CHAPTER 1: THEORY BEFORE THEORY, 1915–60
Abel, Richard, ed. French Film Theory and Criticism: A History/Anthology, Volume I 1907–1939. Princeton, NJ: Princeton University Press, 1988.
Aitken, Ian. European Film Theory and Cinema: A Critical Introduction. Bloomington, IN: Indiana University Press, 2001.
And’el, Jaroslav, ed. Art into Life: Russian Constructivism, 1914–1932. Seattle, WA: Henry Art Gallery, University of Washington, 1990.
Andrew, Dudley. André Bazin. New York: Columbia University Press, 1978.
Andrew, Dudley and Hervé Joubert-Laurencin, eds. Opening Bazin: Postwar Film Theory and Its Afterlife. New York: Oxford University Press, 2011.
Arnheim, Rudolf. Film as Art. Berkeley, CA: University of California Press, 1957.
Balázs, Béla. Theory of the Film: Character and Growth of a New Art. Trans. Edith Bone. New York: Dover, 1970.
——. Béla Balázs: Early Film Theory. Trans. Rodney Livingstone. Ed. Erica Carter. New York: Berghahn Books, 2010.
Bazin, André. What Is Cinema? Volume I. Trans. Hugh Gray. Berkeley, CA: University of California, 1967.
——. What Is Cinema? Volume II. Trans. Hugh Gray. Berkeley, CA: University of California, 1971.
——. Jean Renoir. Trans. W. W. Halsey II and William H. Simon. New York: Da Capo Press, 1973.
——. Bazin at Work: Major Essays and Reviews from the Forties and Fifties. Ed. Bert Cardullo. Trans. Alain Piette and Bert Cardullo. New York: Routledge, 1997.
Benjamin, Walter. Illuminations. Ed. Hannah Arendt. Trans. Harry Zohn. New York: Schocken, 1968.
——. The Origin of German Tragic Drama. Trans. John Osborne. New York: Verso, 1998.
——. Walter Benjamin: Selected Writings, Volume 2, 1927–1934. Eds. Michael W. Jennings, Howard Eiland, and Gary Smith. Cambridge, MA: Harvard University Press, 1999.
——. Walter Benjamin: Selected Writings, Volume 3, 1935–1938. Eds. Howard Eiland and Michael W. Jennings. Cambridge, MA: Harvard University Press, 2002.
——. Walter Benjamin: Selected Writings, Volume 4, 1938–1940. Eds. Howard Eiland and Michael W. Jennings. Cambridge, MA: Harvard University Press, 2003.
Bordwell, David. French Impressionist Cinema: Film Culture, Film Theory, and Film Style. New York: Arno Press, 1980.
——. Narration in the Fiction Film. Madison, WI: University of Wisconsin Press, 1985.
——. The Cinema of Eisenstein. New York: Routledge, 2005.
Bottomore, Tom, ed. A Dictionary of Marxist Thought. 2nd ed. Malden, MA: Blackwell, 1998.
Brecht, Bertolt. Brecht on Theater: The Development of an Aesthetic. Ed. and trans. John Willett. New York: Hill and Wang, 1992.
Breton, André. Manifestos of Surrealism. Trans. Richard Seaver and Helen R. Lane. Ann Arbor, MI: Ann Arbor Paperbacks, University of Michigan, 1972.
Carroll, Noël. “Film/Mind Analogies: The Case of Hugo Münsterberg.” The Journal of Aesthetics and Art Criticism, Vol. 46, No. 4 (Summer 1988): 489–499.
——. “Medium Specificity Arguments and the Self-Consciously Invented Arts: Film, Video, and Photography.” Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. 3–24.
Decherney, Peter. Hollywood and the Culture Elite: How the Movies Became American. New York: Columbia University Press, 2005.
Eisenstein, Sergei. The Eisenstein Reader. Trans. Richard Taylor and William Powell. Ed. Richard Taylor. London: BFI, 1998.
Epstein, Jean. The Intelligence of a Machine. Trans. Christophe Wall-Romana. Minneapolis, MN: Univocal, 2014.
Erlich, Victor. Russian Formalism: History – Doctrine. New York: Mouton Publishers, 1980.
Fredericksen, Donald. The Aesthetic of Isolation in Film Theory: Hugo Münsterberg. New York: Arno Press, 1977.
Grant, Barry Keith, ed. Auteurs and Authorship: A Film Reader. Malden, MA: Blackwell, 2008.
Hammond, Paul, ed. The Shadow and Its Shadow: Surrealist Writings on the Cinema. Trans. Paul Hammond. San Francisco, CA: City Lights Books, 2000.
Hansen, Miriam Bratu. Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno. Berkeley, CA: University of California Press, 2012.
Higgins, Scott, ed. Arnheim for Film and Media Studies. New York: Routledge, 2011.
