Woody Allen:
A Bibliography of Materials in the UC Berkeley Library

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Journal Articles

Articles and Books on Individual films

Movies by Director videography for works of Woody Allen in MRC


Allen, Woody.
Four films of Woody Allen (Annie Hall -- Interiors -- Manhattan -- Stardust memories) Allen, Woody. New York : Random House, [1982]
Main (Gardner) Stacks PS3551.L44 A6 1982
Pacific Film Archive PS3551.L44 A6 1982

Allen, Woody.
Woody Allen : interviews / edited by Robert E. Kapsis and Kathie Coblentz. Jackson : University Press of Mississippi, 2006.
Main (Gardner) Stacks

Allen, Woody.
Woody Allen on Woody Allen / in conversation with Stig Bjorkman. 1st American ed. New York: Grove Press, 1995.
UCB Main PN1998.3.A45 A5 1995
UCB Moffitt PN1998.3.A45 A5 1995

Bailey, Peter J.
The reluctant film art of Woody AllenLexington: University Press of Kentucky, c2001.
MAIN: PN1998.3.A45 B35 2001
Pacific Film Archive PN1998.3.A26 B34 2003 (another edition)

Baxter, John.
Woody Allen: a biography. 1st Carroll & Graf ed. New York: Carroll & Graf Publishers, Inc., 1999, c1998.
Main Stack PN2287.A53 B38 1999

Beach, Christopher.
"Is there a class in this text: Woody Allen and postmodern comedy." In: Class, language and American film comedy / Christopher Beach. Cambridge, U.K.; New York: Cambridge University Press, 2002.
Main Stack PN1995.9.C55.B43 2002

Benayoun, Robert.
The Films of Woody Allen / Robert Benayoun; translated by Alexander Walker. New York: Harmony Books, c1986.
UCB Morrison PN1998.A3 A5673131 1986

Blake, Richard Aloysius.
Woody Allen: Profane and Sacred / by Richard A. Blake. Lanham, Md.: Scarecrow Press, c995.
UCB Main PN1998.3.A45 B63 1995
UCB Moffitt PN1998.3.A45 B63 1995

Blake, Richard Aloysius.
Woody Allen : profane and sacred / by Richard A. Blake. Lanham, Md. : Scarecrow Press, c1995.
Main (Gardner) Stacks PN1998.3.A45 B63 1995
Moffitt PN1998.3.A45 B63 1995

Brode, Douglas
"Woody Allen: The Clown As Tragic Hero." In: Fools and Jesters in Literature, Art, and History: A Bio-BibliographicalSourcebook / edited by Vicki K. Janik. pp: 25-32.Westport, Conn.: Greenwood Press, 1998.
Doe Refe PN1583.F66 1998 Biographies Non-circulating.

Brode, Douglas
Woody Allen: His Films and Career / by Douglas Brode. Secaucus, N.J.: Citadel Press, c1985.
UCB Main PN2287.A53 B761 1985

But We Need the Eggs: The Magic of Woody Allen
by Diane Jacobs. 1sted. New York: St. Martin's Press, c1982.
UCB Main PN2287.A53 J31 1982

Clara, Dirk.
Les mondes paralleles de Woody AllenNew Orleans: Presses Universitaires du Nouveau Monde, 2002.
MAIN: PN1998.3.A45 C53 2002

Cohen, Alain J. J.
"Woody Allen and Freud." In: Celluloid couches, cinematic clients : psychoanalysis and psychotherapy in the movies / edited by Jerrold R. Brandell. Albany : State University of New York Press, c2004.
Main (Gardner) Stacks PN1995.9.P783 C47 2004

Colombani, Florence.
Woody Allen / Florence Colombani. Paris : Cahiers du cinéma, c2010, c2007.
Pacific Film Archive PN1998.3.A26 C6 2010

Delahanty, Guillermo.
Woody Allen: Masoquismo Ironico o Critica al Sometimiento / Guillermo Delahanty Matuk. Mexico, D.F.: Universidad Autonoma Metropolitana-Xochimilco, Division de Ciencias Sociales y Humanidades, Departamento de Educacion y Comunicacion, Taller de Investigacion en Comunicacion Masiva, 1981. Series title: Cuadernos del TICOM; no. 12.
UCB Main PN2287.A53 D4 1981

Desser, David.
"Woody Allen : the Schlemiel as modern philosopher." In: American-Jewish filmmakers: traditions and trends / David Desser and Lester D. Friedman. Urbana: University of Illinois Press, c1993.
Main Stack PN1998.2.D47 1993

Dunne, Michael
"Mel Brooks and Woody Allen: Purple Memories of Blazing Spaceballs." In: Metapop: Self-referentiality in Contemporary American Popular Culture / Michael Dunne. pp: 59-86. Jackson: University Press of Mississippi, c1992. Studies in popular culture (Jackson, Miss.)
Main Stack E169.12.D86 1992
MoffittE169.12.D86 1992

Feldstein, Richard.
"Displaced Feminine Representation in Woody Allen's Cinema." In" Discontented Discourses: Feminism/Textual Intervention/Psychoanalysis / edited by Marleen S. Barr. pp: 69-86. Urbana: University of Illinois Press, c1989.
Main Stack PN56.F46.D571 1989

Felix, Jurgen.
Woody Allen: Komik und Krise / Jurgen Felix. Marburg: Hitzeroth, c1992. Series title: Aufblende; Bd. 3.
NRLFB 3 787 372

The films of Woody Allen : critical essays / edited by Charles L.P. Silet. Lanham, Md. : Scarecrow Press, 2006.
Main (Gardner) Stacks PN1998.3.A45 F55 2006

FitzGerald, Martin.
The Pocket essential Woody Allen / Martin Fitzgerald. Harpenden : Pocket Essentials, 2000.
Full-text available online (UC Berkeley users only)

Fox, Julian
Woody: Movies from Manhattan / Julian Fox. 1st American ed. Woodstock, N.Y.: Overlook Press, 1996.
UCB Main PN1998.3.A45 F68 1996
UCB Moffitt PN1998.3.A45 F68 1996

Freadman, Richard.
"Love among the Stereotypes: Or, Why Woody's Women Leave." In: Semites and Stereotypes: Characteristics of Jewish Humor / edited by Avner Ziv & Anat Zajdman. pp: 107-20. Westport, Conn.: Greenwood Press, 1993. Contributions in ethnic studies; no. 31
Main Stack PN6149.J4.S45 1993

Frodon, Jean-Michel.
Conversation avec Woody Allen: d'apres les entretiens parus dans Le monde [Paris]: Plon, c2000.
MAIN: PN2287.A53 A5 2000

Gilliatt, Penelope.
Guilty, with an explanation: Woody Allen "Annie Hall" -- "Love and death" -- "Annie Hall" -- Her own best disputant: Diane Keaton -- "Interiors" -- "Manhattan"." In: Three-quarter face: reports and reflections / Penelope Gilliatt New York: Coward, McCann & Geoghegan, c1980
Main Stack PN1995.G49
MoffittPN1995.G49Gilliatt, Penelope.

Girgus, Sam B.
The films of Woody Allen / Sam B. Girgus. 2nd ed.Cambridge; New York: Cambridge University Press, 2002.Cambridge film classics.
Main Stack PN1998.3.A45.G57 2002
Full-text available online (UC Berkeley users only)
UCB Moffitt PN1998.3.A45 G57 1993 (earlier edition)

Girgus, Sam B.
"Philip Roth and Woody Allen: Freud and the Humor of the Repressed."In: Semites and Stereotypes: Characteristics of Jewish Humor / edited by Avner Ziv & Anat Zajdman. pp: 121-30. Westport, Conn.: Greenwood Press, 1993. Contributions in ethnic studies; no. 31
Main Stack PN6149.J4.S45 1993

Grossvogel, David I.
"Conclusion: Woody Allen." In: Vishnu in Hollywood: the changing image of the American male / David I. Grossvogel. Lanham, Md.: Scarecrow Press, 2000.
Main Stack PN1995.9.M46.G76 2000

Guthrie, Lee.
Woody Allen, A Biography / Lee Guthrie. New York: Drake Publishers,1978.
UCB Main PN2287.A53 .G8

Harris, James B.
"Woody Allen, check him out." In: Film-makers on film-making / edited by John Boorman and Walter Donohue. London : Faber and Faber, 1996. Projections (London, England) ; 5.
Main Stack PN1994.F43912 1996

Hamel, Jacques.
Woody Allen au secours de la sociologie / Jacques Hamel. Paris : Economica, c2010.
Main (Gardner) Stacks HM588 .H36 2010

Harvey, Adam
The soundtracks of Woody Allen : a complete guide to the songs and music in every film, 1969-2005 Jefferson, N.C. : McFarland, 2007.
Music ML2075 .H35 2007

Hirsch, Foster.
Love, Sex, Death, and the Meaning of Life: Woody Allen's Comedy / FosterHirsch. 1st McGraw-Hill ed. New York: McGraw-Hill, 1981.
UCB Main PN2287.A53 .H5
UCB Moffitt PN2289.A53 .H5 1981

Hirsch, Foster.
Love, Sex, Death & the Meaning of Life: The Films of Woody Allen /Foster Hirsch. 1st Limelight edition, Rev. and updated. New York:Limelight Editions, 1990.
UCB Moffitt PN2287.A53 H5 1990

Jacobs, Diane.

Hösle, Vittorio
Woody Allen : an essay on the nature of the comical / Vittorio Hösle. Notre Dame, Ind. : University of Notre Dame Press, c2007.
Main (Gardner) Stacks PN1998.3.A45 H67 2007

Jacobs, Diane.
The Magic of Woody Allen / Diane Jacobs. London: Robson Books, 1982.
UCB Main PN2287.A53 J3 1982

Kaminer, Wendy
"The Shrunken Reality of Lives in Therapy." In: True love Waits / Wendy Kaminer. pp: 298-303. Reading, Mass.: Addison-Wesley Publishing, 1996.
Main Stack HQ1421.K26 1996
MoffittHQ1421.K26 1996

Kruth, Patricia
"The Color of New York: Places and Spaces in the Films of Martin Scorsese and Woody Allen." In: Cinema & architecture : Méliès, Mallet-Stevens, Multimedia / edited by François Penz and Maureen Thomas London : British Film Institute, 1997.
Environmental Design PN1995.9.S4 C56 1997
Main (Gardner) Stacks PN1995.9.S4 C56 1997
Pacific Film Archive PN1995.9.S4 C56 1997

Kruth, Patricia
Figures filmiques : les mondes new-yorkais de Martin Scorsese et Woody Allen / Patricia Kruth ; dire Villeneuve-d'Ascq, France : Presses universitaires du septentrion, [2002]
Main (Gardner) Stacks PN1998.3.S39 K78 2002

Lahr, John
"Woody Allen: the imperfectionist." In: Show and tell: New Yorker profiles / John Lahr. p. 1-26. Woodstock, NY: Overlook Press, 2000.
Main Stack PN2285.L34 2000

Lahr, John
"Woody Allen." In: Automatic vaudeville: essays on star turns / John Lahr. 1st ed. New York: Knopf, 1984.
Main Stack PS3562 La36A94, 1984

Lahr, John
"Woody Allen." In: Automatic vaudeville : essays on star turns / John Lahr. 1st ed. New York : Knopf, 1984.
Main Stack PS3562 La36A94, 1984

Lax, Eric.
Conversations with Woody Allen : his films, the movies, and moviemaking / Eric Lax. New York : Alfred A. Knopf, 2007.
Main (Gardner) Stacks PN1998.3.A45 A3 2007
Moffitt PN1998.3.A45 A3 2007

Lax, Eric.
On Being Funny: Woody Allen and Comedy / by Eric Lax. New York: Charterhouse, [1975].
UCB Main PN2287.A53 L31

Lax, Eric.
Woody Allen: A Biography / Eric Lax. 1st ed. New York: Knopf:Distributed by Random House, 1991.
UCB Main PN2287.A53 L325 1991

Lee, Sander H.
Eighteen Woody Allen films analyzed: anguish, God and existentialism Jefferson, NC: McFarland & Co., 2002.
MAIN: PN1998.3.A45 L44 2002

Lee, Sander H.
Woody Allen's Angst: Philosophical Commentaries on his Serious Films / by Sander H. Lee. Jefferson, N.C.: McFarland, c1997.
UCB Main PN1998.3.A45 L44 1997

Lubling, Yoram
"Woody Allen and the image of the contemporary American Jew." In: Philip M. and Ethel Klutznick Chair in Jewish Civilization. Symposium (8th: 1995: Creighton University) Representations of Jews through the ages / Leonard Jay Greenspoon, Bryan F. Le Beau, editors. Omaha, Neb. : Creighton University Press; New York: Fordham University Press [distributor], c1996. Studies in Jewish civilization ; 8
Main Stack E184.J5.P517 1995

Mast, Gerald.
"Woody Allen: The Neurotic Jew as American Clown" In: Jewish Wry: Essays on Jewish Humor / edited, with an introduction by Sarah Blacher Cohen. pp:125-140. Bloomington: Indiana University Press, c1987. Jewish literature and culture.
Main Stack PN6149.J4.J481 1987

McCann, Graham
Woody Allen: New Yorker / Graham McCann. Cambridge: Polity Press; Cambridge, MA, USA: Basil Blackwell, 1990 (1991 printing).
UCB Main PN2287.A53 M15 1990

Meade, Marion
The unruly life of Woody Allen : a biography / Marion Meade. New York : Cooper Square Press ; [Lanham, MD] : Distributed by National Book Network, 2001.
Pacific Film Archive PN1998.3.A26 M43 2001

Nachman, Gerald.
"Schnook's progress: Woody Allen." Seriously funny: the rebel comedians of the 1950s and 1960s / Gerald Nachman. New York: Pantheon Books, c2003.
Main Stack PN2285.N25 2003

Navacelle, Thierry de.
Woody Allen on Location / Thierry de Navacelle. 1st ed. New York: Morrow, c1987.
UCB Main PN1997 .R21831 1987
Pacific Film Archive PN1997.R2183 N3 1987

Nichols, Mary P.
Reconstructing Woody: Art, Love, and Life in the Films of Woody Allen / Mary P. Nichols. Lanham, Md.: Rowman & Littlefield, c1998.
UCB Main PN1998.3.A45 N53 1998
UCB Moffitt PN1998.3.A45 N53 1998

Paglia, Camille
"Woody Allen Agonistes." In: Vamps and Tramps: New Essays / Paglia, Camille. pp: 129-32. 1st ed. New York: Vintage Books, 1994.
Main Stack E169.12.P334 1994

Palmer, Myles.
Woody Allen, An Illustrated Biography / by Myles Palmer. London; New York: Proteus; New York: distributed by Scribner, 1980.
UCB Main PN2287.A53 .P3

Perspectives on Woody Allen
Edited by Renee R. Curry. New York: G.K. Hall; London: Prentice Hall International, c1996. Series title: Perspectives on film.
UCB Main PN1998.3.A45 P47 1996
UCB Moffitt PN1998.3.A45 P47 1996

Pinsker, Sanford.
"Jumping on Hollywood's Bones, or How S. J. Perelman and Woody Allen FoundIt at the Movies." In: S. J. Perelman: Critical Essays / [edited by] Steven H. Gale. pp: 159-71. New York: Garland Pub., 1992. Garland studies in humor; vol. 1 Garland reference library of the humanities; vol. 1274
Main Stack PS3531.E6544.Z693 1992

Pipkins, Traci
"Numbed Suburban Lifestyles versus Gluttonous Self-Love: Woody Allen, Marriage, and Divorce." In: After intimacy : the culture of divorce in the West since 1789 / Karl Leydecker and Nicholas White ( Oxford ; New York : Peter Lang, c2007.
Main (Gardner) Stacks PR3592.D7 A47 2007

