Keller, James R. "A Chef in Love: The Fable of a Communist and Culinary Re-Evolution." In: Food, film and culture : a genre study Jefferson, N.C. : McFarland & Co., c2006. (MAIN: PN1995.9.F65 K45 2006)

Andrews, David. 'Combination Platter': take one restaurant, add salt and spice. (Tony Chan's first feature film) New York Times v143, sec2 (Sun, Oct 31, 1993):H18(N), pH18(L), col 5, 20 col in.

Maslin, Janet. Combination Platter. (movie reviews) New York Times v142 (Sat, March 27, 1993):12(N), 11(L), col 3, 11 col in.; v143 (Thu, Nov 4, 1993):C22(L), col 1, 9 col in.

Nottingham, Michael. "Downing the Folk-Festive: Menacing Meals in the Films of Jan Svankmajer" EnterText: An Interactive Interdisciplinary E-Journal for Cultural and Historical Studies and Creative Work, vol. 4, no. 1, pp. 126-50, Winter 2004.

Nottingham, Michael. "Downing the Folk-Festive: Menacing Meals in the Films of Jan Svankmajer" EnterText: An Interactive Interdisciplinary E-Journal for Cultural and Historical Studies and Creative Work, vol. 4, no. 1, pp. 126-50, Winter 2004.

Levinson, Barry. Levinson on Levinson / edited by David Thompson. London; Boston: Faber and Faber, 1992. (Main Stack PN1998.3.L48.A3 1992)

Poole, Gaye. "Diners and Cafés." In: Reel meals, set meals : food in film and theatre. pp: 140-150. Sydney: Currency Press, 1999. (UCB Main PN1995.9.F65 P66 1999)

Porton, Richard. "The Politics of Denial: An Interview with Atom Egoyan." Cineaste, vol. 25, no. 1, pp. 39-41, 1999.

Romney, Jonathan. "Felicia's Journey.(Review)." Sight and Sound 9.10 (Oct 1999): 34(3).

St. Peter, Christine. "Consuming Pleasures: Felicia's Journey in Fiction and Film." Colby Quarterly, vol. 38, no. 3, pp. 329-39, September 2002.

Ashkenazi, Michael. "Food, Play, Business and the Image of Japan in Juzo's Tampopo." In: Reel food : essays on food and film / edited by Anne L. Bower. New York : Routledge, 2004. (Main Stack PN1995.9.F65.R44 2004)

Iles, Timothy. "The Lazy Gaze: The Aesthetics of Consumerism in Itami Juzo Tampopo." Asian Cinema, vol. 15, no. 1, pp. 225-33, Spring 2004.

Pauline Kael. "Tampopo." The New Yorker v63.(June 1, 1987): pp101(2).

Serper, Zeika. "Eroticism in Itami's The Funeral and Tampopo: Juxtaposition and Symbolism." Cinema Journal, vol. 42, no. 3, pp. 70-95, Spring 2003

"The highlight of the film is the classic, tragically funny, disastrous dinner-party scene. The aspiring, pretentious Alice hopelessly wishes to rise up above the low-social prominence of her vulgar, poor family. To impress Arthur, her rich new suitor, she has planned a "stylish" dinner party at her own home - in the wilting humidity and heat - she fiercely wishes to make a good impression by having conned Arthur into believing that her folks are well-to-do. She has fictionalized her life to him and forced everyone in her family to pretend that they are something other than themselves." [from Tim Dirks' FilmSite] 99 min. DVD 1562

"...in the film's pivotal scene that comments upon the wide, alienating divide between their two families, [Alvie has] the opportunity to meet her [Annie's] WASP-ish Protestant family at Easter sharing a traditional ham dinner, a meal which he should be avoiding as a traditional Jew. At the table, he is so paranoid about her parents that he has a flash transformation, imagining that they see him as a bearded orthodox Hasidic rabbi - with a reddish beard, a black hat and coat. Alvy tells Mom Hall (Colleen Dewhurst) about the results of his fifteen years of analysis: "I'm making excellent progress. Pretty soon, when I lie down on his couch, I won't have to wear the lobster bib." Nobody laughs at Alvy's joke. It is clear that Annie's mother, father and bigoted Grammy Hall don't approve of him.

