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Cinema and cultural modernity / Gill Branston Philadelphia: Open University Press, 2000.
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The cinema of apartheid : race and class in South African film / Keyan Tomaselli Sandton: Radix, 1989.
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Interim
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Contemporary Korean cinema : identity, culture, and politics Manchester: Manchester University Press., 2001.
Call No: 71(519) LEEAuthor: Lee Hyangjin Source: UKPlace: ManchesterPublisher: Manchester University Press.PubDate: 2001PhysDes: 244 p. : ill. ; 22 cm.Subject: KOREA ; KOREAN WAR FILMS ; ADAPTATIONS ; NATIONAL CULTURE AND THE CINEMA. KOREA ; CLASS AND THE CINEMA. KOREA Summary: "This book examines the role of the Korean film as a cultural text of Koreans in both the North and the South, and focuses on the conflicting self-identities of a people still strongly committed to their cultural traditions despite political divisions. The book defines the significance of film-making and film-viewing in Korean society. It covers the introduction of motion pictures in Korea inn 1903 ... up to the 1990s. It introduces the works of Korea's major directors, and analyses the Korean film industry in terms of film production, distribution and reception. Based on this historical analysis, the study investigates ideological constructs in seventeen films, eight from North Korea and nine South Korea."Notes: Includes bibliographical references and index. Includes filmography
Based on the author's thesis (Ph. D.): Common culture, divided nation.
Includes bibliographical references (p. [222]-234) and index.
Filmography: p. [194]-221.ISBN: 0719060087(pbk.)
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From Moscow to Madrid : postmodern cities, european cinema / Ewa Mazierska and Laura Rascaroli London: I.B. Tauris, 2003.
Call No: 71(4) MAZAuthor: Mazierska, Ewa ; Rascaroli, Laura Source: UKPlace: LondonPublisher: I.B. TaurisPubDate: 2003PhysDes: xii, 260 p. : ill. ; 25 cmSubject: CITIES IN FILMS ; EUROPEAN COUNTRIES ; CLASS AND THE CINEMA ; ALMODOVAR, PEDRO ; CHELSOM, PETER ; LUNGIN, PAVEL ; MACHULSKI, JULIUSZ ; MARTONE, MARIO ; MICHELL, KEITH ; MORTE DI UN MATEMATICO NAPOLE TANO (IT, Mario Martone, 1992) ; AMORE MOLESTO, L' (IT, Mario Martone, 1995) ; BEAUTIFUL PEOPLE (UK, Jasmin Dizdar, 1999) ; BHAJI ON THE BEACH (UK, Gurinder Chadha, 1993) ; BYE-BYE (FR, Karim Dridi, 1995) ; FLOR DE MI SECRETO, LA (SP, Pedro Almodovar, 1995) ; FUNNY BONES (US, Peter Chelsom, 1995) ; GIRL GUIDE (PL, Juliusz Machulski, 1995) ; KIKA (SP, Pedro Almodovar, 1993) ; KILER (PL, Juliusz Machulski, 1997) ; LUNA PARK (RU/FR, Pavel Lungin, 1992) ; MARIUS ET JEANETTE (FR, Robert Guediguian, 1997) ; NENETTE ET BONI (FR, Claire Denis, 1996) ; NOTTING HILL (UK, Roger Michell, 1998) ; SLIDING DOORS (US, Peter Howitt, 1998) ; TAKSI-BLJUZ (UR/FR, Pavel Lungin, 1990) ; TEATRO DI GUERRA (IT, Mario Martone, 1998) ; TRAINSPOTTING (UK, Danny Boyle, 1996) ; TWIN TOWN (UK, Kevin Allen, 1997) ; WONDERLAND (UK, Michael Winterbottom, 1999) Summary: Exploring the postmodern city in the context of European cinema.
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Hard hates, rednecks, and macho men : class in 1970s American cinema / Derek Nystrom New York: Oxford University Press, Inc, 2009.
