References
- Aibel, Robert. 1988. Ethics and professionalism in documentary Film-making. In Image ethics: The moral rights of subjects in photographs, Film, and Television, ed. Larry Gross, John Stuart Katz, and Jay Ruby, 108–118. New York: Oxford University Press.
- Arnheim, Rudolf. 1939. Fiction and Fact. Sight and Sound 8 (32): 136–137.
- Arthu, Elton, and Edgar Anstey. 1935. Housing problems. London: British Commercial Gas Association.
- Bahrani, Ramin. 2007. Chop shop. New York: Muskat Filmed Properties.
- Bettelheim, Bruno. 1943. “Individual and mass behavior in extreme situations.” Journal of Abnormal and Social Psychology 38: 417–452.
- Bettelheim, Bruno. 1976. The uses of enchantment: The meaning and importance of fairy tales. NewYork: Knopf.
- Canet, Fernando. 2014. Reproduction and rhetorical processes in the construction of reality: En construcción and La Leyenda del Tiempo as a case study. In (Re)viewing creative, critical and comercial practices in contemporary spanish cinema, ed. Duncan Wheeler and Fernando Canet, 105–18. Bristol: Intellect.
- Carroll, Noël. 2001. Beyond aesthetics: Philosophical essays. Cambridge: Cambridge University Press.
- Carroll, Noël. 2003. Engaging the movie image. New Haven, CT: Yale University Press.
- Carroll, Noël. 2007. On the ties that bind: characters, the emotions, and popular fictions. In Philosophy and the interpretation of popular culture, ed. William Irwin and Jorge J.E. Garcia, 89–116. Lanham, MD: Rowman & Littlefield.
- Carroll, Noël. 2008. The philosophy of motion pictures. Oxford: Blackwell.
- Cohen, Joanthan. 2001. “Defining identification: a theoretical look at the identification of audiences with media characters.” Mass Communication & Society 4 (3): 245–264.
- Coplan, Amy. 2009. Empathy and character engagement. In The Routledge companion to philosophy and film, ed. Paisley Livingstone and Carl Plantinga, 97–110. New York: Routledge.
- Costa, Pedro. 2000. No Quarto da Vanda [In Vandás Room]. Lisbon: Contracosta Produções.
- Costa, Pedro. 2006. Juventude Em Marcha [Colossal Youth]. Lisbon: Contracosta Produções.
- Currie, Gregory. 1995. “The moral Psychology of Fiction.” Australasian Journal of Philosophy 73 (2): 250–259.
- Currie, G. 2004. Arts and minds. New York: Oxford University Press.10.1093/0199256284.001.0001
- Delofski, Maree. 2009. “Dreaming a connection: Reflections on the documentary subject/filmmaker relationship.” Scan Journal 6 (3) http://scan.net.au/scan/journal/display.php?journal_id=143.
- Donovan, Kay. 2012. “The ethical stance and its representation in the expressive techniques of documentary filming: a case study of Tagged.” New Review of Film and Television Studies 10 (3): 344–361.
- Flaherty, Robert J. 1922. Nanook of the North. Paris: Les Frères Revillon.
- Flaherty, Robert J. 1926. Moana. New York: Famous Players-Lasky Corporation.
- Freud, Sigmund. 1989. An outline of psychoanalysis ( J. Strachey, Trans.). New York: Norton. (Original work published 1940)
- Guerin, José Luis. 2001. En construcción [Work in Progress]. Barcelona: Ovídeo TV S.A.
- Grierson, John. 1966. The first principles of documentary. In Grierson on documentary, ed. Forsythe Hardy, 79–80. London: Faber & Faber.
- Gross, Larry, John Stuart Katz, and Jay Ruby. 1988. Introduction: A moral pause. In image Ethics: The moral rights of subjects in photographs, film, and television, ed. Larry Gross, John Stuart Katz, and Jay Ruby, 3–33. New York: Oxford University Press.
- Henley, Paul. 2013. “Anthropology: The evolution of Etnographic Film.” In The documentary film book, ed. Brian Winston, 309–319. London: Palgrave Macmillan.
- Jones, Kent. 2005. “I walk the line: Hybrid cinema.” Film Comment 41 (1): 30–3.
