Sources

The library. Books, essays and interviews, each with a note on what it is actually good for and which claims here rest on it.

Written up

Read, judged, and wired into the argument.

• Aaron Baker — A Companion to Martin Scorsese Aaron Baker (ed.) (Wiley Blackwell)
• Barsam & Monahan — Looking at Movies: An Introduction to Film Barsam and Monahan: the most current of the introductions, strong on sound, genre as industry, and the MacGuffin.
• Biskind — Easy Riders, Raging Bulls (1998) The New Hollywood chronicle: how the directors briefly took over the studios, told through interviews and gossip.
• Boggs & Petrie — The Art of Watching Films Boggs and Petrie's classroom text: plain analytical questions, a working glossary, and the flat/round and static/dynamic character pairs.
• Bordwell & Thompson — Film Art The standard textbook. Where this wiki's definitions default to when nothing fancier is needed.
• Bruce Block — The Visual Story: Creating the Visual Structure of Film, TV and Digital Media Bruce Block's practitioner's grammar of the image: contrast and affinity, the visual components, and story structure drawn as a graph.
• Burstyn — Lessons in Becoming Myself (2006) Ellen Burstyn's memoir: the Alice collaboration from the side of the star who commissioned it.
• Christopher Kenworthy — Shoot Like Scorsese Christopher Kenworthy (Michael Wiese Productions)
• Criterion — At Home in the World The Criterion release essay on Alice: production history, the prologue fight, and the film's place in 1974.
• David Bordwell — Narration in the Fiction Film Bordwell's theory of narration. Only the Soviet montage chapter is in the library — read the shelf mark before citing.
• Durgnat — A Long Hard Look at Psycho (2002) A shot-by-shot, scene-by-scene reading of the whole film. The model for what a maximal close reading looks like.
• Ebert — Alice review (1974) A first-run review: what a sympathetic 1974-75 critic saw before the film had a reputation.
• Geoffrey Nowell-Smith — The Oxford History of World Cinema The standard one-volume history. Where to go when a film needs its industry, its movement or its decade.
• Karel Reisz & Gavin Millar — The Technique of Film Editing Reisz and Millar, 1953: an editor's book, still the sharpest thing in the library on why a cut is there at all.
• Louis Giannetti — Understanding Movies Giannetti's survey: opinionated, quotable, and the library's best source for what a technique feels like rather than what it is called.
• Mary Pat Kelly — Martin Scorsese: A Journey Mary Pat Kelly (Hachette Books, 1991)
• Mulvey — Visual Pleasure and Narrative Cinema (1975) The essay that named the male gaze. Sixteen pages that reorganised film theory.
• O'Shaughnessy, Stadler & Casey — Media & Society The Australian media studies textbook. The closest thing on the shelf to the wiki's own framework, in a VCE-shaped vocabulary.
• Rebello — Alfred Hitchcock and the Making of Psycho (1990) The production history. Where nearly every behind-the-scenes claim about Psycho should be checked.
• Roger Ebert — Scorsese by Ebert Roger Ebert
• Scorsese on Scorsese (1989) The director's own account, film by film, assembled from interviews. Intention straight from the source — with the usual caveats.
• Stuart Hall — Encoding/Decoding Eleven pages that gave audience study its vocabulary: encoding, decoding, and the three reading positions.
• Stuart Hall — Representation: Cultural Representations and Signifying Practices The constructionist account of representation, and the chapter on stereotyping that most of the wiki's Values work rests on.
• Susan Hayward — Cinema Studies: The Key Concepts Hayward's dictionary of film theory: the shelf's voice for the ideological reading of every convention.
• Truffaut — Hitchcock (1966) The book-length interview. Hitchcock's own theory of directing the audience, in his own words.

Articles and interviews

Reviews, interviews and reference pages from the web. Cited by URL and date rather than by page — a weaker evidentiary base than the shelf, kept separate so you can see which is which.

