Peter Bondanella, 1992. The Cinema of Federico Fellini, Christian Construction in in Film Language, A Semiotics of Metz, ‘Mirror Fellini’s 8 1/2’, 1974. Cinema, in 1989. Sculpting in Time, Andrei Tarkovsky, ‘Imprinted Time’, Donato and the Film Aesthetics of Andrei Canadian Journal Totaro, ‘Time Tarkovsky’, 2/1, 1992. of Film Studies, Donald Richie, in Richard Roud (ed), Cinema: A Critical Dictionary, The Major ‘Ozu’, Vol 2, 1980. Filmmakers, Paul and in Transcendental Style in Film: Ozu, Bresson, Schrader, ‘Ozu’ ‘Bresson’, 1972. Dreyer, André Bazin, and the Stylistics of Robert Journal d'un Curé de Campagne ‘Le Bresson’, in Vol 1, 1971 What is Cinema? in Lalitha Gopalan (ed), 2010. The Cinema of India, Parag Amladi, ‘Naukar ki Kameez’, Hamid Dabashi, Making of an Iranian Filmmaker: Abbas in Close Up: ‘The Kiarostami’, 2001. Iranian Cinema, Past, Present and Future, Laura Mulvey, Cinema of Uncertainty, Cinema of in Death ‘Abbas Kiarostami: Delay’, 2006. 24x a Second: Stillness and the Moving Image, Elizabeth Ezra and 48/ 2, 2007. Jane Sillars, ‘Bringing Terror Home’, Screen, Thomas Elsaesser, Michael ‘Performative Self-Contradictions, Haneke’s Mind Games’, in Roy Grundmann (ed), 2010. A Companion to Michael Haneke, Selections from Annette Michelson (ed), 1984. Kino Eye, The Writings of Dziga Vertov, Vlada Petric, Constructivism in Film: The Man with the Movie Camera, A Cinematic revised edition, 2012. Analysis, Zuzana M. Pick, and Social in The New Latin American ‘Creativity Intervention’, 1996. Cinema: A Continental Project, 2010, Senses of Cinema, Matt Losada, ‘Fernando Solanas’,
Peter Bondanella, The Cinema of Federico Fellini, 1992. Christian Metz, ‘Mirror Construction in Fellini’s 8 1/2’, in Film Language, A Semiotics of Cinema, 1974. Andrei Tarkovsky, ‘Imprinted Time’, in Sculpting in Time, 1989. Donato Totaro, ‘Time and the Film Aesthetics of Andrei Tarkovsky’, Canadian Journal of Film Studies, 2/1, 1992. Donald Richie, ‘Ozu’, in Richard Roud (ed), Cinema: A Critical Dictionary, The Major Filmmakers, Vol 2, 1980. Paul Schrader, ‘Ozu’ and ‘Bresson’, in Transcendental Style in Film: Ozu, Bresson, Dreyer, 1972. André Bazin, ‘Le Journal d'un Curé de Campagne and the Stylistics of Robert Bresson’, in What is Cinema? Vol 1, 1971 Parag Amladi, ‘Naukar ki Kameez’, in Lalitha Gopalan (ed), The Cinema of India, 2010. Hamid Dabashi, ‘The Making of an Iranian Filmmaker: Abbas Kiarostami’, in Close Up: Iranian Cinema, Past, Present and Future, 2001. Laura Mulvey, ‘Abbas Kiarostami: Cinema of Uncertainty, Cinema of Delay’, in Death 24x a Second: Stillness and the Moving Image, 2006. Elizabeth Ezra and Jane Sillars, ‘Bringing Terror Home’, Screen, 48/ 2, 2007. Thomas Elsaesser, ‘Performative Self-Contradictions, Michael Haneke’s Mind Games’, in Roy Grundmann (ed), A Companion to Michael Haneke, 2010. Selections from Annette Michelson (ed), Kino Eye, The Writings of Dziga Vertov, 1984. Vlada Petric, Constructivism in Film: The Man with the Movie Camera, A Cinematic Analysis, revised edition, 2012. Zuzana M. Pick, ‘Creativity and Social Intervention’, in The New Latin American Cinema: A Continental Project, 1996. Matt Losada, ‘Fernando Solanas’, Senses of Cinema, 2010,
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