Abrams, M. H. “From Addison to Kant: Modern Aesthetics and the Exemplary Art.” In Doing Things with Texts, edited by Michael Fischer, 159–87. New York: Norton, 1989.
Allen, Richard. “Looking at Motion Pictures (Revised).” Film-Philosophy 5, no. 25 (2001): www.film-philosophy.com/index.php/f-p/article/view/646/559.
Allen, Richard, and Murray Smith, eds. Film Theory and Philosophy. Oxford: Oxford University Press, 1997.
Altman, Rick. “A Semantic/Syntactic Approach to Film Genre.” Cinema Journal 23, no. 3 (1984): 6–18.
Anderson, James C. “Aesthetic Concepts of Art.” In Theories of Art Today, edited by Noël Carroll, 65–92. Madison: University of Wisconsin Press, 2000.
Andrew, Dudley. Concepts in Film Theory. Oxford: Oxford University Press, 1984.
. The Major Film Theories: An Introduction. Oxford: Oxford University Press, 1976.
. “The Unauthorized Auteur Today.” In Film Theory: An Anthology, edited by Robert Stam and Toby Miller, 20–28. Oxford: Blackwell, 2000.
Arrell, Douglas. “Exemplification Reconsidered.” British Journal of Aesthetics 30, no. 3 (1990): 233–43.
Bakhtin, M. M. The Dialogical Imagination: Four Essays. Edited by Michael Holquist. Translated by Caryl Emerson and Michael Holquist. Austin: University of Texas Press, 1981.
Barker, Jennifer. The Tactile Eye: Touch and Cinematic Experience. Berkeley: University of California Press, 2009.
Barthes, Roland. “An Introduction to the Structural Analysis of Narrative.” New Literary History 6, no.2 (1975): 237–72.
Bazin, André. “On the politique des auteurs.” In Cahiers du cinéma, the 1950s: Neorealism, Hollywood, New Wave, edited by Jim Hiller, 248–59. Cambridge, MA: Harvard University Press, 1985.
. Orson Welles: A Critical View. Los Angeles: Acrobat, 1991.
. What Is Cinema? Translated by Hugh Gray. 2 vols. Berkeley: University of California Press, 1967–71.
Beardsley, Monroe C. “Languages of Art and Art Criticism.” Erkenntnis 12, no. 1 (1978): 95–118.
Beugnet, Martine. Claire Denis. Manchester: Manchester University Press, 2004.
Billard, Pierre. “An Interview with Michelangelo Antonioni.” In Blow-Up; a Film, 5–10. London: Lorrimer, 1971.
Biro, Yvette. Turbulence and Flow in Film: The Rhythmic Design. Bloomington: Indiana University Press, 2008.
Bloom, Paul, and Deena Skolnick. “The Intuitive Cosmology of Fictional Worlds.” In The Architecture of the Imagination: New Essays on Pretence, Possibility, and Fiction, edited by Shaun Nichols, 73–88. Oxford: Oxford University Press, 2006.
Bonitzer, Pascal. “Deframings.” In “Cahiers du cinéma.” Volume Four, 1973–1978: History, Ideology, Cultural Struggle, edited by David Wilson, 197–204. London: Routledge, 2000.
Bordwell, David. “Contemporary Film Studies and the Vicissitudes of Grand Theory.” In Bordwell and Carroll, Post-Theory, 3–37.
. Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge, MA: Harvard University Press, 1991.
. Narration in the Fiction Film. Madison: University of Wisconsin Press, 1985.
. “Sarris and the Search for Style.” In Citizen Sarris, American Film Critic: Essays in Honor of Andrew Sarris, edited by Emanuel Levy, 165–73. Lanham, MD: Scarecrow, 2001.
. The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley: University of California Press, 2006.
Bordwell, David, and Noël Carroll, eds. Post-Theory: Reconstructing Film Studies. Madison: University of Wisconsin Press, 1996.
Bordwell, David, Janet Staiger, and Kristin Thompson. Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press, 1985.
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 5th ed. New York: McGraw-Hill, 1997.
. Minding Movies. Observations on the Art, Craft, and Business of Filmmaking. Chicago: University of Chicago Press, 2011.
Branigan, Edward F. Narrative Comprehension and Film. London: Routledge, 1992.
