Below are a list of books I highly recommend if you are interested in the history of film (in terms of its cultural and artistic evolution), film analysis, film criticism, and director studies. Although this is not a comprehensive annotated bibliography of the books I have on my shelf, I wanted to list the books that were helpful in creating the writing pieces I have included in this website. This bibliography will continue to be updated and revised as I continue my studies.
Abbot, H. Porter. The Cambridge Introduction to Narrative. 2nd ed. Cambridge: Cambridge University Press, 2008.
This is an excellent resource on the exploration of narrative’s multifaceted approach when it to the analysis and interpretation of different art mediums—literature, film, visual art—to name a few. Abbot explains the definition of narrative and its ubiquity in our culture—via oral and written discourse. What makes this resource excellent and valuable is its readability. It is very straightforward and concise.
Baumann, Shyon. Hollywood Highbrow: From Entertainment to Art. Princeton and Oxford: Princeton University Press, 2007.
If you are interested in understanding the socio-cultural and socio-historical exploration of cinema and its progression into an art form, then this book would be a worthy read.
Bordwell, David. Narration in the Fiction Film. Madison: University of Wisconsin Press, 1985.
Bordwell’s work is the definitive theoretical exploration on film narrative. It is an intimidating read because it is dense and very abstract in its studies of the theories, form, historical modes and norms of narrative. What I found the most fascinating is the relationship between spectator and narrative—especially its myriad of ways of how we understand narrative.
Braudy, Leo, and Marshall Cohen. Film Theory and Criticism. New York: Oxford University Press, 2009.
This is a compilation of various essays illustrating critical approaches from film critics/scholars. It is an excellent resource if you are into film criticism as personal and/or academic interest.
Cartnell, Deborah and Imelda Whelehan. The Cambridge Companion to Literature on the Screen. Cambridge, Cambridge University Press, 2007.
The book is a compilation of essays that explores adaptation from literature to television and film. It offers more focused analysis/studies on the works from authors such as Jane Austen and Shakespeare and art movements such as Modernism and Postmodernism.
Chion, Michel. BFI Film Classics: The Thin Red Line. London: Palgrave McMillan, 2014.
The British Film Institute every now and then release specific case studies on a film from film scholars and/or historians with reputable artistic backgrounds. The edition on The Thin Red Line provides information on Terrence Malick’s filmography and his contemplative auteuristic vision. It is also an extensive study on The Thin Red Line’s imagery and their various philosophical and spiritual interpretations—all of which work with the film’s ontological themes.
Corrigen, Timothy. A Short Guide to Writing about Film. 8th ed. Boston: Pearson, 2012.
This is a definitive resource and guide to writing about film, especially for those who are new to writing about film. I used this as a textbook for my Film Criticism and Theory course. It provides insight on why we need to write about film and how to write about film by exploring various film theories, technical aesthetics, and topics of film analysis.
Costanzo, William. V. Reading the Movies: Twelve Great Films on Video and How to Teach Them. Urbana: National Council of Teachers of English, 1992.
I enjoyed reading this book because it really legitimizes the study of cinema in a secondary setting by providing researched-based arguments. The book works as part research, part memoir on his teachings of films with high school students, and part instructional manual on how to teach films. He offers sample projects and a short list of films that you might want to bring in the classroom. This book has served as the foundation to my argument in regards to making film studies part of the high school curriculum.
Esslin, Martin. Theater of the Absurd. 3rd ed. New York: Vintage Books, 2001.
Interestingly, from a filmic study, absurd theater/fiction was influenced by silent cinema such as the work of Buster Keaton and Charlie Chaplin. Not only does Esslin offer a historical and critical examination of absurd theater—more specifically, the works of Samuel Beckett—he also examines the history of silent cinema. Esslin examines the influential exchange between three art mediums: literature, theater, and cinema.
Ezra, Elizabeth, ed. European Cinema. Oxford: Oxford University Press, 2004.
This was the first book that guided my studies in European filmmakers. It goes over the film history, key movements, and major filmmakers and their respective landmark films reflective of a particular time period. From this, it helped me develop my own list of European films to watch.
Gianetti, Louis. Understanding Movies. 9th edition. New Jersey: Prentice Hall, 2002.
This is the best introduction to film from a critical, technical, and artistic perspective. It glosses over theoretical and critical approaches to film to date. This was my first film textbook, which helped me gain an understanding of cinema’s language system as an art medium.
Haskell, Molly. From Reverence to Rape: The Treatment of Women in the Movies. New York: Penguin Books Inc., 1974.
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Haskell provides an extensive and also critical study of women prototypes ranging from the disdainful virgins, whores, sex goddesses, and victims to the more respected strong-minded, independent intellectuals who still have a sense of grace, beauty and sex appeal. I must admit she is very fastidious in identifying the idealistic female cinematic prototype that beholds female camaraderie, respect, and support. Her biggest criticism is the deterioration of cinema as classical art, which eventually led to the treatment of women as “satellites of [a director’s] alter ego” (35). Her study encompasses the silent period to the “last decade” (1963-1973) in which she refers to the most disappointing in screen history. Although I do not agree with some of her criticism, Haskell work is a fascinating read.
Hughes, Dorothy B. In a Lonely Place. London: Penguin Classics, 2010.
