1
Notes on this course.
2
General bibliography.
3
Andre Bazin, Hugh Gray (translator). The ontology of the photographic image. Film Quarterly 1960;13:4–9.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. London: : Allen & Unwin 1983. 407–9.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. London: : 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. London: : Routledge 2004. 41–50.
7
Musser C. Moving towards fictional narratives. In: The silent cinema reader. London: : 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. Urbana: : 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. Urbana: : University of Illinois Press 1994. 188–232.
10
Tom Gunning. From the opium den to the theatre of morality. In: The silent cinema reader. London: : Routledge 2004. 145–54.
11
Burch N. Passions and chases - A certain linearisation. In: Life to those shadows. London: : BFI Publishing 1990. 143–61.
12
Burch N. Life to those shadows. In: Life to those shadows. London: : BFI Publishing 1990. 23–42.
13
Roberta Pearson. Early cinema. In: The Oxford history of world cinema. Oxford: : 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. Malden, MA: : Blackwell 2002. 100–3.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. Malden, MA: : Blackwell 2002. 140–3.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: : Oxford University Press 1996. 43–52.
17
Thompson K. Narrative structure in early classical cinema. In: Celebrating 1895: the centenary of cinema. London: : John Libbey & Company 1998. 225–38.
18
Thompson K. From primitive to classical. In: The classical Hollywood cinema: film style & mode of production to 1960. London: : Routledge & Kegan Paul 1985. 157–73.
19
Kristin Thompson. The international exploration of cinematic expressivity. In: The silent cinema reader. London: : Routledge 2004. 254–70.
20
Bowser E. The feature film. In: The transformation of cinema, 1907-1915. Berkeley: : University of California Press 1994. 191–215, 288–9.
21
Burch N. Charles Baudelaire versus Doctor Frankenstein. In: Life to those shadows. London: : BFI Publishing 1990. 6–22.
22
Roberta Pearson. Transitional cinema. In: Encyclopedia of early cinema. London: : 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;19:25–61.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, N.J.: : 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. Berkeley: : University of California Press 2004. 151–92.
26
Whissel, Kristen. Picturing American modernity: traffic, technology, and the silent cinema. Durham, [N.C.]: : 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. London: : Routledge 2004. 242–53.https://contentstore.cla.co.uk/secure/link?id=2ffaa74c-e0a5-ec11-a99b-0050f2f01d9b
28
Sergei M. Eisenstein. The montage of film attractions. 1924. In: Selected works. Volume 1. Writings 1922-1934. London: : 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. London: : BFI 1998. 33–52.
30
Sergei Eisenstein. The problem of the materialist approach to form. 1925. In: The Eisenstein reader. London: : BFI 1998. 53–9.https://contentstore.cla.co.uk//secure/link?id=40c9ba34-7136-e711-80c9-005056af4099
31
Eisenstein, Sergei. The problem of the materialist approach to form. In: Selected works. London: : 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. London: : Routledge 1994. 234–5.
33
Lev Kuleshov. The tasks of the artist in cinema. In: The Film factory: Russian and Soviet cinema in documents 1896-1939. London: : Routledge & Kegan Paul 1988. 41–3.
34
Lev Kuleshov. Americanism. In: The Film factory: Russian and Soviet cinema in documents 1896-1939. London: : Routledge & Kegan Paul 1988. 72–3. doi:10.4324/9780203059920
35
David Bordwell. [’Strike’ extract from] Chapter 2: Monumental heroics : the silent films. In: The cinema of Eisenstein. Cambridge, Mass: : 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. Cambridge, Mass: : Harvard University Press 1993. 61–79.
37
David Bordwell. Monumental heroics : form and style in Eisenstein’s silent films. In: The silent cinema reader. London: : Routledge 2004. 368–88.https://contentstore.cla.co.uk/secure/link?id=22080e33-9a4d-ee11-8457-0050f2f0d45d
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. London: : Routledge 1994. 31–50.http://ls-tlss.ucl.ac.uk/course-materials/FILMGG01_76224.pdf
39
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. London: : Routledge 1994. 31–50.http://www.tandfebooks.com/isbn/9780203992784
40
Yampolsky M. Kuleshov’s experiments and the new anthropology of the actor. In: Silent film. London: : Athlone Press 1996. 45–70.
41
J. Goodwin. ’Strike’ : the beginnings of revolution. In: Eisenstein, cinema, and history. Urbana: : University of Illinois Press 1993. 37–56, 225-6 [notes].
42
A. Nesbet. Beyond recognition: ‘Strike’ and the eye of the abattoir. In: Savage junctures: images and ideas in Eisenstein’s films. London: : I.B. Tauris 2003. 21–31.https://www.dawsonera.com/readonline/9786000007454/startPage/5/1
43
Taylor R. ‘Stachka / The Strike’. In: The Cinema of Russia and the Former Soviet Union. London: : Wallflower Press 2006. 47–55.
44
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. London: : Wallflower Press 2006. 25–34.
45
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. Cambridge: : Cambridge University Press 1993. 65–74.
