Search Catalogue

Call No: 81EDW LUH
Author: Lehman, Peter
Source: US
Place: Athens: Ohio
Publisher: Ohio University Press
PubDate: c1981
PhysDes: 268p. : ill., ports. ; 24 cm
Subject: EDWARDS, BLAKE; PINK PANTHER, THE (US, Blake Edwards, 1964); SHOT IN THE DARK, A (UK, Blake Edwards, 1964); TRAIL OF THE PINK PANTHER (UK, Blake Edwards, 1982); REVENGE OF THE PINK PANTHER (UK, Blake Edwards, 1978); SELLERS, PETER; PSYCHOANALYSIS AND THE CINEMA
Notes: Includes index. Filmography: v.1 p. 267-283, Bibliography: v.1 p. 263-265,.
ISBN: 0821406167
Language: English

Call No: 220.1(-5) KEA
Author: Keane, Stephen
Source: US/UK
Place: New York; Basingstoke [England]
Publisher: Palgrave Macmillan
PubDate: 2007
PhysDes: viii, 181 pages ; 22 cm
Subject: TIMECODE (US, Mike Figgis, 2000); MY LITTLE EYE (UK/US/FR, Marc Evans, 2003); [TWENTY-EIGHT] 28 DAYS LATER (UK/US, Danny Boyle, 2002); STAR WARS: EPISODE II - THE ATTACK OF THE CLONES (US, George Lucas, 2002); LORD OF THE RINGS: THE TWO TOWERS, THE (US, Peter Jackson, 2002); STAR WARS: EPISODE III - REVENGE OF THE SITH (US, George Lucas, 2005); SIN CITY (US, Frank Miller and Robert Rodriguez, 2005); RESIDENT EVIL (US, Paul W.S. Anderson, 2002); MATRIX, THE [...] (US, Larry Wachowski & Andy Wachowski, 1999-2003); FANS; TECHNOLOGICAL DEVELOPMENTS; INTERNET; CONVERGENCE
Summary: What does it mean to regard cinema as technology? How do special effects change our experience of contemporary film? How important is the Internet to the film industry and film fans? CineTech explores these debates and examines the important intersection between film and new media. Providing a comprehensive introduction to the digital practices used in film, this book moves from historical perspectives to up-to-date analysis. Applying these debates through specific case studies, examples are drawn from recent Hollywood blockbusters such as the Star Wars prequels and the Matrix trilogy. Case studies, exercises, and suggestions for further study make this an ideal resource for courses and student assignments in both film and media studies.
Notes: Includes bibliographical references (p. 162-176) and index.
ISBN: 9781403936943
Contents: 1. Screens -- 2. Digital film -- 3. Digital special effects -- 4. Films, fans and the Internet -- 5. Films and videogames -- 6. Entering the matrix -- Conclusion.

Author: Gutmann, Peter
PhysDes: Article
Subject: FOOL'S REVENGE, A (D. W. Griffith, 1929)
Summary: Ill.

Call No: DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: DO REVENGE (US, Jennifer Kaytin Robinson, 2022)

Call No: TITLE CLIPPINGS FILE
PhysDes: Publicity
Subject: FATHER'S REVENGE, A [TV] (US, John Herzfeld, 1988)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: GAMERA 3: REVENGE OF THE IRIS [GAMERA 3: IRIS KAKUSEI] (JA, Shusuke Kaneko, 1999)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: HALLOWEEN 5: THE REVENGE OF MICHAEL MYERS (US, Dominique Othenin-Girard, 1989)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: HISSATSU 4: URAMI HARASHIMASU (JA, Fukasaku Kinji, 1987); SURE DEATH REVENGE (JA, Fukasaku Kinji, 1987)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: JAWS THE REVENGE (US, Joseph Sargent, 1987)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Posters; Press kit; Publicity
Subject: LUST AND REVENGE (AT, Paul Cox, 1996)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: REVENGE ARTIST, THE [MFA] (US, Natalie Leite, 2017)

