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AFI Research Collection
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Keyword Author Title Subject ISBN/ISSN or and
Keyword Author Title Subject ISBN/ISSN
259 results out of 259
ABC sinks controvesial dolphin show
in The Australian [Media] (11/05/2015) p.23
Call No: TITLE CLIPPINGS FILE; BLUE ZOO [TV] (AT, 2014)
Author: King, Simon
PhysDes: Clippings File Article
Subject: BLUE ZOO [TV] (AT, 2014)
Summary: Second series of Blue Zoo cancelled
After bumper year, what's next for local films
in Saturday Age (09/01/2016) p.13
Call No: SUBJECT CLIPPINGS FILE; AUSTRALIA. 2010's
Author: Hawker, Philippa
Subject: AUSTRALIA; LOOKING FOR GRACE (AT, Sue Brooks, 2015); DAUGHTER, THE (AT, Simon Stone, 2015); SHERPA (AT/NP, Jennifer Peedom, 2015); MONTH OF SUNDAYS, A (AT, Matthew Saville, 2015); GOLDSTONE (AT, Ivan Sen, 2016); JASPER JONES (AT, Rachel Perkins, 2017); LION (AT, Garth Davis, 2016); RED DOG: TRUE BLUE (AT, Kriv Stenders, 2016)
Summary: Snippets on a number of Australian films that are scheduled to be released in cinemas in 2016
Aussie talent shines bright at Sundance
in The Australian (25/01/2017) p.15
Call No: SUBJECT CLIPPINGS FILE; FESTIVALS. PARK CITY. SUNDANCE. 2017
Author: Westwood, Christine
Subject: FESTIVALS. PARK CITY. SUNDANCE; BERLIN SYNDROME (AT, Cate Shortland, 2017); KILLING GROUND in production; RED DOG: TRUE BLUE (AT, Kriv Stenders, 2016); ORBITAL VANITAS (AT, Shaun Gladwell, 2017)
Summary: Report on a number of Australian films showing at the 2017 Sundance Film Festival, including; BERLIN SYNDROME, KILLING GROUND, RED DOG: TRUE BLUE, CASTING JONBENET, short film SLAPPER, and virtual reality film ORBITAL VANITAS
Authorship and the films of David Lynch : aesthetic receptions in contemporary Hollywood / Antony Todd
London: I.B. Tauris, 2012.
Call No: 81LYN TOD
Author: Todd, Antony
Source: UK
Place: London
Publisher: I.B. Tauris
PubDate: 2012
PhysDes: ix, 181 p. : ill. ; 24 cm
Subject: AESTHETICS; AUTEUR THEORY; LYNCH, DAVID; DUNE (US, David Lynch, 1984); BLUE VELVET (US, David Lynch, 1986); TWIN PEAKS [TV] (US, David Lynch & others, 1990-1991); MULHOLLAND DRIVE (US, David Lynch, 2001)
Summary: "This fresh contribution to studies on authorship and film explores the ways in which shared and disputed opinions on aesthetic quality, originality and authorial essense have shaped receptions of David Lynch's films. it is also the first book to approach Lynch as a figure composed through language, history and text. Antony Todd traces the development of Lynch's career from cult obscurity with Eraserhead to star auteur through the release of Blue Velvet, as well as the television event of the early 1990s, Twin Peaks. He investigates how Lynch's idiosyncratic style introduced the term 'Lynchian' to the colloquial speech of new Hollywood and helped establish Lynch as the leading light among contemporary American auteurs. Through the evidence of critical and promotional ephemera and the texts carrying Lynch's name, Todd explores contemporary manners and attitudes for artistic reputation building. He also reviews the standards by which Lynch's reputation was dismantled following the release of Wild at Heart and Twin Peaks: Fire Walk with Me, only to be reassembled once more through films such as Lost Highway, Mulholland Dr. and INLAND EMPIRE. This book also ventures beyond its empirical findings by addressing authorship concerns pertaining to the ways in which, and to whom, the contemporary auteur has meaning. In its account of the experiences at play in the encounter between ephemera, text and reader, Authorship and the Films of David Lynch explores how authors functions for pleasure in the modern filmgoer's everyday consumption of films."-BOOK BLURB
Notes: includes bibliographical references; includes index
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 --
title clippings file
BABY BLUE MARINE : (US, John Hancock, 1976)
Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BABY BLUE MARINE (US, John Hancock, 1976)
BLASSBLAUE FRAUENSCHRIFT, EINE : (AU, Axel Corti, 1984)
Subject: BLASSBLAUE FRAUENSCHRIFT, EINE (AU, Axel Corti, 1984); WOMAN'S PALE BLUE HANDWRITING, A (AU, Axel Corti, 1984)
BLUE : (UK, Derek Jarman, 1993)
Subject: BLUE (UK, Derek Jarman, 1993)
digital clippings file
BLUE : (AT, Karina Holden, 2017)
Digital clippings file available
Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: BLUE (AT, Karina Holden, 2017)
The Blue and the Grey : Larson, Randall D
in Cinema Score (Fall/Winter 1983) vol.11 iss.12 p.46
PhysDes: Article
Subject: BLUE AND THE GREY, THE [TV] (US, Andrew V McLaglen, 1982)
Summary: Review of Bruce Broughton's film score
BLUE BIRD, THE : (US/UR, George Cukor, 1976)
Subject: BLUE BIRD, THE (US/UR, George Cukor, 1976)
BLUE CAR : (US, Karen Moncrieff, 2002)
Subject: BLUE CAR (US, Karen Moncrieff, 2002)
Blue cat blues
in Movie Maker (September 1979) p.723
Subject: BLUE CAT BLUES (US, Joseph Barbera & William Hanna, 1956)
BLUE CHIPS : (US, William Friedkin, 1994)
PhysDes: Stills; Clippings; Press kit
Subject: BLUE CHIPS (US, William Friedkin, 1994)
BLUE CITY : (US, Michelle Manning, 1986)
Subject: BLUE CITY (US, Michelle Manning, 1986)
Blue Collar : US, Paul Schrader, 1978
Subject: BLUE COLLAR (US, Paul Schrader, 1978)
Blue collar America
in News (January 1982) vol.4 iss.78
Subject: BLUE COLLAR AMERICA (SW, Inger Marklund & Anders Ribbsjo, 1982)
BLUE CRUSH : (US, John Stockwell, 2002)
Subject: BLUE CRUSH (US, John Stockwell, 2002)
The blue dahlia : a screenplay / Raymond Chandler ; with a memoir by John Houseman ; edited, with an afterword by Matthew J. Bruccoli
Carbondale: Southern Illinois University Press, 1976.
Call No: 79 BLU CHA
Author: Chandler, Raymond
Source: US
Place: Carbondale
Publisher: Southern Illinois University Press
PhysDes: xxi, 139 pages : illustrations, plates, portraits ; 23 cm
Subject: BLUE DAHLIA, THE (US, George Marshall, 1946); CHANDLER, RAYMOND
Notes: Filmography: p. 138-139
Contents: Lost fortnight, a memoir by John Houseman -- Editorial Note -- The Blue Dahlia, a screenplay by Raymond Chandler -- Afterword: Raymond Chandler and Hollywood by Matthew J. Bruccoli -- Appendix: Chandler on Hollywood, movies made from Chandler's plays, and screenplays written by Chandler
Blue Danube
in Film Index iss.28 p.66
Subject: BLUE DANUBE, THE (UK, Herbert Wilcox, 1932)
BLUE FIN : (AT, Carl Schultz, 1978)
PhysDes: Clippings; Publicity; Posters
Subject: BLUE FIN (AT, Carl Schultz, 1978)
Blue Fin : continuity script
[1977].
Call No: S BLU
Author: Borg, Sonia
PubDate: [1977]
PhysDes: 84
Notes: Unpublished script
[Blue fin : poster]
Call No: P BLU
PhysDes: 1 poster : col. ; 76 X 35 cm.
Summary: Image: a fishing vessel in rough seas, showing obvious signs of damage. Above the boat, a man is shown with his arm around the shoulder of a boy. Text: 'Every year has it's special film. Last year it was Storm Boy, this year it's the... Blue Fin, a stirring adventure of a son and father who became a team.'
Notes: Poster has fold lines, corners are bent.
ID2: 137
[Blue fin : stills file]
Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 3 photographs : b&w ; 13 x 18 cm
Summary: 3 black and white photographs relating to the film Blue Fin
Notes: One photo is a duplicate of the other. Image donated by Brian McFarlane
BLUE FIRE LADY : (AT, Ross Dimsey, 1977)
PhysDes: Clippings; Stills; Publicity
Subject: BLUE FIRE LADY (AT, Ross Dimsey, 1977)
Blue fire lady / Jean Dixon
Melbourne: Sun Books, 1977.
Call No: N79BLU DIX
Author: Dixon, Jean
Source: Australia
Place: Melbourne
Publisher: Sun Books
PhysDes: 104 p. ; 21 cm
[Blue fire lady : Marion Edward plays Mrs. Gianini in 'Blue Fire Lady'] / Australian International Film Corpation
Call No: TITLE FILM AUSTRALIA
PhysDes: 1 photograph : b&w ; 26 X 18 cm.
Summary: Image of Marion Edwards in character
Notes: Labels on reverse
[Blue fire lady : Peter Cummins and John Ewart at the race track / David Parker
Call No: TITLE STILL AUSTRALIA
Summary: Production still from Blue Fire Lady. Image of Peter Cummins and John Ewart at the race track in conversation
Notes: adhesive marks covering the reverse of image; labels on reverse
[Blue fire lady : punk Gary Waddell (Charlie) threatens Cathryn Harrison (Jenny) in 'Blue fire lady']
[c. 1977].
PubDate: [c. 1977]
Summary: Gary Waddell and two other men wearing dark coloured clothing in discussion with Cathryn Harrison dressed in white outside a milkbar, in a black and white image.
Notes: label on reverse; photographers busisness stamp on reverse
[Blue fire lady : stills file] / David Parker
Australian International Film Corporation Pty. Ltd. (distributor),
Publisher: Australian International Film Corporation Pty. Ltd. (distributor)
Subject: HOLDEN, MARK; HARRISON, CATHRYN; EDWARD, MARION; WADDELL, GARY; CUMMINS, PETER; EWART, JOHN; BLUE FIRE LADY (AT, Ross Dimsey, 1977)
Summary: Five black and white photographs relating to the film Blue fire lady
BLUE GARDENIA, THE : (US, Fritz Lang, 1953)
Subject: BLUE GARDENIA, THE (US, Fritz Lang, 1953)
music lp
Blue Hawaii [sound recording] / Elvis Presley and the Jordanaires (Musical group)
Australia: RCA Records, [1961].
Call No: LP Blue Hawaii
Author: Presley, Elvis; Jordanaires (Musical group)
CorpAuthor: RCA Records
Place: Australia
Publisher: RCA Records
PhysDes: 1 sound disc (29 min.) : analog, 33 1/3 rpm, stereo. ; 12 in
Subject: PRESLEY, ELVIS; BLUE HAWAII (US, Norman Taurog, 1961)
Notes: "14 great songs" from the Hal Wallis production of Blue Hawaii, a Paramount film, sung by Elvis Presley, with the Jordanaires; "An original sound track album."
Contents: -- Blue Hawaii (Robin-Rainger) Chappell (2:35) with the Jordanaires -- Almost always true (Wise-Weisman) (2:24) -- Aloha oe (adapted and arranged by Elvis Presley) with the Jordanaires (1:54) -- No more (Robertson-Blair) (2:22) -- Can't help falling in love (Peretti-Creatore-Weiss) (2:59) -- Rock-a-hula baby (Wise-Weisman-Fuller) (1:58) -- Moonlight swim (Dee-Weisman) Aberbach (2:18) -- Ku-u-i-po (Peretti-Creatore-Weiss) (2:20) with the Jordanaires -- Ito eats (Tepper-Bennett) (1:25) with the Jordanaires -- Slicin' sand (Tepper-BGennett) (1:34) with the Jordanaires -- Hawaiian sunset (Tepper-Bennett) (2:30) with the Jordanaires -- Beach boy blues (Tepper-Bennett) (2:00) with the Jordanaires -- Island of love ( Tepper-Bennett) (2:40) -- Hawaiian wedding song (King-Hoffman-Manning) with the Jordanaires (2:48) --
Performer: Presley, Elvis; Jordanaires (Musical group)
Music Type: Motion Picture Music
Publisher Number: RCA Records: L101174
Blue heelers : Tom's Story / Cassandra Carter
Rydalmere, NSW: Hodder Headline Australia, 1997.
Call No: N79BLU CAR
Author: Carter, Cassandra
Place: Rydalmere, NSW
Publisher: Hodder Headline Australia
Subject: BLUE HEELERS [TV] (AT, 1994-2006)
Notes: Based on the television series Blue heelers. 'First published in Australia and New Zealand in 1997 by Hodder Headline
Donation: donated by the family of Wayne Levy, 2006
BLUE HEELERS : Reports of Damage and Loss, Episode 133
Author: Banas, J.
PhysDes: 97 leaves
Subject: BLUE HEELERS [TV] (AT, 1994-)
Donation: donated by the Australian Writers Guild
BLUE HEELERS : The Folly of Youth, Episode 37
Author: Hore, S.
BLUE HEELERS : A Matter of Trust, Episode 29
Author: Brooksbank, A.
Blue Heelers : Postmortem, Episode 227
Author: Lewis, J.
PhysDes: 119 leaves
Blue Heelers : A Bit of Biff, Episode 185
Author: Garner, B.
Blue heelers : Episode 191 : " The Living Dead"
Author: McEnroy, Hal
Blue Heelers : Luck of the Draw, Episode 44
Author: Carter, Cass
PhysDes: 74 p
Blue Heelers : Heavy Traffic, Episode 52
Author: Winter, Michael
Blue Heelers : A Question of Courage
Author: Brooksbank, Anne
Blue Heelers : Hunted, Episode 209
PhysDes: 119 p
Blue Heelers : Crazy Like a Fox, Episode 32
Author: Lord, J. & Morphett, T.
PhysDes: 82p
Blue Heelers : Missing, Episode 25
Blue heelers : 1997 Bible / compiled by Caroline Stanton ; with contributions from Tony Morphett, Michael Winter and Peter Haddow
AT: 1997 Feb.
Author: Stanton, Caroline [compiler]
Place: AT
PubDate: 1997 Feb
PhysDes: 52 leaves ; 30 cm
Summary: Guidelines for script writers of the Blue Heelers television series
Notes: Unpublished script -- Includes 'Blue Heelers' overview, scripting guidelines, character notes, guide to police procedures
Blue heelers : the Bible 1998 / compiled by Caroline Stanton ; with contributions from Tony Morphett, Michael Winter and Peter Haddow
AT: c1997.
PubDate: c1997
Notes: Unpublished script -- Includes 'Blue Heelers' overview, scripting guidelines, character notes, guide to police
Author: Carter
Blue Heelers. Ep. 196, Blood Ties : script / created by Tony Morphett and Hal McElroy; director Steve Mann
Author: Marsh, David
Notes: Unpublished script; donated by the Australian Writer's Guild; West Street Productions
[Blue heelers : series file]
PhysDes: 7 photographs : 25 x 17 cm - 25 x 20 cm
Subject: PELLIZZERI, RIC; McCune, Lisa; MCINNES, WILLIAM; MILLER, DENNIS; WOOD, JOHN; FILES, GARY; BLUE HEELERS [TV] (AT, 1994-2006)
Summary: Seven black and white photographs relating to the TV series Blue Heelers
Blue Heelers [TV]: stills file : AT, 1994-2006
PhysDes: 8 photographs: b&w
Summary: Production stills relating to telesvision series Blue Heelers. Stills include images of William McInnes, Lisa McCune and John Woods in character.
BLUE HORIZON, THE : (AT?, Jack McCoy, 2004)
Subject: BLUE HORIZON, THE (AT?, Jack McCoy, 2004)
BLUE IGUANA : (UK, Hadi Hajaig, 2018)
Subject: BLUE IGUANA (UK, Hadi Hajaig, 2018)
BLUE IGUANA, THE : (US, John Lafia, 1988)
Subject: BLUE IGUANA, THE (US, John Lafia, 1988)
BLUE IN THE FACE : (US, Wayne Wang & Paul Auster, 1995)
PhysDes: Stills; Clippings; Publicity
Subject: BLUE IN THE FACE (US, Wayne Wang & Paul Auster, 1995)
BLUE JASMINE : US, Woody Allen, 2013
Subject: BLUE JASMINE (US, Woody Allen, 2013)
URL status: URL: 'http://file://Q:/T/BLUE_JASMINE.zip' Checked: 31/08/2021 1:26:44 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)
BLUE JUICE : (UK, Carl Prechezer, 1995)
PhysDes: Clippings; Publicity
Subject: BLUE JUICE (UK, Carl Prechezer, 1995)
BLUE LAGOON, THE : (US, Randal Kleiser, 1980)
Subject: BLUE LAGOON, THE (US, Randal Kleiser, 1980)
The Blue Lamp
Subject: BLUE LAMP (UK, Basil Dearden, 1949)
BLUE LIGHTENING : [TV] (AT, Lee Philips, 1986)
Subject: BLUE LIGHTENING [TV] (AT, Lee Philips, 1986)
BLUE LIPS : (SP/BL/IT/AG/US, Daniela DeCarlo, Julieta Lima, Gustavo Lipsztein, Antonello Novellino, Nacho Ruiperez, Nobu Shima, 2014)
Subject: BLUE LIPS (SP/BL/IT/AG/US, Daniela DeCarlo, Julieta Lima, Gustavo Lipsztein, Antonello Novellino, Nacho Ruiperez, Nobu Shima, 2014)
BLUE MAX, THE : (UK, John Guillermin, 1966)
Subject: BLUE MAX, THE (UK, John Guillermin, 1966)
BLUE MONKEY : (US, Bill Fruet, 1987)
Subject: BLUE MONKEY (US, Bill Fruet, 1987)
BLUE MOON : (US, John Gallagher, 2000)
Subject: BLUE MOON (US, John Gallagher, 2000)
[Blue mountains mystery : Lottie Lyell and Raymond Longford (centre) directing a scene, Majorie Osborne (Mrs. Tracey), Aurthur Higgins (cameraman)]
Subject: BLUE MOUNTAINS MYSTERY, THE (AT, Raymond Longford & Lottie Lyell, 1921); LONGFORD, RAYMOND; LYELL, LOTTIE; HIGGINS, ARTHUR
Summary: Scene filmed at the Carrington Hotel, Katoomba, NSW. Labels reads 'on the set of The Blue Mountains Mystery.
Notes: Label on reverse
BLUE MURDER : [TV] (AT, Michael Jenkins, 1995)
PhysDes: Clippings; Publicity; Press kit
Subject: BLUE MURDER [TV] (AT, Michael Jenkins, 1995)
Blue murder : The screenplay / Ian David
Sydney: Currency Press, 2002.
Call No: 79BLU DAV
Author: Ian David
Source: Currency Press
Place: Sydney
Publisher: Currency Press
PhysDes: 114 p ; 24 cm
Summary: Set in Sydney in the 1970s and 1980s, Blue Murder is the story of the friendship between drug dealer and robber Arthur Stanley "Neddy" Smith and Detective Sergeant Roger "The Dodger" Rogerson - and the pot of gold and broken lives that friendship produced. Winner of the NSW Premier's Literary Award for Best Screenplay. Includes an introduction by Peter Galvin and an interview with Ian David. [Taken from back cover.]
Blue murder at St. Trinian's
Subject: BLUE MURDER AT ST. TRINIAN'S (UK, Frank Launder, 1957)
Blue Murder Killer Cop : Part 1 - International version / screenplay by Peter Schrek [credits listing at script end]
Author: screenplay by Peter Schrek [credits listing at script end]
Edition: Post Production Script
Subject: BLUE MURDER: KILLER COP [TV] (AT, 2017)
Donation: AFI / AACTA
BLUE MURDER: KILLER COP [TV] : (AT, 2017)
BLUE MURDER: KILLER COP [TV] (AT, 2017) : Part 2 - International Version / screenplay by Peter Schrek [credits listing at script end]
[Blue mystery mountains, the : stills file]
PhysDes: 4 photographs : b&w ; 11 x 13 cm - 20 x 25 cm
Subject: THE BLUE MOUNTAINS MYSTERY (AT, RAYMOND LONGFORD, 1921)
Summary: Four black and white photographs relating to the film The Blue Mountains Mystery
Notes: Contains duplicates of the one photograph
BLUE NOTE: A STORY OF MODERN JAZZ : (GG, Julian Benedikt, 1997)
Subject: BLUE NOTE: A STORY OF MODERN JAZZ (GG, Julian Benedikt, 1997)
The Blue Parrot
Subject: BLUE PARROT, THE (UK, John Harlow, 1953)
The Blue Peter
Subject: BLUE PETER, THE (UK, Wolf Rilla, 1955)
BLUE PLANET : (US, Ben Burtt, 1990)
Subject: BLUE PLANET (US, Ben Burtt, 1990)
The Blue Revolution
in Encore (10-23 September 1987) vol.5 iss.16 p.6
Subject: BLUE REVOLUTION, THE [TV] (AT/UK/US, Peter Butt, 1989)
Summary: ABC buys rights to $7m series "The Blue Revolution" and $1.5m series "The Mindmakers"
BLUE REVOLUTION, THE : [TV] (AT/UK/US, Peter Butt, 1989)
BLUE ROSE : (AT)
Subject: BLUE ROSE (AT)
Blue Scar
Subject: BLUE SCAR (UK, Jill Craigie, 1949)
BLUE SKIES AGAIN : (US, Richard Michael, 1983)
Subject: BLUE SKIES AGAIN (US, Richard Michael, 1983)
BLUE SKIES ARE A LIE : (US, Gregory Ruzzin, 1995)
Subject: BLUE SKIES ARE A LIE (US, Gregory Ruzzin, 1995)
BLUE SKY : (US, Tony Richardson, 1994 [prod.1991])
Subject: BLUE SKY (US, Tony Richardson, 1994 [prod.1991])
BLUE SNAKE : (CN, Nic Fichman, 1986)
Subject: BLUE SNAKE (CN, Nic Fichman, 1986)
The Blue Squadron
Subject: BLUE SQUADRON, THE (UK, George King, 1934)
BLUE STEEL : (US, Kathryn Bigelow, 1989)
PhysDes: Stills; Clippings
Subject: BLUE STEEL (US, Kathryn Bigelow, 1989)
BLUE STORY : (UK, Andrew Onwubolu, 2019)
Subject: BLUE STORY (UK, Andrew Onwubolu, 2019)
BLUE STREAK : (US, Les Mayfield, 1999)
Subject: BLUE STREAK (US, Les Mayfield, 1999)
BLUE THUNDER : (US, John Badham, 1983)
Subject: BLUE THUNDER (US, John Badham, 1983)
BLUE TONGUE : (AT, Justin Kurzel, 2004)
Subject: BLUE TONGUE (AT, Justin Kurzel, 2004)
subject clippings file
BLUE TONGUE FILMS
Call No: SUBJECT CLIPPINGS FILE
Subject: BLUE TONGUE FILMS
BLUE VALENTINE : (US, Derek Cianfrance, 2010)
Subject: BLUE VALENTINE (US, Derek Cianfrance, 2010)
Blue velvet / Michael Atkinson
London: British Film Institute, 1997.
