Search Catalogue

Call No: 743 CON
Place: London ; New York
Publisher: I.B. Tauris
PubDate: 2000
PhysDes: 242 p. : ill. ; 24 cm.
Subject: CHRISTMAS IN FILMS; REMEMBER THE NIGHT (UK, Mitchell Leisen, 1939); SCROOGE (UK, Henry Edwards, 1935); CHRISTMAS CAROL, A (US, Edwin L. Marin, 1938); SCROOGE [CHRISTMAS CAROL, A] (US, Brian Desmond Hurst, 1951); SCROOGE (UK, Ronald Neame, 1970); CHRISTMAS CAROL, A (UK, Clive Donner, 1984); SCROOGED (US, Richard Donner, 1988); MUPPET CHRISTMAS CAROL, THE (US, Brian Henson, 1992); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); MAN WHO CAME TO DINNER, THE (US, William Keighley, 1941); HOLIDAY INN (US, Mark Sandrich, 1942); CHRISTMAS UNDER FIRE (UK, Harry Watt, 1941); TURKEY TIME (UK, Tom Walls, 1933); HOLLY AND THE IVY, THE (UK, George More O'Ferrall, 1953); CHEATERS, THE (US, Joe Kane, 1945); MIRACLE ON 34TH STREET (US, Les Mayfield, 1994); MIRACLE ON 34TH STREET (US, George Seaton, 1947); SANTA CLAUSE, THE (US, John Pasquin, 1994); ERNEST SAVES CHRISTMAS (US, John Cherry, 1988); SANTA CLAUSE: THE MOVIE (US, Jeannot Szwarc, 1985); GREMLINS (US, Joe Dante, 1984); SILENT NIGHT, DEADLY NIGHT (US, Charles E. Sellier Jr., 1984); SILENT NIGHT, DEADLY NIGHT PART II (US, Lee Harry, 1987); TIM BURTON'S THE NIGHTMARE BEFORE CHRISTMAS (US, Harry Selick, 1993); CHRISTMAS STORY, A (US, Bob Clark, 1983); LETHAL WEAPON (US, Richard Donner, 1987); DIE HARD (US, John McTiernan, 1988); DIE HARD 2 (US, Renny Harlin, 1990); HOME ALONE (US, Chris Columbus, 1990); HOME ALONE 2: LOST IN NEW YORK (US, Chris Columbus, 1992); LONG KISS GOODNIGHT, THE (US, Renny Harlin, 1996); JINGLE ALL THE WAY (US, Brian Levant, 1996); MERLUSSE (FR, Marcel Pagnol, 1935); CHATEAU DE MA MERE, LE (FR, Yves Robert, 1990); GRANDE ILLUSION, LA (FR, Jean Renoir, 1937); VIE EST UN LONG FLEUVE TRANQUILLE, LA (FR, Etienne Chatiliez, 1988); ELISA (FR, Jean Becker, 1994); KARNAVALNAIA NOCH (UR, Eldar Ryazanov, 1956); IRONIYA SUDBY ILI S LYOGKIM PAROM (UR, Eldar Ryazanov, 1975); PLACIDO (SP, Luis Garcia Berlanga, 1961)
Summary: A look at depictions of Christmas across various national cinemas and genres throughout the 20th century.
Notes: Includes bibliographical references and indexes. Filmography: p. ([223]-232)
ISBN: 1860643973
Contents: -- God Bless Us, Every One: Movie Adaptations Of A Christmas Carol / James Chapman -- A Hollywood Carol's Wonderful Life / Jonathan Munby -- Dreaming Of Christmas: Hollywood And The Second World War / H. Mark Glancy -- Christmas Under Fire: The Wartime Christmas In Britain / Sarah Street -- Crisis At Christmas: Turkey Time, The Holly And The Ivy, The Cheaters / Jeffrey Richards -- Santa Claus: The Movie / Mark Connelly -- You Better Watch Out: Christmas In The Horror Film / Kim Newman -- 'Peace On Earth, Goodwill To All Men': The Depiction Of Christmas In Moden Hollywood Films / Rowana Agajanian -- Christmas In French Cinema / Guy Austin -- Father Frost On 31 December: Christmas And New Year In Soviet And Russian Cinema / Birgit Beumers -- Satirizing The Spanish Christmas: Placido / Peter William Evans

