Strukturalizam, semiotika, metafilmologija : metodološke rasprave | Hrvoje Turković

BIBLIOGRAFIJA

 

Peter Achinstein, 1968. Concepts of Science. Baltimore, London: The John Hopkins Press.

Henry Agel (Anri Ažel), 1978. Estetika filma. Beograd: BIGZ.

John R. Anderson, 1980. Cognitive Psychology and Its Implications. San Francisco: Freeman and Comp.

Dudley Andrew (Dadli Endru), 1980. Glavne filmske teorije. Beograd: Institut za film.

J. L. Aranguren, 1967. Human Communication. New York, Toronto: McGraw-Hill.

Michael Argyle, 1972. The Psychology of Interpersonal Behavior. Harmondworth: Penguin Books.

Rudolf Arnheim (Rudolf Arnhajm), 1962. Film kao umetnost. Beograd: Narodna knjiga.

W. Ross Ashby, 1960. Design for a Brain. London: Chapman and Hall.

Richard C. Atkinson (prir.), 1971. Contemporary Psychology. San Francisco: Freeman and Comp.

Dimitrije Bašičević i Ivan Picelj (prir.), 1968. Teorije informacija i nova estetika, Bit 1, Zagreb: Galerija grada Zagreba.

Gregory Bateson, 1955. “A Theory of Play and Fantasy”, u Bruner et al. (prir.) 1976.

Andre Bazin (Andre Bazen), 1967. Što je to film I, II, III, IV. Beograd: Institut za film.

Émile Benveniste (Emil Benvenist), 1975. Problemi opšte lingvistike. Beograb: Nolit.

Manfred Bierwisch, 1971. “Some Methodological Principles”, u Manfred Bierwisch, 1971. Modern Linguistics, The Hague, Paris: Mouton.

D. G. Bobrow, A. Collins (prir.), 1975. Representation and Understanding, Studies in Cognitive Science. New York: Academic Press.

David Bordwell, 1981. The Films of Carl-Theodor Dreyer. Berkeley, Los Angeles, London: U. of California Press.

Stan Brakhage, 1963. Metaphors on Vision. New York: Film Culture.

R. B. Braitwaite, 1953. Scientific Explanation. London, New York: Cambridge U. P.

Edward Branigan, 1976. “The Space of Equinox Flower”, u Screen, vol. 17, br. 2. London: Society for Education in Film and Television.

Jerome S. Bruner, 1973. Beyond the Information Given. New York: Norton and Comp.

J. S. Bruner, J. J. Godnow, G. A. Austin, 1956. A Study of Thinking. New York: John Wiley and Sons.

J. S. Bruner, A. Jolly, K. Sylva (prir.), 1976. Play, Armondsworth: Penguin Books.

Noël Burch (Noel Birš), 1972. Praksa filma. Beograd: Institut za film.

Rudolf Carnap, 1968. “Semiotic and its Parts”, u C. Carnap, 1968. Introduction to Semantics and Formalization of Logic. Cambridge: Harvard U. p.

Rudolf Carnap, 1969. The Logical Structure of the World and Pseudoprablems in Philosophy, Berkeley, Los Angeles: University of California Press.

John M. Carroll, 1980. Toward a Structural Psychology of Cinema. The Hague, Paris, New York: Mouton Publishers.

E. C. Carterette, M. P. Friedman, 1978. Perceptual Coding (Handbook of Perception, vol. VIII). New York: Academic Press.

Colin Cherry, 1966. On Human Communication. Cambridge, London: M.I.T. Press.

Saymour Chatman, 1978. Story and Discourse. Ithaca, London: Cornell U. P.

H. H. Clark, E. V. Clark, 1977. Psychology and Language. New York, Chicago, San Francisco, Atlanta: Harcourt Brace Jovanovich.

J. W. Cotton, R. L. Klatzky; 1978. Semantic Factors in Cognition. Hillsdale: LEA

Zbigniew Czezot-Gawrak (Zbignjev Čečot-Gavrak), 1982. O počecima filmologije. Beograd: Institut za film.

