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Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit
Subject: APOCALYPSE NOW THE FINAL CUT (US, Francis Ford Coppola, 2019)
Notes: Simon Strong import_191126

Call No: SUBJECT CLIPPINGS FILE; BOX OFFICE. AUSTRALIA
Author: Maddox, Garry
PhysDes: Clippings
Subject: BOX OFFICE. AUSTRALIA; ODDBALL (AT, Stuart McDonald, 2015); THAT SUGAR FILM (AT, Damon Gameau, 2014); MAD MAX: FURY ROAD (AT/US, George Miller, 2015); CUT SNAKE (AT, Tony Ayres, 2014); WATER DIVINER, THE (AT/TU, Russell Crowe, 2014)

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, 1988); CONTAGION (AT, Karl Zwicky, 1988); OUTBACK VAMPIRES (AT, Colin Eggleston, 1987); ZOMBIE BRIGADE (AT, Carmelo Musca, 1988); CELIA (AT, Ann Turner, 1988); CELIA (AT, Ann Turner, 1988); DREAMING, THE (AT, Mario Andreacchio, 1988); HOUSEBOAT HORROR (AT, Kendal Flanagan & Ollie Martin, 1989); KADAICHA (AT, James Bogle, 1988); OUT OF THE BODY (AT, Brian Trenchard-Smith, 1988); [THIRTEENTH] 13TH FLOOR, THE (AT, Chris Roache, 1989); BLOODMOON (AT, Alec Mills, 1990); BODY MELT (AT, Philip Brophy, 1993); BODY MELT (AT, Philip Brophy, 1993); ENCOUNTERS (AT, Murray Fahey, 1994); KOMODO (US/AT, Michael Lantieri, 1999); CUT (AT, Kimble Rendall, 2000); 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 & 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); [SEVENTH] 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 --

Author: Lucas, Tim
PhysDes: Article; Scripts; Bibliography; Illustration(s)
Subject: DIRECTOR'S CUT; BAVA, MARIO; MASCHERA DEL DEMONIO, LA (IT, Mario Bava, 1960)
Summary: The altered versions of Mario Bava's films are compared with the restored prints now available, particularly "The mask of Satan".

Call No: 79BLA BUK
Author: Bukatman, Scott, 1957
CorpAuthor: British Film Institute
Place: London
Publisher: British Film Institute
PubDate: 1997
PhysDes: 96 p. : ill. (chiefly col.) ; 19 cm
Series: BFI modern classics
Subject: BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982)
Notes: Bibliography: p. 94-96
ISBN: 0851706231
LON: abn97229245; 13314329

Call No: 79 BLA RED
Author: Redmond, Sean
Edition: 2016
Place: Leighton Buzzard
Publisher: Auteur
PhysDes: 90 pages : illustrated ; 20 cm
Series: Constellations
Subject: BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982)
Summary: Ridley Scott's 1982 film Blade Runner is now widely recognized as an undisputed masterwork of science fiction cinema and one of the most influential films released in the last forty years. Yet on its original release it was both a critical and commercial failure, criticized for its perceived prioritizing of style over content and a narrative that did not deliver the anticipated high octane action that its star casting and large budget normally promise. How did a film that was removed from circulation within a month of its premiere come to mean so much to modern audiences and provide such a rich seam of material for film and media studies? Sean Redmond excavates the many significances of the film – its breakthrough use of special effects as a narrative tool; its revolutionary representation of the future city; its treatment of racial and sexual politics; and its unique status as a text whose meaning was fundamentally altered in its re-released Director's Cut form, then further revised in a Final Cut in 2007, and what this means in an institutional context. This volume was previously published as Studying Blade Runner in 2008. -- publisher's web site
ISBN: 9781911325093
Donation: Senses of Cinema
Contents: Contents -- Introduction: Reading (into) the Greatest Science Fiction Film Ever Made -- 1. Genre -- 2. Narrative -- 3. Representation -- 4. Institutions and Authors -- 5. Audiences -- 6. Textual Analysis -- Conclusion: What Does it Mean to be Human? -- Afterword (2016): AfterHuman -- Bibliography and Filmography

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Clippings; Publicity
Subject: BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982)

Call No: TITLE CLIPPINGS FILE; CUT SNAKE (AT, Tony Ayres, 2014)
Author: McDonald, John
PhysDes: Clippings
Subject: CUT SNAKE (AT, Tony Ayres, 2014)
Summary: Positive reviews of two new films set in the 1970s.

