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 <https://www.dawsonera.com/readonline/9786000007454/startPage/5/1>
Abel, Richard, ‘Audiences: Surveys and Debates’, in Encyclopedia of Early Cinema (London: Routledge, 2005), pp. 45–48
‘About Mosireen’ <https://vimeo.com/37895234>
Alan Rosenthal, Albert Maysles, and Charlotte Zwerin, ‘Salesman’, in The New Documentary in Action: A Casebook in Film Making (Berkeley: University of California Press, 1971), pp. 76–91
Andre Bazin and Hugh Gray (translator), ‘The Ontology of the Photographic Image’, Film Quarterly, 13.4 (1960), 4–9 <https://www.jstor.org/stable/1210183>
Barry Langford, ‘New Wave Hollywood’, in Post-Classical Hollywood: Film Industry, Style and Ideology since 1945, 2010, pp. 133–53 <https://www.dawsonera.com/readonline/9780748643219/startPage/6/1>
———, ‘The Changing of the Guard’, in Post-Classical Hollywoood: Film Industry Style and Ideology since 1945, 2010, pp. 107–32 <https://www.dawsonera.com/readonline/9780748643219/startPage/6/1>
Barsam, Richard M., ‘The Nonfiction Film’, in The Sixties, 1960-1969 (New York: Charles Scribner’s Sons, 2001), History of the American cinema, 198–230
Barsam, Richard Meran, ‘The Nonfiction Film’, in The Sixties, 1960-1969 (New York: Charles Scribner’s Sons, 2001)
Baudrillard, Jean, ‘Simulacra and Simulations’, in Jean Baudrillard : Selected Writings, 2nd ed. revised and expanded (Cambridge: Polity, 2001), pp. 169–87
Benyon, George W., ‘Musical Presentation of Motion Pictures (1921)’, in Moviegoing in America: A Sourcebook in the History of Film Exhibition (Malden, MA: Blackwell, 2002), pp. 140–43 <https://contentstore.cla.co.uk//secure/link?id=4f0a2c3a-5f36-e711-80c9-005056af4099>
Binkley, Timothy, ‘Camera Fantasia : Computed Visions of Virtual Realities’, Millennium Film Journal, 20–21, 1988, 6–43
———, ‘Camera Fantasia : Computed Visions of Virtual Realities’, Millennium Film Journal, 20–21, 1988, 6–43
Bolter, Jay David, and Richard Grusin, ‘Introduction: The Double Logic of Remediation’
———, ‘Introduction : The Double Logic of Remediation’, in Remediation: Understanding New Media (Cambridge, Mass: MIT Press, 1999), pp. 2–15 <https://contentstore.cla.co.uk/secure/link?id=0817ebf3-4e36-e711-80c9-005056af4099>
Bordwell, David, ‘[’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
Bowser, Eileen, ‘The Feature Film’, in The Transformation of Cinema, 1907-1915 (Berkeley: University of California Press, 1994), History of the American cinema, 191–215, 288–89
Bruzzi, Stella, ‘The Legacy of “Direct Cinema”’, in New Documentary, 2nd ed (Abingdon: Routledge, 2006), pp. 67–74
Burch, Noel, ‘Charles Baudelaire versus Doctor Frankenstein’, in Life to Those Shadows (London: BFI Publishing, 1990), pp. 6–22
———, ‘Life to Those Shadows’, in Life to Those Shadows (London: BFI Publishing, 1990), pp. 23–42
———, ‘Passions and Chases - A Certain Linearisation’, in Life to Those Shadows (London: BFI Publishing, 1990), pp. 143–61
Burton, Julianne, ‘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), Contemporary film and television series, 157–84
———, ‘Film Artisans and Film Industries in Latin America, 1956-1980 : Theoretical and Critical Implications of Variations in Modes of Filmic Production and Consumption’, in New Latin American Cinema (Vol. 1: Theory, Practices and Transcontinental Articulations), ed. by Michael T. Martin (Detroit: Wayne State University Press, 1997), pp. 157–84
Casetti, F., ‘Back to the Motherland: The Film Theatre in the Postmedia Age’, Screen, 52.1 (2011), 1–12 <https://doi.org/10.1093/screen/hjq049>
Charles Musser, ‘Documentary’, in The Oxford History of World Cinema (Oxford: Oxford University Press, 1996), pp. 86–94 <https://search.proquest.com/docview/1745508668/E258569371824945PQ/17?accountid=14511>
