Crítica y teoría temprana sobre el cine

 

    from

A Bibliography of Literary Theory, Criticism and Philology

http://bit.ly/abibliog

by José Ángel García Landa

(University of Zaragoza, Spain)

 

 

Early treatises and theories on film (to 1950)

 

 

Agate, James. Around Cinemas. London, 1948.

Arnheim, Rudolf. Film als Kunst. Berlin, 1932.

_____. Film as Art. Berkeley: U of California P, 1957.

_____. (Rudolph Arnheim). Film as Art. London, 1958.

_____. From Film as Art. ("The Complete Film"). 1933. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 212-15.*

_____. 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).

Astruc, Alexandre. "Naissance d'une nouvelle avant-garde: la caméra-stylo." Ecran français 144 (30 March 1948).

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).

Blumer, Herbert. Movies and Conduct. Ayer Co., 1933.

Brinton, Joseph P. "Subjective Camera or Subjective Audience?" Hollywood Quarterly 2 (July 1947): 359-65.

Cabello, Alfredo. El libro del cine. Madrid: Dédalo, 1933.

Eikhenbaum, Boris. "Problems of Film Stylistics." From Poetika Kino. 1927. Screen 15 (Autumn 1974).

Eisenstein, Sergei. Film Form. Ed. and trans. Jay Leyda. New York: Harcourt, 1949. 1977.

_____. The Film Sense. 1942. London, 1943.

_____. The Film Sense. Trans. Jay Leyda. New York: Harcourt, 1947. 1975.

Elliott, Eric. Anatomy of Motion Picture. London, 1928.

Faure, Elie. The Art of Cineplastics. Trans. Walter Pach. Boston, 1923.

Gance, Abel. "Le Temps de l'image est venu." L'Art cinématographique 2 (Paris, 1927).

Huntley, John. British Film Music. 1948. New York, 1972.

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.

Kracauer, S. From Caligari to Hitler: A Psychological History of the German Film. Princeton: Princeton UP, 1947.

Kuleshov. Kuleshov on Film. Ed. I. Levaco. London, 1974.

Lightman, Herb A. "The Technique of the Documentary Film." American Cinematographer 26 (November 1945): 371-, 378, 402.

Lindgren, Ernest. The Art of the Film. London, 1950.

Lindsay, Vachel. The Art of the Moving Picture. New York, 1922.

Lukács, Georg. "Gedanken zu einer Ästhetik des Kinos." 1913. In Schriften zur Literatursoziologie. Ed. P. Lutz. 2nd ed. Neuwied, 1963.

Mann, Thomas. "Ueber den Film." In Mann, Die Forderung des Tages. Berlin, 1930.

Münsterberg, Hugo. The Film: A Psychological Study: The Silent Photoplay in 1916. New York: Dover, 1970.

_____. "The Means of the Photoplay." In Film Theory and Criticism. Ed. Gerald Mast and Marshal Cohen. New York: Oxford UP, 1979. 239-48.

Panofsky, Erwin. "Style and Medium in the Motion Pictures." 1934, rev. 1947. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 279-292.*

_____. "El cine como estilo y como medio." 1934. Trans. in Cuadernos de la Gaya Ciencia 3 (1976): 73-98.*

Pierre-Quint, Léon. "Signification du cinéma." L'Art cinématographique 2 (1927).

Pudovkin, Vsevolod I. Film Technique. 1926.

_____. Filmregie und Filmmanuskript. Berlin, 1928.

_____. Film Technique and Film Acting. London, 1974.

Shklovski, V., et al. Poetika kino. Moscú: Kinoizdat, 1927.

Tynianov, Iuri. "Ob osnovaj kino." In V. Shklovski et al., Poetika kino. Moscow: Kinoizdat, 1927. 53-85.

 

Sobre crítica y teoría del cine

 

    from

A Bibliography of Literary Theory, Criticism and Philology

http://bit.ly/abibliog

by José Ángel García Landa

(University of Zaragoza, Spain)

 

 

(On) Criticism and theory of film

 

 

Allen, Richard, and Murray Smith, eds. Film Theory and Philosophy. Oxford: Oxford UP, 1999.

Bordwell, David. Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge (MA): Harvard UP, 1989.

Carroll, Noël. Mystifying Movies: Fads and Fallacies in Contemporary Film Theory. New York: Columbia UP, 1988.

_____. From Mystifying Movies ("Jean-Louis Baudry and 'The Apparatus'"). In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 778-94.*

Casetti, Francesco. Teorías del cine 1945-1990. 1993. Trans. Pepa Linares. Madrid: Cátedra, 1994.

Corrigan, Timothy. A Short Guide to Writing about Film. 2nd ed. New York: HarperCollins, 1994.