Hillier, Jim, ed. Cahiers du Cinéma: The 1950s, Neo-Realism, Hollywood, New Wave. Cambridge, MA: Harvard University Press, 1985.
Horkheimer, Max and Theodor W. Adorno. Dialectical of Enlightenment: Philosophical Fragments. Trans. Edmund Jephcott. Stanford, CA: Stanford University Press, 2002.
Jay, Martin. The Dialectical Imagination: A History of the Frankfurt School and the Institute of Social Research, 1923–1950. Boston, MA: Little, Brown and Company, 1973.
Keller, Sarah and Jason N. Paul, eds. Jean Epstein: Critical Essays and New Translations. Amsterdam: Amsterdam University Press, 2012.
Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Film. Princeton, NJ: Princeton University Press, 1947.
——. The Mass Ornament: Weimar Essays. Ed. and trans. Thomas Y. Levin. Cambridge, MA: Harvard University Press, 1995.
——. Theory of Film: The Redemption of Physical Reality. Princeton, NJ: Princeton University Press, 1997.
Kuenzli, Rudolf, ed. Dada and Surrealist Film. Cambridge, MA: MIT Press, 2001.
Kuleshov, Lev. Kuleshov on Film: Writings of Lev Kuleshov. Trans. and ed. Ronald Levaco. Berkeley, CA: University of California Press, 1974.
Lindsay, Vachel. The Art of the Moving Picture. New York: Modern Library, 2000.
MacDonald, Dwight. “A Theory of Mass Culture.” Mass Culture: Popular Arts in America. Eds. Bernard Rosenberg and David Manning White. New York: Free Press, 1959.
Marcuse, Herbert. One-Dimensional Man: Studies in the Ideology of Advanced Industrial Society. Boston, MA: Beacon Press, 1964.
May, Lary. Screening Out the Past: The Birth of Mass Culture and the Motion Picture Industry. Chicago, IL: University of Chicago Press, 1980.
Mitchell, George. “The Movies and Münsterberg.” Jump Cut: A Review of Contemporary Media 27 (July 1982): 57–60. www.ejumpcut.org/archive/onlinessays/JC27folder/Munsterberg.html.
Morgan, Dan. “Rethinking Bazin: Ontology and Realist Aesthetics.” Critical Inquiry 32 (Spring 2006): 443–481.
Münsterberg, Hugo. Münsterberg on Film: The Photoplay: A Psychological Study and Other Writings. Ed. Allan Langdale. New York: Routledge, 2002.
Overbey, David, ed. Springtime in Italy: A Reader on Neo-Realism. Hamden, CT: Archon Books, 1979.
Peirce, Charles Sanders. Peirce on Signs: Writings on Semiotic by Charles Sanders Peirce. Ed. James Hoopes. Chapel Hill, NC: University of North Carolina Press, 1991.
Polan, Dana. Scenes of Instruction: The Beginnings of the U.S. Study of Film. Berkeley, CA: University of California Press, 2007.
Sarris, Andrew. The American Cinema: Directors and Directions 1929–1968. New York: Da Capo, 1996.
Shklovsky, Victor. Theory of Prose. Trans. Benjamin Sher. Elmwood Park, IL: Dalkey Archive Press, 1990.
Silver, Alain and James Ursini. Film Noir Reader. New York: Limelight Editions, 1996.
Taylor, Richard and Ian Christie, eds. The Film Factory: Russian and Soviet Cinema in Documents, 1896–1939. New York: Routledge, 1988.
Turvey, Malcolm. The Filming of Modern Life: European Avant-Garde Film of the 1920s. Cambridge, MA: MIT Press, 2011.
Vertov, Dziga. Kino-Eye: The Writings of Dziga Vertov. Trans. Kevin O’Brien. Ed. Annette Michelson. Berkeley, CA: University of California Press, 1984.
Wall-Romana, Christophe. Jean Epstein. New York: Manchester University Press, 2013.
Wasson, Haidee. Museum Movies: The Museum of Modern Art and the Birth of Art Cinema. Berkeley, CA: University of California Press, 2005.
Wiggershaus, Rolf. The Frankfurt School: Its History, Theories, and Political Significance. Trans. Michael Robertson. Cambridge, MA: MIT Press, 1994.
Winston, Brian. Claiming the Real: The Documentary Film Revisited. London: BFI, 2001.
CHAPTER 2: FRENCH THEORY, 1949–68
Althusser, Louis. Lenin and Philosophy and Other Essays. Trans. Ben Brewster. New York: Monthly Review, 2001.
Barthes, Roland. Mythologies. Trans. Annette Lavers. New York: Hill and Wang, 1972.
——. Image/Music/Text. Trans. Stephen Heath. New York: Hill and Wang, 1977.
Baudry, Jean-Louis. “Ideological Effects of the Basic Cinematographic Apparatus.” Trans. Alan Williams. Film Quarterly, Vol. 28, No. 2 (Winter 1974–5): 39–47.
