09/29/21 European Cinema - Semester 1 | Goldsmiths, University of London
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Deac Rossell
Agnes, Varda. 1962. ‘Cle ́ o de 5 A ́ 7.’
Alexander Kluge, Tamara Evans and Stuart Liebman. 1990. ‘The Assault of the Present on the Rest of Time.’ New German Critique (49):11–22.
Alexander Kluge, Thomas Y. Levin and Miriam B. Hansen. 1982. ‘On Film and the Public Sphere.’ New German Critique (24):206–20.
Allinson, Mark. 2001. A Spanish Labyrinth: The Films of Pedro Almodóvar. London: I.B. Tauris.
Almodóvar, Pedro. 1980. ‘Pepi, Luci, Bom and Other Women on the Heap / Pepi, Luci, Bom Y Otras Chicas Del Montón.’
Almodóvar, Pedro. 1983. ‘Dark Habits.’
Almodóvar, Pedro. 1987. ‘The Law of Desire.’
Almodóvar, Pedro. 1988. ‘Women on the Verge of a Nervous Breakdown.’
Almodóvar, Pedro. 1991. ‘High Heels.’
Almodóvar, Pedro. 1999. ‘All about My Mother.’
Almodóvar, Pedro. 2006. ‘Volver.’
Almodovar, Pedro. 2013. ‘I’m so Excited.’
Almodóvar, Pedro, Frédéric Strauss, and Yves Baignères. 1996. Almodóvar on Almodóvar. London: Faber and Faber.
Andersson, Roy. 2000. ‘Songs from the Second Floor: [REGION 1 DVD].’
Andrew Bowie. 1986. ‘Alexander Kluge: An Introduction.’ Cultural Critique (4):111–18.
1/16 09/29/21 European Cinema - Semester 1 | Goldsmiths, University of London
Anne Gillain. 1989. ‘The Script of Delinquency: Truffaut’s Les 400 Cents Coups.’ in French film: texts and contexts. London: Routledge.
Anon. 1997. ‘Caryatids of Time: Temporality in the Cinema of Agnes Varda.’ PAJ: A Journal of Performance and Art 19(3):1–10.
Anon. 2007. ‘Riso Amaro.’
Anon. 2011. ‘La Femme D’ à Côté.’
Arcand, Denys, Lothaire Bluteau, Catherine Wilkening, Johanne-Marie Tremblay, Rémy Girard, Robert Lepage, and Guy Dufaux. 2006. ‘Jesus of Montreal.’
August, Bille. 1988. ‘Pelle the Conqueror.’
Axel, Gabriel. 2004. ‘Babette’s Feast.’
Bardem, Juan Antonio. 1955. ‘Death of a Cyclist.’
Bazin, André, Hugh Gray, and Jean Renoir. 1967. What Is Cinema?: [Vol. 1]. Berkeley: University of California Press.
Becker, Wolfgang, and Bernd Lichtenberg. 2003. ‘Goodbye Lenin.’
Bergman, Ingmar. 1955. ‘Smiles of a Summer Night.’
Bergman, Ingmar. 1957a. ‘Det Sjunde Inseglet, (The Seventh Seal: [50th Anniversay Special Edition].’
Bergman, Ingmar. 1957b. ‘The Seventh Seal: [50th Anniversay Special Edition].’
Bergman, Ingmar. 1957. ‘Wild Strawberries / Smultronstället.’
Bergman, Ingmar. 1961. ‘Såsom I En Spegel, (Through a Glass Darkly, 1961).’
Bergman, Ingmar. 1962. ‘Nattvardsgästerna, (Winter Light, 1962).’
Bergman, Ingmar. 1966. ‘Persona.’
Bergman, Ingmar. 1969. ‘The Passion of Anna.’
Bergman, Ingmar. 1972. ‘Cries and Whispers.’
Bergman, Ingmar. 1978. ‘Autumn Sonata.’
Bergman, Ingmar. 1988. The Magic Lantern: An Autobiography. London: Penguin.
Bergman, Ingmar. 1994. Images: My Life in Film. New York: Arcade.
Bergman, Ingmar. 2007. ‘Jungfrukällen, (The Virgin Spring 1960).’
Bergman, Ingmar. 2009. ‘Fanny and Alexander.’
2/16 09/29/21 European Cinema - Semester 1 | Goldsmiths, University of London
Bergman, Ingmar. 2012. ‘Sawdust and Tinsel.’
