Search Catalogue

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BEIJING TAXI (US, Miao Wang, 2010)

Call No: TITLE CLIPPINGS FILE; TAXI (IR, Jafar Panahi, 2015)
Author: Wilson, Jake
PhysDes: Clippings File Article
Subject: TAXI (IR, Jafar Panahi, 2015)
Summary: Review for the film TEHRAN TAXI
Notes: film's original title is TAXI
Rating: 3.5 out of 5 stars

Call No: 71(73) RAY
Author: Ray, Robert B. (Robert Beverley), 1943
Place: Princeton, N.J.
Publisher: Princeton University Press
PubDate: 1985
PhysDes: x, 411 p. : ill. ; 25 cm
Subject: HOLLYWOOD; WESTERNS; WORLD WAR II FILMS. USA; CULT FILMS. USA; FILM NOIR. USA; MUSICALS. USA; CASABLANCA (US, Michael Curtiz, 1942); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); MAN WHO SHOT LIBERTY VALANCE, THE (US, John Ford, 1962); GODFATHER, THE (US, Francis Ford Coppola, 1972); TAXI DRIVER (US, Martin Scorsese, 1976)
Notes: Includes index; Bibliography: p. [389]-397
ISBN: 0691047278 (alk. paper); 0691101744 (pbk.)
LON: 3400531

Call No: 747.2-053.2
Author: Lury, Karen
Edition: 2010
Place: New Brunswick, N.J.
Publisher: Rutgers University Press
PubDate: 2010
PhysDes: 210 p. : illustrations ; 22cm
Series: Rutgers Series in Childhood Studies
Subject: CHILDREN AND THE CINEMA; TEMPLE, SHIRLEY; IVANOVO DETSTVO (UR, Andrei Tarkovsky, 1962); GRUDGE, THE (US/JA, Takashi Shimizu, 2004); HONOGURAI MIZUNO SOKOKARA (JA, Hideo Nakata, 2001); LOLITA (US, Stanley Kubrick, 1962); TAXI DRIVER (US, Martin Scorsese, 1976); MAN ON FIRE (US, Tony Scott, 2004); ZERKALO (UR, Andrei Tarkovsky, 1975); ESPIRITU DE LA COLMENA, EL (SP, Victor Erice, 1973); EMPIRE OF THE SUN (US, Stephen Spielberg, 1987); PAN'S LABYRINTH (MX/SP/US, Guillermo del Toro, 2006); PADRE PADRONE (IT, Paolo Taviani & Vittorio Taviani, 1977); BELLISSIMA (IT, Luchino Visconti, 1951)
Summary: Ghastly and ghostly children, "dirty little white girls," and the child as witness and as victim have always played an important part in the history of cinema, as have child performers. Yet the disruptive power of the child in films made for an adult audience has been a neglected topic. The Child in Film examines popular films including Taxi Driver, Man on Fire, and contemporary Japanese horror, as well as "art house" productions such as Mirror, La Jeté, and Pan's Labyrinth, and questions why the figure of the child has such a significant impact on the visual aspects and storytelling potential of cinema. Karen Lury argues that the child as a liminal yet powerful agent has allowed filmmakers to play adventurously with cinema's formal conventions, with far-reaching consequences. She reveals how a child's relationship to time allows it to disturb conventional master-narratives and explores how the concern for and investment in the child actor conceals the reality of film acting and the skills of the child performer. She addresses the expression of child sexuality, and questions existing assumptions as to who children "really are." -- pulisher's web site
ISBN: 9780813548968

