Search Catalogue

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BABY MAMA (US, Michael McCullers, 2008)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BAD MAMA (US, Steve Carver, 1974)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BAD MAMA II (US, Jim Wynorski, 1987)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BLOODY MAMA (US, Roger Corman, 1970)

Call No: 744-01(72) MOR
Author: Mora, Sergio de la
Source: US
Place: Austin, Texas
Publisher: University of Texas Press
PubDate: 2006
PhysDes: xix, 236 pages : illustrations ; 23 cm
Subject: COMO AGUA PARA CHOCOLATE (MX, Alfonso Arau, 1992); DANZON (MX, Maria Novaro, 1991); INFANTE, PEDRO; MEXICO; PROSTITUTES IN FILMS; Y TU MAMA TAMBIEN (MX, Alfonso Cuaron, 2001)
Summary: "After the modern Mexican state came into being following the Revolution of 1910, hyper-masculine machismo came to be a defining characteristic of "mexicanidad," or Mexican national identity. Virile men (pelados and charros), virtuous prostitutes as mother figures, and minstrel-like gay men were held out as desired and/ or abject models not only in governmental rhetoric and propaganda, but also in literature and popular culture, particularly in the cinema. Indeed, cinema provided an especially effective staging ground for the construction of a gendered and sexualized national identity. In this book, Sergio de la Mora offers the first extended analysis of how Mexican cinema has represented masculinities and sexualities and their relationship to national identity from 1950 to 2004. He focuses on three traditional genres (the revolutionary melodrama, the cabaretera [dancehall] prostitution melodrama, and the musical comedy "buddy movie") and one subgenre (the fichera brothel-cabaret comedy) of classic and contemporary cinema. By concentrating on the changing conventions of these genres, de la Mora reveals how Mexican films have both supported and subverted traditional heterosexual norms of Mexican national identity. In particular, his analyses of Mexican cinematic icons Pedro Infante and Gael Garciacute;a Bernal and of Arturo Ripstein's cult film El lugar sin liacute;mites illuminate cinema's role in fostering distinct figurations of masculinity, queer spectatorship, and gay male representations. De la Mora completes this exciting interdisciplinary study with an in-depth look at how the Mexican state brought about structural changes in the film industry between 1989 and 1994 through the work of the Mexican Film Institute (IMCINE), paving the way for a renaissance in the national cinema." - taken from back cover
Notes: Includes bibliographical references (pages 197-226) and index -- Lambda Literary Awards (nominated), 2007. -- Formerly CIP.
ISBN: 9780292712973
Contents: Preface: How I too came to love Pedro Infante – Acknowledgments -- Introduction: Macho Nation? -- Midnight virgin": melodramas of prostitution in literature and film -- Pedro Infante unveiled: masculinities in the Mexican "buddy movie" -- The last dance: (homo)sexuality and representation in Arturo Ripstein's El lugar sin limites and the fichera subgenre -- Mexico's third-wave new cinema and the cultural politics of film -- Epilogue. Mexican cinema is dead! Long live Mexican cinema! – Notes – Works Consulted -- Index

