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. pp. 407–409. Allen & Unwin, London (1983).
5.
Musser, C.: At the beginning: Motion picture production, representation and ideology at the Edison and Lumiere Companies. In: The silent cinema reader. pp. 15–30. Routledge, London (2004).
6.
Gunning, T.: ‘Now you see it, now you don’t’ : The temporality of the cinema of attractions. In: The silent cinema reader. pp. 41–50. Routledge, London (2004).
7.
Musser, C.: Moving towards fictional narratives. In: The silent cinema reader. pp. 87–102. Routledge, London (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. pp. 85–129. University of Illinois Press, Urbana (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. pp. 188–232. University of Illinois Press, Urbana (1994).
10.
Tom Gunning: From the opium den to the theatre of morality. In: The silent cinema reader. pp. 145–154. Routledge, London (2004).
11.
Burch, N.: Passions and chases - A certain linearisation. In: Life to those shadows. pp. 143–161. BFI Publishing, London (1990).
12.
Burch, N.: Life to those shadows. In: Life to those shadows. pp. 23–42. BFI Publishing, London (1990).
13.
Roberta Pearson: Early cinema. In: The Oxford history of world cinema. pp. 13–23. Oxford University Press, Oxford (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. pp. 100–103. Blackwell, Malden, MA (2002).
15.
Benyon, G.W.: Musical presentation of motion pictures (1921). In: Moviegoing in America: a sourcebook in the history of film exhibition. pp. 140–143. Blackwell, Malden, MA (2002).
16.
Douglas Gomery: The Hollywood studio system. In: The Oxford history of world cinema. pp. 43–52. Oxford University Press, Oxford (1996).
17.
Thompson, K.: Narrative structure in early classical cinema. In: Celebrating 1895: the centenary of cinema. pp. 225–238. John Libbey & Company, London (1998).
18.
Thompson, K.: From primitive to classical. In: The classical Hollywood cinema: film style & mode of production to 1960. pp. 157–173. Routledge & Kegan Paul, London (1985).
19.
Kristin Thompson: The international exploration of cinematic expressivity. In: The silent cinema reader. pp. 254–270. Routledge, London (2004).
20.
Bowser, E.: The feature film. In: The transformation of cinema, 1907-1915. pp. 191–215, 288–289. University of California Press, Berkeley (1994).
21.
Burch, N.: Charles Baudelaire versus Doctor Frankenstein. In: Life to those shadows. pp. 6–22. BFI Publishing, London (1990).
22.
Roberta Pearson: Transitional cinema. In: Encyclopedia of early cinema. pp. 23–42. Routledge, London (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. pp. 41–101. Princeton University Press, Princeton, N.J. (2000).
25.
Grieveson, L.: Chapter 5: Judging cinema, 1913-1914. In: Policing cinema: movies and censorship in early-twentieth-century America. pp. 151–192. University of California Press, Berkeley (2004).
26.
Whissel, Kristen: Picturing American modernity: traffic, technology, and the silent cinema. Duke University Press, Durham, [N.C.] (2008). https://doi.org/10.1215/9780822391456.
27.
Linda Williams: Race, melodrama, and ‘The Birth of a Nation’ (1915). In: The silent cinema reader. pp. 242–253. Routledge, London (2004).
28.
Sergei M. Eisenstein: The montage of film attractions. 1924. In: Selected works. Volume 1. Writings 1922-1934. pp. 39–58. B.F.I., London (1988).
29.
Richard, Taylor: The montage of film attractions. In: The Eisenstein reader. pp. 33–52. BFI, London (1998).
30.
Sergei Eisenstein: The problem of the materialist approach to form. 1925. In: The Eisenstein reader. pp. 53–59. BFI, London (1998).
31.
Eisenstein, Sergei: The problem of the materialist approach to form. In: Selected works. pp. 59–64. B.F.I., London (1988).
32.
Eisenstein, S., Pudovkin, V., Alexandrov, G.: Statement on sound. In: The film factory: Russian and Soviet cinema in documents. pp. 234–235. Routledge, London (1994).
33.
Lev Kuleshov: The tasks of the artist in cinema. In: The Film factory: Russian and Soviet cinema in documents 1896-1939. pp. 41–43. Routledge & Kegan Paul, London (1988).
34.
Lev Kuleshov: Americanism. In: The Film factory: Russian and Soviet cinema in documents 1896-1939. pp. 72–73. Routledge & Kegan Paul, London (1988). https://doi.org/10.4324/9780203059920.
35.
David Bordwell: [’Strike’ extract from] Chapter 2: Monumental heroics : the silent films. In: The cinema of Eisenstein. pp. 50–61. Harvard University Press, Cambridge, Mass (1993).
36.
