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Altering Eye

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Robert Phillip Kolker

Select Bibliography on European Cinema Since 1983

Texte intégral

Aceti, Lanfranco, European Avant-Garde: Art, Borders and Culture in Relationship to Mainstream Cinema and New Media (London: Central Saint Martins College of Art and Design (London, England, 2005).

Aitken, Ian, European Film Theory and Cinema: A Critical Introduction (Bloomington, Indianapolis: Indiana University Press, 2001).

Allinson, Mark, A Spanish Labyrinth [electronic resource]: the Films of Pedro Almodoìvar (London & New York: I.B. Tauris, 2001).

Andrew, Geoff, The ’Three Colours’ Trilogy, BFI modern classics (London: BFI Pub., 1998).

Beurier, Pervenche, Les politiques européennes de soutien au cinéma: vers la création d’un espace cinématographique européen; préface de Denis Rolland, Collection ’Inter-national’ (Paris: L’Harmattan, 2004).

Brody, Richard, Everything is Cinema: The Working Life of Jean-Luc Godard (New York: Metropolitan Books, Henry Holt and Company, 2008)

Brunetta Gian Piero, Cent’anni di cinema italiano (2 vols.) (Bari: Laterza, 2003).

Budd, David H., Culture Meets Culture in the Movies: An Analysis East, West, North, and South, with Filmographies (Jefferson, N.C.: McFarland, 2002).

Burns, Bryan, Hungary, World Cinema, 5 (Trowbridge: Flicks, 1996).

Buss, Robin, The French through their Films (London: Batsford, 1988).

Chansel, Dominique, Europe On-Screen: Cinema and the Teaching of History; translated from the French by Carol Kendall, Richard McQuiston, Nicholas Raveney, Christopher Reynolds (Strasbourg: Council of Europe, 2001).

Chapman, James, The British at War: Cinema, State and Propaganda, 1939-1945; Series: Cinema and Society Series (London: I.B. Tauris, 1998).

Cicognetti, Luisa, Servetti, Lorenza and Sorlin, Pierre (eds.), L’immagine della resistenza in Europa, 1945-1960 [multimedia]: letteratura, cinema, arti figurative (Bologna: Il Nove, [1996]).

Cincotti, Guido, L’Europa dei telefoni bianchi (1935-1940), Quaderni di documentazione della Cineteca Nazionale, 13 (Roma: Cineteca Nazionale del Centro Sperimentale di Cinematografia, 1981).

Cook, Roger F., and Gemunden, Gerd, The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition; Contemporary Film and Television Series (Detroit, Mich.: Wayne State University Press, 1997).

Collas, Gerald, Cinema europeo: la sfida della realtaÌ; introduction by Jean Louis Comolli; preface by Philippe Cova; translation by Monica Carbone and Deke Dusinberre ([Firenze]: [Festival Dei Popoli], 1997).

Crittenden, Roger (ed.), Fine Cuts: the Art of European Film Editing; foreword by Walter Murch (Oxford: Focal, 2006).

Cunningham, John, Hungarian Cinema: from Coffee House to Multiplex (London: Wallflower Press, 2004).

Dalle Vacche, Angela, The Body in the Mirror: Shapes of History in Italian Cinema (Princeton: Princeton University Press, 1992).

Defiance and Passion in Early Italian Cinema; foreword by Guy Maddin (Austin: University of Texas Press, 2008).

Deveny, Thomas G., Cain on Screen: Contemporary Spanish Cinema (Metuchen, N.J: Scarecrow Press, 1993).

Ehrlich, Evelyn. Cinema of Paradox: French Filmmaking under the German Occupation (New York: Columbia University Press, 1985).

Eleftheriotis, Dimitris, Popular Cinemas of Europe: Studies of Texts, Contexts, and Frameworks (New York: Continuum, 2001).

Elsaesser, Thomas, Fassbinder’s Germany: History, Identity, Subject; Film Culture in Transition (Amsterdam: Amsterdam University Press, 1996).

