter Two: Roland Barthes Looks at the Stars -- Towards “Visages et Figures,” and circa 1953 Excursus on the Face in Language -- Into the Movie Theater -- Ultra-Face Excursus on the Mask -- From Cult to Charm: Funny Face Chapter Three: Face-to-Face (with The Wrong Man) -- What Godard Saw -- What the Clerk Saw Excursus on Anthropometrics -- Not a Mirror, Not a Lamp Chapter Four: Pass/Fail: Screen Test, Apparatus, Subject -- The Antonioni Screen Test Excursus on the Portrait -- Outer and Inner Space, and the Pathos of Time -- Fail Better Chapter Five: In Reticence (Bresson) -- The Epidermal and the Written -- The Image Against the Face -- Not an Open Book, but a Door Ajar -- Postface: The Two-Shot: Inherent

Call No: 626:165.62 CAS
Author: Casebier, Allan
Place: Cambridge New York
Publisher: Cambridge University Press
PubDate: 1991
PhysDes: vii, 165 p. ; 24 cm
Series: Cambridge studies in film
Subject: HUSSERL, EDMUND; PHILOSOPHY AND THE CINEMA; DOCUMENTARY FILMS; BORDWELL, DAVID; BAZIN, ANDRE; MARKER, CHRIS; KUROSAWA AKIRA; LACAN, JACQUES; METZ, CHRISTIAN; OSHIMA NAGISA; YASUJIRO OZU; TOUCH OF EVIL (US, Orson Welles, 1958)
Notes: Includes index; Bibliography: p. 159-160; Filmography: p. 161-162
ISBN: 0521411327 (hardback)
LON: 7950801

Call No: 62 CAS
Author: Casebier, Allan
Place: New York
Publisher: Harcourt Brace Jovanovich
PubDate: c1976
PhysDes: ix, 207 p., [2] leaves of plates : col. ill. ; 23 cm
Subject: THEORY; AESTHETICS; SOUND; AUDIENCES; REALISM IN FILMS; SURREALISM AND THE CINEMA; EXPRESSIONISM; MYTH AND THE CINEMA; STRUCTURALISM; CRITICISM; WELLES, ORSON; BUNUEL, LUIS; KUBRICK, STANLEY; BAZIN, ANDRE; ARNHEIM, RUDOLF; GODARD, JEAN-LUC; CLOCKWORK ORANGE, A (UK, Stanley Kubrick, 1971)
Notes: Includes index; "Bibliography/filmography": p. [183]-190
ISBN: 0155273701
Order Received: 2000
Order Type: Donation
LON: 746910
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Call No: 408 TUR
Author: Turner, Graeme
Place: London New York
Publisher: Routledge
PubDate: 1988
PhysDes: xv, 187 p. : ill. ; 20 cm
Series: Studies in communication
Subject: 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. 180-184
ISBN: 0415007348; 0415007356 (pbk.)
LON: 5742606

Call No: 62 MCD
Author: McDonald, Kevin
Edition: 2016
Place: Abingdon, Oxon.
Publisher: Routledge
PubDate: 2016
PhysDes: x, 196 pages ; 21 cm
Series: The Basics
Subject: THEORY; ALTHUSSER, LOUIS; AVANT-GARDE FILMS; BAZIN, ANDRE; BENJAMIN, WALTER; CAHIERS DU CINEMA; COMOLLI, JEAN-LOUIS; MULVEY, LAURA; VERTOV, DZIGA; WOLLEN, PETER
ISBN: 9781138797345
Donation: Adrian Miles

