Cine de terror

 

    from

A Bibliography of Literary Theory, Criticism and Philology

http://bit.ly/abibliog

by José Ángel García Landa

(University of Zaragoza, Spain)

 

 

Horror Films

 

 

Aldana Reyes, Xavier. Body Gothic: Corporal Transgression in Contemporary Literature and Horror Film. Cardiff: U of Wales P, 2014.

Azcona Montoliu, María del Mar. "From the 1980s Until Now: The Persistence of Slasher Movies." In Memory, Imagination and Desire in Contemporary Anglo-American Literature and Film. Ed. Constanza del Río-Álvaro and Luis Miguel García-Mainar. Heidelberg: Winter, 2004. 211-19.*

Berenstein, Rhona J. "Spectatorship as Drag: The Act of Viewing and Classic Horror Cinema." In Viewing Positions. Ed. Linda Williams. New Brunswick: Rutgers UP, 1995. 231-70.*

Briefel, Aviva. "What Some Ghosts Don't Know: Spectral Incognizance and the Horror Film." Narrative 17.1 (Jan. 2009): 95-110.*

Brosnan, John. The Horror People. London: Macdonald and Jand, 1976.

Caraher, Brian. "Conclusion/Epilogue: Melodramas of Horror: On Contemporary Fiction and Film." In Caraher, Trespassing Tragedy: Melodramas of Horror. Houndmills: Macmillan, 2000.

Carroll, Noël. "Nightmare and the Horror Film." Film Quarterly 34.3 (1981): 16-25.

_____. The Philosophy of Horror: Or, Paradoxes of the Heart. New York: Routledge, 1990.

Clemens, Valdine. "Alien and the Future of Gothic." In Clemens,The Return of the Repressed: Gothic Horror from The Castle of Otranto to Alien. Albany: SUNY Press, 1999. 213-18.*

Clover, Carol J. "Her Body, Himself: Gender in the Slasher Film." In Fantasy and the Cinema. Ed. James Donald. London: BFI, 1989.

_____. "Her Body, Himself: Gender in the Slasher Film." In Gender, Language, and Myth. Ed. Glenwood Irons. Toronto: U of Toronto P, 1992. 252-302.*

_____. "The Eye of Horror." In Viewing Positions. Ed. Linda Williams. New Brunswick: Rutgers UP, 1995. 184-230.*

Dadoun, Roger. "Fetishism in the Horror Film." In Fantasy and the Cinema. Ed. James Donald. London: BFI, 1989.

Davis, Hank, and Andrea Javor. "Religion, Death, and Horror Movies." Evolution and Cognition 10 (2004): 1-8.

Deleyto, Celestino. "Masochism and Representation in Modern Horror: The Case of Alien 3." Atlantis 18 (June-Dec.1996 [issued 1998]): 62-73.*

Dickstein, Morris. 'The Aesthetics of Fright." In Planks of Reason: Essays on the Horror Film. Ed. Barry Keith Grant. Metuchen (NJ): Scarecrow, 1984.

Dika, Vera. "The Stalker Film, 1978-81." In American Horrors: Essays on the Modern American Horror Film. Ed. Gregory A. Waller. Urbana: U of Illinois P, 1987.

Eisner, L. The Haunted Screen. London: Secker, 1973.

Evans, Walter. "Monster Movies: A Sexual Theory." In Planks of Reason: Essays on the Horror Film. Ed. Barry Keith Grant. Metuchen (NJ): Scarecrow, 1984.

Everman, Welch. Cult Horror Films. New York: Carol-Citadel Press.

Freeland, Cynthia. "Ordinary Horror on Reality TV." In Narrative across Media: The Languages of Storytelling. Ed. Marie-Laure Ryan. Lincoln: U of Nebraska P, 2004. 244-66.*

French, Sean. "The Heart of the Cavern." Sight and Sound 56.2 (1987): 101-4.

Gelder, Ken. "Vampires and Cinema: From Nosferatu to Bram Stoker's 'Dracula'." In Gelder, Reading the Vampire. London: Routledge, 1994. 86-107.*

Giles, Dennis. "Conditions of Pleasure in Horror Cinema." In Grant 1984.

Gomery, Douglas. "The Economics of the Horror Film." In Horror Films. Ed. James B. Weaver, III, and Ron Tamborini. Mahwah (NJ): Lawrence Erlbaum, 1996. 49-62.

