10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
European Cinema - Semester 1 View Online
Deac Rossell
Agnes, Varda, ‘Cle ́ o de 5 A ́ 7’ (Paris: Gallimard, 1962)
Alexander Kluge, Tamara Evans and Stuart Liebman, ‘The Assault of the Present on the Rest of Time’, New German Critique, 49, 1990, 11–22
Alexander Kluge, Thomas Y. Levin and Miriam B. Hansen, ‘On Film and the Public Sphere’, New German Critique, 24, 1982, 206–20
Allinson, Mark, A Spanish Labyrinth: The Films of Pedro Almodóvar (London: I.B. Tauris, 2001)
Almodóvar, Pedro, ‘All about My Mother’ (El Deseo/ Renn Productions/ France 2 Cinema, 1999)
———, ‘Dark Habits’ (Tesauro, 1983)
———, ‘High Heels’ (El Deseo-Ciby 2000, 1991)
Almodovar, Pedro, ‘I’m so Excited’, 2013
Almodóvar, Pedro, ‘Pepi, Luci, Bom and Other Women on the Heap / Pepi, Luci, Bom Y Otras Chicas Del Montón’ (Figaro Films, 1980)
Almodóvar, Pedro, ‘The Law of Desire’ (Lauren Films, 1987)
———, ‘Volver’ (El Deseo / Canal + España ; Ministerio de Cultura ; Televisión Española, 2006)
1/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
———, ‘Women on the Verge of a Nervous Breakdown’ (El Deseo/Lauren Film/Orion, 1988)
Almodóvar, Pedro, Frédéric Strauss, and Yves Baignères, Almodóvar on Almodóvar (London: Faber and Faber, 1996)
Andersson, Roy, ‘Songs from the Second Floor: [REGION 1 DVD]’ (Roy Andersson Filmproduktion, 2000)
Andrew Bowie, ‘Alexander Kluge: An Introduction’, Cultural Critique, 4, 1986, 111–18
Anne Gillain, ‘The Script of Delinquency: Truffaut’s Les 400 Cents Coups’, in French Film: Texts and Contexts (London: Routledge, 1989)
Arcand, Denys, Lothaire Bluteau, Catherine Wilkening, Johanne-Marie Tremblay, Rémy Girard, Robert Lepage, and others, ‘Jesus of Montreal’ (Arrow Films, 2006)
August, Bille, ‘Pelle the Conqueror’ (Per Holst Film, 1988)
Axel, Gabriel, ‘Babette’s Feast’ (MGM Home Entertainment, 2004)
Bardem, Juan Antonio, ‘Death of a Cyclist’ (Guión Producciones Cinematográficas / Suevia Films S.A. / Trionfalcine, 1955)
Bazin, André, Hugh Gray, and Jean Renoir, What Is Cinema?: [Vol. 1] (Berkeley: University of California Press, 1967), pp. 17–40
Becker, Wolfgang, and Bernd Lichtenberg, ‘Goodbye Lenin’ (X-Filme Creative Pool / WDR, 2003)
Bergman, Ingmar, ‘Autumn Sonata’ (Personafilm, 1978)
———, ‘Cries and Whispers’ (Svensk Filmindustri, 1972)
———, ‘Det Sjunde Inseglet, (The Seventh Seal: [50th Anniversay Special Edition]’ (Svensk Filmindustri, 1957)
———, ‘Fanny and Alexander’ (Palisades Tartan, 2009)
———, Images: My Life in Film (New York: Arcade, 1994)
———, ‘Jungfrukällen, (The Virgin Spring 1960)’ (Tartan Video, 2007)
———, ‘Nattvardsgästerna, (Winter Light, 1962)’ (Svensk Filmindustri, 1962)
2/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Bergman, Ingmar, ‘Persona’ (Tartan, 1966)
Bergman, Ingmar, ‘Såsom I En Spegel, (Through a Glass Darkly, 1961)’ (Svensk Filmindustri, 1961)
———, ‘Sawdust and Tinsel’ (Artificial Eye, 2012)
———, ‘Smiles of a Summer Night’ (Svensk Filmindustri, 1955)
———, The Magic Lantern: An Autobiography (London: Penguin, 1988)
———, ‘The Passion of Anna’ (Svensk Filmindustri, 1969)
———, ‘The Seventh Seal: [50th Anniversay Special Edition]’ (Svensk Filmindustri, 1957)
Bergman, Ingmar, ‘Wild Strawberries / Smultronstället’ (Svensk Filmindustri, 1957)
Bergman, Ingmar, and Ingmar Bergman, Persona and Shame: The Screenplays of Ingmar Bergman (London: Calder and Boyars, 1972)
Bergman, Ingmar, Lars Malmström, and David Kushner, Wild Strawberries: A Film [screenplay] (London: Lorrimer Publishing Ltd, 1970), Modern film scripts
Bergman, Ingmar, Sven Nykvist, Liv Ullmann, Erland Josephson, Bibi Andersson, and Gunnel Lindblom, ‘Scenes from a Marriage’ (Tartan, 2003)
Bergman, Ingmar, Ingrid Thulin, Gunnel Lindblom, Birger Malmsten, Håkan Jahnberg, Jorgen Lindstrom, and others, The Silence (AB Svensk Filmindustri / Tartan Video, 2001)
Bersani, Leo, and Ulysse Dutoit, Arts of Impoverishment: Beckett, Rothko, Resnais (Cambridge, Mass: Harvard University Press, 1993)
