Chris Marker Notes from the Era of Imperfect Memory

Cinema Paranoia: A Bibliography from the Nineties

C

“I betrayed Gutenberg for McLuhan long ago.”
– Chris Marker on O.W.L.

PhD project at Cornell University, Dept. of Comparative Literature, Daniel L Potter, 1989-1992, updated through 1995, obliquely representing the state of my scholarship nel mezzo del camin di nostra vita…

Achternbusch, Herbert. “Kluger Kluge.” Wellen. Frankfurt/M: Suhrkamp, 1983, 15-18.

Adorno, Theodor W. “Der Essay als Form.” Noten zur Literatur I. Frankfurt a.M.: Suhrkamp, 1958, 9-49. [Eng.: “The Essay as Form.” Notes to Literature, v. 1. Trans. Shierry Weber Nicholsen. New York: Columbia Univ. Press, 1991, 3-23].

Adorno, Theodor W. (1951) Minima Moralia. Reflexionen aus dem beschädigten Leben. Frankfurt am Main: Suhrkamp, 1982.

Agel, Henri. Un Art de la célébration: le cinéma de Flaherty à Rouch. Paris: Les Éditions du Cerf, 1987.

Agentur Bilwet. Medien-Archiv. Aus dem Niederländischen von Gerrit Boer. Bensheim: Bollmann Verlag, 1993.

Allison, David B., ed. Psychosis and Sexual Identity: Post-psychoanalytical views of the Schreber case. Albany, NY: SUNY Press, 1988.

Anders, Günther. Die Antiquiertheit des Menschen. Über die Seele im Zeitalter der zweiten industriellen Revolution. München: Beck, 1961.

Armes, Roy. The Ambiguous Image: Narrative Style in Modern European Cinema. Bloomington: Indiana Univ. Press, 1976.

*Armes, Roy. French Cinema Since 1946.

Artaud, Antonin. Oeuvres complètes III (Scenari – A Propos du cinéma – Lettres – Interviews). Paris: Gallimard, 1970.

Artaud, Antonin. Le théâtre et son double. Paris: Gallimard, 1964.

Astruc, Alexandre. “The Birth of a New Avant-Garde: LaCaméra-Stylo.” In: The New Wave, ed. Peter Graham. New York: Doubleday, 1968, 17-23.

Aumont, Jacques. Montage Eisenstein. Paris: Editions Albatros, 1979.

“A Valparaiso: Court métrage de Joris Ivens.” L’Avant-Scène Cinéma 76 (Dec. 1967), 50-57.

Bacon, Francis. The Essays. Ed. John Pitcher. Harmondsworth: Penguin, 1985.

Barck, Karlheinz, Peter Gente, Heidi Paris and Stefan Richter. Aisthesis: Wahrnehmung heute oder Perspektiven einer anderen Ästhetik. Leipzig: Reclam, 1991.

Barnouw, Eric. Documentary: A History of the Non-Fiction Film. London: Oxford, 1974.

Barrett, Edward, ed. Sociomedia: Multimedia, Hypermedia, and the Social Construction of Knowledge. Cambridge, Mass.: MIT, 1992.

Barsam, Richard Meran. Nonfiction Film: A Critical History. New York: Dutton, 1973.

*Barthes, Roland. Empire des signes.

Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. New York: Hill and Wang, 1981.

Barthes, Roland. Image – Music – Text. Trans. Stephen Heath. New York: Hill and Wang, 1977.

Barthes, Roland. “L’ancienne rhétorique: Aide-mémoire.” Communications 16 [”Recherches Rhétoriques”] (1970), 172-229.

Bateson, Gregory. Steps to an Ecology of Mind. New York: Ballantine, 1972.

Bateson, Gregory, ed. Perceval’s Narrative: A Patient’s Account of His Psychosis: 1830-1832. Stanford: Stanford Univ. Press, 1961.

