Professional Documents
Culture Documents
Selected Bibliography: The Essential Frankfurt School Reader, Edited by Andrew Arato and Eike Gebhardt
Selected Bibliography: The Essential Frankfurt School Reader, Edited by Andrew Arato and Eike Gebhardt
Adorno, Theodor W. “The Fetish Character of Music and the Regression of Listening.” In
The Essential Frankfurt School Reader, edited by Andrew Arato and Eike Gebhardt,
270–99. New York: Continuum, 1985.
Agamben, Giorgio. What Is an Apparatus? and Other Essays. Translated by David Kishik
and Stefan Pedatella. Stanford, CA: Stanford University Press, 2009.
Anderson, Benedict R. O’G. Exploration and Irony in Studies of Siam over Forty Years. Ithaca,
NY: Southeast Asia Program Publications, 2014.
Andriopoulos, Stefan. Possessed: Hypnotic Crimes, Corporate Fiction, and the Invention of
Cinema. Chicago: University of Chicago Press, 2008.
Apichatpong Weerasethakul. “Ghosts in the Darkness.” In Apichatpong Weerasethakul,
edited by James Quandt, 104–16. Vienna: Synema Publikationen, 2009.
Apichatpong Weerasethakul. “The Memory of Nabua: A Note on the Primitive Project.”
In Apichatpong Weerasethakul, edited by James Quandt, 192–206. Vienna: Synema
Publikationen, 2009.
Apichatpong Weerasethakul. Apichatpong Weerasethakul Sourcebook: The Serenity of
Madness. New York: Independent Curators International; Chiang Mai: MAIIAM
Contemporary Art Museum, 2016.
Apichatpong Weerasethakul and Enrique Juncosa. For Tomorrow For Tonight. Dublin: Irish
Museum of Modern Art, 2011.
Aronson, Arnold. “Theatres of the Future.” Theater Journal 33, no. 4 (December 1981):
489–503.
Balsom, Erika. “Screening Rooms: The Movie Theatre in/and the Gallery.” Public: Art/
Culture/Ideas 40 (Fall 2009): 24–39.
Balsom, Erika. Exhibiting Cinema in Contemporary Art. Amsterdam: Amsterdam University
Press, 2013.
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246 Selected Bibliography
Balsom, Erika. After Uniqueness: A History of Film and Video Art in Circulation. New York:
Columbia University Press, 2017.
Bandis, Helen, Adrian Martin, and Grant McDonald. “The 400 Blow Jobs.” Rouge 7 (2005).
www.rouge.com.au/rougerouge/wayward.html.
Bao, Weihong. “Biomechanics of Love: Reinventing the Avant-Garde in Tsai Ming-liang’s
Wayward ‘Pornographic Musical.’” Journal of Chinese Cinemas 1, no. 2 (2007): 139–60.
Barker, Jennifer. The Tactile Eye: Touch and the Cinematic Experience. Berkeley: University
of California Press, 2009.
Baron, Kelly Glazer, Sabra Abbott, Nancy Jao, Natalie Manalo, and Rebecca Mullen.
“Orthosomnia: Are Some Patients Taking the Quantified Self Too Far?” Journal of
Clinical Sleep Medicine 13, no. 2 (February 2017): 351–54.
Barry, Iris. Let’s Go to the Movies. New York: Payson and Clarke, 1926.
Barthes, Roland. “En sortant du cinema.” Communications 23 (1975): 104–7.
Barthes, Roland. “Upon Leaving the Movie Theater” (1975). Translated by Bertrand Augst
and Susan White. In Apparatus, Cinematographic Apparatus: Selected Writings, edited by
Theresa Hak Kyung Cha, 1–4. New York: Tanam Press, 1980.
Barthes, Roland. The Rustle of Language. Translated by Richard Howard. Berkeley:
University of California Press, 1989.
Barthes, Roland. The Neutral. Translated by Rosalind E. Krauss and Denis Hollier. New
York: Columbia University Press, 2005.
Baudry, Jean-Louis. “The Apparatus: Metapsychological Approaches to the Impression of
Reality in the Cinema” [1975]. In Narrative, Apparatus, Ideology, edited by Philip Rosen,
299–318. New York: Columbia University Press, 1986.