Grant, Barry Keith, ed. Planks of Reason: Essays on the Horror Film. Metuchen (NJ): Scarecrow, 1984.

Halberstam, Judith. Skin Shows: Gothic Horror and the Technology of Monsters. Durham (NC): Duke UP, 1995..*

Huss, Roy, and T. J. Ross, eds. Focus on the Horror Film. Englewood Cliffs (NJ): Prentice, 1972.

Jancovich, Mark. "The Emergence of the Horror Film." In Jankovich, Horror. London: Batsford, 1992. 53-61.*

Johnson, Tom. "Los monstruos de la Hammer." In El nuevo Frankenstein de DeNiro. Barcelona: Ediciones Zinco, 1994. 32-41.

Kendrick, Walter M. The Thrill of Fear: 250 Years of Scary Entertainment. New York: Grove Weidenfield, 1991.

Lowenstein, Adam. "Films without a Face: Shock Horror in the Cinema of Georges Franju." Cinema Journal 37.4 (Summer 1998): 37-58.*

Lowry, Edward, and Richard deCordova. "Enunciation and the Production of Horror in White Zombie." In Planks of Reason: Essays on the Horror Film. Ed. Barry Keith Grant. Metuchen (NJ): Scarecrow, 1984.

Lukas, Scott, and John Marmysz. "1. Horror, Science Fiction and Fantasy Films Remade." In Fear, Cultural Anxiety, and Transformation: Horror, Science Fiction and Fantasy Films Remade. Ed. Scott A. Lukas and John Marmysz. Lexington Books, 2009. Online at Academia.*

         https://www.academia.edu/37623291/

         2020

_____. "Fear, Cultural Anxiety, and Transformation: Horror, Science Fiction, and Fantasy Films Remade." Online bibliography at Academia.*

         https://www.academia.edu/2250092/

         2019

_____, eds. Fear, Cultural Anxiety, and Transformation: Horror, Science Fiction and Fantasy Films Remade. Lexington Books, 2009.

Luzón Aguado, Virginia. "Film Genre and Its Vicissitudes: The Case of the Psychothriller." Atlantis 24.1 (June 2002): 163-72.*

Martín Alegre, Sara. "Monstrous Business: The Alien Film Series." In Culture and Power: Business. Ed. Matilde Paredes et al. Zaragoza: Departamento de Filología Inglesa, 1999. 141-52.*

_____. Siete relatos góticos: Del papel a la pantalla. Madrid: La Barca de Caronte - Jaguar, 2006.

_____. Rev. of Body Gothic, by Xavier Aldana Reyes. Atlantis 38.1 (June 2016): 269-73.*

Martínez Lucena, Jorge. Vampiros y zombis posmodernos: La revolución de los hijos de la muerte. Gedisa, 2010.

Modleski, Tania. "The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory." 1986. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 691-700.*

Oliver Marroig, José A. "El hombre es un zombi para el hombre: una lectura post-11-S del fenómeno de los muertos vivientes." In La década del miedo: Dramaturgias audivisuales pos-11 de septiembre. Ed. Marta Fernández Morales. Bern: Peter Lang, 2013. 269-94.*

Prawer, S. S. Caligari's Children: The Film as Tale of Terror. Oxford: Oxford UP, 1980.

Río Álvaro, Constanza del. "Genre and Fantasy: Melodrama, Horror, and the Gothic in Martin Scorsese's Cape Fear (1991)." Atlantis 26.1 (June 2004): 61-71.*

Rockett, Will H. Devouring Whirlwind: Terror and Transcendence in the Cinema of Cruelty. London: Greenwood Pres, 1977.

Russell, Sharon. "The Witch in Film: Myth and Reality." In Grant 1984.

Schechter, Harold. "The Bloody Chamber: Terror Films, Fairy Tales, and Taboo." In Gender, Language, and Myth. Ed. Glenwood Irons. Toronto: U of Toronto P, 1992. 233-51.*

Schneider, Steven J., ed. Horror Film and Psychoanalysis: Freud's Worst Nightmare. Cambridge UP, 2004.

Sochack, Vivian. "Bringing It All Back Home: Family Economy and Generic Exchange." In American Horrors: Essays on the Modern American Horror Film. Ed. Gregory A. Waller. Urbana: U of Illinois P, 1987.

