Bibliography for MA2065: Modern European Cinema BETA

Akerman, C., and Janet Bergstrom. 1977. ‘Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles’ and ’Chantal Akerman on Jeanne Dielman’. Camera Obscura: Feminism, Culture, and Media Studies 1(2 2):115–21. doi: 10.1215/02705346-1-2_2-115.

Akerman, Chantal. 1975a. ‘Je Tu Il Elle’. Eclipse from the Criterion Collection, series 19, Chantal Akerman in the seventies.

Akerman, Chantal. 1975b. ‘Jeanne Dielman: 23, Quai Du Commerce, 1080 Bruxelles’.

Akerman, Chantal. 2009. ‘News From Home’. eclipse series 19.

Anon. 1976. ‘Celine and Julie Co Boating “(Céline Et Julie Vont En Bateau: Phantom Ladies Over Paris)”’. Monthly Film Bulletin 43(4):191–94.

Anon. 1996. ‘Pickpocket (1959) | BoB’.

Anon. 2019. ‘Pierrot Le Fou (1965) | BoB’.

Antonioni, Michelangelo. 1959. ‘L’Avventura’.

Antonioni, Michelangelo. 1960. ‘L’Avventura | Box of Broadcasts’.

Antonioni, Michelangelo. 1961. ‘La Notte’. The Masters of cinema series.

Antonioni, Michelangelo. 1962. ‘L’eclisse’.

Antonioni, Michelangelo. 1963a. ‘The Event and the Image’. Sight and Sound 33(1).

Antonioni, Michelangelo. 1963b. ‘The Event and the Image’. Sight and Sound 33(1).

Antonioni, Michelangelo. 1964a. ‘Red Desert’.

Antonioni, Michelangelo. 1964b. ‘The Red Desert | Box of Broadcasts’.

Antonioni, Michelangelo, Carlo Di Carlo, Giorgio Tinazzi, and Marga Cottino-Jones. 2007. The Architecture of Vision: Writings and Interviews on Cinema. University of Chicago Press ed. Chicago: University of Chicago Press.

Ayfre, Amédée. 1985. ‘Neorealism and Phenomenology’. Pp. 182–91 in Cahiers Du Cinéma: Neo-Realism, Hollywood, New Wave / Edited by Jim Hillier, Vol. 1: The 1950s. London: Routledge & Kegan Paul in association with the British Film Institute.

Bazin, André. 1967a. ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’. Pp. 16–40 in What Is Cinema? Berkeley, Calif: University of California Press.

Bazin, André. 1967b. ‘In Defense of Rossellini’. Pp. 93–101 in What Is Cinema? Berkeley, Calif: University of California Press.

Bazin, Andre. 2005a. ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’. Pp. 16–40 in What Is Cinema?. Vol. 2.

Bazin, Andre. 2005b. ‘In Defense of Rossellini’. Pp. 93–101 in What Is Cinema?. Vol. 2.

Beasley-Murray, Jon. 1997. ‘Whatever Happened to Neorealism? Bazin, Deleuze, and Tarkovsky’s Long Take’. Iris 23:37–52.

Bergstrom, Janet. 1999. ‘Keeping a Distance’. Sight and Sound 9(11):26–28.

Bickerton, Emilie. 2011. ‘1966-1968: Politicization’. Pp. 51–69 in A Short History of Cahiers Du Cinéma. London: Verso.

Bird, Robert. 2008. Andrei Tarkovsky: Elements of Cinema. London: Reaktion.

Bondanella, Peter. 1993. ‘Paisà and the Rejection of Traditional Narrative Cinema’. Pp. 64–82 in The Films of Roberto Rossellini. Cambridge: Cambridge University Press.

Bondanella, Peter. 2001. ‘The Masters of NeoReaslism: Rossellini, De Sica, and Visconti’. Pp. 31–73 in Italian Cinema: From Neorealism to the Present. New York: Continuum.

Bordwell, David. 1985. ‘Parametric Narration’. Pp. 274–310 in Narration in the Fiction Film. London: Routledge.

