Cognitive Film Theory: A selected bibliography

Special issues
  • Journal of Dramatic Theory and Criticism 6 (1992) no. 2.
  • Iris (1989) no. 9. Cinema and Cognitive Psychology

Books and essays

  • Allen, Richard–Smith, Murray (eds.): Film Theory and Philosophy. Oxford: Clarendon Press, 1997.
  • Allen, Richard: Projecting Illusion: Film Spectatorship and the Impression of Reality. New York: Cambridge University Press, 1995.
  • Allen, Richard: Looking at Motion Pictures. In: Allen, Richard–Smith, Murray (eds.): Film Theory and Philosophy. Oxford: Clarendon Press, 1997. pp. 76–94.
  • Allen, Richard: Representation, Illusion, and the Cinema. Cinema Journal 32 (1993) no. 2. pp. 21–48. [Magyarul ld. ReprezentŠciů, illķziů ťs a film. (ford.: MŠnfay Alice) Metropolis 2–3 (1998–99) no. 4.–no. 1. pp. 49–65.]
  • Anderson, Barbara: Motion Perception. In De Lauretis, Teresa–Heath, Stephen (eds.): The Cinematic Apparatus. London and New York: Macmillan–St. Martins Press, 1980.
  • Anderson, Barbara: Eye Movement and Cinematic Perception. Journal of the University Film Association (Winter–Spring 1980) no. 32.
  • Anderson, Joseph–Anderson, Barbara: The Case for an Ecological Metatheory. In: Bordwell, David– Carroll, NoŽl (eds.): Post-Theory: Reconstructing Film Studies. Madison: University of Wisconsin Press, 1996. pp. 347–367. [Magyarul ld. Miťrt van szŁksťg Ųkolůgiai metaelmťletre? (ford.: SzŻcs Terťzia) Metropolis 2–3 (1998–99) no. 4.–no. 1. pp. 34–48.]
  • Anderson, Joseph–Anderson, Barbara: The Myth of Persistence of Vision Revisited. Journal of Film and Video 45 (Spring 1993) no. 1. pp. 3–12.
  • Anderson, Joseph: A Cognitive Approach to Continuity. Post Script 13 (Fall 1993) no. 1. pp. 61–66.
  • Anderson, Joseph: The Reality of Illusion: An Ecological Approach to Cognitive Film Theory. Carbondale: Southern Illinois University Press, 1996.
  • Andrew, Dudley J.: Cognitivism: Quests and Questionings. Iris (Spring 1989) no. 9.
  • Bordwell, David–Carroll, NoŽl (eds.): Post-Theory: Reconstructing Film Studies. Madison: University of Wisconsin Press, 1996.
  • Bordwell, David: A Case for Cognitivism. Iris 9 (Spring 1989) no. 9. pp. 11–40. [Magyarul ld. id.: A kognitivizmus mellett. (ford.: Borsody GyŲngyi) Metropolis 2–3 (1998–99) no. 4.–no. 1. pp. 14–33.]
  • Bordwell, David: A Case for Cognitivism: Further Reflections. Iris (Summer 1990) no. 11. pp. 107–112.
  • Bordwell, David: Cognition and Comprehension. Journal of Dramatic Theory and Criticism 6 (1992) no. 2.
  • Bordwell, David: Cognition, Construction, and Cinematic Vision. In: Bordwell, David–Carroll, NoŽl (eds.): Post-Theory: Reconstructing Film Studies. Madison: University of Wisconsin Press, 1996. pp. 87–107.
  • Bordwell, David: Contemporary Film Studies and the Vicissitudes of Grand Theory. In: Bordwell, David–Carroll, NoŽl (eds.): Post-Theory: Reconstructing Film Studies. Madison: University of Wisconsin Press, 1996. pp. 3–36.
  • Bordwell, David: Elbeszťlťs a jŠtťkfilmben. (ford.: Půcsik Andrea) Budapest: MFI, 1996. 3. fejezet, pp. 42–60.
  • Bordwell, David: Historical Poetics of Cinema. In: Palmer, R. Barton (ed.): The Cinematic Text: Methods and Approaches. New York: AMS Press, 1989. pp. 369–398.
