Tesis doctoral Juan Carlos Reyes...

Reyes 206

Obras citadas.

Alatorre, Claudia C. Análisis del drama. México: Escenología AC, 1999. Impreso.

Aumont, Jaques, et al. Estética del cine. Espacio fílmico, Montaje, Narración, Lenguaje.

Barcelona: Paidós, 2008. Impreso.

Bakhtin, Mikhail. “Epic and Novel. Toward a Methodology for the Study of the novel”

The dialogic Imagination. Four Essays. Ed. Michael Holquist. Trad. Caryl

Emerson y Michael Holquist. Austin: University of Texas Press, 1981. 3-40.

Impreso.

---. “From the Prehistory of Novelistic Discourse” The dialogic Imagination. Four

Essays. Ed. Michael Holquist. Trad. Caryl Emerson y Michael Holquist. Austin:

University of Texas Press, 1981. 41-83. Impreso.

---. “Toward a Methodology for the Human Sciences.” Speech Genres and Other Late

Essays. Ed. Caryl Emerson y Michael Holquist. Trad.Vern W. MGee Austin:

University of Texas Press, 1986. 159-172. Impreso.

Bal, Mieke. Teoría de la narrativa. (Una introducción a la narratología). Madrid:

Catedra, 1985. Impreso

Baldwin, Neil. Edison. Inventing the Century. Chicago: The University of Chicago

Press, 1995. Impreso

Barker, Martin. From Antz to Titanic: Reinventing Film Analysis. London: Pluto Press,

2000. Impreso.

Barrientos, Maynor. “A genealogy of the author: from auctors to commercial writers.”

Káñina. 31 (2007): 83-95. Impreso.

Reyes 207

Barrios, José Luis. “La constitutiva impertinencia del arte o la estatización de la

tecnología.” Propiedad Intelectual. Nuevas tecnologías y libre acceso a la

cultura. Eds. Alberto López Cuenca y Eduardo Ramírez. Puebla: Universidad de

las Américas Puebla / Centro Cultural de España en México, 2008. 73-91.

Impreso.

Barthes, Roland. El susurro del lenguaje. Barcelona: Paidós,1987. Impreso.

---. “La muerte del autor.” El susurro del lenguaje. Roland Barthes. Barcelona: Paidós,

1987. 65-71. Impreso.

Batchen, Geoffrey. “Ectoplasm: Photography in the Digital Age.” Over Exposed. Essays

on Contemporary Photography. Ed. Carol Squiers. New York: The New Press,

1999. 9-23. Impreso.

Baym, Nina. “The Triumph of the Novel” The Novel. An Anthology of Criticism and

Theory 1900-2000. Oxford: Blackwell Publishing, 2006. Ed. Dorothy J. Hale.

779-791. Impreso.

Bazin, André. “De la Politique des Auteurs.” Auteurs and authorship. A film reader. Ed.

Barry K. Grant. Victoria: Blackwell Publishing, 2008. 19-28. Impreso.

Beaulieu, Paula y Alberto López Cuenca, eds. ¿Desea guardar los cambios? Propiedad

intelectual y tecnologías digitales: hacia un nuevo pacto social. Córdoba: Centro

Cultural España-Córdoba, 2009. Impreso.

Ben Shaul, Nitzan. “Can narrative films go interactive?” New Cinemas: Journal of

Contemporary Film. 2.3 (2004): 149-162. Impreso.

Reyes 208

---. Hyper-Narrative Interactive Cinema. Problems and solutions. Amsterdan: Rodopi,

2008. Impreso.

Bennet, Andrew. The Author. New York: Routledge, 2005. Impreso.

Benjamin, Walter. “La obra de arte en la época de su reproductibilidad técnica.”

Discursos interrumpidos I. Madrid: Taurus, 1973: 17-59. Impreso.

---.“The Storyteller”. Theory of The Novel. A Historical Approach. Ed. Michael McKeon.

London: The Johns Hopkins University Press, 2000. 77-93. Impreso

Berstein, Matthew. “The Producer as Auteur.” Auteurs and authorship. A film reader. Ed.


Binder, Marnie.“What is an author?” Philosophy Now. 60 (2007): 22-25. Impreso.

Black, Joel. The Reality Effect: Film Culture and the Graphic Imperative. London:

Routledge, 2002. Impreso.

Bolter, Jay David y Richard Grusin. Remediation. Understanding New Media.

Cambridge: The MIT Press, 2000. Impreso.

Bordwell, David. La narración en el cine de ficción. Barcelona: Paidós, 1996. Impreso.

---. “Neo-Structuralist Narratology and the Functions of Filmic Storytelling” Narrative

across Media. The Languages of Storytelling. Ed. Ryan, Marie-Laure. Nebraska:

University of Nebraska Press, 2004. 203-219. Impreso.

---. The Way Hollywood Tells It: Story and Style in Modern Films. Berkeley: University

of California Press, 2006. Impreso.