Call No: 756.1-25 SAY
Author: Sayyad, Nezar Al
Source: UK/US
Place: New York : London
Publisher: Routledge
PubDate: 2006
PhysDes: xiii, 256 p. : ill. ; 25 cm
Subject: MODERNISM AND THE CINEMA; ARCHITECTURE AND THE CINEMA; ARCHITECTURE IN FILMS; ART AND THE CINEMA; CITIES IN FILMS; HISTORY OF CINEMA; POSTMODERNISM AND THE CINEMA; THEORY; ANNIE HALL (US, Woody Allen, 1977); BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982); BRAZIL (UK, Terry Gilliam, 1985); DO THE RIGHT THING (US, Spike Lee, 1989); END OF VIOLENCE, THE (US/FR, Wim Wenders, 1997); FALLING DOWN (US, Joel Schumacher, 1993); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); MANHATTAN (US, Wody Allan, 1979); METROPOLIS (GG, Fritz Lang, 1927); METROPOLIS (G, Fritz Lang, 1926); MODERN TIMES (US, Charles Chaplin, 1936); MON ONCLE (FR/IT, Jacques Tati, 1958); MY BEAUTIFUL LAUNDRETTE (UK, Stephen Frears, 1985); PLAYTIME (FR, Jacques Tati, 1967); PLEASANTVILLE (US, Gary Ross, 1998); REAR WINDOW (US, Alfred Hitchcock, 1954); SLIVER (US, Phillip Noyce, 1993); TAXI DRIVER (US, Martin Scorsese, 1976); TRUMAN SHOW, THE (US, Peter Weir, 1998)
Summary: "Cinematic Urbanism presents an urban history of modernity and postmodernity through the lens of cinema while arguing that urbanism cannot be understood outside the space of the celluloid city." "Nezar AlSayyad traces the dissolution of the boundary between real and reel through time and space via a series of films that represent different modernities. He contrasts the 'rational' European city of early twentieth-century industrial modernity as portrayed by Berlin: Symphony of a Big City (1927) with its American counterpart in Modern Times (1936). He illustrates the different forms of small town life and an urbanizing modernity across the Atlantic as exemplified by Cinema Paradiso (1989) and It's a Wonderful Life (1946). Using Metropolis (1927) and Brazil (1985), he shows how utopian ideals harbour within them their dystopian realities, while Jacques Tati's nostalgia for tradition in Mon Oncle (1958) and Playtime (1967) reveals a cynical modernity and a rebelling against its idealism." "AlSayyad argues that the postmodern city of Blade Runner (1982) and Falling Down (1993) illustrates some of the urban outcomes of a globalizing economy. Turning to spectacle and surveillance, he examines Rear Window (1954), Sliver (1993), and The End of Violence (1997) as a voyeuristic modernity. To understand the city experienced by individuals of different social backgrounds, he takes Manhattan (1979), Annie Hall (1977), and Taxi Driver (1976), while Do the Right Thing (1989) and My Beautiful Laundrette (1985) are used to explore a modernity of race and ethnicity. Finally, he uses Pleasantville (1998) and The Truman Show (1998) to unpack the hyperreality of exurban postmodernity and to demonstrate how today the real and the reel have become mutually constitutive." "By considering how the real city and the reel city reference each other in an act of mutual representation and definition, this book advances the discussion on cinematic space and theories of the city."--BOOK BLURB.
Notes: Formerly CIP; Includes bibliographical references and index
ISBN: 0415700493
Contents: -- about the author -- preface -- Introduction : the cinematic city and the quest for the modern -- 1. Industrial modernity : the flaneur and the tramp in the early twentieth century city -- 2. Urbanizing modernity : the traditional cinematic small town -- 3. Orwellian modernity : utopia/dystopia and the city of the future past -- 4. Cynical modernity, or the modernity of cynicism -- 5. From postmodern condition to cinematic city -- 6. Voyeuristic modernity : the lens, the screen and the city -- 7. The modernity of the sophisticate and the misfit : the city through different eyes -- 8. An alternative modernity : race, ethnicity and the urban experience -- 9. Exurban postmodernity : utopia, simulacra and hyper-reality -- epilogue -- illustration credits and sources -- selected bibliography -- index --

