Film and Visual Studies

MEDIA, TECHNOLOGY, AND THE VISUAL TURN

Anderson, Joseph, and Barbara Fisher Anderson. Moving Image Theory: Ecological
Considerations. Carbondale: Southern Illinois University Press, 2005.
Arnheim, Rudolf. Art and Visual Perception: A Psychology of the Creative Eye. Berkeley: University of California Press, 1974.
Aumont, Jacques. The Image. London: BFI, 1997.
Barasch, Moshe. Theories of Art: From Plato to Winckelmann. New York: Routledge, 2002.
Berger, John. Ways of Seeing: Based on the BBC Television Series with John Berger. London:
British Broadcasting Corporation, 1972.
Bergson, Henri, and Arthur Mitchell. Creative Evolution. New York: Modern Library, 1944.
Bergson, Henri, Nancy Margaret Paul, and William Scott Palmer. Matter and Memory. New York: Zone Books, 1988.
Bruno, Giuiliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Didi-Hubermann, Georges. Confronting Images: Questioning the Ends of a Certain History of Art. University Park, PA: The Pennsylvania State University Press, 2005.
Foster, Hal. The Anti-Aesthetic: Essays on Postmodern Culture. Seattle, WA: Bay Press, 1983.
Galison, Peter. Einstein’s Clocks and Poincaré’s Maps: Empires of Time. New York: W.W. Norton, 2003.
Gendler, Tamar, and John Hawthorne. Perceptual Experience. Oxford: Clarendon Press. 2006.
Gordon, Ian E. Theories of Visual Perception. East Sussex, UK: Psychology Press, 2004.
Jameson, Fredric. “The Cultural Logic of Late Capitalism.” Postmodernism, or, the Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991. 1-54.
Jones, Caroline A., Peter Galison, and Amy E. Slaton. Picturing Science, Producing Art. New York: Routledge, 1998.
Kemp, Martin. Seen/Unseen: Art, Science, and Intuition from Leonardo to the Hubble
Telescope. Oxford: Oxford University Press, 2006.
Kern, Stephen. The Culture of Time and Space, 1880-1918: with a new preface. Cambridge, MA: Harvard University Press, 2003.
Kittler, Friedrich. Gramophone, Film, Typewriter. Trans. Geoffrey Winthrop-Young and Michael Wutz. Stanford: Stanford University Press, 1999.
_________. Optical Media: Berlin Lectures 1999. Trans. Anthony Enns. Cambridge, UK: Polity Press, 2010.
Latour, Bruno, and Peter Weibel. Iconoclash. Karlsruhe, Germany: ZKM, 2002.
Lessing, Gotthold Ephraim. Laocoon: An Essay on the Limits of Painting and Poetry. Trans. Edward Allen McCormick. Indianapolis, IN: Bobbs-Merrill, 1962.
Livingstone, Margaret. Vision and Art: the Biology of Seeing. New York: Harry N. Abrams, 2 2002.
Lowe, Donald M. History of Bourgeois Perception. Chicago: University Of Chicago Press,
1982.
McLuhan, Marshall. Understanding Media: the Extensions of Man. New York: McGraw-Hill,
1964.
Mitchell, W. J. T. “There Are No Visual Media.” Journal of Visual Culture 4.2 (2005): 257-266.
_________. Picture Theory: Essays on Verbal and Visual Representation. Chicago: University of Chicago Press, 1994.
Ong, Walter J. Orality and Literacy: The Technologizing of the Word. London: Methuen, 1982.
Palmer, Stephen E. Vision Science: Photons to Phenomenology. Cambridge, MA: MIT Press, 1999.
Panofsky, Erwin. Perspective as Symbolic Form. New York: Zone Books, 1997.
_________. Studies in Iconology: Humanistic Themes in the Art of the Renaissance. New York: Harper & Row, 1972.
Schivelbusch, Wolfgang. The Railway Journey: the Industrialization of Time and Space in the 19th Century. Berkeley, CA: University of California Press, 1986.
