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2 create in Sydney Morning Herald (22/02/2013) p.24
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8 [EIGHT] : (FR, Jane Campion, 2008)
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Adaptations : from text to screen, screen to text / edited by Deborah Cartmell and Imelda Whelehan London New York: Routledge, 1999.
Call No: 753 ADAAuthor: Cartmell, Deborah ; Whelehan, Imelda Source: US/UKPlace: London New YorkPublisher: RoutledgePubDate: 1999PhysDes: xvii, 247 p. : ill. ; 24 cmSubject: ADAPTATIONS ; ADAPTATIONS. AUSTEN, JANE ; ADAPTATIONS. SHAKESPEARE, WILLIAM ; ANIMATION ; BATMAN IN FILMS ; TELEVISION AND THE CINEMA ; TELEVISION IN FILMS ; CAMPION, JANE ; BATMAN [TV] (US, 1965-67) ; SCARLET LETTER, THE (US, Roland Joffe, 1995) ; SENSE AND SENSIBILITY (US, Ang Lee, 1995) ; EMMA (UK, Douglas McGrath, 1996) ; CLUELESS (US, Amy Heckerling, 1995) ; LITTLE WOMEN (US, George Cukor, 1933) ; LITTLE WOMEN (US, Gillian Armstrong, 1994) ; LITTLE WOMEN (US, Mervyn LeRoy, 1948) ; NAKED LUNCH (CN/UK, David Cronenberg, 1991) ; SCHINDLER'S LIST (US, Steven Spielberg, 1993) ; TRAINSPOTTING (UK, Danny Boyle, 1996) ; ORLANDO (UK/RU/FR/NE, Sally Potter, 1992) ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; BATMAN (US, Tim Burton, 1989) ; [ONE HUNDRED AND ONE] 101 DALMATIANS (US, Stephen Herek, 1996) Summary: "Adaptations surveys the key approaches and debates surrounding adaptation, and explores why adaptations of both 'high' and 'low' cultural texts have become increasingly popular. Beginning with the history of Shakespeare on film, from Olivier's and Branagh's Hamlet, contributors examine screen versions of literary classics, from Nathaniel Hawthorne's The Scarlet Letter and Louisa May Alcott's Little Women to Thomas Keneally's Schindler's Ark and Irvine Welsh's Trainspotting. Adaptations goes on to consider adaptation in reverse: How writers like Virginia Woolf incorporated cinematic elements into their work, and explains why there had to be a novel of Jane Campion's The Piano. Contributors examine adaptations from comics to film, such as the Batman movies, Star Trek's incarnations as a long-running tv series, and then as a sequence of movies, and 101 Dalmations' [sic] move from children's novel to cartoon to live-action film." - BOOK BLURBNotes: Includes bibliographical references (p. 226-238) and indexISBN: 041516737X (hbk); 0415167388 (pbk); 041516737X (hardcover : alk. paper); 0415167388 (pbk : alk. paper)LON: 14255526Contents: Part 1: an overview -- Adaptations: the contemporary dilemmas / Imelda Whelehan; Part 2: from text to screen -- Introduction / Deborah Cartmell -- The Shakespeare on screen industry / Deborah Cartmell -- Conservative Austen, radical Austen: Sense and Sensibility from text to screen / Julian North -- From Emma to Clueless: taste, pleasure and the scene of history / Esther Sonnet -- Imagining the puritan body: the 1995 cinematic version of Nathaniel Hawthorne's The Scarlet Letter / Roger Bromley -- Four Little Women: three films and a novel / Pat Kirkham and Sarah Warren -- Will Hollywood never learn? David Cronenberg's Naked Lunch / Nicholas Zurbrugg -- Adapting the Holocaust: Schindler's List, intellectuals and public knowledge / Mark Rawlinson -- Speaking out: the transformations of trainspotting / Derek Paget; Part 3: from screen to text and multiple adaptations -- Introduction / Deborah Cartmell -- Orlando: coming across the divide / Sharon Ouditt -- Jane Campion and the limits of literary cinema / Ken Gelder -- The wrath of the original cast: translating embodied television character to other media / Ina Rae Hark -- Batman: one life, many faces / Will Brooker -- 'Thou art translated': analysing animated adaptation / Paul Wells -- 'A doggy fairy tale': the film metamorphoses of The Hundred and One Dalmatians / Imelda Whelehan
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AFTER HOURS : (AT, Jane Campion, 1984)
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An angel at my table : the screenplay from the three volume autobiography of Janet Frame / Laura Jones London Sydney: Pandora, 1990.
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ANGEL AT MY TABLE, AN : (NZ, Jane Campion, 1990)
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[Angel at my table, an : stills file]
Call No: TITLE STILLS AUSTRALIASource: ATPhysDes: 5 photographs : b&w ; 17 x 22 cm : 1 poster : col ; 60 x 84 cmSubject: FOX, KERRY ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) Summary: 4 black and white photographs of actress Kerry Fox playing lead Janet frame. 1 black and white photograph of actress playing Janet Frame as a child. 1 full colour film poster.Notes: Australian Broadcasting Corporation TV Publicity on the back of 3 of the photos
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Antipodean gothic cinema [manuscript] : a study of the (postmodern) Gothic in Australian and New Zealand film since the 1970s / by Romana Ashton Queensland: 2005.
Call No: 735.2 (93) ASHAuthor: Ashton, Romana Source: ATPlace: QueenslandPubDate: 2005PhysDes: 317 p. ; 30 cmSubject: HORROR FILMS. AUSTRALIA ; HORROR FILMS. NEW ZEALAND ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; PIANO, THE (AT, Jane Campion, 1993) ; DOGS IN SPACE (AT, Richard Lowenstein, 1986) ; BAD BOY BUBBY (AT, Rolf de Heer, 1993) ; NIGHT THE PROWLER, THE (AT, Jim Sharman, 1978) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; WAKE IN FRIGHT (AT, Ted Kotcheff, 1971) ; SUMMERFIELD (AT, Ken Hannam, 1977) ; SHAME (AT, Steve Jodrell, 1988) ; MAD MAX (AT, George Miller, 1979) ; MAD MAX II (AT, George Miller, 1981) ; CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974) Summary: "Although various film critics and academics have located the Gothic in Antipodean cinema, there has been no in-depth study of the Gothic and its ideological entanglements with postmodernism within this cinema. This study is divided into two parts and locates the (postmodern) Gothic in twelve Australian/New Zealand films ranging from Ted Kotcheffs Wake in Fright (1971) to Peter Jacksons Heavenly Creatures (1994). Part one theorizes the Gothic as a subversive cultural mode that foreshadows postmodernism in terms of its antithetical relationship with Enlightenment ideals. Interconnections are made between proto-postmodern aspects of early Gothic literature and the appropriation and intensification of these aspects in what has been dubbed the postmodern Gothic. The dissertation then argues that the Antipodes was/is constructed through Euro-centric discourse(s) as a Gothic/(proto)-postmodern space or place, this construction manifest in, and becoming intertwined with the postmodern in post 1970s Antipodean cinema. In part two, a cross-section of Australian/New Zealand films is organized into cinematic sub-genres in line with their similar thematic preoccupations and settings, all films argued as reflecting a marked postmodern Gothic sensibility. In its conclusion, the study finds that S2Antipodean Gothic cinemaS3, particularly since the 1970s, can be strongly characterized by its combining of Gothic/postmodernist modes of representation, this convergence constitutive of a postmodernized version of the Gothic which is heavily influenced by Euro-centric constructions of the Antipodes in Gothic/(proto)-postmodern related terms. " - ABSTRACTNotes: Thesis (Doctor of Philosophy) - Central Queensland University: School of Humanities - Faculty of Arts, Humanities and Education, December 2005; Bibliography: leaves 299-314 ; filmography: leaves 315-318 ; telegraphy: leaf 319; We have two copies of this Thesis - they are both filed at 735.2 (93) ASH and are identical. One is labelled 'copy 1' and the other 'copy 2'Contents: -- Part one: Theorizing the (postmodern) gothic in Antipodean cinema -- 1. A gothic/postmodern poetics: two convergent models. -- 2. Antipodean Gothic/(Proto)-postmodern connections: the European unconscious and the cultural construction of the Antipodes. -- 3. Antipodean cinema: an uneasy background -- Part two: analyzing the (postmodern) gothic in Antipodean cinema. -- 4. Anitpodean ccolonial gothic: 'Picnic at Hanging Rock' and 'The Piano'. -- 5. Anitpodean urban gothic: 'Dogs in Space' and 'Bad Boy Bubby'. -- 6. Antipodean surburban gothic: -- 'The Night the Prowler' and 'Heavenly Creatures'. -- 7. Antipodean rural gothic: 'Wake in Fright', 'Summerfield', and 'Shame'. -- 8. Antipodean sci-fi car crash films and the gothic: 'The Cars that Ate Paris', 'Mad Max', and 'Mad Max - The Road Warrior'. -- Conclusion -- Bibliography -- Filmography -- Teleography.ID2: 290
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Australian Cinema after Mabo Port Melbourne: Cambridge University Press, 2004.
Call No: 71(94) COLAuthor: Collins, F. ; Davis, T. Place: Port MelbournePublisher: Cambridge University PressPubDate: 2004PhysDes: vii, 204 p. ; 24 cmSubject: HISTORY AND THE CINEMA. AUSTRALIA ; MABO: LIFE OF AN ISLAND MAN (AT, Trevor Graham, 1997) ; MOULIN ROUGE (AT/US, Baz Luhrmann, 2001) ; DISH, THE (AT, Rob Sitch, 2000) ; LANTANA (AT, Ray Lawrence, 2001) ; AUSTRALIAN RULES ; AUSTRALIAN ABORIGINAL CINEMA ; AUSTRALIAN ABORIGINES AND THE CINEMA ; AUSTRALIAN ABORIGINES IN FILMS ; WALKING ON WATER (AT, Tony Ayres, 2001) ; HEAVEN'S BURNING (AT, Craig Lahiff, 1997) ; LAST DAYS OF CHEZ NOUS, THE (AT, Gillian Armstrong, 1992) ; HOLY SMOKE (US, Jane Campion, 1999) ; SERENADES (AT, Mojgan Khadem, 2000) ; YOLNGU BOY (AT, Stephen Johnson, 2001) ; MISSING, THE (AT, Manuela Alberti, 1999) ; HEARTLAND [TV] (AT, 1994) ; AUSTRALIAN ABORIGINES AND TV ; CUNNAMULLA (AT, Dennis O'Rourke, 2000) ; MESSAGE FROM MOREE (AT, Judy Rymer, 2003) ; CASTLE, THE (AT, Rob Sitch, 1997) ; VACANT POSSESSION (AT, Margot Nash, 1995) ; STRANGE PLANET (AT, Emma-Kate Croghan, 1999) ; RADIANCE (AT, Rachel Perkins, 1998) ; RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001) ; LOOKING FOR ALIBRANDI (AT, Kate Woods, 2000) ; HEAD ON (AT, Ana Kokkinos, 1998) ; BENEATH CLOUDS (AT, Ivan Sen, 2001) ; JAPANESE STORY (AT, Sue Brooks, 2003) ; TRACKER, THE (AT, Rolf de Heer, 2002) Summary: “Drawing on concepts of shock, memory and national maturity, ‘Australian Cinema after Mabo’ asks what part Australian cinema plays in reviewing our colonial past. It looks at how the 1992 Mabo decision, which overruled the nation’s founding myth of terra nullius, has changed the meaning of landscape and identity in Australian films, including The Tracker, Rabbit-Proof Fence, Moulin Rouge, The Castle, Cunnamulla, Looking for Alibrandi and Japanese Story amongst many others.” (back cover)Notes: Index: p.200-204; BibliographyISBN: 0521834805 :
0521542561 (pbk.)Contents: Part 1: Australian Cinema and the History Wars -- Backtracking after Mabo -- Homeand Abroad in Moulin Rouge, The Dish and Lantana -- Elites and Battlers in Australian Rules and Walking on Water -- Mediating Memory in Mabo Life as an Island Man --; Part 2: Landscape and Belonging after Mabo -- Aftershock and the Desert Landscape in Heavens Burning, The Last Days of Chez Nous, Holy Smoke, Serenades, Yolngu Boy, The Missing -- Coming from the Country in Heartland, Cunnamulla and Message from Moree -- Coming from the City in The Castle, Vacant Possession, Strange Planet and Radiance; Part 3: Grief, Trauma and Coming of Age -- Lost, Stolen and Found in Rabbit-Proof Fence -- Escaping History and Shame in Looking for Alibrandi, Head On and Beneath Clouds -- Sustaining Grief in Japanese Story and Dreaming in Motion.URL status: URL: 'http://-'
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Australians make a smokey mark on world cinema in Encore (Feb 2000) vol.18 iss.1 p.16
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Beyond bonnets : period drama, sex and transcendence in Lumina (Summer 2010) iss.2 p.129-139
Author: Pearlman, Karen PhysDes: ArticleSubject: HISTORICAL FILMS ; CAMPION, JANE ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; BRIGHT STAR (UK/AT/FR, Jane Campion, 2009) Summary: Recontextualising the perceived notion of 'auteur' within genre cinema using the example of Jane Campion and her period films; The piano; Portrait of a lady and, most recently, Bright star
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BRIGHT STAR : (UK/AT/FR, Jane Campion, 2009) Digital clippings file available
Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILEPhysDes: Clippings; Publicity; Press kitSubject: BRIGHT STAR (UK/AT/FR, Jane Campion, 2009) URL status: URL: 'http://file://Q:/T/BRIGHT_STAR.zip'
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'Bright Star' : the complete poems and selected letters / John Keats London: Vintage, 2009.
Call No: 79BRI KEAAuthor: Keats, John Source: UKPlace: LondonPublisher: VintagePubDate: 2009PhysDes: xvi, 525 p. ; 20 cmSeries: Vintage ClassicsSubject: POETRY AND THE CINEMA ; Keats, John ; BRIGHT STAR (UK/AT/FR, Jane Campion, 2009) Summary: "John Keats died in poverty and relative obscurity in 1821, aged only 25. He is now seen as one of the greatest English poets and a genius of the Romantic age. This collection, which contains all his most memorable works and a selection of his letters, is a feast for the senses, displaying Keat's gift for gorgeous imagery and sensuous language, his passionate devotion to beauty, as well as some of the most moving love poetry ever written. " -- BLURBNotes: Introduction by Jane CampionISBN: 9780099529651
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Bright star / written by Jane Campion AT: c2009.