Call No: 451-01(73) NYSAuthor: Nystrom, Derek Source: USPlace: New YorkPublisher: Oxford University Press, IncPubDate: 2009PhysDes: x, 251 p. : ill. ; 24 cmSubject: MASCULINITY IN FILMS. USA ; CLASS AND THE CINEMA ; WOMEN IN FILMS. USA ; HOMOSEXUALITY AND THE CINEMA. USA ; WORKING CLASS IN FILMS. USA ; SOCIETY AND THE CINEMA. USA ; CRUISING (US, William Friedkin, 1980) ; DELIVERANCE (US, John Boorman, 1972) ; FIVE EASY PIECES (US, Bob Rafelson, 1970) ; LOOKING FOR MR. GOODBAR (US, Richard Brooks, 1977) ; SATURDAY NIGHT FEVER (US, John Badham, 1977) Summary: "Hard Hats, Rednecks, and Macho Men examines a wide range of American films from the 1970s and argues that their persistent depictions of white, working-class masculinity provided a powerful class fantasy, one that spoke to middle-class anxieties provoked by the period's social and political upheavals. Drawing on iconic films from the era Nystrom presents an incisive, evocative study of labor, class, and American cinema in the wake of Vietnam, women's and gay liberation, the rise of the New Right, and other events that defined the decade" - TAKEN FROM BACK COVERISBN: 9780195336771Donation: donated by Senses of Cinema, 2012Contents: Introduction. Making Class Visible in Film and Cultural Studies -- Pt. I. Hard Hats and Movie Brats -- 1. Class and the Youth-Cult Cycle -- Pt. II. Rednecks and Good Ole Boys: The Rise of the Southern -- 2. Deliverance, An Allegory of the Sunbelt -- 3. Keep On Truckin': The Southern Cycle and the Invention of the Good Ole Boy -- Pt. III. Macho Men and the New Nightlife Film -- 4. Saturday Night Fever and the Queering of the White, Working-Class Male Body -- 5. Extra Masculinity: Looking for Mr. Goodbar and Cruising -- Conclusion: Working-Class Solidarity and Its Others -- Afterword: Hard Hats Revisited: The Labor of 9/11.
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Masked men : masculinity and the movies in the fifties / Steven Cohan Bloomington: Indiana University Press, c1997.
Call No: 451-01 COHAuthor: Cohan, Steven Place: BloomingtonPublisher: Indiana University PressPubDate: c1997PhysDes: xxi, 346 p. : ill. ; 25 cmSeries: Arts and politics of the everydaySubject: MASCULINITY IN FILMS ; GENDER AND THE CINEMA ; HOMOSEXUALITY AND THE CINEMA ; BISEXUALITY AND THE CINEMA ; CLASS AND THE CINEMA ; COLD WAR AND THE CINEMA ; BOGART, HUMPHREY ; BRANDO, MARLON ; CLIFT, MONTGOMERY ; CURTIS, TONY ; GRANT, CARY ; HOLDEN, WILLIAM ; HESTON, CHARLTON ; HUDSON, ROCK ; PICNIC (US, Joshua Logan, 1955) ; PILLOW TALK (US, Michael Gordon, 1959) ; PLACE IN THE SUN, A (US, George Stevens, 1951) ; SOME LIKE IT HOT (US, Billy Wilder, 1959) ; TEN COMMANDMENTS, THE (US, Cecil B. DeMille, 1956) ; RED RIVER (US, Howard Hawks, 1948) Summary: When we think of the films of the 1950s, we inevitably remember the confident swagger of John Wayne, the suave sophistication of Cary Grant, and the emotional intensity of Marlon Brando. But today's culture critics see in the decade a period when heterosexual/homosexual dualism came to dominate the representation of American masculinity. Masked Men documents how movies of the 1950s represented masculinity as a multiple masquerade. Hollywood depicted the sexual anxieties of the domesticated breadwinner, the repudiation of wartime homoerotic male bonding, the exhibitionism of muscular bodies, the transvestic connotations of boyishness, and the playboy bachelor apartment. These presentations challenged the postwar ideal of the typical American male, that omnipresent and seemingly invisible Man in a Gray Flannel SuitNotes: Includes bibliographical references (p. [323]-335) and index; Filmography: p. [321]-322ISBN: 0253211271 (pa : alk. paper); 0253332974 (cl : alk. paper)LON: 12951206
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The Media reader / edited by Manuel Alvarado and John O. Thompson London: BFI Pub., 1990.