Bertolucci, Bernardo, and Alberto Moravia, ‘Il Conformista (The Conformist)’ (Mars Film, 1970)
Besas, Peter, Behind the Spanish Lens: Spanish Cinema under Fascism and Democracy (Denver: Arden Press, 1985)
———, Behind the Spanish Lens: Spanish Cinema under Fascism and Democracy (Denver: Arden Press, 1985)
Blackwell, Marilyn Johns, Gender and Representation in the Films of Ingmar Bergman (Columbia, SC, USA: Camden House, 1997), Studies in Scandinavian literature and culture
Blakeway, Claire, Jacques Prevert: Popular French Theatre and Cinema (London: Fairleigh Dickinson University Press, 1990)
3/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Blank, Les, Maureen Gosling, and Michael Goodwin, ‘Burden of Dreams’ (Flower Films, 1982)
Bondanella, Peter E, Italian Cinema: From Neorealism to the Present, 3rd ed (New York: Continuum, 2001)
Borau, Jose Luis, ‘Furtivos (Poachers)’, 1975
Bordwell, David, Janet Staiger, and Kristin Thompson, The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 (London: Routledge, 1988)
Bresson, Robert, ‘Les Dames Du Bois de Boulogne’
Bresson, Robert, Georges Bernanos, Léonce-Henri Burel, Robert Sussfeld, Jean-Jacques Grunenwald, Léon Carré, and others, ‘Diary of a Country Priest’ (Optimum Releasing, 2008)
Brigitte Rollet, ‘Paris Nous Appartient: Flânerie in Paris and Film’, Film Quarterly, 61.3 (2008), 46–51
Brynych, Zbynek, ‘...a Páty Jezdec Je Strach (...and the Fifth Horseman Is Fear)’, 1965
Buchar, Robert, Czech New Wave Filmmakers in Interviews (Jefferson: McFarland, 2004)
Buñuel, Luis, An Unspeakable Betrayal: Selected Writings of Luis Buänuel (Berkeley, Calif: University of California Press, 2000)
———, ‘Simón Del Desierto’ (Mexico: Gustavo Alatriste, 1965)
———, ‘Terre sans Pain’, 1932
Buñuel, Luis, ‘Viridiana’ (Mexico/Spain: Films 59, 1961)
Buñuel, Luis, Luis Alcoriza, and Oscar Danciger, ‘Los Olvidados’ (Ultramar Films, 1950)
Buñuel, Luis, and Julio Alejandro, ‘Tristana’ (Epoca/Talia/Selenia Cinematografica/Les Films Corona, 1970)
Buñuel, Luis, Julio Alejandro, and Piergiuseppe Bozzetti, Viridiana (Portsmouth, N.H.: Heinemann, 1996), Script and director
Buñuel, Luis, Manuel Altolaguirre, Lilia Solano Galeana, and Juan de la Cabada, ‘Mexican Bus Ride’ (Producciones Cinematograficas Isla, 1951)
Buñuel, Luis, and Jean-Claude Carrière, ‘Belle de Jour’ (Paris Film/ Five Film, 1967)
———, ‘The Discreet Charm of the Bourgeoisie’ (Greenwich, 1972)
Buñuel, Luis, Salvador Dalí, Robert Short, Jose Luis Lopez Linares, and Javier Rioyo, ‘Un Chien Andalou; L’age D'or’, 1928
4/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Buñuel, Luis, and Abigail Israel, My Last Breath (London: Vintage, 1994)
Cain, James M., Mario Alicata, Antonio Pietrangeli, Gianni Puccini, Giuseppe De Santis, and Luchino Visconti, ‘Ossessione’ (Industria Cinematografica Italiana, 1942)
Carné, Marcel, and Prévert, Jacques, ‘Le Jour Se Lève / Daybreak’ (Sigma/VOG, 1939)
Carné, Marcel, and Jacques Prévert, ‘Quai Des Brumes’ (France: Ciné Alliance / Pathé, 1938)
‘Caryatids of Time: Temporality in the Cinema of Agnes Varda’, PAJ: A Journal of Performance and Art, 19.3 (1997), 1–10
Cesare, Zavattini, ‘Some Ideas on the Cinema’, 64–69
Chabrol, Claude, ‘Le Beau Serge’, 1959
———, ‘Les Cousins’ (France: AJYM Films, 1959)
Chabrol, Claude, and Paul Gegauff, ‘Les Biches’ (Films La Boetie/Alexandra Film, 1968)
Chabrol, Claude, Paul Gegauff, and Nicholas Blake, ‘Que La Bete Meure’ (Films La Boetie/ Rizzoli Films, 1969)
Chytilova, Vera, ‘O Necem Jinem (Something Different)’, 1963
Chytilova, Vera, Krumbachova, Ester, and Juracek, Pavel, ‘Daisies / Sedmikrásky’ (Second Run, 1966)
Cohen, Hubert I, Ingmar Bergman: The Art of Confession (New York: Twayne, 1993), Twayne’s filmmakers series
Costa-Gavras, ‘Z’ (United States: Umbrella, 200AD)
Cottingham, Laura, Fear Eats the Soul (London: BFI, 2005), BFI film classics