Reyes 209

Branigan, Edward. Narrative Comprehension and film. London: Routledge, 1992.

Impreso.

Brea, José Luis. Las tres eras de la imagen. Imagen-materia, film, e-image. Madrid:

AKAL/ Estudios Visuales, 2010. Impreso.

Buckland, Warren, ed. Puzzle Films. Complex Storytelling in Contemporary Cinema.

London: Blackwell Publishing, 2009. Impreso.

Buscombe, Edward. “Ideas of Authorship.” Auteurs and authorship. A film reader. Ed.


Cameron, Allan. “Contingency, Order; and Modular Narrative: 21 Grams and

Irreversible.” The Velvet Light Trap. 58 (2006): 65-78. Impreso

---. Modular Narratives in Contemporary Cinema. New York: Palgrave Macmillan,

2008. Impreso.

Carriger, Robert L. The Making of Citizen Kane. Berkeley: University of California

Press, 1985. Impreso.

Caseti, Francesco. El film y su espectador. Madrid: Cátedra, 1986. Impreso.

Caughie, John, ed. Theories of Authorship. London: Rutdlege / British Film Institute

Readers, 1981. Impreso.

Chartier, Roger y Gugliemo Cavallo, eds. Historia de la lectura en el mundo occidental.

Barcelona: Taurus, 1998. Impreso

Christensen, Jerome. “Studio Authorship, Corporate Art.” Auteurs and authorship. A film

reader. Ed. Barry K. Grant. Victoria: Blackwell Publishing, 2008. 167-179.

Impreso.

Reyes 210

Cohen, Alain. “Virtual Hollywood and the Genealogy of its Hyper-Spectator. Hollywood

Spectatorship. Changing perceptions of cinema audiences. Eds. Melvyn Stokes y

Richard Maltby. London: British Film Institute, 2001. 152-163. Impreso.

Cohen, Keith. “From Film and Fiction: The Dynamics of Exchange.” Theory of the

Novel. A Historical Approach. Ed. Michael McKeon. London: The Johns Hopkins

University Press, 2000. 696-718. Impreso.

Collier, Jane F, (et.al). “Sanctioned Identities: Legal Construction of Modern

Personhood.” Identities. 2 (1997):1-27. Impreso.

Corliss, Richard. “Notes on a Screenwriter’s Theory, 1973.” Auteurs and authorship. A

film reader. Ed. Barry K. Grant. Victoria: Blackwell Publishing, 2008. 140-

147. Impreso.

Corrigan, Timothy. “The Commerce of Auterism.” Film and Authorship. Ed. Virginia

Wright. New Jersey: Rutgers University Press, 2003. 96-111. Impreso.

Couldry, Nick. “Mediatization or mediation? Alternative understanding of the emergent

space of digital storytelling.” New Media y Society 10. 3 (2008): 373-391.

Impreso.

---. “Theorising Media as Practice.” Social Semiotics 14 . 2 (2004): 115-132. Impreso.

Cranny-Francis, Anne. “Touching Film: The Embodied Practice and Politics of Film

Viewing and Filmmaking.” Senses y Society. 4.2 (2009): 163-178. Impreso.

Cubitt, Sean. “Spreadsheets, Sitemaps and Search Engines.” New Screen Media.

Cinema/Art/Narrative. Eds. Martin Rieser y Andrea Zapp. London: British Film

Institute, 2002. 3-13. Impreso.

Reyes 211

---. The Cinema Effect. Cambridge: The MIT Press, 2004. Impreso.

De Felipe, Fernando. “La narrativa cinematográfica en la época de su retroalimentación

mediática.” Trípodos Revista digital de comunicación. 11. (2001): n. pag. Web.

10 Ago. 2010.

Dovey, Jon. “Notes Towards a Hypertextual Theory of Narrative” New Screen Media.



During, Simon, ed. The Cultural Studies Reader. London: Routledge, 1993. Impreso.

“El video supone más de un tercio del tráfico generado en Internet” La Vanguardia en

Linea. (2010): n.pag. Web. 16 Dic. 2010. <http://www.lavanguardia.com

/internet-y tecnologia/noticias/20100909/54000650068/el-video-supone-mas-de-

un-tercio-del- trafico-generado-en internet. html>

Espinoza Moreno, Elizabeth y Antonio Arellano. “Hacia una epistemología de la

comunicología: la teoría de la comunicación en Serres y Martín-Barbero.”

Convergencias. 52 (2010): 289-318. Impreso.

Ferrer, Jordi y Susana Cañuelo. Historia de la Literatura Universal. Barcelona: Editorial

Óptima, 2002. Impreso.