Call No: 79 GIR KAZ
Author: Kazemi, Farshid
Edition: 2021
Place: Liverpool
Publisher: Auteur Publishing
PhysDes: 118 pages : illustrated ; 19 cm
Series: Devil's Advocates
Subject: GIRL WALKS HOME ALONE AT NIGHT, A ( US, Ana Lily Amirpour, 2014)
Summary: There is something weird and eerie going on in the oneiric Iranian ghost-town Bad City. A mysterious female vampire, clad in a long-black veil, imbued with occult and erotic power, has newly arrived in town and is summarily dispensing with its unsavory characters. Through a chance encounter in a night of luminal darkness, an eternally dark romance begins - baptized in love's blood. Shot in dazzling anamorphic black and white cinematography and accompanied with an intoxicating and mesmeric soundtrack, Ana Lily Amirpour's debut feature film A Girl Walks Home Alone At Night (2014), was an instant popular and critical success. Dubbed 'the first Iranian vampire western' the genre-bending film is a pastiche of genres such as vampire cinema, gothic and horror films, spaghetti westerns, graphic novels, and Iranian cinema; yet the film stands as a new vampire fairy-tale with a unique style all its own. The first full-length study dedicated to the film since its release, this book in the Devil's Advocate series provides a unique approach to the film situated within three theoretical coordinates: the vampire genre, psychoanalytic (film) theory and German Idealism. -- publisher's web site
ISBN: 9781800859210

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: GIRL WALKS HOME ALONE AT NIGHT, A ( US, Ana Lily Amirpour, 2014)
URL status: URL: 'http://file://Q:/T/GIRL_WALKS_HOME_ALONE_AT_NIGHT,_A.zip' Checked: 31/08/2021 1:30:33 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Stills; Press kit; Clippings
Subject: HOME ALONE (US, Chris Columbus, 1990)
URL status: URL: 'http://file://Q:/T/HOME_ALONE.zip' Checked: 31/08/2021 12:51:37 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Clippings
Subject: HOME ALONE 2: LOST IN NEW YORK (US, Chris Columbus, 1992)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: HOME ALONE 3 (US, Raja Gosnell, 1997)

Call No: 81 HUG HON
Author: Honeycutt, Kirk
Source: Peter Kemp
Place: New York
Publisher: Race Point Publishing
PubDate: [2015]
PhysDes: vii, 215 pages : illustrations (chiefly colour) ; 29 cm
Subject: HUGHES, JOHN (US); FERRIS BUELLER'S DAY OFF (US, John Hughes, 1986); PLANES, TRAINS AND AUTOMOBILES (US, John Hughes, 1987); BREAKFAST CLUB, THE (US, John Hughes, 1985); PRETTY IN PINK (US, Howard Deutch, 1986); SIXTEEN CANDLES (US, John Hughes, 1984); WEIRD SCIENCE (US, John Hughes, 1985); HOME ALONE (US, Chris Columbus, 1990)
Summary: Hughes allegedly wrote Ferris Bueller's Day Off in four days, Planes, Trains and Automobiles in three days, The Breakfast Club in two days, and Vacation in a week. He never went to film school or studied cinema. And he spent most of his incredible career in the Midwest, far from the Hollywood Hills. John Hughes was indeed one of the most prolific and successful filmmakers in Hollywood history. He helped launch the careers of Andrew McCarthy, Molly Ringwald, Anthony Michael Hall, Macaulay Culkin, and Judd Nelson. He made John Candy a household name. In this first illustrated tribute to the legendary filmmaker, author Kirk Honeycutt offers a behind-the-scenes look at the genius that was John Hughes--from his humble beginnings in direct mail to his blockbuster success with classics like Pretty in Pink, Sixteen Candles, Weird Science, and Home Alone. Honeycutt also explores the darker side of John Hughes: his extreme sensitivity, his stormy professional relationships, and the devastation Hughes experienced after the death of his closest friend, John Candy. This book features fresh interviews with Matthew Broderick, Ally Sheedy, Judd Nelson, Steve Martin, and Jon Cryer, and a foreword from Home Alone director Chris Columbus. "I stumbled into this business, I didn't train for it. I yelled "Action!" on my first two movies before the camera was turned on." - John HughesJohn Hughes wrote 46 movies, produced 23, and directed 8. He never went to film school, never spent time studying film and its history, but was unusually adept in three key areas °´4 writing, directing and producing.Classics like Mr. Mom; Sixteen Candles; The Breakfast Club; European Vacation; Weird Science; Pretty in Pink; Ferris Bueller's Day Off; Planes, Trains, and Automobiles; Uncle Buck; Christmas Vacation; Home Alone; and Beethoven will forever live on in the history of film. Launching the careers of Andrew McCarthy, Molly Ringwald, Anthony Michael Hall, and James Spader, and working with greats like John Candy and Chevy Chase, John Hughes's influence can still be felt today.John Hughes: A Life in Film, by Kirk Honeycutt, former chief film critic at The Hollywood Reporter, is the first complete illustrated tribute to the legendary writer and director, and includes fresh interviews with Judd Nelson, Matthew Broderick, Christopher Columbus, Steve Martin, and more
Notes: Includes John Hughes filmography (page 201). Includes bibliographic references (pages 203-205) and index.Adult.
ISBN: 9781631060229
Donation: Peter Kemp