Call No: 744.7 FEM
Author: Radner, Hilary; Stringer, Rebecca
Source: US
Place: London ; New York
Publisher: Routledge
PubDate: 2011
PhysDes: ix, 310 pages : illustrations ; 23 cm
Subject: FEMINISM AND THE CINEMA; GENRES; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; IDENTITY IN FILMS; JAMES BOND IN FILMS; MARRIAGE IN FILMS; MASCULINITY IN FILMS; MUSIC IN FILMS; POPULAR CULTURE AND THE CINEMA; RACIAL ISSUES AND THE CINEMA; SEXUALITY AND THE CINEMA; WOMEN AND THE CINEMA; WOMEN DIRECTORS; WOMEN FILMMAKERS; YOUNG PEOPLE AND THE CINEMA; YOUNG PEOPLE IN FILMS; [THIRTEEN] 13 GOING ON 30 (US, Gary Winick, 2004); BABY MAMA (US, Michael McCullers, 2008); BEND IT LIKE BECKHAM (UK, Gurinda Chadha, 2002); BRAVE ONE, THE (US/AT, Neil Jordan, 2007); BRIDE WARS (US, Gary Winick, 2009); CASINO ROYALE (CZ/US/UK, Martin Campbell, 2006); ENCHANTED (US, KEVIN LIMA, 2007); [FORTY] 40 YEAR OLD VIRGIN, THE (US, Judd Apatow, 2005); FRIENDS WITH MONEY (US, Nicole Holofcener, 2006); HARD CANDY (US, David Slade, 2005); JUNO (US/CN, Jason Reitman 2007); KISSING JESSICA STEIN (US, Charles Herman-Wurmfeld, 2001); MARIE ANTOINETTE (US, Sofia Coppola, 2006); MICHAEL CLAYTON (US, Tony Gilroy, 2007); MISS CONGENIALITY (US, Donald Petrie, 2000); SECRET LIFE OF BEES (US, Gina Prince-Bythewood, 2008); SEX AND THE CITY: THE MOVIE (US, MICHAEL PATRICK KING, 2008); SINGLE MAN, A (US, Tom Ford, 2009); SISTERHOOD OF THE TRAVELLING PANTS, THE (US, Ken Kwapis, 2005); WAR OF THE WORLDS (US, Steven Spielberg, 2005)
Summary: "Feminism at the Movies: Understanding Gender in Contemporaty Popular Cinema examines the way that contemporary film reflects today's changing gender roles. The book offers a comprehensive overview of the central issues in feminist film criticism with analyses of over twenty popular contemporary films across a range of genres, such as chick flicks, teen pics, hommecoms, horror, action adventure, indie flicks, and women lawyer films. Contributors explore issues of masculinity as well as femininity, reflecting on the interface of popular cinema with gendered realities and feminist ideas. Topics include the gendered political economy of cinema, the female director as auteur, postfeminist fatherhood, consumer culture, depictions of professional women, transgender, sexuality, gendered violence, and the intersections of gender, race, and ethnic identities." - BOOK BLURB
Notes: Includes list of figures, bibliographical references and index
ISBN: 9780415895880
Contents: List of figures -- Acknowledgements; Introduction: "Re-vision"?: Feminist film criticism in the twenty-first century / Hilary Radner and Rebecca Stringer; Part I: Masculinity in question -- "The first Bond who bleeds, literally and metaphorically": gendered spectatorship for "pretty boy" action movies / Janet Staiger -- Queer memories and universal emotions: A Single Man (2009) / Michael DeAngelis -- "Lad flicks": discursive reconstruction of masculinity in popular film / David Hansen-Miller and Rosalind Gill -- Transamerica (2005): the road to the multiplex after New Queer Cinema / Gary Needham; Part II: New feminine subjects: a space for women? -- Enchanted (2007) by postfeminism: gender, irony, and new romantic comedy / Yvonne Tasker -- Neoliberal feminism in Miss Congeniality (2000) / Yael D Sherman -- Girls' sexualities in The Sisterhood of the Travelling Pants universe: feminist challenges and missed opportunities / Sarah Projansky -- Michael Clayton (2007): women lawyers betrayed - again / Taunya Lovell Banks -- Crossing race, crossing sex in Gurinder Chadha's Bend It Like Beckham (2002): managing anxiety in multicultural Britain / Mridula Nath Chakraborty -- Speaking the name of the father in the neo-romantic comedy: 13 Going On 30 (2004) / Hilary Radner; Part III: Consuming culture(s) -- No country for old women: gendering cinema in conglomerate Hollywood / Rob Schaap -- Music and the woman's film: Sex and the City: The Movie (2008) / Peter Stapleton -- Independence at what cost? Economics and desire in Nicole Holofcener's Friends With Money (2006) / Michele Schreiber -- The feminist politics of Sofia Coppola: spectacle and self-consciousness in Marie Antoinette (2006) / Christine Lane and Nicole Richter; Part IV: Relationships, identity and family -- "Eggs in many baskets": Juno (2007), Baby Mama (2008), and the new intimacies of reproduction / JaneMaree Maher -- Temporarily Kissing Jessica Stein (2001): negotiating (and negating) lesbian sexuality in popular film / Kelly Kessler -- "Die, Bridezilla, die!": Bride Wars (2009), wedding envy, and chick flicks / Heather Brook -- Extreme parenting: recuperating fatherhood in Steven Spielberg's War of the Worlds (2005) / Hannah Hamad; Part V: Gender and violence -- Kinship and racist violence in Gina Prince-Blythwood's The Secret Life of Bees (2008) / Ewa Plonowska Ziarek -- From victim to vigilante: gender, violence, and revenge in The Brave One (2007) and Hard Candy (2005) / Rebecca Stringer -- "When the woman looks": Haute Tension (2003) and the horrors of heteronormativity / Barry Keith Grant; Contributors -- Index

