[1]
Aaron, M. 2004. New queer cinema: a critical reader. Edinburgh University Press.
[2]
Aaron, M. 2007. Spectatorship: the power of looking on. Wallflower.
[3]
Allen, R. 1995. Projecting illusion: film spectatorship and the impression of reality. Cambridge University Press.
[4]
Altman, R. 1999. Film/genre. British Film Institute.
[5]
Barker, Jennifer M., 1969- 2009. The tactile eye: touch and the cinematic experience. University of California Press.
[6]
Barker, J.M. The tactile eye: touch and the cinematic experience. University of California Press.
[7]
Bordwell, D. et al. 2017. Film art: an introduction. McGraw-Hill Education.
[8]
Brevik-Zender, H. 2011. Let Them Wear Manolos: Fashion, Walter Benjamin, and Sofia Coppola’s Marie Antoinette. Camera Obscura: Feminism, Culture, and Media Studies. 26, 3 78 (Jan. 2011), 1–33. DOI:https://doi.org/10.1215/02705346-1415416.
[9]
Cameron, I. and Pye, D. 1996. The Movie book of the western. Studio Vista.
[10]
CARROLL, N. 2010. Movies, the Moral Emotions, and Sympathy. Midwest Studies In Philosophy. 34, 1 (Sep. 2010), 1–19. DOI:https://doi.org/10.1111/j.1475-4975.2010.00197.x.
[11]
Carroll, Noel 1979. Avant-Garde Film and Film Theory. Avant-Garde Film and Film Theory. 4 (1979), 135–143.
[12]
Cook, P. ed. 2007. The cinema book. BFI.
[13]
Cooper, S. and Modern Humanities Research Association 2005. Selfless cinema?: ethics and French documentary. Legenda.
[14]
DADLEZ, E.M. 2010. Seeing and Imagination: Emotional Response to Fictional Film. Midwest Studies In Philosophy. 34, 1 (Sep. 2010), 120–135. DOI:https://doi.org/10.1111/j.1475-4975.2010.00194.x.
[15]
Davis, Lennard J., 1949- 1995. Enforcing normalcy: disability, deafness, and the body. Verso.
[16]
Davis, L.J. 1995. Enforcing normalcy: disability, deafness, and the body. Verso.
[17]
Davis, L.J. ed. 2017. The disability studies reader. Routledge, an imprint of the Taylor & Francis Group.
[18]
Davis, L.J. 2017. The disability studies reader. Routledge.
[19]
Deren, M. and Nichols, B. 2001. Maya Deren and the American avant-garde. University of California Press.
[20]
Dixon, W.W. and Foster, G.A. 2002. Experimental cinema, the film reader. Routledge.
[21]
Downing, L. and Saxton, L. 2010. Film and ethics: foreclosed encounters. Routledge.
[22]
Downing, L. and Saxton, L. 2009. Film and ethics: foreclosed encounters. Routledge.
[23]
Dyer, R. and Pidduck, J. 2003. Now you see it: studies in lesbian and gay film. Routledge.
[24]
Dyer, R. and Pidduck, J. 2003. Now you see it: studies on lesbian and gay film. Routledge.
[25]
Eid, H. and Ghazel, K. 2009. Footprints of Fanon in Gillo Pontecorvo’s The Battle of Algiers and Sembene Ousamne’s Xala. English in Africa. 35, 2 (May 2009). DOI:https://doi.org/10.4314/eia.v35i2.42858.
[26]
Elsaesser, T. and Hagener, M. 2015. Film theory: an introduction through the senses. Routledge.
[27]
Elsaesser, T. and Hagener, M. 2015. Film theory: an introduction through the senses. Routledge.
[28]
Eng, D.L. et al. 2005. What’s queer about queer studies now? Duke University Press.
[29]
Fernando Solanas and Octavio Getino 1970. TOWARD A THIRD CINEMA. Cinéaste. 4, 3 (1970), 1–10.
[30]
For an imperfect cinema by Julio García Espinosa, trans. by Julianne Burton: http://www.ejumpcut.org/archive/onlinessays/JC20folder/ImperfectCinema.html.
[31]
French, S. and Shacklock, Z. 2014. The affective sublime in Lars von Trier’s                              and Terrence Malick’s. New Review of Film and Television Studies. 12, 4 (Oct. 2014), 339–356. DOI:https://doi.org/10.1080/17400309.2014.942555.
[32]
Galt, R. 2011. Pretty: film and the decorative image. Columbia University Press.
[33]
Galt, Rosalind 2011. Pretty: Film and the Decorative Image. (2011).
[34]
GAUT, B. 2010. Empathy and Identification in Cinema. Midwest Studies In Philosophy. 34, 1 (Sep. 2010), 136–157. DOI:https://doi.org/10.1111/j.1475-4975.2010.00211.x.
[35]
Geiger, J. and Rutsky, R.L. 2013. Film analysis: a Norton reader. W.W. Norton & Company.
[36]
Grant, B.K. 2012. Film genre reader IV. University of Texas Press.
