UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl)
UvA-DARE (Digital Academic Repository)
Cinematic chronotopes: affective encounters in space-time
Hesselberth, P.
Publication date
2012
Link to publication
Citation for published version (APA):
Hesselberth, P. (2012). Cinematic chronotopes: affective encounters in space-time.
General rights
It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons).
Disclaimer/Complaints regulations
If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible.
Bibliography
Adams, Sam. Rosetta. 2002. http://www.citypaper.net/movies/r/rosetta (Accessed March 17, 2009).
Agre, Phillip E. Computation and Human Experience. Cambridge, Mass.: Cambridge University Press, 1997.
Allen, Robert, and Douglas Gomery. Film History: Theory and Practice. New York: Knopf, 1985.
Alphen, Ernst van. “Affective Operations of Art and Literature.” Ed. Francesco Pel-lizzi. Res: Anthropology and Aesthetics 53/54. Spring/Autumn (2008): 20–30. ---. “Towards a New Historiography: Peter Forgács and the Aesthetics of
Tempo-rality.” 2004. Peter Forgacs (website), http://www.forgacspeter.hu/english/ bibliography/Towards+a+New+Historiography%3A+Peter+Forgacs+and+the+ Aesthetics+of+Temporality/23 (Accessed March 8, 2009).
Andrew, Dudley. What Cinema Is! West Sussex: Wiley-Blackwell, 2010. Blackwell Manifestos.
Angell, Callie. Andy Warhol Screen Tests: The Films of Andy Warhol. Vol. 1. New York: Harry N. Abrams with the Whitney Museum of American Art, 2006. Cata-logue Raisonné.
---. “Empire.” Andy Warhol: Motion Pictures 08.05.2004-08.08.2004. Ed. Klaus Biesenbach & Mary Lea Bandy. Berlin: KW Institute for Contemporary Art, 2004. 28–33.
---. “Doubling the Screen: Andy Warhol’s Outer and Inner Space.” Millennium Film
Journal 38 (2002). Winds From the East.
http://www.mfj-online.org/journal-Pages/MFJ38/angell.html. (Accessed March 17, 2009).
Arns, Inke. “Interaction, Participation, Networking: Art and Telecommunication.” Trans. Tom Morrison. 2004. Media Art Net: Overview of Media Art, http:// www.medienkunstnetz.de/themes/overview_of_media_art/communication/ scroll/ (Accessed May 24, 2010).
Arthur, Paul. “Jargons of Authenticity (Three American Moments).” Theorizing
Documentary. Ed. Michael Renov. New York and London: Routledge, 1993.
108–34.
Austin, Guy. Contemporary French Cinema: An Introduction. Manchester and New York: Manchester University Press, 1996.
Bainbridge, Caroline. “Just Looking? Traumatic Affect, Film Form and Spectator-ship in the Work of Lars Von Trier.” Screen 45.4 (2004): 391–400. The Trauma Debate.
---. The Cinema of Lars Von Trier: Authenticity and Artifice. London and New York: Wallflower Press, 2007. Directors’ Cuts Series.
Bakhtin, Mikhail. “Forms of Time and of the Chronotope in the Novel.” The
Dialogic Imagination. Trans. Caryl Emerson & Michael Holquist. Austin:
University of Texas Press, 1981. 84–258.
Bal, Mieke. “Double Movement.” 2MOVE: Video Art Migration. Ed. Mieke Bal & Miguel Á. Hernández-Navarro. Murcia: Cendeac, 2008. 13–80.
---. “Space, Inc.” Quoting Caravaggio: Contemporary Art, Preposterous History. London: University of Chicago Press, 2001. 129–164.
---. Traveling Concepts in the Humanities: A Rough Guide. Toronto, Buffalo, London: University of Toronto Press, 2002.
---. “Visual Essentialism and the Object of Visual Culture.” Journal of Visual Culture 2.5 (2003): 5–32.
Bal, Mieke, Jonathan Crewe, and Leo Spitzer, eds. Acts of Memory: Cultural Recall
in the Present. Hanover, NH: University Press of New England; Dartmouth
College, 1999.
Balázs, Bella. “Visible Man, or the Culture of Film (1924).” Trans. Erika Carter & Rodney Livingstone. Screen 48.1 (2007): 91–108.
Ball, Karyn. “Introduction: Trauma and Its Institutional Destinies.” Cultural
Critique 46 (2000): 1–44.
Bandy, Mary Lea. “Andy Warhol: Motion Pictures.” Andy Warhol: Motion Pictures
08.05.2004-08.08.2004. Ed. Klaus Biesenbach & Mary Lea Bandy. Berlin: KW
Institute for Contemporary Art, 2004. 16–21.
Barker, Jennifer M. The Tactile Eye: Touch and the Cinematic Experience. 1st ed. University of California Press, 2009.
Barthes, Roland. Camera Lucida: Reflections on Photography (1980). Trans. Richard Howard. New York: Hill and Wang, 1982.
Baudry, Jean-Louis. “‘Ideological Effects of the Basic Cinematographic Apparatus’ [orig. 1974].” Narrative, Apparatus, Ideology: A Film Theory Reader. Ed. Philip Rosen. New York: Columbia University Press, 1986a. 286–298.
---. “‘The Apparatus: Metapsychological Approaches to the Impression of Reality in the Cinema’ [orig. 1976].” Narrative, Apparatus, Ideology: A Film Theory
Reader. Ed. Philip Rosen. New York: Columbia University Press, 1986b.
299–318.
Bazin, André. “The Ontology of the Photographic Image.” Trans. Hugh Gray. Film
Quarterly 13.4 (1960): 4–9.
---. What is Film (1958-1965). Trans. Hugh Gray. Berkeley and Los Angeles, Califor-nia: University of California Press, 1967.
Belton, John. “New Technologies.” The Oxford History of World Cinema: A Definitive
History of Cinema Worldwide. Ed. Geoffrey Nowell-Smith. Oxford and New
York: Oxford University Press, 1996. 483–490.
---. Wide Screen Cinema. Cambridge, Mass. and London: Harvard University Press, 1993.
Benjamin, Walter. “A Little History of Photography [orig. 1931].” Walter Benjamin:
Selected Writings, Volume 2 (1927-1934). Ed. Michael W. Jennings. Trans. M. J.
Jephcott & K. Shorter. Cambridge: The Belknap Press of Harvard UP, 1999. 507–530.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, Cal.: Stanford University Press, 2005.
Bergson, Henri. Matter and Memory [orig. 1896]. Trans. N.M. Paul & W.S. Palmer. New York: Zone Books, 1994.
