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Call No: 761 COM
Source: US
Place: Malden, MA
Publisher: John Wiley and Sons
PubDate: 2015
PhysDes: xvi, 674 pages : illustrations, portraits ; 25 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; ENVIRONMENTAL ISSUES IN FILMS; SEA IN FILMS; IMMIGRATION IN FILMS AND TELEVISION; WORKERS IN FILMS; YUGOSLAVIA; SEX IN FILMS; WOMEN MAKE MOVIES [organisation]; DISEASES IN FILMS; SCIENCE AND THE CINEMA; SCIENCE IN FILMS; AIDS ON TV. SOUTH AFRICA; RELIGION AND THE CINEMA; WAR FILMS; BAL, MIEKE; ZILNIK, ZELIMIR; TRAN VAN THUY; FAROCKI, HARUN; CRUDE AWAKENING: THE OIL CRASH A (SZ, Basil Gelpke & Ray McCormack, 2006); CRUDE (US, Joe Berlinger, 2009); H [TWO] 2 OIL (CN, Shannon Walsh, 2009); PLANET, THE (SW/NO/DK, Michael Stenberg / John Soderberg / Linus Torell, 2006); INTO ETERNITY: A FILM FOR THE FUTURE (DK/FI/SW/IT, Michael Madsen, 2010); OTOLITH I [OTOLITH 1] (UK, Anjalika Sagar and Kodwo Eshun, 2003); OTOLITH II [OTOLITH 2] (UK, Anjalika Sagar and Kodwo Eshun, 2007); OTOLITH III [OTOLITH 3] (UK, Anjalika Sagar and Kodwo Eshun, 2009); INCONVENIENT TRUTH, AN (US, Davis Guggenheim, 2006); SOMEPLACE WITH A MOUNTAIN (US/FM, Steve Goodall, 2010); CONTAINED MOBILITY (SZ, Ursula Biemann, 2004); SAHARA CHRONICLE (SZ, Ursula Biemann, 2006-2009); GHOSTS (UK, Nick Broomfield, 2006); LOVE ON DELIVERY [FRA THAILAND TIL THY] (DK, Janus Metz Pedersen, 2007); TICKET TO PARADISE [FRA THY TIL THAILAND] (DK, Janus Metz Pedersen, 2008); WHEN MOTHER COMES HOME FOR CHRISTMAS (II/GR, Nilita Vachani, 1996); H [TWO] 2 WORKER (US, Stephanie Black, 1990); LIFE AND DEBT (US, Stephanie Black, 2001); MAQUILAPOLIS: CITY OF FACTORIES (MX/US, Sergio de la Torre and Vicky Funari, 2006); DECENT FACTORY, A (FR/FI/UK/AT/DK, Thomas Balmes, 2004); WHY CYBRACEROS? (US,Alex Rivera, 1997); WHY BRACEROS? (US, 1959); VALLEY CENTRO, EL (US, James Benning, 1999); LOS (US, James Benning, 2001); DOUBLE TIDE (US/AU, Sharon Lockhart, 2009); GLEANERS AND I, THE [GLANEURS ET LA GLANEUSE, LES] (FR, Agnes Varda, 2000); GLANEURS ET LA GLANEUSE, LES: DEUX ANS APRES (FR, Agnes Varda, 2002); WORKINGMAN'S DEATH (AU/GG, Michael Glawogger, 2005); OLD SCHOOL OF CAPITALISM, THE [STARA SKOLA KAPITALIZMA] (SB, Zelimir Zilnik, 2009); LIVE NUDE GIRLS UNITE! (US, Julia Query & Vicky Funari, 2000); TALES OF THE NIGHT FAIRIES (II, Shohini Ghosh, 2002); SCARLET ROAD (AT, Catherine Scott, 2011); PLACE OF RAGE, A [WARRIOR MARKS] (UK, Pratibha Parmar, 1991); DAY I WILL NEVER FORGET, THE (UK, Kim Longinotto, 2002); AFRICA RISING (US, Paula Heredia, 2009); SENORITA EXTRAVIADA [MISSING YOUNG WOMAN] (MX, Lourdes Portillo, 2001); PARIS IS BURNING (US, Jennie Livingston, 1990); WILDNESS (US, Wu Tsang, 2012); INNER LIFE OF THE CELL (US, XVIVO, 2006); BEAT IT! [TV] (SA, 2001); MY REINCARNATION (SZ/NE/IT/GG/FI/VE/US/TZ/SI/MY/RM/CC/MX/RU/IS/AU, Jennifer Fox, 2011); GEVALD (IS, Netalie Braun, 2009); BLACK BUS (IS, Anat Zuria, 2010); REBELLIOUS SON, THE (IS, Shosi Greenfield, 2009); STORY OF KINDNESS [CHUYEN TU TE] (V, Tran Van Thy, 1987); NICHT LOSCHBARES FEUER [INEXTINGUISHABLE FIRE] (GR, Harun Farocki, 1969); IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR [BILDER DER WELT UND INSCHRIFT DES KRIEGES] (GW, Harun Farocki, 1988); SERIOUS GAMES [series] (GG, Harun Farocki, 2009); I ONLY WISH I COULD WEEP (LE, Wallid Raad, 2002); MIRACULOUS BEGINNINGS (LE, Walid Raad); SPIRITUAL VOICES: FROM THE DIARIES OF WAR [DUKHOVNYE GOLOSA, IZ DNEVNIKOV VOYNY. POVESTVOVANIE V PYATI CHASTYAKH] [TV] (RU, Aleksandr Sokurov, 