book
B is for bad cinema : aesthetics, politics and cultural value / edited by Claire Perkins and Constantine Verevis Albany, New York: State University of New York Press, c2014.
Call No: 730.2 BISAuthor: Perkins, Claire ; Verevis, Constantine Source: USPlace: Albany, New YorkPublisher: State University of New York PressPubDate: c2014PhysDes: xi, 262 pages : illustrations ; 24 cmSubject: AESTHETICS ; AUTHORSHIP ; B-MOVIES ; CULT FILMS ; CULTURE AND THE CINEMA ; EXPLOITATION FILMS ; POLITICS AND THE CINEMA ; SUBTITLES ; CANDY (AT, Neil Armfield, 2005) ; EVIL DEAD, THE (US, Sam Raimi, 1982 [prod. 1980]) ; MARNIE (US, Alfred Hitchcock, 1964) Summary: B Is For Bad Cinema continues and extends, but does not limit itself to, the trends in film scholarship that have made cult and exploitation films and other "low" genres increasingly acceptable objects for critical analysis. Springing from discussions of taste and value in film, these original essays mark out the broad contours of "bad" - that is, aesthetically, morally, or commercially disreputable - cinema. While some of the essays share a kinship with recent discussions of B movies and cult films, they do not describe a single aesthetic category or represent a single methodology or critical agenda, but variously approach badcinema in terms of aesthetics, politics and cultural value. The volume covers a range of issues, from the aesthetic and industrial mechanics of low-budget production through the terrain of audience responses and cinematic effect, and onto the broader moral and ethical implications of the material. As a result, B Is For Bad Cinema takes an interest in a variety of film examples - overblown Hollywood blockbusters, faux pornographic works, and European art house films - to consider those that lurk on the boundaries of acceptability." -- BOOK BLURBNotes: Includes bibliographical references and index.ISBN: 9781438449951Contents: Introduction: B for bad cinema / Claire Perkins and Constantine Verevis; Part 1: Aesthetics -- Explosive apathy / Jeffrey Sconce -- B-grade subtitles / Tessa Dwyer -- Being in two places at the same time: the forgotten geography of rear-projection / Adrian Danks -- Redeeming cruising: tendentiously offensive, coherently incoherent, strangely pleasurable / R. Barton Palmer -- The villain we love: notes on the dramaturgy of screen evil / Murray Pomerance -- From bad to good and back to bad again? cult cinema and its unstable trajectory / Jamie Sexton; Part 2: Authorship -- Coffee in paradise: the horn blows at midnight / Tom Conley -- The risible: on Jean-Claude Brisseau / Adrian Martin -- The evil dead DVD commentaries, amateurishness and "bad film" discourse / Kate Egan -- Liking The magus / I.Q. Hunter -- BADaptation: is candy faithful? / Constantine Verevis
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journal article
Edith Head Talks About Alfred Hitchcock in Melbourne Film Bulletin (July 1969) iss.9 p.24-26
Author: Mogg, K. PhysDes: ArticleSubject: HEAD, EDITH ; HITCHCOCK, ALFRED ; COSTUMES ; BIRDS, THE (US, Alfred Hitchcock, 1963) ; TOPAZ (US, Alfred Hitchcock, 1969) ; MARNIE (US, Alfred Hitchcock, 1964) ; VERTIGO (US, Alfred Hitchcock, 1958) ; TO CATCH A THIEF (US, Alfred Hitchcock, 1955) ; NOTORIOUS (US, Alfred Hitchcock, 1946) Summary: Interview transcript with Hitchcock's costume designer, Edith Head, regarding the ten films she worked on with him.
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journal article
Film and Therapy : Conclusion in Montage (September 1970) p.17-27
Author: Mogg, Ken PhysDes: Article
Review; Stills
NotesSubject: HITCHCOCK, ALFRED ; MARNIE (US, Alfred Hitchcock, 1964) ; HEDREN, TIPPI ; GODARD, JEAN-LUC ; ALPHAVILLE (FR, Jean-Luc Godard, 1965) Summary: Comparative, close analysis of the methodological approaches of Hitchcock and Godard in conveying the therapeutic aspects of their films "Marnie" and "Le Petit Soldat", respectively.
