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1. Ugetsu [1953]

Video
1 videodisc (97 min.) : sound, black and white ; 4 3/4 in. + 1 booklet (72 pages : illustrations ; 17 cm). Sound: digital; optical. Digital: video file; Blu-Ray; region A.
"By the time he made Ugetsu, Kenji Mizoguchi was already an elder statesman of Japanese cinema, fiercely revered by Akira Kurosawa and other younger directors of a younger generation. And with this exquisite ghost story, a fatalistic wartime tragedy derived from stories by Akinari Ueda and Guy de Maupassant, he created a touchstone of his art, his long takes and sweeping camera guiding the viewer through a delirious narrative about two villagers whose pursuit of fame and fortune leads them far astray from their loyal wives. Moving between the terrestrial and the otherworldly, Ugetsu reveals essential truths about the ravages of war, the plight of women, and the pride of men"--Container.
Art & Architecture Library (Bowes), Media & Microtext Center
FILMSTUD-100B/300B

2. The Apu trilogy [2016]

Book
xviii, 146 pages : illustrations ; 19 cm.
The Apu Trilogy is the fourth directorial monograph written by influential film critic Robin Wood and republished for a contemporary audience. Focusing on the famed trilogy from Indian director Satyajit Ray, Wood persuasively demonstrates his ability at detailed textual analysis, providing an impressively sustained reading that elucidates the complex view of life in the trilogy. Wood was one of our most insightful and committed film critics, championing films that explore the human condition. His analysis of The Apu Trilogy reveals and illuminates the films' profoundly humanistic qualities with clarity and rigor, plumbing the psychological and emotional resonances that arise from Ray's delicate balance of performance, camerawork, and visual design. Wood was the first English language critic to write substantively about Ray's films, which made the original publication of his monograph on The Apu Trilogy unprecedented as well as impressive. Of late there has been a renewed interest in North America in the work of Satyajit Ray, yet no other critic has come close to equaling the scope and depth of Wood's analysis. In his introduction, originally published in 1971, Wood says Ray's work was met with indifference. In response, he offers possible reasons why this occurred, including social and cultural differences and the films' slow pacing, which contemporary critics tended to associate with classical cinema. Wood notes Ray's admiration for Western film culture, including the Hollywood cinema and European directors, particularly Jean Renoir and his realist films. Assigning a chapter to each Pather Panchali (1955), Aparajito (1957) and The World of Apu (1959), Wood goes on to explore each film more thoroughly. One of the aspects of this book that is particularly rewarding is Wood's analytical approach to the trilogy as a whole, as well as detailed attention given to each of the three films. The book, with a new preface by Richard Lippe and foreword by Barry Keith Grant, functions as a masterclass on what constitutes an in-depth reading of a work and the use of critical tools that are relevant to such a task. Robin Wood's The Apu Trilogy offers an excellent account of evaluative criticism that will appeal to film scholars and students alike.
(source: Nielsen Book Data)9780814332771 20161124
Art & Architecture Library (Bowes)
FILMSTUD-100B/300B
Book
xviii, 940 pages : illustrations ; 24 cm
Since publication of the first edition in 1974, Leo Braudy and Marshall Cohen's Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Now in its eighth edition, this landmark text continues to offer outstanding coverage of more than a century of thought and writing about the movies. Incorporating classic texts by pioneers in film theory and cutting-edge essays by contemporary scholars, the text examines both historical and theoretical viewpoints on the subject. Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. Reorganized into ten sections-each comprising the major fields of critical controversy and analysis-this new edition features reformulated introductions and biographical headnotes that contextualize the readings, making the text more accessible than ever to students, film enthusiasts, and general readers alike. A wide-ranging critical and historical survey, Film Theory and Criticism remains the leading text for undergraduate courses in film theory. It is also ideal for graduate courses in film theory and criticism.
(source: Nielsen Book Data)9780199376896 20160704
Art & Architecture Library (Bowes)
FILMSTUD-100B/300B

4. The Apu trilogy [2015]

Video
3 videodiscs (341 min.) : sound, black and white ; 4 3/4 in.+ 1 booklet Sound: digital; optical; monaural. Digital: video file; Blu-Ray.
  • Pather panchali (1955 : 110 min.)
