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Master Class with Douglas Trumbull Selected Bibliography 1 the Higher Master Class with Douglas Trumbull Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Redefining the “Cinema of Attractions” (General) Abel, Richard. “The Cinema of Attractions.” in The Cine Goes to Town: French Cinema, 1896-1914. Berkeley: University of California Press, 1994. ---. “The Cinema of Attractions in France, 1896-1904.” in The Silent Cinema Reader. Lee Grieveson and Peter Krämer (eds). London: Routledge, 2006. 63-75. Buckland, Warren. “A Rational Reconstruction of ‘The Cinema of Attractions’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 41- 56. Bukatman, Scott. “Spectacle, Attractions and Visual Pleasure.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 71-82. Elsaesser, Thomas. “Discipline through Diegesis: The Rube Film between ‘Attractions’ and ‘Narrative Integration’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 205-223. Gaudreault, André and Tom Gunning. “Early Cinema as a Challenge to Film History.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 365-380. Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde.” Wide Angle 8. 3-4 (1986): 63–70. ---. “1902-1903: Movies, Stories, and Attractions.” in American Cinema, 1890-1909: Themes and Variations. André Gaudreault (ed). New Brunswick, NJ: Rutgers University Press, 2009. ---. “Non-continuity, Continuity, Discontinuity: a Theory of Genres in Early Films; ‘Primitive’ Cinema: A Frame-Up? or, the Trick's On Us.” in Early Cinema: Space, Frame, Narrative. Thomas Elsaesser and Adam Barker (eds). London: BFI Pub, 1990. 1 Master Class with Douglas Trumbull Selected Bibliography ---. “’Now You See It, Now You Don't’: The Temporality of the Cinema of Attractions.” in The Silent Cinema Reader. Lee Grieveson and Peter Krämer (eds). London: Routledge, 2006. 41-50. McMahan, Alison. “Chez le Photographe c'est chez moi: Relationship of Actor and Filmed Subject to Camera in Early Film and Virtual Reality Spaces.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 291-308. Musser, Charles. “1896-1897: Movies at the Beginning of Cinema.” in American Cinema, 1890-1909: Themes and Variations. André Gaudreault (ed). New Brunswick, NJ: Rutgers University Press, 2009. Paci, Viva. “The Attraction of the Intelligent Eye: Obsessions with the Vision Machine in Early Film Theories.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 121-138. Røssaak, Eivind. “Figures of Sensation: Between Still and Moving Images.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 321-336. Strauven, Wanda. “From ‘Primitive Cinema’ to ‘Marvelous’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 105-120. Redefining the “Cinema of Attractions” (Widescreen Cinema) Aversano, Rudolph C. Cinerama and Its Effects on the Motion Picture Industry. Long Island: Hofstra University, 1953. Belton, John, Sheldon Hall, and Stephen Neale. Widescreen Worldwide. New Barnet, Herts: John Libbey Publishing, 2010. Belton, John. Widescreen Cinema. Cambridge: Harvard University Press, 1992. Carr, Robert E. and R.M. Hayes. Wide Screen Movies: A History and Filmography of Wide Gauge Filmmaking. Jefferson, N.C: McFarland & Company, 1988. Cinerama Plunges You into a Startling New World. New York: Cinerama Inc., 1952. 2 Master Class with Douglas Trumbull Selected Bibliography Cossar, Harper. Letterboxed: The Evolution of Widescreen Cinema. Lexington: University Press of Kentucky, 2011. Crowther, Bosley. “Moon Show at the Fair: Film Viewed on 80-Foot Dome, Offers Dandy, Dizzying Sensations.” The New York Times (May 16, 1964). Accessed July 23, 2012. http://movies.nytimes.com/movie/review?res=950DE3D71030E033A25755C1A9639C946591D6 CF Deutschen Kinematek – Museum für Film und Fernsehen. 70 mm – Bigger than Life. Berlin: Bertz + Fischer, 2009. Limbacher, James L. Four Aspects of the Film. New York: Brussel & Brussel Inc., 1968. Wollen, Tana. “The Bigger the Better: From Cinemascope to IMAX.” in Future Visions: New Technologies of the Screen. Philip Hayward and Tana Wollen (eds). London: BFI Publishing, 1993. 10-30. Wysotsky, Michael Z. Wide-Screen Cinema and Stereophonic Sound. London: Focal Press, 1971. Redefining the “Cinema of Attractions” (IMAX and Event Cinema) Griffiths, Alison. Shivers Down Your Spine: Cinema, Museums, and the Immersive View. New York: Columbia University Press, 2008. ---. “Time Travelling IMAX Style: Tales from the Giant Screen.” in Virtual Voyages: Cinema and Travel. Jeffrey Rouff (ed). Durham, N.C: Duke University Press, 2006. 