Billeter, Erika. “Andy Warhol: Ein Versuch, Das Leben Als Kunst Zu Leben.” Andy
Warhol: Ein Buch Zur Ausstellung 1978 Im Kunsthaus Zürich. Ed. Erika Billeter.
Bern and Zürich: Benteli Verlag Bern, Kunsthaus Zürich, 1978. 11–15.
Blistene, Bernard, and Jean-Michel Bouhours, eds. Andy Warhol, Cinema
21.06.1990-10.09.1990. Paris: Edition CARRE, 1990. Editions Du Centre George Pompidou,
Paris.
Bolter, Jay, and Richard Grusin. Remediation: Understanding New Media. Cam-bridge Mass.: MIT Press, 1999.
Bordwell, David. “Film Futures.” SubStance 97.31.1 (2002): 88–104. ---. Narration in the Fiction Film. London: Methuen, 1985.
---. The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley: Univer-sity of California Press, 2006.
Bordwell, David, and Kristin Thompson. Film Art. 6th ed. McGraw-Hill, 2000. Bourdon, Peter. “Warhol as Film Maker (1971).” The Critical Response to Andy
War-hol. Ed. Alan R. Pratt. Westport, Conneticut and London: Greenwood Press,
Branigan, Edward. “Nearly True: Forking Plots, Forking Interpretations: A Re-sponse to David Bordwell’s ‘Film Futures’.” SubStance 97.31.1 (2002): 105–114. Brennan, Teresa. The Transmission of Affect. Ithaca and London: Cornell University
Press, 2004.
Broadhurst, Susan, and Josephine Machon, eds. Performance and Technology:
Practices of Virtual Embodiment and Interactivity. Basingstoke et.al.: Palgrave
Macmillan, 2006.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryson, Norman. Vision and Painting: The Logic of the Gaze. New Haven and London: Yale University Press, 1983.
Buchloh, Benjamin H.D. “Andy Warhol’s One-Dimensional Art: 1956-1966 (1989).”
Andy Warhol. Ed. Annette Michelson. Cambridge, Mass.: MIT Press, 2001.
1–48. October Files.
Buckland, Warren. “Introduction: Puzzle Plots.” Puzzle Films: Complex Storytelling
in Contemporary Cinema. Ed. Warren Buckland. Oxford et.al.:
Wiley-Black-well, 2009. 1–14.
---. The Cognitive Semiotics of Film. Cambridge University Press, 2000.
---. “The Last Word on Filmic Enunciation?” Semiotica 135.1/4 (2001): 211–226. Buckland, Warren, ed. The Film Spectator: From Sign to Mind. Amsterdam:
Amster-dam University Press, 1995. Film Culture in Transition.
Burch, Noel. Life to Those Shadows. Ed. Brewster. Trans. Ben Brewster. Berkeley: University of California Press, 1991.
Caldwell, John Thornton. Televisuality: Style, Crisis, and Authority in American
Television. New Brunswick, NJ: Rutgers University Press, 1995.
Cameron, Allan. Modular Narratives in Contemporary Cinema. Houndmills, Basing-stoke, Hampshire and New York: Palgrave Macmillan, 2008.
Campany, David, ed. The Cinematic. Cambridge, Mass.: MIT Press, 2007. Docu-ments in Contemporary Art.
Canogar, Daniel. “Illuminating Public Space: Light Shows in Contemporary Art.”
Public Art Review 15, no. 2.30 (2004): 9–13.
Caruth, Cathy. Unclaimed Experience: Trauma, Narrative and History. Baltimore: Johns Hopkins University Press, 1996.
Casetti, Francesco. “Filmic Experience.” Trans. Dafne Calgaro & Victoria Duckett.
---. Inside the Gaze: The Fiction Film and Its Spectator. Bloomington: Indiana Univer-sity Press, 1999.
Castells, Manuel. “The Edge of Forever: Timeless Time.” The Rise of the Network
Society. 2nd ed. Oxford: Blackwell, 1996. 460–499.
Castle, Terry. “Phantasmagoria: Spectral Technology and the Metaphorics of Modern Reverie.” Critical Inquiry 15.1 (1988): 26–61.
Certeau, Michel de. “Spatial Stories.” The Practice of Everyday Life. Berkeley and London: University of California Press, 1988. 115–130.
Chun, Wendy Hui Kyong. “The Enduring Ephemeral, or the Future Is a Memory.”
Critical Inquiry 35.1 (2008): 148–171.
Clee, Paul. Before Hollywood: From Shadow Play to the Silver Screen. New York: Clarion Books, 2005.
Collins, Jim. “Watching Ourselves Watch Television, or Who’s Your Agent?”
Cultural Studies 3 (1989): 261–281.
Conley, Tom. “Singularity.” The Deleuze Dictionary. Ed. Adrian Parr. Edinburgh: Edinburgh University Press, 2005. 254–256.
Cook, David. “Paul Virilio: The Politics of ‘Real Time’.” Ed. Arthur Kroker & Maril-ouise Kroker. CTheory.net January (2003). http://www.ctheory.net/articles. aspx?id=360 (Accessed March 7, 2009).
Cook, David A. “The French New Wave and Its Native Context.” A History of
Narra-tive Film. New York and London: W.W. Norton & Company, 1981. 445–486.
Crary, Jonathan. “Techniques of the Observer.” October 45 (1988): 3–35.
---. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, Mass. and London: MIT Press, 1990.
Crimp, Douglas. “Getting the Warhol We Deserve.” Visible Culture: An Electronic
Journal for Visual Studies 1.1 (1999): 1-20.
Crow, Thomas. “Saturday Disasters: Trace and Reference in Early Warhol (1996).”
Andy Warhol. Ed. Annette Michelson. Cambridge, Mass. and London: MIT
Press, 2001. 4–68. October Files.
Cubitt, Sean. Digital Aesthetics. London: Sage, 1998. ---. The Cinema Effect. Boston: MIT Press, 2005.
Daniels, Dieter. “Strategien Der Interaktivität.” Vom Ready Mades Zum Cyberspace:
Kunst/Medien Interferenzen. 2003. Materialen Zur Moderne. http://www.
hgb-leipzig.de/daniels/vom-readymade-zum-cyberspace/strategien_der_in-teraktivitaet.html (Accessed May 24, 2010).
---. “Strategies of Interactivity.” 2000. Media Art Net, http://www.medienkunst-netz.de/source-text/65/ (Accessed May 24, 2010).
Danto, Arthur C. Andy Warhol. Ed. Mark Crispin Miller. New Haven and London: Yale University Press, 2009. Icons of America.
