Contents:
Volume I
Part 1: Essence and Specificity
1. Ricciotto Canudo, 'The Birth of the Sixth Art', translated by Ben Gibson, Don Ranvaud, Sergio Sokota and Deborah Young, Framework, 13, Autumn 1980, pp. 3-7. (Originally published in Les Entretiens Idealistes, 25th October, 1911).
2. Vachel Lindsay, 'Sculpture-in-Motion', in The Art of the Moving Picture, (New York: Macmillan, 1915), pp. 79-96.
3. Hugo Münsterberg , 'The Means of the Photoplay', in The Photoplay: A Psychological Study, (New York: D. Appleton and Company, 1916), pp. 170-190.
4. Louis Delluc, 'Photogénie', in Pierre Lherminier, ed., Ecrits Cinématographiques I: Le Cinéma et les Cinéastes, (Paris: Cinémathèque Française, 1985), pp. 34-35. (Originally published in Paris, 1920).
5. Jean Epstein, 'On Certain Characteristics of Photogénie', translated by Tom Milne, Afterimage, 10, Autumn 1981, pp. 20-23. (Originally published in Jean Epstein, Le Cinématographe vu de l'Etna, Paris: Les Écrivains réunis, 1923).
6. Germaine Dulac, 'The Essence of the Cinema: The Visual Idea', translated by Robert Lamberton, in P. Adams Sitney, ed., The Avant-Garde Film: A Reader of Theory and Criticism, (New York: New York University Press, 1978), pp. 36-42. (Originally published in Les Cahiers du Mois, 16/17, 1925).
7. Maya Deren, 'The Instrument of Discovery and the Instrument of Invention/The Art of Film', in An Anagram of Ideas on Art, Form and Film, (New York: Alicat Bookshop Press, 1946), pp. 44-52.
8. Stan Brakhage, Extracts from 'Metaphors on Vision': subtitled 'Metaphors on Vision' and 'The Camera Eye', Film Culture, Fall 1963, unpaginated.
9. Noël Carroll, 'Concerning Uniqueness Claims for Photographic and Cinematographic Representation', Dialectics and Humanism, 14, 2, 1987, pp. 29-43.
Part 2: Language
10. Sergei Eisenstein, Extract from 'The Montage of Film Attractions', translated by Richard Taylor, in Richard Taylor, ed., S. M. Eisenstein: Writings 1922-34 Selected Works Volume 1, (London: British Film Institute, 1988), pp. 39-49. (Originally published in 1924).
11. Viktor Shklovsky, 'The Semantics of Cinema', translated by Richard Taylor, in Ian Christie and Richard Taylor, eds., The Film Factory: Russian and Soviet Cinema in Documents 1896-1939, (London: Routledge & Kegan Paul, 1988), pp. 131-133. (Originally published as V. B. Shklovskii, 'Semontika kino', Kinozhumal A. R. K., 8, August, 1925).
12. V. I. Pudovkin, 'The Plastic Material', translated by Ivor Montagu, in On Film Technique: Three Essays and an Address by V. I. Pudovkin, (London: Victor Gollancz Ltd., 1929), pp. 50-72. (Originally published in 1926).
13. Lev Kuleshov, 'Montage as the Foundation of Cinematography', translated by Ronald Levaco, in Ronald Levaco, ed., Kuleshov on Film: Film Writings by Lev Kuleshov, (Berkeley: University of California Press, 1974), pp. 42-55. (Originally published in 1929).
14. André Bazin, 'The Evolution of the Language of Cinema', translated by Hugh Gray, in Hugh Gray, ed., What is Cinema? Vol. 1, (Berkeley: University of California Press, 1967), pp. 23-40. (Revised from articles originally published in 1950, 1952 and 1955).
15. Christian Metz, extract from 'The Cinema: Language or Language System?', translated by Michael Taylor, in Film Language: A Semiotics of the Cinema, (New York: Oxford University Press, 1974), pp. 31-91. (Extract: pp. 31-57, pp. 61-65, pp. 67-69). (Originally published in Christian Metz, Essais sur la signification au cinema, 1964).