Call No: 81 BAY KOE
Author: Koepnick, Lutz P. (Lutz Peter), (author.)
Source: US
Place: Urbana, Illinois
Publisher: University of Illinois Press
PubDate: c2018
PhysDes: 192 pages : illustrations ; 21 cm
Series: Contemporary Film Directors
Subject: BAY, MICHAEL; ACTION FILMS; BAD BOYS (US, Michael Bay, 1995); ROCK, THE (US, Michael Bay, 1996); ARMAGEDDON (US, Michael Bay, 1998); PEARL HARBOR (US, Michael Bay, 2001); BAD BOYS II (US, Michael Bay, 2003); ISLAND, THE (US, Michael Bay, 2005); TRANSFORMERS (US, Michael Bay, 2007); TRANSFORMERS: REVENGE OF THE FALLEN (AT, Michael Bay, 2009); TRANSFORMERS: DARK OF THE MOON (US, Michael Bay, 2011); PAIN & GAIN (US, Michael Bay, 2013); TRANSFORMERS: AGE OF EXTINCTION (US/C, Michael Bay, 2014); [THIRTEEN] 13 HOURS (US, Michael Bay, 2016); TRANSFORMERS: THE LAST KNIGHT (US/C/CN, Michael Bay, 2017)
Summary: "If size counts for anything, Michael Bay towers over his contemporaries. His ability to mastermind breathtaking spectacles of action, mayhem, and special effects continually pushes the movie industry as much as the medium of film toward new frontiers. Lutz Koepnick engages the bigness of works like Armageddon and the Transformers movies to explore essential questions of contemporary filmmaking and culture. Combining close analysis and theoretical reflection, Koepnick shows how Bay's film, knowingly or not, address profound issues about what it means to live in the late twentieth and early twenty-first centuries. According to Koepnick's astute readings, no one eager to understand the state of cinema today can ignore Bay's work. Bay's cinema of world-making and transnational reach not only exemplifies interlocking processes of cultural and economic globalization, it urges us to contemplate the future of moving images, of memory, matter, community, and experience, amid a time of rampant political populism and ever-accelerating technological change." -- BOOK BLURB
Notes: Includes bibliographical references and index Includes filmography
ISBN: 9780252083204
Donation: Senses of Cinema
Contents: World Cinema in the Age of Populism -- Cinema -- Action -- Time -- Matter -- Sound -- Politics -- Interviews -- Filmography -- Bibliography -- Index.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: NIGHTMARE ON ELM STREET, PART 2: FREDDY'S REVENGE, A (US, Jack Sholder, 1985)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: PORKY'S REVENGE (CN, James Komack, 1985)

Call No: 744.7 CRE
Author: Creed, Barbara
Edition: 2022
Place: New York
Publisher: Routledge
PubDate: 2022
PhysDes: x, 168 pages
Subject: FEMINISM AND THE CINEMA; HORROR FILMS; BABADOOK , THE (AT, Jennifer Kent, 2014); HANDMAID'S TALE, THE [TV] (US, 2017 - ); PROMISING YOUNG WOMAN, A (UK/US, Emerald Fennell, 2020); REVENGE (FR, Coralie Fargeat, 2017); NIGHTINGALE, THE (AT, Jennifer Kent, 2017); NOMADLAND (US/GG, Chloé Zhao, 2020); CAROL (UK/US/FR, Todd Haynes, 2015); ASSISTANT, THE (US, Kitty Green, 2019); GIRL WALKS HOME ALONE AT NIGHT, A ( US, Ana Lily Amirpour, 2014); UNDER THE SKIN (UK/US/SZ, Jonathan Glazer, 2013); JENNIFER'S BODY (US, Karyn Kusama, 2009); LURE, THE [CORKI DANCINGU] (PL, Agnieszka Smoczynska, 2015); THELMA (NO/FR/DK/SW, Joachim Trier, 2017); RAW [GRAVE] (FR/BE, Julia Ducournau, 2016); BEAU TRAVAIL [TROUBLE EVERY DAY] (FR/GG/JA, Claire Denis, 1999); IN MY SKIN [DANS MA PEAU] (FR, Marina de Van, 2002); SPOOR [POKOT] (PL/GG/CZ/SW/SO, Agnieszka Holland & Kasia Adamik, 2017); WOMAN AT WAR (IC/FR/UE, Benedikt Erlingsson, 2018); MAD MAX: FURY ROAD (AT/US, George Miller, 2015)
Summary: This follow-up to the classic text of The Monstrous-Feminine analyses those contemporary films which explore social justice issues such as women’s equality, violence against women, queer relationships, race and the plight of the planet and its multi-species. Examining a new movement – termed by Creed as Feminist New Wave Cinema – The Return of the Monstrous-Feminine explores a significant change that has occurred over the past two decades in the representation of the monstrous-feminine in visual discourse. The Monstrous-Feminine is a figure in revolt on a journey through the dark night of abjection. Taking particular interest in women directors who create the figure of the Monstrous-Feminine, in cinema that foregrounds everyday horrors in addition to classic horror, Creed looks at a range of diverse films including The Babadook, A Girl Walks Home Alone at Night, Nomadland, Carol, Raw, Revenge, and the television series The Handmaid’s Tale. These films center on different forms of revolt, from inner revolt to social, supernatural and violent revolt, which appear in Feminist New Wave Cinema. These relate in the main to the emergence of a range of social protest movements that have gathered momentum in the new millennium and given voice to new theoretical and critical discourses. These include: third and fourth wave feminism, the #MeToo movement, queer theory, race theory, the critique of anthropocentrism and human animal theory. These theoretical discourses have played a key role in influencing Feminist New Wave Cinema whose films are distinctive, stylish and diverse. This is an essential companion to the original classic text and is ideal for students in Gender and Media, Gender and Horror, Gender and Film and Feminist Film theory courses. -- publisher's web site
ISBN: 9780367478162
Contents: Introduction: The Monstrous-Feminine In Feminist New Wave Cinema -- The Monstrous Mother As Magician: The Babadook -- Unwomen: Dare To Revolt – The Handmaid’s Tale, Film & Tv Series -- #Metoo: Rape & Revolt: Promising Young Woman, Revenge, The Nightingale. -- The Monstrous-Feminine Forgets Her Manners: Nomadland, Carol, The Assistant -- Vampires, Feminism & Ethnicity: A Girl Walks Home Alone At Night -- The Monstrous-Feminine As Femme Fatale, Alien & Black: Under The Skin -- Queering The Monstrous-Feminine: Jennifer’s Body, The Lure, Thelma -- Female Cannibalism & Eating The Other: Raw, Trouble Everyday, In My Skin -- Furiosa: Eco-Horror & The Woman Warrior: Spoor, Woman At War, Mad Max: Fury Road – Filmography -- Index

