09/25/21 FLM130 : Criticism, Analysis, Theory | Falmouth University FLM130 : Criticism, Analysis, Theory View Online [1] Malick, Terrence, Sheen, Martin, and Spacek, Sissy, ‘Badlands.’ Warner DVD. [2] Corrigan, Timothy, ‘Writing about the movies’, in A short guide to writing about film, 8th ed., [International ed.]., Boston, [Mass.]: Pearson, 2012, pp. 1–17. [3] J. Bignall, ‘From detail to meaning; “Badlands” (Terence Malick, 1973) and cinematic articulation [IN] Style and meaning: studies in the detailed analysis of film’, in Style and meaning: studies in the detailed analysis of film, Manchester: Manchester University Press, 2005, pp. 42–52. [4] R. Ebert, ‘Badlands Movie Review & Film Summary (1973).’ [Online]. Available: http://www.rogerebert.com/reviews/badlands-1973 [5] P. J. Fourie, Ed., Media studies: Volume 3: Media content and audiences. Cape Town: Juta, 2012. [6] Sirk, Douglas, Turner, Lana, and Gavin, John, ‘Imitation of Life.’ Universal DVD. 1/16 09/25/21 FLM130 : Criticism, Analysis, Theory | Falmouth University [7] Dix, Andrew, ‘Seeing Fim: Mise en scene analysis’, in Beginning film studies, Manchester: Manchester University Press, 2008, pp. 9–39. [8] Gibbs, ‘Case study: “Imitation of Life” [IN] Mise-en-scene: film style and interpretation’, in Mise-en-scene: film style and interpretation, vol. Short cuts, London: Wallflower, 2001, pp. 83–96. [9] Bordwell, David and Thompson, Kristin, ‘The shot: mise-en-scene’, in Film art: an introduction, 10th ed., McGraw-Hill international ed., New York: McGraw-Hill, 2013, pp. 112–159. [10] Ford, John, Wayne, John, and Trevor, Claire, ‘Stagecoach.’ BBC2, 2005. [11] Roberts, Graham and Wallis, Heather, ‘The development of narrative’, in Introducing film, London: Arnold, 2001, pp. 52–70. [12] Pramaggiore and Wallis, ‘Narrative form’, in Film: a critical introduction, 3rd ed., London: Laurence King, 2011, pp. 65–90. [13] N. Browne, ‘The spectator-in-the-text: the rhetoric of “Stagecoach” [IN] Film theory and criticism: introductory readings’, in Film theory and criticism: introductory readings, 7th ed., New York: Oxford University Press, 2009, pp. 125–140. 2/16 09/25/21 FLM130 : Criticism, Analysis, Theory | Falmouth University [14] Eisenstein, Sergei, Antonov, Aleksandr, and Alexandrov, Grigori, ‘Battleship Potemkin [Bronenosets Potyomkin].’ Eureka DVD [Online]. Available: https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fshibboleth.fa lmouth.ac.uk%2Fidp%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk %2Fondemand%2Findex.php%2Fprog%2F01FCF8C0%3Fbcast%3D99885053 [15] Joyce, ‘The Soviet montage cinema of the 1920s’, in Introduction to film studies, 5th ed., London: Routledge, 2012, pp. 445–479. [16] Cook, David A., ‘Soviet cinema and the theory of montage, 1917-1931’, in A history of narrative film, 4th ed., London: W.W. Norton, 2003, pp. 126–148. [17] Eisenstein, Sergei and Leyda, Jay, ‘A dialectical approach to film form’, in Film form: essays in film theory ; and The film sense, Cleveland: Meridian, 1957, pp. 45–63. [18] Curtiz, Michael, Bogart, Humphrey, and Bergman, Ingrid, ‘Casablanca.’ Warner Brothers DVD [Online]. Available: https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fshibboleth.fa lmouth.ac.uk%2Fidp%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk %2Fondemand%2Findex.php%2Fprog%2F001C11A0%3Fbcast%3D114467368 [19] U. Eco, ‘“Casablanca”, or, the cliches are having a ball’, in On signs, Baltimore: Johns Hopkins University Press, 1985, pp. 35–38. [20] Ray, Robert B., ‘The culmination of classic Hollywood: “Casablanca”’, in A certain tendency of the Hollywood cinema, 1930-1980, Princeton: Princeton University Press, 1985, pp. 3/16 09/25/21 FLM130 : Criticism, Analysis, Theory | Falmouth University 89–112. [21] G. Nowell-Smith, ‘How films mean, or, from aesthetics to semiotics and half-way back again’, in Reinventing film studies, London: Arnold, 1999, pp. 8–17. [22] Stam, Robert, Burgoyne, Robert, and Flitterman-Lewis, Sandy, ‘Cine-semiology’, in New vocabularies in film semiotics: structuralism, post-structuralism and beyond, Routledge, 1992, pp. 28–68. [23] Truffaut, Francois, Leaud, Jean-Pierre, and Maurier, Claire, ‘Les Quatre Cents Coups.’ 2 Entertain DVD. [24] A. Astruc, ‘The birth of a new avant-garde: La Camera-Stylo [IN] The New wave: critical landmarks’, in The New wave: critical landmarks, London: Secker/B F I., 1968, pp. 17–23. [25] F. Truffaut, ‘A certain tendency of the French cinema [IN] The film studies reader’, in The film studies reader, London: Arnold, 2000, pp. 58–63. [26] Cook, Pam, ‘Paert 6: Authorship and cinema’, in The cinema book, 3rd ed., London: BFI, 2007, pp. 235–314. [27] Wollen, Peter and British Film Institute, ‘Auteur theory’, in Signs and meaning in the cinema, 5th edition., pp. 50–78. 