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Books on the topic 'Film Farm'

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Published: 10 December 2022
Last updated: 28 January 2023

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1

Ron, Fontes, and Korman Justine, eds. Babe: The film storybook. Harmondsworth: Puffin Books, 1995.

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2

Lohmann, Jürgen M. Animal farm, Aufstand der Tiere: Materialien zu einem Film von John Halas und Joy Batchelor. Duisburg: Atlas Film + Av, 1990.

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3

Latulippe, Hugo. Bacon, le livre: Scénario du film et carnets de résistance. Montréal: L'Effet pourpre, 2003.

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4

Hawcock, David. Babe and friends: A fold-out pop-up play set from the new feature film Babe, pig in the city. New York: St. Martin's Griffin, 1998.

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5

Fellini, Federico. Fare un film. Torino: Einaudi, 1993.

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6

Clarke, Stephen P. Recycling farm plastic films. Toronto, Ont: Ministry of Agriculture, Food and Rural Affairs, 1995.

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7

Amelio, Gianni. Il vizio del cinema: Vedere, amare, fare un film. Torino: Einaudi, 2004.

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8

Moore, Austin. A current review of the Quality Control System in operation at Farm Fed Chickens and the changes required for the aquisition of BS 5750. [s. l: The Author], 1991.

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9

Hillen, Ronnie. The way forward: An H.R.M. strategy for Farm Fed Ltd.. [s.l: The Author], 1995.

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10

Hillen, Ronnie. The way forward: An HRM strategy fo Farm Fed Limited. (s.l: The Author), 1996.

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11

Tyson: From farm to market. Fayetteville: University of Arkansas Press, 1991.

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12

Far & away: (a Ron Howard film). Dublin: GLI Limited, 1996.

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13

Mon, Ya-Feng. Film Production and Consumption in Contemporary Taiwan. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089648884.

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This book uses the potent case study of contemporary Taiwanese queer romance films to address the question of how capitalism in Taiwan has privileged the film industry at the expense of the audience's freedom to choose and respond to culture on its own terms. Interweaving in-depth interviews with filmmakers, producers, marketers, and spectators, Ya-Fong Mon takes a biopolitical approach to the question, showing how the industry uses investments in techno-science, ancillary marketing, and media convergence to seduce and control the sensory experience of the audience-yet that control only extends so far: volatility remains a key component of the film-going experience.
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14

Michelangelo, Antonioni. Fare un film è per me vivere: Scritti sul cinema. Venezia: Marsilio, 1994.

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15

Michelson, Richard. Tuttle's Red Barn: The story of America's oldest family farm. New York: G.P. Putnam's Sons, 2007.

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16

1963-, Annas Max, ed. Le march ̌de la faim: Le livre du film "We feed the world". [Arles]: Actes Sud, 2007.

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17

Shucked: Life on a New England oyster farm. New York: St. Martin's Press, 2011.

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18

Teagle, Fred. Teagle: 50 years on. Blackwater, Cornwall: Teagle Machinery, 1996.

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19

Office, United States Bureau of Land Management Kingman Field. Final environmental impact statement for the proposed Mohave County wind farm project. [Kingman, Ariz: U.S. Department of the Interior, Bureau of Land Mangement, Kingman Field Office, 2013.

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20

United States. Bureau of Land Management. Kingman Field Office. Draft environmental impact statement for the proposed Mohave County Wind Farm Project. Kingman, Ariz: U.S. Department of the Interior, Bureau of Land Management, Kingman Field Office, 2012.

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21

Bloom, Barry. Deploying and managing Microsoft.NET Web farms. Indianapolis, Ind: SAMS, 2001.

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22

1931-, Mohsin Syed Mohammad, ed. The story of Mitchell's. 2nd ed. Lahore: Printshop, 2012.

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23

Berenyi, Monika Erzsebet. What we are about to receive: Historical voices from the United States Farm Security Administration Archival File. [Washington, DC?]: Isolde Solange Evangeline Pressworks, 2011.

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24

Burritt, Roger L. The role of ethical deliberation in environmental accounting: The case of the Body Shop wind farm. Oxford: Templeton College, Management Centre, 1993.

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25

Burritt, Roger L. The role of ethical deliberation in environmental accounting: The case of the Body Shop wind farm. Oxford: Templeton College, Oxford Centre for Management Studies, 1993.

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26

Legitimo, Gianfranco. Il filo di Arianna: Un nuovo "metodo" di fare politica per cambiarla sul serio. Roma: Pantheon, 2001.

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27

Donald, Stephanie. Tourism and the branded city: Film and identity on the Pacific Rim. Aldershot, Hants, England: Ashgate Pub. Co., 2007.

