Bibliografia que anirem ampliant.

A.A.V.V.; Women filmmakers: refocusing , Routledge, 2013
ACKER, Ally; Reel Women: Pioners of the cinema1986 to the present, Continuum Intl Pub Group, 1993 
AUDREY FOSTE, Gwendolyn; Women Film Directors: AnInternational Bio-critical Dictionary, Greenwood Publishing Group, 1/1/1995
CAMÍ-VELA, Maria Antonia; Mujeres detrás la cámara, Ocho y Medio, Libros de Cine (2001)
ARRANZ, Fátima (dir.); Aguilar, Pilar; Callejo, Javier; Pardo, Pilar; París, Inés; Roquero, Esperanza;  Ciney género en España. Una investigación empírica, Ediciones Cátedra (2010)
BEAN, Jenniffer M.; Negra, Diane (ed.’s); A feminist reader in early cinema, Duke University Press (2002)
BLAETZ, Robin (ed); Women’s Experimental Cinema:Critical Frameworks, Duke University Press (2007)
BUTLER, Alison; Women’s Cinema. The Contested Screen, Wallflower, 2002
ERENS, Patricia; “Women’s Documentary Filmmaking: The Personal is Political” en Alan Rosenthal (ed.), New Challenges for Documentary, University California Press (2005)
FLITTERMAN-LEWIS, Sandy; To Desire Differently: Feminism and the French Cinema, Columbia University Press, 1996
GARRET, Mark; Universal Women: Filmmaking and Institutional Change in Early Hollywood University of Illinois Press, 2010
HAUG, Kate; "La mujer experimental. El cine de vanguardia e imágenes sexualmente explícitas rodadas por mujeres", dins Erreakzioa/Reacción (eds.), Sólo para tus ojos. El factor feminista en relación a las artes visuales, Arteleku, Donostia, (1997)

JERMYN, D., & Redmond, S. (Eds.) (2003). The cinema of Kathryn Bigelow: Hollywood transgressor. London: Wallflower Press.
JOHNSTON, C. (Ed.). (1975). The work of Dorothy Arzner: Towards a feminist cinema. London: British Film Institute.
JOHNSON, Claire; WILLEMEN, Paul; Penthesilea, Queen of the Amazons, interview, Screen 15, pp.120-134 (1974)

KRASILOVSKY, A. (1997). Women behind the camera. Westport, CT: Praiger Publishers.
KUHN, Annette, ed.; Queen of the ‘B’s:  Ida Lupino Behind the Camera, Praeger (1995).
KUHN, Annette; RADSTONE, Susannah (ed.); The Women'sCompanion to International Film, University of California Press, 1990
LEVITIN, Jacqueline; Plessis, Judith; Raoul, Valerie (ed’s); Women filmmakers: refocusing, Routledge (2003)

MAYNE, J. (1994). Directed by Dorothy Arzner. Bloomington, IN: Indiana University Press.
PETROLLE, J., WRIGHT, V. (ed.); Women & Experimental Filmmaking, University of Illinois Press (2005)

POLAN, D. B. (2002). Jane Campion. London: British Film Institute.
QUART, Barbara Koneig;  Women Directors: The Emergence of a New Cinema, Praege (1988)

REDDING, J. M., & Brownworth, V. A. (1997). Film fatales: Independent women directors. Seattle, WA: Seal Press.
RICHARDS, A. (2001). Girl directors: A how-to guide for the first-time flat-broke filmmaker. Girl Press.
SLIDE, A. (1977). Early women directors. Cranbury, NJ: A.S. Barnes and Co., Inc.
SLIDE, Anthony; The silent feminists: America's first women directors, Scarecrow Press, 1996
WARD, Karen; Women Filmmakers in Early Hollywood, The Johns Hopkins University Press, 2006
WEES, William C.; “Carrying on: Leslie Thornton, SuFriedrich, Abigail Child and American Avant-Garde Film of the Eighties” (2005)
WINSTON, Wheeler; Audrey Foster, Gwendolyn (ed’s); Experimental cinema. The film reader, Routledge (2002)


ABRAMOVIC, R. (2000). Is that a gun in your pocket? Women’s experience of power in Hollywood. New York: Random House.

