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Call No: 740.1 APO
Source: UK
Place: London
Publisher: Lanham Rowman & Littlefield
PubDate: c2016
PhysDes: xxii, 231 pages : illustrations ; 24 cm.
Subject: APOCALYPSE IN FILMS; DISASTER FILMS; CIVILISATION (US, Raymond B. West, 1916); FOUR HORSEMEN OF THE APOCALYPSE, THE (US, Rex Ingram, 1921); BED SITTING ROOM, THE (UK, Richard Lester, 1969); [DOCTOR] DR STRANGELOVE: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (UK, Stanley Kubrick, 1964); MELANCHOLIA (DK/SW/FR/G, Lars von Trier, 2011); OFFRET [SACRIFICE, THE] (SW/FR, Andrei Tarkovsky, 1986)
Summary: We live in a world at risk. Dire predictions about our future or the demise of planet earth persist. Even fictional representations depict narratives of decay and the end of a commonly shared social reality. Along with recurring Hollywood blockbusters that imagine the end of the world, there has been a new wave of zombie features as well as independent films that offer various visions of the future. The Apocalypse in Film: Dystopias, Disasters, and Other Visions about the End of the World offers an overview of Armageddon in film from the silent era to the present. This collection of essays discusses how such films reflect social anxieties—ones that are linked to economic, ecological, and cultural factors. Featuring a broad spectrum of international scholars specializing in different historical genres and methodologies, these essays look at a number of films, including the silent classic The Four Horsemen of the Apocalypse, the black comedy Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, the Mayan calendar disaster epic, 2012, and in particular, Lars Von Trier’s Melancholia, the focus of several essays. As some filmmakers translate the anxiety about a changing global climate and geo-political relations into visions of the apocalypse, others articulate worries about the planet’s future by depicting chemical warfare, environmental disasters, or human made destruction. This book analyzes the emergence of apocalyptic and dystopic narratives and explores the political and social situations on which these films are based. Contributing to the dialogue on dystopic culture in war and peace, The Apocalypse in Film will be of interest to scholars in film and media studies, border studies, gender studies, sociology, and political science. -- taken from publisher's site
Notes: Includes bibliographical references and index
ISBN: 9781442260276
Donation: donated by Senses of Cinema, 2016
Contents: Introduction / Karen A. Ritzenhoff and Angela Krewani -- THE EARLY DEPICTIONS OF DISASTER. World War One and Hollywood's First Modern Armageddon: Understanding Wartime and Post-Conflict Representations of a Global Cataclysm in Civilization (1916) and The Four Horsemen of the Apocalypse (1921) / Cle´mentine Tholas-Disset -- The end of the world: loss and redemption in Four horsemen of the apocalypse / Karen Randell -- GLOBAL DEMISE AND COLD WAR. "Radiation's rising, but one mustn't grumble too much": nuclear apocalypse played as farce in Richard Lester's The bed-sitting room / Thomas Prasch -- The legacy of Dr. Strangelove: Stanley Kubrick, science fiction blockbusters and the future of humanity / Peter Kra¨mer -- "Gentleman, you can't fight in here": gender symbolism and the end of the world in Dr. Strangelove and Melancholia / Catriona Mcavoy -- MELANCHOLIA AND OTHER REPRESENTATIONS OF THE APOCALYSPE. Is there an end to it? fictional shelters and shelter-fiction / Solvejg Nitzke -- Melancholia and the apocalypse within / Pierre Floquet -- Eco apocalypse: environmentalism, political alienation and therapeutic agency / Philip Hammond and Hugh Ortega Breton --POLOITICS OF SHOWING THE UNTHINKABLE. Disaster films: the end of the world and the risk society hero / Frederick Wasser -- The (gender) politics of disaster in 2012 / Charles Antoine Courcoux -- Tarkovsky's The sacrifice: a religious humanist apocalypse / Tatjana Ljuji -- Dead narratives: defining humanity through stories / A. Fiona Pearson and Scott Ellis -- MOVING BEYOND THE END OF THE WORLD. Opposing Thatcherism: filmic apocalypse as a political strategy in 1980s Britain / Angela Krewani -- Painting in time: on the use of digital visual effects in Melancholia / Andreas Kirchner -- The corporate and corporeal: min(d)ing the body conscience and consumption in early 21st century Hollywood dystopia / Wendy Sterba.

Call No: TITLE CLIPPINGS FILE; YOU'RE BACK IN THE ROOM [TV] (AT, 2016-)
Author: Mathieson, Craig
PhysDes: Clippings File Article
Subject: YOU'RE BACK IN THE ROOM [TV] (AT, 2016-)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BOILER ROOM (US, Ben Younger, 2000)

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Clippings; Publicity; Press kit
Subject: BREATHING ROOM (US, Jon Sherman, 1996)

PhysDes: Article
Subject: CROSSTALK (AT, Mark Egerton, 1982); GOODBYE PARADISE (AT, Carl Schultz, 1982); BEST OF FRIENDS (AT, Michael Robertson, 1982); DOUBLE DEAL (AT, Brian Kavanagh, 1983); NEXT OF KIN (AT, Tony Williams, 1982); DARK ROOM, THE (AT, Paul Harmon, 1982); DANGEROUS SUMMER, A (AT, Quentin Masters, 1982); EARLY FROST (AT, Brian McDuffie, 1981); KITTY AND THE BAGMAN (AT, Donald Crombie, 1982); FIGHTING BACK (AT, Michael Caulfield, 1982); WE OF THE NEVER NEVER (AT, Igor Auzins, 1982); LONELY HEARTS (AT, Paul Cox, 1982); SQUIZZY TAYLOR (AT, Kevin Dobson, 1982); MONKEY GRIP (AT, Ken Cameron, 1982); DEAD EASY (AT, Bert Deling, 1982); STARSTRUCK (AT, Gillian Armstrong, 1982); CLINIC, THE (AT, David Stevens, 1982); FREEDOM (AT, Scott Hicks, 1982); NORMAN LOVES ROSE (AT, Henri Safran, 1982); HEATWAVE (AT, Phillip Noyce, 1981); RUNNING ON EMPTY (AT, John Clarke, 1982); BREAKFAST IN PARIS (AT, John Lammond, 1982); KILLING OF ANGEL STREET, THE (AT, Donald Crombie, 1981); WINTER OF OUR DREAMS (AT, John Duigan, 1981); DUSTY (AT, John Richardson, 1983); CANNES FILM FESTIVAL
Summary: List of Australian films and their credits screening at the 1982 Cannes Film Festival.