Call No: 79BLU ATK
Author: Atkinson, Michael
CorpAuthor: British Film Institute
Publisher: British Film Institute
PhysDes: 80 p. : ill. (chiefly col.) ; 19 cm
Series: BFI modern classics
Subject: BLUE VELVET (US, David Lynch, 1986)
Notes: Bibliography: p. 80
Order Received: 1998
LON: abn97229233; 13314322
BLUE VELVET : (US, David Lynch, 1986)
PhysDes: Stills; Clippings; Press kit; Publicity
in Film iss.60 p.18
Subject: BLUE VELVET (GW, Matthias Weiss, 1970)
[Blue velvet : poster]
US: [1986].
Place: US
PhysDes: 1 poster : colour ; 102 x 69 cm
Summary: Text: "A great movie, and one of the rare American films of the past decade to make a difference in the medium" - Peter Ranier, LA HERALD EXAMINER "A nightmarish, intensely disturbing exploration of the hidden side of the soul. It is sure to cause a sensation." - Ken Turan, GQ "...Undeniably brilliant. I think it's the most creative and daring American movie so far this decade." - Joel E. Siegel, CITY PAPER, WASHINGTON DC Image: A photograph of a woman resting her head on a shirtless man's arm.
Notes: Pinholes, discolouration, folds.
BLUE VINYL : (US, Judith Helfand & Daniel B. Gold, 2001)
Subject: BLUE VINYL (US, Judith Helfand & Daniel B. Gold, 2001)
BLUE WATER HIGH : [TV] (AT, 2005-)
Subject: BLUE WATER HIGH [TV] (AT, 2005-)
Blue world order / by Scott Baker and Sarah Mason and Dallas Bland.
AT: 2015.
Author: Baker, Ché; Mason, Sarah; Bland, Dallas
PhysDes: 108 leaves ; 30 cm.
Subject: BLUE WORLD ORDER (AT, Ché Baker, 2017)
Summary: "The film is set in a post-apocalyptic world in which civilisation has crumbled. A massive electromagnetic pulse has killed all children on the planet with the exception of Molly (Billie Rutherford), the daughter of Jake Slater (Jake Ryan)." - IMBd
BLUE WORLD ORDER : (AT, Ché Baker/ Dallas Bland, 2017)
Subject: BLUE WORLD ORDER (AT, Ché Baker/ Dallas Bland, 2017)
Blue Zoo : ABC episode 13
Call No: DIGITAL FILE
Donation: AFI/AACTA
BLUE ZOO [TV] : (AT, 2014)
Blus heelers : "By the book" : # 220
Boxing Day blocbusters
in The Age [EG] (23/12/2016) p.24
Call No: SUBJECT CLIPPINGS FILE; EXHIBITION. AUSTRALIA. 2016
Author: Maddox, Garry
Subject: EXHIBITION. AUSTRALIA; RED DOG: TRUE BLUE (AT, Kriv Stenders, 2016)
Summary: List of films to be shown in Australia over the Christmas and summer holiday period. Quotes from RED DOG: TRUE BLUE director Kriv Stenders about his film screening at the same time as Hollywood blockbusters
BOY IN BLUE, THE : (CN/US, Charles Jarrott, 1986)
Subject: BOY IN BLUE, THE (CN/US, Charles Jarrott, 1986)
Boy's cinema annual 1951
London: Fleetway House, [1951].
Call No: 92(058) BOY
Publisher: Fleetway House
PhysDes: 160 p. : illus. ; 26 cm
Subject: TREASURE ISLAND (US, Byron Haskin, 1950); STAGECOACH (US, John Ford, 1939); BLUE LAMP (UK, Basil Dearden, 1949); HIGH JINKS IN SOCIETY (UK, John Guillermin & Robert Jordan Hill, 1949); SO DEAR TO MY HEART (US, Harold Schuster & Hamilton Luske, 1949); BIG CAT, THE (US, Phil Karlson, 1949); SAVAGE SPLENDOUR (US, Lewis Cotlow/Armand Denis, 1949); UNKNOWN ISLAND (US, Jack Bernhard, 1948); GUNGA DIN (US, George Stevens, 1939); AMAZON QUEST (US, Steve Sekely, 1949)
Capital stunning in starring role
in Canberra Times (09/09/2016) p.7
Call No: SUBJECT CLIPPINGS FILE; FESTIVALS. CANBERRA
Author: Doherty, Megan
Subject: FESTIVALS. CANBERRA; BLUE WORLD ORDER in production
Summary: Preview of the upcoming Canberra International Film Festival with a focus on the short film BLUE WORLD ORDER, which features the current Chief Minister of the Australian Capital Territory, Andrew Barr who (in the film) acts as a mind controlled commoner
Cerulean blue / by Adrian Ortega
3/08/2017.
Author: Ortega, Adrian
Edition: final draft
PubDate: 3/08/2017
PhysDes: 59 pages
Subject: CERULEAN BLUE (AT, Adrian Ortega, 2019)
CHAMBRE BLEUE, LA : (FR, Mathieu Amalric, 2014)
Subject: [BLUE ROOM, THE] CHAMBRE BLEUE, LA (FR, Mathieu Amalric, 2014)
Children's novels and the movies / edited by Douglas Street
New York: F. Ungar Pub. Co., 1983.
Call No: 753.131-053.2 CHI
Author: Street, Douglas
Publisher: F. Ungar Pub. Co.
PhysDes: xxiv, 304 p., [16] p. of plates : ill. ; 22 cm
Series: Ungar Film Library
Subject: ADAPTATIONS; CHILDREN AND THE CINEMA; ALICE IN WONDERLAND (US, Clyde Geronimi & Wilfred Jackson & Hamilton Luske & Brice Mack, 1951); ALICE'S ADVENTURES IN WONDERLAND (UK, William Sterling, 1972); CHARLOTTE' S WEB (US, Charles A. Nichols & Iwao Takamoto, 1973); CHITTY CHITTY BANG BANG (UK, Ken Hughes, 1968); FROM THE MIXED UP FILES OF MRS. BASIL E. FRANKENWEILER (US, Fielder Cook, 1973); HERO AIN'T NOTHING BUT A SANDWICH, A (US, Ralph Nelson, 1977); HOBBIT, THE (US, Jules Bass & Arthur Rankin Jr., 1977); ISLAND OF THE BLUE DOLPHINS (US, James B. Clark, 1964); KIDNAPPED (UK, Delbert Mann, 1971); KIM (US, Victor Saville, 1950); LION, THE WITCH AND THE WARDROBE, THE (UK/US, Bill Melendez, 1979); LITTLE LORD FAUNTLEROY (UK, Jack Gold, 1981); LITTLE LORD FAUNTLEROY (US, John Cromwell, 1936); LITTLE PRINCE, THE (UK/US, Stanley Donen, 1974); LITTLE WOMEN (US, George Cukor, 1933); LITTLE WOMEN (US, Mervyn LeRoy, 1948); PINOCCHIO (US, Ben Sharpsteen & Hamilton Luske, 1940); PIPPI LANGSTRUMP (GG, Olle Hellbom, 1969); PIPPI LONGSTOCKING (GG, Olle Hellbom, 1969); RAILWAY CHILDREN, THE (UK, Lionel Jeffries, 1970); SECRET GARDEN, THE (BL, Fred M. Wilcox, 1949); SOUNDER (US, Martin Ritt, 1972); TOBY TYLER, OR TEN WEEKS WITH A CIRCUS (US, Charles Barton, 1960); TOM BROWN'S SCHOOLDAYS (UK, Gordon Parry, 1951); TREASURE ISLAND (US, Victor Fleming, 1934); TREASURE ISLAND (US, Byron Haskin, 1950); TREASURE ISLAND (US, Andrea Bianchi & Jon Hough, 1972); WATERSHIP DOWN (UK, Martin Rosen, 1978); WILLY WONKA AND THE CHOCOLATE FACTORY (US, Mel Stuart, 1971); WIZARD OF OZ, THE (US, Victor Fleming, 1939)
Summary: "For the young and the young in heart, film versions of old favourites renew the magic of first acquaintance with these wonderful stories. Several landmark films are covered here in lively examinations of the art of successful cinematic adaptation, covering children's literature from the Victorian age to the present - from Tom Brown's Schooldays to A Hero Ain't Nothing but a Sandwich [...] This is the first book to devote itself exclusively to film adaptations of children's classics. All the writers are equally at home in children's fiction and film studies. Their essays, with one exception, were especially prepared for this volume. All together, a rewarding look at old and new favourites in literature and the movies, and at the elements that have made them lastingly successful." -- BOOK BLURB
Notes: Includes index; Filmography: p. 253-273; Bibliography: p. 280-290
ISBN: 0804428409 : $14.95; 0804468834 (pbk.) : $6.95
LON: 83014816; 2808775
in Interview (1983) vol.13 iss.5 p.26-32
Author: Monynihan, Maura; Warhol, Andy
Summary: Ill.
Cinema in the digital age / Rombes, Nicholas
New York: New York Columbia University Press, 2017.
Call No: 62 ROM
Author: Rombes, Nicholas
Edition: Revised edition
Place: London; New York
Publisher: New York Columbia University Press
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.
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
A cinema without walls : movies and culture after Vietnam / Timothy Corrigan
London: Routledge, 1991.
Call No: 626(73) COR
Author: Corrigan, Timothy, 1951
PhysDes: x, 258 p. : ill. ; 23 cm
Subject: HEAVEN'S GATE (US, Michael Cimino, 1980); PLATOON (US, Oliver Stone, 1986); FULL METAL JACKET (UK, Stanley Kubrick, 1987); SINGING DETECTIVE, THE [TV] (UK, Jon Amiel, 1986); BLUE VELVET (US, David Lynch, 1986); CHOOSE ME (US, Alan Rudolph, 1984); AFTER HOURS (US, Martin Scorsese, 1985); COPPOLA, FRANCIS FORD; KLUGE, ALEXANDER; RUIZ, RAUL; BONNIE AND CLYDE (US, Arthur Penn, 1967); BADLANDS (US, Terrence Malick, 1973); PARIS, TEXAS (GW/FR, Wim Wenders, 1984); KING OF COMEDY, THE (US, Martin Scorsese, 1983); THIRD GENERATION, THE (GW, Rainer Werner Fassbinder, 1979); MY BEAUTIFUL LAUNDRETTE (UK, Stephen Frears, 1985); IN EINEM JAHR MIT 13 MONDEN (GW, Rainer Werner Fassbinder, 1979); DRITTE GENERATION, DIE (GW, Rainer Werner Fassbinder, 1979)
Notes: Includes index; Bibliography: p. [233]-250
ISBN: 0415071348 (pbk.) : ª9.99; 041507133X (cased) : ª35.00
LON: bnb41507133; 8595450
Close up : great cinematic performances. Volume 1, American / edited by Murray Pomerance and Kyle Stevens
UK: Edinburgh University Press, 2018.
Call No: 227.01(73) CLO
Place: UK
Publisher: Edinburgh University Press
Series: International film stars
Subject: ACTORS; CHARACTER ACTORS; STARS; WOMEN IN FILMS. USA; WATERS, ETHEL; DUNNE, IRENE; GRANT, CARY; GAYNOR, JANET; HEPBURN, KATHARINE; DAVIS, BETTE; CLIFT, MONTGOMERY; CURTIS, TONY; SELLERS, PETER; Stewart, James; Lombard, Carole; MASON, JAMES; BURTON, RICHARD; LEWIS, JERRY; POITIER, SIDNEY; HACKMAN, GENE; ROWLANDS, GENA; NICHOLSON, JACK; HOFFMAN, DUSTIN; GOULD, ELLIOTT; PACINO, AL; GOLDBERG, WHOOPI; BLANCHETT, CATE; ISAAC, OSCAR; STEWART, KRISTEN; CLOUDS OF SILS MARIA (FR/SZ/GG/US/BE, Olivier Assayas, 2014); MOST VIOLENT YEAR, A (US, J. C. Chandor, 2014); BLUE JASMINE (US, Woody Allen, 2013); COLOR PURPLE, THE (US, Steven Spielberg, 1985); DONNIE BRASCO (US, Mike Newell, 1997); LONG GOOGBYE, THE (US, Robert Altman, 1973); RAIN MAN (US, Barry Levinson, 1988); PASSENGER, THE (IT/SP/FR, Michelangelo Antonioni, 1975); GLORIA (US, John Cassavetes, 1980); CONVERSATION, THE (US, Francis Ford Coppola, 1974); IN THE HEAT OF THE NIGHT (US, Norman Jewison, 1967); KING OF COMEDY, THE (US, Martin Scorsese, 1983); SPY WHO CAME IN FROM THE COLD, THE (UK, Martin Ritt, 1965); PINK PANTHER, THE (US, Blake Edwards, 1964); SWEET SMELL OF SUCCESS (US, Alexander Mackendrick, 1957); PLACE IN THE SUN, A (US, George Stevens, 1951); LOLITA (US, Stanley Kubrick, 1962); TO BE OR NOT TO BE (US, Ernst Lubitsch, 1942); VERTIGO (US, Alfred Hitchcock, 1958); LION IN WINTER, THE (UK, Anthony Harvey, 1968); HIS GIRL FRIDAY (US, Howard Hawks, 1940); AWFUL TRUTH, THE (US, Leo McCarey, 1937); MEMBER OF THE WEDDING (US, Fred Zinnemann, 1952); DANGEROUS (US, Alfred E. Green, 1935); SUNRISE (US, Friedrich Wilhelm Murnau, 1927)
Summary: "Examines the significance of women's participation in popular genres. Analyses what makes an acting performance excellent, through a range of examples from world cinema. What actors do on-screen is a fascination for audiences all over the world. Indeed, the cultural visibility of movie stars is so pronounced that stardom has often been regarded as intrinsic to the medium's specificity. Yet not all great cinematic performances are star turns, and so, what really makes a cinematic performance good, interesting, or important has been a neglected topic in film criticism. This two-volume set presents detailed interpretations of singular performances by several of the most compelling actors in cinema history, asking in many different and complementary ways what makes performance meaningful, how it reflects a director's style, as well as how it contributes to the development of national cinemas and cultures. Whether noting the precise ways actors shape film narrative, achieve emotional effect, or move toward political subversion, the essays in these books innovate new approaches to studying screen performance as an art form and cultural force"--Page 4 of cover.
Notes: Includes bibliographical references and index.
Contents: Intro -- Acknowledgments -- Close-up: great American performances -- Chapter 1 Ethel Waters in The Member of the Wedding -- Chapter 2 Irene Dunne in The Awful Truth -- Chapter 3 Cary Grant in His Girl Friday -- Chapter 4 Janet Gaynor in Sunrise: A Song of Two Humans -- Chapter 5 Katharine Hepburn in The Lion in Winter -- Chapter 6 Bette Davis in Dangerous -- Chapter 7 James Stewart in Vertigo -- Chapter 8 Carole Lombard in To Be or Not to Be -- Chapter 9 James Mason in Lolita -- Chapter 10 Montgomery Clift in A Place in the Sun -- Chapter 11 Tony Curtis in Sweet Smell of Success. Chapter 12 Peter Sellers in The Pink Panther -- Chapter 13 Richard Burton in The Spy Who Came in from the Cold -- Chapter 14 Jerry Lewis in The King of Comedy -- Chapter 15 Sidney Poitier in In the Heat of the Night -- Chapter 16 Gene Hackman in The Conversation -- Chapter 17 Gena Rowlands in Gloria -- Chapter 18 Jack Nicholson in The Passenger -- Chapter 19 Dustin Hoffman in Rain Man -- Chapter 20 Elliott Gould in The Long Goodbye -- Chapter 21 Al Pacino in Donnie Brasco -- Chapter 22 Whoopi Goldberg in The Color Purple -- Chapter 23 Cate Blanchett in Blue Jasmine -- Chapter 24 Oscar Isaac in A Most Violent Year -- Chapter 25 Kristen Stewart in Clouds of Sils Maria -- Index.
[Code blue : stills file]
PhysDes: 1 photograph : b&w ; 11 x 16 cm
Subject: CODE BLUE (AT, Moira Moss, 1995)
Summary: One black and white photograph relating to the film Code Blue
Columbia product
in Australasian Cinema (29/10/1982) vol.11 iss.19 p.14
Subject: COLUMBIA PICTURES; BOOT, DAS (GW, Wolfgang Petersen, 1981); SILENT RAGE (US, Michael Miller, 1982); ANNIE (US, John Huston, 1982); THINGS ARE TOUGH ALL OVER (US, Thomas K. Avildsen, 1982); HANKY PANKY (US, Sidney Poitier, 1982); RICHARD PRYOR LIVE ON THE SUNSET STRIP (US, Joe Layton, 1982); GANDHI (UK/II, Richard Attenborough, 1982); BLUE THUNDER (US, John Badham, 1983); TOOTSIE (US, Sydney Pollack, 1982); TOY, THE (US, Richard Donner, 1982); KRULL (UK, Peter Yates, 1983)
Summary: List of current, coming, and completed films for Columbia Pictures.
A conversation with Arthur B Rubenstein
in Cinema Score (Winter/Summer) iss.13/14 p.45-48
Author: Larson, Randall D.
Summary: Arthur Rubenstein discusses the films he has scored. In particular Blue Thunder and Wargames. Includes a filmography
Cracking the code : looking at men letting it all hang out
in Metro (1997) iss.110 p.26-28, 30
Author: Yeates, Helen
PhysDes: Article; Bibliography; Illustration(s)
Subject: MEN ON TV; POLICE ON TV; N Y P D BLUE [TV] (US, 1993 -); CRACKER [TV] (UK, 1993 -)
Summary: Examines hegemonic masculinity in relation to aging men on tv, particularly in "NYPD blue" and "Cracker"
DARK BLUE : (US, Ron Shelton, 2003)
PhysDes: Press kit; Clippings
Subject: DARK BLUE (US, Ron Shelton, 2003)
David Lynch / Michel Chion, Robert Julian (trans.)
Call No: 81LYN CHI
Author: Chion, Michel
Edition: 2nd ed.
PhysDes: 246 p. : 24 cm
Subject: LYNCH, DAVID; CHION, MICHEL; GRANDMOTHER, THE (US, David Lynch, 1970); ERASERHEAD (US, David Lynch, 1977); ELEPHANT MAN, THE (US, David Lynch, 1980); DUNE (US, David Lynch, 1984); BLUE VELVET (US, David Lynch, 1986); TWIN PEAKS [TV] (US, David Lynch & others, 1990-1991); TWIN PEAKS: FIRE WALK WITH ME (US, David Lynch, 1992); WILD AT HEART (US, David Lynch, 1990); LOST HIGHWAY (US, David Lynch, 1996); STRAIGHT STORY, THE (US/FR/UK, David Lynch, 1999); MULHOLLAND DRIVE (US, David Lynch, 2001)
Summary: Michel Chion's study of the film and television work of David Lynch has become, since its first English publication in 1995, the definitive book on one of America's favourite contemporary directors. In this new edition Chion brings the book up to date to take into account Lynch's work in the last ten years, including the major features Lost Highway, The Straight Story and Mulholland Drive
DEEP BLUE : (UK/GG, Alastair Fothergil and Andy Byatt, 2003)
PhysDes: Study guide; Clippings; Press kit; Publicity
Subject: DEEP BLUE (UK/GG, Alastair Fothergil and Andy Byatt, 2003)
DEEP BLUE SEA : (US, Renny Harlin, 1999)
Subject: DEEP BLUE SEA (US, Renny Harlin, 1999)
DEEP BLUE SEA 3 : (US, John Pogue,2020)
Call No: DIGITAL CLIPPINGS FILE
Subject: DEEP BLUE SEA 3 (US, John Pogue,2020)
Cross Reference: DEEP BLUE SEA 3 (US, John Pogue,2020)
DEEP BLUE SEA, THE : (US/UK, Terence Davies, 2011)
Subject: DEEP BLUE SEA, THE (US/UK, Terence Davies, 2011)
DeLorean appearance puts city sci-fi back in spotlight
Call No: TITLE CLIPPINGS FILE in production; BLUE WORLD ORDER in production
Author: Burgess, Katie
Subject: LOCATION SHOOTING. AUSTRALIA: A.C.T.; BLUE WORLD ORDER in production
Summary: Report on the production of the film BLUE WORLD ORDER, shot in Canberra
DESERT BLUE : (US, Morgan Freeman, 1998)
Subject: DESERT BLUE (US, Morgan Freeman, 1998)
Detours and lost highways : a map of neo-noir / Foster Hirsch
New York: Limelight Editions, [1999].
Call No: 734.1 HIR
Author: Hirsch, Foster
Edition: [1st Limelight ed.]
