Books Lists for Qualifying Examination Dimitrios Latsis Film History Area: US Cinema, Origins to 1930 BOOKS Abel,

Richard. The Red Rooster Scare: Making Cinema American. Berkeley: University of California Press, 1999. Auerbach, Jonathan. Body Shots: Early Cinemas Incarnations. Berkeley: University of California Press, 2007. Gaudreault, Andr, [Ed]. American Cinema, 1890-1909: Themes and Variations. New Brunswick, NJ: Rutgers University Press, 2009. Hansen, Miriam. Babel & Babylon: Spectatorship in American Silent Film. Cambridge: Harvard University Press, 1991. Horak, Jan-Christopher. 1995. Lovers of cinema: the first American film avant-garde, 1919-1945. Madison, Wis: University of Wisconsin Press. Mathews, Nancy Mowll, Charles Musser, and Marta Braun [eds]. 2005. Moving pictures: American art and early film, 1880-1910. Manchester, Vt: Hudson Hills Press in association with the Williams College Museum of Art. Rabinovitz, Lauren. For the Love of Pleasure: Women, Movies, and Culture in Turn-of-the-Century Chicago. New Brunswick, NJ: Rutgers University Press, 1998. Verhoeff, Nanna. 2006. The West in Early Cinema: After the Beginning. Film culture in transition. Amsterdam: Amsterdam University Press. Whissel, Kristin. Picturing American Modernity: Traffic, Technology, and the Silent Cinema. Durham, NC: Duke University Press, 2008.

ARTICLES/CHAPTERS Altman, Rick. Film Sound- All of It. Iris 27 (Spring 1999): 31-48. Altman, Rick. Methodology, from Silent Film Sound. New York: Columbia University Press, 2004: pp. 5-26 Auerbach, Jonathan. Naturalizing Attractions, from Early Cinema and the National, Bloomington: Indiana University Press, 2008: 17-21 Burch, Noel. A Primitive Mode of Representation? from from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 220-227. Cahn, Iris. "The Changing Landscape of Modernity: Early Film and America's "Great Picture" Tradition (with an Appendix of North American Landscape Films in the Paper Print Collection of the Library of Congress)." Wide Angle 18, no. 3 (1996): 85-100. Doane, Mary Ann. Technologys Body: Cinematic Vision in Modernity, from A Feminist Reader in Early Cinema, ed. Jennifer M. Bean and Diane Negra. Durham: Duke University Press, 2002: 530-551. Friedberg, Anne. A Properly Adjusted Window: Vision and Sanity in D.W.Griffiths 1908-1909 Biograph Films, from from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 325-335. Gaudreault, Andr. The Infringement of Copyright Laws and its effects (1900-1906), from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 114-122. Gaudreault, Andr. Detours in Film Narrative: The Development of Cross-Cutting , from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 133-152. Gaudreault, Andr. Showing and Telling: Image and Word in Early Cinema, from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 282-292. Grieveson, Lee. Reforming Cinema, 1907-1909, from Policing Cinema: Movies and Censorship in Early Twentieth Century America. Berkeley: University of California Press, 2004: 78-120. Grieveson, Lee. Film Fights, 1910-1912, from Policing Cinema: Movies and Censorship in Early Twentieth Century America. Berkeley: University of California Press, 2004: 121-150. Gunning, Tom. An Aesthetic of Astonishment: Early Film and the (In)credulous Spectator, from Art and Text 34 (1989) and reprinted in Viewing Positions: Ways of Seeing Film, ed. Linda Williams. New Brunswick: Rutgers University Press, 1994: 114-133. Gunning, Tom. The Cinema of Attractions: Early Film, its Spectator and the Avant Garde, from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 56-62. Gunning, Tom. Weaving a Narrative: Style and Economic Background in Griffiths Biograph Films, from from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 336-347.

