Guerrilla Filmmaking (FLM020X370S) | University of Roehampton

Guerrilla Filmmaking (FLM020X370S) | University of Roehampton

09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton Guerrilla Filmmaking (FLM020X370S) View Online 1. Jones, C., Jolliffe, G.: The Guerrilla Filmmakers Handbook. Continuum, London (2006). 2. Jones, C., Zinnes, A., Jolliffe, G.: Guerilla Film Makers : The Ultimate Guide to Digital Film Making! Continuum, London (2010). 3. Hjort, M.: Small Nation, Global Cinema : The New Danish Cinema. University of Minnesota Press, Minneapolis (2005). 4. Bainbridge, C.: The cinema of Lars von Trier : authenticity and artifice. Wallflower, London (2007). 5. Hjort, M.: Small Nation, Global Cinema : The New Danish Cinema. University of Minnesota Press, Minneapolis (2005). 6. Simons, J.: Playing the Waves : Lars von Trier’s Game Cinema. Amsterdam University Press, Amsterdam (2007). 1/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton 7. Leth, J., Trier, L. von: The Five Obstructions, (2003). 8. Birri, F.: Cinema and Underdevelopment. 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Cinema Journal. 50, 117–135 (2011). https://doi.org/10.1353/cj.2011.0049. 3/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton 22. Figgis, M.: Digital film-making. Faber & Faber, London (2014). 23. Farnel, S.: Fair Trade for Filmmakers: Is It Time For Festivals To Share Their Revenue?, http://www.indiewire.com/article/fair-trade-for-filmmakers-is-it-time-for-festivals-to-share-t heir-revenue. 24. Ott, M., McLaughlin, C.: KID ICARUS, https://vimeo.com/37448951. 25. Jaffee, V.: Bringing the World to the Nation: Jia Zhangke and the Legitimation of Chinese Underground Film | Senses of Cinema. Senses of Cinema. 32,. 26. Zhangke, J.: The Age of Amateur Cinema Will Return. dGenerate Films. 27. Wu, W., Clayton, C.: DV: Individual Filmmaking. Cinema Journal. 46, 136–140 (2006). https://doi.org/10.1353/cj.2007.0007. 28. Braester, Y.: From real time to virtual reality: Chinese cinema in the internet age. Journal of Contemporary China. 13, 89–104 (2004). https://doi.org/10.1080/1067056032000151355. 29. 4/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton Jaffee, V.: An Interview with Jia Zhangke. 30. Wang, Y.: The Amateur’s Lightning Road: DV Documentary in Postsocialist China. Film Quarterly. 58,. 31. Weiwei, A.: Disturbing the Peace, https://www.youtube.com/watch?v=aMw1LroNviY, (2)AD. 32. Deleuze, G.: Chapter. In: Cinema 2: the time-image. pp. 207–214. Continuum, London (1985). 33. Kronschnabl, A.: Plugin Manifesto, (2004). 34. Menkman, R.: Glitch Studies Manifesto. 35. Neocinema: Dogma 2001: The New Rules for Internet Cinema. 36. Fleifel, M.: A World Not Ours, http://www.amazon.co.uk/A-World-Not-Ours-DVD/dp/B00IG3LIH2/ref=sr_1_1?ie=UTF8&qid =1410858016&sr=8-1&keywords=a+world+not+ours. 37. 5/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton Beller, J.: Iterations of the impossible: questions of digital revolution in the Philippines. Postcolonial Studies. 11, 435–450 (2008). https://doi.org/10.1080/13688790802456036. 38. Jenkins, H.: Convergence culture : where old and new media collide. New York University Press, New York/London (2008). 39. De Jesús, R.: The Turn to Digital: Revival of Film Culture in the Philippines. 40. Cheng, K.G.: Just-Do-It-(Yourself): independent filmmaking in Malaysia. Inter-Asia Cultural Studies. 8, 227–247 (2007). https://doi.org/10.1080/13583880701238696. 41. Tioseco, A.: Shifting agendas: the decay of the mainstream and rise of the independents in the context of Philippine cinema. Inter-Asia Cultural Studies. 8, 298–303 (2007). https://doi.org/10.1080/14649370701238771. 