Suzhou River and 'Sixth-Generation' Chinese Filmmaking

Film Studies For Free's author has been busy writing, for her day job, about 婁燁/ Lou Ye's Chinese/German coproduction 苏州河 /Suzhou he/Suzhou River (2000), a striking film which plays much more cleverly than most movies with the idea of implied authorship.

Below are some links to the freely-accessible, online resources of note pertaining to that film, as well as to 'Sixth-Generation' Chinese filmmaking more generally, which were gleaned as part of the research process:

• Cody Beckman, 'Suzhou River', Transnational Chinese Cinemas, December 8, 2008
• Robert Chi, 'Review of Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice, by Jerome Silbergeld', MCLC Resource Center Publication, September 2006
• Jerry Clode, 'Suzhou River', Intersections: Gender, History and Culture in the Asian Context Issue 7, March 2002
• Gavin Collinson, 'Suzhou River', BBC4 website, April 24, 2004
• Richard Corliss, 'Bright Lights,'Time Asia 157, 12 (March 26, 2001)
• Kirk A. Denton, Bibliography of Chinese Film, Chinese Media & Print Culture resources MCLC
• Lizzie Francke, 'Review of Suzhou RIver' , Sight & Sound, Dec. 2000
• Stephanie Hemelryk Donald and John G. Gammack, 'Shanghai: World City?', Tourism and the Branded City (Ashgate, 2007)
• J. Hoberman, 'Eternal Return', Village Voice, November 7th 2000
• Brian Hu, 'Above Ground and Over His Head', Asia Pacific Arts, February 3, 2005
• Julia Kny, 'A Chinese Vertigo? Tracing Suzhou River's Musical Independence and Innovation', Jörg Lemberg's website, 2006
• Shelly Kraicer, 'Suzhou River', chinesecinemas.org, April 2000
• Jenny Kwok Wah Lau, 'Introduction' and 'Globalization and Yoythful Subculture: The Chinese Sixth-Generation Films at the Dawn of the New Century', Multiple modernities: cinemas and popular media in transcultural East Asia (Temple University Press, 2003)
• Yung Adam Lam, Identity, tradition and globalism in post-Cultural Revolution Chinese feature films, PhD e-thesis, The University of Auckland, 2000
• Charles Leary, 'Performing the Documentary, or Making it to te Other Bank', Senses of Cinema, July 2003
  
• Shannon May, Film for the New Long March: The Search for National Identity in Chinese Cinema, 1984-2000. Magna Cum Laude Thesis. Cambridge, MA: Harvard University, 2000
• Shannon May, 'Power and Trauma in Chinese Film: Experiences of Zhang Yuan and the Sixth Generation” Journal for the Psychoanalysis of Culture and Society 8:1 (Spring 2003), 156-160
• Peter Nellhaus, 'Two by Lou Ye', Coffee, Coffee, and More Coffee, September 24, 2006
  
• Jenni Peisa, The Unable Individual: The Actantial Analyses of Three Chinese Films and Discussion on Their Representations of the Individual’s Position in Contemporary Chinese Society, Masters e-Thesis, University of Helsinki, April 2008
• Polar Bear, 'Suzhou River (Ye Lou, 2000)', Polar Bear's Film Journal, August 4, 2008
• Peter C. Pugsley, 'Review of The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-First Century by Zhang Zhen (ed.), Durham and London: Duke University Press, 2007, Scope, Issue 12, 2008
• Ma Ran, 'The Sixth-Generation Cinema: To Continue the Dialogue with the West', Cina Oggi, September 17, 2007
  
• Bérénice Reynaud, 'Dancing with Myself, Drifting with My Camera: The Emotional Vagabonds of China's New Documentary,' Senses of Cinema, No 28, 2003
  