Baudrillard, Jean. In the Shadows of the Silent Majorities: Or, The End of the Social. Trans. Paul Foss, John Johnston and Paul Patton. New York: Semiotext(e), 1983.

*Baudrillard, Jean. Les Stratégies fatales.

Baudrillard, Jean. Cool Memories. Trans. Chris Turner. London: Verso, 1990.

Baudrillard, Jean. Cool Memories II: 1987-1990. Paris: Galilée, 1990.

Baudrillard, Jean. La Transparence du Mal: Essai sur les phénomènes extrêmes. Paris: Galilée, 1990.

Baudry, Jean-Louis. “Ideological Effects of the Basic Cinematographic Apparatus.” In Kyung Cha (1980), 25-40 and Rosen (1986), 286-298.

Baudry, Jean-Louis. “The Apparatus.” In Kyung Cha (1980), 41-66.

Baudry, Jean-Louis. “Author and Analyzable Subject.” In Kyung Cha (1980), 67-84.

Beaujour, Michel. Miroirs d’encre: Rhétorique de l’autoportrait. Paris: Seuil, 1980. [Poetics of the Literary Self-Portrait. Trans. Yara Milos. New York: NYU Press, 1991].

Bazin, Andre. Qu’est-ce que le cinéma? Édition définitive. Poitiers: Éditions du cerf, 1975.

Bechtold, Gerhard. Sinnliche Wahrnehmung von sozialer Wirklichkeit: Die multimedialen Montage-Texte Alexander Kluges. Tübingen: Gunter Narr, 1983.

Beilenhoff, Wolfgang. “Licht — Bild — Gedächtnis.” In Haverkamp and Lachmann, eds. (1991), 444-473.

Bellour, Raymond. “Thierry Kuntzel and the Return of Writing.” Camera obscura 11 (1983), 29-59.

Bellour, Raymond. “The Film Stilled.” Camera obscura 24 (Sept. 1990), 99-123.

Bellour, Raymond. “The Unattainable Text.” Screen 16/3 (Autumn 1975), 19-27.

Bellour, Raymond. L’Entre-Images. Photo. Cinéma. Vidéo. Paris: La Différence, 1990.

Bellour, Raymond., ed. Eye for I: Video Self-Portraits, A Traveling Exhibition. New York: Independent Curators Inc. [ICI], 1989.

Bellour, Raymond., ed. Jean-Luc Godard: son + image: 1974-1991.

Benayoun, Robert. Alain Resnais: arpenteur de l’imagination. Stock/Cinéma, 1980.

Benjamin, Walter. Ursprung des deutschen Trauerspiels. Frankfurt/M: Suhrkamp, 1955.

Benjamin, Walter. Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. Frankfurt/M: Suhrkamp, 1963.

Benjamin, Walter. Das Passagen-Werk, 2 v. Frankfurt/M: Suhrkamp, 1982.

Benjamin, Walter. Einbahnstraße. Berlin: Brinkmann & Bose, 1983. [Facsimile of 1928 ed.].

Benjamin, Walter. Denkbilder. Frankfurt/M: Suhrkamp, 1972.

Bensmaïa, Réda. “From the Photogram to the Pictogram: On Chris Marker’s La Jetée.” Camera obscura 24 (Sept. 1990), 138-161.

Bensmaïa, Réda. Barthes à l’essai: Introduction au texte réfléchissant. ?: Gunther Narr Verlag, 1986. [Eng.: The Barthes Effect: The Essay as Reflective Text. Trans. Pat Fedkiew. Forward by Michele Richman. (Theory and History of Literature, v. 54). Minneapolis: Univ. of Minnesota Press, 1987.]

Benson, Thomas W. and Carolyn Anderson. Reality Fictions: The Films of Frederick Wiseman. Carbondale: Southern Illinois Univ. Press, 1989.

Berger, Bruno. Der Essay: Form und Geschichte. Bern/München: Francke Verlag, 1964.

Bergson, Henri. Matter and Memory. Trans. N.M. Paul and W.S. Palmer. New York: Zone Books, 1991.

