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Książki na temat „Personal films”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 19 lutego 2022

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1

Feder, Michael. Star Wars: Your personal fashion consultant. New York: Abrams Image, 2009.

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2

Malcolm, Derek. A century of films: Derek Malcolm's personal best. London: Tauris Parke Paperbacks, 2000.

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3

Have you seen?: A personal introduction to 1,000 films. New York: Knopf, 2008.

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4

French cinema since 1950: Personal histories. London: Duckworth, 1999.

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5

French cinema since 1950: Personal histories. Lanham, Md: Rowman and Littlefield, 1999.

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6

Collins, Max Allan. The mystery scene movie guide: A personal filmography of modern crime pictures. San Bernardino, Calif: Brownstone Books, 1998.

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7

1951-, Mitchell Deborah C., red. The makeover in movies: Before and after in Hollywood films, 1941-2002. Jefferson, N.C: McFarland, 2004.

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8

Rothel, David. An ambush of ghosts: A personal guide to favorite western film locations. Madison, NC: Empire Pub., 1990.

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9

Brill, Steven, Roger Birnbaum, Judd Apatow, Tom McGowan i Joe Roth. Heavyweights. United States]: Walt Disney Home Video, 1995.

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10

Galens, Judy. Experiencing the Holocaust: Novels, nonfiction books, short stories, poems, plays, films & music. Redaktor Hermsen Sarah. Detroit: UXL, 2003.

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11

Turpin, Jacqueline. Jean-Luc Godard: The films of the 1960's : a personal style and reflection of contemporary society. London: LCP, 1986.

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12

Terziu, Fatmir. Media, technology and everyday life: Parametric narration and representation of personal life for public sphere in films. Tirana: Globus R., 2009.

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13

Tella, Andrés Di. Andrés Di Tella: Cine documental y archivo personal : conversación en Princeton. Ciudad Autónoma de Buenos Aires, Argentina: Siglo XXI, 2006.

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14

Alessandra, Levantesi, red. Dino: The life and films of Dino De Laurentiis. New York: Miramax Books/Hyperion, 2004.

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15

Paju, Imbi. Suomenlahden sisaret: Kun katsoo toisen tuskaa. Helsinki: Like, 2011.

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16

Campaign for Freedom of Information. Your rights to personal files. London: Campaign for Freedom of Information., 1993.

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17

Clarke, Katherine. The deception of the films 'Persona'. [Derby]: Derbyshire College of Higher Education, 1988.

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18

Great Britain. Department of the Environment. Access to Personal Files (Housing) Regulations 1989. London: H.M.S.O., 1989.

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19

Martin, Adrian. Mysteries of Cinema. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986831.

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The major essays of the distinguished and prolific Australian-born film critic Adrian Martin have long been difficult to access, so this anthology, which collects highlights of his work in one volume, will be welcomed throughout film studies. Martin offers indepth analysis of many genres of films while providing a broad understanding of the history of cinema and the history of film criticism and culture. These vibrant, highly personal essays, written between 1982 and 2016, balance breadth across cinema theory with almost encyclopedic detail, ranging between aesthetics, cinephilia, film genre, criticism, philosophy, and cultural politics. Mysteries of Cinema circumscribes a special cultural period that began with the dream of critique as a form of poetic writing, and today arrives at collaborative experiments in audiovisual essays. Throughout these essays, Martin pursues a particular vision of what cinema has been, what it is, and what it still could be.

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20

Society, Three Rivers Historical. Index to miscellaneou[s] files. Hemingway, SC: Three Rivers Historical Society, 1996.

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21

Paul, Frizler, red. Psychotherapists on film, 1899-1999: A worldwide guide to over 5000 films. Jefferson, N.C: McFarland, 2004.

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22

Personal visions: Conversations with independent film-makers. London: Constable, 1999.

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23

Personal visions: Conversations with contemporary film directors. Los Angeles: Silman-James Press, 2000.

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24

Périer, Etienne, i Charles Kaufman. Bridge to the sun. Burbank, CA: Warner Bros. Entertainment, Inc., 2012.

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25

Hoy, Jerry Van. Franchise law firms and the transformation of personal legal services. Westport, Conn: Quorum, 1997.

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26

Jane Campion: Authorship and personal cinema. Bloomington: Indiana University Press, 2011.

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27

Schickel on film: Encounters--critical and personal--with movie immortals. New York: W. Morrow, 1989.

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28

Great Britain. Scottish Office Environment Department. Access to Personal Files (Housing) (Scotland) Regulations 1991: Draft guidance circular. [Edinburgh]: [The Department], 1991.

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29

Great Britain. Scottish Development Department. Access to Personal Files Act 1987: Housing authority tenants' records - Scotland. Edinburgh: Scottish Development Department, 1988.

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30

Gregory, Georgina. Careers in media and film: The essential guide. Los Angeles: Sage, 2007.

