Roman Polanski:
A Bibliography of Materials in the UC Berkeley Library












Books
Journal Articles

Articles and Books on Individual films

Books/Videos

Amis, Martin.
"Roman Polanski." In: Visiting Mrs. Nabokov and other excursions / Martin Amis. 1st American ed. New York : Harmony Books, c1993.
Main Stack PR6051.M5.V57 1993
Moffitt PR6051.M5.V57 1993

Belmans, Jacques.
Roman Polanski. Presentation par Jacques Belmans. Propos de Roman Polanski. Document. Points de vue. Filmographie. ... [Paris] Seghers [1971] Cinema d'aujourd'hui, 67
Main Stack PN1993.C4 v.67 NRLF #: $D 60 077

Bisplinghoff, Gretchen.
Roman Polanski, a guide to references and resources / Gretchen Bisplinghoff Virginia Wright Wexman Boston : Hall, c1979 Reference publication in film.
Main Stack PN1998.A3P58A12.B57
MoffittPN1998.A3.P55

Butler, Ivan.
The cinema of Roman Polanski. New York, A. S. Barnes [1970] International film guide series
Main Stack PN1998.A3.P58 B8
Moffitt PN1998.A3.P56

Eagle, Herbert J.
"Exile and emigration in the films of Roman Polanski." In: Living in translation : Polish writers in America / edited by Halina Stephan. Amsterdam ; New York, NY : Rodopi, 2003. Studies in Slavic literature and poetics ; v. 38
Main Stack PG7388.L58 2003

Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev
Edited by Daniel J. Goulding. Bloomington: Indiana University Press, c1994.
Main Stack PN1998.2.F555 1994
Moffitt PN1998.2.F555 1994

Kane, Pascal.
Roman Polanski. [Paris] Editions du Cerf, [1970] Collection 7e art, 50
Main Stack PN1998.A3.P58 K3 NRLF #: $B 184 833

Kiernan, Thomas.
Repulsion : the life and times of Roman Polanski / Thomas Kiernan. London : New English Library, c1980.
Main Stack PN1998.A3.P58 K5, 1980

Kiernan, Thomas.
The Roman Polanski Story / Thomas Kiernan. 1st ed. New York: Delilah/Grove Press : distributed by Random House, 1980.
UCB Main PN1998.A3 .P582

Leaming, Barbara.
Polanski, the filmmaker as voyeur : a biography / Barbara Leaming. New York : Simon and Schuster, c1981.
Main Stack PN1998.A3.P5825 1981

Mazierska, Ewa.
Roman Polanski : the cinema of a cultural traveller / Ewa Mazierska. London ; New York : I.B. Tauris, 2007
Main Stack PN1998.3.P65 M39 2007
Contents via Google books

Meikle, Denis.
Roman Polanski : odd man out Published: London : Reynolds & Hearn, 2006.
MAIN: PN1998.3.P65 M45 2006

Morrison, James
Roman Polanski Urbana : University of Illinois Press, c2007.
MAIN: PN1998.3.P65 M67 2007; View current status of this item
Contents via Google books

Polanski, Roman.
Roman / by Polanksi. New York : Morrow 1984.
Main Stack PN1998.A3 P5481 1984;

Roman Polanski
Herausgegeben von Thomas Koebner und Fabienne Liptay ; [Redaktion, Michelle Koch]. München : edition text + kritik, 2010.
Main (Gardner) Stacks PN1998.3.P65 R652 2010

Roman Polanski
mit Beitragen von Wolfgang Jacobsen ... [et al.]. Munchen : Hanser, Date c1986.
Main Stack PN1998.3.P65 R651 19862.

Roman Polanski, l'art de l'adaptation
Roman Polanski, l'art de l'adaptation / dirige par Alexandre Tylski. Paris : Harmattan, 2006.
MAIN: PN1998.3.P65 R65 2006

Roman Polanski : interviews
Edited by Paul Cronin. Jackson : University Press of Mississippi, 2005. Location(s):
MAIN: PN1998.3.P65 A3 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip058/2005004457.html

Sandford, Christopher
Polanski / Christopher Sandford. London : Century, 2007.
Main Stack PN1998.3.P65.S25 2007

Tuska, Jon.
"Roman Polanski." In: Encounters with filmmakers : eight career studies / Jon Tuska. New York : Greenwood Press, 1991. Contributions to the study of popular culture ; no. 29
Main Stack PN1998.2.T8 1991
Moffitt PN1998.2.T8 1991

Wexman, Virginia Wright.
Roman Polanski / Boston : Twayne Publishers, 1985.
Main Stack PN1998.A3 P5849 1985

Werner, Paul
Roman Polanski / Paul Werner. Originalausg. Frankfurt am Main : Fischer Taschenbuch Verlag, c1981. Fischer Cinema.
Main Stack PN1998.A3.P5848 1981

Woodward, Steven
"No safe place: gender and space in Polanski's recent films." In: Ladies and gentlemen, boys and girls : gender in film at the end of the twentieth century / edited by Murray Pomerance. p. 19-35. Albany : State University of New York Press, c2001. SUNY series, cultural studies in cinema/video.
Main Stack PN1995.9.S47.L33 2001

Journal Articles

Baecque, A.d., et. al.,
"Roman Polanski" [interview]. Cahiers du Cinema no. 455/456 (May 1992) p. 52-5

Crnkovic, Gordana P.
"From the Eye to the Hand: The Victim's Double Vision in the Films of Roman Polanski." Kinoeye, vol. 4, no. 5, pp. [no pagination], November 2004

Leach, Jim
"Notes on Polanski's cinema of cruelty." Wide Angle Vol II nr 1 (1978); p 32-39
Analyzes the films of Polanski and finds a common theme of cruelty, paranoia, and evil

Martin, Adrian.
"Landscapes of the Mind: The Cinema of Roman Polanski." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 15: (no pagination). 2001 July-Aug.