1995); DAY OF THE SPARROW [DER TAG DES SPATZEN] (GG, Philip Scheffner, 2010); [FORTY-EIGHT] 48 (PO, Susana de Sousa Dias, 2010); ENEMIES OF THE PEOPLE (UK/CB, Thet Sambath and Rob Lemkin, 2009); DUCH: MASTER OF THE FORGES OF HELL (CB, Rithy Panh, 2011); SKINNY ALEJANDRA: LIVES AND DEATHS OF A CHILEAN WOMAN [LA FLACA ALEJANDRA: VIDAS Y MUERTES DE UNA CHILENA] (CL, Carmen Castillo, 1994); OPERATION ATROPOS (CL, Coco Fusco, 2005); ROAD TO GUANTANAMO, THE (UK, Michael Winterbottom and Mat Whitecross, 2006); TAXI TO THE DARK SIDE (US, Alex Gibney, 2007); BRIDGE, THE (UK/US, Eric Steel, 2006)
Summary: This book presents a collection of original essays that explore major issues surrounding the state of current documentary films and their capacity to inspire and effect change. This book presents a comprehensive collection of essays relating to all aspects of contemporary documentary films It includes nearly 30 original essays by top documentary film scholars and makers, with each thematic grouping of essays sub-edited by major figures in the field. This book explores a variety of themes central to contemporary documentary filmmakers and the study of documentary film the planet, migration, work, sex, virus, religion, war, torture, and surveillance. This book considers a wide diversity of documentary films that fall outside typical canons, including international and avant-garde documentaries presented in a variety of media.
ISBN: 9780470671641
Contents: Machine generated contents note: pt. I Planet / Juan Francisco Salazar -- 1.Crude Aesthetics: The Politics of Oil Documentaries / Imre Szeman -- 2.Anticipatory Modes of Futuring Planetary Change in Documentary Film / Juan Francisco Salazar -- 3.Projecting Sea Level Rise: Documentary Film and Other Geolocative Technologies / Janet Walker -- pt. II Migration / Aniko Imre -- Introduction / Aniko Imre -- 4.Videogeographies / Ursula Biemann -- 5.Rates of Exchange: Human Trafficking and the Global Marketplace / Leshu Torchin -- 6.Documenting What? Auto-Theory and Migratory Aesthetics / Mieke Bal -- pt. III Work / Silke Panse -- Introduction / Silke Panse -- 7.The Work of the Documentary Protagonist: The Material Labor of Aesthetics / Silke Panse -- 8.Old School Capitalism in Post-Socialism: The Struggles of Zelimir Zilnik's Workers / Ewa Mazierska -- 9.Capturing the Labors of Sex Work: The Pedagogical Role of Documentary Film / Anna E. Ward -- pt. IV Sex / Laura Hyun Yi Kang -- Contents note continued: Introduction / Laura Hyun Yi Kang -- 10.Documentary Practice and Transnational Feminist Theory: The Visibility of FGC / Patricia White -- 11.Transforming Terror: Documentary Poetics in Lourdes Portillo's Senorita Extraviada (2001) / Rosa-Linda Fregoso -- 12.Reading Realness: Paris Is Burning, Wildness, and Queer and Transgender Documentary Practice / Eve Oishi -- pt. V Virus / Bishnupriya Ghosh -- Introduction / Bishnupriya Ghosh -- 13.Animating Informatics: Scientific Discovery Through Documentary Film / Kirsten Ostherr -- 14.HIV on Documentary Television in Post-Apartheid South Africa / Rebecca Hodes -- 15.Digital AIDS Documentary: Webs, Rooms, Viruses, and Quilts / Alexandra Juhasz -- pt. VI Religion / Alisa Lebow -- Introduction / Alisa Lebow -- 16.Rising in the East, Sett(l)ing in the West: The Emergence of Buddhism as Contemporary Documentary Subject / Angelica Fenner -- Contents note continued: 17.The New Religious Wave in Israeli Documentary Cinema: Negotiating Jewish Fundamentalism During the Second Intifada / Raya Morag -- 18.Tran Van Thuy's Story of Kindness: Spirituality and Political Discourse / Dean Wilson -- pt. VII War / Jeffrey Skoller -- Introduction / Jeffrey Skoller -- 19.Second Thoughts on "The Production of Outrage: The Iraq War and the Radical Documentary Tradition" / Jane M. Gaines -- 20.One, Two, Three Montages ... Harun Farocki's War Documentaries / Nora M. Alter -- 21.The Unwar Film / Alisa Lebow -- pt. VIII Torture / Alisa Lebow -- Introduction / Alisa Lebow -- 22.