Publisher: Limelight Editions
PhysDes: 398 p. : ill. ; 23 cm
Subject: FILM NOIR; FEMME FATALE; FILM NOIR. FRANCE; FULLER, SAMUEL; CHANDLER, RAYMOND; Wenders, Wim; WOOLRICH, CORNELL; Tarantino, Quentin; FROM DUSK TILL DAWN (US, Robert Rodriquez, 1996); CRISS CROSS (US, Robert Siodmak, 1948); GETAWAY, THE (US, Sam Peckinpah, 1972); USUAL SUSPECTS, THE (US, Bryan Singer, 1995); L.A. CONFIDENTIAL (US, Curtis Hanson, 1997); LAST SEDUCTION, THE (US, John Dahl, 1994); NATURAL BORN KILLERS (US, Oliver Stone, 1994); TIREZ SUR LE PIANISTE (FR, Francois Truffaut, 1960); AGAINST ALL ODDS (US, Taylor Hackford, 1984); BETRAYED (US, Constantin Costa-Gavras, 1988); BLUE VELVET (US, David Lynch, 1986); BOYZ N THE HOOD (US, John Singleton, 1991); CAPE FEAR (US, J. Lee Thompson, 1961); CAPE FEAR (US, Martin Scorsese, 1991); CHINATOWN (US, Roman Polanski, 1974); CONVERSATION, THE (US, Francis Ford Coppola, 1974); DEATH WISH (US, Michael Winner, 1974)
Notes: SEE REPAIRS; Filmography: p. 329-377; Includes bibliographical references (p. 325-327) and index
LON: 20214725
DEVIL IN A BLUE DRESS : (US, Carl Franklin, 1995)
Subject: DEVIL IN A BLUE DRESS (US, Carl Franklin, 1995)
Diving into the depths of damage
in Herald Sun [Hit] (12/10/2017) p.43
Call No: TITLE CLIPPINGS FILE; BLUE (AT, Karina Holden, 2017)
Summary: The eco-motivational Australian documentary Blue is sounding the alarm on behalf of the world's oceans, which have just about had their fill of the many mistreatments of mankind. While beautifully shot and edited, the film trades in some ugly inconvenient truths about the sustained abuse of the marine kingdom.
Documenting the documentary : close readings of documentary films and video / edited by Barry Keith Grant and Jeannette Sloniowski, forward by Bill Nichols
Detroit MI: Wayne State University Press, 1998.
Call No: 761 DOC
Author: Grant, Barry Keith; Sloniowski, Jeanette
Place: Detroit MI
Publisher: Wayne State University Press
Subject: DOCUMENTARY FILMS; FLAHERTY, ROBERT; VERTOV, DZIGA; EISENSTEIN, SERGEI M.; BUNUEL, LUIS; WRIGHT, BASIL; RIEFENSTAHL, LENI; NANOOK OF THE NORTH (US, Robert Flaherty, 1922); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); QUE VIVA MEXICO! (UR, Sergei Eisenstein, [prod. 1932]); HURDES, LAS (SP, Luis Bunuel, 1933); SONG OF CEYLON, THE (UK, Basil Wright, 1934); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); PLOW THAT BROKE THE PLAINS, THE (US, Pare Lorentz, 1936); CITY, THE (US, Ralph Steiner, 1939); SPANISH EARTH, THE (US, Joris Ivens, 1937); LISTEN TO BRITAIN (UK, Humphrey Jennings/Stewart McAllister, 1942); BLOOD OF THE BEASTS (FR, Georges Franju,1949); SANG DES BETES, LE (FR, Georges Franju,1949); MAITRES FOUS, LES (FR, Jean Rouch, 1955); NUIT ET BROUILLARD (FR, Alain Resnais, 1955); DONT LOOK BACK (US, D.A. Pennebaker, 1967); TITICUT FOLLIES (US, Frederick Wiseman, 1967); HORA DE LOS HORNOS, LA (AG, Fernado E. Solanos, 1968); ACT OF SEEING WITH ONE'S OWN EYES, THE (US, Stan Brakhage, 1971); AMERICAN FAMILY, AN [TV](US, 1973); DAISY, THE STORY OF A FACELIFT (CN, Michael Rubbo, 1982); THIS IS SPINAL TAP (US, Rob Reiner, 1984); SHERMAN'S MARCH (US, Ross McElwee, 1986 [prod. 1981]); I DO NOT KNOW WHAT IT IS I AM LIKE (US, Bill Viola, 1986); JOURNEY, THE (CN, Peter Watkins, 1987); THIN BLUE LINE, THE (US, Errol Morris, 1988); ROGER AND ME (US, Michael Moore, 1989); TONGUES UNTIED (US, Marlon Riggs, 1989); PARIS IS BURNING (US, Jennie Livingston, 1990); FINDING CHRISTA (US, Camille Billops/James Hatch, 1991)
Summary: Documenting the Documentary features essays by twenty-seven film scholars from a wide range of critical and theoretical perspectives. Each essay focuses on one or two important documentaries, engaging in questions surrounding ethics, ideology, politics, power, race, gender, and representation -- but always in terms of how they arise out of or are involved in the reading of specific documentaries as particular textual constructions. By closely reading documentaries as rich visual works, this anthology fills a void in the critical writing on documentaries, which tends to privilege production over aesthetic pleasure. As we perceive and comprehend the world through visual media increasingly, understanding the textual strategies by which individual documentaries are organized has become critically important. Together, the essays cover the significant developments in the history of the documentary, from the first commercially released feature, Nanook of the North (1922), to modern independent productions, such as An American Family (1973), Tongues Untied (1989), and Finding Christa (1991), and including important national and stylistic movements and various production contexts from the mainstream to the avant-garde. Seth Feldman places Dziga Vertov's Man with a Movie Camera (1929) within the context of constructivism and futurism; Vivian Sobchack discusses the strategies of Bunuel's Las Hurdas (Land without Bread, 1931) in relation to surrealism; and Joanne Hershfield explores Que viva Mexico! (1932) as the presentation of an exotic culture by a European director. Documenting the Documentary offers clear, serious, and insightful analyses of documentary films, and is a welcome balancebetween theory and criticism, abstract conceptualization and concrete analysis. --FROM PUBLISHER'S SITE
Notes: includes bibliiographic references and index
Contents: Filmmaker as hunter / William Rothman -- Peace between man and machine / Seth Feldman -- Paradise regained / Joanne Hershfield -- Synthetic vision / Vivian Sobchack -- Art of national projection / William Guynn -- Mass psychology of fascist cinema / Frank P. Tomasulo -- American documentary finds its voice / Charlie Keil -- Men cannot act before the camera in the presence of death / Thomas Waugh -- Poetics of propaganda / Jim Leach -- It was an atrocious film / Jeannette Sloniowski -- Dialogic imagination of Jean Rouch / Diane Scheinman -- Documenting the ineffable / Sandy Flitterman-Lewis -- Don't you ever just watch? / Jeanne Hall -- Ethnography in the first person / Barry Keith Grant -- Two avant-gardes / Robert Stam -- Seeing with experimental eyes / Bart Testa -- Bastard union of several forms / Jeffrey K. Ruoff -- Documentary of displaced persona / Joan Nicks -- Gender, power, and a cucumber / Carl Plantinga -- Documentary film and the discourse of hysterical/historical narrative / Lucy Fischer -- Subjectivity lost and found / Catherine Russell -- Filmmaker as global circumnavigator / Scott MacDonald -- Mirrors without memories / Linda Williams -- Documentaphobia and mixed modes / Matthew Bernstein -- Silence and its opposite / Sheila Petty -- Containing fire / Caryl Flinn -- Contested territory / Julia Lesage
EDGEPLAY: A FILM ABOUT THE RUNAWAYS : (US, Victory Tischler-Blue,2004)
Subject: EDGEPLAY: A FILM ABOUT THE RUNAWAYS (US, Victory Tischler-Blue, 2004)
Elvis : the Hollywood years / by David Bret
London: Robson Books, 2001.
Call No: 81ELV BRE
Author: Bret, David
Publisher: Robson Books
PhysDes: viii, 337 pages, illustrations; 24 cm
Subject: MUSIC IN FILMS; MUSIC AND THE CINEMA; ROCK MUSIC IN FILMS; HOLLYWOOD; PRESLEY, ELVIS; LOVE ME TENDER (US, Robert D. Webb, 1956); LOVING YOU (US, Hal Kanter, 1957); JAILHOUSE ROCK (US, Richard Thorpe, 1957); KING CREOLE (US, Michael Curtiz, 1958); G.I. BLUES (US, Norman Taurog, 1960); FLAMING STAR (US, Don Siegel, 1960); WILD IN THE COUNTRY (US, Philip Dunne, 1961); BLUE HAWAII (US, Norman Taurog, 1961); FOLLOW THAT DREAM (US, Gordon Douglas, 1962); KID GALAHAD (US, Phil Karlson, 1962); GIRLS! GIRLS! GIRLS! (US, Norman Taurog, 1962); IT HAPPENED AT THE WORLD'S FAIR (US, Norman Taurog, 1963); FUN IN ACAPULCO (US, Richard Thorpe, 1963); KISSIN' COUSINS (US, Gene Nelson, 1964); VIVA LAS VEGAS (US, George Sidney, 1963); ROUSTABOUT (US, John Rich, 1964); GIRL HAPPY (US, Boris Sagal, 1965); TICKLE ME (US, Norman Taurog, 1965); HAREM HOLIDAY (US, Gene Nelson, 1965); FRANKIE AND JOHNNY (US, Frederick de Cordova ,1966); PARADISE HAWAIIAN STYLE (US, Michael D. Moore, 1966); CALIFORNIA HOLIDAY (US, Norman Taurog, 1966); EASY COME, EASY GO (US, John Rich, 1967); DOUBLE TROUBLE (US, Norman Taurog, 1967); CLAMBAKE (US, Arthur N. Nadel, 1967); STAY AWAY, JOE (US, Peter Tewkesbury, 1968); SPEEDWAY (US, Norman Taurog, 1968); LIVE A LITTLE, LOVE A LITTLE (US, Norman Taurog, 1968); CHARRO! (US, Charles Marquis Warren, 1969); TROUBLE WITH GIRLS, THE (US, Peter Tewkesbury, 1969); CHANGE OF HABIT (US, William Graham, 1969); ELVIS: THAT'S THE WAY IT IS (US, Denis Sanders, 1970); ELVIS ON TOUR (US, Robert Abel and Pierre Adidge, 1972)
Summary: "In this first complete account of Elvis Presleys celluloid career, David Bret considers the 33 films, TV appearances, biopics, retrospectives and documentaries that remain as testimony to the compelling and mysterious persona of The King. The bestselling author David Bret traces the development of Presley's film career and recounts the on-set cat fights with co-stars and studio personnel. He unearths the truth about the powerful hold exercised over Elvis by 'Colonel' Tom Parker, which revolved around Parker preventing a leak about Presley's relationship with another man from going public and then using this knowledge as a persistant threat to ensure his protege's loyalty. Bret explores and hotly disputes the controversial allegations, levelled by Presley's step-family, that he had sex with his mother, raped his wife, held debauched, drug fuelled parties with groupies and eventually committed suicide. Above all, the author praises the nature and talent of the man who was - and still is - the supreme authority on rock'n'roll and romance. " -- BOOK JACKET
Notes: Includes selected film discography; Includes bibliographical references and index; 'Harem Holiday' also known as 'Harum Scarum'; 'California Holiday' also known as 'Spinout'
Donation: Donated by Peter Kemp
Contents: -- acknowledgements -- Introduction -- Part One: In the Footsteps of the Mutant King -- Love Me Tender -- Loving You -- Jailhouse Rock -- King Creole -- Part Two: The Rainbow Years -- G.I. Blues -- Flaming Star -- Wild in the Country -- Blue Hawaii -- Follow That Dream -- Kid Galahad -- Part Three: Cotton Candy Land -- Girls! Girls! Girls! -- It Happened at the World's Fair -- Fun in Acapulco -- Kissin' Cousins -- Viva Las Vegas -- Roustabout -- Girl Happy -- Tickle Me -- Harem Holiday -- Frankie and Johnny -- Paradise Hawaiian Style -- California Holiday -- Part Four: Just Call Me Lonesome -- Easy Come, Easy Go -- Double Trouble -- Clambake -- Stay Away, Joe -- Speedway -- Live A Little, Love A Little -- Charro! -- The Trouble With Girls -- Change of Habit -- Elvis - That's the Way It Is -- Elvis On Tour -- -- Part Five: Softly As I Leave You -- appendix I: the television special -- appendix II: tributes, retrospectives and biopics -- appendix III: selected film discography -- bibliography -- index --
'Esther' the outsider seeks broad appeal
in Encore (September 2007) vol.26 iss.09 p.22-4
Author: Hull, David
Subject: HEY, HEY, ITS ESTHER BLUE BURGER (AT, Cathy Randall, 2007)
Summary: David Hull talks with Cathy Randall about the making of HEY, HEY, ITS ESTHER BLUE BURGER, a coming of age story about a 13 year old Jewish girl battling the pressures of school and family.
FESTIVALS. AUSTRALIA [VARIOUS]
Subject: FESTIVALS. AUSTRALIA [VARIOUS]; FESTIVALS. AUSTRALIA. SIDE ON AUSTRALIA NETFEST; FESTIVALS. AUSTRALIA. SHORTS OUTBACK; FESTIVALS. AUSTRALIA. SCI-FI; FESTIVALS. AUSTRALIA. SITCOM; FESTIVALS. AUSTRALIA. SNOWYFEST; FESTIVALS. AUSTRALIA. SUNSCREEN INDEPENDENT MUSIC VIDEO; FESTIVALS. AUSTRALIA. TRASHARAMA A-GO-GO; FESTIVALS. AUSTRALIA. WHAT'S UP SKIP; FESTIVALS. AUSTRALIA. LA SCALA OPERA SERIES; FESTIVALS. AUSTRALIA. HOPE AWARDS; FESTIVALS. AUSTRALIA. IN THE BIN; FESTIVALS. AUSTRALIA. OPTUS SCHOOL STUDENT; FESTIVALS. BLUE MOUNTAINS. SHORT FILM; FESTIVALS. BATHURST; FESTIVALS. BUNINYONG
FESTIVALS. MELBOURNE [GENERAL]
Subject: FESTIVALS. MELBOURNE [GENERAL]; FESTIVALS. MELBOURNE. LAVAZZA ITALIAN FILM; FESTIVALS. MELBOURNE. MADE IN CATALONIA; FESTIVALS. MELBOURNE. HELLO DARKNESS; FESTIVALS. MELBOURNE. APHIDS REEL MUSIC; FESTIVALS. MELBOURNE. BLUE DANDENONGS YOUTH; FESTIVALS. MELBOURNE. BUDDHIST FILM; FESTIVALS. MELBOURNE. FLAGFALL FILM; FESTIVALS. MELBOURNE. FEAST ON FILM; FESTIVALS. MELBOURNE. ELECTUNDRA; FESTIVALS. MELBOURNE. METRO SUPER 8; FESTIVALS. MELBOURNE. PALESTINE FILM; FESTIVALS. MELBOURNE. SHORT CIRCUIT; FESTIVALS. MELBOURNE. SPLODGE!; FESTIVALS. MELBOURNE. SCINEMA; FESTIVALS. MELBOURNE. COMEDY CHANNEL
ID2: 61
Fetishism and curiosity / Laura Mulvey
Bloomington London: Indiana University Press British Film Institute, 1996.
Call No: 62 MUL
Author: Mulvey, Laura
Place: Bloomington London
Publisher: Indiana University Press British Film Institute
PhysDes: xv, 188 p. ; 25 cm
Subject: MELODRAMA; FETISHISM IN FILMS; CLOSE-UPS; SIRK, DOUGLAS; GODARD, JEAN-LUC; SHERMAN, CINDY; XALA (SG, Ousmane Sembene, 1974); BLUE VELVET (US, David Lynch, 1986); CITIZEN KANE (US, Orson Welles, 1941); IMITATION OF LIFE (US, Douglas Sirk, 1959)
Notes: Includes bibliographical references (p. 177-184) and index
ISBN: 0851705480 (British Film Institute); 0851705472 (British Film Institute : pbk.)
Film 70/71 : an anthology by the National Society of Film Critics / edited by David Denby
New York: Simon and Schuster, c1971.
Call No: 67 (04) FIL
Publisher: Simon and Schuster
Subject: WAR FILMS; REVOLUTION AND THE CINEMA; MUSIC AND THE CINEMA; POLITICS IN FILMS; ADAPTATIONS; MUSICALS; PORNOGRAPHY AND THE CINEMA; DISASTERS IN FILMS; BERGMAN, INGMAR; ANTONIONI, MICHELANGELO; Keaton, Buster; FIVE EASY PIECES (US, Bob Rafelson, 1970); JOE (US, John G. Avildsen, 1970); LITTLE BIG MAN (US, Arthur Penn, 1970); HUSBANDS (US, John Cassavetes, 1970); PATTON (US, Franklin J. Schaffner, 1970); M*A*S*H (US, Robert Altman, 1969); CATCH 22 (US, Mike Nichols, 1970); SOLDIER BLUE (US, Ralph Nelson, 1970); MOLLY MAGUIRES, THE (US, Martin Ritt, 1969); BALLAD OF CABLE HOGUE, THE (US, Sam Peckinpah, 1970); ICE (US, Robert Kramer, 1970); WOODSTOCK (US, Michael Wadleigh, 1970); GIMME SHELTER (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1970); PERFORMANCE (UK, Nicholas Roeg & Donald Cammell, 1970 [prod. 1968]); MA NUIT CHEZ MAUD (FR, Eric Rohmer, 1969); DIARY OF A MAD HOUSEWIFE (US, Frank Perry, 1970); OWL AND THE PUSSYCAT, THE (US, Herbert Ross, 1970); LOVE STORY (US, Arthur Hiller, 1970); QUEIMADA! (IT/FR, Gillo Pontecorvo, 1970); WINTER WIND (HU, Miklos Jancso, 1969); SIROKKO (HU, Miklos Jancso, 1969); ZABRISKIE POINT (US, Michelangelo Antonioni, 1970); FELLINI-SATYRICON (IT/FR, Federico Fellini, 1969); DAMNED, THE (IT/GW, Luchino Visconti, 1969); CADUTA DEGLI DEI, LA (IT/GW, Luchino Visconti, 1969); SIRENE DU MISSISSIPPI, LA (FR/IT, Francois Truffaut, 1969); MISSISSIPPI MERMAID (FR/IT, Francois Truffaut, 1969); [DEUX] 2 OU 3 CHOSES QUE JE SAIS D'ELLE (FR, Jean-Luc Godard, 1967); SYMPATHY FOR THE DEVIL (UK, Jean-Luc Godard, 1968); GAI SAVOIR, LE (FR/GW, Jean-Luc Godard, 1969); TRISTANA (SP/IT/FR, Luis Bunuel, 1970); WOMEN IN LOVE (UK, Ken Russell, 1969); VIRGIN AND THE GYPSY, THE (UK, Christopher Miles, 1970); GREAT WHITE HOPE, THE (US, Martin Ritt, 1970); BOYS IN THE BAND, THE (US, William Friedkin, 1970); ON A CLEAR DAY YOU CAN SEE FOREVER (US, Vincente Minnelli, 1970); SCROOGE (UK, Ronald Neame, 1970); TORA! TORA! TORA! (US/JA, Richard Fleischer, 1970); RYAN'S DAUGHTER (UK, David Lean, 1970); AIRPORT (US, George Seaton, 1970); MYRA BRECKENRIDGE (US, Mike Sarne, 1970); BEYOND THE VALLEY OF THE DOLLS (US, Russ Meyer, 1970); ANGEL LEVINE, THE (US, Jan Kadar, 1970); CONFESSION, THE (FR/IT, Costa-Gavras, 1970); AVEU, L' (FR/IT, Costa-Gavras, 1970)
Summary: A cross section of critical opinion on the most interesting films of the year, reflections on emerging trends, genres and moods, and a sampling of the work of individual critics [editorial note]
Notes: Includes index
ISBN: 671210483
Contents: -- Five Easy Pieces / Jacob Brackman, Harold Clurman, John Simon -- Joe / Gary Arnold, Penelope Gilliatt -- Loving / Pauline Kael -- The Ballad Of Cable Hogue / Joseph Morgenstern -- Little Big Man / Stefan Kanfer, David Denby -- Husbands / Paul D.Zimmerman, Jacob Brackman -- Patton / Pauline Kael -- M*A*S*H / Jospeh Morgenstern, David Denby, Brad Darrach -- Catch - 22 / Arthur Schlesinger Jr., Stefan Kanfer, Hollis Alpert, Jacob Brackman -- Soldier Blue / Hollis Alpert -- The Molly Maguires / Arthur Schlesinger Jr. -- Getting Straight / Jacob Brackman -- The Strawberry Statement and Getting Straight / David Denby -- The Revolutionary / Jay Cocks, Bruce Williamson -- Ice / Pauline Kael -- Woodstock / Jay Cocks, Joseph Morgenstern -- Gimme Shelter / Arthur Schlesinger Jr. -- Performance / Jay Cocks -- My Night at Maud's / Penelope Gilliatt -- Diary Of A Mad Housewife / Paul D.Zimmerman, John Simon -- The Owl And The Pussycat / Gary Arnold -- Love Story / Gary Arnold, Arthur Knight, Philip T.Hartung -- Burn / Pauline Kael -- The Confession and Investigation Of A Citizen Above Suspicion / Robert Hatch -- Winter Wind / Stanley Kauffmann -- The Passion Of Anna / Penelope Gilliatt, Richard Schikel -- Zabriskie Point / Arthur Schlesinger Jr., Andrew Sarris -- Fellini Satyricon / Stefan Kanfer, Robert Hatch -- The Damned / Robert Hatch, Brad Darrach -- Zabriskie Point, Fellini Satyricon and The Damned / Richard Schickel -- Mississippi Mermaid / Gary Arnold -- The Wild Child / Robert Hatch, David Denby -- The Rise Of Louis XIV / Stanley Kauffmann, Bruce Williamson -- Two Or Three Things I Know About Her / Penelope Gilliatt -- Sympathy For The Devil / Jay Cocks -- Le Gai Savoir / Bruce Williamson -- Tristana / Harold Clurman -- Women In Love / Arthur Schlesinger Jr., Bruce Williamson -- The Virgin And The Gypsy / Penelope Gilliatt, Stanley Kauffmann -- The Great White Hope / Andrew Sarris -- I Never Sang For My Father / Arthur Knight -- The Angel Levine / Arthur Knight -- The Boys In The Band / Hollis Alpert -- On A Clear Day You Can See Forever / Jospeh Morgenstern -- Scrooge and Song Of Norway / Philip T.Hartung -- Scrooge / Jay Cocks -- Darling Lili / Arthur Knight -- Tora! Tora! Tora! / Gary Arnold -- Ryan's Daughter / Hollis Alpert, John Simon -- Airport / Gary Arnold -- Myra Breckinridge / Jospeh Morgenstern -- Beyond The Valley Of The Dolls / Paul D. Zimmerman -- Buster Keaton / Penelope Gilliatt -- Porn and man at Yale / Richard Schickel -- Numbing the audience / Pauline Kael -- Bang! Apocolypse for sale / Jospeh Morgenstern
Film 73/74 : an anthology by the National Society of Film Critics / edited by Jay Cocks and David Denby
Indianapolis ; New York: Bobbs-Merrill Company, 1974.