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31

MacDonald, Scott. American Ethnographic Film and Personal Documentary: The Cambridge Turn. University of California Press, 2013.

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32

American Ethnographic Film And Personal Documentary The Cambridge Turn. University of California Press, 2013.

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33

MacDonald, Scott. American Ethnographic Film and Personal Documentary: The Cambridge Turn. University of California Press, 2013.

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34

American Ethnographic Film And Personal Documentary The Cambridge Turn. University of California Press, 2013.

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35

Malcolm, Derek. A Century of Films: Derek Malcom's Personal Best. Tauris Parke Paperbacks, 2001.

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36

Have You Seen A Personal Introduction To 1000 Films. Knopf Publishing Group, 2010.

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37

Keepers: The greatest films-and personal favorites-of a moviegoing lifetime. Knopf, 2015.

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38

Tulloch, John, i Belinda Middleweek. Real Sex Films. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.001.0001.

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Within the domain of film studies, the recent surge in films depicting graphic and high-impact sex and sexualized violence has been variously classified under the terms transgressive, brutal, provocative, real sex, and extreme cinema. These classifications, however, tend to underplay the films’ sociohistorical contexts and reflexive struggle for meaning. We argue that the similarities and differences between these real or simulated sex films are determined and mediated within geographical space and historical time. But every film book has its own personal historical starting point: in our case, this is the coming together as intertexts of the real sex film Intimacy with a major academic text, The Transformation of Intimacy, and as authorial agents of a television and documentary film producer and a media academic. This book argues that the meanings we attach to “real sex” cinema are discursively constructed not only by academic experts but by filmmakers, performers, audiences, and film reviewers. Debates about the meaning of real sex cinema are best understood in dialogue, and for the first time in interdisciplinary studies, we foster “mutual understanding” and “critical extension” among new risk sociology, feminist mapping theory, feminist film studies, and film reviewers, while also embracing film/media studies concepts of production, social audiences and spectators, genre, narrative, authorship, and stars. Above all, this is an interdisciplinary book, which engages with, supports, critiques, and extends each of these professional fields of discourse, each with its own schema of filmic understanding.

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39

Collins, Max Allan. The Mystery Scene Movie Guide: A Personal Filmography of Modern Crime Pictures (Brownstrone Mystery Guides, Vol 16). Borgo Pr, 1997.

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40

Andres Di Tella: Cine Documental y Archivo Personal. Siglo XXI Ediciones, 2006.

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41

Knapp, Raymond. American Musical and the Performance of Personal Identity. Princeton University Press, 2010.

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42

Knapp, Raymond. American Musical and the Performance of Personal Identity. Princeton University Press, 2010.

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43

Twenty-six seconds: A personal history of the Zapruder film. 2016.

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44

Zapruder, Alexandra. Twenty-Six Seconds: A Personal History of the Zapruder Film. Twelve, 2016.

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45

Twenty-Six Seconds: A Personal History of the Zapruder Film. Grand Central Publishing, 2016.

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46

Twenty-Six Seconds: A Personal History of the Zapruder Film. Grand Central Publishing, 2017.

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47

The American Musical and the Performance of Personal Identity. Princeton University Press, 2009.

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48

Fox, Alistair. New Zealand Coming-of-age Films: Distinctive Characteristics and Thematic Preoccupations. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0002.

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This chapter provides an overview of New Zealand coming-of-age films from the first feature film to be made on this theme, The God Boy (Murray Reece, 1976) to the most recent examples, Mahana (Lee Tamahori, 2016) and Hunt for the Wilderpeople (Taika Waititi, 2016), identifying trends and patterns in the evolution of this genre. Characteristic attributes are explored, such as the dialogue with national literature (of the 15 films examined in the book, all but four are adaptations); the universal tendency of filmmakers to update the setting to the time of their own childhood; the presence of personal projections and identifications in the films; the importance of the New Zealand landscape as a thematic element. Finally, the main thematic preoccupations are outlined, with a demonstration of how they shift over time in response to changing cultural and political circumstances.

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49

Marmysz, John. Cultural Change and Nihilism in the Rollerball Films. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424561.003.0009.

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This chapter contrasts the original, 1975 version of Rollerball with the 2001 remake. Whereas the original version of the film features a hero who dooms himself to a tragic end by actively, yet nihilistically, rebelling against the forces of corporate control, the remake depicts a hero who engages in a successful revolution against the powers that be. In so doing, he promises the establishment of a counter-order that overcomes nihilism. It is argued that while the original version of Rollerball presents a modernist perspective on nihilism, depicting it as a phenomenon that cannot authentically be overcome, the remake presents a postmodernist perspective on nihilism, depicting it as a transitional stage leading from personal despair to ultimate triumph. The ideas of Friedrich Nietzsche, Albert Camus and Jean-Francois Lyotard are drawn upon in order to characterize the differences between modernist and postmodernist renderings of the “problem” of nihilism.

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50

The American Musical and the Performance of Personal Identity. Princeton University Press, 2006.

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