1.
Braudy, Leo, Cohen, Marshall. Film theory and criticism: introductory readings. 5th ed. New York ; Oxford: Oxford University Press; 1999.
2.
Stam, Robert. Film theory: an introduction. Malden, Mass: Blackwell; 2000.
3.
Münsterberg H. Part I: The Psychology of the Photoplay. In: Hugo Münsterberg on film: The photoplay-- a psychological study and other writings. London: Routledge; 2002.
4.
Rodowick DN. Time and Memory, Orders and Powers. In: Gilles Deleuze’s time machine. Durham, NC: Duke U. P.; 1997.
5.
Sobchack V. What my fingers knew. Cinesthetic subject, or vision in the flesh. In: Carnal thoughts: embodiment and moving image culture [Internet]. Berkeley: University of California Press; 2004. Available from: http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://www.kentuk.eblib.com/patron/FullRecord.aspx?p=224220
6.
Plantinga C. Affective trajectories and synaesthesia. In: Moving viewers: American film and the spectator’s experience [Internet]. Berkeley, Ca: University of California Press; 2009. Available from: http://www.loc.gov/catdir/toc/ecip0826/2008035578.html
7.
Smith M. Introduction. In: Film theory and philosophy: aesthetics and the analytical tradition. Oxford: Clarendon; 1997.
8.
Horkheimer M, Adorno TW, Schmid Noerr G, Adorno TW. Dialectic of enlightenment: philosophical fragments. Stanford, Calif: Stanford University Press; 2002.
9.
Brecht B, Willett J. Brecht on theatre: the development of an aesthetic. Second edition. London: Methuen Drama; 1964.
10.
Noël Carroll. Film/Mind Analogies: The Case of Hugo Munsterberg. The Journal of Aesthetics and Art Criticism [Internet]. 1988;46(4):489–99. Available from: http://www.jstor.org.chain.kent.ac.uk/stable/431286
11.
Carter E, Livingstone R. Bela Balazs, Visible Man, or the Culture of Film (1924). Screen. 2007 Jan 1;48(1):91–108.
12.
D. N. Rodowick. An Elegy for Theory. October [Internet]. 2007;122:91–109. Available from: http://www.jstor.org.chain.kent.ac.uk/stable/40368491
13.
Malcolm Turvey. Theory, Philosophy, and Film Studies: A Response to D. N. Rodowick’s ‘An Elegy for Theory’. October [Internet]. 2007;122:110–20. Available from: http://www.jstor.org.chain.kent.ac.uk/stable/40368492
14.
Dreyer, Carl Theodor, Einhorn, Richard. The passion of Joan of Arc. Vol. Home vision cinema. France: Société générale des Films; 1928.
15.
Eisenstein, Sergei. The battleship Potemkin. USSR: First Studio Goskino; 1925.
16.
Vertov, Dziga. The man with a movie camera. USSR: VUFKU; 1928.
17.
De Sica, Vittorio. The bicycle thieves. Italy: Produzioni De Sica S.A.; 1948.
18.
Godard, Jean Luc. Contempt. Vol. The criterion collection. France: Rome-Paris Films, Paris, Films Concordia (Paris); 1963.
19.
Hitchcock, Alfred. Rear window. Vol. The Hitchcock collection (VO2700-VO2702). U.S.: Paramount; 1954.
20.
Resnais, Alain. Last year at Marienbad. France: Terra Film (Paris), Argos Films; 1961.
21.
Campion, Jane. The piano. Australia: Jan Chapman Productions; 1992.
22.
Dir: Lars von Trier. Dogville - DVD. [S.l.]: MGM Home Entertainment (Europe); 2004.
23.
Chaplin C. Charlie Chaplin: the Mutual films, Vol. 1: Behind the screen ; The rink ; Easy Street ; The cure ; The immigrant ; The adventurer. United States: Mutual Film Corporation; 1916.
24.
Griffith DW. Way down east. United States: D.W. Griffith; 1920.
25.
Ruttmann W. Berlin, symphony of a great city, [and], Opus 1. Vol. DVD videos. Germany: Fox-Europa Film; 1927.
26.
Von Sternberg J. The docks of New York. United States: Paramount Famous Lasky Corporation; 1928.
27.
Epstein J, Buñuel L, Poe EA, Poe EA. The fall of the House of Usher. France: Les Films Jean Epstein; 1928.
28.
Hitchcock A, Conrad J. Sabotage. Vol. Hitchcock, the British years. United Kingdom: Gaumont-British Picture Corporation; 1936.
29.
Hitchcock A, Stewart J. Rope. United States: Transatlantic Pictures Corporation, Warner Bros; 1948.
30.
Pudovkin, Vsevolod Illarionovich 1893-1953. The end of St.Petersburg. [Place of publication not identified]: Eureka Video; 2001.
31.
Eisenstein, Sergei 1898-1948. October 1917: ten days that shook the world. [Place of publication not identified]: Eureka Video; 2000.
32.
