This extensive bibliography contains the list of references used in my book Film Programming: Curating for Cinemas, Festivals, Archives. London: Wallflower Press/ New York: Columbia University Press, pp. 122-135.

Inevitably additions are necessary because new relevant literature has been published and also some essential reading recommendations were overlooked. At the end of the bibliography I added a list of further reading (restricted to publications in English).

Updated: January 2020. This remains a work in progress. Suggestions and comments are welcome.

  • Acland, Ch. R. (2003) Screen Traffic: Movies, Multiplexes and Global Culture, Durham: Duke UP.
  • Allen, Robert C. (2011) ‘Reimagining the History of the Experience of Cinema in a Post-Moviegoing Age’, in Richard Maltby & Daniel Biltereyst & Philippe Meers (eds. 2001) Explorations in New Cinema History: Approaches and Case Studies, Malden: John Wiley, pp. 41-57.
  • Allen, Robert C. (2006) ‘The Place of Space in Film Historiography’, in TMG: Tijdschrift voor Mediageschiedenisvol. 9 no. 2 (2006), pp. 15-27.
  • Allen, Robert C. (1990) ‘From Exhibition to Reception: Reflections on the Audience in Film History’, in Screen, vol. 31 no. 4 (Winter 1990), pp. 347-356. Also compiled in Waller (ed. 2002).
  • Allen, R.C. & D. Gomery (1985) Film History: Theory and Practice, New York: Knopf.
  • Allen, Michael Patrick & Anne E. Lincoln (2004) ‘Critical Discourse and the Cultural Consecration of American Films’, in Social Forces vol. 82 no. 3 (March 2004), pp. 871-894.
  • Altman, Rick (1999) Film/Genre, London: BFI Publishing.
  • Anderson, Chris (2006) The Long Tail: How Endless Choice is Creating Unlimited Demand,London: Random House Business Books.
  • Anderson, Steve F. (2011) ‘Found Footage’, in Technologies of History: Visual Media and the Eccentricity of the Past, Lebanon: Dartmouth College Press, pp. 68-87.
  • Andrews, Dave (2013) Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond, Austin: University of Texas Press.
  • Arenas, Fernando Ramos (2012) ‘Writing about a Common Love for Cinema: Discourses of Modern Cinephilia as a Trans-European Phenomenon’, in Trespassing Journal, no. 1 (Spring 2012), pp. 18-33. URL:  http://trespassingjournal.com/Issue1/TPJ_I1_Arenas_Article.pdf
  • Aumont, Jacques (1987) Montage Eisenstein, Bloomington/London: Indiana UP/ BFI Publishing. Originally: Paris, 1979, Editions Albatros.
  • Austin, Thomas (2007) Watching the World: Screen Documentary and Audiences, Manchester: Manchester UP.
  • Balcerzak, Scott & Jason Sperb (eds. 2009) Cinephilia in the Age of Digital Reproduction: Film, Pleasure, and Digital Culture, vol. 1, London: Wallflower Press.
  • Balcerzak, Scott & Jason Sperb (eds. 2012) Cinephilia in the Age of Digital Reproduction: Film, Pleasure, and Digital Culture, vol. 2, Brighton: Wallflower Press.
  • Balsom, Erika (2014) ‘Live and Direct: Cinema as a Performing Art’ in Art Forum, September 2014, URL: http://www.artforum.com/inprint/issue=201407&id=47842
  • Balsom, Erika (2013) Exhibiting Cinema in Contemporary Art, Amsterdam: Amsterdam UP. URL: http://www.oapen.org/search?identifier=442726
  • Barclay, Alexander (2011) The Cinema Industry, between Free Trade and Cultural Diversity: An Inquiry into Economic and Legal Aspects, Saarbrücken: VDM Publishing.
  • Baron, Jamie (2014) The Archive Effect: Found Footage and the Audiovisual Experience of History, New York: Routledge.
  • Beardwell, Julie & Amanda Thompson (eds. 2014) Human Resource Management: A Contemporary Approach, Harlow: Pearson Education (7th ed.).
  • Becker, Howard (1982) Art Worlds, Berkeley/ Los Angeles, University of California Press.
  • Behlil, Melis (2005) ‘Ravenous Cinephiles: Cinephilia, Internet, and Online Film Communities’, in Marijke De Valck & Malte Hagener (eds) Cinephilia: Movies, Love and Memory, Amsterdam: Amsterdam UP, pp. 111-124. URL: http://dare.uva.nl/document/133255
  • Belton, John (ed. 2007), special issue ‘Film and Copyright’, Film History vol. 19, no. 1 (2007).