——. “The Apparatus: Metapsychological Approaches to the Impression of Reality in the Cinema.” Trans. Jean Andrews and Bertrand Augst. Camera Obscura, Vol. 1, No. 1 (Fall 1976): 104–126.
Bellour, Raymond. The Analysis of Film. Ed. Constance Penley. Bloomington, IN: Indiana University Press, 2000.
Bergstrom, Janet, ed. Endless Night: Cinema and Psychoanalysis, Parallel Histories. Berkeley, CA: University of California Press, 1999.
Browne, Nick. The Rhetoric of Filmic Narration. Ann Arbor, MI: UMI Research Press, 1976.
Cahiers du cinéma editors. “John Ford’s Young Mr. Lincoln.” Trans. Helen Lackner and Diana Matias. Screen, Vol. 13, No. 3 (Autumn 1972): 5–44.
Clarke, Simon. The Foundations of Structuralism: A Critique of Lévi-Strauss and the Structuralist Movement. Sussex: Harvester Press, 1981.
Comolli, Jean-Louis and Jean Narboni. “Cinema/Ideology/Criticism.” Trans. Susan Bennett. Screen, Vol. 12, No. 1 (Spring 1971): 27–38.
Cusset, François. French Theory: How Foucault, Derrida, Deleuze, & Co. Transformed the Intellectual Life of the United States. Trans. Jeff Fort. Minneapolis, MN: University of Minnesota Press, 2008.
Dayan, Daniel. “The Tutor-Code of Classical Cinema.” Movies and Methods, Volume I. Ed. Bill Nichols. Berkeley, CA: University of California Press, 1976. 438–451.
Debord, Guy. The Society of the Spectacle. Trans. Donald Nicholson-Smith. New York: Zone Books, 1995.
Donald, James, Anne Friedberg, and Luara Macus, eds. Close Up 1927–1933: Cinema and Modernism. Princeton, NJ: Princeton University Press, 1998.
Dosse, François. History of Structuralism, Volume I: The Rising Sign, 1945–1966. Trans. Deborah Glassman. Minneapolis, MN: University of Minnesota Press, 1997.
During, Simon, ed. The Cultural Studies Reader. 3rd ed. New York: Routledge, 2010.
Eco, Umberto. “Articulations of the Cinematic Code.” Movies and Methods, Volume I. Ed. Bill Nichols. Berkeley, CA: University of California Press, 1976. 590–607.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. New York: Vintage Books, 1977.
Freud, Sigmund. The Freud Reader. Ed. Peter Gay. New York: W. W. Norton, 1989.
Gallop, Jane. Reading Lacan. Ithaca, NY: Cornell University Press, 1985.
Gitlin, Todd. The Sixties: Years of Hope, Days of Rage. New York: Bantam Books, 1987.
Graham, Peter and Ginette Vincendeau, eds. The French New Wave: Critical Landmarks. London: BFI, 2009.
Gramsci, Antonio. Selections from the Prison Notebooks. Eds. and trans. Quintin Hoare and Geoffrey Nowell Smith. New York: International Publishers, 2003.
Gutting, Gary. French Philosophy in the Twentieth Century. Cambridge: Cambridge University Press, 2001.
Hall, Stuart, Dorothy Hobson, Andrew Lowe, and Paul Willis, eds. Culture, Media, Language: Working Papers in Cultural Studies, 1972–79. New York: Routledge, 1996.
Harvey, Sylvia. May ’68 and Film Culture. London: BFI, 1980.
Heath, Stephen. “Film and System: Terms of Analysis Part I.” Screen, Vol. 16, No. 1 (Spring 1975): 7–77.
——. “Film and System: Terms of Analysis Part II.” Screen, Vol. 16, No. 2 (Summer 1975): 91–113.
Home, Stewart, ed. What Is Situationism? A Reader. San Francisco, CA: AK Press, 1996.
James, David E. Allegories of Cinema: American Film in the Sixties. Princeton, NJ: Princeton University Press, 1989.
Jameson, Fredric. The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism. Princeton, NJ: Princeton University Press, 1972.
Kauppi, Niilo. French Intellectual Nobility: Institutional and Symbolic Transformations in the Post-Sartrian Era. New York: State University of New York Press, 1996.
——. Radicalism in French Culture: A Sociology of French Theory in the 1960s. Burlington, VT: Ashgate, 2010.
Lacan, Jacques. The Language of the Self: The Function of Language in Psychoanalysis. Trans. Anthony Wilden. Baltimore, MD: Johns Hopkins University Press, 1968.
——. Écrits: A Selection. Trans. Bruce Fink. New York: Hill and Wang, 2002.
Lévi-Strauss, Claude. Structural Anthropology. Trans. Claire Jacobson and Brooke Grundfest Schoepf. New York: Basic Books, 1963.
——. The Elementary Structures of Kinship. Trans. James Harle Bell, John Richard von Sturmer, and Rodney Needham. Boston, MA: Beacon Press, 1969.
