B?KER
O’Pray, Michael: Avant-Garde Film: Forms, Themes and Passions. London: Wallflower Press, 2003
ONLINE
B?ker:
Denson, Shane & Julia Leyda, eds. (2016): Post-Cinema: Theorizing 21st-Century Film. Falmer: REFRAME Books. (Open access).
Kapitler
- 1.2: Steven Shaviro: Post-Continuity: An introduction.
- 2.2: Steven Shaviro: Post-Cinematic Affect
- 2.5: Shane Denson: Crazy cameras, discorrelated images, and the post-perceptual mediation of post-cinematic affect
Mulvey, Laura & Anna Backman Rogers, eds. (2015). Feminsms: Diversity, Difference and Multiplicity in Contemporary Film Cultures. Amsterdam: Amsterdam University Press. (Open access)
Kapitler:
- Ana Koivunen: The promise of touch: Turns to affect in feminist film theory. (pp. 97-110).
- Veronica Pravadelli: US independent women’s cinema, Sundance girls, and identity politics. (pp. 149-160).
- Martine Beugnet and Laura Mulvey: Film, corporeality, transgressive cinema: a feminist perspective. (pp. 187-202).
Bordwell, David (2006). The Way Hollywood Tells It: Story And Style In Modern Movies.Berkeley: University of California Press. Part II: A stylish style. In: (pp. 115-190). (UiO library access)
Gunning, Tom. “The Cinema of Attraction(s): Early film, its spectator and the avant-garde”. In Wanda Strauven, ed. (2006). The cinema of attractions reloaded. Amsterdam: Amsterdam University Press. (pp. 381-388) (Open access).
Schaefer, Eric: ‘Bold! Daring! Shocking! True!’: A history of exploitation films, 1919-1959. Durham: Duke University Press. Ch 2.”’A Hodge-Podge of Cuttings and Splicings’: The mode of production and the style of classical exploitation films”. (pp. 42-95) (UiO Library access).
Vernalis, Carol: Unruly Media: Youtube, music video, and the new digital cinema. Oxford: Oxford University Press. Introduction + Chapter 1-3. (UiO Library access).
Artikler:
Ciraulo, Dina (1998). “Narrative style in Oscar Micheaux's Within our gates.” Wide Angle20:4 pp. 75-91.
Green, J. Ronald (2010). “Sophistication under Construction: Oscar Micheaux's Infamous Sound Films”, Framework: The Journal of Cinema and Media, Vol. 51, No. 1 (SPRING 2010), pp. 151-163.
Knapp, Larry (2008). “Tony Scott and Domino — Say hello (and goodbye) to the postclassical”, Jump Cut: A Review of Contemporary Media, 50.
R?dje, Kjetil (2018): “Lens-Sense: On seeing a world as sensed by a camera”, Screening the Past, 13.
Sayad, Cecilia (2016). “Found-Footage Horror and the Frame’s Undoing”, Cinema Journal, 55:2, pp. 43-66.
Solanas, Fernando og Octavio Getino (1971) "Toward a Third Cinema", Cinéaste, Vol. 4, No. 3, Latin American militant cinema (Winter 1970-71), side 1-10.
White, Patricia (2008). “Lesbian minor cinema”, Screen, 49:4, pp. 410-425.
Williams, Linda (1991) "Film Bodies: Gender, Genre, and Excess", Film Quarterly, Vol. 44, No. 4 (Summer, 1991), side 2-13.
KOMPENDIUM
Bazin, André (2009) ”The Evolution of Film Language”, i What is Cinema?, oversatt av Timothy Barnard, Montreal: Caboose, s. 87-106, samt side 286-289.
Bordwell, David (2008 (1979)) ”The Art Cinema as a Mode of Film Practice” og ”Afterword”, i Poetics of Cinema, New York og London: Routledge, s. 151-169.
Bordwell, David og Kristin Thompson (2008) “Film Criticism: Sample Analyses”, i Film Art. An Introduction, 8th ed., New York: McGraw-Hill, s. 384-410.
Brown, William (2014) ”Minor Cinema”, i Edward Branigan og Warren Buckland (red.)The Routledge Encyclopedia of Film Theory, London og New York: Routledge, s. 290-294.
Elsaesser, Thomas og Warren Buckland (2002) “Film theory, methods, analysis”, i Thomas Elsaesser og Warren Buckland Studying American Film. A Guide to Movie Analysis, London: Hodder Arnold, s. 1-25.
Frampton, Daniel (2006). “Introduction”, i Filmosophy, London: Wallflower Press, s 1-11.
Geiger, Jeffrey og R. L. Rutsky (2005) “Introduction”, i Jeffrey Geiger og R. L. Rutsky (red.) Film Analysis, New York: W. W. Norton & Company, s. 17-40.
Gunning, Tom (2010 (2007)) ”Moving away from the Index: Cinema and the Impression of Reality”, i Marc Furstenau (red.) The Film Theory Reader. Debates and Arguments, London og New York: Routledge, s. 255-269.
Hadjioannou, Markos (2012). “The reality of the index, or where does the truth lie”, i From Light to Byte: Toward an ethics of digital cinema, Minneapolis: University of Minnesota Press, s. 39-70.
Heath, Stephen (1981): “Narrative Space”, i Questions of Cinema, Bloomington: Indiana University Press, s. 19-75.
Lauretis, Teresa de’. ?Rethinking Women’s Cinema: Aesthetics and Feminist Theory?. I Film and Theory: An Anthology. Robert Stam og Toby Miller, red. Malden: Blackwell, 2000. 317–36.
Metz, Christian (1974) ”On the Impression of Reality in the Cinema”, i Film Language. A Semiotics of the Cinema, oversatt av Michael Taylor, New York: Oxford University Press, s. 3-15.
Nochimson, Martha P. (2004) ”’All I need is the girl’: The Life and Death of Creativity in Mulholland Drive”, i Erica Sheen og Annette Davison (red.) The Cinema of David Lynch. American Dreams, Nightmare Visions, London: Wallflower Press, s. 165-181.
Rhombes, Nicholas (2009): “Introduction” & “DV Humanism”, i Cinema in the digital age, London: Wallflower Press, s 1-12 og 25-30.
Rushton, Richard (2014) ”Counter-Cinema”, i Edward Branigan og Warren Buckland (red.) The Routledge Encyclopedia of Film Theory, London og New York: Routledge, s. 117-121.
R?dje, Kjetil (2017). “That Tingling Sensation: 1959 and William Castle’s The Tingler,” i Serge Guilbaut and John O’Brian (eds.): Breathless Days, 1959-1960, Durham: Duke University Press, s. 255-274.
Stam, Robert. ?Alternative Aesthetics: Introduction?. I Film and Theory: An Anthology. Robert Stam og Toby Miller, red. Malden: Blackwell, 2000. 257–64.
Sitney, P. Adams (2002) ”Structural film”, i Visionary Film, The American Avant Garde, 1943-2000, 3rd Edition, Oxford og New York: Oxford University Press, s. 347-370.
Sorfa, David (2014) ”Phenomenology and Film”, i Edward Branigan og Warren Buckland (red.) The Routledge Encyclopedia of Film Theory, London og New York: Routledge, s. 353-358.
Thompson, Kristin (1999). Storytelling in the New Hollywood. Cambridge: Harvard University Press. Side 1- 50.