1.
Notes on this course.
2.
General bibliography.
3.
Andre Bazin, Hugh Gray (translator). The ontology of the photographic image. Film Quarterly. 1960;13(4):4-9. https://www.jstor.org/stable/1210183
4.
Gorky M. Appendix 2 : A review of the Lumière programme at the Nizhni-Novgorod Fair. In: Kino: A History of the Russian and Soviet Film. 3rd ed. Allen & Unwin; 1983:407-409. https://contentstore.cla.co.uk//secure/link?id=fbe59f96-4b36-e711-80c9-005056af4099
5.
Musser C. At the beginning: Motion picture production, representation and ideology at the Edison and Lumiere Companies. In: The Silent Cinema Reader. Routledge; 2004:15-30.
6.
Gunning T. ‘Now you see it, now you don’t’ : The temporality of the cinema of attractions. In: The Silent Cinema Reader. Routledge; 2004:41-50.
7.
Musser C. Moving towards fictional narratives. In: The Silent Cinema Reader. Routledge; 2004:87-102. https://contentstore.cla.co.uk//secure/link?id=b8be3ccd-5336-e711-80c9-005056af4099
8.
Tom Gunning. Film form for a new audience: time, the narrator’s voice, and character psychology. In: D.W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph. University of Illinois Press; 1994:85-129.
9.
Tom Gunning. The narrator system establishes itself. In: D.W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph. University of Illinois Press; 1994:188-232.
10.
Tom Gunning. From the opium den to the theatre of morality. In: The Silent Cinema Reader. Routledge; 2004:145-154.
11.
Burch N. Passions and chases - A certain linearisation. In: Life to Those Shadows. BFI Publishing; 1990:143-161.
12.
Burch N. Life to those shadows. In: Life to Those Shadows. BFI Publishing; 1990:23-42.
13.
Roberta Pearson. Early cinema. In: The Oxford History of World Cinema. Oxford University Press; 1996:13-23.
14.
Rothafel SL. What the public wants in the picture theater (1925). In: Moviegoing in America: A Sourcebook in the History of Film Exhibition. Blackwell; 2002:100-103. https://contentstore.cla.co.uk//secure/link?id=11a85730-5f36-e711-80c9-005056af4099
15.
Benyon GW. Musical presentation of motion pictures (1921). In: Moviegoing in America: A Sourcebook in the History of Film Exhibition. Blackwell; 2002:140-143. https://contentstore.cla.co.uk//secure/link?id=4f0a2c3a-5f36-e711-80c9-005056af4099
16.
Douglas Gomery. The Hollywood studio system. In: The Oxford History of World Cinema. Oxford University Press; 1996:43-52.
17.
Thompson K. Narrative structure in early classical cinema. In: Celebrating 1895: The Centenary of Cinema. John Libbey & Company; 1998:225-238.
18.
Thompson K. From primitive to classical. In: The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. Routledge & Kegan Paul; 1985:157-173.
19.
Kristin Thompson. The international exploration of cinematic expressivity. In: The Silent Cinema Reader. Routledge; 2004:254-270.
20.
Bowser E. The feature film. In: The Transformation of Cinema, 1907-1915. Vol History of the American cinema. University of California Press; 1994:191-215, 288-289.
21.
Burch N. Charles Baudelaire versus Doctor Frankenstein. In: Life to Those Shadows. BFI Publishing; 1990:6-22.
22.
Roberta Pearson. Transitional cinema. In: Encyclopedia of Early Cinema. Routledge; 2005:23-42.
23.
Tom Gunning. From the kaleidoscope to the x-ray: Urban spectatorship, Poe, Benjamin, and Traffic in souls (1913). Wide angle. 1997;19(4):25-61. http://muse.jhu.edu/journals/wide_angle/v019/19.4gunning.html
24.
Stamp S. Chapter 2: Is any girl safe? In: Movie-Struck Girls: Women and Motion Picture Culture after the Nickelodeon. Princeton University Press; 2000:41-101.
25.
Grieveson L. Chapter 5: Judging cinema, 1913-1914. In: Policing Cinema: Movies and Censorship in Early-Twentieth-Century America. University of California Press; 2004:151-192.
26.
Whissel, Kristen. Picturing American Modernity: Traffic, Technology, and the Silent Cinema. Duke University Press; 2008. doi:10.1215/9780822391456
27.
Linda Williams. Race, melodrama, and ‘The Birth of a Nation’ (1915). In: The Silent Cinema Reader. Routledge; 2004:242-253. https://contentstore.cla.co.uk/secure/link?id=2ffaa74c-e0a5-ec11-a99b-0050f2f01d9b
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Sergei M. Eisenstein. The montage of film attractions. 1924. In: Selected Works. Volume 1. Writings 1922-1934. B.F.I.; 1988:39-58. https://contentstore.cla.co.uk//secure/link?id=f9da8d1f-7136-e711-80c9-005056af4099
29.
Richard, Taylor. The montage of film attractions. In: The Eisenstein Reader. BFI; 1998:33-52.
30.
Sergei Eisenstein. The problem of the materialist approach to form. 1925. In: The Eisenstein Reader. BFI; 1998:53-59. https://contentstore.cla.co.uk//secure/link?id=40c9ba34-7136-e711-80c9-005056af4099
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Eisenstein, Sergei. The problem of the materialist approach to form. In: Selected Works. B.F.I.; 1988:59-64.
