Search Catalogue

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.

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. [255]-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 --

Call No: 62 AES
Author: Aumont, J. (Jacques)
CorpAuthor: EsthTtique du film. English
Edition: 1st ed
Place: Austin
Publisher: University of Texas Press
PubDate: 1992
PhysDes: x, 269 p. : ill. ; 24 cm
Series: Texas film studies series
Subject: SPECTATORSHIP; SEMIOLOGY; AESTHETICS; NARRATIVE IN FILMS; MONTAGE; REALISM IN FILMS; THEORY; LANGUAGE AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; BAZIN, ANDRE; BARTHES, ROLAND; INTOLERANCE (US, David Wark Griffith, 1916)
Notes: Includes bibliographical references (p. [253]-259) and index
ISBN: 0292704372 (pbk.); 0292704283 (alk. paper)
LON: 8459109

Call No: 626:396 DEL
Author: De Lauretis, Teresa
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1984
PhysDes: ix, 220 p. ; 25 cm
Subject: FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA; THEORY; SEMIOLOGY; PSYCHOANALYSIS AND THE CINEMA; NARRATIVE IN FILMS; LANGUAGE AND THE CINEMA
Notes: Includes bibliographical references and index
ISBN: 0253304679; 0253203163 (pbk.)
LON: 83048189; 2925665

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. [192]-196) and index
ISBN: 0719043921; 071904393X (pbk.)
LON: 11213175
URL status: URL: 'http://-' Checked: 31/08/2021 12:35:22 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

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 --

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.

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 --

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 --

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]

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: AUTEUR THEORY

Author: Harnet, Kari
PhysDes: Article; Illustration(s)
Subject: AUTEUR THEORY; CAHIERS DU CINEMA; SARRIS, ANDREW
Summary: Examines the development of auteur theory and its relevance in Australia today.

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.

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.

Author: Crofts, Stephen
PhysDes: Article
Subject: AUTEUR THEORY; AUTHORSHIP; HOLLYWOOD
Summary: Analyses the auteur theory in relation to Hollywood films.

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 --

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 --

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. [275]-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

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BANG THEORY, THE [TV] (US, 2007-)

Author: Lucas, Bret
PhysDes: Article Review Biography Credits Bibliography
Subject: BIG HEAT, THE (US, Fritz Lang, 1953); LANG, FRITZ; AUTEUR THEORY; AUTHORSHIP; HITCHCOCK, ALFRED; RAY, NICHOLAS
Summary: Essay examines Fritz Lang's career as an auteur director, including quotes by Lang, as well as a review of "The Big Heat".

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 --

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 --

PhysDes: Article
Subject: AUTHORSHIP; AUTEUR THEORY; CAHIERS DU CINEMA; TRUFFAUT, FRANCOIS; PENN, ARTHUR; KUBRICK, STANLEY; NICHOLS, MIKE; Fellini, Federico; GODARD, JEAN-LUC; ANTONIONI, MICHELANGELO
Summary: Essay describes the emergence of auteur theory in 'Cahiers du Cinema', and discusses issues of control of films with regard to Hollywood directors. Reprinted from "Time" 4/7/1969.

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

Call No: 62(04) SAM
Author: Samuels, Charles Thomas
Source: US
Place: New York
Publisher: Van Nostrand Reinhold
PubDate: 1970
PhysDes: 250 p. ; 24 cm
Subject: THEORY; AESTHETICS; CRITICISM; ACTING; SCRIPTWRITERS; CINEMATOGRAPHY; GANGSTERS IN FILMS; HOLLYWOOD; GRADUATE, THE (US, Mike Nichols, 1967); BONNIE AND CLYDE (US, Arthur Penn, 1967); BLOWUP (UK/IT, Michelangelo Antonioni, 1966)
Donation: donated by the family of Wayne Levy, 2006
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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
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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

Call No: 62 ORR
Author: Orr, John
Source: UK
Place: Cambridge, UK
Publisher: Polity Press
PubDate: 1993
PhysDes: ix, 224 pages, [8] 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. [202]-218. -- Bibliography: p. [195]-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.

