A Bibliography of Literary Theory, Criticism and Philology
by José Ángel García Landa
(University of Zaragoza, Spain)
Film: Specific Topics
Abstract film
Action films
Adaptation. See Film and literature. Adaptation.
Analysis of film. See Commentary handbooks (Film)
Animation
Archiving and preservation
Art film
Audience. See Spectators
Audio described films
Avant-garde
Awards
Biblical epic
Biopics
Burlesque and humour films
Camera
Cartoons
Censorship
Characters
Choreography
Cinema going
Cinematography. See Photography and cinematography.
Classical cinema
Classics, Cult movies
Colour / Black and White
Commentary handbooks (film)
Computers and film
Conventions (cinematic)
Closure. See Endings.
Crosscutting
Culture and film
Decline of film
Description in film
Detective films. See Thrillers.
Dialogues (film)
Directors' Commentaries
Documentaries
Drama and Film / Theatre and Film
Dreams and Film
Dubbing and translation
Editing and Montage
Education and Film
Endings
Entertainment and film
Ethics and film
Experimental film
Fantasy and film
Festivals and prizes
Film studies / Film criticism
Filming people
Filmmaking
Form in film
Future of film
Genres (film)
History and film
Historical films / Heritage films
History of cinema
Homosexuality and film
Images and film
Intelligibility (film)
Intertextuallity (film)
Language and dialogues. See Dialogues (film)
Love and film
Lyricism in film
Machinima
Magic realism
Marriage and film
Mass culture and Film
Melodrama
Mise-en-scene
Montage. See Editing and Montage.
Morality, Ethics, and Film
Music in film
Musicals
Narrative level
Noir film
Nonfiction film
Origins of film
Oscars. See Festivals and prizes.
Philosophy and film
Photography
Pleasure and film
Plot in film
Poetry and film
Politics and film
Popular film
Pornography in films
Postmodernism and film
Prizes. See Festivals and Prizes
Production
Psychology and Film
Psychoanalysis and Film
Race and film
Realism and film
Reflexivity in film
Religion and film
Repetition
Road movies; Film and cars
Roman / Ancient history films
Romance in film
Science Fiction films
Scripts and Screenplays
Silent films
Snuff films
Sociology of Film
Sound
Space in film
Special effects
Speech
Story
Style. See Aesthetics and Style in film
Subjectivity and film
Subtitles
Surrealist film
Suspense
Suture
Symbolism in film
Taboo in film
Teaching film. See Education and film.
Technology
Teenpics
Television and films
Theatre and film. See Drama and film / Theatre and film.
Thrillers
Time
Titles
Trailers
Underground film
Viewers. See Spectators.
Violence in film
Visual pleasure in film
Voice-over
War films
Westerns
Writing guides
Abstract film
Le Grice, Malcolm. Abstract Film and Beyond. London: Studio Vista; Cambridge (MA): MIT Press, 1977.
Lyotard, J.-F. "L'Acinéma." In Des Dispositifs Pulsionnels. Paris: Bourgois, 1980.
Action films
Lane, Christina. "From The Loveless to Point Break: Kathryn Bigelow's Trajectory in Action." Cinema Journal 37.4 (Summer 1998): 59-81.*
Tasker, Yvonne. Spectacular Bodies: Gender, Genre and the Action Cinema. London: Routledge, 1993.
Tubau, Natalia, et al., eds. Cine de Aventuras. 2 vols / 40 VHS. Barcelona: Altaya, 1999.
Shaham, Inbar. "The Structure of Repetition in the Cinema: Three Hollywood Genres." Poetics Today 34.4 (2013): 437-518.* (Plans, heist, adventures).
DOI: 10.1215/03335372-2389578
https://read.dukeupress.edu/poetics-today/article-pdf/34/4/437/459263/PT344_01Shaham_Fpp.pdf
Online at Semantic Scholar.*
https://pdfs.semanticscholar.org/9c51/5f977ef6468a6f5d047bdfe1e64284c781d5.pdf
2020
Series
(Clásicos del Cine de Aventuras). Barcelona: Manga Films / Crin, c. 2003.*
See also Thrillers.
Animation
Fuster Burguera, Xavier. "Animación, trauma y vanguardismo: La generación post-11-S." In La década del miedo: Dramaturgias audivisuales pos-11 de septiembre. Ed. Marta Fernández Morales. Bern: Peter Lang, 2013. 365-94.*
_____. "Animación y mainstream estadounidense tras el once de septiembre." In La década del miedo: Dramaturgias audivisuales pos-11 de septiembre. Ed. Marta Fernández Morales. Bern: Peter Lang, 2013. 295-328.*
Hernández Bartolomé, Ana Isabel. "El cine de animación: un caso especial de traducción audiovisual." In Trasvases culturales: Literatura – Cine – Traducción. Ed. Raquel Merino, J. M. Santamaría, and Eterio Pajares. Bilbao: Servicio editorial de la Universidad del País Vasco, 2005. 211-23.*
Sobchack, Vivian. "Animation and Automation, or, the Incredible Effortfulness of Being." Screen 50.4 (2009).
http://academic.oup.com/screen/article-abstract/50/4/375/1641634
2018
Wells, Paul. "'Thou Art Translated': Analysing Animated Adaptation." In Adaptations: From Text to Screen, Screen to Text. Ed. Deborah Cartmell and Imelda Whelehan. London: Routledge, 1999. 199-213.*
_____. Animation and America. Edinburgh: Edinburgh UP, 2002.
Archiving and Preservation
Bordwell, David. "Pandora's Digital Box: Pix and Pixels." In Bordwell, Observations on Film Art 13 Feb. 2012.*
http://www.davidbordwell.net/blog/2012/02/13/pandoras-digital-box-pix-and-pixels/
2014
Art film
Bordwell, David. "The Art Cinema as a Mode of Film Practice." 1979. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 716-24.*
See also Experimental film.
Audio described films
Fresno, Nazaret "Carving Characters in the Mind. A Theoretical Approach to the Reception of Characters in Audio Described Films." Hermeneus 18 (2016): 59-92.*
Avant-garde
Burch, Noël. "Primitivism and the Avant-Gardes: A Dialectical Approach." In Narrative, Apparatus, Ideology. Ed. Philip Rosen. New York: Columbia UP, 1986.
Cook, Pam. "The Point of Self-Expression in Avant-Garde Film." In Theories of Authorship. Ed. John Caughie. (BFI Readers in Film Studies). London: Routledge, 1981. 1995. 271-81.*
Penley, Constance. "The Avant-Garde and Its Imaginary." Camera Obscura 2 (1977): 3-33.
Russell, Catherine. Narrative Mortality: Death, Closure and New Wave Cinemas. Minneapolis: U of Minnesota P, 1995.*
Awards
Holden, Anthony. The Oscars.
Biblical epic
Babington, Bruce, and Peter William Evans. Biblical Epics: Sacred Narrative in the Hollywood Cinema. Manchester: Manchester UP, 1993.
See also Historical films.
Biopics
Carretero González, Margarita, Laura Filardo Llamas, Mª Elena Rodríguez Martín and Mª Isabel Andrés Cuevas. "Narrating Lives through Film: The Biopic Genre." In New Perspectives on English Studies. [32nd International Conference of AEDEAN, Nov. 2008]. CD-ROM. Ed. Marian Amengual et al. Palma: U de les Illes Balears, 2009.*
García Landa, José Ángel. "Ray." Rev. of Taylor Hackford's film on Ray Charles. Vanity Fea 23 March 2005
http://garciala.blogia.com/2005/032303-ray.php
Werner, Lukas. "Authentic Life: Ein Paradigma des biographischen Films im Spannungsfeld von Hybridität, Relationalität und Narration." In Authentisches Erzählen: Produktion, Narration, Rezeption. Ed. Antonius Weixler. Berlin and Boston: De Gruyter, 2012. 265-90.*
Burlesque and humour films
Schaefer, Eric. "The Obscene Seen: Spectacle and Transgression in Postwar Burlesque Films." Cinema Journal 36.2 (Winter 1997): 41-66.*
Camera
Astruc, Alexandre. "Naissance d'une nouvelle avant-garde: la caméra-stylo." Ecran français 144 (30 March 1948).
Brakhage, Stan. From Metaphors on Vision. 1963. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 228-34.* (Camera eye).
Branigan, Edward. "What Is a Camera?" In Cinema Stories, Cinema Practices. Ed. Patricia Mellencamp and Philip Rosen. Frederick (MD): University Publications of America, 1984.
Brinton, Joseph P. "Subjective Camera or Subjective Audience?" Hollywood Quarterly 2 (July 1947): 359-65.
Comolli, Jean-Louis. "Technique and Ideology: Camera, Perspective, Depth of Field." In Movies and Methods. Vol. 2. Ed. Bill Nichols. London: U of California P, 1985.
Henderson, Brian. "Towards a Non-Bourgeois Camera Style." In Nichols 1985.
_____. "Towards a Non-Bourgeois Camera Style." From Henderson, "Weekend and History." 1970. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 57-67.* (Godard).
Pandza, Kristian. "The Effect of the Handheld Camera on Narration and Ocularization in the Dogme 95 Film." AM Journal of Art and Media Studies 15 (2018): 83-92. (Lars von Trier, Thomas Vinterberg).
doi: 10.25038/am.v0i15.232
http://fmkjournals.fmk.edu.rs/index.php/AM/article/view/232
2018
Cartoons
Adair, Gilbert. "The Flintstones." In Adair, The Postmodernist Always Rings Twice. London: Fourth Estate, 1992. 75-77.*
Asión Suñer, Ana. "África según la animación clásica estadounidense: Una historia de racismo." The Conversation 27 Dec. 2022.*
2022
Gracia Lana, Julio Andrés. "Interinfluencia y enriquecimiento mutuo. BRB Internacional y Nippon Animation." In Japón y Occidente: Estudios comparados. Ed. Carmen Tirado Robles. Zaragoza: Prensas Universitarias de Zaragoza, 2014. 363-77.*
Lotman, Iuri M. "Sobre el lenguaje de los dibujos animados." In Lotman, La Semiosfera, III: Semiótica de las artes y de la cultura. Madrid: Cátedra / Universitat de València, 2000. 138-42.*
Mukulak, Bill. "Mickey Meets Mondrian: Cartoons Enter the Museum of Modern Art." Cinema Journal 36.3 (Spring 1997): 56-72.*
Repullés Sánchez, Fernando. "La traducción de películas de animación: Las producciones de la era pos-Disney. Una nueva era en los dibujos animados." Ph.D. diss. Vitoria: Universidad del País Vasco, 2016.
Wells, Paul. Animation and America. Edinburgh: Edinburgh UP, 2002. (Cartoons).
Films
Who Framed Roger Rabbit? Mixed animation/acting feature. Dir. Robert Zemeckis. Written by Jeffrey Price and Peter Seaman, based on the book Who Framed Roger Rabbit? By Gary K. Wolf. Cast: Bob Hoskins, Christopher Lloyd, Charles Fleischer, Joanna Cassidy. Music by Alan Silvestri. Exec prod. Steven Spielberg and Kathleen Kennedy. Prod. Robert Watts and Frank Marshall. USA: Touchstone Pictures / Steven Spielberg, 1988. Spanish DVD: ¿Quién engaño a Roger Rabbit? Spain: Touchstone / Buenavista / Silver Screen Partners, 2003.* (Oscars for best adapted screenplay, sound effects, visual effects and honorific oscar for direction/animation).
Censorship
Maltby, Richard. "'To Prevent the Prevalent Type of Book': Censorship and Adaptation in Hollywood, 1924-1934." In Film Adaptation. Ed. James Naremore. New Brunswick (NJ): Rutgers UP, 2000. 79-105.*
Potamianos, George. "Movie Mad: Audiences and Censorship in a California Town." The Velvet Light Trap 42 (Fall 1998): 62-75
Vandaele, Jeroen. Estados de gracia: Billy Wilder y la censura franquista 1946-1975). Brill-Rodopi, 2015.
Characters
Alber, Jan. "The Representation of Character Interiority in Film: Cinematic Versions of Psychonarratives, Free Indirect Discourse and Direct Thought." In Emerging Vectors of Narratology. Ed. Per Krogh Hansen, John Pier, Philippe Roussin and Wolf Schmid. Berlin and Boston: de Gruyter, 2017. 265-83.*
Anderson, Joseph. "33. Character in Citizen Kane." 1996. In Evolution, Literature and Film: A Reader. Ed. Brian Boyd, Joseph Carroll and Jonathan Gottschall. New York: Columbia UP, 2010. 409-15.*
Bourgoyne, Robert. "The Interaction of Text and Semantic Deep Structure in the Production of Filmic Characters." Iris 4 (1986): 69-79.
Eder, Jens. Die Figur im Film: Grundlagen der Figurenanalyse. Marburg: Schueren 2008.
Fiske, John. "Character Reading." In Fiske, Television Culture. 1987. London: Routledge, 1993. 149-78.*
Fresno, Nazaret "Carving Characters in the Mind. A Theoretical Approach to the Reception of Characters in Audio Described Films." Hermeneus 18 (2016): 59-92.*
Goicoetxea Pérez, Ander. "El proceso de madurez del personaje fílmico. El caso de Lucía en Silencio roto, de Montxo Armendáriz." FotoCinema 23 (2021): Cine español entre milenios (1990-2010): 121-36.*
https://revistas.uma.es/index.php/fotocinema/article/view/10066
DOI: 10.24310/Fotocinema.2021.v23i.10066
2022
ResearchGate.*
https://www.researchgate.net/publication/353410812
2022
Lothe, Jakob. "Events, Characters, and Characterization." In Lothe, Narrative in Fiction and Film: An Introduction. Oxford: Oxford UP, 2000. 72-101.*
See also Character; Characters in narrative.
Choreography
Butzel, Marcia. Motion as Narration: Theory and Practice of Cinematic Choreography. U of Illinois P, forthcoming 1991.
Cinema-going
Amorós, Andrés. "Cine de verano." In Amorós, Diario cultural. Madrid: Espasa-Calpe, 1983. 47-50.*
García Landa, José Angel. "Antiguos ritos de culturas moribundas." In García Landa, Vanity Fea 16 Feb. 2013.*
http://vanityfea.blogspot.com.es/2013/02/antiguos-ritos-de-culturas-moribundas.html
2013
Films
Cinema Paradiso.
The Last Picture Show. Dir. Peter Bogdanovich. Columbia Pictures, 1971.
Classical cinema
Bordwell, David. "Classical Hollywood Cinema: Narrational Principles and Procedures." In Narrative, Apparatus, Ideology. Ed. Philip Rosen. New York: Columbia UP, 1986.
Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia UP, 1985.
Dayan, Daniel. "The Tutor-Code of Classical Cinema." Film Quarterly 28.1 (Fall 1974): 22-31.
_____. "The Tutor-Code of Classical Cinema." 1974. In Movies and Methods. Ed. Bill Nichols. Berkeley: U of Caliofornia P, 1976. 438-51.
_____. "The Tutor-Code of Classical Cinema." In Mast, G. et al., eds. 1992: 179-191.
_____. "The Tutor-Code of Classical Cinema." 1974. With Brian Henderson. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 118-29.* (Suture).
Domingo, Ignacio. "Towards a Non-Formalist Definition of Classical Cinema." In Flashbacks. Ed. Celestino Deleyto. Zaragoza: Servicio de Publicaciones de la Universidad de Zaragoza, 1992. 19-38.*
Garci, José Luis. Las siete maravillas del cine. Madrid: Notorious, 2015.
Iglesias Simón, Pablo. De las tablas al celuloide: Trasvases discursivos del teatro al cine primitivo y al cine clásico de Hollywood. Barcelona: Fundamentos, 2007. (Based on his Ph.D. diss.).
