Search Catalogue

Call No: 792 BUN
Author: Bunuel, Luis, 1900-1983; Dali, Salvador, 1904-1989, joint author; Bunuel, Luis, 1900-1983. Chien andalou. English
Place: New York
Publisher: Simon and Schuster
PubDate: [c1968]
PhysDes: 120 p. illus. 21 cm
Subject: AGE D'OR, L' (FR, Luis Bunuel, 1930); CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928)
Notes: Scripts by L. Bunuel and S. Dali; "Filmography": p. 117-120
LON: 1880 1880

Call No: 79CHI TAL
Author: TalTns, Jenaro, 1946
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 1993
PhysDes: xxiv, 192 p. : ill. ; 24 cm
Subject: CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928)
Notes: Rev. ed. and translation of: El ojo tachado. 1986; Includes bibliographical references (p. 181-187) and index
ISBN: 0816620474 (pb : alk. paper); 0816620466 (alk. paper)
LON: 9955225

PhysDes: Article
Subject: BUNUEL, LUIS; Dali, Salvador; CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928)
Summary: Article examines the different aims of Bunuel and Dali who co-wrote the scenario for Bunuel's first film 'Un Chien Andalou'

Author: Auty, Martyn
PhysDes: Article
Subject: CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928); ANDALUSIAN DOG, AN (FR, Luis Brunel, 1928)
Summary: rticle; ill; credits; synopsis

Call No: 79CHI ADA
Author: Adamowicz, Elza
Source: US/UK
Place: London ; New York
Publisher: I.B. Tauris ; New York : Distributed in the USA by Palgrave Macmillan
PubDate: 2010
PhysDes: 109 p. : ill. ; 22 cm
Series: Cine´-files : the French film guides
Subject: SURREALISM AND THE CINEMA; DALI, SALVADOR; BUNUEL, LUIS; CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928)
Summary: "In 1929 Dali and Bunuel produced a seventeen-minute film, 'Un chien andalou'. On its first screening, Georges Bataille referred to it as 'that extraordinary film ... penetrating so deeply into horror', while Federico Garcia Lorca described it as 'a tiny little shit of a film'. Produced from a script said to be based on two dream images - a woman's eye slit by a razor, ants emerging from a hole in a man's hand - the film shocked audiences. It continues to fascinate, provoke, attract and alienate its viewers. Its eye-slitting sequence and use of dream like images have influenced filmmakers from Alfred Hitchcock to David Lynch. Elza Adamowicz's lucid critical guide to this most enigmatic of works offers new approaches to the film, exploring how it can be seen both within and beyond the confines of Surrealism and reviewing its openness to so many readings and interpretations. She reassesses Dali and Bunuel's account of the film as a model of surrealist work and its reception by the surrealist group. She situates the film within the social and cultural contexts of the 1920s, including those of melodramatic film, Spanish culture, surrealist iconography and gender construction. She assesses the film's resistance to a single interpretation and explores the role of the viewer (detective or dreamer?)."-BOOK BLURB
Notes: includes film credits; includes selected bibliography
ISBN: 9781848850569
Contents: -- introduction: it's dangerous to look inside -- Producing Un chien andalou : myths of origin. From scenario to screen : a close collaboration -- Premie`re and reception of Un chien andalou -- A surrealist film? -- Romantic melodrama or magic theatre? Classic film narrative subverted -- A cinema of attractions -- Psychoanalytic readings -- Symbols or material images? -- Contexts and intertexts : between Fanto^mas and the fairground. Spanish contexts -- Surrealist iconography -- A parody of 1920s' films -- Early cinema and fairground intertexts -- Destabilizing gender roles -- conclusion -- Appendix 1. Synopsis -- Appendix 2. Credits -- appendix 3. Selected bibliography --

Call No: TITLE CLIPPINGS FILE
PhysDes: Publicity
Subject: CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928)

Call No: 67(04) TYL
Author: Tyler, Parker
Edition: [1st ed.]