Call No: S BRIAuthor: Campion, Jane Edition: shooting script, 4th April 2008, includes all amendmentsPlace: ATPubDate: c2009PhysDes: 94 leavesSubject: BRIGHT STAR (UK/AT/FR, Jane Campion, 2009) Notes: Unpublished script -- Donated by AFI -- shooting script -- Credit: producers, Jan Chapman, Caroline Hewitt ; production companies, Jan Chapman Productions Pty Ltd, Brightstar Films Limited, Pathe Productions Limited, Screen Australia, British Broadcasting Corporation, UK Film Council, New South Wales Film and Television Office.
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The cinema of Australia and New Zealand / edited by Geoff Mayer & Keith Beattie. London: Wallflower, 2007.
Call No: 71(93) CINSource: UKPlace: LondonPublisher: WallflowerPubDate: 2007PhysDes: xiii, 259 p. : ill. ; 24 cm.Series: 24 FramesSubject: AUSTRALIA ; NEW ZEALAND ; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA ; NATIONAL CULTURE AND THE CINEMA. NEW ZEALAND ; STORY OF THE KELLY GANG, THE (AT, Charles Tait, 1906) ; WOMAN SUFFERS, THE (AT, Raymond Longford, 1918) ; DAD AND DAVE COME TO TOWN (AT, Ken G. Hall, 1938) ; PHANTOM STOCKMAN, THE (AT, Lee Robinson, 1953) ; BACK OF BEYOND, THE (AT, John Heyer, 1954) ; JEDDA (AT, Charles Chauvel, 1955) ; FREE RADICALS (NZ, Len Lye, 1958) ; RUNAWAY (NZ, John O'Shea, 1964) ; THEY'RE A WEIRD MOB (AT, Michael Powell, 1966) ; ONE NIGHT THE MOON (AT, Rachel Perkins, 2001) ; SLEEPING DOGS (NZ, Roger Donaldson, 1977) ; VIGIL (NZ, Vincent Ward, 1984) ; IN THIS LIFE'S BODY (AT, Corinne Cantrill, 1984) ; PIANO, THE (AT, Jane Campion, 1993) ; YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982) ; ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994) ; OSCAR AND LUCINDA (AT, Gillian Armstrong, 1997) ; AFTER MABO (AT, Richard Frankland, 1997) ; CHOPPER (AT, Andrew Dominik, 2000) ; GODDESS OF 1967, THE (AT, Clara Law, 2000) ; MOULIN ROUGE (AT/US, Baz Luhrmann, 2001) ; LORD OF THE RINGS: FELLOWSHIP OF THE RING, THE (US, Peter Jackson, 2001) ; TWO LAWS (AT, Alessandro Cavadini & Carolyn Strachan, 1981) ; RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001) Summary: A collection of essays celebrating the commercially successful narrative feature films from Australia and New Zealand, including key documentaries, shorts and independent films. This coverage also invokes issues of national identity, race, history and the ability of two small film cultures to survive the economic and cultural threat from Hollywood.Notes: Includes filmography.
Includes bibliography and index.ISBN: 9781904764960
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Contemporary New Zealand cinema : : from new wave to blockbuster / edited by Ian Conrich and Stuart Murray London: I.B. Tauris, 2008.
Call No: 71 (931) NEWAuthor: Conrich, Ian (ed) ; Murray, Stuart(ed) Place: LondonPublisher: I.B. TaurisPubDate: 2008PhysDes: xiv, 273 p. : ill. ; 24 cmSeries: I.B Taruris world cinema seriesSubject: FEMINISM AND THE CINEMA ; FESTIVALS. NEW ZEALAND ; MAORI CINEMA ; MASCULINITY IN FILMS ; NEW ZEALAND FILM COMMISSION ; NEW ZEALAND IN FILMS ; REALISM IN FILMS ; RELIGION IN FILMS ; BARCLAY, BARRY ; CAMPION, JANE ; CURTIS, CLIFF ; DUFF, ALAN ; DONALDSON, ROGER ; DENNIS, JONATHAN ; Grierson, John ; JACKSON, PETER (NZ) ; LAWRENCE, BRUNO ; MUNE, IAN ; MURPHY, GEOFFREY ; LANGE, DAVID ; MACLEAN, ALISON ; MITA, MERATA ; MORRIESON, RONALD HUGH ; MORRISON, TEMUERA ; MULDOON, ROBERT ; NEILL, SAM ; PRESTON, GAYLENE ; SARGESTON, FRANK ; SARKIES, ROBERT ; TAMAHORI, LEE ; WARD, VINCENT ; BAISE-MOI (FR, Virginie Despentes, 2000) ; BRAINDEAD (NZ, Peter Jackson, 1992) ; CAME A HOT FRIDAY (NZ, Ian Mune, 1985) ; CHANNELLING BABY (NZ, Christine Parker, 1999) ; CINEMA OF UNEASE: A PERSONAL JOURNEY BY SAM NEILL (NZ, Sam Neill & Judy Reimer, 1995) ; CRUSH (NZ, Alison MacLean, 1992) ; DESPERATE REMEDIES (NZ, Stewart Main & Peter Wells, 1993) ; END OF THE GOLDEN WEATHER, THE (NZ, Ian Mune, 1991) ; GOODBYE PORK PIE (NZ, Geoffrey Murphy, 1980) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; IRREFUTABLE TRUTH ABOUT DEMONS ((NZ, Glenn Standring, 2000) ; JUBILEE (NZ, Michael Hurst, 2000) ; LORD OF THE RINGS, THE (US, PETER JACKSON, 2001) ; MAGIK AND ROSE (NZ, Vanessa Alexander, 1999) ; NGATI (NZ, Barry Barclay, 1987) ; ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994) ; PIANO, THE (AT, Jane Campion, 1993) ; PRICE OF MILK, THE (NZ, Harry Sinclair, 2000) ; QUIET EARTH, THE (NZ, Geoffrey Murphy, 1985) ; RAIN (NZ, Christine Jeffs, 2001) ; SAVING GRACE (NZ, Costa Botes, 1997) ; SCARECROW, THE (NZ, Sam Pillsbury, 1982) ; SCARFIES (NZ, Robert Sarkies, 1999) ; SKIN DEEP (NZ, Geoff Steven, 1978) ; SNAKESKIN (NZ, Gillian Ashurst, 2001) ; SLEEPING DOGS (NZ, Roger Donaldson, 1977) ; SMASH PALACE (NZ, Roger Donaldson, 1981) ; TOPLESS WOMEN TALK ABOUT THEIR LIVES (NZ, Harry Sinclair, 1997) ; UTU (NZ, Geoffrey Murphy, 1983) ; VIGIL (NZ, Vincent Ward, 1984) ; WHALE RIDER (NZ/GG, Niki Caro, 2002) Summary: "Focusing on industrial and commercial concerns, questions of aesthetics and form, and the cultural debates surrounding nation and identity, the book surveys the full range of filmmaking in New Zealand. It displays the rich diversity of film production in the country, and in doing so highlights a number of specific contexts - Maori, documentary and short filmmaking, literary adaptations, the development of the national Film Commission and Archive, marketing and censorship, in addition to explorations into the place of bicultural relations, spirituality, masculinity and disability - that have created a cinema of global significance. Featuring critical accounts of internationally-acclaimed features like The Piano and Once Were Warriors, as well as the growth of the national infrastructure that made such films possible, Contemporary New Zealand Cinema is the most thorough study available of a vibrant filmmaking culture. The book also includes a fully comprehensive filmography detailing all New Zealand feature and television films."--BOOK JACKETNotes: Filmography: p.[239]-253
Bibliography: p. 255- 258; Includes indexISBN: 9781845118372
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Creative producing : Jan Chapman in Lumina (Winter 2009) iss.1 p.47-58
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DANCING DAZE : (AT, Geoffrey Nottage, Peter Fisk and Jane Campion, 1986)
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Directory of world cinema. Volume 3, Australia & New Zealand / edited by Ben Goldsmith and Geoff Lealand Bristol, UK: Intellect, 2010. Available at ProQuest (RMIT login required)
Call No: 71(93) DIRAuthor: Goldsmith, Ben (ed.) ; Lealand, Geoff (ed.) Place: Bristol, UKPublisher: IntellectPubDate: 2010PhysDes: 339 p. : ill. ; 30 cmSeries: Directory of world cinema ; v. 3Subject: AUSTRALIA ; NEW ZEALAND ; WORLD CINEMA ; HOLMES, CECIL ; Powell, Michael ; WEIR, PETER ; LUHRMANN, BAZ ; HORROCKS, SHIRLEY ; KOTHARI, SHUICHI ; WARD, VINCENT ; WHALE RIDER (NZ/GG, Niki Caro, 2002) ; PIANO, THE (AT, Jane Campion, 1993) ; WOLF CREEK (AT, Greg McLean, 2005) Summary: "This edition to Intellect's Directory of World Cinema series turns the spotlight on Australia and New Zealand. This ambitious volume offers an in-depth and exciting look at the cinema produced in these two countries since the turn of the twentieth century. Though the two nations share considerable cultural and economic connections, thier film industries remain distinct, marked by differences of scale, level of government involvement and funding, and relations with other countries and national cinemas. Through essays about prominent genres and themes, profiles of directors, and comprehensive reviews of significant titles, this user-friendly guide explores the diversity and distinctiveness of films from Australia and New Zealand from Whale Rider to The Piano to Wolf Creek.Notes: Includes bibliographical referencesISBN: 9781841503684Contents: -- acknowledgments -- Introduction : Australian cinema -- Directors -- Cecil Holmes (1921-1994) -- Michael Powell (1905-1990) -- Peter Weir (1944-) -- Baz Luhrmann (1962-) -- Disability in the Australian cinema -- Short films -- Bushranger -- War cinema -- Crime -- Prison -- Period -- Comedy -- Coming of age -- Horror -- Road movies -- Science fiction and fantasy -- Ozploitation -- New Zealand: Introduction : New Zealand film in 2009: Geoff Lealand -- Experimental film: Martin Rumsby -- Directors -- Shirley Horrocks -- Shuichi Kothari -- Vincent Ward -- Genre and themes -- recommended reading -- Australia & New Zealand cinema online -- notes on contributors --URL status: URL: 'https://ebookcentral.proquest.com/lib/rmit/detail.action?docID=584346'
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Featuring film 2 : the sequel / by Peter Cox, Fred Goldsworthy Melbourne: Oxford University Press, 1997.
Call No: 512.1 COXAuthor: Cox, Peter, 1953 ; Goldsworthy, Fred Source: ATPlace: MelbournePublisher: Oxford University PressPubDate: 1997PhysDes: viii, 215 p. : ill. ; 26 cmSubject: TEACHING MATERIALS ; BABE (AT, Chris Noonan, 1995) ; BRAVEHEART (US, Mel Gibson, 1995) ; CASABLANCA (US, Michael Curtiz, 1942) ; CIRCLE OF FRIENDS (US, Pat O'Connor, 1995) ; CITE DES` ENFANTS PERDUS, LA (FR/SP/GG, Jean-Pierre Jeunet & Marc Caro, 1995) ; CRIMES AND MISDEMEANORS (US, Woody Allen, 1989) ; DAD AND DAVE ON OUR SELECTION (AT, George Whaley, 1995) ; [DOCTOR] DR STRANGELOVE: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (UK, Stanley Kubrick, 1964) ; EDUCATING RITA (UK, Lewis Gilbert, 1983) ; FORREST GUMP (US, Robert Zemeckis, 1994) ; FRIED GREEN TOMATOES (US, John Avnet, 1991) ; HANDMAID'S TALE, THE (US/GW, Volker Schlondorff, 1990) ; HIGH NOON (US, Fred Zinnemann, 1952) ; IN THE NAME OF THE FATHER (IE/UK/US, Jim Sheridan, 1993) ; LITTLE WOMEN (US, Gillian Armstrong, 1994) ; LORENZO'S OIL (US, George Miller, 1992) ; MARY SHELLEY'S FRANKENSTEIN (US, Kenneth Branagh, 1994) ; METROPOLIS (G, Fritz Lang, 1926) ; MUCH ADO ABOUT NOTHING (UK/US, Kenneth Branagh, 1993) ; MURIEL’S WEDDING (AT, P.J. Hogan, 1994) ; NELL (US, Michael Apted, 1994) ; ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994) ; ONE FLEW OVER THE CUCKOO'S NEST (US, Milos Forman, 1975) ; OUTBREAK (US, Wolfgang Petersen, 1995) ; PIANO, THE (AT, Jane Campion, 1993) ; PROOF (AT, Jocelyn Moorhouse, 1991) ; PSYCHO (US, Alfred Hitchcock, 1960) ; ROSENCRANTZ AND GUILDENSTERN ARE DEAD (UK, Tom Stoppard, 1990) ; SAINT OF FORT WASHINGTON, THE (US, Tim Hunter, 1993) ; SEARCHING FOR BOBBY FISCHER (US, Steven Zaillian, 1993) ; SENSE AND SENSIBILITY (US, Ang Lee, 1995) ; SHAWSHANK REDEMPTION, THE (US, Frank Darabont, 1994) ; SUM OF US, THE (AT, Kevin Dowling & Geoff Burton, 1994) ; SWING KIDS (US, Thomas Carter, 1993) ; THAT EYE THE SKY (AT, John Ruane, 1994) ; UNFORGIVEN (US, Clint Eastwood, 1992) ; WHAT'S EATING GILBERT GRAPE (US, Lasse Hallstrom, 1993) ; WHO'S AFRAID OF VIRGINIA WOOLF? (US, Mike Nichols, 1966) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; HEIDI CHRONICLES, THE [TV] (US, Peter Bogart, 1995) Notes: Includes indexISBN: 0195540190 : $24.95LON: 12914277
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The film cultures reader / Graeme Turner (ed.) New York: Routledge, 2002.
Call No: 408 TURAuthor: Graeme Turner (ed.) Place: London; New YorkPublisher: RoutledgePubDate: 2002PhysDes: 524 p. ; 24 cmSubject: CULTURE AND THE CINEMA ; GENRES ; AESTHETICS ; WOMEN AND THE CINEMA ; FEMINISM AND THE CINEMA ; SPECTATORSHIP ; AUDIENCE RECEPTION ; AUDIENCE RESEARCH ; SOUND ; THEORY ; CREED, BARBARA ; KUHN, ANNETTE ; NATIONAL CULTURE AND THE CINEMA ; POSTMODERNISM AND THE CINEMA ; HONG KONG ; HOLLYWOOD ; GLOBALISATION ; USA ; MONROE, MARILYN ; SEX IN FILMS ; HORROR FILMS ; ACTION FILMS ; HOMOSEXUALITY IN FILMS ; THRILLERS ; COLOR PURPLE, THE (US, Steven Spielberg, 1985) ; PIANO, THE (AT, Jane Campion, 1993) ; AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993) ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; TECHNOLOGY AND THE CINEMA ; INDUSTRY, FILM Summary: This companion reader to Film as Social Practice brings together key writings on contemporary cinema, exploring film as a social and cultural phenomenon. Key features of the reader include: thematic sections, each with an introduction by the editor; a general introduction by Graeme Turner; sections on understanding film, film technology, film industries, meanings and pleasures, identities, audiences and consumption.ISBN: 0415252822
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Film/literature/heritage : a sight and sound reader / edited by Ginette Vincendeau London: British Film Institute, 2001.