Call No: 67(04) FIL
Place: Indianapolis ; New York
Publisher: Bobbs-Merrill Company
PhysDes: xl, 369 p. ; 23 cm.
Subject: THEATRE AND THE CINEMA; POLICE IN FILMS; MASCULINITY IN FILMS; WOMEN IN FILMS; POLITICS IN FILMS; MONROE, MARILYN; FORD, JOHN; GRAPES OF WRATH, THE (US, John Ford, 1940); WEDDING IN WHITE (CN, William Fruet, 1972); KEBY SOM MAL PUSKU (SZ, Stefan Uher, 1971); KID BLUE (US, James Frawley & Dennis Hopper, 1973); PULP (US/UK, Mike Hodges, 1972); DAVID HOLZMAN'S DIARY (US, Jim McBride, 1968); JESUS CHRIST SUPERSTAR (US, Norman Jewison, 1973); GODSPELL (US, David Greene, 1973); DELICATE BALANCE, A (US/UK/CN, Tony Richardson, 1973); ICEMAN COMETH, THE (US, John Frankenheimer, 1980); SLITHER (US, Howard Zieff, 1973); TEN FROM YOUR SHOW OF SHOWS (US, Max Liebman, 1973); WALKING TALL (US, Phil Karlson, 1973); LAUGHING POLICEMAN, THE (US, Stuart Rosenberg, 1973); BELLE FILLE COMME MOI, UNE (FR, Francois Truffaut, 1975); DOLL'S HOUSE, A (UK/US/FR, Joseph Losey, 1973); YEAR OF THE WOMAN (US, Sandra Hochman, 1973); NYBYGGARNA (SW, Jan Troell, 1972); PAYDAY (US, Daryl Duke, 1972); NUIT AMERICAINE, LA (FR/IT, Francois Truffaut, 1973); ULTIMO TANGO A PARIGI (IT/FR, Bernardo Bertolucci, 1972); STRATEGIA DEL RAGNO, LA (IT, Bernardo Bertolucci, 1970); SZERELEM (HU, Karoly Makk, 1971); SANMA NO AJI (JA, Yasujiro Ozu, 1962); O LUCKY MAN! (UK, Lindsay Anderson, 1973); LONG GOODBYE, THE (US, Robert Altman, 1973); AMERICAN GRAFFITI (US, George Lucas, 1973); MEAN STREETS (US, Martin Scorsese, 1973); BANG THE DRUM SLOWLY (US, John Hancock, 1973); HEAVY TRAFFIC (US, Ralph Bakshi, 1973); SISTERS (US, Brian De Palma, 1972); PAPER MOON (US, Peter Bogdanovich, 1973); WAY WE WERE, THE (US, Sydney Pollack. 1973); SAVE THE TIGER (US, John G. Avildsen, 1973); PAT GARRETT AND BILLY THE KID (US, Sam Peckinpah, 1973); MEMORIAS DEL SUBDESARROLLO (CU, Tomas Gutierrez Alea, 1968); ETAT DE SIEGE (FR/IT/GW, Constantin Costa-Gavras, 1973); LAST AMERICAN HERO, THE (US, Lamont Johnson, 1973); BLUME IN LOVE (US, Paul Mazursky, 1973); DAY OF THE JACKAL, THE (UK/FR, Fred Zinnemann, 1973); I. F. STONE'S WEEKLY (US, Jerry Bruck Jr., 1974); TOUT VA BIEN (FR/IT, Jean-Luc Godard & Jean-Pierre Gorin, 1972); CASO MATTEI, IL (IT, Francesco Rosi, 1972); BITTEREN TRANEN DER PETRA VON KANT, DIE (GW, Rainer Werner Fassbinder, 1972); SUMMER WISHES, WINTER DREAMS (US, Gilbert Cates, 1973); SCARECROW (US, Jerry Schatzberg, 1973); STING, THE (US, George Roy Hill, 1973); PAPILLON (US, Franklin J. Schaffner, 1973); DEEP THROAT (US, Jerry Gerard, 1972); LIVE AND LET DIE (US, Guy Hamilton, 1973); TANG SHAN DA XIONG (HK, Lo Wei, 1971); SERPICO (US, Sidney Lumet, 1973); MAGNUM FORCE (US, Ted Post, 1973); SEVEN-UPS, THE (US, Philip D'Antoni, 1973); HANDLER DER VIER JAHRESZEITEN, DER (GW, Rainer Werner Fassbinder, 1972); ARANYER DIN RATRI (II, Satyajit Ray, 1970); PRATIDWANDI (II, Satyajit Ray, 1971); FRIENDS OF EDDIE COYLE, THE (US, P. Yates, 1973); CHARLEY VARRICK (US, Donald Siegel, 1973); SLEEPER (US, Woody Allen, 1973); PLAYTIME (FR, Jacques Tati, 1967); KING IN NEW YORK (US, Charles Chaplin, 1957); TOUCH OF CLASS, A (UK, Melvin Frank, 1973); EXORCIST, THE (US, William Friedkin, 1973); JONATHAN LIVINGSTONE SEAGULL (US, Hall Bartlett, 1973); DAY OF THE DOLPHIN, THE (US, Mike Nichols, 1973)
Summary: Collection of essays of films that were released in America in 1973/1974.
Notes: Includes index.
Contents: -- Day For Night / Vincent Canby, Roger Greenspun, Gary Arnold -- Last Tango In Paris / Pauline Kael, Gary Arnold, Hollis Alpert, Joseph Gelmis -- The Spider's Stratagem / Jay Cocks -- Love / Penelope Gilliatt, Vincent Canby -- An Autumn Afternoon / Robert Hatch -- O Lucky Man! / Penelope Gilliatt, Robert Hatch -- The Long Goodbye / Charles Champlin, Pauline Kael, William S. Pechter -- La Grande Bouffe / Robert Hatch, Bruce Williamson, Molly Haskell -- Don't Look Now / Jay Cocks, Pauline Kael -- American Graffiti / Jay Cocks, Roger Greenspun, William S. Pechter -- Mean Streets / Pauline Kael, Joseph Gelmis, William S. Pechter -- Bang The Drum Slowly / Richard Schickel, David Denby -- Payday / Bruce Williamson -- Heavy Traffic / Penelope Gilliatt, Andrew Sarris -- Sisters / Richard Schickel -- The New Land / Gary Arnold -- Paper Moon / Judith Crist, Gary Arnold -- The Way We Were / Joseph Gelmis, Paul D. Zimmerman -- Save The Tiger / Charles Champlin, William S. Pechter -- Pat Garrett And Billy The Kid / Jay Cocks, Michael Korda -- The Last American Hero / Roger Greenspun -- Blume In Love / Roger Ebert, William S. Pechter, Molly Haskell -- Memories Of Underdevelopment / Penelope Gilliatt -- State Of Siege / Penelope Gilliatt, Andrew Sarris -- The Day Of The Jackal / Roger Ebert -- I. F. Stone's Weekly / Vincent Canby -- Tout Va Bien / Vincent Canby -- The Mattei Affair / Andrew Sarris -- Men Without Women, Women Without Men / David Denby -- Sisterhoodwinked: The Bitter Tears Of Petra Von Kant, Year Of The Woman, The Way We Were / Molly Haskell -- Summer Wishes, Winter Dreams / Judith Crist, Paul D. Zimmerman -- A Doll's House / Molly Haskell -- Such A Gorgeous Kid Like Me / Penelope Gilliatt -- Mailer On Monroe / Andrew Sarris, Molly Haskell -- Scarecrow / Bruce Williamson -- The Sting / Judith Crist, Bernard Drew -- Papillon / Paul D. Zimmerman -- Deep Throat / Vincent Canby -- Live And Let Die / Joseph Gelmis -- Kung Fu Craze: Fists Of Fury / David Denby -- Movie Cops: Serpico, Magnum Force, The Laughing Policeman, The Seven-Ups / David Denby -- The Friends Of Eddie Coyle / Richard Schickel -- Walking Tall / Gary Arnold -- Charley Varrick / Andrew Sarris -- Sleeper / Pauline Kael, Molly Haskell -- Playtime / Penelope Gilliatt, Richard Schickel -- Ten From "Your Show Of Shows" / Andrew Sarris -- A King In New York / Roger Greenspun -- A Touch Of Class / Bernard Drew -- Slither / Robert Hatch -- The American Film Theatre / Hollis Alpert -- The Iceman Cometh / Molly Haskell -- The Homecoming And A Delicate Balance / Paul D. Zimmerman -- The Exorcist / Hollis Alpert, Charles Champlin, Pauline Kael -- Godspell / Bruce Williamson -- Jesus Christ Superstar / Hollis Alpert, Paul D. Zimmerman -- Jonathan Livingston Seagull / Michael Korda -- The Day Of The Dolphin / Paul D. Zimmerman -- The Merchant Of Four Seasons / Andrew Sarris -- Days And Nights In The Forest / David Denby -- The Adversary / Gary Arnold -- David Holzman's Diary / Vincent Canby -- Pulp / William S. Pechter -- Kid Blue / Jay Cocks -- If I Had A Gun / Pauline Kael -- Wedding In White / Roger Ebert -- Imaginary Movies / Paul D. Zimmerman -- Abel Green (1900-1973) / Vincent Canby -- John Ford (1895-1973) / Roger Greenspun -- John Ford: The Grapes Of Wrath / Andrew Sarris
Focus on Films with Denbeigh Salter
in Australasian Cinema (Friday, 16/9/1983) vol.12 iss.17 p.20-21
Author: Salter, Denbeigh
Subject: BLUE THUNDER (US, John Badham, 1983); PHAR LAP (AT, Simon Wincer, 1983); PSYCHO II (US, Richard Franklin, 1983)
Summary: Reviews of 'Blue Thunder', 'Phar Lap', 'Psycho II', and 'The Draughtsman's Contract'
in Australian Financial Review (07/03/2015) p.51 - 52
Call No: SUBJECT CLIPPINGS FILE; FESTIVALS. AUSTRALIA. FRENCH
Author: McDonald, John
Subject: FESTIVALS. AUSTRALIA. FRENCH; GEMMA BOVERY (FR, Anne Fontaine, 2014); CHAMBRE BLEUE, LA (FR, Mathieu Amalric, 2014); BLUE ROOM ,THE (FR, Mathieu Amalric, 2014); NEW GIRLFRIEND, THE (FR, Francois Ozon, 2014); NOUVELLE AMIE, UNE (FR, Francois Ozon, 2014); SAINT LAURENT (FR/BE, Bertrand Bonello, 2014); SAMBA (FR, Olivier Nakache & Eric Toledano, 2014)
Notes: in the FESTIVALS. AUSTRALIA. FRENCH 2015 file
FRESHWATER BLUE [TV] : (AT, 2010)
Subject: FRESHWATER BLUE [TV] (AT, 2010)
Front portrait
in Australian Financial Review [AFR Magazine] (25/11/2016) p.19
Call No: TITLE CLIPPINGS FILE; RED DOG: TRUE BLUE (AT, Kriv Stenders, 2016)
Author: Albert, Jane
Subject: WOSS, NELSON; RED DOG (AT, Kriv Stenders, 2011); RED DOG: TRUE BLUE (AT, Kriv Stenders, 2016)
Summary: Interview with Nelson Woss, producer of RED DOG and the sequel RED DOG: TRUE BLUE. Comments on the nature of the film industry and the process of making RED DOG: TRUE BLUE
FULL MOON IN BLUE WATER : (US, Peter Masterson , 1988)
Subject: FULL MOON IN BLUE WATER (US, Peter Masterson , 1988)
Hectic time for dog films
in Sydney Morning Herald (04/06/2015) p.30
Call No: TITLE CLIPPINGS FILE in production; BLUE DOG in production
Subject: BLUE DOG in production; RED DOG (AT, Kriv Stenders, 2011)
Summary: Snippet on the upcoming production 'Blue Dog', and on the documentary on the dog that featured in the film 'Red Dog'
Hey Hey It's Esther Blueburger
in Empire (Australian Ed.) (April 2008) iss.85 p.40
Author: Luke Goodsell
Subject: COLLETTE, TONI; HEY, HEY, ITS ESTHER BLUE BURGER (AT, Cathy Randall, 2007)
Summary: Review of Hey Hey It's Esther Blueburger
[Hey hey it's Esther Blueburger : poster]
Call No: P HEY
PhysDes: 1 poster : double sided ; 102 X 69 cm.
Summary: Full colour, glossy double-sided poster. Image features: Top half - Danielle Catanzariti in school uniform looking out from a line of girls. Bottom half of image - Keisha Castle-Huges and Toni Collette laughing together. Text: 'Sometimes to fit in you need to stand out'. Double sided poster, same image on both sides, Back image as if printed through the page.
HEY, HEY, ITS ESTHER BLUE BURGER : (AT, Cathy Randall, 2007)
Hollywood androgyny / Rebecca Bell-Metereau
New York: Columbia University Press, 1993.
Call No: 749.5 BEL
Author: Bell-Metereau, Rebecca Louise
Edition: 2nd ed
Publisher: Columbia University Press
PhysDes: xxii, 345 p. : ill. ; 23 cm
Subject: TRANSVESTISM; AIDS IN FILMS; ART CINEMA. EUROPEAN COUNTRIES; UNDERGROUND FILMS; HOMOSEXUALITY IN FILMS; SEX IN FILMS; WESTERNS; WILDER, BILLY; GARBO, GRETA; HEPBURN, KATHARINE; CURTIS, TONY; DIETRICH, MARLENE; MADONNA; MONROE, MARILYN; SCOTT, RIDLEY; ADLER, LOU; DAY, DORIS; CROSBY, BING; EDWARDS, BLAKE; GRANT, CARY; LEMMON, JACK; REA, STEPHEN; SHERIDAN, ANN; YENTL (US, Barbara Streisand, 1983); VICTOR VICTORIA (UK, Blake Edwards, 1982); ALIEN [...] (UK/US, 1979-92); CAGE AUX FOLLES, LA (FR/IT, Edouard Molinaro, 1978); CALAMITY JANE (US, David Butler, 1953); COME BACK TO THE FIVE AND DIME JIMMY DEAN, JIMMY DEAN (US, Robert Altman, 1982); CRYING GAME, THE (UK, Neil Jordan, 1992); I WAS A MALE WAR BRIDE (US, Howard Hawks, 1949); KILLING OF SISTER GEORGE, THE (US, Robert Aldrich, 1968); SOME LIKE IT HOT (US, Billy Wilder, 1959); THELMA & LOUISE (US, Ridley Scott, 1991); JOHNNY GUITAR (US, Nicholas Ray, 1954); PSYCHO (US, Alfred Hitchcock, 1960); DRESSED TO KILL (US, Brian De Palma, 1980); BLUE VELVET (US, David Lynch, 1986); WORLD ACCORDING TO GARP, THE (US, George Roy Hill, 1982); TOOTSIE (US, Sydney Pollack, 1982); SYLVIA SCARLETT (US, George Cukor, 1935); ROCKY HORROR PICTURE SHOW, THE (UK, Jim Sharman, 1975); QUEEN CHRISTINA (US, Rouben Mamoulian, 1934); PLAINSMAN, THE (US, Cecil B. DeMille, 1936); PARIS IS BURNING (US, Jennie Livingston, 1990); NO WAY TO TREAT A LADY (US, Jack Smight, 1968); MYRA BRECKENRIDGE (US, Mike Sarne, 1970)
Notes: Includes bibliographical references (p. [315]-327) and index
ISBN: 0231084676 (acidb-sfree paper)
Hopper : a savage American journey / Tom Folsom
New York: It Books, 2013.
Call No: 10667
Author: Folsom, Tom
Publisher: It Books
PhysDes: 306 pages : illustrated ; 23 cm
Subject: HOPPER, DENNIS; BRANDO, MARLON; DEAN, JAMES; FONDA, PETER; NICHOLSON, JACK; STOCKWELL, DEAN; WOOD, NATALIE; APOCALYPSE NOW (US, Francis Ford Coppola, 1979); BLUE VELVET (US, David Lynch, 1986); EASY RIDER (US, Dennis Hopper, 1969); LAST MOVIE, THE (US, Dennis Hopper, 1971); REBEL WITHOUT A CAUSE (US, Nicholas Ray, 1955)
Notes: Easy Rider. Apocalypse Now. Blue Velvet. Rebel Without a Cause. An unflinching adventure through American pop culture, Hopper is a wild ride amid the many lives of Hollywood outlaw Dennis Hopper-mentored by James Dean, a collaborator with Andy Warhol, a confidant of Elvis Presley, a favorite of Charles Manson. Hopper races full speed ahead to the decadent heights of fame as the visionary director of Easy Rider crashes and burns in drug-addled madness in the desert . . . only to reemerge in one of the greatest Hollywood comebacks of all time. -- publisher's web site
Donation: Megan McMurchy
HOTEL BLUE [TV] : (AT, Michael Bond, 2003)
Subject: HOTEL BLUE [TV] (AT, Michael Bond, 2003)
Huckstepp : a dangerous life / John Dale
Sydney: Allen & Unwin, 2000.
Call No: N79HUC DAL
Author: Dale, John
Publisher: Allen & Unwin
Illuminating shadows : the mythic power of film / Geoffrey Hill
Boston: Shambhala, 1992.
Call No: 632.43 HIL
Author: Hill, Geoffrey Michael, 1950
Place: Boston
PhysDes: viii, 319 p. : ill. ; 23 cm
Subject: MYTH AND THE CINEMA; IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); SHANE (US, George Stevens, 1953); COOK, THE THIEF, HIS WIFE & HER LOVER, THE (NE/FR, Peter Greenaway, 1989); BLUE VELVET (US, David Lynch, 1986); RUMBLE FISH (US, Francis Ford Coppola, 1983); TAXI DRIVER (US, Martin Scorsese, 1976); REPO MAN (US, Alex Cox, 1984); SAILOR WHO FELL FROM GRACE WITH THE SEA, THE (UK, Lewis John Carlino, 1976); SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957); INSIGNIFICANCE (UK, Nicolas Roeg, 1985); ROK SPOKOJNEGO SLONCA (PL/US/GW, Krzysztof Zanussi, 1984); BABETTES GAESTEBUD (DK, Gabriel Axel, 1987); LITTLE SHOP OF HORRORS (US, Frank Oz, 1986); LITTLE SHOP OF HORRORS, THE (US, Roger Corman, 1960); TRIP TO BOUNTIFUL, THE (US, Peter Masterson, 1985); GRADUATE, THE (US, Mike Nichols, 1967); SANTA SANGRE (IT, Alexandro Jodorowsky, 1989); FIELD OF DREAMS (US, Phil Alden Robinson, 1989)
Notes: Includes bibliographical references (p. 313-319)
ISBN: 0877736456 (pbk. : alk. paper)
LON: 8202303
Image and representation : key concepts in media studies / Nick Lacey
New York: St. Martin's Press, 1998.
Call No: 451 LAC
Author: Lacey, Nick, 1961
Subject: TYPE CHARACTERS IN FILMS; SEMIOLOGY; NEWS PROGRAMMES. UK; WESTERNS; PROPAGANDA FILMS; REALISM IN FILMS; DOCUMENTARY FILMS; MAI '68 (FRANCE); SHERMAN, CINDY; DYER, RICHARD; BLUE STEEL (US, Kathryn Bigelow, 1989)
ISBN: 031221202X (hbk. : alk. paper); 0312212038 (pbk. : alk. paper)
Order Type: Donation
Images of postmodern society : social theory and contemporary cinema / Norman K. Denzin
Newbury Park: Sage, 1991.
Call No: 64POS DEN
Author: Denzin, Norman K
Place: Newbury Park
Publisher: Sage
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
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
Imagining reality : the Faber book of the documentary / [edited by] Kevin Macdonald and Mark Cousins
London: Faber and Faber, 1996.
