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  1. Dudley Andrew (2010). What Cinema Is!: Bazin's Quest and its Charge. Wiley-Blackwell.
    Preface: The target of film theory -- Camera searching in the world -- Is a camera essential? -- Cahiers axiom -- Tracing Bazin's trace -- Images contested today -- Editor's discovery of form -- Bazin's forerunners -- Documentaries in the cauldron of history -- Cahiers line -- Pursuing cinema in the twenty-first century -- Projector as spectator's searchlight -- Power of projection -- Opening the screen's dimensions -- Frame as threshold -- Writing out of the frame -- Evolution of the (...)
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  2. Dudley Andrew (2009). {The Core and the Flow of Film Studies}. Critical Inquiry 35 (4):879-915.
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  3. James Chandler, Robert Post, Judith Butler, Lorraine Daston, Mario Biagioli, Saba Mahmood, Amy Hollywood, Dudley Andrew, Gertrud Koch & Sheldon Pollock (2009). An Incredible Shrunken History: A Response to Sean Shesgreen II. Critical Inquiry 35 (4).
     
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  4. Dudley Andrew (2000). Tracing Ricoeur. Diacritics 30 (2):43-69.
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  5. Dudley Andrew (2000). The Roots of the Nomadic: Gilles Deleuze and the Cinema of West Africa. In Gregory Flaxman (ed.), The Brain is the Screen: Deleuze and the Philosophy of Cinema. University of Minnesota Press. 215--249.
     
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  6. Dudley Andrew (1993). History and Timelessness in Films and Theory. In David E. Klemm & William Schweiker (eds.), Meanings in Texts and Actions: Questioning Paul Ricoeur. University Press of Virginia. 115--32.
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  7. Dudley Andrew (1990). A Reply to David Bordwell. Iris 6 1:113-116.
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  8. Dudley Andrew (1989). Cognitivism: Quests and Questions. Iris 9:1-10.
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  9. Dudley Andrew (1984). Concepts in Film Theory. Oxford University Press.
    Concepts in Film Theory is a continuation of Dudley Andrew's classic, The Major Film Theories. In writing now about contemporary theory, Andrew focuses on the key concepts in film study -- perception, representation, signification, narrative structure, adaptation, evaluation, identification, figuration, and interpretation. Beginning with an introductory chapter on the current state of film theory, Andrew goes on to build an overall view of film, presenting his own ideas on each concept, and giving a sense of the interdependence of these concepts. (...)
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