Mazierska, E.
"The Autobiographical Effect in the Cinema of Roman Polanski." Film Criticism v. 29 no. 3 (Spring 2005) p. 28-45
UC users only
"In Roman Polanksi's films, the auotbiographical effect--the viewer's impression that what is seen on the screen pertains, in an important sense, to the filmmaker's life--is the result of several intertwining discourses used by Polanski in his films. Just as Polanski, in his off-screen life, is seen as both a victim and victimizer, so the most common theme of his films is violence and victimization. The second discourse that encourages viewers to regard his films as autobiographical involves national culture and travel: His films reflect his Jewishness and Polishness, and testify to his nomadic character and lifestyle. A third autobiographical effect, the discourse on voyeurism, can be used to decode his attitude to his role as director and actor, and his taste as a viewer. He likes to depict subjective visions, a device that is typically conducive to achieving an autobiographical effect. However, he demonstrates that his protagonist's view of the world is wrong. Consequently, viewers experience a distance between the protagonist's vision and that of the filmmaker that impedes any identification of the two and weakens the autobiographical effect." [Art Index]

Morrison, James
"The Old Masters: Kubrick, Polanski, and the late style in modern cinema." (Stanley Kubrick)(Roman Polanski)(Critical Essay) Raritan: A Quarterly Review Fall 2001 v21 i2 p29(19)
UC users only
The article examines the apparent paradox of sensuality and social distance in the works of filmmakers Stanley Kubrick and Roman Polanski, and the emotional suffering inherent in that schism. Discussion centers on Polanski's 'The Ninth Gate' and Kubrick's 'Eyes Wide Shut.'

Perilli, P.
"Roman Polanski: circularity and fate." L'Architettura v. 47 (August 2001) p. 487-92
UC users only
"The work of Polish filmmaker Roman Polanski is discussed. The writer examines a number of Polanski's movies, including The Fearless Vampire Killers, Rosemary's Baby, Chinatown, and The Tenant. In particular, he considers the filmmaker's choice of interior and exterior locations, the backgrounds in his work, and his fruitful, radiant blending of genres." [Art Index]

Sarris, Andrew
"The Perils of Polanski." Film Comment; May/Jun2010, Vol. 46 Issue 3, p20-21, 2p
UC users only
"The article features film director Roman Polanski and several of his films. It cites that Polanski's first film "Knife in the Water" has made him an overnight celebrity. His other films include "The Pianist," which is about the Holocaust, "Repulsion," and "The Fearless Vampire Killers." His film "The Ghost Writer" presents a resemblance to his scandal-ridden predicament wherein he faces possible extradition to Los Angeles, California from Switzerland concerning a 1977 sex crime conviction." {EBSCO]

Thompson, David.
"I make films for adults." (views of film director Roman Polanski)(Interview) Sight and Sound April 1995 v5 n4 p6(6)
"Film director, Roman Polanski, expresses his opinions on his films such as 'Death and the Maiden,' 'Bitter Moon' and 'Frantic' and discusses techniques adopted by him in his films. Films such as 'Odd Man Out' and 'Hamlet' have influenced him and the influence of the theory of search for truth which is present in 'Citizen Kane' and 'Rashomon' can be seen in his film 'Death and the Maiden.' Polanski will be making an animation thriller which aims at an adult audience." [Expanded Academic Index]

Vaucher, Andrea R.
"Roman oratory: controversial filmmaker Roman Polanski gives a rare - and candid - interview." ) American Film April 1991 v16 n4 p38(4)
"Filmmaker and actor Roman Polanski made films that received critical acclaim on the international circuit in the late 1960s. At the same time that his artistic imprint became widely recognized, however, his controversial personal life began to unravel. In 1977, after pleading guilty to a charge of unlawful sexual intercourse with an adolescent girl, he fled the United States. In an interview, Polanski discusses his upcoming trial involving the 1977 charge, his experiences working as an actor on Back in the USSR, the Eastern bloc, his life in America, AIDS, his marriage, his plans for having children, and filmmaking." [Art Index]E

Weinberg, G.
"Interview with Roman Polanski." Sight & Sound v. 33 no. 1 (Winter 1963-1964) p. 32-3

Weschler, Lawrence
"Artist in exile." (biography of Roman Polanski) The New Yorker Dec 5, 1994 v70 n40 p88(19)
"Director Polanski's films reflect his own tortuous and violent life experiences, including his latest work, 'Death and the Maiden.' His films, family life and experiences as a victim of the holocaust in Poland, an accused rapist and the husband of a murdered Sharon Tate are discussed." [Expanded Academic Index]

Books & Articles on Individual Films

Chinatown

Alovisio, Silvio
Roman Polanski : Chinatown / Silvio Alovisio. Torino : Lindau, 2002.
Main (Gardner) Stacks PN1997.C46447 A46 2002

Babener, Liahna K.
"Chinatown, City of Blight." In: Los Angeles in Fiction: A Collection of Essays: From James M. Cain to Walter Mosley / edited by David Fine. pp: 273-85. Rev. ed. Albuquerque: University of New Mexico Press, c1995.
UCB Main PS374.L57 L6 1995
UCB Moffitt PS374.L57 L6 1995

Belton, John.
"Language, Oedipus, and Chinatown." MLN, vol. 106 no. 5. 1991 Dec. pp: 933-50. UCB Users Only

Biskind, Peter.
"The Low Road to Chinatown." Premiere: The Movie Magazine, vol. 7 no. 10. 1994 June. pp: 68-78.

Bottiggi, William D.
"The Importance of 'C - ing' in Earnest: A Comparison of The Maltese Falcon and Chinatown." Armchair Detective, New York, NY. ISSUE: vol. 14 no. 1. Winter 1981. pp: 86-87.

Bottiggi, William D.
"The Importance of 'C - ing' in Earnest: A Comparison of The Maltese Falcon and Chinatown." Armchair Detective, New York, NY. ISSUE: vol. 14 no. 1. Winter 1981. pp: 86-87.

Cawelti, John G.
"Chinatown and Generic Transformation in Recent American Films." In: Film Genre Reader II / edited by Barry Keith Grant. pp: 227-45. 1st ed. Austin: University of Texas Press, 1995.
UCB Main PN1995 .F45792 1995 pp: 227-45.

Cooper, S.
"Sex/Knowledge/Power in the Detective Genre." Film Quarterly, XLII/3, Spring 89; p.23-31.
UC users only
Four detective films - "The Maltese Falcon", "The Big Heat", "Chinatown", "Angel Heart" - used to discuss characteristics of male-female relationships within the genre, notably the woman's withholding of knowledge sought by the man.

Deutsche, Rosalyn.
"Chinatown, Part Four? What Jake Forgets about Downtown." Assemblage: A Critical Journal of Architecture and Design Culture, vol. 20. 1993 Apr. pp: 32-33.
UC users only

dOcarmo, Stephen N.
"Postmodernist Quietism in Polanski's Chinatown and Lynch's Mulholland Drive." Journal of Popular Culture, vol. 42, no. 4, pp. 646-662, Aug 2009
UC users only

Fawell, John.
"Cruel Fates: Parallels between Roman Polanski's Chinatown and Sophocles's Oedipus Rex." Armchair Detective, vol. 29 no. 2. 1996 Spring. pp: 178-85.