Call No: 81SAU DLU
Author: D'Lugo, Marvin
Place: Princeton, New Jersey
Publisher: Princeton University Press
PubDate: 1991
PhysDes: xii, 251 p. : ill. ; 25 cm.
Subject: CRITICISM; SPAIN; SAURA, CARLOS; EL DORADO (SP/FR, Carlos Saura, 1988); GOLFOS, LOS (SP, Carlos Saura, 1959); LLANTO POR UN BANDIDO (SP, Carlos Saura, 1963); HUNT, THE [CAZA, LA] (SP, Carlos Saura, 1966); PEPPERMINT FRAPPE (SP, Carlos Saura, 1967); CARMEN (SP, Carlos Saura, 1983); STRESS ES TRES TRES (SP, Carlos Saura, 1968); JARDIN DE LAS DELICIAS, EL (SP, Carlos Saura, 1970); ANA Y LOS LOBOS (SP, Carlos Saura, 1972); CRIA CUERVOS (SP, Carlos Saura, 1976); OJOS VENDADOS, LOS (SP, Carlos Saura, 1978); MAMA CUMPLE 100 ANOS (SP/FR, Carlos Saura, 1979); ZANCOS, LOS (SP, Carlos Saura, 1984); AMOR BRUJO, EL (SP, Carlos Saura, 1986); NOCHE OSCURA, LA (SP, Carlos Saura, 1989); MADRIGUERA, LA (SP, Carlos Saura, 1969)
Summary: An analysis of the films of Carlos Saura from 1959-1989, looking particularly at the influence of Franco's enforced Spanish cultural identity on the filmmakers works.
Notes: Includes bibliographical references (p. 241-247). Includes index.
ISBN: 0691031428

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: HULA MAMA (AT, James Freud, 2002)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: LOVE YOUR MAMA (US, Ruby L. Oliver, 1990)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: MAMA (CC, Zhang Yuan, 1992)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: MAMA (CN/SP, Andres Muschietti, 2013)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit; Publicity
Subject: MAMA CUMPLE 100 ANOS (SP/FR, Carlos Saura, 1979)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: MAMA, I WANT TO SING (US, Charles Randolph-Wright, 2009)

Call No: TITLE CLIPPINGS FILE
PhysDes: Programme
Subject: MAMA'S PUSHCART: ELLEN STEWART AND 25 YEARS OF LA MAMA ETC (US, Demetria Royals & Louise Diamond, 1988)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: MAMA TINA (AT, Steve Jeffares, 1997)

Call No: 71(72) NOB
Author: Noble, Andrea
Source: UK
Place: Abingdon, Oxon, UK
Publisher: Routledge
PubDate: 2005
PhysDes: viii, 224p. : ill. ; 23cm
Subject: MEXICO; MEXICO IN FILMS; NATIONAL CULTURE AND THE CINEMA. MEXICO; NATIONAL CULTURE IN FILMS. MEXICO; INDUSTRY, FILM. MEXICO; AUDIENCES. MEXICO; MOVEMENTS AND STYLES IN FILM HISTORY; POLITICS IN FILMS. MEXICO; POLITICAL FILMS. MEXICO; REVOLUTION AND THE CINEMA. MEXICO; DOCUMENTARY FILMS. MEXICO; MELODRAMA. MEXICO; MUJER DEL PUERTO, LA (MX, Arcady Boytler, 1933); MUJER DEL PUERTO, LA (MX, Arturo Ripstein, 1991); MARIA CANDELARIA (MX, Emilio Fernández, 1943); FAMILIA DE TANTAS, UNE (MX, Alejandro Galindo, 1948); CASTILLO DE LA PUREZA, EL (MX, Arturo Ripstein, 1972); MIDAQ ALLEY [CALLEJON DE LOS MILAGROS, EL] (MX, Jorge Fons, 1995); QUE VIVA MEXICO! (UR, Sergei Eisenstein, [prod. 1932]); ESPALDAS MOJADAS (MX, Alejandro Galindo, 1955); JARDIN DEL EDÉN, EL (MX, María Novaro, 1994); Y TU MAMA TAMBIEN (MX, Alfonso Cuaron, 2001)
Summary: Mexican National Cinema offers an account of the development of Mexican cinema from the intense cultural nationalism of the Mexican Revolution, through the "Golden Age" of the 1940s and the Nuevo Cine of the 1960s, to the renaissance in Mexican cinema in the 1990s. The book moves from broad historical and theoretical context, particularly theories of nation, emergent discourses of "mexicanidad" and the establishment and development of the Mexican industry, towards readings of key film texts and genres. Individual chapters discuss the relationship between Hollywood cinema and Mexican cinema, the stars of the "Golden Age," the role of foreign auteurs in the founding of Mexican cinema, tensions in the industry in the 1960s, and the national and international reception of contemporary films and film-makers. The author then examines the portrayal of Mexican nationhood through critical analysis of film genres including Revolutionary films, machismo and "mexicanidad," the prostitute, and the work of female auteurs.
ISBN: 0415230101

Call No: TITLE CLIPPINGS FILE
PhysDes: Publicity; Clippings
Subject: RAGAZZI (FR, Mama Keita, 1990)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: VSETKO CO MAMA RAD (SO, Martin Sulik, 1993)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit; Publicity
Subject: Y TU MAMA TAMBIEN (MX, Alfonso Cuaron, 2001)