  • Aparajito (1956 : 110 min.)
  • Apur sansar (1959 : 106 min.).
Two decades after its original negatives were burned in a fire, Satyajit Ray's breathtaking milestone of world cinema rises from the ashes in a meticulously reconstructed new restoration, masterworks Pather Panchali (Song of the Little Road), Aparajito (The Unvanquished), and Apur Sansar (The World of Apu), based on two books by Bibhutibhusan Banerjee--brought India into the golden age of international art-house film.
Art & Architecture Library (Bowes), Media & Microtext Center
FILMSTUD-100B/300B
Video
1 videodiscs (90 min.) : sound, black and white ; 4 3/4 in. + 1 booklet (27 pages : illustrations ; 17 cm) Sound: digital; optical; mono. Digital: video file; Blu-Ray; region A.
Set in 1959, a French actress and a Japanese architect engage in a brief, intense affair in postwar Hiroshima, their consuming mutual fascination impelling them to exorcise their own scarred memories of love and suffering.
Art & Architecture Library (Bowes), Media & Microtext Center
FILMSTUD-100B/300B
Book
xvi, 326 pages : illustrations ; 24 cm.
  • List of tables List of images Acknowledgements Introduction: event, cinema, cineosis 1. Special images, contingent centres Movement-images: Bergson, sensory-motor process The Effects of the Atomic Bomb on Hiroshima and Nagasaki (Ito Sueo, 1946) Children of the Atom Bomb (Shindo Kaneto, 1952) Godzilla (Honda Ishiro, 1954) 2. Horizons of history Action-images: Nietzsche, history Terror of Mechagodzilla (Honda Ishiro, 1975) Lucky Dragon No. 5 (Shindo Kaneto, 1959) Barefoot Gen (Masaki Mori, 1983) Nausicaa of the Valley of the Wind (Hayao Miyazaki, 1984) Akira (Katsuhiro Otomo, 1988) 3. Traces: symptoms and figures Impulse-images-- reflection-images: Peirce, semiosis The Naked Island (Shindo Kaneto, 1960) Dead or Alive (Takashi Miike, 1999) Ring (Nakata Hideo, 1998) Kwaidan (Kobayashi Masaki, 1964) The Face of Another (Teshigahara Hiroshi, 1966) Navel and A-bomb (Eikoh Hosoe, 1960) Tetsuo (Shinya Tsukamoto, 1989) Face of Jizo (Kuroki Kazuo, 2004) 4. Consummation (and crisis) Mental-images: Bergson, memory I Live in Fear (Kurosawa Akira, 1955) Rashomon (Kurosawa Akira, 1950) Dreams (Kurosawa Akira, 1990) Rhapsody in August (Kurosawa Akira, 1991) 5. Impure anarchic multiplicities Time-images: Deleuze, syntheses of time Casshern (Kiriya Kazuaki, 2004) The Pacific War (Nagisa Oshima, 1968) A History of Postwar Japan as Told by a Bar Hostess (Imamura Shohei, 1970) Black Rain (Imamura Shohei, 1989) Hiroshima (Sekigawa Hideo, 1953) Conclusion: spectres of impossibility Notes Index Select bibliography Select filmography.
  • (source: Nielsen Book Data)9781441178152 20160616
David Deamer establishes the first ever sustained encounter between Gilles Deleuze's Cinema books and post-war Japanese cinema, exploring how Japanese films responded to the atomic bombings of Hiroshima and Nagasaki. From the early days of occupation political censorship to the social and cultural freedoms of the 1960s and beyond, the book examines how images of the nuclear event appear in post-war Japanese cinema. Each chapter begins by focusing upon one or more of three key Deleuzian themes - image, history and thought - before going on to look at a selection of films from 1945 to the present day. These include movies by well-known directors Kurosawa Akira, Shindo Kaneto, Oshima Nagisa and Imamura Shohei; popular and cult classics - Godzilla (1954), Akira (1988) and Tetsuo (1989); contemporary genre flicks - Ring (1998), Dead or Alive (1999) and Casshern (2004); the avant-garde and rarely seen documentaries. The author provides a series of tables to clarify the conceptual components deployed within the text, establishing a unique addition to Deleuze and cinema studies.
