The Tragedy of the Object

bibliography

• Agamben, Georgio. The Open: Man and Animal. Stanford: Stanford UP, 2004. Print
   Google Scholar
• Andrew, Dudley. Foreword to 2004 edition of André Bazin, What is Cinema? Vol. 1. Berkeley: U of California P, 2004. ix–xxiv. Print
   Google Scholar
• Andrew, Dudley. The Major Film Theories: An Introduction. Oxford: Oxford UP, 1976. Print
   Google Scholar
• Andrew, Dudley. What Cinema Is! Bazin’s Quest and its Charge. Chichester and Malden, MA: Wiley-Blackwell, 2010. Print
   Google Scholar
• Andrew, Dudley, ed., with Hervé Joubert-Laurencin. Opening Bazin: Postwar Film Theory and its Afterlife. Oxford: Oxford UP, 2011. Print
   Google Scholar
• Arnaud, Diane. “From Bazin to Deleuze: A Matter of Depth.” Andrew, with Joubert-Laurencin 85–94. Print
   Google Scholar
• Bazin, André. “Death Every Afternoon.” Trans. Mark A. Cohen. Margulies 27–31. Print
   Google Scholar
• Bazin, André. “De la difficulté d’être Coco.” Cahiers du cinéma 91 (Jan. 1959): 52–57. Print
   Google Scholar
• Bazin, André. “Les films d’animaux nous révèlent le cinéma.” Radio-Cinéma-Télévision 285 (3 July 1955). Print
   Google Scholar
• Bazin, André Qu’est-ce que le cinéma? Paris: Le Cerf, 1985. Print
   Google Scholar
• Bazin, André. What is Cinema? Vol. 1. Trans. Hugh Gray. Berkeley: U of California P, 2004. Print
   Google Scholar
• Bazin, André. What is Cinema? Vol. 2. Trans. Hugh Gray. Berkeley: U of California P, 2004. Print
   Google Scholar
• Bellour, Raymond. Le Corps du cinéma: Hypnoses, emotions, animalités. Paris: POL, 2009. Print
   Google Scholar
• Bergson, Henri. The Creative Mind: An Introduction to Metaphysics. Trans. Mabelle L. Andison. New York: Philosophical, 1946. Print
   Google Scholar
• Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Trans. Cloudesley Brereton and Fred Rothwell. Seattle: CreateSpace, 2011. Print
   Google Scholar
• Bergson, Henri. Matter and Memory. Trans. Nancy Margaret Paul and W. Scott Palmer. New York: Zone, 1988. Print
   Google Scholar
• Carroll, Noël. “Why Horror?” Horror Film Reader. Ed. Mark Jancovich. London: Routledge, 2002. 33–45. Print
   Google Scholar
• Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film. Cambridge, MA: Harvard UP, 1979. Print
   Google Scholar
• Cholodenko, Alan. “The Animation of Cinema.” The Semiotic Review of Books 18.2 (2008): 1–10. Print
   Google Scholar
• Daney, Serge. “The Screen of Fantasy (Bazin and Animals).” Trans. Mark A. Cohen. Margulies 32–41. Print
   Google Scholar
• Deleuze, Gilles. Cinema 1: The Movement-Image. Trans. Hugh Tomlinson and Barbara Habberjam. London: Athlone, 1986. Print
   Google Scholar
• Deleuze, Gilles. Cinema 2: The Time-Image. Trans. Hugh Tomlinson and Robert Galeta. London: Athlone, 1989. Print
   Google Scholar
• Fay, Jennifer. “Seeing/Loving Animals: André Bazin’s Posthumanism.” Journal of Visual Culture 7.1 (2008): 41–64. Print
   Google Scholar
• Giles, Dennis. “Conditions of Pleasure in Horror Cinema.” Grant and Sharret 36–49. Print
   Google Scholar
• Grant, Barry Keith, and Christopher Sharret, eds. Planks of Reason: Essays on the Horror Film. Lanham, MD: Scarecrow, 2004. Print
   Google Scholar
• Heidegger, Martin. The Fundamental Concepts of Metaphysics: World, Finitude, Solitude. Trans. Will McNeil and Nicholas Walker. Bloomington: Indiana UP, 2001. Print
   Google Scholar
• Hills, Matt. “An Event-Based Definition of Art-Horror.” Dark Thoughts: Philosophical Reflections on Cinematic Horror. Ed. Stephen Jay Schneider and Daniel Shaw. Lanham, MD: Scarecrow, 2003. 138–57. Print
   Google Scholar
• Jeong, Seung-hoon. “Animals: An Adventure in Bazin’s Ontology.” Andrew, with Joubert-Laurencin 177–85. Print
   Google Scholar
• Jeong, Seung-hoon, and Dudley Andrew. “Grizzly Ghost: Herzog, Bazin and the Cinematic Animal.” Screen 49.1 (2008): 1–12. Print
   Google Scholar
• Kolker, Robert Phillip. The Altering Eye: Contemporary International Cinema. Rev. ed. Cambridge: Open Book, 2009. Print
   Google Scholar
