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Call No: 771.2(01) PAR
Author: Parker, Kerrin
PhysDes: [ii] 16 p. ; 34 cm.
Subject: SURREALISM AND THE CINEMA
Notes: B.ED. Film History. Final Essay

Call No: 62 RAY
Author: Ray, Robert B
Place: Cambridge, Mass.
Publisher: Harvard University Press
PubDate: 1995
PhysDes: 246 p. : ill. ; 25 cm
Subject: AVANT-GARDE FILMS; SURREALISM AND THE CINEMA; PHOTOGRAPHY AND THE CINEMA; FETISHISM IN FILMS; BARTHES, ROLAND; ANDY HARDY IN FILMS; BENJAMIN, WALTER; DERRIDA, JACQUES; ROONEY, MICKEY
Notes: Includes bibliographical references (p. [215]-235) and index
ISBN: 0674055373 (cloth : alk. paper); 0674055381 (pbk. : alk. paper)
LON: 95013646; 11604301

Call No: 64NOU(437) OWE
Author: Owen, Jonathan L.
Place: New York
Publisher: Berghahn Books
PubDate: 2011
PhysDes: viii, 245 p. : ill. ; 24 cm
Series: Berghahn on film
Subject: CZECHOSLOVAKIA; NOUVELLE VAGUE; SURREALISM AND THE CINEMA; OSTRE SLEDOVANE VLAKY (CS, Jiri Menzel, 1966); CLOSELY WATCHED TRAINS (CS, Jiri Menzel, 1966); SEDMIKRASKY (CS, Vera Chytilova, 1966)
Summary: The cultural liberalization of communist Czechoslovakia in the 1960s produced many artistic accomplishments, not least the celebrated films of the Czech New Wave. This movement saw filmmakers use their new freedom to engage with traditions of the avant-garde, especially Surrealism. This book explores the avant-garde's influence over the New Wave and considers the political implications of that influence. The close analysis of selected films, ranging from the Oscar-winning Closely Observed Trains to the aesthetically challenging Daisies, is contextualized by an account of the Czech avant-garde and a discussion of the films' immediate cultural and political background
Notes: Includes bibliographical references and index
ISBN: 9780857451262
Contents: Introduction: Surrealism in and out of the Czechoslovak New Wave -- Chapter one: Inspirations, Opportunities: Cultural and Historical Contexts -- Chapter two: Pavel Juraceks Josef Kilian (1963) and A Case for the Young Hangman (1969): From the Surreal Object to the Absurd Signifier -- Chapter three: Jiri Menzels Closely Observed Trains (1966): Hrabal and the Heterogeneous -- Chapter four: Spoiled Aesthetics: Realism and Anti-Humanism in Vera Chytilova's Daisies (1966) -- Chapter five: Flights From History: Otherness, Politics and Folk Avant-Gardism in Juraj Jakubiskos The Deserter and the Nomads (1968) and Birds, Orphans and Fools (1969) -- Chapter six: Back to Utopia: Returns of the Repressed in Jaromil Jires's Valerie and Her Week of Wonders (1970) -- Chapter seven: Jan Svankmajer: Contemporary Czech Surrealism and the Renewal of Language -- Conclusion

Call No: 79CHI ADA
Author: Adamowicz, Elza
Source: US/UK
Place: London ; New York
Publisher: I.B. Tauris ; New York : Distributed in the USA by Palgrave Macmillan
PubDate: 2010
PhysDes: 109 p. : ill. ; 22 cm
Series: Cine´-files : the French film guides
Subject: SURREALISM AND THE CINEMA; DALI, SALVADOR; BUNUEL, LUIS; CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928)
Summary: "In 1929 Dali and Bunuel produced a seventeen-minute film, 'Un chien andalou'. On its first screening, Georges Bataille referred to it as 'that extraordinary film ... penetrating so deeply into horror', while Federico Garcia Lorca described it as 'a tiny little shit of a film'. Produced from a script said to be based on two dream images - a woman's eye slit by a razor, ants emerging from a hole in a man's hand - the film shocked audiences. It continues to fascinate, provoke, attract and alienate its viewers. Its eye-slitting sequence and use of dream like images have influenced filmmakers from Alfred Hitchcock to David Lynch. Elza Adamowicz's lucid critical guide to this most enigmatic of works offers new approaches to the film, exploring how it can be seen both within and beyond the confines of Surrealism and reviewing its openness to so many readings and interpretations. She reassesses Dali and Bunuel's account of the film as a model of surrealist work and its reception by the surrealist group. She situates the film within the social and cultural contexts of the 1920s, including those of melodramatic film, Spanish culture, surrealist iconography and gender construction. She assesses the film's resistance to a single interpretation and explores the role of the viewer (detective or dreamer?)."-BOOK BLURB
Notes: includes film credits; includes selected bibliography
ISBN: 9781848850569
Contents: -- introduction: it's dangerous to look inside -- Producing Un chien andalou : myths of origin. From scenario to screen : a close collaboration -- Premie`re and reception of Un chien andalou -- A surrealist film? -- Romantic melodrama or magic theatre? Classic film narrative subverted -- A cinema of attractions -- Psychoanalytic readings -- Symbols or material images? -- Contexts and intertexts : between Fanto^mas and the fairground. Spanish contexts -- Surrealist iconography -- A parody of 1920s' films -- Early cinema and fairground intertexts -- Destabilizing gender roles -- conclusion -- Appendix 1. Synopsis -- Appendix 2. Credits -- appendix 3. Selected bibliography --

