Könyvek, tanulmánykötetek, folyóirat-összeállítások
Balcerzak, Scott — Sperb, Jason (eds.): Cinephilia in the Age of Digital Reproduction: Film, Pleasure and Digital Culture. Vol. 1—2. London: Wallflower Press, 2009—2012.
Bode, Lisa: Making Believe. Screen Performance and Special Effects in Popular Cinema. New Brunswick: Rutgers University Press, 2017.
Bordwell, David: Pandora’s Digital Box. Films, Files, and the Future of Movies. Madison: The Irvington Way Institute Press, 2012.
Brown, William. Supercinema: Film-Philosophy for the Digital Age. New York: Berghahn Books, 2013.
Casetti, Francesco: The Lumière Galaxy: Seven Key Words for the Cinema to Come. New York: Columbia University Press, 2015.
Denson, Shane — Leyda, Julia (eds.): Post-Cinema: Theorizing 21st-Century Film. Sussex: REFRAME Books, 2015.
Digital Cinema. Film History: An International Journal 24 (2012) no. 2.
Digital Cinema. Convergence: The Journal of Research into New Media Technologies 9 (Winter 2003) no. 4. Digital Visual Effects and Popular Cinema. Film Criticism 32 (Fall 2007) no. 1.
Dixon, Wheeler Winston — Foster, Gwendolyn Audrey: 21st-century Hollywood: Movies in the Era of Transformation. New Brunswick: Rutgers University Press, 2011.
Elsaesser, Thomas: Film History as Media Archaeology: Tracking Digital Cinema. Amsterdam: Amsterdam University Press, 2016.
Fenyvesi Kristóf — Kiss Miklós — Thomka Beáta (eds.): Narratívák 7. Elbeszélés, játék és szimuláció a digitális médiában. Budapest: Kijárat Kiadó, 2008.
Film, Digitality and Cultural Divide. Film Quarterly (Fall 2014) no. 1.
Flückiger, Barbara: Visual Effects: Filmbilder aus dem Computer. Marburg: Schüren Verlag, 2008.
Fossati, Giovanna: From Grain to Pixel. The Archival Life of Film in Transition. Amsterdam: Amsterdam University Press, 2009.
Gaudreault, André — Marion, Philippe: The End of Cinema? A Medium in Crisis in the Digital Age. Trans. Timothy Barnard. New York: Columbia University Press, 2015.
Gollowitzer Diána (szerk.): A film jövője a digitalizáció korában. Adatbázis és/vagy narratíva? (A Dragon— Sághy vita). Szeged: Digitális Kultúra és Elméletek Kutatócsoport, 2012.
Hadjioannou, Markos: From Light to Byte: Towards an Ethics of Digital Cinema. Minneapolis: University of Minnesota Press, 2012.
Hagener, Malte — Hediger, Vinzenz — Strohmaier, Alena (eds.): The State of Post-cinema: Tracing the Moving Image in the Age of Digital Dissemination. London: Palgrave Macmillan, 2016.
Hayward, Philip — Wollen, Tana (eds.): Future Visions: New Technologies of the Screen. London: British Film Institute, 1993.
Hoberman, J.: Film after Film: Or, What Became of 21st Century Film? London: Verso, 2012.
Jenkins, Henry: Convergence Culture: Where Old and New Media Collide. New York: New York University Press, 2006.
Kernis, Mark: Beyond Dolby (Stereo): Cinema in the Digital Sound Age. Bloomington: Indiana University Press, 2010.
King, Geoff — Krzywinska, Tanya (eds.): ScreenPlay: Cinema/Videogames/Interfaces. London: Wallflower, 2002.
Kim, Jihoon: Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age. New York: Bloomsbury Academic, 2016.
Kiss Gábor Zoltán (szerk.): Narratívák 10. A narrációtól az attrakcióig. Budapest: Kijárat Kiadó, 2011.
Klinger, Barbara: Beyond the Multiplex: Cinema, New Technologies and the Home. Berkeley: University of California Press, 2006.
Lewis, Jon (szerk.): The End of Cinema (As We Know It). American Film in the Nineties. New York: New York University Press, 2001.
McClean, Shilo T.: Digital Storytelling: The Narrative Power of Visual Effects in Film. Cambridge: MIT Press, 2007.
Mulvey, Laura: Death 24X a Second: Stillness and the Moving Image. London: Reaktion Book, 2006.
North, Dan: Performing Illusions. Cinema, Special Effects and the Virtual Actor. London: Wallflower, 2008.
Pethő, Ágnes (ed.): Film in the Post-media Age. Newcastle upon Tyne: Cambridge Scholars Publishing, 2012.