(source: Nielsen Book Data)9781441178152 20160616
Art & Architecture Library (Bowes)
FILMSTUD-100B/300B
Video
1 videodisc (105 min.) : sound, black and white ; 4 3/4 in. + 1 folded plate. Sound: digital; optical; mono. Digital: video file; Blu-Ray; region A.
Opposites attract with magnetic force in this romantic road-trip delight, about a spoiled runaway socialite and a roguish man-of-the-people reporter who is determined to get the scoop on her scandalous disappearance. The first film to accomplish the very rare feat of sweeping all five major Oscar categories (best picture, best actor, best actress, best director, and best screenplay), is among the most gracefully constructed and edited films of the early sound era.
Art & Architecture Library (Bowes), Media & Microtext Center
FILMSTUD-100B/300B
Book
2 volumes : ill. ; 24 cm.
  • v. 1. 1908 to the Stalin era.
  • v. 1. 1908 to the Stalin era. Early Russian cinema 1908-1919 / Denise J. Youngblood
  • New notes on Russian film culture between 1908 and 1919 / Yuri Tsivian
  • Sten'ka Razin / Rimgaila Salys
  • The cameraman's revenge / Rimgaila Salys
  • The merchant Bashkirov's daughter / Rimgaila Salys
  • Child of the big city / Oksana Bulgakova
  • Soviet silent cinema 1918-1930 / Denise J. Youngblood
  • The extraordinary adventures of Mr. West in the land of the Bolsheviks / Vance Kepley, Jr., Vlada Petrić
  • Battleship Potemkin / Joan Neuberger, Rimgaila Salys, David Bordwell
  • Bed and sofa / Julian Graffy , Rimgaila Salys
  • Man with a movie camera / Jeremy Hicks
  • Earth / Vance Kepley, Jr.
  • Stalinist cinema 1928-1953 / Lilya Kaganovsky
  • Chapaev / Steven Hutchings, Oksana Bulgakova
  • Circus / Rimgaila Salys
  • Ivan the Terrible / Joan Neuberger
  • v. 2. The thaw to the present. Cinema of the thaw 1953-1967 / Alexander Prokhorov
  • The cranes are flying / Alexander Prokhorov
  • Ballad of a soldier / Vida Johnson
  • Lenin's guard / Alexander Prokhorov
  • Wings / Tatiana Mikhailova and Mark Lipovetsky
  • Commissar / Elena Monastireva-Ansdell
  • Cinema of stagnation late 1960s-1985 / Elena Prokhorova
  • The diamond arm / Alexander Prokhorov
  • White sun of the desert / Elena Prokhorova, Rimgaila Salys
  • Solaris / Robert Bird
  • Stalker / Vida T. Johnson, Graham Petrie, Robert Bird
  • Moscow does not believe in tears / Lilya Kaganovsky
  • Perestroika and post-Soviet cinema 1985-2000s / Vida Johnson and Elena Stishova
  • Repentance / Josephine Woll and Denise J. Youngblood
  • Little Vera / Andrew Horton and Mikhail Brashinsky
  • Burnt by the sun / Birgit Beumers, Susan Larsen
  • Brother / Birgit Beumers
  • Russian ark / Robert Bird
  • The return / Birgit Beumers, Meghan Vicks
  • Night watch / Vlad Strukov
  • The tuner / Nancy Condee
  • Ninth company / Gregory Carleton
  • How I ended this summer / Vlad Strukov.
Green Library, Art & Architecture Library (Bowes)
FILMSTUD-100B/300B
Video
1 videodisc (99 min.) : sd., b&w ; 4 3/4 in.
As nervy as it is hilarious, a masterpiece from Ernst Lubitsch, To Be Or Not To Be; is a Hollywood film of the boldest black humor, which went into production soon after the U.S. entered World War II. Lubitsch manages to brilliantly balance political satire, romance, slapstick, and urgent wartime suspense in a comic high-wire act that has never been equaled.
Art & Architecture Library (Bowes), Media & Microtext Center
FILMSTUD-100B/300B

10. Written on the wind [2013]

Book
102 pages : color illustrations ; 19 cm.
