Primary Sources I Film Theory & Criticism
Theodor W. Adorno and Hanns Eisler, Composing for the Films (1947).
Alexandre Astruc, "La Caméra-Stylo" (1948, "The Birth of a New Avant-Garde: La Caméra-Stylo," trans. Peter Graham, The New Wave, ed. Graham, 1968).
Harry Benshoff, Monsters in the Closet (1997).
Rhona Berenstein, Attack of the Leading Ladies (1996).
Bascal Bonitzer, "Les Silences de la voix," Cahiers du cinéma (February–March 1977).
Edward R. Branigan, Narrative Comprehension and Film (1992).
Royal S. Brown, Overtones and Undertones: Reading Film Music (1994).
Noël Carroll, A Philosophy of Mass Art (1998).
Noël Carroll, Theorizing the Moving Image (1996).
Noël Carroll and David Bordwell, Post Theory: Reconstructing Film Studies (1996).
Francesco Casetti, Teorie del cinema, 1945–1990 (1993, Theories of Cinema, 1945–1995, rev. and enlarged ed., trans. Francesca Chiostri and Elizabeth Bartolini-Salimbeni, 1999).
Michel Chion, Audio-Vision: Sound on Screen (ed. and trans. Claudia Gorbman, 1994).
Steven Cohan, Masked Men: Masculinity and the Movies in the Fifties (1997).
Steven Cohan and Ina Rae Hark, eds., Screening the Male: Exploring Masculinities in Hollywood Cinema (1993).
Jean-Luc Comolli and Jean Narboni, "Cinéma/Ideologie/Critique," Cahiers du cinéma (October–November 1969, "Cinema/Ideology/Criticism," Screen13 [1972] reprint in Braudy and Cohen; Nichols, Movies,vol. 1).
Joan Copjec, "The Orthopsychic Subject: Film Theory and the Reception of Lacan," October 49 (1989).
Joan Copjec, ed., Shades of Noir (1993).
Elizabeth Cowie, Representing the Woman: Cinema and Psychoanalysis (1997).
Corey K. Creekmur and Alexander Doty, eds., Out in Culture: Gay, Lesbian, and Queer Essays on Popular Culture (1995).
Gregory Currie, Image and Mind: Film, Philosophy, and Cognitive Science (1995).
Daniel Dayan, "The Tutor Code of Classical Cinema," Film Quarterly 28 (1974, reprint in Braudy and Cohen; Nichols, Movies,vol. 1).
Teresa de Lauretis, Alice Doesn’t: Feminism, Semiotics, Cinema (1984).
Teresa de Lauretis, The Practice of Love: Lesbian Sexuality and Perverse Desire (1994).
Teresa de Lauretis, Technologies of Gender (1987).
Mantia Diawara, "Black Spectatorship: Problems of Identification and Resistance," Screen 29 (1988, reprint in Braudy and Cohen).
Mary Ann Doane, The Desire to Desire: The Women’s Film of the 1940s (1987).
Mary Ann Doane, "The Voice in Cinema: The Articulation of Body and Space," Yale French Studies 60 (1980).
Alexander Doty, Flaming Classics: Queering the Film Canon (2000).
Alexander Doty, Making Things Perfectly Queer (1993).
Richard Dyer, ed., Gays and Film (1977).
Richard Dyer, ed., White (1997).
Thomas Elsaesser and Adam Barker, eds., Early Cinema: Space, Frame, Narrative (1990).
Patricia Erens, ed., Issues in Feminist Film Criticism (1990).
Caryl Flinn, Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music (1992).
Jane Gaines, "White Privilege and Looking Relations: Race and Gender in Feminist Film Theory," Cultural Critique (1986, reprint in Erens).
Jane Gaines and Michael Renov, eds., Collecting Visible Evidence (1999).
Martha Gever, John Greyson, and Pratibha Parmar, Queer Looks: Perspectives on Lesbian and Gay Film and Video (1993).
Claudia Gorbman, Unheard Melodies (1987).
Tom Gunning, "A Cinema of Attractions," Wide Angle 8 (1986, reprint in Stam and Miller).
Sylvia Harvey, May ’68 and Film Culture (1980).
Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies (1973, reprint 1987).
Brian Henderson, "Toward a Non-Bourgeois Camera Style," Film Quarterly 24 (1970–71, reprint in Nichols, Movies,vol. 1).
Brian Henderson, "Two Types of Film Theory," Film Quarterly 24 (1971, reprint in Nichols, vol. 1).