PhysDes: Article
Subject: CANNES FILM FESTIVAL; BUSH CHRISTMAS (AT, Henri Safran, 1981); SETTLEMENT, THE (AT, Gillian Leahy, 1977); DUSTY (AT, John Richardson, 1983); MOVING OUT (AT, Chris Warner & Mandy Smith, 1986); GINGER MEGGS (AT, Jonathan Dawson, 1982); CLINIC, THE (AT, David Stevens, 1982); DARK ROOM, THE (AT, Paul Harmon, 1982); MIDNITE SPARES (AT, Quentin Masters, 1983); NEXT OF KIN (AT, Tony Williams, 1982); DANGEROUS SUMMER, A (AT, Quentin Masters, 1982); FAR EAST (AT, John Duigan, 1982); CITY'S EDGE, THE (AT, Ken Quinnell, 1983); YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982)
Summary: Article and cast and crew information on Australian filmes selected to screen at Cannes, 1983.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Publicity; Stills
Subject: CHAMBRE 666 [SIX SIX SIX] (FR/GW, Wim Wenders, 1982); ROOM 666 [SIX SIX SIX] (FR/GW, Wim Wenders, 1982)

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: [BLUE ROOM, THE] CHAMBRE BLEUE, LA (FR, Mathieu Amalric, 2014)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: CHAT ROOM, THE [TV] (AT, 2003)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: CONTROL ROOM (US, Jehane Noujaim, 2004)

Call No: 81DEH FRE
Author: Freebury, Jane
Source: AT
Place: Straberry Hills, NSW
Publisher: Currency Press
PubDate: 2015
PhysDes: 351 pages : illustrations, portraits, photographs ; 24 cm
Subject: DE HEER, ROLF; TAIL OF THE TIGER (AT, Rolf de Heer, 1984); INCIDENT AT RAVEN'S GATE (AT, Rolf de Heer, 1988); DINGO (AT/FR, Rolf de Heer, 1991); BAD BOY BUBBY (AT, Rolf de Heer, 1993); EPSILON (AT/IT, Rolf de Heer, 1995); QUIET ROOM, THE (AT/IT, Rolf de Heer, 1996); DANCE ME TO MY SONG (AT, Rolf de Heer, 1998); OLD MAN WHO READ LOVE STORIES (AT/SP/FR/NL, Rolf de Heer, 2000); TRACKER (AT, Tina Dalton & Gary Steer, 1996); ALEXANDRA'S PROJECT (AT, Rolf De Heer, 2003); TEN CANOES (AT, Rolf De Heer, 2006); DR PLONK (AT, Rolf de Heer, 2007); KING IS DEAD, THE (AT, Rolf de Heer, 2012); CHARLIE'S COUNTRY (AT, Rolf de Heer, 2013)
Summary: Dancing to His Song, is the first comprehensive review of the work of Rolf de Heer, Australia's most prolific auteur, an idiosyncratic filmmaker famed for never repeating himself. Film by film, Jane Freebury searches for the sources of de Heer's inspiration and finds the secret to his success in an ethic of hard work, flexibility and self-reliance that meets challenges and obstacles with in genuity without ever losing sight of his vision. His remarkable career as an independent filmmaker has much to teach young producers and directors. [Taken from the back of the book]
Notes: Includes bibliographical references (pages 287-348)
ISBN: 9781925005585
Contents: Introducing Rolf de Heer -- Tail of a Tiger: under the radar -- Incident at Raven's Gate: encounters with critics -- Dingo: jamming in the wilderness -- Bad Boy Bubby: do or die -- Epsilon: African Queen with a cosmic lean? -- The Quiet Room -- through the eyes of a child -- Dance Me To My Song: taking it to the audience -- The Old Man Who Read Love Stories: overseas partners -- The Tracker: how the West was lost -- Alexandra's Project: unhappily ever after -- Ten Canoes: the Ramo Mob, indigenous partners -- Dr. Plonk: seriously comedy -- The King is Dead! Ah'ma tha one! -- Charlie's Country: between two worlds -- The wrap

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Stills
Subject: DARK ROOM, THE (AT, Paul Harmon, 1982)

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 5 photographs : b&w ; 21 x 26 cm
Subject: CASSELL, ALAN; MONTICELLI, ANNA-MARIA; KOVICH, SVET; DARK ROOM, THE (AT, Paul Harmon, 1982)
Summary: Five black and white photographs relating to the film The dark room

