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Литература

Глава 1. Теория до теории, 1915–1960

1. Abel, Richard, ed. French Film Theory and Criticism: A History/Anthology, Volume 1, 1907–1939. Princeton, NJ: Princeton University Press, 1988. 2. Aitken, Ian. European Film Theory and Cinema: A Critical Introduction. Bloomington, IN: Indiana University Press, 2001. 3. And’el, Jaroslav, ed. Art into Life: Russian Constructivism, 1914–1932. Seattle, WA: Henry Art Gallery, University of Washington, 1990. 4. Andrew, Dudley. André Bazin. New York: Columbia University Press, 1978. 5. Andrew, Dudley and Hervé Joubert-Laurencin, eds. Opening Bazin: Postwar Film Theory and Its Afterlife. New York: Oxford University Press, 2011. 6. Arnheim, Rudolf. Film as Art. Berkeley, CA: University of California Press, 1957. 7. Balàzs, Béla. Theory of the Film: Character and Growth of a New Art. Trans. Edith Bone. New York: Dover, 1970. 8. Béla Balàzs: Early Film Theory. Trans. Rodney Livingstone. Ed. Erica Carter. New York: Berghahn Books, 2010. 9. Bazin, André. What Is Cinema? Volume I. Trans. Hugh Gray. Berkeley, CA: University of California, 1967. 10. What Is Cinema? Volume II. Trans. Hugh Gray. Berkeley, CA: University of California, 1971. 11. Jean Renoir. Trans. W. W. Halsey II and William H. Simon. New York: Da Capo Press, 1973. 12. Bazin at Work: Major Essays and Reviews from the Forties and Fifties. Ed. Bert Cardullo. Trans. Alain Piette and Bert Cardullo. New York: Routledge, 1997. 13. Benjamin, Walter. Illuminations. Ed. Hannah Arendt. Trans. Harry Zohn. New York: Schocken. 1968. 14. The Origin of German Tragic Drama. Trans. John Osborne. New York: Verso, 1998. 15. Walter Benjamin: Selected Writings, Volume 2, 1927–1934. Eds. Michael W. Jennings, Howard Eiland, and Gary Smith. Cambridge, MA: Harvard University Press, 1999. 16. Walter Benjamin: Selected Writings, Volume 3, 1935–1938. Eds. Howard Eiland and Michael W. Jennings. Cambridge, MA: Harvard University Press, 2002. 17. Walter Benjamin: Selected Writings, Volume 4, 1938–1940. Eds. Howard Eiland and Michael W. Jennings. Cambridge, MA: Harvard University Press, 2003. 18. Bordwell, David. French Impressionist Cinema: Film Culture, Film Theory, and Film Style. New York: Arno Press, 1980. 19. Narration in the Fiction Film. Madison, WI: University of Wisconsin Press, 1985. 20. The Cinema of Eisenstein. New York: Routledge, 2005. 21. Bottomore, Tom, ed. A Dictionary of Marxist Thought. 2nd ed. Maiden, MA: Blackwell, 1998. 22. Brecht. Bertolt. Brecht on Theater: The Development of an Aesthetic. Ed. and trans. John Willett. New York: Hill and Wang, 1992. 23. Breton, André. Manifestos of Surrealism. Trans. Richard Seaver and Helen R. Lane. Ann Arbor, MI: Ann Arbor Paperbacks, University of Michigan, 1972. 24. Carroll, Noël. Film/Mind Analogies: The Case of Hugo Münsterberg // The Journal of Aesthetics and Art Criticism, Vol. 46, No. 4 (Summer 1988): 489–499. 25. Carroll, Noël. Medium Specificity Arguments and the Self-Consciously Invented Arts: Film, Video, and Photography // Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. 3–24. 26. Decherney, Peter. Hollywood and the Culture Elite: How the Movies Became American. New York: Columbia University Press, 2005. 27. Eisenstein, Sergei. The Eisenstein Reader. Trans. Richard Taylor and William Powell. Ed. Richard Taylor. London: BFI, 1998. 28. Epstein, Jean. The Intelligence of a Machine. Trans. Christophe Wall-Romana. Minneapolis, MN: Univocal. 2014. 29. Erlich, Victor. Russian Formalism: History — Doctrine. New York: Mouton Publishers, 1980. 30. Fredericksen, Donald. The Aesthetic of Isolation in Film Theory: Hugo Münsterberg. New York: Arno Press, 1977. 31. Grant, Barry Keith, ed. Auteurs and Authorship: A Film Reader. Maiden, MA: Blackwell, 2008. 32. Hammond, Paul, ed. The Shadow and Its Shadow: Surrealist Writings on the Cinema. Trans. Paul Hammond. San Francisco, CA: City Lights Books, 2000. 