Uvod u teoriju filmske priče | Nikica Gilić
7. BIBLIOGRAFIJA
Abbott, H. Porter (2002), The Cambridge Introduction to Narrative, Cambridge: Cambridge University Press.
Andrew, J. Dudley [Endru, Dž. Dadli] (1980), Glavne filmske teorije, Beograd: Institut za film.
Aristotel (1983), O pjesničkom umijeću, Prijevod i objašnjenja Zdeslav Dukat, Zagreb: August Cesarec.
Arnheim, Rudolf (1962), Film kao umetnost, Beograd: Narodna knjiga.
Bal, Mieke (1992), „Prema kritičkoj naratologiji“, u Suvremena teorija pripovijedanja, str. 313-340.
Bal, Mieke (1999), Narratology, Introduction to the Theory of Narrative, Toronto, Buffalo, London: University of Toronto Press – 2. izdanje (prvi put tiskano 1997, prvo izd. iz 1985).
Barthes, Roland (1966), “Introduction à l’analyse structurale des récits”, u Communications, 8, str. 1-27.
Barthes, Roland (1982), “Introduction to the Structural Analysis of Narratives” u Roland Barthes, Image, Music, Text: Essays Selected and Translated by Stephen Heath, 3. izdanje (prvo izdanje iz 1977.), Glasgow: Fontana, str. 79-124.
Barthes, Roland (1992), “Uvod u strukturalnu analizu pripovjednih tekstova”, u Suvremena teorija pripovijedanja, str. 47-78.
Bašić, Sonja (1982), “Od realističkog iluzionizma do naratologije: pripovjedačko gledište između Jamesa i Genettea”, u Umjetnost riječi, XXVI, 3-4.
Bašić, Sonja (1983), “From James’s Figures to Genette’s Figures: Point of view and Narratology”, u Révue française d’études americaines, No 17 (vol VIII), Mai, str. 201-215 (separat).
Beker, Miroslav (1982), “Priča i njezina obrada”, u Književna smotra, XIV (1982), 47/8, str. 15-26.
Biti, Vladimir (1997), Pojmovnik suvremene književne teorije, Zagreb: Matica hrvatska.
Biti, Vladimir (2000), Pojmovnik suvremene književne i kulturne teorije, Zagreb: Matica hrvatska.
Biti, Vladimir (2000b), Strano tijelo pri/povijesti, Zagreb: Hrvatska sveučilišna naklada.
Bjelica, Isadora (2000), Sajber Aristotel, Beograd: Čigoja štampa.
Bordwell, David (1986), Narration in the Fiction Film, London: Methuen (prvo tiskanje 1985).
Bordwell, David (1996), Making Meaning: Inference and Rhetoric in the Interpretation of Cinema, Cambridge, Massachusetts, London, England: Harvard University Press – prvo tiskanje 1989.
Bordwell, David (1996b), “Contemporary Film Studies and the Vicissitudes of Grand Theory”, u Post-Theory, str. 3-36.
Bordwell, David (1999), “Argumenti u prilog kognitivizma”, u Hrvatski filmski ljetopis, 19/20 (V), str. 7-20 (prevedeno iz časopisa Iris, 1989, Spring, No. 9, str. 11-41).
Bordwell, David (2022), Tvorba značenja: izvođenje zaključaka i retorika u interpretaciji filma, prevela Diana Nenadić, Zagreb: Sandorf.
Bordwell, David, Staiger, Janet i Thompson, Kristin (1999), The Classical Hollywood Cinema, Film Style & Mode of Production to 1960, London: Routledge (prvo izdanje 1985).
Bordwell, David, Thompson, Kristin (1990), Film Art, An Introduction, 3. izdanje, New York itd: McGraw-Hill Publishing Company (prvo izd. 1979).
Bordwell, David, Thompson, Kristin (2001), Film Art, An Introduction, 6. izdanje, New York, itd: McGraw-Hill Publishing Company.
Branigan, Edward (2001), Narrative Comprehension and film, London, New York: Routledge. (prvo tiskanje 1992)
Bremond, Claude (1966), “La logique des possibles narratifs”, u Communications, br. 8, str. 60-76.