  • Bordwell, David: Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge, MA: Harvard UP, 1989.
  • Bordwell, David: On the History of Film Style. Cambridge, MA: Harvard University Press, 1997.
  • Branigan, Edward: Narrative Comprehension and Film. London: Routledge, 1992.
  • Branigan, Edward: Sound and Epistemology. Journal of Aesthetics and Art Criticism 47 (1989) no. 4.
  • Branigan, Edward: Sound, Epistemology, Film. In: Allen, Richard–Smith, Murray (eds.): Film Theory and Philosophy. Oxford: Clarendon Press, 1997. pp. 95–125.
  • Branigan, Edward: Subjectivity Under Siege. Screen 19 (1978) no. 1.
  • Brooks, Virginia: Film, Perception and Cognitive Psychology. Millenium Film Journal (1984–1985) nos. 14–15. pp. 105–126.
  • Brooks, Viginia: Restoring the Meaning in Cinematic Movement: What is the Text in a Dance Film? Iris (Spring 1989) no. 9.
  • Buckland, Warren (ed.): The Film Spectator: From Sign to Mind. Amsterdam: Amsterdam University Press, 1995.
  • Butzel, Marcia: Paradigms for Cognitivism? The Perception of Movement and Film Choreography. Iris (Spring 1989) no. 9.
  • Carroll, NoŽl: Words, Images, and Laughter. Persistence of Vision 14 (1997) pp. 42–52.
  • Carroll, NoŽl: A Philosophy of Mass Art. Oxford: Oxford University Press, 1998.
  • Carroll, NoŽl: Anglo-American Aesthetics and Contemporary Criticism: Intention and the Hermeneutics of Suspicion. The Journal of Aesthetics and Art Criticism 51 (Spring 1993) no. 2. pp. 245–252.
  • Carroll, NoŽl: Art and Interaction. The Journal of Aesthetics and Art Criticism 45 (1986) pp. 57–68.
  • Carroll, NoŽl: Art, Narrative and Moral Understanding. In: Levinson, Jerrold (ed.): Aesthetics and Ethics: Essays at the Intersection. Oxford: Clarendon Press, 1998. pp. 126–160.
  • Carroll, NoŽl: Art, Practice, and Narrative. The Monist 71 (1988) pp. 140–156.
  • Carroll, NoŽl: Cognitivism, Contemporary Film Theory, and Method. Journal of Dramatic Theory and Criticism 6 (Spring 1992) no. 2. pp. 199–219.
  • Carroll, NoŽl: Concerning Uniqueness Claims for Photographic and Cinematographic Representation. Dialectics and Humanism 2 (1987) pp. 29–43.
  • Carroll, NoŽl: Conspiracy Theories of Representation. Philosophy of the Social Sciences 17 (1987) pp. 395–412.
  • Carroll, NoŽl: Fiction, Non-Fiction, and the Film of Presumptive Assertion: A Conceptual Analysis. In: Smith, Murray (ed.): Film Theory and Philosophy. Oxford: Clarendon, 1997. pp. 173–202.
  • Carroll, NoŽl: Film, Attention and Communication: A Naturalistic Account. In: Great Ideas Today. Chicago: Encyclopedia Britannica, 1997.
  • Carroll, NoŽl: Film/Mind Analogies: The Case of Hugo MŁnsterberg. Journal of Aesthetics and Art Criticism 46 (1988) no. 4.
  • Carroll, NoŽl: Interpreting the Moving Image. Cambridge: Cambridge Studies in Film, 1998.
  • Carroll, NoŽl: Moderate Moralism. British Journal of Aesthetics 36 (July 1996) no. 3. pp. 223–238.
  • Carroll, NoŽl: Mystifying Movies: Fads and Fallacies in Contemporary Film Theory. New York: Columbia University Press, 1988.
  • Carroll, NoŽl: Nonfiction Film and Postmodernist Scepticism. In: Bordwell, David–Carroll, NoŽl (eds.): Post-Theory: Reconstructing Film Studies. Madison: University of Wisconsin Press, 1996. pp. 283–306.
  • Carroll, NoŽl: Periodizing Postmodernism? Clio 26 (Winter 1997) pp. 143–165.