Call No: 62 ORR
Author: Orr, John, 1943
Place: Edinburgh
Publisher: Edinburgh University Press
PubDate: c1998
PhysDes: xi,243 p. : ill. ; 24 cm
Subject: CANADA; CHINA; MASCULINITY IN FILMS; RELIGION AND THE CINEMA; COMMUNISM AND THE CINEMA; DOUBLES IN FILMS; EXPRESSIONISM; FILM NOIR; HONG KONG; POLAND; PSYCHOLOGY AND THE CINEMA; SEX IN FILMS; SURREALISM AND THE CINEMA; ALLEN, WOODY; ALTMAN, ROBERT; ANTONIONI, MICHELANGELO; BEATTY, WARREN; BELMONDO, JEAN-PAUL; BERGMAN, INGMAR; BINOCHE, JULIETTE; BONNAIRE, SANDRINE; BURTON, TIM; CAGE, NICOLAS; CAMPION, JANE; CHABROL, CLAUDE; CHEUNG, LESLIE; COPPOLA, FRANCIS FORD; COSTNER, KEVIN; CRONENBERG, DAVID; DAHL, JOHN; DE NIRO, ROBERT; DE PALMA, BRIAN; DERN, LAURA; EGOYAN, ATOM; FIGGIS, MIKE; GERE, RICHARD; GONG, LI; GREENAWAY, PETER; HAUER, RUTGER; JAMESON, FREDRIC; KIESLOWSKI, KRZYSZTOF; LYNCH, DAVID; MALICK, TERRENCE; Pasolini, Pier Paolo; ROSSELLINI, ISABELLA; SCORSESE, MARTIN; SCOTT, RIDLEY; STONE, OLIVER; TRAN, ANH HUNG; WEIR, PETER; Wenders, Wim; WONG KAR-WAI; YOUNG, SEAN; ZHANG, YIMOU; ANDERSSON, BIBI; AUDRAN, STEPHANE; DUVALL, SHELLY; GIDLEY, PAMELA; JANDA, KRYSTYNA; KANESHIRO, TANESHI; LEUNG, TONY; LIN, BRIGITTE; KROTKI FILM O MILOSCI (PL, Krzysztof Kieslowski, 1988); KILL ME AGAIN (US, John Dahl, 1989); AH FEI ZHENG ZHUANG (HK, Wong Kar-Wei, 1991); HIMMEL UBER BERLIN, DER (GW/FR, Wim Wenders, 1987); ADJUSTER, THE (CN, Atom Egoyan, 1991); BELLE NOISEUSE, LA (FR, Jacques Rivette, 1991); BLADE RUNNER (US, Ridley Scott, 1982); BLOWUP (UK/IT, Michelangelo Antonioni, 1966); CHINATOWN (US, Roman Polanski, 1974); COOK, THE THIEF, HIS WIFE & HER LOVER, THE (NE/FR, Peter Greenaway, 1989); DAYS OF HEAVEN (US, Terrence Malick, 1978); JFK (US, Oliver Stone, 1991); LAST SEDUCTION, THE (US, John Dahl, 1994); LIEBESTRAUM (US, Mike Figgis, 1991); MCCABE AND MRS MILLER (US, Robert Altman, 1971); CZLOWIEK Z MARMURA (PL, Andrzej Wajda, 1977); ONE FALSE MOVE (US, Carl Franklin, 1991); PERSONA (SW, Ingmar Bergman, 1966); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); RAGING BULL (US, Martin Scorsese, 1980); DAHONG DENGLONG GAOGAO GUA (CC/HK/TZ, Zhang Yimou, 1991); DESERTO ROSSO, IL (IT/FR, Michelangelo Antonioni, 1964); SHINING, THE (UK, Stanley Kubrick, 1980); STALKER (UR, Andrei Tarkovsky, 1979); TROIS COULEURS: BLEU (FR, Krzysztof Kieslowski, 1993); TWIN PEAKS: FIRE WALK WITH ME (US, David Lynch, 1992); WILD AT HEART (US, David Lynch, 1990); XICH LO (FR/V, Tran Anh Hung, 1995)
Summary: "'Contemporary cinema' is a major study of key developments in the cinema over the last thirty years. It reworks Pasolini's landmark concept of 'the cinema of poetry' to look at the transformation of film form in its encounter with society, the sacred, the subjective and the presence of the camera. In the 1970s, the influential forms of a cinema of poetry are analysed in key features by Altman, Herzog, Malick, Scorsese, Weir, Von Trotta and Tarkovsky while in the 1980s and 1990s the emergence of new filmmakers has meant a diffusion of different cinemas of poetry using new techniques and new poetries. Of key importance here is the work of Kieslowski, Lynch, Egoyan, Campion, Greenaway, Zhang Yimou, Tran Anh Hung and Wong Kar-Wai, as well as the reinvention of science fiction and film noir in American genre." Taken from back cover.
Notes: Includes bibliographical references and index
ISBN: 0748608362(pbk.) : No price
LON: 13772409
ID2: 291

Call No: 753DIC ZAM
Author: Zambrano, A. L
Place: New York
Publisher: Gordon Press
PubDate: 1976
PhysDes: 442 pages : illustrations ; 24 cm
Subject: ADAPTATIONS; ADAPTATIONS. DICKENS, CHARLES; LITERATURE AND THE CINEMA; MUSICALS; SURREALISM AND THE CINEMA; THEATRE AND THE CINEMA; GRIFFITH, DAVID WARK; EISENSTEIN, SERGEI M.; DAVID COPPERFIELD (US, George Cukor, 1935); GREAT EXPECTATIONS (UK, David Lean, 1946); GREAT EXPECTATIONS (UK, Joseph Hardy, 1975); OLIVER TWIST (UK, David Lean, 1948); SCROOGE (US, Brian Desmond Hurst, 1951); SCROOGE (UK, Ronald Neame, 1970); TALE OF TWO CITIES, A (US, Jack Conway, 1935)
Summary: This book discusses the works of Charles Dickens that has been adapted into film up until the mid 1970s. It discusses Dickens's relationship to the theatre (cinema's closest ancestor), the Victorian values of Dickens's work, the cinematic elements of Dickens's writing, and modern filmic adaptations of his work.
Notes: Includes filmography -- collection's copy is fragile, handle with care
ISBN: 0879684569
LON: 76016479; 174074

Call No: 631 CHA
Author: Charney, Leo
Place: Durham, London
Publisher: Duke University Press
PubDate: 1998
PhysDes: ix, 189 pages ; 25 cm
Subject: PHILOSOPHY AND THE CINEMA; AESTHETICS; PERCEPTION; SURREALISM AND THE CINEMA; UNCANNY GAZE; MUYBRIDGE, EADWEARD; DULAC, GERMAINE; BRETON, ANDRE; HUSSERL, EDMUND; HEIDEGGER, MARTIN; SAUSSURE, FERDINAND DE; EISENSTEIN, SERGEI M.; EPSTEIN, JEAN
Summary: "In Empty Moments, Leo Charney describes the defining quality of modernity as "drift" - the experience of being unable to locate a stable sense of the present. Through an exploration of artistic, philosophical, and scientific interrogations of the experience of time, Charney presents cinema as the emblem of modern culture's preoccupation with the reproduction of the present. Empty Moments creates a catalytic dialogue among those who, at the time of the invention of film, attempted to define the experience of the fleeting present. Interspersing philosophical discussions with stylistically innovative prose, Charney mingles Proust's conception of time/ memory with Cubism's attempt to interpret time through perspective and Surrealism's exploration of subliminal representations of the present. Other topics include Husserl's insistence that the present can only be fantasy or fabrication and the focus on impossibility, imperfection, and loss in Kelvin's laws of thermodynamics. Ultimately, Charney's work hints at parallels among such examples, the advent and popularity of cinema, and early film theory." -- Blurb
Notes: Includes notes, bibliography and index
ISBN: 0822320908
Donation: Adrian Miles
Contents: One: Drift -- Two: The present moment -- Three: Peaks and valleys -- Four: What's the use? -- Five: Boredom -- Six: The end of pleasure -- Seven: A horizontal line

