f End Matter

197Althusser, Louis, Lenin and Philosophy and Other Essays, trans. by Ben Brewster (New York: Monthly Review, 1971).

Aumont, Jacques, Bergala, Alain, Marie Michel, and Vernet, Marc, Aesthetics of Film, trans. by Richard Neupert (Austin: University of Texas Press, 1992).

Austin, Thomas, “Temporality in Kaurismäki: Anachronism, Allusion, Tableau,” in The Films of Aki Kaurismäki: Ludic Engagements, ed. by Thomas Austin (London: Bloomsbury Academic, 2018), pp. 17–38.

Bakhtin, Mikhail, Problems of Dostoyevsky's Poetics, ed. and trans. by Caryl Emerson (Minneapolis: University of Minnesota Press, 1984).

Bakhtin, Mikhail, The Dialogic Imagination: Four Essays, trans. by Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1982).

Barrier, Michael, Hollywood Cartoons: American Animation in Its Golden Age (New York: Oxford University Press, 1999).

Barthes, Roland, “Myth Today,” in Mythologies (London: Paladin, 1973), pp. 109–64.

Barthes, Roland, “Ornamental Cookery,” in Mythologies (New York: The Noonday Press, 1972), pp. 78–80.

Baudrillard, Jean, “Simulacra and Simulations,” in Selected Writings, ed. by Mark Poster (Stanford: Stanford University Press, 1988), pp. 166–84.

Baxter, John, Buñuel (New York: Carroll & Graf, 1994).

Benjamin, Walter, “The Author as Producer,” in Understanding Brecht, trans. by Anna Bostock (London: Verso, 1998), pp. 85–104.

Benjamin, Walter, “The Storyteller,” in Illuminations, ed. by Hannah Arendt, trans. by Harry Zohn (London: Jonathan Cape, 1970), pp. 83–110.

Berger, John, Ways of Seeing (Harmondsworth: Penguin, 1972).

Berlin, Isaiah, Four Essays on Liberty (Oxford: Oxford University Press, 1969).

Bettelheim, Bruno, Freud and Man's Soul (London: Fontana, 1985).

Beumers, Birgit, A History of Russian Cinema (New York: Berg, 2009).

Bloom, Paul, Against Empathy: The Case for Rational Compassion (New York: Ecco, 2016).

Boddy, Kasia, “Short Cuts and Long Shots: Raymond Carver's Stories and Robert Altman's Film,” Journal of American Studies, 34.1 (2000), 1–22.198

Bordwell, David, “The Art Film as a Mode of Film Practice,” in Film Theory and Criticism: Introductory Readings, ed. by Leo Braudy and Marshall Cohen, 5th edn (New York: Oxford University Press, 1999), pp. 716–24.

Bordwell, David, Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Cambridge, MA: Harvard University Press, 1989).

Bordwell, David, Narration in the Fiction Film (Madison: University of Wisconsin Press, 1985).

Bordwell, David, “The Classical Hollywood Style, 1917–1960,” in The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, ed. by David Bordwell, Janet Staiger, and Kristin Thompson (London: Routledge, 1988), pp. 1–86.

Brandon, Ruth, Surreal Lives: The Surrealists 1917–1945 (London: Macmillan, 1999).

Brooks, Peter, The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess (New York: Columbia University Press, 1985).

Buñuel, Luis, My Last Sigh, trans. by Abigail Israel (New York: Vintage, 1983).

Cavell, Stanley, “The World Viewed,” in Film Theory and Criticism: Introductory Readings, ed. by Leo Braudy and Marshall Cohen (New York: Oxford University Press, 1999), pp. 334–44.

Cawelti, John G, “Chinatown and Generic Transformation in Recent American Films,” in Film Theory and Criticism: Introductory Readings, ed. by Gerald Mast and Marshall Cohen, 3rd edn (New York: Oxford University Press, 1985), pp. 503–19.

Chanady, Amaryll, Magical Realism and the Fantastic: Resolved Versus Unresolved Antinomy (New York: Garland, 1985).

Cocks, Geoffrey, “Death by Typewriter: Stanley Kubrick, the Holocaust, and the Shining,” in Stanley Kubrick: Film and the Uses of History, ed. by Geoffrey Cocks, James Diedrick, and Glenn Perusek (Madison: The University of Wisconsin Press, 2006), pp. 185–217.

