| #104 |  Cary Grant’s Suit: Nine Movies That Made Me the Wreck I Am Today
|
| #105 |  Shard Cinema
|
| #106 |  Negative Space Negative Space: Manny Farber on the Movies
|
| #107 |  Farber on Film
|
| #108 |  How Did Lubitsch Do It?
|
| #109 |  The Age of Movies: Selected Writings
|
| #110 |  Mapping Precarity in Contemporary Cinema and Television Mapping Precarity in Contemporary Cinema and Television: Chronotopes of Anxiety, Depression, Expulsion/Extinction
|
| #111 |  The Matrix of Visual Culture: Working with Deleuze in Film Theory
|
| #112 | Everything Is Cinema Everything Is Cinema: The Working Life of Jean-Luc Godard
|
| #113 |  For Keeps: 30 Years at the Movies
|
| #114 |  A Hundred Years of Japanese Film A Hundred Years of Japanese Film: A Concise History
|
| #115 |  Highbrow/Lowbrow
|
| #116 |  Hong Kong Cinema: The Extra Dimensions
|
| #117 |  What is Cinema?
|
| #118 |  Hitchcock's Films Revisited
|
| #119 |  City of Nets
|
| #120 |  The films in my life
|
| #121 |  Inland Empire
|
| #122 |  The Earth Dies Streaming
|
| #123 |  Zanuck: The Rise and Fall of Hollywood's Last Tycoon
|
| #124 |  David Lynch: The Man from Another Place
|
| #125 |  The Devil Finds Work
|
| #126 |  The Coen Brothers
|
| #127 |  In the Blink of an Eye
|
| #128 |  Final Cut: Art, Money, and Ego in the Making of Heaven's Gate, the Film that Sank United Artists
|
| #129 |  The Devil's Candy
|
| #130 |  A Different Brilliance — The D & B Story A Different Brilliance — The D & B Story |
| #131 |  The Matrix Trilogy
|
| #132 |  Black Caesars and Foxy Cleopatras: A History of Blaxploitation Cinema
|
| #133 |  Corpses, Fools and Monsters: An Examination of Trans Film Images in Cinema
|
| #134 | The Fatal Alliance The Fatal Alliance: A Century of War on Film
|
| #135 |  Charlie Chaplin vs. America: When Art, Sex, and Politics Collided
|
| #136 |  Political Camerawork: Documentary and the Lasting Impact of Reenacting Historical Trauma
|
| #137 |  Labors of Fear: The Modern Horror Film Goes to Work |
| #138 |  Cinema 1
|
| #139 |  Lost in Translation: Orientalism, Cinema, and the Enigmatic Signifier
|
| #140 |  The parade's gone by ...
|
| #141 |  Making Movies
|
| #142 |  Cinematic Encounters: Interviews and Dialogues
|
| #143 |  Film Genre Film Genre: From Iconography to Ideology
|
| #144 |  But God Made Him a Poet: Watching John Ford in the 21st Century
|
| #145 | Put money in thy purse Put money in thy purse: The filming of Orson Welles' Othello
|
| #146 |  Hollywood Flatlands: Animation, Critical Theory and the Avant-Garde
|
| #147 |  Starting Point: 1979-1996
|
| #148 |  Art in Motion, Revised Edition: Animation Aesthetics
|
| #149 |  The Cinema of Cruelty: From Buñuel to Hitchcock
|
| #150 |  Steven Spielberg: A Life in Films
|
| #151 |  Film as a Subversive Art
|
| #152 |  Sculpting in Time
|
| #154 |  American Silent Film
|
| #155 |  The Movies, Mr. Griffith, And Me
|
| #156 |  Film Theory and Criticism: Introductory Readings |
| #157 |  Michael Curtiz: A Life in Film
|
| #158 |  Pictures at a Revolution: Five Movies and the Birth of the New Hollywood
|
| #159 |  The Haunted Screen : Expressionism in the German Cinema and the Influence of Max Reinhardt
|
| #160 |  The Films of Akira Kurosawa
|
| #161 |  From Reverence to Rape
|
| #162 |  From Caligari to Hitler
|
| #163 |  Something Like an Autobiography
|
| #164 | Agee on Film Agee on Film: Criticism and Comment on the Movies
|
| #165 |  Simultaneous Worlds: Global Science Fiction Cinema |
| #166 |  Post-Cinema: Theorizing 21st-Century Film |
| #167 |  George Cukor: A Double Life
|
| #168 |  John Wayne's America: The Politics of Celebrity
|
| #169 | The Films of Carl-Theodore Dreyer The Films of Carl-Theodore Dreyer
|
| #170 |  The Celluloïd closet : homosexuality in the movies
|
| #171 | Time is Luck Time is Luck: The Cinema of Michael Mann
|
| #172 |  Michael Mann
|
| #173 |  Films of the New French Extremity: Visceral Horror and National Identity
|
| #174 |  Movies, Songs, and Electric Sound: Transatlantic Trends
|
| #175 |  Ozu
|
| #176 |  A Lateral View: Essays on Culture and Style in Contemporary Japan
|
| #177 | Sound Theory, Sound Practice Sound Theory, Sound Practice |
| #178 |  Film Theory Goes to the Movies Film Theory Goes to the Movies |
| #179 |  Westerns: Films through History |
| #180 | Color and the Moving Image Color and the Moving Image: History, Theory, Aesthetics, Archive
|
| #181 |  Violence and American Cinema Violence and American Cinema
|
| #182 |  Landscape and Film |
| #183 | Classical Hollywood Comedy Classical Hollywood Comedy |
| #184 | Psychoanalysis and Cinema Psychoanalysis and Cinema |
| #185 | Film Theory and Contemporary Hollywood Movies Film Theory and Contemporary Hollywood Movies |
| #186 | World Cinemas, Transnational Perspectives World Cinemas, Transnational Perspectives |
| #187 |  Masculinity |
| #188 |  Black Women Film and Video Artists Black Women Film and Video Artists |
| #189 |  Home, Exile, Homeland |
| #190 |  Theorizing Documentary |
| #191 | The Persistence of History The Persistence of History |
| #192 |  On The Figure In General And The Body In Particular:: Figurative Invention In Cinema
|
| #193 | Shots to the Heart Shots to the Heart: For the Love of Film Performance
|
| #194 |  Pier Paolo Pasolini: Writing on Burning Paper: Poet of Ashes
|
| #195 |  Shyam Benegal: Filmmaker and Philosopher
|
| #196 |  Luchino Visconti: Filmmaker and Philosopher
|
| #197 |  Alfred Hitchcock: Filmmaker and Philosopher
|
| #198 |  Douglas Sirk: Filmmaker and Philosopher
|
| #199 |  Painting With Light
|
| #200 | Kings of the Bs Kings of the Bs: Working Within the Hollywood System: An Anthology of Film History and Criticism |
| #201 |  Telling Stories: Norman Rockwell from the Collections of George Lucas and Steven Spielberg
|
| #202 |  Prison Movies: Cinema Behind Bars
|
| #203 |  From the Headlines to Hollywood: The Birth and Boom of Warner Bros.
|
| #204 |  The Warner Brothers
|
