Bibliography

Compiled by Geoffrey A. Wright


Literary Sources (for films featured in the timeline)

Aristotle. Poetics. Trans. Gerald F. Else. Ann Arbor: University of Michigan Press, 1967.
Austen, Jane. Emma. A Norton Critical Edition. 4th ed. Ed. George Justice and Steven Parrish. New
York: W.W. Norton, 2011.
---. Pride and Prejudice. A Norton Critical Edition. 3rd ed. Ed. Donal J. Gray. New York:
W.W. Norton, 2000.
---. Sense and Sensibility. A Norton Critical Edition. Ed. Claudia L. Johnson. New York: W.W.
Norton, 2002.
Bates, Harry. “Farewell to the Master.” Machines that Think: The Best Science Fiction Stories about Robots
            and Computers. Ed. Isaac Asimov, Patricia Warrick, and Martin Harry Greenberg. New York:
Holt, Rinehart, and Winston, 1983.
Baudrillard, Jean. Simulacra and Simulation. Trans. Sheila Faria Glaser. Ann Arbor: University of
Michigan Press, 1994.
Bazin, André. What Is Cinema? Trans. Hugh Gray. London: University of California Press, 2004.
Brown, Harry. A Walk in the Sun. New York: Knopf, 1944.
Cain, James M. Double Indemnity. New York: Vintage, 1992.
Chandler, Raymond. The Big Sleep. New York: Vintage, 1992.
Clarke, Arthur C. 2001: A Space Odyssey. New York: New American Library, 1999.
Clover, Joshua. The Matrix: BFI Modern Classics. London: BFI Publishing, 2004.
Conrad, Joseph. Heart of Darkness. A Norton Critical Edition. 4th ed. Ed. Paul B. Armstrong. New
York: W.W. Norton, 2005.
Cook, David A. A History of Narrative Film. 4th ed. New York: W.W. Norton, 2004.
Cortázar, Julio. Blow-Up, and Other Stories. New York: Pantheon Books, 1985.
Dixon, Thomas, Jr. The Clansman: An Historical Romance of the Ku Klux Klan. Intro. Thomas D. Clark.
Lexington: University of Kentucky Press, 1970.
Hillier, Jim, ed. Cahiers du Cinema: The 1950s: Neo-Realism, Hollywood, New Wave. Vol. 1. Harvard Film
Studies. Cambridge, Mass: Harvard University Press, 1985.
Homer. The Odyssey. Ed. Robert Fagles. New York: Viking, 1996.
Joyce, James. Ulysses. Ed. Hans Gabler. New York: Vintage, 1986.
King, Stephen. The Shining. Garden City, N.Y.: Doubleday, 1977.
Kramer, Peter. 2001: A Space Odyssey: BFI Film Classics. London: BFI Publishing, 2010.
Marshall, S.L.A. Pork Chop Hill: The American Fighting Man in Action, Korea, Spring, 1953. New York:
Morrow, 1956.
Marx, Karl. The Communist Manifesto. New York: Vintage, 2010.
McCarthy, Cormac. All the Pretty Horses. New York: Knopf, 1992.
---. No Country for Old Men. New York: Knopf, 2005.
---. The Road. New York: Vintage, 2006.
Mitchell, Stephen. The Book of Job. Trans. Stephen Mitchell. New York: Harper Perennial, 1992.
Mulvey, Laura. Visual and Other Pleasures. Bloomington: Indiana University Press, 1989.
Muybridge, Eadweard. Muybridge’s Complete Human and Animal Locomotion. New York: Dover, 1979.
Owen, Wilfred. The Collected Poems of Wilfred Owen. Ed. C. Day Lewis and Edmund Blunden. New
York: New Directions, 1965.
Plato. The Republic. Trans. Robin Waterfield. Oxford World’s Classics. New York: Oxford University
Press, 2008.
Puzo, Mario. The Godfather. New York: Putnam, 1969.
Remarque, Eric Maria. All Quiet on the Western Front. New York: Ballantine, 1987.
Schaeffer, Jack. Shane. New York: Bantam, 1983.
Schickel, Richard. Double Indemnity: BFI Film Classics. London: BFI Publishing, 1992.
Shakespeare, William. Hamlet. Ed. Roma Gill. Oxford School Shakespeare. Oxford: Oxford
University Press, 2008.
---. Macbeth. Ed. Nicholas Brooke. Oxford World’s Classics. Oxford: Oxford Paperbacks, 1998.
---. Romeo and Juliet. Ed. Roma Gill. Oxford School Shakespeare. Oxford: Oxford University Press,
2008.
Talbot, William Henry Fox. The Pencil of Nature. New York: Da Capo Press, 1969.
Taubin, Amy. Taxi Driver: BFI Film Classics. London: BFI Publishing, 2000.
Tolkien, J.R.R. The Fellowship of the Ring: Being the First Part of The Lord of the Rings. New York:
Houghton Mifflin Harcourt, 1999.
---. The Return of the Ring: Being the Third Part of The Lord of the Rings. New York: Houghton Mifflin
Harcourt, 1999.
---. The Two Towers: Being the Second Part of The Lord of the Rings. New York: Houghton Mifflin
Harcourt, 1999.
Verne, Jules. From the Earth to the Moon. New York, Bantam, 1993.
Wells, H.G. The First Men in the Moon. Ed. Patrick Parrinder. London: Penguin, 2005.
---. The War of the Worlds. New York: Modern Library, 2002.
Woolrich, Cornell. The Cornell Woolrich Omnibus. New York: Penguin, 1998.