Pogel, Nancy.
Woody Allen / Nancy Pogel. Boston: Twayne, c1987. Series title: Twayne's filmmakers series.
UCB Main PN1998.A3 A56761 1987
UCB Moffitt PN1998.A3 A5676 1987

Rosenbaum, Jonathan
"Notes Toward the Devaluation of Woody Allen." In: Placing Movies: The Practice of Film Criticism / Jonathan Rosenbaum. pp: 238-47. Berkeley: University of California Press, c1995.
Main Stack PN1995.R65 1995

Schickel, Richard
Woody Allen : a life in film Chicago : Ivan R. Dee, 2003.
Main Stack: PN1998.3.A45 A5 2003

Schickel, Richard
"Woody Allen: The Coherent Life." In: Schickel on Film: Encounters--Critical and Personal--with Movie Immortals / Richard Schickel. pp: 271-302. 1st ed. New York: Morrow, c1989.
Main Stack PN1995.S341 1989

Schwartz, Richard Alan
Woody, from Antz to Zelig: a reference guide to Woody Allen's creative work, 1964-1998 / Richard A. Schwartz. Westport, Conn.: Greenwood Press, 2000.
MAIN: PN1998.3.A455 S38 2000
Moffitt PN1998.3.A455 S38 2000

Shechner, Mark
"Woody Allen: the failure of the therapeutic."
From Hester Street to Hollywood: the Jewish-American stage and screen From Hester Street to Hollywood: the Jewish-American stage and screen / edited by Sarah Blacher Cohen. Bloomington: Indiana University Press, c1983.
Main Stack PN3035.F76 1983
MoffittPN3035.F76 1983

Shumway, David R.
"Woody Allen,"the artist", and "the little girl"." In: The end of cinema as we know it : American film in the nineties / edited by Jon Lewis. New York : New York University Press, c2001.
Main Stack PN1993.5.U6.E53 2001

Spignesi, Stephen J.
The Woody Allen Companion / Stephen J. Spignesi. Kansas City, Mo.: Andrews and McMeel, c1992.
UCB Moffitt PN1998.3.A45 S6 1992

Wernblad, Annette
Brooklyn is Not Expanding: Woody Allen's Comic Universe / Annette Wernblad. Rutherford, N.J.: Fairleigh Dickinson University Press, c1992.
UCB Main PN1998.3.A45 W47 1992
UCB Moffitt PN1998.3.A45 W47 1992

Woody Allen." In: Off camera : leveling about themselves / by Leonard Probst; photos. by Arlene Avril. New York: Stein and Day, 1975.
Main Stack PN2205.O341

Woody Allen: a casebook
New York: Routledge, 2001.
MAIN: PN1998.3.A45 W66 2001

Woody Allen and philosophy : you mean my whole fallacy is wrong?
Edited by Mark T. Conard and Aeon J. Skoble ; foreword by Tom Morris. Chicago : Open Court, c2004.
MAIN: PN1998.3.A45 W67 2004;

"Woody Allen: the clown as tragic hero." In: Fools and jesters in literature, art, and history : a bio-bibliographical sourcebook / edited by Vicki K. Janik, et al. Westport, Conn. : Greenwood Press, 1998.
Doe Refe PN1583.F66 1998 Biographies

Yacowar, Maurice.
Loser Take All: The Comic Art of Woody Allen / Maurice Yacowar. New York: Ungar, c1979. Series title: Ungar film library.
UCB Main PN2287.A53 .Y3
UCB Moffitt PN2287.A53 .Y3 *c2 copies

Zappoli, Giancarlo.
Invito al cinema di Woody Allen / Giancarlo Zappoli. Milano : Mursia, 1998. Invito al cinema di Woody Allen / Giancarlo Zappoli.NRLF (UCB) PN1998.3.A45 Z36 1998

Journal Articles

Adams, William
"Woody Allen: Illusion and Reality." Dissent (1985:Fall) 490 ]

Amiel, V.
"The ghosts of Woody Allen: A look at the dramatic construction of his films." Positif (444) 17-18 Feb 1998

Astruc, R.
"Woody Allen and Philip Roth attack the illusions of identity." Esprit (12) 144-157 Dec 1999

Bell P. K.
"Woody Allen, Cultural Phenomenon - The Schlemiel As Intellectual." Encounter 71: (1) 72-75 Jun 1988

Berkey-Gerard, Mark.
"Woody Allen & the Sacred Conversation: if God has a sense of humor, who gets it?" Other Side v33, n1 (Jan-Feb, 1997):60 (3 pages).
The films of Woody Allen tie comedy to theology. The combination is rare in Western culture but important because it reveals the nature of human beings. Most moral questioning is dry and serious. Allen's is entertaining and comic and suggests that God, too, has a sense of humor. An understanding of God is incomplete unless it includes the comedy of life.

Berkow, Ira.
"Woody Allen goes from defense to offense." (interview) (Living Arts Pages) New York Times v145 (Thu, Nov 2, 1995):B1(N), C1(L), col 1, 44 col in.

Blake, Richard A.
"Looking for God: profane and sacred in the films of Woody Allen." (hazards of imposing religious meanings on perfectly secular films)(The Catholic Imagination in Popular Film & Television) Journal of Popular Film and Television v19, n2 (Summer, 1991):58 (9 pages).

Blansfield, Karen C.
"Woody Allen and the Comic Tradition in America."Studies in American Humor vol. 6. 1988.pp: 142-53.
"Considers the rhetorical devices and themes of the anxiety-ridden, confessional, and often pessimistic humorous prose works of Woody Allen and discusses their place in the American comic tradition." [from ABC-CLIO America: History & Life]

Bruce, Iris.
"Mysterious Illnesses of Human Commodities in Woody Allen and Franz Kafka." (New Illnesses - Old Problems: Old Illnesses - New Problems) Studies in Twentieth Century Literature v22, n1 (Wntr, 1998):173 (31 pages).
Author's Abstract: COPYRIGHT 1998 University of Nebraska Press "The article examines correspondences between Woody Allen's film Zelig and texts by Franz Kafka. Both Leonard Zelig and Gregor Samsa (The Metamorphosis) suffer from mysterious illnesses which are multi-determined. Twentieth-century racial stereotypes are partially responsible for them; other causes lie in the commercialization of life in early twentieth-century society. Zelig's illness parallels the cultural trends and political movements of his time and becomes full-blown in the fascist movement. Zelig is therefore also a commentary on the cultural climate which helped bring about the rise of fascism. Kafka could not benefit from Allen's hindsight, but Kafka's representation of what turns human beings into commodities with no identity of their own nonetheless complements Allen's picture. Further parallels are drawn between Zelig and Kafka's hunger artist, the performing ape Rotpeter ("A Report to an Academy"), and Karl Rossmann (Amerika). All of these protagonists fail to retain a sense of selfhood in a commodified world. Yet the causes for their illnesses lie not in themselves but in society on the whole, and for this reason there is no cure for these human commodities. Unlike Kafka, though, Woody Allen grants Zelig a cure in the end, a cure which is possible only in the realm of fantasy." [Expanded Academic Index]

Cardullo, Bert.
"Wooden Allen, or Artificial Exteriors."Hudson Review v50, n2 (Summer, 1997):305 (6 pages).
"Woody Allen's previous attempts at producing and directing dramatic movieshave proven to be unsuccessful. His efforts lack the character and wit thatembody his previous works. This attempt at a shift in style hassignificantly reduced his popularity. His comedic writing attempts torevive his fame, on the other hand, have been too unrealistic and lackedsubstance. Allen should also try casting other, more capable actors for themale lead roles, other than himself." [Expanded Academic Index]

Carson, Tom
"Like a Genius." (Woody Allen)(Critical Essay) Esquire June 2001 v135 i6 p54
UC users only

Chances, Ellen.
"Moscow meets Manhattan: the Russian soul of Woody Allen's films." American Studies International v30, n1 (April, 1992):65 (13 pages).
"Examines Woody Allen's stories and films of the 1970's to 1990 to demonstrate the strong influence of the Russian classics. Allen makes many specific references to Russian works and shares with the great Russian authors a deep concern with "the ultimate questions that define a human being's life." The Russian influence is apparent in all phases of Allen's work: the early funny stories and films, the "laughter through tears" movies, and the deadly serious creations." [from ABC-CLIO America: History & Life]

"Ciao, Manhattan: Woody Allen talks to Alexander Walker."
Cinema Papers 58 (1986:July) 19

Ciment, Michel; Garbarz, Franck
"Woody Allen: Nous ignorons la vraie nature de nos pulsions (Woody Allen: We Ignore the True Nature of our Impulses)" Positif 490 [December 2001] 8-11

Combs, Richard.
"Little Man, What Now?" (Woody Allen and Charlie Chaplin) Film Comment v29, n4 (July-August, 1993):2 (2 pages).
Both Woody Allen and Charlie Chaplin portrayed the little guy who shows the many faces of society. Both also explored the idea of the little man taking on the persona of a dictator in the films 'Zelig' and 'The Great Dictator.' The movie 'Chaplin' is also examined.

Commins G
"Woody Allen, Theological Imagination." Theology Today 44: (2) 235-249 Jul 1987

Corliss, Richard; Schickel, Richard; Toufexis, Anastasia.
"Scenes from a Breakup." (troubled affairs of Woody Allen and Mia Farrow) (includes related articles) Time v140, n9 (August 31, 1992):54 (5 pages).
Allen and Farrow have begun a legal battle for custody of their threechildren, and it has become marred by accusations of child abuse. Allenfiled for custody after Farrow accused him of molesting one of hischildren, and Allen's affair with her 21-year-old daughter Soon-Yi wasrevealed.

DeCurtis, Anthony.
Woody Allen: the Rolling Stone interview." (Interview) Rolling Stone, n665 (Sept 16, 1993):45 (7 pages).
Allen had no trouble making his new film, 'Manhattan Murder Mystery,'despite the public attention paid to his conflicts with ex-wife Mia Farrowover his relationship with her adopted daughter. The new film, Allen'scareer and his childhood are discussed.

Delage, C.
"From Chaplin to Woody Allen: Hitler on the screen."Histoire (230) 56-57 Mar. 1999

Deleyto, C.
"The Narrator And The Narrative - The Evolution Of Allen,Woody Film Comedies." Film Criticism 19: (2) 40-54 Win 1995
The conflict between author and classical narrative in Woody Allen's film comedies is examined. Allen's early films illustrate a "resistance to narrative" that can be directly related to his stand-up comic performances of the 1960s. However, in the 1970s trilogy Love and Death, Annie Hall, and Manhattan, narrative and plot gradually come to equal the importance of the stand-up comic/narrator, and even, in Manhattan, to dominate. In Stardust Memories, the author is acknowledged as a fictional construct, formed of fragments of his films, audience, critics' and intellectuals' responses, and all part of the narrative process. Thus a gradual shift can be posited in the development of Allen's filmic career from a privileged author/spectator relationship to an acknowledgement of the power of the narrative and the limitations of the author as dominant creator and viable artistic concept.

Deltcheva R, Vlasov E.
"Back to the house: Woody Allen and Chekhov: On the transformation of spatial forms in screening Chekhov." Russian Literature 42: (1) 1-15 JUL 1 1997

Dempsey, Michael
"The New-and Old-Woody Allen." Film Comment 15:3 (1979:May/June) 9

Dickstein, Morris.
"Urban Comedy: Chaplin to Allen." Partisan Review vol. 52 no. 3. 1985. pp: 271-281.

Dowell, Pat.
"Woody's Effort to Reconstruct Himself." Cineaste vol. 23 no. 3. 1998. PAGES: 35-36.

Dresner, Samuel.
"Woody Allen: Theologian?" Citation: Midstream 1985 31(3): 45-50.
"Woody Allen's writings and films constitute a "steady stream of mockery" directed against Jews and Judaism." [from ABC-CLIO America: History & Life]

Erens, Patricia Brett; Sinyor, Gary.
"No Closer to Eden." (includes related article on Jews in films) Sight and Sound v3, n6 (June, 1993):20 (3 pages).
Hollywood movies continue to portray Jews as stereotypes. Jewish mothers are a theme in 'Used People' while 'Mr. Saturday Night' uses standup comics. Woody Allen's 'Shadows and Fog' makes shallow use of the victim theme. Two exceptions are 'Homicide' about a search for ethnic roots and the comedy 'Leon the Pig Farmer' about stereotypes.

Evans, Lee.
"Funny faces." (favorite comedians) Sight and Sound v8, n12 (Dec, 1998):69 (1 page).
A comedian mentions Woody Allen as his favorite in his field with the Pythons, Tommy Cooper and Leonard Rossiter also gaining his respect. Scenes in two Allen movies, namely, 'Bananas' and 'Sleeper' are considered among the funniest. Allen, like many other comedians, tended to be prone to depression and was fastidious about order. His brand of comedy is American as it guides the audience to the comic situation. On the other hand, British comedy is poker-faced as it leaves the audience to spot the comic element and respond to it.

"Everything You Wanted to Know about Prostitutes...." (prostitution in Woody Allen films)(Brief Article) Time v152, n15 (Oct 12, 1998):28.

Feldman, Seth.
"Taking Woody Allen Seriously." Canadian Review of American Studies/Revue Canadienne d'Etudes Americaines vol. 14 no. 3. 1983 Fall. pp: 353-357.

Fogarty R. S.
"Talk-Of-The-Town: Allen,Woody, 'Vanity Fair', The 'New Yorker' And Postmodernism." Antioch Review 50: (4) 613-614 Fal 1992

Frayling, Christopher
"The Real Woody Allen." Listener 118:3037 (1987:Nov. 12) 16

Gabler, Neal.
"Chaplin blazed the trail. Woody Allen follows." (career parallel with Charlie Chaplin) New York Times v142, sec2 (Sun, Sept 27, 1992):H13(N), H13(L), col 1, 40 col in.

Gehring, Wes D.
"The Marx of Time." Thalia: Studies in Literary Humor,vol. 11 no. 1. 1989 Spring-Summer. pp: 25-33.

Gilliatt, Penelope.
"Woody Allen." (From the Archives: 1974) New Yorker v70, n5 (March 21, 1994):156.
Woody Allen is manic and comic as he prepares some final edits on a film. He is surprised when someone laughs during the process. He suspects he would have been a bum if he was not such a funny guy. through examples from his screenplays, films and characters.

Gopnik, Adam.
"The Outsider." (Woody Allen) New Yorker v69, n35 (Oct 25, 1993):86 (8 pages).
The evolution of Woody Allen to his current public disfavor is paralleled with that of his work, which has become increasingly removed from the reality of New York Jewish culture. His career is reviewed from early joke writing to his stand-up act, printed works and films.

Green, Daniel.
"The Comedian's Dilemma: Woody Allen's "Serious" Comedy." Literature-Film Quarterly v19, n2 (April, 1991):70 (7 pages).

Greene, Donna
"Course That Defines Art of Woody Allen." New York Times; Feb 8, 1998; Late Edition (East Coast); pg. 14WC.3
The Films of Woody Allen: Identity Crises'' is a new course offered at Purchase College through its continuing education division. The course, taught by Thomas B. Grochowski, is also offered on-line by the SUNY Learning Network. For information, the number is 251-6500. The network is a new on-line system that links 19 of the State University of New York's campuses to the Internet and allows students to take credit and noncredit courses from home.

Grenier, Richard
"Movies: Woody Allen on the American Character." Commentary 76:5 (1983:Nov.) 61
UC users only

Grenier, Richard
"Woody Allen on the American Character." Commentary 76:5 (1983:Nov.) 61
UC users only

Grimsted, David.
"The Purple Rose of Popular Culture Theory: An Exploration of Intellectual Kitsch." American Quarterly v43, n4 (Dec, 1991):541 (38 pages).