Call No: 753 FILAuthor: Vincendeau, Ginette, 1948 CorpAuthor: British Film InstitutePlace: LondonPublisher: British Film InstitutePubDate: 2001PhysDes: 284p. : ill. ; 24 cmSubject: ADAPTATIONS ; ADAPTATIONS. DICKENS, CHARLES ; ADAPTATIONS. JAMES, HENRY ; ADAPTATIONS. LEONARD, ELMORE ; ADAPTATIONS. SHAKESPEARE, WILLIAM ; ADAPTATIONS. THOMPSON, JIM ; HISTORICAL FILMS ; LITERATURE AND THE CINEMA ; ARMSTRONG, GILLIAN ; BASS, RON ; TARANTINO, QUENTIN ; AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993) ; AMERICAN PSYCHO (US, Mary Harron, 1999) ; BEACH, THE (US, Danny Boyle, 1999) ; BELLE EPOQUE (SP/PO, Fernando Trueba, 1992) ; BOSSU, LE (FR, Philippe De Broca, 1997) ; BRAM STOKER'S DRACULA (US, Francis Ford Coppola, 1992) ; CARRINGTON (UK/FR, Christopher Hampton, 1995) ; COMO AGUA PARA CHOCOLATE (MX, Alfonso Arau, 1992) ; CRASH (CN, David Cronenberg, 1996) ; CYRANO DE BERGERAC (FR, Jean-Paul Rappeneau, 1990) ; DEAD AGAIN (US, Kenneth Branagh, 1991) ; EDWARD II (UK, Derek Jarman, 1991) ; ELIZABETH (UK, Shekhar Kapur, 1998) ; END OF THE AFFAIR, THE (UK, Neil Jordan, 1999) ; GERMINAL (FR, Claude Berri, 1993) ; GRIFTERS, THE (US, Stephen Frears, 1990) ; HOWARDS END (UK, James Ivory, 1992) ; HUSSARD SUR LE TOIT, LE (FR, Jean-Paul Rappeneau, 1995) ; JACKIE BROWN (US, Quentin Tarantino, 1997) ; INTERVIEW WITH THE VAMPIRE (US, Neil Jordan, 1994) ; L.A. CONFIDENTIAL (US, Curtis Hanson, 1997) ; LITTLE WOMEN (US, Gillian Armstrong, 1994) ; LOLITA (US, Adrian Lyne, 1997) ; MADAME BOVARY (FR, Claude Chabrol, 1991) ; MADNESS OF KING GEORGE, THE (US, Nicholas Hytner, 1994) ; MAESTRO DE ESGRIMA, EL (SP, Pedro Olea, 1992) ; MANSFIELD PARK (UK/US, Patricia Rozema, 1999) ; MARY SHELLEY'S FRANKENSTEIN (US, Kenneth Branagh, 1994) ; MASK OF ZORRO (US, Martin Campbell, 1998) ; MISERABLES, LES (FR, Claude Lelouch, 1995) ; MRS. BROWN (UK, John Madden, 1997) ; MRS. DALLOWAY (US, Marleen Gorris, 1997) ; NAKED LUNCH (CN/UK, David Cronenberg, 1991) ; ORLANDO (UK/RU/FR/NE, Sally Potter, 1992) ; OUT OF SIGHT (US, Steven Soderbergh, 1998) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; PROSPERO'S BOOKS (UK/FR, Peter Greenaway, 1991) ; REINE MARGOT, LA (FR/GG/IT, Patrice Chereau, 1994) ; REMAINS OF THE DAY, THE (UK/US, James Ivory, 1993) ; RIDICULE (FR, Patrice Leconte, 1996) ; SECRET GARDEN, THE (US, Agnieszka Holland, 1993) ; SENSE AND SENSIBILITY (US, Ang Lee, 1995) ; SHAKESPEARE IN LOVE (UK, John Madden, 1998) ; SHORT CUTS (US, Robert Altman, 1993) ; TALENTED MR. RIPLEY, THE (US, Anthony Minghella, 1999) ; TEA WITH MUSSOLINI (IT, Franco Zeffirelli, 1997) ; THIS WORLD, THEN THE FIREWORKS (US, Michael Oblowitz, 1997) ; THREE MUSKETEERS, THE (US, Stephen Herek, 1993) ; TITUS (US, Julie Taymor, 1999) ; TRAINSPOTTING (UK, Danny Boyle, 1996) ; WILDE (UK/US/JA/GG, Brian Gilbert, 1997) ; WILLIAM SHAKESPEARE'S ROMEO + JULIET (US, Baz Luhrmann, 1996) Summary: "Period costume dramas are major box office commodities, exploiting the lucrative gap between the blockbuster and art film with their mixture of rich visuals, popular sensibility and literary association. But 'heritage cinema' is all too often discussed from literary (not cinematic) perspectives, and criticism of the films has long been overshadowed by the question of a film's fidelity to the original text. This volume of essays, reviews, and interviews seeks to redress this imbalance, by examining the often antagonistic relationship between literature and film - presenting both sides of the argument about whether heritage cinema's elaborate aesthetics owe more to nostalgia than to historical accuracy. In her challenging introduction to the volume, Ginette Vincendeau sketches the terms of the debate, arguing that the genre is an important, but often critically neglected, form of popular cinema. Film/Literature/Heritage, the latest in a series of 'Sight and Sound Readers', embraces a wide range of literary adaptation, from William Shakespeare to William Burroughs, covering films from Orlando to LA Confidential, and directors from Martin Scorcese to Peter Greenaway." - BOOK BLURBISBN: 0851708420; 0851708412(pbk.) : ¦13.99LON: 22285912
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Film reviews in Sequential (Summer 1989) iss.1 p.26-32
PhysDes: ArticleSubject: INCIDENT AT RAVEN'S GATE (AT, Rolf de Heer, 1988) ; JOE LEAHY'S NEIGHBOURS (AT, Robin Anderson & Bob Connolly, 1989) ; BODYWORK (AT, David Caesar, 1989) ; GHOSTS. . . OF THE CIVIL DEAD (AT, John Hillcoat, 1988) ; DEAD POETS SOCIETY (US, Peter Weir, 1989) ; MULL (AT, Don McLennan, 1988) ; SWEETIE (AT, Jane Campion, 1989) ; SPIRITS OF THE AIR, GREMLINS OF THE CLOUDS (AT, Alex Proyas, 1988) ; DEAD CALM (AT, Phillip Noyce, 1989) Summary: Review, credits and images of Australian releases
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Filming feminist frontiers/frontier feminisms 1979-1993 / Kathleen Cummins Toronto, Ontario: York University, [2014].
Call No: 626[396] CUMAuthor: Cummins, Kathleen Source: CNPlace: Toronto, OntarioPublisher: York UniversityPubDate: [2014]PhysDes: 344 pages : illustrations ; 30 cmSubject: FEMINISM AND THE CINEMA ; MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979) ; BEDEVIL (AT, Tracey Moffat, 1993) ; MY AMERICAN COUSIN (US, Sandy Wilson, 1985) ; LOYALTIES (CN, Anne Wheeler, 1986) ; PIANO, THE (AT, Jane Campion, 1993) ; DAUGHTERS OF THE DUST (US, Julie Dash, 1991) ; THOUSAND PIECES OF GOLD (US/UK, Nancu Kelly, 1991) ; BALLAD OF LITTLE JO, THE (US, Maggie Greenwald, 1993) Summary: "A dissertation submitted to the faculty of graduate studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy." - taken from title page.Notes: Bibliography: pages 330-344.Contents: Introduction: Filming Feminist Frontiers/Frontier Feminisms (1979-1993) -- Why These Ten Films? -- Secondary Literature on Films -- Methodology -- Chapter 1: Women's Storytelling: Narrative, Genre and Voice -- Women's Storytelling and Feminism -- Genre: An Overview -- Conclusion -- Chapter 2 - Filming Homes on the Range: Revisioning Melodrama, the Western and Horror -- Revisioning and Deconstructing Frontier Stories -- The Decolonizing Frontier Films -- The Revisionist Frontier Films -- Revisioning the Myth of the Frontier Through a Decolonizing Lens: White Complicity -- Conclusion -- Chapter 3: Filming Frontier Spaces Through the Lens of Motherhood -- The Motherhood Debates -- Frontier Narratives Through a Maternal Gaze -- The Anti-Racist/Colonial Motherhood Narrative: Subaltern Mothers Saving the Threatened Subaltern Family/Community -- The Anti-Patriarchal Maternal Narratives -- Conclusion -- Chapter 4: Filming "Women's Work" in Gendered Frontier Economies -- Feminist Scholarship on Women's Work and Gendered Economies -- The White Settler Household Narrative -- The Wage Labour Narrative -- Subaltern Settlement Narrative -- Conclusion -- Chapter 5: Filming Female Sexuality in a "Women-less Milieu": Through Her Desiring Gaze -- Feminist Scholarship on Sexuality and Desire -- Frontier Sexuality and Desire Narratives -- Conclusion -- Conclusion: Filming Feminist Frontiers/Frontier Feminisms -- Recommendations for Future Research -- Notes
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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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Flicks : studying film as text / Dinah Partridge, Peter Hughes Melbourne: Oxford University Press, 1992.
Call No: 512.1 PARAuthor: Partridge, Dinah ; Hughes, Peter, 1949 Place: MelbournePublisher: Oxford University PressPubDate: 1992PhysDes: viii, 184 p. : ill., ports. ; 26 cmSubject: TEACHING MATERIALS ; DEAD POETS SOCIETY (US, Peter Weir, 1989) ; MALCOLM (AT, Nadia Tass, 1986) ; YEAR MY VOICE BROKE, THE (AT, John Duigan, 1987) ; SHAME (AT, Steve Jodrell, 1988) ; MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979) ; RADIO DAYS (US, Woody Allen, 1987) ; ACCIDENTAL TOURIST, THE (US, Lawrence Kasdan, 1988) ; KILLING FIELDS, THE (UK, Roland Joffe, 1984) ; CRY FREEDOM (UK, Richard Attenborough, 1987) ; NEWSFRONT (AT, Phillip Noyce, 1978) ; GALLIPOLI (AT, Peter Weir, 1981) ; CITIZEN KANE (US, Orson Welles, 1941) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; STAND AND DELIVER (US, Ramon Menendez, 1988) ; GROUND ZERO (AT, Michael Pattison & Bruce Myles, 1987) ; BACK TO THE FUTURE (US, Robert Zemeckis, 1985) ; STREET HERO (AT, Michael Pattinson, 1984) ; STAND BY ME (US, Rob Reiner, 1986) ; DELINQUENTS, THE (AT, Chris Thomson, 1989) ; EDUCATING RITA (UK, Lewis Gilbert, 1983) ; HANNAH AND HER SISTERS (US, Woody Allen, 1986) ; HIGH TIDE (AT, Gillian Armstrong, 1987) ; DUNERA BOYS, THE [TV] (AT, Bob Weis, 1985) ; KISS OF THE SPIDER WOMAN (US/BL, Hector Babenco, 1985) ; PLACE AT THE COAST, THE (AT, George Ogilvie, 1987) ; SCALES OF JUSTICE [TV] (AT, 1983) ; WOMEN OF THE SUN [TV] (AT, James Ricketson, David Stevens, Stephen Wallace, Geoffrey Nottage, 1982) ; NAVIGATOR, THE (NZ/AT, Vincent Ward, 1988) ; EVIL ANGELS (AT, Fred Schepisi, 1988) ; MY LEFT FOOT (UK, Jim Sheridan, 1989) ; CANNIBAL TOURS (AT, Dennis O'Rourke, 1987) Notes: Includes index; Bibliography: p. 183ISBN: 019553218XLON: 8815950ID2: 290
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journal article
Framing the beach : a tourist reading of The piano in Studies in Australasian cinema (2009) vol.3 iss.2 p.229-238
Author: Leotta, Alfio PhysDes: ArticleSubject: TOURISM AND THE CINEMA ; LANDSCAPES IN FILMS ; PIANO, THE (AT, Jane Campion, 1993) Summary: Most of the critical commentaries about The Piano(Campion, 1993) focus on feminist, postcolonial or stylistic issues (Coombs and Gemmell 1999; Tincknell 2000; Margolis 2000; Verhoeven 2009). This article will draw from some of these works in order to present a conceptual framework for understanding the film in terms of the tourism it induced. The first section focuses on the devices used in the film to create the ideal spectator and to encourage his/her identification with both the protagonist and the camera. The second section deals with the imaginative geography constructed by the film. The article concludes with the analysis of the process through which Karekare beach, the most famous location of the film, has become a popular New Zealand icon. -- AbstractNotes: Part of a special issue on digital cinema in Australia and New Zealand
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GIRL'S OWN STORY, A : (AT, Jane Campion, 1983)
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Girls winning story in Encore (21 June - 3 July 1984) vol.2 iss.9 p.5
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A history of the New Zealand fiction feature film / Bruce Babington Manchester: Manchester University Press, 2007.
Call No: 71(93) BABAuthor: Babington, Bruce Source: UKPlace: ManchesterPublisher: Manchester University PressPubDate: 2007PhysDes: x, 290 p. : ill. ; 24 cmSubject: TORR, OLIVER ; DONALDSON, ROGER ; REID, JOHN ; PRESTON, GAYLENE ; CAMPION, JANE ; WARD, VINCENT ; JACKSON, MICHAEL ; JACKSON, PETER (NZ) ; CARO, NIKI ; ADVENTURES IN MAORILAND: ALEXANDER MACKEY AND THE MAKING OF 'HEI TIKI' (NZ, Geoff Steven, 1981) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; BAD BLOOD (NZ, Mike Newell, 1981) ; BRAINDEAD (NZ, Peter Jackson, 1992) ; BROKEN BARRIER (NZ, Roger Mirams & John O'Shea, 1952) ; CAME A HOT FRIDAY (NZ, Ian Mune, 1985) ; FRIGHTENERS, THE (NZ/US, Peter Jackson, 1996) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; IN MY FATHER'S DEN (NZ/UK, Brad McGann, 2004) ; JACK BE NIMBLE (NZ, Garth Maxwell, 1993) ; LORD OF THE RINGS, THE ( US, PETER JACKSON, 2001) ; NAVIGATOR, THE (NZ/AT, Vincent Ward, 1988) ; ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994) ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; SCARECROW, THE (NZ, Sam Pillsbury, 1982) ; SOLO (NZ/AT, Tony Williams, 1978) ; WHALE RIDER (NZ/GG, Niki Caro, 2002) ; XENA: WARRIOR PRINCESS [TV] (US, 1995-) Summary: The is a comprehensive account of the New Zealand feature film from its beginnings, in 1912 to now, when New Zealand films are recognised internationally [Taken from the back of the book.]Notes: Bibliography: p 279-282; Filmography: p.272-278; Includes indexISBN: 9780719075414(hbk.); 9780719075421(pbk.)Contents: 1 -- Introduction: the New Zealand fiction feature film: the history, theory, practice -- 2. Forgotten nitrate: feature film-making in New Zealand 1912-1940 -- 3. Fifty years a pioneer: the cinema of Rudall Hayward 1921-1972 -- 4. Sustaining the dream: the age of O'Shea -- 5. Living white males: New Zealand cinema 1975-1985 -- 6. 'World famous in New Zealand': contemporary cinema 1986-2005 -- 7. Wandering stars: New Zealand cinema on the world screen - Vincent Ward, Peter Jackson, Jane Campion
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HOLY SMOKE : (US, Jane Campion, 1999)
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Holy smoke Melbourne: 1999.