Galperin, William.
"'Bad for the Glass': Representation and Filmic Deconstruction in Chinatown and Chan Is Missing." MLN, vol. 102 no. 5. 1987 Dec. pp: 1151-1170.
UCB Users Only

Gamel, Mary-Kay.
"An American tragedy: "Chinatown."" In: Classical myth & culture in the cinema / edited by Martin M. Winkler. Oxford ; New York : Oxford University Press, 2001.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.M96 C59 2001
Pacific Film Archive PN1995.9.M96 C59 2001

Gamel, Mary-Kay.
"An American tragedy: "Chinatown."" Bucknell Review, 1991, Vol. 35 Issue 1, p209-231, 23p

Gilmore, Richard
"The dark sublimity of Chinatown." In: The philosophy of neo-noir Edited by Mark T. Conard. Lexington, Ky. : University Press of Kentucky, c2007.
MAIN: PN1995.9.F54 P56 2007
Table of contents only http://www.loc.gov/catdir/toc/ecip072/2006032084.html

Hausladen, Gary J.; Starrs, Paul F.
"L.A. Noir." Journal of Cultural Geography, Fall/Winter2005, Vol. 23 Issue 1, p43-69, 27p
UC users only

Horowitz, M.
Fault lines." Film Comment Vol XXVI nr 6 (Nov-Dec 1990); p 52-55,57-58
"Of all the screenplays that Robert Towne has written, critics treat Chinatown as his definitive statement, but in reality it is not representative of his work. Towne never intended to create a classic of despair when he wrote the script. His artistic agenda diverged from that of director Roman Polanski, who wrote the crucial end of the film. Because of Chinatown, Towne acquired a reputation for pessimism despite intending something far more equivocal; he was also given too much credit for the film's tight plot structure. In fact, plot construction is not one of Towne's strengths. He is better at creating characters and using symbolic objects as focal points for the shifting meanings that surround his characters. Several other films that Towne has scripted are discussed, including The Last Detail, Shampoo, Personal Best, Tequila Sunrise, and The Two Jakes." [Art Index]

Iorio, Paul
"Sleuthing 'Chinatown'; Director Roman Polanski and writer Robert Towne fought and fought over the script and yet produced a classic." Los Angeles Times. Jul 8, 1999. p. 6
UCB Users Only

Jameson, Richard T.
"Film noir: today; Son of noir." Film Comment Vol X nr 6 (Nov-Dec 1974); p 30-33
Recent trends in 'film noir', emphasizing 'Gumshoe', 'The long goodbye' and 'Chinatown'.

Kaplan, F.
"Chinatown." Cineaste Vol VI nr 3 (1974); p 38-39

Kavanagh, J.
"Chinatown: other places other times." Jump Cut nr 3 (Sept-Oct 1974); p 1,8

Kimball, A. Samuel .
"Laius a tergo, the symbolic order, the production of the future: Chinatown's primal scene." Literature and Psychology. 2002. Vol. 48, Iss. 1/2; p. 1 (31 pages)
UCB Users Only

Leitch, Thomas M.
"Chinatown and the Private-Eye Film." In: Crime films Cambridge ; New York : Cambridge University Press, 2002.
Full-text of this book available online via ebrary [UC Berkeley users only]
UCB Main PN1995.9.D4 L45 2002

Lev, Peter
" Disaster and Conspiracy: Airport, The Poseidon Adventure, Jaws, The Parallax View, Chinatown." In: American films of the 70s : conflicting visions / Peter Lev. Austin, TX : University of Texas Press, 2000
Full text available online (UCB users only)
Main (Gardner) Stacks PN1993.5.U6 L44 2000
Moffitt PN1993.5.U6 L44 2000

Linderman, D.
"Oedipus in Chinatown." Enclitic, 5/6 (1981/82) pp: 190-203
"Chinatown" is analysed as an Oedipal text in an attempt to define what is loosely called the classical text.

Lippert, Renate.
"Was ist los mit Mrs. Mulwray?" (German) Frauen & Film, Mar 1990, Issue 48, p44-55, 12p

Lynch, Karen.
"Orientation via Orientalism: Chinatown in Detective Narratives." Popular Culture Review. 11(1):13-29. 2000 Feb.

Lyons, Donald
"Flaws in the iris." Film Comment Vol XXIX nr 4 (July-Aug 1993); p 44-45,47-49,51-53
UCB Users Only
"Some 20 years since their release, Robert Altman's The Long Goodbye and Roman Polanski's Chinatown--2 films that recall the private-eye, or PI, genre that was popular from the 1930s through the early 1950s--remain the sole masterpieces of neo-noir. In making The Long Goodbye, which stars Elliott Gould, Sterling Hayden, and Nina van Pallandt, Altman chose the deconstructivist route in the belief that the only fresh way to make a PI movie was to do a movie about PI moviemaking. Polanski, on the other hand, chose a classic treatment that resulted in a picture that had the feel of what a 1937 PI movie might look like with A-picture treatment and anachronistic technology. The article discusses the films' storylines and how the directors brought them to life." [Art Index}

Maine, Barry
"Rotten to the Core: Voyeurism in the Detective Film." Virginia Quarterly Review; Winter85, Vol. 61 Issue 1, p106-116, 11p
UCB Users Only

Man, Glenn.
"Marginality and Centrality: The Myth of Asia in 1970s Hollywood. East-West Film Journal, vol. 8 no. 1. 1994 Jan. pp: 52-67.

MacDonald, Scott
"The City as Motion Picture: Notes on Some California City Films." Wide Angle 19.4 (1997) 109-130

Man, G.
"Marginality and centrality: the myth of Asia in 1970s Hollywood." East-West Film Journal; Jan.1994, Vol. 8 Issue 1, p52-68, 17p

Martin, Adrian
"Landscapes of the Mind: The Cinema of Roman Polanski." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 15, pp. (no pagination), July 2001

Martineau, Barbara Halpern.
"Critical dialogue- Chinatown's sexism." Jump Cut; November/December, 1974 Issue 4, p24, 1p

Maxfield, James.
"'The Injustice of It All': Polanski's Revision of the Private Eye Genre in Chinatown." In: The detective in American fiction, film, and television
Edited by Jerome H. Delamater and Ruth Prigozy. pp: 93-102. Westport, Conn.: Greenwood Press, 1998. Series title: Contributions to the study of popular culture no. 63.
UCB Main PS374.D4 D48 1998

McGinnis, Wayne D.
""Chinatown": Roman Polanski's Contemporary Oedipus Story." Literature/Film Quarterly 3:3 (1975:Summer) 249
UC users only

McGowman, John.
"Oedipus at the Movies." Southern Humanities Review, vol. 20 no. 1. 1986 Winter. pp: 1-11.

