Search Catalogue

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Publicity
Subject: BREAD (IS, Ram Loevy, 1986)

Call No: TITLE CLIPPINGS FILE
PhysDes: Publicity
Subject: BREAD AND DRIPPING (AT, Wendy Brady & Donna Foster & Margot Nash & Elizabeth Schaffer & Vic Smith, 1982)

PhysDes: Article
Subject: BREAD AND DRIPPING (AT, Wendy Brady & Donna Foster & Margot Nash & Elizabeth Schaffer & Vic Smith, 1982)
Summary: Short Review

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit; Publicity
Subject: BREAD AND ROSES (NZ, Gaylene Preston, 1993)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BREAD AND ROSES (IT/UK/FR/GG/SP/S, Ken Loach, 2000)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BREAD FACTORY, A [PART ONE & PART TWO] (US, Patrick Wang, 2018)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BREAD FACTORY, A [PART ONE & PART TWO] (US, Patrick Wang, 2018)
Notes: Simon import_04/07/19

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BREAD [TV] (AT, 2003)

Call No: 769[39] DEH
Author: de Heusch, Luc
Place: Paris
Publisher: Unesco
PubDate: 1962
PhysDes: 27 cm ; 102 pages
Subject: ETHNOGRAPHIC FILMS; SOCIOLOGY AND THE CINEMA; ROUCH, JEAN; LAND WITHOUT BREAD (SP, Luis Bunuel, 1933); NATIONAL FILM BOARD OF CANADA

