Search Catalogue

Call No: 632.6 JOH
Source: UK
Place: London
Publisher: Equinox
PubDate: 2010
PhysDes: x, 246 p. : ill. ; 24 cm
Subject: SOUND; SEX IN FILMS; MUSIC IN FILMS; ULTIMO TANGO A PARIGI (IT/FR, Bernardo Bertolucci, 1972); LAST EMPEROR, THE (UK/CC, Bernardo Bertolucci, 1987); SHELTERING SKY, THE (US/IT, Bernardo Bertolucci, 1990); AI NO CORRIDA (JA/FR, Nagisa Oshima, 1976); BARBARELLA (FR/IT, Roger Vadim, 1967); EYES WIDE SHUT (US/UK, Stanley Kubrick, 1999)
Summary: With its capacity to defamiliarize and subvert visual representation, sound is not simply a source of information supplementary to the visual in the cinematic representation of sexuality, but a site of ambiguous ideologies and power relations. -- This collection exemplifies a variety of approaches to the sonic representation of sexuality in cinema. It draws on a range of sexual scenarios from pornography to sci-fi to art-house and includes cinema from various cultures and countries. Among the topics addressed are how the deployment of sound is implicated in gender politics in the representation of sexuality and how sounds are able to radically colour and even override the visual and lexical content of a film. -- Through sonicity the film-maker can challenge the ideologies at play underneath surface stereotypes, and introduce emotional overtones which meliorate the alienation generally associated with porn. Sound and music can establish a historical period as well as spatially localize sexuality within a framework that problematizes the distinctions between porn and erotica. They can introduce into the ahistorical sextopia of porn the cultural specificity of the notion of 'pornography' and indeed can shift a film in and out of that category, even desexualizing the naked human body. -- Bruce Johnson is an adjunct professor at Macquarie University, Sydney, and Visiting Professor at the University of Turku, Finland. His many publications in popular music and literary studies include The Oxford Companion to Australian Jazz. --Book Jacket.
ISBN: 9781845533182
Contents: Sound decisions : interviews with Ole Ege / Bruce Johnson -- Beyond the valley of the ultra cliche´ : erotic plenitude in the films of Russ Meyer / Mark Evans with Matt Burgess -- The push/pull game : the dynamics of sound in Bertolucci's Last tango in Paris, The last emperor and The sheltering sky / Lesley Chow -- Depraved desire : sado-masochism, sexuality and sound in mid-1970s cinema / Clarice Butkus -- The peculiar "love" music in Oshima's Ai no korida / James Wierzbicki -- Lust in space : science fiction themes & sex cinema (1960-82) / Phil Hayward -- Zero gravity : science fiction themed porn cinema and its soundtracks 1990-2010 / Phil Hayward and Emil Stoichkov -- It's gotta be that new wave music : music in New wave hookers carries the joke / Laura Wiebe Taylor -- Making "a mall movie about a man with a 13-inch penis?" : popular music representations of pornographic intention / Liz Giuffre -- Musical loops : eyes wide shut? ears wide open / Kevin Clifton -- Multiple positions : sound, sex and aural dominance in 9 songs / Andrea Warren -- Music, image, and orgasm : getting off on the Shortbus / Marianne Tatom Letts -- In extremis : the roots, soundscapes and significations of 21st century zombie porn / Ralph G. Marsh

Call No: 408.3 LEV
Author: Lev, Peter, 1948
Edition: 1st ed
Source: US
Place: Austin
Publisher: University of Texas Press
PubDate: 1993
PhysDes: xv, 170 p. : ill. ; 24 cm
Series: Texas film studies series
Subject: ART CINEMA. USA; POPULAR CULTURE AND THE CINEMA; CULTURAL IMPERIALISM; USA; EUROPEAN COUNTRIES; MEPRIS, LE (FR/IT, Jean-Luc Godrad, 1963); BLOWUP (UK/IT, Michelangelo Antonioni, 1966); PARIS, TEXAS (GW/US, Wim Wenders, 1984); RACCONTI DI CANTERBURY, I (IT/FR, Pier Paolo Pasolini, 1973); LAST EMPEROR, THE (UK/CC, Bernardo Bertolucci, 1987)
Summary: "Peter Lev departs from the traditional approach of national cinema histories and discusses some of the blens, overlaps, and hegemonies that are typical of the world film industry of recent years. In Part One, he gives an overview of what he terms the "Euro-American art film," which is characterized by prominent use of the English language, a European art-film director, cast and crew from at least two countries, and a stylistic mixing of European art film and American entertainment. The second part of Lev's study examines in detail five examples of the Euro-American art film: Contempt (Jean-Luc Godard, 1963), Blow-up (Michelangelo Antonioni, 1966), The Canturbury Tales (Pier Paolo Pasolini, 1972), and The Last Emperor (Bernardo Bertolucci, 1987). These case studies reveal that the European art film has had a strong influence on world cinema and that many Euro-American films are truly cultural blends rather than abject takeovers by Hollywood cinema." -- Back cover
Notes: Filmography: p. [141]-156; Includes bibliographical references (p. [157]-160) and index
ISBN: 0292746784 (pbk. : alk. paper); 0292746776 (cloth : alk. paper)
LON: 9657097

