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Call No: 751.1 CON
Source: UK
Place: Edinburgh
Publisher: Edinburgh University Press
PubDate: 2019
PhysDes: x, 192 pages : illustrations (black and white) ; 25 cm.
Series: Music and the moving image series
Subject: MUSICALS; TEAM AMERICA WORLD POLICE (US, Trey Parker, 2004); ACROSS THE UNIVERSE (US, Julie Taymor, 2007); FROZEN (US, Chris Buck & Jennifer Lee, 2013); MAMMA MIA! (UK/US/G, Phyllida Lloyd, 2008); MISERABLES, LES (UK, Tom Hooper, 2012); O BROTHER, WHERE ART THOU? (US, Joel Coen, 2000); FAST AND THE FURIOUS, THE (US, Rob Cohen, 2001); KILL BILL VOLUME 1 (US, Quentin Tarantino, 2003); KILL BILL VOLUME 2 (US, Quentin Tarantino, 2004)
Summary: In recent years there has been a remarkable resurgence in the success of film musicals. Since the turn of the millennium, films such as Chicago (2002) and Phantom of the Opera (2004) have restated the close connections between the stage and screen. This edited collection will look at the breadth and diversity of recent film musicals, including adaptations from the stage such as Mamma Mia! (2008), Tim Burton's Sweeny Todd: The Demon Barber of Fleet Street (2007) and Rock of Ages (2012). This collection will also look at films that owe less of a direct debt to stage musicals, such as Julie Taymor's Across the Universe (2007) and Lars von Trier's Dancer in the Dark (2000).
Notes: Includes bibliographical references and index.
ISBN: 9781474431682
Contents: Machine generated contents note: pt. ONE ORIGINAL MUSICALS --1.Aesthetic Absurdities in Takashi Miike's The Happiness of the Katakuris / Craig Hatch --2.Film and the Twilight of Rock (Rock is Dead and Film Killed It): Post-millennial Rock Musicals / K. J. Donnelly --3.Team America: World Police: Duplicitous Voices of the Socio-political Spy Musical / Jack Curtis Dubowsky --4.The Anti-musical or Generic Affinity: Is there Anything Left to Say? / Beth Carroll --5.`Is This Real Enough For You?': Lyrical Articulation of the Beatles' Songs in Across the Universe / Stephanie Fremaux --6.`Love Is an Open Door': Revising and Repeating Disney's Musical Tropes in Frozen / Ryan Bunch --pt. TWO STAGE TO SCREEN --7.Star Quality? Song, Celebrity and the Jukebox Musical in Mamma Mia! / Catherine Haworth --8.Beyond the Barricade: Adapting Les Miserables for the Cinema / Ian Sapiro --pt. THREE MUSICALS BY ANOTHER NAME --Contents note continued: 9.O Brother, Where Art Thou?: The Coen Brothers and the Musical Genre Contamination / Stefano Baschiera --10.Racing in the Beat: Music in the Fast & Furious Franchise / Todd Decker --11.Kill Bill: Quentin Tarantino as a Musical Filmmaker / Geena Brown.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: DAWSON CITY: FROZEN TIME (US, Bill Morrison, 2016)