• Jonathan Rosenbaum, 'The World is Watching: Suzhou River', Chicago Reader - On Film, 2001
• Damion Searls, 'Suzhou River', Film Quarterly, Vol. 55, No. 2, 2001
• Donato Totaro, 'FCMM: Into the 21st Century', Offscreen Journal, November 28, 2000
• Lara Vanderstaay, 'A case study of the influence of directorial gender on the representation of female sexuality in four contemporary Chinese films [Red Sorghum, Soul of A Painter, Blush and Suzhou River]', Proceedings of the 15th Biennial Conference of the Asian Studies Association of Australia in Canberra 29 June - 2 July 2004
• Mike Walsh, 'Review of Zhang Zhen (ed.), The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-First Century.Durham and London: Duke University Press, 2007', Screening the Past, September 20, 2008
• Gary G. Xu, 'Introduction: China's (Cinematic) Century', Sinascape: Contemporary Chinese Cinema (Rowman & Littlefield, 2007)
• Neil Young, 'Suzhou River', Jigsaw Lounge, February 28, 2001

More about → Suzhou River and 'Sixth-Generation' Chinese Filmmaking

María Luisa Bemberg: online resources

Still on the subject of film authorship (see here and here), Film Studies For Free chirpily (cheekily?) cross-posts (again, with Directing Cinema - do visit that blog for some great video clips) a little list of choice, freely-accessible online resources pertaining to the Argentine film director María Luisa Bemberg.

A somewhat late starter as a filmmaker, at the tender age of fifty-eight, Bemberg directed six films against the odds of a hugely difficult economic and political situation in Argentina in the 1980s and 1990s. She has been an important influence on a number of young filmmakers, most notably a favourite of FSFF, Lucrecia Martel (also see HERE). Martel's films have been produced by Bemberg's legendary producer and friend Lita Stantic.

In honour of Bemberg and her films, below is a list of high-quality and freely-accessible online studies of her work:

In English:

• Caleb Bach, 'Maria Luisa Bemberg tells the untold,' Americas 46 (Mar/Apr 1994): 20-7
• Michael Chanan, 'Latin American Cinema in the 90's: Representational Space in Recent Latin American Cinema,' Estudios Interdisciplinarios de América Latina y el Caribe 9:1 (enero-junio 1998)
• Catherine Grant, 'Intimista transformations: María Luisa Bemberg's First Feature Films,' originally published in An Argentine Passion: María Luisa Bemberg and Her Films, John King, Sheila Whitaker and Rosa Bosch, eds. (London: Verso, 2000), 73-109
• John King, Sheila Whitaker and Rosa Bosch, eds., An Argentine Passion: María Luisa Bemberg and Her Films (London: Verso, 2000)
• Bernard McGuirk, 'Review of An Argentine Passion: María Luisa Bemberg and her Films, by John King, Sheila Whitaker and Rosa Bosch (eds.), London & New York: Verso, 2000,' Scope, May 2003
• Hugo Salas, 'Some Girls Are Bigger Than Others: María Luisa Bemberg,' Senses of Cinema 22 (September-October 2002)
• Cynthia L. Stone, 'Beyond the Female Gaze: María Luisa Bemberg's Sor Juana Ines de la Cruz,' Ciberletras, Number 13, July 2005
• Fernanda Vitor Bueno,'The Myth of Camila O'Gorman in the Works of Juana Manuela Gorriti, María Luisa Bemberg and Enrique Molina', PhD e-thesis, The University of Texas at Austin, December 2007
• Bruce Williams, 'Bemberg’s Third Sex: Argentine Mothers at the Dawn of Democracy', Cinémas/Cinémas, Volume 15, numéro 1, Automne 2004, p. 125-144
  

In Spanish:

• Mary Elizabeth Barnard, 'Nietzsche y el cine latinoamericano: un estudio de tres obras,' Espéculo: Revista de Estudios Latinoamericanos (marzo-julio 2006)
• Anke van Haastrecht, 'Mujeres en rebelión: el discurso cinematográfico de María Luisa Bemberg', (date unknown)
• Clara Kuschnir, 'La narrativa, el cine y las mujeres,' Estudios feministas = Etudés feministes (agosto-diciembre 2005)
• Jane Mooney, 'Directoras latinoamericanas: Susana Amaral, María Luisa Bemberg, Viviana Cordero y María Novaro', La Tatuana number 3, (Cinenavaja), 2005
• Lourdes Vázquez, 'De identidades: María Luisa Bemberg, filmografía y bibliografía, 1967-2006 [Segunda edición],' SALALM Latin American Information series, no. 6a, edited by Laura D. Shedenhelm, University of Georgia Libraries, 2007
• Guillermina Walas, 'María Luisa frente al espejo: la (auto)_reflexión en María Luisa Bemberg', La Tatuana number 3, (Cinenavaja), 2005
  