Bergman, Ingmar, and Ingmar Bergman. 1972. Persona and Shame: The Screenplays of Ingmar Bergman. London: Calder and Boyars.
Bergman, Ingmar, Lars Malmström, and David Kushner. 1970. Wild Strawberries: A Film [screenplay]. Vol. Modern film scripts. London: Lorrimer Publishing Ltd.
Bergman, Ingmar, Sven Nykvist, Liv Ullmann, Erland Josephson, Bibi Andersson, and Gunnel Lindblom. 2003. ‘Scenes from a Marriage.’
Bergman, Ingmar, Ingrid Thulin, Gunnel Lindblom, Birger Malmsten, Håkan Jahnberg, Jorgen Lindstrom, Sven Nykvist, Ulla Ryghe, and Svensk filmindustri. 2001. The Silence. AB Svensk Filmindustri / Tartan Video.
Bersani, Leo, and Ulysse Dutoit. 1993. Arts of Impoverishment: Beckett, Rothko, Resnais. Cambridge, Mass: Harvard University Press.
Bertolucci, Bernardo, and Alberto Moravia. 1970. ‘Il Conformista (The Conformist).’
Besas, Peter. 1985a. Behind the Spanish Lens: Spanish Cinema under Fascism and Democracy. Denver: Arden Press.
Besas, Peter. 1985b. Behind the Spanish Lens: Spanish Cinema under Fascism and Democracy. Denver: Arden Press.
Blackwell, Marilyn Johns. 1997. Gender and Representation in the Films of Ingmar Bergman . Vol. Studies in Scandinavian literature and culture. Columbia, SC, USA: Camden House.
Blakeway, Claire. 1990. Jacques Prevert: Popular French Theatre and Cinema. London: Fairleigh Dickinson University Press.
Blank, Les, Maureen Gosling, and Michael Goodwin. 1982. ‘Burden of Dreams.’
Bondanella, Peter E. 2001. Italian Cinema: From Neorealism to the Present. 3rd ed. New York: Continuum.
Borau, Jose Luis. 1975. ‘Furtivos (Poachers).’
Bordwell, David, Janet Staiger, and Kristin Thompson. 1988. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge.
Bresson, Robert. n.d. ‘Les Dames Du Bois de Boulogne.’
Bresson, Robert, Georges Bernanos, Léonce-Henri Burel, Robert Sussfeld, Jean-Jacques Grunenwald, Léon Carré, Claude Laydu, and Jean Riveyre. 2008. ‘Diary of a Country Priest.’
Brigitte Rollet. 2008. ‘Paris Nous Appartient: Flânerie in Paris and Film.’ Film Quarterly 61(3):46–51.
Brynych, Zbynek. 1965. ‘...a Páty Jezdec Je Strach (...and the Fifth Horseman Is Fear).’
3/16 09/29/21 European Cinema - Semester 1 | Goldsmiths, University of London
Buchar, Robert. 2004. Czech New Wave Filmmakers in Interviews. Jefferson: McFarland.
Buñuel, Luis. 1932. ‘Terre sans Pain.’
Buñuel, Luis. 1961. ‘Viridiana.’
Buñuel, Luis. 1965. ‘Simón Del Desierto.’
Buñuel, Luis. 2000. An Unspeakable Betrayal: Selected Writings of Luis Buänuel. Berkeley, Calif: University of California Press.
Buñuel, Luis, Luis Alcoriza, and Oscar Danciger. 1950. ‘Los Olvidados.’
Buñuel, Luis, and Julio Alejandro. 1970. ‘Tristana.’
Buñuel, Luis, Julio Alejandro, and Piergiuseppe Bozzetti. 1996. Viridiana. Vol. Script and director. Portsmouth, N.H.: Heinemann.
Buñuel, Luis, Manuel Altolaguirre, Lilia Solano Galeana, and Juan de la Cabada. 1951. ‘Mexican Bus Ride.’
Buñuel, Luis, and Jean-Claude Carrière. 1967. ‘Belle de Jour.’
Buñuel, Luis, and Jean-Claude Carrière. 1972. ‘The Discreet Charm of the Bourgeoisie.’
Buñuel, Luis, Salvador Dalí, Robert Short, Jose Luis Lopez Linares, and Javier Rioyo. 1928. ‘Un Chien Andalou; L’age D'or.’