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Posters; Press kit
Subject: CUT (AT, Kimble Rendall, 2000)

Author: Balakrishnan, Geetha
PhysDes: Review; Illustration(s)
Subject: CUT (AT, Kimble Rendall, 2000)

Call No: S CUT
Author: Warner, Dave
PubDate: [2000]
PhysDes: 92 leaves
Subject: CUT (AT, Kimble Rendall, 2000)
Notes: Unpublished script

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: CUT IN THE RATES, A (AT, Adrian Hayward, 1997)

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: CUT SNAKE (AT, Tony Ayres, 2014)
URL status: URL: 'http://file://Q:/T/CUT_SNAKE.zip' Checked: 31/08/2021 1:27:03 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: DIGITAL FILE
Author: Ayshford, Blake
Edition: Shooting script
Place: [AT]
PubDate: 26-Sep-13
PhysDes: 101 leaves
Subject: CUT SNAKE (AT, Tony Ayres, 2014)
Notes: Unpublished script
Donation: AFI/AACTA

Call No: P CUT
PhysDes: 1 poster : col. ; 97 X 67cm
Subject: CUT SNAKE (AT, Tony Ayres, 2014)
Summary: Image: Extreme close-up of Sullivan Stapleton in centre pointing a gun. On either side are close ups of Alex Russell and Jessica De Gouw.
Notes: Double-sided
Donation: Cinema Nova

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 2 photographs : b&w ; 13 x 18 - 20 x 26 cm
Subject: CUT (AT, Kimble Rendall, 2000)
Summary: 2 black and white photographs of a man and a woman by a lake and a man having his throat slit by the Scarman.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: CUT, THE (GG/FR/PL/IT/CN/TU, Fatih Akin, 2014)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: CUT, THE [TV] (AT, Mandy Smith, 2009)

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: DIRECTOR'S CUT

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: EXORCIST: DIRECTOR'S CUT, THE (US, William Friedkin, 2001)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: GIRL CUT IN TWO, THE [FILLE COUPEE EN DEUX, LA] (FR/GG, Claude Chabrol, 2007)

Call No: S FIN
Author: Dawson, Jonathan
PubDate: [1979?]
PhysDes: 84 leaves
Subject: FINAL CUT (AT, Ross Dimsey, 1980)
Notes: Unpublished script

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit; Publicity
Subject: FINAL CUT (AT, Ross Dimsey, 1980)

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Clippings; Publicity
Subject: FINAL CUT (AT, Justin Case, 1996)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FINAL CUT: HOLGYEIM ES URAIM (HU, Gyorgy Palfi, 2012); FINAL CUT: LADIES AND GENTLEMEN (HU, Gyorgy Palfi, 2012)

Call No: P FIN
Place: AT
PubDate: 1980
PhysDes: 1 poster : colour ; 76 x 34 cm
Subject: FINAL CUT (AT, Ross Dimsey, 1980)
Summary: Image: A naked woman sits on a fold-out chair with her back to the camera. Text: "Julie was dying to get into movies. Or was she?"
Notes: Folds, stains, creases. This film was released in the U.S. under the title of Deathgames.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FINAL CUT, THE (US, Omar Naim, 2004)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FINAL CUT: THE MAKING AND UNMAKING OF HEAVEN'S GATE (US, Michael Epstein, 2004)