  • Carroll, NoŽl: Philosophical Problems of Classical Film Theory. Princeton, NJ: Princeton UP, 1988.
  • Carroll, NoŽl: Prospects for Film Theory: A Personal Assessment. In: Bordwell, David–Carroll, NoŽl (eds.): Post-Theory: Reconstructing Film Studies. Madison: University of Wisconsin Press, 1996. pp. 37–68.
  • Carroll, NoŽl: Toward a Theory of Film Suspense. Persistence of Vision (Summer 1984) no. 1. pp. 65–89.
  • Carroll, NoŽl: Towards an Ontology of the Moving Image. In: Freeland, Cynthia A.–Wartenberg, Thomas E. (eds.): Philosophy and Film. London: Routledge, 1995. pp. 68–85.
  • Carroll, NoŽl: The Intentional Fallacy: Defending Myself. Journal of Aesthetics and Art Criticism 55 (1997) no. 3. pp. 305–310.
  • Carroll, NoŽl: The Ontology of Mass Art. The Journal of Aesthetics and Art Criticism 55 (Spring 1997) no. 2. pp. 187–199.
  • Carroll, NoŽl: The Paradox of Junk Fiction. Philosophy and Literature 18 (1994) no. 2. pp. 225–241.
  • Carroll, NoŽl: The Paradox of Suspense. In: Vorderer, Peter–Wulff, Hans J.–Friedrichsen, Mike (eds.): Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations. Hillsdale, New Jersey: Lawrence Erlbaum Associates, 1996. pp. 71–92.
  • Carroll, NoŽl: The Philosophy of Horror. New York: Routledge, 1990.
  • Carroll, NoŽl: The Power of Movies. Daedalus 114 (Fall 1985) no. 4. pp. 79–104.
  • Carroll, NoŽl: Theories of Art. Madison: University of Wisconsin Press. Megjelenťs alatt.
  • Carroll, NoŽl: Theorizing The Moving Image. New York: Cambridge University Press, 1996.
  • Carroll, NoŽl: Toward a Theory of Film Editing. Millenium Film Journal (1979) nos. 1–2. pp. 79–99.
  • Carroll, NoŽl: Toward a Theory of Point-of-View Editing: Communication, Emotion, and the Movies. Poetics Today 14 (Spring 1993) no. 1. pp. 123–141.
  • Chateauvert, J.: Deux mises en scŤne de la focalisation: de la production a la perception. Degres 23 (1995) 1–32.
  • Collins, Andrew W.: Recent Advances in Research on Cognitive Processing of Television Viewing. Journal of Broadcasting 25 (Fall 1981) no. 4.
  • Currie, Gregory: An Ontology of Art. New York: St. Martin’s Press, 1989.
  • Currie, Gregory: Film, Reality, and Illusion. In: Bordwell, David–Carroll, NoŽl (eds.): Post-Theory: Reconstructing Film Studies. Madison: University of Wisconsin Press, 1996. pp. 325–344.
  • Currie, Gregory: Image and Mind: Film, Philosophy and Cognitive Science. Cambridge: Cambridge UP, 1995.
  • Currie, Gregory: Imagination and Simulation: Aesthetics meets Cognitive Science. In: Davies, M.–Stone, T. (eds.): Mental Simulation. Oxford: Basil Blackwell, 1995.
  • Currie, Gregory: Narrative. In: Craig, Edward (ed.): The Encyclopedia of Philosophy. London: Routledge, 1998.
  • Currie, Gregory: Personal Imagining. Philosophical Quarterly 43 (1993) no. 170.
  • Currie, Gregory: Photography, Painting and Perception. Journal of Aesthetics and Art Criticism 49 (Winter 1991) no. 1.
  • Currie, Gregory: Realism of Character. In: Levinson, J. (ed.): Art and Morality. Cambridge: Cambridge University Press, 1996.
  • Currie, Gregory: The Film Theory That Never Was. In: Allen, Richard–Smith, Murray (eds.): Film Theory and Philosophy. Oxford: Oxford University Press, 1997. pp. 42–59.
  • Currie, Gregory: The Long Goodbye: The Imaginary Language of Film. British Journal of Aesthetics 33 (July 1993) no. 3. pp. 207–219.