Buñuel, Luis, and Abigail Israel. 1994. My Last Breath. London: Vintage.
Cain, James M., Mario Alicata, Antonio Pietrangeli, Gianni Puccini, Giuseppe De Santis, and Luchino Visconti. 1942. ‘Ossessione.’
Carné, Marcel, and Jacques Prévert. 1938. ‘Quai Des Brumes.’
Carné, Marcel, and Prévert, Jacques. 1939. ‘Le Jour Se Lève / Daybreak.’
Cesare, Zavattini. n.d. ‘Some Ideas on the Cinema.’ 64–69.
Chabrol, Claude. 1959a. ‘Le Beau Serge.’
Chabrol, Claude. 1959b. ‘Les Cousins.’
Chabrol, Claude, and Paul Gegauff. 1968. ‘Les Biches.’
Chabrol, Claude, Paul Gegauff, and Nicholas Blake. 1969. ‘Que La Bete Meure.’
Chytilova, Vera. 1963. ‘O Necem Jinem (Something Different).’
Chytilova, Vera, Krumbachova, Ester, and Juracek, Pavel. 1966. ‘Daisies / Sedmikrásky.’
Cohen, Hubert I. 1993. Ingmar Bergman: The Art of Confession. Vol. Twayne’s filmmakers
4/16 09/29/21 European Cinema - Semester 1 | Goldsmiths, University of London
series. New York: Twayne.
Costa-Gavras. 200AD. ‘Z.’
Cottingham, Laura. 2005. Fear Eats the Soul. Vol. BFI film classics. London: BFI.
Cowie, Peter, and Scandinavian Films. 1992. 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’.
Cua Lim, Bliss. n.d. ‘Dolls in Fragments: Daisies as Feminist Allegory.’ 16: 2(47):37–77.
Dalí, Salvador, and Luis Buñuel. 2005. ‘Un Chien Andalou.’
David Wills. 1986. ‘Carmen: Sound/Effect.’ Cinema Journal 25(4):33–43.
Demy, Jacques. 1960. ‘Lola.’
Demy, Jacques, Michel Legrand, and Francois Reichenbach. 2005. ‘The Umbrellas of Cherbourg.’
Don Allen. 1985. Finally Truffaut. London: Secker & Warburg.
Dreyer, Carl Theodor. 2012. ‘The Passion of Joan of Arc.’
Dreyer, Carl Theodor, Joseph Delteil, and Richard Einhorn. 1928. ‘The Passion of Joan of Arc: [REGION 1 DVD].’
Dreyer, Carl Theodor, Erik Nielsen, Tage Nielsen, Henrik Malberg, Emil Hass Christensen, Preben Lerdorff Rye, Cay Kristiansen, Birgitte Federspiel, and Kaj Munk. 2006a. ‘Ordet.’
Dreyer, Carl Theodor, Erik Nielsen, Tage Nielsen, Henrik Malberg, Emil Hass Christensen, Preben Lerdorff Rye, Cay Kristiansen, Birgitte Federspiel, and Kaj Munk. 2006b. ‘Ordet.’
Duras, Marguerite, Alain Resnais, and Richard Seaver. 2000. Hiroshima Mon Amour: [screenplay]. New York: Grove Press.
Duvivier, Julien, and Henri Jeanson. 1937. ‘Pépé Le Moko.’
Edwards, Gwynne. 1995a. Indecent Exposures: Bunuel, Saura, Erice & Almodovar. London: Boyars.
Edwards, Gwynne. 1995b. Indecent Exposures: Bunuel, Saura, Erice & Almodovar. London: Boyars.
Elsaesser, Thomas. 1989. New German Cinema: A History. [London]: British Film Institute.
Elsaesser, Thomas. 1996. Fassbinder’s Germany: History, Identity, Subject. Vol. Film culture in transition. Amsterdam: Amsterdam University Press.
Enquist, Per Olov, Ingmar Bergman, and Victor Sjostrom. n.d. ‘The Phantom Carriage; The
5/16 09/29/21 European Cinema - Semester 1 | Goldsmiths, University of London
Image Makers.’
Erice, Víctor, and Angel Fernandez Santos. 1973. ‘The Spirit of the Beehive.’
Eric Rentschler. 1984. ‘Kluge, Film History, and Eigensinn: A Taking of Stock from the Distance.’ New German Critique (31):109–24.