  • Bergala, Alain (2006) ‘Erice-Kiarostami: The Pathways of Creation’, in Rouge no. 9 (2006). URL: www.rouge.com.au/9/erice_kiarostami.html;
  • Biltereyst, Daniel (2013) ‘Cinema, Modernity and Audiences: Revisiting and Expanding the Debate’, in Aveyard, Karina & Albert Moran (eds.) Watching Films: New Perspectives on Movie-Going, Exhibition and Reception, London: Intellect, pp. 17-32.
  • Blom, Ivo (2003) Jean Desmet and the Early Dutch Film Trade, Amsterdam: Amsterdam UP, URL: http://dare.uva.nl/document/133231.
  • Bordwell, David (2014a) ‘Observations on film Art: Zip, Zero, Zeitgeist’, URL: http://www.davidbordwell.net/blog/2014/08/24/zip-zero-zeitgeist/
  • Bordwell, David (2014b) ‘A Celestial Cinémathèque? or, Film Archives and Me: A Semi-Personal History’, URL: http://www.davidbordwell.net/essays/celestial.php
  • Bordwell, David & Kristin Thompson (2013) Film Art: An Introduction, New York: McGraw-Hill.
  • Bordwell, David (2012) Pandora’s Digital Box: Films, Files, and the Future of Movies, URL: http://www.davidbordwell.net/books/pandora.php. See also: http://realreeljournal.com/2012/07/10/pandora/
  • Bordwell, David (2008) Poetics of Cinema, New York: Routledge.
  • Bordwell, David (1989) Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge: Harvard UP.
  • Bosma, Peter (2009) ‘The Bridge, seen in the perspective of the programme’ inThe Ivens Magazine no. 14-15 (July 2009) pp. 44-47. URL:http://ivens.nl/images/ivens_mag14.15.pdf
  • Boyle, Deirdre (2001) ‘A Conversation with Péter Forgács’, in Millennium Film Journal, no. 37 (Fall 2001) pp. 54-55.
  • Brownlow, Kevin (2004) Napoleon: Abel Gance’s Classic Film, London: BFI Publishing.
  • Buchsbaum, Jonathan & Elena Gorfinkel (2009) ‘Dossier: Cinephilia. What is Being Fought for by Today’s Cinephilia(s)?’ Framework50:1&2 (Spring & Fall 2009) 176-270.
  • Buckland, Warren (2000) ’The Semio-Pragmatic Approach’, in The Cognitive Semiotics of Film, Cambridge: University of Cambridge Press, pp. 82-108.
  • Bywater, Tim & Thomas Sobchack (1989) An Introduction to Film Criticism: Major Critical Approaches to Narrative Film, New York: Macmillan.
  • Cammaer, G.J. (2009) ‘Film Reviews: Lyrical Nitrate, directed by Peter Delpeut, The Netherlands 1990. Decasia, directed by Bill Morrison, USA 2002’, in Convergence, The International Journal of Research into New Media Technologies, vol. 15, no. 3 (August 2009) pp. 371-373.
  • Campany, David (2008) Photography and Cinema, London: Reaktion Books.
  • Carroll, Noël (2008) The Philosophy of Motion Pictures, Oxford: Blackwell.
  • Caroll, Noël (2003) ‘Introducing Film Evaluation’, in Engaging the Moving Image, New Haven: Yale UP, pp. 147-164. Also available in Christine Gledhill & Linda Williams (eds. 2000) Reinventing Film Studies, London: Arnold, pp. 265-278.
  • Carroll, Noël (1996) ‘Film History and Film Theory: An Outline for an Institutional Theory of Film’, in Theorizing the Moving Image, Cambridge: Cambridge UP, pp. 375-391. Originally published in Film Reader 4 (1979), pp. 81-96.
  • Cashman Stephen (2010) Thinking Big: A Guide to Strategic Marketing Planning for Arts Organisations, Cambridge: Arts Marketing Association. URL: http://www.a-m-a.co.uk/downloads/ThinkingBig_2010.pdf
  • Cere, Rinella (2006) ‘Exhibiting cinema’: the cultural activities of the Museo Nazionale del Cinema, 1958-1971’, in Film History, vol. 18 no. 3 (2006), pp. 295-305.
  • Chapman, James (2013) Film and History: Theory and History, Basingstoke: Palgrave Macmillan.
  • Cherchi Usai, Paolo & David Francis & Alexander Horvath & Michael Loebenstein (eds.) (2008), Film Curatorship: Archives, Museums, and the Digital Marketplace, Vienna: Österreichisches Filmmuseum/Syntagma.
  • Cherchi Usai, Paolo & David Francis & Alexander Horvath & Michael Loebenstein (2008) ‘Case study #1: Curating the Documenta 12 Film Programme’, in Cherchi et al, Film Curatorship: Archives, Museums, and the Digital Marketplace, Vienna: Österreichisches Filmmuseum / Syntagma, pp. 130 – 140.
