Vertigo (1991) iss.6/7 p.59-64 Author: Alain Bergala Subject: DIRECTION; EDITING; THEORY Summary: Examines the enormous number of cinematic choices which must be decided on in filming even the most banal situation, from shooting through to the editing process. In French. More info
Adaptation theory and criticism : postmodern literature and cinema in the USA / by Gordon E. Slethaug
New York: Bloomsbury, 2014.
Call No: 753.1(73) SLE Author: Slethaug, Gordon E. Source: US Place: New York Publisher: Bloomsbury PubDate: 2014 PhysDes: vi, 275 p. : ill. ; 23 cm. Subject: ADAPTATIONS; LITERATURE AND THE CINEMA; CRITICISM; USA; THEORY; POSTMODERNISM AND THE CINEMA; POSTMODERNISM AND THE CINEMA. USA; SIX DEGREES OF SEPARATION (US, Fred Schepisi, 1993); SHORT CUTS (US, Robert Altman, 1993); AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); GANGS OF NEW YORK (GG/IT/US, Martin Scorsese, 2002); GREAT GATSBY, THE (US/AT, Baz Luhrmann, 2013); SMOKE SIGNALS (US, Chris Eyre, 1998); SMOKE (US, Wayne Wang, 1995); DO THE RIGHT THING (US, Spike Lee, 1989); BROKEN FLOWERS (US, Jim Jarmusch, 2005); SNOW WHITE AND THE HUNTSMAN (US, Rupert Sanders, 2012); SNOW WHITE AND THE SEVEN DWARFS (US, David Hand, 1937) Summary: "Exploring Hollywood feature films as well as small studio productions, Adaptation Theory and Criticism provides the reader with an informative background on adaptation theory and postmodern methodology and includes eight case studies on more than a dozen American films, some of which have been used before (Age of Innocence, Gangs of New York, The Great Gatsby, and Do the Right Thing) and some that have received less consideration (Six Degrees of Seperation, Smoke, Smoke Signals, Broken Flowers, and various Snow White narratives including Enchanted, Mirrir Mirror, and Snow White and the Huntsman. Useful for both film and literary studies, Gordon Slethaug's Adaptation theory and criticism cogently combines existing scholarship with new theories and insights, encouraging readers to think about intertextual connections between literature and film in the USA." -- BOOK BLURB Notes: Includes bibliographical references (p. -269) and index ISBN: 9781623564407 Donation: Senses of Cinema Contents: -- introduction -- 1.Modernism/postmodernism and origin/intertextual play in adaptation theory -- Modernism: High culture, poetic genius, and influence -- Postmodernism: Textuality, intertextuality, pastiche/bricolage, freeplay, and interculturalism -- 2.Adaptation, surplus value, and supplementation in Six Degrees of Separation and Short Cuts -- Surplus, supplementation, and transformation in John Guare's Six Degrees of Separation -- E Pluribus Unum: Raymond Carver's fiction and Robert Altman's Short Cuts -- 3.Intertextual doubling in The Age of Innocence, Gangs of New York, and The Great Gatsby -- Tribalization as intertextual symptom: Scorcese's The Age of Innocence and Gangs of New York -- Ironized intertextuality: The Age of Innocence and The Great Gatsby -- 4.Freeplay, citation, and ethnocriticism: Single and multiple sources in Smoke Signals, SMOKE, and Do the Right Thing --
-- Ethnocriticism and adaptation: Sherman Alexie's The Lone Ranger and Tonto Fistfight in Heaven and Chris Eyre's Smoke Signals -- From Lee to Auster and Wang: Postmodern indeterminacy and racial relations in Do the Right Thing and SMOKE -- Beyond Auster's short story: Do the Right Thing and SMOKE -- 5.Palimpsests and bricolage: Playful and serious citation in Broken Flowers and Snow White's offspring -- Palimpsest, play, and the myth of filiation in Broken Flowers: Clues, signs, and referential mania -- Snow White's offspring: The hyper-palimpsest -- 6.Conclusion -- works cited -- index -- More info
Aesthetics of film / Jacques Aumont ... [et al.] ; translated and revised by Richard Neupert
Austin: University of Texas Press, 1992.
Alice doesn't : feminism, semiotics, cinema / Teresa de Lauretis
Bloomington: Indiana University Press, 1984.
Approaches to popular film / edited by Joanne Hollows and Mark Jancovich
Manchester New York New York: Manchester University Press Distributed exclusively in the USA and Canada by St. Martin's Press, 1995.
Call No: 62 APP Author: Hollows, Joanne; Jancovich, Mark Place: Manchester New York New York Publisher: Manchester University Press Distributed exclusively in the USA and Canada by St. Martin's Press PubDate: 1995 PhysDes: 203 p. : ill. ; 23 cm Series: Inside popular film Subject: GENRES; AUTEUR THEORY; FEMINISM AND THE CINEMA; THEORY; POPULAR CULTURE AND THE CINEMA; STARS Notes: Includes bibliographical references (p. -196) and index ISBN: 0719043921; 071904393X (pbk.) LON: 11213175 URL status: URL: 'http://-'
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Art history for filmmakers : the art of visual storytelling / Gillian McIver
London: Bloomsbury, c2016.
Call No: 61:75 MCI Author: McIver, Gillian Source: US/UK Place: London Publisher: Bloomsbury PubDate: c2016 PhysDes: 256 pages : illustrations (colour) ; 27 cm Subject: THEORY; ART IN FILMS; REALISM IN FILMS; SEX AND THE CINEMA; SEX IN FILMS; VIOLENCE IN FILMS; HORROR FILMS; LANDSCAPES IN FILMS; MOVEMENTS IN FILM HISTORY; MOVEMENTS AND STYLES IN FILM HISTORY; HEROS IN FILMS; ART AND THE CINEMA Summary: "Since cinema's earliest days, literary adaptation has provided the movies with stories. But there is another way of looking at film, and that is through its close relationship with the visual arts. Art history for Filmmakers shows how images from art can be used by filmmakers to establish period detail, and to demonstrate composition, color theory and lighting. It reveals how the visual culture that gave rise to cinema has itself been shaped and informed by the development of painting, the oldest of the art forms.Featuring stunning images from classic films and iconic artwork, this book will build your appreciation of the history of art, enrich your understanding of the visual language of film, and help to feed that understanding into your own original filmmaking" -- BACK COVER BOOK BLURB Notes: Formerly CIP; Includes bibliographical references and index ISBN: 9781472580658 Donation: Senses of Cinema Contents: Introduction. How does art history relate to cinema history? -- A brief linear (traditional) history of art - -Toward an "alternative" history of art -- Visual culture and storytelling. Narrative and storytelling in art -- Color and narrative -- Kandinsky's color theory in painting and in cinema -- Perspective and composition -- Light -- Case study: Peter Greenaway and Dutch painting -- Realism. What is realism? - -What is representation? -- Art after photography: modern conceptions of realism in art -- Case study: Realism and the camera obscura -- Beyond realism. Fantasy worlds in cinema and art -- Oneiric: the world of dreams -- Surrealism -- Going beyond the real -- Case study: The Archers -- Sex and violence. Sex in art and cinema -- Violence in art and cinema -- Sex and violence -- Case study: Martin Scorsese and Caravaggio -- Horror. Religious horror -- Supernatural horror -- Body horror -- Monsters -- Case study: Guillermo del Toro and Francisco de Goya -- Landscape. Why landscape? -- Beautiful, picturesque, or sublime? -- The American landscape and the American West -- Case study: The road movie -- Heroes and heroic acts. History painting; victory, virtue, and the hero - -Heroism and the Western -- Case study: Subverting the heroic genre -- Modern movements. Culture or mass culture? -- expressionism -- Abstraction -- Abstract expressionism -- Minimalism -- Going "Beyond the West" -- Case study: Hokusai to Disney -- Conclusion. How can we use art history in filmmaking? Case studies -- More info
The Asian cinema experience : styles, spaces, theory
Oxford [Oxfordshire] ; New York: Routledge, 2013.
Call No: 756(5) TEO Author: Teo, Stephen Source: UK Place: Oxford [Oxfordshire] ; New York Publisher: Routledge PubDate: 2013 PhysDes: xv, 269 p. : ill., ports. ; 24 cm Series: Media, culture and social change in Asia ; 30 Subject: INDIAN CINEMA; CHINA; JAPAN; KOREA; HONG KONG; TAIWAN; THAILAND; SINGAPORE; MALAYSIA; IRAN; BOLLYWOOD; POPULAR CULTURE AND THE CINEMA; CULTURE AND THE CINEMA; NATIONALISM AND THE CINEMA; THEORY; ASIAN COUNTRIES; NATIONAL CULTURE AND THE CINEMA. ASIAN COUNTRIES; WORLD CINEMA; BLOCKBUSTERS; ANIMATION; HORROR FILM; GHOST FILMS; EROTIC FILMS; EROTIC FILMS. ASIA Summary: "This book explores the range and dynamism of contemporary Asian cinemas, covering East Asia (China, Japan, South Korea, Hong Kong, Taiwan), Southeast Asia (Thailand, Singapore, Malaysia), South Asia (Bollywood), and West Asia (Iran), in order to discover what is common about them and to engender a theory or concept of "Asian Cinema". It goes beyond existing work which provides a field survey of Asian cinema, probing more deeply into the field of Asian Cinema, arguing that Asian Cinema constitutes a separate pedagogical subject, and putting forward an alternative cinematic paradigm. The book covers "styles", including the works of classical Asian Cinema masters, and specific genres such as horror films, and Bollywood and Anime, two very popular modes of Asian Cinema; "spaces", including artistic use of space and perspective in Chinese cinema, geographic and personal space in Iranian cinema, the private "erotic space" of films from South Korea and Thailand, and the persistence of the family unit in the urban spaces of Asian big cities in many Asian films; and "concepts" such as Pan-Asianism, Orientalism, Nationalism and Third Cinema. The rise of Asian nations on the world stage has been coupled with a growing interest, both inside and outside Asia, of Asian culture, of which film is increasingly an indispensable component--this book provides a rich, insightful overview of what exactly constitutes Asian Cinema." -- BOOK BLURB Notes: Includes bibliographic references and index; Includes filmography ISBN: 9781138815780 Contents: pt. I Styles -- 1.Kurosawa and classical style in Asian Cinema -- 2.Satyajit Ray and the Indian sensitivity of affect -- 3.The historical blockbuster style -- 4.The abstract transnational style of anime -- 5.Asian horror and the ghost-story style -- 6.The `Bollywood' style -- pt. II Spaces -- 7.Space in Asian melodrama -- 8.Iranian cinema and inward space -- 9.Domestic space and the family in South Korean cinema -- 10.Erotic space in Asian films -- pt. III Theory -- 11.The world and Asian Cinema -- 12.Asian Cinema and other cinemas. More info
Aural Auteur : sound in the films of Rolf De Heer / David Bruno Starrs
Brisbane, Queensland: 2009.
Call No: 81:634DEH STA Author: Starrs, David Bruno Source: AT Place: Brisbane, Queensland PubDate: 2009 PhysDes: 263 p. : ill. ; 30 cm Subject: AUTEUR THEORY; DIRECTORS. AUSTRALIA; SOUND; THEORY; DE HEER, ROLF; DANCE ME TO MY SONG (AT, Rolf de Heer, 1998); DR PLONK (AT, Rolf de Heer, 2007); EPSILON (AT/IT, Rolf de Heer, 1995); OLD MAN WHO READ LOVE STORIES (AT/SP/FR/NL, Rolf de Heer, 2000); PROPOSITION, THE (AT/UK, John Hillcoat, 2005); TRACKER, THE (AT, Rolf de Heer, 2002) Summary: "An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of his or her films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-makers' body of work, neglecting the potentially significant role played by sound.
The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed Rolf de Heer, asking the question, "Does his use of sound make Rolf de Heer and aural auteur?" In so far as the term 'aural' encompasses everything in the film that is heard by the audience, the analysis seeks to discover if de Heer has, as Peter Wollen suggests of the auteur and her or his directing of the visual components (1968, 1972 and 1998), unconsciously left a detectable aural signature on his films.
The thesis delivers an innovative outcome by demonstrating that auteur analysis that goes beyond the mise-en-scene (i.e. visuals) is productive and worthwhile as an interpretative response to film. De Heer's use of the aural point of view and binaural sound recording, his interest in providing a 'voice' for marginalised people, his self-penned song lyrics, his close and early collaboration with composer Graham Tardif and sound desinger Jim Currie, his 'hands-on' approach to sound recording and sound editing and his predilection for making films about sound are all shown to be examples of de Heer's aural auteurism.
As well as the three published (or accepted for publication) interviews with de Heer, Tardif and Currie, the dissertation consists of seven papers refereed and published (or accepted for publication) in journals and internatiional conference proceedings, a literature review and a unifying essay. The papers presented are close textual analyses of de Heer's films which, when considered as a whole, support the thesis' overall argument and serve as comprehensive auteur analysis, the first such sustained study of his work, and the first with an emphasis on the aural. " -- ABSTRACT Notes: Presented to the Creative Industries Faculty, Queensland University of Technology. Thesis (Ph.D.)--Queensland University of Technology, Brisbane, 2009; Includes bibliographical references (p. 213-231) Contents: -- part one: introduction -- chapter 1: the research problem, objective/aims, subject and methodologies -- chapter 2: the literature and contextual review -- part two: the seven refereed and published papers of the thesis -- chapter 3: a paper utilising genre analysis and signalling an interest in the auteurism of Rolf de Heer -- chapter 4: the first of two papers utilising standard auteur analysis -- chapter 5: the second of two papers utilising standard auteur analysis -- chapter 6: a paper arguing for the methodological innovation of the thesis: aural auteur analysis -- chapter 7: the first of three papers utilising aural auteur analysis -- chapter 8: the second of three papers utilising aural auteur analysis -- chapter 9: the third of three papers utilising aural auteur analysis -- part three: conclusion -- chapter 10: the unifying essay -- 11: references/bibliography and filmography -- 12: appendicies -- list of figures -- More info
Australian film theory and criticism : volume 1 critical positions / Noel King / Constantine Verevis / Deane Williams
Bristol, UK; Chicago: Intellect, 2013-.
Call No: 62(94) KIN (v. 1) Author: King, Noel; Verevis, Constantine; Williams, Deane Source: UK/US Place: Bristol, UK; Chicago Publisher: Intellect PubDate: 2013- PhysDes: xii, 174 pages ; 24 cm Series: Australian film theory and criticism Subject: CRITICISM; THEORY. AUSTRALIA; FILM Summary: The first part of a planned three-volume work devoted to mapping the transnational history of Australian film studies. Australian Film Theory and Criticism, Volume 1 provides an overview of the period between 1975 and 1990, during which the discipline first became established in the academy. Tracing critical positions, people, and institutions across this influential period, contributors examine a multitude of books and journal articles published in Australia and distributed internationally. They offer important insights about the origins of Australian film theory and its relationship to the related disciplines of art history, performance art, and digital media. Notes: Includes bibliographical references and appendix. ISBN: 9781841505817 (v. 1) -- 9781783200375 (v. 2) Contents: Volume 1 -- Preface / Patrice Petro --
Introduction: Chapter one: Australian Film Theory and Criticism / Noel King, Constantine Verevis and Deane Williams --; Part one: Institutions -- Chapter two: Film Theory Goes to Australia / Constantine Verevis -- Chapter three: Writing the Australian Film Revival / Constantine Verevis --; Part two: Personnel -- Chapter four: Cultural Mobility and Film Studies in Australia 1975-1990 / Noel King --; Part three: Criticism -- Chapter five: Shifts and Interventions: Cultural Materialism and Australian Film History / Deane Williams -- Chapter six: Australian Film Theory and Criticism and Cultural Studies / Deane Williams --; Conclusion -- Chapter seven: Contemporary Australian Film Theory and Criticism / Noel King, Constantine Verevis and Deane Williams. --
Volume Two -- Introduction: Serious film studies and magpies / Noel King and Deane Williams -- Part I: Brisbane -- "From 'pictures' to formats" / Albert Moran interviewed by Noel King -- "Everyone's go their favourite periods of Cunningham's career, and it's always something before the present!" / Stuart Cunningham interiewed by Noel King -- "For a lot of people film became a bridge between literary studies and other kinds of cultural studies" / Graeme Turner interviewed by Noel King -- "The circulation of ideas" / Tom O'Regan interviewed by Deane Williams -- "We just thought we were unstoppable" / Colin and Jane Crisp interviewed by Noel King -- "I loved best when really practical solutions had to be found for artistic problems" / Jonathan Dawson interviewed by Noel King -- Part II: Melbourne -- "Early on I'd been an inveterate attender of Saturday matinees" / Mick Counihan interviewed by Noel King -- "Ye, but it never entered my head that it would ever become a field as such ..." / Barbara Creed interviewed by Deane Williams -- "This is all part of the historical process" / Ina Bertrand interviewed by Deane Williams -- More info
Australian film theory and criticism : volume 2 interviews / [edited by] Noel King and Deane Williams
Bristol; Chicago: Intellect Books, 2014.
Call No: 62(94) KIN (v. 2) Source: UK/US Place: Bristol; Chicago Publisher: Intellect Books PubDate: 2014 PhysDes: viii, 411 pages ; 24 cm Subject: CRITICISM. AUSTRALIA; CRITICISM; THEORY. AUSTRALIA; FILM STUDY AND RESEARCH. AUSTRALIA Summary: "A three-volume project tracing critical positions, people, and institutions in Australian film, Australian Film Theory and Criticism interrogates both the the origins of Australian film theory and its relationships to adjacent disciplines and institutions. This second volume gathers interviews with national and international film theorists and critics to chart the development of different discourses in Australian film studies through the decades. Seeking to examine the position of film theoriests and their relationship to film industry practitioners and policy-makers, it looks to assert Australian film's place on the international scholarly agenda." -- BOOK BLURB ISBN: 9781783200375 Contents: Volume Two -- Introduction: Serious film studies and magpies / Noel King and Deane Williams -- Part I: Brisbane -- [Albert Moran, Stuart Cunningham, Graeme Turner, Tom O'Regan, Colin Crisp and Jane Crisp, Jonathan Dawson / interviewed by Noel King] -- Part II: Melbourne [Mick Counihan / interviewed by Noel King -- Barbara Creed, Ina Bertrand, Sam Rohdie, Lesley Stern, Bill Routt, Adrian Martin / interviewed by Deane Williams] -- Part III: Sydney and Newcastle [Ross Gibson / interviewed by Deane Williams -- Meaghan Morris / interviewed by Lauren Bliss -- David Boyd / interviewed by Noel King] -- Part IV: Adelaide and Perth [Brian Shoesmith, Noel Purdon / interviewed by Noel King -- Toby Miller / interviewed by Deane Williams] -- Part V: UK and USA [Paul Willemen, Dana Polan / interviewed by Deane Williams -- Manuel Alvarado, Colin MacCabe, Edward Buscombe, Michael Eaton, Jim Kitses / interviewed by Noel King] More info
subject clippings file
Call No: SUBJECT CLIPPINGS FILE PhysDes: Clippings Subject: AUTEUR THEORY More info
The auteur theory myths and magic
Metro Education (2000) iss.12 p.13-16 More info
Auteurs and authorship : a film reader / edited by Barry Keith Grant
Malden, MA: Blackwell Publishing, 2008.
Call No: 621(04) GRA Author: Grant, Barry Keith Source: US Place: Malden, MA Publisher: Blackwell Publishing PubDate: 2008 PhysDes: xv, 323p. : ill. ; 25cm Subject: AUTEUR THEORY Summary: Collection of critical essays on film authorship. Notes: Includes bibliographic references ISBN: 9781405153348 Language: English Contents: A certain tendency of the French cinema (1954) / Francois Truffaut -- La politique des auteurs (1957) / Andre Bazin -- Films, directors, and auteurs (1962) / Ian Cameron -- Notes on the auteur theory in 1962 (1962) / Andrew Sarris -- Circles and squares (1963) / Pauline Kael -- The auteur theory (1969) (excerpt) / Peter Wollen -- Direction and authorship (1972) (excerpt) / V.F. Perkins -- Ideas of authorship (1973) / Edward Buscombe -- Ideology, genre, auteur (1977) / Robin Wood -- The death of the author (1968) / Roland Barthes -- The English cine-structuralists (1973) / Charles Eckert -- Alternatives to auteurs (1973) / Graham Petrie -- Women's cinema as counter-cinema (1973) / Claire Johnston -- Refocusing authorship in women's cinema (2003) / Angela Martin -- The men with the movie cameras (1972) / Richard Kosarzski -- Notes on a screenwriter's theory, 1973 (1974) / Richard Corliss -- Who makes the movies? (1976) / Gore Vidal -- Script/performance/text : performance theory and auteur theory (1978) / Peter Lehman -- Studio authorship (2006) (excerpt) / Jerome Christensen -- The producer as auteur (2006) / Matthew Bernstein -- Authorship, design, and execution (1987) / Bruce Kawin -- Hitchcock's imagery and art (1977) / Maurice Yacowar -- John Ford's Young Mr. Lincoln (1970) / editors of Cahiers du Cinema -- Towards an analysis of the Sirkian system (1972) / Paul Willeman -- My name is Joseph H. Lewis (1983) / Paul Kerr -- Authorship as a commodity: the art cinema and The cabinet of Dr. Caligari (1984) / Michael Budd -- The place of women in the cinema of Raoul Walsh (1974) / Claire Johnston and Pam Cook -- Female authorship reconsidered (the case of Dorothy Arzner) (1990) / Judith Mayne -- Man's favorite sport?--the action films of Kathryn Bigelow (2004) / Barry Keith Grant -- Todd Haynes and queer authorship (2006) / Michael DeAngelis -- Twoness in the style of Oscar Micheaux (1993) / J. Ronald Green -- Spike's joint (1998) (excerpt) / S. Craig Watkins. More info
Wide Angle (1984) vol.6 iss.1 p.[whole issue] Author: Lehman, Peter PhysDes: Article Subject: AUTEUR THEORY; COME AND GET IT (US, Howard Hawks and William Wyler, 1936); LADY IN THE LAKE (US, Robert Montgomery, 1946); DR STRANGELOVE (UK, Stanley Kubrick, 1964); VIDEO, FILMS ON; CABINET DES DR. CALIGARI, DAS (G, Robert Weine, 1920); A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959); BREATHLESS (FR, Jean-Luc Godard, 1959) Summary: Entire edition on authorship/auteurism. Articles on 'Breathless', 'The Cabinet of Dr. Caligari', 'Come and Get It', 'The Lady in the Lake', and 'Dr. Strangelove'. An interview with Judith Barry on video art, and an interview with Manny Kirchheimer. More info
Authorship and Hollywood
Wide Angle (1983) vol.5 iss.3 p.16-22 More info
Authorship and the films of David Lynch : aesthetic receptions in contemporary Hollywood / Antony Todd
London: I.B. Tauris, 2012.
Call No: 81LYN TOD Author: Todd, Antony Source: UK Place: London Publisher: I.B. Tauris PubDate: 2012 PhysDes: ix, 181 p. : ill. ; 24 cm Subject: AESTHETICS; AUTEUR THEORY; LYNCH, DAVID; DUNE (US, David Lynch, 1984); BLUE VELVET (US, David Lynch, 1986); TWIN PEAKS [TV] (US, David Lynch & others, 1990-1991); MULHOLLAND DRIVE (US, David Lynch, 2001) Summary: "This fresh contribution to studies on authorship and film explores the ways in which shared and disputed opinions on aesthetic quality, originality and authorial essense have shaped receptions of David Lynch's films. it is also the first book to approach Lynch as a figure composed through language, history and text.
Antony Todd traces the development of Lynch's career from cult obscurity with Eraserhead to star auteur through the release of Blue Velvet, as well as the television event of the early 1990s, Twin Peaks. He investigates how Lynch's idiosyncratic style introduced the term 'Lynchian' to the colloquial speech of new Hollywood and helped establish Lynch as the leading light among contemporary American auteurs. Through the evidence of critical and promotional ephemera and the texts carrying Lynch's name, Todd explores contemporary manners and attitudes for artistic reputation building. He also reviews the standards by which Lynch's reputation was dismantled following the release of Wild at Heart and Twin Peaks: Fire Walk with Me, only to be reassembled once more through films such as Lost Highway, Mulholland Dr. and INLAND EMPIRE.
This book also ventures beyond its empirical findings by addressing authorship concerns pertaining to the ways in which, and to whom, the contemporary auteur has meaning. In its account of the experiences at play in the encounter between ephemera, text and reader, Authorship and the Films of David Lynch explores how authors functions for pleasure in the modern filmgoer's everyday consumption of films."-BOOK BLURB Notes: includes bibliographical references; includes index ISBN: 9781848855809 Contents: -- introduction -- 1.Towards a Textual Historicity -- 2.David Lynch: The Making of a Post-classical Auteur -- 3.Meanings and Authorships in Dune -- 4.Critical Theory and `Cruel Jokes': Principles of Ethics and Pleasure, and the Reception of Blue Velvet -- 5.Twin Peaks: The Rise and Fall of a Public Auteur -- 6.Brand Lynch -- 7.Receiving Mulholland Dr.: `A Contemporary Film Noir Directed by David Lynch' -- conclusion -- notes -- bibliography -- index -- More info
Bad history and the logics of blockbuster cinema : Titanic, Gangs of New York, Australia, Inglourious Basterds / Patrick McGee
New York: Palgrave Macmillan, 2012.
Call No: 45:93 MCG Author: McGee, Patrick Source: US Place: New York Publisher: Palgrave Macmillan PubDate: 2012 PhysDes: 209 p. ; 22 cm Subject: HISTORICAL FILMS; HISTORY AND THE CINEMA; HISTORY OF CINEMA; PHILOSOPHY AND THE CINEMA; THEORY; AUSTRALIA (AT/US, Baz Luhrmann, 2008); INGLOURIOUS BASTERDS (US/G, Quentin Tarantino, 2009); GANGS OF NEW YORK (GG/IT/US, Martin Scorsese, 2002); TITANIC (US, James Cameron, 1997) Summary: "In his latest book, Patrick McGee argues for the political and social significance of mass culture through the interpretation of four recent big-budget movies: Titanic, Gangs of New York, Australia, and Inglourious Basterds. Through philosophical and historical contextualization, he reveals the logic of what appears on the screen, a logic that shows how these films both represent and distort the historical record in order to articulate a truth that challenges conventional history as a discipline. Counterdisciplinary in its method, this exciting work asserts that no movie can ever be reduced to the absolutely authentic or the absolutely inauthentic." -- BOOK BLURB Notes: Formerly CIP; Includes bibliographical references and index ISBN: 9780230116511 Contents: -- acknowledgments -- Introduction: truth, history, and counterdisciplinary practices in film studies -- 1: Terrible beauties: messianic time and the image of social redemption in James Cameron's Titanic. -- 2: Infinite history: Martin Scorsese's Gangs of New York and the production of the inexistent -- 3: "No dreaming, no story, nothing": Baz Luhrmann's Australia, the cinematic common, and postcolonial discourse-- Conclusion: the glorious truth about inglorious history in Quentin Tarantino's Inglourious basterds -- works cited -- index -- More info
Beyond auteurism : new directions in authorial film practices in France, Italy and Spain since the 1980s / Rosanna Maule
Bristol, U.K. ; Chicago, USA: Intellect, 2008.
Call No: 621 MAU Author: Maule, Rosanna Source: UK/US Place: Bristol, U.K. ; Chicago, USA Publisher: Intellect PubDate: 2008 PhysDes: 294 p. : ill. ; 24 cm Subject: AUTEUR THEORY; AESTHETICS Notes: Includes bibliographical references (p. -286) and index ISBN: 9781841502045 Contents: The film author and the survival of European cinema -- The middle generation: Maurice Pialat, Gianni Amelio, and Victor Erice -- The difficult legacy of the Nouvelle Vague: Olivier Assayas and French film authors at the end of auteurism -- For an impure cinema: Gabriele Salvatores and the hybrid nature of film authorship in contmporary Italian cinema -- A different type of cinephilia: Alejandro Amena´bar and the new generation of Spanish film authors -- Made in Europa: Luc Besson and the question of cultural exception in post-auteur France -- Auteurism and women's cinema in France, Italy and Spain -- Female authors and gendered identity in film: Claire Denis's post-subjective representation -- Feminine matters: Francesca Archibugi and the reconfiguration of women in the private sphere More info
title clippings file
BIG BANG THEORY, THE [TV] : (US, 2007-)
The Big Heat
Montage (June 1965) p.14-16 More info
Bollywood and its other(s) : towards new configurations / edited by Vikrant Kishore, Amit Sarwal and Parichay Patra
Houndmills. Basingstoke, Hampshire ; New York: Palgrave Macmillan, 2014.
Call No: 71(540) BOL Author: KIshore, Vikrant (ed.); Patra, Parichay (ed.); Sarwal, Amit (ed.) Source: US/UK/AT Place: Houndmills. Basingstoke, Hampshire ; New York Publisher: Palgrave Macmillan PubDate: 2014 PhysDes: xii, 229 pages ; 23 cm Subject: INDIA; INDIA IN FILMS; BOLLYWOOD; INDIAN CINEMA; HISTORY OF CINEMA. INDIA; THEORY; DIASPORIC CINEMA; MUSIC AND THE CINEMA; MUSIC IN FILMS; SEX IN FILMS; HOMOSEXUALITY IN FILMS; HOMOSEXUALITY AND THE CINEMA; AESTHETICS; PHILOSOPHY AND THE CINEMA; SCIENCE-FICTION FILMS Summary: "How do we define the globalized cinema and media cultures of Bollywood in an age when it has become part of the cultural diplomacy of an emerging superpower? Is it still an 'other' industry in a world dominated by American Cinemas? Bollywood and Its Other(s) aims to compensate for the lack of scholarly literature on Bollywood studies by opening up hitherto unexplored sites or sites that are in formation. One of the most comprehensive volumes on Bollywood so far, it focuses on the aesthetic-philosophical questions of the other, Indian diaspora's negotiations with national identity, alternative reading strategies/research methods, marginal genres (sci-fi, horror), marginal characters (flaneuse, vamps), marginal gender (non-normative sexualities), marginal cinema (Hindi avant-garde), marginal language (Hinglish), and marginal regions (the Kashmir valley). It intends to address film scholars, South Asian studies researchers, cinephiles and lay readers alike.- BOOK BLURB Notes: Formerly CIP; Includes bibliographical references and index ISBN: 9781137426499 Donation: Senses of Cinema Contents: -- list of figures -- notes on contributors -- introduction: Vikrant Kishore, Amit Sarwal and Parichay Patra -- Section I Exploring the Other: Cinema, Aesthetics, Philosophy -- 1.Self, Other and Bollywood: The Evolution of the Hindi Film as a Site of Ambivalence / Dibyakusum Ray -- 2.Bombay Cinema's Aesthetic Other: Hindi Shastriya Cinema in Retrospect / Parichay Patra -- Section II Diaspora and the Formation of the Global Bollywood -- 3.Transgressing the Moral Universe: Bollywood and the Terrain of the Representable / Sarah A. Joshi -- 4.A Perfect Match: Entertainment and Excess of Cricket within the Diasporic Experience of Bollywood / Sanchari De and Manas Ghosh -- Section III The Musicality of Bollywood: Possibilities of Alternative Reading(s) -- 5.Hindi Popular Cinema and Its Peripheries: Of Female Singers, Performances and the Presence/Absence of Suraiya / Madhuja Mukherjee -- 6.'Dil Dance Maare Re': Bollywoodisation of the Indian Folk Dance Forms / Vikrant Kishore -- 7.The Systems Model of Creativity and Indian Film: A Study of Two Young Music Directors from Kerala, India / Phillip McIntyre, Bob Davis and Vikrant Kishore -- Section IV Bollywood's Other(s): Sexuality, B Movie, Queerness -- 8.Sugar and Spice: The Golden Age of the Hindi Movie Vamps, 1960s--1970s / Suneeti Rekhari -- 9.Popular Forms, Altering Normativities: Queer Buddies in Contemporary Mainstream Hindi Cinema / Aneeta Rajendran -- 10.Hinglish Cinema: The Confluence of East and West / Amit Sarwal -- 11.The Ramsay Chronicles: Non-normative Sexualities in Purana Mandir and Bandh Darwaza / Mithuraaj Dhusiya -- 12.Bollywood's Encounters with the Third Kind: A Critical Catalogue of Hindi Science Fiction Films / Sami Ahmad Khan -- Section V Bollywood's Other, India's Other -- 13.Death Becomes Her: Bombay Cinema, Nation and Kashmir: In Conversation with the Desire Machine Collective, Guwahati / Kaushik Bhaumik -- afterword: Anupam Sharma -- index -- More info
Bollywood in Britain : cinema, brand, discursive complex / by Lucia Kramer
New York: Bloomsbury Academic, an imprint of Bloomsburg Publishing, 2016.
Call No: 71(540/41) KRA Author: Kramer, Lucia Source: US/UK Place: New York Publisher: Bloomsbury Academic, an imprint of Bloomsburg Publishing PubDate: 2016 PhysDes: viii, 286 pages ; 24cm Subject: BOLLYWOOD; HISTORY OF CINEMA. UK; HISTORY OF CINEMA. INDIA; ADAPTATIONS; CRITICISM; THEORY; CULTURE AND THE CINEMA; CULTURE AND THE CINEMA. UK; CULTURE AND THE CINEMA. INDIA; TRANSNATIONAL CINEMA Summary: "Bollywood in Britain provides the most extensive survey to date of the various manifestations and facets of the Bollywood phenomenon in Britain. Kramer analyzes the role of Hindi films in the British film market, showing how audiences engage with Bollywood cinema and discussing the ways the image of Bollywood in Britain has been shaped. In contrast to most of the existing books on the subject, which tend to approach Bollywood as something that is made by Asians for Asians, the book also focuses on how Bollywood has been adapted for non-Asian Britons. An analysis of Bollywood as an unofficial brand is combined with in-depth readings of texts including film reviews, the TV show Bollywood Star (2004) and novels and plays with references to the Hindi film industry. On this basis Bollywood in Britain demonstrates that the presentation of Bollywood for British mainstream culture oscillates between moments of approximation and distancing, with a clear dominance of the latter. Despite its alleged transculturality, Bollywood in Britain thus emerges as a phenomenon of difference, distance and Othering"-- BACK COVER BLURB Notes: Includes bibliographical references and index ISBN: 9781501307614 Donation: Senses of Cinema Contents: -- acknowledgments -- 1: Introduction -- 2: What is 'Bollywood'? -- 3: Popular Indian Cinema in Britain - Facts and Figures -- 4: Britain and Indian Diaspora Films - Questions of Nostalgia -- 5: Beyond Films - The Development of the Bollywood Brand -- 6: the (trans)difference of Bollywood : British asians through the lens of 'Bollywood Star' -- 7: representations of the Hindi film industry in British first-hand reports -- 8: the changing image of Bollywood in British film reviews -- 9: Bollywood Adaptations -- 10: Conclusion -- notes -- Filmography -- Bibliography -- Index -- More info
Montage (March 1970) p.5-8 More info
Cahiers du Cinema : volume four, 1973-1978: history, ideology, cultural struggle : an anthology from Cahiers du Cinema nos 248-292, September 1973-September 1978 / edited by David Wilson; with an introduction by Berenice Reynaud
London; New York: Routledge, British Film Institute, 2000.
Call No: 67(44) CAH Source: UK/US Place: London; New York Publisher: Routledge, British Film Institute PubDate: 2000 PhysDes: xi, 323 p. ; 24 cm Series: Cahiers du Cinema selections Subject: CULTURE AND THE CINEMA; POLITICS AND THE CINEMA; IDEOLOGY AND THE CINEMA; HISTORY AND THE CINEMA; THEORY; CRITICISM; CAHIERS DU CINEMA; ALAOUIE, BORHAN; ALLIO, RENE; DOUGLAS, JOHN; FERRO, MARC; GODARD, JEAN-LUC; HUILLET, DANIELE; A TOUT ALLURE (FR, Robert Kramer, 1982); LITTIN, MIGUEL; DUPONT LAJOIE (FR/IT, Yves Boisset, 1975); CHAMBRE VERT, LA (FR, Francois Truffaut, 1978); DERSU UZALA (UR/JA, Akira Kurosawa, 1975); INDIA SONG (FR, Marguerite Duras, 1975); KING KONG (US, John Guillermin, 1976); KING KONG (US, Merian C. Cooper & Ernest B. Schoedsack, 1933); LACOMBE LUCIEN (FR/IT/GW, Louis Malle, 1974); KAFR KASSEM (LE/SY, Borhan Alaouié, 1973); MILESTONES (US, Robert Kramer & John Douglas, 1975); MOSES UND ARON (GW/FR/IT, Jean-Marie Straub & Daniele Huillet, 1975); NUMERO DEUX (FR, Jean-Luc Godard, 1975); PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); PORTIERE DI NOTTE, IL (IT, Liliana Cavani, 1974); STAR WARS (US, George Lucas, 1977); SIX FOIS DEUX (FR, Jean-Luc Godard, 1976); TIERRA PROMETIDA, LA (CL, Miguel Littin, 1973); XALA (SG, Ousmane Sembene, 1974) Summary: This volume covers the vibrant and turbulent period from 1973 to 1978, in which the issues of theory, history and politics dominated critical debate. The anthology combines essays by critics such as Pascal Bonitzer, Serge Daney and Therese Giraud; round-table discussions; reviews of contemporary films from Star Wars and King Kong to Padre Padrone and Jeanne Dielman; and interviews with leading theorists including Marc Ferro and Michel Foucault, presenting a rich sampler of Cahiers' provocative and indispensible contribution to debates in film and cultural politics. [Taken from back cover.] ISBN: 0415029880 Contents: Introduction - Cahiers Du Cinema 1972-1978 - Berenice Reynaud -- Part I - Interventions and Cultural Politics -- Editorial - Cahiers Today - Cahiers du Cinema -- The Critical Function - Serge Daney -- A particular trend in French Cinema - Serge Daney, pascal Kane, Jean-Pierre Oudart, Serge Toubiana -- Round table on Chris Marker's Le Found de l'air est rouge - Jean-Paul Fargier, Therese Giraud, Sege Le Peron, Jean Narboni, Serge Daney -- Part II - Perspectives -- A matter of chance - Serge Toubiana -- Return of the same - Therese Giraud -- Theorize/terrorize - Godardian pedagogy -- On Sur et sous la communication: three questions on Six fois deux - Gilles Deleuze -- Family, history, romance - Louis Seguin -- Round table: Milestones and us - Pascal Bonitzer, Dominique Villain, Serge Daney, Jean Narboni, Serge Le Peron, Therese Giraud, Serge Toubiana -- The Aquarium (Milestones) - Serge Daney -- Part III - Theory and History -- Anti-retro - Michel Foucault in interview with Pascal Bonitzer and Serge Toubiana -- I, Pierre Riviere, having slaughtered my mother, my sister and my brother...by Rene Allio - Jean Jourdheuil, Serge Toubiana, Pascal Bonitzer, Rene Allio, Pascal Kane, Michel Foucault -- Defamations (fragments). Pretext: Karl May by H.-J. Syberberg - Jean-Pierre Oudart -- Cinema and history - Marc Ferro in interview with Serge Daney and Ignacio Ramonet -- Deframings - Pascal Bonitzer -- Cold Sex (on pornography and beyond) - Yann Lardeau -- Part IV - Third Cinema -- Our Cinema - Sidney Sokhona -- Interview with Abdelaziz Tolbi - Therese Giraud, Mohand Ben Salama -- The promised land - Serge Toubiana, Pascal Bonitzer -- The feminine eye of the Town (El Chergui) - Abdelwahab Meddeb -- Blood into sign - Jean Narboni -- Xala - Daniele Dubroux -- Part V - Reviews -- On Avanti - Pascale Kane -- An India and its other (India Song) - Pascal Bonitzer -- An uncanny familiarity (Jeanne Dielman) - Daniele Dubroux -- The sign and the ape (King Kong) - Serge Toubiana -- One more bear (Dersu Uzala) - Serge Daney -- Curdled milk (Padre padrone) - Daniele Dubroux -- America without fear or favour (Star Wars) - Serge Le Peron -- Francois Truffaut La Chambre verte - Pascal Bonitzer -- An active fear (The Passion of Joan of Arc) - Jean-Pierre Oudart -- Appendix: Cahiers du Cinema in the 1950s, the 1960s and the early 1970s More info
A casebook on film / Charles Thomas Samuels
New York: Van Nostrand Reinhold, 1970.
Cinema : Cinema. English / Gilles Deleuze ; translated by Hugh Tomlinson and Barbara Habberjam
Minneapolis: University of Minnesota, 1986-c1989.
Call No: 62 DEL Author: Deleuze, Gilles Place: Minneapolis Publisher: University of Minnesota PubDate: 1986-c1989 PhysDes: 2 v. ; 23 cm Subject: SYMBOLISM IN FILMS; THEORY; MONTAGE; IMAGE ANALYSIS Notes: Translation of: Cinema; Vol. 2 translated by Hugh Tomlinson and Robert Galeta; Includes bibliographies and indexes ISBN: 0816616760 (v. 2); 0816616779 (pbk. ; v. 2); 0816613990 (v. 1) : $29.50; 0816614008 (pbk. : v. 1) : $13.95 LON: 85028898; 4390071 ID2: 343 URL status: URL: 'http://-'
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Cinema 2 : The time-image / Gilles Deleuze / translated by Hugh Tomlinson and Robbert Galeta
London: The Athlone Press, 1989.
Call No: 62 DEL Author: Deleuze, Gilles; Tomlinson, Hugh; Galeta, Robert Source: UK Place: London Publisher: The Athlone Press PubDate: 1989 PhysDes: xviii, 344 pages : illustrations ; 21 cm. Series: Cinema ; v. 2 Subject: SYMBOLISM IN FILMS; THEORY; MONTAGE; IMAGE ANALYSIS Summary: "Cinema II continues the reassessment of cinema begun in Deleuze's 'Cinema I: the movement image'. Each volume can be read on its own as dealing with a separate aspect of cinema: classical and modern, pre- and post-war, movement and time.
In this second volume Deleuze is concerned with the representation of time in film and with the cinematic treatment of memory, thought and speech. Drawing on the philosophy of Henri Bergson, Deleuze provides a theoretical framework within which he analyses and classifies the time-image and traces the history of its emergence, focusing on the cinema of post-war neo-realism." -- BOOK BLURB Notes: (originally in French 'Cinema 2, L'Image-Temps,' 1985); Preface to the English edition; Translators intoductoin; Notes; Glossary; Index ISBN: 0485120704 Language: English Donation: Adrian Miles Contents: 1. Beyond the Movement-Image -- 2. Recapitulation of Images and Signs -- 3. From Recollections to Dreams: Third Commentary on Bergson -- 4. The Crystals of Time -- 5. Peaks of Present and Sheets of Past: Fourth Commentary on Bergson -- 6. The Powers of the False -- 7. Thought and Cinema -- 8. Cinema, Body and Brain,Thought -- 9. The Components of the Image -- 10. Conclusions. ID2: 343 More info
Cinema and modernity / John Orr
Cambridge, UK: Polity Press, 1993.
