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Call No: 735.1 SZE
Author: Szendy, Peter; Bishop, Will; Webber, Samuel
Edition: 2015
Place: New York
Publisher: Fordham University Press
PubDate: 2015
PhysDes: xx, 160 p. : illustrations ; 22 cm
Series: French Voices
Subject: APOCALYPSE IN FILMS; MELANCHOLIA (DK/SW/FR/G, Lars von Trier, 2011); LAST MAN ON EARTH, THE (US/IT, Ubaldo Ragona, 1964); TERMINATOR, THE (US, James Cameron, 1984); [TWENTY-TWELVE] 2012 (US/CN, Roland Emmerich, 2009); A.I: ARTIFICIAL INTELLIGENCE (US, Steven Spielberg, 2001); WATCHMEN (US, Zack Snyder, 2009); SUNSHINE (UK/US, Danny Boyle, 2007); BLADE RUNNER (US, Ridley Scott, 1982); [TWELVE] MONKEYS (US, Terry Gilliam, 1995); ROAD, THE (US, John Hillcoat, 2009); BLOB, THE (US, Chuck Russell, 1988)
Summary: Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and The Terminator. By looking at blockbusters that play with general annihilation while also paying close attention to films like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this book suggests that in the apocalyptic genre, film gnaws at its own limit. Apocalypse-cinema is, at the same time and with the same double blow, the end of the world and the end of the film. It is the consummation and the (self-)consumption of cinema, in the form of an acinema that Lyotard evoked as the nihilistic horizon of filmic economy. The innumerable countdowns, dazzling radiations, freeze-overs, and seismic cracks and crevices are but other names and pretexts for staging film itself, with its economy of time and its rewinds, its overexposed images and fades to white, its freeze-frames and digital touch-ups. The apocalyptic genre is not just one genre among others: It plays with the very conditions of possibility of cinema. And it bears witness to the fact that, every time, in each and every film, what Jean-Luc Nancy called the cine-world is exposed on the verge of disappearing. In a Postface specially written for the English edition, Szendy extends his argument into a debate with speculative materialism. Apocalypse-cinema, he argues, announces itself as cinders that question the “ultratestimonial” structure of the filmic gaze. The cine-eye, he argues, eludes the correlationism and anthropomorphic structure that speculative materialists have placed under critique, allowing only the ashes it bears to be heard. -- publisher's web site
ISBN: 9780823264810

Call No: 740.1 APO
Source: UK
Place: London
Publisher: Lanham Rowman & Littlefield
PubDate: c2016
PhysDes: xxii, 231 pages : illustrations ; 24 cm.
Subject: APOCALYPSE IN FILMS; DISASTER FILMS; CIVILISATION (US, Raymond B. West, 1916); [FOUR] 4 HORSEMEN OF THE APOCALYPSE, THE (US, Rex Ingram, 1921); BED SITTING ROOM, THE (UK, Richard Lester, 1969); [DOCTOR] DR STRANGELOVE: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (UK, Stanley Kubrick, 1964); MELANCHOLIA (DK/SW/FR/G, Lars von Trier, 2011); OFFRET [SACRIFICE, THE] (SW/FR, Andrei Tarkovsky, 1986)
Summary: We live in a world at risk. Dire predictions about our future or the demise of planet earth persist. Even fictional representations depict narratives of decay and the end of a commonly shared social reality. Along with recurring Hollywood blockbusters that imagine the end of the world, there has been a new wave of zombie features as well as independent films that offer various visions of the future. The Apocalypse in Film: Dystopias, Disasters, and Other Visions about the End of the World offers an overview of Armageddon in film from the silent era to the present. This collection of essays discusses how such films reflect social anxieties—ones that are linked to economic, ecological, and cultural factors. Featuring a broad spectrum of international scholars specializing in different historical genres and methodologies, these essays look at a number of films, including the silent classic The Four Horsemen of the Apocalypse, the black comedy Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, the Mayan calendar disaster epic, 2012, and in particular, Lars Von Trier’s Melancholia, the focus of several essays. As some filmmakers translate the anxiety about a changing global climate and geo-political relations into visions of the apocalypse, others articulate worries about the planet’s future by depicting chemical warfare, environmental disasters, or human made destruction. This book analyzes the emergence of apocalyptic and dystopic narratives and explores the political and social situations on which these films are based. Contributing to the dialogue on dystopic culture in war and peace, The Apocalypse in Film will be of interest to scholars in film and media studies, border studies, gender studies, sociology, and political science. -- taken from publisher's site
Notes: Includes bibliographical references and index
ISBN: 9781442260276
Donation: donated by Senses of Cinema, 2016
Contents: Introduction / Karen A. Ritzenhoff and Angela Krewani -- THE EARLY DEPICTIONS OF DISASTER. World War One and Hollywood's First Modern Armageddon: Understanding Wartime and Post-Conflict Representations of a Global Cataclysm in Civilization (1916) and The Four Horsemen of the Apocalypse (1921) / Cle´mentine Tholas-Disset -- The end of the world: loss and redemption in Four horsemen of the apocalypse / Karen Randell -- GLOBAL DEMISE AND COLD WAR. "Radiation's rising, but one mustn't grumble too much": nuclear apocalypse played as farce in Richard Lester's The bed-sitting room / Thomas Prasch -- The legacy of Dr. Strangelove: Stanley Kubrick, science fiction blockbusters and the future of humanity / Peter Kra¨mer -- "Gentleman, you can't fight in here": gender symbolism and the end of the world in Dr. Strangelove and Melancholia / Catriona Mcavoy -- MELANCHOLIA AND OTHER REPRESENTATIONS OF THE APOCALYSPE. Is there an end to it? fictional shelters and shelter-fiction / Solvejg Nitzke -- Melancholia and the apocalypse within / Pierre Floquet -- Eco apocalypse: environmentalism, political alienation and therapeutic agency / Philip Hammond and Hugh Ortega Breton --POLOITICS OF SHOWING THE UNTHINKABLE. Disaster films: the end of the world and the risk society hero / Frederick Wasser -- The (gender) politics of disaster in 2012 / Charles Antoine Courcoux -- Tarkovsky's The sacrifice: a religious humanist apocalypse / Tatjana Ljuji -- Dead narratives: defining humanity through stories / A. Fiona Pearson and Scott Ellis -- MOVING BEYOND THE END OF THE WORLD. Opposing Thatcherism: filmic apocalypse as a political strategy in 1980s Britain / Angela Krewani -- Painting in time: on the use of digital visual effects in Melancholia / Andreas Kirchner -- The corporate and corporeal: min(d)ing the body conscience and consumption in early 21st century Hollywood dystopia / Wendy Sterba.