Bordwell, D.: [’Battleship Potemkin’ extract from] Chapter 2: Monumental heroics : the silent films. In: The cinema of Eisenstein. pp. 61–79. Harvard University Press, Cambridge, Mass (1993).
37.
David Bordwell: Monumental heroics : form and style in Eisenstein’s silent films. In: The silent cinema reader. pp. 368–388. Routledge, London (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. pp. 31–50. Routledge, London (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. pp. 31–50. Routledge, London (1994).
40.
Yampolsky, M.: Kuleshov’s experiments and the new anthropology of the actor. In: Silent film. pp. 45–70. Athlone Press, London (1996).
41.
J. Goodwin: ’Strike’ : the beginnings of revolution. In: Eisenstein, cinema, and history. pp. 37–56, 225–6 [notes]. University of Illinois Press, Urbana (1993).
42.
A. Nesbet: Beyond recognition: ‘Strike’ and the eye of the abattoir. In: Savage junctures: images and ideas in Eisenstein’s films. pp. 21–31. I.B. Tauris, London (2003).
43.
Taylor, R.: ‘Stachka / The Strike’. In: The Cinema of Russia and the Former Soviet Union. pp. 47–55. Wallflower Press, London (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. pp. 25–34. Wallflower Press, London (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. pp. 65–74. Cambridge University Press, Cambridge (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. pp. 97–102. Faber, London (2006).
48.
Grieveson, L.: Empire Marketing Board, 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. pp. 89–122. Columbia University Press, New York (2008).
50.
Snyder, R.L.: Chapter III: The River. In: Pare Lorentz and the documentary film. pp. 50–78. University of Nevada Press, Reno (1994).
51.
Snyder, R.L.: The River. In: Pare Lorentz and the documentary film. pp. 50–78. : University of Nevada Press, ., Reno ; London (1994).
52.
Swann, P.: The Empire Marketing Board film unit, 1926-1933. In: The British documentary film movement, 1926-1946. pp. 21–48. Cambridge University Press, Cambridge (1989).
53.
Charles Musser: Documentary. In: The Oxford history of world cinema. pp. 86–94. Oxford University Press, Oxford (1996).
54.
Ettedgui, P.: Raoul Coutard. In: Cinematography. pp. 60–71. Focal Press, Boston (1998).
55.
Hillier, J.: Introduction : re-thinking the function of cinema and criticism. In: Cahiers du cinéma. Vol. 2 : 1960-1968. pp. 223–235. Harvard University Press, Cambridge, Mass (1985).
56.
Fereydoun Hoveyda: Fereydoun Hoveyda: Cinema verite, or fantastic realism. In: Cahiers du cinéma. Vol. 2: 1960-1968. pp. 248–256. Harvard University Press, Cambridge, Mass (1985).
57.
Louis Marcorelles: Louis Marcorelles: The Leacock experiment. In: Cahiers du cinéma. Vol. 2: 1960-1968. pp. 264–270. Harvard University Press, Cambridge, Mass (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. pp. 48–69. Blackwell, Malden, Mass (2003). https://doi.org/10.1002/9780470775851.ch3.
60.
Marie, M.: A technical practice, an aesthetic. In: The French new wave: an artistic school. pp. 70–97. Blackwell, Malden, Mass (2003). https://doi.org/10.1002/9780470775851.ch4.
61.
Richard John Neupert: Cultural contexts : where did the wave begin ? In: A history of the French new wave cinema. pp. 3–44. University of Wisconsin Press, Madison, Wis (2007).
62.
Richard John Neupert: Jean-Luc Godard, Le petit soldat. In: A history of the French new wave cinema. pp. 207–246. University of Wisconsin Press, Madison, Wis (2007).
63.
Solanas, F., Getino, O.: Towards a third cinema. In: New Latin American cinema. pp. 33–58. Wayne State University Press, Detroit (1997).
64.
Garcia Espinosa, J.: For an imperfect cinema. In: Twenty-five years of the new Latin American cinema. pp. 28–33. BFI, London (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. pp. 157–184. Wayne State University Press, Detroit (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: Martin, M.T. (ed.) New Latin American cinema (Vol. 1: Theory, practices and transcontinental articulations). pp. 157–184. Wayne State University Press, Detroit (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. pp. 1–29. British Film Institute, London (1989).
69.
Rocha, G.: An esthetic of hunger. In: New Latin American cinema. Vol. 1: Theory, practices and transcontinental articulations. pp. 59–61. Wayne State University Press, Detroit (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. pp. 322–323. Fairleigh Dickinson University Press, Rutherford (1971).
71.
Kramer, P.: Introduction: 1967 and beyond. In: The new Hollywood: from Bonnie and Clyde to Star Wars. pp. 1–5. Wallflower, London (2005).