ACKER, A. (1991).  Reel women: Pioneers of the cinema, 1986 to the present. New York: Continuum.
AKASS, K., & MCCABE, J. (2004). Reading Sex and the City. New York: I. B. Tauris.

ALCOCK, B., & Robson, J. (1990). Cagney and Lacey revisited. Feminist Review, 35, 42-53.
ALLEY, R. S., & Brown, I. B. (2001). Women television producers: Transformation of the male medium. Rochester, NY: University of Rochester Press.
ARRIAGA, Mercedes; Estévez, J.M.; Silva, Víctor; Browne, Rodrigo (ed.’s); Sin carne: representaciones y simulacros del  cuerpo femenino :tecnología, comunicación y poder, Arcibel Editores y Grupo de Investigación Escritores y Escritura (2004)

ATKIN, D. J., Moorman, J., & Lin, C. A. (1991). Ready for prime time: Network series devoted to working women in the 1980s. Sex Roles, 25, 677-685.
BAEHR, J., & Dyer, G. (Eds.) (1987). Boxed in: Women and television. London: Routledge and Kegan Paul.

BANET-WEISER, S. (2004). Girls rule!: Gender, feminism, and Nickelodeon. Critical Studies in Media Communication, 21(2), 119-139.
BASINGER, J. (1993). A woman’s view: How Hollywood spoke to women, 1930-1960. New York: Alfred A. Knopf.

BAZZINI, D. G., McIntosh, W. D., Smith, S. M., Cook, S., & Harris, C. (1997). The aging woman in popular film: Underrepresented, unattractive, unfriendly, and unintelligent. Sex Roles, 36, 531-543.
BELL, E. , Haas, L., & Sells, L. (1995). From mouse to mermaid: The politics of film gender and culture. Bloomington, IN:  University of Indiana Press.
BERGER, John; Modos de Ver, Gustavo Gili, 2002

BRASFIELD, R. (2006). Rereading Sex and the City: Exposing the hegemonic feminist narrative. Journal of Popular Film & Television, 34(3), 130-138.
BUTLER, J. (1993). Redesigning discourse: Feminism, the sitcom, and Designing Women. Journal of Film and Video, 45, 13-26.
BYARS, J.  (1987). Reading feminine discourse: Prime-time television in the U.S. Communication, 9, 289-303.
CAVELL, Stanley; “Ugly Duckling, Funny Butterfly: Bette Davis and Now Voyager" seguit de PostScript (1989): “To Whom It May Concern”, Critical Inquiry 16 (1990), pp.213-289
CAVELL, Stanley; La búsqueda de la felicidad: la comedia de enredo matrimonial en Hollywood, Paidós, 1999.
COLAIZZI, Giulia; Feminismo y Teoría Fílmica, Ediciones Episteme S. L., 1991
COOK, Pam; ‘The Trouble with Sex: Diana Dors and the Blonde Bombshell Phenomenon’, a Bruce Babington (ed.), British Stars and Stardom: From Alma Taylor to Sean Connery, Manchester University Press, 2001. 
COOK, Pam; ‘No Fixed Address: The Women’s Picture from Outrage to Blue Steel‘, a Steve Neale and Murray Smith (eds), Contemporary Hollywood Cinema, Routledge, 1998.
COOK, Pam; ‘Border Crossings: Women and Film in Context’, a Pam Cook i Philip Dodd (eds), Women and Film: A Sight and Sound Reader, Scarlet Press/Philadelphia: Temple University Press, 1993
COOK, Pam;  ‘Melodrama and the Women’s Picture’, a Sue Aspinall and Robert Murphy (eds), BFI Dossier 18: Gainsborough Melodrama, British Film Institute, 1983
COOK, Pam; ‘Exploitation Films and Feminism’, Screen vol.17, no. 2, Estiu, 1976
COOK, Pam; ‘The Place of Woman in the Cinema of Raoul Walsh’, a Phil Hardy (ed.), Raoul Walsh, Edinburgh: Edinburgh Film Festival, 1974. Amb Claire Johnston. Reimprès a Barry Keith Grant (ed.), Auteurs and Authorship: A Reader, Oxford: Blackwell, 2008