Call No: 761 MAC
Author: Macdonald, Kevin, 1967-; Cousins, Mark
Publisher: Faber and Faber
PhysDes: xii, 400 p. : ill. ; 24 cm
Subject: DOCUMENTARY FILMS; JEWS IN FILMS; CINEMA VERITE; CINEMA-DIRECT; GENOCIDE IN FILMS; NEWSREELS; PROPAGANDA FILMS; SOCIAL PROBLEMS IN FILMS; WAR IN FILMS; VERTOV, DZIGA; ROUCH, JEAN; IMAMURA, SHOHEI; KIESLOWSKI, KRZYSZTOF; MALLE, LOUIS; MARKER, CHRIS; OPHULS, MARCEL; Grierson, John; HUSTON, JOHN; ANDERSON, LINDSAY; BUNUEL, LUIS; ALVAREZ, SANTIAGO; ANTONIO, EMILE DE; BALAZS, BELA; BLUE, JAMES; BROOMFIELD, NICK; CAVALCANTI, ALBERTO; COLINA, JOSE DE LA; COOPER, MERIAN C.; DIETRICH, MARLENE; FLAHERTY, ROBERT; IVENS, JORIS; IWASAKI, AKIRA; JENNINGS, HUMPHREY; KAUFMAN, MIKHAIL; KAUL, MANI; LANZMANN, CLAUDE; LEACOCK, RICHARD; MAYSLES, ALBERT & DAVID; MORRIS, ERROL; RIEFENSTAHL, LENI; SCHELL, MAXIMILIAN; SHUB, ESTHER; TSUCHIMOTO, NORIAKI; WISEMAN, FREDERICK; WRIGHT, BASIL; TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); WITH LAWRENCE IN ARABIA (US, Lowell Thomas, 1919); INDE FANTOME, L' (FR, Louis Malle, 1968); LET THERE BE LIGHT (US, John Huston, 1946); MARLENE (GW, Maximilian Schell, 1984); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936); REGEN (NE, Joris Ivens, 1929); SONG OF CEYLON (UK, Basil Wright, 1934); SPANISH EARTH, THE (US, Joris Ivens, 1937); THIN BLUE LINE, THE (US, Errol Morris, 1988); SANS SOLEIL (FR, Chris Marker, 1983); SHOAH (FR/SZ, Claude Lanzmann, 1985); A PROPOS DE NICE (FR, Jean Vigo, 1930); CRUMB (US, Terry Zwigoff, 1994); HOUSING PROBLEMS (UK, Edgar Anstey & Arthur Elton, 1935); YUKI YUKITE SHINGUN (JA, Kazuo Hara, 1987); VERITES ET MENSONGES (FR/IR, Orson Welles, 1975[prod.1973]); FIRST LOVE (US, Joan Darling, 1977); GIMME SHELTER (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1970); HOOP DREAMS (US, Steve James, 1994); LAS HURDES (SP, Luis Bunuel, 1932)
Summary: Imagining Reality takes the reader on a tour of the evolution of documentary film as an increasingly vibrant, polemical, experimental and entertaining form. It gathers a wide-ranging collection of writings by and about such groundbreaking documentary-makers as Vertov, Flaherty, Marcel Ophuls, Chris Marker, Kieslowski, Claude Lanzmann, and Nick Broomfield. The story is carried up to date by attention to the success documentaries have had among mainstream movie audiences in recent years, including Michael Moore's Bowling For Columbine and Fahrenheit 9/11, The Buena Vista Social Club, Spellbound, Capturing The Friedmans, Être Et Avoir, and The Fog Of War. --TAKEN FROM PUBLISHER'S SITE
Notes: Includes bibliographical references and index; Faber book of the documentary
Contents: Part 1. -- 1.The Kingdom of Shadows -- 2. Going to Extremes -- 3. Kino Eyes and Agit Trains -- 4. Documentary and the Avante Guarde -- Part 2. -- 5. The British Movement -- 6. Battling for minds -- 7. Aspects of Asia -- Part 3. -- 8. The Essayists -- 9. The Grain of Truth -- Part 4. -- 10. The Cinema of Social Concern -- 11. Diversity -- 12. The Burning Question
INTO THE BLUE : (US, John Stockwell, 2005)
Subject: INTO THE BLUE (US, John Stockwell, 2005)
Into the depths of marine destruction
in The Age (12/10/2017) p.27
Summary: FILM BLUE J (PG) Selected cinemas (76 minutes) Reviewed by Jake Wilson Many trash cinema buffs have a weakness for the "mondo" films of the 1970s and '80s travelogues purporting to document all kinds of sensational material, from striptease acts to gruesome deaths. The genre is given a New Age twist in environmental documentaries like Blue, which set out to rub our faces in the damage done by humans to the natural world.
Introduction to documentary / Bill Nichols
Bloomington IN: Indiana University Press, 2001.
Call No: 761 NIC
Author: Nichols, Bill
Place: Bloomington IN
Publisher: Indiana University Press
PhysDes: 223 p. ; ill. ; 23 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; EDITING; ETHICS AND THE CINEMA; FEMINISM AND THE CINEMA; REALISM IN FILMS; SOCIAL PROBLEMS IN FILMS; VIDEO, FILMS ON; VOICE OVER; LAND WITHOUT BREAD (SP, Luis Bunuel, 1933); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NIGHT AND FOG (FR, Alain Resnais, 1995); NUIT ET BROUILLARD (FR, Alain Resnais, 1955); THIN BLUE LINE, THE (US, Errol Morris, 1988)
Summary: Introduction to Documentary provides an overview of the most important topics and issues in documentary history and criticism. Designed for students in any field that makes use of visiual evidence and persuasive strategies, this book spells out the distinguishing qualities of documentary. This book offers suggestive answers to basic issues that have stood at the centre of all debate on documentary from its very beginnings to today. It covers questions of ethics, form, modes, voice, history, and politics among others. A final chapter addresses the question of how to write about documentary in a clear, convincing manner.
Notes: Includes Notes on source material pp.179-190; Filmography pp.191-201; List of Distributors pp.201-218; Index pp.219-223
Contents: 1. Why are ethical issues central to documentary filmmaking -- 2. How do documentaries differ from other types of film -- 3. What gives documentary films a voice of their own? -- 4. What are documantaries about? -- 5. How did documentary filmmaking get started? -- 6. What types of documentary are there? -- 7. How have documentaries addressed social and political issues? -- 8. How can we write effectively about documentary?
URL status: URL: 'http://-' Checked: 31/08/2021 1:09:15 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)
Island of the blue dolphins
in Cinema (June 1964) vol.2 iss.3 p.19
Subject: ISLAND OF THE BLUE DOLPHINS (US, James B. Clark, 1964)
JACK BUKOWSKI - DEATH IS BLUE : (AT, Michael Boland, 1992)
Subject: JACK BUKOWSKI - DEATH IS BLUE (AT, Michael Boland, 1992)
JANIS: LITTLE GIRL BLUE : (US, Amy J. Berg, 2015)
Subject: JANIS: LITTLE GIRL BLUE (US, Amy J. Berg, 2015)
URL status: URL: 'http://file://Q:/T/JANIS.zip' Checked: 31/08/2021 1:49:29 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)
JAZZIN' FOR BLUE JEAN : (UK, Julien Temple, 1984)
Subject: JAZZIN' FOR BLUE JEAN (UK, Julien Temple, 1984)
John Badham
in Interview (1983) vol.8 iss.7 p.38-40
Author: Hackett, Pat
Summary: Interview; ill.
Kiss me deadly : feminism & cinema for the moment / edited by Laleen Jayamanne
Sydney: Power Publications, 1995.
Call No: 626:396 KIS
Author: Jayamanne, Laleen
Publisher: Power Publications
Subject: FEMINISM AND THE CINEMA; BIGELOW, KATHRYN; RUIZ, RAUL; MOFFATT, TRACEY; JAYAMANNE, LALEEN; PATRIOTIN, DIE (GW, Alexander Kluge, 1979); BAD TIMING (UK, Nicolas Roeg, 1980); NEAR DARK (US, Kathryn Bigelow, 1987); BLUE STEEL (US, Kathryn Bigelow, 1989); POINT BREAK (US, Kathryn Bigelow, 1991); EHE DER MARIA BRAUN, DIE (GW, Rainer Werner Fassbinber, 1979); ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990); NIGHT CRIES : A RURAL TRAGEDY (AT, Tracey Moffatt, 1990); BEDEVIL (AT, Tracey Moffat, 1993); RAGING BULL (US, Martin Scorsese, 1980); RED SHOES, THE (UK, Michael Powell & Emeric Pressburger, 1948)
Notes: Includes bibliographical references
Ladd : The life, the legend, the legacy of Alan Ladd / Beverly Linet
New York: Berkley Books, 1980.
Call No: 81LAD LIN
Author: Linet, Beverly
Publisher: Berkley Books
PhysDes: xxv, 291 p.,[8] leave of plates : ill., ports, ; 24 cm
Subject: LADD, ALAN; THIS GUN FOR HIRE (US, Frank Tuttle, 1942); CHINA (US, John Farrow,1943); BLUE DAHLIA, THE (US, George Marshall, 1946); GREAT GATSBY, THE (US, Elliott Nugent, 1949); SHANE (US, George Stevens, 1953); DRUM BEAT (US, Delmer Daves, 1954); BIG LAND, THE (US, Gordon Douglas, 1957)
Summary: The book deals with the life, career, and tragic death of the enigmatic star, Alan Ladd. It deals with his lifelong love affair with his agent/wife, Sue Carol, and his "secret " son who became president of a major Hollywood studio. The book also deals with the inner workings of the studio system itself; the deals and mis-deals, the movie mags, and the fan machines, the front office, and the back lot.
LAST OF THE BLUE DEVILS, THE : (US, Bruce Ricker, 1979)
PhysDes: Publicity; Stills; Clippings
Subject: LAST OF THE BLUE DEVILS, THE (US, Bruce Ricker, 1979)
Leader of the pack : the prequel to a hit takes on big social issues but the focus is still on the four-legged star
in Sydney Morning Herald [Spectrum] (17/12/2016) p.6
Subject: RED DOG: TRUE BLUE (AT, Kriv Stenders, 2016)
Summary: Interview with cast and crew about the making of the film RED DOG: TRUE BLUE
Leni Riefenstahl : the fallen film goddess / by Glenn B. Infield
New York: Crowell, 1976.
Call No: 81RIE INF
Author: Infield, Glenn B. (Glenn Berton)
Publisher: Crowell
PhysDes: 278 p., [13] leaves of plates : ill. ; 24 cm
Subject: FASCISM AND THE CINEMA; GERMANY; JEWS AND THE CINEMA; JEWS IN FILMS; WOMEN FILMMAKERS; WOMEN IN FILMS. GERMANY; WORLD WAR II AND THE CINEMA; RIEFENSTAHL, LENI; BLAUE LICHT, DAS (G, Leni Riefenstahl, 1932); BLUE LIGHT, THE (G, Leni Riefenstahl, 1932); OLYMPIA (G, Leni Riefenstahl, 1938); TRIUMPH OF THE WILL (G, Leni Riefenstahl, 1935)
Summary: "Notoriety clings to [Leni] Riefenstahl's name. She is reputed to have danced nude for the Fuhrer. She is linked to Goebbels, Striecher, Borman, and other evil luminaries of the Nazi party. After the war, she was investigated by the Nuremburg Commission, and found innocent; she had never been a Party member. Yet Leni's cinema helped to create the myth of Nazi supremacy; her sense of drama and destiny, her imagery, mesmerized Germany during Hitler's climb to power. Was she responsible? Was she conscious of the political meaning of her work? Or was she a naive opportunist, an incomparable technician, exploiting the chance of a lifetime? Was she Hitler's mistress, as has been alleged? Or was she just a free spirit, the pagan sensualist of her own films? These are only some of the intriguing questions Glenn B. Infield explores in Leni Riefenstahl: The Fallen Film Goddess." -- BOOK BLURB
Notes: Includes index; Bibliography: p. 262-267
LON: 76007084; 760131
LITTLE BOY BLUE : (US, Antonio Tibaldi, 1997)
Subject: LITTLE BOY BLUE (US, Antonio Tibaldi, 1997)
Living room lectures : the fifties family in film and television / Nina C. Leibman
Austin: University of Texas Press, 1995.
Call No: 451-058.81 LEI
Author: Leibman, Nina C. (Nina Clare), 1957
Edition: 1st ed
Place: Austin
Publisher: University of Texas Press
Series: Texas film studies series
Subject: FAMILY IN FILMS; FAMILY ON TV; MARRIAGE IN FILMS; MARRIAGE ON TV; IMITATION OF LIFE (US, Douglas Sirk, 1959); ADVENTURES OF OZZIE AND HARRIET, THE [TV] (US, 1952-66); BLUE DENIM (US, Philip Dunne, 1959); CAT ON A HOT TIN ROOF (US, Richard Brooks, 1958); COURTSHIP OF EDDIE'S FATHER, THE (US, Vincente Minnelli, 1963); DONNA REED SHOW, THE [TV] (1958-65); EAST OF EDEN (US, Elia Kazan, 1955); FATHER KNOWS BEST [TV] (US, 1954-60); SUMMER PLACE, A (US, Delmer Davies, 1959); FEAR STRIKES OUT (US, Robert Mulligan, 1957); GIANT (US, George Stevens, 1956); HATFUL OF RAIN, A (US, Fred Zinnemann, 1957); LEAVE IT TO BEAVER [TV] (US, 1957-63); MY THREE SONS [TV] (US, 1960-72); NO DOWN PAYMENT (US, Martin Ritt, 1957); PEYTON PLACE (US, Mark Robson, 1957); REBEL WITHOUT A CAUSE (US, Nicholas Ray, 1955); SPLENDOR IN THE GRASS (US, Elia Kazan, 1961)
Notes: Filmography: p. [321]-329; Includes bibliographical references (p. [309]-320) and index
ISBN: 0292746849 (paper : alk. paper); 0292746830 (cloth : alk. paper)
Looking for trouble : on shopping, gender and the cinema / Suzanne Moore
London: Serpent's Tail, 1991.
Call No: 67(41) MOO
Author: Moore, Suzanne
Publisher: Serpent's Tail
PhysDes: ix, 305 pages ; 20 cm
Subject: CRITICISM; FEMINISM AND THE CINEMA; JAMES BOND IN FILMS; POPULAR CULTURE AND THE CINEMA; ALWAYS (US, Steven Spielberg, 1989); BIRD (US, Clint Eastwood, 1988); BLACK RAIN (US, Ridley Scott, 1989); BLUE STEEL (US, Kathryn Bigelow, 1989); BROKEN NOSES (US, Bruce Weber, 1987); CHOCOLAT (FR, Claire Denis, 1988); DEAD RINGERS (CN, David Cronenberg, 1988); DECLINE OF WESTERN CIVILISATION PART II: THE METAL YEARS, THE (US, Penelope Spheeris, 1988); DO THE RIGHT THING (US, Spike Lee, 1989); FAMILY VIEWING (CN, Atom Egoyan, 1987); FAREWELL TO THE KING (US, John Milius, 1989); GHOSTS. . . OF THE CIVIL DEAD (AT, John Hillcoat, 1988); GOOD MOTHER, THE (US, Leonard Nimoy, 1988); JESUS OF MONTREAL (CN/FR, Denys Arcand, 1989); KAMIKAZE HEARTS (US, Juliet Bashore, 1986); KROTKI FILM O ZABIJANIU (PL, Krzysztof Kieslowski, 1988); LONGTIME COMPANION (US, Norman Rene, 1990); MADONNA: TRUTH OR DARE (US, Alek Keshishian, 1991); MARUSA NO ONNA (JA, Juzo Itami, 1987); PARIS BY NIGHT (UK, David Hare, 1989); PATTY HEARST (US, Paul Schrader, 1988); ROGER AND ME (US, Michael Moore, 1989); SCANDAL (UK, Michael Caton-Jones, 1989); SERPENT AND THE RAINBOW (US, Wes Craven, 1988); SHE-DEVIL (US, Susan Seidelman, 1989); SHE MUST BE SEEING THINGS (US, Sheila McLaughlin, 1987); SKIN DEEP (US, Blake Edwards, 1989); SLEEPING WITH THE ENEMY (US, Joesph Ruben, 1991); SOMETHING WILD (US, Jonathan Demme, 1986); STAR TREK V: THE FINAL FRONTIER (US, William Shatner, 1989); SWEETIE (AT, Jane Campion, 1989); TEENAGE MUTANT NINJA TURTLES (US, Steve Barron, 1990); THIN BLUE LINE, THE (US, Errol Morris, 1988); THIRTYSOMETHING [TV] (US, 1987-91); TIE ME UP! TIE ME DOWN! (SP, Pedro Almodovar, 1990) SEE ATAME!; TORCH SONG TRILOGY (US, Paul Bogart, 1988); TOTAL RECALL (US, Paul Verhoeven, 1990); TUCKER (US, Francis Ford Coppola, 1988); TWIN PEAKS [TV] (US, David Lynch & others, 1990-1991); UNHOLY, THE (US, Camilio Vila, 1988); WAR OF THE ROSES, THE (US, Danny DeVito, 1989); WIRED (US, Larry Peerce, 1989); WORLD APART, A (UK, Chris Menges, 1988); BAUDRILLARD, JEAN; TARKOVSKY, ANDREI; WINDSOR, BARBARA
Summary: "In her articles and essays, Suzanne Moore takes a vitriolic look at the icons of modern life - post feminism, Baudrillard, Laura Ashley, Twin Peaks, the new man, safe sex, James Bond, a green planet. In her film reviews, she dissects the 'mega' filmmakers of our time - Steven Spielberg, Federico Fellini, Akira Kurosawa, Pedro Almodovar, Ken Russell and David Lynch. Definitely not 'one of the boys', Suzanne Moore's attitude to the good and famous is refreshing and irreverent." -Book blurb.
Notes: Contains bibliography
Contents: Introduction -- Feminism -- Men: Men against men; Target man; The brothers grim; Toy soldiers or wicked willies; Prince; Torch Song tightrope; Here's looking at you, kid -- Women: Material girl; Hi, I'm Anneka - fly me; Green light spells danger; The odds of getting even; A call to underarms; Fatal fantasies; Happiness is a warm gun; Close-up as the cookie crumbles; Women who read too much; The great awakening; Modern romance; The merry life of Windsor -- Children: Hiding in the wardrobe; Hung-up on Father Christmas; Politics of choice; Birth and death; Maternal melodramas; Eternal childhood; Unhappy families; Heroes in a half-shell -- Fantasy -- Fear: Killjoy culture; Filming by numbers; The death of intimacy; To hell and back; Murder most foul; Electric shocks; Fag end; Soft soap -- Flesh: Good vibrations; Deviant laws; Everyday eroticism; One big act; A screw of convenience?; Missionary sex; The struggle for safe endings -- Faith: Kidnapped by the counter-culture; Sculpting in time; Playing Jesus by night; Nithing but the truth; Always a love story; Jazz junkie -- Power: Pleasure: Understimulation; And now for the news; Film slobs; The metal age; All night long; The money game; Mall-content?; Mini-politics: saying no in public; Belushi's last high; something to stay home about; Reach for the stars; Starship stories -- Politics: Political poison; Junk culture; Never really at home; A problem of identities; Brand loyalty; Sun rises in the east; You can't do the right thing all the time; Great expectations -- Populism: Postmodern paralysis; Britain's macho man; On the side of the man in the street; Against the sober grain -- Postmodernism: Politics of seduction; Getting a bit of the other - the pimps of postmodernism.
Lost highways : an illustrated history of road movies / edited by Jack Sargeant and Stephanie Watson
London: Creation, 1999.
Call No: 754.11 SAR
Author: Sargeant, Jack; Watson, Stephanie
Publisher: Creation
Series: Creation cinema collection ; 15
Subject: ROAD MOVIES; WESTERNS; MOTORCYCLE FILMS; HORROR FILMS; VAMPIRE FILMS; SCIENCE-FICTION FILMS; Wenders, Wim; LYNCH, DAVID; ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, THE (AT, Stephan Elliott, 1994); AGUIRRE, DER ZORN GOTTES (GW, Werner Herzog, 1972); ALICE IN DEN STADTEN (GW, Wim Wenders, 1973); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); BACKROADS (AT, Philip Noyce, 1977); BADLANDS (US, Terrence Malick, 1973); BLUE VELVET (US, David Lynch, 1986); BONNIE AND CLYDE (US, Arthur Penn, 1967); BUTTERFLY KISS (UK, Michael Winterbottom, 1995); CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974); CRASH (CN, David Cronenberg, 1996); DELIVERANCE (US, John Boorman, 1972); EASY RIDER (US, Dennis Hopper, 1969); EL TOPO (MX, Alexando Jodorowsky, 1971); FROM DUSK TILL DAWN (US, Robert Rodriquez, 1996); GALLIVANT (UK, Andrew Kotting, 1996); GUN CRAZY (US, Joseph H. Lewis, 1949); I WAS A MALE WAR BRIDE (US, Howard Hawks, 1949); KALIFORNIA (US, Dominic Sena, 1993); IM LAUF DER ZEIT (GW, Wim Wenders, 1976); KISS OR KILL (AT, Bill Bennett, 1997); HEAVEN'S BURNING (AT, Craig Lahiff, 1997); JETEE, LA (FR, Chris Marker, 1963); LOST HIGHWAY (US, David Lynch, 1996); MAD MAX [...] (AT, 1979-85); MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999); MESHES OF THE AFTERNOON (US, Maya Deren & Alexander Hammid, 1943); NATURAL BORN KILLERS (US, Oliver Stone, 1994); NEAR DARK (US, Kathryn Bigelow, 1987); NIGHT OF THE HUNTER (US, Charles Laughton, 1955); F.J. HOLDEN, THE (AT, Michael Thornhill, 1977); THELMA & LOUISE (US, Ridley Scott, 1991); THEY LIVE BY NIGHT (US, Nicholas Ray, 1949); TO WONG FOO, THANKS FOR EVERYTHING! JULIE NEWMAR (US, Beeban Kidron, 1995); TRUE ROMANCE (US, Tony Scott, 1993); TWO LANE BLACKTOP (US, Monte Hellman, 1971); JOHN CARPENTER'S VAMPIRES (US, John Carpenter, 1998); VANISHING POINT (UK, Richard C. Sarafian, 1971); WALKABOUT (UK, Nicolas Roeg, 1971); WEEK-END (FR/IT, Jean-Luc Godard, 1968); WILD AT HEART (US, David Lynch, 1990); WILD BUNCH, THE (US, Sam Peckinpah, 1969); HIMMEL UBER BERLIN, DER (GW/FR, Wim Wenders, 1987); WIZARD OF OZ, THE (US, Victor Fleming, 1939)
ISBN: 1871592682(pbk.) : ª14.95
Major US exposure for Australian crew
in Encore (27 Feb. - 12 Mar. 1986) vol.4 iss.2 p.14-15
Author: Lee, Sheridan
Summary: Credits; On location on The Blue Lightning
The making of a canine superstar
in Daily Telegraph (10/12/2016) p.66
Author: Purdon, Fiona
Subject: BULLEN, ZELIE; RED DOG: TRUE BLUE (AT, Kriv Stenders, 2016)
Summary: Interivew with animal trainers Zelie and Craig Bullen and RED DOG: TRUE BLUE producer Nelson Woss about the canine star of the film Phoenix and his relationship with the animal trainer
Notes: similar article in same paper but in BW Magazine section, same date
MAN IN THE BLUE AND WHITE HOLDEN, THE : (AT, Peter Luby, 1991)
PhysDes: Stills
Subject: MAN IN THE BLUE AND WHITE HOLDEN, THE (AT, Peter Luby, 1991)
[Man in the blue and white holden, the : stills file] / Jude Lovatt
Peter Luby and Jane Karslake,
Publisher: Peter Luby and Jane Karslake
Summary: Black and white photograph of a boy in a car holding an old fashioned soda bottle
Notes: Line on boy's arm appears to be damage
A man with a camera / Nestor Almendros ; translated from the Spanish by Rachel Phillips Belash
London: Faber, 1985.