  • Cherchi Usai, Paolo (2008) ‘A Charter of Curatorial Values’, in Paolo Cherchi Usai & David Francis & Alexander Horvath & Michael Loebenstein (eds) (2008), Film Curatorship: Archives, Museums, and the Digital Marketplace, Vienna: Österreichisches Filmmuseum/Syntagma, pp. 146-160.
  • Cherchi Usai, Paolo (2000)Silent Cinema: An introduction. London: British Film Institute.Cheshire, Godfrey (1998) ‘The Death of Film/The Decay of Cinema’, New York Press, vol. 12, no. 34 (26 August 1998). URL: http://www.nypress.com/print.cfm?content_id=243.
  • Colbert, François et.al.(2012) Marketing Culture and the Arts, Montreal: HEC Montreal.
  • Cones, J. W. (2002) The Feature Film Distribution Deal: A Critical Analysis of the Single Most Important Film Industry Agreement and How the Motion Picture Industry Operates, Carbondale/Edwardsville: Southern Illinois UP.
  • Connolly, Maeve (2009) The Place of Artists’ Cinema: Space, Site and Screen, London: Intellect.
  • Corrigan, Timothy (2014) A Short Guide to Writing about Film,New York: Longman(9th ed.).
  • Cousins, Mark (2004) The Story of Film, London: Pavilion Books.
  • Crofts, C. (2011) ‘Cinema Distribution in the Age of Digital Projection’, in Post Script 2(Winter/Spring 2011) pp. 82-98.
  • Decherney, Peter (2012) Hollywood’s Copyright Wars: From Edison to the Internet, New York: Columbia UP.
  • Delpeut, Peter (2012) ‘An Unexpected Reception: Lyrical Nitratebetween Film History and Art’, in Jaap Guldemond & Marente Bloemheuvel & Giovanna Fossati (eds.) Found Footage: Cinema Exposed, Amsterdam: Amsterdam UP, pp. 217-224.
  • De Valck, Marijke (2012) ‘Finding Audiences for Films: Programming in Historical Perspective’, in Jeffrey Ruoff (ed.) Coming Soon to a Festival Near You: Programming Film Festivals, St. Andrew: St. Andrew Film Studies, pp. 25-40.
  • De Valck, Marijke (2010) ‘Reflections on the Recent Cinephilia Debates’, in Cinema Journalvol. 49, no. 2 (Winter 2010), pp.132-139. URL:  http://muse.jhu.edu/journals/cinema_journal/toc/cj.49.2.htmlorhttp://c.ymcdn.com/sites/www.cmstudies.org/resource/resmgr/in_focus_archive/in_focus_49.2.pdf
  • De Valck, Marijke (2007) Film Festivals: From European Geopolitics to Global Cinephilia,Amsterdam: Amsterdam University Press. URL: http://dare.uva.nl/document/165315
  • De Valck, Marijke & Malte Hagener (ed. 2005) Cinephilia: Movies, Love and Memory, Amsterdam: Amsterdam UP. URL: http://dare.uva.nl/aup/en/record/173192.
  • Frames Cinema Journalno. 1 (July 2012), URL: http://framescinemajournal.com/?issue=issue1
  • Frey, Mattias (2014) The Permanent Crisis of Film Criticism: The Anxiety of Authority, Amsterdam: Amsterdam UP.
  • Frey, Mattias & Cecilia Sayad (eds. 2015) Film Criticism in the Digital Age, New Brunswick: Rutgers UP.
  • Frick, Caroline (2011) Saving Cinema: The Politics of Preservation, New York: Oxford UP.
  • Furby, Jacqueline & Karen Randell (eds.) (2005) Screen Methods: Comparative Readings in Film Studies, London: Wallflower Press, 2005.
  • Gann, Jonathan (2012) Behind the Screens: Programmers Reveal How Film Festivals Really Work, Washington: Reel Plan Press.
  • Gass, Lars Henrik (2009) ‘Trade Market or Trademark? The Future of Film Festivals’, in Rouge  13 (2009), URL: http://www.rouge.com.au/13/trade.html
  • Gaudreault, André & Philippe Marion (2012) The Kinematic Turn: Film in the Digital Era and its Ten Problems, Montreal: Caboose.
  • Gaut, Berys (2010) A Philosophy of Cinematic Art, Cambridge: Cambridge UP.
  • Gerstner, David A. & Janet Staiger (eds. 2013) Authorship and Film, New York: Routledge.
  • Gocsik, Kare & Richard Barsam & Dave Monahan (2013) Writing About Movies, W.W. Norton.