Place: New York
Publisher: Citadel Press
PubDate: [1962]
PhysDes: 253 p. : illus. ; 29 cm
Subject: CABINET DES DR. CALIGARI, DAS (G, Robert Wiene, 1920); LETZIE MANN, DER (G, Friedrich Wilhelm Murnau, 1924); NAPOLEON (FR, Abel Gance, 1927); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); VARIETE (G, E.A. Dupont, 1925); CHAPEAU DE PAILLE D'ITALIE, UN (FR, Rene Clair, 1927); METROPOLIS (G, Fritz Lang, 1926); PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); BLAUE ENGEL, DER (G, Josef von Sternberg, 1930); ZEMLJA (UR, Alexksandr Dovzenko, 1930); SANG D'UN POETE, LE (FR, Jean Cocteau, 1932); CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928); AGE D'OR, L' (FR, Luis Bunuel, 1930); MADCHEN OHNE GRENZEN (DK, Geza Radvanyi, 1958); DREIGROSCHENOPER, DIE (G/US, Georg Wilhelm Pabst, 1931); M (G, Fritz Lang, 1931); A NOUS, LA LIBERTE! (FR, Rene Clair, 1931); QUE VIVA MEXICO! (UR, Sergei Eisenstein, [prod. 1932]); ZERO DE CONDUITE (FR, Jean Vigo, 1945 [prod 1933]); MATERNELLE, LA (FR, Marie Epstein & Jean Benoit-Levy, 1933); KERMESSE HEROIQUE, LA (FR, Jacques Feyder, 1935); GRANDE ILLUSION, LA (FR, Jean Renoir, 1937); OLYMPIA (G, Leni Riefenstahl, 1938); DYBUK (PL, Michal Waszynski, 1938); ALEX & EVE (AT, Peter Andrikidis, 2015); ALEKSANDR NEVSKI (UR, Sergei M. Eisenstein, 1938); REGLE DU JEU, LA (FR, Jean Renoir, 1939); VREDENS DAG (DK, Carl Th. Dreyer, 1943); ENFANTS DU PARADIS, LES (FR, Marcel Carne, 1945); ROMA CITTA APERTA (IT, Roberto Rossellini, 1945); IVAN GROZNY [IVAN THE TERRIBLE] (UR, Sergei Eisenstein, pt.1:1945, pt.2:1958[prod.1946]); SCIUSCIA (IT, Vittorio De Sica, 1946); BELLE ET LA BETE, LA (FR, Jean Cocteau, 1946); LADRI DI BICICLETTE (IT, Vittorio De Sica, 1949); FROKEN JULIE (SW, Alf Sjoberg, 1950); RASHOMON (JA, Akira Kurosawa, 1950); UGETSU MONOGATARI (JA, Kenji Mizoguchi, 1953); JIGOKUMON (JA, Teinosuke kinugasa, 1953); STRADA, LA (IT, Federico Fellini, 1954); KUMONOSU-JO (JA, Akira Kurosawa, 1957); POPIOL I DIAMENT (PL, Andrzej Wajda, 1959); HIROSHIMA, MON AMOUR (FR/JA, Alain Resnias, 1959); SMULTRONSTALLET (SW, Ingmar Bergman, 1957); PICKPOCKET (FR, Robert Bresson, 1959); LIAISONS DANGEREUSES, LES (FR, Roger Vadim, 1959); AVVENTURA, L' (IT/FR, Michelangelo Antonioni, 1960); DOLCE VITA, LA (FR/IT, Federico Fellini, 1960); NOTTE, LA (IT/FR, Michelangelo Antonioni, 1961); ROCCO E I SUOI FRATELLI (IT/FR, Luchino Visconti, 1960); YOJIMBO (JA, Akira Kurosawa, 1961); SANG DES BETES, LE (FR, Georges Franju,1949); VIRIDIANA (SP/MX, Luis Bunuel, 1961); ECLISSE, L' (FR/IT, Michelangelo Antonioni, 1962); TYSTNADEN (SW, Ingmar Bergman, 1963)
Summary: "This pictorial history of some of the great foreign classics of the last half-century was compiled by a distinguished film historian and critic, for whom the cinema at its best is a genuine art-form; and the special success of the book is the way in which the author evokes the 'feeling' of the films which have aroused his keenest interest and admiration." -- BOOK JACKET
LON: 712285
