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General reading list
Licence:All rights reserved ©
Created: 2 years ago
Last Updated: 2 years ago
This list is designed to complement the more targeted reading you will be given for the individual courses. It is not exhaustive but it contains many useful works and we recommend that you consult it. With one or two exceptions all works listed are in English or are available in English translation.
The list is broken up into sub-lists. General works appear first under Film theory and history, followed by (in alphabetical order):


Built Environment / Rural Spaces
Documentary
Early cinema
Experimental and Avant-garde film
Feminism / Gender / Sexuality
National Cinema / Third Cinema / Race
Semiotics / Narrative / Representation
Spectatorship / Reception / Cognitive approaches
Technologies

Some of these categories overlap with each other and therefore some titles appear below in more than one sub-list. Some also reappear on the reading lists for individual courses.

Film theory and history


Theodor W. Adorno, The Culture Industry: selected essays on mass culture, ed. J.M. Bernstein, London:
Routledge, 1991.
J. Dudley Andrew, The Major Film Theories: an Introduction, New York: Oxford University Press, 1976.
Daniel Arijon, Grammar of the Film Language, London: Focal Press, 1976.
Rudolf Arnheim, Film as Art, Berkeley: University of California Press, 2006 (orig.edition Film, 1933).
Jacques Aumont, Alain Bergala, Michel Marie and Mark Vernet, Aesthetics of Film, trans. by Richard
Neupert, Austin: University of Texas Press, 1983.
Bela Balázs, Theory of the Film (1945), London: Dobson, 1951.
Tino Balio (ed.), Hollywood in the Age of Television, London: Unwin Hyman, 1990.
Roland Barthes, ‘The Death of the Author’ (1968), in The Rustle of Language, trans. Richard Howard,
Oxford: Blackwell, 1986; also in Stephen Heath (ed.) Image, Music, Text, Glasgow: Fontana, 1977.
Andre Bazin, What is Cinema?, Berkeley: University of California Press, 1967, 2 vols, trans. Hugh Gray (from
Qu’est-ce que le cinéma? (1958), Paris: Cerf, 1984).
Terry Bolas, Screen Education: From Film Appreciation to Media Studies, London: Intellect, 2009.
Leo Braudy and Marshall Cohen (eds.), Film Theory and Criticism: Introductory Readings, 6 edn., Oxford:
Oxford University Press, 2004.
Nick Browne (ed.), Cahiers du cinéma, 3: 1969-1972, the politics of representation, London: Routledge,
1990.
57
David Bordwell and Noel Carroll, Post-theory: reconstructing film studies, Madison: University of Wisconsin
Press, 1996.
David Bordwell and Kristin Thompson, Film Art: An Introduction, New York: Knopf, 1986 (and subsequent
editions).
David Bordwell and Kristin Thompson, Film History: An Introduction, New York: McGraw-Hill, 1994.
Noel Burch, Theory of Film Practice, trans. Helen R. Lane, London: Secker and Warburg, 1973.
Noel Carroll, Theorizing the Moving Image, Cambridge: Cambridge University Press, 1996.
Michael Chion, The Voice in Cinema, trans. Claudia Gorbman, New York: Columbia University Press, 1999.
Ian Christie, The Last Machine: early cinema and the birth of the modern world, London: BBC Education,
1994.
Jim Collins, Hilary Radner and Ava Preacher Collins, Film Theory Goes to the Movies, London: Routledge,
1993.
Gregory Currie, ‘The Long Goodbye: The Imaginary Language of Film’, British Journal of Aesthetics, 33
(1993).
Harold Davis and Paul Walton (eds.), Language, Image, Media, Oxford: Blackwell, 1983.
Cristina Degli-Esposti (ed.), Postmodernism in the Cinema, New York: Berghahn Books, 1998.
Gilles Deleuze, Cinema 1: The Movement Image, London: Athlone, 1989 (trans. by Hugh Tomlinson and
Barbara Habberjam from L’Image-mouvement, Paris: Minuit, 1983).
Gilles Deleuze, Cinema 2: The Time Image, London: Athlone, 1989 (trans. by Hugh Tomlinson and Robert
Galeta from L’Image-temps, Paris: Minuit, 1985).
Peter Dormer, The Art of The Maker, London: Thames and Hudson, 1994.
Antony Easthope (ed.), Contemporary Film Theory, London: Longman, 1993.
Sergei M. Eisenstein, Film Form, trans. Jay Leyda, London: Faber and Faber, 1970.
John Ellis, Visible Fictions: cinema, television, video, revised edition, London: Routledge, 1992.
Lee Grieveson and Haidee Wasson (eds.), Inventing Film Studies, Durham, N.C.: Duke University Press,
2008.
Stephen Heath, Questions of Cinema, Basingstoke and London: Macmillan, 1981.
Jim Hillier (ed.), Cahiers du Cinéma 1: the 1950s, neo-realism, Hollywood, the New Wave, London:
Routledge and Kegan Paul, 1985.