Wilson, Stephen. Information Arts: Intersections of Art, Science, and Technology. Cambridge, MA: MIT Press, 2002.
Yantis, Steven. Visual Perception: Essential Readings. Philadelphia, PA: Psychology Press, 2001.

THE MOVING IMAGE AND PHOTOGRAPHY, SIGNIFICATION AND NARRATION

Abel, Richard, ed. French Film Theory and Criticism. Princeton: Princeton University Press, 1988.
Canudo, Riccioto. “Birth of a Sixth Art [1911].” 58-65.
_________. “Reflections on the Seventh Art [1923].” 291-302.
Epstein, Jean. “On Certain Characteristics of Photogénie [1924].” 314-318.
_________. “Magnification [1921].” 235-240.
_________. “The Senses I (b) [1921].” 241-245.
Arnheim, Rudolf. “The Complete Film” adapted from Film [1933]. Film as Art. Berkeley: University of California Press, 1957. 154-160.
_________. “Selections adapted from Film [1933]: 1 Film and Reality.” Film as Art. Berkeley: University of California Press, 1957. 8-34.
Artaud, Antonin. Antonin Artaud: Selected Writings. Ed. Susan Sontag. Trans. Helen Weaver. Berkeley: University of California Press, 1988.
“Cinema and Abstraction [1927].” 149-150.
“Cinema and Reality [1927].” 150-152.
Balázs, Béla. Theory of the Film. Trans. Edith Bone. New York: Dover Publications, 1970. 39-45; 52-77; 89-92.
Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. New York: Hill and Wang, 1981.
_________. Image/Music/Text. Glasgow: Fontana Press, 1993.3
“The Photographic Message.” 15-31.
“The Rhetoric of Photography.” 32-51.
“The Third Sense.” 52-68.
Batchen, Geoffrey. Photography Degree Zero: Reflections on Roland Barthes’s Camera Lucida. Cambridge, MA: MIT Press, 2009.
Bazin, André. What is Cinema? Comp. and Trans. Hugh Gray. University of California Press, 1970.
“The Evolution of the Language of the Cinema.” 23-40.
“The Myth of Total Cinema.” 17-22.
“The Ontology of the Photographic Image.” 9-16.
_________. “An Aesthetic of Reality.” What is Cinema?, Vol. 2. Comp. and Trans. Hugh Gray. Berkeley: University of California Press, 1971. 16-40.
Beckman, Karen Redrobe, and Jean Ma. Still Moving: Between Cinema and Photography. Durham, NC: Duke University Press, 2008.
Benjamin, Walter. “A Little History of Photography.” Selected Writings, Vol. 2 (1927-1934). Ed. Michael W. Jennings. Cambridge, MA: The Belknap Press of Harvard University Press, 1999. 507-530.
_________. “The Work of Art in the Age of Its Technological Reproducibility (Third
Version).” Walter Benjamin. Selected Writings, Volume 4 (1938-1940). Ed. Howard
Eiland and Michael W. Jennings. Cambridge, MA: The Belknap Press of Harvard
University Press, 2003. 251-283.
Bordwell, David. “Classical Hollywood Cinema: Narrational Principles and Procedures.” Narrative, Apparatus, Ideology: a Film Theory Reader. Ed. Philip Rosen. New York: Columbia University Press, 1986. 17-34.
_________. Narration in the Fiction Film. Madison, WI: University of Wisconsin Press, 1985.
“Art Cinema Narration.” 205-233.
“Modes and Norms.” 149-155.
“Principles of Narration.” 48-62.
“The Viewer’s Activity.” 29-47.
Burch, Noël. Theory of Film Practice. Princeton, NJ: Princeton University Press, 1981.
“Nana, or the Two Kinds of Space.” 17-31.
“On the Structural Use of Sound.” 90-104.
“Preface.” xvi-xx.
“The Repertory of Simple Structures.” 51-69.
“Spatial and Temporal Articulations.” 3-16.
Campany, David. Photography and Cinema. London: Reaktion Books, 2008.