16. Peter Wollen, 'The Semiology of the Cinema', in Signs and Meaning in the Cinema, (London: Secker and Warburg in Association with the British Film Institute, 1969), pp. 116-155.
17. Roland Barthes, 'The Third Meaning: Research Notes on some Eisenstein Stills', translated by Stephen Heath, in Image-Music-Text, (London: Fontana, 1977), pp. 52-68. (Originally published as 'Le troisiéme sens: Notes de recherché sur quelques photogrammes de S. M. Eisenstein', Cahiers du cinema, 222, 1970).
Part 3: Technologies
18. Henry V. Hopwood, 'Past, Present, and Future', in Living Pictures: Their History, Photo-Production and Practical Working, (London: The Optician and Photographic Trades Review, 1899), pp. 225-234.
19. Filippo Tommaso Marinetti, Bruno Corra, Emilio Settimelli, Arnaldo Ginna, Giacomo Balla and Remo Chiti, 'The Futurist Cinema', translated by R. W. Flint, in R. W. Flint, ed., Marinetti: Selected Writings, (New York: Farrar, Straus and Giroux 1971), pp. 130-134. (Originally published as 'La cinematogria futurista' in L'Italia futurista, November 15, Milan, 1916).
20. Dziga Vertov, 'Kinoks: A Revolution', translated by Kevin O'Brien, in Annette Michelson, ed., Kino-Eye: The Writings of Dziga Vertov, (Berkeley: University of California Press, 1984), pp. 11-21. (Originally published in 1923).
21. Walter Benjamin, 'The Work of Art in the Age of Mechanical Reproduction', translated by Harry Zohn, in Hannah Arendt, ed., Illuminations: Essays and Reflections, (New York: Harcourt, Brace and World, 1968), pp. 219-253. (Originally published in 1936).
22. André Bazin, 'The Myth of Total Cinema', translated by Hugh Gray, in Hugh Gray, ed., What is Cinema? Vol. 1, (Berkeley: University of California Press, 1967), pp. 17-22. (Originally published as 'Le mythe du cinéma total', in Critique, 1946).
23. Claudia Springer, 'The Pleasure of the Interface', Screen, 32, 3, Autumn 1991, pp. 303-323.
24. Lev Manovich, 'Digital Cinema and the History of a Moving Image', in The Language of New Media, (Cambridge, Mass.; London: MIT Press, 2001), pp. 293-308. (An earlier version of this article was originally published in 1996).

Volume II
Part 4: Authorship
25. François Truffaut, 'A Certain Tendency of the French Cinema', translator not specified, Cahiers du Cinema in English, 1, January 1966, pp. 30-41. (Originally published in 1954).
26. Andrew Sarris, 'Notes on the Auteur Theory in 1962', Film Culture, 27, Winter 1962, pp. 1-8.
27. Geoffrey Nowell-Smith, 'Luchino Visconti: Introduction', in Luchino Visconti, (London: Secker & Warburg in Association with the British Film Institute, 1967), pp. 7-13.
28. Peter Wollen, 'The Auteur Theory', in Signs and Meaning in the Cinema, (London: Secker & Warburg in Association with the British Film Institute, 1969), pp. 74-115.
29. Peter Wollen, 'Signs and Meaning in the Cinema: Conclusion', in Signs and Meaning in the Cinema, Revised Edition, (London: Secker & Warburg in Association with the British Film Institute, 1972), pp. 155-175.
30. John Caughie, 'Fiction of the Author/Author of the Fiction', in John Caughie, ed., Theories of Authorship: A Reader, (London: Routledge & Kegan Paul in association with the British Film Institute, 1981), pp. 199-207.
31. Timothy Corrigan, 'Auteurs and the New Hollywood', in Jon Lewis, ed., The New American Cinema, (Durham, NC: Duke University Press, 1998), pp. 38-63.
Part 5: Genre
32. Steve Neale, 'Definitions of Genre', in Genre and Hollywood, (London: Routledge, 2000), pp. 9-29.
33. André Bazin, 'The Western or the American Film par Excellence', translated by Hugh Gray, in What is Cinema? Vol. 2, (Berkeley: University of California Press, 1972), pp. 140-148 . (Originally published as 'Le western ou le cinéma américain par excellence', preface to J.-L. Rieupeyrout, Le western ou le cinéma américain par excellence, 7eme Art, Éditions du Cerf, 1953.)
