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Selected publications

Books

    • 2013 new edition (with a new introduction) Fetishism and Curiosity: Cinema and the Mind's Eye (British Film Institute/Macmillan)
    • 2013 new edition Citizen Kane (British Film Institute/Macmillan 'BFI Classic series)
    • 2010 Do Utraty Wzroku. Wybor Tekstow (Polish edition of selected LM essays; Korporacja Halart; Warsaw 2010)
    • 2009 Visual and Other Pleasures -2nd expanded edition (Palgrave Macmillan)
    • 2007 (co-edited with Jamie Sexton) British Experimental Television (Manchester University Press)
    • 2006 Death Twenty-four Times a Second: Stillness and the Moving Image. Reaktion Books, London
    • 1996 Fetishism and Curiosity, BFI, London; Indiana University Press, Bloomington USA (Chinese translation forthcoming)
    • 1992 Citizen Kane, Film Classics Series BFI, London (translated: German, Portuguese, Korean, Hebrew, Spanish, Czech)
    • 1989 Visual and Other Pleasures. Macmillan, London; Indiana University Press Bloomington (translated: Greek)
    • 1972 Douglas Sirk A collection of essays co-edited with Jon Halliday. Edinburgh Film Festival

Articles

2012

    • ‘Le Mépris (Jean-Luc Godard 1963) and its story of cinema: a ‘fabric of quotations’, special issue of Critical Quarterly: Godard’s Contempt Essays from the London Consortium, edited by Colin MacCabe and Laura Mulvey, Blackwell Publishing, 2012
    • ‘Love in two British Films of the Late Silent Period: Hindle Wakes (Maurice Elvey 1927) and Piccadilly (E.A,Dupont 1929)’, Europe and Love in the Cinema, edited by Luisa Passarini, Jo Labanyi, Karen Keihl, Intellect 2012,

2011

    • 'Max Ophuls's auteurist adaptations' in True to the Spirit: Film Adaptation and the Question of Fidelity Edited by Colin MacCabe, Kathleen Murray, and Rick Warner, Oxford University Press
    • ‘Love in Two British Films of the Late Silent Period: Hindle Wakes
    • (Maurice Elvey, 1927) and Piccadilly (E.A. Dupont, 1929)’ in Jo Labanyi, Luisa Passerini, Karen Diehl (eds.): Eine Andere Welt?’: Approaching Europe and Love through Cinema. Intellect, London
    • ‘Rear Projection and the Paradoxes of Hollywood Realism’ in Lucia Nagib (ed.) Theorising World Cinema IB Tauris, London
    • ‘Auturist Adaptation: Three Films by Max Ophuls in the light of their (literary) originals’ in Colin MacCabe (ed.) The Virtues of Fidelity: Film Adaptation as Literary Truth Oxford University Press London and Oxford
    • ‘Mary Kelly: an aesthetic of temporality’ Catalogue for the Mary Kelly Retrospective, The Whitworth Art Gallery, Manchester

2010

    • ‘Unmasking the Gaze: Feminist film theory, History and Film Studies’ in Vicki Callahan (ed) Reclaiming the Archive: Feminism and Film History Wayne University Press

2009

    • ‘Paisaje, cine y estetica de la demora’ in N.Miro (ed): Los Tempios de un Lugar CEDAN Huesca Spain
    • ‘Conversation: Ostranenie and the Uncanny’ in A. van Oever (ed)) Ostranenie Amsterdam University Press
    • ‘Rear Projection: Modernity in a Special Effect’ in Mark Lewis: A Cold Morning 53 Biennale di Venezia
    • ‘Between Melodrama and Realism: Under the Skin of the City’ ’in James Walters and Tom Brown (eds) Moments in Film: Critical Methods and Approaches Palgrave Macmillan London
    • ‘Mark Lewis and the Clumsy Sublime: How an Archaic Device Came to Represent an Uncertain Present’ in Clare Pajakowska and Luke White (eds): Sublime Now Cambridge Scholars Publishing
    • ‘Thoughts on the Young Modern Woman of the 1920s and Feminist Film Theory’, in Laura Mulvey, Visual and Other Pleasures, second edition, BFI Palgrave Macmillan