Call No: 81HIT LAV
Author: La Valley, Albert J. (ed.)
Source: US
Place: Englewood Cliffs
Publisher: Prentice Hall
PubDate: 1972
PhysDes: 186 p. : ill. ; 24 cm
Series: Film Focus
Subject: HITCHCOCK, ALFRED; BAZIN, ANDRE; BOGDANOVICH, PETER; SARRIS, ANDREW; DURGNAT, RAYMOND; AGEE, JAMES; KAEL, PAULINE; CHANDLER, RAYMOND; ROHMER, ERIC; CHABROL, CLAUDE; TRUFFAUT, FRANCOIS; NOTORIOUS (US, Alfred Hitchcock, 1946); STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951); REAR WINDOW (US, Alfred Hitchcock, 1954); WRONG MAN, THE (US, Alfred Hitchcock, 1957); PSYCHO (US, Alfred Hitchcock, 1960)
ISBN: 0133923657
Donation: donated by the family of Wayne Levy, 2006
Contents: Introduction - Albert J. LaValley -- Chronology -- HITCHCOCK ON HITCHCOCK -- I wish I didn't have to shoot the picture: an interview with Alfred Hitchcock - Budge Crawley, Fletcher Markle, and Gerald Pratley -- Interviews with Alfred Hitchcock - Peter Bogdanovich -- Direction - Alfred Hitchcock -- Rear Window - Alfred Hitchcock -- HITCHCOCK ON CONTROVERSY -- Alfred Hitchcock - Lindsay Anderson -- Hitchcock versus Hitchcock - Andre Bazin -- Why we should take Hitchcock seriously - Robin Wood -- Hitchcock - Andrew Sarris -- The strange case of Alfred Hitchcock, part three - Raymond Durgnat -- THE FILMS -- James Agee - Notorious -- Pauline Kael - Three Films -- Raymond Chandler - Notebooks on Strangers on a Train -- Ronald Christ - Strangers on a Train - the pattern of encounter -- Eric Rohmer and Claude Chabrol - The Wrong Man -- Leo Braudy - Hitchcock, Truffaut, and the irresponsible audience -- Raymond Durgnat - Inside Norman Bates -- John Crosby - Macabre Merriment -- Jack Edmund Nolan - Hitchcock's TV films -- Analysis of the Plane and Cornfield Chase sequence in North by Northwest

Call No: 71(44) BAZ
Author: Bazin, Andre, 1918-1958; Truffaut, Francois, 1932
Place: New York, N.Y.
Publisher: F. Ungar Pub. Co.
PubDate: c1981
PhysDes: viii, 166 p. : ill. ; 22 cm
Subject: FRANCE; OCCUPATION AND THE CINEMA. FRANCE; FESTIVALS. CANNES; BAZIN, ANDRE; TRUFFAUT, FRANCOIS; ESPOIR (FR/SP, Andre Malraux, 1939); BATTLE OF THE RAILS [; VISITEURS DU SOIR, LES (FR, Marcel Carne, 1942); NUIT FANTASTIQUE, LA (FR, Marcel L'Herbier, 1942)
Notes: Translation of Le cinema de l'occupation et de la resistance; Includes index
ISBN: 080442022X : $12.95
LON: 1809474

