1

NYU DEPARTMENT OF CINEMA STUDIES

American Cinema, 1960-present Aaron, Michele, ed. New Queer Cinema. New Brunswick, NJ: Rutgers University Press, 2004. Acland, Charles. Screen Traffic: Movies, Multiplexes and Global Culture. Durham: Duke University Press, 2003. Allen, Michael. Contemporary U. S. Cinema. New York: Longman, 2002. Benshoff, Harry, ed., Queer Cinema. New York: Routledge, 2004. Bloom, Livia, ed. Errol Morris: Interviews. Jackson, MS: University Press of Mississippi, . Bordwell, David. The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley: University of California Press, 2006. Bould, Mark, ed. Neo-Noir. New York: Wallflower Press, 2009. Brenez, Nicole. Abel Ferrara. Illinois: University of Illinois Press, 2006. Brooker, Will. Star Wars. London: BFI, 2009. Bruno, Guiliana. "Rumble City: Postmodernism and Blade Runner," October 41 (1987). Buckland, Warren. Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster. New York: Continuum, 2006. Bukatman, Scott. Blade Runner. London: BFI, 2008. Buscombe, Ed. Unforgiven. London: BFI, 2004. Carney, Ray. The Films of John Cassavetes: Pragmatism, Modernism, and the Movies. New York: Cambridge University Press, 1994. Carroll, Noel, "The Future of Allusion: Hollywood in the Seventies (And Beyond)", October 20 (Spring 1982). Cawelti, John, ed. Focus on Bonnie and Clyde. New York: Prentice-Hall, 1973. Chaiken, Michael and Paul Cronin. Arthur Penn: Interviews. Jackson, MS: University Press of Mississippi, 2007. Chion, Michel. Eyes Wide Shut. London: BFI, 2002. Christopherson, Susan & Michael Storper, 1989. "The Effects of flexible specialization on industrial politics and the labor market: The motion picture industry," Industrial and Labor Relations Review, vol. 42(3), pages 331-347, April; Clover, Carol. Men, Women, and Chainsaws: Gender in the Modern Horror Film. Princeton: Princeton University Press, 1993. Clover, Joshua. The Matrix. London: BFI, 2004.

2
Cook, David. Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979. Berkeley: University of California Press, 2002. Corrigan, Tim. A Cinema without Walls: Movies and Culture After Vietnam. New Brunswick, NJ: Rutgers University Press, 1991. Desjardins, Mary et al., Todd Haynes: A Magnificent Obsession, Camera Obscura, 67 (1995). Desser, David and Gaylyn Studlar, eds. Reflections in a Male Eye: John Huston and the American Experience. Washington, DC: Smithsonian Institution Press, 1993. Diawara, Manthia, ed. Black American Cinema. New York: Routledge, 1993. Dittmar, Linda, ed. From Hanoi to Hollywood: The Vietnam War in American Film. New Brunswick, NJ: Rutgers University Press, 1990. Dyer, Richard. Seven. London: BFI, 2004. Eaton, Mick. Chinatown. London: BFI, 2008. Edgerton, Gary R. American Film Exhibition and an Analysis of the Motion Picture Industrys Market Structure, 1963-1980. New York: Garland Publishing, 1983. Elsaesser, Thomas, ed. The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Amsterdam: Amsterdam University Press, 1970. Fregoso, Rosa Linda. The Bronze Screen: Chicana and Chicano Film Culture. Minneapolis: University of Minnesota Press, 1993. French, Sean. The Terminator. London: BFI, 1999. Friedman, Lester. Bonnie & Clyde. London: BFI, 2000. Friedman, Lester ed, American Cinema of the 1970s: Themes and Variations. New Brunswick, NJ.: Rutgers University Press, 2007. Fujiwara, Chris. Jerry Lewis. Illinois: University of Illinois Press, 2009. Gabbard, Krin. Black Magic: White Hollywood and African American Culture. New Brunswick, NJ: Rutgers University Press, 2004. Gilbey, Ryan. Groundhog Day. London: BFI, 2004. Girgus, Sam. The Films of Woody Allen. New York: Cambridge University Press, 1992. Grant Barry K. ed, American Cinema of the 1960s: Themes and Variations. New Brunswick, NJ.: Rutgers University Press, 2008. Guerrero, Ed. Framing Blackness: The African American Image in Film. Philadelphia: Temple University Press, 1993. ___________ . Do the Right Thing. BFI, 2001. Hansen, Miriam. "Schindler's List is not Shoah: The Second Commandment, Popular Modernism and Public Memory." Critical Inquiry 22.2 (Winter 1996): 292-312