Call No: 756.1-25 SAY
Author: Sayyad, Nezar Al
Source: UK/US
Place: New York : London
Publisher: Routledge
PubDate: 2006
PhysDes: xiii, 256 p. : ill. ; 25 cm
Subject: MODERNISM AND THE CINEMA; ARCHITECTURE AND THE CINEMA; ARCHITECTURE IN FILMS; ART AND THE CINEMA; CITIES IN FILMS; HISTORY OF CINEMA; POSTMODERNISM AND THE CINEMA; THEORY; ANNIE HALL (US, Woody Allen, 1977); BERLIN: SYMPHONY OF A GREAT CITY (G, Walter Ruttman, 1927); BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927); BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982); BRAZIL (UK, Terry Gilliam, 1985); CINEMA PARADISO (IT/FR, Giuseppe Tornatore, 1988); NUOVO CINEMA PARADISO (IT/FR, Giuseppe Tornatore, 1988); DO THE RIGHT THING (US, Spike Lee, 1989); END OF VIOLENCE, THE (US/FR, Wim Wenders, 1997); FALLING DOWN (US, Joel Schumacher, 1993); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); MANHATTAN (US, Wody Allan, 1979); METROPOLIS (GG, Fritz Lang, 1927); METROPOLIS (G, Fritz Lang, 1926); MODERN TIMES (US, Charles Chaplin, 1936); MON ONCLE (FR/IT, Jacques Tati, 1958); MY BEAUTIFUL LAUNDRETTE (UK, Stephen Frears, 1985); PLAYTIME (FR, Jacques Tati, 1967); PLEASANTVILLE (US, Gary Ross, 1998); REAR WINDOW (US, Alfred Hitchcock, 1954); SLIVER (US, Phillip Noyce, 1993); TAXI DRIVER (US, Martin Scorsese, 1976); TRUMAN SHOW, THE (US, Peter Weir, 1998)
Summary: "Cinematic Urbanism presents an urban history of modernity and postmodernity through the lens of cinema while arguing that urbanism cannot be understood outside the space of the celluloid city." "Nezar AlSayyad traces the dissolution of the boundary between real and reel through time and space via a series of films that represent different modernities. He contrasts the 'rational' European city of early twentieth-century industrial modernity as portrayed by Berlin: Symphony of a Big City (1927) with its American counterpart in Modern Times (1936). He illustrates the different forms of small town life and an urbanizing modernity across the Atlantic as exemplified by Cinema Paradiso (1989) and It's a Wonderful Life (1946). Using Metropolis (1927) and Brazil (1985), he shows how utopian ideals harbour within them their dystopian realities, while Jacques Tati's nostalgia for tradition in Mon Oncle (1958) and Playtime (1967) reveals a cynical modernity and a rebelling against its idealism." "AlSayyad argues that the postmodern city of Blade Runner (1982) and Falling Down (1993) illustrates some of the urban outcomes of a globalizing economy. Turning to spectacle and surveillance, he examines Rear Window (1954), Sliver (1993), and The End of Violence (1997) as a voyeuristic modernity. To understand the city experienced by individuals of different social backgrounds, he takes Manhattan (1979), Annie Hall (1977), and Taxi Driver (1976), while Do the Right Thing (1989) and My Beautiful Laundrette (1985) are used to explore a modernity of race and ethnicity. Finally, he uses Pleasantville (1998) and The Truman Show (1998) to unpack the hyperreality of exurban postmodernity and to demonstrate how today the real and the reel have become mutually constitutive." "By considering how the real city and the reel city reference each other in an act of mutual representation and definition, this book advances the discussion on cinematic space and theories of the city."--BOOK BLURB.
Notes: Formerly CIP; Includes bibliographical references and index
ISBN: 0415700493
Contents: -- about the author -- preface -- Introduction : the cinematic city and the quest for the modern -- 1. Industrial modernity : the flaneur and the tramp in the early twentieth century city -- 2. Urbanizing modernity : the traditional cinematic small town -- 3. Orwellian modernity : utopia/dystopia and the city of the future past -- 4. Cynical modernity, or the modernity of cynicism -- 5. From postmodern condition to cinematic city -- 6. Voyeuristic modernity : the lens, the screen and the city -- 7. The modernity of the sophisticate and the misfit : the city through different eyes -- 8. An alternative modernity : race, ethnicity and the urban experience -- 9. Exurban postmodernity : utopia, simulacra and hyper-reality -- epilogue -- illustration credits and sources -- selected bibliography -- index --

