book
Featuring film 2 : the sequel / by Peter Cox, Fred Goldsworthy Melbourne: Oxford University Press, 1997.
Call No: 512.1 COXAuthor: Cox, Peter, 1953 ; Goldsworthy, Fred Source: ATPlace: MelbournePublisher: Oxford University PressPubDate: 1997PhysDes: viii, 215 p. : ill. ; 26 cmSubject: TEACHING MATERIALS ; BABE (AT, Chris Noonan, 1995) ; BRAVEHEART (US, Mel Gibson, 1995) ; CASABLANCA (US, Michael Curtiz, 1942) ; CIRCLE OF FRIENDS (US, Pat O'Connor, 1995) ; CITE DES` ENFANTS PERDUS, LA (FR/SP/GG, Jean-Pierre Jeunet & Marc Caro, 1995) ; CRIMES AND MISDEMEANORS (US, Woody Allen, 1989) ; DAD AND DAVE ON OUR SELECTION (AT, George Whaley, 1995) ; [DOCTOR] DR STRANGELOVE: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (UK, Stanley Kubrick, 1964) ; EDUCATING RITA (UK, Lewis Gilbert, 1983) ; FORREST GUMP (US, Robert Zemeckis, 1994) ; FRIED GREEN TOMATOES (US, John Avnet, 1991) ; HANDMAID'S TALE, THE (US/GW, Volker Schlondorff, 1990) ; HIGH NOON (US, Fred Zinnemann, 1952) ; IN THE NAME OF THE FATHER (IE/UK/US, Jim Sheridan, 1993) ; LITTLE WOMEN (US, Gillian Armstrong, 1994) ; LORENZO'S OIL (US, George Miller, 1992) ; MARY SHELLEY'S FRANKENSTEIN (US, Kenneth Branagh, 1994) ; METROPOLIS (G, Fritz Lang, 1926) ; MUCH ADO ABOUT NOTHING (UK/US, Kenneth Branagh, 1993) ; MURIEL’S WEDDING (AT, P.J. Hogan, 1994) ; NELL (US, Michael Apted, 1994) ; ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994) ; ONE FLEW OVER THE CUCKOO'S NEST (US, Milos Forman, 1975) ; OUTBREAK (US, Wolfgang Petersen, 1995) ; PIANO, THE (AT, Jane Campion, 1993) ; PROOF (AT, Jocelyn Moorhouse, 1991) ; PSYCHO (US, Alfred Hitchcock, 1960) ; ROSENCRANTZ AND GUILDENSTERN ARE DEAD (UK, Tom Stoppard, 1990) ; SAINT OF FORT WASHINGTON, THE (US, Tim Hunter, 1993) ; SEARCHING FOR BOBBY FISCHER (US, Steven Zaillian, 1993) ; SENSE AND SENSIBILITY (US, Ang Lee, 1995) ; SHAWSHANK REDEMPTION, THE (US, Frank Darabont, 1994) ; SUM OF US, THE (AT, Kevin Dowling & Geoff Burton, 1994) ; SWING KIDS (US, Thomas Carter, 1993) ; THAT EYE THE SKY (AT, John Ruane, 1994) ; UNFORGIVEN (US, Clint Eastwood, 1992) ; WHAT'S EATING GILBERT GRAPE (US, Lasse Hallstrom, 1993) ; WHO'S AFRAID OF VIRGINIA WOOLF? (US, Mike Nichols, 1966) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; HEIDI CHRONICLES, THE [TV] (US, Peter Bogart, 1995) Notes: Includes indexISBN: 0195540190 : $24.95LON: 12914277
More info
book
Prison movies : cinema behind bars / Kevin Kehrwald New York: Wallflower Press published by Columbia University Press,
Call No: 734.7KEHAuthor: Kehrwald, Kevin Place: Chichester, U.K.; New YorkPublisher: Wallflower Press published by Columbia University PressPhysDes: vii,21p. : illustrated ; 21 cmSeries: Short CutsSubject: PRISON FILMS ; I WANT TO LIVE! (US, Robert Wise, 1958) ; BIG HOUSE, THE (US, George W. Hill, 1930) ; DEFIANT ONES, THE (US, Stanley Kramer, 1958) ; COOL HAND LUKE (US, Stuart Rosenberg, 1967) ; MIDNIGHT EXPRESS (UK, Alan Parker, 1978) ; ESCAPE FROM ALCATRAZ (US, Donald Siegel, 1979) ; SHAWSHANK REDEMPTION, THE (US, Frank Darabont, 1994) ; STARRED UP (UK, David Mackenzie, 2013) Summary: Prison Movies: Cinema Behind Bars traces the public fascination with incarceration from the silent era to the present. Often considered an offshoot of the gangster film, the prison film precedes the gangster film and is in many ways its opposite. Rather than focusing on tragic figures heading for a fall, the prison film focuses on fallen characters seeking redemption. The gangster's perverse pursuit of the American dream is irrelevant to the prisoner for whom that dream has already failed. At their core, prison films are about self-preservation at the hands of oppressive authority. Like history itself, prison films display long stretches of idleness punctuated by eruptions of violence, dangerous moments that signify liberation and the potential for change. The enclosed world of the prison is a highly effective microcosm, one that forces characters and audiences alike to confront vexing issues of race, class, gender, and sexuality. These portrayals of men and women behind bars have thrived because they deal with such fundamental human themes as freedom, individuality, power, justice, and mercy. -- publisher's web siteNotes: Acknowledgements -- Introduction: After the Crime is Over -- 1. Prison Films of Pre-Code Hollywood: Big Houses, Death Houses and Chain Gangs -- 2. Women's Prison Films of the 1950s and Early 1960s -- 3. Identity and Violence in Popular Prison Films from the 1960s to the 1990s -- Afterword: Post-9/11 Prison Movies and the Era of Mass Incarceration -- Bibliography -- IndexISBN: 9780231181150
More info
title clippings file
SHAWSHANK REDEMPTION, THE : (US, Frank Darabont, 1994)
More info
book
The Shawshank redemtion / Mark Kermode London: BFI, 2003.
Call No: 79SHA KERAuthor: Kermode, Mark Source: UKPlace: LondonPublisher: BFIPubDate: 2003PhysDes: 95 p. : ill. (some col.) ; 19 cm.Series: BFI modern classics.Subject: SHAWSHANK REDEMPTION, THE (US, Frank Darabont, 1994) Summary: How did a low-key prison movie which was considered a box-office flop on its original release become one of the most popular movies of all time? Mark Kermode traces the history of this unexpected audience favourite from the pages of Stephen King's novella "Rita Hayworth and Shawshank Redemption", through the icy corridors of Ohio's Mansfield Reformatory (whose imposing gothic architecture dominates the film), to the television and video screens on which "The Shawshank Redemption" became a phenomenon. This study traces the history of "The Shawshank Redemption" and draws on interviews with writer/director Frank Darabont and leading players Tim Robbins and Morgan Freeman. The book also explores the near-religious fervour that the film inspires in a huge number of devoted fans. -- [Extract taken from the back of the book]ISBN: 0851709680ID2: 214
More info