33. Hansen, Miriam Bratu. Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno. Berkeley, CA: University of California Press, 2012. 34. Higgins, Scott, ed. Arnheim for Film, and Media Studies. New York: Routledge, 2011. 35. Hillier, Jim, ed. Cahiers du Cinéma: The 1950s, Neo-Realism, Hollywood, New Wave. Cambridge, MA: Harvard University Press, 1985. 36. Horkheimer, Max and Theodor W. Adorno. Dialectical of Enlightenment: Philosophical Fragments. Trans. Edmund Jephcott. Stanford, CA: Stanford University Press, 2002. 37. Jay, Martin. The Dialectical Imagination: A History of the Frankfurt School and the Institute of Social Research, 1923–1950. Boston, MA: Little, Brown and Company, 1973. 38. Keller, Sarah and Jason N. Paul, eds. Jean Epstein: Critical Essays and New Translations. Amsterdam: Amsterdam University Press, 2012. 39. Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Film. Princeton, NJ: Princeton University Press, 1947. 40. The Mass Ornament: Weimar Essays. Ed. and trans. Thomas Y. Levin. Cambridge, MA: Harvard University Press, 1995. 41. Theory of Film: The Redemption of Physical Reality. Princeton, NJ: Princeton University Press, 1997. 42. Kuenzli, Rudolf, ed. Dada and Surrealist Film. Cambridge, MA: MIT Press, 2001. 43. Kuleshov, Lev. Kuleshov on Film: Writings of Lev Kuleshov. Trans. and ed. Ronald Levaco. Berkeley, CA: University of California Press, 1974. 44. Lindsay, Vachel. The Art of the Moving Picture. New York: Modern Library, 2000. 45. MacDonald, Dwight. A Theory of Mass Culture // Mass Culture: Popular Arts in America. Eds. Bernard Rosenberg and David Manning White. New York: Free Press, 1959. 46. Marcuse, Herbert. One-Dimensional Man: Studies in the Ideology of Advanced Industrial Society. Boston, MA: Beacon Press, 1964. 47. May, Lary. Screening Out the Past: The Birth of Mass Culture and the Motion Picture Industry. Chicago, IL: University of Chicago Press, 1980. 48. Mitchell, George. The Movies and Münsterberg // Jump Cut: A Review of Contemporary Media 27 (July 1982): 57–60. www.ejumpcut.org/archive/onlinessays/JC27folder/Munsterberg.html. 49. Morgan, Dan. Rethinking Bazin: Ontology and Realist Aesthetics // Critical Inquiry 32 (Spring 2006): 443–481. 50. Münsterberg, Hugo. Münsterberg on Film: The Photoplay: A Psychological Study and Other Writings. Ed. Allan Langdale. New York: Routledge, 2002. 51. Overbey, David, ed. Springtime in Italy: A Reader on Neo-Realism. Hamden, CT: Archon Books, 1979. 52. Peirce, Charles Sanders. Peirce on Signs: Writings on Semiotic by Charles Sanders Peirce. Ed. James Hoopes. Chapel Hill, NC: University of North Carolina Press, 1991. 53. Polan, Dana. Scenes of Instruction: The Beginnings of the U. S. Study of Film. Berkeley, CA: University of California Press, 2007. 54. Sarris, Andrew. The American Cinema: Directors and Directions 1929–1968. New York: Da Capo, 1996. 55. Shklovsky, Victor. Theory of Prose. Trans. Benjamin Sher. Elmwood Park, IL: Dalkey Archive Press, 1990. 56. Silver, Alain and James Ursini. Film Noir Reader. New York: Limelight Editions, 1996. 57. Taylor, Richard and Ian Christie, eds. The Film Factory: Russian and Soviet Cinema in Documents, 1896–1939. New York: Routledge, 1988. 58. Turvey, Malcolm. The Filming of Modern Life: European Avant-Garde Film of the 1920s. Cambridge, MA: MIT Press, 2011. 59. Vertov, Dziga. Kino-Eye: The Writings of Dziga Vertov. Trans. Kevin O’Brien. Ed. Annette Michelson. Berkeley, CA: University of California Press, 1984. 60. Wall-Romana, Christophe. Jean Epstein. New York: Manchester University Press, 2013. 61. Wasson, Haidee. Museum Movies: The Museum of Modern Art and the Birth of Art Cinema. Berkeley, CA: University of California Press, 2005. 62. Wiggershaus, Rolf. The Frankfurt School: Its History, Theories, and Political Significance. Trans. Michael Robertson. Cambridge, MA: MIT Press, 1994. 63. Winston, Brian. Claiming the Real: The Documentary Film Revisited. London: BFI. 2001.

