[Beugnet, Martine. 2007. Cinema and Sensation. French Cinema and the Art of Transgression. Edinburgh: Edinburgh University Press.10.3366/edinburgh/9780748620425.001.0001]Search in Google Scholar
[Brakhage, Stanley. 1963. Metaphors on Vision. New York: Film Culture Inc.]Search in Google Scholar
[Creed, Barbara. 1993. The Monstrous Feminine. Film, Feminism, Psychoanalysis. London, New York: Routledge.]Search in Google Scholar
[Dahlquist, Marina, Doron Galili, Jan Olsson, and Valentine Robert, eds. 2018. Corporeality in Early Cinema: Viscera, Skin, and Physical Form. Indianapolis: Indiana University Press.10.2307/j.ctv6zd9s1]Search in Google Scholar
[Elsaesser, Thomas. 1996. Dada/Cinema? In Dada and Surrealist Film, ed. Rudolf E. Kuenzli, 13–27. Cambridge, Mass.: The MIT Press.]Search in Google Scholar
[Elsaesser, Thomas and Malte Hagener. 2010. Film Theory: An Introduction through the Senses. New York, London: Routledge.10.4324/9780203876879]Search in Google Scholar
[Gwynne, Joel, ed. 2016. Transgression in Anglo-American Cinema. Gender, Sex and the Deviant Body. New York/Chichester, West Sussex: Wallflower Press.10.7312/gwyn17604]Search in Google Scholar
[Kristeva, Julia. 1980. Powers of Horror. An Essay on Abjection. New York: Columbia University Press.]Search in Google Scholar
[Marks, Laura. 2000. The Skin of the Film. Intercultural Cinema, Embodiment, and the Senses. Durham/London: Duke University Press.10.2307/j.ctv1198x4c]Search in Google Scholar
[Marks, Laura. 2002. Touch. Sensuous Theory and Multisensory Media. Minneapolis/London: University of Minnesota Press.]Search in Google Scholar
[Nemes Z., Márió. 2017. Metamorfózis és technoemésztés. Ovidius és a poszthumán elméletek [Metamorphosis and Techno-Metabolism: Ovidius and the Post-Human Theories]. Ókor vol. 14, no. 3: 28–63.]Search in Google Scholar
[Osterweil, Ara. 2014. Flesh Cinema. The Corporeal Turn in American Avant-garde Film. Manchester/New York: Manchester University Press.]Search in Google Scholar
[Plunkett, Daniel. 2016. Interview with Kurt Kren. In Kurt Kren: Structural Films, eds. Nick Hamlyn, Simon Payne, and A. L. Rees, 201. Bristol, Chicago: Intellect.]Search in Google Scholar
[Sakoilsky, Paul. 2010. Breaking Out of the Reality Asylum. Thoughts on Hermann Nitsch and the Orgies Mysteries Theatre. Galerie Zimmermann Kratochwill Catalogue vol. 8: 14–22.]Search in Google Scholar
[Sitney, P. Adams. 2014. The Cinema of Poetry. New York, Oxford: Oxford University Press.10.1093/acprof:oso/9780199337026.001.0001]Search in Google Scholar
[Sobchack, Vivian. 1992. The Address of the Eye. A Phenomenology of Film Experience. Princeton/New Jersey: Princeton University Press.10.1515/9780691213279]Search in Google Scholar
[Sobchack, Vivian. 2004. What My Fingers Knew. The Cinesthetic Subject, or Vision in the Flesh. In Carnal Thoughts. Embodiment and Carnal Image Culture, 53–84. Berkley/Los Angeles/London: University of California Press.10.1525/9780520937826]Search in Google Scholar
[Tscherkassky, Peter. 2016. Interview with Kurt Kren. In Kurt Kren: Structural Films, eds. Nick Hamlyn, Simon Payne, and A. L. Rees, 252. Bristol, Chicago: Intellect.]Search in Google Scholar
[Williams, Linda. 1991. Film Bodies: Gender, Genre, and Excess. Film Quarterly vol. 44, no. 4: 5.]Search in Google Scholar