Call No: 761 SMA
Author: Smaill, Belinda
Source: UK
Place: Basingstoke, England
Publisher: Palgrave Macmillan
PubDate: 2010
PhysDes: vii, 221 p. : ill. ; 23 cm
Subject: ASIAN COUNTRIES; CHILDREN AND THE CINEMA; CHILDREN IN FILMS; CULTURE AND THE CINEMA; DOCUMENTARIES; DOCUMENTARIES. AUSTRALIA; EMOTION IN FILMS; FEMINISM AND THE CINEMA; IDENTITY IN FILMS; IDEOLOGY AND THE CINEMA; IMMIGRATION IN FILMS AND TELEVISION; PSYCHOLOGY AND THE CINEMA; REALITY TV; SEX IN FILMS; SOCIAL PROBLEMS IN FILMS; THEORY; VIEWERS; WOMEN FILMMAKERS; LOVELACE, LINDA; BORN INTO BROTHELS: CALCUTTA'S RED LIGHT KIDS (II/US, Zana Briski, Ross Kauffman, 2004); CORPORATION, THE (CN, Jennifer Abbott & Mark Achbar, 2003); DAY I WILL NEVER FORGET, THE (UK, Kim Longinotto, 2002); DIVORCE IRANIAN STYLE (UK, Kim Longinotto & Ziba Mir-Hosseini, 1998); ENRON: THE SMARTEST GUYS IN THE ROOM (US, Alex Gibney, 2005); FINISHED PEOPLE, THE (AT, Khoa Do, 2003); FIX: THE STORY OF AN ADDICTED CITY (CN, Nettie Wild, 2002); INSIDE DEEP THROAT (US, Fenton Bailey & Randy Barbato, 2005); LETTERS TO ALI (AT, Clara Law, 2004); SADNESS: A MONOLOGUE BY WILLIAM YANG (AT, Tony Ayres, 1999); SEX: THE ANNABEL CHONG STORY (CN, Gough Lewis, 1999)
Summary: "The Documentary: Politics, Emotion, Culture proposes that emotions such as pleasure, hope, pain, empathy or nostalgia play a powerful role in the circulation and reception of documentaries. Emotion shapes how political issues and individuals are represented and perceived in documentary and it is crucial to how we engage with the vicissitudes of the public sphere. In the past documentary has been popularly perceived in ways that align it with education, science, history and the rational realm. This frame has never been adequate for understanding the broad array of styles and themes that can be seen in the documentary genre. Focusing on the question of subjectivity, Smail analyses various different kinds of individuals that can be found in documentaries, such as the female porn star, the politically disenfranchised, children, and the documentary auteur. She envisages an interdisciplinary approach to documentary drawing on scholarship from not only film studies, but also gender studies, queer theory, cultural theories of affect, critical race studies, political theory and pyschoanalysis. " -- BOOK BLURB
Notes: Includes bibliographical references (p. 200-209) and index
ISBN: 9780230237513 (hbk.)
Contents: -- list of illustrations -- acknowledgments -- part one: documentary and pleasure -- 1: introduction: representation and documentary emotion -- 2: pleasure and disgust: desire and the female porn star -- part two: pain and the other -- 3: Injury, identity and recognition: Rize and Fix: the story of an addicted city -- 4: women, pain and the documentaries of Kim Longinotto -- part three: the labour of authorship: caring and mourning -- 5: loss and care: Asian Australian documentary -- 6: civic love and contemporary dissent documentary -- part four: past, present and future: hope and nostalgia -- 7: children, futurity and hope: Born into Brothels -- 8:nostalgia, historical time and reality television: the idol series -- epilogue -- notes -- bibliography -- index --

Call No: 81DEH STA
Author: Starrs, D. Bruno
Source: G
Place: Saarbrucken, Germany
Publisher: VDM, Verlag Dr Muller
PubDate: 2009
PhysDes: 105 p. ; 23 cm
Subject: AUTEUR THEORY; DE HEER, ROLF; TAIL OF THE TIGER (AT, Rolf de Heer, 1984); INCIDENT AT RAVEN'S GATE (AT, Rolf de Heer, 1988); DINGO (AT/FR, Rolf de Heer, 1991); BAD BOY BUBBY (AT, Rolf de Heer, 1993); EPSILON (AT/IT, Rolf de Heer, 1995); QUIET ROOM, THE (AT/IT, Rolf de Heer, 1996); DANCE ME TO MY SONG (AT, Rolf de Heer, 1998); OLD MAN WHO READ LOVE STORIES (AT/SP/FR/NL, Rolf de Heer, 2000); TRACKER, THE (AT, Rolf de Heer, 2002); ALEXANDRA'S PROJECT (AT, Rolf De Heer, 2003); TEN CANOES (AT, Rolf De Heer, 2006); DR PLONK (AT, Rolf de Heer, 2007)
Summary: " 'Dutch Tilt, Aussie Auteur: the Films of Rolf De Heer' is an auteur analysis of the twelve feature films directed (mostly written and produced) by Holland-born Australian Rolf De Heer. From the children's story about the restoration of a Tiger Moth biplane, "Tail of a Tiger "(1984), to his break-out cult sensation " Bad Boy Bubby" (1993) which "tore Venice apart," to the first Aboriginal Australian language film "Ten Canoes" (2006) which scooped the pool at the AFI awards and won the Special Jury prize at Cannes Film Festival, de Heer has been consistently unpredictable. However, Starr's close study of his work suggests that Australia's most innovative and respected Arthouse film-maker has a signature pre-occupation with giving a voice to marginalized, non-hyper-masculine protagonists. Demonstrating a propensity to write and direct in a European-like style, de Heer's "Dutch tilt" is very much non-mainstream Hollywood, but is nevertheless representative of a typically Australian world-view." -- BOOK BLURB
Notes: Includes bibliographical references (p. 90-104)
ISBN: 9783639168341

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Publicity; Press kit
Subject: ENRON: THE SMARTEST GUYS IN THE ROOM (US, Alex Gibney, 2005)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: ESCAPE ROOM (US/SA, Adam Robitel, 2019)
Notes: Simon import_04/07/19

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FILL MY LIVING ROOM (US, Robin Schorr, 1987?)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FORBIDDEN ROOM, THE (CN, Guy Maddin / Evan Johnson, 2015)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FORBIDDEN ROOM, THE (CN/US, Guy Maddin/Evan Johnson, 2015)
Notes: Simon import_20/06/19