Call No: 246.8 WEE
Author: Weetch, Owen
Source: UK
Place: Basingstoke
Publisher: Palgrave Macmillan
PubDate: [2016]
PhysDes: xi, 168 pages : illustrations (colour) ; 22 cm
Series: Palgrave close readings in film and television
Subject: 3-D ANIMATION; 3-D AND THE CINEMA; 3-D FILMS; AVATAR (US, James Cameron, 2009); GRAVITY (US/UK, Alfonso Cuaron, 2013); HOLE, THE (US, Joe Dante, 2009); GREAT GATSBY, THE (US/AT, Baz Luhrman, 2013); FROZEN (US, Chris Buck & Jennifer Lee, 2013)
Summary: "This book puts forward a more considered perspective on 3D, which is often seen as a distracting gimmick at odds with artful cinematic storytelling. Owen Weetch looks at how stereography brings added significance and expressivity to individual films that all showcase remarkable uses of the format. Avatar, Gravity, The Hole, The Greta Gatsby and Frozen all demonstrate that stereography is a rich and sophisticated process that has the potential to bring extra meaning to a film's narrative and themes." - taken from back cover.
Notes: Includes index. -- Includes glossary of stereoscopic terms.
ISBN: 9781349712946
Contents: 1.Introduction: The Expressivity of Space -- 2.'I See You': Avatar, Narrative Spectacle and Accentuating Continuity -- 3.`You're Going to Make It': Ride Alignment and the Mastery of Stereographic Space in Gravity -- 4.`You Only Looked that Way Because I was Little': Spaces of Terror and Reaching Maturity in The Hole -- 5.`There's an Ocean in the Way': Written Words, Unreachability and Competing Testimonies in The Great Gatsby -- 6.`Against the Wall': Frozen's Expressive Planarity, Attempts to Connect and Ambivalent Utopias -- 7.Conclusion: A Special Plea for Off-the-Screen Space.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FROZEN (UK, Juliet McKoen, 2004)

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: FROZEN (US, Chris Buck & Jennifer Lee, 2013)
URL status: URL: 'http://file://Q:/T/FROZEN.zip' Checked: 31/08/2021 1:32:54 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit
Subject: FROZEN ASSETS (US, George T. Miller, 1992)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FROZEN RIVER (US, Courtney Hunt, 2008)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FROZEN TWO (US, Chris Buck/Jennifer Lee, 2019)
Notes: Simon_Batch 17_191210

Call No: DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: INTO THE UNKNOWN: THE MAKING OF FROZEN 2 (US, 2020)
Cross Reference: INTO THE UNKNOWN THE MAKING OF FROZEN 2 (US, 2020)

Author: Reid, jacquie
PhysDes: Article
Subject: FROZEN MUSIC (UK, Michael Eaton, 1985)
Summary: On the filmmaker Michael Eaton and his two latest film "Frozen Music" and "Darkest England"

Call No: 744.7 MAY
Author: Mayer, Sophie
Edition: 2016
Place: London ; New York
Publisher: I.B. Tauris
PubDate: 2016
PhysDes: xii,260 : illustrated ; 23 cm
Subject: FEMINISM AND THE CINEMA; FEMININITY IN FILMS; WOMEN AND THE CINEMA; BELLE (UK, Amma Asante, 2013); FROZEN (US, Chris Buck & Jennifer Lee, 2013); BIGELOW, KATHRYN; CAMPION, JANE; VARDA, AGNES; PERSEPOLIS (FR, Marjane Satrapi, 2007)
Summary: Feminist filmmakers are hitting the headlines. The last decade has witnessed: the first Best Director Academy Award won by a woman; female filmmakers reviving, or starting, careers via analogue and digital television; women filmmakers emerging from Saudi Arabia, Palestine, Pakistan, South Korea, Paraguay, Peru, Burkina Faso, Kenya and The Cree Nation; a bold emergent trans cinema; feminist porn screened at public festivals; Sweden's A-Markt for films that pass the Bechdel Test; and Pussy Riot's online videos sending shockwaves around the world. A new generation of feminist filmmakers, curators and critics is not only influencing contemporary debates on gender and sexuality, but starting to change cinema itself, calling for a film world that is intersectional, sustainable, family-friendly and far-reaching. Political Animals argues that, forty years since Laura Mulvey's seminal essay 'Visual Pleasure and Narrative Cinema' identified the urgent need for a feminist counter-cinema, this promise seems to be on the point of fulfilment. Forty years of a transnational, trans-generational cinema has given rise to conversations between the work of now well-established filmmakers such as Abigail Child, Sally Potter and Agnes Varda, twenty-first century auteurs including Kelly Reichardt and Lucretia Martel, and emerging directors such as Sandrine Bonnaire, Shonali Bose, Zeina Daccache, and Hana Makhmalbaf. A new and diverse generation of British independent filmmakers such as Franny Armstrong, Andrea Arnold, Amma Asante, Clio Barnard, Tina Gharavi, Sally El Hoseini, Carol Morley, Samantha Morton, Penny Woolcock, and Campbell X join a worldwide dialogue between filmmakers and viewers hungry for a new and informed point of view. Lovely, vigorous and brave, the new feminist cinema is a political animal that refuses to be domesticated by the persistence of everyday sexism, striking out boldly to claim the public sphere as its own. -- publisher's web site
ISBN: 9781784533724