- Jordá, Joaquín. 2003. De nens [Kids]. Barcelona: Massa d'Or Produccions.
- Landesman, Ohad. 2006. “In the mix: Reality meets fiction in contemporary Iranian Cinema.” Cineaste 31 (3): 45–47.
- Maccarone, Ellen M. 2010. “Ethical responsibilities to subjects and documentary filmmaking.” Journal of Mass Media Ethics 25: 192–206.
- MacDougall, D. 1998. Transcultural cinema. Princeton, NJ: Princeton University Press.
- Nash, Kate. 2011. “Documentary-for-the-other: Relationships, ethics and (Observational) documentary.” Journal of Mass Media Ethics 26: 224–239.
- Nichols, Bill. 1991. Representing reality: Issues and concepts in documentary. Bloomington: Indiana University Press.
- Nichols, Bill. 2001. Introduction to documentary. Bloomington, IN: Indiana University Press.
- Paravel, Verena, and J. P. Sniadecki. 2010. Foreign parts. Cambridge: Harvard Sensory Ethnography Lab Modulus Studios.
- Plantinga, Carl. 2009. Moving viewers: American film and the spectator’s experience. Oakland: University of California Press.
- Pryluck, Calvin. 1988. Ultimately we are all outsiders: The ethics of documentary filming. In New Challenges of Documentary, ed. A. Rosenthal, and J. Corner, 224–239. Manchester, NY: Manchester University Press. (Original work published 1976)
- Rancière, Jacques. 2006. The Politics of Aesthetics. London: Continuum International Publishing Group.
- Rodríguez-Mangual, Edna M. 2008. “Fictual factions: on the emergence of a documentary style in recent Cuban films.” Screen 49 (3): 298–315.
- Rughani, Pratap. 2013. “The Dance of Documentary Ethics.” In The documentary film book, ed. Brian Winston, 98–109. London: BFI.
- Rhodes, Gary D., and John Parris Springer. 2006. Docufictions: Essays on the intersection of documentary and fictional filmmaking. Jefferson, NC: McFarland Company.
- Rotha, Paul. 1952. Documentary film. 3rd ed. London: Faber and Faber. (Original work published 1935).
- Rouch, Jean. 2003. Ciné Ethnography. Vol. 13 of visible evidence. Trans. and ed. Feld Steven. Minneapolis, MN: University of Minnesota Press.
- Sherwood, Robert. 1979. Robert Flaherty’s nanook of the north. In The documentary tradition, ed. Lewis Jacobs, 15–9. Toronto, ON: George J. McLeod Limited.
- Smith, Murray. 2004. Engaging characters: Fiction, emotion, and the cinema. New York: Oxford University Press.
- Tan, Ed S. 2009. Emotion and the structure of narrative film: Film as an emotion machine. New York: Routledge.
- Taylor, Lucien. 1998. Introduction. In Transcultural cinema, ed. Lucien Taylor, 3–21. Princeton, NJ: Princeton University Press.
- Minh-Ha, Trinh T. 2007–2008. The totalizing quest of meaning. Archivos de la Filmoteca 2(57–58): 223–247.
- Vaage, Margrethe Bruun. 2009. “The role of Empathy in gregory currie’s philosophy of film.” The British Journal of Aesthetics 49 (2): 109–128.
- Vaughan, Dai. 1999. For documentary: Twelve essays. Berkeley: University of California Press.
- Winston, Brian. 1995. Claiming the real: The griersonian documentary and its legitimations. London: British Film Institute.
- Winston, Brian. 2013. Life as narrativised. In The documentary film book, ed. Brian Winston, 89–97. Basingstoke: Palgrave Macmillan.
- Wood, Robin. 1989. Hitchcock’s films revisited. London: Faber.
- Winston, Brian. 2000. Lies, damn lies and documentaries. London: BFI.
- Wollheim, Richard. 1974. “Identification and imagination.” In Freud: A collection of critical essays, edited by Richard Wollheim, 172–195. New York: Anchor/Doubleday.
- Zunzunegui, Santos. 2007. Joaquín jordá catalá. In Al otro lado de la ficción. Trece documentalistas españoles contemporáneos [On the other side of fiction: Thirteen contemporary Spanish filmmakers], ed. J. Cerdán and C. Torreiro, 173–206. Madrid: Cátedra.