Old collection
book
Celebrity : the media as image makers, and, in order of their celebrity / Edited by James Monaco; with contributions from Ingmar Bergman; Norman Mailer et al. New York: Dell Publishing, 1978.
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book
The film director as superstar London: Secker and Warburg, 1971.
Call No: 802.25 GELAuthor: Gelmis, Joseph, 1935 Place: LondonPublisher: Secker and WarburgPubDate: 1971PhysDes: xx, 316 p., 12 plates; illus., ports. 22 cmSubject: MCBRIDE, JIM ; DE PALMA, BRIAN ; DOWNEY, ROBERT ; MAILER, NORMAN ; WARHOL, ANDY ; CASSAVETES, JOHN ; ANDERSON, LINDSAY ; BERTOLUCCI, BERNARDO ; FORMAN, MILOS ; POLANSKI, ROMAN ; CORMAN, ROGER ; COPPOLA, FRANCIS FORD ; PENN, ARTHUR ; LESTER, RICHARD ; NICHOLS, MIKE ; KUBRICK, STANLEY ISBN: 0436173700LON: 210670 210670
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personality microfilm collection
MAILER, NORMAN
Call No: PERSONALITY MICROFILM COLLECTIONPhysDes: ClippingsSubject: MAILER, NORMAN
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book
Politics and cinema / Andrew Sarris New York: Columbia University Press, 1978.
Call No: 45:32 SARAuthor: Sarris, Andrew Place: New YorkPublisher: Columbia University PressPubDate: 1978PhysDes: 215 p. : ill. ; 24 cmSubject: POLITICS AND THE CINEMA ; FASCISM AND THE CINEMA ; VIOLENCE IN FILMS ; PORNOGRAPHY AND THE CINEMA ; CENSORSHIP ; SEMIOLOGY ; AVANT-GARDE FILMS ; MONROE, MARILYN ; MAILER, NORMAN ; FAIRBANKS, DOUGLAS ; RIEFENSTAHL, LENI ; SONTAG, SUSAN ; PROMISED LANDS (FR, Susan Sontag, 1974) ; MON ONCLE ANTOINE (CN, Claude Jutra, 1971) ; SACCO E VANZETTI (IT/FR, Giuliano Montaldo, 1971) ; MATTEI AFFAIR, THE [CASO MATTEI, IL] (IT, Francesco Rosi, 1972) ; DOG DAY AFTERNOON (US, Sidney Lumet, 1975) ; FRONT, THE (US, Martin Ritt, 1976) ; LENNY (US, Bob Fosse, 1974) ; CASO DOS IRMAOS NAVES, O (BL, Luiz Sergio Person, 1967) ; SLAUGHTERHOUSE-FIVE (US, George Roy Hill, 1972) ; MAN, THE (US, Joseph Sargent, 1972) ; CANDIDATE, THE (US, Michael Ritchie, 1972) ; GODFATHER, THE (US, Francis Ford Coppola, 1972) ; CONVERSATION, THE (US, Francis Ford Coppola, 1974) ; ASSASSINATION OF TROTSKY, THE (UK/FR/IT, Joseph Losey, 1972) ; ETAT DE SIEGE (FR/IT/GW, Constantin Costa-Gavras, 1973) ; SORROW AND THE PITY, THE [CHAGRIN ET LA PITIE, LE] (FR/GW/SZ, Marcel Ophuls, 1969) ; HEARTS AND MINDS (US, Peter Davis, 1974) Notes: Includes indexISBN: 0231040342LON: 1221130
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Rewriting indie cinema : improvisation, psychodrama, and the screenplay / J.J Murphy New York: Columbia University Press, 2019.
Call No: 224(73) MURAuthor: Murphy, Murphy Source: USPlace: New YorkPublisher: Columbia University PressPubDate: 2019PhysDes: xi, 337 pages : illustrations ; 23 cm.Subject: SCRIPTS ; SCRIPTWRITERS. USA ; CASSAVETES, JOHN ; LODEN, BARBARA ; GREAVES, WILLIAM ; VAN SANT, GUS ; SWANBERG, JOE ; MEKAS, JONAS ; WARHOL, ANDY ; CLARKE, SHIRLEY ; MAILER, NORMAN ; FERRARA, ABEL ; KEITEL, HARVEY ; VAN SANT, GUS ; SWANBERG, JOE Summary: "Most films rely on a script developed in pre-production. Yet beginning in the 1950s and continuing through the recent mumblecore movement, key independent filmmakers have broken with the traditional screenplay. Instead, they have turned to new approaches to scripting that allow for more complex characterization and shift the emphasis from the page to performance.In Rewriting Indie Cinema, J. J. Murphy explores these alternative forms of scripting and how they have shaped American film from the 1950s to the present. He traces a strain of indie cinema that used improvisation and psychodrama, a therapeutic form of improvised acting based on a performer’s own life experiences. Murphy begins in the 1950s and 1960s with John Cassavetes, Shirley Clarke, Barbara Loden, Andy Warhol, Norman Mailer, William Greaves, and other independent directors who sought to create a new type of narrative cinema. In the twenty-first century, filmmakers such as Gus Van Sant, the Safdie brothers, Joe Swanberg, and Sean Baker developed similar strategies, sometimes benefitting from the freedom of digital technology. In reading key films and analyzing their techniques, Rewriting Indie Cinema demonstrates how divergence from the script has blurred the divide between fiction and nonfiction. Showing the ways in which filmmakers have striven to capture the subtleties of everyday behavior, Murphy provides a new history of American indie filmmaking and how it challenges Hollywood industrial practice." -- Taken from TroveNotes: Includes bibliographical references and index.ISBN: 9780231191975Donation: Senses of CinemaContents: Introduction. Across the spectrum: from improvisation to psychodrama -- And I hate actors: the new American cinema -- Let's not phony it up anymore: the films of John Cassavetes -- Place-based realism: Mackenzie, Loden, and Burnett -- Experiments in psychodrama: Mekas, Warhol, Clarke, and Mailer -- Human life isn't necessarily well-written: the films of William Greaves: symbiopsychotaxiplasm: take one and take 2 1/ 2 -- Beyond the method: Abel Ferrara and Harvey Keitel -- Tied to a machine: the films of Gus Van Sant -- Like how you talk: the films of Joe Swanberg -- Improvisation and place: Putty Hill, Stand clear of the closing doors, and the films of Sean Baker -- Rediscovering psychodrama: Frownland, Heaven knows what, and Stinking heaven -- The line between reality and staging: Actor Martinez, Actress, and The witness -- Conclusion: blending fiction and documentary
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