Jim Hillier (ed.), Cahiers du Cinéma 2:1960-1968, London: Routledge and Kegan Paul, 1986.
Fredric Jameson, Signatures of the Visible, London: Routledge, 1990.
Barbara M. Kennedy, Deleuze and Cinema: The Aesthetics of Sensation, Edinburgh: Edinburgh University
Press, 2000.
Siegfried Kracauer, Theory of Film: the redemption of physical reality, New York: Oxford University Press,
1960.
Annette Kuhn and Jackie Stacey, Screen Histories: A Screen Reader, Oxford: Clarendon Press, 1998.
Marcia Landy (ed.), The Historical Film: History and Memory in Media, London: Athlone Press, 2001.
Robert Lapsley and Michael Westlake, Film Theory: an introduction, Manchester: Manchester University
Press, 1988.
Peter Lehman (ed.), Defining Cinema, New Brunswick, N.J.: Rutgers University Press, 1997.
Jurij Lotman, Semiotics of Cinema, trans. by Mark E. Suino, Ann Arbor: University of Michigan Press, 1976.
58
Colin MacCabe, ‘Realism and the Cinema’, in Tony Bennett et al. (eds.), Popular Film and Television: a
reader, Milton Keynes: Open University Press, 1980.
Colin MacCabe (ed.), High Theory/Low Culture: analysing popular television and film, Manchester:
Manchester University Press, 1986.
Gerald Mast, Marshall Cohen and Leo Braudy, Film Theory and Criticism: introductory readings, New York:
Oxford University Press, 1992.
Jann Matlock, Marjorie Garber and Rebecca L. Walkowitz (eds.), Media Spectacles, New York: Routledge,
1993.
Toby Miller and Robert Stam (eds.), A Companion to Film Theory, Oxford: Blackwell, 1999.
Tania Modleski, Studies in Entertainment: critical approaches to mass culture, Bloomington and Indianapolis:
Indiana University Press, 1986.
James Monaco, How to Read a Film: the world of movies, media and multimedia: language, history, theory,
3rd edition, New York: Oxford University Press, 2000.
Laura Mulvey, Death 24x a Second: Stillness and the Moving Image. London: Reaktion, 2006
Hugo Münsterberg, The Photoplay: a psychological study, New York: Appleton, 1916; reprinted as The Film:
a psychological study, New York: Dover, 1970.
Timothy Murray, Like a Film: ideological fantasy on screen, camera and canvas, London: Routledge, 1993.
Steve Neale, Genre, London: British Film Institute, 1980.
Jill Nelmes (ed.), An Introduction to Film Studies, London: Routledge, 1996 (and subsequent editions).
Bill Nichols, Movies and Methods: an anthology, Vols 1 and 2, Berkeley and Los Angeles: University of
California Press, 1976 and 1985.
Bill Nichols, Blurred Boundaries: questions of meaning in contemporary culture, Bloomington and
Indianapolis: Indiana University Press, 1994.
Geoffrey Nowell-Smith (ed.), The Oxford History of World Cinema, Oxford: Oxford University Press, 1996.
John Orr, Cinema and Modernity, Cambridge: Polity, 1993.
Constance Penley (ed.), Feminism and Film Theory, London: Routledge, 1988.
V. F. Perkins, Film as Film, Harmondsworth: Penguin, 1969.
Phillips, P., Understanding Film Texts: meaning and experience, London: BFI, 2000.
Patricia Pisters, The Matrix of Visual Culture: Working with Deleuze in Film Theory, California: Stanford
University Press, 2003.
Dana Polan, Scenes of Instruction: The Beginnings of the U.S. Study of Film, Berkeley: University of
California Press, 2007.
D. N. Rodowick, The Crisis of Political Modernism: criticism and ideology in contemporary film theory,
second edition, Berkeley and Los Angeles: University of California Press, 1994.
D. N. Rodowick, Gilles Deleuze’s Time Machine, Durham and London: Duke University Press, 1997.
D. N. Rodowick, Reading the Figural, Or, Philosophy after the New Media, Durham and London: Duke
University Press, 2001.
Philip Rosen, Narrative, Apparatus, Ideology: a film reader, New York: Columbia University Press, 1986.
Georges Sadoul, Histoire du cinéma, Paris: J’ai Lu, 1962.
Andrew Sarris, “You Ain’t Heard Nothin’ Yet”: The American Talking Film, History and Memory, 1927-49,
Oxford: Oxford University Press, 1998.
59
Vivian Sobchack (ed.), The Persistence of History: cinema, television and the modern event, London:
Routledge, 1997.
Robert Stam, Film Theory: an introduction, Oxford: Blackwell, 2000.
Robert Stam and Toby Miller (eds.), Film and Theory: an anthology, Oxford: Blackwell, 2000.
Graeme Turner, Film as Social Practice, London: Routledge, 1988.
Thomas E. Valasek, Frameworks: an introduction to film studies, Dubuque, IA: Wm. C. Brown, 1992.
Paul Virilio, The Vision Machine, London: British Film Institute, 1994.
John Wyver, The Moving Image: an international history of film, television and video, Oxford: Blackwell, 1989.