  • Currie, Gregory: The Moral Psychology of Fiction. Australasian Journal of Philosophy 73 (June 1995) no. 2.
  • Currie, Gregory: The Nature of Fiction. New York: Cambridge University Press, 1990.
  • Currie, Gregory: The Paradox of Caring. In: Hjort, Mettje (ed.): Fiction and Emotion. Oxford: Oxford University Press, 1996.
  • Currie, Gregory: Unreliability Refigured: Narrative in Literature and Film. Journal of Aesthetics and Art Criticism 53 (Winter 1995) no. 1. pp. 19–29.
  • Currie, Gregory: Visual Fictions. Philosopohical Quarterly 41 (April 1991) no. 163. pp. 129–143.
  • Detenber, Benjamin–Reeves, Byron: A Bio-informational Theory of Emotion: Motion and Image Size-effects on Viewers. Journal of Communication (1996) no. 46. p. 66.
  • Durgnat, Raymond: Mind’s Eye, Eye’s Mind: Transformation by Context. Quarterly Review of Film Studies 9 (Spring 1984) no. 2. pp. 89–100.
  • Eidsvik, Charles: Cineliteracy. New York: Random House, 1978.
  • Eitzen, Dirk: Evolution, Function, and the Study of American Cinema. Velvet Light Trap (Fall 1991) no. 28. pp. 73–85.
  • Eitzen, Dirk: Attending to the Fiction: A Cognitive Account of Cinematic Illusion. Post Script 13 (Fall 1993) no 1 pp. 46–60.
  • Eitzen, Dirk: When is a Text? Iris (Spring 1989) no. 9.
  • Evces, Mike: ‘Touch of Evil and Ecological Optics: Toward a Demystification of Conventional Film Editing Practice. Journal of Dramatic Theory and Criticism 8 (Spring 1994) no. 2. pp. 304–309.
  • Grodal, Torben: Moving Pictures: A New Theory of Film Genres, Feeling and Cognition. Oxford: Clarendon Press, 1997.
  • Hammett, Jennifer: Essentializing Movies: Perceiving Cognitive Film Theory. Wide Angle 14 (1992) no. 1. pp. 86–94.
  • Hertzberg, Ludvig: Piecemeal Engineering. (12 September 1997) http://www.mailbase.ac.uk/lists/ film-philosophy/files/paper.hertzberg.html.
  • Hochberg, Julian–Brooks, Virginia: Movies in the Mind’s Eye. In: Bordwell, David–Carroll, NoŽl (eds.): Post Theory. Madison: University of Wisconsin Press, 1996. pp. 368–387.
  • Hochberg, Julian–Brooks, Virginia: The Perception of Motion Pictures. In: Friedman, M. P.–Carterette, E. C. (eds.): Cognitive Ecology. New York: Academic Press, 1996.
  • Hochberg, Julian: Representation of Motion and Space in Video and Cinematic Displays. In: Boff, K.–Thomas, J.–Kaufman, L. (eds.): Handbook of Perception and Human Performance. 1. 22. fejezet. New York: Wiley, 1986.
  • Hochberg, Julian: The Construction of Pictorial Meaning. In: Sebeok, T.A.–Umaiker-Sebeok, J. (eds.): Advances in Visual Semiotics. Berlin: Mouton de Gruyter, 1993.
  • Hochberg, Julian: The Perception of Moving Images. Iris (Spring 1989) no. 9.
  • Hochberg, Julian: The Perception of Pictures and Pictorial Art. In: Friedman, M. P.–Carterette, E. C. (eds.): Cognitive Ecology. New York: Academic Press, 1996.
  • Jenkins, H.: The Amazing Push-me/Pull-you text: cognitive processing, narrational play and the comic film. Wide Angle 8 (1986) nos. 3–4. pp. 35–44.
  • Jost, F.: Le film-machine. Recherches semiotiques 13 (1993) pp. 161–174.
  • Jost, F.: L’image fixe dans l’image animee. Literature (1997) no. 106. pp. 80–88.
  • Kessler, Frank: Op weg naar een cognitieve semiotek. Versus (1991) no. 3. pp. 122–128.
  • Landau, I.: Hierarchical Structure in Schematic Representation: Aspects of Meaning in the Cinematic Shot. Journal of Pragmatics 26 (1996) pp. 737–766.