• After Hours oral history outtakes (2023) Outtakes from Jake Malooley's Air Mail oral history, including the screenwriter admitting he borrowed from Joe Frank's radio piece Lies, and the settlement figure.
• Dunne on After Hours (2024) Griffin Dunne, star and co-producer, on the ending they nearly shot, Geffen's reaction, Michael Powell's fix, and SoHo as 'uncharted territory'.
• Ebert — The Craft review (1996) Two stars. Ebert liked the four actresses and thought the film wasted them on special effects and revenge.
• Kael — Mean Streets review (1973) Pauline Kael's New Yorker review, the one that made the film: 'a true original of our period, a triumph of personal filmmaking.'
• Pat Devin, witchcraft consultant on The Craft The Dianic priestess hired to make the rituals plausible — who invented a fake goddess so that teenagers could not invoke a real one.
• Rachel True on playing Rochelle (2021) The A.V. Club interview in which True describes the character being rewritten around race, and why she played the hair spell differently from everyone else.
• Robinson and Dunne on After Hours (2023) The producers of After Hours on the director they had before Scorsese: a Disney animator called Tim Burton.
• The history of "light as a feather, stiff as a board" Samuel Pepys recorded the levitation game in the 1660s. The physics are dull and the ritual is not.

In the library

39 books indexed in Reel and searchable here, but not yet written up. Each one carries its citation, its shelf mark, and a measure of what it is unusually dense on.

• Abrams, Bell & Udris — Studying Film Abrams, Bell & Udris
• Amy Villarejo — Film Studies: The Basics Amy Villarejo
• Boyd & Palmer — After Hitchcock Influence, Imitation, and Intertextuality
• Christopher Kenworthy — Master Shots 100 Advanced Camera Techniques
• Christopher Kenworthy — Master Shots Vol 3: The Director's Vision Christopher Kenworthy (Michael Wiese Productions)
• Christopher Kenworthy — Shoot Like Spielberg Christopher Kenworthy (Michael Wiese Productions)
• Christopher Kenworthy — Shoot Like Tarantino Christopher Kenworthy (Michael Wiese Productions)
• Couldry & Hepp — The Mediated Construction of Reality Couldry & Hepp
• Cunningham & Turner — The Media and Communications in Australia Cunningham & Turner (eds.) (4th edn)
• danah boyd — It's Complicated The Social Lives of Networked Teens
• David A. Cook — A History of Narrative Film David A. Cook
• David Morley — Television, Audiences and Cultural Studies David Morley
• Dixon & Foster — A Short History of Film Dixon & Foster (Rutgers University Press)
• Donald & Renov — The SAGE Handbook of Film Studies Donald & Renov (eds.) (SAGE)
• Donna Kornhaber — Wes Anderson Donna Kornhaber
• Doughty & Shaw — Film: The Essential Study Guide Doughty & Shaw
• Ed Sikov — Film Studies: An Introduction Ed Sikov (Columbia University Press)
• Edgar & Sedgwick — Cultural Theory: The Key Concepts Edgar & Sedgwick
• Gray, Sandvoss & Harrington — Fandom: Identities and Communities in a Mediated World Gray, Sandvoss & Harrington (eds.) (2nd edn, New York University Press)
• Guy Westwell — A Dictionary of Film Studies Guy Westwell (2nd edn, Oxford)
• Henry Jenkins — Textual Poachers Television Fans and Participatory Culture
• Hoban, Humphris & Booth — Media Reframed VCE Media Units 1-4
• Jaspers & Warnecke — Martin Scorsese Deutsche Kinemathek exhibition catalogue
• Jill Nelmes — Introduction to Film Studies Jill Nelmes (ed.)
• Justus Nieland — David Lynch Justus Nieland
• Kelly Gordon Brine — The Art of Cinematic Storytelling A Visual Guide to Planning Shots, Cuts and Transitions
• Marilyn Fabe — Closely Watched Films: An Introduction to the Art of Narrative Film Technique Marilyn Fabe
• Mark Cousins — The Story of Film Mark Cousins (Pavilion Books)
• Mark Cousins — The Story of Looking Mark Cousins (Canongate Books)
• Mark Duffett — Understanding Fandom An Introduction to the Study of Media Fan Culture
• Nicholas Mirzoeff — How to See the World Nicholas Mirzoeff
• Pavlik & McIntosh — Converging Media A New Introduction to Mass Communication
• Per Persson — Understanding Cinema A Psychological Theory of Moving Imagery
• Pramaggiore & Wallis — Film: A Critical Introduction Pramaggiore & Wallis
• R. Barton Palmer — Joel and Ethan Coen R. Barton Palmer
• Roger Silverstone — Television and Everyday Life Roger Silverstone
• Sophie Monks Kaufman — Wes Anderson Little White Lies
• Staiger & Hake — Convergence Media History Staiger & Hake (eds.)
• William H. Phillips — Film: An Introduction William H. Phillips