The Brakhage lectures: Georges Melies, David Wark Griffith, Carl Theodore Dreyer, Sergei Eisenstein
Chicago: The GoodLion, .
Call No: 802.25 BRA Author: Brakhage, Stan CorpAuthor: Caterpillar Place: Chicago Publisher: The GoodLion PubDate:  PhysDes: 106 p. illus. 24 cm Subject: MELIES, GEORGES; GRIFFITH, DAVID WARK; DREYER, CARL TH. Notes: "Lectures [given] ... at the School of the Art Institute of Chicago during the fall and early winter of 1970-71."; "First appeared ... in four issues of the magazine Caterpillar: 11, 13, 14, 15/16." ISBN: 0912844043 LON: 622100 More info
Carl Dreyer : a film director's work / Ebbe Neergaard; translated by Marianne Helweg
London: British Film Institute, 1950.
Call No: 81DRE NEE Author: Neergaard, Ebbe Source: UK Place: London Publisher: British Film Institute PubDate: 1950 PhysDes: 42 p. : illus. ; 20 cm. Series: New Index Series Subject: VAMPYR : DER TRAUM DES ALLEN GRAY (G/FR, Carl Th. Dreyer, 1932); PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); VREDENS DAG (DK, Carl Th. Dreyer, 1943); DREYER, CARL TH. Summary: An index of Dreyer's work including films: The Presentent (1918), The Parson's Widow (1920), Love One Another (1921), Once Upon a Time (1922), Master of the House (Thou Shalt Honor Thy Wife) (1925), The Bride of Glomdal (1925) Language: English More info
Carl Th. Dreyer: Danish film director. 1889-1968 / Edited by Sren Dyssegaard. English text by Reginald Spink
Copenhagen: Ministry of Foreign Affairs, 1969].
Call No: 81DRE CAR Author: Dyssegaard, Sren, ed Place: Copenhagen Publisher: Ministry of Foreign Affairs PubDate: 1969] PhysDes: 52 p. illus. 17 x 23 cm Subject: DREYER, CARL TH. LON: 71387194; 561261 More info
Carl Theodor Dreyer's Jesus / Carl Theodor Dreyer
New York: The Dial Press, 1972.
Call No: 79 JES DRE Author: Dreyer, Carl Theodor Source: US Place: New York Publisher: The Dial Press PubDate: 1972 PhysDes: 312 pages : illustrations ; 24 cm Subject: JESUS CHRIST IN FILMS; DREYER, CARL TH. Summary: Contains the film manuscript for Dreyer's 'Jesus', as well as essays by Dreyer on religion, and notes on Dreyer by other film makers. Notes: Alternative title for book is 'Jesus' Contents: -- introduction -- Carl Theodor Dreyer, by Ib Monty -- illustrations follow -- Three essays by Carl Dreyer -- who crucified Jesus? -- the roots of anti-semitism -- my only great passion -- Jesus; a film manuscript -- Working with Dreyer / by Preben Thomsen -- Tributes to Dreyer, Dreyer's Sin / by Jean Renoir -- Federico Fellini -- Fancois Truffaut -- editor's note -- More info
The cinema of Carl Dreyer / by Tom Milne
New York London: A.S. Barnes A. Zwemmer, 1971.
Call No: 81DRE MIL Author: Milne, Tom Place: New York London Publisher: A.S. Barnes A. Zwemmer PubDate: 1971 PhysDes: 191 p. : ill., ports. ; 16 cm Series: The international film guide series Subject: DREYER, CARL TH. Notes: Bibliography: p. 190-191; Filmography: p. 179-190 ISBN: 0302020578 (U.K.); 049807711X (U.S.) LON: 78118772; 83962 More info
Cinema de la cruaute. English : from Bunuel to Hitchcock / by Andre Bazin ; edited and with an introduction by Francois Truffaut ; translated by Sabine d' Estree with the assistance of Tiffany Fliss
New York: Seaver Books, 1982.
Cinematography in the Weimar Republic : Lola Lola, dirty singles, and the men who shot them / Paul Matthew St. Pierre
London: Fairleigh Dickinson University Press,
Call No: 23(430) Author: St. Pierre, Paul Matthew Place: London Publisher: Fairleigh Dickinson University Press PhysDes: 274 p. ; illus. ; 24 cm Series: Fairleigh Dickinson University Press series in communication studies Subject: CINEMATOGRAPHY; GERMANY; EXPRESSIONISM; LUBITSCH, ERNST; WAGNER, FRITZ ARNO; MURNAU, FRIEDRICH WILHELM; LANG, FRITZ; PABST, GEORG WILHELM; RITTAU, GUNTHER; DREYER, CARL TH. Summary: In film history, director-cinematographer collaborations were on a labor spectrum, with the model of the contracted camera operator in the silent era and that of the cinematographer in the sound era. But in Weimar era German filmmaking, 1919-33, a short period of intense artistic activity and political and economic instability, these models existed side by side due to the emergence of camera operators as independent visual artists and collaborators with directors.
Berlin in the 1920s was the chief site of the interdisciplinary avant-garde of the Modernist movement in the visual, literary, architectural, design, typographical, sartorial, and performance arts in Europe. The Weimar Revolution that arose in the aftermath of the November 1918 Armistice and that established the Weimar Republic informed and agitated all of the art movements, such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism, Verism, and Neue Sachlichkeit (“New Objectivity”). Among the avant-garde forms of these new stylistically and culturally negotiated arts, the cinema was foremost and since its inception had been a radical experimental practice in new visual technologies that proved instrumental in changing how human beings perceived movement, structure, perspective, light exposure, temporal duration, continuity, spatial orientation, human postural, facial, vocal, and gestural displays, and their own spectatorship, as well as conventions of storytelling like narrative, setting, theme, character, and structure. Whereas most of the arts mobilized into schools, movements, institutions, and other structures, cinema, a collaborative art, tended to organize around its ensembles of practitioners.
Historically, the silent film era, 1895-1927, is associated with auteurs, the precursors of François Truffaut and other filmmakers in the 1960s: actuality filmmakers and pioneers like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis Lumière and Georges Méliès in France, and Charles Chaplin and Buster Keaton in America, who, by managing all the compositional, executional, and editorial facets of film production—scripting, directing, acting, photographing, set, costume, and lighting design, editing, and marketing—imposed their personal vision or authorship on the film. The dichotomy of the auteur and the production ensemble established a production hierarchy in most filmmaking.
