[Altman, R. (1992) ‘Dickens, Griffith, and Film Theory Today’, in Gaines J., (ed.) Classical Hollywood Narrative. The Paradigm Wars. Durham and London: Duke University Press, 9-4710.1215/9780822396345-002]Search in Google Scholar
[Beebe, R.W. (2000) ‘After Arnold: Narratives of the Posthuman Cinema’, in Sobchack V. (ed.) Meta-Morphing. Visual Transformation and the Culture of Quick-Change. Minneapolis: University of Minnesota Press, 159-179]Search in Google Scholar
[Begley, A. (2005) ‘The Art of Fiction CXXXV: Don DeLillo’, in DePietro T. (ed.) Conversations with Don Delillo. Jackson: University Press of Mississippi, 86-108]Search in Google Scholar
[Biskind, P. (2004) ‘The Last Crusade’, in Gods and Monsters. Thirty Years of Writing on Film and Culture. London: Bloomsbury, 115-148]Search in Google Scholar
[Bordwell, D. (2006) The Way Hollywood Tells It. Story and Style in Modern Movies. Berkely: University of California Press.10.1525/9780520932326]Search in Google Scholar
[Bukatman, S. (1998) ‘Zooming Out: The End of Offscreen Space’, in Lewis, J. (ed.) The New American Cinema. Durham & London: Duke University Press, 248-272.]Search in Google Scholar
[Carver, R. (1983) Fires: Essays, Poems, Stories. New York: Vintage.]Search in Google Scholar
[Cohan, S. (2000) ‘Case Study: Interpreting Singin’ in the Rain’, in Gledhill, C. and Williams, L. (eds.) Reinventing Film Studies. London: Arnold, 53-75.]Search in Google Scholar
[Cook, D. A. (2000) Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979. Berkely: University of California Press.]Search in Google Scholar
[Darley, A. (2000) Visual Digital Culture. London & New York: Routledge.]Search in Google Scholar
[Gaudreault, A. (2006) ‘From ‘Primitive Cinema’ to ‘Kine-Attractography’, in Strauven, W. (ed.) The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, 85-104.]Search in Google Scholar
[Gross, L. (2000) ‘Big and Loud’, in Arroyo, J. (ed.) Action/Spectacle Cinema. A Sight and Sound Reader. London: BFI Publishing, 3-9.]Search in Google Scholar
[Gunning, T. (1990) ‘The Cinema of Attractions. Early Film, Its Spectator and the Avant-Garde’, in Elseasser, T. (ed.) Early Cinema: Space – Frame – Narrative. London: BFI Publishing, 56-62.10.5040/9781838710170.0008]Search in Google Scholar
[Gunning, T. (2003) ‘Re-Newing Old Technologies: Astonishment, Second Nature, and the Uncanny in Technology from the Previous Turn-of-the-Century’, in Thorburn, D. and Jenkins, H. (eds.) Rethinking Media Change. Cambridge, Massachusetts: The MIT Press.]Search in Google Scholar
[Jauss, H.R. (1982) Toward an Aesthetic of Reception. Minneapolis: Uinversity of Minnesota Press.]Search in Google Scholar
[Keating, P. (2006) ‘Emotional Curves and Linear Narratives’, in The Velvet Light Trap 58, 4-15.10.1353/vlt.2006.0029]Search in Google Scholar
[King, G. (2000) Spectacular Narratives. Hollywood in the Age of the Blockbuster. London and New York: I.B. Taurus Publishers.10.5040/9780755699315]Search in Google Scholar
[King, G. (2002) New Hollywood Cinema. An Introduction. New York: Columbia University Press.10.5040/9780755699384]Search in Google Scholar
[King, G. (2003) ‘Spectacle, Narrative, and the Spectacular Hollywood Blockbuster’, in Stringer, J. (ed.) Movie Blockbusters. London and New York: Routledge, 114-127.]Search in Google Scholar
[King, S. (2000) On Writing. A Memoir of the Craft. London: Hodder & Stoughton.]Search in Google Scholar
[Kipnis, L. (1998) ‘Film and Changing Technologies’, in Hill, J. and Church Gibson, P. (eds.) The Oxford Guide to Film Studies. New York: Oxford University Press, 595-604.]Search in Google Scholar
[Liandrat-Guigues, S. (2000) Red River. London: BFI Publishing.]Search in Google Scholar
[Lichtenfeld, E. (2004) Action Speaks Louder. Violence, Spectacle, and the American Action Movie. Westport, Connecticut: Praeger.]Search in Google Scholar
[Maltby, R. (2003) Hollywood Cinema. Oxford: Blackwell Publishing.]Search in Google Scholar
[McCarthy, T. (1997) Howard Hawks. The Grey Fox of Hollywood. New York: Grove Press.]Search in Google Scholar
[McClean, S. T. (2006) Digital Storytelling. The Narrative Power of Visual Effects in Film. Cambridge, Massachusetts: The MIT Press.10.7551/mitpress/2432.001.0001]Search in Google Scholar
[Mottram, J. (2006) The Sundance Kids. How the Mavericks Took Back Hollywood. London and New York: Faber and Faber.]Search in Google Scholar
[Myles, L. and Pye, M. (1979) The Movie Brats: How the Film Generation Took Over Hollywood. New York: Holt, Rinehart and Winston.]Search in Google Scholar
[Ndalianis, A. (2004) Neo-Baroque Aesthetics and Contemporary Entertainment. Cambridge, Massachusetts & London, England: The MIT Press.10.7551/mitpress/4912.001.0001]Search in Google Scholar
[Neale, S. (2003) ‘Hollywood Blockbusters: Historical Dimensions’, in Stringer, J. (ed.) Movie Blockbusters. London and New York: Routledge, 47-60.]Search in Google Scholar
[Newman, M. Z. (2006) ‘From Beats to Arcs: Toward a Poetics of Television Narrative’, in The Velvet Light Trap 58, 16-28.10.1353/vlt.2006.0033]Search in Google Scholar
[Paci, V. (2006) ‘The Attraction of the Intelligent Eye: Obsessions with the Vision Machine in Early Film Theories’, in Strauven W. (ed.) The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, 121-137.]Search in Google Scholar
[Røssaak, E. (2006) ‘Figures of Sensation: Between Still and Moving Images’, in Strauven, W. (ed.) The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, 321-336.]Search in Google Scholar
[Schatz, T. (1993) ‘The New Hollywood’, in Radner, H. and Preacher Collins, A. (eds.) Film Theory Goes to the Movies. New York and London: Routledge, 8-36.]Search in Google Scholar
[Silvester, C. (199() The Grove Book of Hollywood. New York: Grove Press.]Search in Google Scholar
[Sobchack, V. (2006) ‘’Cutting to the Quick’: Techne, Physis, and Poiesis and the Attractions of Slow Motion’, in Strauven W. (ed.) The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, 337-351.]Search in Google Scholar
[Staiger, J. (1992) Interpreting Films. Studies in the Historical Reception of American Cinema. Princeton, New Jersey: Princeton University Press.10.1515/9780691216065]Search in Google Scholar
[Waxman, S. (2005) Rebels on the Backlot. Six Maverick Directors and How They Conquered the Hollywood Studio System. New York: HarperEntertainment.]Search in Google Scholar
[Zanuck, D. F. (1998 [1953]) ‘Memo to All Producers and Executives, 12 March 1953’, in Christopher S. (ed.) The Grove Book of Hollywood. New York: Grove Press, 430.]Search in Google Scholar
[Berg, C.R.: ‘An introduction to David Lynch’, extra feature on Twin Peaks – The First Season, Artisan Home Video.]Search in Google Scholar
