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- "Alfred Hitchcock´s Notorious." In:
Film Heritage 4:3 (1969)
- "The Idea of Montage in Soviet Art and Cinema." In:
Cinema Journal 11:2 (1972), pp.9-17
- "Eisenstein´s Epistemological Shift." In: Screen
15:4 (1974/75), pp.32-46
- with K.Thompson: "Space and
Narrative in the Films of Ozu." In: Screen 17:2 (1976), pp.41-73
- "Our Dream-Cinema. Western Historiography and the Japanese Film."
In: Film Reader No.4 (1979)
- "The Art Cinema as a Mode of Film Practice." In: Film
Criticism 4:1 (1979), pp.56-64 [also in: L.Braudy / M.Cohen (Eds.):
Film Theory and Criticism, New York: Oxford UP, 19995,
pp.716-724]
- French Impressionist Cinema. Film Culture, Film Theory, Film
Style. New York 1980
- The Films of Carl-Theodor Dreyer. Berkeley 1981
- "Textual Analysis, etc." In: Enclitic 5-6 (1981/82), pp.125-136
- "Happily Ever After, Part Two." In: The Velvet Light
Trap No.19 (1982), pp.2-7
- "Lowering the Stakes: Prospects for a Historical Poetics
of Cinema." In: Iris No.1 (1983), pp.5-18
- with K.Thompson: "Linearity, Materialism
and the Study of the Early American Cinema." In: Wide Angle 5:3
(1983), pp.4-15
- "Mizoguchi and the Evolution of Film Language." In:
S.Heath / P.Mellencamp (Eds.): Cinema and Language, Los Angeles
1983, pp.107-117
- "Jump Cuts and Blind Spots." In: Wide Angle 6:1 (1984),
pp.4-13
- with J.Staiger and K.Thompson:
The Classical Hollywood Cinema. Film Style and Mode of Production
to 1960. New York 1985
- Narration in the Fiction Film. Madison 1985
- with K.Thompson: "Toward a
Scientific Film History?" In: Quarterly Review of Film Studies
(1985), pp.224-237
- "Widescreen Aesthetics and Mise en Scene Criticism."
In: The Velvet Light Trap No.21 (1985), pp.18-25
- "Classical Hollywood Cinema: Narrational Principles and
Procedures." In: P.Rosen (Ed.): Narrative, Apparatus, Ideology,
New York 1986, pp.17-34
- Ozu and the Poetics of Cinema. Princeton 1988
- "ApProppriations and ImPropprieties: Problems in the Morphology
of Film Narrative." In: Cinema Journal 27:3 (1988), pp.5-20
- "Adventures in the Highlands of Theory." In: Screen
29:1 (1988), pp.72-97
- Making Meaning. Inference and Rhetoric in the Interpretation
of Cinema. Cambridge/Mass. 1989
- "A Case for Cognitivism." In: Iris No.9 (1989), pp.11-40
- "Historical Poetics of Cinema." In: R.B.Palmer (Ed.):
The Cinematic Text: Methods and Approaches, New York 1989, pp.369-398
- "Kognition und Verstehen. Sehen und Vergessen in Mildred
Pierce." In: montage/av 1/1 (1992), pp.5-24
- "A Cinema of Flourishes. Japanese Decorative Classicism
of the Prewar Era." In: A.Nolletti / D.Desser (Eds.): Reframing
Japanese Cinema, Bloomington 1992, pp.328-345
- with K.Thompson: "Technological
Change and Classical Film Style." In: T.Balio (Ed.): Grand Design,
New York 1993, pp.109-141
- "Film Interpretation Revisited." In: Film Criticism
17:2-3 (1993), pp.93-119
- "The power of a research tradition: prospects for progress
in the study of film style." In: Film History 6:1 (1994),
pp.59-79
- "Visual Style in Japanese Cinema, 1925-1945." In:
Film History 7:1 (1995), pp.5-31
- "Citizen Kane und die Künstlichkeit des klassischen
Studio-Systems." In: A.Rost (Hg.): Der schöne Schein
der Künstlichkeit, Frankfurt/M 1995, pp.117-149
- "Die Hard und die Rückkehr des klassischen
Hollywood-Kinos." In: A.Rost (Hg.): Der schöne Schein
der Künstlichkeit, Frankfurt/M 1995, pp.151-201
- with Noel Carroll (Eds.): Post-Theory. Reconstructing Film Studies.
Madison 1996
- "La Nouvelle Mission de Feuillade; or, What Was Mise-en-Scène?"
In: The Velvet Light Trap No.37 (1996), pp.10-29
- On the History of Film Style. Cambridge & London 1997
- "Modelle der Rauminszenierung im zeitgenössischen
europäischen Kino." In: A.Rost (Hg.): Zeit, Schnitt,
Raum, Frankfurt/M 1997, pp.17-42
- "Modernism, Minimalism, Melancholy: Angelopoulos and Visual
Style." In: A.Horton (Ed.): The Last Modernist: The Films
of Theo Angelopoulos, Westpoint: Praeger, 1997, pp.11-26
- "Postmoderne und Filmkritik: Bemerkungen zu einigen endemischen
Schwierigkeiten." In: Die A.Rost / M.Sandbothe (Hg.): Filmgespenster
der Postmoderne, Frankfurt/M 1998, pp.29-39
- Planet Hong Kong. Popular Cinema and the Art of Entertainment.
Cambridge & London 2000
- "Richness through imperfection: King Hu and the glimpse."
In: Poshek Fu / D.Desser (Eds.): The Cinema of Hong Kong. History,
Arts, Identity. Cambridge/UK: UP, 2000
- Visual Style in Cinema. Vier Kapitel Filmgeschichte. Frankfurt/M
2001
- "Aesthetics in Action. Kungfu, Gunplay, and Cinematic Expressivity."
In: E.C.M.Yaan (Ed.): At Full Speed: HongKong Cinema in a Borderless
World, Minneapolis 2001, pp.73-93
- "Intensified Continuity: Visual Style in Contemporary American
Film." In: Film Quarterly 55:3 (2002), pp.16-28
- "Film Futures." In: Substance 97:1 (2002), pp.88-104
- with K.Thompson: Film History. An
Introduction. Boston 20032
- "Authorship and Narration in Art Cinema." In: V.W.Wexman
(Ed.): Film and Authorship, New Brunswick 2003, pp.42-49
- "Transcultural Spaces: Toward a Poetics of Chinese Film."
In: Post-Script 20:2-3 (2003), pp.9-24
- "Nah dran und unpersönlich. Hal Hartley und die Beharrlichkeit
der Tradition." In: M.Hagener / J.N.Schmidt / M.Wedel (Hg.):
Die Spur durch den Spiegel, Berlin 2004, pp.410-421
- The Cinema of Eisenstein. London: Routledge, 2005new ed.
- Figures Traced in Light. On Cinematic Staging. Berkeley: U.
of California Pr., 2005
- The Way Hollywood Tells It. Story and Style in Modern Movies.
Berkeley: U.of California Pr., 2006
- with K.Thompson: "'National
Cinemas, Hollywood Classicism, and World War 1, 1913-1919."
In: J.D.Slocum (Ed.): Hollywood and War: A Film Reader, London
& New York: Routledge, 2006
- with K.Thompson: Film Art - An Introduction.
New York: McGraw-Hill, 20088
siehe auch David
Bordwell´s Homepage
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