Montage (March 1970) p.5-8 More info
The film director as superstar
London: Secker and Warburg, 1971.
Call No: 802.25 GEL Author: Gelmis, Joseph, 1935 Place: London Publisher: Secker and Warburg PubDate: 1971 PhysDes: xx, 316 p., 12 plates; illus., ports. 22 cm Subject: MCBRIDE, JIM; DE PALMA, BRIAN; DOWNEY, ROBERT; MAILER, NORMAN; WARHOL, ANDY; CASSAVETES, JOHN; ANDERSON, LINDSAY; BERTOLUCCI, BERNARDO; FORMAN, MILOS; POLANSKI, ROMAN; CORMAN, ROGER; COPPOLA, FRANCIS FORD; PENN, ARTHUR; LESTER, RICHARD; NICHOLS, MIKE; KUBRICK, STANLEY ISBN: 0436173700 LON: 210670 210670 More info
personality clippings file
Call No: PERSONALITY MICROFILM COLLECTION; PERSONALITY CLIPPINGS FILE PhysDes: Clippings Subject: NICHOLS, MIKE More info
Remapping cinema, remaking history : XIVth Biennial Conference of the Film and History Association of Australia and New Zealand: Refereed Abstracts / edited by Catherine Fowler and Rochelle Simmons
Dunedin, NZ: University of Otago - Department of Media, Film & Communication, 2008.
Call No: 45:93HIS Author: Film and History Associationof Australia and New Zealand Conference (14th : 2008 : Dunedin, NZ) Source: NZ Place: Dunedin, NZ Publisher: University of Otago - Department of Media, Film & Communication PubDate: 2008 PhysDes: v, 223 p. ; 21 cm Subject: CONFERENCES. AUSTRALIA. FILM AND HISTORY; HOLLYWOOD MEMORY IN FILMS; MOTION PICTURES EUROPEAN; MOTION PICTURES - HISTORY; NEW ZEALAND; ASHBY, HAL; SCHLESINGER, JOHN; HALL, CONRAD; COPPOLA, FRANCIS FORD; NICHOLS, MIKE; CIMINO, MICHAEL; ALTMAN, ROBERT; KUBRICK, STANLEY; HILL, WALTER; SPIELBERG, STEVEN; KAURISMAKI, AKI; MILLER, GEORGE; FRENCH CONNECTION, THE (US, William Friedkin, 1971); ONE FROM THE HEART (US, Francis Ford Coppola, 1982); DAY OF THE LOCUST, THE (US, John Schlesinger, 1975); WITCHES OF EASTWICK, THE (US, George Miller, 1987); GODFATHER [...], THE (US, Francis Ford Coppola, 1972-); GRADUATE, THE (US, Mike Nichols, 1967); STREETS OF FIRE (US, Walter Hill, 1984); LONG GOODBYE, THE (US, Robert Altman, 1973); MCCABE AND MRS MILLER (US, Robert Altman, 1971); SHINING, THE (UK, Stanley Kubrick, 1980); SUGARLAND EXPRESS, THE (US, Steven Spielberg, 1974); KENNY (AT, Clayton Jacobson, 2006); SYLVIA (NZ, Michael Firth, 1985); RED ROAD (UK/DK, Andrea Arnold, 2006); THIS IS ENGLAND (UK, Shane Meadows, 2006); STALINGRAD (GG, Joseph Vilsmaier, 1992); BAND OF BROTHERS (US, David Frannel & Tom Hanks & David Leland & Richard Loncraine & David Nutter & Phil Alden Robinson & Mikael Salomon & Tony To, 2001) Summary: The film and history conference is held every two years and is an opportunity for international scholars, archivists and filmmakers to present their thoughts on recent debates and events in the fields of film history, history and film, national and transnational cinemas, film theory, film practice, and the importance of cinema to specific communities Notes: "27-30 November 2008"- cover includes bibliographical reference and index ISBN: 9780473138899; 9780473148867 Contents: v.1 refereed abstracts/ edited by Catherine Fowler and Rochelle Simmons- v. 2 select refereed papers/ edited by Hilary Radner and Pam fosser; Part 1: Re-thinking Film History. 1. What's new about New Cinema History/ Kate Bowles and Richard Maltby--Part 2: Memory and History 2. Fixing visual memories and history: film and the Chinese Cultural Revolution/ Paul Clark-- 3. Folding History back on itself / Dirk de Bruyn -- 4. Testimony and Memory : rewriteable video memoirs / Stephen Goddard -- Part 3: Australia and New Zealand. 