Cocks, Geoffrey, Diedrick, James, and Perusek, Glenn, “Introduction: Deep Focus,” in Depth of Field: Stanley Kubrick, Film and the Uses of History, ed. by Geoffrey Cocks, James Diedrick, and Glenn Perusek (Madison: The University of Wisconsin Press, 2006), pp. 3–30.

Code, David J, “Don Juan in Nadsat: Kubrick's Music for A Clockwork Orange,” Journal of the Royal Musical Association, 139.2 (2014), 339–86.

Cohen, Alain J., “Stochastics of Sex and Death in Basic |Filmic| Instinct,” Semiotica, 112.1–2 (1996), 109–21.

Condee, Nancy, The Imperial Trace: Recent Russian Cinema (Oxford: Oxford University Press, 2009).

Conley, Tom, “Buñuel Entomographer: From Las Hurdes to Robinson Crusoe,” in A Companion to Luis Buñuel, ed. by Rob Stone and Julián Daniel Gutiérrez-Albilla (Chichester: Wiley-Blackwell, 2013), pp. 188–202.

Cook, David A., “American Horror: The Shining,” Literature/Film Quarterly, 12.1 (1984), 2–4.

Cooper, Sarah, “Surreal Souls: Un Chien Andalou and Early French Film Theory,” in A Companion to Luis Buñuel, ed. by Rob Stone and Julián Daniel Gutiérrez-Albilla (Chichester: Wiley-Blackwell, 2013), pp. 141–55.

Cousins, Mark, The Story of Film (London: Pavilion Books, 2004).199

Danto, Arthur C, The Philosophical Disenfranchisement of Art (New York: Columbia University Press, 1986).

DiPaola, Peter Daniel, “The Criminal Time Bomb: An Examination of the Effect of the Russian Mafia on the Newly Independent States of the Former Soviet Union,” Indiana Journal of Global Legal Studies, 4.1 (Fall 1996), 145–81.

Dobrenko, Evgeny, Stalinist Cinema and the Production of History: Museum of the Revolution (Edinburgh: Edinburgh University Press, 2008).

Dunlop, John B, “Russian Nationalist Themes in Soviet Film of the 1970s,” in The Red Screen: Politics, Society, Art in Soviet Cinema, ed. by Anna Lawton (London: Routledge, 1992).

Dunne, Michael, “Wild at Heart Three Ways: Lynch, Gifford, Bakhtin,” Literature/Film Quarterly, 23.1 (1995), 6–13.

Durbach, Nadja, The Spectacle of Deformity: Freak Shows and Modern British Culture (Berkeley: University of California Press, 2009).

Edwards, Gwynne, A Companion to Luis Bunuel (Woodbridge: Tamesis, 2005).

Elsaesser, Thomas, Fassbinder's Germany: History, Identity, Subject (Amsterdam: Amsterdam University Press, 1996).

Evans, Peter William, The Films of Luis Buñuel: Subjectivity and Desire (Oxford: Oxford University Press, 1995).

Fan, Victor, “Redressing the Inaccessible through the Re-Inscribed Body: In a Year with 13 Moons and Almodóvar's Bad Education,” in A Companion to Rainer Werner Fassbinder, ed. by Brigitte Peucker (Chichester: Wiley-Blackwell, 2012), pp. 118–41.

Fehrenbach, Heide, Cinema in Democratizing Germany (Chapel Hill: The University of North Carolina Press, 1995).

Fijalkowski, Krzysztof, and Richardson, Michael (eds), “The Platform of Prague Twenty Years On,” in Surrealism against the Current: Tracts and Declarations (London: Pluto Press, 2001), pp. 81–92.

Gabbard, Glen O, and Gabbard, Krin, Psychiatry and the Cinema (Washington, DC: American Psychiatric Association, 1999).

Gabbard, Krin, and Sharma, Shailaja, “Stanley Kubrick and the Art Cinema,” in Stanley Kubrick's: A Clockwork Orange, ed. by Stuart Y. McDougal (Cambridge: Cambridge University Press, 2003), pp. 85–108.

Gerould, Daniel, “Russian Formalist Theories of Melodrama,” in Imitations of Life: A Reader on Film, Television and Melodrama, ed. by Marcia Landy (Detroit: Wayne University Press, 1991), pp. 121–29.

