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Barthes, Roland, and Richard Howard, Camera Lucida: Reflections on Photography (Vintage, 1993), Vintage classics
——, and Richard Howard, Camera Lucida: Reflections on Photography (Vintage, 1993), Vintage classics
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Bazin, André ; Gray, Hugh, ‘The Ontology of the Photographic Image’, Film Quarterly, 13.4 (1 AD) <http://ucl-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?frbrVersion=3&tabs=detailsTab&ct=display&fn=search&doc=TN_jstor_archive1210183&indx=3&recIds=TN_jstor_archive1210183&recIdxs=2&elementId=2&renderMode=poppedOut&displayMode=full&frbrVersion=3&frbg=&&dscnt=0&scp.scps=scope%3A%28UCL%29%2Cprimo_central_multiple_fe&tb=t&mode=Basic&vid=UCL_VU1&srt=rank&tab=local&dum=true&vl(freeText0)=%20Bazin%20ontology%20photographic%20image&dstmp=1452649221897>
Bennett, Jane, Vibrant Matter: A Political Ecology of Things (Duke University Press, 2010) <https://doi-org.libproxy.ucl.ac.uk/10.1215/9780822391623>
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——, ‘The Off-Modern Mirror | e-Flux’, n.d. <http://www.e-flux.com/journal/the-off-modern-mirror/>
Boym, Svetlana Boym, Svetlana (correspondence author), Nostalgic Technologies: Multitasking with Clouds., n.d. <http://ucl-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_proquest1320391239&indx=9&recIds=TN_proquest1320391239&recIdxs=8&elementId=8&renderMode=poppedOut&displayMode=full&frbrVersion=&vid=UCL_VU1&mode=Basic&tab=local&vl(29953578UI1)=all_items&vl(2235343UI0)=creator&dscnt=0&vl(freeText0)=Boym%2C%20Svetlana&scp.scps=scope%3A%28UCL%29%2Cprimo_central_multiple_fe&dstmp=1452645272549>
Bracha, Rachel, ‘Artists and the Film Archive: Re-Creation—or Archival Replay’, Archival Science, 13.2–3 (2013), pp. 133–41, doi:10.1007/s10502-012-9181-6
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Bruno, Giuliana, Atlas of Emotion: Journeys in Art, Architecture, and Film (Verso, 2002)
——, Public Intimacy: Architecture and the Visual Arts (MIT Press, 2007), Writing architecture series
——, Surface: Matters of Aesthetics, Materiality, and Media (The University of Chicago Press, 2014)
Carruthers, Lee, ‘M. Bazing et Le Temps: Reclaiming the Timeliness of Cinematic Time’, Screen, 52.1 (2011) <http://ucl-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_proquest868599338&indx=8&recIds=TN_proquest868599338&recIdxs=7&elementId=7&renderMode=poppedOut&displayMode=full&frbrVersion=5&frbg=&&dscnt=0&scp.scps=scope%3A%28UCL%29%2Cprimo_central_multiple_fe&tb=t&mode=Basic&vid=UCL_VU1&srt=rank&tab=local&dum=true&vl(freeText0)=%20Bazin%20ontology&dstmp=1452649106520>
Centre national de la cinématographie (France). Service des archives du film, 1969-2009, Les Archives Françaises Du Film: Histoire, Collections, Restaurations (CNC, 2009)
Cherchi Usai, Paolo, The Death of Cinema: History, Cultural Memory and the Digital Dark Age (British Film Institute, 2001)
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——, A Thousand Years of Nonlinear History (Zone Books, 1997) <https://www.jstor.org/stable/10.2307/j.ctv1qgnqhr>
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——, ‘The Indexical and the Concept of Medium Specificity’, Differences, 18.1 (2007), pp. 128–52, doi:10.1215/10407391-2006-025
Doane, Mary Ann, The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Harvard University Press, 2002) <https://www.jstor.org/stable/10.2307/j.ctv1pnc1jq>
