Cognitive Film Theory: A Bibliography

V.1.19 (12 January 2010)

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3. Allen, Richard, ‘Cinema, Psychoanalysis, and the Film Spectator,’ Persistence of Vision 10 1993: 5-
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4. Allen, Richard, ‘Representation, Illusion, and the Cinema,’ Cinema Journal 32 (2) 1993: 21–48.
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13. Anderson, Joseph, The Reality of Illusion: An Ecological Approach to Cognitive Film Theory.
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14. Anderson, Joseph D., ‘Scene and Surface in the Cinema: Implications for Realism,’ Cinémas 12 (2)
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15. Anderson, Joseph D., ‘Moving through the Diegetic World of the Motion Picture,’ in Lennard
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16. Anderson, Joseph D., ‘Preliminary Considerations,’ in Joseph D. Anderson and Barbara Anderson
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17. Anderson, Joseph, and Barbara Anderson, ‘The Myth of Persistence of Vision,’ Journal of the
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18. Anderson, Joseph, and Barbara Anderson, ‘Motion Perception in Motion Pictures,’ in Teresa De
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19. Anderson, Joseph, and Barbara Anderson, ‘The Myth of Persistence of Vision Revisited,’ Journal
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Bordwell, and Noël Carroll (eds.) Post-Theory: Reconstructing Film Studies. Madison: University
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21. Anderson, Joseph, and Barbara Fisher, ‘The Myth of Persistence of Vision,’ Journal of the
University Film Association 30 (4) 1978: 3-8.
22. Anderson, Joseph D., and Jessica K. Hodgins, ‘Perceiving Human Motion in Synthesised Images,’
in Joseph D. Anderson and Barbara Anderson (eds.) Moving Image Theory: Ecological
Considerations. Carbondale: Southern Illinois University Press, 2005: 61-66.
23. Andrew, Dudley J., ‘Cognitivism: Quests and Questionings,’ Iris 9 1989: 1-11.
24. Bacon, Henry, ‘Blendings of Real, Fictional, and Other Imaginary People,’ Projections 3 (1) 2009:
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25. Baird, Robert, ‘The Startle Effect: Implications for Spectator Cognition and Media Theory,’ Film
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26. Bardsley, Karen, ‘The “I” of the Beholder,’ Film-Philosophy 2 (7) 1998: http://www.film-
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27. Barratt, Daniel, ‘Tracing the Routes to Empathy: Association, Simulation, or Appraisal?,’ Film
Studies: An International Review 8 2006: 39-52.
28. Bartsch, Anne, ‘Meta-Emotion: How Films and Music Videos Communicate Emotions About
Emotions,’ Projections 2 (1) 2008: 45-59.
29. Baumgartner, T., K. Lutz, C.F. Schmidt, and L. Jancke, ‘The Emotional Power of Music: How Music
Enhances the Feeling of Affective Pictrures,’ Brain Research 1075 (1) 2006: 151-164.
30. Beebe, John, ‘Finding Our Way in the Dark,’ Journal of Analytical Psychology 50 (1) 2005: 91-101.
31. Bell, Silvia M., ‘Attachment, Trauma, and the Vicissitudes of Love: Circularity in Julio Medem’s
Lovers of the Arctic Circle,’ Projections 1 (1) 2007: 75-90.
32. Bennett, Bruce, ‘Misrecognising Film Studies,’ Film-Philisophy 4 (5) 2000: http://www.film-
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33. Bolivar, Valerie, Annabel J. Cohen, and John C. Fentress, ‘Effects of Semantic and Formal
Congruency of Film and Music on Film Interpretation,’ Psychomusicology 13 (1) 1994: 28-59.
34. Boltz, Marilyn Gail, ‘Temporal Accent Structure and the Remembering of Filmed Narratives,’
Journal of Experimental Psychology: Human Perception and Performance, 18 1992: 90-105.
35. Boltz, Marilyn Gail, ‘Musical Soundtracks as a Schematic Influence on the Cognitive Processing of
Filmed Events,’ Music Perception 18 (4) 2001: 427-454.
36. Boltz, Marilyn Gail, ‘The Cognitive Processing of Film and Musical Soundtracks,’ Memory and
Cognition 32 (7) 2004: 1194-1205.
37. Boltz, Marilyn, M. Schulkind, and S. Kantra, ‘Effects of Background Music on the Remembering of
Filmed Events,’ Memory and Cognition 19 (6) 1991: 593-606.
38. Bordwell, David, Narration in the Fiction Film. London: Methuen, 1985.
39. Bordwell, David, Making Meaning: Inference and Rhetoric in the Interpretation of Cinema.
Cambridge, MA: Harvard UP, 1989.