Field, Syd. Screenplay. The Foundations of Screenwriting. New York: Dell Publishing,

1979. Impreso.

Foucault, Michel. ¿Qué es un autor?. Tlaxcala: Universidad Autónoma de Tlaxcala,

1985. Impreso.

Reyes 212

Frye, Northrop. “Anatomy of Criticism: Four Essays”. Theory of The Novel. A Historical

Approach. Ed. Michael McKeon. London: The Johns Hopkins University Press,

2000. 5-13. Impreso.

García Canclini, Néstor. “Lecturas inesperadas” Mapas Nocturnos: Diálogos con la obra

de Jesús Martín-Barbero. Eds. María Cristina Laverde y Rossana Reguillo.

Santafé de Bogotá, 1998. 3-9. Impreso.

Gaudreault, André y Fraçois Jost. El relato cinematográfico. Cine y Narratología.

Barcelona: Paidós, 1995. Impreso.

Genette, Gérard. Figuras III. Barcelona: Lumen, 1972. Impreso.

Gerstner, David y Janet Staiger, eds. Authorship and film. New York: Routledge, 2003.

Impreso.

Gledhill, Christine y Linda Williams, eds. Reinventing Film Studies. London: Oxford

University Press, 2000. Impreso

Gomez, Jeff. “The 8 defining characteristics of Transmedia Production.” Producers

Guild of America blog. Oct. 2007. Web. 4 Enero 2010. <http://www.stitchmedia.ca/

blog/2007/10/transmedia-production-in-8-easy-steps/

González Hernández, David. “Los medios de comunicación y la estructuración de las

audiencias masivas.” Estudios sobre las Culturas Contemporáneas. 15.19 (2009):

37-68. Impreso.

Gubern, Román. Del bisonte a la realidad virtual. La escena y el laberinto. Barcelona:

Anagrama, 1996. Impreso.

Reyes 213

Gunning, Tom. “An Aesthetic of Astonishment: Early Film and the [In]Credulous

Spectator.” Viewing Positions. Ed. Linda Williams. New Brunswick: Rutgers,

1995. 114-133. Impreso.

---. D.W Griffith and the origins of American Narrative Film. Chicago: The University of

Illinois, 1994. Impreso.

---. “Now You See It, Now You Don´t: The Temporality of the Cinema of Attractions.”

Velvet Light Trap. 32 (1993): 3-10. Impreso.

Grant, Barry K, ed. Auteurs and authorship. A film reader. Victoria: Blackwell

Publishing, 2008. Impreso.

Guillén, Claudio. “From Literature as System: Essay toward the Theory of Literary

History.” Theory of the Novel. A Historical Approach. Ed. Michael McKeon.

London: The Johns Hopkins University Press, 2000. 34-50. Impreso

Hale, Dorothy J, ed. The Novel. An Anthology of Criticism and Theory 1900-2000.

Oxford: Blackwell Publishing, 2006. Impreso.

Hall, Stuart. “Encoding/Decoding.” Culture, Media, Language. London: Unwin Hyman,

1980. 117-127 Impreso.

Hansen, Miriam. Babel and Babylon. Spectatorship in American Silent Film. Cambridge:

Harvard University Press, 1991. Impreso.

Harvey, Sylvia. “To be an author or not to be?” Journal of Media Practice. 10.1 (2009):

81-85. Impreso.

Hunter, Lew. Screenwriting 434. New York: The Berkley Publishing Group, 1993.

Impreso.

Reyes 214

Jenkins, Henry. Confronting the Challenges of Participatory Culture. Media Education

for the 21st Century. Cambridge: The MIT Press, 2009. Impreso.

---. Fans, blogueros y videojuegos. La cultura de la colaboración. Barcelona: Paidós,

2009. Impreso.

---. “The Revenge of the Origami Unicorn: Seven Principles of Transmedia Storytelling”

Converge Culture Consortium. Comparative Media Studies at MIT. Web. 28 Dic.

2009. <http://www.convergenceculture.org/weblog/2009/12/the_revenge_of_

the_origami_uni. php>

---. “Transmedia Storytelling.” Technology Review MIT. 15 Jan. 2003. Web. 28 Dic.

2009. <http://www.technologyreview.com/Biotech/13052/>

Johnston, Claire. Notes on Women’s Cinema. London: Society for Education in Film and

Television, 1975. Impreso.

---. “Women’s Cinema as Counter-Cinema.” Notes on Wome’s Cinema. Ed. Claire

Johnston. London: Society for Education in Film and Television, 1975. 31-40.

Impreso.

Kawin, Bruce. “Authorship, Desing, and Execution.” Auteurs and authorship. A film


Impreso.

Kinder, Marsha. “Hot spots, Avatars, and Narrative fields Forever –Buñuel´s Legacy for

New digital Media and Interactive Database Narrative.” Film Quatlery 55 (2002):

2-15. Impreso

Reyes 215

King, Geoff. Spectacular Narratives. Hollywood in the Age of the Blockbuster.London:

I.B. Publishers, 2000. Impreso.