Glass, Fred, “The ‘New Bad Future’: RoboCop and 1980s’ Sci-Fi Films,” Science as Culture, 1.5 (1989), 7–49.

Gledhill, Christine, “Introduction,” in Home Is Where the Heart Is: Studies in Melodrama and the Woman's Film, ed. by Christine Gledhill (London: British Film Institute, 1987), pp. 1–4.

Godwin, George K., “Review: Eraserhead by David Lynch, Film Quarterly,” 39.1 (1985), 37–43.200

Golovskoy, Val, “Art and Propaganda in the Soviet Union, 1980–5,” in The Red Screen: Politics, Society, Art in Soviet Cinema, ed. by Anna Lawton (London: Routledge, 1992), pp. 263–74.

Gorfinkel, Elena, “Impossible, Impolitic: Ali: Fear Eats the Soul and Fassbinder's Asynchronous Bodies,” in A Companion to Rainer Werner Fassbinder, ed. by Brigitte Peucker (Chichester: Wiley-Blackwell, 2012), pp. 502–14.

Griffiths, Kate, “Spectral Cinema: Le Journal d'une femme de chamber,” in A Companion to Luis Buñuel, ed. by Rob Stone and Julián Daniel Gutiérrez-Albilla (Chichester: Wiley-Blackwell, 2013), pp. 394–413.

Guback, Thomas, The International Film Industry: Western Europe and America since 1915 (Bloomington: Indiana University Press, 1969).

Hanstein, Ulrike, “Masquerading, Underacting and Screen Performances,” in The Films of Aki Kaurismäki: Ludic Engagements, ed. by Thomas Austin (London: Bloomsbury Academic, 2018), pp. 169–86.

Hashamova, Yana, “Aleksei Balabanov's Russian Hero: Fantasies of Wounded National Pride,” The Slavic and East European Journal, 51.2, Special Forum Issue: “Resent, Reassess, and Reinvent: The Three R's of Post-Soviet Cinema” (Summer, 2007), 295–311.

Hay, Jimmy, “Inside/Outside: Space and Sexual Behavior in Belle de jour and La Pianiste,” in A Companion to Luis Buñuel, ed. by Rob Stone and Julián Daniel Gutiérrez-Albilla (Chichester: Wiley-Blackwell, 2013), pp. 554–71.

Hayman, Ronald, Fassbinder: Film Maker (London: Weidenfeld and Nicolson, 1984).

Highet, Gilbert, The Anatomy of Satire (Princeton: Princeton University Press, 1962).

Hoffman, Karen D, “Where the Rainbow Ends: Eyes Wide Shut,” in The Philosophy of Stanley Kubrick, ed. by Jerold J Abrams (Lexington: The University Press of Kentucky, 2007), pp. 59–84.

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Hutcheon, Linda, A Theory of Parody: The Teachings of Twentieth Century Art Forms (New York: Methuen, 1985).

Hutcheon, Linda, Irony's Edge: The Theory and Politics of Irony (London: Routledge, 1994).

Jameson, Frederic, “Postmodernism and Consumer Culture,” in Postmodernism and Its Discontents: Theories, Practices, ed. by Anne E. Kaplan (London: Verso, 1988), pp. 13–29.

Jones, Julie, “Luis Buñuel and the Politics of Self-Presentation,” in A Companion to Luis Buñuel, ed. by Rob Stone and Julián Daniel Gutiérrez-Albilla (Chichester: Wiley-Blackwell, 2013), pp. 79–97.

Kaapa, Pietari, “Three Ecologies of Kaurismäki,” in The Films of Aki Kaurismaki: Ludic Engagements, ed. by Thomas Austin (London: Bloomsbury Academic, 2018), pp. 39–56.

Katz, Robert, Love Is Colder than Death: The Life and Loves of Rainer Werner Fassbinder (New York: Random House, 1987).

Kelly, Andrew, “The Brutality of Military Incompetence: Paths of Glory (1957),” Historical Journal of Film, Radio and Television, 13.2 (1993), 215–27.201

Kern, Stephen, Modernism after the Death of God (London: Routledge, 2017).

Kerr, Walter, The Silent Clowns (New York: Knopf, 1975).

Kinder, Marsha, “The Road and the Room: Narrative Drive in the Films of Luis Buñuel,” in A Companion to Luis Buñuel, ed. by Rob Stone and Julián Daniel Gutiérrez-Albilla (Chichester: Wiley-Blackwell, 2013), pp. 431–54.

