Film Theory & Philosophy
Philosophy, Moving Images and The Digital
Andrew, Dudley. What Cinema Is! Malden: Wiley-Blackwell, 2010.
Brown, William. Supercinema: Film-Philosophy for the Digital Age. New York: Berghahn Books, 2013.
Casetti, Francesco. The Lumière Galaxy: Seven Key Words for the Cinema to Come. New York: Columbia University Press, 2015.
Cubitt, Sean. The Cinema Effect. Cambridge: The MIT Press, 2005.
Cubitt, Sean. The Practice of Light: A Genealogy of Visual Technologies from Prints to Pixels. Cmabridge: The MIT Press, 2014.
Denson, Shane and Julia Leyda, eds. Post-Cinema: Theorizing 21st Century Film. Falmer: REFRAME Books, 2016.
Hadjioannou, Markos. From Light to Byte: Towards an Ethics of Digital Cinema. Minneapolis: University of Minnesota Press, 2012.
Rodowick, D.N. The Virtual Life of Film. Cambridge: Harvard University Press, 2007.
Stewart, Garrett. Framed Time: Toward a Postfilmic Cinema. Chicago: The University of Chicago Press, 2007.
Torlasco, Domietta. The Heretical Archive: Digital Memory at the End of Film. Minneapolis: University of Minnesota Press, 2013.
Cinema & The Other Arts
Andrew, Dudley, ed. The Image in Dispute: Art and Cinema in the Age of Photography. Austin: University of Texas Press, 1997.
Stewart, Garrett. Between Film and Screen: Modernism's Photo Synthesis. Chicago: The University of Chicago Press, 1999.
Sutton, Damian. Photography, Cinema, Memory: The Crystal Image of Time. Minneapolis: University of Minnesota Press, 2009.
Reality/Realism
Jones, Steve. "Dying to Be Seen: Snuff-Fiction’s Problematic Fantasies of ‘Reality’." Scope 19 (2011).
Morgan, Daniel. “Rethinking Bazin: Ontology and Realist Aesthetics.” Critical Inquiry 32 (Spring 2006): 443-81.
Rushton, R. The Reality of Film: Theories of Filmic Reality. Manchester: Manchester University Press, 2011.
Narrative
Genre
Bordun, Troy. Genre Trouble and Extreme Cinema: Film Theory at the Fringes of Contemporary Art Cinema, Palgrave MacMillan, 2017.
Carroll, Nöel. The Philosophy of Horror: Or, Paradoxes of the Heart. New York: Routledge, 1990.
Cavell, Stanley. Pursuits of Happiness: The Hollywood Comedy of Remarriage. Cambridge: Harvard University Press, 1981.
Herzog, Amy. "Fictions of the Imagination: Habit, Genre and the Powers of the False." In Deleuze and Film. David Martin-Jones and William Brown, eds. 137-154. Edinburgh: Edinburgh University Press, 2012.
Jones, Steve. "'Time Is Wasting': Con/Sequence and S/Pace in the Saw Series." Journal of Horror Studies 1, no. 2 (2010): 225-39.
Pippin, Robert B. Hollywood Westerns and American Myth: The Importance of Howard Hawks and John Ford for Political Philosophy. New Haven: Yale University Press, 2010.
Pippin, Robert B. Fatalism in American Film Noir: Some Cinematic Philosophy. Charlottesville: University of Virginia Press, 2012.
Powell, Anna. Deleuze and Horror Film. Edinburgh: Edinburgh University Press, 2005.
Zarzosa, Agustín, Refiguring Melodrama in Film and Television: Captive Affects, Elastic Sufferings, Vicarious Objects. Lanham, Md.: Lexington Books, 2013.
Non-Fiction & Documentary Moving Images
Piotrowska. A. Psychoanalysis and Ethics in Documentary Film. London and New York: Routledge, 2014
Rothman, William. Documentary Film Classics. Cambridge: Cambridge University Press, 1997.
