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Call No: 71(430):45:32 COL
Author: Fisher, Jaimey (ed.); Prager, Brad (ed.)
Source: US
Place: Detroit
Publisher: Wayne State University Press
PubDate: c2010
PhysDes: vi, 431 p. : ill. ; 23 cm
Series: Contemporary approaches to film and television series
Subject: POLITICAL FILMS; POLITICS AND THE CINEMA; POLITICS IN FILMS; GERMANY; AESTHETICS; HISTORY AND THE CINEMA. GERMANY; HISTORY OF CINEMA. GERMANY; STALINGRAD (GG, Joseph Vilsmaier, 1992); DOWNFALL (GG, Oliver Hirschbiegel, 2004)SEE UNTERGANG, DER; UNTERGANG, DER (G, Oliver Hirschbiegel, 2004); ROSENSTRASSE (US/BE/NE, Margarethe von Trotta, 2004); NO PLACE TO GO (GG, Oskar Rohler, 2000) SEE UNBERUHRBARE, DIE; UNBERUHRBARE, DIE (GG, Oskar Rohler, 2000); LIVES OF OTHERS, THE (GE, Florian Henckel Von Donnersarck, 2006)SEE LEBEN DER ANDEREN, DAS (GE, Florian Henckel Von Donnersarck, 2006); LEBEN DER ANDEREN, DAS (GE, Florian Henckel Von Donnersarck, 2006)
Summary: "Fisher and Prager have assembled a significant group of essays by the emerging generation of German cinema experts in the U.S. The anthology is the first serious attempt to retell the history of the New German Cinema and the 'consensus' cinema of the 1900s through the lens of contemporary, post-2000 films in all their diversity. Film scholars, students of the German cinema, and the general reading public will discover here why 'Deutsches Kino' is once again in the limelight. " -- Marc Silberman
Notes: Includes bibliographical references and index; Includes filmography
ISBN: 9780814333778
Contents: -- Introduction / Jaimey Fisher and Brad Prager -- Imitation of life: the aesthetics of Agfacolor in recent historical cinema / Jennifer M. Kapczynski -- Public viewing: soccer patriotism and post-cinema / Lutz Koepnick -- More war stories: Stalingrad and downfall / Elisabeth Krimmer -- Neofeminist mutterfilm? the emotional politics of Margarethe von Trotta's Rosenstrasse / Anna M. Parkinson -- Dresden: the return of history as soap / Wilfried Wilms -- Terrains vagues: landscapes of unification in Oskar Roehler's No place to go / Johannes von Moltke -- German historical film as production trend: European heritage cinema and melodrama in The lives of others / Jaimey Fisher -- A world of objects: consumer culture in filmic reconstructions of the GDR / Michael D. Richardson -- Playing hide-and-seek with tradition: games, aesthetic form, and social critique in German cinema following the Wende / John E. Davidson -- Imaging Germany: the (political) cinema of Christian Petzold / Marco Abel -- Christoph Hochhausler's This very moment: the Berlin school and the politics of spatial aesthetics in the German-Polish borderlands / Kristin Kopp -- Die fetten Jahre sind vorbei: Edukating the post-left generation / Roger F. Cook -- The global elsewhere: Ursula Biemann's Multimedia countergeography / Barbara Mennel -- Glimpses of freedom: the reemergence of utopian longing in German cinema / Brad Prager -- works cited -- filmography -- contributors -- index --

Call No: 67 (04) FIL
Source: US
Place: New York
Publisher: Simon and Schuster
PubDate: c1970
PhysDes: 286 p. ; 22 cm
Subject: INDUSTRY, FILM. USA; MUSICALS; VIETNAM WAR IN FILMS; POLITICS IN FILMS; PORNOGRAPHY AND THE CINEMA; FELLINI, FEDERICO; STREISAND, BARBRA; WAYNE, JOHN; CHE! (US, Richard Fleischer, 1969); SALESMAN (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1969); Z (FR/AE, Constantin Costa-Gavras, 1969); EASY RIDER (US, Dennis Hopper, 1969); BOB & CAROL & TED & ALICE (US, Paul Mazursky, 1969); ALICE'S RESTAURANT (US, Arthur Penn, 1969); BAISERS VOLES (FR, Francois Truffaut, 1968); MIDNIGHT COWBOY (US, John Schlesinger, 1969); GOODBYE COLUMBUS (US, Larry Peerce, 1969); IF... (UK, Lindsay Anderson, 1968); THEY SHOOT HORSES, DON'T THEY? (US, Sydney Pollack, 1969); PAINT YOUR WAGON (US, Joshua Logan, 1969); INTIMNI OSVETLENI (CZ, Ivan Passer, 