Skip to main content Accessibility help
×
Hostname: page-component-7c8c6479df-7qhmt Total loading time: 0 Render date: 2024-03-29T06:01:53.022Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  01 March 2010

Berys Gaut
Affiliation:
University of St Andrews, Scotland
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2010

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Aarseth, Espen, Cybertext: Perspectives on Ergodic Literature, Baltimore, Md.: Johns Hopkins University Press, 1997.Google Scholar
Aarseth, Espen‘Quest Games as Post-Narrative Discourse’ in Ryan, Marie-Laure (ed.), Narrative Across Media: The Languages of Storytelling, Lincoln: University of Nebraska Press, 2004.Google Scholar
Abell, Catherine, ‘Pictorial Realism’, Australasian Journal of Philosophy, 85 (2007): 1–17.CrossRefGoogle Scholar
Allen, Richard, Projecting Illusion: Film Spectatorship and the Impression of Reality, Cambridge University Press, 1995.Google Scholar
Allen, Richard and Smith, Murray (eds.), Film Theory and Philosophy, Oxford: Clarendon Press, 1997.CrossRef
Aristotle, , On the Soul, in Barnes, Jonathan (ed.), The Complete Works of Aristotle: The Revised Oxford Translation, vol. I, Princeton University Press, 1984.Google Scholar
Arnheim, Rudolf, Film as Art, Berkeley: University of California Press, 1957.Google Scholar
Ascott, Roy, ‘Is There Love in the Telematic Embrace?’ in Ascott, Roy, Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness, ed. Shanken, Edward A., Berkeley: University of California Press, 2003.Google Scholar
Atkins, Barry, More than a Game: The Computer Game as Fictional Form, Manchester University Press, 2003.CrossRefGoogle Scholar
Badham, John and Modderno, Craig, I'll be in My Trailer: The Creative Wars between Directors and Actors, Studio City, Calif.: Michael Wiese Productions, 2006.Google Scholar
Balázs, Béla, Theory of the Film: Character and Growth of a New Art, trans. Bone, Edith, New York: Dover Publications, 1970.Google Scholar
Baudry, Jean-Louis, ‘Ideological Effects of the Basic Cinematographic Apparatus’ in Braudy, LeoCohen, and Marshall (eds.), Film Theory and Criticism, 6th edn, New York: Oxford University Press, 2004.Google Scholar
Bazin, André, What is Cinema?, vol. I, trans. Gray, H., Berkeley: University of California Press, 1967.Google Scholar
Bazin, André ‘The Evolution of the Language of Cinema’ in his What is Cinema?, vol. I, trans. Gray, H., Berkeley: University of California Press, 1967.Google Scholar
Bazin, André ‘The Ontology of the Photographic Image’ in his What is Cinema?, vol. I, trans. Gray, H., Berkeley: University of California Press, 1967.Google Scholar
Beardsley, Monroe, Aesthetics: Problems in the Philosophy of Criticism, 2nd edn, Indianapolis, Ind.: Hackett, 1981.Google Scholar
Binkley, Timothy, ‘Computer Art’ in Kelly, Michael (ed.), Encyclopedia of Aesthetics, New York: Oxford University Press, 1998.Google Scholar
Bloom, Harold, The Anxiety of Influence: A Theory of Poetry, Oxford University Press, 1973.Google Scholar
Bolter, Jay David and Gromala, Diane, Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency, Cambridge, Mass.: MIT Press, 2003.Google Scholar
Booth, Wayne, The Rhetoric of Fiction, 2nd edn, University of Chicago Press, 1983.CrossRefGoogle Scholar
Bordwell, David, Narration in the Fiction Film, Madison: University of Wisconsin Press, 1985.Google Scholar
Bordwell, David ‘Historical Poetics of Cinema’ in Palmer, R. Barton (ed.), The Cinematic Text: Methods and Approaches, New York: AMS Press, 1989.Google Scholar
Bordwell, DavidMaking Meaning: Inference and Rhetoric in the Interpretation of Cinema, Cambridge, Mass.: Harvard University Press, 1989.Google Scholar
Bordwell, David and Carroll, Noël (eds.), Post-Theory: Reconstructing Film Studies, Madison: University of Wisconsin Press, 1996.