Глава 2. Французская теория, 1949–1968

1. Althusser, Louis. Lenin and Philosophy and Other Essays. Trans. Ben Brewster. New York: Monthly Review, 2001. 2. Barthes, Roland. Mythologies. Trans. Annette Lavers. New York: Hill and Wang, 1972. 3. Image/Music/Text. Trans. Stephen Heath. New York: Hill and Wang, 1977. 4. Baudry, Jean-Louis. Ideological Effects of the Basic Cinematographic Apparatus. Trans. Alan Wilhanis // Film Quarterly, Vol. 28, No. 2 (Winter 1974–5): 39–47. 5. Baudry, Jean-Louis. The Apparatus: Metapsychological Approaches to the Impression of Reality in the Cinema. Trans. Jean Andrews and Bertrand Augst // Camera Obscura, Vol. 1, No. 1 (Fall 1976): 104–126. 6. Bellour, Raymond. The Analysis of Film. Ed. Constance Penley. Bloomington, IN: Indiana University Press, 2000. 7. Bergstroin, Janet, ed. Endless Night: Cinema and Psychoanalysis, Parallel Histories. Berkeley, CA: University of California Press. 1999. 8. Browne, Nick. The Rhetoric of Filmic Narration. Ann Arbor, MI: UMI Research Press, 1976. 9. Cahiers du cinéma editors. John Ford’s Young Mr. Lincoln. Trans. Helen Lackner and Diana Marias // Screen, Vol. 13, No. 3 (Autumn 1972): 5–44. 10. Clarke, Simon. The Foundations of Structuralism: A Critique of Lévi-Strauss and the Structuralist Movement. Sussex: Harvester Press. 1981. 11. Comolli, Jean-Louis and Jean Narboni. Cinema/Ideology/Criticism. Trans. Susan Bennett // Screen, Vol. 12, No. 1 (Spring 1971): 27–38. 12. Cusset, François. French Theory: How Foucault, Derrida, Deleuze, &Co. Transformed the Intellectual Life of the United States. Trans. Jeff Fort. Minneapolis, MN: University of Minnesota Press, 2008. 13. Dayan, Daniel. The Tutor-Code of Classical Cinema // Movies and Methods, Volume I. Ed. Bill Nichols. Berkeley, CA: University of California Press, 1976. 438–451. 14. Debord, Guy. The Society of the Spectacle. Trans. Donald Nicholson-Smith. New York: Zone Books, 1995. 15. Donald, James, Anne Friedberg, and Luara Macus, eds. Close Up 1927–1933: Cinema and Modernism. Princeton, NJ: Princeton University Press, 1998. 16. Dosse, François. History of Structuralism, Volume I: The Rising Sign, 1945–1966. Trans. Deborah Glassman. Minneapolis, MN: University of Minnesota Press, 1997. 17. During, Simon, ed. The Cultural Studies Reader. 3rd ed. New York: Routledge, 2010. 18. Eco, Umberto. Articulations of the Cinematic Code // Movies and Methods, Volume I. Ed. Bill Nichols. Berkeley, CA: University of California Press, 1976. 590–607. 19. Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. New York: Vintage Books, 1977. 20. Freud, Sigmund. The Freud Reader. Ed. Peter Gay. New York: W. W. Norton, 1989. 21. Gallop, Jane. Reading Lacan. Ithaca, NY: Cornell University Press, 1985. 22. Gitlin, Todd. The Sixties: Years of Hope, Days of Rage. New York: Bantam Books, 1987. 23. Graham, Peter and Ginette Vincendeau, eds. The French New Wave: Critical Landmarks. London: BFI, 2009. 24. Gramsci, Antonio. Selections from the Prison Notebooks. Eds. and trans. Quintin Hoare and Geoffrey Nowell Smith. New York: International Publishers, 2003. 25. Gutting, Gary. French Philosophy in the Twentieth Century. Cambridge: Cambridge University Press, 2001. 26. Hall, Stuart, Dorothy Hobson, Andrew Lowe, and Paul Willis, eds. Culture, Media, Language: Working Papers in Cultural Studies, 1972–79. New York: Routledge, 1996. 27. Harvey, Sylvia. May ’68 and Film Culture. London: BFI, 1980. 28. Heath, Stephen. Film and System: Terms of Analysis Part I // Screen, Vol. 16, No. 1 (Spring 1975): 7–77. 29. Heath, Stephen. Film and System: Terms of Analysis Part II // Screen, Vol. 16, No. 2 (Summer 1975): 91–113. 