46
Levaco R. Kuleshov. Sight and sound;40:86–91, 109.https://search.proquest.com/docview/1305508016/fulltext/ED6F61E9DDF7424DPQ/1?accountid=14511
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Grierson J. First principles of documentary. In: Imagining reality: the Faber book of documentary. London: : Faber 2006. 97–102.https://contentstore.cla.co.uk//secure/link?id=47a8ae4b-5d36-e711-80c9-005056af4099
48
Grieveson L. Empire Marketing Board. Colonial Film. http://www.colonialfilm.org.uk/production-company/empire-marketing-board
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Jonathan Kahana. Voice-over, allegory, and the pastoral in new deal documentary. In: Intelligence work : the politics of American documentary. New York: : Columbia University Press 2008. 89–122.https://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=nlebk&AN=2444949&site=ehost-live&scope=site&custid=s8454451&ebv=EB&ppid=pp_89
50
Snyder RL. Chapter III: The River. In: Pare Lorentz and the documentary film. Reno: : University of Nevada Press 1994. 50–78.
51
Snyder RL. The River. In: Pare Lorentz and the documentary film. Reno ; London: : :  University of Nevada Press,  . 1994. 50–78.
52
Swann P. The Empire Marketing Board film unit, 1926-1933. In: The British documentary film movement, 1926-1946. Cambridge: : Cambridge University Press 1989. 21–48.https://contentstore.cla.co.uk//secure/link?id=4418fa23-5a36-e711-80c9-005056af4099
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Charles Musser. Documentary. In: The Oxford history of world cinema. Oxford: : 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. Boston: : Focal Press 1998. 60–71.
55
Hillier J. Introduction : re-thinking the function of cinema and criticism. In: Cahiers du cinéma. Vol. 2 : 1960-1968. Cambridge, Mass: : Harvard University Press 1985. 223–35.
56
Fereydoun Hoveyda. Fereydoun Hoveyda: Cinema verite, or fantastic realism. In: Cahiers du cinéma. Vol. 2: 1960-1968. Cambridge, Mass: : Harvard University Press 1985. 248–56.
57
Louis Marcorelles. Louis Marcorelles: The Leacock experiment. In: Cahiers du cinéma. Vol. 2: 1960-1968. Cambridge, Mass: : Harvard University Press 1985. 264–70.
58
Lack R-F. Vivre sa vie: an introduction and A to Z. Senses of cinema Published Online First: 2008.http://sensesofcinema.com/2008/48/vivre-sa-vie-a-to-z/
59
Michel Marie. A mode of production and distribution. In: The French new wave: an artistic school. Malden, Mass: : 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. Malden, Mass: : 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. Madison, Wis: : University of Wisconsin Press 2007. 3–44.
62
Richard John Neupert. Jean-Luc Godard, Le petit soldat. In: A history of the French new wave cinema. Madison, Wis: : University of Wisconsin Press 2007. 207–46.
63
Solanas F, Getino O. Towards a third cinema. In: New Latin American cinema. Detroit: : Wayne State University Press 1997. 33–58.
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Garcia Espinosa J. For an imperfect cinema. In: Twenty-five years of the new Latin American cinema. London: : BFI 1983. 28–33.https://contentstore.cla.co.uk//secure/link?id=122bc518-7136-e711-80c9-005056af4099
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Burton J. Film artisans and film industries in Latin America, 1956-1980. In: New Latin American cinema. Vol. 1: Theory, practices and transcontinental articulations. Detroit: : Wayne State University Press 1997. 157–84.
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Burton J. Film artisans and film industries in Latin America, 1956-1980 : theoretical and critical implications of variations in modes of filmic production and consumption. In: Martin MT, ed. New Latin American cinema (Vol. 1: Theory, practices and transcontinental articulations). Detroit: : Wayne State University Press 1997. 157–84.
67
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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Willemen P. The third cinema question : notes and reflections. In: Questions of third cinema. London: : British Film Institute 1989. 1–29.https://contentstore.cla.co.uk//secure/link?id=c8067c26-7136-e711-80c9-005056af4099
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Rocha G. An esthetic of hunger. In: New Latin American cinema. Vol. 1: Theory, practices and transcontinental articulations. Detroit: : Wayne State University Press 1997. 59–61.
70
Kanfer S. The shock of freedom in films. In: The movies : an American idiom : readings in the social history of the American motion picture. Rutherford: : Fairleigh Dickinson University Press 1971. 322–3.
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Kramer P. Introduction: 1967 and beyond. In: The new Hollywood: from Bonnie and Clyde to Star Wars. London: : Wallflower 2005. 1–5.
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Kramer P. From the roadshow era to the new Hollywood. In: The new Hollywood: from Bonnie and Clyde to Star Wars. London: : Wallflower 2005. 38–66.https://contentstore.cla.co.uk//secure/link?id=e231eebb-9136-e711-80c9-005056af4099
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Rosenbaum J. New Hollywood and the sixties melting pot. In: The last great American picture show: new Hollywood cinema in the 1970s. Amsterdam: : Amsterdam University Press 2004. 131–52.