In a split-screen to illustrate the two incompatible worlds, Alvy's New York Jewish family is compared in a similar dinner scene to Annie's family. On the left third of the screen is the brightly lit, affluent, politely gracious, aloof and sober Hall family discussing subjects such as the Christmas play and the 4-H Club. On the right two-thirds of the screen is a darkly lit, sloppy and informal, noisily argumentative, competitively babbling, neurotic Singer family talking about illness (diabetes, heart disease) and unemployment." [from Tim Dirks' FilmSite] 99 min. DVD 56; VHS 999:263

"An episodic chronicle of two lovesick Hong Kong police officers, #223 (Takeshi Kaneshiro) and #663 (Tony Leung Chiu-Wai). The first episode follows #223 as he comes to terms with his recent break-up. Since his girlfriend, May, broke up with him on 1 April, he has convinced himself that it was all an April Fool's joke and has given May until his birthday, 1 May, to call and ask him to come back. To count the days, #223 buys cans of pineapple (May's favorite) with 1 May expiration dates. When the day comes and May doesn't call, he gorges himself on 30 cans of pineapple, calls up (and gets rejected by) every girl he's known since grade school and gets completely wasted. He goes to a bar and decides to fall in love with the next woman he sees and that lucky woman turns out to be a mysterious, blonde wigged drug dealer (Brigitte Lin Ching-Hsia). #223 sees her across the bar and, with much confidence, tries to chat her up because he has the *perfect* opening line, 'Hello, do you like pineapple?'" [from Bikkit.com] 104 min. DVD 4167; vhs 999:1971

96 min. DVD 913; also vhs 999:997

The Gold Rush features one of the most memorable food scenes in movie history: "Inside the cabin meanwhile, hungry and desperate, the Tramp and Big Jim celebrate "Thanksgiving Dinner," in a famous, classic feast/meal scene. The Tramp and Big Jim are reduced to starvation, so the Tramp resorts to boiling and cooking a tasty dinner for them. He chooses one of his boots as the object of their Thanksgiving dinner, taking on airs as a gourmet at a feast. He watches it cooking on the stove until perfectly simmered. He then carves the boot (splitting and cutting it like a filet), and offers the upper part to Big Jim. He pours water over it like gravy. He chews on the lower sole part, treating it like a delicacy, and he twirls the laces like spaghetti. He daintily sucks the nails, like they were the bones of a game bird, or small fishbones. Indifferent to his comrades plight, Black Larsen stumbles on the claim of Big Jim McKay," while the two of them still wait for relief. Because they have eaten his boot, and he only has rags for clothes, the Tramp must now sit with his foot in the oven to keep warm. When starvation strikes again, Jim suffers more "food" hallucinations, and crazily imagines the Tramp transformed into a giant, plump chicken, ripe for slaughter. He chases his appetizing friend with a gun and later with an axe. The panic-stricken Tramp defends himself with the shot-gun in a hand-to-hand struggle with Jim. A hungry passing bear wanders into the cabin and gets involved in the struggle. The Tramp aims and kills it as it runs off, solving their food problem." [from Tim Dirks' Filmsite] 72 min. DVD 1089; VHS 999:3463

Orgeron, Devin Anthony. Orgeron, Marsha Gabrielle. "Eating Their Words: Consuming Class a la Chaplin and Keaton." College Literature. 28(1):84-104. 2001 Winter UC users only

"Deeply disturbing images of food are not the only feature of contemporary cinema's cuisine. Meals, for instance, play an unusually dramatic part in many of Martin Scorsese's films. In Goodfellas, a brutal mafia killing is followed by an alarmingly normal Italian-style meal, served by the director's own mother, Catherine Scorsese. And one of the most sensuous and simultaneously menacing of all food images in modern cinema occurs during a prison scene, as the mafiosi prepare their ritual pasta sauce. The boss (Paul Sorvino), we learn in voice-over, while seeing a massive close-up of chubby fingers at work, 'had this wonderful system for doing the garlic. He used a razor and he used to slice it so thin that it used to liquefy in the pan.' Later, the central figure's drug-fuelled paranoia is signalled by his obsession with the meatballs and tomato sauce he's cooking as the FBI move in. 'Keep and eye on the sauce and watch the helicopters', is almost his last order before the Feds arrive. Throughout Goodfellas, the exacting domesticity of Italian cuisine serves to highlight the terrifying normality of these mobsters." [From LondonFoodFilmFiesta] 146 min. DVD 2843; VHS 999:1932

Movie Review Query Engine

Based on the novel by Amy Tan (New York: Putnam's, c1989. UCB AsianAmer PS3570.A2 J6 *c3 copies; UCB Bancroft PS3570.A48 J6 1989; UCB Main PS3570.A48 J69 1989; UCB Moffitt PS3570.A48 J6 1989 *c4 copies)