Hardison Londré, Felicia
"Using Comic Devices to Answer the Ultimate Question: Tom Stoppard's "Jumpers" and Woody Allen's "God" Comparative Drama 14:4 (1980/1981:Winter) 346

Harris, Daniel.
"Sex, Madonna, & Mia: press reflections." (press coverage of Madonna's book 'Sex' and the Mia Farrow-Woody Allen scandal) (The Glorious Essay) Antioch Review v51, n4 (Fall, 1993):503 (16 pages).
Critical reaction to Madonna's book 'Sex' and the press coverage of the Woody Allen-Mia Farrow scandal provide insights into how popular critics and reporters perceive themselves. Popular critics' transparent attempt to feign indifference to Madonna's exhibitionism shows their inability to understand how fear, prudery, nostalgia and snobbery prevent them from honestly reviewing sexually explicit material. The Woody Allen affair shows how reporters will alter the facts when covering such an episode to prevent self-perception as sleazy yellow journalists.

Haun, Harry
"Woody's Way." (Woody Allen discusses his filmmaking style) Film Journal International August 2001 v104 i8 p8

Hoffmeister, Donna L.
"Kafka Lite: Woody Allen and Steven Soderbergh on Kafka's Play-ground." Journal of the Kafka Society of America,vol. 17 no. 2. 1993 Dec. pp: 13-21.

Iannone, Carol.
"The Devil and Woody Allen." Commentary, 2000 June, 109:6, 55-57.

James, Caryn.
"Auteur! Auteur!" (Woody Allen) New York Times Magazine v135 (Jan 19, 1986):18 (11 pages).

Jefferson, Margo.
"Tapping the funny bone of American comics." (evaluation of comedians Steve Martin, Dick Gregory and Woody Allen) New York Times v145, sec2 (Sun, Jan 14, 1996):H5(N), H5(L), col 1, 41 col in.

Johnson, Brian D.
"Woody's World: He reflects on movies, marriage and mortality. (Woody Allen)(Interview) Maclean's May 6, 2002 p54
UC users only

Jones, Kent.
"Into the Woods: Kent Jones responds to David Thomson's Woody Allen piece 'Shoot the Actor' in the foregoing issue." Film Comment v34, n3 (May-June, 1998):4 (3 pages).
UC users only
In Christmas 1997, just as critics complained that nearly every movie was too long and slowing down to accommodate that length, Woody Allen's Deconstructing Harry came in at 95 minutes. Despite its conciseness, the film has 20 or so significant characters and four or five weaving story lines, with characters appearing as their real selves and as they figured in the central character Harry's chronic fictions. Moreover, everything was clear and workable, with set pieces and segues, the funniest lines and situations of the season, and sharp self-loathing. The writer provides an overview of Allen's other films and reflects on his ambivalence toward Allen, whom he dislikes as an actor but admires as a filmmaker.

Kakutani, Michiko.
"Woody Allen." (interview with film director)(The Art of Humor, I)(Interview) Paris Review v37, n136 (Fall, 1995):200 (23 pages).
Noted film director Woody Allen believes that humorists see the world in a different light. He explains that these individuals have a knack for processing their experiences through a 'comic filter,' which he says is their way of coping with reality. Aside from directing humorous movies, the New York native also dabbles in prose and theater, lacing his work with the brand of humor usually seen in his movies. The writers that inspired him to write include Max Shulman, Robert Benchley and S.J. Perelman.

Kaplan, James.
"Woody Allen: playing it again." (filmmaker)(Oral History)(Interview) New York v31, n13 (April 6, 1998):110 (1 page).
Allen has always been in love with the endless possibilities and romance of New York City, a characteristic that is evident in his motion picture homages to his home town. Despite technological and cultural changes, the fundamentals of city life remain as they were in his youth.

Kolker, Robert
"Gotham: Shadows and Fog." New York 35:21 [17 June 2002] p.17
"Discusses the state of film director Woody Allen's finances in the 1990s as they have been disclosed by the trial he brought against his producer Jean Doumanian. Suggests that Allen's contract with Doumanian has lessened his control over the movies he makes." [International Index to the Performing Arts]

Kuney, J.
"The closing down of Woody Allen." (Reprinted from Televisionn Quarterly, 1983) Televisionn Quarterly 30: (2) 23-30 Fall 1999

Lash, Kenneth
"Cuttings: Woody Allen--The Phenom among the Phenomena." North American Review 264:3 (1979:Fall) 10
UC users only

LeBlanc, Ronald D.
"Love and Death and Food: Woody Allen's Comic Use of Gastronomy." Literature/ Film Quarterly vol. 17 no. 1. 1989. pp: 18-26.

Lefkovitz, L.
"Leah Behind The Veil, The Divided Matriarchy In Bible, Midrash, Dickens, Freud And Woody Allen." Hebrew University Studies in Literature and the Arts 18: 177-205 1990

Librach, Ronald S.
"A Portrait of the Artist as a Neurotic: Studies in Interior Distancing in the Films of Woody Allen." The Missouri Review vol. 9 no. 2. 1986. pp: 165-184.

Liebman, Robert Leslie.
"Rabbis or Rakes, Schlemiels or Supermen? Jewish Identity in Charles Chaplin, Jerry Lewis and Woody Allen." Literature/ Film Quarterly vol. 12 no. 3. 1984. pp: 195-201.

Loy, Victoria
"Woody Allen." (Great Directors: A Critical Database) Senses of Cinema

Maltin, Leonard
"Take Woody Allen--Please!" Film Comment 10:2 (1974:Mar./Apr.) 42

"Martin Scorsese, Woody Allen." (The Directors)(The Two Hollywoods: A Special Issue)(Cover Story)(Interview) New York Times Magazine (Sun, Nov 16, 1997):90, col 6, 137 col in.

McGrath, Douglas.
"If You knew Woody Like I Knew Woody." (film director Woody Allen) (Interview) (Cover Story) New York v27, n41 (Oct 17, 1994):40 (8 pages)
Allen was working on his latest film 'Bullets Over Broadway' at the same time that he was accused of child molestation by his ex-lover Mia Farrow. Allen discusses the accusations, his relationship with Farrow, his affair with Soon-Yi and his film career.

Mills, Joseph
"Roller coasters, Aristotle, and the films of Woody Allen" Literature/Film Quarterly (29:1) 2001:1 , 37-42. (2001)
UCB users only
"Issues related to the use of roller coasters and images of amusement parks in the films of Woody Allen are examined, focusing on roller coasters as a metaphor for life, the development of Allen's use of cinematic form, and Allen's preoccupation with life's most significant questions. Films discussed include "Annie Hall," "The Purple Rose of Cairo," "Alice," and "Radio Days." [Expanded Academic Index]

Morris, C.
"Woody Allen's Comic Irony." Literature/ Film Quarterly, vol. 15 no. 3. 1987. pp: 175-180

Neff, P
"The Bunk Stops Here - Jazz In The Films Of Allen,Woody." Down Beat 61: (1) 8-8 Jan 1994

New, Elisa.
"Film and the flattening of Jewish-American fiction: Bernard Malamud, Woody Allen and Spike Lee in the city." (Contemporary American Jewish Literature) Contemporary Literature v34, n3 (Fall, 1993):425 (26 pages).
UC users only
"Contemporary Jewish art has abandoned many of the genre-specific narrative techniques traditionally associated with respective genres. This can be seen in the films of Woody Allen, which have a novel-like narrative strain, and some of Bernard Malamud's fiction, which incorporates some film techniques to expand on, and show the limits of, traditional fiction narrative. By narrowing the novelistic scope of his writing, Malamud presents flat, more immediate images like those associated with Spike Lee's films. Malamud's 'The Tennant' is discussed in this context." [Expanded Academic Index]

Newman, Andy; Corey Kilgannon.
"Curse of the jaded audience: Woody Allen, in art and life." (Woddy Allen's lawsuit against former business partners, and his latest movie)(Statistical Data Included) The New York Times June 5, 2002 pA1(N) pA1(L) col 1 (35 col in)

Perelman, S.J.
"Perelman on Woody Allen: A tribute from our greatest lit. wit to the writer-director-actor of "Annie Hall." Film Comment 14:2 (1978:Mar./Apr.) 25

Philaretou, Andreas G.
"Learning and Laughing about Gender and Sexuality through Humor: The Woody Allen Case." Journal of Men's Studies, Spring2006, Vol. 14 Issue 2, p133-144, 12p
UC users only

Pinsker, Sanford.
"Comedy and Cultural Timing: The Lessons of Robert Benchley and Woody Allen." The Georgia Review vol. 42 no. 4. 1988 Winter. pp: 822-837.

Pinsker, Sanford.
"Woody Allen's Lovably Anxious Schlemiels." Studies in American Humor vol. 5 no. 2-3. 1986 Summer-Fall. pp: 177-189.

Pressley, Nelson.
"Allen's films: schools for scandal." (how Woody Allen's movies reflect love) (Column) Los Angeles Times v111 (Sun, August 23, 1992):M5, col 2, 25 col in.

Quart, Leonard
"The Canonization of Woody Allen USA Today 108:2412 (1979:Sept.) 43

Rachleff, Owen.
"Jewish Comics." Midstream 1976 22(4): 51-56.
Discusses humor themes and stereotypes of Jewish comedians in the United States in the 1960's and 70's, including Woody Allen, David Steinberg and Don Rickles.

Rapping, Elayne.
"A Feminist's Love/Hate Relationship with Woody." Cineaste vol. 23 no. 3. 1998. pp: 37-38.

Rauscher, F.
"Woody Allen's angst: Philosophical commentaries on his serious films." Journal of Value Inquiry 32: (4) 571-574 Dec 1998

Rauzi, Robin.
"Love (and death?) of Woody's art." (analysis of how Woody Allen's personal problems might effect his career) Los Angeles Times v112 (Sat, June 12, 1993):F1, col 2, 28 col in.

Reisch, Marc S.
"Woody Allen: American Prose Humorist." Journal of Popular Culture 17:3 (1983:Winter) 68
The basis of Woody Allen's unique humor resides in his presentation of life in a framework of the absurd.

Romney, Jonathan.
"Scuzzballs Like Us." (films by and about actor Woody Allen) Sight and Sound v8, n4 (April, 1998):10 (4 pages).

Rosenbaum, Jonathan.
"Notes Toward the Depreciation of Woody Allen." Tikkun v5, n3 (May-June, 1990):33 (6 pages).

Rubin-Dorsky, Jeffrey
"Woody Allen after the fall: literary gold from amoral alchemy." Shofar, Fall 2003 v22 i1 p5(26)
UC users only
"This essay argues that Woody Allen's break with Mia Farrow engendered a search for a new artistic direction end a new persona, signaled by the unsettling film Husbands and Wives (1992) and followed by two extraordinary views of the moral dilemmas end personal sacrifices of a life in art, Bullets over Broadway (1994) and Deconstructing Harry (1997)." [Expanded Academic Index]

Saporta, S.
"The Politics Of Dirty Jokes - Allen,Woody, Bruce,Lenny, Clay,Andrew,Dice, Marx,Groucho, And Clarence Thomas." Humor-International Journal Of Humor Research 7: (2) 173-175 1994

Schapiro, Barbara.
"Woody Allen's Search for Self." Journal of Popular Culture vol. 19 no. 4. 1986 Spring. pp: 47-62.

Scott, A.O.
"Why We Won't Let Woody Allen Grow Up." (Arts and Leisure Desk)(FILM) The New York Times March 13, 2005 pAR25(L) col 01 (29 col in)

Speidell, Todd H.
"God, Woody Allen, and Job." Christian Scholar's Review. 29(3):551-61. 2000 Spring

Thomson, David.
"Shoot the Actor."(an examination of director Woody Allen's work) Film Comment v34, n2 (March-April, 1998):12 (6 pages).
UC users only
The dramatic skill a director brings to a film set can be an important factor in achieving motivation from each actor in creating memorable scenes. An analysis of Woody Allen's working method and style is presented.

"A trajectory built for two: Woody Allen & Robert Altman."
Monthly Film Bulletin 53:624/635 (1986) July:199

Treves, Nicole.
"The Slapsticks Of Politics: Protagonists In French And American Films." Canadian Review of American Studies 1974 5(2): 181-189.
"Analyzes the portion of contemporary French and American cinema which focuses heavily upon political and societal issues. Makers of such films, notably Claude Lelouch in France and Woody Allen in the United States, have copied the "slapstick" comedy techniques earlier used by Charles Chaplin (b. 1889) and the Marx Brothers." [from ABC-CLIO America: History & Life]

Tutt, Ralph.
"Truth, Beauty and Travesty: Woody Allen's Well Wrought Urn." Literature-Film Quarterly v19, n2 (April, 1991):104 (5 pages)
UC users only

Vineberg, Steven.
"Woody Allen's Misogyny: Recent Potshots and Humiliations." Chronicle of Higher Education v44, n35 (May 8, 1998):B8.
Woody Allen is famous for being a thinking person, and his affair with Soon-Yi Previn, now his wife, has had little impact on those who love his movies. However, his most recent movies are narcissistic and misogynistic. The movie 'Husband and Wives' presents his character, Gabe, as the only person who behaves reasonably, while female characters are portrayed as uneducated and dumb. Allen's misogyny also appears in 'Mighty Aphrodite'

Weber, Bruce.
"Woody in New York: A Tarnished Idol?" (Woody Allen) (Living Arts Pages) New York Times v141 (Thu, August 20, 1992):B1(N), C1(L), col 1, 26 col in.

White, A.
"Class Clowns,Woody Allen and Robert Townsend." Film Comment 23: (2) 11-14 Mar-Apr 1987

Wolcott, James
"How green was my Woody." Vanity Fair Dec 1998; 152-163
Once the thinking woman's huggy-bear, Woody Allen has shriveled in the heat of America's gender wars and his own sex scandals. The female characters in his recent movies are neurotic shrews or dewy-eyed nymphos.

"Woody: 'I'm not a very good director'." United Press International April 30, 2002 p1008120w9693

Yacowar, Maurice.
"Beyond Parody: Woody Allen in the 80s." Post Script,vol. 6 no. 2. 1987 Winter. pp: 29-42.

Yacowar, Maurice.
"Forms of coherence in the Woody Allen comedies." Wide Angle; Vol.III nr.2 (1979); p.34-41
Analyses the structure of W.A.'s films.

Zehme, Bill.
"So, You're the Great Woody Allen?" (Cover Story) (Interview) Esquire v122, n4 (Oct, 1994):84 (7 pages).
Allen's reputation has suffered greatly since he became romantically involved with Soon-Yi Previn, the adopted daughter of Mia Farrow, who is the mother of his children. He discusses Farrow and the legal battle she has waged against him and other topics.

Zoglin, Richard.
"Manhattan's Methuselah." Film Comment v. 22 (May/June '86) p. 16-20.

Articles and Books on Individual Films


Alleva, Richard.
"Alice."(movie reviews) Commonweal v118, n5 (March 8, 1991):158 (2 pages).

Ansen, David.
"Alice."(movie reviews) Newsweek v116, n27 (Dec 31, 1990):61.

Billson, Anne.
"Alice." (Arts & Media: Film 2) (movie reviews) New Statesman & Society v4, n160 (July 19, 1991):33.

Blake, Richard A.
"Alice."(movie reviews) America v164, n4 (Feb 2, 1991):93 (2 pages).