Bordwell, David, Staiger, Janet and Thompson, Kristin, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, London: Routledge, 1985.CrossRefGoogle Scholar
Bordwell, David and Thompson, Kristin, Film Art: An Introduction, 6th edn, New York: McGraw-Hill, 2001.Google Scholar
Bratman, Michael, ‘Shared Cooperative Activity’ in his Faces of Intention: Selected Essays on Intention and Agency, Cambridge University Press, 1999.CrossRefGoogle Scholar
Braudy, Leo and Cohen, Marshall (eds.), Film Theory and Criticism: Introductory Readings, 6th edn, New York: Oxford University Press, 2004.
Buchler, Justus (ed.), Philosophical Writings of Peirce, New York: Dover Publications, 1955.
Bullough, Edward, ‘Psychical Distance’ in Neill, AlexRidley, and Aaron (eds.), The Philosophy of Art: Readings Ancient and Modern, New York: McGraw-Hill, 1995.Google Scholar
Carroll, Noël, Mystifying Movies: Fads and Fallacies in Contemporary Film Theory, New York: Columbia University Press, 1988.Google Scholar
Carroll, NoëlPhilosophical Problems of Classical Film Theory, Princeton University Press, 1988.Google Scholar
Carroll, NoëlThe Philosophy of Horror or Paradoxes of the Heart, London: Routledge, 1990.Google Scholar
Carroll, Noël‘Towards an Ontology of the Moving Image’ in Cynthia Freeland, A. and Wartenberg, Thomas E. (eds.), Philosophy and Film, London: Routledge, 1995.Google Scholar
Carroll, Noël ‘From Real to Reel: Entangled in Nonfiction Film’ in his Theorizing the Moving Image, Cambridge University Press, 1996.Google Scholar
Carroll, Noël ‘Medium Specificity Arguments and the Self-Consciously Invented Arts: Film, Video, and Photography’ in his Theorizing the Moving Image, Cambridge University Press, 1996.Google Scholar
Carroll, Noël ‘The Power of Movies’ in his Theorizing the Moving Image, Cambridge University Press, 1996.Google Scholar
Carroll, NoëlTheorizing the Moving Image, Cambridge University Press, 1996.Google Scholar
Carroll, Noël ‘Forget the Medium!’ in his Engaging the Moving Image, New Haven, Conn.: Yale University Press, 2003.CrossRefGoogle Scholar
Carroll, NoëlComedy Incarnate: Buster Keaton, Physical Comedy and Bodily Coping, Malden, Mass.: Blackwell, 2007.CrossRefGoogle Scholar
Casebier, Allan, Film and Phenomenology, Cambridge University Press, 1991.Google Scholar
Cavell, Stanley, Pursuits of Happiness: The Hollywood Comedy of Remarriage, Cambridge, Mass.: Harvard University Press, 1976.Google Scholar
Cavell, Stanley, The World Viewed: Reflections on the Ontology of Film, enlarged edition, Cambridge, Mass.: Harvard University Press, 1979.Google Scholar
Chatman, Seymour, Story and Discourse: Narrative Structure in Fiction and Film, Ithaca, NY: Cornell University Press, 1978.Google Scholar
Chatman, Seymour, Coming to Terms: The Rhetoric of Narrative in Fiction and Film, Ithaca, NY: Cornell University Press, 1990.Google Scholar
Chatman, Seymour, ‘What Novels Can Do that Films Can't (and Vice Versa)’ in Braudy, Leo and Cohen, Marshall (eds.), Film Theory and Criticism: Introductory Readings, 6th edn, New York: Oxford University Press, 2004.Google Scholar
Choi, Jinhee, ‘Leaving It Up to the Imagination: POV Shots and Imagining from the Inside’, Journal of Aesthetics and Art Criticism, 63 (2005): 17–25.CrossRefGoogle Scholar
Cohen, Jonathan and Meskin, Aaron, ‘On the Epistemic Value of Photographs’, Journal of Aesthetics and Art Criticism, 62 (2004): 197–210.CrossRefGoogle Scholar
Collingwood, R. G., The Principles of Art, Oxford University Press, 1938.Google Scholar
Cook, David A., A History of Narrative Film, 2nd edn, New York: Norton, 1990.Google Scholar
Corliss, Richard, ‘The Hollywood Screenwriter’ in Mast, Gerald, Cohen, Marshall and Braudy, Leo (eds.), Film Theory and Criticism: Introductory Readings, 4th edn, New York: Oxford University Press, 1992.Google Scholar
Crawford, Chris, ‘Interactive Storytelling’ in Wolf, Mark J. P. and Perron, Bernard (eds.), The Video Game Theory Reader, London: Routledge, 2003.Google Scholar
Currie, Gregory, Image and Mind: Film, Philosophy, and Cognitive Science, Cambridge University Press, 1995.CrossRefGoogle Scholar
Currie, Gregory, ‘Reply to My Critics’, Philosophical Studies, 89 (1998): 355–66.CrossRefGoogle Scholar
Danto, Arthur, ‘Moving Pictures’, Quarterly Review of Film Studies, 4 (1979): 1–21.CrossRefGoogle Scholar
Davies, David, ‘Medium’ in Levinson, Jerrold (ed.), The Oxford Handbook of Aesthetics, Oxford University Press, 2003.Google Scholar
Davies, David, ‘How Photographs “Signify”: Cartier-Bresson's “Reply” to Scruton’ in Scott, Walden (ed.), Photography and Philosophy: Essays on the Pencil of Nature, Malden, Mass.: Blackwell, 2008.Google Scholar
Davies, David, ‘Eluding Wilson's “Elusive Narrators”’, Philosophical Studies, forthcoming.