30. Home, Stewart, ed. What Is Situationism? A Reader. San Francisco, CA: AK Press, 1996. 31. James, David E. Allegories of Cinema: American Film in the Sixties. Princeton, NJ: Princeton University Press, 1989. 32. Jameson, Fredric. The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism. Princeton, NJ: Princeton University Press, 1972. 33. Kauppi, Niilo. French Intellectual Nobility: Institutional and Symbolic Transformations in the Post-Sartrian Era. New York: State University of New York Press, 1996. 34. Radicalism in French Culture: A Sociology of French Theory in the 1960s. Burlington, VT: Ashgate, 2010. 35. Lacan, Jacques. The Language of the Self: The Function of Language in Psychoanalysis. Trans. Anthony Wilden. Baltimore, MD: Johns Hopkins University Press, 1968. 36. Écrits: A Selection. Trans. Bruce Fink. New York: Hill and Wang, 2002. 37. Lévi-Strauss, Claude. Structural Anthropology. Trans. Claire Jacobson and Brooke Grundfest Schoepf. New York: Basic Books, 1963. 38. The Elementary Structures of Kinship. Trans. James Harle Bell, John Richard von Stunner, and Rodney Needham. Boston, MA: Beacon Press, 1969. 39. Lotringer, Sylvère and Sande Cohen, eds. French Theory in America. New York: Routledge, 2001. 40. MacCabe, Colin. Godard: A Portrait of the Artist at Seventy. New York: Faber and Faber, 2003. 41. Macey, David. Lacan in Contexts. New York: Verso, 1988. 42. Macksey. Richard and Eugenio Donate, eds. The Structuralist Controversy: The Languages of Criticism and the Sciences of Man. Baltimore, MD: Johns Hopkins University Press, 1972. 43. Marx, Karl. Karl Marx: Selected Writings. Ed. David McLellan. New York: Oxford University Press, 1977. 44. Metz, Christian. Film Language: A Semiotics of the Cinema. Trans. Michael Taylor. Chicago, IL: University of Chicago Press, 1974. 45. Language and Cinema. Trans. Donna Jean Umiker-Sebeok. The Hague: Mouton, 1974. 46. The Imaginary Signifier: Psychoanalysis and the Cinema. Trans. Celia Britton, Annwyl Williams, Ben Brewster, and Alfred Guzzetti. Bloomington, IN: Indiana University Press, 1982. 47. Miller, Jacques-Alain. Suture (Elements of the Logic of the Signifier). Trans. Jacqueline Rose // Screen, Vol. 18, No. 4 (Winter 1977): 24–34. 48. Oudart, Jean-Pierre. Cinema and Suture. Trans. Kari Hanet // Screen, Vol. 18, No. 4 (Winter 1977): 35–47. 49. Pasolini, Pier Paolo. The Cinema of Poetry. Trans. Marianne de Vettimo and Jacques Bontemps // Movies and Methods, Volume I. Ed. Bill Nichols. Berkeley, CA: University of California, 1976. 542–558. 50. Rodowick, D. N. The Crisis of Political Modernism: Criticism and Ideology in Contemporary Film Theory. Berkeley, СA: University of California, 1994. 51. Roudinesco, Elisabeth. Jacques Lacan. Trans. Barbara Bray. New York: Columbia University Press, 1997. 52. Sanders, Carol. The Cambridge Companion to Saussure. Cambridge: Cambridge University Press, 2004. 53. Saussure, Ferdinand de. Course in General Linguistics. Trans. Wade Baskin. Eds. Charles Bally and Albert Sechehaye. New York: McGraw-Hill, 1959. 54. Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983. 55. Spottiswoode, Raymond. A Grammar of the Film: An Analysis of Film Technique. Berkeley, CA: University of California Press, 1950. 56. Thompson, Duncan. Pessimism of the Intellect? A History of New Left Review. Monmouth: Merlin Press, 2007. 57. Turner, Graeme. British Cultural Studies: An Introduction. Boston, MA: Unwin Hyman, 1990. 58. Weber, Samuel. Return to Freud: Jacques Lacan’s Dislocation of Psychoanalysis. Trans. Michael Levine. Cambridge: Cambridge University Press, 1992. 59. Williams, Linda. Figures of Desire: A Theory and Analysis of Surrealist Film. Berkeley, CA: University of California Press. 1981.