Clark, Jessica and School of Communication, American University, ‘Public Media 2.0: Dynamic, Engaged Publics’ (Center for Media & Social Impact, 2009) <https://cmsimpact.org/resource/public-media-2-0-dynamic-engaged-publics/>
Collier, John, ‘Cheap Amusements (1908)’, in Moviegoing in America: A Sourcebook in the History of Film Exhibition (Malden, MA: Blackwell, 2002), pp. 46–48 <https://contentstore.cla.co.uk//secure/link?id=500a2c3a-5f36-e711-80c9-005056af4099>
Cousins, Mark, and Kevin Macdonald, ‘Richard Leacock Remembers the Origins of “Direct Cinema”’, in Imagining Reality: The Faber Book of Documentary, Rev. ed (London: Faber, 2006), pp. 251–54
Crafton, Donald, ‘Introduction: The Uncertainty of Sound’, in The Talkies: American Cinema’s Transition to Sound, 1926-1931 (New York: Charles Scribner’s Sons, 1997), History of the American cinema, 1–18 <https://contentstore.cla.co.uk//secure/link?id=ac0f9dc4-6036-e711-80c9-005056af4099>
———, ‘Introduction : The Uncertainty of Sound’, in The Talkies : American Cinema’s Transition to Sound, 1926-1931 (New York: Charles Scribner’s Sons, 1997), pp. 1–18 <https://contentstore.cla.co.uk//secure/link?id=ac0f9dc4-6036-e711-80c9-005056af4099>
———, ‘The Jazz Singer’s Reception in the Media and at the Box Office’, in Post-Theory: Reconstructing Film Studies (Madison, Wis: University of Wisconsin Press, 1996), Wisconsin studies in film
Curtis, Adam, ‘BBC - Blogs - Adam Curtis’ <http://www.bbc.co.uk/blogs/adamcurtis/>
D. A. Pennebaker and Chris Hegedus, ‘The Burning Question [Extract]’, in Imagining Reality: The Faber Book of Documentary (London: Faber and Faber, 1998) <https://contentstore.cla.co.uk/secure/link?id=d4c0e99f-af26-e811-80cd-005056af4099>
David Bordwell, ‘Monumental Heroics : Form and Style in Eisenstein’s Silent Films’, in The Silent Cinema Reader (London: Routledge, 2004), pp. 368–88 <https://contentstore.cla.co.uk/secure/link?id=22080e33-9a4d-ee11-8457-0050f2f0d45d>
———, ‘[’Strike’ Extract from] Chapter 2: Monumental Heroics : The Silent Films’, in The Cinema of Eisenstein (Cambridge, Mass: Harvard University Press, 1993), pp. 50–61
Douchet, Jean, ‘Light and Camera’, in French New Wave (New York: D.A.P., 1999), pp. 204–15
———, ‘Sound’, in French New Wave (New York: D.A.P., 1999), pp. 222–31
Douglas Gomery, ‘The Hollywood Studio System’, in The Oxford History of World Cinema (Oxford: Oxford University Press, 1996), pp. 43–52
Eaves, Hannah, and Jonathan Marlow, ‘Adam Curtis: “I’m a Modern Journalist”’, in Imagining Reality: The Faber Book of Documentary, Rev. ed (London: Faber, 2006), pp. 407–12
Eisenstein, S., V. Pudovkin, and G. Alexandrov, ‘Statement on Sound’, in The Film Factory: Russian and Soviet Cinema in Documents (London: Routledge, 1994), pp. 234–35
Eisenstein, Sergei, ‘The Problem of the Materialist Approach to Form’, in Selected Works (London: B.F.I., 1988), pp. 59–64
Ettedgui, Peter, ‘Raoul Coutard’, in Cinematography (Boston: Focal Press, 1998), Screencraft, 60–71
Fereydoun Hoveyda, ‘Fereydoun Hoveyda: Cinema Verite, or Fantastic Realism.’, in Cahiers Du Cinéma. Vol. 2: 1960-1968 (Cambridge, Mass: Harvard University Press, 1985), Harvard film studies, 248–56
Garcia Espinosa, Julio, ‘For an Imperfect Cinema’, in Twenty-Five Years of the New Latin American Cinema (London: BFI, 1983), pp. 28–33 <https://contentstore.cla.co.uk//secure/link?id=122bc518-7136-e711-80c9-005056af4099>
‘General Bibliography’
‘General Reading List’
Gorky, Maxim, ‘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. 407–9 <https://contentstore.cla.co.uk//secure/link?id=fbe59f96-4b36-e711-80c9-005056af4099>
