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Call No: DVD RESEARCH FOLDER; DVD RESEARCH FOLDER
Author: Tadros, Edmund
Subject: DVD, FILMS ON; SONY CORPORATION; DISTRIBUTION; SEQUELS
Summary: Trend of studios 'cashing in' on a box-office success by making "low-cost home-viewing sequels. A number of films are mentioned, as well as the burgeoning DVD market in comparision with box office revenue.
Notes: accessed from: Factiva. Dow Jones Reuters Business Interactive LLC. RMIT University Library. (14 May 2007).
Quotations: -- Domenic Remond: Marketing Director Sony Pictures Home Entertainment - "It's for the rental market, for people who come in every week, and they need new product" - Budget's for straight-to-DVD sequels at Sony would "probably be about a quarter of the original's budget" - "when you run the numbers it makes more sense to us to take a strong product and take it direct to video"; -- List of Straight to Video sequels include a lot of Disney animation and newer flicks - Cruel Intentions 2, Cruel Intentions 3, Wild Things 2, Wild Things: Diamonds in the Rough, Urban Legends: Bloody Mary, American Pie Presents Band Camp

Call No: 753.81 CYC
Author: Klein, Amanda Ann (ed.); Palmer, R. Barton (ed.)
Edition: First edition
Source: US
Place: Austin, TX
Publisher: University of Texas Press
PubDate: 2016
PhysDes: vi, 357 pages : illustrations (black and white) ; 24 cm
Subject: FILM; CRITICISM; REMAKES; SEQUELS
Summary: "With sequels, prequels, remakes, spin-offs, or copies of successful films or franchises dominating film and television production, it sometimes seems as if Hollywood is incapable of making an original film or TV show. These textual pluralities or multiplicities—while loved by fans who flock to them in droves—tend to be dismissed by critics and scholars as markers of the death of high culture. Cycles, Sequels, Spin-offs, Remakes, and Reboots takes the opposite view, surveying a wide range of international media multiplicities for the first time to elucidate their importance for audiences, industrial practices, and popular culture. The essays in this volume offer a broad picture of the ways in which cinema and television have used multiplicities to streamline the production process, and to capitalize on and exploit viewer interest in previously successful and/or sensational story properties. An impressive lineup of established and emerging scholars talk seriously about forms of multiplicity that are rarely discussed as such, including direct-to-DVD films made in Nigeria, cross-cultural Japanese horror remakes, YouTube fan-generated trailer mash-ups, and 1970s animal revenge films. They show how considering the particular bonds that tie texts to one another allows us to understand more about the audiences for these texts and why they crave a version of the same story (or character or subject) over and over again. These findings demonstrate that, far from being lowbrow art, multiplicities are actually doing important cultural work that is very worthy of serious study." -- BOOK BACK COVER BLURB
Notes: Formerly CIP; Includes bibliographical references and index; Also published electronically
ISBN: 9781477308172
Donation: Senses of cinema
Contents: -- ch. 1 Introduction / Amanda Ann Klein and R. Barton Palmer -- ch. 2 The Kissing Cycle, Mashers, and (White) Women in the American City / Amanda Ann Klein -- ch. 3 Descended from Hercules: Masculine Anxiety in the Peplum / Robert Rushing -- ch. 4 The American Postwar Semidocumentary Cycle: Factual Dramatizations / R. Barton Palmer -- ch. 5 Cycle Consciousness and the White Audience in Black Film Writing: The 1949--1950 "Race Problem" Cycle and the African American Press / Steven Doles -- ch. 6 Vicious Cycle: Jaws and Revenge-of-Nature Films of the 1970s / Constantine Verevis -- ch. 7 Familiar Otherness: On the Contemporary Cross-Cultural Remake / Chelsey Crawford -- ch. 8 Anime's Dangerous Innocents: Millennial Anxieties, Gender Crises, and the Shojo Body as a Weapon / Elizabeth Birmingham -- ch. 9 It's Only a Film, Isn't It? Policy Paranoia Thrillers of the War on Terror / Vincent M. Gaine -- ch. 10 Doing Dumbledore: Actor-Character Bonding and Accretionary Performance / Murray Pomerance -- ch. 11 A Lagosian Lady Gaga: Cross-Cultural Identification in Nollywood's Anti-Biopic Cycle / Noah Tsika -- ch. 12 Re-solving Crimes: A Cycle of TV Detective Partnerships / Sarah Kornfield -- ch. 13 Smart TV: Showtime's "Bad Mommies" Cycle / Claire Perkins -- ch. 14 My Generation(s): Cycles, Branding, and Renewal in E4's Skins / Faye Woods -- ch. 15 Extended Attractions: Recut Trailers, Film Promotion, and Audience Desire / Kathleen Williams -- ch. 16 Retro-Remaking: The 1980s Film Cycle in Contemporary Hollywood Cinema / Kathleen Loock -- ch. 17 I Can't Lead This Vacation Anymore: Mumblecore's American Man / Amy Borden -- ch. 18 Serialized Killers: Prebooting Horror in Bates Motel and Hannibal / Andrew Scahill -- list of contributors -- index --