Post-cinematic Attractions. Ekphrasis: Images, Cinema, Theory, Media 16 (2016) no. 2.
Post-what? Post-when? Thinking Moving Images Beyond the Post-medium/Post-cinema Condition. Cinéma & Cie: International Film Studies Journal 26- 27 (2016)
Prince, Stephen: Digital Visual Effects in Cinema: The Seduction of Reality. New Brunswick: Rutgers University Press, 2012.
Purse, Lisa: Digital Imaging in Popular Cinema.
Edinburgh: Edinburgh University Press, 2013.
Pierson, Michele: Special Effects. Still in Search of Wonder. New York: Columbia University Press, 2002.
Richter, Sebastian: Digitaler Realismus. Zwischen Computeranimation und Live Action: Die Neue Bildästhetik in Spielfilmen. Bielefeld: Transcript, 2008.
Rodowick, David: The Virtual Life of Film. Cambridge: Harvard University Press, 2007.
Rogers, Ariel: Cinematic Appeals: The Experience of New Movie Technologies. New York: Columbia University Press, 2013.
Rombes, Nicholas: Cinema in the Digital Age. New York: Columbia University Press, 2009.
Safary, Anna: Digitales Kino. Alchemie des Computers: Geschichte, Theorie und Wirkung digitaler Artefakte im Film. Saarbrücken: Akademikerverlag, 2007.
Shaviro, Steven: Post-Cinematic Affect. Winchester: Zero Books, 2010.
Sperb, Jason: Flickers of Film. Nostalgia in the Time of Digital Cinema. New Brunswick: Rutgers University Press, 2015.
Sobchack, Vivian (ed.): Meta Morphing: Visual Transformation and the Culture of Quick-Change. Minneapolis: University of Minnesota Press, 2000. Shaw, Jeffrey — Weibel, Peter (eds.): Future Cinema. The Cinematic Imaginary after Film. Cambridge: MIT Press, 2003.
Stewart, Garrett: Framed Time: Toward a Postfilmic Cinema. Chicago: University of Chicago Press, 2008.
Strauven, Wanda (ed.): The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, 2006.
Taylor, Norman: Cinematic Perspectives on Digital Culture: Consorting with the Machine. London: Palgrave Macmillan, 2012.
Thanouli, Eleftheria: Wag the Dog: a Study on Film and Reality in the Digital Age. London: Bloomsbury, 2013.
Turnock, Julie: Plastic Reality. Special Effects, Technology, and the Emergence of 1970s Blockbuster Aesthetics. New York: Columbia University Press, 2015.
Tryon, Chuck: Reinventing Cinema: Movies in the Age of Media Convergence. New Brunswick: Rutgers University Press, 2009.
Usai, Paolo Cherchi: Death of Cinema. History, Cultural Memory and the Digital Dark Age. London: British Film Institute, 2001.
Újmédia, digitalizáció. Apertúra (2011 tavasz) http:uj.apertura.hu/2011-tavasz-tartalom/
Vernallis, Carol: Unruly Media: YouTube, Music Video, and the New Digital Cinema. Oxford: Oxford University Press, 2013.
Willis, Holly: New Digital Cinema: Reinventing the Moving Image. London: Wallflower Press, 2005.
Whissel, Kristen: Spectacular Digital Effects: CGI and Contemporary Cinema. Durham: Duke University Press, 2014.
Tanulmányok, cikkek
Allen, Michael: The Impact of Digital Technologies on Film Aesthetics. In: Braudy, Leo — Cohen, Marshall (eds.): Film Theory and Criticism. Oxford: Oxford University Press, 2008. pp. 824—833.
Allison, Tanine: More than a Man in a Monkey Suit: Andy Serkis, Motion Capture, and Digital Realism. Quarterly Review of Film and Video 28 (2011) pp. 325—341.
Brooker, Will: Camera-Eye, GC-Eye: Videogames and the “Cinematic.” Cinema Journal 48 (2009) no. 3. pp. 122—128.
Belton, John: Digital Cinema: A False Revolution. October 100 (Spring 2002) pp. 98—114.
Belton, John: Painting by the Numbers: The Digital Intermediate. Film Quarterly 61 (2008) no. 1. pp. 58—65.
Bolcsó Dániel: Fiktív képek igazsága. Digitális képalkotás, mediatizált képek és filmes manipuláció. Metropolis 21 (2017) no. 2. pp. 24—36.
