Section from a frame grab from A Passage to India (David Lean, 1985)

Film Studies For Free only just bumped into the below videoed lectures which have been archived online for some time, possibly even since 2008 when they were recorded. They all treat the topic of David Lean, British film director, editor, producer and screenwriter.

What a truly wonderful resource they are, brought to you by the rather fantastic Film Studies department at Queen Mary, University of London. Two upcoming FSFF blogposts will bring you yet more fabulous resources from the brilliant staff in that department, but in the meantime it hopes that you will enjoy the resources linked to below.

David Lean, 100th Anniversary Conference 

At Queen Mary, University of London,
24th - 25th July 2008

"David Lean is one of the outstanding figures of British film history. A much sought-after film editor during the 1930s, he made his début as a director with In Which We Serve in 1942. He went on to direct such acclaimed films as Brief Encounter (1945), Great Expectations (1946), The Bridge on the River Kwai (1957), Lawrence of Arabia (1962), Doctor Zhivago (1965) and A Passage to India (1985). This centenary conference offered an opportunity both to celebrate his career and to evaluate the nature of his achievement."

Click on the images below to launch QuickTime video files of the lectures:

Frame grab image of Jerry Lewis as 'Warren Nefron' in Smorgasbord aka Cracking Up (Jerry Lewis, 1983). Read Steven Shaviro's new article on this film

Smorgasbord (retitled Cracking Up by the distributor) is Jerry Lewis's last self-directed feature film. It first opened in France in 1983; it never received a proper American release. (In the US, it was immediately relegated to cable television -- which is where I saw it for the first time). And Smorgasbord still isn't very well known today -- even among Lewis aficionados. (It is, for instance, the only one of Lewis's self-directed films not to appear in the index to Enfant Terrible, an academic essay collection edited by Murray Pomerance in 2002, which otherwise covers Lewis' film career quite comprehensively). Yet I think that Smorgasbord is one of Jerry Lewis's greatest films; in what follows, I will try to explain why. [Steven Shaviro, 'Smorgasbord', La Furia Umana, 12, 2012; hyperlinks added by FSFF]

Film Studies For Free just heard about the latest issue of the pentalingual film journal La Furia Umana. There are lots of brilliant articles in English, and other marvellous work, too, in other languages that will be entertainingly translated by Google, if you so require.

The particular highlight, this time, is a truly brilliant and wide-ranging dossier on the work of Jerry Lewis, a human fury of an actor if ever there was one... But FSFF also had plenty of thoughts usefully and skilfully provoked by Kim Nicolini writing on the Post-Feminist Possibilities in Lars Von Trier's Melancholia. 

And there's a lot more to explore and learn from besides the above. Just feast your polyglot eyes on the below...

nota editoriale

rapporto confidenziale

• Toni D'Angela / Jerry Lewis o l'impossibile. Il corpo, la voce e le “macchine”
• Carlos Losilla / Jerry le fou
• B. Kite / The Jerriad: A Clown Painting
• Zach Campbell / A Jerry Problem, or, That Uncomfortable Feeling
• Murray Pomerance / A Sensational Face
• Denis Lévy / Les grimaces de Jerry
• Alessandro Cappabianca / Jerry Lewis
• José María Latorre / Jerry Lewis, botones y mensajero
• Sarah Ohana / L'apparition comme effet comique dans le cinéma de Jerry Lewis
• Violeta Kovasics / Donde vive la imaginación
• Peter Nellhaus / Jerry Lewis Actor and Auteur
• David Phelps / The pisher dada menschs fodder
• R. Emmet Sweeney / Colgate Comedy Hour, September 18, 1955
• Enrico Camporesi / Frank Tashlin e Jerry Lewis: artist and model?
• Sudarshan Ramani / The King of Comedy: A Lament for Jerry Lewis
• Felipe Medeiros / The Bellboy
• Bruno Andrade / Mocinho encrenqueiro
• Marco Grosoli / The Errand Boy
• Óscar Brox / The Patsy
• João Palhares / Three On a Couch
• Adrien Clerc / Les dérèglements du visage dans Which Way to the Front?
• de Jerry Lewis
• John Kern / Why the Clown Died ©, A Critical Essay on Jerry Lewis’ the Day the Clown Cried
• Gina Telaroli / Hardly Working
• Steven Shaviro / Smorgasbord

prima linea

• Patrizia Fantozzi / Faust (Alexander Sokurov)
• Marco Grosoli / Le Havre (Aki Kaurismaki)
• Kévin Cappelli / Take Shelter (Jeff Nichols)
• Jaime Pena / Nana (Valerie Massadian)
• Toni D'Angela / The Girl with the Dragon Tatoo (David Fincher)