Grierson, John, ‘First Principles of Documentary’, in Imagining Reality: The Faber Book of Documentary, Rev. ed (London: Faber, 2006), pp. 97–102 <https://contentstore.cla.co.uk//secure/link?id=47a8ae4b-5d36-e711-80c9-005056af4099>
Grieveson, Lee, ‘Chapter 5: Judging Cinema, 1913-1914’, in Policing Cinema: Movies and Censorship in Early-Twentieth-Century America (Berkeley: University of California Press, 2004), pp. 151–92
———, ‘Empire Marketing Board’, Colonial Film <http://www.colonialfilm.org.uk/production-company/empire-marketing-board>
Grusin, Richard, ‘DVDs, Video Games, and the Cinema of Interactions’, in Multimedia Histories: From the Magic Lantern to the Internet (Exeter: University of Exeter Press, 2007), Exeter studies in film history, 209–21
Gunning, Tom, ‘“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
Heaton Vorse, Mary, ‘Some Picture Show Audiences (1911)’, in Moviegoing in America: A Sourcebook in the History of Film Exhibition (Malden, MA: Blackwell, 2002), pp. 49–53 <https://contentstore.cla.co.uk//secure/link?id=10a85730-5f36-e711-80c9-005056af4099>
Hillier, Jim, ‘Introduction : Re-Thinking the Function of Cinema and Criticism’, in Cahiers Du Cinéma. Vol. 2 : 1960-1968 (Cambridge, Mass: Harvard University Press, 1985), Harvard film studies, 223–35
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
J. Goodwin, ‘’Strike’ : The Beginnings of Revolution’, in Eisenstein, Cinema, and History (Urbana: University of Illinois Press, 1993), pp. 37–56, 225-6 [notes]
Jacobs, Lewis, The Documentary Tradition, 2nd ed (New York: W.W. Norton, 1979)
Jay David Bolter and Richard Grusin, ‘Mediation and Remediation’, in Remediation: Understanding New Media (Cambridge, Mass: MIT Press, 1999), pp. 52–63
———, ‘Networks of Remediation’, in Remediation: Understanding New Media (Cambridge, Mass: MIT Press, 1999), pp. 64–87
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), pp. 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>
Kanfer, Stefan, ‘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), pp. 322–23
Kevin Robins, ‘The Virtual Unconscious in Post‐photography’, Science as Culture, 3.1 (1992), 99–115 <https://doi.org/10.1080/09505439209526337>
Klinger, Barbara, ‘Introduction: What Is Cinema Today?’, in Beyond the Multiplex: Cinema, New Technologies, and the Home (Berkeley: University of California Press, 2006), pp. 1–16
Kramer, Peter, ‘From the Roadshow Era to the New Hollywood’, in The New Hollywood: From Bonnie and Clyde to Star Wars (London: Wallflower, 2005), Short cuts, 38–66 <https://contentstore.cla.co.uk//secure/link?id=e231eebb-9136-e711-80c9-005056af4099>
———, ‘Introduction: 1967 and Beyond’, in The New Hollywood: From Bonnie and Clyde to Star Wars (London: Wallflower, 2005), Short cuts, 1–5
Kristin Thompson, ‘The International Exploration of Cinematic Expressivity’, in The Silent Cinema Reader (London: Routledge, 2004), pp. 254–70
Lack, Roland-Francois, ‘Vivre Sa Vie: An Introduction and A to Z’, Senses of Cinema, 48, 2008 <http://sensesofcinema.com/2008/48/vivre-sa-vie-a-to-z/>
Laura Mulvey, ‘Passing Time’, in Death 24x a Second: Stillness and the Moving Image (London: Reaktion, 2006), pp. 17–32 <https://contentstore.cla.co.uk//secure/link?id=24604280-8d36-e711-80c9-005056af4099>
Lev Kuleshov, ‘Americanism’, in The Film Factory: Russian and Soviet Cinema in Documents 1896-1939 (London: Routledge & Kegan Paul, 1988), pp. 72–73 <https://doi.org/10.4324/9780203059920>
———, ‘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
Lev Manovich, ‘What Is Cinema?’, in The Language of New Media (Cambridge, Mass: MIT Press, 2001), pp. 286–333
Lev, Peter, ‘Technology and Spectacle’, in Transforming the Screen, 1950-1959 (New York: Charles Scribner’s Sons, 2003), History of the American cinema, 107–25