(In)visible Evidence: The Representability of Torture / Susana de Sousa Dias -- 23.Interviewing the Devil: Interrogating Masters of the Cambodian Genocide / Deirdre Boyle -- 24.The Female Perpetrator: La Flaca Alejandra and Operation Atropos / Macarena Gomez-Barris -- 25.Toward the Dark Side: Seeing Detainee Bodies in Documentary Film / Anjali Nath -- Contents note continued: pt. IX Surveillance / Elizabeth Cowie -- Introduction / Elizabeth Cowie -- 26.Architectures of Control and Points of Resistance: Surveillance Culture and Digital Documentaries / Sharon Lin Tay -- 27.The World Viewed: Documentary Observing and the Culture of Surveillance / Elizabeth Cowie -- 28.Surveillance in the Service of Narrative / Brian Winston -- 29.Face Blind: Documentary Media and Subversion of Surveillance / Patrik Sjoberg.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Publicity; Press kit
Subject: CRASH (CN, David Cronenberg, 1996)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: CRASH (US, Paul Haggis, 2004)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: CRASH PALACE [TV] (AT, 2001)

PhysDes: Clippings
Subject: CRASH REEL, THE (US, Lucy Walker, 2013)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: CRASH [TV] (US, 2008)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit; Publicity
Subject: CRASH ZONE [TV] (AT, 1998 - )

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: CRUDE AWAKENING: THE OIL CRASH A (SZ, Basil Gelpke & Ray McCormack, 2006)

Author: Mauric, Adriana
PhysDes: Article
Subject: AUSTRALIAN CHILDREN'S TELEVISION FOUNDATION; CRASH ZONE [TV] (AT, 1998 - )
Summary: Buena Vista's Disney International will fully finance the Australian Children's Television Foundation's next series, "The Crash Zone", going into production April 20, 1998.

Call No: 753 FIL
Author: Vincendeau, Ginette, 1948
CorpAuthor: British Film Institute
Place: London
Publisher: British Film Institute
PubDate: 2001
PhysDes: 284p. : ill. ; 24 cm
Subject: ADAPTATIONS; ADAPTATIONS. DICKENS, CHARLES; ADAPTATIONS. JAMES, HENRY; ADAPTATIONS. LEONARD, ELMORE; ADAPTATIONS. SHAKESPEARE, WILLIAM; ADAPTATIONS. THOMPSON, JIM; HISTORICAL FILMS; LITERATURE AND THE CINEMA; ARMSTRONG, GILLIAN; BASS, RON; TARANTINO, QUENTIN; AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); AMERICAN PSYCHO (US, Mary Harron, 1999); BEACH, THE (US, Danny Boyle, 1999); BELLE EPOQUE (SP/PO/FR, Fernando Trueba, 1992); BOSSU, LE (FR/IT/GG, Philippe de Broca, 1997); BRAM STOKER'S DRACULA (US, Francis Ford Coppola, 1992); CARRINGTON (UK/FR, Christopher Hampton, 1995); COMO AGUA PARA CHOCOLATE (MX, Alfonso Arau, 1992); CRASH (CN, David Cronenberg, 1996); CYRANO DE BERGERAC (FR, Jean-Paul Rappeneau, 1990); DEAD AGAIN (US, Kenneth Branagh, 1991); EDWARD II (UK, Derek Jarman, 1991); ELIZABETH (UK, Shekhar Kapur, 1998); END OF THE AFFAIR, THE (UK, Neil Jordan, 1999); GERMINAL (FR, Claude Berri, 1993); GRIFTERS, THE (US, Stephen Frears, 1990); HOWARDS END (UK, James Ivory, 1992); JACKIE BROWN (US, Quentin Tarantino, 1997); INTERVIEW WITH THE VAMPIRE (US, Neil Jordan, 1994); L.A. CONFIDENTIAL (US, Curtis