  • Acknowledgments Overture: The Wind 1 Production and Promotion 2 Realism, Modernism and Melodrama 3 Mise en scene 4 Dorothy Malons/Marylee: 'Enough devil in her...' 5 Lauren Bacall: 'A lady, a beautiful lady' 6 Rock Hudson and Robert Stack: Cain and Abel Coda: The River Synopsis Notes Credits Bibliography.
  • (source: Nielsen Book Data)9781844574209 20160612
Written on the Wind (1956) is one of classical Hollywood's most striking films and ranks among Douglas Sirk's finest achievements. An intense melodrama about an alcoholic playboy who marries the woman his best friend secretly loves, the film is highly stylised, psychologically complex, and marked by Sirk's characteristic charting of the social realities of 1950s America. This first single study of Written on the Wind reassesses the film's artistic heritage and place within the wider framework of contemporary American culture. Incorporating original archival research, Peter William Evans examines the production, promotion and reception of Written on the Wind, exploring its themes - of time, memory, space, family, class and sex - as well as its brilliance of form. Its vivid aesthetics, powerful performances and profound treatment of human emotions, make Written on the Wind a masterpiece of Hollywood melodrama.
(source: Nielsen Book Data)9781844574209 20160612
Art & Architecture Library (Bowes)
FILMSTUD-100B/300B
Book
xxii, 468 p. : ill. ; 25 cm.
The Classical Hollywood Reader brings together essential readings to provide a history of Hollywood from the 1910s to the mid 1960s. Following on from a Prologue that discusses the aesthetic characteristics of Classical Hollywood films, Part 1 covers the period between the 1910s and the mid-to-late 1920s. It deals with the advent of feature-length films in the US and the growing national and international dominance of the companies responsible for their production, distribution and exhibition. In doing so, it also deals with film making practices, aspects of style, the changing roles played by women in an increasingly business-oriented environment, and the different audiences in the US for which Hollywood sought to cater. Part 2 covers the period between the coming of sound in the mid 1920s and the beginnings of the demise of the 'studio system' in late 1940s. In doing so it deals with the impact of sound on films and film production in the US and Europe, the subsequent impact of the Depression and World War II on the industry and its audiences, the growth of unions, and the roles played by production managers and film stars at the height of the studio era. Part 3 deals with aspects of style, censorship, technology, and film production. It includes articles on the Production Code, music and sound, cinematography, and the often neglected topic of animation. Part 4 covers the period between 1946 and 1966. It deals with the demise of the studio system and the advent of independent production. In an era of demographic and social change, it looks at the growth of drive-in theatres, the impact of television, the advent of new technologies, the increasing importance of international markets, the Hollywood blacklist, the rise in art house imports and in overseas production, and the eventual demise of the Production Code. Designed especially for courses on Hollywood Cinema, the Reader includes a number of newly researched and written chapters and a series of introductions to each of its parts. It concludes with an epilogue, a list of resources for further research, and an extensive bibliography.
(source: Nielsen Book Data)9780415576727 20160609
Art & Architecture Library (Bowes)
FILMSTUD-100B/300B
Book
vi, 250 p. : ill. ; 23 cm.
  • "Defining the Real: The Film Theory and Criticism of Andre Bazin, " by Bert Cardullo-- "What Is Neorealism?" by Bert Cardullo-- "An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation." (Jan. 1948)-- La Terra Trema (Visconti, 1948). (1948)-- Germany, Year Zero (Rossellini, 1947). (1949)-- Bicycle Thieves (De Sica, 1948). (Nov. 1949)-- "Vittorio De Sica: Metteur en Scene." (1951)-- Heaven over the Marshes (Genina, 1949). (May 1951)-- "Neorealism, Opera, and Propaganda: Forbidden Christ" (Malaparte, 1950).-- (July-Aug. 1951)-- The Road to Hope (Germi, 1950). (Feb. 1952)-- Two Cents' Worth of Hope (Castellani, 1951). (July 1952)-- Umberto D. (De Sica, 1952). (Oct. 1952)-- "In Italy." (1953)-- Europe '51 (Rossellini, 1952). (1953)-- "Will the Italian Cinema Betray Itself?" (Dec. 1954)-- La Strada (Fellini, 1954). (May 1955)-- Gold of Naples (De Sica, 1954). (June 1955)-- "In Defense of Rossellini." (Aug. 1955)-- "De Sica and Rossellini." (Sept. 1955)-- Senso (Visconti, 1954). (Feb. 1956)-- Il Bidone (Fellini, 1955). (March 1956)-- The Roof (De Sica, 1956). (Dec. 1956)-- "Neorealism Returns: Love in the City" (Fellini et alia, 1953). (March 1957)-- I Vitelloni (Fellini, 1953). (Oct. 1957)-- "Fellini's Voyage to the End of Neorealism: The Nights of Cabiria [1957]."-- (Nov. 1957)-- +CREDITS OF THE FILMS OF ITALIAN NEOREALISM (INCLUDING PRECURSORS AND SELECT BIBLIOGRAPHY OF ITALIAN NEOREALISM-- +BAZIN BIBLIOGRAPHY-- +INDEX.