Call No: 761 ROT
Author: Rothman, William
Place: Cambridge, Eng. New York
Publisher: Cambridge University Press
PubDate: 1997
PhysDes: xv, 218 p. : ill. ; 24 cm
Series: Cambridge studies in film
Subject: DOCUMENTARY FILMS; CINEMA VERITE; NON-FICTION FILMS; BUNUEL, LUIS; LEACOCK, RICHARD; RESNAIS, ALAIN; ROUCH, JEAN; NANOOK OF THE NORTH (US, Robert Flaherty, 1922); HURDES, LAS (SP, Luis Bunuel, 1933); NUIT ET BROUILLARD (FR, Alain Resnais, 1955); NIGHT AND FOG (FR, Alain Resnais, 1995); HAPPY MOTHER'S DAY, A (US, Joyce Chopra/Richard Leacock, 1963); DONT LOOK BACK (US, D.A. Pennebaker, 1967); LAND WITHOUT BREAD (SP, Luis Bunuel, 1933)
Summary: "Documentary Film Classics" offers close readings of a number of major documentaries, including Nanook of the North, Land without Bread, Night and Fog, Chronicle of a Summer, A Happy Mother's Day, and Don't Look Back. William Rothman analyzes the philosophical and historical issues and themes implicit in these works. Designed to guide film students through the 'texts' of films that span the history of the documentary film movement, his readings also focus on the achievements of these works as films per se. This book is both an original contribution to the field of film studies and also suitable for use as a text for college level courses on documentary film and broader film history courses." -- BOOK COVER
Notes: Includes bibliographical references (p. 211-213) and index
ISBN: 0521456819 (pbk); 0521450675 (hbk)
Order Received: 1997
LON: 96014029; 12242459
URL status: URL: 'http://-' Checked: 31/08/2021 12:36:54 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: 761 JAC
Author: Jacobs, Lewis, comp
Edition: 2nd ed
Place: New York
Publisher: W. W. Norton
PubDate: c1979
PhysDes: 594 p. : ill. ; 24 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS. USSR; HISTORY OF CINEMA; NEWSREELS; FLAHERTY, ROBERT; GRIERSON, JOHN; VERTOV, DZIGA; RIEFENSTAHL, LENI; LEACOCK, RICHARD; WISEMAN, FREDERICK; NANOOK OF THE NORTH (US, Robert Flaherty, 1922); GRASS (US, Ernest B. Schoedsack, 1926); CHANG (US, Ernest B. Schoedsack & Merian C. Cooper, 1927); MOANA (US, Robert Flaherty, 1926); RAIN (US, Louis Milestone, 1932); STARK LOVE (US, Karl Brown, 1927); TURKSIB (US, Victor A. Turin, 1929); DRIFTERS (SW, John Grierson, 1929); A PROPOS DE NICE (FR, Jean Vigo, 1930); QUE VIVA MEXICO! (UR, Sergei Eisenstein, [prod. 1932]); SONG OF CEYLON, THE (UK, Basil Wright, 1934); THREE SONGS ABOUT LENIN (UR, Dziga Vertov, 1934); TRI PESNI O LENINE (UR, Dziga Vertov, 1934); CITY, THE (US, Ralph Steiner and Willard Van Dyke, 1939); MAISONS DE LA MISERE, LES (BE, Henri Storck, 1937); OLYMPIA (G, Leni Riefenstahl, 1938); TRIUMPH OF THE WILL (G, Leni Riefenstahl, 1935); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); SPANISH EARTH, THE (US, Joris Ivens, 1937); FIGHT FOR LIFE, THE (US, Pare Lorentz, 1940); RIVER, THE (US, Pare Lorentz, 1938); CITY, THE (US, Ralph Steiner and Willard Van Dyke, 1939); LAND WITHOUT BREAD (SP, Luis Bunuel, 1933); LAND, THE (US, Robert Flaherty, 1942); NATIVE LAND (US, Leo Hurwitz & Paul Strand, 1942); NEGRO SOLDIER, THE (US, Frank Capra, 1944); DIARY FOR TIMOTHY, A (UK, Humphrey Jennings, 1946); FARREBIQUE [FARREBIQUE OU LES QUATRE SAISONS] (FR, Georges Rouquier, 1946); SAVAGE EYE, THE (US, Ben Maddow, Sidney Meyers, Joseph Strick, 1959); JOLI MAI, LE (FR, Chris Marker & Pierre Lhomme, 1963); TITICUT FOLLIES (US, Frederick Wiseman, 1967); MARRIED COUPLE, A (CN, Allan King, 1969); WOODSTOCK (US, Michael Wadleigh, 1970); SORROW AND THE PITY, THE [CHAGRIN ET LA PITIE, LE] (FR/GW/SZ, Marcel Ophuls, 1969); SORROW AND THE PITY, THE [CHAGRIN ET LA PITIE, LE] (FR/GW/SZ, Marcel Ophuls, 1969); HEARTS AND MINDS (US, Peter Davis, 1974); HARLAN COUNTY, U.S.A. (US, Barbara Kopple, 1976)
Summary: "Originally published in 1971, The Documentary Tradition is the essential survey of development and achievements of one of the most distinctive and influential genres of film. Edited by the distinguished filmmaker and historian Lewis Jacobs, the book has become an indispensable reference for both students and practitioners of documentary. This new edition brings The Documentary Tradition up to date and includes the writings of almost 100 filmmakers and critics. To the five parts which trace the development of the genre from the 1920s Jacobs has added a new section of seven essays on the documentaries of the 1970s. The section is introduced by his own survey of the filmmaking of the period, "From Political Activism to Women's Consciousness," and accompanied by a selected list of documentaries of the 1970s together with photographs from a number of these films. The bibliography of works on documentary films and filmmakers has been expanded." -- BOOK BLURB
Notes: Includes index; Bibliography: p. 577-579
ISBN: 0393950425
LON: 1437994
URL status: URL: 'http://-' Checked: 31/08/2021 12:58:52 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: 744.7(94) WOM
Author: Women's film fund of the Australian film commission
Source: AT
Place: Marrickville, NSW
Publisher: Southwood Press
PubDate: 1984
PhysDes: 39 pages : illustrations ; 21cm. + bulletin number 1 (1985) and bulletin number 2 (1986)
Subject: WOMENS FILM FUND; AUSTRALIAN FILM COMMISSION. WOMEN'S FILM FUND; AGE BEFORE BEAUTY (AT, Sarah Gibson, 1980); AUSTRALIAN WOMEN COMPOSERS (AT, Adele Sztar, 1983); BREAD AND DRIPPING (AT, Wendy Brady & Donna Foster & Margot Nash & Elizabeth Schaffer & Vic Smith, 1982); CLIMBERS (AT, Rosalind Gillespie, 1979?); CONSOLATION PRIZE (AT, Rivka Hartman, 1979); EATING YOUR HEART OUT (AT, Chris Warner, 1984); EVERY DAY, EVERY NIGHT (AT, Kathy Mueller, 1984); FLAMINGO PARK (AT, Clytie Jessop, 1980); FOR LOVE OR MONEY (AT, Megan McMurchy & Jeni Thornley, 1983); GREETINGS FROM WOLLONGONG (AT, Mary Callaghan, 1982); KEEP MOVING (AT,Ronesia Hamilton Metcalfe, 1984); MUM'S THE WORD (AT, Carol Kostanish, 1982); NED WEATHERED (AT, Lee Whitmore, 1984); ON GUARD (AT, Susan Lambert, 1984); PINS AND NEEDLES (AT, Barbara A. Chobocky, 1980); ROMA (AT, Jane Oehr, 1980); SERIOUS UNDERTAKINGS (AT, Helen Grace, 1983); TISSUE (AT, Ros Horin, 1982); TIGHTROPE WATER (AT, Annie Duncan & Anna Kannava, 1983); WOODEN FOREST, THE (AT, Penne West, ?); WORKING UP (AT, Chris Warner & Maureen McCarthy, 1979)
Summary: "This booklet brings together the titles of completed films now in circulation which have recieved women's film fund funding." -- FROM INTRODUCTION
Notes: There are two copies (second copy in clippings file) -- Includes film index
ISBN: 0642959595
Language: EN
Donation: Megan McMurchy
Contents: Introduction -- Age Before Beauty -- As a Matter of Fact -- Australian Women Composers -- Awake and Aware -- Bread and Dripping -- Changing Places -- Climers -- Consolation Prize -- Eating Your Heart Out -- Every Day, Every Night -- Flamingo Park -- For Love or Money -- Greetings from Wollongong -- Just Friends -- Keep Moving -- Loyal Tub Thumper -- Mum's the Word -- Ned Wethered -- On Guard -- Pins and Needles -- Roll Call -- Roma - Serious Undertakings -- Small Changes -- Tissue -- Tight Rope Water -- The Wooden Forrest -- Women, Aid and Development -- Working Up -- Directory of Distributers.