Call No: 64NOU FRE
Author: Vincendeau, Ginette; Graham, Peter John
Source: UK
Place: London
Publisher: BFI/Palgrave Macmillan
PubDate: 2009
PhysDes: x, 273 p. : ill. ; 20 cm.
Subject: CAHIERS DU CINEMA; MOVEMENTS AND STYLES IN FILM HISTORY; NOUVELLE VAGUE; TRUFFAUT, FRANCOIS; BAZIN, ANDRE; GODARD, JEAN-LUC
Summary: The French New Wave: Critical Landmarks is a new and expanded edition of a classic anthology of writings by critics and film-makers associated with the Nouvelle Vague. The new edition, published to mark the 50th anniversary of the New Wave, features all the articles from the first edition, including Bazin's seminal 'La Politique des Auteurs' and a brand new translation of Truffaut's 'Une certaine tendance du cinema francais' (A Certain Tendency in French Cinema). In addition, the collection includes articles by and interviews with Bazin, Godard, Chabrol and others that helped to shape contemporary debates about the history, aesthetics and practice of cinema, as well as a case study offering three different perspectives on Godard's A bout de souffle. The new edition features a preface by Peter Graham alongside his preface to the 1968 edition, and an introduction by Ginette Vincendeau that contextualises the Nouvelle Vague in the light of recent developments in film theory and history and its influence on subsequent French film-making. There is also a new and substantial bibliography of works on the New Wave in English and French, making this an indispensable point of reference for anyone interested in the movement and its long-lasting effects on the theory and practice of cinema. Contributions by: Alexandre Astruc, Andre Bazin, Robert Benayoun, Raymond Borde, Claude Chabrol, Jean-Luc Godard, Gerard Gozlan, Luc Moullet, Georges Sadoul and Francois Truffaut.
Notes: Formerly CIP -- Includes bibliographical references (p. [239]-250) and index.
ISBN: 9781844572823
Contents: -- Preface to the 2009 Edition / Peter Graham -- Preface to the 1968 Edition / Peter Graham -- Introduction: Fifty Years of the French New Wave: from hysteria to nostalgia / Ginette Vincendeau -- 1 The Birth of a New Avant-Garde : La Caméra-Stylo / Alexandre Astruc -- 2 A Certain Tendency in French Cinéma / Francois Truffaut -- 3 The Evolution of Film Language / Andre Bazin -- 4 The Delights of Ambiguity: In Praise of Andre Bazin / Gerard Gozlan -- 5 La Politique des auteurs / Andre Bazin -- 6 Little Themes / Claude Chabrol -- 7 Review of Alexandre Astruc's Une vie / Jean-luc Godard -- 8 The Emperor Has No Clothes / Robert Benayoun -- 9 Interview with Francois Truffaut Cahiers du Cinema -- 10 A Case Study: Contrasting Views of A bout de souffle: -- Jean-Luc Godard / Luc Moullet -- A bout de souffle / Raymonde Borde -- Le Quai des brumes 1960: A bout de souffle by Jean-Luc Godard / Georges Sadoul -- Bibliography -- Index --