3
Harvey, Ben. The Night of the Living Dead. London: BFI, 2008. Haskell, Molly. From Reverence to Rape: The Treatment of Women in the Movies. Chicago: University of Chicago Press, 1987. Hawkins, Joan. Cutting Edge: Art Horror and the Horrific Avant-Garde. Minneapolis: University of Minnesota Press, 2000. Hillier, Jim. The New Hollywood. London: Movie Books, 1992. Hilmes, Michele. Hollywood and Broadcasting: From Radio to Cable. Illinois: University of Illinois Press, 1999. Hoberman, Jim and Jonathan Rosenbaum, ed. Midnight Movies. New York: Da Capo, 1981. Holmlund, Chris. ed, American Cinema of the 1990s: Themes and Variations. New Brunswick, NJ.: Rutgers University Press, 2008. Holmlund, Chris and Justin Wyatt, eds. Contemporary Independent American Film: From the Margins to the Mainstream. New York: Routledge, 2004. hooks, bell. Reel to Real: Race, Sex, and Class at the Movies, new edition. New York: Routledge, 2008. Jacobs, Diane. Hollywood Renaissance. New York: Dell, 1980. James, David E. Allegories of Cinema: American Film in the Sixties. Princeton, N.J.: Princeton University Press, 1989. James, Nick. Heat. London: BFI, 2002. Jameson, Fredric. Signatures of the Visible (sections on contemporary American film). New York: Routledge, 1992. ____________ . Totality as Conspiracy, in The Geopolitical Aesthetic: Cinema and Space in the World System. London: BFI, 1992, pp. 9-84. Jeffords, Susan. Hard Bodies: Hollywood Masculinity in the Reagan Era. New Brunswick, NJ: Rutgers University Press, 1993. Kahana, Jonathan. Intelligence Work: The Politics of American Documentary Film. New York: Columbia University Press, 2008. Kapsis, Robert, ed. Clint Eastwood: Interviews. Jackson, MS: University Press of Mississippi, 200. Kapsis, Robert, ed. Jonathan Demme: Interviews. Jackson, MS: University Press of Mississippi, Kaufman, Anthony, ed. Steven Soderbergh: Interviews. Jackson, MS: University Press of Mississippi, . Kermode, Mark. The Exorcist, 2nd revised edition. London: BFI, 2003. King, Geoff. Spectacular Narratives: Hollywood in the Age of the Blockbuster. London: I. B. Tauris, 2001. ____________ . New Hollywood Cinema. New York: Columbia University Press, 2002. ___________ . Indiewood, USA: Where Hollywood Meets Independent Cinema. London: I. B. Tauris, 2009.