Bordwell, David. 1997. ‘Parametric Narration’. Pp. 274–310 in Narration in the Fiction Film. London: Routledge.

Bresson, Robert. 1951. ‘Diary of a Country Priest | Journal D’un Curé De Campagne’.

Bresson, Robert. 1959. ‘Pickpocket’.

Bresson, Robert. 2017. Notes on the Cinematograph. New York Review.

Bresson, Robert. n.d. ‘A Man Escaped’.

Brunette, Peter. 1987a. ‘Paisan’. Pp. 61–75 in Roberto Rossellini. New York: Oxford University Press.

Brunette, Peter. 1987b. ‘Voyage to Italy’. Pp. 155–71 in Roberto Rossellini. New York: Oxford University Press.

Brunette, Peter. 1998a. ‘L’eclisse’. Pp. 73–89 in The Films of Michelangelo Antonioni. Vol. Cambridge film classics. Cambridge: Cambridge University Press.

Brunette, Peter. 1998b. ‘L’eclisse’. Pp. 73–89 in The Films of Michelangelo Antonioni. Vol. Cambridge film classics. Cambridge, U.K.: Cambridge University Press.

Cameron, Ian. 1967. The Films of Jean-Luc Godard. London: Studio Vista.

Cameron, Ian. 1969. The Films of Robert Bresson. London: Studio Vista.

Clarens, Carlos, and Edgardo Cozarinsky. 1974. ‘Jacques Rivette Interviewed’. Sight and Sound 43(3).

Comolli, J. L., and J. Narboni. 1971. ‘Cinema/Ideology/Criticism’. Screen 12(2):145–55. doi: 10.1093/screen/12.2.145.

Cunneen, Joseph E. 2003. Robert Bresson: A Spiritual Style in Film. New York: Continuum.

De Sica, Vittorio. 1952. ‘Umberto D.’

Dempsey, Michael. 1981a. ‘Lost Harmony: Tarkovsky’s “The Mirror” and “The Stalker”’. Film Quarterly 35(1):12–17. doi: 10.2307/1212075.

Dempsey, Michael. 1981b. ‘Lost Harmony: Tarkovsky’s “The Mirror” and “The Stalker”’. Film Quarterly 35(1):12–17. doi: 10.2307/1212075.

Donen, Stanley. 1952. ‘Singin’ in the Rain | Box of Broadcasts’.

Douchet, Jean. 1998. French New Wave. DAP.

Dunne, Nathan. 2008. Tarkovsky. London: Black Dog.

Dyer, Geoff. 2012. Zona: A Book about a Film about a Journey to a Room. Edinburgh: Canongate.

Ferretter, Luke. 2006a. Louis Althusser. London: Routledge.

Ferretter, Luke. 2006b. Louis Althusser. London: Routledge.

Fieschi, Jean-André. 1980. ‘Jacques Rivette’. Pp. 871–78 in Cinema: A Critical Dictionary : The Major Film-Makers. London: Secker & Warburg.

Foster, Gwendolyn Audrey. 1999. Identity and Memory: The Films of Chantal Akerman. Vol. Cinema voices. Trowbridge: Flicks Books.

Gallagher, Tag. 1998a. The Adventures of Roberto Rossellini. New York: Da Capo Press.

Gallagher, Tag. 1998b. The Adventures of Roberto Rossellini. New York: Da Capo Press.

Gelley, Ora. 2012a. Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy. Vol. 15. New York: Routledge.

Gelley, Ora. 2012b. Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy. Vol. 15. New York: Routledge.

Godard, Jean-Luc. 1959a. ‘A Bout de Souffle’.

Godard, Jean-Luc. 1959b. ‘A Bout de Souffle (Breathless) | Box of Broadcasts’.

Godard, Jean-Luc. 1961. ‘Une Femme Est Une Femme’. Criterion collection.

Godard, Jean-Luc. 1963. ‘Le Mépris’.

Godard, Jean-Luc. 1965. ‘Alphaville’.

Godard, Jean-Luc. 1967. ‘Weekend’.

Godard, Jean-Luc. 1968. ‘Sympathy for the Devil: A.k.a. One Plus One’.

