Virginia Woolf and cinema

Film Studies

Volumn 2005, Issue 6, 2005, Pages 13-26

  Trotter, David ^a  

^a NONE

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EID: 60950339029     PISSN: 14690314     EISSN: None     Source Type: Journal    
DOI: None     Document Type: Article

References (46)

1. Winifred Holtby, Virginia Woolf (Wishart, 1932).
2. Laura Marcus amply demonstrates the significance of Woolf's interest in cinema, in a brief but perceptive discussion to which I shall return. Virginia Woolf (Northcote House, 1997), pp. 99-102.
3. Mrs Dalloway, ed. Elaine Showalter (Penguin Books, 1992), p. xxi. References will henceforth be included in the text.
4. Virginia Woolf, pp. 117-18.
5. Mark Lambert, Dickens and the Suspended Quotation (Yale University Press, 1981).
6. A Room of One's Own (Triad, 1977), p. 108.
7. Virginia Woolf: The Common Ground (Edinburgh University Press, 1996), p. 2.
8. Nicholas Hiley, '"At the Picture Palace": The British Cinema Audience, 1895-1920', in John Fullerton, ed., Celebrating 1895: The Centenary of Cinema (John Libbey, 1998), pp. 96-103;
9. and "Let's Go to the Pictures", Journal of Popular British Film, 2 (1999), 39-53;
10. Robert Murphy, 'Under the Shadow of Hollywood', in Charles Barr, ed., All Our Yesterdays: 90 Years of British Cinema (British Film Institute, 1986), pp. 47-71.
11. David Bordwell, Janet Staiger, and Kristin Thompson, Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (Routledge, 1985).
12. Quoted by Bordwell, 'The Classical Hollywood Style, 1917-60', in Classical Hollywood Cinema, p. 15.
13. Rachael Low and Roger Manvell, The History of the British Film, 1896-1906 (George Allen & Unwin, 1948), p. 51.
14. Joyce E. Jesionowski, Thinking in Pictures: Dramatic Structure in D.W. Griffith's Biograph Films (University of California Press, 1987), p. 135.
15. See also Noël Burch, Life to Those Shadows, trans. Ben Brewer (British Film Institute, 1990), pp. 148-50.
16. Bordwell, 'The Classical Hollywood Style', p. 50.
17. Tom Gunning, 'Notes and Queries about the Year 1913 and Film Style: National Styles and Deep Staging', in Thierry Lefebvre and Laurent Mannoni, eds, L'Année 1913 en France (Centre National de la Cinématographie, 1993), pp. 195-204;
18. David Bordwell, On the History of Film Style (Harvard University Press, 1997), Ch. 6.
19. 'Narcissus', first published in Close Up, in September 1931; in James Donald, Anne Friedberg, and Laura Marcus, eds, Close Up 1927-1933: Cinema and Modernism (Cassell, 1998), pp. 201-3, 203.
20. Theory of Film: The Redemption of Physical Reality (Princeton University Press, 1997), pp. 219, 298, 304, 310.
21. 'The Hours', ed. Wussow, p. 264. Square brackets indicate words under deletion; triangular brackets indicate words added above or below a line.
22. Letters, ed. Nigel Nicolson, 6 volumes (Hogarth Press, 1975-84), pp. iii, 254.
23. 'The Cinema', in The Crowded Dance of Modern Life, ed. Rachel Bowlby, Penguin (1993). pp. 54-8.
24. References will henceforth be included in the text. Leslie Kathleen Hankins has very usefully placed the essay in relation to a range of comment on film: '"Across the Screen of My Brain": Virginia Woolf's "The Cinema" and Film Forums of the Twenties', in Diane F. Gillespie, ed., The Multiple Muses of Virginia Woolf (University of Missouri Press, 1993), pp. 148-79.
25. 'The Assistant Professor', in Stories, Vintage Books, 1997, pp. 546-59.
26. Jen Sansom, 'The Film Society, 1925-1939', in All Our Yesterdays, pp. 306-13.
27. An episode summarised by Hankins, '"Across the Screen of My Brain"', pp. 154-5.
28. The Film Society Programmes 1925-1939, ed. George Amberg (Arno Press, 1972), p. 23.
29. Martin Sopocy, James Williamson: Studies and Documents of a Pioneer (Fairleigh Dickinson University Press, 1998).
30. Quoted by Sopocy, James Williamson, p. 30.
31. Christian Metz, 'Story/Discourse (A Note on Two Kinds of Voyeurism)', in Psychoanalysis and Cinema: The Imaginary Signifier (Macmillan, 1982), pp. 91-7.
32. Diary, ed. Anne Olivier Bell and Andrew McNeillie, 5 volumes (Penguin, 1977-84), Vol. iii, p. 114.
33. Letters, Vol. iii, p. 254.
34. Diary, Vol. iii, pp. 75-6.
35. Virginia Woolf, p. 102.
36. To the Lighthouse: The Original Holograph Draft, ed. Susan Dick (Hogarth Press, 1983), pp. 226-7. Square brackets indicate words under deletion.
37. Quoted by Tom Gunning, D.W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph (University of Illinois Press, 1994), p. 72.
38. Virginia Woolf, p. 101.
39. Ulysses, ed. Jeri Johnson (Oxford University Press, 1993), pp. 79, 38.
40. Virginia Woolf, p. 106.
41. Holograph, p. 223.
42. 'The Cinema of Attractions: Early Film, Its Spectator, and the Avant-Garde', in Thomas Elsaesser, ed., Early Cinema: Space, Frame, Narrative (British Film Institute, 1990), pp. 56-67.
43. Early Cinema in Russia and its Cultural Reception, trans. Alan Bodger (Routledge, 1994), p. 159.
44. The Magic Mountain, trans. H.T. Lowe-Porter (Penguin Books, 1965), p. 318.
45. 'Mrs Bathurst', first published in Traffics and Discoveries (1904)
46. reprinted in Short Stories, 2 vols, ed. Andrew Rutherford (Penguin, 1971), pp. ii, 73-92, 82-3, 85.