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

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

---. Spectatorship: The Power of Looking On. Vol. 35. London: Wallflower, 2007. Print.

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

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

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

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

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

Brevik-Zender, H. ‘Let Them Wear Manolos: Fashion, Walter Benjamin, and Sofia Coppola’s Marie Antoinette’. Camera Obscura: Feminism, Culture, and Media Studies 26.3 78 (2011): 1–33. Web.

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

Carroll, Noel. ‘Avant-Garde Film and Film Theory’. Avant-Garde Film and Film Theory 4 (1979): 135–143. Web. <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. ‘Movies, the Moral Emotions, and Sympathy’. Midwest Studies In Philosophy 34.1 (2010): 1–19. Web.

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

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

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

DADLEZ, E. M. ‘Seeing and Imagination: Emotional Response to Fictional Film’. Midwest Studies In Philosophy 34.1 (2010): 120–135. Web.

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

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

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

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

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

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

Downing, Lisa, and Libby Saxton. Film and Ethics: Foreclosed Encounters. London: Routledge, 2010. Print.

---. Film and Ethics: Foreclosed Encounters. New York, NY: Routledge, 2009. Web. <https://ebookcentral.proquest.com/lib/bham/detail.action?docID=449453>.

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

---. Now You See It: Studies on Lesbian and Gay Film. 2nd ed. London: Routledge, 2003. Print.

Eid, H, and K Ghazel. ‘Footprints of Fanon in Gillo Pontecorvo’s The Battle of Algiers and Sembene Ousamne’s Xala’. English in Africa 35.2 (2009): n. pag. Web.

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

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

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

Fernando Solanas and Octavio Getino. ‘TOWARD A THIRD CINEMA’. Cinéaste 4.3 (1970): 1–10. Web. <http://www.jstor.org/stable/41685716?Search=yes&amp;resultItemClick=true&amp;searchText=third&amp;searchText=cinema&amp;searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dthird%2Bcinema%26amp%3Bacc%3Don%26amp%3Bwc%3Don%26amp%3Bfc%3Doff&amp;seq=1#page_scan_tab_contents>.

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

French, Sarah, and Zoë Shacklock. ‘The Affective Sublime in Lars von Trier’s                            and Terrence Malick’s’. New Review of Film and Television Studies 12.4 (2014): 339–356. Web.

Galt, Rosalind. ‘Pretty: Film and the Decorative Image’. (2011): n. pag. Web. <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. Pretty: Film and the Decorative Image. New York: Columbia University Press, 2011. Web. <https://www.vlebooks.com/vleweb/Product/Index/792191?page=0>.

GAUT, BERYS. ‘Empathy and Identification in Cinema’. Midwest Studies In Philosophy 34.1 (2010): 136–157. Web.

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

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

---. Film Genre Reader IV. Austin, Tex: University of Texas Press, 2012. Print.

---. Film Genre Reader IV. Austin, Tex: University of Texas Press, 2012. Print.

Grossberg, Lawrence et al. Cultural Studies. New York: Routledge, 1992. Web. <https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1122888>.

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

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

Hill, Lauryn, and Göran Hugo Olsson. ‘Concerning Violence: Nine Scenes from the Anti-Imperialistic Self-Defense’. 2015 : n. pag. Print.

Keller, Sarah. ‘Frustrated Climaxes: On Maya Deren’s Meshes of the Afternoon and Witch’s Cradle’. Cinema Journal 52.3 (2013): 75–98. Web.

Klinger, B. ‘The Art Film, Affect and the Female Viewer: The Piano Revisited’. Screen 47.1 (2006): 19–41. Web.

Laine, Tarja. Bodies in Pain: Emotion and the Cinema of Darren Aronofsky. New York: Berghahn Books, 2015. Print.

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

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

Lee, Sunhee. ‘Wes Anderson’s Ambivalent Film Style: The Relation between                              -                              -                              and Emotion’. New Review of Film and Television Studies 14.4 (2016): 409–439. Web.

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

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

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

McRuer, R. ‘AS GOOD AS IT GETS: Queer Theory and Critical Disability’. GLQ: A Journal of Lesbian and Gay Studies 9.1–2 (2003): 79–105. Web.

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

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

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

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

PLANTINGA, CARL. ‘"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 (2010): 34–51. Web.

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

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

Radley, Emma. ‘Terrible Pleasures or Pleasurable Terrors? The Psychotic Act of Horror Film Spectatorship’. Nottingham French Studies 46.3 (2007): 92–108. Web.

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

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

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

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

‘SH-Coding.Pdf’. Web. <http://faculty.georgetown.edu/irvinem/theory/SH-Coding.pdf>.

Sinnerbrink, R. ‘Stimmung: Exploring the Aesthetics of Mood’. Screen 53.2 (2012): 148–163. Web.

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

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

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

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