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Abel, Richard, ‘Audiences: Surveys and Debates’, in Encyclopedia of Early Cinema (Routledge, 2005), pp. 45–48
‘About Mosireen’, n.d. <https://vimeo.com/37895234>
Alan Rosenthal, Albert Maysles, and Charlotte Zwerin, ‘Salesman’, in The New Documentary in Action: A Casebook in Film Making (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), pp. 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 (Charles Scribner’s Sons, 2001), History of the American cinema, pp. 198–230
Barsam, Richard Meran, ‘The Nonfiction Film’, in The Sixties, 1960-1969 (Charles Scribner’s Sons, 2001)
Baudrillard, Jean, ‘Simulacra and Simulations’, in Jean Baudrillard : Selected Writings, 2nd ed. revised and expanded (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 (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 (New York, N.Y.), nos 20–21 (1988), pp. 6–43
——, ‘Camera Fantasia : Computed Visions of Virtual Realities’, Millennium Film Journal, nos 20–21 (1988), pp. 6–43
Bolter, Jay David, and Richard Grusin, ‘Introduction : The Double Logic of Remediation’, in Remediation: Understanding New Media (MIT Press, 1999), pp. 2–15 <https://contentstore.cla.co.uk/secure/link?id=0817ebf3-4e36-e711-80c9-005056af4099>
——, and Richard Grusin, Introduction: The Double Logic of Remediation, n.d.
Bordwell, David, ‘[’Battleship Potemkin’ Extract from] Chapter 2: Monumental Heroics : The Silent Films’, in The Cinema of Eisenstein (Harvard University Press, 1993), pp. 61–79
Bowser, Eileen, ‘The Feature Film’, in The Transformation of Cinema, 1907-1915 (University of California Press, 1994), History of the American cinema, pp. 191–215, 288–89
Bruzzi, Stella, ‘The Legacy of “Direct Cinema”’, in New Documentary, 2nd ed (Routledge, 2006), pp. 67–74
Burch, Noel, ‘Charles Baudelaire versus Doctor Frankenstein’, in Life to Those Shadows (BFI Publishing, 1990), pp. 6–22
——, ‘Life to Those Shadows’, in Life to Those Shadows (BFI Publishing, 1990), pp. 23–42
——, ‘Passions and Chases - A Certain Linearisation’, in Life to Those Shadows (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 (Wayne State University Press, 1997), Contemporary film and television series, pp. 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 (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), pp. 1–12, doi:10.1093/screen/hjq049
Charles Musser, ‘Documentary’, in The Oxford History of World Cinema (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 (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 (Faber, 2006), pp. 251–54
Crafton, Donald, ‘Introduction: The Uncertainty of Sound’, in The Talkies: American Cinema’s Transition to Sound, 1926-1931 (Charles Scribner’s Sons, 1997), History of the American cinema, pp. 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 (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 (University of Wisconsin Press, 1996), Wisconsin studies in film
Curtis, Adam, ‘BBC - Blogs - Adam Curtis’, n.d. <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 (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 (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 (Harvard University Press, 1993), pp. 50–61
Douchet, Jean, ‘Light and Camera’, in French New Wave (D.A.P., 1999), pp. 204–15
——, ‘Sound’, in French New Wave (D.A.P., 1999), pp. 222–31
Douglas Gomery, ‘The Hollywood Studio System’, in The Oxford History of World Cinema (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 (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 (Routledge, 1994), pp. 234–35
Eisenstein, Sergei, ‘The Problem of the Materialist Approach to Form’, in Selected Works (B.F.I., 1988), pp. 59–64
Ettedgui, Peter, ‘Raoul Coutard’, in Cinematography (Focal Press, 1998), Screencraft, pp. 60–71
Fereydoun Hoveyda, ‘Fereydoun Hoveyda: Cinema Verite, or Fantastic Realism.’, in Cahiers Du Cinéma. Vol. 2: 1960-1968 (Harvard University Press, 1985), Harvard film studies, pp. 248–56
Garcia Espinosa, Julio, ‘For an Imperfect Cinema’, in Twenty-Five Years of the New Latin American Cinema (BFI, 1983), pp. 28–33 <https://contentstore.cla.co.uk//secure/link?id=122bc518-7136-e711-80c9-005056af4099>
General Bibliography, n.d.
General Reading List, n.d.
