Bibliography for Film and Modernity (Paris version)

Abel, R. (1984). The Alternate Cinema Network, Paris qui dort. In French cinema: the first wave, 1915-1929 (pp. 241–275 and 377–380). Princeton U.P.

Abel, R. (2000). Discourse, narrative, and the subject of capital: Marcel L’Herbier’s L’Argent. In French film: texts and contexts (2nd ed, pp. 37–50). Routledge.

Abel, Richard. (1988). Photogénie and Company. In French film theory and criticism: a history/anthology, 1907-1939 (pp. 95–124). Princeton U.P.

Abel, Richard. (1994). The Rise of the Feature Film, 1911-1914. In The cine goes to town: French cinema, 1896-1914 (pp. 298–428). University of California Press.

Abel, Richard. (1996). Booming the Film Business: The Historical Specificity of Early French Cinema. In Silent film (pp. 109–124). Athlone.

Allain, Marcel & Feuillade, Louis. (1913). Fantômas. Société des Etablissements L. Gaumont.

Andrew, Dudley. (1995). Adolescents in an Adolescent Industry. In Mists of regret: culture and sensibility in classic French film (pp. 53–65). Princeton University Press.

Andrew, Dudley. (1997). Jules, Jim, and Walter Benjamin. In The image in dispute: art and cinema in the age of photography (1st ed, pp. 33–53). University of Texas Press.

Antliff, Mark & Leighten, Patricia Dee. (2001). Cubism and culture: Vol. World of art. Thames & Hudson.

Benjamin, Walter & Tiedemann, Rolf. (1999a). Paris, the Capital of the Nineteenth Century (Exposé of 1935). In The arcades project (pp. 3–13). Belknap Press.

Benjamin, Walter & Tiedemann, Rolf. (1999b). Arcades. In The arcades project (pp. 871–884). Belknap Press.

Berman, Marshall. (1983). Introduction: Modernity-Yesterday, Today and Tomorrow,. In All that is solid melts into air: the experience of modernity (pp. 15–36). Verso.

Bordwell, D. (n.d.). La Nouvelle Mission de Feuillade; or, What Was Mise-en-scène? Velvet Light Trap, 37. http://df7sm3xp4s.search.serialssolutions.com/?V=1.0&N=100&L=DF7SM3XP4S&S=AC_T_M&C=Velvet Light Trap

Bratu Hansen, M. (2004). Room-for-Play: Benjamin’s Gamble with Cinema. October, 109, 3–45.

Brender, R. (1984). Functions of Film Léger’s Cinema on Paper and Cellulose, 1913-25. Cinema Journal, 24(1), 41–64. http://df7sm3xp4s.search.serialssolutions.com/?C=Cinema Journal&s=AC_T_M&V=1.0&L=DF7SM3XP4S&submit=Find&C=&S=SC&N=10

Breton, Andre. (1969). Manifesto of Surrealism (1924). In Manifestoes of surrealism (pp. 1–48). University of Michigan Press.

Buñuel, Luis, Ivens, Joris, Metzner, Erno, Vance, William, & Leger, Ferdinand. (1924). Avant garde and experimental films: Vol. Les grands films classiques. [s.n.].

Burch, N., Brewster, B., & American Council of Learned Societies. (1990). Life to those shadows [Electronic resource]. University of California Press. http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://hdl.handle.net/2027/heb.08105

Callahan, Vicki. (2005). Louis Feuillade and the Cinema of Uncertainty. In Zones of anxiety: movement, Musidora, and the crime serials of Louis Feuillade: Vol. Contemporary approaches to film and television series (pp. 12–73). Wayne State University Press.

Cardinal, Roger & Short, Robert Stuart. (n.d.-a). The Surrealist Proposition. In Surrealism: permanent revelation: Vol. Studio Vista/Dutton picturebacks (pp. 32–36). Studio Vista.

Cardinal, Roger & Short, Robert Stuart. (n.d.-b). The Surrealist Sensibility. In Surrealism: permanent revelation: Vol. Studio Vista/Dutton picturebacks (pp. 54–61). Studio Vista.

Carné, Marcel. (1938). Hôtel du Nord. Impérial Film, SEDIF.

