8/3/2019 Books Lists for Qualifying Examination-1

1/10

Books Lists for Qualifying Examination

Film History Area: US Cinema, Origins to 1930

BOOKS

Abel, Richard. The Red Rooster Scare: Making Cinema American. Berkeley: University of Californ

Press, 1999.

Auerbach, Jonathan. Body Shots: Early Cinemas Incarnations. Berkeley: University of California Pres2007.

Gaudreault, Andr, [Ed]. American Cinema, 1890-1909: Themes and Variations. New Brunswick, NRutgers University Press, 2009.

Hansen, Miriam. Babel & Babylon: Spectatorship in American Silent Film. Cambridge: HarvaUniversity Press, 1991.

Horak, Jan-Christopher. 1995. Lovers of cinema: the first American film avant-garde, 1919-19Madison, Wis: University of Wisconsin Press.

Mathews, Nancy Mowll, Charles Musser, and Marta Braun [eds]. 2005. Moving pictures: American aand early film, 1880-1910. Manchester, Vt: Hudson Hills Press in association with the Williams College Museuof Art.

Rabinovitz, Lauren. For the Love of Pleasure: Women, Movies, and Culture in Turn-of-the-CentuChicago. New Brunswick, NJ: Rutgers University Press, 1998.

Verhoeff, Nanna. 2006. The West in Early Cinema: After the Beginning. Film culture in transitio

Amsterdam: Amsterdam University Press.

Whissel, Kristin. Picturing American Modernity: Traffic, Technology, and the Silent Cinema. DurhamNC: Duke University Press, 2008.

Dimitrios Latsis

8/3/2019 Books Lists for Qualifying Examination-1

2/10

ARTICLES/CHAPTERS

Altman, Rick. Film Sound- All of It.Iris 27 (Spring 1999): 31-48.

Altman, Rick. Methodology, from Silent Film Sound. New York: Columbia University Press, 2004: p5-26

Auerbach, Jonathan. Naturalizing Attractions, from Early Cinema and the National, BloomingtoIndiana University Press, 2008: 17-21

Burch, Noel. A Primitive Mode of Representation? from fromEarly Cinema : Space, Frame, Narratived. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 220-227.

Cahn, Iris. "The Changing Landscape of Modernity: Early Film and America's "Great Picture" Traditio(with an Appendix of North American Landscape Films in the Paper Print Collection of the Library Congress)." Wide Angle 18, no. 3 (1996): 85-100.

Doane, Mary Ann. Technologys Body: Cinematic Vision in Modernity, from A Feminist Reader Early Cinema, ed. Jennifer M. Bean and Diane Negra. Durham: Duke University Press, 2002: 530-551.

Friedberg, Anne. A Properly Adjusted Window: Vision and Sanity in D.W.Griffiths 1908-190Biograph Films, from from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: BritiFilm Institute, 2006 [1990]: 325-335.

Gaudreault, Andr. The Infringement of Copyright Laws and its effects (1900-1906), from EarCinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 114-122

Gaudreault, Andr. Detours in Film Narrative: The Development of Cross-Cutting , fromEarly Cinem: Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 133-152.

Gaudreault, Andr. Showing and Telling: Image and Word in Early Cinema, from Early CinemaSpace, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 282-292.

Grieveson, Lee. Reforming Cinema, 1907-1909, from Policing Cinema: Movies and Censorship Early Twentieth Century America. Berkeley: University of California Press, 2004: 78-120.

Grieveson, Lee. Film Fights, 1910-1912, from Policing Cinema: Movies and Censorship in EaTwentieth Century America. Berkeley: University of California Press, 2004: 121-150.

Gunning, Tom. An Aesthetic of Astonishment: Early Film and the (In)credulous Spectator, from Aand Text 34 (1989) and reprinted in Viewing Positions: Ways of Seeing Film, ed. Linda Williams. NeBrunswick: Rutgers University Press, 1994: 114-133.

Gunning, Tom. The Cinema of Attractions: Early Film, its Spectator and the Avant Garde, from EarCinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 56-62.

Gunning, Tom. Weaving a Narrative: Style and Economic Background in Griffiths Biograph Filmsfrom fromEarly Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 200[1990]: 336-347.

8/3/2019 Books Lists for Qualifying Examination-1

3/10

Gunning, Tom. Early Cinema as Global Cinema: The Encyclopedic Ambition, from Early Cinema athe National, ed. By Richard Abel, Giorgio Bertellini and Rob King. Bloomington: Indiana University Pre2008: 11-16.

