From XPUB & Lens-Based wiki

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.

not used:

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.

no longer:

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


  • feelings
  • memory
  • documentary
  • cinematic
  • 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

Alexander Chee

comparative essay: https://pzwiki.wdka.nl/mediadesign/Jujube/methods-session-5#Reflecting_on_autobiography_in_my_own_work:_reading_Alexander_Chee.27s_The_Autobiography_of_My_Novel

The Argonaut

Maggie Nelson

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)