Cinema & Media Studies (50-Book List)

Cinema and Media Studies 

Films (in chronological order of release date)

• Auguste Lumière and Louis Lumière, Workers Leaving the Lumiere Factory (1895) and Arrival of a Train at a Station (1895)
• George Méliès, A Trip to the Moon (1902)
• Edwin S. Porter, The Great Train Robbery (1903)
• D. W. Griffith, The Birth of a Nation (1915)
• Oscar Micheaux, Within Our Gates (1920)
• Robert J. Flaherty, Nanook of the North (1922)
• Sergei Eisenstein, The Battleship Potemkin (1925)
• Buster Keaton, The General (1926)
• F. W. Murnau, Sunrise: A Song of Two Humans (1927)
• Dziga Vertov, Man with the Movie Camera (1929)
• Fritz Lang, M (1931)
• Frank Capra, It Happened One Night (1934)
• Charlie Chaplin, Modern Times (1936)
• Jean Renoir, The Grand Illusion (1937)
• Orson Welles, Citizen Kane (1941)
• Maya Deren and Alexandr Hackenschmied, Meshes of the Afternoon (1943)
• Laurence Olivier, Henry V (1944)
• Roberto Rossellini, Rome, Open City (1945)
• Howard Hawks, The Big Sleep (1946)
• Akira Kurosawa, Rashomon (1950)
• Stanley Donen, Singin’ in the Rain (1952)
• Satyajit Ray, Pather Panchali (1955)
• John Ford, The Searchers (1956)
• Alain Resnais, Hiroshima mon Amour (1959)
• Alfred Hitchcock, Vertigo (1958)
• Ritwick Ghatak, Meghe Dakha Tara (1960)
• Jean-Luc Godard, Contempt (1963)
• Federico Fellini, 8 1/2 (1963)
• Albert Maysles and David Maysles, Gimme Shelter (1970)
• Francis Ford Coppola, The Godfather (1972)
• Djibril Diop Mambéty, Touki Bouki (1973)
• M. S. Sathyu, Garm Hava (1973)
• Shyam Benegal, Ankur (1974)
• Ousmane Sembène, Xala (1975)
• Martin Scorsese, Taxi Driver (1976)
• R. W. Fassbinder, The Marriage of Maria Braun (1978)
• Aparna Sen, 36 Chowringhee Lane (1981)
• María Luisa Bemberg, Camila (1984)
• Agnès Varda, Vagabond (1985)
• Stephen Frears, My Beautiful Laundrette (1985)
• David Lynch, Blue Velvet (1986)
• John Woo, A Better Tomorrow (1986)
• John Lasseter, Luxo Jr. (1986)
• Claire Denis, Chocolat (1988)
• Mira Nair, Salaam Bombay! (1988)
• Spike Lee, Do the Right Thing (1989)
• Julie Dash, Daughters of the Dust (1991)
• Zhang Yimou, Raise the Red Lantern (1991)
• Rakhshan Bani-Etemad, Nargess (1992)
• Djibril Diop Mambéty, Hyènes (1992)
• Jane Campion, The Piano (1993)
• Quentin Tarantino, Pulp Fiction (1994)
• Deepa Mehta, Elements trilogy (1996-2005)
• Abbas Kiarostami, Taste of Cherry (1997)
• Hayao Miyazaki, Princess Mononoke (1997)
• Lucrecia Martel, The Swamp (2001)
• Abderrahmane Sissako, Bamako (2006)
• Jia Zhangke, Platform (2000)
• Jia Zhangke, Still Life (2006)
• Florian Thalhofer, Planet Galata: A Bridge in Istanbul (2010)
• Hito Steyerl, In Free Fall (2010)
• Harun Farocki, Parallel I-IV (2012-14)
• Steve McQueen, 12 Years a Slave (2013)
• Kelly Reichardt, Certain Women (2016)
• Nonny de la Peña, Out of Exile: Daniel’s Story (2017) 