Spanke, Kai. "Kampf um Kontingenz und Darstellung von Providenz im Slasherfilm." In Welt(en) erzählen: Paradigmen und Perspektiven. Ed. Christoph Bartsch and Frauke Bode. Berlin and Boston: De Gruyter, 2019.*

         https://doi.org/10.1515/9783110626117-013

         2019

Tarrat, Margaret. "Monsters from the Id." In Film Genre Reader. Ed. Barry Keith Grant. Austin: U of Texas P, 1986.

Telotte, J. P. "Faith and Idolatry in the Horror Film." In Planks of Reason: Essays on the Horror Film. Ed. Barry Keith Grant. Metuchen (NJ): Scarecrow, 1984.

Twitchell, James. Dreadful Pleasures: An Anatomy of Modern Horror. New York: Oxford UP, 1985.*

Weaver, James B., III, and Ron Tamborini, eds. Horror Films. Mahwah (NJ): Lawrence Erlbaum, 1996.

Wood, Robin. "An Introduction to the American Horror Film." In American Nightmare: Essays on the Horror Film. Ed. Robin Wood and Richard Lippe. Toronto: Festival of Festivals, 1979. 7-28.

_____. "An Introduction to the American Horror Film." In Planks of Reason: Essays on the Horror Film. Ed. Barry Keith Grant. Metuchen (NJ): Scarecrow, 1984.

_____. "Returning the Look: Eyes of a Stranger." In American Horrors: Essays on the Modern American Horror Film. Ed. Gregory A. Waller. Urbana: U of Illinois P, 1987.

Wood, Robin, and Richard Lippe, eds. American Nightmare: Essays on the Horror Film. Toronto: Festival of Festivals, 1979.

Waller, Gregory A., ed. American Horrors: Essays on the Modern American Horror Film. Urbana: U of Illinois P, 1987.

 

 

 

 

 

Blogs

 

 

Arrow in the Head.*

         http://www.joblo.com/arrow/

         2011

 

 

 

 

Literature

 

Grahame-Smith, Seth. Cómo sobrevivir a una película de terror: Todas las enseñanzas para eludir las matanzas. Illust. Nathan Fox. 2009.  Trans. Manu Berástegui. (Freak, 12). Barcelona: Alba, 2010.*

 

 

 

See also Gothic; Horror.

Comedia cinematográfica

 

    from

A Bibliography of Literary Theory, Criticism and Philology

http://bit.ly/abibliog

by José Ángel García Landa

(University of Zaragoza, Spain)

 

 

Film comedy

 

 

Alberti, John. Masculinity in the Contemporary Romantic Comedy. Routledge, 2013.

Azcona, María del Mar, and Celestino Deleyto. Before Sunrise: Young Love on the Move. (Cinema and Youth Culture). London: Routledge, 2023.

Babington, Bruce, and Peter William Evans. Affairs to Remember. The Hollywood Comedy of the Sexes. Manchester: Manchester UP, 1989.

Barker, Anthony David. "Televisualising the 1950s: Appropriation and Anachronism in Recent Hollywood Comedy." In Memory, Imagination and Desire in Contemporary Anglo-American Literature and Film. Ed. Constanza del Río-Álvaro and Luis Miguel García-Mainar. Heidelberg: Winter, 2004. 175-85.*

Bergman, Andrew. "Frank Capra and Screwball Comedy, 1931-1941." In Film Theory and Criticism: Introductory Readings. 2nd ed. Ed. Gerald Mast and Marshall Cohen. Oxford, 1979.

Caron, Jeme E. "Silent Slapstick Film as Ritualized Clowning: The Example of Charlie Chaplin." Studies in American Humor 3.14 (2006). Online at JSTOR.*

         https://www.jstor.org/stable/42573699

         2018

Cavell, Stanley. Pursuits of Happiness: The Hollywood Comedy of Remarriage. Cambridge (MA): Harvard UP, 1981.

Clausius, Claudia. The Gentleman Is a Tramp: Charlie Chaplin's Comedy. New York: Peter Lang, 1988.

Clayton, Alex. The Body in Hollywood Slapstick. Jefferson: McFarland, 2007.