Cowie, Peter, and Scandinavian Films, Scandinavian Cinema: A Survey of the Films and Film-Makers of Denmark, Finland, Iceland, Norway, and Sweden (London: Tantivy Press on behalf of ‘Scandinavian Films’, 1992)
Cua Lim, Bliss, ‘Dolls in Fragments: Daisies as Feminist Allegory’, 16: 2.47, 37–77
Dalí, Salvador, and Luis Buñuel, ‘Un Chien Andalou’ (Les Grands Films Classiques / Transflux Films, 2005)
5/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
David Wills, ‘Carmen: Sound/Effect’, Cinema Journal, 25.4 (1986), 33–43
Demy, Jacques, ‘Lola’ (Rome-Paris Films/ Euro-International, 1960)
Demy, Jacques, Michel Legrand, and Francois Reichenbach, ‘The Umbrellas of Cherbourg’ (Beta Film / Madeleine Film / Parc Film, 2005)
Don Allen, Finally Truffaut (London: Secker & Warburg, 1985)
Dreyer, Carl Theodor, ‘The Passion of Joan of Arc’ (Eureka Entertainment, 2012)
Dreyer, Carl Theodor, Joseph Delteil, and Richard Einhorn, ‘The Passion of Joan of Arc: [REGION 1 DVD]’ (Societe Generale des Films, 1928)
Dreyer, Carl Theodor, Erik Nielsen, Tage Nielsen, Henrik Malberg, Emil Hass Christensen, Preben Lerdorff Rye, and others, ‘Ordet’ (London: BFI, 2006)
———, ‘Ordet’ (London: BFI, 2006)
Duras, Marguerite, Alain Resnais, and Richard Seaver, Hiroshima Mon Amour: [screenplay] (New York: Grove Press, 2000)
Duvivier, Julien, and Henri Jeanson, ‘Pépé Le Moko’ (France: Paris Film, 1937)
Edwards, Gwynne, Indecent Exposures: Bunuel, Saura, Erice & Almodovar (London: Boyars, 1995)
———, Indecent Exposures: Bunuel, Saura, Erice & Almodovar (London: Boyars, 1995)
Elsaesser, Thomas, Fassbinder’s Germany: History, Identity, Subject (Amsterdam: Amsterdam University Press, 1996), Film culture in transition
———, New German Cinema: A History ([London]: British Film Institute, 1989)
Enquist, Per Olov, Ingmar Bergman, and Victor Sjostrom, ‘The Phantom Carriage; The Image Makers’
Erice, Víctor, and Angel Fernandez Santos, ‘The Spirit of the Beehive’ (Elias Querejeta, 1973)
Eric Rentschler, ‘Kluge, Film History, and Eigensinn: A Taking of Stock from the Distance’, New German Critique, 31, 1984, 109–24
Evans, Peter William, Spanish Cinema: The Auteurist Tradition (Oxford: Oxford University Press, 1999)
6/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Ezra, Elizabeth, and Sue Harris, France in Focus: Film and National Identity (Oxford: Berg, 2000)
Fassbinder, Rainer Werner, ‘Fear Eats the Soul / Angst Essen Seele Auf’ (Tango Film, 1973)
Fassbinder, Rainer Werner, ‘Fox and His Friends’ (Tango, 1975)
———, ‘Love Is Colder than Death’ (Antitheater-X-Film, 2003)
———, ‘The Bitter Tears of Petra von Kant’ (Tango, 1972)
———, ‘The Merchant of Four Seasons’ (Tango Film, 1971)
Fassbinder, Rainer Werner, and Alfred Döblin, ‘Berlin Alexanderplatz: [complete Series]’ (WDR, 1979)
Fassbinder, Rainer Werner, and Michael Fengler, ‘Why Does Herr R. Run Amok ?’ (Anti-Teater for Maran-Film (SDR), 1969)
Fassbinder, Rainer Werner, and Theodor Fontane, ‘Effi Briest’ (Tango Film/Filmverlag der Autoren, 1974)
Fassbinder, Rainer Werner, Per Frohlich, and Peter Martesheimer, ‘Lola’ (Tobis, 1982)
Fassbinder, Rainer Werner, Peter Märthesheimer, and Pea Frohlich, ‘The Marriage of Maria Braun’ (Albatros / Trio Film / Filmlag der Autoren, 1978)
———, ‘Veronika Voss’ (Laura-Film/ Tango-Film, 1981)
Fassbinder, Rainer Werner, Tom Stoppard, and Vladimir Vladimirovich Nabokov, ‘Despair’ (Geria Films, 1978)
Flinn, Caryl, The New German Cinema: Music, History, and the Matter of Style (Berkeley, Calif: University of California Press, 2004)
Flitterman-Lewis, Sandy, To Desire Differently: Feminism and the French Cinema (Urbana: University of Illinois Press, 1990)
Forgacs, David, Rome Open City =: Roma Citta Aperta (London: BFI Pub, 2000), BFI film classics
Forgacs, David, Sarah Lutton, Geoffrey Nowell-Smith, and British Film Institute, Roberto Rossellini: Magician of the Real (London: bfi Publishing, 2000)
Forman, Milos, ‘Cerný Petr (Black Peter)’, 1964