Novak, Phillip
"The Chinatown Syndrome." Criticism: A Quarterly for Literature and the Arts, vol. 49, no. 3, pp. 255-283, Summer 2007
UC users only

O'Halloran, Kay L.
"Visual Semiosis in Film." In: Multimodal discourse analysis : systemic-functional perspectives / edited by Kay L. O'Halloran.London : Continuum, 2004.
Main Stack P302.M84 2004

Oliver, Bill
""The Long Goodbye" and "Chinatown": Debunking the Private Eye Tradition." Literature/Film Quarterly 3:3 (1975:Summer) 240
UC users only

Palmer, R. Barton
""Chinatown" and the Detective Story." Literature/Film Quarterly 5:2 (1977:Spring) 112
UC users only

Patzig, Johannes
"Crisis of Americanism in Hollywood's Paranoia Films of the 1970s: The Conversation, Chinatown and Three Days of the Condor." PhiN: Philologie im Netz, vol. 40, pp. 32-66, 2007

Polan, Dana
"Chinatown: Politics as Perspective, Perspective as Politics." In: The cinema of Roman Polanski : dark spaces of the world / edited by John Orr & Elzbieta Ostrowska. London : Wallflower, 2006.
Main Stack PN1998.3.P65.C56 2006

Gilmore, Richard
"The dark sublimity of Chinatown." In: The philosophy of neo-noir Edited by Mark T. Conard. Lexington, Ky. : University Press of Kentucky, c2007.
MAIN: PN1995.9.F54 P56 2007
Table of contents only http://www.loc.gov/catdir/toc/ecip072/2006032084.html

Schuler, Jeanne; Murray, Patrick
"'Anything Is Possible Here': Capitalism, Neo-Noir, and Chinatown." In: The philosophy of neo-noir Edited by Mark T. Conard. Lexington, Ky. : University Press of Kentucky, c2007.
MAIN: PN1995.9.F54 P56 2007
Table of contents only http://www.loc.gov/catdir/toc/ecip072/2006032084.html

Scott, Ian S.
"'Either you bring the water to L.A. or you bring L.A. to the water': Politics, Perceptions and the Pursuit of History in Roman Polanski?s Chinatown." European Journal of American Studies article 1, put online Oct. 17, 2007.
UC users only

Shepard, Jim
"Jolting noir with a shot of nihilism: it was 25 years ago that 'Chinatown,' to renovate the genre, gave it a new ferocity." The New York Times Feb 7, 1999 s2 pAR24(L) col 1 (19 col in)
UC users only

Shetley, Vernon.
"Incest and Capital in Chinatown." MLN. 114(5):1092-1109. 1999 Dec.
UC users only

Sobchack, Thomas
"Genre Film: A Classical Experience." Literature/Film Quarterly 3:3 (1975:Summer) 196

Sperber, Murray
"'Do as little as possible'; Polanski's message and manipulation." Jump Cut nr 3 (Sept-Oct 1974); p 9-10

Stewart, B.
"'The Long Goodbye' from 'Chinatown'". Film Quarterly, 28:2 (1974/75) pp: 25-32.
UC users only
A comparison of 'The long goodbye' and 'Chinatown' in terms of the detective genre as a whole.

Telotte, J. P.
"The Detective As Dreamer: The Case of The Lady in the Lake." Journal of Popular Film and Television, vol. 12 no. 1. 1984 Spring. pp: 4-15.

Towne, Robert
"Chinatown." Sight and Sound ns9 no10 Oct 1999 supp. p. 1-146
Robert Towne's screenplay for Chinatown, directed by Roman Polanski, is provided

Walling, William
"Chinatown." Volume 12, Number 1 / November, 1974, pp: 73-77

Wilmington, Mike.
"Roman Polanski's "Chinatown"." Velvet Light Trap: A Critical Journal of Film & Television, Fall74 Issue 13, p13-16, 4p

Death and the Maiden

Avelar, Idelber.
"Five Theses on Torture." Journal of Latin American Cultural Studies. 10 (3): 253-71. 2001 Dec.

Crnkovic, Gordana
"Death and the Maiden." (movie reviews) Gordana . Film Quarterly Spring 1997 v50 n3 p39(7)
UC users only

Horne, Philip
"Death and the Maiden." (movie reviews)TLS. Times Literary Supplement May 12, 1995 n4806 p16(1)

James, Caryn
"Death and the Maiden." (movie reviews) The New York Times Dec 23, 1994 v144 pB3(N) pC3(L) col 1 (18 col in)

James, Nick.
"Death and the Maiden." (movie reviews) Sight and Sound April 1995 v5 n4 p40(1)
"Roman Polanski's Death and the Maiden, based on Ariel Dorfman's play, has a serious political and moral debate at its core. It takes place in a South American country, centering on a woman who kidnaps a man she believes was her torturer and who insists that he confess. The film condenses the timescale into one night, giving a tense, real-time pace to the proceedings. The drama comes from internal contradictions in the three characters and the unstable desires thrown up by them." [Art Index]

Kamir, O.
"Cinematic judgment and jurisprudence: a woman's memory, recovery, and justice in a post-traumatic society (a study of Polanski's Death and the maiden)." In: Law on the screen / edited by Austin Sarat, Lawrence Douglas, Martha Merrill Umphrey. Stanford, Calif. : Stanford University Press, 2005.
Main Stack PN1995.9.J8.L42 2005

Klawans, Stuart.
"Death and the Maiden." (movie reviews) The Nation Jan 23, 1995 v260 n3 p107(1) (193 words)

Lane Anthohy
"Death and the Maiden." (movie reviews) The New Yorker Jan 16, 1995 v70 n45 p88(1)

Pawelczak, Andy.
"Death and the Maiden." (movie reviews) Films in Review July-August 1995 v46 n5-6 p54(2)

Pizzello, S.
"Death and the maiden: trial by candlelight" [interview]. American Cinematographer v. 76 (April 1995) p. 56-8+
"In an interview, director Roman Polanski and cinematographer Tonino Delli Colli discuss their careers and collaboration on the film Death and the Maiden. Delli Colli discusses his work with great directors such as Pier Paolo Pasolini, Federico Fellini, Louis Malle, Sergio Leone, and most recently Roman Polanski. He also considers his technical approach toward candlelight, his use of film and lenses, and the use of location and studio shooting in Death and the Maiden. Polanski notes that he became interested in Death and the Maiden because of the philosophy behind it. He talks about such aspects of his work as his collaboration with Delli Colli and his tendency to favor a realistic style." [Art Index]