King, Jamie, “Bug Planet: The Frontier Myth of Starship Troopers,” Futures, 30.10 (1998), 1017–26.

Kreimeier, Klaus, The UFA Story, trans. by Robert Kimber and Rita Kimber (New York: Hill and Wang, 1996).

Leonard, Philip, “Teach Phenomenology the Bomb: Starship Troopers, the Technologized Body, and Humanitarian Warfare,” European Journal of American Culture, 25.1 (2005), 31–46.

Loukides, Paul, “Taking Inventory: Stock Elements of American Feature Films,” in Symbiosis: Popular Culture and Other Fields, ed. by Ray R. Browne and Marshal W. Fishwick (Bowling Green: Bowling Green State University Popular Press, 1988), pp. 52–56.

Lynch, David, and Rodley, Chris, Lynch on Lynch, revised edn (New York: Faber and Faber, 2005).

MacDowell, James, Irony in Film (London: Palgrave Macmillan, 2016).

Marshall, Herbert, “The New Wave in Soviet Cinema,” in The Red Screen: Politics, Society, Art in Soviet Cinema, ed. by Anna Lawton (London: Routledge, 1992), pp. 173–90.

Matz, Aaron, Satire in the Age of Realism (Cambridge: Cambridge University Press, 2010).

McGowan, Todd, The Impossible David Lynch (New York: Columbia University Press, 2007).

McMahon, Patrick, “Robert Altman's Cinema of Subversion,” Film Matters, 2.1 (Spring 2011), 21–25.

Miller, Mark Crispin, “2001: A Cold Descent,” in Depth of Field: Stanley Kubrick, Film and the Uses of History, ed. by Geoffrey Cocks, James Diedrick, and Glenn Perusek (Madison: The University of Wisconsin Press, 2006), pp. 122–45.

Monaco, James, How to Read a Film: The World of Movies, Media, and Multimedia (New York: Oxford University Press, 2000).

Morson, Gary Saul, “Parody, History, and Metaparody,” in Rethinking Bakhtin: Extensions and Challenges, ed. by Gary Saul Morson and Caryl Emerson (Evanston: Northwestern University Press, 1989), pp. 63–86.

Mortimore, Roger, “Buñuel, Sáenz de Heredia, and Filmófono,” Sight and Sound, 44 (Summer 1975), 180–82.

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Norega, Chon, “A Whisper of Satire (Round Table: Showgirls),” Film Quarterly, 56.3 (Spring 2003), 36–38.

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Palmer, R Barton, “The Shining and Anti-Nostalgia: Postmodern Notions of History,” in The Philosophy of Stanley Kubrick, ed. by Jerold J Abrams (Lexington: The University Press of Kentucky, 2007), pp. 201–20.202

Parciack, Ronie, “The World as Illusion: Rediscovering Mulholland Dr. and Lost Highway through Indian Philosophy,” in The Philosophy of David Lynch, ed. by William J Devlin and Shai Biderman (Lexington: The University Press of Kentucky, 2011), pp. 77–93.

Perusek, Glenn, “Kubrick's Armies: Strategy, Hierarchy, and Motive in the War Films of Stanley Kubrick,” in Depth of Field: Stanley Kubrick, Film and the Uses of History, ed. by Geoffrey Cocks, James Diedrick, and Glenn Perusek (Madison: The University of Wisconsin Press, 2006), pp. 77–100.

Peucker, Brigitte, “In Despair: Performance, Citation, Identity,” in A Companion to Rainer Werner Fassbinder, ed. by Brigitte Peucker (Chichester: Wiley-Blackwell, 2012), pp. 290–312.

Raghavendra, MK (ed.), “A Trajectory of Form: The Development of Soviet/Russian Cinema (1910–2010),” in Locating World Cinema: Interpretations of Film as Culture (New Delhi: Bloomsbury, 2020), pp. 165–210.

Rhode, Eric, “Why Neorealism Failed,” Sight and Sound, 30.1 (Winter 1960), 27–32.

Rice, Julian, Kubrick's Hope: Discovering Optimism from 2001 to Eyes Wide Shut (Lanham: The Scarecrow Press, 2008).