Evans, Peter William. 1999. Spanish Cinema: The Auteurist Tradition. Oxford: Oxford University Press.
Ezra, Elizabeth, and Sue Harris. 2000. France in Focus: Film and National Identity. Oxford: Berg.
Fassbinder, Rainer Werner. 1971. ‘The Merchant of Four Seasons.’
Fassbinder, Rainer Werner. 1972. ‘The Bitter Tears of Petra von Kant.’
Fassbinder, Rainer Werner. 1973. ‘Fear Eats the Soul / Angst Essen Seele Auf.’
Fassbinder, Rainer Werner. 1975. ‘Fox and His Friends.’
Fassbinder, Rainer Werner. 2003. ‘Love Is Colder than Death.’
Fassbinder, Rainer Werner, and Alfred Döblin. 1979. ‘Berlin Alexanderplatz: [complete Series].’
Fassbinder, Rainer Werner, and Michael Fengler. 1969. ‘Why Does Herr R. Run Amok ?’
Fassbinder, Rainer Werner, and Theodor Fontane. 1974. ‘Effi Briest.’
Fassbinder, Rainer Werner, Per Frohlich, and Peter Martesheimer. 1982. ‘Lola.’
Fassbinder, Rainer Werner, Peter Märthesheimer, and Pea Frohlich. 1978. ‘The Marriage of Maria Braun.’
Fassbinder, Rainer Werner, Peter Märthesheimer, and Pea Frohlich. 1981. ‘Veronika Voss.’
Fassbinder, Rainer Werner, Tom Stoppard, and Vladimir Vladimirovich Nabokov. 1978. ‘Despair.’
Flinn, Caryl. 2004. The New German Cinema: Music, History, and the Matter of Style. Berkeley, Calif: University of California Press.
Flitterman-Lewis, Sandy. 1990. To Desire Differently: Feminism and the French Cinema. Urbana: University of Illinois Press.
Forgacs, David. 2000. Rome Open City =: Roma Citta Aperta. Vol. BFI film classics. London: BFI Pub.
Forgacs, David, Sarah Lutton, Geoffrey Nowell-Smith, and British Film Institute. 2000. Roberto Rossellini: Magician of the Real. London: bfi Publishing.
6/16 09/29/21 European Cinema - Semester 1 | Goldsmiths, University of London
Forman, Milos. 1964. ‘Cerný Petr (Black Peter).’
Forman, Milos, Jana Brejchová, Josef Sebánek, and Vladimir Pucholt. 2011. ‘Blonde in Love = Lásky Jedné Plavovlásky.’
Forman, Milos, Passer, Ivan, and Papousek, Jaroslav. 1967. ‘The Firemen’s Ball / Hori, Má Penenko.’
Franc ̧ ois Truffaut. 1969. The 400 Blows. edited by D. Denby. New York: Grove Press.
Frank P. Tomasulo. 1982. ‘“Bicycle Thieves”: A Re-Reading’. Cinema Journal 21(2):2–13.
Frantisek, Daniel. 1968. ‘The Czechoslovakian Academy of Arts 20.1 (1968): 11-14.’ 20(1):11–14.
Fred Simeral. 1978. ‘The Child-Centered Films of Truffaut.’ The French Review 51(5):761–62.
French, Philip, and Kersti French. 1995. Wild Strawberries. Vol. BFI film classics. London: BFI Publishing.
García Ballester, Luis, and Juan Antonio Bardem. 1952. ‘Bienvenido Mister Marshall.’ 100 años de oro del cine español.
Garrone, Matteo, Roberto Saviano, Maurizio Braucci, Ugo Chiti, Gianni Di Gregorio, and Massimo Gaudioso. 2008. ‘Gomorrah.’
George, Franju. n.d. ‘Le Sang Des Be ̂ tes (1949, Short); Hote ̂ l Des Invalides (1952, Short); Le Grand Méliès (1952, Short).’
Gibson, Arthur. 1993. 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.
Godard, Jean-Luc. 1961. ‘Une Femme Est Une Femme.’
Godard, Jean-Luc. 1963. ‘Le Petit Soldat.’
Godard, Jean-Luc. 1966. ‘Two or Three Things I Know about Her.’
Godard, Jean-Luc. 1996. ‘For Ever Mozart : 36 Personnages En Que ̂ te D’histoire.’
