Skip to main content
“Bibliography” in “Self-Projection”
Bibliography
- Almodóvar, Pedro. Almodóvar on Almodóvar. Edited by Frédéric Strauss. Translated by Yves Baignères and Sam Richaud. London: Faber and Faber, 2006.
- Almodóvar, Pedro. http://www.clubcultura.com/clubcine/clubcineastas/almodóvar/malaeducacion/comentarios.htm.
- Arnheim, Rudolf. Film. Translated by L. M. Sieveking. London: Faber and Faber, 1933.
- Balázs, Béla. Theory of the Film: Character and Growth of a New Art. Translated by Edith Bone. New York: Dover, 1952; reprinted New York: Arno Press, 1972.
- Baecque, Antoine de, and Serge Toubiana. Truffaut: A Biography. Translated by Catherine Temerton. Berkeley. University of California Press; New York: Alfred A. Knopf, 1999.
- Baron, Cynthia, Diane Carson, and Frank P. Tomasulo. More Than a Method. Detroit: Wayne State University Press, 2004.
- Barthes, Roland. Camera Lucida. Translated by Richard Howard. New York: Farrar, Straus, and Giroux, 1981.
- Barthes, Roland. “The Death of the Author.” In Image—Music—Text. Translated by Stephen Heath, 142–48. New York: Farrar, Straus, and Giroux, 1977.
- Basoli, A. G. “The Wrath of Klaus Kinski: An Interview with Werner Herzog.” Cineaste 24, no. 4 (1999): 32.
- Bazin, André. “The Ontology of the Photographic Image.” In What Is Cinema? Translated and edited by Hugh Gray, 2 vols. Berkeley: University of California Press, 1967; 1971.
- Bergman, Ingmar. Bergman on Bergman. Translated by Paul Britten Austin. New York: Simon and Schuster, 1973.
- Bergman, Ingmar. Bilder. Stockholm: Norstedts, 1990; Images: A Life in Film. Translated by Marianne Ruuth. New York: Arcade, 1994.
- Bergman, Ingmar. Den goda viljan. Stockholm: Norstedts, 1991; Best Intentions. Translated by Joan Tate. New York: Arcade, 1993.
- Bergman, Ingmar. Enskilda samtal. Stockholm: Norstedts, 1996; Private Confessions. Translated by Joan Tate. New York: Arcade, 1997.
- Bergman, Ingmar. Femte akten. Stockholm: Norstedts, 1994; The Fifth Act. Translated by Joan Tate and Linda Haverty Rugg. New York: New Press, 2001.
- Bergman, Ingmar. Laterna Magica. Stockholm: Norstedts, 1987; The Magic Lantern. Translated by Joan Tate. Chicago: University of Chicago Press, 2007.
- Bird, Robert. Andrei Tarkovsky: Elements of Cinema. London: Reaktion Books, 2008.
- Björkman, Stig, Torsten Manns, and Jonas Sima. Bergman on Bergman: Interviews with Ingmar Bergman. Translated by Paul Britten Austen. New York: Simon and Schuster, 1973.
- Blackwell, Marilyn Johns. Gender and Representation in the Films of Ingmar Bergman. Columbia, S.C.: Camden House, 1997.
- Blackwell, Marilyn Johns. Persona: The Transcendent Image. Chicago: University of Illinois Press, 1986.
- Bloom, Harold. The Anxiety of Influence. Oxford: Oxford University Press, 1973.
- Bordwell, David. Narration in the Fiction Film. Madison: University of Wisconsin Press, 1985.
- Botvinick, M., and J. Cohen. “Rubber Hands ‘Feel’ Touch That Eyes See.” Nature 391 (February 19, 1998), 756.
- Braudy, Leo. “Acting: Stage vs. Screen.” In The World in a Frame, 419-25. New York: Doubleday, 1976.
- Bresson, Robert. Notes sur la cinématographie. Paris: Gallimard, 1975.
- Bruss, Elizabeth. “Eye for Eye: Making and Unmaking Autobiography in Film.” In Autobiography: Essays Theoretical and Critical. Edited by James Olney, 296-320. Princeton: Princeton University Press, 1980.
