Recycled culture in contemporary art and film: The uses of nostalgia

Recycled Culture in Contemporary Art and Film: The Uses of Nostalgia

Volumn , Issue , 2003, Pages 1-241

  Dika, Vera ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84924463267     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1017/CBO9780511814297     Document Type: Book

References (111)

1. Altman, Rick. The American Film Musical. Bloomington: Indiana University Press, 1989.
2. Anderson, Perry. The Origins of Postmodernity. London and New York: Verso, 1998.
3. Ansen, David. “Coppola’s Fairy Tale World” (review of One from the Heart), Newsweek, January 25, 1982, p. 74.
4. Bakhtin, Mikhail. Problems of Dostoyevsky’s Poetics. Ann Arbor, Michigan: Ardis, 1973.
5. Barthes, Roland. Camera Lucida: Reflections on Photography. New York: Hill and Wang, 1981.
6. Barthes, Roland. Image, Music, Text. New York: Hill and Wang, 1977.
7. Barthes, Roland. Mythologies. New York: Hill and Wang, 1977.
8. Battcock, Gregory, ed. Super Realism: A Critical Anthology. New York: E.P. Dutton, 1977.
9. Baudry, Jean-Louis. “Ideological Effects of the Basic Apparatus,” Film Quarterly, Vol. XXVI, No. 2, Winter, 1974-75.
10. Baudrillard, Jean. Simulations. New York: Semiotext(e), 1983.
11. Bazin, Andre. What is Cinema? 2 vols. Berkeley: University of California Press, 1967.
12. Belton, John, ed. Movies and Mass Culture. New Brunswick, New Jersey: Rutgers University Press, 1996.
13. Belton, John, American Cinema/American Culture. New York: McGraw-Hill Inc., 1994.
14. Benjamin, Walter. Illuminations. New York: Schochen Books, 1968.
15. Benson, Sheila, “One From the Heart” (review), Los Angeles Times, January 22, 1982, Section 6, p.1.
16. Bergen, Ronald. Francis Ford Coppola Close Up: The Making of His Movies. New York: Thunder’s Mouth Press, 1998.
17. Berger, John. Ways of Seeing. London: Penguin, 1972.
18. Blair, Dike. Punk. New York: Urizen Books, 1978.
19. Bordwell, David, and Noel Carroll, eds. Post-Theory: Restructuring Film Studies. Madison: University of Wisconsin Press, 1996.
20. Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production To 1960. New York: Columbia University Press, 1985.
21. Brooker, Peter, and Will Brooker, eds. Postmodern After-Images: A Reader in Film, Television, and Video. London: Arnold, 1997.
22. Brougher, Kerry. Art and Film Since 1946: Hall of Mirrors, catalogue for exhibition at The Museum of Contemporary Art, Los Angeles. New York: Monocelli Press, 1996.
23. Burger, Peter. The Theory of the Avant-Garde. Minneapolis: University of Minnesota Press, 1984.
24. Carroll, Noel. Theorizing the Moving Image. New York: Cambridge University Press, 1996.
25. Carroll, Noel. The Philosophy of Horror or Paradoxes of the Heart. New York: Routledge, 1990.
26. Carroll, Noel. Mystifying Movies: Fads and Fallacies in Contemorary Film Theory. New York: Columbia University Press, 1988.
27. Carroll, Noel. “The Future of Allusion: Hollywood in the Seventies (and Beyond),” October #20, Spring 1982.
28. Cawelti, John G. The Six-Gun Mystique, Bowling Green: State University Popular Press, 1984.
29. Cawelti, John G. Adventure, Mystery, and Romance. Chicago: University of Chicago Press, 1976.
30. Clarens, Carlos. Crime Movies. New York: Da Capo Press, 1980.
31. Clover, Carol. Men, Women, and Chainsaws: Gender and the Horror Film. Princeton, New Jersey: Princeton University Press, 1992.
32. Corrigan, Timothy. A Cinema Without Walls: Movies and Culture After Vietnam. New Brunswick: Rutgers University Press, 1991.
33. Crimp, Douglas. “The Photographic Activity of Postmodernism,” October #15, Winter 1980.
34. Crimp, Douglas. Pictures. Catalogue for exhibition at artists Space, September 24-October 29, 1977.
35. Crimp, Douglas. “Pictures,” October #8, Spring 1978.
36. Danto, Arthur C. After the End of Art. Princeton, New Jersey: Princeton University Press, 1997.
37. Deren, Maya. “Cinematography: The Creative Use of Reality,” Daedalus, Winter 1960.