Bresson, Robert. Notes on the Cinematographer. Translated by Jonathan Griffin. Copenhagen: Green Integer, 1997.
Brody, Richard. Everything Is Cinema: The Working Life of Jean-Luc Godard. London: Faber and Faber, 2008.
Brooke, Michael. “Robert Bresson: Alias Grace.” Sight and Sound 17, no. 11 (2007): 26.
Brown, Robert. “Greenaway’s Contract.” In Peter Greenaway: Interviews, edited by Vernon Gras and Marguerite Gras, 6–12. Jackson: University Press of Mississippi, 2000.
Buckland, Warren. The Cognitive Semiotics of Film. Cambridge: Cambridge University Press, 2000.
Burch, Noël. Life to Those Shadows. Translated and edited by Ben Brewster. Berkeley: University of California Press, 1990.
. Theory of Film Practice. Translated by Helen R. Lane. New York: Praeger, 1973.
. To the Distant Observer: Form and Meaning in Japanese Cinema. Berkeley: University of California Press, 1992.
Burgoyne, Robert, Sandy Flitterman-Lewis, and Robert Stam. New Vocabularies in Film Semiotics: Structuralism, Post-Structuralism, and Beyond. London: Routledge, 1992.
Carroll, Noël. Engaging the Moving Image. New Haven, CT: Yale University Press, 2003.
. Philosophy of Art: A Contemporary Introduction. New York: Routledge, 1999.
. A Philosophy of Mass Art. Oxford: Clarendon, 1998.
. The Philosophy of Motion Pictures. Oxford: Blackwell, 2008.
. Philosophical Problems of Classical Film Theory. Princeton, NJ: Princeton University Press, 1988.
. “Prospects for Film Theory.” In Bordwell and Carroll, Post-Theory, 37–68.
. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996.
Carroll, Noël, and Jinhee Choi, eds. Philosophy of Film and Motion Pictures: An Anthology. Oxford: Blackwell, 2006.
Casey, Edward S. Foreword to The Phenomenology of Aesthetic Experience, by Mikel Dufrenne. Translated by Edward S. Casey, xv–xlii. Evanston, IL: Northwestern University Press, 1973.
Cassirer, Ernst. An Essay on Man: An Introduction to a Philosophy of Human Culture. New Haven, CT: Yale University Press, 1944.
. Language and Myth. Translated by Susanne K. Langer. New York: Dover, 1946.
. The Philosophy of Symbolic Forms. Translated by Ralph Manheim. 4 vols. New Haven, CT: Yale University Press, 1953–96.
Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film. New York: Viking, 1971.
Cecchi, Alessandro. “Diegetic versus Nondiegetic: A Recognition of the Conceptual Opposition as a Contribution to the Theory of Audiovision.” Worlds of Audiovision (2010): www.worldsofaudiovision.org.
Chatman, Seymour. Coming to Terms: The Rhetoric of Narrative in Fiction and Film. Ithaca, NY: Cornell University Press, 1990.
Chion, Michel. Kubrick’s Cinema Odyssey. Translated by Claudia Gorbman. London: BFI, 2001.
Collingwood, R. G. The Principles of Art. London: Oxford University Press, 1958.
Collinson, Diané. “Aesthetic Experience.” In Philosophical Aesthetics: An Introduction, edited by Oswald Hanfling, 111–78. Oxford: Blackwell, 1992.
Constantini, Constanzo, ed. Conversations with Fellini. New York: Harvest, 1995.
Croce, Benedetto. The Essence of Aesthetic. Translated by Douglas Ainslie. London: Heinemann, 1921.
Currie, Gregory. Image and Mind: Film, Philosophy, and Cognitive Science. Cambridge: Cambridge University Press, 2008.
. “The Long Goodbye: The Imaginary Language of Film.” In Carroll and Choi, Philosophy of Film and Motion Pictures, 91–99.
Danto, Arthur C. “Moving Pictures.” In Carroll and Choi, Philosophy of Film and Motion Pictures, 100–12.
Deleuze, Gilles. Cinema 1: The Movement-Image. Translated by Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press, 1986.
. Cinema 2: The Time-Image. Translated by Hugh Tomlinson and Robert Galeta. Minneapolis: University of Minnesota Press, 1989.