Carter, Erica, and Rodney Livingstone. “Béla Balázs, Visible Man, or the Culture of Film (1924).” Trans. Rodney Livingstone. Screen 48.1 (Spring 2007): 91-108.
De Duve, Thierry. “Time Exposure and Snapshot: The Photograph as Paradox.” October 5 (1978): 113-125.
Derrida, Jacques. Copy, Archive, Signature: a Conversation on Photography. Ed. Gerhard Richter. Trans. Jeff Fort. Stanford, CA: Stanford University Press, 2010.
Eco, Umberto. “On the Contribution of Film to Semiotics.” Quarterly Review of Film
Studies 2.1 (1977): 1-14. 4
Eisenstein, Sergei. “Film Form: New Problems.” Film Form. Ed. and Trans. Jay Leyda. New York: Harcourt Brace Jovanovich, 1949. 122-149.
_________. S. M. Eisenstein: Selected Works. Volume I. Writings, 1922-34. Ed. and Trans. Richard Taylor. London: BFI, 1988.
“Beyond the Shot [1929].”
“Dramaturgy of Film Form [1929].”
“The Fourth Dimension in Cinema [1929].”
_________. “Vertical Montage.” S. M. Eisenstein: Selected Works Volume II. Towards a Theory of Montage. Ed. Michael Glenny and Richard Taylor. Trans. Michael Glenny. London: BFI, 1994 327-399.
Fried, Michael. Why Photography Matters as Art as Never Before. New Haven: Yale University Press, 2008.
Kracauer, Siegfried. The Mass Ornament: Weimar Essays. Ed. and Trans. Thomas Y. Levin.
Cambridge, MA: Harvard University Press, 1995.
“Cult of Distraction.” 323-328.
“Film 1928.” 307-322.
“Photography.” 47-64.
_________. Theory of Film: the Redemption of Physical Reality. Princeton, NJ: Princeton University Press, 1997.
“Epilogue.” 285-311.
“Part I, General Characteristics.” 27-74.
“Photography: Systematic Considerations.” 12-26.
“The Spectator.” 157-172.
Kuleshov, Lev. “Selections from Art of Film.” Screen Reader 1. London: The Society for
Education in Film and Television, 1977. 337-350.
Metz, Christian. Film Language: a Semiotics of the Cinema. Trans. Michael Taylor. Chicago: University of Chicago Press, 1974.
“The Cinema: Language or Language System?” 31-91.
“Notes Toward a Phenomenology of the Narrative.” 16-28.
“On the Impression of Reality in the Cinema.” 3-15.
“Preface.” ix-xvi.
“Problems of Denotation in the Fiction Film.” 108-146.
Mitry, Jean. “The Film Image.” The Aesthetics and Psychology of Cinema. Trans. Christopher King. Bloomington, IN: Indiana University Press, 1997. 29-88.
Münsterberg, Hugo. The Film: A Psychology Study [1916]. New York: Routledge, 2001. 18-66; 73-74.
Panofsky, Erwin. “Style and Medium in the Motion Pictures.” Film Theory and Criticism: Introductory Readings. 3rd Edition. Eds. Gerald Mast and Marshall Cohen. New York: Oxford University Press, 1985. 215-233.
Pasolini, Pier Paolo. “The Cinema of Poetry.” Heretical Empiricism. Ed. Louis K. Barnett. Trans. Ben Lawton. Bloomington: Indiana University Press, 1988. 167-186.
Pudovkin, V. I. “From Film Technique.” Film Theory and Criticism: Introductory Readings. 5thEdition. Eds. Leo Braudy and Marshall Cohen. New York: Oxford University Press, 1998. 9-14. 5
_________. “Introduction to the German Edition.” Film Technique and Film Acting: The Cinema Writings of V. I. Pudovkin. Trans. Ivor Montagu. New York: Bonanza Books, 1949. xiiixviii.
Sontag, Susan. On Photography. New York: Dell Publishing, 1978.
Taylor, Richard, ed. The Poetics of Cinema. Russian Poetics in Translation 9 (1982).
Eikhenbaum, Boris. “Problems of Cine-Stylistics.” Trans. Richard Sherwood. 5-31.