Gunning, Tom. Early Cinema as Global Cinema: The Encyclopedic Ambition, from Early Cinema and the National, ed. By Richard Abel, Giorgio Bertellini and Rob King. Bloomington: Indiana University Press, 2008: 11-16. Gunning, Tom. 2010. Landscape and the Fantasy of Moving Pictures: Early Cinemas Phantom Rides. In Cinema and Landscape, ed. Graeme Harper and Jonathan Rayner. London: Intellect, 31-70. Hansen, Miriam. Early Cinema Whose public Sphere? from from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 228-246. Hansen, Miriam. Fallen Women, Rising Stars, New Horizons: Shanghai Silent Film as Vernacular Modernism, Film Quarterly 54.1 (Autumn 2000): 10-22 Kittler, Friedrich. Film. Grammophone, Film, Typewriter. Stanford, CA: Stanford University Press, 1999, 115-182. Loughney, Patrick G. In the Beginning was the Word: Six Pre-Griffith Motion Picture Scenarios, from from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 211-219. Macdonald, Scott. The Attractions of Nature in Early Cinema," from Unseen Cinema: Early American Avant-Garde Film 1893-1941, ed. Bruce Posner. New York: Anthology Film Archives, 2005: 56-63. Mayer, David. The Mobile Theater, from Stagestruck Filmmaker: D W Griffith and the American Theater. Iowa City: University of Iowa Press, 2009: 32-56. Mottet, Jean. Les Paysages Griffithiens. L'Invention de La Scene Americaine: Cinema Et Paysage. Paris: LHarmattan, 1998, 73-112. Musser, Charles. The Travel Genre in 190304: Moving Toward Fictional Narratives, Iris 2, no. 1 (1984): 5657. Musser, Charles. Pt 4: The Production Company Assumes Creative Dominance : 1900-1905 and Pt 5: The beginnings of the Nickelodeon Era : 1905-1907, from The emergence of cinema : the American screen to 1907. New York : Scribner, 1990: 297-495. Musser, Charles. The Travel Genre in 1903-1904: Moving Towards Fictional Narrative, from from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 123-132. Musser, Charles. The Nickelodeon Era Begins : Establishing the Framework for Hollywoods Mode of Representation, from Early Cinema : Space, Frame, Narrative, ed. Thomas Elsaesser. London: British Film Institute, 2006 [1990]: 256-273.

FILMS Annabelle Serpentine Dance. 1894. William Heise. Boxing Cats. 1894. William K.L. Dickson & William Heise. Sandow. 1894. William K.L. Dickson Sioux Ghost Dance. 1894. William K.L. Dickson & William Heise. May Irwin Kiss. 1896. William Heise.
Captain Nissen Going Through Whirlpool Rapids, Niagara Falls. 1901. [Edison Manufacturing Company]

Execution of Czolgosz, with Panorama of Auburn Prison. 1901. Edwin S. Porter. Trip Around the Pan American Exposition. 1901. [Edison Manufacturing Company]. What Happened on Twenty-third Street, New York City. 1901. Edwin S. Porter. Buffalo Bills Wild West Parade. 1902. Frederick S. Armitage. Uncle Josh at the Moving Picture Show. 1902. Edwin S. Porter. Life of an American Fireman. 1902-3. Edwin S. Porter. Down the Hudson. 1903. Frederick S. Armitage & A.E. Weed. Electrocuting an Elephant. 1903. [Prod. Thomas A. Edison] The Gay Shoe Clerk. 1903. Edwin S. Porter. Great Train Robbery. 1903. Edwin S. Porter. Jack and the Beanstalk. 1903. George S. Fleming & Edwin S. Porter. Rube and Mandy at Coney Island. 1903. Edwin S. Porter. What Happened in the Tunnel. 1903. Edwin S. Porter.
How a French Nobleman Got a Wife Through the 'New York Herald' Personal Columns. 1904. Edwin S. Porter.

Boarding School Girls. 1905. Edwin S. Porter. Coney Island at Night. 1905. Edwin S. Porter. Interior NY Subway, 14th St. to 42nd St. 1905. G.W. Bitzer. The Hold Up of the Rocky Mountain Express. 1906. Edwin S. Porter. Laughing Gas. 1907. Edwin S. Porter.

The Teddy Bears. 1907. Edwin S. Porter. The Call of the Wild. 1908. D W Griffith. Corner in Wheat. 1909. D W Griffith. Roosevelt in Africa. 1910. Cherry Kearton. Traffic in Souls. 1913. George Loane Tucker. The Birth of a Nation. 1915. D W Griffith. Easy Street. 1917. Charles Chaplin. Broken Blossoms. 1919. D W Griffith. The Last of the Mohicans. 1920. Clarence Brown & Maurice Tourneur. The Four Horsemen of the Apocalypse. 1921. Rex Ingram. Nanook of the North. 1922. Robert Flaherty. Greed. 1924. Erich Von Stroheim. Sherlock, Jr. 1925. Buster Keaton. Grass: A Nations Battle for Life. 1925. Merian C Cooper & Ernest B Schoedsack. It. 1927. Clarence G. Badger. The Jazz Singer. 1927. Alan Crosland. Sunrise. 1927. F W Murnau. The Life and Death of 9413: a Hollywood Extra. 1928. Robert Florey & Slavko Vorkapich. The Wind. 1928. Victor Sjstrm. The Fall of the House of Usher. 1929. James Sibley Watson & Melville Webber.

