Medienwissenschaft / Kiel: Berichte und Papiere 28, 2000

Kiel: Institut für NDL und Medien

ISSN 1615-7060

Redaktion und Copyright dieser Ausgabe: Britta Hartmann und Hans J. Wulff.

Letzte Änderung: 4. Mai 2000.

 

Das Wisconsin Projekt: Zwischen Neoformalismus, Kognitivismus und historischer Poetik

Eine Bibliographie

Britta Hartmann / Hans J. Wulff

Das folgende Verzeichnis listet alle uns bekannt gewordenen Arbeiten des "Wisconsin-Projektes" auf. Rezensionen und Rezensionsartikel sind nur dann einzeln verzeichnet, wenn sie unserer Meinung nach eine nennenswerte Auseinandersetzung mit dem Entwurf einer historischen Poetik des Films beinhalten. Andere Rezensionen finden sich unter dem Eintrag der Monographien.

Abel, Richard (1989) Split Decision. In: Quarterly Review of Film and Video 11,2, pp. 43-57.

  1. Rezensionsartikel zu Barry Salt: Film Style and Technology und Bordwell/Staiger/Thompson 1985.

Allen, Robert (1989) Re-Writing American Film History. In: Framework, 29, pp. 86-95.

  1. Zu Bordwell/Staiger/Thompson 1985.

Andrew, Dudley (1990) A Reply to David Bordwell. In: Iris 6,2 [= No. 11], pp. 113-116.

  1. Zu Bordwell 1990.

Arroyo, J. (E1992) Bordwell Considered. In: CineAction, 28, pp. 74-88.

Barr, Charles (1982) Analysis and Evidence. In: Encounter, 58, pp. 75-79.

  1. Rezension zu Bordwell 1981.

Bordwell, David (1971a) François Truffaut. A Man Can Serve Two Masters. In: Film Comment 7,1, pp. 18-23.

Bordwell, David (1971b) Citizen Kane. In: Film Comment 7,2, pp. 38-47.

  1. Repr. in: Movies and Methods: An Anthology. Ed. by Bill Nichols. Berkeley, Cal. [...]: University of California Press 1976, pp. 273-290.
  2. Repr. in: Focus on Orson Welles. Ed. by Ronald Gottesman. Englewood Cliffs, N.J.: Prentice-Hall 1976, pp. 103-122.
  3. [Repr.:] The Dual Cinematic Tradition in Citizen Kane. In: The Classic Cinema. Essays in Criticism. Ed. by Stanley Solomon. New York [...]: Harcourt Brace Jovanovich ***, pp. 181-191.

Bordwell, David (1972a) Dziga Vertov: An Introduction. In: Film Comment 8,1, pp. 38-45.

Bordwell, David (1972b) The Idea of Montage in Soviet Art and Film. In: Cinema Journal 11,2, pp. 9-17.

Bordwell, David (1972) Passion, Death and Testament: Carl Dreyer’s Jesus Film. In: Film Comment 8,2, pp. 59-63.

Bordwell, David (1974a) French Impressionist Cinema: Film Culture, Film Theory, and Film Style. Ph.D. Thesis, University of Iowa, xii, 309 pp.

  1. Repr. New York: Arno Press 1980, xii, 309 pp. (Dissertations on Film Series.).

Bordwell, David (1974/75) Eisenstein's Epistemological Shift. In: Screen 15,4, pp. 32-46.

  1. Dazu: "Editorial Note", pp. 29-32.
  2. Dazu auch: "Eisenstein's Epistemology: A Response". In: Screen 16,1, 1975, pp. 142-143.

Bordwell, David (1975) Dreyer’s Joan. In: Sight & Sound 44,4, p. 263.

Bordwell, David (1977a) Camera Movement and Cinematic Space. In: Ciné-Tracts 1,2, pp. 19-25.

  1. Repr. in: Explorations in Film Theory. Selected Essays from Ciné-Tracts. Ed. by Ron Burnett. Bloomington/Indianapolis: Indiana University Press, pp. 229-236.

Bordwell, David (1977b) Camera Movement, the Coming of Sound, and the Classical Hollywood Style. In: Film: Historical-Theoretical Speculations. Ed. by Ben Lawton & Janet Staiger. Pleasantville, N.Y.: Redgrave 1977, pp. 27-31 (The 1977 Film Studies Annual. Pt. 2.).

  1. Repr. in: The Hollywood Film Industry. A Reader. Ed. by Paul Kerr. London/New York: Routledge & Kegan Paul 1986, pp. 148-153 (British Film Institute Readers in Film Studies.).

Bordwell, David (1979a) Criticism, Theory, and the Particular. In: Film Criticism 4,1, pp. 1-8.

Bordwell, David (1979b) Our Dream Cinema: Western Historiography of the Japanese Film. In: Film Reader 4, pp. 45-62.

Bordwell, David (1979c) The Art Cinema as a Mode of Film Practice. In: Film Criticism 4,1, pp. 56-64.

Bordwell, David (1980) The Musical Analogy. In: Yale French Studies, 60, pp. 141-182.

Bordwell, David (1981) The Films of Carl-Theodor Dreyer. Berkeley, Cal. [...]: University of California Press, 251 pp.

  1. J. Monty: Naerlaesning af Dreyer. In: Kosmorama 27,155-156, Dec. 1981, pp. 200-201.
  2. Rev. (Tom Milne) in: Films and Filming, 336, Sept. 1982, p. 43.
  3. Charles Barr: Analysis and evidence. In: Encounter 58, May 1982, pp. 75-79.
  4. T. Pipolo: The poetry of the problematic. In: Quarterly Review of Film Studies 7,2, 1982, pp. 157-168.
  5. Rev. (Michel Ciment) in: Positif, 262, Dec. 1982, pp. 76-77.
  6. Rev. (Douglas Gomery) in: Cinema Journal 21,2, 1982, p. 60.
  7. Rev. (Emile Poppe) in: Skrien, 114-115, Feb. 1982, pp. 61-62.
  8. C. Tesson: Dreyer: le continent retrouve. In: Cahiers du Cinéma, 331, Jan 1982, p. xiv.
  9. Nick Browne: The formalist's Dreyer. In: October, 23, 1982, pp. 80-88.
  10. Rev. (D. Sauvaget) in: Revue du Cinéma, 390, Jan. 1984, p. 92.