histoire(s) du cinéma

• Luc Moullet / Le Spleen de Rockefeller
• Joanna Espinosa / Cinéma marginal
• Lorenzo Pellizzari / Uomini con la macchina da presa (II)
• Lilly Papagianni / Sarah Driver: Splendor in the Dark

l'occhio che uccide

• Ken Jacobs / From Stupefaction to Just Plain Stupid
• L. de La Hire / Pictures at Ruscha – Godard Exhibition. Noise and “Western”, “Silenzio”, and Odysseus, 1963
• Virgilio Mortari /Jean Epstein o del cinema come strumento
• Carlos Losilla / Intervenciones #2: actualidad de Serge Daney

flaming creatures

• Nicole Brenez / Quelques souvenirs et une image de Marcel Mazé
• Marcel Mazé / Le Festival International de Jeune Cinéma de Hyères. 1965-1983
• Doris Peternel / L'image réflexivé chez Peter Tscherkassky

the whole town's talking

• Kim Nicolini / Freedom in Oblivion: Post-Feminist Possibilities in Lars Von Trier's Melancholia

western fragmenta

• Mónica M. Marinero / El indio como horizonte: The Last of the Comanches y Meek's Cutoff
• Santiago and Andrés Rubín de Celis / I film western di Robert Parrish: Looking for a New Life

the new world

• Violeta Kovacics / Un día a oscuras

Frame grab from Bonjour Tristesse (Otto Preminger, 1958). See Christian Keathley's article on découpage in this film here

Film Studies For Free was thrilled that a new issue of MOVIE: A Journal of Film Criticism -- the best yet of this relaunched journal -- has recently hit the online newstands.

Issue 3 contains part 2 of the marvellous Fritz Lang Dossier, with contributions by, among others, V. F. Perkins, Adrian Martin, Peter Evans, Stella Bruzzi, Ed Gallafent, and Deborah Thomas.

There are also excellent articles on Preminger's film art, Psycho and its remake, and filmmakers' choices by Christian Keathley, Alex Clayton and John Gibbs.

Links to all items are set out for you below.

• The Fritz Lang Dossier, Part 2
  

• Rush to Judgement: Imperfect Justice in Fury (1936)
  Stella Bruzzi
• You Only Live Once (1937)
  V. F. Perkins
• Going Straight: The Past and the Future in The Return of Frank James (1940)
  Edward Gallafent
• The Woman in the Window (1944)
  Mark Rappaport
• Guess-Work: Scarlet Street (1945)
  Adrian Martin
• The Big Heat: Acts of Violence (1953)
  Peter William Evans
• Human Desire (1954)
  Deborah Thomas
• Lang With Lacan: The Power of the Gaze in Moonfleet (1955)
  Peter Benson

• Bonjour Tristesse and the Expressive Potential of Découpage
  Christian Keathley
• The Texture of Performance in Psycho and its Remake
  Alex Clayton
• The Cry of the Owl: Investigating Decision-Making in a Contemporary Feature Film
  John Gibbs

This issue edited by Douglas Pye and Michael Walker. Designed by Lucy Fife Donaldson, John Gibbs, and James MacDowell.

[Kathryn] Bigelow’s earliest works are often radical experiments with genres—combinatory, subtractive, subversive, offering a tool for crafting a mode of vital self-reflexive cinema in which the spectator becomes a thrill junkie, like the restless characters in Bigelow’s films. Ultimately, however, the raw exhilaration experienced by Bigelow’s characters must end so they can come to terms with reality and the laws—be they legal or gravitational—that anchor them to society. The later films show an interest in group dynamics as a form of politics or, perhaps, as an ideal of social living contained but not determined by politics. The turning point between these two parts of Bigelow’s career is Strange Days, whose protagonist attempts to wean himself off his addiction to spectacle in order to face the violence of his urban surroundings.
     This is the double bind Bigelow investigates: while thrill is ultimately an alienating form of individualism, the “real world” tends to be a trap, whether confining or merely banal. While Bigelow’s films reveal genre cinema’s promise of glossy escapism to be a dead end, they also pointedly argue that re-engagement with community is tantamount to conformity. One possible escape is offered to Bigelow’s protagonists by seeking out those extreme situations on the bohemian, criminal and physically fraught margins of society, where the rules can be broken and the self fleetingly transcended. Kathryn Bigelow, 'Filmmaking at the Dark Edge of Exhilaration', Harvard Film Archive, 2009