Bolter, Jay David — Grusin, Richard: Networks of Remediation. In: Bolter, Jay David — Grusin, Richard: Remediation: Understanding New Media. Cambridge, MA: MIT Press, 1999. pp. 64—87. [Magyarul: Bolter, Jay David — Grusin, Richard: A remedializáció hálózatai. (trans. Babarczi Katica.) Apertúra (2011 tavasz). http:apertura.hu/2011/ tavasz/bolter-grusin]
Buckland, Warren: Realism in the Photographic and Digital Image. In: Elsaesser, Thomas — Buckland, Warren (eds.): Studying Contemporary American Cinema: A Guide to Movie Analysis. London: Arnold Publishers, 2002. pp. 195—219.
Casetti, Francesco: Sutured Reality: Film, from Photographic to Digital. October 138 (Fall 2011) pp. 95—106.
Cartwright, Lisa: Film and the digital in visual studies: film studies in the era of convergence. Journal of Visual Culture 1 (2002) no. 1. pp. 7—23. [Magyarul: Cartwright, Lisa: A film és a digitális világ a vizualitás tudományában. A filmtudomány a konvergencia korszakában. (trans. Hornyik Sándor) Magyar Építőművészet 3 (2007) 18. http:magyarepitomuveszet. mm-art.hu/hu/vizkult.php?id=729]
Cram, Christopher: Digital Cinema: the Role of the Visual Effects Supervisor. Film History: An International Journal 24 (2012) no. 2. pp. 169—186. Daly, Kristen: New Mode of Cinema: How Digital Technologies are Changing Aesthetics and Style. Kinephanos Journal 1 (2009) no. 1. pp. 1—26.
Daly, Kristen: Cinema 3.0: The Interactive- Image. Cinema Journal 50 (2010) no. 1. pp. 81—98. Darley, Andrew: Genealogy and tradition: mechanized spectacle as popular entertainment (chapter 2).
The waning of narrative: new spectacle cinema and music video (chapter 5). In: Darley, Andrew: Digital Visual Culture: Surface Play and Spectacle in New Media Genres. London: Routledge, 2000. pp. 37—57. pp. 102—123.
Doane, Mary Ann: The Indexical and the Concept of Medium Specificity. Differences: A Journal of Feminist Cultural Studies 18 (2007) no. 1 pp. 128—152. [Magyarul: Doane, Mary Ann: Az indexikus és a médiumspecifikusság fogalma. (trans. Füzi Izabella) //Apertúra //(2012 tavasz) http:// apertura.hu/2012/tavasz/doane-az-indexikus-es-a- mediumspecifikussag-fogalma]
Dragon Zoltán: A film a digitalizáció korában. Apertúra (2011 tavasz) http:apertura.hu/2011/tavasz/dragon
Dragon Zoltán: A szoftver és a film. A film helye a digitális kultúrában. Apertúra (2009 tél). http:
apertura.hu/2009/tel/dragon
Dragon Zoltán: Platform-mozi. Gazdasági, strukturális és formai konvergencia a hollywoodi kommersz játékfilmben. Metropolis 21 (2017) no. 2. pp. 38—51.
Elsaesser, Thomas: Digital Cinema: Delivery, Event, Time. In: Elsaesser, Thomas — Hoffmann, Kay (eds.): Cinema Futures: Cain, Abel or Cable? The Screen Arts in the Digital Age. Amsterdam: Amsterdam University Press, 1998. pp. 201—222.
Elsaesser, Thomas — Hagener, Malte: Digital cinema and film theory. The Body Digital. In: Elsaesser, Thomas — Hagener, Malte (eds.): Film Theory. An Introduction through the Senses. London: Routledge. pp. 194—218. [Magyarul: Elsaesser, Thomas — Hagener, Malte: Digitális film és filmelmélet — a testi digitális. (trans. Andorka György) //Metropolis //21 (2017) no. 1. pp. 8—26.]
Elsaesser, Thomas: Digital Cinema: Convergence or Contradiction? In: Vernallis, Carol — Herzog, Amy — Neumeyer, David (eds.): The Oxford Handbook of Sound and Image in Digital Era. Oxford: Oxford University Press, 2013. pp. 13—44.
Elsaesser, Thomas: The ‘Return’ of 3-D: On Some of the Logics and Genealogies of the Image in the Twenty-First Century. Critical Inquiry 39 (Winter 2013) no. 2. pp. 217—246.
Flückiger, Barbara: Photorealism, Nostalgia, and Style. Material Properties of Film in Digital Visual Effects. In: Duffy, Michael — North, Dan — Rehak, Bob (eds.): Special Effects. New Histories, Theories, Contexts. London: British Film Institute, 2015. pp. 78-96.
Friedberg, Anne: The End of Cinema: Multimedia and Technological Change. In: Gledhill, Christine — Williams, Linda (eds.): Reinventing Film Studies. London: Arnold, 2000. pp. 438—452.