238-257. McQuire, Scott. Maximum Vision: Large-format and Special-Venue Cinema. Woolloomooloo: Australian Film Commission, 1999. Redefining the “Cinema of Attractions” (Cinematic Motion-Simulation Rides) Darley, Andrew. “Simulation Rides: The Almost Motionless Voyage.” in Visual Digital Culture: Surface Play and Spectacle in New Media Genres. New York: Routledge, 2000. 160-162. Ghamari-Tabrizi, Sharon. “The Convergence of the Pentagon and Hollywood: The Next Generation of Military Training.” in Memory Bytes: History Technology and Digital Culture. Lauren Rabinovitz and Abraham Geil (eds). Durham, NC: Duke University Press, 2004. 150-175. 3 Master Class with Douglas Trumbull Selected Bibliography Huhtamo, Erkki. “Encapsulated Bodies in Motion: Simulators and the Quest for Total Immersion.” in Critical Issues in Electronic Media. Simon Penny (ed). Albany: State University of New York Press, 1995. Rabinovitz, Lauren. “Conclusion: The Fusion of Movies and Amusement Parks.” in Electric Dreamland: Amusement Parks, Movies, and American Modernity. New York: Columbia University Press, 2012. 162-174. ---. “From Hale’s Tours to Star Wars: Virtual Voyages, Travel Ride Films, and the Delirium of the Hyper- Real.” in Virtual Voyages: Cinema and Travel. Jeffrey Rouff (ed). Durham, N.C: Duke University Press, 2006. 42-60. ---. “More than Movies: A History of Somatic Visual Culture through Hale’s Tours, IMAX, and Motion Simulation Rides.” in Memory Bytes: History Technology and Digital Culture. Lauren Rabinovitz and Abraham Geil (eds). Durham, N.C: Duke University Press, 2004. 99-125. ---. “Thrill Ride Cinema: Hale’s Tours and Scenes of the World.” in Electric Dreamland: Amusement Parks, Movies, and American Modernity. New York: Columbia University Press, 2012. 66-95. Special Effects Cinematography in Film Brosnan, John. Movie Magic: The Story of Special Effects in the Cinema. New York: St. Martin’s Press, 1974. Clark, Frank P. Special Effects in Motion Pictures: Some Methods for Producing Mechanical Special Effects. New York: Society of Motion Picture and Television Engineers, 1966. Fielding, Raymond. The Technique of Special Effects Cinematography. New York: Hastings House Publishers Inc., 1965. Finch, Christopher. Special Effects: Creating Movie Magic. New York: Abbeville Press, 1984. Foster, Jeff. The Green Screen Handbook: Real-world Production Techniques. Indianapolis: Wiley Pub, 2010. Glintenkamp, Pamela. Industrial Light and Magic: The Art of Innovation. New York: Abrams, 2011. Hutchison, David. Film Magic: The Art and Science of Special Effects. New York: Prentice-Hall, 1987. Klein, Norman M. The Vatican to Vegas: A History of Special Effects. New York: New Press, 2004. 4 Master Class with Douglas Trumbull Selected Bibliography McClean, Shilo T. Digital Storytelling: The Narrative Power of Visual Effects in Film. Cambridge, MA: The MIT Press, 2007. Miller, Ron. Special Effects: An Introduction to Movie Magic. Minneapolis: Twenty-first Century Books, 2006. Mitchell, A.J. Visual Effects for Film and Television. Oxford: Focal Press, 2004. Netzley, Patricia D. Encyclopedia of Movie Special Effects. Phoenix, AZ: Oryx Press, 2000. O'Connor, Jane and Katy Hall. Magic in the Movies: The Story of Special Effects. Garden City, NY: Doubleday, 1980. Pierson, Michele. Special Effects: Still in Search of Wonder. New York: Columbia University Press, 2002. Pinteau, Pascal. “Interview with Douglas Trumbull: Memories of 2001.” in Special Effects: An Oral History – Interviews with 38 Masters Spanning 100 Years. New York: Harry N. Abrams, 2004. 54-58. Prince, Stephen. Digital Visual Effects in Cinema: The Seduction of Reality. New Brunswick, NJ: Rutgers University Press, 2012. Rickitt, Richard. Special Effects: The History and Technique. London: Aurum Press, 2006. Sawicki, Mark. Filming the Fantastic: A Guide to Visual Effects Cinematography. Waltham, MA: Focal Press, 2011. Smith, Thomas G. Industrial Light & Magic: The Art of Special Effects. New York: Ballantine Books, 1986. Turnock, Julie. “From Star Wars to Avatar: Contemporary Special Effects, Industrial Light and Magic, and the Legacy of the
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