Built Environment / Rural Spaces


Nezar Al Sayyad, Cinematic Urbanism: A History of the Modern from Reel to Real, New York and Abingdon:
Routledge, 2006.
Giuliana Bruno, Atlas of Emotion: Journey in Art, Architecture and Film, New York and London: Verso, 2002.
Robert Fish (eds.), Cinematic Countrysides (Manchester University Press, Manchester, 2007)
Catherine Fowler and Gillian Helfield, Representing the Rural: Space, Place and Identity in Films About the
Land, Detriot: Wayne State University Press, 2006.
Thierry Jousse and Thierry Pacquot (eds.), La Ville au cinéma, Paris: Cahiers du Cinéma, 2005.
Martin Lefebvre, Landscape and Film, New York and London: Routledge, 2006.
Murray Pomerance, City that Never Sleeps: New York and the Filmic Imagination New Brunswick, NJ and
London: Rutgers University Press, 2007.
Mark Shiel and Tony Fitzmaurice (eds.), Cinema and the City: Film and Urban Societies in a Global Context,
Oxford: Blackwell, 2001.
Andrew Webber and Emma Wilson, Cities in Transition: The Moving Image and the Modern Metropolis,
London and New York: Wallflower Press, 2008.


Documentary


Erik Barnouw, Documentary: a history of the non-fiction film, 2nd edition revised, New York: Oxford University
Press, 1993.
Richard M. Barsam, Non-fiction Film: a critical history, revised edition, Bloomington and Indianapolis: Indiana
University Press, 1992.
Timothy Boon, Films of Fact: a History of Science in Documentary Films and Television, London: Wallflower,
2007.
Stella Bruzzi, New documentary: a critical introduction, London: Routledge, 2000.
John Corner, The Art of Record: a critical introduction to documentary, Manchester: Manchester University
Press, 1996.
Barry Keith Grant and Jeannette Slonislowski, Documenting the Documentary: Close Readings of
Documentary Film and Video, Detriot: Wayne State University Press, 1998.
John Grierson, Grierson on Documentary, ed. F. Hardy, London: Faber and Faber, 1996.
60
Julia Lesage, ‘Political aesthetics of the feminist documentary film’, in Charlotte Brunsdon (ed.), Films for
Women, London: British Film Institute, 1987.
Stephen Mamber, Cinéma Vérité in America: studies in uncontrolled documentary, Cambridge, Mass.: M.I.T.
Press, 1974.
Kevin Macdonald and Mark Cousins, Imagining Reality: the Faber book of documentary, London: Faber and
Faber, 1996.
Bill Nichols, Representing Reality: issues and concepts in documentary, Bloomington and Indianapolis:
Indiana University Press, 1991.
Duncan Petrie and Robert Kruger, A Paul Rotha Reader, Exeter: University of Exeter Press, 1999.
Michael Renov (ed.), Theorizing Documentary, London: Routledge, 1996.
Alan Rosenthal (ed.), New Challenges for Documentary, Berkeley: University of California Press, 1988.
Paul Rotha, Documentary Film, London: Faber, 1936.
William Rothman, Documentary Film Classics, Cambridge: Cambridge University Press, 1997.