Easthope, Antony. "Film Theory." In Easthope, British Post-Structuralism since 1968. 1988. London: Routledge, 1991. 34-70.*

Eberwein, Robert T. A Viewer's Guide to Film Theory and Criticism. New Jersey, 1979.

Edwards, Marion. "As Good as It Gets/Mejor imposible." In AEDEAN: Proceedings of the 23rd International Conference (León, 16-18 de diciembre, 1999). CD-ROM. León: AEDEAN, 2003.* (Film reviews and translation).

Fuery, Patrick. "The Shattering Pluralism: Film and Its Discourses." In Fuery, New Developments in Film Theory. Houndmills: Macmillan, 2000.

_____. "Film and Meaning." In Fuery, New Developments in Film Theory. Houndmills: Macmillan, 2000.

_____. New Developments in Film Theory. Houndmills: Macmillan, 2000.

García Landa, José Ángel. "Cine y estudios filológicos." In García Landa, Vanity Fea 29 Oct. 2008.

         http://garciala.blogia.com/2008/102902-cine-y-estudios-filologicos.php

         2008

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.*

Kael, Pauline. "Is There a Cure for Film Criticism?" Sight and Sound 31 (Spring 1962): 56-64.

Kaplan, E. Ann. "Introductory Notes." In Psychoanalysis & Film. Ed. E. Ann Kaplan. New York: Oxford UP, 2000. 19-21.

Kauffmann, Stanley. Figures of Light: Film Criticism and Commentary. New York, 1971.

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.*

Lim, Dennis. "Explaining Movies by Jumping Right Inside Them." Rev. of Slavoj Zizek's The Pervert's Guide to Cinema, dir. Sophie Fiennes. New York Times 15 April 2007.

         http://www.nytimes.com/2007/04/15/movies/15lim.html?_r=1&adxnnl=1&oref=slogin&adxnnlx=1176754120-YsZ9eklnIgdHCdOr0l/htg

         2007-04-16

Murray, Edward, ed. Nine American Film Critics: A Study of Theory and Practice. New York, 1975.

Schütte, Wolfram. "Normas para la crítica cinematográfica." In Crítica de la crítica. Ed. Peter Hamm. Barcelona: Barral, 1971. Trans. of Kritik / von wem / für wen / wie? Munich: Carl Hanser, 1968. 77-84.

Shaw, Spencer. Film Consciousness: From Phenomenology to Deleuze. 2007.

Valente, José Ángel. "Azorín y el cine." In Valente, Obras completas, II: Ensayos. Barcelona: Círculo de Lectores / Galaxia Gutenberg, cop. 2008. 781-85.*

 

 

 

 

Video

 

 

Bueno Sánchez, Gustavo. "Filmología, efímera e ideológica disciplina." Video. Lecture at the Escuela de Filosofía de Oviedo, 19 Nov. 2018. YouTube (fgbuenotv) 19 Nov. 2018.* (Cohen-Seat; Mauricio de Begoña).

         https://youtu.be/ipqW_h78hbY

         2018

 

 

 

 

Autoría en el cine

 

     from

A Bibliography of Literary Theory, Criticism and Philology

http://bit.ly/abibliog

by José Ángel García Landa

(University of Zaragoza, Spain)

 

 

Authorship / Auteurship (in film)

 

 

Aragay, Mireia, ed. Books in Motion: Adaptation, Intertextuality, Authorship. Amsterdam and New York: Rodopi, 2005.*

http://www.rodopi.nl/functions/search.asp?BookId=COCI+2

2005-12-13

Booth, Wayne. "Is There an 'Implied Author' in Every Film?" College Literature 29.2 (Spring 2002): 124.31. In Literature Online.* http://lion.chadwyck.co.uk

         5/7/04

Branigan, Edward. "Diegesis and Authorship in Film." Iris 7 (1986): 37-54.

Caughie, John, ed. Theories of Authorship. Ed. John Caughie. (BFI Readers in Film Studies). London: Routledge, 1981. 1995.*

Crofts, Stephen. "Authorship and Hollywood." Wide Angle 5 (1983): 16-22.

Diehl, Karen. "Once upon an Adaptation: Traces of the Authorial on Film." In Books in Motion: Adaptation, Intertextuality, Authorship. Ed. Mireia Aragay. Amsterdam and New York: Rodopi, 2005. 89-106.*

García Mainar, Luis Miguel. "Genre, Auteur and Identity in Contemporary Hollywood Cinema: Clint Eastwood's White Hunter, Black Heart." Miscelánea 26 (2002, issued Feb. 2004): 21-38.*

         http://fyl.unizar.es/miscelanea/miscelanea.html

- - -. Clint Eastwood, de actor a autor. Barcelona: Paidós, 2006.