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

Call No: 70(04) CIN
Author: Cook, Pam
Place: London
Publisher: BFI
PubDate: 1985
PhysDes: vi, 377 p. : ill. ; 30 cm
Subject: HISTORY OF CINEMA; USA; STARS; GENRES; WESTERNS; MELODRAMA; GANGSTER FILMS; FILM NOIR; HORROR FILMS; MUSICALS; AUTEUR THEORY; AUTHORSHIP; STRUCTURALISM; NARRATIVE IN FILMS; BAZIN, ANDRE; METZ, CHRISTIAN; BARTHES, ROLAND; PROPP, VLADIMIR; LEVI-STRAUSS, CLAUDE
Notes: Includes index
ISBN: 0851701442 (pbk.)
LON: bnb85170144; 4277881

Call No: 70(04) CIN
Author: Cook, Pam; Bernink, Mieke
Edition: 2nd ed
Place: London
Publisher: British Film Institute
PubDate: 1999
PhysDes: x, 406 p. : ill. ; 30 cm
Subject: USA; STUDIOS, FILM. USA; STUDIO SYSTEM; STARS; NARRATIVE IN FILMS; EXPRESSIONISM; GERMANY; USSR; NEOREALISM; NOUVELLE VAGUE; UNITED KINGDOM; HOLLYWOOD; ART CINEMA; ASIAN COUNTRIES; AVANT-GARDE FILMS; THIRD CINEMA; THIRD WORLD; GENRES; WESTERNS; MELODRAMA; GANGSTER FILMS; FILM NOIR; HORROR FILMS; MUSICALS; YOUNG PEOPLE IN FILMS; COMEDIES; ACTION FILMS; AUTHORSHIP; AUTEUR THEORY; STRUCTURALISM; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; SPECTATORSHIP; AUDIENCE RESEARCH; SARRIS, ANDREW
Notes: Previous ed.: 1985
ISBN: 0851707297; 0851707262 (pbk.) ª23.99; 0851707297; 0851707262 (pbk.)
LON: 14510520

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 3.Against Method 4.Analog/ Digital Splice 5.Blood, Simple 6.Boredom and Analog Nostalgia 7.The Digital Spectacular 8.Disposable Aesthetics 9.DV Humanism 10.Filmless Films 11.Frame Dragging 12.The Ideology of the Long Take 13.Image/ Text 14.Incompleteness 15.Interfaces 16.iPod Experiment 17.Ironic Mode 18.Looking at Yourself Looking 19.The Lost Underground 20.Love in the Time of Fragments 21.Media as Its Own Theory 22.Mobile Viewing 23.Moving Space in the Frame, and a Note on Film Theory 24.Natural Time 25.Nonlinear 26.Paranormal Activity 2 27.Pausing 28.Punk 29.Realism 30.Real Time 31.The Real You 32.The Reality Industrial Complex 33.Remainders 34.Sampling 35.Secondary Becomes Primary 36.Self-Deconstructing Narratives 37.Shaky Camera 38.Shoot! 39.Simultaneous Cinema 40.Small Screens Contents note continued: 41.Target Video 42.Time, Memory 43.Time-Shifting 44.Tmesis: Skimming and Skipping 45.Undirected Films 46.Viewer Participation 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

Author: De Vincenti, Giorgio
PhysDes: Article; Bibliography; Illustration(s)
Subject: AUTEUR THEORY; RENOIR, JEAN
Summary: Examines the model of authorship in relation to the cinema of Jean Renoir.

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.

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) SEE 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 --

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.

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

Call No: 761 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
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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

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

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

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Clippings
Subject: CONSPIRACY THEORY (US, Richard Donner, 1997)

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

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.

Author: Durgnat, Raymond
PhysDes: Article
Subject: AUTEUR THEORY; AUTHORSHIP; CRITICISM; CRITICS; CRITICISM: METHODOLOGY OF FILM CRITICISM; HAWKS, HOWARD; HITCHCOCK, ALFRED
Summary: Essay examines the emergence of auteur theory and criticises the way critics of the time in the journal 'Cahiers du cinema' discerned which directors could be labelled 'auteurs'.