———, Technology and Spectacle, Transforming the Screen, 1950-1959 (New York: Charles Scribner’s Sons, 2003), pp. 107–25
Levaco, Ronald, ‘Kuleshov’, Sight and Sound, 40.2, 86–91, 109 <https://search.proquest.com/docview/1305508016/fulltext/ED6F61E9DDF7424DPQ/1?accountid=14511>
Levin, G. Roy, Documentary Explorations: 15 Interviews with Film-Makers, [1st ed.] (Garden City, N.Y: Doubleday, 1971)
Linda Williams, ‘Race, Melodrama, and “The Birth of a Nation” (1915)’, in The Silent Cinema Reader (London: Routledge, 2004), pp. 242–53 <https://contentstore.cla.co.uk/secure/link?id=2ffaa74c-e0a5-ec11-a99b-0050f2f01d9b>
Louis Marcorelles, ‘Louis Marcorelles: The Leacock Experiment’, in Cahiers Du Cinéma. Vol. 2: 1960-1968 (Cambridge, Mass: Harvard University Press, 1985), Harvard film studies, 264–70
Maltby, Richard, ‘The Effects of Divorcement ’, in Hollywood Cinema, 2nd ed (Malden, Mass: Blackwell, 2003), pp. 161–73
———, ‘“Widescreen” [Extract from Chapter 8: Technology]’, in Hollywood Cinema, 2nd ed (Malden, Mass: Blackwell, 2003), pp. 251–55
Mamber, Stephen, ‘Cinema-Verite in America, Part I’, Screen, 13.2 (1972), 79–108 <https://doi.org/10.1093/screen/13.2.79>
———, ‘Cinema-Verite in America: Part II -- Direct Cinema and the Crisis Structure’, Screen, 13.3 (1972), 114–36 <https://doi.org/10.1093/screen/13.3.114>
Mamber, Stephen, ‘Direct Cinema and the Crisis Structure’, in Cinema Verite in America: Studies in Uncontrolled Documentary (Cambridge, Mass: M.I.T. Press, 1974), pp. 115–40
Mamber, Stephen, ‘Titicut Follies: [Extract from Chapter on] Frederick Wiseman’, in Cinema Verite in America: Studies in Uncontrolled Documentary (Cambridge, Mass: M.I.T. Press, 1974), pp. 217–19
Marie, Michel, ‘A Technical Practice, an Aesthetic’, in The French New Wave: An Artistic School (Malden, Mass: Blackwell, 2003), pp. 70–97 <https://doi.org/10.1002/9780470775851.ch4>
Masha Salazkina, ‘Moscow-Rome-Havana: A Film-Theory Road Map’, October, 139 (2012), 97–116 <https://www.jstor.org/stable/41417921>
Michel Marie, ‘A Mode of Production and Distribution’, in The French New Wave: An Artistic School (Malden, Mass: Blackwell, 2003), pp. 48–69 <https://doi.org/10.1002/9780470775851.ch3>
Monaco, James, ‘Godard : Modes of Discourse’, in The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette, 30th anniversary ed (New York: Harbor Electronic Publishing, 2004), pp. 126–52
‘Mosireen: Independent Media Collective in Cairo. Indiegogo’ <http://www.indiegogo.com/projects/mosireen-independent-media-collective-in-cairo>
Mulvey, Laura, ‘Preface [to Death 24x a Second: Stillness and the Moving Image]’, in Death 24x a Second: Stillness and the Moving Image (London: Reaktion, 2006), pp. 7–16
———, ‘The Possessive Spectator’, in Stillness and Time: Photography and the Moving Image (Brighton: Photoforum, 2006), pp. 151–63
Musser, Charles, ‘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
———, ‘Moving towards Fictional Narratives’, in The Silent Cinema Reader (London: Routledge, 2004), pp. 87–102 <https://contentstore.cla.co.uk//secure/link?id=b8be3ccd-5336-e711-80c9-005056af4099>
Nichols, Bill, ‘Documentary Modes of Representation’, in Representing Reality: Issues and Concepts in Documentary (Bloomington, Ind: Indiana University Press, 1991), pp. 32–75
‘Notes on This Course’
Paul Monaco, ‘1967: The Watershed Year’, in The Sixties, 1960-1969 (New York: Charles Scribner’s Sons, 2001), History of the American cinema, 182–86
———, ‘The Waning Production Code and the Rise of the Ratings System’, in The Sixties, 1960-1969 (New York: Charles Scribner’s Sons, 2001), History of the American cinema, 56–66