Глава З. Скрин-теория, 1969–1996

1. Adams, Parveen and Elizabeth Cowie, eds. The Woman in Question: m/f. Cambridge, MA: MIT Press, 1990. 2. Altman, Rick. Film/Genre. London: BFI, 1999. 3. Bad Object-Choices, ed. How Do I Look? Queer Film and Video. Seattle, WA: Bay Press, 1991. 4. Barthes, Roland. S/Z: An Essay. Trans. Richard Miller. New York: Hill and Wang, 1974. 5. Baudrillard, Jean. Simulacra and Simulation. Trans. Sheila Faria Glaser. Ann Arbor, MI: University of Michigan Press, 1994. 6. Benshoff, Harry M. and Sean Griffin. Queer Images: A History of Gay and Lesbian Film in America. New York: Rowman and Littlefield, 2006. 7. Bhabha, Homi K. The Location of Culture. New York: Routledge, 1994. 8. Bolas, Terry. Screen Education: From Film Appreciation to Media Studies. Chicago, IL: Intellect, 2009. 9. Bordwell, David, Janet Staigen and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press, 1985. 10. Buckland, Warren. Film Theory: Rational Reconstructions. New York: Routledge, 2012. 11. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1999. 12. Chion, Michel. The Voice and Cinema. Trans. Claudia Gorbman. New York: Columbia University Press, 1999. 13. Clover, Carol J. Men, Women, and Chain Saws: Gender in the Modem Horror Film. Princeton, NJ: Princeton University Press, 1992. 14. Cowie, Elizabeth. Representing the Woman: Cinema and Psychoanalysis. Minneapolis, MN: University of Minnesota Press, 1997. 15. de Beauvoir, Simone. The Second Sex. Trans. Constance Borde and Sheila Malovany-Chevallier. New York: Vintage, 2011. 16. de Lauretis, Teresa. Alice Doesn’t: Feminism, Semiotics, Cinema. Bloomington, IN: Indiana University Press, 1984. 17. The Practice of Love: Lesbian Sexuality and Perverse Desire. Bloomington, IN: Indiana University Press, 1994. 18. de Lauretis, Teresa and Stephen Heath, eds. The Cinematic Apparatus. New York: St. Martin’s Press, 1980. 19. Derrida, Jacques. Différance. Margins of Philosophy. Trans. Alan Bass. Chicago, IL: University of Chicago Press. 1982. 20. Dicker, Rory. A History of U. S. Feminisms. Berkeley, CA: Seal Press, 2008. 21. Doane, Mary Ann. The Desire to Desire: The Woman’s Film of the 1940s. Bloomington, IN: Indiana University Press, 1987. 22. Dyer, Richard. Entertainment and Utopia // Movies and Methods, Volume II. Ed. Bill Nichols. Berkeley, CA: University of California, 1985. 220–232. 23. Fanon, Frantz. The Wretched of the Earth. Trans. Richard Philcox. New York: Grove Press, 1961. 24. Black Skin, White Masks. Trans. Charles Lam Markmann. New York: Grove Press, 1967. 25. Foster, Hal, ed. The Anti-Aesthetic: Essays on Postmodern Culture. New York: New Press, 1998. 26. Foucault, Michel. The History of Sexuality: An Introduction, Volume I. Trans. Robert Hurely. New York: Vintage Books, 1978. 27. Friedan, Betty. The Feminine Mystique. New York: W. W. Norton, 1963. 28. Gever, Martha, John Greyson, and Pratibha Parmar, eds. Queer Looks: Perspectives on Lesbian and Gay Film and Video. New York: Routledge, 1993. 29. Gidal, Peter, ed. Structural Film Anthology. London: BFI, 1978. 30. Grievson, Lee and Haidee Wasson, eds. Inventing Film Studies. Durham: Duke University Press, 2008. 31. Hansen, Miriam. Babel and Babylon: Spectatorship in American Silent Film. Cambridge, MA: Harvard University Press, 1991. 32. Haraway, Donna. Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge, 1991. 33. Haskell, Molly. From Reverence to Rape: The Treatment of Women, in the Movies. 2nd ed. Chicago, IL: University of Chicago Press, 1987. 34. Heath, Stephen. Questions of Cinema. Bloomington, IN: Indiana University Press, 1981. 35. Heath, Stephen and Patricia Mellencamp. Cinema and Language. Los Angeles, CA: American Film Institute, 1983. 