COOPER, B. (2001). Unapologetic women, “comic men” and feminine spectatorship in David E. Kelley’s Ally McBeal. Critical Studies in Media Communication, 18(4), 416-435.
COWIE, Elizabeth.  Film Noirand Women” a  Shades of Noir, ed. Jean Copjec, Verso, 1993, pp. 121-66
COWIE, Elizabeth; “Fantasia”, m/f 9 (1984), pp.70-105
DALL’ATA, Monica; Duckett, Victoria; Tralli, Lucia (ed.); Researching women in Silent era: New Findings and perspectives, Università di Bologna, 2013

DAVIS, D. M. (1990). Portrayals of women in prime-time network television: Some demographic characteristics. Sex Roles, 23(5/6), 325-332.
DE LAURETIS, Teresa; Alice doesn’t, Indiana University Press, 1982
DOANE, Mary Ann; The desire to desire:  The Woman’s Film of the 1940’s, Indiana University Press
DOANE, Mary Ann; Femmes Fatales, Routledge, 1991

DOANE, M. A. et al. (Eds.). (1984). Re-vision: Essays in feminist film criticism. Frederick, MD: University Publications of America.
DOUGLAS, S. J. (1994). Where the girls are: Growing up female with the mass media. New York: Times Books.
DOW, B. J. (1996). Prime-time feminism. Philadelphia: University of Pennsylvania Press.
EARLY, F. H. (2001). Staking her claim: Buffy the Vampire Slayer as transgressive woman warrior. Journal of Popular Culture, 35(3), 11-27.
ELASMAR, M., HASEGAWA, K., & Brain, M. (1999). The portrayal of women in U.S. prime time television.Journal of Broadcasting & Electronic Media, 43(1), 20-24.
FOURNIER, G. (2007). Thelma & Louise and women in Hollywood. Jefferson, NC: McFarland & Company, Inc.
FREGOSO, R. L. (1995). Hanging out with the homegirls? Allison Anders’ Mi Vida Loca. Cineaste, 21(3), 36-38.
GAMMAn, L., & Marshment, M. (Eds.). (1988). The female gaze: Women as viewers of popular culture. London: Women’s Press
GATES, Philippa;  DetectingWomen:  Gender and the Hollywood Detective Film, State University of New York Press, 2011

GLASCOCK, J. (2001). Gender roles on prime-time network television: Demographics and behaviors. Journal of Broadcasting & Electronic Media, 45, 656-669.
GLEDHILL, Christine, ed.;  Home Is Where the Heart Is:  Studies in Melodrama and the Woman’s Film, British Film Institute, 1987.
GLEDHILL, Christine, ed., Gender Meets Genre in Postwar Cinemas, University of Illinois Press,  2012

GRANT, B. K. (Ed.) (1996). The dread of difference: Gender and the horror film. Austin: University of Texas Press.
GREEN, P. (1998). Cracks in the pedestal: Ideology and gender in Hollywood. Amherst: University of Massachusetts Press.
GREGORY, M. (2002). Women who run the show. New York: St. Martins Press.
GUNTER, B.  (1986). Television and sex role stereotyping. London: John Libbey
GROSSMAN, Julie;  Rethinking the Femme Fatale in Film Noir:  Ready for Her Close-Up,   Palgrave Macmillan, 2009, 2012.

HAINS, R. (2007). Inventing the teenage girl: The construction of female identity in Nickelodeon’s My Life as a Teenage Robot. Popular Communication, 5(3), 191-213.
HANSON, Helen;  Hollywood Heroines:  Women in Film Noir and the Female Gothic Film,  I. B. Taurus, 2007.
HASKELL, Molly; From Reverence to Rape: The Treatment of Women in the movies, University of Chicago Press, 1989

HASKELL, M. (1997). Holding my own in no man’s land: Women and men and film and feminists. New York: Oxford University Press.

