Darkness on Screen: Subjectivity-Inducing Mechanisms in Contemporary Estonian Art Film
By: Martin Oja
References
- Anderson, Joseph 1996. Reality of Illusion. Carbondale: South Illinois University Press.
- Andrews, David; Andrews, Christine 2012. ‘Film Studies and the Biocultural Turn’. - Philosophy and Literature, 36, 1, 58-78.
- Bordwell, David [1979] 1999. ‘The Art Cinema as a Mode of Film Practice’. - Leo Braudy, Marshall Cohen (eds.), Film Theory and Criticism: Introductory Readings. 5th edition. New York: Oxford University Press, 716-724.
- Bordwell, David 1986. Narration in Fiction Film. Madison: University of Wisconsin Press.
- Bordwell, David 2002. ‘Intensifi ed Continuity: Visual Style in Contemporary American Film’. - Film Quarterly, 55, 3, 16-28.
- Bordwell, David 2008. Poetics of Cinema. New York: Routledge.
- Bordwell, David 2012. ‘The Viewer’s Share: Models of Mind in Explaining Film’. http://www.davidbordwell.net/essays/viewersshare.php (12 August 2014).
- Buckland, Warren 2000. Cognitive Semiotics of Film. Cambridge: Cambridge University Press.
- Carroll, Noël [1985] 1996. ‘The Power of Movies’. - Noël Carroll, Theorizing the Moving Image. Cambridge: Cambridge University Press, 78-93.
- Elsaesser, Thomas; Hagener, Malte 2010. Film Theory: An Introduction Through the Senses. New York, London: Routledge.
- Galt, Rosalind; Schoonover, Karl 2010. ‘Introduction: The Impurity of Art Cinema’. - Rosalind Galt, Karl Schoonover (eds.), Global Art Cinema: New Theories and Histories. New York: Oxford University Press, 3-27.
- Gibson, James J. 1986. The Ecological Approach to Visual Perception. New York: Psychology Press.
- Grodal, Torben 2009. Embodied Visions: Evolution, Emotion, Culture and Film. New York: Oxford University Press.
- Jauss, Hans Robert; Benzinger, Elizabeth 1970. ‘Literary History as a Challenge to Literary Theory’. - New Literary History, 2, 1, 7-37.
- Kahneman, Daniel 2011. Thinking, Fast and Slow. London: Penguin Books.
- Kuhn, Annette; Westwell, Guy 2012. A Dictionary of Film Studies. New York: Oxford University Press.
- Lakoff, George; Johnson, Mark 1999. Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought. New York: Basic Books.
- Lotman, Juri 2004. Filmisemiootika. Tallinn: Varrak.
- Odin, Roger 1995. ‘For a Semio-Pragmatics of Film’. - Warren Buckland (ed.), The Film Spectator: From Sign to Mind. Amsterdam: Amsterdam University Press, 227-235.
- Petrie, Graham [1973] 2008. ‘Alternatives to Auteurs’. - Barry Keith Grant (ed.), Auteurs and Authorship. Malden: Blackwell Publishing, 110-118.
- Pierson, Ryan 2010. ‘Embodied Visions: Evolution, Emotion, Culture, and Film by Torben Grodal’. - Critical Quarterly, 52, 2, 93-99.
- Sellors, Paul 2007. ‘Collective Authorship in Film’. - The Journal of Aesthetics and Art Criticism, 65, 3, 263-271.
- Sinnenbrink, Robert 2012. New Philosophies of Film: Thinking Images. London, New York: Continuum.
- Sperber, Dan; Wilson, Deirdre 1986. Relevance: Communication and Cognition. Oxford: Basil Blackwell.
- Stam, Robert 2000. Film Theory: An Introduction. Oxford: Blackwell.
- Tomberg, Donald 2009. ‘Mu silm ja süda - need on sõjajalal’. - Sirp, 15 October.
- Torop, Peeter 1999. ‘Harimise kunst’. - Teater. Muusika. Kino, 5, 65-74.
- Waugh, Linda R. 1980. ‘The Poetic Function in the Theory of Roman Jakobson’. - Poetics Today (Roman Jakobson: Language and Poetry), 2, 1a, 57-82.
DOI: https://doi.org/10.1515/bsmr-2015-0016 | Journal eISSN: 2346-5522
Language: English
Page range: 76 - 95
Published on: Dec 5, 2015
Published by: Tallinn University Baltic Film, Media, Arts and Communication School
In partnership with: Paradigm Publishing Services
Publication frequency: 1 issue per year
Related subjects:
© 2015 Martin Oja, published by Tallinn University Baltic Film, Media, Arts and Communication School
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.