36. Hollinger, Karen. Feminist Film Studies. New York: Routledge, 2012. 37. hooks, bell. Black Looks: Race and Representation. Boston, MA: South End Press, 1992. 38. Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca, NY: Cornell University Press, 1981. 39. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991. 40. Kaplan, E. Ann, ed. Feminism and Film. New York: Oxford University Press, 2000. 41. Kristeva, Julia. Powers of Horror: An Essay on Abjection. Trans. Leon S. Roudiez. New York: Columbia University Press, 1982. 42. Lesage, Julia. The Human Subject: He, She, or Me? (or, the Case of the Missing Penis) // Jump Cut, No. 4 (1974): 26–27. www.ejumpcut.org/archive/oniinessays/JC04folder/ScreenReviewed. 43. Lorde, Audre. Sister Outsider: Essays and Speeches. Freedom, CA: Crossing Press, 1984. 44. Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. Trans. Geoff Bennington and Brian Massumi. Minneapolis, MN: University of Minnesota Press, 1984. 45. MacBean, James. Film and Revolution. Bloomington, IN: Indiana University Press, 1975. 46. MacCabe, Colin. Realism and the Cinema: Notes on some Brechtian Theses // Screen, Vol. 15, No. 2 (Summer 1974): 7–27. 47. MacCabe, Colin. Theory and Film: Principles of Realism and Pleasure // Screen, Vol. 17, No. 3 (Autumn 1976): 7–28. 48. Tracking the Signifier: Theoretical Essays: Film, Linguistics, Literature. Minneapolis, MN: University of Minnesota Press, 1985. 49. Marks, Laura U. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham, NC: Duke University Press, 2000. 50. Mayne, Judith. The Woman at the Keyhole: Feminism and Women’s Cinema. Bloomington, IN: Indiana University Press, 1990. 51. Cinema and Spectatorship. New York: Routledge, 1993. 52. Menand, Louis. The Marketplace of Ideas: Reform and Resistance in the American University. New York: W. W. Norton, 2010. 53. Millet, Kate. Sexual Politics. New York: Ballantine, 1970. 54. Mitchell, Juliet. Psychoanalysis and Feminism: A Radical Reassessment of Freudian Psychoanalysis. New York: Basic Books, 1974. 55. Mitry, Jean. The Aesthetics and Psychology of the Cinema. Trans. Christopher King. Bloomington, IN: Indiana University Press, 1997. 56. Modleski, Tania. Loving with a Vengeance: Mass-Produced Fantasies for Women. New York: Routledge, 1990. 57. The Women Who Knew Too Much: Hitchcock and Feminist Theory. New York: Routledge, 1988. 58. Nancy, Hamid. An Accented Cinema: Exilic and Diasporic Filmmaking. Princeton, NJ: Princeton University Press, 2001. 59. Nichols, Bill. Representing Reality: Issues and Concepts in Documentary. Bloomington, IN: Indiana University Press, 1991. 60. Blurred Boundaries: Questions of Meaning in Contemporary Culture. Bloomington, IN: Indiana University Press, 1994. 61. Oliver, Kelly, ed. French Feminism Reader. New York: Rowman and Littlefield, 2000. 62. Penley, Constance, ed. Feminism and Film Theory. New York: Routledge, 1988. 63. Pines, Jim and Paul Willemen, eds. Questions of Third Cinema. London: BFI, 1989. 64. Readings, Bill. The University in Ruins. Cambridge, MA: Harvard University Press, 1996. 65. Rodowick, D. N. The Difficulty of Difference: Psychoanalysis, Sexual Difference, and Film Theory. New York: Routledge, 1991. 66. Rogin, Michael. Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot. Berkeley, CA: University of California Press, 1996. 67. Rosen, Marjorie. Popcorn Venus: Women, Movies, and the American Dream. New York: Coward, McCann, and Geoghegan, 1973. 68. Said, Edward W. Orientalism. New York: Vintage Books, 1978. 69. Sartre, Jean-Paul. Anti-Semite and Jew. Trans. George J. Becker. New York: Schocken Books, 1948. 70. Shohat, Ella and Robert Stam. Unthinking Eurocentrism: Multiculturalism and the Media. New York: Routledge, 1994. 