Tynyanov, Yury. “The Fundamentals of Cinema.” 32-54.
Vertov, Dziga. Kino-Eye: The Writings of Dziga Vertov. Ed. Annette Michelson. Trans. Kevin O’Brien. Berkeley: University of California Press, 1984.
“From Kino-Eye to Radio-Eye[1929].” 85-91.
“Kino-Eye [1926].” 60-78.
“Kinoks: A Revolution [1923].” 11-20.
“WE: Variant of a Manifesto [1922].” 5-9.

IDEOLOGY, TECHNOLOGY, AND REPRESENTATION

Adorno, Theodor, and Max Horkheimer. “The Culture Industry: Entertainment as Mass
Deception.” Dialectic of Enlightenment. Trans. John Cummings. New York: Continuum, 1944.
Althusser, Louis, “Ideology and Ideological State Apparatuses (Notes towards an Investigation).”
Eds. Aradhana Sharma and Akhil Gupta. The Anthropology of the State: A Reader.
Malden, MA: Blackwell Publishing, 2006. 86-112.
Baudry, Jean-Louis. “The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema.” Narrative, Apparatus, Ideology. Ed. Philip Rosen. New York:
Columbia University Press, 1986. 299-318.
_________. “Ideological Effects of the Basic Cinematographic Apparatus.” Narrative,
Apparatus, Ideology. Ed. Philip Rosen. New York: Columbia University Press, 1986.
281-298.
Comolli, Jean-Louis, and Jean Narboni. “Cinema/Ideology/Criticism (1).” Screen Reader 1: Cinema/Ideology/Politics. Ed. John Ellis. London: The Society for Education in Film and Television, 1977. 2-11.
_________. “Cinema/Ideology/Criticism (2).” Screen Reader 1: Cinema/Ideology/Politics. Ed.
John Ellis. London: The Society for Education in Film and Television, 1977. 36-46.
Comolli, Jean-Louis. “Technique and Ideology: Camera, Perspective, Depth of Field (Part One).” Movies and Methods, Vol. II. Ed. Bill Nichols. Berkeley: University of
California Press, 1985. 40-57.
_________. “Technique and Ideology: Camera, Perspective, Depth of Field (Parts Three and Four).” Narrative, Apparatus, Ideology. Ed. Philip Rosen. New York: Columbia University Press, 1986. 421-443.
Heath, Stephen. “Narrative Space.” Narrative, Apparatus, Ideology. Ed. Philip Rosen. New York: Columbia University Press, 1986. 379-420.
Lacan, Jacques. “The Mirror Stage as Formative of the Function of the I As Revealed in
6 Psychoanalytic Experience” [1936]. In Écrits: A Selection. Trans. Alan Sheridan. New
York: W. W. Norton & Co., 1977. 1-7.
_________. “Of the Gaze as Objet Petit a.” In The Four Fundamental Concepts of
Psychoanalysis. Trans. Alan Sheridan. New York: W. W. Norton & Co., 1978. 67-119.
MacCabe, Colin. “Theory and Film: Principles of Realism and Pleasure.” Narrative, Apparatus, Ideology. Ed. Philip Rosen. New York: Columbia University Press, 1986. 179-197.
Metz, Christian. “The Imaginary Signifier (excerpts).” Narrative, Apparatus, Ideology. Ed. Philip Rosen. New York: Columbia University Press, 1986. 244-278.
Silverman, Kaja. “Suture (excerpts).” Narrative, Apparatus, Ideology. Ed. Philip Rosen. New York: Columbia University Press, 1986. 219-235.
Wollen, Peter. “Godard and Counter-Cinema: Vent d’Est.” Narrative, Apparatus, Ideology. Ed. Philip Rosen. New York: Columbia University Press, 1986. 120-129.

SPECTATORSHIP, IDENTITY, AND DIFFERENCE

Butler, Judith. “Gender Is Burning: Questions of Appropriation and Subversion.” Bodies that Matter: On the Discursive Limits of ‘Sex’. New York: Routledge, 1993.
de Lauretis, Teresa. “Film and the Visible.” How Do I Look? Queer Film and Video. Ed. Bad Object-Choices. Seattle: Bay Press, 1991. 223-276.