Brooks, Peter (1992), Reading for the Plot, Cambridge, Massachusetts, London, England: Harvard University Press (prvo tiskanje 1984).
Brooks, Virginia (1999), “Film, percepcija i kognitivna psihologija” u Hrvatski filmski ljetopis, V, 19-20, str. 26-37.
Buckland, Warren (2000), The Cognitive Semiotics of Film, Cambridge: Cambridge University Press
Burch, Noël [Birš, Noel] (1972), Praksa filma, ogled, Beograd: Institut za film.
Burch, Noël (1990), Life to those Shadows, Berkeley and Los Angeles: University of California Press.
Carroll, Noël (1996), “Prospects for Film Theory: A Personal Assessment”, u Post-Theory, str. 37-70.
Chatman, Seymour (1980), Story and Discourse, Narrative Structure in Fiction and Film, Ithaca and London: Cornell University Press (prvo tiskanje 1978).
Chatman, Seymour (1990), Coming to Terms, The Rhetoric of Narrative in Fiction and Film, Ithaca and London: Cornell University Press.
Chatman, Seymour (1999), “New Directions in Voice-Narrated Cinema” u Narratologies, str. 315-340.
Cobley, Paul (2001), Narrative, London, New York: Routledge.
Cohn, Dorrit (2000), “Discordant Narration” u Style, Vol 34, No. 2, str. 307-316.
Collier, James Lincoln [Kolijer, Džems Linkoln] (1989), Istorija džeza, Beograd: Nolit.
Contemporary Film Theory (1994), (prvo izdanje 1993), ur. Antony Easthope, London i New York: Longman
Cook, David, A. (1990), A History of Narrative Film, New York and London: W.W.Norton&Company – drugo izdanje; prvo izd.1981.
Cook, Pam i Bernink, Mieke, ur. (2000), The Cinema Book, 2nd edition, London: British Film Institute.
Culler, Jonathan (1980), “Fabula and Sjuzhet in the Analysis of Narrative – Some American Discussions”, u Poetics Today, Vol 1, No 3, str. 27-37.
Culler, Jonathan (1983), Foreword u Genette, Gérard (1983), str. 7-13.
Culler, Jonathan (2001), Književna teorija, vrlo kratak uvod, Zagreb: AGM.
Eagle, Herbert (1981), Russian Formalist Film Theory, Michigan Slavic Publications, University of Michigan.
Ebert, Roger (1997), “Hannah and Her Sisters, Roger Ebert Review”, u Microsoft Cinemania ’97.(CD ROM; Microsoft Corporation),
Edmiston, William F. (1989), “Focalization and the First-Person Narrator: A Revision of the Theory”, u Poetics Today, vol. 10, No. 4, str. 729-744.
Ejhenbaum [Ejxenbaum, B.] (1981), “Problems of Cinema Stylistics” u Eagle, Herbert, str. 55-80
Ejzenštejn, Sergej M. (1978), “Vertikalna montaža” u Teorija filma, str. 213-238.
Fecé, Josep Lluis (2004) “Fokalizacija i točka gledišta u fikcijskom filmu”, Hrvatski filmski ljetopis, X, 37.
Film i emocije (2002), ur. Hrvoje Turković, u Hrvatski filmski ljetopis, VIII, 30, str. 29-78.
Filmska enciklopedija 1-2 (1986-1990), ur. Ante Peterlić, Zagreb: JLZ “Miroslav Krleža”.
Fludernik, Monika (1996), Towards a “Natural” Narratology, London and New York: Routledge.
Genette, Gérard (1983), Narrative Discourse: An Essay in Method, prev. Jane E. Lewin, Ithaca and New York: Cornell University Press. (prvo tiskanje 1980; izvornik iz 1972.)
Genette, Gérard (1983b), Nouveau discours du récit, Paris: Editions du seuil.
Genette, Gérard (1990), Narrative Discourse Revisited, Ithaca, New York: Cornell University Press (prvo tiskanje 1988, prijevod Genette, 1983b).
Genette, Gérard (1992), “Tipovi fokalizacije i njihova postojanost” u Suvremena teorija pripovijedanja, str. 96-115.