Call No: 62 ORR Author: Orr, John Source: UK Place: Cambridge, UK Publisher: Polity Press PubDate: 1993 PhysDes: ix, 224 pages,  pages of plates : illustrations ; 24 cm Subject: THEORY; NOUVELLE VAGUE; FILM NOIR; AUTOMOBILES IN FILMS Summary: "This book discusses the complex relation between modernity and cinema drawing particularly upon the European and American cinema during the second half of the twentieth century. In this period, the author argues, the terms 'modernist' and 'postmodern' are both inappropriate to the cinema's critical vision of modernity. Instead there emerges a neo-modern movement which subverts American melodrama and supplants Italian neo-realism, yet also echoes the earlier modernisms of Dreyer, Eisenstein, Bunuel and Fritz Lang." - taken from back cover. Notes: Includes index. -- Filmography: p. -218. -- Bibliography: p. -201. ISBN: 0745611869 Contents: 1. Film and the Paradox of the Modern -- 2. Tragicomedy and the Cool Apocalypse -- 3. The Double and the Innocent -- 4. The Power of the Gaze -- 5. The Absent Image and the Unreal Object -- 6. Commodified Demons I: The Machine and the Mask -- 7. Commodified Demons II: The Automobile -- 8. The Strange Passions of Film Noir. More info
Cinema approaching reality : locating Chinese film theory / Victor Fan
Minneapolis: University of Minnesota Press, 2015.
Call No: 626(51) FAN Author: Fan, Victoria Source: US Place: Minneapolis Publisher: University of Minnesota Press PubDate: 2015 PhysDes: xii, 277 pages : illustrations ; 22 cm Subject: POLITICS AND THE CINEMA; CRITICISM. CHINA; THEORY; HISTORY OF CINEMA. CHINA; HISTORY OF CINEMA. HONG KONG; BAZIN, ANDRE Summary: Examines ways in which Chinese and Euro-American film theorists conceptualize reality and cinema. In Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through the 1940s. The result is an eye-opening exploration of the potentialities in approaching cinema anew, especially in the photographic materiality following its digital turn. -- taken from the publisher's site Notes: Includes bibliographical references, filmography (253-255) and index. ISBN: 9780816693573 Contents: Introduction -- Approaching reality: Chinese ontology and the potentiality of time -- Cinema of thought: directed consciousness in Chinese Marxist film theory -- Soft film theory: life in all its presence and concreteness -- Fey Mou: the presence of an absence -- Cinema of ideation, cinema of play: the early Cantonese sound film -- Conclusion More info
The Cinema book / edited by Pam Cook
London: BFI, 1985.
The cinema book / edited by Pam Cook and Mieke Bernink
London: British Film Institute, 1999.
Cinema in the digital age / Rombes, Nicholas
New York: New York Columbia University Press, 2017.
Call No: 62 ROM Author: Rombes, Nicholas Edition: Revised edition Place: London; New York Publisher: New York Columbia University Press PubDate: 2017 PhysDes: 22 b& w illustrations Subject: DIGITAL CINEMA; NOSTALGIA; FILMMAKING; DISTRIBUTION; DIGITAL DISTRIBUTION; MEDIA AND THE CINEMA; EDITING; PHILOSOPHY AND THE CINEMA; VIDEO FORMATS; PARANORMAL ACTIVITY : THE MARKED ONES ( US, Christopher Landon, 2014); THEORY; SPECTATORSHIP; BLUE VELVET (US, David Lynch, 1986); APPLE; COMPUTER GENERATED IMAGERY; POSTMODERNISM AND THE CINEMA; FORMATS; CINEMATOGRAPHY Summary: Have digital technologies transformed cinema into a new art, or do they simply replicate and mimic analogue, film-based cinema? Newly revised and expanded to take the latest developments into account, Cinema in the Digital Age examines the fate of cinema in the wake of the digital revolution. Nicholas Rombes considers Festen (1998), The Blair Witch Project (1999), Timecode (2000), Russian Ark (2002), and The Ring (2002), among others. Haunted by their analogue pasts, these films are interested not in digital purity but rather in imperfection and mistakes-blurry or pixilated images, shaky camera work, and other elements that remind viewers of the human behind the camera.With a new introduction and new material, this updated edition takes a fresh look at the historical and contemporary state of digital cinema. It pays special attention to the ways in which nostalgia for the look and feel of analogue disrupts the aesthetics of the digital image, as well as how recent films such as The Social Network (2010) and The Girl with the Dragon Tattoo (2011)-both shot digitally-have disguised and erased their digital foundations. The book also explores new possibilities for writing about and theorizing film, such as randomization. Notes: Includes bibliographical references. ISBN: 9780231167550 Donation: Senses of Cinema Contents: Machine generated contents note: 1.Accelerationism
2.The Adorno Paradox
4.Analog/ Digital Splice
6.Boredom and Analog Nostalgia
7.The Digital Spectacular
12.The Ideology of the Long Take
18.Looking at Yourself Looking
19.The Lost Underground
20.Love in the Time of Fragments
21.Media as Its Own Theory
23.Moving Space in the Frame, and a Note on Film Theory
26.Paranormal Activity 2
31.The Real You
32.The Reality Industrial Complex
35.Secondary Becomes Primary
Contents note continued: 41.Target Video
44.Tmesis: Skimming and Skipping
47.Virtual Humanism: Part 1
48.Virtual Humanism: Part 2
49.Visible Language, Spring 1977
50.Interpreting Film Images Through Randomized Constraint: The Blue Velvet Project More info
The cinema of Jean Renoir and the concept of the author
Metro (1997) iss.111 p.21-26 More info
The Cinematic Director as a Creative Being
Montage (1967) iss.1 p.18-19 Author: Ioannou, Simon PhysDes: Article Subject: AUTEUR THEORY; CHAPLIN, CHARLES; AUTHORSHIP Summary: Subjective essay which explores the notion of the director as artist; writer believes that the only true cinematic genius was Charlie Chaplin as he had complete ownership and control over his work. More info
Cinematic Ethics : exploring ethical experience through film / Robert Sinnerbrink
London ; New York: Routledge, 2016.
Call No: 409 SIN Author: Sinnerbrink, Robert Source: UK/US Place: London ; New York Publisher: Routledge PubDate: 2016 PhysDes: xiii, 216 pages ; 24 cm Subject: ETHICS IN FILMS; ETHICS AND THE CINEMA; PHILOSOPHY AND THE CINEMA; THEORY; STELLA DALLAS (US, King Vidor, 1937); TALK TO HER (SP, Pedro Almodovar, 2002)
HABLE CON ELLA; HABLE CON ELLA (SP, Pedro Almodovar, 2002); BIUTIFUL (MX/SP, Alejandro Inarritu, 2010) Summary: " How do movies evoke and express ethical ideas? What role does our emotional involvement play in this process? What makes the aesthetic power of cinema ethically significant? Can movies 'do ethics'? Cinema Ethics : Exploring Ethical Experiences through Film addresses these questions by examining the idea of cinema as a medium of ethical experience with the power to provoke emotional engagement and philosophical thinking. In a clear and engaging manner, Robert Sinnerbrink examines the key philosophical approaches to ethics in contemporary film theory and philosophy using detailed case studies of cinematic ethics across different genres, styles and filmic traditions. Written in a lucid and lively style that will engage both specialist and non-specialist readers, this book is ideal for use in the academic study of philosophy and film. Key features include annotated suggestions for further reading at the end of each chapter and a filmography of movies useful for teaching and researching cinematic ethics. " -- BOOK BLURB Notes: Includes bibliographical references, index and filmography ISBN: 9781138826168 Contents: -- list of figures -- preface -- overview of this book -- part I --Cinema and/as ethics -- 1: Cinematic ethics: Film as a medium of ethical experience -- part II -- Philosophical approaches to cinematic ethics -- 2: From scepticism to moral perfectionism (Cavell) -- 3: From cinematic belief to ethics and politics (Deleuze) -- 4: Cinempathy: phenomenology, cognitivism, and moving images -- part III Performing cinematic ethics -- 5: The moral melodrama (Stella Dallas, Talk to Her) -- 6: Melodrama, realism, and ethical experience (Biutiful, The Promise) -- 7.Gangster film: Cinematic ethics in The Act of Killing -- conclusion -- appendix 1 -- appendix 2 -- index -- More info
Cinematic hypertext : investigating a new paradigm / Clara Mancini
Amsterdam: IOS Press, 2005.
Call No: 623.3 MAN Author: Mancini, Clara Place: Amsterdam Publisher: IOS Press PubDate: 2005 PhysDes: ix, 182 p. : ill. ; 24 cm. Series: Frontiers in artificial intelligence and applications Subject: THEORY; COMPUTERS AND THE CINEMA Notes: Includes bibliographical references (p. 147-152) ISBN: 1586035134 Donation: Adrian Miles Contents: 1. Cohesion and coherence in hypertext argumentation : a perspective -- 2. Hypertext coherence as text coherence -- 3. Applying discourse coherence relations to hypertext -- 4. Hypertext coherence as cinematic coherence -- 5. Applying discourse coherence relations to cinema -- 6. Visual languages to render coherence relations -- 7. Rendering discourse relations with graphics and animation -- 8. Evaluating 'cinematic' discourse relations : empirical study -- 9. The form of coherence in hypertext discourse : proposal for a cinematic hypertext -- App. CCR analysis of a scholarly hypertext. More info
Cinematic urbanism : a history of the modern from reel to real / Nezar Al Sayyad
New York : London: Routledge, 2006.
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 -- More info
Claiming the real : the Griersonian documentary and its legitimations / Brian Winston
London: British Film Institute, 1995.
Call No: 761 WIN Author: Winston, Brian CorpAuthor: British Film Institute Place: London Publisher: British Film Institute PubDate: 1995 PhysDes: 301 p. ; 24 cm Subject: DOCUMENTARIES; ETHICS AND THE CINEMA; REALISM IN FILMS; THEORY; CINEMA VERITE; CINEMA-DIRECT; GRIERSON, JOHN; WISEMAN, FREDERICK; RIEFENSTAHL, LENI Summary: "Recent technological developments in the field of image manipulation mea that the 'evidence' of the photograph is no longer incontrovertible. The camera, it seems, can lie. Alterations may noe be made to still or moving images which materially change their meaning yet which are undetectable.
What does this do to the status of the documentary film? In this informed and lively book Brian Winston rewrites the history of the documentary to take account of technological change. He subjects the great figures of the past - Grierson, Flaherty, Dziga-Verov - to a searcing critique, and examines both the principles and practice of the major movements of documentary, such as cinema verite. He offers his own definition of the essential difference between fiction film and documentary, and identifies the fundamentally ethical basis of any film practice which attempts to capture the 'truth'" -- Taken from the back cover. Notes: Includes bibliographical references (p. 277-294) and index ISBN: 0851704638 (cased); 0851704646 (pbk) LON: 11552015 URL status: URL: 'http://-'
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Coming to terms : the rhetoric of narrative in fiction and film / Seymour Chatman
New York ; London: Cornell University Press, 1990.
Call No: 62 CHA Author: Chatman, Seymour Benjamin Source: US/UK Place: New York ; London Publisher: Cornell University Press PubDate: 1990 PhysDes: ix, 240 pages : 23 cm Subject: NARRATIVE IN FILMS; THEORY; FRENCH LIEUTENANT'S WOMAN, THE (UK, Karel Reisz, 1981) Summary: "Seymour Chatman's Story and Discourse: Narrative Structure in Fiction and Film (1978) integrated the most useful features of Anglo-American and Continental narrative theory into a general theory of narratology. In Coming to Terms, the sequel to that classic work, Chatman assays the field of narratology over its thirty-year history and offers a challenging reassessment of its terms and concepts. Chatman discusses a wide range of literary and cinematic texts, asserting that a general narratology can help to account for their commonalities and divergences." - taken from back cover Notes: Includes bibliographical references and index. ISBN: 0801497361 Contents: 1. Narrative and Two Other Text-Types -- 2. Description Is No Textual Handmaiden -- 3. What Is Description in the Cinema? -- 4. Argumentation in Film: Mon oncle d'Amerique -- 5. In Defense of the Implied Author -- 6. The Implied Author at Work -- 7. The Literary Narrator -- 8. The Cinematic Narrator -- 9. A New Point of View on "Point of View" -- 10. A New Kind of Film Adaptation: The French Lieutenant's Woman -- 11. The "Rhetoric" "of" "Fiction" -- Notes -- Index More info
A companion to Alfred Hitchcock / edited by Thomas Leitch and Leland Poague
Chichester, U.K. ; Malden, MA: Wiley-Blackwell, 2011.
Call No: 81HIT COM Source: UK Place: Chichester, U.K. ; Malden, MA Publisher: Wiley-Blackwell PubDate: 2011 PhysDes: xiv, 610 pages ; 25 cm Series: Wiley Blackwell companions to film directors Subject: THEORY; DIRECTORS. UK; HITCHCOCK, ALFRED Summary: "A Companion to Alfred Hitchcock is the most ambitious and comprehensive volume ever published on the Master of Suspense, considering the full range of his career--from his earliest contributions to other directors' silent films to his own uncompleted last effort. Thirty chapters by the world's leading Hitchcock experts cover well-established approaches and cutting-edge scholarship, and tackle the most puzzling and complex problems in Hitchcock's films and contemporary film studies. Placing Hitchcock and his works in their cultural and intellectual contexts, contributors to the volume explore the genres with which his work is most closely associated; his relationships with his performers and other leading collaborators; the verbal and visual style of his films; Hitchcock's rise to prominence as the quintessential Hollywood auteur; the ideological and ethical implications of his films; and the enduring legacy he left to filmmakers and audiences alike." -- BOOK BLURB Notes: Includes bibliographical references and index. ISBN: 9781118797006 Contents: pt. I Background -- 1.Hitchcock's Lives / Thomas Leitch -- 2.Hitchcock's Literary Sources / Ken Mogg -- 3.Hitchcock and Early Filmmakers / Charles Barr -- 4.Hitchcock's Narrative Modernism: Ironies of Fictional Time / Thomas Hemmeter -- pt. II Genre -- 5.Hitchcock and Romance / Lesley Brill -- 6.Family Plots: Hitchcock and Melodrama / Richard R. Ness -- 7.Conceptual Suspense in Hitchcock's Films / Paula Marantz Cohen -- pt. III Collaboration -- 8."Tell Me the Story So Far": Hitchcock and His Writers / Leland Poague -- 9.Suspicion: Collusion and Resistance in the Work of Hitchcock's Female Collaborators / Tania Modleski -- 10.A Surface Collaboration: Hitchcock and Performance / Susan White -- pt. IV Style -- 11.Aesthetic Space in Hitchcock / Brigitte Peucker -- 12.Hitchcock and Music / Jack Sullivan -- 13.Some Hitchcockian Shots / Murray Pomerance -- pt. V Development -- 14.Hitchcock's Silent Cinema / Sidney Gottlieb --
Contents note continued: 15.Gaumont Hitchcock / Tom Ryall -- 16.Hitchcock Discovers America: The Selznick-Era Films / Ina Rae Hark -- 17.From Transatlantic to Warner Bros. / David Sterritt -- 18.Hitchcock, Metteur-en-scene: 1954-60 / Joe McElhaney -- 19.The Universal Hitchcock / William Rothman -- pt. VI Auteurism -- 20.French Hitchcock, 1945-55 / James M. Vest -- 21.Lost in Translation? Listening to the Hitchcock-Truffaut Interview / Janet Bergstrom -- 22.Robin Wood's Hitchcock / Harry Oldmeadow -- pt. VII Ideology -- 23.Accidental Heroes and Gifted Amateurs: Hitchcock and Ideology / Toby Miller -- 24.Hitchcock and Feminist Criticism: From Rebecca to Marnie / Florence Jacobowitz -- 25.Queer Hitchcock / Alexander Doty -- pt. VIII Ethics -- 26.Hitchcock and Philosophy / Richard Gilmore -- 27.Hitchcock's Ethics of Suspense: Psychoanalysis and the Devaluation of the Object / Todd McGowan --
Contents note continued: 28.Occasions of Sin: The Forgotten Cigarette Lighter and Other Moral Accidents in Hitchcock / George Toles -- pt. IX Beyond Hitchcock -- 29.Hitchcock and the Postmodern / Angelo Restivo -- 30.Hitchcock's Legacy / Richard Allen More info
A companion to Australian cinema / Edited by Felicity Collins, Jane Landman, and Susan Bye
Hoboken, New Jersey: Wiley-Blackwell, 2019.
Available at ProQuest (RMIT login required) Call No: 71(94) COM Author: Collins, Felicity; Columpar, Corinn; Rutherford, Anne; Ford, Felicity; Kelada, Odette; Clark, Maddee; Verevis, Constantine; Goldsmith, Ben; French, Lisa; David Marshall, P.; Bennett, James; Grace, Helen; Khoo, Olivia; Yue, Audrey; Bye, Susan; Sandars, Diana; Stadler, Jane; Gaunson, Stephen; Trevisanut, Amanda Malel; Turnbull, Sue; McCutcheon, Marion; Goritsas, Helen; Tiwary, Ana; Lambert, Anthony; Gibson, Ross; Cunningham, Stuart; Swift, Adam; Williams, Deane; Smaill, Belinda; Neumark, Norie Source: US/UK Place: Hoboken, New Jersey Publisher: Wiley-Blackwell PubDate: 2019 PhysDes: xxii, 581 pages ; 26 cm Series: Wiley Blackwell companions to national cinema Subject: AUSTRALIA; FILM; INDUSTRY, FILM; INDUSTRY, FILM. AUSTRALIA; INDIGENOUS; AUSTRALIAN ABORIGINAL CINEMA; TRANSNATIONAL CINEMA; HISTORY OF CINEMA; HISTORY OF CINEMA. AUSTRALIA; TELEVISION AND THE CINEMA; TELEVISION AND THE CINEMA. AUSTRALIA; AUTEUR THEORY; GENRES; THEORY; CAMPION, JANE; CHARLIE'S COUNTRY (AT, Rolf de Heer, 2013); SPEAR (AT, Stephen Page, 2015); MAD MAX (AT, George Miller, 1979); MAD MAX : FURY ROAD (AT/US, George Miller, 2015); MAD MAX BEYOND THUNDERDOME (AT, George Miller & George Ogilvie, 1985); MAD MAX II (AT, George Miller, 1981); LEGO MOVIE, THE (AT/US/DK, Phil Lord & Christopher Miller, 2014); ROCKET, THE (AT/TH/LS, Kim Mordaunt, 2013); SERANGOON ROAD [TV] (AT/SI, 2013 -); KETTERING INCIDENT, THE [TV](AT, 2015-); BACK OF BEYOND, THE (AT, John Heyer, 1953) Summary: The essays assembled here address six thematically organized propositions - that Australian cinema an Indigenous screen culture, an international cinema, a minor transnational imaginary, an auteur-genre-landscape cinema, a televisual industry and a multiplatform ecology. Offering fresh critical perspectives and extending previous scholarship, case studies range from The Lego Movie, Mad Max and Australian stars in Hollywood, to transnational co-productions, YouTube channels, transmedia and naturecam documentaries. New research on trends such as the Blak Wave, the convergence of television and film, digital transformations of screen production and the shifting roles of women, on and off-screen, highlight how established precedents have been transformed by new realities beyond both cinema and national borders. --
Written in an accessible style that does not require knowledge of cinema studies or Australian studies. --
Presents original research on Australian actors such as Cate Blanchett and Chris Hemsworth, evaluating their training, branding and path from Australia to Hollywood. --
Explores the films and filmmakers of the Blak Wave and their challenge to Australian settler-colonial history and white identity. --
Introduces readers to founding texts in Australian screen studies. --
Felicity Collins is Reader/ Associate Professor in Screen Studies, La Trobe University, Melbourne, Australia --
Jane Landman was Senior Lecturer, Victoria University, Melbourne, Australia --
Susan Bye is Education Programmer, Australian Centre for the Moving Image, Melbourne, Australia. --Book Jacket Notes: Includes bibliographical references and index -- signed by Felicity Collins ISBN: 9781118942529 Contents: You Are Here: Living Maps of Deep Time, Clock Time / Felicity Collins -- Charlie's Country, Gulpilil's Body / Corinn Columpar -- Ivan Sen's Cinematic Imaginary: Restraint, Complexity, and a Politics of Place / Anne Rutherford
-- Shadowing and Disruptive Temporality in Bangarra Dance Theatre's Spear / Felicity Ford -- Beyond the Wonderland of Whiteness: The Blak Wave of Indigenous Women Shaping Race on Screen / Maddee Clark / Odette Kelada -- Another Green World: The Mad Max Series / Constantine Verevis -- Is Everything Awesome?: The LEGO Movie and the Australian Film Industry / Ben Goldsmith -- Jane Campion: Girlshine and the International Auteur / Lisa French -- Constructing Persona: Mediatisation, Performativity, Quality, and Branding in Australian Film Actors's; Migration to Hollywood / P. David Marshall -- Interpreting Anzac and Gallipoli through a Century of Anglophone Screen Representations / James Bennett -- Unsettling the Suburban: Space, Sentiment, and Migration in National Cinematic Imaginaries / Helen Grace -- The Rocket: Small, Foreign-Language Cinema / Olivia Khoo -- Serangoon Road: The Convergent Culture of Minor Transnationalism / Audrey Yue -- An Independent Spirit: Robert Connolly as Auteur-Producer / Susan Bye -- Disruptive Daughters: The Heroine's Journey in Four Films / Diana Sandars -- Atopian Landscapes: Gothic Tropes in Australian Cinema / Jane Stadler -- Spirits Do Come Back: Bunyips and the European Gothic in The Babadook / Stephen Gaunson -- Between Public and Private: How Screen Australia, the ABC and SBS have shaped Film and Television Convergence / Amanda Malel Trevisanut -- Quality vs Value: The Case of The Kettering Incident / Marion McCutcheon / & Sue Turnbull -- The Evolution of Matchbox Pictures: A New Business Model / Helen Goritsas & Ana Tiwary -- Schapellevision: Screen Aesthetics and Asian Drug Stories / Anthony Lambert -- CHURN: Cinema Made Sometime Last Night / Ross Gibson -- Over the Horizon: YouTube Culture Meets Australian Screen Culture / Adam Swift & Stuart Cunningham -- Digital Transmedia Forms and Transnational Documentary Networks / Deane Williams -- Ecological Relations: FalconCam in Conversation with The Back of Beyond / Belinda Smaill -- Where Am I?: The Terror of Terra Nullius / Norie Neumark More info
title clippings file
CONSPIRACY THEORY : (US, Richard Donner, 1997)
Crafting truth : documentary form and meaning / by Louise Spence and Vinicius Navarro
New Brunswick, NJ: Rutgers University Press, c2011.
Call No: 761 SPE Author: Spence, Louise; Navarro, Vinicius Source: US/UK Place: New Brunswick, NJ Publisher: Rutgers University Press PubDate: c2011 PhysDes: x, 281 p. : ill. ; 26 cm Subject: AESTHETICS; AUTHORSHIP; BIOGRAPHICAL FILMS; CINEMATOGRAPHY; COMMENTARY; CONSTRUCTIVISM; CONTINUITY; CINEMA-DIRECT; DOCUMENTARIES; DOCUMENTARY FILMS; EDITING; ETHNOGRAPHIC FILMS; HISTORY AND THE CINEMA; INTERVIEWING; INTERVIEWS IN FILMS; LIGHTING; LOCATION SHOOTING; MEMORY IN FILMS; MUSIC IN FILMS; NARRATIVE IN FILMS; NON-FICTION FILMS; PALESTINE; PHOTOGRAPHY AND THE CINEMA; REALISM IN FILMS; SOUND; SOUND EQUIPMENT; THEORY; TRUTH IN FILMS; VOICE OVER; WORLD WAR II AND THE CINEMA; AFRIQUE, JE TE PLUMERAI (CM/FR/G, Jean-Marie Téno, 1992); BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927); CHRONIQUE D' UN ETE (FR, Jean Rouch/Edgar Morin, 1961); CHRONICLE OF A SUMMER (FR, Jean Rouch & Edgar Morin, 1961); GOKUSHITEKI EROSU: RENKA 1974 (JA, Kazuo Hara, 1974); FAR FROM POLAND (US, Jill Godmilow, 1984); HALVING THE BONES (US, Ruth Ozeki Lounsbury, 1995); HANDSWORTH SONGS (UK, John Akomfrah, 1986); HEARTS AND MINDS (US, Peter Davis, 1974); JOYCE AT 34 (US, Joyce Chopra, 1972); LESSONS OF DARKNESS (GG, Werner Herzog, 1992); LEKTIONEN IN FINSTERNIS (GG, Werner Herzog, 1992); LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NEKAM ACHAT MISHTEY EYNAY (FR/IS, Avi Mograbi, 2005); NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936); PRELUDE TO WAR (US, Frank Capra & Anatole Litvak, 1942); SANS SOLEIL (FR, Chris Marker, 1983); SHOAH (FR/SZ, Claude Lanzmann, 1985); TIES THAT BIND, THE (US, Su Friedrich, 1984); TITICUT FOLLIES (US, Frederick Wiseman, 1967); WAR GAME, THE (UK, Peter Watkins, 1966) Summary: "Although nonfiction film may have captured imaginations, many viewers enter and leave theaters with a naive concept of "reality"- for them, documentaries are sources of information. But is truth or reality readily available, easily acquired, or undisputed? Or do documentaries convey illusions of reality? What aesthetic means are used to build these illusions?
Crafting truth illuminates the way these films tell their stories; how they use the camera, editing, sound, and performance; what rhetorical devices they employ; and what the theoretical, practical, and ethical implications of those choices are. Complex documentary concepts are presented through easily accessible language, images, and a discussion of a wide range of films and videos to encourage new ways of thinking about and seeing nonfiction cinema. " -- BOOK BLURB ISBN: 9780813549033 Contents: -- acknowledgments -- Introduction -- Authenticity -- Evidence -- Authority --
Responsibility -- Argument -- Dramatic stories, poetic and essay documentaries --
Editing -- Camerawork -- The profilmic -- Sounds / coauthored with Carl Lewis --index -- ID2: 90 More info
Critical cinema : beyond the theory of practice / edited by Clive Myer ; with a foreword by Bill Nichols
London ; New York: Wallflower Press, c2011.
Call No: 62(04) CRI Source: US Place: London ; New York Publisher: Wallflower Press PubDate: c2011 PhysDes: xvi, 299 p. : ill. ; 24 cm. Subject: THEORY; AESTHETICS; SEMIOLOGY; SPECTATORSHIP; FEMINISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; PHILOSOPHY AND THE CINEMA; RANCIERE, JACQUES; SCRIPTWRITING; AUTHORSHIP Summary: Critical Cinema: Beyond the Theory of Practice purges the obstructive line between the making of and the theorising on film, uniting theory and practice in order to move beyond the commercial confines of Hollywood. Opening with an introduction by Bill Nichols, one of the world's leading writers on nonfiction film, this volume features contributions by such prominent authors as Noel Burch, Laura Mulvey, Peter Wollen, Brian Winston and Patrick Fuery. Seminal filmmakers such as Peter Greenaway and Mike Figgis also contribute to the debate, making this book a critical text for students, academics and independent filmmakers as well as for any reader interested in new perspectives on culture and film. -- taken from the back of the book. Notes: Includes bibliographical references and index. ISBN: 9781906660369 Contents: Machine generated contents note: 1.Theoretical Practice: Diegesis Is Not a Code of Cinema / Clive Myer -- 2.Cinema, Theory, Women / Clive Myer -- 3.Theory and Practice / Noel Burch -- 4.Passing Time: Reflections on the Old and the New / Peter Wollen -- 5.Sublime Acts: The Fate of Resistance between Film Theory and Practice / Laura Mulvey -- 6.Rancie`re and the Persistence of Film Theory / Patrick Fuery -- 7.Behind the Mask of the Screenplay: The Screen Idea / Nico Baumbach -- 8.The Theory-Practice Interface in Film Education: Observational Documentary in India / Ian W. MacDonald -- 9.The Student Author, Lacanian Discourse Theory and La nuit ame´ricaine / Aparna Sharma -- 10.Just Because You Have Eyes Does Not Mean You Can See / Coral Houtman -- 11.Theory for Practice: Ceci n'est pas l'e´piste´mologie / Peter Greenaway -- 12.Film and Philosophy: An Interview with Mike Figgis / Brian Winston -- 13.Playing with New Toys: An Interview with Peter Greenaway / Clive Myer --
Contents note continued: 14.An Interview with Noel Burch: Playing with Toys by the Wayside / Clive Myer. More info
The Critics and the Movies
Montage (1967) iss.1 p.22 More info
Cultural Borrowings : appropriation, reworking, transformation / edited by Iain Robert Smith
United Kingdom: Institute of Film & TV Studies, University of Nottingham, 2009.
Call No: 408 CUL Author: Smith, Iain Robert (ed) Source: UK Place: United Kingdom Publisher: Institute of Film & TV Studies, University of Nottingham PubDate: 2009 PhysDes: 224 p. ; 30cm Series: A Scope e-book Subject: CRITICISM; CULTURE AND THE CINEMA; HISTORY AND THE CINEMA; THEORY; BLAIR WITCH PROJECT, THE (US, Daniel Myrick & Eduardo Sanchez, 1999) Summary: "Scope is a fully peer-reviewed online journal edited by staff and students in the Institute of Film & Television Studies at the University of Nottingham. It is published three times a year, in February, June and October. Established in 1999, the journal changed to its current format after five years of continuous publication. All issues dated between May 1999 and November 2004 are now available in our Archive. The first issue of the new series appeared in February 2005.
As our title suggests, Scope provides a forum for discussion of all aspects of film history, theory and criticism. Given contemporary film studies' varied concerns, it is our belief that we can best serve our readers interests by promoting as wide a range of approaches and critical methodologies as possible.
Scope is dedicated to publishing material of the highest scholarly interest, and to this end we have assembled a distinguished Editorial Advisory Board of academics and critics. We welcome contributions from established writers engaging with cutting-edge debates in film, media and cultural studies. However, we are also keen to act as a supportive environment within which those new to the field of film studies may publish their first work. "
-- Scope Website - http://www.scope.nottingham.ac.uk/ Notes: Biography of contributors is included (pages 'i-iii'); This resource (an e-book) has been downloaded from http://www.scope.nottingham.ac.uk/ and printed off ISBN: 9780956464101 Contents: -- notes on contributors -- acknowledgements -- foreword: Scope's Tenth Anniversary / Mark Gallagher and Julian Stringer -- introduction / Iain Robert Smith -- Part 1: Hollywood cinema and artistic imitiation -- exploitation as adaptation / I. Q Hunter -- The character-orientated franchise: promotion and exploitation of pre-sold characters in American film, 1913-2007 / Jason Scott -- Novelty through repetition: exploring the success of artistic imitiation in the contemporary film industry, 1983-2007 / Stijn Joye -- Part II: found footage and remix culture -- A taxonomy of digital video remixing: contemporary found footage practice on the internet / Eli Horwatt -- Ethical possession: borrowing from the archives / Emma Cocker -- Music videos and reused footage / Sergio Dias Branco -- Part III: Modes of parody and pastiche -- from cult to subculture: Re imaginings of Cult films in the alternative music video / Brigid Cherry -- Queering the cult of Carrie: Appropriations of a horror icon in Charles Lum's Indeliable / Darren Elliott -- irony inc. : parodic-doc horror and The Blair Witch Project / Jordan Lavender-Smith -- Part IV: transnational screen cultures -- a Marxist's gotta do what a Marxist's gotta do: political violence on the Italian frontier / Austin Fisher -- "Tom Cruise? Tarantino? E.T.? ...Indian!" : innovation through imitiation in the cross-cultural Bollywood remake / Neelam Sidhar Wright -- "La television des professeurs?": Charles Dickens, French public service television and Oliver Twist / Pamela Atzori -- More info
Cultural studies : theorizing politics, politicizing theory : Special Issue : Becoming (Postcolonial) Hong Kong / Edited by John Nguyet Erni
Routledge, July/October 2001.
Dancefilm : choreography and the Moving Image / by Erin Brannigan
New York: Oxford University Press, c2011.
Call No: 61:793 BRA Author: Brannigan, Erin Source: US Place: New York Publisher: Oxford University Press PubDate: c2011 PhysDes: xvi, 224 p. : ill. ; 24 cm Subject: DANCE FILMS; DANCE IN FILMS; THEORY Summary: "Dancefilm: Choreography and the Moving Image is a rich exploration of the choreography in cinema. It traces the history of the dancefilm form from some of its earliest manifestations in the silent film era, through the historic avant garde, musicals and music videos, to contemporary experimental short dancefilms. In so doing it also traverses some of the most significant collaborations between dancers, choreographers, and filmmakers. Bringing film theory and dance theory into dialogue, the book argues that the combination of dance and film produces cine-choreographic practices that are specific to the dancefilm form. As whole, the book thus presents new models of cinematic movement that are historically informed and interdisciplinary in nature. An extensive companion Web site provides key video illustrations and links to online resources." -- BOOK BLURB Notes: Formerly CIP; Includes bibliographical references and index; Includes filmography ISBN: 9780195367249 Contents: -- Introduction : between dance and film -- Modern movement, dance, and the birth of cinema -- The close-up: micro-choreographies -- Gesture-dance -- Maya Deren : strategies for dancefilm -- Anarchic moves, experimental cinema -- The musical : moving into the dance -- Dancefilm as gestural exchange -- filmmography -- bibliography -- index -- More info
Defining cinema / edited and with an introduction by Peter Lehman
London: Athlone Press, c1997.
Call No: 62 DEF Source: UK Place: London Publisher: Athlone Press PubDate: c1997 PhysDes: ix, 216 p. ; 23 cm Subject: THEORY ISBN: 0485300826 Donation: donated by the family of Wayne Levy, 2006 Contents: Introduction: What Is Film Theory? / Peter Lehman -- The Montage of Film Attractions / Sergei M. Eisenstein -- Eisenstein and Soviet Cinema / Vance Kepley, Jr. -- The Evolution of the Language of Cinema / Andre Bazin -- Andre Bazin's "Evolution" / Dudley Andrew -- Basic Concepts / Siegfried Kracauer -- Kracauer's Theory of Film / Noel Carroll -- "Spatial and Temporal Articulations" and "Editing as a Plastic Art" / Noel Burch -- To Zero and Beyond: Noel Burch's Theory of Film Practice / Edward Branigan -- "Identification, Mirror" and "The Passion for Perceiving" / Christian Metz -- Christian Metz / Robert T. Eberwein More info
Deleuze : A guide for the perplexed / Claire Colebrook
London: Continuum, 2006.
Call No: 620 DEL COL Author: Colebrook, Claire Source: UK Place: London Publisher: Continuum PubDate: 2006 PhysDes: ix, 178 pages ; 23 cm Subject: PHILOSOPHY AND THE CINEMA; THEORY; HISTORY OF CINEMA; DELEUZE, GILLES Summary: "Gilles Deleuze is undoubtedly one of the seminal figures in modern Continental thought. However, his philosophy makes considerable demands on the student; his major works make for challenging reading and require engagement with some difficult concepts and complex systems of thought. 'Deleuze: A Guide for the Perplexed' is the ideal text for anyone who needs to get to grips with Deleuzian thought, offering a thorough yet approachable account of the central themes in his work. The text is organised around major themes in Deleuze's oeuvre: sense; univocity; intuition; singularity; difference. His ideas related to language, politics, ethics and consciousness are explored in detail and clarified. The book also locates Deleuze in the context of his philosophical influences and antecedents and highlights the implications of his ideas for a range of disciplines from politics to film theory. Throughout, close attention is paid to Deleuze's most influential publications, including the landmark texts, 'The Logic of Sense' and 'Difference and Repetition'." -- BOOK BLURB Notes: Includes bibliographical references and index ISBN: 0826478301 Language: English Donation: Adrian Miles Contents: 1 Cinema, thought and time -- Deleuze's cinema books -- Technology -- Essences -- Space and time -- Bergson, time, and life -- 2 The movement-image -- The history of time and space and the history of cinema -- movement-image and semiotics -- styles of sign -- whole of movement -- Image and life -- Becoming-inhuman, becoming imperceptible -- The deduction of the movement-image -- 3 Art and time -- Destruction of the sensory motor apparatus and the spiritual automaton -- Time and money -- 4 Art and history -- Monument -- Framing, territorialization, and the plane of composition -- 5 Politics and the origin of meaning -- Transcending life and the genesis of sense -- Beyond symbolic and imaginary -- Shit and money -- Exchange, gift, and theft -- The fiction of mind -- Collective investment and group fantasy -- The time of man -- The intense germinal influx -- More info
Deleuze and cinema : the aesthetics of sensation / Barbara M. Kennedy
Edinburgh: Edinburgh University Press, 2002.
Call No: 620 DEL KEN Author: Kennedy, Barbara M. Source: UK Place: Edinburgh Publisher: Edinburgh University Press PubDate: 2002 PhysDes: 229 pages ; 24 cm Subject: PHILOSOPHY AND THE CINEMA; AESTHETICS; THEORY; CRITICISM; DELEUZE, GILLES; ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); ENGLISH PATIENT, THE (US, Anthony Minghella, 1996); WILLIAM SHAKESPEARE'S ROMEO + JULIET (US, Baz Luhrmann, 1996); LEON (FR, Luc Besson, 1994) Summary: "Through discussions of Orlando, The English Patient, Romeo and Juliet, Strange Days and Leon this subtle and powerful book reintroduces debates about film as an art form and the place of film theory within our aesthetic sensibilities." - taken from back cover. Notes: Includes bibliographical references and index. -- Filmography: pages 223-224. ISBN: 0748617264 Contents: Introduction: Discovering the beautiful stranger ... -- From micro-politics to aesthetics -- From Oedipal myths ... to new interventions -- From abstract machines to Deleuzian becomings -- Constituting bodies : from subjectivity and affect to the becoming-woman of the cinematic -- Towards an aesthetics of sensation -- Orlando : Deleuzian landscapes of immanence -- The English patient : Deleuzian landscapes of immanence -- Romeo and Juliet : Deleuzian sensations -- Strange days : Deleuzian sensations -- Reconfiguring love ... a Deleuzian travesty? Leon and a molecular politics via the girl and the child. More info
Deleuze, cinema and the thought of the world / Allan James Thomas
Edinburgh: Edinburgh University Press, 2018.
Call No: 630 THO Author: Thomas, Allan James Place: Edinburgh Publisher: Edinburgh University Press PubDate: 2018 PhysDes: vi, 271 pages ; 24 cm. Series: Plateaus Subject: PHILOSOPHY AND THE CINEMA; POSTMODERNISM AND THE CINEMA; SPECTATORSHIP; THEORY; VIEWERS; DELEUZE, GILLES Summary: Examination of how philosopher Gilles Deleuze addressed philosophical issues by using cinema. Looks at the types of philosophical issues that Deleuze turned to cinema to answer, and why he chose cinema to tackle these issues rather than just use philosophy alone Notes: Includes bibliographical references (pages 254-262) and index. ISBN: 9781474432795 Contents: 1 Introduction: The Problem of Cinema -- 2 The Interval as Disaster -- 3 Movement, Duration and Difference -- 4 What Use is Cinema to Deleuze? -- 5 Genesis and Deduction -- 6 The Thought of the World -- 7 The Night, the Rain -- 8 Conclusion: The Crystal-Image of Philosophy -- References; Index. More info
The difficulty of difference : psychoanalysis, sexual difference and film theory / D. N. Rodowick
London: Routledge, 1991.
Call No: 626 [159.964.2] ROD Author: Rodowick, David Norman Source: UK Place: London Publisher: Routledge PubDate: 1991 PhysDes: xii, 162 pages : illustrations (black and white) ; 24 cm Series: Routledge library editions. Cinema ; 26 Subject: THEORY; PSYCHOANALYSIS AND THE CINEMA; SEXUALITY AND THE CINEMA; GENDER AND THE CINEMA Summary: "The Difficulty of Difference argues that serious misreadings of Freud and Lacan on sexual difference have characterized prevailing models of psychoanalytic film criticism. In critiquing theories of identification and female spectatorship, D. N. Rodowick maintains that early film theorists and recent feminist critics are equally guilty of imposing a binary conception of sexual difference on Freud's thought. By embracing such a rigid definition of male/female difference, they fail to understand the fundamentally complex and fluid process of sexual identification as it is articulated in Freud's writing, constructed in film texts, and negotiated by spectators." - taken from back cover Notes: Formerly CIP -- Includes bibliographical references and index ISBN: 0415903327 Contents: Note on Abbreviations – Preface -- Chapter 1 The Difficulty of Difference -- Chapter 2 The Return of the Exile -- Chapter 3 Reading Freud ... Differently -- Chapter 4 Metamorphoses -- Chapter 5 The Difference of Reading -- Chapter 6 Analysis Interminable – Notes -- Index More info
The documentary : politics, emotion, culture / Belinda Smaill
Basingstoke, England: Palgrave Macmillan, 2010.
Call No: 761 SMA Author: Smaill, Belinda Source: UK Place: Basingstoke, England Publisher: Palgrave Macmillan PubDate: 2010 PhysDes: vii, 221 p. : ill. ; 23 cm Subject: ASIAN COUNTRIES; CHILDREN AND THE CINEMA; CHILDREN IN FILMS; CULTURE AND THE CINEMA; DOCUMENTARIES; DOCUMENTARIES. AUSTRALIA; EMOTION IN FILMS; FEMINISM AND THE CINEMA; IDENTITY IN FILMS; IDEOLOGY AND THE CINEMA; IMMIGRATION IN FILMS AND TELEVISION; PSYCHOLOGY AND THE CINEMA; REALITY TV; SEX IN FILMS; SOCIAL PROBLEMS IN FILMS; THEORY; VIEWERS; WOMEN FILMMAKERS; LOVELACE, LINDA; BORN INTO BROTHELS: CALCUTTA'S RED LIGHT KIDS (II/US, Zana Briski, Ross Kauffman, 2004); CORPORATION, THE (CN, Jennifer Abbott & Mark Achbar, 2003); DAY I WILL NEVER FORGET, THE (UK, Kim Longinotto, 2002); DIVORCE IRANIAN STYLE (UK, Kim Longinotto & Ziba Mir-Hosseini, 1998); ENRON: THE SMARTEST GUYS IN THE ROOM (US, Alex Gibney, 2005); FINISHED PEOPLE, THE (AT, Khoa Do, 2003); FIX: THE STORY OF AN ADDICTED CITY (CN, Nettie Wild, 2002); INSIDE DEEP THROAT (US, Fenton Bailey & Randy Barbato, 2005); LETTERS TO ALI (AT, Clara Law, 2004); SADNESS: A MONOLOGUE BY WILLIAM YANG (AT, Tony Ayres, 1999); SEX: THE ANNABEL CHONG STORY (CN, Gough Lewis, 1999) Summary: "The Documentary: Politics, Emotion, Culture proposes that emotions such as pleasure, hope, pain, empathy or nostalgia play a powerful role in the circulation and reception of documentaries. Emotion shapes how political issues and individuals are represented and perceived in documentary and it is crucial to how we engage with the vicissitudes of the public sphere. In the past documentary has been popularly perceived in ways that align it with education, science, history and the rational realm. This frame has never been adequate for understanding the broad array of styles and themes that can be seen in the documentary genre. Focusing on the question of subjectivity, Smail analyses various different kinds of individuals that can be found in documentaries, such as the female porn star, the politically disenfranchised, children, and the documentary auteur. She envisages an interdisciplinary approach to documentary drawing on scholarship from not only film studies, but also gender studies, queer theory, cultural theories of affect, critical race studies, political theory and pyschoanalysis. " -- BOOK BLURB Notes: Includes bibliographical references (p. 200-209) and index ISBN: 9780230237513 (hbk.) Contents: -- list of illustrations -- acknowledgments -- part one: documentary and pleasure -- 1: introduction: representation and documentary emotion -- 2: pleasure and disgust: desire and the female porn star -- part two: pain and the other -- 3: Injury, identity and recognition: Rize and Fix: the story of an addicted city -- 4: women, pain and the documentaries of Kim Longinotto -- part three: the labour of authorship: caring and mourning -- 5: loss and care: Asian Australian documentary -- 6: civic love and contemporary dissent documentary -- part four: past, present and future: hope and nostalgia -- 7: children, futurity and hope: Born into Brothels -- 8:nostalgia, historical time and reality television: the idol series -- epilogue -- notes -- bibliography -- index -- More info
Documentary practice in a participatory culture / by Patrick Anthony Tarrant
Call No: 761 TAR Author: Tarrant, Patrick Anthony Source: AT Place: Queensland PubDate: 2008 PhysDes: 157 p. : ill. ; 30 cm Subject: DOCUMENTARIES; DOCUMENTARIES. AUSTRALIA; DOCUMENTARY FILMS; DOCUMENTARY FILMS. AUSTRALIA; THEORY; FILM STUDY AND RESEARCH; FILM STUDY AND RESEARCH. AUSTRALIA; CRITICISM; REALITY TV; REALITY TV. AUSTRALIA; HUBBUB (AT, Patrick Tarrant, 2007); ONE MORE LIKE THAT (AT, Patrick Tarrant, 2007) Summary: " Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the filmmaking process itself.
