A. Nesbet, ‘Beyond Recognition: “Strike” and the Eye of the Abattoir’, Savage junctures: images and ideas in Eisenstein’s films (IB Tauris 2003) <https://www.dawsonera.com/readonline/9786000007454/startPage/5/1>
Abel R, ‘Audiences: Surveys and Debates’, Encyclopedia of early cinema (Routledge 2005)
‘About Mosireen’ <https://vimeo.com/37895234>
Alan Rosenthal, Albert Maysles, and Charlotte Zwerin, ‘Salesman’, The new documentary in action: a casebook in film making (University of California Press 1971)
Andre Bazin and Hugh Gray (translator), ‘The Ontology of the Photographic Image’ (1960) 13 Film Quarterly 4 <https://www.jstor.org/stable/1210183>
Barry Langford, ‘New Wave Hollywood’, Post-Classical Hollywood: Film Industry, Style and Ideology since 1945 (2010) <https://www.dawsonera.com/readonline/9780748643219/startPage/6/1>
——, ‘The Changing of the Guard’, Post-classical Hollywoood: film industry style and ideology since 1945 (2010) <https://www.dawsonera.com/readonline/9780748643219/startPage/6/1>
Barsam RM, ‘The Nonfiction Film’, The sixties, 1960-1969, vol History of the American cinema (Charles Scribner’s Sons 2001)
Barsam RM, ‘The Nonfiction Film’, The sixties, 1960-1969 (Charles Scribner’s Sons 2001)
Baudrillard J, ‘Simulacra and Simulations’, Jean Baudrillard : Selected writings (2nd ed. revised and expanded, Polity 2001)
Benyon GW, ‘Musical Presentation of Motion Pictures (1921)’, Moviegoing in America: a sourcebook in the history of film exhibition (Blackwell 2002) <https://contentstore.cla.co.uk//secure/link?id=4f0a2c3a-5f36-e711-80c9-005056af4099>
Binkley T, ‘Camera Fantasia : Computed Visions of Virtual Realities’ [1988] Millennium film journal 6
——, ‘Camera Fantasia : Computed Visions of Virtual Realities’ [1988] Millennium film journal 6
Bolter JD and Grusin R, ‘Introduction : The Double Logic of Remediation’, Remediation: understanding new media (MIT Press 1999) <https://contentstore.cla.co.uk/secure/link?id=0817ebf3-4e36-e711-80c9-005056af4099>
——, ‘Introduction: The Double Logic of Remediation’
Bordwell D, ‘[’Battleship Potemkin’ Extract from] Chapter 2: Monumental Heroics : The Silent Films’, The cinema of Eisenstein (Harvard University Press 1993)
Bowser E, ‘The Feature Film’, The transformation of cinema, 1907-1915, vol History of the American cinema (University of California Press 1994)
Bruzzi S, ‘The Legacy of “Direct Cinema”’, New documentary (2nd ed, Routledge 2006)
Burch N, ‘Charles Baudelaire versus Doctor Frankenstein’, Life to those shadows (BFI Publishing 1990)
——, ‘Life to Those Shadows’, Life to those shadows (BFI Publishing 1990)
——, ‘Passions and Chases - A Certain Linearisation’, Life to those shadows (BFI Publishing 1990)
Burton J, ‘Film Artisans and Film Industries in Latin America, 1956-1980’, New Latin American cinema. Vol. 1: Theory, practices and transcontinental articulations, vol Contemporary film and television series (Wayne State University Press 1997)
——, ‘Film Artisans and Film Industries in Latin America, 1956-1980 : Theoretical and Critical Implications of Variations in Modes of Filmic Production and Consumption’ in Michael T Martin (ed), New Latin American cinema (Vol. 1: Theory, practices and transcontinental articulations) (Wayne State University Press 1997)
Casetti F, ‘Back to the Motherland: The Film Theatre in the Postmedia Age’ (2011) 52 Screen 1
