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Introduction to Film History

Aitken, Ian. 2001. ‘Into the Realm of the Wondrous: French Cinematic Impressionism.’ Pp. 69–90 in European film theory and cinema: a critical introduction. Edinburgh: Edinburgh University Press.

Allen, Robert Clyde. 1993. ‘Chapter 2 - Researching Film History.’ Pp. 25–42 in Film history: theory and practice. New York: Knopf.

Anon. n.d. ‘EAF1504 Film History Syllabus 2015-16.’

Anon. n.d. French Cinema: The First Wave, 1915-1929 Hardcover ¨C August 21, 1984.

Anon. n.d. The Logics of Globalization: Case Studies in International Communication. Lexington Books.

Barnouw, Erik, and Subrahmanyam Krishnaswamy. 1980. Indian Film. Vol. A Galaxy book; GB 592. Second ed. New York: Oxford University Press.

Bazin, André. 2000. ‘The French Renoir [in] Jean Renoir.’ Pp. 74–91 in Jean Renoir. Manchester: Manchester University Press.

Bazin, Andre ́ . 2005a. ‘Bicycle Thief.’ Pp. 47–60 in What is cinema? Vol. 2. Berkeley: University of California Press.

Bazin, Andre ́ . 2005b. ‘Bicycle Thief.’ Pp. 47–60 in What is cinema? Vol. 2. Berkeley: University of California Press.

Bergfelder, Tim, Sue Harris, and Sarah Street. 2007. Film Architecture and the Transnational Imagination : Set Design in 1930s European Cinema. Amsterdam: Amsterdam University Press.

Bordwell, David. 1981. ‘La Passion de Jeanne d’Arc.’ Pp. 66–92 in The films of Carl-Theodor Dreyer. Berkeley: University of California Press.

Bordwell, David. 1997. ‘Chapter 6 - Exceptionally Exact Perceptions: On Staging in Depth.’ Pp. 158–271 in On the history of film style. Cambridge, Mass: Harvard University.

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Bordwell, David. 2005a. ‘Feuillade, or Storytelling.’ Pp. 43–82 in Figures traced in light: on cinematic staging. Berkeley: University of California Press.

Bordwell, David. 2005b. Figures Traced in Light : On Cinematic Staging.

Bordwell, David. 2009. ‘The Art Cinema as a Mode of Film Practice.’ Pp. 649–57 in Film theory and criticism: introductory readings. New York: Oxford University Press.

Bordwell, David. n.d. ‘Doing Film History.’ Retrieved (http://www.davidbordwell.net/essays/doing.php).

Brewster, Ben. 1990. ‘Chapter: Deep Staging in French Films 1900-1914.’ Pp. 45–55 in Early cinema: space-frame-narrative. London: BFI Publishing.

Cherchi Usai, Paulo. 1997. ‘The Scandinavian Style.’ Pp. 151–59 in The Oxford history of world cinema. Oxford: Oxford University Press.

Clair, René. 1985. ‘The Art of Sound.’ Pp. 92–95 in Film sound : theory and practice.

Clair, Rene ́ , Raymond Cordy, and Henri Marchand. 1931. ‘A Nous La Liberte ́ .’

Dudrah, Rajinder Kumar, and Jigna Desai. 2008. The Bollywood Reader. Maidenhead: McGraw-Hill/Open University Press.

Eisenstein, Sergei. 2002. ‘Chapter 2: The Montage of Film Attractions.’ Pp. 25–33 in The European cinema reader. London: Routledge.

Eizenshtein, Sergei, Alexander Antonov, and Grigori Alexandrov. 2002. ‘The Battleship Potemkin.’

Feyder, Jacques, Jean Angelo, Stacia Napierkowska, Georges Melchior, and Marie-Louise Iribe. 1923. ‘L’Atlantide (Queen of Atlantis).’

Feyder, Jacques, Maurice De Fe ́ raudy, Fe ́ lix Oudart, Jean Forest, and Marguerite Carre ́ . 1922. ‘Crainquebille.’

Fotiade, Ramona. 2006. ‘Un Chien Andalou, An Andalusian Dog.’ Pp. 21–29 in The cinema of France. Vol. 24 frames. London: Wallflower.