Call No: 744.7 CRE
Author: Creed, Barbara
Edition: 2022
Place: New York
Publisher: Routledge
PubDate: 2022
PhysDes: x, 168 pages
Subject: FEMINISM AND THE CINEMA; HORROR FILMS; BABADOOK , THE (AT, Jennifer Kent, 2014); HANDMAID'S TALE, THE [TV] (US, 2017 - ); PROMISING YOUNG WOMAN, A (UK/US, Emerald Fennell, 2020); REVENGE (FR, Coralie Fargeat, 2017); NIGHTINGALE, THE (AT, Jennifer Kent, 2017); NOMADLAND (US/GG, Chloé Zhao, 2020); CAROL (UK/US/FR, Todd Haynes, 2015); ASSISTANT, THE (US, Kitty Green, 2019); GIRL WALKS HOME ALONE AT NIGHT, A ( US, Ana Lily Amirpour, 2014); UNDER THE SKIN (UK/US/SZ, Jonathan Glazer, 2013); JENNIFER'S BODY (US, Karyn Kusama, 2009); LURE, THE [CORKI DANCINGU] (PL, Agnieszka Smoczynska, 2015); THELMA (NO/FR/DK/SW, Joachim Trier, 2017); RAW [GRAVE] (FR/BE, Julia Ducournau, 2016); BEAU TRAVAIL [TROUBLE EVERY DAY] (FR/GG/JA, Claire Denis, 1999); IN MY SKIN [DANS MA PEAU] (FR, Marina de Van, 2002); SPOOR [POKOT] (PL/GG/CZ/SW/SO, Agnieszka Holland & Kasia Adamik, 2017); WOMAN AT WAR (IC/FR/UE, Benedikt Erlingsson, 2018); MAD MAX: FURY ROAD (AT/US, George Miller, 2015)
Summary: This follow-up to the classic text of The Monstrous-Feminine analyses those contemporary films which explore social justice issues such as women’s equality, violence against women, queer relationships, race and the plight of the planet and its multi-species. Examining a new movement – termed by Creed as Feminist New Wave Cinema – The Return of the Monstrous-Feminine explores a significant change that has occurred over the past two decades in the representation of the monstrous-feminine in visual discourse. The Monstrous-Feminine is a figure in revolt on a journey through the dark night of abjection. Taking particular interest in women directors who create the figure of the Monstrous-Feminine, in cinema that foregrounds everyday horrors in addition to classic horror, Creed looks at a range of diverse films including The Babadook, A Girl Walks Home Alone at Night, Nomadland, Carol, Raw, Revenge, and the television series The Handmaid’s Tale. These films center on different forms of revolt, from inner revolt to social, supernatural and violent revolt, which appear in Feminist New Wave Cinema. These relate in the main to the emergence of a range of social protest movements that have gathered momentum in the new millennium and given voice to new theoretical and critical discourses. These include: third and fourth wave feminism, the #MeToo movement, queer theory, race theory, the critique of anthropocentrism and human animal theory. These theoretical discourses have played a key role in influencing Feminist New Wave Cinema whose films are distinctive, stylish and diverse. This is an essential companion to the original classic text and is ideal for students in Gender and Media, Gender and Horror, Gender and Film and Feminist Film theory courses. -- publisher's web site
ISBN: 9780367478162
Contents: Introduction: The Monstrous-Feminine In Feminist New Wave Cinema -- The Monstrous Mother As Magician: The Babadook -- Unwomen: Dare To Revolt – The Handmaid’s Tale, Film & Tv Series -- #Metoo: Rape & Revolt: Promising Young Woman, Revenge, The Nightingale. -- The Monstrous-Feminine Forgets Her Manners: Nomadland, Carol, The Assistant -- Vampires, Feminism & Ethnicity: A Girl Walks Home Alone At Night -- The Monstrous-Feminine As Femme Fatale, Alien & Black: Under The Skin -- Queering The Monstrous-Feminine: Jennifer’s Body, The Lure, Thelma -- Female Cannibalism & Eating The Other: Raw, Trouble Everyday, In My Skin -- Furiosa: Eco-Horror & The Woman Warrior: Spoor, Woman At War, Mad Max: Fury Road – Filmography -- Index