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), pp. 301–49
Richard John Neupert, ‘Cultural Contexts : Where Did the Wave Begin ?’, in A History of the French New Wave Cinema, 2nd ed (Madison, Wis: University of Wisconsin Press, 2007), Wisconsin studies in film, 3–44
———, ‘Jean-Luc Godard, Le Petit Soldat’, in A History of the French New Wave Cinema, 2nd ed (Madison, Wis: University of Wisconsin Press, 2007), Wisconsin studies in film, 207–46
Richard Maltby, ‘Performance 2 [Extract]’, in Hollywood Cinema, 2nd ed (Malden, Mass: Blackwell, 2003), pp. 393–401
Richard, Taylor, ‘The Montage of Film Attractions’, in The Eisenstein Reader (London: BFI, 1998), pp. 33–52
Robert L. Snyder, ‘The Roots of the Films of Merit’, in Pare Lorentz and the Documentary Film (Reno: University of Nevada Press, 1994), pp. 3–20
Roberta Pearson, ‘Early Cinema’, in The Oxford History of World Cinema (Oxford: Oxford University Press, 1996), pp. 13–23
———, ‘Transitional Cinema’, in Encyclopedia of Early Cinema (London: Routledge, 2005), pp. 23–42
Robins, Kevin, ‘The Virtual Unconscious in Post-Photography’, in Electronic Culture: Technology and Visual Representation (New York: Aperture, 1996), pp. 154–63
Rocha, Glauber, ‘An Esthetic of Hunger’, in New Latin American Cinema. Vol. 1: Theory, Practices and Transcontinental Articulations (Detroit: Wayne State University Press, 1997), Contemporary film and television series, 59–61
Rodowick, David Norman, ‘The Virtual Life of Film’, in The Virtual Life of Film (Cambridge, Mass: Harvard University Press, 2007), pp. 2–24
Rosenbaum, Jonathan, ‘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), Film culture in transition, 131–52
———, ‘New Hollywood and the Sixties Melting Pot’, in The Last Great American Picture Show : New Hollywood Cinema in the 1970s, ed. by Thomas Elsaesser, Alexander Horwath, and Noel King (Amsterdam: Amsterdam University Press, 2004), pp. 131–52
Rosin, Philip, ‘Old and New: Image, Indexicality, and Historicity in the Digital Utopia’, in Change Mummified: Cinema, Historicity, Theory (London: University of Minnesota Press, 2001), pp. 301–49
Rothafel, Samuel L., ‘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 <https://contentstore.cla.co.uk//secure/link?id=11a85730-5f36-e711-80c9-005056af4099>
Saunders, Dave, ‘The Beginnings of Direct Cinema’, in Direct Cinema: Observational Documentary and the Politics of the Sixties (London: Wallflower, 2007), Nonfictions, 5–24 <https://contentstore.cla.co.uk//secure/link?id=369d942f-9236-e711-80c9-005056af4099>
Sergei Eisenstein, ‘The Problem of the Materialist Approach to Form. 1925’, in The Eisenstein Reader (London: BFI, 1998), pp. 53–59 <https://contentstore.cla.co.uk//secure/link?id=40c9ba34-7136-e711-80c9-005056af4099>
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 <https://contentstore.cla.co.uk//secure/link?id=f9da8d1f-7136-e711-80c9-005056af4099>
Snyder, Robert L., ‘Chapter III: The River’, in Pare Lorentz and the Documentary Film (Reno: University of Nevada Press, 1994), pp. 50–78
———, ‘The Formation and Financing of the United States Film Service’, in Pare Lorentz and the Documentary Film (Reno: University of Nevada Press, 1994), pp. 79–95
———, ‘The River’, in Pare Lorentz and the Documentary Film (Reno ; London: : University of Nevada Press, ., 1994), pp. 50–78
Sobchack, Vivian, ‘The Scene of the Screen: Envisioning Cinematic and Electronic Presence’, in Materialities of Communication (Stanford, Calif: Stanford University Press, 1994), Writing science, 83–106 <http://www.scribd.com/doc/154180861/Scene-of-the-Screen-Envisioning-Cinematic-and-Electronic-Presence>
———, ‘Towards a Phenomenology of Cinematic and Electronic Presence : The Scene of the Screen.’, Post Script : Essays in Film and the Humanities, 10.1, 50–59