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: FORBIDDEN ROOM, THE (CN, Guy Maddin, 2015)
Notes: Simon import_190718

Call No: SUBJECT CLIPPINGS FILE; FESTIVALS. AUSTRALIA. FRENCH
Author: McDonald, John
PhysDes: Clippings File Article
Subject: FESTIVALS. AUSTRALIA. FRENCH; GEMMA BOVERY (FR, Anne Fontaine, 2014); CHAMBRE BLEUE, LA (FR, Mathieu Amalric, 2014); BLUE ROOM ,THE (FR, Mathieu Amalric, 2014); NEW GIRLFRIEND, THE (FR, Francois Ozon, 2014); NOUVELLE AMIE, UNE (FR, Francois Ozon, 2014); SAINT LAURENT (FR/BE, Bertrand Bonello, 2014); SAMBA (FR, Olivier Nakache & Eric Toledano, 2014)
Notes: in the FESTIVALS. AUSTRALIA. FRENCH 2015 file

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: GAME ROOM, THE (AT, Joe Tornatore, 1999)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: GREEN ROOM (US, Jeremy Saulnier, 2015)

Call No: GREEN ROOM (US, Jeremy Saulnier, 2015); TITLE CLIPPINGS FILE
Author: Wilson, Jake
PhysDes: Clippings
Subject: GREEN ROOM (US, Jeremy Saulnier, 2015)
Summary: Wilson reviews the 2015 film the GREEN ROOM. The reviewer is dissappointed by the anti-climatic ending of the film.
Rating: 3 out of 5 stars

Author: Williams, Fiona
PhysDes: Review; Illustration(s)
Subject: IN MY ROOM (AT, Melissa Juhanson, 1998)

Call No: 81CLA SIN
Author: Sinyard, Neil
Source: UK
Place: Manchester and New York
Publisher: Manchester University Press : distributed exclusively in the U.S.A by St. Martin's Press
PubDate: 2000
PhysDes: xiv, 289 p. : ill., ports ; 21 cm
Series: British Film Makers
Subject: CLAYTON, JACK; ROOM AT THE TOP (UK, Jack Clayton, 1959); INNOCENTS, THE (UK, Jack Clayton, 1962); PUMPKIN EATER, THE (UK, Jack Clayton, 1964); OUR MOTHER'S HOUSE (UK, Jack Clayton, 1967); GREAT GATSBY, THE (US, Jack Clayton, 1974); SOMETHING WICKED THIS WAY COMES (US, Jack Clayton, 1983); LONELY PASSION OF JUDITH HEARNE (UK, Jack Clayton, 1987); MEMENTO MORI [TV] (UK, Jack Clayton, 1992)
Summary: A study of the career of British filmmaker Jack Clayton
Notes: Series editors: Brian McFarlane, Neil Sinyard. -- Includes bibliographical references and index.
ISBN: 0719055040
Donation: Brian McFarlane
Contents: Introduction: lonely passions - the cinema of Jack Clayton -- Early career: Naples is a Battlefield (1944); The Bespoke Overcoat (1955) -- Sex, realism and Yorkshire pudding: Room at the Top (1959) -- Pearl of ambiguity: The Innocents (1961) -- Woman on the verge of a nervous breakdown: The Pumpkin Eater (1964) -- Forbidden games: Our Mother's House (1967) -- Clayton in America: The Great Gatsby (1974); Something Wicked This Way Comes (1983) -- God's Lonely Woman: The Lonely Passion of Judith Hearne (1987) -- Death makes a call: Memento Mori (1992) -- Unfinished business: the unrealised projects of Jack Clayton -- conclusion

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: JALSAGHAR (II, Satyajit Ray, 1958); MUSIC ROOM, THE (II, Satyajit Ray, 1958)

Call No: REFERENCE SECTION; 02 WOL
Author: Wolf, William; Wolf, Lillian Kramer
Place: London
Publisher: Paddington Press
PubDate: 1979
PhysDes: 429 p. : ill. ; 25 cm
Subject: BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927); JAZZ SINGER, THE (US, Alan Crosland, 1927); LITTLE CAESAR (US, Mervyn LeRoy, 1931); FRANKENSTEIN (US, James Whale, 1931); DUCK SOUP (US, Leo McCarey, 1933); IT HAPPENED ONE NIGHT (US, Frank Capra, 1934); THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935); MODERN TIMES (US, Charles Chaplin, 1936); GRANDE ILLUSION, LA (FR, Jean Renoir, 1937); STAGECOACH (US, John Ford, 1939); GONE WITH THE WIND (US, Victor Fleming, 1939); GRAPES OF WRATH, THE (US, John Ford, 1940); FANTASIA (US, Walt Disney, 1940); CITIZEN KANE (US, Orson Welles, 1941); ROMA CITTA APERTA (IT, Roberto Rossellini, 1945); RASHOMON (JA, Akira Kurosawa, 1950); SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952); CHAGRIN ET LA PITIE, LE (SZ/GW, Marcel Ophuls, 1971); PATHER PANCHALI (II, Satyajit Ray, 1955); ROOM AT THE TOP (UK, Jack Clayton, 1959); A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959); BREATHLESS (FR, Jean-Luc Godard, 1959); 8 1/2 (IT/FR, Federico Fellini, 1963); DR STRANGELOVE (UK, Stanley Kubrick, 1964); ULYSSES (UK/US, Joseph Strick, 1967); BONNIE AND CLYDE (US, Arthur Penn, 1967); 2001: A SPACE ODYSSEY (US, Stanley Kubrick, 1968); Z (FR/AE, Constantin Costa-Gavras, 1969); EASY RIDER (US, Dennis Hopper, 1969); SWEET SWEETBACK'S BAADASSSSS SONG (US, Melvin Van Peebles, 1971); DEEP THROAT (US, Jerry Gerard, 1972); HEAVY TRAFFIC (US, Ralph Bakshi, 1973); SLEEPER (US, Woody Allen, 1973); NASHVILLE (US, Robert Altman, 1975); PASQUALINO SETTEBELLEZZE (IT, Lina Wertmuller, 1976); SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957)
Notes: incl. index
ISBN: 0709208758
LON: vtb00270168; 10429365