Bordwell, David (1981/82) Textual Analysis Etc. In: Enclitic 5,2/6,1, pp. 125-136.

  1. Dazu Crawford 1983; dazu wiederum Bordwell 1983b.

Bordwell, David (1982a) Happily Ever After, Part II. In: Velvet Light Trap, 19, pp. 2-7.

Bordwell, David (E1982b) Course File: Introduction to Film, Approach II. In: AFI Education Newsletter, 5, pp. 4-7.

Bordwell, David (1983a) Lowering the Stakes: Prospects for a Historical Poetics of Cinema. In: Iris 1,1, pp. 5-18.

Bordwell, David (1983b) Textual Analysis Revisited. In: Enclitic 7,1, pp. 92-95.

  1. Zu Crawford 1983.

Bordwell, David (1983/84) Narrative and Scenography in the Later Eisenstein. In: Millenium Film Journal, 13, pp. 62-80.

Bordwell, David (1984) Jump Cuts and Blind Spots. In: Wide Angle 6,1, pp. 4-11.

  1. [Franz.:] La Saute et L'ellipse. In: Revue Belge du Cinéma, 22-23, 1988, pp. 85-90.

Bordwell, David (1985a) Narration in the Fiction Film. Madison, Wisc.: University of Wisconsin Press, xiv, 370 pp.

  1. Also London: Routledge. 2nd ed. 1988; 3rd ed. 1990.
  2. Rev. (Seymour Chatman) in: Wide Angle 8,3-4, 1986, pp. 139-141.
  3. Rev. (C. O'Brien) in: Substance 16,51, 1986, pp. 96-98.
  4. Sarah Kozloff: Theory: Narration film by David Bor in the fiction dwell. In: Film Quarterly 40,1, 1986, pp. 43-45.
  5. Rev. (Ian Jarvie) in: Historical Journal of Film, Radio, and Television 7,1, 1987, pp. 94-96.
  6. Nick Browne: American narrative studies of film: Between formalism and postmodernism. In: Quarterly Review of Film Studies 10,4, 1989, pp. 341-346.
  7. Bill Nichols: Form wars: The political unconscious of formalist theory. In: South Atlantic Quarterly 88,2, 1989, pp. 487-515.
  8. Helman, Alice (1987) Pierwsza ksiazka [review article]. In: Kino (Warschau), 21, pp. 17-18.

Bordwell, David (1985b) Widescreen Aesthetics and Mise-en-Scène Criticism. In: Velvet Light Trap, 21, pp. 18-25.

Bordwell, David (1986) Classical Hollywood Cinema: Narrational Principles and Procedures. In: Narrative, Apparatus, Ideology. A Film Theory Reader. Ed. by Philip Rosen. New York: Columbia University Press, pp. 17-34.

  1. Auszug aus Bordwell 1985a.

Bordwell, David (1988a) ApProppriations and ImPropprieties: Problems in the Morphology of Film Narrative. In: Cinema Journal 27,3, pp. 5-20.

Bordwell, David (1988b) Adventures in the Highlands of Theory. In: Screen 29,1, pp. 72-97.

  1. Antwort auf die King-Artikel.

Bordwell, David (1988c) Ozu and the Poetics of Cinema. Princeton, N.J./London: Princeton University Press/British Film Institute, x, 406 pp.

Bordwell, David (1989a) Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge, Mass.: Harvard University Press, xvi, 334 pp.

  1. Rev. by Herb Eagle. In: Wide Angle 12,3, 1990, pp. 118-123.
  2. Rev. by Seymour Chatman. In: Film Quarterly 43,4, 1990, pp. 56-59.
  3. Rev. by Barry Salt. In: Sight and Sound 60,1, 1990/91, p. 69.
  4. Rev. by Peter Rist. In: Cinémas (Montréal) 1,1-2, 1990, pp. 165-169.
  5. Perkins, V.F.: Must We Say What They Mean? In: Movie, 34/35, 1990, pp. 1-6.
  6. Rev. by Ed Tan. In: Skrien, 173, 1990, p. 64.
  7. Dazu Bordwells Antwort (1993).

Bordwell, David (1989b) A Case for Cognitivism. In: Iris 5,2 [= No. 9], pp. 11-40.

Bordwell, David (1989c) Historical Poetics of Cinema. In: The Cinematic Text: Methods and Approaches. Ed. by R. Barton Palmer. New York: AMS Press, pp. 369-398.

Bordwell, David (1990) A Case for Cognitivism: Further Reflections. In: Iris 6,2 [= No. 11], pp. 107-112.

  1. Dazu Andrew 1990.

Bordwell, David (1992a) Kognition und Verstehen. Sehen und Vergessen in Mildred Pierce. In: Montage/AV 1,1, pp. 5-24.

  1. [Amerik.:] Cognition and Comprehension: Viewing and Forgetting in Mildred

Pierce. In: Journal of Dramatic Theory and Criticism 5[?],2 1992, pp. ***.

Bordwell, David (1992b) Az elbeszelo Godard. In: Filmkultura 28,6, pp. 2-7.

  1. Auszug aus Bordwell 1985a.

Bordwell, David (1993a) Film Interpretation Revisited. In: Film Criticism 17,2-3, pp. 93-119.

  1. Antwort auf die Diskussionen um Bordwell 1989a.

Bordwell, David (1993b) The Cinema of Eisenstein. Cambridge, Mass./London: Harvard University Press, xvii, 316 pp.

Bordwell, David (1994) The Power of a Research Tradition: Prospects for Progress in the Study of Film Style. In: Film History 6,1, 1994, pp. 59-79.

Bordwell, David (1994b) Toto le moderne: la narration dans le cinéma européen d’après 1970. In: Revue Belge du Cinéma, 36/37, pp. 32-39.

Bordwell, David (1995a) Citizen Kane und die Künstlichkeit des klassischen Studio-Systems. In: Der schöne Schein der Künstlichkeit. Hrsg. u. eingel. v. Andreas Rost. Frankfurt: Vlg. der Autoren 1995, pp. 117-150 (Reden über Film.) / (Filmbibliothek.).

Bordwell, David (1995b) Die Hard und die Rückkehr des klassischen Hollywood-Kinos . In: Der schöne Schein der Künstlichkeit. Hrsg. u. eingel. v. Andreas Rost. Frankfurt: Vlg. der Autoren 1995, pp. 151-202 (Reden über Film.) / (Filmbibliothek.).

