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Tom Gunning, Ó’Primitive Cinema: A Frame-up Or the Trick’s On Us.” Early Cinema: Space, Frame, Narrative. Ed. Thomas Elsaesser. London: BFI, 1990. 95-103.
Length: 9 pages. ISBN: 0-85170-245.
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John D. Barlow, “Introduction: The Expressionist Sensibility.” German Expressionist Film. Boston: Twayne, 1982. 15-26.
           Length: 12 pages. No ISBN number. LCCN: 8200-1030.
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Sergei Eisenstein, “The Dramaturgy of Film Form (The Dialectical Approach to Film Form).”  S. M. Eisenstein: Selected Works. Vol I. Ed. And trans. Richard Taylor. London: BFI, 1988. 161-180.
           Length: 20 pages. ISBN: 0-253-35042-5
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Sergei Eisenstein, “Methods of Montage.” Film Form: Essays in Film Theory. Ed. And trans. Jay Leyda. New York: Hartcourt, Brace & Company, 1949. 72-83.
           Length: 12 pages. ISBN: 0-156-30920-3
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Douglas Gomery, “Tri-Ergon, Tobis Klangfilm, and the Cominf of Sound.” Cinema Journal 16.1 (1976): 51-61.
           Length: 11 pages. ISSN: 0009-7101.
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Noel Burch, “Fritz Lang: German Period.” Cinema: A Critical Dictionary. Ed. Richard Roud. New York: Viking, 1980. 583-599.
           Length: 17 pages. ISBN: 0-670-2257-7
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Martin OÂ’Shaughnessy, Jean Renoir. Manchester and New Yorl: Manchster University Press, Manchester and New York: Manchster University Press, 2000. 1-31.
           Length: 32 pages. ISBN: 0-7190-5063-4
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Cesare Zavattini, “Some Ideas on the Cinema.” Film: A Montage of Theories. Ed. Richard Dyer MacCann. New York: Dutton, 1996. 216-228
           Length: 13 pages. No ISBN number. LCCN: 6600-3425.
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Andre Bazin, “An Aesthetic of Reality: Neorealism.” What is Cinema? Vol 2. Ed. Hugh Gray. Berkeley: University of California Press, 1971. 16-40.
           Length: 25 pages. ISBN: 0-520-02034-0
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Tadao Sato, “On Kenji Mizoguchi.” Film Criticism 4.3 (Spring 1980): 2-16.
           Length: 15 pages. Published by Allegheny College. ISSN: 0163-5069.
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David Bordwell. “The Art Cinema as a Mode of Film Practice.” Film Criticism 4.1 (Fall 1979): 56-63.
           Length: 9 pages. Published by Allegheny College. ISSN: 0163-5069.
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Jim Hillier, “Introduction.” Cahiers du Cinema: The 1950s. Cambridge: Harvard University Press, 1985. 1-17.
           Length: 18 pages. ISBN: 0-674-09060-8.
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Tytti Soila et al., Nordic National Cinemas. London: Routledge, 1998. 189-232.
           Length: 44 pages. ISBN: 0415081955
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Brigitte Peucker. “Werner Herzog: In Quest of the Sublime.” New German Filmmakers: From Oberhausen through the 1970s. Ed. Klaus Phillips. New York: Ungar, 1984. 168-194.
           Length: 27 pages. ISBN: 0804466483.
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Fernando Solanas and Octavio Gettino. “Towards a Third Cinema.” .” Movies and Methods. Vol 1. Ed. Bill Nichols. Berkeley: University of California Press, 1976. 44-64.
           Length: 21 pages. ISBN: 0-520-03151-2.
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Teshome H. Gabriel. “Towards a Critical Theory of Third World Films.” Questions of Third Cinema. Eds. Jim Pines and Paul Willemen. London: BFI, 1989. 30-52.
           Length: 23 pages. ISBN: 0-85170-230-9.
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Paulin Soumanou Vierya. “African Cinema: Solidarity and Difference.” Questions of Third Cinema. Eds. Jim Pines and Paul Willemen. London: BFI, 1989. 195-198.
           Length: 4 pages. ISBN: 0-85170-230-9.
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Lucy Fischer, “Xala: A Study in Black Humor.” Millenium Film Journal 7/8/9 (Fall/Winter 1980-81): 165-172.
           Length: 8 pages. Published by Millenium Film Workshop. ISSN: 1064-5586.
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Tony Williams, “Space, Place and Spectacle: The Crisis Cinema of John Woo.” Cinema Journal 36.2 (Winter 1997): 67-84.
           Length: a8 pages. Published by the University of Texas Press. ISSN: 0009-7101.
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