Deleuze, Gilles. Cinema 1: The Movement-Image. Trans. Hugh Tomlinson & Barbara Habberjam. London and New York: University of Minnesota Press, 1986. ---. Cinema 2: The Time-Image. Trans. Hugh Tomlinson & Robert Galeta.
Minneapo-lis & London: University of Minnesota Press, 1989.
---. Difference and Repetition. Trans. Paul Patton. London and New York: Con-tinuum, 2004.
---. Proust and Signs: The Complete Text. Minneapolis and London: University of Minnesota Press, 2000.
Denby, David. “The New Disorder. Adventures in Film Narrative.”
The New Yorker (2007): http://www.newyorker.com/arts/critics/
atlarge/2007/03/05/070305crat_atlarge_denby (Accessed May 24, 2010). Diffrient, David Scott. “Alternate Futures, Contradictory Pasts: Forking Paths and
Cubist Narratives in Contemporary Film.” Screening the Past 20, December (2006). http://www.latrobe.edu.au/screeningthepast/20/alternate-futures. html (Accessed May 22, 2010).
Dinkla, Soeke. Pioniere Interactiever Kunst Von 1970 Bis Heute. Karlsruhe: Cantz Verlag, 1997. Edition ZKM.
---. “The History of the Interface in Interactive Art.” Ken Feingold: Art Works (1994). http://www.kenfeingold.com/dinkla_history.html (Accessed May 30, 2010). Doane, Mary Ann. “Indexicality: Trace and Sign: Introduction.” Differences: A
Journal of Feminist Cultural Studies 18.1 (2007b): 1–6.
---. “Information, Crisis, Catastrophe.” Logics of Television: Essays in Cultural
Criti-cism. Ed. Patricia Mellencamp. Indianapolis: Indiana University Press, 1990.
222–239.
---. “Scale and the Negotiation of ‘Real’ and ‘Unreal’ Space in the Cinema.”
Real-ism and the Audiovisual Media. Ed. Lucia Nagib & Ceclia de Mello.
Basing-stoke: Palgrave Macmillan, 2009b. 63–81.
---. “The Close-Up: Scale and Detail in the Cinema.” Differences: A Journal of
Feminist Cultural Studies 14.3 (2003): 89–111.
---. The Emergence of Cinematic Time: Modernity, Contingency, The Archive. Cam-bridge, Mass.: Harvard University Press, 2002.
---. “The Indexical and the Concept of Medium Specificity.” Ed. Mary Ann Doane.
Differences: A Journal of Feminist Cultural Studies 18.1 (2007a): 128–152.
---. “The Location of the Image: Cinematic Projection and Scale in Modernity.” The
Art of Projection. Ed. Stan Douglas & Christopher Eamon. Stuttgart: Hatje
Cantz, 2009a.
Douchet, Jean. French New Wave. Trans. Robert Bonnono. New York: Distributed Art Publishers, in association with Edition Hazan & Cinematheque Fran-caise, 1998.
Dourish, Paul. Where the Action Is: The Foundation of Embodied Interaction. Cam-bridge, Mass. and London: MIT Press, 2004.
Doyle, Jennifer, Jonathan Flatley, and Jose Esteban Munoz, eds. Pop Out: Queer
Warhol. Durham, NC: Duke University Press, 1996.
Ebert, Roger. Rosetta. 2000. rogerebert.com, http://rogerebert.suntimes.com/apps/ pbcs.dll/article?AID=/20000107/REVIEWS/1070304/1023 (Accessed May 21, 2009).
Edelstein, David. Touched Angels. 1999. Slate Magazine, http://www.slate.com/ id/55682 (Accessed March 17, 2009).
Edgitt, Lisa Dillon. “What Edie Said in Outer and Inner Space (transcript).” From
Stills to Motion & Back Again. Vancouver: Presentation House Gallery, 2003.
27–40.
Ekman, Ulrik. “‘Of the Untouchability of Embodiment: Rafael Lozano-Hemmer’.”
CTheory.net (forthcoming 2012)
---. “Ubiquity Editorial: Interaction Designs for Ubicomp Cultures.” Fibre Culture
Journal 19: Ubiquity (2011):
http://nineteen.fibreculturejournal.org/fcj-129-in-teraction-designs-for-ubicomp-cultures/#sec2 (Accessed May 15, 2012). Ekman, Ulrik, and Hans Ulrich. Gumbrecht. “The Speed of Beauty: Hans Ulrich
Gumbrecht, Interviewed by Ulrik Ekman.” Postmodern Culture 16.3 (2006). http://muse.jhu.edu/journals/postmodern_culture/v016/16.3ekman.html (Accessed August 23, 2009).
Ellis, John. Visible Fictions: Cinema, Television, Video. London and New York: Routledge, 1982.
Elsaesser, Thomas. “Between Erlebnis and Erfahrung: Cinema Experience with Benjamin.” Paragraph 32.3 (2009c): 292–312.
---. “Discipline Through Diegesis: The Rube Film Between ‘Attractions’ and ‘Narra-tive Integration’.” The Cinema of Attractions Reloaded. Ed. Wanda Strauven. Amsterdam: Amsterdam University Press, 2006. 205–223.
---. Harun Farocki: Working on the Sightlines. Amsterdam: Amsterdam University Press, 2004.
---. “Louis Lumière, the Cinema’s First Virtualist?” Cinema Futures: Cain, Able or
Cable. Ed. Thomas Elsaesser & Kay Hoffmann. Amsterdam: Amsterdam
University Press, 1998. Film Culture in Transition.
---. “Postmodernism as Mourning Work.” Screen 42.2 (2001): 193–201.
---. “The Mind-Game Film.” Puzzle Films: Complex Storytelling in Contemporary
Cinema. Ed. Warren Buckland. Oxford et.al.: Wiley-Blackwell, 2009b. 13–41.
---. “The New Film History as Media Archaeology.” Cinémas 14.2-3 (2004): 75–117. ---. “The New New Hollywood: Cinema Beyond Distance and Proximity.” Moving
Images, Culture and the Mind. Ed. Ib Bjondebjerg. Luton: University of Luton
Press, 2000. 187–204.
---. “Tiefe Des Raums, Angriff Der Dinge, Oder: Wenn Der Schwanz Mit Dem Hund Wedelt. Zum Digitalen 3-D-Kino.” epd FILM, das Kino-Magazin 1.10 (2010): 22–27.
---. “World Cinema: Realism, Evidence, Presence.” Realism and the Audiovisual
Media. Ed. Lucia Nagib & Ceclia de Mello. Basingstoke: Palgrave Macmillan,
2009a. 3–19.