Gunning, Tom. 2010. Landscape and the Fantasy of Moving Pictures: Early Cinemas Phantom RidesIn Cinema and Landscape, ed. Graeme Harper and Jonathan Rayner. London: Intellect, 31-70.

Hansen, Miriam. Early Cinema Whose public Sphere? from from Early Cinema : Space, FramNarrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 228-246.

Hansen, Miriam. Fallen Women, Rising Stars, New Horizons: Shanghai Silent Film as VernaculModernism,Film Quarterly 54.1 (Autumn 2000): 10-22

Kittler, Friedrich. Film. Grammophone, Film, Typewriter. Stanford, CA: Stanford University Pre1999, 115-182.

Loughney, Patrick G. In the Beginning was the Word: Six Pre-Griffith Motion Picture Scenarios, frofrom Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 20[1990]: 211-219.

Macdonald, Scott. The Attractions of Nature in Early Cinema," from Unseen Cinema: Early AmericAvant-Garde Film1893-1941, ed. Bruce Posner. New York: Anthology Film Archives, 2005: 56-63.

Mayer, David. The Mobile Theater, from Stagestruck Filmmaker: D W Griffith and the AmericaTheater. Iowa City: University of Iowa Press, 2009: 32-56.

Mottet, Jean. Les Paysages Griffithiens. L'Invention de La Scene Americaine: Cinema Et PaysagParis: LHarmattan, 1998, 73-112.

Musser, Charles. The Travel Genre in 190304: Moving Toward Fictional Narratives, Iris 2, no.(1984): 5657.

Musser, Charles. Pt 4: The Production Company Assumes Creative Dominance : 1900-1905 and Pt 5:The beginnings of the Nickelodeon Era : 1905-1907, from The emergence of cinema : the American screen to1907. New York : Scribner, 1990: 297-495.

Musser, Charles. The Travel Genre in 1903-1904: Moving Towards Fictional Narrative, from fro Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990123-132.

Musser, Charles. The Nickelodeon Era Begins : Establishing the Framework for Hollywoods Mode Representation, from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British FilInstitute, 2006 [1990]: 256-273.

8/3/2019 Books Lists for Qualifying Examination-1

4/10

FILMS

Annabelle Serpentine Dance. 1894. William Heise.

Boxing Cats. 1894. William K.L. Dickson & William Heise.

Sandow. 1894. William K.L. Dickson

Sioux Ghost Dance. 1894. William K.L. Dickson & William Heise.

May Irwin Kiss. 1896. William Heise.

Captain Nissen Going Through Whirlpool Rapids, Niagara Falls. 1901. [Edison Manufacturing Company]

Execution of Czolgosz, with Panorama of Auburn Prison. 1901. Edwin S. Porter.

Trip Around the Pan American Exposition. 1901. [Edison Manufacturing Company].

What Happened on Twenty-third Street, New YorkCity. 1901. Edwin S. Porter.

Buffalo Bills Wild West Parade. 1902.Frederick S. Armitage.Uncle Josh at the Moving Picture Show. 1902. Edwin S. Porter.

Life of an American Fireman. 1902-3. Edwin S. Porter.

Down the Hudson. 1903.Frederick S. Armitage & A.E. Weed.Electrocuting an Elephant. 1903. [Prod. Thomas A. Edison]

The Gay Shoe Clerk. 1903. Edwin S. Porter.

Great Train Robbery. 1903. Edwin S. Porter.

Jack and the Beanstalk. 1903. George S. Fleming & Edwin S. Porter.

Rube and Mandy at Coney Island. 1903. Edwin S. Porter.

What Happened in the Tunnel. 1903. Edwin S. Porter.

How a French Nobleman Got a Wife Through the 'New York Herald' Personal Columns. 1904. Edwin S. Porter.

Boarding School Girls. 1905. Edwin S. Porter.

Coney Island at Night. 1905. Edwin S. Porter.

Interior NY Subway, 14th St. to 42nd St. 1905.G.W. Bitzer.The Hold Up of the Rocky Mountain Express. 1906. Edwin S. Porter.

Laughing Gas. 1907. Edwin S. Porter.

8/3/2019 Books Lists for Qualifying Examination-1

5/10

The Teddy Bears. 1907. Edwin S. Porter.

The Call of the Wild. 1908. D W Griffith.

Corner in Wheat. 1909. D W Griffith.

Roosevelt in Africa. 1910. Cherry Kearton.

Traffic in Souls. 1913. George Loane Tucker.

The Birth of a Nation. 1915. D W Griffith.

Easy Street. 1917. Charles Chaplin.

Broken Blossoms. 1919. D W Griffith.