HEIDE, M. J.  (1995). Television culture and women’s lives. Philadelphia: University of Pennsylvania Press.
HEINECKEN, D. (2003). The warrior women of television: A feminist cultural analysis of the new female body in popular media. New York: Peter Lang.
HELFORD, E. R. (Ed.) (2000). Fantasy girls: Gender in the new universe of science fiction and fantasy television. New York: Rowman & Littlefield.
HEPBURN, K.; Yo misma: historias de mi vida, Ediciones B, Grupo Zeta, 1996

HOLLINGER, K. (1998). In the company of women: Contemporary female friendship films. Minneapolis: University of Minnesota Press.
HOLLOWS, Joanne; Feminism, Feminity and popular culture, Manchester University Press, 2000.

HOOKS, b. (1996). Reel to real: Race, sex and class at the movies. New York: Routledge.
INNESS, S. (Ed.) (2004). Action chicks: New images of tough women in popular culture. New York: Routledge.

JAPP, P. (1991). Gender and work in the 1980s: Television’s working women as displaced persons. Women’s Studies in Communication, 14, 49-74.
JOWETT, L. (2005). Sex and the slayer: A gender studies primer for the Buffy fan. Middletown, CT: Wesleyan University Press.
KAPLAN, E. Ann, ed.  Women in Film Noir, British Film Institute (1980)
KAPLAN, E. Ann; Las mujeres y el cine, a ambos lados de la cámara, Feminismos, Ediciones Cátedra, 1983
KAPLAN, E. Ann;  “Mothering, Feminism, and Representation:  The Maternal in Melodrama and the Woman’s Film 1910-40,” a C. Gledhill (ed.), Home is where the heart is: studies in melodrama and the woman’s film, British Film Institute, 1987, pp-113-137.
KAPLAN, E. Ann (ed.); Feminism and Film, Oxford University Press (2000)

KAVENEY, R. (2002). Reading the Vampire Slayer: An unofficial critical companion to Buffy and Angel. New York: Tauris Parke Paperbacks.
Kearney, M. C. (2006). Girls make media. New York: Routlege.
KEITH GRANT, Barry; The dread of difference, gender and the horror film, Texas Film and Media Studies, 1996

KHOURI, C. (1991). Thelma & Louise and Something to Talk About. New York: Grove Press.
KORD, S., & KRIMMER, E. (2005). Hollywood divas, indie queens, & TV heroines. New York: Rowman & Littlefield Publishers, Inc.
KUHN, Annette; Feminism and materialism, Routledge and Kegan Paul, 1978
KUHN, Annette; Women’s Pictures. Feminism and Cinema, Verso (1994)
KUHN, Annette (ed.); Alien Zone, Verso,1990
LANE, C. (2000). Feminist Hollywood: From Born in Flames to Point Break. Detroit: Wayne State University Press.
LASALLE, Mick, Complicated Women. Sex and Power in Pre-Code Hollywood, Thomas Dunne Books, 2000
LAUZEN, M. M., Dozier, D. M., & Horan, N. (2008). Constructing gender stereotypes through social roles in prime-time television. Journal of Broadcasting & Electronic Media, 52(2), 1-15.
LAUZEN, M. M., Dozier, D. M., & Reyes, B. (2007). From adultescents to zoomers: An examination of age and gender in prime-time television. Communication Quarterly, 55(3), 343-357
LAUZEN, M. M., Dozier, D. M., & Cleveland, E. (2006). Genre matters: An examination of women working behind the scenes and on-screen portrayals in reality versus scripted prime-time programming. Sex Roles,55(7-8), 445-455.
LAUZEN, M. M., & Dozier, D. M. (2005). Recognition and respect revisited: Portrayals of age and gender in prime-time television. Mass Communication and Society, 8, 241-257.
LAUZEN, M. M., & Dozier, D. M. (2005). Maintaining the double standard: Portrayals of age and gender in popular films. Sex Roles, 52(7/8), 437-446.
LAUZEN, M. M., Dozier, D. M., & Bradley, R. (2004).  Evening the score in prime time: The relationship between behind-the-scenes women and on-screen portrayals in the 2002-03 season. Journal ofBroadcasting & Electronic Media, 48(3), 484-500.
LAUZEN, M. M., & Dozier, D. M. (2002). You look mahvelous: An examination of gender and appearance comments in the 1999-2000 prime-time season. Sex Roles, 46(11/12), 429-437.
LAUZEN, M. M., Dozier, D. M., & Hicks, M. V. (2001). Prime-time players and powerful prose: The role of women in the 1997-98 season. Mass Communication and Society, 4(1), 39-59.
LAUZEN, M. M., & Dozier, D. M.  (1999). The role of women on screen and behind the scenes in the television and film industries: Review of a program of research. Journal of Communication Inquiry, 23, 355-373.
LAUZEN, M. M., & Dozier, D. M.  (1999).  Making a difference in prime time: Women on screen and behind the scenes in the 1995-96 television season. Journal of Broadcasting & Electronic Media, 43, 1-19
LAWRENCE, A. (1991). Echo and narcissus: Women’s voices in classical Hollywood cinema. Berkeley: University of California Press.
LEE, J. (1992). Subversive sitcoms: Roseanne as inspiration for feminist resistance. Women’s Studies, 21, 87-101

