uva-dare (digital academic repository) skepticism films ... filebibliography and filmography...

UvA-DARE is a service provided by the library of the University of Amsterdam (http://dare.uva.nl)

UvA-DARE (Digital Academic Repository)

Skepticism films: Knowing and doubting the world in contemporary cinema

Schmerheim, P.A.

Link to publication

Citation for published version (APA):Schmerheim, P. A. (2013). Skepticism films: Knowing and doubting the world in contemporary cinema

General rightsIt is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s),other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons).

Disclaimer/Complaints regulationsIf you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, statingyour reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Askthe Library: http://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam,The Netherlands. You will be contacted as soon as possible.

Download date: 29 Oct 2018

http://dare.uva.nl/personal/pure/en/publications/skepticism-films-knowing-and-doubting-the-world-in-contemporary-cinema(fe3fd5e9-e855-4e2b-9ca1-eb5464cf65a2).html

Bibliography and Filmography

Literature

Abbott, Matthew, “Kiarostami’s Picture Theory: Cinematic Skepticism in The Wind Will

Carry Us”. In: SubStance 130 42 (1), 165-179

Akutagawa, Ryūnosuke (1952), Rashomon, and Other Stories. New York: Liveright

Althen, Michael (2002), “Könige im Schnee”. In: Michael Althen, Warte, bis es dunkel

ist. Eine Liebeserklärung ans Kino. München: Karl Blessing Verlag, 166-176

Altman, Rick (1992), “The Material Heterogeneity of Recorded Sound”. In: Rick

Altman (ed.), Sound Theory, Sound Practice. New York: Routledge, 15-31

Altman, Rick (2004), Silent Film Sound. New York: Columbia University Press

Andersen, Nathan (2003), “Is Film the Alien Other to Philosophy?: Philosophy *as*

Film in Mulhall’s ‘On Film’”. In: Film-philosophy (vol. 7 no. 23, August 2003),

http://www.film-philosophy.com/vol7-2003/n23anderson (accessed March 23, 2012)

Anderson, Kevin J. (1994), Star Wars: Jedi Academy. New York: Bantam Books

Appadurai, Arjun (1996), Modernity At Large: Cultural Dimensions of Globalization.

Minneapolis, MN: University Of Minnesota Press

Aristotle (1953 [1924]), Aristotle’s Metaphysics. A Revised Text with Introduction and

Commentary. 2 Volumes. Edited by W. David Ross. Oxford : Clarendon Press

Arnheim, Rudolf (1957), Film as Art. Berkeley and Los Angeles, CA: University of

California Press

Arnheim, Rudolf (2002 [1932]), Film als Kunst. Frankfurt am Main: Suhrkamp

Artaud, Antonin (1976 [1948]), “To Have Done with the Judgment of God”. In: Susan

Sontag (ed.), Selected Writings. Berkeley, CA: University of California Press, 555-571

Balázs, Béla (1970 [1949]), Theory of the Film: Character and Growth of a New Art. New

York: Dover Publications

Balázs, Béla (2001 [1924]), Der Sichtbare Mensch. Frankfurt am Main: Suhrkamp

Barg, Werner C. (2004), “Das MATRIX Phänomen”. In: Lexikon des Kinder- und

Jugendfilms. Hrsg. von Horst Schäfer. 16. Erg.-Lfg. April. Meitingen: Corian Verlag

Bassham, Gregory (2002), “The Religion of The Matrix and the Problem of Pluralism”.

In: William Irvin (ed.), The Matrix and Philosophy: Welcome to the Desert of the Real.

Chicago: Open Court, 111-125

Baudrillard, Jean (1994), Simulacra and Simulation. The Body, in Theory. Ann Arbor,

Michigan: University of Michigan Press

Baudry, Jean-Louis (1986 [1975]), “The Apparatus: Metapsychological Approaches to

the Impression of Reality in Cinema”. In: Philip Rosen (ed.), Narrative, Apparatus,

Ideology: A Film Theory Reader. New York, Columbia University Press, 299-318

Bauer, Nancy (2005), “Cogito Ergo Film: Plato, Descartes, and Fight Club”. In: Rupert

Read and Jerry Goodenough (eds.), Film as Philosophy: Essays on Cinema After

Wittgenstein and Cavell. Florence, KY: Palgrave Macmillan, 39-56

Bazin, André (1967 [1945]), “The Ontology of the Photographic Image”. In: André

Bazin, What Is Cinema? Vol. 1. Berkeley and Los Angeles: University of California

Press, 9-15

Bazin, André (1967 [1946]), “The Myth of Total Cinema”. In: André Bazin, What Is

Cinema? Vol. 1. Berkeley and Los Angeles: University of California Press, 17-22

A

B

262 BIBLIOGRAPHY AND FILMOGRAPHY

Beil, Benjamin, Jürgen Kühnel and Christian Neuhaus (2012), Studienhandbuch

Filmanalyse. Ästhetik und Dramaturgie des Spielfilms. München: Wilhelm Fink

Bell, Jeffrey (2009), Deleuze’s Hume: Philosophy, Culture and the Scottish Enlightment.

Edinburgh: Edinburgh University Press.

Benjamin, Walter (1983), Das Passagen-Werk. Erster Band. Hrsg. von Rolf Tiedemann.

Frankfurt a. M.: Suhrkamp.

Benjamin, Walter (1996 [1929]), “Die Wiederkehr des Flaneurs”. In: Walter Opitz

(ed.), Walter Benjamin. Ein Lesebuch. Frankfurt am Main: Suhrkamp, 471-476

Benjamin, Walter (1996 [1935/6]), “Das Kunstwerk im Zeitalter seiner technischen

Reproduzierbarkeit” [2. Fassung]. In: Walter Opitz (ed.), Walter Benjamin. Ein

Lesebuch. Frankfurt am Main: Suhrkamp, 313-347

Bergson, Henri (1896), Matière et mémoire. Essai Sur la Relation du Corps à l'Esprit.

Paris: Alcan

Bergson, Henri (1899), Essai Sur les Donées Immédiates de la Conscience. Paris: Alcan

Bergson, Henri (1906), Matter and Memory. Translated by Nancy Margaret Paul and W.

Scott Palmer. Mineola, NY: Dover Publications

Bergson, Henri (1907), L'Evolution Créatrice. Paris: Alcan

Bergson, Henri (1922), Durée et Simultanéité. A Propos de La Théorie d'Einstein. Paris:

Alcan

Berliner Zeitung (2012), “Film ‘Das Turiner Pferd’: Tag für Tag verlieren wir etwas.”

In: Berliner Zeitung, 16.03.2012. http://www.berliner-zeitung.de/film/film--das-

turiner-pferd--tag-fuer-tag-verlieren-wir-etwas,10809184,11905992,item,0.html

(accessed August 16, 2013)

Bierce, Ambrose, and Robert C. Evans (2003 [1891]), Ambrose Bierce’s “An occurrence at

Owl Creek Bridge”: An Annotated Critical Edition. West Cornwall, Conn: Locust Hill

Press

Birdsall, Carolyn and Anthony Enns (eds.) (2008), Sonic Mediations: Body, Sound,

Technology. Newcastle: Cambridge Scholars Publishing

Bliss, Michael and Peter Weir (1999), “Keeping a Sense of Wonder: Interview with Peter

Weir”. In: Film Quarterly, Vol. 53, No. 1 (Autumn): 2-11.

Boehm, Gottfried (2007), Wie Bilder Sinn erzeigen. Die Macht des Zeigens. Berlin: Berlin

University Press

Bolter, Jay and Richard Grusin (1999), Remediation. Understanding New Media.

Cambridge, Mass.: MIT Press

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

Wisconsin Press

Bordwell, David (2002), “Film Futures”. In: SubStance 97 31 (1), 88–104

Bordwell, David (2006), The Way Hollywood Tells It: Story and Style in Modern Movies.

Berkeley: University of California Press

Bordwell, David (2007), “But what kind of art?” In: David Bordwell and Kristin

Thompson: Observations on Film Art.

http://www.davidbordwell.net/blog/2007/04/20/but-what-kind-of-art/ (accessed

November 30, 2011)

Bordwell, David (2011), “Forking tracks: SOURCE CODE”. In: David Bordwell and

Kristin Thompson: Observations on Film Art.

http://www.davidbordwell.net/blog/2011/05/03/forking-tracks-source-code/

(accessed March 15, 2013)

Bordwell, David and Kristin Thompson (2001), Film Art. An Introduction. Sixth Edition.

New York: McGraw-Hill

Bordwell, David and Kristin Thompson (2013), Film Art. An Introduction. Tenth

Edition. New York: McGraw-Hill

BIBLIOGRAPHY AND FILMOGRAPHY 263

Bordwell, David, and Kristin Thompson (2010), “INCEPTION; or, Dream a Little Dream

within a Dream with Me.” In: David Bordwell and Kristin Thompson: Observations on

Film Art. http://www.davidbordwell.net/blog/2010/08/06/inception-or-dream-a-little-

dream-within-a-dream-with-me/ (accessed August 23, 2013)

Bordwell, David, Janet Staiger, and Kristin Thompson (1985), The Classical Hollywood

Cinema: Film Style & Mode of Production to 1960. New York: Columbia University

Press

Borges, Jorge Luis (1998), “The Garden of Forking Paths”. In: Jorge Luis Borges,

Collected Fictions. Translated by Andrew Hurley. New York, Viking, 119–128

Borstnar, Nils, Eckhard Pabst, and Hans Jürgen Wulff (2008), Einführung in die Film-

und Fernsehwissenschaft. Zweite, überarbeitete Auflage. Konstanz: UVK

Bostrom, Nick (2005), “A history of transhumanist thought”. In: Journal of Evolution

and Technology Vol. 14 Issue 1 - April 2005.

http://jetpress.org/volume14/bostrom.html (accessed 10 October 2012)

Bouwsma, O. K. (1949), “Descartes’ Evil Genius”. The Philosophical Review, Vol. 58,

No. 2 (March), 141-151

Branigan, Edward (1992), Narrative Comprehension and Film. London and New York:

Routledge

Branigan, Edward (2002), “Nearly True: Forking Plots, Forking Interpretations. A

Response to David Bordwell’s ‘Film Futures’”. In: SubStance 97 31 (1), 105–114

Branigan, Edward (2006), Projecting a Camera. Language-Games in Film Theory. New

York: Routledge

Brannigan, Michael (2002), “There Is No Spoon: A Buddhist Mirror”. In: William Irvin

(ed.), The Matrix and Philosophy: Welcome to the Desert of the Real. Chicago: Open

Court, 101-110

Brody, Richard (2013), “Thomas Nagel: Thoughts are Real”. In: The New Yorker, July

16, 2013. http://www.newyorker.com/online/blogs/books/2013/07/thomas-nagel-

thoughts-are-real.html (accessed July 17, 2013)

Bronfen, Elisabeth (2009), Stanley Cavell zur Einfu hrung. Hamburg: Junius

Brown, James Robert (2007), “Thought Experiments”. In: Stanford Encyclopedia of

Philosophy. http://plato.stanford.edu/entries/thought-experiment/ (accessed June 20,

2007)

Buckland, Warren (ed.) (2009), Puzzle Films: Complex Storytelling in Contemporary

Cinema. Oxford: Wiley-Blackwell

Buckland, Warren and Thomas Elsaesser (2002), Studying Contemporary American

Cinema. A Guide to Movie Analysis. London and New York: Arnold/Oxford

University Press

Burnyeat, Miles F. (1990), The Theaetetus of Plato. With a translation by Jane Levett.

