FILM THEORY VI

Επιλογή Συγγραμμάτων Βιβλίο [10377]: Το Μεταμοντέρνο, Φρέντρικ Τζαίημσον Λεπτομέρειες Επιλογή Συγγραμμάτων Βιβλίο [39507]: Η μεταμοντέρνα κατάσταση (δεμ.) , Ζαν Φρανσουά Λυοτάρ Λεπτομέρειες Επιλογή Συγγραμμάτων Βιβλίο [21768]: Μεταποικιακή θεωρία, Young Robert J. C.

Bolter, Jay David and Richard Grusin (1999), Remediation: Understanding New Media (Cambridge, MA: MIT Press). Bordwell, David (2002b), ‘Intensified continuity: visual style in contemporary American film’, Film Quarterly, 55, 3: 16-28. Carroll, Noel (1998), ‘The future of allusion: Hollywood in the seventies (and beyond)’, in Interpreting the Moving Image (Cambridge: Cambridge University Press): 240-64. Collins, Jim (1989), Uncommon Cultures: Popular Culture and Post-Modernism (London: Routledge). ──── (1993), ‘Genericity in the nineties: eclectic irony and the new sincerity’, in Jim Collins, Hilary Radner, and Ava Preacher Collins (eds), Film Theory goes to the Movies (London: Routledge): 242-263. Conley, Tom (2000), ‘Noir in the red and the nineties in the black’, in Wheeler Winston Dixon (ed.), Film Genre 2000: New Critical Essays (New York: State University of New York Press): 193-210. Degli-Esposti, Christina (ed.) (1998), Postmodernism in the Cinema (New York: Berghahn Books). Denzin, Norman (1991), Images of Postmodern Society: Social Theory and Contemporary Cinema (London: Sage). Elsaesser, Thomas (1998b), ‘Specularity and engulfment: Coppola and Bram Stoker’s Dracula’, in Steve Neale and Murray Smith (eds), Contemporary Hollywood Cinema (London: Routledge): 191-207. Friedberg, Anne (1993), Window Shopping: Cinema and the Postmodern (Berkeley and Los Angeles: University of California Press). Friedberg, Anne (1993), Window Shopping: Cinema and the Postmodern (Berkeley and Los Angeles: University of California Press). ──── (2000), ‘The end of cinema: multi-media and technological change’, in Christina Gledhill and Linda Williams (eds), Reinventing Film Studies (London: Arnold): 438-452. Hutcheon, Linda (1988), A Poetics of Postmodernism: History, Theory, Fiction (London: Routledge). ──── (1990), ‘An epilogue: postmodern parody: history, subjectivity and ideology’, Quarterly Review of Film and Television, 12: 125-33. Jameson, Fredric (1983), ‘Postmodernism and consumer society’ in Hal Foster (ed.), The Anti-Aesthetic: Essays on Postmodern Culture (Seattle: Bay Press): 111-125. King, Geoff (2000), Spectacular Narratives: Hollywood in the Age of the Blockbuster (London and New York: I.B. Tauris). Kramer, Peter (1998), ‘Post-classical Hollywood film: concepts and debates’, in John Hill and Pamela Church Gibson (eds), The Oxford Guide to Film Studies (Oxford: Oxford University Press): 289-309. Manovich, Lev (2001), The Language of New Media Cambridge (Mass.: The MIT Press). Neale Steve and Murray Smith (eds) (1998), Contemporary Hollywood Cinema (London: Routledge). Nichols Bill (1994), Blurred Boundaries: Questions of Meaning in Contemporary Culture (Bloomington and Indianapolis: Indiana University Press). Sharrett, Christopher (1990), ‘No more going back and forth as in the past: notes on the fate of history in recent European films’, Persistence of Vision, 8: 29-44. Tasker, Yvonne (1996), ‘Approaches to the New Hollywood’, in James Curran, David Morley, and Vivien Walkerdine (eds), Cultural Studies and Communications (London: Arnold): 213-28.