Charney, Leo & Schwartz, Vanessa R. (1995a). Cinematic Spectatorship before the Apparatus: The Public Taste for Reality in Fin-de-Siècle Paris. In Cinema and the invention of modern life (pp. 297–319). University of California Press.

Charney, Leo & Schwartz, Vanessa R. (1995b). Unbinding Vision. In Cinema and the invention of modern life (pp. 46–71). University of California Press.

Clair, R. (1988). Coeur Fidèle (1924). In French film theory and criticism: a history/anthology, 1907-1939 (pp. 303–305). Princeton U.P.

Clair, René. (1923). The crazy ray (Paris qui dort): Vol. Timeless video. Films Diamant.

Clair, René. (1930). Under the roofs of Paris: Vol. The criterion collection. Société des Films Sonores Tobis.

Clair, René & Auric, Georges. (1924). Entr’acte. Criterion.

Clark, T. J. (1999). Introduction to ‘The painting of modern life: Paris in the art of Manet and his followers’. In The painting of modern life: Paris in the art of Manet and his followers (Rev. ed, pp. 3–22). Thames & Hudson.

Conley, Tom. (2007). Icarian Cinema: Paris qui Dort. A Site of Immaculate Origin - a Film in Flux - Two Spatial Stories - Points of Comparison - Liberty: A Vanishing Point. In Cartographic Cinema. University of Minnesota Press. https://ebookcentral.proquest.com/lib/kentuk/detail.action?docID=331684

Crow, Thomas E. (1996). Modernism and Mass Culture in the Visual Arts. In Modern art in the common culture (pp. 3–38). Yale University Press.

Desnos, R. (1989). Spectacles of the Street—Eugène Atget (1928). In Photography in the modern era: European documents and critical writings, 1913-1940 (pp. 16–17). Metropolitan Museum of Art.

dir: Georges Melies . (1997). The Melomaniac. Arte Video.

dir: Jean Vigo. (1934). L’Atalante - DVD [1934]. New Yorker Films.

dir: Jean-Luc Godard. (n.d.). Bande A Part - DVD [1964]. Bfi.

dir: Louis Feuillade. (1915). Les Vampires - DVD. Artificial Eye.

dir: Marcel L’Herbier. (1928). L’Argent [1928] Masters of Cinema - DVD: Vol. Masters of Cinema. Eureka Entertainment.

Duchamp, M. (2005). Anemic Cinema. In Unseen Cinema: early American avant-garde film, 1894-1941. Anthology Film Archives.

Dulac, G. (1978). From Visual and Anti-visual Films; The Essence of Cinema: The Visual Idea;The Avant-Garde Cinema. In The Avant-garde film: a reader of theory and criticism; ed P Adams Sitney (pp. 31–48). New York U.P.

Dulac, Germaine. (1922). La Souriante Mme Beudet. In Smiling Madame Beudet, and, The seashell and the clergyman: Vol. Hollywood’s attic video. [s.n.].

Duvivier, Julien. (1936). Pépé le moko: Vol. Lazzaretti. Paris Film.

Duvivier, Julien & Gabin, Jean. (1937). Pépé le Moko. Paris Film Production.

Epstein, J. (1988). Magnification (1921). In French film theory and criticism: a history/anthology, 1907-1939 (pp. 235–240). Princeton U.P.

Epstein, Jean. (1923). Coeur fid̀ele: Vol. Masters of cinema. Pathé Consortium Cinéma.

Farmer, R. (2010). Jean Epstein. Http://Www.Sensesofcinema.Com/2010/Great-Directors/Jean-Epstein/ , 57. http://df7sm3xp4s.search.serialssolutions.com/?V=1.0&N=100&L=DF7SM3XP4S&S=AC_T_M&C=Senses of Cinema

Feuillade, Louis & Moget, Alain. (1915). Les vampires: accompagnement musical original au piano. Gaumont.

Fieschi, J.-A. (1968). The Difficulty of Being Jean-Luc Godard. In Jean-Luc Godard, a Critical Anthology (First Edition). E. P. Dutton.