1969); GURU, THE (US/II, James Ivory, 1968); HAR HAR DU DITT LIV (SW, Jan Troell, 1966); AKAHIGE [RED BEARD] (JA, Akira Kurosawa, 1965); PIERROT LE FOU (FR/IT, Jean-Luc Godard, 1965); CSILLAGOSOK, KATONAK (HU, Miklos Jancso, 1967); WILD BUNCH, THE (US, Sam Peckinpah, 1969); PUTNEY SWOPE (US, Robert Downey, 1969); MEDIUM COOL (US, Haskell Wexler, 1969); ANGEL LEVINE, THE (US, Jan Kadar, 1970); IN THE YEAR OF THE PIG (US, Emile de Antonio, 1968); HIGH SCHOOL (US, Frederick Wiseman, 1969); ISADORA (UK, Karel Reisz, 1968); GOODBYE MR CHIPS (UK, Herbert Ross, 1969); FEMME INFIDELE, LA (FR/IT, Claude Chabrol, 1968)
Summary: Critical reviews of films produced 1969/1970
Notes: Includes index
ISBN: 671-20608-7
Contents: I. Pick of the Litter -- Z / Pauline Kael, Arthur Schlesinger, Jr. -- Easy Rider / Joseph Morgenstern, Penelope Gillatt, Stefan Kanfer, Richard Schickel -- Bob & Carol & Ted & Alice / Hollis Alpert, Pauline Kael, Arthur Schlesinger, Jr., John Simon -- Alice's Restaurant / Robert Hatch, John Simon / If... / Arthur Schlesinger, Jr., Pauline Kael -- They Shoot Horses, Don't They? / Stefan Kanfer, John Simon -- II. Advance Obit. -- Hollywood: Myth, Fact and Trouble / Joseph Morgenstern -- The Studio by John Gregory Dunne / Stanley Kauffmann -- Paint Your Wagon / Pauline Kael -- III. Auteurisms -- Intimate Lighting / Andrew Sarris -- La Femme Infidele / Andrew Sarris -- Stolen Kisses / Joseph Morgenstern, Hollis Alpert, Robert Kotlowitz -- Here's Your Life / Stanley Kauffmann -- Pierrot Le Fou / Joseph Morgenstern -- The Red and the White / Penelope Gilliatt, Richard Schickel, John Simon -- Putney Swope / Arthur Knight, Penelope Gilliattt, Richard Schickel -- Medium Cook / John Simon, Andrew Sarris -- IV. On Location -- The Making of The Angel Levine / Robert Kotlowitz -- Fellini at Work / Hollis Alpert -- Che! / Joseph Morgenstern, Robert Hatch -- V. Documentarians -- Salesman / Harold Clurman, Joseph Morgenstern -- In the Year of the Pig / Pauline Kael -- High School / Richard Schickel -- VI. Performers and Performances -- The Loves of Isadora / Richard Schickel, Stanley Kauffmann, Stefan Kanfer, Hollis Alpert, Penelope Gilliatt -- Goodbye, Mr. Chips / Pauline Kael, Stefan Kanfe -- Superstar: The Streisand Story / Joseph Morgenstern -- John Wayne as the Last Hero / Stefan Kanfer -- VII. Skin -- I Am Curious (Yellow) / John Simon, Penelope Gilliatt, Hollis Alpert -- Coming Apart / Joseph Mergenstern, Richard Schickel

Call No: 67 (04) FIL
Source: US
Place: New York
Publisher: Simon and Schuster
PubDate: c1971
PhysDes: 319 p. ; 22 cm
Subject: WAR FILMS; REVOLUTION AND THE CINEMA; MUSIC AND THE CINEMA; POLITICS IN FILMS; ADAPTATIONS; MUSICALS; PORNOGRAPHY AND THE CINEMA; DISASTERS IN FILMS; BERGMAN, INGMAR; ANTONIONI, MICHELANGELO; Keaton, Buster; [FIVE] 5 EASY PIECES (US, Bob Rafelson, 1970); JOE (US, John G. Avildsen, 1970); LITTLE BIG MAN (US, Arthur Penn, 1970); HUSBANDS (US, John Cassavetes, 1970); PATTON (US, Franklin J. Schaffner, 1970); M*A*S*H (US, Robert Altman, 1969); CATCH 22 (US, Mike Nichols, 1970); SOLDIER BLUE (US, Ralph Nelson, 1970); MOLLY MAGUIRES, THE (US, Martin Ritt, 1969); BALLAD OF CABLE HOGUE, THE (US, Sam Peckinpah, 1970); ICE (US, Robert Kramer, 1970); WOODSTOCK (US, Michael Wadleigh, 1970); GIMME SHELTER (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1970); PERFORMANCE (UK, Nicholas Roeg & Donald Cammell, 1970 [prod. 1968]); MA NUIT CHEZ MAUD (FR, Eric Rohmer, 1969); DIARY OF A MAD HOUSEWIFE (US, Frank Perry, 1970); OWL AND THE PUSSYCAT, THE (US, Herbert Ross, 1970); LOVE STORY (US, Arthur Hiller, 1970); QUEIMADA! (IT/FR, Gillo Pontecorvo, 1970); WINTER WIND (HU, Miklos Jancso, 1969); SIROKKO (HU, Miklos Jancso, 1969); ZABRISKIE POINT (US, Michelangelo Antonioni, 1970); FELLINI-SATYRICON (IT/FR, Federico Fellini, 1969); DAMNED, THE [CADUTA DEGLI DEI, LA] (IT/GW, Luchino Visconti, 1969); SIRENE DU MISSISSIPPI, LA (FR/IT, Francois