34. Nino Frank, 'A New Kind of Police Drama: The Criminal Adventure', translated by Alain Silver, in Alain Silver and James Ursini, eds., Film Noir Reader 2, (New York: Limelight Editions, 1999), pp. 15-19. (Originally published in 1946).
35. Jean-Pierre Chartier, 'Americans also Make Noir Films', translated by Alain Silver, in Alain Silver and James Ursini, eds., Film Noir Reader 2, (New York: Limelight Editions, 1999), pp. 21-23. (Originally published in 1946).
36. Robert Warshow, 'The Gangster as Tragic Hero', Partisan Review, February 1948, pp..
37. Paul Schrader, 'Notes on Film Noir', Film Comment, 8, 1, Spring 1972, pp. 8-13.
38. Jim Collins, 'Genericity in the Nineties: Eclectic Irony and the New Sincerity', in Jim Collins, Hilary Radner and Ava Preacher Collins, eds., Film Theory Goes to the Movies: Cultural Analysis of Contemporary Film, (New York: Routledge Inc., 1993), pp. 242-263.
39. Steve Neale, 'Issues, Conclusions and Questions', in Genre and Hollywood, (London: Routledge, 2000), pp. 251-255.
Part 6: Narrative and Narration
40. Julia Lesage, 'S/Z and Rules of the Game', Jump Cut: A Review of Contemporary Cinema, 12-13, Winter 1976-77, pp. 45-51.
41. Will Wright, 'The Structure of Myth' (Extract), 'Myth as a Narrative of Social Action' and 'Individuals and Values: The Classical Plot', in Sixguns and Society: A Structural Study of the Western, (Berkeley: University of California Press, 1977), pp. 16-28 (Extract: pp. 25-28), pp. 124-129 and pp. 130-153.
42. David Bordwell, 'Principles of Narration', in Narration in the Fiction Film, (Madison, Wis.: University of Wisconsin Press, 1985), pp. 48-62.
43. Bill Nichols, 'Form Wars: The Political Unconscious of Formalist Theory', South Atlantic Quarterly, 88, 2, Spring 1989, pp. 487-515.
44. Tom Gunning, 'Theory and History: Narrative Discourse and the Narrator System', in D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph, (Urbana: University of Illinois Press, 1991), pp. 10-30 .
45. Edward Branigan, 'Levels of Narration', in Narrative Comprehension and Film, (London: Routledge, 1992), pp. 87-124.
Volume III
Part 7: Audiences and Spectatorship
46. Maxim Gorky, 'The Lumière Cinematograph', translated by Richard Taylor, in Ian Christie and Richard Taylor, eds., The Film Factory: Russian and Soviet Cinema in Documents 1896-1939, (London: Routledge & Kegan Paul, 1988), pp. 25-26. (Originally published as 'I.M. Pacatus', 'Beglye zametki. Sinematograf Lyum'era', Nizhegorodskii listok, 4 July 1896).
47. Emilie Altenloh, 'A Sociology of the Cinema: The Audience', translated by Kathleen Cross, Screen, 42, 3, Autumn 2001, pp. 249-293. (Originally published as Zur Soziologie des Kino, 1914).
48. Laura Mulvey 'Visual Pleasure and Narrative Cinema', Screen, 16, 3, Autumn 1975, pp. 6-18.
49. Laura Mulvey, 'Afterthoughts on 'Visual Pleasure and Narrative Cinema' Inspired by Duel in the Sun (King Vidor, 1946)', Framework, 15-17, 1981, pp. 12-15.
50. Tom Gunning, 'An Aesthetic of Astonishment: Early Film and the Incredulous Spectator', Art and Text, 34, Spring 1989, pp. 31-45.
51. Mary Carbine, '"The Finest Outside the Loop": Motion Picture Exhibition in Chicago's Black Metropolis, 1905-1928', Camera Obscura, 22, 1990, pp. 9-41.
