@book {littschwager_making_2019,
	title = {Making Sense of Mind-Game Films: Narrative Complexity, Embodiment and the Senses},
	year = {2019},
	note = {Google-Books-ID: ekBjuQEACAAJ},
	publisher = {Bloomsbury Academic},
	organization = {Bloomsbury Academic},
	address = {London},
	abstract = {<p>Mind-game films and other complex narratives have been a prominent phenomenon of the cinematic landscape during the period 1990-2010, when films like The Sixth Sense, Memento, Fight Club and Source Code became critical and commercial successes, often acquiring a cult status with audiences. With their multiple story lines, unreliable narrators, ambiguous twist endings, and paradoxical worlds, these films challenge traditional ways of narrative comprehension and in many cases require and reward multiple viewings. But how can me make sense of films that don{\textquoteright}t always make sense the way we are used to? While most scholarship has treated these complex films as narrative puzzles that audiences solve with their cognitive skills, Making Sense of Mind-Game Films offers a fresh perspective by suggesting that they appeal to the body and the senses in equal measures. Mind-game films tell stories about crises between body, mind and world, and about embodied forms of knowing and subjective ways of being-in-the-world. Through compelling in-depth case studies of popular mind-game films, the book explores how these complex narratives take their (embodied) spectators with them into such crises. The puzzling effect generated by these films stems from a conflict between what we think and what we experience, between what we know and what we feel to be true, and between what we see and what we sense.</p>},
	keywords = {Art / Film \& Video, Performing Arts / Film / History \& Criticism},
	isbn = {978-1-5013-3704-8},
	author = {Littschwager, Simin Nina}
}
@book {hven_cinema_2017,
	title = {Cinema and narrative complexity: embodying the Fabula},
	year = {2017},
	note = {Google-Books-ID: LMJFDgAAQBAJ},
	publisher = {Amsterdam University Press},
	organization = {Amsterdam University Press},
	address = {Amsterdam},
	abstract = {Since the mid-1990s, a number of films from international filmmakers have experimented with increasingly complicated narrative strategies-including such hits as Run, Lola, Run, 21 Grams, and Memento. This book sets those films and others in context with earlier works that tried new narrative approaches, including Stage Fright and Hiroshima, Mon Amour, to show how they reveal the limitations of most of our usual tools for analysing film. In light of that, Steffen Hven argues for the deployment of an {\textquoteright}embodied{\textquoteright} reconfiguration of the cinematic experience, one that allows us to rethink such core constituents of narrative understanding as cognition, emotion, and affect.},
	keywords = {Art / Film \& Video},
	isbn = {978-90-485-3025-0},
	author = {Hven, Steffen}
}
@book {stewart_closed_2015,
	title = {Closed Circuits: Screening Narrative Surveillance},
	year = {2015},
	note = {Google-Books-ID: vBsjBgAAQBAJ},
	publisher = {University of Chicago Press},
	organization = {University of Chicago Press},
	address = {Chicago},
	abstract = {The recent uproar over NSA dataveillance can obscure the fact that surveillance has been part of our lives for decades. And cinema has long been aware of its power{\textemdash}and potential for abuse. In Closed Circuits, Garrett Stewart analyzes a broad spectrum of films, from M and Rear Window through The Conversation to D{\'e}j{\`a} Vu, Source Code, and The Bourne Legacy, in which cinema has articulated{\textemdash}and performed{\textemdash}the drama of inspection{\textquoteright}s unreturned look. While mainstays of the thriller, both the act and the technology of surveillance, Stewart argues, speak to something more foundational in the very work of cinema. The shared axis of montage and espionage{\textemdash}with editing designed to draw us in and make us forget the omnipresence of the narrative camera{\textemdash}extends to larger questions about the politics of an oversight regime that is increasingly remote and robotic. To such a global technopticon, one telltale response is a proliferating mode of digitally enhanced {\textquotedblleft}surveillancinema.{\textquotedblright}},
	keywords = {Art / Film \& Video, Literary Criticism / General, Performing Arts / Film \& Video / History \& Criticism, Performing Arts / General},
	isbn = {978-0-226-20135-1},
	author = {Stewart, Garrett}
}
