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At the end of the street in the shadow : Orson Welles and the city / Matthew Asprey Gear New York: Wallflower Press, 2016.
Call No: 81WEL GEAAuthor: Gear, Matthew Asprey Source: USPlace: New YorkPublisher: Wallflower PressPubDate: 2016PhysDes: ix, 292 pages ; 24 cmSubject: EXPRESSIONISM ; FASCISM AND THE CINEMA ; WELLES, ORSON ; MAGNIFICENT AMBERSONS, THE (US, Orson Welles, 1942) ; MR. ARKADIN (FR/SP/IT, Orson Welles, 1955) ; CITIZEN KANE (US, Orson Welles, 1941) Summary: "The films of Orson Welles inhabit the spaces of cities -- from America's industrializing midlandto its noirish borderlands, from Europe's medieval fortresses to its Kafkaesque labyrinths and postwar rubblescapes. His movies take us through dark streets to confront nightmarish struggles for power, the carnivalesque and bizarre, and the shadows and light of human character. This ambitious new study explores Welles's vision of cities by following recurring themes across his work, including urban transformation, race relations and fascism, the utopian promise of cosmopolitanism, and romantic nostalgia for archaic forms of urban culture. It focuses on the personal and political foundation of Welles's cinematic cities -- the way he invents urban spaces on film to serve his dramatic, thematic, and ideological purposes. The book's critical scope draws on extensive research in international archives and builds on the work of previous scholars." -- BOOK BLURBNotes: Includes bibliographical references and indexISBN: 9780231173414Donation: donated by Senses of Cinema
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The cinema book / edited by Pam Cook and Mieke Bernink London: British Film Institute, 1999.
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The cinematic imagination : writers and the motion pictures / by Edward Murray New York: Frederick Ungar Publishing Co., 1972.
Call No: 753.1 MURAuthor: Murray, Edward Source: USPlace: New YorkPublisher: Frederick Ungar Publishing Co.PubDate: 1972PhysDes: xi, 330 p. ; 22cm.Subject: ADAPTATIONS. BECKETT, SAMUEL ; ADAPTATIONS. HEMINGWAY, ERNEST ; ADAPTATIONS. MILLER, ARTHUR ; ADAPTATIONS. O'NEILL, EUGENE ; ADAPTATIONS. STEINBECK, JOHN ; ADAPTATIONS. WILLIAMS, TENNESSEE ; ADAPTATIONS. WOOLF, VIRGINIA ; EXPRESSIONISM ; LITERATURE AND THE CINEMA ; THEATRE AND THE CINEMA ; BRECHT, BERTOLT ; EISENSTEIN, SERGEI M. ; FAULKNER, WILLIAM ; FITZGERALD, F. SCOTT ; GREENE, GRAHAM ; AMERICAN TRAGEDY, AN (Josef von Sternberg, 1931) ; ANNA CHRISTIE (US, Clarence Brown, 1930) ; CAT ON A HOT TIN ROOF (US, Richard Brooks, 1958) ; DEATH OF A SALESMAN (US, Laslo Benedek, 1951) ; END OF THE AFFAIR, THE (UK, Neil Jordan, 1999) ; SOUND AND THE FURY, THE (US, Martin Ritt, 1959) Summary: An exploration of the relationships between cinema, theatre and literature. While the book does discuss adaptation, it also discusses the influence that cinema has had on drama and novels.Notes: Includes bibliographic detailsISBN: 0804426430
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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: LondonPublisher: Fairleigh Dickinson University PressPhysDes: 274 p. ; illus. ; 24 cmSeries: Fairleigh Dickinson University Press series in communication studiesSubject: 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 blurbISBN: 9781611479447
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Contemporary cinema / John Orr Edinburgh: Edinburgh University Press, c1998.