Call No: 81ALM ALM
Author: Almendros, Nestor
Publisher: Faber
Subject: CINEMATOGRAPHY; PHOTOGRAPHY; ALMENDROS, NESTOR; PARIS VU PAR...VINGT ANS APRES (FR, Chantal Akerman, Bernard Dubois, Vincent Nordon, Phillipe Venault, Phillipe Garrel, Frederic Mitterand, 1984); COLLECTIONEUSE, LA (FR, Eric Rohmer, 1967); MA NUIT CHEZ MAUD (FR, Eric Rohmer, 1969); MY NIGHT AT MAUD'S (FR, Eric Rohmer, 1969); WILD CHILD (US/UK/FR, Nick Moore, 2008); TWO ENGLISH GIRLS (FR, Francois Truffaut, 1971); DEUX ANGLAISES ET LE CONTINENT, LES (FR, Francois Truffaut, 1971); CHLOE IN THE AFTERNOON (FR, Eric Rohmer, 1972); AMOUR L'APRES-MIDI, L' (FR, Eric Rohmer, 1972); GUEULE OUVERTE, LA (FR, Maurice Pialat, 1974); GENTLEMAN TRAMP, THE (US, Richard Patterson, 1975); COCKFIGHTER (US, Monte Hellman, 1974); STORY OF ADELE H., THE (FR, Francois Truffaut, 1975); HISTOIRE D'ADELE H., L' (FR, Francois Truffaut, 1975); MAITRESSE (FR, Barbet Schroeder, 1976); MARQUISE VON O..., DIE (GW/FR, Erich Rohmer, 1975); DAYS OF HEAVEN (US, Terrence Malick, 1978); MAN WHO LOVED WOMEN, THE (FR, Francois Truffaut, 1977); HOMME QUI AMAIT LES FEMMES, L' (FR, Francois Truffaut, 1977); KOKO, A TALKING GORILLA (FR, Barbet Schroeder, 1978); KOKO, LE GORILLE QUI PARLE (FR, Barbet Schroeder, 1978); MADAME ROSA (FR, Moshe Mizrahi, 1977); GOIN' SOUTH (US, Jack Nicholson, 1978); GREEN ROOM, THE (FR, Francois Truffaut, 1978); CHAMBRE VERT, LA (FR, Francois Truffaut, 1978); PERCEVAL LE GALLOIS (FR, Eric Rohmer, 1978); LOVE ON THE RUN (FR, Francois Truffaut, 1979); AMOUR EN FUITE, L` (FR, Francois Truffaut, 1979); KRAMER VS. KRAMER (US, Robert Benton, 1979); BLUE LAGOON, THE (US, Randal Kleiser, 1980); CONFIDENTIALLY YOURS (FR, Francois Truffaut, 1983); VIVEMENT DIMANCHE! (FR, Francois Truffaut, 1983); LAST METRO, THE (FR, Francois Truffaut, 1980); DERNIER METRO, LE (FR, Francois Truffaut, 1980); PAULINE A LA PLAGE (FR, Eric Rohmer, 1983); PAULINE AT THE BEACH (FR, Eric Rohmer, 1983); STILL OF THE NIGHT (US, Robert Benton, 1982); SOPHIE'S CHOICE (US, Alan J. Pakula, 1982)
Summary: "In A MAN WITH A CAMERA, Nestor Almendros recalls his early days in Havana and emigration to Paris where he worked with Francois Truffaut and Eric Rohmer. He has photographed such highly acclaimed films as SOPHIE'S CHOICE, KRAMER VS. KRAMER, THE BLUE LAGOON and DAYS OF HEAVEN, for which he received an Academy Award. As he looks back and describes simply but comprehensively the specific techniques used in these and many other films, we are offered a unique look at how movies are made." [Book blurb]
Notes: This translation first published: New York : Farrar, Straus, Giroux, 1984; Translation of: Dias deuna camera. Barcelona : Editorial Seix Barral, 1982; First published in French as: Un homme a la camera. Rennes-Lausanne : FOMA, 1980; Filmography: p. [289]-304
ISBN: 0571135897 (pbk.)
LON: abn85231033; 3994651
The metastases of enjoyment : six essays on woman and causality / Slavoj Zizek
London New York: Verso, 1994.
Call No: 626:159.964.2 ZIZ
Author: Zizek, Slavoj
Place: London New York
Publisher: Verso
PhysDes: vi, 221 p. ; 24 cm
Series: Wo es war
Subject: PSYCHOANALYSIS AND THE CINEMA; LYNCH, DAVID; LACAN, JACQUES; BLUE VELVET (US, David Lynch, 1986); M. BUTTERFLY (US, David Cronenberg, 1993); CRYING GAME, THE (UK, Neil Jordan, 1992); SHORT CUTS (US, Robert Altman, 1993)
Notes: Includes bibliographical references and index
ISBN: 086091688X (pbk.); 0860914445
MICKEY BLUE EYES : (US, Kelly Makin, 1999)
Subject: MICKEY BLUE EYES (US, Kelly Makin, 1999)
MOON IS BLUE, THE : (US, Otto Preminger, 1953)
PhysDes: Clippings; Stills
Subject: MOON IS BLUE, THE (US, Otto Preminger, 1953)
More than night : film noir in its contexts / James Naremore
Berkeley: University of California Press, c1998.
Call No: 734.1 NAR
Author: Naremore, James
Place: Berkeley
Publisher: University of California Press
PhysDes: xiv, 345 p. : ill. ; 24 cm
Subject: FILM NOIR; BLACKLISTING. USA; B-MOVIES; ASIANS IN FILMS; BLACKS IN FILMS; CENSORSHIP; HERO IN FILMS; MODERNISM AND THE CINEMA; FILMS IN FILMS; DRUGS IN FILMS; POLITICS AND THE CINEMA; POSTMODERNISM AND THE CINEMA; DETECTIVE FILMS; SOCIAL-REALISM IN FILMS; CRIMINALS IN FILMS; VIOLENCE IN FILMS; WAR VETERANS IN FILMS; SOCIAL PROBLEMS IN FILMS; WASHINGTON, DENZEL; ALDRICH, ROBERT; CHANDLER, RAYMOND; DUNAWAY, FAYE; MUSURACA, NICHOLAS; FRANKLIN, CARL; FRANKENHEIMER, JOHN; GREENE, GRAHAM; HAMMETT, DASHIELL; JACKSON, SAMUEL L.; LADD, ALAN; BLUE DAHLIA, THE (US, George Marshall, 1946); PULP FICTION (US, Quentin Tarantino, 1994); CHINATOWN (US, Roman Polanski, 1974); CROSSFIRE (US, Edward Dmytryk, 1947); DEVIL IN A BLUE DRESS (US, Carl Franklin, 1995); DOUBLE INDEMNITY (US, Billy Wilder, 1944); KISS ME DEADLY (US, Robert Aldrich, 1955); MALTESE FALCON, THE (US, John Huston, 1941); OUT OF THE PAST (US, Jacques Tourneur, 1947)
Notes: Includes bibliographical references (p. 309-318) and indexes
ISBN: 0520212932 (alk. paper); 0520212940 (pbk. : alk. paper)
Must see TV : mapping an Australian mediasphere
in Metro (2000) iss.121/122 p.55-59
Author: McKee, Alan
Subject: TELEVISION. AUSTRALIA; BLUE HEELERS [TV] (AT, 1994-)
Summary: Approaches the study of Australian television, not as an object determined by institutions or production contexts, but as a mediasphere which consists of programmes that people watch (or don't watch).
MY BLUE HEAVEN : (US, Herbert Ross, 1990)
Subject: MY BLUE HEAVEN (US, Herbert Ross, 1990)
in The Age [Green Guide] (23/06/2016) p.2
Call No: SUBJECT CLIPPINGS FILE; INDUSTRY, TV. AUSTRALIA 2016 special file
Author: Kalina, Paul
Subject: SEVEN NETWORK; INDUSTRY, TV. AUSTRALIA; VILLAGE ROADSHOW; ROADSHOW ROUGH DIAMOND; BLUE MURDER: KILLER COP [TV] (AT, 2017); CURB YOUR ENTHUSIASM [TV](US, 1999-); GILMORE GIRLS [TV](US, 2000-)
Summary: Summary of news relating to Australian TV production and exhibition. This week's stories include: return of US TV shows CURB YOUR ENTHUSIASM and GILMORE GIRLS, John Edwards moves to Roadshow Rough Diamond, Seven network not to produce reality show THE DAY THE CASH CAME, filming has commenced on the BLUE MURDER sequel currently titled THE HIGH ROAD
NYPD Blue : "Tempest in a C-Cup" / written by Gardner Stern
Call No: S NYP
Author: Stern, Gardener
Subject: NYPD BLUE [TV] (US, 1993)
NYPD BLUE [TV] : (US, 1993)
Once upon a time in Oztralia : negotiating the story on Australian television.
in Metro (2000) iss.124/125 p.30-34, 36, 38
Author: Davies, Paul
PhysDes: Article; Illustration(s)
Subject: DRAMAS. AUSTRALIA; CRIME DRAMAS; MEDICAL DRAMAS; BLUE HEELERS [TV] (AT, 1994-); COUNTRY PRACTICE, A [TV] (AT, 1981-1995?); RAFFERTY'S RULES [TV] (AT, 1987); SOMETHING IN THE AIR [TV] (AT, 2000-)
Summary: Australian television dramas are explored in relation to three broad themes: the struggle for justice (cop shows), the search for a cure (medical dramas) and faith in the community (soaps).
OUT OF BLUE : (US/UK, Carol Morley, 2018)
Subject: OUT OF BLUE (US/UK, Carol Morley, 2018)
OUT OF THE BLUE : (US, Dennis Hopper, 1980)
Subject: OUT OF THE BLUE (US, Dennis Hopper, 1980)
OUT OF THE BLUE / NewVision Films
Call No: S OUT
Author: Avalon, Phillip
Subject: OUT OF THE BLUE (AT)
OUT OF THE BLUE : (UK/US, Carol Morley, 2018)
Subject: OUT OF THE BLUE (UK/US, Carol Morley, 2018)
OUT OF THE BLUE [TV] : (AT/UK, 2008)
Subject: OUT OF THE BLUE [TV] (AT/UK, 2008)
A patch of blue / Elizabeth Kata
Harmondsworth: Penguin, 1963.
Call No: 79PAT KAT
Author: Kata, Elizabeth
Place: Harmondsworth
Publisher: Penguin
PhysDes: 171 p. ; 18 cm.
Subject: PATCH OF BLUE,A (UK Elizabeth Kata, 1963)
Notes: Originally published: as 'Be ready with bells and drums'. New York : St. Martins Press ; London :Joseph, 1961.
PERFECT BLUE : (JA, Satoshi Kon, 1999)
Subject: PERFECT BLUE (JA, Satoshi Kon, 1999)
Philosophy goes to the movies : an introduction to philosophy / Christopher Falzon
Call No: 626 FAL
Author: Falzon, Christopher
Edition: third edition
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
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
Phoenix set to rise : one hot dog takes to the red carpet
in Sydney Morning Herald (07/12/2016) p.3
Subject: RED DOG: TRUE BLUE (AT, Kriv Stenders, 2016); RED DOG (AT, Kriv Stenders, 2011)
Summary: Interview with the producer of the film RED DOG: TRUE BLUE about how the film was made and the publicity and festival screenings the film will have
Pooch perfect
Author: Wigney, James
Subject: ISSACS, JASON; RED DOG: TRUE BLUE (AT, Kriv Stenders, 2016)
Summary: Interview with actor Jason Issacs who discusses the film RED DOG: TRUE BLUE and his career, particularly his experiences with working with dogs in films
Queer girls, temporality and screen media : not 'just a phase' / Whitney Monaghan
London: Palgrave Macmillan,
Call No: 451-03 MON
Author: Monaghan, Whitney
Publisher: Palgrave Macmillan
PhysDes: x, 192 p. : illustrated ; 22 cm
Subject: HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; HOMOSEXUALITY AND TV; HOMOSEXUALITY ON TV; BLUE IS THE WARMEST COLOR (FR/BE/SP, Abdellatif Kechiche, 2013); BUFFY THE VAMPIRE SLAYER [TV] (US, 1997-2004); CRUEL INTENTIONS (US, Roger Kimble, 1999); DEGRASSI JUNIOR HIGH [TV](CN, 1987-1991); ELLEN [TV] (US, 1995-); GLEE [TV] (US, Ryan Murphy, 2009); MY SUMMER OF LOVE (UK, Paul Pawlikowski, 2004); NEIGHBOURS [TV] (AT, 1985-)
Summary: This book takes up the queer girl as a represented and rhetorical figure within film, television and video. In 1987, Canada's Degrassi Junior High featured one of TV's first queer teen storylines. Contained to a single episode, it was promptly forgotten within both the series and popular culture more generally. Cut to 2016 – queer girls are now major characters in films and television series around the globe. No longer represented as subsidiary characters within forgettable storylines, queer girls are a regular feature of contemporary screen media. Analysing the terms of this newfound visibility, Whitney Monaghan provides a critical perspective on this, arguing that a temporal logic underpins many representations of queer girlhood. Examining an archive of screen texts that includes teen television series and teenpics, art-house, queer and independent cinemas as well as new forms of digital video, she expands current discourse on both queer representation and girls' studies by looking at sexuality through themes of temporality. This book, the first full-length study of its kind, draws on concepts of boredom, nostalgia and transience to offer a new perspective on queer representation in contemporary screen media. -- publisher's web site
Donation: Whitney Monaghan
Red carpet ride for a movie star
in Daily Telegraph (07/12/2016) p.1
Author: Crane, Kris
Summary: Short article on Sydney premiere of the film RED DOG: TRUE BLUE
Red Dog leaves Berlin howling for more
in Sunday Age (12/02/2017) p.14
Call No: SUBJECT CLIPPINGS FILE; FESTIVALS. BERLIN
Author: Bunbury, Stephanie
Subject: FESTIVALS. BERLIN; RED DOG: TRUE BLUE (AT, Kriv Stenders, 2016)
Summary: Report on the Berlin Film Festival, including the positive (child) audience reception of RED DOG: TRUE BLUE
Notes: similar article in Sunday Canberra Times, same date p 11
Red dog, old dog, blue dog, new dog
Subject: BLUE DOG in production
Summary: Report on the filming of Blue Dog, a film as part of a trilogy of films about dogs set in the mining region of Western Australia
Red dog redux : Red Dog's sequel does not stray far from the original film's winning formula
in Weekend Australian [Review] (17/12/2016) p.10
Summary: Interview with RED DOG: TRUE BLUE director Kriv Stenders and actors Bryan Brown and Jason Issacs about the making of the iflm
Red Dog rises with new pup Phoenix
Summary: The promotional work has begun for the film RED DOG: TRUE BLUE, with the film's star (Phoenix) going on tour with producer Nelson Woss
red dog: true blue (at, kriv stenders, 2016)
Red Dog roams to Sundance and Berlin
in The Age [Arts and entertainment] (19/1/2017) p.24
Notes: Update on performance of Kriv Stenders' second Red Dog film.
RED DOG: TRUE BLUE : (AT, Kriv Stenders, 2016)
Red dog: true blue / written by Daniel Taplitz
Call No: S RED
Author: Taplitz, Daniel
Summary: "A father takes his two young sons to see Red Dog. After the movie he describes to his oldest son how Red Dog is based on the story of a dog he had as a boy - Blue. From this we see the period in the man's childhood when Blue was his dog, their trials and tribulations living on a farm in a remote part of Western Australia." Written by grantss - IMDb
RED VS BLUE: THE BLOOD GULCH CHRONICLES : (US, Burnie Burns & Matt Hullum, 2003)
Subject: RED VS BLUE: THE BLOOD GULCH CHRONICLES (US, Burnie Burns & Matt Hullum, 2003)
RED WHITE AND BLUE : (UK, Steve McQueen, 2020)
Subject: RED WHITE AND BLUE (UK, Steve McQueen, 2020)
Cross Reference: RED WHITE AND BLUE (UK, Steve McQueen, 2020)
RED WHITE & BLUE : (UK, Simon Rumley, 2010)
Subject: RED WHITE & BLUE (UK, Simon Rumley, 2010)
Reel black talk : a source book of 50 American filmmakers / Spencer Moon, foreward by George Hill
Westport, Conn: Greenwood Press, 1997.
Call No: 802(73) MOO
Author: Moon, Spencer
Place: Westport, Conn
Publisher: Greenwood Press
PhysDes: xvi, 396 p. : ill., ports. ; 25 cm
Subject: PRODUCERS. USA; ALEXANDER, WILLIAM; BOURNE, ST. CLAIR; BURNETT, CHARLES; CHENZIRA, AYOKA; DASH, JULIE; DUKE, BILL; FANAKA, JAMAA; FRANKLIN, CARL; GREAVES, WILLIAM; HAMPTON, HENRY; HUDLIN, REGINALD; HUDLIN, WARRINGTON; JACKSON, GEORGE; LEE, SPIKE; MICHEAUX, OSCAR; PARKERSON, MICHELLE; PARKS, GORDON; RIGGS, MARLON; ROBERTSON, HUGH A.; SINGLETON, JOHN; TOWNSEND, ROBERT; WARREN, MARK; WAYANS, KEENEN IVORY; WAYANS, MARLON; WAYANS, SHAWN; WILLIAMS, SPENCER; ALMA'S RAINBOW (US, Ayoka Chenzira, 1994); AMAZING GRACE AND CHUCK (US, Mike Newell, 1987); AMOS 'N' ANDY SHOW, THE [TV] (US, 1951-53); BEAT STREET (US, Stan Lathan, 1984); BETTER OFF DEAD (US, Savage Steve Holland, 1985); BLESS THEIR LITTLE HEARTS (US, Billy Woodberry, 1984); BRIDE PRICE (KE, Shatrujit Paul, 1991); CARBON COPY (US, Michael Schultz, 1981); CEMETERY CLUB, THE (US, Bill Duke, 1993); CHILD SAVER, THE [TV] (US, Stan Lathan, 1988); P.O.V : COLOR ADJUSTMENT (US, Marlon Riggs, 1992); CROOKLYN (US, Spike Lee, 1994); DEEP COVER (US, Bill Duke, 1992); DEVIL IN A BLUE DRESS (US, Carl Franklin, 1995); DISORDERLIES (US, Michael Schultz, 1987); DO THE RIGHT THING (US, Spike Lee, 1989); RAW (US, Robert Townsend, 1987); EYES ON THE PRIZE [TV] (US, 1987-1990); FIVE HEARTBEATS, THE (US, Robert Townsend, 1991); GLASS SHIELD, THE (US, Charles Burnett, 1994); GREASED LIGHTNING (US, Michael Schultz, 1977); HIGHER LEARNING (US, John Singleton, 1994); HOLLYWOOD SHUFFLE (US, Robert Townsend, 1987); INKWELL, THE (US, Matty Rich, 1994); JASON'S LYRIC (US, Doug McHenry, 1994); KILLING FLOOR, THE (US, Bill Duke, 1985); KRUSH GROOVE (US, Michael Schultz, 1985); LAUREL AVENUE (US, Carl Franklin, 1993); MENACE II SOCIETY (US, Allen Hughes & Albert Hughes, 1993); OBEAH (US, Hugh A. Robertson, 1986); PANTHER (US, Mario Van Peebles, 1995); PENITENTIARY II (US, Jamaa Fanaka, 1982); POETIC JUSTICE (US, John Singleton, 1993); QUESTION OF COLOR, A (US, Kathe Sandler, 1993 [1992]); RAISIN IN THE SUN, A (US, Daniel Petrie, 1961); SCAVENGER HUNT (US, Michael Schultz, 1979); SHAFT (US, Gordon Parks Jr., 1971); TO SLEEP WITH ANGER (US, Charles Burnett, 1990); STILL A BROTHER: INSIDE THE NEGRO MIDDLE CLASS (US, William Greaves, 1968); STRAIGHT OUT OF BROOKLYN (US, Matty Rich, 1991); VEILED ARISTOCRATS (US, Oscar Micheaux, 1932); WHICH WAY IS UP? (US, Michael Schultz, 1977); WITHIN OUR GATES (US, Oscar Micheaux, 1919)
Summary: This is the first book by an African American on contemporary African American filmmakers. Here directors and producers speak for themselves, posing challenges to current thinking in the field. Special emphasis is given to the filmmakers production and their experiences. Essays on historic figures reveal the rich history of the African American contribution to cinema.
Notes: Includes filmographies, bibliographical references (p. [385] - 386) and index
Contents: Foreward: Ninety-plus years of filmmaking/George Hill- William Alexander-Madeline Anderson-Neema Barnette- St Clair Bourne - Charles Burnette - Roy Campanella II - Ayoka Chenzira - Francee Covington - Julie Dash - Ivan Dixon - Bill Duke - Jamaa Fanaka - Carl Franklin - Wendell Franklin - William Greaves - Henry Hampton - Hobart Whitaker Harris - Wendell Burks Harris Jr - Reginald and Warrington Hudlin - Albert and Allen Hughes - George Jackson and Doug McHenry - Ashley James - Avon Kirkland - Stan Lathan - Spike Lee -Louis Massiah - Oscar Devereaux Micheaux - Floyd Norman and Leo Sullivan - Michelle Parkerson - Gordon Alexander Parks Sr - Matty Rich - Marlon Riggs - Hugh Robertson - Michael Schultz - Jackie Shearer - John Singleton - Arlando C. Smith - Robert Townsend - Mario Van Peebles - Melvin Van Peebles - Mark Warren III - The Wayans Family: Keenan Ivory, Damon, Shawn and Marlon - Spencer William Jr - Allen Willis
Reel justice : the courtroom goes to the movies / Paul Bergman and Michael Asimow
Kansas City: Andrews and McMeel, c1996.