  • Goldsmith, Leo (2013) ‘Book review: Found Footage: Cinema Exposed’, in Cineastevol. 38, no. (Summer 2013) pp. 67-68.
  • Gomery, Douglas (1992) Shared Pleasures: a History of Movie Presentation in the United States, Madison: University of Wisconsin Press.
  • Gorini, S. (2004) ‘The Protection of Cinematographic Heritage in Europe’, in Iris Plus, Legal Observations of the European Audio-Visual Observatory (8), pp. 2-8.
  • Gorki, Maxim (1896) ‘The Lumière Cinématograph’, 4 July, 1896. URL: Source: http://www.seethink.com/stray_dir/kingdom_of_shadows.html
  • Grant, Barry Keith (2007) Film Genre: From Iconography to Ideology, London: Wallflower Press.
  • Guldemond, Jaap & Marente Bloemheuvel & Giovanna Fossati (eds. 2012) Found Footage: Cinema Exposed, Amsterdam: Amsterdam UP.
  • Guldemond, Jaap & Marente Bloemheuvel (eds) (1999) Cinéma Cinéma: Contemporary Art and the Cinematic Experience, Eindhoven/Rotterdam: Stedelijk Van Abbemuseum/ NAi Publishers.
  • Habib, André (2006) ’Ruin, Archive and the Time of Cinema: Peter Delpeut’s Lyrical Nitrate’, in SubStancevol. 35, no. 10 (2006) pp. 120-139.
  • Hagener, Malte & Marijke de Valck (2008) ‘Cinephila in Transition’, in Jaap Kooijman & Patricia Pisters & Wanda Strauven (eds) Mind the Screen: Media Concepts According to Thomas Elsaesser, Amsterdam: Amsterdam UP, pp. 19-30.
  • Hagener, Malte (2007) Moving Forward, Looking Back: The European Avant-garde and the Invention of Film Culture 1919-1939, Amsterdam: Amsterdam UP, URL: http://dare.uva.nl/aup/en/record/216734
  • Hanich, Julian (2014) ‘Watching a Film with Others: Towards a Theory of Collective Spectatorship’, in Screenvol. 55 no. 3 (Autumn 2014) pp. 338-359.
  • Harbord, Janet (2002) Film Cultures, London: Sage Publications.
  • Herbert, Stephen (ed. 1999) A History of Pre-Cinema, London: Routledge.
  • Hill, John & Pamela Church Gibson (eds. 2000) Film Studies: Critical Approaches, Oxford: Oxford UP.
  • Hing-Yuk Wong, Cindy (2011) Film Festivals: Culture, People and Power on the Global Screen, New Brunswick: Rutgers UP.
  • Hollows, Joanne & Mark Jancovich (1995) Approaches to Popular Film, Manchester/New York: Manchester UP.
  • Iordanova, Dina & S. Cunningham (eds. 2012) Digital Disruption: Cinema Moves Online, St. Andrews: St. Andrews Film Studies.
  • Iordanova, Dina & Ruby Cheung (2010) ‘Introduction’, in Dina Iordanova & Ruby Cheung (eds) Film Festival Yearbook. Volume 2: Film Festivals and Imagined Communities, St. Andrews: St. Andrews Film Studies, pp. 1-11.
  • Iordanova, Dina (2010) ‘Mediating Diaspora: Film Festivals and ‘Imagined Communities’, in Dina Iordanova & Ruby Cheung (eds.) Film Festival Yearbook. Volume 2: Film Festivals and Imagined Communities, St. Andrews: St. Andrews Film Studies, pp. 12-44.
  • Iordanova, Dina (2009) ‘The Film Festival Circuit’, in Dina Iordanova & Ragan Rhyne (eds.) Film Festival Yearbook. Volume 1: The Festival Circuit, St. Andrews: St. Andrews Film Studies, pp. 23-39.
  • Iordanova, Dina (2008) Budding Channels of Peripheral Cinema: The Long Tail of Global Film Circulation, San Francisco: Blurb (www.blurb.com).
  • Isaacs, Bruce (2012) The Orientation of Future Cinema: Technology, Aesthetics, Spectacle, London: Bloomsbury Publishing.
  • Isenberg, Noah (n.d.) ‘People on Sunday: Young People Like Us’, URL: http://www.criterion.com/current/posts/1904-people-on-sunday-young-people-like-us.
  • Jacobson, Roman (1960), ‘Closing Statements: Linguistics and Poetics’, in Thomas A. Sebeok (ed. 1960) Style in Language, Cambridge Massachusetts, MIT Press, pp. 350–377.