Everett, Wendy, European Identity in Cinema, 2nd. ed., (Bristol: Intellect, 2005).

― and Goodbody Axel (eds), Revisiting Space: Space and Place in European Cinema; New Studies in European Cinema (2 vols.) (Oxford, New York: P. Lang, 2005).

Ezra, Elizabeth, European Cinema (Oxford: Oxford University Press, 2004).

Fehrenbach, Heide, Cinema in Democratizing Germany: Reconstructing National Identity after Hitler (Chapel Hill, NC: University of North Carolina Press, 1995).

Fellini, Federico, Federico Fellini: dai disegni ai film (London: Accademia italiana delle arti e delle arti applicate, 1989).

Film and Television History: European Cinemas, AA310, Book 4 (Milton Keynes: Open University, 2003).

Finney, Angus, A Dose of Reality: the State of European Cinema ([London]: Screen International, [1995?]).

The State of European Cinema: A New Dose of Reality (London: Cassell, 1996; repr. 1997).

Fowler, Catherine (ed.), The European Cinema Reader (London: Routledge, 2002).

Galt, Rosalind, The New European Cinema: Redrawing the Map; Film and Culture (New York: Columbia University Press, 2006).

Geraghty, Christine, British Cinema in the Fifties [Electronic book]: Gender, Genre, and the ’New Look’; Communication and Society (London & New York: Routledge, 2000).

Gheorghiu-Cernat, Manuela, Arms and the Film: War-and-Peace in European Films; translated by Florin Ionescu and Ecaterina Grundbock (Bucharest: Meridiane, 1983).

Godard, Jean Luc, Godard on Godard: Critical Writings by Jean-Luc Godard; edited by Jean Narboni and Tom Milne; introduction by Richard Roud; new foreword by Annette Michelson (London: Da Capo, 1986).

Growth or Decline?: The European Television and Film Industries in Crisis, European Institute for the Media (Düsseldorf: Europäisches Medieninstitut, 1993).

Hantke, Steffen (ed.), Caligari’s Heirs: the German Cinema of Fear after 1945 (Lanham, Md.: Scarecrow Press, 2007).

Hayward, Susan, European Cinema Conference Papers (1984: University of Aston in Birmingham), An AMLC publication ([Birmingham]: AMLC, 1985).

― and Genette Vincendeau (eds.), French Film: Texts And Contexts (London & N.Y.: Routledge, 1990).

Hewitt, Leah Dianne, Remembering the Occupation in French Film: National Identity in Postwar Europe; Studies in European Culture and History (New York: Palgrave Macmillan, 2008).

Hill, John, and Church, Pamela (eds.), The Oxford Guide to Film Studies; consultant editors Richard Dyer, E. Ann Kaplan and Paul Willemen (Oxford: Oxford University Press, 1998).

Højbjerg, Lennard, and Henrik, Søndergaard, European Film and Media Culture; Northern Lights Film and Media Studies Yearbook, 2005 (Copenhagen: Museum Tusculanum Press: University of Copenhagen, 2006).

Hjort, Mette and Scott MacKenzie (eds.), Cinema and Nation (London & New York: Routledge, 2000).

Imre, Anikó, East European Cinemas; AFI Film Readers (New York & London: Routledge, 2005).

Hope, William (ed.), Italian Cinema: New Directions; New Studies in European Cinema (Oxford & New York: P. Lang, 2005).

Jäckel, Anne, European Film Industries (London: British Film Institute, 2003).

Jeancolas, Jean-Pierre, Cinéma hongrois 1963-1988 (Paris: Centre national de la recherche scientifique, 1989).

Jordan, Barry, Spanish Cinema: A Student’s Guide (London: Hodder Arnold & New York: Oxford University Press, 2005).

Writing and Politics in Franco’s Spain; Writers and Politics (London: Routledge, 1990).

Koch, Krischan, Die Bedeutung des ”Oberhausener Manifestes” für die Filmentwicklung in der BRD; Europäische Hochschulschriften. Reihe XXX, Theater-, Film- und Fernsehwissenschaften, Bd. 22 (Frankfurt am Main & New York : P. Lang, 1985).