Polanski, Roman.
"A matter of perception." (interview with film director Roman Polanski)(Interview) Index on Censorship, Nov-Dec 1995 v24 n6 p84(7)
"The multi-faceted vision and naturalism of Roman Polanski's movies are revealed in his film 'Death and the Maiden.' The movie is thriller about crime, punishment and mercy. Polanski has the reputation of gratuitous violence and his masterpiece, 'Chinatown,' was criticized for this reason. Polanski says that violence is a part of life, but children should be prevented from watching violent movies." [Expanded Academic Index]

Thompson, David.
"I make films for adults." (views of film director Roman Polanski)(Interview) Sight and Sound April 1995 v5 n4 p6(6)
"Film director, Roman Polanski, expresses his opinions on his films such as 'Death and the Maiden,' 'Bitter Moon' and 'Frantic' and discusses techniques adopted by him in his films. Films such as 'Odd Man Out' and 'Hamlet' have influenced him and the influence of the theory of search for truth which is present in 'Citizen Kane' and 'Rashomon' can be seen in his film 'Death and the Maiden.' Polanski will be making an animation thriller which aims at an adult audience." [Expanded Academic Index]

Travers, Peter.
"Death and the Maiden." (movie reviews) Rolling Stone Jan 26, 1995 n700 p68(1)

Fearless Vampire Killers

"Fearless vampire killers." (review) Newsweek v. 70 (November 27 1967) p. 98

"Fearless vampire killers." (review) Time v. 90 (November 24 1967) p. 90

Heldreth, L.G.
"Vampires in film and television." [introduction to issue]. Journal of Popular Film and Television v. 27 no. 2 (Summer 1999) p. 2-3

O'Donoghue, Darragh
"Dance of the Vampires/The Fearless Vampire Killers." Senses of Cinema Issue 46, January–March 2008

Rickels, Laurence A.
"Blood: Andy Warhol Presents Dracular and The Fearless Vampire Killers" In: The vampire lectures Minneapolis : University of Minnesota Press, c1999.
MAIN: PN1995.9.V3 R53 1999
Table of Contents: via Google

Frantic

Dupont, Joan.
"Roman Polanski at 54 and 'Frantic.'" The New York Times March 27, 1988 v137 s2 pH29(N) pH29(L) col 1 (30 col in)

Kael, Pauline.
"Frantic." (movie reviews) The New Yorker March 21, 1988 v64 n5 p101(1)

Kauffmann, Stanley.
"Frantic." (movie reviews) The New Republic March 28, 1988 v198 n13 p26(2)

Kroll, Jack.
"Frantic." (movie reviews) Newsweek March 7, 1988 v111 n10 p68(1)

Maslin, Janet
"Frantic." (movie reviews) The New York Times Feb 26, 1988 v137 p13(N) pC3(L) col 1 (16 col in)

Schickel, Richard.
"Frantic." (movie reviews) Time March 14, 1988 v131 n11 p84(1)

Simon, John.
"Frantic." (movie reviews) National Review April 15, 1988 v40 n7 p54(2) (330 words)

Sutton, Martin
"Polanski in profile." Films & Filming nr 408 (Sept 1988); p 23-25,32-33
Profile of director R.P. and review of his latest film "Frantic".

Knife in the Water

"Knife in the Water." Sight and Sound.v38.n1.Winter 1968/69 p.15

Lawton, Anna M.
"The Double: A Dostoevskian Theme in Polanski." Literature/Film Quarterly. 9 (1): 121-129. 1981.
Analyses Polanski's use of the double in "Dance of the vampires" and "N?z w wodzie

Skolimowski, Jerzy.
Knife in the water / [original screenplay by Jerzy Skolimowski, Jakub Goldberg and Roman Polanski ; translated from the ... London : Lorrimer, 1975. (Series: Modern film scripts ; 44) Polanski, Roman. Cul-de-sac. 1975. Repulsion. Cul-de-sac.
Main Stack PN1997.S54

Thompson, David.
"Noz w Wodzie" (Knife in the Water). (movie reviews) Sight and Sound March 1993 v3 n3 p54(1)

Macbeth

Oliver Twist

B., Benjamin
"A Boy's Will." American Cinematographer v. 86 no. 9 (September 2005) p. 30-8, 40-1
UC users only
"The writer discusses the work of cinematographer Pawel Edelman on Oliver Twist, a film directed by Roman Polanski. Based on Charles Dicken's novel, this film about the struggles of a young orphan in England during the Industrial Revolution was shot in the Super 35mm 2.35:1 format using Panaflex Millennium XL and Arri 435 cameras. Edelman shot all the interiors and night scenes on Kodak Vision 500T 5279 stock, and all the day exteriors on Vision2 250D 5205. The lighting strategy included the use of several small lights very close together when shooting close ups to wrap around the face and maintain the feeling of a single source. Work carried out by Edelman and colorist Yvan Lucas in the Digital Intermediate suite enabled the cinematographer to, among other things, heighten the variety of looks for night interiors. The film is marked by the range of gray values the cinematographer has crammed into the dimness or a London street, a foggy square, or a dingy interior." [Art Index]

Douchet, J.
"Twist Again." Cahiers du Cinema no. 612 (May 2006) p. 81

Kemp, P.
"Oliver Twist." Sight & Sound v. ns15 no. 10 (October 2005) p. 80, 82

Travers,Peter
"Polanski's Twist." Rolling Stone. Oct 6, 2005. p. 165 (1 page)

The Pianist

Badt, Karin
"Art after Auschwitz?" (Film Review). (Pianist)(Movie Review)_(movie review) Tikkun May-June 2003 v18 i3 p93(2) (958 words)
UC users only

Blake, Richard A.
"While Warsaw burns." (The Pianist)(Movie Review)_(movie review) America March 24, 2003 v188 i10 p22 (1484 words)
UC users only

Cardullo, Bert.
"Shoot the piano player." (The Pianist)(The Piano Teacher)(Movie Review) The Hudson Review Autumn 2003 v56 i3 p521-530 Portuges
UC users only

Chang, Chris.
"The Pianist." Film Comment. Nov/Dec 2002. Vol. 38, Iss. 6; p. 77 (1 page)
UC users only

