Bibliography

Allen, R.J., Out of the Labyrinth of the Mind: Manifesting a Spiritual Art beyond Dualism, D.C.A. thesis, University of Technology, Sydney, 2004.

Allen, R., and Smith, M., editors, Film Theory and Philosophy, Oxford University Press, Oxford, 1999.

Allman, W.F., Apprentices of Wonder: Inside the Neural Network Revolution, Bantam Books, New York/London/Toronto/Sydney/Auckland, 1989.

Arnheim, R., Film as Art, University of California Press, Berkeley, Los Angeles/London, 1957.

Aronson, L., Scriptwriting Updated: New and Conventional Ways of Writing for the Screen, AFTRS Publishing/Allen & Unwin, Sydney, 2000.

Bartenieff, I., with Lewis, D., Body Movement: Coping with the Environment, Gordon & Breach New York/London/Paris, 1980.

Barthes, R., “Musica Practica,” in Image–Music–Text, essays selected and translated by Heath, S., Fontana–Collins, London, 1979.

Bazin, A., What Is Cinema? essays selected and translated by Gray, H., foreword by Renoir, J., new forward by Andrew, D., University of California Press, Berkeley, 2004.

Benedetti, J., Stanislavski: An Introduction, Methuen Drama, London, 1990.

Bergen, R., Sergei Eisenstein: A Life in Conflict, Overlook Press, Woodstock/New York, 1999.

Berger, J., Ways of Seeing, British Broadcasting Corp./Penguin, London, 1972.

Bergson, H., Introduction to Metaphysics, translated by Anderson, M.A., Philosophical Library, New York, 1961.

Bergson, H., Matter and Memory, translated by Paul, N.M., and Palmer, W.S., Zone Books, New York, 1991.

Birdwhistell, R.L., Kinesics and Context: Essays on Body Motion Communication, University of Pennsylvania Press, Philadelphia, 1970.

Bogue, R., Deleuze on Cinema, Routledge, New York/London, 2003.

Bordwell, D., The Cinema of Eisenstein, Routledge, New York, 2005.

Bordwell, D., “Intensified continuity: Visual style in contemporary American film—Critical essay,” Film Quarterly, Spring 2002, Volume 55, Number 3, pp. 16–28.

Bordwell, D., Narration in the Fiction Film, University of Wisconsin Press, Madison, 1985.

Bordwell, D., On the History of Film Style, Harvard University Press, Cambridge, MA/London, 1997.

Bordwell, D., and Carroll, N., Post-Theory: Reconstructing Film Studies, University of Wisconsin Press, Madison/London, 1996.

Bordwell, D., Staiger, J., and Thompson, K., The Classical Hollywood Cinema, Routledge, London, 1985.

Bordwell, D., and Thompson, K., Film Art: An Introduction, 5th edition, McGraw–Hill, New York, 1997.

Bottomore, S., “Shots in the dark: The real origins of film editing,” in Early Cinema: Space, Frame, Narrative, edited by Elsaesser, T., with Barker, A., BFI Publishing, London, 1994.

Bottomore, S., “The panicking audience? Early cinema and the ‘train effect’,” Historical Journal of Film, Radio, and Television, June 1999, Volume 19, Issue 2, p. 177.

Brannigan, E., A Cinema of Movement: Dance and the Moving Image, Ph.D. thesis, School of Theatre, Film and Dance, University of New South Wales, Sydney, 2004.

Brogan, T.V.F., “Rhythm,” in The Princeton Encyclopedia of Poetry and Poetics, edited by Preminger, A., and Brogan, T.V.F., Princeton University Press, Princeton, NJ, 1993.

Carroll, N., Theorizing the Moving Image, Cambridge University Press, Cambridge, UK/New York/Melbourne, 1996.

Claxton, G., “The anatomy of intuition,” in The Intuitive Practitioner, Atkinson, T., and Claxton, G., editors, Open University Press, Buckinghamshire/Philadelphia, 2000.

Cook, D., A History of Narrative Film, Norton, London/New York, 1996.

Dancyger, K., The Technique of Film and Video Editing: Theory and Practice, 2nd edition, Focal Press, Boston/Oxford/Johannesburg/Melbourne/New Delhi/Singapore, 1997.

Dancyger, K., and Rush, J., Alternative Scriptwriting, Focal Press, Boston/Oxford/Johannesburg/Melbourne/New Delhi/Singapore, 1995.

Decety, J., Grezes, J., Costes, N., Perani, D., et al., “Brain activity during observation of actions: Influence of action content and subject's strategy,” Brain, October 1997, Volume 120, Issue 10, pp. 1763–1777.

Deleuze, G., Cinema 1: The Movement Image, translated by Tomlinson, H., and Habberjam, B., University of Minnesota Press, Minneapolis, 2003.