Bersani, Leo. “Pynchon, Paranoia, and Literature.” The Culture of Redemption. Cambridge, Mass.: Harvard Univ. Press, 1990, 179-199.

Bloch, Ernst. Erbschaft dieser Zeit. Erweiterte Ausgabe. Frankfurt/M: Suhrkamp, 1962.

Blüminger, Christa and Constantin Wulff, ed. Schreiben Bilder Sprechen: Text zum essayistischen Film. Vienna: Sonderzahl, 1992.

Böhm-Christl, Thomas, ed. Alexander Kluge. Frankfurt/M: Suhrkamp, 1983.

Boisen, Anton T. Out of the Depth: An Autobiographical Study of Mental Disorder and Religious Experience. New York: Harper, 1960.

Bolz, Norbert. Theorie der neuen Medien. München: Raben, 1990.

Bolz, Norbert. Die Welt als Chaos und als Simulation. München: Wilhelm Fink, 1992.

Bordwell, David. “Dziga Vertov: An Introduction.” Film Comment 8/1 (Spring 1972), 38-42.

Bourdier, Jean-Paul and Trinh T. Minh-ha. African Spaces: Designs for Living in Upper Volta. New York: Africana Publishing Co., 1985.

*Brinkmann, Rolf Dieter. “Der Film als Worten.” Der Film als Worten.

Broch, Hermann. Massenwahntheorie: Beiträge zu einer Psychologie der Politik. [Kommentierte Werkausgabe, Bd. 12]. Frankfurt/M: Suhrkamp, 1979.

Broch, Hermann. Massenpsychologie: Schriften aus dem Nachlaß. Zürich: Rhein Verlag, 1959.

Brunette, Peter and David Wills. Screen/Play: Derrida and Film Theory. Princeton: Princeton Univ. Press, 1989.

Butrym, Alexander J., ed. Essays on the Essay: Redefining the Genre. Athens: Univ. of Georgia, 1989.

Burch, Noel. Theory of Film Practice. Trans. Helen R. Lane. Princeton: Princeton Univ. Press, 1981 [orig. 1969].

Burton, Juliane, ed. The Social Documentary in Latin America. Pittsburg: Univ. of Pittsburg Press, 1990.

Caillois, Roger. L’homme et le sacré. Paris: Gallimard, 1950.

Canetti, Elias. Crowds and Power. Trans. Carol Stewart. Middlesex: Penguin, 1973.

Carp, Stephanie. Kriegsgeschichten. Zum Werk Alexander Kluges. München: Wilhelm Fink, 1987.

Carruthers, Mary. The Book of Memory: A Study of Memory in Medieval Culture. Cambridge, Eng.: Cambridge Univ. Press, 1990.

Cayrol, Jean. Le Droit du regard. Paris: Seuil, 1963.

Chartier, Roger. The Order of Books: Readers, Authors, and Libraries in Europe between the Fourteenth and Eighteenth Centuries. Trans. Lydia G. Cochrane. Stanford: Stanford Univ. Press, 1994.

*CinémAction 17 (Feb. 1982) [”Jean Rouch, un griot gaulois”].

Cinematograph 4 (1991) [”Non-fiction Cinema?”].

Clifford, James. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge: Harvard Univ. Press, 1988.

Conley, Thomas M. Rhetoric in the European Tradition. Chicago: Univ. of Chicago Press, 1990.

Conley, Tom. Film Hieroglyphs: Ruptures in Classical Cinema. Minneapolis: Univ. of Minnesota Press, 1991.

Conley, Tom. “Hiéroglyphes de Rabelais.” Hors Cadre 1: “analectures” (Spring 1983), 95-116.

Conley, Tom. The Graphic Unconscious in Early Modern French Writing. Cambridge: Cambridge Univ. Press, 1992.