Lotringer, Sylvère and Sande Cohen, eds. French Theory in America. New York: Routledge, 2001.
MacCabe, Colin. Godard: A Portrait of the Artist at Seventy. New York: Faber and Faber, 2003.
Macey, David. Lacan in Contexts. New York: Verso, 1988.
Macksey, Richard and Eugenio Donato, eds. The Structuralist Controversy: The Languages of Criticism and the Sciences of Man. Baltimore, MD: Johns Hopkins University Press, 1972.
Marx, Karl. Karl Marx: Selected Writings. Ed. David McLellan. New York: Oxford University Press, 1977.
Metz, Christian. Film Language: A Semiotics of the Cinema. Trans. Michael Taylor. Chicago, IL: University of Chicago Press, 1974.
——. Language and Cinema. Trans. Donna Jean Umiker-Sebeok. The Hague: Mouton, 1974.
——. The Imaginary Signifier: Psychoanalysis and the Cinema. Trans. Celia Britton, Annwyl Williams, Ben Brewster, and Alfred Guzzetti. Bloomington, IN: Indiana University Press, 1982.
Miller, Jacques-Alain. “Suture (Elements of the Logic of the Signifier).” Trans. Jacqueline Rose. Screen, Vol. 18, No. 4 (Winter 1977): 24–34.
Oudart, Jean-Pierre. “Cinema and Suture.” Trans. Kari Hanet. Screen, Vol. 18, No. 4 (Winter 1977): 35–47.
Pasolini, Pier Paolo. “The Cinema of Poetry.” Trans. Marianne de Vettimo and Jacques Bontemps. Movies and Methods, Volume I. Ed. Bill Nichols. Berkeley, CA: University of California, 1976. 542–558.
Rodowick, D. N. The Crisis of Political Modernism: Criticism and Ideology in Contemporary Film Theory. Berkeley, CA: University of California, 1994.
Roudinesco, Elisabeth. Jacques Lacan. Trans. Barbara Bray. New York: Columbia University Press, 1997.
Sanders, Carol. The Cambridge Companion to Saussure. Cambridge: Cambridge University Press, 2004.
Saussure, Ferdinand de. Course in General Linguistics. Trans. Wade Baskin. Eds. Charles Bally and Albert Sechehaye. New York: McGraw-Hill, 1959.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Spottiswoode, Raymond. A Grammar of the Film: An Analysis of Film Technique. Berkeley, CA: University of California Press, 1950.
Thompson, Duncan. Pessimism of the Intellect? A History of New Left Review. Monmouth: Merlin Press, 2007.
Turner, Graeme. British Cultural Studies: An Introduction. Boston, MA: Unwin Hyman, 1990.
Weber, Samuel. Return to Freud: Jacques Lacan’s Dislocation of Psychoanalysis. Trans. Michael Levine. Cambridge: Cambridge University Press, 1992.
Williams, Linda. Figures of Desire: A Theory and Analysis of Surrealist Film. Berkeley, CA: University of California Press, 1981.
CHAPTER 3: SCREEN THEORY, 1969–96
Adams, Parveen and Elizabeth Cowie, eds. The Woman in Question: m/f. Cambridge, MA: MIT Press, 1990.
Altman, Rick. Film/Genre. London: BFI, 1999.
Bad Object-Choices, ed. How Do I Look? Queer Film and Video. Seattle, WA: Bay Press, 1991.
Barthes, Roland. S/Z: An Essay. Trans. Richard Miller. New York: Hill and Wang, 1974.
Baudrillard, Jean. Simulacra and Simulation. Trans. Sheila Faria Glaser. Ann Arbor, MI: University of Michigan Press, 1994.
Benshofff, Harry M. and Sean Griffin. Queer Images: A History of Gay and Lesbian Film in America. New York: Rowman and Littlefield, 2006.
Bhabha, Homi K. The Location of Culture. New York: Routledge, 1994.
Bolas, Terry. Screen Education: From Film Appreciation to Media Studies. Chicago, IL: Intellect, 2009.
Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press, 1985.
Buckland, Warren. Film Theory: Rational Reconstructions. New York: Routledge, 2012.
Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1999.
Chion, Michel. The Voice and Cinema. Trans. Claudia Gorbman. New York: Columbia University Press, 1999.
Clover, Carol J. Men, Women, and Chain Saws: Gender in the Modern Horror Film. Princeton, NJ: Princeton University Press, 1992.
Cowie, Elizabeth. Representing the Woman: Cinema and Psychoanalysis. Minneapolis, MN: University of Minnesota Press, 1997.
de Beauvoir, Simone. The Second Sex. Trans. Constance Borde and Sheila Malovany-Chevallier. New York: Vintage, 2011.
de Lauretis, Teresa. Alice Doesn’t: Feminism, Semiotics, Cinema. Bloomington, IN: Indiana University Press, 1984.