Hughes classic noir novella (originally published in 1947 by Duell, Sloan and Pearce Publisher) was adapted by Nicholas Ray’s 1950’s film also titled In a Lonely Place. Hughes’ novella is included in my book recommendation list because it is a great example of a loose adaptation. On a fidelity level, the book is nothing like the film. However, both works, in their respective creative modes are able to capture the “spirit” of noir and its brooding themes especially in characterization, mood, atmosphere and tone. Although completely different in the events that transpired in the film, I was able to get a feel of the uncertain milieu and a sense of defeatism. Again, an adaptation does not have to be faithful to be effective. Both works can exceptionally stand on their own.
Lumet, Sydney. Making Movies. New York: Vintage Books, 1995.
Lumet’s memoir on being a filmmaker was an enjoyable read—even if you do not plan on being a director. He truly writes from the heart. By reading his honest recollections of and personal philosophy on the craft of filmmaking, I could see the passion he puts into his work. He is able to go into the highs and lows of being a director. The “highs” (e.g., the creative process and working with actors) and the “lows” (e.g., dealing with the studios and the necessary tedious technical work to finish the product) are all part of the responsibilities of becoming a director, which he takes you through.
Nowell-Smith, Geoffrey. BFI Film Classics: L’Avventura. London: British Film Institute, 2002.
The British Film Institute every now and then release specific case studies on a film from film scholars and/or historians with reputable artistic backgrounds. The edition on L’Avventura is a comprehensive examination of Antonioni’s artistic influences in crafting the film. It also provides an in-depth analysis on Antonioni’s unique filmic text, which coincides the film’s modernist flair and existential themes.
Nowell-Smith, Geoffrey. Making Waves: New Cinemas of the 1960s. New York: Contiuum International Publishing Group, Inc., 2007.
This was an interesting read on some of the most cutting edge and influential films, deemed as “new cinemas” amid the 1960s. Nowell-Smith examines the social, historical, cultural, and artistic influences of the films. He also discussed maverick filmmakers who worked outside the studios and eventually paved the way for a new art movement, which culminated into an unorthodox visual aesthetic. My personal favorite parts in his work were the extended chapters on Godard and Antonioni.
Orr, John. Cinema and Modernity. Cambridge: Polity Press, 1993.
Orr’s book bridges “modern” (I use quotations here because of its loose definition as mentioned by Orr himself) films and other art forms such as literature and philosophical movements, especially amid the twentieth century. The bulk of his research and discussions include specific characteristics of modern films that are derived from the past films, which also lead to other trends in cinema.
Richie, Donald. The Films of Akira Kurosawa. 3rd edition. Berkeley: University of Califronia Press, 1996.
If you are an Akira Kurosawa aficionado, this is a very comprehensive source on his films ranging from his artistic aesthetics, scripts, intertextual influences, and so on. I highly recommend this book if you plan to broaden your knowledge on his films. Richie offers a very insightful criticism and analysis of Kurosawa’s work.
Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking, and the Studio System. New York: McGraw-Hill, inc., 1981.
Schatz writes a thorough, detailed, insightful and well-written exploration of the most popular Hollywood genres. Among them include westerns, musicals, the hardbroiled-detective film, screwball comedy, and the family melodrama. He investigates the origins of the genre, the mythological meanings within a sociocultural standpoint, and the influences of the studio system. This is a must read for those who are interested in the narrative structure of genres, its formulas and its cultural mythmaking.
Schneider, Steven Jay, ed. 1001 Movies You Must See Before You Die. London: Quinted Publishing Limited, 2003.
This is an excellent encyclopedia of films beginning from 1902 to present. It breaks each film down to the name of the director, the cast, the awards, the running time, etc. I highly recommend this book for anyone who wants to broaden his or her film palette or create a personal viewing list for his or her own cinema literacy. Please note, the publishing company continues to release a more up-to-date version each year. As you can see, my version is 2003; however, it would still suffice as a resource.
Stemple, Tom. American Audiences on Movies and Moviegoing. Lexington: University of Kentucky, 2001.
This a socio-cultural and socio-historical understanding of the moviegoing experience. Written from film historian and professor, Tom Stemple, his book provides information about various film movements and their impact on the culture of film spectatorship, particularly from the perspective of his students amid his professorial years and from the general audience .
Turan, Kenneth. Never Coming to a Theater Near You: A Celebration of a Certain Kind of Movie. New York: Public Affairs, 2004.
This is an excellent and insightful compilation of Turan’s film essays and reviews for The Los Angeles Times. Turan examines various non-blockbuster films and gives accolades to international and independent films. I enjoyed this book immensely since it has been an inspiration in creating my website/blog in terms of alternatives to spectatorship.
Yoshimoto, Misuhiro. Kurosawa: Film Studies and Japanese Cinema. Eds. Rey Chow, H.D. Harootunian and Masao Miyoshi. Durham: Duke University Press, 2000.
Yoshimoto offers an extensive study of Kurosawa’s work as an interdisciplinary and intercultural coursework. He also investigates Kurosawa’s work in terms of conflicting and contradictory issues: Japan’s perception of themselves and the West’s perception of Japan within a social, cultural, and academic framework.