4
Klinger, Barbara. Beyond the Multiplex: Cinema, New Technologies, and the Home. Berkeley: University of California Press, 2006. Knapp, Laurence, ed. Brian de Palma: Interviews. Jackson, MS: University Press of Mississippi, . Kolker, Robert. A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Altman. New York: Oxford University Press, 2000. Kouvaros, George. Paul Schrader. University of Illinois Press, 2008. Kramer, Peter. The New Hollywood: From Bonnie & Clyde to Star Wars. New York: Wallflower, 2005. Larson, Ernest. The Usual Suspects. London: BFI, 2001. Leff, Leonard. A Test of American Film Censorship: Whos Afraid of Virginia Woolf, Cinema Journal, 19, no. 2 (Spring 1980): 234-48. Lewis, Jon. Whom God Wishes to Destroy: Francis Ford Coppola and the New Hollywood. Durham: Duke University Press, 1997. _______ . Hollywood v. Hardcore: How the Struggle over Censorship Created the Modern Film Industry. New York: New York University Press, 2002. _______ . The Godfather. London: BFI, 2010. Lewis, Jon, ed. The New American Cinema. Durham: Duke University Press, 1998. Lumet, Sidney. Making Movies. New York: Vintage, 1996. MacCabe, Colin, Mark Francis, and Peter Wollen, eds, Who is Andy Warhol? London: BFI, 1997. MacGowan, Todd. The Impossible David Lynch. New York: Columbia University Press, 2007. Mamber, Steve. Cinema Verite in America. Cambridge, MA: MIT Press, 1977. Mamet, David. On Directing Film. New York: Penguin, 1992. Marcus, Greil. The Manchurian Candidate. London: BFI, 2008. Martin, Adrian. Once Upon a Time in America. London: BFI, 228. Mask, Mia. Divas on Screen: Black Women in American Film. Urbana: University of Illinois Press, 2009. Massood, Paula, ed. The Spike Lee Reader. Philadelphia: Temple University Press, 2008. Mazdon, Lucy. Encore Hollywood: Remaking French Cinema. London: BFI, 2008. McElhaney, Joe. The Death of Classical Cinema: Hitchcock, Lang, Minnelli. Albany: SUNY Press, 2006. Michaels, Lloyd. Terrence Malick. University of Illinois Press, 2008. Michelson, Annette, "Bodies in Space: Film as Carnal Knowledge," (on 2001) in Artforum (New York), February 1969. Miller, Toby et al., Global Hollywood 2. London: BFI, 2008.

5
Modleski, Tania. "Clint Eastwood and Male Weepies." American Literary History 22, no. 1 (2010): 136-158. Monaco, Paul. The Sixties, 1960-1969. Berkeley: University of California Press, 2003. Naremore, James. On Kubrick. Neale, Steve. Contemporary Hollywood Cinema. New York: Routledge, 1998. Neale, Steve and Murray King, eds. Contemporary Hollywood Cinema. New York: Routledge, 1998. Neale, Steve, ed. Genre and Contemporary Hollywood. London: BFI 2002. Ondaajte, Michael. The Conversations: Walter Murch and the Art of Editing. New York: Basic Books, 2004. Palmer, R. Barton. Joel and Ethan Coen. 2004. Paul, William. Laughing Screaming: Modern Hollywood Horror and Comedy. New York: Columbia University Press, 1994. Penley, Constance. Time, Travel, Primal Scene and the Critical Dystopia, Camera Obscura, 15 (Fall 1986): 66-85. Pierson, Michele. Special Effects: Still in Search of Wonder. New York: Columbia University Press, 2002. Polan, Dana. Pulp Fiction. London: BFI, 2008. Prince, Stephen. Savage Cinema; Sam Peckinpah and the Rise of Ultraviolent Movies. Austin: University of Texas Press, 1998. ________ . A new pot of gold : Hollywood under the electronic rainbow, 1980-1989. Berkeley: University of California Press, 2002. Prince, Stephen. ed, American Cinema of the 1980s: Themes and Variations. New Brunswick, NJ.: Rutgers University Press, 2007. Rosenbaum, Jonathan. Dead Man. London: BFI, 2000. Ryan, Michael and Douglas Kellner. Camera Politica: The Politics and Ideology of Contemporary Hollywood Film. Bloomington: Indiana University Press, 1988. Sandler, Kevin. The Naked Truth: Why Hollywood Doesnt Make X-Rated Movies. New Brunswick, NJ: Rutgers University Press, 2007. Sandler, Kevin and Gaylyn Studlar, eds. Titanic: Anatomy of a Blockbuster. New Brunswick, NJ: Rutgers University Press, 1999. Sarris, Andrew, The American Cinema: Directors and Directions. New York: Dell, 1968. Schatz, Thomas. Old Hollywood/New Hollywood: Ritual, Art, and Industry. Ann Arbor: UMI, 1983. Scott, Allen J. On Hollywood: The Place, The Industry. Princeton: Princeton University Press, 2005. Shall, Andrew and Robin Stoate. Back to the Future. London: BFI, 2010. Sklar, Robert. Movie-Made America. New York: Random House, 1994,

