1.
Notes on this course.
2.
General bibliography.
3.
Andre Bazin & Hugh Gray (translator). The ontology of the photographic image. Film Quarterly 13, 4–9 (1960).
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 407–409 (Allen & Unwin, 1983).
5.
Musser, C. At the beginning: Motion picture production, representation and ideology at the Edison and Lumiere Companies. in The silent cinema reader 15–30 (Routledge, 2004).
6.
Gunning, T. ‘Now you see it, now you don’t’ : The temporality of the cinema of attractions. in The silent cinema reader 41–50 (Routledge, 2004).
7.
Musser, C. Moving towards fictional narratives. in The silent cinema reader 87–102 (Routledge, 2004).
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 85–129 (University of Illinois Press, 1994).
9.
Tom Gunning. The narrator system establishes itself. in D.W. Griffith and the origins of American narrative film: the early years at Biograph 188–232 (University of Illinois Press, 1994).
10.
Tom Gunning. From the opium den to the theatre of morality. in The silent cinema reader 145–154 (Routledge, 2004).
11.
Burch, N. Passions and chases - A certain linearisation. in Life to those shadows 143–161 (BFI Publishing, 1990).
12.
Burch, N. Life to those shadows. in Life to those shadows 23–42 (BFI Publishing, 1990).
13.
Roberta Pearson. Early cinema. in The Oxford history of world cinema 13–23 (Oxford University Press, 1996).
14.
Rothafel, S. L. What the public wants in the picture theater (1925). in Moviegoing in America: a sourcebook in the history of film exhibition 100–103 (Blackwell, 2002).
15.
Benyon, G. W. Musical presentation of motion pictures (1921). in Moviegoing in America: a sourcebook in the history of film exhibition 140–143 (Blackwell, 2002).
16.
Douglas Gomery. The Hollywood studio system. in The Oxford history of world cinema 43–52 (Oxford University Press, 1996).
17.
Thompson, K. Narrative structure in early classical cinema. in Celebrating 1895: the centenary of cinema 225–238 (John Libbey & Company, 1998).
18.
Thompson, K. From primitive to classical. in The classical Hollywood cinema: film style & mode of production to 1960 157–173 (Routledge & Kegan Paul, 1985).
19.
Kristin Thompson. The international exploration of cinematic expressivity. in The silent cinema reader 254–270 (Routledge, 2004).
20.
Bowser, E. The feature film. in The transformation of cinema, 1907-1915 vol. History of the American cinema 191–215, 288–289 (University of California Press, 1994).
21.
Burch, N. Charles Baudelaire versus Doctor Frankenstein. in Life to those shadows 6–22 (BFI Publishing, 1990).
22.
Roberta Pearson. Transitional cinema. in Encyclopedia of early cinema 23–42 (Routledge, 2005).
23.
Tom Gunning. From the kaleidoscope to the x-ray: Urban spectatorship, Poe, Benjamin, and Traffic in souls (1913). Wide angle 19, 25–61 (1997).
24.
Stamp, S. Chapter 2: Is any girl safe? in Movie-struck girls: women and motion picture culture after the nickelodeon 41–101 (Princeton University Press, 2000).
25.
Grieveson, L. Chapter 5: Judging cinema, 1913-1914. in Policing cinema: movies and censorship in early-twentieth-century America 151–192 (University of California Press, 2004).
26.
Whissel, Kristen. Picturing American modernity: traffic, technology, and the silent cinema. (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 242–253 (Routledge, 2004).
28.
Sergei M. Eisenstein. The montage of film attractions. 1924. in Selected works. Volume 1. Writings 1922-1934. 39–58 (B.F.I., 1988).
29.
Richard, Taylor. The montage of film attractions. in The Eisenstein reader 33–52 (BFI, 1998).
30.
Sergei Eisenstein. The problem of the materialist approach to form. 1925. in The Eisenstein reader 53–59 (BFI, 1998).
31.
Eisenstein, Sergei. The problem of the materialist approach to form. in Selected works 59–64 (B.F.I., 1988).
32.
Eisenstein, S., Pudovkin, V. & Alexandrov, G. Statement on sound. in The film factory: Russian and Soviet cinema in documents 234–235 (Routledge, 1994).