Deleyto Alcalá, Celestino. "Men in Leather: Kenneth Branagh's Much Ado about Nothing and Romantic Comedy." Cinema Journal 36.3 (Spring 1997): 91-105.*

_____. "'They Lived Happily Ever After': Ending Contemporary Romantic Comedy." Miscelánea 19 (1998): 39-55.*

_____. "Between Friends: Love and Friendship in Contemporary Hollywood Romantic Comedy." Screen 44.2 (2003).

_____. "La comedia cinematográfica." Archivos de la Filmoteca.

_____. The Secret Life of Romantic Comedy. Manchester: Manchester UP, 2009.

_____. Woody Allen y el espacio de la comedia romántica. Valencia: Ediciones de la Filmoteca, 2009.

_____, ed. "La comedia romántica romántica estadounidense en la década de los noventa." Dossier. Archivos de la Filmoteca.

Díaz, Maximiliano J. "Slapstick: La comedia en el cine mudo." Antik New Concept.

         http://www.antiknewconcept.com/blog/slapstick-la-comedia-en-el-cine-mudo

Dixon, Briony. "The Good Thieves: On the Origins of Situation Comedy in the British Music Hall."  In King and Paulus, eds. Slapstick Comedy. New York and London: Routledge, 2010. 31-36.

Evans, Peter William. "Introduction: Surviving Love." In Terms of Endearment: Hollywood Romantic Comedy of the 1980s and 1990s. Ed. Peter William Evans and Celestino Deleyto. Edinburgh: Edinburgh UP, 1998. 1-14.*

Evans, Peter William, and Celestino Deleyto, eds. Terms of Endearment: Hollywood Romantic Comedy of the 1980s and 1990s. Edinburgh: Edinburgh UP, 1998.*

García Landa, José Ángel. "The Fundamental Things Apply." In García Landa, Vanity Fea 5 Feb. 2009.

         http://garciala.blogia.com/2009/020502-the-fundamental-things-apply.php

         2009

_____. "La comedia romántica: Renovarse y vivir (The Fundamental Things Apply)." Ibercampus (Vanity Fea) 12 Feb. 2009.*

         http://www.ibercampus.es/articulos.asp?idarticulo=14444       

         2013

_____. "'The Fundamental Things Apply'—La comedia romántica: renovarse y vivir ('The Fundamental Things Apply'—Romantic Comedy: Renewing oneself in order to survive."Social Science Research Network 30 Jan. 2015.*

         http://papers.ssrn.com/abstract=2557366

         2015

         Psychological Anthropology eJournal 30 Jan. 2015.*

         http://www.ssrn.com/link/Psychological-Anthropology.html

         2015

         Cultural Anthropology eJournal 30 Jan. 2015.*

         http://www.ssrn.com/link/Cultural-Anthropology.html

         2015

         Cognition & the Arts eJournal 30 Jan. 2015.*

         http://www.ssrn.com/link/Cognition-Arts.html

         2015

         Aesthetics & Philosophy of Art eJournal 30 Jan. 2015.*

         http://www.ssrn.com/link/Aesthetics-Philosophy-Art.html

         2015

_____. "The Fundamental Things Apply." In García Landa, Vanity Fea 7 Feb. 2015.*

         http://vanityfea.blogspot.com.es/2015/02/the-fundamental-things-apply.html

         2015

_____. "'The Fundamental Things Apply'—La comedia romántica: Renovarse y vivir." Academia 9 July 2016.*

         https://www.academia.edu/26852641/

         2016

_____. "The Fundamental Things Apply'—La comedia romántica: Renovarse y vivir." ResearchGate 9 July 2016.*

         https://www.researchgate.net/publication/305072452

         2016

Grindon, Leger. The Hollywood Romantic Comedy. Wiley-Blackwell, 2011.

Henderson, Brian. "Romantic Comedy Today: Semi-Tough or Impossible?" Film Quarterly 31.4 (Summer 1978): 11-23.

Horton, Andrew, ed. Comedy / Cinema / Theory. Berkeley: U of California P, 1991.

Karnick, Kristine Brunovska, and Henry Jenkins, eds. Classical Hollywood Comedy. New York: Routledge, 1995.*

King and Paulus, eds. Slapstick Comedy. New York and London: Routledge, 2010.