  • (source: Nielsen Book Data)9781441170750 20160606
This is a new collection of posthumous writings by Andre Bazin on Italian films and directors - never previously available in the English language. "Andre Bazin and Italian Neorealism" presents, for the first time in English, a new selection of Andre Bazin's writings on Vittorio De Sica, Roberto Rossellini, and Federico Fellini; lesser known but important neorealist works such as "The Roof", "Forbidden Christ", and "Love in the City"; and vital topics like realism versus reality, neorealism's eclipse amid postwar Italy's economic prosperity, and the relationship between neorealism and propaganda. There are also essays on art and politics, film and comedy, and cinema and the avant-garde. The book also features a sizable scholarly apparatus including explanatory notes, an extensive index, a contextual introduction to Bazin's life and work, a comprehensive Bazin bibliography, and credits of the films discussed. This volume thus represents a major contribution to the discipline of cinema studies, as well as a testament to the continuing influence of one of film's pre-eminent critical thinkers.
(source: Nielsen Book Data)9781441170750 20160606
Art & Architecture Library (Bowes)
FILMSTUD-100B/300B
Book
x, 293 p. : ill. ; 24 cm.
When widescreen technology was introduced to filmmaking in 1953, it changed the visual framework and aesthetic qualities of cinema forever. Before widescreen, a director's vision for capturing beautiful landscapes or city skylines was limited by what could be included in the boxy confines of an Academy Ratio film frame. The introduction and subsequent evolution of widescreen technology has allowed directors to push the boundaries of filmmaking. "Letterboxed: The Evolution of Widescreen Cinema" explores the technological changes of the widescreen technique and how the format has inspired directors and also sparked debates among film critics. Examining early filmmakers such as Buster Keaton and D. W. Griffith and genre pioneers like Nicholas Ray and Douglas Sirk, Harper Cossar explains how directors use wider aspect ratios to enhance their creative visions. "Letterboxed "tracks the history of stylistic experimentation with the film frame and demonstrates how the expansion of the screen has uncovered myriad creative possibilities for directors.
(source: Nielsen Book Data)9780813126517 20160605
Art & Architecture Library (Bowes)
FILMSTUD-100B/300B
Book
xiv, 329 p., [16] p. of plates : ill. (some col.) ; 23 cm.
  • Contents: Emma Wilson: Preface - Peter Collier/Anna Magdalena Elsner/Olga Smith: Introduction - Max Silverman: Trips, Tropes and Traces: Reflections on Memory in French and Francophone Culture - Ian James: Death, Memory, Subjectivity: Perec's W, ou le souvenir d'enfance - Anna Magdalena Elsner: 'L'obscenite absolue du projet de comprendre': The Communicability of Traumatic Knowledge in Claude Lanzmann's Shoah - Myriem El Maizi: Marguerite Duras' Poetics of Diversion: Memory, Forgetting and Invention - Jenny Murray: 'La mort inachevee': Writing, Remembering, and Forgetting in Assia Djebar's Le Blanc de l'Algerie, La Disparition de la langue francaise and Nulle part dans la maison de mon pere - Patrick O'Donovan: Memory as Object: A Relation of Proximity? - Catherine Crimp: Louise Bourgeois and Samuel Beckett: Space and the Materials of Memory - Olga Smith: 'A Hollow Image of the Person': Objects of Memory in the Art of Christian Boltanski - Ferzina Banaji: Rethinking Memory: The Violation of a 'lieu de memoire' in Marcel Ophuels' Le Chagrin et la pitie - Jennifer Burris: A Landscape of Amnesia: The Loss and Attempted Reconstruction of Memory in Artistic Representations of the Urban - Rositza Alexandrova: Things of Art: A Photographic Thumbing of the Nose - Katja Haustein: 'La vie comme oeuvre': Barthes with Proust - Michele Lester: Through the Looking Glass: Beckett's Monologues, Jacques Lacan and the Role of Memory - Roger Cardinal: Joe Bousquet: Remembering a Wound - Thanh-Van Ton-That: Anna Moi's Riz Noir: A Feminine View of War, between Two Cultures - Amaleena Damle: Phantasmal Relics: Psychoanalytical and Deconstructive Ghosts in Moi L'Interdite and Pagli by Ananda Devi - Jenny Chamarette: Memory, Representation of Time and Cinema - Nadine Boljkovac: Intimacy and Prophecy: Marker and Resnais's Memories - Richard Armstrong: 'Nevers ... is just a word like any other': The Failure of Words and the Wandering Woman in Hiroshima mon amour - Isabelle McNeill: Agnes Varda's Moving Museums - Carol Mavor: A is for Alice, for Amnesia, for Anamnesis: A Fairy Tale called La Jetee.