Richards, Arlene Kramer, “Woman as Medusa in Basic Instinct,” Psychoanalytic Inquiry: A Topical Journal for Mental Health Professionals, 18.2 (2009), 269–80.

Richardson, Michael, Surrealism and Cinema (New York: Berg, 2006).

Riches, Simon, “Intuition and Investigation into Another Place: The Epistemological Role of Dreaming in Twin Peaks and Beyond,” in The Philosophy of David Lynch, ed. by William J Devlin and Shai Biderman (Lexington: The University Press of Kentucky, 2011), pp. 25–44.

Roberts, Benjamin B, Sex, Drugs and Rock and Roll in the Dutch Golden Age (Amsterdam: Amsterdam University Press, 2017).

Robertson, Michael, “Property and Privatisation in RoboCop,” International Journal of Law in Context, 4.3 (2008), 217–35.

Rodríguez, María Pilar, “Susana: Melodrama and the Voluptuosity of Destruction,” in A Companion to Luis Buñuel, ed. by Rob Stone and Julián Daniel Gutiérrez-Albilla (Chichester: Wiley-Blackwell, 2013), pp. 240–54.

Rollin, Roger B, “Robert Altman's Nashville: Popular Film and the American Character,” South Atlantic Bulletin, 42.4 (1977), 41–50.

Rosenbaum, Jonathan, “In Dreams Begin Responsibilities,” in Depth of Field: Stanley Kubrick, Film and the Uses of History, ed. by Geoffrey Cocks, James Diedrick, and Glenn Perusek (Madison: The University of Wisconsin Press, 2006), pp. 245–54.

Rotellar, Manuel, “Luis Buñuel en Filmófono,” Cinema 2002, 37 (1978), 36–40.

Scholes, Robert, “Narration and Narrativity in Film,” in Film Theory and Criticism: Introductory Readings, ed. by Gerald Mast and Marshall Cohen, 3rd edn (New York: Oxford University Press, 1985), pp. 390–404.

Seppala, Jaakko, “The Camera's Ironic Point of View: Notes on the Strange and Comic Elements in the Films of Aki Kaurismäki,” in The Films of Aki Kaurismaki: Ludic Engagements, ed. by Thomas Austin (London: Bloomsbury Academic, 2018), pp. 83–100.203

Shlapentokh, Dmitry, “Drunkenness and Anarchy in Russia: A Case of Political Culture,” Russian History, 18.4 (Winter 1991), 457–500.

Sontag, Susan, “Against Interpretation,” in A Susan Sontag Reader (Harmondsworth: Penguin, 1982), pp. 95–104.

Stam, Robert, Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard (New York: Columbia University Press, 1992).

Stark, Craig, “‘What, Me Worry?’: Teaching Media Literacy through Satire and Mad Magazine,” The Clearing House: A Journal of Educational Strategies, Issues and Ideas, 76.6 (2003), pp. 305–09.

Stauffacher, Frank, Art in Cinema (San Francisco: San Francisco Museum of Art, 1947).

Tan, Ed S, Emotion and the Structure of Narrative Film: Film as an Emotion Machine, trans. by Barbara Fasting (New York: Routledge, 2011).

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Thompson, David (ed.), Altman on Altman (London: Faber and Faber, 2006).

Timofeevsky, Alexander, “The Last Romantics,” in Russian Critics on the Cinema of Glasnost, ed. by Michael Brashinsky and Andrew Horton (Cambridge: Cambridge University Press, 1994), pp. 24–29.

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Warshow, Robert, “Movie Chronicle: The Westerner,” in Film Theory and Criticism: Introductory Readings, ed. by Gerald Mast and Marshall Cohen, 3rd edn (New York: Oxford University Press, 1985), pp. 434–50.

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Williams, FD, “The Morality of Bonnie and Clyde,” Journal of Popular Culture, 4.1 (Summer 1970), 299–307.

Williams, Linda, Figures of Desire: A Theory and Analysis of Surrealist Film (Berkeley: University of California Press, 1981).

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197Althusser, Louis, Lenin and Philosophy and Other Essays, trans. by Ben Brewster (New York: Monthly Review, 1971).

Aumont, Jacques, Bergala, Alain, Marie Michel, and Vernet, Marc, Aesthetics of Film, trans. by Richard Neupert (Austin: University of Texas Press, 1992).