Hackett: Indianapolis

Campbell, Thomas, Christopher Williams, Olga Ivanova and Banning Garrett (2011),

“Could 3D Printing Change the World? Technologies, Potential, and Implications of

Additive Manufacturing”. In: Atlantic Council. Strategic Foresight Report.

http://www.acus.org/files/publication_pdfs/403/101711_ACUS_3DPrinting.PDF

(accessed July 15, 2013)

Capps, Robert (2010),”"Q&A: Christopher Nolan on Dreams, Architecture, and

Ambiguity”. In: Wired Magazine, November 29.

http://www.wired.com/magazine/2010/11/pl_inception_nolan/all/1 (accessed May 15,

2013)

Carl, Wolfgang (1994), “Objectivity and Realism”. In: Paolo Parrini (ed.), Kant and

Contemporary Epistemology. Dordrecht: Kluwer, 175-194

C

http://jetpress.org/volume14/bostrom.html


Carroll, Lewis (2001 [1863]), Alice’s Adventures in Wonderland. London: Bloomsbury

Carroll, Noël (1990), The Philosophy of Horror, or, Paradoxes of the Heart. New York:

Routledge

Carroll, Noël (1996), Theorizing the Moving Image. Cambridge, Mass.: Cambridge

University Press

Carroll, Noël (2003), “Eisenstein’s Philosophy of Film.” In: Richard Allen and Malcolm

Turvey (eds.), Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson.

Amsterdam: Amsterdam University Press, 127-146

Carroll, Noël (2006), “Film As Art: Introduction”. In: Noël Carroll and Jinhee Choi

(eds.), Philosophy of Film and Motion Pictures. An Anthology. Malden, MA and Oxford:

Blackwell, 7-15

Carroll, Noël (2008), The Philosophy of Motion Pictures. Oxford: Blackwell

Casetti, Francesco (2011), “Christian Metz”. In: Paisley Livingston and Carl Plantinga

(eds.), The Routledge Companion to Philosophy and Film. London and New York:

Routledge, 387-396

Cavell, Stanley (1976a [1969]), “Knowing and Acknowledging”. In: Stanley Cavell: Must

We Mean What We Say? A Book of Essays. Cambridge, Mass.: Cambridge University

Press, 238-266

Cavell, Stanley (1976b [1969]), “The Avoidance of Love”. In: Stanley Cavell: Must We

Mean What We Say? A Book of Essays. Cambridge, Mass.: Cambridge University Press,

267-356

Cavell, Stanley (1979a), The World Viewed: Reflections on the Ontology of Film. Enlarged

edition. Cambridge, Mass.: Harvard University Press

Cavell, Stanley (1979b), The Claim of Reason. Wittgenstein, Skepticism, Morality, and

Tragedy. New York: Oxford University Press

Cavell, Stanley (1981), Pursuits of Happiness. The Hollywood Comedy of Remarriage.

Cambridge: Harvard University Press

Cavell, Stanley (1988a), In Quest of the Ordinary: Lines of Scepticism and Romanticism.

Chicago, Ill.: Chicago University Press

Cavell, Stanley (1988b), Themes Out of School: Effects and Causes. Chicago: University

of Chicago Press

Cavell, Stanley (1996), Contesting Tears. The Hollywood Melodrama of the Unknown

Woman. Chicago and London: The University of Chicago Press

Cavell, Stanley (1999), “Reflections on a Life of Philosophy. An Interview with Stanley

Cavell”. In: The Harvard Review of Philosophy VII, 1999, 19-28

Cavell, Stanley (2003), Disowning Knowledge: In Seven Plays of Shakespeare. Second

edition. Cambridge, Mass.: Cambridge University Press

Cavell, Stanley (2004), Cities of Words. Pedagogical Letters on a Register of the Moral Life.

Cambridge, Mass.: The Belknap Press of Harvard University Press

Cavell, Stanley (2005 [1983]), “The Thought of Movies”. In: Stanley Cavell (2005),

Cavell on Film. Edited and with an introduction by William Rothman. Albany, NY:

State University of New York Press, 87-106

Cavell, Stanley (2005 [1985]), “What Photography Calls Thinking”. In: Stanley Cavell

(2005), Cavell on Film. Edited and with an Introduction by William Rothman. Albany,

NY: State University of New York Press, 115-133

Cavell, Stanley (2005 [1986]), “The Fantastic of Philosophy”. In: Stanley Cavell, Cavell

on Film. Edited and with an introduction by William Rothman. Albany, NY: State

University of New York Press, 145-152: 147

Cavell, Stanley (2005 [1988]), “Two Cheers for Romance”. In: Stanley Cavell (2005),

Cavell on Film. Edited and with an introduction by William Rothman. Albany, NY:

State University of New York Press, 153-166


Cavell, Stanley (2005 [1996]), “Something Out of the Ordinary”. In: Stanley Cavell

(2005), Cavell on Film. Edited and with an Introduction by William Rothman. Albany,

NY: State University of New York Press, 223-240

Cavell, Stanley (2005 [2002]), “Crossing Paths”. In: Stanley Cavell (2005), Cavell on

Film. Edited and with an Introduction by William Rothman. Albany: State University

of New York Press, 361-374

Cavell, Stanley (2010a), Little Did I Know: Excerpts from Memory. Stanford, CA

Stanford University Press

Cavell, Stanley (2010b), Cities of Words: Ein moralisches Register in Philosophie, Film

und Literatur. Translated by Maria-S. Lotter. Zürich: Chronos

Chatman, Seymour (1980), “What Novels Can Do That Films Can't (And Vice Versa)”,

Critical Inquiry Vol. 7, No. 1, On Narrative (Autumn), 121-140

Chion, Michel (1994), Audio-vision: Sound on Screen. Translated by Claudia Gorbman.

New York: Columbia University Press

Chion, Michel (1999), The Voice in Cinema. Translated by Claudia Gorbman. New

York: Columbia University Press

Chion, Michel (2009), Film, a Sound Art. Translated by Claudia Gorbman. New York:

Columbia University Press

Claeys, Gregory (ed.) (2010), The Cambridge Companion to Utopian Literature.

Cambridge: Cambridge University Press, 2010

Clarke, Thompson (1972), “The Legacy of Skepticism”. In: Journal of Philosophy (vol.

LXIX, no. 20): 754-776

Cohen, Ted and Paul Guyer (1993), “Introduction”. In: Ted Cohen, Paul Guyer and

Hilary Putnam (eds.), Pursuits of Reason. Essays in Honor of Stanley Cavell. Lubbock,

Texas: Texas Tech University Press, 1993, 1-9

Cohen, Ted, Paul Guyer and Hilary Putnam (eds.) (1993), Pursuits of Reason. Essays in

Honor of Stanley Cavell. Lubbock, Texas: Texas Tech University Press

Constable, Catherine (2009), Adapting Philosophy: Jean Baudrillard and The Matrix

Trilogy. Manchester, UK; New York: Manchester University Press

Corrigan, Timothy (2011), Film and Literature. An Introduction and Reader. 2nd

Edition. New York: Routledge

Critchley, Simon (2005), “Calm: On Terrence Malick’s The Thin Red Line”. In: Rupert

J. Read and Jerry Goodenough. Film as Philosophy: Essays in Cinema After Wittgenstein

and Cavell. New York: Palgrave Macmillan, 133-148

Cubitt, Sean (2004), The Cinema Effect. Cambridge, Mass.: MIT Press

Curran, Angela and Thomas E. Wartenberg (eds.) (2005), The Philosophy of Film.

Introductory Texts and Readings. Malden, MA: Blackwell

Currie, Gregory (1995), Image and Mind: Film, Philosophy and Cognitive Science.

Cambridge [England]: Cambridge University Press

Dancy, Jonathan (1985), An Introduction to Contemporary Epistemology. Oxford:

Blackwell

Danto, Arthur C. (1979), “Moving Pictures”. In: Quarterly Review of Film Studies 4(1),

Winter 1979: 1-21

Danto, Arthur C. (1981), The Transfiguration of the Commonplace: A Philosophy of Art.

Cambridge, Mass.: Harvard University Press.

Davidson, Donald (1991a), “Three Varieties of Knowledge”. In: Donald Davidson

(2001), Subjective, Intersubjective, Objective. Oxford: Clarendon Press, 205-220. First

published in 1991

Davidson, Donald (1991b), “Epistemology Externalized“. In: Dialectica (1991, vol. 45,

no. 2-3): 191-202

D


Davidson, Donald (1995), “The Problem of Objectivity”. In: Tijdschrift voor Filosofie

(Leuven), June 1995: 203-220

Davidson, Donald (1999a), “Reply to Stroud”. In: Lewis Edward Hahn (ed.), The

Philosophy of Donald Davidson. Chicago: Open Court, 162-165

Davidson, Donald (1999b), “Reply to Nagel”. In: Lewis Edward Hahn (ed.), The


de Rougemont, Denis (1936), Penser avec les mains. Paris: Albin Michel

Deleuze, Gilles (1986), Cinema 1: The Movement-Image. Translated by Hugh

Tomlinson and Barbara Habberjam. London: The Athlone Press

Deleuze, Gilles (1989), Cinema 2: The Time-Image. Translated by Hugh Tomlinson and

Robert Galeta. London: The Athlone Press

Deleuze, Gilles (1998), “Having an Idea in Cinema”. In: Eleanor Kaufman and Kevin

Jon Heller (eds.), Deleuze and Guattari: New Mappings in Politics, Philosophy, and

Culture. Translated by Eleanor Kaufman. Minneapolis: University of Minnesota Press,

14-19

Deleuze, Gilles and Claire Parnet (2002), “The Actual and the Virtual”. In: Gilles

Deleuze, Dialogues II. 2nd

edition. Essay translated by Eliot Ross Albert. New York:

Columbia University Press,145-152

Deleuze, Gilles and Félix Guattari (1987). “November 28, 1947: How Do You Make

Yourself a Body Without Organs?” In: Gilles Deleuze and Félix Guattari, A Thousand

Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi. Minneapolis:

University of Minnesota Press, 149-166

Deleuze, Gilles and Félix Guattari (1994 [1991], What is Philosophy? Translated by

Hugh Tomlinson and Graham Burchell. New York: Columbia University Press

Descartes, René (1902 [1637]), Discours de la Méthode pour Bien Conduire sa Raison et

Chercher la Verité dans les Sciences. In: Charles Adam and Paul Tannery (eds.), Oeuvres

de Descartes, volume VI. Paris, Cerf

Descartes, René (1904 [1641]), Meditationes de Prima Philosophia. In: Charles Adam and

Paul Tannery (eds.), Oeuvres de Descartes, volume VII. Paris, Cerf

Descartes, René (1905 [1644]), Principia Philosophiae. In: Charles Adam and Paul

Tannery (eds.), Oeuvres de Descartes, vol. 8, part 1, Paris: Cerf

Deutsch, Gustav (no year), „Film ist. 1-6“.

http://www.gustavdeutsch.net/index.php/en/films-a-videos/117-film-ist-1-6.html

(accessed 18 September, 2012)

Dewey, John (1982), The Middle Works of John Dewey, Volume 12, 1899 - 1924: 1920,