This Ph.D explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of 'the participant' in contemporary documentary practice." -- ABSTRACT Notes: Presented to the Creative Industries Faculty, Queensland University of Technology; Thesis (Ph.D.)--Queensland University of Technology, Brisbane, 2008; Includes bibliographical references (p. 151-157); Note the published version contains 1 videodisc (4 3/4 in.), but this is not included with our copy Contents: -- keywords -- abstract -- table of contents -- list of figures -- supplementary material -- copyright -- statement of original authorship -- acknowledgments -- chapter 1: introduction -- chapter 2: participatory cultures & documentary practices -- chapter 3: camera movies (awesome, I fuckin' shot them!) -- chapter 4: finding, filming and documenting (the articulate archive) -- chapter 5: conclusion (the thesis film) -- appendix 1: interview questions used for hubbub -- appendix 2: instructions for the dvd -- works cited -- filmography -- More info
Dreyer / by Mark Nash
London: British Film Institute, 1977.
Dutch tilt, Aussie auteur : the films of Rolf De Heer / D. Bruno Starrs
Saarbrucken, Germany: VDM, Verlag Dr Muller, 2009.
Call No: 81DEH STA Author: Starrs, D. Bruno Source: G Place: Saarbrucken, Germany Publisher: VDM, Verlag Dr Muller PubDate: 2009 PhysDes: 105 p. ; 23 cm Subject: AUTEUR THEORY; DE HEER, ROLF; TAIL OF THE TIGER (AT, Rolf de Heer, 1984); INCIDENT AT RAVEN'S GATE (AT, Rolf de Heer, 1988); DINGO (AT/FR, Rolf de Heer, 1991); BAD BOY BUBBY (AT, Rolf de Heer, 1993); EPSILON (AT/IT, Rolf de Heer, 1995); QUIET ROOM, THE (AT/IT, Rolf de Heer, 1996); DANCE ME TO MY SONG (AT, Rolf de Heer, 1998); OLD MAN WHO READ LOVE STORIES (AT/SP/FR/NL, Rolf de Heer, 2000); TRACKER, THE (AT, Rolf de Heer, 2002); ALEXANDRA'S PROJECT (AT, Rolf De Heer, 2003); TEN CANOES (AT, Rolf De Heer, 2006); DR PLONK (AT, Rolf de Heer, 2007) Summary: " 'Dutch Tilt, Aussie Auteur: the Films of Rolf De Heer' is an auteur analysis of the twelve feature films directed (mostly written and produced) by Holland-born Australian Rolf De Heer. From the children's story about the restoration of a Tiger Moth biplane, "Tail of a Tiger "(1984), to his break-out cult sensation " Bad Boy Bubby" (1993) which "tore Venice apart," to the first Aboriginal Australian language film "Ten Canoes" (2006) which scooped the pool at the AFI awards and won the Special Jury prize at Cannes Film Festival, de Heer has been consistently unpredictable. However, Starr's close study of his work suggests that Australia's most innovative and respected Arthouse film-maker has a signature pre-occupation with giving a voice to marginalized, non-hyper-masculine protagonists. Demonstrating a propensity to write and direct in a European-like style, de Heer's "Dutch tilt" is very much non-mainstream Hollywood, but is nevertheless representative of a typically Australian world-view." -- BOOK BLURB Notes: Includes bibliographical references (p. 90-104) ISBN: 9783639168341 More info
The elusive auteur : the question of film authorship throughout the age of cinema / by Barrett Hodsdon
Jefferson, North Carolina: McFarland & Company Inc, c2017.
Call No: 621 HOD Author: Hodsdon, Barrett Source: US Place: Jefferson, North Carolina Publisher: McFarland & Company Inc PubDate: c2017 PhysDes: x, 327 pages : illustrations ; 26 cm Subject: AUTHORSHIP; ADAPTATIONS; AUTEUR THEORY Summary: "The director's authorial role in filmmaking has been much debated among film critics and scholars for decades. Examining the controversy in relation to Hollywood directors, the author compares directors and would-be auteurs of the classic studio system with those of contemporary Hollywood and its new climate of cultural entrepreneurship"-- publisher's web site Notes: Includes bibliographical references (pages 307-319) and index ISBN: 9781476668734 Contents: Acknowledgments
Notes on Terminology
Part I: Critical Origins
1. Authorial Function and Historical Precedents
2. Cahiers du Cinema and Founding the Discourse of Auteur Criticism: Snapshots in Time
3. Andrew Sarris and the Auteur Re-Evaluation of Hollywood
Part II: Auteur Concepts and Problematics
4. Reconsidering the Underpinnings of Traditional Auteur Criticism
5. Agency and Authorship: Forms of Mediation
6. Extending the Lineages of Authorship: Art Cinema and the Avant-Garde
Part III: The Director in the Classic Hollywood System
7. The Hierarchy of Directors and Work Relations
8. Reconciling the Director with Creative Contributors
9. Reformulating Authorial Presence: The Value of a Neoformalist Designation
10. Triumphs, Accommodations, Victims and Mavericks: 15 Examples
Part IV: Cinephilia Revisited
11. Cinephilia and Its Historical Trajectory
12. Recapturing the Sublime Moment: A Spectrum of Films
Part V: The Changing Face of Hollywood
and the Shifting Sands of Authorship Since the 1970s
13. From Vision to Branding
14. Contemporary Hollywood Directors and Auteur Slippage: Illustrating the New Breed of Auteurs
Part VI: Auteur Displacement in the Digital Age
15. The Inheritance from the Past
16. The Enclave of Art Cinema
17. Old Notions of Authorship Unhinged
18. Revamping Cinephilia in a Postmodern Climate
19. Implications of the Media Revolution
The Last Word
Index More info
The emergence of film art : the evolution and development of the motion picture as an art, from 1900 to the present
New York: Hopkinson and Blake, [c1969].
Call No: 70 JAC Author: Jacobs, Lewis, comp Place: New York Publisher: Hopkinson and Blake PubDate: [c1969] PhysDes: 453 p. illus. 25 cm Subject: HISTORY OF CINEMA; HISTORY OF CINEMA. SILENT PERIOD; HISTORY OF CINEMA. SOUND PERIOD; COLORIZATION; SOCIETY AND THE CINEMA; GERMANY; ANIMATED FILMS; CINEMA VERITE; AUTEUR THEORY; NOUVELLE VAGUE; MUSIC IN FILMS; NEOREALISM; AVANT-GARDE FILMS; MELIES, GEORGES; GRIFFITH, DAVID WARK; CLAIR, RENE; FORD, JOHN; PORTER, EDWIN S.; LESTER, RICHARD; DISNEY, WALT; BERGMAN, INGMAR; TRUFFAUT, FRANCOIS; SARRIS, ANDREW; KAEL, PAULINE; KUROSAWA AKIRA; RESNAIS, ALAIN; FELLINI, FEDERICO; ANTONIONI, MICHELANGELO; BASS, SAUL; MEKAS, JONAS; CITIZEN KANE (US, Orson Welles, 1941); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928) Notes: Bibliography: p. 438-439 LON: 5011 ID2: 291 More info
Encounters of the Filmic Kind : guidebook to film theories / Reka M. Cristian and Zoltan Dragon
Szeged, Hungary: JATEPress, 2008.
Call No: 62 CRI Author: Cristian, Reka M.; Dragon, Zoltan Source: HU Place: Szeged, Hungary Publisher: JATEPress PubDate: 2008 PhysDes: xiv, 149 p. ; 24 cm Series: Papers in English and American studies, 14. Monograph series ; 5 Subject: THEORY; CRITICISM Summary: " The topic selection of the volume is excellent; the book discusses the origins of a large variety of movies, their cultural background, and the theory-making processes that surround them. Encounters of the Filmic Kind is creatively organised by analytical concepts rather than by genre. The playful style of the chapter titles and subtitles is unusual for a textbook, yet they are effective because they provide a breezy touch to complex theoretical discussions. The book will especially benefit university students on all levels. For its high theoretical level, however, it is also recommended for established scholars interested in film studies." -- Avital Bloch; Center for Social Research, University of Colima, Mexico Notes: Errata slip inserted: "The name of Christian Metz appears throughout the book erroneously as Cristian Metz"; Includes bibliographical references and index ISBN: 9789634828587 Contents: -- preface -- contents -- acknowledgements -- introduction -- Chapter 1: Encounters of the first kind: once upon a time in film by Reka M. Cristian -- chapter 2 : do you speak film? : film language and adaptation by Zoltan Dragon -- chapter 3: dream on: psychoanalysis and the cinema by Zoltan Dragon -- chapter 4: cowboys, deadly women and Co: genres of the cinema by Zoltan Dragon -- chapter 5: cinema and its discontents: auteur, studio, star by Reka M Cristian -- chapter 6: gender and the cinema: all sides of the camera by Reka M. Cristian -- chapter 7: third cinema encounters: Reka M. Cristian -- chapter 8: ultimately onscreen: the futures of the cinema in the age of new media by Zoltan Dragon -- epilogue -- index -- More info
Essential Brakhage : selected writings on filmmaking / by Stan Brakhage ; edited with a foreword by Bruce R. McPherson
Kingston, New York: McPherson and Company, c2001.
Call No: 81BRA BRA Author: Brakhage, Stan; McPherson, Bruce R Source: US Place: Kingston, New York Publisher: McPherson and Company PubDate: c2001 PhysDes: 232 pages : illustrations ; 22 cm Subject: PHILOSOPHY AND THE CINEMA; THEORY; FILMMAKING; BRAKHAGE, STAN Summary: "Essential Brakhage gathers twenty-one manifestos, screening lectures, Q&A sessions, drawings, poems, shooting scenarios, stills, narrative scripts, and theoretical essays on the art of filmmaking written over the last five decades by one of the acknowledged masters of independent American cinema. Film annotations and a current bibliography are included." -- BOOK BACK COVER Notes: Includes bibliographical references (p. 230-232); "Selected film annotations": p. 212-229 ISBN: 092970164X Contents: -- foreword -- selections from metaphors on vision -- metaphors on vision -- the camera eye -- my eye -- his story -- notes of anticipation -- margin alien -- selections from Brakhage scrapbook -- make place for the artist -- Film and music -- a moving picture giving and taking book -- eight questions -- with love -- film : dance -- the stars are beautiful -- angels -- in defence of amateur -- manifest -- the seen -- poetry and film -- recent writings -- Gertrude Stein -- manifesto -- inspirations -- selected film annotations -- selected bibliography -- More info
An everyday magic : cinema and cultural memory / Annette Kuhn
New York: I.B. Tauris, 2002.
Call No: 630.5 KUH Author: Kuhn, Annette Source: UK / US Place: London; New York Publisher: I.B. Tauris PubDate: 2002 PhysDes: 273 p. : 24 cm Series: Cinema and Society Subject: THEORY; SPECTATORSHIP; AUDIENCE RECEPTION; AUDIENCES; CULTURE AND THE CINEMA; KUHN, ANNETTE Summary: An Everyday Magic: Cinema and Cultural Memory explores cinemagoing and cinema culture in the 1930s, when ‘going to the pictures’ was everybody’s favourite spare-time activity. From the familiar and magical surroundings of the picture houses themselves to the action and romance on the screen, Annette Kuhn draws on extensive interviews with picturegoers, research in cultural history, and readings of popular films of the day to discover how cinema brought a special magic to the daily lives of a generation of young men and women growing up in an austere climate of making-do. And from Nelson Eddy and Jeanette MacDonald to Fred and Ginger, she shows how audiences looked to their screen heroines and heroes for inspiration, and at the importance of cinemagoing in make-believe, play, friendship and growing up. This fascinating book throws new light on such issues as cinema spectatorship, childhood, adolescence, ageing and film reception, and provides a major contribution to understandings of both the role of cinema in its heyday and the nature of popular memory. [Taken from back cover.] ISBN: 1860648673 More info
The evolution of film : rethinking film studies / Janet Harbord
Cambridge: Polity Press, 2007.
Call No: 620 HAR Author: Harbord, Janet Source: UK Place: Cambridge Publisher: Polity Press PubDate: 2007 PhysDes: ix, 198p. : 22cm. Subject: THEORY; FILM STUDY AND RESEARCH. AUSTRALIA Summary: Examines the reasons why we should be studying film in the 21st century. Notes: Includes index and bibliography ISBN: 9780745634760 Language: English More info
Feminism and film / Maggie Humm
Edinburgh: Edinburgh University Press, 1997.
Call No: 626:396 HUM Author: Humm, Maggie Place: Edinburgh Publisher: Edinburgh University Press PubDate: 1997 PhysDes: x, 246 p. ; 24 cm Subject: FEMINISM AND THE CINEMA; AUTEUR THEORY; BLACKS IN FILMS; POSTMODERNISM AND THE CINEMA; CRONENBERG, DAVID; MULVEY, LAURA; KUHN, ANNETTE; KAPLAN, E. ANN; ALTHUSSER, LOUIS; ROSE, JACQUELINE; WOOLF, VIRGINIA; DAUGHTERS OF THE DUST (US, Julie Dash, 1991); DEAD RINGERS (CN, David Cronenberg, 1988); KLUTE (US, Alan J. Pakula, 1971); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982) ISBN: 0748609008 Order Received: 1998 LON: abn97233530; 13317515 More info
Feminism without women : culture and criticism in a "postfeminist" age / Tania Modleski
New York: Routledge, 1991.
Call No: 626:396 MOD Author: Modleski, Tania, 1949 Place: New York Publisher: Routledge PubDate: 1991 PhysDes: xi, 188 p. ; 24 cm Subject: FEMINISM AND THE CINEMA; GENDER AND THE CINEMA; THEORY; WOMEN IN FILMS; MEN IN FILMS; WAR FILMS; ETHNIC GROUPS IN FILMS; BODY IN FILMS Summary: Feminism Without Women examines the operation of "postfeminism" in popular culture, especially popular film, and in cultural studies. By scrutinizing a variety of feminist and poststructuralist theoretical positions and freqently juxtaposing her discussions with analyses of contemporary movies (ranging from Pee-wee's Big Adventure to Lethal Weapon and Three Men and a Baby ), Modleski offers a broad perspective on the future of feminism. In particular, she shows how women as social subjects are once again being relegated to the margins of discourse and society, only now, ironically, they are in danger of being marginalized by feminism itself . Feminism Without Women is a multifaceted response to the shift within feminist theory from "gynocritics" (a woman-centred critical practice) to an increasingly male-oriented "gender studies". This move has been accompanied by feminist/philosophical attempts to abolish the very category of "woman". A large portion of the book is devoted to analyzing the state of "male feminism" and argues that the "new masculinities" being heralded by some feminists are less revolutionary than is often claimed; that these kinder , gentler masculinit are in many ways perfectly consonant with the conservative times. Modleski situates her discussions of criticism and theory in the context of popular culture, and social issues relevant to feminism: surrogate mothering, women and war, the debates over pornography, gay representation in the era of AIDS, the controversy within feminism over lesbian S&M, and the intensification of racism in the 1980s and 1990s. -- PUBLISHER Notes: Includes bibliographical references (p. 165-182) and index ISBN: 0415904161 : $39.95; 041590417X (pbk) : $13.95 LON: bnb41590416; 7924353 Contents: Part I: Theory and methodology -- 1. Postmortem on postfeminism -- 2. Femininity as mas(s)querade -- 3. Some functions of feminist criticism; or, the scandal of the mute body -- Part II: Masculinity and male feminism -- 4. A father is being beaten: male feminism and the war films -- 5. Three men and baby m -- 6. The incredible shrinking he(r)man: male regression, the male body, and film -- Part III: Race, gender, and sexuality -- 7. Cinema and the dark continent: race and gender in popular film -- 8. Lethal bodies: thoughts on sex, gender, and representation from the mainstream to the margins ID2: 31 More info
Feminist film theory and Cleo from 5 to 7 / by Hilary Neroni
New York: Bloomsbury Academic, 2016.
Call No: 626:79CLE NER Author: Neroni, Hilary Source: US/UK Place: New York Publisher: Bloomsbury Academic PubDate: 2016 PhysDes: 160 pages ; 20 cm Series: Film theory in practice Subject: FEMINISM AND THE CINEMA; WOMEN IN FILMS; CRITICISM; THEORY; CLEO DE 5 A 7 (FR, Agnes Varda, 1962); CLEO FROM 5 TO 7 (FR, Agnes Varda, 1962) Summary: "The Film theory in practice series marries the explanation of a film theory with the interpretation of a film. Through three key concepts - identification, framing the women's body, and the female auteur - Hilary Neroni lays bare the debates and approaches used throughout the vibrant history of feminist film theory, providing a point of entry to the theory that ranges from its inception to today. Considering Agnes Varda's classic film in this light, Feminist Film Theory and Cleo from 5 to 7 unlocks new ways of looking at both film and feminist theory." -- BOOK BLURB Notes: Formerly CIP ISBN: 9781501313691 Donation: Senses of Cinema Contents: -- Introduction -- Feminist Film Theory -- Feminism and Cleo from 5 to 7 --conclusion -- Further reading -- index -- More info
Femmes fatales : feminism, film theory, psychoanalysis / Mary Ann Doane
New York: Routledge, 1991.
Call No: 626:396 DOA Author: Doane, Mary Ann Place: New York Publisher: Routledge PubDate: 1991 PhysDes: viii, 312 p. : ill. ; 24 cm Subject: FEMINISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; THEORY; WOMEN IN FILMS; GAZE IN FILMS; STAR SYSTEM; GILDA (US, Charles Vidor, 1946); BUCHSE DER PANDORA, DIE (G, Georg Wilhelm Pabst, 1929); ADYNATA : MURDER IS NOT A STORY (US, Leslie Thornton, 1983); SIGNORA DI TUTTI, LA (IT, Max Ophuls, 1934) Summary: In this major new work of feminist film criticism, Mary Ann Doane examines questions of sexual difference and knowledge in cinematic, theoretical, and psychoanalytic discourses. Femmes Fatales examines Freud, the female spectator, the meaning of the close-up, and the nature of stardom. Duane's analyses of such figures as Pabst's Lulu and Rita Hayworth's Gilda trace the thematics and mechanics of maskes, masquerade, and veiling, with specific attention to the form and technology of the cinema. Working through and against the intellectual frameworks of post-structuralist and psychoanalytic theory, Doane interrogates cinematic and theoretical claims to truth about women which rely on judgements about vision and its stability or instability. Reflecting the shift in conceptual priorities within feminist film theory over the last decade, Femmes Fatales addresses debates over female spectatorhsip, essentialism and anti-essentialism, the tensions between psychoanalysis and history, and the relations between racial and sexual difference. Doane's nuanced and original readings of the femme fatale in cinema demonstrates that confrontations between feminism, film theory and psychoanalysis can be productively destabilizing for each discipline. -- PUBLISHER Notes: Includes bibliographical references (p. 269-300) and index ISBN: 041590319X; 0415903203 (pbk.) LON: 91003659; 8050789 More info
Film : a montage of theories
N.Y.: Dutton, 1966.
Call No: 62 MAC Author: MacCann, Richard Dyer Edition: 1st ed Place: N.Y. Publisher: Dutton PubDate: 1966 PhysDes: 384 p. : movie stills ; 18 cm Subject: THEORY; AESTHETICS; DOCUMENTARIES; CINEMASCOPE; NEOREALISM; PUDOVKIN, VSEVELOD; CLAIR, RENE; HITCHCOCK, ALFRED; KNOX, ALEXANDER; NICHOLS, DUDLEY; BERGMAN, INGMAR; BALAZS, BELA; SENNETT, MACK; VORKAPICH, SLAVKO; RICHTER, HANS; Grierson, John; ZAVATTINI, CESARE; KRACAUER, SIEGFRIED; ROEMER, MICHAEL; BACHMANN, GIDEON; DREW, ROBERT; LEACOCK, RICHARD; PENNEBAKER, D. A.; DREYER, CARL TH.; VANDERBEEK, STAN; MEKAS, JONAS; KAEL, PAULINE; TRUFFAUT, FRANCOIS; Fellini, Federico ISBN: 0525471812 LON: 21441213 More info
Film : an anothology / compiled and edited by David Talbot
Berkeley, Calif.: University of California Press, 1966.
Film : the key concepts / by Nitzan Ben-Shaul
Oxford: Berg, 2007.
Call No: 62 BEN Author: Ben-Shaul, Nitzan Source: UK Place: Oxford Publisher: Berg PubDate: 2007 PhysDes: viii, 158 p. ; 21 cm Series: The key concepts Subject: THEORY; PHILOSOPHY AND THE CINEMA Summary: "Film: the key concepts presents a coherent, clear, and exciting overview of film theory for beginning readers. The book takes the reader through the often conflicting analyses that make up film theory, illustrating arguments with examples from mainstream and independent films. Concise and comprehensive, the book guides the reader through realism, formalism, structuralism, cognitivism, post-colonialism, postmodernism, gender and queer film theory, stardom and film audience research. The book as a whole provides a complete overview of the evolution of film theory. Throughout, the analysis is illustrated with lively boxed studies of key mainstream and independent films. Bulleted chapter summaries, questions anf guides to further reading are also provided." - BOOK BLURB Notes: Includes bibliographical references and index. ISBN: 9781845203665 Donation: donated by Senses of Cinema, 2010 Contents: 1. From the photogenic to the simulacrum. Realist approaches; Formalist approaches to art; Film as simulacrum -- 2. Film constructs. Saussure, semiology, structuralism and film constructs; Poststructuralism and film constructs; Cognitivist film constructs; Neo-Marxist and psychoanalytic critiques of cognitivism -- 3. Dialectic film montage. Constructivist dialectic film montage in the context of Marxism; Deconstructive dialectic film montage in the context of Neo-Marxism; Reconstructive dialectic film montage in the context of anti-colonialism; Decentred dialectic film montage: postmodernism, post-Marxism, postcolonialism -- 4. Imaginary signifiers/voyeuristic pleasures. Psychoanalysis and film; Varying voyeuristic pleasures. More info
Film : an introduction / John L. Fell
New York: Praeger Publishers, 1975.
Film adaptation and its discontents : from Gone with the wind to The Passion of the Christ / by Thomas Leitch
Baltimore MD: John Hopkins University Press, 2007.
Call No: 753 LEI Author: Leitch, Thomas Edition: John Hopkins paperback edition, 2009 Source: US Place: Baltimore MD Publisher: John Hopkins University Press PubDate: 2007 PhysDes: xi, 354 p. ; 24 cm Subject: ADAPTATIONS; ADAPTATIONS. AUSTEN, JANE; ADAPTATIONS. DOYLE, ARTHUR CONAN; ADAPTATIONS. SHAKESPEARE, WILLIAM; ADAPTATIONS. DICKENS, CHARLES; AUTEUR THEORY; AUTHORSHIP; LITERATURE AND THE CINEMA; STONE, OLIVER; GONE WITH THE WIND (US, Victor Fleming, 1939); PASSION OF THE CHRIST, THE (US, Mel Gibson, 2004); PRIDE AND PREJUDICE [TV] (UK/US, Simon Langton, 1995) Summary: "Most books on film adaptation - the relation between films and their literary sources - focus on a series of close one-to-one comparisons between specific films and canonical novels. This volume identifies and investigates a far wider array of problems posed by the process of adaptation.
Thomas Leitch considers how the creators of short silent films attempted to give them the weight of literature, what sorts of fidelity are possible in an adaptation of sacred scripture, what it means for an adaptation to pose as an introduction to, rather than a transcription of, a literary classic, and why and how some films have sought impossibly close fidelity to their sources. Leitch's analysis moves beyond literary sources to consider why a small number of adaptors have risen to the status of auteurs and how illustrated books, comic strips, video games, and true stories have been adaptated to the screen." -- BOOK BLURB Notes: Formerly CIP; Includes bibliographical references (p. -338) and index ISBN: 9780801892714 Contents: -- acknowledgments -- 1: Literature versus literacy -- 2: One-reel epics -- 3: The word made film -- 4: Entry-level Dickens -- 5: Between adaptation and allusion -- 6: Exceptional fidelity -- 7: Traditions of quality -- 8: Streaming pictures -- 9: The hero with a hundred faces -- 10: The adapter as auteur -- 11: Postliterary adaptation -- 12: Based on a true story -- notes -- bibliography -- index -- More info
Film appreciation / Allan Casebier
New York: Harcourt Brace Jovanovich, c1976.
Call No: 62 CAS Author: Casebier, Allan Place: New York Publisher: Harcourt Brace Jovanovich PubDate: c1976 PhysDes: ix, 207 p.,  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. -190 ISBN: 0155273701 Order Received: 2000 Order Type: Donation LON: 746910 URL status: URL: 'http://-'
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Film as social practice / Graeme Turner
London New York: Routledge, 1988.
Call No: 408 TUR Author: Turner, Graeme Place: London New York Publisher: Routledge PubDate: 1988 PhysDes: xv, 187 p. : ill. ; 20 cm Series: Studies in communication Subject: POPULAR CULTURE AND THE CINEMA; INDUSTRY, FILM; INDUSTRY, FILM. AUSTRALIA; AUTEUR THEORY; NARRATIVE IN FILMS; STARS; SPECTATORSHIP; AUDIENCES; AUSTRALIA; IDEOLOGY AND THE CINEMA; BAZIN, ANDRE; WRIGHT, WILL; BUTCH CASSIDY AND THE SUNDANCE KID (US, George Roy Hill, 1969); DESPERATELY SEEKING SUSAN (US, Susan Seidelman, 1985); METROPOLIS (G, Fritz Lang, 1926) Summary: “Explores the feature film as entertainment, as narrative, and as cultural event. Graeme Turner discusses the major theoretical issues surrounding the history of film production and film studies, using them to examine the cultural function of film and its place in our popular culture. This updated third edition includes: discussion of classical and popular contemporary films, updated and expanded discussion of debates surrounding film narrative and arguments revised throughout to take into account recent developments in film and cultural theory and changing cinematic trends.” [Taken from back cover] Notes: Includes index; Bibliography: p. 180-184 ISBN: 0415007348; 0415007356 (pbk.) LON: 5742606 More info
Film/cinema/movie : a theory of experience / Gerald Mast ; with a new preface
Chicago: University of Chicago Press, 1983.
Call No: 62 MAS Author: Mast, Gerald, 1940 Edition: University of Chicago Press ed Place: Chicago Publisher: University of Chicago Press PubDate: 1983 PhysDes: xvii, 299 p.,  p. of plates : ill. (some col.) ; 23 cm Subject: SOUND; CINEMATOGRAPHY; THEORY; YOU ONLY LIVE ONCE (US, Fritz Lang, 1937); CITIZEN KANE (US, Orson Welles, 1941); WAVELENGTH (US, Michael Snow, 1967); PLAYTIME (FR, Jacques Tati, 1967); SCENER UR ETT AKTENSKAP (SW, Ingmar Bergman, 1974) Notes: Reprint. Originally published: New York : Harper & Row, c1977; Includes index; Bibliography: p. -290 ISBN: 0226509745 (pbk.) LON: 83004819; 2872482 URL status: URL: 'http://-'
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The film cultures reader / Graeme Turner (ed.)
New York: Routledge, 2002.
Call No: 408 TUR Author: Graeme Turner (ed.) Place: London; New York Publisher: Routledge PubDate: 2002 PhysDes: 524 p. ; 24 cm Subject: CULTURE AND THE CINEMA; GENRES; AESTHETICS; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA; SPECTATORSHIP; AUDIENCE RECEPTION; AUDIENCE RESEARCH; SOUND; THEORY; CREED, BARBARA; KUHN, ANNETTE; NATIONAL CULTURE AND THE CINEMA; POSTMODERNISM AND THE CINEMA; HONG KONG; HOLLYWOOD; GLOBALISATION; USA; MONROE, MARILYN; SEX IN FILMS; HORROR FILMS; ACTION FILMS; HOMOSEXUALITY IN FILMS; THRILLERS; COLOR PURPLE, THE (US, Steven Spielberg, 1985); PIANO, THE (AT, Jane Campion, 1993); AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); TECHNOLOGY AND THE CINEMA; INDUSTRY, FILM Summary: This companion reader to Film as Social Practice brings together key writings on contemporary cinema, exploring film as a social and cultural phenomenon. Key features of the reader include: thematic sections, each with an introduction by the editor; a general introduction by Graeme Turner; sections on understanding film, film technology, film industries, meanings and pleasures, identities, audiences and consumption. ISBN: 0415252822 More info
Film fables / Jacques Rancier ; translated by Emiliano Battista
New York: Berg Publishers, 2006.
Call No: 63 RAN Author: Rancier, Jacques; Battista, Emiliano Source: FR/US Place: New York Publisher: Berg Publishers PubDate: 2006 PhysDes: viii, 196 pages ; 24 cm Subject: AESTHETICS; ART AND THE CINEMA; ART CINEMA; AUTEUR THEORY; CINEMATOGRAPHY; DOCUMENTARY FILMS; HISTORY AND THE CINEMA; HISTORY OF CINEMA; NARRATIVE IN FILMS; PHILOSOPHY AND THE CINEMA; SYMBOLISM IN FILMS; BRESSON, ROBERT; DELEUZE, GILLES; EPSTEIN, JEAN; EISENSTEIN, SERGEI M.; GODARD, JEAN-LUC; HITCHCOCK, ALFRED; LANG, FRITZ; MANN, ANTHONY; MARKER, CHRIS; MEDVEKIN, ALEXANDER; MURNAU, FRIEDRICH WILHELM; OZU YASUJIRO; RAY, NICHOLAS; ROSSELLINI, ROBERTO; VERTOV, DZIGA; AU HASARD, BALTHAZAR (FR/SW, Robert Bresson, 1966); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); CHINOISE, LA (FR, Jean-Luc Godard, 1967); FAUST (G, Friedrich Wilhelm Marnau, 1926); WHILE THE CITY SLEEPS (US, Fritz Lang, 1955) Summary: "Film Fables traces the history of modern cinema, moving effortlessly from Eisenstein's and Murnau's transition from theatre to film to Fritz Lang's confrontation with television, from the classical poetics of Mann's Westerns to Ray's romantic poetics of the image, from Rossellini's neo-realism to Deleuze's philosophy of the cinema and Marker's documentaries." Notes: Includes index ISBN: 9781845201685 ID2: 291 More info
Film form : essays in film theory / Sergei Eisenstein ; edited and translated by Jay Leyda
London: Dennis Dobson, 1949.
Call No: 623 EIS Copy Management: Copy 1; Copy 2 Author: Eisenstein, Sergei, 1898-1948 Place: London Publisher: Dennis Dobson PubDate: 1949 PhysDes: xi, 279 p. : ill. ; 21cm Series: A Harvest/HBJ book Subject: THEORY; FILMOGRAPHIC TERMS Notes: Includes bibliographical references and index ISBN: 0156309203 LON: cvx00830685; 2639617 URL status: URL: 'http://-'
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Film, form & feeling / Dennis DeNitto
New York: Harper & Row, c1985.
Call No: 62 DEN Author: DeNitto, Dennis, Place: New York Publisher: Harper & Row PubDate: c1985 PhysDes: xv, 544 p. : ill. ; 23 cm Subject: THEORY; CRITICISM; EDITING; HISTORY OF CINEMA; REALISM IN FILMS; EXPRESSIONISM; MONTAGE; NEOREALISM; NOUVELLE VAGUE; COMEDIES; DOCUMENTARY FILMS; CINEMA VERITE; PROPAGANDA FILMS; WESTERNS; MUSICALS; VARIETE (G, E.A. Dupont, 1925); GOLD RUSH, THE (US, Charles Chaplin, 1925); PRODUCERS, THE (US, Mel Brooks, 1967); TITICUT FOLLIES (US, Frederick Wiseman, 1967); BROKEN BLOSSOMS (US, David Wark Griffith, 1919); OKTIABR [OCTOBER] (UR, Sergei Eisenstein, 1928); LADRI DI BICICLETTE (IT, Vittorio De Sica, 1949); QUATRE CENTS COUPS, LES (FR, Francois Truffaut, 1959); MAN OF ARAN (UK, Robert Flaherty, 1934); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); NUIT ET BROUILLARD (FR, Alain Resnais, 1955); STAGECOACH (US, John Ford, 1939); SHANE (US, George Stevens, 1953); WILD BUNCH, THE (US, Sam Peckinpah, 1969); TOP HAT (US, Mark Sandrich, 1935); SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952); WEST SIDE STORY (US, Robert Wise, 1961); SOMMARNATTENS LEENDE (SW, Ingmar Bergman, 1956) Notes: Includes indexes; Bibliography: p. 493-503 ISBN: 0060416297 (pbk.) Order Received: 2000 Order Type: Donation LON: 3664711 More info
Film Genre : theory and criticism / edited by Barry K. Grant
Metuchen, NJ: Scarecrow Press, Inc., 1977.
Call No: 622 FIL Author: Grant, Barry K. (ed) Source: US Place: Metuchen, NJ Publisher: Scarecrow Press, Inc. PubDate: 1977 PhysDes: viii, 249 p. ; 23 cm. Subject: THEORY; CRITICISM; GENRES Notes: Includes index.; Bibliography: p. 212-237. ISBN: 081081059X Donation: Donated by Senses Of Cinema, 2009 Contents: -- acknowledgements p v -- introduction p1 -- Part One -- Leopards and history: The problem of film genre, by Frank D. McConnell p7 -- Genre, by Andrew Tudor p16 -- the idea of genre in the American Cinema, by Edward Buscombe p24 -- Genre film: a classical experience, by Thomas Sobchack p39 -- Genre Film and the Status Quo, by Judith Hess p53 -- Social Implications in the Hollywood genres, by Jean-Loup Bourget p62 -- Part two -- The Screwball Comedy, by Jim Leach p75 -- The bug in the rug: Notes on the disaster genre, by Maurice Yacowar p90 -- Epic, epic, epic, epic, by Raymond Durgnat p108 -- The iconography of the gangster film, by Colin McArthur p118 -- The poetics of horror: more than meets the eye, by D. L White p124 -- The aesthetics of form and convention in the movie musical, by Timothy Scheurer p145 -- Monsters from the Id, by Margaret Tarratt p161 -- Winning the weepstakes: the problems of American Sports Movies, by Nora Sayre p182 -- Genre and movies [the western], by Douglas Pye p195 -- bibliography: theory p212, comedy films p214, crime films p215, disaster films p217, epic films p217, erotic films p218, gangster films p220, horror films p221, musical films p223, science fiction films p225, sports films p228, war films p228, western films p230, miscellaneous p235, addendum p236, index p239 -- More info
Film genre reader II / edited by Barry Keith Grant
Austin: University of Texas Press, 1995.
Call No: 64GEN FIL Author: Grant, Barry Keith, 1947 Edition: 1st ed Place: Austin Publisher: University of Texas Press PubDate: 1995 PhysDes: viii, 581 p. : ill. ; 24 cm Subject: GENRES; WESTERNS; GANGSTER FILMS; FILM NOIR; DISASTER FILMS; EPIC FILMS; HORROR FILMS; MELODRAMA; COMEDIES; TRANSVESTISM; WOMEN IN FILMS; VIETNAM WAR FILMS; MUSICALS; BLACKS IN FILMS; CANADA; AUTEUR THEORY; NARRATIVE IN FILMS; DETECTIVE FILMS; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HISTORICAL FILMS; PHILOSOPHY AND THE CINEMA; PORNOGRAPHY AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; SCIENCE-FICTION FILMS; SEMIOLOGY; STRUCTURALISM; HITCHCOCK, ALFRED; MICHEAUX, OSCAR; CRONENBERG, DAVID; FORD, JOHN; PENN, ARTHUR; SIRK, DOUGLAS; CAVELL, STANLEY; CHANDLER, RAYMOND; FRYE, NORTHROP; MINNELLI, VINCENTE; TODOROV, TZVETAN; ZOO LA NUIT, UN (CN, Jean-Cluade Lauzon, 1987); SOME LIKE IT HOT (US, Billy Wilder, 1959); SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943); BARKLEYS OF BROADWAY, THE (US, Charles Walters, 1949); YENTL (US, Barbara Streisand, 1983); IT HAPPENED ONE NIGHT (US, Frank Capra, 1934); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); MY DARLING CLEMENTINE (US, John Ford, 1946); STAGECOACH (US, John Ford, 1939); SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952); THING, THE (US, Christian Nyby, 1951); [TWENTY] 20 MILLION MILES TO EARTH (US, Nathan Juran, 1957); VICTOR VICTORIA (UK, Blake Edwards, 1982); WRITTEN ON THE WIND (US, Douglas Sirk, 1956); NIGHT OF THE LIVING DEAD (US, George A. Romero, 1968); FLY, THE (US, David Cronenberg, 1986); DESPERATELY SEEKING SUSAN (US, Susan Seidelman, 1985); CHINATOWN (US, Roman Polanski, 1974); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); CHINATOWN (US, Roman Polanski, 1974) Notes: Includes bibliographical references (p. -559) and index ISBN: 0292727771 (cloth : alk. paper); 029272778X (pbk. : alk. paper) LON: 11563059 More info
Film Moments : criticism, history, theory / edited by Tom Brown and James Walters
London: Palgrave Macmillan on behalf of the British Film Institute, 2010.
Call No: 62(04) FIL Author: Brown, Tom; Walters, James Source: UK Place: London Publisher: Palgrave Macmillan on behalf of the British Film Institute PubDate: 2010 PhysDes: xii, 178 p. : ill. ; 25 cm Subject: FILM; CRITICISM; HISTORY OF CINEMA; THEORY Summary: "The 38 specially commissioned essays in Film Moments examine a wide selection of key scenes aross a broad spectrum of national cinemas, historical periods and genres, featuring films by renowned auteurs including Alfred Hitchcock, Jean Renoir and Vincente Minnelli and important contemporary directors such as Pedro Costa, Zhang Ke Jia and Quentin Tarantino, addressing films including City Lights, Gone with the Wind, The Wizard of Oz, The Night of the Hunter, Wild Strawberries, 8 1/2, Bonnie and Clyde, Star Wars, Conte d'ete, United 93, and Lord of the Rings: Return of the King.
Film Moments provides both an enlightening introduction for students to the diversity of approaches and concerns in the study of film, and a dynamic and vibrant account of key film sequences for anyone interested in enhancing their understanding of cinema" -- BOOK BLURB Notes: Includes bibliographical references and index ISBN: 9781844573356 Contents: -- Shadow play and dripping teat The Night of the Hunter (1955) / Tom Gunning -- Between melodrama and realism Under the Skin of the City (2001) / Laura Mulvey -- Internalising the musical The Band Wagon (1953) / Andrew Klevan -- The visitor's discarded clothes in Theorem (1968) / Stella Bruzzi -- Style and sincerity in Quentin Tarantino's Kill Bill Vol. 2 (2004) / James Walters -- The moves Blood (1989) / Adrian Martin -- The properties of images Lust for Life (1956) / Steve Neale -- Two views over water action and absorption in Ingmar Bergman's Wild Strawberries (1957) / Edward Gallafent -- Making an entrance Bette Davis's first appearance in Jezebel (1938) / Martin Shingler -- A narrative parenthesis in Life is Beautiful (1997) / Deborah Thomas -- The end of summer Conte d'e´te´ (1996) / Jacob Leigh -- Enter Lisa Rear Window (1954) / Douglas Pye -- Opening up The Secret Garden (1993) / Susan Smith -- A magnified meeting in Written on the Wind (1956) / Steven Peacock -- "Everything is connected, and everything matters" relationships in I [heart] Huckabees (2004) / John Gibbs -- The Ending of 8 1 / 2 (1963) / Richard Dyer -- Haptic vision and consumerism a moment from Fritz Lang's Siegfried (1924) / Thomas Elsaesser -- Visions of sound in City Lights (1931) / Charles Barr -- "Entertainment and dystopia" Maurice Chevalier performs Avec le sourire (1936) / Tom Brown -- Music, crime and the gaze La Be^te humaine (1938) / Ginette Vincendeau -- Thunder and lightning Gone with the Wind (1939) and the Logic of Synchronisation / Rick Altman -- Hearing, fearing the sonic design of suspense in Cat People (1942) / Helen Hanson -- "I've seen him take his knife--" The Searchers (1956) / R.J. Ellis -- Another story myth and history in Bonnie and Clyde (1967) / Pam Cook -- A sculptural moment the epilogue to Les Deux Anglaises et le Continent (1971) / Mark Broughton -- Star Wars (1977) back and forth in time and space / Jonathan Bignell -- Between freedom and confinement music in The World (2004) / Claudia Gorbman -- Performance, with strings attached Team America's (2004) snub to the actor / Alex Clayton -- E´loge de l'Amour (2001) moments in time / Alison Butler -- Contested endings interpreting The Piano's (1993) final scenes / Barbara Klinger -- Mourning, loss and trauma, and the ambiguities of proper and improper desire in Exotica (1994) / Elizabeth Cowie -- Stepping out of Blockbuster mode the lighting of the beacons in The Lord of the Rings The Return of the King (2003) / Kristin Thompson -- Dorothy's dream mindscreen in The Wizard of Oz (1939) / Bruce F. Kawin -- Looking on and looking the other way Hotel Rwanda (2004) and the racialised ethics of spectatorship / Michele Aaron -- Working through the body textual-corporeal strategies in United 93 (2006) / Lisa Purse -- "I wasn't expecting that!" cognition and shock in Alien's (1979) chestburster scene / Jonathan Frome -- The inflection of a dream in Scarlet Street (1945) / George M. Wilson -- Judy's plan a reading of the "Flashback" sequence in Vertigo (1958) / William Rothman -- index -- More info
Film sequels : theory and practice from Hollywood to Bollywood / by Carolyn Jess-Cooke
Edinburgh: Edinburgh University Press, 2009.
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 -- More info
Film technique and film acting : The cinema writings of V.I. Pudovkin / V. I. Pudovkin
New York: Bonanza Books, 1959.
Film theory : an introduction / Robert Lapsley and Michael Westlake
Manchester, UK New York: Manchester University Press Distributed exclusively in the USA and Canada by St. Martin's Press, 1988.
Film Theory : an introduction / by Robert Stam
Malden, MA ; Oxford: Blackwell Publishing, 2000.