Edbauer, Jenny, ‘Executive Overspill: Affective Bodies, Intensity, and Bush-in-Relation’, Postmodern Culture, 15.1 (2004), doi:10.1353/pmc.2004.0037
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Ehrenstein, D, ‘FILM IN THE AGE OF VIDEO - OH-WE-DONT-KNOW-WHERE-WERE-GOING-BUT-WERE-ON-OUR-WAY’, Film Quarterly, 49.3 (1996), pp. 38–42 <http://ucl-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_wosA1996UN68300005&indx=2&recIds=TN_wosA1996UN68300005&recIdxs=1&elementId=1&renderMode=poppedOut&displayMode=full&frbrVersion=5&frbg=&&dscnt=0&scp.scps=scope%3A%28UCL%29%2Cprimo_central_multiple_fe&tb=t&mode=Basic&vid=UCL_VU1&srt=rank&tab=local&dum=true&vl(freeText0)=ehrenstein%20film%20quarterly&dstmp=1452797229679>
Elkins, James, Photography Theory (Routledge, 2007), ii <http://www.tandfebooks.com/isbn/9780203944141>
——, What Photography Is (Routledge, 2011) <https://doi.org/10.4324/9780203886489>
——, and Maja Naef, What Is an Image? (Pennsylvania State University Press, 2011), The Stone art theory institutes <https://www-jstor-org.libproxy.ucl.ac.uk/stable/10.5325/j.ctv14gpdjx>
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——, From Grain to Pixel : The Archival Life of Film in Transition (Amsterdam University Press, 2009), doi:10.5117/9789089641397
Friday, Jonathan, ‘Andre Bazin’s Ontology of Photographic and Film Imagery’, Journal of Aesthetics and Art Criticism, 63.4 (2005), pp. 339–50, doi:10.1111/j.0021-8529.2005.00216.x
Giuliana Bruno, ‘Visual Studies: Four Takes on Spatial Turns’, Journal of the Society of Architectural Historians, 65.1 (2006), pp. 23–24 <http://ucl-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?frbrVersion=3&tabs=detailsTab&ct=display&fn=search&doc=TN_jstor_csp25068236&indx=1&recIds=TN_jstor_csp25068236&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=3&frbg=&&dscnt=0&scp.scps=scope%3A%28UCL%29%2Cprimo_central_multiple_fe&tb=t&mode=Basic&vid=UCL_VU1&srt=rank&tab=local&dum=true&vl(freeText0)=bruno%20four%20takes%20spatial%20turns&dstmp=1452798935078>
Gunning, T., ‘Moving Away from the Index: Cinema and the Impression of Reality’, Differences, 18.1 (2007), pp. 29–52, doi:10.1215/10407391-2006-022
Gunning, Tom, ‘To Scan a Ghost: The Ontology of Mediated Vision’, Grey Room, 26 (2007), pp. 94–127, doi:10.1162/grey.2007.1.26.94
Gunning, Tom, ‘What’s the Point of an Index? Or, Faking Photographs’, in Still Moving: Between Cinema and Photography, ed. by Karen Beckman and Jean Ma (Duke UP, 2008), pp. 23–40 <http://ucl-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_mla2009442339&indx=2&recIds=TN_mla2009442339&recIdxs=1&elementId=1&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%28UCL%29%2Cprimo_central_multiple_fe&tb=t&vid=UCL_VU1&mode=Basic&srt=rank&tab=local&dum=true&vl(freeText0)=gunning%20faking%20photographs&dstmp=1452649785859>
Hansen, Mark B. N., Feed-Forward: On the Future of Twenty-First-Century Media (The University of Chicago Press, 2015)
Hansen, Mark B. N, ‘Seeing with the Body: The Digital Image in Postphotography’, Diacritics, 31.4 (2001) <http://ucl-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?frbrVersion=6&tabs=detailsTab&ct=display&fn=search&doc=TN_museS1080653904400541&indx=1&recIds=TN_museS1080653904400541&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=6&frbg=&&dscnt=0&scp.scps=scope%3A%28UCL%29%2Cprimo_central_multiple_fe&tb=t&mode=Basic&vid=UCL_VU1&srt=rank&tab=local&dum=true&vl(freeText0)=hansen%20celluloid%20digital&dstmp=1452652383063>