——. The Practice of Love: Lesbian Sexuality and Perverse Desire. Bloomington, IN: Indiana University Press, 1994.
de Lauretis, Teresa and Stephen Heath, eds. The Cinematic Apparatus. New York: St. Martin’s Press, 1980.
Derrida, Jacques. “Différance.” Margins of Philosophy. Trans. Alan Bass. Chicago, IL: University of Chicago Press, 1982.
Dicker, Rory. A History of U.S. Feminisms. Berkeley, CA: Seal Press, 2008.
Doane, Mary Ann. The Desire to Desire: The Woman’s Film of the 1940s. Bloomington, IN: Indiana University Press, 1987.
Dyer, Richard. “Entertainment and Utopia.” Movies and Methods, Volume II. Ed. Bill Nichols. Berkeley, CA: University of California, 1985. 220–232.
Fanon, Frantz. The Wretched of the Earth. Trans. Richard Philcox. New York: Grove Press, 1961.
——. Black Skin, White Masks. Trans. Charles Lam Markmann. New York: Grove Press, 1967.
Foster, Hal, ed. The Anti-Aesthetic: Essays on Postmodern Culture. New York: New Press, 1998.
Foucault, Michel. The History of Sexuality: An Introduction, Volume I. Trans. Robert Hurely. New York: Vintage Books, 1978.
Friedan, Betty. The Feminine Mystique. New York: W. W. Norton, 1963.
Gever, Martha, John Greyson, and Pratibha Parmar, eds. Queer Looks: Perspectives on Lesbian and Gay Film and Video. New York: Routledge, 1993.
Gidal, Peter, ed. Structural Film Anthology. London: BFI, 1978.
Grievson, Lee and Haidee Wasson, eds. Inventing Film Studies. Durham: Duke University Press, 2008.
Hansen, Miriam. Babel and Babylon: Spectatorship in American Silent Film. Cambridge, MA: Harvard University Press, 1991.
Haraway, Donna. Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge, 1991.
Haskell, Molly. From Reverence to Rape: The Treatment of Women in the Movies. 2nd ed. Chicago, IL: University of Chicago Press, 1987.
Heath, Stephen. Questions of Cinema. Bloomington, IN: Indiana University Press, 1981.
Heath, Stephen and Patricia Mellencamp. Cinema and Language. Los Angeles, CA: American Film Institute, 1983.
Hollinger, Karen. Feminist Film Studies. New York: Routledge, 2012.
hooks, bell. Black Looks: Race and Representation. Boston, MA: South End Press, 1992.
Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca, NY: Cornell University Press, 1981.
——. Postmodernism or, The Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991.
Kaplan, E. Ann, ed. Feminism and Film. New York: Oxford University Press, 2000.
Kristeva, Julia. Powers of Horror: An Essay on Abjection. Trans. Leon S. Roudiez. New York: Columbia University Press, 1982.
Lesage, Julia. “The Human Subject: He, She, or Me? (or, the Case of the Missing Penis).” Jump Cut, No. 4 (1974): 26–27. www.ejumpcut.org/archive/onlinessays/JC04folder/ScreenReviewed.
Lorde, Audre. Sister Outsider: Essays and Speeches. Freedom, CA: Crossing Press, 1984.
Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. Trans. Geoff Bennington and Brian Massumi. Minneapolis, MN: University of Minnesota Press, 1984.
MacBean, James. Film and Revolution. Bloomington, IN: Indiana University Press, 1975.
MacCabe, Colin. “Realism and the Cinema: Notes on some Brechtian Theses.” Screen, Vol. 15, No. 2 (Summer 1974): 7–27.
——. “Theory and Film: Principles of Realism and Pleasure.” Screen, Vol. 17, No. 3 (Autumn 1976): 7–28.
——. Tracking the Signifier: Theoretical Essays: Film, Linguistics, Literature. Minneapolis, MN: University of Minnesota Press, 1985.
Marks, Laura U. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham, NC: Duke University Press, 2000.
Mayne, Judith. The Woman at the Keyhole: Feminism and Women’s Cinema. Bloomington, IN: Indiana University Press, 1990.
——. Cinema and Spectatorship. New York: Routledge, 1993.
Menand, Louis. The Marketplace of Ideas: Reform and Resistance in the American University. New York: W. W. Norton, 2010.
Millet, Kate. Sexual Politics. New York: Ballantine, 1970.
Mitchell, Juliet. Psychoanalysis and Feminism: A Radical Reassessment of Freudian Psychoanalysis. New York: Basic Books, 1974.
Mitry, Jean. The Aesthetics and Psychology of the Cinema. Trans. Christopher King. Bloomington, IN: Indiana University Press, 1997.
Modleski, Tania. Loving with a Vengeance: Mass-Produced Fantasies for Women. New York: Routledge, 1990.
——. The Women Who Knew Too Much: Hitchcock and Feminist Theory. New York: Routledge, 1988.