Chion, M.
"Mute music: Polanski's The pianist and Campion's The piano." In: Beyond the soundtrack : representing music in cinema / edited by Daniel Goldmark, Lawrence Kramer, Richard Leppert. Berkeley : University of California Press, c2007.
Music ML2075.B475 2007
PFA ML2075.B475 2007

Combs, Richard
"First person singular." Film Comment Vol XXXIX nr 3 (May-June 2003); p 52-53
UC users only
Looks at Roman Polanski's film "The pianist" as a return to the director's aesthetic roots

"Culture Vulture: Polanski's 'Pianist'." United Press International Nov 8, 2002 p1008312w3413 (682 words)

Denby, David.
"Nocturnes." ("The Pianist")(Critical Essay) The New Yorker Jan 13, 2003 v78 i42 p090 (1449 words)

Diamond, Diana
"Passion for Survival in Polanski's The Pianist." Psychoanalytic Inquiry. New York: Sep/Oct 2007. Vol. 27, Iss. 4; p. 425 (15 pages)
UC users only

Green, Peter S.
"Polanski film about holocaust and suffering in Poland." (Roman Polanski)(Living Arts Pages) The New York Times Sept 6, 2001 pB2(N) pE2(L) col 3 (40 col in)

Henriksen, Jan-Olav.
"Grace—and Lack Thereof: A Different Angle on the Horrible and Unrepresentable in Polanski's The Pianist." Dialog: A Journal of Theology, Spring2007, Vol. 46 Issue 1, p55-65, 11p
UC users only

James, Clive
"Chamber music of horrors: life in the Warsaw ghetto - and the odds against it." ('The Pianist')(Movie Review) TLS. Times Literary Supplement Jan 31, 2003 i5209 p18(2)

Kerr, Philip
"A life less ordinary: Philip Kerr finds that Roman Polanski's Holocaust story doesn't hit a false note." (Film). New Statesman (1996) Jan 27, 2003 v132 i4622 p46(1) (769 words)
UC users only

Klawans, Stuart.
"Polanski's Holocaust." (Movie Review)_(movie review) The Nation Jan 6, 2003 v276 i1 p36 (1965 words)
UC users only

Kossc, Wojtek.
"Weirdness through Simplicity: Roman Polanski's The Pianist (2002." Kinoeye. 2 (20): (no pagination). 2002 Dec 16.

Mazierska, Ewa.
"Double Memory: The Holocaust in Polish Film." In: Holocaust and the moving image : representations in film and television since 1933 / edited by Toby London ; New York : Wallflower, 2005.
Main (Gardner) Stacks PN1995.9.H53 H65 2005

Mazierska, Ewa.
"From Participant to Observer: Autobiographic Discourse in the Films of Jerzy Skolimowski." Kinema, Fall2008, Issue 30, p17-40, 24p

Oren, Michael B.
"Schindler's Liszt - Roman Polanski's mistake about the Holocaust." The New Republic March 17, 2003 p25(1) (2766 words)

Portuges, Catherine.
"The Pianist.." (Movie Review) American Historical Review April 2003 v108 i2 p622-623

Quart, Leonard.
"The Pianist." (Film Reviews). (Movie Review) Cineaste Summer 2003 v28 i3 p42(4) (2001 words)
UC users only
" A review of The Pianist, directed by Roman Polanski. This film is adapted from Warsaw concert pianist and composer Wladyslaw (Wladek) Szpilman's plainly written but moving 1946 memoir of the same name, about his experience in, and escape from, the Warsaw Ghetto. Szpilman is performed with grace, muted expressiveness, and power by Adrien Brody. Polanski's most personal, most constrained, and least perverse film, The Pianist possesses a solidity and gravity that get closer to the heart of the Holocaust than any other narrative film. Remarkably devoid of melodrama, suspense, and voyeurism, it has a cumulative power that comes from Polanski's gift for compression and quiet intelligence, and his willingness to trust in simply telling the unadorned truth." [Art Index]

Terrence Rafferty.
"Polanski and the Landscape of Aloneness." New York Times (Late Edition (East Coast)). New York, N.Y.: Jan 26, 2003. p. 2.1
UC users only

Scott, A.O.
"Surviving the Warsaw Ghetto against steep odds." ('The Pianist')(Movie Review) The New York Times Dec 27, 2002 pB20(N) pE19(L) col 3 (35 col in)

Skaff, Sheila.
"The Birdcage Is Empty." Kinoeye. 3 (2): (no pagination). 2003 Feb 3.

Stein, Alexander.
"Music and Trauma in Polanski's The Pianist (2002)." Psychoanalytic Inquiry. Sep/Oct 2007. Vol. 27, Iss. 4; p. 440 (15 pages)
UC users only

Thomas, Dana
"A Tale of Two Survivors." (movie review) Newsweek International Oct 7, 2002 p64 (938 words)

Thompson, David
"The Pianist." Sight & Sound v. ns13 no. 2 (February 2003) p. 57-8
UC users only
"The power of Polanski's Holocaust drama comes mainly from its dogged adherence to fact as well as its grim humor and restraint. It is far greater than the director's track record suggested it might by, a film of sustained tension and ferocious clarity. It is as near-perfect a union of subject and artist as could be imagined." [Art Index]

Tsiolkas, Christos.
"The Atheist's Shoah: Roman Polanski's The Pianist." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 26: (no pagination). 2003 May-June.

Yacowar, Maurice
"Survivors." (The Pianist)(Movie Review)_(movie review) Queen's Quarterly Spring 2003 v110 i1 p43(8) (2018 words)

Repulsion

Bisplinghoff, Gretchen.
"Codes of feminine madness." Film Reader nr 5 (1982); p 37-40.