Call No: 670 INV GRI
Author: Grieveson, Lee; Wasson, Haidee
Source: UK
Place: Durham
Publisher: Duke University Press
PubDate: 2008
PhysDes: xxxii, 446 p. : ill. ; 24 cm
Subject: American Film Institute; AVANT-GARDE FILMS; COMPUTER GENERATED IMAGERY; CRITICISM; FILM ART MEDIA; FILM CULTURE; FILM NOIR; FILM STUDY AND RESEARCH; FILMOGRAPHIES; HISTORY OF CINEMA. SILENT PERIOD; MARXISM AND THE CINEMA; MOTION PICTURE ASSOCIATION OF AMERICA; MUSEUM OF MODERN ART [NEW YORK]; PHILOSOPHY AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; REALISM IN FILMS; SOCIETIES, FILM; SOCIOLOGY AND THE CINEMA; SPECTATORSHIP; ALTHUSSER, LOUIS; BACHMANN, GIDEON; BARRY, IRIS; BAZIN, ANDRE; BELLOUR, RAYMOND; BERGSTROM, JANET; BORDWELL, DAVID; BRAKHAGE, STAN; BURGESS, ERNEST; BUSCOMBE, ED; CHAPLIN, CHARLES; COOK, PAM; DEREN, MAYA; FOUCAULT, MICHEL; FULLER, SAMUEL; GODARD, JEAN-LUC; GRIERSON, JOHN; GRIFFITH, DAVID WARK; GRIFFITHS, RICHARD; HAWKS, HOWARD; HAYS, WILL; HEATH, STEPHEN; HUFF, THEODORE; MACCABE, COLIN; METZ, CHRISTIAN; PARK, ROBERT; PATTERSON, FRANCES TAYLOR; PENLEY, CONSTANCE; RAINER, YVONNE; RAMSAYE, TERRY; RICHTER, HANS; ROTHA, PAUL; SARRIS, ANDREW; SCORSESE, MARTIN; SELDES, GILBERT; SHORT, REV WILLIAM H; STERN, SEYMOUR; THRASHER, FREDRICK; VOGEL, AMOS; VON STROHEIM, ERICH; WEINBERG, HERMAN G; WHANNEL, PADDY; WOLLEN, PETER
Summary: Inventing Film Studies offers original and provocative insights into the institutional and intellectual foundations of cinema studies. Many scholars have linked the origins of the discipline to late-1960s developments in the academy such as structuralist theory and student protest. Yet this collection reveals the broader material and institutional forces—both inside and outside of the university—that have long shaped the field. Beginning with the first investigations of cinema in the early twentieth century, this volume provides detailed examinations of the varied social, political, and intellectual milieus in which knowledge of cinema has been generated. The contributors explain how multiple instantiations of film study have had a tremendous influence on the methodologies, curricula, modes of publication, and professional organizations that now constitute the university-based discipline. Extending the historical insights into the present, contributors also consider the directions film study might take in changing technological and cultural environments. -- Publisher description
Notes: Includes bibliographical references and index
ISBN: 9780822342892
Contents: The Academy and Motion Pictures / Lee Grieveson, Haidee Wasson -- Making Cinema Knowable -- Cinema Studies and the Conduct of Conduct / Lee Grieveson Taking Liberties: The Payne Fund Studies and the Creation of the Media Expert / Mark Lynn Anderson "Reaching the Multimillions": Liberal Internationalism and the Establishment of Documentary Film / Zoe Druick Young Art, Old Colleges: Early Episodes in the American Study of Film / Dana Polan -- Making Cinema Educational -- Studying Movies at the Museum: The Museum of Modern Art and Cinema's Changing Object / Haidee Wasson Classrooms, Clubs, and Community Circuits: Cultural Authority and the Film Council Movement, 1946-1957 / Charles R. Acland Experimental Film and the Development of Film Study in America / Michael Zryd From Cinephilia to Film Studies / Laura Mulvev, Peter Wollen -- Making Cinema Legible -- Experimentation and Innovation in Three American Film Journals of the 1950s / Haden Guest Screen and 1970s Film Theory / Philip Rosen (Re)Inventing Camera Obscura / Amelie Hastie, Lynne Joyrich, Patricia White, Sharon Willis Little Books / Mark Betz -- Making and Remaking Cinema Studies -- Footstool Film School: Home Entertainment as Home Education / Alison Trope Dr. Strange Media, or How I Learned to Stop Worrying and Love Film Theory / D. N. Rodowick

