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Bibliography Bibliography Abe Kōbō. 2003. The Face of Another. Trans. E. Dale Saunders. New York: Vintage. Abel, Richard. 1984. French Cinema: The First Wave, 1915–1929. Princeton: Princeton University Press. Adamowicz, Elza. 1998. Surrealist Collage in Text and Image: Dissecting the Exquisite Corpse. Cambridge/New York: Cambridge University Press. Ades, Dawn. 1982. Dalí. London: Thames and Hudson. Adorno, Theodor. 2009. In Search of Wagner. Trans. Rodney Livingstone. London: Verso. Adorno, Theodor, and Hanns Eisler. 2010. Composing for the Films. New York: Continuum. Altman, Rick, ed. 1992. Sound Theory/Sound Practice. New York: Routledge. Antonioni, Michelangelo. 1964. Il deserto rosso (Red Desert). Rome: Film Duemila. Anzieu, Didier. 1976. “L’enveloppe sonore du Soi.” Nouvelle Revue de Psychanalyse 13: 161–179. Artaud, Antonin. 1958. The Theater and Its Double. Trans. Mary Caroline Richards. New York: Grove Press. ———. 1970. Œuvres complètes. Paris: Gallimard. Aspley, Keith. 2010. 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London: Atlas Press. Belton, Robert J. 1991. “Androgyny: Interview with Meret Oppenheim.” In Surrealism and Women, ed. Mary Ann Caws, Rudolf E. Kuenzli, and Gloria Gwen Raaberg, 63–75. Cambridge, MA: MIT Press. Birtwistle, Andy. 2010. Cinesonica: Sounding Film and Video. Manchester: Manchester University Press. Blanchot, Maurice. 1969. L’entretien infini. Paris: Gallimard. ———. 1993. The Infinite Conversation. Trans. Susan Hanson. Minneapolis: University of Minnesota Press. Blum, William. 1971. “Toward a Cinema of Cruelty.” Cinema Journal 10 (2): 19–33. Blumstein, Daniel T., Richard Davitian, and Peter D. Kaye. 2010. “Do Film Soundtracks Contain Nonlinear Analogues to Influence Emotion?” Biology Letters 6: 751–754. Bonitzer, Pascal. 1985. Peinture et cinéma: Décadrages. Paris: Editions de l’Etoile. Bibliography 299 Bordwell, David. 1985. Narration in the Fiction Film. Madison: University of Wisconsin Press. Brejzek, Thea, and Lawrence Wallen. 2015. “Derealisation, Perception and Site: Some Notes on the Doppelgänger Space.” In Perception in Architecture: Here and Now, ed. Claudia Perren and Miriam Mlecek, 2–10. Newcastle upon Tyne: Cambridge Scholars Publishing. Breton, André. 1969. “Second Manifesto of Surrealism.” In Manifestoes of Surrealism, 117–194. Trans. Richard Seaver and Helen R. Lane. Ann Arbor: University of Michigan Press. ———. 1997. Anthology of Black Humor. Trans. Mark Polizzotti. San Francisco: City Lights Books. ———. 2002. Surrealism and Painting. Trans. Simon Watson Taylor. Boston: MFA Publications. Brown, Steven T. 2001. Theatricalities of Power: The Cultural Politics of Noh. Stanford: Stanford University Press. ———. 2010. Tokyo Cyberpunk: Posthumanism in Japanese Visual Culture. Basingstoke: Palgrave Macmillan. Buñuel, Luis. 1985. My Last Breath. London: Flamingo. ———. 2003. My Last Sigh. Trans. Abigail Israel. Minneapolis: University of Minnesota Press. Burlingame, Jon. 2012. “John Williams Recalls Jaws.” The Film Music Society, August 14. http://www.filmmusicsociety.org/news_events/features/2012/ 081412.html?isArchive=081412. Accessed 4 Apr 2017. Buse, Peter, and Andrew Scott. 1999. “Introduction: A Future for Haunting.” In Ghosts: Deconstruction, Psychoanalysis, History, ed. Peter Buse and Andrew Scott, 1–20. New York: St. Martin’s Press. Carroll, Noël. 1990. The Philosophy of Horror, or, Paradoxes of the Heart. New York: Routledge. Cartwright, Lisa. 1995. Screening the Body: Tracing Medicine’s Visual Culture. Minneapolis: University of Minnesota Press. Castillo, Coral. 2016. “A Slow Burn into Your Soul: 13 Slow Burn Horror Movies.” The Lazy Audience, February 24. https://thelazyaudience.wordpress. com/2016/02/24/a-slow-burn-into-your-soul-13-slow-burn-horror-movies/. Accessed 6 July 2017. Cherry, Brigid. 2009. Horror. London/New York: Routledge. Chion, Michel. 