Call No: 761 COM
Source: US
Place: Malden, MA
Publisher: John Wiley and Sons
PubDate: 2015
PhysDes: xvi, 674 pages : illustrations, portraits ; 25 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; ENVIRONMENTAL ISSUES IN FILMS; SEA IN FILMS; IMMIGRATION IN FILMS AND TELEVISION; WORKERS IN FILMS; YUGOSLAVIA; SEX IN FILMS; WOMEN MAKE MOVIES [organisation]; DISEASES IN FILMS; SCIENCE AND THE CINEMA; SCIENCE IN FILMS; AIDS ON TV. SOUTH AFRICA; RELIGION AND THE CINEMA; WAR FILMS; BAL, MIEKE; ZILNIK, ZELIMIR; TRAN VAN THUY; FAROCKI, HARUN; CRUDE AWAKENING: THE OIL CRASH A (SZ, Basil Gelpke & Ray McCormack, 2006); CRUDE (US, Joe Berlinger, 2009); H2OIL (CN, Shannon Walsh, 2009); PLANET, THE (SW/NO/DK, Michael Stenberg / John Soderberg / Linus Torell, 2006); INTO ETERNITY: A FILM FOR THE FUTURE (DK/FI/SW/IT, Michael Madsen, 2010); OTOLITH I [OTOLITH 1] (UK, Anjalika Sagar and Kodwo Eshun, 2003); OTOLITH II [OTOLITH 2] (UK, Anjalika Sagar and Kodwo Eshun, 2007); OTOLITH III [OTOLITH 3] (UK, Anjalika Sagar and Kodwo Eshun, 2009); INCONVENIENT TRUTH, AN (US, Davis Guggenheim, 2006); SOMEPLACE WITH A MOUNTAIN (US/FM, Steve Goodall, 2010); CONTAINED MOBILITY (SZ, Ursula Biemann, 2004); SAHARA CHRONICLE (SZ, Ursula Biemann, 2006-2009); GHOSTS (UK, Nick Broomfield, 2006); LOVE ON DELIVERY [FRA THAILAND TIL THY] (DK, Janus Metz Pedersen, 2007); TICKET TO PARADISE [FRA THY TIL THAILAND] (DK, Janus Metz Pedersen, 2008); WHEN MOTHER COMES HOME FOR CHRISTMAS (II/GR, Nilita Vachani, 1996); H-2 WORKER (US, Stephanie Black, 1990); LIFE AND DEBT (US, Stephanie Black, 2001); MAQUILAPOLIS: CITY OF FACTORIES (MX/US, Sergio de la Torre and Vicky Funari, 2006); A DECENT FACTORY (FR/FI/UK/AT/DK, Thomas Balmes, 2004); WHY CYBRACEROS? (US,Alex Rivera, 1997); WHY BRACEROS? (US, 1959); VALLEY CENTRO, EL (US, James Benning, 1999); LOS (US, James Benning, 2001); DOUBLE TIDE (US/AU, Sharon Lockhart, 2009); GLEANERS AND I, THE (FR, Agnes Varda, 2000); GLANEURS ET LA GLANEUSE, DEUX ANS APRES, LES (FR, Agnes Varda, 2002); WORKINGMAN'S DEATH (AU/GG, Michael Glawogger, 2005); OLD SCHOOL OF CAPITALISM, THE [STARA SKOLA KAPITALIZMA] (SB, Zelimir Zilnik, 2009); LIVE NUDE GIRLS UNITE! (US, Julia Query & Vicky Funari, 2000); TALES OF THE NIGHT FAIRIES (II, Shohini Ghosh, 2002); SCARLET ROAD (AT, Catherine Scott, 2011); PLACE OF RAGE, A [WARRIOR MARKS] (UK, Pratibha Parmar, 1991); DAY I WILL NEVER FORGET, THE (UK, Kim Longinotto, 2002); AFRICA RISING (US, Paula Heredia, 2009); SENORITA EXTRAVIADA [MISSING YOUNG WOMAN] (MX, Lourdes Portillo, 2001); PARIS IS BURNING (US, Jennie Livingston, 1990); WILDNESS (US, Wu Tsang, 2012); INNER LIFE OF THE CELL (US, XVIVO, 2006); BEAT IT! [TV](SA, 2001); MY REINCARNATION (SZ/NE/IT/GG/FI/VE/US/TZ/SI/MY/RM/CC/MX/RU/IS/AU, Jennifer Fox, 2011); GEVALD (IS, Netalie Braun, 2009); BLACK BUS (IS, Anat Zuria, 2010); REBELLIOUS SON, THE (IS, Shosi Greenfield, 2009); STORY OF KINDNESS [CHUYEN TU TE] (V, Tran Van Thy, 1987); NICHT LOSCHBARES FEUER [INEXTINGUISHABLE FIRE] (GR, Harun Farocki, 1969); IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR [BILDER DER WELT UND INSCHRIFT DES KRIEGES] (GW, Harun Farocki, 1988); SERIOUS GAMES [series] (GG, Harun Farocki, 2009); I ONLY WISH I COULD WEEP (LE, Wallid Raad, 2002); MIRACULOUS BEGINNINGS (LE, Walid Raad); SPIRITUAL VOICES: FROM THE DIARIES OF WAR [DUKHOVNYE GOLOSA, IZ DNEVNIKOV VOYNY. POVESTVOVANIE V PYATI CHASTYAKH] [TV] (RU, Aleksandr Sokurov, 1995); DAY OF THE SPARROW [DER TAG DES SPATZEN] (GG, Philip Scheffner, 2010); [FORTY EIGHT] 48 (PO, Susana de Sousa Dias, 2010); ENEMIES OF THE PEOPLE (UK/CB, Thet Sambath and Rob Lemkin, 2009); DUCH: MASTER OF THE FORGES OF HELL (CB, Rithy Panh, 2011); SKINNY ALEJANDRA: LIVES AND DEATHS OF A CHILEAN WOMAN [LA FLACA ALEJANDRA: VIDAS Y MUERTES DE UNA CHILENA] (CL, Carmen Castillo, 1994); OPERATION ATROPOS (CL, Coco Fusco, 2005); ROAD TO GUANTANAMO, THE (UK, Michael Winterbottom and Mat Whitecross, 2006); TAXI TO THE DARK SIDE (US, Alex Gibney, 2007); BRIDGE, THE (UK/US, Eric Steel, 2006)
Summary: This book presents a collection of original essays that explore major issues surrounding the state of current documentary films and their capacity to inspire and effect change. This book presents a comprehensive collection of essays relating to all aspects of contemporary documentary films It includes nearly 30 original essays by top documentary film scholars and makers, with each thematic grouping of essays sub-edited by major figures in the field. This book explores a variety of themes central to contemporary documentary filmmakers and the study of documentary film the planet, migration, work, sex, virus, religion, war, torture, and surveillance. This book considers a wide diversity of documentary films that fall outside typical canons, including international and avant-garde documentaries presented in a variety of media.
ISBN: 9780470671641
Contents: Machine generated contents note: pt. I Planet / Juan Francisco Salazar -- 1.Crude Aesthetics: The Politics of Oil Documentaries / Imre Szeman -- 2.Anticipatory Modes of Futuring Planetary Change in Documentary Film / Juan Francisco Salazar -- 3.Projecting Sea Level Rise: Documentary Film and Other Geolocative Technologies / Janet Walker -- pt. II Migration / Aniko Imre -- Introduction / Aniko Imre -- 4.Videogeographies / Ursula Biemann -- 5.Rates of Exchange: Human Trafficking and the Global Marketplace / Leshu Torchin -- 6.Documenting What? Auto-Theory and Migratory Aesthetics / Mieke Bal -- pt. III Work / Silke Panse -- Introduction / Silke Panse -- 7.The Work of the Documentary Protagonist: The Material Labor of Aesthetics / Silke Panse -- 8.Old School Capitalism in Post-Socialism: The Struggles of Zelimir Zilnik's Workers / Ewa Mazierska -- 9.Capturing the Labors of Sex Work: The Pedagogical Role of Documentary Film / Anna E. Ward -- pt. IV Sex / Laura Hyun Yi Kang -- Contents note continued: Introduction / Laura Hyun Yi Kang -- 10.Documentary Practice and Transnational Feminist Theory: The Visibility of FGC / Patricia White -- 11.Transforming Terror: Documentary Poetics in Lourdes Portillo's Senorita Extraviada (2001) / Rosa-Linda Fregoso -- 12.Reading Realness: Paris Is Burning, Wildness, and Queer and Transgender Documentary Practice / Eve Oishi -- pt. V Virus / Bishnupriya Ghosh -- Introduction / Bishnupriya Ghosh -- 13.Animating Informatics: Scientific Discovery Through Documentary Film / Kirsten Ostherr -- 14.HIV on Documentary Television in Post-Apartheid South Africa / Rebecca Hodes -- 15.Digital AIDS Documentary: Webs, Rooms, Viruses, and Quilts / Alexandra Juhasz -- pt. VI Religion / Alisa Lebow -- Introduction / Alisa Lebow -- 16.Rising in the East, Sett(l)ing in the West: The Emergence of Buddhism as Contemporary Documentary Subject / Angelica Fenner -- Contents note continued: 17.The New Religious Wave in Israeli Documentary Cinema: Negotiating Jewish Fundamentalism During the Second Intifada / Raya Morag -- 18.Tran Van Thuy's Story of Kindness: Spirituality and Political Discourse / Dean Wilson -- pt. VII War / Jeffrey Skoller -- Introduction / Jeffrey Skoller -- 19.Second Thoughts on "The Production of Outrage: The Iraq War and the Radical Documentary Tradition" / Jane M. Gaines -- 20.One, Two, Three Montages ... Harun Farocki's War Documentaries / Nora M. Alter -- 21.The Unwar Film / Alisa Lebow -- pt. VIII Torture / Alisa Lebow -- Introduction / Alisa Lebow -- 22.(In)visible Evidence: The Representability of Torture / Susana de Sousa Dias -- 23.Interviewing the Devil: Interrogating Masters of the Cambodian Genocide / Deirdre Boyle -- 24.The Female Perpetrator: La Flaca Alejandra and Operation Atropos / Macarena Gomez-Barris -- 25.Toward the Dark Side: Seeing Detainee Bodies in Documentary Film / Anjali Nath -- Contents note continued: pt. IX Surveillance / Elizabeth Cowie -- Introduction / Elizabeth Cowie -- 26.Architectures of Control and Points of Resistance: Surveillance Culture and Digital Documentaries / Sharon Lin Tay -- 27.The World Viewed: Documentary Observing and the Culture of Surveillance / Elizabeth Cowie -- 28.Surveillance in the Service of Narrative / Brian Winston -- 29.Face Blind: Documentary Media and Subversion of Surveillance / Patrik Sjoberg.

