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Another cinema for another society / Gaston Roberge Calcutta: Seagull Books, 1985.
Call No: 408.1(540) ROBAuthor: Roberge, Gaston Source: IIPlace: CalcuttaPublisher: Seagull BooksPubDate: 1985PhysDes: 151p. : ill. ; 22cmSubject: CRITICISM ; HISTORY OF CINEMA. INDIA ; INDUSTRY, FILM. INDIA ; NATIONAL CULTURE AND THE CINEMA. ASIAN COUNTRIES ; POLITICS AND THE CINEMA ; SOCIETY AND THE CINEMA ; BAZIN, ANDRE ; EISENSTEIN, SERGEI M. ; RAY, SATYAJIT ; WELLES, ORSON ; BRON, PETER ; BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925) ; GANDHI (UK/II, Richard Attenborough, 1982) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; NAPOLEON (FR, Abel Gance, 1927) Summary: "Father Gaston Roberge, Director of Chitrabani, a Calcutta-based institution involved in development communication, and a media critic in his own right, with five title to his credit already, proposes, in his latest work, a militant programme... for another cinema committed to the building up of another society.' He offers revaluations of the established systems of film aesthetics, with fresh insights into the thoughts and works of Eisenstein, Bazin, Welles, and Ray; before analysing the Indian social scene in depth and detail, to suggest a comprehensive model for a parallel Indian cinema, complete with a new scheme for film and media education for the new cinema" -Book blurbISBN: 0861320751Donation: donated by the family of Wayne Levy, 2006Contents: Preface -- Part one: cinema -- Introduction: a militant programme -- What is it in cinema that makes it cinema -- Montage: the formative principle -- An anthropology of the cinema -- An exercise in film appreciation or the magnificent Andre Bazin -- Author-ity, text-uality and read-in(g) -- Part two: society -- The end of a film era -- Nine and one facts and not a few illusions -- Of many movies and some words to talk about them -- Films for social change -- Politics in film -- The politics of non-political cinema -- The cultural and social influence of foreign films -- History through films and filmed history -- Conclusion -- Film education for a new movie-man -- index
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Crafting truth : documentary form and meaning / by Louise Spence and Vinicius Navarro New Brunswick, NJ: Rutgers University Press, c2011.
Call No: 761 SPEAuthor: Spence, Louise ; Navarro, Vinicius Source: US/UKPlace: New Brunswick, NJPublisher: Rutgers University PressPubDate: c2011PhysDes: x, 281 p. : ill. ; 26 cmSubject: AESTHETICS ; AUTHORSHIP ; BIOGRAPHICAL FILMS ; CINEMATOGRAPHY ; COMMENTARY ; CONSTRUCTIVISM ; CONTINUITY ; CINEMA-DIRECT ; DOCUMENTARIES ; DOCUMENTARY FILMS ; EDITING ; ETHNOGRAPHIC FILMS ; HISTORY AND THE CINEMA ; INTERVIEWING ; INTERVIEWS IN FILMS ; LIGHTING ; LOCATION SHOOTING ; MEMORY IN FILMS ; MUSIC IN FILMS ; NARRATIVE IN FILMS ; NON-FICTION FILMS ; PALESTINE ; PHOTOGRAPHY AND THE CINEMA ; REALISM IN FILMS ; SOUND ; SOUND EQUIPMENT ; THEORY ; TRUTH IN FILMS ; VOICE OVER ; WORLD WAR II AND THE CINEMA ; AFRIQUE, JE TE PLUMERAI (CM/FR/G, Jean-Marie Téno, 1992) ; BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927) ; CHRONIQUE D' UN ETE (FR, Jean Rouch/Edgar Morin, 1961) ; CHRONICLE OF A SUMMER (FR, Jean Rouch & Edgar Morin, 1961) ; GOKUSHITEKI EROSU: RENKA 1974 (JA, Kazuo Hara, 1974) ; FAR FROM POLAND (US, Jill Godmilow, 1984) ; HALVING THE BONES (US, Ruth Ozeki Lounsbury, 1995) ; HANDSWORTH SONGS (UK, John Akomfrah, 1986) ; HEARTS AND MINDS (US, Peter Davis, 1974) ; JOYCE AT 34 (US, Joyce Chopra, 1972) ; LESSONS OF DARKNESS (GG, Werner Herzog, 1992) ; LEKTIONEN IN FINSTERNIS (GG, Werner Herzog, 1992) ; LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; NEKAM ACHAT MISHTEY EYNAY (FR/IS, Avi Mograbi, 2005) ; NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936) ; PRELUDE TO WAR (US, Frank Capra & Anatole Litvak, 1942) ; SANS SOLEIL (FR, Chris Marker, 1983) ; SHOAH (FR/SZ, Claude Lanzmann, 1985) ; TIES THAT BIND, THE (US, Su Friedrich, 1984) ; TITICUT FOLLIES (US, Frederick Wiseman, 1967) ; WAR GAME, THE (UK, Peter Watkins, 1966) Summary: "Although nonfiction film may have captured imaginations, many viewers enter and leave theaters with a naive concept of "reality"- for them, documentaries are sources of information. But is truth or reality readily available, easily acquired, or undisputed? Or do documentaries convey illusions of reality? What aesthetic means are used to build these illusions?
Crafting truth illuminates the way these films tell their stories; how they use the camera, editing, sound, and performance; what rhetorical devices they employ; and what the theoretical, practical, and ethical implications of those choices are. Complex documentary concepts are presented through easily accessible language, images, and a discussion of a wide range of films and videos to encourage new ways of thinking about and seeing nonfiction cinema. " -- BOOK BLURBISBN: 9780813549033Contents: -- acknowledgments -- Introduction -- Authenticity -- Evidence -- Authority --
Responsibility -- Argument -- Dramatic stories, poetic and essay documentaries --
Editing -- Camerawork -- The profilmic -- Sounds / coauthored with Carl Lewis --index --ID2: 90
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Documentary : a history of the non-fiction film / Erik Barnouw New York: Oxford University Press, 1974.
Call No: 761 BARAuthor: Barnouw, Erik, 1908 Source: USPlace: New YorkPublisher: Oxford University PressPubDate: 1974PhysDes: vi, 332 p. : ill. ; 24 cmSubject: DOCUMENTARY FILMS ; FASCISM AND THE CINEMA ; DOCUMENTARY FILMS. JAPAN ; DOCUMENTARY FILMS. UK ; OLYMPICS IN FILMS ; ART AND THE CINEMA ; ARCHIVES & INSTITUTES, FILM ; NUCLEAR ISSUES IN FILMS ; COMPILATION FILMS ; DOCUMENTARY FILMS. US ; DOCUMENTARY FILMS. USSR ; VIETNAM WAR IN FILMS ; CINEMA-DIRECT ; CINEMA VERITE ; NAZIS IN FILMS ; NEWSREELS ; POETRY AND THE CINEMA ; DOCUMENTARY FILMS. FRANCE ; PARAMOUNT STUDIOS ; WORLD WAR II FILMS ; SHELL FILM UNIT [AUSTRALIA] ; EMPIRE MARKETING BOARD ; GPO FILM UNIT ; BRITISH BROADCASTING CORPORATION ; COLUMBIA BROADCASTING SYSTEM ; REISZ, KAREL ; RIEFENSTAHL, LENI ; ROUCH, JEAN ; RUTTMAN, WALTER ; FLAHERTY, ROBERT ; CAPRA, FRANK ; GRIERSON, JOHN ; IVENS, JORIS ; JENNINGS, HUMPHREY ; KAUFMAN, MIKHAIL ; LEACOCK, RICHARD ; LORENTZ, PARE ; MAYSLES, ALBERT & DAVID ; MURROW, EDWARD R. ; LUMIERE, AUGUSTE & LOUIS ; VERTOV, DZIGA ; WRIGHT, BASIL ; SUCKSDORFF, ARNE ; MOANA (US, Robert Flaherty, 1926) ; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929) ; BACK OF BEYOND, THE (AT, John Heyer, 1953) ; AMERICAN DREAM (US, Barbara Kopple, 1990) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936) ; PLOW THAT BROKE THE PLAINS, THE (US, Pare Lorentz, 1936) ; SALESMAN (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1969) ; SONG OF CEYLON, THE (UK, Basil Wright, 1934) ; TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935) ; WHY WE FIGHT SERIES (US, 1942-44) Summary: Barnouw traces the documentary from its beginning at the dawn of film history - the work of the Lumiere brothers - to the remarkable group of films that have portrayed the Vietnam war. Films are placed within their broader social perspective, and Barnouw traces filmmaking developments in a single country to global uptake. Particular emphasis is placed on the influence of governments and large corporations on the content of films. The book covers television documentary, direct cinema, cinema verite as well as film-makers dealing with exploration, animals, aspects of war, human behaviour, social problems and propaganda. Such diverse film-makers as Flaherty, Vertov, Grierson, Ivens, Lorentz, Jennings, Sucksdorff, Rouch, Leacock, and the Maysles are included.Notes: Includes index; Bibliography: p. [297]-311ISBN: 0195018354 : $10.95LON: 74079618; 462942
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Documentary : a history of the non-fiction film / Erik Barnouw New York: Oxford University Press, 1993.
