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Call No: 71(93) CIN
Source: UK
Place: London
Publisher: Wallflower
PubDate: 2007
PhysDes: xiii, 259 p. : ill. ; 24 cm.
Series: 24 Frames
Subject: AUSTRALIA; NEW ZEALAND; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. NEW ZEALAND; STORY OF THE KELLY GANG, THE (AT, Charles Tait, 1906); WOMAN SUFFERS, THE (AT, Raymond Longford, 1918); DAD AND DAVE COME TO TOWN (AT, Ken G. Hall, 1938); PHANTOM STOCKMAN, THE (AT, Lee Robinson, 1953); BACK OF BEYOND, THE (AT, John Heyer, 1954); JEDDA (AT, Charles Chauvel, 1955); FREE RADICALS (NZ, Len Lye, 1958); RUNAWAY (NZ, John O'Shea, 1964); THEY'RE A WEIRD MOB (AT, Michael Powell, 1966); ONE NIGHT THE MOON (AT, Rachel Perkins, 2001); SLEEPING DOGS (NZ, Roger Donaldson, 1977); VIGIL (NZ, Vincent Ward, 1984); IN THIS LIFE'S BODY (AT, Corinne Cantrill, 1984); PIANO, THE (AT, Jane Campion, 1993); YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994); OSCAR AND LUCINDA (AT, Gillian Armstrong, 1997); AFTER MABO (AT, Richard Frankland, 1997); CHOPPER (AT, Andrew Dominik, 2000); GODDESS OF 1967, THE (AT, Clara Law, 2000); MOULIN ROUGE (AT/US, Baz Luhrmann, 2001); LORD OF THE RINGS: FELLOWSHIP OF THE RING, THE (US, Peter Jackson, 2001); TWO LAWS (AT, Alessandro Cavadini & Carolyn Strachan, 1981); RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001)
Summary: A collection of essays celebrating the commercially successful narrative feature films from Australia and New Zealand, including key documentaries, shorts and independent films. This coverage also invokes issues of national identity, race, history and the ability of two small film cultures to survive the economic and cultural threat from Hollywood.
Notes: Includes filmography. Includes bibliography and index.
ISBN: 9781904764960

Call No: 81ARM COL
Author: Collins, Felicity
CorpAuthor: Australian Teachers of Media
Place: St Kilda, Vic.
Publisher: ATOM
PubDate: 1999
PhysDes: 98 p. : ill. ; 22 cm
Series: Moving image ; no. 6
Subject: ARMSTRONG, GILLIAN; MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979); LITTLE WOMEN (US, Gillian Armstrong, 1994); MRS. SOFFEL (US, Gillian Armstrong, 1984); HIGH TIDE (AT, Gillian Armstrong, 1987); LAST DAYS OF CHEZ NOUS, THE (AT, Gillian Armstrong, 1992); NOT FOURTEEN AGAIN (AT, Gillian Armstrong, 1996); OSCAR AND LUCINDA (AT, Gillian Armstrong, 1997); STARSTRUCK (AT, Gillian Armstrong, 1982)
Notes: Includes bibliographical references (p. 95-98)
ISBN: 1876467037
LON: 20015377

Call No: 81 ARM ERH
Author: Erhart, Julia
Source: UK
Place: Edinburgh
Publisher: Edinburgh University Press
PubDate: 2020
PhysDes: x, 189 pages : illustrations ; 22 cm
Series: Visionaries
Subject: FEMINISM AND THE CINEMA. AUSTRALIA; AUSTRALIAN FILM AND TELEVISION SCHOOL; WOMEN FILMMAKERS. AUSTRALIA; ARMSTRONG, GILLIAN; SATDEE NIGHT (AT, Gillian Armstrong, 1973); GRETEL (AT, Gillian Armstrong, 1973); MRS. SOFFEL (US, Gillian Armstrong, 1984); LITTLE WOMEN (US, Gillian Armstrong, 1994); CHARLOTTE GRAY (G/UK/AT, Gillian Armstrong, 2001); DEATH DEFYING ACTS (UK/AT, Gillian Armstrong, 2007); FIRES WITHIN (US, Gillian Armstrong, 1991); MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979); OSCAR AND LUCINDA (AT, Gillian Armstrong, 1997); STARSTRUCK (AT, Gillian Armstrong, 1982); THE LAST DAYS OF CHEZ NOUS (AT, Gillian Armstrong, 1992); UNFOLDING FLORENCE: THE MANY LIVES OF FLORENCE BROADHURST (AT, Gillian Armstrong, 2005); WOMEN HE'S UNDRESSED (AT, Gillian Armstrong, 2015); HIGH TIDE (AT, Gillian Armstrong, 1987); [FOURTEEN]14'S GOOD, 18'S BETTER (AT, Gillian Armstrong, 1981)
Summary: A commercially successful Australian director of over eighteen feature films and documentaries, including My Brilliant Career (1979), Gillian Armstrong is an early, notable example of a woman director connecting with mass audiences. Armstrong’s films are unique in their aesthetic expression and in the ethical relationships that they depict, framed through the language of gender inclusivity and due in part to her foregrounding of original, complex and nuanced female characters. This important book fills a gap in the literature on women screen practitioners and is a long overdue response to demands for new insight into the work of this significant director. [Edinburgh University Press website]
Notes: Includes bibliographical references and index
ISBN: 9781474434324
Contents: -- Introduction -- 1. An authorial cinema -- 2. A popular, commercial cinema: Mrs. Soffel, Little Women, Charlotte Gray, Death Defying Acts -- 3. An Australian genre cinema: My Brilliant Career, Oscar and Lucinda, Starstruck -- 4. A sensual cinema: Last Days of Chez Nous, Unfolding Florence: The Many Lives of Florence Broadhurst, Women He’s Undressed -- 5. An ethical cinema: High Tide and The Story of Kerry, Josie and Diana -- Conclusion: A collaborative cinema