Deleuze, G., Cinema 2: The Time Image, translated by Tomlinson, H., and Galeta, R., University of Minnesota Press, Minneapolis, 2003.

Deren, M., “The visual arts today,” in Film Theory and Criticism, Mast, G., and Cohen, M., editors, Oxford University Press, New York/Oxford, 1985.

Durr, W., Gerstenberg, W., and Harvey, J., “Rhythm,” in The New Grove Dictionary of Music and Musicians, Sadie, S., editor, Macmillan, London/Washington, DC/Hong Kong, 1980.

Dymtryk, E., On Film Editing, Focal Press, London, 1984.

Eikhenbaum, B., “Problems of cine stylistics” (1927), translated by Sherwood, R., edited by Taylor, R., in The Poetics of Cinema, Special Issue, Russian Poetics in Translation, RPT Publications, Oxford, 1982, pp. 5–18.

Eisenstein, S., Film Form: Essays in Film Theory, edited and translated by Leyda, J., Harcourt Brace, San Diego/New York/London, 1977.

Fairservice, D., Film Editing: History, Theory and Practice, Manchester University Press, Manchester/New York, 2001.

Feuerstein, G., The Yoga-Sutras of Patañjali: A New Translation and Commentary, Inner-Traditions International, Rochester, VT, 1989.

Feury, P., New Developments in Film Theory, Macmillan, Hampshire/London, 2000.

Fisher, L., “Film editing,” in A Companion to Film Theory, Miller, T., and Stam, R., editors, Blackwell, Malden, MA/Oxford/Carlton, VIC, 2004.

Fraleigh, S.H., Dance and the Lived Body: A Descriptive Aesthetics, University of Pittsburgh Press, Pittsburgh, 1996.

Gannon, S., and Life, D., Jivamukti Yoga, Ballantine Books, New York, 2002.

Giannetti, L., Understanding Movies, 4th edition, Prentice–Hall, Upper Saddle River, NJ, 1987.

Gibson, R., “Acting and breathing,” in Falling for You: Essays on Cinema and Performance, Stern, L., and Kouvaros, G., editors, Power Publications, Sydney, 1999.

Goddard, J.-L., “Montage mon beau souci,” in Godard on Godard: Critical Writings, Narboni, J., and Milne, T., editors, Secker & Warburg, London, 1972.

Greenfield, A., “Filmdance: Space, time and energy,” Filmdance Catalogue, Elaine Summers Experimental Intermediate Foundation, New York, 1983.

Grodal, T.K., Moving Pictures: A New Theory of Film Genres, Feelings and Cognition, Clarendon Press, Oxford, 1997.

Henderson, B., “The long take,” in Movies and Methods: An Anthology, Nichols, B., editor, University of California Press, Berkeley, 1976.

Hooper, G., “Science and the fear of 20th century art,” Real Time + On Screen, Number 60, April–May 2004; online at http://www.rt.airstrip.com.au/article/60/7376. Accessed April 2004.

Humphrey, D., The Art of Making Dances, Grove Press, New York, 1959.

Kennedy, B.M., Deleuze and Cinema: The Aesthetics of Sensation, Edinburgh University Press, Edinburgh, 2004.

Kimergard, L.B., “Editing in the depth of the surface: A few basic principles of graphic editing,” P.O.V., Number 6, “The Art of Film Editing,” online at http://imv.au.dk/publikationer/pov/Issue_06/section_1/artc6A.html.

Kirsner, K., Speelman, C., Maybery, M., O'Brien-Malone, A., Anderson, M., and MacLeod, C., editors, Implicit and Explicit Mental Processes, Erlbaum, Mahwah, NJ/London, 1998.

Kivy, P., “Music in the movies: A philosophical inquiry,” in Film Theory and Philosophy, Allen, R., and Smith, M., editors, Clarendon Press, Oxford, 1997.

Konigsberg, I., The Complete Film Dictionary, New American Library, New York/Scarborough, ON, 1989.

Kuleshov, L.V., Kuleshov on Film, selected, translated, and edited, with an introduction by Levaco, R., University of California Press, Berkeley, 1974.

Le Fanu, M., “On editing,” P.O.V., Number 6, “The Art of Film Editing,” online at http://imv.au.dk/publikationer/pov/Issue_06/section_1/artc1A.html.

Leyda, J., Kino: A History of the Russian and Soviet Film, 3rd edition, Princeton University Press, Princeton, NJ, 1983.

Malloch, S.N., “Mothers and infants in communicative musicality,” Musicae Scientiae, Special Issue, Rhythm, Musical Narrative and Origins of Human Communication, 1999–2000, pp. 13–28.