  • Large, David: Ecology and Reality: Notes Toward an Ecological Film Theory. (7 April 1997) http://www.mailbase.ac.uk/lists/film-philosophy/files/paper.large2.html.
  • Levinson, Jerrold: Seeing Imaginarily at the Movies. Philosophical Quarterly 43 (1993) no. 170. pp. 70–79.
  • Linden, George W.: Reflections on the Screen. Belmont, California: Wadsworth Publishing Company, Inc., 1970.
  • Livingston, Paisley: Film and the new Psychology. Poetics 21 (1992) pp. 93–116.
  • Livingston, Paisley: Literary Knowledge: Humanistic Inquiry and the Philosophy of Science. Ithaca: Cornell University Press, 1988.
  • Livingston, Paisley: Literature and Rationality: Ideas of Agency in Theory and Fiction. Cambridge: Cambridge University Press, 1991.
  • Messaris, Paul: Visual ‘Literacy’: Image, Mind and Reality. Boulder, Colorado: Westview Press, 1994.
  • MŁller, Jurgen (ed.): Proceedings of the Conference on Film Pragmatics: Amsterdam, March 1992. MŁnster: Nodus, 1997.
  • MŁller, JŁrgen: Towards a Pragmatics of the Audio-Visual I–II. MŁnster: Nodus Publications, 1994.
  • MŁnsterberg, Hugo: The Photoplay: A Psychological Study. New York: D. Appleton and Company, 1916.
  • Neill, Alex: Empathy and (Film) Fiction. In: Bordwell, David–Carroll, NoŽl (eds.): Post Theory. Madison: University of Wisconsin Press, 1996. pp. 175–194.
  • Parkinson, Eric: Project for a Scientific Film Theory. (17 October 1997) http://www.mailbase.ac.uk/lists/film-philosophy/files/paper.parkin.html.
  • Peterson, James: Is a Cognitive Approach to the Avant-garde Cinema Perverse? In: Bordwell, David–Carroll, NoŽl (eds.): Post Theory. Madison: University of Wisconsin Press, 1996. pp. 108–129. [Magyarul: VisszŠs-e az avantgŠrd film kognitŪv szemlťlete? (ford.: Ragů Anett) Metropolis 2–3 (1998–99) no. 4.–no. 1. pp. 72–85.]
  • Plantinga, Carl–Smith, Gregory (eds.): Passionate Views: Thinking about Film and Emotion. Baltimore: Johns Hopkins UP, 1997.
  • Plantinga, Carl: Affect, Cognition, and the Power of Movies. Post Script 13 (Fall 1993) no. 1. pp. 10–29.
  • Plantinga, Carl: Film Theory and Aesthetics: Notes on a Schism. Journal of Aesthetics and Art Criticism 51 (Summer 1993) no. 3. pp. 445–454.
  • Plantinga, Carl: Movie Pleasures and the Spectator’s Experience: Towards a Cognitive Approach. Film and Philosophy 2 (1995) pp. 3–19. http://www. hanover.edu/philos/film/vol_02/planting.htm
  • Plantinga, Carl: Notes on Spectator Emotion and Ideological Film Criticism. In: Allen, Richard– Smith, Murray (eds.): Film Theory and Philosophy. Oxford: Clarendon Press, 1997. pp. 372–393.
  • Plantinga, Carl: Rhetoric and Representation in Nonfiction Film. Cambridge: Cambridge UP, 1997.
  • Poneck, Trevor: Visual Perception and Motion Picture Spectatorship. Cinema Journal (Fall 1997)
  • Prince, Stephen: Contemporary Directions in Film Theory: An Introduction. Post Script 13 (1993) no. 1. pp. 3–9.
  • Prince, Stephen: Movies and Meaning: An Introduction to Film. New York: Allyn & Bacon, 1997.
  • Prince, Stephen: The Discourse of Pictures: Iconicity and Film Studies. Film Quarterly 47 (Fall 1993) no. 1. pp. 16–28.
  • Prince, Stephen: The Warrior’s Camera: The Cinema of Akira Kurosawa. (Princeton: Princeton UP, 1991).