32.
Eisenstein S, Pudovkin V, Alexandrov G. Statement on sound. In: The Film Factory: Russian and Soviet Cinema in Documents. Routledge; 1994:234-235.
33.
Lev Kuleshov. The tasks of the artist in cinema. In: The Film Factory: Russian and Soviet Cinema in Documents 1896-1939. Routledge & Kegan Paul; 1988:41-43.
34.
Lev Kuleshov. Americanism. In: The Film Factory: Russian and Soviet Cinema in Documents 1896-1939. Routledge & Kegan Paul; 1988:72-73. doi:10.4324/9780203059920
35.
David Bordwell. [’Strike’ extract from] Chapter 2: Monumental heroics : the silent films. In: The Cinema of Eisenstein. Harvard University Press; 1993:50-61.
36.
Bordwell D. [’Battleship Potemkin’ extract from] Chapter 2: Monumental heroics : the silent films. In: The Cinema of Eisenstein. Harvard University Press; 1993:61-79.
37.
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38.
Yampolsky M. Chapter 2: Kuleshov’s experiments and the new anthropology of the actor. In: Inside the Film Factory: New Approaches to Russian and Soviet Cinema. Vol Soviet cinema. Routledge; 1994:31-50. http://ls-tlss.ucl.ac.uk/course-materials/FILMGG01_76224.pdf
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Yampolsky M. Kuleshov’s experiments and the new anthropology of the actor. In: Silent Film. Athlone Press; 1996:45-70.
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J. Goodwin. ’Strike’ : the beginnings of revolution. In: Eisenstein, Cinema, and History. University of Illinois Press; 1993:37-56, 225-6 [notes].
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A. Nesbet. Beyond recognition: ‘Strike’ and the eye of the abattoir. In: Savage Junctures: Images and Ideas in Eisenstein’s Films. I.B. Tauris; 2003:21-31. https://www.dawsonera.com/readonline/9786000007454/startPage/5/1
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I. Christie. Neobychainye prikliucheniia Mistera Vesta v strane bol’shevikov / The extraordinary adventures of Mr. West in the Land of the Bolsheviks. In: The Cinema of Russia and the Former Soviet Union. Wallflower Press; 2006:25-34.
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Vlada Petric. A subtextual reading of Kuleshov’s satire: The extraordinary adventures of Mr. West in the land of the Bolsheviks. In: Inside Soviet Film Satire: Laughter with a Lash. Vol Cambridge studies in film. Cambridge University Press; 1993:65-74.
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Grieveson L. Empire Marketing Board. Colonial Film. http://www.colonialfilm.org.uk/production-company/empire-marketing-board
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Snyder RL. Chapter III: The River. In: Pare Lorentz and the Documentary Film. University of Nevada Press; 1994:50-78.
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Charles Musser. Documentary. In: The Oxford History of World Cinema. Oxford University Press; 1996:86-94. https://search.proquest.com/docview/1745508668/E258569371824945PQ/17?accountid=14511
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Ettedgui P. Raoul Coutard. In: Cinematography. Vol Screencraft. Focal Press; 1998:60-71.
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Hillier J. Introduction : re-thinking the function of cinema and criticism. In: Cahiers Du Cinéma. Vol. 2 : 1960-1968. Vol Harvard film studies. Harvard University Press; 1985:223-235.
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Fereydoun Hoveyda. Fereydoun Hoveyda: Cinema verite, or fantastic realism. In: Cahiers Du Cinéma. Vol. 2: 1960-1968. Vol Harvard film studies. Harvard University Press; 1985:248-256.
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Louis Marcorelles. Louis Marcorelles: The Leacock experiment. In: Cahiers Du Cinéma. Vol. 2: 1960-1968. Vol Harvard film studies. Harvard University Press; 1985:264-270.
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Michel Marie. A mode of production and distribution. In: The French New Wave: An Artistic School. Blackwell; 2003:48-69. doi:10.1002/9780470775851.ch3
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Marie M. A technical practice, an aesthetic. In: The French New Wave: An Artistic School. Blackwell; 2003:70-97. doi:10.1002/9780470775851.ch4
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Richard John Neupert. Cultural contexts : where did the wave begin ? In: A History of the French New Wave Cinema. Vol Wisconsin studies in film. 2nd ed. University of Wisconsin Press; 2007:3-44.
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Richard John Neupert. Jean-Luc Godard, Le petit soldat. In: A History of the French New Wave Cinema. Vol Wisconsin studies in film. 2nd ed. University of Wisconsin Press; 2007:207-246.
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Masha Salazkina. Moscow-Rome-Havana: A Film-Theory Road Map. October. 2012;139:97-116. https://www.jstor.org/stable/41417921
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Rocha G. An esthetic of hunger. In: New Latin American Cinema. Vol. 1: Theory, Practices and Transcontinental Articulations. Vol Contemporary film and television series. Wayne State University Press; 1997:59-61.
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Paul Monaco. The waning production code and the rise of the ratings system. In: The Sixties, 1960-1969. Vol History of the American cinema. Charles Scribner’s Sons; 2001:56-66.
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Paul Monaco. 1967: The Watershed Year. In: The Sixties, 1960-1969. Vol History of the American cinema. Charles Scribner’s Sons; 2001:182-186.
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General reading list.