Contents: The cabinet of Dr Caligari -- The story of Gosta Berling -- The last laugh -- Napoleon -- Battleship Potemkin -- Variety -- The Italian straw hat -- Metropolis -- The passion of Joan of Arc -- Storm over Asia -- The blue angel -- Earth -- Le sang d'un Poete -- Chien Andalou and L'age d'or -- Madchen in uniform -- The threepenny opera -- M -- A nous la liberte -- Que viva Mexico! -- Don Quixote -- Marius trilogy 00 Zero de conduite -- Ecstasy -- Poil de carotte - La maternelle -- La kermess heroique -- The eternal mask -- La grande illusion -- Olympia -- The childhood of Maxim Gorky -- La femme de boulanger -- The dybbuk -- Alexander Nevsky -- La regle du jeu -- Day of wrath -- Frenzy -- Les enfants du paradis -- Open city -- Ivan the terrible, parts I & II -- Shoe shine -- La belle et la bete -- Monsieur Vincent -- Bicycle thieves -- Miss Julie -- OPrphee -- Rashomon -- Infidelity -- The seven deadly sins -- The forbidden Christ -- Le Plaisir -- Ugetsu Monogatari -- Gate of hell -- Love in the city -- La strada -- Throne of blood -- Ashes and diamonds -- Hiroshima, mon amour -- Apu trilogy -- Wild Strawberries -- Pickpocket -- Les liaisons dangereuses -- L'avventura -- La dolce vita -- La notte -- Rocco and his brothers -- Yojimbo -- Le sang des betes & Mondo Cane -- Viridiana -- L'eclisse -- The silence

Call No: 771(4) TUR
Author: Turvey, Malcolm
Source: US
Place: Cambridge, Massachusetts
Publisher: MIT Press
PubDate: c2011
PhysDes: xii, 213 p. : ill. ; 24 cm
Subject: AVANT-GARDE FILMS; AVANT-GARDE FILMS. EUROPEAN COUNTRIES; EUROPEAN CINEMA; HISTORY OF CINEMA. 1920's; BALLET MECANIQUE, LE (FR, Fernand Leger, 1924); MAN WITH A MOVIE CAMERA (UR, Dziga Vertov, 1929); PARIS QUI DORT (FR, Rene Clair, 1923); CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928)
Summary: "In the 1920s, the European avant-garde embraced the cinema, experimenting with the medium in radical ways. Painters including Hans Richter and Fernand Leger as well as filmmakers belonging to such avant-garde movements as Dada and surrealism made some of the most enduring and fascinating films in the history of cinema. In The Filming of Modern Life, Malcolm Turvey examines five films from the avant-garde canon and the complex, sometimes contradictory, attitudes toward modernity they express: Rhythm 21 (Hans Richter, 1921), Ballet mecanique (Dudley Murphy and Fernand Leger, 1924), Entr'acte (Francis Picabia and Rene Clair, 1924), Un chien Andalou (Salvador Dali and Luis Bunuel, 1929), and Man with a Movie Camera (Dziga Vertov, 1929). All exemplify major trends within European avant-garde cinema of the time, from abstract animation to "cinema pur." Turvey argues that these films share a concern with modernization and the rapid, dislocating changes it was bringing about. He critically addresses major theories of the avant-garde and its relation to modern life, including the claim that film is "distracting" in the same way as a modern environment, and he challenges the standard view of the avant-garde as implacably opposed to bourgeois modernity. In fact, he writes, not only was there considerable disagreement among avant-garde movements about what aspects of modern life needed transformation, but the positions of individual avant-garde artists toward modernization were complex, even contradictory. All five films that Turvey analyzes embrace and resist, in their own ways, different aspects of modernity. Although much has been written about each of these films, The Filming of Modern Life is the first book to examine them together, illuminating their shared concern with modernization and its consequences." -- BOOK JACKET
