09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton
Guerrilla Filmmaking (FLM020X370S) View Online
1.
Jones, C., Jolliffe, G.: The Guerrilla Filmmakers Handbook. Continuum, London (2006).
2.
Jones, C., Zinnes, A., Jolliffe, G.: Guerilla Film Makers : The Ultimate Guide to Digital Film Making! Continuum, London (2010).
3.
Hjort, M.: Small Nation, Global Cinema : The New Danish Cinema. University of Minnesota Press, Minneapolis (2005).
4.
Bainbridge, C.: The cinema of Lars von Trier : authenticity and artifice. Wallflower, London (2007).
5.
Hjort, M.: Small Nation, Global Cinema : The New Danish Cinema. University of Minnesota Press, Minneapolis (2005).
6.
Simons, J.: Playing the Waves : Lars von Trier’s Game Cinema. Amsterdam University Press, Amsterdam (2007).
1/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton
7.
Leth, J., Trier, L. von: The Five Obstructions, (2003).
8.
Birri, F.: Cinema and Underdevelopment. In: New Latin American Cinema. pp. 86–94. Wayne State University Press, Detroit (1997).
9.
García Espinosa, J.: For an imperfect cinema. 20, 24–26 (1979).
10.
Rocha, G.: An Esthetic of Hunger. In: New Latin American cinema. pp. 59–61. Wayne State University Press, Detroit (1997).
11.
Kendall, T.: Cinematic affect and the ethics of waste. New Cinemas: Journal of Contemporary Film. 10, 45–61 (2012). https://doi.org/10.1386/ncin.10.1.45_1.
12.
Birri, F.: For a Nationalist, Realist, Critical and Popular Cinema. In: New Latin American cinema. pp. 95–98. Wayne State University Press, Detroit (1997).
13.
García Espinosa, J.: Meditiations on Imperfect Cinema… Fifteen Years Later. In: New Latin American Cinema. pp. 83–85. Wayne State University Press, Detriot (1997).
14.
Getino, O.: Some Notes on the Concept of a "Third Cinema,”. In: New Latin American
2/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton
Cinema. pp. 99–107. Wayne State University Press, Detroit (1997).
15.
Sanjinés, J.: Problems of Form and Content in Revolutionary Cinema. In: New Latin American Cinema. pp. 62–70. Wayne State University Press, Detroit (1997).
16.
Solanas, F.E., Getino, O.: Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World. In: New Latin American Cinema. pp. 33–58. Wayne State University Press, Detroit (1997).
17.
Halligan, B.: ‘What Was the Neo-Underground and What Wasn’t: A First Reconsideration of Harmony Korine’. In: New punk cinema. pp. 180–192. Edinburgh University Press, Edinburgh (2005).
18.
Rocha, Glauber: Black god, white devil, (2008).
19.
Cuaron, J.: Ano una, (2009).
20.
Korine, H.: Trash Humpers, http://www.amazon.co.uk/Trash-Humpers-DVD-Rachel-Korine/dp/B003NEQ7X4/ref=sr_1_1? ie=UTF8&qid=1410858318&sr=8-1&keywords=trash+humpers.
21.
Christian, A.J.: Joe Swanberg, Intimacy, and the Digital Aesthetic. Cinema Journal. 50, 117–135 (2011). https://doi.org/10.1353/cj.2011.0049.
3/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton
22.
Figgis, M.: Digital film-making. Faber & Faber, London (2014).
23.
Farnel, S.: Fair Trade for Filmmakers: Is It Time For Festivals To Share Their Revenue?, http://www.indiewire.com/article/fair-trade-for-filmmakers-is-it-time-for-festivals-to-share-t heir-revenue.
24.
Ott, M., McLaughlin, C.: KID ICARUS, https://vimeo.com/37448951.
25.
Jaffee, V.: Bringing the World to the Nation: Jia Zhangke and the Legitimation of Chinese Underground Film | Senses of Cinema. Senses of Cinema. 32,.
26.
Zhangke, J.: The Age of Amateur Cinema Will Return. dGenerate Films.
27.
Wu, W., Clayton, C.: DV: Individual Filmmaking. Cinema Journal. 46, 136–140 (2006). https://doi.org/10.1353/cj.2007.0007.
28.
Braester, Y.: From real time to virtual reality: Chinese cinema in the internet age. Journal of Contemporary China. 13, 89–104 (2004). https://doi.org/10.1080/1067056032000151355.
29.
4/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton
Jaffee, V.: An Interview with Jia Zhangke.
30.
Wang, Y.: The Amateur’s Lightning Road: DV Documentary in Postsocialist China. Film Quarterly. 58,.
31.
Weiwei, A.: Disturbing the Peace, https://www.youtube.com/watch?v=aMw1LroNviY, (2)AD.
32.
Deleuze, G.: Chapter. In: Cinema 2: the time-image. pp. 207–214. Continuum, London (1985).
33.
Kronschnabl, A.: Plugin Manifesto, (2004).
34.
Menkman, R.: Glitch Studies Manifesto.
35.
Neocinema: Dogma 2001: The New Rules for Internet Cinema.
36.
Fleifel, M.: A World Not Ours, http://www.amazon.co.uk/A-World-Not-Ours-DVD/dp/B00IG3LIH2/ref=sr_1_1?ie=UTF8&qid =1410858016&sr=8-1&keywords=a+world+not+ours.