71. Silverman, Kaja. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington, IN: Indiana University Press, 1988. 72. Silverman, Kaja. Male Subjectivity at the Margins. New York: Routledge, 1992. 73. Solanas, Fernando and Octavio Getino. Towards a Third Cinema // Movies and Methods, Volume I. Ed. Bill Nichols. Berkeley, CA: University of Berkeley, 1976. 44–64. 74. Spivak, Gayatri Chakravorty. Can the Subaltern Speak? // Marxism and the Interpretation of Culture. Eds. Gary Nelson and Lawrence Grossberg. Urbana, IL: University of Illinois Press, 1988. 271–313. 75. Stam, Robert, Robert Burgoyne, and Sandy Flitterman-Lewis. New Vocabularies in Film Semiotics: Structuralism, Post-Structuralism, and Beyond. New York: Routledge, 1992. 76. Sullivan, Nikki. A Critical Introduction to Queer Theory. New York: New York University Press, 2003. 77. Thornham, Sue. Feminist Film Theory: A Render. New York: New York University Press, 1999. 78. Trinh T., Minh-ha. Woman, Native, Other: Writing, Postcoloniality, and Feminism. Bloomington, IN: Indiana University Press, 1989. 79. Framer Framed. New York: Routledge, 1992. 80. Turim, Maureen. Gentlemen Consume Blondes // Movies and Methods, Volume 2. Ed. Bill Nichols. Berkeley, CA: University of California, 1985. 369–378. 81. Williams, Linda. Hard Core: Power, Pleasure, and the «Frenzy of the Visible». Berkeley, CA: University of California Press, 1989. 82. Wollen, Peter. Signs and Meaning in the Cinema. Bloomington, IN: Indiana University Press, 1972. 83. Readings and Writings: Semiotic Counter-Strategies. London: Verso, 1982.

Глава 4. Пост-теория, 1996–2015

1. About October // October 1 (Spring 1976): 3–5. 2. Agamben, Giorgio. Homo Sacer: Sovereign Power and Bare Life. Trans. Daniel Heller-Roazen. Stanford, CA: Stanford University Press, 1998. 3. Allen, Richard. Projecting Illusion: Film Spectatorship and the Impression of Reality. Cambridge: Cambridge University Press, 1995. 4. Allen, Richard and Murray Smith, eds. Film Theory and Philosophy. New York: Oxford University Press, 1999. 5. Andrew, Dudley. What Cinema Is! Bazin’s Quest and Its Charge. Maiden, MA: Blackwell, 2010. 6. Badiou, Alain. Cinema. Ed. Antoine de Baecque. Trans. Susan Spitzer. Maiden, MA: Polity, 2013. 7. Balio, Tino. Hollywood in the New Millennium: London: BFI, 2013. 8. Beller, Jonathan. The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle. Hanover, NH: Dartmouth College Press, 2006. 9. Bolter, Jay David and Richard Grusin. Remediation: Understanding New Media. Cambridge, MA: MIT Press, 2000. 10. Bordwell, David. Narration in the Fiction Film. Madison, WI: University of Wisconsin Press, 1985. 11. Bordwell, David. Ozu and the Poetics of Cinema. Princeton, NJ: Princeton University Press, 1988. 12. Bordwell, David. Adventures in the Highlands of Theory // Screen, Vol. 29, No. 1 (Winter 1988): 72–97. 13. Bordwell, David. Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge, MA: Harvard University Press, 1989. 14. Bordwell, David. A Case for Cognitivism // Iris. No. 9 (Spring 1989): 11–40. 15. Bordwell, David. Historical Poetics of Cinema // The Cinematic Text: Methods and Approaches. Ed. R. Barton Palmer. New York: AMS Press, 1989. 16. Bordwell, David. Preaching Pluralism: Pluralism. Truth, and Scholarly Inquiry in Film Studies // Cinema Journal, Vol. 37, No. 2 (Winter 1998): 84–90. 17. Bordwell, David. Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge, MA: Harvard University Press, 2003. 18. Bordwell, David. The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley, CA: University of California, 2006. 19. Bordwell, David. Poetics of Cinema. New York: Routledge, 2008. 20. Bordwell, David and Noël Carroll, eds. Post-Theory: Reconstructing Film Studies. Madison, WI: University of Wisconsin Press, 1996. 