Charles Musser, ‘Documentary’, The Oxford history of world cinema (Oxford University Press 1996) <https://search.proquest.com/docview/1745508668/E258569371824945PQ/17?accountid=14511>
Clark J and School of Communication, American University, ‘Public Media 2.0: Dynamic, Engaged Publics’ (2009) <https://cmsimpact.org/resource/public-media-2-0-dynamic-engaged-publics/>
Collier J, ‘Cheap Amusements (1908)’, Moviegoing in America: a sourcebook in the history of film exhibition (Blackwell 2002) <https://contentstore.cla.co.uk//secure/link?id=500a2c3a-5f36-e711-80c9-005056af4099>
Cousins M and Macdonald K, ‘Richard Leacock Remembers the Origins of “Direct Cinema”’, Imagining reality: the Faber book of documentary (Rev ed, Faber 2006)
Crafton D, ‘The Jazz Singer’s Reception in the Media and at the Box Office’, Post-theory: reconstructing film studies, vol Wisconsin studies in film (University of Wisconsin Press 1996)
——, ‘Introduction: The Uncertainty of Sound’, The talkies: American cinema’s transition to sound, 1926-1931, vol History of the American cinema (Charles Scribner’s Sons 1997) <https://contentstore.cla.co.uk//secure/link?id=ac0f9dc4-6036-e711-80c9-005056af4099>
——, ‘Introduction : The Uncertainty of Sound’, The talkies : American cinema’s transition to sound, 1926-1931 (Charles Scribner’s Sons 1997) <https://contentstore.cla.co.uk//secure/link?id=ac0f9dc4-6036-e711-80c9-005056af4099>
Curtis A, ‘BBC - Blogs - Adam Curtis’ <http://www.bbc.co.uk/blogs/adamcurtis/>
D. A. Pennebaker and Chris Hegedus, ‘The Burning Question [Extract]’, 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, ‘[’Strike’ Extract from] Chapter 2: Monumental Heroics : The Silent Films’, The cinema of Eisenstein (Harvard University Press 1993)
——, ‘Monumental Heroics : Form and Style in Eisenstein’s Silent Films’, The silent cinema reader (Routledge 2004) <https://contentstore.cla.co.uk/secure/link?id=22080e33-9a4d-ee11-8457-0050f2f0d45d>
Douchet J, ‘Light and Camera’, French new wave (DAP 1999)
——, ‘Sound’, French new wave (DAP 1999)
Douglas Gomery, ‘The Hollywood Studio System’, The Oxford history of world cinema (Oxford University Press 1996)
Eaves H and Marlow J, ‘Adam Curtis: “I’m a Modern Journalist”’, Imagining reality: the Faber book of documentary (Rev ed, Faber 2006)
Eisenstein S, Pudovkin V and Alexandrov G, ‘Statement on Sound’, The film factory: Russian and Soviet cinema in documents (Routledge 1994)
Eisenstein, Sergei, ‘The Problem of the Materialist Approach to Form’, Selected works (BFI 1988)
Ettedgui P, ‘Raoul Coutard’, Cinematography, vol Screencraft (Focal Press 1998)
Fereydoun Hoveyda, ‘Fereydoun Hoveyda: Cinema Verite, or Fantastic Realism.’, Cahiers du cinéma. Vol. 2: 1960-1968, vol Harvard film studies (Harvard University Press 1985)
Garcia Espinosa J, ‘For an Imperfect Cinema’, Twenty-five years of the new Latin American cinema (BFI 1983) <https://contentstore.cla.co.uk//secure/link?id=122bc518-7136-e711-80c9-005056af4099>
‘General Bibliography’
‘General Reading List’
Gorky M, ‘Appendix 2 : A Review of the Lumière Programme at the Nizhni-Novgorod Fair’, Kino: a history of the Russian and Soviet film (3rd ed, Allen & Unwin 1983) <https://contentstore.cla.co.uk//secure/link?id=fbe59f96-4b36-e711-80c9-005056af4099>
Grierson J, ‘First Principles of Documentary’, Imagining reality: the Faber book of documentary (Rev ed, Faber 2006) <https://contentstore.cla.co.uk//secure/link?id=47a8ae4b-5d36-e711-80c9-005056af4099>
