Laura Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, Durham 2000.

Hamid Naficy, An accented cinema: Exilic and Diasporic Filmmaking, Princeton,
N.J./Oxford 2001.

Jim Pines und Paul Willemen (Hg), Questions of Third Cinema, London 1990.

Benedict Anderson, Imagined Communities: Reflections on the origin and spread
of nationalism, New York 1983.

a) Grundlegendes
b) Weiterführendes

Kerstin Mayrhofer, Chinesischer Realismus: Interaktion von Malerei und Film der
Generation nach 1989 (Diplomarbeit), Wien 2008.

Bibliography of Documentary Film in China

Chris Berry, „Facing Reality: Chinese Documentary, Chinese Postsocialism“, in: Wu Hung (Hg.), The First Guangzhou Triennial: Reinterpretation: A Decade of Experimental Chinese Art (1990-2000), Guangzhou/Chicago 2002, S. 121-131.

Chris Berry, „Independently Chinese: Duan Jinchuan, Jiang Yue, and Chinese Documentary“, in: Paul Pickowicz und Zhang Yingjin (Hg.), From Underground to Independent: Alternative Film Culture in Contemporary China, Lanham, MD 2006,
S. 109-122.

Chen Guangzhong, „Beating the Drum of the Mind to March Forward with Spirit:
The Artistic Characteristics of the Political Television Documentary ‚The Course of
the Century“, in: Chinese Sociology and Anthropology, Vol. 25, Nr. 1, 1992, S. 83-91.

Robert Chi, „The New Taiwanese Documentary“, in: Modern Chinese Literature and
Culture, Vol. 15, Nr. 1, Frühjahr 2003, S. 146-196.

Chiu Kuei-fen, „Taiwan and its Spectacular Others: Aesthetic Reflexivity in Two Documentaries by Women Filmmakers from Taiwan“, in: Asian Cinema, Vol. 16,
Nr. 1, Frühjahr/Sommer 2005, S. 98-107.

Chu Yingchi, Chinese Documentaries: From Dogma to Polyphony, New York 2007.

Fang Fang, Zhongguo jilupian fazhan shi (A History of the Development of Chinese Documentary Film), Beijing 2003.

Valerie Jaffee, „Every Man a Star: The Ambivalent Cult of Amateur Art in New Chinese Documentaries“, in: Paul Pickowicz und Zhang Yingjin (Hg.), From Underground to Independent: Alternative Film Culture in Contemporary China, Lanham, MD 2006,
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Matthew David Johnson, „A Scene Beyond Our Line of Sight: Wu Wenguang and New Documentary Cinema's Politics of Independence“, in: Paul Pickowicz und Zhang Yingjin (Hg.), From Underground to Independent: Alternative Film Culture in Contemporary China, Lanham, MD 2006, S. 47-76.

Charles Leary, „Performing the Documentary, or Making It to the Other Bank“, in: Senses of Cinema, Vol. 27, Juli/August 2003.

Maggie Lee, „Behind the Scenes: Documentaries in Mainland China, Taiwan, and Hong Kong“, in: Documentary Box, Vol. 26, 2005.

Lin Xudong, „Documentary in Mainland China“, in: Documentary Box, Vol. 26, 2005.

Lu Xinyu, Jilu Zhongguo: Dangdai Zhongguo xin jilu yundong (Recording China: Contemporary Chinese New Documentary Movement), Beijing 2003.

Augusta L. Palmer, Crossroads: Nostalgia and the Documentary Impulse in Chinese Cinemas at the Turn of the 21st Century (PhD dissertation), New York 2004.

Berenice Reynaud, „New Visions / New China: Video-Art, Documentation, and the Chinese Modernity Question“, in: Michael Renov und Erika Suderburg (Hg.), Resolutions: Contemporary Video Practices, Minneapolis 1996, S. 229-257.

Berenice Reynaud, „Dancing with Myself, Drifting with My Camera: The Emotional Vagabonds of China's New Documentary“, in: Senses of Cinema, Vol. 28, September/October 2003.

Stanley Rosen und Gary Zou (Hg.), „The Chinese Television Documentary ‚River Elegy’ (part 1)“, in: Chinese Sociology and Anthropology, Vol. 24, Nr. 2, Winter 1991. S. 3-90.

Mark Selden, „Introduction: Symposium on He shang“, in: Bulletin of Concerned Asian Scholars. Vol. 23, Nr. 3, 1991. S. 3.-??

Shan Wanli, Jilu dianying wenxian (Documents on Documentary Film), Beijing 2001.

Shan Wanli. Zhongguo jilu dianying de lishi (History of Chinese Documentary Film),
Beijing 2005.

Rui Shen, „To Remember History: Hu Jie Talks About His Documentaries“, in: Senses of Cinema, Vol. 35, 2005.

Su Xiaokang et al., Deathsong of the River: A Reader's Guide to the Chinese TV Series Heshang, Ithaca 1991.

