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Fear eats the soul : Angst essen seele auf / Laura Cottingham London UK: British Film Institute, 2005.
Call No: 79ANG COTAuthor: Cottingham, Laura Edition: 1st ed.Source: UKPlace: London UKPublisher: British Film InstitutePubDate: 2005PhysDes: 86 p. : col, b&w, ill. ; 19 cmSeries: BFI film classicsSubject: RACIAL ISSUES IN FILMS ; RACIAL ISSUES AND THE CINEMA ; HUMAN RELATIONS IN FILMS ; MARRIAGE IN FILMS ; REALISM IN FILMS ; GERMAN FEDERAL REPUBLIC ; SEXUALITY AND THE CINEMA ; HOMOSEXUALITY AND THE CINEMA ; FEMINISM AND THE CINEMA ; WOMEN IN FILMS ; FALLEN WOMEN IN FILMS ; BIOGRAPHICAL FILMS ; DRUGS IN FILMS ; FASSBINDER, RAINER WERNER ; WARHOL, ANDY ; SIRK, DOUGLAS ; RIEFENSTAHL, LENI ; ALL THAT HEAVEN ALLOWS (US, Douglas Sirk, 1955) ; WRITTEN ON THE WIND (US, Douglas Sirk, 1956) ; EHE DER MARIA BRAUN, DIE (GW, Rainer Werner Fassbinber, 1979) ; BERLIN ALEXANDERPLATZ (GW/IT, Rainer Werner Fassbinder, 1980) ; QUERELLE (GW/FR, Rainer Werner Fassbinder, 1982) ; FAUSTRECHT DER FREIHEIT (GW, Rainer Werner Fassbinder, 1975) ; BITTEREN TRANEN DER PETRA VON KANT, DIE (GW, Rainer Werner Fassbinder, 1972) Summary: Set in Munich in the 1970s, Fear Eats the Soul melds the convention of melodrama with a radical sensibility in order to present a portrait of racism and everyday hypocrisy in post-war Germany. Laura Cottingham celebrates Fassbinder’s achievement, placing Fear Eats the Soul in relation to his extraordinary prolific career in theatre, film and television. Her analysis pulls back the thin curtain that separated his work from his tumultuous life. [Taken from back cover].Notes: includes film creditsISBN: 1844570711
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Funny Frames : the filmic concepts of Michael Haneke / by Oliver C. Speck New York : London: Continuum, 2010.
Call No: 81HAN SPEAuthor: Speck, Oliver C. Source: US/UKPlace: New York : LondonPublisher: ContinuumPubDate: 2010PhysDes: viii, 260 p. : ill. ; 24 cmSubject: THEORY ; VIOLENCE IN FILMS ; RACIAL ISSUES IN FILMS ; HANEKE, MICHAEL ; BENNY'S VIDEO (AU/SZ, Michael Haneke, 1992) ; FUNNY GAMES (AT, Michael Haneke, 1997) ; PIANO TEACHER, THE (AU/FR, Michael Haneke, 2001)
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PIANISTE, LA ; PIANO TEACHER, THE [PIANISTE, LA] (AU/FR, Michael Haneke, 2001) ; TIME OF THE WOLF, THE (FR/AU/GG, Michael Hanaeke, 2003)
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TEMPS DU LOUP, LE ; TEMPS DU LOUP, LE (FR/AU/GG, Michael Hanaeke, 2003) ; CACHE (FR/AU/GG/IT, Michael Haneke, 2005) ; WHITE RIBBON, THE (AU/G/FR/IT, Michael Haneke, 2009)
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DAS WEISSE BAND - EINE DEUTSCHE KINDERGESCHICHTE ; WEISSE BAND, DAS - EINE DEUTSCHE KINDERGESCHICHTE (AU/G/FR/IT, Michael Haneke, 2009) Summary: "Taking its cues from the cinematic innovation of the controversial Austrian-born director Michael Haneke, Funny Frames explores how a polical thinking manifests itself in his work. Funny Frames does justice to the intelligence of Haneke films by exploring the permanent adjustment of the frame of reference in these films: the moment when the "looking at" of the viewer is suddenly revealed to be the "looking with" the perspective of a character. The book is divided into two parts. In the first, Oliver