Recommended Scholarly Readings (organized by timeline event)

Louis Daguerre/Early Photography
Davidson, Cathy N. “Photographs of the Dead: Sherman, Daguerre, Hawthorne.” South Atlantic Quarterly 89.4 (1990): 667-701.
Saltz, Laura. “The Art of Fixing a Shadow: Talbot’s Polar Epistemology of Early Photography.” English Language Notes 44.2 (2006): 73-86.
Stilgoe, John R. “Disjunction, Disunion, Daguerreotype.” Harvard Library Bulletin 14.1 (2003): 47-56.
Williams, Susan S. “‘The Inconstant Daguerreotype’: The Narrative of Early Photography.” Narrative 4.2 (1996): 161-174.

Eadweard Muybridge/Sequence Photography
Gibian, Peter. “People Movers: Snow, Pound, Muybridge and the Stop-Action Arts of Consumer Culture.” American Modernism across the Arts. Ed. Jay Bochner and Justin D. Edwards. New York: Peter Lang, 1999. 234-268.
Lawrence, Amy. “Counterfeit Motion: The Animated Films of Eadweard Muybridge.” Film Quarterly 57.2 (2003-2004): 15-25.
Ribière, Mireille, and Jan Baetens, eds. Time, Narrative and the Fixed Image. Amsterdam: Rodopi, 2001.
Witthoft, Brucia. “Tonio Kroger and Muybridge’s ‘Animals in Motion.’” Modern Language Review 62 (1967): 459-461.

August and Louis Lumière/“Arrival of a Train”
Gerry, Tom. “The Lumière Brothers: A Photographic Essay. Arachnē 2.2 (1995): 279-296.
Littau, Karin. “‘Arrival of a Train at la Ciotat’ (1895-1897): Silent Films and Screaming Audiences.” Film Analysis: A Norton Reader. Ed. Jeffrey Geiger and R.L. Rutsky. New York: W.W. Norton, 2005. 43-62.
Loiperdinger, Martin. “Lumiere’s ‘Arrival of the Train’: Cinema’s Founding Myth.” The Moving Image 4.1 (2004): 89-118.
Musser, Charles. “Nationalism and the Beginnings of Cinema: The Lumière Cinématographe in the U.S., 1896-1897.” Historical Journal of Film, Radio and Television 19.2 (1999): 149-176.

George Méliès/“A Trip to the Moon”
Ezra, Elizabeth. George Méliès. Manchester: Manchester University Press, 2000.
Gunning, Tom. “‘A Trip to the Moon’ (1902): Lunar Illuminations.” Film Analysis: A Norton Reader. Ed. Jeffrey Geiger and R.L. Rutsky. New York: W.W. Norton, 2005. 64-80.
Solomon, Matthew. Disappearing Tricks: Silent Film, Houdini, and the New Magic of the Twentieth Century. Urbana, IL: University of Illinois Press, 2010.
Solomon, Matthew. “Up-to-Date Magic: Theatrical Conjuring and the Trick Film.” Theatre Journal 58.4 (2006): 595-615.

Edwin S. Porter/“The Great Train Robbery”
Auerbach, Jonathan. “‘Wonderful Apparatus,’ or Life of an American Fireman.” American Literature 77.4 (2005): 669-698.
Abel, Richard, and Rick Altman, eds. The Sounds of Early Cinema. Bloomington, IN: Indiana University Press, 2001.
Kramer, Peter. “‘Clean, Dependable Slapstick’: Comic Violence and the Emergence of Classical Hollywood Cinema.” Violence and American Cinema. Ed. David Slocum. New York: Routledge, 2001. 103-116.
Musser, Charles. Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company. Berkeley: University of California Press, 1992.