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HOLY SMOKE : final draft / NewVision Films [1998].
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Holy Smoke 1998.
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digital clippings file
IN THE CUT : (US/AT, Jane Campion, 2003) Digital clippings file available
Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILEPhysDes: Production notes; ClippingsSubject: IN THE CUT (US/AT, Jane Campion, 2003) URL status: URL: 'http://file://Q:/T/IN_THE_CUT.zip'
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An introduction to film studies / edited by Jill Nelmes London: Routledge, 1999.
Call No: 62 INTAuthor: Nelmes, Jill, 1954 Edition: 2nd edPlace: LondonPublisher: RoutledgePubDate: 1999PhysDes: xviii, 522 p. : ill. ; 26 cmSubject: WARNER BROS. ; STUDIO SYSTEM ; AUDIENCES ; GENRES ; DOCUMENTARY FILMS ; ANIMATION ; COMPUTERS AND THE CINEMA ; WOMEN AND THE CINEMA ; FEMINISM AND THE CINEMA ; HOMOSEXUALITY AND THE CINEMA ; HOMOSEXUALITY IN FILMS ; UNITED KINGDOM ; INDIA ; USSR ; GERMANY ; NARRATIVE IN FILMS ; SPECTATORSHIP ; CENSORSHIP ; STARS ; AUTEUR THEORY ; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA ; KULESOV, LEV ; KAPOOR, RAJ ; Ray, Satyajit ; DOVZENKO, ALEKSANDR ; SHUB, ESTHER ; FLAHERTY, ROBERT ; JENNINGS, HUMPHREY ; RIEFENSTAHL, LENI ; WISEMAN, FREDERICK ; POTTER, SALLY ; TOCCAFONDO, GIANLUIGI ; FELLOW TRAVELLER (UK/US, Philip Saville, 1990) ; DUCK AMUCK (US, Chuck Jones, 1953) ; GIRLS' NIGHT OUT (UK, Joanna Quinn, 1987) ; COLOUR BOX, A (UK, Len Lye, 1935) ; DEADSY (UK, David Anderson, 1989) ; DILWALE DULHANIYA LE JAYENGE (II, Aditya Chopra, [1995]) ; JAWS (US, Steven Spielberg, 1975) ; CRYING GAME, THE (UK, Neil Jordan, 1992) ; PLATOON (US, Oliver Stone, 1986) ; MARS ATTACKS! (US, Tim Burton, 1996) ; ROBOCOP (US, Paul Verhoeven, 1987) ; GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927) ; IF... (UK, Lindsay Anderson, 1968) ; PULP FICTION (US, Quentin Tarantino, 1994) ; NEW YORK, NEW YORK (US, Martin Scorsese, 1977) ; HOOP DREAMS (US, Steve James, 1994) ; WHEN WE WERE KINGS (US, Leon Gast, 1996) ; GIRLS LIKE US (US, Jane C. Wagner & Tina De Feliciantonio, 1997) ; CREATURE COMFORTS (UK, Nick Park, 1991) ; NEIGHBOURS (US, Norman McLaren, 1952) ; STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982) ; GOLD DIGGERS, THE (US, Sally Potter, 1983) ; ORLANDO (UK/RU/FR/NE, Sally Potter, 1992) ; PIANO, THE (AT, Jane Campion, 1993) ; VICTIM (UK, Basil Dearden, 1961) ; DESERT HEARTS (US, Donna Deitch, 1985) ; LIVING END, THE (US, Gregg Araki, 1992) ; LOOKING FOR LANGSTON (UK, Isaac Julien, 1989) ; GO FISH (US, Rose Troche, 1994) ; TRAINSPOTTING (UK, Danny Boyle, 1996) ; FULL MONTY, THE (UK/US, Robert Cattaneo, 1997) ; ABSCHIED VON GESTERN (GW, Alexander Kluge, 1966) ; AMERIKANISCHE FREUND, DER (GW/FR, Wim Wenders, 1977) ; DEUTSCHLAND BLEICHE MUTTER (GW, Helma Sanders-Brahms, 1980) Notes: Includes bibliographical references and indexISBN: 0415173094 (hb); 0415173108 (pb)LON: 14043939URL status: URL: 'http://-'
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An introduction to film studies / edited by Jill Nelmes London: Routledge, 2003.
Call No: 62 INTAuthor: Nelmes, Jill, 1954 Edition: 3rd edPlace: LondonPublisher: RoutledgePubDate: 2003PhysDes: xviii, 522 p. : ill. ; 26 cmSubject: WARNER BROS. ; STUDIO SYSTEM ; AUDIENCES ; GENRES ; DOCUMENTARY FILMS ; ANIMATION ; COMPUTERS AND THE CINEMA ; WOMEN AND THE CINEMA ; FEMINISM AND THE CINEMA ; HOMOSEXUALITY AND THE CINEMA ; HOMOSEXUALITY IN FILMS ; UNITED KINGDOM ; INDIA ; USSR ; GERMANY ; NARRATIVE IN FILMS ; SPECTATORSHIP ; CENSORSHIP ; STARS ; AUTEUR THEORY ; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA ; KULESOV, LEV ; KAPOOR, RAJ ; Ray, Satyajit ; DOVZENKO, ALEKSANDR ; SHUB, ESTHER ; FLAHERTY, ROBERT ; JENNINGS, HUMPHREY ; RIEFENSTAHL, LENI ; WISEMAN, FREDERICK ; POTTER, SALLY ; TOCCAFONDO, GIANLUIGI ; FELLOW TRAVELLER (UK/US, Philip Saville, 1990) ; DUCK AMUCK (US, Chuck Jones, 1953) ; GIRLS' NIGHT OUT (UK, Joanna Quinn, 1987) ; COLOUR BOX, A (UK, Len Lye, 1935) ; DEADSY (UK, David Anderson, 1989) ; DILWALE DULHANIYA LE JAYENGE (II, Aditya Chopra, [1995]) ; JAWS (US, Steven Spielberg, 1975) ; CRYING GAME, THE (UK, Neil Jordan, 1992) ; PLATOON (US, Oliver Stone, 1986) ; MARS ATTACKS! (US, Tim Burton, 1996) ; ROBOCOP (US, Paul Verhoeven, 1987) ; GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927) ; IF... (UK, Lindsay Anderson, 1968) ; PULP FICTION (US, Quentin Tarantino, 1994) ; NEW YORK, NEW YORK (US, Martin Scorsese, 1977) ; HOOP DREAMS (US, Steve James, 1994) ; WHEN WE WERE KINGS (US, Leon Gast, 1996) ; GIRLS LIKE US (US, Jane C. Wagner & Tina De Feliciantonio, 1997) ; CREATURE COMFORTS (UK, Nick Park, 1991) ; NEIGHBOURS (US, Norman McLaren, 1952) ; STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982) ; GOLD DIGGERS, THE (US, Sally Potter, 1983) ; ORLANDO (UK/RU/FR/NE, Sally Potter, 1992) ; PIANO, THE (AT, Jane Campion, 1993) ; VICTIM (UK, Basil Dearden, 1961) ; DESERT HEARTS (US, Donna Deitch, 1985) ; LIVING END, THE (US, Gregg Araki, 1992) ; LOOKING FOR LANGSTON (UK, Isaac Julien, 1989) ; GO FISH (US, Rose Troche, 1994) ; TRAINSPOTTING (UK, Danny Boyle, 1996) ; FULL MONTY, THE (UK/US, Robert Cattaneo, 1997) ; ABSCHIED VON GESTERN (GW, Alexander Kluge, 1966) ; AMERIKANISCHE FREUND, DER (GW/FR, Wim Wenders, 1977) ; DEUTSCHLAND BLEICHE MUTTER (GW, Helma Sanders-Brahms, 1980) Summary: Reference work covering a wide range of concepts, theories and ideas about film studies covering different periods and countries. Attempts to present the diversity of thought within film theory. First published in 1996.Notes: Includes annotated key reading for each chapter, bibliography, glossary of key terms and index.ISBN: 0415173094 (hb); 0415173108 (pb)LON: 14043939
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Jane Campion : interviews / edited by Virginia Wright Wexman Jackson: University Press of Mississippi, c1999.
Call No: 81CAM JANAuthor: Campion, Jane ; Wexman, Virginia Wright Place: JacksonPublisher: University Press of MississippiPubDate: c1999PhysDes: xxvii, 216 p. : ill. ; 23 cmSeries: Conversations with filmmakers seriesSubject: CAMPION, JANE ; HUNTER, HOLLY ; JONES, LAURA ; KIDMAN, NICOLE ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; SWEETIE (AT, Jane Campion, 1989) ; GIRL'S OWN STORY, A (AT, Jane Campion, 1983) Notes: Filmography: p. [xxiii]-xxvii; Includes bibliographical references (p. xx) and indexISBN: 1578060826 (cloth : alk. paper); 1578060834 (pbk. : alk. paper)LON: 14173448
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Jane Campion / Dana Polan London: British Film Institute, 2001.
Call No: 81CAM POLAuthor: Polan, Dana Source: UKPlace: LondonPublisher: British Film InstitutePubDate: 2001PhysDes: 186p. : ill. ; 19 cmSeries: BFI world directors.Subject: BONGERS, SALLY ; ARMSTRONG, GILLIAN ; CAMPION, JANE ; AFTER HOURS (AT, Jane Campion, 1984) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; HOLY SMOKE (US, Jane Campion, 1999) ; PEEL (AT, Jane Campion, 1982) ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; SWEETIE (AT, Jane Campion, 1989) Notes: Includes bibliographical references and indexISBN: 0851708560(pbk.)
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Jane Campion : the pocket essential guide / by Ellen Cheshire Harpenden, Herts: Pocket Essentials, 2000.
Call No: 81CAM CHEAuthor: Cheshire, Ellen Source: UKPlace: Harpenden, HertsPublisher: Pocket EssentialsPubDate: 2000PhysDes: 96 p. ; 18 cmSeries: Pocket Essentials FilmSubject: CAMPION, JANE ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; HOLY SMOKE (US, Jane Campion, 1999) ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; SWEETIE (AT, Jane Campion, 1989) Notes: Includes list of reference materialsISBN: 1903047242
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Jane Campion / Kathleen McHugh Urbana: University of Illinois Press, 2007.
Call No: 81CAM MCHAuthor: McHugh, Kathleen Anne Source: USPlace: UrbanaPublisher: University of Illinois PressPubDate: 2007PhysDes: xii, 186 p. : ill., ports. ; 21 cmSeries: Contemporary film directorsSubject: CAMPION, JANE ; PIANO, THE (AT, Jane Campion, 1993) ; IN THE CUT (US/AT, Jane Campion, 2003) ; SWEETIE (AT, Jane Campion, 1989) ; HOLY SMOKE (US, Jane Campion, 1999) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; HOLY SMOKE (US, Jane Campion, 1999) Summary: Jane Campion's work calls us to attend these mysteries and passions of family, especially among sisters [taken from "acknowledgments" part]Notes: Includes index
Bibliography: p [169]-175
Filmography: p [163]-167ISBN: 9780252074479
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Jane Campion : cinema, nation, identity / edited by Hilary Radner, Alistair Fox and Irene Bessiere Detroit, Mich: Wayne State University Press, 2009.
Call No: 81CAM JANAuthor: Radner, Hilary ; Fox, Alistair ; Bessiere, Irene Place: Detroit, MichPublisher: Wayne State University PressPubDate: 2009PhysDes: xiv, 329 p. : ill. ; 23 cmSeries: Contemporary approaches to film and televisionSubject: CAMPION, JANE ; DIRECTORS ; WOMEN FILM WORKERS. AUSTRALIA ; WOMEN AND THE CINEMA ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) Notes: Includes bibliographical references, filmography and indexISBN: 9780814334324Contents: Introduction: an antipodean filmmaker in an international context / Alistair Fox and Hilary Radner -- Subjectivities and the construction of identity in Jane Campion's films. "In extremis": Jane Campion and the woman's film / Hilary Radner -- Her-land: Jane Campion's cinema, or another poetic of the inner sense / Muriel Andrin -- The Campions indulge in the audition / Harriet Margolis -- Campion-Keitel Connections, a.k.a. "We are the piano" / Chris Holmlund -- Jane Campion and her sources. "I can really see myself in her story": Jane Campion's adaptation of Janet Frame's autobiography / Lawrence Jones -- Puritanism and the erotics of transgression: the New Zealand influence in Jane Campion's thematic imaginary / Alistair Fox -- Portraits of a woman: Jane Campion and Henry James / Irene Bessiere -- Jane Campion: adaptation, signature, autobiography / Kathleen A. McHugh -- Jane Campion's "Geographies". Jane Campion and the international theme: from The portrait of a lady to An angel at my table / Jean Bessiere -- The suburb in Jane Campion's films / Rochelle Simmons -- From antipodean cinema to international art cinema / Raphaelle Moine -- Viewers respond to Jane Campion. "Comme une invitation au voyage": French reception of Jane Campion, An angel at my table, and The piano / Simon Sigley -- "The piano is mine. It's mine." My (free association with) Jane Campion, or, the child in the spectator / Sue Gillett -- Jane Campion and the moral occult / Ann Hardy -- On viewing Jane Campion as an antipodean / Annabel Cooper
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Jane Campion : an overview in Sequential (Summer 1989) iss.1 p.3-5
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Jane Campion : authorship and personal cinema / by Alistair Fox Bloomington: Indiana University Press, c2011.