---. “Spectacular Narratives: Twister, Independence Day, and Frontier Mythology in

Contemporary Hollywood.” Journal of American Culture. 22.1 (1999): 25-40.

Impreso.

Kipen, David. The Schreiber Theory: A Radical Rewrite of American Film History. New

Jersey: Melville House Publishing, 2006. Impreso.

Klinger, Barbara. “The Contemporary Cinephile: Film Collecting in the Post-Video Era.”

Hollywood Spectatorship. Changing perceptions of cinema audiences. Eds.

Melvyn Stokes y Richard Maltby. London: British Film Institute, 2001. 132-151.

Impreso.

Kluszczynski, Ryszard. “Re-Writing the History of Media Art: From Personal Cinema to

Artistic Collaboration.” Leonardo. 40.5 (2007): 469-474. Impreso.

Kvernbekkk, Tone. “On Identifying Narratives.” Studies in Philosophy and Education. 22

(2003): 267-279. Impreso.

La Ferla, Jorge. Cine (y) digital. Buenos Aires: Manantial, 2010. Impreso.

Laverde, María Cristina y Rossana Reguillo, eds. Mapas Nocturnos: Diálogos con la

obra de Jesús Martín-Barbero. Santafé de Bogotá: Siglo del Hombre Editores /

Universidad Central, 1998. Impreso.

Levitin, Jacqueline., Judith Plessis y Valerie Raoul. Women filmmakers Refocusing. New

York: Routledge, 2003. Impreso.

Reyes 216

Lipovestky, Gilles y Jean Serroy. La pantalla global. Cultura mediática y cine en la era

hipermoderna. Barcelona: Anagrama, 2009. Impreso.

López Cuenca, Alberto. “¿A quién protege el derecho de autor? Sujeto y ontología de la

cultura digital.” ¿Desea guardar los cambios? Propiedad intelectual y

tecnologías digitales: hacia un nuevo pacto social. Eds. Paula Beaulieu y

Alberto López Cuenca, Córdoba: Centro Cultural España-Córdoba, 2009. 82-

99. Impreso.

López Cuenca, Alberto y Eduardo Ramírez. “Los derechos de autor en la era del

capitalismo cultural." Propiedad Intelectual. Nuevas tecnologías y libre acceso a

la cultura. Eds. Alberto López Cuenca y Eduardo Ramírez. Puebla: Universidad

de las Américas Puebla / Centro Cultural de España en México, 2008. 23-42.

Impreso.

---, eds. Propiedad Intelectual. Nuevas tecnologías y libre acceso a la cultura. Puebla:

Universidad de las Américas Puebla / Centro Cultural de España en México,

2008. Impreso.

Lozano, Elizabeth. “La ciudad: ¿un mapa nocturno para la comunicación” Mapas

Nocturnos: Diálogos con la obra de Jesús Martín-Barbero. Eds. María Cristina

Laverde y Rossana Reguillo. Santafé de Bogotá, 1998. 167-179. Impreso.

Lukacs, Georg. Teoría de la novela. Barcelona: EDHASA, 1971. Impreso.

Lunenfeld, Peter. “The Myths of Interactive Cinema” Narrative across Media. The

Languages of Storytelling. Ed. Marie-Laure Ryan. Nebraska: University of

Nebraska Press, 2004. 376-390. Impreso.

Reyes 217

Lyons, Martyn. "Los nuevos lectores del siglo XIX: Mujeres, niños, obreros." Historia de

la Lectura en el mundo occidental. Eds. Guglielmo Cavallo y Roger Chartier.

Barcelona: Taurus, 1998. 473-517. Impreso.

MacCabe, Colin. “The Revenge of the Author.” Film and Authorship. Ed. Virginia

Wright. New Jersey: Rutgers University Press, 2003. 30-41. Impreso.

Manovich, Lev. The Language of New Media. Cambridge: MIT Press, 2001. Impreso.

---. “Spatial Computerization and Film Language.” New Screen Media.



---. “What is digital cinema?” The Visual Culture Reader. Ed. Nicholas Mirzoeff. New

York: Routledge, 2002. 405-416. Impreso.

---. “Who is the Author? Sampling / Remixing / Open Source.” Lev Manovich. Articles.

28 Sept. 2008. Web. 12 Nov. 2010. <www.manovich.net/DOCS/models_of_

authorship.doc>

Martin, Angela. “Refocusing Authorship in Women’s Filmmaking.” Women filmmakers

Refocusing. Eds. Jaqueline Levitin, Judith Plessis y Valerie Raoul. New York:

Routledge, 2003. 29-37. Impreso.

Martín-Barbero, Jesús. De los medios a la mediaciones. Comunicación, cultura y

hegemonía. México: Gustavo Gili, 1987. Impreso

Mateas, Michael y Phoebe. Sengers. “Narrative Intelligence”. AAAI Fall Symposium on

Narrative Intelligence. American Association for Artificial Intelligence. (1998):

5-7. Impreso.