Call No: 735 FAN
Author: Donald, James
Place: London
Publisher: BFI Pub.
PubDate: 1989
PhysDes: 298 p. : ill. ; 24 cm
Subject: FANTASTIC FILMS; FETISHISM IN FILMS; GERMANY. 1895-1930; SLASHER FILMS; GENDER AND THE CINEMA; SEX AND THE CINEMA; FEMINISM AND THE CINEMA; SURREALISM AND THE CINEMA; BARTHES, ROLAND; SVANKMAJER, JAN; CONDIT, CECELIA; BAHTIN, MIHAIL; BORDWELL, DAVID; DURAS, MARGUERITE; LYOTARD, JEAN-FRANCOIS; HITCHCOCK, ALFRED; ALIEN (UK, Ridley Scott, 1979); BLADE RUNNER (US, Ridley Scott, 1982); BENEATH THE SKIN (US, Cecelia Condit, 1981); CABINET DES DR. CALIGARI, DAS (G, Robert Wiene, 1920); INDIA SONG (FR, Marguerite Duras, 1975); PSYCHO (US, Alfred Hitchcock, 1960); STUDENT VON PRAG, DER (G, Stellan Rye, 1913); TERMINATOR, THE (US, James Cameron, 1984); TEXAS CHAIN SAW MASSACRE, THE (US, Tobe Hooper, 1974); VAMPYR : DER TRAUM DES ALLAN GRAY (G/FR, Carl Th. Dreyer, 1932)
Notes: Includes bibliographical references (p. 287-291) and indexes
ISBN: 0851702287; 0851702295 (pbk.)
LON: 6190057

Call No: 64SUR WILL
Author: Williams, Linda, 1946
Place: Urbana
Publisher: University of Illinois Press
PubDate: 1981
PhysDes: xv, 229 p. : ill. ; 24 cm
Subject: SURREALISM AND THE CINEMA; BUNUEL, LUIS; Dali, Salvador; AGE D'OR, L' (FR, Luis Bunuel, 1930)
Notes: Includes index; Bibliography: p. 219-225
ISBN: 0520078969 (pbk); 0252008782
LON: 80027490; 1856299

Call No: 62 FIL
Author: Talbot, David
Source: US
Place: Berkeley, Calif.
Publisher: University of California Press
PubDate: 1966
PhysDes: xiv, 404 p. ; 20 cm.
Subject: AESTHETICS; THEORY; SURREALISM AND THE CINEMA; HISTORY OF CINEMA
Notes: Includes bibliographcial references.