Readings/Theory (in chronological order of original publication date)

* indicates that selections of the work should be chosen in consultation with committee

• Hugo Münsterberg, "Why We Go to the Movies" in Cosmopolitan 60.1 (Dec 1915)
• Béla Balázs, "The Close-Up" in Béla Balázs: Early Film Theory: Visible Man and the Spirit of Film (2010, originally published in French in 1924)
• Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction" in Illuminations: Essays and Reflections (1968, originally published in German in 1935)
• Sergei Eisenstein, "Dickens, Griffith, and Film Today" in Film Form: Essays in Film Theory (1949, originally published in Russian in 1944)
• Max Horkheimer and Theodor W. Adorno, "The Culture Industry: Enlightenment as Mass Deception" in Dialect of the Enlightenment (1989, originally published in German in 1944)
• Alexandre Astruc, "The Birth of a New Avant-Garde: La Camera-Stylo" in Film Manifestos and Global Cinema Cultures: A Critical Anthology (2014, originally published in French in 1948)
• André Bazin, "The Evolution of the Language of Cinema" in What is Cinema? Essays Selected and Translated by Hugh Gray (2004, originally published in French in early 1950s)
• Siegfried Kracauer, "The Establishment of Physical Existence" in Theory of Film: The Redemption of Physical Reality (1965, originally published in German in 1960)
• Maya Deren, "Cinematography: The Creative Use of Reality" in Daedalus 89.1 (Winter 1960)
• Marshall McLuhan, Understanding Media: The Extensions of Man (1964)*
• Jean-Louis Baudry, "Ideological Effects of the Basic Cinematographic Apparatus" in Film Quarterly 28.2 (Winter 1974-1975, originally published in French in 1970)
• Laura Mulvey, "Visual Pleasure and Narrative Cinema" in Screen 16.3 (Autumn 1975)
• Richard Dyer, "Entertainment and Utopia" in Only Entertainment (1977)
• Richard Dyer, "Stars as Types" and "Stars as Images" in Stars (1979)
• Giles Deleuze, Cinema 1: The Movement Image (1986, originally published in French in 1983)*
• Rick Altman, "A Semantic/Syntactic Approach to Film Genre" in Cinema Journal 23.2 (Spring 1984)
• David Bordwell, "Art-Cinema Narration" in Narration in the Fiction Film (1985)
• Tom Gunning, "The Cinema of Attraction: Early Film, Its Spectator and the Avant-Garde" in Wide Angle 8.3-4 (1986)
• Bill Nichols, "Documentary Modes of Representation" in Representing Reality (1991)
• Lynn Spigel, Make Room for TV: Television and the Family Ideal in Postwar America (1992)*
• Robert Stam and Ella Shohat, Unthinking Eurocentrism: Multiculturalism and the Media (1994)*
• Manthia Diawara, "Black American Cinema: the New Realism" in Cinemas of the Black Diaspora: Diversity, Dependence, and Oppositionality (1995)
• Henry Jenkins, "From Barbie to Mortal Kombat: Further Reflections" in New Media: Theories of Practices of Digitexuality (2003)
• Peter Wollen, "The Auteur Theory: Michael Curtiz, and Casablanca" in Authorship and Film (2003)
• Mary Ann Doane, "Information, Crisis, and Catastrophe" in New Media, Old Media: A History and Theory Reader (2005)
• Linda Hutcheon, Theory of Adaptation (2006)*
• John Thornton Caldwell, Production Culture: Industrial Reflexivity and Critical Practice in Film and Television (2008)*
• John Durham Peters, The Marvelous Clouds: Toward a Philosophy of Elemental Media (2015)*
• Patricia White, Women's Cinema, World Cinema: Projecting Contemporary Feminisms (2015)*
  
• Lev Manovich, "What is Digital Cinema?" in Post-Cimena: Theorizing 21st-Century Film (2016)
• Karl Schoonover and Rosalind Galt, Queer Cinema in the World (2016)*