Sun Jianqiu, „Sound and Color in Sun Mingjin's Silent b/w Films: The Paradox of a Documentary/Educational Filmmaker“, in: Asian Cinema, Vol. 17, Nr. 1, Frühjahr/Sommer 2006, S. 221-229.

Paola Voci, „Chinese Documentary: Changing Film Culture in China“, in: China on Video.

Paola Voci, „Dal grande al piccolo schermo: nuovi sviluppi del documentario cinese
(From Silver Screen to Small Screen: New Developments of Chinese Documentary)“,
in: Ombre Elettriche: Cento anni di cinema cinese 1905-2005 (Electric Shadows: 100
Years of Chinese Cinema 1905-2005). Venezia 2005, S. 158-167.

Paola Voci, „From the Center to the Periphery: Chinese Documentary's Visual Conjectures“, in: Modern Chinese Literature and Culture, Vol. 16, Nr. 1, Frühjahr 2004, S. 65-113.

Paola Voci, „Un intento sincero e dei metodi onesti: Riflessioni sul documentario Cina di Antonioni e il nuovo documentario cinese (A Sincere Purpose and Honest Means: Rethinking Antonioni's Documentay 'China' and the New Chinese Documentary)“, in: Maurizio Scarpari und Tiziana Lippiello (Hg.), Cher Maître...Scritti in onore di Lionello Lanciotti per l'ottantesimo compleanno, Venezia 2005, S. 1234-1248.

Paola Voci, „Quasi-Documentary, Cellflix and Web Spoofs: Chinese Movies' Other Visual Pleasures“, in: Senses of Cinema, Vol. 41, October-Dezember 2006.

Wang Jing, „He shang and the Paradoxes of Chinese Enlightenment“, in: Bulletin of Concerned Asian Scholars, Vol. 23, Nr. 3, 1991. S. 27-32.

Wang Qi, „Navigating on the Ruins: Space, Power, and History in Contemporary Chinese Independent Documentaries“, in: Asian Cinema, Vol. 17, Nr. 1, Frühjahr/Sommer 2006.
S. 246-255.

Woei Lien Chong und Anne Sytske Keijser, „Modernizing Mainland China: PRC Films and Documentaries at the Royal Tropical Institute in Amsterdam, 1999“, in: China Information, Vol. 14, Nr. 1, 1999, S. 171-207.

Ye Lou, „Popular Documentary Films“, in: Beijing Review, Vol. 41, Nr. 26, Juni 1998,
S. 28-29.

Zhang Yingjin, „Styles, Subjects, and Special Points of View: A Study of Contemporary Chinese Independent Documentary“, in: New Cinemas: Journal of Contemporary Film,
Vol. 2, Nr. 2, 2004. S. 119-135.

Zhu Jingjiang und Mei Bing, Zhongguo duli jilupian dang'an (A Record of Independent Chinese Documentary), Shanxi 2004.

Zhu Ying und Zhang Tongdao. 'Sun Mingjin and Early Chinese Documentary Filmmaking“, in: Marco Muller und Elena Pollachi (Hg.), Ombre Elettriche. Cento anni di cinema cinese 1905-2005, Venezia 2005, S. 64-74.

Zhu Ying und Zhang Tongdao, „Sun Mingjin and John Grierson, a Comparative Study of Early Chinese and British Documentary Film Movements“, in: Asian Cinema, Vol. 17,
Nr. 1, Frühjahr/Sommer 2006, S. 230-245.

a) Grundlegendes
b) Weiterführendes

Jonathan Beller, Acquiring Eyes: Philippine Visuality, Nationalist Struggle, and the World-Media System, Manila 2006.

Frederic Jameson, The Geopolitical Aesthetics, Indiana 1995, darin: Kapitel 4, „’Art Naif’
and the Admixture of Worlds“, S.186-213.

Rolando Tolentino (Hg), Geopolitics of the visible: Essays on Philippine film cultures,
Manila 2001.

a) Grundlegendes

Gbemisola Adeoti, „Home video films and the democratic imperative in contemporary Nigeria“, in: Journal of African Cinemas, Vol. 1, Nr. 1, 2009, S. 35-56.

Pierre Barrot (Hg.), Nollywood: The Video Phenomenon in Nigeria, Oxford/Indianapolis 2008.

Trenton Daniel, „Nollywood Confidential, Part 2“, in: Transition, No. 95, 2004, S. 110-128. [Gespräch mit Zeb Ejiro, Ajoke Jacobs, Tunde Kelani and Aquila Njamah]

Till Förster und Onookome Okome, Modes of Seeing and the Video Film in Africa,
Köln 2001.

Josef Gugler, African Film: Re-Imagining a Continent, Oxford/Bloomington 2003.

Jonathan Haynes (Hg.), Nigerian Video Films, Athens 2000.