Classics, cult movies
Eco, Umberto. "Casablanca: Cult Movies and Intertextual Collage." In Modern Criticism and Theory. Ed. David Lodge. London: Longman, 1988.*
Garci, José Luis. Las siete maravillas del cine. Madrid: Notorious, 2015.
Tyler, Parker. Classics of the Foreign Film. New York, 1962.
Colour / Black and White
Adair, Gilbert. "Black and White in Colour." (Colorization). In Adair, The Postmodernist Always Rings Twice. London: Fourth Estate, 1992. 78-80.
Lumet, Sydney. "Colour and Concepts." Films and Filming 24.8 (1978): 13-16.*
Commentary handbooks: Film
, J., and M. . Análisis del film. Barcelona: Paidós, 1990.
Carmona, Ramón. Cómo se comenta un texto fílmico. (Signo e Imagen, 21). 2nd ed. Madrid: Cátedra, 1993.*
, F., and F. . Cómo analizar un film. Barcelona: Paidós, 1991.
García Gómez, Francisco. Metodología crítica de análisis textual en la realización fílmica. Ph.D. diss. U Complutense de Madrid, Facultad de Ciencias de la Información, 2015. Online at e-Prints Complutense.*
http://eprints.ucm.es/29486/1/T35957.pdf
2015
González Requena, Jesús, ed. El análisis cinematográfico: teoría y práctica del análisis de la secuencia. (Manuales, Ciencias de la Información). Madrid: Editorial Complutense, 1995.*
Hernández Esteve, Vicente. "Teoría y técnica del análisis fílmico." In Elementos para una semiótica del texto artístico. By Jenaro Talens et al. 4th ed. Madrid: Cátedra, 1988. 203-28.*
Scholes, Robert, Carl H. Klaus and Michael Silverman, eds. Elements of Literature: Essay, Fiction, Poetry, Drama, Film. New York: Oxford UP, 1973.
Computers and film
Bolter, Jay David, and Richard Grusin. "Film." In Bolter and Grusin, Remediation: Understanding New Media. Cambridge (MA): MIT Press, 1999. 2000. 146-59.*
Kolker, Robert. "Digital Media and the Analysis of Film." In A Companion to Digital Humanities. Ed. Susan Schreibman, Ray Siemens, and John Unsworth, eds. Malden (MA): Blackwell, 2004. 383-96.*
Poulaki, Maria. Compact Cinematics: The Moving Image in the Age of Bit-Sized Media.
Conventions (cinematic)
Bordwell, David. "34. Convention, Construction, and Cinematic Vision." 1996, 2008. In Evolution, Literature and Film: A Reader. Ed. Brian Boyd, Joseph Carroll and Jonathan Gottschall. New York: Columbia UP, 2010. 416-32.*
Crosscutting
Bordwell, David, and Kristin Thompson. "Revisiting Inception." In Bordwell, Observations on Film Art 12 August 2010.*
http://www.davidbordwell.net/blog/2010/08/12/revisiting-inception/
2011
See also Montage; Point of view; Time.
Culture and film
Azcona, Mª del Mar, Elena Oliete and Olga Seco. "The Global and the Local: The Reception of U.S. American Cinema in Aragón. A Case Study." In Culture & Power: Culture and Society in the Age of Globalisation. Ed. Chantal Cornut-Gentille et al. Zaragoza: Prensas Universitarias de Zaragoza, 2005. 269-84.*
Braudy, Leo. Native Informant: Essays on Film, Fiction, and Popular Culture. New York: Oxford UP, 1991.
Fuery, Patrick. "The Ideology of Love: Film and Culture." In Fuery, New Developments in Film Theory. Houndmills: Macmillan, 2000.
Gokulsing, K. Moti, and Wimal Dissanayake. Indian Popular Cinema: A Narrative of Cultural Change. Hyderabad: Orient Longman, 1998.*
Humm, Maggie. "Modernist Women and Cinema." In Fifty Years of English Studies in Spain […] Actas del XXVI Congreso de AEDEAN, ed. Ignacio Palacios et al. Santiago de Compostela: U de Santiago de Compostela, 2003. 47-62.*
Lotman, Iuri M. "El lugar del arte cinematográfico en el mecanismo de la cultura." In Lotman, La Semiosfera, III: Semiótica de las artes y de la cultura. Madrid: Cátedra / Universitat de València, 2000. 123-37.*
Stokes, Janet. Dissembling Rivals: The Cultural Technologies of Film and Television. Basingstoke: Macmillan, 1998.
Series
(National Cinemas). Series ed. Susan Hayward. London: Routledge, c. 2007.*
Decline of Film
García Landa, José Angel. "Antiguos ritos de culturas moribundas." In García Landa, Vanity Fea 16 Feb. 2013.*
http://vanityfea.blogspot.com.es/2013/02/antiguos-ritos-de-culturas-moribundas.html
2013
Jakobson, Roman. "Úpadek filmu?" Listy pro um¢ni a kritiku 1 (1933): 45-59.
_____. "Is the Cinema in Decline?" Trans. E. Sokol. In Jakobson, Studies in Verbal Art. Ann Arbor, 1971. 150-56.
_____. "Is the Cinema in Decline?" In Semiotics of Art: Prague School Contributions. Ed. Ladislav Matejka and Irwin R. Titunik. Cambridge (MA): MIT Press, 1976. 146-52.
Valente, José Ángel. "La enfermedad del cine." In Valente, Obras completas, II: Ensayos. Barcelona: Círculo de Lectores / Galaxia Gutenberg, cop. 2008. 765-66.*
Films
The Last Picture Show. Dir. Peter Bogdanovich. Columbia Pictures, 1971.
Description in film
Chatman, Seymour. "What is Description in the Cinema?" Cinema Journal 23 (Summer 1984): 4-11.
Dialogue
Acker, Paul. "Conventions for Dialogue in Peter Brook's King Lear." Literature/Film Quarterly 8 (1980): 219-24.
Kracauer, Siegfried. "Dialogue and Sound." In Kracauer, Theory of Film. Princeton (NJ): Princeton UP, 1997. 102-30.*
Taylor, Christopher John. "The Language of Film: Corpora and Statistics in the Search for Authenticity. Notting Hill (1998): A Case Study." Miscelánea 29 (2004): 71-86.*
Directors' Commentaries
Films
Directors Commentary. Written by Paul Duddridge. Cast: Rob Brydon. Prod. Miles Ross. ITV, 2004. Issued on DVD.
Documentaries
Casebier, Allan. "A Deconstructive Documentary." Journal of film and Video 40 (Winter 1988): 34-9.
Gibson, Owen. "ITV under Pressure after Revealing Truth about Alzheimer's Death Documentary." The Guardian 1 Aug. 2007.
, F. J. "Ficcionalización y naturalización: caminos equívocos en la supuesta representación de la realidad." In El documental, carcoma de la ficción. Ed. P. Poyato. Consejería de Cultura y Filmoteca de Andalucía, 2004.
Hongisto, Ilona. "12. Realities in the Making: The Ethics of Fabulation in Observational Documentary Cinema." In Storytelling and Ethics: Literature, Visual Arts and the Power of Nature. Ed. Hanna Meretoja and Colin Davis. New York and London: Routledge, 2018. 190-200.*
Huck, Christian. "Authentizität im Dokumentarfilm: Das Prinzip des falschen Umkehrschlusses als Erzählstrategie zur Beglaubigung massenmedialen Wissens." In Authentisches Erzählen: Produktion, Narration, Rezeption. Ed. Antonius Weixler. Berlin and Boston: De Gruyter, 2012. 239-64.*
Kracauer, Siegfried. "The Film of Fact." In Kracauer, Theory of Film. Princeton (NJ): Princeton UP, 1997. 193-214.*
Leroi-Gourhan, André. "Cinéma et sciences humaines: le film ethnologique existe-t-il?" In Leroi-Gourhan, Le Fil du Temps: Ethnologie et préhistoire. (Points; Sciences, S48). Paris: Fayard / Seuil, 1986. 59-67.*
Lightman, Herb A. "The Technique of the Documentary Film." American Cinematographer 26 (November 1945): 371-, 378, 402.
MacLeod, Lewis. (Trent U). "'A Documentary-Style Film': Borat and the Fiction/Nonfiction Question." Narrative 19.1 (Jan. 2011): 111-32. (Sacha Baron-Cohen).
Masson, Eef. Watch and Learn. Amsterdam: Amsterdam UP, 2015.
http://books.google.es/books?id=8xEhAwAAQBAJ
2015
Most, Stephen. Stories Make the World: Reflections on Storytelling and the Art of the Documentary. Berghahn Books, 2017.
Nichols, Bill. "The Voice of Documentary." In Movies and Methods: An Anthology 2. Ed. Bill Nichols. Berkeley: U of California P, 1985.
La representación de la realidad: Cuestiones y conceptos sobre el documental. Barcelona: Paidós, 1997.
Ortiz-Boix, Carla. "Machine Translation and Post- Editing in Wildlife Documentaries: Challenges and Possible Solutions." Hermeneus 18 (2016): 269-313.*
Plantinga, Carl. "Defining Documentary: Fiction, Non-Fiction, and Projected Worlds." Persistence of Vision 5 (Spring 1987): 44-54.
_____ . "The Mirror Framed: A Case for Expression in Documentary." Wide Angle 13 (April 1991): 40-53.
Plantinga, Carl, and Dirk Eitzen. "Dialogue: When Is a Documentary?" Cinema Journal 36.1 (Fall 1996): 94-97.*
El documental, carcoma de la ficción. Consejería de Cultura y Filmoteca de Andalucía, 2004.
Renov, Michael. "Re-Thinking Documentary: Toward a Taxonomy of Mediation." Wide Angle 8 (1986): 71-7.
Tello Díaz, Lucía. "Transtextualidad y metaficción en el falso documental: El discurso autorreferencial en The Unmaking of." Communication & Society 27.4 (2014): 113-29. (Juan Manuel Chumilla Carbajosa, 2010)
Online at Dadun (Universidad de Navarra)
http://dadun.unav.edu/handle/10171/37926
2015
http://www.unav.es/fcom/communication-society/documentos/pdf/20141027124328_en.pdf
2017
_____. "Transtextuality and Metafiction in Fake Documentaries: Self-Referential Discourse in The Unmaking of." Communication & Society 27.4 (2014): 113-29.*
http://www.communication-society.com
Online at Semantic Scholar.*
https://pdfs.semanticscholar.org/ad10/a25ba2636da038049ddb9f2a6142565d37fa.pdf
2022
Villarmea Álvarez, Iván. Documenting Cityscapes: Urban Change in Contemporary Non-fiction Film. New York: Columbia UP, 2015.
Walton, David. "Closer to the (H)edge. Documentaries and the Isle of Man TT: From Chronotopes and Masturbation to Celebrity Culture." European Journal of Cultural Studies (2015): 1-16.*
DOI: 10.1177/1367549415585552
Waugh, Thomas. "Beyond verité: Emile de Antonio and the New Documentary of the Seventies." In Movies and Methods: An Anthology 2. Ed. Bill Nichols. Berkeley: U of California P, 1985.
Youdelman, Jeffrey. "Narration, Invention, and History: A Documentary Dilemma." Cinéaste 12 (1982): 8-15.
Wheale, Nigel, ed. The Postmodern Arts: An Introductory Reader. (Critical Readers in Theory and Practice). London: Routledge, 1995. (Popular culture, literature, architecture, visual arts, documentary film).
Audio
Most, Stephen. "Stories Make the World." Interview by Joel Tscherne. Audio. New Books Network 3 Jan. 2018.*
2018
Drama and film / Theatre and film
Boon, Richard. "11. Hare on Film: An Interview." In The Cambridge Companion to David Hare. Ed. Richard Boon. Cambridge: Cambridge UP, 2007. 169-82.*
Meerzon, Yana. "Russian Formalists' Views of Film and Theater Interdependence." In Slavische Erzähltheorie: Russische und tschesische Ansätze. Ed. Wolf Schmid. Berlin and New York: De Gruyter, 2009. 239-72.* (Semiotics of drama and film).
Dreams and Film
Dream and Film. Dreamworks 1 (Spring 1980).
Dubbing and translation
Barambones Zubiria, Josu. "Una mirada telescópica al cine en euskera: Versiones originales, dobladas y subtituladas." Hermeneus 13 (2011): 29-59.*
Bravo, José María. "La investigación en traducción cinematográfica en España: el doblaje (inglés-español)." In Trasvases culturales: Literatura – Cine – Traducción. Ed. Raquel Merino, J. M. Santamaría, and Eterio Pajares. Bilbao: Servicio editorial de la Universidad del País Vasco, 2005. 123-44.*
Cajal Escuer, Beatriz, Luis Maroto Escudero, María Paz Mateo Rodríguez, María Ángeles Reglero de la Fuente, and África Rodríguez Jurado. "Aprovechamiento didáctico del karaoke y del doblaje de películas en el área de inglés." Cuadernos de Bitácora 3 (Madrid, 1999): 127-39.*
Chaume, Frederic. ("Estrategias y técnicas de traducción para el ajuste o adaptación en el doblaje." In Trasvases culturales: Literatura – Cine – Traducción. Ed. Raquel Merino, J. M. Santamaría, and Eterio Pajares. Bilbao: Servicio editorial de la Universidad del País Vasco, 2005. 145-53.*
Conto Lorenzo, Gerardo. "El legado de Fodor." In Trasvases culturales: Literatura – Cine – Traducción. Ed. Raquel Merino, J. M. Santamaría, and Eterio Pajares. Bilbao: Servicio editorial de la Universidad del País Vasco, 2005. 203-09.* (István Fodor, Film Dubbing: Phonetic, Semiotic and Psychological Aspects, 1976).
Fodor, István. Film Dubbing: Phonetic, Semiotic and Psychological Aspects, 1976.
Gamboa, José Luis. "Primer ejercicio de doblaje." In Cerro de las Lombardas 17 May 2008
http://cerrodelaslombardas.blogspot.com/2008/05/primer-ejercicio-de-doblaje.html
2008
Izard, Natália. "Translating for Dubbing: A Third Degree Equation. An Analysis of Dubbings in Spain." In New Trends in Translation and Cultural Identity. Ed. Micaela Muñoz-Calvo, Carmen Buesa-Gómez and M. Angeles Ruiz-Moneva. Newcastle upon Tyne: Cambridge Scholars Publishing, 2008. 313-23.*
Martín, Sara. "Major Films and Minor Languages: Catalan Speakers and the War over Dubbing Hollywood Films." In Culture & Power: Culture and Society in the Age of Globalisation. Ed. Chantal Cornut-Gentille et al. Zaragoza: Prensas Universitarias de Zaragoza, 2005. 27-40.*
Miguel González, Marta de. "El doblaje de películas norteamericanas en la posguerra española: incidencia en la creación de una cinematografía nacional." In AEDEAN: Proceedings of the 23rd International Conference (León, 16-18 de diciembre, 1999). CD-ROM. León: AEDEAN, 2003.*
Muñoz-Calvo, Micaela, Carmen Buesa-Gómez and M. Ángeles Ruiz-Moneva, eds. New Trends in Translation and Cultural Identity. Newcastle upon Tyne: Cambridge Scholars Publishing, 2008.* (I. Cultural Identity, Ideology and Translation; II. Popular Culture, Literature and Translation; III. Translating the Media: Translating the Culture; IV. Scientific Discourse as Cultural Translation).
http://www.c-s-p.org//Flyers/New-Trends-in-Translation-and-Cultural-Identity1-84718-653-X.htm
2009
Vandaele, Jeroen. "17. Traducción cinematográfica y traducción intersemiótica: La traducción audiovisual." In La Traducción: Nuevos planteamientos teórico-metodológicos. Ed. Mª Azucena Penas Ibáñez. Madrid: Síntesis, 2015. 351-62.*
See also Subtitles; Translation and film.