- - -. "Authorship and Identity in the Cinema of Clint Eastwood." Atlantis 29.2 (Dec. 2007): 27-37.*

Leitch, Thomas. "The Adapter as Auteur: Hitchcock, Kubrick, Disney." In Books in Motion: Adaptation, Intertextuality, Authorship. Ed. Mireia Aragay. Amsterdam and New York: Rodopi, 2005. 107-24.*

McCarthy, Margaret. "Adaptation and Autobiographical Auteurism: A Look at Filmmaker/Writer Doris Dörrie." In Books in Motion: Adaptation, Intertextuality, Authorship. Ed. Mireia Aragay. Amsterdam and New York: Rodopi, 2005. 125-42.*

Oudart, Jean-Pierre. "The Absent Field of the Author." In Theories of Authorship. Ed. John Caughie. (BFI Readers in Film Studies). London: Routledge, 1981. 1995. 261-70.*

Sarris, Andrew. "Notes on the Auteur Theory in 1962." 1962. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 515-18.*

- - -. "The Searchers." (Ford). In Theories of Authorship. Ed. John Caughie. (BFI Readers in Film Studies). London: Routledge, 1981. 1995. 78-82.*

Wood, Robin. "Ideology, Genre, auteur." In Film Genre Reader. Ed. Barry Keith Grant. U of Texas P, 1986.

Wollen, Peter. Signs and Meaning in the Cinema. Bloomington (IN), 1969.

- - -. Signs and Meaning in the Cinema. 2nd ed. London: Secker, 1972.

- - -. From Signs and Meaning in the Cinema ("The Auteur Theory"). 1969, 1972. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 519-35.

- - -. "The auteur Theory." Extract. In Theories of Authorship. Ed. John Caughie. (BFI Readers in Film Studies). London: Routledge, 1981. 1995. 138-51.*

 

 

 

See also Directors.

 

 

 

 

Estética y estilo en el cine

 

    from

A Bibliography of Literary Theory, Criticism and Philology

http://bit.ly/abibliog

by José Ángel García Landa

(University of Zaragoza, Spain)

 

 

Aesthetics and style in film

 

 

Arnheim, Rudolf. Film als Kunst. Berlin, 1932.

_____. Film as Art. Berkeley: U of California P, 1957.

_____. (Rudolph Arnheim). Film as Art. London, 1958.

_____. From Film as Art. ("The Complete Film"). 1933. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 212-15.*

_____. 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).

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).

Bazin. From What Is Cinema? ("The Evolution of the Language of Cinema"). 1950-55. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 43-56.*

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.*

_____. "Classical Hollywood Cinema: Narrational Principles and Procedures." In Narrative, Apparatus, Ideology. Ed. Philip Rosen. New York: Columbia UP, 1986.

_____. "El estilo clásico de Hollywood, 1917-1960." In El cine clásico de Hollywood: Estilo cinematográfico y modo de producción hasta 1960.  By David Bordwell, Janet Staiger and Kristin Thompson. Barcelona: Paidós, 1997. 3-96.

_____. On the History of Film Style. Cambridge (MA): Harvard UP, 1997. 1998.

_____. "From Stylistic History to Thematic Criticism." In Bordwell, On the History of Film Style. Cambridge: Cambridge UP, 1997. 75-82.

_____. The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley: U of California P, 2006.

_____. Poetics of Cinema. New York: Routledge, 2008.

Bordwell, David, and Kristin Thompson. Film Art: An Introduction. Reading (MA), 1979.

_____. Film Art: An Introduction. 3rd ed. New York: McGraw-Hill, 1990.*

Bordwell, David, and Janet Steiger. "Implicaciones históricas del cine clásico de Hollywood." In El cine clásico de Hollywood: Estilo cinematográfico y modo de producción hasta 1960.  By David Bordwell, Janet Steiger and Kristin Thompson. Barcelona: Paidós, 1997. 411-32.

Casebier, Allan. Film and Phenomenology: Toward a Realist Theory of Cinematic Representation. Cambridge: Cambridge UP, 1991.

Deren, Maya. "Cinematography: The Creative Discourse of Reality." 1960. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 216-27.*

Echevarría, Julia. "Liquid Cinematography..." Academia (March 2016).*

         https://www.academia.edu/23643060/

         2016

Eisenstein, Sergei. Film Form. Ed. and trans. Jay Leyda. New York: Harcourt, 1949. 1977.

_____. The Film Sense. 1942. London, 1943.

_____. The Film Sense. Trans. Jay Leyda. New York: Harcourt, 1947. 1975.

Gance, Abel. "Le Temps de l'image est venu." L'Art cinématographique 2 (Paris, 1927).

