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World Filmmakers: A Critical List of Books (February 2013): Works Cited

By Mark Emmons and Audra Bellmore

Works Cited

Acevedo-Muñoz, Ernesto R.  Buñuel and Mexico: The Crisis of National Cinema.  California, 2003.

Aranda, Francisco.  Luis Buñuel: A Critical Biography, ed. and tr. by David Robinson.  Da Capo, 1975 (CH, 1st American ed., Dec’76).

Bacher, Lutz.  Max Ophüls in the Hollywood Studios.  Rutgers, 1996 (CH, May’97, 34-4979).

Bacon, Henry.  Visconti: Explorations of Beauty and Decay.  Cambridge, 1998 (CH, Nov’98, 36-1485).

Bainbridge, Caroline.  The Cinema of Lars von Trier: Authenticity and Artifice.  Wallflower Press, 2007 (CH, Sep’08, 46-0167).

Bird, Robert.  Andrei Tarkovsky: Elements of Cinema.  Reaktion, 2008.

Bliss, Michael.  Dreams within a Dream: The Films of Peter Weir.  Southern Illinois, 2000 (CH, Jun’00, 37-5579).

Bondanella, Peter.  The Films of Federico Fellini.  Cambridge, 2002 (CH, Oct’02, 40-0805).

Bordwell, David.  The Cinema of Eisenstein.  Harvard, 1993 (CH, Mar’94, 31-3697).

Brody, Richard.  Everything Is Cinema: The Working Life of Jean-Luc Godard.  Metropolitan Books/Henry Holt, 2008 (CH, Jan’09, 46-2554).

Burke, Frank.  Fellini’s Films: From Postwar to Postmodern.  Twayne/Prentice Hall International, 1996 (CH, May’97, 34-4980).

Carney, Ray, with Leonard Quart.  The Films of Mike Leigh: Embracing the World.  Cambridge, 2000 (CH, Feb’01, 38-3232).

Chatman, Seymour Benjamin.  Antonioni, or the Surface of the World.  California, 1985 (CH, May’86).

Cohen, Hubert I.  Ingmar Bergman: The Art of Confession.  Twayne, 1993.

Cooper, Darius.  The Cinema of Satyajit Ray: Between Tradition and Modernity.  Cambridge, 2000 (CH, Sep’00, 38-0198).

Cunneen, Joseph.  Robert Bresson: A Spiritual Style in Film.  Continuum International Publishers Group, 2003 (CH, Sep’03, 41-0197).

Das Gupta, Chidananda.  The Cinema of Satyajit Ray.  Noida: Vikas, 1980.

Dillon, Steven.  Derek Jarman and Lyric Film: The Mirror and the Sea.  Texas, 2004.

Dixon, Wheeler Winston.  The Films of Jean-Luc Godard.  State University of New York, 1997 (CH, Sep’97, 35-0180).

Drabinski, John E.  Godard between Identity and Difference.  Continuum International Publishers Group, 2008 (CH, Feb’09, 46-3146).

Evans, Peter William.  The Films of Luis Buñuel: Subjectivity and Desire.  Oxford, 1995 (CH, Feb’96, 33-3217).

Ganguly, Keya.  Cinema, Emergence, and the Films of Satyajit Ray.  California, 2010 (CH, Dec’10, 48-1960).

García Düttman, Alexander.  Visconti: Insights into Flesh and Blood, tr. by Robert Savage.  Stanford, 2009 (CH, Jun’09, 46-5509).

Garner, Philippe, and David Allan Mellor.  Antonioni’s Blow-Up.  Gottingen: Steidl, 2010.

Gervais, Marc.  Ingmar Bergman: Magician and Prophet.  McGill-Queen’s, 1999 (CH, Oct’99, 38-0841).

Goodwin, James.  Akira Kurosawa and Intertextual Cinema.  Johns Hopkins, 1994 (CH, Jun’94, 31-5352).

____.  Eisenstein, Cinema, and History.  Illinois, 1993 (CH, Jul’93, 30-6075).

Gordon, Robert S. C.  Pasolini: Forms of Subjectivity.  Oxford, 1996 (CH, Sep’97, 35-0181).