Call No: 62 ORRAuthor: Orr, John, 1943 Place: EdinburghPublisher: Edinburgh University PressPubDate: c1998PhysDes: xi,243 p. : ill. ; 24 cmSubject: CANADA ; CHINA ; MASCULINITY IN FILMS ; RELIGION AND THE CINEMA ; COMMUNISM AND THE CINEMA ; DOUBLES IN FILMS ; EXPRESSIONISM ; FILM NOIR ; HONG KONG ; POLAND ; PSYCHOLOGY AND THE CINEMA ; SEX IN FILMS ; SURREALISM AND THE CINEMA ; ALLEN, WOODY ; ALTMAN, ROBERT ; ANTONIONI, MICHELANGELO ; BEATTY, WARREN ; BELMONDO, JEAN-PAUL ; BERGMAN, INGMAR ; BINOCHE, JULIETTE ; BONNAIRE, SANDRINE ; BURTON, TIM ; CAGE, NICOLAS ; CAMPION, JANE ; CHABROL, CLAUDE ; CHEUNG, LESLIE ; COPPOLA, FRANCIS FORD ; COSTNER, KEVIN ; CRONENBERG, DAVID ; DAHL, JOHN ; DE NIRO, ROBERT ; DE PALMA, BRIAN ; DERN, LAURA ; EGOYAN, ATOM ; FIGGIS, MIKE ; GERE, RICHARD ; GONG, LI ; GREENAWAY, PETER ; HAUER, RUTGER ; JAMESON, FREDRIC ; KIESLOWSKI, KRZYSZTOF ; LYNCH, DAVID ; MALICK, TERRENCE ; Pasolini, Pier Paolo ; ROSSELLINI, ISABELLA ; SCORSESE, MARTIN ; SCOTT, RIDLEY ; STONE, OLIVER ; TRAN, ANH HUNG ; WEIR, PETER ; Wenders, Wim ; WONG KAR-WAI ; YOUNG, SEAN ; ZHANG, YIMOU ; ANDERSSON, BIBI ; AUDRAN, STEPHANE ; DUVALL, SHELLY ; GIDLEY, PAMELA ; JANDA, KRYSTYNA ; KANESHIRO, TANESHI ; LEUNG, TONY ; LIN, BRIGITTE ; KROTKI FILM O MILOSCI (PL, Krzysztof Kieslowski, 1988) ; KILL ME AGAIN (US, John Dahl, 1989) ; AH FEI ZHENG ZHUANG (HK, Wong Kar-Wei, 1991) ; HIMMEL UBER BERLIN, DER (GW/FR, Wim Wenders, 1987) ; ADJUSTER, THE (CN, Atom Egoyan, 1991) ; BELLE NOISEUSE, LA (FR, Jacques Rivette, 1991) ; BLADE RUNNER (US, Ridley Scott, 1982) ; BLOWUP (UK/IT, Michelangelo Antonioni, 1966) ; CHINATOWN (US, Roman Polanski, 1974) ; COOK, THE THIEF, HIS WIFE & HER LOVER, THE (NE/FR, Peter Greenaway, 1989) ; DAYS OF HEAVEN (US, Terrence Malick, 1978) ; JFK (US, Oliver Stone, 1991) ; LAST SEDUCTION, THE (US, John Dahl, 1994) ; LIEBESTRAUM (US, Mike Figgis, 1991) ; MCCABE AND MRS MILLER (US, Robert Altman, 1971) ; CZLOWIEK Z MARMURA (PL, Andrzej Wajda, 1977) ; ONE FALSE MOVE (US, Carl Franklin, 1991) ; PERSONA (SW, Ingmar Bergman, 1966) ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; RAGING BULL (US, Martin Scorsese, 1980) ; DAHONG DENGLONG GAOGAO GUA (CC/HK/TZ, Zhang Yimou, 1991) ; DESERTO ROSSO, IL (IT/FR, Michelangelo Antonioni, 1964) ; SHINING, THE (UK, Stanley Kubrick, 1980) ; STALKER (UR, Andrei Tarkovsky, 1979) ; TROIS COULEURS: BLEU (FR, Krzysztof Kieslowski, 1993) ; TWIN PEAKS: FIRE WALK WITH ME (US, David Lynch, 1992) ; WILD AT HEART (US, David Lynch, 1990) ; XICH LO (FR/V, Tran Anh Hung, 1995) Summary: "'Contemporary cinema' is a major study of key developments in the cinema over the last thirty years. It reworks Pasolini's landmark concept of 'the cinema of poetry' to look at the transformation of film form in its encounter with society, the sacred, the subjective and the presence of the camera. In the 1970s, the influential forms of a cinema of poetry are analysed in key features by Altman, Herzog, Malick, Scorsese, Weir, Von Trotta and Tarkovsky while in the 1980s and 1990s the emergence of new filmmakers has meant a diffusion of different cinemas of poetry using new techniques and new poetries. Of key importance here is the work of Kieslowski, Lynch, Egoyan, Campion, Greenaway, Zhang Yimou, Tran Anh Hung and Wong Kar-Wai, as well as the reinvention of science fiction and film noir in American genre."