Editing and Montage
Aumont, Jacques. Montage / Eisenstein. Paris: Albatros, 1979.
Aumont, Jacques, A. Bergala, M. Marie and M. Vernet, eds. Esthétique du film. Paris: Nathan, 1983.
_____, eds. Estética del cine: Espacio fílmico, montaje, narración, lenguaje. Barcelona: Paidós, 1983.
Carroll, Noël. "Toward a Theory of Film Editing." Millennium Film Journal (Winter/Spring 1979): 79-99.
_____. "Toward a Theory of Point-of-View Editing: Communication, Emotion and the Movies." Poetics Today. (Forthcoming 1991).
Dmytryk, Edward. On Film Editing; An Introduction to the Art of Film Construction. Boston: Focal Press, 1984.
Eisenstein, Sergei. From Film Form ("Beyond the Shot" [The Cinematographic Principle and the Ideogram]; "The Dramaturgy of Film Form"). 1929. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 15-42.*
_____. Film Form. Ed. and trans. Jay Leyda. New York: Harcourt, 1949. 1977.
Fritz, Horst, ed. Montage in Theater und Film. Tübingen: Narr, 1993.
Goulimari, Pelagia. "7. Defamiliarization, Alienation, Dialogism and Montage." In Goulimari, Literary Criticism and Theory: From Plato to Postcolonialism. London and New York: Routledge, 2015. 148-74.*
Metz, Christian. From Film Language. ("Some Points in the Semiotics of the Cinema"). 1968. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 68-89.* (Narrativity, syntagmatic/paradigmatic, denotation, motivation, montage).
Pudovkin, Vsevolod I. Film Technique. 1926.
_____. From Film Technique. [On Editing]. 1926. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 9-14.*
Reisz, Karel, and Gavin Millar. The Technique of Film Editing. London: Focal Press, 1968.
_____. The Technique of Film Editing. 2nd ed. New York: Hastings House, 1968.
Pasolini, Pier Paolo. "Teoria delle giunte." (Film splicing). 1971. In Pasolini, Empirismo eretico. Milan: Garzanti, 1972.
Sánchez Biosca, V. Teoría del montaje cinematográfico. Valencia: Filmoteca de la Generalitat Valenciana, 1991.
Sangro Colón, P. Teoría del montaje cinematográfico: Textos y textualidad. Universidad Pontificia de Salamanca, 2001.
Vaughan, Dai. "The Space Between Shots." In Movies and Methods: An Anthology 2. Ed. Bill Nichols. Berkeley: U of California P, 1985.
Verstraten, Peter. "5. Story and Fabula Disconnected Through Editing." In Verstraten, Film Narratology: Introduction to the Theory of Narrative. Toronto: U of Toronto P, 2009. 78-95.*
Villain, D. El montaje. Madrid: Cátedra, 1994.
Zizek, S. "Pornography, Nostalgia, Montage: A Triad of the Gaze." In Reading Images. Ed. Julia Thomas. Houndmills: Macmillan, 2000.
Education and film
Echeverría Cubillas, Purificación, and Mª Luisa Rodríguez Monroy. "Programa de promoción de la salud y educación en valores a través del cine y el vídeo en la Comunidad Autónoma de La Rioja (1995-2012)." Contextos Educativos 17 (2014): 157-67.*
Masson, Eef. Watch and Learn: Rhetorical Devices in Classroom Films after 1940. (Framing Film). Amsterdam: Amsterdam UP / Eye Film Institute Netherlands, 2012. Online preview at Google Books.*
https://books.google.es/books?id=8xEhAwAAQBAJ
2015
, A. "Educar Mediante las Imágenes de la Barbarie: La Problemática de los Textos Audiovisuales del Holocausto como Herramientas Docentes." UT: Revista de Ciències de l'Educació 2 (2014): 75-92.
SCS Committee on Teaching. "Film Pedagogy." Cinema Journal 36.2 (Winter 1997): 100-19.*
_____. "Film Pedagogy." Cinema Journal 36.3 (Spring 1997): 106-26.*
Torre, Saturnino de la, Carme Oliver, Verónica Violant, José Tejada, Nuria Rajadell and Mercè Girona. "El cine como estrategia didáctica innovadora: metodología de estudio de casos y perfil de estrategias docentes." Contextos Educativos 6/7 (2003/04): 65-86.*
Endings
Bordwell, David. "Happily Ever After, Part 2." Velvet Light Trap 19 (1982): 2-7.
Deleyto Alcalá, Celestino. "'They Lived Happily Ever After': Ending Contemporary Romantic Comedy." Miscelánea 19 (1998): 39-55.*
Neupert, Richard. The End: Narration and Closure in the Cinema. Detroit: Wayne State UP, 1995.
Russell, Catherine. "Conclusion: The Senselessness of Ending." In Russell, Narrative Mortality: Death, Closure and New Wave Cinemas. Minneapolis: U of Minnesota P, 1995. 209-26.*
Entertainment and Film
Deleyto, Celestino, Chantal Cornut-Gentille D'Arcy, Luis Miguel García Mainar, Monica Stacconi, Juan A. Tarancón and María del Mar Azcona. "'Forget Your Troubles and Be Happy': Una aproximación etnográfica a la ideología del entretenimiento en el cine estadounidense contemporáneo." Atlantis 24.2 (December 2002): 59-72.*
Dyer, Richard. Only Entertainment. London: Routledge, 1992.
See also Spectacle; Cinema-going.
Ethics and film
Hongisto, Ilona. "12. Realities in the Making: The Ethics of Fabulation in Observational Documentary Cinema." In Storytelling and Ethics: Literature, Visual Arts and the Power of Nature. Ed. Hanna Meretoja and Colin Davis. New York and London: Routledge, 2018. 190-200.*
Fantasy in/and film
Donald, James, ed. Fantasy and the Cinema. London: BFI, 1989.
Kracauer, Siegfried. "History and Fantasy." In Kracauer, Theory of Film. Princeton (NJ): Princeton UP, 1997. 77-92.*
Lukas, Scott, and John Marmysz. "1. Horror, Science Fiction and Fantasy Films Remade." In Fear, Cultural Anxiety, and Transformation: Horror, Science Fiction and Fantasy Films Remade. Ed. Scott A. Lukas and John Marmysz. Lexington Books, 2009. Online at Academia.*
https://www.academia.edu/37623291/
2020
_____. "Fear, Cultural Anxiety, and Transformation: Horror, Science Fiction, and Fantasy Films Remade." Online bibliography at Academia.*
https://www.academia.edu/2250092/
2019
_____, eds. Fear, Cultural Anxiety, and Transformation: Horror, Science Fiction and Fantasy Films Remade. Lexington Books, 2009.
Festivals and Prizes: Cannes
Crowther, Bosley. "Cannes Film Festival." New York Times 12 May 1966: 54. (Welles).
_____. "Cannes of Worms." New York Times 29 May 1966: sect. 2, 1.
Festivals and Prizes: Hollywood Academy Awards (Oscars)
Holden, Anthony. The Oscars.
Internet resources
Academy Awards Acceptance Speech Database.
http://aaspeechesdb.oscars.org/
2018
YouTube (Oscars).*
https://www.youtube.com/channel/UCb-vZWBeWA5Q2818JmmJiqQ
2018
Film Studies / Film Criticism
Buckland, Warren. Teach Yourself Film Studies. London: Hodder & Stoughton, 1998.
Collins, Jim, Hilary Radner, and Ava Preacher Collins, eds. Film Theory Goes to the Movies. Ed. Jim Collins, Hilary Radner and Ava Preacher Collins. London: Routledge, 1993.
Societies and Institutions
"Society for Cinema Studies Membership Directory." Cinema Journal 36.3 (Spring 1997): 136-70.*
See also Film: General.
Film-going
How to Sneak into the Movies. USA: Loompanics Unlimited.
Filming people
Films
Peeping Tom. Dir. Michael Powell. Written by Leo Marks. Cast: Carl Boehm, Moira Shearer, Anna Massey, Maxine Audley. Photog. Otto Heller. Muic by Brian Easdale. Ed. Noreen Ackland. Assoc. prod. Albert Fennell. Prod. Michael Powell. Michael Powell (Theatre) Limited, 1960. DVD: Universal-Studio Canal, 2006.*
Filmmaking
Ross, Lillian. Picture. New York: Dolphin Books, 1962. (Filmmaking).
Films
La nuit américaine. Dir. Bertrand Tavernier.
Looking for Richard. Dir. Al Pacino.
También la lluvia. Dir. Icíar Bollaín. Written by Paul Laverty. Cast: Luis Tosar, Gael García Bernal, Raúl Arévalo, Karra Elejalde, Juan Carlos Aduviri, Carlos Santos, Dani Currás. Music by Alberto Iglesias. Photog. Alex Catalán. Spain, 2010.
Form in Film
Bellour, Raymond. "Segmenting/Analyzing." In Narrative, Apparatus, Ideology: A Film Theory Reader. Ed. Philip Rosen. New York: Columbia UP, 1986.
Eisenstein, Sergei. "A Dialectic Approach to Film Form." In Eisenstein, Film Form: Essays in Film Theory. Trans. Jay Leyda. New York: Harcourt, 1949.
_____ . "The Dramaturgy of Film Form (The Dialectical Approach to Film Form)." In S. M. Eisenstein, Selected Works 1, Writings 1922-34. Trans. Richard Taylor. Bloomington: Indiana UP, 1988.
Fleishman, Avrom. Narrated Films: Storytelling Situations in Cinema History. Baltimore: Johns Hopkins UP, 1992.
González, J. El análisis cinematográfico: Teoría y práctica del análisis de la secuencia. Madrid: U Complutense, 1995.
See also Editing; Aesthetics of film; Semiotics of film; Narrative in film.
Future of film
Bordwell, David. "Film Futures." SubStance 31 (2002): 88–104.
Genres (film)
Altman, Rick. "A Semantic/Syntactic Approach to Film Genre." Cinema Journal 23.3 (Spring 1984).
_____. "A Semantic/Syntactic Approach to Film Genre." In Film Genre Reader. Ed. Barry Keith Grant. U of Texas P, 1986.
_____. "A Semantic/Syntactic Approach to Film Genre." 1984. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 630-41.*
Kiefer, Jens. "Gattungsbezogene Unterschiede in der Inszenierung von Ereignishaftigkeit un der Zuschreibung von Relevanz im Kurzfilm." In Narrativität als Begriff. Ed. Matthias Aumuller. Berlin: Walter de Gruyter, 2012. 129-40.*
Braudy, Leo. The World in a Frame. New York, 1976.
_____. The World in a Frame: What We See in Films. Chicago: U of Chicago P, 2002.
_____. From The World in a Frame ("Acting: Stage vs. Screen"). 1976. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999 419-25.*
_____. From The World in a Frame ("Genre: The Conventions of Connection"). In Film Theory and Criticism: Introductory Readings. 2nd ed. Ed. Gerald Mast and Marshall Cohen. Oxford, 1979.
_____. From The World in a Frame ("Genre: The Conventions of Connection"). In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 613-29.*
Fuery, Patrick. "Seduction: Gender, Genre and Power." In Fuery, New Developments in Film Theory. Houndmills: Macmillan, 2000.
Grant, Barry Keith, ed. Film Genre Reader. U of Texas P, 1986.
Luzón Aguado, Virginia. "Film Genre and Its Vicissitudes: The Case of the Psychothriller." Atlantis 24.1 (June 2002): 163-72.*
Oliete-Aldea, Elena, Beatriz Oria and Juan A. Tarancón, eds. Global Genres, Local Films: The Transnational Dimension of Spanish Cinema. London: Bloomsbury, 2016.
Ross, Andrew. "Cowboys, Cadillacs, and Cosmonauts: Families, Film Genres, and Technocultures." In Engendering Men: The Question of Male Feminist Criticism. Ed. Joseph Boone and Michael Cadden. New York: Routledge, 1990. 87-101.*
Schatz, Thomas. From Hollywood Genres ("Film Genre and the Genre Film"). 1991. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 642-53.*
Shaham, Inbar. "The Structure of Repetition in the Cinema: Three Hollywood Genres." Poetics Today 34.4 (2013): 437-518.
http://poeticstoday.dukejournals.org/content/34/4/437.refs
2014
Verstraten, Peter. "9. The Narrative Principles of Genres." In Verstraten, Film Narratology: Introduction to the Theory of Narrative. Toronto: U of Toronto P, 2009. 171-87.*
Williams, Linda. "Film Bodies: Gender, Genre, and Excess." 1991. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 701-14.*
Wood, Robin. "Ideology, Genre, Auteur." 1977. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 668-78.*
_____. "Ideology, Genre, auteur." In Film Genre Reader. Ed. Barry Keith Grant. U of Texas P, 1986.
Internet resources
Gormley, Larry. "The History of Film." Graphic. Online at HistoryShots
http://www.historyshots.com/film/index.cfm
2012
History and film
Jameson, Fredric. "Nostalgia for the Present." (Film). In Jameson, Postmodernism: or, The Cultural Logic of Late Capitalism. London: New Left Books-Verso, 1992.*
Kracauer, Siegfried. "History and Fantasy." In Kracauer, Theory of Film. Princeton (NJ): Princeton UP, 1997. 77-92.*
Oliete Aldea, Elena "Is Phobia Part of Nostalgia? Merging the Past and the Present in The Jewel in the Crown TV Series." Culture and Power (2002). Tarragona: U Rovira i Virgili, forthcoming 2004.
Rosenstone, Robert A. La Historia en el Cine: El Cine sobre la Historia. (Libros de Cine). Rialp.
Video
Harari, Yuval Noah. "Yuval Noah Harari relates his favorite films/TV shows to his life and ideas." Interview with Janine Abbring, 2001. Video. YouTube (Yuval Noah Harari) 28 April 2022.* (History, Cooperation, Money, Myths, Conflicts, Identity, Volition, Self-knowledge, Coming out).
2022
Historical films / Heritage films
Cornut-Gentille D'Arcy, Chantal "Merchant and Ivory's Howards End (1992): How Heritage Speaks to Contemporary Political and Ideological Concerns." Genre: An International Journal of Literature and the Arts ("Film, Ideology and Culture") (Dec. 2005): 11-26.
España, R. De. El peplum: La Antigüedad en el cine. Barcelona: Glénat, 1998.
González, Luis M. Fascismo, kitsch y cine histórico en España (1939-1953). U de Castilla-La Mancha, 2009.
Lillo, F. El cine de romanos y su aplicación didáctica. Madrid: Ed. Clásicas, 1994.
, A., ed. La memoria de los campos: El cine y los campos de concentración nazis. Valencia: Ediciones de la mirada, 1999.
Muñoz Valdivieso, Sofía, José Ramón Díaz Fernández and Miguel Ángel González Campos. "La recreación del Renacimiento en la ficción y el cine contemporáneos." In Proceedings of the 29th AEDEAN Conference: Universidad de Jaén 15 al 20 diciembre 2005. CD-ROM. Ed. Alejandro Alcaraz Sintes et al. Jaén: AEDEAN / Servicio de Publicaciones U de Jaén, 2006. 355-66.*
Oliete Aldea, Elena. "Filmic Representations of the British Raj in the 1980s: Cultural Identity, Otherness and Hybridity." Ph.D. diss. U of Zaragoza, 2009.
, A. "Verdad e imagen: la edición en las representaciones fílmicas del Holocausto." Ámbitos 26 (2014): 31-40.
Sadoff, Dianne F. Victorian Vogue: British Novels on Screen. 2010.
History of cinema
Azéma, Marc. La Préhistoire du cinéma: Origines paléolithiques de la narration graphique et du cinématographe. Book + DVD. Editions Errance, 2011.*
Bordwell, David. "Historical Poetics of Cinema." In The Cinematic Text. Ed. R. Barton Palmer. New York: AMS, 1987.