Maya Deren (Maja Deren), 1975a. “Anagram ideja o umetnosti, formi i filmu”, u Filmske sveske, br. 1, sveska VII, Beograd: Institut za film.

Maya Deren (Maja Deren), 1975b. “Film: stvaralačko korišćenje stvarnosti”, u Filmske sveske, br. 1, sveska VII, Beograd: Institut za film.

Maya Deren, 1972. Divine Horsemen: The Woodoo Gods of Haiti. Dell Publishing Co.

Umberto Eco (Umberto Eko), 1973. Kultura, informacija, komunikacija. Beograd: Nolit.

Umberto Eco, 1976. A Theory of Semiotics. London: Macmillan Press.

Umberto Eco, 1977. “The Code: Metaphor of Interdisciplinary Category?”: u Yale Italian Studies, br. 1. New Heaven. Yale U. P.

Sergej Eizenstein (Sergej Ejsenštejn), 1957. Eisenstein, život, delo, teorije. Beograd: Jugoslavenska kinoteka.

(S. M. Ajzenštajn), 1964. Montaža atrakcija. Beograd: Nolit.

Jean Epstein (Žan Epsten), 1981. Žan Epsten, teoretičar. Beograd: Institut za film.

William Epstein (prir,), 1977. Stability and Constancy in Visual Perception: Mehanisms and Processes. New York: John Wiley and Sons.

Paul Feyerabend, 1975. Against Method. London: NLB.

W. R. Garner, 1978. “Aspects of a Stimulus: Features, Dimensions and Configurations”, u Rosch, Ioyd, 1978.

Emillio Garroni (emilio Garoni), 1977. Semiotika i estetika. Beograd: Institut za film.

Paul Garvin (prir.), 1964. A Prague School on Esthetics, Literary Structure, and Style, Washington; Georgetown U. P.

Paul Garvin, 1977. “Linguistics and Semiotics”, u Semiotica, The Hague: Mouton Publishers.

F. H. George; 1971. Cybernetics. London: Teach Yourself Books.

James J. Gibson, 1966. The Senses Considered as Perceptual Systems. Boston: Houghton Mifflin Comp.

E. H. Gombrich, 1985. Umetnost i iluzija. Beograd: Nolit.

Nelson Goodman, 1968. Languages of Art. Indianopolis: Bobbst-Marrill Comp.

Nelson Goodman, 1972. Problems and Projects. Indianapolis: Bobbst-Merrill Comp.

Nelson Goodman, 1978. Ways of Worldmaking. Hassocs: The Harvester Press.

Richard E. Grandy (prir.), 1973. Theories and Observation in Science. Englewood Clifs: Prentice-Hall.

Douglas Greenlee, 1973. Peirc’s Concept of Sign. The Hague: Mouton.

R. L. Gregory, 1970. The Inteligent Eye. New York: McGraw Hill.

R. L. Gregory, 1974. Concepts and Mechanisms of Perception. London: Duckworth.

M. A. K. Hallyday: 1976. System and Function in Language, ed. by Gunther Kress. London: Oxford U. P.

Edward T. Hall (E. T. Hol), Nemi jezik. Beograd: BIGZ.

Stephen Heath (Stiven Hit), 1983. “Film i sistem: uslovi za analizu”, u Filmske sveske, br. 1-2, vol. XV. Beograd: Institut za film.

Carl G. Hempel, 1965. Aspects of Scientific Explanation. New York: Free Press.

Carl G. Hempel, 1966. Philosophy of Natural Science. Englewood Cliffs: Prentice-Hall.

Carl G. Hempel, 1970. “On the ‘Standard Conception’ of Scientific Theories”, u Radner, Winokur (prir.), 1970. Analyses of Theories and Methods of Physics and Psychology (Volume IV, Minnesota Studies in the Philosophy of Science). Minneapolis: U. of Minnesota Press.