Chris Holmlund and Cynthia Fuchs, eds., Between the Sheets, In the Streets: Queer, Lesbian, Gay Documentary (1997).
bell hooks, Black Looks: Race and Representation (1992).
Chris Holmlund, Impossible Bodies: Femininity and Masculinity at the Movies (2002).
Susan Jeffords, Hard Bodies: Hollywood Masculinity in the Reagan Era (1994).
Claire Johnston, Notes on Women’s Cinema (1973).
Kathryn Kalinak, Settling the Score: Music and the Classical Hollywood Film (1992).
E. Ann Kaplan ed., Psychoanalysis and Cinema (1990).
Bruce Kawin, Mindscreen: Bergman, Godard, and First-Person Film (1978).
Marsha Kinder, "Violence American Style: The Narrative Orchestration of Violent Attractions," Violence and American Cinema (2001).
Pat Kirkham and Janet Thumin, You Tarzan: Masculinity, Movies, and Men (1993).
Siegfried Kracauer, The Mass Ornament (1995).
Amy Lawrence, Echo and Narcissus: Women’s Voices in Classical Hollywood Cinema (1991).
Peter Lehman, ed., Masculinity: Bodies, Movies, Culture (2001).
Peter Lehman, ed., Running Scared: Masculinity and the Representation of the Male Body (1993).
Joan Mellon, Women and Their Sexuality in the New Film (1974).
Toby Miller and Robert Stam, A Companion to Film Theory (1999).
Tania Modleski, The Women Who Knew Too Much: Hitchcock and Feminist Theory (1988).
Laura Mulvey, Fetishism and Curiosity (1996).
Bill Nichols, Blurred Boundaries (1994).
Bill Nichols, Introduction to Documentary (2001).
Bill Nichols, Representing Reality (1992).
Jean-Pierre Oudart, "La Suture," Cahiers du cinéma (April 1969).
Constance Penley, The Future of an Illusion (1989).
Paula Rabinowitz, They Must Be Represented: The Politics of Documentary (1994).
Michael Renov, ed., Theorizing Documentary (1993).
David Rodowick,Gilles Deleuze’s Time Machine (1997).
Marjorie Rosen, Popcorn Venus: Women, Movies, and the American Dream (1973).
William Rothman, "Against the ‘System of Suture,’" Film Quarterly 29 (1975, reprint in Braudy and Cohen; Nichols, Movies ,vol. 1).
Vito Russo,The Celluloid Closet (1985).
Andrew Sarris, The American Cinema: Directors and Directions (1968).
Ella Shohat and Robert Stam, Unthinking Eurocentrism: Multiculturalism and the Media (1994).
Kaja Silverman, Male Subjectivity at the Margins (1992).
Kaja Silverman,The Subject of Semiotics (1983).
Kaja Silverman, The Threshold of the Visible World (1996).
Kaja Silverman, World Spectators (2000).
Ben Singer, Melodrama and Modernity: Early Sensational Cinema and Its Contexts (2001).
Robert Stam and Toby Miller, eds., Film and Theory: An Anthology (2000).
Shelley Stamp, Movie-Struck Girls: Women and Motion Picture Culture after the Nickelodeon (2000).
Chris Straayer, Deviant Eyes, Deviant Bodies: Sexual Re-Orientation in Film and Video (1996).
François Truffaut, "Une Certaine Tendance du cinema français," Cahiers du cinéma(January 1954, "A Certain Tendency in the French Cinema," Cahiers du cinéma in English 1 [1966] reprint in Nichols, Movies,vol. 1).
Maureen Turim, Flashbacks in Film (1989).
Parker Tyler, Screening the Sexes: Homosexuality in the Movies (1972).
Diane Waldman and Janet Walker, eds., Feminism and Documentary (1999).
Tamsin Wilton, ed., Immortal Invisible: Lesbians and the Moving Image (1995).
Brian Winston, Claiming the Real: The Griersonian Documentary and Its Legitimations (1995).
Peter Wollen, Signs and Meaning in the Cinema (1969, 3d ed., 1972).
Will Wright, Sixguns and Society: A Structural Study of the Western (1975).
Slavoj Žižek, Enjoy Your Symptom (1993).
Slavoj Žižek, Everything You Always Wanted to Know about Lacan but Were Afraid to Ask Hitchcock (1992).
Slavoj Žižek, Looking Awry: An Introduction to Jacques Lacan through Popular Culture (1991).
Slavoj Žižek, The Sublime Object of Ideology (1989).