Search Catalogue

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: ASSAULT ON WALL STREET (US, Uwe Boll, 2013); BAILOUT: THE AGE OF GREED (US, Uwe Boll, 2013)
Cross Reference: BAILOUT: THE AGE OF GREED

Call No: 408 CUL
Author: Braendlin, Bonnie
CorpAuthor: Florida State University Conference on Literature and Film (14th : 1989)
Place: Tallahassee Gainesville, FL
Publisher: Florida State University Press Orders to University Presses of Florida
PubDate: 1991
PhysDes: vii, 202 p. ; 21 cm
Subject: POPULAR CULTURE AND THE CINEMA; FEMINISM AND THE CINEMA; ADVERTISING; ANDY HARDY IN FILMS; GENRES; HORROR FILMS; CRITICS; SCHWARTZ, DELMORE; ORDINARY PEOPLE (US, Robert Redford, 1980); WALL STREET (US, Oliver Stone, 1987); HAIRSPRAY (US, John Waters, 1988); FRIDAY THE 13TH [...] (US, 1980-); NIGHTMARE ON ELM STREET[...], A (US, 1984-)
Notes: Includes bibliographical references and index
ISBN: 0813010969
LON: 90027304; 7695410

Call No: 738.1 HAY
Author: Hayward, Susan
Edition: 2020
Place: London, New York
Publisher: Routledge
PhysDes: 116 pages : figures ; 23cm
Subject: ECOLOGY FILMS; MILDRED PIERCE (US, Michael Curtis, 1945); GIANT (US, George Stevens, 1956); ERIN BROKOVICH (US, Stephen Soderbergh, 2000); WALL STREET (US, Oliver Stone, 1987); WOLF OF WALL STREET, THE (US, Martin Scorsese, 2013); HOTEL RWANDA (SA/UK/IT/US, Terry George, 2004)
Summary: Using the Regenerative economic model – also known as Doughnut Economics – Susan Hayward offers a thought-provoking sketch for a renewed, tentatively revolutionary approach to both film theory and film practice. This book attempts to answer the questions posed by T.J. Demos (in Against the Anthropocene, 2017): how do we find a way to address planetary harm and the issues it raises within the field of Film Studies? How do we construct a theoretical model that allows us to visualize the ecological transgressions brought about by the growth-model of capitalism which is heavily endorsed by mainstream narrative cinema? By turning to the model set out in Kate Raworth’s book Doughnut Economics (2017) and adapting its fundamental principles to a study of narrative cinema, Film Ecology proposes to show how, by using this model, we can usefully plot and investigate films according to criteria that are not genre/star/auteur-led, nor indeed embedded in anthropocentric theoretical models, but principles which are ecologically based. These arguments are brought to life with examples from mainstream narrative films such as The Giant (1956), Mildred Pierce (1945), Erin Brockovich (2000), Wall Street (1987), Hotel Rwanda (2004), and Missing Figures (2016). This approach will inspire film practitioners, film theorists, critics and analysts, film students and film lovers alike to consider how they might integrate this Doughnut model into their thinking or work as part of their process. -- publisher's web site
ISBN: 9780367265519
Contents: Introduction -- Chapter One: Film and ecology, Doughnut Economics, and film theory -- Chapter Two: Film and the Anthropocene: dirty Capitalism – Mildred Pierce (1945), Tulsa (1949), and Giant (1956) -- Chapter Three: Where we are now and where we need to be: from Source and Sink to Take > Make > Use > Re-use – Erin Brockovich (2000), Wall Street (1987), and The Wolf of Wall Street (2013) -- Chapter Four: A moral imperative to REVOLT: Hotel Rwanda (2004) and Caphernaum (2018)