In Italian:

• Raffaella Bassetti, et al., María Luisa Bemberg: la passionaria . Italy: Associazione L'Occhio delle donne, 2004

More about → María Luisa Bemberg: online resources

Lemon Chiffon Cake

I am getting more and more comfortable with making a chiffon cake.


I no longer feel like having a stomach full of butterflies whenever I need to whip the egg whites, although I still can't really tell whether it has reached the stiff peak stage?! I am still not getting the hang of folding the whites to the yolk mixture though. Sometimes...maybe, I could have over-whipped the white a little, or maybe the yolk mixture was too thick...incorporating the whites into the yolk never seems to be as easy as stated in every chiffon cake recipes "Gently fold the egg whites into the batter just until blended, taking care not to deflate the batter." I usually take very much longer than expected, and I doubt I have ever been gentle when performing the act. Even watching demo video clips on youtube doesn't seem to help :(


Well, at least I am getting really good at unmolding the cake from the tube pan. Most of the time I am able to get it out without causing too much damage to the golden brown crust ;) The trick is to use a very thin-bladed knife.


The other obstacle I have yet to overcome is the oven temperature. It was only last week that I realised all the while I have been baking with my not-so-up-to-standard table-top oven. First of all, it is a small oven, just 20 litres, compared to one that is 40 litres. It doesn't come with a fan, and it has only one set of heating element that is located on the top. Most good ovens come with two sets of heating elements, top and bottom, and with a fan for circulation which helps to create an even temperature. I would think my oven is just slightly better than a toaster oven. No wonder, I always have problem baking a chiffon cake. Without fail, the oven temperature will drop by 20 degC when the cake goes in, so I always had to set it higher than the recommended temperature. The cake will rise high over the rim during baking, however, close to the finishing time, it will start to shrink, even before I take it out of the oven. Sometimes I have to tent the top of the cake as my oven is so small that the top of the tube is not more than 2 inches away from the heating element, while the bottom of the pan is only 1 inch away from the base of the oven, not forgetting I am using a small 7 in" tube pan.


Anyway, enough of complaining...with the ample supply of lemons in the fridge, I managed to bake a Lemon Chiffon Cake the other day. I didn't have time to search for a suitable recipe, so I tweaked my favourite Earl Grey Chiffon Cake recipe and turned it to a lemon flavoured cake.

My little experiment was a success. The texture of the cake was not affected, it was moist and tender. I like the mild and light lemony flavour which was not too tangy. It was great for breakfast, and was excellent served with a cup of afternoon tea.



Lemon Chiffon Cake

Ingredients
(makes one 18cm cake)

100g cake flour
1 1/2 teaspoons baking powder
1/2 teaspoon salt
3 egg yolks
40g caster sugar
50ml vegetable oil
50ml water
25ml lemon juice
zest of 1 lemon

3 egg whites
40g caster sugar

Method:

1. Sieve flour, baking powder and salt together, set aside.
2. Separate egg yolks/whites and bring to room temperature. (It is easier to separate eggs when they are cold.)
3. Place egg yolks in a mixing bowl, add sugar in 3 separate additions and with a manual whisk, whisk till the mixture becomes sticky and turns pale.
4. Drizzle in the oil, whisking at the same time till the mixture is well combined. Repeat the same with the water, followed by the lemon juice. Sieve over the flour mixture and whisk until flour mixture is fully incorporated into the batter. Add in the lemon zest and mix well.
5. In a clean, dry mixing bowl, beat egg whites with an electric mixer until mixture becomes frothy and foamy. Gradually beat in the sugar and beat on high speed until  just before stiff peaks form* (after note: after several attempts at baking chiffon cakes, I learned that the whites should be beaten until just before stiff peaks form).
6. Add the beaten egg white into the egg yolk batter in 3 separate additions, each time folding gently with a spatula until just blended.
7. Pour batter into a 18cm (7 inch) tube pan (do not grease the pan). Tap the pan lightly on a table top to get rid of any trapped air bubbles in the batter.
8. Bake in pre-heated oven at 170 degC for 45 ~ 50mins or until the cake surface turns golden brown, and a skewer inserted into the centre comes out clean.
9. Remove from the oven and invert the pan immediately. Let cool completely before unmould. To remove the cake from the pan, run a thin-bladed knife around the inside of the pan and the center core. Release the cake and run the knife along the base of the pan to remove the cake.