Forman, Milos, Jana Brejchová, Josef Sebánek, and Vladimir Pucholt, ‘Blonde in Love = Lásky Jedné Plavovlásky’ (Second Run, 2011)
Forman, Milos, Passer, Ivan, and Papousek, Jaroslav, ‘The Firemen’s Ball / Hori, Má
7/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Penenko’ (Ceskoslovensky Film / Barandov, 1967)
Franc ̧ ois Truffaut, The 400 Blows, ed. by David Denby (New York: Grove Press, 1969)
Frank P. Tomasulo, ‘“Bicycle Thieves”: A Re-Reading’, Cinema Journal, 21.2 (1982), 2–13
Frantisek, Daniel, ‘The Czechoslovakian Academy of Arts 20.1 (1968): 11-14.’, 20.1 (1968), 11–14
Fred Simeral, ‘The Child-Centered Films of Truffaut’, The French Review, 51.5 (1978), 761–62
French, Philip, and Kersti French, Wild Strawberries (London: BFI Publishing, 1995), BFI film classics
García Ballester, Luis, and Juan Antonio Bardem, ‘Bienvenido Mister Marshall’ (Spain: UNINCI, 1952)
Garrone, Matteo, Roberto Saviano, Maurizio Braucci, Ugo Chiti, Gianni Di Gregorio, and Massimo Gaudioso, ‘Gomorrah’ (Fandango, 2008)
George, Franju, ‘Le Sang Des Be ̂ tes (1949, Short); Hote ̂ l Des Invalides (1952, Short); Le Grand Méliès (1952, Short)’
Gibson, Arthur, The Rite of Redemption in the Films of Ingmar Bergman: The Rite, the Virgin Spring, Hour of the Wolf, Shame, Passion of Anna, the Touch, Cries and Whispers (Lewiston: E. Mellen Pr, 1993)
Godard, Jean-Luc, ‘For Ever Mozart : 36 Personnages En Que ̂ te D’histoire’, 1996
———, ‘Le Petit Soldat’ (Les Productions Georges de Beauregard / SNC, 1963)
———, ‘Two or Three Things I Know about Her’ (Anouchka/Argos/Les Films du Carrosse/Parc Film, 1966)
———, ‘Une Femme Est Une Femme’ (Rome-Paris Films, 1961)
Godard, Jean Luc, Nicholas Fry, Marianne Sinclair, Danielle Adkinson, and Jean Luc Godard, Weekend; And, Wind from the East: Two Films : [screenplays] (London (47 Dean St., W.1): Lorrimer Publishing Ltd, 1972), Modern film scripts
8/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Godard, Jean Luc, Anne-Marie Miéville, Alain Sarde, Myriem Roussel, Maruschka Detmers, Jacques Bonnaffé, and others, ‘First Name Carmen’ (Universal Studios, 2007)
Godard, Jean-Luc, Jean Narboni, Tom Milne, Richard Roud, and Annette Michelson, Godard on Godard: Critical Writings (New York: Da Capo Press, 1986)
Godard, Jean-Luc, and Marcel Sacotte, ‘Vivre Sa Vie’ (Films de la Pleiade, 1962)
Godard, Jean-Luc, and Truffaut, François, ‘A Bout de Souffle’ (De Beauregard/SNC, 1959)
Gordon, Robert S. C., Bicycle Thieves =: Ladri Di Biciclette (Basingstoke: Palgrave Macmillan, 2008), BFI film classics
Gottlieb, Sidney, Roberto Rossellini’s Rome Open City (Cambridge: Cambridge University Press, 2004), Cambridge film handbooks series
Greene, Naomi, The French New Wave: A New Look (London: Wallflower, 2007), Short cuts
Hallström, Lasse, and Reidar Jönsson, ‘My Life as a Dog’ (Svensk Filmindustri, 1985)
Hamer, Bent, and Jörgen Bergmark, ‘Kitchen Stories’ (BulBul Film, 2004)
Hames, Peter, The Czechoslovak New Wave, 2nd ed (London: Wallflower, 2005)
Hauff, Reinhard, ‘Stammheim: Die Baader-Meinhof-Gruppe Vor Gericht’ (Germany: Bioskop Film / Thalia Theater, 1986)
Hayward, Susan, Cinema Studies: The Key Concepts, 3rd ed (London: Routledge, 2006)
Herzog, Werner, ‘Aguirre: Wrath of God’ (Germany: Werner Herzog Filmproduktion / Hessicher Rundfunk, 1973)
———, ‘Fitzcarraldo’ (Werner Herzog Filmproduktion etc, 1982)
———, ‘Lebenszeichen (Signs of Life)’, 1967
Higginbotham, Virginia, Spanish Film under Franco, 1st ed (Austin: University of Texas Press, 1988)
Higgins, Lynn A., New Novel, New Wave, New Politics: Fiction and the Representation of History in Postwar France (Lincoln: University of Nebraska Press, 1996), Stages
H. Marshall Leicester, Jr., ‘Discourse and the Film Text: Four Readings of “Carmen”’,
9/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Cambridge Opera Journal, 6.3 (1994), 245–82
Hopewell, John, and British Film Institute, Out of the Past: Spanish Cinema after Franco (London: British Film Institute, 1986)