The Last of the Mohicans. 1920. Clarence Brown & Maurice Tourneur.

The Four Horsemen of the Apocalypse. 1921. Rex Ingram.

Nanook of the North. 1922. Robert Flaherty.

Greed. 1924. Erich Von Stroheim.

Sherlock, Jr. 1925. Buster Keaton.

Grass: A Nations Battle for Life. 1925. Merian C Cooper & Ernest B Schoedsack.

It. 1927. Clarence G. Badger.

The Jazz Singer. 1927. Alan Crosland.

Sunrise. 1927. F W Murnau.

The Life and Death of 9413: a Hollywood Extra. 1928. Robert Florey & Slavko Vorkapich.

The Wind. 1928. Victor Sjstrm.

The Fall of the House of Usher. 1929. James Sibley Watson & Melville Webber.

8/3/2019 Books Lists for Qualifying Examination-1

6/10

Film Theory Area: 1990 to the Present

BOOKS

Bellour, Raymond. 1990. L'entre-images: Photo, Cinma, Vido. Paris: La Diffrence.

Bellour, Raymond. 1999.L'entre-images 2: Mots, Images. Paris: P.O.L.

Didi-Huberman, Georges. 2003.Images Malgr Tout. Paris: Les ditions de Minuit.

Hansen, Mark B. N. 2006.Bodies in Code: Interfaces with Digital Media. New York: Routledge.

Lawlor, Leonard (ed). 2010. Merleau-Ponty: Philosophie et mouvement des images = Philosophy amoving pictures = Filosofia e immagini in movimento. Chiasmi International. Paris: J.Vrin.

Mulvey, Laura. 2006.Death 24x a Second: Stillness and the Moving Image. London: Reaktion Books.

Nancy, Jean-Luc. 2001. L'vidence du Film: Abbas Kiarostami = The Rvidence of Film : AbbKiarostami. Bruxelles: Yves Gevaert.

Rodowick, David Norman. 2007. The Virtual Life of Film. Cambridge, Mass: Harvard University Press.

Sobchack, Vivian Carol. 1992. The Address of the Eye: a Phenomenology of Film Experience . PrincetoN.J.: Princeton University Press.

Wahlberg, Malin. 2008. Documentary Time: Film and Phenomenology. Minneapolis: University Minnesota Press.

8/3/2019 Books Lists for Qualifying Examination-1

7/10

8/3/2019 Books Lists for Qualifying Examination-1

8/10

8/3/2019 Books Lists for Qualifying Examination-1

9/10

FILMS

The Cabinet of Dr. Caligari. 1920. Robert Wiene.

Manhatta. 1921. Paul Strand & Charles Sheeler.

Dragnet Girl. 1933. Yasujir Ozu.

Meshes of the Afternoon. 1943. Maya Deren.

Lady in the Lake. 1947. Robert Montgomery.

Viaggio in Italia. 1954. Roberto Rossellini

Nuit et brouillard. 1955. Alain Resnais.

Imitation of Life. 1959. Douglas Sirk.

Leclisse. 1962. Michelangelo Antonioni.

The House is Black. 1962. Forough Farrokhzad

Deus e o Diabo na Terra do Sol. 1964. Glauber Rocha.

Outer and Inner Space. 1966. Andy Warhol.

Andy Warhol's Dracula. 1974. Paul Morrissey.

Xala. 1975. Ousmane Sembene .

Opening Night. 1977. John Cassavetes.

Gorillas in the Mist. 1988. Michael Apted.The Silence of the Lambs. 1991. Jonatan Demme.

Le Vent Nous Apportera, 1991. Abbas Kiarostami.

Le Vent nous apportera. 1992. Abbas Kiarostami.

Calendar. 1994. Atom Egoyan.

Histoire(s) du cinema. 1988-1998.Jean-Luc Godard(Chapters 1(a): Toutes les histories, 2(a): Seul le cinema, 3(a) La Monnaie de labsolu)

Festen. 1998. Thomas Vinterberg.

Eloge de l'amour. 2001. Jean-Luc Godard

Decasia. 2002. Bill Morrison

Russian Ark. 2002. Aleksandr Sokurov.

Ich glaubte Gefangene zu sehen. 2004. Harun Farocki.

8/3/2019 Books Lists for Qualifying Examination-1

10/10

Bamako. 2006. Abderrahmane Sissako.

The New World. 2005. Terrence Malick

The Pervets Guide to Cinema. 2006. Sophie Fiennes.

La graine et le mulet. 2007. Abdellatif Kechiche

My Winnipeg. 2007. Guy Maddin.