Conley, Tom. “Institutionalizing Translation: On Florio’s Montaigne.” Demarcating the Disciplines: Philosophy Literature Art. [Glyph Textual Studies 1]. Minneapolis: Univ. of Minnesota Press 1986 45-60.

Copjec, Joan. “The Anxiety of the Influencing Machine.” October 23 (1983), 43-59.

Corner, John, ed. Documentary and the Mass Media. London: Edward Arnold, 1986.

Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, Mass.: MIT, 1990.

Crawford, Peter, ed. Film as Ethnography. Manchester: Manchester Univ. Press, 1992.

Critical Art Ensemble. The Electronic Disturbance. Brooklyn: Autonomedia, 1994.

Curtius, Ernst Robert. Europäische Literatur und Lateinisches Mittelalter. Bern: A. Francke, 1948.

Dali, Salvador. Le mythe tragique de l’Angelus de Millet: interpretation ‘paranoique-critique. Paris: Pauvert, 1978.

Dallet, Sylvie, ed. Guerres révolutionnaires: Histoire et cinéma. Paris: Ed. L’Harmattan, 1984.

Dauman, Anatole, Jacques Gerber and Argos Films. Souvenir-Ecran. Paris: Centre Pompidou / Centre Nationale de la Cinémathèque, 1990.

Dawson, Jan. “Alexander Kluge: Interview.” Film Comment (Nov. 1974), 51-57.

Debord, Guy. Society of the Spectacle. Detroit: Black & Red, 1983.

Debord, Guy. Oeuvres cinématographiques complètes 1952-1978. Paris: Editions Champ Libre, 1978.

de Certeau, Michel. The Practice of Everyday Life. Berkeley: University of California Press, 1984.

de Certeau, Michel. “L’Espace de l’archive ou la perversion du temps.” Traverses 36 [”L’Archive”] (Sept. 1986).

De Greef, Willem and Willem Hesling, eds. Image – Reality – Spectator: Essays on Documentary Film and Television. Leuven: Acco, 1989.

de Heusch, Luc. The Cinema and Social Science: A survey of ethnographic and sociological films. Unesco Reports and Papers in the Social Sciences, #16 (1962), 1-101.

Delage, Christian, ed. Ecrits, images et sons dans la Bibliothèque de France. Paris: IMEC / Bibliothèque de France, 1991.

De Landa, Manuel. War in the Age of Intelligent Machines. New York: Swerve Editions, 1991.

de Lauretis, Teresa. Alice Doesn’t: Feminism, Semiotics, Cinema. Bloomington: Indiana Univ. Press, 1984.

de Lauretis, Teresa. Technologies of Gender: Essays on Theory, Film, and Fiction. Bloomington: Indiana Univ. Press, 1987.

Deleuze, Gilles. Logique du sens. Paris: Minuit, 1969.

Deleuze, Gilles. Bergsonism. Trans. Hugh Tomlinson and Barbara Habberjam. New York: Zone Books, 1991.

Deleuze, Gilles. Cinéma 1: L’image-mouvement. Paris: Minuit, 1983. [Cinema 1: The Movement-Image. Minneapolis: Univ. of Minnesota Press, ].

Deleuze, Gilles. Cinéma 2: L’image-temps. Paris: Minuit, 1985. [Cinema 2: The Time-Image. Minneapolis: Univ. of Minnesota Press, 1989].

Deleuze, Gilles. Pourparlers: 1972-1990. Paris: Minuit, 1990.

Deleuze, Gilles. Foucault. Paris: Minuit, 1986. [Foucault. Trans. Sean Hand. Minneapolis: Univ. of Minnesota Press, 1988].

Deleuze, Gilles and Félix Guattari. L’Anti-oedipe. Capitalisme et schizophrénie, t. 1. Paris: Minuit, 1972. [Anti-Oedipus: Capitalism and Schizophrenia. Trans. Robert Hurley, Mark Seem, and Helen R. Lane. Mineapolis: University of Minnesota Press, 1983].