Baxter, Vern, and Steve Kroll-Smith. “Normalizing the Workplace Nap: Blurring the
Boundaries between Public and Private Space and Time.” Current Sociology 53, no. 1
(January 2005): 33–56.
Bazin, André. What Is Cinema? Vol. 1. Translated by Hugh Gray. Berkeley: University of
California Press, 1967.
Bazin, André. Bazin at Work: Major Essays & Reviews from the Forties & Fifties. Edited by
Bert Cardullo. Translated by Alain Piette and Bert Cardullo. New York: Routledge, 1997.
Bazin, André. What Is Cinema? Vol. 2. Translated by Hugh Gray. Berkeley: University of
California Press, 2005.
Beckman [Redrobe], Karen. “The Tortoise, the Hare, and the Constitutive Outsiders:
Reframing Fast and Slow Cinemas.” Cinema Journal 55, no. 2 (Winter 2016): 125–30.
Bellour, Raymond. “Of an Other Cinema.” In Art and the Moving Image: A Critical Reader,
edited by Tanya Leighton, 406–22. New York: Tate Publishing and Afterall Books, 2008.
Bellour, Raymond. Le Corps du cinéma: Hypnoses, émotions, animalités. Paris: P.O.L, 2009.
Bellour, Raymond. “From Hypnosis to Animals.” Translated by Alistair Fox. Introduction
by Hilary Radner and Cecilia Novera. Cinema Journal 53, no. 3 (Spring 2014): 1–8.
Ben-Ari, Eyal. “Sleep and Night-time Combat in Contemporary Armed Forces.” In Night-
time and Sleep in Asia and the West: Exploring the Dark Side of Life, edited by Brigitte
Steger and Lodewijk Brunt, 108–26. New York: Routledge, 2003.
Benjamin, Marina. Insomnia. New York: Catapult, 2018.
Benjamin, Walter. “The Work of Art in the Age of Its Technical Reproducibility” [3rd
version]. In Walter Benjamin: Selected Writings. Vol. 4, 1938–1940, edited by Howard
Selected Bibliography 247
Eiland and Michael W. Jennings, translated by Edmund Jephcott and others, 251–83.
Cambridge, MA: Belknap Press of Harvard University Press, 2003.
Benson-Allott, Caetlin. The Stuff of Spectatorship: Material Cultures of Film and Television.
Oakland: University of California Press, 2021.
Bergen-Aurand, Brian. “The ‘Strange’ Dis/ability Affects and Sexual Politics of Apichatpong
Weerasethakul’s Transient Bodies.” CineAction 96 (Summer 2015): 26–35.
Bíró, Yvette. “Tender Is the Regard: I Don’t Want to Sleep Alone and Still Life.” Film
Quarterly 61, no. 4 (Summer 2008): 34–40.
Bishop, Claire. “Black Box, White Cube, Gray Zone: Dance Exhibitions and Audience
Attention.” TDR: The Drama Review 62, no. 2 (Summer 2018): 22–42.
Bjerkem, Brynjar, ed. Photophobia. Oslo: Transnational Arts Production, 2013.
Blanchot, Maurice. The Space of Literature. Translated by Ann Smock. Lincoln: University
of Nebraska Press, 1982.
Bonanos, Christopher. Flash: The Making of Weegee the Famous. New York: Henry Holt, 2018.
Breton, André. “As in a Wood” [1951]. In The Shadow and Its Shadow: Surrealist Writings on
the Cinema, edited and translated by Paul Hammond, 72–77. San Francisco: City Lights
Books, 2000.
Bukatman, Scott. The Poetics of Slumberland: Animated Spirits and the Animating Spirit.
Berkeley: University of California Press, 2012.
Burch, Noël. “Porter, or Ambivalence.” Screen 19, no. 4 (December 1978): 91–106.
Burch, Noël. Life to Those Shadows. Berkeley: University of California Press, 1990.
Burgin, Victor. The Remembered Film. London: Reaktion Books, 2004.
Butler, Judith. Notes toward a Performative Theory of Assembly. Cambridge, MA: Harvard
University Press, 2015.