Davies, Stephen, Philosophical Perspectives on Art, Oxford University Press, 2007.CrossRefGoogle Scholar
Derakhshani, Dariush, Introducing Maya 2008, Indianapolis, Ind.: Wiley, 2008.Google Scholar
Deren, Maya, ‘Cinematography: The Creative Use of Reality’ in Braudy, Leo and Marshall, Cohen (eds.), Film Theory and Criticism: Introductory Readings, 6th edn, New York: Oxford University Press, 2004.Google Scholar
Sousa, Ronald, The Rationality of Emotion, Cambridge, Mass.: MIT Press, 1987.Google Scholar
Doherty, Thomas, ‘Review of Do the Right Thing’, Film Quarterly, 43, no. 2 (1989–90): 35–40.CrossRefGoogle Scholar
Dyer, Richard, Stars, London: British Film Institute, 1979.Google Scholar
,Editors of Cahiers du Cinéma, ‘John Ford's Young Mr. Lincoln’ in Mast, Gerald and Cohen, Marshall (eds.), Film Theory and Criticism: Introductory Readings, 3rd edn, New York: Oxford University Press, 1985.Google Scholar
Eisenstein, Sergei, ‘Beyond the Shot [The Cinematographic Principle and the Ideogram]’ in Braudy, Leo and Cohen, Marshall (eds.), Film Theory and Criticism: Introductory Readings, 6th edn, New York: Oxford University Press, 2004.Google Scholar
Elgin, Catherine and Scheffler, Israel, ‘Mainsprings of Metaphor’, Journal of Philosophy, 84 (1987): 331–5.CrossRefGoogle Scholar
Eskelinen, Markku, ‘The Gaming Situation’, Game Studies, 1 (2001), www.gamestudies.org.Google Scholar
Fish, Stanley, Is There a Text in This Class?: The Authority of Interpretive Communities, Cambridge, Mass.: Harvard University Press, 1980.Google Scholar
Frasca, Gonzalo, ‘Simulation versus Narrative: Introduction to Ludology’ in Wolf, Mark J. P. and Perron, Bernard (eds.), The Video Game Theory Reader, London: Routledge, 2003.Google Scholar
Friday, Jonathan, ‘André Bazin's Ontology of Photographic and Film Imagery’, Journal of Aesthetics and Art Criticism, 63 (2005): 339–50.CrossRefGoogle Scholar
Gaut, Berys, ‘Interpreting the Arts: The Patchwork Theory’, Journal of Aesthetics and Art Criticism, 51 (1993): 597–609.CrossRefGoogle Scholar
Gaut, BerysThe Paradox of Horror’, British Journal of Aesthetics, 33 (1993): 333–45.CrossRefGoogle Scholar
Gaut, BerysOn Cinema and Perversion’, Film and Philosophy, 1 (1994): 3–17.Google Scholar
Gaut, BerysMetaphor and the Understanding of Art’, Proceedings of the Aristotelian Society, 97 (1997): 223–41.CrossRefGoogle Scholar
Gaut, BerysImagination, Interpretation and Film’, Philosophical Studies, 89 (1998): 331–41.CrossRefGoogle Scholar
Gaut, Berys ‘“Art” as a Cluster Concept’ in Carroll, Noël (ed.), Theories of Art Today, Madison: University of Wisconsin Press, 2000.Google Scholar
Gaut, BerysThe Cluster Account of Art Defended’, British Journal of Aesthetics, 45 (2005): 273–88.CrossRefGoogle Scholar
Gaut, BerysArt, Emotion and Ethics, Oxford University Press, 2007.CrossRefGoogle Scholar
Gombrich, E. H., Art and Illusion, 5th edn, London: Phaidon Press, 1977.Google Scholar
Gombrich, E. H., The Story of Art, 14th edn, Oxford: Phaidon Press, 1984.Google Scholar
Goodman, Nelson, Languages of Art: An Approach to a Theory of Symbols, Indianapolis, Ind.: Hackett, 1976.Google Scholar
Grau, Oliver, Virtual Art: From Illusion to Immersion, trans. Custance, Gloria, Cambridge, Mass.: MIT Press, 2003.Google Scholar