Call No: 62 AND
Author: Andrew, Dudley, 1945
Place: London New York
Publisher: Oxford University Press
PubDate: 1976
PhysDes: x, 278 p. : ill. ; 21 cm
Subject: THEORY; PHILOSOPHY AND THE CINEMA; MUNSTERBERG, HUGO; ARNHEIM, RUDOLF; BALAZS, BELA; KRACAUER, SIEGFRIED; BAZIN, ANDRE; MITRY, JEAN; METZ, CHRISTIAN
Summary: "The major film theories is designed for anyone with a serious interest in the art of film. It is both a history film theory and an introduction to the work of the most important and influential writers on the subject - Munsterberg, Arnheim, Eisenstein, Balazs, Kracauer, Bazin, Mitry and Metz. Andrew sets these major theorists one against the other forcing them to speak to common issues, thereby making them reveal the bases of their thought. He compares the formative tradition with that of the realist to illustrate the development of both theories." The final secion of the book deals with contemporary French film theory which is still in the process of develping. Andrew locates these film theories in the contect of larger intellectual movements, including Gestalt psychology, Russian formalism, Neo-Kantianism and Existentialism." -- Back cover
Notes: Includes index; Bibliography: p. 261-272
ISBN: 0195019911 : $3.95 (U.S.)
LON: 75025465; 741859
Contents: Introduction -- Part 1 : The formative tradition -- Hugo Munsterberg. Matter and means ; Form and function -- Rudolf Arnheim. Material ; The creative use of the medium ; Film form ; The purpose of film -- Sergei Eisenstein. The raw material of film ; Cinematic means : creation through montage ; Film form ; The final purpose of film -- Be´la Bala´zs and the tradition of formalism. A summary of formative film theory ; Russian formalism ; Be´la Bala´zs ; The raw material of film art ; The creative potential of film technique ; Cinematic shape or form ; Cinematic functions -- Part 2 : Realist film theory -- Siegfried Kracauer. Matter and means ; Compositional forms ; The purpose of cinema ; Rebuttals -- Andre´ Bazin. The raw material ; Cinematic means and form ; The function of cinema -- Part 3 : Contemporary French film theory -- Jean Mitry. The raw material ; Creative potential in film ; The form and purpose of cinema -- Christian Metz and the semiology of the cinema. The raw material ; The means of signification in cinema ; The forms and possibilities of film ; Semiology and the purposes of film -- The challenge of phenomenology : Ame´de´e Ayfre and Henri Agel
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Call No: 62 PER
Author: Perez, Gilberto, 1943
Place: Baltimore
Publisher: Johns Hopkins University Press
PubDate: 1998
PhysDes: xi, 465 p. : ill. ; 24 cm
Subject: AESTHETICS; CRITICISM; ALPHAVILLE (FR, Jean-Luc Godard, 1965); ANTONIONI, MICHELANGELO; AVVENTURA, L' (IT/FR, Michelangelo Antonioni, 1960); BAZIN, ANDRE; BRECHT, BERTOLT; CHAPLIN, CHARLES; NAMA-YE NAZDIK (IR, Abbas Kiarostami, 1990); COLLEGE (US, James W. Horne, 1927); DOVZENKO, ALEKSANDR; FLAHERTY, ROBERT; FORD, JOHN; FORTINI/CANI (IT, Jean-Marie Straub & Daniele Huillet, 1976); GODARD, JEAN-LUC; GRIFFITH, DAVID WARK; HUILLET, DANIELE; KARINA, ANNA; Keaton, Buster; KIAROSTAMI, ABBAS; HISTORY LESSONS [GESCHICHTSUNTERRICHT / LECONS D'HISTOIRE] (GW/IT, Jean-Marie Straub/Daniele Huillet, 1972); MURNAU, FRIEDRICH WILHELM; NOSFERATU - EINE SYMPHONIE DES GRAUENS (G, Friedrich Wilhelm Murnau, 1922); DAY IN THE COUNTRY, A [PARTIE DE CAMPAGNE, UNE] (FR, Jean Renoir, 1946 [prod. 1936]); RENOIR, JEAN; STRAUB, JEAN-MARIE; ZEMLJA (UR, Alexksandr Dovzenko, 1930)
Summary: Summary: In The Material Ghost, Perez draws on his life-long love of the movies as well as his work as a film scholar to write an engaging study of films and filmmakers and the nature of the art form.
Notes: Includes bibliographical references (p. [417]-448) and indexes
ISBN: 0801856736 (alk. paper)
LON: 21392968