Rothman, William, ed. Three Documentary Filmmakers: Errol Morris, Ross McElwee, Jean Rouch. State University of New York Press, 2009.
Sobchack, Vivian. "Toward a Phenomenology of Non-Fictional Experience," in Collecting Visible Evidence, ed. Michael Renov and Jane Gaines (Minneapolis: University of Minnesota Press, 1999), 241-254.
Wahlberg, Malin. Documentary Time: Film and Phenomenology. Minneapolis: University of Minnesota, 2008.
Lacanian Film Theory and Philosophy
Althusser, Louis. “Ideology and Ideological State Apparatuses.” In Lenin and Philosophy and Other Essays. 127-189. New York, Monthly Review Press, 1971.
Altman, Charles F. “Psychoanalysis and Cinema: The Imaginary Discourse.” In Movies and Methods Vol. 2, edited by Bill Nichols, 517-531. Berkeley: University of California Press, 1985.
Baudry, Jean-Louis. “Ideological Effects of the Basic Cinematographic Apparatus.” Film Quarterly 28, no. 2 (1974): 39-47.
Baudry, Jean-Louis. “The Apparatus.” Camera Obscura 1, no. 1 (1976): 104-126.
Comolli, Jean-Louis. “Machines of the Visible.” In The Cinematic Apparatus, edited by Teresa De Lauretis and Stephen Heath, 121-142. New York: St. Martin’s Press, 1980.
Copjec, Joan. “The Anxiety of the Influencing Machine.” October 23 (Winter, 1982): 43-59.
Copjec, Joan. “The Orthopsychic Subject: Film Theory and the Reception of Lacan.” October 49 (Summer, 1989): 53-71.
Cowie, Elizabeth. Representing the Woman: Cinema and Psychoanalysis. Minneapolis: University of Minnesota Press, 1997.
De Lauretis, Teresa. Alice Doesn't: Feminism, Semiotics, Cinema. Bloomington, IN: Indiana University Press, 1984.
Doane, Mary Ann. “Film and Masquerade: Theorizing the Female Spectator.” Screen 23, no.3-4 (1982): 74-88.
Doane, Mary Ann. “Masquerade Reconsidered: Further Thoughts on the Female Spectator.” Discourse 11, no. 1 (1988-89): 42-54.
Doane, Mary Ann. “Remembering Woman: Psychical and Historical Constructions in Film Theory.” In Psychoanalysis and Cinema, edited by E. Ann Kaplan, 46-64. New York: Routledge, 1990.
Friedberg, Anne. “Denial of Difference: Theories of Cinematic Identification.” In Psychoanalysis and Cinema, edited by E. Ann Kaplan, 36-46. New York: Routledge, 1990.
Heath, Stephen. “Narrative Space.” Screen 17, no. 3 (1976): 68-112.
Heath, Stephen. “Notes on Suture.” Screen 23, no. 4 (1977-78): 48-76.
Krips, Henry. “Extract from Fetish. An Erotics of Culture.” In Jacques Lacan: Critical Evaluations in Cultural Theory Vol. 3, edited by Slavoj Zizek, 143-185. New York: Routledge, 2003.
Krips, Henry. “The Politics of the Gaze Foucault, Lacan and Žižek.” Culture Unbound: Journal of Current Cultural Research 2 (2010): 91-103.
Kristeva, Julia. “Ellipsis on Dread and the Specular Seduction.” In Narrative, Apparatus, Ideology, edited by Philip Rosen, 236-243. New York: Columbia University Press, 1986.
Lacan, Jacques. “Of the Gaze as Objet Petit a.” in The Four Fundamental Concepts of Psychoanalysis. The Seminar of Jacques Lacan, Book XI, translated by Alan Sheridan. 67-123. New York: W.W. Norton & Co., 1981.
Lacan, Jacques. “The Mirror Stage as Formative of the I Function as Revealed in Psychoanalytic Experience.” In Ecrits. Translated by Bruce Fink, 75-82. New York: W. W. Norton & Co., 2006.