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28

Walther, R. G. A bibliography of books, pamphlets, and films listed in the Living historical farms bulletin, from December 1970 through January 1986. Washington, D.C: Association for Living Historical Farms and Agricultural Museums, 1986.

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29

Kingwell, Ross. MUDAS, model of an uncertain dryland agricultural system: A description. [South Perth, W.A.]: Western Australian Dept. of Agriculture, 1991.

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30

Pierrou, Hannah Miles. Farm to Film -The Coloring Book-: The Hands on Companion to the Book Farm the Film an Alphabetical Adventure Told Through the Eyes of an Old Lens. Treehouse Storyteller, 2021.

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31

Huth, Angela. Land Girls: Film Tie-In. Little Brown and Company, 1998.

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32

Diederich, Sven. Composition Notebook: I Saw Something Nasty ... . at Cold Comfort Farm Fan Film Movie Notebook Journal Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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33

Nelson, Thomas. Ultimate Sticker File Farm. Make Believe Ideas, 2016.

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34

Rick, Tejada-Flores, Telles Ray, Paradigm Productions, Public Broadcasting Service (U.S.), and Independent Television Service, eds. The fight in the fields: Cšar Chàvez and the Farmworkers' Struggle : a film by Rick Tejada-Flores and Ray Telles from Paradigm Productions. [Alexandria, Va.?]: PBS, 1997.

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35

The On-File Series Farm Animals. Instructional Fair, 2004.

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36

Jones, Doug. My Brother's Farm. Putnam Adult, 1999.

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37

O'Sullivan, Carol, and Jean-François Cornu, eds. The Translation of Films, 1900-1950. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.001.0001.

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This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last 20 years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first 50 years of the 20th century. This is the first book-length study, in any language, of the international history of audiovisual translation to include silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological, and industrial contexts. The Translation of Films, 1900–1950 draws extensively on archival sources and expertise, and revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film. The Translation of Films, 1900–1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.
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38

Hines, Frazer. Films, Farms and Fillies. Boxtree Ltd, 1996.

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39

Riverford Farm Cook Book. HarperCollins Publishers, 2008.

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40

Platte, Nathan. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0015.

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Understanding the musical collaboration behind Selznick’s films does not require embracing every one of the producer’s decisions—some missed their mark. But Selznick’s productions do invite a re-evaluation of dominant prejudices in film-music discourse regarding, the involvement of a non-musicians in the scoring process, the sharing of compositional duties among multiple personnel, and film music’s relationship to commercial interests. These factors are crucial to understanding music’s function in Selznick’s films and its success within films and beyond. Although Selznick’s emphasis on film music reflected priorities born of prestige filmmaking (and literary adaptations in particular), his musical ideas spread far beyond these categories in the hands of other filmmakers. A concluding section shows that the mosaic-like construction of scores for Selznick presents not a crisis of authorship, but rather an opportunity to assess the dynamic and messy collaborations that produced some of Hollywood’s most memorable scores.
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41

Murray Levine, Alison J. Vivre Ici. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786940414.001.0001.

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Vivre Ici analyzes a selection of films from the vast viewing landscape of contemporary French documentary film, a genre that has experienced a renaissance in the past twenty years. The films are connected not just by a general interest in engaging the “real,” but by a particular attention to French space and place. From farms and wild places to roads, schools, and urban edgelands, these films explore the spaces of the everyday and the human and non-human experiences that unfold within them. Through a critical approach that integrates phenomenology, film theory, eco-criticism and cultural history, Levine investigates the notion of documentary as experience. She asks how and why, in the contemporary media landscape, these films seek to avoid argumentation and instead, give the viewer a feeling of “being there.” As a diverse collection of filmmakers, both well-known and less so, explore the limits and possibilities of these places, a collage-like, incomplete, and fragmented vision of France as seen and felt through documentary cameras comes into view. Venturing beyond film analysis to examine the production climate for these films and their circulation in contemporary France, Levine explores the social and political consequences of these “films that matter” for the viewers who come into contact with them.
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42

Berrettini, Mark L. Interviews with Hal Hartley. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252035951.003.0002.

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This chapter presents two interviews of Hal Hartley. The first, conducted by Justin Wyatt, was originally published in the fall 1998 issue of Film Quarterly. The second, conducted by Robert Avila in 2007, originally appeared on SF360.org, the San Francisco Film Society's online magazine. Topics covered in these interviews include the darker tone of the film Henry Fool; Hartley's views about the label “independent” after being heralded as one of the most important voices in American independent cinema; whether the conflicted attitude toward technology and the corporate world seen in his films reflect his own ambivalence in these areas; whether he is concerned that his films may be straying too far to the side of self-consciousness and self-reflexivity; whether he sees a of Hollywood movies; and whether there are times when he finds writing difficult.
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43

Cary, Alice. The Chocolate Farm. Celebration Press, 2002.