Elsaesser, Thomas, and Malte Hagener. Film Theory: An Introduction Through the
Senses. New York and London: Routledge - Taylor & Francis Group, 2010.
Elsaesser, Thomas, and Kay Hoffmann, eds. Cinema Futures: Cain, Able or Cable. Amsterdam: Amsterdam University Press, 1998. Film Culture in Transition. Ermarth, Elizabeth Deeds. Sequel to History: Postmodernism and the Crisis of
Repre-sentational Time. Princeton: Princeton University Press, 1991.
Ernst, Wolfgang. Beyond the Archive: Bit Mapping. 2007.
Featherstone, Mike. “The Flaneur, the City and Virtual Public Life.” Urban Studies 35.5-6 (1998): 909–925.
Feuer, Jane. “The Concept of Live Television: Ontology as Ideology.” Regarding
Television: Critical Approaches: An Anthology. Ed. E. Ann Kaplan. Los Angeles:
University Publications of America, 1983. 14–16.
Flusser, Vilém. “The City as Wave-Trough in the Image-Flood.” Trans. Phil Gochen-our. Critical Inquiry 31.2, January (2005): 320–328.
Forgács, Peter. “Wittgenstein Tractatus: Personal Reflections on Home Movies.”
Ishizuka & Patricia R. Zimmermann. Berkeley and London: University of California Press, 2007. 47–56.
Foster, Hal. “Death in America (1996).” Andy Warhol. Ed. Annette Michelson. Cambridge, Mass.: MIT Press, 2001. 69–90. October Files.
Friedberg, Anne. “Les Flâneurs Du Mal(l): Cinema and the Postmodern Condi-tion.” PMLA 106.3 (1999): 419–431.
---. Window Shopping: Cinema and the Postmodern. Berkeley and Los Angeles: University of California Press, 1993.
Frohne, Ursula. “‘Screen Tests’: Media Narcissism, Theatricality, and the Internal Observer.” Ctrl-[space]. Ed. Thomas Y. Levin, Peter Weibel, & Ursula Frohne. Cambridge, Mass.: MIT Press, 2002. 253–277.
Frohne, Ursula. “Dissolution of the Frame: Immersion and Participation in Video Installations,” Art and the Moving Image: A Critical Reader. Ed. T. Leihton. London: Tate Publishing in Association with Afterall, 2008. pp. 355–370 Galloway, Anne. “Intimations of Everyday Life: Ubiquitous Computing and the
City.” Cultural Studies 18.2-3, January (2004): 384–408.
Gane, Nicholas, and David Beer. New Media: The Key Concepts. Oxford and New York: Berg Publishers, 2008.
Gaver, William W. “Affordances for Interaction: The Social Is Material for Design.”
Ecological Psychology 8.2 (1996): 111–129.
---. “Technology Affordances.” Proceedings of the SIGCHI Conference on Human
Factors in Computing Systems: Reaching Through Technology. New Orleans,
Louisiana, United States: ACM, 1991. 79–84. CHI ’91.
Geuens, Jean-Pierre. “Visuality and Power: The Work of the Steadicam.” Film
Quarterly 47.2 (1993): 8–17.
Gibson, J.J. “The Theory of Affordances (1977).” Perceiving, Acting, and Knowing:
Toward an Ecological Psychology. Ed. J. Bransford & R. Shaw. Hillsdale, NJ:
Erlbaum, 1982. 67–82.
Gibson, James J. The Ecological Approach To Visual Perception. New York: Psychol-ogy Press, Taylor and Francis Group, 1986.
Gorky, Maxim. “Last Night I Was in the Kingdom of Shadows.” Trans. Jay Leyda.
Nizhegorodski listok (1896): 407–409.
Graham, Peter. “New Directions in French Cinema.” The Oxford History of World
Cinema: A Definitive History of Cinema Worldwide. Ed. Geoffrey
Grau, Oliver. “Immersion and Interaction.” 2007b. Medien Kunst Netz, http://www. medienkunstnetz.de/themes/overview_of_media_art/immersion/scroll/ (Ac-cessed August 23, 2009).
---. “Remember the Phantasmagoria! Illusion Politics of the 18th Century and Its Multimedial Afterlife.” MediaArtHistories. Ed. Oliver Grau. Cambridge, Mass.: MIT Press, 2007a. 137–162. Leonardo.
---. Virtual Art: From Illusion to Immersion. Cambridge, Mass. & London: MIT Press, 2003.
Grosz, Elizabeth. Volatile Bodies. Bloomington, Indiana: Indiana University Press, 1994.
Grundmann, Roy. Andy Warhol’s Blow Job: Culture and the Moving Image. Temple University Press, 2003.
---. “Masters of Ceremony: Media Demonstration as Performance in Three In-stances of Expanded Cinema.” The Velvet Light Trap 54 (2004): 48–64. Grusin, Richard. “Premediation.” Criticism 46.1 (2004): 17–39.
Gumbrecht, Hans Ulrich. Production of Presence: What Meaning Cannot Convey. Stanford, Cal.: Stanford University Press, 2004.
Gumbrecht, Hans Ulrich, and Ludwig K. Pfeiffer, eds. The Materialities of
Commu-nication. Trans. William Whobrey. Stanford, Cal.: Stanford University Press,
1994. Writing Science.
Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde.” Early Cinema: Space, Frame, Narrative. Ed. Thomas Elsaesser. London: British Film Institute, 1990. 58–59.
---. “The Long and the Short of It: Centuries of Projecting Shadows From Natural Magic to the Avant-Garde.” The Art of Projection. Ed. Stan Douglas & Christo-pher Eamon. Stuttgart: Hatje Cantz, 2009.
Guthmann, Edward. “’Rosetta’ Fights for Her Life: Belgian Film a Portrait of a Frustrated Working-class Teen.” 1999. SFGate: San Francisco Chronicle, http:// www.sfgate.com/cgi-bin/article.cgi?f=/c/a/1999/12/24/DD15170.DTL (Accessed March 17, 2009).
Hagener, Malte. “Where Is Cinema (Today)? The Immanence of Cinema and the Cinema of Immanence.” Cinema and Contemporary Visual Arts 3.March (2008). VI. MAGIS – Gradisca International Film Studies Spring School. Hall, Jeanne. “Realism as Style in Cinema Vérité: A Critical Analysis of Primary.”
Halpern, Orit. “Dreams of Our Perceptual Present: Temporality, Storage, and Interactivity in Cybernetics.” Configurations 13 (2005): 283–319.
