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RED ROAD : (UK/DK, Andrea Arnold, 2006)
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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: 45:93HISAuthor: Film and History Associationof Australia and New Zealand Conference (14th : 2008 : Dunedin, NZ) Source: NZPlace: Dunedin, NZPublisher: University of Otago - Department of Media, Film & CommunicationPubDate: 2008PhysDes: v, 223 p. ; 21 cmSubject: 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 communitiesNotes: "27-30 November 2008"- cover includes bibliographical reference and indexISBN: 9780473138899; 9780473148867Contents: 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
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Scotland : global cinema : genres, modes and identities / David Martin-Jones Edinburgh: Edinburgh University Press, c2010.
Call No: 71(411) MARAuthor: Martin-Jones, David Source: UKPlace: EdinburghPublisher: Edinburgh University PressPubDate: c2010PhysDes: ix, 254 p. : ill., ports. ; 24 cmSubject: UNITED KINGDOM : SCOTLAND ; SCOTLAND IN FILMS ; LOCATION SHOOTING. SCOTLAND ; LANDSCAPES IN FILMS. SCOTLAND ; AE FOND KISS (UK, Ken Loach, 2004) ; AMERICAN COUSINS (UK, Don Coutts, 2003) ; BEAUTIFUL CREATURES (UK, Bill Eagles, 2000) ; CARLA'S SONG (UK/GG/SP, Kenneth Loach, 1996) ; DANNY THE DOG (FR/UK/US, Louis Leterrier, 2004) ; UNLEASHED (FR/UK/US, Louis Leterrier, 2004) ; DOG SOLDIERS (UK/LU, Neil Marshall, 2001) ; FESTIVAL (UK, Annie Griffin, 2005) ; GOVERNESS, THE (US, Sandra Goldbacher, 1998) ; GREGORY'S TWO GIRLS (UK/GG, Bill Forsyth, 1999) ; KANDUKONDIAN KANDUKONDAIN (II, Rajiv Menon, 2000) ; KUCH KUCH HOTA HAI (II, Karan Johar, 1998) ; LOCH NESS (UK, John Henderson, 1996) ; NINA'S HEAVENLY DELIGHTS (UK, Pratibha Parmar, 2006) ; PYAAR ISHQ AUR MOHABBAT (II, Rajiv Raj, 2001) ; RED ROAD (UK/DK, Andrea Arnold, 2006) ; SECRET OF THE LOCH, THE (UK, Milton Rosmer, 1934) ; SOFT TOP HARD SHOULDER (UK, Stefan Schwartz, 1993) ; TICKETS (UK/IT/IR, Abbas Kiarostomi/Ken Loach/Ermanno Olmi, 2005) ; WATER HORSE: LEGEND OF THE DEEP, THE (US/UK, Jay Russell, 2007) ; WILD COUNTRY (UK, Craig Strachan, 2005) ; WOMEN TALKING DIRTY (US, Coky Giedroyc, 1999) ; YOUNG ADAM (UK/FR, David Mackenzie, 2003) Summary: 'Scotland: Global cinema is the first book to focus on the explosion of filmmaking in Scotland in the 1990s and 2000s. It explores the various cinematic fantasies of Scotland created by contemporary filmmkers from all over the world - including Scotland, England, France, the United States, and India who braved the weather to shoot in Scotland.
This book provides analysis of ten different genres and modes prevalent in the 1990s/2000s: the comedy, road movie, Bollywood extravaganza, (Loch Ness) monster movie, horror film, costume drama, gangster flick, social realist melodrama, female friendship/US indie movie, and art cinema.' - TAKEN FROM BACK COVERISBN: 9780748633920Donation: donated by Senses of Cinema, 2013Contents: 1. Comedy: Global/Local Identities / Gregory's Two Girls (1999), Festival (2005) -- 2. Road Movie: Scotland in the World / Soft Top, Hard Shoulder (1993), Carla's Song (1996), Tickets (2005) -- 3. Bollywood: Non-Resident Indian-Scotland / Kuch Kuch Hota Hai (1998), Kandukondain Kandukondain (2000), Pyaar Ishq aur Mohabbat (2001), Nina's Heavenly Delights (2006) -- 4. (Loch Ness) Monster Movie: A Return to Primal Scotland / The Secret of the Loch (1934), Loch Ness (1996), The Water Horse (2007) -- 5. Horror Film: History Hydes in the Highlands / Dog Soldiers (2002), Wild Country (2005) -- 6. Costume Drama: From Men in Kilts to Developing Diasporas / The Governess (1998), 7. Gangster Film: Glasgow's Transnational Identities / American Cousins (2003), Danny the Dog (2005) -- 8. Social Realist Melodrama: Middle-class Minorities and Floundering Fathers / Ae Fond Kiss (2004), On a Clear Day (2005) -- 9. Female Friendship/US Indie: Women Talking / Women Talking Dirty (1999), Beautiful Creatures (2000) -- 10. Art Cinema: The Global Limits of Cinematic Scotland / Red Road (2006), Young Adam (2003)
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Spaces of women's cinema : space, place and genre in contemporary women's filmmaking / Sue Thornham London: Bloomsbury on behalf of the British Film Institute,
Call No: 631.2-02 THOAuthor: Thornham, Sue CorpAuthor: 2019Edition: 2019Place: LondonPublisher: Bloomsbury on behalf of the British Film InstitutePhysDes: x, 226 pages : index ; 24 cmSubject: WOMEN FILMMAKERS ; AMOUR FOU (AU/LX/GG, Jessica Hausner, 2015) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; BALLAD OF LITTLE JO, THE (US, Maggie Greenwald, 1993) ; BLUE STEEL (US, Kathryn Bigelow, 1989) ; CHAOS (FR, Coline Serreau, 2001) ; DAUGHTERS OF THE DUST (US, Julie Dash, 1991) ; FALLING, THE (UK, Carol Morley, 2014) ; MEEK'S CUTOFF (US, Kelly Reichardt, 2011) ; MRS DALLOWAY (US, Marleen Gorris, 1997) ; RED ROAD (UK/DK, Andrea Arnold, 2006) ; WHITE MATERIAL (FR/CM, Claire Denis, 2009) ; WINTER'S BONE (US, Debra Granik, 2010) Summary: Sue Thornham explores issues of space, place, time and gender in feminist filmmaking through an examination of a wide range of films by contemporary women filmmakers, ranging from the avant-garde to mainstream Hollywood. Beginning from questions about space itself and the way it has been gendered, she asks how representation functions in relation to space and time, and how this, too, is gendered, before moving to an exploration of how such questions might be considered in relation to women's filmmaking. In sections dealing with spaces from wilderness to city, she analyses in detail how these issues have been dealt with by women filmmakers, addressing the work of filmmakers such as Jane Campion, Kathryn Bigelow, Julie Dash, Maggie Greenwald, Patricia Rozema and Carol Morley, and films including 'An Angel at My Table' (1990), 'Daughters of the Dust' (1991) 'The Ballad of Little Jo' (1993), 'Winter's Bone' (2010), 'Zero Dark Thirty' (2012) and 'The Falling' (2014). -- publisher's web siteISBN: 9781844579112Contents: list of figures -- acknowledgments -- Introduction: Space and Women's Cinema -- 1. Wilderness Spaces -- 2. City Spaces -- 3. Interior Spaces -- 4. Border Spaces -- 5. Doubled Spaces: the Landscapes of Adaptation -- Bibliography --- filmography -- index
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