Reyes 218

Mayne, Judith. Cinema and Spectatorship. London: Routledge, 1993. Impreso.

Mcclean, Shilo T. Digital Storytelling: The Narrative Power of Visual Effects in Film.

Cambridge: MIT Press, 2007. Impreso.

McKee, Robert. S.T.O.R.Y. Substance, Structure, Style and the Principles of

Screenwriting. New York: HarperCollins, 1997. Impreso.

McKeon, Michael, ed. Theory of The Novel. A Historical Approach. London: The Johns

Hopkins University Press, 2000. Impreso.

McLuhan, Marshall. Comprender los medios de comunicación. Barcelona: Paidós, 1996.

Impreso.

Mcluhan, Marshall y Quentin Fiore. The medium is the massage: An Inventory of Effects.

London: Penguin Books, 1967. Impreso.

Mendoza, María I. "Narrativa decimonónica y cine.” Revista de Literatura

Hispanoamericana. 50 (2005): 83-96. Impreso.

Metz, Christian. “Algunos aspectos de la semiología del cine.” Ensayos sobre la

significación en el cine (1964-1968). Ed. Christian Metz, trad. Carles Roche.

Barcelona: Paidós Comunicación, 2002. 115-130. Impreso.

---. “El cine: ¿lengua o lenguaje?” Ensayos sobre la significación en el cine (1964-1968).

Ed. Christian Metz, trad. Carles Roche. Barcelona: Paidós Comunicación,

2002. 57-114. Impreso.

---. Ensayos sobre la significación en el cine (1964-1968). Barcelona: Paidós

Comunicación, 2002. Impreso.

Reyes 219

---. Ensayos sobre la significación en el cine (1968-1972) Volumen 2. Barcelona: Paidós

Comunicación, 2002. Impreso.

---. “Observaciones para una fenomenología de lo narrativo.” Ensayos sobre la

significación en el cine (1964-1968). Ed. Christian Metz, trad. Carles Roche.

Barcelona: Paidós Comunicación, 2002. 43-53. Impreso.

---. “Problemas actuales de teoría del cine.” Ensayos sobre la significación en el cine

(1964- 1968). Ed. Christian Metz, trad. Carles Roche. Barcelona: Paidós

Comunicación, 2002. 43-95. Impreso.

---. “Sobre la impresión de realidad en el cine.” Ensayos sobre la significación en el cine

(1964- 1968). Ed. Christian Metz, trad. Carles Roche. Barcelona: Paidós

Comunicación, 2002. 31-42. Impreso.

Mirzoeff, Nicholas. The Visual Culture Reader. New York: Routledge, 2002. Impreso.

Moma. “Film Library to be established with Rockefeller Foundation Grant ant Moma.”

Moma.org. Press Release Archives. 21 July 1935. Web. 27 Mayo 2011.

<http://www.moma.org/learn/resources/press_archives/1930s/1935>

Moran, James M. There´s no place Like Home Video. Minneapolis: The University of

Minnesota Press, 2002. Impreso.

Naremore, James. “Authorship.” A Companion to Film Theory. Ed. Toby Miller y Robert

Stam. Oxford: Blackwell Publishing Ltd, 1999. 9-24. Impreso.

Neale, Steve. Genre. London: British Film Institute, 1980. Impreso.

Reyes 220

Ng, Alina. “When Users are Authors: Authorship in the Age of Digital Media.”

Vanderbilt Journal of Entertainment and Technology Law. 1 (2010):853-888.

Impreso.

Notaro, Anna. “Technology in Search of an Artist: Questions of Auterism/Authorship

and the Cotemporary Cinematic Experience.” The Velvet Light Trap. 57 (2006):

86-97. Impreso.

Olsen, Stein Haugom. “Criticism of Literature and Criticism of Culture.” Ratio. An

International Journal of Analytic Philosophy. 22.4 (2009): 439-463. Impreso.

Orozco, Guillermo. “De las mediaciones a los medios. Contribuciones de Martín-Barbero

al estudio de los medios y sus procesos de recepción” Mapas Nocturnos:

Diálogos con la obra de Jesús Martín-Barbero. Eds. María Cristina Laverde y

Rossana Reguillo. Santafé de Bogotá, 1998. 91-101. Impreso.

Owczarski, Kimberly. “The Internet and Contemporary Entertainment: Rethinking the

Role of the Film Text.” Journal of Film and Video. 59. (2007): 3-14. Impreso.

Palfrey, John y Urs Gasser. Born Digital. Understanding the First Generation of Digital

Natives. New York: Basic Books, 2008. Impreso.

Parker, Philip. The Art y Science of Screenwriting. Exeter: Intellect Books, 1998.

Impreso.

Parkes, Malcolm. "La alta Edad Media.” Historia de la Lectura en el mundo occidental.