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Rosenbaum J. New Hollywood and the sixties melting pot. In: Elsaesser T, Horwath A, King N, eds. The last great American picture show : new Hollywood cinema in the 1970s. Amsterdam: : Amsterdam University Press 2004. 131–52.
75
Paul Monaco. The waning production code and the rise of the ratings system. In: The sixties, 1960-1969. New York: : Charles Scribner’s Sons 2001. 56–66.
76
Paul Monaco. 1967: The Watershed Year. In: The sixties, 1960-1969. New York: : Charles Scribner’s Sons 2001. 182–6.
77
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Barry Langford. The changing of the guard. In: Post-classical Hollywoood: film industry style and ideology since 1945. 2010. 107–32.https://www.dawsonera.com/readonline/9780748643219/startPage/6/1
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Barry Langford. New wave Hollywood. In: Post-Classical Hollywood: Film Industry, Style and Ideology since 1945. 2010. 133–53.https://www.dawsonera.com/readonline/9780748643219/startPage/6/1
80
Levin, G. Roy. Documentary explorations: 15 interviews with film-makers. [1st ed.]. Garden City, N.Y: : Doubleday 1971.
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Cousins M, Macdonald K. Richard Leacock remembers the origins of ‘Direct Cinema’. In: Imagining reality: the Faber book of documentary. London: : Faber 2006. 251–4.
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Barsam RM. The nonfiction film. In: The sixties, 1960-1969. New York: : Charles Scribner’s Sons 2001. 198–230.
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Barsam RM. The nonfiction film. In: The sixties, 1960-1969. New York: : Charles Scribner’s Sons 2001.
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Stella Bruzzi. Introduction. In: New documentary. Abingdon: : Routledge 2006. 1–8.
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Bruzzi S. The legacy of ‘direct cinema’. In: New documentary. Abingdon: : Routledge 2006. 67–74.
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Mamber, Stephen. Direct cinema and the crisis structure. In: Cinema verite in America: studies in uncontrolled documentary. Cambridge, Mass: : M.I.T. Press 1974. 115–40.
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Mamber S. Cinema-Verite in America, Part I. Screen 1972;13:79–108. doi:10.1093/screen/13.2.79
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Mamber S. Cinema-Verite in America: Part II -- Direct cinema and the crisis structure. Screen 1972;13:114–36. doi:10.1093/screen/13.3.114
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Mamber S. Titicut follies: [Extract from chapter on] Frederick Wiseman. In: Cinema verite in America: studies in uncontrolled documentary. Cambridge, Mass: : M.I.T. Press 1974. 217–9.
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Jacobs, Lewis. The documentary tradition. 2nd ed. New York: : W.W. Norton 1979.
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Nichols B. Documentary modes of representation. In: Representing reality: issues and concepts in documentary. Bloomington, Ind: : Indiana University Press 1991. 32–75.
93
Binkley T. Camera fantasia : computed visions of virtual realities. Millennium film journal 1988;:6–43.
94
Binkley T. Camera fantasia : computed visions of virtual realities. Millennium film journal 1988;:6–43.
95
Lev Manovich. What is cinema? In: The language of new media. Cambridge, Mass: : MIT Press 2001. 286–333.
96
Mulvey L. Preface [to Death 24x a second: stillness and the moving image]. In: Death 24x a second: stillness and the moving image. London: : Reaktion 2006. 7–16.
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Laura Mulvey. Passing time. In: Death 24x a second: stillness and the moving image. London: : Reaktion 2006. 17–32.https://contentstore.cla.co.uk//secure/link?id=24604280-8d36-e711-80c9-005056af4099
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Stephen Prince. True Lies: Perceptual Realism, Digital Images, and Film Theory. Film Quarterly 1996;49:27–37.http://www.jstor.org/stable/1213468
99
Grusin R. DVDs, video games, and the cinema of interactions. In: Multimedia histories: from the magic lantern to the Internet. Exeter: : University of Exeter Press 2007. 209–21.
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Kevin Robins. The virtual unconscious in post‐photography. Science as Culture 1992;3:99–115. doi:10.1080/09505439209526337
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Sobchack V. Towards a phenomenology of cinematic and electronic presence : The scene of the screen. Post script : essays in film and the humanities;10:50–9.
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Jay David Bolter, Richard Grusin. Mediation and remediation. In: Remediation: understanding new media. Cambridge, Mass: : MIT Press 1999. 52–63.
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Jay David Bolter, Richard Grusin. Networks of remediation. In: Remediation: understanding new media. Cambridge, Mass: : MIT Press 1999. 64–87.
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Philip Rosen. Old and new : image, indexicality, and historicity in the digital utopia. In: Change mummified : cinema, historicity, theory. Minneapolis, MN ; London: : University of Minnesota Press 2001. 301–49.
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Richard Maltby. Performance 2 [extract]. In: Hollywood cinema. Malden, Mass: : Blackwell 2003. 393–401.
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General reading list.