Notes: "An October book"; Includes bibliographical references and index
ISBN: 9780262015189
Contents: -- acknowledgments -- introduction -- Abstraction and rhythm 21 -- "Cinema pur" and Ballet me´chanique -- Dada, Entr'acte and Paris qui dort -- Surrealism and Un chien andalou -- City symphony and Man with a movie camera -- Film, distraction, and modernity -- notes -- index --

Call No: 630.31 KIN
Author: Fowler, Douglas
CorpAuthor: Florida State University Conference on Literature and Film (10th : 1985 : Tallahassee)
Place: Tallahassee
Publisher: University Presses of Florida
PubDate: 1986
PhysDes: 148 p. ; 21 cm
Subject: DREAMS IN FILMS; HITCHCOCK, ALFRED; S.O.B. (US, Blake Edwards, 1981); FLASHDANCE (US, Adrian Lyne, 1983); CITIZEN KANE (US, Orson Welles, 1941); KOYAANISQATSI (US, Godfrey Reggio, 1982); MA NUIT CHEZ MAUD (FR, Eric Rohmer, 1969); CARMEN (SP, Carlos Saura, 1983); CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928)
Notes: Includes bibliographical references and index
ISBN: 0813008638 (pbk. :alk. paper)
LON: 86022393; 4823250

Call No: 70"192" MUL
Author: Muller, Jurgen
Edition: 2007
Place: Koln
Publisher: Taschen GMBH
PubDate: 2007
PhysDes: 482 pgaes : illustrated ; 26 cm
Subject: HISTORY OF CINEMA. 1920's; HISTORY OF CINEMA. SILENT PERIOD; TRIP TO THE MOON [VOYAGE DANS LA LUNE] (FR, George Melies, 1902); GREAT TRAIN ROBBERY, THE (US, Edwin S. Porter, 1903); STUDENT VON PRAG, DER (G, Stellan Rye, 1913); CABIRIA (IT, Giovanni Pastrone, 1914); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); INTOLERANCE (US, David Wark Griffith, 1916); MADAME DUBARRY (G, Ernst Lubitsch, 1919); CABINET DES DR. CALIGARI, DAS (G, Robert Wiene, 1920); EROTIKON (SW, Mauritz Stiller, 1920); GOLEM, WIE ER IN DIE WILT KAM, DER (G, Paul Wegener & Carl Bose, 1920); KID, THE (US, Charles Chaplin, 1921); FOOLISH WIVES (US, Erich Von Stroheim, 1922); FOUR HORSEMEN OF THE APOCALYPSE, THE (US, Rex Ingram, 1921); THREE MUSKETEERS, THE (US, Fred Niblo, 1921); ABENTEUER DES PRINZEN ACHMED, DIE (GE/GG, Carl Koch & Lotte Reiniger, 1925); TOL'ABLE DAVID (US, Henry King, 1921); NOSFERATU - EINE SYMPHONIE DES GRAUENS (G, Friedrich Wilhelm Murnau, 1922); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); HAXAN [WITCHCRAFT THROUGH THE AGES] (SW/DK, Benjamin Christensen, 1922); [DOKTOR] DR. MABUSE DER SPIELER (G, Fritz Lang, 1922); SAFETY LAST (US, Fred Newmayer/Sam Taylor, 1923); HUNCHBACK OF NOTRE DAME (US, Wallace Worsley, 1923); TEN COMMANDMENTS, THE (US, Cecil B. DeMille, 1923); WACHSFIGURENKABINETT, DAS (G, Paul Leni, 1924); THIEF OF BAGDAD (US, Raoul Walsh, 1924); SHERLOCK, JR. (US, Buster Keaton, 1924); NIBELUNGEN, DIE (G, Fritz Lang, 1922-24); LETZIE MANN, DER (G, Friedrich Wilhelm Murnau, 1924); NAVIGATOR, THE (US, Buster Keaton & Donald Crisp, 1924); GREED (US, Erich von Stroheim, 1925); IRON HORSE, THE (UK, John Ford, 