- Bush, Lyell. “The Enigma of Werner Herzog,” http://www.moviemaker.com/issues/16/herzog/16_herzog.xhtml.
- Caughie, John. Theories of Authorship: A Reader. Boston: Routledge and Keagan Paul, 1981.
- Codell, Julie. “Playing Doctor: François Truffaut’s L’Enfant Sauvage and the Auteur/Autobiographer as Impersonator.” Biography 29, no. 1 (Winter 2006): 101-22.
- Corrigan, Timothy. Cinema without Walls: Movies and Culture after Vietnam. New Brunswick, N.J.: Rutgers University Press, 1991.
- Couser, G. Thomas. Signifying Bodies: Disability in Contemporary Life Writing. Ann Arbor: University of Michigan Press, 2009.
- Damasio, Antonio. The Feeling of What Happens: Body and Emotion in the Making of Consciousness. New York: Harcourt and Brace, 1999.
- Davidson, John E. Deterritorializing the New German Cinema. Minneapolis: University of Minnesota Press, 1999.
- DeCordova, Richard. Picture Personalities: The Emergence of the Star System in America. Urbana: University of Illinois Press, 1990.
- Dogma 95. “The Vow of Chastity,” http://pov.imv.au.dk/Issue_10/section_1/artc1A.xhtml.
- Doxtater, Amanda. “Perilous Performance: Dreyer’s Unity of Danger and Beauty,” http://english.carlthdreyer.dk/AboutDreyer/Working-method/Perilous-Performance.aspx,2010.
- Durovicová, Nataša. “Biograph as Biography: François Truffaut’s The Wild Child.” Wide Angle 7, no. 2 (1985): 126-35.
- Dyer, Richard. Stars. London: British Film Institute, 1979.
- Eakin, John Paul. Touching the World: Reference in Autobiography. Princeton: Princeton University Press, 1992.
- Egan, Susanna. “Encounters in Camera: Autobiography as Interaction.” Modern Fiction Studies 40, no. 3 (1994): 593-618.
- Egan, Susanna. Mirror Talk: Genres of Crisis in Contemporary Autobiography. Chapel Hill: University of North Carolina Press, 1999.
- Eisner, Lotte. The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt. Translated by Roger Graves. Berkeley: University of California Press, 1969.
- Elsaesser, Thomas. New German Cinema: A History. New Brunswick, N.J.: Rutgers University Press, 1989.
- Evernden, Neil. “Beyond Ecology: Self, Place, and the Pathetic Fallacy.” In Eco-criticism Reader: Landmarks in Literary Ecology, 92-104. Athens: University of Georgia Press, 1996.
- Flanagan, Mary. “Mobile Identities, Digital Stars, and Post Cinematic Selves.” Wide Angle 21, no. 1 (1999): 77-93.
- Fox, Alistair. Jane Campion: Authorship and Personal Cinema. Bloomington: Indiana University Press, 2011.
- Frampton, Daniel. Filmosophy. Brighton: Wallflower, 2006.
- Genette, Gérard. Paratexts: Thresholds of Interpretation. Translated by Jane E. Lewin. Cambridge: Cambridge University Press, 1997.
- Gerstner, David A., and Janet Staiger, eds. Authorship and Film. New York: Routledge, 2003.
- Gillain, Anne. François Truffaut: Le secret perdu. Paris: Hatier, 1991.
- Gillain, Anne. Le cinéma selon François Truffaut. Paris: Flammarion, 1988.
- Gillain, Anne. “The Script of Delinquency: François Truffaut’s Les 400 coups.” In French Film: Texts and Contexts. Edited by Susan Hayward and Ginette Vincendeau. New York: Routledge, 2000.
- Godard, Jean-Luc. “Bergmanorama.” Cahiers du cinema, no. 85 (July 1958): 1-5.
- Gorky, Maxim. “In the Kingdom of the Shadows.” Translated by Leda Swan. In Kino: A History of the Russian and Soviet Film. Edited by Jay Leyda, 407-9. London: George Allen and Unwin, 1960.
