A Bibliography of Literary Theory, Criticism and Philology
by José Ángel García Landa
(University of Zaragoza, Spain)
Point of View in Film
Anderst, Leah. "Cinematic Free Indirect Style: Represented Memory in Hiroshima mon amour." Narrative 19.3 (Oct. 2011): 358-82.*
Andringa, Els, Petra van Horssen, Astrid Jacobs, and Ed Tan. "Point of View and Viewer Empathy in Film." In New Perspectives on Narrative Perspective. Ed. Willie van Peer and Seymour Chatman. Albany: SUNY Press, 2001. 133-58.*
Aumont, Jacques. "The Point of View." Trans. Arthur Denner. Quarterly Review of Film and Video 11 (1989): 1-22.
Balász, Béla. 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).
Bordwell, David. Narration in the Fiction Film. Madison: U of Wisconsin P, 1985.*
_____. "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.*
_____. "Film Futures." SubStance 31 (2002): 88–104.
Branigan, Edward. Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film. Berlin: Mouton, 1984.
_____. "The Point-of-View Shot." In Movies and Methods: An Anthology, 2. Ed. Bill Nichols. Berkeley: U of California P, 1985.
Carroll, Noël. "Toward a Theory of Point-of-View Editing: Communication, Emotion, and the Movies." Poetics Today 14.1 (1993): 123-142.*
Chatman, Seymour. "Narration and Point of View in Fiction and the Cinema." Poetica 1 (1974).
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.
de Lauretis, Teresa. "Through the Looking Glass." In The Cinematic Apparatus. Ed. Teresa de Lauretis and Stephen Heath. New York, 1980.
Deleyto, Celestino. "Focalisation in Film Narrative." Atlantis 13 (1991): 159-79.
_____. "Focalisation in Film Narrative." Selection. In Narratology: An Introduction. Ed. Susana Onega and José Angel García Landa. London: Longman, 1996. 217-33.*
Eberwein, Robert T. "The Filmic Dream and Point of View." Literature / Film Quarterly 8 (1980): 197-203.
Fontanille, J. Les espaces subjectifs: Introduction à la sémiotique de l'observateur (discours-peinture-cinéma). Paris: Hachette, 1989.
Fuery, Patrick. "Dangerous Supplements: The Envy of the Gaze." In Fuery, New Developments in Film Theory. Houndmills: Macmillan, 2000.
García Mainar, Luis Miguel. "Auto-Focalisation in Film Narrative." Atlantis 15 (1993): 153-68.
González Requena, Jesús. "Enunciación, punto de vista, sujeto." Contracampo 42 (Summer-Fall 1987): 6-41.*
Heath, Stephen. "Narrative Space." Screen 17.3 (1976): 68-112.
_____. "Narrative Space." Rpt. in Heath, Questions of Cinema.
_____. "Narrative Space." In Narrative, Apparatus, Ideology: A Film Theory Reader. Ed. Philip Rosen. New York: Columbia UP, 1986.
Hostkotte, Silke. "Seeing or Speaking: Visual Narratology and Focalization, Literature to Film." In Narratology in the Age of Cross-Disciplinary Narrative Research. Ed. Sandra Heinen and Roy Sommer. Berlin and New York: Walter de Gruyter, 2009. 170-92.* (Kafka, Haneke, Walser, Stephen and Timothy Quay, Institute Benjamenta or This Dream People Call Human Life).
Hrabal, Jiri. "Ke konzeptu fokalizace v literární a filmové naratologii." In Intermedialita: Slovo – Obraz – Zvuk: Sborník prispevku ze sympozia. Ed. Jan Schneider and Lenka Krausová. Univerzita Palackeho v Olomouci, 2008. 45-52.*
https://www.academia.edu/19673291/
2020
Jost, François. "Focalisations cinématographiques: de la théorie à l'analyse textuelle." Fabula 4 (1984): 9-31.
_____. L'œil-caméra: Entre film et roman. 2nd ed. Lyon: Presses Universitaires, 1989.
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).
_____. 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).
Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Screen 16.3 (Autumn 1975): 6-18.
_____. "Afterthoughts on 'Visual Pleasure and the Narrative Cinema' inspired by King Vidor's Duel in the sun (1946)." Framework 15-16-17 (1981): 12-15.
_____. Visual and Other Pleasures. Bloomington: Indiana UP, 1989.
Murphet, Julian. "7. Point of View." In Helen Fulton et al., Narrative and Media. Cambridge: Cambridge UP, 2005. 86-95.* (In film).
Smith, Murray. "22. Darwin and the Directors: Film, Emotion, and the Face in the Age of Evolution." 2003. In Evolution, Literature and Film: A Reader. Ed. Brian Boyd, Joseph Carroll and Jonathan Gottschall. New York: Columbia UP, 2010. 258-69.*
Pereira-Zazo, Óscar. (U of Nebraska-Lincoln). "Cuestión de puntos de vista: La mirada infantil en El Espíritu de la colmena y Secretos del corazón." In Modes de representació i estratègies discursives. Ed. Josep V. Gavaldà Roca and Carmen Gregori Signes. (Quaderns de Filologia – Estudis de Comunicació, vol. 1). Valencia: U de Valencia, 2002. 227-38.*
https://www.academia.edu/34217368/
2020
Perlmutter, Ruth. "Multiple Strands and Possible Worlds." Canadian Journal of Film Studies 11.2 (2002).
Pinkas, Claudia. Der phantastische Film: Instabile Narrationen und die Narration der Instabilität. (Narratologia: Contributions to Narrative Theory, 25). Berlin and New York: De Gruyter, 2010.* (Perspective, narration, embedding, frame breaking).
Quendler, Christian. "The Conceptual Integration of Intermediality: Literary and Cinematic Camera-Eye Narratives." In Blending and the Study of Narrative: Approaches and Applications. Ed. Ralf Schneider and Marcus Hartner. Berlin and Boston: De Gruyter, 2012. 199-227.*
_____. "Subjective Cameras Locked-In and Out-of-Body." Academia (2014).*
https://www.academia.edu/6635495/
2014
Schlickers, Sabine. "Focalization, Ocularization and Auricularization in Film and Literature." 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. 243-58.*
Verstraten, Peter. "6. The Visual Narrator and Visual Focalization." In Verstraten, Film Narratology: Introduction to the Theory of Narrative. Toronto: U of Toronto P, 2009. 96-124.*
Wilson, George M. Narration in Light: Studies in Cinematic Point of View. Baltimore (MD): Johns Hopkins UP, 1986. 1988.*
Williams, Linda. "When the Woman Looks." In Re-Vision: Essays in Feminist Film Criticism. Ed. Mary Ann Doane, Patricia Mellencamp, and Linda Williams. Frederick (MD): University Publications of America, 1984.
Bibliography
García Landa, José Angel. "Point of View." (Film). From A Bibliography of Literary Theory, Criticism and Philology. Online at enconv.org 11 April 2013.*
http://enconv.org/docs/index-49991.html
2014
See also Editing; Space; Montage.
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