Bordwell, David (1995c) Deep-Focus Cinematography. In: The Studio System. Ed. and with an introduction by Janet Staiger. New Brunswick/New Jersey: Rutgers University Press, pp. 93-124.

  1. Ausschnitt aus Bordwell/Staiger/Thompson 1985.

Bordwell, David (1995d) Visual Style in Japanese Cinema, 1925-1945. In: Film History 7,1, pp. 5-31.

Bordwell, David (1996a) Contemporary Film Studies and the Vicissitudes of Grand Theory. In: Bordwell/Carroll 1996, pp. 3-36.

Bordwell, David (1996b) Convention, Construction, and Cinematic Vision. In: Bordwell/Thompson 1996, pp. 87-107.

Bordwell, David (1996c) La nouvelle mission de Feuillade; or, What was mise-en-scène? In: Velvet Light Trap, 37, pp. 10-29.

Bordwell, David (1997a) On the History of Film Style. Cambridge (Mass.), London: Harvard University Press 1997, x, 322 S.

  1. Rez. v. Britta Hartmann in: Medienwissenschaft: Rezensionen, 2, 1996, pp. 146-149.
  2. Rez. v. Frank Kessler in: Iris, ***
  3. Hurley, James S. (1998) David Bordwell’s Iron Cage of Style. In: Film-Philosophy: Electronic Salon, 11. September 1998 (http://www.mailbase.ac.uk/lits/film-philosophy/files/hurley.html).

Bordwell, David (1997b) Modelle der Rauminszenierung im zeitgenössischen europäischen Kino. In: Zeit, Schnitt, Raum. Hrsg. u. eingel. v. Andreas Rost. Frankfurt: Vlg. der Autoren 1997, pp. 17-42 (Reden über Film.)/(Filmbibliothek.).

Bordwell, David (1998a) Pluralism, Truth, and Scholarly Inquiry in Film Studies. In: Cinema Journal 37,2, pp. 84-90.

  1. Ein Diskussionsbeitrag. Dazu die Antwort von Peter Lehman, pp. 90-92.

Bordwell, David (1998) Postmoderne und Filmkritik: Bemerkungen zu einigen endemischen Schwierigkeiten. In: Die Filmgespenster der Postmoderne. Hrsg. v. Andreas Rost & Mike Sandbothe. München: Verlag der Autoren 1998, pp. 29-39 (Reden über Film. 5.)/(Filmbibliothek.)

Bordwell, David (2000) Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge, Mass./London, England: Harvard University Press, *** pp.

Bordwell, David / Carroll, Noël (eds.) (1996) Post-Theory. Reconstructing Film Studies. Madison: University of Wisconsin Press, xvii, 564 pp. (Wisconsin Studies in Film.).

  1. Rev. (Jörg Schweinitz) in: Journal for the Study of British Cultures 5,2, 1998, pp. 227-229.
  2. Rev. (Tony Pipolo) in: Cineaste 23,1, 1997, pp. 56-58.

Bordwell, David / Staiger, Janet / Thompson, Kristin (1985) The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press, xv, 506 pp.

  1. Zugl. London: Routledge & Kegan Paul. Mehrere Neuauflagen.
  2. Dazu: King 1986; 1987; 1988; Bordwell 1988b; Staiger 1988; Thompson 1988b.
  3. Thomas Elsaesser: What makes Hollywood run? In: American Film, May 1985, pp. 53-55.
  4. Tom Gunning: The classical Hollywood cinema. In: Wide Angle 7,3, 1985, p. 76.
  5. Robert Allen: Re-writing American film history. In: Framework, 29, 1985, pp. 86-95.
  6. G.F. Custen: Hollywood history and the production of culture. In: Journal of Communication 36,2, 1986, pp. 123-132.
  7. Karl Dibbets: Uitdagende visie op de "klassieke Hollywood film". In: Skrien, 149, 1986, pp. 62-63.
  8. Rev. (Dana Polan) in: Journal of the University Film Association 38,3-4, 1986, pp. 146-148.
  9. Rev. (Thomas Elsaesser) in: Iris 4,1, 1986, pp. 123-129.
  10. Rev. (Thomas Schatz) in: Cinéaste 14,3, 1986, p. 53.
  11. Rev. (D.J. Wenden) in: Historical Journal of Film, Radio, and Television 6,1, 1986, pp. 113-114.
  12. Rev. (John Fell) in: Film Quarterly 40,3, 1987, pp. 50-52.
  13. Rev. (G. Muscio) in: Cinema e Cinema, 48, March 1987, pp. 77-79.
  14. Abel, Richard (1989) Split decision [review article on Barry Salt: Film Style and Technology and Bordwell/Staiger/Thompson: The Classical Hollywood Cinema.]. In: Quarterly Review of Film and Video 11,2, 1989, pp. 43-57.
  15. Eitzen, Dirk (1991) Evolution, functionalism, and the study of American cinema. In: The Velvet Light Trap, 28, 1991, pp. 73-85.

Bordwell, David / Thompson, Kristin (1979) Film Art: An Introduction. Reading, Mass.: Addison-Wesley, xi, 339 pp.

  1. 2nd ed. 1985, xiii, 400 pp.; 3rd ed. 1990, xvi, 425 pp; 4th ed. 1993, xvi, 508 pp.; 5th ed. 1997, xiii, 496 pp.
  2. Rev. in: Films Illustrated 9, Dec. 1979, p. 157.
  3. Rev. (T. Ryan) in: Cinema Papers 26, April-May 1980, pp. 144-145.
  4. B.F. Dick: A poetics without passion, a rhetoric without rigor. In: Quarterly Review of Film Studies 5,3, 1980, pp. 355-359.
  5. Jerry L. Salvaggio: The emergence of a new school of criticism: neoformalism. In: Journal of the University Film Association 33,4, 1981, pp. 45-52. Dazu Bordwell & Thompson: "Neoformalist criticism: A reply". In: Journal of the University Film Association 34,1, 1982, pp. 65-68. Dazu wiederum Salvaggio: "Eat the rind - throw the watermelon away. A neo-formalist tenet". In: Journal of the University Film and Video Association 34,2, 1982, pp. 29-31.
  6. Emile Poppe: Esthetiek. In: Skrien, 114-115, Feb. 1982, p. 60.
  7. Amos Vogel: Structuralism. In: Film Comment 18, Jan-Feb. 1982, pp. 70-72.