Call No: 64POS CRI
Author: Sharrett, Christopher
Place: Washington, D.C.
Publisher: Maisonneuve Press
PubDate: 1993
PhysDes: 282 p. : ill. ; 24 cm
Subject: POSTMODERNISM AND THE CINEMA; DISASTERS IN FILMS; DISASTER FILMS; SEX AND THE CINEMA; DEATH IN FILMS; REPO MAN (US, Alex Cox, 1984); RUMBLE FISH (US, Francis Ford Coppola, 1983); CASANOVA (IT, Federico Fellini, 1976); BRAZIL (UK, Terry Gilliam, 1985); TAXI DRIVER (US, Martin Scorsese, 1976); BLADE RUNNER (US, Ridley Scott, 1982); MAD MAX (AT, George Miller, 1979)
Notes: Includes bibliographical references and index
ISBN: 0944624189 (cloth); 0944624197 (paper)
LON: 9605442

Call No: SUBJECT CLIPPINGS FILE; FESTIVALS MELBOURNE. 2015
Author: Wilson, Jake
PhysDes: Clippings File Article
Subject: FESTIVALS MELBOURNE; TAXI (IR, Jafar Panahi, 2015)
Summary: Short, positive review of the film TAXI, screening at the Melbourne International Film Festival
Notes: film title listed in article as TEHRAN TAXI

