title clippings file
FLESH AND THE DEVIL : (US, Clarence Brown, 1926)
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Greta Garbo : Her life, her films, her times (part two) in Australian film guide (February 1967) iss.6 p.5-11, 14
Author: Reid, John Howard PhysDes: ArticleSubject: BROWN, CLARENCE ; GABLE, CLARK ; GARBO, GRETA ; GILBERT, JOHN ; FLESH AND THE DEVIL (US, Clarence Brown, 1926) ; ANNA CHRISTIE (US, Clarence Brown, 1930) ; GRAND HOTEL (US, Edmund Goulding, 1932) ; INSPIRATION (US, Clarence Brown, 1931) ; LOVE (US, Edmund Goulding, 1927) ; ROMANCE (US, Clarence Brown, 1930) ; WOMAN OF AFFAIRS, A (US, Clarence Brown, 1928) Summary: Despite writer John Howard Reid's vaunted focus on Greta Garbo, this article does meander about discussing the careers of other people ranging from director Clarence Brown to actors such as John Gilbert and Clark GableNotes: John Howard Reid's exploration of Greta Garbo is both continued from the previous issue and is continued on in the next issue of the Australian Film Guide
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In glorious technicolor : a century of film and how it has shaped us / Francine Stock with Stephen Hughes London: Pimlico, 2011.
Call No: 70 STOAuthor: Stock, Francine ; Hughes, Stephen Source: UKPlace: LondonPublisher: PimlicoPubDate: 2011PhysDes: 344 p. ; 25 cm.Subject: HISTORY AND THE CINEMA ; HISTORY OF CINEMA. 1930's ; HISTORY OF CINEMA. 1940's ; HISTORY OF CINEMA. 1950's ; HISTORY OF CINEMA. 1960's ; HISTORY OF CINEMA. 1970's ; HISTORY OF CINEMA. 1980's ; HISTORY OF CINEMA. 1990's ; BIRTH OF A NATION, THE (US, David Wark Griffith, 1915) ; CABINET OF DR. CALIGARI, THE [CABINET DES DR. CALIGARI, DAS] (G, Robert Wiene, 1920) ; CABINET OF DR. CALIGARI, THE (G, Robert Wiene, 1920)
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CABINET DES DR. CALIGARI, DAS ; FLESH AND THE DEVIL (US, Clarence Brown, 1926) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927) ; SCARFACE (US, Howard Hawks, 1932) ; GOLD DIGGERS OF 1933 (US, Mervyn LeRoy, 1933) ; BETE HUMAINE, LA (FR, Jean Renoir, 1938) ; BAMBI (US, David Hand, 1942) ; SPELLBOUND (US, Alfred Hitchcock, 1945) ; STRADA, LA (IT, Federico Fellini, 1954) ; SEARCHERS, THE (US, John Ford, 1956) ; INVASION OF THE BODY SNATCHERS (US, Don Siegel, 1956) ; PEEPING TOM (UK, Michael Powell, 1960) ; BANDE A PART (FR, Jean-Luc Godard, 1964) ; [TWO THOUSAND AND ONE] 2001: A SPACE ODYSSEY (UK, Stanley Kubrick, 1968) ; CARRIE (US, Brian De Palma, 1976) ; AGUIRRE, THE WRATH OF GOD [AGUIRRE, DER ZORN GOTTES] (GW, Werner Herzog, 1972) ; AGUIRRE, THE WRATH OF GOD [AGUIRRE, DER ZORN GOTTES] (GW, Werner Herzog, 1972) ; ANNIE HALL (US, Woody Allen, 1977) ; E.T. THE EXTRA TERRESTRIAL (US, Steven Spielberg, 1982) ; TOP GUN (US, Tony Scott, 1986) ; WHEN HARRY MET SALLY. . . (US, Rob Reiner, 1989) ; BASIC INSTINCT (US, Paul Verhoeven, 1992) ; NATURAL BORN KILLERS (US, Oliver Stone, 1994) ; THREE COLOURS: RED (FR/SZ/PL, Krzysztof Kieslowski, 1993)
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TROIS COULEURS: ROUGE ; THREE COLOURS: RED (FR/SZ/PL, Krzysztof Kieslowski, 1993)
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TROIS COULEURS: ROUGE ; THREE COLOURS: WHITE (FR/SZ/PL, Krzysztof Kieslowski, 1993)