Kracauer, Siegfried. "Film in Our Time." In Kracauer, Theory of Film. Princeton (NJ): Princeton UP, 1997. 285-311.*
Homosexuality and film
Burt, Richard. "The Love that Dare Not Speak Shakespeare's Name: New Shakesqueer Cinema." In Shakespeare, the Movie: Popularizing the Plays on Film, TV and Video. Ed. Lynda E. Boose and Richard Burt. London: Routledge, 1997. 1999. 240-68.*
Cornell, Daniel. "Stealing the Spectacle: Gay Audiences and the Queering of Douglas Fairbank's Body." The Velvet Light Trap 42 (Fall 1998): 76-90.
Dyer, Richard. Now You See It: Studies in Lesbian and Gay Film. London: Routledge, 1990.
Images and film
Lara Rallo, Carmen. "From Image to Word, and Back to Image Again: Textualising and Filming Vermeer's Paintings in Girl with a Peal Eearring." In AEDEAN XXX: Proceedings of the 30th International AEDEAN Conference. [Huelva, 2006]. Ed. María Losada Friend et al. Huelva: U de Huelva, 2007.* (Tracy Chevalier, Peter Webber, Vermeer)
Video
Spivey, Ted, et al. "Once Upon a Time." (How Art Made the World, 4). BBC. Online at YouTube
2013
See also Images; Photography and Film; Photography.
Intelligibility
Carroll, Noël. "Buster Keaton, The General, and Visible Intelligibility." In Close Viewings: An Anthology of New Film Criticism. Ed. Peter Lehman. Tallahassee: Florida State UP, 1990.
Thompson, Kristin. "The Concept of Cinematic Excess." In Narrative, Apparatus, Ideology: A Film Theory Reader. Ed. Philip Rosen. New York: Columbia UP, 1986.
See also Experience and perception of film.
Intertextuality (film)
Copeland, Roger. "When Films 'Quote' Films, They Create a New Mythology." New York Times 25 Sept. 1977. sec. 2, 1-24.
Eco, Umberto. "Casablanca: Cult Movies and Intertextual Collage." In Modern Criticism and Theory. Ed. David Lodge. London: Longman, 1988.*
Lampolski, Mikhail. The Memory of Tiresias: Intertextuality and Film. U California P, 1998.
Pérez Villalba, Esther. "Intertextuality in Jane Campion's The Piano." In AEDEAN XXX: Proceedings of the 30th International AEDEAN Conference. [Huelva, 2006]. Ed. María Losada Friend et al. Huelva: U de Huelva, 2007.*
Love and Film
Babington, Bruce, and Peter William Evans. Affairs to Remember. The Hollywood Comedy of Sexes. Manchester: Manchester UP, 1989.
Evans, Peter William, and Celestino Deleyto, eds. Terms of Endearment: Hollywood Romantic Comedy of the 1980s and 1990s Edinburgh: Edinburgh UP, 1998.
Fuery, Patrick. "The Ideology of Love: Film and Culture." In Fuery, New Developments in Film Theory. Houndmills: Macmillan, 2000.
Wexman, Virginia Wright. Creating the couple: Love, Marriage, and Hollywood Performance. Princeton (NJ): Princeton UP, 1993.
See also Love.
Lyricism in film
Balázs, Béla. Theory of the Film: Character and Growth of a New Art. London, 1952. 1953.
_____. From Theory of Film ("The Close-up"). 1945. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 304-11. (Face, perception, lyricism, gesture).
Machinima
"Machinima." In Wikipedia: The Free Encyclopedia.
http://en.wikipedia.org/wiki/Category:Machinima
2007.
Magic Realism
Jameson, Fredric. "On Magic Realism in Film." Critical Inquiry 12.2: 301-25.
See also Fantasy in/and film
Marriage and Film
Wexman, Virginia Wright. Creating the couple: Love, Marriage, and Hollywood Performance. Princeton (NJ): Princeton UP, 1993.
See also Love and film.
Mass Culture and Film
Trotski, Lev. "Alcohol, Iglesia y cine." In Trotski, Literatura y revolución. Otros escritos sobre la literatura y el arte. Madrid: Ruedo Ibérico, 1969. 2.49-54.
See also Entertainment and film.
Melodrama
Ang, I. Watching Dallas: Soap Opera and the Melodramatic Imagination. New York: Methuen, 1985.
Byars, Jackie. All that Hollywood Allows: Re-reading Gender in 1950s Melodrama. London: Routledge, 1991.
de Cordova, Richard. "A Case of Mistaken Legitimacy: Class and Generational Difference in Three Family Melodramas." In Home Is Where the Heart Is. Ed. Christine Gledhill. London: BFI, 1987. 255-67.
Elsaesser, Thomas. "Tales of Sound and Fury: Observations on the Family Melodrama." In Home Is Where the Heart Is. Ed. Christine Gledhill. London: BFI, 1987. 43-69.
Gledhill, Christine. "The Melodramatic Field: An Investigation." In Home Is Where the Heart Is. Ed. Christine Gledhill. London: BFI, 1987. 5-39.
_____, ed. Home Is Where the Heart Is. London: BFI, 1987.
Kleinhans, Chuck. "Notes on Melodrama and the Family under Capitalism." Film Reader 3 (February 1978). Rpt. in Imitations of Life. Ed. Marcia Landy. Detroit: Wayne State UP, 1991. 197-204.
Landy, Marcia, ed. Imitations of Life: A Reader on Film and Television Melodrama. Detroit: Wayne State UP, 1991.*
Rodowick, David N. "Madness, Authority and Ideology: The Domestic Melodrama of the 1950s." In Home Is Where the Heart Is. Ed. Christine Gledhill. London: BFI, 1987. 268-80.
Schatz, Thomas. "The Family Melodrama." In Imitations of Life. Ed. Marcia Landy. Detroit: Wayne State UP, 1991. 148-67.
Walker, Michael. "Melodrama and the American Cinema." Movie 29/30 (Summer 1982): 2-38.
Williams, Linda. Melodramas in Black and White: American Racial Melodrama from Uncle Tom to O. J. Simpson. Princeton (NJ): Princeton UP, forthcoming 1997.
Mise en scene
Verstraten, Peter. "3. The Narrative Impact of the Mise en Scène." In Verstraten, Film Narratology: Introduction to the Theory of Narrative. Toronto: U of Toronto P, 2009. 49-65.*
Morality, Ethics, and Film
Barbéns, Francisco de (Fray). La moral en la calle, en el cinematógrafo y en el teatro. 1914.
Cavell, Stanley. Le cinéma, nous rend-il meilleurs?
_____. El cine, ¿puede hacernos mejores? (Discusiones). Madrid: Katz, 2008. (Hollywood, Rohmer, Hitchcock, Godard, Buñuel, Bergman, Jarmusch).
Heath, Stephen. "Questions of Property." Cine-Tracts 4 (Spring-Summer 1978).
John Paul II and Cardinal Mahony. Espectáculos y comunicación. Madrid: Mundo Cristiano, 1993.
Mahony (Cardinal). Pastoral letter on cinema and TV. Los Angeles, 15 September 1992. Trans. in John Paul II and Cardinal Mahony, Espectáculos y Comunicación.
Music in film
Adorno, T. W., and Hanns Eisler. El cine y la música. Madrid: Fundamentos, 1981.
Buljancevic, Rastko. "Construcción y aproximación musical a las identidades frágiles en la película dramática Todo sobre mi madre." Cuadernos de investigación musical 14 (Jan.-June 2022): 267-95.*
DOI: 10.18239/invesmusic.2022.14.08
Online at ResearchGate.*
https://www.researchgate.net/publication/357746571
2022
Online at Academia.*
https://www.academia.edu/67809295/
2022
Composers' Symposium. "Music in Films." Films 1 (Winter 1940): 5-24.
Cook, Page. "The Sound Track: Music from Great Shakespearean Films." Films in Review 16 (1975): 359-61.
Evans, Mark. Soundtrack: The Music of the Movies. New York: Da Capo, 1979.
Huntley, John. British Film Music. 1948. New York, 1972.
_____. "The Music of Hamlet and Oliver Twist." In The Penguin Film Review. London, 1949. 110-16.
Kracauer, Siegfried. "Music." In Kracauer, Theory of Film. Princeton (NJ): Princeton UP, 1997. 133-56.*
Manvell, Roger, and John Huntley. The Technique of Film Music. Rev. and enlarged by Richard Arnell and peter Day. New York, 1975.
Pérez Pérez, Miguel Ángel. Hollywood Film Music: Cramping the Composer's Style. (Working Papers 9). Universidad de Alicante, 2004.
Shumway, David R. "Rock n' Roll Sound Tracks and the Production of Nostalgia." Cinema Journal 38.2 (Winter 1999):36-51.
Internet resources
BSO Spirit
2015
See also Musicals.
Musicals
Altman, Rick. (Charles F.). The American Film Musical. Bloomington: Indiana UP; London: BFI, 1987.*
_____. The American Film Musical. Bloomington: Indiana UP, 1989.
Babington, Bruce, and Peter William Evans. Blue Skies and Silver Linings: Aspects of the Hollywood Musical. Manchester: Manchester UP, 1985.
Bordwell, David. "New Colors to Sing: Damien Chazelle on Films and Filmmaking." In Bordwell, Observations on Film Art 6 March 2018.*
2018
Cohan, Steven. Hollywood Musicals: The Film Reader. London: Routledge, 2002.
Fraser, Peter. "The Musical Mode: Putting on The Red Shoes." Cinema Journal 26.3 (Spring 1987).
Gorbman, Claudia. Unheard Melodies: Narrative Film Music. Bloomington: Indiana UP, 1987.
Hansen, Per Krogh. "All Talking! All Singing! All Dancing! Prolegomena: On Film Musicals and Narrative." In Intermediality and Storytelling. Ed. Marina Grishakova and Marie-Laure Ryan. Berlin and New York: De Gruyter, 2010. 147-64.*
_____. "Flow-Stoppers and Frame-Breakers: The Cognitive Complexities of the Film Musical Exemplified by Lars von Trier's Dancer in the Dark (2000)." In Beyond Classical Narration: Transmedial and Unnatural Challenges. Ed. Jan Alber and Per Krogh Hansen. Berlin and Boston: De Gruyter, 2014. 221-37.*
Harney, Megan. "Here Are All the Iconic Musical Movie References in 'La La Land' You Need to Know." Business Insider 15 Feb. 2017.
http://www.businessinsider.com/la-la-land-musical-references-2017-2
2018
Kobal, John. Gotta Sing, Gotta Dance: A Pictorial History of Film Musicals. New York: Hamlyn, 1970.
Tambling, Jeremy. Opera, Ideology and Film. 1987.
Woll, Allen L. The Hollywood Musical Goes to War. Chicago: Nelson-Hall, 1983.
Internet resources
STLyrics: Soundtrack Lyrics Source
2004-01-10
See also Music in films.
Narrative level
Black, David Alan. "Genette and Film: Narrative Level in the Fiction Cinema." Wide Angle 8 (1986): 19-26.
Branigan, Edward. "Story World and Screen." Selection. In Narratology: An Introduction. Ed. Susana Onega and José Angel García Landa. London: Longman, 1996. 234-48.*
Eberwein, Robert T. Film and the Dream Screen: A Sleep and a Forgetting. Princeton: Princeton UP, 1984.
_____. "The Filmic Dream and Point of View." Literature / Film Quarterly 8 (1980): 197-203.
Turim, Maureen. "The Place of Visual Illusions." In The Cinematic Apparatus. Ed. Teresa de Lauretis and Stephen Heath. New York: St Martin's, 1980.
See also Semiotics of film.
Noir film
Booth, Alan R. "The Development of the Espionage Film." In Spy Fiction, Spy Films and Real Intelligence. Ed. Wesley K. Wark. London: Frank Cass, 1991. 136-60.
Coma, Javier. Diccionario de cine negro. Barcelona: Plaza y Janés, 1990.
Coma, Javier, y José María Latorre. Luces y sombras del cine negro. 1981. Barcelona: Dirigido por, 1990.
Copjec, Joan, ed. Shades of Noir. London: Verso, 1993.
Gledhill, C. "A Contemporary Film Noir and Feminist Criticism." 1978. In Kaplan, Women in Film Noir. 1989.
Harvey, Sylvia. "Woman's Place: The Absent Family of Film Noir." In Women in Film Noir. Ed. E. Ann Kaplan. London: BFI, 1978. 1989.
Horsley, Lee. Noir Thriller from 1930 to the Near Future. (Crime Files). Houndmills: Macmillan, 2000.
Kaplan, E. Ann, ed. Women in Film Noir. 1978. London: BFI, 1980.
Krutnik, Frank. In a Lonely Street: Film Noir, Genre Masculinity. London: Routledge, 1991.
Lacey, Nick. "Film Noir and 'Hard-boiled' Crime Novels: The Repertoire of Elements." In Lacey, Narrative and Genre. Houndmills: Macmillan, 2000. 143-63.*
Mark, Conrad, ed. Elements of Neo-Noir. Kentucky: UP of Kentucky, 2007.
Metz, Christian. From Film Language. ("Some Points in the Semiotics of the Cinema"). 1968. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 68-89.* (Narrativity, syntagmatic/paradigmatic, denotation, motivation, montage).
Naremore, James. More than Night: Film Noir in Its Contexts.
Schuler, Jeanne, and Patrick Murray. "Anything Is Possible Here: Capitalism, Neo-Noir, and Chinatown." In Elements in Neo-Noir. Ed. Conrad Mark. Kentucky: UP of Kentucky, 2007.
Telotte, J. P. Voices in the Dark: The Narrative Patterns of Film Noir. Urbana: U of Illinois P, 1989.
_____. "Rounding Up the Usual Suspects: The Comfort of Character and Neo-Noir", Film Quarterly 51.4 (Summer 1998): 12-20
Turner, Dennis. "Film Noir and the Apparatus of the Fetish: Introduction to 'Flickerings of Black and White'." Structuralist Review 2 (Spring 1984): 34-43.
See also Thrillers.
Nonfiction film
Guynn, William. A Cinema of Nonfiction. London: Associated UPs, 1990.
, A. Desvíos de lo real: El cine de no ficción. Madrid: Editorial T&B, 2004.
See also Documentaries.
Origins of film
Azéma, Marc. La Préhistoire du cinéma: Origines paléolithiques de la narration graphique et du cinématographe. Book + DVD. Editions Errance, 2011.*
Cortés, Rodrigo. "La invención del Padre Díez: La historia desconocida del genio que hizo posible el cine." ABC (Cultura) 12 May 2019. (Mariano Díez Tovar, 1868-1926)
2019
Delgado, Miguel A. "Alice Guy, la mujer que hizo cine antes que los hombres (y fue borrada de la historia). El Español 2 July 2017.*
http://www.elespanol.com/cultura/historia/20170630/227727649_0.html
2017
Douglass, Paul. "Bergson and Cinema: Friends or Foes?" In The New Bergson. Ed. John Mullarkey. Manchester: Manchester UP, 1999. 209-28.*
Eisenstein, Sergei M. "Dickens, Griffith, and the Film Today." In Eisenstein, Film Form: Essays in Film Theory. Trans. Jay Leyda. New York: Harcourt, 1949.
_____. From "Dickens, Griffith and Ourselves" ("Dickens, Griffith and Film Today"). 1942. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 426-34.*
García Landa, José Angel. "The Prehistoric Origin of Cinema." Ibercampus (Vanity Fea) 10 Feb. 2018.*
https://www.ibercampus.eu/the-prehistoric-origin-of-cinema-5100.htm
2018
Gunning, Tom. "An Aesthetic of Astonishment: Early Film and the (In)credulous Spectator." 1989. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 818-32.*
_____. "An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator." In Viewing Positions. Ed. Linda Williams. New Brunswick: Rutgers UP, 1995. 114-33.*
Lodge, David. "Henry James and the Movies." In Lodge, Consciousness and the Novel. 2002. London: Penguin, 2003. 200-33.*
McDonald, N. "The Relationship between Shakespeare's Stagecraft and Modern Film Technique." Australian Journal of Screen Theory 7 (1980): 18-33.