Bordwell, David / Thompson, Kristin (1985) Toward a Scientific Film History? In: Quarterly Review of Film Studies 10,3, pp. 224-237.

  1. Detaillierte Auseinandersetzung mit Barry Salt Film Style and Technology: History and Analysis. London: Starword 1983.

Bordwell, David / Thompson, Kristin (1986/87) A Salt and Battery. In: Film Quarterly 40,2, pp. 59-62.

  1. Rezensionsartikel zu Barry Salt: Film Style and Technology: History and Analysis. London: Starword 1983.
  2. Dazu Barry Salt: Reply to Bordwell and Thompson. In: Film Quarterly 40,4, 1987, pp. 59-61.
  3. Dazu wiederum die Antwort von Bordwell & Thompson: Salt II. In: Film Quarterly 40,4, 1987, pp. 61-63.

Bordwell, David / Thompson, Kristin (1993) Technological Change and Classical Film Style. In: Grand Design. Hollywood as a Modern Business Enterprise, 1930-1939. Ed. by Tino Balio. New York: Charles Scribner's Sons, pp. 109-141 (History of the American Cinema. 5.).

Bosma, Peter (1989) Neoformalistische Filmanalyse. Ontwerp van een nieuwe boekenkast. In: Andere Sinema, 91, pp. 27-28.

Branigan, Edward (1975) Formal Permutations of the Point of View Shot. In: Screen 16,3, pp. 54-64.

Branigan, Edward(1976) The Space of Equinox Flower. In: Screen 17,2, pp. 74-105.

  1. Repr. [überarb. u. erw.] in: Close Viewings: An Anthology of New Film Criticism. Ed. by Peter Lehman. Tallahassee: Florida State University Press 1990, pp. 73-108.

Branigan, Edward (1977) The Articulation of Color in a Filmic System: Deux ou trois choses que je sais d‘elle. In: Wide Angle 1,3, pp. 20-31.

Branigan, Edward (1978a) Subjectivity under Siege: From Fellini's Otto e mezzo to Oshima's The Story of the Man Who Left His Will on Film. In: Screen 19,1, pp. 7-40.

  1. [Repr.:] The Modern Text: Subjectivity under Siege from Fellini's 8 1/2 to Oshima's The Story of the Man Who Left His Will on Film. In: Branigan 1984, pp. 143-167.

Branigan, Edward (1978b) Foreground and Background - A Reply to Paul Willemen. In: Screen 19,2, pp. 135-140.

Branigan, Edward (1979) Color and Cinema: Problems in the Writing of History. In: Film Reader, 4, pp. 16-34.

  1. Repr. in: Movies and Methods. 2. Ed. by Bill Nichols. Berkeley [...]: University of California Press 1985, pp. 121-143.
  2. Repr. in: The Hollywood Film Industry. A Reader. Ed. by Paul Kerr. London/New York: Routledge and Kegan Paul in association with the British Film Institute, pp. 120-147 (British Film Institute Readers in Film Studies.).
  3. Rev. (Seymour Chatman) in: Film Quarterly 40,1, 1986, pp. 45-46. Dazu: Edward Branigan & Seymour Chatman: "Controversy and correspondence. Narration issues." In: Film Quarterly 41,1, 1987, pp. 63-65.
  4. Rev. (F.P. Tomasulo) in: Journal of Aesthetics and Art Criticism 45,3, 1987, pp. 309-312.

Branigan, Edward (1981) The Spectator and Film Space: Two Theories. In: Screen 22,1, pp. 55-78.

Branigan, Edward (1985) Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film. The Hague/Paris: Mouton, xv, 246 pp. (Approaches to Semiotics. 66.).

  1. Als Phil. Diss. zuerst 1979.
  2. Kap. 5 repr. in: Movies and Methods. 2. Ed. by Bill Nichols. Berkeley [...]: University of California Press 1985, pp. 672-691.

Branigan, Edward (1986a) "Here is a Picture of No Revolver!" The Negation of Images and Methods for Analyzing the Structure of Pictorial Statements. In: Wide Angle 8,3-4, pp. 8-17.

Branigan, Edward (1986b) Point of View in the Fiction Film. In: Wide Angle 8,3-4, pp. 4-7.

Branigan, Edward (1986c) Diegesis and Authorship. In: Iris 4,2 [= 7], pp. 37-54.

Branigan, Edward (1989) Sound and Epistemology in Film. In: Journal of Aesthetics and Art Criticism 47, pp. 311-324.

  1. [Tschech.:] Zvuk a epistemologie ve filmu. In: Iluminace 4,2, 1994, pp. 5-22.

Branigan, Edward (1992) Narrative Comprehension and Film. London/New York: Routledge, xv, 325 pp. (Sightlines.).

Branigan, Edward (1997) To Zero and Beyond: Noël Burch‘s Theory of Film Practice. In: Defining Cinema. Ed. by Peter Lehman, pp. 149-170 (Depth of Field Series.)

Britton, Andrew (E1991) The Philosophy of the Pigeonhole: Wisconsin Formalism and the Classical Style. In: CineAction, 15, pp. ***.

Browne, Nick (1982) The Formalist's Dreyer. In: October, 23, pp. 80-88.

  1. Rez. zu Bordwell 1981.

Browne, Nick (1989) American Narrative Studies of Film: Between Formalism and Postmodernism. In: Quarterly Review of Film Studies 10,4, pp. 341-346.

Buckland, Warren (1989) Critique of Poor Reason. In: Screen 30,4, pp. 80-103.

  1. Zu Bordwell 1989b.

Carroll, Noël (1979a) Film History and Film Theory: An Outline for an Institutional Theory of Film. In: Film Reader 4, pp. 81-96.

Carroll, Noël (1979b) Toward a Theory of Film Editing. In: Millenium Film Journal, 3, pp. 79-99.

Carroll, Noël (1980/81) Language and Cinema: Preliminary Notes for a Theory of Verbal Images. In: Millenium Film Journal, 7-9, pp. 186-217.

Carroll, Noël (1981) Nightmare and the Horror Film: The Symbolic Biology of Fantastic Beings. In: Film Quarterly 29,3, pp. 16-25.

Carroll, Noël (1981/82) Causation, the Ampliation of Movement and Avant-garde Film. In: Millenium Film Journal, 10/11, pp. 61-82.