5. this land speaks for " Us" : the price of milk and the articulation of New Zealand's "Difficult" history/ Scott Wilson -- the location of referents: double time, atemporality and colonial heritage cinema/ Olivia Macassey -- Part 4: European Narratives. 7. Still in the shadows : reconsidering history through intertextual references in Aki Kaurismaki's European films/ Sanna Peden-- 8. Imaging/imagining a history of violence: Red Road and This is England/ Steven Allen--9. " I am not a Nazi": The past as present in portrayals of wartime German forces in Stalingrad and Band of Brothers/ Stephanie Cousineau--10. Neoliberalism and the fate of the collective in recent German cinema/ Simon Ryan-- Part 5: Music and Historical Representation-- 11. The representation of Rapanui 9 Easter Island) in feature film/ Dan Bendrups-- 12. Beating the East german blues: musical representations of freedom in Leander Haussmann's Sonnenallee and Michael Schorr's Schultze gets the Blues/ Andrew Wright Hurley--Part 6 : Historical Fictions? Documentary, Mockumentary and the Biopic--13. Getting the story crooked: Errol Morris and Narrativist Historiography/ Pam Fossen -- Kenny and Australian cinema in the Howard era/ Lisa Milner -- 15. The life of Lady Lazarus? An analysis of the film Sylvia as historical document/Bronwyn Polaschek-- Part 7: Considering Hollywood -- 16. Battling Hollywood: The 1930 Trade War between the New Zealand government and Hollywood/ David Newman -- 17. Reality and pictoriality : Hollywood style from the 1970s to the 1980s/ Paul Ramaeker More info
Who killed Hollywood? : - and put the tarnish on tinseltown / Peter Bart
Los Angeles, CA: Renaissance Books, c1999.
Call No: 210.31(73) BAR Author: Bart, Peter Edition: 1st ed Source: US Place: Los Angeles, CA Publisher: Renaissance Books PubDate: c1999 PhysDes: 399 p. ; 24 cm Subject: HOLLYWOOD; INDUSTRY, FILM. USA; DIRECTORS. USA; PRODUCERS. USA; SCRIPTWRITERS. USA; ACTORS; BASS, RON; BEATTY, WARREN; COPPOLA, FRANCIS FORD; COSTNER, KEVIN; EISNER, MICHAEL; Gibson, Mel; GODFATHER [...], THE (US, Francis Ford Coppola, 1972-); KATZENBERG, JEFFREY; NICHOLS, MIKE; NICHOLSON, JACK; OVITZ, MIKE; POLANSKI, ROMAN; REDFORD, ROBERT; RIFKIN, ARNOLD; SCHWARZENEGGER, ARNOLD; SPIELBERG, STEVEN; STALLONE, SYLVESTER; WILDER, BILLY Summary: "Who killed hollywood? is a passionate love/hate letter to the film industry. In it, Peter Bart pulls together his best columns from Variety and GQ. He groups them, juxtaposes them, and interprets them, outlining in detail the history and inner workings of Hollywood. This could only be done by someone powerful enough to phone any star or head of studio and have his calls taken on the first ring. In story after story, Bart shows how the major studios haver diverted thie energies away from production of the shrewdly crafted pictures that once made the industry powerful. There isn't, for example, much range or innovation in the movies of salable objects- natural disasters, aliens, dinosaurs, ghosts, monsters, or any combination thereof. All are subjects easily parlayed into theme-park environments, action figures, video games, and clothing lines. Similarly, since Jaws twenty years ago, there's been a very short list of acceptable settings. The 1998 Academy Award nominations for best picture all went to films set in Elizabethian times or during World War II. A few years ago it looked as though Pulp Fiction and other independent films were going to save showbiz. Now independent producers like Miramax and New Line have been acquired by the conglomerates. Who and what will resurrect Hollywood? Peter Bart has the answers." - BOOK JACKET Notes: Includes index ISBN: 1580631169 LON: 21362029 More info