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Arnheim, R. (1958) Film as Art, London: Faber & Faber.
(A translation of essays written in German between 1933 and 1938. An antirealist statement from the first period.) |
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Aumont, J. (1989) ‘The Point of View’, trans. A.
Denner, Quarterly Review of Film and Video 11: 1–22. (On the supposed subjectivity of the camera.) |
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Bazin, A. (1967) What is Cinema?, vol. 1, trans. H.
Gray, Berkeley, CA, and Los Angeles, CA: University of California Press. A translation of selected essays from Qu-est-ce que le cinéma?, 4 vols, Paris: Éditions du Cerf, 1958–65. (The classic statement of realism.) |
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Bordwell, D. and Carroll, N. (1995) Post-Theory: Reconstructing Film Studies, Madison, WI: University of Wisconsin Press.
(A collection of writings by philosophers and theorists opposed to the dominant models of the second period.) |
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Carroll, N. (1988) Philosophical Problems of Classical Film Theory, Princeton, NJ: Princeton University Press.
(A useful discussion of expressionist and realist tendencies.) |
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Carroll, N. (1990) Mystifying Movies, Ithaca, NY: Cornell University Press. |
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Cavell, S. (1971) The World Viewed, New York: Viking Press.
(A statement of the realist view.) |
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Currie, G. (1995) Image and Mind. Film, Philosophy, and Cognitive Science, New York: Cambridge University Press.
(A theory of film which rejects semiotic and psychoanalytic models in favour of Anglo-American philosophy of mind and cognitive science.) |
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Metz, C. (1977) Le signifiant imaginaire. Psychoanalyse et cinéma, Paris: Union Générale d’Éditions; trans. C.
Britton
et al., The Imaginary Signifier, Bloomington, IN: Indiana University Press, 1982.
(Represents a semiotician’s turn to psychoanalytic and especially Lacanian ideas.) |
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Mulvay, L. (1976) ‘Visual Pleasure and Narrative Cinema’, Screen 16, reprinted in G.
Mast, M.
Cohen and L.
Braudy (eds). (An account of the viewer’s relation to the screen image, influenced by Lacan.) |
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Nichols, B. (1976, 1985) Movies and Methods, 2 vols, Berkeley and Los Angeles, CA: University of California Press. (An anthology in which Marxist, semiotic and feminist perspectives are well represented.) |
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Ogle, P. (1972) ‘Technological and Aesthetic Influences on the Development of Deep-Focus Cinematography in the United States’, Screen 13, reprinted in Nichols (ed.), vol. 2. (A historical account of deep-focus style.) |
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Wilson, G. (1986) Narration in Light, Baltimore, MD, and London: Johns Hopkins University Press.
(This work by a philosopher develops an account of narration in film through close analysis of five films.) |