Eds. Guglielmo Cavallo y Roger Chartier. Barcelona: Taurus, 1998. 135-156.

Impreso.

Reyes 221

Partington, Angela. “The best bits: Non-narrative pleasures of creative practice.” Journal

of Media Practice. 9.1 (2008): 9-18. Impreso.

Penney, James. “The Failure of Spectatorship.” Communication Theory. 17 (2007): 43-

60. Impreso.

Perkins, V.F. “Direction and Authorsip.” Auteurs and authorship. A film reader. Ed.


Petrie, Graham. “Alternatives to Auteurs.” Auteurs and authorship. A film reader. Ed.


Poster, Mark. What´s the Matter with the Internet?. Minneapolis: The University of

Minnesota Press, 2001. Impreso.

Prince, Stephen. “The Emergence of Filmic Artifacts. Cinema and Cinematography in the

Digital Era.” Film Quarterly. 57.3 (2004): 24-33. Impreso.

Reguillo, Rossana. “Rompecabezas de una escritura: Jesús Martín-Barbero y la cultura en

América Latina” Mapas Nocturnos: Diálogos con la obra de Jesús Martín-

Barbero. Eds. María Cristina Laverde y Rossana Reguillo. Santafé de Bogotá,

1998. 79-90. Impreso.

Reyes Trigos, Claudia. "Visión panorámica de los estudios sobre la narración.” Revista

de Humanidades: Tecnológico de Monterrey. 15 (2003): 95-119. Impreso.

Richardson, Brian. “Recent Concepts of Narrative and the Narratives of Narrative

Theory.” Style. 34.2 (2000): 168-175. Impreso.

Rieser, Martin y Andrea Zapp, eds. New Screen Media. Cinema/Art/Narrative. London:

British Film Institute. 2002. Impreso.

Reyes 222

Robert, Marthe. “Origins of the novel.” Theory of the Novel. A Historical Approach. Ed.

Michael McKeon. London: The Johns Hopkins University Press, 2000. 57-70.

Impreso.

Rodríguez Arkaute, Natxo. “Producción artística y Copyleft en el nuevo entorno digital.”

Propiedad Intelectual. Nuevas tecnologías y libre acceso a la cultura. Eds.

Alberto López Cuenca y Eduardo Ramírez. Puebla: Universidad de las

Américas Puebla / Centro Cultural de España en México, 2008. 131-151. Impreso.

Rojas, Peter. “Hollywood: the people’s cut. The fans are now editing Hollywood

blockbusters.” The Guardian 25 Jul. 2002. Web. 17 Nov. 2010.

<http://www.guardian.co.uk/film/ 2002/jul/25/internet.technology>

Rose, Mark. Authors and Owners. The Invention of Copyright. Boston: Harvard

University Press, 1993. Impreso.

Rudrum, David. “From Narrative Representation to Narrative use: Towards the Limits of

Definition.” Narrative. 13.2 (2005): 195-204. Impreso.

Ryan, Marie-Laure, ed. Narrative Across Media. The Languages of Storytelling.

Nebraska: University of Nebraska Press, 2004. Impreso.

---. “Will New Media Produce New Narratives?” Narrative across Media. The

Languages of Storytelling. Ed. Marie-Laure Ryan. Nebraska: University of Nebraska

Press, 2004. 337-359. Impreso

Salokannel, Marjut. “Cinema in Search of Its Authors: On the Notion of Film Authorship

in Legal Discourse.” Film and Authorship. Ed. Virginia Wright. New Jersey:

Rutgers University Press, 2003. 152-178. Impreso.

Reyes 223

Sarris, Andrew. “Notes on the Auteur Theory in 1962.” Auteurs and authorship. A film


Impreso.

---. “The Auteur Theory Revisited.” Film and Authorship. Ed. Virgina Wright Wexman.

New Jersey: Rutgers University Press, 2003. 21-29. Impreso.

---. “Toward a theory of film history.” Theories of Authorship. Ed. John Caughie. John.

London: Rutdlege / British Film Institute Readers, 1981. 65-66. Impreso.

Shaw, Jeffrey. “Movies after Film – The Digitally Expanded Cinema.” New Screen

Media. Cinema/Art/Narrative. Eds. Martin Rieser y Andrea Zapp. London:

British Film Institute, 2002. 268-275. Impreso.

Sherman, Brad y Lionel Bently. The Making of Modern Intellectual Property Law: The

British Experience, 1760-1911. Cambridge: Cambridge University Press,

2003. Impreso.

Smiers, Jost y Marieke Van Schijndel. Imagine there Is no Copyright and no Cultural

Conglomerates too. Amsterdam: Institute of Network Cultures, 2009. Impreso.

Smiley, Jane. Thirteen Ways of Looking at the Novel. Toronto: Random House, 2005.

Impreso.

Sobchack, Vivian. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley:

University of California Press, 2004. Impreso.