Call No: 761 BARAuthor: Barnouw, Erik, 1908 Edition: 2nd rev. edPlace: New YorkPublisher: Oxford University PressPubDate: 1993PhysDes: 400 p. : ill. ; 21 cmSubject: DOCUMENTARY FILMS ; ARCHIVES & INSTITUTES, FILM ; NUCLEAR ISSUES IN FILMS ; CINEMA VERITE ; COMPILATION FILMS ; DOCUMENTARY FILMS. USSR ; DOCUMENTARY FILMS. USA ; VIETNAM WAR IN FILMS ; CINEMA-DIRECT ; NAZIS IN FILMS ; NEWSREELS ; POETRY AND THE CINEMA ; DOCUMENTARY FILMS. FRANCE ; FASCISM AND THE CINEMA ; DOCUMENTARY FILMS. JAPAN ; DOCUMENTARY FILMS. UK ; OLYMPICS IN FILMS ; ART AND THE CINEMA ; PARAMOUNT STUDIOS ; WORLD WAR II FILMS ; SHELL FILM UNIT [AUSTRALIA] ; EMPIRE MARKETING BOARD ; GPO FILM UNIT ; BRITISH BROADCASTING CORPORATION ; COLUMBIA BROADCASTING SYSTEM ; REISZ, KAREL ; RIEFENSTAHL, LENI ; ROUCH, JEAN ; RUTTMAN, WALTER ; FLAHERTY, ROBERT ; CAPRA, FRANK ; Grierson, John ; IVENS, JORIS ; JENNINGS, HUMPHREY ; KAUFMAN, MIKHAIL ; LEACOCK, RICHARD ; LORENTZ, PARE ; MAYSLES, ALBERT & DAVID ; MURROW, EDWARD R. ; LUMIERE, AUGUSTE & LOUIS ; VERTOV, DZIGA ; WRIGHT, BASIL ; SUCKSDORFF, ARNE ; MOANA (US, Robert Flaherty, 1926) ; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929) ; BACK OF BEYOND, THE (AT, John Heyer, 1953) ; AMERICAN DREAM (US, Barbara Kopple, 1990) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936) ; PLOW THAT BROKE THE PLAINS, THE (US, Pare Lorentz, 1936) ; SALESMAN (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1969) ; SONG OF CEYLON (UK, Basil Wright, 1934) ; TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935) ; WHY WE FIGHT SERIES (US, 1942-44) Summary: This is the second revised edition of Documentary: A History of the Non-fiction Film. Barnouw traces the documentary from its beginning at the dawn of film history - the work of the Lumiere brothers - to the remarkable group of films that have portrayed the Vietnam war. Films are placed within their broader social perspective, and Barnouw traces filmmaking developments in a single country to global uptake. Particular emphasis is placed on the influence of governments and large corporations on the content of films. The book covers television documentary, direct cinema, cinema verite as well as film-makers dealing with exploration, animals, aspects of war, human behaviour, social problems and propaganda. Such diverse film-makers as Flaherty, Vertov, Grierson, Ivens, Lorentz, Jennings, Sucksdorff, Rouch, Leacock, and the Maysles are included.Notes: Includes bibliographical references (p. [361]-375) and indexISBN: 0195078985 (pbk. : acid-free paper) : $10.95LON: 9430204
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Documentary : a history of the non-fiction film / written by Eric Barnouw New York: Oxford University Press, 1974.
Call No: 761 BARAuthor: Barnouw, Eric Source: USPlace: New YorkPublisher: Oxford University PressPubDate: 1974PhysDes: 332 p. ; 24 cmSubject: DOCUMENTARY FILMS ; ARCHIVES & INSTITUTES, FILM ; NUCLEAR ISSUES IN FILMS ; CINEMA VERITE ; COMPILATION FILMS ; DOCUMENTARY FILMS. USSR ; DOCUMENTARY FILMS. USA ; VIETNAM WAR IN FILMS ; CINEMA-DIRECT ; NAZIS IN FILMS ; NEWSREELS ; POETRY AND THE CINEMA ; DOCUMENTARY FILMS. FRANCE ; FASCISM AND THE CINEMA ; DOCUMENTARY FILMS. JAPAN ; DOCUMENTARY FILMS. UK ; OLYMPICS IN FILMS ; ART AND THE CINEMA ; PARAMOUNT STUDIOS ; WORLD WAR II FILMS ; SHELL FILM UNIT [AUSTRALIA] ; EMPIRE MARKETING BOARD ; GPO FILM UNIT ; BRITISH BROADCASTING CORPORATION ; COLUMBIA BROADCASTING SYSTEM ; REISZ, KAREL ; RIEFENSTAHL, LENI ; ROUCH, JEAN ; RUTTMAN, WALTER ; FLAHERTY, ROBERT ; CAPRA, FRANK ; Grierson, John ; IVENS, JORIS ; JENNINGS, HUMPHREY ; KAUFMAN, MIKHAIL ; LEACOCK, RICHARD ; LORENTZ, PARE ; MAYSLES, ALBERT & DAVID ; MURROW, EDWARD R. ; LUMIERE, AUGUSTE & LOUIS ; VERTOV, DZIGA ; WRIGHT, BASIL ; SUCKSDORFF, ARNE ; MOANA (US, Robert Flaherty, 1926) ; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929) ; BACK OF BEYOND, THE (AT, John Heyer, 1953) ; AMERICAN DREAM (US, Barbara Kopple, 1990) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936) ; PLOW THAT BROKE THE PLAINS, THE (US, Pare Lorentz, 1936) ; SALESMAN (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1969) ; SONG OF CEYLON, THE (UK, Basil Wright, 1934) ; TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935) ; WHY WE FIGHT SERIES (US, 1942-44) Summary: Barnouw traces the documentary from its beginning at the dawn of film history - the work of the Lumiere brothers - to the remarkable group of films that have portrayed the Vietnam war. Films are placed within their broader social perspective, and Barnouw traces filmmaking developments in a single country to global uptake. Particular emphasis is placed on the influence of governments and large corporations on the content of films. The book covers television documentary, direct cinema, cinema verite as well as film-makers dealing with exploration, animals, aspects of war, human behaviour, social problems and propaganda. Such diverse film-makers as Flaherty, Vertov, Grierson, Ivens, Lorentz, Jennings, Sucksdorff, Rouch, Leacock, and the Maysles are included.ISBN: 0195018354Donation: donated by the family of Wayne Levy, 2006Contents: -- 1: glimpse of wonders -- 2: images at work -- 3: sound and fury -- 4: clouded lens -- sharp focus -- afterword -- source notes -- bibliography -- index --
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The documentary film book / edited by Brian Winston London: Palgrave Macmillan, 2013.
Call No: 761 DOCAuthor: Winston, Brian CorpAuthor: British Film InstituteSource: UKPlace: LondonPublisher: Palgrave MacmillanPubDate: 2013PhysDes: 416 pages ; 25 cmSubject: AFRICA ; ART CINEMA ; ANTHROPOLOGY AND THE CINEMA ; BLACK CINEMA ; BRAZIL ; CINEMA-DIRECT ; CINEMA VERITE ; DOCUMENTARIES ; DOCUMENTARY FILMS ; DOCUMENTARY DRAMAS ; ETHICS AND THE CINEMA ; ETHNOGRAPHIC FILMS ; HISTORY ON TV ; HOMOSEXUALITY AND THE CINEMA ; ISRAEL ; INTERNET AND THE CINEMA ; LATIN AMERICAN COUNTRIES ; PALESTINE ; POLITICAL FILMS ; RACE AND THE CINEMA ; REVOLUTIONARY THEMES IN FILMS ; MOVEMENTS IN FILM HISTORY ; REALITY TV ; GRIERSON, JOHN ; MOORE, MICHAEL ; VERTOV, DZIGA ; AFRICA RISING (US, Paula Heredia, 2009) ; AILEEN: LIFE AND DEATH OF A SERIAL KILLER (UK, Nick Bloomfield & Joan Churchill, 2003) ; CHRONIQUE D' UN ETE (FR, Jean Rouch/Edgar Morin, 1961) ; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929) ; MAN WITH A MOVIE CAMERA (UR, Dziga Vertov, 1929) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) Summary: Powerfully posing questions of ethics, ideology, authorship and form, documentary film has never been more popular than it is today. Edited by one of the leading British authorities in the field, The Documentary Film Book is an essential guide to current thinking on documentary film.