1924); GOLD RUSH, THE (US, Charles Chaplin, 1925); BEN HUR (US, Fred Niblo, 1925); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); VARIETE (G, E.A. Dupont, 1925); BIG PARADE, THE (US, King Vidor, 1925); FREUDLOSE GASSE, DIE (G, Wilhelm Pabst, 1925); PHANTOM OF THE OPERA, THE (US, Rupert Julian, 1925); SON OF THE SHEIK, THE (US, George Fitzmaurice, 1926); LODGER, THE (UK, Alfred Hitchcock, 1926); GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927); BLACK PIRATE, THE (US, Albert Parker, 1926); FAUST (G, Friedrich Wilhelm Marnau, 1926); ABENTEUER DES PRINZEN ACHMED, DIE (GE/GG, Carl Koch & Lotte Reiniger, 1925); METROPOLIS (G, Fritz Lang, 1926); KONETS SANKT-PETERSBURGA (UR, Vsevolod Pudovkin, 1927); BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927); NAPOLEON (FR, Abel Gance, 1927); CHAPEAU DE PAILLE D'ITALIE, UN (FR, Rene Clair, 1927); SUNRISE (US, Friedrich Wilhelm Murnau, 1927); JAZZ SINGER, THE (US, Alan Crosland, 1927); PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); CROWD, THE (US, King Vidor, 1928); WIND, THE (US, Victor Sjostrom, 1928); CIRCUS, THE (US, Charles Chaplin, 1928); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); BLACKMAIL (UK, Alfred Hitchcock, 1929); BUCHSE DER PANDORA, DIE (G, Georg Wilhelm Pabst, 1929); CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928); LITTLE CAESAR (US, Mervyn LeRoy, 1931); BLAUE ENGEL, DER (G, Josef von Sternberg, 1930); ALL QUIET ON THE WESTERN FRONT (US, Lewis Milestone, 1930); SOUS LES TOITS DE PARIS (FR, Rene Clair, 1929); MOROCCO (US, Josef von Sternberg, 1930); WESTFRONT 1918 (G, Georg Wilhelm Pabst, 1930); AGE D'OR, L' (FR, Luis Bunuel, 1930)
Notes: From the invention of the moving picture to the first sound movies From the first moving pictures (the Lumiere brothers' 1895 L'arrive d'un train), early westerns, fantastic pictures, and nickelodeons all the way through the golden age of silent film in the 1920s, this book covers the first three decades of the moving picture around the world. In America, we witness the birth of Hollywood, circa 1910, where film quickly became a powerful industry and D. W. Griffith put American cinema on the map; later, Charlie Chaplin and Buster Keaton developed a new language of visual comedy while eccentrics like Erich von Stroheim and Cecil B. DeMille turned cinema into a high art form and show biz respectively, and sex symbols like Rudolph Valentino and Greta Garbo heated up the screens. Meanwhile, in Europe, German directors such as Ernst Lubitsch and Fritz Lang were establishing their careers and Russian greats Eisenstein and Pudovkin were already revolutionizing a nascent art form. At the end of the 1920s the very first "talkies", albeit rudimentary ones, brutally crushed the silent art, but by 1930 sound masterpieces such as Sternberg's The Blue Angel and Milestone's All Quiet on the Western Front were produced. This exploration of the founding years of cinema offers a fascinating perspective on a period in movie history that is far too often overlooked in our times. -- jacket blurb
ISBN: 9783822846131
Donation: Megan McMurchy

Call No: 771 MUS
Author: Rogers, Holly; Barham, Jeremy
Edition: 2017
