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 ...

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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

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

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