72.
Kramer, P.: From the roadshow era to the new Hollywood. In: The new Hollywood: from Bonnie and Clyde to Star Wars. pp. 38–66. Wallflower, London (2005).
73.
Rosenbaum, J.: New Hollywood and the sixties melting pot. In: The last great American picture show: new Hollywood cinema in the 1970s. pp. 131–152. Amsterdam University Press, Amsterdam (2004).
74.
Rosenbaum, J.: New Hollywood and the sixties melting pot. In: Elsaesser, T., Horwath, A., and King, N. (eds.) The last great American picture show : new Hollywood cinema in the 1970s. pp. 131–152. Amsterdam University Press, Amsterdam (2004).
75.
Paul Monaco: The waning production code and the rise of the ratings system. In: The sixties, 1960-1969. pp. 56–66. Charles Scribner’s Sons, New York (2001).
76.
Paul Monaco: 1967: The Watershed Year. In: The sixties, 1960-1969. pp. 182–186. Charles Scribner’s Sons, New York (2001).
77.
Williams, L.: Sex and sensation. In: The Oxford history of world cinema. pp. 490–496. Oxford University Press, Oxford (1996).
78.
Barry Langford: The changing of the guard. In: Post-classical Hollywoood: film industry style and ideology since 1945. pp. 107–132 (2010).
79.
Barry Langford: New wave Hollywood. In: Post-Classical Hollywood: Film Industry, Style and Ideology since 1945. pp. 133–153 (2010).
80.
Levin, G. Roy: Documentary explorations: 15 interviews with film-makers. Doubleday, Garden City, N.Y (1971).
81.
Cousins, M., Macdonald, K.: Richard Leacock remembers the origins of ‘Direct Cinema’. In: Imagining reality: the Faber book of documentary. pp. 251–254. Faber, London (2006).
82.
Barsam, R.M.: The nonfiction film. In: The sixties, 1960-1969. pp. 198–230. Charles Scribner’s Sons, New York (2001).
83.
Barsam, R.M.: The nonfiction film. In: The sixties, 1960-1969. Charles Scribner’s Sons, New York (2001).
84.
Stella Bruzzi: Introduction. In: New documentary. pp. 1–8. Routledge, Abingdon (2006).
85.
Bruzzi, S.: The legacy of ‘direct cinema’. In: New documentary. pp. 67–74. Routledge, Abingdon (2006).
86.
Mamber, Stephen: Direct cinema and the crisis structure. In: Cinema verite in America: studies in uncontrolled documentary. pp. 115–140. M.I.T. Press, Cambridge, Mass (1974).
87.
Mamber, S.: Cinema-Verite in America, Part I. Screen. 13, 79–108 (1972). https://doi.org/10.1093/screen/13.2.79.
88.
Mamber, S.: Cinema-Verite in America: Part II -- Direct cinema and the crisis structure. Screen. 13, 114–136 (1972). https://doi.org/10.1093/screen/13.3.114.
89.
Mamber, S.: Titicut follies: [Extract from chapter on] Frederick Wiseman. In: Cinema verite in America: studies in uncontrolled documentary. pp. 217–219. M.I.T. Press, Cambridge, Mass (1974).
90.
Saunders, D.: The beginnings of direct cinema. In: Direct cinema: observational documentary and the politics of the sixties. pp. 5–24. Wallflower, London (2007).
91.
Jacobs, Lewis: The documentary tradition. W.W. Norton, New York (1979).
92.
Nichols, B.: Documentary modes of representation. In: Representing reality: issues and concepts in documentary. pp. 32–75. Indiana University Press, Bloomington, Ind (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. pp. 286–333. MIT Press, Cambridge, Mass (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. pp. 7–16. Reaktion, London (2006).
97.
Laura Mulvey: Passing time. In: Death 24x a second: stillness and the moving image. pp. 17–32. Reaktion, London (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. pp. 209–221. University of Exeter Press, Exeter (2007).
100.
Casetti, F.: Back to the Motherland: the film theatre in the postmedia age. Screen. 52, 1–12 (2011). https://doi.org/10.1093/screen/hjq049.
101.
Robins, K.: The virtual unconscious in post-photography. In: Electronic culture: technology and visual representation. pp. 154–163. Aperture, New York (1996).
102.
Kevin Robins: The virtual unconscious in post‐photography. Science as Culture. 3, 99–115 (1992). https://doi.org/10.1080/09505439209526337.
103.
Klinger, B.: Introduction: What is cinema today? In: Beyond the multiplex: cinema, new technologies, and the home. pp. 1–16. University of California Press, Berkeley (2006).
104.
