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SERGEI M EISENSTEIN

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Bohlinger, Vincent. “Engrossing? Exciting! Incomprehensible? Boring! Audience Survey<br />

ResponsestoEisenstein’sOctober.” StudiesinRussianandSovietCinema5.1(2011):5-27.<br />

Bordwell,David.“Eisenstein’sEpistemological Shift.”Screen15.4(1974/75):29-46.<br />

Bordwell, David.“Eisenstein’s Epistemological Shift: AResponse.” Screen 16.1(1975): 142-<br />

43.<br />

Bordwell,David.TheCinemaofEisenstein.New York:Routledge,2005.<br />

Bulgakowa, Oksana. “Eisenstein, the Glass House, and the Spherical Book: From the Comedy<br />

of the Eye to a Drama of Enlightenment.” Rouge 7 (2005). www.rouge.com.au/7/<br />

eisenstein.html.<br />

Bulgakowa, Oksana. Sergei Eisenstein: A Biography. Translated by Anne Dwyer. Berlin and<br />

SanFrancisco:PotemkinPress,2001.<br />

Burns, Paul E. “Cultural Revolution, Collectivization, and Soviet Cinema: Eisenstein’s Old<br />

andNewandDovzhenko’sEarth.”FilmandHistory11.4(1981):84-105.<br />

Carroll, Noël. “Eisenstein’s Philosophy of Film,” in Richard Allen and Malcolm Turvey,<br />

eds.,CameraObscura,CameraLucida:EssaysinHonorofAnnetteMichelson.Amsterdam:AmsterdamUniversityPress,2003,127-46.<br />

Carroll, Noël, and Sally Banes. “Cinematic Nation-Building: Eisenstein's The Old and the<br />

New,”inMetteHjortandScottMackenzie,eds.,CinemaandNation.London:Routledge,<br />

2000,121-38.<br />

Christie, Ian, and David Elliott, eds., Eisenstein at Ninety. Oxford: Oxford Museum of Art,<br />

1988.<br />

Christie,Ian,andRichard Taylor,eds.EisensteinRediscovered.London:Routledge,1993.<br />

Dogo, Dunja. “The Sacredness in Bezhin Meadow, a Film against the Soviet Canon,” in<br />

Pietro Bianchi, Giulio Bursi, and Simone Venturini, eds., Il canone cinematografico/The<br />

Film Canon: Atti del XVII Convengo internazionale di studi sul cinema. Udine: Forum, 2011,<br />

161-69.<br />

Geduld, Harry M., and Ronald Gottesman, eds. Sergei Eisenstein and Upton Sinclair: The MakingandUnmakingofQueViva<br />

México!Bloomington:Indiana UniversityPress,1970.<br />

Gillespie,David.“SergeiEisenstein:TheMytho-PoeticsofRevolution,”inDavidGillespie,<br />

Early Soviet Cinema: Innovation, Ideology and Propaganda. London: Wallflower, 2000, 37-<br />

58.<br />

Goodwin,James. Eisenstein,Cinema,andHistory.Urbana:UniversityofIllinoisPress,1993.<br />

Hansen, Miriam. “Of Lightning Rods, Prisms, and Forgotten Scissors: Potemkin and GermanFilmTheory.”<br />

NewGermanCritique95(2005):162-82.<br />

Hershfield, Joanne. “Paradise Regained: Sergei Eisenstein’s Que Viva México! as Ethnography,”<br />

in Barry Keith Grant and Jeanette Sloniowski, eds., Documenting the Documentary:<br />

Close Readings of Documentary Film and Video. Detroit: Wayne University Press, 1998, 55-<br />

69.<br />

Iampolski, Mikhail. “The Invisible Text as a Universal Equivalent: Sergei Eisenstein,” in<br />

Mikhail Iampolski, The Memory of Tiresias: Intertextuality and Film. Translated by Harsha<br />

Ram.Berkeley:UniversityofCaliforniaPress,1998.<br />

Iampolski, Mikhail. “The Logic of an Illusion: Notes on the Genealogy of Intellectual<br />

Cinema,” in Richard Allen and Malcolm Turvey, eds., Camera Obscura, Camera Lucida:<br />

Essays in Honor of Annette Michelson. Amsterdam: Amsterdam University Press, 2003, 35-<br />

50.<br />

422 bibliography

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