Aesthetics of film / Jacques Aumont ... [et al.] ; translated and revised by Richard Neupert
Austin: University of Texas Press, 1992.
Cinema : Cinema. English / Gilles Deleuze ; translated by Hugh Tomlinson and Barbara Habberjam
Minneapolis: University of Minnesota, 1986-c1989.
Call No: 62 DEL Author: Deleuze, Gilles Place: Minneapolis Publisher: University of Minnesota PubDate: 1986-c1989 PhysDes: 2 v. ; 23 cm Subject: SYMBOLISM IN FILMS; THEORY; MONTAGE; IMAGE ANALYSIS Notes: Translation of: Cinema; Vol. 2 translated by Hugh Tomlinson and Robert Galeta; Includes bibliographies and indexes ISBN: 0816616760 (v. 2); 0816616779 (pbk. ; v. 2); 0816613990 (v. 1) : $29.50; 0816614008 (pbk. : v. 1) : $13.95 LON: 85028898; 4390071 ID2: 343 URL status: URL: 'http://-'
Checked: 31/08/2021 12:39:19 PM
Details: Failed to send HTTP request (WinHttpSendRequest) More info
Cinema 2 : The time-image / Gilles Deleuze / translated by Hugh Tomlinson and Robbert Galeta
London: The Athlone Press, 1989.
Call No: 62 DEL Author: Deleuze, Gilles; Tomlinson, Hugh; Galeta, Robert Source: UK Place: London Publisher: The Athlone Press PubDate: 1989 PhysDes: xviii, 344 pages : illustrations ; 21 cm. Series: Cinema ; v. 2 Subject: SYMBOLISM IN FILMS; THEORY; MONTAGE; IMAGE ANALYSIS Summary: "Cinema II continues the reassessment of cinema begun in Deleuze's 'Cinema I: the movement image'. Each volume can be read on its own as dealing with a separate aspect of cinema: classical and modern, pre- and post-war, movement and time.
In this second volume Deleuze is concerned with the representation of time in film and with the cinematic treatment of memory, thought and speech. Drawing on the philosophy of Henri Bergson, Deleuze provides a theoretical framework within which he analyses and classifies the time-image and traces the history of its emergence, focusing on the cinema of post-war neo-realism." -- BOOK BLURB Notes: (originally in French 'Cinema 2, L'Image-Temps,' 1985); Preface to the English edition; Translators intoductoin; Notes; Glossary; Index ISBN: 0485120704 Language: English Donation: Adrian Miles Contents: 1. Beyond the Movement-Image -- 2. Recapitulation of Images and Signs -- 3. From Recollections to Dreams: Third Commentary on Bergson -- 4. The Crystals of Time -- 5. Peaks of Present and Sheets of Past: Fourth Commentary on Bergson -- 6. The Powers of the False -- 7. Thought and Cinema -- 8. Cinema, Body and Brain,Thought -- 9. The Components of the Image -- 10. Conclusions. ID2: 343 More info
Cobain doco has more Love than objectivity
Sunday Telegraph [Insider] (3/05/2015) p.111 More info
Cobain: Montage of Heck
Sunday Herald Sun (3/5/2015) p.90 More info
Doco takes an epic dive into the dark life of Nirvana's frontman
The Age [Arts & Entertainment] (7/05/2015) p.20 More info
Documentary display : re-viewing nonfiction film and videos / Keith Beattie
London: Wallflower, 2008.
