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Literaturverzeichnis Literaturverzeichnis Agel, Henri: L'Odyssee et le pre-cinema. In: L'age nouveau 1960, No 109. A lbersmeier, Franz-Josef: Collage und Montage im surrealistischen Ro­ man. Zu Aragons ,Le Paysan de Paris< und Bretons >Nadja<. In: LiLi 12, 1982,46. ders.: Die Herausforderung des Films an die franzosische Literatur. Ent­ wurf einer Literaturgeschichte des Films. Bd. 1: Die Epoche des Stumm­ films (1895-1930), Heidelberg 1985. ders.: Kinematographischer versus literarischer ,Esprit Nouveau<. Zur An­ tinomie von kinematographischer und literarischer Avantgarde in Frank­ reich (1895-1930). In: Katalog NGBK (Berlin): Zwischen Fahrrad und FlieEband. Berlin 1986. Alien, Robert C. : Vaudeville and Film 1895-1915. A Study in Media-Inter­ action. Diss. University ofIowa, 1977. Altenloh, Emilie: Zur Soziologie des Kino. Die Kino-Unternehmung und die sozialen Schichten ihrer Besucher. J ena 1914 (Repr. Hamburg 1977). Amengual, Barthelemy: »The Life of an American Fireman« et la naissance du montage. In: Cahiers de la Cinematheque 1975, No 17. Aragon, Louis: Les Collages. Paris 1965. Arnheim, Rudolf: Kritiken und Aufsatze zum Film (hg. von Helmut H. Diederichs). Miinchen 1977. Arvidson (Griffith), Linda: When the Movies Were Young. New York! London 1968. Asholt, Wolfgang: Von der Kamera verschlungen? Theater in Frankreich von 1887 bis 1937. In: Katalog NGBK (Berlin): Zwischen Fahrrad und FlieEband. Berlin 1986. Astruc, Alexandre: Die Geburt einer neuen Avantgarde: die Kamera als Fe­ derhalter. In: Theodor Kotulla (Hg.): Der Film. Manifeste, Gesprache, Dokumente. Bd. 2: 1945 bis heute. Miinchen 1964. Aumont, Jacques: Griffith, le cadre, la figure. In: Raymond Bellour (Hg.): Le cinema americain: Analyses de films, T. 1, Paris 1980. Bachlin, Peter: Der Film als Ware (1945). Frankfurt!M. 1975. Baldzs, Bela: Der Film, Werden und Wesen einer neuen Kunst (1949). Wien 1972. ders.: Das Filmszenarium, eine neue literarische Gattung (1939). In: ders.: Essay, Kritik, 1922-1932. Berlin 1973. ders.: Der sichtbare Mensch oder die Kultur des Films (1924). In: ders.: Schriften zum Film. Bd. 1 (hg. von Helmut H. Diederichs). Budapest! Berlin!Miinchen 1982. 205 ders.: Zur Kunstphilosophie des Films (1938). In: ders.: Essay, Kritik 1922-1932. Berlin, DDR, 1973. Balio, Tino (Hg.): The American Film Industry. Madison/Wisconsin 1976. Barbour, Alan G.: Cliffhanger. A Pictorial History of the Motion Picture Serial. New York 1977. Barthes, Roland: Am Nullpunkt der Literatur. Frankfurt 1982. ders.: The Death of the Author (1968). In: Stephen Heath (Hg.): Roland Barthes: Image-Music-Text. Glasgow 31982. ders.: Die Lust am Text. Frankfurt (1974) 1982. den.: The realistic Effect. In: Film Reader 3, 1978. Baudry, Jean-Louis: Antwort auf die Umfrage in den Cahiers du Cinema 185,1966, dt. Teilubersetzungin:Filmkritik 1967, H. 11. ders.: Le dispositif: approches metapsychologiques de l'impression de rea­ lite. In: Communications 1975, No 23. Bauschinger, Sigrid/Susan S. Cocalis/Henry S. Lea (Hg.): Film und Lite­ ratur. Literarische Texte und der neue deutsche Film. Bern/Munchen 1984. Bazin, Andre: Die Entwicklung der kinematographischen Sprache. In: ders.: Was ist Kino? Bausteine zur Theorie des Films. Koln 1975. ders.: Fur ein >unreines< Kino - Pl;idoyer fur die Adaption. In: ders.: Was ist Kino? Bausteine zur Theorie des Films, Koln 1975. ders.: Der kinematographische Realismus und die italienische Schule der Befreiung. In: ders. : Was ist Kino? Bausteine zu einer Theorie des Films. Koln 1975. ders.: Le my the du cinema total (1946). In: ders.: Qu'est-ce que le cinema? Edition definitive. Paris 1981. ders.: La politique des auteurs. In: Cahiers du Cinema 1957, No 70. ders.: Theater und Kino. In: ders. : Was ist Kino? Bausteine zu einer Theo­ rie des Films. Koln 1975. Bellour, Raymond: Alterner, raconter. »The Lonedale Operator« de D. W. Griffith. In: ders. (Hg.): Le cinema americain. T. 1. Paris 1980 ders.: »Moi, je suis une image«. In: Revue Beige du Cinema, 1986, No 16 (engl. Ubersetzung in: camera obscura 1982, No 8-9-10). Benjamin, Waiter: Krisis des Romans. Zu Doblins Berlin Alexanderplatz. In: Matthias Prangel (Hg.): Materialien zu Alfred Doblins Berlin Alexan­ derplatz. Frankfurt 1975. ders.: Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. Frankfurt 1963. ders.: Uber einige Motive bei Baudelaire. In: ders. : Charles Baudelaire. Ein Lyriker im Zeitalter des Hochkapitalismus. Hg. von Rolf Tiedemann. Frankfurt 1974. ders.: Was ist das epische Theatcr? Eine Studie zu Brecht. In: ders. : Versu­ che uber Brecht. Frankfurt 1966. Blackbeard, Bill: The Pulps. In: Inge, M. Thomas (Hg.): Handbook of American Popular Culture. Voll. Westport/Conn. 1978, S. 195-223. Bluestone, George: Novels into Film. (1957) Bcrkeley/Los Angeles/Lon­ don 1973 (Madame Bovary, S. 197-214). Bordwell, David: Textual Analysis, etc. in: Enclitic 5,1981,2-6, 1982, 1. 206 Borrely, Guy: L'homme et son regard. In: Revue des sciences humaines 1975, No 159, S. 317-325. Bossimo, Christian: Le cinema et la presse. In: La Revue du Cinema, Image et Son, No 341 it No 344, 1979 Boujut, Michel: Guirlande pour Fantomas. In: L'avant-scene cinema 1981, 27112 (special Feuillade). Bowser, Eileen: The Reconstitution of »A Corner in Wheat«. In: Cinema Journal 15, 1976, 2. Brecht, Bertolt: Der Dreigroschenprozefl. Ein soziologisches Experiment. In: ders.: Gesammelte Werke Bd. 18, (1967). Frankfurt 1973. Bresson, Robert: Noten zum Kinematographen. Miinchen 1980. Burch, Noel: Charles Baudelaire versus Doctor Frankenstein'! How we got into pictures. In: Afterimage 1980/1, Nos 8/9. ders.: De ,Mabuse< it >M<: Le travail de Fritz Lang. In: Revue d'Esthetique, No 2-3-4, 1973 (Special cinema: Theorie, lectures). ders.: "Passion«, poursuite: la linearisation. In: Communications 1983, No 38. ders.: Porter or Ambivalence. In: SCREEN 19, 1978/9, 4. ders.: Un mode de representation primitif? In: IRIS 2, 1984, 1. Burger, Peter: Theorie der Avantgarde (1974). Frankfurt 1981. Cahiers du Cinema. Entretien avec Resnais et Robbe-Grillet par Andn~ S. Labarthe et Jacques Rivette. No 125, sept. 1961, S. 1-18. Cahiers du Cinema. Autorenkollektiv: Young Mr. Lincoln vonJohn Ford. Filmkritik 1974, No 205. Caughie, John (Hg.): Theories of Authorship: A Reader. London 1981. Ceram, C. W.: Eine Archaologie des Kinos. Reinbek 1965. Chanan, Michael: The Dream that Kicks. The Prehistory and Early Years of