Austin, Thomas, “Temporality in Kaurismäki: Anachronism, Allusion, Tableau,” in The Films of Aki Kaurismäki: Ludic Engagements, ed. by Thomas Austin (London: Bloomsbury Academic, 2018), pp. 17–38.

Bakhtin, Mikhail, Problems of Dostoyevsky's Poetics, ed. and trans. by Caryl Emerson (Minneapolis: University of Minnesota Press, 1984).

Bakhtin, Mikhail, The Dialogic Imagination: Four Essays, trans. by Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1982).

Barrier, Michael, Hollywood Cartoons: American Animation in Its Golden Age (New York: Oxford University Press, 1999).

Barthes, Roland, “Myth Today,” in Mythologies (London: Paladin, 1973), pp. 109–64.

Barthes, Roland, “Ornamental Cookery,” in Mythologies (New York: The Noonday Press, 1972), pp. 78–80.

Baudrillard, Jean, “Simulacra and Simulations,” in Selected Writings, ed. by Mark Poster (Stanford: Stanford University Press, 1988), pp. 166–84.

Baxter, John, Buñuel (New York: Carroll & Graf, 1994).

Benjamin, Walter, “The Author as Producer,” in Understanding Brecht, trans. by Anna Bostock (London: Verso, 1998), pp. 85–104.

Benjamin, Walter, “The Storyteller,” in Illuminations, ed. by Hannah Arendt, trans. by Harry Zohn (London: Jonathan Cape, 1970), pp. 83–110.

Berger, John, Ways of Seeing (Harmondsworth: Penguin, 1972).

Berlin, Isaiah, Four Essays on Liberty (Oxford: Oxford University Press, 1969).

Bettelheim, Bruno, Freud and Man's Soul (London: Fontana, 1985).

Beumers, Birgit, A History of Russian Cinema (New York: Berg, 2009).

Bloom, Paul, Against Empathy: The Case for Rational Compassion (New York: Ecco, 2016).

Boddy, Kasia, “Short Cuts and Long Shots: Raymond Carver's Stories and Robert Altman's Film,” Journal of American Studies, 34.1 (2000), 1–22.198

Bordwell, David, “The Art Film as a Mode of Film Practice,” in Film Theory and Criticism: Introductory Readings, ed. by Leo Braudy and Marshall Cohen, 5th edn (New York: Oxford University Press, 1999), pp. 716–24.

Bordwell, David, Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Cambridge, MA: Harvard University Press, 1989).

Bordwell, David, Narration in the Fiction Film (Madison: University of Wisconsin Press, 1985).

Bordwell, David, “The Classical Hollywood Style, 1917–1960,” in The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, ed. by David Bordwell, Janet Staiger, and Kristin Thompson (London: Routledge, 1988), pp. 1–86.

Brandon, Ruth, Surreal Lives: The Surrealists 1917–1945 (London: Macmillan, 1999).

Brooks, Peter, The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess (New York: Columbia University Press, 1985).

Buñuel, Luis, My Last Sigh, trans. by Abigail Israel (New York: Vintage, 1983).

Cavell, Stanley, “The World Viewed,” in Film Theory and Criticism: Introductory Readings, ed. by Leo Braudy and Marshall Cohen (New York: Oxford University Press, 1999), pp. 334–44.

Cawelti, John G, “Chinatown and Generic Transformation in Recent American Films,” in Film Theory and Criticism: Introductory Readings, ed. by Gerald Mast and Marshall Cohen, 3rd edn (New York: Oxford University Press, 1985), pp. 503–19.

Chanady, Amaryll, Magical Realism and the Fantastic: Resolved Versus Unresolved Antinomy (New York: Garland, 1985).

Cocks, Geoffrey, “Death by Typewriter: Stanley Kubrick, the Holocaust, and the Shining,” in Stanley Kubrick: Film and the Uses of History, ed. by Geoffrey Cocks, James Diedrick, and Glenn Perusek (Madison: The University of Wisconsin Press, 2006), pp. 185–217.

Cocks, Geoffrey, Diedrick, James, and Perusek, Glenn, “Introduction: Deep Focus,” in Depth of Field: Stanley Kubrick, Film and the Uses of History, ed. by Geoffrey Cocks, James Diedrick, and Glenn Perusek (Madison: The University of Wisconsin Press, 2006), pp. 3–30.

