09/27/21 HA1114 Realism and the Cinema | readinglists@leicester HA1114 Realism and the Cinema View Online [1] R. Armstrong, ‘What is Realism?: Chapter’, in Understanding realism, vol. Understanding the moving image, London: BFI, 2005, pp. 1–10. [2] Hallam, Julia and Marshment, Margaret, Realism and popular cinema, vol. Inside popular film. Manchester: Manchester University Press, 2000. [3] S. Hayward, ‘Realism: Chapter’, in Cinema studies: the key concepts, 2nd ed., vol. Key concepts series, London: Routledge, 2000, pp. 334–334. [4] R. Lapsley and M. Westlake, ‘Realism: Chapter’, in Film theory: an introduction, vol. Images of culture, Manchester: Manchester University Press, 1988, pp. 156–180 [Online]. Available: https://blackboard.le.ac.uk/bbcswebdav/pid-727207-dt-content-rid-1815038_5/library/eRes erves/HA1114/HA1114_24151.pdf [5] A. Tudor, ‘The Many Mythologies of Realism’, Screen, vol. 13, no. 1, pp. 27–36, Mar. 1972, doi: 10.1093/screen/13.1.27. [6] 1/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester R. Williams, ‘Realism: Chapter’, in Keywords: a vocabulary of culture and society, Rev. and expanded ed., London: Fontana, 1988, pp. 216–221. [7] Williams, Christopher, Realism and the cinema: a reader, vol. BFI readers in film studies. London: Routledge and Kegan Paul [for] British Film Institute, 1980. [8] D. Vertov and Y. Tsivian, ‘Chelovek s kinoapparatom =: Man with a movie camera.’ BFI, [S.l.]. [9] R. Stam, ‘The Soviet Montage Theorists’, in Film theory: an introduction, Oxford: Blackwell, 2000, pp. 37–47 [Online]. Available: https://blackboard.le.ac.uk/bbcswebdav/pid-1025236-dt-content-rid-2569821_5/library/eRe serves/HA1114/HA1114_34953.pdf [10] Bordwell, David, The cinema of Eisenstein. Cambridge, Mass: Harvard University Press, 1993. [11] Taylor, Richard and Christie, Ian, The film factory: Russian and Soviet cinema in documents. London: Routledge, 1994. [12] Christie, Ian and Taylor, Richard, Inside the film factory: new approaches to Russian and Soviet cinema, vol. Soviet cinema. London: Routledge, 1994 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10100617 [13] 2/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester Eisenstein, Sergei and Taylor, Richard, The Eisenstein reader. London: BFI Publishing, 1998. [14] Eisenstein, Sergei, Film essays, with a lecture. London: Dobson, 1968. [15] Eisenstein, Sergei and Leyda, Jay, The film sense, New ed. London: Faber, 1948. [16] Eisenstein, Sergei and Taylor, Richard, Selected works. London: BFI, 1988. [17] Hicks, Jeremy, Dziga Vertov: defining documentary film, vol. KINO, the Russian cinema series. London: I. B. Tauris, 2007 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10194040 [18] Hicks, Jeremy, Dziga Vertov: defining documentary film, vol. KINO : the Russian cinema series. London: I.B. Tauris, 2007. [19] Ioffe, Denis G. and White, Frederick H., Russian avant-garde and radical modernism: an introductory reader, vol. Cultural syllabus. Boston: Academic Studies Press, 2012 [Online]. Available: http://site.ebrary.com/lib/leicester/Doc?id=10629193 [20] Lehman, Peter, Defining cinema, vol. Rutgers depth of field series. New Brunswick, N.J.: Rutgers University Press, 1997. 3/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester [21] Petrić, Vlada, Constructivism in film: ‘The man with the movie camera’ : a cinematic analysis, vol. Cambridge studies in film. Cambridge: Cambridge University Press, 1987. [22] Roberts, Graham, The man with the movie camera, vol. KINOfiles film companions. London: I.B. Tauris, 2000. [23] D. Vertov, ‘Kinoks: a Revolution: Chapter’, in Technology and culture, the film reader, vol. In focus: Routledge film readers, London: Routledge, 2005, pp. 99–104. [24] Vertov, Dziga and Michelson, Annette, Kino-eye: the writings of Dziga Vertov. Berkeley: University of California Press, 1984. [25] Sargeant, Amy, Storm over Asia, vol. KINOfiles film companions. London: I.B. Tauris, 2007. [26] Sargeant, Amy, Vsevolod Pudovkin: classic films of the Soviet avant-garde, vol. KINO, the Russian cinema series. London: I.B. Tauris, 2000 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10133128 [27] Andrew, Dudley, The major film theories: an introduction, vol. A Galaxy book. London: Oxford University Press, 1976. 4/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester [28] Arnheim, Rudolf, Film essays and criticism, vol. Wisconsin studies in film. Madison, Wis: University of Wisconsin Press, 1997. [29] R. Arnheim, ‘Film and Reality: Chapter’, in Film as art, London: Faber, 1958, pp. 17–37 [Online]. Available: https://blackboard.le.ac.uk/bbcswebdav/pid-724231-dt-content-rid-1806405_5/library/eRes erves/HA1114/HA1114_24118.pdf [30] B. Henderson, ‘Two Types of Film Theory: Chapter’, in Movies and methods: an anthology, vol. 1, Berkeley, Calif: University of California Press, 1976, pp. 388–400. [31] A. Dovzhenko, ‘Aleksander Dovzhenko: War Trilogy.’ 