Hubner, Laura, The Films of Ingmar Bergman: Illusions of Light and Darkness (Basingstoke: Palgrave Macmillan, 2007)
Insdorf, Annette, François Truffaut, Rev. and updated ed (Cambridge: Cambridge University Press, 1994)
Jack Zipes, ‘The Political Dimensions of The Lost Honor of Katharina Blum’, New German Critique, 12, 1977, 75–84
Jakubisko, Juraj, ‘Deserters and Pilgrims’, 1968
Jasny, Vojtech, ‘Vsichni Dobri Rodachi (All My Compatriots)’, 1969
Kadar, Jan, and Elmar Klos, ‘Obchod Na Kortze (The Shop On Main Street)’, 1965
Kalin, Jesse, The Films of Ingmar Bergman (Cambridge: Cambridge University Press, 2003), Cambridge film classics
Kardish, Laurence, Juliane Lorenz, and Museum of Modern Art (New York, N.Y), Rainer Werner Fassbinder (New York: Museum of Modern Art, 1997)
Kieslowski, Krzysztof, and Krzysztof Piesiewicz, ‘Ten Commandments: Parts 1-5’ (Tor Film Group, 1988)
———, ‘Ten Commandments: Parts 6-10’ (Tor Film Group, 1988)
Kinder, Marsha, Blood Cinema: The Reconstruction of National Identity in Spain (Berkeley: University of California Press, 1993)
Kluge, Alexander, ‘Abschied von Gestern; Gelegenheitsarbeit Einer Sklavin’ (Film & kunst GmbH, 2007)
Kluge, Alexander, ‘Die Artisten in Der Zirkuskuppel: Ratlos / Artists in the Circus Tent : Clueless’ (Film & kunst GmbH, 1967)
Kluge, Alexander, ‘Wilder Reiter GmbH’, 1967
Knight, Julia, New German Cinema: Images of a Generation (London: Wallflower, 2004), Short cuts
———, Women and the New German Cinema (London: Verso, 1992), Questions for
10/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
feminism
‘La Femme D’ à Côté’, 2011
Lugo, Marvin D’, The Films of Carlos Saura: The Practice of Seeing (Princeton: Princeton University Press, 1991)
Malle, Louis, ‘Au Revoir Les Enfants’ (France: Nouvelles Editions de Films / MK2 / Stella Film / NEF, 1987)
———, ‘Le Souffle Au Coeur’ (France: Nouvelles Editions / Marianne / Vides Cinematografica, 1971)
Malle, Louis, Noel Calef, and Roger Nimier, ‘Ascenseur Pour L’échafaud’ (France: Nouvelles Éditions de Films, 1957)
Malle, Louis, John Guare, Louis Malle, Michel Legrand, Burt Lancaster, Michel Piccoli, and others, ‘Atlantic City’ (Network, 2008)
Malle, Louis, and Jean-Paul Rappeneau, ‘Zazie Dans Le Metro’ (Nouvelles Editions, 1960)
Malle, Louis, Louise de Vilmorin, and Dominique Vivant, ‘Les Amants’ (France: Lux Compagnie Cinématographique de France / Nouvelles Éditions, 1958)
Marcel Carné, and Prevert Jacques, Le Jour Se Lève (Lorrimer Publishing, 1970)
Marcus, Millicent Joy, Italian Film in the Light of Neorealism (Princeton, N.J.: Princeton University Press, 1986)
Marie, Michel, The French New Wave: An Artistic School (Oxford: Blackwell, 2002)
Marker, Chris, ‘La Jetée; Sans Soleil’ (Argos Films, 1962)
———, ‘La Jetée; Sans Soleil’ (Argos Films, 1962)
———, ‘Le Train En Marche [The Train Rolls On]’, 1973
Marker, Chris, Pierre L’Homme, Catherine Varlin, Simone Signoret, Yves Montand, Étienne Becker, and others, ‘Le Joli Mai’ (Brooklyn: Icarus Films, 2013)
Mazierska, Ewa, Masculinities in Polish, Czech and Slovak Cinema: Black Peters and Men of Marble (New York: Berghahn Books, 2008)
———, Masculinities in Polish, Czech and Slovak Cinema: Black Peters and Men of Marble (New York: Berghahn Books, 2008)
Melville, Jean-Pierre, and Auguste Le Breton, ‘Bob Le Flambeur’ (Productions Cyme/ Play Art/ OGC, 1955)
Melville, Jean-Pierre, and Pierre Lesou, ‘Le Doulos’ (Rome-Paris Films/CCC, 1962)
11/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Menzel, Jiri, and Bohumil Hrabal, ‘Closely Observed Trains’ (Ceskoslovensky Film / Barrandov Studio, 1966)
Michaels, Lloyd, Ingmar Bergman’s Persona (Cambridge: Cambridge University Press, 2000), The Cambridge University Press film handbooks series
Michel Marie, A Bout de Souffle (Paris: Nathan, 1999)
Miriam Hansen, ‘Reinventing the Nickelodeon: Notes on Kluge and Early Cinema’, October, 46 (1988), 178–98
Morrey, Douglas, Jean-Luc Godard (Manchester: Manchester University Press, 2005), French film directors