_________. “Rethinking Women’s Cinema: Aesthetics and Feminist Theory.” Film and Theory: An Anthology. Eds. Robert Stam and Toby Miller. Malden, MA: Blackwell, 2000. 317-336.
Diawara, Manthia. “Black Spectatorship: Problems of Identification and Resistance.” Black American Cinema. Ed. Manthia Diawara. New York: Routledge, 1993. 211-220.
Doane, Mary Ann. “Film and the Masquerade: Theorizing the Female Spectator.” Film and Theory: An Anthology. Eds. Robert Stam and Toby Miller. Malden, MA: Blackwell,
2000. 495-509.
_________. “Woman’s Stake: Filming the Female Body.” Feminism and Film Theory. Ed.
Constance Penley. New York: Routledge, 1988. 216-228.
Dyer, Richard. “Stereotyping.” Gays and Film. Ed. Richard Dyer. London: British Film Institute, 1984. 27-39.
_________. “White” Film and Theory: An Anthology. Eds. Robert Stam and Toby Miller. Malden, MA: Blackwell, 2000. 733-751.
Espinosa, Julio García. “For an Imperfect Cinema.” Film and Theory: An Anthology. Eds. Robert Stam and Toby Miller. Malden, MA: Blackwell, 2000. 287-297.
Gaines, Jane. “White Privilege and Looking Relations: Race and Gender in Feminist Film Theory.” Film and Theory: An Anthology. Eds. Robert Stam and Toby Miller. Malden, MA: Blackwell, 2000. 715-732.
Hall, Stuart. “Cultural Identity and Cinematic Representation.” Film and Theory: An Anthology.
Eds. Robert Stam and Toby Miller. Malden, MA: Blackwell, 2000. 704-714.
_________. “Encoding/Decoding.” In The Cultural Studies Reader. Ed. Simon During. New York: Routltedge, 1993. 90-103.
hooks, bell. “The Oppositional Gaze: Black Female Spectators.” Film and Theory: An Anthology.
Eds. Robert Stam and Toby Miller. Malden, MA: Blackwell, 2000. 510-523.
Mulvey, Laura. “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ inspired by Duel in the 7 Sun.” Feminism and Film Theory. Ed. Constance Penley. New York: Routledge, 1988. 69-79.
_________. “Visual Pleasure and Narrative Cinema.” Narrative, Apparatus, Ideology. Ed. Philip Rosen. New York: Columbia University Press, 1986. 198-209.
Rodowick, D. N. “The Difficulty of Difference.” Feminism and Film. Ed. E. Ann Kaplan. New York: Oxford University Press, 2000. 181-202.
Shohat, Ella, and Robert Stam. “The Politics of Multiculturalism in the Postmodern Age.”
Unthinking Eurocentrism: Multiculturalism and the Media. New York: Routledge,
1994. 338-362.
Silverman, Kaja. World Spectators. Stanford: Stanford University Press, 2000.
Solanas, Fernando, and Octavio Gettino. “Towards a Third Cinema.” Film and Theory: An Anthology. Eds. Robert Stam and Toby Miller. Malden, MA: Blackwell, 2000. 265-286.

THE SCREENED IMAGE AND THE DIGITAL AND ELECTRONIC ARTS

Antin, David. “Video: The Distinctive Features of the Medium.” Video Culture: A Critical Investigation. Ed. John G. Hanhardt. New York: Gibbs M. Smith/Visual Studies
Workshop, 1986. 147-166.
Bellour, Raymond. “The Double Helix.” Electronic Culture: Technology and Visual
Representation. Ed. Timothy Druckrey. New York: Aperture Foundation, 1996. 173-208.
Bishop, Claire. Installation Art. London: Tate Publishing, 2005.
Bourriaud, Nicolas. Relational Aesthetics. Trans. Simon Pleasance and Fronza Woods. Dijon: Les Presses du Reel, 2002.