Call No: 81EDW LUH
Author: Lehman, Peter
Source: US
Place: Athens: Ohio
Publisher: Ohio University Press
PubDate: c1989
PhysDes: 268p. : ill., ports. ; 24 cm
Subject: EDWARDS, BLAKE; S.O.B. (US, Blake Edwards, 1981); VICTOR/VICTORIA (UK, Blake Edwards, 1982); PINK PANTHER, THE (US, Blake Edwards, 1964); SHOT IN THE DARK, A (UK, Blake Edwards, 1964); MAN WHO LOVED WOMEN, THE (US, Blake Edwards, 1983); TRAIL OF THE PINK PANTHER (UK, Blake Edwards, 1982); MICKI AND MAUDE (US, Blake Edwards, 1984); REVENGE OF THE PINK PANTHER (UK, Blake Edwards, 1978)
Notes: Includes index. Filmography: v.2 p. 253-260. Bibliography: v.2 p. 249-251.
ISBN: 0821409182
Language: English

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Clippings
Subject: REVENGE (US, Tony Scott, 1990)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: REVENGE (FR, Coralie Fargeat, 2017)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: REVENGE INC. (AT, Daniel Einfeld & Sam de Brito, 1998)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: REVENGE OF THE NERDS (US, Jeff Kanew, 1984)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: REVENGE OF THE NERDS II: NERDS IN PARADISE (US, Joe Roth, 1987)

Call No: TITLE CLIPPINGS FILE
PhysDes: Publicity; Stills; Clippings
Subject: REVENGE OF THE NERDS III: THE NEXT GENERATION (US, Roland Mesa, 1992)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: REVENGE OF THE NINJA (US, Sam Firstenberg, 1983)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: REVENGE OF THE PINK PANTHER (UK, Blake Edwards, 1978)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: REVENGE OF THE RED BALLOON, THE (US, Gregg Rossen, 2000)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: REVENGE [TY] (US, 2011)