52. Jackie Stacey, 'Feminine Fascinations: A Question of Identification?', in Star Gazing: Hollywood Cinema and Female Spectatorship, (London: Routledge, 1994), pp. 126-175.
Part 8: Personal Identities and Representation
53. Geraldyn Dismond, 'The Negro Actor and the American Movies', in James Donald, Anne Friedberg and Laura Marcus, eds., Close Up 1927-1933: Cinema and Modernism, (Princeton, NJ: Princeton University Press, 1999), pp. 73-79. (Originally published in Close Up, 5, 2, August 1929, pp. 6-13).
54. Parker Tyler, 'Mother Superior of the Faggots and Some Rival Queens', in Screening the Sexes: Homosexuality in the Movies, (New York: Holt, Rinehart and Winston, 1972), pp. 1-16.
55. Claire Johnston, 'Women's Cinema as Counter-Cinema', in Claire Johnston, ed., Notes on Women's Cinema, (London: Society for Education in Film and Television, 1973), pp. 24-31.
56. Teresa de Lauretis, 'Aesthetic and Feminist Theory: Rethinking Women's Cinema', New German Critique, 34, Winter 1985, pp. 154-175.
57. Richard Dyer, 'White', Screen, 29, 4, Autumn 1988, pp. 44-64.
58. bell hooks, 'The Oppositional Gaze: Black Female Spectators' in Black Looks: Race and Representation, (London: Turnaround, 1992), pp. 115-131.
59. Judith Butler, 'Gender is Burning: Questions of Appropriation and Subversion', in Bodies that Matter: On the Discursive Limits of "Sex", (New York: Routledge Inc., 1993), pp. 121-140.
60. Yvonne Tasker, 'Women Warriors: Gender, Sexuality and Hollywood's Fighting Heroines', in Spectacular Bodies: Gender, Genre and the Action Cinema, (London: Routledge, 1993), pp. 14-34.
Part 9: Cultural Identities, Colonialism and Postcolonialism
61. Fernando Solanas and Octavio Getino, 'Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World', translated by Julianne Burton and Michael Chanan, in Michael Chanan, ed., Twenty-five Years of the New Latin American Cinema, (London: British Film Institute and Channel Four Television, 1983), pp. 17-27. (Originally published in 1969)
62. Julio García Espinosa, 'For an Imperfect Cinema', translated by Julianne Burton, in Michael Chanan, ed., Twenty-five Years of the New Latin American Cinema, (London: British Film Institute and Channel Four Television, 1983), pp. 28-33. (Originally published in 1970).
63. The Committee on Peoples Cinema (under the Chairmanship of Lamine Merbah), 'Resolutions of the Third World Film-Makers Meeting, Algiers, Algeria, December 5-14, 1973', Cineaste Pamphlet No. 1, Cineaste Magazine, 1974, unpaginated.
64. Homi K. Bhabha, 'The Other Question: The Stereotype and Colonial Discourse', Screen, 24, 6, November/December 1983, pp. 18-36.
65. Teshome H. Gabriel, 'Towards a Critical Theory of Third World Films', in Altaf Gauhar, ed., Third World Affairs 1985, (London: Third World Foundation, 1985), pp. 355-369.
66. Trinh T. Minh-ha 'Outside In Inside Out', in Jim Pines and Paul Willemen, eds., Questions of Third Cinema, (London: British Film Institute, 1989), pp. 133-149.
67. Stuart Hall, 'Cultural Identity and Cinematic Representation', Framework, 36, 1989, pp. 68-81.
68. Edward Said, 'Jungle Calling: On Johnny Weissmuller's Tarzan', Interview, 19, 6, June 1989, pp. 60-65 & p. 112.
Volume IV
Part 10: Realism and the Real
69. Siegfried Kracauer, Extract from 'Basic Concepts', in Theory of Film: The Redemption of Physical Reality, (Oxford: Oxford University Press, 1960), pp. 27-39 (Extract: p. 27 & pp. 30-39).