Greenberg, Clement, ‘Modernist Painting’ in Frascina, Francis and Harrison, Charles (eds.), Modern Art and Modernism: A Critical Anthology, London: Harper and Row, 1982.Google Scholar
Greenspan, Patricia, Emotions and Reasons: An Inquiry into Emotional Justification, London: Routledge, 1988.Google Scholar
Grice, Paul, ‘Meaning’, Philosophical Review, 66 (1957): 377–88.CrossRefGoogle Scholar
Grodal, Torben, Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition, Oxford: Clarendon Press, 1997.Google Scholar
Grodal, Torben ‘Stories for Eye, Ear, and Muscles: Video Games, Media, and Embodied Experiences’ in Wolf, Mark J. P. and Perron, Bernard (eds.), The Video Game Theory Reader, London: Routledge, 2003.Google Scholar
Hammel, Michael, ‘Towards a Yet Newer Laocoon. Or, What We Can Learn from Interacting with Computer Games’ in Bentkowska-Kafel, Anna, Cashen, Trish and Gardiner, Hazel (eds.), Digital Art History, Bristol: Intellect Books, 2005.Google Scholar
Harman, Gilbert, ‘Semiotics and the Cinema: Metz and Wollen’ in Braudy, Leo and Cohen, Marshall (eds.), Film Theory and Criticism: Introductory Readings, 5th edn, New York: Oxford University Press, 1999.Google Scholar
Heath, Stephen, ‘Comment on “The idea of authorship”’ in Caughie, John (ed.), Theories of Authorship, London: Routledge, 1981.Google Scholar
Heim, Michael, ‘Virtual Reality’ in Kelly, Michael (ed.), Encyclopedia of Aesthetics, New York: Oxford University Press, 1998.Google Scholar
Hirsch, E. D., Validity in Interpretation, New Haven, Conn.: Yale University Press, 1967.Google Scholar
Jarvie, Ian, Philosophy of the Film: Epistemology, Ontology, Aesthetics, New York: Routledge & Kegan Paul, 1987.CrossRefGoogle Scholar
Juul, Jesper, ‘Games Telling Stories? A Brief Note on Games and Narratives’, Game Studies, 1 (2001), www.gamestudies.org.Google Scholar
Juul, JesperHalf-Real: Video Games between Real Rules and Fictional Worlds, Cambridge, Mass.: MIT Press, 2005.Google Scholar
Kania, Andrew, ‘The Illusion of Realism in Film’, British Journal of Aesthetics, 42 (2002): 243–58.CrossRefGoogle Scholar
Kania, Andrew‘Against the Ubiquity of Fictional Narrators’, Journal of Aesthetics and Art Criticism, 63 (2005): 47–54.CrossRefGoogle Scholar
Kawin, Bruce, Mindscreen: Bergman, Godard, and First-Person Film, Princeton University Press, 1978.Google Scholar
Kennedy, Lisa, ‘Is Malcolm X the Right Thing?’, Sight and Sound, 3, no. 2 (NS), (1993): 6–10.Google Scholar
Kerlow, Isaac, The Art of 3D Computer Animation and Effects, 3rd edn, Hoboken, NJ: John Wiley, 2004.Google Scholar
Kieran, Matthew, ‘Art, Imagination, and the Cultivation of Morals’, Journal of Aesthetics and Art Criticism, 54 (1996): 337–51.CrossRefGoogle Scholar
King, William L., ‘Scruton and Reasons for Looking at Photographs’, British Journal of Aesthetics, 32 (1992): 258–65.CrossRefGoogle Scholar
Kivy, Peter, ‘Music in the Movies: A Philosophical Enquiry’ in Allen, Richard and Smith, Murray (eds.), Film Theory and Philosophy, Oxford: Clarendon Press, 1997.Google Scholar
Kivy, PeterPhilosophies of Arts: An Essay in Differences, Cambridge University Press, 1997.Google Scholar
Knox, Donald, The Magic Factory: How MGM Made An American in Paris, Westport, Conn.: Praeger, 1973.Google Scholar
Kozloff, Sarah, Invisible Storytellers: Voice-Over Narration in American Fiction Film, Berkeley: University of California Press, 1988.Google Scholar