In formative German silent film, however, this hierarchy was less rank or class driven, because collaborative partnerships took precedence over single authorship. Whereas in silent film production in most countries the terms filmmaker and director were synonymous, in German silent film the plural term filmemacherin connoted both directors and cinematographers, along with the rest of the filmmaking crew. Thus, German silent filmmakers’ principle contribution to the new medium and art of film was less the representational iconographies of Expressionist, New Objective, and Naturalist styles than the executional practice of co-authorship and co-production, in distinctive cinematographer-director partnerships such as those of cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf Maté with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst; and Carl Hoffmann with Lang and Murnau.
-- jacket blurb ISBN: 9781611479447 More info
Development of the film : an interpretive history / Alan Casty
New York: Harcourt Brace Jovanovich, 1973.
Call No: 70 CAS Author: Casty, Alan Source: US Place: New York Publisher: Harcourt Brace Jovanovich PubDate: 1973 PhysDes: 425 p. ; 23 cm Subject: EDITING; HISTORICAL FILMS; HISTORY AND THE CINEMA; PRODUCTION TECHNOLOGY; GENRES; SOCIAL HISTORY AND THE CINEMA; BOGART, HUMPHREY; BRECHT, BERTOLT; BUNUEL, LUIS; CAPRA, FRANK; CARNE, MARCEL; CHAPLIN, CHARLES; CLAIR, RENE; COOPER, GARY; CURTIZ, MICHAEL; DEMILLE, CECIL B.; DE SICA, VITTORIO; DIETRICH, MARLENE; DOVZENKO, ALEKSANDR; DREYER, CARL TH.; DUVIVIER, JULIEN; Fellini, Federico; FLAHERTY, ROBERT; FORD, JOHN; GARBO, GRETA; GODARD, JEAN-LUC; GRIFFITH, DAVID WARK; HITCHCOCK, ALFRED; HUSTON, JOHN; HAWKS, HOWARD; KINGSLEY, STANLEY; KAZAN, ELIA; LANG, FRITZ; Lean, David; LEROY, MERVYN; LUBITSCH, ERNST; MCCREA, JOEL; MAMOULIAN, ROUBEN; MARX BROTHERS; MILESTONE, LEWIS; MURNAU, FRIEDRICH WILHELM; NEWMAN, PAUL; PABST, GEORG WILHELM; Pasolini, Pier Paolo; Peckinpah, Sam; PUDOVKIN, VSEVELOD; REED, CAROL; RENOIR, JEAN; ROSSELLINI, ROBERTO; ROSSEN, ROBERT; Stewart, James; TOLAND, GREGG; TRUFFAUT, FRANCOIS; VIGO, JEAN; VISCONTI, LUCHINO; VON STERNBERG, JOSEF; VON STROHEIM, ERICH; WAYNE, JOHN; WELLES, ORSON; WELLMAN, WILLIAM; WILDER, BILLY; WISE, ROBERT; WYLER, WILLIAM; ZOLA, EMILE; BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); GRANDE ILLUSION, LA (FR, Jean Renoir, 1937); INTOLERANCE (US, David Wark Griffith, 1916); REGLE DU JEU, LA (FR, Jean Renoir, 1939); STRAW DOGS (UK, Sam Peckinpah, 1971) Summary: The development of the cinemictic styles and genres in films worldwide and the important professical within the film industry. ISBN: 0155176226 More info
Melbourne Film Bulletin (April 1968) iss.2 p.23 PhysDes: Article Subject: DREYER, CARL TH.; PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); VIVRE SAVIE (FR, Jean-Luc Godard, 1962); VAMPYR : DER TRAUM DES ALLEN GRAY (G/FR, Carl Th. Dreyer, 1932); VREDENS DAG (DK, Carl Th. Dreyer, 1943); ORDET (DK, Carl Th. Dreyer, 1955) Summary: Obituary for Danish director Carl Theodore Dreyer. More info
Dreyer / Jean Se´molue´
Paris: E´ditions universitaires, 1962.
Call No: 81DRE SEM Author: Se´molue´, Jean. Source: FR Place: Paris Publisher: E´ditions universitaires PubDate: 1962 PhysDes: 180 p. : ill. ; 18 cm. Series: classiques du cine´ma ; 10 Subject: DREYER, CARL TH. Language: French More info
Dreyer / by Mark Nash
London: British Film Institute, 1977.
personality microfilm collection
DREYER, CARL TH.
Call No: PERSONALITY CLIPPINGS FILE; PERSONALITY MICROFILM COLLECTION PhysDes: Publicity; Clippings Subject: DREYER, CARL TH. More info
The face on film / Noa Steimatsky
New York: Oxford Univesity Press, 2017.