Mouton, Janice, ‘From Feminine Masquerade to Flaneuse: Agnes Varda’s Cleo in the City’, Cinema Journal, 40.2 (2001), 3–16
Musil, Robert, Volker Schlöndorff, and Herbert Asmodi, ‘Der Junge Törless’ (Germany: Franz Seitz Filmproduktion, 1966)
Nana, Moretti, ‘Habemus Papam’, 2011
Neupert, Richard John, A History of the French New Wave Cinema, 2nd ed (Madison: University of Wisconsin Press, 2007), Wisconsin studies in film
Nichetti, Maurizio, and Mauro Monti, ‘The Icicle Thief’ (Bambu, 1989)
Ohlin, Peter, Wordless Secrets: Ingmar Bergman’s Persona : Modernist Crisis & Canonical Status (Cardiff: Wales Academic Press, 2011), Studies in Nordic literature and film
Orpen, Valerie, Cleo de 5 a 7 (Agnes Varda, 1961) (London: I.B. Tauris, 2007), Cine-Files: the French film guides
Owen, Jonathan L., Avant-Garde to New Wave: Czechoslovak Cinema, Surrealism and the Sixties (New York: Berghahn Books, 2013)
Palance, Jack, Percy Adlon, C. C. H. Pounder, Marianne Sägebrecht, Eleonore Adlon, Christine Kaufman, and others, ‘Bagdad Cafe’ (Arrow Films, 2002)
Pasolini, Pier Paolo, ‘The Gospel according to St Matthew’ (Alfredo Bini/Lux, 1964)
Paul Thomas, ‘Fassbinder: The Poetry of the Inarticulate’, Film Quarterly, 30.2 (1977), 2–17
Peter Brunette, ‘Rossellini and Cinematic Realism’, Cinema Journal, 25.1 (1985), 34–49
Peter Harcourt, ‘Luis Buñuel: Spaniard and Surrealist’, Film Quarterly, 20.3 (1967), 2–19
12/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Poiré, Alain, Jean Thuillier, Robert Bresson, François Leterrier, Charles Le Clainche, Maurice Beerblock, and others, ‘A Man Escaped’ (Artificial Eye, 2008)
Radkiewicz, Małgorzata, ‘Angry Young Girls: Gender Representations in Věra Chytilová’s Sedmikrásky and Pasti, Pasti, Pastičky’, 2
Renoir, Jean, and Rumer Godden, ‘The River’ (Oriental/International/Theatre Guild, 1951) Renoir, Jean, and Guy de Maupassant, ‘Une Partie de Campagne’ (Pantheon, 1936)
Renoir, Jean, and Charles Spaak, ‘La Grande Illusion’ (Cinedis, 1937)
Rentschler, Eric, West German Filmmakers on Film: Visions and Voices (New York: Holmes & Meier, 1988), Modern German voices series
Resnais, Alain, ‘Smoking / No Smoking’, 1993
Resnais, Alain, and Duras, Marguerite, ‘Hiroshima Mon Amour’ (Argos Films/Como Films/Pathe Overseas/Daiei Co, 1959)
Resnais, Alain, and Alain Robbe-Grillet, ‘L’annee Derniére à Mariènbad’ (Connoisseur Video, 1961)
Resnais, Alain, and Jorge Semprún, ‘La Guerre Est Finie’ (France / Sweden: Sofracima / Europa Film, 1966)
‘Riso Amaro’ (Dolmen Home Video, 2007)
Rivette, Jacques, Pascal Bonitzer, Christine Laurent, and Honoré de Balzac, ‘La Belle Noiseuse’ (France / Switzerland: Pierre Grise / FR3 Films / George Reinhart, 1991)
Rivette, Jacques, and Eduardo De Gregorio, ‘Celine et Julie Vont En Bateau’ (Les Films du Losange, 1974)
Rivette, Jacques, and Jean Gruault, ‘Paris Nous Appartient’ (France: AJYM / Les Films du Carosse, 1960)
Robin Bates, ‘Audiences on the Verge of a Fascist Breakdown: Male Anxieties and Late 1930s French Film’, Cinema Journal, 36.3 (1997), 25–55
ROBIN BATES, ‘Journal of the University Film Association’, 29.3 (1977), 37–42
Rockhill, Gabriel, ‘Modernism as a Misnomer: Godard’s Archeology of the Image’, Journal of French and Francophone Philosophy, 18.2 (2011)
13/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Rohmer, Eric, ‘Ma Nuit Chez Maud’ (Films du Losange/Les Films du Carrosse/Les Films de la Pleiade, 1969)
———, ‘Pauline a La Plage’ (Les Films du Losange/Les Films Ariane, 1982)
———, ‘The Sign of Leo’ (AJYM Productions, 1959)
Rosella Simonari, ‘Bringing “Carmen” Back to Spain: Antonio Gades’s Flamenco Dance in Carlos Saura's Choreofilm’, Dance Research: The Journal of the Society for Dance Research , 26.2 (2008), 189–203
Rossellini, Roberto, ‘Stromboli’ (RKO/Be-Ro, 1949)
Rossellini, Roberto, Amidei, Sergio, and Fellini, Federico, ‘Rome, Open City’ (Minerva, 1945)
Rossellini, Roberto, Gianfranco Bellini, and Aldo Fabrizi, ‘Francesco Giullare Di Dio’ (Eureka Video, 2005)