---. “What My Fingers Knew: the Cinesthetic Subject, or Vision in the Flesh” Carnal

Thoughts: Embodiment and Moving Image Culture. Ed. Vivian Sobchack.

Berkeley: University of California Press, 2004. 53-84. Impreso.

Reyes 224

Staiger, Janet. “Authorship approaches.” Authorship and film. Eds. David Gerstner y

Janet Staiger. New York: Routledge, 2003. 27-57. Impreso.

---. Perverse Spectators. The practices of film reception. New York: New York


---. “Writing the History of American Film Reception.” Hollywood Spectatorship.

Changing perceptions of cinema audiences. Eds. Melvyn Stokes y Richard

Maltby. London: British Film Institute, 2001. 19-32. Impreso.

Stokes, Melvyn y Richard Maltby, eds. Hollywood Spectatorship. Changing perceptions

of cinema audiences. London: British Film Institute, 2001. Impreso.

Straubhaar, Joseph y Robert LaRose, eds. Media Now. Communications Media in the

Information Age. Los Angeles: Wadsworth/Thomson Learning, 2002. Impreso.

Strauven, Wanda, ed. The Cinema of Attractions Reloaded. Amsterdam: Amsterdam


Thompson, Kristin. Storytelling in the New Hollywood: Understanding Classical

Narrative Technique. Cambridge: Harvard University Press, 1999. Impreso.

Toolan, Michael. Narrative. A Critical Linguistic Introduction. London: Routledge, 1998.

Impreso.

Truffaut, François. “A Certain Tendency of the French Cinema.” Auteurs and authorship.

A film reader. Ed. Barry K. Grant. Victoria: Blackwell Publishing, 2008. 9-18.

Impreso.

Tufte, Thomas. “Soap operas y construcción de sentido: mediaciones y etnografía de la

audiencia.” Comunicación y Sociedad. 8 (2007): 89-112. Impreso.

Reyes 225

Van Dijk, Teun. Some aspects of Text Grammars. A study in Theoretical Linguistics and

Poetics. The Hague: Mouton, 1972. Impreso.

Watt, Ian. The Rise of the Novel. Studies in Defoe, Richardson and Fielding. Berkeley:

University of California Press, 1957. Impreso.

Weibel, Peter. “Narrated Theory: Multiple Projection and Multiple Narration (Past and

Future).” New Screen Media. Cinema/Art/Narrative. Eds. Martin Rieser y Andrea

Zapp. London: British Film Institute, 2002. 42-53. Impreso.

Willemen, Paul. “Reflections on Digital Imagery: Of Mice and Men” New Screen Media.



Williams, Christopher. “After the classic, the classical and ideology: the differences of

realism.” Reinventing Film Studies. Eds. Christine Gledhill y Linda Williams.

New York: Oxford University Press, 2000. 206-220. Impreso.

Wilson, Adrian. “Foucault on the question of the author: a critical exegesis.” Modern

Language Review. 44 (2004): 378-380. Impreso.

Wilson, Tony. Understanding Media Users. From Theory to Practice. Oxford: Blackwell

Publishing, 2009. Impreso.

Wittmann, Reinhard. "¿Hubo una revolución lectora en la lectura a finales del siglo

XVIII?” Historia de la Lectura en el mundo occidental. Eds. Guglielmo Cavallo

y Roger Chartier. Barcelona: Taurus, 1998. 435-472. Impreso.

Wollen, Peter. “The auteur theory (extract).” Theories of Authorship. Ed. John Caughie.

London: Rutdlege / British Film Institute Readers, 1981. 138-151. Impreso.

Reyes 226

Wright Wexman, Virginia, ed. Film and Authorship. New Jersey: Rutgers University

Press, 2003. Impreso.

Youngblood, Gene. Expanded Cinema. New York: P. Dutton & Co., Inc, 1970. Impreso.

Yúdice, George. “El Copyright: Instrumento de expropiación y Resistencia.” Propiedad

Intelectual. Nuevas tecnologías y libre acceso a la cultura. Eds. Alberto López

Cuenca y Eduardo Ramírez. Puebla: Universidad de las Américas Puebla /

Centro Cultural de España en México, 2008. 213-233. Impreso.

Películas citadas.

A.I. Artificial Intelligence. Dir. Steven Spielberg. Perf. Haley Joel Osment, Jude Law y

Frances O’Connor. Warner Bros. Pictures, 2001. DVD.

Film in Which There Appear Edge Lettering, Sprocket Holes, Dirt Particles, Etc. Dir.

Owen Land. Owen Land Prod, 1966. Film.

Hotel. Dir. Mike Figgis. Perf. Max Beesley, Saffron Burrows y Rhys Ifans. CDA

Entertainment, 2002. DVD.

Jurassic Park. Dir. Steven Spielberg. Perf. Sam Neill, Laura Dern y Jeff Goldblum.

Universal Pictures, 1993. DVD.