Truffaut, 1969); MISSISSIPPI MERMAID (FR/IT, Francois Truffaut, 1969); [TWO OR THREE] 2 OR 3 THINGS I KNOW ABOUT HER [DEUX OU TROIS CHOSES QUE JE SAIS D'ELLE (FR, Jean-Luc Godard, 1967); SYMPATHY FOR THE DEVIL (UK, Jean-Luc Godard, 1968); GAI SAVOIR, LE (FR/GW, Jean-Luc Godard, 1969); TRISTANA (SP/IT/FR, Luis Bunuel, 1970); WOMEN IN LOVE (UK, Ken Russell, 1969); VIRGIN AND THE GYPSY, THE (UK, Christopher Miles, 1970); GREAT WHITE HOPE, THE (US, Martin Ritt, 1970); BOYS IN THE BAND, THE (US, William Friedkin, 1970); ON A CLEAR DAY YOU CAN SEE FOREVER (US, Vincente Minnelli, 1970); SCROOGE (UK, Ronald Neame, 1970); TORA! TORA! TORA! (US/JA, Richard Fleischer, 1970); RYAN'S DAUGHTER (UK, David Lean, 1970); AIRPORT (US, George Seaton, 1970); MYRA BRECKENRIDGE (US, Mike Sarne, 1970); BEYOND THE VALLEY OF THE DOLLS (US, Russ Meyer, 1970); ANGEL LEVINE, THE (US, Jan Kadar, 1970); CONFESSION, THE (FR/IT, Costa-Gavras, 1970); AVEU, L' (FR/IT, Costa-Gavras, 1970)
Summary: A cross section of critical opinion on the most interesting films of the year, reflections on emerging trends, genres and moods, and a sampling of the work of individual critics [editorial note]
Notes: Includes index
ISBN: 671210483
Contents: -- Five Easy Pieces / Jacob Brackman, Harold Clurman, John Simon -- Joe / Gary Arnold, Penelope Gilliatt -- Loving / Pauline Kael -- The Ballad Of Cable Hogue / Joseph Morgenstern -- Little Big Man / Stefan Kanfer, David Denby -- Husbands / Paul D.Zimmerman, Jacob Brackman -- Patton / Pauline Kael -- M*A*S*H / Jospeh Morgenstern, David Denby, Brad Darrach -- Catch - 22 / Arthur Schlesinger Jr., Stefan Kanfer, Hollis Alpert, Jacob Brackman -- Soldier Blue / Hollis Alpert -- The Molly Maguires / Arthur Schlesinger Jr. -- Getting Straight / Jacob Brackman -- The Strawberry Statement and Getting Straight / David Denby -- The Revolutionary / Jay Cocks, Bruce Williamson -- Ice / Pauline Kael -- Woodstock / Jay Cocks, Joseph Morgenstern -- Gimme Shelter / Arthur Schlesinger Jr. -- Performance / Jay Cocks -- My Night at Maud's / Penelope Gilliatt -- Diary Of A Mad Housewife / Paul D.Zimmerman, John Simon -- The Owl And The Pussycat / Gary Arnold -- Love Story / Gary Arnold, Arthur Knight, Philip T.Hartung -- Burn / Pauline Kael -- The Confession and Investigation Of A Citizen Above Suspicion / Robert Hatch -- Winter Wind / Stanley Kauffmann -- The Passion Of Anna / Penelope Gilliatt, Richard Schikel -- Zabriskie Point / Arthur Schlesinger Jr., Andrew Sarris -- Fellini Satyricon / Stefan Kanfer, Robert Hatch -- The Damned / Robert Hatch, Brad Darrach -- Zabriskie Point, Fellini Satyricon and The Damned / Richard Schickel -- Mississippi Mermaid / Gary Arnold -- The Wild Child / Robert Hatch, David Denby -- The Rise Of Louis XIV / Stanley Kauffmann, Bruce Williamson -- Two Or Three Things I Know About Her / Penelope Gilliatt -- Sympathy For The Devil / Jay Cocks -- Le Gai Savoir / Bruce Williamson -- Tristana / Harold Clurman -- Women In Love / Arthur Schlesinger Jr., Bruce Williamson -- The Virgin And The Gypsy / Penelope Gilliatt, Stanley Kauffmann -- The Great White Hope / Andrew Sarris -- I Never Sang For My Father / Arthur Knight -- The Angel Levine / Arthur Knight -- The Boys In The Band / Hollis Alpert -- On A Clear Day You Can See Forever / Jospeh Morgenstern -- Scrooge and Song Of Norway / Philip T.Hartung -- Scrooge / Jay Cocks -- Darling Lili / Arthur Knight -- Tora! Tora! Tora! / Gary Arnold -- Ryan's Daughter / Hollis Alpert, John Simon -- Airport / Gary Arnold -- Myra Breckinridge / Jospeh Morgenstern -- Beyond The Valley Of The Dolls / Paul D. Zimmerman -- Buster Keaton / Penelope Gilliatt -- Porn and man at Yale / Richard Schickel -- Numbing the audience / Pauline Kael -- Bang! Apocolypse for sale / Jospeh Morgenstern

Call No: 67(04) FIL
Source: US
Place: Indianapolis ; New York
Publisher: Bobbs-Merrill Company
PubDate: 1974
PhysDes: xl, 369 p. ; 23 cm.