Hansen, Mark. “Time’s Obsolescence, or: The Irreducible Technicity of Tempo-ralisation.” Erlebnis and Erfahrung. Aesthetics of Pervasiveness. Copenhagen, 2007.
Haraway, Donna. “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century.” Simians, Cyborgs and Women: The
Reinvention of Nature. New York: Routledge, 1991. 149–181.
Hayles, N. Katherine. “Intermediation: The Pursuit of a Vision.” New Literary
His-tory, 38: 99–125 (2007): 99-125
---. How We Became Post-Human: Virtual Bodies in Cybernetics, Literature, and
Informatics. Chicago and London: University of Chicago Press, 1999.
---. My Mother Was a Computer: Digital Subjects and Literary Texts. Chicago and London: University of Chicago Press, 2005.
Heath, Stephen. Questions of Cinema. Bloomington: Indiana University Press, 1981. Heeter, C. “Being There: The Subjective Experience of Presence.” Presence,
Teleop-erators, and Virtual Environments I (1992): 262–271.
Hegel, Georg Wilhelm Friedrich. The Encyclopaedia Logic: Part 1 of the
Encyclopae-dia of Philosophical Sciences With the Zusatze. Trans. Theodore F. Geraets, W.
A. Suchting, & H. S. Harris. Hackett Publishing Company, 1991.
Heidegger, Martin. The Question Concerning Technology, and Other Essays. Trans. William Lovitt. New York et.al.: Harper Torchbooks, 1977.
Heiss, Alenna, and Glenn D. Lowry. “Preface.” Andy Warhol: Motion Pictures
08.05.2004-08.08.2004. Ed. Klaus Biesenbach & Mary Lea Bandy. Berlin: KW
Institute for Contemporary Art, 2004. 8.
Hesselberth, Pepita. “Handheld Aesthetics: Time-affect and Home Video Nar-ration.” Dall’inizio, Alla Fine: Teorie Del Cinema in Prospettiva/ In the Very
Beginning, at the Very End: Film Theories in Perspective. Ed. Francesco Casetti,
Jane Gaines, & Valerie Re. Udine: Forum, 2010.
---. “It’s About Time (Or Is It?): Warhol Anno 2007.” Apertura III.4 Summer (2008): http://apertura.hu/2008/nyar/hesselberth (Accessed May 30, 2010)
---. “Too Close and Not Yet: Touching Boundaries.” De Filmkrant - Special Issue
on occasion of the 40th International Film Festival Rotterdam. Slow Criticism Project 2011: Out of the Comfort Zone 329. February (2011): http://filmkrant.nl/
Hoberman, James. “Crisis Modes.” The Village Voice. 1999. http://www.villagevoice. com/1999-11-02/film/crisis-modes/ (Accessed March 17, 2009).
---. “Nobody’s Land: Inside Outer and Inner Space.” From Stills to Motion and Back
Again. Vancouver: Presentation House Gallery, 2003. 21–22.
---. “Raped and Abandoned: Yoko Ono’s Forgotten Masterpiece.” Ctrl-[space]. Ed. Thomas Y. Levin, Peter Weibel, & Ursula Frohne. Cambridge, Mass.: MIT Press, 2002. 406–409.
Huhtamo, Erkki. “Seeking Deeper Contact: Interactive Art as Metacommentary.”
Convergence 1.2 (1995): 81–104.
---. “Trouble at the Interface 2.0: On the Identity Crisis of Interactive Art.” 2007.
NeMe collective, http://www.neme.org/main/591/trouble-at-the-interface-2
(Accessed May 30, 2010).
Hutchby, Ian. “Technologies, Texts and Affordances.” Sociology 35.2 (2001): 441–456.
IJselsteijn, Wijnand, and Guiseppe Riva. “Being There: The Experience of Presence in Mediated Environments.” Being There: Concepts, Effects and Measurement
of User Presence in Synthetic Environments. Ed. Wijnand Ijselsteijn, Guiseppe
Riva, & F. Davine. Amsterdam: Los Press, 2003.
Isaacs, Bruce. “Non Linear-Narrative.” New Punk Cinema. Ed. Nicholas Rombes. Edinburgh: Edinburgh University Press, 2005. 126–135.
James, David E. Allegories of Cinema: American Film in the Sixties. Princeton: Prince-ton University Press, 1989.
Jay, Martin. Downcast Eyes: The Denigration of Vision in Twentieth-Century French
Thought. Berkeley: University of California Press, 1993.
---. “Scopic Regimes of Modernity.” Vision and Visuality. Ed. Hal Foster. Seatle: Bay Press, 1988. 3–23. Discussions in Contemporary Culture 2.
Jenkins, Henry. “Game Design as Narrative Architecture.” Mit.edu (2003). http:// web.mit.edu/cms/People/henry3/games&narrative.html. (Accessed March 22, 2009)
Joselit, David. Feedback: Television Against Democracy. Cambridge, Mass.: MIT Press, 2007.
---. “Yippie Pop: Abbie Hoffman, Andy Warhol, and Sixties Media Politics.” Grey
Room 8 (2002): 62–79.
Joseph, Branden W. “Andy Warhol’s Sleep: The Play of Repetition.” Masterpieces
in Modernist Cinema. Ed. Ted Perry. Bloomington: Indiana University Press,
---. “’My Mind Split Open’: Andy Warhol’s Exploding Plastic Inevitable.” Grey Room 8 (2002a): 81–107.
---. “Nothing Special: Andy Warhol and the Rise of Surveillance.” Ctrl-[space]. Ed. Thomas Y. Levin, Peter Weibel, & Ursula Frohne. Cambridge, Mass.: MIT Press, 2002b. 237–251.
Kaye, Nick. Multi-Media: Video - Installation – Performance. New York & London: Routledge, 2007.
Kinder, Marsha. “Designing a Database Cinema.” Future Cinema: The Cinematic
Imaginary After Film. Ed. Jeffrey Shaw & Peter Weibel. Cambridge, Mass.,
London and Karlsruhe: MIT Press & ZKM, Center for Art and Media, 2003. 346–353.
Klein, Norman M. The Vatican to Vegas: A History of Special Effects. New York and London: The New Press, 2004.
Koch, Stephen. Stargazer: Andy Warhol’s World and His Films. London: Calder and Boyars, 1974.
Koselleck, Reinhardt. Futures Past: On the Semantics of Historical Time. Cambridge, Mass.: MIT Press, 1985.
Krauss, Rosalind E. “Carnal Knowledge (1996).” Andy Warhol. Ed. Annette Michel-son. Cambridge, Mass.: MIT Press, 2001. 111–118. October Files.