Rivère, Florent. "La préhistoire du cinéma." Florent Rivère 10 Nov. 2011.*
http://florentrivere.blogspot.com.es/2011/11/la-prehistoire-du-cinema.html
2018
Video
Spivey, Ted, et al. "Once Upon a Time." (How Art Made the World, 4). BBC. Online at YouTube
2013
See also History of Film.
Philosophy and film
Rivera, Juan Antonio. Lo que Sócrates diría a Woody Allen: Cine y filosofía. Madrid: Espasa-Calpe, 2003.
_____. Lo que Sócrates diría a Woody Allen: Cine y filosofía. Barcelona: Círculo de Lectores, 2004.*
Video
During, Élie, and Patrice Maniglier. "Cinéphilosophie: Philosophy Goes to the Movies." Panel at Columbia U. Video. YouTube (Columbia) 16 Feb. 2011.*
2017
Photography and cinematography
Bazin, André. "The Ontology of the Photographic Image." In Bazin, What Is Cinema? Vol. 1. Trans. Hugh Gray. Berkeley: U of California P, 1967.
_____. From What Is Cinema? ("The Ontology of the Photographic Image" 1945; "The Myth of the Total Cinema" 1953). In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 195-211.*
Branigan, Edward. "'Here is a Picture of No Revolver!': The Negation of Images, and Methods for Analyzing the Structure of Pictorial Statements." Wide Angle 8 (1986): 8-17.
Kracauer, Siegfried. "Photography." In Kracauer, Theory of Film. Princeton (NJ): Princeton UP, 1997. 3-24.*
Nichols, Bill, and Susan J. Lederman. "Flicker and Motion in Film." In The Cinematic Apparatus. Ed. Teresa de Lauretis and Stephen Heath. New York: St Martin's Press, 1980.
Stewart, Garrett. "Photo-Gravure: Death, Photography, and Film Narrative." Wide Angle 9 (1987): 11-31.
_____. Between Film and Screen. (The Shining, etc.).
Verstraten, Peter. "4. The Narrative Impact of Cinematography." In Verstraten, Film Narratology: Introduction to the Theory of Narrative. Toronto: U of Toronto P, 2009. 66-77.*
See also Images and film; Photography.
Pleasure and film
Hansen, Miriam. From "Pleasure, Ambivalence, Identification" ("Valentino and Female Spectatorship"). Cinema Journal 25.4 (Summer 1986). Shorter version (1991) in Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 584-601.*
MacCabe, Colin. "Theory and Film: Principles of Realism and Pleasure." Screen 17 (Autumn 1976): 7-27.
_____. "Theory and Film: Principles of Realism and Pleasure." In Narrative, Apparatus, Ideology: A Film Theory Reader. Ed. Philip Rosen. New York: Columbia UP, 1986.
Modleski, Tania. "The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory." 1986. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 691-700.*
Studlar, Gaylyn. "Masochism and the Perverse Pleasures of the Cinema." Quarterly Review of Film Studies 9 (Fall 1984): 267-82.
See also Visual pleasure.
Plot in film
Arriaga Benítez, Juan Manuel. "Patrones narrativos: Fórmulas estructurales y sus respuestas emocionales en cine y televisión." Revista Eviterna 11 (2022): 7-23.*
https://doi.org/10.24310/Eviternare.vi11.13856
Online at Academia.*
https://www.academia.edu/74045969/
2022
Azcona Montoliu, María del Mar. "All Together Now: The Rise of U.S. Multi-protagonist Films in the 1990s." Ph.D. diss. U of Zaragoza, 2007.
_____. The Multi-Protagonist Film. Malden, Oxford, Chichester: Wiley-Blackwell, 2010.
Ben Israel, Samuel. "Inter-Action Movies: Multi-Protagonist Films and Relationism." In Intermediality and Storytelling. Ed. Marina Grishakova and Marie-Laure Ryan. Berlin and New York: De Gruyter, 2010. 122-46.*
Buckland, Warren. "Introduction: Puzzle Plots." In Puzzle Films: Complex Storytelling in Contemporary Cinema. Ed. Warren Buckland. Chichester: Wiley; Malden: Blackwell, 2009. 1-12.*
Kracauer, Siegfried. "The Found Story and the Episode." In Kracauer, Theory of Film. Princeton (NJ): Princeton UP, 1997. 245-61.*
Marinero, Ismael. "'Big Data': El 'asesino' de los guionistas." El Mundo 5 Sept. 2016.*
http://www.elmundo.es/papel/pantallas/2016/09/05/57cd40d5268e3e3f248b4633.html
2016
Pérez,
Héctor J. "The Plot Twist in TV Serial Narratives." Academia.
https://www.academia.edu/28592721/
2017
See also Plot; Film Semiotics; Narration in film.
Poetry and film
Calhoon, Kenneth S. "The Eye of the Panther: Rilke and the Machine of Cinema." Comparative Literature 52.2 (2000): 143-56.
Politics and Film
Cornut-Gentille D'Arcy, Chantal. La era Thatcher en pantalla: ¿cine nacional o "nacionalista"? Zaragoza: Servicio de Publicaciones U de Zaragoza, forthcoming 2006.
Fernández del Terán, Anselmo. "Las tijeras del censor: cine y política en la España nacional 1936-1945." In La República y la Guerra Civil Setenta años después. Ed. Alfonso Bullón de Mendoza and Luis E. Togores. Madrid: Actas, 2008. 2.944-57.*
Lenne, Gérard. La muerte del cine (film/revolución). (Cuadernos Anagrama, 75). Barcelona: Anagrama.
MacCabe, Colin. "The Discursive and the Ideological in Film: Notes on the Condition of Political Intervention." Screen 19.4 (1978-9): 29-43.
Polan, Dana B. The Political Language of Film and the Avant-Garde. Ann Arbor: UMI Research Press, 1988.
Zavarzadeh, Mas'ud. Seeing Films Politically. Rev. in Textual Practice 9.1 (1995): 212-17.*
Popular film
Bennet, T., S. Boyd-Bowman, C. Mercer and J. Woollacott, eds. Popular Television and Film. London: Open UP / BFI, 1981.
Hollows, Joanne, and Marki Jancovich, eds. Approaches to Popular Film. Manchester: Manchester UP, 1995.
See also Entertainment; Mass culture and film.
Pornography in films
Jaehne, Karen. "Confessions of a Feminist Porn Programmer." Film Quarterly 37 (Fall 1983).
Lardeau, Yann. "Le sexe froid (du porno au-delà)." Cahiers du cinéma 289 (1978).
Grahame-Smith, Seth. The Big Book of Porn: A Penetrating Look at the World of Dirty Movies. 2005.
Williams, Linda. Hard Core: Power, Pleasure, and the 'Frenzy of the Visible'. Berkeley: U of California P, 1989.
See also Pornography.
Postmodernism and film
Baudrillard, Jean. "I like the cinema." In Baudrillard Live: Selected Interviews. Ed. Mike Gane. London: Routledge, 1993. 29-35.*
Brooker, Peter, and Will Brooker, eds. Postmodern After-Images: A Reader in Film, TV and Video. London: Arnold, forthcoming 1997.
Imbert, Gérard. Cine e imaginarios sociales: El cine posmoderno como experiencia de los límites (1990-2010). (Signo e Imagen). Madrid: Cátedra, 2010.
Mann, Katrina. "Modern Recuperations of Postmodern Narrative in Gattaca (1997), The Matrix (1999), and Fight Club (2000)." In Memory, Imagination and Desire in Contemporary Anglo-American Literature and Film. Ed. Constanza del Río-Álvaro and Luis Miguel García-Mainar. Heidelberg: Winter, 2004. 269-80.*
See also Experimental film.
Production
Bourriaud, Nicolas. Postproduction: Culture as Screenplay. 2002.
Lipton, Lenny. Independent Filmmaking. Rev. ed. San Francisco: Straight Arrow Books, 1973.
See also Filmmaking.
Psychoanalysis and Film
Cavell, Stanley. "Psychoanalysis and Cinema: The Melodrama of the Unknown Woman." In Images in Our Souls: Cavell, Psychoanalysis, and Cinema. Ed. Joseph H. Smith and William Kerrigan. Baltimore: Johns Hopkins UP, 1987.
Fuery, Patrick. "The Gaze: Masochism, Identification and Phantasy in the Spectator." In Fuery, New Developments in Film Theory. Houndmills: Macmillan, 2000.
Kaplan, E. Ann, ed. Psychoanalysis and Cinema. London: Routledge, 1990.
Metz, Christian. Le Signifiant imaginaire. Paris: UGE, 1977.
_____. The Imaginary Signifier: Psychoanalysis and the Cinema. Trans. Celia Britton, Anwyl Williams and Alfred Guzzett. Bloomington: Indiana UP, 1977.
_____. Psicoanálisis y cine: El significante imaginario. Trans. Josep Elías. Barcelona: G. Gili, 1979.
Oudart, Jean-Pierre. "Cinema and Suture." Screen 18.4 (1977-8): 35-47.
Psychoanalysis and the Cinema. Screen 16.2 (1975).
Smith, Joseph H., and William Kerrigan, eds. Images in Our Souls: Cavell, Psychoanalysis, and Cinema. Baltimore: Johns Hopkins UP, 1987.
See also Psychology and film.
Psychology and Film
Affron, Charles. Cinema and Sentiment. Chicago: U of Chicago P, 1982.
Alber, Jan. "The Representation of Character Interiority in Film: Cinematic Versions of Psychonarratives, Free Indirect Discourse and Direct Thought." In Emerging Vectors of Narratology. Ed. Per Krogh Hansen, John Pier, Philippe Roussin and Wolf Schmid. Berlin and Boston: de Gruyter, 2017. 265-83.*
Bordwell, David. "The Viewer's Share: Models of Mind in Explaining Film." David Bordwell's Website on Cinema May 2012.*
http://www.davidbordwell.net/essays/viewersshare.php
2012
Carroll, Noël, and William P. Seeley. "Cognitivism, Psychology, and Neuroscience: Movies as Attentional Engines." In Psychocinematics: Exploring Cognition at the Movies. Ed. Arthur P. Shimamura. Oxford: Oxford UP, 2013. 53-75.
Currie, Gregory. Image and Mind: Film, Philosophy and Cognitive Science. Cambridge: Cambridge UP, 1996.
Oudart, Jean-Pierre. "Cinema and Suture." Screen 18.4 (1977-8): 35-47.
Shaw, Spencer. Film Consciousness: From Phenomenology to Deleuze. 2007.
Shoard, Catherine, Philippa Perry, Steven Pinker, Dachel Keltner, Sue Blackmore and Susan Greenfield. "Psycho Thrillers: Five Movies that Teach Us How the Mind Works." The Guardian 24 April 2016.*
2016
Journals
Projections: The Journal of Movies and Mind.
Berghahn publishers.
http://journals.berghahnbooks.com/proj
2009
See also Psychoanalysis and film.
Race and film
Rony, Fatimah Tobing. The Third Eye: Race, Cinema and Ethnographic Spectacle. Durham (NC): Duke UP, 1996.
Santaolalla, Isabel. "Construction of Racial and Ethnic Subjectivities in the Cinema." In Culture and Power. Ed. Felicity Hand and Chantal Cornut-Gentille. Barcelona: Departament de Filologia Anglesa i de Germanística, Universitat Autònoma de Barcelona, 1995. 153-68.*
See also Racial representations; Racism.
Realism and film
Armes, Roy. Film and Reality: An Historical Survey. London, 1974.
Arnheim, Rudolf. From Film as Art ("Film and Reality"). 1933. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 312-21. (Film and perception).
Black, David Alan. "Cinematic Realism and the Phonographic Analogy." Cinema Journal 26 (Winter 1987): 39-50.
Gledhill, Christine. "Recent Developments in Feminist Criticism." Quarterly Review of Film Studies 3.4 (1978): 457-93. (Representation, realism, ideology, Barthes, Althusser, myth, psychoanalysis, Lacan).
_____. "Recent Developments in Feminist Criticism." 1978. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 251-72.
MacCabe, Colin. "Realism and the Cinema: Notes on Some Brechtian Theses." Screen 15.2 (1974): 7-27.
_____. "Realism and the Cinema: Notes on Some Brechtian Theses." In Popular Television and Film. Ed. T. Bennett et al. London: Open UP /BFI, 1981. 216-35.
_____. "Realism and the Cinema." 1974. In A Critical and Cultural Theory Reader. Ed. Anthony Easthope and Kate McGowan. Buckingham: Open UP, 1992. 35-9.
_____. From "Realism and the Cinema." In A Critical and Cultural Theory Reader. Ed. Antony Easthope and Kate McGowan. Buckingham: Open UP, 1992. 35-38.*
MacDougall, David. "Beyond Observational Cinema." In Movies and Methods: An Anthology 2. Ed. Bill Nichols. Berkeley: U of California P, 1985.
Nicoll, Allardyce. Film and Theatre. London, 1936.
_____. "Film and Reality: The Cinema and the Theatre." In Focus on Film and Theatre. Ed. James Hurt. New Jersey, 1974. 29-50.
Williams, Christopher, ed. Realism and the Cinema: A Reader. London: Routledge, 1980.
See also Realism; Realism in fiction.
Reflexivity in film
Bordwell, David. Narration in the Fiction Film. Madison: U of Wisconsin P, 1985.
García Landa, José Ángel. "La realidad flojea." In García Landa, Vanity Fea 7 Dec. 2005:
http://garciala.blogia.com/2005/120702-la-realidad-flojea.php
2005-12-29
_____. "The Self-Begettor." In García Landa, Vanity Fea 28 July 2008.
http://garciala.blogia.com/2008/072804-the-self-begettor.php
2008
_____. "Escoptofilias terminales." In García Landa, Vanity Fea 27 June 2011.* (Rev. of Michael Powell's Peeping Tom).
http://vanityfea.blogspot.com/2011/06/skoptofilias-terminales.html
2011
_____. "Escoptofilias terminales: Peeping Tom, artefacto reflexivo." Ibercampus (Vanity Fea) 27 June 2021.*
https://www.ibercampus.es/escoptofilias-terminales-41283.htm
2021
_____. "Escoptofilias terminales: Peeping Tom, artefacto reflexivo." SSRN 28 Sept. 2021.*
http://ssrn.com/abstract=3912635
2021
Cultural Anthropology eJournal 28 Sept. 2021.*
https://www.ssrn.com/link/Cultural-Anthropology.html
2021
Film, Media & TV Studies eJournal 28 Sept. 2021.*
https://www.ssrn.com/link/Film-Media-TV-Studies.html
2021
_____. "Escoptofilias terminales: Peeping Tom, artefacto reflexivo." Academia 1 Oct. 2021.*
https://www.academia.edu/56464847/
2021
_____. "Escoptofilias terminales: Peeping Tom, artefacto reflexivo." ResearchGate 16 Oct. 2021.*
https://www.researchgate.net/publication/355331476
2021
_____. "Escoptofilias terminales: Peeping Tom, artefacto reflexivo." In García Landa, Vanity Fea 8 Oct. 2021.*
https://vanityfea.blogspot.com/2021/10/escoptofilias-terminales-peeping-tom.html
2021
_____. "El momento fílmico: 'He estado en una película' (The Filmic Moment: 'I Have Been in a Film'). Social Science Research Network 26 Jan. 2015.*
http://papers.ssrn.com/abstract=2555324
2015
Cognition & the Arts eJournal 26 Jan. 2015.*
http://www.ssrn.com/link/Cognition-Arts.html
2015
Philosophy of Mind eJournal 26 Jan. 2015.*
http://www.ssrn.com/link/Philosophy-Mind.html
2015
_____. "El momento fílmico: de Hamlet a Saraband." Social Science Research Network 7 June 2015.*
http://ssrn.com/abstract=2615320
2017
Cognition & the Arts eJournal 7 June 2015.*
http://www.ssrn.com/link/Cognition-Arts.html
2015
Literary Theory & Criticism eJournal 7 June 2015.*
http://www.ssrn.com/link/English-Lit-Theory-Criticism.html
2015
Aesthetics & Philosophy of Art eJournal 7 June 2015.*
http://www.ssrn.com/link/Aesthetics-Philosophy-Art.html
2015
_____. "El momento fílmico: De Hamlet a Saraband." In García Landa, Vanity Fea 16 July 2015.*
http://vanityfea.blogspot.com.es/2015/07/el-momento-filmico-de-hamlet-saraband.html
2015
_____. "El momento fílmico: de Hamlet a Saraband." Academia 19 July 2015.*
https://www.academia.edu/14107431/
2015
_____. "El momento fílmico: de Hamlet a Saraband." ResearchGate 14 Jan. 2017.*
https://www.researchgate.net/publication/312319015
2017
_____. "El momento fílmico: de Hamlet a Saraband." Net Sight de José Angel García Landa 4 Jan. 2023.*
https://personal.unizar.es/garciala/publicaciones/MomentoFilmicoHS.pdf
2023
García Mainar, Luis Miguel. "Metafictional Strategies and Meaning in Woody Allen's Manhattan." XVI Congreso de la Asociación Española de Estudios Anglo-Norteamericanos. Valladolid: Secretariado de Publicaciones de la Universidad de Valladolid, 1994. 365-74.