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Ganti, Tejaswini. 2004. Bollywood: A Guidebook to Popular Hindi Cinema. Vol. Routledge film guidebooks. New York: Routledge.

Geiger, Jeffrey, and R. L. Rutsky. 2005. Film Analysis: A Norton Reader. New York: W.W. Norton.

Godard, Jean-Luc, Jean-Luc Godard, Jean-Paul Belmondo, and Jean Seberg. 1960. ‘A Bout de Souffle.’

Gordon, Robert S. C. 2008. Bicycle Thieves. London: BFI.

Grierson, John, and Forsyth Hardy. 1946. Grierson on Documentary. London: Collins.

Gunning, Tom. 1986. ‘The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde.’ Wide Angle 8(3-4):63–70.

Gunning, Tom. 2000. ‘M: The City Haunted by Demonic Desire.’ Pp. 163–99 in The films of Fritz Lang: allegories of vision and modernity. London: British Film Institute.

Hake, Sabine. 2008. German National Cinema. Vol. National cinemas. 2nd ed. London: Routledge.

Hitchcock, Alfred, Anny Ondra, Sara Allgood, Charles Paton, and John Longden. 2007. ‘Blackmail.’

Kapoor, Raj. n.d. ‘Shree 420 [DVD Recording] / Directed by Raj Kapoor ; Starring Raj Kapoor, Nargis, Nadira, Nemo, Lalita Pawar.’

Kracauer, Siegfried. 1965. Theory of Film: The Redemption of Physical Reality. London: Oxford University Press.

Krämer, Peter. 2000. ‘‘Faith in Relations Between People`: Audrey Hepburn, Roman Holiday and European Integration.’ Pp. 195–206 in 100 years of European cinema: entertainment or ideology? Manchester: Manchester University Press.

Kurosawa, Akira, Toshiro ̂ Mifune, Isuzu Yamada, and Takashi Shimura. 1957. ‘Throne of Blood.’

Lang, Fritz, Rudolf Klein-Rogge, Oskar Beregi, Otto Wernicke, and Gustav Diessl. 1933. ‘Das Testament Des Dr. Mabuse.’ The Masters of Cinema series.

Marie, Michel. 2003. The French New Wave: An Artistic School. Oxford: Blackwell.

Me ́ lie ̀ s, Georges. 2001. ‘Méliès the Magician.’

Meyer, Eliane. 2000. ‘Chapter 9 - Quand Une Femme N`en Est Pas Une: Gendered

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Spectatorship and Feminist Scopophilia in the Early Films of Jean-Luc Godard.’ Pp. 109–18 in 100 years of European cinema: entertainment or ideology? Manchester: Manchester University Press.

Michael Litle. 1973. ‘Sound Track: “The Rules of the Game”.’ Cinema Journal 13(1):35–44.

Mishra, Vijay. 2002. Bollywood Cinema: Temples of Desire. New York: Routledge.

Mitchell, Sagar, and James Kenyon. 2005. ‘The Lost World of Mitchell and Kenyon.’

Mizoguchi, Kenji. 2009. ‘Sansho ̄

Dayu ̄ / Gion Bayashi.’ The masters of cinema series.

Moseley, Rachel. 2002. Growing up with Audrey Hepburn: Text, Audience, Resonance. Vol. Inside popular film. Manchester: Manchester University Press.

Murnau, F. W., and Emil Jannings. 1924. ‘Der Letzte Mann (The Last Laugh).’ The masters of cinema series.

Murphy, Robert. 1984. ‘Coming of Sound to the Cinema in Britain [in] Historical Journal of Film, Radio and Television.’ Historical Journal of Film, Radio and Television 4(2):143–60. doi: 10.1080/01439688400260151.

Neupert, Richard John. 2002. A History of the French New Wave Cinema. Vol. Wisconsin studies in film. Madison, Wis: University of Wisconsin Press.

Nowell-Smith, Geoffrey. 1997a. The Oxford History of World Cinema. Oxford: Oxford University Press.

Nowell-Smith, Geoffrey. 1997b. The Oxford History of World Cinema. Oxford: Oxford University Press.

Nowell-Smith, Geoffrey. 1997c. The Oxford History of World Cinema. Oxford: Oxford University Press.