More about → Lemon Chiffon Cake

Beef Cheese Ball

My mom has made this for as long as I can remember. I LOVE it!

4 pkgs. cream cheese (8 oz. size)
2 bunches green onions
1 lg. pkg. dried beef
Garlic salt
Worcestershire sauce
Chopped nuts

Put your cream cheese in a bowl to soften. Rinse the dried beef and pat dry on a paper towel. Clean up the green onions and cut off the ends. Chop onions in small pieces. Chop up dried beef, in a food processor if available. Mix cream cheese, dried beef, and onions together. Add Worcestershire sauce and garlic salt to taste. Shape into a ball and roll in nuts. Refrigerate. Makes 1 large or 2 small cheese balls. Serve with crackers.

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Nirvana Sauce (AKA Cashew Gravy)

One of my student's parents invited Trey and I over for dinner before we move to Nashville. We had a delicious meal of grilled chicken, grilled squash, zucchini, corn, and bell peppers, and rice. Kristen served it with a sauce she called Nirvana sauce. I think it is mostly known as Cashew Gravy. Here is the recipe:

Ingredients:

6 tablespoons margarine
1 medium onion
6 tablespoons whole wheat pastry flour
1 1/4 cup finely ground cashews (raw)
3 vegetarian bouillon cubes dissolved in 4 cups boiling water
5 tablespoons tamari or soy sauce (or Braggs Liquid Aminos)
1/2 teaspoon garlic powder
pepper to taste

Directions:

Saute onions in margarine until golden. Stir in flour and cashews, cook for 3 minutes, stirring all the while. Add bouillion gradually, whisking constantly until smooth. Add soy sauce, garlic powder and pepper. Bring to boil, then turn down heat and simmer until thick. Puree in batches in blender until smooth. Great on mashed potatoes.

Serves: 4 cups

Preparation time: 30 min

More about → Nirvana Sauce (AKA Cashew Gravy)

Is it a Tart or a Pie?

I couldn't help but grabbed 6 lemons when I saw them on the supermarket cart two weeks ago. They look so fresh and are much larger than the usual ones I bought. It was such a good deal, I got them at 35 cents each, almost half of what I usually have to pay.


With such beautiful lemons, I thought I should really get my hands to work on this Lemon Meringue Pie recipe which I have been keeping for the past two years. I didn't have the courage to take up the challenge to make such a pie as the recipe looks so intimidating which entails putting three totally different parts together. I am comfortable with making the crust, but the lemon fillings requires the use of the stove, something which I am really bad at it; and till now it remains a mystery whether I have been beating the egg whites correctly? On top of that, I have never even tasted a lemon meringue pie!

Anyway I felt very brave the other day, and went ahead to give it a try. After looking through the recipe, I didn't like that the pastry crust requires more butter than the usual tart recipe that I am familiar with. So I made the crust by adapting the peach tart recipe, which is a good thing, since I do not own a pie pan or a dish, I could turn it to a tart instead of a pie.


As usual, before I jump-in to make something alien, I looked up the internet for more information. It is interesting to learn that besides the type of pan to use, there are other differences between a lemon meringue Pie and a lemon meringue Tart. The filling of a lemon meringue Pie comes in the form of a custard, made with little or no butter and uses cornstarch or flour for thickening. While a lemon meringue Tart is filled with lemon curd which does not contain cornstarch or flour. The filling for the Tart contains more lemon juice and zest than the custard filling of a Pie. The lemon curd is made with butter which makes the texture smoother and creamier.

