The future of history as film: apropos the publication of A Companion to Historical Film

References

• Alexander, Jeffrey C.2004. “Towards a Theory of Cultural Trauma.” In Cultural Trauma and Collective Identity, edited by Jeffrey C.Alexander, 1–30. Berkeley: University of California Press.
   Google Scholar
• Bordwell, David. 1989. Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge, MA: Harvard University Press.
   Google Scholar
• Cooke, Paul, and MarcSilberman. 2010. Screening War: Perspectives on German Suffering. Rochester, NY: Camden House.
   Google Scholar
• Davis, Natalie Zemon. 1988. “‘Any Resemblance to Persons Living or Dead’: Film and the Challenge of Authenticity.” Historical Journal of Film, Radio and Television8 (3): 269–283.
   Web of Science ®Google Scholar
• Davis, Natalie Zemon. 2000. Slaves on Screen: Film and Historical Vision. Cambridge, MA: Harvard University Press.
   Google Scholar
• Eder, Klaus, and WillfriedSpohn. 2005. Collective Memory and European Identity: The Effects of Integration and Enlargement. Burlington, VT: Ashgate.
   Google Scholar
• Eldridge, David. 2006. Hollywood's History Films. London: I.B.Tauris.
   Google Scholar
• Elsaesser, Thomas. 2000. Weimar Cinema and After. New York: Routledge.
   Google Scholar
• Fehrenbach, Heide. 1995. Cinema in Democratizing Germany. Chapel Hill: University of North Carolina Press.
   Google Scholar
• Ferro, Marc. 1977. Cinema and History. Detroit: Wayne State University.
   Google Scholar
• Gilles, John R.1996. Commemorations: The Politics of National Identity. Princeton, NJ: Princeton University Press.
   Google Scholar
• Gilman, Sander L.2000. “Is Life Beautiful? Can the Shoah Be Funny? Some Thoughts on Recent and Older Films.” Critical Inquiry26 (2): 279–308.
   Web of Science ®Google Scholar
• Guynn, William. 2006. Writing History in Film. New York: Routledge.
   Google Scholar
• Hake, Sabine. 1993. The Cinema's Third Machine. Lincoln: University of Nebraska Press.
   Google Scholar
• Hallam, Julia. 2000. Realism and Popular Cinema. Manchester: Manchester University Press.
   Google Scholar
• Hansen, Miriam B.1999. “The Mass Production of the Senses: Classical Cinema as Vernacular Modernism.” Modernism/Modernity6 (2): 59–77.
   Web of Science ®Google Scholar
• Hughes-Warrington, Marnie. 2009. The History on Film Reader. New York: Routledge.
   Google Scholar
• Huyssen, Andreas. 1980. “The Politics of Identification: ‘Holocaust’ and West German Drama.” New German Critique19: 117–136.
   Google Scholar
• Isenberg, Noah W., ed. 2009. Weimar Cinema: An Essential Guide to Classic Films of the Era. New York: Columbia University Press.
   Google Scholar
• Jean-Louis, Baudry.1974–75. “Ideological Effects of the Basic Cinematographic Apparatus.” Film Quarterly28 (2): 39–47. Translated by Alan Williams.
   Web of Science ®Google Scholar
• Jenkins, Keith. 1997. “Why Bother with the Past? Engaging with Some Issues Raised by the Possible ‘End of History as we have Known it’.” Rethinking History1 (1): 56–66.
   Web of Science ®Google Scholar
• Kaes, Anton. 1989. From Hitler to Heimat: The Return of History As Film. Cambridge, MA: Harvard University Press.
   Google Scholar
• Kaes, Anton. 2009. Shell Shock Cinema. Princeton, NJ: Princeton University Press.
   Google Scholar
• Kelly, Andrew. 1997. Cinema and the Great War. New York: Routledge.
   Google Scholar
• Kester, Bernadette. 2003. Film Front Weimar: Representations of the First World War in German Films on the Weimar Period (1919–1933). Amsterdam: Amsterdam University Press.
   Google Scholar
• Koshar, Rudy. 1995. “Hitler: A Film from Germany: Cinema, History and the Structure of feeling.” In Revisioning History: Film and the Construction of a New Past, edited by RobertRosenstone, 155–173. Princeton, NJ: Princeton University Press.
   Google Scholar
• Kracauer, Siegfried. 1948. From Caligari to Hitler. Princeton, NJ: Princeton University Press.