Gibson, Andrew (1996), Towards a postmodern theory of narrative, Edinburgh: Edinburgh University Press
Gilić, Nikica (1997), “Pripovjedač i podrazumijevani autor u teorijskom modelu Seymoura Chatmana” u Hrvatski filmski ljetopis, III, 11, str. 83-92.
Gilić, Nikica (2003), “Filmološki formalizam i velike teorije” u Hrvatski filmski ljetopis, IX, 35, str. 32-39.
Gligo, Nikša (1996), Pojmovni vodič kroz glazbu 20. stoljeća, Zagreb: Muzički informativni centar KDZ, Matica hrvatska.
Grdešić, Maša (2015), Uvod u naratologiju, Zagreb: Leykam International.
Hayward, Susan (2002), Cinema Studies, The Key Concepts, London, New York: Routledge – prvo tiskanje 2000.
Heath, Stephen (1986), “Narrative Space”, u Narrative, Apparatus, Ideology – A Film Theory Reader, ur. Philip Rosen, New York: Columbia University Press, str. 379-420.
Hemingway, Ernest (1966), Hills Like White Elephants, in E. Hemingway, The Short Stories, New York: Charles Scribner’s Sons, str. 273-8.
Hemingway, Ernest (1966), The Killers, in E. Hemingway, The Short Stories, New York: Charles Scribner’s Sons, str. 279-289.
Herman, David (2001), “Narratology as a cognitive science”, >http://millennium.arts.kuleuven.ac.be/narrative/preview_art_1.cfm?article_ID=89&kind=2> ; URL pregledan 13.12.2001.
Lazarillo de Tormes (1964), prev. Jakša Sedmak, Zagreb: Naprijed.
Lotman, Jurij (1975), Semiotika filma, Beograd: Institut za film.
Lučić, Krunoslav (2024), Povijest rane i klasične teorije filma, Zagreb: Filozofski fakultet Sveučilišta u Zagrebu, FF press. (https://doi.org/10.17234/9789533791487)
MacCabe, Colin (1986), “Theory and Film: Principles of Realism and Pleasure”, u Narrative, Apparatus, Ideology – A Film Theory Reader, ur. Philip Rosen, New York: Columbia University Press, str. 179-197.
MacCabe, Colin (1994), “Realism and the Cinema”, u Contemporary Film Theory, str. 53-67.
Majer-Bobetko, Sanja (1991), Osnove glazbene kulture, Zagreb: Školska knjiga.
Margolin, Uri (1999), “Of What is Past, Is Passing, or to Come: Temporality, Aspectuality, Modality, and the Nature of Literary Narrative” u Narratologies, str. 142-166.
Martin, Marcel [Marsel Marten] (1966), Filmski jezik, Beograd: Institut za film.
Metz, Christian (1966), “La grande syntagmatique du film narratif”, u Communications, 8, str. 120-4.
Metz, Christian [Mez, Kristijan] (1975), Jezik i kinematografski medijum, Beograd: Institut za film.
Miller, J. Hillis (1998), Reading Narrative, Norman: University of Oklahoma Press.
Mitry, Jean [Mitri, Žan] (1966-1972), Estetika i psihologija filma I – IV, Beograd: Institut za film.
Mitry, Jean [Mitri, Žan] (1978), “O jeziku bez znakova”, u Teorija filma, 434-447.
Mosher, Harold P. (1980), “A New Synthesis of Narratology”, u Poetics Today, Vol 1, No 3, str. 171-186.
Mulvey, Laura (1994a), “Visual Pleasure and Narrative Cinema”, u Contemporary Film Theory , str. 111-124.
Mulvey, Laura (1994b), “Afterthoughts on “Visual Pleasure and Narrative Cinema” inspired by King Vidor’s Duel in the Sun” (1946), u Contemporary Film Theory, str.125-134.
Mulvey, Laura (2025), Paslike – o kinematografiji, ženama i mijenama, Zagreb: Udruga Bijeli val.
Narratologies: New Perspectives on Narrative Analysis (1999), ur. David Herman, Columbus: Ohio State University Press.
Pavičić, Jurica (1998), “Dogma 95”, u Hrvatski filmski ljetopis, IV, 15, str. 97-102.
Peleš, Gajo (1999), Tumačenje romana, Zagreb: ArtTresor naklada.