A little while back, Film Studies For Free promised a list of links to openly accessible scholarly essays on the work of filmmaker Kathryn Bigelow, recent recipient of the Academy Award for Best Director for Iraq War drama The Hurt Locker (2009; see that film's Press Kit/Production Notes). And now FSFF's Bigelow Study Day has finally arrived - maybe not its longest links list ever, but one full of highest quality material nonetheless. The links follow the wonderful embedded video 'Outlaw Vision: Kathryn Bigelow's The Hurt Locker' created for The L Magazine by Michael Joshua Rowin and Matt Zoller Seitz.

• Katherine Barscay, 'Kathryn Bigelow's Gen(d)re', Cinephile (Post Genre Issue), Vol. 4, Summer 2008

• Robert Burgoyne, 'The Hurt Locker: Abstraction and Embodiment in the War Film', University of Minnesota Press Blog, March17, 2010
  

• Kevin L. Ferguson, 'Yuppie devil: villainy in Kathryn Bigelow’s Blue Steel', from Jump Cut, No. 50, spring 2008 

• Tom Jennings, 'Rose Coloured Spectacles', Variant,27, Winter 2006

• Jeff Karnicky, 'Georges Bataille and the Visceral Cinema of Kathryn Bigelow', Enculturation, Vol. 2, No. 1, Fall 1998

• Victoria Large, 'Young Vampires in Love: Kathryn Bigelow's Near Dark', Bright Lights Film Journal, Issue 53, August 2006

• Jenna Ng, 'The Handheld Digital Camera Aesthetics of The Blair Witch Project and Cloverfield (via Strange Days)' 16:9, No. 32, June 2006

• Karl Palmås, 'Bodies without Bodhis', First published in Glänta 2-3/2009
  

• Parallax View Special Section on Kathryn Bigelow  February-March, 2010
  
  
  

  • The Loveless Worlds of Kathryn Bigelow by Robert C. Cumbow

  • Black Arts by Kathleen Murphy

  • True Fiction: Kathryn Bigelow on The Hurt Locker – Interview by Sean Axmaker

  • The Way You Don’t Die: The Hurt Locker by Sean Axmaker

• Patricia Pisters, 'Logistics of Perception 2.0: Multiple Screen Aesthetics in Iraq War Films', Film-Philosophy, 14.1, 2010

• Laura Rascaroli, 'Strange Visions: Kathryn Bigelow's Metafiction', Enculturation, Vol. 2, No. 1, Fall 1998

• Laura Rascaroli, 'Scopic Drive, Time Travel and Film Spectatorship in Gilliam's Twelve Monkeys and Bigelow's Strange Days', Kinema, 15 (Spring 2001)

• Michael Joshua Rowin and Matt Zoller Seitz, 'Outlaw Vision: Kathryn Bigelow's The Hurt Locker ', The L Magazine, June 26, 2009

• Steven Shaviro, 'Kathryn Bigelow', The Pinocchio Theory, March 10, 2010

• Brenda Wilson, 'Blurring the Boundaries: Auteurism and Kathryn Bigelow', Cinephile (Gender and Violence Issue), Vol. 1, April 2005

Still on the subject of film authorship (see here and here), Film Studies For Free chirpily (cheekily?) cross-posts (again, with Directing Cinema - do visit that blog for some great video clips) a little list of choice, freely-accessible online resources pertaining to the Argentine film director María Luisa Bemberg.

A somewhat late starter as a filmmaker, at the tender age of fifty-eight, Bemberg directed six films against the odds of a hugely difficult economic and political situation in Argentina in the 1980s and 1990s. She has been an important influence on a number of young filmmakers, most notably a favourite of FSFF, Lucrecia Martel (also see HERE). Martel's films have been produced by Bemberg's legendary producer and friend Lita Stantic.