Malloch, S.N., and Trevathen, C., “The dance of wellbeing: Defining the musical therapeutic effect,” Nordic Journal of Music Therapy, 2000, Volume 9, Number 2, pp. 3–17.

McGrath, D., Screencraft: Editing & Post Production, Rotovision, Crans-Pres-Celigny, Switzerland, 2002.

McKechnie, S., Grove, R., and Stevens, K., Conceiving Connections: Further Choreographic Research, Australian Research Council, Canberra, online at www.ausdance.org/au/connections.

McKechnie, S., Grove, R., and Stevens, K., Unspoken Knowledges: New Choreographic Research, Australian Research Council, Canberra, online at www.ausdance.org/au/unspoken.

McKee, R., Story: Substance, Structure, Style and the Principles of Screenwriting, Methuen, London, 1999.

McLean, A.L., “Feeling and the filmed body,” Film Quarterly, Spring 2002, Volume 55, Number 3, pp. 2–15.

Meyerhold, V., Meyerhold on Theatre, translated and edited with a critical commentary by Braun, E., Methuen Drama, London, 1998.

Michotte, A., The Perception of Causality, Basic Books, New York, 1963.

Mitoma, J., Zimmer, E., and Steiber, D.A., editors, Envisioning Dance on Film and Video, Routledge, New York/London, 2002.

Mitry, J., The Aesthetics and Psychology of Cinema, translated by King, C., Athalone Press, London, 1998.

Modell, A.H., Imagination and the Meaningful Brain, MIT Press, Cambridge, MA/London, 2003.

Motion Picture Editors Guild Newsletter, online at www.editorsguild.com/newsletter/SpecialJun97/directors.html.

Mundal, S., “Notes of an editing teacher,” P.O.V., Number 6, “The Art of Film Editing,” http://imv.au.dk/publikationer/pov/Issue_06/section_1/artc4A.html.

Murch, W., In the Blink of an Eye, AFTRS Publishing, Sydney, 1992.

Murch, W., In the Blink of an Eye, Second Edition, Silman–James Press, Los Angeles, 2001.

Neill, A., “Empathy and (film) fiction”, in Post-Theory, Bordwell, D., and Carroll, N., editors, University of Wisconsin Press, Madison, 1996.

Newlove, J., and Dalby, J., Laban for All, Routledge, New York/Nick Hern Books, London, 2004.

Noddings, N., and Shore, P.J., Awakening the Inner Eye: Intuition in Education, Teachers College Press, Columbia University, New York/London, 1984.

O'Steen, S., Cut to the Chase: Forty-five Years of Editing America's Favorite Movies, as told to O'Steen, B., Michael Wiese Productions, Studio City, CA, 2002.

Oldham, G., First Cut: Conversations with Film Editors, University of California Press, Berkeley/Los Angeles/Oxford, 1992.

Ondaatje, M., The Conversations: Walter Murch and the Art of Editing Film, Bloomsbury Publishing, London, 2002.

Orpen, V., Film Editing: The Art of the Expressive, Wallflower, London/New York, 2003.

Panikkar, K.N., “Rhythm and its applications,” in Creative Arts in Modern India (Essays in Comparative Criticism), Parimoo, R., and Sharma, I., editors, Books & Books, New Delhi, 1995.

Panofsky, E., “Style and medium in the motion pictures,” reprinted from “Bulletin from the Department of Art and Archeology,” in Film Theory and Criticism: Introductory Readings, 3rd edition, Mast, G., and Cohen, M., editors, Oxford University Press, Oxford/New York, 1985.

Pearlman, K., and Allen, R.J., New Life on the 2nd Floor, Tasdance, Launceston, 1996.

Pearlman, K., and Allen, R.J., editors, Performing the Unnameable: An Anthology of Australian Performance Texts, Currency Press and RealTime, Sydney, 1999.

Pepperman, R.D., The Eye Is Quicker: Film Editing: Making a Good Film Better, Michael Weise Productions, Studio City, CA, 2004.

Peters, J.M., Pictorial Communication, translated by Coombes, M., Philip, Cape Town, 1977.

Pitches, J., Vsevolod Meyerhold, Routledge, London/New York, 2003.

Preminger, A., and Brogan, T.V.F., editors, The New Princeton Encyclopedia of Poetry and Poetics, Princeton University Press, Princeton, NJ, 1993.

Pudovkin, V., “Film technique,” reprinted in Film Theory and Criticism, 3rd edition, Mast, G., and Cohen, M., editors, Oxford University Press, Oxford/New York, 1985.

Pudovkin, V.I., On Film Technique and Film Acting (revised memorial edition—1st edition 1929), Vision Press, London, 1974.

Ramachandran, V.S., “Mirror neuron and imitation learning as the driving force behind ‘the great leap forward’ in human evolution,” online at www.edge.org/3rd_culture/ramachandran/ramachandran_p2.html, 11/09/2004.