Derrida, Jacques, and Bernard Stiegler. Echographies of Television: Filmed Interviews. Trans. Jennifer Bajorek. Cambridge, UK: Polity Press, 2002
Doane, Mary Ann. The Emergence of Cinematic Time: Modernity, Contingency, the
Archive. Cambridge: Harvard University Press, 2002.
Foster, Hal. “An Archival Impulse.” October 110 (2004): 3-22.
Frampton, Hollis. On The Camera Arts and Consecutive Matters: The Writings of Hollis
Frampton. Ed. Bruce Jenkins. Cambridge, MA: MIT Press, 2009.
Friedberg, Anne. The Virtual Window: From Alberti to Microsoft. Cambridge, MA: MIT Press, 2006.
_________. Window Shopping: Cinema and the Postmodern. Berkeley: University of California Press, 1993.
Galloway, Alexander R. Protocol. Cambridge, MA: MIT Press, 2004.
Hansen, Mark B. N. New Philosophy for New Media. Cambridge, MA: MIT Press, 2004.
Hatfield, Jackie, ed. Experimental Film and Video: An Anthology. Eastleigh, UK: John Libbey Publishing: 2006.
Huyssen, Andreas. “Escape from Amnesia: The Museum as Mass Medium.” Twilight Memories: Marking Time in a Culture of Amnesia. New York: Routledge, 1995. 13-35.
Iles, Chrissie. “Between the Still and Moving Image.” Into the Light: The Projected Image in American Art 1964-1977. Ed. Chrissie Iles. New York: Whitney Museum of American 8 Art, 2001. 32-69.
Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: New York University Press, 2006.
Joselit, David. “No Exit: Video and the Readymade.” October 119 (2007): 37-45.
Krauss, Rosalind. “Video: The Aesthetics of Narcissism.” October 1 (1976): 50-64.
_________. A Voyage on the North Sea: Art in the Age of the Post-Medium Condition. New York: Thames & Hudson, 1999.
Mangolte, Babette. “Afterword: A Matter of Time.” Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson. Eds. Richard Allen and Malcolm Turvey. Amsterdam: Amsterdam University Press, 2003. 261-274.
Marchessault, Janine, and Susan Lord, eds. Fluid Screens, Expanded Cinema. Toronto: University of Toronto Press, 2007.
Marks, Laura. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham, NC: Duke University Press, 2000.
Massumi, Brian. Parables for the Virtual: Movement, Affect, Sensation. Durham, NC: Duke University Press, 2002.
Mellencamp, Patricia, ed. Logics of Television: Essays in Cultural Criticism. Bloomington, IN: Indiana University Press, 1990.
Munster, Anna. Materializing New Media: Embodiment in Information Aesthetics. Lebanon, N.H.: Dartmouth College Press, 2006.
Murray, Timothy. Digital Baroque: New Media Art and Cinematic Folds. Minneapolis, MN: University of Minnesota Press, 2008.
Nash, Mark. “Art and Cinema: Some Critical Reflections.” Art and The Moving Image: A Critical Reader. Ed. Tanya Leighton. London: Tate Publishing, 2008. 444-459.
Owens, Craig. “The Discourse of Others: Feminists and Postmodernism.” The Anti-Aesthetic: Essays on Postmodern Culture. Ed. Hal Foster. Port Townsend, WA: Bay Press, 1983. 57-82.
Rabinovitz, Lauren. “The Meanings of the Avant-Garde.” Points of Resistance: Women, Power & Politics in the New York Avant-garde Cinema, 1943-71. Urbana, IL: University of Illinois, 1991. 13-36.
Rodowick, D. N. Reading the Figural, or, Philosophy after the New Media. Durham, NC: Duke University Press, 2001.
_________. The Virtual Life of Film. Cambridge, MA: Harvard University Press, 2007.
“Round Table: The Projected Image in Contemporary Art.” October 104 (2003): 71-96.
Rush, Michael. Video Art. London: Thames & Hudson, 2003.