Kuleshov LV, Eisenstein GM, Aleksandrov GV. Landmarks of early Soviet films: Disc 1: [The extraordinary adventures of Mr. West in the land of the Bolsheviks ; Old and new]. United States: Flicker Alley; 2011.
33.
Vertov D. The man with a movie camera. USSR: VUFKU; 1928.
34.
Flaherty RJ. Nanook of the north. United States: Robert Flaherty; 1922.
35.
Welles O. Citizen Kane. United States: RKO Radio Pictures, Mercury Productions; 1941.
36.
Renoir J. The rules of the game. Vol. The criterion collection. France: Nouvelle Edition Française; 1939.
37.
Andersson R. Songs from the second floor. [United Kingdom]: Artificial Eye; 2011.
38.
Ford J. Stagecoach. Vol. The Classic John Wayne Collection. [United Kingdom]: De Agostini UK; 2006.
39.
Ford J. Young Mr. Lincoln. U.S.A.: Twentieth Century Fox Film Corporation; 1939.
40.
Von Sternberg J. Morocco. Vol. Universal Cinema classics. [United States]: Universal Studios; 2008.
41.
Von Sternberg J. Dishonored. Vol. Universal Cinema classics. [United States]: Universal Studios; 2008.
42.
Münsterberg H, Langdale A. Hugo Münsterberg on film: The photoplay-- a psychological study and other writings. New York: Routledge; 2002.
43.
Andrew, Dudley. The major film theories: an introduction. London: O.U.P.; 1976.
44.
Rushton, Richard, Bettinson, Gary. What is film theory?: an introduction to contemporary debates. Maidenhead, Berkshire: Open University Press; 2010.
45.
Etherington-Wright, Christine. & Doughty, Ruth. Understanding Film Theory: Theoretical and Critical Perspectives. [Place of publication not identified]: Palgrave Macmillan;
46.
Elsaesser, Thomas, Hagener, Malte. Film theory: an introduction through the senses. New York: Routledge; 2010.
47.
Arnheim, Rudolf, Arnheim, Rudolf. Film as art. Berkeley, Ca: U. of California P.; 1957.
48.
Eisenstein, Sergei, Leyda, Jay. Film form: essays in film theory. London: Harcourt Brace Jovanovich; 1949.
49.
Balázs, Béla, Carter, Erica, Balázs, Béla. Béla Balázs: early film theory : Visible man and The spirit of film. Vol. Film Europa : German cinema in an international context. New York: Berghahn Books; 2010.
50.
Frey, Mattias. ‘Cultural Problems of Classical Film Theory’. Screen [Internet]. Available from: http://df7sm3xp4s.search.serialssolutions.com/?V=1.0&N=100&L=DF7SM3XP4S&S=AC_T_B&C=screen (London)
51.
Kracauer, Siegfried, Quaresima, Leonardo. From Caligari to Hitler: a psychological history of the German film. Rev. and expanded ed. Oxford: Princeton University Press; 2004.
52.
Kracauer, Siegfried. Theory of film: the redemption of physical reality. Vol. Princeton paperbacks. Chichester: Princeton University Press; 1997.
53.
Bazin, André, Gray, Hugh. What is cinema? Berkeley: University of California Press; 71AD.
54.
Perkins, V. F. Film as film: understanding and judging movies. 1st Da Capo Press ed. New York: Da Capo Press; 1993.
55.
Mulvey, Laura. Visual and other pleasures. 2nd ed. Vol. Language, discourse, society. Houndmills, Basingstoke, Hampshire [England]: Palgrave Macmillan; 2009.
56.
Hansen, Miriam. Babel and Babylon: spectatorship in American silent film. Cambridge, Mass: Harvard U.P.; 1991.
57.
Mulvey, Laura. Death 24x a second: stillness and the moving image. London: Reaktion Books; 2006.
58.
Carroll N. Philosophical problems of classical film theory. Princeton, N.J.: Princeton University Press; 1988.
59.
Noël Carroll. Toward a Theory of Point-of-View Editing: Communication, Emotion, and the Movies. Poetics Today [Internet]. 1993;14(1):123–41. Available from: http://www.jstor.org.chain.kent.ac.uk/stable/1773144
60.
Abel R. French film theory and criticism: a history/anthology, 1907-1939. Princeton, N.J.: Princeton U.P.; 1988.
61.
Arnheim R. Film as art. [Place of publication not identified]: Faber & Faber; 1958.
62.
Arnheim R. Film as art. [Place of publication not identified]: Faber & Faber; 1958.
63.
Balázs B, Carter E, Balázs B. Béla Balázs: early film theory : Visible man and The spirit of film. Vol. Film Europa : German cinema in an international context. New York: Berghahn Books; 2010.
64.
Carter E, Livingstone R. Bela Balazs, Visible Man, or the Culture of Film (1924). Screen. 2007 Jan 1;48(1):91–108.
65.
Koch, Gertrud. Bela Balazs: The Physiognomy of Things. New German Critique [Internet]. (40). Available from: http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=5305088&site=ehost-live
66.