Call No: PERSONALITY CLIPPINGS FILE; STAPLETON, SULLIVAN
Author: Bodey, Michael
PhysDes: Clippings File Article
Subject: STAPLETON, SULLIVAN; CUT SNAKE (AT, Tony Ayres, 2014); BLINDSPOT [TV] (US, 2015)
Summary: Interview with Sullivan Stapleton where he talks about the film CUT SNAKE, and his new US TV role in BLINDSPOT

Call No: 81BAL CLE
Author: Clerc, Adrien
Source: AT
Place: [Melbourne, Victoria]
Publisher: LedaTape Organisation
PubDate: c2014
PhysDes: 226 pages : illustrations ; 22 cm
Subject: DISTRIBUTION. UK; EXPERIMENTAL FILMS; EXPLOITATION FILMS; BALCH, ANTONY; BURROUGHS, WILLIAM; CUT UPS, THE (UK, Antony Balch, 1967); TOWERS OPEN FIRE (UK, Antony Balch, 1963)
Summary: "Here is an overview of one of the most adventurous and radical and overlooked producers of cinema, that of Antony Balch's. Film director, distributor, programmer, editor, publicist and critic, the Abominable Showman worked among others with the writer William Burroughs and producer Richard Gordon. Between experimental cinema and films explotation Antony Balch produced a singular work, iconoclastic, whose Guerilla Conditions summarizes the issues and describes the circumstances of establishment." -Book blurb, translation via Google Translate
Notes: Avant-propos par Norman J. Warren
ISBN: 9780992302122
Language: French
Contents: Souvenirs d'Antony Balch par Narman J. Warren -- Nos officiers sont des poetes -- Towers Open Fire -- The Cut-Ups -- Lost St Hill movie -- Withcraft Through the Ages -- Secrets of Sex -- Bill and Tony -- Horror Hospital -- Ghosts at Number 9 -- Le Festin Nu qui n'eut jamais lieu -- Distribution et programmation -- Bibliographie

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Production notes; Clippings
Subject: IN THE CUT (US/AT, Jane Campion, 2003)
URL status: URL: 'http://file://Q:/T/IN_THE_CUT.zip' Checked: 31/08/2021 1:10:15 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: 81CAM MCH
Author: McHugh, Kathleen Anne
Source: US
Place: Urbana
Publisher: University of Illinois Press
PubDate: 2007
PhysDes: xii, 186 p. : ill., ports. ; 21 cm
Series: Contemporary film directors
Subject: CAMPION, JANE; PIANO, THE (AT, Jane Campion, 1993); IN THE CUT (US/AT, Jane Campion, 2003); SWEETIE (AT, Jane Campion, 1989); HOLY SMOKE (US, Jane Campion, 1999); ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990); PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996); HOLY SMOKE (US, Jane Campion, 1999)
Summary: Jane Campion's work calls us to attend these mysteries and passions of family, especially among sisters [taken from "acknowledgments" part]
Notes: Includes index Bibliography: p [169]-175 Filmography: p [163]-167
ISBN: 9780252074479