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 --

Call No: 71(512.317) CUL
Author: Nguyet Erni, John
Edition: Volume 15; Number 3/4
Source: UK
Publisher: Routledge
PubDate: July/October 2001
PhysDes: vi, 389-657 p. : 24cm.
Series: Cultural studies : Theorizing politics, politicizing theory
Subject: COLONIALISM AND THE CINEMA USE: IMPERIALISM AND THE CINEMA; CULTURE AND THE CINEMA; HONG KONG; ORIENTAL ACTION FILMS; THEORY
ISBN: 0415251699
ISSN: 09502386

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 --

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

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 --

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.

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.

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

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 --

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 --

Call No: 81DRE NAS
Author: Nash, Mark
Source: UK
Place: London
Publisher: British Film Institute
PubDate: 1977
PhysDes: [3], 81 p. ; 21 cm
Subject: DREYER, CARL TH.; THEORY; AESTHETICS; PSYCHOANALYSIS AND THE CINEMA; STRUCTURALISM
Notes: Bibliography: p. 81.
ISBN: 0851700683
Language: English

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

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 Introduction 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 Chapter Notes Bibliography Index

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

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 --

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 --

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

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

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

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

Call No: 626[396]: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 --

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

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

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

Call No: 62 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.

Call No: 62 FEL
Author: Fell, John L.
Place: New York
Publisher: Praeger Publishers
PubDate: 1975
PhysDes: xiv, 274 p. : ill ; 25 cm.
Subject: HISTORY OF CINEMA; EDITING; SOUND; COLOUR; GENRES; EDITING; PRODUCTION; DIRECTION; EDITING; SPECIAL EFFECTS; CRITICISM; AUTEUR THEORY; THEORY; SEMIOLOGY; STRUCTURALISM
Summary: A broad history of film that shifts from looking at its beginnings, to explaining the visual elements that make up a film, to a desciption of the ingredients of film production, and finally to a closer inspection of specific theorists and theories of film.
Notes: Includes indexes. Bibliography: p. 251-252.
ISBN: 0275509508

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. [325]-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 --

Call No: 62 CAS
Author: Casebier, Allan
Place: New York
Publisher: Harcourt Brace Jovanovich
PubDate: c1976
PhysDes: ix, 207 p., [2] leaves of plates : col. ill. ; 23 cm
Subject: THEORY; AESTHETICS; SOUND; AUDIENCES; REALISM IN FILMS; SURREALISM AND THE CINEMA; EXPRESSIONISM; MYTH AND THE CINEMA; STRUCTURALISM; CRITICISM; WELLES, ORSON; BUNUEL, LUIS; KUBRICK, STANLEY; BAZIN, ANDRE; ARNHEIM, RUDOLF; GODARD, JEAN-LUC; CLOCKWORK ORANGE, A (UK, Stanley Kubrick, 1971)
Notes: Includes index; "Bibliography/filmography": p. [183]-190
ISBN: 0155273701
Order Received: 2000
Order Type: Donation
LON: 746910
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Call No: 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

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., [4] 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. [287]-290
ISBN: 0226509745 (pbk.)
LON: 83004819; 2872482
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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

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

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://-' Checked: 31/08/2021 12:38:53 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

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

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 --

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. [495]-559) and index
ISBN: 0292727771 (cloth : alk. paper); 029272778X (pbk. : alk. paper)
LON: 11563059

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 --

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

Call No: 22 PUD
Author: Pudovkin, V. I.; Montagu, Ivor (trans.)
Source: US
Place: New York
Publisher: Bonanza Books
PubDate: 1959
PhysDes: 153 p. ; 22 cm
Subject: PRODUCTION; THEORY; CINEMATOGRAPHY; DIRECTION; SCRIPTWRITING
Notes: Volume 1 only (Film technique). In the book, 'scenarist' is approximately equivalent to the contemporary scriptwriter.
Donation: donated by the family of Wayne Levy, 2006