Available at ProQuest (RMIT login required) Call No: 62 STA Author: Stam, Robert Source: US/UK/AT Place: Malden, MA ; Oxford Publisher: Blackwell Publishing PubDate: 2000 PhysDes: x, 381 pages ; 23 cm Subject: FILM; THEORY; AUTEUR THEORY; FORMALISM; MOVEMENTS AND STYLES IN FILM HISTORY; MOVEMENTS IN FILM HISTORY; STRUCTURALISM; REALISM IN FILMS; POSTMODERNISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; RACE AND THE CINEMA; POSTCOLONIALISM AND THE CINEMA; PHILOSOPHY AND THE CINEMA Summary: " Film Theory: An Introduction offers a comprehensive history of film theory during the "century of cinema." The book moves all the way from silent-era theorists like Vachel Lindsay and Hugo Munsterberg through to the latest developments in film theory and cultural studies (cognitive theory, Deleuze, queer theory, postcolonial theory, digital theory), international in scope, the volume ranges over developments in such countries as France, Germany, Russia, Italy, Great Britain, the United States, Mexico, Brazil and Argentina, trying always to stress the links between these developments. The book also contextualizes film theory within larger historical and philosophical currents.Written in sophisticated yet accessible language, Film Theory: An Introduction provides a lucid and coherent introduction to a rich and variegated field. " -- BOOK BACK COVER Notes: Includes bibliographical references and index ISBN: 9780631206545 Contents: -- preface -- introduction -- The antecedents of film theory -- Film and film theory : the beginnings -- Early silent film theory -- The essence of cinema -- The Soviet montage-theorists -- Russian formalism and the Bakhtin School -- The historical avant-gardes -- The debate after sound -- The Frankfurt School -- The phenomenology of realism -- The cult of the auteur -- The Americanization of auteur theory -- Third world film and theory -- The advent of structuralism -- The question of film language -- Cinematic specificity revisited -- Interrogating authorship and genre -- 1968 and the leftist turn -- The classic realist text -- The presence of Brecht -- The politics of reflexitivity -- The search for alternative aesthetics -- From linguistics to psychoanalysis -- From feminist intervention -- The postsructuralist mutation -- Textual analysis -- Interpretation and its discontents -- From text to intertext -- The amplification of sound -- The rise of cultural studies -- The birth of the spectator -- Cognitive and analytic theory -- Semiotics revisited -- Just in time : the impact of Deleuze -- The coming out of queer theory -- Multiculturalism, race, and representation -- Third cinema revisited -- Film and the postcolonial -- The poetics and politics of postmodernism -- The social valence of mass-culture -- Post-cinema : digital theory and the new media -- The pluralization of film theory -- notes -- select bibliography -- index -- More info
Film theory and criticism : introductory readings / [edited by] Gerald Mast, Marshall Cohen
New York: Oxford University Press, 1985.
Five directors : auteurism from Assayas to Ozon / edited by Kate Ince
Manchester, UK ; New York: Manchester University Press, 2008.
Call No: 621 INC Source: UK/US Place: Manchester, UK ; New York Publisher: Manchester University Press PubDate: 2008 PhysDes: viii, 157 p. ; 21 cm Subject: NOUVELLE VAGUE; AUTEUR THEORY; EUROPEAN CINEMA; ASSAYAS, OLIVIER; AUDIARD, JACQUES; DARDENNE, JEAN-PIERRE & LUC; HANEKE, MICHAEL; OZON, FRANCOIS Summary: "This new appraisal of the continuing relevence of the auteur to filmmmaking in French will reinvigorate debate about the historic place of auteurism in both French and European cinema.
Auteurism - the ideea that a director of a film is its source of meaning and should retain creative control over the finished product - has been one of film studies' most important paradigms ever since the French 'nouvelle vague' of the late 1950s, and the adoption of the term auteur by Andrew Sarris.
Through the work of five important contemporary directors working in the French language, this book explores the ways in which the meaning of auteur has changed over this half-century. Its five dense and wide-ranging introductory essays to the films of Olivier Assayas, Jacques Audiard, the Dardenne brothers, Michael Haneke and Francois Ozon combine French philosophical and sociological approaches with methodologies from the Anglo-American fields of gender studies, queer theory and postmodernism.
This volume will be of interest to researchers working in French and European cinema and to students of film studies, European cinema, and French and Francophone studies, as well as to film enthusiasts."-BOOK BLURB Notes: includes bibliographical references
includes filmography; includes index ISBN: 9780719086410 Contents: Olivier Assayas and the cinemna of catastrophe / Paul Sutton -- Jacques Audiard : contesting filiations / Julia Dobson -- Ethics in the ruin of politics : the Dardenne brothers / Martin O'Shaughnessy -- Close encounters with distant suffering : Michael Haneke's disarming visions / Libby Saxton -- Franc¸ois Ozon's cinema of desire / Kate Ince More info
Francis Ford Coppola
Springfield, Illinois.: University of Illinois Press, 2014.
Call No: 81COP MEN Author: Menne, Jeff Edition: 1st ed. Source: US Place: Urbana, Illinois.; Chicago, Illinois.; Springfield, Illinois. Publisher: University of Illinois Press PubDate: 2014 PhysDes: 168 pages ; 21 cm Series: Contemporary Film Directors Subject: AUTEUR THEORY; DIRECTORS. USA; HOLLYWOOD; COPPOLA, FRANCIS FORD Summary: "Analyzing films like The Godfather (1972) and the overlooked Tucker: The Man and His Dream (1988) through Coppola's use of opera, Menne illustrates how Coppola developed a defining musical aesthetic while making films that reflected the idea of a corporation as family - and how his studio, American Zoetrope, came to represent a new brand of auteurism and the model for post-Fordist Hollywood." -- BOOK BLURB Notes: Contains twenty black and white photographs. -- Includes contents, bibliographic references and index ISBN: 9780252080371 More info
Fritz Lang : The Ambiguity of Innocence
Lumiere (June, 1973) iss.24 p.23-27 Author: Clancy, Laurie PhysDes: Article Subject: LANG, FRITZ; M (G, Fritz Lang, 1931); YOU ONLY LIVE ONCE (US, Fritz Lang, 1937); WOMAN IN THE WINDOW, THE (US, Fritz Lang, 1944); BIG HEAT, THE (US, Fritz Lang, 1953); AUTEUR THEORY Summary: Article on the films of Fritz Lang. Mentions the director's belief in auteurism and discusses various themes found throughout his work. More info
Funny Frames : the filmic concepts of Michael Haneke / by Oliver C. Speck
New York : London: Continuum, 2010.
Call No: 81HAN SPE Author: Speck, Oliver C. Source: US/UK Place: New York : London Publisher: Continuum PubDate: 2010 PhysDes: viii, 260 p. : ill. ; 24 cm Subject: THEORY; VIOLENCE IN FILMS; RACIAL PROBLEMS IN FILMS; HANEKE, MICHAEL; BENNY'S VIDEO (AU/SZ, Michael Haneke, 1992); FUNNY GAMES (AT, Michael Haneke, 1997); PIANO TEACHER, THE (AU/FR, Michael Haneke, 2001)
PIANISTE, LA; PIANISTE, LA (AU/FR, Michael Haneke, 2001); TIME OF THE WOLF, THE (FR/AU/GG, Michael Hanaeke, 2003)
TEMPS DU LOUP, LE; TEMPS DU LOUP, LE (FR/AU/GG, Michael Hanaeke, 2003); CACHE (FR/AU/GG/IT, Michael Haneke, 2005); WHITE RIBBON, THE (AU/G/FR/IT, Michael Haneke, 2009)
DAS WEISSE BAND - EINE DEUTSCHE KINDERGESCHICHTE; WEISSE BAND, DAS - EINE DEUTSCHE KINDERGESCHICHTE (AU/G/FR/IT, Michael Haneke, 2009) Summary: "Taking its cues from the cinematic innovation of the controversial Austrian-born director Michael Haneke, Funny Frames explores how a polical thinking manifests itself in his work. Funny Frames does justice to the intelligence of Haneke films by exploring the permanent adjustment of the frame of reference in these films: the moment when the "looking at" of the viewer is suddenly revealed to be the "looking with" the perspective of a character. The book is divided into two parts. In the first, Oliver C. Speck explores some of Haneke's Deleuzian traits - showing how the theoretical concepts of the virtual, of filmic space and of realism can be useful tools for unlocking the problems that Haneke formulates and solves through filmic means. In the second, Speck discusses a range of topics that appear in all of Haneke's films but that haven't, until now, been fully noticed or analyzed. These chapters demonstrate how Haneke plays the role of "diagnostician of culture," how he reads - for example - madness, suicide and childhood. Like several other contemporary European directors, Haneke addresses topics considered difficult when measures by the standards of commerical cinema: the traumatic effects of violence, racism, and alienation. Funny Frames is an incisive and original contribution to the growing scholarship on one of the most intriguing auteurs of our time. " -- BOOK BLURB Notes: Formerly CIP; Includes bibliographical references and index ISBN: 9781441192851 Donation: Donated by Senses of Cinema, 2013 Contents: acknowledgments -- photo credits -- Introduction: framing Haneke -- The conceptual frame of reference -- shifting frames -- the frames of narratology -- the truth of the perspective -- anti-cinema and the viewer-- a cinema of cruelty -- A movement through Haneke's oeuvre -- films for television -- Fraulein - ein deutsches Melodram / Fraulein -- Der siebente Kontinent / The Seventh Continent -- Benny's Video -- 71 Fragmente einer Chronologie des Zufalls / 71 Fragments of a Chronology of Chance -- Funny Games and Funny Games U.S -- La Pianiste / The Piano Teacher -- Le temps du loup / The Time of the Wolf -- Code inconnu: Recit incomplet de divers voyages / Code Unknown -- Cache -- Das weibe Band: Eine deutsche Kindergeschichte / The White Ribbon -- A marriage of past and present : the overcoming of Fassbinder -- genre and self-reflexivity: dialogue with past images -- framing and re-framing -- quoting from collective memory -- virtual decisions -- Thinking the event : the virtual in Michael Haneke -- A new order: the method of madness -- Self/aggression: violence in films by Michael Haneke -- suicide and politics -- a state of exception -- auto-aggression -- the paradox of the witness -- The moral of the long take -- The funny frame -- Plot reviews -- Drei Wege zum See / Three paths to the lake -- Lemminge, Teil 1 Arkadien / Lemmings, Part 1 Arcadia and Lemminge, Teil 2 Verletzungen / Lemmings, Part 2 Injuries -- variation -- Wer war Edgar Allan ? / Who was Edgar Allan? -- Fraulein : Ein deutsches Melodram / Fraulein -- Der siebente Kontinent / The Seventh Continent -- Benny's video -- Die Rebellion / Rebellion -- 71 Fragmente einer Chronologie des Zufalls / 71 Fragments of a Chronology of Chance -- Funny Games and Funny Games U.S. -- Lumiere et compagnie / Lumiere and Company -- Das SchloB nach Franz Kafka / The Castle -- Code inconnu: Recit incomplet de divers voyages / Code Unknown -- La Pianiste / The Piano Teacher -- Le temps du loup / The Time of the Wolf -- Cache / Hidden -- Das weiBe Band : Eine deutsche Kindergeschichte / The White Ribbon -- notes -- bibliography -- index -- More info
The future of an illusion : film, feminism, and psychoanalysis / Constance Penley
London: Routledge, 1989.
Call No: 626:396 PEN Author: Penley, Constance, 1948 Place: London Publisher: Routledge PubDate: 1989 PhysDes: xx, 207 p. : ill. ; 23 cm Subject: FEMINISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; THEORY; WOMEN IN FILMS; DIRECTORS; AVANT-GARDE FILMS; SAUVE QUI PEUT (LA VIE) (FR/SZ, Jean-Luc Godard, 1980); FRANCE/TOUR/RETOUR/DEUX ENFANTS [TV](FR, Jean-Luc Godard, 1978); JETEE, LA (FR, Chris Marker, 1963); TERMINATOR, THE (US, James Cameron, 1984); PEE-WEE'S PLAYHOUSE [TV] (US, 1986-91) Summary: "'The future of an illusion' documents the pivotal role Constance Penley has played in the development of feminist film theory. Penley analyzes the primary movements that have shaped the field: the conjunction of feminism, film theory, and psychoanalysis, and the inherent debates surrounding the politics of women and representation. These debates centre on the position of women in the classical Hollywood narrative, the construction of the spectator's desire in pornography and eroticism and the implicit male bias in the psychoanalytically oriented film theory." -- BOOK COVER Notes: Women. Portrayal by mass media (BNB/PRECIS); Includes bibliographical references and index ISBN: 0415041546 (pbk) : ª7.95 : CIP confirmed LON: bnb41504154; 6267645 Contents: Feminism and the avant-garde: 1. The avant-garde and its imaginary -- 2. The avant-garde: histories and theories --
Feminism and film theory: 3. "A certain refusal of difference": feminism and film theory -- 4. Feminism, film theory, and the bachelor machines --
Feminism and femininity in Godard: 5. Pornography, eroticism (on 'Every man for himself') -- 6. Les enfants de la patrie (on 'France/tour/detour/two children') --
Sexual difference in popular culture -- 7. Time travel, primal scene, and the critical dystopia (on 'The terminator' and 'La jetee') -- 8. The cabinet of Dr. Pee-wee: consumerism and sexual terror --
Feminism and pedagogy: 9. Teaching in your sleep: feminism and psychoanalysis More info
Godard : images, sounds, politics / Colin MacCabe ; text, Colin MacCabe with Mick Eaton and Laura Mulvey ; interviews, Jean-Luc Godard.
London: Macmillan, 1980.
Call No: 81GOD Author: MacCabe, Collin Source: UK Place: London Publisher: Macmillan PubDate: 1980 PhysDes: 175 p. : ill. ; 23 cm Series: British Film Institute cinema series Subject: AVANT-GARDE FILMS; THEORY; POLITICS AND THE CINEMA; GODARD, JEAN-LUC; GAI SAVOIR, LE (FR/GW, Jean-Luc Godard, 1969); A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959); BREATHLESS (FR, Jean-Luc Godard, 1959); FEMME MARIEE, UNE (FR, Jean-Luc Godard, 1964); VENT D'EST (FR/IT/GW, Jean-Luc Godard & Dziga Vertov Group, 1970); LUTTES EN ITALIE (FR/IT Jean-Luc Godard & Jean-Pierre GORIN, 1969); TOUT VA BIEN (FR/IT, Jean-Luc Godard & Jean-Pierre Gorin, 1972); BRITISH SOUNDS (UK, Jean-Luc Godard & Jean-Henri Roger, 1969); PIERROT LE FOU (FR/IT, Jean-Luc Godard, 1965); NUMERO DEUX (FR, Jean-Luc Godard, 1975); PRAVDA (FR, Jean-Luc Godard, 1970) Notes: "Check list of Godard's work in film and television": p. 169-173.
Bibliography: p. 174-175. ISBN: 0333290747 Language: English More info
Hitchcock and adaptation : on the page and screen / edited by Mark Osteen
Lanham, Maryland: Rowman & Littlefield, c2014.
Call No: 753HIT OST Author: Osteen, Mark (editor) Source: UK Place: Lanham, Maryland Publisher: Rowman & Littlefield PubDate: c2014 PhysDes: xxxviii, 314 pages ; 24 cm Subject: ADAPTATIONS; AUTHORSHIP; AUTEUR THEORY; HITCHCOCK, ALFRED; THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935); SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943); LIFEBOAT (US, Alfred Hitchcock, 1944); REAR WINDOW (US, Alfred Hitchcock, 1954); VERTIGO (US, Alfred Hitchcock, 1958); MARNIE (US, Alfred Hitchcock, 1964); FRENZY (US, Alfred Hitchcock, 1972) Summary: In Hitchcock and Adaptation: On the Page and Screen, Mark Osteen has assembled a wide-ranging collection of essays that explore how Hitchcock and his screenwriters transformed literary and theatrical source material into masterpieces of cinema. Some of these essays look at adaptations through a specific lens, such as queer aesthetics applied to Rope, Strangers on a Train, and Psycho, while others tackle the issue of Hitchcock as author, auteur, adaptor, and, for the first time, present Hitchcock as a literary source. Film adaptations discussed in this volume include The 39 Steps, Shadow of a Doubt, Lifeboat, Rear Window, Vertigo, Marnie, and Frenzy. Additional essays analyze Hitchcock-inspired works by W. G. Sebald, Don DeLillo, Bret Easton Ellis, and others.
These close examinations of Alfred Hitchcock and the creative process illuminate the significance of the material he turned to for inspiration, celebrate the men and women who helped bring his artistic vision from the printed word to the screen, and explore how the director has influenced contemporary writers. A fascinating look into an underexplored aspect of the director’s working methods, Hitchcock and Adaptation will be of interest to film scholars and fans of cinema’s most gifted auteur. -- Extract from the back of book Notes: Includes filmography -- Includes bibliographical references, filmography and index ISBN: 9781442230873 Contents: Part 1. Hitchcock and authorship. -- Thomas M. Leitch: Hitchcock the author --
Walter Raubicheck and Walter Srebnick: Wrong men on the run: The 39 steps as Hitchcock's espionage paradigm --
Patrick Faubert: the role and presence of authorship in Suspicion --
Part 2. Hitchcock adapting -- Ken Mogg: Melancholy elephants: Hitchcock and ingenious adaptation --
Matthew Paul Carlson: Conrad's The secret agent, Hitchcock's Sabotage, and the inspiration of "public uneasiness" --
Leslie H. Abramson: Stranger(s) than fiction: adaptation, modernity, and the menace of fan culture in Hitchcock's Strangers on a train --
Heath A. Diehl: Reading Hitchcock/ reading queer: adaptation, narrativity, and a queer mode of address in Rope, Strangers on a train, and Psycho --
Nicholas Andrew Miller: "Dear Miss Lonelyhearts": voyeurism and the spectacle of human suffering in Rear window -- John Bruns: "The proper geography": Hitchcock's adaptation of Daphne du Maurier's "The birds" -- Tony Williams: From Kaleidoscope to Frenzy: Hitchcock's second British homecoming --
Part 3. Hitching a ride: the collaborations -- Donna Kornhaber: Hitchcock's diegetic imagination, Thornton Wilder, Shadow of a doubt and Hitchcock's mise-en-sce`ne -- Maria A. Judnick: "The name of Hitchcock! the fame of Steinbeck! The legacy of Lifeboat -- Christina Lane and Jo Botting: "What did Alma think?" continuity, writing, editing, and adaptation --
Part 4. Adapting Hitchcock -- Russell J. A. Kilbourn: The second look, the second death: W. G. Sebald's orphic adaptation of Hitchcock's Vertigo -- Dennis R. Perry and Carl H. Sederholm: Dark adaptations: Robert Bloch and Hitchcock on the small screen -- Mark Osteen: Extraordinary renditions: Delillo's Point omega and Hitchcock's Psycho -- David Seed: The culture of spectacle in American psycho. More info
Hollywood hybrids : mixing genres in contemporary films / Ira Jaffe
Lanham, MD: Rowman & Littlefield, 2008.
Call No: 622 JAF Author: Jaffe, Ira Source: US Place: Lanham, MD Publisher: Rowman & Littlefield PubDate: 2008 PhysDes: ix, 182 p. ; ill. ; 23 cm Series: Genre and beyond Subject: GENRES; AUTEUR THEORY Summary: "Through close readings of work by major U.S. filmmakers such as Quentin Tarantino, David Lynch, Errol Morris, Todd Haynes, and Joel and Ethan Cohen, Hollywood Hybrids studies provocative, disorientating strategies of genre mixing in contemporary cinema. The book also investigates foreign parallels to U.S. hybrid cinema in films by such directors as Pedro Almodovar and Stephen Chow. Rather than explore genre primarily from the standpoint of movie critics, producers, marketers, and spectators, Hollywood Hybrids focuses on genre mixing as a key creative interest motivating celebrated fimmakers, and thus relates genre to auteur theory. The book also links recent hybrid cinema to earlier instances of hybrid film and other arts, including painting, music, literature, and architecture."-BOOK JACKET Notes: includes filmography; includes bibliographical references; includes index ISBN: 9780742539518 Donation: donated by Senses of Cinema Contents: -- Acknowledgements-- Introduction -- 1. Fact and Fiction -- 2. Gangster and Warrior -- 3. Melodrama and Teen Romance -- 4. Tragicomic Accidents -- 5. Global Parallels -- Selected Bibliography -- Selected Filmography -- Index --
About the Author -- More info
The Hollywood interviews / Cahiers du Cinéma; translated by John Flower
Oxford, UK: Berg, 2006.
Call No: 802.25 CAH Source: UK Place: Oxford, UK Publisher: Berg PubDate: 2006 PhysDes: v, 154 p. ; 19 cm Subject: AUTEUR THEORY; COPPOLA, FRANCIS FORD; DE PALMA, BRIAN; SCORSESE, MARTIN; EASTWOOD, CLINT; BURTON, TIM; COEN, JOEL & ETHAN Summary: Interviews with Francis Ford Coppola, Brian de Palma, Martin Scorsese, Clint Eastwood, and Tim Burton. Notes: Formerly CIP.; Includes filmographies.; Translated from the French. ISBN: 1845204417 More info
The horror reader / edited by Ken Gelder
New York, NY: Routledge, 2000.
Call No: 735.2 HOR Author: Gelder, Ken, 1955 Place: New York, NY Publisher: Routledge PubDate: 2000 PhysDes: xiii, 414 p. ; 25 cm Subject: CANNIBALISM IN FILMS; DRACULA IN FILMS; ETHNOGRAPHIC FILMS; FAN MAGAZINES; FANTASTIC FILMS; GENDER AND THE CINEMA; GHOST FILMS; HOMOSEXUALITY AND THE CINEMA; HORROR FILMS; HORROR FILMS. HONG KONG; HORROR FILMS. ITALY; HORROR FILMS. USA; IMPERIALISM AND THE CINEMA; MONSTERS IN FILMS; PORNOGRAPHY AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; RACE AND THE CINEMA; SERIAL KILLERS IN FILMS; SLASHER FILMS; THEORY; VAMPIRE FILMS; WOMEN AND THE CINEMA; ARGENTO, DARIO; BAVA, MARIO; CASTLE, TERRY; CHEUNG, LESLIE; CORMAN, ROGER; CRONENBERG, DAVID; TODOROV, TZVETAN; AMERICAN GOTHIC (US, John Hough, 1987); CURSE OF FRANKENSTEIN, THE (UK, Terence Fisher, 1957); BRIDE OF FRANKENSTEIN, THE (US, James Whale, 1935); FRANKENSTEIN (US, James Whale, 1931); FRIDAY THE 13TH (US, Sean S. Cunningham, 1980); HALLOWEEN (US, John Carpenter, 1978); HAUNTING, THE (US, Robert Wise, 1963); KING KONG (US, Merian C. Cooper & Ernest B. Schoedsack, 1933); NIGHT OF THE LIVING DEAD (US, George A. Romero, 1968); OPERA (IT, Dario Argento, 1987); ROSEMARY'S BABY (US, Roman Polanski, 1968); PSYCHO (US, Alfred Hitchcock, 1960); SINNUI YAUMAN (HK, Ching Siu Tung, 1987); CHINESE GHOST STORY, A (HK, Ching Siu Tung, 1987); SUSPIRIA (IT, Dario Argento, 1977); YANZHI KOU (HK, Stanley Kwan, 1987) Notes: Includes bibliographical references and index ISBN: 041521355X (HB : alk. paper); 0415213568 (PB : alk. paper) LON: 21262689 More info
The horse who drank the sky : film experience beyond narrative and theory / Murray Pomerance
New Brunswick, NJ: Rutgers University Press, 2008.
Call No: 632 POM Author: Pomerance, Murray Source: US Place: New Brunswick, NJ Publisher: Rutgers University Press PubDate: 2008 PhysDes: xii, 257 p.,  p. of plates : ill. (some col.) ; 24 cm Subject: NARRATIVE IN FILMS; THEORY; AESTHETICS Notes: Formerly CIP; Includes bibliographical references (p. 235-245) and index ISBN: 9780813543284 Contents: Overture -- 1. Thinking about the studios at Neubabelsberg -- The Dreamers, Doris Day, the predicament of the "onlooker," Now, Voyager, and Dead Man A Voluptuous Gaze -- Thinking about a dream of Sandra Oh, Short Cuts, Safe, Sideways, The Lookout, Disturbia, The Dead Zone, the gaze or the glance turning away from film, the "cinema of attractions," glancing at plot, Magnolia, battle effects, Rebecca, Requiem for a Heavyweight, Gojira, "panoramic perception," and vertiginous games -- 2. The Hero in the China Sea -- Thinking about Nicholas Ray's filmmaking, storylines and lines of action, performance and continuity, and Rebel Without a Cause -- 3. A Great Face -- Thinking about Alfred Hitchcock, North by Northwest, monuments and legalities, Mount Rushmore, stereopticons and the rear-projection process, Gary Cooper, George W. Bush, James Stewart, and Cary Grant -- 4. The Smoke and the Knife -- Thinking about Fritz Lang's M, police procedure, craft thieving, the rationality of smoke, women in Weimar Germany, motherhood and surveillance, severing and civilization -- 5. A Callfrom Everywhere -- Thinking about On the Beach, The Exorcist, acousmetre: the voice that cannot be seen, The Wizard of Oz, And the Ship Sails On ... , The Man Who Knew Too Much, Pan's Labyrinth, Trafic, narrative and de-acousmatization, and Stage Fright -- 6. As Time Goes By -- Thinking about cinematic transitions, Close Encounters of the Third Kind, Lawrence of Arabia and the pre-lap, The Passenger, Blackmail, The Graduate, "faux pre-lap" in Chinatown, Three Days of the Condor, The Conversation, the upholstering buffer, the acousmetre passe, the "gasp" and the "turn," From Russia with Love, The Bourne Identity, Saturday Night Fever, editing and sound in the 1970s, Stanley Kubrick and Nestor Almendros -- 7. The Speaking Eye -- Thinking about the speaking eye, the democratic screen, Jaws, animal performance, acting and authenticity, falling out of role, cinematic realism and cinematic reality, My Man Godfrey, Mischa Auer, "reading" the screen, the morality and politics of watching, the "doctrine of natural expression," the filmmaker's will, and cinematic "importance" -- 8. Not an Unusual Story -- Thinking about Vertigo, Dinner at Eight, the sound revolution, John Barrymore, The Last Laugh, class structure and the comedy of manners, modernity and social collapse, The Great Depression and ressentiment, writing that obliterates the writer, "looking marvelous," performance and biography, and the acting of Marie Dressler -- 9. The Horse Who Drank the Sky -- Thinking about the cinematic sense of place, fragmentation, shellshock, explosions in cinema, Babel, Until the End of the World, Royal Wedding, extraterritoriality and television, Fahrenheit 451, the coup d'oeil, Sergeant York, "invisible landscapes," theater design and "marginal appreciation," mental vertigo, The Bourne Supremacy, Tourettic cinema, Blow-Up, color, and The Band Wagon. More info
How a film theory got lost : and other mysteries in cultural studies / Robert B Ray
Bloomington: Indiana University Press, c2001.
Call No: 629PHO RAY Author: Ray, Robert B Source: US Place: Bloomington Publisher: Indiana University Press PubDate: c2001 PhysDes: xiv, 164 p. : ill. ; 23 cm Subject: MOTION PICTURES - HISTORY; FILM CULTURE; THEORY; PHOTOGRAPHY; AVANT-GARDE FILMS; BORDWELL, DAVID; GODARD, JEAN-LUC; ELVIS (US, John Carpenter, 1979) Summary: Robert B Ray, in this book attempts to revive forgotten film theory, for example the theory of photogenie, and looks at what is defined as "knowledge" in film studies. He challenges accepted theories, and attempts to develop a new way of looking at film and cultural studies. Notes: Includes bibliography; Includes index ISBN: 0253214386 More info
How to appreciate motion pictures : a manual of motion-picture criticism prepared for high-school students / by Edger Dale
New York: Macmillan, 1933.
How to Study Television / Keith Selby and Ron Cowdery
London: Macmillan Press, 1995.
Call No: 512.1 COW Author: Cowdery, Ron
Selby, Keith Source: UK Place: London Publisher: Macmillan Press PubDate: 1995 PhysDes: 240 p. : ill. ; 22 cm Series: How To Study Subject: PRODUCTION, TV. AUSTRALIA; THEORY; PROGRAMME GENRES; BILL, THE [TV] (UK, 1984-); FAWLTY TOWERS [TV] (UK, 1975; 1979); NEIGHBOURS [TV] (AT, 1985-); MEDIA STUDIES Summary: Contains practical, detailed advice to enable students to tackle any kind of televisual text. There are chapters on each of the major forms of television output, as well as advice on researching, preparing and presenting a project for Media or Communications studies. Notes: Includes statistical tables
Further Reading: p.215-218
Index: p.237-240 ISBN: 0333569652 More info
Ideology and the image : social representation in the cinema and other media / Bill Nichols
Bloomington: Indiana University Press, 1981.
Call No: 62 NIC Author: Nichols, Bill Source: US Place: Bloomington Publisher: Indiana University Press PubDate: 1981 PhysDes: xv, 334 p. : ill. ; 24 cm Subject: PHILOSOPHY AND THE CINEMA; THEORY; AESTHETICS; SEMIOLOGY; NON-FICTION FILMS; DOCUMENTARIES; ETHNOGRAPHIC FILMS; WISEMAN, FREDERICK; BLONDE VENUS (US, Josef von Sternberg, 1932); BIRDS, THE (US, Alfred Hitchcock, 1963) Summary: "To what degree, Nichols asks, does ideology inform images in films, advertising, and other media? Does the cinema or any other sign system librerate or manipulate us? How can we as spectators know when the media are subtly perpetuating a specific set of values? To address these issues, the author draws from a variety of approaches - Marxism, psychoanalysis, communication theory, semiotics, structuralism, the psychology of perception. Working with two interrelated theories - ideology and systems of visual representation, and ideology and principles of textual criticism - Nichols shows how and why we make emotional investments in sign systems within an ideological context." -- BACK COVER Notes: Includes index; Bibliography: p. 304-313 ISBN: 0253182875; 0253202566 (pbk.) LON: 80007684; 1763485 Contents: Introduction: Picking up the trail -- 1. Art and the perceptual process -- 2. The analysis of representational images -- 3. The cinema: movement, narrative, and paradox -- 4. Blonde venus: playing with performance -- 5. For The birds -- 6. The documentary film and principles of exposition -- 7. Frederick Wiseman's documentaries: theory and structure -- 8. Documentary, criticism, and the ethnographic film -- Conclusion More info
The intelligence of a machine / by Jean Epstein, translated by Christophe Wall-Romana
Minneapolis, MN: Univocal, c2014.
Call No: 630 EPS Author: Epstein, Jean; Wall-Romana, Christophe (translator) Edition: First Edition Source: US/FR Place: Minneapolis, MN Publisher: Univocal PubDate: c2014 PhysDes: xi, 111 p. ; 20 cm Subject: PHILOSOPHY AND THE CINEMA; THEORY; FILM; MOTION PICTURES - FRANCE; EPSTEIN, JEAN Notes: "Translated from the French by Christophe Wall-Romana as The intelligence of a machine." -- T.p. verso ISBN: 9781937561185 Contents: -- The philosophy of cinema -- Signs -- The interchangeability of continuity and discontinuity -- Non-temporal time -- Neither spirit nor matter -- The randomness of determinism and the determinism of randomness -- The wrong side equals the right side -- Photo-electric psychoanalysis -- Mechanical philosophy -- Quantity mother of quality -- The relativity of logic -- The law of laws -- Irrealism -- More info
International Trends in the Cinema : A Summary of Ken Mogg's Talk to Monash Film Group Discussion Group
Montage (1966) iss.2 p.18-21 More info
Interpreting films : studies in the historical reception of American cinema / Janet Staiger
Princeton, N.J.: Princeton University Press, 1992.
Call No: 62 STA Author: Staiger, Janet Place: Princeton, N.J. Publisher: Princeton University Press PubDate: 1992 PhysDes: xiv, 274 p. : ill. ; 25 cm Subject: SPECTATORSHIP; AUDIENCES; ART CINEMA; AUTEUR THEORY; AUTHORSHIP; HOMOSEXUALITY IN FILMS; SOCIETY AND THE CINEMA; IDEOLOGY AND THE CINEMA; MODERNISM AND THE CINEMA; NARRATIVE IN FILMS; PARODY; RACE AND THE CINEMA; BAHTIN, MIHAIL; BORDWELL, DAVID; DYER, RICHARD; HITCHCOCK, ALFRED; GRIFFITH, DAVID WARK; GARLAND, JUDY; FOOLISH WIVES (US, Erich Von Stroheim, 1922); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); ZELIG (US, Woody Allen, 1983); STAR IS BORN, A (US, George Cukor, 1954); UNCLE TOM'S CABIN (US, Edwin S. Porter, 1903); REAR WINDOW (US, Alfred Hitchcock, 1954) Notes: Includes bibliographical references (p. -269) and index ISBN: 0691047979 (alk. paper); 0691006164 (pbk. : alk. paper) LON: 8200386 URL status: URL: 'http://-'
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Interpreting the moving image / Noel Carroll
Cambridge ; New York, NY: Cambridge University Press, 1998.
Call No: 62 CAR Author: Carroll, Noel Source: UK Place: Cambridge ; New York, NY Publisher: Cambridge University Press PubDate: 1998 PhysDes: xviii, 370 pages ; 24 cm Series: Cambridge studies in film Subject: THEORY Summary: "Interpreting the Moving Image is a collection of essays by one of the most astute critics of cinema at work today. This volume provides a close analysis of major films of both the narrative and the avant-garde traditions. Written in accessible and engaging language, it also serves as a guide to such classics as The Cabinet of Dr. Caligari and Citizen Kane, as well as the art of cinema in the postmodern era." -- taken from back cover Notes: Includes bibliographical references (p. 333-358) and index. ISBN: 978521589703 Contents: Foreword: Through Carroll's Looking Glass of Criticism / Tom Gunning -- 1. The Cabinet of Dr. Kracauer -- 2. Entr'acte, Paris and Dada -- 3. The Gold Rush -- 4. Keaton: Film Acting as Action -- 5. Buster Keaton, The General, and Visible Intelligibility -- 6. For God and Country -- 7. Lang, Pabst, and Sound -- 8. Notes on Dreyer's Vampyr -- 9. King Kong: Ape and Essence -- 10. Becky Sharp Takes Over -- 11. Interpreting Citizen Kane -- 12. The Moral Ecology of Melodrama: The Family Plot and Magnificent Obsession -- 13. Mind, Medium, and Metaphor in Harry Smith's Heaven and Earth Magic -- 14. Welles and Kafka -- 15. Nothing But a Man and The Cool World -- 16. Identity and Difference: From Ritual Symbolism to Condensation in Anger's Inauguration of the Pleasure Dome -- 17. Text of Light -- 18. Joan Jonas: Making the Image Visible -- 19. Introduction to Journeys from Berlin/ 1971 -- 20. The Future of Allusion: Hollywood in the Seventies (and Beyond) -- 21. Back to Basics. -- 22. Amy Taubin's Bag -- 23. Herzog, Presence, and Paradox -- 24. Film in the Age of Postmodernism. More info
An introduction to film studies / edited by Jill Nelmes
London: Routledge, 1999.
Call No: 62 INT Author: Nelmes, Jill, 1954 Edition: 2nd ed Place: London Publisher: Routledge PubDate: 1999 PhysDes: xviii, 522 p. : ill. ; 26 cm Subject: WARNER BROS.; STUDIO SYSTEM; AUDIENCES; GENRES; DOCUMENTARY FILMS; ANIMATION; COMPUTERS AND THE CINEMA; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; UNITED KINGDOM; INDIA; USSR; GERMANY; NARRATIVE IN FILMS; SPECTATORSHIP; CENSORSHIP; STARS; AUTEUR THEORY; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA; KULESOV, LEV; KAPOOR, RAJ; Ray, Satyajit; DOVZENKO, ALEKSANDR; SHUB, ESTHER; FLAHERTY, ROBERT; JENNINGS, HUMPHREY; RIEFENSTAHL, LENI; WISEMAN, FREDERICK; POTTER, SALLY; TOCCAFONDO, GIANLUIGI; FELLOW TRAVELLER (UK/US, Philip Saville, 1990); DUCK AMUCK (US, Chuck Jones, 1953); GIRLS' NIGHT OUT (UK, Joanna Quinn, 1987); COLOUR BOX, A (UK, Len Lye, 1935); DEADSY (UK, David Anderson, 1989); DILWALE DULHANIYA LE JAYENGE (II, Aditya Chopra, ); JAWS (US, Steven Spielberg, 1975); CRYING GAME, THE (UK, Neil Jordan, 1992); PLATOON (US, Oliver Stone, 1986); MARS ATTACKS! (US, Tim Burton, 1996); ROBOCOP (US, Paul Verhoeven, 1987); GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927); IF... (UK, Lindsay Anderson, 1968); PULP FICTION (US, Quentin Tarantino, 1994); NEW YORK, NEW YORK (US, Martin Scorsese, 1977); HOOP DREAMS (US, Steve James, 1994); WHEN WE WERE KINGS (US, Leon Gast, 1996); GIRLS LIKE US (US, Jane C. Wagner & Tina De Feliciantonio, 1997); CREATURE COMFORTS (UK, Nick Park, 1991); NEIGHBOURS (US, Norman McLaren, 1952); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); GOLD DIGGERS, THE (US, Sally Potter, 1983); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); PIANO, THE (AT, Jane Campion, 1993); VICTIM (UK, Basil Dearden, 1961); DESERT HEARTS (US, Donna Deitch, 1985); LIVING END, THE (US, Gregg Araki, 1992); LOOKING FOR LANGSTON (UK, Isaac Julien, 1989); GO FISH (US, Rose Troche, 1994); TRAINSPOTTING (UK, Danny Boyle, 1996); FULL MONTY, THE (UK/US, Robert Cattaneo, 1997); ABSCHIED VON GESTERN (GW, Alexander Kluge, 1966); AMERIKANISCHE FREUND, DER (GW/FR, Wim Wenders, 1977); DEUTSCHLAND BLEICHE MUTTER (GW, Helma Sanders-Brahms, 1980) Notes: Includes bibliographical references and index ISBN: 0415173094 (hb); 0415173108 (pb) LON: 14043939 URL status: URL: 'http://-'
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An introduction to film studies / edited by Jill Nelmes
London: Routledge, 2003.
Call No: 62 INT Author: Nelmes, Jill, 1954 Edition: 3rd ed Place: London Publisher: Routledge PubDate: 2003 PhysDes: xviii, 522 p. : ill. ; 26 cm Subject: WARNER BROS.; STUDIO SYSTEM; AUDIENCES; GENRES; DOCUMENTARY FILMS; ANIMATION; COMPUTERS AND THE CINEMA; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; UNITED KINGDOM; INDIA; USSR; GERMANY; NARRATIVE IN FILMS; SPECTATORSHIP; CENSORSHIP; STARS; AUTEUR THEORY; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA; KULESOV, LEV; KAPOOR, RAJ; Ray, Satyajit; DOVZENKO, ALEKSANDR; SHUB, ESTHER; FLAHERTY, ROBERT; JENNINGS, HUMPHREY; RIEFENSTAHL, LENI; WISEMAN, FREDERICK; POTTER, SALLY; TOCCAFONDO, GIANLUIGI; FELLOW TRAVELLER (UK/US, Philip Saville, 1990); DUCK AMUCK (US, Chuck Jones, 1953); GIRLS' NIGHT OUT (UK, Joanna Quinn, 1987); COLOUR BOX, A (UK, Len Lye, 1935); DEADSY (UK, David Anderson, 1989); DILWALE DULHANIYA LE JAYENGE (II, Aditya Chopra, ); JAWS (US, Steven Spielberg, 1975); CRYING GAME, THE (UK, Neil Jordan, 1992); PLATOON (US, Oliver Stone, 1986); MARS ATTACKS! (US, Tim Burton, 1996); ROBOCOP (US, Paul Verhoeven, 1987); GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927); IF... (UK, Lindsay Anderson, 1968); PULP FICTION (US, Quentin Tarantino, 1994); NEW YORK, NEW YORK (US, Martin Scorsese, 1977); HOOP DREAMS (US, Steve James, 1994); WHEN WE WERE KINGS (US, Leon Gast, 1996); GIRLS LIKE US (US, Jane C. Wagner & Tina De Feliciantonio, 1997); CREATURE COMFORTS (UK, Nick Park, 1991); NEIGHBOURS (US, Norman McLaren, 1952); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); GOLD DIGGERS, THE (US, Sally Potter, 1983); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); PIANO, THE (AT, Jane Campion, 1993); VICTIM (UK, Basil Dearden, 1961); DESERT HEARTS (US, Donna Deitch, 1985); LIVING END, THE (US, Gregg Araki, 1992); LOOKING FOR LANGSTON (UK, Isaac Julien, 1989); GO FISH (US, Rose Troche, 1994); TRAINSPOTTING (UK, Danny Boyle, 1996); FULL MONTY, THE (UK/US, Robert Cattaneo, 1997); ABSCHIED VON GESTERN (GW, Alexander Kluge, 1966); AMERIKANISCHE FREUND, DER (GW/FR, Wim Wenders, 1977); DEUTSCHLAND BLEICHE MUTTER (GW, Helma Sanders-Brahms, 1980) Summary: Reference work covering a wide range of concepts, theories and ideas about film studies covering different periods and countries. Attempts to present the diversity of thought within film theory. First published in 1996. Notes: Includes annotated key reading for each chapter, bibliography, glossary of key terms and index. ISBN: 0415173094 (hb); 0415173108 (pb) LON: 14043939 More info
Irish and African American Cinema : identifying others and performing identities, 1980-2000 / Maria Pramaggiore
Albany: State University of New York Press, 2007.
Call No: 451-054(=1 .415/.73) PRA Author: Pramaggiore, Maria Source: US Place: Albany Publisher: State University of New York Press PubDate: 2007 PhysDes: ix, 245 p. : ill. ; 24 cm Series: The SUNY series, cultural studies in cinema/video Subject: BLACKS IN FILMS; BLACKS AND THE CINEMA; WHITES IN FILMS; HISTORY OF CINEMA. IRELAND; HISTORY OF CINEMA. USA; IDENTITY IN FILMS; THEORY; LEE, SPIKE; JORDAN, NEIL Summary: "Focusing on two film traditions not normally studied together, Maria Pramaggiore examines more than two dozen Irish and African American films, including Do the Right Thing, In the Name of the Father, The Crying Game, Boyz N the Hood, The Snapper, and He Got Game, arguing that these films foreground practices of character identification that complicate essentialist notions of national and racial identity. The porous sense of self associated with moments of identification in these films offers a cinematic counterpart to W. E. B. Du Bois's potent concept of double consciousness, an epistemological standpoint derived from experiences of colonization, racialization, and cultural disruption. Characters in these films, Pramaggiore suggests, reject the national paradigm of insider and outsider in favor of diasporic both/and notions of self, thereby endorsing the postmodern concept of identity as performance."--BOOK JACKET. Notes: Formerly CIP; Includes bibliographical references (p. 209-237) and index ISBN: 9780791470954 Contents: Ch. 1. Identifying others -- Ch. 2. Sampling blackness : music and identification in the films of Neil Jordan and Spike Lee -- Ch. 3. "It's a wise child that knows his own father" : pregnant performances and maternal mythologies -- Ch. 4. Culturing violence : masculine identification in Irish and African American gangster films -- Ch. 5. "Both sides of the epic" : identification and the nonessentialist Western -- Conclusion : film identification and postmodern identity politics. More info
Issues in feminist film criticism / edited by Patricia Erens
Bloomington: Indiana University Press, 1990.