In honour of Bemberg and her films, below is a list of high-quality and freely-accessible online studies of her work:

In English:

• Caleb Bach, 'Maria Luisa Bemberg tells the untold,' Americas 46 (Mar/Apr 1994): 20-7
• Michael Chanan, 'Latin American Cinema in the 90's: Representational Space in Recent Latin American Cinema,' Estudios Interdisciplinarios de América Latina y el Caribe 9:1 (enero-junio 1998)
• Catherine Grant, 'Intimista transformations: María Luisa Bemberg's First Feature Films,' originally published in An Argentine Passion: María Luisa Bemberg and Her Films, John King, Sheila Whitaker and Rosa Bosch, eds. (London: Verso, 2000), 73-109
• John King, Sheila Whitaker and Rosa Bosch, eds., An Argentine Passion: María Luisa Bemberg and Her Films (London: Verso, 2000)
• Bernard McGuirk, 'Review of An Argentine Passion: María Luisa Bemberg and her Films, by John King, Sheila Whitaker and Rosa Bosch (eds.), London & New York: Verso, 2000,' Scope, May 2003
• Hugo Salas, 'Some Girls Are Bigger Than Others: María Luisa Bemberg,' Senses of Cinema 22 (September-October 2002)
• Cynthia L. Stone, 'Beyond the Female Gaze: María Luisa Bemberg's Sor Juana Ines de la Cruz,' Ciberletras, Number 13, July 2005
• Fernanda Vitor Bueno,'The Myth of Camila O'Gorman in the Works of Juana Manuela Gorriti, María Luisa Bemberg and Enrique Molina', PhD e-thesis, The University of Texas at Austin, December 2007
• Bruce Williams, 'Bemberg’s Third Sex: Argentine Mothers at the Dawn of Democracy', Cinémas/Cinémas, Volume 15, numéro 1, Automne 2004, p. 125-144
  

In Spanish:

• Mary Elizabeth Barnard, 'Nietzsche y el cine latinoamericano: un estudio de tres obras,' Espéculo: Revista de Estudios Latinoamericanos (marzo-julio 2006)
• Anke van Haastrecht, 'Mujeres en rebelión: el discurso cinematográfico de María Luisa Bemberg', (date unknown)
• Clara Kuschnir, 'La narrativa, el cine y las mujeres,' Estudios feministas = Etudés feministes (agosto-diciembre 2005)
• Jane Mooney, 'Directoras latinoamericanas: Susana Amaral, María Luisa Bemberg, Viviana Cordero y María Novaro', La Tatuana number 3, (Cinenavaja), 2005
• Lourdes Vázquez, 'De identidades: María Luisa Bemberg, filmografía y bibliografía, 1967-2006 [Segunda edición],' SALALM Latin American Information series, no. 6a, edited by Laura D. Shedenhelm, University of Georgia Libraries, 2007
• Guillermina Walas, 'María Luisa frente al espejo: la (auto)_reflexión en María Luisa Bemberg', La Tatuana number 3, (Cinenavaja), 2005
  

In Italian:

• Raffaella Bassetti, et al., María Luisa Bemberg: la passionaria . Italy: Associazione L'Occhio delle donne, 2004

Director Jane Campion (right) and cinematographer Laurie Mcinnes on the set of After Hours (1984). Photograph (1981) by Gayle Pigalle

Film Studies For Free will be concentrating on some shorter (but hopefully still useful) posts in the next few weeks. But here's another long one in the meantime: a whole (shiny) host of links to writing devoted to FSFF's author's main topic of research: film authorship and auteur theory. It has consequently been cross-posted at her other blog Directing Cinema, where lots of discussions of authorship and auteurism may be found. The below list of links to freely accessible online material on these topics will be kept updated, so do consider yourselves warmly encouraged to bookmark this post, and also to suggest further good resources to add to the list (by commenting or via email). Latest update: June 3, 2009