Call No: 62(082) MOV v.2
Author: Nichols, Bill (ed.)
Source: US/UK
Place: Berkeley
Publisher: University of California Press
PubDate: c1985
PhysDes: xii, 753 p. : ill. ; 24 cm
Subject: CRITICISM; GENRES; FEMINISM AND THE CINEMA; STRUCTURALISM; SEMIOLOGY; PSYCHOANALYSIS AND THE CINEMA; SADISM / MASOCHISM IN FILMS; PHILOSOPHY AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; AVANT-GARDE FILMS; NARRATIVE IN FILMS; IDEOLOGY AND THE CINEMA; HORROR FILMS; CINEMA VERITE; BAZIN, ANDRE; WALSH, RAOUL; GODARD, JEAN-LUC; DAUGHTER RITE (US, Michelle Citron, 1979); JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (BE/FR, Chantal Akerman, 1975); SEARCHERS, THE (US, John Ford, 1956); MILDRED PIERCE (US, Michael Curtiz, 1945); STAGECOACH (US, John Ford, 1939)
Summary: "The original Movies and Methods volume (1976) captured the dynamic evolution of film theory and criticism into an important new discipline, incorporating methods from structuralism, semiotics, and feminist thought. Now there is again ferment in the field. Movies and Methods, Volume II, captures the developments that have given history and genre studies imaginative new models and indicates how feminist, structuralist, and psychoanalytic approaches to film have achieved fresh, valuable insights." -- BOOK BLURB
Notes: This is volume II
ISBN: 0520054091
Contents: -- historical criticism -- genre criticism -- feminist criticism -- structuralist semiotics -- psychoanalytic semiotics -- countercurrents --

Call No: 753.1 GER
Author: Geraghty, Christine
Source: US
Place: Lanham, MD
Publisher: Rowman & Littlefield
PubDate: 2008
PhysDes: vii, 223 p. ; ill. ; 23 cm
Series: Genre and beyond
Subject: ADAPTATIONS; LITERATURE AND THE CINEMA; ADAPTATIONS. AUSTEN, JANE; ADAPTATIONS. BECKETT, SAMUEL; ADAPTATIONS. PROUST, MARCEL; ADAPTATIONS. WOOLF, VIRGINIA; ADAPTATIONS. WILLIAMS TENNESSEE; BAZIN, ANDRE; PRIDE AND PREJUDICE (US, Robert Z. Leonard, 1940); PRIDE AND PREJUDICE [TV] (UK/US, Simon Langton, 1995); PRIDE AND PREJUDICE (UK, Joe Wright, 2005); LAST OF THE MOHICANS, THE (US, Michael Mann, 1992); BROKEBACK MOUNTAIN (US, Ang Lee, 2005)
Summary: "Going beyond the process of adaptation of literature to film, Geraghty is more interested in the films themselves and how they draw on our sense of recall. While a film reflects its literary source, it also invites comparisons to our memories of and associations with other versions of the original. For example, a viewer may watch the 2005 big-screen production of Pride and Prejudice and look back on the BBC's 1995 mini-series as well as Jane Austen's novel. Adaptations also rely on the conventions of genre, editing, acting, and sound to engage with our recollections-elements that many movie critics tend to forget when focusing solely on faithfulness to the written word."-BOOK JACKET
Notes: includes filmography; includes bibliographical references; includes index
ISBN: 9780742538214
Donation: donated by Senses of Cinema
Contents: -- Acknowledgments -- Introduction -- 1. Narrative and Characterization in Classic Adaptations: David Copperfield, Oliver Twist, and Pride and Prejudice -- 2. Art Cinema, Authorship, and the Impossible Novel: Adaptations of Proust, Woolf, and Joyce -- 3. Tennessee Williams on Film: Space, Melodrama, and Stardom -- 4. Feminism, Authorship, and Genre: Adaptations of the Novels of Edna Ferber and Pearl S. Buck -- 5. Revising the Western: Movement and Description in The Last of the Mohicans and Brokeback Mountain -- 6. Space, Setting, and Mobility in Old New York: The Heiress, The House of Mirth, and Gangs of New York -- Conclusion -- Filmography -- Selected Bibliography -- Index -- About the Author --
ID2: 87