Call No: 626:396 ERE Author: Erens, Patricia, 1938 Place: Bloomington Publisher: Indiana University Press PubDate: 1990 PhysDes: xxvi, 450 p. : 24 cm Subject: FEMINISM AND THE CINEMA; THEORY; WOMEN IN FILMS; MELODRAMA; ETHNIC GROUPS IN FILMS; HOMOSEXUALITY IN FILMS; DIRECTORS; SPECTATORSHIP Summary: "Issues in Feminist Film Criticism brings together a wide variety of theoretical writings and methodologies by U.S. and British feminist film scholars. The twenty-seven essays represent some of the most influential work on Hollywood film, women's cinema, and documentary filmmaking to appear during the last decade and beyond.
Among the subjects treated are images of women on the screen; questions of film realism; the notion of counter-cinema; the concept of "reading against the grain"; the use of psychoanalytic theories; concerns over female spectatorship; women's place in specific genres, especially film melodrama; and issues related to the representations of lesbians and women of color." -- BACK COVER Notes: Includes bibliographical references (p. 425-438) and index ISBN: 0253319641 (alk. paper); 0253206103 (pbk. : alk. paper) LON: 89046336; 7125665 More info
Jan Svankmajer / by Keith Leslie Johnson
Urbana, Illinois: University of Illinois Press, c2017.
Call No: 81 SVA JOH Author: Johnson, Keith Leslie, 1974-, (author) Source: US Place: Urbana, Illinois Publisher: University of Illinois Press PubDate: c2017 PhysDes: xii, 191 pages : illustrations ; 21 cm Series: Contemporary Film Directors Subject: SVANKMAJER, JAN; ALICE (SZ/GW/UK, Jan Svankmajor, 1988); FAUST (FR/CZ/UK/GG, Jan Svankmajer, 1994); CONSPIRATORS OF PLEASURE (CS/SZ/UK, Jan Srankmajer, 1996); SURVIVING LIFE (THEORY AND PRACTICE) [PREZIT SVUJ ZIVOT (TEORIE A PRAXE)] (CZ/SO/JA, Jan Svankmajer, 2010); LAST TRICK OF MR. SCHWARCEWALLDE AND MR. EDGAR, THE [POSLEDNI TRIK PANA SCHWARCEWALLDEA A PANA EDGARA] (CS, Jan Svankmajer, 1964); ET CETERA (CS, Jan Svankmajer, 1967); OSSUARY, THE [KOSTNICE] (CS, Jan Svankmajer, 1970); HISTORIA NATURAE, SUITA (CS, Jan Svankmajer, 1967); PICKNICK MIT WEISMANN (AU, Jan Svankmajer, 1969); DIMENSIONS OF DIALOGUE [MOZNOSTI DIALOGU] (CS, Jan Svankmajer, 1983); DEATH OF STALINISM IN BOHEMIA, THE [KONEC STALINISMU V CECHACH] (CS, Jan Svankmajer, 1991); ANIMATION Summary: "Jan Svankmajer enjoys a curious sort of anti-reputation: he is famous for being obscure. Unapologetically surrealist. Svankmajer draws on the traditions and techniques of stop-motion animation, collage, montage, puppetry, and clay to craft bizarre filmscapes.... In Johnson's view, Svankmajer implores us to reprogram our relationship with the vital matter all around us, including ourselves and our bodies." - BOOK BLURB Notes: Includes bibliographical references (pages 177-185) and index.
Includes filmography. ISBN: 9780252083020 Donation: Senses of Cinema Contents: Animist cinema -- humiliation, or object life -- Wunderkammer, or Creaturely Life -- Haptics, or Animal Life -- Imagination, or Political Life -- Stalinism in Bohemia -- Survival, or Ecological Life -- Interviews with Jan S vankmajer. More info
Jane Campion and adaptation : angels, demons and unsettling voices / Estella Tincknell
Basingstoke, Hampshire: Palgrave Macmillan, 2013.
Call No: 753CAM TIN Author: Tincknell, Estella Source: UK Place: Basingstoke, Hampshire Publisher: Palgrave Macmillan PubDate: 2013 PhysDes: 139 pages : illustrated ; 22 cm Series: The adaptation series Subject: ADAPTATIONS; ADAPTATIONS. JAMES, HENRY; AUTEUR THEORY; AUTHORSHIP; DIRECTORS; FEMINISM AND THE CINEMA; GENRES; LITERATURE AND THE CINEMA; MYTH AND THE CINEMA; CAMPION, JANE; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990); BRIGHT STAR (UK/AT/FR, Jane Campion, 2009); IN THE CUT (US/AT, Jane Campion, 2003); PIANO, THE (AT, Jane Campion, 1993); PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996); SWEETIE (AT, Jane Campion, 1989); TOP OF THE LAKE [TV] (AT/UK, Jane Campion/Garth Davis, 2013) Summary: "In Jane Campion and Adaptation Estella Tincknell presents a compelling analysis of the interplay between literature and cinema in relation to Campion's work. The text takes a distinct approach to understanding Campion's films, positioning them not simply as the work of a cinematic auteur, but as the culmination of a complex set of textual relationships and practices. In doing so, Tincknell argues persuasively that the director's use of adaptation goes well beyond the conventionally respectful approach to literary texts, opting instead for a playful, subversive and challenging re-imagining of the connections between literature, myth, cultural identity and cinema." -- PORTION OF BOOK BLURB Notes: Contains bibliographic references and index -- list of illustrations included as looseleaf in front of book ISBN: 9780230229006 Contents: -- pt. One Versions -- `A Jane Campion film': authorships and adaptations -- Collaborations, credibility, creativity -- Cultural value and the fidelity question -- `Adding to' not taking from: textual ontologies redux -- pt. Two Visions and Voices -- Multiple voices, different visions -- Gothic visions, feminine fables -- Shadow Males and Super Males -- Angels, fairies, demons -- Demythologising space and place -- Attending to the past -- pt. Three Genres -- Art cinema or feminist cinema? -- Re-articulating film genres one: the anti-heritage text - The Portrait of a Lady -- Playfulness and respect -- Costume drama, feminism and the `affect' of history -- Indexing the past -- Adapting the self -- Auditory affect, musical boxes -- Re-articulating film genres two: The Piano as melodrama -- Re-articulating film genres three: An Angel at My Table and the biopic - public lives, private selves -- From the margins to the centre - Bright Star as biopic --
Re-articulating film genres four: In the Cut's rewriting of film noir -- conclusion -- notes -- bibliography -- index -- More info
Jean-Luc Godard : son + image, 1974-1991 / edited by Raymond Bellour with Mary Lea Bandy
New York: Museum of Modern Art : Distributed by H.N. Abrams, c1992.
Call No: 81GOD JEA Source: UK Place: New York Publisher: Museum of Modern Art : Distributed by H.N. Abrams PubDate: c1992 PhysDes: 240 p. : ill. (some col.) ; 32 cm Subject: NOUVELLE VAGUE; CAHIERS DU CINEMA; POLITICS AND THE CINEMA; SPECTATORSHIP; THEORY; PSYCHOANALYSIS AND THE CINEMA; TELEVISION AND THE ARTS; AUTEUR THEORY; TOUT VA BIEN (FR/IT, Jean-Luc Godard & Jean-Pierre Gorin, 1972); FEMME EST UNE FEMME, UNE (FR, Jean-Luc Godard, 1961); WOMAN IS A WOMAN, A (FR, Jean-Luc Godard, 1961); VIVRE SAVIE (FR, Jean-Luc Godard, 1962); CARABINIERS, LES (FR/IT, Jean-Luc Godard, 1963); MEPRIS, LE (FR/IT, Jean-Luc Godrad, 1963); BANDE A PART (FR, Jean-Luc Godard, 1964); FEMME MARIEE, UNE (FR, Jean-Luc Godard, 1964); ALPHAVILLE (FR, Jean-Luc Godard, 1965); PIERROT LE FOU (FR/IT, Jean-Luc Godard, 1965); MASCULIN-FEMININ (FR, Jean-Luc Godard, 1966); WEEK-END (FR/IT, Jean-Luc Godard, 1968); GAI SAVOIR, LE (FR/GW, Jean-Luc Godard, 1969); ONE PLUS ONE (UK, Jean-Luc Godard, 1968); ONE A.M. (FR/US, Jean-Luc Godard, 1968); BRITISH SOUNDS (UK, Jean-Luc Godard & Jean-Henri Roger, 1969); PRAVDA (FR, Jean-Luc Godard, 1970); VENT D'EST (FR/IT/GW, Jean-Luc Godard & Dziga Vertov Group, 1970); [DEUX] 2 OU 3 CHOSES QUE JE SAIS D'ELLE (FR, Jean-Luc Godard, 1967); WEEK-END (FR/IT, Jean-Luc Godard, 1968); CHINOISE, LA (FR, Jean-Luc Godard, 1967); A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959); BREATHLESS (FR, Jean-Luc Godard, 1959); LUTTES EN ITALIE (FR/IT Jean-Luc Godard & Jean-Pierre GORIN, 1969); TOUT VA BIEN (FR/IT, Jean-Luc Godard & Jean-Pierre Gorin, 1972); SAUVE QUI PEUT (LA VIE) (FR/SZ, Jean-Luc Godard, 1980); PASSION (FR/SZ, Jean-Luc Godard, 1982); JE VOUS SALUE MARIE (FR/SZ, Jean-Luc Godard, 1985); SOIGNE TA DROITE (FR/SZ, Jean-Luc Godard, 1987); NOUVELLE VAGUE (Fr, Jean-Luc Godard, 1990); PRENOM CARMEN (FR/SW, Jean-Luc Godard, 1983) Notes: "Published on the occasion of the exhibition ... October 30-November 30, 1992, organized by Mary Lea Bandy, director, Laurence Kardish, curator, and Barbara London, assistant curator, video ... and Colin MacCabe, guest curator"--T.p. verso.
Filmography: p. 232-235.
Includes bibliographical references (p. 236-238)
Some articles translated from the French. ISBN: 0810961148 Language: English More info
Jean-Luc Godard / by Douglas Morrey
Manchester and New York: Manchester University Press, 2005.
Call No: 81GOD MOR Author: Morrey, Douglas Source: UK/US Place: Manchester and New York Publisher: Manchester University Press PubDate: 2005 PhysDes: 271 p : ill. ; 22 cm Series: French film directors Subject: CRITICISM; FRANCE; THEORY; GODARD, JEAN-LUC; A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959); BREATHLESS (FR, Jean-Luc Godard, 1959); VIVRE SAVIE (FR, Jean-Luc Godard, 1962); PETIT SOLDAT, LE (FR, Jean-Luc Godard, 1963); MASCULIN-FEMININ (FR, Jean-Luc Godard, 1966); LA CHINOISE (FR, Jean-Luc Godard, 1967); WEEK-END (FR/IT, Jean-Luc Godard, 1968); GAI SAVOIR, LE (FR/GW, Jean-Luc Godard, 1969); PRAVDA (FR, Jean-Luc Godard, 1970); TOUT VA BIEN (FR/IT, Jean-Luc Godard & Jean-Pierre Gorin, 1972); ICI ET AILLEURS (FR, Jean-Luc Godard & Anne-Marie Mieville, 1976); NUMERO DEUX (FR, Jean-Luc Godard, 1975); NUMERO DEUX (FR, Jean-Luc Godard, 1975); HELAS POUR MOI (SZ/FR, Jean-Luc Godard, 1983); HISTOIRE(S) DU CINEMA (SZ/FR, Jean-Luc Godard, 1997); ELOGE DE L'AMOUR (SZ, Jean-Luc Godard, 2001) Summary: "This volume offers a new interpretation of one of the most innovative directors in the history of cinema. It is the first book to cover the whole of Godard's career, from the early successes of the French New Wave, through the political works of the late 1960s and 1970s and the difficult films of the 1980s, to the recent triumphs of Histoire(s) du cinema and Eloge de l'amour. Drawing on a wide range of literary, filmic and philosophical texts, the book places Godard's work within its intellectual context in France, examining how developments in French culture and thought since 1950 have been mirrored in - and sometimes anticipated by - Godard's films. At the same time, numerous sequences from Godard's films are singled out for close analysis in order to demonstrate how the director's radical approaches to narrative, editing, sound and shot composition have made the cinema into an analytical tool in its own right - a machine for thinking. The book will be useful to all students of Godard's films, and of interest to scholars of modern and contemporary French cinema, culture and thought. " -- BOOK BLURB Notes: Formerly CIP; Filmography: p. -262; Includes bibliographical references (p. -264) and index ISBN: 0719067596 Contents: -- list of plates -- series editors' foreword -- acknowledgments -- 1. necessity or contingency: Godard as film critic, 1950-59 -- 2. scenes from domestic life: 1960-65 -- 3. outside: 1960-62 -- 4. end of the beginning/beginning of the end: 1966-67 -- 5. schooling: 1968-72 -- 6. home movies: 1974-78 -- 7. love and work: 1979-84 -- 8. smiling with regret: 1984-90 -- 9. the sense of an ending: 1991-96 -- 10. old man river: 1998- -- conclusion -- filmography -- select bibliography -- index -- More info
Jungian film studies : the essential guide / Helena Bassil-Morozow / Luke Hockley
London ; New York: Routledge, 2017.
Call No: 626[159.964.2] MOR Author: Bassil-Morozow, Helena; Hockley,Luke Source: UK/US Place: London; London ; New York Publisher: Routledge PubDate: 2017 PhysDes: viii, 200 pages ; 24 cm Series: Jung: the essential guides Subject: PSYCHOANALYSIS AND THE CINEMA; PSYCHOLOGICAL EFFECTS OF FILMS; PSYCHOLOGY AND THE CINEMA; FILM; NARRATIVE IN FILMS; AUTEUR THEORY; GENRES Summary: "Written in a growing academic field it is the first book to bring together all the different strands, and arguments in the dicipline, and guide the reader through the various ways in which Jungian psychology can be applied to moving images." -- adapted from book blurb. Notes: includes bibliography, list of names and index ISBN: 9780415531450 Contents: Introduction -- Methods The Context of Jungian film studies; Using Jung to analyse narrative tools and concepts -- Jungian Psychology: signs and symbols -- Applications; combining different methodologies in visual narrative analysis -- The Auteur Theory: A Jungian view -- Film genres and archetypes -- Jungian vs. Freudians: gender, identity and sexuality on screen -- The body: phenomenology and cinema More info
"Le film m'a menti" : Stage Fright, d'Alfred Hitchcock
Vertigo (1991) iss.6/7 p.67-70 More info
Life to those shadows / by Noe¨l Burch ; translated and edited by Ben Brewster
Berkeley: University of California Press, 1990.
Call No: 62 BUR Author: Burch, Noe¨l; Brewster, Ben Source: US Place: Berkeley Publisher: University of California Press PubDate: 1990 PhysDes: 317 pages : illustrations ; 23 cm Subject: THEORY; BURCH, NOEL; HISTORY OF CINEMA. SILENT PERIOD; BIOGRAPH; LUMIERE, LOUIS; DEMILLE, CECIL B.; DREYER, CARL TH.; DOCUMENTARIES; DICKSON, W. K. L.; EDISON, THOMAS ALVA; GANCE, ABEL; GORKY, MAXIM; GRIFFITH, DAVID WARK; GUY-BLACHE, ALICE; HEPWORTH, CECIL; PATHE; PORTER, EDWIN S.; VITAGRAPH; ZECCA, FERDINAND Summary: "Noel Burch's new book is a critique of the assumptions underlying 'classical' approaches to film history: the assumption that what we call the language of film was a natural, organic development, that it lay latent from the outset in the basic technology of the camera, waiting for the prescient pioneers to bring it into being; and the assumption that this language was a unversal, neutral medium, innocent of any social or historical meaning in itself. His major thesis is that, on the contrary, film language has a social and economic history, that it evolved in the way it did because of when and where it was constructed - in the capitalist and imperialist west between 1892 and 1929. The book examines the chronology of the emergence of what it defines as cinema's Institutional Mode of Representation and the socio-historical circumstances in which this took place. It examines the principles of visualisation - camera placement and movement, lighting, editing, mise-en-scene - that film-makers and audiences came to internalize over the first three decades. Special emphasis is laid on the all-important change that occurred in the imaginary placing of the spectator, from a position of exteriority to the film image, implicit in both film-form and viewing conditions during the primitive era (pre-1909), to the imaginary centering of the spectator-subject, completed only with the generalisation of lip-synch sound after 1929. It is the contention of this book that this imaginary centering of a sensorily isolated spectator is the keystone of the cinematic illustion of reality, still achieved today by the same means as it was sixty years ago." - taken from back cover Notes: Revised versions of papers written 1976-1981, some of which have appeared in English and French magazines -- Includes bibliographical references (p. 274-283) and index -- Filmography: p. 284-305. ISBN: 0520071441 Contents: Introduction -- Charles Baudelaire versus Doctor Frankenstein -- Life to Those Shadows -- The Wrong Side of the Tracks -- Those Gentlemen of the Lantern and the Parade -- Business is Business: An Invisible Audience -- Passions and Chases-A Certain Linearisation -- Building a Haptic Space -- A Primitive Mode of Representation? -- The Motionless Voyage: Constitution of The Ubiquitous Subject -- Beyond the Peephole, the Logos -- Narrative, Diegesis: Thresholds, Limits -- Conclusion -- Bibliography -- Filmography -- Index More info
The limits of auteurism : case studies in the critically constructed New Hollywood / Nicholas Godfrey
New Brunswick: Rutgers University Press, 2018.
Call No: 11339 Author: Godfrey, Nicholas Edition: 2018 Place: New Brunswick Publisher: Rutgers University Press PubDate: 2018 PhysDes: xii, 270 pages : illustrated ; 24 cm Subject: AUTEUR THEORY; EASY RIDER (US, Dennis Hopper, 1969); FIVE EASY PIECES (US, Bob Rafelson, 1970); TWO-LANE BLACKTOP (US, Monte Hellman, 1971); VANISHING POINT (UK, Richard C. Sarafian, 1971); LITTLE FAUSS AND BIG HALSY (US, Sydney J. Furie, 1970); ADAM AT SIX AM (US, Robert Scheerer, 1970); DIRTY HARRY (US, Don Siegel, 1971); FRENCH CONNECTION, THE (US, William Friedkin, 1971); LAST MOVIE, THE (US, Dennis Hopper, 1971); HIRED HAND, THE (US, Peter Fonda, 1971) Summary: The New Hollywood era of the late 1960s and early 1970s has become one of the most romanticized periods in motion picture history, celebrated for its stylistic boldness, thematic complexity, and the unshackling of directorial ambition. The Limits of Auteurism aims to challenge many of these assumptions. Beginning with the commercial success of Easy Rider in 1969, and ending two years later with the critical and commercial failure of that film’s twin progeny, The Last Movie and The Hired Hand, Nicholas Godfrey surveys a key moment that defined the subsequent aesthetic parameters of American commercial art cinema.
The book explores the role that contemporary critics played in determining how the movies of this period were understood and how, in turn, strategies of distribution influenced critical responses and dictated the conditions of entry into the rapidly codifying New Hollywood canon. Focusing on a small number of industrially significant films, this new history advances our understanding of this important moment of transition from Classical to contemporary modes of production. -- publisher's web site ISBN: 9780813589145 More info
The major film theories : an introduction / J. Dudley Andrew
London New York: Oxford University Press, 1976.
Call No: 62 AND Author: Andrew, Dudley, 1945 Place: London New York Publisher: Oxford University Press PubDate: 1976 PhysDes: x, 278 p. : ill. ; 21 cm Subject: THEORY; PHILOSOPHY AND THE CINEMA; MUNSTERBERG, HUGO; ARNHEIM, RUDOLF; BALAZS, BELA; KRACAUER, SIEGFRIED; BAZIN, ANDRE; MITRY, JEAN; METZ, CHRISTIAN Summary: "The major film theories is designed for anyone with a serious interest in the art of film. It is both a history film theory and an introduction to the work of the most important and influential writers on the subject - Munsterberg, Arnheim, Eisenstein, Balazs, Kracauer, Bazin, Mitry and Metz. Andrew sets these major theorists one against the other forcing them to speak to common issues, thereby making them reveal the bases of their thought. He compares the formative tradition with that of the realist to illustrate the development of both theories." The final secion of the book deals with contemporary French film theory which is still in the process of develping. Andrew locates these film theories in the contect of larger intellectual movements, including Gestalt psychology, Russian formalism, Neo-Kantianism and Existentialism." -- Back cover Notes: Includes index; Bibliography: p. 261-272 ISBN: 0195019911 : $3.95 (U.S.) LON: 75025465; 741859 Contents: Introduction -- Part 1 : The formative tradition -- Hugo Munsterberg. Matter and means ; Form and function -- Rudolf Arnheim. Material ; The creative use of the medium ; Film form ; The purpose of film -- Sergei Eisenstein. The raw material of film ; Cinematic means : creation through montage ; Film form ; The final purpose of film -- Be´la Bala´zs and the tradition of formalism. A summary of formative film theory ; Russian formalism ; Be´la Bala´zs ; The raw material of film art ; The creative potential of film technique ; Cinematic shape or form ; Cinematic functions -- Part 2 : Realist film theory -- Siegfried Kracauer. Matter and means ; Compositional forms ; The purpose of cinema ; Rebuttals -- Andre´ Bazin. The raw material ; Cinematic means and form ; The function of cinema -- Part 3 : Contemporary French film theory -- Jean Mitry. The raw material ; Creative potential in film ; The form and purpose of cinema -- Christian Metz and the semiology of the cinema. The raw material ; The means of signification in cinema ; The forms and possibilities of film ; Semiology and the purposes of film -- The challenge of phenomenology : Ame´de´e Ayfre and Henri Agel URL status: URL: 'http://-'
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The Maltese touch of evil : film noir and potential criticism / by Shannon Scott Clute and Richard L. Edwards
Hanover, N.H. ; London: University Press of New England, c2011.
Call No: 734.1 CLU Author: Clute,Shannon Scott; Edwards, Richard L. Source: US/UK Place: Hanover, N.H. ; London Publisher: University Press of New England PubDate: c2011 PhysDes: xviii, 316 p. : ill. ; 23 cm Subject: FILM NOIR; CRITICISM; THEORY; PODCASTING Summary: "Noir is among the most popular, acclaimed, and critically assessed film styles of all time. The unfortunate consequence is an ever-growing divergence between fans and scholars with regard to goals and methods for appreciating and studying noir. The Maltese Touch of Evil aims to bridge that gap. Based on a series of popular podcasts, this unique and inspired investigation of film noir sets out to examine the case of noir more closely, and in the process reconfigures the critical evidence on noir that has been presented to date. The Maltese Touch of Evil reproduces and resequences nearly 150 still images from 31 great films, laying them out with the authors' informed and entertaining insights into the significance of each shot. The result is a de facto meta-film noir, a celebration of the genre that shows how these films are themselves "constrained' texts whose carefully calculated visual forms silmultaneously generate narrative and critical commentary on that narrative. You will never look at film noir the same way again." -- BOOK BLURB Notes: Formerly CIP; Includes bibliographical references (p. -300), filmography and index ISBN: 9781611680478 Donation: Donated by Senses of Cinema, 2013 Contents: -- acknowledgments -- preface -- A void in film noir studies -- One hundred thousand billion films noir: Oulipian works and potential -- Workshop of potential criticism: anoulipism and plagiarism by anticipation -- Build my scaffolding high: noir films as constrained texts -- Oufinopo: the noiremes -- post script: how we wrote our Noiremes -- postliminary 1: the guilty parties: out of the past: investigating Film Noir -- postliminary 2: computers and writers -- the MTOE project -- appendix 1 : selected filmography -- appendix 2 : podcastography -- notes -- further readings -- references -- index -- More info
The mass ornament : Weimar essays / Siegfried Kracauer ; translated, edited, and with an introduction by Thomas Y. Levin
Cambridge, MA: Harvard University Press, 1995.
Call No: 62(081):408.1(430) KRA Author: Kracauer, Siegfried Source: US Place: Cambridge, MA Publisher: Harvard University Press PubDate: 1995 PhysDes: 403 p. ; 24 cm Subject: POPULAR CULTURE AND THE CINEMA. GERMANY; CRITICISM; THEORY; KRACAUER, SIEGFRIED; FRANKFURT SCHOOL Summary: This book is a celebration of the masses - their tastes, amusements, and everyday lives. Taking up the master themes of modernity, such as isolation and alienation, mass culture and urban experience, and the relation between the group and the individual, Kracauer explores a kaleidoscope of topics: shopping arcades, the cinema, bestsellers and their readers, photography, dance, hotel lobbies, Kafka, the Bible, and boredom. For Kracauer, the most revelatory facets of modern metropolitan life lie on the surface, in the ephemeral and the marginal. The Mass Ornament today remains a refreshing tribute to popular culture, and its impressively interdisciplinary essays continue to shed light not only on Kracauer's later work but also on the ideas of the Frankfurt School, the genealogy of film theory and cultural studies, Weimar cultural politics, and, not least, the exigencies of intellectual exile. This volume presents the full scope of his gifts as one of the most wide-ranging and penetrating interpreters of modern life. [Taken from back cover.] ISBN: 067455163X More info
Maximum movies - pulp fictions : film culture and the worlds of Samuel Fuller, Mickey Spillane, and Jim Thompson / Peter Stanfield
New Brunswick, N.J.: Rutgers University Press, 2011.
Call No: 408 STA Author: Stanfield, Peter Source: US Place: New Brunswick, N.J. Publisher: Rutgers University Press PubDate: 2011 PhysDes: xiii, 227 p. : ill. ; 24 cm Subject: ADAPTATIONS. THOMPSON, JIM; ADAPTATIONS. SPILLANE, MICKEY; FULLER, SAMUEL; EXPLOITATION FILMS; CULT FILMS; BEST FILMS; CULTURE AND THE CINEMA. USA; THEORY; AESTHETICS; POPULAR CULTURE AND THE CINEMA; POPULAR CULTURE AND THE CINEMA. USA; FILM CULTURE; GODARD, JEAN-LUC; FARBER, MANNY; KISS ME DEADLY (US, Robert Aldrich, 1955) Summary: A study on pulp movies (such as Kiss me Deadly, Shock Corridor, Fixed Bayonets!, I Walked with a Zombie, The Lineup, Terror in a Texas Town, Ride Lonesome) impacted upon and influenced the critics, cinephiles, and filmmakers of the day (people such as Jean-Luc Godard, Manny Farber, Lawerence Alloway, Paulene Kael). The critics 'championed the cause of these movies and incited the cultural guardians of the day by attacking a rigorously policed canon of tasteful, rareified, and ossified art objects.
Against the legitimate and in the defense of the illegitimate, in an insolent and unruly manner, these critics agitated for the recognition of lurid sensational crime stories. War pictures, fast-paced Westerns, thillers, and gangster melodramas were claimed as examples of the true, the real, and the authentic in contemporary culture - the foundation upon which modern film studies sits.' - taken from Back Cover ISBN: 9780813550626 Contents: Introduction : yours till the boys come home -- Position papers : in defense of pulp movies -- A genealogy of pulp : Black mask to Mickey Spillane -- A world of small insanities : the critical reception of Kiss me deadly -- American primitive : Samuel Fuller's pulp politics -- Authenticating pulp : Jim Thompson adaptations and neo-noir -- Conclusion : hiding out in cinemas More info
Media institutions and audiences : key concepts in media studies / Nick Lacey
Houndmills, Basingstoke, Hampshire ; New York: Palgrave, 2002.
Call No: 41 LAC Author: Lacey, Nick Source: UK Place: Houndmills, Basingstoke, Hampshire ; New York Publisher: Palgrave PubDate: 2002 PhysDes: xii, 235 p. : ill. ; 22 cm Subject: MEDIA; AUDIENCES; AUDIENCE RESEARCH; AUDIENCES
THEORY Summary: "The book delivers a range of theories and contemporary case studies in its coverage of media business and the influence of regulation and censorship. The issues surrounding the growing commodification of media texts, and the increasing influence of marketing and public relations, are considered. The major approaches to understanding audiences are also investigated" Notes: Includes bibliographical references (p. 223-230) and index. Contents: Acknowledgements -- Series preface -- Introduction -- 1: the media business -- 1.1: Introduction -- 1.2: Hollywood: a business history -- 1.3: Contemporary Hollywood: the high concept -- 1.4: Synergy -- 1.5: Viacom -- 1.6: Broadcasting -- 1.7: the press -- 1.8: News Corporation -- 1.9: Convergence and the internet --1.10: Conclusion -- 2: Regulation and censorship: 2.1: Introduction -- 2.2: British legal regulations --2.3: Self-regulation - Press Complaints Commission -- 2.4: Freedom of information -- 2.5: British broadcasting regulation -- 2.6: Public service broadcasting -- 2.7: Classification or censorship? -- 2.8: Pressure groups -- 2.9: Institutional practices -- 2.10: Conclusion -- 3: Media texts as commodities -- 3.1: Introduction -- 3.2: Films -- 3.3: Stars, celebrities and personalities -- 3.4: the effect of advertising on newspapers -- 3.5: Commercial broadcasting -- 3.6: Media imperialism -- 3.7: Music as commodity -MTV -- 3.8: News and the developing world -- 3.9: Eurocentrism -- 3.10: Conclusion -- 4: Marketing and Public Relations -- 4.1: Introduction -- 4.2: Marketing mix -- 4.3: Advertising -- 4.4: Branding -- 4.5: Public Relations (PR) -- 4.6: Vortex of publicity -- 4.7: The net future? -- 4.8: Conclusion -- 5: The independent and the alternative -- 5.1: Introduction -- 5.2: Definitions of 'indepedence' and 'alternative' -- 5.3: Independent film -- 5.4: Crossing over: the commodification of the oppositional -- 5.5: Music, mediation and industry -- 5.6: Access programmes -- 5.7: Conclusion -- 6: Approaches to audiences -- 6.1: Introduction -- 6.2: The 'effects' debate (the hyperdermic model) -- 6.3: the 'uses and gratifications' theory -- 6.4: Encoding/decoding -- 6.5: Ethnography -- 6.6 Conclusion -- 7: Defining and persuading audiences -- 7.1: Introduction -- 7.2: Audience classification -- 7.3: Persuasion -- 7.4: Audiences and scheduling -- 7.5: Modes of address -- 7.6: Sub-cultural groups 7.7: Conclusion -- 8: Audience as citizens -- 8.1: Introduction -- 8.2: Information and knowledge -- 8.3: Representation and access -- 8.4: Conclusion -- Bibliography -- Index More info
Media reception studies / Janet Staiger
New York: New York University Press, c2005.
Call No: 395 STA Author: Staiger, Janet Source: UK Place: New York Publisher: New York University Press PubDate: c2005 PhysDes: ix, 251p. ; 24 cm Subject: AUDIENCES
THEORY; AUDIENCES; MEDIA STUDIES; RECEPTION Summary: A book on the ways that audiences take meaning out of mass media from films and televisions as communication media. Different theories and approaches are used to discuss the complex relationships between films and their audiences, TV shows and viewers. The effects that film has upon the audience is also discussed to understand the effects of mass media. (Taken from book cover) Notes: Includes bibliographical references and index. ISBN: 0814781357 More info
Merchants of Menace : the Business of Horror Cinema / edited by Richard Nowell
New York: Bloomsbury, 2014.
Call No: 735.2:203 MER Author: Nowell, Richard (ed.) Source: US/UK Place: New York Publisher: Bloomsbury PubDate: 2014 PhysDes: xiv, 264 pages : illustrations (black and white) ; 23 cm Subject: HORROR FILMS; ECONOMICS AND THE CINEMA; PRODUCTION; HORROR FILMS. AUSTRALIA; CRITICISM; DIRECTION; LITERATURE AND THE CINEMA; THEORY; DISTRIBUTION; ADVERTISING FOR FILMS; SCREAM (US, Wes Craven, 1996); SCREAM 2 (US, Wes Craven, 1997); SCREAM 3 (US, Wes Craven, 2000); SCREAM 4 (US, Wes Craven, 2011) Summary: "Even though horror has been a key component of media output for almost a century, the genre's industrial character remains under explored and poorly understood. Merchants of Menace: The Business of Horror Cinema responds to a major void in film history by shedding much-needed new light on the economic dimensions of one of the world's most enduring audiovisual forms. Given horror cuts across budgetary categories, industry sectors, national film cultures, and media, Merchants of Menace also promises to expand understandings of the economics of cinema generally. Covering 1930-present, this groundbreaking collection boasts fourteen original chapters from world-leading experts taking as their focus such diverse topics as early zombie pictures, post-WWII chillers, Civil Rights-Era marketing, Hollywood literary adaptations, Australian exploitation, "torture-porn" Auteurs, and twenty-first-century remakes." - Publisher's Website Notes: Formerly CIP; Includes bibliographical references and index; Also issued online ISBN: 9781623564209 Contents: -- Production lines, trends, and cycles. "House of horrors": corporate strategy at Universal Pictures in the 1930s / Kyle Edwards -- The undead of Hollywood and poverty row: the influence of studio-era industrial patterns on zombie film production, 1932-46 / Todd K. Platts -- By the book: American horror cinema and horror literature of the late 1960s and 1970s / Peter Hutchings -- Risen from the vaults: recent horror film remakes and the American film industry / Kevin Heffernan -- Monster factory: international dynamics of the Australian horror movie industry / Mark David Ryan -- Film content, style, and themes. "Bad medicine": the psychiatric profession's interventions into the business of postwar horror / Tim Snelson -- Horror film atmosphere as anti-narrative (and vice versa) / Robert Spadoni --"A kind of Bacall quality?: Jamie Lee Curtis, stardom, and gentrifying non-Hollywood horror / Richard Nowell -- "New decade, new rules": rebooting the scream franchise in the digital age / Valerie Wee -- Movie marketing, branding, and distribution. "Hot profits out of cold shivers!": horror, the first run market, and the Hollywood studios, 1938-42 / Mark Jancovich -- Strange enjoyments: the marketing and reception of horror in the civil rights era black press / Mikal J. Gaines -- Bids for distinction: the critical-industrial function of the horror auteur / Joe Tompkins -- Low budgets, no budgets, and digital-video nasties: recent British horror and informal distribution / Johnny Walker -- Hammer 2.0: legacy, modernization, and hammer horror as a heritage brand / Matt Hills -- More info
Minding movies : observations on the art, craft, and business of filmmaking / by David Bordwell and Kristin Thompson
Chicago: University of Chicago Press, 2011.
Call No: 62(04) BOR Author: Bordwell, David; Thompson, Kristin Source: US Place: Chicago Publisher: University of Chicago Press PubDate: 2011 PhysDes: 292 p. : ill. ; 24 cm Subject: ANIMATION; CRITICISM; FILM; GENRES; PRODUCTION; THEORY Summary: "Minding movies presents a selection from over three hundred essays on genre movies, art films, animation, and the business of Hollywood that have graced David Bordwell and Kristin Thompson's blog Observations on Film Art since its debut in 2006. Informal pieces, conversational in tone but grounded in three decades of authoritative research, the essays gathered here range from in-depth analyses of individual films such as Slumdog Millionaire and Inglourious Basterds to adjustments of Hollywood media claims and forays into cinematic humor. For Bordwell and Thompson, the most fruitful place to begin is how movies are made, how they work, and how they work on us. Written for film lovers, these essays- on topics ranging from Borat to blockbusters and back again - will delight current fans and gain new enthusiasts. Serious but not solemn, vibrantly informative without condescension, and above all illuminating reading, Minding Movies offers ideas sure to set film lovers thinking - and keep them returning to the silver screen. " -- BOOK BLURB Notes: Includes index ISBN: 9780226066998 Contents: -- preface -- acknowledgments -- pt. 1. The business : World rejects Hollywood blockbusters!? ; Live with it! There'll always be movie sequels. Good thing, too ; Superheroes for sale ; What won the weekend? Or, how to understand box-office figures ; Snakes, no; Borat, yes: not all internet publicity is the same ; Don't knock the blockbusters --
pt. 2. Writing about movies : In critical condition ; Love isn't all you need ; Do filmmakers deserve the last word? ; Crix nix Variety's tics --
pt. 3. Film as art : But what kind of art? ; This is your brain on movies, maybe ; Movies still matter --
pt. 4. Storytelling and style : Anatomy of the action picture ; Times go by turns ; Grandmaster flashback ; Originality and origin stories ; Good actors spell good acting ; By Annie standards ; Unsteadicam chronicles ; Pausing and chortling: a tribute to Bob Clampett --
pt. 5. Films : A behemoth from the dead zone ; Cronenberg's violent reversals ; The movie looks back at us ; Lessons from Babel ; Slumdogged by the past ; Rat rapture ; A welcome basterdization --
pt. 6. Into the future : New media and old storytelling ; The celestial multiplex ; Take my film, please -- index -- More info
Melbourne Film Bulletin (1968) iss.4 p.22-24 More info
Movies and methods : an anthology / edited by Bill Nichols
Berkeley: University of California Press, c1976.
Call No: 62(082) MOV v.1 Author: Nichols, Bill Place: Berkeley Publisher: University of California Press PubDate: c1976 PhysDes: xi, 640 p. : ill. ; 24 cm Subject: STRUCTURALISM; CRITICISM; IDEOLOGY AND THE CINEMA; IDEOLOGY IN FILMS; POLITICS AND THE CINEMA; POLITICS IN FILMS; GENRES; AUTEUR THEORY; FILM NOIR; THEORY; WESTERNS; WOMEN AND THE CINEMA; FILM NOIR; SEMIOLOGY; METHODOLOGY OF FILM CRITICISM; ETHNOGRAPHIC FILMS; FEMINISM AND THE CINEMA; CAPRA, FRANK; RAY, NICHOLAS; VON STERNBERG, JOSEF; GODARD, JEAN-LUC; CITIZEN KANE (US, Orson Welles, 1941); SERPICO (US, Sidney Lumet, 1973); GODFATHER PART II, THE (US, Francis Ford Coppola, 1974); VENT D'EST (FR/IT/GW, Jean-Luc Godard & Dziga Vertov Group, 1970); WIND FROM THE EAST (FR/IT/GW, Jean-Luc Godard & Dziga Vertov Group, 1970); VIVRE SAVIE (FR, Jean-Luc Godard, 1962); KLUTE (US, Alan J. Pakula, 1971); TRUFFAUT, FRANCOIS; SHOCK CORRIDOR (US, Samuel Fuller, 1963); TO HAVE AND HAVE NOT (US, Howard Hawks, 1944); BLOW JOB (US, Andy Warhol, 1963); RIO LOBO (US, Howard Hawks, 1970); YOUNG MR. LINCOLN (US, John Ford, 1939) Summary: "Film teachers and students will welcome this new anthology, which makes available in one source a comprehensive selection of recent theoretical work on film, including many articles difficult to locate in the scattered literature. The contents are drawn almost entirely from the publications of the past fifteen years, and include work by the most original film thinkers - some well known to a wide public, some widely known among readers of film journals. Several important film-makers are also represented." -- BOOK BLURB Notes: Includes index; This is volume 1 ISBN: 0520031512 LON: cln74022969; 10151896 Contents: --- part 1 contextual criticism -- political criticism -- genre criticism -- feminist criticism -- part 2 formal criticism -- auteur criticism -- mise-en-scene criticism -- part 3 theory -- film theory -- structuralism-semiology -- More info
Mysteries of cinema : reflections on film theory, history and culture 1982-2016 / Adrian Martin
Amsterdam: Amsterdam University Press,
Call No: 62(081) MAR Author: Martin, Adrian Edition: 2018 Place: Amsterdam Publisher: Amsterdam University Press PhysDes: 424 pages ; 24 cm Series: film culture in transition Subject: AVANT-GARDE FILMS; CINEPHILIA; CRITICISM: METHODOLOGY OF FILM CRITICISM; THEORY. AUSTRALIA; FILM HISTORY; AKERMAN, CHANTAL; ALMODOVAR, PEDRO; CASSAVETES, JOHN; DE PALMA, BRIAN; FULLER, SAMUEL; GARREL, PHILIPPE; GODARD, JEAN-LUC; HITCHCOCK, ALFRED; POLANSKI, ROMAN; RESNAIS, ALAIN; RUIZ, RAUL; SCORSESE, MARTIN; AFTER HOURS (US, Martin Scorsese, 1985); AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993); COTTON CLUB, THE (US, Francis Ford Coppola, 1984); ANNEE DERNIERE A MARIENBAD, L' (FR, Alain Resnais, 1961); ONCE UPON A TIME IN AMERICA (US, Sergio Leone, 1984); HATEFUL EIGHT, THE (US, Quentin Tarantino, 2015); TODO SOBRE MI MADRE (SP/FR, Pedro Almodovar, 1999) Summary: The essays of distinguished film critic Adrian Martin have long been difficult to access, so this anthology, which collects his work in one volume, will be welcomed throughout film studies. He offers in-depth analysis of many genres of films while providing a broad understanding of the history of cinema and the history of film criticism and culture. These vibrant, highly personal essays balance breadth across cinema theory with almost encyclopedic detail, ranging between aesthetics, cinephilia, film genre, criticism, philosophy, and cultural politics. -- publisher's web site ISBN: 9789462986831 Contents: PART I - LETTERS OF INTRODUCTION -- 1. Retying the Threads -- 2. The Path and the Passeur -- 3. That Summer Feeling
PART II – SCENOGRAPHIES -- 4. Scenes -- 5. Wishful Thinking -- 6. Entities and Energies -- 7. Entranced
PART III - A CINEPHILE IN AUSTRALIA -- 8. No Flowers for the Cinephile: The Fates of Cultural Populism
PART IV - THE LYRICAL IMPULSE -- 9. Refractory Characters, Shards of Time and Space -- 10. The Trouble with Fiction -- 11. Ball of Fire: The Mysteries -- 12. The Ever-Tested Limit: Cinematic Apparitions -- 13. Delirious Enchantment
PART V - GENRE GAMES -- 14. Mr Big: Gangsters and Power -- 15. Unlawful Entries: Anatomy of a Film Cycle -- 16. Lady, Beware: Paths of the Female Gothic -- 17. Live to Tell: Teen Movies Yesterday, Today and Tomorrow -- 18. In the Mood for (Something Like) Love -- 19. Shivers, Surprise and Discomfort: Sadism and Sublimation in Contemporary Cinema
PART VI – INTERVENTIONS -- 20. Making a Bad Script Worse: The Curse of the Scriptwriting Manual -- 21. The Offended Critic: Film Reviewing and Social Commentary -- 22. Wild Psychoanalysis of a Precarious, Unstable Reality
PART VII - ENVOI -- 23. No Direction Home: Creative Criticism -- 24. Farewells, Full Circles and Ellipses -- 25. My Back Pages -- 26. The File We Accompany, with Cristina lvarez Lopez
Notes -- Sources of Texts -- Index More info
The mystical gaze of the cinema : the films of Peter Weir / by Richard Leonard
Carlton, Victoria: Melbourne University Press, 2009.