Blake, Richard A.
"Looking for God. Profane & Sacred in the Films of Woody Allen." Journal of Popular Film and Television XIX/2, Summer 91; p.59-66.
On analyzing the films of Ingmar Bergman and Woody Allen within a theological framework, followed by brief theological analyses of Allen's "Hannah and Her Sisters", "Crimes and Misdemeanors" and "Alice".

Bowman, James.
"Alice." (movie reviews) American Spectator v24, n4 (April, 1991):33 (2 pages).

Denby, David.
"Alice." (movie reviews) New York v24, n2 (Jan 14, 1991):49 (2 pages).

Foster, Aisling.
"Alice." (movie reviews) TLS. Times Literary Supplement, n4607 (July 19, 1991):18.

Johnson, Brian D.
"Alice." (movie reviews) v104, n4 (Jan 28, 1991):49 (2 pages).

Kauffmann, Stanley.
"Alice." (movie reviews) New Republic v204, n4 (Jan 28, 1991):24.

Klawans, Stuart.
"Alice." (movie reviews) Nation v252, n1 (Jan 7, 1991):22.

Rafferty, Terrence.
"Alice." (movie reviews) New Yorker v66, n46 (Dec 31, 1990):86.

Romney, Jonathan.
"Alice." (movie reviews) Sight and Sound v1, n3 (July, 1991):37 (2 pages).

Schickel, Richard.
"Alice." (movie reviews) Time v137, n1 (Jan 7, 1991):73 (2 pages).

Travers, Peter.
"Alice." (movie reviews) Rolling Stone, n595 (Jan 10, 1991):54 (2 pages).

Wall, James M.
"Alice." (movie reviews) Christian Century v108, n2 (Jan 16, 1991):36.

Annie Hall

"Annie Hall." (Review). The Nation, v224, April 30, 1977, p. 540

"Annie Hall." (Review). New Republic, v176, May 24, 1977, p. 22

"Annie Hall." (Review). New York, v10, May 2, 1977, pp: 74-6

"Annie Hall." (Review). New York Times, April 21, 1977, Sect II, p. 19

"Annie Hall." (Review). New York Times, Sept. 18, 1977, Sect II, p. 17

"Annie Hall." (Review). New Yorker, v53, April 25, 1977, p. 136

"Annie Hall." (Review). Newsweek, v89, May 2, 1977, p. 78

"Annie Hall." (Review). Saturday Review, v53, Sept. 26, 1977, pp: 38-9

"Annie Hall." (Review). Village Voice, April 25, 1977, p. 45

Bookbinder, Robert.
"Annie Hall." In: The Films of the Seventies / Robert Bookbinder. pp: 184-5. 1st ed. Secaucus, N.J.: Citadel Press, c1982.
Main Stack PN1993.5.U6.B651 1982

Brown, Devin.
"Powerful Man Gets Pretty Woman: Style Switching in Annie Hall." The SECOL Review: Southeastern Conference on Linguistics vol. 16 no. 2. 1992 Fall. pp: 115-31.

Girgus, Sam B.
"Desire and Narrativity in 'Annie Hall.'" Explicator v51, n2 (Wntr, 1993):122 (3 pages).
UC users only
"Sigmund Freud's influence over Woody Allen is apparent in the film 'Annie Hall' in which the relationship between jokes and the unconscious is emphasized. Jokes are perceived to be structured to express controversial or disagreeable issues without actually confronting them. Indirect representation, condensation and displacement are some of the techniques used. Allen succeeds in utilizing visual, verbal and literary symbols to portray manifest and latent meanings in the film." [Expanded Academic Index]

Grindon, Leger
"The trials of partnership in Annie Hall (1977)." In: The Hollywood romantic comedy : conventions, history, controversies / Leger Grindon. Malden, MA : Wiley-Blackwell, 2011.
Main (Gardner) Stacks PN1995.9.C55 G75 2011

Holofcener, Nicole
"Sifting the Pieces." (Article). Sight & Sound VII/2, Feb 97; p.67.
The writer comments on Woody Allen's Annie Hall. She suggests that with this film, Allen invented the relationship movie genre by making romantic heroes of highly flawed people. She asserts that Allen's jokes are more powerful for being grounded in real characters. What she finds most striking about Annie Hall is the way in which Allen takes a very liberal approach to filmmaking without compromising his honesty.

Pisek, G.
"Wordplay and the dubber/subtitler: Woody Allen, 'Annie Hall', 'Fawlty Towers', English-German translation, film, comedy." Aaa-Arbeiten Aus Anglistik Und Amerikanistik 22: (1) 37-51 1997

Schatz, Thomas.
"Annie Hall and the Issue of Modernism." Literature/ Film Quarterly vol. 10 no. 3. 1982. pp: 180-187.
On "Annie Hall" as a modernist text which establishes its self-referential stance in a number of ways.

Sheil, Mark.
"A Nostalgia for Modernity: New York, Los Angeles and American Cinema in the 1970s." In: Screening the city / edited by Mark Shiel and Tony Fitzmaurice. London ; New York : Verso, 2003.
Environ Dsgn PN1995.9.C513.S37 2003
Main Stack PN1995.9.C513.S37 2003 Publisher: Verso. Place of Publication: London, England; Book Pagination: 160-79, Book Publication Date: 2003.

Another Woman

"Another Woman." (movie reviews) Newsweek v112, n17 (Oct 24, 1988):72B (2 pages).

"Another Woman." (movie reviews) Times Literary Supplement, n4506 (August 11, 1989):875.

Combs, Richard.
"Another Woman." (movie reviews) Sight and Sound v58, n4 (Autumn, 1989):279.

Ferriss, Suzanne.
"The Other in Woody Allen's "Another Woman.". Literature-Film Quarterly v24, n4 (Oct, 1996):432 (7 pages).
Woody Allen's "Another Woman" draws upon psychological interpretations of otherness, sexual identity and sense of self in portraying the emotional lives of two women. The lead character, Marion, is a philosophy professor whose marriage is ending. Through a wall, she hears the therapy sessions of a pregnant woman named Hope, who is positioned as Marion's opposite. The film explores Marion's questioning of the rational, career-oriented life that she has chosen and the impact these choices have had on her ability to become engaged emotionally.

Grant, E.
"Another Woman", Feb 89. (Review). Films in Review XL/2, Feb 89; p.101-102.

Kauffmann, Stanley.
"Another Woman", Feb 89. (Review). New Republic v199, n21 (Nov 21, 1988):30 (2 pages).

Nadotti, Maria
"Another Woman", Feb 89. (Review). Artforum v. 27 (Jan. '89) p. 11-12.

Silberg, Jon
"Another Woman", Feb 89. (Review). American Film v. 14 (Oct. '88) p. 13.

Walters, Margaret
"Cinema: Woody Allen's "Another Woman" Listener 122:3124 (1989:July 27) 34

Broadway Danny Rose

"Broadway Danny Rose." (Review)
Films and Filming July 84,; p.15-16.

Downing, Crystal.
"Broadway Roses: Woody Allen's Romantic Inheritance." Literature/ Film Quarterly vol. 17 no. 1. 1989. pp: 13-17.

Henderson, B.
"Broadway Danny Rose." (Review). Film Quarterly XXXIX/3, Spring 86; p.46-50.

Kael, Pauline
"Vulgarians and Ascetics." In: State of the Art / Pauline Kael. pp: 122-27. 1st ed. New York: Dutton, c1985.
Main Stack PN1995.K2527 1985
MoffittPN1995.K2527 1985

Kimball, George Robert, reviewer.
"Broadway Danny Rose." (Review). Films & Filming no(358) (July '84) p. 15-16.

Raushenbush, B.
"Broadway Danny Rose." (Review). Cineaste XIII/3, 84; p.40-42. illus., cred.

Rubin-Dorsky, Jeffrey.
"The Catskills Reinvented (and Redeemed): Woody Allen's Broadway Rose." Kenyon Review. 25 (3-4): 264-81. 2003 Summer-Fall.
UC users only

Bullets over Broadway

Ansen, David.
"Bullets over Broadway." (movie reviews) Newsweek v124, n17 (Oct 24, 1994):75.

Blake, Richard A.
"Bullets over Broadway." (movie reviews) America v172, n1 (Jan 14, 1995):22 (2 pages).

Chidley, Joe.
"Bullets over Broadway." (movie reviews) Maclean's v107, n45 (Nov 7, 1994):71.

Denby, David.
"Bullets over Broadway." (movie reviews) New York v27, n41 (Oct 17, 1994):70 (2 pages).

Kauffmann, Stanley.
"Bullets over Broadway." (movie reviews) New Republic v211, n18 (Oct 31, 1994):38 (2 pages).

Klawans, Stuart.
"Bullets over Broadway." (movie reviews) Nation v259, n16 (Nov 14, 1994):592.

Lane, Anthony.
"Bullets over Broadway." (movie reviews) New Yorker v70, n34 (Oct 24, 1994):103 (2 pages).

Lewis, Kevin.
"Bullets over Broadway." (movie reviews) Films in Review v45, n11-2 (Nov-Dec, 1994):57.
Woody Allen's Bullets Over Broadway recaptures much of the fun of the Broadway and gangster sagas of Hollywood's Golden Age. As always, a myriad of characters hides the lack of visible ideas. When the movie satirizes the intellectual pretensions of early American theater it is wonderful, however. The set decoration is also outstanding, and it is a hilarious movie.

Maslin, Janet.
"Bullets over Broadway." (movie reviews) New York Times v144 (Fri, Sept 30, 1994):B1(N), C1(L), col 3, 21 col in.

Oppenheimer, Jean
" 'Team Woody' Fires Bullets Over Broadway." (Interview). American Cinematographer LXXVI/2, Feb 95; p.66-70.
Cinematographer Carlo Di Palma, production designer Santo Loquasto and editor Sandy Morse speak about their latest collaboration on a Woody Allen film: "Bullets Over Broadway".

Romney, Jonathan.
"Bullets over Broadway." (movie reviews) Sight and Sound v5, n5 (May, 1995):40.

Schickel, Richard.
"Bullets over Broadway." (movie reviews) Time v144, n16 (Oct 17, 1994):74.

Stenberg, Doug.
"Who shot the seagull? Anton Chekhov's influence on Wood Allen's 'Bullets Over Broadway.'" Literature-Film Quarterly v26, n3 (July, 1998):204 (10 pages).
"Woody Allen has always been well-versed in Russian literature and owes a special debt to Anton Chekhov for his work in 'Bullets Over Broadway.' 'Bullets' resembles Chekhov's first major play, 'The Seagull.' Prominent features include the struggles of young actresses, writers, and love triangles." [Expanded Academic Index]

Travers, Peter.
"Bullets over Broadway." (movie reviews) Rolling Stone, n694 (Nov 3, 1994):103 (2 pages).

Cassandra's Dream

Grinberg, Marat.
"The birth of a Hebrew tragedy: Woody Allen's Cassandra's dream as a morality play" Journal of Religion and Film, 14 no 1 Ap 2010
UC users only

Lucia, Cynthia.
"Status and morality in {Cassandra's Dream}: an interview with Woody Allen." Cineaste, 33, no. 2 (Spring, 2008): 40-43
UC users only


"Eyeing the Glitter-Crazed In Manhattan's Dolce Vita." New York Times Nov 20, 1998; Sect. E: p. 22

Felperin, Leslie.
"Ms Tough." (Judy Davis in Woody Allen's 'Celebrity') Sight and Sound v9, n6 (June, 1999):10 (3 pages).
Film director Woody Allen's latest release 'Celebrity' stars Judy Davis as Robin Simon, a woman who begins the film devastated by the break-down of her marriage to Lee, played by Kenneth Branagh. Davis' character gains strength throughout the film with a new image and ends up with film producer Tony Gardella, played by Joe Mantegna. An overview of Davis' work to date is given.

Felperin, Leslie
"Celebrity." Sight & Sound; Vol.IX nr.7 (July 1999); p.38-39

Fuller, Graham
"Ready for the eighth deadly sin?" Interview Nov 1998; p63

Hoberman, J.
"Kiss-kiss of death." The Village Voice; Nov 24, 1998;117

Johnson, Brian D.
"Pretty boys' pleasure." Maclean's; Nov 23, 1998; 126+

Kauffmann, Stanley
"Doodling and delving." The New Republic Dec 21, 1998; 26-28

Klawans, Stuart.
"Celebrity." (Review) Nation v267, n13 (Oct 26, 1998):36 (1 page).

Kroll, Jack.
"Celebrity." (Review) Newsweek v132, n21 (Nov 23, 1998):88 (1 page).

Kroll, Jack.
"Knock on Woody, he's doing fine." Newsweek, Jul 20, 1998; Vol. 132, Iss. 3; pg. 67, 2 pgs

Kurzwel, Edith.
"Celebrity." (Review) Partisan Review v66, n1 (Wntr, 1999):153 (8 pages).

Lane, Anthony
"Dying for it." The New Yorker; v74 Nov 23, 1998; pp 113-114

Maslin, Janet
"Jostling and Stumbling Toward a Fateful 15 Minutes" [Review]; New York Times, Sep 25, 1998; Late Edition (East Coast); pg. E.1:1

McCarthy, Todd
"Celebrity." Variety Sep 14-20, 1998; Vol. 372, Iss. 5; pg. 35, 2 pgs

Oria Gómez, Beatriz
"The Importance of Being Famous: Romance and Self-Identity in Woody Allen's Celebrity (1998)" Revista de Estudios Norteamericanos, vol. 12, pp. 79-95, 2007

Rainer, Peter.
"Running on empty: the paranoid Beltway intrigue in 'Enemy of the State' barely provokes interest, let alone sympathy; 'Celebrity' features two Woody stand-ins, neither named Leo." (Review) (movie reviews) New York v31, n46 (Nov 30, 1998):120 (2 pages).

Romney, Jonathan.
"Celebrity." (Review) New Statesman (1996) v128, n4441 (June 21, 1999):38 (2 pages).

"The wages of fame." Time

Travers, Peter
"Celebrity." (Review) Rolling Stone, Nov 26, 1998, Iss. 800; pg. 131, 2 pgs

Crimes and Misdemeanors

Allen, Richard
"Crimes and Misdemeanors." (movie reviews) Cineaste XVII/4, 90; p.44-46.

Baumgaertner, Jill Pelaez.
"Crimes and Misdemeanors." (movie reviews) Christian Century v113, n17 (May 15, 1996):550 (2 pages).

"Crimes and Misdemeanors." (movie reviews)Times Literary Supplement, n4557 (August 3, 1990):824.

Blake, Richard A.
"Crimes and Misdemeanors." (movie reviews) America v161, n18 (Dec 9, 1989):429 (2 pages).

Blake, Richard A.
"Looking for God. Profane & Sacred in the Films of Woody Allen." Journal of Popular Film and Television XIX/2, Summer 91; p.59-66.
On analyzing the films of Ingmar Bergman and Woody Allen within a theological framework, followed by brief theological analyses of Allen's "Hannah and Her Sisters", "Crimes and Misdemeanors" and "Alice".

"Crimes and Misdemeanors." (movie reviews) Times Educational Supplement, n3871 (Sept 7, 1990):R5.

"Crimes and Misdemeanors." (movie reviews) Films in Review v. 40 (Dec. '89) p. 613-15.

"Crimes and Misdemeanors." (movie reviews) Sight and Sound v59, n3 (Summer, 1990):207 (2 pages).

"Crimes and Misdemeanors." (movie reviews) New York v22, n42 (Oct 23, 1989):124 (3 pages).

"Crimes and Misdemeanors in Manhattan." In: Images of Postmodern Society: Social Theory and Contemporary Cinema / Norman K. Denzin. pp: 95-106. London; Newbury Park: Sage Publications, 1991. Theory, culture & society

Main Stack PN1995.9.S6.D4 1991

"Woody Allen's Blindness and Insight: The Palimpsests of Crimes and Misdemeanors." Religion and the Arts vol. 1 no. 2. 1997 Spring. pp: 73-92.