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journal article
Film Therapy : Part One in Montage (March 1970) p.23.-28
Author: Mogg, Kenn PhysDes: ArticleSubject: GODARD, JEAN-LUC ; REALISM IN FILMS ; AESTHETICS ; ANTONIONI, MICHELANGELO ; BERGMAN, INGMAR ; HITCHCOCK, ALFRED ; MARNIE (US, Alfred Hitchcock, 1964) ; BLOWUP (UK/IT, Michelangelo Antonioni, 1966) Summary: Essay explores the concepts of reality and therapy in cinema: how the characters undergo emotional therapy in a film's narrative, and in particular, how films can act as a therapeutic experience for audiences.
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Hitchcock / by Francois Truffaut with the collaboration of Helen G. Scott New York: Simon and Schuster, 1967].
Call No: 81HIT TRUAuthor: Truffaut, Francois, 1932 ; Hitchcock, Alfred, 1899 Place: New YorkPublisher: Simon and SchusterPubDate: 1967]PhysDes: 256 p. illus., ports. 28 cmSubject: HITCHCOCK, ALFRED ; LODGER, THE (UK, Alfred Hitchcock, 1926) ; FARMER'S WIFE, THE (UK, Alfred Hitchcock, 1928) ; BLACKMAIL (UK, Alfred Hitchcock, 1929) ; MAN WHO KNEW TOO MUCH, THE (UK, Alfred Hitchcock, 1936) ; THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935) ; LADY VANISHES (US, Alfred Hitchcock, 1938) ; REBECCA (US, Alfred Hitchcock, 1940) ; SUSPICION (US, Alfred Hitchcock, 1941) ; LIFEBOAT (US, Alfred Hitchcock, 1944) ; SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943) ; SPELLBOUND (US, Alfred Hitchcock, 1945) ; NOTORIOUS (US, Alfred Hitchcock, 1946) ; VERTIGO (US, Alfred Hitchcock, 1958) ; ROPE (US, Alfred Hitchcock, 1948) ; UNDER CAPRICORN (UK, Alfred Hitchcock, 1949) ; STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951) ; BIRDS, THE (US, Alfred Hitchcock, 1963) ; PSYCHO (US, Alfred Hitchcock, 1960) ; I CONFESS (US, Alfred Hitchcock, 1953) ; DIAL M FOR MURDER (US, Alfred Hitchcock, 1954) ; TO CATCH A THIEF (US, Alfred Hitchcock, 1955) ; WRONG MAN, THE (US, Alfred Hitchcock, 1957) ; NORTH BY NORTHWEST (US, Alfred Hitchcock, 1959) ; MARNIE (US, Alfred Hitchcock, 1964) ; REAR WINDOW (US, Alfred Hitchcock, 1954) Summary: Dialogue between Truffaut and HitchcockNotes: Translation of Le cinema selon Hitchcock; Bibliography: p. 254LON: 67016729; 1121663ID2: 206
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Hitchcock and adaptation : on the page and screen / edited by Mark Osteen Lanham, Maryland: Rowman & Littlefield, c2014.
Call No: 753HIT OSTAuthor: Osteen, Mark (editor) Source: UKPlace: Lanham, MarylandPublisher: Rowman & LittlefieldPubDate: c2014PhysDes: xxxviii, 314 pages ; 24 cmSubject: ADAPTATIONS ; AUTHORSHIP ; AUTEUR THEORY ; HITCHCOCK, ALFRED ; THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935) ; SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943) ; LIFEBOAT (US, Alfred Hitchcock, 1944) ; REAR WINDOW (US, Alfred Hitchcock, 1954) ; VERTIGO (US, Alfred Hitchcock, 1958) ; MARNIE (US, Alfred Hitchcock, 1964) ; FRENZY (US, Alfred Hitchcock, 1972) Summary: In Hitchcock and Adaptation: On the Page and Screen, Mark Osteen has assembled a wide-ranging collection of essays that explore how Hitchcock and his screenwriters transformed literary and theatrical source material into masterpieces of cinema. Some of these essays look at adaptations through a specific lens, such as queer aesthetics applied to Rope, Strangers on a Train, and Psycho, while others tackle the issue of Hitchcock as author, auteur, adaptor, and, for the first time, present Hitchcock as a literary source. Film adaptations discussed in this volume include The 39 Steps, Shadow of a Doubt, Lifeboat, Rear Window, Vertigo, Marnie, and Frenzy. Additional essays analyze Hitchcock-inspired works by W. G. Sebald, Don DeLillo, Bret Easton Ellis, and others.