Nowell-Smith, Geoffrey. 1997d. The Oxford History of World Cinema. Oxford: Oxford University Press.

Nowell-Smith, Geoffrey. 1997e. The Oxford History of World Cinema. Oxford: Oxford University Press.

Nowell-Smith, Geoffrey. 1997f. The Oxford History of World Cinema. Oxford: Oxford University Press.

Nowell-Smith, Geoffrey. 1997g. The Oxford History of World Cinema. Oxford: Oxford University Press.

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Nowell-Smith, Geoffrey. 2005. ‘Bicycle Thieves.’ Pp. 422–38 in Film analysis: a Norton reader. New York: W.W. Norton.

O’Brien, Charles. 2005. Cinema’s Conversion to Sound: Technology and Film Style in France and the U.S. Bloomington, Ind: Indiana University Press.

O’Brien, Charles. 2009. ‘Sous Les Toits de Paris and Transnational Film Style: An Analysis of Film Editing Statistics.’ Studies in French Cinema 9(2):111–25.

O’Rawe, Catherine. 2008. ‘“I Padri E I Maestri”: Genre, Auteurs, and Absences in Italian Film Studies’. Italian Studies 63(2):173–94.

Orpen, Valerie. 2007. Clé o de 5 A ̀ 7: (Agne ̀ s Varda, 1961). Vol. Cine ́ -files : the French film guides. London: I. B. Tauris.

O ̂ shima, Nagisa, Masahiko Tsugawa, Kayoko Honoo, and Isao Sasaki. 1960. ‘The Sun’s Burial.’ The Oshima Collection.

Ozu, Yasujiro ̂ , Chishu ̂

Ryu ̂ , Chieko Higashiyama, and So ̂ Yamamura. 1953. ‘Tokyo Story.’

Pabst, G. W., Frank Wedekind, and Ladislaus Vajda. 1984. Pandora’s Box (Lulu): A Film by G.W. Pabst. Vol. Classic film scripts. Revised ed. London: Lorrimer.

Pendakur, Manjunath. 2008. ‘Chapter 5 - In the Throes of Change: Exhibition, Production and Distribution.’ Pp. 57–72 in The Bollywood reader. Maidenhead: McGraw-Hill/Open University Press.

Petro, Patrice. 1989. ‘Weimar Cinema and the Female Spectator.’ Pp. 140–219 in Joyless

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streets: women and melodramatic representation in Weimar Germany. Princeton: Princeton University Press.

Popple, Simon, and Joe Kember. 2004. Early Cinema: From Factory Gate to Dream Factory. Vol. Short cuts. London: Wallflower.

Powrie, Phil. 2006a. The Cinema of France. Vol. 24 frames. London: Wallflower.

Powrie, Phil. 2006b. The Cinema of France. Vol. 24 frames. London: Wallflower.

Pudovkin, Vsevolod Illarionovich, Nikolai Batalov, Vera Baranovskaya, Alexander Chistyakov, Anna Zemtsova, Ivan Koval-Samborsky, and Vsevolod Illarionovich Pudovkin. 1926. ‘Mother.’

Ray, Satyajit. 1976. Our Films, Their Films. Bombay: Orient Longman.

Ray, Satyajit, Karuna Banerjee, Pinaki Sen Gupta, Smaran Ghosal, and Bibhutibhushan Banerjee. n.d. ‘Aparajito.’

Renoir, Jean. n.d. ‘La Bete Humaine.’

Richie, Donald. 1965. ‘Sanjuro.’ Pp. 156–62 in The films of Akira Kurosawa. Berkeley,Calif: University of California Press.

Roberts, Ian. 2008a. ‘Chapter 3 - Demons Without and Within: F.W. Murnau’s Nosferatu.’ Pp. 35–51 in German expressionist cinema: the world of light and shadow. Vol. Short cuts (London, England). London: Wallflower Press.

Roberts, Ian. 2008b. ‘Demons Without and Within: F. W. Murnau’s Nosferatu [in] German Expressionist Cinema: The World of Light and Shadow.’ Pp. 35–51 in German expressionist cinema: the world of light and shadow. Vol. Short cuts (London, England). London: Wallflower Press.

