Film Studies

Adams, Parveen. The Emptiness of the Image: Psychoanalysis and Sexual Difference. London & New York: Routledge, 1996.

Allen, Richard & Ishij Gonzàles, eds. Alfred Hitchcock: Centenary Essays. London: BFI, 1999.

Altman, Rick. The American Film Musical. Bloomington: Indiana U.P., 1989.

Altman, Rick, ed. Genre: The Musical, A Reader. London: Routledge & Kegan Paul, 1981.

Andrew, J. Dudley. Concepts in Film Theory. Oxford: Oxford U.P., 1984.

Aumont, Jacques. L’analyse des Films. Paris: Nathan, 1988.

Auster, Albert & Quart, Leonard. How the War was Remembered. New York: Praeger, 1988.

Babington, Bruce & Evans, Peter W. Affairs to Remember: The Hollywood Comedy of the Sexes. Manchester: Manchester U.P., 1993.

Balio, Tino, de. The American Film Industry. Madison: University of Wisconsin Press, 1985.

Bazin, André. Qu’est-ce que le cinéma? Paris: Du Cerf, 1985; What is Cinema? Berkeley: University of California Press, 1987.

Bell, Elizabeth, et al. From Mouse to Mermaid: The Politics of Film, Gender and Culture. Bloomington: Indiana U.P., 1995.

Berger, Maurice, et al. Constructing Masculinity. New York: Routledge, 1995.

Blount, Marcellus and Cunningham, George P. Representing Black Men. London & New York: Routledge, 1996.

Blum, John Morton. Years of Discord: American Politics and Society, 1961-1974. New York & London: Norton, 1991.

Bogle, Donald. Toms, Coons, Mulattoes, Mammies and Bucks. Oxford: Roundhouse, 1994.

Bordwell, David. Narration in the Fiction Film. Madison: University of Wisconsin Press, 1985.

Bordwell, David & Thompson, Kristin. Film Art: An Introduction. New York: Alfred Knopf, 1986 (2nd ed.)

Bordwell, David, Staiger, Janet & Thompson, Kristin. The Classical Hollywood Cinema: London & New York: Routledge, 1985.

Bratton, Jacky, Jim Cook & Christine Gledhill, eds. Melodrama. London: BFI, 1994.

Bowser, Eileen. The Transformation of Cinema 1907-1915. Berkeley: University of California Press, 1994.

Braningan, Edward. Point of View in the Cinema. Berlin. Mouton, 1984.

Broggs, Joseph M & Petrie, Dennis W. The Art of Watching Films. Boston et al: McGraw-Hill, 6^th ed., 2003.

Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York & London: Routledge, 1990

Cameron, Ian, ed. The Movie Book of Film Noir. London: Studio Vista, 1992.

Cavell, Stanley. Pursuits of Happiness. Cambridge, Massachussets: Harvard U.P., 1984.

Chodorow, Nancy J. Feminism and Psychoanalytic Theory. London & New York: Routledge, 1995.

Collins, Jim, Hilary Radner & Ava Preacher Collins, eds. Film Theory Goes to the Movies. New York 6 London: Routledge, 1993.

Cook, Pam,ed. The Cinema Book: London: BFI, 1994.

Cook, Pam & Mieke Bernink, eds. The Cinema Book, 2nd edition. London: BFI, 1999.

Davies, Anthony. Filming Shakespeare’s Plays. Cambridge: Cambridge U.P., 1988.

Davies, Anthony and Stanley Wells, eds. Shakespeare and the Moving Image:The Plays on Film and Television. Cambridge: Cambridge U.P., 1994.

Davies, Jude and Carol R. Smith. Gender, Ethnicity and Sexuality in Contemporary American Film. Edinburgh: Keele U. P., 1997.

De Lauretis, Teresa. Alice Doesn’t. Bloomington: Indiana U.P., 1984.

Deutelbaum, Marshall & Leland Poague, eds. A Hitchcock Reader. Ames, Iowa: Iowa State U.P., 1986.

Diawara, Manthia, ed.  Black American Cinema. New York: Routledge, 1993.

Doane, Mary Ann. The Desire to Desire: The Woman’s Film of the 1940s. Bloomington & Indianapolis: Indiana U.P, 1987.

Doherty, Thomas. Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema.New York: Columbia U.P., 1999.

Donald, James, ed. Fantasy and the Cinema. London: BFI, 1989.

Donaldson, Peter S. Shakespearean Films/ Shakespearean Directors. Boston, Mass.: Unwin Hyman, 1990.

Dyer, Richard. Stars. London: BFI, 1982.

Dyer, Richard. Heavenly Bodies: Film Stars and Society. London: St Martin’s Press, 1986.