These close examinations of Alfred Hitchcock and the creative process illuminate the significance of the material he turned to for inspiration, celebrate the men and women who helped bring his artistic vision from the printed word to the screen, and explore how the director has influenced contemporary writers. A fascinating look into an underexplored aspect of the director’s working methods, Hitchcock and Adaptation will be of interest to film scholars and fans of cinema’s most gifted auteur. -- Extract from the back of bookNotes: Includes filmography -- Includes bibliographical references, filmography and indexISBN: 9781442230873Contents: Part 1. Hitchcock and authorship. -- Thomas M. Leitch: Hitchcock the author --
Walter Raubicheck and Walter Srebnick: Wrong men on the run: The 39 steps as Hitchcock's espionage paradigm --
Patrick Faubert: the role and presence of authorship in Suspicion --
Part 2. Hitchcock adapting -- Ken Mogg: Melancholy elephants: Hitchcock and ingenious adaptation --
Matthew Paul Carlson: Conrad's The secret agent, Hitchcock's Sabotage, and the inspiration of "public uneasiness" --
Leslie H. Abramson: Stranger(s) than fiction: adaptation, modernity, and the menace of fan culture in Hitchcock's Strangers on a train --
Heath A. Diehl: Reading Hitchcock/ reading queer: adaptation, narrativity, and a queer mode of address in Rope, Strangers on a train, and Psycho --
Nicholas Andrew Miller: "Dear Miss Lonelyhearts": voyeurism and the spectacle of human suffering in Rear window -- John Bruns: "The proper geography": Hitchcock's adaptation of Daphne du Maurier's "The birds" -- Tony Williams: From Kaleidoscope to Frenzy: Hitchcock's second British homecoming --
Part 3. Hitching a ride: the collaborations -- Donna Kornhaber: Hitchcock's diegetic imagination, Thornton Wilder, Shadow of a doubt and Hitchcock's mise-en-sce`ne -- Maria A. Judnick: "The name of Hitchcock! the fame of Steinbeck! The legacy of Lifeboat -- Christina Lane and Jo Botting: "What did Alma think?" continuity, writing, editing, and adaptation --
Part 4. Adapting Hitchcock -- Russell J. A. Kilbourn: The second look, the second death: W. G. Sebald's orphic adaptation of Hitchcock's Vertigo -- Dennis R. Perry and Carl H. Sederholm: Dark adaptations: Robert Bloch and Hitchcock on the small screen -- Mark Osteen: Extraordinary renditions: Delillo's Point omega and Hitchcock's Psycho -- David Seed: The culture of spectacle in American psycho.
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journal article
Hitchcock and the Mogg Synthesiser in Melbourne Film Bulletin (October 1970) iss.14 p.2-22
Author: Mogg, Ken and Finney, Alan PhysDes: ArticleSubject: HITCHCOCK, ALFRED ; TOPAZ (US, Alfred Hitchcock, 1969) ; TORN CURTAIN (US, Alfred Hitchcock, 1966) ; MARNIE (US, Alfred Hitchcock, 1964) ; VERTIGO (US, Alfred Hitchcock, 1958) ; BIRDS, THE (US, Alfred Hitchcock, 1963) Summary: Ken Mogg and Alan Finney discuss Hitchcock's film "Topaz", comparing and contrasting it with his previous works, while also commenting on critics of Hitchcock.
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Old collection
book
Hitchcock film festival / St. Lucia University College Queensland: University of Queensland, 1966.
Call No: 81HIT HITCorpAuthor: St. Lucia University CollegeSource: ATPlace: QueenslandPublisher: University of QueenslandPubDate: 1966PhysDes: 50 p. ; 24cmSubject: HITCHCOCK, ALFRED ; LODGER, THE (UK, Alfred Hitchcock, 1926) ; THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935) ; LADY VANISHES (US, Alfred Hitchcock, 1938) ; REBECCA (US, Alfred Hitchcock, 1940) ; SABOTEUR (US, Alfred Hitchcock, 1942) ; SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943) ; ROPE (US, Alfred Hitchcock, 1948) ; STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951) ; I CONFESS (US, Alfred Hitchcock, 1953) ; DIAL M FOR MURDER (US, Alfred Hitchcock, 1954) ; TO CATCH A THIEF (US, Alfred Hitchcock, 1955) ; WRONG MAN, THE (US, Alfred Hitchcock, 1957) ; PSYCHO (US, Alfred Hitchcock, 1960) ; BIRDS, THE (US, Alfred Hitchcock, 1963) ; MARNIE (US, Alfred Hitchcock, 1964) Notes: Incudes festival programme
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A Hitchcock reader / edited by Marshall Deutelbaum and Leland Poague Chichester, U.K. ; Malden, MA: Wiley-Blackwell, 2009.