Call No: 734.4 BER
Author: Bergman, Paul, 1943; Asimow, Michael
Place: Kansas City
Publisher: Andrews and McMeel
PhysDes: xix, 338 p. : ill. ; 23 cm
Subject: TRIALS IN FILMS; ACCUSED, THE (US, Jonathan Kaplan, 1988); EVIL ANGELS (AT, Fred Schepisi, 1988); INHERIT THE WIND (US, Stanley Kramer, 1960); MAN FOR ALL SEASONS, A (US, Fred Zinnemann, 1966); ONION FIELD, THE (US, Harold Becker, 1979); REVERSAL OF FORTUNE (US, Barbet Schroeder, 1990); THIN BLUE LINE, THE (US, Errol Morris, 1988); BILLY BUDD (UK, Peter Ustinov, 1962); BREAKER MORANT (AT, Bruce Beresford, 1980); CAINE MUTINY, THE (US, Edward Dmytryk, 1954); FEW GOOD MEN, A (US, Rob Reiner, 1992); PATHS OF GLORY (US, Stanley Kubrick, 1957); ADAM'S RIB (US, George Cukor, 1949); [MISTER] MR. DEEDS GOES TO TOWN (US, Frank Capra, 1936); MY COUSIN VINNY (US, Jonathan Lynn, 1992); ...AND JUSTICE FOR ALL (US, Norman Jewison, 1979); COMPULSION (US, Richard Fleischer, 1959); IN THE NAME OF THE FATHER (IE/UK/US, Jim Sheridan, 1993); LIFE OF EMILE ZOLA, THE (US, William Dieterle, 1937); PHILADELPHIA (US, Jonathan Demme, 1993); SOMMERSBY (US, Jon Amiel, 1993); TO KILL A MOCKINGBIRD (US, Robert Mulligan, 1962); YOUNG MR. LINCOLN (US, John Ford, 1939); MUSIC BOX (US, Constantin Costa-Gavras, 1989); PARADINE CASE, THE (US, Alfred Hitchcock, 1947); BEYOND A REASONABLE DOUBT (US, Fritz Lang, 1956); BOOMERANG (US, Elia Kazan, 1947); PRESUMED INNOCENT (US, Alan J. Pakula, 1990); THEY WON'T FORGET (US, Mervyn LeRoy, 1937); WRONG MAN, THE (US, Jim McBride, 1993); ANATOMY OF A MURDER (US, Otto Preminger, 1959); M (G, Fritz Lang, 1931); STAR CHAMBER, THE (US, Peter Hyams, 1983); SUSPECT (US, Peter Yates, 1987); TRIAL BY JURY (US, Heywood Gould, 1994); [TWELVE] 12 ANGRY MEN (US, Sidney Lumet, 1956); CLASS ACTION (US, Michael Apted, 1991); LOSING ISAIAH (US, Stephen Gyllenhaal, 1995); MIRACLE ON 34TH STREET (US, Les Mayfield, 1994); NUTS (US, Martin Ritt, 1987); VERDICT, THE (US, Sidney Lumet, 1982); WHOSE LIFE IS IT, ANYWAY? (US, John Badham, 1981); ALL THAT MONEY CAN BUY (US, William Dieterle, 1941); BLOOD OATH (AT, Stephen Wallace, 1990); HOUR OF THE PIG, THE (FR/UK, Leslie Megahey, 1993); YOUNG PHILADELPHIANS, THE (US, Vincent Sherman, 1959); LIBEL (UK, Anthony Asquith, 1959); KRAMER VS. KRAMER (US, Robert Benton, 1979); OX-BOW INCIDENT, THE (US, William Wellman, 1943); ON TRIAL (US, Terry Morse, 1939); I WANT TO LIVE! (US, Robert Wise, 1958); JUDGMENT AT NUREMBERG (US, Stanley Kramer, 1961); LET HIM HAVE IT (UK, Peter Medak, 1991); [TEN] 10 RILLINGTON PLACE (UK, Richard Fleischer, 1971); COURT-MARTIAL OF BILLY MITCHELL, THE (US, Otto Preminger, 1955); BANANAS (US, Woody Allen, 1971); MURDER IN THE FIRST (US, Marco Rocco, 1995); TRIAL (US, Mark Robson, 1955); GUILTY AS SIN (US, Sidney Lumet, 1993); JAGGED EDGE (US, Richard Marquand, 1985); LETTER, THE (US, William Wyler, 1940); KNOCK ON ANY DOOR (US, Nicholas Ray, 1949); WITNESS FOR THE PROSECUTION (US, Billy Wilder, 1957); ACT OF MURDER, AN (US, Michael Gordon, 1948); FURY (US, Fritz Lang, 1936); I CONFESS (US, Alfred Hitchcock, 1953); PLACE IN THE SUN, A (US, George Stevens, 1951); THEY WON'T BELIEVE ME (US, Irving Pichel, 1947)
Reel schools : schooling and the nation in Australian cinema / Josephine May
Bern, Switzerland: Peter Lang, 2013.
Call No: 755.71(94) MAY
Author: May, Josephine
Place: Bern, Switzerland
Publisher: Peter Lang
PhysDes: x, 286 pages : illustrated ; 23 cm
Subject: EDUCATION IN FILMS. AUSTRALIA; CHILDREN IN FILMS. AUSTRALIA; CELIA (AT, Ann Turner, 1988); FAST TALKING (AT, Ken Cameron, 1984); HEY, HEY, ITS ESTHER BLUE BURGER (AT, Cathy Randall, 2007); LOOKING FOR ALIBRANDI (AT, Kate Woods, 2000); MULL (AT, Don McLennan, 1988); SMILEY (UK, Anthony Kimmins, 1956); DEVIL'S PLAYGROUND (AT, Fred Schepisi, 1976); EVERLASTING SECRET FAMILY, THE (AT, Michael Thornhill, 1988); GETTING OF WISDOM, THE (AT, Bruce Beresford, 1977); HEARTBREAK KID, THE (AT, Michael Jenkins, 1993); YEAR MY VOICE BROKE, THE (AT, John Duigan, 1987)
Summary: Reel Schools takes a fresh look at the history of Australian schooling through the lens of Australian cinema from the silent era until 2010. In exploring the relationship between cinematic representation and educational history, Josephine May shows how numerous Australian feature and documentary films offer access to powerful vernacular imaginings about school education in Australia. May argues that the cinematic school is a pervasive metaphor for the Australian nation. She demonstrates that, while Australian films about schooling have consistently commented on the relationship of schooling to the Australian class structure, they also increasingly explored gender, race and ethnicity at school, especially after the 1970s. From then on the egalitarian dream of school education and the nation's capacity to generate meaningful futures for the young became increasingly contested. -- publisher's web site
Reel Time : Cameras rolling for old dog with new tricks
Call No: TITLE CLIPPINGS FILE; BLUE DOG in production
Author: Bodey, Michael
Summary: Filming has started for the film Blue Dog. The film is being made by the same team who worked on the hit film Red Dog
Religion and film : cinema and the re-creation of the world / S. Brent Plate
Chichester, U.K.: Columbia University Press, 2017.
Call No: 45:2 PLA
Author: Plate, S. Brent
Place: New York; Chichester, U.K.
PhysDes: xviii,207 p. : illus. ; 23cm
Subject: RELIGION AND THE CINEMA; PURPLE ROSE OF CAIRO, THE (US, Woody Allen, 1985); TIDELAND (CN/UK, Terry Gilliam, 2005); BIG FISH (US, Tim Burton, 2003); MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999); PASSION OF THE CHRIST, THE (US, Mel Gibson, 2004); BLUE VELVET (US, David Lynch, 1986); CHOCOLAT (US, Lasse Hallstrom, 2000); ANTONIA'S LINE (NE/BE/UK, Marleen Gorris, 1995) SEE ANTONIA; ANTONIA (NE/BE/UK, Marleen Gorris, 1995); CINEMA PARADISO (IT/FR, Giuseppe Tornatore, 1988); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); BARAKA (US, Ron Fricke, 1992); MONSTERS, INC. (U S, Peter Docter & David Silverman, 2001); KIKI'S DELIVERY SERVICE (JA, Hayao Miyazaki, 1989); METROPOLIS (G, Fritz Lang, 1926); ACT OF SEEING WITH ONE'S OWN EYES, THE (US, Stan Brakhage, 1971); BEN HUR (US, William Wyler, 1959); KING OF KINGS (US, Nicholas Ray, 1961); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); STRAIGHT STORY, THE (US/FR/UK, David Lynch, 1999)
Summary: Religion and cinema share a capacity for world making, ritualizing, mythologizing, and creating sacred time and space. Through cinematography, mise-en-scène, editing, and other production activities, film takes the world "out there" and refashions it. Religion achieves similar ends by setting apart particular objects and periods of time, telling stories, and gathering people together for communal actions and concentrated focus. The result of both cinema and religious practice is a re-created world: a world of fantasy, a world of ideology, a world we long to live in, or a world we wish to avoid at all costs. Religion and Film introduces readers to both religious studies and film studies by focusing on the formal similarities between cinema and religious practices and on the ways they each re-create the world. Explorations of film show how the cinematic experience relies on similar aesthetic devices on which religious rituals have long relied: sight, sound, the taste of food, the body, and communal experience. Meanwhile, a deeper understanding of the aesthetic nature of religious rituals can alter our understanding of film production. Utilizing terminology and theoretical insights from the study of religion as well as the study of film, Religion and Film shows that by paying attention to the ways films are constructed, we can shed new light on the ways religious myths and rituals are constructed and vice versa. This thoroughly revised and expanded new edition is designed to appeal to the needs of courses in religion as well as film departments. In addition to two new chapters, this edition has been restructured into three distinct sections that offer students and instructors theories and methods for thinking about cinema in ways that more fully connect film studies with religious studies. -- publisher's web site
Contents: List of Illustrations Preface to the Second Edition Preface to the First Edition Acknowledgments Introduction: Worldmaking On-Screen and at the Altar Part I. Before the Show: Pulling the Curtain on the Wizard 1. Audio-Visual Mythologizing 2. Ritualizing Film in Space and Time 3. Sacred and Cinematic Spaces: Cities and Pilgrimages Part II. During the Show: Attractions and Distractions 4. Religious Cinematics: Body, Screen, and Death 5. The Face, the Close-Up, and Ethics Part III. After the Show: Re-Created Realities 6. The Footprints of Film: Cinematic After-Images in Sacred Time and Space Notes References Filmography Index
RETURN TO THE BLUE LAGOON : (US, William A. Graham, 1991)
Subject: RETURN TO THE BLUE LAGOON (US, William A. Graham, 1991)
ROOKIE BLUE [TV] : (CN, 2010)
Subject: ROOKIE BLUE [TV] (CN, 2010)
The Scorsese connection / Lesley Stern
Call No: 81SCO STE
Author: Stern, Lesley
PhysDes: vii, 257 p. : ill. ; 24 cm
Subject: SCORSESE, MARTIN; REMAKES; RAGING BULL (US, Martin Scorsese, 1980); TAXI DRIVER (US, Martin Scorsese, 1976); CAPE FEAR (US, Martin Scorsese, 1991); CAPE FEAR (US, J. Lee Thompson, 1961); SEARCHERS, THE (US, John Ford, 1956); RED SHOES, THE (UK, Michael Powell & Emeric Pressburger, 1948); WIZARD OF OZ, THE (US, Victor Fleming, 1939); BLUE VELVET (US, David Lynch, 1986); DUEL IN THE SUN (US, King Vidor, 1946); GIRL CAN'T HELP IT, THE (US, Frank Tashlin, 1956); GONE WITH THE WIND (US, Victor Fleming, 1939); NIGHT OF THE HUNTER (US, Charles Laughton, 1955)
ISBN: 085170512X : ª35.00; 0851705138 (pbk.); 0253210119 (pbk); 0253329523 (hbk)
LON: bnb85170512; 11802839
SCREAM IN BLUE : (AT, Kerry Binden, 1987)
Subject: SCREAM IN BLUE (AT, Kerry Binden, 1987)
Screen/play : Derrida and film theory
Princeton, New Jersey: Princeton University Press, 1989.
Call No: 62 BRU
Author: Brunette, Peter; Wills, David
Place: Princeton, New Jersey
Publisher: Princeton University Press
PhysDes: 224 pages : illustrations ; 24 cm
Series: Princeton Legacy Library
Subject: DERRIDA, JACQUES; BRIDE WORE BLACK, THE [MARIEE ETAIT EN NOIR] (FR, Francios Truffaut, 1968); BLUE VELVET (US, David Lynch, 1986)
Summary: "Peter Brunette and David Wills extend the work of Jacques Derrida into a new realm with rewarding consequences. Although Derrida has never addressed film theory directly in his writings, Brunette and Wills argue that the ideas he has developed in his critique of the logocentric foundations of Western thought, especially his notion of "Writing," can be usefully applied to film theory and analysis. They maintain that such an application might even begin to shift film from its traditional position within the visual arts to a new place in the media and information sciences. This book also supplies a fascinating introduction to Derrida for the general reader." - taken from back cover
Notes: Includes bibliographic references and index
Contents: Preface -- CHAPTER ONE. Introduction -- CHAPTER TWO. Derrida and Contemporary Film Studies -- CHAPTER THREE. Film as Writing: From Analogy to Anagram -- CHAPTER FOUR. The Frame of the Frame -- CHAPTER FIVE. Black and Blue -- CHAPTER SIX. Cinema and the Postal -- Works Cited -- Index
Screening sex / Linda Williams
Durham: Duke University Press, 2008.
Call No: 749 WIL
Author: Williams, Linda
Place: Durham
Publisher: Duke University Press
Series: A John Hope Franklin Center book
Subject: SEX AND THE CINEMA; SEX FILMS; SEX IN FILMS; PORNOGRAPHIC FILMS; PORNOGRAPHIC VIDEO; FONDA, JANE; BREILLAT, CATHERINE; FLESH AND THE DEVIL (US, Clarence Brown, 1926); SHORTBUS (US, John Cameron Mitchell, 2006); INTIMACY (FR, Patrice Chereau, 2001); ULTIMO TANGO A PARIGI (IT/FR, Bernardo Bertolucci, 1972); DEEP THROAT (US, Jerry Gerard, 1972); BROKEBACK MOUNTAIN (US, Ang Lee, 2005); BLUE VELVET (US, David Lynch, 1986); AI NO CORRIDA (JA/FR, Nagisa Oshima, 1976)
Summary: "For many years, kisses were the only sexual acts to be seen in mainstream American movies. Then, in the 1960s and 1970s, American cinema "grew up" in response to the sexual revolution, and movie audiences came to expect more knowledge about what happened between the sheets. In Screening Sex, film scholar Linda Williams investigates how sex acts have been represented on screen for more than a century and, just as important, how we have watched and experienced those representations." "Combining stories of her own coming of age as a moviegoer with film history, cultural history, and readings of significant films, Williams presents a fascinating history of the on-screen kiss, a look at the shift from adolescent kisses to more grown-up displays of sex, and a comparison of the "tasteful" Hollywood sexual interlude with sexuality as represented in sexploitation, Blaxploitation, and avant-garde films. By understanding screening sex as both revelation and concealment, Williams has written the definitive study of sex at the movies."--BOOK JACKET.
Notes: Formerly CIP.; Includes bibliographical references (p. [379]-395) and index.
Contents: Of kisses and ellipses : the long adolescence of American movies (1896/1963) -- Going all the way : carnal knowledge on American screens (1961/1971) -- Going further : Last tango in Paris, Deep throat, and Boys in the sand (1971/1972) -- Make love, not war : Jane Fonda comes home (1968/1978) -- Hard-core eroticism : In the realm of the senses -- Primal scenes on American screens (1986/2005) -- Philosophy in the bedroom : hard-core art since the 1990s -- Conclusion: now playing on a small screen near you!
Screening the sacred : religion, myth, and ideology in popular American film / edited by Joel W. Martin, Conrad E. Ostwalt, Jr
Boulder: Westview Press, c1995.
Call No: 45:2 SCR
Author: Ostwalt, Conrad Eugene, 1959; Martin, Joel W., 1956
Place: Boulder
Publisher: Westview Press
PhysDes: x, 193 p. ; 24 cm
Subject: MYTH AND THE CINEMA. USA; RELIGION AND THE CINEMA. USA; IDEOLOGY AND THE CINEMA. USA; DISASTERS IN FILMS; ALLEGORY IN FILMS; WOMEN IN FILMS; HERO IN FILMS; RACE AND THE CINEMA; ALIENS IN FILLMS; VIETNAM WAR IN FILMS; NINE 1/2 WEEKS (US, Adrian Lyne, 1986); PSYCHO (US, Alfred Hitchcock, 1960); BLOOD SIMPLE (US, Joel Coen, 1984); PLATOON (US, Oliver Stone, 1986); STAR WARS (US, George Lucas, 1977); ALIEN (UK, Ridley Scott, 1979); ALIENS (US, James Cameron, 1986); ROCKY (US, John G. Avildsen, 1976); IRONWEED (US, Hector Babenco, 1987); BLUE VELVET (US, David Lynch, 1986)
SEEING RED AND FEELING BLUE : (AT, Jane Oehr, 1976)
Subject: SEEING RED AND FEELING BLUE (AT, Jane Oehr, 1976)
SEQUIN IN A BLUE ROOM : (AT, Samuel Van Grinsven, 2019)
Subject: SEQUIN IN A BLUE ROOM (AT, Samuel Van Grinsven, 2019)
Notes: Simon Strong import 14_Oct2019
Seven to bowl up Warne drama
in The Australian (27/10/2016) p.3
Call No: SUBJECT CLIPPINGS FILE; SEVEN NETWORK
Author: Davidson, Darren
Subject: SEVEN NETWORK; DRAMAS. AUSTRALIA; WARNIE [TV] in production; HOGES: THE PAUL HOGAN STORY [TV] (AT, 2016); BLUE MURDER: KILLER COP [TV] (AT, 2017); OLIVIA NEWTON-JOHN [TV] in production
Summary: Discussion of Seven Network upcoming drama production, including biopics on Australians Shane Warne, Paul Hogan, and Olivia Newton-John
Sex, class, and realism : British cinema, 1956-1963 / John Hill
London: BFI Pub., 1986.
Call No: 744.1(41) HIL
Author: Hill, John
Publisher: BFI Pub.
Subject: UNITED KINGDOM; SOCIAL-REALISM IN FILMS. UK; SOCIAL PROBLEMS IN FILMS. UK; WORKING CLASS IN FILMS. UK; ANDERSON, LINDSAY; DEARDEN, BASIL; WILLIS, TED; RANK ORGANISATION; BLUE LAMP (UK, Basil Dearden, 1949); CAGE OF GOLD (UK, Basil Dearden, 1950); I BELIEVE IN YOU (UK, Basil Dearden & Michael Relph, 1952); SAPPHIRE (UK, Basil Dearden, 1959); VIOLENT PLAYGROUND (UK, Basil Dearden, 1957); BOYS, THE (UK, Sidney J. Furie, 1962); ENTERTAINER, THE (UK, Tony Richardson, 1960); LOOK BACK IN ANGER (UK, Tony Richardson, 1959); TASTE OF HONEY, A (UK, Tony Richardson, 1961); I'M ALL RIGHT JACK (UK, John Boulting, 1959); KIND OF LOVING, A (UK, John Schlesinger, 1962); PETTICOAT PIRATES (UK, David MacDonald, 1961); SATURDAY NIGHT AND SUNDAY MORNING (UK, Karel Reisz, 1960); SOME PEOPLE (UK, Clive Donner, 1962); WOMAN IN A DRESSING GOWN (UK, J. Lee Thompson, 1957); SONS AND LOVERS (UK, Jack Cardiff, 1960); VICTIM (UK, Basil Dearden, 1961)
Notes: "Select filmography": p. 180-222; Includes bibliographies and index
ISBN: 0851701329 : ¦20.00; 0851701337 (pbk.)
Sex, death, corruption, and killing doses of major weirdness
in Cinefantastique (March 1987) vol.17 iss.2 p.45
Author: Doherty, Thomas
Shades of noir : a reader / edited by Joan Copjec
London ; New York: Verso, 1993.
Call No: 734 SHA
Author: Copjec, Joan
Place: London ; New York
Subject: FILM NOIR; FEMME FATALE; BLACK CINEMA; WOMEN IN FILMS; CHANDLER, RAYMOND; BLUE GARDENIA, THE (US, Fritz Lang, 1953); RAW DEAL (US, Anthony Mann, 1948); SECRET BEYOND THE DOOR... (US, Fritz Lang, 1948); DOUBLE INDEMNITY (US, Billy Wilder, 1944); RAGE IN HARLEM, A (UK/US, Bill Duke, 1991); BLUE VELVET (US, David Lynch, 1986); TERMINATOR 2: JUDGMENT DAY (US, James Cameron, 1991)
ISBN: 0860914607 : $59.85; 0860916251 (pbk.) : $18.95
Short cuts : Zane-y sci-fi shoot wraps in Canberra
in The Age [Arts & Entertainment] (12/03/2015) p.30
Subject: BLUE WORLD ORDER in production
Summary: Film location shooting in Canberra
Short cuts : Sci-fi pic brings Zane to capital
in Sydney Morning Herald [Arts & Entertainment] (12/03/2015) p.30
Short cuts : 'Blue Dog' next
Summary: Shooting has begun on the film Blue Dog, a film made by the same team that made the successful Australian film Red Dog
Short cuts : under the radar role for Roxburgh
Call No: TITLE CLIPPINGS FILE; BLUE MURDER: KILLER COP [TV] (AT, 2017)
Summary: Snippet on the news that a sequel to the 1995 TV true crime drama BLUE MURDER is in production just as the sentencing of former policemen Roger Rogerson (the key subject of the original BLUE MURDER show) and Glen McNamara has occurred
SOLDIER BLUE : (US, Ralph Nelson, 1970)
Subject: SOLDIER BLUE (US, Ralph Nelson, 1970)
Soldier Blue / T. V. Olsen
London: Sphere Books, 1971.
Call No: N 79 SOL OLS
Author: Olsen, T. V.
Publisher: Sphere Books
SONG SUNG BLUE : (US, Greg Kohs, 2008)
Subject: SONG SUNG BLUE (US, Greg Kohs, 2008)
Speaking truths with film : evidence, ethics, politics in documentary / Bill Nichols
Oakland: California University of California Press, 2016.