Call No: 747.7 STE Author: Steimatsky, Noa Edition: 2017 Place: New York Publisher: Oxford Univesity Press PubDate: 2017 PhysDes: 280 p. : illustrated ; 26 cm Subject: FACE IN FILMS; AU HASARD, BALTHAZAR (FR/SW, Robert Bresson, 1966); ANTONIONI, MICHELANGELO; BARTHES, ROLAND; BAZIN, ANDRE; BENJAMIN, WALTER; BRESSON, ROBERT; JOURNAL D'UN CURE DE CAMPAGNE (FR, Robert Bresson, 1951); EISENSTEIN, SERGEI M.; DREYER, CARL TH.; PROCES DE JEANNE D'ARC (FR, Robert Bresson, 1962); GODARD, JEAN-LUC; HITCHCOCK, ALFRED; SEDGWICK, EDIE; WARHOL, ANDY; OUTER AND INNER SPACE (US, Andy Warhol, 1965); WRONG MAN, THE (US, Alfred Hitchcock, 1957); FUNNY FACE (US, Stanley Donen, 1957) Notes: The human face was said to have been rediscovered with the advent of motion pictures, in which it was often viewed as expressive locus, as figure, and even as essence of the cinema. But how has this modern, technological, mass-circulating medium revealed the face in ways that are also distinct from any other? How has it altered our perception of this quintessential incarnation of the person? The archaic powers of masks and icons, the fashioning of the individual in the humanist portrait, the modernist anxieties of fragmentation and de-figuration—these are among the cultural precedents informing our experience in the movie theatre. Yet the moving, time-based image also offers radical new confrontations with the face: Dreyer's Passion of Joan of Arc, Donen's Funny Face, Hitchcock's The Wrong Man, Bresson's Au hazard, Balthazar, Antonioni's Screen Test, Warhol's filmic portraits of celebrity and anonymity. Such intense encounters, examined in this book, manifest a desire for transparency and plenitude, but—especially in post-classical cinema—also betray a profound ambiguity that haunts the human countenance, confronting interiority as opacity, treading the gap between image and language. The spectacular impact of the cinematic face is uncannily intertwined with a reticence, an ineffability; but is it not for this very reason that—like faces in the world—it still enthralls us? -- publisher's web site ISBN: 9780199863167 Contents: Acknowledgements -- Preface: Face Moving Image -- A Dispositif -- An Ur-Image -- The Face Against the Image -- Itineraries Chapter One: We Had Faces, Then -- Expressivity in the 1920s -- Joan of Arc, Inevitably -- The Face and its Voices -- Glamour/Anti-Glamour Chapter Two: Roland Barthes Looks at the Stars -- Towards “Visages et Figures,” and circa 1953 Excursus on the Face in Language -- Into the Movie Theater -- Ultra-Face Excursus on the Mask -- From Cult to Charm: Funny Face Chapter Three: Face-to-Face (with The Wrong Man) -- What Godard Saw -- What the Clerk Saw Excursus on Anthropometrics -- Not a Mirror, Not a Lamp Chapter Four: Pass/Fail: Screen Test, Apparatus, Subject -- The Antonioni Screen Test Excursus on the Portrait -- Outer and Inner Space, and the Pathos of Time -- Fail Better Chapter Five: In Reticence (Bresson) -- The Epidermal and the Written -- The Image Against the Face -- Not an Open Book, but a Door Ajar -- Postface: The Two-Shot: Inherent More info
Film : a montage of theories
N.Y.: Dutton, 1966.
Call No: 62 MAC Author: MacCann, Richard Dyer Edition: 1st ed Place: N.Y. Publisher: Dutton PubDate: 1966 PhysDes: 384 p. : movie stills ; 18 cm Subject: THEORY; AESTHETICS; DOCUMENTARIES; CINEMASCOPE; NEOREALISM; PUDOVKIN, VSEVELOD; CLAIR, RENE; HITCHCOCK, ALFRED; KNOX, ALEXANDER; NICHOLS, DUDLEY; BERGMAN, INGMAR; BALAZS, BELA; SENNETT, MACK; VORKAPICH, SLAVKO; RICHTER, HANS; Grierson, John; ZAVATTINI, CESARE; KRACAUER, SIEGFRIED; ROEMER, MICHAEL; BACHMANN, GIDEON; DREW, ROBERT; LEACOCK, RICHARD; PENNEBAKER, D. A.; DREYER, CARL TH.; VANDERBEEK, STAN; MEKAS, JONAS; KAEL, PAULINE; TRUFFAUT, FRANCOIS; Fellini, Federico ISBN: 0525471812 LON: 21441213 More info
Film: Book 1 : the audience and the filmmaker / edited by Robert Hughes
New York: Grove Press, 1959.
Call No: 62 FIL Author: Hughes, Robert Source: US Place: New York Publisher: Grove Press PubDate: 1959 PhysDes: v. : ill., ports ; 20 cm. Series: Evergreen Books E140 Subject: PERIODICALS, FILM; ART AND THE CINEMA; SPECTATORSHIP; ANDERSON, LINDSAY; BARDEM, JUAN ANTONIO; BUNUEL, LUIS; CLEMENT, RENE; MEYERS, SIDNEY; DREYER, CARL TH.; HENNING-JENSEN, BJARNE; KAZAN, ELIA; Lean, David; SATYAJIT, RAY; RENOIR, JEAN; FLAHERTY, ROBERT; Fellini, Federico; AGEE, JAMES; ZAVATTINI, CESARE; MEKAS, JONAS; MAN OF ARAN (UK, Robert Flaherty, 1934); ALL OF MY BABIES : A MIDWIFE'S OWN STORY (US, George Stoney, 1952) ISBN: 0195018346 More info
Film, form, and phantasy : Adrian Stokes and film aesthetics / Michael O'Pray
Houndmills, Basingstoke, Hampshire ; New York: Palgrave Macmillan, 2004.
Call No: 626 [159.964.2] OPR Author: O'Pray, Michael Source: US Place: Houndmills, Basingstoke, Hampshire ; New York Publisher: Palgrave Macmillan PubDate: 2004 PhysDes: xiv, 252 p. ; 23 cm Series: Language, Discourse, Society Subject: AESTHETICS; EXPRESSIONISM; B-MOVIES; PSYCHOANALYSIS AND THE CINEMA; MONTAGE; FORD, JOHN; HITCHCOCK, ALFRED; ROSSELLINI, ROBERTO; ANTONIONI, MICHELANGELO; DREYER, CARL TH. Summary: The critical writings of Adrian Stokes, based on the psychoanalyst Melanie Klein's innovative theories, were enormously influential on visual art and culture during his lifetime, but have rarely been applied to film. In this first major study of Stokes, his ideas and those of the philosopher Richard Wolheim are considered in relation to two central issues in current film theory - film as representation and as expression. Stokes fundamental distinction between carving and modelling which reflects Klein's own division in mental life between paranoid-schizoid and depressive positions is explored in relation to the traditional division in film theory between montage and realism. At the core of this study is the role of the Kleinian notion of phantasy in understanding film as an art form. To this end, the carving and modelling modes are applied to the films of Ford, Hitchcock, Rossellini, Antonioni, Dreyer, Eisenstein and American B movies. [ Taken from the back of the book.] Notes: Bibliography : p.237-245; Includes index Donation: donated by Senses of Cinema, 2009 More info
Film makers on film making : Statements on their art by thirty directors / Geduld, Harry M. (editor)
Harmondsworth: Penguin, 1967.