Louis Hjelmslev, 1971. “Structural Analysis of Language”, u Reading in Modern Linguistic, B. Malmborg, 1971. Stockholm: Laromedelsforlagen.

Louis Hjelmslev, 1980. Prolegomena teoriji jezika. Zagreb, GZH.

J. Hochberg, V. Brooks, 1978. “The Perception of Motion Pictures”, u E. C. Carterette i M. P. Friedman, 1978. Handbook of Perception, Vol. X, New York, San Francisco, London: Academic Press.

Ivan D. Ivić, 1978. Čovjek kao Animal Symbolicum. Beograd: Nolit.

Roman Jakobson, 1956. “Two Aspects of Language and Two Types of Aphasic Disturbances”, u R. Jakobson, M. Halle, 1956. Fundamentals of Language. The Hague: Mouton.

Roman Jakobson, 1966. Lingvistika i poetika. Beograd: Nolit.

Bela Julesz, 1975. “Experiments in the Visual Perception of Texture”, u Scientific American, April. New York: Scientific American.

Oskar Jursa, 1974. Kibernetika. Zagreb: Mladost.

Radoslav Katičić, 1967. Osnovni pojmovi suvremene lingvističke teorije. Zagreb: Sveučilište u Zagrebu.

Radoslav Katičić, 1971. “Rečenica kao jezična jedinica”, u R. Katičić, 1971. Jezikoslovni ogledi. Zagreb: Školska knjiga.

R. L. Klatzky, A. M. Stoy, 1978. “Semantic Information and Visual Information Processing”, u Cotton, Klatzky, 1978.

John M. Kennedy, 1974. A Psychology of Picture Perception. San Francisco, Washington, London: Jossey-Bass Publ.

Wolfrang Köhler (Volfgang Keler), 1985. Geštalt psihologija. Beograd: Nolit.

A. Kondratov, 1969. Sound and Signs. Moskva: MIR Publishers.

Thomas S. Kuhn, 1964. “A Function for Thought Experiments”, u P. N. Johnson-Laird, P. C. Wason, 1977. Thinking. Cambridge, London, New York, Melbourne: Cambridge U. P.

(Thomas Kuhn), 1974. Struktura naučnih revolucija. Beograd: Nolit.

Benjamin J. Kuipers, 1975. “A Frame for Frames: Representing Knowledge for Recognition”, u Bobrow, Collins, 1975.

Lev Kulješov, 1972, “Umetnost filma”, u Filmske sveske, br. 2, vol. IV, Beograd; Institut za film.

Lev Kulješov, 1974. Kuleshov on film, ed. by California Press.

Willam Labov, 1972. Sociolinguistic Patterns. Oxford: Basil Blackwell.

Gottfried Wilhelm Leibniz; 1980. Izabrani filozoski spisi. Zagreb: Naprijed.

Lindsay, Norman, 1977. Human Information Processing, sec. edition. New York, San Francisco, London: Academic Press.

Jurij Lotman, 1970. Predavanja iz strukturalne poetike. Sarajevo: Zavod za izdavanje udžbenika.

Jurij Lotman, 1976a. Semiotika filma, Beograd; Institut za film.

Jurij Lotman, 1976b. Struktura umetničkog teksta. Beograd: Nolit.

John Lyons, 1977. Semantics I. London, New York, Melbourne: Cambridge U. P.

Bronislaw Malinowski, 1923. “The Problem of Meaning in Primitive Languages”, u Ogden Richards, 1972. The Meaning of Meaning. London: Routledge and Kegan Paul.

Lawrence E. Marks, 1978. “Multimodal Perception”, u Carterette, Friedman, 1978.

André Martinet (Andre Martine), 1973. “Reč”, u Treći program, leto. Beograd: Radio Beograd.

Renato May, 1948. Filmski jezik. Zagreb: Biblioteka komisije za kinematogarfiju vlade N. R. Hrvatske.

Denis McQail, 1975. Communication. London, New York: Longman.