Subject: THEATRE AND THE CINEMA; POLICE IN FILMS; MASCULINITY IN FILMS; WOMEN IN FILMS; POLITICS IN FILMS; MONROE, MARILYN; FORD, JOHN; GRAPES OF WRATH, THE (US, John Ford, 1940); WEDDING IN WHITE (CN, William Fruet, 1972); KEBY SOM MAL PUSKU (SZ, Stefan Uher, 1971); KID BLUE (US, James Frawley & Dennis Hopper, 1973); PULP (US/UK, Mike Hodges, 1972); DAVID HOLZMAN'S DIARY (US, Jim McBride, 1968); JESUS CHRIST SUPERSTAR (US, Norman Jewison, 1973); GODSPELL (US, David Greene, 1973); DELICATE BALANCE, A (US/UK/CN, Tony Richardson, 1973); ICEMAN COMETH, THE (US, John Frankenheimer, 1980); SLITHER (US, Howard Zieff, 1973); TEN FROM YOUR SHOW OF SHOWS (US, Max Liebman, 1973); WALKING TALL (US, Phil Karlson, 1973); LAUGHING POLICEMAN, THE (US, Stuart Rosenberg, 1973); BELLE FILLE COMME MOI, UNE (FR, Francois Truffaut, 1975); DOLL'S HOUSE, A (UK/US/FR, Joseph Losey, 1973); YEAR OF THE WOMAN (US, Sandra Hochman, 1973); NYBYGGARNA (SW, Jan Troell, 1972); PAYDAY (US, Daryl Duke, 1972); NUIT AMERICAINE, LA (FR/IT, Francois Truffaut, 1973); ULTIMO TANGO A PARIGI (IT/FR, Bernardo Bertolucci, 1972); STRATEGIA DEL RAGNO, LA (IT, Bernardo Bertolucci, 1970); SZERELEM (HU, Karoly Makk, 1971); SANMA NO AJI (JA, Yasujiro Ozu, 1962); O LUCKY MAN! (UK, Lindsay Anderson, 1973); LONG GOODBYE, THE (US, Robert Altman, 1973); AMERICAN GRAFFITI (US, George Lucas, 1973); MEAN STREETS (US, Martin Scorsese, 1973); BANG THE DRUM SLOWLY (US, John Hancock, 1973); HEAVY TRAFFIC (US, Ralph Bakshi, 1973); SISTERS (US, Brian De Palma, 1972); PAPER MOON (US, Peter Bogdanovich, 1973); WAY WE WERE, THE (US, Sydney Pollack. 1973); SAVE THE TIGER (US, John G. Avildsen, 1973); PAT GARRETT AND BILLY THE KID (US, Sam Peckinpah, 1973); MEMORIAS DEL SUBDESARROLLO (CU, Tomas Gutierrez Alea, 1968); ETAT DE SIEGE (FR/IT/GW, Constantin Costa-Gavras, 1973); LAST AMERICAN HERO, THE (US, Lamont Johnson, 1973); BLUME IN LOVE (US, Paul Mazursky, 1973); DAY OF THE JACKAL, THE (UK/FR, Fred Zinnemann, 1973); I.F. STONE'S WEEKLY (US, Jerry Bruck Jr., 1974); TOUT VA BIEN (FR/IT, Jean-Luc Godard & Jean-Pierre Gorin, 1972); MATTEI AFFAIR, THE [CASO MATTEI, IL] (IT, Francesco Rosi, 1972); BITTEREN TRANEN DER PETRA VON KANT, DIE (GW, Rainer Werner Fassbinder, 1972); SUMMER WISHES, WINTER DREAMS (US, Gilbert Cates, 1973); SCARECROW (US, Jerry Schatzberg, 1973); STING, THE (US, George Roy Hill, 1973); PAPILLON (US, Franklin J. Schaffner, 1973); DEEP THROAT (US, Jerry Gerard, 1972); LIVE AND LET DIE (US, Guy Hamilton, 1973); TANG SHAN DA XIONG (HK, Lo Wei, 1971); SERPICO (US, Sidney Lumet, 1973); MAGNUM FORCE (US, Ted Post, 1973); SEVEN-UPS, THE (US, Philip D'Antoni, 1973); HANDLER DER VIER JAHRESZEITEN, DER (GW, Rainer Werner Fassbinder, 1972); ARANYER DIN RATRI (II, Satyajit Ray, 1970); PRATIDWANDI (II, Satyajit Ray, 1971); FRIENDS OF EDDIE COYLE, THE (US, P. Yates, 1973); CHARLEY VARRICK (US, Donald Siegel, 1973); SLEEPER (US, Woody Allen, 1973); PLAYTIME (FR, Jacques Tati, 1967); KING IN NEW YORK (US, Charles Chaplin, 1957); TOUCH OF CLASS, A (UK, Melvin Frank, 1973); EXORCIST, THE (US, William Friedkin, 1973); JONATHAN LIVINGSTONE SEAGULL (US, Hall Bartlett, 1973); DAY OF THE DOLPHIN, THE (US, Mike Nichols, 1973)
Summary: Collection of essays of films that were released in America in 1973/1974.
Notes: Includes index.
