[1]
16:9 - November 2008 - In English: Towards an Aesthetic of Slow in Contemporary Cinema: http://www.16-9.dk/2008-11/side11_inenglish.htm.
[2]
Aaron, M. 2004. New Queer Cinema: an introduction. New queer cinema: a critical reader. Edinburgh University Press. 3–14.
[3]
Akerman, C. et al. 2007. Chantal Akerman collection: les années 70, de jaren ’70. Cinéart.
[4]
Andrew, D. 2010. What cinema is!: Bazin’s quest and its charge. Wiley-Blackwell.
[5]
Andrews, D. 2013. Theorizing art cinemas: foreign, cult, avant-garde, and beyond. University of Texas Press.
[6]
Antonioni, M. 2008. L’avventura. Mr Bongo Films.
[7]
Babuscio, J. 2004. Camp and the Gay Sensibility. Queer cinema: the film reader. Routledge. 121–136.
[8]
Badley, L. et al. 2006. Traditions in world cinema. Edinburgh University Press.
[9]
Badley, L. et al. 2006. Traditions in world cinema. Edinburgh University Press.
[10]
Barnard, C. et al. 2011. The arbor. Verve Pictures.
[11]
Baumann, S. 2007. Hollywood highbrow: from entertainment to art. Princeton University Press.
[12]
Betz, M. 2009. Beyond the subtitle: remapping European art cinema. University of Minnesota Press.
[13]
Betz, M. 2009. Beyond the subtitle: remapping European art cinema. University of Minnesota Press.
[14]
Beugnet, M. 2007. Cinema and sensation: French film and the art of transgression. Edinburgh University Press.
[15]
Beugnet, M. 2007. Cinema and sensation: French film and the art of transgression. Edinburgh University Press.
[16]
Bird, R. 2008. Andrei Tarkovsky: elements of cinema. Reaktion Books.
[17]
Bordun, T. 2017. Genre trouble and extreme cinema: film theory at the fringes of contemporary art cinema. Palgrave Macmillan.
[18]
Bordwell, D. et al. 2019. Film art: an introduction. McGraw-Hill Education.
[19]
Bordwell, D. 1985. Narration in the fiction film. University of Wisconsin Press.
[20]
Bordwell, D. 2008. Poetics of cinema. Routledge.
[21]
Bordwell, D. 2016. The Art Cinema as a Mode of Film Practice. Film theory and criticism: introductory readings. L. Braudy and M. Cohen, eds. Oxford University Press. 580–588.
[22]
Bould, M. 2014. Solaris. Palgrave Macmillan on behalf of the British Film Institute.
[23]
Breillat, C. 2004. Fat girl. Criterion collection.
[24]
Brunette, P. 2010. Michael Haneke. University of Illinois Press.
[25]
Bruzzi, S. 2006. Chapter 6 - The Performative Documentary. New documentary: a critical introduction. Routledge. 185–218.
[26]
Caglayan, E. 2018. Poetics of slow cinema: nostalgia, absurdism, boredom. Palgrave Macmillan.
[27]
Carl Plantinga Disgusted at the Movies. Film Studies. 8, 1, 81–92. DOI:https://doi.org/https://doi.org/10.7227/FS.8.9.
[28]
Carruthers, L. 2011. M. Bazin et le temps: reclaiming the timeliness of cinematic time. Screen. 52, 1 (Mar. 2011), 13–29. DOI:https://doi.org/10.1093/screen/hjq053.
[29]
Cleto, F. 1999. Camp: queer aesthetics and the performing subject : a reader. Edinburgh University Press.
[30]
Cowie, E. 2011. Recording Reality, Desiring the Real. University of Minnesota Press.
[31]
Davis, N. 2013. The desiring-image: Gilles Deleuze and contemporary queer cinema. Oxford University Press.
[32]
De Jong, W. et al. 2008. Rethinking documentary: new perspectives and practices. Open University.
[33]
De Luca, T. and Jorge, N.B. 2016. Introduction. Slow cinema. T. De Luca and N.B. Jorge, eds. Edinburgh University Press. 1–21.
[34]
Deleuze, G. et al. 1989. Cinema 2: the time image. Athlone Press.
[35]
Deleuze, G. et al. 1989. Cinema 2: the time image. Athlone Press.
[36]
Deleuze, G. 2005. Cinema 2: the time-image. Continuum.
[37]
Denis, C. 2005. Trouble every day. Tartan.