Robert K. Merton, 1979. O teorijskoj sociologiji. Zagreb: CDDSSOH.

Christian Metz (Kristijan Mec), 1973. Ogledi o značenju filma I. Beograd: Institut za film.

Christian Metz, 1975. Jezik i kinematografski medijum. Beograd. Institut za film.

Christian Metz, 1978. Ogledi o značenju filma II. Beograd: Institut za film.

George A. Miller, 1951. Language and Communication. New York, Toronto, London: McGraw–Hill.

George A. Miller, 1969. “Information and Memory”, u Miller, 1969. The Psychology of Communication, Baltimore: Penguin Books.

G. A. Miller, E. Galanter, K. H. Pribram, 1960. Plans and the Structure of Behavior. USA: Holt, Reinhart and Winston.

G. A. Miller, Ph. N. Johnson-Laird; 1976. Language and Perception, Cambridge; Cambridge U. P.

Marvin Minsky, 1975. “Frame-System Theory”, u Johnson-Laird, Wason (prir.), 1977. Thinking. Cambridge: Cambridge U. P.

Abraham Moles, 1968. Information Theory and Esthetic Perception. Urbana, Chicago, London: U. of Illinois Press.

Charles Morris, 1971. Writings on the General Theory of Signs. The Hague, Paris: Mouton.

Hugo Münsterberg, 1970. The Film, a Psychological Study. New York: Dover Publ.

Jan Mukařovský, 1978. Structure, Sign and Function. New Haven: Yale U.P.

Ernest Nagel (Ernest Nejgel), 1974. Struktura nauke. Beograd: Nolit.

Donald A. Norman, 1976. Memory and Attention, sec. edition. New York, London, Sidney, Toronto: John Wiley and Sons, Inc.

P. Oléron, J. Piaget, B. Inhelder, P. Gréco, 1969. Inteligence (u seriji: P. Fraisse, J. Piaget: Experimental Psychology, Its Scope and Method, VII). New York: Basic Books.

Jean-Pierre Oudart (Žan-Pjer Udar), 1978. “Filmski šav”, u Stojanović (prir.), 1978.

Erwin Panofsky, 1978. “Stil i medijum filma”, u Stojanović (prir.) 1978.

T. Parsons, E. A. Shils (prir.), 1961. Toward a General Theory of Action. New York: Harper and Row.

Pier P. Pasolini; 1967. “Rasprava o kadru-sekvenci ili film kao semiologija stvarnosti”, u Stojanović (prir.) 1978.

Živojin Pavlović, 1964. Film u školskim klupama. Zaječar: Novinska ustanova “Timok”.

Ch. S. Peirce, 1955. Philosophical Writings of Peirce, ed. by Justus Buchler, New York: Dover

V. Pekelis, 1974. Cybernetics A to Z. Moskva: MIR Publishers.

Ante Peterlić, 1977. Osnove teorije filma. Zagreb: Filmoteka 16.

Vlada Petrić, 1981. “Problemi semiološkog izučavanja filma: deskriptivna i kinematička analiza”, u Filmske sveske, vol. 13, br. 2. Beograd: Institut za film.

Vlada Petrić, 1982. Predavanja na Akademiji za kazalište, film i televiziju, Zagreb.

Aleksandra Petrov (prir.), 1970. Poetika ruskog formalizma. Beograd: Prosveta.

Gajo Petrović, 1964. Logika. Zagreb: Školska knjiga.

Jean Piaget, 1954. The Construction of Reality in the Child. New York: Ballantine Books.

(Žan Piaže), 1968. Psihologija inteligencije. Beograd: Nolit.

Jean Piaget, 1971. Biology and Knowledge. Chicago: The U. of Chicago Press.

J. Piaget, B. Inhelder, 1963. “Mental images”, u Oléron et al. (prir.) 1969.

John R. Pierce; 1967. Waves and Messages. New York: A Doubleday Anchor Book.