Grieveson L, ‘Chapter 5: Judging Cinema, 1913-1914’, Policing cinema: movies and censorship in early-twentieth-century America (University of California Press 2004)
——, ‘Empire Marketing Board’ (Colonial Film) <http://www.colonialfilm.org.uk/production-company/empire-marketing-board>
Grusin R, ‘DVDs, Video Games, and the Cinema of Interactions’, Multimedia histories: from the magic lantern to the Internet, vol Exeter studies in film history (University of Exeter Press 2007)
Gunning T, ‘“Now You See It, Now You Don’t” : The Temporality of the Cinema of Attractions’, The silent cinema reader (Routledge 2004)
Heaton Vorse M, ‘Some Picture Show Audiences (1911)’, Moviegoing in America: a sourcebook in the history of film exhibition (Blackwell 2002) <https://contentstore.cla.co.uk//secure/link?id=10a85730-5f36-e711-80c9-005056af4099>
Hillier J, ‘Introduction : Re-Thinking the Function of Cinema and Criticism’, Cahiers du cinéma. Vol. 2 : 1960-1968, vol Harvard film studies (Harvard University Press 1985)
I. Christie, ‘Neobychainye Prikliucheniia Mistera Vesta v Strane Bol’shevikov / The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks’, The Cinema of Russia and the Former Soviet Union (Wallflower Press 2006)
J. Goodwin, ‘’Strike’ : The Beginnings of Revolution’, Eisenstein, cinema, and history (University of Illinois Press 1993)
Jacobs, Lewis, The Documentary Tradition (2nd ed, WW Norton 1979)
Jay David Bolter and Richard Grusin, ‘Mediation and Remediation’, Remediation: understanding new media (MIT Press 1999)
——, ‘Networks of Remediation’, Remediation: understanding new media (MIT Press 1999)
Jonathan Kahana, ‘Voice-over, Allegory, and the Pastoral in New Deal Documentary’, Intelligence work : the politics of American documentary (Columbia University Press 2008) <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 S, ‘The Shock of Freedom in Films’, The movies : an American idiom : readings in the social history of the American motion picture (Fairleigh Dickinson University Press 1971)
Kevin Robins, ‘The Virtual Unconscious in Post‐photography’ (1992) 3 Science as Culture 99 <https://www.tandfonline.com/toc/csac20/3/1>
Klinger B, ‘Introduction: What Is Cinema Today?’, Beyond the multiplex: cinema, new technologies, and the home (University of California Press 2006)
Kramer P, ‘From the Roadshow Era to the New Hollywood’, The new Hollywood: from Bonnie and Clyde to Star Wars, vol Short cuts (Wallflower 2005) <https://contentstore.cla.co.uk//secure/link?id=e231eebb-9136-e711-80c9-005056af4099>
——, ‘Introduction: 1967 and Beyond’, The new Hollywood: from Bonnie and Clyde to Star Wars, vol Short cuts (Wallflower 2005)
Kristin Thompson, ‘The International Exploration of Cinematic Expressivity’, The silent cinema reader (Routledge 2004)
Lack R-F, ‘Vivre Sa Vie: An Introduction and A to Z’ [2008] Senses of cinema <http://sensesofcinema.com/2008/48/vivre-sa-vie-a-to-z/>
Laura Mulvey, ‘Passing Time’, Death 24x a second: stillness and the moving image (Reaktion 2006) <https://contentstore.cla.co.uk//secure/link?id=24604280-8d36-e711-80c9-005056af4099>
Lev Kuleshov, ‘Americanism’, The Film factory: Russian and Soviet cinema in documents 1896-1939 (Routledge & Kegan Paul 1988) <https://www.taylorfrancis.com/books/9780203059920/chapters/10.4324/9780203059920-20>
——, ‘The Tasks of the Artist in Cinema’, The Film factory: Russian and Soviet cinema in documents 1896-1939 (Routledge & Kegan Paul 1988)