Call No: 81CAM FOXAuthor: Fox, Alistair Source: USPlace: BloomingtonPublisher: Indiana University PressPubDate: c2011PhysDes: xii, 269 p. : ill. ; 23 cmSubject: FILM ; CAMPION, JANE ; SWEETIE (AT, Jane Campion, 1989) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; HOLY SMOKE (US, Jane Campion, 1999) ; IN THE CUT (US/AT, Jane Campion, 2003) ; WATER DIARY THE (AT, Jane Campion, 2006) ; BRIGHT STAR (UK/AT/FR, Jane Campion, 2009) Summary: "Alistair Fox explores the dynamics of the creative process involved in cinematic representation in the films of Jane Campion, one of the most highly regarded of contemporary filmmakers. Utilizing a wealth of new material -- including interviews with Campion and her sister and personal writings of Campion's mother -- Fox traces the connections between the filmmaker's complex background and the thematic preoccupations of her films, from her earliest short, Peel, to 2009's Bright Star. He establishes how Campion's deep investment in family relationships informs her aesthetic strategies, revealed in everything from the handling of shots and lighting, to the complex system of symbolic images repeated from one film to the next. " -- BOOK BLURBNotes: Formerly CIP; Includes bibliographical references and indexISBN: 9780253223012Contents: -- acknowledgments -- Introduction: authorship, creativity, and personal cinema -- Origins of a problematic: the Campion family -- The "tragic underbelly" of the family: fantasies of transgression in the early films -- Living in the shadow of the family tree: Sweetie -- "How painful it is to have a family member with a problem like that": authorship as creative adaptation in An angel at my table -- Traumas of separation and the encounter with the phallic other: The piano -- The misfortunes of an heiress: The portrait of a lady -- Exacting revenge on "cunt men": Holy smoke as sexual fantasy -- "That which terrifies and attracts simultaneously": Killing daddy in the cut -- Lighting a lamp: loss, art, and transcendence in The water diary and Bright star -- Conclusion: theorizing the personal component of authorship -- motes -- works cited filmography -- index --
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Jane Campion and adaptation : angels, demons and unsettling voices / Estella Tincknell Basingstoke, Hampshire: Palgrave Macmillan, 2013.
Call No: 753CAM TINAuthor: Tincknell, Estella Source: UKPlace: Basingstoke, HampshirePublisher: Palgrave MacmillanPubDate: 2013PhysDes: 139 pages : illustrated ; 22 cmSeries: The adaptation seriesSubject: ADAPTATIONS ; ADAPTATIONS. JAMES, HENRY ; AUTEUR THEORY ; AUTHORSHIP ; DIRECTORS ; FEMINISM AND THE CINEMA ; GENRES ; LITERATURE AND THE CINEMA ; MYTH AND THE CINEMA ; CAMPION, JANE ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; BRIGHT STAR (UK/AT/FR, Jane Campion, 2009) ; IN THE CUT (US/AT, Jane Campion, 2003) ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; SWEETIE (AT, Jane Campion, 1989) ; TOP OF THE LAKE [TV] (AT/UK, Jane Campion/Garth Davis, 2013) Summary: "In Jane Campion and Adaptation Estella Tincknell presents a compelling analysis of the interplay between literature and cinema in relation to Campion's work. The text takes a distinct approach to understanding Campion's films, positioning them not simply as the work of a cinematic auteur, but as the culmination of a complex set of textual relationships and practices. In doing so, Tincknell argues persuasively that the director's use of adaptation goes well beyond the conventionally respectful approach to literary texts, opting instead for a playful, subversive and challenging re-imagining of the connections between literature, myth, cultural identity and cinema." -- PORTION OF BOOK BLURBNotes: Contains bibliographic references and index -- list of illustrations included as looseleaf in front of bookISBN: 9780230229006Contents: -- pt. One Versions -- `A Jane Campion film': authorships and adaptations -- Collaborations, credibility, creativity -- Cultural value and the fidelity question -- `Adding to' not taking from: textual ontologies redux -- pt. Two Visions and Voices -- Multiple voices, different visions -- Gothic visions, feminine fables -- Shadow Males and Super Males -- Angels, fairies, demons -- Demythologising space and place -- Attending to the past -- pt. Three Genres -- Art cinema or feminist cinema? -- Re-articulating film genres one: the anti-heritage text - The Portrait of a Lady -- Playfulness and respect -- Costume drama, feminism and the `affect' of history -- Indexing the past -- Adapting the self -- Auditory affect, musical boxes -- Re-articulating film genres two: The Piano as melodrama -- Re-articulating film genres three: An Angel at My Table and the biopic - public lives, private selves -- From the margins to the centre - Bright Star as biopic --
Re-articulating film genres four: In the Cut's rewriting of film noir -- conclusion -- notes -- bibliography -- index --
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Jane Campion's The piano / edited by Harriet Margolis Cambridge: Cambridge University Press, 2000.
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Kiss me deadly : feminism & cinema for the moment / edited by Laleen Jayamanne Sydney: Power Publications, 1995.
Call No: 626:396 KISAuthor: Jayamanne, Laleen Place: SydneyPublisher: Power PublicationsPubDate: 1995PhysDes: 285 p. ; 22 cmSubject: FEMINISM AND THE CINEMA ; BIGELOW, KATHRYN ; RUIZ, RAUL ; MOFFATT, TRACEY ; JAYAMANNE, LALEEN ; PATRIOTIN, DIE (GW, Alexander Kluge, 1979) ; BAD TIMING (UK, Nicolas Roeg, 1980) ; NEAR DARK (US, Kathryn Bigelow, 1987) ; BLUE STEEL (US, Kathryn Bigelow, 1989) ; POINT BREAK (US, Kathryn Bigelow, 1991) ; EHE DER MARIA BRAUN, DIE (GW, Rainer Werner Fassbinber, 1979) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; NIGHT CRIES : A RURAL TRAGEDY (AT, Tracey Moffatt, 1990) ; BEDEVIL (AT, Tracey Moffat, 1993) ; RAGING BULL (US, Martin Scorsese, 1980) ; RED SHOES, THE (UK, Michael Powell & Emeric Pressburger, 1948) Notes: Includes bibliographical referencesISBN: 0909952264LON: 11555393
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The last days of Chez Nous ; &, Two friends / Helen Garner Ringwood, Vic.: McPhee Gribble, 1992.
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Looking for trouble : on shopping, gender and the cinema / Suzanne Moore London: Serpent's Tail, 1991.
Call No: 67(41) MOOAuthor: Moore, Suzanne Source: UKPlace: LondonPublisher: Serpent's TailPubDate: 1991PhysDes: ix, 305 pages ; 20 cmSubject: CRITICISM ; FEMINISM AND THE CINEMA ; JAMES BOND IN FILMS ; POPULAR CULTURE AND THE CINEMA ; ALWAYS (US, Steven Spielberg, 1989) ; BIRD (US, Clint Eastwood, 1988) ; BLACK RAIN (US, Ridley Scott, 1989) ; BLUE STEEL (US, Kathryn Bigelow, 1989) ; BROKEN NOSES (US, Bruce Weber, 1987) ; CHOCOLAT (FR, Claire Denis, 1988) ; DEAD RINGERS (CN, David Cronenberg, 1988) ; DECLINE OF WESTERN CIVILISATION PART II: THE METAL YEARS, THE (US, Penelope Spheeris, 1988) ; DO THE RIGHT THING (US, Spike Lee, 1989) ; FAMILY VIEWING (CN, Atom Egoyan, 1987) ; FAREWELL TO THE KING (US, John Milius, 1989) ; GHOSTS. . . OF THE CIVIL DEAD (AT, John Hillcoat, 1988) ; GOOD MOTHER, THE (US, Leonard Nimoy, 1988) ; JESUS OF MONTREAL (CN/FR, Denys Arcand, 1989) ; KAMIKAZE HEARTS (US, Juliet Bashore, 1986) ; KROTKI FILM O ZABIJANIU (PL, Krzysztof Kieslowski, 1988) ; LONGTIME COMPANION (US, Norman Rene, 1990) ; MADONNA: TRUTH OR DARE (US, Alek Keshishian, 1991) ; MARUSA NO ONNA (JA, Juzo Itami, 1987) ; PARIS BY NIGHT (UK, David Hare, 1989) ; PATTY HEARST (US, Paul Schrader, 1988) ; ROGER AND ME (US, Michael Moore, 1989) ; SCANDAL (UK, Michael Caton-Jones, 1989) ; SERPENT AND THE RAINBOW (US, Wes Craven, 1988) ; SHE-DEVIL (US, Susan Seidelman, 1989) ; SHE MUST BE SEEING THINGS (US, Sheila McLaughlin, 1987) ; SKIN DEEP (US, Blake Edwards, 1989) ; SLEEPING WITH THE ENEMY (US, Joesph Ruben, 1991) ; SOMETHING WILD (US, Jonathan Demme, 1986) ; STAR TREK V: THE FINAL FRONTIER (US, William Shatner, 1989) ; SWEETIE (AT, Jane Campion, 1989) ; TEENAGE MUTANT NINJA TURTLES (US, Steve Barron, 1990) ; THIN BLUE LINE, THE (US, Errol Morris, 1988) ; THIRTYSOMETHING [TV] (US, 1987-91) ; TIE ME UP! TIE ME DOWN! (SP, Pedro Almodovar, 1990)
SEE
ATAME! ; TORCH SONG TRILOGY (US, Paul Bogart, 1988) ; TOTAL RECALL (US, Paul Verhoeven, 1990) ; TUCKER (US, Francis Ford Coppola, 1988) ; TWIN PEAKS [TV] (US, David Lynch & others, 1990-1991) ; UNHOLY, THE (US, Camilio Vila, 1988) ; WAR OF THE ROSES, THE (US, Danny DeVito, 1989) ; WIRED (US, Larry Peerce, 1989) ; WORLD APART, A (UK, Chris Menges, 1988) ; BAUDRILLARD, JEAN ; TARKOVSKY, ANDREI ; WINDSOR, BARBARA Summary: "In her articles and essays, Suzanne Moore takes a vitriolic look at the icons of modern life - post feminism, Baudrillard, Laura Ashley, Twin Peaks, the new man, safe sex, James Bond, a green planet. In her film reviews, she dissects the 'mega' filmmakers of our time - Steven Spielberg, Federico Fellini, Akira Kurosawa, Pedro Almodovar, Ken Russell and David Lynch. Definitely not 'one of the boys', Suzanne Moore's attitude to the good and famous is refreshing and irreverent." -Book blurb.Notes: Contains bibliographyISBN: 1852422424Contents: Introduction -- Feminism -- Men: Men against men; Target man; The brothers grim; Toy soldiers or wicked willies; Prince; Torch Song tightrope; Here's looking at you, kid -- Women: Material girl; Hi, I'm Anneka - fly me; Green light spells danger; The odds of getting even; A call to underarms; Fatal fantasies; Happiness is a warm gun; Close-up as the cookie crumbles; Women who read too much; The great awakening; Modern romance; The merry life of Windsor -- Children: Hiding in the wardrobe; Hung-up on Father Christmas; Politics of choice; Birth and death; Maternal melodramas; Eternal childhood; Unhappy families; Heroes in a half-shell -- Fantasy -- Fear: Killjoy culture; Filming by numbers; The death of intimacy; To hell and back; Murder most foul; Electric shocks; Fag end; Soft soap -- Flesh: Good vibrations; Deviant laws; Everyday eroticism; One big act; A screw of convenience?; Missionary sex; The struggle for safe endings -- Faith: Kidnapped by the counter-culture; Sculpting in time; Playing Jesus by night; Nithing but the truth; Always a love story; Jazz junkie -- Power: Pleasure: Understimulation; And now for the news; Film slobs; The metal age; All night long; The money game; Mall-content?; Mini-politics: saying no in public; Belushi's last high; something to stay home about; Reach for the stars; Starship stories -- Politics: Political poison; Junk culture; Never really at home; A problem of identities; Brand loyalty; Sun rises in the east; You can't do the right thing all the time; Great expectations -- Populism: Postmodern paralysis; Britain's macho man; On the side of the man in the street; Against the sober grain -- Postmodernism: Politics of seduction; Getting a bit of the other - the pimps of postmodernism.ID2: 291
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Making film and television histories : Australia and New Zealand / edited by James E. Bennett and Rebecca Beirne London: I.B. Tauris, 2012.