Call No: 81CAM FOX
Author: Fox, Alistair
Source: US
Place: Bloomington
Publisher: Indiana University Press
PubDate: c2011
PhysDes: xii, 269 p. : ill. ; 23 cm
Subject: FILM; CAMPION, JANE; SWEETIE (AT, Jane Campion, 1989); ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990); PIANO, THE (AT, Jane Campion, 1993); PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996); HOLY SMOKE (US, Jane Campion, 1999); IN THE CUT (US/AT, Jane Campion, 2003); WATER DIARY THE (AT, Jane Campion, 2006); BRIGHT STAR (UK/AT/FR, Jane Campion, 2009)
Summary: "Alistair Fox explores the dynamics of the creative process involved in cinematic representation in the films of Jane Campion, one of the most highly regarded of contemporary filmmakers. Utilizing a wealth of new material -- including interviews with Campion and her sister and personal writings of Campion's mother -- Fox traces the connections between the filmmaker's complex background and the thematic preoccupations of her films, from her earliest short, Peel, to 2009's Bright Star. He establishes how Campion's deep investment in family relationships informs her aesthetic strategies, revealed in everything from the handling of shots and lighting, to the complex system of symbolic images repeated from one film to the next. " -- BOOK BLURB
Notes: Formerly CIP; Includes bibliographical references and index
ISBN: 9780253223012
Contents: -- acknowledgments -- Introduction: authorship, creativity, and personal cinema -- Origins of a problematic: the Campion family -- The "tragic underbelly" of the family: fantasies of transgression in the early films -- Living in the shadow of the family tree: Sweetie -- "How painful it is to have a family member with a problem like that": authorship as creative adaptation in An angel at my table -- Traumas of separation and the encounter with the phallic other: The piano -- The misfortunes of an heiress: The portrait of a lady -- Exacting revenge on "cunt men": Holy smoke as sexual fantasy -- "That which terrifies and attracts simultaneously": Killing daddy in the cut -- Lighting a lamp: loss, art, and transcendence in The water diary and Bright star -- Conclusion: theorizing the personal component of authorship -- motes -- works cited filmography -- index --

Call No: 753CAM TIN
Author: Tincknell, Estella
Source: UK
Place: Basingstoke, Hampshire
Publisher: Palgrave Macmillan
PubDate: 2013
PhysDes: 139 pages : illustrated ; 22 cm
Series: The adaptation series
Subject: ADAPTATIONS; ADAPTATIONS. JAMES, HENRY; AUTEUR THEORY; AUTHORSHIP; DIRECTORS; FEMINISM AND THE CINEMA; GENRES; LITERATURE AND THE CINEMA; MYTH AND THE CINEMA; CAMPION, JANE; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990); BRIGHT STAR (UK/AT/FR, Jane Campion, 2009); IN THE CUT (US/AT, Jane Campion, 2003); PIANO, THE (AT, Jane Campion, 1993); PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996); SWEETIE (AT, Jane Campion, 1989); TOP OF THE LAKE [TV] (AT/UK, Jane Campion/Garth Davis, 2013)
Summary: "In Jane Campion and Adaptation Estella Tincknell presents a compelling analysis of the interplay between literature and cinema in relation to Campion's work. The text takes a distinct approach to understanding Campion's films, positioning them not simply as the work of a cinematic auteur, but as the culmination of a complex set of textual relationships and practices. In doing so, Tincknell argues persuasively that the director's use of adaptation goes well beyond the conventionally respectful approach to literary texts, opting instead for a playful, subversive and challenging re-imagining of the connections between literature, myth, cultural identity and cinema." -- PORTION OF BOOK BLURB
Notes: Contains bibliographic references and index -- list of illustrations included as looseleaf in front of book
ISBN: 9780230229006
Contents: -- pt. One Versions -- `A Jane Campion film': authorships and adaptations -- Collaborations, credibility, creativity -- Cultural value and the fidelity question -- `Adding to' not taking from: textual ontologies redux -- pt. Two Visions and Voices -- Multiple voices, different visions -- Gothic visions, feminine fables -- Shadow Males and Super Males -- Angels, fairies, demons -- Demythologising space and place -- Attending to the past -- pt. Three Genres -- Art cinema or feminist cinema? -- Re-articulating film genres one: the anti-heritage text - The Portrait of a Lady -- Playfulness and respect -- Costume drama, feminism and the `affect' of history -- Indexing the past -- Adapting the self -- Auditory affect, musical boxes -- Re-articulating film genres two: The Piano as melodrama -- Re-articulating film genres three: An Angel at My Table and the biopic - public lives, private selves -- From the margins to the centre - Bright Star as biopic -- Re-articulating film genres four: In the Cut's rewriting of film noir -- conclusion -- notes -- bibliography -- index --

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Clippings
Subject: JOE'S BED-STUY AND BARBERSHOP: WE CUT HEADS (US, Spike Lee, 1983)

PhysDes: Article
Subject: JOE'S BED-STUY AND BARBERSHOP: WE CUT HEADS (US, Spike Lee, 1983)
Summary: Review