Call No: 81 VON THO
Author: Thomsen, Bodil Marie Stavning
Edition: 2018
Place: Aarhus
Publisher: Aarhus University Press
PubDate: 2018
PhysDes: 364 pages : illustrated ; 25 cm
Subject: VON TRIER, LARS; RIGET (DK, Lars von Trier, 1994); RIGET II (DK, Lars Von Trier & Morten Arnfred, 1997); IDIOTERNE (DK, Lars Von Trier, 1998); DOGMA; BREAKING THE WAVES (DK/FR, Lars Von Trier, 1996); DOGVILLE (DK, Lars Von Trier, 2002); ANTICHRIST (DK, Lars von Trier, 2009); MELANCHOLIA (DK/SW/FR/G, Lars von Trier, 2011); NYMPHOMANIAC [VOL. I AND VOL. II] (DK/G/BE/UK/FR, Lars von Trier, 2013)
Summary: Danish director Lars von Trier has produced more than 20 films since his first appearance with The Elements of Crime in 1984. One of the most acknowledged – and most controversial – film directors of our time, Trier’s films often escape the representational production of meaning. In Lars von Trier’s Renewal of Film 1984-2014. Signal, Pixel, Diagram scholar Bodil Marie Stavning Thomsen offers a comprehensive discussion of Lars von Trier’s collected works. Examining Trier’s experiments with narrative forms, genre, camera usage, light, and colour tones, she shows how Trier’s unique ethically involving style activates the viewer’s entire perception apparatus. In understanding this affective involvement, the author frames the discussion around concepts from Gilles Deleuze, Alois Riegl, Brian Massumi and others on the haptic image, the diagram, affect and the signaletic material. -- publisher's web site
ISBN: 9788771842302