Call No: 49[930.2](93/94) MAKSource: UKPlace: LondonPublisher: I.B. TaurisPubDate: 2012PhysDes: xxiii, 296 p. : ill. ; 24 cmSubject: HISTORY AND THE CINEMA. AUSTRALIA ; HISTORY AND TV. AUSTRALIA ; HISTORY AND THE CINEMA. NEW ZEALAND ; HISTORY AND TV. AUSTRALIA ; JEDDA (AT, Charles Chauvel, 1955) ; LOUSY LITTLE SIXPENCE (AT, Alec Morgan , 1983) ; BUFFALO LEGENDS (AT, Desmond Kootji Raymond & Paul Roberts, 1997) ; RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001) ; BRA BOYS (AT, Sunny Abberton, 2007) ; AUSTRALIA (AT/US, Baz Luhrmann, 2008) ; ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994) ; CAMERA NATURA (AT, Ross Gibson, 1986) ; CINEMA OF UNEASE: A PERSONAL JOURNEY BY SAM NEILL (NZ, Sam Neill & Judy Reimer, 1995) ; BREAKER MORANT (AT, Bruce Beresford, 1980) ; GALLIPOLI (AT, Peter Weir, 1981) ; COWRA BREAKOUT (AT, Chris Noonan & Phil Noyce, 1985) ; REVEALING GALLIPOLI (AT, Wain Fimeri, 2005) ; SMILEY (UK, Anthony Kimmins, 1956) ; DEVIL'S PLAYGROUND (AT, Fred Schepisi, 1976) ; PUBERTY BLUES (AT, Bruce Beresford, 1981) ; WHALE RIDER (NZ/GG, Niki Caro, 2002) ; ONE SUMMER AGAIN [TV] (AT, Mark Callan, 1985) ; EVIL ANGELS (AT, Fred Schepisi, 1988) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; PIANO, THE (AT, Jane Campion, 1993) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; NED KELLY (AT/UK, Gregor Jordan, 2003) ; DAD AND DAVE COME TO TOWN (AT, Ken G. Hall, 1938) ; MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979) ; WITCHES AND FAGGOTS - DYKES AND POOFTERS (AT, 'One in Seven', 1980) ; LOVE THE BEAST (AT, Eric Bana, 2009) ; THEY'RE A WEIRD MOB (AT, Michael Powell, 1966) ; THEY'RE A WEIRD MOB (AT/UK, Michael Powell, 1966) ; ILLUSTRIOUS ENERGY (NZ, Leon Narbey, 1987) ; SERENADES (AT, Mojgan Khadem, 2000) ; PACIFIC SOLUTION (AT/NZ, James Frankham, 2005) ; FORGOTTEN SILVER (NZ, Peter Jackson & Costa Botes, 1996) ; ROSIE'S SECRET (AT, Lisa Matthews, 1994) ; OUTBACK HOUSE [AT] (AT, 2005-) ; COLONY, THE [TV] (AT/UK, Malcolm McDonald, 2005) ; NGATI (NZ, Barry Barclay, 1987) ; UTU (NZ, Geoffrey Murphy, 1983) ; RIVER QUEEN (NZ/UK, Vincent Ward, 2005) Summary: "Making Film and Television Histories: Australian and New Zealand considers film and television texts as primary historical media with the potential to bring historical topics alive through their interplay between past and present" - TAKEN FROM BACK COVERContents: Section One Aboriginal Narratives -- Introduction / Suneeti Rekhari -- Jedda / Suneeti Rekhari -- The Making of Lousy Little Sixpence / Alec Morgan -- Buffalo Legends / Shane Motlap -- Rabbit Proof Fence / Kathy Butler -- Blood is Thicker than Water: Stains on the Land in Bra Boys / Henk Huijser -- Australia / Ann McGrath -- Section Two Maori Narratives -- Introduction / Jennifer Gauthier -- Milies in Maoriland: The Making of the First New Zealand Feature Films / Mark Derby -- Patu! / Geraldene Peters -- Ngati / Jennifer Gauthier -- Once Were Warriors / Stuart Murray -- Section Three The New Zealand Wars -- Introduction / Annabel Cooper -- `Magnificent Failure' or Subversive Triumph?: The Governor / Trisha Dunleavy -- Making Nation: Utu / Hester Joyce -- Nga Pakanga Nunui o Aotearoa/ The New Zealand Wars / Annabel Cooper -- Reconciling History in Vincent Ward's River Queen / Cherie Lacey -- Section Four Imaging the Nation -- Contents note continued: Introduction / Mark Derby -- Romantic New Zealand: 1920s and 1930s' NZ Government Publicity Office Travelogues / Alfio Leotta -- From Colony to Nation in One Hundred Crowded Years: A Narrative on Civilisation, Progress and Modernity / Lars Weckbecker -- Camera Natura / Deane Williams -- Cinema of Unease / Brenda Allen -- Seeing Bed in 1949 and 1995 / Alan Wright -- Section Five War and Society -- Introduction / Daniel Reynaud -- Breaker Morant / Craig Wilcox -- Gallipoli / Daniel Reynaud -- The Cowra Breakout / Belinda Smaill -- War Stories Our Mothers Never Told Us / Gabrielle A. Fortune -- Revealing Revealing Gallipoli / Peter Stanley -- Section Six Stories of Adolescence -- Introduction / Emma Hamilton -- Smiley / Emma Hamilton -- The Devil's Playground: Coming-of-Age as National Cinema / Josephine May -- Sex and Subculture: Bruce Beresford's Puberty Blues / Lisa Featherstone -- Whale Rider / Jennifer Gauthier -- Section Seven Icons, Crime and the Imagination -- Introduction / Michelle Arrow -- One Summer Again: The Dramatising of the Heidelberg School / Bill Garner -- Witnessing Innocence: Fred Schepisi's Evil Angels / Michelle Arrow -- An Angel at My Table / Fincina Hopgood -- The Piano / Harriet Margolis -- Heavenly Creatures: The 1954 Parker-Hulme Case / James E. Bennett -- Ned Kelly (2003) / Sarah Pinto -- Section Eight Explorations of Gender and Sexuality -- Introduction / Rebecca Beirne -- Dad and Dave Come to Town: Mr Entwhistle and Male Homosexuality / Yorick Smaal -- My Brilliant Career / Jill Roe -- Witches, Faggots, Dykes and Poofters / Scott McKinnon -- Love the Beast / Kirsten Stevens -- Section Nine Immigrants, Refugees and Multicultural Narratives -- Introduction / Michelle Langford -- Who's the Weird Mob Anyway? Assimilation and Authenticity in They're A Weird Mob / Jessica Carniel -- Illustrious Energy / Brenda Allen -- Serenades / Michelle Langford -- Pacific Solution: From Afghanistan to Aotearoa / Annie Goldson -- Section Ten Playing with the Past
Introduction / James E. Bennett -- Forgotten Silver / Craig Hight -- Rosie's Secret / Nancy Cushing -- Revisioning the Australian Outback House of 1861 / Anthony Corones -- Living History: The Colony / Claire Lowrie
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Melbourne's lake view in Herald Sun [Confidential(HSM)] (7/06/2017) p.19
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Movies as politics / Jonathan Rosenbaum Berkeley, Calif.: University of California Press, 1997.
Call No: 45:32 ROSAuthor: Rosenbaum, Jonathan Place: Berkeley, Calif.Publisher: University of California PressPubDate: 1997PhysDes: xi, 359 p. ; 24 cmSubject: POLITICS AND THE CINEMA ; POLITICAL FILMS ; RACIAL PROBLEMS IN FILMS ; WELLES, ORSON ; KIESLOWSKI, KRZYSZTOF ; BUNUEL, LUIS ; BRESSON, ROBERT ; TATI, JACQUES ; RAY, NICHOLAS ; ZWIGOFF, TERRY ; ENDFIELD, CY ; HOU, HSIAO-HSIEN ; CARAX, LEOS ; AKERMAN, CHANTAL ; ACE VENTURA, PET DETECTIVE (US, Tom Shadyac, 1994) ; HEARTS OF DARKNESS : A FILMMAKERS APOCALYPSE (US, Fax Bahr & George Hinkenlooper, 1991) ; PIANO, THE (AT, Jane Campion, 1993) ; APOCALYPSE NOW (US, Francis Ford Coppola, 1979) ; BITTER MOON (FR/UK, Roman Polanski, 1992) ; NOIRE DE..., LA (SG, Ousmane Sembene, 1965) ; BLOOD IN THE FACE (US, Anne Bohlen, Kevin Rafferty & James Ridgeway, 1991) ; CRUMB (US, Terry Zwigoff, 1994) ; DO THE RIGHT THING (US, Spike Lee, 1989) ; FORREST GUMP (US, Robert Zemeckis, 1994) ; NUIT ET JOUR (FR/BE/SZ, Chantal Akerman, 1991) ; OUT 1 (FR, Jacques Rivette, 1990[prod. 1970]) ; PLOT AGAINST HARRY, THE (US, Michael Roemer, 1989[prod.1969]) ; PUPPET MASTER, THE (US, David Schmoeller, 1989) ; REDS (US, Warren Beatty, 1981) ; SAFE (US, Todd Haynes, 1995) ; SCHINDLER'S LIST (US, Steven Spielberg, 1993) ; SOLARIS (UR, Andrei Tarkovsky, 1972) Notes: Includes bibliographical references and indexISBN: 0520206142 (acid-free paper); 0520206150 (pbk. : alk. paper)Order Received: 1997LON: 96009916; 12700123
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newspaper article
Networking in Sydney Morning Herald [TV Guide] (28/03/2016) p.2
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New Zealand film and television : institution, industry, and cultural change / Trisha Dunleavy and Hester Joyce Bristol, U.K. ; Chicago, USA: Intellect, 2011.
Call No: 71(931) DUNAuthor: Dunleavy, Trisha ; Joyce, Hester Source: UKPlace: Bristol, U.K. ; Chicago, USAPublisher: IntellectPubDate: 2011PhysDes: 291 p. : ill. ; 24 cmSubject: NEW ZEALAND ; INDUSTRY, FILM. NEW ZEALAND ; INDUSTRY, TV. NEW ZEALAND ; MAORI IN FILMS ; SLEEPING DOGS (NZ, Roger Donaldson, 1977) ; VIGIL (NZ, Vincent Ward, 1984) ; NGATI (NZ, Barry Barclay, 1987) ; SHORTLAND STREET [TV] (NZ, 1992-) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; PIANO, THE (AT, Jane Campion, 1993) ; ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; WHALE RIDER (NZ/GG, Niki Caro, 2002) ; BOY (NZ, Taika Waititi, 2010) Summary: "Despite the challenges arising from a limited population size and the difficulty of obtaining adequate funding, the film and television industries of New Zealand have been the source of significant creative achievement and profound cultural influence. Charting their emergence and subsequent development through five decades, New Zealand Film and Television: Institution, Industry and Cultural Change examines these two increasingly vibrant cultural and creative industries. Whilst there is a growing body of academic work on the film and television productions which have originated in New Zealand, relatively little exists that examines the specific cultural concerns, institutional objectives, policy directives, and industry practices that have shaped these productions. New Zealand Film and Television: Institution, Industry and Cultural Change aims to fill this gap."-BOOK BLURBNotes: includes glossary of Maori terms; includes bibliographical references; includes indexISBN: 9781841504575Contents: -- List of Illustrations -- Acknowledgements -- Glossary of Maori Terms -- List of Abbreviations -- Introduction -- 1. Television in the Era of Public Monopoly -- 2. Pioneers, Mavericks and the Inception of a National Cinema (1960-88) -- 3. Television, Neo-liberalism and the Advent of Competition (1988-99) -- 4. Neo-liberalism and the Consolidation of a National Film Industry (1988-97) -- 5. Television after 2000: Digital 'Plenty' in a Small Market -- 6. New Zealand and Internationalism (1998-2010) -- Conclusions -- References -- Index --
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New Zealand filmmakers / edited by Ian Conrich and Stuart Murray Detroit, Mich: Wayne State University Press, C2007.
Call No: 71(931) NEWAuthor: Conrich, Ian (ed) ; Murray, Stuart (ed) Source: USPlace: Detroit, MichPublisher: Wayne State University PressPubDate: C2007PhysDes: xiii, 374 p. : ill. ; 23 cmSeries: Contemporary approaches to film and television seriesSubject: MAORI CINEMA
RT: NEW ZEALAND ; LYE, LEN ; O'SHEA, JOHN ; PRESTON, GAYLENE ; BARCLAY, BARRY ; MITA, MERATA ; WELLS, PETER ; DONALDSON, ROGER ; MURPHY, GEOFFREY ; MUNE, IAN ; LAWRENCE, BRUNO ; LAING, JOHN ; REID, JOHN ; NARBEY, LEON ; WARD, VINCENT ; CAMPION, JANE ; MACLEAN, ALISON ; JACKSON, PETER (NZ) ; BLYTH, DAVID ; BAD BLOOD (NZ, Mike Newell, 1981) ; BEYOND REASONABLE DOUBT (NZ, John Laing, 1980) ; BOUNTY, THE (US, Roger Donaldson, 1984) ; BRAINDEAD (NZ, Peter Jackson, 1992) ; BRIDGE TO NOWHWERE (NZ, Ian Mune, 1986) ; CADILLAC MAN (US, Roger Donaldson, 1990) ; DEATH IN THE FAMILY, A [TV] (NZ, Stewart Main and Peter Wells, 1987) ; END OF THE GOLDEN WEATHER, THE (NZ, Ian Mune, 1991) ; FORGOTTEN SILVER (NZ, Peter Jackson & Costa Botes, 1996) ; HOLY SMOKE (US, Jane Campion, 1999) Summary: "New Zealand cinema is now applauded worldwide for its achievements and, in theis book, it is the subject of the wide-ranging critical analysis. The essays here describe an incredible progression from early New Zealand films to the blockbusters of the present. They outline industrial achievements, the workings of film form, and the effect that New Zealand cinema has as part of the country's culture. Taken together, the essays are a fitting tribute to all those who have worked in the industry." -- From the forward by Terence BaylerNotes: Bibliography: p. 349-353; Includes indexISBN: 9780814330173 (pbk : alk paper); 0814330177 (pbk : alk paper)
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title clippings file
PASSIONLESS MOMENTS : (AT, Jane Campion and Gerard Lee, 1983)
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PEEL : (AT, Jane Campion, 1982)
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The piano / Jane Campion London: Bloomsbury, 1993, c1992.
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Piano / Jane Campion and Kate Pullinger Jakarta: Penerbit PT, 1995.
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The piano / Gail Jones Strawberry Hills, NSW: Currency Press, 2007.
Call No: 79PIA JONAuthor: Jones, Gail CorpAuthor: Australian Film Commission: National Film and Sound ArchiveSource: AustraliaPlace: Strawberry Hills, NSWPublisher: Currency PressPubDate: 2007PhysDes: viii, 85 p. : ill. ; 20cmSeries: Australian Screen ClassicsSubject: NATIONAL CULTURE AND THE CINEMA. AUSTRALIA ; NATIONAL CULTURE AND THE CINEMA. NEW ZEALAND ; REGIONAL CINEMA. AUSTRALIA ; REGIONAL CINEMA. NEW ZEALAND ; IMPERIALISM AND THE CINEMA. AUSTRALIA ; IMPERIALISM AND THE CINEMA. NEW ZEALAND ; NEW ZEALAND IN FILMS ; DISABLED IN FILMS ; SPEECH ; ROMANCE IN FILMS ; LOVE IN FILMS ; SEA IN FILMS ; WOMEN AND THE CINEMA ; FEMINISM AND THE CINEMA ; RACE AND THE CINEMA. NEW ZEALAND ; MOTHERS IN FILMS ; CHILDREN IN FILMS ; MUSIC IN FILMS ; SILENCE IN FILMS ; EROTICISM IN FILMS ; VIOLENCE IN FILMS ; JANE CAMPION ; PIANO, THE (AT, Jane Campion, 1993) Summary: "When 'The Piano' opened in 1993 it was hailed by many as a modern masterpiece. Written and directed by Jane Campion, it won the Palme d'Or at Cannes, making her the first woman ever to win this prestigious award. It went on to win Academy Awards for Best Original Screenplay (Campion), Best Actress (Holly Hunter) and Best Supporting Actress (Anna Paquin).
"In this thoughtful and perceptive critique, Gail Jones assesses the film's unearthly and controversial visions, its poetic power and its capacity to entrance and to alienate."Notes: Includes notes, bibliography, filmography, 'The Piano' credits and synopses of other books in the 'Australian Screen Classics' series.ISBN: 9780868197999
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The Piano / Gail Jones Strawberry Hills, NSW: Currency Press, 2007.
Call No: 79PIA JONAuthor: Jones, Gail Source: ATPlace: Strawberry Hills, NSWPublisher: Currency PressPubDate: 2007PhysDes: viii, 85 p.: ill. ; 19 cmSeries: Australian Screen ClassicsSubject: PIANO, THE (AT, Jane Campion, 1993) Summary: Film critiqueNotes: Includes bibilographic referencesISBN: 9780868197999ISSN: 1447557XLanguage: English
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The Piano in Empire (Australian Ed.) (December 2005) iss.57 p.104
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PIANO LESSON THE : Fourth Draft [1991].