Carroll, Noël (1982) Adress to the Heathen. In: October, 23, Winter 1982, pp. 89-163.

  1. Rez. zu Stephen Heath: Questions of Cinema. London [...]: Macmillan 1981.
  2. Dazu ein "Reply" von Stephen Heath: Le Père Noël. In: October, 26, 1983, pp. 63-115.
  3. Dazu wiederum eine Antwort von Carroll: A Reply to Heath. In: October, 27, 1983, pp. 81-102.

Carroll, Noël (1984) Toward a Theory of Film Suspense. In: Persistence of Vision, 1, pp. 65-89.

Carroll, Noël (1988a) Philosophical Problems of Classical Film Theory. Princeton: Princeton University Press, x, 268 pp.

Carroll, Noël (1988b) Mystifying Movies: Fads and Fallacies in Contemporary Film Theory. New York: Columbia University Press, x, 262 pp.

  1. Paperback ed. New York 1991, 368 pp.
  2. Casetti, Francesco: Quelle théorie pour le cinéma? In: Iris, 9, 1989, pp. 182-187.
  3. Jennifer Hammett: Essentializing movies: Perceiving cognitive film theory. In: Wide Angle 14,1, 1992, pp. 86-94.
  4. Rev. by Carole Zucker. In: Cinémas (Montréal) 1,1-2, 1990, pp. 155-162.

Carroll, Noël (1988c) Film/Mind Analogies: The Case of Hugo Münsterberg. In: Journal of Aesthetics and Art Criticism 46,4, pp. 489-499.

Carroll, Noël (1990) The Philosophy of Horror, or Paradoxes of the Heart. New York/London: Routledge, xi, 256 pp.

  1. James Peterson: The Freddie Kruger of film theory strikes again. In: Wide Angle 14,1, 1992, pp. 78-85.
  2. Vgl. dazu einen kleinen Disput zwischen Carroll und Berys Gaut: Berys Gaut: The Paradox of Horror. In: British Journal of Aesthetics 33,4, 1993, pp. 333-345. -- Carroll, Noël: Enjoying Horror Fictions: A Reply to Gaut. In: British Journal of Aesthetics 35,1, 1995, pp. 67-72. -- Berys Gaut: The Enjoyment Theory of Horror: A Response to Carroll. In: British Journal of Aesthetics 35,3, 1995, pp. 284-9.

Carroll, Noël (1993) Toward a Theory of Point-of-View Editing: Communication, Emotion, and the Movies. In: Poetics Today 14,1, pp. 123-141.

Carroll, Noël (1995) The Paradox of Suspense. In: Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations. Ed. by Peter Vorderer, Hans J. Wulff & Mike Friedrichsen. Hillsdale, N.J.: Lawrence Erlbaum, pp. 71-91.

Carroll, Noël (1996a) Prospects for Film Theory: A Personal Assessment. In: Bordwell/Carroll 1996, pp. 37-70.

Carroll, Noël (1996b) Nonfiction Film and Postmodern Scepticism. In: Bordwell/Carroll 1996, pp. 283-306.

  1. Dt.: Der nicht-fiktionale Film und postmoderner Skeptizismus. In: Bilder des Wirklichen. Texte zur Theorie des Dokumentarfilms. Hrsg. v. Eva Hohenberger. Berlin: Vorwerk 8 1998, pp. 35-69.

Carroll, Noël (1996c) Theorizing the Moving Image. New York: Cambridge University Press, xix, 426 pp. (Cambridge Studies in Film.).

Carroll, Noël (1998a) A Philosophy of Mass Art. Oxford, Clarendon Press, xii, 425 pp.

Carroll, Noël (1998b) Interpreting the Moving Image. New York: Cambridge University Press, xviii, 370 pp. (Cambridge Studies in Film.).

  1. Buckland, Warren (1998) The Practice of Filmic Interpretation. In: Film-Philosophy: Electronic Salon, 16. November 1998 (http://www.Mailbase.ac.uk/lists/film-philosophy/files/buckland.html.).

Carroll, Noël (1999) Philosophy of art. A contemporary introduction. London/New York: Routledge, xii, 273 pp. (Routledge Contemporary Introduction to Philosophy.).

Casebier, Allan (1991) Film and Phenomenology. Toward a Realist Theory of Cinematic Representation. New York [...]: Cambridge University Press, pp. 99-105.

Chatman, Seymour (1990a) Coming to Terms. The Rhetoric of Narrative in Fiction and Film. Ithaca/London: Cornell University Press, pp. 124-130.

Chatman, Seymour (1990b) Rez. zu Bordwell 1989a. In: Film Quarterly 43,4, pp. 56-59.

Christie, Ian (1998) Formalism and neo-formalism. In: The Oxford Guide to Film Studies. Ed. by John Hill & Pamela Church Gibson. New York: Oxford University Press, pp. 58-64.

Crawford, Lawrence (1983) Textual Analysis. In: Enclitic 7,1, pp. 87-91.

  1. Zu Bordwell 1981/82; dazu wiederum Bordwell 1983c.

Custen, G.F. (1986) Hollywood History and the Production of Culture. In: Journal of Communication 36,2, pp. 123-132.

  1. Zu Bordwell/Staiger/Thompson 1985.

Dibbets, Karl (1984) Een vraaggesprek met David Bordwell en Kristin Thompson: De revisie van de filmgeschiedenis. In: Skrien, 134, pp. 41-43.

Dick, B.F. (1980) A Poetics Without Passion, a Rhetoric Without Rigor. In: Quarterly Review of Film Studies 5,3, pp. 355-359.

  1. Rez. u.a. zu Bordwell/Thompson 1979.

Eitzen, Dirk (1991) Evolution, Functionalism, and the Study of American Cinema. In: Velvet Light Trap, 28, pp. 73-85.

  1. Zu Bordwell/Staiger/Thompson 1985.

Elsaesser, Thomas (1986) Rez. zu Bordwell/Staiger/Thompson 1985. In: Iris 4,1, pp. 123-129.

Gaut, Berys (1996) Making Sense of Films: Neoformalism and Its Limits. In: Forum For Modern Language Studies 31,1 pp. 8-23.

Grant, Michael (1990) Rez. zu Thompson 1988a. In: Screen 31,3, pp. 341-345.

Gunning, Tom (1990) Rez. zu Thompson 1988a. In: Film Quarterly 43,3, pp. 52-54.