García Landa, José Angel. "El momento fílmico (de Hamlet a Saraband)." In García Landa, Vanity Fea 20 Feb. 2012.*

         http://vanityfea.blogspot.com/2012/02/el-momento-filmico-de-hamlet-saraband.html

         2012

_____. "El momento fílmico." Ibercampus (Vanity Fea) 28 Feb. 2012.*

         http://www.ibercampus.es/articulos.asp?idarticulo=15235

         2012

_____. "El momento fílmico (de Hamlet a Saraband)." In García Landa, Vanity Fea 20 Feb. 2012.*

         http://vanityfea.blogspot.com/2012/02/el-momento-filmico-de-hamlet-saraband.html

         2012

_____. "El momento fílmico: de Hamlet a Saraband." Social Science Research Network 7 June 2015.*

         http://ssrn.com/abstract=2602490

         2015

         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." Academia 19 July 2015.*

         https://www.academia.edu/14107431/

         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

Hill, J. "Film and Postmodernism." In The Oxford Guide to Film Studies. Oxford: Oxford UP, 1998. 96-105.

Hollows, Joanna, and Mark Jancovich, eds. Approaches to Popular Film. Manchester: Manchester UP, 1995.

Huerga, Pablo. La ventana indiscreta: La poética materialista del cine. Ed. Rema y vive, 2015.*

Lukács, Georg. "Gedanken zu einer Ästhetik des Kinos." 1913. In Schriften zur Literatursoziologie. Ed. P. Lutz. 2nd ed. Neuwied, 1963.

Lawson, John Howard. Film: The Creative Process. 2nd ed. New York, 1967.

Münsterberg, Hugo. The Film: A Psychological Study: The Silent Photoplay in 1916. New York: Dover, 1970.

_____. From The Film: A Psychological Study. ("The Means of the Photoplay").. In Film Theory and Criticism. Ed. Gerald Mast and Marshal Cohen. New York: Oxford UP, 1979. 239-48.

_____. From The Film: A Psychological Study ("The Means of the Photoplay"). 1916. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 401-7.*

Murray, Edward. The Cinematic Imagination. New York, 1972.

Panofsky, Erwin. "Style and Medium in the Motion Pictures." 1934, rev. 1947. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 279-292.*

_____. "El cine como estilo y como medio." 1934. Trans. in Cuadernos de la Gaya Ciencia 3 (1976): 73-98.*

Perkins, Victor. Film as Film. London, 1972.

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).

Pudovkin, Vsevolod I. Film Technique. 1926.

_____. Filmregie und Filmmanuskript. Berlin, 1928.

_____. Film Technique and Film Acting. London, 1974.

_____. Film Technique and Film Acting. Trans. I. Montagu. 1954.

_____. Film Technique and Film Acting. London, 1974.

Salt, Barry. Film Style and Technology: History and Analysis. London: Starword, 1983.

Sparshott, F. E. "Basic Film Aesthetics." In Film Theory and Criticism. Ed. Gerald Mast and Marshall Cohen. New York, 1974. 209-32.

Stephenson, Ralph, and Jean R. Debrix. The Cinema as Art. 2nd ed. Baltimore (MD): Penguin, 1976.

Tarkovsky, Andrei. Sculpting in Time. (Essay on film). 1986.

Torre, Guillermo de. "Cinema." Revista de Occidente 146-7 (1993): 265-8.

Walker, George Graham. "Film as Fine Art." Sight and Sound 17 (Winter 1948): 173-4.

Whittock, Trevor. Metaphor and Film. Cambridge: Cambridge UP, 1990.

Wood, Robin. Personal View: Explorations in Film. London: Gordon Fraser, 1976.

Zavala, Lauro. "Cine clásico, moderno y posmoderno." Razón y Palabra

         http://www.razonypalabra.org.mx/anteriores/n46/lzavala.html

         2015

 

 

 

 

Video

 

 

Godard, Jean-Luc, and Fritz Lang. Le dinosaure et le bébé: Dialogue en huit parties entre Fritz Lang et Jean-Luc Godard / El dinosaurio y el bebé: Conversación entre Jean-Luc Godard y Fritz Lang. YouTube (Paco Titorelli) 8 Oct. 2012.*

         https://youtu.be/XcAZu3GkBwI

         2018

 

Huerga, Pablo, and Gustavo Bueno. "Poética materialista del cine." 25 May 2015. YouTube (fgbuenotv)

         https://youtu.be/hlDZJ2Bfrj0

         2015

 

 

 

 

 

See also Form in film; Genres; Semiotics of film.