Call No: 61:82 SAR
Author: Sargeant, Jack
Place: London
Publisher: Creation Books
PubDate: 1997
PhysDes: 250 p. ; 24cm
Subject: LITERATURE AND THE CINEMA; POETRY AND THE CINEMA; AVANT-GARDE FILMS; CASSAVETES, JOHN; MEKAS, JONAS; VAN SANT, GUS; SMITH, JACK; SMITH, HARRY; FRANK, ROBERT; MEAD, TAYLOR; BALCH, ANTONY; MAECK, KLAUS; BUKOWSKI, CHARLES; BARFLY (US, Barbet Schroeder, 1987); CHAPPAQUA (US, Conrad Rooks, 1966); CUT UPS, THE (UK, Antony Balch, 1967); DECODER (GW, Muscha, 1984); DRUGSTORE COWBOY (US, Gus Van Sant, 1989); FLAMING CREATURES (US, Jack Smith, 1963); FLOWER THIEF, THE (US, Ron Rice, 1962); NAKED LUNCH (CN/UK, David Cronenberg, 1991); PULL MY DAISY (US, Robert Frank & Alfred Leslie, 1959); SHADOWS (US, John Cassavetes, 1960); TOWERS OPEN FIRE (UK, Antony Balch, 1963); WHOLLY COMMUNION (UK, Peter Whitehead, 1965)
ISBN: 1871592674
LON: abn98046647; 13683320

Author: Prisk, Tracey
PhysDes: Production report
Subject: CUT (AT, Kimble Rendell, in prod.)
Summary: Bill and Jennifer Bennett and Martin Fabinyi on board as producers of teen slasher film, "Cut", starring Kylie Minogue.

Call No: 67(04) WOL
Author: Wollen, Peter
Source: UK/US
Place: London ; New York
Publisher: Verso
PubDate: 2002
PhysDes: vi, 314 p. ; 21 cm
Subject: ARCHITECTURE IN FILMS; DIRECTORS; FILM; THEORY; MOVEMENTS IN FILM HISTORY; MOVEMENTS AND STYLES IN FILM HISTORY; BURROUGHS, WILLIAM; EGGELING, VIKING; GODARD, JEAN-LUC; HAWKS, HOWARD; HITCHCOCK, ALFRED; ROUCH, JEAN; BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); FREUD (US, John Huston, 1962); RULES OF THE GAME, THE (FR, Jean Renoir, 1939); REGLE DU JEU, LA (FR, Jean Renoir, 1939)
Summary: "In this new collection of essays on the cinema, all written over the last ten years, Peter Wollen explores an extraordinarily wide range of topics, stretching from an analysis of time in film and video art to a study of Riff-Raff Realism in British film. Provocative essays discuss the work both of established auteur directors such as Howard Hawks and Alfred Hitchcock as well as the filmmaking careers of such experimental moviemakers as William Burroughs and Viking Eggeling, the dadaist pioneer of abstract film. The collection also includes fascinating studies of a number of film classics, such as John Huston's Freud, Jean Renoir's Rules of the Game and Ridley Scott's Blade Runner.". "Paris Hollywood suggests new approaches to thinking about film and many unexpected connections between film studies and the history of such strangely related activities as espionage, psychoanalysis, dance, architecture, anthropology, Stalinism, love of speed and digital technology. Wollen's book is based on the premise that there are no fixed ways of writing about the cinema but, rather, a plethora of paths leading in very different directions, each contributing to a new understanding of the 20th century's major art form."--BOOK JACKET
Notes: Includes bibliographical references and indexes Includes filmography
ISBN: 1859843913
Contents: -- 1: an alphabet of Cinema -- Part 1: directors and filmmakers -- 2: guerilla conditions: the cinema of William Seward Burroughs -- 3: viking eggeling -- 4: who the hell is Howard Hawks? -- 5: hitch: a tale of two cities (London and Los Angeles) -- 6: JLG -- 7: Jean Rouch -- part 2: films and movements -- 8: Freud as adventurer -- 9: Blade Runner -- 10: spies ansd spivs: an anglo-austrian engagement -- 11: rules of the game -- 12: the last new wave -- 13: riff-raff realism -- 14: architecture and film: places and non-places -- 15: the canon -- 16: time in film and video art -- 17: mismatches (& Acousmetres) -- 18 back to the future -- 19: speed and the cinema -- notes -- film-makers/director index -- filmography -- general index --