Another general difference between a Pie and a Tart is the amount of filling that goes into it. A Pie will hold more filling as compared to a tart since it is baked in a deeper pan. With the sheer amount of filling, the sides of a Pie would collapse if it were removed from its pan, and for this reason, pies are usually served from their baking pans. With less filling in a Tart, the crust plays a more prominent role in terms of texture and flavour, and so, it is important to make sure the crust is tasty.


With the above findings, I realised that what I have made is neither a Lemon Meringue Pie or a Lemon Meringue Tart :')

The filling is meant for a pie but since I used a tart pan, it is now a tart. Other than the crust, I followed the rest of the recipe rather closely. I even attempted to pipe a 'decorative' border around the rim of the tart. I have meant to pipe 'shells' just like the ones in the recipe, however, with zero skills and knowledge on piping, I ended up with just a border of undulating waves!

If you were to do a search on lemon meringue pie, it is inevitable that you will come to know that the meringue can actually "weep". Although I tried to follow some of the tips here, here and here to prevent my pie from crying, my tart still weeps a little. It also doesn't help that the meringue in this recipe is made the "Italian way"...that is, a hot sugar syrup is added to the beaten egg whites to cook it...this is suppose to make the meringue more stable. Well, besides my lousy skills plus my unreliable oven, I have nothing else but the humid weather to blame for my sobbing tart.



Other than the weeping bit, I really like the taste of this dessert. I am also surprised at the interesting flavours it offers...a combination of a little sweetness and a little tartness. The meringue on top is pillowy soft, fluffy, and sweet, very much like biting into cotton candies. The custard filling is very refreshing with the right tartness that balances well with both the sweet meringue and the crust. I'll have to classify this tart under the category: 'can't stop at just one slice'.



Lemon Meringue Tart/Pie

Ingredients:
(makes one 18cm tart)

Pastry Crust:
100g cake flour
30g caster sugar
40g unsalted butter , soften at room temperature
1 tablespoon (15g) lightly beaten egg

Filling:
250ml milk
3 egg yolks
60g caster sugar
25g cornstarch
30g unsalted butter, cut into cubes
zest of 1 large lemon
juice of 1 large lemon (about 70-80 ml)
(use a strainer to remove any seeds and pulp from the juice)

Meringue
3 egg whites
50g caster sugar

sugar syrup:
3 tablespoons water
100g caster sugar


Method:

For Pastry Crust:
1. Lightly grease an 18cm tart pan, set aside. Sieve flour, set aside.
2. With a manual whisk, cream butter and sugar till light and fluffy. Dribble in the egg, whisk and mix well. Sieve over the flour in 2 to 3 additions into the batter. Fold the mixture gently with a spatula each time the flour is added.
3. Form and shape the pastry into a round disc. Roll out the pastry in between 2 sheets of baking paper or 2 sheets of cut-out plastic bags, to about 23cm in diameter. Remove one side of the baking paper. Carefully flip the pastry over the prepared tart pan. Remove the other baking paper. Mould the pastry into the tart pan, smoothing the edges and the rim carefully. If the pastry is too soft to handle, chill it in the fridge for 10~15 mins.
4. Chill the moulded pastry in the fridge for 20mins. (This helps to prevent the pastry from shrinking too much after baking.)
5. Use a fork to prick holes on the pastry surface. Brush the top of the rim with egg wash. Bake in pre-heated oven at 180 degC for 10~12 mins until the edges turned slightly browned. Let cool completely.
For Filling:
6. In a mixing bowl, with a manual whisk, whisk egg yolks with a little bit of the milk. Add in sugar and corn flour, mix well.
7. In a saucepan, bring the remaining milk to a simmer. Remove from heat and add the hot milk gradually to the yolk mixture, whisk to combine. Pour the mixture over a sieve and return it to the saucepan. Boil the mixture on Low heat, stirring constantly with a wooden spoon until the mixture just starts to boil. When it boils, continue to stir constantly for another 1 minute, the mixture will become very thick and very difficult to stir. It is important to stir the mixture constantly as it cooks so that it thickens but doesn't turn lumpy or get burnt at the bottom.
8. Remove mixture from heat and whisk in the butter, lemon zest and lemon juice. Pour the filling into the baked pastry crust and smooth the top. Chill tart in fridge.
For Meringue:
9. To make the sugar syrup: in a saucepan, stir water and sugar and bring the syrup to a boil. Turn to low heat.
10. In a clean mixing bowl, with an electric mixer, beat the egg whites until soft peaks form. Gradually add the sugar and continue to whip at the same time until stiff peaks form.
11. Slowly drizzle it the hot sugar syrup into the beaten egg white in a steady stream and continue to beat the mixture at the same time until the egg white becomes thick and glossy.
12. With a spatula, pile the tart surface with about 2/3 of the meringue. Shape the meringue into a tall dome and gently press down on the meringue to get rid of any air pockets. Make sure the edges are all covered with the meringue, leaving no filling exposed. Work quickly before the meringue starts to cool and set, make a few decorative swirls and peaks with the back of a spoon. Place the remaining meringue in a piping bag and pipe a decorative border on the rim of the tart. Bake the tart in a pre-heated oven at 230 degC for 2 to 3 mins or until the meringue is lightly browned. Remove from oven and let cool. Refrigerate until ready to serve. Best served on the day it is made.