Film Theory Area: 1990 to the Present BOOKS Bellour, Raymond. 1990. L'entre-images: Photo, Cinma, Vido. Paris: La Diffrence. Bellour, Raymond. 1999. L'entre-images 2: Mots, Images. Paris: P.O.L. Didi-Huberman, Georges. 2003. Images Malgr Tout. Paris: Les ditions de Minuit. Hansen, Mark B. N. 2006. Bodies in Code: Interfaces with Digital Media. New York: Routledge. Lawlor, Leonard (ed). 2010. Merleau-Ponty: Philosophie et mouvement des images = Philosophy and moving pictures = Filosofia e immagini in movimento. Chiasmi International. Paris: J.Vrin. Mulvey, Laura. 2006. Death 24x a Second: Stillness and the Moving Image. London: Reaktion Books. Nancy, Jean-Luc. 2001. L'vidence du Film: Abbas Kiarostami = The Rvidence of Film : Abbas Kiarostami. Bruxelles: Yves Gevaert. Rodowick, David Norman. 2007. The Virtual Life of Film. Cambridge, Mass: Harvard University Press. Sobchack, Vivian Carol. 1992. The Address of the Eye: a Phenomenology of Film Experience. Princeton, N.J.: Princeton University Press. Wahlberg, Malin. 2008. Documentary Time: Film and Phenomenology. Minneapolis: University of Minnesota Press.

ARTICLES/CHAPTERS Bhabha, Homi K. The Commitment to Theory. In Questions of Third Cinema. Ed. Jim Pines and Paul Willemen. London: BFI Pub, 1994, 111-132. Bruno, Giuliana. A Geography of the Moving Image. In Atlas of Emotions: Journeys in Art, Architecture and Film. London: Verso, 2002, 55-74. Bruno, Giuliana. Pleats of Matter, Folds of the Soul. In Afterimages of Gilles Deleuze's Film Philosophy. Ed. DN Rodowick. Minneapolis, MN: Minnesota, 2010, 213-134. Cheu, Hoi. Feminist Film Theory and the Postfeminist Era: Disney's Mulan. In Cinematic Howling: Women's Films, Women's Film Theories. Vancouver: UBC Press, 2007, 1-20. Crofts, Stephen. Reconceptualizing National Cinema/s. In Quarterly Review of Film and Video 14, no. 3 (1993): 49-67. Elleray, Michele. Heavenly Creatures in Godzone. In Out Takes: Essays in Queer Theory and Film. Ed. Ellis Hanson. Durham: Duke University Press, 1999. 223-40. Friedberg, Anne. The End of Modernity: Where is your Rupture? In Window Shopping: Cinema and the Postmodern. Berkeley: University of California Press, 1994, 157-180. Gabriel, Teshome. "Towards a Critical Theory of Third World Films." In Questions of Third Cinema. Pines and Willemen, 1994, 30-52. Hansen, Miriam. The Mass Production of the Senses: Classical Cinema as Vernacular Modernism. Modernism/Modernity 6.2 (1999): 59-77. Hansen, Miriam. Vernacular Modernism: Tracking Cinema on a Global Scale. In World Cinemas, Transnational Perspectives. Eds N. Durovicova, K. Newman, .New York, London: Routledge, 2009, 287-314. Hayward, Susan. Introduction: Defining the 'National' of a Country's Cinematographic Production. In French National Cinema. London: Routledge, 2005, 1-16. Hjort, Mette. New Danish Cinema: A Small Nations Path to Globalization. In Small nation, global cinema: the new Danish cinema. Minneapolis: University of Minnesota Press, 2005, 1-33. hooks, bell. The Oppositional Gaze: Black Female Spectators. In Black Looks: Race and Representation. New York: South End Press, 1992, 115-131. Kittler, Friedrich. Film. In Grammophone, Film, Typewriter. Stanford, CA: Stanford University Press, 1999, 115-182. Lastra, James. Sound Theory. In Sound Technology and the American Cinema. New York: Columbia University, 2000, 123-153. Ling, A. Can Cinema Be Thought?: Alain Badiou and the Artistic Condition. In The Praxis of Alain Badiou. Eds Ashton, P., Bartlett, A. J., & Clemens, J. Melbourne: re.press, 2006, 291305. McGowan, Todd. Looking for the Gaze: Lacanian Film Theory and Its Vicissitudes. In Cinema Journal 42, No.3, Spring 2003, 27-47.

