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François Bovier, « Le Film face à l’exposition », dans L’Exposition d’un film, dir. Mathieu Copeland (Dijon: Les Presses du réel, 2015), 66‑82.

Thomas Elsaesser, « Digital Cinema and the Apparatus: Archaeologies, Epistemologies, Ontologies », dans Cinema and Technology: Cultures, Theories, Practices, dir. Bruce Bennett, Marc Furstenau et Adrian MacKenzie (Basingstoke, New York: Palgrave Macmillan, 2008), 226‑40.

Thomas Elsaesser, « Media Archaeology as the Poetics of Obsolescence », dans At the Borders of (Film) History: Temporality, Archaeology, Theories, dir. Alberto Beltrame, Giuseppe Fidotta et Andrea Mariani (Udine: Forum, 2015), 103‑16.

Thomas Elsaesser, « Freud and the Technical Media: The Enduring Magic of the Wunderblock », dans Media Archaeology: Approaches, Applications, and Implications, dir. Erkki Huhtamo et Jussi Parikka (Berkeley: University of California Press, 2011), 95‑115.

Thomas Elsaesser, Film History as Media Archaeology: Tracking Digital Cinema (Amsterdam: Amsterdam University Press, 2016).

Thomas Elsaesser et Malte Hagener, Film Theory: An Introduction Through the Senses, 2nd edition (New York: Routledge, 2015).

Marc Furstenau et Leslie MacAvoy, « Terrence Malick’s Heideggerian Cinema: War and the Question of Being in <<The Thin Red Line>> », dans The Cinema of Terrence Malick: Poetic Visions of America, dir. Hannah Patterson (London: Wallflower Press, 2003), 173‑85.

Tom Gunning et Katarina Loew, « Lunar Longings and Rocket Fever: Rediscovering “Woman in the Moon” », dans A Companion to Fritz Lang, par Joe McElhaney (West Sussex: Wiley Blackwood, 2015), 554‑86.

Tom Gunning et al., Fantasia of Color in Early Cinema (Amsterdam: Amsterdam University Press, 2015).

We normally think of early film as being black and white, but in truth, the first color cinematography appeared as early as the first decade of the twentieth century. In this visually stunning book, the authors present a treasure trove of early color film images from the archives of EYE Film Institute Netherlands, bringing to life their rich hues and forgotten splendor. Carefully selecting and reproducing frames from the original film of movies made before World War I, Gunning, Yumibe, Fossati, and Rosen share the images here in a full range of tone and colors. Accompanying essays discuss the history of early film and the technical processes that filmmakers employed to capture these fascinating images, while other contributions explore preservation techniques and describe the visual delights that early film has offered audiences, both then and now. Featuring three hundred color illustrations for readers to examine and enjoy, Fantasia of Color in Early Cinema will engage scholars and buffs alike.

Tom Gunning, « Weaving a Narrative: Style and Economic Background in Griffith’s Biograph Films », Quarterly Review of Film Studies 6, no 1 (1981): 11‑25, doi:10.1080/10509208109361076.