Elsaesser, Thomas, ed. Early Cinema: Space, Frame, Narrative. London: BFI, 1990.

Evans, Peter W. and Deleyto, Celestino, ed. Terms of Endearment: Hollywood Romantic Comedy of the 1980s and 1990s. Edinburgh: Edinburgh U.P., 1998.

Feuer, Jane. The Hollywood Musical. London: BFI/MacMillan, 1993 (1982).

Fleishman, Avron. Narrated Films: Story Telling Situations in Cinema History. London: The Johns Hopkins Press, 1992.

Friedman, Lester D., ed. Unspeakable Images: Ethnicity and the American Cinema. Urbana and Chicago: U. of Illinois Press.

Gaudreault, André. Du Littéraire au Filmique. Paris: Meridiens Klincksieck, 1988.

Gledhill, Christine, ed. Home is Where the Heart Is. London: BFI, 1987.

Gerstner, David A. & Staiger Janet, eds. Authorship and Film. New York & London: Routledge, 2003.

Gibbs, John. Mise-en-Scène: Film Style and Interpretation. London & New York: Wallflower, 2002.

Gomery, Douglas. The Hollywood Studio System. London: BFI/MacMillan, 1986.

Guerrero, Ed. Framing Blackness. Philadelphia: Temple U.P., 1993.

Haskell, Molly. From Reverence to Rape. Chicago: University of Chicago Press, 1987 (2nd ed.).

Hayward, Susan. Key Concepts in Cinema Studies. London: Routledge, 1996.

Hillier, Jim and Peter Wollen, eds Howard Hawks: American Artist. London: BFI, 1996.

Hollinger, Karen. In the Company of Women: Contemporary Female Friendship Films. Minneapolis & London: University of Minneapolis Press, 1998.

Horton, Adrew, ed. Comedy/Cinema/Theory. Berkeley: University of California Press, 1991.

Humm, Maggie. Feminism and Film. Edinburgh: Edinburgh U.P., 1997.

Iampolski, Mikhail. The Memory of Tiresias: Intertextuality and Film. Berkeley, Los Angeles and London: University of California Press, 1998.

Jancovich, Mark. Rational Fears: American Horror in the 1950s. Manchester: Manchester U.P., 1996.

Jenkins, Henry. What Made Pistachio Nuts?: Early Sound Comedy and the Vaudeville Aesthetic. New York: Columbia U.P., 1992.

Kaminsky, Stuart M. American Film Genres. Chicago: Nelson-Hall, 1985 (2nd ed.).

Kaplan, E. Ann. Women and Film: Both Sides of the Camera. London: Methuen, 1983.

Kaplan, E. Ann, ed. Psychoanalysis and Cinema. New York, London: Routledge, 1990.

Karnick, Kristine B. & Henry Jenkins, eds. Classical Hollywood Comedy. New York & London: 1995.

Kawin, Bruce F. Mindscreen. Princeton: Princeton U.P., 1978.

Klinger, Barbara. Melodrama and Meaning. Bloomington & Indianapolis: Indiana U.P., 1994.

Kolker, Robert P. A Cinema of Loneliness. New York: Oxford U.P., 1988 (2nd. ed.).

Kozloff, Sarah. Invisible Storytellers: Voice-Over Narration in American Fiction Film. Berkeley and Los Angeles: University of California Press, 1988.

Krutnik, Frank. In a Lonely Street. London: Routledge, 1991.

Landy, Marcia. British Genres: Cinema and Society 1930-1960. Princepton: Princeton U.P., 1991.

Lang, Robert. American Film Melodrama. Princeton: Princeton U.P., 1989.

Lapsley, Robert & Michael Westlake. Film Theory: An Introduction. Manchester: Manchester U.P., 1988.

Lebeau, Vickie. Lost Angels: Psychoanalysis and Cinema. London & New York: Routledge, 1995.

Lewis, Jon,ed. The New American Cinema. Durham & London: Duke U.P., 1998.

Macdonald, Myra. Representing Women: Myths of Femininity in the Popular Cinema. London: Edward Arnold, 1995.

McFarlane, Brian. Novel to Film: An Introduction to the Theory of Adaptation. Oxford: Clarendon Press, 1996.

Maltby, Richard. Hollywood Cinema (co-written with Ian Craven?). Oxford and Malden, Mass.: Blackwell, 1995.

Marantz Cohen, Paula. Alfred Hitchcock: the Legacy of Victorianism. Kentucky: University Press of Kentucky, 1995.

Marcheti, Gina. Romance and the “Yellow Peril”. Berkeley: University of California Press, 1993.

Mast, Gerald and Marshall Cohen, eds. Film Theory and Criticism. New York: Oxford U.P., 1985 (3rd. ed.).

