Joaquim da Silva Fontes, Significação e Estabilidade do Género no ...
Joaquim da Silva Fontes, Significação e Estabilidade do Género no ... Joaquim da Silva Fontes, Significação e Estabilidade do Género no ...
P Palmer, Barton R. (1994). Hollywood’s Dark Cinema: The American Film Noir. New York: Twayne Publications. ____________ (2006). “Moral Man in the Dark City: Film Noir”, “The Postwar Religious Revival”, and “The Accused”. In Mark Conrad, The Philosophy of Film Noir, Kentucky: University Press of Kentucky, pp. 187-206. Parkinson, David (1995). The History of Film. London: Thames and Hudson. Paris, Joel (2005). The Fall of an Icon: Psychoanalysis and Academic Psychiatry. Toronto: University of Toronto Press. Peirce, Charles Sanders (1931-58). Collected Writings. Eds. Charles Hartshorne, Paul Weiss & Arthur W. Burks, Cambridge, MA: Harvard University Press. ____________, (1998). The Essential Peirce: Selected Philosophical Writings. Eds. Nathan Houser, Christian J. W. Kloesel, Bloomington, IN: Indiana University Press. Penzler, Otto (2000). 101 Greatest Films of Mystery & Suspense. New York: Byron Press Visual Publications, Inc. ____________ (2007). The Black Lizard Big Book of Pulps: The Best Crime Stories from the Pulps during Their Golden Age – The ’20s,’30s, & ’ 40s. New York: Knopf Doubleday Publishing Group. Perkins, V. F. (1972). Film as Film: Understanding and Judging Movies. London: Cox & Wyman. Peters, Jan M.. (1981). Pictorial Signs and the Language of Film. Amsterdam: Rodopi Editions. Phillips, Gene D (2000). Creatures of Darkness: Raymond Chandler, Detective Fiction and Film Noir. Lexington: University Press of Kentucky. Pidduck, John (1995). “The 1990s Hollywood Femme Fatale: (Dis)Figuring Feminism, Family, Irony, Violence”. In CineAction!, September, pp. 65-72. Pisters, Patricia (2003). The Matrix of Visual Culture: Working with Deleuze in Film Theory. Stanford: Stanford University Press. Place, Janey (1998). “Women in Film Noir”. In Women in Film Noir, E. Ann Kaplan, ed., London: BFI, pp. 47-68. ____________ & Peterson Lowell (1974). “Some Visual Motifs of Film Noir”. In Film Noir Reader, Alain Silver, ed., New York: Limelight Editions (1996), pp. 65-76. 428
Polan, Dana (1986). Power and Paranoia: History, Narrative, and the American Cinema, 1940-1950. New York: Columbia University Press. Pomerance, Murray (1971). An Eye for Hitchcock. New Brunswick, NJ: Rutgers University Press. Pratley, Gerald (1971). The Cinema of Otto Preminger. New York: Castle Books. Pratt, Ray (2001). Projecting Paranoia: Conspiratorial Visions in American Film. Lawrence, KS: University Press of Kansas. Price, Victoria (1999). Vincent Price: A Daughter’s Biography. New York: St. Martin’s Press. R Rabinowitz, Paula (2002). Black & White & Noir: America’s Pulp Modernism. New York: Columbia University Press. Rafter, Nicole (2002). Shots in the Mirror: Crime Films and Society. Oxford: Oxford University Press. Randall, Richard S. (1970). Censorship of the Movies: The Social and Political Control of a Mass Medium. Madison: University of Wisconsin Press. Renoir, Jean (1974). My Life and My Films. New York: Atheneum. Rich, Nathaniel (2005). San Francisco Noir. New York: Little Bookroom. Ricoeur, Paul (1981). Hermeneutics and the Human Sciences: Essays on Language, Action, and Interpretation. Ed. and trans. by John B. Thompson, Cambridge: Cambridge University Press. Rivette, Jacques (1985). “The Essential”. In Cahiers du Cinéma: The 1950s Neo-Realism, Hollywood, New Wave, vol. I, Hillier, Jim, ed., Oxon: Routledge, pp. 132-144. Robertson, William Preston (2001). “Prince of Darkness: The Influence of James M. Cain’s novels in Film Noir”. In The Guardian, April 13, pp. 27-8. Robson, Eddie (2005). Film Noir. London: Virgin Books. Rosen, Phillip (1986). A Film Theory Reader: Narrative, Apparatus, Ideology. New York: Columbia University Press. Runyon, Randolph Paul (1992). “What We Talk About When We Talk About Love”. In Reading Raymond Carver. New York: Syracuse University Press, pp. 85-102. 429