Call No: 62 ARM
Author: Armes, Roy
Place: Harmondsworth, Middlesex
Publisher: Penguin
PubDate: 1974
PhysDes: 254 p. ; 18 cm
Subject: MODERNISM AND THE CINEMA; REALISM IN FILMS; DOCUMENTARIES; DOCUMENTARY FILMS; CINEMA VERITE; NEOREALISM; EXPRESSIONISM; SURREALISM AND THE CINEMA; UNDERGROUND FILMS; ANIMATION; HISTORY OF CINEMA. SILENT PERIOD; STUDIO SYSTEM; NARRATIVE IN FILMS; STARS; AUTHORSHIP; WALT DISNEY PRODUCTIONS; WESTERNS; LUMIERE, AUGUSTE & LOUIS; MELIES, GEORGES; FLAHERTY, ROBERT; VERTOV, DZIGA; VON STROHEIM, ERICH; RENOIR, JEAN; ROSSELLINI, ROBERTO; EDISON, THOMAS ALVA; GRIFFITH, DAVID WARK; HITCHCOCK, ALFRED; BUNUEL, LUIS; RESNAIS, ALAIN; GODARD, JEAN-LUC; ANGER, KENNETH; LOACH, KENNETH; CHAPLIN, CHARLES
Summary: Explores the history of cinema by looking at three broad areas - Film Realism, Film Illusion, and Film Modernism, and describes within these areas the most important film-makers, directors and companies within the film industry.
Notes: contains index; contains bibliography with descriptions and recommendations for the books sourced.
ISBN: 0140217010
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Call No: 62 CAS
Author: Casebier, Allan
Place: New York
Publisher: Harcourt Brace Jovanovich
PubDate: c1976
PhysDes: ix, 207 p., [2] leaves of plates : col. ill. ; 23 cm
Subject: THEORY; AESTHETICS; SOUND; AUDIENCES; REALISM IN FILMS; SURREALISM AND THE CINEMA; EXPRESSIONISM; MYTH AND THE CINEMA; STRUCTURALISM; CRITICISM; WELLES, ORSON; BUNUEL, LUIS; KUBRICK, STANLEY; BAZIN, ANDRE; ARNHEIM, RUDOLF; GODARD, JEAN-LUC; CLOCKWORK ORANGE, A (UK, Stanley Kubrick, 1971)
Notes: Includes index; "Bibliography/filmography": p. [183]-190
ISBN: 0155273701
Order Received: 2000
Order Type: Donation
LON: 746910
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Call No: 62 FIL
Author: MacKenzie, Scott (ed.)
Source: US
Place: Berkeley London
Publisher: University of California Press
PubDate: 2014
PhysDes: xxi, 651 p. ; 26 cm
Subject: AVANT-GARDE FILMS; CONSTRUCTIVISM; SURREALISM AND THE CINEMA; STRUCTURALISM; NOUVELLE VAGUE; IMPERIALISM AND THE CINEMA; GENDER AND THE CINEMA; FEMINISM AND THE CINEMA; PORNOGRAPHY AND THE CINEMA; DOCUMENTARY FILMS; DOCUMENTARIES; PHILOSOPHY AND THE CINEMA; WORLD CINEMA; LATIN AMERICAN COUNTRIES; AESTHETICS; HOLLYWOOD; ARCHIVES & INSTITUTES, FILM
Summary: Film Manifestoes and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture. -- extract taken from the back of the book
Notes: Includes index -- Includes bibliographical references and index.
ISSN: 9780520276741
Contents: Introduction. “An Invention without a Future” -- 1. The Avant-Garde(s) -- The Futurist Cinema (Italy, 1916) F.T. Marinetti, Bruno Corra, et al. -- Lenin Decree (USSR, 1919) Vladimir Ilyich Lenin -- The ABCs of Cinema (France, 1917–1921) Blaise Cendrars -- WE: Variant of a Manifesto (USSR, 1922) Dziga Vertov -- The Method of Making Workers’ Films (USSR, 1925) Sergei Eisenstein -- Constructivism in the Cinema (USSR, 1928) Alexei Gan -- Preface: Un chien Andalou (France, 1928) Luis Buñuel -- Manifesto of the Surrealists Concerning L’Age d’or (France, 193) The Surrealist Group -- Manifesto on “Que Viva Mexico” (USA, 1933) The Editors of Experimental Film -- Spirit of Truth (France, 1933) Le Corbusier -- An Open Letter to the Film Industry and to All Who Are Interested in the Evolution of the Good Film (Hungary, 1934) László Moholy-Nagy -- Light*Form*Movement*Sound (USA, 1935) Mary Ellen Bute -- Prolegomena for All Future Cinema (France, 1952) Guy Debord -- No More Flat Feet! (France, 1952) Lettriste International -- The Lettristes Disavow the Insulters of Chaplin (France, 1952) Jean-Isidore Isou, Maurice Lemaître, and Gabriel Pomerand -- The Only Dynamic Art (USA, 1953) Jim Davis -- A Statement of Principles (USA, 1961) Maya Deren -- The First Statement of the New American Cinema Group (USA, 1961) New American Cinema Group -- Foundation for the Invention and Creation of Absurd Movies (USA, 1962) Ron Rice -- From Metaphors on Vision (USA, 1963) Stan Brakhage -- Kuchar 8mm Film Manifesto (USA, 1964) George Kuchar -- Film Andepandan [Independents] Manifesto (Japan, 1964) Takahiko Iimura, Koichiro Ishizaki, et al. -- Discontinuous Films (Canada, 1967) Keewatin Dewdney -- Hand-Made Films Manifesto (Australia, 1968) Ubu Films, Thoms -- Cinema Manifesto (Australia, 1971) Arthur Cantrill and Corinne Cantrill -- For a Metahistory of Film: Commonplace Notes and Hypotheses (USA, 1971) Hollis Frampton -- Elements of the Void (Greece, 1972) Gregory Markopoulos -- Small Gauge Manifesto (USA, 1980) JoAnn Elam and Chuck Kleinhans -- Cinema of Transgression Manifesto (USA, 1985) Nick Zedd -- Modern, All Too Modern (USA, 1988) Keith Sanborn -- Open Letter to the Experimental Film Congress: Let’s Set the Record Straight (Canada, 1989) Peggy Ahwesh, Caroline Avery, et al. -- Anti-1 Years of Cinema Manifesto (USA, 1996) Jonas Mekas -- The Decalogue (Czech Republic, 1999) Jan Švankmajer -- Your Film Farm Manifesto on Process Cinema (Canada, 212) Philip Hoffman -- 2. National and Transnational Cinemas -- From “The Glass Eye” (Italy, 1933) Leo Longanesi -- The Archers’ Manifesto (UK, 1942) Michael Powell and Emeric Pressburger -- What Is Wrong with Indian Films? (India, 1948) Satyajit Ray -- Buñuel the Poet (Mexico, 1951) Octavio Paz -- French Cinema Is Over (France, 1952) Serge Berna, Guy Debord, et al. -- Some Ideas on the Cinema (Italy, 1953) Cesare Zavattini -- A Certain Tendency in French Cinema (France, 1954) François Truffaut -- Salamanca Manifesto & Conclusions of the Congress of Salamanca (Spain, 1955) Juan Antonio Bardem -- Free Cinema Manifestos (UK, 1956–1959) Committee for Free Cinema -- The Oberhausen Manifesto (West Germany, 1962) Alexander Kluge, Edgar Reitz, et al. -- Untitled [Oberhausen 1965] (West Germany, 1965) Jean-Marie Straub, Rodolf Thome, Dirk Alvermann, et al. -- The Mannheim Declaration (West Germany, 1967) Joseph von Sternberg, Alexander Kluge, et al. -- Sitges Manifesto (Spain, 1967) Manuel Revuelta, Antonio Artero, Joachin Jordà, and Julián Marcos -- How to Make a Canadian Film (Canada, 1967) Guy Glover -- How to Not Make a Canadian Film (Canada, 1967) Claude Jutra -- From “The Estates General of the French Cinema, May 1968” (France, 1968) Thierry Derocles, Michel Demoule, Claude Chabrol, and Marin Karmitz -- Manifesto of the New Cinema Movement (India, 1968) Arun Kaul and Mrinal Sen -- What Is to Be Done? (France, 1970) Jean-Luc Godard -- The Winnipeg Manifesto (Canada, 1974) Denys Arcand, Colin Low, Don Shebib, et al. -- Hamburg Declaration of German Filmmakers (West Germany, 1979) Rainer Werner Fassbinder, Werner Herzog, Wim Wenders, et al. -- Manifesto I (Denmark, 1984) Lars von Trier -- Manifesto II (Denmark, 1987) Lars von Trier -- Manifesto III: I Confess! (Denmark, 199) Lars von Trier -- The Cinema We Need (Canada, 1985) R. Bruce Elder -- Pathways to the Establishment of a Nigerian Film Industry (Nigeria, 1985) Ola Balogun -- Manifesto of 1988 (German Democratic Republic, 1988) Young DEFA Filmmakers -- In Praise of a Poor Cinema (Scotland, 1993) Colin McArthur -- Dogme ’95 Manifesto and Vow of Chastity (Denmark, 1995) Lars von Trier and Thomas Vinterberg -- I Sinema Manifesto (Indonesia, 1999) Dimas Djayadinigrat, Enison Sinaro, et al. -- 3. Third Cinemas, Colonialism, Decolonization, and Postcolonialism -- Manifesto of the New Cinema Group (Mexico, 1961) El grupo nuevo cine -- Cinema and Underdevelopment (Argentina, 1962) Fernando Birri -- The Aesthetics of Hunger (Brazil, 1965) Glauber Rocha -- For an Imperfect Cinema (Cuba, 1969) -- Julio García Espinosa Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World (Argentina, 1969) Fernando Solanas and Octavio Getino -- Film Makers and the Popular Government Political Manifesto (Chile, 1970) Comité de cine de la unidad popular -- Consciousness of a Need (Uruguay, 1970) Mario Handler -- Militant Cinema: An Internal Category of Third Cinema (Argentina, 1971) Octavio Getino and Fernando Solanas -- For Colombia 1971: Militancy and Cinema (Colombia, 1971) Carlos Alvarez -- The Cinema: Another Face of Colonised Québec (Canada, 1971) Association professionnelle des cinéastes du Québec -- 8 Millimeters versus 8 Millions (Mexico, 1972) Jaime Humberto Hermosillo, Arturo Ripstein, Paul Leduc, et al. -- Manifesto of the Palestinian Cinema Group (Palestine, 1973) Palestinian Cinema Group -- Resolutions of the Third World Filmmakers Meeting (Algeria, 1973) Fernando Birri, Ousmane Sembene, Jorge Silva, et al. -- The Luz e Ação Manifesto (Brazil, 1973) Carlos Diegues, Glauber Rocha, et al. -- Problems of Form and Content in Revolutionary Cinema (Bolivia, 1976) Jorge Sanjinés -- Manifesto of the National Front of Cinematographers (Mexico, 1975) Paul Leduc, Jorge Fons, et al. -- The Algiers Charter on African Cinema (Algeria, 1975) FEPACI (Fédération panafricaine des cinéastes) -- Declaration of Principles and Goals of the Nicaraguan Institute of Cinema (Nicaragua, 1979) Nicaraguan Institute of Cinema -- What Is the Cinema for Us? (Mauritania, 1979) Med Hondo -- Niamey Manifesto of African Filmmakers (Niger, 1982) FEPACI (Fédération panafricaine des cinéastes) -- Black Independent Filmmaking: A Statement by the Black Audio Film Collective (UK, 1983) John Akomfrah -- From Birth Certificate of the International School of Cinema and Television in San Antonio de Los Baños, Cuba, Nicknamed the School of Three Worlds (Cuba, 1986) Fernando Birri -- FeCAViP Manifesto (France, 1990) Federation of Caribbean Audiovisual Professionals -- Final Communique of the First Frontline Film Festival and Workshop (Zimbabwe, 1990) SADCC (South African Development Coordination Conference) -- Pocha Manifesto #1 (USA, 1994) Sandra Peña-Sarmiento -- Poor Cinema Manifesto (Cuba, 24) Humberto Solás -- Jollywood Manifesto (Haiti, 28) Ciné Institute -- The Toronto Declaration: No Celebration of Occupation (Canada, 29) John Greyson, Naomi Klein, et al. -- 4. Gender, Feminist, Queer, Sexuality, and Porn Manifestos -- Woman’s Place in Photoplay Production (USA, 1914) Alice Guy-Blaché -- Hands Off Love (France, 1927) Maxime Alexandre, Louis Aragon, et al. -- The Perfect Filmic Appositeness of Maria Montez (USA, 1962) Jack Smith -- On Film No. 4 (In Taking the Bottoms of 365 Saints of Our Time) (UK, 1967) Yoko Ono -- Statement (USA, 1969) Kenneth Anger -- Wet Dream Film Festival Manifesto (The Netherlands, 1970) S.E.L.F. (Sexual Egalitarianism and Libertarian Fraternity) -- Women’s Cinema as Counter-Cinema (UK, 1973) Claire Johnston -- Manifesto for a Non-sexist Cinema (Canada, 1974) FECIP (Fédération européenne du cinéma progressiste) -- Womanifesto (USA, 1975) Feminists in the Media -- Visual Pleasure and Narrative Cinema (UK, 1975) Laura Mulvey -- An Egret in the Porno Swamp: Notes of Sex in the Cinema (Sweden, 1977) Vilgot Sjöman -- For the Self-Expression of the Arab Woman (France, 1978) Heiny Srour, Salma Baccar, and Magda Wassef -- Manifesto of the Women Filmmakers (West Germany, 1979) Verband der Filmarbeiterinnen -- Wimmin’s Fire Brigade Communiqué (Canada, 1982) Wimmin’s Fire Brigade -- Thoughts on Women’s Cinema: Eating Words, Voicing Struggles (USA, 1986) Yvonne Rainer -- The Post Porn Modernist Manifesto (USA, 1989) Annie Sprinkle, Veronica Vera, et al. -- Statement of African Women Professionals of Cinema, Television and Video (Burkina Faso, 1991) FEPACI (Fédération panafricaine des cinéastes) -- Puzzy Power Manifesto: Thoughts on Women and Pornography (Denmark, 1998) Vibeke Windeløv, Lene Børglum, et al. -- Cinema with Tits (Spain, 1998) Icíar Bollaín -- My Porn Manifesto (France, 22) Ovidie -- No More Mr. Nice Gay: A Manifesto (USA, 29) Todd Verow -- Barefoot Filmmaking Manifesto (UK, 29) Sally Potter -- Dirty Diaries Manifesto (Sweden, 29) Mia Engberg -- 5. Militating Hollywood -- Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures (Motion Picture Production Code) (USA, 193) Motion Picture Producers and Distributors of America -- Red Films: Soviets Spreading Doctrine in U.S. Theatres (USA, 1935) William Randolph Hearst -- Statement of Principles (USA, 1944) Motion Picture Alliance for the Preservation of American Ideals -- Screen Guide for Americans (USA, 1947) Ayn Rand -- White Elephant Art vs. Termite Art (USA, 1962) Manny Farber -- Super Fly: A Summary of Objections by the Kuumba Workshop (USA, 1972) Kuumba Workshop -- The World Is Changing: Some Thoughts on Our Business (USA, 1991) Jeffrey Katzenberg -- Full Frontal Manifesto (USA, 21) Steven Soderbergh -- 6. The Creative Treatment of Actuality-- Towards a Social Cinema (France, 1930) Jean Vigo -- From “First Principles of Documentary” (UK, 1932) John Grierson -- Manifesto on the Documentary Film (UK, 1933) Oswell Blakeston -- Declaration of the Group of Thirty (France, 1953) Jean Painlevé, Jacques-Yves Cousteau, Alain Resnais, et al. -- Initial Statement of the Newsreel (USA, 1967) New York Newsreel -- Nowsreel, or the Potentialities of a Political Cinema (USA, 1970) Robert Kramer, New York Newsreel -- Documentary Filmmakers Make Their Case (Poland, 1971) Bohdan Kosinski, Krzysztof Kieslowski, and Tomasz Zygadlo -- The Asian Filmmakers at Yamagata YIDFF Manifesto (Japan, 1989) Kidlat Tahimik, Stephen Teo, et al. -- Minnesota Declaration: Truth and Fact in Documentary Cinema (Germany, 1999) Werner Herzog -- Defocus Manifesto (Denmark, 2) Lars von Trier -- Kill the Documentary as We Know It (USA, 22) Jill Godmilow -- Ethnographic Cinema (EC): A Manifesto{ths}/{ths}A Provocation (USA, 23) Jay Ruby -- Reality Cinema Manifesto (Russia, 25) Vitaly Manskiy -- Documentary Manifesto (USA, 28) Albert Maysles -- China Independent Film Festival Manifesto: Shamans * Animals (People’s Republic of China, 211) By several documentary filmmakers who participated and also who did not participate in the festival -- 7. States, Dictatorships, the Comintern, and Theocracies -- Capture the Film! Hints on the Use of, Out of the Use of, Proletarian Film Propaganda (USA, 1925) Willi Münzenberg -- The Legion of Decency Pledge (USA, 1938) Archbishop John McNicholas -- Creative Film (Germany, 1935) Joseph Goebbels -- Vigilanti Cura: On Motion Pictures (Vatican City, 1936) Pope Pius XI -- Four Cardinal Points of A Revolução de Maio (Portugal, 1937) António Lopes Ribeiro -- From On the Art of Cinema (North Korea, 1973) Kim Jong-il -- 8. Archives, Museums, Festivals, and Cinematheques -- A New Source of History: The Creation of a Depository for Historical Cinematography (Poland/France, 1898) Boleslaw Matuszewski -- The Film Prayer (USA, c. 192) A. P. Hollis -- The Film Society (UK, 1925) Iris Barry -- Filmliga Manifesto (The Netherlands, 1927) Joris Ivens, Henrik Scholte, Men’no Ter Bbaak, et al. -- Statement of Purposes (USA, 1948) Amos Vogel, Cinema 16 -- The Importance of Film Archives (UK, 1948) Ernest Lindgren -- A Plea for a Canadian Film Archive (Canada, 1949) Hye Bossin -- Open Letter to Film-Makers of the World (USA, 1966) Jonas Mekas -- A Declaration from the Committee for the Defense of La Cinémathèque française (France, 1968) Committee for the Defense of La Cinémathèque française -- Filmmakers versus the Museum of Modern Art (USA, 1969) Hollis Frampton, Ken Jacobs, and Michael Snow -- Anthology Film Archives Manifesto (USA, 1970) P. Adams Sitney -- Toward an Ethnographic Film Archive (USA, 1971) Alan Lomax -- Brooklyn Babylon Cinema Manifesto (USA, 1998) Scott Miller Berry and Stephen Kent Jusick -- Don’t Throw Film Away: The FIAF 7th Anniversary Manifesto (France, 28) Hisashi Okajima and La fédération internationale des archives du film Manifesto Working Group -- The Lindgren Manifesto: The Film Curator of the Future (Italy, 21) Paolo Cherchi Usai -- Film Festival Form: A Manifesto (UK, 212) Mark Cousins -- 9. Sounds and Silence -- A Statement on Sound (USSR, 1928) Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov -- A Rejection of the Talkies (USA, 1931) Charlie Chaplin -- A Dialogue on Sound: A Manifesto (UK, 1934) Basil Wright and B. Vivian Braun -- Amalfi Manifesto (Italy, 1967) Michelangelo Antonioni, Bernardo Bertolucci, Pier Paolo Pasolini, et al. -- 10. The Digital Revolution -- Culture: Intercom and Expanded Cinema: A Proposal and Manifesto (USA, 1966) Stan VanDerBeek -- The Digital Revolution and the Future Cinema (Iran, 2) Samira Makhmalbaf -- The Pluginmanifesto (UK, 21) Ana Kronschnabl -- Digital Dekalogo: A Manifesto for a Filmless Philippines (The Philippines, 23) Khavn de la Cruz -- 11. Aesthetics and the Futures of the Cinema -- The Birth of the Sixth Art (France, 1911) Ricciotto Canudo -- Memo from Walt Disney to Don Graham (USA, 1935) Walt Disney -- The Birth of a New Avant Garde: La caméra-stylo (France, 1948) Alexandre Astruc -- From Preface to Film (UK, 1954) Raymond Williams -- The Snakeskin (Sweden, 1965) Ingmar Bergman -- Manifesto (Italy, 1965) Roberto Rossellini, Bernardo Bertolucci, Tinto Brass, et al. -- Manifesto on the Release of La Chinoise (France, 1967) Jean-Luc Godard -- Direct Action Cinema Manifesto (USA, 1985) Rob Nilsson -- Remodernist Film Manifesto (USA, 28) Jesse Richards -- The Age of Amateur Cinema Will Return (People’s Republic of China, 21) Jia Zhangke --

