Dial M for Murder: the detective thriller, the postwar uncanny, and 3D cinema

References

• Adorno, T. [1951] 2005. Minima Moralia: Reflections from Damaged Life. Translated by E. F. N. Jephcott. London: Verso.
   Google Scholar
• Bazin, A. [1953] 2014. “Will CinemaScope Save the Cinema?” In André Bazin’s New Media, Translated and edited by Dudley Andrew, 267–287. Berkeley: University of California Press.
   Google Scholar
• Bronfen, E. 2004. Home in Hollywood: The Imaginary Geography of Cinema. New York: Columbia University Press.
   Google Scholar
• Crary, J. 1990. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: MIT Press.
   Google Scholar
• Doane, M.A. 1987. The Desire to Desire: The Woman’s Film of the 1940s. Bloomington: Indiana University Press.
   Google Scholar
• Fay, J. 2018. Inhospitable World: Cinema in the Time of the Anthropocene. London: Oxford University Press.
   Google Scholar
• Freud, S. [1919] 1990. “The Uncanny.” In The Penguin Freud Library Volume 14: Art and Literature, edited by Albert Dickson. translated by James Strachey, 335–376. London: Penguin Books.
   Google Scholar
• Furmanek, B., and Gregory Kintz. “An In-Depth Look at Dial M for Murder.” 3-D Film Archive. http://www.3dfilmarchive.com/dial-m-blu-ray-review.
   Google Scholar
• Gunning, T. 1995. “Those Drawn with a Very Fine Camel’s Hair Brush: The Origins of Film Genres.” iris 19: 49–61.
   Google Scholar
• Gunning, T. 2008. “Uncanny Reflections, Modern Illusions: Sighting the Modern Optical Uncanny.” In Uncanny Modernity: Cultural Theories, Modern Anxieties, edited by Jo Collins and John Jervis, 68–90. London: Palgrave MacMillan.
   Google Scholar
• Hall, S. 2004. “Dial M for Murder.” Film History 16 (3): 243–255. doi:https://doi.org/10.2979/FIL.2004.16.3.243.
   Google Scholar
• Holmes, O.W. 1864. “The Stereoscope and the Stereograph.” In Soundings from the Atlantic, edited by Oliver Wendell Holmes, 124–165. Boston: Ticknor and Fields.
   Google Scholar
• Jacobs, S. 2013. The Wrong House: The Architecture of Alfred Hitchcock. Rotterdam: nai010.
   Google Scholar
• Jentsch, E. [1906] 2008. “On the Psychology of the Uncanny.” In Uncanny Modernity: Cultural Theories, Modern Anxieties, edited by Jo Collins and John Jervis, 216–228. London: Palgrave MacMillan.
   Google Scholar
• Jones, N. 2020. Spaces Mapped and Monstrous: Digital 3D Cinema and Visual Culture. New York: Columbia University Press.
   Google Scholar
• Kerbel, M. 1980. “3-D or Not 3-D.” Film Comment 16 (6): 11–20, 80.
   Google Scholar
• Knott, F. 1952. Dial ‘M’ for Murder: A Collage for Voices. New York: Dramatists Play Service.
   Google Scholar
• Lippitt, A. 1999. “Three Phantasies of Cinema—Reproduction, Mimesis, Annihilation.” Paragraph 22 (3): 213–227. doi:https://doi.org/10.3366/para.1999.22.3.213.
   Google Scholar
• Mulvey, L. 2006. Death 24x a Second: Stillness and the Moving Image. London: Reaktion Books.
   Google Scholar
• Paul, W. 1993. “The Aesthetics of Emergence.” Film History 5 (3): 321–355.
   Google Scholar
• Paul, W. 2004. “Breaking the Fourth Wall: “Belascoism”, Modernism, and a 3-D Kiss Me Kate.” Film History 16 (3): 229–242. doi:https://doi.org/10.2979/FIL.2004.16.3.229.
   Google Scholar
• Piotrovsky, A. [1926] 1981. “Toward a Theory of Cine-Genres.” In Russian Formalist Film Theory, edited by Herbert Eagle. Translated by Anna Lawton, 131–146. Ann Arbor: Michigan Slavic Materials.
   Google Scholar
• Polan, D. 1986. Power and Paranoia: History, Narrative and the American Cinema, 1940-1950. New York: Columbia University Press.
   Google Scholar
• Rhodes, J. D. 2017. Spectacle of Property: The House in American Film. Minneapolis: University of Minnesota Press.
   Google Scholar
• Rogers, A. 2013. Cinematic Appeals: The Experience of New Movie Technologies. New York: Columbia University Press.
   Google Scholar
• Ross, M. 2015. 3D Cinema: Optical Illusions and Tactile Experiences. London: PalgraveMacmillan.
   Google Scholar
• Royle, N. 2003. The Uncanny. Manchester: Manchester University Press.
   Google Scholar
• Sandberg, M. 2002. Living Pictures, Missing Persons: Mannequins, Museums, and Modernity. Princeton: Princeton University Press.
   Google Scholar
• Schröter, J. 2014. 3D: History, Theory and Aesthetics of the Transplane Image. Translated by Brigitte Pichon and Dorian Rudnytsky. London: Bloomsbury.
   Google Scholar
• Sobchack, V. 1998. “Lounge Time: Postwar Crisis and the Chronotope of Film Noir.” In Reconfiguring American Film Genres, edited by Nick Brown, 129–170. Berkeley: University of California Press.
   Google Scholar
• Vidler, A. 1992. The Architectural Uncanny: Essays in the Modern Unhomely. Cambridge, MA: MIT Press.
   Google Scholar
• Whissel, K. 2016. “Parallax Effects: Epistemology, Affect and Digital 3D Cinema.” Journal of Visual Culture 15 (2): 232–249. doi:https://doi.org/10.1177/1470412916654512.
   Google Scholar
• Whissel, K. 2020. “Digital 3D, Parallax Effects and the Construction of Film Space in Tangled 3D and Cave of Forgotten Dreams 3D.” In Screen Space Reconfigured, edited by Susanne Ø. Saether and Synne T. Bull, 51–73. Amsterdam: Amsterdam University Press.
   Google Scholar