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: LIVING ROOM (AT, David Caesar, 1988)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: LIVING ROOM, THE [TV] (AT, 2012-)

Call No: 81ALM ALM
Author: Almendros, Nestor
Source: US
Place: London
Publisher: Faber
PubDate: 1985
PhysDes: viii, 306 p. : ill. ; 23 cm
Subject: CINEMATOGRAPHY; PHOTOGRAPHY; ALMENDROS, NESTOR; PARIS VU PAR...VINGT ANS APRES (FR, Chantal Akerman, Bernard Dubois, Vincent Nordon, Phillipe Venault, Phillipe Garrel, Frederic Mitterand, 1984); COLLECTIONEUSE, LA (FR, Eric Rohmer, 1967); MA NUIT CHEZ MAUD (FR, Eric Rohmer, 1969); MY NIGHT AT MAUD'S (FR, Eric Rohmer, 1969); WILD CHILD (US/UK/FR, Nick Moore, 2008); TWO ENGLISH GIRLS (FR, Francois Truffaut, 1971); DEUX ANGLAISES ET LE CONTINENT, LES (FR, Francois Truffaut, 1971); CHLOE IN THE AFTERNOON (FR, Eric Rohmer, 1972); AMOUR L'APRES-MIDI, L' (FR, Eric Rohmer, 1972); GUEULE OUVERTE, LA (FR, Maurice Pialat, 1974); GENTLEMAN TRAMP, THE (US, Richard Patterson, 1975); COCKFIGHTER (US, Monte Hellman, 1974); STORY OF ADELE H., THE (FR, Francois Truffaut, 1975); HISTOIRE D'ADELE H., L' (FR, Francois Truffaut, 1975); MAITRESSE (FR, Barbet Schroeder, 1976); MARQUISE VON O..., DIE (GW/FR, Erich Rohmer, 1975); DAYS OF HEAVEN (US, Terrence Malick, 1978); MAN WHO LOVED WOMEN, THE (FR, Francois Truffaut, 1977); HOMME QUI AMAIT LES FEMMES, L' (FR, Francois Truffaut, 1977); KOKO, A TALKING GORILLA (FR, Barbet Schroeder, 1978); KOKO, LE GORILLE QUI PARLE (FR, Barbet Schroeder, 1978); MADAME ROSA (FR, Moshe Mizrahi, 1977); GOIN' SOUTH (US, Jack Nicholson, 1978); GREEN ROOM, THE (FR, Francois Truffaut, 1978); CHAMBRE VERT, LA (FR, Francois Truffaut, 1978); PERCEVAL LE GALLOIS (FR, Eric Rohmer, 1978); LOVE ON THE RUN (FR, Francois Truffaut, 1979); AMOUR EN FUITE, L` (FR, Francois Truffaut, 1979); KRAMER VS. KRAMER (US, Robert Benton, 1979); BLUE LAGOON, THE (US, Randal Kleiser, 1980); CONFIDENTIALLY YOURS (FR, Francois Truffaut, 1983); VIVEMENT DIMANCHE! (FR, Francois Truffaut, 1983); LAST METRO, THE (FR, Francois Truffaut, 1980); DERNIER METRO, LE (FR, Francois Truffaut, 1980); PAULINE A LA PLAGE (FR, Eric Rohmer, 1983); PAULINE AT THE BEACH (FR, Eric Rohmer, 1983); STILL OF THE NIGHT (US, Robert Benton, 1982); SOPHIE'S CHOICE (US, Alan J. Pakula, 1982)
Summary: "In A MAN WITH A CAMERA, Nestor Almendros recalls his early days in Havana and emigration to Paris where he worked with Francois Truffaut and Eric Rohmer. He has photographed such highly acclaimed films as SOPHIE'S CHOICE, KRAMER VS. KRAMER, THE BLUE LAGOON and DAYS OF HEAVEN, for which he received an Academy Award. As he looks back and describes simply but comprehensively the specific techniques used in these and many other films, we are offered a unique look at how movies are made." [Book blurb]
Notes: This translation first published: New York : Farrar, Straus, Giroux, 1984; Translation of: Dias deuna camera. Barcelona : Editorial Seix Barral, 1982; First published in French as: Un homme a la camera. Rennes-Lausanne : FOMA, 1980; Filmography: p. [289]-304
ISBN: 0571135897 (pbk.)
LON: abn85231033; 3994651

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit; Stills; Slides
Subject: MARVIN'S ROOM (US, Jerry Zaks, 1996)

Call No: TITLE CLIPPINGS FILE; GREEN ROOM (US, Jeremy Saulnier, 2015)
Author: Stratton, David
PhysDes: Clippings
Subject: GREEN ROOM (US, Jeremy Saulnier, 2015)
Summary: Stratton reviews the film GREEN ROOM
Rating: 3.5 out of 5 stars

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: MUSIC FROM ANOTHER ROOM (US, Charlie Peters, 1998)