Campt, Tina M. “The Loophole of Retreat—An Invitation.” e-flux 105 (December 2019).
www.e-flux.com/journal/105/302556/the-loophole-of-retreat-an-invitation/.
Carson, Anne. Decreation: Poetry, Essays, Opera. New York: Vintage Books, 2005.
Carson, Anne. The Albertine Workout. New York: New Directions Books, 2014.
Casetti, Francesco. “The Relocation of Cinema.” Necsus, November 12, 2012. https://necsus
-ejms.org/the-relocation-of-cinema/.
Casetti, Francesco. The Lumière Galaxy: 7 Key Words for the Cinema to Come. New York:
Columbia University Press, 2015.
Carrion-Murayari, Gary. “Interview with Apichatpong Weerasethakul.” In Apichatpong
Weerasethakul, edited by Gary Carrion-Murayari and Massimiliano Gioni, 10–14. New
York: New Museum, 2011.
Cavarero, Adriana. Inclinations: A Critique of Rectitude. Translated by Amanda Minervini
and Adam Sitze. Stanford, CA: Stanford University Press, 2020.
Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film. Cambridge, MA:
Harvard University Press, 1979.
Chambers, Paul. “Military ‘Shadows’ in Thailand since the 2006 Coup.” Asian Affairs:
An American Review 40 (2013): 67–82.
Chambers, Paul, and Napisa Waitoolkiat. “The Resilience of Monarchised Military in
Thailand.” Journal of Contemporary Asia 46, no. 3 (2016): 425–44.
Chateau, Dominique, and Martin Lefebvre. “Dance and Fetish: Phenomenology and Metz’s
Epistemological Shift.” October 148 (Spring 2014): 103–32.
248 Selected Bibliography
Chow, Rey. Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of
Global Visibility. New York: Columbia University Press, 2007.
Chuang Tzu. The Book of Chuang Tzu. Translated by Martin Palmer with Elizabeth Breuilly,
Chang Wai Ming, and Jay Ramsay. New York: Penguin Books, 2006.
Chung, Una. “Crossing over Horror: Reincarnation and Transformation in Apichatpong
Weerasethakul’s Primitive.” WSQ: Women’s Studies Quarterly 40, nos. 1–2 (Spring–
Summer 2012): 211–22.
Citton, Yves. The Ecology of Attention. Cambridge: Polity Press, 2017.
Cocteau, Jean. The Art of Cinema. Translated by Robin Buss. New York: Marion Boyars, 1992.
Colomina, Beatriz. “The 24/7 Bed.” In Work, Body, Leisure, edited by Marina Otero Verzier
and Nick Axel, 189–204. Ostfildern: Hatje Cantz, 2018.
Comolli, Jean. “Notes on the New Spectator” [1966]. Translated by Diana Matias. In Cahiers
du Cinéma 1960–1968: New Wave, New Cinema, Reevaluating Hollywood, edited by Jim
Hillier, 210–15. Cambridge, MA: Harvard University Press, 1986.
Connolly, Maeve. TV Museum: Contemporary Art and the Age of Television. Bristol:
Intellect, 2014.
Cortez, Iggy. “Licking for the Nation: Auntie Genealogies in Apichatpong Weerasethakul’s
Rak ti Khon Kaen.” Journal of Cinema and Media Studies 60, no. 3 (Spring 2021): 37–61.
Crary, Jonathan. Suspensions of Perception: Attention, Spectacle, and Modern Culture.
Cambridge, MA: MIT Press, 1999.
Crary, Jonathan. 24/7: Late Capitalism and the Ends of Sleep. New York: Verso, 2013.
Curtis, Scott. The Shape of Spectatorship: Art, Science, and Early Cinema in Germany. New
York: Columbia University Press, 2015.
D’Allonnes, Judith Revault. Holy Motors de Léos Carax: Les Visages sans yeux. Crisnée:
Editions Yellow Now, 2016.
Dard, Michel. “Valeur Humaine du Cinéma.” In Cinéma & Littérature: Le Grand Jeu, edited
by Jean-Louis Leutrat, 163–75. Le Havre: De l’incidence éditeur, 2010.
Davies, William. “Economics of Insomnia.” New Left Review 85 (January–February 2014):
141–46.