  • Jankovich, Mark et al(eds. 2003) Defining Cult Movies: The Cultural Politics of Oppositional Taste, Manchester: Manchester UP.
  • Jeffers McDonald, Tamar (2007) Romantic Comedy: Boy Meets Girl Meets Genre, London: Wallflower Press.
  • Jovanovic, Stefan (2003) ‘The Ending(s) of Cinema: Notes on the Recurrent Demise of the Seventh Art’, part 1 & part 2, Hors Champ, 2003, URL: horschamp.qc.ca/new_offscreen/death_cinema.html.
  • Jullier, Laurent & Jean-Marc Leveratto (2012) ‘Cinephilia in the Digital Age’, in Ian Christie (ed) Audiences: Defining and Researching Screen Entertainment Reception, Amsterdam: Amsterdam UP, pp.143-154. URL: http://dare.uva.nl/document/463041.
  • Keathley, Christian (2006), Cinephilia and History – or The Wind in the Trees, Bloomington and Indianapolis: Indiana UP.
  • Keen, Andrew (2007) The Cult of the Amateur, New York: Doubleday.
  • Klinger, Barbara (2001) ‘The Contemporary Cinephile: Film Collecting in the Post-Video Era’, in Melvyn Stokes & Richard Maltby (eds) Hollywood Spectatorship: Changing Perceptions of Cinema Audiences, London: BFI Publishing, pp. 132-151.
  • Klinger, Barbara (2006) Beyond the Multiplex: Cinema, New Technologies and the Home, Berkeley: University of California Press.
  • Klinger, Barbara (2008) ‘DVD and home film cultures’, in James Bennett & Tom Brown (eds.) Film and Television After DVD, London: Routledge.
  • Knight, J. & P. Thomas (2012) Reaching Audiences: Distribution and Promotion of Alternative Moving Image, Bristol: Intellect Books.
  • Kolker, Robert (2011) A Cinema of Loneliness, Oxford: Oxford UP, 4thed.
  • Koerber, Martin (2000) ‘Menschen am Sonntag: a Restoration and Documentation Case Study’. in Mark-Paul Meyer & Paul Read (eds.) Restoration of Motion Picture Film, Oxford: Butterworth-Heinemann, Oxford, pp. 231-241. Originally published in Cinegrafie 11 (1998) pp. 262-274.
  • Kuhn, Annette (2002) Dreaming of Fred and Ginger: Cinema and Cultural Memory, New York: New York UP, 2002.
  • Latour, Bruno (2005) Reassembling the Social: An Introduction to Actor-Network-Theory, Oxford: Oxford University Press.
  • Lobato, Ramon (2012) Shadow Economies of Cinema: Mapping Informal Film Distribution, London; BFI/Palgrave Macmillan.
  • Loiperdinger, Martin (ed. 2011) Early Cinema Today – KINtop1: The Art of Programming and Live Performance, New Barnet: John Libbey Publishers.
  • Loist, Skadi & Marijke De Valck (eds. 2010) Film Festivals/Film Festival Research: Thematic, Annotated Bibliography (Second Edition),URL: http://www.filmfestivalresearch.org/index.php/ffrn-bibliography.
  • Lowenthal, David (1985) The Past is a Foreign Country, Cambridge: Cambridge UP.
  • Lowenthal, David (1998) The Heritage Crusade and the Spoils of History, Cambridge: Cambridge UP.
  • Lury, Karen (2010) The Child in Film: Tears, Fears and Fairy Tales, London: Tauris.
  • Ma, Jean (2010) ‘Tsai Ming-Liang’s Haunted Movie Theater’, in Rosalind Galt & Karl Schoonover (ed. 2010) Global Art Cinema: New Theories and Histories, Oxford: Oxford UP, pp. 334-350.
  • Macaulay, Scott (2012) ‘How to Do a Festival Q&A’, in Filmmaker Magazine, Fall 2012, URL: http://filmmakermagazine.com/56822-how-to-do-a-festival-qa/#.UywbNlwYlXU
  • MacDonald, Scott (2002) Cinema 16: Documents Toward a History of the Film Society, Philadelphia: Temple UP.
  • Marchessault, Janine & Susan Lord (eds. 2008) Fluid Screens: Expanded Cinema, Toronto: University of Toronto Press.
  • Marlow-Mann, Alex (ed. 2013) Film Festival Yearbook 5: Archival Film Festivals, St. Andrews: St. Andrews Film Studies.
  • Martin, Adrian (2014) ‘Combat Story’ in De Filmkrant no. 362 (February 2014). URL: http://www.filmkrant.nl/world_wide_angle
  • Martin, Adrian & Jonathan Rosenbaum (eds. 2003) Movie Mutations: The Changing Face of World Cinephilia, London: BFI.