40. Bordwell, David, ‘A Case for Cognitivism,’ Iris 9 1989: 11–40.
41. Bordwell, David, ‘Historical Poetics of Cinema,’ in R. Barton Palmer (ed.) The Cinematic Text:
Methods and Approaches. New York: AMS Press, 1989: 369–398.
42. Bordwell, David, ‘A Case for Cognitivism: Further Reflections,’ Iris 11 1990: 107–112.
43. Bordwell, David, ‘Cognition and Comprehension: Viewing and Forgetting Mildred Pierce,’ Journal
of Dramatic Theory and Criticism 6 (2) 1992: 183-198.
44. Bordwell, David, ‘Contemporary Film Studies and the Vicissitudes of Grand Theory,’ in David
Bordwell, and Noël Carroll (eds.) Post-Theory: Reconstructing Film Studies. Madison: University
of Wisconsin Press, 1996: 3–36.
45. Bordwell, David, ‘Cognition, Construction, and Cinematic Vision,’ in David Bordwell, and Noël
Carroll (eds.) Post-Theory: Reconstructing Film Studies. Madison: University of Wisconsin Press,
1996: 87–107.
46. Bordwell, David, On the History of Film Style. Cambridge, MA: Harvard University Press, 1997.
47. Bordwell, David, ‘Foreword,’ in Joseph D. Anderson and Barbara Fisher Anderson (eds.) Moving
Image Theory: Ecological Considerations. Carbondale: Southern Illinois University Press, 2005:
ix-xii.
48. Branigan, Edward, ‘Subjectivity Under Siege from Fellini’s 81/2 to Oshima’s The Story of a Man
Who Left His Will on Film,’ Screen 19 (1) 1978: 7-40.
49. Branigan, Edward, ‘Diegesis and Authorship in Film,’ Iris 7 (4) 1986: 37-54.
50. Branigan, Edward, ‘Sound and Epistemology in Film,’ Journal of Aesthetics and Art Criticism 47
(4) 1989: 311-324.
51. Branigan, Edward, Narrative Comprehension and Film. London: Routledge, 1992.
52. Branigan, Edward, ‘Towards a Pragmatics of Narrative,’ in Jürgen E. Müller (ed.) Towards a
Pragmatics of the Audiovisual: Volume II - Theory and History. Munster: Nodus Publications,
1995: 1-38.
53. Branigan, Edward, ‘Sound, Epistemology, Film,’ in Richard Allen and Murray Smith (eds.) Film
Theory and Philosophy. Oxford: Clarendon Press, 1997: 95–125.
54. Brewer, William F., ‘The Nature of Narrative Suspense and the Problem of Rereading,’ in Peter
Vorderer, Hans J. Wulff,and Mike Friedrichsen (eds.) Suspense: Conceptualizations, Theoretical
Analyses, and Empirical Explorations. Hillsdale, New Jersey: Lawrence Erlbaum Associates, 1996:
107-127.
55. Brooks, Virginia, ‘Film, Perception, and Cognitive Psychology,’ Millenium Film Journal 14-15
1984–1985: 105–126.
56. Brooks, Viginia, ‘Restoring the Meaning in Cinematic Movement: What is the Text in a Dance
Film?,’ Iris 9 1989: 69-103.
57. Brostow, Gabriel, and Irfan Essa, ‘Image-based Motion Blur for Stop Motion Animation,’ in Laura
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Techniques. New York, ACM Press, 2001: 561-566.
58. Buck, Nicole, Merel Kindt, and Marcel van den Hout, ‘The Effects of Conceptual Processing
Versus Suppression on Analogue PTSD Symptoms after a Distressing Film,’ Behavioural and
Cognitive Psychotherapy 37 2009: 195-206.
59. Buckland, Warren, ‘Relevance and Cognition: Towards a Pragmatics of Unreliable Filmic
Narration,’ in Jürgen Müller (ed.) Towards a Pragmatics of the Audio-Visual, Volume 2: Theory
and History. Munster: Nodus Publications, 1995: 55-66.
60. Buckland, Warren, The Cognitive Semiotics of Film. Cambridge: Cambridge University Press,
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61. Buckland, Warren, ‘Problem Formation in the Analytic Philosophy of Film,’ Film-Philosophy 5
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63. Bullerjahn, C., and M. Güldenring, ‘An Emprical Investigation of Effects of Film Music using
Qualitative Content Analysis,’ Psychomusicology 13 1994: 99-118.
64. Butzel, Marcia, ‘Paradigms for Cognitivism? The Perception of Movement and Film
Choreography,’ Iris 9 1989: 105-118.
