References
- Altman, R. (1992) ‘Dickens, Griffith, and Film Theory Today’, in Gaines J., (ed.) Classical Hollywood Narrative. The Paradigm Wars. Durham and London: Duke University Press, 9-4710.1215/9780822396345-002
- Beebe, R.W. (2000) ‘After Arnold: Narratives of the Posthuman Cinema’, in Sobchack V. (ed.) Meta-Morphing. Visual Transformation and the Culture of Quick-Change. Minneapolis: University of Minnesota Press, 159-179
- Begley, A. (2005) ‘The Art of Fiction CXXXV: Don DeLillo’, in DePietro T. (ed.) Conversations with Don Delillo. Jackson: University Press of Mississippi, 86-108
- Biskind, P. (2004) ‘The Last Crusade’, in Gods and Monsters. Thirty Years of Writing on Film and Culture. London: Bloomsbury, 115-148
- Bordwell, D. (2006) The Way Hollywood Tells It. Story and Style in Modern Movies. Berkely: University of California Press.10.1525/9780520932326
- Bukatman, S. (1998) ‘Zooming Out: The End of Offscreen Space’, in Lewis, J. (ed.) The New American Cinema. Durham & London: Duke University Press, 248-272.
- Carver, R. (1983) Fires: Essays, Poems, Stories. New York: Vintage.
- Cohan, S. (2000) ‘Case Study: Interpreting Singin’ in the Rain’, in Gledhill, C. and Williams, L. (eds.) Reinventing Film Studies. London: Arnold, 53-75.
- Cook, D. A. (2000) Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979. Berkely: University of California Press.
- Darley, A. (2000) Visual Digital Culture. London & New York: Routledge.
- Gaudreault, A. (2006) ‘From ‘Primitive Cinema’ to ‘Kine-Attractography’, in Strauven, W. (ed.) The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, 85-104.
- Gross, L. (2000) ‘Big and Loud’, in Arroyo, J. (ed.) Action/Spectacle Cinema. A Sight and Sound Reader. London: BFI Publishing, 3-9.
- Gunning, T. (1990) ‘The Cinema of Attractions. Early Film, Its Spectator and the Avant-Garde’, in Elseasser, T. (ed.) Early Cinema: Space – Frame – Narrative. London: BFI Publishing, 56-62.10.5040/9781838710170.0008
- Gunning, T. (2003) ‘Re-Newing Old Technologies: Astonishment, Second Nature, and the Uncanny in Technology from the Previous Turn-of-the-Century’, in Thorburn, D. and Jenkins, H. (eds.) Rethinking Media Change. Cambridge, Massachusetts: The MIT Press.
- Jauss, H.R. (1982) Toward an Aesthetic of Reception. Minneapolis: Uinversity of Minnesota Press.
- Keating, P. (2006) ‘Emotional Curves and Linear Narratives’, in The Velvet Light Trap 58, 4-15.10.1353/vlt.2006.0029
- King, G. (2000) Spectacular Narratives. Hollywood in the Age of the Blockbuster. London and New York: I.B. Taurus Publishers.10.5040/9780755699315
- King, G. (2002) New Hollywood Cinema. An Introduction. New York: Columbia University Press.10.5040/9780755699384
- King, G. (2003) ‘Spectacle, Narrative, and the Spectacular Hollywood Blockbuster’, in Stringer, J. (ed.) Movie Blockbusters. London and New York: Routledge, 114-127.
- King, S. (2000) On Writing. A Memoir of the Craft. London: Hodder & Stoughton.
- Kipnis, L. (1998) ‘Film and Changing Technologies’, in Hill, J. and Church Gibson, P. (eds.) The Oxford Guide to Film Studies. New York: Oxford University Press, 595-604.
- Liandrat-Guigues, S. (2000) Red River. London: BFI Publishing.
- Lichtenfeld, E. (2004) Action Speaks Louder. Violence, Spectacle, and the American Action Movie. Westport, Connecticut: Praeger.
- Maltby, R. (2003) Hollywood Cinema. Oxford: Blackwell Publishing.
- McCarthy, T. (1997) Howard Hawks. The Grey Fox of Hollywood. New York: Grove Press.
- McClean, S. T. (2006) Digital Storytelling. The Narrative Power of Visual Effects in Film. Cambridge, Massachusetts: The MIT Press.10.7551/mitpress/2432.001.0001
- Mottram, J. (2006) The Sundance Kids. How the Mavericks Took Back Hollywood. London and New York: Faber and Faber.
- Myles, L. and Pye, M. (1979) The Movie Brats: How the Film Generation Took Over Hollywood. New York: Holt, Rinehart and Winston.
- Ndalianis, A. (2004) Neo-Baroque Aesthetics and Contemporary Entertainment. Cambridge, Massachusetts & London, England: The MIT Press.10.7551/mitpress/4912.001.0001
- Neale, S. (2003) ‘Hollywood Blockbusters: Historical Dimensions’, in Stringer, J. (ed.) Movie Blockbusters. London and New York: Routledge, 47-60.
- Newman, M. Z. (2006) ‘From Beats to Arcs: Toward a Poetics of Television Narrative’, in The Velvet Light Trap 58, 16-28.10.1353/vlt.2006.0033
- Paci, V. (2006) ‘The Attraction of the Intelligent Eye: Obsessions with the Vision Machine in Early Film Theories’, in Strauven W. (ed.) The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, 121-137.
- Røssaak, E. (2006) ‘Figures of Sensation: Between Still and Moving Images’, in Strauven, W. (ed.) The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, 321-336.
- Schatz, T. (1993) ‘The New Hollywood’, in Radner, H. and Preacher Collins, A. (eds.) Film Theory Goes to the Movies. New York and London: Routledge, 8-36.
- Silvester, C. (199() The Grove Book of Hollywood. New York: Grove Press.
- Sobchack, V. (2006) ‘’Cutting to the Quick’: Techne, Physis, and Poiesis and the Attractions of Slow Motion’, in Strauven W. (ed.) The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, 337-351.
- Staiger, J. (1992) Interpreting Films. Studies in the Historical Reception of American Cinema. Princeton, New Jersey: Princeton University Press.10.1515/9780691216065
- Waxman, S. (2005) Rebels on the Backlot. Six Maverick Directors and How They Conquered the Hollywood Studio System. New York: HarperEntertainment.
- Zanuck, D. F. (1998 [1953]) ‘Memo to All Producers and Executives, 12 March 1953’, in Christopher S. (ed.) The Grove Book of Hollywood. New York: Grove Press, 430.
- Berg, C.R.: ‘An introduction to David Lynch’, extra feature on Twin Peaks – The First Season, Artisan Home Video.