Dickie, George. Aesthetics: An Introduction. New York: Bobbs-Merrill, 1971.
Dufrenne, Mikel. The Phenomenology of Aesthetic Experience. Translated by Edward S. Casey. Evanston, IL: Northwestern University Press, 1973.
Dunne, Nathan, ed. Tarkovsky. London: Black Dog, 2008.
Dupré, Louis. “Cassirer’s Symbolic Theory of Culture and the Historicization of Philosophy.” In Symbolic Forms and Cultural Studies: Ernst Cassirer’s Theory of Culture, edited by Cyrus Hamlin and John Michael Krois, 35–49. New Haven, CT: Yale University Press, 2004.
Dyer, Richard. “Introduction to Film Studies.” In Film Studies: Critical Approaches, edited by John Hill and Pamela Church Gibson, 3–10. Oxford: Oxford University Press, 2000.
Ebert, Roger. “Review of El Topo.” RogerEbert.com. Oct. 6, 2007. www.rogerebert.com/reviews/great-movie-el-topo-1970.
Eisenstein, Sergei. “A Dialectical Approach to Film Form.” In Film Theory and Criticism, 3rd ed., edited by Marshall Cohen and Gerald Mast, 103–24. Oxford: Oxford University Press, 1985.
. Film Form [and] The Film Sense: Two Complete and Unabridged Works. Edited and translated by Jay Leyda. New York: Meridian, 1957.
. “The Montage of Film Attractions.” In S. M. Eisenstein: Selected Works. Edited and translated by Richard Taylor. Vol. 1, Writings, 1922–1934, 39–58. London: BFI, 1988.
Elgin, Catherine Z. “Reorienting Aesthetics, Reconceiving Cognition.” Journal of Aesthetics and Art Criticism 58, no. 3 (2000): 219–25.
Elliott, R. K. “Aesthetic Theory and the Experience of Art.” In The Philosophy of Art: Readings Ancient and Modern, edited by Alex Neill and Aaron Ridley, 153–64. New York: McGraw-Hill, 1995.
Ellis, John M. Language, Thought, and Logic. Evanston, IL: Northwestern University Press, 1993.
Elster, Jon. Alchemies of the Mind: Rationality and the Emotions. Cambridge: Cambridge University Press, 1999.
Files, Craig. “Goodman’s Rejection of Resemblance.” British Journal of Aesthetics 36, no. 4 (1996): 398–412.
Frampton, Daniel. Filmosophy. London: Wallflower, 2006.
Friedman, Michael. A Parting of the Ways: Carnap, Cassirer, and Heidegger. Peru, IL: Open Court, 2000.
Gadamer, Hans-Georg. Philosophical Hermeneutics. Edited and translated by David E. Linge. Berkeley: University of California Press, 1976.
. Truth and Method. Translated by Joel Weinsheimer and Donald G. Marshall. 2nd ed. New York: Continuum, 1989.
Gaut, Berys. A Philosophy of Cinematic Art. Cambridge: Cambridge University Press, 2010.
Gaut, Berys, and Dominic McIver Lopes, eds. The Routledge Companion to Aesthetics. 2nd ed. New York: Routledge, 2005.
Godard, Jean-Luc. Godard on Godard. Edited and translated by Tom Milne and Jean Narboni. New York: Da Capo, 1986.
Goldman, Alan. “The Aesthetic.” In Gaut and Lopes, The Routledge Companion to Aesthetics, 255–66.
Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols. 2nd ed. Indianapolis, IN: Hackett, 1976.
. Of Mind and Other Matters. Cambridge, MA: Harvard University Press, 1984.
. Ways of Worldmaking. Indianapolis, IN: Hackett, 1978.
Goodman, Nelson, and Catherine Z. Elgin. Reconceptions in Philosophy and Other Arts and Sciences. Indianapolis, IN: Hackett, 1988.
Gracyk, Theodore. The Philosophy of Art: An Introduction. Cambridge: Polity, 2012.
Greenberg, Clement. “The Avant-Garde and Kitsch.” In The Collected Essays and Criticism. Vol. 1, Perceptions and Judgment s, 1939–1944, edited by John O’Brian, 5–23. Chicago: University of Chicago Press, 1986.
Greene, Naomi. Pier Paolo Pasolini: Cinema as Heresy. Princeton, NJ: Princeton University Press, 1990.