Hammett, Jennifer (1992) Essentializing Movies: Perceiving Cognitive Film Theory. In: Wide Angle 14,1, pp. 86-94.

  1. Rez. zu Carroll 1988b.

Hartmann, Britta / Wulff, Hans J. (1995) Vom Spezifischen des Films. Neoformalismus - Kognitivismus - Historische Poetik. In: Montage/AV 4,1, pp. 5-22.

Jacobs, Lea (1991) The Wages of Sin. Censorship and the Fallen Woman Film, 1928-1942. Madison, Wisc.: University of Wisconsin Press.

Jenkins, Henry (1995) Historical Poetics. In: Approaches to Popular Film. Ed. by Joanne Hollows & Mark Jancovich. Manchester/New York: Manchester University Press, pp. 99-122.

Kessler, Frank (1996) Ostranenie. Zum Verfremdungsbegriff von Formalismus und Neoformalismus. In: Montage / AV 5,2, pp. 51-65.

King, Barry (1986) 'The Classical Hollywood Cinema': A Review. In: Screen 27,6, pp. 74-88.

King, Barry (1987) The Story Continues... In: Screen 28,3, pp. 56-82.

  1. Dazu die Antworten: Bordwell 1988b; Staiger 1988; Thompson 1988b.

King, Barry (1988) A Reply to Bordwell, Staiger and Thompson. In: Screen 29,1, pp. 98-118.

Kuster, Paul (1996) New Film History. Grundzüge einer neuen Filmgeschichtswissenschaft. In: Montage/AV 5,1, pp. 39-60.

Lehman, Peter (1988) To the Dreaming Observer: Response to Kristin Thompson and David Bordwell. In: Journal of the University Film Association 40,1, pp. 67-71.

  1. Antwort auf Thompson/Bordwell 1988.

Lowry, Stephen (1992) Film - Wahrnehmung - Subjekt. Theorien des Filmzuschauers. In: Montage/AV 1,1, pp. 113-128.

Meyer, Corinna (1996) Der Prozeß des Filmverstehens. Ein Vergleich der Theorien von David Bordwell und Peter Wuss. Alfeld: Coppi Vlg., iv, 141 S. (Aufsätze zu Film und Fernsehen. 41.).

Neupert, Rupert (1995) The End. Narration and Closure in the Cinema. Detroit: Wayne State University Press.

Nichols, Bill (1989) Form Wars: The Political Unconscious of Formalist Theory. In: South Atlantic Quarterly 88,2, pp. 487-515.

  1. Repr. in: Classical Hollywood Narrative. The Paradigm Wars. Ed. by Jane Gaines. Durham/London: Duke University Press 1992, pp. 49-77.

Perkins, V.F. (E1990) Must We Say What They Mean? In: Movie, 34/35, pp. 1-6.

  1. Rez. zu Bordwell 1989a.

Pipolo, T. (1982) The Poetry of the Problematic. In: Quarterly Review of Film Studies 7,2, pp. 157-168.

  1. Rez. zu Bordwell 1981.

Polan, Dana B. (1983) Terminable and Interminable Analysis: Formalism and Film Theory. In: Quarterly Review of Film Studies 8,4, pp. 69-77.

  1. Rez. zu Thompson 1981.

Pye, Douglas (1989) Bordwell and Hollywood. In: Movie, 33, pp. 46-52.

  1. Review-Artikel u.a. zu Bordwell 1985a und Bordwell/Staiger/Thompson 1985.

Ray, R.B. (1988) The Bordwell Regime and the Stakes of Knowledge. In: Strategies, 1, pp. 143-181.

Salvaggio, Jerry L. (1981) The Emergence of a New School of Criticism: Neoformalism. In: Journal of the University Film Association 33,4, pp. 45-52.

  1. Dazu Bordwell und Thompson: Neoformalist Criticism: A Reply. In: Journal of the University Film Association 34,1, 1982, pp. 65-68.
  2. Dazu wiederum Salvaggio: "Eat the Rind - Throw the Watermelon Away:" A Neo-Formalist Tenet. In: Journal of the University Film and Video Association 34,2, 1982, pp. 29-31.

Smith, Murray (1995) Engaging characters. Fiction, emotion and the cinema. Oxford: Clarendon Press, x, 265 pp.

Staiger, Janet (1980) Mass-Produced Photoplays: Economic and Signifying Practices in the First Years of Hollywood. In: Wide Angle 4,3, pp. 12-27.

  1. Repr. in: Movies and Methods. 2. Ed. by Bill Nichols. Berkeley, Cal. [...]: University of California Press 1985, pp. 144-161.
  2. Repr. in: The Hollywood Film Industry. A Reader. Ed. by Paul Kerr. London/New York: Routledge and Kegan Paul in association with the British Film Institute, pp. 97-119 (British Film Institute Readers in Film Studies.).

Staiger, Janet (E1981) The Hollywood Mode of Production: The Construction of Divided Labor in the Film Industry. Phil.Diss. Madison, Wisc.

Staiger, Janet (1985) The Politics of Film Canons. In: Cinema Journal 24,3, pp. 4-23.

Staiger, Janet (1988) Reading King's Reading. In: Screen 29,1, pp. 54-70.

  1. Zu den King-Artikeln.

Staiger, Janet (1990) Class, Ethnicity, and Gender: Explaining the Development of Early American Film Narrative. In: Iris 6,2 [= No. 11], pp. 13-26.

Staiger, Janet (1992) Interpreting Films. Studies in the Historical Reception of American Cinema. Princeton, N.J.: Princeton University Press, xiv, 274 pp.

Stauff, Markus (1999) Nach der Theorie? Anmerkungen zum Stellenwert von Theorie und Politik bei Cultural Studies und Neoformalismus. In: Medienwissenschaft: Rezensionen, 1, S. 22-34.

Thompson, Kristin (1976) Sawing Through the Bough: Tout va bien as a Brechtian Film. In: Wide Angle 1,3, pp. 38-51.

  1. Repr. in: Thompson 1988, pp. 110-131.

Thompson, Kristin (E1977a) Non-Classical Spatial Structures in Ivan the Terrible: A Sample Analysis. In: 1977 Film Studies Annual. 1. Explorations in National Cinemas. Ed. by Ben Lawton & Janet Staiger. Pleasantville, N.Y.: Redgrave, pp. 57-64.

