[1]
‘Notes on this course’. .
[2]
‘General bibliography’. .
[3]
Andre Bazin and Hugh Gray (translator), ‘The ontology of the photographic image’, Film Quarterly, vol. 13, no. 4, pp. 4–9, Jul. 1960 [Online]. Available: https://www.jstor.org/stable/1210183
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M. Gorky, ‘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., London: Allen & Unwin, 1983, pp. 407–409 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=fbe59f96-4b36-e711-80c9-005056af4099
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C. Musser, ‘At the beginning: Motion picture production, representation and ideology at the Edison and Lumiere Companies’, in The silent cinema reader, London: Routledge, 2004, pp. 15–30.
[6]
T. Gunning, ‘“Now you see it, now you don’t” : The temporality of the cinema of attractions’, in The silent cinema reader, London: Routledge, 2004, pp. 41–50.
[7]
C. Musser, ‘Moving towards fictional narratives’, in The silent cinema reader, London: Routledge, 2004, pp. 87–102 [Online]. Available: 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, pp. 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, pp. 188–232.
[10]
Tom Gunning, ‘From the opium den to the theatre of morality’, in The silent cinema reader, London: Routledge, 2004, pp. 145–154.
[11]
N. Burch, ‘Passions and chases - A certain linearisation’, in Life to those shadows, London: BFI Publishing, 1990, pp. 143–161.
[12]
N. Burch, ‘Life to those shadows’, in Life to those shadows, London: BFI Publishing, 1990, pp. 23–42.
[13]
Roberta Pearson, ‘Early cinema’, in The Oxford history of world cinema, Oxford: Oxford University Press, 1996, pp. 13–23.
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S. L. Rothafel, ‘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, pp. 100–103 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=11a85730-5f36-e711-80c9-005056af4099
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G. W. Benyon, ‘Musical presentation of motion pictures (1921)’, in Moviegoing in America: a sourcebook in the history of film exhibition, Malden, MA: Blackwell, 2002, pp. 140–143 [Online]. Available: 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, pp. 43–52.
[17]
K. Thompson, ‘Narrative structure in early classical cinema’, in Celebrating 1895: the centenary of cinema, London: John Libbey & Company, 1998, pp. 225–238.
[18]
K. Thompson, ‘From primitive to classical’, in The classical Hollywood cinema: film style & mode of production to 1960, London: Routledge & Kegan Paul, 1985, pp. 157–173.
[19]
Kristin Thompson, ‘The international exploration of cinematic expressivity’, in The silent cinema reader, London: Routledge, 2004, pp. 254–270.
[20]
E. Bowser, ‘The feature film’, in The transformation of cinema, 1907-1915, vol. History of the American cinema, Berkeley: University of California Press, 1994, pp. 191–215, 288–289.
[21]
N. Burch, ‘Charles Baudelaire versus Doctor Frankenstein’, in Life to those shadows, London: BFI Publishing, 1990, pp. 6–22.
[22]
Roberta Pearson, ‘Transitional cinema’, in Encyclopedia of early cinema, London: Routledge, 2005, pp. 23–42.
[23]
Tom Gunning, ‘From the kaleidoscope to the x-ray: Urban spectatorship, Poe, Benjamin, and Traffic in souls (1913)’, Wide angle, vol. 19, no. 4, pp. 25–61, Jan. 1997 [Online]. Available: http://muse.jhu.edu/journals/wide_angle/v019/19.4gunning.html
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S. Stamp, ‘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, pp. 41–101.
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L. Grieveson, ‘Chapter 5: Judging cinema, 1913-1914’, in Policing cinema: movies and censorship in early-twentieth-century America, Berkeley: University of California Press, 2004, pp. 151–192.
[26]
Whissel, Kristen, Picturing American modernity: traffic, technology, and the silent cinema. Durham, [N.C.]: Duke University Press, 2008.
[27]
Linda Williams, ‘Race, melodrama, and “The Birth of a Nation” (1915)’, in The silent cinema reader, London: Routledge, 2004, pp. 242–253 [Online]. Available: 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., London: B.F.I., 1988, pp. 39–58 [Online]. Available: 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, pp. 33–52.
[30]
Sergei Eisenstein, ‘The problem of the materialist approach to form. 1925’, in The Eisenstein reader, London: BFI, 1998, pp. 53–59 [Online]. Available: 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, pp. 59–64.