- Grant, Catherine. “Secret Agents: Feminist Theories of Women’s Film Authorship.” Feminist Theory 2, no. 1 (April 2001): 113-30.
- Grodal, Torben. Embodied Visions: Evolution, Emotion, Culture, and Film. Oxford: Oxford University Press, 2009.
- Gunning, Tom. D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph. Urbana: University of Illinois Press, 1991.
- Gunning, Tom. The Films of Fritz Lang: Allegories of Vision and Modernity. London: British Film Institute, 2000.
- Hansen, Miriam. “‘With Skin and Hair’: Krakauer’s Theory of Film, Marseilles 1940.” Critical Inquiry 19, no. 3 (1993): 437-69.
- Haverty [Rugg], Linda. “Strindbergman: The Problem of Filming Autobiography in Bergman’s Fanny and Alexander.” Literature/Film Quarterly 16, no. 3 (1988): 174-80.
- Hayles, N. Katherine. How We Became Post-Human: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press, 1999.
- Hayles, N. Katherine. My Mother Was a Computer. Chicago: University of Chicago Press, 2005.
- Hedren, Tippi. Interview televised by Santa Clarita Valley television, March 6, 2005: http://www.scvtv.com/html/sg030605-nm.xhtml.
- Herzog, Werner, Eroberung des Nutzlosen [Conquering the Useless]. Munich: Carl Hanser Verlag, 2004.
- Herzog, Werner. Vom Gehen im Eis [Of Walking in Ice]. Translated by Marje Herzog and Alan Greenberg. London: Jonathan Cape, 1978.
- Holland, Owen. “A Strongly Embodied Approach to Machine Consciousness.” Journal of Consciousness Studies 14, no. 7 (2007): 97-110.
- Horton, Andrew. Buster Keaton’s Sherlock Jr. Cambridge: Cambridge University Press, 1997.
- Johnson, Barbara. “Bringing Out D.A. Miller.” NARRATIVE 10, no. 1 (January 2002): 3-8.
- Kawin, Bruce. Mindscreen: Bergman, Godard, and First-Person Film. Princeton: Princeton University Press, 1978.
- Kinder, Marsha. “Designing a Database Cinema.” In Future Cinema: The Cinematic Imaginary after Film. Edited by Jeffrey Shaw and Peter Weibel, 346-53. Cambridge, Mass.: MIT Press, 2003.
- Kinder, Marsha. “Reinventing the Fatherland: Almodóvar’s Brain Death Trilogy.” Film Quarterly 58, no. 2 (Winter 2004-5): 9-25.
- Kinski, Klaus. All I Need Is Love. New York: Random House, 1988.
- Klawans, H. Defending the Cavewoman and Other Tales of Evolutionary Neurology. New York: W. W. Norton, 2000.
- Klinger, Barbara. “The DVD Cinephile: Viewing Heritages and Home Film Culture.” In Film and Television after DVD. Edited by James Bennett and Tom Brown, 19-44. New York: Routledge, 2008.
- Kolker, Robert P. “The Moving Image Reclaimed.” Postmodern Culture 5, no. 1 (1994), http://muse.jhu.edu/journals/postmodern_culture/v005/5.1kolker.xhtml.
- Koskinen, Maaret. Spel och speglingar: En studie i Ingmar Bergmans filmiska estetik (Mirrors and Mirroring). Stockholm: Stockholm University Press, 1993.
- Kuleshov, Lev. “The Principles of Montage [1935].” In Kuleshov on Film. Edited by Ron Levaco, 183-95. Berkeley: University of California Press, 1974.
- Lane, Jim. The Autobiographical Documentary in America from the 1960s to the Present. Madison: University of Wisconsin Press, 2002.
- Lax, Eric. Woody Allen: A Biography. New York: Alfred A. Knopf, 1991.
- Lejeune, Philippe. “Cinéma et autobiographie: Problèmes de vocabulaire.” Revue belge du cinéma 19 (1987): 7-14.
- Lejeune, Philippe. Le pacte autobiographique. Paris: Seuil, 1975. On Autobiography. Edited by John Paul Eakin. Translated by Katherine Leary. Minneapolis: University of Minnesota Press, 1989.