Reconstruction in Philosophy and Essays (Collected Works of John Dewey). Edited by

Jo Ann Boydston. Carbondale: Southern Illinois University

Dick, Philip K. (1991 [1959]), Ubik. New York: Vintage Books

Dick, Philip K. (1991). We Can Remember It For You Wholesale. The Collected Stories of

Philip K. Dick, vol. 5. London: Grafton

Dick, Philip K. (1992 [1962]), The Man in the High Castle. New York: Vintage Books

Dick, Philip K. (2002 [1959]), Time Out of Joint. New York: Vintage Books

Dick, Philip K. (2005 [1966]), The Crack in Space. New York: Vintage Books

Diederichs, Helmut (ed.) (2005), Geschichte der Filmtheorie. Kunsttheoretische Texte von

Méliès bis Arnheim. Frankurt am Main: Suhrkamp

Doane, Mary Ann (2002), The Emergence of Cinematic Time: Modernity, Contingency,

the Archive. Cambridge, Mass.: Harvard University Press

Döblin, Alfred (1965 [1929]), Berlin, Alexanderplatz. Die Geschichte vom Franz

Biberkopf. München: Deutscher Taschenbuch Verlag

Donovan, Barna W. (2011), Conspiracy Films: A Tour of Dark Places in the American

Conscious. Jefferson, NC and London: McFarland


Donovan, Richard (2003), “High-Tech Japan: The Shadow of the Matrix”. In:

JapanVisitor.com, June 2003. http://www.japanvisitor.com/japanese-culture/film/film-

shadow-of-matrix (accessed July 23, 2013)

Einstein, Albert (1954 [1931]), “The World As I See It”. In: Albert Einstein, Ideas and

Opinions, based on Mein Weltbild. Edited by Carl Seelig. New York: Bonzana Books,

8-11

Eisenstein, Sergej (2006), Jenseits der Einstellung: Schriften zur Filmtheorie. Edited by

Felix Lenz and Helmut H Diederichs. Frankfurt am Main: Suhrkamp (= Suhrkamp

Taschenbuch Wissenschaft, 1766)

Elliott, Kamilla (2003), Rethinking the Novel/Film Debate. Cambridge, United

Kingdom: Cambridge University Press

Ellison, Harlan (2001), The Essential Ellison: A 50-year Retrospective. Beverly Hills, CA:

Morpheus International

Elsaesser, Thomas (2005), “Early Film History and Multi-Media. An Archaeology of

Possible Futures?” In: New Media, Old Media. Edited by Wendy Hui Kyong Chun and

Thomas Keenan (2005). New York: Routledge, 13-25

Elsaesser, Thomas (2009a), “The Mind-Game Film”. In: Warren Buckland (ed.), Puzzle

Films: Complex Storytelling in Contemporary Cinema. Oxford: Wiley-Blackwell, 13-41

Elsaesser, Thomas (2009b), “ Film als Möglichkeitsform: Vom »post-mortem«-Kino zu

mindgame movies”. In: Thomas Elsaesser, Hollywood heute. Geschichte, Gender und

Nation im postklassischen Kino. Berlin: Bertz + Fischer, 237-263 (= Deep Focus 1)

Elsaesser, Thomas (2011), “A Bazinian Half-Century”. In: Dudley Andrew and Hervé

Joubert-Laurencin (eds.), Opening Bazin - Postwar Film Theory and its Afterlife. New

York: Oxford University Press, 3-12

Elsaesser, Thomas and Malte Hagener (2011), Filmtheorie zur Einführung. Third

Edition. Hamburg: Junius

Elsaesser, Thomas and Warren Buckland (2003), Studying Contemporary American

Cinema. A Guide to Movie Analysis. London: Arnold

Falzon, Christopher (2003), Philosophy Goes To The Movies. An Introduction to

Philosophy. London and New York: Routledge

Ferguson, Niall (ed.) (1999): Virtual History. Alternatives and Counterfactuals. New

edition. Basic Books

Ferri, Anthony J. (2007), Willing Suspension of Disbelief: Poetic Faith in Film. Lanham:

Lexington Books

Figgis, Mike (2006), Digital Film-making. London: Faber and Faber, 2006

Fossati, Giovanna (2009), From Grain to Pixel. The Archival Life of Film in Transition.

Amsterdam: Amsterdam University Press

Foucault, Michel (1975), Surveiller et Punir: Naissance de la Prison, Paris: Gallimard

Foucault, Michel (2002 [1969]), The Archaeology of Knowledge. Translated by A. M.

Sheridan Smith. London and New York: Routledge

Frampton, Daniel (2006), Filmosophy. A Manifesto for a Radically New Way of

Understanding Cinema. London: Wallflower

Freeland, Cynthia A. and Thomas Wartenberg (1995), “Introduction”. In: Philosophy

and Film. Edited and with an introduction by Cynthia A. Freeland and Thomas

Wartenberg. London: Routledge, 1-10

Früchtl, Josef (2004), Das Unverschämte Ich. Eine Heldengeschichte der Moderne.

Frankfurt a. M.: Suhrkamp

E

F


Früchtl, Josef (2008), “What Is Cultural Analysis? And What Is the Role of

Philosophy? An Answer to Murat Aydemir.” In: Krisis, 2008, Issue 3, 70-72:70

Früchtl, Josef (2009), The Impertinent Self: A Heroic History of Modernity. Stanford,

Calif.: Stanford University Press, 2009 (= Cultural Memory in the Present)

Früchtl, Josef (2011), “All you need is love, oder Die Komödie der Wiederverheiratung

von Film und Philosophie.“ Unpublished paper delivered at the conference Philosophie,

Film, Skeptizismus at the University of Bonn

Früchtl, Josef (2013), Vertrauen in die Welt. Eine Philosophie des Films. München:

Wilhelm Fink

Fukuyama, Francis (September/October 2004). “The World’s Most Dangerous Ideas:

Transhumanism” (reprint). Foreign Policy (144): 42–43

Fumerton, Richard A. and Diane Jeske (2010), Introducing Philosophy Through Film:

Key Texts, Discussion, and Film Selections. Chichester, U.K. and Malden, MA: Wiley-

Blackwell

Gabriel, Markus (2008), Antike und modern Skepsis zur Einführung. Hamburg: Junius

Galouye, Daniel F. (1964), Simulacron-3. New York: Bantam Books (alternative title

(UK): Counterfeit World)

Gasser, Markus (2007), Die Sprengung der platonischen Höhle: Roman und Philosophie im

Widerstreit. Göttingen: Wallstein

Gast, Wolfgang (1993): Film und Literatur. Grundbuch. Einführung in Begriffe und

Methoden der Filmanalyse. Frankfurt am Main: Diesterweg

Geary, James (2011), I Is an Other: The Secret Life of Metaphor and How It Shapes the

Way We See the World. New York: HarperCollins

Geivett, R. Douglas and James S. Spiegel (eds.) (2007), Faith, Film and Philosophy: Big

ideas on the Big Screen. Downers Grove, Ill.: IVP Academic

Gettier, Edmund L. (1963), “Is Justified True Belief Knowledge?” In: Analysis 23

(1963): 121-123

Gibson, William (1998 [1984]), Die Neuromancer-Trilogie. Frankfurt am Main: Rogner

& Bernhard bei Zweitausendeins

Gilmore, Richard A. (2005), Doing Philosophy at the Movies. Albany, NY: State U of

New York Press

Goethe, Johann Wolfgang von (1982 [1833]), “Maximen und Reflexionen”. In: Johann

Wolfgang von Goethe, Werke. Hamburger Ausgabe in 14 Bänden. Band 12: Schriften zur

Kunst und Literatur. Maximen und Reflexionen. Textkritisch durchgesehen und

kommentiert von Erich Trunz. 13. Auflage. München: Beck

Goll, Philipp (2013), “ Die Hardware des Geistes”. In: ZEIT Online,

http://www.zeit.de/kultur/literatur/2013-07/friedrich-kittler-flaschenpost-an-die-

zukunft (accessed July 1, 2013)

Gracia, Jorge J. E., Carolyn Korsmeyer, and Rodolphe Gasché (eds.) (2002), Literary

philosophers?: Borges, Calvino, Eco. New York: Routledge

Grau, Christopher (ed.) (2009), Philosophers on Film: Eternal Sunshine of the Spotless

Mind. New York: Routledge

Grimm, Brüder (2010), Kinder- und Hausmärchen. Band I: Märchen Nr. 1-86. Ausgabe

letzter Hand mit den Originalanmerkungen der Brüder Grimm. Mit einem Anhang

sämtlicher, nicht in allen Auflagen veröffentlichter Märchen und Herkunftsnachweisen

herausgegeben von Heinz Rölleke. Stuttgart: Reclam

Grondin, Jean (2001), Von Heidegger zu Gadamer: Unterwegs zur Hermeneutik.

Darmstadt: Wissenschaftliche Buchgesellschaft

Gunning, Tom (2004), “What’s the Point of an Index? Or, Faking Photographs”. In:

Nordicom Review 1-2, 39-49

G


Gunning, Tom (2006), “The Cinema of Attraction[s]: Early Film, Its Spectator and the

Avant-Garde”. In: The Cinema of Attractions Reloaded. Edited by Wanda Strauwen.


Haddix, Margaret Peterson (1995), Running Out of Time. New York: Simon & Schuster

Books for Young Readers

Hansen, Mark B. N. (2004), New Philosophies for New Media. Cambridge, Mass.: MIT

Press, 2004

Harris, Robert (1992), Fatherland. New York, NY: Random House

Hartmann, Frank (2000), Medienphilosophie. Wien: WUV

Hartmann, Frank (2001), “Der Rosarote Panther Lebt”. In: Stefan Münker, Alexander

Roesler and Mike Sandbothe (eds.), Medienphilosophie: Beiträge zur Klärung eines

Begriffs. Frankfurt am Main: Fischer, 135-149

Hartmann, Martin (2011) Die Praxis des Vertrauens. Berlin: Suhrkamp

Hawthorn, Geoffrey (1991), Plausible Worlds: Possibility and Understanding in History

and the Social Sciences. Cambridge: Cambridge University Press

Hayles, N. Katherine (1999), How We Became Posthuman: Virtual Bodies in Cybernetics,

Literature, and Informatics. Chicago, Ill.: University Of Chicago Press

Hayward, Susan (2013), Cinema Studies: The Key Concepts. London: Routledge

Heidegger, Martin (1993 [1927]), Sein und Zeit. 17th edition. Tübingen: Niemeyer,

1993

Hesselberth, Pepita and Laura Schuster (2008), “Into the Mind and Out to the World:

Memory Anxiety in the Mind-Game Film”. In: Jaap Kooijman, Patricia Pisters and

Wanda Strauven (eds.), Mind the Screen. Media Concepts According to Thomas Elsaesser.


Hickethier, Knut (2012), Film- und Fernsehanalyse. 5., aktualisierte und erweiterte

Auflage. Stuttgart: Metzler

Hoffmann, E.T.A. (1982 [1816]), “Der Sandmann”. In: E.T.A. Hoffmann, Nachtstücke.

Mit einem Nachwort von Lothar Pikulik und Illustrationen von Renate Sendler-Peters.