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Clippings; Stills
Subject: OSCAR AND LUCINDA (AT, Gillian Armstrong, 1997)

Call No: TITLE STILLS AUSTRALIA
Source: AT
Publisher: Mike Lyon Photography Pty Ltd
PhysDes: 28 photographs : b&w ; 17 x 22 cm - 21 x 26 cm
Subject: BLANCHETT, CATE; FIENNES, RALPH; ARMSTRONG, GILLIAN; OSCAR AND LUCINDA (AT, Gillian Armstrong, 1997)
Summary: Twenty-eight black and white photographs from the film 'Oscar and Lucinda'
Notes: Contains some duplicates

Call No: 721.02 (94) CHA
Author: Chapman, Jan
Edition: 1st ed.
Source: Australia
Place: Australia
Publisher: Screen sound Australia
PubDate: 2002
PhysDes: 1 v ; 20.5 cm, b&w ill.
Series: Longford Lyell lecture 2002, ScreenSound Australia Monograph no.3
Subject: WOMEN AND THE CINEMA. AUSTRALIA; WOMEN FILM WORKERS. AUSTRALIA; WOMEN FILMMAKERS. AUSTRALIA; WOMEN IN FILMS; WOMEN ON TV. AUSTRALIA; WOMEN, FILMS FOR; WOMEN, FILMS MADE BY; FEMINISM AND THE CINEMA; FEMINISM AND TV; CHAPMAN, JAN; ARMSTRONG, GILLIAN; CAMPION, JANE; LYELL, LOTTIE; BARRETT, SHIRLEY; MILLIKEN, SUE; Lovell, Patricia; ROBB, JILL; SCOTT, JANE; LONG, JOAN; FINK, MARGARET; DAVIS, JUDY; LEVY, SANDRA; GRIFFITHS, RACHEL; BLANCHETT, CATE; KIDMAN, NICOLE; COLLETTE, TONI; SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919); WOMAN SUFFERS, THE (AT, Raymond Longford, 1918); ON OUR SELECTION (AT, Raymond Longford, 1920); SHOWTIME (AT, Jan Chapman, 1978); SWEET AND SOUR [TV] (AT, 1984); SINGER AND THE DANCER, THE (AT, Gillian Amrstrong, 1977); SMOKES AND LOLLIES (AT, Gillian Armstrong, 1976); BINGO BRIDESMAIDS AND BRACES (AT, Gillian Armstrong, 1988); MORE SMOKES, LESS LOLLIES (AT, Gillian Armstrong, 1981); MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979); ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990); PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996); WELL, THE (AT, Samantha Lang, 1997); LAST DAYS OF CHEZ NOUS, THE (AT, Gillian Armstrong, 1992); TWO FRIENDS [TV] (AT, Jane Campion, 1986); LITTLE WOMEN (US, Gillian Armstrong, 1994); OSCAR AND LUCINDA (AT, Gillian Armstrong, 1997); CHARLOTTE GRAY (G/UK/AT, Gillian Armstrong, 2001); PIANO, THE (AT, Jane Campion, 1993); GIRL'S OWN STORY, A (AT, Jane Campion, 1983)
Summary: The ScreenSound Australia Annual Longford Lyell Lecture was established in 2001. It is named in honour of two significant pioneers of Australian cinema, Lottie Lyell and Raymond Longford, who were the foremost creative partnership in the pioneering years of Australian cinema. Jan Chapman is one of Australia’s most famous producers having been involved in the production of ‘Come in Spinner’, ‘Sweet and Sour’, ‘the Piano’ and ‘Lantana’ to name but a few. Chapman talks about the development of her career in relation to other Australian women involved in filmmaking such as Gillian Armstrong and New Zealand born Jane Campion
ISBN: 0642365172