C. Speck explores some of Haneke's Deleuzian traits - showing how the theoretical concepts of the virtual, of filmic space and of realism can be useful tools for unlocking the problems that Haneke formulates and solves through filmic means. In the second, Speck discusses a range of topics that appear in all of Haneke's films but that haven't, until now, been fully noticed or analyzed. These chapters demonstrate how Haneke plays the role of "diagnostician of culture," how he reads - for example - madness, suicide and childhood. Like several other contemporary European directors, Haneke addresses topics considered difficult when measures by the standards of commerical cinema: the traumatic effects of violence, racism, and alienation. Funny Frames is an incisive and original contribution to the growing scholarship on one of the most intriguing auteurs of our time. " -- BOOK BLURBNotes: Formerly CIP; Includes bibliographical references and indexISBN: 9781441192851Donation: Donated by Senses of Cinema, 2013Contents: acknowledgments -- photo credits -- Introduction: framing Haneke -- The conceptual frame of reference -- shifting frames -- the frames of narratology -- the truth of the perspective -- anti-cinema and the viewer-- a cinema of cruelty -- A movement through Haneke's oeuvre -- films for television -- Fraulein - ein deutsches Melodram / Fraulein -- Der siebente Kontinent / The Seventh Continent -- Benny's Video -- 71 Fragmente einer Chronologie des Zufalls / 71 Fragments of a Chronology of Chance -- Funny Games and Funny Games U.S -- La Pianiste / The Piano Teacher -- Le temps du loup / The Time of the Wolf -- Code inconnu: Recit incomplet de divers voyages / Code Unknown -- Cache -- Das weibe Band: Eine deutsche Kindergeschichte / The White Ribbon -- A marriage of past and present : the overcoming of Fassbinder -- genre and self-reflexivity: dialogue with past images -- framing and re-framing -- quoting from collective memory -- virtual decisions -- Thinking the event : the virtual in Michael Haneke -- A new order: the method of madness -- Self/aggression: violence in films by Michael Haneke -- suicide and politics -- a state of exception -- auto-aggression -- the paradox of the witness -- The moral of the long take -- The funny frame -- Plot reviews -- Drei Wege zum See / Three paths to the lake -- Lemminge, Teil 1 Arkadien / Lemmings, Part 1 Arcadia and Lemminge, Teil 2 Verletzungen / Lemmings, Part 2 Injuries -- variation -- Wer war Edgar Allan ? / Who was Edgar Allan? -- Fraulein : Ein deutsches Melodram / Fraulein -- Der siebente Kontinent / The Seventh Continent -- Benny's video -- Die Rebellion / Rebellion -- 71 Fragmente einer Chronologie des Zufalls / 71 Fragments of a Chronology of Chance -- Funny Games and Funny Games U.S. -- Lumiere et compagnie / Lumiere and Company -- Das SchloB nach Franz Kafka / The Castle -- Code inconnu: Recit incomplet de divers voyages / Code Unknown -- La Pianiste / The Piano Teacher -- Le temps du loup / The Time of the Wolf -- Cache / Hidden -- Das weiBe Band : Eine deutsche Kindergeschichte / The White Ribbon -- notes -- bibliography -- index --
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Genre, gender, race and world cinema : an anthology / Edited by Julie F. Codell Malden, Massachusetts: Blackwell Publishing, 2006.