Call No: 62 DOU
Author: Doughty, Ruth; Etherington-Wright, Christine
Edition: Second edition
Source: UK
Place: [England]
Publisher: Palgrave Macmillan
PubDate: 2018
PhysDes: xiv, 325 pages : illustrations ; 26 cm
Subject: FILM; THEORY; AUTEUR THEORY; ADAPTATIONS; GENRES; FORMALISM; MOVEMENTS AND STYLES IN FILM HISTORY; MOVEMENTS IN FILM HISTORY; STRUCTURALISM; MARXISM AND THE CINEMA; REALISM IN FILMS; POSTMODERNISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; MASCULINITY IN FILMS; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; RACIAL ISSUES AND THE CINEMA; POSTCOLONIALISM AND THE CINEMA; TRANSNATIONAL CINEMA; STARS; AUDIENCE RESEARCH; AUDIENCE RECEPTION; HUNGER GAMES, THE (US, Gary Ross, 2012); RUN LOLA RUN (G, Tom Tykwer, 1998); LOLA RENNT (G, Tom Tykwer, 1998); ONCE UPON A TIME IN THE WEST (IT/FR, Sergio Leone, 1968) SEE C`ERA UNA VOLTA IL WEST; LEGO MOVIE, THE (US/AT/DK, Phil Lord and Christopher Miller, 2014); ACT OF KILLING, THE (DK/NO/UK, Joshua Oppenheimer, (2012); MOULIN ROUGE (AT/US, Baz Luhrmann, 2001); OLDBOY (KO, Park Chan-wook, 2003); OLDEUBOI (KO, Park Chan-wook, 2003); FROZEN (US, Chris Buck & Jennifer Lee, 2013); BLUE IS THE WARMEST COLOR (FR/BE/SP, Abdellatif Kechiche, 2013); DJANGO UNCHAINED (US, Quentin Tarantino, 2012); AVATAR (US, James Cameron, 2009)
Summary: -- "Film theory has a reputation for being challenging. Often requiring time and effort to fully grasp it and seeming rather old-fashioned, it can be difficult to approach the subject with enthusiasm and appreciate its relevance to modern day. Understanding Film Theory aims to disassociate theory from these connotations and bring a fresh, contemporary and accessible approach to the discipline. Now comprehensively updated in a second edition, the book’s sixteen chapters - including a new chapter on Adaptations - continue to provide an insight into the main areas of debate. Taking the application of theory as its central theme, the text incorporates a number of innovative features: ‘Reflect and Respond’ sections encourage readers to engage critically with theoretical concepts, while seminal texts are concisely summarised without oversimplifying key points. Throughout the book the authors illustrate why theory is important and demonstrate how it can be applied in a meaningful way, with relevant case studies drawn from both classic and contemporary cinema including: Once Upon a Time in the West (1968), Run Lola Run (1998), The Hunger Games (2012), Blue is the Warmest Colour (2013) and The Lego Movie (2014). Additional case studies address key genres (the British Gangster film and the musical), film movements (Dogme 95), individual actors (Ryan Gosling, Judi Dench and Amitabh Bachchan) and directors (Alfred Hitchcock and Guillermo del Toro). Understanding Film Theory is an approachable and extensive introduction to film theory. It is the ideal entry point for any student studying film, using clear definitions and explaining complex ideas succinctly. " -- BOOK BACK COVER
Notes: Includes index; Includes bibliographical references, filmography and index
ISBN: 9781137528230
Contents: -- List of illustrations -- Acknowledgements -- Introduction -- 1 Auteur Theory Case study: Alfred Hitchcock -- Case study: Guillermo del Toro -- 2 Adaptations Case study: The Hunger Games (Gary Ross, 2012) -- 3 Genre Theory -- Case study: The British Gangster Film -- Case study: The Musical -- 4 Formalism Case study: Lola Rennt/Run Lola Run (Tom Tykwer, 1998) -- 5 Structuralism and Post-Structuralism -- Case study: Once Upon a Time in the West (Sergio Leone, 1968) -- 6 Marxism -- Case study: The Lego Movie (Phil Lord & Christopher Miller, 2014) -- 7 Realism -- Case study: Dogme 95 -- Case study: The Act of Killing (Joshua Oppenheimer, 2012) -- 8 Postmodernism -- Case study: Moulin Rouge! (Baz Luhrmann, 2001) -- 9 Psychoanalysis -- Case study: Oldboy (Chan-Wook Park, 2003) -- 10 Feminism -- Case study: Frozen (Chris Buck and Jennifer Lee, 2013) -- 11 Masculinity -- Case study: Ryan Gosling -- 12 Queer Theory -- Case study: Blue is the Warmest Colour (Abdellatif Kechiche, 2013) -- 13 Race and Ethnicity -- Case study: Django Unchained (Quentin Tarantino, 2012) -- 14 Postcolonial and Transnational Cinemas -- Case study: Avatar (James Cameron, 2009) -- 15 Stars -- Case study: Amitabh Bachchan -- Case study: Dame Judi Dench -- 16 Audience -- Research and Reception -- Case study: Tartan Video -- Conclusion -- filmography -- Index --