Devereaux, Michelle.
"Mod Murder: Death and Desire in Swinging London Film." Forum: University of Edinburgh Postgraduate Journal of Culture and the Arts
UC users only

Fischer, Lucy.
"Beauty and the Beast: Desire and Its Double in Repulision." In: The cinema of Roman Polanski / edited by John Orr & Elzbieta Ostrowska. London : Wallflower, 2006.
Main Stack PN1998.3.P65.C56 2006

Freeland, Cynthia A.
"Feminist Frameworks for Horror Films." In: Post-theory : reconstructing film studies / edited by David Bordwell and Noel Carroll. Madison : University of Wisconsin Press, c1996.
Main Stack PN1994.P6565 1996

Shonfield, Katherine
"These Walls Have Feelings: The Interiors of Repulsion and Rosemary's Baby." In: Walls have feelings : architecture, film and the city London ; New York : Routledge, 2000.
Full text available online (UCB users only)
UCB ENVI: PN1995.9.C513 S535 2000
UCB MAIN: PN1995.9.C513 S535 2000

Truffot, Didier
"The Eye Boundary: Repulsion." Senses of Cinema

Rosemary's Baby

Berenstein, Rhona.
"Mommie Dearest: Aliens, Rosemary's Baby and Mothering." Journal of Popular Culture 1990 24(2): 55-73.
UC users only
"Analyzes the nature-culture, motherhood-monsterhood dualism inherent in the horror movies Rosemary's Baby (1968) and Aliens (1986) within the context of contemporary patriarchal American society. Both films suggest that women understand their relationship to culture, and that the power of their reproductive capacity terrifies the patriarchy as it demands a sense of reverence." [America: History and Life]

Chappetta, R.
"Rosemary's baby." Film Quarterly v. 22 no. 3 (Spring 1969) p. 35-8
UC users only

Diski, Jenny
"Sitting inside." (Roman Polanski's film 'Rosemary's Baby') Sight and Sound April 1995 v5 n4 p12(2)
"Roman Polanski's film 'Rosemary's Baby,' in which the heroine goes through the traumatic experience of carrying and delivering Satan's baby, indirectly reveals a woman's psychological processes during pregnancy. The film portrays man's hatred and jealousy toward pregnancy as he does not participate in it and woman's powerlessness in the process of creating a life. The film conveys Polanski's ideas about women that reveal a dislike toward women but sensitivity to their feelings." [Expanded Academic Index]

Fife, Lucy
"Human Monstrosity: Rape, Ambiguity and Performance in Rosemary's Baby." In: Hosting the monster
Edited by Holly Lynn Baumgartner, Roger Davis. Amsterdam ; New York, NY : Rodopi, 2008.
Main (Gardner) Stacks PN56.M55 H68 2008

Fischer, Lucy.
"Birth Traumas: Parturition and Horrors in Rosemary's Baby." Cinema Journal, Spring92, Vol. 31 Issue 3, p3-18, 16p
UC users only

Fischer, Lucy.
"Birth Traumas: Parturition and Horrors in Rosemary's Baby." In: The dread of difference : gender and the horror film / edited by Barry Keith Grant. pp: 412-31. 1st ed. Austin : University of Texas Press, 1996. Texas film studies series.
Main Stack PN1995.9.H6.D74 1996
Also in:
Cinematernity : film, motherhood, genre / Lucy Fischer. Princeton, N.J. : Princeton University Press, c1996.
Main Stack PN1995.9.W6.F565 1996

Freeland, Cynthia A.
"Feminist Frameworks for Horror Films." In: Post-theory : reconstructing film studies / edited by David Bordwell and Noel Carroll. pp: 195-218 Madison : University of Wisconsin Press, c1996. Wisconsin studies in film.
Grad Svcs PN1994.P6565 1996 Non-circulating; may be used only in Graduate Services.
Main Stack PN1994.P6565 1996

Heffernan, James A. W.
"Demon children and the birth of adult horror: William Castle, Roman Polanski, and Rosemary's baby." / Kevin Heffernan. Durham : Duke University Press, 2004.
Main Stack PN1995.9.H6.H45 2004 How to See the Horror: The Hostile Fetus in Rosemary's Baby and Alien

Hoffman, A. Robin
"How to See the Horror: The Hostile Fetus in Rosemary's Baby and Alien" Lit: Literature Interpretation Theory Volume 22, Issue 3, July 2011, pages 239-261
UC users only

Houston, Beverle; Kinder, Marsha
"Rosemary's Baby." Sight and Sound 38:1 [Winter 1968/1969] p. 17

Lynn, Rick
"Did Rosemary's Baby Really Tell It Like It Is?" Cineaste - America's Leading Magazine on the Art and Politics of the Cinema 2:2 [Fall 1968] p. 15

McElhaney, Joe
"Rosemary's Baby, Polanski, New York." In: City that never sleeps : New York and the filmic imagination / edited by Murray Pomerance. New Brunswick, N.J. : Rutgers University Press, c2007.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.N49 C58 2007

Newman, Kim.
Devil Movies or: If the Mousse Tastes Chalky, Don't Eat It." In: Nightmare movies / by Kim Newman. New York : Harmony Books, 1989.
Moffitt PN1995.9.H6 N4 1989 c.11

"Rosemary's baby." (review) America v. 119 (July 20 1968) p. 51-2

"Rosemary's baby." (review) The Nation v. 207 (July 22 1968) p. 60-1

"Rosemary's baby." (review) The New Republic v. 158 (June 15 1968) p. 26

"Rosemary's baby." (review) The New Yorker v. 44 (June 15 1968) p. 87-9

"Rosemary's baby." (review) Saturday Review v. 51 (June 15 1968) p. 49

"Rosemary's baby."(review) Time v. 91 (June 21 1968) p. 84

Shonfield, Katherine
"These Walls Have Feelings: The Interiors of Repulsion and Rosemary's Baby." In: Walls have feelings : architecture, film and the city London ; New York : Routledge, 2000.
Full text available online (UCB users only)
UCB ENVI: PN1995.9.C513 S535 2000
UCB MAIN: PN1995.9.C513 S535 2000

Sobchack, Vivian.
"Bringing It All Back Home: Family Economy and Generic Exchange." In: The dread of difference : gender and the horror film / edited by Barry Keith Grant. pp: 143-63. 1st ed. Austin : University of Texas Press, 1996. Texas film studies series.
Main Stack PN1995.9.H6.D74 1996

Sullivan, Daniel; Greenberg, Jeff; Landau, Mark J.
"Toward a New Understanding of Two Films from the Dark Side: Utilizing Terror Management Theory to Analyze Rosemary's Baby and Straw Dogs." Journal of Popular Film and Television Volume 37, Number 4 / Winter 2009
UC users only

Tarratt, Margaret
"Rosemary's baby." Screen 1969 10: 90-96
UC users only

Valerius, Karyn.
""Rosemary's Baby," Gothic Pregnancy, and Fetal Subjects." College Literature, Summer2005, Vol. 32 Issue 3, p116-135, 20p
UC users only

Walker, Alexander.
"Sins of the father : Rosemary's baby -- Rosemary's babyfood." IOn: Double takes : notes and afterthoughts on the movies, 1956-76 / [by] Alexander Walker. London : Elm Tree Books, 1977.
Main Stack PN1995.W34 1977