38. Debord, Guy. The Society of the Spectacle (translation by Donald Nicholas Smith). New York: Zone Books, 1995.
39. Dika, Vera. “The Representation of Ethnicity in The Godfather,” in Francis Ford Coppola’s The Godfather Trilogy, edited by Nick Browne. New York: Cambridge University Press, 2000.
40. Dika, Vera. “From Dracula With Love: Bram Stoker’s Dracula,” in The Dread of Difference: Gender and the Horror Film, edited by Barry Keith Grant. Austin: University of Texas Press, 1996.
41. Dika, Vera. Games of Terror: Halloween and the Films of the Stalker Cycle. Rutherford, New Jersey: Farleigh Dickinson University Press, 1991.
42. Dika, Vera. “Robert Longo in Performance,” Artscribe, July 1988.
43. Dika, Vera. “The Stalker Film 1978-1981,” in American Horrors, edited by Gregory Waller. Urbana and Chicago: University of Illinois Press, 1987.
44. Dika, Vera. “A Feminist Fairytale: Ericka Beckman’s Cinderella,” Art in America, Spring 1987.
45. Dittmar, Linda, and Gene Michaud, eds. From Hanoi to Hollywood: The Vietnam War in American Film. New Brunswick: Rutgers University Press, 1990.
46. Elsaesser, Thomas. “Specularity and Engulfment: Francis Ford Coppola and Bram Stoker’s Dracula,” in Contemporary Hollywood Film, edited by Steve Neale and Murray Smith. London: Routledge, 1998.
47. Feuer, Jane. The Film Musical. Bloomington: Indiana University Press, 1982.
48. Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge, Massachusetts: The MIT Press, 1996.
49. Foster, Hal. “Postmodernism in Parallax,” October #63, Winter 1993.
50. Foster, Hal. “(Post) Modern Polemics,” in Recodings: Art, Spectacle, Cultural Politics. Seattle: Bay Press, 1985.
51. Foster, Hal. ed. The Anti-Aesthetic: Essays in Postmodern Culture. Port Townsend: Washington Bay Press, 1983.
52. Gallagher, Steve, ed. Picture This: Films Chosen by Artists. Buffalo, New York: Hallwalls, Contemporary Arts Center, 1987.
53. Godard, Jean Luc. Godard on Godard. New York: Viking, 1972.
54. Greenberg, Clement. “Modernist Painting,” in The Collected Essay’s and Criticism, edited by John O’Brian. Chicago: University of Chicago Press, 1993.
55. Greenberg, Clement. “Avant-garde and Kitsch,” in Art and Culture. Boston: Beacon Press, 1961.
56. Hager, Steven. Art After Midnight. New York: St. Martin’s Press,1986.
57. Hebdige, Dick. Subculture: The Meaning of Style. London and New York: Routledge, 1979.
58. Herr, Michael. Dispatches. New York: Vintage Books, 1991.
59. Hoberman, J. “After Avant-Garde Film,” in Art After Modernism, edited by Brian Wallis. New York: The New Museum of Contemporary Art, 1984.
60. Hoberman, J., and Jonathan Rosenbaum. Midnight Movies. New York: Harper & Row, 1983.
61. Horton, Andrew, and Stuart Y. McDouglas, eds. Play it Again Sam: Retakes on Remakes. Berkeley: University of California Press, 1998.
62. Hutcheon, Linda. Irony’s Edge. London and New York: Routledge, 1994.
63. Hutcheon, Linda. The Politics of Postmodernism. London and New York: Routledge, 1989.
64. Huyssen, Andreas. After the Great Divide. Bloomington and Indianapolis: Indiana University Press, 1986.
65. James, David. Allegories of Cinema. Princeton, New Jersey: Princeton University Press, 1989.
66. Hutcheon, Linda. Power Misses: Essays Across (Un)Popular Culture. London and New York: Verso, 1996.
67. Jameson, Fredric. The Cultural Turn: Selected Writings on the Postmodern, 1983-1998. London and New York: Verso, 1998.
68. Hutcheon, Linda. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham and London: Duke University Press, 1991.
69. Hutcheon, Linda. Signatures of the Visible. London and New York: Routledge, 1990.
70. Hutcheon, Linda. “Nostalgia for the Present,” South Atlantic Quarterly Vol. 88.2, Spring 1989.
71. Hutcheon, Linda. “Postmodernism and Consumer Society,” in The Anti-Aesthetic, edited by Hal Foster. Port Townsend, Washington: Bay Press, 1983.
72. Hutcheon, Linda. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithica, New York: Cornell University Press, 1981.