Call No: 753.83 DRU
Author: Druxman, Michael B.
Place: New Jersey
Publisher: A. S. Barnes
PubDate: 1977
PhysDes: 175 p. : ill. ; 29 cm
Subject: SEQUELS; BOYS TOWN (US, Norman Taurog, 1938); TOPPER (US, Norman Z. McLeod, 1937); LITTLE FOXES, THE (US, William Wyler, 1941); MRS MINIVER (US, William Wyler, 1942); JOLSON STORY, THE (US, Alfred E. Green, 1946); BROKEN ARROW (US, Delmer Daves, 1950); KING SOLOMON'S MINES (US, Compton Bennett & Andrew Marton, 1950); CREATURE FROM THE BLACK LAGOON (US, Jack Arnold, 1954); PEYTON PLACE (US, Mark Robson, 1957); CURSE OF FRANKENSTEIN, THE (UK, Terence Fisher, 1957); ROOM AT THE TOP (UK, Jack Clayton, 1959); HARPER (US, Jack Smight, 1966); PLANET OF THE APES (US, Franklin J. Schaffner, 1967); FUNNY GIRL (US, William Wyler, 1968); THREE MUSKETEERS, THE (PN, Richard Lester, 1973); FRENCH CONNECTION, THE (US, William Friedkin, 1971); GODFATHER [...], THE (US, Francis Ford Coppola, 1972-)
Notes: Includes filmographies
ISBN: 0498018067
Contents: Motion pictures. Film sequels. Cinema films Sequels to 1976

Call No: TITLE CLIPPINGS FILE; ROOM (IE/CN, Lenny Abrahamson, 2015)
Author: McDonald, John
PhysDes: Clippings File Article
Subject: ROOM (IE/CN, Lenny Abrahamson, 2015)
Summary: Positive review of the film ROOM

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: PANIC ROOM (US, David Fincher, 2002)

Call No: 61 POS DEG
Author: Degli-Esposti, Christina
Source: US
Place: New York
Publisher: Berghahn Books
PubDate: 1998
PhysDes: viii, 264 p. : ill. ; 22 cm
Subject: POSTMODERNISM AND THE CINEMA; POSTMODERNISM AND TV/VIDEO; POSTMODERNISM AND TV/VIDEO. USA; POSTMODERNISM AND THE CINEMA. USA; POSTMODERNISM AND THE CINEMA. JAPAN; POSTMODERNISM AND THE CINEMA. POLAND; POLAND; TRAVEL IN FILMS; FRANCE; IMPERIALISM AND THE CINEMA. AFRICAN COUNTRIES; IMPERIALISM AND THE CINEMA. FRANCE; HISTORY AND THE CINEMA; ARABS IN FILMS; RACIAL STEREOTYPES IN FILMS; ANIMATION; YOUNG PEOPLE, FILMS FOR; ADAPTATIONS. FORSTER, E. M.; ADAPTATIONS. GENET, JEAN; AUTEUR THEORY; DEGLI-ESPOSTI, CHRISTINA; BARON, CYNTHIA; KRAIDY, MARWAN; WEINSTEIN, DAVID; SHARY, TIMOTHY; BRUNS, JOHN; MAULE, ROSANNA; FALKOWSKA, JANINA; STRAIN, ELLEN; BOLUS-REICHERT, CHRISTINE; LAGA, BARRY; DEUTELBAUM, MARSHALL; HOLDEN-MOSES, PHILIP; WILES, MARY; ALTMAN, ROBERT; JAMESON, FREDRIC; ITAMI, JUZO; FORSTER, E. M.; COEN, JOEL & ETHAN; KUROSAWA AKIRA; GREENAWAY, PETER; FASSBINDER, RAINER WERNER; PLAYER, THE (US, Robert Altman, 1992); ALADDIN (US, John Musker & Ron Clements, 1992); SIMPSONS, THE [TV] (US, 1989-); BILL AND TED'S EXCELLENT ADVENTURE (US, Stephen Herek, 1989); WAYNE'S WORLD (US, Penelope Spheeris, 1992); SINGLES (US, Cameron Crowe, 1992); REALITY BITES (US, Ben Stiller, 1994); TAMPOPO (JA, Juzo Itami, 1986); A NOS AMOURS (FR, Maurice Pialat, 1983); MESSA E FINITA, LA (IT, Nanni Moretti, 1985); QUE HE HECHO PARA MERECER ESTO!! (SP, Pedro Almodovar, 1984); PSY (PL, Wladyslaw Pasikowski, 1993); CZLOWIEK Z ... (PL, Konrad Szolajski, 1993); WHERE ANGELS FEAR TO TREAD (UK, Charles Sturridge, 1991); ROOM WITH A VIEW, A (UK, James Ivory, 1986); PASSAGE TO INDIA, A (US/UK, David Lean, 1984); COUP DE TORCHON (FR, Bertrand Tavernier, 1981); VICTOIRE EN CHANTANT, LA (FR/GW, Jean-Jacques Annaud, 1976); CHOCOLAT (FR, Claire Denis, 1988); BARTON FINK (US, Joel Cohen, 1991); DREAMS (US, Akira Kurosawa, 1990); DROWNING BY NUMBERS (UK, Peter Greenaway, 1988); QUERELLE (GW/FR, Rainer Werner Fassbinder, 1982)
Summary: By offering sophisticated and multi-faceted, yet highly accessible discussions on a number of key issues, Postmodernism in the Cinema presents new strategies for reading and understanding postmodernism and opens up the horizons of investigation to address the dynamic relationship between the art of moving images and complex concepts of postmodern theory. Organized according to specific themes such as auteurism, metacinema, national cinema, and the parodic, this anthology includes thirteen essays and examines films including The Player, Aladdin, Singles, Reality Bites, Wayne’s World, Tampopo, A Room with a View, Barton Fink, Akira Kurosawa’s Dreams, Drowning by Numbers, Coup de torchon, Querelle, and more. [Taken from back cover]
Notes: Papers from a conference held in 1994 at Kent State University, Kent, Ohio.; Includes bibliographical references and index.
ISBN: 1571811060
Contents: Introduction: Postmodernism(s) Cristina Degli-Esposti -- Chapter 1: The Player's parody of Hollywood: A different kind of suture - Cynthia Baron -- Chapter 2: Intertextual maneuvers around the subaltern: Aladdin as postmodern text - Marwan Kraidy -- Chapter 3: Of Mice and Bart: The Simpsons and the postmodern - David Weinstein -- Chapter 4: Reification and loss in postmodern puberty: The cultural logic of Fredric Jameson and American youth movies - Timothy Shary -- Chapter 5: Refiguring pleasure: Itami and the postmodern Japanese film - John Bruns -- Chapter 6: De-authorizing the auteur: postmodern politics of interpellation in contemporary European cinema - - Rosanna Maule -- Chapter 7: Postmodernist condition in post-socialist eastern European films: the case of a political pastiche and the socialist-hollywood thriller in recent films of Polish filmmakers - Janina Falkowska -- Chapter 8: E.M. Forster's anti-touristic tourism and the sightseeing gaze of cinema - Ellen Strain -- Chapter 9: Imaginary geographies: the colonial subjects in contemporary French cinema - Christine Bolus-Reichert -- Chapter 10: Decapitated spectators: Barton Fink, (Post)history, and cinematic pleasure - Barry Laga -- Chapter 11: Something like an autobiography in Akira Kurosawa's Dreams - Marshall Deutelbaum -- Chapter 12: Not waving but drowning by numbers: Peter Greenaway's cautionary tale - Philip Holden-Moses -- Chapter 13: A double voice: the dual paternity of Querelle - Mary Wiles
ID2: 291

