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European Cinema - Semester 1 | Goldsmiths, University of London 09/29/21 European Cinema - Semester 1 | Goldsmiths, University of London European Cinema - Semester 1 View Online 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
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