Taken from back cover.Notes: Includes bibliographical references and indexISBN: 0748608362(pbk.) : No priceLON: 13772409ID2: 291
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The dark side of the screen : film noir / Foster Hirsch San Diego London: A. S. Barnes Tantivy Press, 1981.
Call No: 734 HIRAuthor: Hirsch, Foster Edition: 1st edPlace: San Diego LondonPublisher: A. S. Barnes Tantivy PressPubDate: 1981PhysDes: 229 p. : ill. ; 29 cmSubject: FILM NOIR ; BAD GUYS ; EXPRESSIONISM ; WOMEN IN FILMS ; BOGART, HUMPHREY ; CHANDLER, RAYMOND ; DASSIN, JULES ; HITCHCOCK, ALFRED ; LANG, FRITZ ; HAMMETT, DASHIELL ; MURDER MY SWEET (US, Edward Dmytryk, 1945) ; SORRY, WRONG NUMBER (US, Anatole Litvak, 1948) ; BIG CLOCK, THE (US, John Farrow, 1947) ; BIG HEAT, THE (US, Fritz Lang, 1953) ; BIG SLEEP, THE (US, Howard Hawkes, 1946) ; DOUBLE INDEMNITY (US, Billy Wilder, 1944) ; KILLERS, THE (US, Robert Siodmak, 1946) ; MALTESE FALCON, THE (US, John Huston, 1941) ; NIGHT AND THE CITY (US, Jules Dassin, 1950) ; PROWLER, THE (US, Joseph Losey, 1950) ; EDGE OF DOOM (US, Mark Robson, 1950) ; MURDER MY SWEET (US, Edward Dmytryk, 1945) ; GUN CRAZY (US, Joseph H. Lewis, 1949) ; BIG COMBO (US, Joseph H. Lewis, 1955) Notes: Includes index; Bibliography: p. 211-212; Filmography: p. 213-220ISBN: 049802234XLON: 80028955; 1868575
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EXPRESSIONISM
Call No: SUBJECT CLIPPINGS FILEPhysDes: ClippingsSubject: EXPRESSIONISM
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Film and reality : an historical survey / Roy Armes Harmondsworth, Middlesex: Penguin, 1974.
Call No: 62 ARMAuthor: Armes, Roy Place: Harmondsworth, MiddlesexPublisher: PenguinPubDate: 1974PhysDes: 254 p. ; 18 cmSubject: MODERNISM AND THE CINEMA ; REALISM IN FILMS ; DOCUMENTARIES ; DOCUMENTARY FILMS ; CINEMA VERITE ; NEOREALISM ; EXPRESSIONISM ; SURREALISM AND THE CINEMA ; UNDERGROUND FILMS ; ANIMATION ; HISTORY OF CINEMA. SILENT PERIOD ; STUDIO SYSTEM ; NARRATIVE IN FILMS ; STARS ; AUTHORSHIP ; WALT DISNEY PRODUCTIONS ; WESTERNS ; LUMIERE, AUGUSTE & LOUIS ; MELIES, GEORGES ; FLAHERTY, ROBERT ; VERTOV, DZIGA ; VON STROHEIM, ERICH ; RENOIR, JEAN ; ROSSELLINI, ROBERTO ; EDISON, THOMAS ALVA ; GRIFFITH, DAVID WARK ; HITCHCOCK, ALFRED ; BUNUEL, LUIS ; RESNAIS, ALAIN ; GODARD, JEAN-LUC ; ANGER, KENNETH ; LOACH, KENNETH ; CHAPLIN, CHARLES Summary: Explores the history of cinema by looking at three broad areas - Film Realism, Film Illusion, and Film Modernism, and describes within these areas the most important film-makers, directors and companies within the film industry.Notes: contains index; contains bibliography with descriptions and recommendations for the books sourced.ISBN: 0140217010URL status: URL: 'http://-'
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Film appreciation / Allan Casebier New York: Harcourt Brace Jovanovich, c1976.