Call No: 753.83 JES
Author: Jess-Cooke, Carolyn
Source: UK
Place: Edinburgh
Publisher: Edinburgh University Press
PubDate: 2009
PhysDes: viii, 166 p. ; 24 cm
Subject: SEQUELS; FILM; CRITICISM; ADAPTATIONS; HOLLYWOOD; THEORY; A.I: ARTIFICIAL INTELLIGENCE (US, Steven Spielberg, 2001)
Summary: "The film sequel has been maligned in popular culture as a vampirish corporative exercise in profit-making and narrative regurgitation. Drawing upon a wide range of examples from early cinema to the twenty-first century, this volume reveals the increasing popularity of, and experimentation with, film sequels as a central dynamic of Hollywood cinema. Now creeping into world cinemas and independent film festivals, the sequel is persistently employed as a vehicle for cross-cultural dialogue and as a structure by which memories and cultural narratives can be circulated across geographical and historical locations. This book aims to account for some of the major critical contexts within which sequelisation operates by exploring sequel production beyond box office figures. Its account ranges from sequels in recent mainstream cinema, art-house and 'indie' sequels, non-Hollywood sequels, the effects of the domestic market on sequelisation, and the impact of the video game industry on Hollywood." --BACK COVER BLURB
Notes: Includes bibliographical references and index
ISBN: 9780748626045
Contents: -- preface -- acknowledgments -- Introduction: The age of the $equel: beyond the profit principle -- 1 Before and after the blockbuster: a brief history of the film sequel -- 2 Screaming, slashing, sequelling: what the sequel did to the horror movie -- 3 "It's all up to you!": sequelisation and user-generated content --4 Adventures in Indiewood: sequels in the independent film marketplace -- 5 Signifying Hollywood: sequels in the global economy -- 6 Sequelisation and secondary memory: Steven Spielberg's Artificial intelligence: A. I. (2001) -- references -- index --

Call No: DVD RESEARCH FOLDER; DVD RESEARCH FOLDER
Author: Boland, Michaela
Subject: BLOCKBUSTERS; SEQUELS; BOX OFFICE. AUSTRALIA; SHREK (US, Vicky Jenson & Andrew Adamson, 2001); SHREK 2 (US, Kelly Asbury & Andrew Adamson & Conrad Vernon, 2004); BOURNE IDENTITY, THE (US, Doug Liman, 2002); BOURNE SUPREMACY, THE (US, Paul Greengrass, 2004); SPIDER-MAN (US, Sam Raimi, 2002); SPIDER-MAN 2 (US, Sam Raimi, 2004)
Summary: The importance of Sequels within the business that markets and selling tested product within a risky film industry and which will hopefully drag the kids away from gaming, mobile phones and whatever other entertainment pursuits have been engaging them and their wallets. - A Rule of thumb suggests a sequel will gross about 10 to 20 per cent less than its predecessor; studios relish this security in an otherwise very uncertain business. - To maintain integrity a sequel must feature some elements of the original, such as key cast and the calibre of the director (if not the same director). But some franchises have been so well released they built on the original audience - Box Office numbers dropped 10 per cent in 2005 and bounced back in 2006, but not to the 907 million gross that Australian cinemas had achieved in 2004 Film Release patterns are integral to how much the film will generate in sales. (Summer Blockbusters, Releases for award nominations); accessed from: Factiva. Dow Jones Reuters Business Interactive LLC. RMIT University Library. (14 May 2007).
Notes: -- accessed from: Factiva. Dow Jones Reuters Business Interactive LLC. RMIT University Library. (14 May 2007).
Quotations: FILM SALES – DVD Shrek 2 – Sold extremely well on DVD FILMS SALES – CINEMA RELEASE Shrek 2 – 50 Million/18 million more than Shrek 1 The Bourne Identity – 13 million in Australia The Bourne Supremacy – 16 million Spider-man 31 million in Australia Spiderman 2 24.4 million