33.
Lev Kuleshov. The tasks of the artist in cinema. in The Film factory: Russian and Soviet cinema in documents 1896-1939 41–43 (Routledge & Kegan Paul, 1988).
34.
Lev Kuleshov. Americanism. in The Film factory: Russian and Soviet cinema in documents 1896-1939 72–73 (Routledge & Kegan Paul, 1988). doi:10.4324/9780203059920.
35.
David Bordwell. [’Strike’ extract from] Chapter 2: Monumental heroics : the silent films. in The cinema of Eisenstein 50–61 (Harvard University Press, 1993).
36.
Bordwell, D. [’Battleship Potemkin’ extract from] Chapter 2: Monumental heroics : the silent films. in The cinema of Eisenstein 61–79 (Harvard University Press, 1993).
37.
David Bordwell. Monumental heroics : form and style in Eisenstein’s silent films. in The silent cinema reader 368–388 (Routledge, 2004).
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 vol. Soviet cinema 31–50 (Routledge, 1994).
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 vol. Soviet cinema 31–50 (Routledge, 1994).
40.
Yampolsky, M. Kuleshov’s experiments and the new anthropology of the actor. in Silent film 45–70 (Athlone Press, 1996).
41.
J. Goodwin. ’Strike’ : the beginnings of revolution. in Eisenstein, cinema, and history 37–56, 225–6 [notes] (University of Illinois Press, 1993).
42.
A. Nesbet. Beyond recognition: ‘Strike’ and the eye of the abattoir. in Savage junctures: images and ideas in Eisenstein’s films 21–31 (I.B. Tauris, 2003).
43.
Taylor, R. ‘Stachka / The Strike’. in The Cinema of Russia and the Former Soviet Union 47–55 (Wallflower Press, 2006).
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 25–34 (Wallflower Press, 2006).
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 vol. Cambridge studies in film 65–74 (Cambridge University Press, 1993).
46.
Levaco, R. Kuleshov. Sight and sound 40, 86–91, 109.
47.
Grierson, J. First principles of documentary. in Imagining reality: the Faber book of documentary 97–102 (Faber, 2006).
48.
Grieveson, L. Empire Marketing Board. Colonial Film http://www.colonialfilm.org.uk/production-company/empire-marketing-board.
49.
Jonathan Kahana. Voice-over, allegory, and the pastoral in new deal documentary. in Intelligence work : the politics of American documentary 89–122 (Columbia University Press, 2008).
50.
Snyder, R. L. Chapter III: The River. in Pare Lorentz and the documentary film 50–78 (University of Nevada Press, 1994).
51.
Snyder, R. L. The River. in Pare Lorentz and the documentary film 50–78 (:  University of Nevada Press,  ., 1994).
52.
Swann, P. The Empire Marketing Board film unit, 1926-1933. in The British documentary film movement, 1926-1946 vol. Cambridge studies in film 21–48 (Cambridge University Press, 1989).
53.
Charles Musser. Documentary. in The Oxford history of world cinema 86–94 (Oxford University Press, 1996).
54.
Ettedgui, P. Raoul Coutard. in Cinematography vol. Screencraft 60–71 (Focal Press, 1998).
55.
Hillier, J. Introduction : re-thinking the function of cinema and criticism. in Cahiers du cinéma. Vol. 2 : 1960-1968 vol. Harvard film studies 223–235 (Harvard University Press, 1985).
56.
Fereydoun Hoveyda. Fereydoun Hoveyda: Cinema verite, or fantastic realism. in Cahiers du cinéma. Vol. 2: 1960-1968 vol. Harvard film studies 248–256 (Harvard University Press, 1985).
57.
Louis Marcorelles. Louis Marcorelles: The Leacock experiment. in Cahiers du cinéma. Vol. 2: 1960-1968 vol. Harvard film studies 264–270 (Harvard University Press, 1985).
58.
Lack, R.-F. Vivre sa vie: an introduction and A to Z. Senses of cinema (2008).
59.
Michel Marie. A mode of production and distribution. in The French new wave: an artistic school 48–69 (Blackwell, 2003). doi:10.1002/9780470775851.ch3.
