Bibliography on Violence in Cinema

8/20/2019 Bibliography on Violence in Cinema

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List of works cited 325

List of Works Cited

Peter Ackroyd , Dan Leno and the Limehouse Golem(London: Minerva Press, 1997)

Hanna Arendt, On Violence (New York: Harcourt,Brace and World INC., 1969)

Aristotle, The Complete Works of Aristotle(Princeton: Princeton University Press, 1985), twovolumes.

Jacques Aumont and Michel Marie, L’analyse desfilms (Paris: Editions Fernand Nathan, 1996)

J. P. D. V. Balsdon, Life and Leisure in AncientRome (London: The Bodley Head, 1969)

Erick Barnow Documentary: A History of the Non-Fiction F ilm (New York: Oxford University Press,1974)

Andre Bazin, What is cinema? I (Los Angeles:University of California Press, 1967)

__________, What is cinema II (Los Angeles:University of California Press, 1973)

John Beer (ed.), Questioning Romanticism (London:The John Hopkins University Press

Joel Black, The Aesthetics of Murder: A Study inRomantic Literature and Contemporary Culture(London: The John Hopkins University Press, 1991)


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D. Caroline Blanchard , Barry Graczyc, and RobertJ. Blanchard , ‘Differential Reactions of Men and

Women to Realism, Physical Damage and Emotionalityin Violent Films’, in Aggresive Behaviour 12(1986), pp. 45-55.

Michael Bliss, The Word Made Flesh: Catholicismand Conflict in the Films of Martin Scorsese(London: The Scarecrow Press, 1998)

John Boorman and Walter Donohue (ed.), Projections3: Film-makers on Film-making (London: Faber and

Faber, 1994)

_____________________________________, Projections5: Film-makers on Film-making (London: Faber andFaber, 1996)

Fred Botting and Scott Wilson, 'By Accident: TheTarantinian Ethics', Theory, Culture and Society ,1998, vol. 15(2), pages 89-113

Peter Brunette, Martin Scorsese Interviews(Jackson: University Press of Mississipi, 1999)

Edward Bullough, ‘Psychical Distance’, inAesthetics (London: Bowes and Bowes, 1957)

Anthony Burgess, A Clockwork Orange (London:Penguin, 1996)

Edmund Burke, A Philosophical Enquiry into theOrigin of Our Ideas of the Sublime and Beautiful ,(Oxford: Oxford University Press, 1990),

Walter Burkert, Creation of the Sacred: Tracks ofBiology in Earlier Religions (London: HarvardUniversity Press, 1996)

Frederick Burwick, 'De Quincey and the Aestheticsof Violence' in: The Wordsworth Circle , vol. 27,no. 2, Spring 1996.


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Jerome Carcopino, Daily Life in Ancient R ome: ThePeople and the City at the Height of the Empire

(London: George Routledge & sons, 1941)

Robert Casillo, Gangster Priest. The ItalianAmerican Cinema of Martin Scorsese (Buffallo:University of Toronto Press, 2006)

Anthony J. Chapman and Hugh C. Foot (ed.), Humourand Laughter: Theory, Research and Applications(London: John Wiley & Sons, 1976)

Sir Arthur Conan Doyle, ‘The Final Problem’, inMemoirs of Sherlock Holmes (Charleston:BiblioBazaar, 2006)

Joe Connelly, Bringing Out the Dead (New York:Vintage, 1998)

Mark T. Conrad (editor), The Philosophy of MartinScorsese (Lexington: The University Press ofKentucky, 2007)

Delphine D’Cruz, Tim Burton’s Monsters,Masquerades and Martians: The Emergency of theNeo-grotesque in Contemporary American Cinema ,unpublished dissertation presented to theUniversity of London, Birkbeck College, 1997

Dante, The Divine Comedy (London: Penguin Books,1984)

Thomas De Quincey, The Collected Writings ofThomas de Quincey , (Edinburgh: Adam and CharlesBlack, 1890)

Fyodor Dostoyevsky, The Karamazov Brothers(Oxford: Oxford University Press, 1994)