Place: New York
Publisher: Oxford Univesity Press
PhysDes: xvi, 320 pages : illustrations ; 24 cm
Subject: EXPERIMENTAL FILMS; COLOUR BOX, A (UK, Len Lye, 1935); AVANT-GARDE FILMS; LYE, LEN; MCLAREN, NORMAN; BRAKHAGE, STAN; AKERMAN, CHANTAL; SMITH, JOHN; COMPILATION FILMS; CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928)
Summary: This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing. -- publisher's web site
ISBN: 9780190469900
Contents: Preface - Jeremy Barham -- Introduction - Holly Rogers -- Chapter 1: Absolute Sounding Images: Abstract Film and Radio Drama of the 1920s as Complementary Forms of a Media Specific Art - Dieter Daniels -- Chapter 2: A Primitivism of the Senses: The Role of Music in Len Lye's Experimental Animation, -- Malcolm Cook -- Chapter 3: An Educational Avant-Garde: Sound and Music in Julien Bryan's OIAA Films on Latin America, 1942-1949 - James Tobias -- Chapter 4: bup bup bup: Aural Innovation in the Films of Norman McLaren - Terence Dobson -- Chapter 5: Sights and Sounds of the Moving Mind: The Visionary Soundtracks of Stan Brakhage - Eric Smigel -- Chapter 6: Discontinuities and Resynchronisations: The Use of Sound in Polish Experimental Cinema from the 1930s to the 1980s - Daniel Muzyczuk -- Chapter 7: Grid Intensities: Hearing Structures in Chantal Akerman's Films of the 1970s - Paul Hegarty -- Chapter 8: Meaning and Musicality: Sound-Image Relations in the Films of John Smith - Andy Birtwistle -- Chapter 9: Audiovisual Dissonance in Found-Footage Film - Holly Rogers -- Chapter 10: Rebalancing the Picture/Sound Relationship: The Audiovisual Compositions of Lis Rhodes - Aimee Mollaghan -- Chapter 11: Sounding Decay in the Digital Age: Audio-Visions of Decasia (2002) and Lyrical Nitrate (1991) - Nessa Johnston -- Chapter 12: The Sound of Queer Experimental Film - Juan A. Suárez -- Chapter 13: Avant-Gardists and the Lure of Pop Music - Carol Vernallis -- Chapter 14: The Music of Gustav Mahler in Experimental Film Contexts: Questions of Visual Music and Intermedial Theory - Jeremy Barham -- index

Call No: 62 KRA
Author: Kracauer, Siegfried
Place: New York
Publisher: Oxford University Press
PubDate: 1965
PhysDes: xix, 364 p. ill., 20 cm.
Subject: ACTORS; ADAPTATIONS; EXPERIMENTAL FILMS; THEORY; AGEE, JAMES; ALEXANDROV, GROGORIJ; ANGER, KENNETH; ANSTEY, EDGAR; ARNHEIM, RUDOLF; ASTAIRE, FRED; BALAZS, BELA; BENJAMIN, WALTER; BERGMAN, INGMAR; BOGART, HUMPHREY; BRAKHAGE, STAN; BRANDO, MARLON; BUNUEL, LUIS; CAGNEY, JAMES; CAPRA, FRANK; CASTELLANI, RENATO; CAVALCANTI, ALBERTO; CHANEY, LON; CHAPLIN, CHARLES; CLAIR, RENE; CLEMENT, RENE; CLOUZOT, HENRI-GEORGES; COCTEAU, JEAN; DALI, SALVADOR; DE FILIPPO, EDUARDO; DEMILLE, CECIL B.; DE SICA, VITTORIO; DISNEY, WALT; DOVZENKO, ALEKSANDR; DREYER, CARL TH.; DUCHAMP, MARCEL; DUVIVIER, JULIEN; ELTON, ARTHUR; ENGEL, MORRIS; EPSTEIN, JEAN; FELLINI, FEDERICO; FEUILLADE, LOUIS; FEYDER, JACQUES; FISCHINGER, OSKAR; FLAHERTY, ROBERT; FORD, JOHN; FRANJU, GEORGES; FREUD, SIGMUND; GANCE, ABEL; GARNETT, GALE; GIDE, ANDRE; GREENE, GRAHAM; GRIERSON, JOHN; GRIFFITH, DAVID WARK; GRIFFITHS, RICHARD; GUITRY, SACHA; HARRINGTON, CURTIS; HILL, DAVID; HITCHCOCK, ALFRED; WACHSFIGURENKABINETT, DAS (G, Paul Leni, 1924); SMULTRONSTALLET (SW, Ingmar Bergman, 1957); VITELLONI, I (IT, Federico Fellini, 1953); VAMPYR : DER TRAUM DES ALLEN GRAY (G/FR, Carl Th. Dreyer, 1932); VARIETE (G, E.A. Dupont, 1925); VALLEY TOWN - A STUDY OF MACHINES AND MEN (US, Willard Van Dyke, 1940); UMBERTO D. (IT, Vittorio De Sica, 1952); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); THIRD MAN, THE (UK, Carol Reed, 1949); OKTIABR (UR, Sergei M. Eisenstein, 1928); TEN COMMANDMENTS, THE (US, Cecil B. DeMille, 1956); SYMPHONIE PASTORALE, LA (FR, Jean Delannoy, 1946); SWING TIME (US, George Stevens, 1936); STRADA, LA (IT, Federico Fellini, 1954); ROMAN D'UN TRICHEUR, LE (FR, Sacha Guitry, 1936); MATTER OF LIFE AND DEATH, A (UK, Michael Powell & Emeric Pressburger, 1946); SPIONE (G, Fritz Lang, 1928); SPELLBOUND (US, Alfred Hitchcock, 1945); SOUS LES TOITS DE PARIS (FR, Rene Clair, 1930); SNOW WHITE AND THE SEVEN DWARFS (US, David Hand, 1937); SMILING LIEUTENANT, THE (US, Ernst Lubitsch, 1931); SHANE (US, George Stevens, 1953); SJUNDE INSEGLET, DET (SW, Ingmar Bergman, 1957); GEHEIMNISSE EINER SEELE (G, Georg Wilhelm Pabst, 1926); SCARFACE (US, Howard Hawks, 1932); SANG DES BETES, LE (FR, Georges Franju,1949); SAN FRANCISCO (US, W.S. Van Dyke, 1936); ROUE, LA (FR, Abel Gance, 1922); ROMEO I DZULETTA (UR, Lev Arnstam & Leonid Lavrovskij, 1954); RICHARD III (UK, Laurence Olivier, 1955); REGLE DU JEU, LA (FR, Jean Renoir, 1939); RED SHOES, THE (UK, Michael Powell & Emeric Pressburger, 1948); RASHOMON (JA, Akira Kurosawa, 1950); REGEN (NE, Joris Ivens, 1929); PYGMALION (UK, Anthony Asquith & Leslie Howard, 1938); PLACE IN THE SUN, A (US, George Stevens, 1951); PATHER PANCHALI (II, Satyajit Ray, 1955); PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928); PARIS 1900 (FR, Nicole Vedres, 1948); PARADINE CASE, THE (US, Alfred Hitchcock, 1947); OTELLO (UR, Sergej Jutkevic, 1956); ON THE WATERFRONT (US, Elia Kazan, 1954); OLVIDADOS, LOS (MX, Luis Bunuel, 1951); OF MEN AND MUSIC (US, Irving Reis, 1950); NOSFERATU - EINE SYMPHONIE DES GRAUENS (G, Friedrich Wilhelm Murnau, 1922); NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936); NIGHT AT THE OPERA, A (US, Sam Wood, 1935); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); MOULIN ROUGE (UK, E.A. Dupont, 1928); MONSIEUR VERDOUX (US, Charles Chaplin, 1947); MODERN TIMES (US, Charles Chaplin, 1936); MOBY DICK (UK, John Huston, 1956); MOANA (US, Robert Flaherty, 1926); MILLION, LE (FR, Rene Clair, 1931); METROPOLIS (GG, Fritz Lang, 1927); MESHES OF THE AFTERNOON (US, Maya Deren & Alexander Hammid, 1943); MENSCHEN AM SONNTAG (G, Robert Siodmak & Edgar G. Ulmer, 1929); MARTY (US, Delbert Mann, 1954); MAN WHO KNEW TOO MUCH, THE (UK, Alfred Hitchcock, 1936); MAJOR BARBARA (UK, Gabriel Pascal, 1941); MADAME BOVARY (FR, Claude Chabrol, 1991); MACBETH (US, Orson Welles, 1948); M (G, Fritz Lang, 1931); LOVE PARADE, THE (US, Ernst Lubitsch, 1929); LIMELIGHT (US, Charles Chaplin, 1952); LIFEBOAT (US, Alfred Hitchcock, 1944); OSTATNI ETAP (PL, Wanda Jakubowska, 1948); LADY IN THE LAKE (US, Robert Montgomery, 1946); KID, THE (US, Charles Chaplin, 1921); JULIUS