ISBN: 0672519895
Contents: -- Day For Night / Vincent Canby, Roger Greenspun, Gary Arnold -- Last Tango In Paris / Pauline Kael, Gary Arnold, Hollis Alpert, Joseph Gelmis -- The Spider's Stratagem / Jay Cocks -- Love / Penelope Gilliatt, Vincent Canby -- An Autumn Afternoon / Robert Hatch -- O Lucky Man! / Penelope Gilliatt, Robert Hatch -- The Long Goodbye / Charles Champlin, Pauline Kael, William S. Pechter -- La Grande Bouffe / Robert Hatch, Bruce Williamson, Molly Haskell -- Don't Look Now / Jay Cocks, Pauline Kael -- American Graffiti / Jay Cocks, Roger Greenspun, William S. Pechter -- Mean Streets / Pauline Kael, Joseph Gelmis, William S. Pechter -- Bang The Drum Slowly / Richard Schickel, David Denby -- Payday / Bruce Williamson -- Heavy Traffic / Penelope Gilliatt, Andrew Sarris -- Sisters / Richard Schickel -- The New Land / Gary Arnold -- Paper Moon / Judith Crist, Gary Arnold -- The Way We Were / Joseph Gelmis, Paul D. Zimmerman -- Save The Tiger / Charles Champlin, William S. Pechter -- Pat Garrett And Billy The Kid / Jay Cocks, Michael Korda -- The Last American Hero / Roger Greenspun -- Blume In Love / Roger Ebert, William S. Pechter, Molly Haskell -- Memories Of Underdevelopment / Penelope Gilliatt -- State Of Siege / Penelope Gilliatt, Andrew Sarris -- The Day Of The Jackal / Roger Ebert -- I. F. Stone's Weekly / Vincent Canby -- Tout Va Bien / Vincent Canby -- The Mattei Affair / Andrew Sarris -- Men Without Women, Women Without Men / David Denby -- Sisterhoodwinked: The Bitter Tears Of Petra Von Kant, Year Of The Woman, The Way We Were / Molly Haskell -- Summer Wishes, Winter Dreams / Judith Crist, Paul D. Zimmerman -- A Doll's House / Molly Haskell -- Such A Gorgeous Kid Like Me / Penelope Gilliatt -- Mailer On Monroe / Andrew Sarris, Molly Haskell -- Scarecrow / Bruce Williamson -- The Sting / Judith Crist, Bernard Drew -- Papillon / Paul D. Zimmerman -- Deep Throat / Vincent Canby -- Live And Let Die / Joseph Gelmis -- Kung Fu Craze: Fists Of Fury / David Denby -- Movie Cops: Serpico, Magnum Force, The Laughing Policeman, The Seven-Ups / David Denby -- The Friends Of Eddie Coyle / Richard Schickel -- Walking Tall / Gary Arnold -- Charley Varrick / Andrew Sarris -- Sleeper / Pauline Kael, Molly Haskell -- Playtime / Penelope Gilliatt, Richard Schickel -- Ten From "Your Show Of Shows" / Andrew Sarris -- A King In New York / Roger Greenspun -- A Touch Of Class / Bernard Drew -- Slither / Robert Hatch -- The American Film Theatre / Hollis Alpert -- The Iceman Cometh / Molly Haskell -- The Homecoming And A Delicate Balance / Paul D. Zimmerman -- The Exorcist / Hollis Alpert, Charles Champlin, Pauline Kael -- Godspell / Bruce Williamson -- Jesus Christ Superstar / Hollis Alpert, Paul D. Zimmerman -- Jonathan Livingston Seagull / Michael Korda -- The Day Of The Dolphin / Paul D. Zimmerman -- The Merchant Of Four Seasons / Andrew Sarris -- Days And Nights In The Forest / David Denby -- The Adversary / Gary Arnold -- David Holzman's Diary / Vincent Canby -- Pulp / William S. Pechter -- Kid Blue / Jay Cocks -- If I Had A Gun / Pauline Kael -- Wedding In White / Roger Ebert -- Imaginary Movies / Paul D. Zimmerman -- Abel Green (1900-1973) / Vincent Canby -- John Ford (1895-1973) / Roger Greenspun -- John Ford: The Grapes Of Wrath / Andrew Sarris
ID2: 291

Call No: 71(53) KHA
Author: Khatib, Lina
Source: UK
Place: London ; New York
Publisher: I.B. Tauris ; New York : Distributed in the USA by Palgrave Macmillan
PubDate: 2006
PhysDes: viii, 242 p. : ill. ; 24 cm
Subject: ARAB COUNTRIES; MIDDLE EASTERN COUNTRIES; MIDDLE EASTERN COUNTRIES IN FILMS; WORLD CINEMA; POLITICAL FILMS; POLITICS AND THE CINEMA; POLITICS IN FILMS; TERRORISM AND THE CINEMA; RELIGION IN FILMS
Summary: "Today the world's media have a pressing need to understand and interpret the modern Middle East. In this timely book, Lina Khatib examines how contemporary American cinema and the cinemas of the Arab world contribute to this global preoccupation in their representations of Middle Eastern politics. This examination of Hollywood as the dominant Western interpreter of the Arab World also views the Arab world in terms of how it perceives itself and others through its films." -- BOOK BLURB
Notes: Includes bibliographic references and index; Includes filmography
ISBN: 9781845111915
Contents: Introduction: Orientalism and the Cinematic Middle East --; Chapter I: The Politicized Landscape -- Why space matters -- Hollywood's spatial political stage -- The spatial contradictions of Arab cinemas -- Conclusion --; Chapter II: Gendered Tools of Nationalism -- The changing face of the American male/nation -- The female nations of Arab cinema -- Conclusion --; Chapter III: Conflicts Within and Without: The Arab-Israeli Conflict (and the Gulf War) -- Hollywood's America: world police -- Arab cinemas: nostalgia and resistence -- Conclusion --; Chapter IV: From the Other Outside to the Other Within: Representing Islamic Fundementalism -- Why fundamentalism matters -- Hollywood's fundamentalist terrorists -- Islamic fundamentalism in Egyptian and Algerian cinemas: the Other within -- Conclusion; Epilogue: On Difference, Resistance, and Nationalism -- On difference -- On resistance -- On nationalism -- Beyond the East/West divide