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Godard, Jean Luc, Nicholas Fry, Marianne Sinclair, Danielle Adkinson, and Jean Luc Godard. 1972. Weekend; And, Wind from the East: Two Films : [screenplays]. Vol. Modern film scripts. London (47 Dean St., W.1): Lorrimer Publishing Ltd.
Godard, Jean Luc, Anne-Marie Miéville, Alain Sarde, Myriem Roussel, Maruschka Detmers, Jacques Bonnaffé, Christophe Odent, and Prosper Mérimée. 2007. ‘First Name Carmen.’ Godard collection.
Godard, Jean-Luc, Jean Narboni, Tom Milne, Richard Roud, and Annette Michelson. 1986. Godard on Godard: Critical Writings. New York: Da Capo Press.
Godard, Jean-Luc, and Marcel Sacotte. 1962. ‘Vivre Sa Vie.’
Godard, Jean-Luc, and Truffaut, François. 1959. ‘A Bout de Souffle.’
Gordon, Robert S. C. 2008. Bicycle Thieves =: Ladri Di Biciclette. Vol. BFI film classics. Basingstoke: Palgrave Macmillan.
Gottlieb, Sidney. 2004. Roberto Rossellini’s Rome Open City. Vol. Cambridge film handbooks series. Cambridge: Cambridge University Press.
Greene, Naomi. 2007. The French New Wave: A New Look. Vol. Short cuts. London: Wallflower.
Hallström, Lasse, and Reidar Jönsson. 1985. ‘My Life as a Dog.’
Hamer, Bent, and Jörgen Bergmark. 2004. ‘Kitchen Stories.’
Hames, Peter. 2005. The Czechoslovak New Wave. 2nd ed. London: Wallflower.
Hauff, Reinhard. 1986. ‘Stammheim: Die Baader-Meinhof-Gruppe Vor Gericht.’
Hayward, Susan. 2006. Cinema Studies: The Key Concepts. 3rd ed. London: Routledge.
Herzog, Werner. 1967. ‘Lebenszeichen (Signs of Life).’
Herzog, Werner. 1973. ‘Aguirre: Wrath of God.’
Herzog, Werner. 1982. ‘Fitzcarraldo.’
Higginbotham, Virginia. 1988. Spanish Film under Franco. 1st ed. Austin: University of Texas Press.
Higgins, Lynn A. 1996. New Novel, New Wave, New Politics: Fiction and the Representation of History in Postwar France. Vol. Stages. Lincoln: University of Nebraska Press.
H. Marshall Leicester, Jr. 1994. ‘Discourse and the Film Text: Four Readings of “Carmen”.’ Cambridge Opera Journal 6(3):245–82.
Hopewell, John, and British Film Institute. 1986. Out of the Past: Spanish Cinema after Franco. London: British Film Institute.
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Hubner, Laura. 2007. The Films of Ingmar Bergman: Illusions of Light and Darkness. Basingstoke: Palgrave Macmillan.
Insdorf, Annette. 1994. François Truffaut. Rev. and updated ed. Cambridge: Cambridge University Press.
Jack Zipes. 1977. ‘The Political Dimensions of The Lost Honor of Katharina Blum.’ New German Critique (12):75–84.
Jakubisko, Juraj. 1968. ‘Deserters and Pilgrims.’
Jasny, Vojtech. 1969. ‘Vsichni Dobri Rodachi (All My Compatriots).’
Kadar, Jan, and Elmar Klos. 1965. ‘Obchod Na Kortze (The Shop On Main Street).’
Kalin, Jesse. 2003. The Films of Ingmar Bergman. Vol. Cambridge film classics. Cambridge: Cambridge University Press.
Kardish, Laurence, Juliane Lorenz, and Museum of Modern Art (New York, N.Y). 1997. Rainer Werner Fassbinder. New York: Museum of Modern Art.
Kieslowski, Krzysztof, and Krzysztof Piesiewicz. 1988a. ‘Ten Commandments: Parts 1-5.’
Kieslowski, Krzysztof, and Krzysztof Piesiewicz. 1988b. ‘Ten Commandments: Parts 6-10.’ Kinder, Marsha. 1993. Blood Cinema: The Reconstruction of National Identity in Spain. Berkeley: University of California Press.
Kluge, Alexander. 1967. ‘Die Artisten in Der Zirkuskuppel: Ratlos / Artists in the Circus Tent : Clueless.’