In a series of fascinating essays, key international experts discuss the theory of documentary, outline current understandings of its history (from pre-Flaherty to the post-Griersonian world of digital 'i-Docs'), survey documentary production (from Africa to Europe, and from the Americas to Asia), consider documentaries by marginalised minority communities, and assess its contribution to other disciplines and arts. Brought together here in one volume, these scholars offer compelling evidence as to why, over the last few decades, documentary has come to the centre of screen studies. -- BOOK BLURBISBN: 9781844573417Contents: Acknowledgments -- Notes on Contributors -- Foreword: Why Documentaries Matter -- Introduction: The Filmed Documentary --; PART I: DOCUMENTARY VALUES -- The Question of Evidence, the Power of Rhetoric and Documentary Film: Bill Nichols -- 'I'll Believe It When I Trust the Source': Documentary Images and Visual Evidence: Carl Plantinga -- 'The Performance Documentary': The Performing Film-Maker, the Acting Subject: Stella Bruzzi -- On Truth, Objectivity and Partisanship: The Case of Michael Moore: Douglas Kellner -- CGI and the End of Photography as Evidence: Taylor Downing -- Drawn From Life: The Animated Documentary: Andy Glynne -- Dramadoc? Docudrama? The Limits and Protocols of a Televisual Form: Derek Paget -- Ambiguous Audiences: Annette Hill -- Life As Narrativised: Brian Winston -- The Dance of Documentary Ethics: Pratap Rughani -- Deaths, Transfigurations and the Future: John Corner --; PART II: DOCUMENTARY PARADIGMS -- Problems in Historiography: The Documentary Tradition Before Nanook of the North: Charles Musser -- John Grierson and the Documentary Film Movement: Ian Aitken -- Challenges For Change: Canada's National Film Board: Thomas Waugh and Ezra Winton -- Grierson's Legacies: Australia and New Zealand: Deane Williams -- New Deal Documentary and the North Atlantic Welfare State: Zoe Druick and Jonathan Kahana -- The Triumph of Observationalism: Direct Cinema in the USA: Dave Saunders -- Russian and Soviet Documentary: From Vertov to Sokurov: Ian Christie -- The Radical Tradition in Documentary Film-making, 1920s–50s: Bert Hogenkamp -- Le Groupe des trente: The Poetic Tradition: Elena Von Kassel Siambani -- Cinéma Vérité: Vertov Revisited: Genevieve Van Cauwenberge -- Beyond Sobriety: Documentary Diversions: Craig Hight --; PART III: DOCUMENTARY HORIZONS -- Eastwards: Abe Mark Nornes -- Africa N.: Frank Ukadike -- Images From the South: Contemporary Documentary in Argentina and Brazil: Ana Amado and Maria Dora Mourao -- 'Roadblock' Films, 'Children's Resistance' Films and 'Blood Relations' Films: Israeli and Palestinian Documentary Post-Intifada: Il Raya Morag -- Sacred, Mundane and Absurd Revelations of the Everyday – Poetic Vérité in the Eastern European Tradition; Susanna Helke --; PART IV: DOCUMENTARY VOICES -- First-Person Political: Alisa Lebow -- Feminist Documentaries: Finding, Seeing and Using Them: Julia Lesage -- Pioneers of Black Documentary Film: Pearl Bowser -- LGTBs' Documentary Identity: Christopher Pullen -- Docusoaps: The Ordinary Voice as Popular Entertainment: Richard Kilborn -- Reality TV: A Sign of the Times?: Anita Biressi and Heather Nunn --; PART V: DOCUMENTARY DISCIPLINES -- Anthropology: The Evolution of Ethnographic Film: Paul Henley -- Science, Society and Documentary: Tim Boon -- History Documentaries for Television: Ann Gray -- Music, Documentary, Music Documentary: Michael Chanan -- Art, Documentary as Art; Michael Renov --; PART VI: DOCUMENTARY FUTURES -- Documentary as Open Space: Helen de Michiel and Patricia R. Zimmermann -- 'This Great Mapping of Ourselves': New Documentary Forms Online: John Dovey and Mandy Rose -- New Platforms for 'Docmedia': 'Varient of a Manifesto': Peter Wintonick --; Afterword: The Unchanging Question: Brian Winston -- Index
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Documentary film classics / William Rothman Cambridge, Eng. New York: Cambridge University Press, 1997.
Call No: 761 ROTAuthor: Rothman, William Place: Cambridge, Eng. New YorkPublisher: Cambridge University PressPubDate: 1997PhysDes: xv, 218 p. : ill. ; 24 cmSeries: Cambridge studies in filmSubject: DOCUMENTARY FILMS ; CINEMA VERITE ; NON-FICTION FILMS ; BUNUEL, LUIS ; LEACOCK, RICHARD ; RESNAIS, ALAIN ; ROUCH, JEAN ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; HURDES, LAS (SP, Luis Bunuel, 1933) ; NUIT ET BROUILLARD (FR, Alain Resnais, 1955) ; NIGHT AND FOG (FR, Alain Resnais, 1995) ; CHRONIQUE D' UN ETE (FR, Jean Rouch/Edgar Morin, 1961) ; HAPPY MOTHER'S DAY, A (US, Joyce Chopra/Richard Leacock, 1963) ; DONT LOOK BACK (US, D.A. Pennebaker, 1967) ; LAND WITHOUT BREAD (SP, Luis Bunuel, 1933) Summary: "Documentary Film Classics" offers close readings of a number of major documentaries, including Nanook of the North, Land without Bread, Night and Fog, Chronicle of a Summer, A Happy Mother's Day, and Don't Look Back. William Rothman analyzes the philosophical and historical issues and themes implicit in these works. Designed to guide film students through the 'texts' of films that span the history of the documentary film movement, his readings also focus on the achievements of these works as films per se. This book is both an original contribution to the field of film studies and also suitable for use as a text for college level courses on documentary film and broader film history courses." -- BOOK COVERNotes: Includes bibliographical references (p. 211-213) and indexISBN: 0521456819 (pbk); 0521450675 (hbk)Order Received: 1997LON: 96014029; 12242459URL status: URL: 'http://-'
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Documentary screens : non-fiction film and television / Keith Beattie Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004.
Call No: 761 BEAAuthor: Beattie, Keith Source: UKPlace: Houndmills, Basingstoke, HampshirePublisher: Palgrave MacmillanPubDate: 2004PhysDes: 276 p ; 21cmSubject: DOCUMENTARY FILMS ; DOCUMENTARY DRAMAS ; AUSTRALIAN ABORIGINES IN FILM ; IMPERIALISM AND THE CINEMA ; CINEMA VERITE ; CINEMA-DIRECT ; JOURNALISTS, FILM ; POPULAR CULTURE AND TV ; REALITY TV ; TABLOID JOURNALISM ; POPULAR CULTURE AND THE CINEMA ; AUSTRALIAN BROADCASTING CORPORATION ; BRITISH BROADCASTING CORPORATION ; COLUMBIA BROADCASTING SYSTEM ; NATIONAL FILM BOARD OF CANADA ; NATIONAL INDIGENOUS DOCUMENTARY FUND ; NBC TELEVISION NETWORK ; PUBLIC BROADCASTING SERVICE ; NETWORK TEN ; VIDEODISCS ; GRANADA ; IMAX ; INDEPENDENT TELEVISION COMMISSION ; INTERACTIVE TV ; MUSIC TELEVISION ; TELEVISION JOURNALISTS ; BUERK, MICHEAL ; CAVADINI, ALESSANDRO ; DE ANTONIO, EMILE ; DREW, ROBERT ; DYLAN, BOB ; FLAHERTY, ROBERT ; GRIERSON, JOHN ; LEACOCK, RICHARD ; LORENTZ, PARE ; MAYSLES, ALBERT ; MAYSLES, DAVID ; MCELWEE, ROSS ; MOORE, MICHAEL ; MORIN, EDGAR ; O'ROURKE, DENNIS ; PENNEBAKER, D. A. ; PILGER, JOHN ; ROUCH, JEAN ; RUTTMAN, WALTER ; TAJIRI, REA ; VERTOV, DZIGA ; ATOMIC CAFE, THE (US, Kevin Rafferty & Jane Loader & Pierce Rafferty, 1982) ; CHEQUER-BOARD [TV] (AT, 1969-1975) ; FOUR CORNERS [TV] (AT, 1961-) ; BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925) ; BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927) ; BIG BROTHER [TV] (AT, 2001) ; BIGGIE AND TUPAC (US, Nick Broomfield, 2001) ; BILL, THE [TV] (UK, 1984-) ; BIRTH OF A NATION, THE (US, David Wark Griffith, 1915) ; BOWLING FOR COLUMBINE (US/CA, Michael Moore, 2002) ; BUENA VISTA SOCIAL CLUB (GG/US, Wim Wenders, 1999) ; CAMBODIA: YEAR ZERO (AT, John Pilger, 1989) ; CANE TOADS : AN UNNATURAL HISTORY (AT, Mark Lewis, 1987) ; CANNIBAL TOURS (AT, Dennis O' Rourke, 1987) ; CATHY COME HOME (UK, Ken Loach, 1966) ; CHRONIQUE D' UN ETE (FR, Jean Rouch & Edgar Morin, 1961) ; COPS AND ROBBERSONS (US, Michael Ritchie, 1994) ; CROCODILE DUNDEE (AT, Peter Faiman, 1986) ; CUNNAMULLA (AT, Dennis O'Rourke, 2000) ; DEATH OF A PRINCESS [TV] (UK/US/NZ/AT/NE, Antony Thomas, 1980) ; DISMISSAL, THE [TV] (AT, George T. Miller & others, 1983) ; DON'T LOOK BACK (US, D.A. Pennebaker, 1967) ; GOOD WOMAN OF BANGKOK, THE (AT, Dennis O'Rourke, 1991) ; LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980) ; MABO: LIFE OF AN ISLAND MAN (AT, Trevor Graham, 1997) ; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929) ; MONTEREY POP (US, D. A. Pennebaker, 1968) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; POLICE STATE (AT, Chris Noonan, 1989) ; SYLVANIA WATERS [TV] (AT, Brian Hill & Kate Woods, 1993) ; WALKING WITH DINOSAURS[TV] (UK, 1999) ; WAR GAME, THE (UK, Peter Watkins, 1966) Summary: Documentary Screens is a comprehensive and critical examination of the formal features and histories of central categories of documentary film and television. Among the categories examined are autobiographical, indigenous and ethnographic documentary, compilation films, direct cinema and cinema verite and television documentary journalism. The book also considers recent so called popular factual entertainment and the future of documentary film, television and new media. [Taken from back cover].ISBN: 033374117XURL status: URL: 'http://-'
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The documentary tradition / selected arranged, and introduced by Lewis Jacobs New York: W. W. Norton, c1979.