Norbert Elias, The Civilising Process (Oxford:Basil Blackwell, 1978)


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Frantz Fanon, The Wretched of the Earth (London:Penguin, 1973)

Howard Feinstein, 'Para psychology' in: Time OutDecember 22 1999-January 5 2000

S. T. Fiske and S. E. Taylor, Social Cognition(New York: McGraw-Hill, 1991)

Michel Foucault, Discipline and Punish: The Birthof the Prison (London: Penguin, 1991)

Karl French, Screen Violence (London: Bloomsbury,1996)

Sigmund Freud , Collected Papers (London: TheHogarth Press, 1948)

Alison Futrel, Blood in the Arena: the Spectacleof Roman Power (Austin TX, University of TexasPress, 1997)

Edward Gallafent, Quentin Tarantino (New York:Pearson Longman, 2006)

Suzi Gablick, Magritte (London: Thames and Hudson,1972)

Edward Gallafent, Quentin Tarantino (New York:Pearson Longman, 2006)

Jeffrey H. Goldstein, Why We Watch: TheAttractions of Violent Entertainment (Oxford:Oxford University Press, 1998)

Nelson Goodman, Languages of Art: An Approach to aTheory of Symbols (London: Hackett PublishingCompany, 1985)

Sidney Gottlieb (ed.), Hitchcock on Hitchcock(London: Faber and Faber, 1997)


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Ricard Greene and K. Silem Mohammad , QuentinTarantino and Philosophy. How to Philosoph ize with

a Pair of Pliers and a Blowtorch (Chicago: OpenCourt, 2007)

Lee Grieveson, Policing Cinema. Movies andCensorship in Early Twentieth Century America(London: University of California Press, 2004)

E. Guhl and W Koner, The Romans: Their Life andCustoms (London: Senate, 1994)

W. K. C. Guthrie, A History of Greek Philosophy.The Presocratics Tradition from Parmenides toDemocritus (Cambridge : Cambridge UniversityPress, 1996),

Paul Guyer (ed.), The Cambridge Companion to Kant(Cambridge: Cambridge University Press, 1992)

__________, Kant and the Claims of Taste(Cambridge: Cambridge University Press, 1997)

__________, Values of Beauty. Historical Essays inAesthetics (Cambridge: Cambridge University Press,2005)

Paul Guyer, Kant and the Experience of Freedom(Cambridge: Cambridge University Press, 1993)

Jürgen Habermas, The Theory of CommunicativeAction (London: Beacon Press, 1998)

A. M. Hargrave (ed.), Violence in FactualTelevision, Annual Review (London: John Libbey,1993)

W. E. Heitland , The Roma n Republic (London:Greenwood Press, 1969)

Henner Hess, Mafia and Mafiosi: Origin, Power and

Myth (New York: New York University Press, 1998)


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Elliot Leyton, Compulsive Killers: The Story ofModern Multiple Murder (London: Minerva Press,

1986)

Antonio Machado, Border of a Dream: Selected Poems(Washington: Copper Canyon Press, 2004)

Hugo Munsterberg, The Film: A Psychological Study(New York: Dover, 1970)

Bill Nichols, Representing Reality (Indiana:Indiana University Press, 1991)

Peter Occhiogrosso, Once a Catholic: Prom inentCatholics and ExCatholics discuss the Influence ofthe Church in Their Lives (Boston: HoughtenMifflin, 1987)

José Ortega y Gasset, ‘El genio de la guerra y laguerra alemana’, in José Ortega y Gasset, ElEspectador (Madrid: Biblioteca Nueva, 1966)

Ian Ousby, The Crime and Mystery Book (London:Thames and Hudson, 1997)

Oxford Latin Dictionary (Oxford: Oxford UniversityPress, 1982)

The Shorter Oxford English Dictionary onHistorical Principles (Oxford: Oxford UniversityPress, 1967)

Edwin Page, Quintessential Tarantino (New York:Marion Boyars, 2005)

Gerald Peary, Quentin Tarantino: Interviews(Jackson: University of Mississipi, 1998)