• Eduardo Abrantes, ''The Principle of Revelation (review of Catherine Lupton (2005) Chris Marker: Memories of the Future London: Reaktion Books)', Film-Philosophy 10.1, 2006
• Richard Armstrong, 'They Lost It at the Movies: Film Culture in the Age of Positif and Cineaste', Bright Lights Film Journal, Issue 40, May 2003
• Karyn Ball, 'Hitchcock's 'Material Whirl (Review of Tom Cohen, Hitchcock's Cryptonomies. Volume 1: Secret Agents; Volume II: War Machines. Minneapolis and London: University of Minnesota Press, 2005)', Culture Machine, 2006
• Charles Bane, 'Viewing Novels, Reading Films: Stanley Kubrick and the art of adaptation as interpretation, PhD e-thesis, Louisiana State University 2006
• Shyon Baumann, Intellectualization and Art World Development: Film in the United States', American Sociological Review 66:3 (June 2001) pp. 404-426
• Jack Boozer, 'Introduction: The Screenplay and Authorship in Adaptation', Authorship in Film Adaptation (Austin: University of Texas Press, 2007)
• David Bordwell, Ozu and the poetics of cinema, e-book, originally published by London: British Film Institute; Princeton: Princeton University Press, 1988
• Peter Brunette, 'Nowell-Smith Meets Visconti, Redux: The Old and the New,', Film-Philosophy, vol. 9, no. 16, March 2005 (See also Geoffrey Nowell- Smith, “It Ain’t Me Babe: A Response to Brunette,' Film-Philosophy, vol. 9, no. 17, March 2005)
• Alan Cholodenko - '(The) Death (of) the Animator, or: The Felicity of Felix1, Part II', Animation Studies, December 9, 2007
• David Church, 'The "Cult" of Kubrick', Offscreen Journal, May 31, 2006
• Paul Coughlin, 'The Mark of Cain: Blood Simple and The Man Who Wasn't There', Scope 3, November 2005
• David Clarke, 'Welcome to Tykwer-World: Tom Tykwer as Auteur', Welcome to Tykwer-World: Tom Tykwer as Auteur', gfl-journal, No. 3/2006
• James A. Davidson, 'Some Thoughts on Alfred Hitchcock and Vladimir Nabokov', Images Journal, Issue 3, 1997
• Alexander Dhoest, 'How queer is L'Air de Paris? -- Marcel Carné and Queer Authorship', Scope, May 2003
• Lucy Fife, 'Review of Joe McElhaney, The Death of Classical Cinema: Hitchcock, Lang, Minnelli. (New York; State University of New York Press, 2006)', Film-Philosophy 11.3, December 2007
• Richard Franklin, “What I Really Want to do is Direct”: (1) Directors as Depicted on Film and Television', Senses of Cinema, Issue 42, Jan-Mar 2007
• Jane Gaines, 'Dorothy Arzner's trousers', from Jump Cut, no. 37, July 1992, pp. 88-98
• Tag Gallagher, 'Reading, Culture, and Auteurs' , Screening the Past, March 1, 2001
• Tag Gallagher, 'American Triptych: Vidor, Hawks and Ford', Senses of Cinema, Issue 42, Jan-Mar 2007
• David Gerstner, 'Queer Modernism: The Cinematic Aesthetics of Vincente Minnelli', Modernity, Vol 2 2000
• Barry Keith Grant, 'Theories of Authorship: Rethinking authorship', from Jump Cut, no. 31, March 1986, pp. 14-16
• Catherine Grant, ‘www.auteur.com?’, originally published in Screen, Vol. 41:1, 2000, 101-108
• Catherine Grant, ‘Secret Agents: Feminist Theories of Women’s Film Authorship’, originally published in Feminist Theory 2:1, 2001, 113-130
• Catherine Grant, ‘Recognizing Billy Budd in Beau Travail: Epistemology and Hermeneutics of an Auteurist “Free” Adaptation’, originally published in Screen 43:1, 2002: 57-73
• Catherine Grant, 'The "Author Function" in Transnational Film Adaptation: The case of El lugar sin límites / The Place Without Limits / Hell Has No Limits (Arturo Ripstein, Manuel Puig, José Donoso)', originally published as 'La función de "los autores": la adaptación cinematográfica transnacional de El lugar sin límites', Revista Iberoamericana, Vol. LXVIII, Núm, 199, Abril-Junio 2002, pp. 253-268
• Asbjørn Grønstad, 'Coppola's Exhausted Eschatology: Apocalypse Now Reconsidered', Nordic Journal of English Studies, Vol. 4, No. 1, 2005
• Andrew Grossman, 'The Belated Auteurism of Johnnie To', Senses of Cinema, January 2001
• Fiona Handyside, 'The Auteur as Imposter', Film-Philosophy, 10.1, 2006
• John Hess, 'La politique des auteurs (part one) World view as aesthetics', from Jump Cut, no. 1, 1974, pp. 19-22
• John Hess, 'La politique des auteurs (part two) Truffaut's manifesto', from Jump Cut, no. 2 (1974), pp. 20-22
• Roger Hillman, 'Fassbinder, and Fassbinder/Peer Raben', Screening the Past, March 1, 2001
• Brian Hu, 'Neither Personal nor Political (review of John Anderson (2005) Edward Yang (Urbana and Chicago: University of Illinois Press)', Film-Philosophy 10.1, 2006
• Noel King, 'Changing the Curriculum: The Place of Film in an English Department', Australian Journal of Cultural Studies, Vol. 1, No. 1, 1983
• Donald F. Larsson, 'Every Picture Tells A Story: Agency And Narration In Film', Panel: Movies as Paradigmatic Narratives, Modern Language Association Annual Conference, Washington, D.C., December, 2000
• Katerina Loukopoulou , 'Godard Alone? (review of Michael Temple, James S.Williams and Michael Witt (eds) (2004) For Ever Godard (London: Black Dog Publishing)', Film-Philosophy, 10. 1, 2006
• Harriet Margolis, 'Introduction: "A Strange Heritage" - from Colonization to Transformation?', in Margolis (ed.), Jane Campion (Cambridge: Cambridge University Press, 2000)
  