Kolker, Robert Phillip, Film, Form, and Culture, (3rd ed.) (Boston: McGraw-Hill, 2006).

Kovács, András Bálint, Screening Modernism: European Art Cinema, 1950-1980; Cinema and Modernity (Chicago: University of Chicago Press, 2007).

Landy, Marcia, Stardom, Italian Style: Screen, Performance and Personality in Italian Cinema, New Directions in National Cinemas (Bloomington, Ind.: Indiana University Press, 2008).

British Film Genres: Cinema and Society, 1930-1960 (Princeton, New Jersey: Princeton University Press, 1991).

Lescure, Jean and Degand, Claude, Creative Art and Cinematographic Production vis-aÌ-vis the State in Europe; Cultural Policy Studies Series; 3 (Strasbourg: Council of Europe, Publications Section, 1982).

Liehm, Mira, Passion and Defiance: Film in Italy from 1942 to the Present (Berkeley and

Los Angeles: University of California Press, 1984).

Making Pictures: a Century of European Cinematography; The Association of European Cinematography (London: Aurum, 2003).

Mann, Brenda, 20th Century Cinema (Hove: Wayland, 1989).

Marcus, Millicent Joy, Italian Film in the Shadow of Auschwitz [Title of accompanying videorecording: ’43-’97] [Title on videodisc: Ettore Scola’s ’43-’97]; Toronto Italian Studies. Goggio Publication Series (Toronto & London: University of Toronto Press, 2007).

Mazierska, Ewa, and Rascaroli, Laura, From Moscow to Madrid [electronic resource]: Postmodern Cities, European Cinema; Cinema and Society Series (London: I.B. Tauris, 2003).

Media in Eastern and Western Europe: Shared Problems, Shared Solutions. Proceedings of the Second Plenary Meeting of the European Television and Film Forum, Warsaw, 15-17 November 1990, European Institute for the Media (Manchester: European Institute for the Media, 1991).

Militz, Klaus Ulrich, Personal Experience and the Media: Media Interplay in Rainer Werner Fassbinder’s Work for Theatre, Cinema and Television; European University Studies. Series XXX, Theatre, Film and Television; vol. 90 (Frankfurt am Main & New York: P. Lang, 2006).

Mingozzi, Gianfranco, Bellissimo [videorecording]: Images of the Italian Cinema: A History of the Italian Cinema ([New York, N.Y.]: Waterbearer Films, 1991).

Nemeskürty, István, and Tibor Szántó, A Pictorial Guide to the Hungarian Cinema [1901-1984] (Budapest: Helikon, 1985).

A Short History of the Hungarian Cinema; translated from the Hungarian by J.E. Sollosy ([Budapest]: Corvina , 1980).

New studies in European Cinema. [NSEC] (Oxford: Peter Lang).

Northern Lights (Copenhagen, Denmark) 2005 (Copenhagen: Museum Tusculanum Press: University of Copenhagen, 2006).

Orr, John, Cinema and Modernity (Cambridge: Polity Press, 1993).

Ostrowska, Dorota, and Roberts, Graham (eds.), European Cinemas in the Television

Age (Edinburgh: Edinburgh University Press, 2007). Greene, Naomi, Pier Paolo Pasolini: Cinema as Heresy (Princeton & Oxford: Princeton University Press, 1990).

Popular European Cinema: Conference: Papers; edited by Richard Dyer and Ginette Vincendeau (London: Routledge, 1992).

Popular European Cinema Conference, [Conference held September 14-17, 1989], edited by Ginette Vincendeau and Richard Dyer ([Coventry]: European Humanities Research Centre/Film Studies, University of Warwick, 1989).

Price, Brian, ’Dossier on Michael Haneke’, Framework, 47/2 (2006). Projections 15: European Cinema, edited by Peter Cowie and Pascal Edelmann; foreword by Derek Malcolm [Produced in association with the European Film Academy] (London: Faber, 2007).