60.
Marie, M. A technical practice, an aesthetic. in The French new wave: an artistic school 70–97 (Blackwell, 2003). doi:10.1002/9780470775851.ch4.
61.
Richard John Neupert. Cultural contexts : where did the wave begin ? in A history of the French new wave cinema vol. Wisconsin studies in film 3–44 (University of Wisconsin Press, 2007).
62.
Richard John Neupert. Jean-Luc Godard, Le petit soldat. in A history of the French new wave cinema vol. Wisconsin studies in film 207–246 (University of Wisconsin Press, 2007).
63.
Solanas, F. & Getino, O. Towards a third cinema. in New Latin American cinema vol. Contemporary film and television series 33–58 (Wayne State University Press, 1997).
64.
Garcia Espinosa, J. For an imperfect cinema. in Twenty-five years of the new Latin American cinema 28–33 (BFI, 1983).
65.
Burton, J. Film artisans and film industries in Latin America, 1956-1980. in New Latin American cinema. Vol. 1: Theory, practices and transcontinental articulations vol. Contemporary film and television series 157–184 (Wayne State University Press, 1997).
66.
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 New Latin American cinema (Vol. 1: Theory, practices and transcontinental articulations) (ed. Martin, M. T.) 157–184 (Wayne State University Press, 1997).
67.
Masha Salazkina. Moscow-Rome-Havana: A Film-Theory Road Map. October 139, 97–116 (2012).
68.
Willemen, P. The third cinema question : notes and reflections. in Questions of third cinema 1–29 (British Film Institute, 1989).
69.
Rocha, G. An esthetic of hunger. in New Latin American cinema. Vol. 1: Theory, practices and transcontinental articulations vol. Contemporary film and television series 59–61 (Wayne State University Press, 1997).
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 322–323 (Fairleigh Dickinson University Press, 1971).
71.
Kramer, P. Introduction: 1967 and beyond. in The new Hollywood: from Bonnie and Clyde to Star Wars vol. Short cuts 1–5 (Wallflower, 2005).
72.
Kramer, P. From the roadshow era to the new Hollywood. in The new Hollywood: from Bonnie and Clyde to Star Wars vol. Short cuts 38–66 (Wallflower, 2005).
73.
Rosenbaum, J. New Hollywood and the sixties melting pot. in The last great American picture show: new Hollywood cinema in the 1970s vol. Film culture in transition 131–152 (Amsterdam University Press, 2004).
74.
Rosenbaum, J. New Hollywood and the sixties melting pot. in The last great American picture show : new Hollywood cinema in the 1970s (eds. Elsaesser, T., Horwath, A. & King, N.) 131–152 (Amsterdam University Press, 2004).
75.
Paul Monaco. The waning production code and the rise of the ratings system. in The sixties, 1960-1969 vol. History of the American cinema 56–66 (Charles Scribner’s Sons, 2001).
76.
Paul Monaco. 1967: The Watershed Year. in The sixties, 1960-1969 vol. History of the American cinema 182–186 (Charles Scribner’s Sons, 2001).
77.
Williams, L. Sex and sensation. in The Oxford history of world cinema 490–496 (Oxford University Press, 1996).
78.
Barry Langford. The changing of the guard. in Post-classical Hollywoood: film industry style and ideology since 1945 107–132 (2010).
79.
Barry Langford. New wave Hollywood. in Post-Classical Hollywood: Film Industry, Style and Ideology since 1945 133–153 (2010).
80.
Levin, G. Roy. Documentary explorations: 15 interviews with film-makers. (Doubleday, 1971).
81.
Cousins, M. & Macdonald, K. Richard Leacock remembers the origins of ‘Direct Cinema’. in Imagining reality: the Faber book of documentary 251–254 (Faber, 2006).
82.
Barsam, R. M. The nonfiction film. in The sixties, 1960-1969 vol. History of the American cinema 198–230 (Charles Scribner’s Sons, 2001).
83.
Barsam, R. M. The nonfiction film. in The sixties, 1960-1969 (Charles Scribner’s Sons, 2001).
84.
Stella Bruzzi. Introduction. in New documentary 1–8 (Routledge, 2006).
85.