Call No: 744 ROF
Author: Roffman, Peter, 1950; Purdy, Jim,
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1981
PhysDes: x, 364 p., [5] leaves of plates : ill. ; 25 cm
Subject: SOCIAL PROBLEMS IN FILMS. USA; DEPRESSION IN FILMS; DRUGS IN FILMS; MENTAL HEALTH ISSUES IN FILMS; BAD GUYS; FASCISM AND THE CINEMA; FALLEN WOMEN IN FILMS; DELINQUENTS IN FILMS; ETHNIC GROUPS IN FILMS. USA; COMMUNISM AND THE CINEMA. USA; BLACKLISTING. USA; JOURNALISTS IN FILMS; POLITICAL PERSONALITIES IN FILMS; POPULISM AND THE CINEMA. USA; RACIAL ISSUES IN FILMS; RURAL LIFE IN FILMS; WARNER BROS.; Metro-Goldwyn-Mayer; LANG, FRITZ; BORZAGE, FRANK; CHAPLIN, CHARLES; GARFIELD, JOHN; CAPRA, FRANK; VIDOR, KING; BLACK LEGION (US, Archie L. Mayo, 1936); CABIN IN THE COTTON, THE (US, Michael Curtiz, 1932); DEAD END (US, William Wyler, 1937); FORCE OF EVIL (US, Abraham Polonsky, 1948); GABRIEL OVER THE WHITE HOUSE (US, Gregory La Cava, 1933); STATE'S ATTORNEY (US, George Archainbaud, 1932); SULLIVAN'S TRAVELS (US, Preston Sturges, 1942); THEY WON'T FORGET (US, Mervyn LeRoy, 1937); THREE COMRADES (US, Frank Borzage, 1938); GENTLEMAN'S AGREEMENT (US, Elia Kazan, 1947); I WAS A COMMUNIST FOR THE F.B.I. (US, Gordon Douglas, 1951); LAWLESS, THE (US, Joseph Losey, 1950); LAWYER MAN (US, Wilhelm Dieterle, 1932); LITTLE MAN, WHAT NOW? (US, Frank Borzage, 1934); MASSACRE (US, Alan Crosland, 1933); MEET JOHN DOE (US, Frank Capra, 1941); MOUTHPIECE, THE (US, James Flood & Elliott Nugent, 1932); OUR DAILY BREAD (US, King Vidor, 1934); PINKY (US, Elia Kazan, 1949); PRESIDENT VANISHES, THE (US, William Wellman, 1934); RIFFRAFF (US, J. Walter Ruben, 1936); [MISTER] MR DEEDS GOES TO TOWN (US, Frank Capra, 1936); [MISTER] MR SMITH GOES TO WASHINGTON (US, Frank Capra, 1939); MODERN TIMES (US, Charles Chaplin, 1936); MONSIEUR VERDOUX (US, Charles Chaplin, 1947); MORTAL STORM, THE (US, Frank Borzage, 1940); MY MAN GODFREY (US, Gregory La Cava, 1936); ON THE WATERFRONT (US, Elia Kazan, 1954); BODY AND SOUL (US, Robert Rossen, 1947); GRAPES OF WRATH, THE (US, John Ford, 1940); GREAT DICTATOR, THE (US, Charles Chaplin, 1940); HEROES FOR SALE (US, William A. Wellman, 1933); I AM A FUGITIVE FROM A CHAIN GANG (US, Mervyn LeRoy, 1932); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); SALT OF THE EARTH (US, Herbert J. Biberman, 1954); YOU ONLY LIVE ONCE (US, Fritz Lang, 1937)
Notes: Includes index; Bibliography: p. 319-329; Filmography: p. 331-351
ISBN: 0253127076; 0253202612 (pbk.)
LON: 1763505