---. “Reinventing the Medium.” Critical Inquiry 25.2 (Winter) (1999): 289–306. Krueger, Myron. “Responsive Environments.” Proceedings of the June 13-16, 1977,
National Computer Conference (Dallas, Texas, June 13 - 16, 1977). New York:
ACM, 1977. 423–433.
Latour, Bruno. “On Technical Mediation - Philosophy, Sociology, Genealogy.”
Com-mon Knowledge 3.2 (Fall) (1994): 29–64.
Lee, Pamela. Chronophobia: On Time in the Art of the 1960s. Cambridge, Mass.: MIT Press, 2004.
Levin, Thomas Y. “Rhetoric of the Temporal Index: Surveillant Narration and the Cinema of ‘Real Time’.” Ctrl-[space]. Ed. Thomas Y. Levin, Peter Weibel, & Ursula Frohne. Cambridge, Mass.: MIT Press, 2002. 578–593.
Levinson, Stephen C. “Deixis.” Handbook of Pragmatics. Ed. Laurence Horn & Gergory Ward. Malden, MA and Oxford: Blackwell, 2004. 97–121. Blackwell Handbooks in Linguistics 16.
Lippit, Akira Mizatu. “Three Phantasies of Cinema: Reproduction, Mimesis, An-nihilation.” Paragraph 22.3 (1999): 213–228.
Lister, Martin. “Dangerous Metaphors and Meaning in Immersive Media.” Screen
Methods: Comparitive Readings in Film Studies. Ed. Jacqueline Furby & Karen
Randell. London and New York: Wallflower Press, 2005. 38–47.
Lombard, Matthew, and Theresa Ditton. “At the Heart of It All: The Concept of Presence.” JCMC: Journal of Computer-Mediated Communication 3.2 (1997) Lombardo, Patricia. “Warhol as Dandy and Flâneur.” Who Is Andy Warhol? Ed.
Colin MacCabe, Mark Francis, & Peter Wollen. London and Pittsburg: BFI & Andy Warhol Museum, 1997. 33–40.
Van Loon, Joost. “Social Spatialization and Everyday Life,” Space and Culture, 5 (2002): 88–95. http://sac.sagepub.com/cgi/content/abstract/5/2/88 (Accessed January 6, 2010).
Luhmann, Niklas. Social Systems. Trans. John Bednarz Jr. & Dirk Baecker. Stanford, Cal.: Stanford University Press, 1995.
---. “The Paradox of Observing Systems.” Theories of Distinction: Redescribing the
Descriptions of Modernity. Trans. William Rasch. Stanford, Cal.: Stanford
University Press, 2002. 79–93.
Lyotard, Jean-Francois. The Postmodern Condition: A Report on Knowledge (1979). Trans. Geoff Bennington and Brian Massumi. Minneapolis and London: University of Minnesota Press, 1984.
MacCabe, Colin. Theoretical Essays: Film, Linguistics, Literature. Manchester: Manchester University Press, 1985.
MacCabe, Colin, Mark Francis, and Peter Wollen, eds. Who Is Andy Warhol? London and Pittsburg: BFI & Andy Warhol Museum, 1997.
Mai, Joseph. Jean-Pierre and Luc Dardenne. Urbana et.al.: University of Illinois Press, 2010.
Mangolte, Babette. “Afterward: A Matter of Time - Analog Versus Digital, the Perennial Question of Shifting Technology and Its Implications for an Experimental Filmmaker’s Odyssey.” Camera Obscura, Camera Lucida: Essays
in Honor of Annette Michelson. Ed. Richard Allen & Malcolm Turvey.
Amster-dam: Amsterdam University Press, 2002. 261–274. Film Culture in Transition. Manovich, Lev. “An Archeology of a Computer Screen.” Kunstforum International
132 (1996): 124–135.
---. The Language of New Media. Cambridge, Mass.: MIT Press, 2001.
Marks, Laura U. The Skin of the Film: Intercultural Cinema, Embodiment, and the
Marriott, Stephanie. “Mediated Encounters.” Live Television: Time, Space and the
Broadcast Event. London: Sage, 2007. Media Culture & Society.
Massumi, Brian. Parables for the Virtual: Movement, Affect, Sensation. Durham, NC: Duke University Press, 2002.
Massumi, Brian, ed. A Shock to Thought: Expression After Deleuze and Guattari. London and New York: Routledge - Taylor & Francis Group, 2002.
Mast, Gerald, and Bruce F. Kawin. “Neorealism and the New Wave.” A Short
His-tory of the Movies. Seventh. Boston etc.: Allyn & Bacon, 2000. 315–368.
McCarthy, Anna. Ambient Television: Visual Culture and Public Space. Ed. Lynn Spigel. Durham, NC and London: Duke University Press, 2001. Console-ing Passions.
McLuhan, Marshall. Understanding Media: The Extensions of Man. New York: McGraw Hill, 1964.
McQuire, Scott. “Immersion, Reflexivity and Distraction: Spatial Strategies for Digital Cities.” Visual Communication 6.2, June (2007): 146–155.
---. “The Media City: Media, Architecture and Urban Space.” First Monday Special Issue #44 - Urban Screens: Discovering the Potential of Outdoor Screens for Urban Society (2008). Theory, Culture & Society.
Mellencamp, Patricia. “TV Time and Catastrophy, or Beyond the Pleasure Principle of Televisioin.” Logics of Television: Essays in Cultural Criticism. Ed. Patricia Mellencamp & Kathleen Woodward. Indianapolis: Indiana University Press, 1990. 240–266. Theories of Contemporary Culture 11.
Metz, Christian. “Story/ Discourse (A Note on Two Kinds of Voyeurism).” The
Imaginary Signifier: Psychoanalysis and the Cinema. Trans. Celia Britton &
Annwyl Williams. Bloomington: Indiana University Press, 1986. 89–98. ---. “The Impersonal Enunciation, or the Site of Film (In the Margin of Recent
Works on Enunciation in Cinema).” Trans. Béatrice Durand-Sendrail & Kristen Brookes. New Literary History 22.3, July (1991): 747–772.
Michelson, Annette. “‘Where Is Your Rupture?’ Mass Culture and the Gesamt-kunstwerk (1991).” Andy Warhol. Ed. Annette Michelson. Cambridge, Mass.: MIT Press, 2001. 91–118. October Files.
Milgram, Paul, and Fumio Kishino. “A Taxonomy of Mixed Reality Visual Displays.”
IEICE Transactions on Information Systems E77-D.12, December (1994):
1321–1329.
Modleski, Tania. The Women Who Knew Too Much: Hitchcock and Feminist Theory. London and New York: Routledge, 1988.