  • Mayne, Judith (1993) Cinema and Spectatorship, London/New York: Routledge.
  • Mercer, John & Martin Shingler (2004) Melodrama: Genre, Style, Sensibility, London: Wallflower Press.
  • Nash, Mark (2006) ‘Questions of Practice’, in: Joseph N. Newland (ed. 2006) What Makes a Great Exhibition? Philadelphia: Philadelphia Exhibitions Initiative, pp. 142-153.
  • Nichols, Bill & Michael Renov (eds. 2011) Cinema’s Alchemist: The Films of Péter Forgács, Minneapolis: University of Minnesota Press.
  • Nolan, Christopher (2014) ‘Films of the Future Will Still Draw People to Theaters’, in Wall Street Journal, July 7 2014.
  • Noordegraaf, Julia (2009), ‘Facing Forward with Found Footage: Displacing Colonial Footage in Documentaries and Video Art’ in Liedeke Plate & Anneke Smelik (eds. 2009) Technologies of Memory in the Arts, Basingstoke: Palgrave, pp. 172-187. Orginally pubished in Cinéma & Cie no. 10 (Spring 2008) pp.105-113. URL: http://dare.uva.nl/record/336123.
  • Olesen, Christian (2013) ‘Found Footage Photogénie: An interview with Elif Rongen-Kaynakçi and Mark-Paul Meyer’, in Necsusno. 4 (Autumn 2013), URL: http://www.necsus-ejms.org/found-footage-photogenie-an-interview-with-elif-rongen-kaynakci-and-mark-paul-meyer/
  • Odin, Roger (2000) ‘For a Semio-Pragmatics of Film’, in R. Stam & T. Miller (eds.) Film and Theory: An Anthology, Malden: Blackwell, pp. 54-66.
  • Pariser, Eli (2011) The Filter Bubble: What the Internet is Hiding from You, London: Penguin Books. See also: www.thefilterbubble.com
  • Parks, J. (2012) The Insider’s Guide to Independent Film Distribution, Oxford: Focal Press.
  • Parth, Kerstin & Oliver Hanlet & Thomas Ballhausen (eds. 2013)Work/s in Progress: Digital Film Restoration Within Archives, Vienna: Synema.
  • Pierce, David (2013) The Survival of American Silent Feature Films: 1912-1929, Washington: Library of Congress, September 2013. URL: http://www.loc.gov/today/pr/2013/files/2013silent_films_rpt.pdf
  • Pierce, David (2007) ‘Forgotten Faces: Why Some of Our Cinema Heritage is Part of the Public Domain’, in Film History, vol. 19, no. 2 (2007), pp. 125-143.
  • Pine, James H. & Gilmore, Joseph (1999) The Experience Economy, Boston: Harvard Business School Press.
  • Rapfogel, Jared (2010) ‘Introduction to Repertory Film Programming: A Critical Symposium’, in Cineastevol. 35, no. 2 (Spring 2010), p. 38.
  • Rastegar, Roya (2012) ‘Difference, Aesthetics and the Curatorial Crisis of Film Festivals’, in Screen, vol. 53, no. 3 (Autumn 2012), pp. 310-317.
  • Reis, J. (2011) Think Outside the Boxoffice: The Ultimate Guide to Film Distribution and Marketing in the Digital Age, n.p.: Hybrid Cinema. URL:  http://www.thinkoutsidetheboxoffice.com
  • Rich, Jamie S. (2008) ‘Review Lyrical Nitrate’, in DVD TalkMarch 2, 2008. URL: http://www.dvdtalk.com/reviews/32524/lyrical-nitrate-forbidden-quest/
  • Rifkin, Jeremy (2000) The Age of Access: The New Culture of Hypercapitalism Where All of Life is a Paid-for Experience, New York: Tarcher/Putnam.
  • Rodowick, David N. (2007) The Virtual Life of Film, Cambridge/London: Harvard UP.
  • Rosenbaum, Jonathan (2013) ‘Mark Cousin’s Excellent Adventure: A Friendly and Innocent TV Odyssey Through Film History’, in Film Comment (February 2013). URL: http://filmcomment.com/article/mark-cousins-the-story-of-film-an-odyssey
  • Sallitt, Dan, ‘Sight Unchanged: How Did the Film Canon Get so Stodgy?’, in Slate August 20, 2002, URL: www.slate.com/?id=2069759.
  • Saunders, Mark M.K. & Lewis, Philip & Thornhill, Adrian (2009) Research Methods for Business Students,Amsterdam: Pearson Education.
  • Schröder, Kim et al (eds. 2003) Researching Audiences: A Practical Guide to Methods in Media Audience Analysis, London: Arnold.