70. André Bazin, 'The Ontology of the Photographic Image', translated by Hugh Gray, in Hugh Gray ed., What is Cinema? Vol. I, (Berkeley: University of California Press, 1967), pp. 9-16. (Originally published as 'Ontologie de l'image photographique', Problemes de la peinture, 1945).
71. Rudolf Arnheim, 'Film and Nature', translated by L. M. Sieveking and Ian F. D. Morrow, in Film, (London: Faber and Faber, 1933), pp. 17-38.
72. Cesare Zavattini, 'Some Ideas on the Cinema', translated by Pier Luigi Lanza, Sight and Sound, 23, 2, October-December 1953, pp. 64-69. (Originally published in 1952).
73. Colin MacCabe, 'Realism and the Cinema: Notes on some Brechtian Theses', Screen, 15, 2, Summer 1974, pp. 7-27.
74. Raymond Williams, 'A Lecture on Realism', Screen, 18, 1, Spring 1977, pp. 61-74.
75. Stephen Prince, 'True Lies: Perceptual Realism, Digital Images, and Film Theory', Film Quarterly, 49, 3, Spring 1996, pp. 27-37.
76. Julia Hallam with Margaret Marshment, Extract from 'Space, Place and Identity: Re-viewing Social Realism', in Realism and Popular Cinema, (Manchester: Manchester University Press, 2000), pp. 184 -219 (Extract: pp. 190-219).
Part 11: Modernism and Postmodernism
77. Peter Wollen, 'The Two Avant-Gardes', Studio International: Film Issue, 190, 978, November-December 1975, pp. 171-175.
78. Dziga Vertov, 'We: Variant of a Manifesto', translated by Kevin O'Brien, in Annette Michelson, ed., Kino-Eye: The Writings of Dziga Vertov, (Berkeley: University of California Press, 1984), pp. 5-9. (Originally published in 1922).
79. Sergei Eisenstein, 'The Problem of the Materialist Approach to Form', translated by Richard Taylor and William Powell, in Richard Taylor, ed., The Eisenstein Reader, (London: British Film Institute, 1998), pp. 53-59. (Originally published as 'K vopruso o materialisticheskom podkhode k forme' Kinozhurnal ARK, 4/5, April/May, 1925).
80. Peter Gidal, 'Theory and Definition of Structural/Materialist Film', Studio International: Film Issue, 190, 978, November-December 1975, pp. 189-196.
81. J. Hoberman, 'Vulgar Modernism', Artforum, 20, 6, February 1982, pp. 71-76.
82. Jean Baudrillard, 'The Evil Demon of Images', translated by Paul Patton and Paul Foss, Power Institute Of Fine Arts Publication Number 3, 1987, pp. 13-31. (Originally from 'The Evil Demon of Images', The First Mari Kuttna Memorial Lecture, The University of Sydney, 25th July 1984).
83. Fredric Jameson ,'Postmodernism and Consumer Society', in Ann E. Kaplan, ed., Postmodernism and Its Discontents: Theories, Practices, (London: Verso, 1988), pp. 13-29.
84. Giuliana Bruno, 'Ramble City: Postmodernism and Blade Runner', October, 41, Summer 1987, pp. 61-74.
85. Linda Hutcheon, 'Postmodern Film?', in The Politics of Postmodernism, (London: Routledge, 1989), pp. 107-117.
86. Peter Brooker and Will Brooker, 'Pulpmodernism: Tarantino's Affirmative Action', in Deborah Cartmell, I. Q. Hunter, Heidi Kaye and Imelda Whelehan, eds., Pulping Fictions: Consuming Culture Across the Literature/Media Divide, (London: Pluto Press, 1996), pp. 135-151.
Part 12: Economics and Globalisation
87. Janet Staiger, Extract from 'The Hollywood Mode of Production 1930-1960', in David Bordwell, Janet Staiger and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production, (London: Routledge, 1988), pp. 311-319, (Extract: 313-319).
88. Mae D. Huettig, 'The Motion Picture Industry Today', in Economic Control in the Motion Picture Industry: A Study in Industrial Organization, (Philadelphia: University of Pennsylvania Press, 1944), pp. 54-95.