Godard, Jean-Luc. 1972. ‘Interview with Jean-Luc Godard’. in Godard on Godard: Critical Writings. London: Secker and Warburg.

Godard, Jean-Luc. 2006a. ‘Pierrot Le Fou’.

Godard, Jean-Luc. 2006b. ‘Vivre Sa Vie’.

Godard, Jean-Luc. 2012. ‘La Chinoise’.

Godard, Jean-Luc, and Jean-Pierre Gorin. 1972. ‘Tout Va Bien’.

Godard, Jean-Luc, and Tom Milne. 1972a. ‘Let’s Talk About Pierrot’. Pp. 215–34 in Godard on Godard: Critical Writings by Jean-Luc Godard. New York, N.Y.: Da Capo Press.

Godard, Jean-Luc, and Tom Milne. 1972b. ‘Pierrot My Friend’. Pp. 213–15 in Godard on Godard: Critical Writings by Jean-Luc Godard. New York, N.Y.: Da Capo Press.

Godard, Jean-Luc, Jean Nerboni, Tom Milne, and Richard Roud. 1972. ‘Interview with Jean-Luc Godard’. Pp. 171–96 in Godard on Godard: Critical Writings by Jean-Luc Godard. New York, N.Y.: Da Capo Press.

Godard, Jean-Luc, and David Sterritt. 1998. Jean-Luc Godard: Interviews. Vol. Conversations with filmmakers. Jackson: University Press of Mississippi.

Godard, Jean-Luc, and Dziga Vertov. 2012. ‘British Sounds’.

Godard, Jean-Luc, Gian Maria Volonte, Jean-Pierre Gorin, and Anne Wiazemsky. 2012. ‘Le Vent d’Est’.

Goddard, Jean-Luc. 1962. ‘Vivre Sa Vie | Box of Broadcasts’.

Goddard, Jean-Luc. 1964. ‘Bande à Part’.

Greenberg, Izzy. 1998. ‘Cahiers de Rossellini’. Cineaction 42–46.

Gunnlaugur A. Jónsson, Thorkell A. Ottarsson, and Thorkell A. Ottarsson. 2006. Through the Mirror. Newcastle upon Tyne: Cambridge Scholars Publisher.

Halligan, Benjamin. 2016. Desires for Reality: Radicalism and Revolution in Western European Film. New York: Berghahn Books.

Hoveyda, Fereydoun, Jacques Rivette, and Jim Hillier. 1985. ‘Interview with Roberto Rossellini’. Pp. 212–17 in Cahiers Du Cinéma: Neo-Realism, Hollywood, New Wave / Edited by Jim Hillier, Vol. 1: The 1950s. Vol. 1. London: Routledge & Kegan Paul in association with the British Film Institute.

Johnson, Vida T., and Graham Petrie. 1994. ‘Tarkovsky’. Pp. 1–49 in Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev. Bloomington: Indiana University Press.

Jonsson, Gunnlaugur A., and Þorkell Ágúst Óttarsson. 2006. Through the Mirror: Reflections on the Films of Andrei Tarkovsky. Newcastle: Cambridge Scholars Press.

Kelly, Gene, and Stanley Donen. 1952. ‘Singin’ in the Rain’.

Kinder, Marsha. 1977. ‘Reflections on “Jeanne Dielman”’. Film Quarterly 30(4):2–8. doi: 10.2307/1211576.

King, Peter. 2008. ‘Memory and Exile: Time and Place in Tarkovsky’s’. Housing, Theory and Society 25(1):66–78. doi: 10.1080/14036090601151269.

Kinsman, R. Patrick. 2007. ‘She’s Come Undone: Chantal Akerman’s Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles and Countercinema’. Quarterly Review of Film and Video 24(3):217–24. doi: 10.1080/10509200500486304.

Kovács, András Bálint. 2007a. ‘An Alternative to the Classical Form: Neorealism and Modernism’. Pp. 253–71 in Screening Modernism: European Art Cinema, 1950-1980. Chicago: University of Chicago Press.