Call No: 802.25 FIL Place: Harmondsworth Publisher: Penguin PubDate: 1967 PhysDes: 18 cm; 303 p. Subject: AUTHORSHIP; LUMIERE, LOUIS; PORTER, EDWIN S.; SENNETT, MACK; GRIFFITH, DAVID WARK; FLAHERTY, ROBERT; CHAPLIN, CHARLES; VON STROHEIM, ERICH; VERTOV, DZIGA; DREYER, CARL TH.; HITCHCOCK, ALFRED; RICHARDSON, TONY; COCTEAU, JEAN; RESNAIS, ALAIN; ROBBE-GRILLET, ALAIN; BUNUEL, LUIS; BERGMAN, INGMAR; FELLINI, FEDERICO; VON STERNBERG, JOSEF; ANTONIONI, MICHELANGELO; LANG, FRITZ; WAJDA, ANDRZEJ; WELLES, ORSON; RAY, SARYAJIT; KUROSAWA AKIRA; ANDERSON, LINDSAY; LEAN, DAVID; RENOIR, JEAN; BARDEM, JUAN ANTONIO; ANGER, KENNETH Summary: Does the making of films – a group activity – permit anything that can be called self-expression? Can a director, as the conductor of an orchestra of writers, actors, cameramen and technicians, stamp his personal vision on the films he makes? This and related questions are raised by this collection of statements made by famous directors about their art. Harry Geguld’s anthology of “patristic writings” runs from the days (in 1895) when Louis Lumiere filmed a train entering a station, by way of Charlie Chaplin’s knockabout ad-libbing, to the sophisticated ruminations of Antonioni and Bergman and the ideas behind the nouvelle vague. Here is D.W. Griffith’s scouting the very idea of talking pictures; Mack Sennett on custard pies; Eisenstein on three-dimensional film; Cocteau on the raw materials of illusion; Kurosawa on filming in Japan; Hitchcock on the macabre; and some other twenty leading directors on aspects of their work. In his introduction, Harry Geguld assesses the unique characteristics of motion pictures and comments refreshingly on the eternal controversy of “book into film”. [Taken from back cover.] ID2: 291 More info
The films of Carl-Theodor Dreyer / David Bordwell
Berkley: University of California Press, c1981.
Call No: 81DRE BOR Author: Bordwell, David Source: US Place: Berkley Publisher: University of California Press PubDate: c1981 PhysDes: 251 p. : ill., ports. ; 26 cm Subject: DREYER, CARL TH.; PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); VAMPYR : DER TRAUM DES ALLEN GRAY (G/FR, Carl Th. Dreyer, 1932); VREDENS DAG (DK, Carl Th. Dreyer, 1943); ORDET (DK, Carl Th. Dreyer, 1955); GERTRUD (DK, Carl Theodor Dreyer, 1964); AESTHETICS; STRUCTURALISM; NARRATIVE IN FILMS Summary: Includes index.
Bibliography: p. 242-248.
Filmography: p. 202-227 ISBN: 0520039874 Language: English More info
Great film directors : a critical anthology / edited by Leo Braudy and Morris Dickstein
New York: Oxford University Press, 1978.
Call No: 802.25 GRE Author: Dickstein, Morris; Braudy, Leo Place: New York Publisher: Oxford University Press PubDate: 1978 PhysDes: xi, 778 p. ; 23 cm Subject: ANTONIONI, MICHELANGELO; BERGMAN, INGMAR; BRESSON, ROBERT; BUNUEL, LUIS; CAPRA, FRANK; CHAPLIN, CHARLES; DREYER, CARL TH.; FELLINI, FEDERICO; FLAHERTY, ROBERT; FORD, JOHN; GODARD, JEAN-LUC; GRIFFITH, DAVID WARK; HAWKS, HOWARD; HITCHCOCK, ALFRED; KEATON, BUSTER; KUROSAWA AKIRA; LANG, FRITZ; RENOIR, JEAN; ROSSELLINI, ROBERTO; VON STERNBERG, JOSEF; TRUFFAUT, FRANCOIS; WELLES, ORSON Notes: Includes bibliographical references ISBN: 0195023129 : $7.50 LON: 952629 ID2: 291 More info
A history of films / John Fell
New York: Holt, Rinehart and Winston, 1979.
Call No: 70 FEL Author: Fell, John Source: US Place: New York Publisher: Holt, Rinehart and Winston PubDate: 1979 PhysDes: 588 p. : ill. ; 23 cm Subject: HISTORY AND THE CINEMA; PRODUCTION; ALEXANDROV, GROGORIO; ANTONIONI, MICHELANGELO; BRECHT, BERTHOLD; CAPRA, FRANK; CHAPLIN, CHARLES; DE SICA, VITTORIO; COCTEAU, JEAN; DEMILLE, CECIL B.; DREYER, CARL TH.; DISNEY, WALT; DOVZENKO, ALEKSANDR; EPSTEIN, JEAN; FELLINI, FEDERICO; FRANJU, GEORGES; LANG, FRITZ; MURNAU, FRIEDRICH WILHEL; Pasolini, Pier Paolo; PAUL, ROBERT; PORTER, EDWIN S.; PUDOVKIN, VSEVELOD; RENOIR, JEAN; RESNAIS, ALAIN; ROSSELLINI, ROBERTO; THALBERG, IRVING; TRUFFAUT, FRANCOIS; VERTOV, DZIGA; VIGO, JEAN; VISCONTI, LUCHINO; ZAVATTINI, CESARE; WELLES, ORSON; WYLER, WILLIAM; ZUKOR, ADOLPH; L'AGE D'OR (FR, Luis Bruñell, 1930); L'ATALANTE (FR, Jean Vigo, 1930); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); BALLET MÉCANIQUE (FR, Fernand Lèger && Dudley Murphy,1934); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); CABINET DES DR. CALIGARI, DAS (G, Robert Wiene, 1920); METROPOLIS (G, Fritz Lang, 1926); SANG D'UN POETE, LE (FR, Jean Cocteau, 1932) Notes: Bibliography: p.546-548
Includes index ISBN: 0030363160 Donation: donated by the family of Wayne Levy, 2006 More info
Life to those shadows / by Noe¨l Burch ; translated and edited by Ben Brewster
Berkeley: University of California Press, 1990.