Reisz, K., and Millar, G., The Technique of Film Editing, Focal Press, London/Boston, 1984.

Restak, R., Brainscapes: An Introduction to What Neuroscience Has Learned about the Structure, Function and Abilities of the Brain, Hyperion, New York, 1995.

Restak, R., The New Brain: How the Modern Age Is Rewiring Your Mind, Rodale, Emmaus, PA, 2003.

Rosenblum, R., When the Shooting Stops, the Cutting Begins: A Film Editor's Story, Penguin, New York, 1979.

Rowe, K., “Dany Cooper interview,” Inside Film Magazine, November 2004, 71, pp. 43–44.

Salt, B., Film Style and Technology: History and Analysis, Starwood, London, 1983.

Sayles, J., Thinking in Pictures: The Making of the Movie ‘Matewan’, Houghton Mifflin, Boston, 1987.

Schmidt, M.R., and Stivers, C., “You know more than you can say: In memory of Donald A,” Schon (1930–1997). Public Administration Review, May 2000, Volume 60, Number 3, pp. 265–274.

Schmidt, P., “Introduction,” in Meyerhold at Work, Schmidt, P., editor, Applause, New York/London, 1996.

Scholes, P.A., The Oxford Companion to Music, 10th edition, edited by Ward, J.O., Oxford University Press, Oxford, 2000.

Schon, D., The Reflective Practitioner: How Professionals Think in Action, Basic Books, London, 1991.

Sheets, M., “Phenomenology: An approach to dance,” in The Dance Experience, Nadel, M.H., and Miller, C.N., editors, Universe Books, New York, 1978.

Smith, M., Engaging Characters: Fiction, Emotion and the Cinema, Clarendon Press, Oxford, 1995.

Smith, M., “Imagining from the inside,” in Film Theory and Philosophy, Allen, R., and Smith, M., editors, Clarendon Press, Oxford, 1997.

Sobchak, V., The Address of the Eye: A Phenomenology of Film Experience, Princeton University Press, Princeton, NJ, 1992.

Sokolowski, R., Introduction to Phenomenology, Cambridge University Press, Cambridge, UK/New York/Melbourne/Madrid, 2000.

Sollberger, A., Biological Rhythm Research, Elsevier, Amsterdam/New York/London, 1965.

Stam, R., Film Theory: An Introduction, Blackwell, Malden, MA/Oxford/Carlton, VIC, 2000.

Stein, J., and Urdang, L., editors, The Random House Dictionary of the English Language, unabridged version, Random House, New York, 1966.

Stern, L., and Kouvaros, G., editors, Falling for You: Essays on Cinema and Performance, Power Publications, Sydney, 1999.

Stevens, K., McKechnie, S., Malloch, S., and Petocz, A., “Choreographic cognition: Composing time and space,” in Proceedings of the 6th International Conference on Music Perception & Cognition, edited by Woods, C., Luck, G., Brochard, R., Seddon, F., Sloboda, J.A., and O'Neill, S., Keele University, Keele, UK, August 2000.

Tarkovsky, A., Sculpting in Time, translated by Blair-Hunter, K., University of Texas Press, Austin, 1986.

Tobias, J., “Cinema, scored: Toward a comparative methodology for music in media,” Film Quarterly, 2004, Volume 57, Number 2, pp. 26–36.

Todd, M.E., The Thinking Body: A Study of the Balancing Forces of Dynamic Man, Dance Horizons, Hightstown, NJ, 1973.

Turim, M., Flashbacks in Film: Memory & History, Routledge, New York/London, 1989.

Van Leeuwen, T., “Rhythmic structure of the film text,” in Discourse and Communication: New Approaches to the Analysis of Mass Media Discourse and Communication, van Dijk, T.A., editor, de Gruyter, Berlin/New York, 1985.

Van Leeuwen, T., Introducing Social Semiotics, Routledge, New York, 2005.

Vertov, D., Kino-Eye: the Writings of Dziga Vertov, edited by Michelson, A., translated by O'Brien, K., University of California Press, Berkeley/Los Angeles/London, 1984.

Wartenburg, T.E., and Curran, A., The Philosophy of Film: Introductory Text and Readings, Blackwell, Malden, MA/Cambridge, UK/Carlton, VIC, 2005.

Weidman, V., “Film editing—A hidden art?” P.O.V., Number 6, The Art of Film Editing, online at http://imv.au.dk/publikationer/pov/Issue_06/section_1artc2A.html.

Weiss, E., and Belton, J., editors, Film Sound: Theory and Practice, Columbia University Press, New York, 1985, online at www.moviemaker.com/hop/vol3/02/editing2.html.