Call No: 761 BEA Author: Beattie, Keith Place: London Publisher: Wallflower PubDate: 2008 PhysDes: xiv, 187 p. ; 24 cm Subject: DOCUMENTARY FILMS; CINEMA-DIRECT; COMPILATION FILMS; IMAX; MONTAGE; NON-FICTION FILMS; BUNUEL, LUIS; GRIERSON, JOHN; MAYSLES, ALBERT & DAVID; PENNEBAKER, D. A.; VERTOV, DZIGA; VIGO, JEAN; DONT LOOK BACK (US, D.A. Pennebaker, 1967) Summary: "Not all documentary films and videos are sober depictions of the real world. Documentary representations can present expressive, entertaining and spectacular images. This book examines such innovative approaches as they occur within the process of 'documentary display' - a practice which emphasises the visual attractions of documentary representation. Works of documentary display explore modes of exhibitionistic 'showing' in which sensation is frequently the vehicle of cognition and knowledge. Such a display is analysed within the popular and prominent forms of found-footage film, 'rockumentary', the city film, nonfiction surf film and video, and certain views of natural science topics. This accessible and informed study - with its focus on entertaining, popular, spectacular and sensational froms of nonfiction representation - makes an important contribution to theoretical analyses of documentary film and video."--BOOK JACKET Notes: Includes bibliographical references (p. 155-181) and index. ISBN: 9781905674725 (pbk) Contents: Introduction -- 1. Show and tell: revealing documentary display -- 2. The corporeal and the urban: from city symphony to global city film -- 3. Direct cinema and performance: it's not only rock and roll -- 4. Found-footage film and history: seeing double -- 5. Nonfiction surf film and video: sick, filthy and delirious -- 6. Natural science film: from microcinema to IMAX -- Afterward More info
Fields of vision : essays in film studies, visual anthropology, and photography / edited by Leslie Devereaux and Roger Hillman
Berkeley: University of California Press, 1995.
Call No: 62 FIE Author: Devereaux, Leslie; Hillman, Roger Place: Berkeley Publisher: University of California Press PubDate: 1995 PhysDes: xiv, 362 p. : ill. ; 24 cm Subject: MONTAGE; ETHNOGRAPHIC FILMS; PHOTOGRAPHY AND THE CINEMA; WAR AND THE CINEMA; WAR IN FILMS; MODERNISM AND THE CINEMA; HORROR FILMS; BODY IN FILMS; MEN IN FILMS; SPECTATORSHIP; CARNIVAL AND THE CINEMA; WOMEN AND THE CINEMA; NARRATIVE IN FILMS; SOUND; ADAPTATIONS; AUSTRALIAN ABORIGINES AND THE CINEMA; DOCUMENTARY FILMS; HOLLYWOOD; EHE DER MARIA BRAUN, DIE (GW, Rainer Werner Fassbinber, 1979); NAME DER ROSE, DER (GW/IT/FR, Jean-Jacques Annaud, 1986); RIVERS OF SAND (US, Robert Gardner, 1974) Notes: Includes bibliographical references and index ISBN: 0520085248 (pbk. : alk. paper); 0520085221 (alk. paper) LON: 10726537 More info
Film as a subversive art / Amos Vogel
New York: Random House, .
Film, form, and phantasy : Adrian Stokes and film aesthetics / Michael O'Pray
Houndmills, Basingstoke, Hampshire ; New York: Palgrave Macmillan, 2004.
Call No: 626 [159.964.2] OPR Author: O'Pray, Michael Source: US Place: Houndmills, Basingstoke, Hampshire ; New York Publisher: Palgrave Macmillan PubDate: 2004 PhysDes: xiv, 252 p. ; 23 cm Series: Language, Discourse, Society Subject: AESTHETICS; EXPRESSIONISM; B-MOVIES; PSYCHOANALYSIS AND THE CINEMA; MONTAGE; FORD, JOHN; HITCHCOCK, ALFRED; ROSSELLINI, ROBERTO; ANTONIONI, MICHELANGELO; DREYER, CARL TH. Summary: The critical writings of Adrian Stokes, based on the psychoanalyst Melanie Klein's innovative theories, were enormously influential on visual art and culture during his lifetime, but have rarely been applied to film. In this first major study of Stokes, his ideas and those of the philosopher Richard Wolheim are considered in relation to two central issues in current film theory - film as representation and as expression. Stokes fundamental distinction between carving and modelling which reflects Klein's own division in mental life between paranoid-schizoid and depressive positions is explored in relation to the traditional division in film theory between montage and realism. At the core of this study is the role of the Kleinian notion of phantasy in understanding film as an art form. To this end, the carving and modelling modes are applied to the films of Ford, Hitchcock, Rossellini, Antonioni, Dreyer, Eisenstein and American B movies. [ Taken from the back of the book.] Notes: Bibliography : p.237-245; Includes index Donation: donated by Senses of Cinema, 2009 More info
Film, form & feeling / Dennis DeNitto
New York: Harper & Row, c1985.