Call No: 62 BUR Author: Burch, Noe¨l; Brewster, Ben Source: US Place: Berkeley Publisher: University of California Press PubDate: 1990 PhysDes: 317 pages : illustrations ; 23 cm Subject: THEORY; BURCH, NOEL; HISTORY OF CINEMA. SILENT PERIOD; BIOGRAPH; LUMIERE, LOUIS; DEMILLE, CECIL B.; DREYER, CARL TH.; DOCUMENTARIES; DICKSON, W. K. L.; EDISON, THOMAS ALVA; GANCE, ABEL; GORKY, MAXIM; GRIFFITH, DAVID WARK; GUY-BLACHE, ALICE; HEPWORTH, CECIL; PATHE; PORTER, EDWIN S.; VITAGRAPH; ZECCA, FERDINAND Summary: "Noel Burch's new book is a critique of the assumptions underlying 'classical' approaches to film history: the assumption that what we call the language of film was a natural, organic development, that it lay latent from the outset in the basic technology of the camera, waiting for the prescient pioneers to bring it into being; and the assumption that this language was a unversal, neutral medium, innocent of any social or historical meaning in itself. His major thesis is that, on the contrary, film language has a social and economic history, that it evolved in the way it did because of when and where it was constructed - in the capitalist and imperialist west between 1892 and 1929. The book examines the chronology of the emergence of what it defines as cinema's Institutional Mode of Representation and the socio-historical circumstances in which this took place. It examines the principles of visualisation - camera placement and movement, lighting, editing, mise-en-scene - that film-makers and audiences came to internalize over the first three decades. Special emphasis is laid on the all-important change that occurred in the imaginary placing of the spectator, from a position of exteriority to the film image, implicit in both film-form and viewing conditions during the primitive era (pre-1909), to the imaginary centering of the spectator-subject, completed only with the generalisation of lip-synch sound after 1929. It is the contention of this book that this imaginary centering of a sensorily isolated spectator is the keystone of the cinematic illustion of reality, still achieved today by the same means as it was sixty years ago." - taken from back cover Notes: Revised versions of papers written 1976-1981, some of which have appeared in English and French magazines -- Includes bibliographical references (p. 274-283) and index -- Filmography: p. 284-305. ISBN: 0520071441 Contents: Introduction -- Charles Baudelaire versus Doctor Frankenstein -- Life to Those Shadows -- The Wrong Side of the Tracks -- Those Gentlemen of the Lantern and the Parade -- Business is Business: An Invisible Audience -- Passions and Chases-A Certain Linearisation -- Building a Haptic Space -- A Primitive Mode of Representation? -- The Motionless Voyage: Constitution of The Ubiquitous Subject -- Beyond the Peephole, the Logos -- Narrative, Diegesis: Thresholds, Limits -- Conclusion -- Bibliography -- Filmography -- Index More info
Modernist montage : the obscurity of vision in cinema and literature / P. Adams Sitney
New York: Columbia University Press, 1990.
Call No: 771 SIT Author: Sitney, P. Adams Source: US Place: New York Publisher: Columbia University Press PubDate: 1990 PhysDes: x, 250 pages,  pages of plates : illustrations ; 24 cm Subject: MODERNISM AND THE CINEMA; SURREALISM AND THE CINEMA; USSR; DREYER, CARL TH.; BRESSON, ROBERT; POETRY AND THE CINEMA; PERSONA (SW, Ingmar Bergman, 1966) Summary: "P. Adams Sitney's Modernist Montage traces a history of modernism in cinema and provides compelling readings of a wide range of classic films made between 1925 and 1980 by such filmmakers as Carl Dreyer, Robert Bresson, Ingmar Bergman, and Stan Brakhage. In this provocative investigation, Sitney explores various theories of vision by examining the sometimes neglected texts of Maurice Blanchot, Charles Olson, and Gertrude Stein and by offering a bold interpretation of the relationship between literature and film." - taken from back cover Notes: Includes bibliographical references (p. 239-246) and index. ISBN: 0231071833 Contents: 1. The Instant of Love: Image and Title in Surrealist Cinema -- 2. Revolutionary Time: Image and Title in Soviet Cinema -- 3. Moments of Revelation: Dreyer's Anachronistic Modernity -- 4. Cinematography vs. the Cinema: Bresson's Figures -- 5. The Recit and the Figure: Blanchot's Au moment voulu -- 6. Saying "Nothing": Persona as an Allegory of Psychoanalysis -- 7. The Sentiment of Doing Nothing: Stein's Autobiographies -- 8. Out via Nothing: Olson's Genealogy of the Proper Poem -- 9. Whoever Sees God Dies: Cinematic Epiphanies -- 10. Theology vs. Psychoanalysis: Landow's Wit More info
Om filmen : artikler og interviews / Udg. av Erik Ulrichsen
Copenhagen: Gyldendal, 1964.
Call No: 81DRE URL Author: Dreayer, Carl Th. Source: DK Place: Copenhagen Publisher: Gyldendal PubDate: 1964 PhysDes: 131,  l., : illus. ; 19 cm. Subject: DREYER, CARL TH. Notes: Bibliographical references Language: Danish More info
Cinema des pays nordiques. English : a survey of the films and film-makers of Denmark, Finland, Iceland, Norway, and Sweden / by Peter Cowie in collaboration with Francoise Buquet, Risto-Mikael PitkFanen, and Godfried Talboom
London Hollywood: Tantivy Press on behalf of "Scandinavian Films" Distributed in the United States by Samuel French Trade, c1992.
Call No: 71(48) COW Author: Cowie, Peter CorpAuthor: Scandinavian Films Place: London Hollywood Publisher: Tantivy Press on behalf of "Scandinavian Films" Distributed in the United States by Samuel French Trade PubDate: c1992 PhysDes: 288 p. : ill, ports. ; 24 cm Subject: SCANDINAVIAN COUNTRIES; DENMARK; FINLAND; ICELAND; NORWAY; SWEDEN; BERGMAN, INGMAR; DREYER, CARL TH. Notes: "Originally published in French in the series CinGema/pluriel"--T.p. verso; Includes filmographies; Includes bibliographical references (p. 283-284) and index ISBN: 0573699119 : $24.95 LON: 9729347 More info
Slow cinema / edited by Tiago de Luca and Nuno Barradas Jorge
Edinburgh: Edinburgh University Press, 2016.