Call No: 771.3 SAR
Author: Sargeant, Jack
Place: Los Angeles, CA
Publisher: Amok Books
PubDate: 2015
PhysDes: 222 p. : illustrations ; 23cm
Subject: EXPERIMENTAL FILMS; SURREALISM AND THE CINEMA; BALDWIN, CRAIG; ZEDD, NICK; LUNCH, LYDIA; PHILLIPS, TODD; LABRUCE, BRUCE; KERN, RICHARD; STARK, CASANDRA
Summary: Jack Sargeant's first new book dedicated to Underground Film since 1999 sees the cult author return to the physical, body-focused and transgressive films that first seduced him. With Flesh & Excess: On Underground Film, the focus is now divided between the historical, theoretical and philosophical. Starting with an exploration of the return to the shock of the body in underground film in the 1980s and the growth of underground film in the '90s, he explores and defines an underground cinema that remains radical and contemporary, informing subcultures and independent cinema today. Primarily focusing on a handful of key works by two award-winning underground filmmakers (Usama Alshaibi and Aryan Kaganof), Sargeant examines the the desire - even the need - for a shocking bodily representations and interventions. Punctuating his writing with philosophical analysis, explorations of areas as diverse as industrial culture, surrealism, butoh dance, fine art and medical fetishism, the book challenges the reader to examine the very nature of pleasure, of viewing and of experiencing cinema. Comprehensively illustrated throughout. -- publisher's web site
ISBN: 9781878923288
ID2: 285