Lev Manovich, ‘What Is Cinema?’, The language of new media (MIT Press 2001)
Lev P, ‘Technology and Spectacle’, Transforming the screen, 1950-1959, vol History of the American cinema (Charles Scribner’s Sons 2003)
——, Technology and Spectacle (Charles Scribner’s Sons 2003) 107
Levaco R, ‘Kuleshov’ 40 Sight and sound 86 <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)’, The silent cinema reader (Routledge 2004) <https://contentstore.cla.co.uk/secure/link?id=2ffaa74c-e0a5-ec11-a99b-0050f2f01d9b>
Louis Marcorelles, ‘Louis Marcorelles: The Leacock Experiment’, Cahiers du cinéma. Vol. 2: 1960-1968, vol Harvard film studies (Harvard University Press 1985)
Maltby R, ‘The Effects of Divorcement ’, Hollywood cinema (2nd ed, Blackwell 2003)
——, ‘“Widescreen” [Extract from Chapter 8: Technology]’, Hollywood cinema (2nd ed, Blackwell 2003)
Mamber S, ‘Cinema-Verite in America, Part I’ (1972) 13 Screen 79
——, ‘Cinema-Verite in America: Part II -- Direct Cinema and the Crisis Structure’ (1972) 13 Screen 114
——, ‘Titicut Follies: [Extract from Chapter on] Frederick Wiseman’, Cinema verite in America: studies in uncontrolled documentary (MIT Press 1974)
Mamber, Stephen, ‘Direct Cinema and the Crisis Structure’, Cinema verite in America: studies in uncontrolled documentary (MIT Press 1974)
Marie M, ‘A Technical Practice, an Aesthetic’, The French new wave: an artistic school (Blackwell 2003)
Masha Salazkina, ‘Moscow-Rome-Havana: A Film-Theory Road Map’ (2012) 139 October 97 <https://www.jstor.org/stable/41417921>
Michel Marie, ‘A Mode of Production and Distribution’, The French new wave: an artistic school (Blackwell 2003)
Monaco, James, ‘Godard : Modes of Discourse’, The new wave: Truffaut, Godard, Chabrol, Rohmer, Rivette (30th anniversary ed, Harbor Electronic Publishing 2004)
‘Mosireen: Independent Media Collective in Cairo. Indiegogo’ <http://www.indiegogo.com/projects/mosireen-independent-media-collective-in-cairo>
Mulvey L, ‘Preface [to Death 24x a Second: Stillness and the Moving Image]’, Death 24x a second: stillness and the moving image (Reaktion 2006)
——, ‘The Possessive Spectator’, Stillness and time: photography and the moving image (Photoforum 2006)
Musser C, ‘At the Beginning: Motion Picture Production, Representation and Ideology at the Edison and Lumiere Companies’, The silent cinema reader (Routledge 2004)
——, ‘Moving towards Fictional Narratives’, The silent cinema reader (Routledge 2004) <https://contentstore.cla.co.uk//secure/link?id=b8be3ccd-5336-e711-80c9-005056af4099>
Nichols B, ‘Documentary Modes of Representation’, Representing reality: issues and concepts in documentary (Indiana University Press 1991)
‘Notes on This Course’
Paul Monaco, ‘1967: The Watershed Year’, The sixties, 1960-1969, vol History of the American cinema (Charles Scribner’s Sons 2001)
——, ‘The Waning Production Code and the Rise of the Ratings System’, The sixties, 1960-1969, vol History of the American cinema (Charles Scribner’s Sons 2001)
Philip Rosen, ‘Old and New : Image, Indexicality, and Historicity in the Digital Utopia’, Change mummified : cinema, historicity, theory (University of Minnesota Press 2001)
Richard John Neupert, ‘Cultural Contexts : Where Did the Wave Begin ?’, A history of the French new wave cinema, vol Wisconsin studies in film (2nd ed, University of Wisconsin Press 2007)