Call No: 62(082) GENAuthor: Codell, Julie F. Source: USPlace: Malden, MassachusettsPublisher: Blackwell PublishingPubDate: 2006PhysDes: ix, 474 pages ; 25 cmSubject: BOLLYWOOD ; CULTURE AND THE CINEMA ; CULTURAL IMPERIALISM ; FILM NOIR ; GENDER AND THE CINEMA ; GENRES ; WORLD CINEMA ; GLOBALISATION ; RACIAL ISSUES AND THE CINEMA ; IDENTITY IN FILMS ; IDEOLOGY AND THE CINEMA ; IRAN ; MELODRAMA ; NATIONAL CULTURE AND THE CINEMA ; NATIONAL IDENTITY AND THE CINEMA ; RACIAL ISSUES AND THE CINEMA ; RACIAL ISSUES IN FILMS ; ETHNIC GROUPS IN FILMS ; WORLD CINEMA ; KAIGE, CHEN ; NAIR, MIRA ; CRYING GAME, THE (UK, Neil Jordan, 1992) ; FIGHT CLUB (US, David Fincher, 1999) ; HSI YEN (TZ, Ang Lee, 1993) ; INDIAN IN THE CUPBOARD, THE (US, Frank Oz, 1995) ; ORLANDO (UK/RU/FR/NE, Sally Potter, 1992) ; POCAHONTAS (US, Mike Gabriel & Eric Goldberg, 1995) ; SMOKE SIGNALS (US, Chris Eyre, 1998) ; ALL ABOUT MY MOTHER (SP/FR, Pedro Almodovar, 1999)
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TODO SOBRE MI MADRE ; TODO SOBRE MI MADRE (SP/FR, Pedro Almodovar, 1999) ; TRAFFIC (US, Steven Soderbergh, 2000) Summary: "a collection of essays that introduces the study of film theory through contemporay issues...Using four topics- genre, gender, race, and 'third cinema' - the book encourages critical discussions of films by students with a beginner's knowledge of film history. American, Asian, European and African cinema are all included."ISBN: 1405132337Contents: Preface -- General introduction: film and identities --; Part I Genres: ever-changing hybrids -- Introduction and further reading -- Conclusion: a semantic/syntactic/pragmatic approach to genre: Rick Altman -- Film bodies: gender, genre, and excess: Linda Williams -- The body and Spain: Pedro Almodovar's 'All About My Mother': Ernesto R. Acevedo-Munoz -- Enjoy your fight! - 'Fight Club' as a symptom of the network society: Bulent Diken and Carsten Bagge Laustsen -- Film and changing technologies: Laura Kipnis -- Postmodern cinema and Hollywood culture in an age of corporate colonization: Carl Boggs and Tom Pollard --; Part II Genders: more than two -- Introduction and further reading -- Mobile identities, digital stars, and post cinematic selves: Mary Flanagan -- "Nothing is as it seems": re-viewing 'The Crying Game': Lola Young -- Crying over the melodramatic penis: melodrama and male nudity in the films of the 90s: Peter Lehman -- Travels with Sally Potter's 'Orlando': gender, narrative, movement: Julianne Pidduck -- Body matters: the politics of provocation in Mira Nair's films: Alpana Sharma -- Cowgirl Tales: Yvonne Tasker --; Part III Race: stereotypes and multiple realisms -- Introduction and further reading -- The family changes colour: interracial families in contemporary Hollywood cinema: Nicola Evans -- Black on white: film noir and the epistemology of race in recent African American cinema: Dan Flory -- Becoming Asian American: Chan is missing: Peter X. Feng -- 'The Wedding Banquet': global Chinese cinema and the Asian American experience: Gina Marchetti -- Another fine example of the oral tradition? Identification and subversion in Sherman Alexie's 'Smoke Signals': Jhon Warren Gilroy -- Playing Indian in the nineties: 'Pocahontas' and 'The Indian in the Cupboard': Pauline Turner Strong -- "You are alright, but..." Individual and collective representations of Mexicans, Latinos, Anglo-Americans and African-Americans in Steven Soderbergh's 'Traffic': Deborah Shaw --; Part IV World cinema: joining local and global -- Introduction and further reading -- Theorizing "third-world" film spectatorship: the case of Iran and Iranian cinema: Hamid Naficy -- The open image: poetic realism and the new Iranian cinema: Shohini Chaudhuri and Howard Finn -- The seductions of homecoming: place, authenticity and Chen Kaige's 'Temptress Moon': Rey Chow -- Cultural identity and diaspora in contemporary Hong Kong cinema: Julian Stringer -- "And yet my heart is still Indian": the Bombay film industry and the (H)indianization of Hollywood: Tejaswini Ganti -- Future past: integrating orality into Francophone West African film: Melissa Thackway -- Acknowledgements
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The Hollywood social problem film : madness, despair, and politics from the Depression to the fifties / Peter Roffman and Jim Purdy Bloomington: Indiana University Press, 1981.