Ganz, Adam — Khatib, Lina: Digital Cinema: The Transformation of Film Practice and Aesthetics. New Cinemas: Journal of Contemporary Film 4 (2006) no. 1. pp. 21—36.
Gunning, Tom: Moving Away from the Index: Cinema and the Impression of Reality. Differences 18 (2007) no. 1. pp. 29—52.
Daly, Kristen: Cinema 3.0: The Interactive-Image.Cinema Journal 50 (Fall 2010) no. 1. pp. 81—98.
Henry Jenkins: Quentin Tarantino’s Star Wars?: Digital Cinema, Media Convergence, and Participatory Culture. In: Thorburn, David — Jenkins, Henry (eds.): Rethinking Media Change: The Aesthetics of Transition. Cambridge: MIT Press, 2004. pp. 281—312.
Higgins, Scott: 3D in Depth: Coraline, Hugo, and a Sustainable Aesthetic. Film History: An International Journal 24 (2012) no.2. pp. 196—209.
Lister, Martin — Dovey, John — Giddings, Seth — Grant, Iain — Kieran, Kelly: Digital Cinema. In: Lister, Martin et al. (eds.): New Media: A Critical Introduction. London: Routledge, 2009. pp. 132—157.
Manovich, Lev: The Language of Cultural Interfaces; The Database; What is Cinema? In: Manovich, Lev: The Language of New Media Cambridge, MA: MIT Press, 2001. pp. 62—93. pp. 218—243. pp.
286—333. [Magyarul: Manovich, Lev: A film mint kulturális interface. (trans. Vajdovich Györgyi) Metropolis 5 (2001) no. 2. pp. 24—43.; Manovich, Lev: Az adatbázis mint szimbolikus forma. (trans. Kiss Julianna) Apertúra (2009 ősz) http: apertura.hu/2009/osz/manovich; Manovich, Lev: Mi a film? (trans. Gollowitzer Dóra Diána) Apertúra (2009 ősz) http:apertura.hu/2009/] osz/manovich-3]
Manovich, Lev: After Effects or the Velvet Revolution. Millennium Film Journal (Fall 2006) nos. 45—46. pp. 5—19.
Manovich, Lev: Media Design. In: Manovich, Lev: Software Takes Command. London — New York: Bloomsbury Academic, 2013. pp. 243—342.
Margitházi Beja: A pikkely-pixeltől a kvantum- végtelenig. Látványosított textúrák és a késő kapitalizmus érzéki logikája a kortárs hollywoodi effekt-filmekben. Metropolis 21 (2017) no. 1. pp. 28—45.
Pálos Máté: Digitális azonosulás. Az új képalkotási módszerek hatása a történetmesélésre. Filmtett (2011) http:www.filmtett.ro/cikk/2145/digitalis- azonosulasaz-uj-kepalkotasi-modszerek-hatasa-a- tortenetmeselesre
Prince, Steven: True Lies: Perceptual Realism, Digital Images, and Film Theory. Film Quarterly 49 (1996) no. 3. pp. 27—37.
Prince, Steven: The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Age. Film Quarterly 57 (2004) no. 3. pp. 24—33.
Rosen, Philip: Old and New: Image, Indexicality, and Historicity in the Digital Utopia. In: Rosen, Philip: Change Mummified: Cinema, Historicity, Theory. Minneapolis: University of Minnesota Press, 2001. pp. 301—349.
Sághy Miklós: Az adatbázis-logika és a film. Reflexiók Lev Manovich és Dragon Zoltán írásaira. Apertúra (2011 tavasz) http:apertura.hu/2011/tavasz/saghy Tarnay László: A digitális mozgókép szomatoszenzorikus „fordulata”. Metropolis 21 (2017) no. 2. pp. 8—23.
Telotte, J. P.: Digital Effects Animation and the New Hybrid Cinema. In: Telotte, J. P.: Animating Space: From Mickey to Wall-E. Lexington, KY: The University Press of Kentucky, 2010. pp. 222—251.
Tudor, Deborah: The Eye of the Frog: Questions of Space in Films Using Digital Processes. Cinema Journal 48 (2008) no. 1. pp. 90—110.
Wood, Aylish: Pixel Visions: Digital Intermediates and Micromanipulations of the Image. Film Criticism 32 (2007) no. 1. pp. 72—94.
Online bibliográfiák
https:filmhistoryinthemaking.com/digital-film-historiography-a-bibliography/
http:www.peterbosma.info/?p=english&english=18 Computer-generated Imagery — Oxford Bibliography: http:www.oxfordbibliographies.com/view/docume nt/obo -9780199791286/obo -9780199791286-0068.xml