——, ‘Jean-Luc Godard, Le Petit Soldat’, A history of the French new wave cinema, vol Wisconsin studies in film (2nd ed, University of Wisconsin Press 2007)
Richard Maltby, ‘Performance 2 [Extract]’, Hollywood cinema (2nd ed, Blackwell 2003)
Richard, Taylor, ‘The Montage of Film Attractions’, The Eisenstein reader (BFI 1998)
Robert L. Snyder, ‘The Roots of the Films of Merit’, Pare Lorentz and the documentary film (University of Nevada Press 1994)
Roberta Pearson, ‘Early Cinema’, The Oxford history of world cinema (Oxford University Press 1996)
——, ‘Transitional Cinema’, Encyclopedia of early cinema (Routledge 2005)
Robins K, ‘The Virtual Unconscious in Post-Photography’, Electronic culture: technology and visual representation (Aperture 1996)
Rocha G, ‘An Esthetic of Hunger’, New Latin American cinema. Vol. 1: Theory, practices and transcontinental articulations, vol Contemporary film and television series (Wayne State University Press 1997)
Rodowick DN, ‘The Virtual Life of Film’, The virtual life of film (Harvard University Press 2007)
Rosenbaum J, ‘New Hollywood and the Sixties Melting Pot’, The last great American picture show: new Hollywood cinema in the 1970s, vol Film culture in transition (Amsterdam University Press 2004)
——, ‘New Hollywood and the Sixties Melting Pot’ in Thomas Elsaesser, Alexander Horwath and Noel King (eds), The last great American picture show : new Hollywood cinema in the 1970s (Amsterdam University Press 2004)
Rosin P, ‘Old and New: Image, Indexicality, and Historicity in the Digital Utopia’, Change mummified: cinema, historicity, theory (University of Minnesota Press 2001)
Rothafel SL, ‘What the Public Wants in the Picture Theater (1925)’, Moviegoing in America: a sourcebook in the history of film exhibition (Blackwell 2002) <https://contentstore.cla.co.uk//secure/link?id=11a85730-5f36-e711-80c9-005056af4099>
Saunders D, ‘The Beginnings of Direct Cinema’, Direct cinema: observational documentary and the politics of the sixties, vol Nonfictions (Wallflower 2007) <https://contentstore.cla.co.uk//secure/link?id=369d942f-9236-e711-80c9-005056af4099>
Sergei Eisenstein, ‘The Problem of the Materialist Approach to Form. 1925’, The Eisenstein reader (BFI 1998) <https://contentstore.cla.co.uk//secure/link?id=40c9ba34-7136-e711-80c9-005056af4099>
Sergei M. Eisenstein, ‘The Montage of Film Attractions. 1924.’, Selected works. Volume 1. Writings 1922-1934. (BFI 1988) <https://contentstore.cla.co.uk//secure/link?id=f9da8d1f-7136-e711-80c9-005056af4099>
Snyder RL, ‘Chapter III: The River’, Pare Lorentz and the documentary film (University of Nevada Press 1994)
——, ‘The Formation and Financing of the United States Film Service’, Pare Lorentz and the documentary film (University of Nevada Press 1994)
——, ‘The River’, Pare Lorentz and the documentary film (: University of Nevada Press, 1994)
Sobchack V, ‘The Scene of the Screen: Envisioning Cinematic and Electronic Presence’, Materialities of communication, vol Writing science (Stanford University Press 1994) <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.’ 10 Post script : essays in film and the humanities 50
Solanas F and Getino O, ‘Towards a Third Cinema’, New Latin American cinema, vol Contemporary film and television series (Wayne State University Press 1997)
Stamp S, ‘Chapter 2: Is Any Girl Safe?’, Movie-struck girls: women and motion picture culture after the nickelodeon (Princeton University Press 2000)