Call No: 81HIT HITEdition: 2nd edSource: UK/USAPlace: Chichester, U.K. ; Malden, MAPublisher: Wiley-BlackwellPubDate: 2009PhysDes: xxvii, 394 p. : ill. ; 25 cmSubject: HITCHCOCK, ALFRED ; LODGER, THE (UK, Alfred Hitchcock, 1926) ; BLACKMAIL (UK, Alfred Hitchcock, 1929) ; MURDER (UK, Alfred Hitchcock, 1930) ; MAN WHO KNEW TOO MUCH, THE (UK, Alfred Hitchcock, 1936) ; THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935) ; LADY VANISHES (US, Alfred Hitchcock, 1938) ; SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943) ; SPELLBOUND (US, Alfred Hitchcock, 1945) ; NOTORIOUS (US, Alfred Hitchcock, 1946) ; STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951) ; REAR WINDOW (US, Alfred Hitchcock, 1954) ; WRONG MAN, THE (US, Alfred Hitchcock, 1957) ; VERTIGO (US, Alfred Hitchcock, 1958) ; NORTH BY NORTHWEST (US, Alfred Hitchcock, 1959) ; BIRDS, THE (US, Alfred Hitchcock, 1963) ; MARNIE (US, Alfred Hitchcock, 1964) ; FRENZY (US, Alfred Hitchcock, 1972) ; PSYCHO (US, Alfred Hitchcock, 1960) Summary: "Alfred Hitchcock, the "Master of Suspense," has been internationally recognized as a technical and stylistic innovator in the history of cinema. A Hitchcock Reader grows out of the editors' desire as classroom teachers for a comprehensive and critical text in introductory or advanced courses devoted to the director's films. Yet the book should also satisfy scholars by providing an updated anthology representing the rich variety of critical responses that Hitchcock's films have evoked over the years." "This new edition of A Hitchcock Reader aims to preserve what has been so satisfying - and successful - in the first edition. This new edition, however, will update scholarship since publication of the first edition; offer entirely new editorial matter, including a general introduction to the volume; more visuals; and comprehensive bibliographies of suggested readings, references, and works cited."--BOOK JACKETNotes: Includes bibliographical references and indexISBN: 9781405155564Contents: Preface -- Introduction -- Part One: Taking Hitchcock Seriously [Section Intro and Bibliography] -- 1. Hitch and His Public: Jean Douchet -- 2. Hitchcock's Imagery and Art: Maurice Yacowar -- 3. Retrospective: Robin Wood -- 4. Hitch as Matrix Figure: Hitchcock and Twentieth Century Cinema: John Orr -- Part Two: Hitchcock in Britain [Section Intro and Bibliography] -- 5. Hitchcock's The Lodger: Lesley Brill -- 6. Criticism and/as History:Rereading Blackmail -- Leland Poague -- 7. Alfred Hitchcock's Murder: Theater, Authorship, and the Presence of the Camera: William Rothman -- 8. Consolidation of a Classical Style: The Man Who Knew Too Much: Elizabeth Weis -- 9. Through a Woman's Eyes: Sexuality and Memory in The 39 Steps: Charles L. P. Silet -- 10. Rematerializing the Vanishing "Lady": Feminism, Hitchcock, and Interpretation: Patrice Petro -- Part Three: Hitchcock in Hollywood [Section Intro and Bibliography] -- 11. All in the Family: Alfred Hitchcock's Shadow of a Doubt: James McLaughlin -- 12. The Moral Universe of Hitchcock's Spellbound: Thomas Hyde -- 13. Notorious: Perversion par Excellence: Richard Abel -- 14. Strangers on a Train: Robin Wood -- Part Four: The Later Films [Section Intro and Bibliography] -- 15. Hitchcock's Rear Window: Reflexivity and the Critique of Voyeurism: Robert Stam and Roberta Pearson -- 16. Finding the Right Man in The Wrong Man: Marshall Deutelbaum -- 17. Male Desire, Male Anxiety: The Essential Hitchcock: Robin Wood -- 18. A Closer Look at Scopophilia: Mulvey, Hitchcock and Vertigo: Marian Keane -- 19. North by Northwest: Stanley Cavell -- 20. "Oh, I See ": The Birds and the Culmination of Hitchcock's Romantic Vision: John P. McCombes -- 21. Mark's Marnie: Michael Piso -- 22.The Queer Voice in Marnie: Lucretia Knapp -- 23. Rituals of Defilement: Frenzy: Tania Modleski -- Part Five: Hitchcock and Film Theory: A Psycho Dossier [Section Intro and Bibliography] -- 24. Psychosis, Neurosis, Perversion: Raymond Bellour -- 25. Psycho's Allegory of Seeing: Christopher Morris -- 26. On Being Norman: Performance and Inner Life in Hitchcock,s Psycho: Deborah Thomas -- Index.