Turvey M. Doubting vision: film and the revelationist tradition [Internet]. Oxford: Oxford University Press; 2008. Available from: http://www.loc.gov/catdir/toc/ecip083/2007043642.html
67.
Bordwell D. The cinema of Eisenstein. Cambridge, Mass: Harvard University Press; 1993.
68.
Kuleshov LV. Kuleshov on film. Berkeley: University of California Press; 1974.
69.
Bordwell, David. The Idea of Montage in Soviet Art and Cinema. Cinema JournalJournal of the Society of Cinematologists (1961-1965);Cinema Journal [Internet]. 11(2). Available from: http://search.proquest.com.chain.kent.ac.uk/docview/1297999581/99D22C3A00DD415DPQ/4?accountid=7408
70.
Livingston P. Cinema, philosophy, Bergman: on film as philosophy [Internet]. Oxford: Oxford University Press; 2009. Available from: http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://dx.doi.org/10.1093/acprof:oso/9780199570171.001.0001
71.
Livingston P, Plantinga CR. The Routledge companion to philosophy and film [Internet]. London: Routledge; 2008. Available from: http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9780203879320
72.
Branigan E, Buckland W, editors. The Routledge encyclopedia of film theory [Internet]. London: Routledge, Taylor & Francis Group; 2014. Available from: http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9780203129227
73.
SMITH G. Moving Explosions: Metaphors of Emotion in Sergei Eisenstein’s Writings. Quarterly Review of Film and Video. 2004 Jan;21(4):303–15.
74.
Wilson GM. Seeing fictions in film: the epistemology of movies [Internet]. Oxford: Oxford University Press; 2011. Available from: http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://dx.doi.org/10.1093/acprof:oso/9780199594894.001.0001
75.
Carroll N. Interpreting the moving image. Vol. Cambridge studies in film. Cambridge: Cambridge University Press; 1998.
76.
Vertov D. Kino-eye: the writings of Dziga Vertov; ed A Michelson. [Place of publication not identified]: Pluto Press; 1984.
77.
Bazin A, Truffaut F. Jean Renoir. New York: Simon and Schuster; 1973.
78.
Bazin A, Estrée S d’. The cinema of cruelty: from Buñuel to Hitchcock. Truffaut F, editor. New York: Arcade publishing; 2013.
79.
Hansen MB. Cinema and experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno. Vol. Weimar and now. Berkeley, Calif: University of California Press; 2012.
80.
Adorno on mass culture by Thomas Andrae [Internet]. Available from: http://www.ejumpcut.org/archive/onlinessays/JC20folder/AdornoMassCult.html
81.
Klinger B. ‘Cinema/Ideology/Crititicism’ Revisited: The Progressive Text. Screen. 1984 Jan 1;25(1):30–44.
82.
Miriam Bratu Hansen. Benjamin’s Aura. Critical Inquiry [Internet]. 2008;34(2):336–75. Available from: http://www.jstor.org.chain.kent.ac.uk/stable/10.1086/529060
83.
Carroll N. Mystifying movies: fads & fallacies in contemporary film theory. New York: Columbia University Press; 1988.
84.
Modleski T. The women who knew too much: Hitchcock and feminist theory. New York: Methuen; 1988.
85.
Mulvey L. Visual and other pleasures [Internet]. Second edition. Vol. Language, discourse, society. Houndmills, Basingstoke, Hampshire [England]: Palgrave Macmillan; 2009. Available from: http://www.loc.gov/catdir/enhancements/fy0916/2009464439-b.html
86.
Andrew D, Joubert-Laurencin H. Opening Bazin: postwar film theory and its afterlife. New York: Oxford University Press; 2011.
87.
Bogue R. Deleuze on cinema. New York: Routledge; 2003.
88.
Pisters P. The neuro-image: a Deleuzian film-philosophy of digital screen culture. Vol. Cultural memory in the present. Stanford, California: Stanford University Press; 2012.
89.
Rodowick DN. Gilles Deleuze’s time machine. Vol. Post-contemporary interventions. Durham, NC: Duke U. P.; 1997.
90.
Carroll N. The philosophy of motion pictures [Internet]. Vol. Foundations of the philosophy of the arts. Malden, Mass: Blackwell Pub. Ltd; 2008. Available from: http://www.loc.gov/catdir/toc/ecip0718/2007019837.html
91.
Rushton R. Deleuzian spectatorship. Screen. 2009 Mar 1;50(1):45–53.
92.
Smith M. Engaging characters: fiction, emotion, and the cinema. Oxford: Clarendon Press; 1995.
93.
Sobchack V. The address of the eye: a phenomenology of film experience. Princeton, N.J.: Princeton University Press; 1992.
94.
Klinger B. The art film, affect and the female viewer: The Piano revisited. Screen. 2006 Jan 1;47(1):19–41.
95.
Corrigan, Timothy. A short guide to writing about film. 4th ed. Vol. The short guide series. New York ; London: Longman; 2001.