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Call No: 735.2 (94) SHE
Author: Shelley, Peter
Source: US/UK
Place: Jefferson, North Carolina, and London
Publisher: McFarland & Company Inc
PubDate: c2012
PhysDes: vi, 320 p. : ill. ; 26 cm
Subject: HORROR FILMS; HORROR FILMS. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; NIGHT OF FEAR (AT, Terry Bourke, 1973); CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974); INN OF THE DAMNED (AT, Terry Bourke, 1974); END PLAY (AT, Tim Burstall, 1975); LAST WAVE, THE (AT, Peter Weir, 1977); LONG WEEKEND, THE (AT, Colin Eggleston, 1979); PATRICK (AT, Richard Franklin, 1978); SNAPSHOT (AT, Simon Wincer, 1978); THIRST (AT, Rod Hardy, 1979); NIGHTMARES (AT, John Lamond, 1980); ALISON'S BIRTHDAY (AT, Ian Coughlin, 1979); LADY STAY DEAD (AT, Terry Bourke, 1981); ROADGAMES (AT, Richard Franklin, 1981); SURVIVOR, THE (AT, David Hemmings, 1981); NEXT OF KIN (AT, Tony Williams, 1982); TURKEY SHOOT (AT, Brian Trenchard-Smith, 1981); INNOCENT PREY (AT, Colin Eggleston, 1984); RAZORBACK (AT, Russell Mulcahy, 1984); CASSANDRA (AT, Colin Eggleston, 1987); DARK AGE (AT/US, Arch Nicholson, 1988); FAIR GAME (AT, Mario Andreacchio, 1986); CONTAGION (AT, Karl Zwicky, 1987); CONTAGION (AT, Karl Zwicky, 1988); OUTBACK VAMPIRES (AT, Colin Eggleston, 1987); ZOMBIE BRIGADE (AT, Carmelo Musca, 1988); CELIA (AT, Ann Turner, 1988); CELIA (AT, Anne Turner, 1988); DREAMING, THE (AT, Mario Andreacchio, 1988); HOUSEBOAT HORROR (AT, Ollie Martin, [In prod], 1987); KADAICHA (AT, James Bogle, 1988); OUT OF THE BODY (AT, Brian Trenchard-Smith, 1988); 13TH FLOOR, THE (AT, Chris Roache, 1989); BLOODMOON (AT, Alec Mills, 1990); BODY MELT (AT, Philip Brophy, 1992); BODY MELT (AT, Philip Brophy, 1993); ENCOUNTERS (AT, Murray Fahey, 1994); KOMODO (US/AT, Michael Lantieri, 1999); CUT (AT, Kimble Rendall, 2000); H.P. LOVECRAFT'S CTHULHU (AT, Damian Heffernan, 2000); GHOST SHIP, THE (US, Steve Beck, 2002); CUBBYHOUSE (AT, Murray Fahey, 2001); QUEEN OF THE DAMNED, THE (US/AT, Michael Rymer, 2002); DARKNESS FALLS (US, Jonathon Liebesman, 2003); LOST THINGS (AT/CN, Martin Murphy, 2003); RAZOR EATERS (AT, Shannon Young, 2003); SUBTERANO (AT/GG, Esben Storm, 2002); UNDEAD (AT, Michael Spierig & Peter Spierig, 2002); MAN-THING (US/AT, Brett Leonard, 2005); SAFETY IN NUMBERS (AT, David Douglas, 2005); WOLF CREEK (AT, Greg McLean, 2005); LIKE MINDS (AT UK, Gregory J Read, 2006); SEE NO EVIL (AT, Gregory Dark, 2006); VOODOO LAGOON (AT/UK, Nicholas Cohen, 2006); WATCH ME (AT, Melanie Ansley, 2006); BLACK WATER (AT, David Nerlich & Andrew Traucki, 2007); ROGUE (AT, Greg Mclean, 2007); STORM WARNING (AT, Jamie Blanks, 2007); ACOLYTES (AT, Jon Hewitt, 2007); DYING BREED (AT, Jody Dwyer, 2008); GATES OF HELL, THE (AT, Kelly Dolen, 2008); I KNOW HOW MANY RUNS YOU SCORED LAST SUMMER (AT, Stacy Edmonds & Doug Turner, 2008); LONG WEEKEND (AT, Jamie Blanks, 2009); RUINS, THE (AT/US, Carter Smith, 2008); COFFIN ROCK (UK/AT, Rupert Glasson, 2009); CRUSH (AT, John V. Soto & Jeff Gerritsen, 2009); DAMNED BY DAWN (AT, Brett Anstey, 2009); DAYBREAKERS (US, Michael Spierig and Peter Spierig, 2008); DAYBREAKERS (US, Michael Spierig, Peter Spierig, 2008); FAMILY DEMONS (AT, Ursula Dabrowsky, 2009); HORSEMAN, THE (AT, Steven Kastrissios, 2008); LOVED ONES, THE (AT, Sean Byrne, 2009); PREY (AT, Oscar D'Rocceter, 2007); 7TH HUNT, THE (AT, J.D. Cohen, 2009); STORAGE (AT, Michael Craft, 2009); TRIANGLE (AT/UK Christpher Smith, 2009); CLINIC, THE (AT, James Rabbitts, 2010); NEEDLE (AT, John V Soto, 2010); REEF, THE (AT, Andrew Traucki, 2010); ROAD TRAIN (AT, Dean Francis, 2010); SLAUGHTERED (AT, Kate Glover, 2010)
Summary: "This pioneering work provides in-depth coverage of 76 horror films produced in Australia, where serial killers, carnivorous animals, mutants, zombies, vampires and evil spirits all receive the "antipodean" cinematic treatment unique to the Land Down Under. Titles covered were released between 1973 and 2010, a period coinciding with the revival of the long-dormant Australian film industry in the early 1970s, and continuing into the second wave of genre production spurred by the international success of the 2005 chiller Wolf Creek, The Cars That Ate Paris, The Last Wave, Roadgames, Razorback, Outback Vampires, Queen of the Damned, Black Water, and The Reef are among the titles represented. Each film is covered in a chapter that includes a cast and credits list, release information, contemporary reviews and DVD availability, as well as a synopsis and in-depth notes about the story, filmmaking techniques, acting performances, recurring themes and motifs, and overall effectiveness of the film as a work of horror. ' -- BOOK BLURB
Notes: 'VOYAGE INTO FEAR (AT, Murray Fahey, 1993) listed here as (aka) ENCOUNTERS (AT, Murray Fahey, 1994); HELLION: THE DEVIL'S PLAYGROUND listed here as (aka) CUBBYHOUSE (AT, Murray Fahey, 2001); NATURE'S GRAVE listed here as (aka) LONG WEEKEND (AT, Jamie Blanks, 2009); Includes bibliographical references and index
ISBN: 9780786461677
Contents: -- acknowledgments -- preface -- introduction -- the films -- bibliography -- index --

