SELECTED BIBLIOGRAPHY

Anderson, Gary. Video Editing and Post-Production: A Professional Guide. New York: Knowledge Industries, 1984.

Andrew, Dudley. Concepts in Film Theory. New York: Oxford University Press, 1984.

———. The Major Film Theories. New York: Oxford University Press, 1976.

Arijon, Daniel. Grammar of the Film Language, 2d ed. Los Angeles: Silman-James Press, 1991.

Aruheim, Rudolph. Film. London: Faber and Faber, 1933.

Baddley, Hugh. The Technique of Documentary Film Production. Boston: Focal Press, 1963.

Balio, Tino, ed. The American Film Industry. Madison: University of Wisconsin Press, 1976.

Barsam, Richard Meran, ed. Nonfiction Film: A Critical History. New York: E. P. Dutton, 1973.

———. Nonfiction Film: Theory and Criticism. New York: E. P. Dutton, 1976.

Bazin, André. What Is Cinema? Vols. I, II. Berkeley: University of California Press, 1971.

Belenky, Mary Field, Blythe McVicker Cliachy, Nancy Rule Goldberger, and Jill Mattuck Torule. Women's Way of Knowing. The Development of Self, Voice and Mind. New York: Basic Books, 1986.

Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema. New York: Columbia University Press, 1985.

Bordwell, David, and Kristin Thompson. Film Art: An Introduction, 3d ed. New York: McGraw-Hill, 1990.

Burder, John. The Technique of Editing 16-mm Films. London: Focal Press, 1975.

Cameron, W. Evan. “An Analysis of ‘A Diary for Timothy.’-” Cinema Studies, Vol. no. 1 (Spring 1967):68.

Carringer, Robert L. The Making of Citizen Kane. Berkeley: University of California Press, 1985.

Chatman, Seymour. Antonioni, or the Surface of the World. Berkeley: University of California Press, 1985.

Cook, David A. A History of Narrative Film. New York: W. W. Norton, 1990.

Crittenden, Roger. The Thames & Hudson Manual of Film Editing. London: Thames and Hudson, 1981.

Dancyger, Ken, and Jeff Rush. Alternative Scriptwriting, 2d. ed. Boston: Focal Press, 1995.

Dmytryk, Edward. On Film Editing. Boston: Focal Press, 1985.

Dovzhenko, Alexander. The Poet as Filmmaker. Cambridge: MIT Press, 1973.

Eisenstein, Sergei. Film Form. New York: Harcourt Brace Jovanovich, 1977.

———. The Film Sense. New York: Harcourt Brace Jovanovich, 1975.

———. Notes of a Film Director. New York: Dover Publications, 1970.

Elsaesser, Thomas. Early Cinema. London: British Film Institute, 1950.

Erikson, Erik. Identity: Youth and Crisis. Yew York: Dutton, 1968.

Freud, Sigmund. Beyond the Pleasure Principle.

Gottesman, Roger, ed. Focus on Citizen Kane. Englewood Cliffs, N.J.: Prentice-Hall, 1971.

Happé, Bernard, ed. Dictionary of Image Technology. London: Focal Press, 1988.

Henderson, Brian. A Critique of Film Theory. New York: E. P. Dutton, 1980.

Innsdorff, Annette. François Truffaut. Boston: Twayne Publishers, 1978.

Jacobs, Lewis. The Movies as Medium. New York: Farrar, Strauss and Giroux, 1970.

———. The Rise of the American Film. New York: Harcourt, Brace and Company, 1947.

Jung, C. G. Memories, Dreams, Reflections. New York: Pantheon, 1963.

Katz, Steven. Film Directors Shot by Shot. Boston: Focal Press, 1991.

Kernberg, Otto. Severe Personality Disorders: Psychotherapeutic Strategies. New Haven: Yale University Press, 1984.

Konigsbertg, Ira. The Complete Film Dictionary. New York: New American Dictionary, 1987.

Kracauer, Seigfried. Theory of Film. New York: Oxford University Press, 1965.

Leyda, Jay. Kino. London: George Allen and Unwin, 1960.

Lovell, Alan, and Jim Hillier. Studies in Documentary. London: Martin Secker and Warburg, 1972.

Lundgren, Ernest. The Art of the Film. London: George Allen and Unwin, 1948.

MacCann, Richard Dyer. Film: A Montage of Theories. New York: E. P. Dutton, 1966.

Mast, Gerald, and Marshall Cohen. Film Theory and Criticism, 3d ed. New York: Oxford University Press, 1985.

Mayer, David. Eisenstein's Potemkin. New York: Da Capo Press, 1972.

McBride, Jim. Orson Welles. London: Martin Secker and Warburg, 1972.

Mellen, Joan. The World of Luis Buñuel: Essays in Criticism. New York: Oxford University Press, 1978.

Michaelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Berkeley: University of California Press, 1984.

Monaco, James. Alain Renais. New York: Oxford University Press, 1975.

———. How to Read a Movie. New York: Oxford University Press, 1977.

———. The New Wave. New York: Oxford University Press, 1976.

Nelson, Thomas Allen. Kubrick: Inside a Film Artist's Maze. Bloomington: Indiana University Press, 1982.

Nichols, Bill, ed. Movies and Methods: An Anthology. Berkeley: University of California Press, 1976.

Nilsen, Vladimir, The Cinema as Graphic Art. New York: Hill and Wang, 1936.

Pudovkin, V. I. Film Technique and Film Acting. London: Vision Press, 1968.

Rabiger, Michael. Directing the Documentary, 2d ed. Boston: Focal Press, 1992.

Reisz, Karel, and Gavin Millar. The Technique of Film Editing, 2d ed. Boston: Focal Press, 1968.

Rosenblum, Ralph, and Robert Karen. When the Shooting Stops-.-.-.-New York: Da Capo Press, 1986.

Sarris, Andrew. The American Cinema. Chicago. The University of Chicago Press. 1968.

Schneider, Arthur. Electronic Post-Production Terms and Concepts. Boston: Focal Press, 1990.

Sussex, Elisabeth. The Rise and Fall of British Documentary. Los Angeles: University of California Press. 1975.

Swann, Paul. The British Documentary Film Movement, 1926–1946. Cambridge: Cambridge University Press, 1989.

Tudor, Andrew. Theories of Film. London: Martin Secker and Warburg, 1974.

Vardac, Nicholas A. Stage to Screen. Cambridge: Harvard University Press, 1949.

Weis, Elisabeth, and John Belton, eds. Film Sound: Theory and Practice. New York: Columbia University Press, 1985.

Wollen, Peter. Readings and Writings. London: Versa, 1982.

———. Signs and Meaning in the Cinema. London: Martin Secker and Warburg 1969.

Wood, Robin. Hitchcock's Films Revisited. New York: Columbia University Press, 1989.