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Piano lessons : approaches to The piano / [edited by] Felicity Coombes & Suzanne Gemmell Sydney: John Libbey, c1999.
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PIANO, THE : (AT, Jane Campion, 1993) Digital clippings file available
Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILEPhysDes: Stills; Press kit; Clippings; Posters; TransparencySubject: PIANO, THE (AT, Jane Campion, 1993) URL status: URL: 'http://file://Q:/T/PIANO,_THE.zip'
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PIANO, THE : Fourth Draft [1991].
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[Piano, the : stills file]
Call No: TITLE STILLS AUSTRALIASource: ATPhysDes: 7 photographs : b&w ; 13 x 18 - 26 x 21 cm ; 1 slide : col. ; 5 x 5 cm ; 1 transparency : b&w ; 10 x 12 cmSubject: HUNTER, HOLLY ; PAQUIN, ANNA ; NEILL, SAM ; PIANO, THE (AT, Jane Campion, 1993) Summary: 7 black and white photographs of scenes from the film and 1 cartoon from newspaper, the Herald Sun (Melbourne) 22/3/1994, p. 14.Notes: 6 duplicates
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PORTRAIT: JANE CAMPION AND THE PORTRAIT OF A LADY : (AT, Kate Ellis & Peter Long, 1996)
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PORTRAIT OF A LADY, THE : (UK/US, Jane Campion, 1996)
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POWER OF THE DOG : (UK/AT/US/CA/NZ, Jane Campion, 2021) Digital clippings file available
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newspaper article
Reel time : making the Cannes cut is far from in the can in The Australian (23/03/2016) p.15
Call No: SUBJECT CLIPPINGS FILE; INDUSTRY, FILM & TV. AUSTRALIA [weekly summaries]Author: Michael Bodey PhysDes: Clippings File ArticleSubject: FESTIVALS. CANNES ; BOX OFFICE. AUSTRALIA ; JUNGLE in production ; FROM NOWHERE (US, Matthew Newton, 2016) ; DEADPOOL (US, Tim Miller, 2016) ; TOP OF THE LAKE [TV] (AT/UK, Jane Campion/Garth Davis, 2013) Summary: Snippets on various aspects of the Australian film industry in March 2016. Articles include --
Speculation about which Australian productions and productions involving Australians will screen at the 2016 Cannes Film Festival, with the most likely being the Cate Shortland helmed BERLIN SYNDROME. Some notable films such as: LION, WAR MACHINE will be most likely be screened at festivals later in the year. -- Greg McLean is to start the production of JUNGLE, which is based on a memoir. It will be adapted by Justin Monjo -- FROM NOWHERE, directed by Australian Matthew Newton, has won an award at the South By Southwest Film Festival -- DEADPOOL has earned $40 million at the Australian box office, whilst other films mentioned in regards to Box Office are THE DAUGHTER, LADY IN THE VAN, ZOOTOPIA, LONDON HAS FALLEN, THE WITCH, THE REVENANT, GODS OF EGYPT, and STAR WARS: THE FORCE AWAKENS. -- Discussion of the casting for the new season of TOP OF THE LAKE -- Australian actors Guy Pearce and Rachel Griffiths will appear in the US TV drama series WHEN WE RISE
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Screen scores : studies in contemporary Australian film music / edited by Rebecca Coyle North Ryde, N.S.W.: Australian Film, Television & Radio School, 1998.
Call No: 634.6(94) SCRAuthor: Coyle, Rebecca CorpAuthor: Australian Film, Television and Radio SchoolPlace: North Ryde, N.S.W.Publisher: Australian Film, Television & Radio SchoolPubDate: 1998PhysDes: 247 p. : ill., ports. ; 25 cmSubject: MUSIC IN FILMS ; SOUNDTRACKS ; SOUND ; SOUND EDITING ; BROPHY, PHILIP ; WEIR, PETER ; SERIOUS, YAHOO ; ARMIGER, MARTIN ; MAD MAX [...] (AT, 1979-85) ; ROMPER STOMPER (AT, Geoffrey Wright, 1992) ; PIANO, THE (AT, Jane Campion, 1993) ; ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, THE (AT, Stephan Elliott, 1994) ; MURIEL’S WEDDING (AT, P.J. Hogan, 1994) ; SHINE (AT/UK, Scott Hicks, 1996) Summary: This volume provides a series of in-depth analyses of the ways in which contemporary Australian cinema has used music in its soundtracks. Individual chapters analyze films including "Shine", "The Piano", "Priscilla: Queen of the Desert", "Romper Stomper" and the "Mad Max" trilogy.Notes: Includes discography of Australian feature film sound tracks; Includes bibliographies and index; Signed by authorISBN: 1876351004 : $24.95LON: abn97403192; 13568834Contents: 1. Music and textual identity -- Creating a sonic character: non-diagetic sound in the Mad Max trilogy -- The violence of sound: Romper Stomper -- Emotional times: the music of The piano -- Avant-garde meets mainstream: the film scores of Philip Brophy -- 2. Musical associations -- Sound, cinema and Aboriginality -- Music and camp: popular music performance in Priscilla and Muriel's wedding -- Italo-Australian cinematic soundscapes -- Shine: musical narratives and narrative scores -- 3. Directors and film music -- Sound and author/auteurship: music in the films of Peter Weir -- Sonic semaphore: music in the films of Yahoo Serious -- Life in the bush: the orchestration of nature in Australian Animated feature films -- 4. Film industry -- Film music costs and copyright -- Screen composition in Australia: the work of Martin Armiger -- Music for film - a composer's view
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A Sea-change : two journeys from home to the new world - a postcolonial examination of the films The Piano and Black Robe in Practice (Summer 1996/97) iss.1 p.3-11
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Second take : Australian film-makers talk / edited by Geoff Burton and Raffaele Caputo St Leonards, N.S.W.: Allen & Unwin, 1999.
Call No: 802.25(94) SECAuthor: Burton, Geoff ; Caputo, Raffaele Place: St Leonards, N.S.W.Publisher: Allen & UnwinPubDate: 1999PhysDes: x, 342 : ill. ; 23 cmSubject: DIRECTORS. AUSTRALIA ; PREVIEWS ; EALING STUDIOS ; FOX STUDIOS AUSTRALIA ; DUIGAN, JOHN ; WATT, HARRY ; ROWE, GLENYS ; MILLER, GEORGE ; CAMPION, JANE ; BERESFORD, BRUCE ; ARMSTRONG, GILLIAN ; FRANKLIN, RICHARD ; ROEG, NICOLAS ; ZUBRYCKI, TOM ; RUBBO, MICHAEL ; NOONAN, CHRIS ; BENNETT, BILL ; LOWENSTEIN, RICHARD ; HICKS, SCOTT ; SIRENS (AT/UK, John Duigan, 1994) ; YEAR MY VOICE BROKE, THE (AT, John Duigan, 1987) ; MAD MAX (AT, George Miller, 1979) ; BABE (AT, Chris Noonan, 1995) ; LITTLE WOMEN (US, Gillian Armstrong, 1994) ; WALKABOUT (UK, Nicolas Roeg, 1971) ; KISS OR KILL (AT, Bill Bennett, 1997) ; SHINE (AT/UK, Scott Hicks, 1996) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; DOCUMENTARY FILMS. AUSTRALIA ; EUREKA STOCKADE (UK, Harry Watt, 1949 [prod. 1948]) ; FLIRTING (AT, John Duigan, 1991) ; DOGS IN SPACE (AT, Richard Lowenstein, 1986) ; MYTH AND THE CINEMA. AUSTRALIA ; OVERLANDERS, THE (UK, Harry Watt, 1946) ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; RACE AROUND THE WORLD [TV] (AT, John Lander, 1997-) ; STRIKEBOUND (AT, Richard Lowenstein, 1984) Notes: Includes indexISBN: 1864487658 : $19.95LON: 14469038URL status: URL: 'http://-'
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Seeing and believing : religion and values in the movies / Margaret R. Miles Boston: Beacon Press, c1996.
Call No: 45:2 MILAuthor: Miles, Margaret Ruth Source: USPlace: BostonPublisher: Beacon PressPubDate: c1996PhysDes: xvi, 254 p. ; 23 cmSubject: RELIGION AND THE CINEMA ; ETHICS IN FILMS ; BLACKS IN FILMS ; LAST TEMPTATION OF CHRIST, THE (US/CN, Martin Scorsese, 1988) ; JESUS DE MONTREAL (CN/FR, Denys Arcand, 1989) ; MISSION, THE (UK, Roland Joffe, 1986) ; ROMERO (US, John Duigan, 1989) ; NOT WITHOUT MY DAUGHTER (US, Brian Gilbert, 1991) ; CHOSEN, THE (US, Jeremy Paul Kagan, 1981) ; CHARIOTS OF FIRE (UK, Hugh Hudson, 1981) ; HANDMAID'S TALE, THE (US/GW, Volker Schlondorff, 1990) ; RAPTURE, THE (US, Michael Tolkin, 1991) ; LONG WALK HOME, THE (US, Richard Pearce, 1990) ; DAUGHTERS OF THE DUST (US, Julie Dash, 1991) ; THELMA & LOUISE (US, Ridley Scott, 1991) ; PIANO, THE (AT, Jane Campion, 1993) ; JUNGLE FEVER (US, Spike Lee, 1991) ; PARIS IS BURNING (US, Jennie Livingston, 1990) Notes: Includes bibliographical references and indexISBN: 0807010316
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newspaper article
Short cuts : Lake refilled in Sydney Morning Herald (17/03/2016) p.30
Call No: TITLE CLIPPINGS FILE; TOP OF THE LAKE [TV] (AT/UK, Jane Campion/Garth Davis, 2013)Author: Maddox, Garry PhysDes: Clippings File ArticleSubject: TOP OF THE LAKE [TV] (AT/UK, Jane Campion/Garth Davis, 2013) Summary: The second season of the TV drama TOP OF THE LAKE is about to be shot in Sydney with Jane Campion, many of the key crew, and star Elizabeth Moss
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Short reviews in Filmviews (Winter 1985) vol.30 iss.124 p.28-30
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Some significant women in Australian film : a celebration and a cautionary tale : Longford Lyell lecture 2002 / Jan Chapman Australia: Screen sound Australia, 2002.
Call No: 721.02 (94) CHAAuthor: Chapman, Jan Edition: 1st ed.Source: AustraliaPlace: AustraliaPublisher: Screen sound AustraliaPubDate: 2002PhysDes: 1 v ; 20.5 cm, b&w ill.Series: Longford Lyell lecture 2002, ScreenSound Australia Monograph no.3Subject: WOMEN AND THE CINEMA. AUSTRALIA ; WOMEN FILM WORKERS. AUSTRALIA ; WOMEN FILMMAKERS. AUSTRALIA ; WOMEN IN FILMS ; WOMEN ON TV. AUSTRALIA ; WOMEN, FILMS FOR ; WOMEN, FILMS MADE BY ; FEMINISM AND THE CINEMA ; FEMINISM AND TV ; CHAPMAN, JAN ; ARMSTRONG, GILLIAN ; CAMPION, JANE ; LYELL, LOTTIE ; BARRETT, SHIRLEY ; MILLIKEN, SUE ; Lovell, Patricia ; ROBB, JILL ; SCOTT, JANE ; LONG, JOAN ; FINK, MARGARET ; DAVIS, JUDY ; LEVY, SANDRA ; GRIFFITHS, RACHEL ; BLANCHETT, CATE ; KIDMAN, NICOLE ; COLLETTE, TONI ; SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919) ; WOMAN SUFFERS, THE (AT, Raymond Longford, 1918) ; ON OUR SELECTION (AT, Raymond Longford, 1920) ; SHOWTIME (AT, Jan Chapman, 1978) ; SWEET AND SOUR [TV] (AT, 1984) ; SINGER AND THE DANCER, THE (AT, Gillian Amrstrong, 1977) ; SMOKES AND LOLLIES (AT, Gillian Armstrong, 1976) ; BINGO BRIDESMAIDS AND BRACES (AT, Gillian Armstrong, 1988) ; MORE SMOKES, LESS LOLLIES (AT, Gillian Armstrong, 1981) ; MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; WELL, THE (AT, Samantha Lang, 1997) ; LAST DAYS OF CHEZ NOUS, THE (AT, Gillian Armstrong, 1992) ; TWO FRIENDS [TV] (AT, Jane Campion, 1986) ; LITTLE WOMEN (US, Gillian Armstrong, 1994) ; OSCAR AND LUCINDA (AT, Gillian Armstrong, 1997) ; CHARLOTTE GRAY (G/UK/AT, Gillian Armstrong, 2001) ; PIANO, THE (AT, Jane Campion, 1993) ; GIRL'S OWN STORY, A (AT, Jane Campion, 1983) Summary: The ScreenSound Australia Annual Longford Lyell Lecture was established in 2001. It is named in honour of two significant pioneers of Australian cinema, Lottie Lyell and Raymond Longford, who were the foremost creative partnership in the pioneering years of Australian cinema. Jan Chapman is one of Australia’s most famous producers having been involved in the production of ‘Come in Spinner’, ‘Sweet and Sour’, ‘the Piano’ and ‘Lantana’ to name but a few. Chapman talks about the development of her career in relation to other Australian women involved in filmmaking such as Gillian Armstrong and New Zealand born Jane CampionISBN: 0642365172
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title clippings file
SWEETIE : (AT, Jane Campion, 1989)
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Sweetie Compilation book 2009.
Call No: 79SWE SWESource: ATPubDate: 2009PhysDes: ca. 280 p. : ill. ; 30cmSubject: FAMILY IN FILMS ; FAMILY IN FILMS. AUSTRALIA ; CAMPION, JANE ; SWEETIE (AT, Jane Campion, 1989) Summary: This is a collection of items on Jane Campion's Sweetie. It contains a press kit, journal articles, book chapters, internet newspaper articles, and ordinary newspaper articles.Notes: The items in this bound compilation were from Jane Campion items donated to the AFI Research CollectionContents: -- press kit -- journal articles and book chapters -- internet newspaper articles -- newspaper articles --
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[Sweetie : stills file]
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Sweetie, the screenplay / Gerard Lee & Jane Campion St.Lucia, Qld.: University of Queensland Press, 1991.
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Sydney studies in English Sydney, N.S.W.: University of Sydney, 1975/76.