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BELINDA'S BABY [TV] (AT, Celia Tait, 1998)

Call No: PERSONALITY CLIPPINGS FILE; PERSONALITY MICROFILM COLLECTION
PhysDes: Clippings; Stills
Subject: DE BURGH, CELIA

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit; Posters
Subject: CELIA (AT, Ann Turner, 1988)

Author: Reid, Mary Anne
PhysDes: Article
Subject: CELIA (AT, Anne Turner, 1988)
Summary: Location reports & credits

Call No: D Celia
Source: AT
Place: [Northcote, Vic.]
Publisher: Umbrella Entertainment
PubDate: c2009
PhysDes: 1 videodisc (DVD) (ca. 98 min.) : sd., col. ; 4 3/4 in
Subject: CELIA (AT, Ann Turner, 1988)
Summary: "Celia (Rebecca Smart - Heartbreak High, The Coca Cola Kid, The Shiralee) is a fiercely independent and imaginative 9-year old who lives uncomfortably with her buttoned-down family in suburban Melbourne in the 1950s. Her church going parents are troubled be sexual frustrations and irrational fears about the rise of communism, causing Celia to find refuge with her treasured, tolerant grandmother. But when the latter dies, Celia's world falls apart until a friendship blossoms with new neigbour Alice (Victoria Longley in an AFI winning performance), a fun-loving , open minded woman with young children. Celia's father (Nicholas Eadie) also becomes enamoured by Alice, but cruelly forces her out of the neighbourhood when he discovers her communist sympathies. A beloved pet rabbit is now Celia's only source of affection, but when it too is taken, the child's world veers omniously between fantasy and reality, violence and tragedy. A classic tale of child-hood-loss-os-innocence, this brilliant Australian drama finally comes to DVD in a pristine new widescreen transfer."- DVD BACK COVER
Notes: "DAVID1620"; Special features: Film review and interview with Ann Turner from the Sunday Show; David Stratton interviews Ann Turner (Audio); Still Gallery;; German Theatrical Trailer; Originally released as a motion picture in 1989; Censorship classification: M
Technical Details: PAL ; All Regions.
Credits: Written and directed by Ann Turner, executive producer Bryce Menzies, producers Timothy White & Gordon Glenn
Standard Number: 3000000072028
Performer: Rebecca Smart, Nicholas Eadie, Victoria Longley, Mary-Anne Fahey