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TROIS COULEURS: BLANC ; TROIS COULEURS: BLANC (FR/SZ/PL, Krzysztof Kieslowski, 1993) ; TROIS COULEURS: BLEU (FR, Krzysztof Kieslowski, 1993) ; TROIS COULEURS: ROUGE (FR/SZ/PL, Krzysztof Kieslowski, 1994) ; ETERNAL SUNSHINE OF THE SPOTLESS MIND (US, Michael Gondry, 2004) ; AVATAR (US, James Cameron, 2009) ; UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (TH/UK/FR/G/SP/NE, Apichatpong Weerasethakul, 2010) Summary: Charting key films from the past hundred years, along with technological developments and historical landmarks, Francine Stock explores in compelling detail the nature of our relationship with film - from the first screenings of the Lumiere Brothers' short films, which saw audiences shrinking from oncoming trains, to the perception-altering 3-D Avatar. The twenties saw the birth of celebrity, still so influential even today. With the influence of Freud and the unconscious came film noir, anticipated by dark European classics like La Bete Humaine; Hollywood in the fifties turned ideological fears into lurid sci-fi and body-snatching horror; with the social change of the sixties came refracted ways of seeing, from Alfie to theStargate sequence in 2001: A Space Odyssey or a compelling seventies nightmares like Carrie. Moving towards our own century, Francine Stock considers how film reflects back on itself, bending time and technology to look to the future. More than a century on from those earliest awe-inspiring images, we are still in thrall to the power of film. In this fascinating, entertaining and illuminating book Francine Stock shows how film both reflects and remakes our world.ISBN: 9781845951993
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Screening sex / Linda Williams Durham: Duke University Press, 2008.
Call No: 749 WILAuthor: Williams, Linda Source: USPlace: DurhamPublisher: Duke University PressPubDate: 2008PhysDes: x, 412 p. : ill. ; 25 cmSeries: A John Hope Franklin Center bookSubject: SEX AND THE CINEMA ; SEX FILMS ; SEX IN FILMS ; PORNOGRAPHIC FILMS ; PORNOGRAPHIC VIDEO ; FONDA, JANE ; BREILLAT, CATHERINE ; FLESH AND THE DEVIL (US, Clarence Brown, 1926) ; SHORTBUS (US, John Cameron Mitchell, 2006) ; INTIMACY (FR, Patrice Chereau, 2001) ; ULTIMO TANGO A PARIGI (IT/FR, Bernardo Bertolucci, 1972) ; DEEP THROAT (US, Jerry Gerard, 1972) ; BROKEBACK MOUNTAIN (US, Ang Lee, 2005) ; BLUE VELVET (US, David Lynch, 1986) ; EMPIRE OF THE SENSES [AI NO CORRIDA / EMPIRE DES SENS, L'] (JA/FR, Nagisa Oshima, 1976) Summary: "For many years, kisses were the only sexual acts to be seen in mainstream American movies. Then, in the 1960s and 1970s, American cinema "grew up" in response to the sexual revolution, and movie audiences came to expect more knowledge about what happened between the sheets. In Screening Sex, film scholar Linda Williams investigates how sex acts have been represented on screen for more than a century and, just as important, how we have watched and experienced those representations."
"Combining stories of her own coming of age as a moviegoer with film history, cultural history, and readings of significant films, Williams presents a fascinating history of the on-screen kiss, a look at the shift from adolescent kisses to more grown-up displays of sex, and a comparison of the "tasteful" Hollywood sexual interlude with sexuality as represented in sexploitation, Blaxploitation, and avant-garde films. By understanding screening sex as both revelation and concealment, Williams has written the definitive study of sex at the movies."--BOOK JACKET.Notes: Formerly CIP.; Includes bibliographical references (p. [379]-395) and index.ISBN: 9780822342854Contents: Of kisses and ellipses : the long adolescence of American movies (1896/1963) -- Going all the way : carnal knowledge on American screens (1961/1971) -- Going further : Last tango in Paris, Deep throat, and Boys in the sand (1971/1972) -- Make love, not war : Jane Fonda comes home (1968/1978) -- Hard-core eroticism : In the realm of the senses -- Primal scenes on American screens (1986/2005) -- Philosophy in the bedroom : hard-core art since the 1990s -- Conclusion: now playing on a small screen near you!
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Sex and satyr in hollywood in Stills vol.1 iss.5 p.17-21
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