LEVY, A. (2005). Female chauvinist pigs: Women and the rise of raunch culture. New York: Free Press
MAYERLE, J. (1987). Character shaping genre in Cagney and Lacey. Journal of Broadcasting and Electronic Media, 31, 133-151
MAYNE, Judith; The Woman at the Keyhole: Feminism and Women’s Cinema, Bloomington, Indiana University Press, 1990

MAZZARELLA, S., & Pecora, N. O. (Eds.). (1998). Growing up girls: Popular culture and the construction of identity. New York: Peter Lang Publishing.
McNEIL, J. (1975). Feminism, femininity, and the television series: A content analysis. Journal of Broadcasting, 17, 259-269.

MEEHAN, D. (1983). Ladies of the evening: Women characters of prime-time television. Metuchen, NJ: Scarecrow.
MULLER, E. (2001). Dark city dames: The wicked women of film noir. New York: Harper-Collins.
MULVEY, Laura; “Visual Pleasure and Narrative Cinema” a Visual and Other Pleasures, Indiana University Press, pp.14-26 (1989)
NEGRA, Diane,  M. BEAN, Jennifer; A Feminist Reader in Early Cinema, Duke University Press, 2002
OBST, L. (1996). Hello, he lied. Boston: Little Brown and Company.
OUELLETTE, L. (2002). Victims no more: Postfeminism, television, and Ally McBeal. The Communication Review, 5, 315-335.
POMERANCE, M. (Ed.) (2001). Ladies and gentlemen, boys and girls: Gender in film at the end of the twentieth century. Albany: State University of New York Press.
Pola Negri: memoirs d’une star, Éditions Robert Laffont, 1970
PRIBAM, E. D. (Ed.). (1988). Female spectators: Looking at film and television. New York: Verso.
PRESS, A., & Strathman, T. (1993). Work, family, and social class in TV images of women: Prime-time television and the construction of postfeminism. Women and Language, 16, 7-15.
RABINOVITZ, L. (1989). Sitcoms and single moms: Representations of feminism on American TV. Cinema Journal, 29, 3-19
RICH, Ruby; Chick Flicks. The Theories and Memories of the Feminist Film Movement, Durham & London, Duke University Press (1998)
RIVIÈRE, Joan; Womanliness as a mascarade, International Journal of Psycho -  Analysis X, 1929
ROSEN, Marjorie; Popcorn Venus: Women, movies and the american dream, Avon, 1973
ROWE, K. (1995). The unruly woman: Gender and the genres of laughter. University of Texas Press.
SEGGAR, J. F., & Wheeler, P. (1973). World of work on TV: Ethnic and sex representation in TV drama.Journal of Broadcasting, 17(2), 201-214.
SEGER, L. (1996). When women call the shots: The developing power and influence of women in television and film. New York: Henry Holt and Company.
SIGNORIELLI, N. (1982). Marital status in television drama: A case of reduced options. Journal of Broadcasting, 26(2), 585-597.
SIGNORIELLi, N. (1989). Television and conceptions about sex roles: Maintaining conventionality and the status quo. Sex Roles, 21, 341-360.
SIGNORIELLI, N., & Bacue, A. (1999). Recognition and respect: A content analysis of prime-time television characters across three decades. Sex Roles, 40, 527-544.
SIGNORIELLI, N., & Kahlenberg, S. (2004). Television’s world of work in the nineties. Journal of Broadcasting & Electronic Media, 45, 4-22.