  1. Eingegangen in Thompson 1981, Kap. 3.

Thompson, Kristin (1977b) Notes on the Spatial System of Ozu's Early Films. In: Wide Angle 1,4, pp. 8-17.

Thompson, Kristin (1977c) Ivan the Terrible and Stalinist Russia: A Reexamination. In: Cinema Journal 17,1, pp. 30-43.

Thompson, Kristin (1977d) The Concept of Cinematic Excess. In: Ciné-Tracts, 2, pp. 54-63.

  1. Repr. in: Thompson 1981, pp. 287-302.
  2. Repr. in: Narrative, Apparatus, Ideology. A Film Theory Reader. Ed. by Philip Rosen. New York: Columbia University Press 1986, pp. 130-142.

Thompson, Kristin (1977e) The Duplicitous Text: An Analysis of Stage Fright. In: Film Reader 2, pp. 52-64.

  1. [Repr.:] Duplicitous Narration and Stage Fright. In: Thompson 1988, pp. 135-161.

Thompson, Kristin (1978a) Parameters of the Open Film: Les Vacances de M. Hulot. In: Wide Angle 2,1, pp. 22-31.

  1. Vorausbemerkungen in: Wide Angle 1,4, 1977, pp. 54-55.
  2. [Repr.:] Boredom on the Beach: Triviality and Humor in Les Vacances de M. Hulot. In: Thompson 1988, pp. 89-109.

Thompson, Kristin (1978b) Closure Within a Dream: Point-of-View in Laura. In: Film Reader 3, pp. 90-105.

  1. Repr. in: Thompson 1988, pp. 162-194.

Thompson, Kristin (1979) Play Time: Comedy on the Edge of Perception. In: Wide Angle 3,2, pp. 18-25.

  1. Repr. in: Thompson 1988, pp. 247-262.

Thompson, Kristin (1980a) Early Sound Counterpoint. In: Yale French Studies, 60, pp. 115-140.

Thompson, Kristin (1980b) Implications of the Cel Animation Technique. In: The Cinematic Apparatus. Ed. by Teresa de Lauretis & Stephen Heath. New York: St. Martin's Press, pp. 106-120.

Thompson, Kristin (1980/81) (Re)Discovering Charles Dekeukelaire. In: Millenium Film Journal, 7-9, pp. 115-129.

Thompson, Kristin (1981) Eisenstein's Ivan the Terrible: A Neo-Formalist Analysis. Princeton: Princeton University Press, x, 321 pp., 34 pls.

  1. D. Jakob: Eisenstein, on the beach. In: Film Comment 19, March-April 1982, pp. 78-79.
  2. Dana B. Polan: Terminable and interminable analysis: formalism and film theory. In: Quarterly Review of Film Studies 8,4, 1983, pp. 69-77.
  3. Rev. (François Albera) in: Positif, 276, Feb. 1984, p. 78.

Thompson, Kristin (1983) The Cinematic Specificity in Film Criticism and History. In: Iris 1,1 [= No. 1], pp. 39-49.

Thompson, Kristin (1984a) Rez. zu: Cinema 1900/1906: An Analytical Study. In: Iris 2,1 [= No. 3], pp. 139-143.

Thompson, Kristin (1984b) Rez. zu: Richard Abel: French Cinema. The First Wave, 1915-1929. In: Iris 2,2 [= No. 4], pp. 144-150.

Thompson, Kristin (1984/85) Eisenstein, Marshall and Soviet Cinema. In: Millenium Film Journal, 14/15, pp. 15-21.

  1. Rez. zu: Immoral Memories: An Autobiography by Sergei Eisenstein, trans. by Herbert Marshall. Boston: Houghton Mifflin 1983; und Masters of the Soviet Cinema: Crippled Creative Biographies by Herbert Marshall. London: Routledge and Kegan Paul 1983.

Thompson, Kristin (E1985a) Exporting Entertainment: America in the World Film Market 1907-1934. London: British Film Institute.

  1. Leo Braudy: The business of show business. In: American Film 11, May 1986, p. 59.
  2. S. Street: Cornering the market. In: Sight and Sound 55,3, 1986, pp. 216-217.
  3. Rev. (L. Codelli) in: Film Echange, 34, 1986, pp. 106-107.
  4. Rev. (Murf [d.i. A.D. Murphy]) in: Variety 323, 11.6.1986, p. 93.
  5. Rev. (Ernest Callenbach) in: Film Quarterly 40,4, 1987, pp. 41-42.
  6. T. Guback: Details of domination. In: Journal of Communication 37,1, 1987, pp. 167-169.
  7. Rev. (Ian Jarvie) in: Historical Journal of Film, Radio, and Television 7,1, 1987, pp. 88-89.

Thompson, Kristin (º1985b) Les Compagnies françaises et la creation de la "Motion Pictures Patents Co.". In: Les Premiers ans du cinéma français. Ed. par Pierre Guibbert. Paris: Institut Jean Vigo, pp. 116-122.

Thompson, Kristin (E1986a) The Formalist from Iowa, USA, Who Fell in Love with Ivan the Terrible. In: Film News, Feb.-March 1986, p. 10.

Thompson, Kristin (1986b) Parade [Jacques Tati, 1974]: A Review of an Unreleased Film. In: Velvet Light Trap, 22, pp. 75-83.

Thompson, Kristin (º1987a) The End of the "Film Europe" Movement. In: History on/and/in Film: Proceedings of the 3rd History and Film Conference. Ed. by Tom O'Regan & Brian Shoesmith. Perth: History and Film Association of Australia, pp. 45-56.

Thompson, Kristin (º1987b) Modelli narrativi alla Vitagraph. In: Vitagraph Company of America: Il cinema prima di Hollywood. Catalogue of the Sixth Il Giornate del Cinema Muto Festival. Pordenone: Studio Test, pp. 243-278.

Thompson, Kristin (1988a) Breaking the Glass Armor: Neoformalist Film Analysis. Princeton, N.J.: Princeton University Press, xi, 361 pp., 43 pls.

  1. P. Bosma: Neoformalistische filmanalyse. In: Sinema, 91, May-June 1989, pp. 27-28.
  2. Rev. (Tom Gunning) in: Film Quarterly 43,3, 1990, pp. 52-54.
  3. Rev. (Michael Grant) in: Screen 31,3, 1990, pp. 341-345.