  • Schulte-Strathaus, Stefanie (2004) ‘Showing Different Films Differently: Cinema as a Result of Cinematic Thinking’ in The Moving Image vol. 4 no. 1 (2004) pp. 1–16.
  • Scorsese, Martin & Michael Henry Wilson (1997) A Personal Journey with Martin Scorsese through American Movies, New York: Miramax/Hyperion.
  • Shary, Tim (2005) Teen Movies: American Youth on Screen, London: Wallflower Press.
  • Shoemaker, Pamela J. & Tim P. Vos (2009) Gatekeeping Theory, New York/London: Routledge.
  • Slide, Anthony (1992) Nitrate Won’t Wait: A History of Film Preservation in the United States, Jefferson: McFarland & Company.
  • Smith, Caylin (2012) ‘‘The Last Ray of the Dying Sun’: Tacita Dean’s commitment to analogue media as demonstrated through FLOH and FILM’ in Necsus, European Journal of Media Studies (Autumn 2012). URL: http://www.necsus-ejms.org/the-last-ray-of-the-dying-sun-tacita-deans-commitment-to-analogue-media-as-demonstrated-through-floh-and-film/
  • Smith, Laurajane (2006) Uses of Heritage, London: Routledge.
  • Smither, Roger & Catherine A. Surowiec (2002) This Film is Dangerous. A Celebration of Nitrate Film, Bruxelles: FIAF.
  • Sontag, Susan (1996) ‘The Decay of Cinema’, in The New York Times Magazine, February 25, 1996, pp. 60-61. Reprinted as ‘A Century of Cinema’, in Parnassus Poetry in Review, vol. 22, no. 82, 1997. URL:  http://partners.nytimes.com/books/00/03/12/specials/sontag-cinema.html. Also compiled in Susan Sontag (2001) Where the Stress Falls, New York: Farrar, Strauss & Giroux, pp.117-122.
  • Sontag, Susan (1963) ‘Against Interpretation’, in Against Interpretation and Other Essays, New York: Farrar, Strauss & Giroux, pp. 4-14.
  • Stafford, Roy (2008) Understanding Audiences and the Film Industry, New York: Palgrave Macmillan.
  • Staiger, Janet (2000) Perverse Spectators: The Practices of Film Reception,New York: New York UP.
  • Staiger, Janet (1985) ‘The Politics of Film Canons’, in Cinema Journal vol. 24 no. 3 (Spring 1985) pp. 4-23.
  • Staples, Terry (1997) All Palls Together: The Story of Children’s Cinema, Edinburgh UP.
  • Strauven, Wanda (ed. 2006) Cinema of Attractions Reloaded, Amsterdam: Amsterdam UP. URL: http://dare.uva.nl/aup/en/record/216719
  • Streible, Dan (2007) ‘The Role of Orphan Films in the 21st Century Archive’ in Cinema Journal vol. 46 no. 3 (Spring 2007) pp. 124–128.
  • Streible, Don (2009) ‘The State of Orphan Films: Editor’s Introduction’ in The Moving Image: The Journal of the Association of Moving Image Archivists vol.9, No. 1 (Spring 2009), pp. vi-xix.
  • Surowiec, Catherine A. (ed. 1996) The Lumière Project: European Film Archives at the Crossroads, Lisboa: Guide Artés Gráficas.
  • Tanner, Lauri Rose (2005) Creating Film Festivals: Everything You Wanted to Know, But Didn’t Know Who To Ask, URL: http://www.filmfestivalbook.com/FilmFestivalBook/TABLEofCONTENTS-CreatingFilmFestivalsBook.html
  • Telotte, J.P. (ed.) (1991) The Cult Film Experience: Beyond All Reason, Austin: University of Texas Press.
  • Thompson, Kristin (2008) The Frodo Franchise: The Lord of the Rings and Modern Hollywood, Oakland: University of California Press.
  • Thompson, Kristin (1988) ‘A Neoformalist Approach to Film Analysis’, in Breaking the Glass Armor: Neoformalist Film Analysis, Princeton: Princeton UP, pp 1-46.
  • Tryon, Chuck (2013) On Demand Culture:Digital Delivery and the Future of Movies, New Brunswick: Rutgers UP.
  • Tryon, Chuck (2009) Reinventing Cinema: Movies in the Age of Media Convergence, New Brunswick: Rutgers UP.
  • Tudor, Andrew (2005) ‘The Rise and Fall of the Art (House) Movie’, in David Inglis & John Hughson (eds.) The Sociology of Art, London: Palgrave Macmillan, pp.125-138.
  • Turan, Kenneth (2002) Sundance to Sarajevo: Film Festivals and the World They Made, Berkeley: University of California Press.