Call No: 631.11 SLO Author: de Luca, Tiago; Jorge, Nuno Barradas Edition: 2016 Place: Edinburgh Publisher: Edinburgh University Press PubDate: 2016 PhysDes: xx, 332 pages ; illustrated : 24 cm Subject: TIME IN FILMS; DREYER, CARL TH.; STRAUB, JEAN-MARIE; HUILLET, DANIELE; MING-LIANG, TSAI; WEERASETHAKUL, APICHATPONG; KIAROSTAMI, ABBAS; TARR, BELA; BENNING, JAMES; WARHOL, ANDY; SNOW, MICHAEL; CONRAD, TONY; INNOCENCE (FR, Lucile Hadzihalilovic, 2004); MEEK'S CUTOFF (US, Kelly Reichardt, 2011); JAPON (MX/GG/NE/SP, Carlos Reygadas, 2002) Summary: In the context of a frantic world that celebrates instantaneity and speed, a number of cinemas steeped in contemplation, silence and duration have garnered significant critical attention in recent years, thus resonating with a larger sociocultural movement whose aim is to rescue extended temporal structures from the accelerated tempo of late-capitalism. Although not part of a structured film movement, directors such as Carlos Reygadas, Tsai Ming-liang, Béla Tarr, Pedro Costa and Kelly Reichardt have been largely subsumed under the term ‘slow cinema’. But what exactly is slow cinema? Is it a strictly recent phenomenon or an overarching cinematic tradition? And how exactly do slow cinemas interrelate on an aesthetic, technical and political level?
Deploying the concept of slowness as an umbrella category under which filmmakers and traditions from different historical and geographical backgrounds can fruitfully converge, this innovative collection of essays interrogates and expands the frameworks that have generally informed slow cinema debates. Repositioning the term in a broader theoretical space, the book combines an array of fine-grained studies that will provide valuable insight into the notion of slowness in the cinema, while mapping out past and contemporary slow films across the globe. -- publisher's web site ISBN: 9780748696048 Contents: Table Of Contents -- Illustrations -- Foreword / Julian Stringer -- Introduction: From Slow Cinema to Slow Cinemas / Tiago De Luca & Nuno Barradas Jorge -- Part I: Historicising Slow Cinema -- 1: The Politics of Slowness and the Traps of Modernity / Lúcia Nagib -- 2: The Slow Pulse of the Era: Carl Th. Dreyer’s Film Style / C. Claire Thomson -- 3: The First Durational Cinema and the Real of Time / Michael Walsh -- 4: ‘The Attitude of Smoking and Observing’: Slow Film and Politics in the Cinema Of Jean-Marie Straub and Danièle Huillet / Martin Brady -- Part II: Contextualising Slow Cinema -- 5: Temporal Aesthetics of Drifting: Tsai Ming-Liang and a Cinema of Slowness / Song Hwee Lim -- 6: Stills and Stillness in Apichatpong Weerasethakul’s Cinema / Glyn Davis -- 7: Melancholia: The Long, Slow Cinema of Lav Diaz / William Brown -- 8: Exhausted Drift: Austerity, Dispossession and the Politics of Slow in Kelly Reichardt’s Meek’s Cutoff / Elena Gorfinkel -- 9: If These Walls Could Speak: From Slowness to Stillness in the Cinema of Jia Zhangke / Cecília Mello -- Part III: Slow Cinema And Labour -- 10: Wastrels of Time: Slow Cinema’s Labouring Body, The Political Spectator, and the Queer / Karl Schoonover -- 11: Living Daily, Working Slowly: Pedro Costa’s in Vanda’s Room / Nuno Barradas Jorge -- 12: Working/Slow: Cinematic Style as Labour in Wang Bing’s Tie Xi Qu: West Of The Tracks / Patrick Brian Smith -- 13: ‘Slow Sounds’: Duration, Audition and Labour in Liu Jiayin’s Oxhide and Oxhide II / Philippa Lovatt -- Part IV: Slow Cinema and the Nonhuman -- 14: It’s About Time: Slow Aesthetics in Experimental Ecocinema and Nature Cam Videos / Stephanie Lam -- 15: Natural Views: Animals, Contingency and Death in Carlos Reygadas’s Japón and Lisandro Alonso’s Los Muertos / Tiago de Luca -- 16: The Sleeping Spectator: Nonhuman Aesthetics in Abbas Kiarostami’s Five: Dedicated to Ozu / Justin Remes -- Part V: The Ethics and Politics of Slowness -- 17: Béla Tarr: The Poetics and the Politics of Fiction / Jacques Rancière -- 18: Ethics of the Landscape Shot: A.K.A Serial Killer and James Benning's Portraits of Criminals / Julian Ross -- 19: Slow Cinema and the Ethics of Duration / Asbjørn Grønstad -- Part VI: Beyond ‘Slow Cinema’ -- 20: Performing Evolution: Immersion / Unfolding and Lucile Hadžihalilovic’s Innocence / Matilda Mroz -- 21: The Slow Road to Europe: The Politics and Aesthetics of Stalled Mobility in Hermakono and Morgen / Michael Gott -- 22: Crystallising the Past: Slow Heritage Cinema / Rob Stone and Paul Cooke More info
Theory of film : the redemption of physical reality / Siegfried Kracauer
New York: Oxford University Press, 1965.