Frankfurt am Main: Insel Verlag, 9-48

Honneth, Axel (2005): Verdinglichung. Eine anerkennungstheoretische Studie. Frankfurt

am Main: Suhrkamp

Honneth, Axel (2010): Kampf um Anerkennung: Zur moralischen Grammatik sozialer

Konflikte. Frankfurt am Main: Suhrkamp

Hook, Christopher (2004), “Transhumanism and Posthumanism”. In: Encyclopedia of

Bioethics. 3rd edition. Edited by Stephen G. Post. New York: Macmillan

Hörisch, Jochen (2004), Eine Geschichte der Medien. Vom Urknall zum Internet. 2nd

edition. Frankfurt am Main: Suhrkamp. (Title of original edition: Der Sinn und die

Sinne. Eine Geschichte der Medien)

Hub, Berthold (2009), “Platon und die bildende Kunst. Eine Revision”. In: Plato 9,

http://gramata.univ-paris1.fr/Plato/article87.html (accessed June 12, 2013)

Huvenne, Martine (2012), Het Geluid als een Innerlijke Beweging in de Overdracht van

een Ervaring in de Film: een Fenomenologische Benadering. Amsterdam: Universiteit

van Amsterdam

Huvenne, Martine and Walter Provo (2007), Emotie & Filmmuziek. Gent: Academia

Press

Huxley, Aldous (1932), Brave New World: A Novel. London: Chatto & Windus

Ishiguro, Kazuo (2005), Never Let Me Go. London: Faber and Faber

Jacobs, Jay S. (2005), “The Art of Lord of War”. In: Popentertainment.com.

http://www.popentertainment.com/niccol.htm (accessed July 10, 2013)

H

I

J


Jameson, Frederic (2007), Archaeologies of the Future: The Desire Called Utopia and

Other Science Fictions. London and New York: Verso

Jarvie, Ian C. (1970), Towards a Sociology of the Cinema. London: Routledge

Jarvie, Ian C. (1987), Philosophy of the Film: Epistemology, Ontology, Aesthetics. London:

Routledge

Jarvie, Ian C. (1999), “Is Analytic Philosophy the Cure for Film Theory?” In:

Philosophy of the Social Sciences 29(3):416-40

Jenkins, Henry (2003), “Digital Cinema, Media Convergence, and Participatory

Culture.” In: Rethinking Media Change: The Aesthetics of Transition. Edited by David

Thorburn and Henry Jenkins. Cambridge, MA: MIT Press, 282-312

Jenkins, Henry (2006), Convergence Culture: Where Old and New Media Collide. New

York: New York University Press

Joyce, James (2008 [1922]), Ulysses. The 1922 text. Edited with an introduction and

notes by Jeri Johnson. Oxford: Oxford University Press

Joyce, James (2012 [1939]), Finnegan’s Wake. Edited by Robbert-Jan Henkes, Erik

Bindervoet. Introduction by Finn Fordham. Oxford: Oxford University Press

Kant, Immanuel (1968), Reflexionen. Akademie-Ausgabe, Bd. 16. Berlin: de Gruyter

Kant, Immanuel (1998 [1787]), Kritik der reinen Vernunft. Nach der ersten und zweiten

Originalausgabe herausgegeben von Jens Timmermann. Hamburg: Meiner, 1998

Karg, Ina and Iris Mende (2009), Kulturpha nomen Harry Potter: Multiadressiertheit und

Internationalita t eines nationalen Literatur- und Medienevents. Göttingen: V&R

unipress

Kehlmann, Daniel (2005), Die Vermessung der Welt: Roman. Reinbek: Rowohlt

Kenny, Anthony (1968), Descartes, a Study of his Philosophy. New York: Random House

Kerins, Mark (2010), Beyond Dolby (Stereo): Cinema in the Digital Sound Age.

Bloomington: Indiana University Press

Kessler, Frank (2010), “What You Get Is What You See: Digital Images and the Claim

on the Real”. In: Marianne van den Boomen et al. (eds.), Digital Material. Tracing New

Media in Everyday Life and Technology. Amsterdam: Amsterdam University Press,

187-197

Kim-Cohen, Seth (2009), In The Blink of An Ear: Toward a Non-Cochlear Sonic Art.

London and New York: Continuum

Kittler, Friedrich (1999), Gramophone, Film, Typewriter. Translated by Geoffrey

Winthrop-Young and Michael Wutz. Stanford: Stanford University Press

Klein, Andy (2001), “Everything you wanted to know about ‘Memento’”. In: Salon.com.

June 28, 2001. http://www.salon.com/2001/06/28/memento_analysis/ (accessed 10

October 2012)

Kloock, Daniela (2010), “3D – Ein neues Medium?” In: Getidan.de, August 17, 2010.

http://www.getidan.de/film/daniela_kloock/12458/3d-%E2%80%93-ein-neues-

medium (accessed August 24, 2010)

Koch, Gertrud and Christiane Voss (2009), “Einleitung”. In: Gertrud Koch and

Christiane Voss (eds.), „Es ist, als ob“. Fiktionalität in Philosophie, Film- und

Medienwissenschaft. München: Fink, 7-11

Konitzer, Werner (2006), Medienphilosophie. München: W. Fink

Korte, Helmut (2010), Einführung in die Systematische Filmanalyse. Berlin: Erich

Schmidt Verlag

Kowalski, Dean A. (2005), Classic Questions and Contemporary Film: An Introduction to

Philosophy. Boston, Mass.: McGraw-Hill

Kowalski, Dean A. (ed.) (2008), Steven Spielberg and Philosophy: We’re Gonna Need a

Bigger Book. Lexington, Ky.: University Press of Kentucky (= Philosophy of Popular

Culture)

K


Kracauer, Siegfried (1960), Theory of Film: The Redemption of Physical Reality,

Princeton, N.J.: Princeton University Press

Kripke, Saul A. (1980), Naming and Necessity. Revised and enlarged edition. Oxford:

Blackwell

Kristeva, Julia (1996 [1967]), “Bachtin, das Wort, der Dialog und der Roman”. In:

Kimmich, Dorothee, Rolf Günter Renner und Bernd Stiegler (eds.), Texte zur

Literaturtheorie der Gegenwart. Stuttgart: Reclam,334-348

Kubrick, Stanley (1991), “Foreword by Stanley Kubrick”. In: Krzysztof Kieślowski and

Krzysztof Piesiewicz (1991), Decalogue: The Ten Commandments. London: Faber &

Faber, vii

Kuchenbuch, Thomas (2005), Filmanalyse. Theorien – Methoden – Kritik. Wien, Köln,

Weimar: Böhlau

Kurosawa, Akira (1982), Something Like an Autobiography. New York: Random House

Kurwinkel, Tobias (2011), Apollinisches Außenseitertum: Konfigurationen von Thomas

Manns “Grundmotiv” in Erzähltexten und Filmadaptionen des Frühwerks. Würzburg:

Königshausen und Neumann

Kurwinkel, Tobias (2012a), “Intertextualität”. In: KinderundJugendmedien.de.

http://kinderundjugendmedien.de/index.php/begriffe-und-termini/200-

intertextualitaet (Accessed on 10 June 2013)

Kurwinkel, Tobias (2012b), “Family Entertainment Film”. In:

KinderundJugendmedien.de. http://kinderundjugendmedien.de/index.php/begriffe-

und-termini/199-family-entertainment-film (Accessed on 10 June 2013)

Kurwinkel, Tobias (2012c), “Family Entertainment Film“. In: Lexikon des Kinder- und

Jugendfilms im Kino, im Fernsehen und auf Video. Hrsg. von Horst Schäfer. Teil 6:

Genre, Themen und Aspekte. 39. Ergänzungslieferung. Meitingen: Corian-Verlag, 1-5.

Kurwinkel, Tobias and Philipp Schmerheim (2013), Kinder- und Jugendfilmanalyse.

Konstanz und München: UVK (= UTB 3885)

Lagomarsino, John (2012), “Damon Lindelof on Lost (On The Verge 006)”. In:

theverge.com, May 21. http://www.theverge.com/2012/5/21/3030913/damon-lindelof-

on-lost-on-the-verge (accessed August 21, 2013)

Lakoff, George and Johnson, Mark (1999), Philosophy in the Flesh: The Embodied Mind

and Its Challenge to Western Thought. New York: Basic Books

Lakoff, George and Mark Johnson (1980), Metaphors we Live By. Chicago: University of

Chicago

Lewis, David K. (1973), Counterfactuals. Cambridge, Mass.: Harvard University Press

Litch, Mary M. (2010), Philosophy Through Film. 2nd

edition. London: Routledge

Littau, Karin (2011), “The Ghost is the Machine: Media-Philosophy and Materialism”.

In: Havi Carel and Greg Tuck (eds.), New Takes in Film-philosophy. New York:

Palgrave Macmillan, 154-170

Livingston, Paisley (2006), “Theses on Cinema as Philosophy”. In: Thinking Through

Cinema. Edited by Murray Smith and Thomas Wartenberg. Oxford: Blackwell, 11-18

Livingston, Paisley (2009), Cinema, Philosophy, Bergman. On Film as Philosophy.

Oxford: Oxford University Press

MacCabe, Colin, Rick Warner and Kate Murray (eds.) (2011), True to the Spirit: Film

Adaptation and the Question of Fidelity. Oxford: Oxford University Press

Mackie, John Leslie (1982), The Mircale of Theism. Arguments for and Against the

Existence of God. Oxford: Oxford University Press

Mahne, Nicole (2007), Transmediale Erzähltheorie: Eine Einführung. Göttingen:

Vandenhoeck & Ruprecht (= UTB 2913)

L

M


Malcolm, Norman (1958), Ludwig Wittgenstein, A Memoir. London and New York:

Oxford University Press

Manovich, Lev (2001), The Language of New Media. Cambridge, Mass.: MIT Press

Manuel, Frank and Fritzie Manuel (1979) Utopian Thought in the Western World.

Oxford: Blackwell

Martenstein, Harald (2011), “Der Sog der Masse”. In: Die ZEIT, 10 November 2011,

issue 46, 17-19

Martin-Jones, David (2011), Deleuze and World Cinemas, London and New York:

Continuum

Matheson, Richard (1995 [1954]), I Am Legend. New York: ORB

McFarlane, Brian (1996), Novel to Film: An Introduction to the Theory of Adaptation.

Oxford: Clarendon Press

McLuhan, Marshall (1964), Understanding Media: The Extensions of Man. New York:

McGraw-Hill

Metz, Christian (1982), The Imaginary Signifier: Psychoanalysis and the Cinema.

Translated by C. Brittan, A. Williams, B. Brewster, and A. Guzzetti. Bloomington:

Indiana University Press

Meyer, Stephenie (2008 [2005-2008]), Twilight Saga. New York: Little, Brown

Mikos, Lothar (2008), Film- und Fernsehanalyse. Konstanz: UTB

Moeller, Hans-Georg (2009), “Philosophy and Literature. Rorty and Confucianism”. In:

Yong Huang (ed.), Rorty, pragmatism, and Confucianism: with responses by Richard

Rorty. Albany, NY: State University of New York Press, 181-194 (= SUNY series in

Chinese philosophy and culture)

Mulhall, Stephen (1994), Stanley Cavell: Philosophy’s Recounting of the Ordinary.

Oxford: Clarendon Press

Mulhall, Stephen (1996), “Introduction”. In: Stephen Mulhall (ed.), The Cavell Reader.