Call No: 744 ROFAuthor: Roffman, Peter, 1950 ; Purdy, Jim, Place: BloomingtonPublisher: Indiana University PressPubDate: 1981PhysDes: x, 364 p., [5] leaves of plates : ill. ; 25 cmSubject: SOCIAL PROBLEMS IN FILMS. USA ; DEPRESSION IN FILMS ; DRUGS IN FILMS ; MENTAL HEALTH ISSUES IN FILMS ; BAD GUYS ; FASCISM AND THE CINEMA ; FALLEN WOMEN IN FILMS ; DELINQUENTS IN FILMS ; ETHNIC GROUPS IN FILMS. USA ; COMMUNISM AND THE CINEMA. USA ; BLACKLISTING. USA ; JOURNALISTS IN FILMS ; POLITICAL PERSONALITIES IN FILMS ; POPULISM AND THE CINEMA. USA ; RACIAL ISSUES IN FILMS ; RURAL LIFE IN FILMS ; WARNER BROS. ; Metro-Goldwyn-Mayer ; LANG, FRITZ ; BORZAGE, FRANK ; CHAPLIN, CHARLES ; GARFIELD, JOHN ; CAPRA, FRANK ; VIDOR, KING ; BLACK LEGION (US, Archie L. Mayo, 1936) ; CABIN IN THE COTTON, THE (US, Michael Curtiz, 1932) ; DEAD END (US, William Wyler, 1937) ; FORCE OF EVIL (US, Abraham Polonsky, 1948) ; GABRIEL OVER THE WHITE HOUSE (US, Gregory La Cava, 1933) ; STATE'S ATTORNEY (US, George Archainbaud, 1932) ; SULLIVAN'S TRAVELS (US, Preston Sturges, 1942) ; THEY WON'T FORGET (US, Mervyn LeRoy, 1937) ; THREE COMRADES (US, Frank Borzage, 1938) ; GENTLEMAN'S AGREEMENT (US, Elia Kazan, 1947) ; I WAS A COMMUNIST FOR THE F.B.I. (US, Gordon Douglas, 1951) ; LAWLESS, THE (US, Joseph Losey, 1950) ; LAWYER MAN (US, Wilhelm Dieterle, 1932) ; LITTLE MAN, WHAT NOW? (US, Frank Borzage, 1934) ; MASSACRE (US, Alan Crosland, 1933) ; MEET JOHN DOE (US, Frank Capra, 1941) ; MOUTHPIECE, THE (US, James Flood & Elliott Nugent, 1932) ; OUR DAILY BREAD (US, King Vidor, 1934) ; PINKY (US, Elia Kazan, 1949) ; PRESIDENT VANISHES, THE (US, William Wellman, 1934) ; RIFFRAFF (US, J. Walter Ruben, 1936) ; [MISTER] MR DEEDS GOES TO TOWN (US, Frank Capra, 1936) ; [MISTER] MR SMITH GOES TO WASHINGTON (US, Frank Capra, 1939) ; MODERN TIMES (US, Charles Chaplin, 1936) ; MONSIEUR VERDOUX (US, Charles Chaplin, 1947) ; MORTAL STORM, THE (US, Frank Borzage, 1940) ; MY MAN GODFREY (US, Gregory La Cava, 1936) ; ON THE WATERFRONT (US, Elia Kazan, 1954) ; BODY AND SOUL (US, Robert Rossen, 1947) ; GRAPES OF WRATH, THE (US, John Ford, 1940) ; GREAT DICTATOR, THE (US, Charles Chaplin, 1940) ; HEROES FOR SALE (US, William A. Wellman, 1933) ; I AM A FUGITIVE FROM A CHAIN GANG (US, Mervyn LeRoy, 1932) ; IT'S A WONDERFUL LIFE (US, Frank Capra, 1946) ; SALT OF THE EARTH (US, Herbert J. Biberman, 1954) ; YOU ONLY LIVE ONCE (US, Fritz Lang, 1937) Notes: Includes index; Bibliography: p. 319-329; Filmography: p. 331-351ISBN: 0253127076; 0253202612 (pbk.)LON: 1763505
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In darkest Hollywood : exploring the jungles of cinema's South Africa / Peter Davis Randburg: Ravan, 1996.