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journal article
Murder and mentorship : advancement in The Silence Of The Lambs in UTS Review (Aug 1995) vol.1 iss.1 p.30-49
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On the waterfront : BFI film classics / Leo Braudy London, UK: British Film Institute, London, 2005.
Call No: 79ONT BRAAuthor: Braudy, Leo Edition: 1st edSource: UKPlace: London, UKPublisher: British Film Institute, LondonPubDate: 2005PhysDes: 88p ; 18.5 cm + b&w ill.Series: BFI Film ClassicsSubject: SOCIETY AND THE CINEMA. USA ; CLASS AND THE CINEMA ; POLITICS AND THE CINEMA. USA ; WORKING CLASS IN FILMS. USA ; TYPE CHARACTERS IN FILMS ; COMMUNISM AND THE CINEMA. USA ; PRODUCTION. USA ; FINANCING. USA ; IMAGE ANALYSIS ; LABOUR ; FINANCING ; LABOUR ISSUES IN FILMS ; HUMAN RELATIONS IN FILMS ; RELIGION IN FILMS ; KAZAN, ELIA ; BRANDO, MARLON ; SAINT, EVA MARIE ; MILLER, ARTHUR ; BERNSTEIN, LEONARD ; SCHULBERG, BUDD ; SPIEGEL, SAM ; MALDEN, KARL ; STEIGER, ROD ; STREETCAR NAMED DESIRE, A (US, Elia Kazan, 1951) ; GENTLEMAN'S AGREEMENT (US, Elia Kazan, 1947) ; TREE GROWS IN BROOKLYN, A (US, Elia Kazan, 1945) ; BABY DOLL (US, Elia Kazan, 1956) Summary: With director Elia Kazan’s death in 2003 and actor Marlon Brando’s in 2004, a reappraisal of this classic film is timely and necessary. In this definitive study, Leo Braudy tells the complicated story of the film’s production. He revisits the facts behind the controversy of Kazan’s infamous ‘naming of names’ during the McCarthy communist trials of the 1950s. But above all this is an analysis of the enduring appeal of On the Waterfront: the method inspired acting, the music and cinematography, the use of authentic locations and its powerfully symbolic depiction of post-war American values. [Taken from back cover].Notes: includes film creditsISBN: 184457072X
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Reel to real : race, sex, and class at the movies / Bell Hooks New York, NY: Routledge, 1996.
Call No: 744 HOOAuthor: Hooks, Bell Place: New York, NYPublisher: RoutledgePubDate: 1996PhysDes: 244 p. ; 24 cmSubject: RACE AND THE CINEMA ; SEX AND THE CINEMA ; CLASS AND THE CINEMA ; BLACKS IN FILMS ; AVANT-GARDE FILMS ; FAMILY IN FILMS ; LOOK IN FILMS ; SPECTATORSHIP ; BLACKS AND THE CINEMA ; DEATH IN FILMS ; HOMOSEXUALITY IN FILMS ; STRIPTEASE IN FILMS ; YOUNG PEOPLE IN FILMS ; FEMINISM AND THE CINEMA ; Tarantino, Quentin ; LEE, SPIKE ; DASH, JULIE ; CLARK, LARRY ; JAFFA, ARTHUR ; BURNETT, CHARLES ; BILLOPS, CAMILLE ; ALDERMAN, MARIE-FRANCE ; WANG, WAYNE ; LIVINGSTON, JENNIE ; KILLER OF SHEEP (US, Charles Burnett, 1978) ; GIRL 6 (US, Spike Lee, 1996) ; CROOKLYN (US, Spike Lee, 1994) ; WAITING TO EXHALE (US, Forest Whitaker, 1995) ; LEAVING LAS VEGAS (US, Mike Figgis, 1995) ; EXOTICA (CN, Atom Egoyan, 1994) ; ATTENDANT, THE (UK, Isaac Julien, 1992) ; FINDING CHRISTA (US, Camille Billops/James Hatch, 1991) ; KIDS (US, Larry Clark, 1995) ; HOOP DREAMS (US, Steve James, 1994) ; PARIS IS BURNING (US, Jennie Livingston, 1990) ; SHE'S GOTTA HAVE IT (US, Spike Lee, 1986) ; PULP FICTION (US, Quentin Tarantino, 1994) Notes: Includes indexISBN: 0415918235 (HB : acid-free cover); 0415918243 (PB : acid-free cover)LON: 96026474; 12664107
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The screening of Australia : anatomy of a national cinema / Susan Dermody, Elizabeth Jacka Sydney: Currency Press, 1987-<1988.