Haraway, Donna, ‘Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin’, Environmental Humanities, 6 (2014) <http://environmentalhumanities.org/archives/vol6/>
Haraway, Donna Jeanne, ‘Encounters with Companion Species: Entangling Dogs, Baboons, Philosophers, and Biologists’, Configurations, 14.1 (2008), pp. 97–114 <http://ucl-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?frbrVersion=6&tabs=detailsTab&ct=display&fn=search&doc=TN_museS1080652008100075&indx=10&recIds=TN_museS1080652008100075&recIdxs=9&elementId=9&renderMode=poppedOut&displayMode=full&frbrVersion=6&vid=UCL_VU1&mode=Basic&tab=local&vl(29953578UI1)=all_items&vl(2235343UI0)=creator&dscnt=0&vl(freeText0)=%20Donna%20%20%20Jeanne%20.%20%20Haraway%20&scp.scps=scope%3A%28UCL%29%2Cprimo_central_multiple_fe&dstmp=1452648183417>
Haraway, Donna Jeanne, Modest₋Witness@Second₋Millennium.FemaleMan₋Meets₋OncoMouse: Feminism and Technoscience (Routledge, 1997)
——, Simians, Cyborgs, and Women: The Reinvention of Nature (Free Association, 1991)
——, The Companion Species Manifesto: Dogs, People, and Significant Otherness (Prickly Paradigm, 2003)
——, The Haraway Reader (Routledge, 2004)
——, When Species Meet (University of Minnesota Press, 2008), Posthumanities <https://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=nlebk&AN=216668&site=ehost-live&scope=site&custid=s8454451>
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Latour, Bruno, Reassembling the Social: An Introduction to Actor-Network-Theory (Oxford University Press, 2005) <http://UCL.eblib.com/patron/FullRecord.aspx?p=422646>
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N. Katherine Hayles, ‘The Transformation of Narrative and the Materiality of Hypertext’, Narrative, 9.1 (2001), pp. 21–39 <http://www.jstor.org.libproxy.ucl.ac.uk/stable/20107227?seq=1#page_scan_tab_contents>
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——, The Anthrobscene / Jussi Parikka (University of Minnesota Press, 2014), Forerunners
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Rifkin, Stephen, ‘Andre Bazin’s “Ontology of the Photographic Image”: Representation, Desire, and Presence’ (unpublished, 2011) <http://ucl-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_proquest882373435&indx=2&recIds=TN_proquest882373435&recIdxs=1&elementId=1&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%28UCL%29%2Cprimo_central_multiple_fe&tb=t&mode=Basic&vid=UCL_VU1&srt=rank&tab=local&dum=true&vl(freeText0)=barthes%20ontology%20photographic&dstmp=1452648901278>
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Rodowick, Dn, ‘Eye Machines D. N. RODOWICK ON THE ART OF HARUN FAROCKI’, Artforum International, 53.6 (2015) <http://ucl-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?frbrVersion=2&tabs=detailsTab&ct=display&fn=search&doc=TN_wos000348555000007&indx=15&recIds=TN_wos000348555000007&recIdxs=4&elementId=4&renderMode=poppedOut&displayMode=full&frbrVersion=2&frbg=&dscnt=0&scp.scps=scope%3A%28UCL%29%2Cprimo_central_multiple_fe&tb=t&vid=UCL_VU1&mode=Basic&tab=local&srt=rank&dum=true&vl(freeText0)=rodowick&dstmp=1452652828378>
Roud, Richard, and François Truffaut, A Passion for Films: Henri Langlois and the Cinémathèque Française (Johns Hopkins University Press, 1999)
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Soderman, B., ‘The Index and the Algorithm’, Differences, 18.1 (2007), pp. 153–86, doi:10.1215/10407391-2006-026
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