Fischer, L. (2006). The Shock of the New’: Electrification, Illumination, Urbanization, and the Cinema. In Cinema and modernity (pp. 19–37). Rutgers University Press.

Flitterman-Lewis, S. (2000). Poetry of the unconscious: La Souriante Mme Beudet (1923) and La Coquille et le clergyman (1927). In French film: texts and contexts (2nd ed, pp. 7–24). Routledge. https://ebookcentral.proquest.com/lib/kentuk/detail.action?docID=1679214

Foucault, M. (1986). Nietzsche, Genealogy, History. In The Foucault reader: Vol. Peregrine book (pp. 76–100). Penguin.

Freeman, J. (1996). Léger’s Ballet mécanique. In Dada and surrealist film (1st MIT Press ed, pp. 28–45). MIT Press.

Garrity, H. A. (1992). Narrative Space in Julien Duvivier’s Pépé-le-Moko. The French Review, 65(4), 623–628. http://df7sm3xp4s.search.serialssolutions.com/?V=1.0&N=100&L=DF7SM3XP4S&S=AC_T_M&C=The French Review

Gaudreault, A. (1990). Film, Narrative, Narration: The Cinema of the Lumière Brothers. In Early cinema: space, frame, narrative (pp. 68–75). BFI Publishing.

Giddens, A. (1992). Modernity and Self-Identity: Self and Society in the Late Modern Age. In Art in modern culture: an anthology of critical texts (pp. 17–22). Phaidon P. in association with the Open University.

Godard, Jean Luc & British Film Institute. (1964). Bande à part: Vol. British Film Institute. Anouchka/Orsay.

Gorky, M. (1983). A Review of the Lumière Program at Nizhni-Novgorod . In Kino: a history of the Russian and Soviet film (3rd ed). Allen & Unwin.

Greenaway, Peter. (1989). Death in the Seine. Allarts TV Productions, Erato Films.

Gunning, T. (1989). An Aesthetic of Astonishment. Art and Text, Spring, 31–45. http://df7sm3xp4s.search.serialssolutions.com/?C=Art and Text&s=AC_T_M&V=1.0&L=DF7SM3XP4S&submit=Find&C=&S=SC&N=10

Gunning, T. (2006a). Modernity and Cinema. A Culture of Shocks and Flows. In Cinema and modernity (pp. 297–315). Rutgers University Press.

Gunning, T. (2006b). Modernity and Cinema: A Culture of Shocks and Flows. In Cinema and modernity (pp. 297–316). Rutgers University Press. http://quod.lib.umich.edu.chain.kent.ac.uk/cgi/t/text/text-idx?c=acls;idno=heb08039.0001.001

Harvey, David. (2003a). Consumerism, Spectacle, and Leisure. In Paris, capital of modernity. Routledge. http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://www.kentuk.eblib.com/patron/FullRecord.aspx?p=182818

Harvey, David. (2003b). Introduction to Paris, capital of modernity. In Paris, capital of modernity (pp. 1–22). Routledge. http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://www.kentuk.eblib.com/patron/FullRecord.aspx?p=182818

Hauptman, J. (1998). Imagining Cities. In Fernand Léger. Museum of Modern Art.

Judovitz, D. (1996). Anemic Vision in Duchamp: Cinema as Readymade. In Dada and surrealist film (1st MIT Press ed, pp. 46–57). MIT Press.

Kirsanoff, D. (1924). Menilmontant. In Avant-garde: experimental cinema of the 1920s and 1930s : films from the Raymond Rohauer collection. Kino on Video.

Kuenzli, Rudolf E. (1996). Introduction to Dada and surrealist film. In Dada and surrealist film (1st MIT Press ed, pp. 1–12). MIT Press.

MacOrlan, P. (1989). Preface to Atget Photographe de Paris. In Photography in the modern era: European documents and critical writings, 1913-1940 (pp. 41–50). Metropolitan Museum of Art.

McCabe, C. (2004). A Certain Tendency of French Film Production: The New Wave of Karina and Coutard. In Godard: a portrait of the artist at 70. Bloomsbury.

Melies, G. (1902). A Trip to the Moon. In Melies The Magician - DVD [1994]. Arte Video.