Call No: 81TRI LAR
Author: Butler, Rex (ed.); Denny, David (ed.)
Edition: paperback edition
Source: US
Place: New York
Publisher: Bloomsbury Academic
PubDate: 2018
PhysDes: vi, 264 pages ; 24 cm
Subject: WOMEN AND THE CINEMA; WOMEN IN FILMS; VON TRIER, LARS; DANCER IN THE DARK (FR/DK/SW, Lars von Trier, 2000); DOGVILLE (DK, Lars Von Trier, 2002); ANTICHRIST (DK, Lars von Trier, 2009); MELANCHOLIA (DK/SW/FR/G, Lars von Trier, 2011); NYMPHOMANIAC [VOL. I AND VOL. II] (DK/G/BE/UK/FR, Lars von Trier, 2013)
Summary: "The Danish director Lars von Trier is undoubtedly one of the world's most important and controversial filmmakers, and arguably so because of the depiction of women in his films. He has been criticized for subjecting his female characters to unacceptable levels of violence or reducing them to masochistic self-abnegation (Bess in Breaking the Waves, "She" in Antichrist and Joe in Nymphomaniac). At other times, it is the women in his films who are dominant or break out in violence, such as in his adaptation of Euripides' Medea, the conclusion of Dogville and perhaps throughout Nymphomaniac. Lars von Trier's Women confronts these dichotomies head on. Editors Rex Butler and David Denny do not take a position either for or against von Trier, but rather considers how both attitudes fall short of the real difficulty of his films, which may simply not conform to any kind of feminist or indeed anti-feminist politics as they are currently configured. Using Lacanian psychoanalysis and the work of prior scholars on the films, Lars von Trier's Women reveals hidden resources for a renewed "feminist" politics and social practice. "--Bloomsbury Publishing (Book back Cover)
Notes: Formerly CIP; Includes bibliographical references and index; Also issued online
ISBN: 9781501342097
Contents: -- acknowledgements -- introduction: the feminine act and the question of woman in Lars von Trier's films / Rex Butler and David Denny -- 1 Performing the feminine / Linda Badley -- 2 Femininity between Goodness and Act / Slavoj Zizek -- 3 Listening to Dancer in the Dark: Singing as recalling the world / Ulrike Hanstein -- 4 A woman's smile / Rex Butler -- 5 Female fight club: Lars von Trier's women and the paradox of Being / Sheila Kunkle -- 6 Cruelty and the real: The female figure in Orchidegartneren, Menthe - la bienheureuse and Befrielsesbilleder / Angelos Koutsourakis -- 7 What is the gift of Grace? On Dogville / Lorenzo Chiesa -- 8 Manderlay: The gift, Grace's desire and the collapse of ideology / Ahmed Elbeshlawy -- 9 Violent affects: Nature and the feminine in Antichrist / Magdalena Zolkos -- 10 A postmodern family romance: Antichrist / David Denny -- 11 Not melancholic enough: Triumph of the feminine in Melancholia / Todd McGowan -- 12 How to face nothing: Melancholia and the feminine / Jennifer Friedlander -- 13 Lars von Trier's fantasy of femininity in Nymphomaniac / Hilary Neroni -- 14 Mea maxima vulva: Appreciation and aesthetics of chance in Nymphomaniac / Tarja Laine -- list of contributors -- bibliography -- index --

Call No: 733 ROO
Author: Rooney, Monique
Source: UK
Place: London -- Lanham, Maryland
Publisher: Rowman & Littlefield International Ltd
PubDate: 2015
PhysDes: x, 197 pages : illustrations ; 23 cm
Series: Disruptions
Subject: MELODRAMA; TECHNOLOGY AND THE CINEMA; TECHNOLOGY AND TV; WEINER, MATTHEW; HAYNES, TODD; VON TRIER, LARS; MAD MEN [TV] (US, 2007); MELANCHOLIA (DK/SW/FR/G, Lars von Trier, 2011); MILDRED PIERCE [TV](US, 2011)
Summary: Through original analysis of three contemporary, auteur-directed melodramas (Matthew Weiner s Mad Men, Lars von Trier s Melancholia and Todd Haynes s Mildred Pierce), Living Screens reconceives and renovates the terms in which melodrama has been understood. Returning to Jean-Jacques Rousseau s foundational, Enlightenment-era melodrama Pygmalion with its revival of an old story about sculpted objects that spring to life, it contends that this early production prefigures the structure of contemporary melodramas and serves as a model for the way we interact with media today. Melodrama is conceptualized as a plastic form with the capacity to mould and be moulded and that speaks to fundamental processes of mediation
Notes: Includes bibliographical references (pages 171-188), filmography (pages 188-189), and index
ISBN: 9781783480470
Contents: Introduction -- Mad Men: melodrama and metamorphosis -- Turned back: advertising, televisual melodrama and metamorphosis in Mad Men -- Earth-object: melodrama and plasticity in Lars Von Trier's Melancholia -- Melodrama and plasticity in Todd Haynes's Mildred Pierce -- Postlude: Animated statue, melody, encore (moi!)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: MELANCHOLIA (UK/GW, Andi Engel, 1989)

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Publicity; Press kit
Subject: MELANCHOLIA (DK/SW/FR/G, Lars von Trier, 2011)
ID2: 65
URL status: URL: 'http://file://Q:/T/MELANCHOLIA.zip' Checked: 31/08/2021 1:22:24 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)