References
- Benjamin, Walter. [1936-39] 1992. A Obra de Arte na Era da sua Reprodutibilidade Técnica [The Work of Art in the Age of Technical Reproduction]. In Sobre Arte, Técnica, Linguagem e Política [About Art, Technique, Language and Politics], 71–110. Lisboa: Relógio d’Água.
- Carroll, Noёl. 2010. Toward a Definition of Moving-Picture Dance. The International Journal of Screendance vol. 1: 111–25.
- Chapple, Freda and Chiel Kattenbelt, eds. 2006. Intermediality in Theater and Performance. Amsterdam and New York: Rodopi.
- Deleuze, Gilles. 1985. Cinéma 2. L’image-temps. Paris: Les Éditions de Minuit.
- Dixon, Steve. 2007. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Cambridge, MA and London: The MIT Press.
- Fewster, Russell. 2010. Instance: The Lost Babylon (Adelaide Fringe Festival 2006). In Mapping Intermediality in Performance, eds. Andy Lavender, Chiel Kattenbelt, Robin Nelson, and Sarah Bay-Cheng, 63–68. Amsterdam: Amsterdam University Press.
- Higgins, Dick. [1965] 1981. Synesthesia and Intersenses: Intermedia. http://www.ubu.com/papers/higgins_intermedia.html. Last accessed 23. 2. 2022.
- Hubbard, Frances Rosina. 2014. Screendance: Corporeal Ties between Dance, Film, and Audience. Doctoral thesis (PhD), University of Sussex. http://sro.sussex.ac.uk/id/eprint/48856/. Last accessed 23. 2. 2022.
- Kappenberg, Claudia. 2009. Does Screendance Need to Look Like Dance? International Journal of Performance Arts and Digital Media vol. 5, no. 2–3 (December): 89–105.
- Koed, Erik. 2005. Sculpture and the Sculptural. The Journal of Aesthetics and Art Criticism vol. 63, no. 2 (Spring): 147–154.
- Marks, Laura U. 2002. Touch: Sensuous Theory and Multisensory Media. Minneapolis and London: University of Minnesota Press.
- Marks, Laura U. 2004. Haptic Visuality: Touching with the Eyes. Framework – The Finnish Art Review, vol. 2: 79–82.
- Merx, Sigrid. 2015. L’image-cristal et le spectacle vivant: l’effect de dédoublement du temps produit par les images en temps reel [The Crystal Image and the Live Performance: the Effect of Splitting Time Produced by Images in Real Time]. In Théâtre et intermedialité, ed. Jean-Marc Larrue, 223–30. Villeneuve d’Ascq: Presses Universitaires du Septentrion.
- Mitoma, Judy and Elizabeth Zimmer, eds. 2003. Envisioning Dance on Film and Video. New York and London: Routledge.
- Mulvey, Laura. [1975] 1986. Visual Pleasure and Narrative Cinema. In Narrative, Apparatus, Ideology: A Film Theory Reader, ed. Philip Rosen, 198–209. New York: Columbia University Press.
- Phelan, Peggy. 1993. Unmarked: The Politics of Performance. Oxon and New York: Routledge.
- Plantinga, Carl. 2009. Moving Viewers: American Film and the Spectator’s Experience. Berkeley, Los Angeles, London: University of California Press.
- Rosenberg, Douglas. 2012. Screendance: Inscribing the Ephemeral Image. Oxford and New York: Oxford University Press.
- Trott, Abbie Victoria. 2015. ‘Being With:’ Establishing Co-presence Between Multimedia Images and Performers in Multimedia Performance. MA Diss. The University of Queensland, https://espace.library.uq.edu.au/view/UQ:379824. Last accessed 23. 2. 2022.
- Vokoun, Jessica, ed. 2006. Screendance: The State of the Art. Proceedings. Conference organized by Douglas Rosenberg, www.dvpg.net/screendance2006.pdf. Last accessed 23. 2. 2022.
- Willem, Linda M., ed. 2003. Carlos Saura: Interviews. Jackson: University Press of Mississippi.
- Youngblood, Gene. 1970. Expanded Cinema. London: Studio Vista.