Greene, Naomi.  Pier Paolo Pasolini: Cinema as Heresy.  Princeton, 1990.

Haltof, Marek.  The Cinema of Krzysztof Kieślowski: Variations on Destiny and Chance.  Wallflower, 2004 (CH, Jan’05, 42-2699).

____.  Peter Weir: When Cultures Collide.  Twayne, 1996.  (CH, Jul’97, 34-6179a).

Holmes, Diana, and Robert Ingram.  François Truffaut.  Manchester University Press, 1998.

Hubner, Laura.  The Films of Ingmar Bergman: Illusions of Light and Darkness.  Palgrave Macmillan, 2007 (CH, Dec’07, 45-1929).

Insdorf, Annette.  François Truffaut.  Cambridge, 1994.

Izod, John.  The Films of Nicolas Roeg: Myth and Mind.  St. Martin’s, 1992.

Johnson, Vida T.  The Films of Andrei Tarkovsky: A Visual Fugue.  Indiana, 1994 (CH, Jun’95, 32-5550).

Jones, Edward Trostle.  All or Nothing: The Cinema of Mike Leigh.  Peter Lang, 2004.

Kalin, Jesse.  The Films of Ingmar Bergman.  Cambridge, 2003.

Keesey, Douglas.  The Films of Peter Greenaway: Sex, Death, and Provocation.  McFarland, 2006.

Ketcham, Charles B.  The Influence of Existentialism on Ingmar Bergman: An Analysis of the Theological Ideas Shaping a Filmmaker’s Art.  E. Mellen, 1986 (CH, Feb’87).

Kickasola, Joseph G.  The Films of Krzysztof Kieślowski: The Liminal Image.  Continuum International Publishers Group, 2004 (CH, Jan’05, 42-2699a).

Kirihara, Donald.  Patterns of Time: Mizoguchi and the 1930s.  Wisconsin, 1992.

Kline, T. Jefferson.  Bertolucci’s Dream Loom: A Psychoanalytic Study of Cinema.  Massachusetts, 1987 (CH, Jan’88).

Kolker, Robert Phillip.  Bernardo Bertolucci.  Oxford, 1985.

Lanza, Joseph.  Fragile Geometry: The Films, Philosophy, and Misadventures of Nicolas Roeg.  PAJ Publications, 1989 (CH, Oct’89, 27-0871).

Lawrence, Amy.  The Films of Peter Greenaway.  Cambridge, 1997 (CH, Jun’98, 35-5560).

Le Berre, Carole.  François Truffaut at Work, tr. by Bill Krohn.  English ed.  Phaidon, 2005.

Le Fanu, Mark.  The Cinema of Andrei Tarkovsky.  British Film Institute, 1987 (CH, Oct’88, 26-0842).

____.  Mizoguchi and Japan.  British Film Institute, 2005.

McHugh, Kathleen Anne.  Jane Campion.  Illinois, 2007.

Martinez, D. P.  Remaking Kurosawa: Translations and Permutations in Global Cinema.  Palgrave Macmillan, 2009.

Morrey, Douglas.  Jean-Luc Godard.  Manchester University Press, 2005 (CH, Mar’06, 43-3935).

Nesbet, Anne.  Savage Junctures: Sergei Eisenstein and the Shape of Thinking.  I. B. Tauris, 2007 (CH, Feb’04, 41-3320).

Nowell-Smith, Geoffrey.  Luchino Visconti.  3rd ed.  British Film Institute, 2003 (CH, Jun’04, 41-5797).

Nyce, Ben.  Satyajit Ray: A Study of His Films.  Praeger, 1988.

Pascoe, David.  Peter Greenaway: Museums and Moving Images.  Reaktion Books, 1997 (CH, Jun’98, 35-5560a).

Pencak, William.  The Films of Derek Jarman.  McFarland, 2002 (CH, Apr’03, 40-4507).

Peter Greenaway’s Postmodern/Poststructuralist Cinema, ed. by Paula Willoquet-Maricondi and Mary Alemany-GalwayScarecrow, 2001.