Greene, Roland, Stephen Cushman, Clare Cavanagh, Jahan Ramazani, and Paul Rouzer, eds. The Princeton Encyclopedia of Poetry and Poetics. 4th ed. Princeton, NJ: Princeton University Press, 2012.
Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectators, and the Avant-Garde.” Wide Angle 8, no. 3–4 (1986): 63–70.
Hamlin, Cyrus, and John Michael Krois, eds. Symbolic Forms and Cultural Studies: Ernst Cassirer’s Theory of Culture. New Haven, CT: Yale University Press, 2004.
Harman, Gilbert. “Semiotics and the Cinema: Metz and Wollen.” In Film Theory and Criticism, 5th ed., edited by Leo Braudy and Marshall Cohen, 90–98. Oxford: Oxford University Press, 2004.
Heidegger, Martin. “The Origin of the Work of Art.” In Poetry, Language, Thought. Translated by Albert Hofstadter, 17–87. New York: Harper and Row, 1971.
Herman, David. Story Logic: Problems and Possibilities of Narrative. Lincoln: University of Nebraska Press, 2002.
Hoberman, J. “Psycho Is 50: Remembering Its Impact, and the Andrew Sarris Review.” Village Voice Blogs, http://blogs.villagevoice.com/runninscared/2010/06/psycho.php.
Hofstadter, Albert. Truth and Art. New York: Columbia University Press, 1965.
Holmes, Diana, and Robert Ingram. François Truffaut. Manchester: Manchester University Press, 1998.
Jameson, Fredric. Postmodernism, or, The Cultural Logic of Late Capitalism. London: Verso, 1993.
Kaelin, Eugene. An Existentialist Aesthetic: The Theories of Sartre and Merleau-Ponty. Madison: University of Wisconsin Press, 1962.
Kant, Immanuel. Critique of the Power of Judgment. Edited by Paul Guyer. Translated by Paul Guyer and Eric Matthews. Cambridge: Cambridge University Press, 2001.
Kawin, Bruce F. Mindscreen: Bergman, Godard, and First-P erson Film. Princeton, NJ: Princeton University Press, 1978.
Kovács, András Bálint. T he Cinema of Béla Tarr: The Circle Closes (Directors’ Cuts). New York: Wallflower, 2013.
. Screening Modernism: European Art Cinema, 1950–1980. Chicago: University of Chicago Press, 2007.
Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. Princeton, NJ: Princeton University Press, 1997.
Kristeva, Julia. Desire in Language: A Semiotic Approach to Literature and Art. Edited by Leon S. Roudiez. New York: Columbia University Press, 1980.
Krois, John Michael. Cassirer: Symbolic Forms and History. New Haven, CT: Yale University Press, 1987.
Lamarque, Peter. The Philosophy of Literature. Oxford: Blackwell, 2009.
Lamarque, Peter, and Stein Haugom Olsen. Truth, Fiction, and Literature. Oxford: Clarendon, 1994.
Langer, Susanne K. Feeling and Form. New York: Scribner, 1953.
. Philosophy in a New Key. Cambridge, MA: Harvard University Press, 1942.
. Problems of Art. New York: Scribner, 1957.
Le monde enchanté de Jacques Demy. Edited by Matthieu Orléan. Exhibition catalog. Paris: La cinémathèque française/Flammarion, 2013.
Lewis, Brian. Jean Mitry and the Aesthetics of Cinema. Ann Arbor, MI: UMI Research Press, 1984.
Linge, David E. Introduction to Gadamer, Philosophical Hermeneutics, xi–lviii.
Livingston, Paisley. Art and Intention. Oxford: Clarendon, 2005.
. “Cinematic Authorship.” In Allen and Smith, Film Theory and Philosophy, 132–48.
Lopes, Dominic McIver. “From Languages of Art to Art in Mind.” Journal of Aesthetics and Art Criticism 58, no. 3 (2000): 227–31.
. Understanding Pictures. Oxford: Clarendon, 1996.
Lynch, David. “Action and Reaction.” In Soundscapes: The School of Sound Lectures, 1998–2001, edited by Larry Sider, Diane Freeman, and Terry Sider, 49–53. London: Wallflower, 2003.