2008

    • ‘The Young Modern Woman of the 1920s: A Convergence of Feminist Film Theory and Gender Studies’ in G. Alonge and R.West (eds.) Dossier: cinema e gender studie.s La Valle dell’Eden Anno IX n. 19 Turin
    • ‘Stillness and the Moving Image’ D.Campany (ed) The Cinematic Documents of Contemporary Art Whitechapel Gallery London
    • ‘Cosmetics and Abjection: Cindy Sherman 1977-87’ October Files 6 New York (reprint)
    • ‘Douglas Sirk: director of actors’ P.Bertetto (ed): Azione! (Come i grandi registi dirigono gli attori) Rome Film Festival

2007

    • ‘Repetition and Return: the Spectator’s Memory in Abbas Kiarostami’s Koker Trilogy’ Third Text London
    • A Sudden Gust of Wind (after Hokusai): from after to before the photograph. Oxford Art Journal (special issue on Jeff Wall)
    • ‘Compilation film as deferred action: Vincent Monnikendam’s Mother Dao, the turtle-like’ Andrea Sabbadini (ed): Projected Shadows: Psychoanalytic Reflections on the Representation of Loss in European Cinema Routledge, London

2006

    • ‘Within a single shot: discontinuities of time and space’ Catalogue: Mark Lewis exhibition FACT Gallery, Liverpool, England
    • ‘Les premiers quartres plans d’Imitation of Life’ Traffic, Paris, France
    • ‘Cindy Sherman: Cosmetics and Abjection’ Exhibition Catalogue: Cindy Sherman (Retrospective Jeu de Paume, Paris); Cindy Sherman October Files, New York.

2005

    • ‘Alan Jones’ Francis and Foster (eds) Pop Phaidon (London))

2004

    • 'Death Drives' in R.Allen & S.Ishi-Gonzales: Past and Future Hitchcock. Routledge, London
    • ‘Passing time: reflections on cinema from a new technological age’ Screen 45

2003

    • 'Journey to Italy' spoken commentary for the DVD published by the British Film Institute
    • 'Cinema, Synch Sound and Europe 1929: Reflections on Coincidence' in L.Sider (ed) Soundscapes. The School of Sound Lectures 1998-2001. Wallflower Press, London
    • 'Death Twenty-four Times a Second: The Inorganic Body and the Cinema' in Paul Sheehan (ed): Becoming Human. New Perspectives on the Inhuman Condition. Praeger, Westport
    • 'Foreword' in A.Sabbadini (ed): The Couch and the Silver Screen. Psychoanalytic Reflection on European Cinema Routledge London
    • 'Jill Forbes' Les Enfants du Paradis in: French Cultural Studies Vol 14 Part 3 Number 42
    • 'Then and now: cinema as history in the light of new media and new technologies' in L.Nagib (ed) The New Brazilian Cinema. I.B.Tauris, London
    • 'The 'pensive spectator' Revisited: Time and its Passing in the Still and Moving Image' in D.Green (ed): Where is the Photograph? Photoforum, Brighton (also published in T.Leighton and p.Buchler (eds): Saving the Image: Art after Film, Centre for Contemporary Arts, Glasgow)

2002

    • 'Afterword' R.Tapper: The New Iranian Cinema. Politics, Representation and Identity I.B Tauris, London.
    • 'Detail, Digression and Death. The movies in Chris Petit's film Negative Space.' Afterall, Issue5, London

2001

    • 'The problem of America: the problem of sound' in Critical Quarterly Autumn 2001
    • ‘Death Drives: Hitchcock’s Psycho’, Film Studies 2
    • ‘The Index and the Uncanny’ in Time and the Image C.Gill and T.Matthews (eds.) Manchester University Press
    • ‘Vesuvian Topographies: the Eruption of the Past in Journey to Italy’ in Roberto Rossellini: One Hundred Years G.Nowell-Smith and D.Forgacs (eds.) The British Film Institute. London
    • ‘Death 24 Times a Second’, Coil 9/10. London.
    • 'Den Blick demaskieren. Hollywood-Kino, weiblisches Publikum und Konsumkultur' I.Schenk (ed.) Erlebnisort Kino. Bremen, Germany.
    • 'Death 24 times a second: the tension between movement and stillness in the cinema'. Estudos de Cinema No.3 Sao Paolo, Brazil.