Call No: 761 JACAuthor: Jacobs, Lewis, comp Edition: 2nd edPlace: New YorkPublisher: W. W. NortonPubDate: c1979PhysDes: 594 p. : ill. ; 24 cmSubject: DOCUMENTARIES ; DOCUMENTARY FILMS. USSR ; HISTORY OF CINEMA ; NEWSREELS ; FLAHERTY, ROBERT ; GRIERSON, JOHN ; VERTOV, DZIGA ; RIEFENSTAHL, LENI ; LEACOCK, RICHARD ; WISEMAN, FREDERICK ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; GRASS (US, Ernest B. Schoedsack, 1926) ; CHANG (US, Ernest B. Schoedsack & Merian C. Cooper, 1927) ; MOANA (US, Robert Flaherty, 1926) ; RAIN (US, Louis Milestone, 1932) ; STARK LOVE (US, Karl Brown, 1927) ; TURKSIB (US, Victor A. Turin, 1929) ; DRIFTERS (SW, John Grierson, 1929) ; A PROPOS DE NICE (FR, Jean Vigo, 1930) ; QUE VIVA MEXICO! (UR, Sergei Eisenstein, [prod. 1932]) ; SONG OF CEYLON, THE (UK, Basil Wright, 1934) ; THREE SONGS ABOUT LENIN (UR, Dziga Vertov, 1934) ; TRI PESNI O LENINE (UR, Dziga Vertov, 1934) ; CITY, THE (US, Ralph Steiner, 1939) ; MAISONS DE LA MISERE, LES (BE, Henri Storck, 1937) ; OLYMPIA (G, Leni Riefenstahl, 1938) ; TRIUMPH OF THE WILL (G, Leni Riefenstahl, 1935) ; TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935) ; SPANISH EARTH, THE (US, Joris Ivens, 1937) ; FIGHT FOR LIFE, THE (US, Pare Lorentz, 1940) ; RIVER, THE (US, Pare Lorentz, 1938) ; CITY, THE (US, Ralph Steiner and Willard Van Dyke, 1939) ; LAND WITHOUT BREAD (SP, Luis Bunuel, 1933) ; LAND, THE (US, Robert Flaherty, 1942) ; NATIVE LAND (US, Leo Hurwitz & Paul Strand, 1942) ; NEGRO SOLDIER, THE (US, Frank Capra, 1944) ; DIARY FOR TIMOTHY, A (UK, Humphrey Jennings, 1946) ; FARREBIQUE (FR, Georges Rouquier, 1945) ; SAVAGE EYE, THE (US, Ben Maddow, Sidney Meyers, Joseph Strick, 1959) ; JOLI MAI, LE (FR, Chris Marker & Pierre Lhomme, 1963) ; CHRONIQUE D' UN ETE (FR, Jean Rouch/Edgar Morin, 1961) ; TITICUT FOLLIES (US, Frederick Wiseman, 1967) ; MARRIED COUPLE, A (CN, Allan King, 1969) ; WOODSTOCK (US, Michael Wadleigh, 1970) ; SORROW AND THE PITY, THE (SZ/GW, Marcel Ophuls, 1971) ; CHAGRIN ET LA PITIE, LE (SZ/GW, Marcel Ophuls, 1971) ; HEARTS AND MINDS (US, Peter Davis, 1974) ; HARLAN COUNTY, U.S.A. (US, Barbara Kopple, 1976) Summary: "Originally published in 1971, The Documentary Tradition is the essential survey of development and achievements of one of the most distinctive and influential genres of film. Edited by the distinguished filmmaker and historian Lewis Jacobs, the book has become an indispensable reference for both students and practitioners of documentary. This new edition brings The Documentary Tradition up to date and includes the writings of almost 100 filmmakers and critics. To the five parts which trace the development of the genre from the 1920s Jacobs has added a new section of seven essays on the documentaries of the 1970s. The section is introduced by his own survey of the filmmaking of the period, "From Political Activism to Women's Consciousness," and accompanied by a selected list of documentaries of the 1970s together with photographs from a number of these films. The bibliography of works on documentary films and filmmakers has been expanded." -- BOOK BLURBNotes: Includes index; Bibliography: p. 577-579ISBN: 0393950425LON: 1437994URL status: URL: 'http://-'
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Documenting the documentary : close readings of documentary films and video / edited by Barry Keith Grant and Jeannette Sloniowski, forward by Bill Nichols Detroit MI: Wayne State University Press, 1998.
Call No: 761 DOCAuthor: Grant, Barry Keith ; Sloniowski, Jeanette Place: Detroit MIPublisher: Wayne State University PressPubDate: 1998PhysDes: 488 p. ; 23 cmSubject: DOCUMENTARY FILMS ; FLAHERTY, ROBERT ; VERTOV, DZIGA ; EISENSTEIN, SERGEI M. ; BUNUEL, LUIS ; WRIGHT, BASIL ; RIEFENSTAHL, LENI ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929) ; QUE VIVA MEXICO! (UR, Sergei Eisenstein, [prod. 1932]) ; HURDES, LAS (SP, Luis Bunuel, 1933) ; SONG OF CEYLON, THE (UK, Basil Wright, 1934) ; TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935) ; PLOW THAT BROKE THE PLAINS, THE (US, Pare Lorentz, 1936) ; CITY, THE (US, Ralph Steiner, 1939) ; SPANISH EARTH, THE (US, Joris Ivens, 1937) ; LISTEN TO BRITAIN (UK, Humphrey Jennings/Stewart McAllister, 1942) ; BLOOD OF THE BEASTS (FR, Georges Franju,1949) ; SANG DES BETES, LE (FR, Georges Franju,1949) ; MAITRES FOUS, LES (FR, Jean Rouch, 1955) ; NUIT ET BROUILLARD (FR, Alain Resnais, 1955) ; DONT LOOK BACK (US, D.A. Pennebaker, 1967) ; TITICUT FOLLIES (US, Frederick Wiseman, 1967) ; HORA DE LOS HORNOS, LA (AG, Fernado E. Solanos, 1968) ; ACT OF SEEING WITH ONE'S OWN EYES, THE (US, Stan Brakhage, 1971) ; AMERICAN FAMILY, AN [TV](US, 1973) ; DAISY, THE STORY OF A FACELIFT (CN, Michael Rubbo, 1982) ; THIS IS SPINAL TAP (US, Rob Reiner, 1984) ; SHERMAN'S MARCH (US, Ross McElwee, 1986 [prod. 1981]) ; I DO NOT KNOW WHAT IT IS I AM LIKE (US, Bill Viola, 1986) ; JOURNEY, THE (CN, Peter Watkins, 1987) ; THIN BLUE LINE, THE (US, Errol Morris, 1988) ; ROGER AND ME (US, Michael Moore, 1989) ; TONGUES UNTIED (US, Marlon Riggs, 1989) ; PARIS IS BURNING (US, Jennie Livingston, 1990) ; FINDING CHRISTA (US, Camille Billops/James Hatch, 1991) Summary: Documenting the Documentary features essays by twenty-seven film scholars from a wide range of critical and theoretical perspectives. Each essay focuses on one or two important documentaries, engaging in questions surrounding ethics, ideology, politics, power, race, gender, and representation -- but always in terms of how they arise out of or are involved in the reading of specific documentaries as particular textual constructions. By closely reading documentaries as rich visual works, this anthology fills a void in the critical writing on documentaries, which tends to privilege production over aesthetic pleasure. As we perceive and comprehend the world through visual media increasingly, understanding the textual strategies by which individual documentaries are organized has become critically important. Together, the essays cover the significant developments in the history of the documentary, from the first commercially released feature, Nanook of the North (1922), to modern independent productions, such as An American Family (1973), Tongues Untied (1989), and Finding Christa (1991), and including important national and stylistic movements and various production contexts from the mainstream to the avant-garde. Seth Feldman places Dziga Vertov's Man with a Movie Camera (1929) within the context of constructivism and futurism; Vivian Sobchack discusses the strategies of Bunuel's Las Hurdas (Land without Bread, 1931) in relation to surrealism; and Joanne Hershfield explores Que viva Mexico! (1932) as the presentation of an exotic culture by a European director. Documenting the Documentary offers clear, serious, and insightful analyses of documentary films, and is a welcome balancebetween theory and criticism, abstract conceptualization and concrete analysis. --FROM PUBLISHER'S SITENotes: includes bibliiographic references and indexISBN: 0814326390Contents: Filmmaker as hunter / William Rothman -- Peace between man and machine / Seth Feldman -- Paradise regained / Joanne Hershfield -- Synthetic vision / Vivian Sobchack -- Art of national projection / William Guynn -- Mass psychology of fascist cinema / Frank P. Tomasulo -- American documentary finds its voice / Charlie Keil -- Men cannot act before the camera in the presence of death / Thomas Waugh -- Poetics of propaganda / Jim Leach -- It was an atrocious film / Jeannette Sloniowski -- Dialogic imagination of Jean Rouch / Diane Scheinman -- Documenting the ineffable / Sandy Flitterman-Lewis -- Don't you ever just watch? / Jeanne Hall -- Ethnography in the first person / Barry Keith Grant -- Two avant-gardes / Robert Stam -- Seeing with experimental eyes / Bart Testa -- Bastard union of several forms / Jeffrey K. Ruoff -- Documentary of displaced persona / Joan Nicks -- Gender, power, and a cucumber / Carl Plantinga -- Documentary film and the discourse of hysterical/historical narrative / Lucy Fischer -- Subjectivity lost and found / Catherine Russell -- Filmmaker as global circumnavigator / Scott MacDonald -- Mirrors without memories / Linda Williams -- Documentaphobia and mixed modes / Matthew Bernstein -- Silence and its opposite / Sheila Petty -- Containing fire / Caryl Flinn -- Contested territory / Julia Lesage
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The emergence of film art : the evolution and development of the motion picture as an art, from 1900 to the present New York: Hopkinson and Blake, [c1969].