Call No: 71(73) BIS
Author: Biskind, Peter
Place: New York, NY
Publisher: Simon & Schuster
PubDate: 1998
PhysDes: 506 p. : ill. ; 25 cm
Subject: HOLLYWOOD; USA. 1970's; COLUMBIA PICTURES; PARAMOUNT STUDIOS; TWENTIETH CENTURY-FOX; UNIVERSAL PICTURES; WARNER BROS.; ZOETROPE STUDIOS; ALTMAN, ROBERT; ASHBY, HAL; BEATTY, WARREN; BEGELMAN, DAVID; BLATTY, WILLIAM PETER; BOGDANOVICH, PETER; BRANDO, MARLON; BROWN, DAVID; BURSTYN, ELLEN; CALLEY, JOHN; CHRISTIE, JULIE; COPPOLA, ELEANOR; COPPOLA, FRANCIS FORD; DE NIRO, ROBERT; DE PALMA, BRIAN; DILLER, BARRY; EVANS, ROBERT; FONDA, PETER; FRIEDKIN, WILLIAM; GEFFEN, DAVID; HAWKS, HOWARD; HOPPER, DENNIS; IRVING, AMY; KAEL, PAULINE; KIDDER, MARGOT; LUCAS, GEORGE; LUCAS, MARCIA; MILIUS, JOHN; NEWMAN, DAVID; NICHOLSON, JACK; PENN, ARTHUR; PHILLIPS, JULIA; PLATT, POLLY; POLANSKI, ROMAN; RAFELSON, BOB; SCHNEIDER, BERT; SCHRADER, LEONARD; SCHRADER, PAUL; SCORSESE, MARTIN; SHEPHERD, CYBILL; SIMPSON, DON; SPIELBERG, STEVEN; SYLBERT, RICHARD; TANEN, NED; TOWNE, ROBERT; WEINTRAUB, SANDRA; YABLANS, FRANK; ZANUCK, RICHARD; AMERICAN GRAFFITI (US, George Lucas, 1973); EASY RIDER (US, Dennis Hopper, 1969); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); BONNIE AND CLYDE (US, Arthur Penn, 1967); CHINATOWN (US, Roman Polanski, 1974); CLOSE ENCOUNTERS OF THE THIRD KIND (US, Steven Spielberg, 1977); EXORCIST, THE (US, William Friedkin, 1973); GODFATHER, THE (US, Francis Ford Coppola, 1972); HEAVEN'S GATE (US, Michael Cimino, 1980); JAWS (US, Steven Spielberg, 1975); LAST PICTURE SHOW, THE (US, Peter Bogdanovich, 1971); MCCABE AND MRS MILLER (US, Robert Altman, 1971); M*A*S*H (US, Robert Altman, 1969); MEAN STREETS (US, Martin Scorsese, 1973); PAPER MOON (US, Peter Bogdanovich, 1973); PERSONAL BEST (US, Robert Towne, 1982); RAGING BULL (US, Martin Scorsese, 1980); REDS (US, Warren Beatty, 1981); SHAMPOO (US, Hal Ashby, 1975); SORCERER (US, William Friedkin, 1977); STAR WARS (US, George Lucas, 1977); SUGARLAND EXPRESS, THE (US, Steven Spielberg, 1974); TAXI DRIVER (US, Martin Scorsese, 1976)
Notes: Includes bibliographical references (p. [449]-482) and index; Filmography: p. [447]-448
ISBN: 0684809966
LON: 98002919; 13698645

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: HASSAN TAXI (AE, Mohamed Slimane Riad, 1982)

Call No: TITLE CLIPPINGS FILE; TAXI (IR, Jafar Panahi, 2015)
Author: Wilson, Jake
PhysDes: Clippings File Article
Subject: TAXI (IR, Jafar Panahi, 2015)
Summary: Review of the film TEHRAN TAXI
Rating: 3.5 out of 5 stars

Call No: 632.43 HIL
Author: Hill, Geoffrey Michael, 1950
Place: Boston
Publisher: Shambhala
PubDate: 1992
PhysDes: viii, 319 p. : ill. ; 23 cm
Subject: MYTH AND THE CINEMA; IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); SHANE (US, George Stevens, 1953); COOK, THE THIEF, HIS WIFE & HER LOVER, THE (NE/FR, Peter Greenaway, 1989); BLUE VELVET (US, David Lynch, 1986); RUMBLE FISH (US, Francis Ford Coppola, 1983); TAXI DRIVER (US, Martin Scorsese, 1976); REPO MAN (US, Alex Cox, 1984); SAILOR WHO FELL FROM GRACE WITH THE SEA, THE (UK, Lewis John Carlino, 1976); SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957); INSIGNIFICANCE (UK, Nicolas Roeg, 1985); ROK SPOKOJNEGO SLONCA (PL/US/GW, Krzysztof Zanussi, 1984); BABETTES GAESTEBUD (DK, Gabriel Axel, 1987); LITTLE SHOP OF HORRORS (US, Frank Oz, 1986); LITTLE SHOP OF HORRORS, THE (US, Roger Corman, 1960); TRIP TO BOUNTIFUL, THE (US, Peter Masterson, 1985); GRADUATE, THE (US, Mike Nichols, 1967); SANTA SANGRE (IT, Alexandro Jodorowsky, 1989); FIELD OF DREAMS (US, Phil Alden Robinson, 1989)
Notes: Includes bibliographical references (p. 313-319)
ISBN: 0877736456 (pbk. : alk. paper)
LON: 8202303

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Publicity; Clippings
Subject: KAMIKAZE TAXI (JA, Masato Harada, 1995)

