1.
Notes on this course.
2.
General bibliography.
3.
Andre Bazin, Hugh Gray (translator). The ontology of the photographic image. Film Quarterly [Internet]. 1960 Jul;13(4):4–9. Available from: https://www.jstor.org/stable/1210183
4.
Gorky M. Appendix 2 : A review of the Lumière programme at the Nizhni-Novgorod Fair. Kino: a history of the Russian and Soviet film [Internet]. 3rd ed. London: Allen & Unwin; 1983. p. 407–409. Available from: https://contentstore.cla.co.uk//secure/link?id=fbe59f96-4b36-e711-80c9-005056af4099
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Musser C. At the beginning: Motion picture production, representation and ideology at the Edison and Lumiere Companies. The silent cinema reader. London: Routledge; 2004. p. 15–30.
6.
Gunning T. ‘Now you see it, now you don’t’ : The temporality of the cinema of attractions. The silent cinema reader. London: Routledge; 2004. p. 41–50.
7.
Musser C. Moving towards fictional narratives. The silent cinema reader [Internet]. London: Routledge; 2004. p. 87–102. Available from: 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. DW Griffith and the origins of American narrative film: the early years at Biograph. Urbana: University of Illinois Press; 1994. p. 85–129.
9.
Tom Gunning. The narrator system establishes itself. DW Griffith and the origins of American narrative film: the early years at Biograph. Urbana: University of Illinois Press; 1994. p. 188–232.
10.
Tom Gunning. From the opium den to the theatre of morality. The silent cinema reader. London: Routledge; 2004. p. 145–154.
11.
Burch N. Passions and chases - A certain linearisation. Life to those shadows. London: BFI Publishing; 1990. p. 143–161.
12.
Burch N. Life to those shadows. Life to those shadows. London: BFI Publishing; 1990. p. 23–42.
13.
Roberta Pearson. Early cinema. The Oxford history of world cinema. Oxford: Oxford University Press; 1996. p. 13–23.
14.
Rothafel SL. What the public wants in the picture theater (1925). Moviegoing in America: a sourcebook in the history of film exhibition [Internet]. Malden, MA: Blackwell; 2002. p. 100–103. Available from: https://contentstore.cla.co.uk//secure/link?id=11a85730-5f36-e711-80c9-005056af4099
15.
Benyon GW. Musical presentation of motion pictures (1921). Moviegoing in America: a sourcebook in the history of film exhibition [Internet]. Malden, MA: Blackwell; 2002. p. 140–143. Available from: https://contentstore.cla.co.uk//secure/link?id=4f0a2c3a-5f36-e711-80c9-005056af4099
16.
Douglas Gomery. The Hollywood studio system. The Oxford history of world cinema. Oxford: Oxford University Press; 1996. p. 43–52.
17.
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18.
Thompson K. From primitive to classical. The classical Hollywood cinema: film style & mode of production to 1960. London: Routledge & Kegan Paul; 1985. p. 157–173.
19.
Kristin Thompson. The international exploration of cinematic expressivity. The silent cinema reader. London: Routledge; 2004. p. 254–270.
20.
Bowser E. The feature film. The transformation of cinema, 1907-1915. Berkeley: University of California Press; 1994. p. 191–215, 288–289.
21.
Burch N. Charles Baudelaire versus Doctor Frankenstein. Life to those shadows. London: BFI Publishing; 1990. p. 6–22.
22.
Roberta Pearson. Transitional cinema. Encyclopedia of early cinema. London: Routledge; 2005. p. 23–42.
23.
Tom Gunning. From the kaleidoscope to the x-ray: Urban spectatorship, Poe, Benjamin, and Traffic in souls (1913). Wide angle [Internet]. The Johns Hopkins University Press; 1997 Jan 10;19(4):25–61. Available from: http://muse.jhu.edu/journals/wide_angle/v019/19.4gunning.html
24.
Stamp S. Chapter 2: Is any girl safe? Movie-struck girls: women and motion picture culture after the nickelodeon. Princeton, N.J.: Princeton University Press; 2000. p. 41–101.