Mannoni, Octave. “I Know Very Well, but All the Same…” In Perversion and the Social Relation, edited by M. A. Rothenberg et. al, 68-93. Durham: Duke University Press, 2003.
Manon, Hugh S. “Comment ça, rien?: Screening the Gaze in Caché.” In On Michael Haneke, edited by Brian Price and John David Rhodes, 105-126. Wayne State University Press, 2010.
Manon, Hugh S. “Paranormal Activity and the Revenge of the Mulveyan Male Gaze.” In Psychoanalysis, Culture & Society 18 (2013): 81–90.
Mayne, Judith. “Paradoxes of Spectatorship.” In Viewing Positions: Ways of Seeing Film, edited by Linda Williams, 155-183. New Brunswick, N.J.: Rutgers University Press, 1995.
McCabe, Collin. “Theory and Film: Principles of Realism and Pleasure.” In Narrative, Apparatus, Ideology, edited by Philip Rosen, 179-198. New York: Columbia University Press, 1986.
McGowan, Todd. The Real Gaze: Film Theory After Lacan. Albany: State University of New York Press, 2007.
Metz, Christian. Psychoanalysis and Cinema: The Imaginary Signifier. Translated by Celia Britton et al. London: MacMillan Press, 1982.
Mulvey, Laura. “Afterthoughts on 'Visual Pleasure and Narrative Cinema' inspired by Duel in the Sun.” In Psychoanalysis and Cinema, edited by E. Ann Kaplan, 24-35. New York: Routledge, 1990.
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” In Media and Cultural Studies Key Works, edited by M. G. Durham and D. M. Kellner. 342-353. Malden: Blackwell, 2006.
Neale, Steve. “Masculinity as Spectacle.” Screen 24, no. 6 (1983): 2-17
Oudart, Jean-Pierre. “Cinema and Suture,” translated by Kari Hanet, Screen 18: 35-47.
Penley, Constance. “Feminism, Film Theory and the Bachelor Machines.” In The Future of an Illusion: Film, Feminism, and Psychoanalysis. 57-83. Minneapolis: Minnesota University Press, 1989.
Rodowick, D. N. The Difficulty of Difference: Psychoanalysis, Sexual Difference, and Film Theory. New York: Routledge, 1991.
Rose, Jacqueline. “The Cinematic Apparatus: Problems in Current Theory.” In The Cinematic Apparatus, edited by Teresa De Lauretis and Stephen Heath, 172-185. New York: St. Martin’s Press, 1980.
Rose, Jacqueline. Sexuality in the Field of Vision. New York: Verso, 1986.
Sartre, Jean-Paul. “The Look.” In Being and Nothingness: An Essay on Phenomenological Ontology, translated by Hazel E. Barnes, 252-303. New York: Philosophical Library, 1956.
Silverman, Kaja. The Threshold of the Visible World. New York: Routledge, 1996.
Sofia, Zoe. “Masculine Excess and the Metaphorics of Vision: Some Problems in Feminist Film Theory.” Continuum: Journal of Media & Cultural Studies 2, no. 2 (1989): 116-128.
Studlar, Gaylyn. “Masochism and the Perverse Pleasures of the Cinema.” Quarterly Review of Film Studies, 9, no. 4 (1984): 267-282.
Willemen, Paul. “Voyeurism, The Look, and Dwoskin.” In Narrative, Apparatus, Ideology, edited by Philip Rosen, 210-219. New York: Columbia University Press, 1986.
Žižek, Slavoj. “In His Bold Gaze My Ruin Is Writ Large.” In Everything You Always Wanted to Know about Lacan: (but Were Afraid to Ask Hitchcock), edited by Slavoj Žižek, 211-273. New York: Verso, 1992.
Žižek, Slavoj. The Fright of Real Tears: Krzysztof Kieslowski between Theory and Post-Theory. London: British Film Institute, 2001.