Deleuze, Gilles and Félix Guattari. Mille Plateaux. Capitalisme et schizophrénie, t. 2. Paris: Minuit, 1980.

Deleuze, Gilles and Félix Guattari. Qu’est-ce que la philosophie? Paris: Minuit, 1991.

Delmar, Rosalind. Joris Ivens: 50 Years of Filmmaking. London: BFI, 1979.

Deren, Maya. An Anagram of Ideas On Art, Form and Film. New York: Alicat Book Shop Press, 1946. [Reprinted in: Kyung Cha (1980), 93-144.]

Deren, Maya. Divine Horsemen: The Living Gods of Haiti. New York: Documentext, 1953.

Derrida, Jacques. De la grammatologie. Paris: Minuit, 1967.

Derrida, Jacques. “Freud et la scène de l’écriture.” L’Écriture et la difference. Paris: Seuil, 1967.

Diawara, Manthia. African Cinema: Politics and Culture. Bloomington: Indiana Univ. Press, 1992.

Dick, Philip K. A Scanner Darkly. London: Grafton Books, 1978.

Dick, Philip K. In Pursuit of Valis: Selections from the Exegesis. Ed. Lawrence Sutin. Novato, CA: Underwood-Miller, 1991.

Dick, Philip K. Radio-Free Albemuth. New York: Avon, 1985.

Dick, Philip K. The Selected Letters of Philip K. Dick: 1974. Novato, CA: Underwood-Miller, 1991.

*Dittmar, Linda and Gene Michaud. From Hanoi to Hollywood

Doane, Mary Ann. Femmes Fatales: Feminism, Film Theory, Psychoanalysis. New York: Routledge, 1991.

Doane, Mary Ann. The Desire to Desire: The Woman’s Film of the 1940s. Bloomington: Indiana Univ. Press, 1987.

DOX: Documentary Film Quarterly 1 (Spring 1994). [”Journalism and investigation in documentary film;” “Cultural channels of Europe.”]

Eaton, Mick, ed. Anthropology — Reality — Cinema: The Films of Jean Rouch. London: British Film Institute, 1979.

Edmonds, Robert. Anthropology on Film: A Philosophy of People and Art. Dayton, OH: Pflaum Publishing, 1974.

Ehrens, Patricia, ed. Issues in Feminist Film Criticism. Bloomington: Indiana University Press, 1990.

Eisenstein, Sergei. Film Form: Essays in Film Theory and Film Sense. Trans. Jay Leyda. Cleveland: Meridian, 1949.

Eisenstein, Sergei. Nonindifferent Nature. Trans. Herbert Marshall. Cambridge: Cambridge University Press, 1987.

Eisenstein, Sergei. “Notes for a Film of Capital.” Trans. Maciej Sliwowski, Jay Leyda, and Annette Michelson. October: The First Decade. Cambridge, Mass.: MIT, 198 , 114-138.

Eisenstein, Sergei. Que Viva Mexique!

Ellis, Jack C. Documentary Idea, The: A Critical History of English-Language Documentary Film and Video. Englewood Cliffs, NJ: Prentice Hall, 1989.

Elsaesser, Thomas. New German Cinema: A History. New Brunswick, NJ: Rutgers University Press, 1989.

Elsaesser, Thomas, ed. Early Cinema: Space Frame Narrative. London: British Film Institute, 1991.

Elsaesser, Thomas. “‘It started with these Images’ — Some Notes on Political Filmmaking after Brecht in Germany: Helke Sander and Harun Farocki.” Discourse

Enzensberger, Hans Magnus. “Baukasten zu einer Theorie der Medien.” Kursbuch 20 (1970).

Epstein, Jean. Esprit de cinéma. Geneva: Jeheber, 1955.

Epstein, Jean. Écrits sur le cinéma: 1921-1953. (v. 1: 1921-1947; v.2: 1946-1953). Paris: Seghers, 1975.

Farocki, Harun. “Notwendige Abwechslung und Vielfalt.” Filmkritik 224 (Aug. 1975), 368-9.

