Works cited
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- Bazin, André. The Ontology of the Photographic Image. Film Quarterly 13:4 (Summer 1960), 8.
- Bordwell David. Story Causality and Motivation. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (New York: Columbia University Press, 1985).
- Canudo, Ricciotto. Reflections on the Seventh Art. French Film Theory and Criticism: A History/Anthology, 1907–1939, vol. 1, edited by Richard Abel (Princeton: Princeton University Press, 1988).
- Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film (Cambridge, MA: Harvard University Press, 1979).
- Deleuze, Gilles. Cinema 1: The Movement-Image, translated by Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1989).
- Deleuze, Gilles. Cinema 2: The Time-Image, translated by Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1989).
- Doane, Mary Ann. The Emergence of Cinematic Time: Modernity, Contingency, The Archive (Cambridge, MA: Harvard University Press, 2002).
- Dudley, Andrew. Tracing Ricoeur. Diacritics 30, vol. 2 (2000): 44.
- Eisenstein, Sergei. A Dialectical Approach to Film Form. Film Form: Essays in Film Theory, edited and translated Jay Leyda (New York: Harcourt, 1949).
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- Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality (New York: Oxford University Press, 1960).
- Mitry, Jean. The Aesthetics and Psychology of the Cinema, trans. Christopher King (Bloomington: Indiana University Press, 1997 [1963]).
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- Tollof, Nelson. A Critical Theory of Rhythm and Temporality in Film: The Metamorphosis of Memory and History in Tarkovsky’s Mirror (1975). Dissertation (University of Montreal, Montreal, Canada, 2003).