D.W. Griffith/The Birth of a Nation
Davidson, Phebe. “‘History with Lightning’: The Legacy of D.W. Griffith’s The Birth of a Nation.” Memory and Myth: The Civil War in Fiction and Film from Uncle Tom’s Cabin to Cold Mountain. West Lafayette: Purdue University Press, 2007. 223-234.
Stokes, Melvyn. D.W. Griffith’s ‘The Birth of a Nation’: A History of ‘The Most Controversial Motion Picture of All Time.’ New York: Oxford University Press, 2007.
Wallace, Michele Faith. “The Good Lynching and The Birth of a Nation: Discourses and Aesthetics of Jim Crow.” Cinema Journal 43.1 (2003): 85-104.

Sergei Eisenstein/Battleship Potemkin
Eisenstein, Sergei. Film Form: Essays in Film Theory and the Film Sense. New York: Meridian, 1957.
Minden, Michael. “Politics and the Silent Cinema: The Cabinet of Dr. Caligari and Battleship Potemkin.” Visions and Blueprints: Avant-Garde Culture and Radical Politics in Early Twentieth-Century Europe. Ed. Edward Timms. Manchester: Manchester University Press, 1988. 287-306.
Nichols, Bill. “Battleship Potemkin (1926): Film Form and Revolution.” Film Analysis: A Norton Reader. Ed. Jeffrey Geiger. New York: W.W. Norton, 2005. 158-177.
Wenden, D.J. “Battleship Potemkin: Film and Reality.” Feature Films as History. Ed. K.R.M. Short. London: Helm, 1981. 37-61.

Alan Crosland/The Jazz Singer
Carringer, Robert L. The Jazz Singer. Madison: University of Wisconsin Press, 1979.
Knapp, Jeffrey. “‘Sacred Songs Popular Prices’: Secularization in The Jazz Singer.” Critical Inquiry 34.2 (2008): 313-335.
Rogin, Michael. “Blackface, White Noise: The Jewish Jazz Singer Finds His Voice.” Critical Inquiry 18.3 (1992): 417-453.
Rosenberg, Joel. “What You Ain’t Heard Yet: The Languages of The Jazz Singer.” Prooftexts: A Journal of Jewish Literary History 22.1-2 (2002): 11-54.

Lewis Milestone/All Quiet on the Western Front
Fussell, Paul. The Great War and Modern Memory. London: Oxford University Press, 1975.
Linder, Ann P. “Great War Narratives into Film: Transformation, Reception, and Reaction.” International Fiction Review 28.1-2 (2001): 1-12.
Rollins, Peter C., and John E. O’Connor, eds. Hollywood’s World War I: Motion Picture Images. Bowling Green: Popular, 1997.

Charlie Chaplin/Modern Times
Caron, James E. “Silent Slapstick Film as Ritualized Clowning: The Example of Charlie Chaplin.” Studies in American Humor 3.14 (2006): 5-22.
Stewart, Garrett. “Modern Hard Times: Chaplin and the Cinema of Self-Reflection.” Critical Inquiry 3.2 (1976): 295-314.
Winokur, Mark. “Modern Times and the Comedy of Transformation.” Literature Film Quarterly 15.4 (1987): 219-226.

Orson Welles/Citizen Kane
Carringer, Robert L. “Rosebud, Dead or Alive: Narrative and Symbolic Structure in Citizen Kane.” PMLA 91.2 (1976): 185-193.
Jackson, Tony. “Writing, Orality, Cinema: The ‘Story’ of Citizen Kane.” Narrative 16.1 (2008): 29-45.
Naremore, James, ed. Orson Welles’s Citizen Kane. Oxford: Oxford University Press, 2004.
Walsh, John Evangelist. Walking Shadows: Orson Welles, William Randolph Hearst and Citizen Kane. Madison: University of Wisconsin Press, 2004.

Billy Wilder/Double Indemnity
Bronfen, Elizabeth. “Femme Fatale: Negotiations of Tragic Desire.” Rethinking Tragedy. Ed. Rita Felski. Baltimore: Johns Hopkins University Press, 2008. 287-301.
Schickel, Richard. Double Indemnity: BFI Classics. London: British Film Institute, 1992.
Spiegel, Alan. “Seeing Triple: Cain, Chandler and Wilder on Double Indemnity.” Mosaic 16.1-2 (1983): 83-101.
Wells-Lassagne, Shannon. “Private Eye, Public Eye: Adapting Double Indemnity.” Literary Readings of Billy Wilder. Ed. Georges-Claude Guilbert. Newcastle: Cambridge Scholars, 2007. 190-209.