Call No: 62 DEN Author: DeNitto, Dennis, Place: New York Publisher: Harper & Row PubDate: c1985 PhysDes: xv, 544 p. : ill. ; 23 cm Subject: THEORY; CRITICISM; EDITING; HISTORY OF CINEMA; REALISM IN FILMS; EXPRESSIONISM; MONTAGE; NEOREALISM; NOUVELLE VAGUE; COMEDIES; DOCUMENTARY FILMS; CINEMA VERITE; PROPAGANDA FILMS; WESTERNS; MUSICALS; VARIETE (G, E.A. Dupont, 1925); GOLD RUSH, THE (US, Charles Chaplin, 1925); PRODUCERS, THE (US, Mel Brooks, 1967); TITICUT FOLLIES (US, Frederick Wiseman, 1967); BROKEN BLOSSOMS (US, David Wark Griffith, 1919); OKTIABR [OCTOBER] (UR, Sergei Eisenstein, 1928); LADRI DI BICICLETTE (IT, Vittorio De Sica, 1949); QUATRE CENTS COUPS, LES (FR, Francois Truffaut, 1959); MAN OF ARAN (UK, Robert Flaherty, 1934); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); NUIT ET BROUILLARD (FR, Alain Resnais, 1955); STAGECOACH (US, John Ford, 1939); SHANE (US, George Stevens, 1953); WILD BUNCH, THE (US, Sam Peckinpah, 1969); TOP HAT (US, Mark Sandrich, 1935); SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952); WEST SIDE STORY (US, Robert Wise, 1961); SOMMARNATTENS LEENDE (SW, Ingmar Bergman, 1956) Notes: Includes indexes; Bibliography: p. 493-503 ISBN: 0060416297 (pbk.) Order Received: 2000 Order Type: Donation LON: 3664711 More info
title clippings file
KURT COBAIN: MONTAGE OF HECK : (US, Brett Morgen, 2015)
Montage Eisenstein / Jacques Aumont ; translated by Lee Hildreth, Constance Penley, and Andrew Ross
London Bloomington: BFI Pub. Indiana University Press, 1987.
Call No: 81EIS AUM Author: Aumont, J. (Jacques) Place: London Bloomington Publisher: BFI Pub. Indiana University Press PubDate: 1987 PhysDes: x, 243 p. : ill. ; 24 cm Series: Theories of representation and difference Subject: MONTAGE Notes: Translation of: Montage Eisenstein; Includes index; "A bibliography of Eisenstein's writings": p. -235; Bibliography: p. -222 ISBN: 0851701876 (pbk.); 0253338743 (U.S.); 025320366X (pbk. : U.S.) LON: 85045074; 4219650 4454437 More info
On the history of film style / David Bordwell
Cambridge, Mass.: Harvard University Press, 1997.
Call No: 62 BOR Author: Bordwell, David Place: Cambridge, Mass. Publisher: Harvard University Press PubDate: 1997 PhysDes: x, 322 p. : ill. ; 25 cm Subject: THEORY; EDITING; CAHIERS DU CINEMA; HOLLYWOOD; LENSES; MODERNISM AND THE CINEMA; MONTAGE; REALISM IN FILMS; WIDE-SCREEN SYSTEMS; BAZIN, ANDRE; BURCH, NOEL; ASTRUC, ALEXANDRE; BARDECHE, MAURICE; BENJAMIN, WALTER; BRASILLACH, ROBERT; COMOLLI, JEAN-LOUIS; GUNNING, TOM; KULESOV, LEV; LEENHARDT, ROGER; LUMIERE, LOUIS; WYLER, WILLIAM; MELIES, GEORGES; TOLAND, GREGG; WELLES, ORSON; CITIZEN KANE (US, Orson Welles, 1941) Notes: Includes bibliographical references and index ISBN: 0674634284 (cloth : alk. paper); 0674634292 (pbk. : alk. paper) LON: 97004016; 13106257 Contents: 1. The Way Movies Look: The Significance of Stylistic History -- 2. Defending and Defining the Seventh Art: The Standard Version of Stylistic History -- 3. Against the Seventh Art: Andre Bazin and the Dialectical Program -- 4. The Return of Modernism: Noel Burch and the Oppositional Program -- 5. Prospects for Progress: Recent Research Programs -- 6. Exceptionally Exact Perceptions: On Staging in Depth More info
The politics of documentary / Michael Chanan
London: British Film Institute, 2007.