More about → Is it a Tart or a Pie?

On Auteurism and Film Authorship Theories

Director Jane Campion (right) and cinematographer Laurie Mcinnes on the set of After Hours (1984). Photograph (1981) by Gayle Pigalle

Film Studies For Free will be concentrating on some shorter (but hopefully still useful) posts in the next few weeks. But here's another long one in the meantime: a whole (shiny) host of links to writing devoted to FSFF's author's main topic of research: film authorship and auteur theory. It has consequently been cross-posted at her other blog Directing Cinema, where lots of discussions of authorship and auteurism may be found. The below list of links to freely accessible online material on these topics will be kept updated, so do consider yourselves warmly encouraged to bookmark this post, and also to suggest further good resources to add to the list (by commenting or via email). Latest update: June 3, 2009

• Eduardo Abrantes, ''The Principle of Revelation (review of Catherine Lupton (2005) Chris Marker: Memories of the Future London: Reaktion Books)', Film-Philosophy 10.1, 2006
• Richard Armstrong, 'They Lost It at the Movies: Film Culture in the Age of Positif and Cineaste', Bright Lights Film Journal, Issue 40, May 2003
• Karyn Ball, 'Hitchcock's 'Material Whirl (Review of Tom Cohen, Hitchcock's Cryptonomies. Volume 1: Secret Agents; Volume II: War Machines. Minneapolis and London: University of Minnesota Press, 2005)', Culture Machine, 2006
• Charles Bane, 'Viewing Novels, Reading Films: Stanley Kubrick and the art of adaptation as interpretation, PhD e-thesis, Louisiana State University 2006
• Shyon Baumann, Intellectualization and Art World Development: Film in the United States', American Sociological Review 66:3 (June 2001) pp. 404-426
• Jack Boozer, 'Introduction: The Screenplay and Authorship in Adaptation', Authorship in Film Adaptation (Austin: University of Texas Press, 2007)
• David Bordwell, Ozu and the poetics of cinema, e-book, originally published by London: British Film Institute; Princeton: Princeton University Press, 1988
• Peter Brunette, 'Nowell-Smith Meets Visconti, Redux: The Old and the New,', Film-Philosophy, vol. 9, no. 16, March 2005 (See also Geoffrey Nowell- Smith, “It Ain’t Me Babe: A Response to Brunette,' Film-Philosophy, vol. 9, no. 17, March 2005)
• Alan Cholodenko - '(The) Death (of) the Animator, or: The Felicity of Felix1, Part II', Animation Studies, December 9, 2007
• David Church, 'The "Cult" of Kubrick', Offscreen Journal, May 31, 2006
• Paul Coughlin, 'The Mark of Cain: Blood Simple and The Man Who Wasn't There', Scope 3, November 2005
• David Clarke, 'Welcome to Tykwer-World: Tom Tykwer as Auteur', Welcome to Tykwer-World: Tom Tykwer as Auteur', gfl-journal, No. 3/2006
• James A. Davidson, 'Some Thoughts on Alfred Hitchcock and Vladimir Nabokov', Images Journal, Issue 3, 1997
• Alexander Dhoest, 'How queer is L'Air de Paris? -- Marcel Carné and Queer Authorship', Scope, May 2003