Rossellini, Roberto, Federico Fellini, and Sergio Amidei, ‘Paisa’ (MGM/Foreign Film Productions/OFI, 1946)
Rouch, Jean, and Edgar Morin, ‘Chronicle of a Summer = Chronique D’été’ (Argos Films, 1961)
Roy Jay Nelson, ‘Reflections in a Broken Mirror: Varda’s Cléo de 5 à 7’, The French Review, 56.5 (1983), 735–43
Rozier, Jacques, ‘Adieu Philippine’ (Potemkine, 2003)
Sander, Helke, ‘Helke Sander Collection’ (GoodMovies, 2005)
Sarah, Kernochan, and Smith Howard, ‘Marjoe’, 1972
Saura, Carlos, ‘Buñuel Y La Mesa Del Rey Salomón’ (Spain/Mexico/Germany: Rioja Films Producciones Cinematográficas S.L., TVE, 2001)
———, ‘Deprisa, Deprisa (Fast, Fast)’, 1981
———, ‘El Jardín de Las Delicias (Garden of Delights)’, 1970
———, ‘El Jardín de Las Delicias (Garden of Delights)’, 1970
———, ‘La Prima Angélica (Cousin Angelica)’, 1974
———, ‘Mamá Cumple 100 Años (Mama Turns 100)’, 1979
14/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Saura, Carlos, and Angelino Fons, ‘La Caza’ (Elías Querejeta Producciones Cinematográficas, 1965)
———, ‘La Caza’ (Elías Querejeta Producciones Cinematográficas, 1965)
Saura, Carlos, Alfredo Manas, and Federico García Lorca, ‘Bodas de Sangre / Blood Wedding’ (Emiliano Piedra Producciones, 1981)
Saura, Carlos, and Linda M. Willem, Carlos Saura: Interviews (Jackson: University Press of Mississippi, 2003), Conversations with filmmakers series
Schlondorff, Volker, Margarethe von Trotta, and Heinrich Böll, ‘The Lost Honor of Katharine Blum’ (Paramount-Orion/Westdeutscher Rundfunk/Bioskop Film, 1975)
Serpentine Gallery, and Beatriz Colomina, Thomas Demand : A Conservation between Alexander Kluge and Thomas Demand (London: Serpentine Gallery, in cooperation with Schirmer/Mosel, 2006)
Sheila Johnston, ‘A Star Is Born: Fassbinder and the New German Cinema’, New German Critique, 24, 1982, 57–72
De Sica, Vittorio, Oreste Biancoli, and Luigi Bartolini, Bicycle Thieves: A Film (London: Faber and Faber, 1994)
Sica, Vittorio de, and Cesare Zavattini, ‘Bicycle Thieves’ (ENIC, 1948)
De Sica, Vittorio, and Cesare Zavattini, ‘Umberto D’ (Nouveaux Pictures, 2004)
Siebel, Alexandra, ‘The Carnival of Repression: German Left-Wing Politics and The Lost Honor of Katharina Blum’, in A Companion to Literature and Film (Malden, Mass: Blackwell, 2008), Blackwell companions in cultural studies, 148–64
Singer, Irving, Ingmar Bergman, Cinematic Philosopher: Reflections on His Creativity (Cambridge, Mass: MIT, 2007)
Sjostrom, Victor, and Frances Marion, ‘The Wind’ (MGM, 1927)
Smith, Alison, Agnès Varda (Manchester: Manchester University Press, 1998), French film directors
Smith, Paul Julian, Desire Unlimited: The Cinema of Pedro Almodovar, 2nd ed (London: Verso, 2000), Critical studies in Latin American and Iberian cultures
Smith, Steve, ‘Godard and Film Noir: A Reading of A Bout de Souflee’, Nottingham French Studies, 32.1 (1993), 65–73
Soila, Tytti, The Cinema of Scandinavia (London: Wallflower Press, 2005)
15/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Sorrentino, Paolo, ‘Il Divo: La Spettacolare Vita Di Giulio Andreotti = The Spectacular Life of Giulio Andreotti’ (Indigo Film, Lucky Red, Parco Film, 2008)
Steene, Birgitta, Ingmar Bergman: A Reference Guide (Amsterdam: Amsterdam University Press, 2005)
Sterritt, David, The Films of Jean-Luc Goddard: Seeing the Invisible (Cambridge: Cambridge University Press, 1999), Cambridge film classics
Stuart Liebman, ‘Why Kluge?’, October, 46 (1988), 4–22
Syberberg, Hans Jürgen, ‘Our Hitler, a Film from Germany’ (Filmgalerie, 2007)
Terri Ginsberg, ‘Journal of the History of Sexuality’, 1.2 (1990), 241–61
Thompson, Kristin, and David Bordwell, Film History: An Introduction, 3rd ed (New York, NY: McGraw-Hill Higher Education, 2010)
Timothy Corrigan, ‘The Commerce of Auteurism: A Voice without Authority’, New German Critique, 49, 1990, 43–57
Torriglia, Anna Maria, Broken Time, Fragmented Space: A Cultural Map for Postwar Italy (Toronto: University of Toronto Press, 2002)