Call No: 802 PRO v.7
Author: Boorman, John, 1933; Donohue, Walter
Place: London
Publisher: Faber & Faber
PubDate: 1997
PhysDes: x, 301 p. : ill., ports. ; 24 cm
Subject: SCORSESE, MARTIN; CAPRA, FRANK; BARRON, BEBE; DORMAEL, JACO VAN; SCHOONMAKER, THELMA; DE NIRO, ROBERT; FORD, JOHN; ROCHA, GLAUBER; BERTOLUCCI, BERNARDO; RENOIR, JEAN; OPHULS, MAX; MASTROIANNI, MARCELLO; FERRARA, ABEL; ASSAYAS, OLIVIER; CURTIS, JAMIE LEE; LEIGH, JANET; BURNS, LILLIAN; GIRARDOT, HIPPOLYTE; MCDORMAND, FRANCES; MITCHUM, ROBERT; HODGSON, PIERRE; COX, BRIAN; CARON, LESLIE; SYMS, SYLVIA; WRIGHT, TERESA; COPPOLA, FRANCIS FORD; DE PALMA, BRIAN; SPIELBERG, STEVEN; LUCAS, GEORGE; Tarantino, Quentin; WALSH, RAOUL; HUSTON, JOHN; MCCAREY, LEO; Lupino, Ida; CASSAVETES, JOHN; WELLES, ORSON; HITCHCOCK, ALFRED; WOO, JOHN [pseud. of Wu Yusen]; DAFOE, WILLEM; SIRK, DOUGLAS; ALMEREYDA, MICHAEL; BOORMAN, JOHN; BAD LIEUTENANT (US, Abel Ferrara, 1992); CASINO (US, Martin Scorsese, 1995); TAXI DRIVER (US, Martin Scorsese, 1976); MEAN STREETS (US, Martin Scorsese, 1973); NEW YORK, NEW YORK (US, Martin Scorsese, 1977); RAGING BULL (US, Martin Scorsese, 1980); KING OF COMEDY, THE (US, Martin Scorsese, 1983); GOODFELLAS (US, Martin Scorsese, 1990); CAPE FEAR (US, Martin Scorsese, 1991); MANHUNTER (US, Michael Mann, 1986); L-SHAPED ROOM, THE (UK, Bryan Forbes, 1962); VICTIM (UK, Basil Dearden, 1961); SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943); FORBIDDEN PLANET (US, Fred McLeod Wilcox, 1956); DEAD MAN (US, Jim Jarmusch, 1995); CAHIERS DU CINEMA
Notes: Filmography: p. 300-301
ISBN: 0571190332
LON: abn97280608; 13386768

Call No: TITLE CLIPPINGS FILE
PhysDes: Stills; Press kit; Clippings
Subject: QUIET ROOM, THE (AT/IT, Rolf de Heer, 1996)

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 2 photographs : b&w ; 26 x 21 cm
Subject: QUIET ROOM, THE (AT/IT, Rolf de Heer, 1996)
Summary: Two black and white photographs from the film 'The quiet room'

Call No: TITLE STILLS AUSTRALIA
Place: AT
PhysDes: 13 sheets : b&w ; 21 X 26 cm
Subject: ROMPER ROOM [TV] (AT, 1963-)
Summary: 13 photocopied proof sheets- in the studio

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: ROOM (US/IE/CN/UK, Lenny Abrahamson, 2015)

Call No: DIGITAL FILE
Author: Donoghue, Emma
Place: Dublin
PubDate: 2014
PhysDes: 158 leaves
Subject: ROOM (US/IE/CN/UK, Lenny Abrahamson, 2015)
Notes: Unpublished script
Donation: AFI/AACTA

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: ROOM 237 (US, Rodney Ascher, 2012)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: ROOM AND BOARD (US, Randy Cartwright, 1981?)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: ROOM FOR ROMEO BRASS, A (UK, Shane Meadows, 1999)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: ROOM, THE (US, Tommy Wiseau, 2003)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: ROOM TO MOVE (AT, John Duigan, 1986)