Call No: 745.2(450)RES
Author: Resmini, Mauro
Edition: 2022
Place: Boston
Publisher: University of Minnesota Press
PubDate: 2022
PhysDes: 302 pages : illustrated ; 22cm
Subject: PASOLINI, PIER PAOLO; BERTOLUCCI, BERNARDO; ANTONIONI, MICHELANGELO; BELLOCCHIO, MARCO; RISI, DINO; PETRI, ELIO; POLITICAL FILMS; POLITICS IN FILMS; ITALY
Summary: Traditionally, the definition of political cinema assumes a relationship between cinema and politics. In contrast to this view, author Mauro Resmini sees this relationship as an impasse. To illustrate this theory, Resmini turns to Italian cinema to explore how films have reinvented the link between popular art and radical politics in Italy from 1968 to the early 1980s, a period of intense political and cultural struggles also known as the long ’68. Italian Political Cinema conjures a multifaceted, complex portrayal of Italian society. Centered on emblematic figures in Italian cinema, it maps the currents of antagonism and repression that defined this period in the country’s history. Resmini explores how film imagined the possibilities, obstacles, and pitfalls that characterized the Italian long ’68 as a moment of crisis and transition. From workerism to autonomist Marxism to feminism, this book further expands the debate on political cinema with a critical interpretation of influential texts, some of which are currently only available in Italian. A comprehensive and novel redefinition of political film, Italian Political Cinema introduces its audience to lesser-known directors alongside greats such as Pasolini, Bertolucci, Antonioni, and Bellocchio. Resmini offers access to untranslated work in Italian philosophy, political theory, and film theory, and forcefully advocates for the continued artistic and political relevance of these films in our time. -- publisher's web site
ISBN: 9781517911386
Donation: Senses of Cinema
Contents: Cover Page -- Title Page -- Copyright Page -- Contents -- Introduction. Cinema/Politico -- Chapter 1. For a Figural Theory of Political Cinema -- Chapter 2. Subjectivity within and against Capital -- Chapter 3. Figuring Reproductive Labor -- Chapter 4. The Dialectic of Enjoyment -- Chapter 5. An Ethics of Autonomy -- Chapter 6. Totality as Conjuration -- Chapter 7. The Tyrant, the Intriguer, the Martyr -- Epilogue. The Cinema of '68, the '68 of Cinema -- Acknowledgments -- Notes -- Index -- About the Author

Call No: 71(72) NOB
Author: Noble, Andrea
Source: UK
Place: Abingdon, Oxon, UK
Publisher: Routledge
PubDate: 2005
PhysDes: viii, 224p. : ill. ; 23cm
Subject: MEXICO; MEXICO IN FILMS; NATIONAL CULTURE AND THE CINEMA. MEXICO; NATIONAL CULTURE IN FILMS. MEXICO; INDUSTRY, FILM. MEXICO; AUDIENCES. MEXICO; MOVEMENTS AND STYLES IN FILM HISTORY; POLITICS IN FILMS. MEXICO; POLITICAL FILMS. MEXICO; REVOLUTION AND THE CINEMA. MEXICO; DOCUMENTARY FILMS. MEXICO; MELODRAMA. MEXICO; MUJER DEL PUERTO, LA (MX, Arcady Boytler, 1933); MUJER DEL PUERTO, LA (MX, Arturo Ripstein, 1991); MARIA CANDELARIA (MX, Emilio Fernández, 1943); FAMILIA DE TANTAS, UNE (MX, Alejandro Galindo, 1948); CASTILLO DE LA PUREZA, EL (MX, Arturo Ripstein, 1972); MIDAQ ALLEY [CALLEJON DE LOS MILAGROS, EL] (MX, Jorge Fons, 1995); QUE VIVA MEXICO! (UR, Sergei Eisenstein, [prod. 1932]); ESPALDAS MOJADAS (MX, Alejandro Galindo, 1955); JARDIN DEL EDÉN, EL (MX, María Novaro, 1994); Y TU MAMA TAMBIEN (MX, Alfonso Cuaron, 2001)
Summary: Mexican National Cinema offers an account of the development of Mexican cinema from the intense cultural nationalism of the Mexican Revolution, through the "Golden Age" of the 1940s and the Nuevo Cine of the 1960s, to the renaissance in Mexican cinema in the 1990s. The book moves from broad historical and theoretical context, particularly theories of nation, emergent discourses of "mexicanidad" and the establishment and development of the Mexican industry, towards readings of key film texts and genres. Individual chapters discuss the relationship between Hollywood cinema and Mexican cinema, the stars of the "Golden Age," the role of foreign auteurs in the founding of Mexican cinema, tensions in the industry in the 1960s, and the national and international reception of contemporary films and film-makers. The author then examines the portrayal of Mexican nationhood through critical analysis of film genres including Revolutionary films, machismo and "mexicanidad," the prostitute, and the work of female auteurs.