Oxford, Malden, MA: Blackwell Publishers, 1-21

Mulhall, Stephen (2002a), On Film. London: Routledge

Mulhall, Stephen (2002b), “Can There Be an Epistemology of Moods?”. In: Hubert

Dreyfus and Mark Wrathall (eds.), Heidegger Re-Examined (vol. 4). New York:

Routledge: 33-52

Mulhall, Stephen (2006), “The Impersonation of Personality: Film as Philosophy in

Mission: Impossible”. In: Journal of Aesthetics and Art Criticism Vol. 64:1 Special Issue:

Thinking through Cinema: Film as Philosophy (winter 2006): 97-110. Simultaneously

published in Smith and Wartenberg 2006, 97-110

Mulhall, Stephen (2007), “Film as Philosophy: The Very Idea”. Unpublished lecture

delivered at The Aristotelian Society on May 21, 2007.

http://www.aristoteliansociety.org.uk/proceedings/proceed_programme.html

(accessed on June 10, 2007)

Mulhall, Stephen (2008a), On Film. Second edition. London: Routledge

Mulhall, Stephen (2008b), “Film as Philosophy: The Very Idea”. In: Proceedings of the

Aristotelian Society (Vol CVII, Part 3)

Mullarkey, John (2009), Refractions of Reality. Philosophy and the Moving Image.

Basingstoke and New York: Palgrave Macmillan

Müller, Olaf (2003a), Wirklichkeit ohne Illusionen I - Hilary Putnam und der Abschied

vom Skeptizismus oder warum die Welt keine Computersimulation sein kann. Paderborn:

mentis

Müller, Olaf (2003b), Wirklichkeit ohne Illusionen II - Metaphysik und semantische

Stabilität oder was es heisst, nach höheren Wirklichkeiten zu fragen. Paderborn: mentis

Münker, Stefan, Alexander Roesler and Mike Sandbothe (eds.) (2003),

Medienphilosophie: Beiträge zur Klärung eines Begriffs. Frankfurt am Main: Fischer


Münsterberg, Hugo (2002 [1916]), The Photoplay - a Psychological Study. In: Allan

Langdale (ed.) (2002), Hugo Münsterberg on Film: The Photoplay--a Psychological

Study, and Other Writings. New York: Routledge

Musser, Charles (2006a), “A Cinema of Contemplation, A Cinema of Discernment:

Spectatorship, Intertextuality and Attractions in the 1890s”. In: Wanda Strauwen (ed.),

The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, 2006,

159-179

Musser, Charles (2006b), “Rethinking Early Cinema: Cinema of Attractions and

Narrativity”. In: Wanda Strauwen (ed.), The Cinema of Attractions Reloaded.

Amsterdam: Amsterdam University Press, 2006, 389-416

Nagel, Thomas (1986), The View from Nowhere. New York: Oxford University Press

Nagel, Thomas (1999), “Davidson’s New Cogito“. In: Lewis Edward Hahn (ed.), The


Nagel, Thomas (2012), Mind and Cosmos: Why the Materialist Neo-Darwinian

Conception of Nature is Almost Certainly False. New York: Oxford University Press

Niccol, Andrew (1998a), The Truman Show. The Shooting Script. Screenplay, Foreword,

and Notes by Andrew Niccol. Introduced by Peter Weir. London: Nick Hern Books

(= NHB Shooting Scripts)

Niccol, Andrew (1998b), The Truman Show. A Screen Play.

http://www.dailyscript.com/scripts/the-truman-show_early.html (accessed August 13,

2013)

Nida-Rümelin, Julian (2009), Philosophie und Lebensform. Frankfurt am Main:

Suhrkamp

Nietzsche, Friedrich (1972 [1872]), Die Geburt der Tragödie. In: Ibid., Werke. Abteilung

3, Band 1: Die Geburt der Tragödie und Unzeitgemäße Betrachtungen I – III: 1872-

1874. Hrsg. von Giorgio Colli und Mazzino Montinari. Berlin: De Gruyter

Nietzsche, Friedrich (1988 [1882]), Die fröhliche Wissenschaft. In: Ibid., Werke. Abteilung

5, Band 2: Idyllen aus Messina; Die fröhliche Wissenschaft; Nachgelassene Fragmente,

Frühjahr 1881 bis Sommer 1882. Hrsg. von Giorgio Colli und Mazzino Montinari.

Berlin: De Gruyter

Nietzsche, Friedrich (1989 [1883]), Werke. Abteilung 6, Band 1: Also sprach Zarathustra.

Ein Buch für Alle und Keinen. Hrsg. von Giorgio Colli und Mazzino Montinari. Berlin:

De Gruyter

Nolan, Christopher (2010), Inception: The Shooting Script. San Rafael, CA: Insight

Nozick, Robert (1977), Anarchy, State and Utopia. New York: Basic Books

Olson, Eric T. (2010), “Personal Identity”. In: Edward N. Zalta (ed.), The Stanford

Encyclopedia of Philosophy (Winter 2010 Edition).

http://plato.stanford.edu/archives/win2010/entries/identity-personal/ (accessed

August 2, 2013)

Orwell, George (1949), Nineteen Eighty-four: A Novel. London: Secker & Warburg

Paech, Anne (1985), Kino zwischen Stadt und Land: Geschichte des Kinos in der Provinz:

Osnabrück. Marburg: Jonas

Paech, Anne, and Joachim Paech (2000), Menschen im Kino: Film und Literatur erzählen.

Stuttgart: J.B. Metzler

Paech, Joachim (1997), Literatur und Film. 2., überarbeitete Auflage. Stuttgart und

Weimar: Metzler

N

O

P


Papini, Giovanni (1907), “La Filosofia del Cinematografo”, in: La Stampa (Torino), vol.

XLI, 18 May 1907

Parfit, Derek (1984), Reasons and Persons. Oxford: Clarendon Press

Pauli, Harald (2007), “Kinder, Kirche & Kino”. In: FOCUS Magazin 16.

http://www.focus.de/kultur/medien/dvd-edition-kinder-kirche-und-

kino_aid_223185.html (accessed July 17, 2013)

Perler, Dominik (1998), René Descartes. München: Beck

Perler, Dominik (2006), Zweifel und Gewissheit: skeptische Debatten im Mittelalter.

Frankfurt a. M.: Klostermann

Pinkas, Claudia (2010), Der phantastische Film: Instabile Narrationen und die Narration

der Instabilität. Berlin: De Gruyter

Pisters, Patricia (2003), The Matrix of Visual Culture: Working with Deleuze in Film

Theory. Stanford, CA: Stanford University Press

Pisters, Patricia (2012), The Neuro-Image. A Deleuzian Film-Philosophy of Digital Screen

Culture. Stanford, CA: Stanford University Press

Plantinga, Carl R. and Greg M. Smith (1999), Passionate Views: Film, Cognition, and

Emotion. Baltimore: Johns Hopkins University Press

Plato (1966), “Seventh Letter”. In: Plato in Twelve Volumes, Vol. 7. Translated by R.G.

Bury. Cambridge, MA: Harvard University Press

Plato (1972), Phaidros. Translated and edited by Reginald Hackforth. Cambridge:

Cambridge University Press

Plato (1985), Theaetetus. Oxford: Clarendon Press

Plato (2006), The Republic. Translated by R.E. Allen. New Haven: Yale University Press

Ponech, Trevor (2006), “The Substance of Cinema”. In: Murray Smith and Thomas

Wartenberg (eds.), Thinking Through Cinema. Oxford: Blackwell, 187-198

Popkin, Richard (2003), The History of Scepticism. From Savonarola to Bayle. Revised

and Expanded Edition. Oxford: Oxford University Press

Poulaki, Maria (2011), Before or Beyond Narrative? Towards A Complex Systems Theory

of Contemporary Films. Unpublished dissertation manuscript, University of

Amsterdam

Prinz, Jesse J. (2010), “When is Film Art?”. In: Revue Internationale de Philosophie,

2010/4, no 254: 473-486

Pudovkin, Vsevolod (2001), “Über die Montage”. In: Franz-Josef Albersmeier(ed.),

Texte zur Theorie des Films. Stuttgart: Reclam, 74-96

Putnam Hilary (1981), Reason, Truth, and History. Cambridge, Mass.: Cambridge

University Press

Putnam, Hilary (1993), “Preface. Introducing Cavell”. In: Pursuits of Reason. Essays in

Honor of Stanley Cavell. Edited by Ted Cohen, Paul Guyer and Hilary Putnam.

Lubbock, Texas: Texas Tech University Press, vii-xii

Quante, Michael (1999), Personale Identität. Paderborn: F. Schöningh (= UTB 2082)

Quante, Michael und Peter Prechtl (1999), “ Identität, personale”. In: Peter Prechtl and

Franz-Peter Burkard (eds.), Metzler Philosophie-Lexikon. Begriffe und Definitionen. 2.,

erweiterte und aktualisierte Auflage. Stuttgart: Metzler, 250-251

Raatsch, Richard (2000), Philosophiephilosophie. Stuttgart: Reclam

Rajewsky, Irina O. (2002), Intermedialität. Tübingen: Francke (= UTB für

Wissenschaft; 2261)

Read, Rupert and Jerry Goodenough (eds.) (2005), Film as Philosophy. Essays in Cinema

After Wittgenstein and Cavell. New York, NY: Palgrave Macmillan

Q

R


Robinson, David (1997), Das Cabinet des Dr. Caligari. London: BFI Publishing (=BFI

Film Classics)

Rodowick, David N. (2001), Reading the Figural, or, Philosophy after the New Media.

Durham and London: Duke University Press

Rodowick, David N. (2007a), The Virtual Life of Film. Cambridge, Mass. and London:

Harvard University Press

Rodowick, David N. (2007b), “An Elegy for Theory”. In: October 121 (Summer), 99-

110

Rorty, Richard (2007), “Analytic Philosophy and Narrative Philosophy”. Unpublished

manuscript

Rorty, Richard (2009 [1979]), Philosophy and the Mirror of Nature: Thirtieth-Anniversary

Edition. Princeton, NJ: Princeton University Press

Rothman, William and Marian Keane (2000), Reading Cavell’s The World Viewed. A

Philosophical Perspective on Film. Detroit, Michigan: Wayne State University

Rowlands, Mark (2004), The Philosopher At the End of the Universe: Philosophy

Explained Through Science Fiction Films. New York: T. Dunne Books/St. Martin’s

Press

Rowling, J.K. (2008 [1997-2007]), The Complete Harry Potter Collection. London:

Bloomsbury

Russell, Bertrand (1953), Mysticism and Logic. London: Penguin

Sandbothe, Mike (2004), “ Filmphilosophie als Medienphilosophie. Pragmatische

Überlegungen zu ‘The Matrix’ und ‘Minority Report’”. In: Ludwig Nagl, Eva Waniek

und Brigitte Mayr (eds.), Film/Denken. Wien, Synema, 101-114; Online version on

sandbothe.net, http://www.sandbothe.net/51.html (accessed June 14, 2013)

Sandbothe, Mike (2008), “Media and Knowledge. Some Pragmatist Remarks about

Media Philosophy Within and Beyond the Limits of Epistemology”. In: Nordicom

Review. Nordic Research on Media and Communication, 4/2008, 93-101

Sargent, Lyman Tower (2010), Utopianism: A Very Short Introduction. Oxford: Oxford

University Press

Scheller, Wolf (2010), “Vom Wandern und Denken. Philosophische Reflexion verlangt

nach Übersicht”. In: Die Politische Meinung. Zeitschrift für Politik, Gesellschaft, Religion

und Kultur. 4/2010, issue 485, 60-62

Schmerheim, Philipp (2008a), “Paradigmatic Forking-Path Films: Intersections between

Mind-Game Films and Multiple-Draft Narratives”. In: Yvonne Gächter, Heike Ortner

et al. (eds.), Erzählen. Reflexionen im Zeitalter der Digitalisierung/Storytelling.