Call No: 70 JACAuthor: Jacobs, Lewis, comp Place: New YorkPublisher: Hopkinson and BlakePubDate: [c1969]PhysDes: 453 p. illus. 25 cmSubject: HISTORY OF CINEMA ; HISTORY OF CINEMA. SILENT PERIOD ; HISTORY OF CINEMA. SOUND PERIOD ; COLORIZATION ; SOCIETY AND THE CINEMA ; GERMANY ; ANIMATED FILMS ; CINEMA VERITE ; AUTEUR THEORY ; NOUVELLE VAGUE ; MUSIC IN FILMS ; NEOREALISM ; AVANT-GARDE FILMS ; MELIES, GEORGES ; GRIFFITH, DAVID WARK ; CLAIR, RENE ; FORD, JOHN ; PORTER, EDWIN S. ; LESTER, RICHARD ; DISNEY, WALT ; BERGMAN, INGMAR ; TRUFFAUT, FRANCOIS ; SARRIS, ANDREW ; KAEL, PAULINE ; KUROSAWA AKIRA ; RESNAIS, ALAIN ; FELLINI, FEDERICO ; ANTONIONI, MICHELANGELO ; BASS, SAUL ; MEKAS, JONAS ; CITIZEN KANE (US, Orson Welles, 1941) ; BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; BIRTH OF A NATION, THE (US, David Wark Griffith, 1915) ; PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928) Notes: Bibliography: p. 438-439LON: 5011ID2: 291
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Film and Reality in Montage (March 1963) vol.2 iss.1 p.3-4
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Imagining reality : the Faber book of the documentary / [edited by] Kevin Macdonald and Mark Cousins London: Faber and Faber, 1996.
Call No: 761 MACAuthor: Macdonald, Kevin, 1967- ; Cousins, Mark Place: LondonPublisher: Faber and FaberPubDate: 1996PhysDes: xii, 400 p. : ill. ; 24 cmSubject: DOCUMENTARY FILMS ; JEWS IN FILMS ; CINEMA VERITE ; CINEMA-DIRECT ; GENOCIDE IN FILMS ; NEWSREELS ; PROPAGANDA FILMS ; SOCIAL PROBLEMS IN FILMS ; WAR IN FILMS ; VERTOV, DZIGA ; ROUCH, JEAN ; IMAMURA, SHOHEI ; KIESLOWSKI, KRZYSZTOF ; MALLE, LOUIS ; MARKER, CHRIS ; OPHULS, MARCEL ; Grierson, John ; HUSTON, JOHN ; ANDERSON, LINDSAY ; BUNUEL, LUIS ; ALVAREZ, SANTIAGO ; ANTONIO, EMILE DE ; BALAZS, BELA ; BLUE, JAMES ; BROOMFIELD, NICK ; CAVALCANTI, ALBERTO ; COLINA, JOSE DE LA ; COOPER, MERIAN C. ; DIETRICH, MARLENE ; FLAHERTY, ROBERT ; IVENS, JORIS ; IWASAKI, AKIRA ; JENNINGS, HUMPHREY ; KAUFMAN, MIKHAIL ; KAUL, MANI ; LANZMANN, CLAUDE ; LEACOCK, RICHARD ; MAYSLES, ALBERT & DAVID ; MORRIS, ERROL ; RIEFENSTAHL, LENI ; SCHELL, MAXIMILIAN ; SHUB, ESTHER ; TSUCHIMOTO, NORIAKI ; WISEMAN, FREDERICK ; WRIGHT, BASIL ; TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935) ; WITH LAWRENCE IN ARABIA (US, Lowell Thomas, 1919) ; INDE FANTOME, L' (FR, Louis Malle, 1968) ; LET THERE BE LIGHT (US, John Huston, 1946) ; MARLENE (GW, Maximilian Schell, 1984) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936) ; REGEN (NE, Joris Ivens, 1929) ; SONG OF CEYLON (UK, Basil Wright, 1934) ; SPANISH EARTH, THE (US, Joris Ivens, 1937) ; THIN BLUE LINE, THE (US, Errol Morris, 1988) ; SANS SOLEIL (FR, Chris Marker, 1983) ; SHOAH (FR/SZ, Claude Lanzmann, 1985) ; A PROPOS DE NICE (FR, Jean Vigo, 1930) ; CRUMB (US, Terry Zwigoff, 1994) ; HOUSING PROBLEMS (UK, Edgar Anstey & Arthur Elton, 1935) ; YUKI YUKITE SHINGUN (JA, Kazuo Hara, 1987) ; VERITES ET MENSONGES (FR/IR, Orson Welles, 1975[prod.1973]) ; FIRST LOVE (US, Joan Darling, 1977) ; GIMME SHELTER (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1970) ; HOOP DREAMS (US, Steve James, 1994) ; LAS HURDES (SP, Luis Bunuel, 1932) Summary: Imagining Reality takes the reader on a tour of the evolution of documentary film as an increasingly vibrant, polemical, experimental and entertaining form. It gathers a wide-ranging collection of writings by and about such groundbreaking documentary-makers as Vertov, Flaherty, Marcel Ophuls, Chris Marker, Kieslowski, Claude Lanzmann, and Nick Broomfield.
The story is carried up to date by attention to the success documentaries have had among mainstream movie audiences in recent years, including Michael Moore's Bowling For Columbine and Fahrenheit 9/11, The Buena Vista Social Club, Spellbound, Capturing The Friedmans, Être Et Avoir, and The Fog Of War. --TAKEN FROM PUBLISHER'S SITENotes: Includes bibliographical references and index; Faber book of the documentaryISBN: 0571177239LON: 13068333Contents: Part 1. -- 1.The Kingdom of Shadows -- 2. Going to Extremes -- 3. Kino Eyes and Agit Trains -- 4. Documentary and the Avante Guarde -- Part 2. -- 5. The British Movement -- 6. Battling for minds -- 7. Aspects of Asia -- Part 3. -- 8. The Essayists -- 9. The Grain of Truth -- Part 4. -- 10. The Cinema of Social Concern -- 11. Diversity -- 12. The Burning QuestionID2: 47
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In glorious technicolor : a century of film and how it has shaped us / Francine Stock with Stephen Hughes London: Pimlico, 2011.