Call No: 71(45) VER
Author: Vermilye, Jerry
Place: Secaucus, N.J.
Publisher: Carol Pub. Group
PubDate: 1994
PhysDes: 254 p. : ill. ; 28 cm
Subject: ITALY; RISO AMARO (IT, Guiseppe de Santis, 1949); BELLISSIMA (IT, Luchino Visconti, 1951); AIDA (IT, Clemente Fracassi, 1953); SENSO (IT, Luchino Visconti, 1954); STRADA, LA (IT, Federico Fellini, 1954); GRIDO, IL (US/IT, Michelangelo Antonioni, 1957); NOTTI DI CABIRIA, LE (IT, Federico Fellini, 1957); KAPO (IT/FR/YU, Gillo Pontecorvo, 1960); DOLCE VITA, LA (FR/IT, Federico Fellini, 1960); AVVENTURA, L' (IT/FR, Michelangelo Antonioni, 1960); ROCCO E I SUOI FRATELLI (IT/FR, Luchino Visconti, 1960); CIOCIARIA, LA (IT/FR, Vittorio De Sica, 1960); ECLISSE, L' (FR/IT, Michelangelo Antonioni, 1962); [OTTO E MEZZO]8 1/2 (IT, Federico Fellini, 1963); BATTAGLIA DI ALGERI (IT/AE, Gillo Pontecorvo, 1966); ROMEO AND JULIET (UK/IT, Franco Zeffirelli, 1968); CADUTA DEGLI DEI, LA (IT/GW, Luchino Visconti, 1969); C`ERA UNA VOLTA IL WEST (IT/FR, Sergio Leone, 1968); FELLINI-SATYRICON (IT/FR, Federico Fellini, 1969); CONFORMISTA, IL (IT/FR, Bernardo Bertolucci, 1970); MORTE A VENEZIA (IT/FR, Luchino Visconti, 1971); AMARCORD (IT/FR, Frederico Fellini, 1973); PANE E CIOCCOLATA (IT, Franco Brusati, 1974); PASQUALINO SETTEBELLEZZE (IT, Lina Wertmuller, 1976); INNOCENTE, L` (IT/FR, Luchino Visconti, 1976); PADRE PADRONE (IT, Paolo Taviani & Vittorio Taviani, 1977); ALBERO DEGLI ZOCCOLI, L' (IT, Ermanno Olmi, 1978); GINGER E FRED (IT/FR/GW, Federico Fellini, 1986); GINGER AND FRED (IT/FR/GW, Federico Fellini, 1986); OTELLO (IT, Franco Zeffirelli, 1986); LAST EMPEROR, THE (UK/CC, Bernardo Bertolucci, 1987); NUOVO CINEMA PARADISO (IT/FR, Giuseppe Tornatore, 1988); ROMA CITTA APERTA (IT, Roberto Rossellini, 1945); FABIOLA (IT, Alessandro Blasetti, 1947); ROMA ORE 11 (IT, Giuseppe De Santis, 1951); AMICI PER LA PELLE (IT, Franco Rossi, 1955); FATICHE DI ERCOLE, LE (IT, Pietro Francisci, 1957); SOLITI IGNOTI, I (IT, Mario Monicelli, 1958); BUONO, IL BRUTTO, IL CATTIVO, IL (IT, Sergio Leone, 1966); QUEIMADA! (IT/FR, Gillo Pontecorvo, 1970); GIARDINO DEI FINZI-CONTINI, IL (IT, Vittorio De Sica, 1970); TOSCA [TV] (IT, 1992); STANNO TUTTI BENE (IT/FR, Guiseppe Tornatore, 1990)
Notes: "A Citadel Press book."
ISBN: 0806514809 (pbk.) : $17.95
LON: 93045771; 10646564

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Publicity; Clippings
Subject: LAST EMPEROR, THE (UK/CC, Bernardo Bertolucci, 1987)