Hedges, Inez. Breaking the Frame: Film Language and the Experience of Limits. Bloomington: Indiana UP, 1991.
Huertas Martín, Víctor. "Filming Metatheatre in Gregory Doran's Macbeth: Refracting Theatrical Crises at the Turn of the Century." Atlantis 40.2 (Dec. 2018): 101-21.*
http://doi.org/10.28914/Atlantis-2018-40.2.06
2019
Kuhn, Markus. "Film Narratology: Who Tells? Who Shows? Who Focalizes? Narrative Mediation in Self- Reflexive Fiction Films." In Point of View, Perspective, and Focalization: Modeling Mediation in Narrative. Ed. Peter Hühn, Wolf Schmid and Jörg Schönert. Berlin and New York: Walter de Gruyter, 2009. 257-78..* (Almodóvar, La mala educación; Lars Kraume, Keine Lieder über Liebe).
Kusnierz, Mathias. "The Iconomics of Reflexivity: The Real Value of Images of Fiction in Contemporary American Cinema." In Fictionality, Factuality, and Reflexivity Across Discourses and Media. Ed. Erika Fülöp et al. Berlin and Boston: de Gruyter, 2021. 190-211.*
https://doi.org/10.1515/9783110722031-013
2021
"Mesa redonda: La metaficción en el cine." Actas del XV Congreso de AEDEAN. Logroño: Colegio Universitario de La Rioja, 1993. 455-8.
Morrissette, Bruce. "Post-Modern Generative Fiction: Novel and Film." Critical Inquiry 2.2 (1975): 253-62.
Tello Díaz, Lucía. "Transtextualidad y metaficción en el falso documental: El discurso autorreferencial en The Unmaking of." Communication & Society 27.4 (2014): 113-29. (Juan Manuel Chumilla Carbajosa, 2010)
Online at Dadun (Universidad de Navarra)
http://dadun.unav.edu/handle/10171/37926
2015
http://www.unav.es/fcom/communication-society/documentos/pdf/20141027124328_en.pdf
2017
_____. "Transtextuality and Metafiction in Fake Documentaries: Self-Referential Discourse in The Unmaking of." Communication & Society 27.4 (2014): 113-29.*
http://www.communication-society.com
Online at Semantic Scholar.*
https://pdfs.semanticscholar.org/ad10/a25ba2636da038049ddb9f2a6142565d37fa.pdf
2022
See also Reflexivity; Reflexive narrative.
Religion and film / Religious films
Orellana Gutiérrez de Terán, Juan. Como en un espejo. Drama humano y sentido religioso en el cine contemporáneo.
Pérez, Héctor J. Cine y Mitología: De las religiones a los argumentos universales. Bern: Peter Lang, 2013.
Repetition
Kawin, Bruce. Telling It Again and Again: Repetition in Literature and Film. Ithaca: Cornell UP, 1972.
Road movies; Film and cars
Cohan, Steven, and Ina Rae Hark, eds. The Road Movie Book. London: Routledge, 1997.
Indurain Eraso, Carmen. "Thelma and Louise: 'Easy Riders' in a Male Genre." Atlantis 23.1 (June 2001): 63-73.*
_____. "Boys on the Side: Undermining the Road Movie's Generic Expectations." In Beyond Borders: Redefining Generic and Ontological Boundaries. Ed. Ramón Plo-Alastrue and María Jesús Martínez-Alfaro. Heidelberg: Winter, 2002. 121-29.*
_____. "A Culture on the Move: Contemporary Representations of the U.S. in Road Movies of the Nineteen Ninneties." Ph.D. diss. U of Zaragoza, 2005.
Roman / Ancient history films
Fouz-Hernández, Santiago. "Let's Talk about Flesh: The Male Body and the Sadistic Subplots in the Gladiator Films of the 1950s and 1960s." In Proceedings of the 22nd International Conference of AEDEAN (Asociación Española de Estudios Anglonorteamericanos). Lleida, 17-19 December 1998. Ed. Pere Gallardo and Enric Llurda. Lleida: Edicions de la Universitat de Lleida, 2000. 377-81.*
See also History and film; Biblical epics.
Romance in film / Romantic comedy
Grindon, Leger. The Hollywood Romantic Comedy. Wiley-Blackwell, 2011.
Henderson, Brian. "Romantic Comedy Today: Semi-Tough or Impossible?" Film Quarterly 31.4 (1978): 11-23.
Lent, Tina Olsin. "Romantic Love and Friendship: The Redefinition of Gender Relations in Screwball Comedy." In Classical Hollywood Comedy. Ed. Kristine Brunovska Karnick and Henry Jenkins. New York: Routledge, 1995. 314-331.
McDonald, Tamar Jeffers. Romantic Comedy: Boy Meets Girl Meets Genre. New York: Columbia UP, 2007.
_____. Romantic Comedy: Boy Meets Girl Meets Genre. London: Wallflower, 2007.
_____. Romantic Comedy. New York: Columbia UP, 2012.
Modleski, Tania. Loving with a Vengeance: Mass-Produced Fantasies for Women. Hamden (CT): Archon, 1982.
_____. Loving with a Vengeance: Mass-Produced Fantasies for Women. 1982. New York: Routledge, 1990.
Ruiz Pardos, Manuela. "Male Images in the New Romances: Towards the Construction of a New Romantic Hero." Proceedings of the 20th International AEDEAN Conference. Barcelona: Universitat de Barcelona, Facultat de Filología, 1997. 563-68.*
_____. "Trouble in Paradise: The Hollywood Romantic Comedy of the Fifties." Ph.D. diss. Zaragoza: Facultad de Filosofía y Letras, 2005.
See also Comedy (film); Love in film; Marriage and film.
Science fiction film
Aldiss, Brian, and David Wingrove. Trillion Year Spree: The History of Science Fiction. London: Gollancz, 1986.
_____. Trillion Year Spree: The History of Science Fiction. London: Paladin, 1988.*
Bassa, Joan, and Ramón Freixas. El cine de ciencia-ficción: una aproximación. Barcelona: Paidós, 1993.*
Baxter, John. Science Fiction in the Cinema. New York: A. S. Barnes; London: Zwemmer, 1970.
Brosnan, John. "Special Effects in Science Fiction Cinema." In The Science Fiction Source Book. Ed. David Wingrove. 1985.
Carrasco Carrasco, Rocío. "Masculinity in US Science Fiction Films of the 1950s." In Proceedings of the 29th AEDEAN Conference: Universidad de Jaén 15 al 20 diciembre 2005. CD-ROM. Ed. Alejandro Alcaraz Sintes et al. Jaén: AEDEAN / Servicio de Publicaciones U de Jaén, 2006. 258-61.*
Dervin, Daniel. "Primal Conditions and Conventions: The Genre of Science Fiction." In Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema. Ed. Annette Kuhn. London: Verso, 1990.
Domingo Baguer, Ignacio. "What Time Is It? New Temporal Regimes in Contemporary Science Fiction Cinema." In Memory, Imagination and Desire in Contemporary Anglo-American Literature and Film. Ed. Constanza del Río-Álvaro and Luis Miguel García-Mainar. Heidelberg: Winter, 2004. 245-51.*
Espada, Arcadi. "30 películas para mentes científicas." El Mundo por dentro y por fuera 12 Dec. 2010.*
2013
Everman, Welch. Cult Science Fiction Films: From the Amazing Colossal Man to Yog—Monster from Space. New York: Carol-Citadel Press, 1995.*
Grant, Barry. "Looking Upwards: Reason and the Visible in Science Fiction Film." In Gender, Language, and Myth. Ed. Glenwood Irons. Toronto: U of Toronto P, 1992. 185-207.*
Hardy, Phil. The Aurum Film Encyclopedia: Science Fiction. 1984.
Johnson, William, ed. Focus on the Science Fiction Film. Englewood Cliffs (NJ): Prentice-Hall, 1972.
Kuhn, Annette, ed. Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema. London: Verso, 1990.
Lukas, Scott, and John Marmysz. "1. Horror, Science Fiction and Fantasy Films Remade." In Fear, Cultural Anxiety, and Transformation: Horror, Science Fiction and Fantasy Films Remade. Ed. Scott A. Lukas and John Marmysz. Lexington Books, 2009. Online at Academia.*
https://www.academia.edu/37623291/
2020
_____. "Fear, Cultural Anxiety, and Transformation: Horror, Science Fiction, and Fantasy Films Remade." Online bibliography at Academia.*
https://www.academia.edu/2250092/
2019
_____, eds. Fear, Cultural Anxiety, and Transformation: Horror, Science Fiction and Fantasy Films Remade. Lexington Books, 2009.
Novell, Noemí. "El cine de ciencia ficción: un enfoque en la diferencia." In Género y cultura popular. Ed Isabel Clúa. Bellaterra: Edicions UAB, 2008.
Palumbo, Donald. "Loving that Machine: or, The Mechanical Egg, Sexual Mechanisms, and Metaphors in Science Fiction Films." In The Mechanical God: Machines in Science Fiction. Ed. Thomas P. Dunn and Richard D. Erlich. Westport (CT), 1982.
Stucky, M. D. "History Lessons: Time-Travel Films as Postmodern Parables." Integra (Oct. 1995). Online at Cinema Spirit
http://www.cinemaspirit.info/history.htm
2015
Wingrove, David, ed. The Science Fiction Film Source Book. 1985.
Blogs
El Cine de Solaris.*
http://elcinedesolaris.blogspot.com.es/
2017
See also Science Fiction.
Scripts and Screenplays
Ansorge, Peter. From Liverpool to Los Angeles: On Writing for Theatre, Film, and Television. London: Faber and Faber, 1997.
Armer, A. Writing the Screenplay. Belmont (CA): Warsworth, 1988.
Boulter, Amanda. Writing Fiction: The Screenwriter's Handbook 2009. Houndmills: Plagrave Macmillan, 2008.
Craig, Batty (coauth). Writing for the Screen. Houndmills: Palgrave Macmillan.
Brenes, S. Fundamentos del guión audiovisual. Pamplona: Ed. Universitarias de Navarra, 1987.
Chion, M. Cómo se escribe un guión. Madrid: Cátedra, 1988.
Clarence, W. H. El guión cinematográfico. Barcelona: Fama, 1955.
Comparato, D. De la creación al guión. Madrid: Instituto oficial de Radio y Televisión, 1984.
Corliss, R. Talking Pictures: Screenwriters of Hollywood. London: David and Charles, 1975.
Daly, Pete. "10 Classic Scenes, and What Makes them Tick." In The Screenwriter's Handbook 2009. Ed. Barry Turner. Houndmills: Palgrave Macmillan, 2008.
Davis, Rib. Writing Dialogue for Scripts. 2nd ed. London: A&C Black, 2003.
Feldman, S. El guión cinematográfico. Buenos Aires: Lorraine, 1975.
Gutiérrez Espada, L. Narrativa fílmica: Teoría y técnica del guión cinematográfico. Madrid: Pirámide, 1978.
Lesinskis, Janis. Applications of Vladimir Propp's formalist paradigm in the production of cinematic narrative. 2009.
McKee, Robert. The Story.
El guión: Sustancia, estructura, estilo y principios de la escritura de guiones. Barcelona: Alba, 2013.
Monelli, A. El guión, substancia del cine. Barcelona: Zeus, 1960.
Montiel, Alejandro. "La escritura tachada." (Film scripts). Quimera 118 (1993): 39-45.*
Nannicelli, Ted. "11. Screenplays." In The Routledge Companion to Philosophy of Literature. Ed. Noël Carroll and John Gibson. London: Routledge, 2015.
Rilla, Wolf. The Writer and the Screen: On Writing for Film and Television. London, 1973.
Sale, Ch. Les scénaristes au travail. Paris: Hatier, 1981.
, A. Estrategias de guión cinematográfico. Madrid: Ariel, 2001.
Guión de aventura y forja del héroe. Madrid: Ariel, 2002.
Seger, L. Cómo convertir un buen guión en un guión excelente. Madrid: Rialp, 1992.
_____. El arte de la adaptación: cómo convertir hechos y ficciones en películas. Madrid: Rialp, 1993.
Tubau, Daniel. El guión del siglo XXI: El futuro de la narrativa en el mundo audiovisual. Alba.
_____. Las paradojas del guionista: Reglas y excepciones en la práctica del guión.
Vale, E. Técnicas del guión para cine y televisión. Barcelona: Gedisa, 1989.
Anthologies
Garrett, G. P., O. B. Hardison and Jane R. Gelfman, eds. Film Scripts One. New York, 1971.
Journals
Journal of Screenwriting
See also: Adaptation, Film and literature, Novel and Film, Drama and Film.
Scriptwriters
Video
Lomba, Concha, et al. "El género en la mirada II. Investigaciones del IPH." Video. YouTube (Instituto de Patrimonio y Humanidades. Unizar) 7 March 2023.* (Stereotypes; Women scriptwriters, Janet Alcoriza; feminist criticism and women writers).
https://www.youtube.com/live/ezE2Q8tO0io
2023
Silent film
Adair, Gilbert. "That Siren, Silence." (Silent films). In Adair, The Postmodernist Always Rings Twice. London: Fourth Estate, 1992. 40-43.*
Altman, Rick. Silent Film sound.
Ball, Robert Hamilton. Shakespeare on Silent Film: A Strange Eventful History. London: Allen and Unwin, 1968.
Elliott, Eric. Anatomy of Motion Picture. London, 1928.
Faure, Elie. The Art of Cineplastics. Trans. Walter Pach. Boston, 1923.
Gezgin, Ulaş Başar: Silent Movies, Cognition & Personality. Saarbrücken: VDM, 2009.
Kirby, Lynne. Parallel Tracks: The Railroad and Silent Cinema. Exeter UP, 1997.
Münsterberg, Hugo. The Film: A Psychological Study: The Silent Photoplay in 1916. New York: Dover, 1970.
Wenden, D. J. The Birth of the Movies. London, 1975.