Call No: 70 STOAuthor: Stock, Francine ; Hughes, Stephen Source: UKPlace: LondonPublisher: PimlicoPubDate: 2011PhysDes: 344 p. ; 25 cm.Subject: HISTORY AND THE CINEMA ; HISTORY OF CINEMA. 1930's ; HISTORY OF CINEMA. 1940's ; HISTORY OF CINEMA. 1950's ; HISTORY OF CINEMA. 1960's ; HISTORY OF CINEMA. 1970's ; HISTORY OF CINEMA. 1980's ; HISTORY OF CINEMA. 1990's ; BIRTH OF A NATION , THE (US, David Wark Griffith, 1915) ; CABINET DES DR. CALIGARI, DAS (G, Robert Weine, 1920) ; CABINET OF DR. CALIGARI, THE (G, Robert Wiene, 1920)
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CABINET DES DR. CALIGARI, DAS ; FLESH AND THE DEVIL (US, Clarence Brown, 1926) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927) ; SCARFACE (US, Howard Hawks, 1932) ; GOLD DIGGERS OF 1933 (US, Mervyn LeRoy, 1933) ; BETE HUMAINE, LA (FR, Jean Renoir, 1938) ; BAMBI (US, David Hand, 1942) ; SPELLBOUND (US, Alfred Hitchcock, 1945) ; STRADA, LA (IT, Federico Fellini, 1954) ; SEARCHERS, THE (US, John Ford, 1956) ; INVASION OF THE BODY SNATCHERS (US, Don Siegel, 1956) ; PEEPING TOM (UK, Michael Powell, 1960) ; BANDE A PART (FR, Jean-Luc Godard, 1964) ; 2001: A SPACE ODYSSEY (US, Stanley Kubrick, 1968) ; CARRIE (US, Brian De Palma, 1976) ; AGUIRRE, DER ZORN GOTTES (GW, Werner Herzog, 1972) ; AGUIRRE, THE WRATH OF GOD (GW, Werner Herzog, 1972) ; ANNIE HALL (US, Woody Allen, 1977) ; E.T. THE EXTRA TERRESTRIAL (US, Steven Spielberg, 1982) ; TOP GUN (US, Tony Scott, 1986) ; WHEN HARRY MET SALLY. . . (US, Rob Reiner, 1989) ; BASIC INSTINCT (US, Paul Verhoeven, 1992) ; NATURAL BORN KILLERS (US, Oliver Stone, 1994) ; THREE COLOURS: RED (FR/SZ/PL, Krzysztof Kieslowski, 1993)
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TROIS COULEURS: ROUGE ; THREE COLOURS: RED (FR/SZ/PL, Krzysztof Kieslowski, 1993)
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TROIS COULEURS: ROUGE ; THREE COLOURS: WHITE (FR/SZ/PL, Krzysztof Kieslowski, 1993)
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TROIS COULEURS: BLANC ; TROIS COULEURS: BLANC (FR/SZ/PL, Krzysztof Kieslowski, 1993) ; TROIS COULEURS: BLEU (FR, Krzysztof Kieslowski, 1993) ; TROIS COULEURS: ROUGE (FR/SZ/PL, Krzysztof Kieslowski, 1994) ; ETERNAL SUNSHINE OF THE SPOTLESS MIND (US, Michael Gondry, 2004) ; AVATAR (US, James Cameron, 2009) ; UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (TH/UK/FR/G/SP/NE, Apichatpong Weerasethakul, 2010) Summary: Charting key films from the past hundred years, along with technological developments and historical landmarks, Francine Stock explores in compelling detail the nature of our relationship with film - from the first screenings of the Lumiere Brothers' short films, which saw audiences shrinking from oncoming trains, to the perception-altering 3-D Avatar. The twenties saw the birth of celebrity, still so influential even today. With the influence of Freud and the unconscious came film noir, anticipated by dark European classics like La Bete Humaine; Hollywood in the fifties turned ideological fears into lurid sci-fi and body-snatching horror; with the social change of the sixties came refracted ways of seeing, from Alfie to theStargate sequence in 2001: A Space Odyssey or a compelling seventies nightmares like Carrie. Moving towards our own century, Francine Stock considers how film reflects back on itself, bending time and technology to look to the future. More than a century on from those earliest awe-inspiring images, we are still in thrall to the power of film. In this fascinating, entertaining and illuminating book Francine Stock shows how film both reflects and remakes our world.ISBN: 9781845951993
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Introduction to documentary / Bill Nichols Bloomington IN: Indiana University Press, 2001.
Call No: 761 NICAuthor: Nichols, Bill Source: USPlace: Bloomington INPublisher: Indiana University PressPubDate: 2001PhysDes: 223 p. ; ill. ; 23 cmSubject: DOCUMENTARIES ; DOCUMENTARY FILMS ; EDITING ; ETHICS AND THE CINEMA ; FEMINISM AND THE CINEMA ; REALISM IN FILMS ; SOCIAL PROBLEMS IN FILMS ; VIDEO, FILMS ON ; VOICE OVER ; LAND WITHOUT BREAD (SP, Luis Bunuel, 1933) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; NIGHT AND FOG (FR, Alain Resnais, 1995) ; NUIT ET BROUILLARD (FR, Alain Resnais, 1955) ; THIN BLUE LINE, THE (US, Errol Morris, 1988) Summary: Introduction to Documentary provides an overview of the most important topics and issues in documentary history and criticism. Designed for students in any field that makes use of visiual evidence and persuasive strategies, this book spells out the distinguishing qualities of documentary. This book offers suggestive answers to basic issues that have stood at the centre of all debate on documentary from its very beginnings to today. It covers questions of ethics, form, modes, voice, history, and politics among others. A final chapter addresses the question of how to write about documentary in a clear, convincing manner.Notes: Includes Notes on source material pp.179-190; Filmography pp.191-201; List of Distributors pp.201-218; Index pp.219-223ISBN: 0253214696Contents: 1. Why are ethical issues central to documentary filmmaking -- 2. How do documentaries differ from other types of film -- 3. What gives documentary films a voice of their own? -- 4. What are documantaries about? -- 5. How did documentary filmmaking get started? -- 6. What types of documentary are there? -- 7. How have documentaries addressed social and political issues? -- 8. How can we write effectively about documentary?URL status: URL: 'http://-'
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Landmark films : the cinema and our century / [by] William Wolf with Lillian Kramer Wolf London: Paddington Press, 1979.
Call No: REFERENCE SECTION; 02 WOLAuthor: Wolf, William ; Wolf, Lillian Kramer Place: LondonPublisher: Paddington PressPubDate: 1979PhysDes: 429 p. : ill. ; 25 cmSubject: BIRTH OF A NATION, THE (US, David Wark Griffith, 1915) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925) ; GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927) ; JAZZ SINGER, THE (US, Alan Crosland, 1927) ; LITTLE CAESAR (US, Mervyn LeRoy, 1931) ; FRANKENSTEIN (US, James Whale, 1931) ; DUCK SOUP (US, Leo McCarey, 1933) ; IT HAPPENED ONE NIGHT (US, Frank Capra, 1934) ; THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935) ; MODERN TIMES (US, Charles Chaplin, 1936) ; GRANDE ILLUSION, LA (FR, Jean Renoir, 1937) ; STAGECOACH (US, John Ford, 1939) ; GONE WITH THE WIND (US, Victor Fleming, 1939) ; GRAPES OF WRATH, THE (US, John Ford, 1940) ; FANTASIA (US, Walt Disney, 1940) ; CITIZEN KANE (US, Orson Welles, 1941) ; ROMA CITTA APERTA (IT, Roberto Rossellini, 1945) ; RASHOMON (JA, Akira Kurosawa, 1950) ; SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952) ; CHAGRIN ET LA PITIE, LE (SZ/GW, Marcel Ophuls, 1971) ; PATHER PANCHALI (II, Satyajit Ray, 1955) ; ROOM AT THE TOP (UK, Jack Clayton, 1959) ; A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959) ; BREATHLESS (FR, Jean-Luc Godard, 1959) ; 8 1/2 (IT/FR, Federico Fellini, 1963) ; DR STRANGELOVE (UK, Stanley Kubrick, 1964) ; ULYSSES (UK/US, Joseph Strick, 1967) ; BONNIE AND CLYDE (US, Arthur Penn, 1967) ; 2001: A SPACE ODYSSEY (US, Stanley Kubrick, 1968) ; Z (FR/AE, Constantin Costa-Gavras, 1969) ; EASY RIDER (US, Dennis Hopper, 1969) ; SWEET SWEETBACK'S BAADASSSSS SONG (US, Melvin Van Peebles, 1971) ; DEEP THROAT (US, Jerry Gerard, 1972) ; HEAVY TRAFFIC (US, Ralph Bakshi, 1973) ; SLEEPER (US, Woody Allen, 1973) ; NASHVILLE (US, Robert Altman, 1975) ; PASQUALINO SETTEBELLEZZE (IT, Lina Wertmuller, 1976) ; SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957) Notes: incl. indexISBN: 0709208758LON: vtb00270168; 10429365
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Movies of the twenties : and early cinema / Jurgen Muller (ed) Koln: Taschen GMBH, 2007.