Geist, Kenneth L. and Chanko, K.M.
"Crimes and Misdemeanors." (Reviews). Films in Review XL/12, Dec 89; p.589-591,612-615.

"Morality and Liberal Legal Culture: Woody Allen's Crimes and Misdemeanors." In: Legal Reelism: Movies as Legal Texts / edited by John Denvir. pp: 154-71. Urbana: University of Illinois Press, c1996.

Main Stack PN1995.9.J8.L45 1996
Moffitt PN1995.9.J8.L45 1996

"Crimes and Misdemeanors." (movie reviews) Maclean's v102, n43 (Oct 23, 1989):68.

"Crimes and Misdemeanors." (movie reviews) New Yorker v65, n37 (Oct 30, 1989):76 (3 pages).

"Crimes and Misdemeanors." (movie reviews) New Republic v201, n20 (Nov 13, 1989):22 (2 pages).

"On Films." (Woody Allen should share screenwriting credit for 'Crimes and Misdemeanors' with Martin Bergmann) (column) New Republic v201, n21 (Nov 20, 1989):29.

"Crimes and Misdemeanors." (movie reviews) Nation v249, n16 (Nov 13, 1989):575 (2 pages).

Kroll, Jack.
"Crimes and Misdemeanors." (movie reviews) Newsweek v114, n16 (Oct 16, 1989):67.

Landry, David.
"Faint Hope--A Theological Interpretation of Woody Allen's Crimes and Misdemeanors." Journal of Religion & Popular Culture, Spring2010, Vol. 22 Issue 1, Special Section p1-19, 19p
UC users only

Liggera, Joseph J.
"The Eyes of Yahweh Are Upon Us: Woody's Allen's Crimes and Misdemeanors." In: Film & Society: proceedings of the Eighth Annual Kent State University International Film Conference, April 17-18, 1990 / edited by Douglas Radcliff-Umstead. [Kent, Ohio: Romance Languages Dept., Kent State University, c1990].
No UCB holdings
UCLA ArtsPN 1995.9 S6 K45 1990

Makarushka, Irene S. M.
"Family Pictures: Imaging America's Moral Landscape." In: Picturing Cultural Values in Postmodern America / edited by William G. Doty. pp: 140-57. Tuscaloosa: University of Alabama Press, c1995.
Anthropology B831.2.P53 1995
Main Stack B831.2.P53 1995

Minowitz, P., Quattrocchi, E. and Vipond, D.L.
"Crimes and Controversies: Nihilism from Machiavelli to Woody Allen./ Allen's Literary Antecedents in Crimes and Misdemeanors. Crimes and Misdemeanors: A Retake on the Eyes of Dr. Eckleburg." Literature/Film Quarterly XIX/2, Apr 91; p.77-88,90-103.
Three articles on the themes of "Crimes and misdemeanors", esp. the vision metaphor; plus references from, and structural resemblance to, literature, notably Shakespeare and the Bible.

O'Brien, Tom.
"Crimes and Misdemeanors." (movie reviews) Commonweal v116, n22 (Dec 15, 1989):706.

Pally, Marcia.
'Crimes' Story." (director Woody Allen's new film "Crimes and Misdemeanors") Film Comment v25, n6 (Nov-Dec, 1989):11 (4 pages).
Discusses the use of cinematic fictions and Jewish storytelling techniques in the films of Woody Allen, esp. "Crimes and Misdemeanors".

Pally, Marcia.
"For he's a jolly good felony: Crimes story." Film Comment v. 25 (Nov./Dec. '89) p. 11-12+.

Papowitz, Eugene B.
"A psychoanalytical review of 'Crimes and Misdemeanors.'" The American Journal of Psychoanalysis June 2001 v61 i2 p201(3)
"Judah, the protagonist in Woody Allen's 'Crimes and Misdemeanors' is a well respected doctor and philanthropist who kills his lover when she threatens to expose their affair and a past embezzlement. After a few months of torment, he manages to overcome the guilt. The concept of self-image and the reality of this turnaround are discussed." [Expanded Academic Index]

Quattrocchi, Edward,
"Allen's Literary Antecedents in 'Crimes and Misdemeanours.'" Literature-Film Quarterly v19, n2 (April, 1991):90 (9 pages).

Rainer, Peter.
"Crimes and Misdemeanors." (movie reviews) American Film v15, n8 (May, 1990):58.

Roche, Mark W.
"Justice and the Withdrawal of God in Woody Allen's Crimes and Misdemeanors." Journal of Value Inquiry. ISSUE: vol. 29 no. 4. 1995 Dec. pp: 547-63.
UC users only

Schickel, Richard.
"Crimes and Misdemeanors." (movie reviews) Time v134, n16 (Oct 16, 1989):82.

Simon, John.
"Crimes and Misdemeanors." (movie reviews) National Review v41, n23 (Dec 8, 1989):46 (3 pages).

Sitney, P. Adams.
"Cinematic Election and Theological Vanity." (Martin Scorsese's 'The Last Temptation of Christ' and Woody Allen's 'Crimes and Misdemeanors') Raritan: A Quarterly Review v11, n2 (Fall, 1991):48 (18 pages).
"Two impressive films from the 1980s, Martin Scorsese's 'The Last Temptation of Christ' and Woody Allen's 'Crimes and Misdemeanors', dealt with theological themes. Scorsese's controversial film depicted Jesus as given to self-doubt, sexual fantasies, and occasional fanaticism. In 'Temptation' Scorsese carried on his delineation of the pain caused by choice of vocation. Allen's film explored how people resolve the moral choices that confront them. In 'Crimes' Allen satirizes the influence of Hollywood movies." [Expanded Academic Index]

Steinfels, Peter.
"Woody Allen counts the wages of sin." ('Crimes and Misdemeanors') New York Times v139, sec2 (Sun, Oct 15, 1989):H15(N), H15(L), col 1, 53 col in.

Travers, Peter.
"Crimes and Misdemeanors." (movie reviews) Rolling Stone, n564 (Nov 2, 1989):35.

Vipond, Dianne L.
"'Crimes and Misdemeanours': a retake on the eyes of Dr. Eckleburg." (Dr. T.J. Eckleburg in The Great Gatsby) Literature-Film Quarterly v19, n2 (April, 1991):99 (5 pages).

Wall, James M.
"Crimes and Misdemeanors." (movie reviews) Christian Century v107, n3 (Jan 24, 1990):67.

"Shtick 'em up." (Woody Allen's age of the victorious "shlemiel" is over; the bad guys really do win in the end. But Marcia Pally pays "Crimes and Misdemeanors" a call and, like Woody, finds peace of mind in the ritual visit to the movies.)
Film Comment 25:6 (1989:Nov./Dec.) 11

Curse of the Jade Scorpion

Ansen, David
"The Curse of the Jade Scorpion." Newsweek, Aug 27, 2001; Vol. 138, Iss. 9; pg. 58, 1 pgs
UC users only

Blake, Richard A.
"Jaded and grumpy." America Dec 3, 2001; Vol. 185, Iss. 18; pg. 22, 2 pgs
UC users only

Gurevich, David
"Curse of the Jade Scorpion." (Review) Images

Jones, Kent
"Curse of the Jade Scorpion." (Review) Film Comment, New York; Jan/Feb 2002; Vol. 38, Iss. 1; pg. 67, 1 pgs

Kerr, Philip.
"Curse of the ageing little schnook: Philip Kerr on yet another improbable romance from Woody Allen and his ego." (The Curse of the Jade Scorpion)(Movie Review) New Statesman (1996) Jan 6, 2003 v132 i4619 p30(1)
UC users only

Koehler, robert
"Curse of the Jade Scorpion." (Review) Variety August 13, 2001 v383 i12 p43 (1080 words)
UC users only

Louvish, Simon
"The Curse of the Jade Scorpion" Sight and Sound 13:1 [January 2003] p. 39-40

Noh, David
"Curse of the Jade Scorpion." (Review) Film Journal International Sept 2001 v104 i9 p57 (630 words)

Rainer, Peter; John Simon.
"Curse of the Jade Scorpion." (Review) New York Sept 10, 2001 v34 i34 p199(1)

Scott, A.O.
"Case of the arch gumshoe." (Woody Allen's new film 'The Curse of the Jade Scorpion')(Living Arts Pages)(Review) The New York Times August 24, 2001 pB1(N) pE1(L) col 3 (35 col in)

Travers, Peter
"The Curse of the Jade Scorpion" Rolling Stone 876 [30 August 2001] 132

Deconstructing Harry

Ansen, David.
"Deconstructing Harry." (movie reviews) Newsweek v130, n25 (Dec 22, 1997):85.

"Deconstructing Woody: A Critical Symposium on Woody Allen's 'Deconstructing Harry'." Cineaste v23, n3 (Summer, 1998):35

Denby, David.
"Deconstructing Harry." (movie reviews) New York v30, n49 (Dec 22, 1997):134 (2 pages).

Dowd, Maureen.
"Grow up, Harry." (a harsh look at Woody Allen and his latest movie, 'Deconstructing Harry')(Column) New York Times v147, sec4 (Sun, Jan 11, 1998):WK19(N), E19(L), col 1, 16 col in.

Dowell, Pat.
"Woody's effort to reconstruct himself." (Deconstructing Woody: A Critical Symposium on Woody Allen's 'Deconstructing Harry') Cineaste v23, n3 (Summer, 1998):35 (2 pages).
UC users only
Woody Allen's film 'Deconstructing Harry' is a tacit acknowledgment of his misogynistic views about women. An ego-aggrandizing exercise that clearly mirrors Allen's life, the film fails to excite since it is so obviously an effort by Allen to provide excuses for his overbearingly sexist view of the world. While Allen has created a distinctive, provocative film, his unsubtle attempt to use the film to justify his private infidelities makes it quite objectionable in many respects.

Goetz, Ronald.
"Deconstructing Harry." (movie reviews) Christian Century v115, n9 (March 18, 1998):315 (2 pages).

Howe, Desson.
"Deconstructing Woody; the filmmaker puts himself in his movies. Or does he?" (filmmaker Woody Allen) Washington Post v120, n361 (Sat, Dec 27, 1997):D1, col 6, 58 col in.

Jefferson, Margo
"The New Film Hero: Twisted, Neurotic, Triumphant." New York Times, Jan 28, 1998; Late Edition (East Coast); pg. E.2

Johnson, Brian D.
"Deconstructing Harry." (movie reviews) Maclean's v110, n52 (Dec 29, 1997):104 (2 pages).

Kauffmann, Stanley.
"Deconstructing Harry." (movie reviews) New Republic v218, n3 (Jan 19, 1998):24.

Kerbel, Michael.
"The redemptive power of art." (Deconstructing Woody: A Critical Symposium on Woody Allen's 'Deconstructing Harry') Cineaste v23, n3 (Summer, 1998):36 (2 pages).
UC users only
Woody Allen's film 'Deconstructing Harry' is a fascinating exploration of the use of art as a tool for self-redemption. In the film, Allen plays an insufferable writer whose immersion in his writing allows him to create a gratifying escape from the problems he encounters in his troubled family relationships. The film permits Allen to examine the possibility that an artist's professional success can be used to excuse personal failure.

Klawans, Stuart.
"Deconstructing Harry." (movie reviews) Nation v266, n1 (Jan 5, 1998):34 (3 pages).

Lippert, Barbara.
"Whose Life is it, Anyway?" (filmmaker Woody Allen) New York v31, n2 (Jan 19, 1998):18 (2 pages).
Woody Allen's characterization in the movie 'Deconstructing Harry' is more indicative of the writer Philip Roth than of himself. Several details in the movie illustrate known events in Roth's life. Speculation has it that Allen is repaying Roth for dating his ex-wife, Mia Farrow.

Maslin, Janet.
"Deconstructing Harry." (movie reviews) New York Times v147 (Fri, Dec 12, 1997):B1(N), E1(L), col 2, 21 col in.

McGrath, Melanie
"Deconstructing Harry" (motion picture review). Sight & Sound ns8 no5 (May '98) p. 42-3.
This film marks the return of Allen's autobiographical cinema of complaint. Obsessively interested in formalism, it is a filmic exploration of psychological fragmentation. A troubling feature is Allen's willingness to subdue such compelling actresses as Judy Davis and Elisabeth Shue in order to aggrandize his hero's overblown psyche. At best, this film is the funny retreat of an artist defeated by his own film who makes a dazzling job of glamorizing its frame.

Pally, Marcia.
"The cinema as secular religion." (Deconstructing Woody: A Critical Symposium on Woody Allen's 'Deconstructing Harry') Cineaste v23, n3 (Summer, 1998):32 (2 pages).
UC users only
Woody Allen's film 'Deconstructing Harry' is the latest in a series of insistent films made after the sordid Mia Farrow/Soon Yi scandal erupted in 1992. This film, like virtually all of Woody Allen's comedies, tackles the relationship between art, fantasy and the creative process. It also allows Allen to mock Jewish stereotypes irreverently and permits him to address questions about the morality of his self-confessed younger-woman fixation.

Peachment, Chris.
"Film: Deconstructing Harry." (motion picture review) New Statesman (1996) v127, n4381 (April 17, 1998):44 (1 page).
Woody Allen's 'Deconstructing Harry' is another sorry attempt by the neurotic writer/director to prove himself as an artist. 'Great Expectations' proves to be the better movie because of its highly imaginative reworking and the competent performances.

Quart, Leonard.
"Woody Allen's reflexive critics." (Deconstructing Woody: A Critical Symposium on Woody Allen's 'Deconstructing Harry') Cineaste v23, n3 (Summer, 1998):34 (2 pages).
UC users only
Woody Allen's film 'Deconstructing Harry' is his most ambitious work since 'Hannah and Her Sisters.' Its satirical wit and structural complexity allow Allen to present to viewers a fascinating character study of a destructive writer who, unable to deal with the realities of life, retreats into the more controllable fantasy world of his fiction. Smart, bold and funny, the film is perhaps Allen's most revealingly autobiographical work.

Rapping, Elayne.
"A feminist's love/hate relationship." (Deconstructing Woody: A Critical Symposium on Woody Allen's 'Deconstructing Harry') Cineaste v23, n3 (Summer, 1998):37 (2 pages).
UC users only
Woody Allen's film 'Deconstructing Harry' is both charming and intelligent. While it is true that the film is mean-spirited in its portrayal of women, it is also a wonderful reminder of Allen's gifts as a filmmaker. Tackling with unapologetic verve the subjects of misogyny, hypocrisy and male arrogance, Allen succeeds in creative a film that is a complex, fascinating and provocative examination of the complexities of art and life.

Romney, Jonathan
"Scuzzballs like us." Sight & Sound; Vol.VIII nr.4 (Apr 1998); p.10-13
"Wild man blues", a documentary portrait of Woody Allen, and "Deconstructing Harry" are compared and analysed and the question is posed: which one gives a truer portrait of the director?

Schickel, Richard.
"He's still naughty but not as nice." (Deconstructing Harry: movie reviews) Time v150, n26 (Dec 22, 1997):82.

Simon, John.
"Deconstructing Harry." (movie reviews) National Review v50, n2 (Feb 9, 1998):61.

Steyn, Mark
"Armiable ramble." The Spectator; (London) Apr 18, 1998; Vol. 280, Iss. 8854; pg. 43, 2 pgs

Tunney, Tom
"Deconstructing Harry." Sight and Sound, Nov 1998; Vol. 8, Iss. 11; pg. 68, 1 pgs

Weinraub, Bernard.
"Separating fact, fiction and film." (Woody Allen comments on 'Deconstructing Harry')(Interview) New York Times v147 (Fri, Jan 2, 1998):B7(N), E7(L), col 1, 14 col in.