Méliès, G. (1903). The Monster. In Georges Melies: First Wizard of Cinema 1896-1913. Flicker Alley.

Méliès, G. (1904). The Mermaid. In Georges Melies: First Wizard of Cinema 1896-1913. Flicker Alley.

Michelson, A. (1979). Dr. Crase and Mr. Clair. October, 11, 30–53.

Neupert, R. J. (2007). A history of the French new wave cinema: Vol. Wisconsin studies in film (2nd ed) [Electronic resource]. University of Wisconsin Press. http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://lib.myilibrary.com?id=259471

Pagnol, M. (1988). Cinematurgy of Paris. In French film theory and criticism: a history/anthology, 1907-1939 Vol II (pp. 129–136). Princeton U.P.

Pomerance, M. & American Council of Learned Societies. (2006). Cinema and modernity [Electronic resource]. Rutgers University Press. http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://hdl.handle.net/2027/heb.08039

Potamkin, H. (1998). The French Cinema. In Close up, 1927-1933: cinema and modernism (pp. 57–64). Cassell.

Prouty, R. (1996). The Well-Furnished Interior of the Masses: Kirsanoff’s Menilmontant and the Streets of Paris. Cinema Journal, 36(1), 3–17. http://df7sm3xp4s.search.serialssolutions.com/?C=Cinema Journal&s=AC_T_M&V=1.0&L=DF7SM3XP4S&submit=Find&C=&S=SC&N=10

Rifkin, Adrian. (1993). Some Snapshots. In Street noises: Parisian pleasure, 1900-40 (pp. 88–136). Manchester U.P.

Ross, Kristin. (1995). La Belle Américaine. In Fast cars, clean bodies: decolonization and the reordering of French culture (pp. 15–70). MIT Press.

Schivelbusch, W. (2014). The railway journey: the industrialization of time and space in the 19th century [Electronic resource]. University of California Press. http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9780520957909

Simmel, G. (n.d.). The Metropolis and Mental Life. In The sociology of Georg Simmel (pp. 409–424). Free Press.

Singer, B. (1995). Hyperstimulus, and the Rise of Popular Sensationalism. In Cinema and the invention of modern life (pp. 72–101). University of California Press.

Slavin , D. H. (1998). French Colonial Film before and after Itto: From Berber Myth to Race War. French Historical Studies, 21(1), 125–155. http://df7sm3xp4s.search.serialssolutions.com/?V=1.0&N=100&L=DF7SM3XP4S&S=AC_T_M&C=French Historical Studies

Temple, Michael. (2005). Jean Vigo: Vol. French film directors. Manchester University Press.

Truffaut, F. (1976). A Certain Tendency of the French Cinema. In Movies and methods: an anthology (pp. 224–236). University of California Press.

Tsivian, Y. (2008). ’What Is Cinema? An Agnostic Answer. Critical Inquiry, 34(4), 754–776. http://df7sm3xp4s.search.serialssolutions.com/?V=1.0&N=100&L=DF7SM3XP4S&S=AC_T_M&C=Critical Inquiry

Turim, M. (1987). French Melodrama: Theory of a Specific History. In Cinema Journal (Vol. 39, Issue 3, pp. 307–327). http://df7sm3xp4s.search.serialssolutions.com/?C=Cinema Journal&s=AC_T_M&V=1.0&L=DF7SM3XP4S&submit=Find&C=&S=SC&N=10

Vigo, Jean. (1934). L’Atalante. Gaumont-Franco-Film-Aubert.

Vincendeau, Ginette & British Film Institute. (1998). A Classic French Film. In Pépé le Moko: Vol. BFI film classics (pp. 9–30). BFI Publishing.

Weber, Eugen. (1995). The hollow years: France in the 1930s. Sinclair-Stevenson.

Wiser, William. (1990). Last Rights, First Folly,Parade’s End, The Mood of 27, The Time of Transition,. In The crazy years: Paris in the twenties (pp. 7–22 and 182–200). Thames and Hudson.

Wiser, William. (2000). The twilight years: Paris in the 1930s (1st Carroll & Graf trade paperback ed). Carroll & Graf.

Bibliography for Film and Modernity (Paris version) BETA