• Adrian Martin, 'Sign your name across my heart, or:"I want to write about Delbert Mann" ', Screening the Past, March 1, 2001
• Tony McKibbin, 'Art Variables and Life Variables in La Belle noiseuse', Senses of Cinema, Issue 42, Jan-Mar 2007
• Andrew Neal, 'Review of Fifty Contemporary Filmmakers, edited by Yvonne Tasker (London: Routledge, 2002) and Contemporary North American Filmmakers: A Wallflower Critical Guide (Second Edition), edited by Yoram Allon, Del Cullen and Hannah Patterson (London: Wallflower, 2002), Scope, May 2004
• Dan North, 'Review of Directed by Allen Smithee, edited by Jeremy Braddock and Stephen Hock (Minneapolis/London: University of Minnesota Press, 2001), Scope, May 2004
• Karla Oeler, 'Signs of the Times: The thirty year trajectory of Signs and Meaning in the Cinema', Film-Philosophy, Volume 3 Number 25, June 1999
• Matt Pearson, Authorship and the Films of David Lynch, e-book, BritishFilm.org.uk, 1997
• VF Perkins, 'Moments of Choice', first published in The Movie, no. 58 (Orbis Publishing, 1981), Rouge 9, 2006
• Dana Polan, 'Auteur Desire', Screening the Past, March 1, 2001
• Trevor Ponech, 'Authorship and Authorial Autonomy: The Personal Factor in the Cinematic Work of Art', Æ Canadian Aesthetics Journal / Revue canadienne d'esthétique, Volume 4 Summer/Été 1999
• Lauren Rabinovitz, 'Past Imperfect: Feminism and Social Histories of Silent Film', Cinémas/Cinémas, Volume 16, numéro 1, Automne 2005, p. 21-34
• Nicholas Rombes, 'The Rebirth of the Author, CTheory, June 2005
• Holger Römers, '“The Moral of the Auteur Theory”: Frank Borzage’s Moonrise (and Theodore Strauss’ Source Novel)', Senses of Cinema, Issue 42, Jan-March 2007
• Jonathan Rosenbaum, 'Potential Perils of the Director’s Cut', originally published in French as Le Mythe du Director’s cut (Paris: Presses Sorbonne Nouvelle, 2008), JonathanRosenbaum.com, August 6, 2008
• William D. Routt, 'Lois Weber, or the exigency of writing', Screening the Past, March 1, 2001
  
• William D Routt, 'L'Evidence', Continuum: The Australian Journal of Media & Culture, vol. 5 no 2 (1990)
• Girish Shambu, 'On Auteurism', girish, March 30, 2008
• David Sorfa, 'Introduction: Reanimating the Auteur', Film-Philosophy , 10.1, 2006
• David Sterritt, Introduction', The Films of Alfred Hitchcock (Cambridge: Cambridge University Press, 1993)
• Tony Todd, 'Meanings and Authorships in Dune', Film-Philosophy 13.1, 2009
• Kristof Van Den Troost, « Stephen Teo, Director in Action: Johnnie To and the Hong Kong Action Film », China perspectives, n°2009/1, 2009
• NEW Harry Tuttle, 'Truffaut's manifesto : La Politique des Auteurs- Part 1', Indian Auteur, February 1, 2009
  
• NEW Harry Tuttle, 'La Politique Des Auteurs-2', Indian Auteur, May 3, 2009
• NEW Harry Tuttle, 'French [cinephilic and auteurist] terms and their pronunciation', Indian Auteur, May 20, 2009
  
• Paula Willoquet-Maricondi, 'Peter Greenaway: A User's Manual', Film-Philosophy, Volume 2, 1998
• Brenda Wilson, 'Blurring the Boundaries: Auteurism & Kathryn Bigelow', UBCinephile, Vol. 1, 2005
• Ronald W. Wilson, 'Review of Chris Fujiwara, The Auteur of Darkness: Jacques Tourneur', Film-Philosophy, Vol. 7 No. 2, January 2003
• Daniel Yacavone, 'Towards a Theory of Film Worlds', Film-Philosophy 12.2, September 2008