MacCabe, Colin. “Realism and the Cinema: Notes on Some Brechtian Theses.” Screen 15, no. 2 (1974): 7–27.
Marchant, Steven. “Nothing Counts: Shot and Event in Werckmeister Harmonies.” New Cinemas 7, no. 2 (2009): 137–54.
Margolis, Joseph. “Art as Language.” Monist 58, no. 2 (1974): 175–86.
. The Cultural Space of the Arts and the Infelicities of Reductionism. New York: Columbia University Press, 2010.
. “The Deviant Ontology of Artworks.” In Theories of Art Today, edited by Noël Carroll, 109–27. Madison: University of Wisconsin Press, 2000.
. What, After All, Is a Work of Art? University Park: Pennsylvania State University Press, 1999.
Marks, Laura U. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham, NC: Duke University Press, 2000.
Massumi, Brian. “The Autonomy of Affect.” In “The Politics of Systems and Environments, Part II,” edited by William Rasch and Cary Wolfe. Special issue, Cultural Critique 31 (Fall 1995): 83–109.
. Parables for the Virtual: Movement, Affect, Sensation. Durham, NC: Duke University Press, 2002.
Mast, Gerald. “What Isn’t Cinema?” Critical Inquiry 1, no. 2 (1974): 373–93.
McBride, Joseph. Orson Welles. New York: Da Capo, 1996.
McKay, Thomas, and Michael Nelson. “Propositional Attitude Reports.” In The Stanford Encyclopedia of Philosophy (Winter 2010 Edition), edited by Edward N. Zalta, http://plato.stanford.edu/archives/win2010/entries/prop-attitude-reports/.
McLaughlin, Brian, and Karen Bennett. “Supervenience.” Stanford Encyclopedia of Philosophy, edited by Edward N. Zalta. http://plato.stanford.edu/entries/supervenience/.
Merleau-Ponty, Maurice. Sense and Non-sense. Translated by Hubert L. Dreyfus and Patricia Allen Dreyfus. Evanston, IL: Northwestern University Press, 1964.
. The World of Perception. Translated by Oliver Davis. London: Routledge, 2004.
Meskin, Aaron. “Style.” In Gaut and Lopes, The Routledge Companion to Aesthetics, 489–500.
Metz, Christian. Film Language: A Semiotics of Cinema. Translated by Michael Taylor. Chicago: University of Chicago Press, 1974.
Mitry, Jean. The Aesthetics and Psychology of Cinema. Edited by Benoît Patar. Translated by Christopher King. Bloomington: Indiana University Press, 1997.
. Semiotics and the Analysis of Film. Translated by Christopher King. Bloomington: Indiana University Press, 2000.
Monaco, James. The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette. Oxford: Oxford University Press, 1976.
Morin, Edgar. The Cinema, or, The Imaginary Man. Translated by Lorraine Mortimer. Minneapolis: University of Minnesota Press, 2005.
Orr, John. Contemporary Cinema. Edinburgh: Edinburgh University Press, 1998.
Oumano, Ellen. Film Forum: Thirty-Five Top Filmmakers Discuss Their Craft. New York: St. Martin’s, 1985.
Panofsky, Erwin. Meaning in the Visual Arts. Garden City, NY: Doubleday, 1955.
. “Style and Medium in the Motion Pictures.” In Aesthetics: A Critical Anthology, edited by George Dickie and R. J. Sclafani, 351–65. New York: St. Martin’s, 1977.
Pascoe, David. Peter Greenaway: Museums and Moving Image s. London: Reaktion, 1997.
Pasolini, Pier Paolo. “The ‘Cinema of Poetry.’” In Heretical Empiricism, edited by Louise K. Barnett, translated by Ben Lawton and Louise K. Barnett, 167–86. Bloomington: Indiana University Press, 1988.
Perkins, Victor F. Film as Film: Understanding and Judging Movies. New York: Penguin, 1972.
. “Where Is the World? The Horizon of Events in Movie Fiction.” In Style and Meaning: Studies in the Detailed Analysis of Film, edited by John Gibbs and Douglas Pye, 16–41. Manchester: Manchester University Press, 2005.
Plantinga, Carl. “Art Moods and Human Moods in Narrative Cinema.” New Literary History 43, no. 3 (2012): 455–75.
