Herzogenrath, Bernd ed.
Travels in Intermedia[lity]: Reblurring the Boundaries. Jenkins, Henry. Mannoni, Laurent. Translated by Richard Crangle. Exeter: University of Exeter Press, London and New York: I.
Tauris, Natale, Simone. Oddley, Alison and Christine White.
Modes of Spectating. Packer, Randall and Ken Jordan, eds. From Wagner to Virtual Reality. New York: W. Norton and Company, Newcastle upon Tyne: Cambridge Scholars Publishing, Sager Eidt, Laura M. Jeet Heer. The Essay Film.
Timothy Corrigan. The Cinema of Me. Alisa Lebow. Still Moving. Jean Ma. Understanding Film Theory. Ruth Doughty. The Routledge Companion to Film History. William Guynn. A2 Film Studies. Sarah Casey Benyahia. Theorizing Visual Studies. James Elkins. Francesco Casetti. Theorizing Documentary. Michael Renov. Rites of Realism. Ivone Margulies. Cinema and Landscape.
Graeme Harper. Lost in Translation. Homay King. World Cinemas, Transnational Perspectives. Perform, Repeat, Record. Amelia Jones. The Cambridge History of Postmodern Literature. Brian McHale.
Aesthetic Journalism. Alfredo Cramerotti. Film Theory. Felicity Colman. Film Studies: The Basics.
The New Brazilian Cinema by Lúcia Nagib
Amy Villarejo. The Philosophy of Documentary Film. David LaRocca. Urban Cinematics. Helen Hanson. Stages of Reality. Jeremy Maron. Aesthetic Resistance and Dis-interest. John Steppling. A Dictionary of Film Studies. Annette Kuhn. Teaching Film. Lucy Fischer. Europe and Love in Cinema. Luisa Passerini. Pauline Greenhill. Global Art Cinema. Rosalind Galt.
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- Reading the Torah Out Loud: A Journey of Lament and Hope.
- Error-Control Coding for Data Networks.
- Impure cinema: intermedial and intercultural approaches to film - CentAUR?
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Dreaming of Cinema. Adam Lowenstein. Silent Cinema and the Politics of Space. Millennial Cinema.
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Amresh Sinha. The Biopic in Contemporary Film Culture. Tom Brown. Transnational Horror Across Visual Media. Dana Och. Critical Cinema. Clive Myer. Film is revealed here as the location par excellence of media encounters, mutual questioning and self-dissolution into post-medium experiments. Most importantly, the book argues, film's intermedial relations can only be properly understood if their cultural determinants are taken into account.