References
- A Minha Avó Trelotótó. 2018. Film. Directed by Catarina Ruivo. Portugal: Trabalhos de Casa.
- Altilio, Pilar. 2020. “Albertina Carri: La huella del horror hecha obra.” Clarín. Revista Ñ. 19th April 2020. https://www.clarin.com/revista-enie/arte/albertina-carri-huella-horror-hecha-obra_0__k3vZKoYx.html.
- Augé, Marc. 1992. “Introduction à une anthropologie de la surmodernité.” In Non-lieux. Paris: Éditions du Seuil.
- Aurélia Steiner 1979. Film. Directed by Marguerite Duras. France: Benoît Jacob.
- Barker, Jennifer M. 2003. “The Feminine Side of New York: Travelogue, Autobiography and Architecture in ‘News from Home’.” In Identity and Memory. The Films of Chantal Akerman, edited by Gwendolyn Audrey Foster, 41–58. Illinois: Southern Illinois Univesity Press.
- Bauman, Zygmunt. 1991. Modernity and Ambivalence. Cambridge: Polity Press.
- Bluher, Dominique. 2019. “Varda’s Gift of Postcards.” Área Abierta. Revista de comunicación audiovisual y publicitaria 19 (3): 287–306. doi:10.5209/arab.62913.
- Boscarlo, Matteo. 2016. “Letter #69” FilmFreeway. https://filmfreeway.com/Letternumber69.
- Bulher, José Michel, and Yves Laplace. 1977. “Locarno 77: L’espace du leurre.” Cahiers du cinéma 281: 54.
- Carri, Albertina. 2015. Operación fracaso y el sonido recobrado. Exhibition Catalogue. Monumento a las víctimas del terrorismo de estado. Parque de la Memoria.
- Carri, Albertina. 2016. “El sonido recobrado.” In Cine argentino contemporáneo: visiones y discursos, edited by Bernhard Chappuzeau and Christian Von Tschilschke, 161–172. Madrid: Iberoamericana Vervuert.
- Correspondências. 2016. Film. Directed by Rita Azevedo Gomes. Portugal: C-R.I.M. Productions.
- Dubroux, Daniele. 1977. “Il n'y aurait plus qu'une suele image.” Cahiers du cinéma 279-280: 41.
- Endless Dreams and Water Between. 2009. Film. Directed by Renée Green. USA: FAM.
- From Hetty to Nancy. 1997. Directed by Deborah Stratman. USA: Pythagorasfilm.
- Gray, Ros. “Dreaming of Islands.” In Endless Dreams and Time-Based Streams, edited by Renée Green and Betti-Sue Hertz, 24–32. San Francisco: Yerba Buena Center for the Arts. 2010.
- Ingawanij, May Adadol. 2019. “Aesthetics of Potentiality: Nguyen Trinh Thi’s Essay Films.” In Women Artists, Feminism and the Moving Image: Contexts and Practices, edited by Lucy Reynolds, 151–164. London: Bloomsbury Academic. doi:10.5040/9781350124295.ch-008.
- Kristeva, Julia. 1988. Étrangers à nous-mêmes. Paris: Librairie Artheme Fayard.
- L’une chante, l’autre pas. 1977. Film. Directed by Agnès Vardà. France: Ciné Tamaris
- La Grande Carte postale ou Souvenir de Noirmoutier. 2006. Installation. Directed by Agnès Varda. France: Ciné Tamaris.
- Lacan, Jacques. 1998. The Seminar of Jacques Lacan. Book 20. Encore. New York: Norton & Company.
- Le Feuvre, Lisa. “From Island Thought To Water Thought.” In Endless Dreams and Time-Based Streams, edited by Renée Green and Betti-Sue Hertz, 16–23. San Francisco: Yerba Buena Center for the Arts. 2010.
- Letter #69. 2016. Film. Directed by Hsin-I Lin. Taiwan: Hsin-I Lin
- Letter to Jane. 1972. Film. Directed by Jean-Luc Godard and Jean-Pierre Gorin. France: Sonimage
- Letters from Panduranga. 2015. Film. Directed by Nguyen Trinh Thi. Vietnam: Nguyen Trinh Thi.
- Lettre de Sibérie. 1958. Film. Directed by Chris Marker. France: Argos Films
- Longfellow, Brenda. 1989. “Love Letters to the Mother: The Work of Chantal Akerman.” Canadian Journal of Political and Social Theory/Revue canadienne de théorie politique et sociale 13(1–2).
- Los rubios. 2003. Film. Directed by Albertina Carri. Argentina: Albertina Carri.
- Margulies, Ivone. 1996. Nothing Happens. Chantal Akerman’s Hiperrealist Every Day. London: Duke University Press.
- Marks, Laura. 2000. The Skin of the Film: Intercultural Cinema, Embodiment and the Senses. Durham: Duke University Press.
- Maupin, Francoise. 1977. “News from Home.” La revue du cinéma 319: 109.
- McFadden, Cybelle H. 2014. Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle and Maiwenn, Madison. New Jersey: Fairleigh Dickinson University Press.
- Measures of Distance. 1988. Film. Directed by Mona Hatoum. Lebanon: Mona Hatoum
- Monterrubio Ibáñez, Lourdes. 2018. De un cine epistolar. La presencia de la misiva en el cine frances moderno y contemporaneo. Santander: Shangrila Ediciones.
- Monterrubio Ibáñez, Lourdes, ed. 2019. La enunciación epistolar en el cine contemporáneo / Epistolary Enunciation in Contemporary Cinema. Monographic Issue Área Abierta. Revista de comunicación audiovisual y publicidad 19(3). https://revistas.ucm.es/index.php/ARAB/issue/view/3535
- Monterrubio Ibáñez, Lourdes. 2020. “Correspondências by Rita Azevedo Gomes. The Complex Hybrid Image of Contemporary Epistolary Cinema and Contemporary Essay Film.” Visual Studies. doi:10.1080/1472586X.2020.1771202.
- Naficy, Hamid. 2001. An Accented Cinema: Exilic and Diasporic Filmmaking. New Jersey: Princeton University Press.
- News from Home. 1977. Film. Directed by Chantal Akerman. Belgium, France: Unité Trois, Paradise Films
- Punto Impropio. 2016. Film. Directed by Albertina Carri. Argentina: Albertina Carri.
- Rascaroli, Laura. 2017. How the Essay Film Thinks. New York: Oxford University Press.
- Rascaroli, Laura, Nguyen Trinh Thi, Bo Wang, and Susana Barriga. 2019. “The Essay Film and Its Global Contexts: Conversations on Forms and Practices.” In World Cinema and the Essay Film. Transnational Perspectives on a Global Practice, edited by Brenda Hollweg and Igor Krstic, 21–35. Edinburg: Edinburg University Press.
- Ricœur, Paul. 1990. Soi-même comme un autre. Paris: Éditions du Seuil.
- Sans soleil. 1983. Film. Directed by Chris Marker. France: Argos Films.
- The Dreamed Ones (Die Geträumten). 2016. Film Directed by Ruth Beckermann. Austria: Ruth Beckermann Filmproduktion.