Cinema in Britain. London 1980. Charney, Hanna: Images of Absence in Flaubert and Some Contemporary Films. In: Style 9,1975,4. Clair, Rene: Cinema pur et cinema commercial. In: Les cahiers du mois 1925 No 16/17. ders.: Le cinematographe contre l'esprit (1927). In: Marcel Lapierre (Hg.): Anthologie du cinema. Paris 1946. Cocteau, Jean: Entretiens autour du cinematographe. Paris 1951. Csida, Josephl Bundy Csida, June: American Entertainment. A Unique Hi­ story of American Show Business. New York 1978. Davies, David Stuard: Holmes of the Movies. The Screen Career of Sher­ lock Holmes. New York 1978. Decaudin, Michel: Les poetes decouvrent le cinema. In: Etudes cinemato­ graphiques. 1965. Deslandes, JacqueslRichard, Jacques: Histoire compare du cinema. T. 2: Du cinematographe au cinema 1896-1906, Paris 1968. Deslandes, Jacques: Le boulevard du cinema a l'epoque de Georges Melies. Paris 1963 (= 7' art). 207 Deutelbaum, Marshall: Structural Patterning in the Lumiere Films. In: John Fell (Hg.): The Film Before Griffith. Berkeley, Ca!. 1983. Diederichs, Helmut H.: Die Anfange der deutschen Filmkritik 1909-1915 unter besonderer Beriicksichtigung der Zeitschrift ,Bild und Film<. Diss. Frankfurt 1983, Stuttgart 1986. ders. (Hg.): Der Student von Prag. Einfiihrung und Protokoll. Stuttgart 1985 (= Focus Film Texte). Doblin, Alfred: Berlin Alexanderplatz. Die Geschichte vom Franz Biber- kopf. Frankfurt 1975. Drew, BernardA.: From Pulp to Celluloid. In: Film Comment, Aug. 1978. Dubourg, Maurice: Le roman cinema. In: Cinema 68, No 131. Dulac, Germaine: Das Wesen des Films: die visuelle Idee (1926). In: Les Cahiers du mois No 16/17 (dt. Dbersetzung in: Frauen und Film, 1984, H.37). Dupont, Ewald Andre: Wie ein Film geschrieben wird und wie man ihn verwertet. Berlin 1919. EisensteinlPudovkinlAlexandrov: Die Zukunft des Tonfilms (Ein Mani­ fest) (1928). In: Hans-Joachim Schlegel (Hg.): Sergej M. Eisenstein: Schriften 4. Miinchen 1984. Eisenstein, Sergej: Bela vergiBt die Schere (1926). In: Hans-Joachim Schle­ gel (Hg.): Sergej M. Eisenstein: Schriften 2. Miinchen 1973. ders.: Die zweite literarische Periode des Films (1929). In: Hans-Joachim Schlegel (Hg.): Sergej M. Eisenstein: Schriften 3. Miinchen 1975. ders.: Das Prinzip einer Filmkunst jenseits der Einstellung (1929). In: Hans-Joachim Schlegel (Hg.): Sergej M. Eisenstein, Schriften 3. Miin­ chen 1975. ders.: Dramaturgie der Film-Form (1929). In: Hans-Joachim Schlegel(Hg.): Sergej M. Eisenstein: Schriften 3. Miinchen 1975. ders.: Das Mittlere von Dreien (1934). In: Hans-Joachim Schlegel (Hg.): Sergej M. Eisenstein: Schriften 1. Miinchen 1974. ders.: Das Organische und das Pathos in der Komposition des Films Pan­ zerkreuzer Potemkin (1939). In: Hans-Joachim Schlegel (Hg.): Sergej M. Eisenstein: Schriften 2. Miinchen 1973. ders.: Form and Content: Practice. In ders: The Film Sense (1943). London 1970. ders.: Dickens, Griffith und wir (1944). In: ders. Gesammelte Aufsatze I. Ziirich 1961. ders.: Eine nicht-gleichmiitige N atur. Berlin 1980. ders.: Puschkin und der Film. In: Eisenstein iiber Kunst und Kiinstler. Miinchen 1977. Eisner, Lotte: Murnau (1967). Frankfurt 1979. Ejchenbaum, Boris: Probleme
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