Reflections in the Age of Digitalization. Innsbruck: Innsbruck University Press, 256-270

Schmerheim, Philipp (2008b), “Gefühlte Gedanken, oder: Der Film, das denkende

Wesen. Buchbesprechung von Daniel Frampton, Filmosophy”. In: Zeitschrift für

Ästhetik und Allgemeine Kunstwissenschaft (2008), Band 53. Heft 2: 323-328

Schmerheim, Philipp (2008c), “Film, not Sliced up into Pieces, or: How Film Made me

Feel Thinking: Review of Filmosophy”. In: Film-Philosophy, vol. 12, no. 2: 109-123.

http://www.film-philosophy.com/2008v12n2/schmerheim.pdf

Schmerheim, Philipp (2012), “Intermedialität”. In: KinderundJugendmedien.de.

http://kinderundjugendmedien.de/index.php/begriffe-und-termini/198-

intermedialitaet (accessed on 10 June, 2013)

Schmerheim, Philipp (2013), “From Psycho to Pleasantville: Color and Black-and-

White Imagery in Film Experience“. In: Simon Brown, Sarah Street, Liz Watkins (eds.),

Color and the Moving Image. History, Theory, Aesthetics, Archive. New York:

Routledge, 114-123 (= AFI Film Reader series)

S


Schopenhauer, Arthur (1859), Die Welt als Wille und Vorstellung. Erster Band. Vier

Bücher, nebst einem Anhange, der die Kritik der Kantischen Philosophie enthält. Zürich:

Haffmans Verlag, 1988. First published in 1859 (first edition 1818)

Schwartz, Ronald (2005), Neo-noir: The New Film Noir Style from Psycho to Collateral.

Lanham, Md: Scarecrow Press

Scruton, Roger (1981), “Photography and Representation”. Critical Inquiry 7: 577-603

Seaside (2013), Seaside. A Simple, Beautiful Life. Homepage of the city of Seaside,

Florida. http://www.seasidefl.com/ (accessed April 15, 2012)

Sergi, Gianluca (2004), The Dolby Era: Film Sound in Contemporary Hollywood.

Manchester: Manchester University Press

Shaviro, Steven (2007), “Emotion Capture: Affect in Digital Film”. In: Projections

Volume 1, Issue 2, Winter 2007: 63-82. doi: 10:3167/proj.2007.010205

Shaw, Daniel (2006), “On Being Philosophical and Being John Malkovich”. In: Murray

Smith and Thomas Wartenberg (eds.), Thinking Through Cinema. Oxford: Blackwell,

111-118

Shaw, Daniel (2008), Film and Philosophy. Taking Movies Seriously. London and New

York: Wallflower

Singer, Irving (2004), Three Philosophical Filmmakers: Hitchcock, Welles, Renoir.

Cambridge, Mass.: MIT Press

Singer, Irving (2007), Ingmar Bergman, Cinematic Philosopher. Reflections on His

Creativity. Cambridge, Mass.: MIT Press

Sinnerbrink, Robert (2011), New Philosophies of Film: Thinking Images. London and

New York: Continuum

Smith, Greg M. and Carl Plantinga (eds.) (1999), Passionate Views: Film, Cognition, and

Emotion. Baltimore: John Hopkins University Press

Smith, Murray (2001), “Film”. In: Berys Gaut and Dominic Lopes (eds.), The Routledge

Companion to Aesthetics. London: Routledge, 463-75

Smith, Murray (2006), “Film Art, Argument, and Ambiguity”. In: Murray Smith and

Thomas Wartenberg (eds.), Thinking Through Cinema. Oxford: Blackwell, 33-42

Smith, Murray and Thomas Wartenberg (2006), “Introduction”. In: Murray Smith and

Thomas Wartenberg (eds.), Thinking Through Cinema. Oxford: Blackwell, 1-9

Sobchack, Vivian (2007), “What My Fingers Knew. The Cinesthetic Subject, or Vision

in the Flesh”. In Vivian Sobchack, Carnal thoughts: Embodiment and Moving Image

Culture. Berkeley: University of California Press, 53-84

Stackpole, Michael A. (1998), I, Jedi. New York: Bantam Books

Staiger, Janet (2006), “Complex Narratives, an Introduction.” In: Film Criticism,

31:1/2, 2-4

Stam, Robert (2000), Film Theory: An Introduction. Malden, MA: Blackwell

Stam, Robert (2004), Literature through Film: Realism, Magic, and the Art of Adaptation.

Malden, MA: Blackwell Publishers

Stam, Robert and Alessandro Raengo (2005), Literature andFfilm: A Guide to the Theory

and Practice of Film Adaptation. Malden, MA: Blackwell

Stecker, Robert (2009), “Film as Art”. In: Paisley Livingston and Carl Plantinga (eds.),

The Routledge Companion to Philosophy and Film. New York: Routledge, 121-130

Stone, Alan A. (2008), “What Does Woody Want? Woody Allen’s Vicky Cristina

Barcelona”. In: Boston Review. November/December 2008.

http://bostonreview.net/BR33.6/stone.php (accessed April 14, 2012)

Strawson, Peter F. (1985), Scepticism and Naturalism. Some Varieties. London: Methuen

Stroll, Avrum (1998), Sketches of Landscapes: Philosophy by Example. Cambridge, Mass.:

MIT Press


Stroud, Barry (1972), “Doubts about the Legacy of Scepticism”. In: Barry Stroud

(2000), Understanding Human Knowledge. Oxford: Oxford University Press, 26-37.

First published in 1972

Stroud, Barry (1984a), The Significance of Philosophical Scepticism. Oxford: Clarendon

Press

Stroud, Barry (1984b), “Scepticism and the Possibility of Knowledge”. In: Barry Stroud

(2000), Understanding Human Knowledge. Oxford: Oxford University Press, 1-8. First

published in 1984

Stroud, Barry (1994), “Kantian Argument, Conceptual Capacities, and Invulnerability”.

In: Barry Stroud (2000), Understanding Human Knowledge. Oxford: Oxford

University Press, 155-176. First published in 1994

Stroud, Barry (1999), “Radical Interpretation and Philosophical Scepticism”. In: Barry

Stroud (2000), Understanding Human Knowledge. Oxford: Oxford Uni-versity Press,

177-202

Stroud, Barry (2000a), Understanding Human Knowledge. Oxford: Oxford University

Press

Stroud, Barry (2000b), The Quest for Reality. Subjectivism and the Metaphysics of Colour.

New York and Oxford: Oxford University Press

Stucky, Mark D. (2005), “He is the One: The Matrix Trilogy's Postmodern Movie

Messiah”. In: The Journal of Religion and Film. Vol. 9, no.2, October. URL:

http://www.unomaha.edu/jrf/Vol9No2/StuckyMatrixMessiah.htm (accessed August

10, 2013)

Sutton, Paul (2005), “The Bambino Negato or Missing Child of Contemporary Italian

cinema.” Screen, 46:3, 353-72

Szabados, Béla and Christina Stojanova (eds.) (2011), Wittgenstein at the Movies:

Cinematic Investigations. Lanham, MD: Lexington Books

Taylor, Henry M. (2011),” Re: film interpretation & film-as-philosophy”. In: Film

Philosophy Archives. Published on Sun, 4 December 2011.

https://www.jiscmail.ac.uk/cgi-bin/webadmin?A2=film-philosophy;7584afb3.1112

(accessed on March 19, 2013)

Taylor, Henry M. (2012), “The Junkies of Plato’s Cave: Inception, Mindbending, and

Complex Narration in the Shadow of Philip K. Dick”. In: Cineaction 86.

http://cineaction.ca/issue86sample.htm (accessed July 30, 2013)

Theofanidis, Philippe (2013), “‘Penser avec les mains’ (‘Thinking with Your Hands’) by

Denis de Rougemont, 1936”. In: Aphelis. An iconographic and text archive related to

communication, technology and art. http://aphelis.net/penser-mains-thinking-with-

hands-denis-rougemont-1936/. Published January 30, 2013 (accessed on March 30,

2013)

Thomas, Deborah (2001), Reading Hollywood: Spaces and Meanings in American Film.

London: Wallflower Press

Thompson, Kristin (2007a), The Frodo Franchise: The Lord of the Rings and Modern

Hollywood. Berkeley: University of California Press

Thompson, Kristin (2007b), The Frodo Franchise: How the Lord of the Rings became a

Hollywood Blockbuster and Put New Zealand on the Map. North Shore, N.Z: Penguin

Books

Truffaut, Franc ois and Alfred Hitchcock (1967), Hitchcock. New York: Simon and

Schuster

T


Tryon, Chuck (2009), Reinventing Cinema: Movies in the Age of Media Convergence.

New Brunswick, N.J: Rutgers University Press

Turing, Alan (1950), “Computing Machinery and Intelligence”, Mind LIX (236): 433–

460

Turvey, Malcolm (2008), Doubting Vision. Film and the Revelationist Tradition. New

York: Oxford University Press

Vertov, Dziga (1973), Schriften zum Film. München: Hanser

Vogel, Matthias (2001a), Medien der Vernunft: Eine Theorie des Geistes und der

Rationalita t auf Grundlage einer Theorie der Medien. Frankfurt: Suhrkamp

Vogel, Matthias (2001b), “Medien als Voraussetzung für Gedanken”. In: Stefan Münker,

Alexander Roesler and Mike Sandbothe (eds.) (2003), Medienphilosophie: Beiträge zur

Klärung eines Begriffs. Frankfurt am Main: Fischer, 107-134

Wachowski, Andy, Lana and Larry, Geof Darrow, Tani Kunitake, Spencer Lamm, and

Steve Skroce (2000), The Art of The Matrix. New York: Newmarket Press

Walters, James (2008), Alternative Worlds in Hollywood Cinema. Resonance Between

Realms. Bristol: Continuum

Walton, Kendall L. (1990), Mimesis as Make-Believe. On the Foundations of the

Representational Arts. Cambridge, Mass.: Harvard University Press

Wartenberg, Thomas E. (2005), “Philosophy Screened. Experiencing The Matrix”. In:

Thomas E. Wartenberg and Angela Curran (eds.), The Philosophy of Film: Introductory

Text and Readings. Malden, MA: Blackwell, 270-283

Wartenberg, Thomas E. (2006a), “Film As Argument”. In: Film Studies, Issue 8,

Summer 2006: 126-137

Wartenberg, Thomas E. (2006b), “Beyond Mere Illustration: How Films Can Be

Philosophy”. In: Thinking Through Cinema. Edited by Murray Smith and Thomas

Wartenberg. Oxford: Blackwell, 19-32

Wartenberg, Thomas E. (2007), Thinking on Screen: Film as Philosophy. New York:

Routledge

Wartenberg, Thomas E. (2011), “On the Possibility of Cinematic Philosophy”. In: Havi

Carel and Greg Tuck (eds.), New Takes in Film-philosophy. New York: Palgrave

Macmillan, 2011, 9-24

Wedel, Michael (2011), Filmgeschichte als Krisengeschichte. Schnitte und Spuren durch den

deutschen Film. Bielefeld: transcript

Weir, Peter (1998), “Introduction”. In: Andrew Niccol, The Truman Show. The Shooting

Script. Screenplay, Foreword, and Notes by Andrew Niccol. Introduced by Peter Weir.

