Bibliography for Film Theory and Criticism II (09 29438) BETA

Aaron, Michele. 2004. New Queer Cinema: A Critical Reader. Edinburgh: Edinburgh University Press.

———. 2007. Spectatorship: The Power of Looking On. Vol. 35. London: Wallflower.

Allen, Richard. 1995. Projecting Illusion: Film Spectatorship and the Impression of Reality. Vol. Cambridge studies in film. Cambridge: Cambridge University Press.

Altman, Rick. 1999. Film/Genre. London: British Film Institute.

Barker, Jennifer M. n.d. The Tactile Eye: Touch and the Cinematic Experience. Berkeley, CA: University of California Press.

Barker, Jennifer M., 1969-. 2009. The Tactile Eye: Touch and the Cinematic Experience. University of California Press. https://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb08197.0001.001.

Bordwell, David, Kristin Thompson, and Jeff Smith. 2017. Film Art: An Introduction. Eleventh edition. New York, NY: McGraw-Hill Education.

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): 1–33. https://doi.org/10.1215/02705346-1415416.

Cameron, Ian, and Douglas Pye. 1996. The Movie Book of the Western. London: Studio Vista.

Carroll, Noel. 1979. ‘Avant-Garde Film and Film Theory’. Avant-Garde Film and Film Theory, no. 4: 135–43. http://bham-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_proquest1295098707&indx=1&recIds=TN_proquest1295098707&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%2844BIR_PDA1_DS%29%2Cscope%3A%2844BIR_ETH1_DS%29%2Cscope%3A%2844BIR_LGUI_DS%29%2Cscope%3A%2844BIR_PURE_FT%29%2Cscope%3A%2844BIR_ALEPH_DS%29%2Cscope%3A%2844BIR_MIM_DS+%29%2Cscope%3A%2844BIR_RLIST_DS%29%2Cscope%3A%2844BIR_ML_DS%29%2Cscope%3A%2844BIR_SFX_DS%29%2Cscope%3A%2844BIR_DR1_DS%29%2Cscope%3A%2844BIR_DR2_DS%29%2C44BIR_Ebsco_1%2Cprimo_central_multiple_fe&mode=Basic&vid=44BIR_VU1&srt=rank&tab=local&vl(freeText0)=Avant-Garde%20Film%20and%20Film%20Theory%20Carroll&dum=true&dstmp=1513740032538.

CARROLL, NOËL. 2010. ‘Movies, the Moral Emotions, and Sympathy’. Midwest Studies In Philosophy 34 (1): 1–19. https://doi.org/10.1111/j.1475-4975.2010.00197.x.

‘Cine-Tracts 2: Vol. 1, No. 2, Summer 1977 - CT02.Pdf’. n.d. https://library.brown.edu/cds/cinetracts/CT02.pdf.

Cook, Pam, ed. 2007. The Cinema Book. Third edition. London: BFI.

Cooper, Sarah and Modern Humanities Research Association. 2005. Selfless Cinema?: Ethics and French Documentary. Vol. No. 20. London: Legenda.

DADLEZ, E. M. 2010. ‘Seeing and Imagination: Emotional Response to Fictional Film’. Midwest Studies In Philosophy 34 (1): 120–35. https://doi.org/10.1111/j.1475-4975.2010.00194.x.

Davis, Lennard J. 1995. Enforcing Normalcy: Disability, Deafness, and the Body. London: Verso.

———, ed. 2017a. The Disability Studies Reader. Fifth edition. New York, NY: Routledge, an imprint of the Taylor & Francis Group.

———. 2017b. The Disability Studies Reader. Fifth edition. New York, New York: Routledge. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=4741427.

Davis, Lennard J., 1949-. 1995. Enforcing Normalcy: Disability, Deafness, and the Body. Verso. https://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb02823.0001.001.

Deren, Maya, and Bill Nichols. 2001. Maya Deren and the American Avant-Garde. Berkeley, Calif: University of California Press.

Dixon, Wheeler W., and Gwendolyn Audrey Foster. 2002. Experimental Cinema, the Film Reader. London: Routledge.

Downing, Lisa, and Libby Saxton. 2009. Film and Ethics: Foreclosed Encounters. New York, NY: Routledge. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=449453.

———. 2010. Film and Ethics: Foreclosed Encounters. London: Routledge.

Dyer, Richard, and Julianne Pidduck. 2003a. Now You See It: Studies in Lesbian and Gay Film. 2nd ed. London: Routledge.