Call No: 81WEI LEO Author: Leonard, Richard Source: AT Place: Carlton, Victoria Publisher: Melbourne University Press PubDate: 2009 PhysDes: ix, 300 p. ; 29 cm Series: MUP academic monographs Subject: AUSTRALIA; CRITICISM; THEORY; GAZE IN FILMS; RELIGION AND THE CINEMA; RELIGION IN FILMS; WEIR, PETER; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); GALLIPOLI (AT, Peter Weir, 1981); WITNESS (US, Peter Weir, 1985) Summary: "The Mystical Gaze of the Cinema is a meticulous and accessible book that uses a psychoanalytic approach incorporating the insights of Jung, film theory and theology to break new ground in what continues to be a hot topic in cinema studies: the spectator-screen relationship. Leonard provides a fresh, innovative and provocative perspective on what happens when we behold a film." -- Publisher description Notes: Includes index; Derived from author's dissertation (Ph. D.)--University of Melbourne, 2003; Bibliography: p. 261-292; Also available in an electronic version via the Internet at the publisher's home page: http://www.mup.edu.au ISBN: 9780522856620 Contents: -- acknowledgements -- introduction -- 1 the mystical gaze -- 2 the unseen gaze -- 3 defining the codes within the mystical gaze -- 4 an apprehension of mysticism: Peter Weir -- 5 Picnic at Hanging Rock -- 6 Gallipoli -- 7 Witness -- conclusions -- notes -- filmography -- bibliography -- index -- More info
Nabokov's dark cinema / Appel, Alfred
New York: Oxford University Press, 1974.
Narrative, apparatus, ideology : a film theory reader / edited by Philip Rosen
New York: Columbia University Press, 1986.
Canberra Times [TV Guide] (07/09/2015) p.2 Call No: SUBJECT CLIPPINGS FILE; INDUSTRY, TELEVISION. AUSTRALIA Author: Idato, Michaek PhysDes: Clippings File Article Subject: INDUSTRY, TELEVISION. AUSTRALIA; SCREEN NSW; NETWORK TEN; APPLE; HILL, DAVID; BIG BANG THEORY, THE [TV] (US, 2007-); GO BACK TO WHERE YOU CAME FROM [TV] (AT, 2011) Summary: Snippets on various aspects of the Australian television industry. Stories reported upon this week are: Seven Network buys screening rights for the first seven season of the BIG BANG THEORY, David Hill to produce 2016 Academy Awards, Courtney Gibson is new Chief Executive of Screen NSW, GO BACK TO WHERE YOU CAME FROM to be made in Holland, Network Ten staff changes More info
New queer cinema : the director's cut / B. Ruby Rich
Durham [North Carolina]: Duke University Press, 2013.
Call No: 760-032 RIC Author: Rich, B. Ruby Source: US Place: Durham [North Carolina] Publisher: Duke University Press PubDate: 2013 PhysDes: xxx, 322 pages : illustrations ; 24 cm Subject: AESTHETICS; BISEXUALITY AND THE CINEMA; BISEXUALITY IN FILMS; DOCUMENTARIES; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; SAN FRANCISCO IN FILMS; SEXUALITY AND THE CINEMA; SEX IN FILMS; THEORY; CHEANG, SHU-LEA; CONDON, BILL; DEITCH, DONNA; DUNYE, CHERYL; FASSBINDER, RAINER WERNER; JARMAN, DEREK; LEE, ANG; RIPSTEIN, ARTURO; TECHINE, ANDRE; VACHON, CHRISTINE; VAN SANT, GUS; WONG KAR WAI; BEING JOHN MALKOVICH (UK/US, Spike Jonze, 1999); BOYS DON'T CRY (US, Kimberly Peirce, 1999); BROKEBACK MOUNTAIN (US, Ang Lee, 2005); GO FISH (US, Rose Troche, 1994); KIDS ARE ALL RIGHT, THE (US, Lisa Cholodenko, 2010); MILK (US, Gus Van Sant, 2008); MYSTERIOUS SKIN (US/NE, Gregg Araki, 2004); TARNATION (US, Jonathan Caouette, 2003); TIMES OF HARVEY MILK, THE (US, Robert Epstein, 1984); WATERMELON WOMAN, THE (US, Cheryl Dunye, 1996) Summary: "B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her groundbreaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS. The genre has grown to include an entire generation of queer artists, filmmakers, and activists. As a critic, curator, journalist and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume brings together the best of her writing on the NQC and features her new thoughts on the topic. Following this cinematic movement from its origins in the mid-1980s to the present, Rich presents her insights into NQC pioneers including Derek Jarman and Isaac Julien; investigates such celebrated films as Go Fish, Brokeback Mountain, Itty Bitty Titty Committee, and Milk; explores less-known films and international cinemas; and documents the more recent incarnations of the NQC on screen, on the web, and in art galleries." - BOOK BLURB Notes: Includes bibliographic references and index -- includes filmography ISBN: 9780822354284 ID2: 291 More info
New vocabularies in film semiotics : structuralism, post-structuralism, and beyond / Robert Stam, Robert Burgoyne, and Sandy Flitterman-Lewis
London New York: Routledge, 1992.
No other way to tell it : docudrama on film and television / by Derek Paget
Manchester: Manchester University Press, c2011.
Call No: 729.22 PAG Author: Paget, Derek Edition: 2nd Source: US/UK Place: Manchester Publisher: Manchester University Press PubDate: c2011 PhysDes: viii, 327 p. ; 22 cm Subject: DOCUMENTARY DRAMAS; THEORY Summary: " This second edition of 'No other way to tell it' defines the docudrama, analyses its codes and conventions, and reviews contrasting histories in American and British practice - taking into account new developments since the first edition. These include television's radically new ecology, with formats a growth area. Docudrama in film has also burgeoned recently, partly because the industries themselves have grown closer and partly because of continued interest in the lives of the famous and of those in the news. International co-production now exploits many different screening opportunities and possibilities, with the result that docudrama has become a cinematic as well as televisual staple. Docudrama is not only popular with audiences; it also causes constant flurries of commentary and controversy. Concerns about 'borders' and 'boundaries', a questioning of documentary's claim to represent the real, doubts about the popular audience's ability to cope with new approaches to the ideas of witness, testimony and confession, authenticity and truth - all these issues fuel the debate. This new edition situates docudrama and its ongoing debates within a newly vibrant and still highly contentious field of practice. This book will interest readers - academic and general - with an interest in fact-based drama in film, theatre and television " -- BOOK BLURB ISBN: 9780719084478 Contents: -- acknowledgments -- introduction to the second edition -- Working on docudrama -- The law and regulation: docudrama in the new millennium -- Codes, conventions and change -- Keywords, key debates -- Histories: antecedents and first phase -- Histories: second-phase developments --
Histories: third-phase 'co-pros' -- Histories: fourth-phase hybridisation -- bibliography -- index -- More info
Nonindifferent nature : Neravnodushnadia priroda. English / Sergei Eisenstein ; translated by Herbert Marshall
Cambridge New York: Cambridge University Press, 1987.
On Michael Haneke / edited by Brian Price and John David Rhodes
Detroit: Wayne State University Press, c2010.
Call No: 81HAN MIC Author: Price, Brian (ed.); Rhodes, John David (ed.) Source: US Place: Detroit Publisher: Wayne State University Press PubDate: c2010 PhysDes: vii, 289 p. : ill. ; 23 cm Series: Contemporary approaches to film and television series Subject: GAZE IN FILMS; THEORY; HANEKE, MICHAEL; CACHE (FR/AU/GG/IT, Michael Haneke, 2005); HIDDEN (FR/AU/GG/IT, Michael Haneke, 2005)
CACHE; PIANO TEACHER, THE (AU/FR, Michael Haneke, 2001)
PIANISTE, LA; PIANISTE, LA (AU/FR, Michael Haneke, 2001) Summary: "Michael Haneke is one of the most important film directors working today. This collection offers a full spectrum of responses to his work, ranging from detailed formal analyses of his films to broad considerations of the philosophical and political issues that these films raise. On Michael Haneke is indispensable, both as a guide to the filmmaker's artistry and as a commentary on the malaise in Western civilization that his films reveal" -- Steven Shaviro, DeRoy Professor of English at Wayn State University -- BOOK BLURB Notes: Formerly CIP; Includes bibliographical references and index ISBN: 9780814334058 Donation: Donated by Senses of Cinema, 2013 Contents: -- acknowledgments -- Introduction / Brian Price and John David Rhodes -- Violence and Play. Games Haneke Plays: Reality and Performance / Brigitte Peucker -- Pain and the Limits of Representation / Brian Price -- Haneke's "Funny" Games with the Audience (Revisited) / Tarja Laine -- Haneke's Stable: The Death of an Animal and the Figuration of the Human / Michael Lawrence -- Style and Medium. The Spectacle of Skepticism: Haneke's Long Takes / John David Rhodes -- "Comment ca, rien?": Screening the Gaze in Cache / Hugh S. Manon -- The Key to Voyeurism: Haneke's Adaptation of Jelinek's The Piano Teacher / Fatima Naqvi and Christophe Kone -- The Message and the Medium: Haneke's Film Theory and Digital Praxis / Mattias Frey -- Death, with Television / Meghan Sutherland -- Haneke's Early Work for Television / Bert Rebhandl -- Culture and Conflict. Haneke and the Discontents of European Culture / Christopher Sharrett -- The Functionary of Mankind: Haneke and Europe / Rosalind Galt -- Codes Unknown: Haneke's Serial Realism / Scott Durham -- When Forgetting is Remembering: Haneke's Cache and the Events of October 17, 1961 / Patrick Crowley -- contributors -- index -- More info
On the Films of Jean-Luc Godard
Wide Angle (1976) vol.1 iss.3 p.[whole issue] More info
On the history of film style / David Bordwell
Cambridge, Mass.: Harvard University Press, 1997.
Call No: 62 BOR Author: Bordwell, David Place: Cambridge, Mass. Publisher: Harvard University Press PubDate: 1997 PhysDes: x, 322 p. : ill. ; 25 cm Subject: THEORY; EDITING; CAHIERS DU CINEMA; HOLLYWOOD; LENSES; MODERNISM AND THE CINEMA; MONTAGE; REALISM IN FILMS; WIDE-SCREEN SYSTEMS; BAZIN, ANDRE; BURCH, NOEL; ASTRUC, ALEXANDRE; BARDECHE, MAURICE; BENJAMIN, WALTER; BRASILLACH, ROBERT; COMOLLI, JEAN-LOUIS; GUNNING, TOM; KULESOV, LEV; LEENHARDT, ROGER; LUMIERE, LOUIS; WYLER, WILLIAM; MELIES, GEORGES; TOLAND, GREGG; WELLES, ORSON; CITIZEN KANE (US, Orson Welles, 1941) Notes: Includes bibliographical references and index ISBN: 0674634284 (cloth : alk. paper); 0674634292 (pbk. : alk. paper) LON: 97004016; 13106257 Contents: 1. The Way Movies Look: The Significance of Stylistic History -- 2. Defending and Defining the Seventh Art: The Standard Version of Stylistic History -- 3. Against the Seventh Art: Andre Bazin and the Dialectical Program -- 4. The Return of Modernism: Noel Burch and the Oppositional Program -- 5. Prospects for Progress: Recent Research Programs -- 6. Exceptionally Exact Perceptions: On Staging in Depth More info
Opening Bazin : postwar film theory and its afterlife / edited by Dudley Andrew with Herve Joubert-Laurencin
New York: Oxford University Press, c2011.
Call No: 81BAZ OPE Author: Andrew, Dudley (ed.); Joubert-Laurencin, Herve Source: US/UK Place: New York Publisher: Oxford University Press PubDate: c2011 PhysDes: xix, 351 p. : ill. ; 26 cm Subject: THEORY; HISTORY OF CINEMA; BAZIN, ANDRE Summary: "With the full range of his voluminous writings finally viewable, Andrew Bazin seems more deserving than ever to be considered the most influential of all writers on film. His brief career, 1943-58, helped bring about the leap from classical cinema to the modern art of Renoir, Welles, and neorealism. Founder of Cahiers du Cinema, he encouraged the future New Wave directors to confront his telltale question, What is Cinema? This colection considers another vital question, Who is Bazin? In it, thirty-three renowned film scholars- including de Baecque, Elsaesser, Gunning, and MacCabe - tackle Bazin's meaning for the 21st century. They have found in his writings unmistakable traces of Flaubert, Bergson, Breton, and Benjamin, and they have pursued this vein to the gold mine of Deleuze and Derrida. They have probed and assessed his ideas on film history, style, and technique, measuring him against today's media regime, while measuring that regime against him. They have located the precious ore of his thought crouched within striations of French postwar politics and culture,and they have revealed the unexpected effects of that thought on filmmakers and film culture on four continents. Open Bazin; you will find a treasure." -- BOOK BLURB ISBN: 9780199733897 Contents: -- a binocular preface -- Dudley Andrew and Herve Joubert-Laurencin -- acknowledgments -- Part one: Lineage -- A Bazinian half-century / Thomas Elsaesser -- Cinema across fault lines: Bazin and the French school of geography / Ludovic Cortade -- Evolution and event in Qu'est-ce que le cine´ma? / Tom Conley -- The reality of hallucination in Andre´ Bazin / Jean-Franc¸ois Chevrier -- Beyond the image in Benjamin and Bazin: the aura of the event / Monica Dall'Asta -- Bazin as modernist / Colin MacCage -- Film and plaster: the mould of history / Jean-Michel Frodon -- From Bazin to Deleuze: a matter of depth / Diane Arnoud -- Deconstruction avant la lettre: Jacques Derrida before Andre´ Bazin / Louis-Georges Schwartz -- Part Two: Aesthetics -- Belief in Bazin / Philip Rosen -- The world in its own image: the myth of total cinema / Tom Gunning -- The afterlife of superimposition / Daniel Morgan -- The difference of cinema in the system of the arts / Angel Dalle Vacche -- Malraux, Bazin, and the gesture of Picasso / Dudley Andrew -- Incoherent spasms and the dignity of signs: Bazin's Bresson / Noa Steimatsky -- Animals: an adventure in Bazin's ontology / Seung-hoon Jeong -- Bazin's exquisite corpses / Ivone Margulies -- Rewriting the image: two effects of the future-perfect in Andre´ Bazin / Herve´ Joubert-Laurencin -- Part Three: Historical moment -- The eloquent image: the postwar mission of film and of criticism / Philip Watts -- Bazin in combat / Antoine de Baecque -- Bazin the censor? / Marc Vernet -- Waves of crisis in French cinema / Jeremi Szaniawski -- Bazin's Chaplin myth and the corrosive lettrists / Rochelle Fack -- Radical ambitions in postwar French documentary / Steven Ungar -- Bazin on the margins of the seventh art / Grant Wiedenfeld -- Television and the auteur in the late '50s / Michael Cramer -- Andre´ Bazin's bad taste / James Tweedie -- Part Four: Worldwide influence -- Montage under suspicion: Bazin's Russo-Soviet reception / John MacKay -- Fom ripples to waves: Bazin in Eastern Europe / Alice Lovejoy -- Bazin in Brazil: a welcome visitor / Ismail Xavier -- Bazin and the politics of realism in mainland China / Cecile Lagesse -- Japanese readings: the textual thread / Kan Nozaki -- Japanese lessons: Bazin's cinematic cosmopolitanism / Ryan Cook -- notes on contributors -- index of names -- index of films -- index of terms -- More info
Pandora's box : essays in film theory / Barbara Creed
Melbourne: Australian Centre for the Moving Image, 2004.
Call No: 62(04) CRE Author: Creed, Barbara Source: AT Place: Melbourne Publisher: Australian Centre for the Moving Image PubDate: 2004 PhysDes: xi, 144 p. ; 21 cm Subject: HISTORY AND THE CINEMA; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; THEORY; PHILOSOPHY AND THE CINEMA Summary: Brings together a collection of classic essays on the important topic of contemporary film theory from the influence of feminism to queer theory and the reasons for the powerful effect of horror films. Notes: Includes bibliographical references and index. Contents: Acknowledgements -- Introduction -- 1: Feminist Film Theory: history and debates -- 2: The monstrous-feminine: horror, theory, film -- 3: Me Jane: you Tarzan! race and gender in the jungle -- 4: Dream Screen: film and psychoanalytic theory -- 5: From here to modernity: feminist and postmodern theory -- 6: In the pink: queer theory, queer cinema -- Index More info
Paris Hollywood : writings on film / Peter Wollen
London ; New York: Verso, 2002.
Call No: 67(04) WOL Author: Wollen, Peter Source: UK/US Place: London ; New York Publisher: Verso PubDate: 2002 PhysDes: vi, 314 p. ; 21 cm Subject: ARCHITECTURE IN FILMS; DIRECTORS; FILM; THEORY; MOVEMENTS IN FILM HISTORY; MOVEMENTS AND STYLES IN FILM HISTORY; BURROUGHS, WILLIAM; EGGELING, VIKING; GODARD, JEAN-LUC; HAWKS, HOWARD; HITCHCOCK, ALFRED; ROUCH, JEAN; BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); FREUD (US, John Huston, 1962); RULES OF THE GAME, THE (FR, Jean Renoir, 1939); REGLE DU JEU, LA (FR, Jean Renoir, 1939) Summary: "In this new collection of essays on the cinema, all written over the last ten years, Peter Wollen explores an extraordinarily wide range of topics, stretching from an analysis of time in film and video art to a study of Riff-Raff Realism in British film. Provocative essays discuss the work both of established auteur directors such as Howard Hawks and Alfred Hitchcock as well as the filmmaking careers of such experimental moviemakers as William Burroughs and Viking Eggeling, the dadaist pioneer of abstract film. The collection also includes fascinating studies of a number of film classics, such as John Huston's Freud, Jean Renoir's Rules of the Game and Ridley Scott's Blade Runner.".
"Paris Hollywood suggests new approaches to thinking about film and many unexpected connections between film studies and the history of such strangely related activities as espionage, psychoanalysis, dance, architecture, anthropology, Stalinism, love of speed and digital technology. Wollen's book is based on the premise that there are no fixed ways of writing about the cinema but, rather, a plethora of paths leading in very different directions, each contributing to a new understanding of the 20th century's major art form."--BOOK JACKET Notes: Includes bibliographical references and indexes
Includes filmography ISBN: 1859843913 Contents: -- 1: an alphabet of Cinema -- Part 1: directors and filmmakers -- 2: guerilla conditions: the cinema of William Seward Burroughs -- 3: viking eggeling -- 4: who the hell is Howard Hawks? -- 5: hitch: a tale of two cities (London and Los Angeles) -- 6: JLG -- 7: Jean Rouch -- part 2: films and movements -- 8: Freud as adventurer -- 9: Blade Runner -- 10: spies ansd spivs: an anglo-austrian engagement -- 11: rules of the game -- 12: the last new wave -- 13: riff-raff realism -- 14: architecture and film: places and non-places -- 15: the canon -- 16: time in film and video art -- 17: mismatches (& Acousmetres) -- 18 back to the future -- 19: speed and the cinema -- notes -- film-makers/director index -- filmography -- general index -- More info
"Paths that wind through the thicket of things"
Critical inquiry (Autumn 2001) vol.28 iss.1 p.317-354 Call No: TITLE CLIPPINGS FILE; MALTESE FALCON, THE (US, John Huston, 1941) Author: Stern, Lesley PhysDes: Article Subject: THEORY; IMAGE ANALYSIS; MALTESE FALCON, THE (US, John Huston, 1941) Summary: Stern's investigation is akin to grubbing along in the hedgerows, messing about with things in order to understand two or three things about the cinematic image and its capacity for rendering the material dimension of the everyday. Stern claims that the quotidian is the only sphere or modality in which things materialize cinematically but that the quotidian provides a particularly illuminating way into understanding, first, certain cinematic operation and, second, the mutability of things in the cinema. -- article abstract provided by publisher More info
The persistence of history : cinema, television, and the modern event / edited by Vivian Sobchak
New York: Routledge, 1996.
Call No: 408.1 PER Author: Sobchak, Vivian Carol Source: US Place: New York Publisher: Routledge PubDate: 1996 PhysDes: 265 pages ; 24 cm Series: AFI film readers Subject: TELEVISION; HISTORY AND THE CINEMA; HISTORY AND TV; THEORY; KING, RODNEY; TEN COMMANDMENTS, THE (US, Cecil B. DeMille, 1923); TEN COMMANDMENTS, THE (US, Cecil B. DeMille, 1956); TEN COMMANDMENTS, THE (UK, Phil Mulloy, 1996); JFK (US, Oliver Stone, 1991); HOLOCAUST (US, Marvin J. Chomsky, 1978); HITLER - EIN FILM AUS DEUTSCHLAND (GW/UK/FR, Hans Jurgen Syberberg, 1977); ANDREI RUBLEV (UR, Andrei Tarkovsky, 1969); SHOAH (FR/SZ, Claude Lanzmann, 1985); SCHINDLER'S LIST (US, Steven Spielberg, 1993); MORRIS, ERROL Summary: "The Persistence of History examines how the moving image has completely altered traditional modes of historical thought and representation. Exploring a range of film and video texts, from The Ten Commandments to the Rodney King video, from the projected work of documentarian Errol Morris to Oliver Stone's JFK and Spielberg's Schindler's List, the volume questions the appropriate forms of media for making the incoherence and fragmentation of contemporary history intelligible" -- Publisher Notes: Includes bibliographical references and index. ISBN: 0415910846 Contents: Introduction: History Happens / Vivian Sobchack -- 1. The Modernist Event / Hayden White -- 2. Cinematic Shots: The Narration of Violence / Janet Staiger -- 3. Historical Consciousness and the Viewer: Who Killed Vincent Chin? / Bill Nichols -- 4. "I'll See It When I Believe It": Rodney King and the Prison-House of Video / Frank P. Tomasulo -- 5. Antimodernism as Historical Representation in a Consumer Culture: Cecil B. Demille's The Ten Commandments, 1923, 1956, 1993 / Sumiko Higashi -- 6. Modernism and the Narrative of Nation in JFK / Robert Burgoyne -- 7. Andrei Rublev: The Medieval Epic as Post-Utopian History / Denise J. Youngblood -- 8. Subject Positions, Speaking Positions: From Holocaust, Our Hitler, and Heimat to Shoah and Schindler's List / Thomas Elsaesser -- 9. Historical Ennui, Feminist Boredom / Patrice Petro -- 10. The Future of the Past: Film and the Beginnings of Postmodern History / Robert A. Rosenstone. -- 11. Interrotroning History: Errol Morris and the Documentary of the Future / Shawn Rosenheim -- 12. The Professors of History / Dana Polan. -- Contributors -- Index More info
Personal views : explorations in film / Robin Wood
London: G. Fraser, 1976.
Call No: 67(04) WOO Author: Wood, Robin, 1931 Place: London Publisher: G. Fraser PubDate: 1976 PhysDes: 254,  p. : ill. ; 22 cm Subject: REALISM IN FILMS; IDEOLOGY AND THE CINEMA; CHILDREN IN FILMS; AUTEUR THEORY; HAWKS, HOWARD; WOLLEN, PETER; TOURNEUR, JACQUES; LETTER FROM AN UNKNOWN WOMAN (US, Max Ophuls, 1948); TOUCH OF EVIL (US, Orson Welles, 1958); UGETSU MONOGATARI (JA, Kenji Mizoguchi, 1953); SANSHO DAYU (JA, Kanji Mizoguchi, 1954); SCARLET EMPRESS, THE (US, Joseph von Sternberg, 1934) Notes: Includes index; Bibliography: p.  ISBN: 090040664X : ª5.90 LON: 793105 More info
Perverse spectators : the practices of film reception / Janet Staiger
New York: New York University Press, c2000.
Call No: 630.5 STA Author: Staiger, Janet Source: US Place: New York Publisher: New York University Press PubDate: c2000 PhysDes: vi, 242 p. ; 24 cm Subject: AUDIENCE RESEARCH; AUDIENCE RECEPTION; PERCEPTION; AUDIENCES
THEORY; AESTHETICS; GENRES; VIOLENCE IN FILMS; SILENCE OF THE LAMBS, THE (US, Jonathan Demme, 1991); CLOCKWORK ORANGE, A (UK, Stanley Kubrick, 1971); RETOUR DE MARTIN GUERRE, LE (FR, Daniel Vigne, 1982) Summary: A book on film studies, with interpretation on films using different theories. The history of film is provided and the role media plays in culture and in the world today. Different topics in films are discussed with the descpition of various films that are applied to those certain topics. ISBN: 081478139X More info
Peter Weir : a creative journey from Australia to Hollywood / by Serena Formica
Bristol ; Chicago: Intellect Books, 2012.
Available at ProQuest (RMIT login required) Call No: 81WEI FOR Author: Formica, Serena Source: US Place: Bristol ; Chicago Publisher: Intellect Books PubDate: 2012 PhysDes: vii, 202 p. : ill. ; 23 cm Subject: AUTEUR THEORY; INDUSTRY, FILM. AUSTRALIA : NEW SOUTH WALES; HOLLYWOOD; WEIR, PETER; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982); WITNESS (US, Peter Weir, 1985); TRUMAN SHOW, THE (US, Peter Weir, 1998) Summary: "The cinematic output of Australian director Peter Weir has garnered numerous awards and widespread critical acclaim-from his early short films of the 1970s to the Hollywood hits he's helmed since 1985, including the likes of Witness, Dead Poets Society, The Truman Show, and Master and Commander.
Drawing on contemporary concepts from transnational cinema studies, this book investigates Weir's entire three-decade career, paying particular attention to his journey from his native Sydney, with its largely auteur-driven national cinema, to the miltimillion-dollar Hollywood film industry with its many genre conventions. Along the way, the author explores a host of questions accompanying this move, including Weir's status as a transnational filmmaker and a more generalised discussion of the critically controversial idea of the auteur. Rounding out this volume are interviews with leading Hollywood filmmakers who discuss Weir's work."-BOOK BLURB Notes: Includes bibliographical references (p. 173-193) and filmography (p. 195-202) ISBN: 9781841504773 Contents: -- acknowldegments -- Introduction -- Migrations and transnationalism in the cinema -- Perspectives on Peter Weir -- Australian production context in the 1970s and early 1980s -- Peter Weir's four key steps from Australia to Hollywood -- Conclusions -- Bibliography -- Appendix 1: Filmography - main credits -- Appendix 2: Films made in Hollywood by Australian directors -- URL status: URL: 'https://ebookcentral.proquest.com/lib/rmit/detail.action?docID=1069409'
Checked: 31/08/2021 1:22:51 PM
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Peter Weir : interviews / edited by John C. Tibbetts ; foreword by David Thomson
Jackson, Mississippi: University Press of Mississippi, 2014.
Call No: 81WEI PET Author: Tibbetts, John C; Thomson, David Source: US Place: Jackson, Mississippi Publisher: University Press of Mississippi PubDate: 2014 PhysDes: xlii, 261 pages ; 24 cm Series: Conversations with filmmakers series Subject: ADAPTATIONS; AUTEUR THEORY; DIRECTORS; EDITING; INTERVIEWING; REALITY TV; WAR IN FILMS; WEIR, PETER; BOYD, RUSSELL; CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974); DEAD POETS SOCIETY (US, Peter Weir, 1989); FEARLESS (US, Peter Weir, 1993); GALLIPOLI (AT, Peter Weir, 1981); GREEN CARD (AT/FR, Peter Weir, 1990); HOMESDALE (AT, Peter Weir, 1971); LAST WAVE, THE (AT, Peter Weir, 1977); MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD (US, Peter Weir, 2003); MOSQUITO COAST, THE (US, Peter Weir, 1986); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); PLUMBER, THE (AT, Peter Weir, 1980); TRUMAN SHOW, THE (US, Peter Weir, 1998); WAY BACK, THE (US, Peter Weir, 2010); WITNESS (US, Peter Weir, 1985); YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982) Summary: 'Peter Weir: Interviews' is the first volume of interviews to be published on the esteemed Australian director. Although Weir (b. 1944) has acquired a reputation of being guarded about his life and work, these interviews by archivists, journalists, historians, and colleagues reveal him to be a most amiable and forthcoming subject. [...] Interviews discuss Weir's diverse and impressive range of work - his earlier films 'Picnic at Hanging Rock', 'The Last Wave', 'Gallipoli', and 'The Year of Living Dangerously', as well as Academy Award-nominated 'Witness', 'Dead Poets Society', 'Green Card', 'The Truman Show', and 'Master and Commander'. This book confirms the trajectory of Weir's life and work parallels and embodies Australia's quest to define and express a historical and cultural identity." -- BOOK BLURB Notes: Includes chronology and filmography for Peter Weir's work; includes index ISBN: 9781617038976 Contents: Foreword by David Thomson -- Introduction: "unmet friends": encounters with Peter Weir -- Chronology -- Filmography -- Peter Weir: reclaiming a Sydney boyhood: John C. Tibbetts / 2012 -- Peter Weir: snapshots in time: John C. Tibbetts / 2012 -- Peter Weir: early days: Sue Mathews / 1985 -- Small screens and big screens: television and film: Graham Shirley / 1991 -- The first features: 'The Cars That Ate Paris: Tom Hogan / 1973 -- "Weir, weird, and weirder still": the riddle of Hanging Rock: David Castell / 1976 -- Years of living dangerously: 'The Last Wave', 'The Plumber', 'Gallipoli', 'The Year of Living Dangerously': Sue Mathews / 1985 -- Interview with Peter Weir: Luisa Ceretto and Andrea Morini / 1999 -- Peter Weir: master of unease: Terry Dowling and George Mannix / 1980 -- Towards the center: Tom Ryan and Brian McFarlane / 1981 -- The swizzle stick: Peter Weir and Hollywood genres: Jonathan Rayner / 1993 -- The iceman cometh: 'Mosquito Coast': Digby Diehl / 1986 -- 'Fearless': the poetry of apocalypse: John C. Tibbetts / 1993 -- Poetry man: 'Dead Poets Society': Nancy Griffin -- Weir's worlds: 'The Truman Show': Virginia Campbell -- This is your life: 'The Truman Show': Eric Rudolph / 1998 -- He's fought his own way back to work: Terence Rafferty / 2011 -- "I am your eyes": interviews with Russell Boyd, ACS, ASC: John C. Tibbetts / 2012 -- Appendix: Notes on 'Gallipoli -- Interview with executive producer Francis O'Brien -- Peter Weir's Anzac lecture -- additional sources -- index More info
Philosophy goes to the movies : an introduction to philosophy / Christopher Falzon
London: Routledge, 2002.
Call No: 626 FAL Author: Falzon, Christopher Edition: third edition Place: London Publisher: Routledge PubDate: 2002 PhysDes: 330p. : illustrations ; 24 cm Subject: PHILOSOPHY AND THE CINEMA; THEORY; FOUCAULT, MICHEL; A NOUS, LA LIBERTE! (FR, Rene Clair, 1931); ADDICTION, THE (US, Abel Ferrara, 1995); AGNES OF GOD (US, Norman Jewison, 1985); AGUIRRE, DER ZORN GOTTES (GW, Werner Herzog, 1972); ALIEN RESURRECTION (US, Jean-Pierre Jeunet, 1997); ALL OF ME (US, Carl Reiner, 1984); ALPHAVILLE (FR, Jean-Luc Godard, 1965); AMADEUS (US, Milos Forman, 1984); AMATEUR (US, Hal Hartley, 1994); ANGEL HEART (US, Alan Parker, 1987); ANTZ (US, Eric Darnell, Lawrence Guterman & Tim Johnson II, 1998); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); BASIC INSTINCT (US, Paul Verhoeven, 1992); BEAVIS AND BUTTHEAD DO AMERICA (US, Mike Judge, 1996); BEDAZZLED (US, Stanely Donen, 1967); BEING JOHN MALKOVICH (UK/US, Spike Jonze, 1999); BEING THERE (US, Hal Ashby, 1979); BIG (US, Penny Marshall, 1988); BIG SLEEP, THE (US, Howard Hawkes, 1946); BLADE RUNNER (US, Ridley Scott, 1982); BLAISE PASCAL (IT, Roberto Rossellini, 1972); BLUE VELVET (US, David Lynch, 1986); BOB ROBERTS (US, Tim Robbins, 1992); BRAZIL; BREAKER MORANT (AT, Bruce Beresford, 1980); A BOUT DE SOUFFLE (FR, Jean-Luc Godard, 1959); BREATHLESS (FR, Jean-Luc Godard, 1959); CABARET (US, Bob Fosse, 1972); CASABLANCA (US, Michael Curtiz, 1942); CASPER (US, Brad Silberling, 1995); CHANCES ARE (US, Emile Ardolino, 1989); CHINATOWN (US, Roman Polanski, 1974); CINEMA PLUS; CITIZEN KANE (US, Orson Welles, 1941); CLOCKWORK ORANGE, A (UK, Stanley Kubrick, 1971); COLOSSUS: FORBIN PROJECT (US, Joseph Sargent, 1970); CONFORMISTA, IL (IT/FR, Bernardo Bertolucci, 1970); COOK, THE THIEF, HIS WIFE & HER LOVER, THE (NE/FR, Peter Greenaway, 1989); CRIMES AND MISDEMEANORS (US, Woody Allen, 1989); CRIMES OF PASSION (US, Ken Russell, 1984); CRUCIBLE, THE (US, Nicholas Hytner, 1996); CRYING GAME, THE (UK, Neil Jordan, 1992); DANGEROUS LIAISONS (US, Stephen Frears, 1988); DARK CITY (US, Alex Proyas, 1997); DARK STAR (US, John Carpenter, 1974); DEAD AGAIN (US, Kenneth Branagh, 1991); DEVIL'S PLAYGROUND (AT, Fred Schepisi, 1976); DRACULA (US, Tod Browning, 1931); EASY RIDER (US, Dennis Hopper, 1969); EDUCATING RITA (UK, Lewis Gilbert, 1983); ELEPHANT MAN, THE (US, David Lynch, 1980); ENEMY OF THE STATE (US, Tony Scott, 1998); JEDER FUR SICH UND GOTT GEGEN ALLE (GW, Werner Herzog, 1974); FACE/OFF (US, John Woo [pseud. of Wu Yusen], 1997); FAHRENHEIT 451 (UK, Francois Truffaut, 1966); FATAL ATTRACTION (US, Adrian Lyne, 1987); FIVE EASY PIECES (US, Bob Rafelson, 1970); FLY, THE (US, David Cronenberg, 1986); FORTRESS (AT/US, Stuart Gordon, 1993); FRANKENSTEIN (US, James Whale, 1931); FRIGHTENERS, THE (NZ/US, Peter Jackson, 1996); FULL METAL JACKET (UK, Stanley Kubrick, 1987); GATTACA (US, Andrew Niccol, 1997); GHOST (US, Jerry Zucker, 1990); GHOSTS. . . OF THE CIVIL DEAD (AT, John Hillcoat, 1988); ANGST DES TORMANNS BEIM ELFMETER, DIE (GW/AU, Wim Wenders, 1972); GROUNDHOG DAY (US, Harold Ramis, 1993); HANDMAID'S TALE, THE (US/GW, Volker Schlondorff, 1990); HANNAH AND HER SISTERS (US, Woody Allen, 1986); HE SAID, SHE SAID (US, Ken Kwapis and Marisa Silver, 1991); HIGH HOPES (UK, Mike Leigh, 1988); HIGH NOON (US, Fred Zinnemann, 1952); HILARY AND JACKIE (UK, Anand Tucker, 1998); MONTY PYTHON AND THE HOLY GRAIL (UK, Terry Gilliam & Terry Jones, 1974); IF... (UK, Lindsay Anderson, 1968); INHERIT THE WIND (US, Stanley Kramer, 1960); INTERIORS (US, Woody Allen, 1978); INTERVIEW WITH THE VAMPIRE (US, Neil Jordan, 1994); INVASION OF THE BODY SNATCHERS (US, Don Siegel, 1956); ISLAND OF LOST SOULS, THE (US, Erle C. Kenton, 1932); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); JUDGMENT AT NUREMBERG (US, Stanley Kramer, 1961); JURASSIC PARK (US, Steven Spielberg,, 1993); KOYAANISQATSI (US, Godfrey Reggio, 1982); LADYBIRD, LADYBIRD (UK, Kenneth Loach, 1994); ULTIMA CENA, LA (CU, Tomas Gutierrez Alea, 1976); MONTY PYTHON'S LIFE OF BRIAN (UK, Terry Jones, 1979); LOVE AND DEATH (US, Woody Allen, 1975); M (G, Fritz Lang, 1931); MAD MAX (AT, George Miller, 1979); MALTESE FALCON, THE (US, John Huston, 1941); MANCHURIAN CANDIDATE, THE (US, John Frankenheimer, 1962); MATEWAN (US, John Sayles, 1987); MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999); MONTY PYTHON'S THE MEANING OF LIFE (UK, Terry Jones, 1983); MEPHISTO (HU/GW, Istvan Szabo, 1981); METROPOLIS (G, Fritz Lang, 1926); MISSION, THE (UK, Roland Joffe, 1986); MODERN TIMES (US, Charles Chaplin, 1936); MON ONCLE (FR/IT, Jacques Tati, 1958); MONTY PYTHON AND THE HOLY GRAIL (UK, Terry Gilliam & Terry Jones, 1974); MONTY PYTHON'S FLYING CIRCUS[TV] (UK, 1969-1974); MY FAIR LADY (US, George Cukor, 1964); NAME DER ROSE, DER (GW/IT/FR, Jean-Jacques Annaud, 1986); NORMA RAE (US, Martin Ritt, 1979); NUTTY PROFESSOR, THE (US, Jerry Lewis, 1963); O LUCKY MAN! (UK, Lindsay Anderson, 1973); OKTIABR [OCTOBER] (UR, Sergei Eisenstein, 1928); OLIVIER, OLIVIER (FR, Agnieszka Holland, 1992); ON THE BEACH (US, Stanley Kramer, 1959); ON THE WATERFRONT (US, Elia Kazan, 1954); ONE FLEW OVER THE CUCKOO'S NEST (US, Milos Forman, 1975); PEOPLE VS LARRY FLYNT, THE (US, Milos Forman, 1996); PLAYER, THE (US, Robert Altman, 1992); PLAYTIME (FR, Jacques Tati, 1967); PRINCESS BRIDE, THE (US, Rob Reiner, 1987); PURA FORMALITA, UNA (IT/FR, Guiseppe Tornatore, 1994); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); QUIZ SHOW (US, Robert Redford, 1994); RAIN (US, Louis Milestone, 1932); RAIN MAN (US, Barry Levinson, 1988); RAPTURE, THE (US, Michael Tolkin, 1991); RASHOMON (JA, Akira Kurosawa, 1950); REAR WINDOW (US, Alfred Hitchcock, 1954); REBEL WITHOUT A CAUSE (US, Nicholas Ray, 1955); RETOUR DE MARTIN GUERRE, LE (FR, Daniel Vigne, 1982); ROBOCOP (US, Paul Verhoeven, 1987); ROSENCRANTZ AND GUILDENSTERN ARE DEAD (UK, Tom Stoppard, 1990); SALT OF THE EARTH (US, Herbert J. Biberman, 1954); SAVING PRIVATE RYAN (US, Steven Spielberg, 1998); SCHINDLER'S LIST (US, Steven Spielberg, 1993); SEA OF LOVE (US, Harold Becker, 1989); SEVEN [SE7EN] (US, David Fincher, 1995); SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957); SHOCKER (US, Wes Craven, 1989); SILENCE OF THE LAMBS, THE (US, Jonathan Demme, 1991); SIMON DEL DESIERTO (MX, Luis Bunuel, 1965); SLEEPER (US, Woody Allen, 1973); SOPHIE'S CHOICE (US, Alan J. Pakula, 1982); STAGE FRIGHT (UK, Alfred Hitchcock, 1950); STAR TREK II: THE WRATH OF KHAN (US, Nicholas Meyer, 1982); STAR TREK; STAR WARS (US, George Lucas, 1977); SUTURE (US, Scott McGehee & David Siegel, 1993); SWITCH (US, Blake Edwards, 1991); TERMINATOR, THE (US, James Cameron, 1984); TERMINATOR 2: JUDGMENT DAY (US, James Cameron, 1991); TESTAMENT DU DOCTEUR CORDELIER, LE (FR, Jean Renoir, 1961); THINGS TO COME (UK, William Cameron Menzies, 1936); TROIS COULEURS: BLEU (FR, Krzysztof Kieslowski, 1993); THREE FACES OF EVE (US, Nunnally Johnson, 1957); TOTAL RECALL (US, Paul Verhoeven, 1990); TRUMAN SHOW, THE (US, Peter Weir, 1998); USUAL SUSPECTS, THE (US, Bryan Singer, 1995); VICE VERSA (US, Brian Gilbert, 1988); JUNGFRUKALLAN (SW, Ingmar Bergman, 1960); WAG THE DOG (US, Barry Levinson, 1997); WALL STREET (US, Oliver Stone, 1987); WILD ONE, THE (US, Laslo Benedek, 1953); WITTGENSTEIN (UK, Derek Jarman, 1993); YOU ONLY LIVE ONCE (US, Fritz Lang, 1937) Summary: Now emulated in several competing publications, but still unsurpassed in clarity and insight, Philosophy Goes to the Movies: An Introduction to Philosophy, Third Edition builds on the approach that made the two earlier editions so successful. Drawing on many popular and some lesser known films from around the world, Christopher Falzon introduces students to key areas in philosophy, like: Ethics, Social and Political Philosophy, The Theory of Knowledge, The Self and Personal Identity, Critical Thinking.
Perfect for beginners, this book guides the reader through philosophy using illuminating cinematic works, like Avatar, Inception, Fight Club, Wings of Desire, Run Lola Run, A Clockwork Orange, Blade Runner, Dirty Harry and many other films.
The fully revised and updated Third Edition features: an expanded introduction that provides a new discussion of the relationship between film and philosophy; new material on notable philosophers such as Aristotle, Merleau-Ponty and Rawls; and coverage of new topics like virtue ethics and what Socrates offers for critical thinking. An updated glossary, references and bibliography, and a filmography, are also included in the Third Edition. -- publisher's web site Notes: Includes glossary ISBN: 9780415538169 Contents: Preface -- Introduction -- 1 - Plato’s Picture Show - the theory of knowledge -- 2 - All of Me - the self and personal identity -- 3 - Crimes and Misdemeanors - moral philosophy -- 4 - Antz - social and political philosophy -- 5 - Modern Times - society, science, and technology -- 6 - The Holy Grail - critical thinking -- Further Reading -- Glossary -- Bibliography -- Filmography -- Index More info
Pixar with Lacan : the hysteric's guide to animation / Lilian Munk Rosing
London: Bloomsbury Academic, an imprint of Bloomsburg Publishing, 2017.
Call No: 772 ROS Author: Rosing, Lilian Munk Edition: Paperback edition Source: US/UK Place: New York; London Publisher: Bloomsbury Academic, an imprint of Bloomsburg Publishing PubDate: 2017 PhysDes: 181 pages : illustrations ; 23 cm Subject: PIXAR; ANIMATION; THEORY; LACAN, JACQUES; TOY STORY (US, John Lasseter, 1995); TOY STORY 2 (US, John Lasseter, 1999); TOY STORY 3 (US, Lee Unkrich, 2010); BUG'S LIFE, A (US, John Lasseter & Andrew Stanton, 1998); MONSTERS, INC. (U S, Peter Docter & David Silverman, 2001); FINDING NEMO (US, Andrew Stanton & Lee Unkrich, 2003); INCREDIBLES, THE (US, Brad Bird, 2004); CARS (US, John Lasseter and Joe Ranft, 2006); RATATOUILLE (US, Brad Bird, Jan Pinkava, 2007); WALL-E (US, Andrew Stanton, 2008); UP (US, Pete Docter and Bob Peterson, 2009) Summary: The films from Pixar Animation Studios are among the most popular family films today. From Monsters Inc. to Toy Story and Wall-E, Pixar's animated characters take on human qualities that demand more than just cultural analysis. What animates the human subject according to Pixar? What are the ideological implications of that animation?