De Luca, Tiago. “Slow Time, Visible Cinema: Duration, Experience, and Spectatorship.”
Cinema Journal 56, no. 1 (Fall 2016): 23–42.
Debord, Guy. The Society of the Spectacle. Detroit: Black and Red, 1983.
Delany, Samuel R. Times Square Red, Times Square Blue. New York: New York University
Press, 2019.
Deleuze, Gilles. “Postscript on the Societies of Controls.” October 59 (Winter 1992): 3–7.
Della Subin, Anna. Not Dead but Sleeping. New York: Triple Canopy, 2017.
Descartes, René. The Philosophical Works of Descartes. Translated by Elizabeth S. Haldane.
Cambridge: Cambridge University Press, 1911.
Desnos, Robert. “Fantômas, Les Vampires, Les Mystères de New York” [1927]. In French Film
Theory and Criticism: A History/Anthology. Vol. 2, 1907–1939, edited and translated by
Richard Abel, 398–407. Princeton: Princeton University Press, 1988.
Douglass, Frederick. Narrative of the Life of Frederick Douglass, an American Slave.
Cambridge, MA: Belknap Press of Harvard University, 1960.
Dunbar, Olivia Howard. “The Lure of the Films” [1913]. In Red Velvet Seat: Women’s
Writing on the First Fifty Years of Cinema, edited by Antonia Lant with Ingrid Periz,
75–80. New York: Verso, 2006.
Selected Bibliography 249
Eisner, Lotte H. Ich hatte einst ein schönes Vaterland. Heidelberg: Verlag Das Wunderhorn,
1984.
El Wardany, Haytham. The Book of Sleep. Translated by Robin Moger. London: Seagull
Books, 2020.
Elcott, Noam M. Artificial Darkness: An Obscure History of Modern Art and Media.
Chicago: Chicago University Press, 2016.
Emerson, Ralph Waldo. Ralph Waldo Emerson: The Major Prose. Edited by Ronald A. Bosco
and Joel Myerson. Cambridge, MA: Belknap Press of Harvard University, 2015.
Epstein, Jean. “Magnification” [1921]. In French Film Theory and Criticism: A History/
Anthology. Vol. 1, 1907–1939, edited and translated by Richard Abel, 237–41. Princeton:
Princeton University Press, 1988.
Epstein, Jean. “Continuous Screenings.” In Jean Epstein: Critical Essays and New Trans-
lations, edited by Sarah Keller and Jason N. Paul, translated by Sarah Keller, 277–79.
Amsterdam: Amsterdam University Press, 2012.
Fairfax, Daniel. “Between Phenomenology and Psychoanalysis: Jean-Pierre Meunier’s Theory
of Identification in the Cinema.” In The Structures of the Film Experience by Jean-
Pierre Meunier: Historical Assessments and Phenomenological Expansions, edited by
Julian Hanich and Daniel Fairfax, 173–89. Amsterdam: Amsterdam University Press, 2019.
Fay, Jennifer. Inhospitable World: Cinema in the Time of the Anthropocene. New York:
Oxford University Press, 2018.
Felski, Rita. The Limits of Critique. Chicago: University of Chicago Press, 2015.
Field, Allyson Nadia, and Marsha Gordon, eds. Screening Race in American Nontheatrical
Film. Durham, NC: Duke University Press, 2019.
Flanagan, Matthew. “Towards an Aesthetic of Slow in Contemporary Cinema.” 16:9 29
(November 2008). www.16–9.dk/2008–11/side11_inenglish.htm.
Flatley, Jonathan. Like Andy Warhol. Chicago: University of Chicago Press, 2017.
Fondane, Benjamin. “From Silent to Talkie: The Rise and Fall of the Cinema” [1930]. Trans-
lated by Claudia Gorbman. In French Film Theory and Criticism: A History/Anthology.
Vol. 2, 1907–1939, edited and translated by Richard Abel, 47–49. Princeton: Princeton
University Press: 1988.
Foucault, Michel. The History of Sexuality. Vol. 1, An Introduction. Translated by Robert J.
Hurley. New York: Vintage, 1990.
Fowler, Catherine. “Room for Experiment: Gallery Films and Vertical Time from Maya
Deren to Eija Liisa Ahtila.” Screen 45, no. 4 (Winter 2004): 324–43.