Call No: 81FRA DUR
Author: Durgnat, Raymond
Source: UK
Place: London
Publisher: Studio Vista
PubDate: c1967
PhysDes: 144 p. : ill. ; 17 cm.
Series: Movie paperbacks
Subject: DOCUMENTARY FILMS; POETIC REALISM; SURREALISM AND THE CINEMA; AVANT-GARDE FILMS; FRANJU, GEORGES; SANG DES BETES, LE (FR, Georges Franju, 1948); PREMIERE NUIT, LA (FR, Georges Franju, 1958); EN PASSANT PAR LA LORRAINE (FR, Georges Franju, 1951); HOTEL DES INVALIDES (FR, Georges Franju, 1952); GRAND MELIES, LE (FR, Georges Franju, 1952); POUSSIERES, LES (FR, Georges Franju, 1954); A PROPOS D'UNE RIVIERE (FR, Georges Franju, 1955); NOTRE DAME CATHEDRALE DE PARIS (FR, Georges Franju, 1956); TETE CONTRE LES MURS, LA (FR, Georges Franju, 1959); YEUX SANS VISAGE, LES (FR/IT, Georges Franju, 1959); PLEINS FEUX SUR L'ASSASSIN (FR, Georges Franju, 1960); THOMAS L'IMPOSTEUR (FR, Georges Franju, 1965); RIDEAUX BLANCS, LES (FR, Georges Franju, 1965)
Notes: Bibliography: p. 143-144.
ISBN: 0289277973