[32]
S. Eisenstein, V. Pudovkin, and G. Alexandrov, ‘Statement on sound’, in The film factory: Russian and Soviet cinema in documents, London: Routledge, 1994, pp. 234–235.
[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, pp. 41–43.
[34]
Lev Kuleshov, ‘Americanism’, in The Film factory: Russian and Soviet cinema in documents 1896-1939, London: Routledge & Kegan Paul, 1988, pp. 72–73 [Online]. Available: https://www.taylorfrancis.com/books/9780203059920/chapters/10.4324/9780203059920-20
[35]
David Bordwell, ‘[’Strike’ extract from] Chapter 2: Monumental heroics : the silent films’, in The cinema of Eisenstein, Cambridge, Mass: Harvard University Press, 1993, pp. 50–61.
[36]
D. Bordwell, ‘[’Battleship Potemkin’ extract from] Chapter 2: Monumental heroics : the silent films’, in The cinema of Eisenstein, Cambridge, Mass: Harvard University Press, 1993, pp. 61–79.
[37]
David Bordwell, ‘Monumental heroics : form and style in Eisenstein’s silent films’, in The silent cinema reader, London: Routledge, 2004, pp. 368–388 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=22080e33-9a4d-ee11-8457-0050f2f0d45d
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M. Yampolsky, ‘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, London: Routledge, 1994, pp. 31–50 [Online]. Available: http://ls-tlss.ucl.ac.uk/course-materials/FILMGG01_76224.pdf
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M. Yampolsky, ‘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, London: Routledge, 1994, pp. 31–50 [Online]. Available: http://www.tandfebooks.com/isbn/9780203992784
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M. Yampolsky, ‘Kuleshov’s experiments and the new anthropology of the actor’, in Silent film, London: Athlone Press, 1996, pp. 45–70.
[41]
J. Goodwin, ‘’Strike’ : the beginnings of revolution’, in Eisenstein, cinema, and history, Urbana: University of Illinois Press, 1993, pp. 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, London: I.B. Tauris, 2003, pp. 21–31 [Online]. Available: https://www.dawsonera.com/readonline/9786000007454/startPage/5/1
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R. Taylor, ‘“Stachka / The Strike”’, in The Cinema of Russia and the Former Soviet Union, London: Wallflower Press, 2006, pp. 47–55.
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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, London: Wallflower Press, 2006, pp. 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: Cambridge University Press, 1993, pp. 65–74.
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R. Levaco, ‘Kuleshov’, Sight and sound, vol. 40, no. 2, pp. 86–91, 109 [Online]. Available: https://search.proquest.com/docview/1305508016/fulltext/ED6F61E9DDF7424DPQ/1?accountid=14511
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R. L. Snyder, ‘Chapter III: The River’, in Pare Lorentz and the documentary film, Reno: University of Nevada Press, 1994, pp. 50–78.
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R. L. Snyder, ‘The River’, in Pare Lorentz and the documentary film, Reno ; London: : University of Nevada Press, ., 1994, pp. 50–78.
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P. Swann, ‘The Empire Marketing Board film unit, 1926-1933’, in The British documentary film movement, 1926-1946, vol. Cambridge studies in film, Cambridge: Cambridge University Press, 1989, pp. 21–48 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=4418fa23-5a36-e711-80c9-005056af4099
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P. Ettedgui, ‘Raoul Coutard’, in Cinematography, vol. Screencraft, Boston: Focal Press, 1998, pp. 60–71.
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J. Hillier, ‘Introduction : re-thinking the function of cinema and criticism’, in Cahiers du cinéma. Vol. 2 : 1960-1968, vol. Harvard film studies, Cambridge, Mass: Harvard University Press, 1985, pp. 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, Cambridge, Mass: Harvard University Press, 1985, pp. 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, Cambridge, Mass: Harvard University Press, 1985, pp. 264–270.
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Richard John Neupert, ‘Cultural contexts : where did the wave begin ?’, in A history of the French new wave cinema, 2nd ed., vol. Wisconsin studies in film, Madison, Wis: University of Wisconsin Press, 2007, pp. 3–44.
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Richard John Neupert, ‘Jean-Luc Godard, Le petit soldat’, in A history of the French new wave cinema, 2nd ed., vol. Wisconsin studies in film, Madison, Wis: University of Wisconsin Press, 2007, pp. 207–246.
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