Call No: 81SCO DOU
Author: Dougan, Andy
Source: UK
Place: London
Publisher: Orion
PubDate: 1997
PhysDes: 144 p. : ill., ports. ; 20 cm.
Subject: SCORSESE, MARTIN; AFTER HOURS (US, Martin Scorsese, 1985); AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); CAPE FEAR (US, Martin Scorsese, 1991); CASINO (US, Martin Scorsese, 1995); GOODFELLAS (US, Martin Scorsese, 1990); KING OF COMEDY, THE (US, Martin Scorsese, 1983); LAST TEMPTATION OF CHRIST, THE (US/CN, Martin Scorsese, 1988); LAST WALTZ, THE (US, Martin Scorsese, 1978); KUNDUN (US, Martin Scorsese, 1997); MEAN STREETS (US, Martin Scorsese, 1973); NEW YORK, NEW YORK (US, Martin Scorsese, 1977); RAGING BULL (US, Martin Scorsese, 1980); TAXI DRIVER (US, Martin Scorsese, 1976); WHO'S THAT KNOCKING AT THE DOOR (US, Martin Scorsese, 1968); ALICE DOESN'T LIVE HERE ANY MORE (US, Martin Scorsese, 1974); BOXCAR BERTHA (US, Martin Scorsese, 1972); COLOUR OF MONEY,THE (US, Martin Scorsese, 1986); NEW YORK STORIES (US, Woody Allen, Martin Scorsese, Francis Ford Coppola, 1989)
Summary: Complete "Variety" unabridged reviews for all Scorsese films inc. full credit lists
ISBN: 0752811754

Call No: 81 SCO SCO
Author: Ribera, Robert; Scorsese, Martin
Edition: Revised and updated edition
Place: Jackson
Publisher: University Press of Mississipp
PubDate: 2017
PhysDes: xxxi, 250 pages ; 24 cm.
Subject: CRITICISM; HISTORY OF CINEMA. 1970's; UNDERGROUND FILMS. USA; SCORSESE, MARTIN; TAXI DRIVER (US, Martin Scorsese, 1976); RAGING BULL (US, Martin Scorsese, 1980); COLOR OF MONEY, THE (US, Martin Scorsese, 1986); MEAN STREETS (US, Martin Scorsese, 1973); LAST TEMPTATION OF CHRIST, THE (US/CN, Martin Scorsese, 1988); GOODFELLAS (US, Martin Scorsese, 1990); NEW YORK, NEW YORK (US, Martin Scorsese, 1977); DEPARTED, THE (US, Martin Scorsese, 2006); HUGO (US, Martin Scorsese, 2011); WOLF OF WALL STREET, THE (US, Martin Scorsese, 2013); NO DIRECTION HOME [TV] (UK/US, Martin Scorsese, 2005); BLUES, THE [TV] (US, 2003)
Summary: Many critics and film historians throughout the world praise Martin Scorsese as the greatest living American director. In this collection of interviews covering a period of two decades Scorsese's own words, sometimes emotionally direct and always revealing, trace his astonishing career. Like a Scorsese film, a Scorsese interview is daring and impassioned and is charged with his trademark wit and brilliance.
Notes: Includes index. Formerly CIP. Includes filmography. Also issued online.
ISBN: 9781496809476
Donation: Senses of Cinema
Contents: Martin Scorsese and the American Underground / Doris Freedman (1970) -- Dialogue on Film: Martin Scorsese The American Film Institute (1975) -- Taxi Dancer: Martin Scorsese Interviewed / Jonathan Kaplan (1977) -- Raging Bull / Michael Henry (1981) --Taxi Driver / Paul Schrader (1982) -- Chalk Talk / Peter Biskind and Susan Linfield (1986) -- Martin Scorsese: In the Streets / Peter Occhiogrosso (1987) -- And Blood / Richard Corliss (1988) -- Scorsese: A Bicoastal Story / Amy Taubin (1988) -- What the Streets Mean / Anthony DeCurtis (1990) -- Martin Scorsese Interviewed / Gavin Smith (1993) -- Martin Scorsese's Testament / Ian Christie (1996) -- Everything Is Form / Amy Taubin (1998) -- Fresh Air: Director Martin Scorsese / Terry Gross (2003) -- 2006 Charles Guggenheim Symposium Honoring Martin Scorsese / Jim Jarmusch (2006) -- Martin Scorsese on The Departed / Michael Goldman (2006) -- Docufictions: An Interview with Martin Scorsese on Documentary Film / Raffaele Donato (2007) -- In Hugo, Martin Scorsese Salutes a Movie Magician / Melissa Block (2011) -- The Art of Martin Scorsese / Jim Leach (2013) -- DP/ 30: Scorsese on The Wolf of Wall Street / David Poland (2014).

Author: Krauth, Kirsten
PhysDes: Article
Subject: POPCORN TAXI
Summary: Article details the Sydney screen event Popcorn Taxi, a stage for films and filmmakers.