Jonathan B. Vogels, The Direct Cinema of David and Albert Maysles, Carbondale: Southern Illinois
University Press, 2005.
Brian Winston, Claiming the Real: the Griesonian Documentary and its Legitimations, London: British Film
Institute, 1995.


Early cinema

Richard Abel, The Red Rooster Scare: Making Cinema American, 1900-1910, Berkeley: University of
California Press, 1999.
Richard Abel, The Cine Goes to Town: French Cinema, 1896-1914, Berkeley: University of California Press,
1994.
Jonathan Auerbach, Body Shots: Early Cinema’s Incarnations, Berkeley: University of California Press,
2007.
Paolo Cherchi Usai, Silent Cinema: an introduction, London: BFI, 2000.
Ian Christie, The Last Machine: early cinema and the birth of the modern world, London: BBC Education,
1994.
Mary Ann Doane: The Emergence of Cinematic Time: Modernity, Contingency and the Archive, Durham:
Duke University Press, 2002.
Thomas Elsaesser (ed.), Early Cinema: space, frame, narrative, London: BFI, 1990.
Thomas Elsaesser (ed.), A Second Life: German Cinema’s First Decades, Amsterdam: Amsterdam
University Press, 1996.
Thomas Elsaesser, Weimar Cinema and After: Germany’s Historical Imaginary, London: Routledge, 2000.
Scott Eyman, The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930, New York: Simon &
Schuster, 1997.
John Fullerton (ed.), Celebrating 1895: the centenary of cinema, Luton: John Libbey, 1998.
Lee Grieveson, Policing Cinema: Movies and Censorship in Early Twentieth Century America, Berkeley:
University of California Press, 2004.
Lee Grieveson and Peter Krämer (eds.), The Silent Cinema Reader, London: Routledge, 2003.
61
Tom Gunning, D.W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph,
Urbana: University of Illinois Press, 1991.
Miriam Hansen, Babel and Babylon: Spectatorship in American Silent Film, Cambridge, MA: Harvard
University Press, 1991.
Lynn Kirby, Parallel Tracks: The Railroad and Silent Cinema, Exeter: University of Exeter Press, 1997.
Charles Musser, The Emergence of Cinema: The American Screen to 1907, New York: Scribner’s, 1990.
Charles Musser, Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company,
Berkeley: University of California Press, 1991.
Charles Musser, Edison Motion Pictures, 1890-1900: An Annotated Filmography, Washington: Smithsonian
Institution Press, 1997.
Ben Singer, Melodrama and Modernity: Early Sensational Cinema and Its Contexts, New York: Columbia
University Press, 2001.
Melvyn Stokes, D. W. Griffith’s The Birth of a Nation: a History of "the most controversial motion picture of all
time", Oxford: Oxford University Press, 2007.
Dan Streible, Fight Pictures: A History of Boxing and Early Cinema, Berkeley: University of California Press,
2008.
Yuri Tsivian, Early Cinema in Russia and its cultural reception, ed. Richard Taylor, London: Routledge, 1994.