Kracauer, Siegfried, From Caligari to Hitler, Princeton University Press, 1947.Google Scholar
Kracauer, Siegfried, Theory of Film: The Redemption of Physical Reality, Princeton University Press, 1997.Google Scholar
Kristeller, Paul, ‘The Modern System of the Arts’, Journal of the History of Ideas, 12 (1951): 496–527, and 13 (1952): 17–46.CrossRefGoogle Scholar
Kulvicki, John V., On Images: Their Structure and Content, Oxford: Clarendon Press, 2006.CrossRefGoogle Scholar
Kurosawa, Akira, Something Like an Autobiography, trans. Bock, Audie E., New York: Alfred Knopf, 1982.Google Scholar
Lessing, Gotthold, Laocoön, extracted in Adams, Hazard (ed.), Critical Theory Since Plato, San Diego, Calif.: Harcourt Brace Jovanovich, 1971.Google Scholar
Levinson, Jerrold, ‘What a Musical Work Is’ in his Music, Art, and Metaphysics: Essays in Philosophical Aesthetics, Ithaca, NY: Cornell University Press, 1990.Google Scholar
Levinson, Jerrold,‘Film Music and Narrative Agency’ in Bordwell, David and Carroll, Noël (eds.), Post-Theory: Reconstructing Film Studies, Madison: University of Wisconsin Press, 1996.Google Scholar
Levinson, Jerrold,‘Intention and Interpretation in Literature’ in his The Pleasures of Aesthetics, Ithaca, NY: Cornell University Press, 1996.Google Scholar
Lewis, David, Convention, Cambridge, Mass.: Harvard University Press, 1969.Google Scholar
Lewis, David, ‘Veridical Hallucination and Prosthetic Vision’ in his Philosophical Papers, Volume II, Oxford University Press, 1986.Google Scholar
Livingston, Paisley, ‘Cinematic Authorship’ in Allen, Richard and Smith, Murray (eds.), Film Theory and Philosophy, Oxford: Clarendon Press, 1997.Google Scholar
Livingston, Paisley, Art and Intention: A Philosophical Study, Oxford: Clarendon Press, 2005.CrossRefGoogle Scholar
Livingston, Paisley, ‘Narrative’ in Gaut, Berys and Lopes, Dominic McIver (eds.), The Routledge Companion to Aesthetics, 2nd edn, London: Routledge, 2005.Google Scholar
Livingston, Paisley, Cinema, Philosophy, Bergman: On Film as Philosophy, Oxford University Press, 2009.CrossRefGoogle Scholar
Livingston, Paisley and Plantinga, Carl (eds.), The Routledge Companion to Philosophy and Film, London: Routledge, 2009.
Lopes, Dominic McIver, ‘Pictorial Realism’, Journal of Aesthetics and Art Criticism, 53 (1995): 277–85.CrossRefGoogle Scholar
Lopes, Dominic McIverUnderstanding Pictures, Oxford: Clarendon Press, 1996.Google Scholar
Lopes, Dominic McIverImagination, Illusion and Experience in Film’, Philosophical Studies, 89 (1998): 343–53.CrossRefGoogle Scholar
Lopes, Dominic McIverThe Ontology of Interactive Art’, Journal of Aesthetic Education, 35 (2001): 65–81.CrossRefGoogle Scholar
Lopes, Dominic McIverThe Aesthetics of Photographic Transparency’, Mind, 112 (2003): 433–48.CrossRefGoogle Scholar
Lopes, Dominic McIver ‘Digital Art’ in Floridi, Luciano (ed.), The Blackwell Guide to the Philosophy of Computing and Information, Malden, Mass.: Blackwell, 2004.Google Scholar
Lopes, Dominic McIverA Philosophy of Computer Art, London: Routledge, 2010.Google Scholar
Macaulay, Sean, ‘A Lover and a Fighter’, The Times, 23 August 2001, 14 and 19.
Manovich, Lev, The Language of New Media, Cambridge, Mass.: MIT Press, 2001.Google Scholar
Mateas, Michael and Stern, Andrew, ‘Façade: An Experiment in Building a Fully-Realized Interactive Drama’ (2003), www.interactivestory.net.