Call No: 71(94) DER v.2Author: Dermody, Susan ; Jacka, Elizabeth Place: SydneyPublisher: Currency PressPubDate: 1987-<1988PhysDes: v. <1-2 > ; 21 cmSeries: Australian screen seriesSubject: BUDDY FILMS. AUSTRALIA ; AUSTRALIA ; THEORY. AUSTRALIA ; CULTURAL IMPERIALISM. AUSTRALIA ; CLASS AND THE CINEMA. AUSTRALIA ; NATIONAL IDENTITY IN FILMS. AUSTRALIA ; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA ; COMEDIES. AUSTRALIA ; WOMEN IN FILMS. AUSTRALIA ; MEN IN FILMS. AUSTRALIA ; POLITICAL FILMS. AUSTRALIA ; SEX IN FILMS. AUSTRALIA ; REALISM IN FILMS. AUSTRALIA ; AUSTRALIAN FILM COMMISSION ; BREAKER MORANT (AT, Bruce Beresford, 1980) ; ADVENTURES OF BARRY MCKENZIE, THE (AT, Bruce Beresford, 1972) ; CAREFUL HE MIGHT HEAR YOU (AT, Carl Schutz, 1983) ; GALLIPOLI (AT, Peter Weir, 1981) ; MAD MAX (AT, George Miller, 1979) ; MAN FROM SNOWY RIVER, THE (AT, George T. Miller, 1982) ; MY BROTHER JACK (AT, Gil Brealey, 1965) ; ALVIN PURPLE (AT, Tim Burstall, 1973) ; CHANT OF JIMMIE BLACKSMITH, THE (AT, Fred Schepisi, 1978) ; FAR EAST (AT, John Duigan, 1982) ; F.J. HOLDEN, THE (AT, Michael Thornhill, 1977) ; HEATWAVE (AT, Phillip Noyce, 1981) ; KILLING OF ANGEL STREET, THE (AT, Donald Crombie, 1981) ; MAD MAX II (AT, George Miller, 1981) ; NEWSFRONT (AT, Phillip Noyce, 1978) ; PALM BEACH (AT, Albie Thoms, 1979) ; PHAR LAP (AT, Simon Wincer, 1983) ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; SUNDAY TOO FAR AWAY (AT, Ken Hannam, 1975) ; TOWN LIKE ALICE, A (AT, David Stevens, 1980) ; WE OF THE NEVER NEVER (AT, Igor Auzins, 1982) Notes: Includes bibliographies and indexISBN: 0861911876 (v. 2); 0868191876 (v. 2)LON: 5369777
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They must be represented : the politics of documentary / Paula Rabinowitz London New York: Verso, 1994.
Call No: 761 RABAuthor: Rabinowitz, Paula Place: London New YorkPublisher: VersoPubDate: 1994PhysDes: xi, 264 p. : ill. ; 24 cmSubject: CINEMA VERITE ; CLASS AND THE CINEMA ; DOCUMENTARIES ; DOCUMENTARY DRAMAS ; ETHNOGRAPHIC FILMS ; FEMINISM AND THE CINEMA ; HOMOSEXUALITY AND THE CINEMA ; MASCULINITY IN FILMS ; NATIONALISM AND THE CINEMA ; POLITICS AND THE CINEMA ; PSYCHOLOGICAL EFFECTS OF FILMS ; PSYCHOLOGY AND THE CINEMA ; SOCIAL PROBLEMS IN FILMS ; VIETNAM WAR IN FILMS ; VOYEURISM AND THE CINEMA ; BENJAMIN, WALTER ; FREUD, SIGMUND ; FAR FROM POLAND (US, Jill Godmilow, 1984) Summary: "They must be represented examines documentary in print, photography, television and film from the 1930s through the 1980s, using the lens of recent feminist film theory as well as scholarship on race, class and gender emerging from the new interdisciplinary approach of American cultural studies. Paula Rabinowitz discusses the ways in which these four media shaped truth-claims and political agency over the decades: in the 1930s about poverty, labor and popular culture during the depression; in the 1960s, about the Vietnam War, racism, work and the counterculture; and in the 1980s, about feminist and gay critiques of gender, history, narrative and cinema...Rabinowitz argues that the gendering ov vision that occurs when narratives conform to conventional genres profoundly affects the relation of documentarian to subject. She goes on to define this gendering of vision in documentary as an ethnographic process. Ultimately, this polemical study challenges the construction of the spectato in psychoanalytic film theory, and articulates a new model for theorizing power relations in culture and history." -- taken from back cover.Notes: Includes bibliographical references (p. 221-251) and indexISBN: 1859849253; 1859840256 (pbk.)LON: bnc85984925; 11201643URL status: URL: 'http://-'
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White guys : studies in postmodern domination and difference / Fred Pfeil London: Verso, 1995.