Ramirez, Charles, Cinema of Solitude: a Critical Study of Mexican Film, 1967-1983 (Austin, Texas: University of Texas Press, 1992).

Richter, Hans, The Struggle for the Film: Towards a Socially Responsible Cinema; edited by Jurgen Romhild; translated by Ben Brewster; foreword by A.L. Rees (Aldershot: Scolar, 1986).

Rivi, Luisa, European Cinema after 1989: Cultural Identity and Transnational Production (New York: Palgrave Macmillan, 2007).

Ryan-Scheutz, Colleen, Sex, the Self, and the Sacred: Women in the Cinema of Pier Paolo Pasolini; Toronto Italian Studies (Toronto: University of Toronto Press, 2007).

Sabbadini, Andrea, The Couch and the Silver Screen: Psychoanalytic Reflections on European Cinema; New Library of Psychoanalysis (Philadelphia, Pa.: Taylor and Francis, 2003).

― (ed.), Projected Shadows: Psychoanalytic Reflections on the Representation of Loss in European Cinema; The New Library of Psychoanalysis (London & New York: Routledge, 2007).

Screening Europe: Image and Identity in Contemporary European Cinema; edited by Duncan Petrie; [Proceedings of a conference sponsored by the British Film Institute at the National Film Theatre, London, in June 1991] BFI Working Papers (London: BFI, 1992).

Segrave, Kerry, The Continental Actress: European Film Stars of the Postwar Era: Biographies, Criticism, Filmographies, Bibliographies (Jefferson, N. C.; London: McFarland, 1990).

Sieglohr, Ulrike, Heroines without Heroes: Reconstructing Female and National Identities in European Cinema, 1945-1951; Women Make Cinema (London: Cassell, 2000).

Sklar, Robert, Film: An International History of the Medium (2nd ed.) (Upper Saddle River, NJ: Prentice-Hall and Harry N. Abrams, 2002).

Schindler, Stephan K., and Koepnick, Lutz, The Cosmopolitan Screen: German Cinema and the Global Imaginary, 1945 to the Present; Social History, Popular Culture, and Politics in Germany (Ann Arbor: University of Michigan Press, 2007).

Schmitt-Neubauer, Rosa, (ed.), Zukunft des europäischen Films: nationale und europäiche Filmpolitik in der Diskussion : Filmpolitische Konferenz der SPD (1992: Babelsberg, Germany), Kultur in der Diskussion, 2 (Essen: Klartext, 1993).

Snyder, Stephen, The Transparent I: Self/Subject in European Cinema; Comparative Literary and Film Studies (2 vols.) (New York: Peter Lang, 1994).

Sojcher, Frédéric, (ed.) European Audiovisual Seminar (University of Turin, 1998), Cinéma, audiovisuel, nouveaux médias: la convergenceun enjeu européen?; introduction by de Pierre-Jean Benghozi; Collection champs visuels (Paris: Harmattan, 2001).

Sorlin, Pierre, Cinema e identità europea: percorsi nel secondo Novecento; Serie Nuovi Orchi ([Milano]: La Nuova Italia, 2001).

European Cinemas, European Societies 1939-1990 (London: Routledge, 1990). Speranza, Paolo, Con Pasolini cominciammo: antologia e immagini del Laceno d’Oro, con prefazione di Carlo Lizzani (Atripalda, Edizioni Laceno, 2006).

Stollery, Martin, Alternative Empires: European Modernist Cinemas and Cultures of Imperialism; Exeter Studies in Film History (Exeter: University of Exeter Press, 2000).

Strohm, Petra Susanne, Kino der Extreme: die Filme Federico Fellinis zwischen Sensation und Ignoranz: ein rezeptionsästhetischer Diskurs, Europäische Hochschulschriften. Reihe XXX, Theater-, Film-und Fernsehwissenschaften, Bd.56 (Frankfurt am Main: Lang, 1994).

Testa, Carlo, Masters of Two Arts: Re-Creation of European Literatures in Italian Cinema; Toronto Italian Studies (Toronto: University of Toronto Press, 2002).