Farocki, Harun. “Bresson ein Stilist.” Filmkritik 3-4/84, 62-67. [English: “Bresson a Stylist.” In Harun Farocki: A Retrospective (1991), 18-21].

Farocki, Harun. “Hund von der Autobahn.” Filmkritik 1/82, 5-32.

Farocki, Harun. “Schuß-Gegenschuß: Der wichtigste Ausdruck im Wertgesetz Film.” Filmkritik 11-12/81.

Farocki, Harun. “Notizen zu einer afrikanischen Orestie von Pier Paolo Pasolini.” Filmkritik 11/82, 530-549.

Farocki, Harun. “Kamera in Aufsicht.” [on Michael Klier’s Der Riese]. Filmkritik 9/83, 414-419.

Farocki, Harun. “Vertauschte Frauen.” Filmkritik 6/80, 274-279.

Farocki, Harun. “Poto und Cabengo.” Filmkritik 12/79, 582-585.

Farocki, Harun. “Notwendige Abwechslung und Vielfalt.” Filmkritik 8/75, 360-369.

Farocki, Harun. “Erneut Bedenkliches.” Filmkritik 10/76, 500-508.

Farocki, Harun. “Ein Zigarettenende [. . .].” Filmkritik 1/77, 36-48.

Farocki, Harun. “Was mir das Fernsehen bedeutet.” Filmkritik 8/77, 408-412.

Farocki, Harun. “Neues vom Wixer.” Filmkritik 7/78, 370-376.

Farocki, Harun. “Zwischen zwei Kriegen.” [self-interview and materials to the film]. Filmkritik 11/78, 562-606.

Farocki, Harun. “Gespräch mit Alexander Kluge: Über Die Patriotin, Geschichte und Filmarbeit.” Filmkritik 11/79, 505-521.

Farocki, Harun. “Reality Would Have to Begin.” Trans. Marek Wieczorek et al. Documents ? 1992?, 136-146.

Farocki, Harun. “Pictures of the World and Inscription of the War.” [Translation of script of Bilder der Welt und Inschrift des Krieges, handout in Kaja Silverman and Farocki course “The Essay Film,” UC Berkeley, Spring 1993, courtesy of Alicia Gamez].

Farocki, Harun. “Between Two Wars.” [Translation of script of Zwischen zwei Kriegen, Silverman/Farocki seminar].

Farocki, Harun. “Before Your Eyes — Vietnam. (Something is becoming apparent).” [Translation of script of Etwas wird sichtbar, Silverman/Farocki seminar].

Farocki, Harun. “Unregelmäßig, nicht regellos.” In: Blümlinger (1992), 145-155.

Faure, Henri. Les objects dans la folie: Hallucinations et réalité perceptive. Paris: PUF, 1965.

Feldman, Seth R. Evolution of Style in the Early Work of Dziga Vertov. Dissertation: SUNY Buffalo, 1975. New York: Arno Press, 1977.

Ferguson, Russell, Martha Gever, Trinh T. Minh-ha and Cornel West, ed. Out There: Marginalization and Contemporary Cultures. New York: New Museum of Contemporary Art / Cambridge: MIT, 1990.

Ferro, Marc. Cinéma et Histoire. Denoël: Paris, 1977.

Ferry, Luc and Alain Renaut. French Philosophy of the Sixties: An Essay on Antihumanism. Trans. Mary Schnackenberg Cattani. Amherst: University of Massachusetts Press, 1990.

Fiedler, Theodore. “Alexander Kluge: Mediating History and Consciousness.” In Phillips (1984), 195-229.

Film und Ethnographie. Kinemathek 60 (Dec. 1982).

Finlay, Marike. The Potential of Modern Discourse: Musil, Peirce and Perturbation. Bloomington: Indiana Univ. Press, 1990.

Flusser, Vilém. Die Schrift. Frankfurt a.M.: Fischer, 1992.