Sato ̄ , Tadao, Aruna Vasudev, and Latika Padgaonkar. 2008. Kenji Mizoguchi and the Art of Japanese Cinema. Oxford: Berg.

Sesonske, Alexander. 1980. Jean Renoir, the French Films, 1924-1939. Cambridge, Mass: Harvard University Press.

De Sica, Vittorio, Jennifer Jones, and Montgomery Clift. 1953. ‘Indiscretion of an American Wife / Stazione Termini.’

Smith, Alison. 1998. Agnè s Varda. Vol. French film directors. Manchester: Manchester University Press.

Smith, Susan. 2000. ‘A Cinema Based on Sabotage [in] Hitchcock: Suspense, Humour and Tone.’ Pp. 1–15 in Hitchcock: suspense, humour and tone. London: British Film Institute.

Thompson, Kristin. 1988. ‘Realism in the Cinema: Bicycle Thieves.’ Pp. 197–217 in

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Breaking the glass armor: neoformalist film analysis. Princeton, N.J.: Princeton University Press.

Thompson, Kristin, and David Bordwell. 2010a. ‘Chapter 1: The Invention and Early Years of the Cinema 1880s-1904.’ in Film history: an introduction. New York: McGraw-Hill Higher Education.

Thompson, Kristin, and David Bordwell. 2010b. Film History: An Introduction. International ed., 3rd ed. New York: McGraw-Hill Higher Education.

Thompson, Kristin, and David Bordwell. 2010c. Film History: An Introduction. International ed., 3rd ed. New York: McGraw-Hill Higher Education.

Thompson, Kristin, and David Bordwell. 2010d. Film History: An Introduction. International ed., 3rd ed. New York: McGraw-Hill Higher Education.

Thompson, Kristin, and David Bordwell. 2010e. Film History: An Introduction. International ed., 3rd ed. New York: McGraw-Hill Higher Education.

Thompson, Kristin, and David Bordwell. 2010f. Film History: An Introduction. International ed., 3rd ed. New York: McGraw-Hill Higher Education.

Thompson, Kristin, and David Bordwell. 2010g. Film History: An Introduction. International ed., 3rd ed. New York: McGraw-Hill Higher Education.

Thompson, Kristin, and David Bordwell. 2010h. Film History: An Introduction. International ed., 3rd ed. New York: McGraw-Hill Higher Education.

Thompson, Kristin, and David Bordwell. 2010i. Film History: An Introduction. International ed., 3rd ed. New York: McGraw-Hill Higher Education.

Thompson, Kristin, and David Bordwell. 2010j. Film History: An Introduction. International ed., 3rd ed. New York: McGraw-Hill Higher Education.

Thompson, Kristin, and David Bordwell. 2010k. Film History: An Introduction. International ed., 3rd ed. New York: McGraw-Hill Higher Education.

Truffaut, Francois. 1976. ‘A Certain Tendency of the French Cinema.’ Pp. 224–37 in Movies and methods: an anthology: Vol. 1. Berkeley: University of California Press.

Truffaut, Franc ̧ ois, Jeanne Moreau, Oskar Werner, and Henri Serre. 1962. ‘Jules et Jim.’

Tsivian, Yuri, and Richard Taylor. 1998. Early Cinema in Russia and Its Cultural Reception. Chicago: University of Chicago Press.

Vaughan, Dai. 1983. Portrait of an Invisible Man: The Working Life of Stewart McAllister, Film Editor. London: BFI.

Weine, Robert, Werner Krauss, Conrad Veidt, Friedrich

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Fehe ́ r, Lil Dagovar, and Hans von Twardowski. 1919. ‘Das Cabinet Des Dr. Caligari.’

Wood, Robin. 1972. The Apu Trilogy. Vol. Movie paperbacks. London: Studio Vista.

Wood, Robin. 1976. ‘The Ghost Princess and the Seaweed-Gatherer.’ Pp. 224–48 in Personal views: explorations in film. London: Gordon Fraser Gallery.

Yoshimoto, Mitsuhiro. 2000. ‘Chapter 22 - Sanjuro.’ Pp. 293–302 in Kurosawa: film studies and Japanese cinema. Vols Asia-Pacific : culture, politics, and society. Durham, NC: Duke University Press.

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