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Essays and Books by Tom Gunning

  • "Weaving a Narrative. Style and Economic Background in Griffith´s Biograph Films." In: Quarterly Review of Film Studies (Winter 1981), S.10-25
  • "The Non-Continuous Style of Early Film 1900-1906." In: Cinema 1900-1906. An Analytical Study, hg.v. R.Holman, Brüssel 1982, S.219-230
  • "A Unseen Energy Swallows Space. The Space in Early Film and Its Relation to American Avant-Garde Film." In: Film Before Griffith, hg.v. J.L.Fell, Berkeley 1983, S.355-366
  • "Non-Continuity, Continuity, Discontinuity: A Theory of Genres in Early Films." In: Iris 2:1 (1984), S.101-112
  • "Filmed Narrative and the Theatrical Ideal. Griffith and the film d´art." In: Les premiers ans du cinéma français, hg.v. P.Guibbert, Perpignan 1985, S.123-129
  • "The Cinema of Attraction. Early Film, its Spectator and the Avant-Garde." In: Wide Angle 8:3-4 (1986), S.63-70 [dt. in: Meteor Nr.4 (1996), S.25-34]
  • "Il film Vitagraph e il cinema dell´integrazione narrativa." In: Vitagraph Co. of America, hg.v. P.Cherchi Usai. Pordenone 1987, S.225-240
  • "From the Opium Den to the Theatre of Morality. Moral Discourse and the Film Process in Early American Cinema." In: Art & Text 30 (1988)
  • "»Like Unto a Leopard«. Figurative Discourse in Cat People and Todorov´s The Fantastic." In: Wide Angle 10:3 (1988), pp.30-39
  • "What I Saw from the Rear Window of the Hôtel des Folies-Dramatiques, or the Story Point of View Films Told." In: Ce que je vois de mon ciné, hg.v. A.Gaudreault, Paris 1988, S.33-44
  • "An Aesthetic of Astonishment. Early Film and the (In)Credulous Spectator." In: Art & Text 34 (1989), S.31-45
  • "`Primitive´ Cinema. A Frame-up? Or The Trick´s on Us." In: Cinema Journal 28:2 (1989), S.3-12
  • mit André Gaudreault: "Le cinéma des premiers temps, un défi à l´histoire du cinéma?" In: Histoire du Cinéma: Nouvelles Approches, hg.v. J.Aumont, A.Gaudreault u. M.Marie, Paris 1989, S.49-63
  • "Film History and Film Analysis: The Individual Film in the Course of Time." In: Wide Angle 12:3 (1990), pp.4-19
  • D.W.Griffith and the Origins of American Narrative Film. The Early Years at Biograph. Urbana, Chicago 1991
  • "Heard over the phone: The Lonely Villa and the deLorde tradition of the terrors of technology." In: Screen 32:2 (1991), S.184-196
  • "Enigmas, Understanding and Further Questions. Early Cinema Research in Its Second Decade Since Brighton." In: Persistence of Vision Nr.9 (1991), S.4-9
  • mit Roland Cosandey und André Gaudreault, Hg.: An Invention of the Devil? Religion and Early Cinema. Lausanne 1992
  • "`Now You See It, Now You Don´t´: The Temporality of the Cinema of Attractions." In: The Velvet Light Trap Nr.32 (1993), S.3-12
  • "Attractions, Detection, Disguise. Zigomar, Jasset, and the History of Film Genres." In: Griffithiana Nr.47 (1993), S.111-135
  • "The Horror of Opacity. The Melodrama of Sensation in the Plays of André de Lorde." In: Melodrama. Stage, Picture, Screen, hg.v. J.Bratton, P.Cook u. Ch.Gledhill, London 1994, S.50-61 [dt. in: Und immer wieder geht die Sonne auf. Texte zum Melodramatischen im Film, hg.v. C.Cargnelli u. M.Palm, Wien 1994]
  • "The world as object lesson: Cinema audiences, visual culture and the St.Louis world´s fair, 1904." In: Film History 6:4 (1994), S.422-444
  • "The Whole Town´s Gawking: Early Cinema and the Visual Experience of Modernity." In: Yale Journal of Criticism 7:2 (1994), S.189-201
  • "Tracing the Individual Body: Photography, Detectives, and Early Cinema." In: Cinema and the Invention of Modern Life, hg.v. L.Charney u. V.R.Schwartz, Berkeley 1995, S.15-45
  • "Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films, and Photography´s Uncanny." In: Fugitive Images, hg.v. P.Petro, Bloomington 1995, S.42-71