Call No: 64SUR HED
Author: Hedges, Inez, 1947
Place: Durham, N.C.
Publisher: Duke University Press
PubDate: 1983
PhysDes: xxi, 166 p. : ill. ; 24 cm
Subject: SURREALISM AND THE CINEMA; BRETON, ANDRE; ERNST, MAX; ARTAUD, ANTONIN; BUNUEL, LUIS
Notes: Includes bibliographical references and index
ISBN: 0822304937 : $25.00 (est.)
LON: 82014738; 2308649

Call No: 408.1(44) AND
Author: Andrew, Dudley, 1945
Place: Princeton, N.J.
Publisher: Princeton University Press
PubDate: 1995
PhysDes: xv, 409 p. : ill. ; 24 cm
Subject: FRANCE; NATIONAL CULTURE AND THE CINEMA. FRANCE; POETIC REALISM; SURREALISM AND THE CINEMA; ALLEGRET, MARC; BECKER, JACQUES; BERNARD, RAYMOND; CHENAL, PIERRE; FEUILLADE, LOUIS; FEYDER, JACQUES; GREMILLON, JEAN; MAC ORLAN, PIERRE; MEERSON, LAZARE; PREVERT, JACQUES; VIGO, JEAN; ZOLA, EMILE; PAGNOL, MARCEL; RENOIR, JEAN; BUNUEL, LUIS; CARNE, MARCEL; CLAIR, RENE; DUVIVIER, JULIEN; GABIN, JEAN; QUAI DES BRUMES, LE (FR, Marcel Carne, 1938); ENFANTS DU PARADIS, LES (FR, Marcel Carne, 1945); JOUR SE LEVE, LE (FR, Marcel Carne, 1939); ATALANTE, L' (FR, Jean Vigo, 1934); BELLE EQUIPE, LA (FR, Julien Duvivier, 1936); PEPE LE MOKO (FR, Julien Duvivier, 1937); BETE HUMAINE, LA (FR, Jean Renoir, 1938); CASQUE D'OR (FR, Jacques Becker, 1952); CHIENNE, LA (FR, Jean Renoir, 1931); CRIME DE M. LANGE, LE (FR, Jean Renoir, 1936); MARSEILLAISE, LA (FR, Jean Renoir, 1938); AGE D'OR, L' (FR, Luis Bunuel, 1930)
Notes: Includes bibliographical references (p. [391]-396) and indexes
ISBN: 0691008833 (pbk.); 0691056862 (hard)
LON: 10901107

Call No: 771 SIT
Author: Sitney, P. Adams
Source: US
Place: New York
Publisher: Columbia University Press
PubDate: 1990
PhysDes: x, 250 pages, [16] pages of plates : illustrations ; 24 cm
Subject: MODERNISM AND THE CINEMA; SURREALISM AND THE CINEMA; USSR; DREYER, CARL TH.; BRESSON, ROBERT; POETRY AND THE CINEMA; PERSONA (SW, Ingmar Bergman, 1966)
Summary: "P. Adams Sitney's Modernist Montage traces a history of modernism in cinema and provides compelling readings of a wide range of classic films made between 1925 and 1980 by such filmmakers as Carl Dreyer, Robert Bresson, Ingmar Bergman, and Stan Brakhage. In this provocative investigation, Sitney explores various theories of vision by examining the sometimes neglected texts of Maurice Blanchot, Charles Olson, and Gertrude Stein and by offering a bold interpretation of the relationship between literature and film." - taken from back cover
Notes: Includes bibliographical references (p. 239-246) and index.
ISBN: 0231071833
Contents: 1. The Instant of Love: Image and Title in Surrealist Cinema -- 2. Revolutionary Time: Image and Title in Soviet Cinema -- 3. Moments of Revelation: Dreyer's Anachronistic Modernity -- 4. Cinematography vs. the Cinema: Bresson's Figures -- 5. The Recit and the Figure: Blanchot's Au moment voulu -- 6. Saying "Nothing": Persona as an Allegory of Psychoanalysis -- 7. The Sentiment of Doing Nothing: Stein's Autobiographies -- 8. Out via Nothing: Olson's Genealogy of the Proper Poem -- 9. Whoever Sees God Dies: Cinematic Epiphanies -- 10. Theology vs. Psychoanalysis: Landow's Wit

Call No: 61 [929:7]
Author: Wild, Jennifer
Edition: 2015
Place: Oakland
Publisher: University of California Press
PubDate: 2015
PhysDes: 344, xv p. ; illus. ; 23 cm
Subject: AVANT-GARDE FILMS; AVANT-GARDE FILMS; FRANCE; ART IN FILMS; SURREALISM AND THE CINEMA; FEUILLADE, LOUIS; CHAPLIN, CHARLES
Notes: The first decades of the twentieth century were pivotal for the historical and formal relationships between early cinema and Cubism, mechanomorphism, abstraction, and Dada. To examine these relationships, Jennifer Wild’s interdisciplinary study grapples with the cinema’s expanded identity as a modernist form defined by the concept of horizontality. Found in early methods of projection, film exhibition, and in the film industry’s penetration into cultural life by way of film stardom, advertising, and distribution, cinematic horizontality provides a new axis of inquiry for studying early twentieth-century modernism. Shifting attention from the film to the horizon of possibility around, behind, and beyond the screen, Wild shows how canonical works of modern art may be understood as responding to the changing characteristics of daily life after the cinema. Drawing from a vast popular cultural, cinematic, and art-historical archive, Wild challenges how we have told the story of modern artists’ earliest encounter with cinema and urges us to reconsider how early projection, film stardom, and film distribution transformed their understanding of modern life, representation, and the act of beholding. By highlighting the cultural, ideological, and artistic forms of interpellation and resistance that shape the phenomenology of a wartime era, The Parisian Avant-Garde in the Age of Cinema, 1900–1923 provides an interdisciplinary history of radical form. This book also offers a new historiography that redefines how we understand early cinema and avant-garde art before artists turned to making films themselves. -- publisher's web site
ISBN: 9780520279896
Contents: List of Illustrations Acknowledgments INTRODUCTION: THE CINEMA’S LESSONS 1. SEEING THROUGH CINEMA: PROJECTION IN THE AGE OF CUBISM 2. APOLLINAIRE’S AURA: PICABIA, THE DIAGRAM, AND EARLY FILM STARDOM 3. DUCHAMP’S DIAGRAMS: FILM, SPECTATOR, STAR 4. THE VERTICAL GAZE: CINEMATIC BEHOLDING IN THE AGE OF WAR 5. THE RADICAL TIME OF RECEPTION: THE CINEMA OF BALLISTICS 6. THE DISTRIBUTION OF SUBVERSIVE SYSTEMS: DADA, CHAPLIN, AND THE END OF AN AGE Notes Index