Call No: 62 CASAuthor: Casebier, Allan Place: New YorkPublisher: Harcourt Brace JovanovichPubDate: c1976PhysDes: ix, 207 p., [2] leaves of plates : col. ill. ; 23 cmSubject: THEORY ; AESTHETICS ; SOUND ; AUDIENCES ; REALISM IN FILMS ; SURREALISM AND THE CINEMA ; EXPRESSIONISM ; MYTH AND THE CINEMA ; STRUCTURALISM ; CRITICISM ; WELLES, ORSON ; BUNUEL, LUIS ; KUBRICK, STANLEY ; BAZIN, ANDRE ; ARNHEIM, RUDOLF ; GODARD, JEAN-LUC ; CLOCKWORK ORANGE, A (UK, Stanley Kubrick, 1971) Notes: Includes index; "Bibliography/filmography": p. [183]-190ISBN: 0155273701Order Received: 2000Order Type: DonationLON: 746910URL status: URL: 'http://-'
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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] OPRAuthor: O'Pray, Michael Source: USPlace: Houndmills, Basingstoke, Hampshire ; New YorkPublisher: Palgrave MacmillanPubDate: 2004PhysDes: xiv, 252 p. ; 23 cmSeries: Language, Discourse, SocietySubject: 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 indexDonation: donated by Senses of Cinema, 2009
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Film, form & feeling / Dennis DeNitto New York: Harper & Row, c1985.
Call No: 62 DENAuthor: DeNitto, Dennis, Place: New YorkPublisher: Harper & RowPubDate: c1985PhysDes: xv, 544 p. : ill. ; 23 cmSubject: THEORY ; CRITICISM ; EDITING ; HISTORY OF CINEMA ; REALISM IN FILMS ; EXPRESSIONISM ; MONTAGE ; NEOREALISM ; NOUVELLE VAGUE ; COMEDIES ; DOCUMENTARY FILMS ; CINEMA VERITE ; PROPAGANDA FILMS ; WESTERNS ; MUSICALS ; VARIETE (G, E.A. Dupont, 1925) ; GOLD RUSH, THE (US, Charles Chaplin, 1925) ; PRODUCERS, THE (US, Mel Brooks, 1967) ; TITICUT FOLLIES (US, Frederick Wiseman, 1967) ; BROKEN BLOSSOMS (US, David Wark Griffith, 1919) ; OKTIABR [OCTOBER] (UR, Sergei Eisenstein, 1928) ; LADRI DI BICICLETTE (IT, Vittorio De Sica, 1949) ; QUATRE CENTS COUPS, LES (FR, Francois Truffaut, 1959) ; MAN OF ARAN (UK, Robert Flaherty, 1934) ; TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935) ; NUIT ET BROUILLARD (FR, Alain Resnais, 1955) ; STAGECOACH (US, John Ford, 1939) ; SHANE (US, George Stevens, 1953) ; WILD BUNCH, THE (US, Sam Peckinpah, 1969) ; TOP HAT (US, Mark Sandrich, 1935) ; SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952) ; WEST SIDE STORY (US, Robert Wise, 1961) ; SOMMARNATTENS LEENDE (SW, Ingmar Bergman, 1956) Notes: Includes indexes; Bibliography: p. 493-503ISBN: 0060416297 (pbk.)Order Received: 2000Order Type: DonationLON: 3664711
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A fine romance : five ages of film feminism / Patricia Mellencamp Philadelphia: Temple University Press, 1995.