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 (Allen & Unwin, 1983), pp. 407–09 <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 (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 (University of California Press, 2004), pp. 151–92
——, ‘Empire Marketing Board’, Colonial Film, n.d. <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 (University of Exeter Press, 2007), Exeter studies in film history, pp. 209–21
Gunning, Tom, ‘“Now You See It, Now You Don’t” : The Temporality of the Cinema of Attractions’, in The Silent Cinema Reader (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 (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 (Harvard University Press, 1985), Harvard film studies, pp. 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 (Wallflower Press, 2006), pp. 25–34
J. Goodwin, ‘’Strike’ : The Beginnings of Revolution’, in Eisenstein, Cinema, and History (University of Illinois Press, 1993), pp. 37–56, 225-6 [notes]
Jacobs, Lewis, The Documentary Tradition, 2nd ed (W.W. Norton, 1979)
Jay David Bolter and Richard Grusin, ‘Mediation and Remediation’, in Remediation: Understanding New Media (MIT Press, 1999), pp. 52–63
—— and Richard Grusin, ‘Networks of Remediation’, in Remediation: Understanding New Media (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 (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 (Fairleigh Dickinson University Press, 1971), pp. 322–23
Kevin Robins, ‘The Virtual Unconscious in Post‐photography’, Science as Culture, 3.1 (1992), pp. 99–115, doi:10.1080/09505439209526337
Klinger, Barbara, ‘Introduction: What Is Cinema Today?’, in Beyond the Multiplex: Cinema, New Technologies, and the Home (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 (Wallflower, 2005), Short cuts, pp. 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 (Wallflower, 2005), Short cuts, pp. 1–5
Kristin Thompson, ‘The International Exploration of Cinematic Expressivity’, in The Silent Cinema Reader (Routledge, 2004), pp. 254–70
Lack, Roland-Francois, ‘Vivre Sa Vie: An Introduction and A to Z’, Senses of Cinema, no. 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 (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 (Routledge & Kegan Paul, 1988), pp. 72–73, doi:10.4324/9780203059920
——, ‘The Tasks of the Artist in Cinema’, in The Film Factory: Russian and Soviet Cinema in Documents 1896-1939 (Routledge & Kegan Paul, 1988), pp. 41–43
Lev Manovich, ‘What Is Cinema?’, in The Language of New Media (MIT Press, 2001), pp. 286–333
Lev, Peter, ‘Technology and Spectacle’, in Transforming the Screen, 1950-1959 (Charles Scribner’s Sons, 2003), History of the American cinema, pp. 107–25
——, Technology and Spectacle, in Transforming the Screen, 1950-1959 (Charles Scribner’s Sons, 2003), pp. 107–25
Levaco, Ronald, ‘Kuleshov’, Sight and Sound (London), 40.2 (n.d.), pp. 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.] (Doubleday, 1971)
Linda Williams, ‘Race, Melodrama, and “The Birth of a Nation” (1915)’, in The Silent Cinema Reader (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 (Harvard University Press, 1985), Harvard film studies, pp. 264–70
Maltby, Richard, ‘The Effects of Divorcement ’, in Hollywood Cinema, 2nd ed (Blackwell, 2003), pp. 161–73
——, ‘“Widescreen” [Extract from Chapter 8: Technology]’, in Hollywood Cinema, 2nd ed (Blackwell, 2003), pp. 251–55
Mamber, Stephen, ‘Cinema-Verite in America, Part I’, Screen, 13.2 (1972), pp. 79–108, doi:10.1093/screen/13.2.79
——, ‘Cinema-Verite in America: Part II -- Direct Cinema and the Crisis Structure’, Screen, 13.3 (1972), pp. 114–36, doi:10.1093/screen/13.3.114
Mamber, Stephen, ‘Direct Cinema and the Crisis Structure’, in Cinema Verite in America: Studies in Uncontrolled Documentary (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 (M.I.T. Press, 1974), pp. 217–19
Marie, Michel, ‘A Technical Practice, an Aesthetic’, in The French New Wave: An Artistic School (Blackwell, 2003), pp. 70–97, doi:10.1002/9780470775851.ch4
Masha Salazkina, ‘Moscow-Rome-Havana: A Film-Theory Road Map’, October, 139 (2012), pp. 97–116 <https://www.jstor.org/stable/41417921>
Michel Marie, ‘A Mode of Production and Distribution’, in The French New Wave: An Artistic School (Blackwell, 2003), pp. 48–69, doi:10.1002/9780470775851.ch3
Monaco, James, ‘Godard : Modes of Discourse’, in The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette, 30th anniversary ed (Harbor Electronic Publishing, 2004), pp. 126–52
‘Mosireen: Independent Media Collective in Cairo. Indiegogo’, n.d. <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 (Reaktion, 2006), pp. 7–16
——, ‘The Possessive Spectator’, in Stillness and Time: Photography and the Moving Image (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 (Routledge, 2004), pp. 15–30
——, ‘Moving towards Fictional Narratives’, in The Silent Cinema Reader (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 (Indiana University Press, 1991), pp. 32–75
Notes on This Course, n.d.