Experimental and Avant-garde film


P. Adams Sitney (ed.), The Avant-Garde Film: A Reader of Theory and Criticism, New York: New York
University Press, 1978.
David Curtis, Experimental Cinema: A Fifty Year Evolution, London: Studio Vista, 1971.
Russell Ferguson (ed.), Art and Film Since 1945: Hall of Mirrors, Los Angeles: Museum of Contemporary Art,
1996.
Daniel Kane, We Saw the Light: Conversations between the new American Film and Poetry, Iowa City:
University of Iowa Press, 2009.
Scott MacDonald, Avant-Garde Film: Motion Studies, Cambridge: Cambridge University Press, 1993.
Michael O’Pray (ed.), The British Avant-Garde Film, 1926 to 1995: An Anthology of Writings, Luton: John
Libbey/University of Luton Press, 1996.
A. L. Rees, A History of Experimental Film and Video: from the canonical avant-garde to contemporary
British practice, London: BFI, 1999.
Edward S. Small, Direct Theory: Experimental Film and Video as Major Genre, Carbondale: Southern Illinois
University Press, 1994.
Peter Steven, Jump Cut: Hollywood, Politics and Counter-Cinema, Toronto: Between the Lines, 1985.
Wheeler Winston Dixon, The Exploding Eye: A Re-Visionary History of 1960s American Experimental
Cinema, Albany: SUNY Press, 1997.
Peter Wollen, ‘The Two Avant-Gardes’ in Readings and Writings: Semiotic Counter-Strategies, London:
Verso, 1982.
62


Feminism / Gender / Sexuality


Charlotte Brunsdon (ed.), Films for Women, London: British Film Institute, 1986.
Judith Butler, Bodies That Matter: on the discursive limits of sex, London: Routledge, 1993.
Judith Butler, Gender Trouble: feminism and the subversion of identity, London: Routledge, 1990
Julie F.Codell (ed.), Genre, Gender, Race and World Cinema, Oxford: Blackwell, 2007.
Pam Cook and Philip Dodd (eds.), Women and Film: A Sight and Sound Reader, London: Scarlet Press,
1993.
Steven Cohan and Ina Rae Hark (eds.), Screening the Male: exploring masculinities in Hollywood Cinema,
London: Routledge, 1993.
Teresa De Lauretis, Alice Doesn’t: feminism, semiotics, cinema, Basingstoke and London: Macmillan, 1984.
Mary Ann Doane, Patricia Mellencamp and Linda Williams (eds.), Re-visions: essays in feminist film
criticism, Los Angeles: University Publications of America/American Film Institute, 1984.
Mary Ann Doane, The Desire to Desire: the woman’s film of the 1940s, Bloomington and Indianapolis:
Indiana University Press, 1987.
Richard Dyer, Now You See It: studies on lesbian and gay film, London: Routledge, 1990.
Lorraine Gamman and Margaret Marshment (eds.), The Female Gaze: women as viewers of popular culture,
London: The Woman’s Press, 1988.
Martha Gever, John Greyson and Pratibha Parmar, Queer Looks: perspectives on lesbian and gay film and
video, London: Routledge, 1993.
Peter Gidal, ‘Against Sexual Representation in Film’, Screen, Vol. 25, No. 6 (November-December 1984).
Ann Gray, Video Playtime: The gendering of a leisure technology, London and New York: Routledge, 1992.
Amelie Hastie, Cupboards of Curiosity: Women, Recollection, and Film History, Durham, N.C.: Duke
University Press, 2006.
E. Ann Kaplan, Women and Film: both sides of the camera, London: Methuen, 1983.
Annette Kuhn, The Power of the Image: essays on representation and sexuality, London: Routledge and
Kegan Paul, 1985.
Annette Kuhn, Women’s Pictures: feminism and cinema, 2nd edition, London: Verso, 1994.
Judith Mayne, The Woman at the Keyhole: feminism and women’s cinema, Bloomington and Indianapolis:
Indiana University Press, 1990.
Toril Moi, Sexual/Textual Politics: feminist literary theory, London: Routledge, 1985.
Constance Penley (ed.), Feminism and Film Theory, London: Routledge, 1988.
Constance Penley, The Future of an Illusion: film, feminism and psychoanalysis, London: Routledge, 1989.
Jacqueline Rose, Sexuality in the Field of Vision, London: Verso, 1986.
Eve Kosovsky Sedgwick and Andrew Parker (eds.), Performance and Performativity, London: Routledge,
1995.
Kaja Silverman, The Acoustic Mirror: the female voice in psychoanalysis and cinema, Bloomington and
Indianapolis: Indiana University Press, 1988.
Andrew Spicer, Typical Men: The Representation of Masculinity in Popular British Cinema, London: I. B.
Tauris, 2003.
Gaylyn Studlar, In the Realm of Pleasure, Bloomington and Indianapolis: Indiana University Press, 1988.
The Sexual Subject: A Screen Reader in Sexuality, London: Routledge, 1992.
63
Patricia White, Uninvited: Classical Hollywood Cinema and Lesbian Representation, Bloomington: Indiana
University Press, 1999.
Tamsin Wilton (ed.), Immortal, Invisible: Lesbians and the Moving Image. London: Routledge, 1995.
Robin Wood, Sexual Politics and Narrative Film,New York: Columbia University Press, 1998.