6
Smith, Jeff. Sounds of Commerce: Marketing Popular Film Music. New York: Columbia University Press, 1998. Sontag, Susan. Notes on Camp; Against Interpretation; Jack Smiths Flaming Creatures, in Against Interpretation, and Other Essays. New York: Dell, 1964. Stern, Lesley. The Scorsese Connection. London: BFI, 1996. Storper, Michael, 1989. "The Transition to Flexible Specialisation in the U.S. Film Industry: External Economies, the Division of Labour, and the Crossing of Industrial Divides," Cambridge Journal of Economics, vol. 13(2), pages 273-305, June; _______________, 1993. Asu Aksoy and Kevin Robins, Hollywood for the 21st century: global competition for critical mass in image markets, Cambridge Journal of Economics, 16, no. 1 (1992): 1-22. _____________, "Flexible Specialisation in Hollywood: A Response to Aksoy and Robins," Cambridge Journal of Economics, vol. 17(4), pages 479-84, December. Stringer, Julian, ed. Movie Blockbusters. New York: Routledge, 2003. Sturken, Marita. Thelma & Louise. London: BFI, 2008. Suarez, Juan. Jim Jarmusch. Urbana, Il: University of Illinois Press, 2007. Tasker, Yvonne. Spectacular Bodies: Gender, Genre, and the Action Cinema. New York: Routledge, 1993. Taubin, Amy. Taxi Driver. London: BFI, 2008. Thompson, Kristin. Storytelling in the New Hollywood: Understanding Classical Narrative Technique. Cambridge, MA: Harvard University Press, 1999. ______________ . The Frodo Franchise: The Lord of the Rings and Modern Hollywood. Berkeley: University of California Press, 2008. Thomson, David. The Moment of Psycho. New York: Basic Books, 2009. Toeplitz, Jerzy. Hollywood and After: The Changing Face of Movies in America. Chicago: Henry Regency and Company, 1974. Tyree, J. M. and Ben Walters. The Big Lebowski. London: BFI, 2007. Wasser, Frederick. Veni, Vidi, Video: The Hollywood Empire and the VCR. Austin: University of Texas Press, 2001. _______ Steven Spielbergs America. New York: Polity, 2010. Watkins, S. Craig. Representing: Hip Hop Culture and the Production of Black Cinema. Chicago: University of Chicago Press, 1999. Willis, Holly. New Digital Cinema: Reinventing the Moving Image. New York: Wallflower, 2005. Willis, Sharon. High Contrast: Race and Gender in Contemporary Hollywood Films. Durham: Duke University Press, 1997. Wood, Robin. Arthur Penn. New York: Praeger, 1969.

7
___________ . The Incoherent Text: Narrative in the 1970s, Movie, no. 27/28 (Winter 1980/Spring 1981). __________ . Hollywood from Vietnam to Reagan. . . and beyond. New York: Columbia University Press, 2003. Wright, Will. Sixguns and Society: A Structural Analysis of the Western. Berkeley: University of California Press, 1977. Wyatt, Justin. High Concept: Movies and Marketing in Hollywood. Austin: University of Texas Press, 1994.