Jerzy Plazewski (Ježi Plaževski), 1961. Jezik filma I. Beograd: Institut za film.

Michael Polanyi, Harry Prosch, 1975. Meaning. Chicago, London. U. of Chicago Press.

Karl R. Popper, 1972. Objective Knowledge. Oxford: Clarendon Press.

Michael I. Posner, 1973, Cognition: An Introduction. Brighton: Scott, Foresman and Comp.

Quaterly Review of film studies, 1977. February, Vol. 2, br. 1. Pleasentville: Redgrave Publishing Comp.

Hans Reichenbach (Hans Rajhenbah), 1964. Rađanje naučne filozofije. Beograd: Nolit.

Sheldon Renan, 1967. The Underground Film. London: Studio Vista.

Vladislava Ribnikar Perišić, 1976. Ruski formalizam i književna istorija. Beograd: Ideje.

Eleonor Rosch, 1976. “Classification of Real-World Objects: Origins and Representations in Cognition”, u Johnson-Laird, Wason, 1977. Thinking. Cambridge: Cambridge U. P.

Ferdinand de Saussure (F. Sosir), 1969. Opšta lingvistika. Beograd: Nolit.

R. C. Schank and R. P. Abelson, 1975. “Scripts, Plans and Knowledge”, u Johnson-Laird, Wason, 1977. Thinking. Cambridge: Cambridge U. P.

Israel Scheffler, 1967. Science and Subjectivity. Indianapolis, New York: TheBobbs-Merill Comp.

Ju. A. Schreider, N. Ya. Vilenkin; 1975. “Real Objects and Set-Theoretical Concepts”, u Ju. A. Schreider, 1975. Equality, Resemblance, and Order. Moskva: MIR Publ.

Thomas A. Sebeok, 1972. Perspectives in Zoosemiotics. The Hague: Mouton.

Claude E. Shannon, Waren Weaver, 1949. The Mathematical Theory of Communication. Urbana, Chicago, London: U. of Illinois Press.

M. Sherif, C. W. Sherif, 1964. “Acceptable and Unaceptable Behavior Defined by Group Norms”, u M. Argyle, (prir.), 1973. Social Encounters. Harmonswort: Penguin Books.

Herbert A. Simon, 1969. The Science of the Artificial. Cambridge: MIT Pres.

Herbert A. Simon, 1981. “Cognitive Science: The Newest Science of the Artificial”, u Norman (ed,), 1981. Perspectives on Cognitive Science. Norwood: Ablex Publ. Corp; Hillsdale: LEA.

P. Adams Sitney, 1979. Visionary Film. Oxford, New York, Toronto, Melbourne: Oxford U. P.

E. V. Sokolov, 1976. Kultura i ličnost. Beograd: Prosveta.

Etienne Souriau (Etjen Surio), 1971. “Ritam i jednodušnost”, u Filmske sveske, vol. III, br. 4. Beograd: Institut za film.

Raymond Spottiswood, 1951. Film and Its Techniques. London: Faber and Faber.

Dušan Stojanović, 1975. Film kao prevazilaženje jezika. Beograd: Univerzitet umetnosti u Beogradu.

Dušan Stojanović, 1978. Montažni prostor u filmu. Beograd: Univerzitet umetnosti u Beogradu.

Dušan Stojanović (prir.), 1978. Teorija Filma. Beograd: Nolit.

Nikola Tannhofer, 1981. Filmska fotografija. Zagreb: Filmoteka 16.

Kristin Thompson i David Bordwell, 1976. “Space and Narrative in the Films of Ozu”, u Screen, br. 2, vol. 17. London: SEFT.

Jurij Tinjanov, 1970. “O književnoj evoluciji”, u Petrov (prir.), 1970.

Stephen Toulmin, 1976. The Philosophy of Science. London: Hutchinson U. L.

B. A. Trahtenbrot, 1978. Što su algoritmi. Zagreb: Školska knjiga.

Andrew Tudor, 1974. Image and Influance. London: George Allen.