  • Ulin, J.C. (2014) The Business of Media Distribution: Monetizing Film, TV, and Video Content in an Online World, New York/London: Focal Press (second edition).
  • Uroskie, Andrew V. (2014) Between the Black Box and the White Cube: Expanded Cinema and Postwar Art, Chicago: Chicago UP.
  • Urricchio, William (1995) ‘Archives and Absences’, in Film Historyno. 3 (1995) pp. 256-263.
  •  Van den Oever, Annie (ed. 2009) Ostrannenie, Amsterdam: Amsterdam UP.
  • Verhoeven, Deb (2013) ‘What is Cinema? Death, Closure and the Database’, in Aveyard, Karina & Albert Moran (eds.) Watching Films: New Perspectives on Movie-Going, Exhibition and Reception, London: Intellect, pp. 33-51.
  • Waller, Gregory (ed. 2002) Moviegoing in America: A Sourcebook in the History of Film Exhibition, Oxford: Blackwell Publishers.
  • Wasson, Haidee (2005) Museum Movies: The Museum of Modern Art and the Birth of Art Cinema, Berkeley: University of California Press.
  • Wees, Wiliam C. (1993) Recycled Images: The Art and Politics of Found Footage Films, New York: Anthology Film Archives.
  • Welles, Paul (2000) The Horror Genre: From Beelzebub to Blair Witch, London: Wallflower Press.
  • Willis, Holly (2016) New Digital Cinema: Reinventing the Moving Image, London: Wallflower Press.
  • Withall, Keith (2014) Studying Early and Silent Cinema, Leighton Buzzard: Auteur Publishing.
  • Wojcik-Andrew, Ian (2000) Children Films: History, Ideology, Pedagogy, Theory, London: Routledge.
  • Wollen, Peter (1993) ‘Films: Why Do Some Survive and Others Disappear?’, in Sight and Sound, vol. 3, no. 5 (May 1993) pp. 26-28.
  • Youngblood, Gene (1970) Expanded Cinema, URL: www.ubu.com/historical/youngblood/expanded_cinema.pdf.
  • Zanichelli, Elena (2007) ‘Interview with Alexander Horwath, Curator of Gloria Kino, the Filmprogramme of Documenta 12’. URL: http://archiv.documenta12.de/index.php?id=1387&L=1

Additional recommended reading

  • Atkinson, S. (2015) Beyond the Screen: emerging Cinema and Engaging Audiences. London: Bloomsbury Publishing.
  • Atkinson, S. & H.W. Kennedy (eds. 2017) Live Cinema: Cultures, Economies, Aesthetics. London: Bloomsbury Publishing.
  • Binder, M. (2014) A Light Affliction: A History of Film Preservation and Restoration, Lulu.com
  • Napper, L.  (2017) Silent Cinema: Before the Pictures Got Small. London/New York: Wallflower Press/ Columbia University Press.
  • Chapman, J. & M. Glancy & S. Harper (2007) The New Film History: Sources, Methods, Approaches, London: Palgrave Macmillan.
  • Crisp, V. & M.G. Gonring (eds. 2015) Besides the Screen: Moving Images through Distribution, Promotion and Curation. Basingstoke: Palgrave Macmillan.
  • Enticknap, L. (2013) Film Restoration: The Culture and Science of Audiovisual Heritage. Basingstoke: Palgrave Macmillan.
  • Gleibermann, O. (2016) Movie Freak: My Life Watching Movies, Hachette Books.
  • Grainge, P. & M. Jancovich and S. Monteith (eds. 2007) Film Histories: An Introduction and Reader, Toronto: University of Toronto Press.
  • Hanich, J. (2017) The Audience Effect: On the Collective Cinema Experience. Edinburgh: Edinburgh UP.
  • Klevan, A, (2018) Aesthetic Evaluation and Film.Manchester: Manchester UP.
  • Koepnick, L. (2009) ‘The Bearable Lightness of Being: People on Sunday(1930)’, in: Isenberg, N. (ed.) Weimar Cinema: An Essential Guide to Classic Films of the Era, New York: Columbia UP, pp. 237-254.
  • Maltby, R. & M. Stokes & R. Allen (eds. 2007) Going to the Movies: Hollywood and the Social Experience of Moviegoing, Exeter: University of Exeter Press.
  • Moran, A. & K. Aveyard (eds. 2013) Watching Films: New Perspectives on Movie-Going, Exhibition and Reception. Bristol: Intellect.
  • Scott, A.O. (2016) Better Living Through Criticism: How to Think about Art, Pleasure, Beauty, and Truth, Penguin Press.
  • Wood, J. (2014) Last Words: Considering Contemporary Cinema, London: Wallflower Press.