McDowell, John, Mind and World, Cambridge, Mass.: Harvard University Press, 1994.Google Scholar
McKernan, Brian, Digital Cinema: The Revolution in Cinematography, Postproduction, and Distribution, New York: McGraw-Hill, 2005.Google Scholar
Metz, Christian, Film Language: A Semiotics of the Cinema, trans. Taylor, Michael, New York: Oxford University Press, 1974.CrossRefGoogle Scholar
Metz, ChristianThe Imaginary Signifier: Psychoanalysis and the Cinema, trans. Britton, C.et al., Bloomington: Indiana University Press, 1982.CrossRefGoogle Scholar
Mitchell, William J., The Reconfigured Eye: Visual Truth in the Post-Photographic Era, Cambridge, Mass.: MIT Press, 1992.Google Scholar
Monaco, James, How to Read a Film, 3rd edn, New York: Oxford University Press, 2000.Google Scholar
Morrison, Michael, Beginning Game Programming, Indianapolis, Ind.: Sams Publishing, 2005.Google Scholar
Munsterberg, Hugo, The Photoplay: A Psychological Study in Langdale, Allan (ed.), Hugo Munsterberg on Film, London: Routledge, 2002.Google Scholar
Murray, Janet H., Hamlet on the Holodeck: The Future of Narrative in Cyberspace, Cambridge, Mass.: MIT Press, 1997.Google Scholar
Nehamas, AlexanderThe Postulated Author’, Critical Inquiry, 8 (1981): 133–49.CrossRefGoogle Scholar
Neill, Alex, ‘Empathy and (Film) Fiction’ in Bordwell, David and Carroll, Noël (eds.), Post-Theory: Reconstructing Film Studies, Madison: University of Wisconsin Press, 1996.Google Scholar
Newman, James, Videogames, London: Routledge, 2004.Google Scholar
Nowell-Smith, Geoffrey, ‘Six Authors in Pursuit of The Searchers’ in Caughie, John (ed.), Theories of Authorship, London: Routledge, 1981.Google Scholar
Oudart, Jean-Pierre, ‘Cinema and Suture’, Screen, 18 (1977/78): 35–47.CrossRefGoogle Scholar
Panofsky, Erwin, ‘Style and Medium in the Motion Pictures’ in Braudy, Leo and Cohen, Marshall (eds.), Film Theory and Criticism: Introductory Readings, 6th edn, New York: Oxford University Press, 2004.Google Scholar
Perkins, V. F., Film as Film: Understanding and Judging Movies, Harmondsworth: Penguin, 1972.Google Scholar
,Piggyback Interactive Limited, Lara Croft Tomb Raider: Legend: The Complete Guide, Piggybackinteractive.com, 2006.
Plantinga, Carl and Smith, Greg M. (eds.), Passionate Views: Film, Cognition, and Emotion, Baltimore, Md.: Johns Hopkins University Press, 1999.
Poole, Steven, Trigger Happy: Videogames and the Entertainment Revolution, New York: Arcade Publishing, 2004.Google Scholar
Prince, Stephen, ‘The Discourse of Pictures: Iconicity and Film Studies’ in Braudy, Leo and Cohen, Marshall (eds.), Film Theory and Criticism: Introductory Readings, 6th edn, New York: Oxford University Press, 2004.Google Scholar
Prince, Stephen, ‘True Lies: Perceptual Realism, Digital Images, and Film Theory’ in Braudy, Leo and Cohen, Marshall (eds.), Film Theory and Criticism: Introductory Readings, 6th edn, New York: Oxford University Press, 2004.Google Scholar
Pudovkin, Vsevolod, Film Acting and Film Technique, trans Montagu, Ivor, London: Vision Press, 1958.Google Scholar
Rafferty, Terrence, ‘Everybody Gets a Cut: DVDs Give Viewers Dozens of Choices – and that's the Problem’ in Carroll, Noël and Choi, Jinhee (eds.), Philosophy of Film and Motion Pictures: An Anthology, Malden, Mass.: Blackwell, 2006.Google Scholar
Rauch, Jonathan, ‘Sex, Lies, and Video Games’, The Atlantic Monthly, 298 (November 2006): 76–86.Google Scholar
Roberts, Robert C., ‘What An Emotion Is: A Sketch’, Philosophical Review, 97 (1988): 183–209.CrossRefGoogle Scholar
Robinson, David, Das Cabinet des Dr. Caligari, London: British Film Institute, 1997.Google Scholar