Call No: 62 KRA Author: Kracauer, Siegfried Place: New York Publisher: Oxford University Press PubDate: 1965 PhysDes: xix, 364 p. ill., 20 cm. Subject: ACTORS; ADAPTATIONS; EXPERIMENTAL FILMS; THEORY; AGEE, JAMES; ALEXANDROV, GROGORIJ; ANGER, KENNETH; ANSTEY, EDGAR; ARNHEIM, RUDOLF; ASTAIRE, FRED; BALAZS, BELA; BENJAMIN, WALTER; BERGMAN, INGMAR; BOGART, HUMPHREY; BRAKHAGE, STAN; BRANDO, MARLON; BUNUEL, LUIS; CAGNEY, JAMES; CAPRA, FRANK; CASTELLANI, RENATO; CAVALCANTI, ALBERTO; CHANEY, LON; CHAPLIN, CHARLES; CLAIR, RENE; CLEMENT, RENE; CLOUZOT, HENRI-GEORGES; COCTEAU, JEAN; DALI, SALVADOR; DE FILIPPO, EDUARDO; DEMILLE, CECIL B.; DE SICA, VITTORIO; DISNEY, WALT; DOVZENKO, ALEKSANDR; DREYER, CARL TH.; DUCHAMP, MARCEL; DUVIVIER, JULIEN; ELTON, ARTHUR; ENGEL, MORRIS; EPSTEIN, JEAN; FELLINI, FEDERICO; FEUILLADE, LOUIS; FEYDER, JACQUES; FISCHINGER, OSKAR; FLAHERTY, ROBERT; FORD, JOHN; FRANJU, GEORGES; FREUD, SIGMUND; GANCE, ABEL; GARNETT, GALE; GIDE, ANDRE; GREENE, GRAHAM; GRIERSON, JOHN; GRIFFITH, DAVID WARK; GRIFFITHS, RICHARD; GUITRY, SACHA; HARRINGTON, CURTIS; HILL, DAVID; HITCHCOCK, ALFRED; WACHSFIGURENKABINETT, DAS (G, Paul Leni, 1924); SMULTRONSTALLET (SW, Ingmar Bergman, 1957); VITELLONI, I (IT, Federico Fellini, 1953); VAMPYR : DER TRAUM DES ALLEN GRAY (G/FR, Carl Th. Dreyer, 1932); VARIETE (G, E.A. Dupont, 1925); VALLEY TOWN - A STUDY OF MACHINES AND MEN (US, Willard Van Dyke, 1940); UMBERTO D. (IT, Vittorio De Sica, 1952); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); THIRD MAN, THE (UK, Carol Reed, 1949); OKTIABR (UR, Sergei M. Eisenstein, 1928); TEN COMMANDMENTS, THE (US, Cecil B. DeMille, 1956); SYMPHONIE PASTORALE, LA (FR, Jean Delannoy, 1946); SWING TIME (US, George Stevens, 1936); STRADA, LA (IT, Federico Fellini, 1954); ROMAN D'UN TRICHEUR, LE (FR, Sacha Guitry, 1936); MATTER OF LIFE AND DEATH, A (UK, Michael Powell & Emeric Pressburger, 1946); SPIONE (G, Fritz Lang, 1928); SPELLBOUND (US, Alfred Hitchcock, 1945); SOUS LES TOITS DE PARIS (FR, Rene Clair, 1930); SNOW WHITE AND THE SEVEN DWARFS (US, David Hand, 1937); SMILING LIEUTENANT, THE (US, Ernst Lubitsch, 1931); SHANE (US, George Stevens, 1953); SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957); GEHEIMNISSE EINER SEELE (G, Georg Wilhelm Pabst, 1926); SCARFACE (US, Howard Hawks, 1932); SANG DES BETES, LE (FR, Georges Franju,1949); SAN FRANCISCO (US, W.S. Van Dyke, 1936); ROUE, LA (FR, Abel Gance, 1922); ROMEO I DZULETTA (UR, Lev Arnstam & Leonid Lavrovskij, 1954); RICHARD III (UK, Laurence Olivier, 1955); REGLE DU JEU, LA (FR, Jean Renoir, 1939); RED SHOES, THE (UK, Michael Powell & Emeric Pressburger, 1948); RASHOMON (JA, Akira Kurosawa, 1950); REGEN (NE, Joris Ivens, 1929); PYGMALION (UK, Anthony Asquith & Leslie Howard, 1938); PLACE IN THE SUN, A (US, George Stevens, 1951); PATHER PANCHALI (II, Satyajit Ray, 1955); PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); PARIS 1900 (FR, Nicole Vedres, 1948); PARADINE CASE, THE (US, Alfred Hitchcock, 1947); OTELLO (UR, Sergej Jutkevic, 1956); ON THE WATERFRONT (US, Elia Kazan, 1954); OLVIDADOS, LOS (MX, Luis Bunuel, 1951); OF MEN AND MUSIC (US, Irving Reis, 1950); NOSFERATU - EINE SYMPHONIE DES GRAUENS (G, Friedrich Wilhelm Murnau, 1922); NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936); NIGHT AT THE OPERA, A (US, Sam Wood, 1935); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); MOULIN ROUGE (UK, E.A. Dupont, 1928); MONSIEUR VERDOUX (US, Charles Chaplin, 1947); MODERN TIMES (US, Charles Chaplin, 1936); MOBY DICK (UK, John Huston, 1956); MOANA (US, Robert Flaherty, 1926); MILLION, LE (FR, Rene Clair, 1931); METROPOLIS (GG, Fritz Lang, 1927); MESHES OF THE AFTERNOON (US, Maya Deren & Alexander Hammid, 1943); MENSCHEN AM SONNTAG (G, Robert Siodmak & Edgar G. Ulmer, 1929); MARTY (US, Delbert Mann, 1954); MAN WHO KNEW TOO MUCH, THE (UK, Alfred Hitchcock, 1936); MAJOR BARBARA (UK, Gabriel Pascal, 1941); MADAME BOVARY (FR, Claude Chabrol, 1991); MACBETH (US, Orson Welles, 1948); M (G, Fritz Lang, 1931); LOVE PARADE, THE (US, Ernst Lubitsch, 1929); LIMELIGHT (US, Charles Chaplin, 1952); LIFEBOAT (US, Alfred Hitchcock, 1944); OSTATNI ETAP (PL, Wanda Jakubowska, 1948); LADY IN THE LAKE (US, Robert Montgomery, 1946); KID, THE (US, Charles Chaplin, 1921); JULIUS CAESAR (US, Joseph L. Mankiewicz, 1953); JAZZ SINGER, THE (US, Alan Crosland, 1927); IVAN GROZNY [IVAN THE TERRIBLE] (UR, Sergei Eisenstein, pt.1:1945, pt.2:1958[prod.1946]); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); INVISIBLE MAN, THE (US, James Whale, 1933); INTOLERANCE (US, David Wark Griffith, 1916); HUMAN DESIRE (US, Fritz Lang, 1954); HOUSING PROBLEMS (UK, Edgar Anstey & Arthur Elton, 1935); HOTEL DES INVALIDES (FR, Georges Franju, 1952); HIGH NOON (US, Fred Zinnemann, 1952); HENRY V (UK, Laurence Olivier, 1944); HEIRESS, THE (US, William Wyler, 1949); HATFUL OF RAIN, A (US, Fred Zinnemann, 1957); HAMLET (UK, Laurence Olivier, 1948); HALLELUJAH! (US, King Vidor, 1929); GREED (US, Erich von Stroheim, 1925); GREAT EXPECTATIONS (UK, David Lean, 1946); GRAPES OF WRATH, THE (US, John Ford, 1940); GRANDE ILLUSION, LA (FR, Jean Renoir, 1937); GOLD RUSH, THE (US, Charles Chaplin, 1925); ORO DI NAPOLI, L' (IT, Vittorio De Sica, 1954); GOLD OF NAPLES (IT, Vittorio De Sica, 1954); GLASS MENAGERIE, THE (US, Irving Rapper, 1950); VORMITTAGSSPUK (G, Hans Richter, 1928); GHOST GOES WEST, THE (UK, Rene Clair, 1935); GHOST AND MRS. MUIR, THE (US, Joseph L. Mankiewicz, 1947); GERVAISE (FR, Rene Clement, 1956); JIGOKUMON (JA, Teinosuke kinugasa, 1953); FURY (US, Fritz Lang, 1936); FOUR HORSEMEN OF THE APOCALYPSE, THE (US, Vincente Minnelli, 1962); FARREBIQUE (FR, Georges Rouquier, 1945); FANTASIA (US, Walt Disney, 1940); ZEMLJA (UR, Alexksandr Dovzenko, 1930); JOURNAL D'UN CURE DE CAMPAGNE (FR, Robert Bresson, 1951); DESTRY RIDES AGAIN (US, George Marshall, 1939); MUDE TOD, DER (G, Fritz Lang, 1921); DEATH OF A SALESMAN (US, Laslo Benedek, 1951); DEAD OF NIGHT (UK, Alberto Cavalcanti & Charles Crichton & Basil Dearden & Robert Hamer, 1945); CONDAMNE A MORT S`EST ECHAPPE, UN (FR, Robert Bresson, 1956); CITY LIGHTS (US, Charles Chaplin, 1931); CITIZEN KANE (US, Orson Welles, 1941); CINDERELLA (US, Wilfred Jackson & Hamilton Laske & Clyde Geronomi, 1950); CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928); BROKEN BLOSSOMS (US, David Wark Griffith, 1919); BROADWAY MELODY OF 1938 (US, Norman Taurog, 1940); BRIEF ENCOUNTER (UK, David Lean, 1945); BOOMERANG (US, Elia Kazan, 1947); SANG D'UN POETE, LE (FR, Jean Cocteau, 1932); BLACKMAIL (UK, Alfred Hitchcock, 1929); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); LADRI DI BICICLETTE (IT, Vittorio De Sica, 1949); BEZZERIDES, A.I.; BEN HUR (US, Fred Niblo, 1925); BAMBI (US, David Hand, 1942); BALLET MECANIQUE, LE (FR, Fernand Leger, 1924); BACK STREET (US, John M. Stahl, 1932); ATALANTE, L' (FR, Jean Vigo, 1934); A PROPOS DE NICE (FR, Jean Vigo, 1930); APARAJITO (II, Satyajit Ray, 1957); ANNA CHRISTIE (US, Clarence Brown, 1930); ANATOMY OF A MURDER (US, Otto Preminger, 1959); AMERICAN TRAGEDY, AN (Josef von Sternberg, 1931); ALEKSANDR NEVSKI (UR, Sergei M. Eisenstein, 1938); BROADWAY MELODY, THE (US, Harry Beaumont, 1929); LETZIE MANN, DER (G, Friedrich Wilhelm Murnau, 1924) Notes: Frist published 1960; Previously published as: Nature of films. England : Dobson ;1965; Includes bilbiograpy: p. 351-364; Includes index URL status: URL: 'http://-'
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Transcendental style in film: Ozu, Bresson, Dreyer
Berkeley: University of California Press, 1972.
Call No: 802.25 SCH Author: Schrader, Paul, 1946 Place: Berkeley Publisher: University of California Press PubDate: 1972 PhysDes: 194 p. illus. 24 cm Subject: OZU YASUJIRO; BRESSON, ROBERT; DREYER, CARL TH.; JOURNAL D'UN CURE DE CAMPAGNE (FR, Robert Bresson, 1951); PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); ORDET (DK, Carl Th. Dreyer, 1955); PICKPOCKET (FR, Robert Bresson, 1959); PROCES DE JEANNE D'ARC, LE (FR, Robert Bresson, 1962) Notes: Bibliography: p. -187 ISBN: 0520020383 LON: 543935 ID2: 291 More info
London: British Film Institute, 2005.
Call No: 79VAM RUD Author: Rudkin David Place: London Publisher: British Film Institute PubDate: 2005 PhysDes: 19 cm ; 74 pp Series: BFI Film Classics Subject: VAMPYR : DER TRAUM DES ALLEN GRAY (G/FR, Carl Th. Dreyer, 1932); DREYER, CARL TH.; HORROR FILMS Summary: Vampyr Der Traum des Allan Gray (1932) is one of the founding and defining works of psychological horror cinema, adapted from Gothic stories by Sheridan Le Fanu, a disturbing narrative of vampirism, obsession and possession of the soul. But it is also a film directed by Carl Theodor Dreyer, the revered and legendary Danish director of La Passion de Jeanne D'Arc (1927). Shot in France with private money and a largely non-professional cast and primitive sound equipment, Vampyr is to some extent a ruin. There is no definitive print and English versions are marred by poor image quality and subtitles. And yet it is unquestionably extraordinary, a vivid and haunting manifestation of Dreyer's power to make visible on the screen the inner human state, and to convey a dreamlike imagery of textures of nature amidst which transient, solitary human figures pass, some illuminated by an inner lgiht, others threatened by a malign or demonic presence. [Taken from back cover] ISBN: 1844570738 More info