Call No: 62 LAP
Author: Lapsley, Robert; Westlake, Michael
Place: Manchester, UK New York
Publisher: Manchester University Press Distributed exclusively in the USA and Canada by St. Martin's Press
PubDate: 1988
PhysDes: viii, 248 p. : 1 ill. ; 23 cm
Series: Images of culture
Subject: SEMIOLOGY; IDEOLOGY AND THE CINEMA; POLITICS AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; AVANT-GARDE FILMS; REALISM IN FILMS; NARRATIVE IN FILMS; AUTHORSHIP; AUTEUR THEORY
Notes: Includes index; Bibliography: p. [238]-240
ISBN: 0719026024 (pbk.); 0719018897 : $30.00 (est.)
LON: bnb71901889; 5574489
URL status: URL: 'http://-' Checked: 31/08/2021 12:39:34 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

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 --

Call No: 62 FIL
Author: Mast, Gerald, 1940; Cohen, Marshall
Edition: 3rd ed
Place: New York
Publisher: Oxford University Press
PubDate: 1985
PhysDes: xxi, 852 p. : ill. ; 22 cm
Subject: SEMIOLOGY; PRODUCTION; THEATRE AND THE CINEMA; ADAPTATIONS; COMEDIES; SCIENCE-FICTION FILMS; HORROR FILMS; WESTERNS; AUTEUR THEORY; SOCIOLOGY AND THE CINEMA; GARBO, GRETA; CHINATOWN (US, Roman Polanski, 1974); YOUNG MR. LINCOLN (US, John Ford, 1939)
Notes: Bibliography: p. 846-852
ISBN: 0195035739 (pbk.)
LON: 84027243; 3860012
URL status: URL: 'http://-' Checked: 31/08/2021 12:39:09 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

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

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

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.

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) SEE PIANISTE, LA; PIANISTE, LA (AU/FR, Michael Haneke, 2001); TIME OF THE WOLF, THE (FR/AU/GG, Michael Hanaeke, 2003) SEE 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) SEE 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 --

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

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

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.

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 --

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

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

Call No: 632 POM
Author: Pomerance, Murray
Source: US
Place: New Brunswick, NJ
Publisher: Rutgers University Press
PubDate: 2008
PhysDes: xii, 257 p., [4] 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.

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

Call No: 53 DAL
Author: Dale, Edgar
Place: New York
Publisher: Macmillan
PubDate: 1933
PhysDes: xi, 243 p. : ill., ports.; 20 cm
Series: Motion pictures and youth
Subject: CRITICISM: METHODOLOGY OF FILM CRITICISM; THEORY; CRITICISM
Notes: Bibloography: p. 241-243 Inclues glossary Incules index

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 Glossary: p.219-236 Index: p.237-240
ISBN: 0333569652

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

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 --

Author: Thiemeyer, Anne
PhysDes: Article
Subject: NOUVELLE VAGUE; AUTEUR THEORY; AUTHORSHIP; BIRDS, THE (US, Alfred Hitchcock, 1963); HITCHCOCK, ALFRED; Mizoguchi, Kenji
Summary: Point by point account of the history of internation cinematic trends, with examples of specific films. Emphasis on French New Wave, Auteur theory and the nature of cinematic experience.

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. [259]-269) and index
ISBN: 0691047979 (alk. paper); 0691006164 (pbk. : alk. paper)
LON: 8200386
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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.

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, [1995]); 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
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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, [1995]); 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

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.

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

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.

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 --

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

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. [244]-262; Includes bibliographical references (p. [263]-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 --

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

Author: Paul Verstraten
Subject: STAGE FRIGHT (UK, Alfred Hitchcock, 1950); FLASHBACK; SEMANTICS; THEORY
Summary: A theoretical consideration of the false flashback in "Stage Fright" and why this is unacceptable to viewers. In French.

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

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

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
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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. [294]-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 --

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

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

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

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

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 --

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 --

Author: Garlick, Robert
PhysDes: Article Review
Subject: MOUCHETTE (FR, Robert Bresson, 1967); BRESSON, ROBERT; AU HASARD, BALTHAZAR (FR/SW, Robert Bresson, 1966); AUTEUR THEORY
Summary: Review of Robert Bresson's film "Mouchette", with an emphasis on his directorial style as an auteur.