Rothman, William, ‘Against “The System of the Suture”’ in Braudy, Leo and Cohen, Marshall (eds.), Film Theory and Criticism: Introductory Readings, 5th edn, New York: Oxford University Press, 1999.Google Scholar
Ryan, Marie-Laure, Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media, Baltimore, Md.: Johns Hopkins University Press, 2001.Google Scholar
Ryan, Marie-Laure, Avatars of Story, Minneapolis: University of Minnesota Press, 2006.Google Scholar
Sarris, Andrew, ‘Towards a Theory of Film History’ in Nichols, Bill (ed.), Movies and Methods, vol. I, Berkeley: University of California Press, 1976.Google Scholar
Sarris, Andrew, ‘Notes on the Auteur Theory in 1962’ in Mast, Gerald, and Cohen, Marshall (eds.), Film Theory and Criticism: Introductory Readings, 3rd edn, New York: Oxford University Press, 1985.Google Scholar
Sartwell, Crispin, ‘What Pictorial Realism Is’, British Journal of Aesthetics, 34 (1994): 2–12.CrossRefGoogle Scholar
Savedoff, Barbara, ‘Transforming Images: Photographs of Representations’, Journal of Aesthetics and Art Criticism, 50 (1992): 93–106.CrossRefGoogle Scholar
Savedoff, Barbara, ‘Escaping Reality: Digital Imagery and the Resources of Photography,’ Journal of Aesthetics and Art Criticism, 55 (1997): 201–14.CrossRefGoogle Scholar
Schama, Simon, Power of Art, London: BBC Books, 2006.Google Scholar
Schatz, Thomas, The Genius of the System: Hollywood Filmmaking in the Studio Era, New York: Pantheon, 1988.Google Scholar
Schier, Flint, Deeper into Pictures: An Essay on Pictorial Representation, Cambridge University Press, 1986.CrossRefGoogle Scholar
Scruton, Roger, ‘Fantasy, Imagination and the Screen’ in his The Aesthetic Understanding, London: Methuen, 1983.Google Scholar
Scruton, Roger, ‘Photography and Representation’ in his The Aesthetic Understanding, London: Methuen, 1983.Google Scholar
Scruton, Roger, ‘The Photographic Surrogate’ in his The Philosopher on Dover Beach, Manchester: Carcanet, 1990.Google Scholar
Searle, John, Speech Acts, Cambridge University Press, 1969.CrossRefGoogle Scholar
Sellors, C. Paul, ‘Collective Authorship in Film’, Journal of Aesthetics and Art Criticism, 65 (2007): 263–71.CrossRefGoogle Scholar
Sesonske, Alexander, ‘Cinema Space’ in Carr, David and Casey, Edward S. (eds.), Explorations in Phenomenology, The Hague: Martinus Nijhoff, 1973.Google Scholar
Sesonske, Alexander, ‘Aesthetics of Film, or A Funny Thing Happened on the Way to the Movies’, Journal of Aesthetics and Art Criticism, 33 (1974): 51–7.CrossRefGoogle Scholar
Sibley, Brian, Peter Jackson: A Film-maker's Journey, London: HarperCollins, 2006.Google Scholar
Smith, Murray, Engaging Characters: Fiction, Emotion, and the Cinema, Oxford: Clarendon Press, 1995.Google Scholar
Smith, Murray, ‘My Dinner with Noël; or, Can We Forget the Medium?’, Film Studies: An International Review, 8 (2006): 140–8.CrossRefGoogle Scholar
Sparshott, Francis, ‘Basic Film Aesthetics’ in Mast, Gerald and Cohen, Marshall (eds.), Film Theory and Criticism, 3rd edn, New York: Oxford University Press, 1985.Google Scholar
Spellerberg, James, ‘Technology and Ideology in the Cinema’ in Mast, Gerald and Cohen, Marshall (eds.), Film Theory and Criticism, 3rd edn, New York: Oxford University Press, 1985.Google Scholar
Stecker, Robert, Artworks: Definition, Meaning, Value, University Park: Pennsylvania State University Press, 1997.Google Scholar
Stecker, Robert, ‘Interpretation’ in Gaut, Berys and McIver, Dominic Lopes (eds.), The Routledge Companion to Aesthetics, 2nd edn, London: Routledge, 2005.Google Scholar
Stillinger, Jack, Multiple Authorship and the Myth of Solitary Genius, New York: Oxford University Press, 1992.Google Scholar
Tarantino, Quentin, ‘I Call the Shots Here’, Sunday Times Magazine, 4 March 2007: 8.