CAESAR (US, Joseph L. Mankiewicz, 1953); JAZZ SINGER, THE (US, Alan Crosland, 1927); IVAN GROZNY [IVAN THE TERRIBLE] (UR, Sergei Eisenstein, pt.1:1945, pt.2:1958[prod.1946]); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); INVISIBLE MAN, THE (US, James Whale, 1933); INTOLERANCE (US, David Wark Griffith, 1916); HUMAN DESIRE (US, Fritz Lang, 1954); HOUSING PROBLEMS (UK, Edgar Anstey & Arthur Elton, 1935); HOTEL DES INVALIDES (FR, Georges Franju, 1952); HIGH NOON (US, Fred Zinnemann, 1952); HENRY V (UK, Laurence Olivier, 1944); HEIRESS, THE (US, William Wyler, 1949); HATFUL OF RAIN, A (US, Fred Zinnemann, 1957); HAMLET (UK, Laurence Olivier, 1948); HALLELUJAH! (US, King Vidor, 1929); GREED (US, Erich von Stroheim, 1925); GREAT EXPECTATIONS (UK, David Lean, 1946); GRAPES OF WRATH, THE (US, John Ford, 1940); GRANDE ILLUSION, LA (FR, Jean Renoir, 1937); GOLD RUSH, THE (US, Charles Chaplin, 1925); ORO DI NAPOLI, L' (IT, Vittorio De Sica, 1954); GOLD OF NAPLES (IT, Vittorio De Sica, 1954); GLASS MENAGERIE, THE (US, Irving Rapper, 1950); VORMITTAGSSPUK (G, Hans Richter, 1928); GHOST GOES WEST, THE (UK, Rene Clair, 1935); GHOST AND MRS. MUIR, THE (US, Joseph L. Mankiewicz, 1947); GERVAISE (FR, Rene Clement, 1956); JIGOKUMON (JA, Teinosuke kinugasa, 1953); FURY (US, Fritz Lang, 1936); FOUR HORSEMEN OF THE APOCALYPSE, THE (US, Vincente Minnelli, 1962); FARREBIQUE (FR, Georges Rouquier, 1945); FANTASIA (US, Walt Disney, 1940); ZEMLJA (UR, Alexksandr Dovzenko, 1930); JOURNAL D'UN CURE DE CAMPAGNE (FR, Robert Bresson, 1951); DESTRY RIDES AGAIN (US, George Marshall, 1939); MUDE TOD, DER (G, Fritz Lang, 1921); DEATH OF A SALESMAN (US, Laslo Benedek, 1951); DEAD OF NIGHT (UK, Alberto Cavalcanti & Charles Crichton & Basil Dearden & Robert Hamer, 1945); CONDAMNE A MORT S`EST ECHAPPE, UN (FR, Robert Bresson, 1956); CITY LIGHTS (US, Charles Chaplin, 1931); CITIZEN KANE (US, Orson Welles, 1941); CINDERELLA (US, Wilfred Jackson & Hamilton Laske & Clyde Geronomi, 1950); CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928); BROKEN BLOSSOMS (US, David Wark Griffith, 1919); BROADWAY MELODY OF 1938 (US, Norman Taurog, 1940); BRIEF ENCOUNTER (UK, David Lean, 1945); BOOMERANG (US, Elia Kazan, 1947); SANG D'UN POETE, LE (FR, Jean Cocteau, 1932); BLACKMAIL (UK, Alfred Hitchcock, 1929); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); LADRI DI BICICLETTE (IT, Vittorio De Sica, 1949); BEZZERIDES, A.I.; BEN HUR (US, Fred Niblo, 1925); BAMBI (US, David Hand, 1942); BALLET MECANIQUE, LE (FR, Fernand Leger, 1924); BACK STREET (US, John M. Stahl, 1932); ATALANTE, L' (FR, Jean Vigo, 1934); A PROPOS DE NICE (FR, Jean Vigo, 1930); APARAJITO (II, Satyajit Ray, 1957); ANNA CHRISTIE (US, Clarence Brown, 1930); ANATOMY OF A MURDER (US, Otto Preminger, 1959); AMERICAN TRAGEDY, AN (Josef von Sternberg, 1931); ALEKSANDR NEVSKI (UR, Sergei M. Eisenstein, 1938); BROADWAY MELODY, THE (US, Harry Beaumont, 1929); LETZIE MANN, DER (G, Friedrich Wilhelm Murnau, 1924)
Notes: Frist published 1960; Previously published as: Nature of films. England : Dobson ;1965; Includes bilbiograpy: p. 351-364; Includes index
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