Wollen, Peter. Signs and Meaning in the Cinema. 3rd ed.
Bloomington: Indiana University Press, 1972.
Youngblood, Gene. Expanded Cinema. New York: Dutton, 1970.
Ways of Looking at Movies
Anderson, Joseph D. The Reality of Illusion: An Ecological Approach
to Cognitive Film Theory. Carbondale: Southern Illinois
University Press, 1996.
Bordwell, David. Making Meaning: Inference and Rhetoric in the
Interpretation of Cinema. Cambridge, Mass.: Harvard
University Press, 1989.
Bywater, Tim, and Thomas Sobchack. An Introduction to Film
Criticism: Major Critical Approaches to Narrative Film. New
York: Longman, 1989.
Carroll, Noël. Interpreting the Moving Image. New York: Cambridge
University Press, 1998.
———. The Philosophy of Horror: or, Paradoxes of the Heart. New
York: Routledge, 1990.
Grodal, Torben. Moving Pictures: A New Theory of Film Genres,
Feelings, and Cognition. New York: Oxford University Press,
1997.
Kawin, Bruce F. How Movies Work. Berkeley: University of
California Press, 1992.
Palmer, R. Barton. The Cinematic Text: Methods and Approaches.
New York: AMS Press, 1989.
Perkins, V. F. Film as Film: Understanding and Judging Movies.
Baltimore: Penguin, 1972.
Plantinga, Carl, and Greg M. Smith, eds. Passionate Views: Film,
Cognition, and Emotion. Baltimore: Johns Hopkins University
Press, 1999.
Smith, Greg M. Film Structure and the Emotion System. New York:
Cambridge University Press, 2003.
Smith, Murray. Engaging Characters: Fiction, Emotion, and the
Cinema.New York: Oxford University Press, 1995.
Staiger, Janet. Media Reception Studies. New York: New York
University Press, 2005.
———. Perverse Spectators: The Practices of Film Reception. New
York: New York University Press, 2000.
Stokes, Melvyn, and Richard Maltby, eds. American Movie
Audiences: From the Turn of the Century to the Early Sound Era.
London: BFI, 1999.
Formal Analysis
Geiger, Jeffrey, and R. L. Rutsky, eds. Film Analysis: A Norton
Reader. New York: Norton, 2005.
Chapter Two: Principles of Film Form
Form and Content
Deren, Maya. An Anagram of Ideas on Art, Form and Film. Yonkers,
N.Y.: Alicat, 1946. Repr. in The Art of Cinema: Selected Essays.
Ed. George Amberg. New York: Arno, 1972.
Forster, E. M. Aspects of the Novel. New York: Harcourt, Brace,
1927.
Form and Expectations
Kozloff, Sarah. Overhearing Film Dialogue. Berkeley: University of
California Press, 2000.
Realism and Antirealism
Armstrong, Richard. Understanding Realism. London: BFI, 2005.
Hochberg, Julian. “The Representation of Things and People.” In
Art, Perception and Reality. 47–94. Ed. E. H. Gombrich.
Baltimore: Johns Hopkins University Press, 1972.
Williams, Christopher, ed. Realism and the Cinema: A Reader.
London: Routledge & Kegan Paul, 1980.Censorship
Black, Gregory D. Hollywood Censored: Morality Codes, Catholics,
and the Movies. New York: Cambridge University Press, 1994.
Jacobs, Lea. The Wages of Sin: Censorship and the Fallen Woman
Film, 1928–1942.Madison: University of Wisconsin Press, 1991.
Lewis, Jon. Hollywood v. Hard Core: How the Struggle over
Censorship Saved the Modern Film Industry. New York: New
York University Press, 2000.
Martin, Olga J. Hollywood’s Movie Commandments: A Handbook
for Motion Picture Writers and Reviewers. New York: Wilson,
1937.
Moley, Raymond. “The Birth of the Motion Picture Code.” In The
Movies in Our Midst: Documents in the Cultural History of Film
in America. 317–321. Ed. Gerald Mast. Chicago: University of
Chicago Press, 1982.
———. “The Motion Picture Production Code of 1930.” In The
Movies in Our Midst: Documents in the Cultural History of Film
in America. 321–333. Ed. Gerald Mast. Chicago: University of
Chicago Press, 1982.
Randall, Richard S. Censorship of the Movies: The Social and
Political Control of a Mass Medium. Madison: University of
Wisconsin Press, 1968.
Schumach, Murray. The Face on the Cutting Room Floor: The Story
of Movie and Television Censorship. New York: Morrow, 1964.Chapter 3: Types of Movies
General Books on Types and Genres of Movies
Altman, Rick. Film/Genre. London: BFI, 1999.
Browne, Nick, ed. Refiguring American Film Genres: History and
Theory. Berkeley: University of California Press, 1998.
Dixon, Wheeler Winston, ed. Film Genre 2000: New Critical Essays.
Albany: State University of New York Press, 2000.
Gehring, Wes D., ed. Handbook of American Film Genres. New York:
Greenwood, 1988.
Grant, Barry Keith. Film Genre: From Iconography to Ideology.New
York: Wallflower, 2007.
———, ed. Film Genre Reader. Austin: University of Texas Press,
1986.
———, ed. Film Genre Reader II.Austin: University of Texas Press,
1995.
———, ed. Film Genre Reader III.Austin: University of Texas
Press, 2003.
———, ed. Film Genre: Theory and Criticism. Metuchen, N.J.:
Scarecrow, 1977.
Langford, Barry. Film Genre: Hollywood and Beyond.Edingburgh:
Edinburgh University Press, 2005.
Neale, Steve, ed. Genre and Contemporary Hollywood. London: BFI,
2002.
Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking, and the
Studio System. New York: Random House, 1981.550 FURTHER READING