Call No: 626:396 MELAuthor: Mellencamp, Patricia Place: PhiladelphiaPublisher: Temple University PressPubDate: 1995PhysDes: xiii, 330 p. : ill. ; 24 cmSeries: Culture and the moving imageSubject: FEMINISM AND THE CINEMA ; FEMINISM AND THE CINEMA. AUSTRALIA ; BODY IN FILMS ; EXPRESSIONISM ; DASH, JULIE ; DELEUZE, GILLES ; CAMPION, JANE ; ARMSTRONG, GILLIAN ; POTTER, SALLY ; Tarantino, Quentin ; CHRISTIE, JULIE ; DAVIS, GEENA ; DAVIS, JUDY ; EPHRON, NORA ; GLYN, ELINOR ; GOGOBERIDZE, LANA ; HANKS, TOM ; JAYAMANNE, LALEEN ; LAFFONT, COLLETTE ; LANGTON, MARCIA ; RYAN, MEG ; MOFFATT, TRACEY ; HOOKS, BELL ; PREER, EVELYN ; STONE, SHARON ; SWINTON, TILDA ; TAYLOR, CLYDE ; SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952) ; THELMA & LOUISE (US, Ridley Scott, 1991) ; ORLANDO (UK/RU/FR/NE, Sally Potter, 1992) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; ANGIE (US, Martha Coolidge, 1994) ; NIGHT CRIES : A RURAL TRAGEDY (AT, Tracey Moffatt, 1990) ; NICE COLOURED GIRLS (AT, Tracey Moffatt, 1987) ; DAUGHTERS OF THE DUST (US, Julie Dash, 1991) ; MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979) ; BASIC INSTINCT (US, Paul Verhoeven, 1992) ; BEDEVIL (AT, Tracey Moffat, 1993) ; SILENCE OF THE LAMBS, THE (US, Jonathan Demme, 1991) ; COVER GIRL (US, Charles Vidor, 1944) ; DOLLY SISTERS (US, Irving Cummings, 1945) ; FORBIDDEN LOVE : THE UNASHAMED STORIES OF LESBIAN LOVE (CN, Aerlyn Weissman & Lynne Fernie, 1993) ; GOLD DIGGERS, THE (US, Sally Potter, 1983) ; GOLD DIGGERS OF 1933 (US, Mervyn LeRoy, 1933) ; GROUNDHOG DAY (US, Harold Ramis, 1993) ; ILLUSIONS (US, Julie Dash, 1983?) ; LITTLE WOMEN (US, Gillian Armstrong, 1994) ; PRIVILEGE (US, Yvonne Rainer, 1990) ; PULP FICTION (US, Quentin Tarantino, 1994) ; QUICK AND THE DEAD, THE (US, Sam Raimi, 1995) ; SHERLOCK, JR. (US, Buster Keaton, 1924) ; SOMETHING TO TALK ABOUT (US, Lasse Hallstrom, 1995) ; THRILLER (UK, Sally Potter, 1979) ; JEDDA (AT, Charles Chauvel, 1955) ; PIANO, THE (AT, Jane Campion, 1993) ; METROPOLIS (G, Fritz Lang, 1926) Notes: Includes bibliographical references (p. 291-324) and index; Five ages of film feminismISBN: 1566394015 (pbk.: acid-free paper); 1566394007 (hbk.: acid-free paper)LON: 11870265
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The haunted screen : expressionism in the German cinema and the influence of Max Reinhardt / [by] Lotte H. Eisner [translated from the French by Roger Greaves] London: Thames & Hudson, 1969.
Call No: 71(430) EISAuthor: Eisner, Lotte H Place: LondonPublisher: Thames & HudsonPubDate: 1969PhysDes: 360 p. illus. 25 cmSubject: GERMANY ; EXPRESSIONISM ; LUBITSCH, ERNST ; BRECHT, BERTOLT ; NOSFERATU - EINE SYMPHONIE DES GRAUENS (G, Friedrich Wilhelm Murnau, 1922) ; LETZIE MANN, DER (G, Friedrich Wilhelm Murnau, 1924) ; METROPOLIS (G, Fritz Lang, 1926) ; FAUST (G, Friedrich Wilhelm Marnau, 1926) ; NIBELUNGEN, DIE (G, Fritz Lang, 1922-24) ; SCHATZ, DER (G, Georg Wilhelm Pabst, 1923) ; TARTUFF (G, Friedrich Wilhelm Murnau, 1926) ; MUDE TOD, DER (G, Fritz Lang, 1921) ; WACHSFIGURENKABINETT, DAS (G, Paul Leni, 1924) Notes: Originally published as L'Ecran demoniaque, revised ed. Paris, Bonne, 1965; List of films p. 348-354; Bibliography: p. 346-347ISBN: 0500500010LON: 110813 110813
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The haunted screen : expressionism in the German cinema and the influence of Max Reinhardt / by Lotte H. Eisner Berkeley: University of California Press, 1973, c1969.