Montgomery, Michael V. Carnivals and Commonplaces: Bakhtin’s Chronotope,
Cultural Studies, and Film. New York: Peter Lang Publishing, 1993.
Mullarkey, John. Philosophy and the Moving Image: Refractions of Reality. Palgrave Macmillan, 2010.
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen 16.3, Autumn (1975): 6–18.
Munster, Anna. Materializing New Media: Embodiment in Information Aesthetics. Lebanon: University Press of New England, 2006.
Murray, Janet H. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Cambridge, Mass. and London: MIT Press, 1998.
Musser, Charles. “Cinema-Vérité and the New Documentary.” The Oxford History
of World Cinema: A Definitive History of Cinema Worldwide. Ed. Geoffrey
Nowell-Smith. Oxford and New York: Oxford University Press, 1996. 527–536. Nancy, Jean-Luc. Being Singular Plural. Ed. Werner Hamacher & David E. Wellbery.
Trans. Robert D. Richardson & Anne E. O’Byrne. Stanford, Cal.: Stanford University Press, 2000.
Nichols, Bill. Representing Reality: Issues and Concepts in Documentary. Blooming-ton: Indiana University Press, 1991.
Noordegraaf, Julia. Strategies of Display: Museum Presentation in Nineteenth- and
Twentieth-Century Visual Culture. Rotterdam: NAI Publishers/Museum
Boijmans Van Beuningen, 2004.
Norman, D.A. The Design of Everyday Things. New York: Doubleday, 1990. Païni, Dominique. “Should We Put an End to Projection?” Trans. Rosalind E.
Krauss. October 110 (2004): 23–48.
---. “The Return of the Flâneur.” Art Press 255 (2000): 33–41.
Pauls, Alan. “Being There.” Warhol on Warhol: 22.11.2007-20.01.2008. Ed. Estrella de Diego. Madrid: La Casa Encendida, 2007. 297–306. 2002-2007: 5 Years of La Casa Encendida.
Peeren, Esther. Intersubjectivities and Popular Culture: Bakhtin and Beyond. Stan-ford: Stanford University Press, 2007. Cultural Memories in the Present. Peirce, Charles S. “Logic as Semiotic: The Theory of Signs.” Philosophical Writings
of Peirce. Ed. Justus Buchler. New York: Dover Publications, 1955. 98–119.
Pisters, Patricia. “Flash Forward: The Future is Now.” Deleuze Studies, 5 (2011): 98–115.
Poulaki, Maria. Before or Beyond Narrative: Towards a Complex Systems Theory of
Contemporary Films. Amsterdam: Rozenberg Publishers, 2011.
Pozorski, Aimee L. “Trauma’s Time.” CT Review Spring (2006): 71–84.
Proust, Marcel. The Guermantes Way. Trans. Mark Treharne. Viking Adult, 2004. Renan, Sheldon. An Introduction to the American Underground Film. New York:
Dutton, 1967.
Roca, José. “Face Value. Contemporary Video Works from Colombia.” Column
Adearena: Critical Reflections from Columbia 46 (2002): n. pag.
Rodney, Lee. “Real Time, Catastrophe, Spectacle: Reality as Fantasy in Live Me-dia.” The Spectacle of the Real: From Hollywood to “Reality” TV and Beyond. Ed. Geoff King. Bristol, Portland, Or: Intellect Books, 2005. 37–46.
Rodowick, David Norman. Gilles Deleuze’s Time Machine. Durham, NC: Duke University Press, 1997. Post-Contemporary Interventions.
---. The Virtual Life of Film. Cambridge, Mass.: Harvard University Press, 2007. Rokeby, David. “Camera as Projector: Sensing Technologies and Public Space.”
Invisibility and Unawareness: Ethico-political Implications of Embeddedness and Surveillance Culture (Conference Paper). Copenhagen, 2011. Research
Network: The Culture of Ubiquitous Information.
---. “The Construction of Experience: Interface as Content.” Digital Illusion:
Entertaining the Future with High Technology. Ed. Clark Dodsworth.
Addison-Wesley Professional, 1997. 27–48.
---. “Transforming Mirrors: Subjectivity and Control in Interactive Media.” Critical
Issues in Electronic Media. Ed. Simon Penny. Albany: State University of New
York Press, 1995.
Rosen, Philip, ed. Narrative, Apparatus, Ideology: A Film Theory Reader. New York: Columbia University Press, 1986.
Ryan, Marie-Laure. “Immersion Vs. Interactivity: Virtual Reality and Literary Theory.” SubStance 28.2 (1999): 110–137.
---. Narrative as Virtual Reality: Immersion and Interactivity in Literature and
Elec-tronic Media. The Johns Hopkins University Press, 2003.
Sandhu, Sukhdev. Eva Rhodes and Yoko Ono: One of the Most Violent Movies Ever. 2009.
Scannell, Paddy. Broadcast Talk. London: Sage, 1991.
Sementsky, Inna. “Singularity.” The Deleuze Dictionary. Ed. Adrian Parr. Edinburgh: Edinburgh University Press, 2005. 91–93.
Sennett, Richard. The Fall of Public Man. Cambridge, Mass.: Cambridge University Press, 1977.
Shaviro, Steven. Post Cinematic Affect. Winchester, UK: O Books, John Hunt, 2010. Sheridan, T.B. “Futher Musings on the Psychopphysics of Presence.” Presence,
Teleoperators, and Virtual Environments 5 (1996): 241–246.
---. “Musings on Telepresence and Virtual Presence.” Presence, Teleoperators, and
Virtual Environments 1 (1992): 120–125.
Silverman, Kaja. The Threshold Of The Visible World. New York and London: Rout-ledge, 1996.
Sitney, P. Adams. Eyes Upside Down: Visionary Filmmakers and the Heritage of
Emerson. Oxford and New York: Oxford University Press, 2008.
---. Visionary Film: The American Avant-Garde, 1943-2000. 3rd ed. Oxford and New York: Oxford University Press, 2002.
Slater, M., and M. Usoh. “Representations Systems, Perceptual Position, and Presence in Immersive Virtual Environments.” Presence, Teleoperators, and
Virtual Environments 2.3 (1993): 221–233.
Smith, Derek. Rosetta (Dardenne Bros., 1999). 2004. Cinematic Reflections, http:// www.cinematicreflections.com/rosetta.html (Accessed March 17, 2009). Smith, Murray. “Parallel Lines.” American Independent Cinema: A Sight and Sound
Reader. Ed. Jim Hiller. London: BFI, 2001. 155–164.