  • Small, Edward S.: Introduction: Cinevideo and Mental Images. Journal of the University Film Association 32 (Winter–Spring 1980) nos. 1–2.
  • Small, Edward S.: Introduction: Cognitivism and Film Theory. Journal of Dramatic Theory and Criticism 6 (Spring 1992) no 2. pp. 165–172.
  • Smith, Murray: Cognition, Emotion and Cinematic Narrative. Post Script 13 (Fall 1993) no. 1. pp. 30–45.
  • Smith, Murray: Constraint and Convention in Psychological Film Aesthetics: On the Psychological Basis of Cinematic Conventions. In: Muller, Jurgen E. (ed.): Towards a Pragmatics of the Audiovisual II. MŁnster: Nodus Publikationen, 1994.
  • Smith, Murray: Emotions and the Structure of Narrative Film: Film as an Emotion Machine. Mahwah, NJ: Lawrence Erlbaum Associates, 1996.
  • Smith, Murray: Engaging Characters: Fiction, Emotion and the Cinema. Oxford: Oxford UP, 1995.
  • Smith, Murray: Film Spectatorship and the Institution of Fiction. Journal of Aesthetics and Art Criticism 53 (Spring 1995) no. 2. pp. 113–127.
  • Smith, Murray: Film-induced Affect as a Witness Emotion. Poetics 23 (1994) no. 2.
  • Smith, Murray: Imagining from the Inside. In: Allen, Richard–Smith, Murray (eds.): Film Theory and Philosophy. Oxford: Clarendon Press, 1997. pp. 412–430.
  • Smith, Murray: The Logic and Legacy of Brechtianism. In: Bordwell, David–Carroll, NoŽl (eds.): Post Theory. Madison: Univ. of Wisconsin Press, 1996. pp. 71–86.
  • Solso, Robert L.: Cognition and the Visual Arts. Cambridge, MA: The MIT Press, 1994.
  • Sweeney, Kevin: Condtructivism in Cognitive Film Theory. Film and Philosophy 2 (1995) http:// www.hanover.edu/philos/film/vol_02/sweeney.htm
  • Tan, Ed S.–Diteweg, Gijsbert: Suspense, Predictive Inference, and Emotion in Film Viewing. In: Vorderer, Peter–Wulff, Hans J.–Friedrichsen, Mike (eds.): Suspense. Hillsdale, New Jersey: Lawrence Erlbaum Associates, 1996.
  • Tan, Ed S.–van den Boom, Inge: Explorations of the Psychological Affect Structure of Narrative Film. In: Nardocchio, E. (ed.): Reader Reponse to Literature. Berlin: Mouton, 1992.
  • Tan, Ed S.: Emotion and the Structure of the Narrative Film. Hillsdale, NJ.: Lawrence Erlbaum, 1996.
  • Tarnay LŠszlů: HŠtsů bejŠrat az esszencializmushoz. Metropolis 2 (1998) no. 2. pp. 129–136.
  • Tarnay LŠszlů: Mi az, ami lŠthatů ťs mi az, ami nem? A filmi befogadŠs kognitŪv szintjei. Metropolis 2–3 (1998–99) no. 4.–no. 1. pp. 66–71.
  • Taylor, G. T.: The Cognitive Instrument in the Service of Revolutionary Change. Cinema Journal 31 (Summer 92) no. 4. pp. 42–59.
  • Turvey, Malcolm: Seeing Theory: On Perception and Emotional Response in Current Film Theory. In: Allen, Richard–Smith, Murray (eds.): Film Theory and Philosophy. Oxford: Clarendon Press, 1997. pp. 431–456.
  • Vernet, Marc: Le Regard ŗ la camera: Figures de l’absence. Iris (1983) no. 2. pp. 31–46.
  • Vernet, Marc: Figures de l’absence 2: la voix off. Iris (1985) no. 5. pp. 47–56.
  • Vorderer, Peter–Wulff, Hans J.–Friedrichsen, Mike (eds.): Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations. Hillsdale, New Jersey: Lawrence Erlbaum Associates, 1996.
  • Wilson, Frank: Reading the Postmodernist Image: a "cognitive mapping". Screen 31 (Winter 1990) no. 4. pp. 390–407.

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