Vittorio de Sica/Bicycle Thieves
Celli, Carlo. “The Legacy of Mario Camerini in Vittorio De Sica’s The Bicycle Thief (1948).” Cinema Journal 40.4 (2001): 3-17.
Curle, Howard, and Stephen Snyder, eds. Vittorio de Sica: Contemporary Perspectives. Toronto: University of Toronto Press, 2000.
Molyneaux, Gerard. “DeSica’s Bicycle Thieves and the Attack on the Classical Hollywood Film.” Intertextuality in Literature and Film. Ed. Elaine D. Cancalon and Antoine Spacagna. Gainesville: University Press of Florida, 1994. 105-125.

George Stevens/Shane
Costello, Matthew. “‘I Didn’t Expect to Find Any Fences around Here’: Cultural Ambiguity and Containment in Shane.” Journal of American Culture 27.3 (2004): 261-270.
Flora, Joseph M. “Shane (Novel and Film) at Century’s End.” Journal of American Culture 19.1 (1996): 51-55.
McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007.

Alfred Hitchcock/Rear Window
Belton, John, ed. Alfred Hitchcock’s Rear Window. Cambridge, England: Cambridge University Press, 2000.
Blazer, Seth M. “Rear Window Ethics: Domestic Privacy versus Public Responsibility in the Evolution of Voyeurism.” Midwest Quarterly 47.4 (2006): 379-392.
Fawell, John. Hitchcock’s Rear Window: The Well-Made Film. Carbondale, IL: Southern Illinois University Press, 2001.
Mazzella, Anthony J. “Author, Auteur: Rereading Rear Window from Woolrich to Hitchcock.” Hitchcock’s Rereleased Films: From Rope to Vertigo. Ed. Walter Raubicheck and Walter Srebnick. Detroit: Wayne State University Press, 1991. 62-75.

Akira Kurosawa/Throne of Blood
Gall, John. “Throne of Blood: Kurosawa’s Cinema of Allusion.” Asian Cinema 15.1 (2004): 234-242.
Huang, Alexander C.Y., and Charles S. Ross, eds. Shakespeare in Hollywood, Asia, and Cyberspace. West Lafayette, IN: Purdue University Press, 2009.
Parker, Brian. “Nature and Society in Akira Kurosawa’s Throne of Blood.” University of Toronto Quarterly 66.3 (1997): 508-525.
Suzuki, Erin. “Lost in Translation: Reconsidering Shakespeare’s Macbeth and Kurosawa’s Throne of Blood.” Literature Film Quarterly 34.2 (2006): 93-103.

Francois Truffaut/The 400 Blows
            Kline, T. Jefferson. “The French New Wave.” European Cinema. Ed. Elizabeth Ezra. Oxford: Oxford University Press, 2004. 157-175.
Phillips, Alastair. “The 400 Blows (1959): Youth and Entrapment in the French New Wave.” Film Analysis: A Norton Reader. Ed. Jeffrey Geiger and R.L. Rutsky. New York: W.W. Norton, 2005. 550-565.
Sellier, Genevieve. Masculine Singular: French New Wave Cinema. Durham, NC: Duke University Press, 2008.
Stam, Robert. François Truffaut and Friends: Modernism, Sexuality and Film Adaptation. New Brunswick, NJ: Rutgers University Press, 2006.

Michelangelo Antonioni/Blow-Up
Linderman, Deborah. “Narrative Surplus: The ‘Blow-Up” as Metarepresentation and Ideology.” The American Journal of Semiotics 3.4 (1985): 99-118.
Tomasulo, Frank P. “‘You’re Tellin’ Me You Didn’t See’: Hitchcock’s Rear Window and Antonioni’s Blow Up.” After Hitchcock: Influence, Imitation, and Intertextuality. Ed. David Boyd and R. Barton Palmer. Austin: University of Texas Press, 2006. 145-172.
Torlasco, Domietta. The Time of the Crime: Phenomenology, Psychoanalysis, Italian Film. Stanford: Stanford University Press, 2008.

Stanley Kubrick/2001: A Space Odyssey
Abrams, Jerold J., ed. The Philosophy of Stanley Kubrick. Lexington: University of Kentucky Press, 2007.
Kolker, Robert, ed. Stanley Kubrick’s 2001: A Space Odyssey. New York: Oxford University Press, 2006.
Kuberski, Philip. “Kubrick’s Odyssey: Myth, Technology, Gnosis.” Arizona Quarterly 64.3 (2008): 51-73.