Yaffe, David.
"Allen Agonistes." (Woody Allen and the film 'Deconstructing Harry') Dissent v45, n2 (Spring, 1998):94 (3 pages).
UC users only
Woody Allen has played a moralist in many of his earlier films but when rumors of child molestation and seduction of a stepdaughter of his partner broke out there has been a shift in the characters he portrays and writes about. The shift is most pronounced in the movie 'Deconstructing Harry' where Allen plays a writer. Indeed, the movie could very well have been an autobiographical account of Woody Allen's life.

Everyone Says I Love You

Bart, Peter.
"The Nebbish as Control Freak." (film director Woody Allen's public relations campaign for 'Everyone Says I Love You')(Column) Variety v365, n6 (Dec 9, 1996):4 (2 pages).

Blake, Richard A.
"Everyone Says I Love You." (movie reviews) America v176, n9 (March 22, 1997):25 (2 pages).

Bowman, James.
"Everyone Says I Love You." (movie reviews) American Spectator v30, n2 (Feb, 1997):62 (2 pages).

Churchill, Bonnie.
"Woody Allen's musical sings with spontaneity." (the film director discusses his recent film, 'Everyone Says I Love You') Christian Science Monitor v89, n41 (Fri, Jan 24, 1997):12, col 1, 17 col in.

Coe, Jonathan.
"Everyone Says I Love You." (movie reviews) New Statesman (1996) v126, n4330 (April 18, 1997):40 (2 pages).

Denby, David.
"Everyone Says I Love You." (movie reviews) New York v29, n48 (Dec 9, 1996):72.

Thomson, David
"Sweet unison: Woody Allen's new musical 'Everyone Says I Love You'." Sight & Sound 7: (4) 20-23 Apr 1997

Kauffmann, Stanley.
"Everyone Says I Love You." (movie reviews) New Republic v215, n20 (Nov 11, 1996):40 (2 pages).

Klady, Leonard.
"Everyone Says I Love You." (movie reviews) Variety v365, n5 (Dec 2, 1996):65 (2 pages).

Lahr, John.
"The Imperfectionist: why is Woody Allen singing in his new movie, and how did he survive the scandal?" (Interview) New Yorker v72, n38 (Dec 9, 1996):68 (14 pages).

Maslin, Janet.
"Everyone Says I Love You." (movie reviews) New York Times v146 (Fri, Dec 6, 1996):B1(N), C1(L), col 5, 22 col in.

Morgenstern, Joe.
"Everyone Says I Love You." (movie reviews) Wall Street Journal (Fri, Dec 6, 1996):A14(W), A16(E), col 1, 11 col in.

Romney, Jonathan.
"Everyone Says I Love You." (movie reviews) Sight and Sound v7, n4 (April, 1997):40 (2 pages)
Everyone Says I Love You is Woody Allen's most confident and commercially successful film for some time. Glib and complacent, it provides family entertainment in more ways than one; the director with a famously skeptical if not dysfunctional relationship to families presents an idealized image of the extended family as the seat of solid emotional values.

Schickel, Richard.
"Everyone Says I Love You." (movie reviews) Time v148, n26 (Dec 9, 1996):81 (2 pages).

Thomson, David.
"Sweet Unison." (Woody Allen's 'Everyone Says I Love You' and musical films) Sight and Sound v7, n4 (April, 1997):20 (4 pages).
Uses Woody Allen's "Everyone Says I Love You" as a starting point for a discussion of blockbuster musicals, particularly MGM musicals of the 1950's, and nostalgia for them. Also refers to Jacques Demy's "Les Parapluies de Cherbourg".
A discussion of Woody Allen's new film Everyone Says I Love You. The writer argues that the purpose of this film is to let the viewer share Allen's love of the musical. After discussing various musicals, such as Meet Me in St. Louis, Viva Las Vegas, and Saturday Night Fever, he contends that there have been few American movies in the last 20 years or so that deserve to be called "new musicals"--melodramas done with a unity of story, acting, movement, and music. He concludes that Allen's movie merely pays due reverence to a lost past.

Travers, Peter.
"Everyone Says I Love You." (movie reviews) Rolling Stone, n754 (Feb 20, 1997):73 (2 pages).

White, Armond
"That Thing They Don't." Film Comment XXXIII/2, Mar-Apr 97; p.43-45.
In Everyone Says I Love You, Woody Allen never questions his characters' social motives, and, set to music, their lasciviousness, cruelness, and selfishness get sanctioned. The film is a psychodramatic musical in which inappropriate romantic deceptions among the rich, white, world-traveling Manhattanite characters are infused with farcical esprit, and in which class privilege is reasserted. Allen's reactionary musical succeeds only at its conclusion, when Goldie Hawn is allowed to stop impersonating Diane Keaton's dithering and actually carry a tune, a feat no one else in the film manages.

Zoglin, Richard.
"All Singing, All Woody." (Woody Allen's musical film, 'Everyone Says I Love You') Time v148, n26 (Dec 9, 1996):81 (2 pages).

Hannah and Her Sisters

Blake, Richard A.
"Looking for God. Profane & Sacred in the Films of Woody Allen." Journal of Popular Film and Television XIX/2, Summer 91; p.59-66.
On analyzing the films of Ingmar Bergman and Woody Allen within a theological framework, followed by brief theological analyses of Allen's "Hannah and Her Sisters", "Crimes and Misdemeanors" and "Alice".

Bragg, Helen.
"Woody Allen's Economy of Means: An Introduction to Hannah and Her Sisters." Literature/ Film Quarterly, vol. 16 no. 1. 1988. pp: 44-48.
Unravelling the subtextual complexities of Woody Allen's apparently simple film.

Chanko, K.M
"Hannah and Her Sisters." (Review). Films in Review XXXVII/5, May 86; p.301-302.

Erens, Patricia
"You Could Die Laughing: Jewish Humor and Film." East-West Film Journal II/1, Dec 87; p.50-62.
Discusses Jewish humour in US films, particularly Woody Allen's "Hannah and her sisters" and Mel Brooks' "History of the World - part 1".

Felperin, Leslie
"Woody's fingerprints." Sight & Sound; Vol.VII nr.12 (Dec 1997); p.61
Director Bart Freundlich talks of the admiration of the style and humour of Woody Allen's "Hannah and her sisters", and how he drew on this for his own film "The myth of fingerprints".

Freundlich, Bart.
"Woody's Fingerprints." Sight and Sound v7, n12 (Dec, 1997):61.
Woody Allen's 'Hannah and Her Sisters' largely influenced the latest motion picture release of director, Bart Freundlich: 'The Myth of Fingerprints'. Both films feature several characters with their own individual storylines, however, while Allen uses internal monologues for character development; Freundlich favours facial expression and cinematography. Allen's shooting style also influenced Freundlich's latest release.

Kimball, G.R.
"Hannah and Her Sisters" (Review). Films & Filming /381, June 86; p.32-33.

Knight, Christopher J.
"Woody Allen's "Hannah and Her Sisters": Domesticity and its Discontents." Literature-Film Quarterly v24, n4 (Oct, 1996):383 (10 pages).
"Woody Allen uses Hannah's Upper West Side apartment as the focal point in "Hannah and Her Sisters" to study the merits of domesticity and men's and women's relationships to it. The film's domesticity is not confined to the feminine values often associated with it. Allen treats domesticity as the effort to create a space that is both comfortable and nurturing and that involves making connections with loved ones. Though the women in the film are more closely linked with domesticity, they enjoy subject status as well as object status." [Expanded Academic Index]

Salmon, Paul and Bragg, Helen
"Woody Allen's Economy of Means: An Introduction to "Hannah and Her Sisters." Literature/Film Quarterly 16:1 (1988) 44

Snow, Diane.
"Woody Allen's Interiors: The Dark Side of Hannah and Her Sisters." Encyclia: The Journal of the Utah Academy of Sciences, Arts, and Letters, vol. 64. 1987. pp: 44-54.

Hollywood Ending

Blake, Richard A.
"The End of Hollywood." (Hollywood Ending)_(movie review) America June 3, 2002 v186 i19 p23
UC users only

Corliss, Richard
"Deconstructing Woody: The aging auteur's new film, Hollywood Ending, shows that comedy only gets harder as you get older." (movie review) Time May 13, 2002 v159 i19 p66
UC users only

Denby, David
"Star struck; "Attack of the Clones" and "Hollywood Ending."" (movie reviews) The New Yorker May 20, 2002 v78 i12 p114(2)
UC users only

Kauffmann, Stanley
"On Films - Frenzy and Finesse." (Hollywood Ending; The Lady and the Duke) The New Republic May 27, 2002 p24
UC users only

Husbands and Wives

Alleva, Richard.
"Husbands and Wives." (movie reviews) Commonweal v119, n18 (Oct 23, 1992):16 (3 pages).

Ansen, David.
"Husbands and Wives." (movie reviews) Newsweek v120, n12 (Sept 21, 1992):76 (2 pages).

Barron, James.
"A new Woody Allen movie seems to mimic his life." (Woody Allen's Husbands and Wives' seems to have the same plot as his real life problems) (Living Arts Pages) New York Times v141 (Fri, August 21, 1992):B2(N), B3(L), col 5, 12 col in.

Bart, Peter.
"Woody's World."(Column) Variety v348, n8 (Sept 14, 1992):3 (2 pages).
Allen's fans have revered the filmmaker in the past, and the current question is whether audiences will be able to view his new film, 'Husbands and Wives,' without seeing it as a mirror of Allen's own life. His character's infatuation with a younger woman too closely parallels his personal life.

Blake, Richard A.
"Husbands and Wives." (movie reviews) America v167, n10 (Oct 10, 1992):255.

Bowman, James.
"Husbands and Wives." (movie reviews) TLS. Times Literary Supplement, n4674 (Oct 30, 1992):18.

Cantwell, Mary.
"Three women; afraid of the dark at the movies?" (responses to Woody Allen's movie 'Husbands and Wives') (Column) New York Times v142 (Sat, Sept 19, 1992):10(N), 18(L), col 1, 8 col in.

Corliss, Richard.
"Husbands and Wives." (movie reviews) Time v140, n12 (Sept 21, 1992):64.

Denby, David.
"Husbands and Wives." (movie reviews) New York v25, n37 (Sept 21, 1992):60 (2 pages).

Johnson, Brian D.
"Husbands and Wives." (movie reviews) Maclean's v105, n38 (Sept 21, 1992):53.

Kauffmann, Stanley.
"Husbands and Wives." (movie reviews) (Cover Story) New Republic v207, n17 (Oct 19, 1992):30 (2 pages).

Klawans, Stuart.
"Husbands and Wives." (movie reviews) Nation v255, n12 (Oct 19, 1992):447 (2 pages).

Quart, Barbara
"Husbands and Wives." (movie reviews) Cineaste XIX/4, 93; p.74-75.

Rafferty, Terrence.
"Husbands and Wives." (movie reviews) New Yorker v68, n31 (Sept 21, 1992):102 (4 pages).

Romney, Jonathan.
"Husbands and Wives." (movie reviews) New Statesman & Society v5, n225 (Oct 23, 1992):37.

Romney, Jonathan.
"Husbands and Wives." (movie reviews) Sight and Sound v2, n7 (Nov, 1992):44 (2 pages).

Simon, John.
"Husbands and Wives." (movie reviews) National Review v44, n20 (Oct 19, 1992):57 (4 pages).

Travers, Peter.
"Husbands and Wives." (movie reviews) Rolling Stone, n640 (Oct 1, 1992):71 (2 pages).

Underwood, Nora.
"When Life Imitates Art." (custody battle between Woody Allen and Mia Farrow) Maclean's v105, n35 (August 31, 1992):34 (2 pages).
The relationship between Woody Allen and his ex-lover's adopted daughter troubles psychologists. Allen's ex-lover, Mia Farrow, portrays Allen's wife in his new film, 'Husbands and Wives.' Allen portrays a professor attracted to a student.

Wall, James M.
"The Treacherous and the Good: Two Views of Women" (Editorial) Christian Century v109, n28 (Oct 7, 1992):859 (2 pages).
The contrasting portrayals of women as seen through the motion pictures 'Unforgiven' by Clint Eastwood and 'Husbands and Wives' by Woody Allen are discussed. Allen's film views women as treacherous, while Eastwood film is built around the treasured memory of a woman.

Wall, James M.
"Husbands and Wives." (movie reviews) Christian Century v109, n28 (Oct 7, 1992):859 (2 pages).

Welsh, James M.
"Husbands and Wives." (movie reviews) Films in Review v44, n1-2 (Jan-Feb, 1993):49 (2 pages).


Cardullo, Bert.
"Autumn Interiors, or The Ladies Eve: Woody Allen's Ingmar Bergman Complex." Antioch Review v58, n4 (Fall, 2000):428.
UCB users only
Cardullo, Bert.
"Autumn Interiors, or The Ladies Eve: Woody Allen's Ingmar Bergman Complex." North Dakota Quarterly. 69 (1): 124-36. 2002 Winter.
Cardullo, Bert.
"Autumn Interiors, or The Ladies Eve: Woody Allen's Ingmar Bergman Complex." Journal of European Studies. 30 (4 (120)): 387-99. 2000 Dec.

Gow, Gordon
"Interiors." (Review). Films & Filming XXV/4, Jan 79; p.30-31. cred.

"Interiors." (Photo section). Films & Filming XXV/2, Nov 78; p.17-19.

"Interiors." (Review). New York Review of Books,v26, Aug. 16, 1979, pp: 18-19

"Interiors." (Review). New York Times, Aug. 2, 1978, Sect III, p. 15

"Interiors." (Review). New Yorker, v54, Aug. 7, 1978, pp: 76-8

"Interiors." (Review). Saturday Review v6, Jan. 6, 1979, pp: 46-7

McCreadie, Marsha
"Interiors." (Review). Films in Review XXIX/9, Nov 78; p.566-67.

Pulleine, Tim

"Interiors." (Review). Sight & Sound XLVIII/1, Winter 78-79; p.60-61.

Snow, Diane.
"Woody Allen's Interiors: The Dark Side of Hannah and Her Sisters." Encyclia: The Journal of the Utah Academy of Sciences, Arts, and Letters, vol. 64. 1987. pp: 44-54.

Love and Death

LeBlanc, Ronald D.
"'Love and Death' and food: Woody Allen's comic use of gastronomy." Literature Film Quarterly v17, n1 (Jan, 1989):18 (9 pages)

"Love and Death." (movie review) Los Angeles Times, June 11, 1975, Sec IV, p1

"Love and Death." (movie review) New Republic, June 5, 1975, v173, p22

"Love and Death." (movie review) New York Times, June 11, 1975, p48

"Love and Death." (movie review) New York Times, June 22, 1975, Sect II, p1

"Love and Death." (movie review) Newsweek, June 23, 1975, v85, pp84-5

"Love and Death." (movie review) New York Times, June 29, 1975, Sect II, p75

Time, June 30, 1975, v105, p1


Berg, K.
"Woody Allen's 'Manhattan': Critical study." French Review 72: (3) 581-582 Feb 1999

Edelman, R.
"Manhattan." (Review). Films in Review XXX/6, June-July 79; p.370-371.

Gow, Gordon
"Manhattan." (Review). Films & Filming XXV/11, Aug 79; p.29-30.

Knight, Christopher J.
"Woody Allen's Manhattan and the Ethicity of Narrative." Film Criticism vol. 13 no. 1. 1988 Fall. pp: 63-72.