Perić-Kempf, Bosiljka (2002), “Pogorelić”, u Vijenac, X, 230-1, str. 27.
Perkins, V.F. (1974), Film as Film, Understanding and Judging Movies, Harmondsworth: Penguin Books.
Peterlić, Ante (1966), “Vatroslav Mimica, u povodu filma Ponedjeljak ili utorak”, u Filmska kultura, X, 50, str. 105-7.
Peterlić, Ante (1976), Pojam i struktura filmskog vremena, Zagreb: Školska knjiga.
Peterlić, Ante (1995), “Subjektivni kadar I”, u Hrvatski filmski ljetopis, I, 3-4, str. 98-102.
Peterlić, Ante (2000), Osnove teorije filma, Zagreb: Hrvatska sveučilišna naklada – 3. izdanje.
Peterlić, Ante (2002), “Alain Resnais: Prošle godine u Marienbadu”, u Studije o devet filmova, Zagreb: Hrvatski filmski savez, 133-150.
Peters, Jan M. (1987), Slikovni znaci i jezik filma, Beograd: Institut za film.
Petrić, Mirko (2005), “I semiotika i kognitivizam”, u Hrvatski filmski ljetopis, XI, 42 (o Buckland, 2000).
Płażewski, Jerzy [Plaževski, Ježi](1972), Jezik filma II, Beograd: Institut za film.
Poppe, Emile (1994), “The rhetoric of an author in search of a theory”, u Semiotica, vol. 98, ¾, str. 373-386.
Post-Theory: Reconstructing Film Studies (1996), ur. David Bordwell i Noël Carroll, Madison: The University of Wisconsin Press.
Prince, Gerald (1973), A Grammar of Stories, The Hague, Paris: Mouton.
Prince, Gerald (1980), “Aspects of a Grammar of Narrative”, u Poetics Today, Vol 1, No 3, str.49-63.
Prince, Gerald (1982), Narratology: The Form and Functioning of Narrative, Berlin, New York, Amsterdam: Mouton Publishers.
Prince, Gerald (1987), A Dictionary of Narratology, University of Nebraska Press.
Propp [Prop], Vladimir (1982), Morfologija bajke, Beograd: Prosveta.
Pudovkin, V. I. (1970), Film Technique and Film Acting – Memorial Edition, prev. i uredio Ivor Montagu, New York: Grove Press, inc.
Randel, Don Michael (1998), Harvard Concise Dictionary of Music, Cambridge, Mass and London: The Belknap Press of Harvard University Press – 13. tiskanje (izvornik iz 1978).
Richardson, Brian (2000), Recent Concepts of Narrative u Style, Vol 34, No. 2, str. 168-175.
Rimmon-Kenan, Shlomith (1983), Narrative Fiction: Contemporary Poetics, London, New York: Methuen.
Rimmon-Kenan, Shlomith (1989), “Naracija: razine i glasovi” u Uvod u naratologiju, prir. Zlatko Kramarić, Osijek: Izdavački centar “Revija”, Radničko sveučilište “Božidar Maslarić”, str. 81-104; poglavlje iz Rimmon-Kenan (1983).
Salt, Barry (1992), Film Style & Technology: History & Analysis, 2nd expanded edition (prvo izdanje iz 1983), London: Starword.
Scholes, Robert (1976), Structuralism in Literature: An Introduction (prvo tiskanje 1973), New Haven, London: Yale University Press.
Scholes, Robert (1980), “Seymour Chatman: “Story and Discourse: Narrative Structure in Fiction and Film”, CUP, 1978; review u Poetics Today, Vol 1, No 3, str. 190-1.
Selden, Raman i Widdowson, Peter (1993), Contemporary Literary Theory (A Reader’s Guide to), New York, London etc.: Harvester / Wheatsheaf.
Solar, Milivoj (2001), Teorija književnosti – XIX izdanje, Zagreb: Školska knjiga.
Stam, Robert (2000), Film Theory: an Introduction, Malden, Oxford: Blackwell Publishers; prijevod (2019), Teorija filma: uvod; preveo Damjan Lalović, Zagreb: Disput.
Stanzel, Franz K. (1981), “Teller-characters and Reflector-characters in Narrative Theory” u Poetics Today, vol. 2: 2, str. 5-15.