Call No: 409(73) NAT
Author: Natoli, Joseph, 1943
Place: Albany
Publisher: State University of New York Press
PubDate: 1994
PhysDes: xi, 238 p. ; 24 cm
Series: SUNY series in postmodern culture
Subject: SOCIETY AND THE CINEMA. USA; POPULAR CULTURE AND THE CINEMA. USA; NATIONAL CULTURE AND THE CINEMA. USA; CULTURE AND THE CINEMA. USA; POLITICS AND THE CINEMA. USA; NATIVE AMERICANS IN FILMS; ROBIN HOOD IN FILMS; KING, RODNEY; PHOENIX, RIVER; STONE, OLIVER; CAPE FEAR (US, J. Lee Thompson, 1961); CAPE FEAR (US, Martin Scorsese, 1991); BASIC INSTINCT (US, Paul Verhoeven, 1992); PRINCE OF TIDES, THE (US, Barbra Streisand, 1991); HAND THAT ROCKS THE CRADLE, THE (US, Curtis Hanson, 1991); OTHER PEOPLE'S MONEY (US, Norman Jewison, 1991); ROBIN HOOD : PRINCE OF THIEVES (US, Kevin Reynolds, 1991); GRAND CANYON (US, Lawrence Kasdan, 1991); GODFATHER [...], THE (US, Francis Ford Coppola, 1972-); BIS ANS ENDE DER WELT (GG/FR/AT, Wim Wenders, 1991); SILENCE OF THE LAMBS, THE (US, Jonathan Demme, 1991); MY OWN PRIVATE IDAHO (US, Gus Van Sant, 1991); WALL STREET (US, Oliver Stone, 1987); UNFORGIVEN (US, Clint Eastwood, 1992); DO THE RIGHT THING (US, Spike Lee, 1989); BOB ROBERTS (US, Tim Robbins, 1992)
Notes: Includes bibliographical references (p. 227-238)
ISBN: 0791421546 (pbk. : acid-free paper); 0791421538 (acid-free paper)
LON: 10867366

Call No: 64POS DEN
Author: Denzin, Norman K
Source: US
Place: Newbury Park
Publisher: Sage
PubDate: 1991
PhysDes: xii, 179 p. ; 24 cm
Subject: POSTMODERNISM AND THE CINEMA; USA. 1980's; Baudrillard, Jean; LYOTARD, JEAN-FRANCOIS; JAMESON, FREDRIC; BLUE VELVET (US, David Lynch, 1986); WALL STREET (US, Oliver Stone, 1987); CRIMES AND MISDEMEANORS (US, Woody Allen, 1989); DO THE RIGHT THING (US, Spike Lee, 1989); PARIS, TEXAS (GW/US, Wim Wenders, 1984); SEX, LIES AND VIDEOTAPE (US, Steven Soderbergh, 1989); WHEN HARRY MET SALLY. . . (US, Rob Reiner, 1989)
Notes: Bibliography: p. 158-174 Includes index
ISBN: 0803985150
Contents: Part 1: The postmodern -- 1. Defining the postmodern terrain -- 2. Postmodern social theory -- 3. Takes on the postmodern: Baudrillard, Lyotard, and Jameson -- 4. Learning from Mills -- Part 2: Learning from cinema -- 5. Wild about Lynch: beyond Blue velvet -- 6. Nouveau capitalists on Wall street -- 7. Crimes and misdemeanous in Manhattan -- 8. The postmodern sexual order: sex, lies, and yuppie love -- 9. Do the right thing: race in the USA -- 10. Paris, Texas: Mills and Baudrillard in America -- 11. In conclusion: the eye of the postmodern

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

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: [NINETY-NINE PERCENT] 99%: THE OCCUPY WALL STREET COLLABORATIVE FILM (US, Aaron Aites, Audrey Ewell, Nina Krstic, Lucian Read, 2013)
ID2: 207

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, THE WRATH OF GOD [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); CONFORMIST, THE [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] 5 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); 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 OF THE ROSE, THE [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: TITLE CLIPPINGS FILE; WOLF OF WALL STREET, THE (US, Martin Scorsese, 2013)
Author: Stratton, David
PhysDes: Clippings File Article
Subject: WOLF OF WALL STREET, THE (US, Martin Scorsese, 2013)
Summary: Review
Rating: 4 out of 5 stars

Call No: TITLE CLIPPINGS FILE; WOLF OF WALL STREET, THE (US, Martin Scorsese, 2013)
Author: McDonald, John
PhysDes: Clippings File Article
Subject: WOLF OF WALL STREET, THE (US, Martin Scorsese, 2013)

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Clippings
Subject: WALL STREET (US, Oliver Stone, 1987)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: WALL STREET: MONEY NEVER SLEEPS (US, Oliver Stone, 2010)

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: WOLF OF WALL STREET, THE (US, Martin Scorsese, 2013)
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