Pensum/l?ringskrav

ONLINE

B?ker:

Bordwell, David (2006). The Way Hollywood Tells It: Story And Style In Modern Movies.Berkeley: University of California Press. Part II: A stylish style. In: (pp. 115-190). (UiO library access)

Denson, Shane & Julia Leyda, eds. (2016): Post-Cinema: Theorizing 21st-Century Film. Falmer: REFRAME Books. (Open access).

Kapitler

• 1.2: Steven Shaviro: Post-Continuity: An introduction.
• 2.2: Steven Shaviro: Post-Cinematic Affect
• 2.5: Shane Denson: Crazy cameras, discorrelated images, and the post-perceptual mediation of post-cinematic affect

Gunning, Tom. ¡°The Cinema of Attraction(s): Early film, its spectator and the avant-garde¡±. In Wanda Strauven, ed. (2006). The cinema of attractions reloaded. Amsterdam: Amsterdam University Press. (pp. 381-388) (Open access).

Hiley, Nicholas. ¡°¡¯At the Picture Palace¡¯: The British Cinema Audience, 1895-1920¡±. In Ian Christie, ed. (2006). Audiences: Defining and researching screen entertainment reception. Amsterdam: Amsterdam University Press. (pp. 25-43) (Open access)

Mulvey, Laura & Anna Backman Rogers, eds. (2015). Feminsms: Diversity, Difference and Multiplicity in Contemporary Film Cultures. Amsterdam: Amsterdam University Press. (Open access)

Schaefer, Eric: ¡®Bold! Daring! Shocking! True!¡¯: A history of exploitation films, 1919-1959. Durham: Duke University Press. Ch 2.¡±¡¯A Hodge-Podge of Cuttings and Splicings¡¯: The mode of production and the style of classical exploitation films¡±. (pp. 42-95)  (UiO Library access).

Vernalis, Carol: Unruly Media: Youtube, music video, and the new digital cinema. Oxford: Oxford University Press. Introduction + Chapter 1-3. (pp. 3-75) (UiO Library access). 

Artikler:

• Ciraulo, Dina (1998). ¡°Narrative style in Oscar Micheaux's Within our gates.¡± Wide Angle20:4 pp. 75-91.
• Green, J. Ronald (2010). ¡°Sophistication under Construction: Oscar Micheaux's Infamous Sound Films¡±, Framework: The Journal of Cinema and Media, Vol. 51, No. 1 (SPRING 2010), pp. 151-163.
• Halberstam, Judith (2001). The transgender gaze in Boys Don't Cry, Screen, 42:3, pp. 294¨C298.
• Rob¨¦, Christopher (2014). When Cultures Collide: Third Cinema Meets the Spaghetti Western, Journal of Popular Film and Television, 42:3, pp. 163-174.https://doi-org.ezproxy.uio.no/10.1080/01956051.2014.881770
• R?dje, Kjetil (2018). ¡°Lens-Sense: On seeing a world as sensed by a camera¡±, Screening the Past, 13.
• Sayad, Cecilia (2016). ¡°Found-Footage Horror and the Frame¡¯s Undoing¡±, Cinema Journal, 55:2, pp. 43-66.
• Solanas, Fernando og Octavio Getino (1971). "Toward a Third Cinema", Cin¨¦aste, Vol. 4, No. 3, Latin American militant cinema (Winter 1970-71), side 1-10.
• White, Patricia (2008). ¡°Lesbian minor cinema¡±, Screen, 49:4, pp. 410-425.
• Williams, Linda  (1991) "Film Bodies: Gender, Genre, and Excess", Film Quarterly, Vol. 44, No. 4 (Summer, 1991), side 2-13.