Films
The Artist. Written and dir. Michel Hazanavicius. Cast: Jean Dujardin, Bérénice Bejo, John Goodman, James Cromwell, Penelope Ann Miller, Missy Pyle, Beth Grant, Bitsie Tulloch. B/W, pseudo-silent. Prod. Thomas Langmann. Exec. prod. Daniel Delume, Antoine de Cazotte, Richard Middleton. Assoc. prod. Emmanuel Montamat. Photog. Guillame Schiffman. Art dir. Laurence Bennett. Music by Ludovic Bource. Ed. Anne-Sophie Bion and Michel Hazanavicius. France: La Petite Reine / Studio 37 / La Classe Américaine, 3D Prod., France 3 Cinéma / Jouror Productions / Ufilm, dist. Alta Classics, 2011. (NY Critics Circle Prize 2011, best film, best director; Cannes 2011, best actor, prizes at Washington Film Critics, San Sebastián, Sevilla, Hamptons and St Louis).
See also Sound.
Snuff films
Lim, Dennis. "Mondo Multiplex: The Snuff Film Turns Respectable." New York Times 22 Oct. 2006.
http://www.nytimes.com/2006/10/22/movies/22lim.html
2006-10-23
Films (on snuff)
Amenábar, Alejandro, dir. Tesis. With Ana Torrent.
Society and film
Maingard, Jacqueline. "6. Cry, Africa: Social Realism in Cry, the Beloved Country (1951) and Come Back, Africa (1959)." In Maingard, South African National Cinema. London: Routledge, 2007. 106-24.*
See also Culture and film; Sociology of Film
Sociology of Film
Azcona, Mª Mar, Virginia Luzón and Juan Tarancón. "In the Name of the Public: An Ethnographic Approach to the Tastes and Habits of Film Audiences." Miscelánea 32 (2005, issued 2006): 23-38.*
Blumer, Herbert. Movies and Conduct. Ayer Co., 1933.
_____. Movies, Delinquency and Crime. Ayer Co., 1970.
Fuery, Patrick. "The Carnivalesque: Film and Social Order." In Fuery, New Developments in Film Theory. Houndmills: Macmillan, 2000.
Hansen, Miriam. "Early Cinema, Late Cinema: Transformation of the Public Sphere." In Viewing Positions. Ed. Linda Williams. New Brunswick: Rutgers UP, 1995. 134-52.*
hooks, bell. Reel to Real: Race, Sex, and Class at the Movies. New York: Routledge, 1996.*
Imbert, Gérard. Cine e imaginarios sociales: El cine posmoderno como experiencia de los límites (1990-2010). (Signo e Imagen). Madrid: Cátedra, 2010.
Jarvie, I. C. Sociología del cine. Barcelona: Guadarrama.
Madsen, Roy Paul. The Impact of Film. New York, 1974.
See Spectatorship; Mass culture and film.
Sound
Altman, Rick. Silent Film sound.
Belton, John. "Technology and Aesthetics of Film Sound." In Film Sound: Theory and Practice. Ed. Elisabeth Weis and John Belton. New York: Columbia UP, 1985.
_____. "Technology and Aesthetics of Film Sound." 1985. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 376-84.*
Branigan, Edward. "Sound and Epistemology in Film." Journal of Aesthetics and Art Criticism 47 (1989): 311-24.
Doane, Mary Ann. "The Voice in the Cinema: The Articulation of Body and Space." Yale French Studies 60 (1980): 33-50.
_____. "The Voice in the Cinema: The Articulation of Body and Space." 1980. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 363-375.*
Eisenstein, Sergei, Vsevolod Pudovkin, and Grigori Alexandrov. "Statement on Sound." 1928. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 360-62.*
Kaufmann, Morgan. "An Outline of Film Voices." Film Quarterly 38 (Winter 1984-85): 38-46.
Kracauer, Siegfried. "Dialogue and Sound." In Kracauer, Theory of Film. Princeton (NJ): Princeton UP, 1997. 102-30.*
Metz, Christian. "Aural Objects." 1975. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 356-59.*
Stewart, Garrett. Reading Voices: Literature and the Phonotext. Berkeley: U of California P, 1990.
Verstraten, Peter. "8. Sound as a Narrative Force." In Verstraten, Film Narratology: Introduction to the Theory of Narrative. Toronto: U of Toronto P, 2009. 146-70.*
Weis, Ellisabeth, and John Belton, eds. Film Sound: Theory and Practice. New York: Columbia UP, 1985.
Willemen, Paul. "Cinematic Discourse: The Problem of Inner Speech." Screen 22 (1981): 63-93.
Williams, Alan [Larson]. "Is Sound Recording Like a Language?" Yale French Studies 60 (1980): 55-61.
Journals
The New Soundtrack
Ed. Stephen Deutsch (Media School, Bournemouth U)
Edinburgh UP
2011
See also Dubbing; Silent film; Music in film.
Space in film
Aumont, Jacques, A. Bergala, M. Marie and M. Vernet, eds. Esthétique du film. Paris: Nathan, 1983.
_____, eds. Estética del cine: Espacio fílmico, montaje, narración, lenguaje. Barcelona: Paidós, 1983.
Branigan, Edward. "The Spectator and Film Space—Two Theories." Screen22 (1981): 55-78.
_____. "The Space of Equinox Flower." In Close Viewings: An Anthology of New Film Criticism. Ed. Peter Lehman. Tallahassee: Florida state UP, 1990.
Davies, Anthony. Filming Shakespeare's Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa. Cambridge: Cambridge UP, 1988.*
Doane, Mary Ann. "The Voice in the Cinema: The Articulation of Body and Space." Yale French Studies 60 (1980): 33-50.
Feyersinger, Erwin. "Sensory Representation, Perceptual Spaces, and Perturbatory Distribution of Information in Shane Carruth's Upstream Color." In Perturbatory Narration in Film: Narratological Studies on Deception, Paradox and Empuzzlement. Ed. Sabine Schlickers and Vera Toro. Berlin and Boston, 2018. 121-33.*
http://doi.org/10.1515/9783110566574-008
2018
Heath, Stephen. "Narrative Space." Screen 17.3 (1976): 68-112.
_____. "Narrative Space." In Narrative, Apparatus, Ideology: A Film Theory Reader. Ed. Philip Rosen. New York: Columbia UP, 1986.
Hochberg, Julian E. "Representation of Motion and Space in Video and Cinematic Displays." In Handbook of Perception and Human Performance 1. Ed. Kenneth R. Boff, Lloyd Kaufman, and James P. Thomas. New York: Wiley, 1986.
Khatchadourian, Haig. "Space and Time in Film." British Journal of Aesthetics 27 (Spring 1987): 169-77.
Kracauer, Siegfried. From Theory of Film ("The Establishment of Physical Existence"). 1960. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 293-303.* (Film and perception).
Río Raigadas, David. "Espacio e identidad en un 'western' crepuscular: The Misfits." In Trasvases culturales: Literatura – Cine – Traducción. Ed. Raquel Merino, J. M. Santamaría, and Eterio Pajares. Bilbao: Servicio editorial de la Universidad del País Vasco, 2005. 113-20.* (John Huston, 1961).
Rohmer, Eric. ("Cinema: An Art of Space.") 1948.
Schmidt, Oliver. "Perturbatory Spaces in David Lynch's Inland Empire." In Perturbatory Narration in Film: Narratological Studies on Deception, Paradox and Empuzzlement. Ed. Sabine Schlickers and Vera Toro. Berlin and Boston, 2018. 209-23.* (Metalepsis).
http://doi.org/10.1515/9783110566574-013
2018
Sesonske, Alexander. "Cinema Space." In Explorations in Phenomenology. Ed. David Carr and Edward S. Casey. The Hague: Martinus Nijhoff, 1973.
See also Space in narrative; Semiotics of film.
Special effects
Brosnan, John. Movie Magic. London, 1977.
_____. "Special Effects in Science Fiction Cinema." In The Science Fiction Source Book. Ed. David Wingrove. 1985.
Spectacle
Cornell, Daniel. "Stealing the Spectacle: Gay Audiences and the Queering of Douglas Fairbank's Body." The Velvet Light Trap 42 (Fall 1998): 76-90.
García Mainar, Luis Miguel. "Kubrick's Doctor Strangelove: The Logic of Spectacle." Miscelánea 12 (1991): 93-106.*
Rony, Fatimah Tobing. The Third Eye: Race, Cinema and Ethnographic Spectacle. Durham (NC): Duke UP, 1996.
Schaefer, Eric. "The Obscene Seen: Spectacle and Transgression in Postwar Burlesque Films." Cinema Journal 36.2 (Winter 1997): 41-66.*
Williams, Tony. "Space, Place, and Spectacle: The Crisis Cinema of John Woo." Cinema Journal 36.2 (Winter 1997): 67-84.*
Speech
Tarancón, Juan A. "Se habla español: A Certain Tendency in the Western Film." Miscelánea 36 (2007): 101-17.*
Willemen, Paul. "Reflections on Eikhenbaum's Concept of Internal Speech in the Cinema." Screen 15.4 (1974/5): 59-70.
_____. "Cinematic Discourse: The Problem of Inner Speech." Screen 22.3 (1981): 63-93.
See also Dialogues; Voice-over; Narration in film; Silent film.
Story - Structure
Bordwell, David. "ApProppriations and ImPropprieties: Problems in the Morphology of Film Narrative." Cinema Journal 27 (Spring 1988): 5-20.
Powell, Helen. Stop the Clocks! Time and Narrative in Cinema. London and New York: I.B. Tauris, 2012.* (A Matter of Life and Death, Donnie Darko, Interview with a Vampire, Lost Highway, Pulp Fiction)
http://us.macmillan.com/stoptheclocks/HelenPowell
2012
Style (film). See Aesthetics and style in film.
Subjectivity and film
Currie, Gregory. Image and Mind: Film, Philosophy and Cognitive Science. Cambridge: Cambridge UP, 1996.
Heath, Stephen. "The Turn of the Subject." Cine-Tracts 7/8 (Summer-Fall 1979).
Willemen, Paul. "Notes on Subjectivity." Screen 19.1 (1978).
Subtitles
Díaz Cintas, Jorge. "El subtitulado y los avances tecnológicos." In Trasvases culturales: Literatura – Cine – Traducción. Ed. Raquel Merino, J. M. Santamaría, and Eterio Pajares. Bilbao: Servicio editorial de la Universidad del País Vasco, 2005. 155-75.*
Bartoll, Eduard. La subtitulació: Aspectes teòrics i pràctics. Vic: Eumo, 2012.
García Luque, Francisca. "La comprensión lingüística y la elisión en el subtitulado: Estudio de Le Château de ma mère." Hermeneus 7 (2005): 67-86.*
Gordo Peleato, Rosario. "An Example of Constrained Text: The Subtitles." In The Intertextual Dimension of Discourse: Pragmalinguistic-Cognitive-Hermeneutic Approaches. Ed. Beatriz Penas. Zaragoza: Servicio de Publicaciones de la Universidad de Zaragoza, 1996. 51-56.*
Jiménez Hurtado, Catalina. Traducción y accesibilidad: Subtitulación para sordos y audodescripción para ciegos: nuevas modalidades de Traducción Audiovisual. Frankfurt: Peter Lang, 2007.*
Romero Ramos, Lupe. "La traducción de dialectos geográficos y sociales en la subtitulación: Mecanismos de compensación y tendencia a la estandarización." In Trasvases culturales: Literatura – Cine – Traducción. Ed. Raquel Merino, J. M. Santamaría, and Eterio Pajares. Bilbao: Servicio editorial de la Universidad del País Vasco, 2005. 243-59.*
Sokoli, Stavroula. "Omisión y distribución de los subtítulos en España y Grecia: Cómo y por qué." In Trasvases culturales: Literatura – Cine – Traducción. Ed. Raquel Merino, J. M. Santamaría, and Eterio Pajares. Bilbao: Servicio editorial de la Universidad del País Vasco, 2005. 271-82.*
Tsaousi, Aikaterini. "Making Sound Accessible: The Labelling of Sound-Effects in Subtitling for the Deaf and Hard-of-Hearing." Hermeneus 17 (2015): 233-52.*
Internet resources
DotSub. Video subtitling site.
2009
Open Subtitles
2015
See also Dubbing and translation; Translation (film).
Surrealist film
Williams, Linda. Figures of Desire: A Theory and Analysis of Surrealist Film. Berkeley: U of California P, 1981. 1992.
Suspense
Carroll, Noël. "Toward a Theory of Film Suspense." Persistence of Vision (Summer 1984): 65-89.
Suture
Cohan, Steven, and Linda M. Shires. Telling Stories: A Theoretical Analysis of Narrative Fiction. London: Routledge, 1988.*
Dayan, Daniel. "The Tutor-Code of Classical Cinema." Film Quarterly 28.1 (Fall 1974): 22-31.
_____. "The Tutor-Code of Classical Cinema." 1974. In Movies and Methods. Ed. Bill Nichols. Berkeley: U of Caliofornia P, 1976. 438-51.
_____. "The Tutor-Code of Classical Cinema." In Mast, G. et al., eds. 1992: 179-191.
_____. "The Tutor-Code of Classical Cinema." 1974. With Brian Henderson. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 118-29.* (Suture).
Rothman, William. "Against 'the System of the Suture'." 1975. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 130-36.* (On Dayan).
Silverman, Kaja. "Male Subjectivity and the Celestial Suture: It's a Wonderful Life." Framework 14 (Spring 1981).
_____. The Subject of Semiotics. New York: Oxford UP, 1983.
_____. From The Subject of Semiotics. [On Suture]. 1983. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 137-47.*
Symbolism in film
Collick, John. "Symbolism in Shakespeare Film." In Shakespeare on Film. Ed. Robert Shaughnessy. Houndmills: Macmillan, 1998. 83-102.*
Taboo in film
Adair, Gilbert. "Filming the Unfilmable." In Adair, The Postmodernist Always Rings Twice. London: Fourth Estate, 1992. 72-75.* (Taboos).
Technology
Belton, John. Widescreen Cinema. Cambridge (MA): Harvard UP, 1992.*
Salt, Barry. Film Style and Technology: History and Analysis. London: Starword, 1983.
Wollen, Peter. "Cinema and Technology: A Historical Overview." In The Cinematic Apparatus. Ed. Teresa de Lauretis and Stephen Heath. London: Macmillan; New York: St Martin's, 1980.
Teenpics
Deleyto, Celestino. "El teenpic: rebeldía, nostalgia y heterogeneidad." In Dentro y fuera de Hollywood: La tradición independiente en el cine americano. Ed. Roberto Cueto and Antonio Weinrichter. Valencia: Festival de Cine de Gijón, 2004. 145-56.
Television and films
Scheuer, Stephen H., ed. Movies on TV:: 1982-1983 Edition. 9th rev. ed. New York: Bantam, 1981.
Thrillers
Ascari, Maurizio. "Light into Darkness: The Gothic Roots of Hitchcock's Spellbound (1945)." In Gothic Metamorphoses Across the Centuries: Contexts, Legacies, Media. Ed. Maurizio Ascari et al. Bern, Berlin, Brussels, New York, Oxford: Peter Lang, 2020. 181-97.*
Feng, Yunda Eddie. "Revitalizing the Thriller Genre: Lou Ye's Suzhou River and Purple Butterfly." In Puzzle Films: Complex Storytelling in Contemporary Cinema. Ed. Warren Buckland. Chichester: Wiley; Malden: Blackwell, 2009. 187-202.*
Gates, Philippa. "Getting Away with It? Villainy in the Contemporary Hollywood Detective Film." In The Devil Himself: Villainy in Detective Fiction and Film. Ed. Stacy Gillis and Philippa Gates. Westport (CT): Greenwood Press, 2002. 183-96.*
Gillis, Stacy, and Philippa Gates, eds. The Devil Himself: Villainy in Detective Fiction and Film. (Contributions to the Study of Popular Culture, 73). Westport (CT): Greenwood Press, 2002.*
Kelly, Aaron. The Thriller and Northern Ireland since 1969: Utterly Resigned Terror. (European Cultural Transition). London: Routledge, 2017.*
https://books.google.es/books?hl=en&lr=&id=p9xADgAAQBAJ
2017
Luzón Aguado, Virginia. "Is the (Psycho)Thriller a (Sub)Genre?" In AEDEAN: Proceedings of the 23rd International Conference (León, 16-18 de diciembre, 1999). CD-ROM. León: AEDEAN, 2003.*
Magistrale, Tony. Hollywood's Stephen King. Palgrave Macmillan, 2003.