London: Nick Hern Books, xi-xviii (= NHB Shooting Scripts)

Werner, Paul (2005), Film Noir und Neo-Noir. München: Vertigo

Willaschek, Marcus (2003), Der mentale Zugang zur Welt. Frankfurt am Main: Vittorio

Klostermann

Williams, Bernard A. O. (1973), Problems of the Self. Philosophical Papers 1956-1972.

Cambridge, UK: Cambridge University Press

Williams, Bernard A. O. (1978), Descartes: The Project of Pure Enquiry.

Hammondsworth: Penguin Books

Williams, Bernard A. O. (2002), Truth and Truthfulness. An Essay in Genealogy.

Princeton, N.J.: Princeton University Press

Wilson, George M. (1986), Narration in Light. Studies in Cinematic Point of View.

London and New York: The John Hopkins University Press

Wilson, George M. (2012), Seeing Fictions in Film: The Epistemology of Movies. New

York: Oxford University Press

V

W


Wittgenstein, Ludwig (1958), “The Blue Book”. In: Ludwig Wittgenstein: The Blue and

Brown Books. Preliminary Studies for the ‘Philosophical Investigations’. Malden, MA and

Oxford: Blackwell Publishing, 1958, 1-74

Wittgenstein, Ludwig (1969-1975), On Certainty. Edited by G. E. M. Anscombe and G.

H. von Wright. Translated by Denis Paul and G. E. M. Anscombe. Oxford: Blackwell

Wittgenstein, Ludwig (1984), “Über Gewißheit”. In: Ludwig Wittgenstein. Werkausgabe

Band 8, 113-257. Frankfurt a.M.: Suhrkamp

Wittgenstein, Ludwig (1998 [1922]), Logisch-Philosophische Abhandlung. Tractatus

Logico-Philosophicus. Frankfurt am Main: Suhrkamp

Wittgenstein, Ludwig (2005), Philosophical Investigations. The German Text, with a

Revised English Translation. Oxford: Blackwell

Woerner, Meredith (2009), “James Cameron’s Na’vi Banshees Take Flight In The

Avatar Video Game”. In: io9.com (http://io9.com/5275122/james-camerons-navi-

banshees-take-flight-in-the-avatar-video-game/, accessed May 14, 2013)

Wolf, Werner (2005a), “Metalepsis as a Transgeneric and Transmedial Phenomenon. A

Case Study of the Possibilities of ‘Exporting’ Narratological Concepts”. In: Jan

Christoph Meister (ed.), Narratology beyond Literary Criticism. Mediality,

Disciplinarity. Berlin, New York 2005 (= Narratologia. 6), 83-107

Wolf, Werner (2005b), “Intermediality”. In: Herman, David, Manfred Jahn and Marie-

Laure Ryan (eds.), The Routledge Encyclopedia of Narrative Theory. London:

Routledge, 252-256

Wolf, Werner (2008), Intermedialität. In: Ansgar Nünning (ed.), Metzler-Lexikon

Literatur- und Kulturtheorie. 4. aktualisierte und erweiterte Auflage. Stuttgart: Metzler,

327-328

Yalom, Irvin D. (1992). When Nietzsche Wept. New York, NY: Basic Books

Yalom, Irvin D. (2005), The Schopenhauer Cure: A Novel. New York: HarperCollins

Yalom, Irvin D. (2012), The Spinoza Problem: A Novel. New York: Basic Books

Yanal, Robert (2005), Hitchcock as Philosopher. Jefferson, NC and London: McFarland

Yeffeth, Glenn (2003), Taking the Red Pill: Science, Philosophy and Religion in The

Matrix. Dallas, TX: BenBella Books

Zizek, Slavoj (2002a), “The Matrix: Or, The Two Sides of Perversion”. In: William Irvin

(ed.), The Matrix and Philosophy: Welcome to the Desert of the Real. Chicago: Open

Court, 240-266

Zizek, Slavoj (2002b), “Welcome to the Desert of the Real”. In: South Atlantic Quarterly

101:2, Spring 2002: 385-389

Films

2001 – A SPACE ODYSSEY (Stanley Kubrick, 1968)

24 (Fox Network, November 6, 2001, USA)

24 HOUR PSYCHO (Douglas Gordon, 1993)

8 1/2 (Federico Fellini, 1963)

9 (Umit Unal, 2002)

A BEAUTIFUL MIND (Ron Howard, 2001)

A MATTER OF LIFE AND DEATH (Michael Powell and Emeric Pressburger, 1946)

A MATTER OF PERSPECTIVE (Cliff Bole, 10 January 1990)

A SCANNER DARKLY (Richard Linklater, 2006)

A SHORT FILM ABOUT KILLING (Krzysztof Kieślowski, 1988)

Y

Z

0-9

B


ABRE LOS OJOS (Alejandro Amenábar, 1997)

AFTER EARTH (M. Night Shyamalan, 2013)

AKIRA (Katsuhiro Otomo, 1987)

ALICE IN WONDERLAND (Tim Burton, 2010)

ALIEN (Ridley Scott, 1979)

ALIEN: RESURRECTION (Jean-Pierre Jeunet, 1997)

ALIEN3 (David Fincher, 1992)

ALIENS (James Cameron, 1986)

ALL OF ME (Carl Reiner, 1984)

AN AMERICAN FAMILY (Alan and Susan Raymond, 1973)

ANTZ (Eric Darnell, Tim Johnson, 1998)

ARTIFICIAL INTELLIGENCE – A.I. (Steven Spielberg, 2001)

ASHES OF TIME (Wong Kar-Wai, 1994)

ASSEMBLAGES (Maurizio Lazzarato and Angela Melitopoulos, 2010)

AVATAR (James Cameron, 2009)

AWAKENINGS (Penny Marshall, 1990)

BATTLESHIP POTEMKIN (Sergej Eisenstein, 1925) (orig.: Bronenosets Potyomkin)

BEING JOHN MALKOVICH (Spike Jonze, 1999)

BEING THERE (Hal Ashby, 1979)

BERLIN – SYMPHONIE EINER GROßSTADT (Walter Ruttmann, 1927)

BLADE RUNNER (Ridley Scott, 1982)

BLAISE PASCAL (Roberto Rossellini, 1971)

BLOW UP (Michelangelo Antonioni, 1966)

BRAM STOKER’S DRACULA (Francis Ford Coppola, 1992)

BRAVEHEART (Mel Gibson, 1995)

BRIGADOON (Vincente Minelli, 1954)

BUTTERFLY EFFECT (Eric Bress, J. Mackye Gruber, 2004)

CASABLANCA (Michael Curtiz, 1942)

CYPHER (Vincenzo Natali, 2002)

CLOCKWORK ORANGE (Stanley Kubrick, 1971)

DARK CITY (Alex Proyas, 1998)

DARWIN’S NIGHTMARE (Hubert Sauper, 2004)

DAS CABINET DES DR. CALIGARI (Robert Wiene, 1920)

DAS MILLIONENSPIEL (Tom Toelle, 1970)

DEAD MAN WALKING (Tim Robbins, 1995)

DECALOGUE (Krzysztof Kieślowski, 1988-89)

DER STUDENT VON PRAG (Hanns Heinz Ewers, 1913)

DIAL M FOR MURDER (Alfred Hitchcock, 1954)

DIE HARD (John McTiernan, 1988)

DONNIE BRASCO (Mike Newell, 1997)

DONNIE DARKO (Richard Kelly, 2001)

EARTH (Alastair Fothergill, Mark Linfield, 2007)

EDTV (Ron Howard, 1999)

ELYSIUM (Neill Blomkamp, 2013)

ERASERHEAD (David Lynch, 1977)

ESCAMOTAGE D'UNE DAME AU THÉÂTRE ROBERT HOUDIN (George Méliès, 1896)

ET DIEU … CRÉA LA FEMME (Roger Vadim, 1956)

ETERNAL SUNSHINE OF THE SPOTLESS MIND (Michel Gondry, 2004)

B

C

D

E


THE EWOK ADVENTURE (John Korty, 1984)

EWOKS: THE BATTLE FOR ENDOR (Jim and Ken Wheat, 1985)

EXISTENZ (David Cronenberg, 1999)

FATHERLAND (Christopher Menaul, 1994)

FIGHT CLUB (David Fincher, 1999)

FILM IST (Gustav Deutsch, part 1-6: 1998, part 7-12: 2002)

FINDING NEMO (Andrew Stanton, Lee Unkrich, 2003)

FLATLINERS (Joel Schumacher, 1990)

FORREST GUMP (Robert Zemeckis, 1994)

FUNNY GAMES (Michael Haneke, 1997)

FUNNY GAMES (Michael Haneke, 2007)

GATTACA (Andrew Niccol, 1997)

GHOST (Jerry Zucker, 1990)

GHOST IN THE SHELL (Mamoru Oshii, 1996)

GLADIATOR (Ridley Scott, 2000)

GROUNDHOG DAY (Harold Ramis, 1994

HANCOCK (Peter Berg, 2008)

HERO (Yimou Zhang, 2002)

HIROSHIMA, MON AMOUR (Alain Resnais, 1959)

HISTOIRE(S) DU CINEMA: LE CONTRÔLE DE L’ UNIVERSE (Jean-Luc Godard, 1998)

HOME MOVIES (Brian De Palma, 1979)

HOW’S IT GOING TO END? THE MAKING OF ‘THE TRUMAN SHOW’ (John Mefford and

Eric Young (producers), 2005)

HUGO (Martin Scorsese, 2011)

IDENTITY (James Mangold, 2003)

IN A GROVE (Hisayasu Satō, 1996)

IN TIME (Andrew Niccol, 2011)

INCEPTION (Christopher Nolan, 2010)

INFERNAL AFFAIRS (Andrew Lau and Alan Mak, 2002)

INLAND EMPIRE (David Lynch, 2006)

INSOMNIA (Erik Skjoldbjærg, 1997)

INSOMNIA (Christopher Nolan, 2002)

INTOLERANCE (D.W. Griffith, 1916)

IRON MAZE (Hiroaki Yoshida, 1991)

IT’S A WONDERFUL LIFE (Frank Capra, 1946)

JACOB’S LADDER (Adrian Lyne, 1990)

JFK (Oliver Stone, 1991)

JOHN CARTER (Andrew Stanton, 2012)

JULES ET JIM (François Truffaut, 1962)

JURASSIC PARK (Steven Spielberg, 1993)

KING KONG (Ernest B. Schoedsack and Merian C. Cooper, 1933)

KING KONG (Peter Jackson, 2005)

KOYAANISQATSI: LIFE OUT OF BALANCE (Godfrey Reggio, 1982)

KRABAT (Marco Kreuzpaintner, 2008)

KRISTALL (Christoph Girardet and Matthias Müller, 2006)

F

G

H

I

J

K


L’ANNÉE DERNIÈRE À MARIENBAD (Alain Resnais, 1961)

LA LUNE À UN METRE (George Méliès, 1898)