Pipolo, Tony.  Robert Bresson: A Passion for Film.  Oxford, 2010 (CH, Jul’10, 47-6152).

Polan, Dana.  Jane Campion.  British Film Institute, 2001.

Pomerance, Murray.  Michelangelo Red, Antonioni Blue: Eight Reflections on Cinema.  California, 2011.

Price, Brian.  Neither God nor Master: Robert Bresson and Radical Politics.  Minnesota, 2011 (CH, Nov’11, 49-1365).

Prince, Stephen.  The Warrior’s Camera: The Cinema of Akira Kurosawa.  Princeton, 1991 (CH, Sep’91, 29-0213).

Rayner, Jonathan.  The Films of Peter Weir.  2nd ed.  Continuum, 2003 (CH, Apr’04, 41-4530).

Reader, Keith.  Robert Bresson.  Manchester University Press, 2000 (CH, Dec’00, 38-2065).

Richardson, Niall.  The Queer Cinema of Derek Jarman: Critical and Cultural Readings.  I. B. Tauris, 2009 (CH, Jul’09, 46-6098).

Richie, Donald.  The Films of Akira Kurosawa.  3rd ed., expanded and updated.  California, 1996.

Rohdie, Sam.  Fellini Lexicon.  British Film Institute, 2002.

Ryan-Scheutz, Colleen.  Sex, the Self, and the Sacred: Women in the Cinema of Pier Paolo Pasolini.  Toronto, 2007 (CH, Apr’08, 45-4271).

Satō, Tadao.  Kenji Mizoguchi and the Art of Japanese Cinema, ed. by Aruna Vasudev and Latika Padgaonkar; tr. by Brij TankhaBerg, 2008.

Silverman, Kaja, and Harun Farocki.  Speaking about Godard.  New York University, 1998 (CH, Sep’99, 37-0206).

Simons, Jan.  Playing the Waves: Lars von Trier’s Game Cinema.  Amsterdam University Press, 2007.

Sinyard, Neil.  The Films of Nicolas Roeg.  London: Letts, 1991.

Sterritt, David.  The Films of Jean-Luc Godard: Seeing the Invisible.  Cambridge, 1999.

Stevenson, Jack.  Lars von Trier.  BFI Pub, 2002.

Stubbs, John Caldwell.  Federico Fellini as Auteur: Seven Aspects of His Films.  Southern Illinois, 2006 (CH, Dec’06, 44-2024).

Tonetti, Claretta Micheletti.  Bernardo Bertolucci: The Cinema of Ambiguity.  Twayne/Prentice Hall International, 1995 (CH, Apr’96, 33-4402).

Turovskaia, Maya.  Tarkovsky: Cinema as Poetry, ed. and introd. by Ian Christie; tr. by Natasha Ward.  Faber and Faber, 1989.

Verhoeven, Deb.  Jane Campion.  Routledge, 2009 (CH, Jul’09, 46-6102).

Viano, Maurizio Sanzio.  A Certain Realism: Making Use of Pasolini’s Film Theory and Practice.  California, 1993.

Watson, Garry.  The Cinema of Mike Leigh: A Sense of the Real.  Wallflower, 2004 (CH, Dec’04, 42-2117).

White, Susan M.  The Cinema of Max Ophüls: Magisterial Vision and the Figure of Women.  Columbia, 1995.

Whitehead, Tony.  Mike Leigh.  Manchester University Press, 2007.

Williams, Alan Larson.  Max Ophüls and the Cinema of Desire: Style and Spectacle in Four Films, 1948-1955.  Ayer, 1992.

Wilson, Emma.  Memory and Survival: The French Cinema of Krzysztof Kieślowski.  Legenda, 2000.

Wymer, Rowland.  Derek Jarman.  Manchester University Press, 2005.

Yoshimoto, Mitsuhiro.  Kurosawa: Film Studies and Japanese Cinema.  Duke University, 2000.

Žižek, Slavoj.  The Fright of Real Tears: Krzysztof Kieślowski between Theory and Post-Theory.  British Film Institute, 2000.