Kluge, Alexander. 1967. ‘Wilder Reiter GmbH.’
Kluge, Alexander. 2007. ‘Abschied von Gestern; Gelegenheitsarbeit Einer Sklavin.’
Knight, Julia. 1992. Women and the New German Cinema. Vol. Questions for feminism. London: Verso.
Knight, Julia. 2004. New German Cinema: Images of a Generation. Vol. Short cuts. London: Wallflower.
Lugo, Marvin D’. 1991. The Films of Carlos Saura: The Practice of Seeing. Princeton: Princeton University Press.
Malle, Louis. 1971. ‘Le Souffle Au Coeur.’
Malle, Louis. 1987. ‘Au Revoir Les Enfants.’
Malle, Louis, Noel Calef, and Roger Nimier. 1957. ‘Ascenseur Pour L’échafaud.’
Malle, Louis, John Guare, Louis Malle, Michel Legrand, Burt Lancaster, Michel Piccoli, Susan Sarandon, and Denis Héroux. 2008. ‘Atlantic City.’
9/16 09/29/21 European Cinema - Semester 1 | Goldsmiths, University of London
Malle, Louis, and Jean-Paul Rappeneau. 1960. ‘Zazie Dans Le Metro.’
Malle, Louis, Louise de Vilmorin, and Dominique Vivant. 1958. ‘Les Amants.’
Marcel Carné, and Prevert Jacques. 1970. Le Jour Se Lève. Lorrimer Publishing.
Marcus, Millicent Joy. 1986. Italian Film in the Light of Neorealism. Princeton, N.J.: Princeton University Press.
Marie, Michel. 2002. The French New Wave: An Artistic School. Oxford: Blackwell.
Marker, Chris. 1962a. ‘La Jetée; Sans Soleil.’
Marker, Chris. 1962b. ‘La Jetée; Sans Soleil.’
Marker, Chris. 1973. ‘Le Train En Marche [The Train Rolls On].’
Marker, Chris, Pierre L’Homme, Catherine Varlin, Simone Signoret, Yves Montand, Étienne Becker, Denys Clerval, Pierre Villemin, Eva Zora, Annie Meunier, Madeleine Lecompère, Michel Legrand, Jean Ravel, Sofracima (Firm), and Icarus Films. 2013. ‘Le Joli Mai.’
Mazierska, Ewa. 2008a. Masculinities in Polish, Czech and Slovak Cinema: Black Peters and Men of Marble. New York: Berghahn Books.
Mazierska, Ewa. 2008b. Masculinities in Polish, Czech and Slovak Cinema: Black Peters and Men of Marble. New York: Berghahn Books.
Melville, Jean-Pierre, and Auguste Le Breton. 1955. ‘Bob Le Flambeur.’
Melville, Jean-Pierre, and Pierre Lesou. 1962. ‘Le Doulos.’
Menzel, Jiri, and Bohumil Hrabal. 1966. ‘Closely Observed Trains.’
Michaels, Lloyd. 2000. Ingmar Bergman’s Persona. Vol. The Cambridge University Press film handbooks series. Cambridge: Cambridge University Press.
Michel Marie. 1999. A Bout de Souffle. Paris: Nathan.
Miriam Hansen. 1988. ‘Reinventing the Nickelodeon: Notes on Kluge and Early Cinema.’ October 46:178–98.
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Nana, Moretti. 2011. ‘Habemus Papam.’
Neupert, Richard John. 2007. A History of the French New Wave Cinema. Vol. Wisconsin
10/16 09/29/21 European Cinema - Semester 1 | Goldsmiths, University of London
studies in film. 2nd ed. Madison: University of Wisconsin Press.
Nichetti, Maurizio, and Mauro Monti. 1989. ‘The Icicle Thief.’
Ohlin, Peter. 2011. Wordless Secrets: Ingmar Bergman’s Persona : Modernist Crisis & Canonical Status. Vol. Studies in Nordic literature and film. Cardiff: Wales Academic Press.
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Palance, Jack, Percy Adlon, C. C. H. Pounder, Marianne Sägebrecht, Eleonore Adlon, Christine Kaufman, George Aquila, Monica Calhoun, Darren Flagg, Pelemele Films, and Arrow Films (Firm). 2002. ‘Bagdad Cafe.’