Pixar with Lacan has the double aim of analyzing pixar films while at once exemplifying important psychoanalytic concepts (the voice, the gaze, the partial object, the Other, the object a, the primal father, the name-of-the-father, symbolic castration, the imaginary/the real/the symbolic, desire and drive, the four discourses, masculine/feminine). In so doing , Lilian Munk Rosing expertly examines the ideological implications of the images of human existance in Pixar films.-- BOOK BACK COVER Notes: Formerly CIP; Includes bibliographical references and index ISBN: 9781501320170 Contents: -- Introduction -- Beyond the Name of the Father: Toy Story -- Big O is Watching You: Toy Story 2 -- Sadism in the Kindergarten: Toy Story 3 -- entertainment as warfare : A Bug's Life -- There is Nothing More Toxic than a Human Child: Monsters, Inc -- Just Keep Swimming: Finding Nemo -- More than Super: The Incredibles -- the Mother Road: Cars -- Man is a Puppet, Soul is a Rat: Ratatouille -- Humanity Stuck in Vacation Hell: Wall-E -- His Master's Voice: Up -- epilogue: animation and capitalism -- references -- filmography -- index -- More info
The place of the audience : cultural geographies of film consumption / Mark Jancovich and Lucy Faire with Sarah Stubbings
London: British Film Institute, 2003..
Call No: 410 (41) JAN Author: Jancovich, Mark Source: UK Place: London Publisher: British Film Institute PubDate: 2003. PhysDes: vi, 281 p. : ill. ; 24 cm. Subject: AUDIENCES. UK; AUDIENCES
THEORY Notes: Online Resource: Table of contents
Contributor biographical information
http://www.loc.gov/catdir/description/ucal051/2004353165.html ISBN: 0-85170942-7 More info
Pleading an Aesthetic Excuse
Montage (September 1968) p.9-13 More info
Post-theory : reconstructing film studies / edited by David Bordwell and Noel Carroll
Madison: University of Wisconsin Press, 1996.
Call No: 62 POS Author: Bordwell, David, 1947; Carroll, Noel (NoFl E.) Place: Madison Publisher: University of Wisconsin Press PubDate: 1996 PhysDes: 564 p. : 23 cm Series: Wisconsin studies in film Subject: THEORY; FILM STUDY AND RESEARCH; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; HORROR FILMS; TRUTH IN FILMS; MUSIC, FILM; NON-FICTION FILMS; REALISM IN FILMS; AVANT-GARDE FILMS; SPECTATORSHIP; JAPAN; DENMARK; EXHIBITION; CHARACTERIZATION IN FILMS; AUDIENCES; CONSTRUCTIVISM; EDITING; PERCEPTION; PSYCHOLOGICAL EFFECTS OF FILMS; GENRES; LOVE IN FILMS; MELODRAMA; NARRATIVE IN FILMS; COLUMBIA PICTURES; WARNER BROS.; BRECHT, BERTOLT; GIBSON, JAMES J.; COHN, HARRY; JAMESON, FREDRIC; MANDEL, ERNEST; RENOV, MICHAEL; JAZZ SINGER, THE (US, Alan Crosland, 1927); CASABLANCA (US, Michael Curtiz, 1942); ACCUSED, THE (US, Jonathan Kaplan, 1988) Notes: Includes bibliographical references and index ISBN: 0299149404 (cloth : alk. paper); 0299149447 (pbk. : alk. paper) LON: 95037052; 11859923 More info
Postcolonial theory and Avatar / Gautam Basu Thakur
New York : London: Bloomsbury Academic, an imprint of Bloomsburg Publishing, 2016.
Call No: 629 POS BAS Author: Basu Thakur, Gautam Source: US/UK Place: New York : London Publisher: Bloomsbury Academic, an imprint of Bloomsburg Publishing PubDate: 2016 PhysDes: ix, 195 pages : illustrations ; 21 cm Series: Film theory in practice Subject: POSTCOLONIALISM AND THE CINEMA; IMPERIALISM AND THE CINEMA; THEORY; CAMERON, JAMES; AVATAR (US, James Cameron, 2009); CACHE (FR/AU/GG/IT, Michael Haneke, 2005) Notes: Formerly CIP. -- Includes bibliographical references and index ISBN: 9781628925630 Contents: Machine generated contents note: -- Introduction -- Section 1: The Postcolonial Avatar: A Brief History of Postcolonial Theory -- Section 2: Postcolonial Theory and Avatar, Or, Postcolonial Criticism in a Multicultural World -- Conclusion -- Appendices -- - Further Reading -- - Filmography More info
The postmodern condition : a report on knowledge / Jean-Francois Lyotard ; translation from the French by Geoff Bennington and Brian Massumi ; foreword by Fredric Jameson
Manchester: Manchester University Press, 1984.
Call No: 61:8 LYO Author: Lyotard, Jean-Francois; Lyotard, Jean-Fran=cois. Condition postmoderne. English Place: Manchester Publisher: Manchester University Press PubDate: 1984 PhysDes: xxv, 110 p. ; 24cm Series: Theory and history of literature ; v.10 Subject: THEORY Summary: "Many definitions of postmodernism focus on its nature as the aftermath of the modern industrial age when technology developed dramatically. In The Postmodern Condition Jean-Francois Lyotard extends that analysis to postmodernism by looking at the status of science, technology, and the arts, the significance of technocracy, and the way the flow of information and knowledge are controlled in the Western world." [- from the back cover] Notes: Translation of: La condition postmoderne; Includes index ISBN: 0719014506 (pbk); 0719014549 (cased) LON: bnb71901454; 3194382 More info
Postmodernism and popular culture : a cultural history / John Docker
Cambridge New York Melbourne: Cambridge University Press, 1994.
Call No: 64POS DOC Author: Docker, John Place: Cambridge New York Melbourne Publisher: Cambridge University Press PubDate: 1994 PhysDes: xxi, 313 p. : ill., ports. ; 24 cm Subject: POSTMODERNISM AND THE CINEMA; POPULAR CULTURE AND THE CINEMA; MODERNISM AND THE CINEMA; STRUCTURALISM; MELODRAMA; SOAP OPERAS; DETECTIVE FILMS; GENRES; THEORY; BRERETON, LAURIE; FISKE, JOHN; KENNEDY, GRAHAM; MACCABE, COLIN; MULVEY, LAURA; JAMESON, FREDRIC; BAHTIN, MIHAIL; ADORNO, THEODOR W.; BENJAMIN, WALTER; DERRIDA, JACQUES; PRISONER [TV] (AT, 1979-86) Notes: Includes index; Bibliography: p. 285-306 ISBN: 0521465982 (pbk.); 052146045X LON: abn97324302; 13458960 More info
Postmodernism in the cinema / edited by Cristina Degli-Esposti
New York: Berghahn Books, 1998.
Call No: 61 POS DEG Author: Degli-Esposti, Christina Source: US Place: New York Publisher: Berghahn Books PubDate: 1998 PhysDes: viii, 264 p. : ill. ; 22 cm Subject: POSTMODERNISM AND THE CINEMA; POSTMODERNISM AND TV/VIDEO; POSTMODERNISM AND TV/VIDEO. USA; POSTMODERNISM AND THE CINEMA. USA; POSTMODERNISM AND THE CINEMA. JAPAN; POSTMODERNISM AND THE CINEMA. POLAND; POLAND; TRAVEL IN FILMS; FRANCE; IMPERIALISM AND THE CINEMA. AFRICAN COUNTRIES; IMPERIALISM AND THE CINEMA. FRANCE; HISTORY AND THE CINEMA; ARABS IN FILMS; RACIAL STEREOTYPES IN FILMS; ANIMATION; YOUNG PEOPLE, FILMS FOR; ADAPTATIONS. FORSTER, E. M.; ADAPTATIONS. GENET, JEAN; AUTEUR THEORY; DEGLI-ESPOSTI, CHRISTINA; BARON, CYNTHIA; KRAIDY, MARWAN; WEINSTEIN, DAVID; SHARY, TIMOTHY; BRUNS, JOHN; MAULE, ROSANNA; FALKOWSKA, JANINA; STRAIN, ELLEN; BOLUS-REICHERT, CHRISTINE; LAGA, BARRY; DEUTELBAUM, MARSHALL; HOLDEN-MOSES, PHILIP; WILES, MARY; ALTMAN, ROBERT; JAMESON, FREDRIC; ITAMI, JUZO; FORSTER, E. M.; COEN, JOEL & ETHAN; KUROSAWA AKIRA; GREENAWAY, PETER; FASSBINDER, RAINER WERNER; PLAYER, THE (US, Robert Altman, 1992); ALADDIN (US, John Musker & Ron Clements, 1992); SIMPSONS, THE [TV] (US, 1989-); BILL AND TED'S EXCELLENT ADVENTURE (US, Stephen Herek, 1989); WAYNE'S WORLD (US, Penelope Spheeris, 1992); SINGLES (US, Cameron Crowe, 1992); REALITY BITES (US, Ben Stiller, 1994); TAMPOPO (JA, Juzo Itami, 1986); A NOS AMOURS (FR, Maurice Pialat, 1983); MESSA E FINITA, LA (IT, Nanni Moretti, 1985); QUE HE HECHO PARA MERECER ESTO!! (SP, Pedro Almodovar, 1984); PSY (PL, Wladyslaw Pasikowski, 1993); CZLOWIEK Z ... (PL, Konrad Szolajski, 1993); WHERE ANGELS FEAR TO TREAD (UK, Charles Sturridge, 1991); ROOM WITH A VIEW, A (UK, James Ivory, 1986); PASSAGE TO INDIA, A (US/UK, David Lean, 1984); COUP DE TORCHON (FR, Bertrand Tavernier, 1981); VICTOIRE EN CHANTANT, LA (FR/GW, Jean-Jacques Annaud, 1976); CHOCOLAT (FR, Claire Denis, 1988); BARTON FINK (US, Joel Cohen, 1991); DREAMS (US, Akira Kurosawa, 1990); DROWNING BY NUMBERS (UK, Peter Greenaway, 1988); QUERELLE (GW/FR, Rainer Werner Fassbinder, 1982) Summary: By offering sophisticated and multi-faceted, yet highly accessible discussions on a number of key issues, Postmodernism in the Cinema presents new strategies for reading and understanding postmodernism and opens up the horizons of investigation to address the dynamic relationship between the art of moving images and complex concepts of postmodern theory. Organized according to specific themes such as auteurism, metacinema, national cinema, and the parodic, this anthology includes thirteen essays and examines films including The Player, Aladdin, Singles, Reality Bites, Wayne’s World, Tampopo, A Room with a View, Barton Fink, Akira Kurosawa’s Dreams, Drowning by Numbers, Coup de torchon, Querelle, and more. [Taken from back cover] Notes: Papers from a conference held in 1994 at Kent State University, Kent, Ohio.; Includes bibliographical references and index. ISBN: 1571811060 Contents: Introduction: Postmodernism(s) Cristina Degli-Esposti -- Chapter 1: The Player's parody of Hollywood: A different kind of suture - Cynthia Baron -- Chapter 2: Intertextual maneuvers around the subaltern: Aladdin as postmodern text - Marwan Kraidy -- Chapter 3: Of Mice and Bart: The Simpsons and the postmodern - David Weinstein -- Chapter 4: Reification and loss in postmodern puberty: The cultural logic of Fredric Jameson and American youth movies - Timothy Shary -- Chapter 5: Refiguring pleasure: Itami and the postmodern Japanese film - John Bruns -- Chapter 6: De-authorizing the auteur: postmodern politics of interpellation in contemporary European cinema - - Rosanna Maule -- Chapter 7: Postmodernist condition in post-socialist eastern European films: the case of a political pastiche and the socialist-hollywood thriller in recent films of Polish filmmakers - Janina Falkowska -- Chapter 8: E.M. Forster's anti-touristic tourism and the sightseeing gaze of cinema - Ellen Strain -- Chapter 9: Imaginary geographies: the colonial subjects in contemporary French cinema - Christine Bolus-Reichert -- Chapter 10: Decapitated spectators: Barton Fink, (Post)history, and cinematic pleasure - Barry Laga -- Chapter 11: Something like an autobiography in Akira Kurosawa's Dreams - Marshall Deutelbaum -- Chapter 12: Not waving but drowning by numbers: Peter Greenaway's cautionary tale - Philip Holden-Moses -- Chapter 13: A double voice: the dual paternity of Querelle - Mary Wiles ID2: 291 More info
Powers of horror : an essay on abjection [Pouvoirs de l'horreur. English] / Julia Kristeva ; translated by Leon S. Roudiez
New York: Columbia University Press, 1982.
Call No: 60 KRI Author: Kristeva, Julia, 1941 Place: New York Publisher: Columbia University Press PubDate: 1982 PhysDes: x, 219 p. ; 24 cm Series: European perspectives Subject: THEORY; SEMIOLOGY Notes: Translation of: Pouvoirs de l'horreur ISBN: 0231053460 : $19.95 (est.); 0231053479 (pbk.) LON: 82004481; 2227652 More info
The Producer as Author
Wide Angle (1985) vol.7 iss.3 p.24-33 More info
Profile: Director Lindsay Anderson
Australasian Cinema (16/07/1982) vol.11 iss.12 p.28 PhysDes: Article Subject: ANDERSON, LINDSAY; CRITICISM; THEORY; LOOK BACK IN ANGER (UK, Tony Richardson, 1959); RICHARDSON, TONY; REISZ, KAREL; INDUSTRY, FILM. UK; O LUCKY MAN! (UK, Lindsay Anderson, 1973); BRITANNIA HOSPITAL (UK, Lindsay Anderson, 1982) Summary: Article on Lindsay Anderson, covering his writings for Sequence, his work with Richardson and Reisz in the 'British New Wave', his short documentaries, and his feature films. More info
Queer Theory and Brokeback Mountain / by Matthew Tinkcom
New York: Bloomsbury Academic, 2017.
Call No: 79:451-03BRO TIN Author: Tinkcom, Matthew Source: US/UK Place: New York Publisher: Bloomsbury Academic PubDate: 2017 PhysDes: xi, 125 pages ; 21 cm Series: Film Theory in Practice Subject: THEORY; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; SEXUALITY AND THE CINEMA; BROKEBACK MOUNTAIN (US, Ang Lee, 2005) Summary: "In this book the authors traces signature trajectories of queer theory, then stitches these concepts into traditions of film theory and close analysis. Merging Freud, Foucault, and Sedgwick with Bazin, Buscombe, and Mulvey, Tinkcom demonstrates a generous capacity to speak at once to well-heeled scholars, eager undergraduates, and cinephiles." -- LIBRARIES AUSTRALIA Notes: Includes bibliographical references (pages 121-123) and index ISBN: 9781501318825 Contents: -- acknowledgments -- preface -- introduction -- 1 Queer theory -- 2 Queer theory and Brokeback Mountain -- conclusion -- further reading -- index -- ID2: 295 More info
Rating the Audience : the business of media / by Mark Balnaves and Tom O'Regan with Ben Goldsmith
London ; New York: Bloomsbury, 2011.
Call No: 410 (41/73/94) BAL Author: Balnaves, Mark; O'Regan, Tom; Goldsmith, Ben Source: UK/US Place: London ; New York Publisher: Bloomsbury PubDate: 2011 PhysDes: xvi, 272 p. : ill. ; 24 cm Subject: MEDIA; AUDIENCE RECEPTION; AUDIENCE RESEARCH; AUDIENCES; AUDIENCES
THEORY; AUDIENCES USA; AUDIENCES. AUSTRALIA; AUDIENCES. UK; RATING FOR TV; RATING FOR TV. AUSTRALIA; RATINGS. AUSTRALIA; RATINGS. USA Summary: "Knowing, measuring and understanding media audiences has become a multi-billion dollar business. But the convention that underpins that business, audience ratings, is in crisis. Rating the Audience is the first book to show why and how audience ratings research became a convention, an agreement, and the first to interrogate the ways that agreement is now under threat. Taking a historical approach, the book looks at the evolution of audience ratings and the survey industry. It goes on to analyse today's media environment, looking at the role of the internet and the the increased difficulties it presents for measuring audiences. The book covers all the major players and controversies, such as Facebook's privacy rulings and Google's alliance with Nielson. Offering the first real comparative study, Rating the Audience is critical reading for media students and professionals." -- BOOK BLURB Notes: Formerly CIP; Includes bibliographical references and index ISBN: 9781849663410 Donation: Donated by Senses of Cinema, 2013 Contents: -- list of figures -- list of tables -- preface -- acknowledgments -- 1.Why the Ratings Are Important -- Introduction -- The Single Number -- Summary -- 2.The Convention -- `The Crossleys' - Archibald Crossley -- Arthur C. Nielsen (and the Black Box) -- Bill McNair and George Anderson -- New Forms of Knowledge about Audiences -- Theorizing the Convention -- Summary -- 3.The Panel and the Survey -- The Ratings Intellectuals -- Lazarsfeld -- The Very Idea of Measurement -- Single Source: `The Holy Grail' -- Summary -- 4.The Audit -- Taming Error -- Invisible Audiences -- The BBC: Robert Silvey's Thermometer and Barometer -- Summary -- 5.The Technologies of Counting -- The Diffusion of Ratings Technology -- Proliferation of Channels and Measurement -- Neuroscience, Neuromarketing and New Technologies of Measurement -- Timeshifting and Technologies of Counting -- The Increasing Technical Complexity of Audience Measurement -- Calls for Harmonization -- Summary -- 6.The Ratings Provider -- The Official Truth -- The Silent Revolution -- `Superior Technology': ATR-OzTAM and ACNielsen Controversy in Australia -- `Superior Technology': Nielsen versus Hooper, Nielsen versus Arbitron -- Summary -- 7.The Networks (and Other Media Providers) -- TV Economics -- Standardization -- Small Audiences and Set-top Boxes -- United Kingdom -- Summary -- 8.Advertisers and Media Planners -- The Dual Persona of the Advertiser -- The Media Planner -- Cost Efficiency and the Curve of Experience -- The Competent User -- Summary -- 9.The Audience -- The Modem Audience -- The Average Household and the Representative Individual -- Home Studies and the Public -- Audience Consent -- The Knowledge Aggregators -- Summary -- 10.The Critics -- The Broader Context -- The Bogart Persona -- Objections to Ratings -- Setting Limits to Statistics -- Problems with Increases in Scale -- Impersonal Secondary Data -- Deprofessionalization of Media Research -- Summary -- 11.The Future of Ratings -- bibliography -- index -- More info
Reading the figural : or, philosophy after the new media / by D.N. Rodowick
London: Duke University Press, 2001.
Realism of the senses in World cinema : the experience of physical reality / by Tiago de Luca
London: I.B. Tauris, 2014.
Call No: 64REA DEL Author: De Luca, Tiago Source: US/UK Place: London Publisher: I.B. Tauris PubDate: 2014 PhysDes: xii, 268 pages : illustrations ; 24 cm Series: Tauris world cinema series Subject: REALISM IN FILMS; THEORY; CRITICISM; WORLD CINEMA; REYGADAS, CARLOS; TSAI, MING LIANG; VAN SANT, GUS Summary: "Over the last decade, a realist tendency has made a resurgence on the world cinema map. What are its main aesthetic and political characteristics? How does it relate to the realist canon and world cinema history? What are the different facets of this phenomenon as expressed in diverse cinemas across the globe? Drawing on foundational realist theories and recent takes on the body and the senses, this illuminating book aims to provide in-depth answers to these questions by examining the fascinating work of Carlos Reygadas (Mexico), Tsai Ming-liang (Taiwan) and Gus Van Sant (USA), including award-winning films such "Japon", "Vive l'amour" and "Elephant". In their common allegiance to the long take, these are cinemas characterised by a sensory mode of address based on the protracted inspection of physical reality. Their hyperbolic focus on material phenomena, de Luca argues, translates into phenomenological film experiences that provide an antidote to a world saturated by simulation processes." -- BOOK JACKET Notes: Formerly CIP; Includes bibliographical references (pages 243-258) and index ISBN: 9781780766300 Donation: Senses of Cinema Contents: -- list of illustrations -- acknowledgments -- introduction -- 1: Carlos Reygadas: cinema of the impossible -- 2: Tsai Ming-liang: cinema of bodies -- 3: Gus Van Sant and visionary realism -- conclusion -- notes -- bibliography -- index -- More info
The Routledge encyclopedia of film theory / edited by Edward Branigan and Warren Buckland
London ; New York: Taylor and Francis Group, 2014.
Call No: 62 ROU Source: UK/US Place: London ; New York Publisher: Taylor and Francis Group PubDate: 2014 PhysDes: xl, 526 pages ; 26 cm Subject: THEORY; PHILOSOPHY AND THE CINEMA Summary: 'The Routledge Encyclopedia of Film Theory is an international reference work representing the essential ideas and concepts at the centre of film theory from the beginning of the twentieth centry to the beginning of the twenty-first. Over 50 scholars from around the globe have been commissioned to address the difficult formulations and propositions in each theory by reducing these forumlations to straightforward propositions. The result is a highly accessible volume that clearly defines, and analyses step by step, many of the fundamental concepts in film theory ranging from the familiar such as apparatus, gaze, genre, and identification to less well-known ad understood but equally important, concepts such as Alain Badiou's inaestheics, Gilles Deleuze's time-image, and Jean-Luc Nancy's evidence Notes: Formerly CIP. -- Includes bibliographical references and index ISBN: 9781138849150 Donation: Senses of Cinema Contents: Introduction 1, the rationale behind the encyclopedia -- Introduction 2, concept and theory -- Theories: -- Affect, film and -- Anglo-American film theory -- Apparatus theory (Baudry) -- Apparatus theory (Plato) -- Art, film as -- Attention -- Attraction -- Auteur theory -- Blending and film theory -- Brecht and film -- Camera -- Cinematic movement -- Classic realist text -- Close-up -- Cognitive film theory -- Concept -- Contemporary film theory -- Counter-cinema -- Depth of field -- Dialogism -- Diegesis -- Digital Cinema -- Documentary theory -- Emotion, film and -- Enunciation, film and -- Ethics -- European film theory -- Evidence (Nancy) -- Excess, cinematic -- Fantasy and spectatorship -- Feminist film theory, core concepts -- Feminist film theory, history of -- Film fable (Ranciere) -- Film-philosophy -- Formalist theories of film -- Gaming and film theory -- Gaze theory -- Genre theory -- Identification, theory of -- Ideology, cinema and -- Illusion -- Imaginary signifier -- Imagined observer hypothesis -- Inaesthetics -- Interface -- Long take -- Memory and film -- Mimetic innervation -- Minor cinema -- Mise en scene -- Modernism versus realism -- Montage theory 1 (Hollywood continuity) -- Montage theory 2 (Soviet avant-garde) -- Movement-image -- Narration -- Ontologuy of the photographic image -- 'Ordinary man of cinema' (Schefer) -- Perspective versus realism -- Phenomenology and film -- Pixel/cut/vector -- Poetic cinema -- Point of view -- Postmodern cinema -- Queer theory/queer cinema -- Reception theory -- Redemption (Kracauer) -- Representation -- Rhetoric, film and -- Scepticism -- Seeing/perceiving -- Semiotics of film -- Sound theory -- Specificity, medium 1 -- Specificity, medium 2 -- Structural/materialist film -- Suture -- Symbol and analogon (Mitry) -- Symptomatic reading -- Third World cinema -- Time-image -- Trauma and cinema -- Voice -- Epilogue: death in (and of?) theory More info
Savage junctures : Sergei Eisenstein and the shape of thinking / Anne Nesbet
London: I.B Taurus, 2003.
Call No: 81(049.3)EIS NES Author: Nesbet, Anne Edition: 1st ed. Source: UK Place: London Publisher: I.B Taurus PubDate: 2003 PhysDes: ix, 260 p. : ill. ; 24 cm Subject: U.S.S.R IN FILMS; RUSSIANS IN FILMS; POLITICAL FILMS; HISTORICAL FILMS; STALIN [J.] IN FILMS; LENIN [V.I.] IN FILMS; POPULAR CULTURE AND THE CINEMA; CIRCUS AND THE CINEMA; PHILOSOPHY AND THE CINEMA; LITERATURE AND THE CINEMA; MYTH AND THE CINEMA; AESTHETICS; ALEXANDROV, GROGORIJ; BABEL, ISAAK; BRETON, ANDRE; DISNEY, WALT; FREUD, SIGMUND; HEGEL, GEORG, WILHELM, FRIEDRICH; SHKLOVSKY, VICTOR; SHUMIATSKII, BORIS; SINCLAIR, UPTON; SONTAG, SUSAN; TISSE, EDUARD; TOLSTOY, LEV; TROTSKY, LEON; VERTOV, DZIGA; WELLS, H.G; SNOW WHITE AND THE SEVEN DWARFS (US, David Hand, 1937); STACHKA [STRIKE] (UR, Sergei M. Eisenstein, 1925); IVAN GROZNY [IVAN THE TERRIBLE] (UR, Sergei Eisenstein, pt.1:1945, pt.2:1958[prod.1946]); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); STRUCTURALISM; RUSSIA; THEORY Summary: Based on extensive research in the archives of legendary Russian film director Sergei Eisenstein, this book explores his wide ranging consumption of high and low culture and his wide ranging experience in ‘thinking in pictures’. Savage Junctures plays close attention to the multiple contexts within which Eisenstein’s films evolved. Eisenstein was particularly interested in the possibilities of visual thinking and, in this spirit; each chapter addresses the question of his image based philosophy from a different perspective.
[Taken from back cover]. ISBN: 1850433305 More info
The Scenario as a Structure Designed to Become Another Structure
Wide Angle (1977) vol.2 iss.1 p.40-47 More info
Scenes of love and murder : Renoir, film, and philosophy / Colin Davis
London: Wallflower Press, 2009.
Call No: 81REN DAV Author: Davis, Colin Source: UK Place: London Publisher: Wallflower Press PubDate: 2009 PhysDes: vii, 159 p. : ill. ; 23 cm Subject: PHILOSOPHY AND THE CINEMA; THEORY; CRIME IN FILMS; RENOIR, JEAN; CAVELL, STANLEY; DELEUZE, GILLES; ZIZEK, SLAVOJ; CHIENNE, LA (FR, Jean Renoir, 1931); CRIME DE M. LANGE, LE (FR, Jean Renoir, 1936); BETE HUMAINE, LA (FR, Jean Renoir, 1938); GRANDE ILLUSION, LA (FR, Jean Renoir, 1937); REGLE DU JEU, LA (FR, Jean Renoir, 1939) Summary: "This book examines Jean Renoir's films from the 1930s in the light of recent developments in philosophical film criticism. With reference to thinkers such as Aristotle, Wittgenstein, Girard, Derrida and Cavell, it argues that Renoir's work engages with and elucidates some of the great philosophical questions. In particular the films are shown to reflect on the natures of murder and its links with desire, communitiy, ethics and the mystery of other minds." - TAKEN FROM BACK COVER ISBN: 9781905674633 Donation: donated by Senses of Cinema, 2012 Contents: Film as philosophy: Cavell, Deleuze, Z iz ek and Renoir -- Scepticism and the mystery of other minds: La chienne -- Murderous desires: Le crime de Monsieur Lange and La be^te humaine -- Friendship, fraternity and community: La grande illusion -- Making and breaking rules: La re`gle du jeu -- Conclusion: intimations of otherness. More info
The screening of Australia : anatomy of a national cinema / Susan Dermody, Elizabeth Jacka
Sydney: Currency Press, 1987-<1988.
Call No: 71(94) DER v.2 Author: Dermody, Susan; Jacka, Elizabeth Place: Sydney Publisher: Currency Press PubDate: 1987-<1988 PhysDes: v. <1-2 > ; 21 cm Series: Australian screen series Subject: BUDDY FILMS. AUSTRALIA; AUSTRALIA; THEORY. AUSTRALIA; CULTURAL IMPERIALISM. AUSTRALIA; CLASS AND THE CINEMA. AUSTRALIA; NATIONAL IDENTITY IN FILMS. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; COMEDIES. AUSTRALIA; WOMEN IN FILMS. AUSTRALIA; MEN IN FILMS. AUSTRALIA; POLITICAL FILMS. AUSTRALIA; SEX IN FILMS. AUSTRALIA; REALISM IN FILMS. AUSTRALIA; AUSTRALIAN FILM COMMISSION; BREAKER MORANT (AT, Bruce Beresford, 1980); ADVENTURES OF BARRY MCKENZIE, THE (AT, Bruce Beresford, 1972); CAREFUL HE MIGHT HEAR YOU (AT, Carl Schutz, 1983); GALLIPOLI (AT, Peter Weir, 1981); MAD MAX (AT, George Miller, 1979); MAN FROM SNOWY RIVER, THE (AT, George T. Miller, 1982); MY BROTHER JACK (AT, Gil Brealey, 1965); ALVIN PURPLE (AT, Tim Burstall, 1973); CHANT OF JIMMIE BLACKSMITH, THE (AT, Fred Schepisi, 1978); FAR EAST (AT, John Duigan, 1982); F.J. HOLDEN, THE (AT, Michael Thornhill, 1977); HEATWAVE (AT, Phillip Noyce, 1981); KILLING OF ANGEL STREET, THE (AT, Donald Crombie, 1981); MAD MAX II (AT, George Miller, 1981); NEWSFRONT (AT, Phillip Noyce, 1978); PALM BEACH (AT, Albie Thoms, 1979); PHAR LAP (AT, Simon Wincer, 1983); PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); SUNDAY TOO FAR AWAY (AT, Ken Hannam, 1975); TOWN LIKE ALICE, A (AT, David Stevens, 1980); WE OF THE NEVER NEVER (AT, Igor Auzins, 1982) Notes: Includes bibliographies and index ISBN: 0861911876 (v. 2); 0868191876 (v. 2) LON: 5369777 More info
Sergei Eisenstein, selected works : Volume I, Writings, 1922-1934 / edited and translated by Richard Taylor
London: I.B. Tauris, 2010.
Call No: 623 EIS Author: Eisenstein, Sergei; Taylor, Richard (ed.) Source: UK/US Place: London Publisher: I.B. Tauris PubDate: 2010 PhysDes: ix, 334 p. : ill. ; 24 cm Series: Selected works Subject: MONTAGE; THEORY; EISENSTEIN, SERGEI M. Summary: "Superbly translated from the definitive Russian texts, and copiously annotated, Volume 1 documents the complex course of Eisenstein's writings during the revolutionary years prior to the establishment of Socialist Realism as orthodox Soviet aesthetic doctrine. This was also the period of Eisenstein's great silent masterpieces, The Strike, The Battleship Potemkin, October and The General Line, and of his controversial sojourns in Hollywood and Mexico. The writings in this first volume give a picture of Eisenstein the committed socialist artist, passionately engaged in the debates over the art forms of the future, but also of Eisenstein the humorist and Eisenstein the profoundly innovative aesthetic thinker." -- BOOK BLURB Notes: Translated from the Russian ISBN: 9781848853553 Contents: -- general editor's preface -- introduction -- translator's note -- abbreviations -- 1922 -- 1: Sergei Yutkevich and Eisenstein: The Eighth art. On expressionism, America and, of course, Chaplain -- 1923 -- 2: The Montage of Attractions -- 1924 -- 3: The Montage of Film Attractions -- 1925 -- 4: The problem of the materialist approach to form -- 5: the method of making a worker's film -- 1926 -- 6: Constanta (whither The Battleship Potemkin) -- 7: However odd - Khokhlova! -- 8: Eisenstein on Eisenstein, the director of Potemkin -- 9: Bela Forgets the scissors -- 10: the two skulls of Alexander the Great -- 11: The German Cinema. A Traveller's Impressions -- 1927 -- 12: give us a state plan -- 1928 -- 13. Literature and cinema. Reply to a questionnaire -- 14. What we are expecting from the pary conference on cinema -- 15. Our October. Beyond the played and the non-played -- 16: for a worker's hit -- 17: Eisenstein, Vsevolod Pudovkin and Grigori Alexandrov: statement on sound -- 18: an unexpected juncture -- 19: Eisenstein and Grigori Alexandrov: The Twelfth Year -- 20: the GTK teaching and research workshop. A conversation with the leader of the workshop, S. M. Eisenstein -- 1929 -- 21: conversation with Eisenstein on Sound Cinema -- 22: the form of the script -- 23: The Arsenal -- 24: beyond the shot -- 25: perspectives -- the dramaturgy of film form (the dialectical approach to film form -- 27: the fourth dimension in cinema -- 1930 -- 28: the principles of the new russian cinema -- 29: Rin-Tin-Tin does his tricks for noted russian movie man -- 30: the dynamic square -- 1932 -- 31: help yourself! -- 32: in the interests of form -- 1933 -- 33: through the revolution to art: through art to the revolution -- 34: pantagruel will be born -- 35: to your posts -- 36: Georges Melies mistake -- 37: an attack by class allies -- 38: cinema and the classics -- 1944 -- 39: for elevated ideological content, for Film Culture! -- 40: on fascism, German cinema and Real life. Open letters to the German minister of propoganda, Dr Goebbels -- 41: 'Eh!' on the purity of film language -- 42: At last! -- notes -- index -- More info
Sergei Eisenstein: selected works : volume 2, Towards aTheory of Montage / edited by Michael Glenny and Richard Taylor
London: I.B. Tauris, 2010.
Call No: 623 EIS Author: Eisenstein, Sergei; Glenny, Michael (ed.); Taylor, Richard (ed.) Source: US/UK Place: London Publisher: I.B. Tauris PubDate: 2010 PhysDes: xx, 428 p. : ill. ; 24 cm Series: Selected works Subject: MONTAGE; THEORY; EISENSTEIN, SERGEI M. Summary: "The name of Sergei Eisenstein has long been synonymous with the idea of montage, as exemplified in his silent classics such as The Strike (1925), The Battleship Potemkin (1925), and October (1927). In the 1930s his style changed, partly to accomodate the arrival of sound, and his ideas on audio-visual counterpoint developed. Between 1937 and 1940 he elaborated his ideas on montage in a series of essays, most of which remained unpublished until after his death and which are published in English for the first time inTowards a Theory of Montage. Collectively these essays present the essence of Eisenstein's thinking on cinema and aesthetics more generaaly and reveal him as one of the most significant philosophers of art of the twentieth century." -- BOOK BLURB Notes: Translated from Russian ISBN: 9781848853560 Contents: -- general editor's preface -- Michael Glenny: an appreciation -- note on sources -- introduction: Geoffrey Nowell-Smith -- on the story of 'Montage 1937' -- foreword -- 1: draft of 'introduction' -- part one: montage in single set-up cinema -- 2: montage 1937 -- 3: montage and architecture -- 4: Yermolova -- part two: montage in multiple set-up cinema -- 5: laocoon -- 6: Pushkin the Montageur: 'The battle against the pechenegs' and 'poltava' The iron cannon-balls -- part three: sound-film montage -- 7: [rhythm] -- 8: 'The girl like a ray of light' -- 9:on colour -- 10: unity in image -- 11: Tolstoy's 'Anna Karenina' - the races -- 12: montage 1938 -- 13: Vertical montage -- notes -- index -- More info
Signs and meaning in the cinema / Peter Wollen
London: Secker and Warburg in association with the British Film Institute, 1972.
Call No: 623.3 WOL Author: Wollen, Peter, 1938 Edition: 3rd. ed., rev. and enl Place: London Publisher: Secker and Warburg in association with the British Film Institute PubDate: 1972 PhysDes: 176 p. : ill. ; 20 cm Series: Cinema one ; 9 Subject: AUTEUR THEORY; SEMIOLOGY Notes: Bibliography: p.174-175 ISBN: 0436470022; 0436480028 (pbk) LON: cvx00750640; 2599034 More info
Smart chicks on screen : representing women's intellect in film and television / edited by, Laura Mattoon D'Amore
Lanham: Rowman & Littlefield, c2014.
Call No: 626:396SMA Author: Duncan, Stephen R.; Meade, Melissa; Chinen Biesen, Sheri; Levitt, Linda; Whitney, Allison; Feroli, Mikaela; Reese, De Anna J.; Tally, Margaret; Campbell, Raewyn; Stone, Amanda; Berstein, Rachel S. Source: US Place: Lanham Publisher: Rowman & Littlefield PubDate: c2014 PhysDes: 245 pages ; 23 cm Series: Film and History Subject: WOMEN IN FILMS; WOMEN ON TV; FEMININITY IN FILMS; FEMINISM AND THE CINEMA; HOLLIDAY, JUDY; CONTACT (AT, Bentley Dean & Martin Butler, 2009); MAD MEN [TV] (US, 2007); GREY'S ANATOMY [TV] (US, 2005-); GIRLS [TV] (US, 2012); SOME LIKE IT HOT (US, Billy Wilder, 1959); BORN YESTERDAY (US, George Cukor, 1950); BIG BANG THEORY, THE [TV] (US, 2007-); ELEMENTARY [TV] (US, 2012-) Summary: While women have long been featured in leading roles in film and television, the intellectual depictions of female characters in these mediums are out of line with reality. Women continue to be marginalized for their choices, overshadowed by men, and judged by their bodies. In fact, the intelligence of women is rarely the focus of television or film narratives, and on the rare occasion when smart women are showcased, their portrayals are undermined by socially awkward behavior or their intimate relationships are doomed to perpetual failure. While Hollywood claims to offer a different, more evolved look at women, these movies and shows often just repackage old character types that still downplay the intelligence and savvy of women.
In Smart Chicks on Screen: Representing Women’s Intellect in Film and Television, Laura Mattoon D’Amore brings together an impressive array of scholarship that interrogates the portrayal of females on television and in movies. Among the questions that the volume seeks to answer are: In what ways are women in film and television limited, or ostracized, by their intelligence? How do female roles reinforce standards of beauty, submissiveness, and silence over intellect, problem solving, and leadership? Are there women in film and television who are intelligent without also being objectified?
The thirteen essays by international, interdisciplinary scholars offer a wide range of perspectives, examining the connections—and disconnections—between beauty and brains in film and television. Smart Chicks on Screen will be of interest to scholars not only of film and television but of women’s studies, reception studies, and cultural history, as well. -- [Extract taken from the back of book] Notes: Includes bibliographical references and index. ISBN: 9781442237476 Contents: 1.Not Just Born Yesterday: Judy Holliday, the Red Scare, and the (Miss-)Uses of Hollywood's Dumb Blonde Image / Stephen R. Duncan -- 2.The Fuzzy End of the Lollypop: Protofeminism and Collective Subjectivity in Some Like It Hot / Melissa Meade -- 3.Brainy Broads: Images of Women's Intellect in Film Noir / Sheri Chinen Biesen -- 4.Troubling Binaries: Women Scientists in 1950s B-Movies / Linda Levitt -- 5."The High Priestess of the Desert": Female Intellect and Subjectivity in Contact / Allison Whitney -- 6.Mad Men's Peggy Olson: A Prefeminist Champion in a Postfeminist TV Landscape / Stefania Marghitu -- 7.A Deeper Cut: Enlightened Sexism and Grey's Anatomy / Mikaela Feroli -- 8."There Is No Genius": Dr. Joan Watson and the Rewriting of Gender and Intelligence on CBS's Elementary / Natasha Patterson -- 9.Stories Worth Telling: How Kerry Washington Balances Brains, Beauty, and Power in Hollywood / De Anna J. Reese -- 10. Postfeminism, Sexuality, and the Question of Millennial Identity on HBO's Girls / Margaret J. Tally -- 11. I Can't Believe I Fell for Muppet Man!: Female Nerds and the Order of Discourse / Raewyn Campbell -- 12.Brains, Beauty, and Feminist Television: The Women of The Big Bang Theory / Amanda Stone -- 13.Too Smart for Their Own Good?: Images of Young Jewish Women in Television and Film / Rachel S. Bernstein More info
Spectatorship : the power of looking on / Michelle Aaron
London: Wallflower Press, 2007.
Star signs : papers form a weekend workshop / John Ellis; Richard Dyer; Pam Cook
London: British Film Institute, 1982.
Stardom : industry of desire / Edited by Christine Gledhill
London: Routledge, 1991.
Stardom : industry of desire / edited by Christine Gledhill
London: Routledge, 1991.
Study unit 15 : Jean-Luc Godard / notes compiled by Steve Crofts
[London] : [s.n.], 1972:
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SUICIDE THEORY, THE : (AT, Dru Brown, 2014)
Technologies of gender : essays on theory, film, and fiction / by Teresa de Lauretis
Bloomington: Indiana University Press, 1987.
Call No: 626:396 DEL Author: De Lauretis, Teresa Place: Bloomington Publisher: Indiana University Press PubDate: 1987 PhysDes: xi, 151 p. ; 25 cm Series: Theories of representation and difference Subject: FEMINISM AND THE CINEMA; GAZE IN FILMS; SEMIOLOGY; THEORY; GENDER AND THE CINEMA; WOMEN IN FILMS Notes: Includes bibliographies and index ISBN: 0253358531; 0253204410 (pbk.) LON: 86046317; 5123996 Contents: The technology of gender -- The violence of rhetoric: considerations on representation and gender -- Gaudy rose: Eco and narcissism -- Calvino and the Amazons: reading the (post)modern text -- Gramsci notwithstanding, or, the left hand of history -- Fellini's 9 1/2 -- Strategies of coherence: narrative cinema, feminist poetics, and Yvonne Rainer -- Rethinking women's cinem: aesthetics and feminist theory More info
Theoretical essays : film, linguistics, literature / Colin MacCabe
Manchester, UK: Manchester University Press, 1985.
Call No: 626 MAC Author: MacCabe, Colin Place: Manchester, UK Publisher: Manchester University Press PubDate: 1985 PhysDes: viii, 152 p. ; 23 cm Subject: LANGUAGE, FILM; REALISM IN FILMS; THEORY Notes: Bibliography: p. 151-152 ISBN: 0719017491 : ª17.50; 0719017955 (pbk.) LON: bnb71901749; 3769789 More info
Theories of authorship : a reader / edited by John Caughie
London Boston: Routledge & Kegan Paul in association with the British Film Institute, 1981.
Call No: 621 THE Author: Caughie, John CorpAuthor: British Film Institute Place: London Boston Publisher: Routledge & Kegan Paul in association with the British Film Institute PubDate: 1981 PhysDes: ix, 316 p.,  p. of plates : ill. ; 23 cm Series: British Film Institute readers in film studies Subject: AUTHORSHIP; AUTEUR THEORY; CAHIERS DU CINEMA; SARRIS, ANDREW; FORD, JOHN; SEARCHERS, THE (US, John Ford, 1956); STAGECOACH (US, John Ford, 1939); SEVEN WOMEN (US, John Ford, 1965) Notes: Includes indexes; Bibliography: p. 302-308 ISBN: 0710006497; 0710006500 (pbk.) LON: 80041575; 2070811 Contents: Part One - Auteurism --
1. Introduction --
A. Auteurism in theory -- 2. M H Abrams: 'Literature as a revelation of personality' -- 3. Edward Buscombe: 'Ideas of authorship --
B. The theory in practice -- 4. Cahiers du Cinema -- 5. Movie -- 6. Andew Sarris --
C. Dossier on John Ford -- 7. Louis Marcorelles: 'Ford of the movies' -- 8. Lindsay Anderson: 'The searchers' -- 9. Andrew Sarris: 'The searchers' -- 10. Robin Wood: 'Shall we gather at the river? the late films of John Ford' -- 11. Peter Wollen (Lee Russell): 'John Ford' -- 12. Jean-Louis Comolli: 'Signposts on the trail' -- 13. Jean Narboni: 'Casting out the eights: John Ford's Seven Women' --
Part Two - Auteur-structuralism --
14. Introduction -- 15. Claude Levi-Strauss: 'The structural study of myth' (extract) -- 16. Geoffrey Nowell-Smith: Visconti (extract) -- 17. Peter Wollen: 'The auteur theory' (extract) -- 18. Charles Eckert: 'The English cine-structuralists' -- 19. Brian Henderson: 'Critique of cine-structuralism' (part 1) -- 20. Jean-Pierre Oudart: 'Conclusion to the Cahiers du Cinema editors' "John Ford's Young Mr Lincoln"' (extract) -- 21. Pierre Macherey: 'Literary analysis: the tomb of the structures' (extract) --
Part Three - Fiction of the author/author of the fiction --
22. Introduction -- 23. Roland Barthes: 'The death of the author' -- 24. Stephen Heath: 'Comment on "The idea of authorship" -- 25. Geoffrey Nowell-Smith: 'Six authors in pursuit of The searchers' (extract) -- 26. Christian Metz: 'History/discourse: a note on two voyeurisms' -- 27. Geoffrey Nowell-Smith: 'A note on "history/discourse"' -- 28. Sandy Flitterman: 'Woman, desire and the look: feminism and the enunciative apparatus in cinema' -- 29. Nick Browne: 'The rhetoric of the specular text with reference to Stagecoach' -- 30. Jean-Pierre Oudart: 'The absent field of the Author' -- 31. Pam Cook: 'The point of self-expression in avant-garde film' -- 32. Michel Foucault: 'What is an author?' (extract) More info
Theories of cinema, 1945-1995 / Francesco Casetti ; translated by Francesca Chiostri and Elizabeth Gard Bartolini-Salimbeni, with Thomas Kelso
Austin: University of Texas Press, 1999.