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 --

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

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 --

Call No: 61:8 APP
Author: Alfred Appel
Place: New York
Publisher: Oxford University Press
PubDate: 1974
PhysDes: 324 p. ill. ; 16x23 cm.
Subject: THEORY; NABOKOV, VLADIMIR; LOLITA (US, Stanley Kubrick, 1962)
Notes: Includes index.
ISBN: 0195018346

Call No: 62 NAR
Author: Rosen, Philip
Place: New York
Publisher: Columbia University Press
PubDate: 1986
PhysDes: xi, 549 p. : ill. ; 24 cm
Subject: THEORY; NARRATIVE IN FILMS; STAGECOACH (US, John Ford, 1939); VENT D'EST (FR/IT/GW, Jean-Luc Godard & Dziga Vertov Group, 1970); AVANT-GARDE FILMS
Notes: Includes bibliographies
ISBN: 0231058802 (hard : alk. paper); 0231058810 (pbk. : alk. paper)
LON: 86002619; 4451999

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

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

Call No: 623 STA
Author: Stam, Robert, 1941; Burgoyne, Robert, 1949; Flitterman-Lewis, Sandy, 1946
Place: London New York
Publisher: Routledge
PubDate: 1992
PhysDes: xv, 239 p. ; 25 cm
Subject: SEMIOLOGY; STRUCTURALISM; THEORY; NARRATIVE IN FILMS; PSYCHOANALYSIS AND THE CINEMA; GAZE IN FILMS; REALISM IN FILMS; METZ, CHRISTIAN; BAHTIN, MIHAIL
Notes: Includes bibliographical references (p. 222-232) and index
ISBN: 041506595X (pbk.); 0415065941 (hardback)
LON: 8160190

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 --

Call No: 623 EIS
Author: Eisenstein, Sergei, 1898-1948; Marshall, Herbert, 1906
Place: Cambridge New York
Publisher: Cambridge University Press
PubDate: 1987
PhysDes: xxv, 428 p. : ill. ; 24 cm
Series: Cambridge studies in film
Subject: THEORY; EISENSTEIN, SERGEI M.
Notes: Translation of: Neravnodushnadi8a priroda; Includes bibliographical references and index
ISBN: 0521324157
LON: 86033457; 5018398

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) SEE CACHE; PIANO TEACHER, THE (AU/FR, Michael Haneke, 2001) SEE 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 --

Author: Lehman, Paul (ed)
PhysDes: Article
Subject: GODARD, JEAN-LUC; FASHION IN FILMS; THEORY; TOUT VA BIEN (FR/IT, Jean-Luc Godard & Jean-Pierre Gorin, 1972); HITCHCOCK, ALFRED; LANDSCAPES IN FILMS
Summary: Majority of issue on the cinema of Godard. Articles on visual distance, fashion, and language in his films, an analysis of 'Tout va Bien' in Brechtian terms.Article on landscape in Hitchcock films.

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

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 --

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

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 --

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

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

Call No: 67(04) WOO
Author: Wood, Robin, 1931
Place: London
Publisher: G. Fraser
PubDate: 1976
PhysDes: 254, [1] 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. [255]
ISBN: 090040664X : ª5.90
LON: 793105

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

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 Status: Moved Details: HTTP status 302 - Moved temporarily

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

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

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 --

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 http://www.loc.gov/catdir/toc/fy045/2004353165.html Contributor biographical information http://www.loc.gov/catdir/bios/ucal052/2004353165.html Publisher description http://www.loc.gov/catdir/description/ucal051/2004353165.html
ISBN: 0-85170942-7

Author: Durgnat, Raymond
PhysDes: Article
Subject: AUTEUR THEORY; AUTHORSHIP; AESTHETICS; STAR SYSTEM; FANS; CINEPHILIA; SPECTATORSHIP; AUDIENCE RECEPTION; AUDIENCES
Summary: Essay discusses the star system with regard to audience spectatorship: why some actors become stars and attract fanbases, in the cinema.

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

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

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

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

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