25.
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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). The silent cinema reader [Internet]. London: Routledge; 2004. p. 242–253. Available from: https://contentstore.cla.co.uk/secure/link?id=2ffaa74c-e0a5-ec11-a99b-0050f2f01d9b
28.
Sergei M. Eisenstein. The montage of film attractions. 1924. Selected works Volume 1 Writings 1922-1934 [Internet]. London: B.F.I.; 1988. p. 39–58. Available from: https://contentstore.cla.co.uk//secure/link?id=f9da8d1f-7136-e711-80c9-005056af4099
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Richard, Taylor. The montage of film attractions. The Eisenstein reader. London: BFI; 1998. p. 33–52.
30.
Sergei Eisenstein. The problem of the materialist approach to form. 1925. The Eisenstein reader [Internet]. London: BFI; 1998. p. 53–59. Available from: 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. Selected works. London: B.F.I.; 1988. p. 59–64.
32.
Eisenstein S, Pudovkin V, Alexandrov G. Statement on sound. The film factory: Russian and Soviet cinema in documents. London: Routledge; 1994. p. 234–235.
33.
Lev Kuleshov. The tasks of the artist in cinema. The Film factory: Russian and Soviet cinema in documents 1896-1939. London: Routledge & Kegan Paul; 1988. p. 41–43.
34.
Lev Kuleshov. Americanism. The Film factory: Russian and Soviet cinema in documents 1896-1939 [Internet]. London: Routledge & Kegan Paul; 1988. p. 72–73. Available from: https://www.taylorfrancis.com/books/9780203059920/chapters/10.4324/9780203059920-20
35.
David Bordwell. [’Strike’ extract from] Chapter 2: Monumental heroics : the silent films. The cinema of Eisenstein. Cambridge, Mass: Harvard University Press; 1993. p. 50–61.
36.
Bordwell D. [’Battleship Potemkin’ extract from] Chapter 2: Monumental heroics : the silent films. The cinema of Eisenstein. Cambridge, Mass: Harvard University Press; 1993. p. 61–79.
37.
David Bordwell. Monumental heroics : form and style in Eisenstein’s silent films. The silent cinema reader [Internet]. London: Routledge; 2004. p. 368–388. Available from: https://contentstore.cla.co.uk/secure/link?id=22080e33-9a4d-ee11-8457-0050f2f0d45d
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Yampolsky M. Chapter 2: Kuleshov’s experiments and the new anthropology of the actor. Inside the film factory: new approaches to Russian and Soviet cinema [Internet]. London: Routledge; 1994. p. 31–50. Available from: http://ls-tlss.ucl.ac.uk/course-materials/FILMGG01_76224.pdf
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41.
J. Goodwin. ’Strike’ : the beginnings of revolution. Eisenstein, cinema, and history. Urbana: University of Illinois Press; 1993. p. 37–56, 225–6 [notes].
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45.
Vlada Petric. A subtextual reading of Kuleshov’s satire: The extraordinary adventures of Mr. West in the land of the Bolsheviks. Inside Soviet film satire: laughter with a lash. Cambridge: Cambridge University Press; 1993. p. 65–74.
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Snyder RL. Chapter III: The River. Pare Lorentz and the documentary film. Reno: University of Nevada Press; 1994. p. 50–78.
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Snyder RL. The River. Pare Lorentz and the documentary film. Reno ; London: :  University of Nevada Press,  .; 1994. p. 50–78.
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Fereydoun Hoveyda. Fereydoun Hoveyda: Cinema verite, or fantastic realism. Cahiers du cinéma Vol 2: 1960-1968. Cambridge, Mass: Harvard University Press; 1985. p. 248–256.
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Louis Marcorelles. Louis Marcorelles: The Leacock experiment. Cahiers du cinéma Vol 2: 1960-1968. Cambridge, Mass: Harvard University Press; 1985. p. 264–270.
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Kanfer S. The shock of freedom in films. The movies : an American idiom : readings in the social history of the American motion picture. Rutherford: Fairleigh Dickinson University Press; 1971. p. 322–323.
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General reading list.