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Hitchcock's people, places, and things / John Bruns Evanston, Illinois: Northwestern Univesity Press, 2019.
Call No: 81HIT BRUAuthor: Bruns, John Source: USPlace: Evanston, IllinoisPublisher: Northwestern Univesity PressPubDate: 2019PhysDes: ix, 215 pages: illustrations; 23cmSubject: HITCHCOCK, ALFRED ; HUMAN RELATIONS IN FILMS ; LODGER, THE (UK, Alfred Hitchcock, 1926) ; SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943) ; PSYCHO (US, Alfred Hitchcock, 1960) ; BIRDS, THE (US, Alfred Hitchcock, 1963) ; CROWDS IN FILMS ; MARNIE (US, Alfred Hitchcock, 1964) ; I CONFESS (US, Alfred Hitchcock, 1953) ; SUPERNATURAL IN FILMS ; URBAN LIFE IN FILMS ; LANDSCAPES IN FILMS ; THE CASE OF MR. PELHAM Summary: "Hitchcock’s People, Places, and Things argues that Alfred Hitchcock was as much a filmmaker of things and places as he was of people. Drawing on the thought of Bruno Latour, John Bruns traces the complex relations of human and nonhuman agents in Hitchcock’s films with the aim of mapping the Hitchcock landscape cognitively, affectively, and politically. Yet this book does not promise that such a map can or will cohere, for Hitchcock was just as adept at misdirection as he was at direction. Bearing this in mind and true to the Hitchcock spirit, Hitchcock’s People, Places, and Things anticipates that people will stumble into the wrong places at the wrong time, places will be made uncanny by things, and things exchanged between people will act as (not-so) secret agents that make up the perilous landscape of Hitchcock’s work.
This book offers new readings of well-known Hitchcock films, including The Lodger, Shadow of a Doubt, Psycho, The Birds, and Marnie, as well as insights into lesser-discussed films such as I Confess and Family Plot. Additional close readings of the original theatrical trailer for Psycho and a Hitchcock-directed episode of Alfred Hitchcock Presents expand the Hitchcock landscape beyond conventional critical borders. In tracing the network of relations in Hitchcock’s work, Bruns brings new Hitchcockian tropes to light. For students, scholars, and serious fans, the author promises a thrilling critical navigation of the Hitchcock landscape, with frequent “mental shake-ups” that Hitchcock promised his audience." -- FROM BLURBNotes: Includes bibliography and index.ISBN: 9780810139954Donation: Senses of CinemaContents: Acknowledgments -- Introduction: Navigating the Hitchcock Landscape -- Chapter 1. Hitchcock's Crowds -- Chapter 2. Hitchcock's Newspaper: A Thing of the Crowd -- Chapter 3. Hitchcock's Apartment Plot, or ""The Case of Mr. Pelham -- Chapter 4. Lost and Found in Hitchcock -- Chapter 5. Our Old Friend Telepathy -- Afterword: How to Keep Hitchcock Flat -- Notes -- Bibliography -- Index
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Hitchcockian haberdashery in Hitchcock annual (1995-96) p.23-37
Author: Street, Sarah PhysDes: SerialSubject: SYMBOLISM IN FILMS ; FEMININITY IN FILMS ; HITCHCOCK, ALFRED ; DIAL M FOR MURDER (US, Alfred Hitchcock, 1954) ; REAR WINDOW (US, Alfred Hitchcock, 1954) ; VERTIGO (US, Alfred Hitchcock, 1958) ; PSYCHO (US, Alfred Hitchcock, 1960) ; MARNIE (US, Alfred Hitchcock, 1964) Summary: Looks at the symbolism of the "feminine object" of the handbag in Hitchcock's films; most notably in "Dial M for Murder", "Rear Window", "Vertigo", "Psycho", and "Marnie." Discusses the representation of femininity and the ways in which it can be used in a powerful, resourceful and often subversive manner in the context of the patriarchal, pre-second-wave-feminism society in which Hitchcock's films were made.