1994. Audio-Vision: Sound on Screen. Trans. Claudia Gorbman. New York: Columbia University Press. ———. 1999. The Voice in Cinema. Trans. Claudia Gorbman. New York: Columbia University Press. 300 Bibliography ———. 2003. “The Silence of the Loudspeakers, or Why with Dolby Sound It Is the Film that Listens to Us.” In Soundscape: The School of Sound Lectures, 1998–2001, ed. Larry Sider, Jerry Sider, and Diane Freeman, 150–154. London/New York: Wallflower Press. ———. 2009. Film, A Sound Art. Trans. Claudia Gorbman. New York: Columbia University Press. Choi Aryong. “Sympathy for the Old Boy: An Interview with Park Chan Wook.” http://www.ikonenmagazin.de/interview/Park.htm. Accessed 27 Apr 2016. Choi Jinhee, and Mitsuyo Wada-Marciano, eds. 2009. Horror to the Extreme: Changing Boundaries in Asian Cinema. Hong Kong: Hong Kong University Press. Chong Doryun. 2012. “Tokyo 1955–1970: A New Avant-Garde.” In Tokyo 1955–1970: A New Avant-Garde, ed. Doryun Chong, 26–93. New York: Museum of Modern Art. Chris, D. 2005. Outlaw Masters of Japanese Film. London/New York: I.B. Tauris. Cooke, Mervyn. 2010. A History of Film Music. Cambridge: Cambridge University Press. Cord, William. 1995. An Introduction to Richard Wagner’s Der Ring des Nibelungen: A Handbook. Athens: Ohio University Press. Corliss, Richard. 2007. “The Movie That Motivated Cho?” Time, April 19. http:// content.time.com/time/arts/article/0,8599,1612724,00.html. Accessed 23 Feb 2016. Cottenet-Hage, Madeleine. 1991. “The Body Subversive: Corporeal Imagery in Carrington, Prassinos and Mansour.” In Surrealism and Women, ed. Mary Ann Caws, Rudolf E. Kuenzli, and Gloria Gwen Raaberg, 76–95. Cambridge, MA: MIT Press. Coulthard, Lisa. 2012. “Haptic Aurality: Resonance, Listening and Michael Haneke.” Film-Philosophy 16 (1): 16–29. ———. 2013. “Dirty Sound: Haptic Noise in New Extremism.” In The Oxford Handbook of Sound and Image in Digital Media, ed. Carol Vernallis, Amy Herzog, and John Richardson, 115–126. New York: Oxford University Press. Creed, Barbara. 1993. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. London: Routledge. da Silva, Jorge Bastos. 2005. “A Lusitanian Dish: Swift to Portuguese Taste.” In The Reception of Jonathan Swift in Europe, ed. Hermann Josef Real, 79–92. London: Thoemmes. da Silva, Joaquín. 2016. “J-Horror and Toshi Densetsu Revisited,” January 4. http://eiga9.altervista.org/articulos/jhorrorandurbanlegendsrevisited.html. Accessed 5 May 2017. Bibliography 301 Dalmais, Jean. 2005. “Resonance.” In Sonic Experience: A Guide to Everyday Sounds, Eds. Jean-François Augoyard and Henry Torgue. Trans. Andra McCartney and David Paquette. Montreal: McGill-Queen’s University Press. Dargis, Manohla. 2005. “Sometimes Blood Really Isn’t Indelible.” New York Times, March 3. http://www.nytimes.com/2005/03/03/movies/sometimes- blood-really-isnt-indelible.html. Accessed 12 June 2017. Davis, Nick. 2013. The Desiring-Image: Gilles Deleuze and Contemporary Queer Cinema. Oxford/New York: Oxford University Press. Deamer, David. 2014. Deleuze, Japanese Cinema, and the Atom Bomb: The Spectre of Impossibility. New York: Bloomsbury. Deleuze, Gilles. 1986. Cinema 1: The Movement-Image. Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press. ———. 1989. Cinema 2: The Time-Image. Trans. Hugh Tomlinson and Robert Galeta. Minneapolis: University of Minnesota Press. ———. 2004. Francis Bacon: The Logic of Sensation. Minneapolis: University of Minnesota Press. Deleuze, Gilles, and Félix Guattari. 1980. Mille plateaux. Paris: Éditions de Minuit. ———. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis: University of Minnesota Press. ———. 1994. What Is Philosophy? Trans. Hugh Tomlinson and Graham Burchell. New York: Columbia University Press. Deleuze, Gilles, and Timothy S. Murphy. 1998. “Vincennes Seminar Session, May 3, 1977: On Music.” Discourse 20 (3/Fall), Gilles Deleuze: A Reason to Believe in This World:
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