Patrice Petro, Fugitive Images: From Photographyto Video (Indianapolis: Indiana University Press,1995)


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Nicholas Pileggi and Martin Scorsese, Casino(London: Faber and Faber, 1995)

Plato, The Republic (London: Penguin Books, 1987)

W. James Potter and Ron Warren, ‘Humour asCamouflage of Televised Violence’ in: Journal ofCommunication , Spring 1998

Stephen Prince, Savage C inema: Sam Peckinpah andthe Rise of Ultraviolent Films (Austin:Universitry of Texas Press, 1998)

Stephen Prince, Screening Violence (London: TheAthlone Press, 2000)

Stephen Prince, Classical Film Violence. Designingand Regulating Brutality in Hollywood Cinema,1930-1968 (New Jersey: Rutgers University Press,2003)

Lionello Puppi, Torment in Art: Pain, Violence andMartyrdom (New York: Rizzoli, 1990)

Stephen Rebello, Alfred Hitchcock and the Makingof Psycho (New York: Harper Perennial, 1991)

Margy Rochlin, 'Interview with Quentin Tarantino',Playboy , 1994, November Issue, pages

Mark Salisbury, 'Pulp Fiction: The Greatest Story

ever Told?', Empire , 1994, November Issue, pages86-96.

Ziauddin Sardar and Boris Van Loon, IntroducingCultural Studies (London: Icon Books UK, 1998)

Tom Shone, 'What Makes Tarantino Tick?’, Premiere ,1994, November Issue

Paul Schrader, Taxi Driver (London: Faber and

Faber, 1990)


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______________, Bringing Out the Dead , [December, 29 2007].

Martin Scorsese and Mardik Martin, Mean Streets ,unpublished script, BFI Library, S18073.

Martin Scorsese and Nicholas Pileggi, GoodFellas(London: Faber and Faber, 1990)

Jean Seaton, Carnage and the Media. The Making andBreaking of N ews About Violence (London: Allen

Lanwe, 2005)

Seneca, Ad Lucilium Epistulae Morales (London:William Heinemann, 1937)

Tom Shone, 'What Makes Tarantino Tick', Premiere ,1994, November Issue, pages 48-57.

Quentin Skinner, The Return of Grand Theory in theHuman Sciences (Cambridge: Cambridge UniversityPress, 1990)

Adam Smith, The Theory of Moral Sentiments(Oxford: Oxford University Press, 1976)

Jerome Stolnitz, ‘On the Origins of "AestheticDisinterestedness"’ The Journal of Aesthetics andArt Criticism , Vol. 20, No. 2 (Winter, 1961)

Quentin Tarantino, Reservoir Dogs (London: Faberand Faber, 1994)

__________________, Pulp Fiction (London: Faberand Faber, 1994)

__________________, Death Proof (Los Angeles:Weinstein Books, 2007),

David Thompson and Ian Christie, Scorsese on

Scorsese (London: Faber and Faber, 2003)


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Hans Toch, Violent Men: An Inquiry into thePsychology of Violence (London: Penguin Books,

1972)

Giorgio Tonelli, ‘Kant´s Early Theory of theGenius (1779-1779): Part I’ in Journal of theHistory of Ideas , volume 41, number 1 (1980)

Giorgio Vasari, Le Vite di Piú Eccelenti Pittori,Scultori e Architettori (Firenza: Studio perEdizioni Scelte, 1985)

Kurt Volk (editor), Grindhouse (New York:Weinstein Books, 2007), p. 10.

Max Weber, Economy and Socie ty (Berkeley:California University Press, 1978)

Katie Withaker, 'The culture of curiosity' in: N.Jardine and alii, Cultures of Natural History(Cambridge: Cambridge University Press, 1996), pp.75-90

Robert Paul Wolff, Kant: A Collection of CriticalEssays (London: University of Notre Dame Press,1979)

Paul A. Woods (ed.), Quentin Tarantino: The FilmGeek Files (London: Plexus, 2000)

_______________________, Scorsese. A JourneyThrough the American Psyche (London: Plexus, 2005)

Bibliography on Violence in Cinema

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