Call No: 62 CAS Author: Casetti, Francesco Edition: 1st ed Place: Austin Publisher: University of Texas Press PubDate: 1999 PhysDes: 368 p. ; 24 cm Subject: THEORY; PSYCHOANALYSIS AND THE CINEMA; SEMIOLOGY; LANGUAGE AND THE CINEMA; POLITICS AND THE CINEMA; GENDER AND THE CINEMA; SOCIETY AND THE CINEMA; IMPERIALISM AND THE CINEMA; PERCEPTION; SPECTATORSHIP; BELLOUR, RAYMOND; ADORNO, THEODOR W.; BARTHES, ROLAND; BAZIN, ANDRE; BORDWELL, DAVID; DELEUZE, GILLES; KRACAUER, SIEGFRIED; LACAN, JACQUES; HORKHEIMER, MAX; MITRY, JEAN; MORAN, EDGAR; LYOTARD, JEAN-FRANCOIS; METZ, CHRISTIAN Notes: "Revised and updated by the author."; Includes bibliographical references (p. -359) and index ISBN: 0292712065 (hc :acid-free paper); 0292712073 (pbk.) LON: 14328673 More info
Theories of film / Andrew Tudor
London: Secker & Warburg, 1974.
Theorizing the moving image / Noel Carroll
New York: Cambridge University Press, 1996.
Call No: 62 CAR Author: Carroll, Noel (Noel E.) Place: New York Publisher: Cambridge University Press PubDate: 1996 PhysDes: xix, 426 p. ; 26 cm Series: Cambridge studies in film Subject: THEORY ISBN: 0521460492; 0521466075 (pbk.) LON: 95021558; 11795419 Contents: Foreword / David Bordwell -- I. Medium Specificity Arguments and the Self-Consciously Invented Arts: Film, Video, and Photography -- II. The Specificity of Media in the Arts -- III. Concerning Uniqueness Claims for Photographic and Cinematographic Representation -- IV. Defining the Moving Image -- V. The Power of Movies -- VI. Toward a Theory of Film Suspense -- VII. As the Dial Turns: Notes on Soap Operas -- VIII. Toward a Theory of Point-of-View Editing: Communication, Emotion, and the Movies -- IX. Notes on Movie Music -- X. Notes on the Sight Gag -- XI. Avant-Garde Film and Film Theory -- XII. Causation, the Ampliation of Movement and Avant-Garde Film -- XIII. Language and Cinema: Preliminary Notes for a Theory of Verbal Images -- XIV. A Note on Film Metaphor -- XV. From Real to Reel: Entangled in Nonfiction Film -- XVI. Reply to Carol Brownson and Jack C. Wolf -- XVII. The Image of Women in Film: A Defense of a Paradigm -- XVIII. Film, Rhetoric, and Ideology.
XIX. Film/Mind Analogies: The Case of Hugo Munsterberg -- XX. Hans Richter's Struggle for Film -- XXI. A Brief Comment on Frampton's Notion of Metahistory -- XXII. Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland -- XXIII. Cracks in the Acoustic Mirror -- XXIV. A Reply to Health -- XXV. Replies to Hammett and Allen -- XXVI. Film History and Film Theory: An Outline for an Institutional Theory of Film -- XXVII. Art, Film and Ideology: A Response to Blaine Allan -- XXVIII. Toward a Theory of Film Editing More info
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Call No: SUBJECT CLIPPINGS FILE PhysDes: Clippings Subject: THEORY More info
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THEORY OF EVERYTHING, THE : (UK, James Marsh, 2014)
Theory of film : the redemption of physical reality / Siegfried Kracauer
New York: Oxford University Press, 1965.
Call No: 62 KRA Author: Kracauer, Siegfried Place: New York Publisher: Oxford University Press PubDate: 1965 PhysDes: xix, 364 p. ill., 20 cm. Subject: ACTORS; ADAPTATIONS; EXPERIMENTAL FILMS; THEORY; AGEE, JAMES; ALEXANDROV, GROGORIJ; ANGER, KENNETH; ANSTEY, EDGAR; ARNHEIM, RUDOLF; ASTAIRE, FRED; BALAZS, BELA; BENJAMIN, WALTER; BERGMAN, INGMAR; BOGART, HUMPHREY; BRAKHAGE, STAN; BRANDO, MARLON; BUNUEL, LUIS; CAGNEY, JAMES; CAPRA, FRANK; CASTELLANI, RENATO; CAVALCANTI, ALBERTO; CHANEY, LON; CHAPLIN, CHARLES; CLAIR, RENE; CLEMENT, RENE; CLOUZOT, HENRI-GEORGES; COCTEAU, JEAN; DALI, SALVADOR; DE FILIPPO, EDUARDO; DEMILLE, CECIL B.; DE SICA, VITTORIO; DISNEY, WALT; DOVZENKO, ALEKSANDR; DREYER, CARL TH.; DUCHAMP, MARCEL; DUVIVIER, JULIEN; ELTON, ARTHUR; ENGEL, MORRIS; EPSTEIN, JEAN; FELLINI, FEDERICO; FEUILLADE, LOUIS; FEYDER, JACQUES; FISCHINGER, OSKAR; FLAHERTY, ROBERT; FORD, JOHN; FRANJU, GEORGES; FREUD, SIGMUND; GANCE, ABEL; GARNETT, GALE; GIDE, ANDRE; GREENE, GRAHAM; GRIERSON, JOHN; GRIFFITH, DAVID WARK; GRIFFITHS, RICHARD; GUITRY, SACHA; HARRINGTON, CURTIS; HILL, DAVID; HITCHCOCK, ALFRED; WACHSFIGURENKABINETT, DAS (G, Paul Leni, 1924); SMULTRONSTALLET (SW, Ingmar Bergman, 1957); VITELLONI, I (IT, Federico Fellini, 1953); VAMPYR : DER TRAUM DES ALLEN GRAY (G/FR, Carl Th. Dreyer, 1932); VARIETE (G, E.A. Dupont, 1925); VALLEY TOWN - A STUDY OF MACHINES AND MEN (US, Willard Van Dyke, 1940); UMBERTO D. (IT, Vittorio De Sica, 1952); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); THIRD MAN, THE (UK, Carol Reed, 1949); OKTIABR (UR, Sergei M. Eisenstein, 1928); TEN COMMANDMENTS, THE (US, Cecil B. DeMille, 1956); SYMPHONIE PASTORALE, LA (FR, Jean Delannoy, 1946); SWING TIME (US, George Stevens, 1936); STRADA, LA (IT, Federico Fellini, 1954); ROMAN D'UN TRICHEUR, LE (FR, Sacha Guitry, 1936); MATTER OF LIFE AND DEATH, A (UK, Michael Powell & Emeric Pressburger, 1946); SPIONE (G, Fritz Lang, 1928); SPELLBOUND (US, Alfred Hitchcock, 1945); SOUS LES TOITS DE PARIS (FR, Rene Clair, 1930); SNOW WHITE AND THE SEVEN DWARFS (US, David Hand, 1937); SMILING LIEUTENANT, THE (US, Ernst Lubitsch, 1931); SHANE (US, George Stevens, 1953); SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957); GEHEIMNISSE EINER SEELE (G, Georg Wilhelm Pabst, 1926); SCARFACE (US, Howard Hawks, 1932); SANG DES BETES, LE (FR, Georges Franju,1949); SAN FRANCISCO (US, W.S. Van Dyke, 1936); ROUE, LA (FR, Abel Gance, 1922); ROMEO I DZULETTA (UR, Lev Arnstam & Leonid Lavrovskij, 1954); RICHARD III (UK, Laurence Olivier, 1955); REGLE DU JEU, LA (FR, Jean Renoir, 1939); RED SHOES, THE (UK, Michael Powell & Emeric Pressburger, 1948); RASHOMON (JA, Akira Kurosawa, 1950); REGEN (NE, Joris Ivens, 1929); PYGMALION (UK, Anthony Asquith & Leslie Howard, 1938); PLACE IN THE SUN, A (US, George Stevens, 1951); PATHER PANCHALI (II, Satyajit Ray, 1955); PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); PARIS 1900 (FR, Nicole Vedres, 1948); PARADINE CASE, THE (US, Alfred Hitchcock, 1947); OTELLO (UR, Sergej Jutkevic, 1956); ON THE WATERFRONT (US, Elia Kazan, 1954); OLVIDADOS, LOS (MX, Luis Bunuel, 1951); OF MEN AND MUSIC (US, Irving Reis, 1950); NOSFERATU - EINE SYMPHONIE DES GRAUENS (G, Friedrich Wilhelm Murnau, 1922); NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936); NIGHT AT THE OPERA, A (US, Sam Wood, 1935); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); MOULIN ROUGE (UK, E.A. Dupont, 1928); MONSIEUR VERDOUX (US, Charles Chaplin, 1947); MODERN TIMES (US, Charles Chaplin, 1936); MOBY DICK (UK, John Huston, 1956); MOANA (US, Robert Flaherty, 1926); MILLION, LE (FR, Rene Clair, 1931); METROPOLIS (GG, Fritz Lang, 1927); MESHES OF THE AFTERNOON (US, Maya Deren & Alexander Hammid, 1943); MENSCHEN AM SONNTAG (G, Robert Siodmak & Edgar G. Ulmer, 1929); MARTY (US, Delbert Mann, 1954); MAN WHO KNEW TOO MUCH, THE (UK, Alfred Hitchcock, 1936); MAJOR BARBARA (UK, Gabriel Pascal, 1941); MADAME BOVARY (FR, Claude Chabrol, 1991); MACBETH (US, Orson Welles, 1948); M (G, Fritz Lang, 1931); LOVE PARADE, THE (US, Ernst Lubitsch, 1929); LIMELIGHT (US, Charles Chaplin, 1952); LIFEBOAT (US, Alfred Hitchcock, 1944); OSTATNI ETAP (PL, Wanda Jakubowska, 1948); LADY IN THE LAKE (US, Robert Montgomery, 1946); KID, THE (US, Charles Chaplin, 1921); JULIUS CAESAR (US, Joseph L. Mankiewicz, 1953); JAZZ SINGER, THE (US, Alan Crosland, 1927); IVAN GROZNY [IVAN THE TERRIBLE] (UR, Sergei Eisenstein, pt.1:1945, pt.2:1958[prod.1946]); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); INVISIBLE MAN, THE (US, James Whale, 1933); INTOLERANCE (US, David Wark Griffith, 1916); HUMAN DESIRE (US, Fritz Lang, 1954); HOUSING PROBLEMS (UK, Edgar Anstey & Arthur Elton, 1935); HOTEL DES INVALIDES (FR, Georges Franju, 1952); HIGH NOON (US, Fred Zinnemann, 1952); HENRY V (UK, Laurence Olivier, 1944); HEIRESS, THE (US, William Wyler, 1949); HATFUL OF RAIN, A (US, Fred Zinnemann, 1957); HAMLET (UK, Laurence Olivier, 1948); HALLELUJAH! (US, King Vidor, 1929); GREED (US, Erich von Stroheim, 1925); GREAT EXPECTATIONS (UK, David Lean, 1946); GRAPES OF WRATH, THE (US, John Ford, 1940); GRANDE ILLUSION, LA (FR, Jean Renoir, 1937); GOLD RUSH, THE (US, Charles Chaplin, 1925); ORO DI NAPOLI, L' (IT, Vittorio De Sica, 1954); GOLD OF NAPLES (IT, Vittorio De Sica, 1954); GLASS MENAGERIE, THE (US, Irving Rapper, 1950); VORMITTAGSSPUK (G, Hans Richter, 1928); GHOST GOES WEST, THE (UK, Rene Clair, 1935); GHOST AND MRS. MUIR, THE (US, Joseph L. Mankiewicz, 1947); GERVAISE (FR, Rene Clement, 1956); JIGOKUMON (JA, Teinosuke kinugasa, 1953); FURY (US, Fritz Lang, 1936); FOUR HORSEMEN OF THE APOCALYPSE, THE (US, Vincente Minnelli, 1962); FARREBIQUE (FR, Georges Rouquier, 1945); FANTASIA (US, Walt Disney, 1940); ZEMLJA (UR, Alexksandr Dovzenko, 1930); JOURNAL D'UN CURE DE CAMPAGNE (FR, Robert Bresson, 1951); DESTRY RIDES AGAIN (US, George Marshall, 1939); MUDE TOD, DER (G, Fritz Lang, 1921); DEATH OF A SALESMAN (US, Laslo Benedek, 1951); DEAD OF NIGHT (UK, Alberto Cavalcanti & Charles Crichton & Basil Dearden & Robert Hamer, 1945); CONDAMNE A MORT S`EST ECHAPPE, UN (FR, Robert Bresson, 1956); CITY LIGHTS (US, Charles Chaplin, 1931); CITIZEN KANE (US, Orson Welles, 1941); CINDERELLA (US, Wilfred Jackson & Hamilton Laske & Clyde Geronomi, 1950); CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928); BROKEN BLOSSOMS (US, David Wark Griffith, 1919); BROADWAY MELODY OF 1938 (US, Norman Taurog, 1940); BRIEF ENCOUNTER (UK, David Lean, 1945); BOOMERANG (US, Elia Kazan, 1947); SANG D'UN POETE, LE (FR, Jean Cocteau, 1932); BLACKMAIL (UK, Alfred Hitchcock, 1929); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); LADRI DI BICICLETTE (IT, Vittorio De Sica, 1949); BEZZERIDES, A.I.; BEN HUR (US, Fred Niblo, 1925); BAMBI (US, David Hand, 1942); BALLET MECANIQUE, LE (FR, Fernand Leger, 1924); BACK STREET (US, John M. Stahl, 1932); ATALANTE, L' (FR, Jean Vigo, 1934); A PROPOS DE NICE (FR, Jean Vigo, 1930); APARAJITO (II, Satyajit Ray, 1957); ANNA CHRISTIE (US, Clarence Brown, 1930); ANATOMY OF A MURDER (US, Otto Preminger, 1959); AMERICAN TRAGEDY, AN (Josef von Sternberg, 1931); ALEKSANDR NEVSKI (UR, Sergei M. Eisenstein, 1938); BROADWAY MELODY, THE (US, Harry Beaumont, 1929); LETZIE MANN, DER (G, Friedrich Wilhelm Murnau, 1924) Notes: Frist published 1960; Previously published as: Nature of films. England : Dobson ;1965; Includes bilbiograpy: p. 351-364; Includes index URL status: URL: 'http://-'
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THEORY OF FLIGHT, THE : (UK, Paul Greengrass, 1998)
Theory of the avant-garde / Peter Burger ; translation from the German by Michael Shaw ; foreword by Jochen Schutte-Sasse
Manchester: Manchester University Press, 1984.
Call No: 61:8 BUR Author: Burger, Peter, 1936 Place: Manchester Publisher: Manchester University Press PubDate: 1984 PhysDes: lv, 135 p. : ill. ; 24cm Subject: THEORY Notes: Bibliography: p122-125. - Includes index ISBN: 0719014530 (cased) : ª25.00 : CIP rev; 0719014522 (pbk) : ª7.50 LON: bnb71901453; 3596605 More info
theory of the film : (character and growth of a new art) / Béla Balázs / edited by Herbert Marshell
London: Dennis Dobson, .
Call No: 62 BAL Author: Balázs, Béla Place: London Publisher: Dennis Dobson PubDate:  PhysDes: 291 p  of plates. ill. ; 22 cm. Subject: THEORY Notes: [Translated from the Hungarian by Edith Bone] URL status: URL: 'http://-'
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"To become immortal and then die" : The representation of home photographic materials in cinema / Adrian Danks
Call No: 61 DAN Author: Danks, Adrian PhysDes: 233 p. ; 29 cm. Subject: AESTHETICS; PHOTOGRAPHY AND THE CINEMA; AUTEUR THEORY; AVANT-GARDE FILMS; AVANT-GARDE FILMS. AUSTRALIA; EXPERIMENTAL FILMS; EXPERIMENTAL FILMS. AUSTRALIA; Powell, Michael; PRESSBURGER, EMERIC; BELLE NOISEUSE, LA (FR, Jacques Rivette, 1991); BADLANDS (US, Terrence Malick, 1973); SONG OF AIR (AT, Merilee Bennett, 1987); CANTERBURY TALE, A (UK, Michael Powell & Emeric Pressburger, 1944); PEEPING TOM (UK, Michael Powell, 1960); JFK (US, Oliver Stone, 1991); CALENDAR (CN/GG/AR, Atom Egoyan, 1993); WINDOW WATER BABY MOVING (US, Stan Brakhage, 1959) Summary: This thesis analyses the representation of 'home' photographic materials within a range of historically, aesthetically and generically diverse cinematic works. [Taken from thesis summary.] Notes: PhD thesis More info
To desire differently : feminism and the French cinema / Sandy Flitterman-Lewis
Urbana: University of Illinois Press, 1990.
Call No: 626:396(44) FLI Author: Flitterman-Lewis, Sandy, 1946 Place: Urbana Publisher: University of Illinois Press PubDate: 1990 PhysDes: xii, 340 p. : ill. ; 23 cm Subject: FEMINISM AND THE CINEMA; THEORY; INDUSTRY, FILM. FRANCE; HISTORY OF CINEMA; VARDA, AGNES; DULAC, GERMAINE; EPSTEIN, MARIE Summary: Using biographic, historical, and textual analyses to elaborate an alternative, feminist cinematic tradition, this groundbreaking study presents an exploration of the impact of three French women filmmakers: Germaine Dulac, Marie Epstein, and Agnes Varda. Notes: Originally presented as the author's thesis (Ph. D.--University of California, Berkeley); Includes index; Bibliography: p. -332 ISBN: 0252016548 (alk. paper) LON: 89031664; 6319232 Contents: 1. Introduction -- 2. Germaind Dulac: first feminist of the avant-garde -- 3. Dulac in context: French film production in the twenties -- 4. From fantasy to structure of the fantasm: 'The smiling mme Beudet' and 'The seashell and the clergyman' -- Marie Epstein: a woman in the shadows -- 6. Epstein in context: French film production in the thirties -- 7. Nursery/rhymes: primal scenes in 'La maternelle' -- 8. Agnes Varda and the woman seen -- 9. Varda in context: French film production in the early sixties - the new wave -- 10. From deesse to idee: 'Cleo from 5-7' -- 11. The "impossible portrait" of femininity: 'Vagabond' -- 12. Conclusion More info
Understanding Film Theory / Ruth Doughty and Christine Etherington-Wright
[England]: Palgrave Macmillan, 2018.
Call No: 62 DOU Author: Doughty, Ruth; Etherington-Wright, Christine Edition: Second edition Source: UK Place: [England] Publisher: Palgrave Macmillan PubDate: 2018 PhysDes: xiv, 325 pages : illustrations ; 26 cm Subject: FILM; THEORY; AUTEUR THEORY; ADAPTATIONS; GENRES; FORMALISM; MOVEMENTS AND STYLES IN FILM HISTORY; MOVEMENTS IN FILM HISTORY; STRUCTURALISM; MARXISM AND THE CINEMA; REALISM IN FILMS; POSTMODERNISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; MASCULINITY IN FILMS; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; RACE AND THE CINEMA; POSTCOLONIALISM AND THE CINEMA; TRANSNATIONAL CINEMA; STARS; AUDIENCE RESEARCH; AUDIENCE RECEPTION; HUNGER GAMES, THE (US, Gary Ross, 2012); RUN LOLA RUN (G, Tom Tykwer, 1998); LOLA RENNT (G, Tom Tykwer, 1998); ONCE UPON A TIME IN THE WEST (IT/FR, Sergio Leone, 1968)
C`ERA UNA VOLTA IL WEST; LEGO MOVIE, THE (AT/US/DK, Phil Lord & Christopher Miller, 2014); ACT OF KILLING, THE (DK/NO/UK, Joshua Oppenheimer, (2012); MOULIN ROUGE (AT/US, Baz Luhrmann, 2001); OLDBOY (KO, Park Chan-wook, 2003); OLDEUBOI (KO, Park Chan-wook, 2003); FROZEN (US, Chris Buck & Jennifer Lee, 2013); BLUE IS THE WARMEST COLOR (FR/BE/SP, Abdellatif Kechiche, 2013); DJANGO UNCHAINED (US, Quentin Tarantino, 2012); AVATAR (US, James Cameron, 2009) Summary: -- "Film theory has a reputation for being challenging. Often requiring time and effort to fully grasp it and seeming rather old-fashioned, it can be difficult to approach the subject with enthusiasm and appreciate its relevance to modern day.
Understanding Film Theory aims to disassociate theory from these connotations and bring a fresh, contemporary and accessible approach to the discipline. Now comprehensively updated in a second edition, the book’s sixteen chapters - including a new chapter on Adaptations - continue to provide an insight into the main areas of debate. Taking the application of theory as its central theme, the text incorporates a number of innovative features: ‘Reflect and Respond’ sections encourage readers to engage critically with theoretical concepts, while seminal texts are concisely summarised without oversimplifying key points.
Throughout the book the authors illustrate why theory is important and demonstrate how it can be applied in a meaningful way, with relevant case studies drawn from both classic and contemporary cinema including: Once Upon a Time in the West (1968), Run Lola Run (1998), The Hunger Games (2012), Blue is the Warmest Colour (2013) and The Lego Movie (2014). Additional case studies address key genres (the British Gangster film and the musical), film movements (Dogme 95), individual actors (Ryan Gosling, Judi Dench and Amitabh Bachchan) and directors (Alfred Hitchcock and Guillermo del Toro).
Understanding Film Theory is an approachable and extensive introduction to film theory. It is the ideal entry point for any student studying film, using clear definitions and explaining complex ideas succinctly. " -- BOOK BACK COVER Notes: Includes index; Includes bibliographical references, filmography and index ISBN: 9781137528230 Contents: -- List of illustrations -- Acknowledgements -- Introduction -- 1 Auteur Theory
Case study: Alfred Hitchcock -- Case study: Guillermo del Toro -- 2 Adaptations
Case study: The Hunger Games (Gary Ross, 2012) -- 3 Genre Theory -- Case study: The British Gangster Film -- Case study: The Musical -- 4 Formalism
Case study: Lola Rennt/Run Lola Run (Tom Tykwer, 1998) -- 5 Structuralism and Post-Structuralism -- Case study: Once Upon a Time in the West (Sergio Leone, 1968) -- 6 Marxism -- Case study: The Lego Movie (Phil Lord & Christopher Miller, 2014) -- 7 Realism -- Case study: Dogme 95 -- Case study: The Act of Killing (Joshua Oppenheimer, 2012) -- 8 Postmodernism -- Case study: Moulin Rouge! (Baz Luhrmann, 2001) -- 9 Psychoanalysis -- Case study: Oldboy (Chan-Wook Park, 2003) -- 10 Feminism -- Case study: Frozen (Chris Buck and Jennifer Lee, 2013) -- 11 Masculinity -- Case study: Ryan Gosling -- 12 Queer Theory -- Case study: Blue is the Warmest Colour (Abdellatif Kechiche, 2013) -- 13 Race and Ethnicity -- Case study: Django Unchained (Quentin Tarantino, 2012) -- 14 Postcolonial and Transnational Cinemas -- Case study: Avatar (James Cameron, 2009) -- 15 Stars -- Case study: Amitabh Bachchan -- Case study: Dame Judi Dench -- 16 Audience -- Research and Reception -- Case study: Tartan Video -- Conclusion -- filmography -- Index -- More info
Understanding movies / Louis Giannetti
Englewood Cliffs, N.J.: Prentice-Hall, 1987.
Understanding sound tracks through film theory / by Elsie Walker
New York: Oxford University Press, c2015.
Call No: 634 WAL Author: Walker, Elsie Source: UK/US Place: New York Publisher: Oxford University Press PubDate: c2015 PhysDes: ix, 435 pages : illustrations ; 26 cm Subject: SOUND; SOUND TRACKS; SOUNDTRACKS; THEORY; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; GENRES; IMPERIALISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; SEARCHERS, THE (US, John Ford, 1956); DEAD MAN (US, Jim Jarmusch, 1995); RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001); TEN CANOES (AT, Rolf De Heer, 2006); TO HAVE AND HAVE NOT (US, Howard Hawks, 1944); PIANO, THE (AT, Jane Campion, 1993); SHUTTER ISLAND (US, Martin Scorsese, 2010); REBECCA (US, Alfred Hitchcock, 1940); HEAVENLY CREATURES (NZ, Peter Jackson, 1994); BIGGER THAN LIFE (US, Nicholas Ray, 1956) Summary: "Understanding Sound Tracks Through Film Theory breaks new ground by redirecting the arguments of foundational texts within film theory to film sound tracks. Walker includes sustained analyses of particular films according to a range of theoretical approaches: psychoanalysis, feminism, genre studies, post-colonialism, and queer theory. The films come from disparate temporal and industrial contexts: from Classical Hollywood Gothic melodrama (Rebecca) to contemporary, critically-acclaimed science fiction (Gravity). Along with sound tracks from canonical American films including The Searchers and To Have and Have Not, Walker analyzes independent Australasian films: examples include Heavenly Creatures, a New Zealand film that uses music to empower its queer female protagonists; and Ten Canoes, the first Australian feature film with a script entirely in Aboriginal languages. Understanding Sound Tracks Through Film Theory thus not only calls new attention to the significance of sound tracks, but also focuses on the sonic power of characters representing those whose voices have all too often been drowned out.
Understanding Sound Tracks Through Film Theory is both rigorous and accessible to all students and scholars with a grasp of cinematic and musical structures. Moreover, the book brings together film studies, musicology, history, politics, and culture and therefore resonates across the liberal arts." -- BOOK BLURB Notes: Formerly CIP; Includes bibliographical references, filmography (page 419) and index; Includes filmography ISBN: 9780199896325 Donation: Oxford University Press Contents: -- acknowledgments -- general introduction -- pt. I GENRE STUDIES -- 1.Introduction: "A Semantic/Syntactic Approach to Film Genre" / Rick Altman -- 2.The Searchers -- 3.Dead Man -- pt. II POSTCOLONIALISM -- 4.Introduction: "Colonialism, Racism, and Representation: An Introduction" / Robert Stam and Louise Spence -- 5.Rabbit-Proof Fence -- 6.Ten Canoes -- pt. III FEMINISM -- 7.Introduction: "Visual Pleasure and Narrative Cinema" / Laura Mulvey -- 8.To Have and Have Not -- 9.The Piano -- pt. IV PSYCHOANALYSIS -- 10.Introduction: "Looking for the Gaze: Lacanian Film Theory and Its Vicissitudes" / Todd McGowan -- 11.Bigger Than Life -- 12.Shutter Island -- pt. V QUEER THEORY -- 13.Introduction: "Imitation and Gender Insubordination" / Judith Butler -- 14.Rebecca -- 15.Heavenly Creatures -- coda -- select filmography -- further perceiving -- select glossary index -- More info
Paris: Avancees Cinematographiques-Vertigo, 1991.
Call No: Issue 6/7 1991 "Rhetoriques de cinema" Source: France Place: Paris Publisher: Avancees Cinematographiques-Vertigo PubDate: 1991 Subject: THEORY; AESTHETICS; FRANCE Notes: Donated by William Routt. ISSN: 09851402 Indexed In: FIAF More info
Visual and other pleasures / Laura Mulvey
Bloomington: Indiana University Press, 1989.
Call No: 67(04) MUL Author: Mulvey, Laura Place: Bloomington Publisher: Indiana University Press PubDate: 1989 PhysDes: xvi, 201 p.,  p. of plates : ill. ; 24 cm Series: Theories of representation and difference Subject: FEMINISM AND THE CINEMA; THEORY; NARRATIVE IN FILMS; EXPERIMENTAL FILMS; MELODRAMA; PERCEPTION; WOMEN IN FILMS; GODARD, JEAN-LUC; SIRK, DOUGLAS; FASSBINDER, RAINER WERNER; DUEL IN THE SUN (US, King Vidor, 1946); RIDDLES OF THE SPHINX (UK, Laura Mulvey & Peter Wollen, 1977) Notes: Includes bibliographies ISBN: 0253362261; 0253204941 (pbk.) LON: 88009627; 5820595 Contents: I. ICONOCLASM -- 1. The spectacle is vulnerable: Miss World 1970 -- 2. Fears, fantasies and the male unconsious or 'You don't know what is happening, do you Mr. Jones?' -- 3. Visual pleasure and narrative cinema -- II. MELODRAMA -- 4. Afterthoughts on 'Visual pleasure and narrative cinema' inspired by King Vidor's Duel in the sun (1946) -- 5. Notes on Sirk and melodrama -- 6. Fassbinder and Sirk -- 7. Images of women, images of sexuality: some films by J. L. Godard -- 8. Melodrama inside and outside the house -- III. ON THE MARGINS -- 9. Frida Kahlo and Tina Modotti -- IV. Avant-Garde -- 10. Film, feminism and the avant-garde -- 11. Dialogue with spectatorship: Barbara Kruger and Victor Burgin -- 12. 'Magnificent obsession': an introduction to the work of five photographers -- 13. Impending time: Mary Kelly's Corpus -- V. BOUNDARIES -- 14. Changes: thoughts on myth, narrative and historical experience -- 15. The Oedipus myth: beyond the Riddles of the Sphinx More info
Waltzing with Bashir : perpetrator trauma and cinema / by Raya Morag
London ; New York: I.B. Tauris, 2013.
Call No: 620 MOR Author: Morag, Raya Source: US/UK Place: London ; New York Publisher: I.B. Tauris PubDate: 2013 PhysDes: 275 p. : ill. ; 23 cm Subject: FILM; DOCUMENTARY FILMS; DOCUMENTARIES; THEORY; VIOLENCE IN FILMS; WALTZ WITH BASHIR (IS/G/FR, Ari Forman, 2008) Summary: "Waltzing with Bashir proposes a new paradigm for cinema trauma studies - the trauma of the perpetrator. Recognizing a current shift in interest from the trauma suffered by victims to that suffered by perpetrators, Raya Morag seeks to theorize this still under-studied field thus breaking the repression of this concept and phenomenon in psychoanalysis and in cinema literature. Taking as a point of departure the distinction between testimony given by the victim and confession made by the perpetrator, this pioneering work ventures to define and analyze perpetrator trauma in scholarly, representational, literary, and societal contexts. " -- BOOK JACKET ISBN: 9781780762647 Contents: -- acknowledgments -- list of illustrations -- preface -- introduction: from victim to perpetrator trauma -- pt. I Victim Trauma -- 1.The Body as the Battlefield -- 2.Chronic Victim Trauma and Terror -- 3.Queerness, Ethnicity, and Terror -- pt. II Perpetrator Trauma -- 4.The New Wave of Documentary Cinema: The Male Perpetrator -- 5.The New Wave of Documentary Cinema: The Female Perpetrator -- 6.The New Wave of Documentary Literature -- conclusion: the perpetrator complex -- notes -- works cited -- further reading -- filmography -- index -- More info
Watching films : new perspectives on movie-going, exhibition and reception / Karina Aveyard / Albert Moran
Bristol, UK ; Chicago: Intellect, 2013.
Call No: 410.81 WAT Author: Aveyard, Karina (ed.); Moran, Albert (ed.) Source: UK Place: Bristol, UK ; Chicago Publisher: Intellect PubDate: 2013 PhysDes: 418 p. ; 23 cm Subject: THEORY; CINEMAS; CINEMAS. UK; NEWSREELS; AUDIENCE RECEPTION; AUDIENCES; AUDIENCES
THEORY; AUDIENCE RESEARCH; AUDIENCE RESEARCH. AUSTRALIA; AUDIENCE RESEARCH. UK; AUDIENCE RESEARCH. USA; AUDIENCE RECEPTION. NEW ZEALAND; AUDIENCE RECEPTION. AUSTRALIA; ITALY; NETHERLANDS; INDIA; BELGIUM; PORNOGRAPHY; INDEPENDENT FILMS Summary: With a focus on the social, economic, and cultural factors that influence how we watch and think about movies, this volume centres its investigations on four areas of inquiry: Who watches films? Under what circumstances? What consequences and effects follow? And what do these acts of consumption mean? Responding to these questions, the contributors provide both historical perspective and fresh insights into the ways in which new viewing arrangements and technologies influence how films are watched around the world. Notes: Includes bibliographical references and index. ISBN: 9781841505114 Contents: Foreword : Richard Maltby -- Introduction : New perspectives on movie-going, exhibition and reception --; Part one: Theoretical perspectives -- Chapter one: Cinema, modernity and audiences: Revisiting and expanding the debate: Daniel Biltereyst -- Chapter two: What is a cinema? Death, closure and the database: Deb Verhoeven -- Chapter three: A poetics of film-audience reception? Barbara Deming goes to the movies: Albert Moran -- Chapter four: The porous boundaries of newsreel memory research: Louise Anderson -- Chapter five: Why are children the most important audience for pornography in Australia?: Alan McKee --; Part two: The film industry - systems and practices -- Chapter six: Local promotion of a 'Picture Personality': a case study of the vitagraph girl: Kathryn Fuller-Seeley -- Chapter seven: 'Calamity howling': the advent of television and Australian cinema exhibition: Mike Walsh -- Chapter eight: A nation of film-goers: audiences, exhibition and distribution in New Zealand: Geoff Lealand -- Chapter nine: The critical reception of 'Certified Copy': original art or copy of a rom-com?: Eylem Akatav; Part three: Moview theatres - from Picture Palace to the Multiplex -- Chapter ten: Movie-going in the Shenandoah Valley of Virginia: A case study of place, transportation, audiences, racism, censorship and Sunday showings: Douglas Gomery -- Chapter eleven: From Mom-and-Pop to Paramount Publix: selling the community on the benefits of national theatre chains: Jeffrey Klenotic -- Chapter twelve: A progressive city and its cinemas: technology, modernity and the spectacle of abundance: Mark Jancovich and Lucy Faire with Sarah Stubbings -- Chapter thirteen: 'They don't need me in heaven...there are no cinemas there, ye know': cinema culture in Antwerp (Belgium) and the Empire of Georges Heylen, 1945-75: Kathleen Lotze and Philippe Meers -- Chapter fourteen: from out-of-town to the edge and back to the centre: multiplexes in Britain from the 1990s: Stuart Hanson --; Part four: on the margins -- Chapter fifteen: The place of rural exhibition: makeshift cinema-going and the Highlands and Islands Film Guild (Scotland): Ian Goode -- Chapter sixteen: 'A Popcorn-free zone': distinctions in independent film exhibition in Wellington, New Zealand: Ian Huffer -- Chapter seventeen: getting to see women's cinema: Julia Knight -- Chapter eighteen: Shifting fandoms of film, community and family: Tom Phillips --; Part five: Just watching movies? -- Chapter nineteen: watching popular films in the Netherlands, 1934-36: Clara Pafort-Overduin -- Chapter twenty: Contemporary Italian film-goers and their critics: Alan O'Leary and Catherine O'Rawe -- Chapter twenty one: Imagining a 'decent crowd' at the Indian multiplex: Adrian Mabbott Athique -- Chapter twenty two: The VHS generation and their movie experiences: Janna Jones -- More info
Watching the Lord of the Rings : Tolkein's world audiences / edited by Martin Barker and Ernest Mathijs
New York, NY: Peter Lang Publishing, 2008.
Call No: 79LOR WAT Author: Barker, Martin and Mathijs, Ernest Source: US Place: New York, NY Publisher: Peter Lang Publishing PubDate: 2008 PhysDes: xiv, 297 p. : 23 cm Subject: AUDIENCE RECEPTION; AUDIENCE RESEARCH; AUDIENCES
THEORY; ADVERTISING FOR FILMS; LORD OF THE RINGS: FELLOWSHIP OF THE RING, THE (US, Peter Jackson, 2001); LORD OF THE RINGS: THE TWO TOWERS, THE (US, Peter Jackson, 2002); LORD OF THE RINGS: THE RETURN OF THE KING, THE (US, Peter Jackson, 2003) Summary: Analysis on global audience response to film adaptation of Tolkein's Lord of the Rings trilogy. Notes: includes bibliographical references and index ISBN: 9780820663964 Language: English More info
What isn't cinema?
Critical inquiry (Dec 1974) vol.1 iss.2 p.373-393 Author: Mast, Gerald PhysDes: Article Subject: FILM CULTURE; THEORY Summary: Essay explores the notion of "cinema" by discussing the ideas of theorists such as Bazin, Arnheim, Kracauer and Metz. More info
Women's pictures : feminism and cinema / Annette Kuhn
London New York: Verso, 1994.
Call No: 626:396 KUH Author: Kuhn, Annette Edition: 2nd ed Place: London New York Publisher: Verso PubDate: 1994 PhysDes: xiv, 285 p. : ill. ; 23 cm Subject: FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; DIRECTORS; SEMIOLOGY; THEORY Summary: "This pioneering and influential work of feminist theory has been extensively updated by the author to chart the changes in feminist film theory and practice between the eighties and the nineties...the author discusses and demystifies the current methods of analysis, including semiotic and psychoanalytical approaches.
The films used as points of discussion are drawn from both mainstream adn alternative cinema, institutions which are themselves examined in relation to their production, distribution and exhibition practices." -- BACK COVER Notes: Includes bibliographical references (p. 262-273) and index ISBN: 1859840108 (pbk.) : $17.95; 1859849105 : $59.95 LON: 94011624; 10900045 More info
The world in a frame : what we see in films / Leo Braudy
Garden City, N.Y.: Anchor Press, 1976.
Call No: 62 BRA Author: Braudy, Leo Source: US Place: Garden City, N.Y. Publisher: Anchor Press PubDate: 1976 PhysDes: 274 p. ; 22 cm Subject: CRITICISM; CRITICISM: METHODOLOGY OF FILM CRITICISM; AESTHETICS; THEORY; AUTEUR THEORY; SEMIOLOGY; BRAUDY, LEO Summary: "After an introduction that discusses the special problems faced by film criticism, the three major sections focus in turn on the objects within a film and the visual forms they produce; the typical plots that films follow and the cinematic conventions (like those of the western or musical) which support them; and finally the ways in which movies have portrayed human nature, their methods of characterization, and the role of film-acting within American society." - taken from cover. ISBN: 0385035926 URL status: URL: 'http://-'
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The X-men films : a cultural analysis / edited by Claudia Bucciferro
Lanham, Maryland: Rowman & Littlefield, c2016.
Call No: 79(04)XME XME Author: Bucciferro, Claudia Source: US Place: Lanham, Maryland Publisher: Rowman & Littlefield PubDate: c2016 PhysDes: 241 pages ; 24 cm Subject: THEORY; SCIENCE-FICTION FILMS; UTOPIA IN FILMS; FANTASY FILMS; WOMEN IN FILMS; MASCULINITY IN FILMS; RACE AND THE CINEMA; ETHNIC GROUPS IN FILMS; X-MEN (US, Bryan Singer, 2000); X-MEN 2 (US, Bryan Singer, 2003)
X2; X2 (US, Bryan Singer, 2003); X-MEN: THE LAST STAND (US, Brett Ratner, 2006); X-MEN ORIGINS: WOLVERINE (US/NZ/AT, Gavin Hood, 2009); X-MEN: FIRST CLASS (US, Matthew Vaughn, 2011); X-MEN : DAYS OF FUTURE PAST (US/ UK, Bryan Singer, 2014) Summary: " In The X-Men Films: A Cultural Analysis, Claudia Bucciferro has assembled a collection of essays that draw from work in communication, cultural studies, and media studies. With contributions from a diverse group of scholars, the chapters analyze issues that include gender, sexuality, disability, class, and race. The contributors pose intriguing questions about the franchise, such as: What do “mutants” really represent? What role do women and people of color play in the narratives? Why does it matter that Professor X is disabled? Why is Mystique often shown naked? What facilitated Wolverine’s rise to prominence? And how do topics regarding identity, trauma, and bioethics, figure in the stories? Exploring issues relevant for a multicultural world and connecting thematic elements from the films to political debates and social struggles, the book seeks to make a thoughtful contribution to the scholarship of popular culture. The X-Men Films will appeal to media scholars and students, as well as to anyone interested in the X-Men series." -- BOOK BLURB Notes: Includes bibliographical references and index ISBN: 9781442265332 Contents: -- acknowledgments -- introduction / Claudia Bucciferro -- part I Utopian and Immersive Experiences -- 1: Mutopia: American Utopianism and the Mutant Superhero / Matt Yockey -- 2: The Immersive Marketing Campaign for X-Men: Days of Future Past / Nicolo Gallio -- part: II Agency and Authority -- 3: Superhuman Authority: Fascism and Bioethics in the X-Men Films / Evan Hayles Gledhill -- 4: Magneto's Dilemma: The Technological Limitations of Mutant Transhumanism / Ron Von Burg and D. Stokes Piercy -- 5: PTXD: Gendered Narratives of Combat, Trauma, and the Civil-Military Divide / Christina M Knopf and Christine M Doran -- part III Women and Power -- 6: Containing the X-Women: De-powering and De-queering Female Characters / Carolyn Cocca -- 7: Shape-Shifting Identity: Mystique's Embodied Agency / Jason Zingsheim -- 8: The "Stolen" Superpowers of Marvel's Rogue / Julie Davis and Robert Westerfelhaus -- 9: The Curious Case of "Dr" Jean Grey, Mystique, and Mariko / Barbara Cook Overton, Athena du Pre, Loretta L Pecchioni and John H Overton -- part IV Masculinity and Race -- 10: Wolverine in Transition: Shifting Portrayals of Masculinity and Identity / Nathan Miczo -- 11: Techno-Orientalist Villains and White Masculinity in the Wolverine Movies / David C Oh -- 12: Reframing Disabled Masculinity: Xavier as Marvel's Supercrip / Jessica Benham -- 13: Mutating Minorities: White Racial Framing and Group Positioning / Jason Smith -- part V Passing and Otherness -- 14: Passing While Homo Superior / Kat Overland -- 15: Mutancy, Otherness, and Empathy in the X-Men / Claudia Bucciferro -- epilogue / Jason Zingsheim and Claudia Bucciferro -- index -- about the editor and contributors -- More info