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Call No: 81DEN FIL
Author: Vecchio, Marjorie; Wenders, Wim
Source: US
Place: New York
Publisher: I.B. Tauris
PubDate: 2014
PhysDes: xxiii, 237 pages : illustrations ; 24 cm
Subject: AESTHETICS; AFRICA; ART CINEMA; CANNIBALISM IN FILMS; CRITICISM; DANCE IN FILMS; DIRECTORS; DIRECTORS. FRANCE; FAMILY IN FILMS; IMPERIALISM AND THE CINEMA; LANDSCAPES IN FILMS; MUSIC AND THE CINEMA; MUSIC IN FILMS; NATIONAL CULTURE AND THE CINEMA; NATIONAL IDENTITY AND THE CINEMA; RACE AND THE CINEMA; TIME IN FILMS; WORKERS IN FILMS; WORKING CLASS IN FILMS; DENIS, CLAIRE; BEAU TRAVAIL (FR, Claire Denis, 1999); CHOCOLAT (FR, Claire Denis, 1988); INTRUDER, THE (FR, Claire Denis, 2004) SEE INTRUS, L'; INTRUS, L' (FR, Claire Denis, 2004); J'AI PAS SOMMEIL (FR/SZ, Claire Denis, 1994); I CANT SLEEP (FR/SZ, Claire Denis, 1994); NENETTE AND BONI (FR, Claire Denis, 1996) SEE NENETTE ET BONI; NENETTE ET BONI (FR, Claire Denis, 1996); TROUBLE EVERY DAY (FR/G/JA, Claire Denis, 2001); FRIDAY NIGHT (FR, Claire Denis, 2002) SEE VENDREDI SOIR; VENDREDI SOIR (FR, Claire Denis, 2002); WHITE MATERIAL (FR/CM, Claire Denis, 2009)
Summary: "The films of Claire Denis probe the idea of global citizenship and trace the borderlines of family, desire, nationality and power. Her films, including 'Chocolat', 'Beau travail' and 'White Material' explore connections between national experience and individual circumstance, visualising the complications of such dualities. Following a foreword by Wim Wenders, international contributors explore the themes she addresses in her films, such as kinship and landscape, neo-colonialism and New French Extremity. Original interviews with an editor, actor and two composers familiar with Denis's working style and with Denis herself, also reveal fresh facets of this intrepid filmmaker." - BOOK BLURB
Notes: Includes list of illustrations, bibliographic references and index
ISBN: 9781848859548
Contents: --List of illustrations -- Notes on contributors -- Preface -- Foreword: 'Klarchen' --Part I Interviews -- 'To let the image sing': Conversations with Dickon Hinchliffe and Stuart Staples: Martine Beugnet -- Interview with Nelly Quettier: Kirsten Johnson -- Interview with Alex Descas: Kirsten Johnson -- Interview with Claire Denis: Jean-Luc Nancy -- -- Part II Relations -- La famille Denis: Catherine Wheatley -- Reinventing community, or non-relational relations in Claire Denis's 'I Can't Sleep': Sam Ishii-Gonzales -- Beyond the other: grafting relations in the films of Claire Denis: James S. Williams -- -- Part III Global citizenship -- Beyond postcolonialism? From 'Chocolat' to 'White Material': Cornelia Ruhe -- 'Trouble Every Day: the neo-colonialists bite back: Florence Martin -- Forgiveness and employment: a study of the role of work in the films of Claire Denis: Rafael Ruiz Pleguezuelos -- 'The Intruder' according to Claire Denis: Jean-Luc Nancy -- --Part IV Within film -- Delivering: Claire Denis's opening sequences: Noelle Rouxel-Cubberly -- Rhythms of nationality: Denis and dance: Laura McMahon -- That interrupting feeling: interstitial disjunctions in Claire Denis's 'L'Intrus': Firoza Elavia -- Points of flight, lines of fracture: Claire Denis's uncanny landscape: Henrik Gustafsson -- Arthouse/grindhouse: Claire Denis and the 'New French Extremity': Adam Nayman and Andrew Tracy --Bibliography -- Index