37.
5/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton
Beller, J.: Iterations of the impossible: questions of digital revolution in the Philippines. Postcolonial Studies. 11, 435–450 (2008). https://doi.org/10.1080/13688790802456036.
38.
Jenkins, H.: Convergence culture : where old and new media collide. New York University Press, New York/London (2008).
39.
De Jesús, R.: The Turn to Digital: Revival of Film Culture in the Philippines.
40.
Cheng, K.G.: Just-Do-It-(Yourself): independent filmmaking in Malaysia. Inter-Asia Cultural Studies. 8, 227–247 (2007). https://doi.org/10.1080/13583880701238696.
41.
Tioseco, A.: Shifting agendas: the decay of the mainstream and rise of the independents in the context of Philippine cinema. Inter-Asia Cultural Studies. 8, 298–303 (2007). https://doi.org/10.1080/14649370701238771.
42.
Youngblood, G.: Expanded Cinema. Studio Vista, London (1970).
43.
Haynes, T.: Superstar: The Karen Carpenter Story, https://www.youtube.com/watch?v=rACJWPd3VnI, (25)AD.
44.
Morrison, B.: Decasia: The State of Decay, (2002).
6/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton
45.
White, P.: Lesbian minor cinema. Screen. 49, 410–425 (2008). https://doi.org/10.1093/screen/hjn057.
46.
Brown, W., Holtmeier, M.: Machinima: Cinema in a Minor or a Multitudinous Key? In: Understanding machinima: essays on filmmaking in virtual worlds. pp. 3–21.
47.
Lowood, H.: High-performance play: The making of machinima. Journal of Media Practice. 7, 25–42 (2006). https://doi.org/10.1386/jmpr.7.1.25/1.
48.
Lowood, H.: A ‘Different Technical Approach’? Introduction to the Special Issue on Machinima. Journal of Visual Culture. 10, 3–5 (2011). https://doi.org/10.1177/1470412910391546.
49.
Brown, W., Holtmeier, M.A.: Machinima: cinema in a minor or multitudinous key? In: Understanding Machinima: Essays on Filmmaking in Virtual Worlds. Network Educational Press (7 Feb 2013).
50.
Troche, Rose: Go fish, (1999).
51.
Benning, S.: Girl Power, http://www.vdb.org/titles/girl-power.
52.
Chan, A.: The French Democracy.
7/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton
53.
Hancock, H.: Ozymandias.
54.
Pope, T.: Not Just Another Love Story Part 1, (2005).
55.
Pope, T.: Not Just Another Love Story Part 2, (2005).
56.
Teeth Productions, R.: Red vs Blue Episode 1: Why Are We Here?
57.
Rancière, Jacques: The politics of aesthetics: the distribution of the sensible. Continuum, London (2006).
58.
Brown, W.: En Attendant Godard.
59.
Brown, W.: Afterimages.
60.
Gertz, N., Khleifi, G., ebrary, Inc: Palestinian cinema: landscape, trauma and memory. Indiana University Press, Bloomington (2008).
8/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton
61.
Prospero: A bloody look at non-violent resistance, http://www.economist.com/blogs/prospero/2013/02/documentary-five-broken-cameras.
62.
Wood, E.: Five Broken Cameras, https://www.closeupfilmcentre.com/vertigo_magazine/issue-31-winter-2012-in-conversatio n/five-broken-cameras/.
63.
Emad Burnat and Guy Davidi talk about 5 BROKEN CAMERAS, nominated for the Best Documentary Feature Oscar - Cinema Without Borders, http://cinemawithoutborders.com/world-cinema-reports/3329-emad-burnat-and-guy-davidi- talk-about-5-broken-cameras-nominated-for-the-best-documentary-feature-oscar.html.
64.
Burnat, E., Davidi, G.: 5 Broken Cameras, http://www.amazon.co.uk/Broken-Cameras-DVD-Emad-Burnat/dp/B009NSUFFK/ref=sr_1_1? ie=UTF8&qid=1410858107&sr=8-1&keywords=five+broken+cameras.
65.
Shand, R.: Theorizing Amateur Cinema: Limitations and Possibilities. The Moving Image. 8,. https://doi.org/10.1353/mov.0.0017.
66.
Sconce, J.: ‘Trashing’ the academy: taste, excess, and an emerging politics of cinematic style. Screen. 36, 371–393 (1995). https://doi.org/10.1093/screen/36.4.371.
67.
Andrews, G.: Period Piece, http://www.troma.com/films/giuseppe-andrews-period-piece/.
9/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton
68.
Kaganof, A.: SMS Sugarman, (2007).
69.
Cheshire, G.: Iran’s Cinematic Spring. Dissent. 59, 76–80 (2012). https://doi.org/10.1353/dss.2012.0029.
70.
Rahbaran, S.: An Interview with Jafar Panahi.
71.
Jahed, Parviz: Directory of world cinema: Iran. Intellect, Bristol (2011).
72.
Harvey-Davitt, J.: Non-Film Ranciere and Panahi on Asceticism, http://eventalaesthetics.net/poverty-and-asceticism-vol-2-no-4-2014/james-harvey-davitt-n on-film-ranciere-and-panahi-on-asceticism/.
73.
Mirtahmasb, Motjaba, Panahi, Jafar: This is not a film, (2013).
10/10