Call No: 70"192" MULAuthor: Muller, Jurgen Edition: 2007Place: KolnPublisher: Taschen GMBHPubDate: 2007PhysDes: 482 pgaes : illustrated ; 26 cmSubject: HISTORY OF CINEMA. 1920's ; HISTORY OF CINEMA. SILENT PERIOD ; TRIP TO THE MOON [VOYAGE DANS LA LUNE] (FR, George Melies, 1902) ; GREAT TRAIN ROBBERY, THE (US, Edwin S. Porter, 1903) ; STUDENT VON PRAG, DER (G, Stellan Rye, 1913) ; CABIRIA (IT, Giovanni Pastrone, 1914) ; BIRTH OF A NATION, THE (US, David Wark Griffith, 1915) ; INTOLERANCE (US, David Wark Griffith, 1916) ; MADAME DUBARRY (G, Ernst Lubitsch, 1919) ; CABINET DES DR. CALIGARI, DAS (G, Robert Wiene, 1920) ; EROTIKON (SW, Mauritz Stiller, 1920) ; GOLEM, WIE ER IN DIE WILT KAM, DER (G, Paul Wegener & Carl Bose, 1920) ; KID, THE (US, Charles Chaplin, 1921) ; FOOLISH WIVES (US, Erich Von Stroheim, 1922) ; FOUR HORSEMEN OF THE APOCALYPSE, THE (US, Rex Ingram, 1921) ; THREE MUSKETEERS, THE (US, Fred Niblo, 1921) ; ABENTEUER DES PRINZEN ACHMED, DIE (GE/GG, Carl Koch & Lotte Reiniger, 1925) ; TOL'ABLE DAVID (US, Henry King, 1921) ; NOSFERATU - EINE SYMPHONIE DES GRAUENS (G, Friedrich Wilhelm Murnau, 1922) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; HAXAN [WITCHCRAFT THROUGH THE AGES] (SW/DK, Benjamin Christensen, 1922) ; [DOKTOR] DR. MABUSE DER SPIELER (G, Fritz Lang, 1922) ; SAFETY LAST (US, Fred Newmayer/Sam Taylor, 1923) ; HUNCHBACK OF NOTRE DAME (US, Wallace Worsley, 1923) ; TEN COMMANDMENTS, THE (US, Cecil B. DeMille, 1923) ; WACHSFIGURENKABINETT, DAS (G, Paul Leni, 1924) ; THIEF OF BAGDAD (US, Raoul Walsh, 1924) ; SHERLOCK, JR. (US, Buster Keaton, 1924) ; NIBELUNGEN, DIE (G, Fritz Lang, 1922-24) ; LETZIE MANN, DER (G, Friedrich Wilhelm Murnau, 1924) ; NAVIGATOR, THE (US, Buster Keaton & Donald Crisp, 1924) ; GREED (US, Erich von Stroheim, 1925) ; IRON HORSE, THE (UK, John Ford, 1924) ; GOLD RUSH, THE (US, Charles Chaplin, 1925) ; BEN HUR (US, Fred Niblo, 1925) ; BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925) ; VARIETE (G, E.A. Dupont, 1925) ; BIG PARADE, THE (US, King Vidor, 1925) ; FREUDLOSE GASSE, DIE (G, Wilhelm Pabst, 1925) ; PHANTOM OF THE OPERA, THE (US, Rupert Julian, 1925) ; SON OF THE SHEIK, THE (US, George Fitzmaurice, 1926) ; LODGER, THE (UK, Alfred Hitchcock, 1926) ; GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927) ; BLACK PIRATE, THE (US, Albert Parker, 1926) ; FAUST (G, Friedrich Wilhelm Marnau, 1926) ; ABENTEUER DES PRINZEN ACHMED, DIE (GE/GG, Carl Koch & Lotte Reiniger, 1925) ; METROPOLIS (G, Fritz Lang, 1926) ; KONETS SANKT-PETERSBURGA (UR, Vsevolod Pudovkin, 1927) ; BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927) ; NAPOLEON (FR, Abel Gance, 1927) ; CHAPEAU DE PAILLE D'ITALIE, UN (FR, Rene Clair, 1927) ; SUNRISE (US, Friedrich Wilhelm Murnau, 1927) ; JAZZ SINGER, THE (US, Alan Crosland, 1927) ; PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928) ; CROWD, THE (US, King Vidor, 1928) ; WIND, THE (US, Victor Sjostrom, 1928) ; CIRCUS, THE (US, Charles Chaplin, 1928) ; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929) ; BLACKMAIL (UK, Alfred Hitchcock, 1929) ; BUCHSE DER PANDORA, DIE (G, Georg Wilhelm Pabst, 1929) ; CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928) ; LITTLE CAESAR (US, Mervyn LeRoy, 1931) ; BLAUE ENGEL, DER (G, Josef von Sternberg, 1930) ; ALL QUIET ON THE WESTERN FRONT (US, Lewis Milestone, 1930) ; SOUS LES TOITS DE PARIS (FR, Rene Clair, 1929) ; MOROCCO (US, Josef von Sternberg, 1930) ; WESTFRONT 1918 (G, Georg Wilhelm Pabst, 1930) ; AGE D'OR, L' (FR, Luis Bunuel, 1930) Notes: From the invention of the moving picture to the first sound movies From the first moving pictures (the Lumiere brothers' 1895 L'arrive d'un train), early westerns, fantastic pictures, and nickelodeons all the way through the golden age of silent film in the 1920s, this book covers the first three decades of the moving picture around the world. In America, we witness the birth of Hollywood, circa 1910, where film quickly became a powerful industry and D. W. Griffith put American cinema on the map; later, Charlie Chaplin and Buster Keaton developed a new language of visual comedy while eccentrics like Erich von Stroheim and Cecil B. DeMille turned cinema into a high art form and show biz respectively, and sex symbols like Rudolph Valentino and Greta Garbo heated up the screens.
Meanwhile, in Europe, German directors such as Ernst Lubitsch and Fritz Lang were establishing their careers and Russian greats Eisenstein and Pudovkin were already revolutionizing a nascent art form. At the end of the 1920s the very first "talkies", albeit rudimentary ones, brutally crushed the silent art, but by 1930 sound masterpieces such as Sternberg's The Blue Angel and Milestone's All Quiet on the Western Front were produced. This exploration of the founding years of cinema offers a fascinating perspective on a period in movie history that is far too often overlooked in our times. -- jacket blurbISBN: 9783822846131Donation: Megan McMurchy
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journal article
Nanook and his contemporaries : Imagining Eskimos in American culture, 1897-1992 in Critical inquiry (Autumn 2000) vol.27 iss.1 p.122-148
Call No: TITLE CLIPPINGS FILE; NANOOK OF THE NORTH (US, Robert Flaherty, 1922)Author: Huhndorf, Shari M. PhysDes: ArticleSubject: RACE AND THE CINEMA ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) Summary: Huhndorf recounts the experiences of six Polar Eskimoes who came to New York City in 1897. The public enthusiasm to the exotic culture had to do with a romantic vision of pre-industrial societies as a lost childhood.
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title clippings file
NANOOK OF THE NORTH : (US/FR, Robert J. Flaherty, 1922)
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book
The politics of documentary / Michael Chanan London: British Film Institute, 2007.
Call No: 761 CHAAuthor: Chanan, Michael Source: UKPlace: LondonPublisher: British Film InstitutePubDate: 2007PhysDes: viii, 280 p. : ill., ports. ; 24 cmSubject: 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. " - BLURBNotes: Includes bibliographical references and indexISBN: 9781844572267Contents: 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
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Old collection
book
Theory of film : the redemption of physical reality / Siegfried Kracauer New York: Oxford University Press, 1965.