65. Cardwell, Sarah, ‘Review of Passionate Views: Film, Cognition, and Emotion,’ Scope: An Online
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66. Carello, C., Jeffrey B. Wagman, and M.T. Turvey, ‘Acoustic Specification of Object Porperties,’ in
Joseph Anderson and Barbara Anderson (eds.) Moving Image Theory: Ecological Considerations.
Carbondale: Southern Illinois University Press, 2005: 79-104.
67. Carroll, John M., ‘A Program for Cinema Theory,’ Journal of Aesthetics and Art Criticism 35 (3)
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68. Carroll, John M., ‘Linguistics, Psychology, and Cinema Theory,’ Semiotica 20 (1-2) 1977: 173-195.
69. Carroll, John M., Toward a Structural Psychology of Cinema. The Hagure: Mouton, 1980.
70. Carroll, John M., ‘A Linguistic Analysis of Deletion in Cinema,’ Semiotica 34 (1-2) 1981: 25-53.
71. Carroll, John M., ‘Issues and Quibbles in Film Grammar,’ Contemporary Psychology 28 1983: 322-
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72. Carroll, John M., ‘The Film Experience as Cognitive Structure,’ Empirical Studies in the Arts 2 (1)
1984: 1-18.
73. Carroll, J.M., and T.G. Bever, ‘Segmentation in Cinema Perception,’ Science 191 (4231) 1976:
1053-1055.
74. Carroll, Noël, ‘Toward a Theory of Film Editing,’ Millenium Film Journal 1-2 1979: 79–99.
75. Carroll, Noël, ‘Toward a Theory of Film Suspense,’ Persistence of Vision 1 1984: 65–89.
76. Carroll, Noël, ‘The Power of Movies,’ Daedalus 114 (4) 1985: 79–104.
77. Carroll, Noël, ‘Art and Interaction,’ The Journal of Aesthetics and Art Criticism 45 1986: 57–68.
78. Carroll, Noël, ‘Concerning Uniqueness Claims for Photographic and Cinematographic
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79. Carroll, Noël, ‘Conspiracy Theories of Representation,’ Philosophy of the Social Sciences 17 1987:
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80. Carroll, Noël, ‘Art, Practice, and Narrative,’ The Monist 71 1988: 140–156.
81. Carroll, Noël, ‘Film/Mind Analogies: The Case of Hugo Münsterberg,’ Journal of Aesthetics and
Art Criticism 46 (4) 1988: 489-499.
82. Carroll, Noël, Mystifying Movies: Fads and Fallacies in Contemporary Film Theory. New York:
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83. Carroll, Noël, Philosophical Problems of Classical Film Theory. Princeton, NJ: Princeton UP, 1988.
84. Carroll, Noël, The Philosophy of Horror, or Paradoxes of the Heart. New York: Routledge, 1990.
85. Carroll, Noël, ‘Cognitivism, Contemporary Film Theory, and Method: A Response to Warren
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86. Carroll, Noël, ‘Toward a Theory of Point-of-View Editing: Communication, Emotion, and the
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87. Carroll, Noël, ‘Anglo-American Aesthetics and Contemporary Criticism: Intention and the
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90. Carroll, Noël, Theorizing The Moving Image. New York: Cambridge University Press, 1996.
91. Carroll, Noël, ‘Prospects for Film Theory: A Personal Assessment,’ in David Bordwell, and Noël
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92. Carroll, Noël, ‘Nonfiction Film and Postmodernist Scepticism,’ in David Bordwell, and Noël
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93. Carroll, Noël, ‘Moderate Moralism,’ British Journal of Aesthetics 36 (3) 1996: 223–238.
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95. Carroll, Noël, ‘Words, Images, and Laughter,’ Persistence of Vision 14 1997: 42–52.
96. Carroll, Noël, ‘The Ontology of Mass Art,’ The Journal of Aesthetics and Art Criticism 55 (2) 1997:
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97. Carroll, Noël, ‘The Intentional Fallacy: Defending Myself,’ Journal of Aesthetics and Art Criticism
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98. Carroll, Noël, ‘Periodizing Postmodernism?,’ Clio 26 1997: 143–165.
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100. Carroll, Noël, ‘Fiction, Non-Fiction, and the Film of Presumptive Assertion: A Conceptual
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101. Carroll, Noël, A Philosophy of Mass Art. Oxford: Oxford University Press, 1998.
102. Carroll, Noël, ‘Art, Narrative, and Moral Understanding,’ in Jerrold Levinson (ed.) Aesthetics and
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103. Carroll, Noël, Interpreting the Moving Image. Cambridge: Cambridge Studies in Film, 1998.
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106. Carroll, Noël, ‘Photographic Traces and Documentary Films: Comments for Gregory Currie,’
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