National Cinema / Third Cinema / Race


Benedict Anderson, Imagined Communities, London: Verso, 1991.
Homi K. Bhabha, Nation and Narration, London: Routledge, 1990.
Homi K. Bhabha, The Location of Culture, London: Routledge, 1994.
Mbye B. Cham and Claire Andrade-Watkins, Blackframes: critical perspectives in black independent cinema,
Cambridge, Mass: Celebration of Black Cinema Inc., 1988.
Julie F. Codell (ed.), Genre, Gender, Race and World Cinema. An Anthology. Oxford: Blackwell, 2007.
Philip Drummond, Richard Paterson and Janet Willis (eds.), National Identity and European Cinema,
London: BFI, 1993.
Thomas Elsaesser, European Cinema: Face to Face with Hollywood, Amsterdam: Amsterdam University
Press, 2005.
Elizabeth Ezra and Terry Rowden (eds.), Transnational Cinema: The Film Reader, London: Routledge,
2006.
Teshome H. Gabriel, Third cinema in the Third World: the aesthetics of liberation, Ann Arbor: UMI Research
Press, 1982.
Anthony R. Guneratne and Wiman Dissanayake, Rethinking Third Cinema, London and New York:
Routledge, 2003.
Mette Hjort and Scott MacKenzie, Cinema and Nation, London: Routlege, 2000.
Laura Marks, The Skin of the Film: Intercultural Cinema, Embodiment and the Senses, Durham, NC: Duke
University Press, 2000.
David Martin-Jones, Deleuze, Cinema and National Identity: Narrative Time in National Contexts. Edinburgh:
Edinburgh University Press, 2006.
Kobena Mercer, ‘Diaspora Culture and Dialogic Imagination: the aesthetics of Black Independent Film in
Britain’, in Kobena Mercer (ed.), Welcome to the Jungle: New Positions in Black Cultural Studies,
London: Routledge, 1994.
William H. Meyer, Transnational Media and the Third World: the structure and impact of imperialism, New
York: Greenwood Press, 1988.
David Morley and Kevin Robins, Spaces of Global Media, Electronic Landscapes and Cultural Boundaries,
London: Routledge, 1995.
Hamid Naficy, An accented cinema: exilic and diasporic filmmaking, Princeton: Princeton University Press,
2001.
Diane Negra, Off-White Hollywood, Durham: Duke University Press, 2000.
Diana Robin and Ira S. Jaffe (eds.), Redirecting the Gaze: gender, theory and cinema in the third world, New
York: SUNY Press, 1999.
Jim Pines and Paul Willemen, Questions of Third Cinema, London: British Film Institute, 1989.
64
G. Chakravorty Spivak, ‘Can the subaltern speak?’, in Patrick Williams and Laura Chrisman (eds.), Colonial
Discourse and Postcolonial Theory: a reader, New York and London: Harvester Wheatsheaf, 1993.
Third Eye: struggle for black and Third World cinema, London: GLC Race Equality Unit, 1986.
Gladstone L. Yearwood, Black Cinema Aesthetics: issues in independent black filmmaking, Athens, Ohio:
Ohio University Center for Afro-American Studies, 1982.
Sharon Willis, High Contrast: Race and Gender in Contemporary Hollywood Film, Durham and London:
Duke University Press, 1997.