Smith, Patrick S. Andy Warhol’s Art and Films. Ann Arbor, Michigan: UMI Research Press, 1986.
Sobchack, Vivian. Carnal Thoughts: Embodiment and Moving Image Culture. Los Angeles: University of California Press, 2004.
---. “Lounge Time: Postwar Crisis and the Chronotope of Film Noir.” Refiguring
American Film Genres: History and Theory. Ed. Nick Browne. Berkeley and
London: University of California Press, 1998. 129–170.
---. The Address of the Eye: A Phenomenology of Film Experience. Princeton: Princeton University Press, 1992.
---. “The Scene of the Screen: Envisioning Cinematic and Electronic ‘Presence’.”
Technology and Culture, the Film Reader. Ed. Andrew Utterson. Abingdon and
New York: Routledge - Taylor & Francis Group, 2005a.
---. “When the Ear Dreams: Dolby Digital and the Imagination of Sound.” Film
Soderman, Braxton. “The Index and the Algorithm.” Ed. Mary Ann Doane.
Differ-ences: A Journal of Feminist Cultural Studies 18.1 (2007): 153–186.
Stam, Robert. Film Theory: An Introduction. Malden, MA and Oxford: Wiley-Black-well, 2000.
---. Subversive Pleasures: Bakhtin, Cultural Criticism, and Film. Baltimore: Johns Hopkins University Press, 1992.
Steuer, J. “Defining Virtual Reality: Dimensions Determining Telepresence.”
Com-munications in the Age of Virtual Reality. Ed. Frank Biocca & R. Levy, Mark.
Hillsdale, NJ: Lawrence Erbaum Associates, 1995. 33–56.
Stewart, Garrett. Framed Time: Toward a Postfilmic Cinema. Chicago and London: University of Chicago Press, 2007.
Stewart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir,
the Collection. Durham and London: Duke University Press Books, 1993.
Stiles, Kristine, and Edward A. Shanken. “Missing in Action: Agency and Meaning in Interactive Art (2000).” Context Providers: Conditions of Meaning in Media
Arts. Ed. Margot Lovejoy, Victoria Vesna, & Christiane Paul. Bristol and
Chicago: Intellect, 2011.
Suarez, Juan Anonio. Biker Boys, Drag Queens, and Superstards: Avant-Garde,
Mass-Culture and Gay Identities in the 1960s Undergrouns Cinema. Bloomington:
Indiana University Press, 1996.
Taubin, Amy. “****.” Who Is Andy Warhol? Ed. Colin MacCabe, Mark Francis, & Pe-ter Wollen. London and Pittsburg: BFI & Andy Warhol Museum, 1997. 33–40. ---. “My Time Is Not Your Time.” Sight and Sound 4.6 (1994): 21–24.
Travers, James. Rosetta. 2001. http://filmsdefrance.com/FDF_Rosetta_rev.html. (Accessed March 17, 2009).
Uhlin, Graig. “TV, Time, and the Films of Andy Warhol.” Cinema Journal 49.3 (2010): 1–23.
Urban, Andrew L. Rosetta. 2000. http://www.urbancinefile.com.au/home/view. asp?a=4391&s=Reviews. (Accessed March 17, 2009).
Usai, Paolo Cherchi. The Death of Cinema: History, Cultural Memory, and the Digital
Dark Age. London: British Film Institute, 2001.
Verhoeff, Nanna. Mobile Screens: The Visual Regime of Navigation. Amsterdam: Amsterdam University Press, 2012.
---. The West in Early Cinema: After The Beginning. Amsterdam: Amsterdam Univer-sity Press, 2006.
Vertov, Dziga. “Kinopravda (1923).” Kino-Eye: The Writings of Dziga Vertov. Ed. Annette Michelson. Trans. Kevin O’Brien. London and Sydney: Pluto Press, 1984. 33.
Vianello, Robert. “The Power Politics of ‘Live’ Television.” Journal of Film and Video 37.3 (1985): 34.
Villella, Fiona A. “Circular Narratives: Highlights of Popular Cinema in the ‘90s.”
Senses of Cinema. February (2000):
http://www.sensesofcinema.com/con-tents/00/3/circular.html (Accessed November 23, 2006)
Vincendeau, Ginette. “The Popular Art of French Cinema.” The Oxford History of
World Cinema: A Definitive History of Cinema Worldwide. Ed. Geoffrey
Nowell-Smith. Oxford and New York: Oxford University Press, 1996. 344–353. Virilio, Paul. Negative Horizon: An Essay in Dromoscopy. Trans. Michael Degener.
London and New York: Continuum, 2006.
Walley, Jonathan. “The Material of Film and the Idea of Cinema: Contrasting Prac-tices in Sixties and Seventies Avant-garde Film.” October 103 (2003): 15–30. ---. “The ‘Paracinema’ of Anthony McCall and Tony Conrad.” Avant-Garde Film:
Critical Studies. Ed. Dietriech Scheunemann. Edinburgh: Editions Rodopi,
2007.
Walters, Tim. “Reconsidering The Idiots: Dogme95, Lars Von Trier, and the Cinema of Subversion?” The Velvet Light Trap 53 (2004): 40–54.
Wedel, Michael. “Sculpting With Light: Early Film Style, Stereoscopic Vision and the Idea of a ‘Plastic Art In Motion’.” Film 1900: Technology, Perception,
Culture. Ed. Annemone Ligensa & Klaus Kreimeier. New Barnet: John Libbey
Press, 2009. 201–223.
White, Mimi. “Flows and Other Close Encounters with Television.” Planet TV:
A Global Television Reader. Ed. Lisa Parks & Shanti Kumar. New York and
London: New York University Press, 2003. 94–110.
Wiener, Norbert. The Human Use Of Human Beings: Cybernetics And Society. 2nd ed. Cambridge, Mass.: MIT Press, 1965.
Williams, Raymond. Television: Technology and Cultural Form. New York: Schocken Books, 1975.
---. “Structures of Feeling.” Marxism and Literature. London and New York, Oxford University Press, 1977. Marxist Introduction Series.
Wollen, Peter. “‘Ontology’ and ‘Materialism’ in Film.” Readings and Writings. London: Verso, 1982. 187–207.
Zahorik, Pavel, and Rick L. Jenison. “Presence as Being-in-the-World.” Presence:
Teleoperators and Virtual Environments 7.February (1998): 78–89.
Zettl, Herbert. “The Rare Case of Television Aesthetics.” Journal of the University
Film Association 30.2 (1978): 3–5.
Zone, Ray. Stereoscopic Cinema & the Origins of 3-D Film. Lexington, KY: University Press of Kentucky, 2007.