89. Thomas H. Guback, 'Hollywood's International Market', in Tino Balio (ed.), The American Film Industry, (Madison, Wis.: University of Wisconsin Press, 1976), pp. 387-409.
90. Tino Balio, '"A Major Presence in all of the World's Important Markets": The Globalization of Hollywood in the 1990s', in Murray Smith and Steve Neale (eds.), Contemporary Hollywood Cinema, (London: Routledge, 1998), pp. 58-73.
91. Constance Balides, 'Jurassic Post-Fordism: Tall Tales of Economics in the Theme Park', Screen, 41, 2

The Critical Dictionary of Film and Television Theory clearly and accessibly explains the major theoretical approaches now deployed in the study of the moving image, as well as defining key theoretical terms.
This dictionary provides readers with the conceptual apparatus to understand the often daunting language and terminology of screen studies. Entries include: *audience * Homi K. Bhabha * black cinema * the body * children and media * commodification * cop shows * deep focus * Umberto Eco * the gaze * Donna Haraway * bell hooks * infotainment * master narrative * medical dramas * morpheme * myth * panopticon * pastiche * pleasure * real time * social realism * sponsorship * sport on television * subliminal * third cinema * virtual reality
Consultant Editors:
David Black, USA, William Urricchio, University of Utrecht, The Netherlands, Gill Branston, Cardiff University,
UK ,Elayne Rapping, USA

In August of 2006, an engineering VP from one of Altera's customers approached Misha Burich, VP of Engineering at Altera, asking for help in reliably being able to predict the cost, schedule and quality of system designs reliant on FPGA designs. At this time, I was responsible for defining the design flow requirements for the Altera design software and was tasked with investigating this further. As I worked with the customer to understand what worked and what did not work reliably in their FPGA design process, I noted that this problem was not unique to this one customer. The characteristics of the problem are shared by many Corporations that implement designs in FPGAs. The Corporation has many design teams at different locations and the success of the FPGA projects vary between the teams. There is a wide range of design experience across the teams. There is no working process for sharing design blocks between engineering teams. As I analyzed the data that I had received from hundreds of customer visits in the past, I noticed that design reuse among engineering teams was a challenge. I also noticed that many of the design teams at the same Companies and even within the same design team used different design methodologies. Altera had recently solved this problem as part of its own FPGA design software and IP development process.

The Critical Dictionary of Film and Television Theory clearly and accessibly explains the major theoretical approaches now deployed in the study of the moving image, as well as defining key theoretical terms.
This dictionary provides readers with the conceptual apparatus to understand the often daunting language and terminology of screen studies. Entries include: *audience * Homi K. Bhabha * black cinema * the body * children and media * commodification * cop shows * deep focus * Umberto Eco * the gaze * Donna Haraway * bell hooks * infotainment * master narrative * medical dramas * morpheme * myth * panopticon * pastiche * pleasure * real time * social realism * sponsorship * sport on television * subliminal * third cinema * virtual reality
Consultant Editors:
David Black, USA, William Urricchio, University of Utrecht, The Netherlands, Gill Branston, Cardiff University,
UK, Elayne Rapping, USA

Few knew him by his full name, Amihai Paglin. Everyone called him Gidi. His name became a legend.

In August of 2006, an engineering VP from one of Altera's customers approached Misha Burich, VP of Engineering at Altera, asking for help in reliably being able to predict the cost, schedule and quality of system designs reliant on FPGA designs. At this time, I was responsible for defining the design flow requirements for the Altera design software and was tasked with investigating this further. As I worked with the customer to understand what worked and what did not work reliably in their FPGA design process, I noted that this problem was not unique to this one customer. The characteristics of the problem are shared by many Corporations that implement designs in FPGAs. The Corporation has many design teams at different locations and the success of the FPGA projects vary between the teams. There is a wide range of design experience across the teams. There is no working process for sharing design blocks between engineering teams. As I analyzed the data that I had received from hundreds of customer visits in the past, I noticed that design reuse among engineering teams was a challenge. I also noticed that many of the design teams at the same Companies and even within the same design team used different design methodologies. Altera had recently solved this problem as part of its own FPGA design software and IP development process.