Hanson, 1997); LITTLE WOMEN (US, Gillian Armstrong, 1994); LOLITA (US, Adrian Lyne, 1997); MADAME BOVARY (FR, Claude Chabrol, 1991); MADNESS OF KING GEORGE, THE (US, Nicholas Hytner, 1994); MAESTRO DE ESGRIMA, EL (SP, Pedro Olea, 1992); MANSFIELD PARK (UK/US, Patricia Rozema, 1999); MARY SHELLEY'S FRANKENSTEIN (US, Kenneth Branagh, 1994); MASK OF ZORRO (US, Martin Campbell, 1998); MISERABLES, LES (FR, Claude Lelouch, 1995); MRS BROWN (UK, John Madden, 1997); MRS DALLOWAY (US, Marleen Gorris, 1997); NAKED LUNCH (CN/UK, David Cronenberg, 1991); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); OUT OF SIGHT (US, Steven Soderbergh, 1998); PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996); PROSPERO'S BOOKS (UK/FR, Peter Greenaway, 1991); REINE MARGOT, LA (FR/GG/IT, Patrice Chereau, 1994); REMAINS OF THE DAY, THE (UK/US, James Ivory, 1993); RIDICULE (FR, Patrice Leconte, 1996); SECRET GARDEN, THE (US, Agnieszka Holland, 1993); SENSE AND SENSIBILITY (US, Ang Lee, 1995); SHAKESPEARE IN LOVE (UK, John Madden, 1998); SHORT CUTS (US, Robert Altman, 1993); TALENTED MR. RIPLEY, THE (US, Anthony Minghella, 1999); TEA WITH MUSSOLINI (IT, Franco Zeffirelli, 1997); THIS WORLD, THEN THE FIREWORKS (US, Michael Oblowitz, 1997); THREE MUSKETEERS, THE (US, Stephen Herek, 1993); TITUS (US, Julie Taymor, 1999); TRAINSPOTTING (UK, Danny Boyle, 1996); WILDE (UK/US/JA/GG, Brian Gilbert, 1997); WILLIAM SHAKESPEARE'S ROMEO + JULIET (US, Baz Luhrmann, 1996)
Summary: "Period costume dramas are major box office commodities, exploiting the lucrative gap between the blockbuster and art film with their mixture of rich visuals, popular sensibility and literary association. But 'heritage cinema' is all too often discussed from literary (not cinematic) perspectives, and criticism of the films has long been overshadowed by the question of a film's fidelity to the original text. This volume of essays, reviews, and interviews seeks to redress this imbalance, by examining the often antagonistic relationship between literature and film - presenting both sides of the argument about whether heritage cinema's elaborate aesthetics owe more to nostalgia than to historical accuracy. In her challenging introduction to the volume, Ginette Vincendeau sketches the terms of the debate, arguing that the genre is an important, but often critically neglected, form of popular cinema. Film/Literature/Heritage, the latest in a series of 'Sight and Sound Readers', embraces a wide range of literary adaptation, from William Shakespeare to William Burroughs, covering films from Orlando to LA Confidential, and directors from Martin Scorcese to Peter Greenaway." - BOOK BLURB
ISBN: 0851708420; 0851708412(pbk.) : ¦13.99
LON: 22285912

Call No: 754.11 SAR
Author: Sargeant, Jack; Watson, Stephanie
Place: London
Publisher: Creation
PubDate: 1999
PhysDes: 256 p. : ill. ; 25 cm
Series: Creation cinema collection ; 15
Subject: ROAD MOVIES; WESTERNS; MOTORCYCLE FILMS; HORROR FILMS; VAMPIRE FILMS; SCIENCE-FICTION FILMS; Wenders, Wim; LYNCH, DAVID; ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, THE (AT, Stephan Elliott, 1994); AGUIRRE, THE WRATH OF GOD [AGUIRRE, DER ZORN GOTTES] (GW, Werner Herzog, 1972); ALICE IN DEN STADTEN (GW, Wim Wenders, 1973); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); BACKROADS (AT, Philip Noyce, 1977); BADLANDS (US, Terrence Malick, 1973); BLUE VELVET (US, David Lynch, 1986); BONNIE AND CLYDE (US, Arthur Penn, 1967); BUTTERFLY KISS (UK, Michael Winterbottom, 1995); CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974); CRASH (CN, David Cronenberg, 1996); DELIVERANCE (US, John Boorman, 1972); EASY RIDER (US, Dennis Hopper, 1969); TOPO, EL (MX, Alexandro Jodorowsky, 1971); FROM DUSK TILL DAWN (US, Robert Rodriquez, 1996); GALLIVANT (UK, Andrew Kotting, 1996); GUN CRAZY (US, Joseph H. Lewis, 1949); I WAS A MALE WAR BRIDE (US, Howard Hawks, 1949); KALIFORNIA (US, Dominic Sena, 1993); IM LAUF DER ZEIT (GW, Wim Wenders, 1976); KISS OR KILL (AT, Bill Bennett, 1997); HEAVEN'S BURNING (AT, Craig Lahiff, 1997); JETEE, LA (FR, Chris Marker, 1963); LOST HIGHWAY (US, David Lynch, 1996); MAD MAX [...] (AT, 1979-85); MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999); MESHES OF THE AFTERNOON (US, Maya Deren & Alexander Hammid, 1943); NATURAL BORN KILLERS (US, Oliver Stone, 1994); NEAR DARK (US, Kathryn Bigelow, 1987); NIGHT OF THE HUNTER (US, Charles Laughton, 1955); F.J. HOLDEN, THE (AT, Michael Thornhill, 1977); THELMA & LOUISE (US, Ridley Scott, 1991); THEY LIVE BY NIGHT (US, Nicholas Ray, 1949); TO WONG FOO, THANKS FOR EVERYTHING! JULIE NEWMAR (US, Beeban Kidron, 1995); TRUE ROMANCE (US, Tony Scott, 1993); TWO LANE BLACKTOP (US, Monte Hellman, 1971); VANISHING POINT (UK, Richard C. Sarafian, 1971); WALKABOUT (UK, Nicolas Roeg, 1971); WEEK-END (FR/IT, Jean-Luc Godard, 1968); WILD AT HEART (US, David Lynch, 1990); WILD BUNCH, THE (US, Sam Peckinpah, 1969); WINGS OF DESIRE [HIMMEL UBER BERLIN, DER] (GW/FR, Wim Wenders, 1987); WIZARD OF OZ, THE (US, Victor Fleming, 1939)
ISBN: 1871592682(pbk.) : ª14.95
LON: 20894332

Call No: 451-054(=95)(73) LOC
Author: Locke, Brian
Edition: First Plagrave Macmillan paperback edition
Source: US
Place: New York, NY
Publisher: Palgrave Macmillan
PubDate: 2012
PhysDes: xii, 210 pages : illustrations ; 22 cm
Subject: ETHNIC GROUPS IN FILMS. USA; RACIAL ISSUES AND THE CINEMA; ETHNIC GROUPS IN FILMS; CRASH (US, Paul Haggis, 2004); FLASH GORDON (US/UK, Mike Hodges, 1980); LAST SAMURAI, THE (US, Edward Zwick, 2003); LETHAL WEAPON [...] (US, Richard Donner, 1987-92); LETHAL WEAPON 4 (US, Richard Donner, 1998); MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999); RISING SUN (US, Philip Kaufman, 1993)
Summary: "Racial Stigma on the Hollywood Screen charts how the dominant white and black binary of American racial discourse influences Hollywood's representation of the Asian. The Orientalist buddy film draws a scenario in which two buddies, one white and one black, transcend an initial hatred for one another by joining forces against a foreign Asian menace. Alongside an analysis of multiple genres of film, Brian Locke argues that this triangulated rendering of race ameliorates the longstanding historical contradiction between US democratic ideals and white America's persistent domination over blacks." -book blurb.
Notes: Includes bibliographic references and indexes
ISBN: 9781137029348
Contents: List of figures -- acknowledgements -- Introduction - Three's a crowd: Crash (2005) -- Strange fruit: Bataan (1943) -- White and black to the brink: China Gate (1957), Pork Chop Hill (1959), All the Young Men (1960) -- The blaxploitation buddy film -- The Orientalist buddy film in the 1980s and 1990s: Flash Gordon (1980), Lethal Weapon (1987-1998), Rising Sun (1993) -- The Orientalist buddy film and the "new niggers": Blade Runner (1982, 1992 and 2007) -- "Domo arigato, Mr. Roboto": The Matrix (1999) and the virtual Asian -- Epilogue - Pearl Harbor eclipsed? The Last Samurai (2003) -- Notes -- Selected bibliography -- Film and television index -- General index