Call No: 81EDW WAS
Author: Wasson, Sam
Source: US
Place: Middletown, Connecticut
Publisher: Wesleyan University Press
PubDate: 2009
PhysDes: xii, 353 p. : ill. ; 24 cm
Subject: EDWARDS, BLAKE; CRITICISM; BLIND DATE (US, Blake Edwards, 1987); BREAKFAST AT TIFFANY'S (US, Blake Edwards, 1961); CAREY TREATMENT, THE (US, Blake Edwards, 1972); CURSE OF THE PINK PANTHER (US, Blake Edwards, 1983); FINE MESS, A (US, Blake Edwards, 1986); GREAT RACE, THE (US, Blake Edwards, 1965); MAN WHO LOVED WOMEN, THE (US, Blake Edwards, 1983); MICKI AND MAUDE (US, Blake Edwards, 1984); PARTY, THE (US, Blake Edwards, 1968); PINK PANTHER, THE (US, Blake Edwards, 1964); REVENGE OF THE PINK PANTHER (UK, Blake Edwards, 1978); SHOT IN THE DARK, A (UK, Blake Edwards, 1964); SKIN DEEP (US, Blake Edwards, 1989); S.O.B. (US, Blake Edwards, 1981); SON OF THE PINK PANTHER (US, Blake Edwards, 1993); SUNSET (US, Blake Edwards, 1988); SWITCH (US, Blake Edwards, 1991); TRAIL OF THE PINK PANTHER (UK, Blake Edwards, 1982); VICTOR/VICTORIA (UK, Blake Edwards, 1982)
Summary: "With one of the longest and most controversial careers in Hollywood history, it's about time for Blake Edwards, a director of raving chutzpuh, to take hist seat at the table of greats. His rambunctious filmography remains an artistic force on par with Hollywood's greatest comic directors: Chaplin, Lubitsch, Sturges, and Wilder. Like Wilder, Edward's propensity for hilarity is double-helixed with pain, and in films like Breakfast at Tiffany's, The Pink Panther, and even days of Wine and Roses, we can hear him off-screen, laughing in the dark. And yet, despite those enormous successes, he was at one time considered a Hollywood villain. After his marriage to Julie Andrews, Edwards's Darling Lili nearly sunk both of them and brought Paramount Pictures to its knees. Almost overnight, Blake became an industry pariah, which ironically fortified his sense of satire, and allowed him to simultaneously fight the Hollywood tide as he rode it. Employing keen visual analysis, meticulous research, and troves of interviews and production files, Sam Wasson delivers the first complete account of one of the maddest figures Hollywood has ever known." - BOOK JACKET
Notes: Includes filmography.; Includes bibliographical references and index.
ISBN: 9780819569158
Donation: Donated by Senses Of Cinema, 2009
Contents: Prologue: Breaking in, 1922-1955 -- Blake begins, 1955-1959 -- Blake builds, 1959-1962 -- Blake blossoms, 1963-1968 -- Blake burns, 1968-1974 -- Panther pictures (Blake banks) -- Blake booms, 1979-1982 -- Blake breaks, 1983-1988 -- Blake bows, 1988-1991 -- Epilogue: Making out, October 24, 1993.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit; CD-Rom press kit
Subject: STAR WARS: EPISODE III - REVENGE OF THE SITH (US, George Lucas, 2005)
ID2: 248

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit; Publicity
Subject: SUCCESS IS THE BEST REVENGE (UK/FR, Jerzy Skolimowski, 1984)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: SWEET REVENGE (US, Mark Sobel, 1987)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: SWEET REVENGE (US, Gordon McLennan, 2001)
Cross Reference: DEAD EVEN (US, Gordon McLennan, 2001) SEE SWEET REVENGE
CrossTag: 1

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: TRANSFORMERS: REVENGE OF THE FALLEN (AT, Michael Bay, 2009)

Call No: TITLE CLIPPINGS FILE
Subject: MUMMY'S REVENGE, THE [VENGANZA DE LA MOMIA, LA] (SP, Carlos Aured, 1973)

Call No: TITLE CLIPPINGS FILE
Subject: MUMMY'S REVENGE, THE [VENGANZA DE LA MOMIA, LA] (SP, Carlos Aured, 1973)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: MUMMY'S REVENGE, THE [VENGANZA DE LA MOMIA, LA] (SP, Carlos Aured, 1973)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: MUMMY'S REVENGE, THE [VENGANZA DE LA MOMIA, LA] (SP, Carlos Aured, 1973)

Call No: Subject Clipping; WORST FILMS
Author: Munro, Peter
PhysDes: Clippings File Article
Subject: WORST FILMS; JAWS THE REVENGE (US, Joseph Sargent, 1987); MANOS: THE HANDS OF FATE (US, Harold P.Warren, 1966); HEARTBEAT AWAY, A (AT, Gale Edwards, 2011); BEHAVING BADLY (US, Tim Garrick, 2014)
Summary: What it takes for a film to score 0 on Rotten Tomatoes when a 0 per cent score means it is unloved by every critic.