FURTHER READING 565———. The Haunted Screen: Expressionism in the German Cinema
and the Influence of Max Reinhardt.Trans. Roger Greaves.
Berkeley: University of California Press, 1974.
Elsaesser, Thomas. Weimar Cinema and After: Germany’s Historical
Imagination.New York: Routledge, 2000.
Kracauer, Siegfried. From Caligari to Hitler: A Psychological
History of the German Film.Rev. and exp. ed. Ed. Leonardo
Quaresima. Princeton: Princeton University Press, 2004.
Kreimeier, Klaus. The UFA Story: A History of Germany’s Greatest
Film Company, 1918–1945.Trans. Robert Kimber and Rita
Kimber. New York: Hill & Wang, 1996.
Myers, Bernard S. The German Expressionists: A Generation in
Revolt.Concise ed. New York: Praeger, 1966.
Roberts, Ian. German Expressionist Cinema: The World of Light and
Shadow.London: Wallflower, 2008.
Robinson, David. Das Cabinet des Dr. Caligari.London: BFI, 1997.
Scheunemann, Dietrich, ed. Expressionist Film: New Perspectives.
Rochester, N.Y.: Camden House, 2003.
Willett, John. Expressionism. New York: McGraw-Hill, 1970.
———. The New Sobriety 1917–1933: Art and Politics in the Weimar
Republic.London: Thames & Hudson, 1978.
French Impressionism and Avant-Garde
Filmmaking
Abel, Richard. French Cinema: The First Wave, 1915–1929.
Princeton: Princeton University Press, 1984.
———. French Film Theory and Criticism: A History/Anthology,
1907–1939.Vol. I: 1907–1929.2 vols. Princeton: Princeton
University Press, 1988.
Brownlow, Kevin. “Napoleon,” Abel Gance’s Classic Film.New York:
Knopf, 1983.
Clair, René. Cinema Yesterday and Today. Ed. R. C. Dale. Trans.
Stanley Applebaum. New York: Dover, 1972.
King, Norman. Abel Gance: A Politics of Spectacle. London: BFI,
1984.
Soviet Montage
Bordwell, David. The Cinema of Eisenstein. Cambridge, Mass.:
Harvard University Press, 1993.
Dovzhenko, Alexander. The Poet as Filmmaker: Selected Writings by
Alexander Dovzhenko.Ed. and trans. Marco Carynnyk.
Cambridge, Mass.: MIT Press, 1973.
Eisenstein, Sergei. Film Essays and a Lecture.Ed. Jay Leyda. New
York: Praeger, 1970.
———. Film Form: Essays in Film Theory[and] Film Sense. Ed. and
trans. Jay Leyda. New York: Meridian, 1957.
———. Selected Works. 4 vols. London: BFI, 1988–96. [Vol. I:
Writings, 1922–34,ed. and trans. Richard Taylor; Vol. II:
Towards a Theory of Montage,ed. Michael Glenny and Richard
Taylor, trans. Michael Glenny; Vol. III: Writings, 1934–47,
ed. Richard Taylor, trans. William Powell; Vol. IV: Beyond the
Stars: The Memoirs of Sergei Eisenstein,ed. Richard Taylor,
trans. William Powell.]
Kepley, Jr., Vance. In the Service of the State: The Cinema of
Alexander Dovzhenko.Madison: University of Wisconsin
Press, 1986.
Kuleshov, Lev. Kuleshov on Film: Writings.Ed. and trans. Ronald
Levaco. Berkeley: University of California Press, 1974.
Leyda, Jay. Kino: A History of the Russian and Soviet Film.3rd ed.
Princeton: Princeton University Press, 1983.
Lodder, Christina. Russian Constructivism. New Haven: Yale
University Press, 1983.
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov.
Trans. Kevin O’Brien. Berkeley: University of California
Press, 1984.
Nilsen, Vladimir. The Cinema as a Graphic Art (On a Theory of
Representation in the Cinema).Trans. Stephen Garry. New
York: Hill & Wang, 1959.
Petric ́, Vlada. Constructivism in Film: The Man with the Movie
Camera, a Cinematic Analysis. Cambridge, Mass.: Cambridge
University Press, 1987.
Pudovkin, V. I. Film Technique and Film Acting. Ed. and trans. Ivor
Montagu. Memorial ed. [rev. and enl.]. New York: Grove,
1960.
Schnitzer, Luda, Jean Schnitzer, and Marcel Martin, eds. Cinema
and Revolution: The Heroic Era of the Soviet Film.Trans. David
Robinson. New York: Hill & Wang, 1973.
Taylor, Richard. The Politics of the Soviet Cinema, 1917–1929.New
York: Cambridge University Press, 1979.
Taylor, Richard, and Ian Christie, eds. The Film Factory: Russian
and Soviet Cinema in Documents.Cambridge, Mass.: Harvard
University Press, 1988.
———, eds. Inside the Film Factory: New Approaches to Russian and
Soviet Cinema.London: Routledge, 1994.
Youngblood, Denise J. Soviet Cinema in the Silent Era, 1918–1935.
Ann Arbor, Mich.: UMI Research Press, 1985.Classical Hollywood Style in the Golden Age
Basinger, Jeanine. A Woman’s View: How Hollywood Spoke to
Women, 1930–1960.New York: Knopf, 1993.
Dixon, Wheeler Winston, ed. American Cinema of the 1940s: Themes
and Variations.New Brunswick, N.J.: Rutgers University
Press, 2006.
Gomery, Douglas. The Hollywood Studio System: A History.
London: BFI, 2005.
Hark, Ina Rae, ed. American Cinema of the 1930s: Themes and
Variations.New Brunswick, N.J.: Rutgers University Press,
2007.
Horne, Gerald. Class Struggle in Hollywood, 1930–1950: Moguls,
Mobsters, Stars, Reds, and Trade Unionists.Austin: University
of Texas Press, 2001.
Maltby, Richard. Harmless Entertainment: Hollywood and the
Ideology of Consensus. Metuchen, N.J.: Scarecrow, 1983.
Polan, Dana. Power and Paranoia: History, Narrative, and the
American Cinema, 1940–1950. New York: Columbia University
Press, 1986.
Pomerance, Murray, ed. American Cinema of the 1950s: Themes and
Variations.New Brunswick, N.J.: Rutgers University Press,
2005.
Ray, Robert B. The ABCs of Classic Hollywood. New York: Oxford
University Press, 2008.
Vasey, Ruth. The World According to Hollywood, 1918–1939.
Madison: University of Wisconsin Press, 1997.Italian Neorealism
Armes, Roy. Patterns of Realism. New York: Barnes, 1971.
Bondanella, Peter E. Italian Cinema: From Neorealism to the
Present. 3rd ed. New York: Continuum, 2001.
Brunette, Peter. Roberto Rossellini. New York: Oxford University
Press, 1987.