Smithson, Robert. “A Cinematic Atopia (1971).” Robert Smithson: The Collected Writings. Berkeley: University of California Press, 1996. 138-142.
Sobchack, Vivian. “The Scene of the Screen: Envisioning Cinematic and Electronic ‘Presence’.”Materialities of Communication. Eds. Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer.
Trans. William Whobrey. Stanford: Stanford University Press, 1994. 83-106.
_________. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley: University of California Press, 2004.
Thorburn, David, Henry Jenkins, and Brad Seawell. Rethinking Media Change: The Aesthetics of 9 Transition. Cambridge, MA: MIT Press, 2003.
Walley, Jonathan. “The Material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film.” October 103 (2003): 15-30.
Wardrip-Fruin, Noah, and Nick Montfort, eds. The New Media Reader. Cambridge, MA: MIT Press, 2003.
Weber, Samuel, and Alan Cholodenko. Mass Mediauras: form, technics, media. Stanford, CA: Stanford University Press, 1996.
Wollen, Peter. “The Two Avant-Gardes.” Readings and Writings: Semiotic Counter-Strategies. London: Verso, 1982. 92-104.
Youngblood, Gene. Expanded Cinema. New York: Dutton, 1970.

PHILOSOPHY AND FILM AND VISUAL STUDIES

Baudrillard, Jean. Simulacra and Simulation. Trans. Sheila Faria Glaser. Ann Arbor, MI:
University of Michigan Press, 1994.
Cavell, Stanley. The World Viewed; Reflections on the Ontology of Film. New York: Viking Press, 1971.
Debord, Guy. The Society of the Spectacle. Trans. Donald Nicholson-Smith. New York: Zone Books, 1995
Deleuze, Gilles. Cinema 1: The Movement-Image. Trans. Hugh Tomlinson and Barbara
Habberjam. London: Athlone, 2009.
_________. Cinema 2: The Time-Image. Trans. Hugh Tomlinson and Robert Galeta. London: Continuum, 2005.
_________. Foucault. Trans. Seàn Hand. Minneapolis: University of Minnesota Press, 1988.
_________. Francis Bacon. The Logic of Sensation. Trans. Daniel W. Smith. London:
Continuum, 2003.
_________. The Fold: Leibniz and the Baroque. Trans. Tom Conley, Minneapolis, MN:
University of Minnesota Press, 1993. ix-xx; 3-13; 27-38.
Heidegger, Martin. “The Question Concerning Technology.” The Question Concerning
Technology and Other Essays. Trans. William Lovitt. New York: Harper & Row, 1977. 3-
35.
Lyotard, Jean-Francois. Discourse, Figure. Trans. Antony Hudek and Mary Lydon. Minneapolis, MN: University of Minnesota Press, 2011.
Merleau-Ponty, Maurice. The Visible and the Invisible: followed by working notes. Ed. Claude Lefort. Trans. Alphonso Lingis. Evanston, IL: Northwestern University Press, 1968.
Rajchman, John. “Deleuze’s Time, or How the Cinematic Changes our Idea of Art.” Art and The Moving Image. Ed. Tanya Leighton. London: Tate Publishing, 2008. 307-327.
Rancière, Jacques. The Emancipated Spectator. Trans. Gregory Elliott. London: Verso, 2009.
_________. The Future of the Image. Trans. Gregory Elliott. London: Verso, 2007.
Rodowick, D. N. “An Elegy for Theory.” October 122 (2007): 91-109.
Sobchack, Vivian. “Phenomenology and the Film Experience.” Viewing Positions: Ways of Seeing. Ed. Linda Williams. New Brunswick, NJ: Rutgers University Press, 1997. 36-58. 10
_________. The Address of the Eye: A Phenomenology of Film Experience. Princeton, N.J.: Princeton University Press, 1992.
Virilio, Paul. The Aesthetics of Disappearance. Trans. Philip Beitchman. New York: Semiotext(e), 1991.
_________. War and Cinema: The Logistics of Perception. Trans. Patrick Camiller. London: Verso, 1989.