Call No: 79 BLA FLI
Author: Flisfeder, Matthew
Edition: 2017
Place: London; New York
Publisher: Bloomsbury
PhysDes: 176 p. : illustrated ; 2 cm
Series: Film Theory in Practice
Subject: BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982)
Summary: Matthew Flisfeder introduces readers to key concepts in postmodern theory and demonstrates how it can be used for a critical interpretation and analysis of Blade Runner, arguably 'the greatest science fiction film'. By contextualizing the film within the culture of late 20th and early 21st-century capitalism, Flisfeder provides a valuable guide for both students and scholars interested in learning more about one of the most significant, influential, and controversial concepts in film and cultural studies of the past 40 years. The "Film Theory in Practice" series fills a gaping hole in the world of film theory. By marrying the explanation of film theory with interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Postmodern Theory and Blade Runner offers a concise introduction to Postmodernism in jargon-free language and shows how this theory can be deployed to interpret Ridley Scott's cult film Blade Runner. -- publisher's web site
ISBN: 9781501311796
Contents: Acknowledgements -- Introduction -- Chapter One: Postmodernism and Postmodern Theory -- Chapter Two: Postmodernism and Blade Runner --Conclusion: Postmodern Theory After The End Of History -- Further Reading

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: ROUGH CUT (US, Donald Siegel, 1980)

Call No: TITLE CLIPPINGS FILE
PhysDes: Publicity; Press kit; Clippings
Subject: ROUGH CUT AND READY DUBBED (UK, Hasan Shah & Dom Shaw, 1982)

Call No: TITLE CLIPPINGS FILE; CUT SNAKE (AT, Tony Ayres, 2014)
Author: Hall, Sandra
PhysDes: Clippings
Subject: CUT SNAKE (AT, Tony Ayres, 2014)
Summary: Positive review ofocussing on Stapleton's performance.
Rating: 3.5 out of 5 stars

Call No: 236 FIN
Author: Finch, Christopher
Source: US
Place: New York
Publisher: Abbeville Press
PubDate: c1984
PhysDes: 252 p. : ill. (some col.) ; 27 cm
Subject: COMPUTER GRAPHICS; DIGITAL TECHNOLOGY; COMPUTERS AND THE CINEMA; COMPUTERIZED ANIMATION AND SPECIAL EFFECTS; COMPUTER GENERATED IMAGERY; COSTUME DESIGNING; TECHNICAL DEVELOPMENTS; MOTION CONTROL; MAKE UP; TECHNOLOGY AND THE CINEMA; PRODUCTION TECHNOLOGY; SPECIAL EFFECTS; CINEMATOGRAPHY; SET DESIGNING; KING KONG (US, Merian C. Cooper & Ernest B. Schoedsack, 1933); BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982); TRON (US, Steven Lisberger, 1982)
Summary: "Special effects is an art that sets itself the task of putting on screen anything a filmmaker can imagine, however strange or fantastic. From King Kong to Star Wars, this book details the secrets behind the magic that has thrilled and delighted generations of movie-goers." -- BOOK BLURB
Notes: Includes index; Bibliography: p. 244
ISBN: 0896594521
Contents: -- acknowledgements -- prologue -- part 1: the art of deception -- 1: tricks and treats -- 2: masks and mirrors -- 3: silent magic -- 4: the coming of sound -- 5: king kong -- 6: invisible effects -- 7: new aspects -- 8: monsters and myths -- part II: odysseys -- 9: new beginnings -- 10: the making of 2001 -- 11: back to earth -- 12: pitching -- 13: star wars -- 14: close encounters -- 15: phone home -- 16: innovations -- 17: blade runner -- 18:state of the art -- part III: sons of hal -- 19: coordinates -- 20: the making of tron -- 21: simulation -- 22: the future -- bibliography -- glossary -- index --