Call No: 62 BOR
Author: Bordwell, David
Place: Cambridge, Mass.
Publisher: Harvard University Press
PubDate: 1997
PhysDes: x, 322 p. : ill. ; 25 cm
Subject: THEORY; EDITING; CAHIERS DU CINEMA; LENSES; MODERNISM AND THE CINEMA; MONTAGE; REALISM IN FILMS; WIDE-SCREEN SYSTEMS; BAZIN, ANDRE; BURCH, NOEL; ASTRUC, ALEXANDRE; BARDECHE, MAURICE; BENJAMIN, WALTER; BRASILLACH, ROBERT; COMOLLI, JEAN-LOUIS; GUNNING, TOM; KULESOV, LEV; LEENHARDT, ROGER; LUMIERE, LOUIS; WYLER, WILLIAM; MELIES, GEORGES; TOLAND, GREGG; WELLES, ORSON; CITIZEN KANE (US, Orson Welles, 1941)
Notes: Includes bibliographical references and index
ISBN: 0674634284 (cloth : alk. paper); 0674634292 (pbk. : alk. paper)
LON: 97004016; 13106257
Contents: 1. The Way Movies Look: The Significance of Stylistic History -- 2. Defending and Defining the Seventh Art: The Standard Version of Stylistic History -- 3. Against the Seventh Art: Andre Bazin and the Dialectical Program -- 4. The Return of Modernism: Noel Burch and the Oppositional Program -- 5. Prospects for Progress: Recent Research Programs -- 6. Exceptionally Exact Perceptions: On Staging in Depth

Call No: 81BAZ OPE
Author: Andrew, Dudley (ed.); Joubert-Laurencin, Herve
Source: US/UK
Place: New York
Publisher: Oxford University Press
PubDate: c2011
PhysDes: xix, 351 p. : ill. ; 26 cm
Subject: THEORY; HISTORY OF CINEMA; BAZIN, ANDRE
Summary: "With the full range of his voluminous writings finally viewable, Andrew Bazin seems more deserving than ever to be considered the most influential of all writers on film. His brief career, 1943-58, helped bring about the leap from classical cinema to the modern art of Renoir, Welles, and neorealism. Founder of Cahiers du Cinema, he encouraged the future New Wave directors to confront his telltale question, What is Cinema? This colection considers another vital question, Who is Bazin? In it, thirty-three renowned film scholars- including de Baecque, Elsaesser, Gunning, and MacCabe - tackle Bazin's meaning for the 21st century. They have found in his writings unmistakable traces of Flaubert, Bergson, Breton, and Benjamin, and they have pursued this vein to the gold mine of Deleuze and Derrida. They have probed and assessed his ideas on film history, style, and technique, measuring him against today's media regime, while measuring that regime against him. They have located the precious ore of his thought crouched within striations of French postwar politics and culture,and they have revealed the unexpected effects of that thought on filmmakers and film culture on four continents. Open Bazin; you will find a treasure." -- BOOK BLURB
ISBN: 9780199733897
Contents: -- a binocular preface -- Dudley Andrew and Herve Joubert-Laurencin -- acknowledgments -- Part one: Lineage -- A Bazinian half-century / Thomas Elsaesser -- Cinema across fault lines: Bazin and the French school of geography / Ludovic Cortade -- Evolution and event in Qu'est-ce que le cine´ma? / Tom Conley -- The reality of hallucination in Andre´ Bazin / Jean-Franc¸ois Chevrier -- Beyond the image in Benjamin and Bazin: the aura of the event / Monica Dall'Asta -- Bazin as modernist / Colin MacCage -- Film and plaster: the mould of history / Jean-Michel Frodon -- From Bazin to Deleuze: a matter of depth / Diane Arnoud -- Deconstruction avant la lettre: Jacques Derrida before Andre´ Bazin / Louis-Georges Schwartz -- Part Two: Aesthetics -- Belief in Bazin / Philip Rosen -- The world in its own image: the myth of total cinema / Tom Gunning -- The afterlife of superimposition / Daniel Morgan -- The difference of cinema in the system of the arts / Angel Dalle Vacche -- Malraux, Bazin, and the gesture of Picasso / Dudley Andrew -- Incoherent spasms and the dignity of signs: Bazin's Bresson / Noa Steimatsky -- Animals: an adventure in Bazin's ontology / Seung-hoon Jeong -- Bazin's exquisite corpses / Ivone Margulies -- Rewriting the image: two effects of the future-perfect in Andre´ Bazin / Herve´ Joubert-Laurencin -- Part Three: Historical moment -- The eloquent image: the postwar mission of film and of criticism / Philip Watts -- Bazin in combat / Antoine de Baecque -- Bazin the censor? / Marc Vernet -- Waves of crisis in French cinema / Jeremi Szaniawski -- Bazin's Chaplin myth and the corrosive lettrists / Rochelle Fack -- Radical ambitions in postwar French documentary / Steven Ungar -- Bazin on the margins of the seventh art / Grant Wiedenfeld -- Television and the auteur in the late '50s / Michael Cramer -- Andre´ Bazin's bad taste / James Tweedie -- Part Four: Worldwide influence -- Montage under suspicion: Bazin's Russo-Soviet reception / John MacKay -- Fom ripples to waves: Bazin in Eastern Europe / Alice Lovejoy -- Bazin in Brazil: a welcome visitor / Ismail Xavier -- Bazin and the politics of realism in mainland China / Cecile Lagesse -- Japanese readings: the textual thread / Kan Nozaki -- Japanese lessons: Bazin's cinematic cosmopolitanism / Ryan Cook -- notes on contributors -- index of names -- index of films -- index of terms --