Freud, Sigmund. The Standard Edition of the Complete Psychological Works of Sigmund
Freud. Edited by James Strachey. Vol. 14, A Metapsychological Supplement to the Theory
of Dreams [1917]. London: Hogarth Press, 1953.
Freud, Sigmund. The Standard Edition of the Complete Psychological Works of Sigmund
Freud. Edited by James Strachey. Vol. 15, Introductory Lectures on Psycho-Analysis
(Parts I and II) [1916–17]. London: Hogarth Press, 1953.
Freud, Sigmund. The Interpretation of Dreams [1900]. Translated by Joyce Crick. New York:
Oxford University Press, 1999.
Freud, Sigmund. The Interpretation of Dreams: The Complete and Definitive Text [1900].
Translated by James Strachey. New York: Basic Books, 2010.
Fried, Michael. Absorption and Theatricality: Painting and Beholder in the Age of Diderot.
Chicago: University of Chicago Press, 1988.
250 Selected Bibliography
Friedberg, Anne. The Virtual Window: From Alberti to Microsoft. Cambridge, MA: MIT
Press, 2006.
Fuhrmann, Arnika. Ghostly Desires: Queer Sexuality and Vernacular Buddhism in Contem-
porary Thai Cinema. Durham, NC: Duke University Press, 2016.
Geil, Abraham. “The Spectator without Qualities.” In Rancière and Film, edited by Paul
Bowman, 53–82. Edinburgh: Edinburgh University Press, 2013.
Gillon, Diana, and Meir. The Unsleep. New York: Ballantine Books, 1962.
Giorno, John. Great Demon Kings: A Memoir of Poetry, Sex, Art, Death, and Enlightenment.
New York: Farrar, Straus and Giroux, 2020.
Gladstone, Sir John. A Statement of Facts Connected with the Present State of Slavery in the
British Sugar and Coffee Colonies, and in the United States of America, Together with a
View of the Present Situation of the Lower Classes in the United Kingdom, Contained in
a Letter Addressed to the Right Hon. Sir Robert Peele, Bart. London: Baldwin and
Cradock, 1830.
Goldsmith, Kenneth, ed. I’ll Be Your Mirror: The Selected Andy Warhol Interviews, 1962–1987.
New York: Carroll & Graf, 2004.
Gordon, Rae Beth. Why the French Love Jerry Lewis: From Cabaret to Early Cinema.
Stanford, CA: Stanford University Press, 2001.
Gorfinkel, Elena. “Solitary Particles: Tsai Ming-liang’s The Wayward Cloud.” Electric Sheep
Magazine (Spring 2009): 27–29.
Gorfinkel, Elena. “Weariness, Waiting: Enduration and Art Cinema’s Tired Bodies.”
Discourse 34, nos. 2–3 (Spring–Fall 2012): 311–47.
Goudal, Jean. “Surrealism and Cinema” [1925]. In The Shadow and Its Shadow: Surrealist
Writings on the Cinema, edited and translated by Paul Hammond, 84–94. San Francisco:
City Lights Books, 2000.
Griffiths, Alison. Shivers Down Your Spine: Cinema, Museums, and the Immersive View.
New York: Columbia University Press, 2008.
Griffiths, Alison. Carceral Fantasies: Cinema and Prison in Early Twentieth-Century America.
New York: Columbia University Press, 2016.
Hanhardt, John G., ed. The Films of Andy Warhol Catalog Raisonné, 1963–1965. New York:
Whitney Museum of American Art, 2021.
Hanich, Julian. The Audience Effect: On the Collective Cinema Experience. Edinburgh:
Edinburgh University Press, 2018.
Hansen, Miriam. Babel and Babylon: Spectatorship in American Silent Film. Cambridge,
MA: Harvard University Press, 1991.
Hansen, Miriam Bratu. Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and
Theodor W. Adorno. Berkeley: University of California Press, 2012.
Hartman, Saidiya V. Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-
Century America. New York: Oxford University Press, 1997.
Hartman, Saidiya. “The Belly of the World: A Note on Black Women’s Labors.” Souls 18,
no. 1 (January–March 2016): 166–73.