Call No: 451-01 PFEAuthor: Pfeil, Fred Place: LondonPublisher: VersoPubDate: 1995PhysDes: xxi, 269 p., [4] p. of plates : ill. ; 23 cmSeries: Haymarket seriesSubject: ACTION FILMS ; MEN IN FILMS ; MASCULINITY IN FILMS ; RACE AND THE CINEMA ; CLASS AND THE CINEMA Summary: "What do men - white straight men in particular - want? IN a series of witty and provcative investigations of American popular culture, Fred Pfeil exposes the contradictions in the construction of what heterosexual masculinity over the last fifteen years. White Guys proves such topics as the rock'n'roll bodies of Bruce Springsteen, Axl Rose, and the late Kurt Cobain; the 'male rampage' films Die Hard and Lethal Weapon and the films of 'sensitive transpormation' that followed in their wake; and the curious yet symptomatic activities of the men's movement whose 'rituals' Pfeil has investigated firsthand.
Pfeil's aim is to reveal the ambiguity and flux in a social category too often assumed to be monolithic and unchanging. White Guys invites its readers to consider the shifts in mainstream masculinity's representation, in relation to the general emergence of postmodern 'tribalisms' and in the context of changes in both contemporary feminism and the global economy." -- BOOK COVERISBN: 1859849377 : ¦39.95; 1859840329 (pbk.) : ¦12.99LON: bnc85984937; 11499168Contents: From Pillar to Postmodern: Race, Class, and Gender in the Male Rampage Film -- The Year of Living Sensitively -- Rock Incorporated: Plugging in to Axl and Bruce -- Soft-Boiled Dicks -- Guerillas in the Mist: Wild Guys and New Age Tribes -- Chips off the Old Block
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Women's reflections : the feminist film movement / by Jan Rosenberg Ann Arbor, Mich.: UMI Research Press, 1983.
Call No: 626:396 ROSAuthor: Rosenberg, Jan Place: Ann Arbor, Mich.Publisher: UMI Research PressPubDate: 1983PhysDes: viii, 143 p. ; 24 cmSeries: Studies in cinema ; no. 22Subject: FEMINISM AND THE CINEMA ; WOMEN AND THE CINEMA ; DIRECTORS ; HISTORY OF CINEMA ; CLASS AND THE CINEMA ; DOCUMENTARIES ; AVANT-GARDE FILMS ; POLITICS AND THE CINEMA ; YUDIE (US, Mirra Banks, 1974) Notes: Revision of the author's thesis, University of Massachusetts, 1979; Includes index; Bibliography: p. [137]-139ISBN: 0835714004LON: 83001271; 2470905Contents: Part 1. Introduction: an overview of political film movements in America -- Introduction: culture and politics -- Political film in America: the larger historical context -- Part 2. Feminism and film -- Introduction -- Women's rights and the movies -- Women's liberation and the feminist film movement -- Part 3. The filmmakers -- Introduction -- Class, family, and education -- Class and film culture -- Age and generational experience -- Older filmakers: the documentarists -- Older filmmakers: the avant-garde -- Younger filmmakers: documentarists and avant-gardists -- Part 4. The films -- Introduction -- The larger political context -- Population and sample -- Feminist films; issue, portrait, and avant-garde -- Part 5. Inventing and routinizing a market -- Introduction -- Processes -- Institutionalization of the economics of the feminist film movement: changes across the decade -- Conclusion by way of an example: the history of a feminist film -- Part 6. Conclusion
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