Call No: TITLE STILLS AUSTRALIA
Source: AT
Publisher: Hoyts Distribution Release (distributor)
PhysDes: 4 photos : b&w ; 20 x 25 cm
Subject: SMART, REBECCA; EADIE, NICHOLAS; FAHEY, MARYANNE; LONGLEY, VICTORIA; COUTTIE, CLAIRE; CELIA (AT, Ann Turner, 1988)
Summary: Four black and white photographs relating to the film Celia

Call No: PERSONALITY MICROFILM COLLECTION
PhysDes: Clippings
Subject: CRUZ, CELIA

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: DOLPHIN'S DAY (AT, Celia Tait, 1997)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: HERE COMES THE JUDGE [TV] (AT, Celia Tait, 1999)

Call No: SUBJECT CLIPPINGS FILE; AWARDS. AUSTRALIAN ACADEMY OF CINEMA AND TELEVISION ARTS
Author: Maddox, Garry
PhysDes: Clippings File Article
Subject: AWARDS. AUSTRALIAN ACADEMY OF CINEMA AND TELEVISION ARTS; PACQUOLA, CELIA
Summary: Report on the winners at the craft section of the 2016 Australian Academy of Cinema and Television Arts Awards, with quotes from comedian and actor Celia Pacquola

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: LOBSTER TALES (AT, Celia Tait, 2000)

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 1 photograph : b&w ; 13 x 18 cm
Subject: IRELAND, CELIA; OUT (AT, Samantha Lang, 1995)
Summary: One black and white photograph from the film 'Out' (1995)

Call No: PERSONALITY CLIPPINGS FILE
PhysDes: Clippings
Subject: PACQUOLA, CELIA

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 19 photographs : b&w ; 14 x 9 - 26 x 21 cm
Subject: WOODCOCK, TOMMY; BURLINSON, TOM; VAUGHAN, MARTIN; DE BURGH, CELIA; MORRIS, JUDY; MORGAN, RICHARD; PHAR LAP (AT, Simon Wincer, 1983)
Summary: 19 black and white photographs of scenes from the film and the director. Includes Lachlan McKinnon, Dave Davis, and Harry Telford.

Call No: 755.71(94) MAY
Author: May, Josephine
Edition: 2013
Place: Bern, Switzerland
Publisher: Peter Lang
PubDate: 2013
PhysDes: x, 286 pages : illustrated ; 23 cm
Subject: EDUCATION IN FILMS. AUSTRALIA; CHILDREN IN FILMS. AUSTRALIA; CELIA (AT, Ann Turner, 1988); FAST TALKING (AT, Ken Cameron, 1984); HEY, HEY, ITS ESTHER BLUE BURGER (AT, Cathy Randall, 2007); LOOKING FOR ALIBRANDI (AT, Kate Woods, 2000); MULL (AT, Don McLennan, 1988); SMILEY (UK, Anthony Kimmins, 1956); DEVIL'S PLAYGROUND (AT, Fred Schepisi, 1976); EVERLASTING SECRET FAMILY, THE (AT, Michael Thornhill, 1988); GETTING OF WISDOM, THE (AT, Bruce Beresford, 1977); HEARTBREAK KID, THE (AT, Michael Jenkins, 1993); YEAR MY VOICE BROKE, THE (AT, John Duigan, 1987)
Summary: Reel Schools takes a fresh look at the history of Australian schooling through the lens of Australian cinema from the silent era until 2010. In exploring the relationship between cinematic representation and educational history, Josephine May shows how numerous Australian feature and documentary films offer access to powerful vernacular imaginings about school education in Australia. May argues that the cinematic school is a pervasive metaphor for the Australian nation. She demonstrates that, while Australian films about schooling have consistently commented on the relationship of schooling to the Australian class structure, they also increasingly explored gender, race and ethnicity at school, especially after the 1970s. From then on the egalitarian dream of school education and the nation’s capacity to generate meaningful futures for the young became increasingly contested. -- publisher's web site
ISBN: 9783034306324

Call No: TITLE CLIPPINGS FILE
PhysDes: Study guide; Clippings
Subject: RETURN TO EDEN (AT, Celia Tait, 2001)