Stella Bruzzi, ‘Introduction’, New documentary (2nd ed, Routledge 2006)
Stephen Prince, ‘True Lies: Perceptual Realism, Digital Images, and Film Theory’ (1996) 49 Film Quarterly 27 <http://www.jstor.org/stable/1213468>
Swann P, ‘The Empire Marketing Board Film Unit, 1926-1933’, The British documentary film movement, 1926-1946, vol Cambridge studies in film (Cambridge University Press 1989) <https://contentstore.cla.co.uk//secure/link?id=4418fa23-5a36-e711-80c9-005056af4099>
Taylor C, ‘Titicut Follies’ Sight and sound 98 <https://contentstore.cla.co.uk/secure/link?id=d42197b5-4a36-e711-80c9-005056af4099>
Taylor R, ‘“Stachka / The Strike”’, The Cinema of Russia and the Former Soviet Union (Wallflower Press 2006)
‘The Prospects for Political Cinema Today.’ (2011) 37 Cineaste 6 <https://www.jstor.org/stable/41691085>
Thomas Elsaesser and Malte Hagener, ‘Conclusion : Digital Cinema - the Body and the Senses Refigured?’, Film theory: an introduction through the senses (Routledge 2010) <https://contentstore.cla.co.uk//secure/link?id=e6bfb423-5636-e711-80c9-005056af4099>
Thompson K, ‘From Primitive to Classical’, The classical Hollywood cinema: film style & mode of production to 1960 (Routledge & Kegan Paul 1985)
——, ‘Narrative Structure in Early Classical Cinema’, Celebrating 1895: the centenary of cinema (John Libbey & Company 1998)
Tom Gunning, ‘Film Form for a New Audience: Time, the Narrator’s Voice, and Character Psychology’, D.W. Griffith and the origins of American narrative film: the early years at Biograph (University of Illinois Press 1994)
——, ‘The Narrator System Establishes Itself’, D.W. Griffith and the origins of American narrative film: the early years at Biograph (University of Illinois Press 1994)
——, ‘From the Kaleidoscope to the X-Ray: Urban Spectatorship, Poe, Benjamin, and Traffic in Souls (1913)’ (1997) 19 Wide angle 25 <http://muse.jhu.edu/journals/wide_angle/v019/19.4gunning.html>
——, ‘From the Opium Den to the Theatre of Morality’, The silent cinema reader (Routledge 2004)
Tryon C, ‘Digital Distribution, Participatory Culture, and the Transmedia Documentary’ Jump cut <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’, Inside Soviet film satire: laughter with a lash, vol Cambridge studies in film (Cambridge University Press 1993)
Whissel, Kristen, Picturing American Modernity: Traffic, Technology, and the Silent Cinema (Duke University Press 2008)
Willemen P, ‘The Third Cinema Question : Notes and Reflections.’, Questions of third cinema (British Film Institute 1989) <https://contentstore.cla.co.uk//secure/link?id=c8067c26-7136-e711-80c9-005056af4099>
Williams L, ‘Sex and Sensation’, The Oxford history of world cinema (Oxford University Press 1996) <https://search.proquest.com/docview/1745490470/D77A13822BB405CPQ/63?accountid=14511>
Wiseman F, ‘Editing as a Four-Way Conversation’, Imagining reality: the Faber book of documentary (Rev ed, Faber 2006)
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, vol Soviet cinema (Routledge 1994) <http://ls-tlss.ucl.ac.uk/course-materials/FILMGG01_76224.pdf>
——, ‘Chapter 2: Kuleshov’s Experiments and the New Anthropology of the Actor’, Inside the film factory: new approaches to Russian and Soviet cinema, vol Soviet cinema (Routledge 1994) <http://www.tandfebooks.com/isbn/9780203992784>
——, ‘Kuleshov’s Experiments and the New Anthropology of the Actor’, Silent film (Athlone Press 1996)