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Poiré, Alain, Jean Thuillier, Robert Bresson, François Leterrier, Charles Le Clainche, Maurice Beerblock, Roland Monod, Jacques Ertaud, Jean Paul Delhumeau, Roger Treherne, Jean Philippe Delamarre, Léonce-Henri Burel, Raymond Lamy, Wolfgang Amadeus Mozart, Pierre Charbonnier, and André Devigny. 2008. ‘A Man Escaped.’
Radkiewicz, Małgorzata. n.d. ‘Angry Young Girls: Gender Representations in Věra Chytilová’s Sedmikrásky and Pasti, Pasti, Pastičky.’ 2.
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Renoir, Jean, and Guy de Maupassant. 1936. ‘Une Partie de Campagne.’
Renoir, Jean, and Charles Spaak. 1937. ‘La Grande Illusion.’
Rentschler, Eric. 1988. West German Filmmakers on Film: Visions and Voices. Vol. Modern German voices series. New York: Holmes & Meier.
Resnais, Alain. 1993. ‘Smoking / No Smoking.’
Resnais, Alain, and Duras, Marguerite. 1959. ‘Hiroshima Mon Amour.’
Resnais, Alain, and Alain Robbe-Grillet. 1961. ‘L’annee Derniére à Mariènbad.’
Resnais, Alain, and Jorge Semprún. 1966. ‘La Guerre Est Finie.’
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Rivette, Jacques, Pascal Bonitzer, Christine Laurent, and Honoré de Balzac. 1991. ‘La Belle Noiseuse.’
Rivette, Jacques, and Eduardo De Gregorio. 1974. ‘Celine et Julie Vont En Bateau.’
Rivette, Jacques, and Jean Gruault. 1960. ‘Paris Nous Appartient.’
ROBIN BATES. 1977. ‘Journal of the University Film Association.’ 29(3):37–42.
Robin Bates. 1997. ‘Audiences on the Verge of a Fascist Breakdown: Male Anxieties and Late 1930s French Film.’ Cinema Journal 36(3):25–55.
Rockhill, Gabriel. 2011. ‘Modernism as a Misnomer: Godard’s Archeology of the Image.’ Journal of French and Francophone Philosophy 18(2). doi: 10.5195/jffp.2010.215.
Rohmer, Eric. 1959. ‘The Sign of Leo.’
Rohmer, Eric. 1969. ‘Ma Nuit Chez Maud.’
Rohmer, Eric. 1982. ‘Pauline a La Plage.’
Rosella Simonari. 2008. ‘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):189–203.
Rossellini, Roberto. 1949. ‘Stromboli.’
Rossellini, Roberto, Amidei, Sergio, and Fellini, Federico. 1945. ‘Rome, Open City.’
Rossellini, Roberto, Gianfranco Bellini, and Aldo Fabrizi. 2005. ‘Francesco Giullare Di Dio.’ EKA.
Rossellini, Roberto, Federico Fellini, and Sergio Amidei. 1946. ‘Paisa.’
Rouch, Jean, and Edgar Morin. 1961. ‘Chronicle of a Summer = Chronique D’été.’
Roy Jay Nelson. 1983. ‘Reflections in a Broken Mirror: Varda’s Cléo de 5 à 7.’ The French Review 56(5):735–43.
Rozier, Jacques. 2003. ‘Adieu Philippine.’
Sander, Helke. 2005. ‘Helke Sander Collection.’
Sarah, Kernochan, and Smith Howard. 1972. ‘Marjoe.’
Saura, Carlos. 1970a. ‘El Jardín de Las Delicias (Garden of Delights).’
Saura, Carlos. 1970b. ‘El Jardín de Las Delicias (Garden of Delights).’
Saura, Carlos. 1974. ‘La Prima Angélica (Cousin Angelica).’
Saura, Carlos. 1979. ‘Mamá Cumple 100 Años (Mama Turns 100).’
12/16 09/29/21 European Cinema - Semester 1 | Goldsmiths, University of London
Saura, Carlos. 1981. ‘Deprisa, Deprisa (Fast, Fast).’
Saura, Carlos. 2001. ‘Buñuel Y La Mesa Del Rey Salomón.’
Saura, Carlos, and Angelino Fons. 1965a. ‘La Caza.’
Saura, Carlos, and Angelino Fons. 1965b. ‘La Caza.’
Saura, Carlos, Alfredo Manas, and Federico García Lorca. 1981. ‘Bodas de Sangre / Blood Wedding.’
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