SILVERMAN, K. (1988). The acoustic mirror: The female voice in psychoanalysis and cinema. Bloomington, IN: University of Indiana Press.
SOUTH, J. B. (2003). Buffy the Vampire Slayer and philosophy: Fear and trembling in Sunnydale. Chicago: Open Court.
SOVA, D. B. (1998). Women in Hollywood: From vamp to studio head. New York: Fromm International.
SWEENEY, K. (2008). Maiden USA: Girl icons come of age. New York: Peter Lang.
TASKER, Y. (1993). Spectacular bodies: Gender, genre and the action cinema. London: Routledge.
TASKER, Y. (1998). Working girls: Gender and sexuality in popular cinema. London: Routledge.
VANDE BERG, L. R., & Streckfuss, D. (1992). Prime-time television’s portrayal of women and work: A demographic profile. Journal ofBroadcasting & Electronic Media, 36, 195-208.
VERNON, J. A., Williams, J. A., Phillips, T., & Wilson, J. (1991). Media stereotyping: A comparison of the way elderly women and men are portrayed on prime-time television. Journal of Women & Aging, 2, 55-68.
VILLAPLANA, Virginia; Formas de violencia globalizada: género, representación y discurso, I/C Revista Científica de Información y Comunicación, 2009, pp.463-482
WALDMAN, Diane; Walker, Janet; Feminismand documentary, University of Minnesota Press, 1999
WEGENSTEIN, Bernadette; The cosmetic gaze, The MIT Press, 2012

WILCOX, R. (2005). Why Buffy matters: The art of Buffy the Vampire Slayer. New York: I.B. Tauris.
WILCOX, R. V., & Lavery, D. (Ed.) (2002). Fighting the forces: What’s at stake in Buffy the Vampire Slayer.  Lanham, MD: Rowman & Littlefield.
WOLF, N. (1991). The beauty myth: How images of beauty are used against women. New York: Doubleday.


ACKER, Ally; Reel Women: Pioners of the cinema1986 to the present, Continuum Intl Pub Group, 1993

BEAUCHAMP, C. (1998). Without lying down: Frances Marion and the powerful women of early Hollywood. Los Angeles: University of California Press.
BOON, Kevin; Script Culture and American Screenplay, Wayne State University Press, 2008.
CONOR, Bridget; Screenwriting: Creative Labor and Professional Practice, Routledge, 2014.
FRANCKE, L. (1994). Script girls: Women screenwriters in Hollywood. London: British Film Institute.
HURD, M. G. (2007). Women directors & their films. Westport, CT: Praeger.
ISAACS, S. (1999). Brave dames and wimpettes: What women are really doing on page and screen. New York: The Ballantine Publishing Group.
LANT, Antonia (ed.); The Red Velvet Seat: Women’s Writings on the First Fifty Years of Cinema, Verso, 2006
LIZZIE, Franckie; Mujeres guionistas en Hollywood, Laertes, 1996
McCREADIE, Marsha; The women who write the movies: from Frances Marion to Nora Ephron, Birch Lane, 1994
McCREADIE, Marsha; Women Screenwriters Today , Praeger, 2006
SAGOR MAAS, Frederica, La escandalosa señorita Pilgrim, Barcelona: Seix Barral, 2013.