Call No: 62 KRAAuthor: Kracauer, Siegfried Place: New YorkPublisher: Oxford University PressPubDate: 1965PhysDes: xix, 364 p. ill., 20 cm.Subject: ACTORS ; ADAPTATIONS ; EXPERIMENTAL FILMS ; THEORY ; AGEE, JAMES ; ALEXANDROV, GROGORIJ ; ANGER, KENNETH ; ANSTEY, EDGAR ; ARNHEIM, RUDOLF ; ASTAIRE, FRED ; BALAZS, BELA ; BENJAMIN, WALTER ; BERGMAN, INGMAR ; BOGART, HUMPHREY ; BRAKHAGE, STAN ; BRANDO, MARLON ; BUNUEL, LUIS ; CAGNEY, JAMES ; CAPRA, FRANK ; CASTELLANI, RENATO ; CAVALCANTI, ALBERTO ; CHANEY, LON ; CHAPLIN, CHARLES ; CLAIR, RENE ; CLEMENT, RENE ; CLOUZOT, HENRI-GEORGES ; COCTEAU, JEAN ; DALI, SALVADOR ; DE FILIPPO, EDUARDO ; DEMILLE, CECIL B. ; DE SICA, VITTORIO ; DISNEY, WALT ; DOVZENKO, ALEKSANDR ; DREYER, CARL TH. ; DUCHAMP, MARCEL ; DUVIVIER, JULIEN ; ELTON, ARTHUR ; ENGEL, MORRIS ; EPSTEIN, JEAN ; FELLINI, FEDERICO ; FEUILLADE, LOUIS ; FEYDER, JACQUES ; FISCHINGER, OSKAR ; FLAHERTY, ROBERT ; FORD, JOHN ; FRANJU, GEORGES ; FREUD, SIGMUND ; GANCE, ABEL ; GARNETT, GALE ; GIDE, ANDRE ; GREENE, GRAHAM ; GRIERSON, JOHN ; GRIFFITH, DAVID WARK ; GRIFFITHS, RICHARD ; GUITRY, SACHA ; HARRINGTON, CURTIS ; HILL, DAVID ; HITCHCOCK, ALFRED ; WACHSFIGURENKABINETT, DAS (G, Paul Leni, 1924) ; SMULTRONSTALLET (SW, Ingmar Bergman, 1957) ; VITELLONI, I (IT, Federico Fellini, 1953) ; VAMPYR : DER TRAUM DES ALLEN GRAY (G/FR, Carl Th. Dreyer, 1932) ; VARIETE (G, E.A. Dupont, 1925) ; VALLEY TOWN - A STUDY OF MACHINES AND MEN (US, Willard Van Dyke, 1940) ; UMBERTO D. (IT, Vittorio De Sica, 1952) ; TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935) ; THIRD MAN, THE (UK, Carol Reed, 1949) ; OKTIABR (UR, Sergei M. Eisenstein, 1928) ; TEN COMMANDMENTS, THE (US, Cecil B. DeMille, 1956) ; SYMPHONIE PASTORALE, LA (FR, Jean Delannoy, 1946) ; SWING TIME (US, George Stevens, 1936) ; STRADA, LA (IT, Federico Fellini, 1954) ; ROMAN D'UN TRICHEUR, LE (FR, Sacha Guitry, 1936) ; MATTER OF LIFE AND DEATH, A (UK, Michael Powell & Emeric Pressburger, 1946) ; SPIONE (G, Fritz Lang, 1928) ; SPELLBOUND (US, Alfred Hitchcock, 1945) ; SOUS LES TOITS DE PARIS (FR, Rene Clair, 1930) ; SNOW WHITE AND THE SEVEN DWARFS (US, David Hand, 1937) ; SMILING LIEUTENANT, THE (US, Ernst Lubitsch, 1931) ; SHANE (US, George Stevens, 1953) ; SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957) ; GEHEIMNISSE EINER SEELE (G, Georg Wilhelm Pabst, 1926) ; SCARFACE (US, Howard Hawks, 1932) ; SANG DES BETES, LE (FR, Georges Franju,1949) ; SAN FRANCISCO (US, W.S. Van Dyke, 1936) ; ROUE, LA (FR, Abel Gance, 1922) ; ROMEO I DZULETTA (UR, Lev Arnstam & Leonid Lavrovskij, 1954) ; RICHARD III (UK, Laurence Olivier, 1955) ; REGLE DU JEU, LA (FR, Jean Renoir, 1939) ; RED SHOES, THE (UK, Michael Powell & Emeric Pressburger, 1948) ; RASHOMON (JA, Akira Kurosawa, 1950) ; REGEN (NE, Joris Ivens, 1929) ; PYGMALION (UK, Anthony Asquith & Leslie Howard, 1938) ; PLACE IN THE SUN, A (US, George Stevens, 1951) ; PATHER PANCHALI (II, Satyajit Ray, 1955) ; PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928) ; PARIS 1900 (FR, Nicole Vedres, 1948) ; PARADINE CASE, THE (US, Alfred Hitchcock, 1947) ; OTELLO (UR, Sergej Jutkevic, 1956) ; ON THE WATERFRONT (US, Elia Kazan, 1954) ; OLVIDADOS, LOS (MX, Luis Bunuel, 1951) ; OF MEN AND MUSIC (US, Irving Reis, 1950) ; NOSFERATU - EINE SYMPHONIE DES GRAUENS (G, Friedrich Wilhelm Murnau, 1922) ; NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936) ; NIGHT AT THE OPERA, A (US, Sam Wood, 1935) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; MOULIN ROUGE (UK, E.A. Dupont, 1928) ; MONSIEUR VERDOUX (US, Charles Chaplin, 1947) ; MODERN TIMES (US, Charles Chaplin, 1936) ; MOBY DICK (UK, John Huston, 1956) ; MOANA (US, Robert Flaherty, 1926) ; MILLION, LE (FR, Rene Clair, 1931) ; METROPOLIS (GG, Fritz Lang, 1927) ; MESHES OF THE AFTERNOON (US, Maya Deren & Alexander Hammid, 1943) ; MENSCHEN AM SONNTAG (G, Robert Siodmak & Edgar G. Ulmer, 1929) ; MARTY (US, Delbert Mann, 1954) ; MAN WHO KNEW TOO MUCH, THE (UK, Alfred Hitchcock, 1936) ; MAJOR BARBARA (UK, Gabriel Pascal, 1941) ; MADAME BOVARY (FR, Claude Chabrol, 1991) ; MACBETH (US, Orson Welles, 1948) ; M (G, Fritz Lang, 1931) ; LOVE PARADE, THE (US, Ernst Lubitsch, 1929) ; LIMELIGHT (US, Charles Chaplin, 1952) ; LIFEBOAT (US, Alfred Hitchcock, 1944) ; OSTATNI ETAP (PL, Wanda Jakubowska, 1948) ; LADY IN THE LAKE (US, Robert Montgomery, 1946) ; KID, THE (US, Charles Chaplin, 1921) ; JULIUS CAESAR (US, Joseph L. Mankiewicz, 1953) ; JAZZ SINGER, THE (US, Alan Crosland, 1927) ; IVAN GROZNY [IVAN THE TERRIBLE] (UR, Sergei Eisenstein, pt.1:1945, pt.2:1958[prod.1946]) ; IT'S A WONDERFUL LIFE (US, Frank Capra, 1946) ; INVISIBLE MAN, THE (US, James Whale, 1933) ; INTOLERANCE (US, David Wark Griffith, 1916) ; HUMAN DESIRE (US, Fritz Lang, 1954) ; HOUSING PROBLEMS (UK, Edgar Anstey & Arthur Elton, 1935) ; HOTEL DES INVALIDES (FR, Georges Franju, 1952) ; HIGH NOON (US, Fred Zinnemann, 1952) ; HENRY V (UK, Laurence Olivier, 1944) ; HEIRESS, THE (US, William Wyler, 1949) ; HATFUL OF RAIN, A (US, Fred Zinnemann, 1957) ; HAMLET (UK, Laurence Olivier, 1948) ; HALLELUJAH! (US, King Vidor, 1929) ; GREED (US, Erich von Stroheim, 1925) ; GREAT EXPECTATIONS (UK, David Lean, 1946) ; GRAPES OF WRATH, THE (US, John Ford, 1940) ; GRANDE ILLUSION, LA (FR, Jean Renoir, 1937) ; GOLD RUSH, THE (US, Charles Chaplin, 1925) ; ORO DI NAPOLI, L' (IT, Vittorio De Sica, 1954) ; GOLD OF NAPLES (IT, Vittorio De Sica, 1954) ; GLASS MENAGERIE, THE (US, Irving Rapper, 1950) ; VORMITTAGSSPUK (G, Hans Richter, 1928) ; GHOST GOES WEST, THE (UK, Rene Clair, 1935) ; GHOST AND MRS. MUIR, THE (US, Joseph L. Mankiewicz, 1947) ; GERVAISE (FR, Rene Clement, 1956) ; JIGOKUMON (JA, Teinosuke kinugasa, 1953) ; FURY (US, Fritz Lang, 1936) ; FOUR HORSEMEN OF THE APOCALYPSE, THE (US, Vincente Minnelli, 1962) ; FARREBIQUE (FR, Georges Rouquier, 1945) ; FANTASIA (US, Walt Disney, 1940) ; ZEMLJA (UR, Alexksandr Dovzenko, 1930) ; JOURNAL D'UN CURE DE CAMPAGNE (FR, Robert Bresson, 1951) ; DESTRY RIDES AGAIN (US, George Marshall, 1939) ; MUDE TOD, DER (G, Fritz Lang, 1921) ; DEATH OF A SALESMAN (US, Laslo Benedek, 1951) ; DEAD OF NIGHT (UK, Alberto Cavalcanti & Charles Crichton & Basil Dearden & Robert Hamer, 1945) ; CONDAMNE A MORT S`EST ECHAPPE, UN (FR, Robert Bresson, 1956) ; CITY LIGHTS (US, Charles Chaplin, 1931) ; CITIZEN KANE (US, Orson Welles, 1941) ; CINDERELLA (US, Wilfred Jackson & Hamilton Laske & Clyde Geronomi, 1950) ; CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928) ; BROKEN BLOSSOMS (US, David Wark Griffith, 1919) ; BROADWAY MELODY OF 1938 (US, Norman Taurog, 1940) ; BRIEF ENCOUNTER (UK, David Lean, 1945) ; BOOMERANG (US, Elia Kazan, 1947) ; SANG D'UN POETE, LE (FR, Jean Cocteau, 1932) ; BLACKMAIL (UK, Alfred Hitchcock, 1929) ; BIRTH OF A NATION, THE (US, David Wark Griffith, 1915) ; LADRI DI BICICLETTE (IT, Vittorio De Sica, 1949) ; BEZZERIDES, A.I. ; BEN HUR (US, Fred Niblo, 1925) ; BAMBI (US, David Hand, 1942) ; BALLET MECANIQUE, LE (FR, Fernand Leger, 1924) ; BACK STREET (US, John M. Stahl, 1932) ; ATALANTE, L' (FR, Jean Vigo, 1934) ; A PROPOS DE NICE (FR, Jean Vigo, 1930) ; APARAJITO (II, Satyajit Ray, 1957) ; ANNA CHRISTIE (US, Clarence Brown, 1930) ; ANATOMY OF A MURDER (US, Otto Preminger, 1959) ; AMERICAN TRAGEDY, AN (Josef von Sternberg, 1931) ; ALEKSANDR NEVSKI (UR, Sergei M. Eisenstein, 1938) ; BROADWAY MELODY, THE (US, Harry Beaumont, 1929) ; LETZIE MANN, DER (G, Friedrich Wilhelm Murnau, 1924) Notes: Frist published 1960; Previously published as: Nature of films. England : Dobson ;1965; Includes bilbiograpy: p. 351-364; Includes indexURL status: URL: 'http://-'
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Old collection
book
The vision of Robert Flaherty : the artist as myth and filmmaker / Richard Barsam Bloomington: Indiana University Press, c1988.
Call No: 81FLA BARAuthor: Barsam, Richard Source: USPlace: BloomingtonPublisher: Indiana University PressPubDate: c1988PhysDes: xii, 144 p. : ill. ; 25 cmSubject: FLAHERTY, ROBERT ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; MOANA (US, Robert Flaherty, 1926) ; MAN OF ARAN (UK, Robert Flaherty, 1934) ; ELEPHANT BOY (UK, Robert Flaherty & Zoltan Korda, 1937) ; LAND, THE (US, Robert Flaherty, 1942) Notes: Bibliography: p. [136]-140.
Includes index.ISBN: 0253204607Language: English
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