[38]
Doane, M.A. 2002. The emergence of cinematic time: modernity, contingency, the archive. Harvard University Press.
[39]
Dolan, X. et al. 2011. Heartbeats: Amours imaginaires. Network Releasing.
[40]
Dumont, B. 2008. La vie de Jésus =: The life of Jesus. Eureka Video.
[41]
Dumont, B. L’humanité. Artificial Eye, [1999?].
[42]
Dumont, B. 2005. Twentynine palms. Tartan Video.
[43]
Dunye, C. et al. 2003. The watermelon woman. Peccadillo.
[44]
Duval, J. et al. 2003. Nowhere. Pathé.
[45]
Elsaesser, T. 2005. European Cinema: Face to Face with Hollywood. Amsterdam University Press.
[46]
Elsaesser, T. Sight and sound. 4, 4, 22–27.
[47]
Ezra, E. 2004. European cinema. Oxford University Press.
[48]
Ezra, E. 2004. European cinema. Oxford University Press.
[49]
Forbes, J. and Street, S. 2000. European cinema: an introduction. Palgrave.
[50]
Fowler, C. 2002. The European cinema reader. Routledge.
[51]
Fowler, C. 2002. The European cinema reader. Routledge.
[52]
Frey, M. 2016. Extreme cinema: the transgressive rhetoric of today’s art film culture. Rutgers University Press.
[53]
Fusco, K. and Seymour, N. 2017. Kelly Reichardt. University of Illinois Press.
[54]
Galt, R. and Schoonover, K. 2010. Global art cinema: new theories and histories. Oxford University Press.
[55]
Galt, R. and Schoonover, K. 2010. Global art cinema: new theories and histories. Oxford University Press.
[56]
Galt, R. and Schoonover, K. 2010. Introduction: The Impurity of Art Cinema. Global art cinema: new theories and histories. Oxford University Press. 3–30.
[57]
Gibbs, J. and Pye, D. 2017. The Long Take - Critical Approaches. LONG TAKE : CRITICAL APPROACHES; ED. BY JOHN GIBBS. PALGRAVE MACMILLAN. 1–26.
[58]
Grant, C. and Kuhn, A. 2006. Screening world cinema. Routledge.
[59]
Grant, C. and Kuhn, A. 2006. Screening world cinema. Routledge.
[60]
Griffiths, R. 2011. New Queer Cinema. Routledge international encyclopedia of queer culture. Routledge. 424–426.
[61]
Gronstad, A. 2012. Against Commodification: Unwatchable Cinema and the Question of Ethics. Screening the unwatchable: spaces of negation in post-millennial art cinema. Palgrave Macmillan. 15–42.
[62]
Grønstad, A. 2016. Film and the ethical imagination. Palgrave Macmillan.
[63]
Grundmann, R. 2010. A companion to Michael Haneke. Wiley-Blackwell.
[64]
Hall, E.D. 2019. The films of Kelly Reichardt. Edinburgh University Press.
[65]
Haneke, M. et al. 2006. 71 fragments of a chronology of chance. Kino Internation Corp.
[66]
Haneke, M. 2006. Benny’s video. Kino Video.
[67]
Haneke, M. et al. 2005. Hidden: (Caché). Artificial Eye.
[68]
Haneke, M. et al. 2006. The seventh continent. Kino International Corp.
[69]
Hanich, J. 2009. Dis/liking disgust: the revulsion experience at the movies. New Review of Film and Television Studies. 7, 3 (Sep. 2009), 293–309. DOI:https://doi.org/10.1080/17400300903047052.
[70]
Haynes, T. 1999. Poison [Videorecording]. Fox Lorber.
[71]
Hill, J. and Gibson, P.C. 2000. World cinema: critical approaches. Oxford University Press.
[72]
Hjort, M. 2005. Small nation, global cinema: the new Danish cinema. University of Minnesota Press.
[73]
Hjort, M. and MacKenzie, S. 2003. Purity and provocation: Dogma 95. BFI Pub.
[74]
Horeck, T. and Kendall, T. 2011. The new extremism in cinema: from France to Europe. Edinburgh University Press.
[75]
Inglis, D. and Hughson, J. 2005. The sociology of art: ways of seeing. Palgrave Macmillan.
[76]
Jaffe, I. 2014. Slow Movies: Countering the Cinema of Action. Columbia University Press.
[77]
Jansuda, J. et al. 2006. Blissfully yours. Second Run.
[78]
Jarman, D. and Marlowe, C. 2010. Edward II. Second Sight Films Ltd.