Paul Monaco, ‘1967: The Watershed Year’, in The Sixties, 1960-1969 (Charles Scribner’s Sons, 2001), History of the American cinema, pp. 182–86
——, ‘The Waning Production Code and the Rise of the Ratings System’, in The Sixties, 1960-1969 (Charles Scribner’s Sons, 2001), History of the American cinema, pp. 56–66
Philip Rosen, ‘Old and New : Image, Indexicality, and Historicity in the Digital Utopia’, in Change Mummified : Cinema, Historicity, Theory (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 (University of Wisconsin Press, 2007), Wisconsin studies in film, pp. 3–44
——, ‘Jean-Luc Godard, Le Petit Soldat’, in A History of the French New Wave Cinema, 2nd ed (University of Wisconsin Press, 2007), Wisconsin studies in film, pp. 207–46
Richard Maltby, ‘Performance 2 [Extract]’, in Hollywood Cinema, 2nd ed (Blackwell, 2003), pp. 393–401
Richard, Taylor, ‘The Montage of Film Attractions’, in The Eisenstein Reader (BFI, 1998), pp. 33–52
Robert L. Snyder, ‘The Roots of the Films of Merit’, in Pare Lorentz and the Documentary Film (University of Nevada Press, 1994), pp. 3–20
Roberta Pearson, ‘Early Cinema’, in The Oxford History of World Cinema (Oxford University Press, 1996), pp. 13–23
——, ‘Transitional Cinema’, in Encyclopedia of Early Cinema (Routledge, 2005), pp. 23–42
Robins, Kevin, ‘The Virtual Unconscious in Post-Photography’, in Electronic Culture: Technology and Visual Representation (Aperture, 1996), pp. 154–63
Rocha, Glauber, ‘An Esthetic of Hunger’, in New Latin American Cinema. Vol. 1: Theory, Practices and Transcontinental Articulations (Wayne State University Press, 1997), Contemporary film and television series, pp. 59–61
Rodowick, David Norman, ‘The Virtual Life of Film’, in The Virtual Life of Film (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 University Press, 2004), Film culture in transition, pp. 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 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 (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 (Blackwell, 2002), pp. 100–03 <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 (Wallflower, 2007), Nonfictions, pp. 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 (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. (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 (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 (University of Nevada Press, 1994), pp. 79–95
——, ‘The River’, in Pare Lorentz and the Documentary Film (: 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 University Press, 1994), Writing science, pp. 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 (Jacksonville, Fla.), 10.1 (n.d.), pp. 50–59
Solanas, Fernando, and Octavio Getino, ‘Towards a Third Cinema’, in New Latin American Cinema (Wayne State University Press, 1997), Contemporary film and television series, pp. 33–58
Stamp, Shelley, ‘Chapter 2: Is Any Girl Safe?’, in Movie-Struck Girls: Women and Motion Picture Culture after the Nickelodeon (Princeton University Press, 2000), pp. 41–101
Stella Bruzzi, ‘Introduction’, in New Documentary, 2nd ed (Routledge, 2006), pp. 1–8
Stephen Prince, ‘True Lies: Perceptual Realism, Digital Images, and Film Theory’, Film Quarterly, 49.3 (1996), pp. 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 University Press, 1989), Cambridge studies in film, pp. 21–48 <https://contentstore.cla.co.uk//secure/link?id=4418fa23-5a36-e711-80c9-005056af4099>
Taylor, Charles, ‘Titicut Follies’, Sight and Sound (London), n.d., pp. 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 (Wallflower Press, 2006), pp. 47–55
‘The Prospects for Political Cinema Today.’, Cineaste, 37.1 (2011), pp. 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 (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 (Routledge & Kegan Paul, 1985), pp. 157–73
——, ‘Narrative Structure in Early Classical Cinema’, in Celebrating 1895: The Centenary of Cinema (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 (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), pp. 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 (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 (University of Illinois Press, 1994), pp. 188–232
Tryon, Chuck, ‘Digital Distribution, Participatory Culture, and the Transmedia Documentary’, Jump Cut, no. 53 (n.d.) <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 University Press, 1993), Cambridge studies in film, pp. 65–74
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Wiseman, Frederick, ‘Editing as a Four-Way Conversation’, in Imagining Reality: The Faber Book of Documentary, Rev. ed (Faber, 2006), pp. 278–82
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——, ‘Chapter 2: Kuleshov’s Experiments and the New Anthropology of the Actor’, in Inside the Film Factory: New Approaches to Russian and Soviet Cinema (Routledge, 1994), Soviet cinema, pp. 31–50 <http://www.tandfebooks.com/isbn/9780203992784>
——, ‘Kuleshov’s Experiments and the New Anthropology of the Actor’, in Silent Film (Athlone Press, 1996), pp. 45–70