1928. [32] Eisenstein, Sergei, ‘Bronenosets Potyomkin =: The Battleship Potemkin’, vol. Russia in revolt : myths, mystery and manipulation. Eureka Video, [S.l.], 1925. [33] Pudovkin, V. I., Doller, Mikhail, Baranovskaya, Vera, and Chistyakov, Aleksandr, ‘Konets Sankt-Peterburga =: The end of St. Petersburg.’ Eureka Video, [S.l.], 1927. [34] Kuleshov, L. V., Barnet, Boris, Podobed, Porfiri, and Pudovkin, V. I., ‘Neobychainye priklyucheniya mistera Vesta v strane bolshevikov =: The extraordinary adventures of Mr. West in the land of the Bolsheviks’, vol. The signature series. Kino on Video, New York, 1924. 5/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester [35] Shub, Esfir, ‘Padenie dinastii Romanovykh =: The fall of the Romanov dynasty’, vol. Russia in revolt : myths, mystery and manipulation. Eureka Video, [S.l.], 1927. [36] Vertov, Dziga, ‘“Kino-Eye” and “Tri pesni o Lenine = ”Three songs about Lenin"’. Image Entertainment, Chatsworth, Calif, 1924. [37] Pudovkin, V. I., Gorky, Maksim, Baranovskaya, Vera, and Batalov, Nikolai, ‘Mat =: Mother.’ Tartan Video, [S.l.], 1926. [38] Eisenstein, Sergei, ‘Oktyabr =: October’, vol. Russia in revolt : myths, mystery and manipulation. Eureka Video, [S.l.], 1927. [39] Turin, Viktor, Rotha, Paul, Elton, Arthur, Wright, Basil, and Watt, Harry, ‘The Soviet influence: from “Turksib” to “Night Mail”.’ BFI, [S.l.], 1930. [40] Pudovkin, V. I. et al., ‘Potomok Chingis-Khana =: The heir of Genghis Khan.’ Eureka Video, [S.l.], 1928. [41] Eisenstein, Sergei, ‘Stachka =: Strike’, vol. Russia in revolt : myths, mystery and manipulation. Eureka Video, [S.l.], 1925. [42] 6/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester Maggiorani, Lamberto and De Sica, Vittorio, ‘Ladri di biciclette =: Bicycle thieves’, vol. Arrow films world. Arrow Films, S.l.], 1948. [43] C. Zavattini, ‘Some Ideas on the Cinema: Chapter’, in Vittorio De Sica: contemporary perspectives, vol. Toronto Italian studies, Toronto: University of Toronto Press, 2000, pp. 50–61. [44] Bazin, André and Cardullo, Bert, André Bazin and Italian neorealism. New York: Continuum, 2011 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com/detail.asp?id=330775 [45] Bondanella, Peter, The films of Roberto Rossellini, vol. Cambridge film classics. Cambridge: Cambridge University Press, 1993. [46] Cardullo, Bert, Vittorio De Sica: director, actor, screenwriter. Jefferson, N.C.: McFarland, 2002. [47] Celli, Carlo and Cottino-Jones, Marga, A new guide to Italian cinema, 1st ed., vol. Italian and Italian American studies. New York: Palgrave Macmillan, 2007 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10167438 [48] M. Fabe, ‘Italian Neorealism: De Sica’s The Bicycle Thief: Chapter’, in Closely watched films: an introduction to the art of narrative film technique, Berkeley, Calif: University of California Press, 2004, pp. 99–119. 7/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester [49] Forgacs, David, Rome open city (Roma città aperta), vol. BFI film classics. London: British Film Institute, 2000. [50] Giovacchini, Saverio and Sklar, Robert, Global neorealism: the transnational history of a film style. Jackson: University Press of Mississippi, 2011 [Online]. Available: http://site.ebrary.com/lib/leicester/Doc?id=10508856 [51] Gordon, Robert Samuel Clive, Bicycle thieves, vol. BFI film classics. London: BFI, 2008. [52] Gottlieb, Sidney, Roberto Rossellini’s Rome open city, vol. Cambridge film handbooks. Cambridge: Cambridge University Press, 2004. [53] M. Harper, ‘Adaptation by Degree: A Study of Vittorio de Sica’s Bicycle Theives: Chapter of Impure Cinema’, in Impure Cinema: Intermedial and Intercultural Approaches to Film, London: I.B.Tauris & Co Ltd, 30AD, pp. 121–133 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com?id=548399 [54] Hillier, Jim, Cahiers du cinéma: the 1950s : neo-realism, Hollywood, new wave, vol. Harvard film studies. Cambridge, Mass: Harvard University Press, 1985. [55] Landy, Marcia, Italian film, vol. National film traditions. Cambridge: Cambridge University Press, 2000. [56] 8/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester Marcus, Millicent, Italian film in the light of neorealism. Princeton, N.J.: Princeton University Press, 1986. [57] G. Nowell-Smith, ‘Bicycle Thieves: Chapter’, in Film Analysis, New York: WW Norton