Kovács, András Bálint. 2007b. ‘An Alternative to the Classical Form: Neorealism and Modernism’. Pp. 253–71 in Screening Modernism: European Art Cinema, 1950-1980. Chicago: University of Chicago Press.

Le Fanu, Mark. 1987. The Cinema of Andrei Tarkovsky. London: BFI.

Lesage, Julia. n.d. ‘Celine and Julia Go Boating’. Retrieved (http://www.ejumpcut.org/archive/onlinessays/JC24-25folder/CelineJulie.html).

Levinson, Julie. 1991. ‘Céline and Julie Go Story Telling’. The French Review 65(2).

Loader, Jayne. 1985. ‘Jeanne Dielman: Death in Instalments’. in Movies and Methods: An Anthology. Berkeley, Calif: University of California Press.

Macbean, James Roy. 1970. ‘“See You at Mao”: Godard’s Revolutionary British Sounds’. Film Quarterly 24(2):15–23. doi: 10.2307/1211216.

MacBean, James Roy. 1972. ‘Godard and the Dziga Vertov Group: Film and Dialectics’. Film Quarterly 26(1):30–44. doi: 10.2307/1211409.

MacCabe, Colin. 2003. ‘Student Revolution: Wiazemsky and Gorin’. Pp. 179–238 in Godard: A Portrait of the Artist at 70. London: Bloomsbury.

MacCabe, Colin. 2004. ‘A Certain Tendency of French Film Production: The New Wave of Karina and Coutard’. Pp. 97–178 in Godard: A Portrait of the Artist at 70. London: Bloomsbury.

Marchessault, Janine. 1986. ‘Inventing Paradox: Céline and Julie Go Boating’. CineAction 3(4):84–90.

Marguilies, Ivone. 2016. ‘Dossier: Chantal Akerman’. Film Quarterly 70(1):11–84.

Margulies, Ivone. 1996. Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Durham: Duke University Press.

Marie, Michel. 2003a. The French New Wave: An Artistic School. Oxford: Blackwell.

Marie, Michel. 2003b. The French New Wave: An Artistic School. Oxford: Blackwell.

Martin, Angela, and Chantal Akerman. 1979a. ‘Chantal Akerman’s Films: A Dossier’. Feminist Review (3). doi: 10.2307/1394708.

Martin, Angela, and Chantal Akerman. 1979b. ‘Chantal Akerman’s Films: A Dossier’. Feminist Review (3). doi: 10.2307/1394708.

Monaco, James. 1976. ‘Rivette: The Process of Narrative’. in The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette. New York: Harbor.

Monaco, James. 2004. The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette. 30th ed. New York: Harbor.

Morrey, Douglas. 2005. Jean-Luc Godard. Vol. French film directors. Manchester: Manchester University Press.

Morrey, Douglas, and Alison Smith. 2009. Jacques Rivette. Manchester: Manchester University Press.

Mulvey, Laura. 1998. ‘‘"New Wave” Interchanges: Céline and Julie and Desperately Seeking Susan’. in Hollywood and Europe: economics, culture, national identity 1945-95. London: British Film Institute.

Mulvey, Laura. 2000. ‘Vesuvian Topographies: The Eruption of the Past in Journey to Italy’. Pp. 95–111 in Roberto Rossellini: Magician of the Real. London: BFI Publishing.

Neupert, Richard. 2002. A History of the French New Wave Cinema. Madison, Wis: University of Wisconsin Press.

Neupert, Richard John. 2007. A History of the French New Wave Cinema. Madison: University of Wisconsin Press.

Nowell-Smith, Geoffrey. 1963a. ‘Shape around a Black Point’. Sight and Sound 33(1):15–20.

Nowell-Smith, Geoffrey. 1963b. ‘Shape Around a Black Point (On L’eclisse)’. Sight and Sound 33(1).

Nowell-Smith, Geoffrey. 1976. ‘Shape Around a Black Point (On L’eclisse)’. in Movies and Methods: An Anthology, Vol. 1. Berkeley: University of California Press.