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44

Kelly, Catriona. Soviet Art House. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.001.0001.

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This book examines cinema in the Brezhnev era from the perspective of one of the USSR’s largest studios, Lenfilm. Producing around thirty feature films per year, the studio had over three thousand employees working in every area of film production. The discussion covers the period from 1961 to the collapse of centralized state facilities in 1986. The book focuses particularly on the younger directors at Lenfilm, those who joined the studio in the recruiting drive that followed Khrushchev’s decision to expand film production. Drawing on documents from archives, the analysis portrays film production “in the round” and shows that the term “censorship” is less appropriate than the description preferred in the Soviet film industry itself, “control,” which referred to a no less exigent but far more complex and sophisticated process. The book opens with four framing chapters that examine the overall context in which films were produced: the various crises that beset film production between 1961 and 1969 (chapter 1) and 1970 and 1985 (chapter 2), the working life of the studio, and particularly the technical aspects of production (chapter 3), and the studio aesthetic (chapter 4). The second part of the book comprises close analyses of fifteen films that are typical of the studio’s production. The book concludes with a brief survey of Lenfilm’s history after the Fifth Congress of the Filmmakers’ Union in 1986, which swept away the old management structures and, in due course, the entire system of filmmaking in the USSR.
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45

FBI file on Cesar Chavez and United Farm Workers. [Wilmington, Del.]: Scholarly Resources, 1996.

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46

Hunter, I. Q. Adaptation XXX. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.24.

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Pornographic adaptations—erotic parodies of mainstream films—have long been dismissed from critical notice as much because of their allegedly slapdash adaptation strategies as because of their demotic cultural associations. Focusing mostly on commercially produced US films, Chapter 24 traces the history of pornographic adaptations from the softcore exploitation films of the 1960s through “Golden Age” hardcore films such as The Opening of Misty Beethoven (1976) to contemporary DVD and online “XXX versions” and looks in detail at porn versions of Fanny Hill and Psycho (1960). The essay explores how far such film adaptations uncover disavowed erotic subtexts in their sources and considers what the process of porn adaptation can reveal about the more general processes of producing and consuming adaptations.
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47

Neale, Steve. Film, Cinema, Genre. Edited by Frank Krutnik and Richard Maltby. University of Exeter Press, 2021. http://dx.doi.org/10.47788/yrcc6901.

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This book brings together key works by pioneering film studies scholar Steve Neale. From the 1970s to the 2010s Neale’s vital and unparalleled contribution to the subject has shaped many of the critical agendas that helped to confirm film studies’ position as an innovative discipline within the humanities. Although known primarily for his work on genre, Neale has written on a far wider range of topics. In addition to selections from the influential volumes Genre (1980) and Genre and Hollywood (2000), and articles scrutinizing individual genres – the melodrama, the war film, science fiction and film noir – this Reader provides critical examinations of cinema and technology, art cinema, gender and cinema, stereotypes and representation, cinema history, the film industry, New Hollywood, and film analysis. Many of the articles included are recommended reading for a range of university courses worldwide, making the volume useful to students at undergraduate level and above, researchers, and teachers of film studies, media studies, gender studies and cultural studies. The collection has been selected and edited by Frank Krutnik and Richard Maltby, scholars who have worked closely with Neale and been inspired by his diverse and often provocative critical innovations. Their introduction assesses the significance of Neale’s work, and contextualizes it within the development of UK film studies.
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48

Chicken run: Book of the film. London: Ladybird, 2000.

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49

Kealhofer-Kemp, Leslie. Muslim Women in French Cinema. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781381984.001.0001.

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Muslim Women in French Cinema: Voices of Maghrebi Migrants in France is the first comprehensive study of cinematic representations of first-generation Muslim women from the Maghreb (Algeria, Morocco, Tunisia) in France. Situated at the intersection of post-colonial studies, gender studies, and film studies, this book uses the multi-layered concept of ‘voice’ as an analytical lens through which to examine a diverse corpus of over 60 documentaries, short films, téléfilms (made-for-television films), and feature films released in France between 1979 and 2014. In examining the ways in which the voices, experiences, and points of view of Maghrebi migrant women in France are represented and communicated through a selection of key films, this study offers new perspectives on Maghrebi migrant women in France. It shows that women of this generation, as they are represented in these films, are far more diverse and often more empowered than has generally been thought on the basis of the relatively narrow range of media and cultural productions that have so far reached mainstream audiences. The films examined in this study are part of larger contemporary debates and discussions relating to immigration, integration, and what it means to be French.
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50

Anthony J.   Bocchino and Deanne C.    Siemer. Frisco Farm Corp. V. Blenheim Markets: Case File, Trial Materials. Wolters Kluwer Law & Business, 2020.

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