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Marnie / Murray Pomerance Houndmills, Basingstoke, Hampshire, New York: Palgrave Macmillan, 2014.
Call No: 79 MAR POMAuthor: Pomerance, Murray Source: UKPlace: Houndmills, Basingstoke, Hampshire, New YorkPublisher: Palgrave MacmillanPubDate: 2014Series: BFI ClassicsSubject: HITCHCOCK, ALFRED ; MARNIE (US, Alfred Hitchcock, 1964) Summary: A thrilling tale of anxiety and moral extremity, Marnie (1964) cemented Alfred Hitchcock's reputation as a master of suspense and the visual form. Murray Pomerance here ranges through the many tortuous and thrilling passages of Marnie, weaving critical discussion together with production history to reveal Marnie as a woman in flight from her self, her past, her love, and the eyes of surveilling others. Challenging many received opinions, including claims of technical sloppiness and the proposal that Marnie's marriage night is a 'rape scene', Pomerance sheds new light on a film that can often be difficult to understand and accept on its own terms. Original and stimulating, this BFI Film Classic identifies Marnie as one of Hitchcock's masterpieces, highlights the film's philosophical and psychological sensitivity, and reveals its sharp-eyed understanding of American society and its moresNotes: Published on behalf of the British Film Institute.; Includes bibliographical references (pages 92-96)ISBN: 9781844576548Contents: -- acknowledgments -- the story -- 1 fugue -- 2 droit du seigneur -- 3 confederacy -- 4 face-off -- 5 I remember Mama -- notes -- credits -- bibliography --
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title clippings file
MARNIE : (US, Alfred Hitchcock, 1964)
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title clippings file
OMOIDE NO MANI : (JA, Hiromasa Yonebayashi, 2014)
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The platinum years / by Bob Willoughby. Text by Richard Schickel New York: Random House, [1974].
Call No: 71(73) WIL; FOLIOAuthor: Willoughby, Bob ; Schickel, Richard Place: New YorkPublisher: Random HousePubDate: [1974]PhysDes: 268 p. illus. 32 cmSubject: USA ; FROM HERE TO ETERNITY (US, Fred Zinneman, 1953) ; STAR IS BORN, A (US, George Cukor, 1954) ; REBEL WITHOUT A CAUSE (US, Nicholas Ray, 1955) ; MY FAIR LADY (US, George Cukor, 1964) ; MARNIE (US, Alfred Hitchcock, 1964) ; MAN FOR ALL SEASONS, A (US, Fred Zinnemann, 1966) ; GRADUATE, THE (US, Mike Nichols, 1967) ; PETULIA (US, Richard Lester, 1968) ; ROSEMARY'S BABY (US, Roman Polanski, 1968) ; LION IN WINTER, THE (UK, Anthony Harvey, 1968) ; CATCH 22 (US, Mike Nichols, 1970) ; KLUTE (US, Alan J. Pakula, 1971) ; COWBOYS, THE (US, Mark Rydell, 1972) ; CAINE MUTINY, THE (US, Edward Dmytryk, 1954) ; RAINTREE COUNTRY (US, Edward Dmytryk, 1957) ; GUYS AND DOLLS (US, Joseph L. Mankiewicz, 1955) ; MAN WITH THE GOLDEN ARM, THE (US, Otto Preminger, 1955) ; OCEAN'S ELEVEN (US, Lewis Milestone, 1960) ; GREAT RACE, THE (US, Blake Edwards, 1965) ; WHO'S AFRAID OF VIRGINIA WOOLF? (US, Mike Nichols, 1966) ; DOCTOR DOLITTLE (US, Richard Fleischer, 1967) ; THEY SHOOT HORSES, DON'T THEY? (US, Sydney Pollack, 1969) Notes: "A Ridge Press book."ISBN: 039449380XLON: 437365 437365
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Renaissance of the film / Edited and with an introd. and headnotes by Julius Bellone [New York]: Collier Books, [1970].