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Clippings
Subject: ROOM WITH A VIEW, A (UK, James Ivory, 1986)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: RUTHIE AND CONNIE: EVERY ROOM IN THE HOUSE (US, Deborah Dickson, 2002)

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Stills
Subject: SAPPHIRE ROOM, THE (AT, Sean O'Brien, 1997)

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 2 photographs : b&w ; 21 x 26 cm
Subject: WOODS, ROWAN; SAPPHIRE ROOM, THE (AT, Sean O'Brien, 1997)
Summary: 2 black and white photographs of cabaret singer Ali Higson and MC Rowan Woods.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Study guide
Subject: SECRETS OF THE JURY ROOM (AT, Aviva Ziegler, 2004)
ID2: 21

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: SEQUIN IN A BLUE ROOM (AT, Samuel Van Grinsven, 2019)
Notes: Simon Strong import 14_Oct2019

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Posters; Press kit; Stills; Publicity
Subject: SEWING ROOM, THE (AT, Rick Randall, 1994)

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 4 photographs : b&w ; 13 x 18 cm
Subject: SEWING ROOM, THE (AT, Rick Randall, 1994)
Summary: 4 black and white photographs of Maude Davey, Robert Menzies and Nicholas Anderson.

Call No: 749.0 SIE
Author: Siegel, Carol
Place: Bloomington
Publisher: Indiana University Press
PubDate: 2015
PhysDes: 230, x ; illus. ; 23 cm
Subject: SEX IN FILMS. USA; BURTON, TIM; PORNOGRAPHY; A MA SOEUR (FR/IT/SP, Catherine Breillat, 2000); EASTERN PROMISES (UK/CN, DAVID CRONENBERG, 2007); PANIC ROOM (US, David Fincher, 2002); PEOPLE UNDER THE STAIRS, THE (US, Wes Craven, 1991); THIRTEEN (US, Catherine Hardwicke, 2003); MYSTERIOUS SKIN (US/NE, Gregg Araki, 2004); MYSTIC RIVER (US, Clint Eastwood, 2003)
Notes: In this provocative study of cinematic and televisual representations of "sex radicalism," Carol Siegel explores how representations of sexually explicit content on film have shaped American cultural visions of sex and sexual politics in the 21st century. Siegel distinguishes between a liberal approach to visual representations, which has over-emphasized normative equal opportunity while undervaluing our distinctive erotic selves, and a radical approach to visual representation, which portrays forbidden sexualities and desires. She illustrates how visual media participates in and even drives political policies related to pedophilia, prostitution, interracial relationships, and war. By examining such popular film and television shows as Mystic River, The Wire, Fifty Shades of Grey, Batman Returns, and the HBO hits, Sex and the City and Girls, Siegel takes the discussion of radical sex in the movies out of the margins of political discussions and puts it in the center, where, she argues, it has belonged all along. -- publisher's web site
ISBN: 9780253018069
Contents: Acknowledgments Introduction: Recent Changes in the Representation of Sex and Politics in American Cinema 1. The Sexuality of Minors: Family Values and Mysteries of Pedophilia 2. Sex Trafficking Films, Or Taken for a Ride 3. Sex and Anti-Militarism 4. Interracial Sex and Architectures of American Horror 5. Tim Burton's Films, Children, and Perversity Conclusion: The Future, No Future Notes Bibliography Index

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: SMALLEST ROOM IN THE HOUSE: TEN YEARS IN A LONG SLEEVED SHIRT [TV] (AT, Hugh Johnson, 1997)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: STANDING ROOM ONLY (US/AT, Deborra-Lee Furness, 2002 )

Call No: REFERENCE SECTION; 036 -02 STR
Author: Esteban, Jose de; Thomas, Wendy
Source: UK
Place: London
Publisher: BFI National Library
PubDate: c2003
PhysDes: 14 p. ; 30 cm
Series: 16+ Source guides
Subject: WOMEN IN FILMS; GENDER AND THE CINEMA; FEMINISM AND THE CINEMA; TODO SOBRE MI MADRE (SP/FR, Pedro Almodovar, 1999); JACKIE BROWN (US, Quentin Tarantino, 1997); OTHERS, THE (US/SP, Alejandro Amenabar, 2001); PANIC ROOM (US, David Fincher, 2002); BEND IT LIKE BECKHAM (UK, Gurinda Chadha, 2002)
Donation: Donated by Senses Of Cinema, 2009

PhysDes: Article
Subject: DARK ROOM, THE (AT, Paul Harmon, 1982); FILMCO; HARMON, PAUL; INDUSTRY, FILM. AUSTRALIA; HAYDON, TOM; CASSELL, ALAN; JEMISON, ANNA SEE MONTICELLI, ANNA-MARIA
Summary: Article on Filmco's 'The Dark Room', followed by a synopsis of the film.

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: C'E POSTO PER TUTTI (IT, Giancarlo Plata, 1990); THERE'S ROOM FOR ALL (IT, Giancarlo Plata, 1990)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: WAR ROOM, THE (US, D.A. Pennebaker & Chris Hegedus, 1993)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: WE SHOULD CALL IT A LIVING ROOM (AT, Joan Grounds, Aleksander Danko, David Laurie & David Stewart, 1975)

Call No: TITLE CLIPPINGS FILE
Subject: WE SHOULD CALL IT A LIVING ROOM (AT, Joan Grounds, 1975)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: WE SHOULD CALL IT A LIVING ROOM (AT, Joan Grounds, 1975)

Author: Quinlivan, Beth
PhysDes: Article
Subject: COLD ROOM, THE [TV] (UK/GW, James Dearden, 1984)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: WHITE ROOM (CN, Patricia Rozema, 1990)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: YOU'RE BACK IN THE ROOM [TV] (AT, 2016-)