Knight, Christopher J.
" Woody Allen's Manhattan and the Ethicity of Narrative." Film Criticism XIII/1, Fall 88; p.63-72. bibliogr.
Examines the nature of the ethical narrative in "Manhattan".

McMurtry, Larry
"Woody Allen, Neighborhood Filmmaker." (Article). American Film IV/10, Sept 79; p.6.
Speculation on how middle America perceives the borough of Manhattan as portrayed by Woody Allen's film of the same name.

Pym, John "Manhattan" (Review). Sight & Sound XLVIII/4, Autumn 79; p.257-258.

"Woody Allen's Manhattan." (Photo section).
Films & Filming XXV/10, July 79; p.25-28.

Manhattan Murder Mystery

Ansen, David.
"Manhattan Murder Mystery." (movie reviews) Newsweek v122, n9 (August 30, 1993):53.

Blake, Richard A.
"Manhattan Murder Mystery." (movie reviews) America v169, n16 (Nov 20, 1993):22 (2 pages).

Bromwich, David.
"Manhattan Murder Mystery." (movie reviews) New Leader v76, n12 (Oct 4, 1993):21.

DeCurtis, Anthony.
Woody Allen: the Rolling Stone interview." (Interview) Rolling Stone, n665 (Sept 16, 1993):45 (7 pages).
Allen had no trouble making his new film, 'Manhattan Murder Mystery,' despite the public attention paid to his conflicts with ex-wife Mia Farrow over his relationship with her adopted daughter. The new film, Allen's career and his childhood are discussed.

Denby, David.
"Manhattan Murder Mystery." (movie reviews) New York v26, n33 (August 23, 1993):57 (2 pages).

Johnson, Brian D.
"Manhattan Murder Mystery." (movie reviews) Maclean's v106, n34 (August 23, 1993):46.

Kauffmann, Stanley.
"Manhattan Murder Mystery." (movie reviews) New Republic v209, n14 (Oct 4, 1993):30 (2 pages).

Kemp, Philip.
"Manhattan Murder Mystery." (movie reviews) Sight and Soundv4, n2 (Feb, 1994):57.
Woody Allen's Manhattan Murder Mystery comes across as a surprisingly careless film given Allen's notorious perfectionism. The cinematic allusions to Hitchcock and Wilder only serve to remind the audience how much better these directors were at this genre. Manhattan Murder Mystery has an oddly tentative quality, and even the one-liners have a provisional air. One redeeming feature, however, is a characteristically poised and witty appearance by Anjelica Huston.

Rafferty, Terrence.
"Manhattan Murder Mystery." (movie reviews) New Yorker v69, n27 (August 23, 1993):163 (2 pages).

Romney, Jonathan.
"Shelter from the Storm." (Woody Allen's views on 'Manhatten Murder Mystery') Sight and Sound v4, n2 (Feb, 1994):6 (4 pages).
In an interview, film director Woody Allen discusses his screen persona. He denies that Husbands and Wives was an autobiographical film depicting the break up of his relationship with actress Mia Farrow. Allen also analyzes his portrayal of Jewish characters in Shadows and Fog and discusses his new film, Manhattan Murder Mystery, which he describes as pure entertainment.
Novelist Woody Allen is well-known for his assembly of ideas and images, expressed in a style that combines humor and seriousness. He describes the movie, 'Manhattan Murder Mystery,' as a comedy thriller and an entertainment for the audience. He describes the movie as a pure airport reading which does not lay much emphasis on jokes and art.

Schickel, Richard.
"Manhattan Murder Mystery." (movie reviews) Time v142, n8 (August 23, 1993):67.

Simon, John.
"Manhattan Murder Mystery." (movie reviews) Manhattan Murder Mystery. (movie reviews) National Review v45, n18 (Sept 20, 1993):76 (2 pages).

Travers, Peter.
Manhattan Murder Mystery." (movie reviews) Rolling Stone, n664 (Sept 2, 1993):68 (2 pages).

Welsh, James M.
Manhattan Murder Mystery." (movie reviews) Films in Review v44, n11-12 (Nov-Dec, 1993):413 (2 pages).

Match Point

Goyios, Charalampos
"Living Life as an Opera Lover: On the Uses of Opera as Musical Accompaniment in Woody Allen's Match Point." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 40, 2006 July-Sept

A Midsummer Night's Sex Comedy

Greenbaum, R.
"A Midsummer Night's Sex Comedy" (Review). Films in Review XXXIII/8, Oct 82; p.487-488.

Pym, John
"Well Moused Lion." (Review). Sight & Sound LI/4, Autumn 82; p.300.

Mighty Aphrodite

Alleva, Richard.
"Mighty Aphrodite." (movie reviews) Commonweal v122, n22 (Dec 15, 1995):17 (2 pages).

Blake, Richard A.
"Mighty Aphrodite." (movie reviews) America v173, n21 (Dec 30, 1995):22 (2 pages).

Denby, David.
"Mighty Aphrodite." (movie reviews) New York v28, n43 (Oct 30, 1995):108 (2 pages).

Corliss, Richard.
"Mighty Aphrodite." (movie reviews) Time v146, n18 (Oct 30, 1995):91 (2 pages).

Francke, Lizzie.
"Mighty Aphrodite." (movie reviews) New Statesman & Society v9, n398 (April 12, 1996):33. Pub Type: Review.

James, Nick.
"Mighty Aphrodite." (movie reviews) Sight and Sound v6, n4 (April, 1996):48 (2 pages).
Woody Allen's Mighty Aphrodite has no visual innovations, concentrates on people in rooms, and brings back Allen's favorite long-faced nebbish screen persona. Despite Allen's attempts to build in a knowing perspective on the class boundaries being breached by his central character, Lenny, this film remains deeply patronizing about the working-class characters of Linda and Kevin.

Johnson, Brian D.
"Mighty Aphrodite." (movie reviews) Maclean's v108, n44 (Oct 30, 1995):57.

Kauffman, Stanley.
"Mighty Aphrodite." (movie reviews) New Republic v213, n22 (Nov 27, 1995):28 (2 pages).

Lane, Anthony.
"Mighty Aphrodite." (movie reviews) New Yorker v71, n34 (Oct 30, 1995):112 (3 pages).

Maslin, Janet.
"Mighty Aphrodite." (movie reviews) New York Times v145 (Fri, Oct 27, 1995):B1(N), C1(L), col 3, 20 col in.

"Mighty Aphrodite." (movie reviews) New York Times v145, n166 (Fri, June 14, 1996):B8(N), D19(L), col 4, 3 col in.

Pawelczak, Andy.
"Mighty Aphrodite." (movie reviews) Films in Review v47, n1-2 (Jan-Feb, 1996):64 (2 pages).
A review of Woody Allen's motion picture Mighty Aphrodite. The film relates the story of a sportswriter's search for his adopted son's mother, whom he then discovers is a prostitute. The rest of the film is about his Pygmalion-like attempt to remake her into a lady and find her a husband. Full of funny literate conceits and uninhibited vulgarity, the film is a palimpsest of old and new Allen.

Rudolph, Eric
"Mighty Aphrodite Tours Manhattan." (Interview). American Cinematographer LXXVII/2, Feb 96; p.60-64.
Carlo Di Palma speaks of his work as cinematographer on many films by Woody Allen; focuses on the New York location work for his latest, "Mighty Aphrodite".

Travers, Peter.
"Mighty Aphrodite." (movie reviews) Rolling Stone, n721 (Nov 16, 1995):115 (2 pages).

New York Stories

Ansen, David.
"New York Stories." (movie reviews) Newsweek v113, n10 (March 6, 1989):58.

Atkinson, Michael
"City lights." The Village Voice, May 5, 1998; Vol. 43, Iss. 18; pg. 128, 1 pgs

Blake, Richard A.
"New York Stories." (movie reviews) America v160, n14 (April 15, 1989):353.

Canby, Vincent.
"New York Stories." (movie reviews) New York Times v138, sec2 (Sun, March 12, 1989):H13(N), H13(L), col 5, 26 col in.

Combs, Richard.
"New York Stories." (movie reviews) Sight and Sound v58, n4 (Autumn, 1989):279.

Denby, David.
"New York Stories." (movie reviews) New York v22, n11 (March 13, 1989):63 (2 pages).

Grant, E.
"New York Stories." (movie reviews) Films in Review XL/6-7, June-July 89; p.362-363.

Hislop, Andrew.
"New York Stories." (movie reviews) Times Literary Supplement, n4520 (Nov 17, 1989):1270.

Humphries, Reynold
"Yet more thoughts on the auteur." Iris; nr.28 (Fall 1999); p.49-60
Discusses film theory and questions the notion of auteur. Looks at Woody Allen's contribution to "New York stories" to illustrate the point. French abstract.

Johnson, Brian D.
"New York Stories." (movie reviews)Maclean's v102, n11 (March 13, 1989):62.

Kael, Pauline.
"New York Stories." (movie reviews) New Yorker v65, n5 (March 20, 1989):93 (4 pages).

Kauffmann, Stanley.
"New York Stories." (movie reviews) New Republic v200, n13 (March 27, 1989):24 (3 pages).

Klawans, Stuart.
"New York Stories." (movie reviews) Nation v248, n12 (March 27, 1989):426 (2 pages).

Librach, Ronald S.
"A Nice Little Irony: Life Lessons." Literature/Film Quarterly XXIV/2, Apr 96; p.128-144.
Views 'Life lessons', the Martin Scorsese contribution to "New York stories", as an unofficial adaptation of Dostoevskij's 'The Gambler' and 'Polina Suslova's Diary'.

Moore, Suzanne.
"New York Stories." (movie reviews) New Statesman & Society v2, n76 (Nov 17, 1989):44 (2 pages).

O'Brien, Tom.
"New York Stories." (movie reviews) Commonweal v116, n7 (April 7, 1989):212 (2 pages).

Salamon, Julie.
"New York Stories." (movie reviews) Wall Street Journal (Tue, Feb 28, 1989):A16(W), A20(E), col 1, 22 col in.

Saposnik, Irving S.
"A Tale of an Umbrella: Isaac Bashevis Singer, Woody Allen, and Their New York Stories." Yiddish, 1999, 11:3-4, 86-100.

Saposnik, Irving S.
"A Tale of an Umbrella: Isaac Bashevis Singer, Woody Allen, and Their New York Stories." In: Isaac Bashevis Singer : his work and his world / edited by Hugh Denman. Leiden ; Boston : Brill, 2002.
Main (Gardner) Stacks PJ5129.S49 Z699 2002

Schickel, Richard.
"New York Stories." (movie reviews) Time v133, n10 (March 6, 1989):68. Pub Type: Review.

Simon, John.
"New York Stories." (movie reviews) National Review v41, n11 (June 16, 1989):45 (3 pages).

The Purple Rose of Cairo

Arizti, Barbara.
"Female Spectatorship in The Purple Rose of Cairo." In: Gender, I-deology: Essays on Theory, Fiction and Film / edited by Chantal Cornut-Gentille D'Arcy and Jose Angel Garcia Landa. pp: 387-97. Amsterdam; Atlanta: Rodopi, 1996. Postmodern Studies; 16
Main Stack PN56.F46.G46 1996

Barbieri, Marie E.
"Metafiction in Don Quijote and The Purple Rose of Cairo: Three Characters in Search of Their Freedom." RLA: Romance Languages Annual, vol. 5. 1993. pp: 356-59.

Chanko, K.M.
"The Purple Rose of Cairo." (Review). Films in Review XXXVI/6-7, June-July 85; p.365-366.

Downing, Crystal.
"Broadway Roses: Woody Allen's Romantic Inheritance." Literature/ Film Quarterly vol. 17 no. 1. 1989. pp: 13-17.

Dunne, Michael
"Stardust Memories, The Purple Rose of Cairo, and the Tradition of Metafiction." Film Criticism XII/1, Fall 87; p.19-27.
UC users only
Analyses the comedy of "The Purple Rose of Cairo" and "Stardust Memories" in terms of post-modern fiction.

David Grimsted
"The Purple Rose of Popular Culture Theory: An Exploration of Intellectual Kitsch." American Quarterly, Vol. 43, No. 4. (Dec., 1991), pp. 541-578.

Kimball, G.R.
"The Purple Rose of Cairo." (Review). Films & Filming /370, July 85; p.42-43.

Mamber, Stephen
"In Search of Radical Metacinema." In: Comedy/Cinema/Theory / edited by Andrew Horton. pp: 79-90. Berkeley: University of California Press, c1991.
Main Stack PN1995.9.C55.C65 1991
MoffittPN1995.9.C55.C65 1991

"Woody Allen's The Purple Rose of Cairo and the Genres of Comedy." Literature/ Film Quarterly, vol. 16 no. 1. 1988. pp: 39-43.

"The Purple Rose of Cairo" paralleled with the basic genres of comedy as detailed in Northrop Frye's essay 'The Argument of Comedy'.

Rafferty, Terrence
"Slide!" (Review). Sight & Sound LIV/3, Summer 85; p.219-220.

Stenberg, Douglas G.
"Common Themes in Gogol's "Nos" and Woody Allen's 'The Purple Rose of Cairo.'" (Nikolai Vasilievich Gogol) Literature-Film Quarterly v19, n2 (April, 1991):109 (5 pages).
Keats's treatment of the pastoral in 'Ode on a Grecian Urn' recalled as a comparison to W.A.'s affectionate pastiche of 1930's US films in "The Purple Rose of Cairo"; plus the influence on this film of Russian literature, esp. Gogol's short story 'Nos'.

Radio Days

Bergan, Ronald
"Radio Days." (Review). Films & Filming /393, June 87; p.38.

Chanko, Kenneth M.
"Radio Days." (Review). Films in Review v. 38 (Apr. '87) p. 228-9.

Gorra, Michael.
"Radio Days." (Review). Hudson Review v40, n4 (Wntr, 1988):655 (4 pages).

Walters, Margaret
"Cinema: Woody Allen's Wireless Memories."Listener 117:3017 (1987:June 25) 37

White, Armond
"Class Clowns."Film Comment XXIII/2, Mar-Apr 87; p.11-14. illus.
Examines the comic treatment of ethnic and racial stereotypes in "Radio Days" and "Hollywood Shuffle".

Yacowar, Maurice.
"The Religion of Radio Days." Journal of Popular Film and Television,vol. 16 no. 2. 1988 Summer. pp: 80-86.

Scenes From A Mall

Baumann, Paul.
"Scenes from a Mall." (movie reviews) Commonweal v118, n8 (April 19, 1991):260.

Canby, Vincent.
"Scenes from a Mall." (movie reviews) (Living Arts Pages) New York Times v140 (Fri, Feb 22, 1991):B3(N), C19(L), col 1, 20 col in.

Denby, David.
"Scenes from a Mall." (movie reviews) New York v24, n9 (March 4, 1991):73.

Kauffmann, Stanley.
"Scenes from a Mall." (movie reviews) New Republic v204, n11 (March 18, 1991):32 (2 pages).

Klawans, Stuart.
"Scenes from a Mall." (movie reviews) Nation v252, n11 (March 25, 1991):391.

Moore, Suzanne.
"Scenes from a Mall." (movie reviews) New Statesman & Society v4, n147 (April 19, 1991):27 (2 pages).

Schickel, Richard.
"Scenes from a Mall." (movie reviews) Time v137, n8 (Feb 25, 1991):77.

Travers, Peter.
"Scenes from a Mall." (movie reviews) Rolling Stone, n600 (March 21, 1991):84 (2 pages).

Williams, Hugo.
"Scenes from a Mall." (movie reviews) TLS. Times Literary Supplement, n4595 (April 26, 1991):16.


Leigh, Christian.
"September." (Review). Artforum v26, n8 (April, 1988):140 (2 pages).