———. 2003b. Now You See It: Studies on Lesbian and Gay Film. 2nd ed. London: Routledge.

Eid, H, and K Ghazel. 2009. ‘Footprints of Fanon in Gillo Pontecorvo’s The Battle of Algiers and Sembene Ousamne’s Xala’. English in Africa 35 (2). https://doi.org/10.4314/eia.v35i2.42858.

Elsaesser, Thomas, and Malte Hagener. 2015a. Film Theory: An Introduction through the Senses. 2. ed. New York: Routledge.

———. 2015b. Film Theory: An Introduction through the Senses. 2nd ed. New York, New York: Routledge.

Eng, David L., Judith Halberstam, and José Esteban Muñoz. 2005. What’s Queer about Queer Studies Now? Vol. 84–85. Durham, N.C.: Duke University Press.

Fernando Solanas and Octavio Getino. 1970. ‘TOWARD A THIRD CINEMA’. Cinéaste 4 (3): 1–10. http://www.jstor.org/stable/41685716?Search=yes&resultItemClick=true&searchText=third&searchText=cinema&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dthird%2Bcinema%26amp%3Bacc%3Don%26amp%3Bwc%3Don%26amp%3Bfc%3Doff&seq=1#page_scan_tab_contents.

‘For an Imperfect Cinema by Julio García Espinosa, Trans. by Julianne Burton’. n.d. http://www.ejumpcut.org/archive/onlinessays/JC20folder/ImperfectCinema.html.

French, Sarah, and Zoë Shacklock. 2014. ‘The Affective Sublime in Lars von Trier’s                            and Terrence Malick’s’. New Review of Film and Television Studies 12 (4): 339–56. https://doi.org/10.1080/17400309.2014.942555.

Galt, Rosalind. 2011. ‘Pretty: Film and the Decorative Image’. http://findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_mla2011031545&indx=1&recIds=TN_mla2011031545&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%2844BIR_PDA1_DS%29%2Cscope%3A%2844BIR_ETH1_DS%29%2Cscope%3A%2844BIR_LGUI_DS%29%2Cscope%3A%2844BIR_PURE_FT%29%2Cscope%3A%2844BIR_ALEPH_DS%29%2Cscope%3A%2844BIR_MIM_DS+%29%2Cscope%3A%2844BIR_RLIST_DS%29%2Cscope%3A%2844BIR_ML_DS%29%2Cscope%3A%2844BIR_SFX_DS%29%2Cscope%3A%2844BIR_DR1_DS%29%2Cscope%3A%2844BIR_DR2_DS%29%2C44BIR_Ebsco_1%2Cprimo_central_multiple_fe&mode=Basic&vid=44BIR_VU1&srt=rank&tab=local&vl(freeText0)=pretty%20rosalind%20galt&dum=true&dstmp=1504605725877.

Galt, Rosalind. 2011. Pretty: Film and the Decorative Image. New York: Columbia University Press. https://www.vlebooks.com/vleweb/Product/Index/792191?page=0.

GAUT, BERYS. 2010. ‘Empathy and Identification in Cinema’. Midwest Studies In Philosophy 34 (1): 136–57. https://doi.org/10.1111/j.1475-4975.2010.00211.x.

Geiger, Jeffrey, and R. L. Rutsky. 2013. Film Analysis: A Norton Reader. Second edition. New York: W.W. Norton & Company.

Grant, Barry Keith. 2012a. Film Genre Reader IV. Austin, Tex: University of Texas Press.

———. 2012b. Film Genre Reader IV. Austin, Tex: University of Texas Press.

———. 2012c. Film Genre Reader IV. Austin, Tex: University of Texas Press.

Grossberg, Lawrence, Lawrence Grossberg, Cary Nelson, Paula A. Treichler, Linda Baughman, and J. Macgregor Wise. 1992. Cultural Studies. New York: Routledge. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1122888.

Grossberg, Lawrence, Cary Nelson, and Paula A. Treichler. 1992. Cultural Studies. New York: Routledge.

Hatfield, Jackie, and Stephen Littman, eds. 2015. Experimental Film and Video: An Anthology. New Bernet, Herts, [England]: John Libbey Publishing. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=2042367.

Hill, Lauryn, and Göran Hugo Olsson. 2015. ‘Concerning Violence: Nine Scenes from the Anti-Imperialistic Self-Defense’. [London]: Dogwoof.

Keller, Sarah. 2013. ‘Frustrated Climaxes: On Maya Deren’s Meshes of the Afternoon and Witch’s Cradle’. Cinema Journal 52 (3): 75–98. https://doi.org/10.1353/cj.2013.0018.