[79]
Jia, Z. et al. 2008. Still life. BFI.
[80]
Johnson, B. 2016. Art Cinema and                              : Tape-recorded Testimony, Film Art and Feminism. Journal of British Cinema and Television. 13, 2 (Apr. 2016), 278–291. DOI:https://doi.org/10.3366/jbctv.2016.0313.
[81]
Kelly, R. 2000. The Name of this book is Dogme95. Faber and Faber.
[82]
Kilbourn, R.J.A. 2011. Cinema, memory, modernity: the representation of memory from the art film to transnational cinema. Routledge.
[83]
King, G. 2019. Positioning art cinema: film and cultural value. I.B. Tauris.
[84]
Koepnick, L.P. 2014. On slowness: toward an aesthetic of the contemporary. Columbia University Press.
[85]
Koepnick, L.P. 2017. The long take: art cinema and the wondrous. University of Minnesota Press.
[86]
Korine, H. 2001. Julien donkey-boy. Tartan Video.
[87]
Kovács, A.B. 2008. Screening Modernism: European Art Cinema, 1950-1980. University of Chicago Press.
[88]
Le Fanu, M. 1987. The cinema of Andrei Tarkovsky. BFI Pub.
[89]
Libby  Saxton Secrets and revelations: Off-screen space in Michael Haneke’s Caché (2005). Studies in French Cinema. 19, 1, 5–17.
[90]
Lübecker, N. d’Origny 2015. The feel-bad film. Edinburgh University Press.
[91]
Ma, J. 2010. Melancholy drift: marking time in Chinese cinema. Hong Kong University Press.
[92]
McCann, B. and Sorfa, D. 2012. The Cinema of Michael Haneke: Europe Utopia. Columbia University Press.
[93]
Meek, M. ed. 2019. Independent female filmmakers: a chronicle through interviews, profiles, and manifestos. Routledge.
[94]
Mello, C. 2016. If These Walls Could Speak: From Slowness to Stillness in the Cineam of Jia Zhangke. Slow cinema. T. De Luca and N.B. Jorge, eds. Edinburgh University Press. 137–149.
[95]
Menninghaus, W. 2003. Disgust: the theory and history of a strong sensation. State University of New York Press.
[96]
Meyer, M. 2004. Reclaiming the Discourse of Camp. Queer cinema: the film reader. Routledge. 137–150.
[97]
Mroz, M. 2012. Temporality and film analysis. Edinburgh University Press.
[98]
Nagib, L. et al. 2012. Theorizing world cinema. I.B. Tauris.
[99]
Neale, S. 1981. Art Cinema as Institution. Screen. 22, 1 (May 1981), 11–40. DOI:https://doi.org/10.1093/screen/22.1.11.
[100]
Nichols, B. 2017. Introduction to documentary. Indiana University Press.
[101]
Noé, G. 2003. Irreversible. Tartan Video.
[102]
Nowell-Smith, G. 1996. Art Cinema. The Oxford history of world cinema. Oxford University Press. 567–575.
[103]
Papenburg, B. and Zarzycka, M. eds. 2013. Carnal aesthetics: transgressive imagery and feminist politics. I.B. Tauris.
[104]
Parkins, W. and Craig, G. 2006. Slow living. Berg.
[105]
Petric, V. 1989. Tarkovsky’s Dream Imagery. Film Quarterly. 43, 2 (Dec. 1989), 28–34. DOI:https://doi.org/10.2307/1212806.
[106]
Quandt, J. 2011. Flesh and Blood: Sex and Violence in Recent French Cinema. The New Extremism in Cinema: From France to Europe. Edinburgh University Press. 15–18.
[107]
Reichardt, K. et al. 2009. Wendy and Lucy. Soda.
[108]
Renov, M. 2008. First-person films: Some theses on self-inscription. Rethinking Documentary: New Perspectives And Practices. McGraw-Hill Education. 39–50.
[109]
Rich, B.R. 2013. New queer cinema: the director’s cut. Duke University Press.
[110]
Roman, S. 2001. Digital Babylon: Hollywood, Indiewood & Dogme 95. IFILM.
[111]
Rosenthal, A. and Corner, J. 2005. New challenges for documentary. Manchester University Press.
[112]
Russell, D. 2010. Rape in art cinema. Continuum.
[113]
Sayad, C. 2013. The Author in the World: Trance, Presence and Documentary Filmmaking. Performing Authorship: Self-Inscription and Corporeality in the Cinema. I.B.Tauris. 71–106.