73. Johnson, Ted. “The Gambler,” Daily Variety, November 11, 1997.
74. Jay, Martin. Downcast Eyes. Berkeley: University of California Press, 1993.
75. Kaplan, E. Anne, ed. Postmodernism and Its Discontents: Theories and Practices. London and New York: Verso, 1988.
76. Kaplan, E. Anne, ed. Rocking Around the Clock: Music Television, Mass Media, and Consumer Culture. New York: Methuen, 1987.
77. Kline, T. Jefferson. I Film di Bernardo Bertolucci: Cinema e Psicanalisi. Roma: Gremese Editore, 1993.
78. Koch, Stephen. Stargazer. New York: Praeger Publishers, 1973.
79. Koehler, Robert. “Kurtz’s Horror Almost Coppola’s Waterloo,” Daily Variety, November 11, 1997.
80. Kolker, Robert Phillip. A Cinema of Loneliness, second edition. New York: Oxford University Press, 1988.
81. Kolker, Robert Phillip. A Cinema of Loneliness, first edition. New York: Oxford University Press, 1980.
82. Krauss, Rosalind. Essay in Cindy Sherman 1975-1993. New York: Rizzoli, 1993.
83. Kolker, Robert Phillip. “Sculpture in the Expanded Field,” in The Anti-Aesthetic, edited by Hal Foster. Port Townsend, Washington: Bay Press, 1983.
84. Lewis, Jon, ed. The New American Cinema. Durham and London: Duke University Press, 1998.
85. Lewis, Jon, ed. Whom God Wishes to Destroy. Durham and London: Duke University Press, 1995.
86. McArthur, Colin. Underworld USA. New York: The Viking Press, 1972.
87. Michelson, Annette. “Camera Lucida/Camera Obscura,” Artforum, January, 1973, pp. 30-37.
88. Mulvey, Laura. “Visual Pleasure and the Narrative Cinema,” Screen, Vol. 16, No. 3, Autumn 1975.
89. Neale, Steve, and Murray Smith, eds. The Contemporary Hollywood Film. London: Routledge, 1998.
90. Propp, Vladimir. The Morphology ofthe Folktale. Austin: The University of Texas Press, 1968.
91. Ray, Robert. A Certain Tendency in the Hollywood Cinema. Princeton, New Jersey: Princeton University Press. 1985.
92. Rothman, William. Documentary Film Classics. New York: Cambridge University Press, 1997.
93. Rothman, William. The Murderous Gaze. Cambridge, Massachusetts: Harvard University Press, 1986.
94. Schatz, Thomas. Hollywood Genres. New York: Random House, 1981.
95. Selby, Hubert, Jr. Last Exit to Brooklyn. New York: Grove Weidenfeld, 1957.
96. Sharrett, Christopher. “Conspiracy Theory and Political Murder in America: Oliver Stone’s JFK and the Facts of the Matter,” in The New American Cinema, edited by Jon Lewis. Durham and London: Duke University Press, 1998.
97. Simon, Art. Dangerous Knowledge: The JFK Assassination in Art And Film. Philadelphia: Temple University Press, 1996.
98. Sitney, P. Adams. Visionary Film. New York: Oxford University Press, 1972.
99. Sontag, Susan. “The Decay of Cinema,” The New York Times Magazine, February 26, 1996.
100. Sontag, Susan. On Photography. New York: Dell Publishing Co., 1973.
101. Stam, Robert. Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard. New York: Columbia University Press, 1992.
102. Variety. “New York Critics Scorecard,” The New York Times, February 17, 1982, p. 8.
103. Variety. “One From The Heart” January 20, 1982.
104. Variety. “Apocalypse Now,” May 16, 1979.
105. Venturi, Robert, Denise Scott Browne, and Steven Izenour. Learning from Las Vegas. Cambridge, Massachusetts, and Cambridge, England: The MIT Press, 1972.
106. Wallis, Brian, ed. Art After Modernism: Rethinking Representation. New York: The Museum of Contemporary Art, 1984.
107. Walsh, Michael. “Jameson and ‘Global Aesthetics’,” in Post-Theory: Reconstructing Film Studies, edited by David Bordwell and Noel Carroll. Madison, Wisconsin: The University of Wisconsin Press, 1996.
108. Wood, Robin. Hitchcock’s Films Revisited. New York: Columbia University Press, 1989.
109. Wood, Robin. Hollywood from Vietnam to Reagan. New York: Columbia University Press, 1986.
110. Wood, Robin “Introduction to the American Horror Film,” in American Nightmare. Toronto: Festival of Festivals Publications, 1979.
111. Wright, Will. Sixguns and Society. Berkeley: University of California Press, 1975.