Bruzzi, S. The legacy of ‘direct cinema’. in New documentary 67–74 (Routledge, 2006).
86.
Mamber, Stephen. Direct cinema and the crisis structure. in Cinema verite in America: studies in uncontrolled documentary 115–140 (M.I.T. Press, 1974).
87.
Mamber, S. Cinema-Verite in America, Part I. Screen 13, 79–108 (1972).
88.
Mamber, S. Cinema-Verite in America: Part II -- Direct cinema and the crisis structure. Screen 13, 114–136 (1972).
89.
Mamber, S. Titicut follies: [Extract from chapter on] Frederick Wiseman. in Cinema verite in America: studies in uncontrolled documentary 217–219 (M.I.T. Press, 1974).
90.
Saunders, D. The beginnings of direct cinema. in Direct cinema: observational documentary and the politics of the sixties vol. Nonfictions 5–24 (Wallflower, 2007).
91.
Jacobs, Lewis. The documentary tradition. (W.W. Norton, 1979).
92.
Nichols, B. Documentary modes of representation. in Representing reality: issues and concepts in documentary 32–75 (Indiana University Press, 1991).
93.
Binkley, T. Camera fantasia : computed visions of virtual realities. Millennium film journal 6–43 (1988).
94.
Binkley, T. Camera fantasia : computed visions of virtual realities. Millennium film journal 6–43 (1988).
95.
Lev Manovich. What is cinema? in The language of new media 286–333 (MIT Press, 2001).
96.
Mulvey, L. Preface [to Death 24x a second: stillness and the moving image]. in Death 24x a second: stillness and the moving image 7–16 (Reaktion, 2006).
97.
Laura Mulvey. Passing time. in Death 24x a second: stillness and the moving image 17–32 (Reaktion, 2006).
98.
Stephen Prince. True Lies: Perceptual Realism, Digital Images, and Film Theory. Film Quarterly 49, 27–37 (1996).
99.
Grusin, R. DVDs, video games, and the cinema of interactions. in Multimedia histories: from the magic lantern to the Internet vol. Exeter studies in film history 209–221 (University of Exeter Press, 2007).
100.
Casetti, F. Back to the Motherland: the film theatre in the postmedia age. Screen 52, 1–12 (2011).
101.
Robins, K. The virtual unconscious in post-photography. in Electronic culture: technology and visual representation 154–163 (Aperture, 1996).
102.
Kevin Robins. The virtual unconscious in post‐photography. Science as Culture 3, 99–115 (1992).
103.
Klinger, B. Introduction: What is cinema today? in Beyond the multiplex: cinema, new technologies, and the home 1–16 (University of California Press, 2006).
104.
Sobchack, V. The scene of the screen: Envisioning cinematic and electronic presence. in Materialities of communication vol. Writing science 83–106 (Stanford University Press, 1994).
105.
Sobchack, V. Towards a phenomenology of cinematic and electronic presence : The scene of the screen. Post script : essays in film and the humanities 10, 50–59.
106.
About Mosireen. https://vimeo.com/37895234.
107.
Mosireen: Independent Media Collective in Cairo. Indiegogo. http://www.indiegogo.com/projects/mosireen-independent-media-collective-in-cairo.
108.
Eaves, H. & Marlow, J. Adam Curtis: ‘I’m a modern journalist’. in Imagining reality: the Faber book of documentary 407–412 (Faber, 2006).
109.
Curtis, A. BBC - Blogs - Adam Curtis. http://www.bbc.co.uk/blogs/adamcurtis/.
110.
Bolter, J. D. & Grusin, R. Introduction: The double logic of remediation.
111.
Bolter, J. D. & Grusin, R. Introduction : The double logic of remediation. in Remediation: understanding new media 2–15 (MIT Press, 1999).
112.
Jay David Bolter & Richard Grusin. Mediation and remediation. in Remediation: understanding new media 52–63 (MIT Press, 1999).
113.
Jay David Bolter & Richard Grusin. Networks of remediation. in Remediation: understanding new media 64–87 (MIT Press, 1999).
114.
Tryon, C. Digital distribution, participatory culture, and the transmedia documentary. Jump cut.
115.