Call No: 751 MOT
Place: Belgium
Publisher: Soundtrack
PubDate: 1980
PhysDes: 155 p.
Subject: MUSIC, FILM; MUSIC, TV; SARDE, PHILIPPE; SHIRE, DAVID; RUSTICHELLI, CARLO; BENNETT, RICHARD RODNEY; BAXTER, LES; KAPER, BRONISLAU; NASCIMBENE, MARIO; MANCINI, HENRY; HERMANN, BERNARD; GOLDSMITH, JERRY; GHOST AND MRS. MUIR, THE (US, Joseph L. Mankiewicz, 1947); TAXI DRIVER (US, Martin Scorsese, 1976); OBSESSION (US, Brian de Palma, 1976); JAWS (US, Steven Spielberg, 1975); TOWERING INFERNO, THE (US, John Guillermin & Irwin Allen, 1974)
Order Received: 2000
Order Type: Donation

Call No: 67(04) FAR
Author: Farber, Manny
Edition: Expanded ed
Place: New York
Publisher: Da Capo Press
PubDate: 1998
PhysDes: xiv, 412 p. ; 21 cm
Subject: FESTIVALS. NEW YORK; HAWKS, HOWARD; HUSTON, JOHN; LEWTON ,VAL; AGEE, JAMES; STURGES, PRESTON; CAPRA, FRANK; SIEGEL, DON; FULLER, SAMUEL; SNOW, MICHAEL; GODARD, JEAN-LUC; BUNUEL, LUIS; WALSH, RAOUL; ROEG, NICOLAS; HERZOG, WERNER; FASSBINDER, RAINER WERNER; FARBER, MANNY; AKERMAN, CHANTAL; JONES, CHUCK; Stewart, James; FORD, JOHN; WALSH, RAOUL; WARHOL, ANDY; PATTERSON, PATRICIA; WAVELENGTH (US, Michael Snow, 1967); FAR COUNTRY, THE (US, Anthony Mann, 1955); CARABINIERS, LES (FR/IT, Jean-Luc Godard, 1963); DETECTIVE STORY (US, William Wyler, 1951); HOME OF THE BRAVE (US, Mark Robson, 1949); SPY WHO CAME IN FROM THE COLD, THE (UK, Martin Ritt, 1965); HOW I WON THE WAR (UK, Richard Lester, 1967); CITIZEN KANE (US, Orson Welles, 1941); GRADUATE, THE (US, Mike Nichols, 1967); IN COLD BLOOD (US, Richard Brooks, 1967); JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (BE, Chantal Akerman, 1975); TAXI DRIVER (US, Martin Scorsese, 1976); THIRD MAN, THE (UK, Carol Reed, 1949); SKAMMEN (SW, Ingmar Bergman, 1968); CHINOISE, LA (FR, Jean-Luc Godard, 1967); BELLE DE JOUR (FR/IT, Luis Bunuel, 1967)
Summary: Manny Farber, one of the most important and entertaining critics in movie history, championed the American action film - the bravado of Howard Hawks, the art brut styling of Samuel Fuller, the crafty, sordid entertainments of Don Siegel - at a time when other critics dismissed the genre. His witty, incisive criticism later worked exacting language into an exploration of the feelings and strategies that went into low-budget and radical films as diverse as Michael Snow's Wavelength, Werner Herzog's Fata Morgana, and Shantal Akerman's Jeanne Dielman. Expanded with an in-depth interview and seven essays written in collaboration with his wife, artist Patricia Patterson, Negative Space gathers Farber's most influential writings, making this an indispensable collection for all lovers of film
Notes: "First Da Capo Press edition"--T.p. verso; Includes index
ISBN: 0306808293 (pbk. : alk. paper)
LON: 13667387

Call No: 81SCH KOU
Author: Kouvaros, George
Source: US
Place: Chicago
Publisher: University of Illinois Press
PubDate: 2008
PhysDes: xi, 170 p. : ill. ; 21 cm
Series: Contemporary Film Directors
Subject: SCHRADER, PAUL; TAXI DRIVER (US, Martin Scorsese, 1976); HARDCORE (US, Paul Schrader, 1979); AMERICAN GIGOLO (US, Paul Schrader, 1980); CAT PEOPLE (US, Paul Schrader, 1982); MISHIMA (US/JA, Paul Schrader, 1985); LIGHT OF DAY (US, Paul Schrader, 1987); PATTY HEARST (US, Paul Schrader, 1988); AUTO FOCUS (US, Paul Schrader, 2002); CORTESIE PER GLI OSPITI (IT/UK, Paul Schrader, 1990); LIGHT SLEEPER (US, Paul Schrader, 1992); AFFLICTION (US, Paul Schrader, 1997); FOREVER MINE (US/UK, Paul Schrader, 1999)
Summary: "As the first full-length study on Paul Schrader's films, this book examines how Schrader creates a cinema driven by issues of obsession, memory, estrangement, and the difficult nature of experience. Representative of a new generation of American writer-directors of the 1970s, Schrader's films highlight the tension between old and new ways of telling a story and between the maintenance of commercial formulas and openness to individual expression. George Kouvaros draws on a personal interview conducted with Schrader and the director's prior commentary to trace common motivations and impulses behind such well-known films as Light Sleeper, American Gigalo, Affliction, Auto Focus, Taxi Driver, and Patty Hearst. Kouvaros reads Schraders films in terms of a number of hard-to-define issues such as melancholia, trauma, and the complex linkages of violence and guilt that bind individuals to places and each other." -- BLURB
ISBN: 9780252075087
Contents: The Teller and The Tale: The Films of Paul Schrader -- The New Hollywood -- From Grand Rapids to Hollywood -- The Lure of Negative Thought: Tax Driver -- The Psychopath's Second Coming -- From Screenwriter to Director: Blue Collar and Hardcore -- A Man and His Room: American Gigolo -- Changelings: Cat People -- The Lure of Biography: Mishima: A Life in Four Chapters -- The Catastrophe of Identity: Light of Day and Patty Hearst -- The Paradox of Acting -- Strangers to Ourselves: Auto Focus -- A Director for Hire -- Stores That Tell Us: The Comfort of Strangers -- Lost Souls: Light Sleeper -- False Events: Affliction -- Logic of Betrayal -- Nocturnal Wanderers -- Prequels and Obsessive Loves: Dominion and Forever Mine -- "Give All to Love" -- Interview With Paul Schrader.

