A. Documentary Film

100 Années Lumière. Retrospéctive de l’oeuvre documentaire des grands cinéastes français de Louis Lumière jusqu’à nos jours. Paris: Ministère des affaires étrangères, 1991.

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

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

Bruzzi, Stella. New Documentary: A Critical Introduction. London: Routledge, 2000.

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

Gardner, Robert dan Ákos Östör. Making Forest of Bliss: Intention, Circumstance and Chance in Nonfiction Film. Cambridge: Harvard University Press, 2001.

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

Hohenberger, Eva dan Judith Keilbach, hrsg. Die Gegenwart der Vergangenheit: Dokumentarfilm, Fernsehen und Geschichte. Berlin: Verlag Vorwerk 8, 2003.

Lovell, Alan dan Jim Hillier. Studies in Documentary. New York: Viking, 1972.

Mamber, Steven. Cinema Verite in America: Studies in Uncontrolled Documentary. Cambridge, Mass: MIT Press, 1974.

Nichols, Bill. Representing Reality: Issues and Concepts in Documentary. Bloomington: Indiana University Press, 1991.

Rabinowitz, Paula. They Must Be Represented: The Politics of Documentary. London, New York: Verso, 1994.

Renov, Michael, ed. Theorizing Documentary. New York: Routledge, 1993.

Renov, Michael. The Subject of Documentary. Minneapolis: Univ. of Minnesota Press, 2004.

Rosenthal, Alan. New Challenges for Documentary. Berkeley: Univ. of California, 1988.

Roth, Wilhelm. Der Dokumentarfilm seit 1960. München: Bucher, 1982.

Trinh, T. Minh-ha. “Documentary Is/Not a Name.” October 52 (Spring 1990), 76-98.

Vertov, Dziga. Kino-Eye: The Writings of Dziga Vertov. Ed. Annette Michelson. Trans. Kevin O’Brien. Berkeley: Univ. of California Press, 1984.

Warren, Charles, ed. Beyond Document: Essays on Nonfiction Film. Hanover dan London: Wesleyan University Press, 1996.

Winston, Brian. Claiming the Real: The Documentary Film Revisited. London: BFI, 1995.

Zagaglia, Paolo et al, eds. Cinéma et réalité. Bruxelles: Vie Ouvrière/Centre de l’audio-visuel, 1982.

B. Ethnographic Film & Visual Anthropology

maitres_fousBarbash, Ilisa dan Lucien Taylor. Cross-Cultural Filmmaking: A Handbook for Making Documentary and Ethnographic Films and Videos. Berkeley, Los Angeles, London: University of California Press, 1997.

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

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

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

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

Loizos, Peter. Innovation in ethnographic film: From innocence to self-consciousness, 1955-1985. Chicago: Univ. of Chicago, 1993.

Rouch, Jean. Ciné-Ethnography. Trans. and ed. Steven Feld. Minneapolis: Univ. of Minnesota Press, 2003.

Russel, Catherine. Experimental Ethnography: The Work of Film in the Age of Video. Durham, NC dan London: Duke University Press,
1999.

Stoller, Paul. The Cinematic Griot: The Ethnography of Jean Rouch. Chicago: Univ. of Chicago Press, 1992.

Taylor, Lucien, ed. Visualizing Theory: Selected Essays from V.A.R., 1990-1994. New York: Routledge, 1994.

Trinh T., Minh-ha. When the Moon Waxes Red: Representation, Gender and Cultural Politics. New York: Routledge, 1991.

C. Archives & Archival Film

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

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

Derrida, Jacques. Archive Fever: A Freudian Impression. Trans. Eric Prenowitz. Chicago: Univ. of Chicago Press, 1996.

Houston, Penelope. Keepers of the Frame: The Film Archives. London: BFI, 1994.

Leyda, Jay. Films Beget Films: A Study of the Compilation Film. New York: Hill dan Wang, 1964.

Representations 42 (Spring 1993) “Future Libraries.”

Roud, Richard. A Passion for Films: Henri Langlois and the Cinématèque Française. New York: Viking Press, 1983.

D. Video & Self-Portrait Media

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

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

Bellour, Raymond. L’Entre-Images 2: Mots, Images. Paris: P.O.L., 1999.

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

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

Renov, Michael and Erika Suderburg, eds. Resolutions: Contemporary Video Practices. Minneapolis: Univ. of Minnesota Press, 1996.

E. Rhetoric & The Art of Memory

Giordano Bruno | Memory System from De umbris idearum (Paris, 1582)

Barilli, Renato. Rhetoric. Terj. Giuliana Menozzi. Minneapolis: Univ. of Minnesota Press, 1989.

Barthes, Roland, “Rhetoric of the Image.” Image Music Text. Terj. Stephen Heath. New York: Hill and Wang, 1977.

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

Bonner, Anthony, ed. Doctor Illuminatus: A Ramon Llull Reader. Princeton: Princeton Univ. Press, 1993.