[114]
Self Made (Boreg) - Cineuropa: https://cineuropa.org/en/film/347450/.
[115]
Skakov, N. 2012. The cinema of Tarkovsky: labyrinths of space and time. I.B. Tauris.
[116]
Society for Education in Film and Television and Neale, S. Screen: the journal of the Society for Education in Film and Television. Screen. 22, 1.
[117]
Soderbergh, S. et al. 2003. Solaris. 20th Century Fox.
[118]
Sontag, S. 1999. 2. Notes on ‘Camp’. Camp: queer aesthetics and the performing subject : a reader. Edinburgh University Press. 53–65.
[119]
Speck, O.C. 2010. Funny frames: the filmic concepts of Michael Haneke. Continuum.
[120]
Stacey, J. 2007. Queer Theory and New Queer Cinema. The cinema book. British Film Institute Publishing. 505–507.
[121]
Stevenson, J. 2003. Dogme uncut: Lars von Trier, Thomas Vinterburg, and the gang that took on Hollywood. Santa Monica Press.
[122]
Tarkovskiĭ, A.A. et al. 2002. Mirror: a film. Artificial Eye.
[123]
Tarkovskiĭ, A.A. et al. 2002. Nostalgia. Artificial Eye.
[124]
Tarkovskiĭ, A.A. 1986. Sculpting in time: reflections on the cinema. University of Texas Press.
[125]
Tarkovskiĭ, A.A. et al. 2001. Solaris. Artificial Eye.
[126]
Tarkovskiĭ, A.A. et al. 2002. Stalker: a film. Artificial Eye.
[127]
Taxidou, O. and Orr, J. 2000. Post-war cinema and modernity: a film reader. Edinburgh University Press.
[128]
Taxidou, O. and Orr, J. 2000. Post-war cinema and modernity: a film reader. Edinburgh University Press.
[129]
Thomson, C.C. 2014. Thomas Vinterberg’s Festen (The celebration). University of Washington Press.
[130]
TIM PALMER 2006. Style and Sensation in the Contemporary French Cinema of the Body. Journal of Film and Video. 58, 3 (2006), 22–32.
[131]
Trier, L. von 2000. The idiots. Tartan.
[132]
Trier, L. von and Bjork 2002. Dancer in the dark. Film 4.
[133]
von Trier, L. and Vinterberg, T. 2014. DOGME 95 AND VOW OF CHASTITY. Film Manifestos and Global Cinema Cultures: A Critical Anthology. University of California Press. 201–203.
[134]
Turner, S.E. et al. 2013. Perestroika: Perestroika : reconstructed. LUX.
[135]
Tutor, A. 2005. The Rise and Fall of the Art (House) Movie. The sociology of art: ways of seeing. Palgrave Macmillan. 125–138.
[136]
Tweedie, J. 2013. The age of new waves: art cinema and the staging of globalization. Oxford University Press.
[137]
Valck, M. de 2007. Film festivals: from European geopolitics to global cinephilia. Amsterdam University Press.
[138]
Van Sant, G. 2009. Gus Van Sant: Milk, Paranoid Park, Last Days, Elephant, Mala Noche. A Film.
[139]
Van Sant, G. 2008. My own private Idaho. Warner Home Video.
[140]
Vidal, B. et al. Cinema at the Periphery. Wayne State University Press.
[141]
Vinterberg, T. 2008. Festen. Metrodome.
[142]
Waters, J. 2001. Pink flamingos/Female trouble. New Line.
[143]
Western Association for German Studies and German Studies Association 1978. German studies review. 30, 1 (1978), 121–140.
[144]
Wheatley, C. 2009. Michael Haneke’s cinema: the ethic of the image. Berghahn.
[145]
Wilinsky, B. 2001. Sure seaters: the emergence of art house cinema. University of Minnesota Press.
[146]
Yosef, R. 2011. The politics of loss and trauma in contemporary Israeli cinema. Routledge.
[147]
Zidane, Z. et al. 2006. Zidane, a 21st century portrait. Artificial Eye.
[148]
2012. Borders and Checkpoints. Place Memory And Myth In Contemporary Israeli Cinema. Mitchell Vallentine & Company. 41–55.
[149]
ReFocus: The Films of Xavier Dolan. Edinburgh University Press.
[150]
The New Extremisms: Rethinking Extreme Cinema.
[151]
Time and the Film Aesthetics of Andrei Tarkovsky | Canadian Journal of Film Studies.