Call No: 756 ROH
Author: Rohdie, Sam, 1939
CorpAuthor: British Film Institute
Place: London
Publisher: British Film Institute
PubDate: 2001
PhysDes: viii, 280 p. ; 24 cm
Subject: ETHNOGRAPHIC FILMS; CULTURE AND THE CINEMA; BAZIN, ANDRE; CITIZEN KANE (US, Orson Welles, 1941); GIDE, ANDRE; GODARD, JEAN-LUC; ART AND THE CINEMA; Pasolini, Pier Paolo; ROHMER, ERIC; ROSSELLINI, ROBERTO; MODERNISM AND THE CINEMA
Notes: Includes bibliographical references and index
ISBN: 0851708536(pbk.) : ¦15.99; 0851708544(cased) : ¦48.00
LON: 22645289

Call No: 62 CAS
Author: Casetti, Francesco
Edition: 1st ed
Place: Austin
Publisher: University of Texas Press
PubDate: 1999
PhysDes: 368 p. ; 24 cm
Subject: THEORY; PSYCHOANALYSIS AND THE CINEMA; SEMIOLOGY; LANGUAGE AND THE CINEMA; POLITICS AND THE CINEMA; GENDER AND THE CINEMA; SOCIETY AND THE CINEMA; IMPERIALISM AND THE CINEMA; PERCEPTION; SPECTATORSHIP; BELLOUR, RAYMOND; ADORNO, THEODOR W.; BARTHES, ROLAND; BAZIN, ANDRE; BORDWELL, DAVID; DELEUZE, GILLES; KRACAUER, SIEGFRIED; LACAN, JACQUES; HORKHEIMER, MAX; MITRY, JEAN; MORAN, EDGAR; LYOTARD, JEAN-FRANCOIS; METZ, CHRISTIAN
Notes: "Revised and updated by the author."; Includes bibliographical references (p. [339]-359) and index
ISBN: 0292712065 (hc :acid-free paper); 0292712073 (pbk.)
LON: 14328673

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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Author: Yecies, Brian
PhysDes: Article; Illustration(s)
Subject: IMAX; BAZIN, ANDRE
Summary: Yecies explores the development of IMAX and the level of participation experienced by the audience. He compares IMAX to Bazin's myth of total cinema.