Movie Review Query Engine

"We know that Ted Kramer's (Dustin Hoffman's) wife has left home, but we are not aware of how difficult life will be for Ted until we watch him attempt to make breakfast for his eight-year-old son Billy (Justin Henry). We realize, from his inability to negotiate his way around his own kitchen, that Ted has never prepared breakfast for Billy, who seems more cabable than Ted. ... The food which Ted and Billy eat, and their behavior at mealtimes becomes our best ways to gauge the quality of their changing relationship during Kramer vs. Kramer." [Boswell, Parley Ann. "Hungry in the Land of Plenty: Food in Hollywood Films." In: Beyond the stars: The Material World in American Popular Film. / edited by Paul Loukides and Linda K. Fuller. pp: 7-23. Bowling Green, Ohio : Bowling Green University Popular Press, c1990 (Main Stack PN1995.9.C36.B49 1990)] 105 min. DVD 3646; vhs 999:1031

Moonstruck is a film that uses food and food sharing as the focal point for a great many scenes. Much of the action takes place in the Grand Ticino restaurant, the family grocery store, the bakery, the family's dining room, or the kitchen. Food is used as a means of conveying family relationships, ethnicity, and the changing moods of the characters. At one point, Rose (Dukakis), the family matriarch, confronts her doddering father-in-law at the dinner table: "Feed one more bite of my food to your dogs, old man, and I'll kick you to death!"). The climatic scene takes place in the large, Castorini family kitchen. With the extended family assembled, Loretta confronts her feckless fiancee (Aiello), and Ronnie (Cage) proposes to her. In the scene, food is used as a comic anchoring device that brings the family together, and drink serves as the introduction to a romantic and joyous finale.

Carolan, Mary Ann McDonald. "Italian American Women as Comic Foils: Exploding the Stereotype in My Cousin Vinny, Moonstruck, and Married to the Mob." Lit: Literature Interpretation Theory. 13(2):155-66. 2002 Apr-June

Corliss, Richard. "Moonstruck." (movie reviews) Time v131, n2 (Jan 11, 1988):80 (2 pages).

Denby, David. "Moonstruck." (movie reviews) New York v21, n1 (Jan 4, 1988):44.

Gross, John. "Moonstruck." (movie reviews) New York Times v137, sec2 (Sun, Feb 14, 1988):H33(N), H33(L), col 1, 28 col in.

Kael, Pauline. "Moonstruck." (movie reviews) New Yorker v63, n49 (Jan 25, 1988):99 (2 pages).

Maslin, Janet. "Moonstruck." (movie reviews) New York Times v137 (Wed, Dec 16, 1987):24(N), C22(L), col 1, 11 col in.

"One of the most powerful examples of this 'dysfunctional family' dining experience is Ordinary People, a film which...includes scenes of food throughout. So many scenes take place in the dining room or the kitchen of the Jarett home that we begin to see these rooms as the 'heart' of the family organism in this film. And, by the end of the film, they will represent a broken heart." [Boswell, Parley Ann. "Hungry in the Land of Plenty: Food in Hollywood Films." In: Beyond the stars: The Material World in American Popular Film. / edited by Paul Loukides and Linda K. Fuller. pp: 7-23. Bowling Green, Ohio : Bowling Green University Popular Press, c1990 (Main Stack PN1995.9.C36.B49 1990)]124 min. DVD 3645; vhs 999:2804

Tom: Ain't you got a drink in the house?
Kitty: Well, not before breakfast, dear.
Tom: I didn't ask you for any lip. I asked you if you had a drink.
Kitty: I know, Tom, but I-I wish that...
Tom: There you go with that wishin' stuff again. I wish you was a wishing well, so that I could tie a bucket to ya and sink ya.
Kitty: (provokingly) Maybe you've found someone you like better.