Call No: 753.83(73) HEN
Author: Henderson, Stuart
Source: US/UK
Place: Houndmills, Basingstoke, Hampshire New York, NY
Publisher: Palgrave Macmillan on behalf of the British Film Institute
PubDate: 2014
PhysDes: viii, 220 pages : illustrations ; 24 cm
Subject: SEQUELS; INDUSTRY, FILM. USA; STARS; GENRES; NARRATIVE IN FILMS; INTERTEXUALITY; TARZAN IN FILMS
Summary: "This illuminating study charts the changing role of the Hollywood film sequel over the past century. Considering a range of sequels in their industrial, historical and aesthetic contexts, from The Son of a Sheik (1926) to Toy Story 3 (2010), this book provides a comprehensive history of this critically-neglected yet commercially-dominant art form"--
Notes: A BFI book. Formerly CIP. Includes bibliographical references (pages 204-207) and index
ISBN: 9781844576524
Contents: 'Here we go again ... and again' : introducing the Hollywood sequel -- Early sequels, 1911-28 -- Sequels in the factory, 1929-54 -- The uncertainty principles, 1955-77 -- 4. The end is just the beginning, 1978-2010 -- No end in sight : the classical narrative paradigm and the sequel -- The McClane principle : intertextuality, stardom and character in the sequel -- A formula of formula : genre and the aequel -- Conclusion : the Hollywood sequel : a story complete in itself

Call No: TITLE CLIPPINGS FILE; MAZE RUNNER: THE SCORCH TRIALS (US, Wes Ball, 2015)
Author: Dent, Nick
PhysDes: Clippings File Article
Subject: SEQUELS; ACTION FILMS; SCIENCE IN FILMS; THRILLERS; BALL, WES; O'BRIEN, DYLAN; SCODELARIO, KAYA; GILLEN, AIDEN; CLARKSON, PATRICIA; MAZE RUNNER, THE (US, Wes Ball, 2014); MAZE RUNNER: THE SCORCH TRIALS (US, Wes Ball, 2015)
Summary: Review and film critique of the movie 'Maze Runner: The Scorch Trials,' sequel of 'The Maze Runner,' including plot summary.
Rating: 2.5 out of 5 stars

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: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: SEQUELS

Call No: TITLE CLIPPINGS FILE in production; MAD MAX FURY ROAD SEQUELS in production
Author: Maddox, Garry
Subject: SEALE, JOHN; MAD MAX FURY ROAD SEQUELS in production
Summary: Quotes from cinematographer John Seale about his masterclass for the Australian Academy of Cinema and Television Arts and how he mentioned the possibility of a new Mad Max film (depending on the location offset from the Federal Government) and a new Peter Weir film
Notes: shorter article in The Age, title: Short cuts: Seale of approval for next Mad Max?, same date, p 216

Call No: 632.2 THO
Author: Thompson, Kristin
Edition: 1st ed.
Source: USA
Place: Cambridge, Massachusetts
Publisher: Harvard University Press
PubDate: 2003
PhysDes: 172 p ; 20cm + b&w ill.
Subject: ADAPTATIONS; ADVERTISING; CHARACTERS ON TV; DRAMAS; INTERNET; SCRIPTWRITING; SYMBOLISM ON TV; NARRATIVE IN FILMS; NARRATIVE IN TV; SEQUELS; SERIALS; SITUATION COMEDY; SOAP OPERAS; MERCHANDISING; BORDWELL, DAVID; CLEESE, JOHN; FROST MARK; KAEL, PAULINE; LYNCH, DAVID; NEWCOMB, HORACE; WILLIAMS, RAYMOND; WODEHOUSE, P.G; AVENGERS, THE [TV] (UK, 1961-69); BAD GIRLS [TV] (UK, 1999-); BLUE VELVET (US, David Lynch, 1986); BOB NEWHART SHOW, THE [TV] (US, 1961-62); BUFFY THE VAMPIRE SLAYER [TV] (US, 1997-2004); HILL STREET BLUES [TV] (US, 1980-87); MURPHY BROWN [TV] (US, 1988-); ROYLE FAMILY, THE [TV] (UK, 1998-2000); SINGING DETECTIVE, THE [TV] (UK, Jon Amiel, 1986); SOPRANOS, THE [TV] (US, 1999); STAR WARS (US, George Lucas, 1977); YES MINISTER [TV] (UK, 1980-84)
Summary: Author Kristin Thompson analyses the narrative workings of television and film, looking at the narrative techniques the two media share. Thomson then focuses on the specific challenges that series television presents and the tactics writers have devised to meet them – tactics that sustain interest and maintain sense across multiple plots and subplots and in spite of frequent interruptions as well as weeklong and seasonal breaks. [Taken from back cover].
ISBN: 0674010876

Call No: TITLE CLIPPINGS FILE in production; MAD MAX FURY ROAD SEQUELS in production
Author: Domjen, Briana -- Sharp, Annette -- Moran, Jonathon -- Halliwell, Elle
PhysDes: Clippings File Article
Subject: MAD MAX FURY ROAD SEQUELS in production
Summary: Snippet on George Miller's plans to make sequels for the MAD MAX film series