Call No: 403 MAR
Author: Martin, Adrian
Place: Ringwood, Vic.
Publisher: McPhee Gribble
PubDate: 1994
PhysDes: xii, 212 p. ; 21 cm
Subject: POPULAR CULTURE AND THE CINEMA; POPULAR CULTURE AND TV; VIETNAM WAR FILMS; THRILLERS; MYTH AND THE CINEMA; COMEDIES; BLOCKBUSTERS; SURREALISM AND THE CINEMA; YOUNG PEOPLE IN FILMS; CITIES IN FILMS; ENDINGS OF FILMS; CAPRA, FRANK; EDWARDS, BLAKE; SCORSESE, MARTIN; THIRTYSOMETHING [TV] (US, 1987-91); JFK (US, Oliver Stone, 1991); BENNY HILL SHOW, THE [TV] (UK, 1979); DUNLEAVY [TV] (US, 1992?); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946)
Notes: Includes index; CIP confirmed; Subtitle on cover: The dreams and desires at the heart of our popular culture; Bibliography: p. 199-201
ISBN: 0869142917 (pbk.)
LON: 10669030

Call No: 64POS JAM
Author: Jameson, Fredric
Place: London
Publisher: Verso
PubDate: 1991
PhysDes: xxii, 438 p., [6]] p. of plates : ill. (some col.) ; 24 cm
Subject: POSTMODERNISM AND THE CINEMA; NOSTALGIA IN FILMS; SURREALISM AND THE CINEMA; MAD MAX II (AT, George Miller, 1981)
Notes: Includes bibliographical references and index
ISBN: 0860915379 (pbk.) : $9.95; 0860913147(cased) : $21.95
LON: bnb86091314; 7539810

Call No: 632.2 CAM
Author: Campora, Matthew
Source: US
Place: New York
Publisher: Berghahn Books
PubDate: 2014
PhysDes: viii, 150 pages ; 24 cm.
Subject: NARRATIVE IN FILMS; EXPRESSIONISM; SURREALISM AND THE CINEMA; MULHOLLAND DRIVE (US, David Lynch, 2001); MEMENTO (US, Christopher Nolan, 2000); ETERNAL SUNSHINE OF THE SPOTLESS MIND (US, Michael Gondry, 2004)
Summary: Subjective Realist Cinema looks at the fragmented narratives and multiple realities of a wide range of films that depict subjective experience and employ "subjective realist" narration, including recent examples such as Mulholland Drive, Memento, and Eternal sunshine of the Spotless Mind. The author proposes that an understanding of the narrative structures of these films, particularly their use of mixed and multiple realities, enhances viewers' enjoyment and comprehension of such films, and that such comprehension offers a key to understanding contemporary filmmaking. -- [Extract taken from the back of book]
Notes: Includes bibliographical references (pages 143-146) and index
ISBN: 9781782382782
Contents: Machine generated contents note: Three Periods of Narrative Experimentation -- Multiform Narratives -- Subjective Realism -- ch. 1 Complex Narratives -- The New Hollywood and the Smart Film -- New Hollywood Narration -- Fragmented Narratives -- Multi-strand Narratives -- Multiform Narratives -- Brazil -- Puzzle Films -- ch. 2 Two Trajectories of the Cinema of Attractions -- The Narrative Trajectory: Realism and Spectacle -- The Avant-Garde Trajectory: Realism and Defamiliarization -- ch. 3 Subjective Realism and Multiform Narratives -- Subjective Realism -- Vertigo -- The Fantastic -- Wild Strawberries -- ch. 4 Mulholland Drive -- Expressionism and the Uncanny in Mulholland Drive -- Three Views -- As Surrealist or Trance Film -- As Fragmented, Subjective Realist Film -- As Supernatural Film -- It Is All an Illusion -- ch. 5 Memento -- The Four Strands -- Unreliable Narration -- Disrupted Expectations -- Subjective Realism -- ch. 6 Eternal Sunshine of the Spotless Mind -- Contents note continued: The Philosophy of Eternal Sunshine -- Temporal Inversions -- Subjective Realism -- Sonic Metalepsis -- The Marvelous Real.

Call No: 64SUR KYR
Author: Kyrou, Adonis, 1923
Place: Paris
Publisher: Editions Ramsay
PubDate: 1985
PhysDes: 285, [23] p. : ill. ; 18 cm
Subject: SURREALISM AND THE CINEMA
Notes: Includes indexes; Reprint. Originally published: Paris : Le Terrain vague, 1963
ISBN: 2859564527
LON: abn86211179; 4754149

Call No: 771.1(73) SIT
Author: Sitney, P. Adams
Edition: 2d ed
Place: New York
Publisher: Oxford University Press
PubDate: 1979
PhysDes: xiv, 463 p. : ill. ; 24 cm
Subject: AVANT-GARDE FILMS. USA; SURREALISM AND THE CINEMA; ANGER, KENNETH; Beavers, Robert; BELSON, JORDAN; BRAKHAGE, STAN; BREER, ROBERT; CROWLEY, ALEISTER; BRAKHAGE, JANE; BAILLIE, BRUCE; BROUGHTON, JAMES; CLARKE, SHIRLEY; CONNER, BRUCE; DEREN, MAYA; FRAMPTON, HOLLIS; GEHR, ERNIE; JACOBS, KEN; JORDAN, LARRY; LANDOW, GEORGE; LYE, LEN; MACLAINE, CHRISTOPHER; MARKOPOULOS, GREGORY; MEKAS, JONAS; NELSON, ROBERT; PETERSON, SIDNEY; RAINER, YVONNE; SHARITS, PAUL; SMITH, HARRY; SMITH, JACK; SNOW, MICHAEL; WARHOL, ANDY; WHITNEY, JAMES; RICE, RON; MAAS, WILLARD; KUBELKA, PETER; DUCHAMP, MARCEL; CORNELL, JOSEPH
Notes: Includes bibliographical references and index
ISBN: 0195024850 : $15.95; 0195024869(pbk.)
LON: 1228317