Trnqvist, Egil, Between Stage and Screen: Ingmar Bergman Directs (Amsterdam: Amsterdam University Press, 1995), Film culture in transition
———, Between Stage and Screen: Ingmar Bergman Directs (Amsterdam: Amsterdam University Press, 1995), Film culture in transition
———, Between Stage and Screen: Ingmar Bergman Directs (Amsterdam: Amsterdam University Press, 1995), Film culture in transition
Troell, Jan, Bengt Forslund, and Vilhelm Moberg, ‘The Emigrants’ (Svensk Filmindustri, 1971)
16/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
———, ‘The New Land’ (Svensk Filmindustri, 1972)
Trotta, Margarethe von, ‘Second Awakening of Christina Klages’ (Waterbearer Films, 1977)
Truffaut, François, The Films in My Life (New York: Da Capo Press, 1994)
Truffaut, François, Jean Gruault, and Henri Pierre Roché, Jules et Jim: Découpage Intégral et Dialogues ([Paris]: Seuil/Avant-Scène, 1995), Points
Truffaut, François, Jean Marc Gaspard Itard, and Jean Gruault, The Wild Child (Les Films du Carrosse, 1970)
Truffaut, François, and Moussy, Marcel, ‘The Four Hundred Blows / Les Quatre Cents Coups’ (Les Films du Carrosse/SEDIF, 1959)
Truffaut, François, and Marcel Moussy, ‘Tirez Sur Le Pianiste’ (France: Films de la Pléiade, 1960)
Truffaut, François, Jean-Louis Richard, and Suzanne Schiffman, ‘La Nuit Americaine’ (Warner Bros, 2008)
Turk, Edward Baron, Child of Paradise: Marcel Carne and the Golden Age of French Cinema (Cambridge, Mass: Harvard University Press, 1989), Harvard film studies
Ungar, Steven, and British Film Institute, Cleo de 5 a 7 (Basingstoke: Palgrave Macmillan, 2008), BFI film classics
Vadim, Roger, ‘And God Created Woman’ (France: Cocinor, 1956)
Vadim, Roger, Roger Vailland, Claude Brule, and Choderlos de Laclos, ‘Les Liaisons Dangereuses’ (Films Marceau, 1959)
Varda, Agnès, ‘Cleo de 5 a 7’ (Rome-Paris Films, 1961)
Varda, Agnes, ‘Daguerréotypes’, 1974
Varda, Agnès, ‘La Pointe Courte’ (Ciné-Tamaris, 1954)
———, ‘Le Bonheur’ (Parc Film, 1964)
———, ‘The Beaches of Agnes’ (Ciné Tamaris, 2008)
Vernon, Kathleen M., and Barbara B. Morris, Post-Franco, Postmodern: The Films of Pedro Almodóvar (Westport, Conn: Greenwood Press, 1995), Contributions to the study of popular culture
———, Post-Franco, Postmodern: The Films of Pedro Almodóvar (Westport, Conn: Greenwood Press, 1995), Contributions to the study of popular culture
17/18 10/01/21 European Cinema - Semester 1 | Goldsmiths, University of London
Vigo, Jean, and Jean Guinee, ‘L’Atalante’ (France: Gaumont-Franco Film-Aubert (G.F.F.A), 1934)
Vittorio Di Seta, ‘Banditi a Orgosolo’ (Milano: Medusa, 2008)
Wagstaff, Christopher, Italian Neorealist Cinema: An Aesthetic Approach (Toronto: University of Toronto Press, 2007), Toronto Italian studies
Washabaugh, William, Flamenco: Passion, Politics and Popular Culture (Oxford: Berg, 1996), Explorations in anthropology
———, Flamenco: Passion, Politics and Popular Culture (Oxford: Berg, 1996), Explorations in anthropology
Watson, Wallace Steadman, Understanding Rainer Werner Fassbinder: Film as Private and Public Art (Columbia, S.C: University of South Carolina Press, 1996), Understanding modern European and Latin American literature
Wenders, Wim, and Peter Handke, ‘Der Himmel über Berlin (Wings of Desire, 1987)’ (Road Movies/Argos Films, 1987)
———, ‘The Goalkeeper’s Fear of the Penalty’ (Filmverlag der Autoren, 1972)
Wilson, Emma, Alain Resnais (Manchester: Manchester University Press, 2009), French film directors
Wood, Mary P., Italian Cinema (Oxford: Berg, 2005)
Young, Vernon, Cinema Borealis: Ingmar Bergman and the Swedish Ethos (New York: Avon Books, 1972), Equinox books
Zalman, Jan, ‘Question Marks on the New Czechoslovak Cinema’, 21.2 (68AD), 18–27
Zavattini, Cesare, and William Weaver, Zavattini: Sequences from a Cinematic Life (Englewood Cliffs, N.J.: Prentice-Hall, 1970)
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