ISBN: 0415230101

Call No: 62(082) MOV v.1
Author: Nichols, Bill
Place: Berkeley
Publisher: University of California Press
PubDate: c1976
PhysDes: xi, 640 p. : ill. ; 24 cm
Subject: STRUCTURALISM; CRITICISM; IDEOLOGY AND THE CINEMA; IDEOLOGY IN FILMS; POLITICS AND THE CINEMA; POLITICS IN FILMS; GENRES; AUTEUR THEORY; FILM NOIR; THEORY; WESTERNS; WOMEN AND THE CINEMA; FILM NOIR; SEMIOLOGY; METHODOLOGY OF FILM CRITICISM; ETHNOGRAPHIC FILMS; FEMINISM AND THE CINEMA; CAPRA, FRANK; RAY, NICHOLAS; VON STERNBERG, JOSEF; GODARD, JEAN-LUC; CITIZEN KANE (US, Orson Welles, 1941); SERPICO (US, Sidney Lumet, 1973); GODFATHER PART II, THE (US, Francis Ford Coppola, 1974); VENT D'EST (FR/IT/GW, Jean-Luc Godard & Dziga Vertov Group, 1970); WIND FROM THE EAST (FR/IT/GW, Jean-Luc Godard & Dziga Vertov Group, 1970); VIVRE SAVIE (FR, Jean-Luc Godard, 1962); KLUTE (US, Alan J. Pakula, 1971); TRUFFAUT, FRANCOIS; SHOCK CORRIDOR (US, Samuel Fuller, 1963); TO HAVE AND HAVE NOT (US, Howard Hawks, 1944); BLOW JOB (US, Andy Warhol, 1963); RIO LOBO (US, Howard Hawks, 1970); YOUNG MR. LINCOLN (US, John Ford, 1939)
Summary: "Film teachers and students will welcome this new anthology, which makes available in one source a comprehensive selection of recent theoretical work on film, including many articles difficult to locate in the scattered literature. The contents are drawn almost entirely from the publications of the past fifteen years, and include work by the most original film thinkers - some well known to a wide public, some widely known among readers of film journals. Several important film-makers are also represented." -- BOOK BLURB
Notes: Includes index; This is volume 1
ISBN: 0520031512
LON: cln74022969; 10151896
Contents: --- part 1 contextual criticism -- political criticism -- genre criticism -- feminist criticism -- part 2 formal criticism -- auteur criticism -- mise-en-scene criticism -- part 3 theory -- film theory -- structuralism-semiology --

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: POLITICS IN FILMS

Call No: 735:626 MCD
Author: McDowell, John C.
Edition: 2014
Place: Jefferson, NC
Publisher: McFarland & Company Inc.
PubDate: 2014
PhysDes: 230p ; 23cm
Subject: FANTASY FILMS; IDEOLOGY IN FILMS; IDEOLOGY AND THE CINEMA; POLITICS AND THE CINEMA; POLITICS IN FILMS; AVENGERS, THE (US, Joss Whedon, 2012); MATRIX, THE [...] (US, Larry Wachowski & Andy Wachowski, 1999-2003)
Summary: Bringing critical attention to a particular set of science fiction and fantasy films—Larry and Andy Wachowski’s The Matrix, George Lucas’ Star Wars saga, and Joss Whedon’s Avengers—this book utilizes a wide-ranging set of critical tools to illuminate their political ideologies, while also examining any resistant and complicating turns or byways the films may provide. What they all have in common ideologically is that they—or at least the genres they belong to—tend to be regarded as belonging to politically conservative frames of sociocultural reference. With the Star Wars saga, however, this idea is shown to be superficial and weak. -- publishers blurb
ISBN: 9780786474882
Contents: -- Introduction: Why so serious? -- The super body-politic: nationally assembling Joss Whedon's exceptional The avengers -- "He was deceived by a lie": tragedy and the dark plague of the politics of fear in George Lucas' Star wars -- Dystopian polyvalence: emancipating the mediated life from The matrix --

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; 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

Call No: 753SHA JAC
Author: Jackson, Russell
Source: UK
Place: Oxford
Publisher: Oxford University Press
PubDate: 2014
PhysDes: viii, 190 pages : illustrations ; 21 cm
Series: Oxford Shakespeare topics
Subject: ADAPTATIONS; LITERATURE AND THE CINEMA; ADAPTATIONS. SHAKESPEARE, WILLIAM; POLITICS IN FILMS
Summary: Shakespeare and the English-speaking Cinema is a lively, authoritative, and innovative overview of the ways in which Shakespeare's plays have been adapted for cinema. Organised by topics rather than chronology, it offers detailed commentary on significant films, including both 'mainstream' and 'canonical' works by such directors as Laurence Olivier, Orson Welles, Franco Zeffirelli, and Kenneth Branagh, and such ground-breaking movies as Derek Jarman's The Tempest, Baz Luhrmann's William Shakespeare's Romeo + Juliet and Peter Greenaway's Prospero's Books. Chapters on the location of films in place and time, the effect of this on characterisation, and issues of gender and political power are followed by a discussion of work that goes 'beyond Shakespeare. -- Taken from publisher's site
Notes: Includes bibliographical references, filmography and index.