Semiotics / Narrative / Representation


David Bordwell, Narration in the Fiction Film, London: Methuen, 1985.
Edward Branigan, Narrative Comprehension and Film, London: Routledge, 1992.
Harold Davis and Paul Walton (eds.), Language, Image, Media, Oxford: Blackwell, 1983.
Teresa De Lauretis, Alice Doesn’t: feminism, semiotics, cinema, Basingstoke and London: Macmillan, 1984.
Claude Lévi Strauss, ‘The structural study of myth’, in Structural Anthropology (1958), Harmondsworth:
Penguin, 1968.
Christian Metz, Film Language: A Semiotics of the Cinema (1968), (trans. Michael Taylor), New York: Oxford
University Press, 1974.
Bill Nichols, Ideology and the Image: Social Representation in the Cinema and Other Media, Bloomington
and Indianapolis: Indiana University Press, 1981.
Philip Rosen, Narrative, Apparatus, Ideology: a film reader, New York: Columbia University Press, 1986.
Hayden White, The Content of the Form: narrative discourse and historical representation, Baltimore: Johns
Hopkins University Press, 1990.
Peter Wollen, Signs and Meaning in the Cinema, London: Secker and Warburg, 2nd edition, 1972.
Nancy Wood, ‘Towards a Semiotics of the Transition to Sound: spatial and temporal codes’, Screen, Vol. 25
No. 3 (May-June 1984).
George M. Wilson, Narration in Light, Baltimore: Johns Hopkins University Press, 1986.


Spectatorship / Reception / Cognitive approaches


Charles R. Acland, Screen Traffic: Movies, Multiplexes, and Global Culture, Durham, NC and London: Duke
University Press, 2003.
David Bordwell, Making Meaning: Inference and Rhetoric in the Interpretation of Cinema, Cambridge:
Harvard University Press, 1989.
Edward Branigan, Narrative Comprehension and Film, New York: Chapman and Hall, Inc, 1992.
Noel Carroll, Mystifying Movies, New York: Columbia University Press, 1988.
Gregory Currie, Image and Mind: Film, Philosophy and Cognitive Science, New York: Cambridge University
Press, 1995.
Kathryn H. Fuller-Seeley. Hollywood in the Neighbourhood: Historical Case Studies of Local Moviegoing,
Berkely: University of California Press, 2008.
Lorraine Gamman and Margaret Marshment (eds.), The Female gaze: women as viewers of popular culture,
London: The Womans Press, 1988.
65
Christine Gledhill, ‘Pleasurable Negotiations’, in E. Deidre Pribram (ed.), Female Spectators, London: Verso,
1988.
Laurence Goldstein and Ira Konigsberg (eds.), The Movies: Texts, Receptions, Exposures, Ann Arbor:
University of Michigan Press, 1996.
Mark Jancovich et al., The Place of the Audience: Cultural Geographies of Film Consumption, London: BFI,
2003.
Annette Kuhn, An Everyday Magic: Cinema and Cultural Memory, London: I. B. Tauris, 2002.
Grant McCracken, Culture and Consumption: new approaches to the symbolic character of consumer goods
and activities, Bloomington, Ind.: Indiana University Press, 1988.
Laura Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham, NC: Duke
University Press, 2000
Laura Marks, Touch, Minneapolis: University of Minnesota Press, 2002
Judith Mayne, Cinema and Spectatorship, London: Routledge, 1993.
Paul Messaris, Visual Literacy: image, mind and reality, Boulder, CO.: Westview Press, 1994.
Laura Mulvey, Visual and Other Pleasures, Basingstoke and London: Macmillan, 1989.
Steven Shaviro, The Cinematic Body, Minneapolis: University of Minnesota Press, 1993
Greg M. Smith and Carl R. Plantinga (eds.), Passionate Views: thinking about film and emotion, Baltimore:
Johns Hopkins University Press, 1998.
Murray Smith, Engaging Characters, Oxford: Oxford University Press, 1995.
Vivian Sobchack, Carnal Visions: Embodiment and Moving Image Culture, Berkeley: University of California
Press, 2004.
Melvyn Stokes and Richard Maltby (eds.), Identifying Hollywood’s Audiences: Cultural Identity and the
Movies, London: BFI, 1999.
Ed S. Tan, Emotions and the Structure of Narrative Film: film as an emotion machine, Mahwah, NJ:
Lawrence Erlbaum Associates, 1996.
Linda Williams (ed.), Viewing Positions: ways of seeing film, New Brunswick: Rutgers University Press, 1994.