Klinger, B. 2006. ‘The Art Film, Affect and the Female Viewer: The Piano Revisited’. Screen 47 (1): 19–41. https://doi.org/10.1093/screen/hjl002.

Laine, Tarja. 2013. Feeling Cinema: Emotional Dynamics in Film Studies. Paperback ed. New York: Bloomsbury.

———. 2015a. Bodies in Pain: Emotion and the Cinema of Darren Aronofsky. New York: Berghahn Books.

———. 2015b. Bodies in Pain: Emotion and the Cinema of Darren Aronofsky. New York, New York: berghahn. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1707815.

Lee, Sunhee. 2016. ‘Wes Anderson’s Ambivalent Film Style: The Relation between                              -                              -                              and Emotion’. New Review of Film and Television Studies 14 (4): 409–39. https://doi.org/10.1080/17400309.2016.1172858.

Littman, Stephen, and Jackie Hatfield. 2006. Experimental Film and Video: An Anthology. Bloomington, IN: John Libbey Pub. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=2042367.

Marks, Laura U. 2000a. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham, N.C.: Duke University Press.

———. 2000b. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham: Duke University Press. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1167652.

McRuer, R. 2003. ‘AS GOOD AS IT GETS: Queer Theory and Critical Disability’. GLQ: A Journal of Lesbian and Gay Studies 9 (1–2): 79–105. https://doi.org/10.1215/10642684-9-1-2-79.

McRuer, Robert, and Michael Bérubé. 2006. Crip Theory: Cultural Signs of Queerness and Disability. New York: New York University Press.

McRuer, Robert, and Michael F. Bérubé. 2006. Crip Theory: Cultural Signs of Queerness and Disability. New York: New York University Press.

‘Outsiders_-The-Battle-of-Algiers-and-Political-Cinema.Pdf’. n.d. http://www.cronistas.org/wp-content/uploads/2014/02/Outsiders_-The-Battle-of-Algiers-and-political-cinema.pdf.

P. Adams Sitney. 2002. Visionary Film : The American Avant-Garde, 1943-2000. Oxford University Press. https://ebookcentral.proquest.com/lib/bham/reader.action?docID=241285&ppg=11.

PLANTINGA, CARL. 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): 34–51. https://doi.org/10.1111/j.1475-4975.2010.00204.x.

Pribram, E. Deidre. 1988. Female Spectators: Looking at Film and Television. London: Verso.

‘QUEER AND PRESENT DANGER’. n.d. Sight and Sound 10. https://search-proquest-com.ezproxyd.bham.ac.uk/docview/1305510453/fulltextPDF/C3BAD7840B704099PQ/1?accountid=8630.

Radley, Emma. 2007. ‘Terrible Pleasures or Pleasurable Terrors? The Psychotic Act of Horror Film Spectatorship’. Nottingham French Studies 46 (3): 92–108. https://doi.org/10.3366/nfs.2007-3.008.

Rich, B. Ruby. 2013a. New Queer Cinema: The Director’s Cut. Durham: Duke University Press.

———. 2013b. New Queer Cinema: The Director’s Cut. Durham: Duke University Press. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1173623.

———. 2013c. New Queer Cinema: The Director’s Cut. Durham: Duke University Press. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1173623.

Rob Stone, ,  Juli?n Daniel Guti?rrez-Albilla, , and  Julian Daniel Gutierrez-Albilla. 2013. A Companion to Luis Buñuel. John Wiley & Sons, Incorporated. https://ebookcentral.proquest.com/lib/bham/reader.action?docID=1129776&ppg=5.

‘SH-Coding.Pdf’. n.d. http://faculty.georgetown.edu/irvinem/theory/SH-Coding.pdf.

Sinnerbrink, R. 2012. ‘Stimmung: Exploring the Aesthetics of Mood’. Screen 53 (2): 148–63. https://doi.org/10.1093/screen/hjs007.

Sitney, P. Adams. 2002. Visionary Film: The American Avant-Garde, 1943-2000. Third edition. Oxford: Oxford University Press.

Stone, Rob, and Julián Daniel Gutiérrez-Albilla, eds. 2013. A Companion to Luis Buñuel. Oxford: Wiley-Blackwell.

‘Vol 11, No 2 (2007)’. n.d. http://www.film-philosophy.com/index.php/f-p/issue/view/13.

Wright, Will. 1977. Six Guns and Society: A Structural Study of the Western. Berkeley: University of California Press.