- Levasseur, Audrey. “Film and Video Self-Biographies.” Biography 23, no. 1 (Winter 2000): 176-92.
- Livingston, Paisley. Ingmar Bergman and the Rituals of Art. Ithaca: Cornell University Press, 1982.
- Lunde, Arne Olav. Nordic Exposures: Scandinavian Identities in Classical Hollywood Cinema. Seattle: University of Washington Press, 2010.
- MacCabe, Colin. The Eloquence of the Vulgar. London: BFI, 1999.
- Malson, Lucien. Les enfants sauvages: Mythe et réalité. Suivi de Mémoire et rapport sur Victor de l’Aveyron par Jean Itard. Paris: Union générale d’éditions, 1964.
- Marks, Laura U. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham: Duke University Press, 2000.
- Mayne, Judith. The Woman at the Keyhole: Feminism and Women’s Cinema. Bloomington: Indiana University Press, 1990.
- Mein liebster Feind (Kinski: My Best Fiend), DVD directed by Werner Herzog. Englewood, Colo.: Starz, 1999; Anchor Bay Films, 2000.
- Merkin, Daphne. “An Independent Woman.” New York Times Magazine, January 21, 2001, 34-37.
- Metzinger, Thomas. Being No One: The Self-Model Theory of Subjectivity. Cambridge, Mass.: MIT Press, 2003.
- Miller, D. A. “Bringing Out Roland Barthes.” Raritan 11, no. 4 (Spring 1992): 38-50.
- Miller, D. A. 8%, BFI Film Classics. New York: Palgrave Macmillan, 2008.
- Miller, D. A. “Hitchcock’s Hidden Pictures.” Critical Inquiry 37, no. 1 (Autumn 2010): 106-30.
- Miller, D. A. “Vertigo.” Film Quarterly 62, no. 2 (2008): 12-18.
- Morgan, Daniel. “Rethinking Bazin: Ontology and Realist Aesthetics.” Critical Inquiry 32, no. 3 (Spring 2006): 443-81.
- Morgan, Peter. “‘A Presence . . . called Germany’: Personal History in the Construction of National Identity by Post-War German Intellectuals: Three Case-Studies.” Journal of European Studies (September 1996): 239-66.
- Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” In Visual and Other Pleasures, 14-28. Bloomington: Indiana University Press, 1989.
- Murray, Rebecca. “Screenwriter Zak Penn Makes His Directorial Debut in Incident at Loch Ness,” http://movies.about.com/od/directorinterviews/a/lochness102404.htm.
- Naremore, James. Acting in the Cinema. Berkeley: University of California Press, 1990.
- Ninka, 33 Portrætter. Copenhagen: Rhodos, 1969.
- Oria Gómez, Beatriz. “The Importance of Being Famous: Romance and Self-Identity in Woody Allen’s Celebrity.” Revista de Estudios Noteamericanos 12 (2007): 83-98.
- Prager, Brad. The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth. New York: Wallflower Press, 2007.
- Renov, Michael. The Subject of Documentary. Visible Evidence 16. Series edited by Michael Renov, Faye Ginsburg, and Jane Gaines. Minneapolis: University of Minnesota Press, 2004.
- Rentschler, Eric. West German Cinema in the Course of Time: Reflections on the Twenty Years since Oberhausen. Bedford Hills, N.Y.: Redgrave, 1984.
- Roscoe, Jane, and Craig Hight. Faking It: Mock-Documentary and the Subversion of Factuality. New York: Manchester University Press, 2001.
- Rugg, Linda Haverty. Picturing Ourselves: Photography and Autobiography. Chicago: University of Chicago Press, 1997.
- Sandberg, Mark. “Tracking Out: ‘The Bergman Film’ in Retrospect.” Review Essay. Scandinavian Studies 69, no. 3 (Summer 1997): 357-75.
- Sarris, Andrew. “Notes on the Auteur Theory in 1962.” Film Culture 27, nos. 1-8 (1962-63).
- Seguin, Jean-Claude. “El espacio-cuerpo en el cine: Pedro Almodóvar o la modificación.” In Almodóvar: El cine como pasion. Edited by Fran A. Zurian and Carmen Vazquez Varela, 229-42. Cuenca: Ediciones de la Universidad de Castilla-La Mancha, 2005.