• Lucy Fife, 'Review of Joe McElhaney, The Death of Classical Cinema: Hitchcock, Lang, Minnelli. (New York; State University of New York Press, 2006)', Film-Philosophy 11.3, December 2007
• Richard Franklin, “What I Really Want to do is Direct”: (1) Directors as Depicted on Film and Television', Senses of Cinema, Issue 42, Jan-Mar 2007
• Jane Gaines, 'Dorothy Arzner's trousers', from Jump Cut, no. 37, July 1992, pp. 88-98
• Tag Gallagher, 'Reading, Culture, and Auteurs' , Screening the Past, March 1, 2001
• Tag Gallagher, 'American Triptych: Vidor, Hawks and Ford', Senses of Cinema, Issue 42, Jan-Mar 2007
• David Gerstner, 'Queer Modernism: The Cinematic Aesthetics of Vincente Minnelli', Modernity, Vol 2 2000
• Barry Keith Grant, 'Theories of Authorship: Rethinking authorship', from Jump Cut, no. 31, March 1986, pp. 14-16
• Catherine Grant, ‘www.auteur.com?’, originally published in Screen, Vol. 41:1, 2000, 101-108
• Catherine Grant, ‘Secret Agents: Feminist Theories of Women’s Film Authorship’, originally published in Feminist Theory 2:1, 2001, 113-130
• Catherine Grant, ‘Recognizing Billy Budd in Beau Travail: Epistemology and Hermeneutics of an Auteurist “Free” Adaptation’, originally published in Screen 43:1, 2002: 57-73
• Catherine Grant, 'The "Author Function" in Transnational Film Adaptation: The case of El lugar sin límites / The Place Without Limits / Hell Has No Limits (Arturo Ripstein, Manuel Puig, José Donoso)', originally published as 'La función de "los autores": la adaptación cinematográfica transnacional de El lugar sin límites', Revista Iberoamericana, Vol. LXVIII, Núm, 199, Abril-Junio 2002, pp. 253-268
• Asbjørn Grønstad, 'Coppola's Exhausted Eschatology: Apocalypse Now Reconsidered', Nordic Journal of English Studies, Vol. 4, No. 1, 2005
• Andrew Grossman, 'The Belated Auteurism of Johnnie To', Senses of Cinema, January 2001
• Fiona Handyside, 'The Auteur as Imposter', Film-Philosophy, 10.1, 2006
• John Hess, 'La politique des auteurs (part one) World view as aesthetics', from Jump Cut, no. 1, 1974, pp. 19-22
• John Hess, 'La politique des auteurs (part two) Truffaut's manifesto', from Jump Cut, no. 2 (1974), pp. 20-22
• Roger Hillman, 'Fassbinder, and Fassbinder/Peer Raben', Screening the Past, March 1, 2001
• Brian Hu, 'Neither Personal nor Political (review of John Anderson (2005) Edward Yang (Urbana and Chicago: University of Illinois Press)', Film-Philosophy 10.1, 2006
• Noel King, 'Changing the Curriculum: The Place of Film in an English Department', Australian Journal of Cultural Studies, Vol. 1, No. 1, 1983
• Donald F. Larsson, 'Every Picture Tells A Story: Agency And Narration In Film', Panel: Movies as Paradigmatic Narratives, Modern Language Association Annual Conference, Washington, D.C., December, 2000
• Katerina Loukopoulou , 'Godard Alone? (review of Michael Temple, James S.Williams and Michael Witt (eds) (2004) For Ever Godard (London: Black Dog Publishing)', Film-Philosophy, 10. 1, 2006
• Harriet Margolis, 'Introduction: "A Strange Heritage" - from Colonization to Transformation?', in Margolis (ed.), Jane Campion (Cambridge: Cambridge University Press, 2000)
  