Call No: 761 NIC
Author: Nichols, Bill
Source: US
Place: Bloomington IN
Publisher: Indiana University Press
PubDate: 2001
PhysDes: 223 p. ; ill. ; 23 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; EDITING; ETHICS AND THE CINEMA; FEMINISM AND THE CINEMA; REALISM IN FILMS; SOCIAL PROBLEMS IN FILMS; VIDEO, FILMS ON; VOICE OVER; LAND WITHOUT BREAD (SP, Luis Bunuel, 1933); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NIGHT AND FOG (FR, Alain Resnais, 1995); NUIT ET BROUILLARD (FR, Alain Resnais, 1955); THIN BLUE LINE, THE (US, Errol Morris, 1988)
Summary: Introduction to Documentary provides an overview of the most important topics and issues in documentary history and criticism. Designed for students in any field that makes use of visiual evidence and persuasive strategies, this book spells out the distinguishing qualities of documentary. This book offers suggestive answers to basic issues that have stood at the centre of all debate on documentary from its very beginnings to today. It covers questions of ethics, form, modes, voice, history, and politics among others. A final chapter addresses the question of how to write about documentary in a clear, convincing manner.
Notes: Includes Notes on source material pp.179-190; Filmography pp.191-201; List of Distributors pp.201-218; Index pp.219-223
ISBN: 0253214696
Contents: 1. Why are ethical issues central to documentary filmmaking -- 2. How do documentaries differ from other types of film -- 3. What gives documentary films a voice of their own? -- 4. What are documantaries about? -- 5. How did documentary filmmaking get started? -- 6. What types of documentary are there? -- 7. How have documentaries addressed social and political issues? -- 8. How can we write effectively about documentary?
URL status: URL: 'http://-' Checked: 31/08/2021 1:09:15 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: 761 NIC
Author: Nichols, Bill
Source: US
Place: Oakland
Publisher: California University of California Press
PubDate: 2016
PhysDes: 281 p. ; ill. ; 23 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; AUDIENCES; MUSIC IN FILMS; VOICES; SOCIAL ISSUES IN FILMS; ETHICS AND THE CINEMA; ETHICS IN FILMS; POLITICS AND THE CINEMA; POLITICS IN FILMS; LAND WITHOUT BREAD (SP, Luis Bunuel, 1933); RESTREPO (US, Tim Hetherington/Sebastian Junger, 2010); THIN BLUE LINE, THE (US, Errol Morris, 1988); ACT OF KILLING, THE (DK/NO/UK, Joshua Oppenheimer, (2012); STEVE JOBS: THE MAN IN THE MACHINE (US, Alex Gibney, 2015)
Summary: "What issues, of both form and content, shape the documentary film? What role does visual evidence play in relation to a documentary's arguments about the world in which we live? Can a documentary be believed, and why or why not? How do documentaries abide by or subvert ethical expectations? Are mockumentaries a form of subversion? In what ways can the documentary be an aesthetic experience and at the same time have political or social impact? And how can such impacts be empirically measured? Pioneering film scholar Bill Nichols investigates the ways in which documentaries strive for accuracy and truthfulness, but simultaneously fabricate a form that shapes reality. Such films may rely on re-enactment to re-create the past, storytelling to provide satisfying narratives, and rhetorical figures such as metaphor and expressive forms such as irony to make a point. In many ways documentaries are a fiction unlike any other. With clarity and passion, Nichols offers close readings of several provocative documentaries including Land without Bread, Restrepo, The Thin Blue Line, The Act of Killing, and Steve Jobs: The Man in the Machine as part of an authoritative examination of the layered approaches and delicate ethical balance demanded of documentary filmmakers"--Provided by publisher.
Notes: Includes bibliographical references and index.
Contents: Documentary film and the modernist avant-garde -- Documentary reenactment and the fantasmatic subject -- Letter to Lynn Sachs about her film Investigation of a flame -- Breaking the frame, gender, violation and the avant-garde -- The coming of sound -- To see the world anew : revisiting the voice of documentary -- The sound of music -- The question of evidence : the power of rhetoric and the documentary film -- The terrorist event -- Remaking history : Jay Leyda, and the compilation film -- Restrepo : a case of inadvertent evidence -- The symptomatic biopic : Steve Jobs : the man in the machine -- Documentary ethics : doing the right thing -- Irony, paradox and the documentary : double meanings and double binds -- Letter to Errol Morris : feelings of revulsion and the limits of academic discourse -- Perpetrators, trauma and film -- San Francisco newsreel : collectives, politics, films -- The political documentary and the problem of impact.