Call No: 71(430) EISAuthor: Eisner, Lotte H Edition: 1st California pbk. edPlace: BerkeleyPublisher: University of California PressPubDate: 1973, c1969PhysDes: 360 p. : ill., portsSubject: GERMANY ; EXPRESSIONISM ; LUBITSCH, ERNST ; BRECHT, BERTOLT ; NOSFERATU - EINE SYMPHONIE DES GRAUENS (G, Friedrich Wilhelm Murnau, 1922) ; LETZIE MANN, DER (G, Friedrich Wilhelm Murnau, 1924) ; METROPOLIS (G, Fritz Lang, 1926) ; FAUST (G, Friedrich Wilhelm Marnau, 1926) ; NIBELUNGEN, DIE (G, Fritz Lang, 1922-24) ; SCHATZ, DER (G, Georg Wilhelm Pabst, 1923) ; TARTUFF (G, Friedrich Wilhelm Murnau, 1926) ; MUDE TOD, DER (G, Fritz Lang, 1921) ; WACHSFIGURENKABINETT, DAS (G, Paul Leni, 1924) Notes: Translation of: L'ecran demoniaque; Bibliography: p. 346-347; Filmography: p. 348-354ISBN: 0520024796LON: 8931538
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A history of narrative film / David A. Cook New York: Norton, c1981.
Call No: 70 COOAuthor: Cook, David A Edition: 1st edPlace: New YorkPublisher: NortonPubDate: c1981PhysDes: xxiii, 721 p. : ill. ; 24 cmSubject: HISTORY OF CINEMA ; HISTORY OF CINEMA. SILENT PERIOD ; HISTORY OF CINEMA. 1950's ; NARRATIVE IN FILMS ; STAR SYSTEM ; EXPRESSIONISM ; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA ; STUDIO SYSTEM ; ITALY ; NEOREALISM ; WAR AND THE CINEMA ; FILM NOIR ; NOUVELLE VAGUE ; WIDE-SCREEN SYSTEMS ; EASTERN EUROPEAN COUNTRIES ; JAPAN ; THIRD WORLD ; GERMAN FEDERAL REPUBLIC ; USSR ; MELIES, GEORGES ; PORTER, EDWIN S. ; GRIFFITH, DAVID WARK ; PUDOVKIN, VSEVELOD ; CHAPLIN, CHARLES ; Keaton, Buster ; VON STROHEIM, ERICH ; CITIZEN KANE (US, Orson Welles, 1941) ; CABINET DES DR. CALIGARI, DAS (G, Robert Wiene, 1920) Notes: Includes index; Bibliography: p. 671-692ISBN: 0393090221 (pbk.); 0393013707LON: 1583335 1583335
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Sacred monsters : behind the mask of the horror actor / Doug Bradley London: Titan, 1996.
Call No: 735.2 BRAAuthor: Bradley, Doug Edition: 1st edPlace: LondonPublisher: TitanPubDate: 1996PhysDes: 267 p. : ill. (some col.) ; 20 cmSubject: HORROR FILMS ; ACTORS ; MASKS IN FILMS ; EXPRESSIONISM ; MAKE-UP ; PRICE, VINCENT ; HOLLAND, CECIL ; CHANEY, LON ; CHANEY, LON, Jr. ; KARLOFF, BORIS ; MARCH, FREDRIC ; LAUGHTON, CHARLES ; MARAIS, JEAN ; LEE, CHRISTOPHER ; HODDER, KANE ; BRADLEY, DOUG ; HANSEN, GUNNAR ; FRIDAY THE 13TH [...] (US, 1980-) ; HELLRAISER [...] (UK/US, 1987-) ; TEXAS CHAINSAW MASSACRE [...] (US, 1974-) ; NIGHTMARE ON ELM STREET, A [...] (US, 1984 - ) Notes: Includes bibliographical references and index; MonstersISBN: 1852867051 (pbk.)LON: 13337427
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Subjective realist cinema : from expressionism to inception / Matthew Campora New York: Berghahn Books, 2014.