• Adrian Martin, 'Sign your name across my heart, or:"I want to write about Delbert Mann" ', Screening the Past, March 1, 2001
• Tony McKibbin, 'Art Variables and Life Variables in La Belle noiseuse', Senses of Cinema, Issue 42, Jan-Mar 2007
• Andrew Neal, 'Review of Fifty Contemporary Filmmakers, edited by Yvonne Tasker (London: Routledge, 2002) and Contemporary North American Filmmakers: A Wallflower Critical Guide (Second Edition), edited by Yoram Allon, Del Cullen and Hannah Patterson (London: Wallflower, 2002), Scope, May 2004
• Dan North, 'Review of Directed by Allen Smithee, edited by Jeremy Braddock and Stephen Hock (Minneapolis/London: University of Minnesota Press, 2001), Scope, May 2004
• Karla Oeler, 'Signs of the Times: The thirty year trajectory of Signs and Meaning in the Cinema', Film-Philosophy, Volume 3 Number 25, June 1999
• Matt Pearson, Authorship and the Films of David Lynch, e-book, BritishFilm.org.uk, 1997
• VF Perkins, 'Moments of Choice', first published in The Movie, no. 58 (Orbis Publishing, 1981), Rouge 9, 2006
• Dana Polan, 'Auteur Desire', Screening the Past, March 1, 2001
• Trevor Ponech, 'Authorship and Authorial Autonomy: The Personal Factor in the Cinematic Work of Art', Æ Canadian Aesthetics Journal / Revue canadienne d'esthétique, Volume 4 Summer/Été 1999
• Lauren Rabinovitz, 'Past Imperfect: Feminism and Social Histories of Silent Film', Cinémas/Cinémas, Volume 16, numéro 1, Automne 2005, p. 21-34
• Nicholas Rombes, 'The Rebirth of the Author, CTheory, June 2005
• Holger Römers, '“The Moral of the Auteur Theory”: Frank Borzage’s Moonrise (and Theodore Strauss’ Source Novel)', Senses of Cinema, Issue 42, Jan-March 2007
• Jonathan Rosenbaum, 'Potential Perils of the Director’s Cut', originally published in French as Le Mythe du Director’s cut (Paris: Presses Sorbonne Nouvelle, 2008), JonathanRosenbaum.com, August 6, 2008
• William D. Routt, 'Lois Weber, or the exigency of writing', Screening the Past, March 1, 2001
  
• William D Routt, 'L'Evidence', Continuum: The Australian Journal of Media & Culture, vol. 5 no 2 (1990)
• Girish Shambu, 'On Auteurism', girish, March 30, 2008
• David Sorfa, 'Introduction: Reanimating the Auteur', Film-Philosophy , 10.1, 2006
• David Sterritt, Introduction', The Films of Alfred Hitchcock (Cambridge: Cambridge University Press, 1993)
• Tony Todd, 'Meanings and Authorships in Dune', Film-Philosophy 13.1, 2009
• Kristof Van Den Troost, « Stephen Teo, Director in Action: Johnnie To and the Hong Kong Action Film », China perspectives, n°2009/1, 2009
• NEW Harry Tuttle, 'Truffaut's manifesto : La Politique des Auteurs- Part 1', Indian Auteur, February 1, 2009
  
• NEW Harry Tuttle, 'La Politique Des Auteurs-2', Indian Auteur, May 3, 2009
• NEW Harry Tuttle, 'French [cinephilic and auteurist] terms and their pronunciation', Indian Auteur, May 20, 2009
  
• Paula Willoquet-Maricondi, 'Peter Greenaway: A User's Manual', Film-Philosophy, Volume 2, 1998
• Brenda Wilson, 'Blurring the Boundaries: Auteurism & Kathryn Bigelow', UBCinephile, Vol. 1, 2005
• Ronald W. Wilson, 'Review of Chris Fujiwara, The Auteur of Darkness: Jacques Tourneur', Film-Philosophy, Vol. 7 No. 2, January 2003
• Daniel Yacavone, 'Towards a Theory of Film Worlds', Film-Philosophy 12.2, September 2008

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