- Page 393 and 394: 2.4.1.1 “First is First and Secon
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- Page 435 and 436: E Easthope, Antony (1993). Contempo
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- Page 439 and 440: James, David E. (2005). The Most Ty
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- Page 443: N Naremore, James (1978). The Magic
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- Page 449 and 450: Sullivan, Ellie (1986). Jacques Lac
- Page 451 and 452: Wilson, Edmund (1962). Classics and
- Page 453 and 454: Appendix I: Annotated Filmography T
- Page 455 and 456: Beware, My Lovely RKO 1952. Prod: C
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- Page 459 and 460: Dark Corner, The Fox 1946. Prod: Fr
- Page 461 and 462: Framed Col 1947. Prod: Jules Schern
- Page 463 and 464: House on 92 nd Street, The Fox 1945
- Page 465 and 466: Killing, The UA 1956. Prod: James B
- Page 467 and 468: Mildred Pierce WB 1945. Prod: Jerry
- Page 469 and 470: One Way Street Univ 1950. Prod: Leo
- Page 471 and 472: Repeat Performance EL 1947. Prod: A
- Page 473 and 474: Stranger, The RKO 1946. Prod: S.P.
- Page 475 and 476: Unsuspected, The WB 1947. Prod: Cha
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Polan, Dana (1986). Power and Para<strong>no</strong>ia: History, Narrative, and the American Cinema,<br />
1940-1950. New York: Columbia University Press.<br />
Pomerance, Murray (1971). An Eye for Hitchcock. New Brunswick, NJ: Rutgers<br />
University Press.<br />
Pratley, Gerald (1971). The Cinema of Otto Preminger. New York: Castle Books.<br />
Pratt, Ray (2001). Projecting Para<strong>no</strong>ia: Conspiratorial Visions in American Film.<br />
Lawrence, KS: University Press of Kansas.<br />
Price, Victoria (1999). Vincent Price: A Daughter’s Biography. New York: St. Martin’s<br />
Press.<br />
R<br />
Rabi<strong>no</strong>witz, Paula (2002). Black & White & Noir: America’s Pulp Modernism. New York:<br />
Columbia University Press.<br />
Rafter, Nicole (2002). Shots in the Mirror: Crime Films and Society. Oxford: Oxford<br />
University Press.<br />
Ran<strong>da</strong>ll, Richard S. (1970). Censorship of the Movies: The Social and Political Control of<br />
a Mass Medium. Madison: University of Wisconsin Press.<br />
Re<strong>no</strong>ir, Jean (1974). My Life and My Films. New York: Atheneum.<br />
Rich, Nathaniel (2005). San Francisco Noir. New York: Little Bookroom.<br />
Ricoeur, Paul (1981). Hermeneutics and the Human Sciences: Essays on Language,<br />
Action, and Interpretation. Ed. and trans. by John B. Thompson, Cambridge: Cambridge<br />
University Press.<br />
Rivette, Jacques (1985). “The Essential”. In Cahiers du Cinéma: The 1950s Neo-Realism,<br />
Hollywood, New Wave, vol. I, Hillier, Jim, ed., Oxon: Routledge, pp. 132-144.<br />
Robertson, William Preston (2001). “Prince of Darkness: The Influence of James M.<br />
Cain’s <strong>no</strong>vels in Film Noir”. In The Guardian, April 13, pp. 27-8.<br />
Robson, Eddie (2005). Film Noir. Lon<strong>do</strong>n: Virgin Books.<br />
Rosen, Phillip (1986). A Film Theory Reader: Narrative, Apparatus, Ideology. New York:<br />
Columbia University Press.<br />
Runyon, Ran<strong>do</strong>lph Paul (1992). “What We Talk About When We Talk About Love”. In<br />
Reading Raymond Carver. New York: Syracuse University Press, pp. 85-102.<br />
429