He looks down, makes a nasty grimace, and then impulsively picks up a grapefruit half from his plate and contemptuously pushes it into her face to end their relationship. She looks down, physically and painfully hurt and emotionally embarrassed by his crudeness. It is one of the single-most cruel acts ever depicted in a film. His life of crime has made him cruel and hardened." [from Tim Dirks' FilmSite] 84 min. DVD 3514; VHS 999:33

"Tony Manera (Travolta) arrives home from his job at the paint store in time to primp before his mirror and have dinner with his family before he joins his friends for a night of dancing. Before he begins to eat, he dons a bib so that he won't drip spaghetti on his good shirt. We notice this gesture, but his family seems otherwise occupied; they are busy fighting with each other as they fill their plates with food. Tony's father is angry with everyone because he has lost his job, and Tony's mother has bought food too expensive for their budget. When Tony serves himself two pork chops, his father slaps him across the face. Before this meal is over, several members of Tony's family will have left the table in anger, and ultimately, several will either have slapped someone or will have been slapped." [Boswell, Parley Ann. "Hungry in the Land of Plenty: Food in Hollywood Films." In: Beyond the stars: The Material World in American Popular Film. / edited by Paul Loukides and Linda K. Fuller. pp: 7-23. Bowling Green, Ohio : Bowling Green University Popular Press, c1990 (Main Stack PN1995.9.C36.B49 1990)] 112 min.DVD 6222; vhs 999:1145

Jordan, Chris. "Gender and class mobility in Saturday Night Fever and Flashdance." Journal of Popular Film and Television (24:3) 1996, 116-22.

In one of the most memorable sequences "Lecter graphically tells her about his ferocious oral impulses and how he eats parts of his victims:

'A census taker once tried to test me. I ate his liver with some fava beans and a nice Chi-an-ti. (He approaches the glass and lets go with a slurping sound.) You fly back to school now, little Starling. (He turns his back on her and speaks in a whisper.) Fly, fly, fly. Fly, fly, fly.' [from Tim Dirks' Greatest Movies] 118 min. DVD 5475; vhs 999:1998

In one scene, the young narrator of the film, Scout (Mary Badham), gets into a fight with a classmate, Walther, because: He made me start off on the wrong foot. I was trying to explain to that darn lady teacher why he didn't have no money for his lunch, and she got sore at me."Scout's brother Jem "promises that his "crazy" sister won't fight with him any more and then invites young Walter over to the Finch household for a dinner of roast beef (corn bread, turnips and rice) rather than his usual fare of 'squirrels and rabbits.' ...Scout watches Walter as he liberally pours thick syrup all over his meal. Appalled and disgusted, she hurts his feelings: "He's gone and drown-ded his dinner in syrup and then he's pourin' it all over." In the kitchen, the black housekeeper Calpurnia (Estelle Evans) gives Scout a lesson about manners and tolerance:'That boy is your company. And if he wants to eat up that tablecloth, you let him, you hear? And if you can't act fit to eat like folks, you can just set here and eat in the kitchen.' [from Tim Dirks' Memorable Moments from Great Movies!] 129 min.DVD 2934; vhs 999:89

Features "one of the most memorable demonstrations of the link between food and sex ever committed to celluloid, giving new meaning to the term "human appetite." The famous, sex-drenched eating scene between Tom (Albert Finney) and, (all unknowingly) possibly his mother Mrs. Waters (Joyce Redman) begins naturally enough with big steaming pewter bowls of soup, whereat Mrs. Waters leans well over the table and lustily slurps big round spoonsful, breasts tumbling out of her bodice, with a more-than-come-hither look. Tom, nearly overcome, involuntarily rips a claw off the langouste he has in his hand and sucks happily on it. Drafts of ale, turkey, oysters, pears, and wine are then dispatched with loving attention." [quoted from LondonFoodFiesta] 121 min. DVD 2520; VHS 999:698

Tom Jones, a film script. Main Stack, Moffitt PR6029.S39 T6; Grad Svcs XMAC.O81.T6

"Walkabout is about many things but one of its main themes for me is that of wastage. This is shown throughout the film. The aboriginal boy uses every part of the animals that he kills ? the meat for food, the sinews for cord, and even the fluids for the treatment of sunburn. By contrast, white man is shown to be very wasteful of the things he kills and sometimes he kills for no other purpose than sport. These conflicting approaches are shown in a non-didactic fashion, simply by cutting between the aboriginal boy preparing food and the white man?s methods, and it is left to the audience to make its own judgements. The way food is ?sanitized? in white culture is also explored. When the aboriginal boy serves up possum to the girl and boy, it still looks very much like a possum. By contrast, the steak that finally ends up on the dinner plates of white suburban houses looks far removed from the cows that it originally was." ["Australian Film: the Year 2000 in Review" by Tom Conyers. Senses of Cinema] 93 min. DVD 930; VHS 999:1107

Wedding Banquet features two wedding feasts: one small meal where no one's happy; the other is a huge Chinese feast for the wedding couple. Amid the culinary opulence, the new "husband's" gay partner sits at the head table along with the husband's bewildered parents. 109 min. DVD 2727; VHS 999:1495