Naficy, Hamid. An Accented Cinema: Exilic and Diasporic Filmmaking. Princeton, NJ: Princeton University Press, 2001.
Nichols, Bill. Representing Reality: Issues and Concepts in Documentary. Bloomington, IN: Indiana University Press, 1991.
——. Blurred Boundaries: Questions of Meaning in Contemporary Culture. Bloomington, IN: Indiana University Press, 1994.
Oliver, Kelly, ed. French Feminism Reader. New York: Rowman and Littlefield, 2000.
Penley, Constance, ed. Feminism and Film Theory. New York: Routledge, 1988.
Pines, Jim and Paul Willemen, eds. Questions of Third Cinema. London: BFI, 1989.
Readings, Bill. The University in Ruins. Cambridge, MA: Harvard University Press, 1996.
Rodowick, D. N. The Difficulty of Difference: Psychoanalysis, Sexual Difference, and Film Theory. New York: Routledge, 1991.
Rogin, Michael. Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot. Berkeley, CA: University of California Press, 1996.
Rosen, Marjorie. Popcorn Venus: Women, Movies, and the American Dream. New York: Coward, McCann, and Geoghegan, 1973.
Said, Edward W. Orientalism. New York: Vintage Books, 1978.
Sartre, Jean-Paul. Anti-Semite and Jew. Trans. George J. Becker. New York: Schocken Books, 1948.
Shohat, Ella and Robert Stam. Unthinking Eurocentrism: Multiculturalism and the Media. New York: Routledge, 1994.
Silverman, Kaja. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington, IN: Indiana University Press, 1988.
——. Male Subjectivity at the Margins. New York: Routledge, 1992.
Solanas, Fernando and Octavio Getino. “Towards a Third Cinema.” Movies and Methods, Volume 1. Ed. Bill Nichols. Berkeley, CA: University of Berkeley, 1976. 44–64.
Spivak, Gayatri Chakravorty. “Can the Subaltern Speak?” Marxism and the Interpretation of Culture. Eds. Cary Nelson and Lawrence Grossberg. Urbana, IL: University of Illinois Press, 1988. 271–313.
Stam, Robert, Robert Burgoyne, and Sandy Flitterman-Lewis. New Vocabularies in Film Semiotics: Structuralism, Post-Structuralism, and Beyond. New York: Routledge, 1992.
Sullivan, Nikki. A Critical Introduction to Queer Theory. New York: New York University Press, 2003.
Thornham, Sue. Feminist Film Theory: A Reader. New York: New York University Press, 1999.
Trinh T., Minh-ha. Woman, Native, Other: Writing, Postcoloniality, and Feminism. Bloomington, IN: Indiana University Press, 1989.
——. Framer Framed. New York: Routledge, 1992.
Turim, Maureen. “Gentlemen Consume Blondes.” Movies and Methods, Volume 2. Ed. Bill Nichols. Berkeley, CA: University of California, 1985. 369–378.
Williams, Linda. Hard Core: Power, Pleasure, and the “Frenzy of the Visible.” Berkeley, CA: University of California Press, 1989.
Wollen, Peter. Signs and Meaning in the Cinema. Bloomington, IN: Indiana University Press, 1972.
——. Readings and Writings: Semiotic Counter-Strategies. London: Verso, 1982.
CHAPTER 4: POST-THEORY, 1996–2015
“About October.” October 1 (Spring 1976): 3–5.
Agamben, Giorgio. Homo Sacer: Sovereign Power and Bare Life. Trans. Daniel Heller-Roazen. Stanford, CA: Stanford University Press, 1998.
Allen, Richard. Projecting Illusion: Film Spectatorship and the Impression of Reality. Cambridge: Cambridge University Press, 1995.
Allen, Richard and Murray Smith, eds. Film Theory and Philosophy. New York: Oxford University Press, 1999.
Andrew, Dudley. What Cinema Is! Bazin’s Quest and Its Charge. Malden, MA: Blackwell, 2010.
Badiou, Alain. Cinema. Ed. Antoine de Baecque. Trans. Susan Spitzer. Malden, MA: Polity, 2013.
Balio, Tino. Hollywood in the New Millennium. London: BFI, 2013.
Beller, Jonathan. The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle. Hanover, NH: Dartmouth College Press, 2006.
Bolter, Jay David and Richard Grusin. Remediation: Understanding New Media. Cambridge, MA: MIT Press, 2000.
Bordwell, David. Narration in the Fiction Film. Madison, WI: University of Wisconsin Press, 1985.
——. Ozu and the Poetics of Cinema. Princeton, NJ: Princeton University Press, 1988.
——. “Adventures in the Highlands of Theory.” Screen, Vol. 29, No. 1 (Winter 1988): 72–97.
——. Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge, MA: Harvard University Press, 1989.
——. “A Case for Cognitivism.” Iris No. 9 (Spring 1989): 11–40.