  • (source: Nielsen Book Data)9783039118465 20160604
Memory has always been crucial to French literature and culture as a means of mediating the relationship between perception and knowledge of the individual coming to terms with his identity in time. Relatively recently, memory has also emerged as the key force in the creation of a collective consciousness in the wider perspective of French cultural history. This collection of essays, selected from the proceedings of a seminar on 'Memory' given by Dr Emma Wilson at the University of Cambridge, offers a fresh evaluation of memory as both a cultural and an individual phenomenon in modern and contemporary French culture, including literature, cinema and the visual arts. 'Anamnesia', the book's title, develops the Aristotelian concept of anamnesis: recollection as a dynamic and creative process, which includes forgetting as much as remembering, concealment as much as imagination. Memory in this extremely diverse range of essays is therefore far from being presented as a straightforward process of recalling the past, but emerges as the site of research and renegotiation, of contradictions and even aporia.
(source: Nielsen Book Data)9783039118465 20160604
Art & Architecture Library (Bowes)
FILMSTUD-100B/300B

15. Film, a sound art [2009]

Book
xii, 536 p. : ill. ; 25 cm.
  • Preface to the English Edition, by Translator's Note Part One by History Chapter 1, by When Film Was Deaf (1895-1927) Chapter 2, by Chaplin-Three Steps into Speech Chapter 3, by Birth of the Talkies or of Sound Film? (1927-1935) Chapter 4, by Jean Vigo-The Material and the Ideal Chapter 5, by The Ascendancy of King Text (1935-1950) Chapter 6, by Babel Chapter 7, by The Time It Takes for Time to "Harden" (1950-1975) Chapter 8, by The Return of the Sensorial (1975-1990) Chapter 9, by The Silence of the Loudspeakers (1990-2003) Chapter 10, by On a Sequence from The Birds: Sound Film as Palimpsestic Art Part Two by Aesthetics and Poetics Chapter 11, by Jacques Tati, the Cow, and the Moo Chapter 12, by The Disappointed Fairies Around the Cradle Chapter 13, by The Separation Chapter 14, by The Real and the Rendered Chapter 15, by The Three Borders Chapter 16, by Audiovisual Phrasing Chapter 17, by Alfred Hitchcock: Seeing and Hearing Chapter 18, by The Twelve Ears Chapter 19, by Orson Welles: The Voice and the House Chapter 20, by The Talking Machine Chapter 21, by Faces and Speech Chapter 22, by Andrei Tarkovsky: Language and the World Chapter 23, by The Five Powers Chapter 24, by God Is a Disc Jockey Chapter 25, by Max Ophuls: Music, Noise, and Speech Chapter 26, by Like Tears in Rain Glossary List of Illustrations Index.