A.A.V.V., Rencontres: Jean-Marie Straub et Danièle Huillet, École Nationale Superieure des Beaux Arts, 2008

ACKER, Ally; Reel Women: Pioners of the cinema1986 to the present, Continuum Intl Pub Group, 1993
ATKINS, Irene Kahn; “Interview with Margaret Booth”, Focus on Film #25 (Estiu-Tardor, 1975): pp.51–56.
ATTWOOD, Lynne; Red Women on the Silver Screen: Soviet Women and Cinema from the Beginning to the End of Communist Era, Londres, 1993
AUDREY, Gwendolyn; Unterburger, Amy L.; Jacobs, Katrien (ed.’s); Women Filmmakers and their films, St. James Press, 1998 
BOOTH, Margaret (muntadora): a “Funeral of Elmer Booth: D. W. Griffith Makes a Feeling Address at the Grave of the Reliance Actor Killed in Automobile Accident.” Moving Picture World (10 July 1915) p.289
BAUCHENS, Anne (muntadora): a DeMille, Cecil B. “Films’ Real Artists Never Get Before Camera.” Los Angeles Herald Examiner (11 Mar. 1951): III 3.
BAUCHENS, Anne (muntadora): a “Film Editor’s 40 Years Mirror Movie Industry Growth.” Los Angeles Herald Examiner (30 June 1956)
BEHLMER, Rudy; “Interview with Margaret Booth.” Academy Oral History Program. Academy of Motion Picture Arts and Sciences, 1976.
DUNN, Winifred (muntadora): a “Miss Dunn Metro Editor.” Moving Picture World (17 Mar. 1923): p. 308.
EISEINSTEIN, S.M.; La forma del cine, Siglo XXI editores, 1986
FEINBERG, Scott; “Top directors reveal how female film editors shaped their movies”, 12/11/2013, The Hollywood Reporter
LAWRENCE, Viola (muntadora): a “First Femme Film Editor” Variety (21 Nov. 1973)
LORING, Jane (muntadora): a “Film Cutters Learn to Transcribe Sound Track.” Los Angeles Times (25 Aug. 1929): B9.
MURCH, Walter; En el momento del parpadeo : un punto de vista sobre el montaje cinematográfico, Ocho y Medio, 2003
PETRIC, Vlada; “Esther Shub: Film as a Historical Discourse”, a Show Us Life: Toward a History of Aesthetics of the Committed Documentary, editat per Thomas Waugh, Metuchen, NJ, 1984
SCHAUB, Joseph Christopher, "Presenting theCyborg's Futurist Past: An Analysis of Dziga Vertov's KinoEye”, University of Maryland
WATTS, Stephen (ed.); Booth, Margaret. “The Cutter.” Behind the Screen: How Films are Made, Dodge Publishing, 1938, pp. 148–153.
SCHEUER, Philip K.; “Lady Film Cutters: A Vanishing Profession.” Los Angeles Times (21 April 1940): C3.
O’STEEN, Bobbie; The invisible cut: how editors make movie magic, Michael Wiese Productions, 2009


A.A.V.V.; Cartografies del desig: 15 escriptores i el seu món, Edicions Proa, 1998

AMORÓS, Celia; Hacia una crítica a la razón patriarcal, Anthropos, 1991
DE BEAUVOIR, Simone; Segundo Sexo 
Diccionari de Creadores, Éditions Des Femmes-Antoinette Fouque, 2013
FEDERICI, Silvia; Calibán y la bruja. Mujeres, cuerpos y acumulación originaria, Traficantes de Sueños, 2010 (2004)
Intropía Media, Las sinsombrero, documental, 2013
JABARDO, Mercedes; Feminismos negros. Una antología, Traficantes de sueños, 2012 
NAVARRETE, Carmen; "Mujeres y práctica artística: algunas notas sobrenuevas y viejas estrategias de representación y resistencia", en Alicia Murría (ed.), Futuropresente. Prácticas artísticas en el cambio de milenio, Comunidad de Madrid, 1999.
NÚÑEZ, Isabel; Sinrazones del Olvido, Icaria, 2011


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