Nowell-Smith, Geoffrey. 2013. Making Waves: New Cinemas of the 1960s. Revised and expanded edition. New York: Bloomsbury.

Perez, Gilberto. 1991. ‘The Point of View of a Stranger: An Essay on Antonioni’s “Eclipse”’. The Hudson Review 44(2). doi: 10.2307/3851918.

Perez, Gilberto. 1998. ‘The Signifiers of Tenderness’. in The Material Ghost: Films and Their Medium. Baltimore: Johns Hopkins University Press.

Perlmutter, Ruth. 1979. ‘Feminine Absence: A Political Aesthetic in Chantal Ackerman’s Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles’. Quarterly Review of Film Studies 4(2):125–33. doi: 10.1080/10509207909360986.

Petrie, Graham, and Vida T. Johnson. 1994a. ‘Mirror’. Pp. 111–36 in The Films of Andrei Tarkovsky: A Visual Fugue. Bloomington: Indiana University Press.

Petrie, Graham, and Vida T. Johnson. 1994b. ‘Stalker’. Pp. 137–55 in The films of Andrei Tarkovsky: a visual fugue. Bloomington: Indiana University Press.

Pipolo, Tony. 2010a. Robert Bresson: A Passion for Film. New York: Oxford University Press.

Pipolo, Tony. 2010b. Robert Bresson: A Passion for Film. New York: Oxford University Press.

Quandt, James. 2011. Robert Bresson Revised. Indiana University Press.

Reader, Keith. 2000. Robert Bresson. Manchester: Manchester University Press.

Rivette, Jacques. 1971. Out 1: Noli Me Tangere. Berlin: Medien.

Rivette, Jacques. 2006. ‘Celine and Julie Go Boating’.

Rivette, Jacques, and Juliet Berto. 1976. ‘Duelle’.

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Rosenbaum, Jonathan. 1974a. ‘Phantom Interviewers Over Rivette’. Film Comment 10(5):18–24.

Rosenbaum, Jonathan. 1974b. ‘Work and Play in the House of Fiction’’. in Placing movies: the practice of film criticism. Berkeley: University of California Press.

Rosenbaum, Jonathan. 1995. ‘A Cinema of Uncertainty: Films by Michelangelo Antonioni’. in Placing Movies: The Practice of Film Criticism. Berkeley: University of California Press.

Rossellini, Roberto. 1949. ‘Stromboli’. 672.

Rossellini, Roberto. 1950. ‘Stromboli | Box of Broadcasts’.

Rossellini, Roberto. 1952. ‘Europa 51’.

Rossellini, Roberto. 1954. ‘Viaggio in Italia | Journey to Italy’.

Rossellini, Roberto, and Adriano Apra. 1987. My Method : Writings and Interviews. Venice: Marsilio Editori SPA.

Rossellini, Roberto, and Aldo Fabrizi. 1945. ‘Rome, Open City’.

Rossellini, Roberto, and Maria Michi. 1946. ‘Paisà’.

Rossellini, Roberto, and Edmund Moeschke. 1948. ‘Germany, Year Zero’.

Roud, Richard. 2010a. Godard. Vol. BFI silver. 3rd ed. London: Palgrave Macmillan.

Roud, Richard. 2010b. ‘Reality and Abstraction’. Pp. 65–90 in Godard. London: Palgrave Macmillan.

Roud, Richard. 2010c. ‘Reality and Abstraction’. Pp. 65–90 in Godard. Basingstoke: Palgrave Macmillan.

de Sica, Vittorio. 1948. ‘The Bicycle Thieves’.

Skakov, Naiman. 2012. ‘Revelations of Stalker’. Pp. 140–66 in The Cinema of Tarkovsky: Labyrinths of Space and Time. London: I.B. Tauris.

Skakov, Nariman. 2012a. ‘Memories of a Mirror’. Pp. 100–139 in The Cinema of Tarkovsky: Labyrinths of Space and Time. London: I.B. Tauris.

Skakov, Nariman. 2012b. ‘Memories of Mirror’. Pp. 100–139 in The Cinema of Tarkovsky: Labyrinths of Space and Time. London: I.B.Tauris & Co Ltd.