Technologies


James R. Beniger, The Control Revolution: technological and economic origins of the information society,
Cambridge, Mass.: Harvard University Press, 1986.
Bruce Bennett, Marc Furstenau and Adrian Mackenzie (eds.), Cinema and Technology: Cultures, Theories,
Practices, Basingstoke: Palgrave Macmillan, 2008.
Walter Benjamin, ‘The work of art in the age of mechanical reproduction’ (1936), trans. H. Zohn, in
Illuminations, ed. H. Arendt, London: Cape, 1970.
Jay David Bolter and Richard Grusin, Remediation: understanding new media, Cambridge, Mass.: MIT
Press, 1999.
Manuel Castells, The Rise of the Network Society, Oxford: Blackwell, 1996.
Andrew Darley, Visual Digital Culture: Surface Play and Spectacle in New Media Genres, London:
Routledge, 2000.
Teresa De Lauretis and Stephen Heath (eds.), The Cinematic Apparatus, Basingstoke and London:
Macmillan, 1980.
66
Wendy Everett (ed.), Questions of Colour in Cinema: From Paintbrush to Pixel, Oxford: Peter Lang, 2007.
Jarice Hanson, Understanding Video: applications, impact and theory, Beverly Hills and London: Sage,
1987.
Harold A. Innis, The Bias of Communication, Toronto: University of Toronto Press, 1951.
Mark R. Levy and Barrie Gunter, Home Video and the Changing Nature of the Television Audience, London:
Libbey, 1988.
Carolyn Marvin, When Old Technologies Were New: thinking about electronic communication in the late
nineteenth century, New York: Oxford University Press, 1988.
Marshall McLuhan, Understanding media: the extensions of man (1964), London: Ark, 1987.
Joshua Meyrowitz, No Sense of Place: the impact of electronic media on social behaviour, New York: Oxford
University Press, 1985.
Laura Mulvey, Death 24x a Second: Stillness and the Moving Image. London: Reaktion, 2006.
Ralph Negrine (ed.), Cable TV and the Future of Broadcasting, London: Croom Helm, 1985.
Michael Renov and Erika Suderburg, Resolutions: contemporary video practices, Minneapolis: Minnesota
University Press, 1996.
Jerry L. Salvaggio (ed.), The Information Society: economic, social and structural issues, Hillsdale, NJ.:
Lawrence Erlbaum Associates, 1989.
Roger Silverstone and Eric Hirsch (eds.), Consuming Technologies: media and information in domestic
spaces, London: Routledge, 1994.
Michael Traber (ed.), The Myth of the Information Revolution: social and ethical implications, London: Sage,
1986.
Sherry Turkle, The Second Self: computers and the human spirit, London: Granada, 1984.
Mark Cotta Vaz and Patricia Rose Duignan, Industrial Light & Magic: into the digital realm, London: Virgin,
1996.
Valerie Walkerdine, ‘Video replay: families, films and fantasy’, in Manuel Alvarado and John O. Thompson
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