- Shaviro, Steven. Post-Cinematic Affect. Winchester: Zero Books, 2001.
- Shepherd, Paul. “Ecology and Man: A Viewpoint.” Introduction to The Subversive Science. Edited by P. Shepherd and D. McKinley. New York: Houghton Mif-flin, 1969.
- Silverman, Kaja. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana University Press, 1988.
- Silverman, Kaja. The Threshold of the Visible World. New York: Routledge, 1996.
- Smith, Sidonie. Subjectivity, Identity, and the Body: Women’s Autobiographical Practices in the Twentieth Century. Bloomington: Indiana University Press, 1993.
- Sobchak, Vivian. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley. University of California Press, 2004.
- Sperb, Jason. The Kubrick Façade: Faces and Voices in the Films of Stanley Kubrick. Lanham, Md.: Scarecrow Press, 2006.
- Steene, Birgitta. Ingmar Bergman: A Reference Guide. Amsterdam: Amsterdam University Press, 2005.
- Stewart, Garrett. Between Film and Screen: Modernism and Photo Synthesis. Chicago: University of Chicago Press, 2000.
- Stewart, Garrett. “Vitagraphic Time.” Biography 29, no. 1 (Winter 2006): 159-92.
- Strindberg, August. A Dream Play. In Five Plays. Translated by Harry G. Carlson. New York: New American Library, 1983.
- Synessios, Natasha. Mirror. London: I. B. Tauris, 2001.
- Tarkovsky, Andrei. Sculpting in Time: Reflections on the Cinema. Translated by Kitty Hunter-Blair. New York: Alfred A. Knopf, 1987.
- Trachtenberg, Alan. Reading American Photographs: Images as History, Mathew Brady to Walker Evans. New York: Hill and Wang, 1989.
- Truffaut, François. The Adventures of Antoine Doinel: Four Screenplays by François Truffaut. Translated by Helen G. Scott. New York: Simon and Schuster, 1971.
- Truffaut, François. The Films in My Life. Translated by Leonard Mayhew. New York: Simon and Schuster, 1978.
- Truffaut, François. Truffaut by Truffaut. Translated by Robert Erich Wolf. New York: Harry N. Abrams, 1987.
- Truffaut, Françoise, with Alfred Hitchcock and Helen G. Hunt. Hitchcock. New York: Simon and Schuster, 1985.
- Tsakiris, M., and Haggard, P. “The Rubber Hand Illusion Revisited: Visuotactile Integration and Self-Attribution.” Journal of Experimental Psychology: Human Perception and Performance 31, no. 1. (2005): 80-91.
- Turvey, Malcolm. “Vertov: Between the Organism and the Machine.” October 121 (Summer 2007): 5-18.
- Ullmann, Liv. Changing. Translated by Liv Ullmann, Gerry Bothmer, and Erik Friis. New York: Alfred A. Knopf, 1977.
- Vertov, Dziga. We: A Version of a Manifesto. 1922. In The Film Factory: Russian and Soviet Cinema in Documents, 1896-1939. Edited by Ian Christie and Richard Taylor, 69-71. New York: Routledge, 1994.
- Vroman, Lavender. “Tippi Hedren Airs Out Her Early Acting Days, Wildlife Preservation.” Antelope Valley Press, September 30, 2004.
- Weisberg, Josh. “Being All That We Can Be: A Critical Review of Thomas Metzinger’s Being No One: The Self-Model Theory of Subjectivity.” Journal of Consciousness Studies 10, no. 11 (2003): 89-96.
- Widdicombe, Kristy. “The Contemporary Auteur: An Interview with Sally Potter,” http://www.bfi.org.uk/filmtvinfo/publications/16+/potter.xhtml.
- Wollen, Peter. Signs and Meanings in the Cinema. London: Secker and Warburg/British Film Institute, 1987.
Manifold uses cookies
We use cookies to analyze our traffic. Please decide if you are willing to accept cookies from our website. You can change this setting anytime in Privacy Settings.