Skakov, Nariman. 2012c. ‘Revelations of Stalker’. Pp. 140–66 in The Cinema of Tarkovsky: Labyrinths of Space and Time. London: I.B.Tauris & Co Ltd.

Skakov, Nariman. 2012d. The Cinema of Tarkovsky: Labyrinths of Space and Time. Vol. KINO. London: I.B. Tauris.

Sontag, Susan. 1983. ‘Against Interpretation’. Pp. 95–104 in A Susan Sontag Reader. Vintage.

Sontag, Susan. 2009. ‘Spiritual Style in the Films of Robert Bresson’. Pp. 177–95 in Against Interpretation: And Other Essays. London: Penguin.

Synessios, Natasha. 2001. Mirror. Vol. 6. London: I.B. Tauris.

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Tarkovskiĭ, Andreĭ Arsenʹevich. 1989. Sculpting in Time: Reflections on the Cinema. Austin: University of Texas Press.

Tarkovskiĭ, Andreĭ Arsenʹevich. 2016. ‘Nostalghia (Nostalgia)’.

Tarkovsky, Andrei. 1962. ‘Ivan’s Childhood’.

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Tarkovsky, Andrei. 1966a. ‘Andrei Rublev’.

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Tarkovsky, Andrei. 1983. ‘Nostalgia | Box of Broadcasts’.

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Tarkovsky, Andrei. 1986b. ‘The Sacrifice’.

Tarkovsky, Andrei. 1989. ‘Time, Rhythm and Editing’. Pp. 113–24 in Sculpting in Time: Reflections on the Cinema. Austin: University of Texas Press.

Tarkovsky, Andrei. 1994. Time Within Time: The Diaries, 1970-1986. London: Faber & Faber.

Tarkovsky, Andrei, and Ian Christie. 1981. ‘Against Interpretation: An Interview With Andrei Tarkovsky’. Framework: The Journal of Cinema and Media (14).

Tarkovsky, Andrei, and John Gianvito. 2006. Andrei Tarkovsky: Interviews. Jackson: University Press of Mississippi.

Tarkovsky, Andrei, and Stephen Gill. 2008. Bright, Bright Day: Andrey Tarkovsky’s Polaroids. London: White Space Gallery.

Turovskai︠a︡, Maĭi︠a︡. 1989. Tarkovsky: Cinema as Poetry. Rev. ed. London: Faber and Faber.

Visconti, Luchino. 1948. ‘La Terra Trema’.

Wagstaff, Christopher. 2007. ‘Paisà’. Pp. 185–290 in Italian Neorealist Cinema: An Aesthetic Approach. Toronto: University of Toronto Press.

Weis, Don. 2011. ‘I Love Melvin’.

Wiles, Mary M. 2012. Jacques Rivette. Urbana, [Ill.]: University of Illinois Press.

Wills, David. 2000a. Jean-Luc Godard’s Pierrot Le Fou. Cambridge: Cambridge University Press.

Wills, David. 2000b. Jean-Luc Godard’s Pierrot Le Fou. Cambridge, U.K.: Cambridge University Press.

Wollen, Peter. 1982. ‘Godard and Counter Cinema: Vent d’Est’. Pp. 79–91 in Readings and Writings: Semiotic Counter-Strategies. London: Verso.

Wood, Robin. 1981. ‘Narrative Pleasure: Two Films of Jacques Rivette’. Film Quarterly 35(1):2–12.

Yervasi, Carina. 2000. ‘Dislocating the Domestic in Chantal Akerman’s Jeanne Dielman’. Sites: Journal of Contemporary French Studies 4(2).

Youngblood, Gene. 1998. ‘Jean-Luc Godard: No Difference Between Life and Cinema’. Pp. 9–49 in Jean-Luc Godard: Interviews, edited by D. Sterritt. Jackson: University Press of Mississippi.

Zavattini, Cesare. 1978. ‘A Thesis on Neorealism’. Pp. 67–78 in Springtime in Italy: A Reader on Neo-Realism. London: Talisman Books.