Life, Movement and the Fabulation of the Event

Theory, Culture & Society

Volumn 24, Issue 6, 2007, Pages 53-70

  Mullarkey, John ^a  

^a UNIVERSITY OF DUNDEE   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 36148961909     PISSN: 02632764     EISSN: None     Source Type: Journal    
DOI: 10.1177/0263276407078712     Document Type: Article

References (31)

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2. American Beauty, film, directed by Sam Mendes. USA: Dreamworks, 1999.
3. Bergson, Henri (1911) Matter Memory, trans. Nancy Margaret Paul and W. Scott Palmer. London: George Allen and Unwin.
4. Bergson, Henri (1977) The Two Sources of Morality and Religion, trans. R. Ashley Audra and Cloudesley Brereton, with the assistance of W. Horsfall Carter. Notre Dame, IN: Notre Dame Press.
5. Bergson, Henri (2007) Creative Evolution, trans. Arthur Mitchell. London: Palgrave Macmillan.
6. Chion, Michel (1994) Audio-Vision, trans. Claudia Gorbman. New York: Columbia University Press.
7. Currie, Gregory (1995) Image and Mind: Film, Philosophy and Cognitive Science. Cambridge: Cambridge University Press.
8. Dante's Peak, film, directed by Roger Donaldson. USA: Pacific Western, 1997.
9. Deleuze, Gilles (1986) Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam. London: Athlone.
10. Deleuze, Gilles (1989) Cinema 2: The Time Image, trans. Hugh Tomlinson and Robert Galeta. London: Athlone.
11. Douglass, Paul (1999) ‘Bergson and Cinema: Friends or Foes?’, pp. 209—27 in John Mullarkey (ed.) The New Bergson. Manchester: Manchester University Press.
12. Goodman, Nelson (1978) Ways of Worldmaking. Indianapolis, IN: Hackett.
13. Green, Richard (1995) The Thwarting of Laplace's Demon: Arguments against the Mechanistic World-View. New York: St. Martin's Press.
14. Grodal, Torben (1999) ‘Emotions, Cognitions, and Narrative Patterns in Film’, pp.127—45 in Plantinga and Smith (eds) Passionate Views: Film, Cognition, and Emotion. Baltimore, MA: Johns Hopkins.
15. Grodal, Torben (2000) Moving Pictures: A New Theory of Film Genres, Feelings and Cognition. Oxford: Clarendon.
16. Lacan, Jacques (1977) Ecrits: A Selection, trans. Alan Sheridan. London: Tavistock Publications.
17. Ladri di biciclette, film, directed by Vittorio de Sica. Italy: Produzioni de Sica, 1949.
18. Les Vacances de M. Hulot, film directed by Jacques Tati. France: Criterion Collection, 1953.
19. Michotte, A. (1963) The Perception of Causality, trans. J.R. Miles and E. Miles. London: Methuen.
20. Monaco, James (1981) How to Read A Film. Oxford: Oxford University Press.
21. Psycho, film, directed by Alfred Hitchcock. USA: Shamley Productions, 1960.
22. Radford, Colin (1975) ‘Why are we moved by the Fate of Anna Karenina? ’, Proceedings of the Aristotelian Society, Supplementary Volume XLIX, pp. 67—80.
23. Shaviro, Steven (1993) The Cinematic Body. Minneapolis, MN: University of Minnesota Press.
24. Smith, Murray (1975) Engaging Characters: Fiction, Emotion and the Cinema. Oxford: Oxford University Press.
25. Smith, Susan (2000) Hitchcock: Suspense, Humour and Tone. London: British Film Institute.
26. Sobchack, Vivian (1992) The Address of the Eye: A Phenomenology of Film Experience. Princeton, NJ: Princeton University Press.
27. The Critic, short film, directed by Mel Brooks and Ernest Pintoff. USA: Pintof-Crossbow Productions, 1963.
28. The Towering Inferno, film, directed by Irwin Allen and John Guillermin. USA: 20th Century Fox, 1974.
29. Titanic, film, directed by James Cameron. USA: Paramount, 1997.
30. Umberto D., film, directed by Vittorio de Sica. Italy: Dear Film, 1952.
31. Walton, Kendall (1990) Mimesis as Make-Believe: On the Foundations of the Representational Arts. Cambridge, MA: Harvard University Press.