Francis Ford Coppola/The Godfather
Combs, Richard. “Coppola’s Family Plot: The Godfather Variations.” Film Comment 38.2 (2002): 38-44.
Ferraro, Thomas J. “Blood in the Marketplace: The Business of Family in the Godfather Narratives.” The Invention of Ethnicity. Ed. Werner Sollors. New York: Oxford University Press, 1989. 176-208.
Phillips, Gene. Godfather: The Intimate Francis Ford Coppola. Lexington: University Press of Kentucky, 2004.

Martin Scorsese/Taxi Driver
Berliner, Todd. Hollywood Incoherent: Narration in Seventies Cinema. Austin: University of Texas Press, 2010.
Schickel, Richard. Conversations with Scorsese. New York: Knopf, 2011.
Taubin, Amy. Taxi Driver: BFI Film Classics. London: British Film Institute, 2009.

Stanley Kubrick/The Shining
Cocks, Geoffrey, James Diedrick, and Glen Perusek, eds. Depth of Field: Stanley Kubrick, Film and the Uses of History. Madison: University of Wisconsin Press, 2006.
Kilker, Robert. “All Roads Lead to the Abject: The Monstrous Feminine and Gender Boundaries in Stanley Kubrick’s The Shining.” Literature Film Quarterly 34.1 (2006): 54-63.
Rhodes, Gary, ed. Stanley Kubrick: Essays on His Films and Legacy. Jefferson, NC: McFarland, 2008.

Spike Lee/Do the Right Thing
Bartley, William. “Mookie as ‘Wavering Hero’: Do the Right Thing and the American Historical Romance.” Literature Film Quarterly 34.1 (2006): 9-18.
Massood, Paula. The Spike Lee Reader. Philadelphia: Temple University Press, 2008.
McWilliams, Dean. “Bakhtin in Brooklyn: Language in Spike Lee’s Do the Right Thing.” Carnivalizing Difference: Bakhtin and the Other. Ed. Peter Barta, Paul Allen Miller, Charles Platter, and David Shepherd. London, England: Routledge, 2001. 247-261.
Reid, Mark A. Spike Lee’s Do the Right Thing. Cambridge, England: Cambridge University Press, 1997.

Ang Lee/Sense and Sensibility
Macdonald, Gina, and Andrew Macdonald, eds. Jane Austen on Screen. Cambridge, England: Cambridge University Press, 2003.
Monaghan, David, Ariane Hudelet, and John Wiltshire, eds. The Cinematic Jane Austen: Essays on the Filmic Sensibility of the Novels. Jefferson, NC: McFarland, 2009.
Troost, Linda, and Sayre Greenfield, eds. Jane Austen in Hollywood. Lexington: University Press of Kentucky, 1998.

Andy and Larry Wachowski/The Matrix
Constable, Catherine. Adapting Philosophy: Jean Baudrillard and The Matrix Trilogy. Manchester: Manchester University Press, 2009.
Nishime, Leilani. “The Matrix Trilogy, Keanu Reeves, and Multiraciality at the End of Time.” Mixed Race Hollywood. Ed. Mary Beltrán and Camilla Fojas. New York: New York University Press, 2008. 290-312.
Rosen, Elizabeth K. Apocalyptic Transformation: Apocalypse and the Postmodern Imagination. Lanham, MD: Lexington, 2008.

Peter Jackson/LOTR: The Fellowship of the Ring
Barker, Martin, and Ernest Mathjis, eds. Watching The Lord of the Rings: Tolkien’s World Audiences. New York: Peter Lang, 2008.
Lam, Adam, and Nataliya Oryschchuk, eds. How We Became Middle-Earth: A Collection of Essay on The Lord of the Rings. Zollikofen, Switerland: Walking Tree, 2007.
Stratyner, Leslie, and James Keller, eds. Fantasy Fiction into Film: Essays. Jefferson, NC: McFarland, 2007.

Joel and Ethan Coen/No Country for Old Men
Conard, Mark T. The Philosophy of the Coen Brothers. Lexington: University Press of Kentucky, 2009.
King, Lynnea Chapman, Rick Wallach, and Jim Welsh, eds. No Country for Old Men: From Novel to Film. Lanham, MD: Scarecrow Press, 2009.
Mellen, Joan. “Spiraling Downward: America in Days of Heaven, In the Valley of Elah, and No Country for Old Men.” Film Quarterly 61.3 (2008): 24-31.