Call No: 721.210.4(73) PER
Author: Perkins, Claire; Verevis, Constantine
Edition: 2015
Place: Edinburgh
Publisher: Edinburgh University Press
PubDate: 2015
PhysDes: vi, 230 p. : illus. ; 25 cm
Subject: ALL THE REAL GIRLS (US, David Gordon Green, 2003); BUBBLE (US, Steven Soderbergh, 2005); BUFFALO 66 (US, Vincent Gallo, 1998); FROZEN RIVER (US, Courtney Hunt, 2008); JESUS' SON (US, Alison Maclean, 1999); KICKING AND SCREAMING (US, Jesse Dylan, 2005); LAUREL CANYON (US, Lisa Cholodenko, 2002); LIVING IN OBLIVION (US, Tom DiCillo, 1995); LOVELY AND AMAZING (US, Nicole Holofcener, 2001); OLD JOY (US, Kelly Reichardt, 2006); PARIAH (US, Randolph Kret, 1998); PRIMER (US, Shane Carruth, 2004); RACHEL GETTING MARRIED (US, Jonathan Demme, 2008); SECRETARY (US, Steven Shainberg, 2001)
Notes: In contemporary film and popular culture the terms ‘independent’ and ‘indie’ hold instant recognition and considerable cultural cachet. As both a brand of American filmmaking and a keynote of critical film discourse, indie denotes specific textual, industrial and reception practices that have been enthusiastically cultivated across the last decade of the twentieth century and the first of the twenty-first. Underpinning this cultural category is a canon of highly visible films and filmmakers whose ‘maverick’ personas and self-aware stylisation have successfully sold indie as a quality, alternative worldview—figures like Quentin Tarantino, Joel and Ethan Coen, Kevin Smith and Wes Anderson, and films like Slacker, Memento, Happiness and Juno. US Independent Film After 1989: Possible Films reframes this dominant indie canon by attending to a group of films that have not been so fully subsumed by its critical and promotional rhetoric. In 20 close analyses, a diverse range of leading film scholars and commentators allow the contours of the indie sensibility to emerge in and through their individual experiences of a single film that has not received the sustained critical acclaim of more popular titles. With particular representation from female directors—who are almost wholly excluded from the dominant indie canon—these idiosyncratic films are shown to demonstrate central tenets of indie scholarship and simultaneously emphasise the classifying processes that obscure them. -- publisher's blurb
ISBN: 9780748692446
ID2: 338

Author: Williams, Fiona
PhysDes: Article
Subject: FROZEN BUTTERLIES (AT, Mark Lipkin, 2008)
Summary: A group of young Melbourne filmmakers have formed a co-operative to create films and boost their credits in a bid to develop their careers. FROZEN BUTTERFLIES is writer/producer/director Mark Lipkin's first feature.