42. Youngblood, G.: Expanded Cinema. Studio Vista, London (1970). 43. Haynes, T.: Superstar: The Karen Carpenter Story, https://www.youtube.com/watch?v=rACJWPd3VnI, (25)AD. 44. Morrison, B.: Decasia: The State of Decay, (2002). 6/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton 45. White, P.: Lesbian minor cinema. Screen. 49, 410–425 (2008). https://doi.org/10.1093/screen/hjn057. 46. Brown, W., Holtmeier, M.: Machinima: Cinema in a Minor or a Multitudinous Key? In: Understanding machinima: essays on filmmaking in virtual worlds. pp. 3–21. 47. Lowood, H.: High-performance play: The making of machinima. Journal of Media Practice. 7, 25–42 (2006). https://doi.org/10.1386/jmpr.7.1.25/1. 48. Lowood, H.: A ‘Different Technical Approach’? Introduction to the Special Issue on Machinima. Journal of Visual Culture. 10, 3–5 (2011). https://doi.org/10.1177/1470412910391546. 49. Brown, W., Holtmeier, M.A.: Machinima: cinema in a minor or multitudinous key? In: Understanding Machinima: Essays on Filmmaking in Virtual Worlds. Network Educational Press (7 Feb 2013). 50. Troche, Rose: Go fish, (1999). 51. Benning, S.: Girl Power, http://www.vdb.org/titles/girl-power. 52. Chan, A.: The French Democracy. 7/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton 53. Hancock, H.: Ozymandias. 54. Pope, T.: Not Just Another Love Story Part 1, (2005). 55. Pope, T.: Not Just Another Love Story Part 2, (2005). 56. Teeth Productions, R.: Red vs Blue Episode 1: Why Are We Here? 57. Rancière, Jacques: The politics of aesthetics: the distribution of the sensible. Continuum, London (2006). 58. Brown, W.: En Attendant Godard. 59. Brown, W.: Afterimages. 60. Gertz, N., Khleifi, G., ebrary, Inc: Palestinian cinema: landscape, trauma and memory. Indiana University Press, Bloomington (2008). 8/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton 61. Prospero: A bloody look at non-violent resistance, http://www.economist.com/blogs/prospero/2013/02/documentary-five-broken-cameras. 62. Wood, E.: Five Broken Cameras, https://www.closeupfilmcentre.com/vertigo_magazine/issue-31-winter-2012-in-conversatio n/five-broken-cameras/. 63. Emad Burnat and Guy Davidi talk about 5 BROKEN CAMERAS, nominated for the Best Documentary Feature Oscar - Cinema Without Borders, http://cinemawithoutborders.com/world-cinema-reports/3329-emad-burnat-and-guy-davidi- talk-about-5-broken-cameras-nominated-for-the-best-documentary-feature-oscar.html. 64. Burnat, E., Davidi, G.: 5 Broken Cameras, http://www.amazon.co.uk/Broken-Cameras-DVD-Emad-Burnat/dp/B009NSUFFK/ref=sr_1_1? ie=UTF8&qid=1410858107&sr=8-1&keywords=five+broken+cameras. 65. Shand, R.: Theorizing Amateur Cinema: Limitations and Possibilities. The Moving Image. 8,. https://doi.org/10.1353/mov.0.0017. 66. Sconce, J.: ‘Trashing’ the academy: taste, excess, and an emerging politics of cinematic style. Screen. 36, 371–393 (1995). https://doi.org/10.1093/screen/36.4.371. 67. Andrews, G.: Period Piece, http://www.troma.com/films/giuseppe-andrews-period-piece/. 9/10 09/29/21 Guerrilla Filmmaking (FLM020X370S) | University of Roehampton 68. Kaganof, A.: SMS Sugarman, (2007). 69. Cheshire, G.: Iran’s Cinematic Spring. Dissent. 59, 76–80 (2012). https://doi.org/10.1353/dss.2012.0029. 70. Rahbaran, S.: An Interview with Jafar Panahi. 71. Jahed, Parviz: Directory of world cinema: Iran. Intellect, Bristol (2011). 72. Harvey-Davitt, J.: Non-Film Ranciere and Panahi on Asceticism, http://eventalaesthetics.net/poverty-and-asceticism-vol-2-no-4-2014/james-harvey-davitt-n on-film-ranciere-and-panahi-on-asceticism/. 73. Mirtahmasb, Motjaba, Panahi, Jafar: This is not a film, (2013). 10/10.

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