Foucault, Michel. Surveiller et punir: Naissance de la prison. Paris: Gallimard, 1975. [Eng. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. New York: Vintage, 1979].

Foucault, Michel. Mental Illness and Psychology. Trans. Alan Sheridan. Berkeley: Univ. of California, 1987. [orig. 1954, rev. 1962].

Foucault, Michel. Histoire de la folie à l’âge classique. Nouvelle édition. Paris: NRF/ Gallimard, 1972.

Foucault, Michel. The Birth of the Clinic: An Archeology of Medical Perception. Trans. A.M. Sheridan Smith. New York: Vintage, 1975.

Foucault, Michel. The Archeology of Knowledge. Trans. A.M. Sheridan Smith. New York: Harper, 1972.

Foucault, Michel. Language, counter-memory, practice. Ed. and trans. Donald F. Bouchard. Ithaca: Cornell Univ. Press, 1977.

Foucault, Michel. Power/Knowledge : Selected Interviews and Other Writings, 1972-1977. New York: Pantheon Books, 1981.

Foucault, Michel. Foucault Live: Interviews 1966-84. Ed. Sylvère Lotringer. Trans. John Johnston. New York: Semiotext(e), 1989.

Foucault, Michel. “Glossen zu Deutschland.” Tumult 10 (1987), 191-195.

Foucault, Michel. “Preface” [to the English trans. of Anti-Oedipus]. Deleuze and Guattari (1983), xi-xiv.

Freud, Sigmund. Die Traumdeutung. Studienausgabe, Bd. II. Frankfurt/M: S. Fischer, 1972.

Freud, Sigmund. “Psychoanalytische Bemerkungen über einen autobiographisch beschriebenen Fall von Paranoia (Dementia paranoides) [’Der Fall Schreber’]. Zwei Falldarstellungen. Frankfurt am Main: Fischer, 1982.

Freud, Sigmund. General Psychological Theory: Papers on Metapsychology. New York: Collier, 1963.

Freud, Sigmund. Totem and Taboo. Trans. James Strachey. New York: Norton, 1950.

Freedman, Carl. “Towards a Theory of Paranoia: The Science Fiction of Philip K. Dick.” Science-Fiction Studies 11/32 (March 1984), 15-24.

Friedrich, Hugo. Montaigne. Ed. Philippe Desan. Trans. Dawn Eng. Berkeley: Univ. of California Press, 1991.

Friedrich, M. et al, eds. Die Fremden Sehen: Ethnologie und Film. Munich: Trickster, 1984.

*Ginzberg, Carlo. “Clues.” In: Clues, Myth, and the Historical Method. Baltimore: John Hopkins Univ. Press, 1989, .

Godard, Jean-Luc and Jean-Pierre Gorin. “Enquête sur une image.” [commentary from Lettre à Jane/Letter to Jane]. Tel Quel 52 (Winter 1972), 74-90.

Godard, Jean-Luc. Godard sur Godard.

Gray, Floyd. La Balance de Montaigne: exagium/essai. Paris: Nizan, 1982.

Gregor, Ulrich and Enno Patalas. Geschichte des Films (2 v.). Reinbek: Rowohlt, 1976.

Gronbeck, Bruce E. et al, ed. Media, Consciousness, and Culture: Explorations of Walter Ong’s Thought. Newbury Park: Sage Publications, 1991.

Guattari, Félix. Molecular Revolution: Psychiatry and Politics. Trans. Rosemary Sheed. NY: Penguin, 1984.

Guattari, Félix.. Les trois écologies. Paris: Galilée, 1989.

Guynn, William. A Cinema of Nonfiction. Rutherford: Fairleigh Dickinson Univ. Press / London: Associated Univ. Presses, 1990.

Haas, Gerhard. Essay. Stuttgart: Metzler, 1969.

Habermas, Jürgen. Strukturwandel der Öffentlichkeit. Untersuchungen zu einer Kategorie der bürgerlichen Gesellschaft. Darmstadt / Neuwied: Luchterhand, 1962.