Solanas, Fernando, and Octavio Getino, ‘Towards a Third Cinema’, in New Latin American Cinema (Detroit: Wayne State University Press, 1997), Contemporary film and television series, 33–58
Stamp, Shelley, ‘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
Stella Bruzzi, ‘Introduction’, in New Documentary, 2nd ed (Abingdon: Routledge, 2006), pp. 1–8
Stephen Prince, ‘True Lies: Perceptual Realism, Digital Images, and Film Theory’, Film Quarterly, 49.3 (1996), 27–37 <http://www.jstor.org/stable/1213468>
Swann, Paul, ‘The Empire Marketing Board Film Unit, 1926-1933’, in The British Documentary Film Movement, 1926-1946 (Cambridge: Cambridge University Press, 1989), Cambridge studies in film, 21–48 <https://contentstore.cla.co.uk//secure/link?id=4418fa23-5a36-e711-80c9-005056af4099>
Taylor, Charles, ‘Titicut Follies’, Sight and Sound, 98–103 <https://contentstore.cla.co.uk/secure/link?id=d42197b5-4a36-e711-80c9-005056af4099>
Taylor, R., ‘“Stachka / The Strike”’, in The Cinema of Russia and the Former Soviet Union (London: Wallflower Press, 2006), pp. 47–55
‘The Prospects for Political Cinema Today.’, Cineaste, 37.1 (2011), 6–17 <https://www.jstor.org/stable/41691085>
Thomas Elsaesser and Malte Hagener, ‘Conclusion : Digital Cinema - the Body and the Senses Refigured?’, in Film Theory: An Introduction through the Senses (New York: Routledge, 2010), pp. 170–87 <https://contentstore.cla.co.uk//secure/link?id=e6bfb423-5636-e711-80c9-005056af4099>
Thompson, Kristin, ‘From Primitive to Classical’, in The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 (London: Routledge & Kegan Paul, 1985), pp. 157–73
———, ‘Narrative Structure in Early Classical Cinema’, in Celebrating 1895: The Centenary of Cinema (London: John Libbey & Company, 1998), pp. 225–38
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
———, ‘From the Kaleidoscope to the X-Ray: Urban Spectatorship, Poe, Benjamin, and Traffic in Souls (1913)’, Wide Angle, 19.4 (1997), 25–61 <http://muse.jhu.edu/journals/wide_angle/v019/19.4gunning.html>
———, ‘From the Opium Den to the Theatre of Morality’, in The Silent Cinema Reader (London: Routledge, 2004), pp. 145–54
———, ‘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
Tryon, Chuck, ‘Digital Distribution, Participatory Culture, and the Transmedia Documentary’, Jump Cut, 53 <http://www.ejumpcut.org/archive/jc53.2011/TryonWebDoc/>
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), Cambridge studies in film, 65–74
Whissel, Kristen, Picturing American Modernity: Traffic, Technology, and the Silent Cinema (Durham, [N.C.]: Duke University Press, 2008) <https://doi.org/10.1215/9780822391456>
Willemen, Paul, ‘The Third Cinema Question : Notes and Reflections.’, in Questions of Third Cinema (London: British Film Institute, 1989), pp. 1–29 <https://contentstore.cla.co.uk//secure/link?id=c8067c26-7136-e711-80c9-005056af4099>
Williams, Linda, ‘Sex and Sensation’, in The Oxford History of World Cinema (Oxford: Oxford University Press, 1996), pp. 490–96 <https://search.proquest.com/docview/1745490470/D77A13822BB405CPQ/63?accountid=14511>
Wiseman, Frederick, ‘Editing as a Four-Way Conversation’, in Imagining Reality: The Faber Book of Documentary, Rev. ed (London: Faber, 2006), pp. 278–82
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), Soviet cinema, 31–50 <http://ls-tlss.ucl.ac.uk/course-materials/FILMGG01_76224.pdf>
———, ‘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), Soviet cinema, 31–50 <http://www.tandfebooks.com/isbn/9780203992784>
———, ‘Kuleshov’s Experiments and the New Anthropology of the Actor’, in Silent Film (London: Athlone Press, 1996), pp. 45–70