——. “Historical Poetics of Cinema.” The Cinematic Text: Methods and Approaches. Ed. R. Barton Palmer. New York: AMS Press, 1989.
——. “Preaching Pluralism: Pluralism, Truth, and Scholarly Inquiry in Film Studies.” Cinema Journal, Vol. 37, No. 2 (Winter 1998): 84–90.
——. Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge, MA: Harvard University Press, 2003.
——. The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley, CA: University of California, 2006.
——. Poetics of Cinema. New York: Routledge, 2008.
Bordwell, David and Noël Carroll, eds. Post-Theory: Reconstructing Film Studies. Madison, WI: University of Wisconsin Press, 1996.
Branigan, Edward. Narrative Comprehension and Film. New York: Routledge, 1992.
Brown, William. Supercinema: Film-Philosophy for the Digital Age. New York: Berghahn, 2013.
Brunette, Peter and David Wills. Screen/Play: Derrida and Film Theory. Princeton, NJ: Princeton University Press, 1989.
Buckland, Warren. “Critique of Poor Reason.” Screen, Vol. 30, No. 4 (Autumn 1989): 80–103.
——. The Cognitive Semiotics of Film. Cambridge: Cambridge University Press, 2004.
Carroll, Noël. “Address to the Heathen.” October 23 (Winter 1982): 89–163.
——. “A Reply to Heath.” October 27 (Winter 1983): 81–102.
——. Mystifying Movies: Fads and Fallacies in Contemporary Film Theory. New York: Columbia University Press, 1988.
——. Philosophical Problems of Classical Film Theory. Princeton, NJ: Princeton University Press, 1988b.
——. “Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland.” Journal of Dramatic Theory and Criticism, Vol. 6, No. 2 (Spring 1992): 199–220.
Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film. Cambridge, MA: Harvard University Press, 1971.
Colman, Felicity, ed. Film, Theory, and Philosophy: The Key Thinkers. Montreal: McGill-Queen’s University Press, 2009.
Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the 19th Century. Cambridge, MA: MIT Press, 1992.
Cubitt, Sean. The Cinema Effect. Cambridge, MA: MIT Press, 2004.
Deleuze, Gilles. Cinema 1: The Movement-Image. Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis, MN: University of Minnesota Press, 1986.
——. Cinema 2: The Time-Image. Trans. Hugh Tomlinson and Robert Galeta. Minneapolis, MN: University of Minnesota Press, 1989.
Elsaesser, Thomas, ed. Early Cinema: Space, Frame, Narrative. London: BFI, 1990.
Flaxman, Gregory, ed. The Brain Is the Screen: Deleuze and the Philosophy of Cinema. Minneapolis, MN: University of Minnesota Press, 2000.
Galloway, Alexander. The Interface Effect. Malden, MA: Polity, 2012.
Gitelman, Lisa. Always Already New: Media, History, and the Data of Culture. Cambridge, MA: MIT Press, 2008.
Harries, Dan. The New Media Book. London: BFI, 2002.
Heath, Stephen. “Le Père Noël.” October 26 (Autumn 1983): 63–115.
Henderson, Brian. A Critique of Film Theory. New York: E. P. Dutton, 1980.
Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: New York University, 2006.
Jeong, Seung-Hoon. Cinematic Interfaces: Film Theory after New Media. New York: Routledge, 2013.
King, Barry. “The Story Continues . . . ” Screen, Vol. 28, No. 3 (Summer 1987): 56–83.
Kittler, Friedrich. Gramophone, Film, Typewriter. Trans. Geoffrey Winthrop-Young and Michael Wutz. Stanford, CA: Stanford University Press, 1999.
Lehman, Peter. “Pluralism Versus the Correct Position.” Cinema Journal, Vol. 36, No. 2 (Winter 1997): 114–119.
Lippit, Akira Mizuta. Atomic Light (Shadow Optics). Minneapolis, MN: University of Minnesota Press, 2005.
Manovich, Lev. The Language of New Media. Cambridge, MA: MIT Press, 2001.
McDonald, Paul and Janet Wasko, eds. The Contemporary Hollywood Film Industry. Malden, MA: Blackwell, 2008.
McGowan, Todd. The Real Gaze: Film Theory After Lacan. New York: State University of New York, 2007.
——. Out of Time: Desire in Atemporal Cinema. Minneapolis, MN: University of Minnesota Press, 2011.
McGowan, Todd and Sheila Kunkle, eds. Lacan and Contemporary Film. New York: Other Press, 2004.
Muller, John P. and William J. Richardson, eds. The Purloined Poe: Lacan, Derrida, and Psychoanalytic Reading. Baltimore, MD: Johns Hopkins University Press, 1988.
Perkins, V. F. Film as Film: Understanding and Judging Movies. New York: Penguin Books, 1972.
Pisters, Patricia. The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture. Stanford, CA: Stanford University Press, 2012.