  • "Crazy Machines in the Garden of Forking Paths: Mischief Gags and the Origins of American Film Comedy." In: Classical Hollywood Comedy, hg.v. K.B.Karnick u. H.Jenkins, New York 1995
  • "The Whole World within Reach: Travel Images without Borders." In: Images across Borders, hg.v. R.Cosandey u. F.Albéra, Lausanne 1995, S.21-36
  • "Buster Keaton, or The Work of Comedy in the Age of Mechanical Reproduction." In: Cineaste 21:3 (1995), S.14-17
  • "`Those Drawn with a Very Fine Camel´s Hair Brush´: The Origins of Film Genres." In: Iris Nr.20 (1996), S.49-61
  • "A Tale of Two Prologues: Actors and Roles, Detectives and Disguises in Fantômas, Film and Novel." In: The Velvet Light Trap Nr.37 (1996), S.30-36
  • "From the Kaleidoscope to the X-Ray: Urban Spectatorship, Poe, Benjamin, and Traffic in Souls (1913)." In: Wide Angle 19:4 (1997)
  • "In Your Face: Physiognomy, Photography, and the Gnostic Mission of Early Film." In: Modernism/Modernity 4:1 (1997), S.1-30 (dt. in: Das Gesicht im Zeitalter des bewegten Bildes, hg.v. C.Blümlinger u. K.Sierek, Wien 2002, S.22-66 )
  • "Before Documentary: Early Non-Fiction Films and the `View´ Aesthetic." In: D.Hertogs and N.de Klerk (Eds): Uncharted Territory: Essays on Early Nonfiction Film, Amsterdam: Nederlands Filmmuseum, 1997, pp.9-24
  • "Early American Film." In: The Oxford Guide to Film Studies, hg.v. J.Hill u. P.C.Gibson, Oxford 1998, S.255-271
  • "The Scene of Speaking: Two Decades of Discovering the Film Lecturer." In: iris Nr.27 (1999), S.67-80
  • "»A Dangerous Pledge«: Victor Sjöström´s Unknown Masterpiece, Mästerman." In: Nordic Explorations: Films Before 1930, hg.v. J.Fullerton u. J.Olsson, Sydney 1999
  • "A Mischievous and Knowing Gaze: The Lumière Cinématographe and the Culture of Amateur Photography." In: P.Dujardin et al (Eds.): L´aventure du Cinématographe. Actes du congrès mondial Lumière. Lyon: Aléas éditeur, 1999
  • The Films of Fritz Lang. Allegories of Vision and Modernity. London: bfi, 2000
  • "`Animated pictures´: tales of cinema´s forgotten future, after 100 years of films." In: Reinventing Film Studies, hg.v. C.Gledhill u. L.Williams, London 2000, S.316-331
  • "The Work of Film Analysis: Systems, Fragments, Alternation." In: Semiotica 144-1/4 (2003), S.343-357
  • "A Quarter of a Century Later: Is Early Cinema Still Early?" In: KINtop Nr.12 (2003), S.17-31
  • "The Intertextuality of Early Cinema: A Prologue to Fantomas." In: A Companion to Literature and Film, hg.v. R.Stam u. A.Raengo, London & New York 2004
  • "Flickers: On Cinema's Power for Evil." In: Bad: Infamy, Darkness, Evil, and Slime on Screen, hg.v. M.Pomerance, Albany/NY 2004, S.21-38
  • "Systematizing the Electric Message: Narrative Form, Gender, and Modernity in The Lonedale Operator." In: American Cinema´s Transitional Era, hg.v. C.Keil. u. S.Stamp, Berkeley 2004, S.15-50
  • "Pictures of Crowd Splendour. The Mitchell and Kenyon Factory Gate Film." In: V.Toulmin, S.Popple and P.Russell (Eds.): The Lost World of Mitchell and Kenyon, London: bfi, 2004
  • "Fritz Lang calling: the telephone and the circuits of modernity." In: J.Fullerton / J.Olsson: Allegories of Communication, Eastleigh/UK: John Libbey Publ., 2004, pp.19-38
  • "The Desire and Pursuit of the Hole: Cinema's Obscure Object of Desire." In: S.Bartsch/ T.Bartscherer (Eds.): Erotikon: Essays on Eros, Ancient and Modern. Chicago: UP, 2004
  • "The Birth of Film Out of the Spirit of Modernity." In: T.Perry (Ed.): Masterpieces of Modernist Cinema, Bloomington: Indiana UP, 2006, pp.13-40
  • "Traveling Shots: Von der Verpflichtung des Kinos, uns von Ort zu Ort zu bringen." In: W.Pauleit / C.Rüffert et al (Hg.): Traveling Shots: Film als Kaleidoskop von Reiseerfahrungen, Berlin: Bertz+Fischer, 2007, pp.16-29
©  2000 – 2007  by   Daniel Kälberer  —  Last Update:  7.2.2007