Bruno, Giordano. On the Composition of Images, Signs & Ideas. Trans. Charles Doria. Ed. Dick Higgins. New York: Willis, Locker & Owens, 1991.

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

Carruthers, Mary. The Craft of Thought: Meditation, Rhetoric, and the Making of Images, 400-1200. Cambridge: Cambridge University Press, 1998.

[Cicero]. Ad Herennium. Trans. H. Caplan. Cambridge, MA: Harvard University Press, 1989.

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

Johnson, George. In the Palaces of Memory: How We Build the Worlds Inside Our Heads. New York: Alfred A. Knopf, 1991.

Ong, Walter J. Ramus, Method, and the Decay of Dialogue. Cambridge, Mass.: Harvard Univ. Press, 1958.

Ong, Walter. Orality and Literacy: The Technologizing of the Word. London: Routledge, 1982.

Porath, Erik. Gedächtnis des Unerinnerbaren: Philosophische und medientheoretische Untersuchungen zur Freudschen Psychanalyse. Bielefeld: transcript Verlag, 2005.

Rossi, Paolo. Logic and the Art of Memory: The Quest for a Universal Language. Trans. Stephen Clucas. Chicago: Univ. of Chicago Press, 2000.

Russell, Daniel. Emblematic Structures in Renaissance French Culture. Toronto: University of Toronto Press, 1995.

Spence, Jonathan D. The Memory Palace of Matteo Ricci. New York: Viking Penguin, 1984.

Yates, Francis A. The Art of Memory. Chicago: Univ. of Chicago Press, 1966.

Yates, Francis A. Giordano Bruno and the Hermetic Tradition. New York: Vintage, 1964.

F. Genre Evolution & Essay Film

Baumgärtel, Tilman. Vom Guerillakino zum Essayfilm: Harun Farocki. ["Werkmonographie eines deutschen Autorenfilmers"]. Disertasi, Heinrich-Heine-Universität Düsseldorf, 1997.

Bensmaïa, Reda. The Barthes Effect: The Essay as Reflective Text. Terj. Pat Fedkiew. Minneapolis: Univ. of Minnesota Press, 1987.

Bitomsky, Hartmut. Kinowahrheit. Hrsg. Ilka Schaarschmidt. Berlin: Vorwerk 8, 2003.

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

Deleuze, Gilles. “The Powers of the False.” Cinema 2: The Time-Image. Minneapolis: Univ. of Minnesota Press, 1989, 126-155. [Orig. "Les Puissances du faux." Cinéma 2: L'Image-temps. Paris: Les Éditions de Minuit, 1985, 165-202.]

Farocki, Harun. Nachdruck/Imprint: Texte/Writings. Ed. Susanne Gaensheimer & NIcolaus Schafhausen. Terj. Laurent Faasch-Ibrahim. Berlin: Vorwerk 8, 2001.

Hattendorf, Manfred. Closeup: Dokumentarfilm und Authentizität: Ästhetik und Pragmatik einer Gattung. Konstanz: Haus des Dokumentarfilms, 1994.

Kämper, Birgit dan Thomas Tode, ed. Chris Marker Filmessayist. München: Institut Français de Munich/CICIM, 1997.

Lanham, Richard A. The Electronic Word: Democracy, Technology, and the Arts. Chicago: Univ. of Chicago Press, 1993.

Lupton, Catherine. Chris Marker: Memories of the Future. London: Reaktion Books, 2005.

Chris Marker, Commentaires 2Marker, Chris. Commentaires 1. Paris: Seuil, 1961.

Marker, Chris. Commentaires 2. Paris: Seuil, 1967.

Nichols, Bill. Blurred Boundaries: Questions of Meaning in Contemporary Culture. Bloomington: Indiana University Press, 1994.

Pirschtat, Jutta, ed. Die Wirklichkeit der Bilder: Der Filmemacher Hartmut Bitomsky. Essen: Edition Filmwerkstatt, 1992.

Renov, Michael. “Lost, Lost, Lost: Mekas as Essayist.” To Free the Cinema: Jonas Mekas and the New York Underground. Princeton: Princeton Univ. Press, 1992, 215-239.

Roth, Laurent dan Raymond Bellour. Qu’est-ce qu’une madeleine? A propos du CD-ROM Immemory de Chris Marker. Paris: Yves Gevaert Editeur/Centre Georges Pompidou, 1997.

Silverman, Kaja. The Threshold of the Visible World. New York: Routledge, 1996.

Ulmer, Gregory. Teletheory: Grammatology in the Age of Video. New York: Routledge, 1989.

von der Keuken, Johan. Abenteuer eines Auges: Filme, Fotos, Texte. Basel: Stroemfeld/Roter Stein, 1992.

Warren, Charles, ed. Beyond Document: Essays on Nonfiction Film. Hanover & London: Wesleyan Univ. Press, 1996.


^{*this article is translated and repost by the courtesy of the editor of www.chrismarker.org}

3.26 Copyright (C) 2008 Compojoom.com / Copyright (C) 2007 Alain Georgette / Copyright (C) 2006 Frantisek Hliva. All rights reserved."