La Pelota Vasca. Dir. Julio Medem. Perf. Xabier Arzalluz, Bernardo Atxaga y Txiki

Benegas. Golem Distribución, 2003. DVD.

Lola Rennt. Dir. Tom Tykwer. Perf. Franka Potente, Moritz Bleibtreu y Herbert Knaup.

Bavaria Film International, 1998. DVD.

Reyes 227

Natural Born Killers. Dir. Oliver Stone. Perf. Woody Harrelson, Juliette Lewis y Tom

Sizemore. Warner Bros Pictures, 1994. DVD.

Pirates of the Caribbean: The Curse of the Black Pearl. Dir. Gore Verbinski. Perf.

Johnny Depp, Geoffrey Rush y Orlando Bloom. The Walt Disney Company,

2003. DVD.

Prince of Persia: The Sands of Time. Dir. Mike Newell. Perf. Jake Gyllenhaal, Gemma

Arterton y Ben Kingsley. Walt Disney Studios Motion Pictures, 2010. DVD.

Pulp Fiction. Dir. Quentin Tarantino. Perf. John Travolta, Uma Thurman y Samuel L.

Jackson. Miramax Films, 1994. DVD.

Quantum Project. Dir. Eugenio Zanetti. Perf. Stephen Dorff, Fay Masterson y John

Cleese. Metafilmics, 2000. DVD.

Star Wars: Episode I – The Phantom Menace. Dir. George Lucas. Perf. Ewan McGregor,

Liam Neeson y Natalie Portman. Twentieth Century Fox Film Corporation,

1999. DVD.

Taxi Driver. Dir. Martin Scorsese. Perf. Robert De Niro, Jodie Foster y Cybill Shepherd.

Columbia Pictures, 1976. DVD.

Timecode. Dir. Mike Figgis. Perf. Jeanne Tripplehonr, Stellan Skarsgard y Salma Hayek.

Screen Gems, 2000. DVD.

Titanic. Dir. James Cameron. Perf. Leonardo DiCaprio, Kate Winslet y Billy Zane.

Paramount Pictures, 1997. DVD.

The Beast Must Die. Dir. Paul Annett. Perf. Calvin Lockhart, Peter Cushing y Marlene

Clark. Cinerama Releasing Corporation, 1974. Film.

Reyes 228

The Birth of a Nation. Dir. D.W. Griffith. Perf. Lillian Gish, Mae Marsh, Robert Harron,

y Wallace Reid. David W. Griffith Corp, 1915. Film.

The Blair Witch Project. Dir. Daniel Myrick y Eduardo Sánchez. Perf. Heather Donahue,

Michael C. Williams y Joshua Leonard. Artisan Entertainment, 1999. DVD.

The Death Ray. Dir. Lev Kuleshov. Perf. Porfiri Podobed, Vsevolod Pudovkin y Sergei

Komarov. Goskino, 1925. Film.

The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks. Dir. Lev

Kuleshov. Perf. Porfiri Podobed, Boris Barnet y Aleksandra Khokhlova. (1924).

Kino International, 1995, DVD.

The Lord of the Rings: The Fellowship of the Ring. Dir. Peter Jackson. Perf. Elijah Wood,

Ian McKellen y Orlando Bloom. New Line Cinema, 2001. DVD.

The Lord of the Rings: The Two Towers. Dir. Peter Jackson. Perf. Elijah Wood, Ian

McKellen y Viggo Mortensen. New Line Cinema, 2002. DVD.

The Lord of the Rings: The Return of the King. Dir. Peter Jackson. Perf. Elijah Wood,

Viggo Mortensen y Ian McKellen. New Line Cinema, 2003. DVD.

The Tulse Luper Suitcases, Part 1: The Moab Story. Dir. Peter Greenaway. Perf. JJ Feild,

Caroline Dhavernas y Jordi Mollà. A-Film Distribution, 2003. DVD.

The Tulse Luper Suitcases, Part 2: Vaux to the Sea. Dir. Peter Greenaway. Perf. JJ Feild,

Raymond J. Barry y Valentina Cervi. A-Film Distribution, 2004. DVD.

The Tulse Luper Suitcases, Part 3: From Sark to the Finish. Dir. Peter Greenaway. Perf.

Roger Rees, Stephen Billington y Jordi Mollà. A-Film Distribution, 2003. DVD.

Reyes 229

The Wild Blue Yonder. Dir. Werner Herzog. Perf. Brad Dourif, Donald Williams y Ellen

Barker. Suversive Media, 2005. DVD.

Transformers. Dir. Michael Bay. Perf. Shia LaBeouf, Megan Fox y Josh Duhamel.

Paramount Pictures, 2007. DVD.

Date post:	06-Aug-2020
Category:	Documents
Upload:	others
View:	1 times
Download:	0 times

Tesis doctoral Juan Carlos Reyes...

Documents