Code, David J, “Don Juan in Nadsat: Kubrick's Music for A Clockwork Orange,” Journal of the Royal Musical Association, 139.2 (2014), 339–86.

Cohen, Alain J., “Stochastics of Sex and Death in Basic |Filmic| Instinct,” Semiotica, 112.1–2 (1996), 109–21.

Condee, Nancy, The Imperial Trace: Recent Russian Cinema (Oxford: Oxford University Press, 2009).

Conley, Tom, “Buñuel Entomographer: From Las Hurdes to Robinson Crusoe,” in A Companion to Luis Buñuel, ed. by Rob Stone and Julián Daniel Gutiérrez-Albilla (Chichester: Wiley-Blackwell, 2013), pp. 188–202.

Cook, David A., “American Horror: The Shining,” Literature/Film Quarterly, 12.1 (1984), 2–4.

Cooper, Sarah, “Surreal Souls: Un Chien Andalou and Early French Film Theory,” in A Companion to Luis Buñuel, ed. by Rob Stone and Julián Daniel Gutiérrez-Albilla (Chichester: Wiley-Blackwell, 2013), pp. 141–55.

Cousins, Mark, The Story of Film (London: Pavilion Books, 2004).199

Danto, Arthur C, The Philosophical Disenfranchisement of Art (New York: Columbia University Press, 1986).

DiPaola, Peter Daniel, “The Criminal Time Bomb: An Examination of the Effect of the Russian Mafia on the Newly Independent States of the Former Soviet Union,” Indiana Journal of Global Legal Studies, 4.1 (Fall 1996), 145–81.

Dobrenko, Evgeny, Stalinist Cinema and the Production of History: Museum of the Revolution (Edinburgh: Edinburgh University Press, 2008).

Dunlop, John B, “Russian Nationalist Themes in Soviet Film of the 1970s,” in The Red Screen: Politics, Society, Art in Soviet Cinema, ed. by Anna Lawton (London: Routledge, 1992).

Dunne, Michael, “Wild at Heart Three Ways: Lynch, Gifford, Bakhtin,” Literature/Film Quarterly, 23.1 (1995), 6–13.

Durbach, Nadja, The Spectacle of Deformity: Freak Shows and Modern British Culture (Berkeley: University of California Press, 2009).

Edwards, Gwynne, A Companion to Luis Bunuel (Woodbridge: Tamesis, 2005).

Elsaesser, Thomas, Fassbinder's Germany: History, Identity, Subject (Amsterdam: Amsterdam University Press, 1996).

Evans, Peter William, The Films of Luis Buñuel: Subjectivity and Desire (Oxford: Oxford University Press, 1995).

Fan, Victor, “Redressing the Inaccessible through the Re-Inscribed Body: In a Year with 13 Moons and Almodóvar's Bad Education,” in A Companion to Rainer Werner Fassbinder, ed. by Brigitte Peucker (Chichester: Wiley-Blackwell, 2012), pp. 118–41.

Fehrenbach, Heide, Cinema in Democratizing Germany (Chapel Hill: The University of North Carolina Press, 1995).

Fijalkowski, Krzysztof, and Richardson, Michael (eds), “The Platform of Prague Twenty Years On,” in Surrealism against the Current: Tracts and Declarations (London: Pluto Press, 2001), pp. 81–92.

Gabbard, Glen O, and Gabbard, Krin, Psychiatry and the Cinema (Washington, DC: American Psychiatric Association, 1999).

Gabbard, Krin, and Sharma, Shailaja, “Stanley Kubrick and the Art Cinema,” in Stanley Kubrick's: A Clockwork Orange, ed. by Stuart Y. McDougal (Cambridge: Cambridge University Press, 2003), pp. 85–108.

Gerould, Daniel, “Russian Formalist Theories of Melodrama,” in Imitations of Life: A Reader on Film, Television and Melodrama, ed. by Marcia Landy (Detroit: Wayne University Press, 1991), pp. 121–29.

Glass, Fred, “The ‘New Bad Future’: RoboCop and 1980s’ Sci-Fi Films,” Science as Culture, 1.5 (1989), 7–49.

Gledhill, Christine, “Introduction,” in Home Is Where the Heart Is: Studies in Melodrama and the Woman's Film, ed. by Christine Gledhill (London: British Film Institute, 1987), pp. 1–4.

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