21. Branigan, Edward. Narrative Comprehension and Film. New York: Routledge, 1992. 22. Brown, William. Supercinema: Film-Philosophy for the Digital Age. New York: Berghahn, 2013. 23. Brunette, Peter and David Wills. Screen/Play: Denida and Film Theory. Princeton, NJ: Princeton University Press, 1989. 24. Buckland, Warren. Critique of Poor Reason // Screen, Vol. 30, No. 4 (Autumn 1989): 80–103. 25. The Cognitive Semiotics of Film. Cambridge: Cambridge University Press, 2004. 26. Carroll, Noël. Address to the Heathen // October 23 (Winter 1982): 89–163. 27. Carroll, Noël. A Reply to Heath // October 21 (Winter 1983): 81–102. 28. Carroll, Noël. Mystifying Movies: Fads and Fallacies in Contemporary Film Theory. New York: Columbia University Press, 1988. 29. Carroll, Noël. Philosophical Problems of Classical Film Theory. Princeton, NJ: Princeton University Press, 1988. 30. Carroll, Noël. Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland // Journal of Dramatic Theory and Criticism. Vol. 6, No. 2 (Spring 1992): 199–220. 31. Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film. Cambridge, MA: Harvard University Press, 1971. 32. Colman, Felicity, ed. Film, Theory, and Philosophy: The Key Thinkers. Montreal: McGill-Queen’s University Press, 2009. 33. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the 19th Century. Cambridge, MA: MIT Press, 1992. 34. Cubitt, Sean. The Cinema Effect. Cambridge, MA: MIT Press, 2004. 35. Deleuze, Gilles. Cinema 1: The Movement-Image. Trans. Hugh Tomlinson and Barbara Habberjam. 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Общие источники: вводные тексты

1. Andrew, Dudley. The Major Film Theories: An Introduction. New York: Oxford University Press, 1976. 2. Andrew, Dudley. Concepts in Film Theory. New York: Oxford University Press, 1984. 3. Casetti, Francesco. Theories of Cinema, 1945–1995. Trans. Francesca Chiostri and Elizabeth Gard Bartolini-Salimbeni with Thomas Kelso. Austin, TX: University of Texas, 1999. 4. Elsaesser, Thomas and Make Hagener. Film Theory: An Introduction through the Senses. New York: Routledge, 2010. 5. Lapsley, Robert and Michael Westlake. Film Theory: An Introduction. 2nd ed. New York: Manchester University Press, 2006. 6. Moncao, James. How to Read a Film: The Art, Technology, Language, History and Theory of Film and Media. Revised edition. New York: Oxford University Press, 1981. 7. Rushton, Richard and Gary Bettinson. What is Film Theory? An Introduction to Contemporary Debates. New York: Open University Press, 2010. 8. Stam, Robert. Film Theory: An Introduction. Maiden, MA: Blackwell, 2000. 9. Tredell, Nicolas, ed. Cinemas of the Mind: A Critical History of Film Theory. Cambridge: Totem Books. 2002.

Общие источники: антологии и сборники

1. Branigan, Edward and Warren Buckland, eds. The Routledge Encyclopedia of Film Theory. New York: Routledge, 2014. 2. Braudy, Leo, ed. Film Theory and Criticism: Introductory Readings. 7th ed. New York: Oxford University Press, 2009. 3. Cook, Pam, ed. The Cinema Book. 3rd ed. London: BFI, 2007. 4. Hill, John and Pamela Church Gibson, eds. The Oxford Guide to Film Studies. New York: Oxford University Press, 1998. 5. Miller, Toby and Robert Stam, eds. A Companion to Film Theory. Maiden, MA: Blackwell, 2004. 6. Nichols, Bill, ed. Movies and Methods. Volume I. Berkeley, CA: University of California Press, 1976. 7. Movies and Methods. Volume II. Berkeley, CA: University of California Press. 1985. 8. Rosen, Philip, ed. Narrative, Apparatus, Ideology: A Film Theory Reader. New York: Columbia University Press, 1986. 9. Stam, Robert and Toby Miller, eds. Film and Theory: An Anthology. Maiden, MA: Blackwell, 2000.