Call No: TITLE CLIPPINGS FILE; CUT SNAKE (AT, Tony Ayres, 2014)
Author: Dent, Nick
PhysDes: Clippings
Subject: CUT SNAKE (AT, Tony Ayres, 2014)
Rating: 2 out of 5 stars

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: URBAN LEGENDS: FINAL CUT (CN/US, John Ottman, 2000)

Call No: 721.210.4 VIS
CorpAuthor: Australian Film Institute
Edition: 1984
Place: Sydney
Publisher: Australian Film Institute
PubDate: 1984
PhysDes: 28 p. : illus. ; 21 cm
Subject: INDEPENDENT FILMS; OUT (US, Eli Hollander, 1982); PROSTITUTE (UK, Tony Garnett, 1980); STATIONS (AT, Jackie McKimmie, 1983); THIS WOMAN IS NOT A CAR (AT, Margaret Dodd, 1982); CHAN IS MISSING (US, Wayne Wang, 1982); NIGHT OF SHADOWS (AT, Brian Thompson, 1983); ON GUARD (AT, Susan Lambert, 1984); GREETINGS FROM WOLLONGONG (AT, Mary Callaghan, 1982); GIRL'S OWN STORY, A (AT, Jane Campion, 1983); GHOST DANCE (UK/GW, Ken Mullen, 1983); IMPOSTORS (GW/US, Mark Rappaport, 1979); LAST NIGHT AT THE ALAMO (US, Eagle Pennell, 1983); BUCKEYE AND PINTO (AT, Phil Pinder, 1979); DOZENS, THE (US, Christine Dall and Randall Conrad, 1980); EVERY DAY, EVERY NIGHT (AT, Kathy Mueller, 1984); FORDS ON WATER (UK, Barry Bliss, 1983); KILLER OF SHEEP (US, Charles Burnett, 1978); SLOW MOVES (US, Jon Jost, 1984); ASHES AND EMBERS (US, Haile Gerima, 1982); JOE'S BED-STUY AND BARBERSHOP: WE CUT HEADS (US, Spike Lee, 1983); QUEENSLAND (AT, John Ruane, 1975); BROTHERS AND SISTERS (UK, Richard Woolley, 1980); KING BLANK (US, Michael Oblowitz, 1982); CAFE OF LOVE (AT, Jinks Dulhunty, 1982); EMERALD CITIES (US, Richard R. Schmidt, 1983); VOICE OVER (UK, Chris Monger, 1981); SHADOWPLAY (UK, Oliver Stapleton, 1980); EXITS (AT, Paul Davies & Pat Laughren & Carolyn Howard, 1980); FILLETING MACHINE, THE (UK, Murray Martin, 1981); OUTSIDE IN (UK/GW/NE, Stephen Dwoskin, 1981); PLAINS OF HEAVEN, THE (AT, Ian Pringle, 1982); SMITHEREENS (US, Susan Seidelman, 1982); GOING DOWN (AT, Haydn Keenan, 1982); RETURN OF THE SECAUCUS SEVEN (US, John Sayles, 1980); AGAINST THE GRAIN (AT, Tim Burns, 1980); SERIOUS UNDERTAKINGS (AT, Helen Grace, 1983); WRONG SIDE OF THE ROAD (AT, Ned Lander, 1981); PURE S (AT, Bert Deling, 1976); GAL YOUNG UN (US, Victor Nunez, 1979); BURNING AN ILLUSION (UK, Menelik Shabazz, 1981); HEARTLAND (US, Richard Pearce, 1979); LOOKS AND SMILES (UK, Kenneth Loach, 1981)
Notes: Programme for a season of international independent films supporting the 'visions of independence' conference held in Sydney, 29 August - 1 September 1984.