LA MORT EN DIRECT (Bertrand Tavernier, 1980)

LA SORTIE DES USINES LUMIÈRE (A. and L. Lumière, 1895)

LADY IN THE LAKE (Robert Montgomery, 1947)

L'ARRIVÉE D'UN TRAIN EN GARE DE LA CIOTAT on January 6, 1896

LE MÉLOMANE (George Méliès, 1903)

LE PEUPLE MIGRATEUR (Jacques Perrin et al., 2001)

LILIOM (Fritz Lang, 1934)

LOLA RENNT (Tom Tykwer, 1998)

LOST (TV series, 2004-2010)

LOST HIGHWAY (David Lynch, 1997)

LOUIS XIX, LE ROI DES ONDES (Michel Poulette, 1994)

MAD MEN (TV series, 2007-, 6 seasons)

MAN WITH A MOVIE CAMERA (Dziga Vertov, 1929)

MARNIE (Alfred Hitchcock, 1964)

MATRIX (Andy and Lana Wachowski, 1999)

MATRIX RELOADED (Andy and Lana Wachowski, 2003)

MATRIX REVOLUTIONS (Andy and Lana Wachowski, 2003)

MELINDA & MELINDA (Woody Allen, 2004)

MEMENTO (Christopher Nolan, 2000)

MEN IN BLACK (Barry Sonnenfeld, 1997)

METROPOLIS (Fritz Lang, 1927)

MIDNIGHT IN PARIS (Woody Allen, 2011)

MILLION DOLLAR BABY (Clint Eastwood, 2004)

MINORITY REPORT (Steven Spielberg, 2002)

MIRIS POLJSKOG CVECA (Srdjan Karanovic, 1978)

MIRROR, MIRROR (Tarsem Singh, 2012)

MISTY (Kenki Saegusa, 1997)

MODERN TIMES (Charlie Chaplin, 1936)

MOON (Duncan Jones, 2009)

MULHOLLAND DRIVE (David Lynch, 2001)

MY LIFE IS A MOVIE (Jeff Bacon, 2003)

NAKED LUNCH (David Cronenberg, 1991)

NAQOYQATSI: LIFE AS WAR (Godfrey Reggio, 2002)

NEVER LET ME GO (Mark Romanek, 2010)

NIGHT OF THE LIVING DEAD (George A. Romero, 1968)

NORTH BY NORTHWEST (Alfred Hitchcock, 1959)

NOSFERATU, EINE SYMPHONIE DES GRAUENS (Friedrich W. Murnau, 1922)

NOSFERATU: PHANTOM DER NACHT (Werner Herzog, 1979)

NUOVO CINEMA PARADISO (Giuseppe Tornatore, 1989)

OBLIVION (Joseph Kosinski, 2013)

PACIFIC RIM (Guillermo del Toro, 2013)

PAISÀ (Roberto Rossellini, 1946)

PETER JACKSON’S KING KONG (Peter Jackson, 2005)

PLASTIC PLANET (Werner Boote, 2009)

L

M

N

O

P


PLEASANTVILLE (Gary Ross, 1998)

POWAQQATSI: LIFE IN TRANSFORMATION (Godfrey Reggio, 1988)

PSYCHO (Alfred Hitchcock, 1960)

PSYCHO (Gus Van Sant, 1998)

PULP FICTION (Quentin Tarantino, 1994)

RASHOMON (Akira Kurosawa, 1950)

REAL LIFE (Albert Brooks, 1979)

REAR WINDOW (Alfred Hitchcock, 1954)

REBECCA (Alfred Hitchcock, 1940)

RINGU (Hideo Nakata, 1998)

ROMA, CITTÀ APERTA (Roberto Rossellini, 1945)

ROOM 666 (Wim Wenders, 1982)

RUNNING MAN (Paul Michael Glaser, 1987)

S1MONE (Andrew Niccol, 2002)

SABOTEUR (Alfred Hitchcock, 1942)

SABRINA (Billy Wilder, 1954)

SAVING PRIVATE RYAN (Steven Spielberg, 1998)

SHADOW OF A DOUBT (Alfred Hitchcock, 1943)

SHERLOCK JR. (Buster Keaton and Fatty Arbuckle, 1924)

SHUTTER ISLAND (Martin Scorsese, 2010)

SICKO (Michael Moore, 2007)

SLIDING DOORS (Peter Howitt, 1998)

SNOW WHITE AND THE HUNTSMAN (Rupert Sanders, 2012)

SOLARIS (Andrej Tarkovsky, 1972)

SOLARIS (Steven Soderbergh, 2002)

SOURCE CODE (Duncan Jones, 2011)

STAR TREK: WINK OF AN EYE (TV series, Jud Taylor, 1969, season 3, episode 66)

STAR TREK (J.J. Abrams, 2009)

STAR WARS – EPISODE I: THE PHANTOM MENCAE (George Lucas, 1999)

STAR WARS: EPISODE III – REVENGE OF THE SITH (George Lucas, 2005)

STAR WARS – EPISODE IV: A NEW HOPE (George Lucas, 1977)

STAR WARS – EPISODE V: THE EMPIRE STRIKES BACK (Irvin Kershner, 1980)

STAR WARS: THE CLONE WARS (TV series, producer: George Lucas, 2008-)

STRANGE DAYS (Kathryn Bigelow, 1995)

STRANGER THAN FICTION (Marc Forster, 2006)

SUSPICION (Alfred Hitchcock, 1941)

SYLVANIA WATERS (producers: Paul Watson and Pamela Wilson, 1992)

TERMINATOR 2: JUDGEMENT DAY (James Cameron, 1990)

TERMINATOR 3: RISE OF THE MACHINES (Jonathan Mostow, 2003)

TERMINATOR SALVATION (McG, 2009)

THANKS FOR EVERYTHING (William A. Seiter, 1938)

THE BOURNE IDENTITY (Doug Liman, 2002)

THE CIDER HOUSE RULES (Lasse Hallström, 1999)

THE CONVERSATION (Francis Ford Coppola, 1974)

THE DARK KNIGHT (Christopher Nolan, 2008)

THE DEPARTED (Scorsese, 2006)

THE FAMILY (Franc Roddam and Paul Watson, 1974)

THE GAME (David Fincher, 1997)

R

S

T


THE GREEN MILE (Frank Darabont, 1999)

THE HUNGER GAMES (Gary Ross, 2012)

THE ILLUSIONIST (Neil Burger, 2006)

THE ISLAND (Michael Bay, 2005)

THE ISTER (David Barison and Daniel Ross, 2004)

THE LAST TEMPTATION OF CHRIST (Martin Scorsese, 1988)

THE LIFE OF AN AMERICAN FIREMAN (Edwin S. Porter, 1903)

THE LIMEY (Stephen Soderbergh, 1999)

THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (Peter Jackson, 2001)

THE LORD OF THE RINGS: THE RETURN OF THE KING (Peter Jackson, 2003)

THE LORD OF THE RINGS: THE TWO TOWERS (Peter Jackson, 2002)

THE MAGNIFICENT SEVEN (John Sturges, 1960)

THE MAJESTIC (Frank Darabont, 2001)

THE MAN WHO KNEW TOO MUCH (Alfred Hitchcock, 1934 and 1956)

THE MAN WITH A MOVIE CAMERA (CHELOVEK S KINO-APPARATOM. Dziga Vertov,

1929)

THE MUMMY (Stephen Sommers, 1999)

THE NAKED GUN 33 1/3 (Peter Segal, 1994)

THE NUMBER 23 (Joel Schumacher, 2007)

The Others (Alejandro Amenábar, 2001)

THE OUTRAGE (Martin Ritt, 1964)

THE PRESTIGE (Christopher Nolan, 2006)

THE PRISONER (TV series, 1967)

THE RING (Gore Verbinski, 2002)

THE SEARCHERS (John Ford, 1956)

THE SECRET CINEMA (Paul Bartel, 1967)

THE SEVEN SAMURAI (Akira Kurosawa, 1954)

THE SILENCE OF THE LAMBS (Jonathan Demme, 1991)

THE SIXTH SENSE (M. Night Shyamalan, 1999)

THE TERMINATOR (James Cameron, 1984)

THE THIRTEENTH FLOOR (Josef Rusnak, 1999)

THE TRUMAN SHOW (Peter Weir, 1998)

THE TURIN HORSE (Béla Tarr, 2011)

THE TWILIGHT ZONE: A WORLD OF DIFFERENCE (Ted Post, 1960)

THE VILLAGE (M. Night Shyamalan, 2004)

THE WIZARD OF OZ (Victor Fleming et al., 1939)

THE WOMAN IN THE WINDOW (Fritz Lang, 1944)

THREE DAYS OF THE CONDOR (Sydney Pollack, 1975)

THX 1138 (George Lucas, 1971)

TIME BANDITS (Terry Gilliam, 1982)

TO KILL A MOCKINGBIRD (Robert Mulligan, 1962)

TOP HAT (Mark Sandrich, 1935)

TOTAL RECALL (Len Wiseman, 2012)

TOTAL RECALL (Paul Verhoeven, 1990)

TRON (Steven Lisberger, 1982)

TRON: LEGACY (Joseph Kosinski, 2010)

TV JUNKIE (Matt Radecki and Michael Cain, 2005)

UMBERTO D. (Vittorio de Sica, 1952)

VAMPYR (Carl Theodor Dreyer, 1932)

VANILLA SKY (Cameron Crowe, 2001)

U

V


VANTAGE POINT (Pete Travis, 2008)

VERTIGO (Alfred Hitchcock, 1958)

VICKY CRISTINA BARCELONA (Woody Allen, 2008)

VIDEODROME (David Cronenberg, 1983)

VIVRE SA VIE (Jean-LucGodard, 1962)

WAKING LIFE (Richard Linklater, 2001)

WARM BODIES (Jonathan Levine, 2013)

WELT AM DRAHT (Rainer Werner Fassbinder, 1973)

WHO FRAMED ROGER RABBIT? (Robert Zemeckis, 1988)

WITTGENSTEIN (Derek Jarman, 1993)

WITTGENSTEIN TRACTATUS (Péter Forgács, 1992)

WORLD INVASION: BATTLE LOS ANGELES (Jonathan Liebesman, 2011)

Other references

TV shows

AMERICA’S GOT TALENT (TV show, 2006-)

BIG BROTHER (TV show, 1999-)

GERMANY’S NEXT TOP MODEL (TV show, 2006-)

I’M A CELEBRITY – GET ME OUT OF HERE! (TV show, 2002-)

THE REAL WORLD (TV show, 1992-)

Paintings

Friedrich, Caspar David (ca. 1832), Das Große Gehege (Ostra-Gehege) bei Dresden (,

Staatliche Kunstsammlungen Dresden)

Tenniel, John (2001 [1863]), Illustration from Alice’s Adventures in Wonderland. In:

Carroll, Lewis (2001 [1863])

Photographs

Marey, Étienne-Jules (1890-1891), Chronophotographic study of man pole vaulting

Muybridge, Eadweard (1878-79), Running (galloping)

Video games

STAR WARS: THE CLONE WARS (video game, Greg Borrud, 2002)

ENTER THE MATRIX (video game, A. and L. Wachowski, 2003)

Music

Piaf, Edith, “Je ne regrette rien”

W

uva-dare (digital academic repository) skepticism films ... filebibliography and filmography...

Documents