Call No: 761 CHA Author: Chanan, Michael Source: UK Place: London Publisher: British Film Institute PubDate: 2007 PhysDes: viii, 280 p. : ill., ports. ; 24 cm Subject: ARCHIVES & INSTITUTES, FILM; AVANT-GARDE FILMS; CINEMA VERITE; CINEMA-DIRECT; COMMENTARY; DOCUMENTARY FILMS. JAPAN; DOCUMENTARY FILMS. LATIN AMERICAN COUNTRIES; DOCUMENTARY FILMS. USA; DOCUMENTARY FILMS; FREE CINEMA; MONTAGE; MUSIC AND THE CINEMA; POLITICAL FILMS; POLITICS AND THE CINEMA; POLITICS IN FILMS; TRUTH IN FILMS; FLAHERTY, ROBERT; GRIERSON, JOHN; IVENS, JORIS; ROUCH, JEAN; VERTOV, DZIGA; BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927); BERLIN: SYMPHONY OF A GREAT CITY (G, Walter Ruttman, 1927); NANOOK OF THE NORTH (US, Robert Flaherty, 1922) Summary: "Chanan traces the history of the documentary from the first Lumiere films to Grierson and his contemporaries, though to Free Cinema, Cinema verite and Direct Cinema, up to the current resurgence of documentary with high profile films such as those of Michael Moore. Chanan's thematic approach takes in topics such as the documentary before documentary, how documentary film language works, the veracity of the image, the construction of the soundtrack, the migration of documentary to television, political documentary, censorship, first-person film making, and the relation of the archives to history and memory. Drawing on examples of documentary cinema in Japan, Iran, and Latin America as well as Europe and the USA, Chanan argues that documentary provides a crucial public space in which ideas are debated, opinion is formed and those in authority are held to account. " - BLURB Notes: Includes bibliographical references and index ISBN: 9781844572267 Contents: Part 1: Mapping the field -- 1:The new documentary wave -- 2: The documentary field -- 3: Rules of evidence -- Part 2: Historical moments -- 4: Documentary before documentary -- 5: Discovery of space -- 6: The documented point of view -- 7: Soundscapes -- 8: Public address -- 9:Essays and endeavours -- 10:Truth games -- Part 3: Contemporary Themes -- 11:Different histories -- 12: Living history -- 13: The space of the subject -- 14: After Verite -- 15: History and memory -- Index More info
Sunday Herald Sun [Other] (3/05/2015) p.91 More info
Sergei Eisenstein, selected works : Volume I, Writings, 1922-1934 / edited and translated by Richard Taylor
London: I.B. Tauris, 2010.