Harvey, Samantha. The Shapeless Unease: A Year of Not Sleeping. New York: Grove Press,
2020.
Hastie, Amelie. “Eating in the Dark: A Theoretical Concession.” Journal of Visual Culture 6,
no. 2 (2007): 283–302.
Selected Bibliography 251
Muñoz, José Esteban. “The Sense of Watching Tony Sleep.” South Atlantic Quarterly 106,
no. 3 (Summer 2007): 543–51.
Nancy, Jean-Luc. The Fall of Sleep. Translated by Charlotte Mandell. New York: Fordham
University Press, 2009.
Nash, Jennifer C. “From Lavender to Purple: Privacy, Black Women, and Feminist Legal
Theory.” Cardoza Women’s Law Journal 11, no. 2 (2005): 303–30.
Nash, Jennifer C. “Black Feminine Enigmas, or Notes on the Politics of Black Feminist
Theory.” Signs 45, no. 3 (Spring 2020): 519–23.
Nemerov, Alexander. “The Boy in Bed: The Scene of Reading in N. C. Wyeth’s Wreck of the
‘Covenant.’” Art Bulletin 85, no. 1 (March 2006): 7–27.
Odell, Jenny. How to Do Nothing: Resisting the Attention Economy. Brooklyn: Melville
House, 2019.
Osterweil, Ara. Flesh Cinema: The Corporeal Turn in American Avant-Garde Film.
Manchester: Manchester University Press, 2014.
Pantenburg, Volker. “1970 and Beyond: Experimental Cinema and Installation Art.” In
Screen Dynamics: Mapping the Borders of Cinema, edited by Gertrud Koch, Volker
Pantenburg, and Simon Rothöhler, 78–92. Vienna: Synema—Gesellschaft für Film und
Medien, 2012.
Pigott, Michael. “The Image of Sleep.” Performance Research 21, no. 1 (2016): 94–100.
Plato. The Laws. Book 7. Edited by Malcolm Schofield. Translated by Tom Griffith.
Cambridge: Cambridge University Press, 2016.
Pollachi, Elena. “Porous Circuits: Tsai Ming-liang, Zhao Liang, and Wang Bing at the
Venice International Film Festival and the Interplay between the Festival and the Art
Exhibition Circuits.” Journal of Chinese Cinemas 13, no. 2 (2019): 130–46.
Proust, Marcel. In Search of Lost Time. Vol. 1. Translated by Lydia Davis. London: Allen
Lane, 2002.
Proust, Marcel. In Search of Lost Time. Vol. 5. Translated by Carol Clark. London:
Allen Lane, 2002.
Proust, Marcel. In Search of Lost Time. Vol. 6. Translated by Ian Patterson. London: Allen
Lane, 2002.
Pyne, Kathleen. “On Feminine Phantoms: Mother, Child, and Woman-Child.” Art Bulletin
85, no. 1 (March 2006): 44–61.
Quandt, James. “Exquisite Corpus: The Films of Apichatpong Weerasethakul.” Artforum 43,
no. 9 (May 2005): 226–31.
Quandt, James, ed. Apichatpong Weerasethakul. Vienna: Synema Publikationen, 2009.
Quandt, James. “Resistant to Bliss: Describing Apichatpong.” In Apichatpong Weerasethakul,
edited by Quandt, 13–30. Vienna: Synema—Gesellschaft für Film und Medien, 2009.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. New York:
Verso, 2011.
Raqs Media Collective. “Is the World Sleeping, Sleepless, or Awake or Dreaming?” e-flux
56 (June 2014). www.e-flux.com/journal/56/60349/is-the-world-sleeping-sleepless-or
-awake-or-dreaming/.
Rascaroli, Laura. “Oneiric Metaphor in Film Theory.” Kinema (Fall 2012). https://openjournals
.uwaterloo.ca/index.php/kinema/article/view/982/1054.
Reiss, Benjamin. Wild Nights: How Taming Sleep Created Our Restless World. New York:
Basic Books, 2017.
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Remes, Justin. Motion[less] Pictures: The Cinema of Stasis. New York: Columbia University
Press, 2014.