Call No: 632.2 CAMAuthor: Campora, Matthew Source: USPlace: New YorkPublisher: Berghahn BooksPubDate: 2014PhysDes: viii, 150 pages ; 24 cm.Subject: NARRATIVE IN FILMS ; EXPRESSIONISM ; SURREALISM AND THE CINEMA ; MULHOLLAND DRIVE (US, David Lynch, 2001) ; MEMENTO (US, Christopher Nolan, 2000) ; ETERNAL SUNSHINE OF THE SPOTLESS MIND (US, Michael Gondry, 2004) Summary: Subjective Realist Cinema looks at the fragmented narratives and multiple realities of a wide range of films that depict subjective experience and employ "subjective realist" narration, including recent examples such as Mulholland Drive, Memento, and Eternal sunshine of the Spotless Mind. The author proposes that an understanding of the narrative structures of these films, particularly their use of mixed and multiple realities, enhances viewers' enjoyment and comprehension of such films, and that such comprehension offers a key to understanding contemporary filmmaking. -- [Extract taken from the back of book]Notes: Includes bibliographical references (pages 143-146) and indexISBN: 9781782382782Contents: Machine generated contents note: Three Periods of Narrative Experimentation -- Multiform Narratives -- Subjective Realism -- ch. 1 Complex Narratives -- The New Hollywood and the Smart Film -- New Hollywood Narration -- Fragmented Narratives -- Multi-strand Narratives -- Multiform Narratives -- Brazil -- Puzzle Films -- ch. 2 Two Trajectories of the Cinema of Attractions -- The Narrative Trajectory: Realism and Spectacle -- The Avant-Garde Trajectory: Realism and Defamiliarization -- ch. 3 Subjective Realism and Multiform Narratives -- Subjective Realism -- Vertigo -- The Fantastic -- Wild Strawberries -- ch. 4 Mulholland Drive -- Expressionism and the Uncanny in Mulholland Drive -- Three Views -- As Surrealist or Trance Film -- As Fragmented, Subjective Realist Film -- As Supernatural Film -- It Is All an Illusion -- ch. 5 Memento -- The Four Strands -- Unreliable Narration -- Disrupted Expectations -- Subjective Realism -- ch. 6 Eternal Sunshine of the Spotless Mind --
Contents note continued: The Philosophy of Eternal Sunshine -- Temporal Inversions -- Subjective Realism -- Sonic Metalepsis -- The Marvelous Real.
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Traditions in world cinema / Linda Badley, R. Barton Palmer and Steven Jay Schneider (eds) Edinburgh: Edinburgh University Press, 2006.
Call No: 709 TRASource: UKPlace: EdinburghPublisher: Edinburgh University PressPubDate: 2006PhysDes: 266 p. : 24 cmSubject: NATIONAL CULTURE AND THE CINEMA ; GLOBALISATION ; HISTORY OF CINEMA ; MOVEMENTS IN FILM HISTORY ; NEOREALISM ; NOUVELLE VAGUE ; EXPRESSIONISM ; CZECHOSLOVAKIA ; BRITAIN ; DOGMA ; COMMUNISM AND THE CINEMA ; BRAZIL ; ARGENTINA ; AFRICA IN FILMS ; ISRAEL ; IRAN ; INDIA ; CHINA ; MELODRAMA ; SONGS IN FILMS ; JAPAN ; HORROR FILMS ; USA Summary: The core volume in the Traditions in World Cinema series, this book brings together a colourful and wide-ranging collection of world cinematic traditions – national, regional and global – all of which are in need of introduction, investigation and, in some cases, reassessment. Topics include: German expressionism, Italian neorealism, French New Wave, British new wave, Czech new wave, Danish Dogma, post-Communist cinema, Brazilian post-Cinema Novo, new Argentine cinema, pre-revolutionary African traditions, Israeli persecution films, new Iranian cinema, Hindi film songs, Chinese wenyi pian melodrama, Japanese horror, new Hollywood cinema and global found footage cinemas.ISBN: 0748618635
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