Auteur 3D Filmmaking: From Hitchcock’s Protrusion Technique to Godard’s Immersion Aesthetic
References:
[1] A. Bazin et al. “Six Characters in Search of Auteurs: A Discussion about the French Cinema,” in J. Hillier (ed.), Cahiers du Cinéma. The 1950s: Neo-Realism, Hollywood, New Wave. Cambridge, Massachusetts: Harvard University Press, 1985, pp. 31-46.
[2] T. Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era. Minneapolis, London: University of Minnesota Press, 2010, pp. 157-294.
[3] J. R. Green, Straight Lick: The Cinema of Oscar Micheaux. Bloomington and Indianapolis: Indiana University Press, 2000, p. 252.
[4] T. Corrigan, “Auteurs and the New Hollyood,” in J. Lewis (ed.), The New American Cinema. Durham and London: Duke University Press, 1998, pp. 38-63.
[5] C. Holmlund, “Introduction: From the margins to the mainstream,” in C. Holmlund, and J. Wyatt (eds.), Contemporary American Independent Film: From the Margins to the Mainstream. London and New York: Routledge, Taylor and Francis Group, 2005, pp. 1-7.
[6] T. Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era. Minneapolis, London: University of Minnesota Press, 2010, pp. 271-294.
[7] S. Higgins, “3D in Depth: Coraline, Hugo, and a Sustainable Aesthetic,” Film History: An International Journal, vol. 24, no. 2, pp. 196-209, 2012.
[8] T. Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era. Minneapolis, London: University of Minnesota Press, 2010, pp. 483-484.
[9] M. Ross, 3D Cinema: Optical Illusions and Tactile Experiences. Basingstoke, United Kingdom: Palgrave MacMillan, 2015, pp. 177-178.
[10] J. Belton, “CinemaScope and historical methodology,” in T. Schatz (ed.), Hollywood. Critical Concepts in Media and Cultural Studies, Volume III, Social dimensions: technology, regulation and the audience. London and New York: Routledge, Taylor and Francis Group, 2004, pp. 27-50.
[11] S. Higgins, “3D in Depth: Coraline, Hugo, and a Sustainable Aesthetic,” Film History: An International Journal, vol. 24, no. 2, p. 197.
[12] B. Furmanek, and G. Kintz, “An In-Depth Look at Dial M for Murder,” 3D Film Archive, http://www.3dfilmarchive.com/dial-m-blu-ray-review. Accessed on 23/01/2017.
[13] D. Bordwell, “Dial M for Murder: Hitchcock frets not at his narrow room”, 2012, http://www.davidbordwell.net/blog/2012/09/07/dial-m-for-murder-hitchcock-frets-not-at-his-narrow-room/. Accessed on 07/01/2017.
[14] P. William, “The Aesthetics of Emergence,” Film History, vol. 5, no. 3, pp. 321-355, 1993.
[15] P. Kael, and S. Schwartz, The Age of Movies. Selected Writings of Pauline Kael. United States: Library of America, 2016, pp.118-126.
[16] D. Morrey, Jean-Luc Godard. Manchester and New York: Manchester University Press, 2005, pp. 95-96.
[17] R. Brody, “Godard’s Revolutionary 3D Film,” The New Yorker, October 2014, http://www.newyorker.com/culture/richard-brody/jean-luc-godards-3-d-movie. Accessed on 25/01/2017.
[18] B. Honig, and L.J. Marso, Politics, Theory, and Film: Critical Encounters with Lars von Trier. New York: Oxford University Press, 2016, pp. xv-xvii.
[19] J. Lastra, “Reading, Writing, and Representing Sound,” in R. Altman (ed.), Sound Theory, Sound Practice. New York, London: Routledge, 1992, pp. 51-58.
[20] S. Higgins, “Order and Plenitude: Technicolor Aesthetics in the Classical Era,” in S. Neale (ed.), The Classical Hollywood Reader. London and New York: Routledge, Taylor and Francis Group, 2012, pp. 296-309.
[21] A. Gaudreault, Film and Attraction. From Kinematography to Cinema. Urbana, Chicago, and Springfield: University of Illinois Press, 2011, pp. 48-69.
[22] T. Elsaesser, “The Return of 3-D: On Some of the Logics and Genealogies of the Image in the Twenty-First Century,” Critical Inquiry, no. 39, pp. 217-246, Winter 2013.