Hall, Doug and Sally Jo Fifer. Illuminating Video: An Essential Guide to Video Art. New York: Aperture/BAVC, 1990.

Hall, Stuart. “Cultural Identity and Cinematic Representation.” Framework 36 ( ), 81.

Hampaté Ba, Amadou. “The African Tale of Cinema.” Discourse 11/2 (Spring-Summer 1989), 99-106.

Hansen, Miriam. “Alexander Kluge, Cinema and the Public Sphere: The Construction Site of Counter-History.” Discourse

Hansen, Miriam. “Reinventing the Nickelodeon: Notes on Kluge and Early Cinema.” In Liebman (1988), 179-198.

Hansen, Miriam. “Cooperative Auteur Cinema and Oppositional Public Sphere: Alexander Kluge’s contribution to Germany in Autumn.” In New German Critique 24-25 (Fall-Winter 1981-82), 36-56.

Hansen, Miriam. “Early Cinema: Whose Public Sphere?” In Elsaesser (1991),

Hansen, Miriam. “Decentric Perspectives: Kracauer’s Early Writings on Film and Mass Culture.” New German Critique

Haraway, Donna. Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge, 1991.

Hardison Jr., O.B. “Binding Proteus: An Essay on the Essay.” In Butrym (1989), 11-28.

Harun Farocki: A Retrospective. [Catalogue]. New York: Goethe Institute, 1991.

“Harun Farocki — Filmmacher, Kritiker.” CineGraph: Lexikon zum deutschsprachigen Film. Munich: text + kritik [no pagination].

Haverkamp, Anselm and Renate Lachmann, ed. Gedächtniskunst: Raum – Bild – Schrift. Frankfurt am Main: Suhrkamp, 1991.

Heidegger, Martin. Beiträge zur Philosophie (Vom Ereignis).

Heidegger, Martin. The Question Concerning Technology and Other Essays. Trans. William Lovitt. New York: Harper Colophon, 1977.

Heidegger, Martin. Holzwege. Frankfurt/M: Klostermann, 1957.

Heider, Karl G. Ethnographic Film. Austin: University of Texas Press, 1976.

Heise, Thomas. “Nichts erscheint mir geeigneter für den Anfang als Stille.” [unpub. transcript of talk held at Cornell University, 4.9.90, courtesy of David Bathrick].

*Heller, Heinz-B. and Peter Zimmermann. Bilderwelten Weltbilder: Dokumentar und Fernsehen.

*Herskowitz, Richard, ed. Border Crossing: The Cinema of Johan van der Keuken.

Hesse, Douglas. “Essay Form and Auskomponierung.” In Butrym (1989), 289-306.

Hillman, James. On Paranoia. Dallas: Spring Publications, 1986.

Hoberman, J. “Reflex Action.” Village Voice (5.1.84), 50.

Hockings, Paul, ed. Principles of Visual Anthropology. 2nd ed. Berlin/New York: Mouton de Gruyter, 1995.

Hoeller, Stephan A. The Gnostic Jung and the Seven Sermons to the Dead. Wheaton, Ill.: Theosophical Publishing House, 1982.

*Hohenberger, ?. Wirklichkeit des Films [diss. on Rouch]

Horkheimer, Max and Theodor W. Adorno. Dialectic of Enlightenment. Trans. John Cumming. New York: The Seabury Press, 1972.

Huyssen, Andreas. After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington: Indiana Univ. Press, 1986.

Huyssen, Andreas. “An Analytic Storyteller in the Course of Time.” In Liebman (1988), 117-128.

Ivens, Joris. The Camera and I. New York: International Publishers, 1969.

Issari, M. Ali and Doris A. Paul. What is Cinéma Vérité? Metuchen: The Scarecrow Press, 1979.

James, David E. Allegories of Cinema: American Film in the Sixties. Princeton: Princeton University Press, 1989.

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* incomplete reference

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