Thompson, Kristin (1988b) Wisconsin Project or King's Projection? In: Screen 29,1, pp. 48-53.

  1. Zu den King-Artikeln.

Thompson, Kristin (º1988c) Fairbanks Without the Moustache: A Case For the Early Films. In: Sulla via di Hollywood 1911-1920. Ed. by Paolo Cherchi Usai & Lorenzo Codelli. Pordenone: Edizioni Biblioteca dell' Immagine, pp. 156-193.

Thompson, Kristin (1989a) Eisenstein at Ninety. In: Historical Journal of Film, Radio, and Television 9,1, pp. 96-99.

Thompson, Kristin (1989b) The Ermolieff Group in Paris: Exile, Impressionism, Internationalism. In: Griffithiana, 35/36, pp. 50-57.

Thompson, Kristin (º1990a) Dr. Caligari at the Folies-Bergère, or The Successes of an Early Avant-Garde Film. In: The Cabinet of Doctor Caligari : Texts, Contexts, Histories. Ed. by Michael Budd. New Brunswick: Rutgers University Press, pp. 121-169.

Thompson, Kristin (º1990b) Im Anfang war...: Some Links Between German Fantasy Films of the 1910s and the 1920s. In: Before Caligari. Ed. by Paolo Charchi Usai & Lorenzo Codelli. Pordenone: Edizioni Biblioteca dell' Immagine, pp. 138-161.

Thompson, Kristin (1992) Government Politics and Practical Necessities in the Soviet Cinema of the 1920s. In: The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. by Anna Lawton. New York: Routledge, pp. 19-41.

Thompson, Kristin (1993a) Eisenstein's Early Films Abroad. In: Eisenstein Rediscovered. Ed. by Ian Christie & Richard Taylor. London: Routledge, pp. 53-63.

Thompson, Kristin (1993b) Report of the ad hoc Commitee of the Society for Cinema Studies, 'Fair Usage Publication of Film Stills'. In: Cinema Journal 32,2, pp. 3-20.

Thompson, Kristin (1993c) Institutional Histories. In: Film History 5,4, pp. 360-362.

Thompson, Kristin (1993d) Early Alternatives to the Hollywood Mode of Production. Implications for Europe's Avant-Gardes. In: Film History 5,4, pp. 386-404.

Thompson, Kristin (1994) A film és a társadalmi: intézmények kapcsolatának története. In: Filmkultura 30,12, pp. 5-14.

Thompson, Kristin (1995a) The International Exploration of Cinematic Expressivity. In: Film and the First World War. Ed. by Karel Dibbets & Bert Hogenkamp. Amsterdam: Amsterdam University Press, pp. 65-85 (Film Culture in Transition.).

Thompson, Kristin (1995b) Neoformalistische Filmanalys. Ein Ansatz, viele Methoden. In: Montage / AV 4,1, pp. 23-62.

  1. Übers. Des Einleitungskapitels aus Thompson 1988a.
  2. Wiederabgedr. in: Texte zur Theorie des Films. Hrsg. v. Franz-Josef Albersmeier. 3., durchges. u. erw. Aufl. Stuttgart: Reclam 1998, pp. 409-446 (Reclams Universal-Bibliothek. 9943.).

Thompson, Kristin (1995c) Asian Cinema History Today. In: Film History 7,1, pp. 3-4.

Thompson, Kristin (1996) National or International Films? The European Debate During the 1920s. In: Film History 8, pp. 281-296.

Thompson, Kristin (1997) Wiederholte Zeit und narrative Motivation in Groundhog Day / Und täglich grüsst das Murmeltier. In: Zeit, Schnitt, Raum. Hrsg. u. eingel. v. Andreas Rost. Frankfurt: Vlg. der Autoren 1997, pp. 59-94 (Reden über Film.)/(Filmbibliothek.).

Thompson, Kristin (1999) Storytelling in the New Hollywood. Understanding classical narrative technique. Cambridge, Mass../London: Harvard University Press, xix, 398 pp.

Thompson, Kristin (1999) The Rise and Fall of Film Europe. In: "Film Europe" and "Film America". Cinema, Commerce and Cultural Exchange 1920-1939. Hrsg. v. Andrew Higson & Richard Maltby. Exeter: University of Exeter Press, pp. ***.

Thompson, Kristin / Bordwell, David (1976) Space and Narrative in the Films of Ozu. In: Screen 17,2, pp. 41-73.

Thompson, Kristin / Bordwell, David (1983a) Linearity, Materialism and the Study of Early American Cinema. In: Wide Angle 5,3, pp. 4-15.

  1. [Ital.:] Linearità, materialismo e lo studio del cinema americano delle origini. In: Segnocinema, 13, May 1984, pp. 9-16.

Thompson, Kristin / Bordwell, David (1983b) From Sennett to Stevens: An Interview with William Hornbeck. In: Velvet Light Trap, 20, pp. 34-40.

Thompson, Kristin / Bordwell, David (1985) Toward a Scientific Film History? In: Quarterly Review of Film Studies 10,3, pp. 224-237.

  1. Review-Artikel zu Barry Salt: Film Style and Technology. History and Analysis. London: Starwood 1983.

Thompson, Kristin / Bordwell, David (1988) To the Disengaged Observer: A Reply to Peter Lehman. In: Journal of the University Film Association 40,1, pp. 63-66.

  1. Dazu wiederum Lehman 1988.

Thompson, Kristin / Bordwell, David (1989) Jacques Ledoux: 1921-1988. In: Cinema Journal 28,3, pp. 4-7.

Thompson, Kristin / Bordwell, David (1992) Film Scholars and Film Archives. In: FIAF Bulletin, 45, pp. 38-43.

Thompson, Kristin / Bordwell, David (1994) Film History. An Introduction. New York [...]: McGraw-Hill, xliv, 857 pp.

Vogel, Amos (1982) Structuralism. In: Film Comment, 18, pp. 70-72.

  1. Rez. zu Bordwell/Thompson 1979.

Wood, Robin (1993) Critical Positions and the End of Civilization; or, a Refusal to Join the Club. In: Film Criticism 17,2-3, pp. 79-92.

Wulff, Hans Jürgen (1991) Das Wisconsin-Projekt: David Bordwells Entwurf einer kognitiven Theorie des Films. In: Rundfunk und Fernsehen 39,3, pp. 393-405.