Call No: 623 EIS Author: Eisenstein, Sergei; Taylor, Richard (ed.) Source: UK/US Place: London Publisher: I.B. Tauris PubDate: 2010 PhysDes: ix, 334 p. : ill. ; 24 cm Series: Selected works Subject: MONTAGE; THEORY; EISENSTEIN, SERGEI M. Summary: "Superbly translated from the definitive Russian texts, and copiously annotated, Volume 1 documents the complex course of Eisenstein's writings during the revolutionary years prior to the establishment of Socialist Realism as orthodox Soviet aesthetic doctrine. This was also the period of Eisenstein's great silent masterpieces, The Strike, The Battleship Potemkin, October and The General Line, and of his controversial sojourns in Hollywood and Mexico. The writings in this first volume give a picture of Eisenstein the committed socialist artist, passionately engaged in the debates over the art forms of the future, but also of Eisenstein the humorist and Eisenstein the profoundly innovative aesthetic thinker." -- BOOK BLURB Notes: Translated from the Russian ISBN: 9781848853553 Contents: -- general editor's preface -- introduction -- translator's note -- abbreviations -- 1922 -- 1: Sergei Yutkevich and Eisenstein: The Eighth art. On expressionism, America and, of course, Chaplain -- 1923 -- 2: The Montage of Attractions -- 1924 -- 3: The Montage of Film Attractions -- 1925 -- 4: The problem of the materialist approach to form -- 5: the method of making a worker's film -- 1926 -- 6: Constanta (whither The Battleship Potemkin) -- 7: However odd - Khokhlova! -- 8: Eisenstein on Eisenstein, the director of Potemkin -- 9: Bela Forgets the scissors -- 10: the two skulls of Alexander the Great -- 11: The German Cinema. A Traveller's Impressions -- 1927 -- 12: give us a state plan -- 1928 -- 13. Literature and cinema. Reply to a questionnaire -- 14. What we are expecting from the pary conference on cinema -- 15. Our October. Beyond the played and the non-played -- 16: for a worker's hit -- 17: Eisenstein, Vsevolod Pudovkin and Grigori Alexandrov: statement on sound -- 18: an unexpected juncture -- 19: Eisenstein and Grigori Alexandrov: The Twelfth Year -- 20: the GTK teaching and research workshop. A conversation with the leader of the workshop, S. M. Eisenstein -- 1929 -- 21: conversation with Eisenstein on Sound Cinema -- 22: the form of the script -- 23: The Arsenal -- 24: beyond the shot -- 25: perspectives -- the dramaturgy of film form (the dialectical approach to film form -- 27: the fourth dimension in cinema -- 1930 -- 28: the principles of the new russian cinema -- 29: Rin-Tin-Tin does his tricks for noted russian movie man -- 30: the dynamic square -- 1932 -- 31: help yourself! -- 32: in the interests of form -- 1933 -- 33: through the revolution to art: through art to the revolution -- 34: pantagruel will be born -- 35: to your posts -- 36: Georges Melies mistake -- 37: an attack by class allies -- 38: cinema and the classics -- 1944 -- 39: for elevated ideological content, for Film Culture! -- 40: on fascism, German cinema and Real life. Open letters to the German minister of propoganda, Dr Goebbels -- 41: 'Eh!' on the purity of film language -- 42: At last! -- notes -- index -- More info
Sergei Eisenstein: selected works : volume 2, Towards aTheory of Montage / edited by Michael Glenny and Richard Taylor
London: I.B. Tauris, 2010.
Call No: 623 EIS Author: Eisenstein, Sergei; Glenny, Michael (ed.); Taylor, Richard (ed.) Source: US/UK Place: London Publisher: I.B. Tauris PubDate: 2010 PhysDes: xx, 428 p. : ill. ; 24 cm Series: Selected works Subject: MONTAGE; THEORY; EISENSTEIN, SERGEI M. Summary: "The name of Sergei Eisenstein has long been synonymous with the idea of montage, as exemplified in his silent classics such as The Strike (1925), The Battleship Potemkin (1925), and October (1927). In the 1930s his style changed, partly to accomodate the arrival of sound, and his ideas on audio-visual counterpoint developed. Between 1937 and 1940 he elaborated his ideas on montage in a series of essays, most of which remained unpublished until after his death and which are published in English for the first time inTowards a Theory of Montage. Collectively these essays present the essence of Eisenstein's thinking on cinema and aesthetics more generaaly and reveal him as one of the most significant philosophers of art of the twentieth century." -- BOOK BLURB Notes: Translated from Russian ISBN: 9781848853560 Contents: -- general editor's preface -- Michael Glenny: an appreciation -- note on sources -- introduction: Geoffrey Nowell-Smith -- on the story of 'Montage 1937' -- foreword -- 1: draft of 'introduction' -- part one: montage in single set-up cinema -- 2: montage 1937 -- 3: montage and architecture -- 4: Yermolova -- part two: montage in multiple set-up cinema -- 5: laocoon -- 6: Pushkin the Montageur: 'The battle against the pechenegs' and 'poltava' The iron cannon-balls -- part three: sound-film montage -- 7: [rhythm] -- 8: 'The girl like a ray of light' -- 9:on colour -- 10: unity in image -- 11: Tolstoy's 'Anna Karenina' - the races -- 12: montage 1938 -- 13: Vertical montage -- notes -- index -- More info