. Moving Viewers: American Film and the Spectator’s Experience. Berkeley: University of California Press, 2009.
. “Notes on Spectator Emotion and Ideological Film Criticism.” In Allen and Smith, Film Theory and Philosophy, 372–94.
Plantinga, Carl, and Greg M. Smith, eds. Passionate Views: Film, Cognition, and Emotion. Baltimore: Johns Hopkins University Press, 1999.
Prinz, Jesse I. Gut Reactions: A Perceptual Theory of Emotion. Oxford: Oxford University Press, 2004.
Proust, Marcel. In Search of Lost Time. 7 vols. Translated by Andreas Mayor and Terence Kilmartin. London: Vintage, 2000.
Pudovkin, V. I. Film Technique and Film Acting. Edited and translated by Ivor Montagu. London: Vision, 1968.
Ricœur, Paul. “Ways of Worldmaking (Nelson Goodman).” Philosophy and Literature 4, no. 1 (1980): 107–20.
Robinson, Jenefer. Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art. Oxford: Oxford University Press, 2005.
. “Goodman.” In Gaut and Lopes, The Routledge Companion to Aesthetics, 185–97.
. “Style and Personality in the Literary Work.” Philosophical Review 94, no. 2 (1985): 227–47.
Rockmore, Tom. In Kant’s Wake: Philosophy in the Twentieth Century. Oxford: Blackwell, 2006.
Rodowick, David N. The Virtual Life of Film. Cambridge, MA: Harvard University Press, 2007.
Ryan, Marie-Laure. Narrative as Virtual Reality. Baltimore: Johns Hopkins University Press, 2001.
Sarris, Andrew. “Notes on the Auteur Theory in 1962.” In Film Theory and Criticism, 6th ed., edited by Leo Braudy and Marshall Cohen, 561–64. Oxford: Oxford University Press, 2004.
Schaeffer, Jean-Marie. Art of the Modern Age: Philosophy of Art from Kant to Heidegger. Translated by Steven Rendall. Princeton, NJ: Princeton University Press, 2000.
Schutz, Alfred. “On Multiple Realities.” In Collected Papers, edited by Maurice Natanson, 207–59. The Hague: Martinus-Nijhoff, 1971.
Sebeok, Thomas A. Signs: An Introduction to Semiotics. 2nd ed. Toronto: University of Toronto Press, 2001.
Shaviro, Steven. The Cinematic Body. Minneapolis: University of Minnesota Press, 2011.
Sherover, Charles M., ed. The Human Experience of Time: The Development of Its Philosophic Meaning. Evanston, IL: Northwestern University Press, 2001.
Sircello, Guy. Mind and Art: An Essay on the Varieties of Expression. Princeton, NJ: Princeton University Press, 1972.
Sinnerbrink, Robert. “Stimmung: Exploring the Aesthetics of Mood.” Screen 53, no. 2 (2012): 148–63.
Smith, Murray. Engaging Characters: Fiction, Emotion and the Cinema. Oxford: Clarendon, 1995.
. “Film.” In Gaut and Lopes, The Routledge Companion to Aesthetics, 597–609.
. “Imagining from the Inside.” In Allen and Smith, Film Theory and Philosophy, 412–31.
Sobchack, Vivian. The Address of the Eye: A Phenomenology of Film Experience. Princeton, NJ: Princeton University Press, 1992.
Sontag, Susan, “A Century of Cinema.” In Where the Stress Falls, 117–22. London: Jonathan Cape, 2003.
Stam, Robert. Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard. New York: Columbia University Press, 1992.
Stilwell, Robynn J. “The Fantastical Gap Between Diegetic and Nondiegetic.” In Beyond the Soundtrack: Representing Music in Cinema, edited by Daniel Goldmark, Lawrence Kramer, and Richard Leppert, 184–202. Berkeley: University of California Press, 2007.
Tan, Ed S. Emotion and the Structure of Narrative Film: Film as an Emotion Machine. Mahwah, NJ: Erlbaum, 1996.
Tarkovsky, Andrey, Sculpting in Time: Reflections on the Cinema. Translated by Kitty Hunter-Blair. Austin: University of Texas Press, 1986.
Taylor, Charles. Philosophical Arguments. Cambridge, MA: Harvard University Press, 1995.
