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Books on the topic 'Lucía (Motion picture : 1968)'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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1

Gazdag, Gyula. Képes Könyv, 1968-1979. Pécs: Jelenkor, 1994.

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2

New Hollywood: Der amerikanische Film nach 1968 = the American film after 1968. Stuttgart: Edition Axel Menges, 2003.

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3

Ōshima Nagisa 1968. Tōkyō: Seidosha, 2004.

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4

The moviegoing experience, 1968-2001. Jefferson, N.C: McFarland & Co., 2003.

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5

Sowinska, Iwona. Polska muzyka filmowa 1945-1968. Katowice: Wydawnictwo Uniwersytetu Slaskiego, 2006.

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Sutton, Paul. If... London: I.B. Tauris, 2005.

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7

If--. London: BFI, 2004.

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8

Notre-Dame des Turcs: Carmelo Bene, 1968. Lyon: Aléas cinéma, 2010.

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9

Transition cinema: Political filmmaking and the Argentine left since 1968. Pittsburgh: University of Pittsburgh Press, 2012.

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10

The American cinema: Directors and directions, 1929-1968. Chicago: University of Chicago Press, 1985.

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11

The American cinema: Directors and directions, 1929-1968. New York: Da Capo Press, 1996.

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12

Viking summer: The filming of MGM's Alfred the Great in Galway in 1968. [Ireland?: Knockma Pub., 2008.

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13

Gardner, Gerald C. The censorship papers: Movie censorship letters from the Hays office, 1934-1968. New York: Dodd, Mead, 1987.

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14

Gagnon, François. Données sur l'économie du scénario au Québec pour le long métrage de fiction: Répertoire 1968-2000. Montréal: Centre de recherche cinéma/réception de l'Université de Montréal, 2002.

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15

Moscati, Italo. Pasolini e il teorema del sesso: 1968, dalla Mostra del cinema al sequestro : un anno vissuto nello scandalo. Milano: Saggiatore, 1995.

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16

Wahl, Jan. Carl Theodor Dreyer and Ordet: My summer with the Danish filmmaker. Lexington: The University Press of Kentucky, 2012.

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17

The charge of the Light Brigade. London: I.B. Tauris, 2003.

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18

Toffolo, Stefano. Romeo e Giulietta e altri drammi shakespeariani: Musica, cinema e letteratura dalle origini a Franco Zeffirelli a Nino Rota. Padova: Armelin musica, 2002.

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19

1965-, Wemaere Séverine, ed. Peter Brook et le Vietnam: Peter Brook and the Vietnam : Tell me lies. Paris]: Capricci, 2012.

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20

Toffolo, Stefano. Romeo e Giulietta e altri drammi shakespeariani: Musica, cinema e letteratura dalle origini a Franco Zeffirelli a Nino Rota. Padova: Armelin musica, 2002.

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21

Edelson, Paula. Cuba Gooding, Jr. Philadelphia: Chelsea House Publishers, 2000.

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22

Night of the living dead: Behind the scenes of the most terrifying zombie movie ever. New York: Citadel Press, 2010.

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23

Caballero, Rufo. A Solas Con Sols. Letras Cubanos Editorial, 1999.

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24

Sutton, Paul. If...: Turner Classic Movies British Film Guide (Turner Classic Movies British Film Guides). I. B. Tauris, 2005.

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25

Sarris, Andrew. The American Cinema: Directors and Directions 1929-1968. Univ of Chicago Pr (T), 1986.

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26

Gardner, Gerald C. The Censorship Papers: Movie Censorship Letters from the Hays Office, 1934 to 1968. Dodd Mead, 1988.

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27

Teguh Karya & Teater Populer, 1968-1993. Jakarta: Pustaka Sinar Harapan, 1993.

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28

Cocteau, Jean. My Contemporaries. Peter Owen Publishers, 2007.

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29

Siff, Stephen. Postscript. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039195.003.0008.

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This concluding chapter explains the dramatic decline in interest in LSD by the news media after about 1968, when the federal government finally prohibited possession of the drug. In the face of growing government activism against drugs, elaborate reenactments of LSD trips faded from the news agenda. However, the psychedelic world introduced by the news media was increasingly enacted by television and film producers emboldened by the decline of the television and motion-picture production codes. As the 1960s faded into history, entertainment programming frequently offered itself as a substitute for the psychedelic drug experience that journalists had taught Americans to seek. Through intensive hype of LSD and psychedelic phenomena, the news media demonstrated the transporting, mind-expanding power not only of drugs, but also of journalism.
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30

Billheimer, John. Hitchcock and the Censors. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.001.0001.

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The Motion Picture Production Code controlled the content and final cut on all films made and distributed in the US from 1934 to 1968. Code officials protected sensitive ears from the standard four-letter words as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed ‘excessively lustful’ kissing from the screen, and ensured that no criminal went unpunished. Censors demanded an average of twenty changes, ranging from trivial to mind-boggling, on each of Alfred Hitchcock’s films during his most productive years. No production escaped these changes, which rarely improved the finished film. Code reviewers dictated the ending of’ Rebecca, shortened the shower scene in’ Psycho, absolved Cary Grant of guilt in’ Suspicion, edited Cole Porter’s lyrics in’ Stage Fright, and decided which shades should be drawn in’ Rear Window. Nevertheless, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming (and occasionally tricking) the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. The director’s priorities in dealing with the censors highlight both his theories of suspense and the single-mindedness of Code officials. Hitchcock and the Censors’ traces the forces that led to the Production Code and describes Hitchcock’s interactions with Code officials on a film-by-film basis as he fought to protect his creations, bargaining with Code reviewers and sidestepping censorship to produce a lifetime of memorable films.
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