4/16 09/25/21 FLM130 : Criticism, Analysis, Theory | Falmouth University [28] Stam, Robert, ‘The cult of the auteur’, in Film theory: an introduction, Malden, Mass: Blackwell, 2000. [29] Stam, Robert, ‘The Americanization of auteur theory [IN] Film theory: an introduction’, in Film theory: an introduction, Malden, Mass: Blackwell, 2000. [30] Roberts, Graham and Wallis, Heather, ‘Auteur’, in Introducing film, London: Arnold, 2001, pp. 127–139. [31] Shelton, Bob, ‘The films of Francois Truffaut [IN] A cultural study of the art film: book 1’, in A cultural study of the art film: book 1, Lewiston: Edwin Mellen Press, 2003. [32] Eastwood, Clint, Hackman, Gene, and Freeman, Morgan, ‘Unforgiven.’ Warner Brothers DVD. [33] Schatz, Thomas, ‘Film genres and the genre film’, in Hollywood genres: formulas, filmmaking, and the studio system, Boston, Mass: McGraw-Hill, 1981, pp. 14–42. [34] E. Buscombe, ‘The idea of genre in American cinema’, in Film genre reader IV, pp. 12–26 [Online]. Available: http://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=3443619&amp ;ppg=35 5/16 09/25/21 FLM130 : Criticism, Analysis, Theory | Falmouth University [35] Schatz, Thomas, ‘The Western [IN] Hollywood genres: formulas, filmmaking, and the studio system’, in Hollywood genres: formulas, filmmaking, and the studio system, Boston, Mass: McGraw-Hill, 1981, pp. 43–80. [36] A. Tudor, ‘Genre’, in Film genre reader III, Austin: University of Texas Press, 2003, pp. 3–11. [37] R. Warshow, ‘Movie chronicle: The Westerner [IN] The western reader’, in The western reader, New York: Limelight Editions, 1998, pp. 35–48. [38] A. Bazin, ‘The evolution of the Western [IN] The western reader’, in The western reader, New York: Limelight Editions, 1998, pp. 49–56. [39] S. Neale, ‘Question of genre’, Screen, vol. 31, no. 1, pp. 45–66, Mar. 1990, doi: 10.1093/screen/31.1.45. [40] Buscombe, Edward, Unforgiven, vol. BFI modern classics. London: BFI, 2004. [41] Spielberg, Steven, Scheider, Roy, and Dreyfuss, Richard, ‘Jaws.’ Universal DVD. [42] J.-L. Comolli and J. Narboni, ‘Cinema / ideology / criticism [IN] Film theory and criticism: introductory readings’, in Film theory and criticism: introductory readings, 7th ed., New 6/16 09/25/21 FLM130 : Criticism, Analysis, Theory | Falmouth University York: Oxford University Press, 2009, pp. 686–693. [43] S. Heath, ‘Jaws, ideology and film theory [IN] Movies and methods: Vol.2: An anthology’, in Movies and methods: Vol.2: An anthology, Berkeley: University of California Press, 1985, pp. 509–514. [44] Ryan, Michael and Kellner, Douglas, Camera politica: the politics and ideology of contemporary Hollywood film. Bloomington, Ind: Indiana University Press, 1990. [45] J.-L. Baudry, ‘Ideological effects of the basic cinematographic apparatus [IN] Movies and methods: Vol.2: An anthology’, in Movies and methods: Vol.2: An anthology, Berkeley: University of California Press, 1985, pp. 531–542. [46] Benshoff, Harry M. and Griffin, Sean, America on film: representing race, class, gender, and sexuality at the movies, 2nd ed. Chichester: Wiley-Blackwell, 2009. [47] Brooker, Peter, A glossary of cultural theory, 2nd ed. London: Arnold, 2003. [48] Dix, Andrew, Beginning film studies. Manchester: Manchester University Press, 2008. [49] Powell, Michael, Bohm, Karlheinz, Massey, Anna, Shearer, Moira, Scorsese, Martin, and Gilbey, Ryan, ‘Peeping Tom.’ Optimum Classic DVD. 7/16 09/25/21 FLM130 : Criticism, Analysis, Theory | Falmouth University [50] B. Creed, ‘Film and psychoanalysis [IN] The Oxford guide to film studies’, in The Oxford guide to film studies, Oxford: Oxford University Press, 1998, pp. 77–90. [51] L. Mulvey, ‘Visual Please and Narrative Cinema’, in Media and cultural studies: keyworks, Rev. ed., vol. Keyworks in cultural studies, Malden, Mass: Blackwell, 2006, pp. 342–352. [52] C. Metz, ‘From “The Imaginary Signifier” [IN] Film theory and criticism: introductory readings’, in Film theory and criticism: introductory readings, 7th ed., New York: Oxford University Press, 2009, pp. 694–710. [53] Kaplan, E. Ann, Feminism and film, vol. Oxford readings in feminism. Oxford: Oxford University Press, 2000. [54] Thornham, Sue, Passionate detachments: an introduction to feminist film theory. London: Edward Arnold, 1997. [55] Lee, Ang, Ledger, Heath, and Gyllenhaal, Jake, ‘Brokeback mountain.’ Entertainment in video DVD [Online]. Available: https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fshibboleth.fa lmouth.ac.uk%2Fidp%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk %2Fondemand%2Findex.php%2Fprog%2F005FE0B3%3Fbcast%3D94769595 [56] B. R. Rich, ‘Brokering Brokeback : Jokes, Backlashes, and Other Anxieties’, Film Quarterly, vol. 60, no. 3, pp. 44–48,