[37]
Grant, B.K. 2012. Film genre reader IV. University of Texas Press.
[38]
Grant, B.K. 2012. Film genre reader IV. University of Texas Press.
[39]
Grossberg, L. et al. 1992. Cultural studies. Routledge.
[40]
Grossberg, L. et al. 1992. Cultural studies. Routledge.
[41]
Hatfield, J. and Littman, S. eds. 2015. Experimental film and video: an anthology. John Libbey Publishing.
[42]
Hill, L. and Olsson, G.H. 2015. Concerning violence: nine scenes from the anti-imperialistic self-defense. Dogwoof.
[43]
Keller, S. 2013. Frustrated Climaxes: On Maya Deren’s Meshes of the Afternoon and Witch’s Cradle. Cinema Journal. 52, 3 (2013), 75–98. DOI:https://doi.org/10.1353/cj.2013.0018.
[44]
Klinger, B. 2006. The art film, affect and the female viewer: The Piano revisited. Screen. 47, 1 (Jan. 2006), 19–41. DOI:https://doi.org/10.1093/screen/hjl002.
[45]
Laine, T. 2015. Bodies in pain: emotion and the cinema of Darren Aronofsky. Berghahn Books.
[46]
Laine, T. 2015. Bodies in pain: emotion and the cinema of Darren Aronofsky. berghahn.
[47]
Laine, T. 2013. Feeling cinema: emotional dynamics in film studies. Bloomsbury.
[48]
Lee, S. 2016. Wes Anderson’s ambivalent film style: the relation between                              -                              -                              and emotion. New Review of Film and Television Studies. 14, 4 (Oct. 2016), 409–439. DOI:https://doi.org/10.1080/17400309.2016.1172858.
[49]
Littman, S. and Hatfield, J. 2006. Experimental Film and Video: An Anthology. John Libbey Pub.
[50]
Marks, L.U. 2000. The skin of the film: intercultural cinema, embodiment, and the senses. Duke University Press.
[51]
Marks, L.U. 2000. The skin of the film: intercultural cinema, embodiment, and the senses. Duke University Press.
[52]
McRuer, R. 2003. AS GOOD AS IT GETS: Queer Theory and Critical Disability. GLQ: A Journal of Lesbian and Gay Studies. 9, 1–2 (Jan. 2003), 79–105. DOI:https://doi.org/10.1215/10642684-9-1-2-79.
[53]
McRuer, R. and Bérubé, M. 2006. Crip theory: cultural signs of queerness and disability. New York University Press.
[54]
McRuer, R. and Bérubé, M.F. 2006. Crip theory: cultural signs of queerness and disability. New York University Press.
[55]
P. Adams Sitney 2002. Visionary Film : The American Avant-Garde, 1943-2000. Oxford University Press.
[56]
PLANTINGA, C. 2010. "I Followed the Rules, and They All Loved You More”: Moral Judgment and Attitudes toward Fictional Characters in Film. Midwest Studies In Philosophy. 34, 1 (Sep. 2010), 34–51. DOI:https://doi.org/10.1111/j.1475-4975.2010.00204.x.
[57]
Pribram, E.D. 1988. Female spectators: looking at film and television. Verso.
[58]
Radley, E. 2007. Terrible Pleasures or Pleasurable Terrors? The Psychotic Act of Horror Film Spectatorship. Nottingham French Studies. 46, 3 (Sep. 2007), 92–108. DOI:https://doi.org/10.3366/nfs.2007-3.008.
[59]
Rich, B.R. 2013. New queer cinema: the director’s cut. Duke University Press.
[60]
Rich, B.R. 2013. New queer cinema: the director’s cut. Duke University Press.
[61]
Rich, B.R. 2013. New queer cinema: the director’s cut. Duke University Press.
[62]
Rob Stone, ,  Juli?n Daniel Guti?rrez-Albilla, , and  Julian Daniel Gutierrez-Albilla 2013. A Companion to Luis Buñuel. John Wiley & Sons, Incorporated.
[63]
Sinnerbrink, R. 2012. Stimmung: exploring the aesthetics of mood. Screen. 53, 2 (Jun. 2012), 148–163. DOI:https://doi.org/10.1093/screen/hjs007.
[64]
Sitney, P.A. 2002. Visionary film: the American avant-garde, 1943-2000. Oxford University Press.
[65]
Stone, R. and Gutiérrez-Albilla, J.D. eds. 2013. A companion to Luis Buñuel. Wiley-Blackwell.
[66]
Vol 11, No 2 (2007): http://www.film-philosophy.com/index.php/f-p/issue/view/13.
[67]
Wright, W. 1977. Six guns and society: a structural study of the Western. University of California Press.
[68]
Cine-Tracts 2: Vol. 1, No. 2, Summer 1977 - CT02.pdf.
[69]
Outsiders_-The-Battle-of-Algiers-and-political-cinema.pdf.
[70]
QUEER AND PRESENT DANGER. Sight and Sound. 10.
[71]
SH-Coding.pdf.