references from thesis and project proposal
- CARRIÓN, U., & SCHRAENEN, G. (2016). Ulises Carrión: Dear reader, don't read.
- CHEE, A. (2018) How to write an autobiographical novel : essays.
- FOX, D. (2019). Limbo.
- HAN, K., & SMITH, D. (2019). The white book.
- PATEL, S. (2014). Migritude. New York, Kaya Press.
- Thompson, S. (2017). Salt. London.
- NELSON, M. (2016). The argonauts.
- PROULX, A. (2012). Bird cloud. London, Fourth Estate.
- AUFDERHEIDE, P. (2016). Documentary film: a very short introduction. Oxford, Oxford University Press.
- MAMET, D. (1992) On directing film. New York: Penguin Books.
- SCHRADER, P. (2018). Transcendental style in film: Ozu, Bresson, Dreyer.
- WOOD, M. (2012). Film: a very short introduction. Oxford, Oxford University Press.
- Sontag, S. (1984) On photography. 6E dr edn. Harmondsworth: Penguin.
- Stallabrass, J. (2013) Documentary. London: Whitechapel (Documents of contemporary art).
- ASMA, S. T., & GABRIEL, R. (2019). United by Feelings. https://aeon.co/essays/human-culture-and-cognition-evolved-through-the-emotions
- BAZIN, A., GRAY, H., TRUFFAUT, F., & ANDREW, D. (2005). What is cinema? Volume 1.
- BERGER, J. P., & DYER, G. (2013). Understanding a photograph. New-York, Aperture.
- CAMPANY, D. (2007) The cinematic. London: Whitechapel (Documents of contemporary art, 2007: 5).
- Kern, S. (2004) A cultural history of causality : science, murder novels, and systems of thought. Princeton: Princeton University Press.
- Miall, D. (2011) Emotions and the Structuring of Narrative Responses. Poetics Today 1 June 2011; 32 (2): 323–348. doi: https://doi.org/10.1215/03335372-1162704
- Nussbaum, M. (1988) Narrative Emotions. Ethics, Vol. 98, No. 2., pp. 225-254.
- Shouse, E. (2005) Feeling, Emotion, Affect. M/C Journal 8.6. <http://journal.media-culture.org.au/0512/03-shouse.php>
- Voìgt, Ellen Bryant. Image. New England Review, Vol. 13, No. 3/4, 1991, pp. 254–268. JSTOR, www.jstor.org/stable/40243421.
- Mulvey, L. and Backman Rogers, A. (eds) (2015) Feminisms : diversity, difference and multiplicity in contemporary film cultures. Amsterdam: Amsterdam University Press (The key debates. Mutations and appropriations in European film studies, 5). doi: 10.5117/9789089646767.
- Chateau, D., & Moure, J. (2016). Screens.
- Farr, I. (2012) Memory. London: Whitechapel Gallery (Documents of contemporary art).
- Sontag, S. (2002) Against interpretation: and other essays. Repr. and enl. edn. New York: Picador
from project proposal (methods for general reserach on image-making)
- The Cinematic, ed. David Campany
- On Directing Film, David Mamet
- Transcendental style in film: Ozu, Bresson, Dreyer, Paul Shrader
- Understanding a Photograph, John Berger
- Image, Voìgt, Ellen Bryant. New England Review, Vol. 13, No. 3/4, 1991, pp. 254–268
- The Mirror (1975), Andrej Tarkovski
- Birds of Passage (2018), Cristina Gallego & Ciro Guerra
- Minding the Gap (2018), Bing Liu
- Gulyabani (2018), Gürcan Keltek
- Light of my Life (2019), Casey Affleck
- Vulnerable Histories (A Road Movie) (2019), Koki Tanaka
- Salt (2018), play by Salina Thompson
Synopsis and abstracts
- transcendental style
- John Berger (Appearances)
- Criticizing Photographs: An Introduction to Understanding Images
- Loose articles on cinematic experience/cinematography
- films, plays, exhibitions, lectures
Laura Mulvey, Autotheory, Organization of autobiographical and critical writing
Longitudinal reading of Laura Mulvey
Autotheory as Rebellion: On Research, Embodiment, and Imagination in Creative Nonfiction
interesting: Edmund Morris, biographer of Ronald Reagan, became a fictional narrator in the biography.
The Autobiography of My Novel
To weave the text together, I have been paying close attention to the structure of paragraphs and noted strategies used by Nelson. I intend to implement similar ones, including: - direct transitions from personal memory to critical observation from one paragraph to another, manifesting a process in which memory provokes thought (p60, Butler) - leveling non-critical writing (own or from others) and theories (own or from others) in the same paragraph when the boundaries between feeling and thinking are porous (p55, Bellamy) - equalizing own critical thoughts and those from others in the same paragraphs, creating a nebula of significant observations regardless of discurve hierarchy (i.e. being a friend to a theorist, rather than a disciple) (p48, Carson)