   Google Scholar
• Kracauer, Siegfried. 1995. The Mass Ornament. Cambridge, MA: Harvard University Press.
   Google Scholar
• Kracauer, Siegfried. 1960. Theory of Film: The Redemption of Physical Reality. Princeton, NJ: Princeton University Press.
   Google Scholar
• Landy, Marcia. 2001. The Historical Film. London: Athlone.
   Google Scholar
• McAdams, Dan P., RuthellenJosselson, and AmiaLieblich. 2006. Identity and Story: Creating Self in Narrative. Washington, DC: American Psychological Association.
   Google Scholar
• McCrisken, Trevor B.2005. American History and Contemporary Hollywood Film. New Brunswick, NJ: Rutgers University Press.
   Google Scholar
• Montgomery, Garth N. Jr.1992. “Learning from War Films: The German Viewer as Historical Subject in Theories of ‘Bildung,’ Mass Communication and Propaganda (1918–1945).” PhD diss. State University of New York, Buffalo.
   Google Scholar
• Mulvey, Laura. 1975. “Visual Pleasure and Narrative Cinema.” Screen16 (3): 6–18.
   Google Scholar
• Munslow, Alun. 2010. The Future of History. London: Palgrave Macmillan.
   Google Scholar
• Münzenberg, Willi. 1925. Erobert den Film: Winke aus der Praxis für die proletarischer Filmpropaganda. Berlin: Neuer Deutscher.
   Google Scholar
• Murray, Bruce A., and ChrisWickham, eds. 1992. Framing the Past: The Historiography of German Cinema and Television. Carbondale, IL: Southern Illinois University Press.
   Google Scholar
• O'Brien, Mary-Elizabeth. 2012. Post-Wall German Cinema and National History: Utopianism and Dissent. Rochester, NY: Camden House.
   Google Scholar
• Rancière, Jacques. 2006. The Politics of Aesthetics. London: Continuum.
   Google Scholar
• Rentschler, Eric. 1996. The Ministry of Illusion: Nazi Cinema and Its Afterlife. Cambridge, MA: Harvard University Press.
   Google Scholar
• Rollins, Peter C.1998. Hollywood as Historians: American Film in a Cultural Context. Lexington: University Press of Kentucky.
   Google Scholar
• Rosenstone, Robert A.1995a. Revisioning History: Film and the Construction of a New Past. Princeton, NJ: Princeton University Press.
   Google Scholar
• Rosenstone, Robert A.1995b. Visions of the Past: The Challenge of Film to Our Idea of History. Cambridge, MA: Harvard University Press.
   Google Scholar
• Rosenstone, Robert A.2004. “Inventing Historical Truth on the Silver Screen.” Cineaste29 (2): 29–33.
   Web of Science ®Google Scholar
• Rosenstone, Robert A.2006. History on Film/Film on History. London: Longman/Pearson.
   Google Scholar
• Schneider, Robert. 2006. “On Film Reviews in the AHR.” Perspectives May. Accessed May 8, 2013. http://www.historians.org/perspectives/issues/2006/0605/0605aha2.cfm.
   Google Scholar
• Secunda, Eugene, and Terence P.Moran. 2007. Selling War to America: From the Spanish American War to the Global War on Terror. Westport, Conn.: Praeger.
   Google Scholar
• Smyth, J.E.2006. Reconstructing American Historical Cinema: From Cimarron to Citizen Kane. Lexington: University Press of Kentucky.
   Google Scholar
• Sorlin, Pierre. 1980. The Film in History: Restaging the Past. Totowa, NJ: Barnes & Noble Books.
   Google Scholar
• Talmon, Miri, and YaronPeleg. 2011. Israeli Cinema: Identities in Motion. Austin: University of Texas Press.
   Google Scholar
• Toplin, Robert B.1996. History by Hollywood: The Use and Abuse of the American Past. Urbana, IL: University of Illinois Press.
   Google Scholar
• Wesse, Curt. 1928. Grossmacht Film. Berlin: Deutsche Buch-Gemeinschaft.
   Google Scholar
• White, Hayden. 1988. “Histroiography and historiophoty.” American Historical Review93: 1193–1199.
   Web of Science ®Google Scholar
• Winkler, Martin M.2008. Spartacus: Film and History. Hoboken, NJ: Wiley.
   Google Scholar
• Winkler, Martin M.2012. The Fall of the Roman Empire: Film and History. Hoboken, NJ: Wiley.
   Google Scholar