Vincendeau, Ginette (ed.), Encyclopedia of European Cinema (London: Cassell/British Film Institute, 1995).

Vive le cinéma: quatrièmes rencontres cinématographiques de Beaune 27-30 octobre 1994; organisées par l’ARP et la ville de Beaune ([Paris]: Austral, 1995).

Töteberg, Michael, and Lensing, Leo A. (eds.), Fassbinder, Rainer Werner, the Anarchy of the Imagination: Interviews, Essays, Notes; translated by Krishna Winston: PAJ books (Baltimore: Johns Hopkins University Press, 1992).

Ungari, Enzo and Donald Ranvaud, Bertolucci on Bertolucci; translated by Donald Ranvaud (London: Plexus, 1987).

Vincendeau, Ginette, Encyclopedia of European Cinema (New York: Facts on File, 1995).

Watson, Wallace Steadman, Understanding Rainer Werner Fassbinder: Film as Private and Public Art (Columbia, S.C.: University of South Carolina Press, 1996).

Wayne, Mike, The Politics of Contemporary European Cinema: Histories, Borders, Disputes; Cinema and Media (Bristol: Intellect, 2002).

Williams, Alan, Republic of Images: A History of French Filmmaking (Cambridge, Mass, London: Harvard University Press, 1992).

Wood, Mary P., Contemporary European Cinema (London: Hodder Arnold; New York: Distributed in the United States of America by Oxford University Press, 2007).

Italian Cinema (Oxford: Berg, 2005).

Yacavone, Daniel (Daniel William), Art and Reflexivity in Post-1960 European Cinema, Ph.D. Thesis, University of Edinburgh, 2006. Zagarrio, Vito, Cinema e fascismo: film modelli immaginari (Venezia: Marsilio, 2004).

Works on Neorealism:

Bondanella, Peter E., The Cinema of Federico Fellini; with a foreword by Federico Fellini (Princeton, N.J.: Princeton University Press, 1992).

Casadio, Gianfranco, Adultere, fedifraghe, innocenti: la donna del ’neorealismo popolare’ nel cinema italiano degli anni cinquanta; Musica, cinema, immagine e teatro (Ravenna: Longo, 1990).

Caldiron, Orio (ed.), Cinema 1936-1943: prima del neorealismo. (Roma: Fondazione scuola nazionale del cinema, 2002).

Dibattito a piuÌ voci sulla estetica politica e sociale del neorealismo: XXV Festival del cinema neorealistico (Avellino, 1985).

Forgacs, David, Lutton, Sarah, Nowell-Smith, Geoffrey (eds.), Roberto Rossellini: Magician of the Real (London: BFI Publishing, 2000).

Galla, Tag, The Adventures of Roberto Rossellini (New York: Da Capo Press, 1998).

Hillier, Jim, Cahiers du cinéma: the 1950s: Neo-Realism, Hollywood, New Wave; Harvard film studies [Originally published in Cahiers du Cinéma, 1-102, 1951-1959] (Cambridge, Mass.: Harvard University Press, 1985).

Marino, Camillo, Estetica politica e sociale del neorealismo (Edizioni Neorealistiche d’Avanguardia, 1984).

Mida, Massimo, Quaglietti, Lorenzo, Dai telefoni bianchi al neorealismo; Biblioteca di cultura moderna; 839 (Bari: G. Laterza, 1980).

Rossellini [Videorecording]; [Documentary following the career of the Italian film director Roberto Rossellini, known as the founder of Neo-Realism]; produced by David J. Thompson; narrated by Jill Evans. Arena, BB2, 1990.

Shiel, Mark, ’Italian neo-realism’; Short Cuts, 31 (London: Wallflower press, 2006). Sidahmed, Abdalla E., The Demise of Neo-Realism (London: Minerva Press, 2000). Tinazzi, Giorgio, Zancan, Marina (eds.), Cinema e letteratura del neorealismo; Cinema (Venezia: Marsilio, 1990).

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