. A Secular Age. Cambridge, MA: Harvard University Press, 2007.
Thompson, Kristin. Breaking the Glass Armor: Neoformalist Film Analysis. Princeton, NJ: Princeton University Press, 1988.
. “The Concept of Cinematic Excess.” In Film Theory and Criticism, 6th ed., edited by Leo Braudy and Marshall Cohen, 513–24. New York: Oxford University Press, 2004.
Tolkien, J. R. R. Tolkien on Fairy-Stories. Edited by Verlyn Flieger and Douglas A. Anderson. London: Harper Collins, 2008.
Truffaut, François. Day for Night. New York: Grove, 1975.
. “What Do Critics Dream About?” In The Films in My Life. Translated by Leonard Mayhew, 3–20. New York: Da Capo, 1994.
Turvey, Malcolm. “Seeing Theory: On Perception and Emotional Response in Current Film Theory.” In Allen and Smith, Film Theory and Philosophy, 431–58.
Underhill, James W. Creating Worldviews: Metaphor, Ideology, Language. Edinburgh: Edinburgh University Press, 2011.
Van Fraassen, Bas C. “Lecture 1: Against Analytic Metaphysics.” In The Empirical Stance, 1–30. New Haven, CT: Yale University Press, 2002.
. Scientific Representation: Paradoxes of Perspective. Oxford: Oxford University Press, 2008.
Verne, Donald Phillip. “Cassirer’s Concept of a Philosophy of Human Culture.” In Symbolic Forms and Cultural Studies: Ernst Cassirer’s Theory of Culture, edited by Cyrus Hamlin and John Michael Krois, 19–28. New Haven, CT: Yale University Press, 2004.
Verstraten, Peter. Film Narratology. Translated by Stefan van der Lecq. Toronto: University of Toronto Press, 2009.
Viviani, Maurizio. A Certain Realism. Berkeley: University of California Press, 1993.
Walters, James. Alternate Worlds in Hollywood Cinema: Resonance Between Realms. Bristol, UK: Intellect Press, 2008.
Walton, Kendall L. “How Remote Are Fictional Worlds from the Real World?” Journal of Aesthetics and Art Criticism 37, no. 1 (1978): 11–23.
. Mimesis as Make-Believe: On the Foundation of the Representational Arts. Cambridge, MA: Harvard University Press, 1990.
Whittock, Trevor. Metaphor and Film. Cambridge: Cambridge University Press, 1990.
Wilson, George. “Comments on Mimesis as Make-Believe.” Philosophy and Phenomenological Research 51, no. 2 (1991): 395–400.
. Narration in Light: Studies in Cinematic Point of View. Baltimore: Johns Hopkins University Press, 1988.
. Seeing Fictions in Films: The Epistemology of Movies. Oxford: Oxford University Press, 2011.
Winters, Ben. “The Non-diegetic Fallacy: Film, Music, and Narrative Space.” Music and Letters 91, no. 2 (2010): 224–44.
Wittgenstein, Ludwig. Philosophical Investigations. 3rd ed. Translated by G. E. M. Anscombe. New York: Macmillan, 1958.
. Tractatus Logico-Philosophicus. New York: Harcourt, Brace, 1922.
Wolf, Mark J. P. Building Imaginary Worlds: The Theory and History of Subcreation. New York: Routledge, 2013.
Wollen, Peter. Paris Hollywood: Writings on Film. London: Verso, 2002.
. Signs and Meaning in the Cinema. London: Secker and Warburg, 1969.
Wolterstorff, Nicholas. Works and Worlds of Art. Oxford: Oxford University Press, 1980.
Yacavone, Daniel. “Space, Theme, and Movement in Kieslowski’s Trois couleurs: Rouge.” Studies in French Cinema 6, no. 2 (2006): 83–94.
. “Spaces, Gaps and Levels: From the Diegetic to the Aesthetic in Film Theory.” Music Sound and the Moving Image 6, no. 1 (2012): 21–38.
. “Towards a Theory of Film Worlds.” Film-Philosophy 12, no. 2 (2008): 83–108.
Yates, Christopher S. “A Phenomenological Aesthetic of Cinematic ‘Worlds.’” Contemporary Aesthetics 4 (2006): http://hdl.handle.net/2027/spo.7523862.0004.007.