ISBN: 9780199659463
Contents: -- introduction: legalized plagiarism and the rewards of adaptation -- 1.Places -- 2.People -- 3.Gender Matters in Comedy -- 4.Eros in Tragedy -- 5.Power Plays -- Politics in the Shakespeare Films -- 6.Beyond Shakespeare --

Call No: 761 NIC
Author: Nichols, Bill
Source: US
Place: Oakland
Publisher: California University of California Press
PubDate: 2016
PhysDes: 281 p. ; ill. ; 23 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; AUDIENCES; MUSIC IN FILMS; VOICES; SOCIAL ISSUES IN FILMS; ETHICS AND THE CINEMA; ETHICS IN FILMS; POLITICS AND THE CINEMA; POLITICS IN FILMS; LAND WITHOUT BREAD (SP, Luis Bunuel, 1933); RESTREPO (US, Tim Hetherington/Sebastian Junger, 2010); THIN BLUE LINE, THE (US, Errol Morris, 1988); ACT OF KILLING, THE (DK/NO/UK, Joshua Oppenheimer, (2012); STEVE JOBS: THE MAN IN THE MACHINE (US, Alex Gibney, 2015)
Summary: "What issues, of both form and content, shape the documentary film? What role does visual evidence play in relation to a documentary's arguments about the world in which we live? Can a documentary be believed, and why or why not? How do documentaries abide by or subvert ethical expectations? Are mockumentaries a form of subversion? In what ways can the documentary be an aesthetic experience and at the same time have political or social impact? And how can such impacts be empirically measured? Pioneering film scholar Bill Nichols investigates the ways in which documentaries strive for accuracy and truthfulness, but simultaneously fabricate a form that shapes reality. Such films may rely on re-enactment to re-create the past, storytelling to provide satisfying narratives, and rhetorical figures such as metaphor and expressive forms such as irony to make a point. In many ways documentaries are a fiction unlike any other. With clarity and passion, Nichols offers close readings of several provocative documentaries including Land without Bread, Restrepo, The Thin Blue Line, The Act of Killing, and Steve Jobs: The Man in the Machine as part of an authoritative examination of the layered approaches and delicate ethical balance demanded of documentary filmmakers"--Provided by publisher.
Notes: Includes bibliographical references and index.
Contents: Documentary film and the modernist avant-garde -- Documentary reenactment and the fantasmatic subject -- Letter to Lynn Sachs about her film Investigation of a flame -- Breaking the frame, gender, violation and the avant-garde -- The coming of sound -- To see the world anew : revisiting the voice of documentary -- The sound of music -- The question of evidence : the power of rhetoric and the documentary film -- The terrorist event -- Remaking history : Jay Leyda, and the compilation film -- Restrepo : a case of inadvertent evidence -- The symptomatic biopic : Steve Jobs : the man in the machine -- Documentary ethics : doing the right thing -- Irony, paradox and the documentary : double meanings and double binds -- Letter to Errol Morris : feelings of revulsion and the limits of academic discourse -- Perpetrators, trauma and film -- San Francisco newsreel : collectives, politics, films -- The political documentary and the problem of impact.

Call No: 79 CAS ISE
Author: Isenberg, Noah
Place: New York
Publisher: W. W. Norton & Company, Inc.
PubDate: 2017
PhysDes: 334 pages : illustrated ; 25 cm
Subject: POLITICS IN FILMS; CASABLANCA (US, Michael Curtiz, 1942); NIGHT IN CASABLANCA, A (US, Archie L. Mayo, 1946)
Summary: For the 75th anniversary of its premiere—the incredible story of how Casablanca was made and why it remains the most beloved of Hollywood films. Casablanca was first released in 1942, just two weeks after the city of Casablanca itself surrendered to American troops led by General Patton. Featuring a pitch-perfect screenplay, a classic soundtrack, and unforgettable performances by Humphrey Bogart, Ingrid Bergman, and a deep supporting cast, Casablanca was hailed in the New York Times as “a picture that makes the spine tingle and the heart take a leap.” The film won Oscars for best picture, best director, and best screenplay, and would go on to enjoy more revival screenings than any other movie in history. It became so firmly ensconced in the cultural imagination that, as Umberto Eco once said, Casablanca is “not one movie; it is ‘movies.’ ” We’ll Always Have Casablanca is celebrated film historian Noah Isenberg’s rich account of this most beloved movie’s origins. Through extensive research and interviews with filmmakers, film critics, family members of the cast and crew, and diehard fans, Isenberg reveals the myths and realities behind Casablanca’s production, exploring the transformation of the unproduced stage play into the classic screenplay, the controversial casting decisions, the battles with Production Code censors, and the effect of the war’s progress on the movie’s reception. Isenberg particularly focuses on the central role refugees from Hitler’s Europe played in the production (nearly all of the actors and actresses cast in Casablanca were immigrants). Finally, Isenberg turns to Casablanca’s long afterlife and the reasons it remains so revered. From the Marx Brothers’ 1946 spoof hit, A Night in Casablanca, to loving parodies in New Yorker cartoons, Saturday Night Live skits, and Simpsons episodes, Isenberg delves into the ways the movie has lodged itself in the American psyche. Filled with fresh insights into Casablanca’s creation, production, and legacy, We’ll Always Have Casablanca is a magnificent account of what made the movie so popular and why it continues to dazzle audiences seventy-five years after its release. -- publisher's web site
ISBN: 9780393243123