Call No: 735.2 HOR
Author: Gelder, Ken, 1955
Place: New York, NY
Publisher: Routledge
PubDate: 2000
PhysDes: xiii, 414 p. ; 25 cm
Subject: CANNIBALISM IN FILMS; DRACULA IN FILMS; ETHNOGRAPHIC FILMS; FAN MAGAZINES; FANTASTIC FILMS; GENDER AND THE CINEMA; GHOST FILMS; HOMOSEXUALITY AND THE CINEMA; HORROR FILMS; HORROR FILMS. HONG KONG; HORROR FILMS. ITALY; HORROR FILMS. USA; IMPERIALISM AND THE CINEMA; MONSTERS IN FILMS; PORNOGRAPHY AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; RACE AND THE CINEMA; SERIAL KILLERS IN FILMS; SLASHER FILMS; THEORY; VAMPIRE FILMS; WOMEN AND THE CINEMA; ARGENTO, DARIO; BAVA, MARIO; CASTLE, TERRY; CHEUNG, LESLIE; CORMAN, ROGER; CRONENBERG, DAVID; TODOROV, TZVETAN; AMERICAN GOTHIC (US, John Hough, 1987); CURSE OF FRANKENSTEIN, THE (UK, Terence Fisher, 1957); BRIDE OF FRANKENSTEIN, THE (US, James Whale, 1935); FRANKENSTEIN (US, James Whale, 1931); FRIDAY THE 13TH (US, Sean S. Cunningham, 1980); HALLOWEEN (US, John Carpenter, 1978); HAUNTING, THE (US, Robert Wise, 1963); KING KONG (US, Merian C. Cooper & Ernest B. Schoedsack, 1933); NIGHT OF THE LIVING DEAD (US, George A. Romero, 1968); OPERA (IT, Dario Argento, 1987); ROSEMARY'S BABY (US, Roman Polanski, 1968); PSYCHO (US, Alfred Hitchcock, 1960); SINNUI YAUMAN (HK, Ching Siu Tung, 1987); CHINESE GHOST STORY, A (HK, Ching Siu Tung, 1987); SUSPIRIA (IT, Dario Argento, 1977); YANZHI KOU (HK, Stanley Kwan, 1987)
Notes: Includes bibliographical references and index
ISBN: 041521355X (HB : alk. paper); 0415213568 (PB : alk. paper)
LON: 21262689

Author: Bullock, Emily
PhysDes: Article
Subject: FANTASTIC FILMS. AUSTRALIA; LOCATION SHOOTING. AUSTRALIA: TASMANIA; CANNIBALISM IN FILMS; LANDSCAPES IN FILMS. AUSTRALIA
Summary: This article examines the current cinematic attention to Tasmania and its stories, with particular attention paid to the Gothic mode. ‘Tasmanian Gothic’ has become a by-word for the unsettling combination of Tasmania's colonial histories and its harsh landscapes in literature, but its cinematic counterpart has virtually been ignored. It is suggested that Tasmania is experiencing a renaissance on the big screen and it is the Gothic that appears to be the most dominant mode through which it is pictured. The article then charts a history of local Tasmanian Gothic cinematic production, a hybrid vision that tends towards a combination of stylistic, thematic, historical and geographic elements. Tasmanian Gothic cinema refers not simply to productions by Tasmanian film-makers, but to the broader on-screen representation of the island, its culture and histories by a range of local, interstate and international crews. As this article suggests, Gothic cinematic representations of Tasmania are yoked by a number of persistent concerns that act in dialogue with the unique cultural and geographic positioning of Australia's only island state. --Abstract

Call No: 620 BAK STA
Author: Stam, Robert
Place: Baltimore
Publisher: John Hopkins University Press
PubDate: 1989
PhysDes: xiii, 274 pages ; 24 cm.
Series: Parallax
Subject: BAHTIN, MIHAIL; ALLEN, WOODY; BUNUEL, LUIS; CANNIBALISM IN FILMS; BRAZIL; SEMIOLOGY; DIALOGUE; FORMALISM; GODARD, JEAN-LUC; PORNOGRAPHY; SHAKESPEARE, WILLIAM; ZELIG (US, Woody Allen, 1983)
Summary: Applying Bakhtin's critical methods to film, mass-media and cultural studies, Stam draws on Bakhtin's corporal semiotics of "the grotesque body" to analyze eroticism in the cinema, and explores issues including the "translinguistic" critique of Saussurean semiotics and Russian formalism.
Notes: Includes bibliographical references (pages 241-258) and index.
ISBN: 0801845092
Donation: Adrian Miles
Contents: Translinguistics and Semiotics -- Language, Difference, and Power -- Film, Literature, and the Carnivalesque -- Of Cannibals and Carnivals -- The Grotesque Body and Cinematic Eroticism -- From Dialogism to Zelig -- Envoi: Bakhtin and Mass-Media Critique.
ID2: 343