Call No: 753 SYDCorpAuthor: University of Sydney. Dept. of English; English Association. Sydney BranchPlace: Sydney, N.S.W.Publisher: University of SydneyPubDate: 1975/76PhysDes: v. ; 21 cmSubject: INDUSTRY, FILM. AUSTRALIA ; ADAPTATIONS ; FORBIDDEN PLANET (US, Fred McLeod Wilcox, 1956) ; TEMPEST (US, Paul Mazursky, 1982) ; EMMA (UK, Douglas McGrath, 1996) ; CLUELESS (US, Amy Heckerling, 1995) ; LITTLE DORRIT (UK, Christine Edzard, 1987) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; X-FILES, THE [TV] (US, 1993-) Notes: "Jointly sponsored by the Department of English, University of Sydney and the English Association (Sydney Branch)"ISSN: 0156-5419LON: abn84028394; 3052804
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poster
[The piano : poster]
Call No: P PIAPhysDes: 1 poster : col. ; 65 X 34 cm.Subject: PIANO, THE (AT, Jane Campion, 1993) Summary: Image: Has photos of Holly Hunter and Anna Paquin.Notes: Tear on right hand side.ID2: 344
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TOP OF THE LAKE: CHINA GIRL [TV] : (AT/UK/NZ/US, Jane Campion/Ariel Kleiman, 2017)
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newspaper article
Top of the lake hits $5m windfall in The Australian [Media] (14/09/2015) p.23
Call No: TITLE CLIPPINGS FILE; TOP OF THE LAKE [TV] (AT/UK, Jane Campion/Garth Davis, 2013)Author: Bodey, Michael PhysDes: Clippings File ArticleSubject: TOP OF THE LAKE [TV] (AT/UK, Jane Campion/Garth Davis, 2013) Summary: This article reviews the success of Top of the Lake TV series, created by Jane Campion and Gerard Lee. Consequently hopes are high for other TV series, including The Kettering Incident.
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script
Top of the lake season 2 : China girl : episode 4 . Birthday / written by Jane Campion and Gerard Lee AT: 2016 Mar. 3.
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TOP OF THE LAKE [TV] : (AT/UK, Jane Campion/Garth Davis, 2013)
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Twin peeks : Australian and NZ feature films / Deb Verhoeven Melbourne: Damned Publishing, 1999.
Call No: 71(94) TWIPlace: MelbournePublisher: Damned PublishingPubDate: 1999PhysDes: 558 p.Subject: AUSTRALIA ; NEW ZEALAND ; NATIONAL IDENTITY IN FILMS. NEW ZEALAND ; NATIONAL IDENTITY IN FILMS. AUSTRALIA ; HISTORY OF EXHIBITION. AUSTRALIA ; DISTRIBUTION. AUSTRALIA ; ASIANS IN FILMS. AUSTRALIA ; LANDSCAPES IN FILMS. AUSTRALIA ; FAMILY IN FILMS. AUSTRALIA ; HOMOSEXUALITY IN FILMS. AUSTRALIA ; AUSTRALIA. 1970's ; WARD, VINCENT ; HALL, KEN G. ; DARK CITY (US, Alex Proyas, 1997) ; BABE: PIG IN THE CITY (AT, George Miller, 1998) ; SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919) ; SQUATTER'S DAUGHTER, THE (AT, Ken G. Hall, 1933) ; FLOATING LIFE (AT, Clara Law, 1996) ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; PIANO, THE (AT, Jane Campion, 1993) ; ON THE BEACH (US, Stanley Kramer, 1959) ; YATGO HO YAN (HK, Samo Hung, 1997) ; RADIANCE (AT, Rachel Perkins, 1998) ; VACANT POSSESSION (AT, Margot Nash, 1995) ISBN: 1876310006LON: 20154200ID2: 29
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TWO FRIENDS : [TV] (AT, Jane Campion, 1986)
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[Two friends : stills file]
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book
Understanding sound tracks through film theory / by Elsie Walker New York: Oxford University Press, c2015.
Call No: 634 WALAuthor: Walker, Elsie Source: UK/USPlace: New YorkPublisher: Oxford University PressPubDate: c2015PhysDes: ix, 435 pages : illustrations ; 26 cmSubject: SOUND ; SOUND TRACKS ; SOUNDTRACKS ; THEORY ; PSYCHOANALYSIS AND THE CINEMA ; FEMINISM AND THE CINEMA ; GENRES ; IMPERIALISM AND THE CINEMA ; HOMOSEXUALITY AND THE CINEMA ; HOMOSEXUALITY IN FILMS ; SEARCHERS, THE (US, John Ford, 1956) ; DEAD MAN (US, Jim Jarmusch, 1995) ; RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001) ; TEN CANOES (AT, Rolf De Heer, 2006) ; TO HAVE AND HAVE NOT (US, Howard Hawks, 1944) ; PIANO, THE (AT, Jane Campion, 1993) ; SHUTTER ISLAND (US, Martin Scorsese, 2010) ; REBECCA (US, Alfred Hitchcock, 1940) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; BIGGER THAN LIFE (US, Nicholas Ray, 1956) Summary: "Understanding Sound Tracks Through Film Theory breaks new ground by redirecting the arguments of foundational texts within film theory to film sound tracks. Walker includes sustained analyses of particular films according to a range of theoretical approaches: psychoanalysis, feminism, genre studies, post-colonialism, and queer theory. The films come from disparate temporal and industrial contexts: from Classical Hollywood Gothic melodrama (Rebecca) to contemporary, critically-acclaimed science fiction (Gravity). Along with sound tracks from canonical American films including The Searchers and To Have and Have Not, Walker analyzes independent Australasian films: examples include Heavenly Creatures, a New Zealand film that uses music to empower its queer female protagonists; and Ten Canoes, the first Australian feature film with a script entirely in Aboriginal languages. Understanding Sound Tracks Through Film Theory thus not only calls new attention to the significance of sound tracks, but also focuses on the sonic power of characters representing those whose voices have all too often been drowned out.
Understanding Sound Tracks Through Film Theory is both rigorous and accessible to all students and scholars with a grasp of cinematic and musical structures. Moreover, the book brings together film studies, musicology, history, politics, and culture and therefore resonates across the liberal arts." -- BOOK BLURBNotes: Formerly CIP; Includes bibliographical references, filmography (page 419) and index; Includes filmographyISBN: 9780199896325Donation: Oxford University PressContents: -- acknowledgments -- general introduction -- pt. I GENRE STUDIES -- 1.Introduction: "A Semantic/Syntactic Approach to Film Genre" / Rick Altman -- 2.The Searchers -- 3.Dead Man -- pt. II POSTCOLONIALISM -- 4.Introduction: "Colonialism, Racism, and Representation: An Introduction" / Robert Stam and Louise Spence -- 5.Rabbit-Proof Fence -- 6.Ten Canoes -- pt. III FEMINISM -- 7.Introduction: "Visual Pleasure and Narrative Cinema" / Laura Mulvey -- 8.To Have and Have Not -- 9.The Piano -- pt. IV PSYCHOANALYSIS -- 10.Introduction: "Looking for the Gaze: Lacanian Film Theory and Its Vicissitudes" / Todd McGowan -- 11.Bigger Than Life -- 12.Shutter Island -- pt. V QUEER THEORY -- 13.Introduction: "Imitation and Gender Insubordination" / Judith Butler -- 14.Rebecca -- 15.Heavenly Creatures -- coda -- select filmography -- further perceiving -- select glossary index --
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Undressing cinema : clothing and identity in the movies / Stella Bruzzi London New York: Routledge, 1997.
Call No: 226.4 BRUAuthor: Bruzzi, Stella, 1962 Place: London New YorkPublisher: RoutledgePubDate: 1997PhysDes: xxi, 226 p. : ill. ; 24 cmSubject: COSTUMES ; FASHION AND THE CINEMA ; GANGSTER FILMS ; BLACKS IN FILMS ; FEMME FATALE ; TRANSVESTISM ; GENDER AND THE CINEMA ; SHAFT (US, Gordon Parks Jr., 1971) ; SABRINA (US, Billy Wilder, 1954) ; PRETTY WOMAN (US, Garry Marshall, 1990) ; TROP BELLE POUR TOI (FR, Bertrand Blier, 1989) ; READY TO WEAR (US, Robert Altman, 1994) ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993) ; PIANO, THE (AT, Jane Campion, 1993) ; PULP FICTION (US, Quentin Tarantino, 1994) ; LEON (FR, Luc Besson, 1994) ; NEW JACK CITY (US, Mario Van Peebles, 1991) ; BOYZ N THE HOOD (US, John Singleton, 1991) ; WAITING TO EXHALE (US, Forest Whitaker, 1995) ; DISCLOSURE (US, Barry Levinson, 1994) ; SINGLE WHITE FEMALE (US, Barbet Schroeder, 1992) ; LAST SEDUCTION, THE (US, John Dahl, 1994) ; GLEN OR GLENDA - I LED TWO LIVES (US, Edward D. Wood, Jr., 1953) ; ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, THE (AT, Stephan Elliott, 1994) ; MRS. DOUBTFIRE (US, Chris Columbus, 1993) ; BALLAD OF LITTLE JO, THE (US, Maggie Greenwald, 1993) ; CRYING GAME, THE (UK, Neil Jordan, 1992) ; ORLANDO (UK/RU/FR/NE, Sally Potter, 1992) Notes: Includes bibliographical references (p. 208-216) and index; Filmography: p. 204-207ISBN: 0415139562 (hbk : alk. paper); 0415139570 (pbk : alk. paper)LON: 97007260; 13082009ID2: 38
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Visions of independents : an AFI national film event Sydney: Australian Film Institute, 1984.
Call No: 721.210.4 VISCorpAuthor: Australian Film InstituteEdition: 1984Place: SydneyPublisher: Australian Film InstitutePubDate: 1984PhysDes: 28 p. : illus. ; 21 cmSubject: INDEPENDENT FILMS ; CONFERENCES. AUSTRALIA ; OUT (US, Eli Hollander, 1982) ; PROSTITUTE (UK, Tony Garnett, 1980) ; STATIONS (AT, Jackie McKimmie, 1983) ; THIS WOMAN IS NOT A CAR (AT, Margaret Dodd, 1982) ; CHAN IS MISSING (US, Wayne Wang, 1982) ; NIGHT OF SHADOWS (AT, Brian Thompson, 1983) ; ON GUARD (AT, Susan Lambert, 1984) ; GREETINGS FROM WOLLONGONG (AT, Mary Callaghan, 1982) ; GIRL'S OWN STORY, A (AT, Jane Campion, 1983) ; GHOST DANCE (UK/GW, Ken Mullen, 1983) ; IMPOSTORS (GW/US, Mark Rappaport, 1979) ; LAST NIGHT AT THE ALAMO (US, Eagle Pennell, 1983) ; BUCKEYE AND PINTO (AT, Phil Pinder, 1979) ; DOZENS, THE (US, Christine Dall and Randall Conrad, 1980) ; EVERY DAY, EVERY NIGHT (AT, Kathy Mueller, 1984) ; FORDS ON WATER (UK, Barry Bliss, 1983) ; KILLER OF SHEEP (US, Charles Burnett, 1978) ; SLOW MOVES (US, Jon Jost, 1984) ; ASHES AND EMBERS (US, Haile Gerima, 1982) ; JOE'S BED-STUY AND BARBERSHOP: WE CUT HEADS (US, Spike Lee, 1983) ; QUEENSLAND (AT, John Ruane, 1975) ; BROTHERS AND SISTERS (UK, Richard Woolley, 1980) ; KING BLANK (US, Michael Oblowitz, 1982) ; CAFE OF LOVE (AT, Jinks Dulhunty, 1982) ; EMERALD CITIES (US, Richard R. Schmidt, 1983) ; VOICE OVER (UK, Chris Monger, 1981) ; SHADOWPLAY (UK, Oliver Stapleton, 1980) ; EXITS (AT, Paul Davies & Pat Laughren & Carolyn Howard, 1980) ; FILLETING MACHINE, THE (UK, Murray Martin, 1981) ; OUTSIDE IN (UK/GW/NE, Stephen Dwoskin, 1981) ; PLAINS OF HEAVEN, THE (AT, Ian Pringle, 1982) ; SMITHEREENS (US, Susan Seidelman, 1982) ; GOING DOWN (AT, Haydn Keenan, 1982) ; RETURN OF THE SECAUCUS SEVEN (US, John Sayles, 1980) ; AGAINST THE GRAIN (AT, Tim Burns, 1980) ; SERIOUS UNDERTAKINGS (AT, Helen Grace, 1983) ; WRONG SIDE OF THE ROAD (AT, Ned Lander, 1981) ; PURE S (AT, Bert Deling, 1976) ; GAL YOUNG UN (US, Victor Nunez, 1979) ; BURNING AN ILLUSION (UK, Menelik Shabazz, 1981) ; HEARTLAND (US, Richard Pearce, 1979) ; LOOKS AND SMILES (UK, Kenneth Loach, 1981) Notes: Programme for a season of international independent films supporting the 'visions of independence' conference held in Sydney, 29 August - 1 September 1984.
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WATER DIARY THE : (AT, Jane Campion, 2006)
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journal article
Where there's smoke... in If magazine (Dec 1999-Jan 2000) iss.20 p.32-34
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journal article
Women directors dominate 1983 Greater Union Awards in Australasian Cinema (13/5/1983) vol.12 iss.8 p.1
PhysDes: ArticleSubject: GREATER UNION ; WOMEN AND THE CINEMA. AUSTRALIA ; SHORT FILMS. AUSTRALIA ; DANCE OF DEATH (AT, Dennis Tupicoff, 1983 ) ; PEEL (AT, Jane Campion, 1982) ; STATIONS (AT, Jackie McKimmie, 1983) ; SERIOUS UNDERTAKINGS (AT, Helen Grace, 1983) ; FIRST CONTACT (AT, Bob Connolly & Robin Anderson, 1983) ; LION IN THE DOORWAY, THE (AT, John Pradhubodh Walker, 1983) ; MORE TRICKS THAN WE HAVE (AT, Cinemedia, 1982) ; THREE HORSEMEN (AT, David & Judith MacDougall, 1982) Summary: Article on the films nominated for the Greater Union Awards for Australian Short Films, with a high percentage being dircted by women.
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Women in frame : After Hours in Filmviews (Autumn 1985) vol.30 iss.123 p.7
Author: Burrell, Kim PhysDes: ArticleSubject: FILM AUSTRALIA. WOMEN'S FILM UNIT ; AFTER HOURS (AT, Jane Campion, 1984) Summary: Review of films from the 1984 Women's Film Unit. In her appraisal of "After Hours" Kim Burrell positions the film as ambitious and innovative in terms of subject choice. Burrell also notes that Jane Campion's handling of the direction, script, and cinematography are remarkably adeptNotes: Films from the 1984 Women's Film Unit. - credits. - illustration
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WOMENVISION : WOMEN and the MOVING IMAGE in AUSTRALIA / Lisa French (ed.) Melbourne, Australia: Damned Publishing, 2003.
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