Maxfield, James F. The Fatal Woman: Sources of Male Anxiety in American Film Noir 1941-1991. London: Associated U.P., 1996.

Modleski, Tania. The Women Who Knew Too Much: Hitchcock and Feminist Film Theory. New York: Methuen, 1988.

Mulvey, Laura. Visual and Other Pleasures. Bloomington: Indiana U.P., 1989.

Musser, Charles. The Emergence of Cinema: The American Screen to 1907. Berkeley: University of California Press, 1994.

Naremore, James. Acting in the Cinema. Berkeley: University of California Press, 1988.

Naremore, James. The Films of Vincente Minnelli. Cambridge: Cambridge U.P., 1993.

James Naremore, ed. Film Adaptation. London: the Athlone Press, 2000

Neale, Steve & Frank Krutnik. Popular Film and Television Comedy. London & New York: Routledge, 1990.

Neupert, Richard. The End: Narration and Closure in the Cinema. Detroit: Wayne State U.P., 1995.

Newman, Kim, ed. The BFI Companion to Horror. London: Cassell, 1996.

Nichols, Bill, ed. Movies and Methods. Vol. 2. Berkeley: University of California Press, 1985.

Nowell-Smith, Geoffrey, ed. The Oxford History of World Cinema. Oxford: oxford U.P., 1996.

Penley, Constance. The Future of an Illusion: Film, Feminism and Psychoanalysis. Minneapolis: University of Minnesota Press, 1989.

Penley, Constance and Sharon Willis, eds. Male Trouble. Minneapolis: University of Minnesota Press, 1993.

Person, Ethel S. Dreams of Love and Fateful Encounters: The Power of Romantic Passion. Harmondsworth: Penguin, 1989 (1988).

Read, Jacinda. The New Avengers: Feminism, Femininity and the Rape-Revenge Cycle. Manchester: Manchester U.P., 2000.

Rohmer, Eric. Hitchcock: The First Forty-Four Films. New York: Ungar, 1982.

Rothman, William. The “I” of the Camera. Cambridge: Cambridge U.P., 1988.

Sandler, Kevin S. & Studlar, Gaylyn, eds. Titanic: Anatomy of a Blockbuster. New Brunswick, NJ: Rutgers U.P. 

Schatz, Thomas. The Genius of the System. London: Simon & Schuster, 1989.

Shaviro, Steve. The Cinematic Body. Minneapolis: University of Minnesota Press, 1993.

Shindler, Colin. Hollywood in Crisis: Cinema and American Society, 1929-1939. London and New York: Routledge, 1996.

Simon, Scott. The Invention of the Western Film: A Cultural History of the Genre’s First Half-Century. Cambridge: Cambridge U.P., 2003.

Slide, Anthony. Eccentrics of Comedy. Lanham, Maryland & London: The Scarecrow Press, 1998.

Snead, James. White Screens, Black Images: Hollywood from the Dark Side. New York & London: Routledge, 1994.

Smith, Murray. Engaging Characters: Fiction, Emotion, and the Cinema. Oxford: Clarendon Press, 1995

Stacey, Jackie. Star-Gazing. London: Routledge, 1994.

Staiger, Janet. The Studio System. New Brunswick, NJ: Rutgers U.P., 1995.

Studlar, Gaylyn. In the Realm of Pleasure. New York: Columbia U.P., 1992.

Tasker, Yvonne. Spectacular Bodies: Gender, Genre and the Action Cinema.London & New York: Routledge, 1993.

Telotte, J.P. Voices in the Dark. Urbana: University of Illinois Press, 1989.

Thomas, Deborah. Reading Hollywood: Spaces and Meanings in American Film. London and New York: Wallflower, 2001.

Thompson, Kristin. Storytelling in the New Hollywood: Understanding Classical Narrative Technique. Cambridge, Mass. & London: Harvard U.P.,

Thornham, Sue, ed. Feminist Film Theory: A Reader. Edinburgh: Edinburgh U.P., 1999.

Truffaut., François. El cine según Hitchcock. Madrid: Alianza, 1993 (3ª ed.).

Turan, Kenneth. Sundance to Sarajevo. Berkeley, Los Angeles, London: University of California Press, 2002-

Wexman, Virginia W. Creating the Couple: Love, Marriage, and Hollywood Performance. Princeton, N.J.: Princeton U.P., 1993.

Wilson, George M. Narration in Light. Baltimore: Johns Hopkins U.P., 1988.

Wood, Robin. Howard Hawks. Madrid: Ediciones JC, 1982.

Wood, Robin. Hitchcock’s Films Revisited. New York: Columbia U.P., 1989.

Wollen, Peter. Signs and Meaning in the Cinema. Bloomington: Indiana U.P., 1972 (3rd. ed.).