Krutnik, Frank. "Love Lies: Romantic Fabrication in Contemporary Romantic Comedy." In Terms of Endearment: Hollywood Romantic Comedy of the 1980s and 1990s. Ed. Peter William Evans and Celestino Deleyto. Edinburgh: Edinburgh UP, 1998. 15-36.*

_____. "The Faint Aroma of Performing Seals: The 'Nervous' Romance and the Comedy of the Sexes." The Velvet Light Trap 26 (Fall 1990): 57-72.

Lent, Tina Olsin. "Romantic Love and Friendship: The Redefinition of Gender Relations in Screwball Comedy." In Classical Hollywood Comedy. Ed. Kristine Brunovska Karnick and Henry Jenkins. New York: Routledge, 1995. 314-331.

Luzón Aguado, Virginia. "Husbands, Lovers and Penguins: Alice, Moonstruck and Romantic Comedy." Actas del XXI Congreso Internacional AEDEAN. Ed. F. Toda et al. Sevilla: U de Sevilla, 1999. 271-75.*

Mast, Gerald. The Comic Mind: Comedy and the Movies. Chicago: U of Chicago P, 1973. 2nd. ed. Chicago: U Of Chicago P, 1979.

McDonald, Tamar Jeffers. Romantic Comedy: Boy Meets Girl Meets Genre. New York: Columbia UP, 2007.

_____. Romantic Comedy: Boy Meets Girl Meets Genre. London: Wallflower, 2007.

_____. Romantic Comedy. New York: Columbia UP, 2012.

_____. Rev. of The Secret Life of Romantic Comedy. By Celestino Deleyto. Atlantis 31.2 (Dec. 2009): 163-68.*

_____. Rev. of Hollywood Romantic Comedy of the Fifties: A Critical Study of a Film Genre. By Manuela Ruiz. Miscelánea 50 (2014): 167-71.* Online:

         http://www.miscelaneajournal.net/index.php/misc/article/view/232

         2015

Mortimer, Claire. Romantic Comedy. New York: Routledge, 2010.

Neale, Steve. "The Big Romance or Something Wild?: Romantic Comedy Today." Screen 33.3 (Autumn 1992): 284-299.

Neale, Steve, and Frank Krutnik. Popular Film and Television Comedy. London: Routledge, 1990.

Nelson, T. G. A. Comedy: The Theory of Comedy in Literature, Drama, and Cinema. Oxford: Oxford UP, 1990.

Oria, Beatriz. "Love on the Margins: The American Indie Rom-com of the 2010s." Atlantis 40.2 (Dec. 2018): 145-67.*

         http://doi.org/10.28914/Atlantis-2018-40.2.08

         2019

Poague, Lelanda. "As You Like It and It Happened One Night: The Generic Pattern of Comedy." Literature/Film Quarterly 5 (1977): 346-50.

Repullés Sánchez, Fernando. "Shrek: When Audiovisual Humour Becomes a Lingua Franca." In New Trends in Translation and Cultural Identity. Ed. Micaela Muñoz-Calvo, Carmen Buesa-Gómez and M. Angeles Ruiz-Moneva. Newcastle upon Tyne: Cambridge Scholars Publishing, 2008. 337-56.*

Rodríguez Ramírez, María del Carmen. "A Story of Boy Meets Girl: (Un)Broken Romantic Comedy Conventions in (500) Days of Summer." In A View from the South: Contemporary English and American Studies. (34th AEDEAN International Conference). Ed. José R. Ibáñez Ibáñez and José Francisco Fernández Sánchez. CD-ROM. Almería: AEDEAN / U de Almería / Ministerio de Ciencia e Innovación, 2011. 201-206.* (Marc Webb, dir.).

Ruiz Pardos, Manuela. "Genre, History and Culture in the Screwball Comedies of the 1930s and Early 1940s: Holiday and The Philadelphia Story." Proyecto de Investigación de Tercer Ciclo. Universidad de Zaragoza, Departamento de Filología Inglesa y Alemana, 1997.*

_____. "Addicted to Fun: Courtship, Play and Romance in the Screwball Comedy." Revista Alicantina de Estudios Ingleses 13 (2000): 153-60.*

_____. "Trouble in Paradise: The Hollywood Romantic Comedy of the Fifties." Ph.D. diss. Zaragoza: Facultad de Filosofía y Letras, 2005.

Sarkhosh, Keyvan. "Metalepsis in Popular Comedy Film." In Metalepsis in Popular Culture. Ed. Karin Kukkonen and Sonja Klimek. Berlin and New York: Walter de Gruyter, 2011. 171-95.*

Skirov, Ed. Screwball: Hollywood's Madcap Romantic Comedies. New York, 1989.