Clark, J. & School of Communication, American University. Public media 2.0: Dynamic, engaged publics. https://cmsimpact.org/resource/public-media-2-0-dynamic-engaged-publics/ (2009).
116.
The prospects for political cinema today. Cineaste 37, 6–17 (2011).
117.
Rosin, P. Old and new: image, indexicality, and historicity in the digital utopia. in Change mummified: cinema, historicity, theory 301–349 (University of Minnesota Press, 2001).
118.
Philip Rosen. Old and new : image, indexicality, and historicity in the digital utopia. in Change mummified : cinema, historicity, theory 301–349 (University of Minnesota Press, 2001).
119.
Alan Rosenthal, Albert Maysles, & Charlotte Zwerin. Salesman. in The new documentary in action: a casebook in film making 76–91 (University of California Press, 1971).
120.
Heaton Vorse, M. Some picture show audiences (1911). in Moviegoing in America: a sourcebook in the history of film exhibition 49–53 (Blackwell, 2002).
121.
Collier, J. Cheap amusements (1908). in Moviegoing in America: a sourcebook in the history of film exhibition 46–48 (Blackwell, 2002).
122.
Douchet, J. Sound. in French new wave 222–231 (D.A.P., 1999).
123.
Douchet, J. Light and camera. in French new wave 204–215 (D.A.P., 1999).
124.
Thomas Elsaesser & Malte Hagener. Conclusion : Digital cinema - the body and the senses refigured? in Film theory: an introduction through the senses 170–187 (Routledge, 2010).
125.
Robert L. Snyder. The roots of the films of merit. in Pare Lorentz and the documentary film 3–20 (University of Nevada Press, 1994).
126.
Snyder, R. L. The formation and financing of the United States film service. in Pare Lorentz and the documentary film 79–95 (University of Nevada Press, 1994).
127.
Taylor, C. Titicut follies. Sight and sound 98–103.
128.
Maltby, R. ‘Widescreen’ [extract from Chapter 8: Technology]. in Hollywood cinema 251–255 (Blackwell, 2003).
129.
Richard Maltby. Performance 2 [extract]. in Hollywood cinema 393–401 (Blackwell, 2003).
130.
Wiseman, F. Editing as a four-way conversation. in Imagining reality: the Faber book of documentary 278–282 (Faber, 2006).
131.
D. A. Pennebaker & Chris Hegedus. The burning question [extract]. in Imagining reality: the Faber book of documentary (Faber and Faber, 1998).
132.
Abel, R. Audiences: surveys and debates. in Encyclopedia of early cinema 45–48 (Routledge, 2005).
133.
Mulvey, L. The possessive spectator. in Stillness and time: photography and the moving image 151–163 (Photoforum, 2006).
134.
Baudrillard, J. Simulacra and simulations. in Jean Baudrillard : Selected writings 169–187 (Polity, 2001).
135.
Monaco, James. Godard : Modes of discourse. in The new wave: Truffaut, Godard, Chabrol, Rohmer, Rivette 126–152 (Harbor Electronic Publishing, 2004).
136.
Maltby, R. The effects of divorcement . in Hollywood cinema 161–173 (Blackwell, 2003).
137.
Lev, P. Technology and spectacle. in Transforming the screen, 1950-1959 vol. History of the American cinema 107–125 (Charles Scribner’s Sons, 2003).
138.
Lev, P. Technology and spectacle. Transforming the screen, 1950-1959 107–125 (Charles Scribner’s Sons, 2003).
139.
Rodowick, D. N. The virtual life of film. in The virtual life of film 2–24 (Harvard University Press, 2007).
140.
Crafton, D. The jazz singer’s reception in the media and at the box office. in Post-theory: reconstructing film studies vol. Wisconsin studies in film (University of Wisconsin Press, 1996).
141.
Crafton, D. Introduction: the uncertainty of sound. in The talkies: American cinema’s transition to sound, 1926-1931 vol. History of the American cinema 1–18 (Charles Scribner’s Sons, 1997).
142.
Crafton, D. Introduction : the uncertainty of sound. in The talkies : American cinema’s transition to sound, 1926-1931 1–18 (Charles Scribner’s Sons, 1997).
143.
General reading list.