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In permanent crisis : ethnicity in contemporary European media and cinema / Ipek A. Celik Ann Arbor: University of Michigan Press, 2015.
Call No: 744.6(4) CELAuthor: Celik, Ipek A. Source: USPlace: Ann ArborPublisher: University of Michigan PressPubDate: 2015PhysDes: x, 192 pages ; 24 cmSubject: REFUGEES ; RACIAL ISSUES IN FILMS ; IMMIGRATION IN FILMS AND TELEVISION ; CHILDREN OF MEN (JA/UK/US, Alfonso Cuaron, 2006) ; HEAD-ON [GEGEN DIE WAND] (GG, Fatih Akin, 2004) ; CACHE (FR/AU/GG/IT, Michael Haneke, 2005) ; HOSTAGE [OMIROS] (AA/GR, Constantine Giannaris, 2005) Summary: "Refugees, migrants, and minorities of migrant origin frequently apprear in European mainstream news in emergency situations: victims of human trafficking, suspects of terrorism, "bogus" asylum seekers. Through analysis of work by established filmmakers Michael Haneke, Faith Akin, and Alfonso Cuaron, 'In Permanent Crisis' contemplates the way mess media depictions become invoked by film to frame ethnic and racial Otherness is Europe as adornments of catastrophe." - taken from back coverNotes: Includes bibliographical references (pages 169-186) and indexISBN: 9780472052721Donation: donated by Senses of CinemaContents: Introduction: Mapping the representation of ethnicity in Europe -- Refugees and humanitarianism in a dystopic Europe: Alfonso Cuaro´n's Children of men -- The thrill of French colonial history: Michael Haneke's Hidden -- Balkan borders and transgressions: Constantinos Giannaris's Hostage -- Ethnicity and melodrama in the German media and Fatih Akin's Head-on -- Epilogue: The overarcing trope of victimhood
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Movies as politics / Jonathan Rosenbaum Berkeley, Calif.: University of California Press, 1997.