Scheinfeld, Michael
"September." (Review). Films in Review v. 39 (Apr. '88) p. 234-5.

Yacowar, Maurice
"September." (Review). Film Quarterly XLII/1, Fall 88; p.46-49. illus.

Shadows and Fog

Alleva, Richard.
"Shadows and Fog." (movie reviews) Commonweal v119, n9 (May 8, 1992):19 (3 pages).

Armstrong, Richard.
"'Illusions-They Need Them Like They Need the Air ...': Shadows and Fog Revisited." Film Journal. 1 (6): (no pagination). 2003.

Blake, Richard A.
"Shadows and Fog." (movie reviews) America v166, n13 (April 18, 1992):324.

Denby, David.
"Shadows and Fog." (movie reviews) New York v25, n13 (March 30, 1992):58 (2 pages).

Francke, Lizzie.
"Shadows and Fog." (movie reviews) Sight and Sound v3, n4 (April, 1993):56 (2 pages).

Grant, Edmond.
"Shadows and Fog." (movie reviews) Films in Review v43, n7-8 (July-August, 1992):261 (3 pages).
Kauffmann, Stanley.
"Shadows and Fog." (movie reviews) New Republic v206, n16 (April 20, 1992):35 (2 pages).

Klawans, Stuart.
"Shadows and Fog." (movie reviews) Nation v254, n16 (April 27, 1992):570.

Kroll, Jack.
"Shadows and Fog." (movie reviews) Newsweek v119, n12 (March 23, 1992):54.

Schickel, Richard.
"Shadows and Fog." (movie reviews) Time v139, n12 (March 23, 1992):65.

Romney, Jonathan.
"Shadows and Fog." (movie reviews) New Statesman & Society v6, n239 (Feb 12, 1993):43 (2 pages).

Sragow, Michael.
"Shadows and Fog." (movie reviews) New Yorker v68, n7 (April 6, 1992):83.

Travers, Peter.
"Shadows and Fog." (movie reviews) Rolling Stone, n628 (April 16, 1992):91.

"Woody-frenzy: Cinema." (Woody Allen) Economist v322, n7746 (Feb 15, 1992):106 (2 pages).
Woody Allen's latest film was released first in Paris, France. 'Shadows and Fog' will probably appeal more to European than American taste. His popularity in France is second only to Jerry Lewis.

Small Time Crooks

Ansen, David.
"Ray and Frenchy's Big Adventure: A thief and his cookie-baking wife land in dough." (ARTS & ENTERTAINMENT)(Review) (movie review) (movie review) Newsweek v135, n21 (May 22, 2000):73.

Felperin, Leslie
"Small time crooks." Sight & Sound; Vol.XI nr.1 (Jan 2001); p.59-60

Johnson, Gary
"Small time crooks." Images

Kempley, Rita.
"How Sweet It Is, Woody; 'Small Time Crooks,' a Cookie Caper With Nuts." (Style) Washington Post (May 19, 2000):C05.

Lane, Anthony.
"Small Time Crooks." (Review) (movie review) New Yorker v76, n12 (May 22, 2000):99 (1 page).

Lyman, Rick.
"Tracey loves Woody." (Tracey Ullman discusses her role in 'Small Time Crooks') New York Times (Fri, May 12, 2000):B22(N), E22(L), col 3, 6 col in.

McCarthy, Todd
"Small Time Crooks." (movie review) Variety v378, n13 (May 15, 2000):25.

Stardust Memories

Dunne, Michael.
"Metaleptical Hijinks in Woody Allen's 'Stardust Memories.'" (the relationship between film language and prose fiction) Literature-Film Quarterly v19, n2 (April, 1991):114 (5 pages).
Examines the many possible levels of narrative readings open to a viewer of "Stardust Memories".

Dunne, Michael
"Stardust Memories, The Purple Rose of Cairo, and the Tradition of Metafiction." Film Criticism XII/1, Fall 87; p.19-27.
UC users only
Analyses the comedy of "The Purple Rose of Cairo" and "Stardust Memories" in terms of post-modern fiction.

Edelman, R.
"Stardust Memories." (Review). Films in ReviewXXXI/10, Dec 80; p.629.

Jaehne, Karen
"Stardust Memories." (Review). Film Quarterly XXXIV/2, Winter 80-81; p.39-44.

Lewis, Paul.
"Painful Laughter: The Collapse of Humor in Woody Allen's Stardust Memories." Studies in American Jewish Literature vol. 5. 1986. pp: 141-150.

Pym, John
"Remembering Louis Armstrong." (Review). Sight & Sound L/1, Winter 80/81; p.66.

Siegal, Mark.
"Ozymandias Melancholia: The Nature of Parody in Woody Allen's Stardust Memories." Literature/ Film Quarterly vol. 13 no. 2. 1985. pp: 77-84.
On "Stardust Memories" as a parody of Fellini's "8 1/2".

Yacowar, Maurice
"Stardust Memories." Film Criticism; Fall80, Vol. 5 Issue 1, p43-46, 4p
UC users only

Zinsser, William.
"My Stardust Memories." American Scholar, 1998 Winter, 67:1, 113-17.
UC users only
Zinsser recalls being cast as a Catholic priest in one of Woody Allen's earlier movies, "Stardust Memories," in 1980. He learned that he was one of several extras in the movie who were supposed to be ugly.

Sweet and Lowdown

Davis, Francis.
"Faithful to the love of his life: hot 30's jazz." (Woody Allen's "Sweet and Lowdown")(Review) (movie reviews) New York Times (Sun, Dec 5, 1999):AR17(N), AR17(L), col 1, 30 col in.

Denby, David.
"Wildman blues: the anecdotal music of "Sweet and Lowdown," and "The End of the Affair.""(Review) (movie reviews) New Yorker v75, n37 (Dec 6, 1999):170 (5 pages).

Kehr, Dave.
"Sweet and Lowdon." (movie reviews) Film Comment v35, n6 (Nov, 1999):76.

Korman, Ken.
"Sweet and Lowdon." (Review) (video recording review) Stereo Review's Sound & Vision v65, n8 (Oct, 2000):144.

Lyman, Rick.
"Mute, expressively." (Samantha Morton's performance in 'Sweet and Lowdown') New York Times (Fri, Dec 10, 1999):B25(N), E17(L), col 2, 8 col in.

Morgenstern, Joe.
"Sweet and Lowdown." (movie reviews) Wall Street Journal (Fri, Dec 3, 1999):W1(W), W1(E), col 1, 20 col in.

Romney, Jonathan.
"Sweet and Lowdon." (movie review) Sight and Sound v10, n7 (July, 2000):55 (2 pages).

Romney, Jonathan.
"Deconstructing Woody." (Review, Sweet and Lowdown) (movie review). New Statesman (1996) v129, n4491 (June 19, 2000):45.

Stimpson, M.
"Allen vs Fellini" (Woody Allen's 'Sweet and Lowdown' and Fellini's La 'Strada') Sight & Sound 10: (8) 64-64 Aug 2000

Stratton, David
"Sweet and Lowdon." (Review) Variety v376, n4 (Sept 13, 1999):40.

Vicky Cristina Barcelona

Denby, David
"Young Loves." The New Yorker 84:24 (11 August 2008-18 August 2008) p. 96-97
UC users only

Fuller, Graham
"No City for Old Men." Sight & Sound v. ns19 no. 2 (February 2009) p. 24-7
UC users only

Girgus, S. B.
"Vicky Cristina Barcelona." Cineaste v. 34 no. 1 (Winter 2008) p. 55-7
UC users only

McGrath, Douglas
"Woody Allen." Interview , Sep2008, Vol. 38 Issue 7, p252-257, 6p
UC users only
An interview with filmmaker Woody Allen is presented. Allen describes his European filmmaking period which produced his film "Vicky Christina Barcelona," and how he has returned to New York City to start a new chapter in his artistic life. The article documents how Allen started as a joke writer for television comedian Sid Caesar, and followed that up by doing stand-up comedy. Allen states that the film "The Curse of the Jade Scorpion," took the longest to produce of all his films.

Mullen, L.
"Vicky Cristina Barcelona." Sight & Sound v. ns19 no. 2 (February 2009) p. 80
UC users only

Romney, Jonathan
"Vicky Cristina Barcelona" Film Comment 44:4 (July-August 2008) p. 68-69
UC users only


Benson, Sheila.
"Zelig." (moving-picture reviews) Los Angeles Times v102, secC (Sun, Aug 7, 1983):22, col 2, 12 col in.

Bloom, Allan.
"How Nietzsche Conquered America."Wilson Quarterly 1987 11(3): 80-94.
"Traces the influence of German philosopher Friedrich Nietzsche (1844-1900) on the conventional American notions of right and wrong and good and evil in such expressions of popular culture as Woody Allen's film Zelig (1983), and in the teaching of the relativism of values in US colleges and universities." [from ABC-CLIO America: History & Life]

Bogre, M.
"Academy Award Nominees: Gordon Willis, ASC, and Zelig." (Interview). American Cinematographer LXV/4, Apr 84; p.43-44,46,48. illus.
Cinematographer G.W. talks about his work on the film "Zelig".

Canby, Vincent.
"Woody Allen continues to refine his cinematic art." New York Times v132, sec2 (Sun, July 17, 1983):H1(N), H1(L), col 2, 30 col in.

Feldstein, Richard.
"The Dissolution of the Self in Zelig." Literature/ Film Quarterly vol. 13 no. 3.
On the Lacanian perspective which W.A. takes to his central character in "Zelig".

Gotlieb, Aryeh L.
"Woody Allen: Troubled Jew?" Midstream 1985 31(3): 51-53.
Searches for underlying messages concerning the past, present and future of the Jewish people in Woody Allen's film Zelig.

Hogue, Peter and Bronson, M.
"Zelig." (Review). Film Quarterly XXXVIII/1, Fall 84; p.28-31.
UC users only

Johnston, Ruth D.
"Ethnic and Discursive Drag in Woody Allen's Zelig." Quarterly Review of Film & Video, Jul2007, Vol. 24 Issue 3, p297-306, 10p
UC users only

Kael, Pauline
"Anybody Home?" In: State of the Art / Pauline Kael. pp: 23-31. 1st ed. New York: Dutton, c1985.
Main Stack PN1995.K2527 1985
Moffitt PN1995.K2527 1985

Kakutani, Michiko.
"How Woody Allen's 'Zelig' was born in anxiety and grew into comedy." New York Times v132 (Mon, July 18, 1983):12(N), C13(L), col 1, 30 col in.

Maslin, Janet.
"How the graphic arts feats in 'Zelig' were done." (Woody Allen inserting himself into historical footage) New York Times v132 (Mon, Aug 1, 1983):15(N), C11(L), col 1, 28 col in.

McClure, K. R.; McClure, L. L.
"Postmodern parody: Zelig and the rhetorical subversion of documentary form." Qualitative Research Reports in Communication, vol. 2, no. 4, pp. 81-88, Fall 2001
"Communication scholars have increasingly concerned themselves with the implications of postmodernism. In particular, Shugart (1999), probing the rhetorical dimensions of postmodern "subversive irony" in Susan White's painting of The First Supper, concludes that "investigation of other instances of postmodern subversive irony is necessary in order to explore" irony's "technical and theoretical dimensions further" (p. 454). In this essay, the authors employ Hutcheon's (1988) conception of postmodern aesthetic practices and "historiographic metafiction" in an analysis of Woody Allen's film Zelig to develop an understanding of how postmodern parody (irony), in the form of antithesis, rhetorically functions to subvert the conventions of documentary form. One rhetorical implication of Hutcheon's position is that postmodern aesthetic practices problematize the constructed nature of knowledge and, more specifically, the ideological components of historical and literary knowledge. From a rhetorical perspective, postmodern aesthetic practices function to foreground the constructed nature of texts and thereby enthymematically invite audiences to interrogate the meaning-making processes per se (rhetorical strategies) and by extension the meanings made via those processes (epistemic claims). Postmodern aesthetic practices tend to cast into stark relief the rhetorical pretenses of the meaning-making processes. The analysis of Allen's Zelig, as an examplar of postmodern parody, is intended to further develop an understanding of the rhetorical dimensions of postmodern subversive irony." [Communication Abstracts]

Perlmutter, Ruth.
"'Zelig' According to Bakhtin." (Woody Allen's movie, Mikhail Bakhtin) (Film Parody) Quarterly Review of Film and Video v12, n1-2 (May, 1990):37 (11 pages).
Woody Allen's movie 'Zelig' fits Mikhail Bakhtin's theories of parody, in which multiple discourses and self critique predominate. 'Zelig' contains self criticism of the Hollywood star system which Allen is part of. The relations of filmmaker to character to audience provide multiple discourses, since Allen partakes of all three categories.

Perimutter, Ruth.
"Woody Allen's Zelig: An American Jewish Parody." In: Comedy/Cinema/Theory/ edited by Andrew Horton. Berkeley: University of California Press, c1991.
Main Stack PN1995.9.C55.C65 1991
MoffittPN1995.9.C55.C65 1991

Pollock, Dale.
"Allen's 'Zelig': perfecting imperfection." Los Angeles Times v102, secVI (Tue, July 26, 1983):1, col 1, 48 col in.

Pym, John
"Duke Ellington's Brother." (Review). Sight & Sound LII/4, Autumn 83; p.283. illus.

Quart, Leonard
"Zelig." (Review).Cineaste XIII/2, 84; p.42-43.

Rathgeb, Douglas L.
"Faces in the Newsreel: Illuminating Citizen Kane through Woody Allen's Zelig."Post Script vol. 6 no. 3. 1987 Spring-Summer. pp: 31-44.
A comparison of "Citizen Kane" and "Zelig" throws light on the motivation and behaviour of both heroes, esp. Kane.

Sickels, Robert.
""It Ain't the Movies! It's Real Life!" Cinematic Alchemy in Woody Allen's "Woody Allen" D(M)oc(k)umentary Oeuvre," In: Docufictions : essays on the intersection of documentary and fictional filmmaking / edited by Gary D. Rhodes and John Parris Springer. Jefferson, N.C. : McFarland & Co., 2006
Main Stack PN1995.9.D62.D63 2006s

Staiger, Janet
"Chameleon in the Film, Chameleons in the Audience; or, Where is Parody? The Case of Zelig." In: Interpreting Films: Studies in the Historical Reception of American Cinema / Janet Staiger. pp: 196-209. Princeton, N.J.: Princeton University Press, c1992.
Main Stack PN1995.S6735 1992
MoffittPN1995.S6735 1992

Stam, Robert
"A Tale of Two Cities: Cultural Polyphony and Ethnic Transformation."East-West Film Journal III/1, Dec 88; p.105-116.
Considers the 'polyphonic' nature of New York as protrayed in "Zelig" and of Sao Paulo as portrayed in "Macunama".

Stam, Robert
"Zelig and Contemporary Theory: Meditation on the Chameleon Text." Enclitic IX/1-2(17-18), 87; p.176-193.

Stratton, Jon.
"Not Really White-Again: Performing Jewish Difference in Hollywood Films since the 1980s." Screen. 42 (2): 142-66. 2001 Summer.

Weiner, Susan.
"Melville at the Movies: New Images of Moby-Dick." Journal of American Culture, vol. 16 no. 2. 1993 Summer. pp: 85-90.

Wasson, Richard.
"The Contrary Politics of Postmodernism: Woody Allen's Zelig and Italo Calvino's Marcovaldo." In: Ethics/Aesthetics: Post-Modern Positions/ by Lyell Asher ... [et al.]; edited by Robert Merrill. pp: 83-94. Washington, DC: Maisonneuve Press, c1988. PostModernPositions; v. 1
Main Stack CB151.E741 1988

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