• Lacey, A.R. Bergson. London and New York: Routledge, 1989. Print
   Google Scholar
• Laruelle, François. Le Concept de non-photographie/The Concept of Non-photography. Bilingual ed. Trans. Robin Mackay. Falmouth: Urbanomic, 2011. Print
   Google Scholar
• Laruelle, François. En tant qu’Un: La “non-philosophie” expliquée aux philosophes. Paris: Aubier, 1991. Print
   Google Scholar
• Laruelle, François. Philosophie et non-philosophie. Liège: Mardaga, 1989. Print
   Google Scholar
• Latour, Bruno. We Have Never Been Modern. Trans. Catherine Porter. Cambridge, MA: Harvard UP, 1993. Print
   Google Scholar
• Margulies, Ivone, ed. Rites of Realism: Essay on Corporeal Cinema. Durham, NC: Duke UP, 2003. Print
   Google Scholar
• McRoy, Jay. “Case Study: Cinematic Hybridity in Shimizu Takashi’s Ju-On: The Grudge.” Japanese Horror Cinema. Ed. Jay McRoy. Edinburgh: Edinburgh UP, 2005. 175–84. Print
   Google Scholar
• Merleau-Ponty, Maurice. Phenomenology of Perception. Trans. Colin Smith. London: Routledge, 1962. Print
   Google Scholar
• Merleau-Ponty, Maurice. The Visible and the Invisible, followed by Working Notes. Trans. Alphonso Lingis. Evanston, IL: Northwestern UP, 1968. Print
   Google Scholar
• Mitry, Jean. The Aesthetics and Psychology of the Cinema. Trans. Christopher King. London: Athlone, 1998. Print
   Google Scholar
• de Montaigne, Michel. The Complete Essays. Trans. M.A. Screech. Harmondsworth: Penguin, 1987. Print
   Google Scholar
• Moore, F.C.T. Bergson, Thinking Backwards. Cambridge: Cambridge UP, 1996. Print
   Google Scholar
• Mullarkey, John. “1 + 1 = 1: The Non-consistency of Non-philosophical Practice (Photo: Quantum: Fractal).” Laruelle and Non-philosophy. Ed. John Mullarkey and Anthony Paul Smith. Edinburgh: Edinburgh UP, 2012. 143–68. Print
   Google Scholar
• Mullarkey, John. Philosophy and the Moving Image: Refractions of Reality. Basingstoke: Palgrave, 2010. Print
   Google Scholar
• Mullarkey, John. Post-Continental Philosophy: An Outline. London and New York: Continuum, 2006. Print
   Google Scholar
• Mullarkey, John. Reverse Mutations: Laruelle and Non-human Philosophy (forthcoming 2013). Print
   Google Scholar
• Nagel, Thomas. Mortal Questions. Cambridge: Cambridge UP, 1979. Print
   Google Scholar
• Negri, Antonio. Time for Revolution. Trans. M. Mandarini. London and New York: Continuum, 2003. Print
   Google Scholar
• Pick, Anat. Creaturely Poetics: Animality and Vulnerability in Literature and Film. New York: Columbia UP, 2011. Print
   Google Scholar
• Powell, Anna. Deleuze and Horror Film. Edinburgh: Edinburgh UP, 2007. Print
   Google Scholar
• Rekab, Alice Lucy. “Radical Love.” 2010. Web. 25 Oct. 2012.<http://samkeogh.net/files/magrl.pdf>
   Google Scholar
• Sartre, Jean-Paul. Imagination: A Psychological Critique. Trans. Forrest Williams. Ann Arbor: U of Michigan P, 1962. Print
   Google Scholar
• Sartre, Jean-Paul. The Psychology of Imagination. Trans. Bernard Frechtman. New York: Philosophical, 1948. Print
   Google Scholar
• Shaviro, Steven. The Cinematic Body. Minneapolis: U of Minnesota P, 1993. Print
   Google Scholar
• Shaw, Daniel. “Power, Horror and Ambivalence.” Spec. issue (on Horror) of Film and Philosophy (2001): 1–12. Print
   Google Scholar
• Sloterdijk, Peter, Melik Ohanian, and Jean-Christophe Royoux. “Foreword to the Theory of Spheres.” Cosmograms. Ed. Melik Ohanian. New York: Sternberg, 2005. 223–40. Print
   Google Scholar
• Sobchack, Vivian. The Address of the Eye: A Phenomenology of Film Experience. Princeton: Princeton UP, 1991. Print
   Google Scholar
• Totaro, Donato. “André Bazin Revisited: Part 2, Style as a Philosophical Idea.” July 2003. Web. 25 Oct. 2012. <http://horschamp.qc.ca/new_offscreen/bazin_intro2.html>
   Google Scholar
• Trahair, Lisa. The Comedy of Philosophy: Sense and Nonsense in Early Cinematic Slapstick. New York: State U of New York P, 2007. Print
   Google Scholar
• Wood, Robin. “An Introduction to the American Horror Film.” Grant and Sharret 107–41. Print
   Google Scholar