Jonathan Haynes, „Political Critique in Nigerian Video Films“, in: African Affairs,
No. 105/421, 2006, S. 511-533.

Jonathan Haynes und Onookome Okome, „Evolving Popular Media: Nigerian Video Films“, in: Research in African Literatures, Vol. 29, Nr. 3 (Herbst 1998), S. 106-128.

Brian Larkin, „Hausa dramas and the rise of video culture in Nigeria“, in: Jonathan Haynes (Hg.), Nigerian Video Films, Athens 2000, S. 213–221.

Martin Mhando, „Globalization and African cinema: distribution and reception in the anglophone region“, in: Journal of African Cinemas, Vol. 1, Nr. 1, 2009, S. 19-34.

John C. McCall, „Juju and justice at the movies: Vigilantes in Nigerian popular videos“, in: African Studies Review, Vol. 47, Nr. 3, 2004, S. 51–67.

John C. McCall, „Nollywood Confidential“, in: Transition, Nr. 95, S. 98-109.

Onookome Okome, „Loud in Lagos: Home Video“, in: Glendora: African Quarterly on the arts, Vol. 2, Nr. 1, 1997, S. 75-83.

Osita Okagbue, “Images and memories of home: African video movies in the diaspora”, in: African Performance Review, Vol. 2, Nr. 1, 2008, S. 43-57.

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b) Weiterführendes

Françoise Balogun, „Die Geburt des Yoruba-Kinos“, in: Frauen und Film, Nr. 60, S. 54-63.

Jonathan Haynes, „Mobilizing Yoruba popular culture: Babangida Must Go“, in: Africa 73,
Nr. 1, 2003, S. 122-138.

Jonathan Haynes, „Nollywood in Lagos: Lagos on Nollywood films“, in: Africa today,
Vol. 54, Nr. 2, 2007, S. 131-150.

Pieter Hugo et al., Nollywood, München 2009.

Brian Larkin, Signal and Noise: Media, Infrastructure, and Urban Culture in Nigeria, Durham/London 2008.

John C. McCall, „Madness, money, and movies: Watching a Nigerian popular video with
the guidance of a native doctor“, in: Africa Today, Vol. 49, Nr. 3, 2002, S. 78–88.

Patrice Monfort, „Nigeria: le raz-de-marée de la home video“ (Interviews mit Tunde Kelani und Zeb Ejiro), in: Africultures, Nr. 45, Februar 2002.

Augusta Okon, „Nollywood: Origin and unresolved Problems“, in:

Jenkeri Zakari Okwori, „A dramatised society: representing rituals of human sacrifice as efficacious action in Nigerian home video-movies“, in: Journal of African Cultural Studies, Vol. 16, Nr. 1, 2003, ??

Françoise Ugochukwu, „L'université et les films vidéos nigérians: regards sur quinze ans
de recherches“, in: Éthiopiques, Nr. 80, 2008, S. 149-172.

Cinéma beur
a) Grundlegendes
b) Weiterführendes

Simona Barello, „At the margin of the margin: Female identities within Beur literature and film“, (PhD Dissertation) New York University 2007.

Carrie Tarr, „French Cinema and Post-colonial Minorities“, in: Alec G. Hargreaves und
Mark McKinney (Hg.), Post-colonial culture in France, New York 1997, S. 59-83.

dies., „Beur filmmaking in the new millennium: from Le Raid to Jeunesse dorée“, in: dies., Reframing difference - Beur and banlieue filmmaking in France, Manchester/New York 2005, S. 167-186.

dies., „Voices from the Maghreb: from Le Thé à la menthe to La fille de Keltoum“, in: dies., Reframing difference - Beur and banlieue filmmaking in France, Manchester/New York 2005, S. 187-209.

a) Grundlegendes
b) Weiterführendes

Tobias Nagl: „Einstürzende Favelas - Fernando Meirelles ‚City of God’ ist postmodernes Protestkino“, in: Jungle World, 21/2003, 14.5.2003.

Lúcia Nagib (Hg.), The New Brazilian Cinema, London/New York 2003.

Lúcia Nagib, Brazil on screen, London/New York 2007.

Lisa Shaw und Stephanie Dennison, Brazilian National Cinema, New York 2007.

Stephanie Dennison und Lisa Shaw, Popular Cinema in Brazil, Manchester 2004.

David William Forster, Gender and society in contemporary brazilian cinema, Austin 1999.

Lisa Shaw, Stephanie Dannison (Hg.), Latin American cinema: essays on Modernity,
gender and national Identity, North Carolina 2005.

Ismail Xavier, Allegories of Underdevelopment, University of Minnesota Press, Minneapolis London 1997.

Robert Stam, Tropical Multiculturalism: A comperative History of Race in Brazilian Cinema
& Culture, Duke University Press, Durham and London 1997.

Randal Johnson & Robert Stam, Brazilian Cinema, Columbia University Press,
New York 1995.