Sobchack, V.: The scene of the screen: Envisioning cinematic and electronic presence. In: Materialities of communication. pp. 83–106. Stanford University Press, Stanford, Calif (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. pp. 407–412. Faber, London (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. pp. 2–15. MIT Press, Cambridge, Mass (1999).
112.
Jay David Bolter, Richard Grusin: Mediation and remediation. In: Remediation: understanding new media. pp. 52–63. MIT Press, Cambridge, Mass (1999).
113.
Jay David Bolter, Richard Grusin: Networks of remediation. In: Remediation: understanding new media. pp. 64–87. MIT Press, Cambridge, Mass (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/.
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. pp. 301–349. University of Minnesota Press, London (2001).
118.
Philip Rosen: Old and new : image, indexicality, and historicity in the digital utopia. In: Change mummified : cinema, historicity, theory. pp. 301–349. University of Minnesota Press, Minneapolis, MN ; London (2001).
119.
Alan Rosenthal, Albert Maysles, Charlotte Zwerin: Salesman. In: The new documentary in action: a casebook in film making. pp. 76–91. University of California Press, Berkeley (1971).
120.
Heaton Vorse, M.: Some picture show audiences (1911). In: Moviegoing in America: a sourcebook in the history of film exhibition. pp. 49–53. Blackwell, Malden, MA (2002).
121.
Collier, J.: Cheap amusements (1908). In: Moviegoing in America: a sourcebook in the history of film exhibition. pp. 46–48. Blackwell, Malden, MA (2002).
122.
Douchet, J.: Sound. In: French new wave. pp. 222–231. D.A.P., New York (1999).
123.
Douchet, J.: Light and camera. In: French new wave. pp. 204–215. D.A.P., New York (1999).
124.
Thomas Elsaesser, Malte Hagener: Conclusion : Digital cinema - the body and the senses refigured? In: Film theory: an introduction through the senses. pp. 170–187. Routledge, New York (2010).
125.
Robert L. Snyder: The roots of the films of merit. In: Pare Lorentz and the documentary film. pp. 3–20. University of Nevada Press, Reno (1994).
126.
Snyder, R.L.: The formation and financing of the United States film service. In: Pare Lorentz and the documentary film. pp. 79–95. University of Nevada Press, Reno (1994).
127.
Taylor, C.: Titicut follies. Sight and sound. 98–103.
128.
Maltby, R.: ‘Widescreen’ [extract from Chapter 8: Technology]. In: Hollywood cinema. pp. 251–255. Blackwell, Malden, Mass (2003).
129.
Richard Maltby: Performance 2 [extract]. In: Hollywood cinema. pp. 393–401. Blackwell, Malden, Mass (2003).
130.
Wiseman, F.: Editing as a four-way conversation. In: Imagining reality: the Faber book of documentary. pp. 278–282. Faber, London (2006).
131.
D. A. Pennebaker, Chris Hegedus: The burning question [extract]. In: Imagining reality: the Faber book of documentary. Faber and Faber, London (1998).
132.
Abel, R.: Audiences: surveys and debates. In: Encyclopedia of early cinema. pp. 45–48. Routledge, London (2005).
133.
Mulvey, L.: The possessive spectator. In: Stillness and time: photography and the moving image. pp. 151–163. Photoforum, Brighton (2006).
134.
Baudrillard, J.: Simulacra and simulations. In: Jean Baudrillard : Selected writings. pp. 169–187. Polity, Cambridge (2001).
135.
Monaco, James: Godard : Modes of discourse. In: The new wave: Truffaut, Godard, Chabrol, Rohmer, Rivette. pp. 126–152. Harbor Electronic Publishing, New York (2004).
136.
Maltby, R.: The effects of divorcement . In: Hollywood cinema. pp. 161–173. Blackwell, Malden, Mass (2003).
137.
Lev, P.: Technology and spectacle. In: Transforming the screen, 1950-1959. pp. 107–125. Charles Scribner’s Sons, New York (2003).
138.
Lev, P.: Technology and spectacle. Charles Scribner’s Sons, New York (2003).
139.
Rodowick, D.N.: The virtual life of film. In: The virtual life of film. pp. 2–24. Harvard University Press, Cambridge, Mass (2007).
140.
Crafton, D.: The jazz singer’s reception in the media and at the box office. In: Post-theory: reconstructing film studies. University of Wisconsin Press, Madison, Wis (1996).
141.
Crafton, D.: Introduction: the uncertainty of sound. In: The talkies: American cinema’s transition to sound, 1926-1931. pp. 1–18. Charles Scribner’s Sons, New York (1997).
142.
Crafton, D.: Introduction : the uncertainty of sound. In: The talkies : American cinema’s transition to sound, 1926-1931. pp. 1–18. Charles Scribner’s Sons, New York (1997).
143.
General reading list.