Remes, Justin. “The Sleeping Spectator: Nonhuman Aesthetics in Abbas Kiarostami’s Five:
Dedicated to Ozu.” In Slow Cinema, edited by Tiago de Luca and Nuno Barradas Jorge,
231–42. Edinburgh: Edinburgh University Press, 2016.
Renshaw, Samuel, Vernon L. Miller, and Dorothy P. Marquis. Children’s Sleep: A Series of
Studies on the Influence of Motion Pictures; Normal Age, Sex, and Seasonal Variations in
Motility; Experimental Insomnia; the Effects of Coffee; and the Visual Flicker Limens of
Children. New York: Macmillan, 1933.
Resnick, Brian. “The Black–White Sleep Gap.” National Journal, October 23, 2015.
Rhodes, John David. Meshes of the Afternoon. London: Palgrave Macmillan, 2011.
Rhodes, John David. The Spectacle of Property: The House in American Film. Minneapolis:
University of Minnesota Press, 2017.
Richter, Max. Liner notes for Sleep. Deutsche Grammophon GmbH, 2015. Compact disc.
Risset, Jacqueline. Sleep’s Powers. Translated by Jennifer Moxley. Brooklyn: Ugly Duckling
Press, 2008.
Rodowick, D. N. Elegy for Theory. Cambridge, MA: Harvard University Press, 2015.
Rodowick, D. N. What Philosophy Wants from Images. Cambridge, MA: Harvard University
Press, 2017.
Rodriguez, Juan Llamas. “A Global Cinematic Experience: Cinépolis, Film Exhibition, and
Luxury Branding.” Journal for Cinema and Media Studies 58, no. 3 (Spring 2019): 49–71.
Romains, Jules. “The Crowd at the Cinematograph” [1911]. In French Film Theory and Criti-
cism: A History/Anthology. Vol. 1, 1907–1939, edited and translated by Richard Abel, 53.
Princeton: Princeton University Press, 1988.
Römers, Hoger. “Creating His Own Cinematic Language: An Interview with Apichatpong
Weerasethakul.” Cineaste 30, no. 4 (Fall 2005): 42–47.
Rose, Jacqueline. On Not Being Able to Sleep: Psychoanalysis and the Modern World.
London: Chatto and Windus, 2003.
Rosenthal, Caitlin. Accounting for Slavery: Masters and Management. Cambridge, MA:
Harvard University Press, 2018.
Rost, Katharina. “Drowsing in Theatre Performances: Lulling the Audience’s Attention
through Sonic Means.” Performance Research 21, no. 1 (February 2016): 110–14.
Ruiz, Raúl. Poetics of Cinema I. Translated by Brian Holmes. Paris: Éditions Dis Voir, 1995.
Rushdie, Salman. The Wizard of Oz. London: Palgrave Macmillan/British Film Institute, 2012.
Rutkoff, Rebekah. The Irresponsible Magician: Essays and Fictions. South Pasadena, CA:
Semiotext(e), 2015.
Ruvoldt, Maria. The Italian Renaissance Imagery of Inspiration: Metaphors of Sex, Sleep, and
Dreams. New York: Cambridge University Press, 2004.
Sacks, Oliver. Awakenings. New York: Doubleday, 1974.
Sante, Lucy. “City of Eyes.” In Unknown Weegee, 9–11. New York: International Center of
Photography; Gottingen: Steidl, 2006.
Santner, Eric L. The Weight of All Flesh: On the Subject-Matter of Political Economy. New
York: Oxford University Press, 2016.
Scandura, Jani. “Cinematic Insomnia.” New Formations 53 (Summer 2004): 103–14.
Schechner, Richard. “Selective Inattention: A Traditional Way of Spectating Now Part of the
Avant-Garde.” Performing Arts Journal 1, no. 1 (Spring 1976): 8–19.
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Young, Iris Marion. Throwing Like a Girl and Other Essays in Feminist Philosophy and Social
Theory. Indianapolis: Indiana University Press, 1990.
Yussof, Kathryn. A Billion Black Anthropocenes or None. Minneapolis: University of
Minnesota Press, 2018.
Zhou, Chenshu. Cinema Off Screen: Moviegoing in Socialist China. Oakland: University
of California Press, 2021.