Tavinor, Grant, ‘Videogames and Interactive Fiction,’ Philosophy and Literature, 29 (2005): 24–40.CrossRefGoogle Scholar
Tavinor, Grant, The Art of Videogames, Malden, Mass.: Blackwell, 2009.CrossRefGoogle Scholar
Thompson, Kristin, Breaking the Glass Armor: Neoformalist Film Analysis, Princeton University Press, 1988.Google Scholar
Thompson, Kristin and Bordwell, David, Film History: An Introduction, 2nd edn, New York: McGraw-Hill, 2003.Google Scholar
Truffaut, François, ‘A Certain Tendency of the French Cinema’, in Nichols, Bill (ed.), Movies and Methods, vol. I, Berkeley: University of California Press, 1976.Google Scholar
Tyler, Parker, ‘Rashomon as Modern Art’ in his The Three Faces of the Film, New York: Thomas Yoseloff, 1960.Google Scholar
Walton, Kendall, ‘Categories of Art’, Philosophical Review, 79 (1970): 334–67.CrossRefGoogle Scholar
Walton, Kendall, ‘Style and the Products and Processes of Art’ in Lang, Berel (ed.), The Concept of Style, Philadelphia: University of Pennsylvania Press, 1979.Google Scholar
Walton, Kendall, ‘Transparent Pictures: On the Nature of Photographic Realism’, Critical Inquiry, 11 (1984): 246–77.CrossRefGoogle Scholar
Walton, Kendall, Mimesis as Make-Believe: On the Foundations of the Representational Arts, Cambridge, Mass.: Harvard University Press, 1990.Google Scholar
Walton, Kendall, ‘On Pictures and Photographs: Objections Answered’ in Allen, Richard and Smith, Murray (eds.), Film Theory and Philosophy, Oxford: Clarendon Press, 1997.Google Scholar
Walton, Kendall, Marvelous Images: On Values and the Arts, New York: OxfordUniversity Press, 2008.Google Scholar
Warburton, Nigel, ‘Photographic Communication’, British Journal of Aesthetics, 28 (1988): 173–81.CrossRefGoogle Scholar
Warburton, Nigel, ‘Seeing through “Seeing Through Photographs”’, Ratio, N.S. 1 (1988): 64–74.CrossRefGoogle Scholar
Wartenberg, Thomas, ‘Need there be Implicit Narrators of Literary Fictions?Philosophical Studies, 135 (2007): 89–94.CrossRefGoogle Scholar
Wartenberg, Thomas, Thinking on Screen: Film as Philosophy, London: Routledge, 2007.Google Scholar
Waters, Richard, ‘Hollywood sees power shift from film-set to desk-top’, Financial Times, 20 June 2005: 16.
Wicks, Robert, ‘Photography as a Representational Art’, British Journal of Aesthetics, 29 (1989): 1–9.CrossRefGoogle Scholar
Wilson, George, Narration in Light: Studies in Cinematic Point of View, Baltimore, Md.: Johns Hopkins University Press, 1986.Google Scholar
Wilson, George, ‘Le Grand Imagier Steps Out: The Primitive Basis of Film Narration’, Philosophical Topics, 25 (1997): 295–318.CrossRefGoogle Scholar
Wilson, George, ‘Elusive Narrators in Literature and Film’, Philosophical Studies, 135 (2007): 73–88.CrossRefGoogle Scholar
Wollheim, Richard, Painting as an Art, Princeton University Press, 1987.Google Scholar
Wollheim, Richard, The Thread of Life, Cambridge, Mass.: Harvard University Press, 1984.Google Scholar
Wollen, Peter, Signs and Meaning in the Cinema, 3rd edn, Bloomington: Indiana University Press, 1972.Google Scholar
Wood, Robin, Hitchcock's Films Revisited, London: Faber and Faber, 1991.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Berys Gaut, University of St Andrews, Scotland
  • Book: A Philosophy of Cinematic Art
  • Online publication: 01 March 2010
  • Chapter DOI: https://doi.org/10.1017/CBO9780511674716.010
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Berys Gaut, University of St Andrews, Scotland
  • Book: A Philosophy of Cinematic Art
  • Online publication: 01 March 2010
  • Chapter DOI: https://doi.org/10.1017/CBO9780511674716.010
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Berys Gaut, University of St Andrews, Scotland
  • Book: A Philosophy of Cinematic Art
  • Online publication: 01 March 2010
  • Chapter DOI: https://doi.org/10.1017/CBO9780511674716.010
Available formats
×