KOMPENDIUM

• Balmain, Colette (2008). ¡°The Rape-Revenge Film: From Violation to Vengeance¡±, in Introduction to Japanese Horror Film, Edinburgh: Edinburgh University Press. Pp. 93-112.
• Barker, Jennifer M. (2009). ¡°Skin¡±, in The Tactile Eye: Touch and the Cinematic Experience, Berkeley: University of California Press. Pp. 23-68.
• Bazin, Andr¨¦ (2009) ¡°The Evolution of Film Language¡±, i What is Cinema?, oversatt av Timothy Barnard, Montreal: Caboose, s. 87-106, samt side 286-289.
• Bordwell, David (2008 (1979)) ¡°The Art Cinema as a Mode of Film Practice¡± og ¡±Afterword¡±, i Poetics of Cinema, New York og London: Routledge, s. 151-169.
• Bordwell, David og Kristin Thompson (2008) ¡°Film Criticism: Sample Analyses¡±, i Film Art. An Introduction, 8th ed., New York: McGraw-Hill, s. 384-410. 
• Brown, William (2014) ¡°Minor Cinema¡±, i Edward Branigan og Warren Buckland (red.)The Routledge Encyclopedia of Film Theory, London og New York: Routledge, s. 290-294. 
• Coleman, Robin R. Means (2011). ¡°Scream, Whitey, Scream¡ªRetribution, Enduring Women, and Carnality: 1970s¡±, in Horror Noire: Blacks in American Horror Films from the 1890s to the Present, New York: Routledge. Pp. 118-144.
• Creed, Barbara (2015). ¡°Horror and the Monstrous-Feminine: An Imaginary Abjection¡±, in Barry Keith Grant (ed.): The Dread of Difference: Gender and the Horror Film, Second ed., Austin: University of Texas Press. Pp. 37-67.
• Elsaesser, Thomas og Warren Buckland (2002) ¡°Film theory, methods, analysis¡±, i Thomas Elsaesser og Warren Buckland Studying American Film. A Guide to Movie Analysis, London: Hodder Arnold, s. 1-25. 
• Frampton, Daniel (2006). ¡°Introduction¡±, i Filmosophy, London: Wallflower Press, s 1-11. 
• Geiger, Jeffrey og R. L. Rutsky (2005) ¡°Introduction¡±, i Jeffrey Geiger og R. L. Rutsky (red.) Film Analysis, New York: W. W. Norton & Company, s. 17-40. 
• Gorfinkel, Elena (2017). ¡°Peek Snatchers: Corporeal Spectacle and the Wages of Looking¡±, 1960-1965, in Lewd Looks: American Sexploitation Cinema in the 1960s, Minneapolis: University of Minnesota Press. Pp. 97-151
• Green, J. Ronald (2000). ¡°Micheaux vs. Griffith¡±, in Straight Lick: The Cinema of Oscar Micheaux, Bloomington: Indiana University Press. Pp. 1-30.
• Gubar, Susan (1997). ¡°Spirit-Murder at the Movies: Blackface Lynchings¡±, in Racechanges: White Skin, Black Face in American Culture, Oxford: Oxford University Press. Pp. 53-94.
• Gunning, Tom (2010 (2007)) ¡°Moving away from the Index: Cinema and the Impression of Reality¡±, i Marc Furstenau (red.) The Film Theory Reader. Debates and Arguments, London og New York: Routledge, s. 255-269. 
• Hooks, Bell (2000). ¡°The Oppositional Gaze: Black Female Spectators¡±, in Robert Stam & Toby Miller (eds.): Film and Theory: An Anthology, Malden: Blackwell publishing. Pp. 510-523. 
• Knee, Adam (2015). ¡°Gender, Genre, Argento¡±, in Barry Keith Grant (ed.): The Dread of Difference: Gender and the Horror Film, Second ed., Austin: University of Texas Press. Pp. 241-258.
• Lauretis, Teresa de¡¯. ¡°Rethinking Women¡¯s Cinema: Aesthetics and Feminist Theory¡±. I Film and Theory: An Anthology. Robert Stam og Toby Miller, red. Malden: Blackwell, 2000. 317¨C36. 
• Metz, Christian (1974) ¡°On the Impression of Reality in the Cinema¡±, i Film Language. A Semiotics of the Cinema, oversatt av Michael Taylor, New York: Oxford University Press, s. 3-15.
• Rhombes, Nicholas (2009): ¡°Introduction¡± & ¡°DV Humanism¡±, i Cinema in the digital age, London: Wallflower Press, s 1-12 og 25-30. 
• Rushton, Richard (2014) ¡°Counter-Cinema¡±, i Edward Branigan og Warren Buckland (red.) The Routledge Encyclopedia of Film Theory, London og New York: Routledge, s. 117-121. 
• R?dje, Kjetil (2017). ¡°That Tingling Sensation: 1959 and William Castle¡¯s The Tingler,¡± i Serge Guilbaut and John O¡¯Brian (eds.): Breathless Days, 1959-1960, Durham: Duke University Press, s. 255-274. 
• Sitney, P. Adams (2002) ¡°Structural film¡±, i Visionary Film, The American Avant Garde, 1943-2000, 3rd Edition, Oxford og New York: Oxford University Press, s. 347-370. 
• Sobchack, Vivian (2004). ¡°What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh¡±, in Carnal Thoughts: Embodiment and Moving Image Culture, Berkeley: University of California Press. Pp. 53-84.
• Sorfa, David (2014) ¡°Phenomenology and Film¡±, i Edward Branigan og Warren Buckland (red.) The Routledge Encyclopedia of Film Theory, London og New York: Routledge, s. 353-358. 
• Stam, Robert. ¡°Alternative Aesthetics: Introduction¡±. I Film and Theory: An Anthology. Robert Stam og Toby Miller, red. Malden: Blackwell, 2000. 257¨C64. 
• Thompson, Kristin (1999). Storytelling in the New Hollywood. Cambridge: Harvard University Press. Side 1- 50. 
• Williams, Linda (2015). ¡°When the Woman Looks¡±, in Barry Keith Grant (ed.): The Dread of Difference: Gender and the Horror Film, Second ed., Austin: University of Texas Press. Pp. 17-36.