Call No: 67(04) RENAuthor: Bellone, Julius, comp Place: [New York]Publisher: Collier BooksPubDate: [1970]PhysDes: xi, 366 p. illus. 21 cmSubject: Ray, Satyajit ; AVVENTURA, L' (IT/FR, Michelangelo Antonioni, 1960) ; BLOWUP (UK/IT, Michelangelo Antonioni, 1966) ; BONNIE AND CLYDE (US, Arthur Penn, 1967) ; CITIZEN KANE (US, Orson Welles, 1941) ; [DOCTOR] DR STRANGELOVE: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (UK, Stanley Kubrick, 1964) ; DOLCE VITA, LA (FR/IT, Federico Fellini, 1960) ; FARREBIQUE (FR, Georges Rouquier, 1945) ; GERTRUD (DK, Carl Th. Dreyer, 1964) ; HIROSHIMA, MON AMOUR (FR/JA, Alain Resnias, 1959) ; ANNEE DERNIERE A MARIENBAD, L' (FR, Alain Resnais, 1961) ; LOLA (FR/IT, Jacques Demy, 1961) ; MASCULIN-FEMININ (FR, Jean-Luc Godard, 1966) ; ORDET (DK, Carl Th. Dreyer, 1955) ; RASHOMON (JA, Akira Kurosawa, 1950) ; DESERTO ROSSO, IL (IT/FR, Michelangelo Antonioni, 1964) ; SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957) ; STRADA, LA (IT, Federico Fellini, 1954) ; UGETSU MONOGATARI (JA, Kenji Mizoguchi, 1953) ; UMBERTO D. (IT, Vittorio De Sica, 1952) ; JUNGFRAUENMASCHINE, DIE (GW, Monika Treut, 1989) ; VIRIDIANA (SP/MX, Luis Bunuel, 1961) ; TYSTNADEN (SW, Ingmar Bergman, 1963) ; SERVANT, THE (UK, Joseph Losey, 1963) ; THIS SPORTING LIFE (UK, Lindsay Anderson, 1963) ; KUMONOSU-JO (JA, Akira Kurosawa, 1957) ; THRONE OF BLOOD (JA, Akira Kurosawa, 1957) ; TIREZ SUR LE PIANISTE (FR, Francois Truffaut, 1960) ; FROKEN JULIE (SW, Alf Sjoberg, 1950) ; MONSIEUR VERDOUX (US, Charles Chaplin, 1947) ; MARNIE (US, Alfred Hitchcock, 1964) ; AU HASARD, BALTHAZAR (FR/SW, Robert Bresson, 1966) ; SUNA NO ONNA (JA, Hiroshi Teshigahara, 1964) Notes: Bibliography: p. [349]-353LON: 102599
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Crawford collection
still
[Ryan: album#1] Crawford Productions [distributor],
Call No: CRAWFORD STILL RYASource: ATPublisher: Crawford Productions [distributor]PhysDes: 39 photographs : b&w ; 26 x 21 cm + 1 photograph : col. ; 9 x 9 cm + 1 photograph : b&w ; 9 x 10 cm + 3 transparencies : b&w ; 120 mm + 52 transparencies : col. ; 120 mm + 103 negatives : col. ; 35 mm + 12 photographic sheets : b&w ; 26 x 21 cmSubject: MULLINAR, ROD ; STEPHENSON, PAMELA ; THOMPSON, JACK ; O'NEILL, HEWAN ; HUME, JACK ; RANDALL, MARNIE ; BARRY, BRUCE ; DRYNAN, JEANIE ; BISHOP, PAT ; GRAY, FRED ; MAGUIRE, GERARD ; CONABERE, SYD ; CONABERE, SALLY ; POLSON, CECILY ; FAWDON, MICHELE ; SCURR, HILDA ; EDEN, KEITH ; McEWAN, COLIN ; RYAN [TV](AT, 1973-4) Summary: Photographs and negatives relating to the TV series RyanNotes: Images are arranged by episode title -- Negatives consist of 51 strips of photographic negatives -- Duplicate material held in storageDonation: Gift of Crawford Productions
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The strange case of Alfred Hitchcock : or the plain man's Hitchcock / Raymond Durgnat London: Faber and Faber, 1974.