Wexman, Virginia Wright
"The trauma of infancy in Roman Polanski's Rosemary's baby." In: American horrors : essays on the modern American horror film / edited by Gregory A. Waller. Urbana : University of Illinois Press, c1987.
Main Stack PN1995.9.H6.A391 1987
Moffitt PN1995.9.H6.A39 1987

The Tenant

Marciniak, Katarzyna
"Cinematic Exile: Performing the Foreign Body on Screen in Roman Polanski's The Tenant." Camera Obscura May 2000 pIV (14361 words)
UC users only
"Discusses Roman Polanski's "Le locataire" as a cinematic narrative of exile and presents the film as a passionate critique of phobic nationalism and the obsessive desire to guard national boarders against strangers-foreigners who are coded as undesirable intruders and stigmatized as others." [FIAF]

Smuts, Aaron.
"Sympathetic Spectators: Roman Polanski's Le Locataire (The Tenant, 1976)." Kinoeye. 2 (3): (no pagination). 2002 Feb

Toles, G.E.
"This may hurt a little: the art of humiliation in film." Film Quarterly v. 48 (Summer 1995) p. 2-14
UC users only
Narrative films abound in humiliation scenes. Their structure commonly traces a movement from a scalding exposure to a partial replenishment of dignity. The hole that has burned open in a character's self-image is usually closed up by a surge of spectator sympathy/identification that has been orchestrated by the director. The camera takes the audience to the edge of what it can bear to witness of another's writhing in shame, then answers its need for a reprieve, providing some sort of image protection or veiling which the audience is tempted to regard as its own doing. The writer offers detailed examples of the mechanism of humiliation in the following films: The Best Years of Our Lives (William Wyler, 1946); The Tenant (Roman Polanski, 1976); Humoresque (Jean Negulesco, 1946); and The Blue Angel (Josef von Sternberg, 1930)."[Art Index]

Williams, Linda
"Film madness: the uncanny return of the repressed in Polanski's The tenant." Cinema Journal Vol XX nr 2 (Spring 1981); p 63-73
UC users only
Traces the madness theme in "Le locataire" and how this film relates to others of the same genre.

Tess

Blake, Richard A.
"Tess." (movie reviews) America Jan 31, 1981 v144 p83(2)

Bullen, J. B.
"Is Hardy a 'Cinematic Novelist'?: The Problem of AdaptationIs Hardy a 'Cinematic Novelist'?: The Problem of Adaptation." The Yearbook of English Studies, Vol. 20, Literature in the Modern Media: Radio, Film, and Television Special Number (1990), pp. 48-59
UC users only

Burrill, Timothy
"Tess." (movie reviews) Sight and Sound July 1996 v6 n7 p59(1)

Canby, Vincent.
"Culling gems from flawed movies." The New York Times April 5, 1981 v130 s2 pD15 col 4 (32 col in)

Costanzo, William V.
"Polanski in Wessex: Filming Tess of the d'Urbervilles." Literature/ Film Quarterly vol. 9 no. 2. 1981. pp: 71-78.
UC users only

Elliott, Kamilla
"Live-action Figures: Thomas Hardy's Tess of the d'Urbervilles (1897) and Roman Polanski's Tess (1979)." In: Rethinking the novel/film debate Cambridge, U.K. ; New York : Cambridge University Press, 2003.
MAIN: PN1997.85 .E44 2003

Fierz, Charles L.
"Polanski misses: a critical essay concerning Polanski's reading of Hardy's 'Tess'." Literature-Film Quarterly v27, n2 (April, 1999):103 (7 pages).
UC users only
"Roman Polanski's film adaptation of Thomas Hardy's novel, 'Tess of the D'Ubervilles,' suffers from misinterpretation of the character of Tess and the role her family plays in her downfall. The film portrays Tess as female victim oppressed by patriarchy, yet the text emphasizes the influence of her disfunctional family, rather than her gender, on her position." [Expanded Academic Index]

Fleissner, R. F.
"Lear and Polanski's Tess." Shakespeare on Film Newsletter. 7 (2): 3, 7. 1983 Apr..

Harmetz, Aljean.
"Panski sends us 'Tess' as his envoy." The New York Times Dec 11, 1980 v130 p20(N) pC19(LC) col 1 (28 col in)

Harris, Margaret.
"Thomas Hardy's Tess of the d'Urbervilles: Faithfully Presented by Roman Polanski?" Sydney Studies in English vol. 7. 1981-1982. pp: 115-122.

Maslin, Janet.
"Tess." (movie reviews) The New York Times Dec 12, 1980 v130 p18 col 1 (22 col in)

Niemeyer, Paul J.
Seeing Hardy: film and television adaptations of the fiction of Thomas Hardy / by Paul J. Niemeyer. Jefferson, N.C.: McFarland & Co., c2003.
Main Stack PR4757.F55.N54 2003

Rankin, Arthur
"Painterly Moments in Roman Polanski's Tess." Senses of Cinema,

Sadoff, Dianne Fallon.
"Looking at Tess: The Female Figure in Two Narrative Media." The Sense of Sex: Feminist Perspectives on Hardy / edited by Margaret R. Higonnet. pp: 149-71. Urbana: University of Illinois Press, c1993.
UCB Main PR4757.F44 S46 1993

Selby, Keith.
"Hardy, History and Hokum." In: The classic novel: from page to screen / edited by Robert Giddings and Erica Sheen. pp: 93-113. Manchester: Manchester University Press, c2000.
Main Stack PN1995.3.C53 2000

Thomas Hardy on screen
Edited by T.R. Wright. Cambridge, UK ; New York : Cambridge University Press, 2005.
Main Stack PR4757.F55.T48 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0512/2005012512.html

Veidemanis, Gladys V.
Tess of the D'Urbervilles: What the Film Left Out. English Journal vol. 77 no. 7. 1988 Nov. pp: 53-57.
UC users only

Waldman, Nell Kozak.
"All That She Is: Hardy's Tess and Polanski's." Queen's Quarterly vol. 88 no. 3. 1981 Autumn. pp: 429-436.

Webster, Roger.
"Reproducing Hardy: Familiar and Unfamiliar Versions of Far from the Madding Crowd and Tess of the D'Urbervilles." Critical Survey vol. 5 no. 2. 1993. pp: 143-51.

Widdowson, Peter.
"A 'Tragedy of Modern Life?' Polanski's Tess." In: Tess of the d'Urbervilles/Thomas Hardy / edited by Peter Widdowson. pp: 95-108. New York: St. Martin's Press, 1993. Series title: New casebooks.
UCB Main PR4748 .T37 1993
UCB Moffitt PR4748 .T37 1993)



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