  • (source: Nielsen Book Data)9780231137775 20160528
French critic and composer Michel Chion argues that watching movies is more than just a visual exercise& mdash; it enacts a process of audio-viewing. The audiovisual makes use of a wealth of tropes, devices, techniques, and effects that convert multiple sensations into image and sound, therefore rendering, instead of reproducing, the world through cinema.The first half of Film, A Sound Art considers developments in technology, aesthetic trends, and individual artistic style that recast the history of film as the evolution of a truly audiovisual language. The second half explores the intersection of auditory and visual realms. With restless inventiveness, Chion develops a rhetoric that describes the effects of audio-visual combinations, forcing us to rethink sound film. He claims, for example, that the silent era (which he terms "deaf cinema") did not end with the advent of sound technology but continues to function underneath and within later films. Expanding our appreciation of cinematic experiences ranging from Dolby multitrack in action films and the eerie tricycle of Stanley Kubrick's The Shining to the way actors from different nations use their voices and words, Film, A Sound Art showcases the vast knowledge and innovative thinking of a major theorist.
(source: Nielsen Book Data)9780231137775 20160528
Art & Architecture Library (Bowes)
FILMSTUD-100B/300B
Book
219 p. ; 22 cm.
Art & Architecture Library (Bowes)
FILMSTUD-100B/300B
Video
1 videodisc (126 min.) : sd., b&w ; 4 3/4 in.
A series of six vignettes, each vignette showing the story of one Allied soldier and his interactions with the Italian people he meets, during and after the liberation of Italy.
Art & Architecture Library (Bowes), Media & Microtext Center
FILMSTUD-100B/300B
Video
2 videodiscs (415 min.) : sd., b&w ; 4 3/4 in.
  • Disc 1. Prelude to war ; Nazi's strike ; Divide and conquer ; Battle of Britain
  • Disc 2. Battle of Russia ; Battle of China ; War comes to America.
A collection of documentaries made during World War II using actual newsreel footage, chronicling important events of the war.
Art & Architecture Library (Bowes), Media & Microtext Center
FILMSTUD-100B/300B
Book
196 p. : ill. ; 24 cm.
  • 1. An Original Spirit 2. Encountering the New Theatre 3. From New Theatre to Naturalism-Realism 4. Social Realism -The Time of Leftist Films - Metropolitan Symphony 5. The Fate of Matinee Idols 6. Man Imitates Art in Life 7. The Three Traditional Art (Geidomono) Films 8. A Difficult Woman 9. Recreating the Classics 10. The Last Works 11. The Dialectic of Camera and Performance 12. Looking Up, Looking Down 13. Yoda Yoshikata Chronology of Life and Work.
  • (source: Nielsen Book Data)9781847882318 20160528
Kenji Mizoguchi is one of the three acclaimed masters - together with Yasujiro Ozu and Akira Kurosawa - of Japanese cinema. Kenji Mizoguchi and the Art of Japanese Cinema is the definitive guide to the life and work of one of the greatest film-makers of the twentieth century. Born at the end of the nineteenth century into a wealthy family, Mizoguchi's early life influenced the themes he would take up in his work. His father's ambitious business ventures failed and the family fell into poverty. His mother died and his elder sister was obliged to enter a geisha house to support the family. Her earnings paid for Mizoguchi's education. Weak and deluded men and strong, self-sacrificing women - these were to become the obsessive motifs of Mizoguchi's films. Mizoguchi's apprenticeship in cinema was peculiarly Japanese. His concerns - the role of women and the realist representation of the inequities of Japanese society - were not. Through two World Wars, Japan's culture changed. Though censored, Mizoguchi continued to produce films. It was only in the 1950s that Mizoguchi's astonishing cinematic vision became widely known outside Japan. Kenji Mizoguchi and the Art of Japanese Cinema tells the full story of this famously perfectionist, even tyrannical, director. Mizoguchi's key films, cinematographic techniques and his social and aesthetic concerns are all discussed and set in the context of Japan's changing popular and political culture.
(source: Nielsen Book Data)9781847882318 20160528
Art & Architecture Library (Bowes)
FILMSTUD-100B/300B
Video
1 videodisc (96 min.) : sd., b&w ; 4 3/4 in. + 1 booklet.
Train engineer Jacques lusts after the wife of his co-worker Robaud. Robaud kills his boss and Jacques witnesses the murder. In order to keep Jacques quiet, Robaud allows Jacques to have an affair with his wife, creating a tragic love triangle.
Art & Architecture Library (Bowes)
FILMSTUD-100B/300B