Turim, Maureen. "Women's Films: Comedy, Drama, Romance." In Chick Flicks: Contemporary Women at the Movies. Ed. Suzanne Ferris and Mallory Young. London: Routledge, 2008. 26-41.

 

 

 

 

 

Romantic comedies

 

50 Days and 40 Nights. Dir. Michael Lehmann. 2002.

 (500) Days of Summer. Dir. Marc Webb. 2009.

Annie Hall. Dir. Woody Allen. United Artists, 1977.

Bridget Jones's Diary. Dir. Sharon Maguire. Screenplay by Helen Fielding, Andrew Davies, Richar Curtis, based on the novel by Helen Fielding. Cast: Renée Zellwegger, Hugh Grant, Colin firth, Jim Broadbent, Gemma Jones. Universal Pictures Studiocanal / Miramax / Working Title, 2001.*

Bridget Jones: The Edge of Reason. Dir. Beevan Kidron. Written by Helen Fielding; screenplay by Andrew Davies, Helen Fileding, Adam Brooks, Richard Curtis. Cast: Renée Zellweger, Colin Firth, Hugh Grant, Jim Broadbent, Gemma Jones, Jacinda Barrett, Sally Phillips, James Faulkner, Celia Imrie, James Callis. Music by Harry Gregson-Williams. Cinematogrpahy by Adrian Biddle. Film ed. Greg Hayden. Prod. des. Gemma Jackkson. Art dir. Paul Inglis, Tommy Vögel, David Warren. Costumes by Jany Temime. Prod. Tim Bevan, Eric Fellner, Jonathan Cavendish. Exec. prod. Debra Hayward, Liza Chasin. Universal, 2004.

_____. Bridget Jones: The Edge of Reason. DVD. (SpeakUp Video). Barcelona: RBA / Universal, 2005.*

Closer. Dir. Mike Nichols. C. 2004.

The Graduate. Dir. Mike Nichols.  With Dustin Hoffman. 1969.

High Fidelity. Dir. Stephen Frears. 2002.

His Girl Friday. Dir. Howard Hawks. Cast: Cary Grant, Rosalind Russell, Ralph Bellamy. Columbia Pictures, 1940. (Spanish title: Luna nueva).

_____, dir. Luna nueva. Spanish DVD. DeAPlaneta-SAV, 2008.*

The Lake House. Dir. Alejandro Agresti. Written by David Auburn, based on the motion picture Il mare. Cast: Keanu Reeves, Sandra Bullock, Dylan Walsh, Shohreh Aghdashlod, Christopher Plummer. Music by Rachel Portman. Co-prod. Sonny Mallhi. Ed. Lynzee Klingman, Alejandro Brodersohn. Prod. des. Nathan Crowley. Photog. Alar Kivilo. Exec. prod. Mary McLaglen, Erwin Stoff, Dana Goldberg, Bruce Berman. Prod. Doug Davison and Roy Lee. Village Roadshow Films / Vertigo Entertainment / Warner Bros, 2006.*

Lars and the Real Girl. Dir. Craig Gillespie. 2007.

Love, Actually. 2003. DVD. Universal, 2004.*

Play It Again, Sam. Dir. Herbert Ross. With Woody Allen. 1972.

Working Girl. Dir. Mike Nichols. Screenplay by Kevin Wade. Cast: Moonstruck. Dir. Norman Jewison. Written by John Patrick Shanley. Cast: Cher, Nicolas Cage, Vincent Gardenia, Olympia Dukakis, Danny Aiello, Julie Bovasso, John Mahoney, Louis Guss, Feodor Chaliapin, Anita Gillette. USA, 1987. (Oscars for Cher, Dukakis and Shanley).

Notting Hill. Dir. Roger Michell. Written by Richard Curtis. Cast: Julia Roberts, Hugh Grant, Hugh Bonneville, Emma Chambers, James Dreyfus, Rhys Ifans, Tim McInnerny, Gina McKee. UK, 1999.

Harrison Ford, Sigourney Weaver, Melanie Griffith. Music by Carly Simon and Rob Mounsey (Academy Award). Prod. Douglas Wick. Twentieth Century Fox, 1988. Video CBS Fox.*