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Materials marked "ERES" in the course schedule are availabe
from the Electronic Reserve
System at Washington University. The following texts will be
availabe electronically:
• Jonathan Crary, Techniques of the Observer: On Vision and Modernity
in the Nineteenth-Century. Cambridge, MA: MIT Press, 1993. 1-25. 67-137.
• Anne Friedberg, “The Mobilized and Virtual Gaze in Modernity.”
Window Shopping: Cinema and the Postmodern. Berkeley: University of California
Press, 1993. 15-38.
• Charles Baudelaire, “A une passante” (English)
• Walter Benjamin, “On Some Motifs in Baudelaire.” Illuminations:
Essays and reflections. Ed. Hannah Arendt. New York: Schocken, 1968. 155-200.
• Walter Benjamin, “[M:] The Flaneur.” The Arcades Project.
Trans. Howard Eiland and Kevin McLaughlin. Cambridge, MA: Harvard University
Press, 1999. 416-455.
• Anke Gleber, The Art of Taking a Walk: Flanerie, Literature, and
Film in Weimar Culture. Princeton: Princeton University Press, 1999. 23-42.
129-170.
• Lynne Kirby, Parallel Tracks: The Railroad and Silent Cinema.
Durham: Duke University Press, 1997. 19-74.
• Benjamin, Walter. "Little History of Photography." Vol.
2 of Benjamin, Selected Writings: 1927-1934. Trans. Rodney Livingstone
et al. Ed. Michael W. Jennings, Howard Eiland, and Gary Smith. Cambridge:
Belknap Press, 1999. 507-30.
• Eduardo Cadava, Words of Light: Theses on the Photography of History.
Princeton: Princeton University Press, 1997. 3-13. 47-63. 87-97. 128.
• Mary Ann Doane, “Temporality, Storage, Legibility: Freud,
Marey, and the Cinema.” The Emergence of Cinematic Time. Cambridge,
MA: Harvard University Press, 2002. 33-69.
• Marta Braun, Picturing Time: The Work of Etienne Jules Marey.
Chicago: University of Chicago Press, 1992. sel.
• Tom Gunning, “An Aesthetics of Astonishment: Early Film
and the (In)Credulous Spectator.” Viewing Positions: Ways of Seeing
Film. Ed. Linda Williams. New Brunswick: Rutgers University Press, 1995.
114-133.
• Gilles Deleuze, Cinema 1: The Movement-Image. Trans. Hugh Tomlinson
and Barbara Habberjam. Minneapolis: University of Minnesota Press, 1991.
1-70.
• Leo Charney, “Peaks and Valleys.” Empty Moments: Cinema,
Modernity, and Drift. Durham: Duke University Press, 1998. 67-88.
• E. H. Gombrich, “Ambiguities of the Third Dimension.”
Art and Illusion. Princeton: Princeton University Press, 1960. 242-290.
• W. J. T. Mitchell, “Space and Time: Lessing’s Laocoon
and the Politics of Genre.” Iconology: Image, Text, Ideology. Chicago:
University of Chicago Press, 1986. 95-115.
• Filippo Tommaso Marinetti, “The New Religion-Morality of
Speed.” Let’s Murder the Moonshine: Selected Writings. Los
Angeles: Sun and Moon Classics, 1972. 000-000.
• Franz Kafka, Die Aeroplane in Brescia / The Aeroplanes at Brescia
(1909) (German & English)
• Filippo Tommaso Marinetti, “The Pope’s Monoplane:
Political Novel in Free prose (1912).” Selected Poems and Related
Prose. Ed. Luce Marinetti. Trans. Elizabeth Napier and Barbara Studholme.
New Haven and London: Yale University Press, 2002. 41-54.
• Peter Demetz, The Air Show at Brescia, 1909. New York : Farrar,
Straus and Giroux, 2002. 149-185.
• Kasimir Malevich, "From Cubism and Futurism to Suprematism:
The New Realism in Painting." Art in Theory. 1900-1990. Eds. Charles
Harrison and Paul Wood. Oxford: Blackwell, 1992. 166-176.
• Kasimir Malevich, "Non-Objective Art and Suprematism,"
Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford:
Blackwell, 1992. 290-92.
• Kasimir Malevich, "The Question of Imitative Art." Art
in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell,
1992. 292-97.
• Filippo Tommaso Marinetti, “Technical Manifesto of Futurist
Literature.” Selected Poems and Related Prose. Ed. Luce Marinetti.
Trans. Elizabeth Napier and Barbara Studholme. New Haven and London: Yale
University Press, 2002. 77-80.
• Bernd Hüppauf, “Experiences of Modern Warfare and the
Crisis of Representation.” New German Critique 59 (1993): 41-76.
• Laszlo Moholoy-Nagy, Paitning, Photograpgy, Film (1925). Trans.
Janet Seligman. Cambridge, MA MIT Press, 1969. 7-9. 20-31. 41-45. 122-137.
• Laszlo Moholoy-Nagy, Vision in Motion. Chicago: P. Theobald, 1947.
113-169. 244-269.
• Ernst Jünger, "Total Mobilization." Trans. Richard
Wolin. The Heidegger Controversy: A Critical Reader. Ed. Richard Wolin.
New York: Columbia University Press, 1991. 119-139.
• Michel Butor, Mobile. Trans. Richard Howard. New York: Dalkey
Archive Press, 2004. i-ix. 5-15. 52-69.
• Ed Dimendberg, “The Will to Motorization: Cinema, Highways,
and Modernity.” October 73 (Summer 1995): 91-137.
• Kristin Ross, Fast Cars, Clean Bodies: Decolonization and the
Reordering of French Culture. Cambridge, Mass.: MIT Press, 1995. 15-70.
• Norman Bel Geddes, Magic Motorways. New York: Random House, 1940.
1-42. 105-122. 221-247.
• Gerald Silk, “The Automobile in Art.” Automobile and
Culture. Ed. Museum of Contemporary Art. New York: Harry N. Abrams, 1981.
25-176.
• Filippo Tommaso Marinetti, "The Foundation and Manifesto
of Futurism." Art in Theory. 1900-1990. Eds. Charles Harrison and
Paul Wood. Oxford: Blackwell, 1992. 145-149.
• Walter Benjamin, “Theses on the Philosophy of History.”
Illuminations: Essays and Reflections. Ed. Hannah Arendt. New York: Schocken,
1968. 253-264.
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