Call No: 81HIT DURAuthor: Durgnat, Raymond Source: UKPlace: LondonPublisher: Faber and FaberPubDate: 1974PhysDes: 419 p. ; 24 cmSubject: HITCHCOCK, ALFRED ; PLEASURE GARDEN, THE (UK, Alfred Hitchcock, 1925) ; MOUNTAIN EAGLE, THE (UK/GG, Alfred Hitchcock, 1926) ; LODGER, THE (UK, Alfred Hitchcock, 1926) ; DOWNHILL (UK, Alfred Hitchcock, 1927) ; EASY VIRTUE (UK, Alfred Hitchcock, 1927) ; RING, THE (UK, Alfred Hitchcock, 1927) ; FARMER'S WIFE, THE (UK, Alfred Hitchcock, 1928) ; CHAMPAGNE (UK, Alfred Hitchcock, 1928) ; MANXMAN, THE (UK, Alfred Hitchcock, 1929) ; JUNO AND THE PAYCOCK (UK, Alfred Hitchcock, 1930) ; MURDER (UK, Alfred Hitchcock, 1930) ; SKIN GAME, THE (UK, Alfred Hitchcock, 1931) ; RICH AND STRANGE (UK, Alfred Hitchcock, 1932) ; NUMBER SEVENTEEN (UK, Alfred Hitchcock, 1932) ; LORD CAMBER'S LADIES (UK, Alfred Hitchcock, 1933) ; WALTZES FROM VIENNA (UK, Alfred Hitchcock, 1934) ; MAN WHO KNEW TOO MUCH, THE (UK, Alfred Hitchcock, 1936) ; THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935) ; SECRET AGENT, THE (UK, Alfred Hitchcock, 1936) ; SABOTAGE (UK, Alfred Hitchcock, 1936) ; YOUNG AND INNOCENT (UK, Alfred Hitchcock, 1937) ; LADY VANISHES (US, Alfred Hitchcock, 1938) ; JAMAICA INN (UK, Alfred Hitchcock, 1939) ; REBECCA (US, Alfred Hitchcock, 1940) ; FOREIGN CORRESPONDENT (US, Alfred Hitchcock, 1940) ; MR. AND MRS. SMITH (US, Alfred Hitchcock, 1941) ; SUSPICION (US, Alfred Hitchcock, 1941) ; SABOTEUR (US, Alfred Hitchcock, 1942) ; SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943) ; LIFEBOAT (US, Alfred Hitchcock, 1944) ; BON VOYAGE (UK, Alfred Hitchcock, 1944) ; AVENTURE MALGACHE (UK, Alfred Hitchcock, 1944) ; SPELLBOUND (US, Alfred Hitchcock, 1945) ; NOTORIOUS (US, Alfred Hitchcock, 1946) ; PARADINE CASE, THE (US, Alfred Hitchcock, 1947) ; ROPE (US, Alfred Hitchcock, 1948) ; UNDER CAPRICORN (UK, Alfred Hitchcock, 1949) ; STAGE FRIGHT (UK, Alfred Hitchcock, 1950) ; STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951) ; I CONFESS (US, Alfred Hitchcock, 1953) ; DIAL M FOR MURDER (US, Alfred Hitchcock, 1954) ; REAR WINDOW (US, Alfred Hitchcock, 1954) ; TO CATCH A THIEF (US, Alfred Hitchcock, 1955) ; TROUBLE WITH HARRY, THE (US, Alfred Hitchcock, 1955) ; MAN WHO KNEW TOO MUCH, THE (US, Alfred Hitchcock, 1955) ; WRONG MAN, THE (US, Alfred Hitchcock, 1957) ; VERTIGO (US, Alfred Hitchcock, 1958) ; PSYCHO (US, Alfred Hitchcock, 1960) ; BIRDS, THE (US, Alfred Hitchcock, 1963) ; MARNIE (US, Alfred Hitchcock, 1964) ; TORN CURTAIN (US, Alfred Hitchcock, 1966) ; TOPAZ (US, Alfred Hitchcock, 1969) ; FRENZY (US, Alfred Hitchcock, 1972) ; NORTH BY NORTHWEST (US, Alfred Hitchcock, 1959) ISBN: 0571099661
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You'll be drawn in by this delightful cartoon in Sunday Telegraph [Insider] (17/05/15) p.118
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