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: POPCORN TAXI

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: 81SCO STE
Author: Stern, Lesley
Place: London
Publisher: British Film Institute
PubDate: 1995
PhysDes: vii, 257 p. : ill. ; 24 cm
Subject: SCORSESE, MARTIN; REMAKES; RAGING BULL (US, Martin Scorsese, 1980); TAXI DRIVER (US, Martin Scorsese, 1976); CAPE FEAR (US, Martin Scorsese, 1991); CAPE FEAR (US, J. Lee Thompson, 1961); SEARCHERS, THE (US, John Ford, 1956); RED SHOES, THE (UK, Michael Powell & Emeric Pressburger, 1948); WIZARD OF OZ, THE (US, Victor Fleming, 1939); BLUE VELVET (US, David Lynch, 1986); DUEL IN THE SUN (US, King Vidor, 1946); GIRL CAN'T HELP IT, THE (US, Frank Tashlin, 1956); GONE WITH THE WIND (US, Victor Fleming, 1939); NIGHT OF THE HUNTER (US, Charles Laughton, 1955)
Notes: Includes bibliographical references and index
ISBN: 085170512X : ª35.00; 0851705138 (pbk.); 0253210119 (pbk); 0253329523 (hbk)
LON: bnb85170512; 11802839

Call No: 81:747.5SCO NIC
Author: Mark Nicholls
CorpAuthor: Pluto Press
Place: Melbourne, Australia
Publisher: Pluto Press
PubDate: 2004
PhysDes: 24 cm; 191 pp
Subject: SCORSESE, MARTIN; AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); RAGING BULL (US, Martin Scorsese, 1980); TAXI DRIVER (US, Martin Scorsese, 1976); GOODFELLAS (US, Martin Scorsese, 1990); CAPE FEAR (US, Martin Scorsese, 1991); MEN IN FILMS. USA
Summary: Martin Scorsese is the most influential director of his generation and, with his work regularly included among the top twenty films of all time, his place in cinema history is indisputable. Scorsese’s films have defined the cinematic essence of each decade since the 1960s and have set the standard of New Hollywood cinema. Join author Mark Nicholls as he traces Martin Scorsese’s central theme of melancholia, nostalgia and loss through five films from the legendary director: The Age of Innocence, Raging Bull, Taxi Driver, Goodfellas and Cape Fear. Scorsese’s melancholic hero, Nicholls argues, is the Hamlet of Hollywood cinema. His journey is driven by an encounter with a corrupt and conservative mob and by his own overpowering experience of loss. Refusing to renounce that loss, under pressure from the mob, Scorsese’s men construct an elaborate and intriguing fantasy of perverse male desire. [Taken from back cover.]
ISBN: 1864031565
ID2: 45

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit; CD-Rom press kit
Subject: TAXI (US, Tim Story, 2004)
ID2: 248

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: TAXI (IR, Jafar Panahi, 2015)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: TAXI DRIVER (US, Martin Scorsese, 1976)

Call No: 79TAX SCH
Author: Schrader, Paul
Place: London
Publisher: Faber and Faber
PubDate: 1990
PhysDes: 61 p.
Subject: TAXI DRIVER (US, Martin Scorsese, 1976); SCORSESE, MARTIN; SCHRADER, PAUL
Notes: Interview with Martin Scorsese by Paul Schrader; Screenplay; Free with Sight and Sound
ISBN: 0571202152

Call No: 79TAX TAU
Author: Taubin, Amy
Place: London
Publisher: British Film Institute
PubDate: 1999
PhysDes: 96 p. : ill. ; 19 cm
Subject: TAXI DRIVER (US, Martin Scorsese, 1976)
ISBN: 0851703933 (pbk.) : ª7.99
LON: 20980394

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: TAXI LISBOA (GG, Wolf Gaudlitz, 1997)

Call No: TITLE CLIPPINGS FILE
PhysDes: Publicity
Subject: TAXI MAUVE, UN (FR/IT/IE, Yves Boisset, 1977)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: TAXI TO THE DARK SIDE (US, Alex Gibney, 2007)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Publicity; Stills
Subject: TAXI ZUM KLO (GW, Frank Ripploh, 1980)