Modleski, Tania. Cinema and the Dark Continent: Race and Gender in Popular Film. In Feminism Without Women: Culture and Criticism in a Postfeminist Age. New York: Routledge, 1991, 115-134. Melbye, David. Defining Landscape Allegory. In Landscape Allegory in Cinema: From Wilderness to Wasteland. New York: Palgrave MacMillan, 2010, 1-20. Naficy, Hamid. Situating Accented Cinema. In Accented Cinema: Exilic and Diasporic Cinema. Princeton, NJ: Princeton University,2001, 10-39. Mowitt, John. Sembene Ousmanes Xala: Postcolonialty and Foreign Film Languages. Camera Obscura 31 (1993): 72-95. Mulvey, Laura. Xala, Ousmane Sembene (1974): The Carapace that failed. Camera Obscura 31 (1993): 51-70. Neer, Richard. Godard Counts. Critical Inquiry 34.1 (2007): 135-173. Rosen, Philip. Subject Ontology, and Historicity in Bazin. In Change Mummified: Cinema, Historicity, Theory. Minneapolis, MN University of Minnesota Press, 2001, 3-42. Schwartz, Vanessa. The Cosmopolitan Film: From Around the World in Eighty Days to Making Movies Around the World. In Its so French. Chicago: University of Chicago Press, 2007, 158-198. Staiger, Janet. Taboos and Totems: Cultural Meaning of the Silence of the Lambs. In Film Theory goes to the movies. Eds. Jim Collins and Hillary Radner. New York:Routledge 1993, 142-154. Stewart, Garrett (2002) Cimnemonics versus Digitime. In Afterimages of Gilles Deleuze's Film Philosophy. Ed. David Rodowick. Minneapolis: University of Minnesota Press, 2002, 327-40. Stiegler, Bernard. 2010. Cinematic Time. In Technics and Time, 3: Cinematic Time and the Question of Malaise. Stanford: Stanford University Press, 2010, 8-35. Williams, Linda. Film Bodies: Gender, Genre and Excess. Film Quarterly 44.4 (Summer 1991): 2-13. Zizek, Slavoj. "In His Bold Gaze My Ruin Is Writ Large." In Everything You Always Wanted to Know about Lacan (But Were Afraid to Ask Hitchcock). New York: Verso, 1992, 211-271.

FILMS The Cabinet of Dr. Caligari. 1920. Robert Wiene. Manhatta. 1921. Paul Strand & Charles Sheeler. Dragnet Girl. 1933. Yasujir Ozu. Meshes of the Afternoon. 1943. Maya Deren. Lady in the Lake. 1947. Robert Montgomery. Viaggio in Italia. 1954. Roberto Rossellini Nuit et brouillard. 1955. Alain Resnais. Imitation of Life. 1959. Douglas Sirk. Leclisse. 1962. Michelangelo Antonioni. The House is Black. 1962. Forough Farrokhzad Deus e o Diabo na Terra do Sol. 1964. Glauber Rocha. Outer and Inner Space. 1966. Andy Warhol. Andy Warhol's Dracula. 1974. Paul Morrissey. Xala. 1975. Ousmane Sembene . Opening Night. 1977. John Cassavetes. Gorillas in the Mist. 1988. Michael Apted. The Silence of the Lambs. 1991. Jonatan Demme. Le Vent Nous Apportera, 1991. Abbas Kiarostami. Le Vent nous apportera. 1992. Abbas Kiarostami. Calendar. 1994. Atom Egoyan. Histoire(s) du cinema. 1988-1998. Jean-Luc Godard (Chapters 1(a): Toutes les histories, 2(a): Seul le cinema, 3(a) La Monnaie de labsolu) Festen. 1998. Thomas Vinterberg. Eloge de l'amour. 2001. Jean-Luc Godard Decasia. 2002. Bill Morrison Russian Ark. 2002. Aleksandr Sokurov. Ich glaubte Gefangene zu sehen. 2004. Harun Farocki.

Bamako. 2006. Abderrahmane Sissako. The New World. 2005. Terrence Malick The Pervets Guide to Cinema. 2006. Sophie Fiennes. La graine et le mulet. 2007. Abdellatif Kechiche My Winnipeg. 2007. Guy Maddin.