Plantinga, Carl. “Cognitive Film Theory: An Insider’s Appraisal.” Cinémas: Revue d’Études Cinématographiques, Vol. 12, No. 2 (Winter 2002): 15–37.
——. Moving Viewers: American Film and the Spectator’s Experience. Berkeley, CA: University of California Press, 2009.
Rancière, Jacques. Film Fables. Trans. Emiliano Battista. New York: Berg, 2006.
——. The Future of the Image. Trans. Gregory Elliot. New York: Verso, 2007.
——. The Emancipated Spectator. Trans. Gregory Elliot. New York: Verso, 2007.
Rich, Ruby B., Chuck Kleinhans, and Julia Lesage. “Report on a Conference Not Attended: The Scalpel Beneath the Suture.” Jump Cut, No. 17 (April 1978): 37–38. www.ejumpcut.org/archive/onlinessays/JC17folder/ConfNotAttended.
Rodowick, D. N. Gilles Deleuze’s Time Machine. Durham, NC: Duke University Press, 1997.
——. Reading the Figural, or, Philosophy after the New Media. Durham, NC: Duke University Press, 2001.
——. The Virtual Life of Film. Cambridge, MA: Harvard University Press, 2007.
——. “An Elegy for Theory.” October 122 (Fall 2007): 91–109.
——. Elegy for Theory. Cambridge, MA: Harvard University Press, 2014.
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Silverman, Kaja. The Threshold of the Visible World. New York: Routledge, 1996.
Sobchack, Vivian. The Address of the Eye: A Phenomenology of Film Experience. Princeton, NJ: Princeton University Press, 1992.
Stewart, Garrett. Framed Time: Toward a Postfilmic Cinema. Chicago, IL: University of Chicago Press, 2007.
Thompson, Kristin. Breaking the Glass Armor: Neoformalist Film Analysis. Princeton, NJ: Princeton University Press, 1988.
Virilio, Paul. War and Cinema: The Logistics of Perception. Trans. Patrick Camiller. New York: Verso, 1989.
ŽiŽek, Slavoj. The Sublime Object of Ideology. New York: Verso, 1989.
——. Looking Awry: An Introduction to Jacques Lacan through Popular Culture. Cambridge, MA: MIT Press, 1991.
——. Enjoy Your Symptom! Jacques Lacan in Hollywood and Out. New York: Routledge, 1992.
——. The Fright of Real Tears: Krzysztof Kieslowski Between Theory and Post-Theory. London: BFI, 2001.
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GENERAL SOURCES: INTRODUCTORY TEXTS
Andrew, Dudley. The Major Film Theories: An Introduction. New York: Oxford University Press, 1976.
——. Concepts in Film Theory. New York: Oxford University Press, 1984.
Casetti, Francesco. Theories of Cinema, 1945–1995. Trans. Francesca Chiostri and Elizabeth Gard Bartolini-Salimbeni with Thomas Kelso. Austin, TX: University of Texas, 1999.
Elsaesser, Thomas and Malte Hagener. Film Theory: An Introduction through the Senses. New York: Routledge, 2010.
Lapsley, Robert and Michael Westlake. Film Theory: An Introduction. 2nd ed. New York: Manchester University Press, 2006.
Moncao, James. How to Read a Film: The Art, Technology, Language, History and Theory of Film and Media. Revised edition. New York: Oxford University Press, 1981.
Rushton, Richard and Gary Bettinson. What is Film Theory? An Introduction to Contemporary Debates. New York: Open University Press, 2010.
Stam, Robert. Film Theory: An Introduction. Malden, MA: Blackwell, 2000.
Tredell, Nicolas, ed. Cinemas of the Mind: A Critical History of Film Theory. Cambridge: Totem Books, 2002.
GENERAL SOURCES: ANTHOLOGIES AND COLLECTIONS
Branigan, Edward and Warren Buckland, eds. The Routledge Encyclopedia of Film Theory. New York: Routledge, 2014.
Braudy, Leo, ed. Film Theory and Criticism: Introductory Readings. 7th ed. New York: Oxford University Press, 2009.
Cook, Pam, ed. The Cinema Book. 3rd ed. London: BFI, 2007.
Hill, John and Pamela Church Gibson, eds. The Oxford Guide to Film Studies. New York: Oxford University Press, 1998.
Miller, Toby and Robert Stam, eds. A Companion to Film Theory. Malden, MA: Blackwell, 2004.
Nichols, Bill, ed. Movies and Methods Volume I. Berkeley, CA: University of California Press, 1976.
——. Movies and Methods Volume II. Berkeley, CA: University of California Press, 1985.
Rosen, Philip, ed. Narrative, Apparatus, Ideology: A Film Theory Reader. New York: Columbia University Press, 1986.
Stam, Robert and Toby Miller, eds. Film and Theory: An Anthology. Malden, MA: Blackwell, 2000.