Call No: 45:32 ROSAuthor: Rosenbaum, Jonathan Place: Berkeley, Calif.Publisher: University of California PressPubDate: 1997PhysDes: xi, 359 p. ; 24 cmSubject: POLITICS AND THE CINEMA ; POLITICAL FILMS ; RACIAL ISSUES IN FILMS ; WELLES, ORSON ; KIESLOWSKI, KRZYSZTOF ; BUNUEL, LUIS ; BRESSON, ROBERT ; TATI, JACQUES ; RAY, NICHOLAS ; ZWIGOFF, TERRY ; ENDFIELD, CY ; HOU HSIAO-HSIEN ; CARAX, LEOS ; AKERMAN, CHANTAL ; ACE VENTURA, PET DETECTIVE (US, Tom Shadyac, 1994) ; HEARTS OF DARKNESS : A FILMMAKERS APOCALYPSE (US, Fax Bahr & George Hinkenlooper, 1991) ; PIANO, THE (AT, Jane Campion, 1993) ; APOCALYPSE NOW (US, Francis Ford Coppola, 1979) ; BITTER MOON (FR/UK, Roman Polanski, 1992) ; NOIRE DE..., LA (SG, Ousmane Sembene, 1965) ; BLOOD IN THE FACE (US, Anne Bohlen, Kevin Rafferty & James Ridgeway, 1991) ; CRUMB (US, Terry Zwigoff, 1994) ; DO THE RIGHT THING (US, Spike Lee, 1989) ; FORREST GUMP (US, Robert Zemeckis, 1994) ; NUIT ET JOUR (FR/BE/SZ, Chantal Akerman, 1991) ; OUT 1 (FR, Jacques Rivette, 1990[prod. 1970]) ; PLOT AGAINST HARRY, THE (US, Michael Roemer, 1989[prod.1969]) ; PUPPET MASTER, THE (US, David Schmoeller, 1989) ; REDS (US, Warren Beatty, 1981) ; SAFE (US, Todd Haynes, 1995) ; SCHINDLER'S LIST (US, Steven Spielberg, 1993) ; SOLARIS (UR, Andrei Tarkovsky, 1972) Notes: Includes bibliographical references and indexISBN: 0520206142 (acid-free paper); 0520206150 (pbk. : alk. paper)Order Received: 1997LON: 96009916; 12700123
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A new deal in entertainment : Warner Brothers in the 1930s / Nick Roddick London: British Film Institute, 1983.
Call No: 19WAR RODAuthor: Roddick, Nick Place: LondonPublisher: British Film InstitutePubDate: 1983PhysDes: viii, 332 p. : ill. ; 22 cmSubject: WARNER BROS. ; CRIME FILMS ; RACIAL ISSUES IN FILMS ; FASCISM AND THE CINEMA ; HISTORICAL FILMS. USA ; EPIC FILMS ; LEROY, MERVYN ; WALLIS, HAL B. ; CURTIZ, MICHAEL ; GIBNEY, SHERIDAN ; CAPTAIN BLOOD (US, Michael Curtiz, 1935) ; CHARGE OF THE LIGHT BRIGADE, THE (US, Michael Curtiz, 1936) ; DOORWAY TO HELL, THE (US, Archie L. Mayo, 1930) ; MOBY DICK (US, Lloyd Bacon, 1930) ; ROARING TWENTIES, THE (US, Raoul Walsh, 1939) ; SERGEANT YORK (US, Howard Hawks, 1941) ; ANTHONY ADVERSE (US, Mervyn LeRoy, 1936) ; BLESSED EVENT (US, Roy del Ruth, 1932) ; G MEN (US, William Keighley, 1935) ; KNUTE ROCKNE - ALL AMERICAN (US, Lloyd Bacon, 1940) ; JUAREZ (US, William Dieterle, 1939) ; LIFE OF EMILE ZOLA, THE (US, William Dieterle, 1937) ; MASSACRE (US, Alan Crosland, 1933) ; PUBLIC ENEMY, THE (US, William Wellmen, 1931) ; SEA WOLF, THE (US, Michael Curtiz, 1941) ; ANGELS WITH DIRTY FACES (US, Michael Curtiz, 1938) ; BLACK FURY (US, Michael Curtiz, 1934) ; BLACK LEGION (US, Archie L. Mayo, 1936) ; CONFESSIONS OF A NAZI SPY (US, Anatole Litvak, 1939) ; DISRAELI (US, Alfred E. Green, 1929) ; I AM A FUGITIVE FROM A CHAIN GANG (US, Mervyn LeRoy, 1932) Notes: Includes index; Bibliography: p. 320-326ISBN: 0851701256 : ª11.95; 0851701264 (pbk.) : ª6.95LON: 2656181
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Race daze : Australia in identity crisis / Jon Stratton Annandale, NSW: Pluto Press, 1998.
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