Stanzel, Franz (1992), “Pripovjedni tekst u prvom i pripovjedni tekst u trećem licu”, u Suvremena teorija pripovijedanja, str.178-200.
Suvremena teorija pripovijedanja (1992), ur. Vladimir Biti, Zagreb: Globus.
Teorija filma (1978), ur. Dušan Stojanović, Beograd: Nolit.
Thompson, Kristin (1988), Breaking the Glass Armor: Neoformalist Film Analysis, Princeton: Princeton University Press.
Thompson, Kristin, Bordwell, David (1997), Film History, an Introduction, New York: McGraw-Hill, Inc.
Tinjanov [Tynjanov, Ju.] (1981), “On the Foundations of Cinema” u Eagle, Herbert, str. 81-100.
Tomaševski, Boris (1998), Teorija književnosti: Tematika, Zagreb: Matica hrvatska.
Tudor, Andrew [Tjudor, Endru] (1979), Teorije filma, Beograd: Institut za film.
Turković, Hrvoje (1990), “Privlačnost fabulizma“, u Republika, 5-6, (XLVI), str. 59-69.
Turković, Hrvoje (1999), “Proslov“, u Hrvatski filmski ljetopis, 19/20, (V), str. 6.
Turković, Hrvoje (1999b), “Na čemu temeljiti kognitivistički pristup“, u Hrvatski filmski ljetopis, 19/20, (V), str. 49-58.
Turković, Hrvoje (2000), Teorija filma Zagreb: Meandar – 2. izdanje (prvo izdanje 1994).
Turković, Hrvoje (2000b), “Funkcija stilističkih otklona“, u Hrvatski filmski ljetopis, 24 (VI), str. 129-142.
Turković, Hrvoje (2002), Razumijevanje perspektive – teorija likovnog razabiranja, Zagreb: Durieux.
Turković, Hrvoje (2003), “Opisnost naracije – temeljna opisna načela“, u Hrvatski filmski ljetopis, 35, IX, str. 168-177.
Užarević, Josip (1991), Kompozicija lirske pjesme, Zagreb: Zavod za znanost o književnosti Filozofskog fakulteta u Zagrebu.
Vidović, Boris (1999), „Film i jezik – metafora bez pokrića“ u Hrvatski filmski ljetopis, 19/20, V, str. 21-5.
Vončina, Nikola (1993), Osebujna dramaturgija, radio-dramske i televizijske teme, Zagreb: Hrvatski radio.
Žižek, Slavoj (2001), The Fright of Real Tears, Krzysztof Kieślowski between theory and post-theory, London: BFI Publishing.
Žižek, Slavoj (2002), Sublimni objekt ideologije, Zagreb, Sarajevo: Arkzin, Društvo za teorijsku psihoanalizu.
Sadržaj
Hrvoje TurkovićKompetentno i kritičko uvođenje u filmsku naraciju
Predgovor
1. UVOD
1.1. Kognitivističke postavke
2. TEORIJA PRIPOVIJEDANJA I NARATOLOGIJA
2.1. Iz povijesti izučavanja priče
2.1.1. Utemeljitelji teorije pripovijedanja
2.1.2. Ruski formalizam
2.1.3. Književna teorija, filmologija i lingvistika
3. TEMELJNI POJMOVI TEORIJE PRIPOVIJEDANJA
3.1. Priča i pripovijedanje
3.2. Filmski prostor
3.3. Filmsko vrijeme
3.3.1. Trajanje
3.3.2. Poredak (redoslijed) i učestalost
3.4. Točka gledišta i fokalizacija
3.5. Narativne instancije
3.6. Pripovjedač
4. TEORIJA FILMSKE PRIČE
4.1. Glazbenost i zornost filma
4.2. Izgovorena i zapisana priča
4.3. Komentar i pripovjedačev “glas”
5. TEORETIČARI PRIPOVIJEDANJA I TRADICIJA
5.1. Teorijski temelji
5.1.1. Mimetičke teorije
5.1.2. Dijegetičke teorije
6. ZAKLJUČAK
7. BIBLIOGRAFIJA
8. FILMOGRAFIJA
Sažetak
Summary
Impresum