Place: Oakland
Publisher: California University of California Press
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; AUDIENCES; MUSIC IN FILMS; VOICES; SOCIAL ISSUES IN FILMS; ETHICS AND THE CINEMA; ETHICS IN FILMS; POLITICS AND THE CINEMA; POLITICS IN FILMS; LAND WITHOUT BREAD (SP, Luis Bunuel, 1933); RESTREPO (US, Tim Hetherington/Sebastian Junger, 2010); THIN BLUE LINE, THE (US, Errol Morris, 1988); ACT OF KILLING, THE (DK/NO/UK, Joshua Oppenheimer, (2012); STEVE JOBS: THE MAN IN THE MACHINE (US, Alex Gibney, 2015)
Summary: "What issues, of both form and content, shape the documentary film? What role does visual evidence play in relation to a documentary's arguments about the world in which we live? Can a documentary be believed, and why or why not? How do documentaries abide by or subvert ethical expectations? Are mockumentaries a form of subversion? In what ways can the documentary be an aesthetic experience and at the same time have political or social impact? And how can such impacts be empirically measured? Pioneering film scholar Bill Nichols investigates the ways in which documentaries strive for accuracy and truthfulness, but simultaneously fabricate a form that shapes reality. Such films may rely on re-enactment to re-create the past, storytelling to provide satisfying narratives, and rhetorical figures such as metaphor and expressive forms such as irony to make a point. In many ways documentaries are a fiction unlike any other. With clarity and passion, Nichols offers close readings of several provocative documentaries including Land without Bread, Restrepo, The Thin Blue Line, The Act of Killing, and Steve Jobs: The Man in the Machine as part of an authoritative examination of the layered approaches and delicate ethical balance demanded of documentary filmmakers"--Provided by publisher.
Contents: Documentary film and the modernist avant-garde -- Documentary reenactment and the fantasmatic subject -- Letter to Lynn Sachs about her film Investigation of a flame -- Breaking the frame, gender, violation and the avant-garde -- The coming of sound -- To see the world anew : revisiting the voice of documentary -- The sound of music -- The question of evidence : the power of rhetoric and the documentary film -- The terrorist event -- Remaking history : Jay Leyda, and the compilation film -- Restrepo : a case of inadvertent evidence -- The symptomatic biopic : Steve Jobs : the man in the machine -- Documentary ethics : doing the right thing -- Irony, paradox and the documentary : double meanings and double binds -- Letter to Errol Morris : feelings of revulsion and the limits of academic discourse -- Perpetrators, trauma and film -- San Francisco newsreel : collectives, politics, films -- The political documentary and the problem of impact.
Spike, Mike, slackers & dykes : a guided tour across a decade of American independent cinema / John Pierson with the conversational collaboration of Kevin Smith
London: Faber and Faber, 1996, c1995.
Call No: 210.2(73) PIE
Author: Pierson, John
PubDate: 1996, c1995
PhysDes: 374 p., [16] p. of plates : ill., ports ; 24 cm
Subject: INDEPENDENT FILMS. USA; INDEPENDENT PRODUCTION. USA; FESTIVALS. PARK CITY. SUNDANCE; WARNER BROS.; MIRAMAX FILMS; SMITH, KEVIN; WEISS, ROB; MOORE, MICHAEL; TROCHE, ROSE; TURNER, GUINEVERE; LEE, SPIKE; LINKLATER, RICHARD; BORDEN, LIZZIE; Pierson, John; GOMEZ, NICK; JARMUSCH, JIM; MORRIS, ERROL; AMONGST FRIENDS (US, Rob Weiss, 1993); ANNA (US, Yurek Bogayevicz, 1987); CLERKS (US, Kevin Smith, 1994); MALLRATS (US, Kevin Smith, 1995); GO FISH (US, Rose Troche, 1994); PARTING GLANCES (US, Bill Sherwood, 1986); STRANGER THAN PARADISE (US/GW, Jim Jarmusch, 1984); WORKING GIRLS (US, Lizzie Borden, 1986); ROGER AND ME (US, Michael Moore, 1989); SHE'S GOTTA HAVE IT (US, Spike Lee, 1986); HOOP DREAMS (US, Steve James, 1994); SLACKER (US, Richard Linklater, 1990); THIN BLUE LINE, THE (US, Errol Morris, 1988)
Notes: First published in the USA in 1995 by Hyperion/Miramax; Includes index
Storytelling in film and television / Kristin Thompson
Cambridge, Massachusetts: Harvard University Press, 2003.
Call No: 632.2 THO
Author: Thompson, Kristin
Edition: 1st ed.
Source: USA
Place: Cambridge, Massachusetts
PhysDes: 172 p ; 20cm + b&w ill.
Subject: ADAPTATIONS; ADVERTISING; CHARACTERS ON TV; DRAMAS; INTERNET; SCRIPTWRITING; SYMBOLISM ON TV; NARRATIVE IN FILMS; NARRATIVE IN TV; SEQUELS; SERIALS; SITUATION COMEDY; SOAP OPERAS; MERCHANDISING; BORDWELL, DAVID; CLEESE, JOHN; FROST MARK; KAEL, PAULINE; LYNCH, DAVID; NEWCOMB, HORACE; WILLIAMS, RAYMOND; WODEHOUSE, P.G; AVENGERS, THE [TV] (UK, 1961-69); BAD GIRLS [TV] (UK, 1999-); BLUE VELVET (US, David Lynch, 1986); BOB NEWHART SHOW, THE [TV] (US, 1961-62); BUFFY THE VAMPIRE SLAYER [TV] (US, 1997-2004); HILL STREET BLUES [TV] (US, 1980-87); MURPHY BROWN [TV] (US, 1988-); ROYLE FAMILY, THE [TV] (UK, 1998-2000); SINGING DETECTIVE, THE [TV] (UK, Jon Amiel, 1986); SOPRANOS, THE [TV] (US, 1999); STAR WARS (US, George Lucas, 1977); YES MINISTER [TV] (UK, 1980-84)
Summary: Author Kristin Thompson analyses the narrative workings of television and film, looking at the narrative techniques the two media share. Thomson then focuses on the specific challenges that series television presents and the tactics writers have devised to meet them – tactics that sustain interest and maintain sense across multiple plots and subplots and in spite of frequent interruptions as well as weeklong and seasonal breaks. [Taken from back cover].
Subtitles : On the foreignness of film / Atom Egoyan and Ian Balfour (eds)
Massachusetts Institute of Tecnology, 2004.
Call No: 224.6 SUB
Author: Egoyan, Atom (ed); Balfour, Ian (ed)
CorpAuthor: Alphabet City Media, Inc.
Source: Canada
Publisher: Massachusetts Institute of Tecnology
PhysDes: 542 p ; 22 cm x 14 cm
Series: Alphabet City
Subject: TITLING; SUBTITLES; IMPORT OF FILMS; AESTHETICS; SWEET HEREAFTER, THE (CN, Atom Egoyan, 1997); EGOYAN, ATOM; ROZEMA, PATRICIA; DENIS, CLAIRE; BELLOUR, RAYMOND; RICH, B. RUBY; TRINH, T. MINH-HA; JAMESON, FREDRIC; DOANE, MARY ANN; KIAROSTAMI, ABBAS; ETHNOGRAPHIC FILMS; GLOBALISATION; AWARDS. ACADEMY; OTTINGER, ULRIKE; BLUE (UK, Derek Jarman, 1993); MEPRIS, LE (FR/IT, Jean-Luc Godrad, 1963)
Summary: "Every film is a foreign film," Atom Egoyan and Ian Balfour tell us in their introduction to Subtitles. How, then, to translate the experience of film - which, as Egoyan says, makes us "feel outside and inside at the same time"? Taking subtitles as their point of departure, the thirty-six contributors to this unique collection consider translation, foreigness and otherness in film culture. Their discussions range from the mechanics and aesthetics of subtitles to the xenophobic reaction to translation, to subtitles as a metaphor for the distance and intimacy of film. [Taken from inside cover].
Notes: Includes bibliographic references.
Television writing : the ground rules of series, serials and sitcom / Linda Aronson
North Ryde, N.S.W.: Australian Film, Television and Radio School, 2000.
Call No: 224 ARO
Author: Aronson, Linda, 1950
CorpAuthor: Australian Film, Television and Radio School
Place: North Ryde, N.S.W.
Publisher: Australian Film, Television and Radio School
PhysDes: iv, 71 p. : ports. ; 25 cm
Subject: AUSTRALIAN BROADCASTING CORPORATION; SCRIPTWRITING; SITUATION COMEDY; SIMPSON, ROGER; EDWARDS, JOHN; MASTERS, SUE; DEVENISH, LUKE; SEACHANGE [TV] (AT, 1998-); BREAKERS [TV] (AT, 1998-); BLUE HEELERS [TV] (AT, 1994-)
Notes: Includes index; Bibliography
ISBN: 1876351101 : $12.95; 1876351101; 1876351101
The Thin Blue Line and the limits of documentary
in Post Script (1994) vol.13 iss.2 p.44-50
Author: Michaels, Lloyd
PhysDes: Serial
Subject: THIN BLUE LINE, THE (US, Errol Morris, 1988)
Summary: This article presents a critical analysis of the documentary film "The Thin Blue Line," directed by Errol Morris. The film employs reflexive strategies to imply certain parallels between the operation of the legal system and the interpretive activity of the film spectator. It rejects what has defined as the two earlier styles in the evolution of documentary: direct address and cinema verite. The film's expressionistic style becomes apparent through the use of obtrusive formal elements as microscopic closeups and slow motion of cinematography. The film constructs the character of Randall Adams in a way that undermines every attempt to know him.
THIN BLUE LINE, THE : (US, Errol Morris, 1988)
Top shelf 1 : reading and writing the best in Australian TV drama / Greg Haddrick ; [foreword by Tony Morphett]
Sydney: Currency Press in association with the Australian Film, Television and Radio School, 2001.
Call No: 224(94) HAD
Author: Haddrick, Greg
Publisher: Currency Press in association with the Australian Film, Television and Radio School
Subject: SCRIPTWRITING; TELEVISION. AUSTRALIA; SERIALS. AUSTRALIA; MORPHETT, TONY; HOME AND AWAY [TV] (AT, 1988 -); BREAKERS [TV] (AT, 1998-); GOOD GUYS, BAD GUYS (AT, Steve Jodrell, 1996); BLUE HEELERS [TV] (AT, 1994-); WILDSIDE [TV] (AT, 1997-9)
ISBN: 086819610X : $29.95
Top shelf 2 : five outstanding television screenplays / edited by Greg Haddrick
Call No: 792 TOP
Subject: SCRIPTS; BREAKERS [TV] (AT, 1998-); BLUE HEELERS [TV] (AT, 1994-); GOOD GUYS, BAD GUYS (AT, Steve Jodrell, 1996); HOME AND AWAY [TV] (AT, 1988 -); WILDSIDE [TV] (AT, 1997-9)
ISBN: 0868196118 : $28.95
[TRENTE-SEPT DEGRES DEUX] 37 DEGRS 2 LE MATIN : (FR, Jean-Jacques Beineix, 1986)
PhysDes: Clippings; Press kit; Publicity
Subject: BETTY BLUE [[TRENTE-SEPT DEGRES DEUX] 37 DEGRS 2 LE MATIN] (FR, Jean-Jacques Beineix, 1986)
UFO BLUE CHRISTMAS : (JA, Kihachi Okamoto, 1978)
Subject: UFO BLUE CHRISTMAS (JA, Kihachi Okamoto, 1978)
Understanding Film Theory / Ruth Doughty and Christine Etherington-Wright
[England]: Palgrave Macmillan, 2018.
Call No: 62 DOU
Author: Doughty, Ruth; Etherington-Wright, Christine
Edition: Second edition
Place: [England]
PhysDes: xiv, 325 pages : illustrations ; 26 cm
Subject: FILM; THEORY; AUTEUR THEORY; ADAPTATIONS; GENRES; FORMALISM; MOVEMENTS AND STYLES IN FILM HISTORY; MOVEMENTS IN FILM HISTORY; STRUCTURALISM; MARXISM AND THE CINEMA; REALISM IN FILMS; POSTMODERNISM AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; FEMINISM AND THE CINEMA; MASCULINITY IN FILMS; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; RACE AND THE CINEMA; POSTCOLONIALISM AND THE CINEMA; TRANSNATIONAL CINEMA; STARS; AUDIENCE RESEARCH; AUDIENCE RECEPTION; HUNGER GAMES, THE (US, Gary Ross, 2012); RUN LOLA RUN (G, Tom Tykwer, 1998); LOLA RENNT (G, Tom Tykwer, 1998); ONCE UPON A TIME IN THE WEST (IT/FR, Sergio Leone, 1968) SEE C`ERA UNA VOLTA IL WEST; LEGO MOVIE, THE (AT/US/DK, Phil Lord & Christopher Miller, 2014); ACT OF KILLING, THE (DK/NO/UK, Joshua Oppenheimer, (2012); MOULIN ROUGE (AT/US, Baz Luhrmann, 2001); OLDBOY (KO, Park Chan-wook, 2003); OLDEUBOI (KO, Park Chan-wook, 2003); FROZEN (US, Chris Buck & Jennifer Lee, 2013); BLUE IS THE WARMEST COLOR (FR/BE/SP, Abdellatif Kechiche, 2013); DJANGO UNCHAINED (US, Quentin Tarantino, 2012); AVATAR (US, James Cameron, 2009)
Summary: -- "Film theory has a reputation for being challenging. Often requiring time and effort to fully grasp it and seeming rather old-fashioned, it can be difficult to approach the subject with enthusiasm and appreciate its relevance to modern day. Understanding Film Theory aims to disassociate theory from these connotations and bring a fresh, contemporary and accessible approach to the discipline. Now comprehensively updated in a second edition, the book's sixteen chapters - including a new chapter on Adaptations - continue to provide an insight into the main areas of debate. Taking the application of theory as its central theme, the text incorporates a number of innovative features: 'Reflect and Respond' sections encourage readers to engage critically with theoretical concepts, while seminal texts are concisely summarised without oversimplifying key points. Throughout the book the authors illustrate why theory is important and demonstrate how it can be applied in a meaningful way, with relevant case studies drawn from both classic and contemporary cinema including: Once Upon a Time in the West (1968), Run Lola Run (1998), The Hunger Games (2012), Blue is the Warmest Colour (2013) and The Lego Movie (2014). Additional case studies address key genres (the British Gangster film and the musical), film movements (Dogme 95), individual actors (Ryan Gosling, Judi Dench and Amitabh Bachchan) and directors (Alfred Hitchcock and Guillermo del Toro). Understanding Film Theory is an approachable and extensive introduction to film theory. It is the ideal entry point for any student studying film, using clear definitions and explaining complex ideas succinctly. " -- BOOK BACK COVER
Notes: Includes index; Includes bibliographical references, filmography and index
Contents: -- List of illustrations -- Acknowledgements -- Introduction -- 1 Auteur Theory Case study: Alfred Hitchcock -- Case study: Guillermo del Toro -- 2 Adaptations Case study: The Hunger Games (Gary Ross, 2012) -- 3 Genre Theory -- Case study: The British Gangster Film -- Case study: The Musical -- 4 Formalism Case study: Lola Rennt/Run Lola Run (Tom Tykwer, 1998) -- 5 Structuralism and Post-Structuralism -- Case study: Once Upon a Time in the West (Sergio Leone, 1968) -- 6 Marxism -- Case study: The Lego Movie (Phil Lord & Christopher Miller, 2014) -- 7 Realism -- Case study: Dogme 95 -- Case study: The Act of Killing (Joshua Oppenheimer, 2012) -- 8 Postmodernism -- Case study: Moulin Rouge! (Baz Luhrmann, 2001) -- 9 Psychoanalysis -- Case study: Oldboy (Chan-Wook Park, 2003) -- 10 Feminism -- Case study: Frozen (Chris Buck and Jennifer Lee, 2013) -- 11 Masculinity -- Case study: Ryan Gosling -- 12 Queer Theory -- Case study: Blue is the Warmest Colour (Abdellatif Kechiche, 2013) -- 13 Race and Ethnicity -- Case study: Django Unchained (Quentin Tarantino, 2012) -- 14 Postcolonial and Transnational Cinemas -- Case study: Avatar (James Cameron, 2009) -- 15 Stars -- Case study: Amitabh Bachchan -- Case study: Dame Judi Dench -- 16 Audience -- Research and Reception -- Case study: Tartan Video -- Conclusion -- filmography -- Index --
United Artists : the company that changed the film industry / Tino Balio
Madison, Wis.: University of Wisconsin Press, 1987.
Call No: 19UNI BAL
Author: Balio, Tino
Place: Madison, Wis.
Publisher: University of Wisconsin Press
PhysDes: xi, 446 p. : ill. ; 24 cm
Subject: UNITED ARTISTS; EAGLE-LION; MIRISCH CORPORATION; JAMES BOND IN FILMS; BROCCOLI, ALBERT R.; CHAPLIN, CHARLES; KRAMER, STANLEY; LANCASTER, BURT; GRIMALDI, ALBERTO; FIDDLER ON THE ROOF (US, Norman Jewison, 1971); ULTIMO TANGO A PARIGI (IT/FR, Bernardo Bertolucci, 1972); MARTY (US, Delbert Mann, 1954); MOON IS BLUE, THE (US, Otto Preminger, 1953)
Notes: Includes indexes; Bibliography: p. 403-421
Vichingo venuto dal sud, Il : IT, Steno, 1981
Subject: VICHINGO VENUTO DAL SUD, IL (IT, Steno, 1981); NO ONE WILL NOTICE YOU'RE NAKED (IT, Steno, 1981); BLONDE IN THE BLUE MOVIE, THE (IT, Steno, 1981)
VIE D'ADELE, LA : (FR/BE/SP, Abdellatif Kechiche, 2013)
Subject: VIE D'ADELE, LA (FR/BE/SP, Abdellatif Kechiche, 2013); BLUE IS THE WARMEST COLOR (FR/BE/SP, Abdellatif Kechiche, 2013)
The view from a CBS executive's position
in Encore (27 Feb. - 12 Mar. 1986) vol.4 iss.2 p.15
Summary: Discussion with Rick Berger, executive producer of The Blue Lightning
VIOLER ER BLA : (DK, Peter Refn, 1975)
Subject: VIOLETS ARE BLUE [VIOLER ER BLA] (DK, Peter Refn, 1975)
VIOLETS ARE BLUE : (US, Jack Fisk, 1986)
Subject: VIOLETS ARE BLUE (US, Jack Fisk, 1986)
WHITE COLLAR BLUE [TV] : (AT, 2002-3)
Subject: WHITE COLLAR BLUE [TV] (AT, 2002-3)
WILD BLUE, NOTES A QUELQUES VOIX : (BE, Thierry Knauff & Antoine-Marie Meert, 2000)
Subject: WILD BLUE, NOTES A QUELQUES VOIX (BE, Thierry Knauff & Antoine-Marie Meert, 2000)
WILD BLUE YONDER, THE : (G/FR/UK/AU, Werner Herzog, 2005)
Subject: WILD BLUE YONDER, THE (G/FR/UK/AU, Werner Herzog, 2005)
WILD ORCHID II: TWO SHADES OF BLUE : (US, Zalman Zing, 1991)
Subject: WILD ORCHID II: TWO SHADES OF BLUE (US, Zalman Zing, 1991)
Women film-makers in Australia : (1920 - 1933) / Sally Speed
[Australia] : [s.n.], 1984:
Call No: 462-02(94) SPE
Author: Speed, Sally
Place: [Australia] : [s.n.], 1984
Subject: WOMEN FILMMAKERS. AUSTRALIA; LYELL, LOTTIE; LOVELY, LOUISE; MCDONAGH, PAULETTE; MCDONAGH, ISABEL; PAVIS, YVONNE; HOWARD, KATE; MALLON, MARY; DE LA RUZE, JULIETTE; KELLERMAN, ANNETTE; SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919); THOSE WHO LOVE (AT, Paulette McDonagh, 1926); FAR PARADISE, THE (AT, Paulette McDonagh, 1928); CHEATERS, THE (AT, Paulette McDonagh, 1931); TWO MINUTES SILENCE (AT, Paulette McDonagh, 1933); POSSUM PADDOCK (AT, Kate Howard, 1921); BLUE MOUNTAINS MYSTERY, THE (AT, Raymond Longford & Lottie Lyell, 1921); DINKUM BLOKE, THE (AT, Raymond Longford, 1923); FISHERS GHOST (AT, Lottie Lyell, 1924); PETER VERNON'S SILENCE (AT, Lottie Lyell, 1925); CIRCUMSTANCE (AT, Yvonne Pavis, 1922); DAUGHTER OF AUSTRALIA (AT, Yvonne Pavis, 1922); SUNSHINE SALLY (AT, Yvonne Pavis, 1922); JEWELLED NIGHTS (AT, Louise Lovely & Wilton Welch, 1925); CHEATERS, THE (AT, Paulette McDonagh, 1929); HISTORY OF CINEMA. AUSTRALIA; HISTORY OF CINEMA. SILENT PERIOD; HISTORY OF CINEMA. TRANSITION SILENT-SOUND; HISTORY OF CINEMA. 1920's; HISTORY OF CINEMA. 1930's; EXHIBITION OF SILENT FILMS
Women in film noir / edited by E. Ann Kaplan
London: BFI Publishing, 1998.
Call No: 734:451-02 WOM
Author: Kaplan, E. Ann
Edition: Rev. and expanded ed
Publisher: BFI Publishing
Subject: WOMEN IN FILMS; FILM NOIR; FEMINISM AND THE CINEMA; RACIAL STEREOTYPES IN FILMS; HOMOSEXUALITY AND THE CINEMA; FEMME FATALE; POSTMODERNISM AND THE CINEMA; HAUNTING, THE (US, Robert Wise, 1963); BOUND (US, Larry Wachowski & Andy Wachowski, 1996); CAT PEOPLE (US, Jacques Tourneur, 1942); LADY FROM SHANGHAI, THE (US, Orson Welles, 1948); KLUTE (US, Alan J. Pakula, 1971); MILDRED PIERCE (US, Michael Curtis, 1945); BLUE GARDENIA, THE (US, Fritz Lang, 1953); DOUBLE INDEMNITY (US, Billy Wilder, 1944); GILDA (US, Charles Vidor, 1946)
ISBN: 0851706665 (pbk.); 0851706657 (hbk.)
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