Ruiz Pardos, Manuela. "Home Dreadful Home: Uncanny Houses and Female Paranoia in the Contemporary Hollywood Thriller." In Proceedings of the 22nd International Conference of AEDEAN (Asociación Española de Estudios Anglonorteamericanos). Lleida, 17-19 December 1998. Ed. Pere Gallardo and Enric Llurda. Lleida: Edicions de la Universitat de Lleida, 2000. 389-93.*
Siemion, Piotr. "No More Heroes: The Routinization of the Epic in Techno-Thrillers." In Reading Matters: Narrative in the New Media Ecology. Ed. Joseph Tabbi and Michael Wutz. Ithaca (NY): Cornell UP, 1997. 193-224.*
Time
Biro, Yvette. "In the Spiral of Time." Millennium Film Journal (Fall/Winter 1984-85): 173-7.
Bordwell, David, and Kristin Thompson. "Revisiting Inception." In Bordwell, Observations on Film Art 12 August 2010.*
http://www.davidbordwell.net/blog/2010/08/12/revisiting-inception/
2011
Brössel, Stephan. "Zeit und Film. 'Zeitkreise' in Christopher Nolans Memento." In Zeiten Erzälen: Ansätze - Aspekte - Analysen. Ed. Antonius Weixler and Lukas Werner. Berlin and Boston: De Gruyter, 2015. 179-204.*
Domingo Baguer, Ignacio. "What Time Is It? New Temporal Regimes in Contemporary Science Fiction Cinema." In Memory, Imagination and Desire in Contemporary Anglo-American Literature and Film. Ed. Constanza del Río-Álvaro and Luis Miguel García-Mainar. Heidelberg: Winter, 2004. 245-51.*
Eisenstein, S. M. "The Fourth Dimension in Cinema." In Eisenstein, Selected Works 1, Writings 1922-34. Trans. Richard Taylor. Bloomington: Indiana UP, 1988.
Heath, Stephen. "Repetition Time." in Heath, Questions of cinema.
Khatchadourian, Haig. "Space and Time in Film." British Journal of Aesthetics 27 (Spring 1987): 169-77.
Kinder, Marsha. "The Subversive Potential of the Pseudo-Iterative." Film Quarterly 43 (Winter 1989-90): 3-16.
Kuhn, Markus. Filmnarratologie: Ein erzähltheoretisches Analysemodell. (Narratologia: Contributions to Narrative Theory, 26). Berlin and New York: De Gruyter, 2011.* (1. Methodische Grundlagen; 2. Von der sprachbasierten zur Transmedialen Narratologies; 3. Narrative Instanzen; 4. Fokalisierung und Perspektivierung; 5. Zeit; 6. Komplexe Kommunikations- und Ebenenstrukturen; 7. Schlussbetrachtung: Das Potenzial der Filmnarratologie).
Lothe, Jakob. "Narrative Time and Repetition." In Lothe, Narrative in Fiction and Film: An Introduction. Oxford: Oxford UP, 2000. 49-71.*
Modleski, Tania. "Time and Desire in the Woman's Film." Cinema Journal 24 (Spring 1984): 19-30.
Murphet, Julian. "5. Narrative Time." In Helen Fulton et al., Narrative and Media. Cambridge: Cambridge UP, 2005. 47-59. (In film).
Powell, Helen. Stop the Clocks! Time and Narrative in Cinema. London and New York: I.B. Tauris, 2012.* (A Matter of Life and Death, Donnie Darko, Interview with a Vampire, Lost Highway, Pulp Fiction)
http://us.macmillan.com/stoptheclocks/HelenPowell
2012
_____. "Introduction: Cinema as Time Machine." In Powell, Stop the Clocks! Time and Narrative in Cinema. London and New York: I. B. Tauris, 2012. 1-10.*
_____. "1. Real Time." In Powell, Stop the Clocks! Time and Narrative in Cinema. London and New York: I. B. Tauris, 2012. 11-32.*
_____. "2. Future Time." In Powell, Stop the Clocks! Time and Narrative in Cinema. London and New York: I. B. Tauris, 2012. 33-60.*
_____. "3. Dreaming Time." In Powell, Stop the Clocks! Time and Narrative in Cinema. London and New York: I. B. Tauris, 2012. 61-86.*
_____. "4. Consuming Time." In Powell, Stop the Clocks! Time and Narrative in Cinema. London and New York: I. B. Tauris, 2012. 87-114.*
_____. "5. Fractured Time." In Powell, Stop the Clocks! Time and Narrative in Cinema. London and New York: I. B. Tauris, 2012. 115-42.*
_____. "6. Conclusion: Time in the Digital Age." In Powell, Stop the Clocks! Time and Narrative in Cinema. London and New York: I. B. Tauris, 2012. 143-64.*
Sesonske, Alexander. "Time and Tense in the Cinema." Journal of Aesthetics and Art Criticism 38 (Summer 1980): 416-26.
Turim, Maureen. Flashbacks in Film: Memory and History. New York: Routledge, 1989.
See also Time in narrative.
Titles
Luján García, Carmen. "English Film Titles: A 'Trend'?" In aedeanXXXIII, Cádiz 12-14 Nov. 2009. Ed. R. Galán et al. CD-ROM. Cádiz: Servicio de Publicaciones, U de Cádiz, 2010.*
Trailers
Films
The Mother of All Trailers
http://www.youtube.com/watch?v=w8JPEq0Qp4Q
2006-09-21
Underground film
Suárez Sánchez, Juan A. Bike Boys, Drag Queens, and Superstars: Avant-Garde, Mass Culture and Gay Identities in the 1960s Underground Cinema. Bloomington: Indiana UP, 1996?
Violence in film
Donnerstein, E., and L. Berkowitz. "Victim Reactions in Aggressive-Erotic Films as a Factor in Violence against Women." Journal of Personality and Social Psychology 41 (1981).
Escoda Agustí, Clara. "Julie Taymor's Titus (1999): Framing Violence and Activating Responsibility." Atlantis 28.1 (June 2006): 57-70.*
See also Violence; Pornography in film.
Visual pleasure in film
Boose, Lynda E. "Grossly Gaping Viewers and Jonathan Miller's Othello." In Shakespeare, the Movie: Popularizing the Plays on Film, TV and Video. Ed. Lynda E. Boose and Richard Burt. London: Routledge, 1997. 1999. 186-97.*
Crary, Jonathan. "Modernizing Vision." In Viewing Positions. Ed. Linda Williams. New Brunswick: Rutgers UP, 1995. 23-35.*
Doane, Mary Ann. "The Economy of Desire: The Commodity Form in/of the Cinema." Quarterly Review of Film and Video 11.1 (1989).
Flitterman, Sandy. "Woman, Desire, and the Look: Feminism and the Enunciative Apparatus in Cinema." In Theories of Authorship. Ed. John Caughie. (BFI Readers in Film Studies). London: Routledge, 1981. 1995. 242-50.*
Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Screen 16.3 (Autumn 1975): 6-18.
_____. "Visual Pleasure and Narrative Cinema." Rpt. in Popular Television and Film. Ed. T. Bennett et al. London: Open UP / BFI, 1989.
_____. "Visual Pleasure and Narrative Cinema." In Feminism and Film Theory. Ed. Constance Penley. New York: Routledge, 1988.
_____. "Visual Pleasure and Narrative Cinema." In Film Theory and Criticism: Introductory Readings. Ed. Gerald Mast, Marshall Cohen and Leo Brady. 4th ed. Oxford, 1992.
_____. "Visual Pleasure and Narrative Cinema." 1975. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 833-44.*
_____. "Visual Pleasure and Narrative Cinema." In Contemporary Literary Criticism: Literary and Cultural Studies. Ed. Robert Con Davis and Ronald Schleifer. 3rd ed. White Plains (NY): Longman, 1994. 421-32.*
_____. From "Visual Pleasure and Narrative Cinema." In A Critical and Cultural Theory Reader. Ed. Antony Easthope and Kate McGowan. Buckingham: Open UP, 1992. 158-66.*
_____. "Visual Pleasure and Narrative Cinema." 1975. In Feminisms. Ed. Robyn R. Warhol and Diane Price Herndl. Houndmills: Macmillan, n. d. 438-48.*
_____. Visual and Other Pleasures. Bloomington: Indiana UP, 1989.
Schwartz, Vanessa R. "Cinematic Spectatorship before the Apparatus: The Public Taste for Reality in Fin-de-Siècle Paris." In Viewing Positions. Ed. Linda Williams. New Brunswick: Rutgers UP, 1995. 87-113.*
Straayer, A. C. "Sexual Subjects: Signification, Viewership, and Pleasure in Film and Video." Ph.D. diss., Northwestern University, 1989.
Turim, Maureen. "Symmetry/Asymmetry and Visual Fascination." Wide Angle 4 (1980): 38-47.
Willemen, Paul. "Voyeurism, the Look, and Dworkin." Afterimage 6 (1976): 44-45.
See also Pleasure and film; Voyeurism.
Voice-Over
Chatman, Seymour. "New Directions in Voice-Narrated Cinema." In Narratologies. Ed. David Herman. Columbus: Ohio State UP, 1999. 315-39.*
Fleishman, Avrom. Narrated Films: Storytelling Situations in Cinema History. Baltimore: Johns Hopkins UP, 1992.
Kozloff, Sarah. Invisible Storytellers: Voice-Over Narration in American Fiction Film. Berkeley: U of California P, 1988.
Lawrence, Arny. Echo and Narcissus: Women's Voices in Classical Hollywood Cinema. (Voice-over).
Pennock-Speck, Barry, and Mª Milagros del Saz Rubio. Voice-Overs in Standardized English and Spanish Television Commercials." Atlantis 31.1 (June 2009): 111-27.*
Verstraten, Peter. "7. Tension between the Visual and Auditive Narrators." In Verstraten, Film Narratology: Introduction to the Theory of Narrative. Toronto: U of Toronto P, 2009. 125-45.*
Films
The Gunfighter. Dir. Eric Kissack.
2014
War films
Navajas, Santiago. "Las mejores películas bélicas de la historia." Libertad Digital 5 Oct. 2018.*
2018
Prado Pérez, José R. "Cultural Representations of War in the Vietnam Movie Subgenre." In Proceedings of the 22nd International Conference of AEDEAN (Asociación Española de Estudios Anglonorteamericanos). Lleida, 17-19 December 1998. Ed. Pere Gallardo and Enric Llurda. Lleida: Edicions de la Universitat de Lleida, 2000. 331-34.*
Series
(Cine Bélico). Barcelona: Planeta de Agostini, c. 2002.*
Westerns
Buscombe, Edward, and Roberta E. Pearson, eds. Back in the Saddle Again: New Essays on the Western. London: BFI, 1998.
Cawelti, John. "Reflections on the Western since 1970." In Gender, Language, and Myth. Ed. Glenwood Irons. Toronto: U of Toronto P, 1992. 83-102.*
Corkin, Stanley. "Cowboys and Free Markets: Post-War II Westerns and the US Hegemony." Cinema Journal 39.3 (2000): 66-91.
Fojas, Camilla. "Hollywood Border Cinema: Westerns with a Vengeance." Journal of Popular Film & Television 39.2 (2011): 93-101.
Klein, Marcus. "The Westerner: Origins of the Myth." In Gender, Language, and Myth. Ed. Glenwood Irons. Toronto: U of Toronto P, 1992. 65-82.*
Madsen, Deborah L. "Postmodern Westerns: Larry McMurtry and the Poetics of Nostalgia." In Postmodern Subjects / Postmodern Texts. Ed. Jane Dowson and Steven Earnshaw. Amsterdam: Rodopi, 1995. 129-42.*
Tarancón, Juan A. "Se habla español: A Certain Tendency in the Western Film." Miscelánea 36 (2007): 101-17.*
Warshow, Robert. "Movie Chronicle: The Westerner." 1954. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 654-67.*
Wright, Will. Six Guns and Society: A Structural Study of the Western. Berkeley: U of California P, 1975.
Films
Go West. Dir. Edward Buzzell. With the Marx brothers. 1940. (Spanish title: Los hermanos Marx en el Oeste)
Il buono, il brutto, il cattivo. Dir. Sergio Leone. Cast: Clint Eastwood, Eli Wallach, Lee Van Cleef. 1966. Spanish DVD: El bueno, el feo y el malo. Filmax, 2004.*
Fort Apache. Dir. John Ford. Cast: John Wayne, Henry Fonda, Shirley Temple, Pedro Armendariz, John Agar, Ward Bond, George O'Brien, Victor McLaglen, Anna Lee, Irene Rich, Dick Foran, Guy Kibbee, Mar Marsh, Hank Worden. USA, 1948. Reissued in computer colored version.
_____. Fort Apache. DVD. (Colección John Wayne). Madrid: La Razón / Vértice Cine, n.d.*
Per qualchi dollari in piu. Dir. Sergio Leone. Cast: Clint Eastwood, Lee Van Cleef, Gian Maria Volonte. Music by Ennio Morricone. Italy, Spain, etc., 1965. Spanish DVD: La muerte tenía un precio.i (Western). Valladolid: Divisa, 2002.*
Red River. Dir. and prod. Howard Hawks. Cast: John Wayne, Montgomery Clift, Walter Brennan, Joanne Dru. USA, 1948. Spanish DVD: Río Rojo. Madrid: La Razón, n.d.*
Rio Bravo. Dir. Howard Hawks. Written by Leigh Brackett and Jules Furthman. Cast: John Wayne, Dean Martin, Ricky Nelson, Angie Dickinson, Walter Brennan, Ward Bond, John Russell, Claude Akins, Bob Steele. USA: Warner, 1959. VHS.*
The Searchers. Dir. John Ford. 1956.
_____, dir. Centauros del desierto (Trans. of The Searchers).
Stagecoach. Dir. John Ford. Written by Dudley Nichols. Cast: John Wayne, Claire Trevor, Andy Devine. Prod. Walter Wanger. Spanish DVD: La Diligencia. (Colección John Wayne). Madrid: La Razón, n.d.*
Unforgiven. Prod. and dir. Clint Eastwood. Cast: Clint Eastwood, Gene Hackman, Morgan Freeman, Richard Harris. Music by Lennie Niehaus. Prod. des. Henry Bumstead. Photog. Jack N. Green. Written by David Webb Peoples. Exec. prod. David Valdes. USA: Malpaso / WB, 1992. (Oscar for Best Film, 1992; 4 Oscars).
_____, dir. Sin perdón. Spanish DVD. (Filmoteca de El Cultural; Colección Clint Eastwood, 6). Spain: El Mundo / WB, 2005.*
Writing for film
Bicât, Tony. Creative Screenwriting.
Tubau, Daniel. Las paradojas del guionista: Reglas y excepciones en la práctica del guión.
Vogler, Christopher. The Writer's Journey: Mythic Structure for Storytellers and Screenwriters. Rev. ed. London: Boxtree, 1996.*
_____. El viaje del escritor: Las estructuras míticas para escritores, guionistas, dramaturgos y novelistas. Barcelona: Ma Non Troppo, 2002.
See also Writing guides (drama); Screenplays.
No hay comentarios:
Publicar un comentario