(Endru Tjudor), 1979. Teorije filma. Beograd: Institut za film.

Hrvoje Turković, 1971. “Seljačko vitalistički nazor na svijet Antuna Vrdoljaka”, u Telegram, br. 1 (518), 8. listopada. Zagreb.

Hrvoje Turković, 1972. “Osobnost kao osobitost”, u Prolog, br. 16, vol. V. Zagreb.

Hrvoje Turković, 1973. “U pohvalu trilera”, u Turković, 1985.

Hrvoje Turković, 1974. “Prilog domaćih autora”, u Filmske sveske, br. 2, vol. IV. Beograd: Institut za film.

Hrvoje Turković, 1975. “Analiza elipse u Murnauovu ‘Posljednjem čovjeku’”, u Film, br. 2-3. Zagreb.

Hrvoje Turković, 1976a. “Za šund”, u Turković, 1985.

Hrvoje Turković, 1876b. “Čemu aktivirati publiku”, u “Publika sama sobom”, prilog, u Pitanja, br. 3-4. Zagreb: CDD.

Hrvoje Turković, 1976c. “Umjetnost kao žanr”, u Turković, 1985.

Hrvoje Turković, 1977a. “Prikazivanje nasilja na filmu”, u Turković, 1985.

Hrvoje Turković, 1977b. “Oprekovno ustrojstvo ‘Rima, otvorenog grada’”, u K, časopis za komparativnu književnost, br. 2. vol. 2. Zagreb.

Hrvoje Turković, 1978a. “Što je to eksperimentalni film”, u Turković, 1985.

Hrvoje Turković, 1978b. “Kritika kao kulturalna politika”, tekst u radu.

Hrvoje Turković, 1980. “Teatralnost na filmu”, u Bilten 8. Zagreb: Filmoteka 16.

Hrvoje Turković, 1984a. “Populistička i elitistička usmjerenja u razvoju jugoslavenskog igranog filma”, u Turković, 1985.

Hrvoje Turković, 1984b. “Pojmovi i pristupi”, u Filmske sveske, br. 3, vol. XVI. Beograd: Institut za film.

Hrvoje Turković, 1985. Filmska opredjeljenja. Zagreb: CEKADE.

H. Turković – D. Stojanović, 1976. “Rasprava o filmološkim pitanjima”, u Filmske sveske, br. 1. Beograd: Institut za film.

B. A. Uspenskij, V. V. Ivanov, V. N. Toporov, A. M. Pjatigorskij, Ju. M. Lotman, 1973. “Theses on the Semiotic Study of Cultures (as Aplied to Slavic Texts)”, u J. V. der Eng, M. Grygar (prir.). 1973. Structure of Texts and Semiotics of Culture. The Hague, Paris: Mouton.

L. S. Vygotsky (Vigotski), 1978. Mind in Society. The Developement of Higher Psychological Processes. Cambridge: Harvard U. P.

Slavko Vorkapić, 1979. “Beleške o filmskom zanatu”, u F. Hanžeković, S. Ostojić (prir.), 1979. Knjiga o filmu. Zagreb: Spektar

C. H. Waddington, 1977. Tools for Thought. Frogmore: Paladin.

Max Weber, 1949. The Methodology of the Social Sciences. New York: The Free Press.

Max Weber, 1976. Privreda i društvo. Beograd: Prosveta.

Peter Wollen (Piter Volen), 1972. Znaci i značenje u filmu. Beograd: Institut za film.

G. H. von Wright, 1975. Objašnjenje i razumevanje. Beograd: Nolit.

John Ziman, 1978. Reliable Knowledge. Cambridge: Cambridge U.P.

Gene Youngblood, 1970. Expanded Cinema. London: Studio Vista.

Kolačiće koristimo kako bismo poboljšali Vaše korisničko iskustvo. Ukoliko se slažete, tada prihvaćate korištenje kolačića i web stranice sukladno našoj politici privatnosti.