Laura Mulvey & Peter Wollen bibliography
Laura Mulvey: Bibliography
Books
1972
Douglas Sirk, A collection of essays co-edited with Jon Halliday, Edinburgh Film Festival
1989
Visual and Other Pleasures, Macmillan, London; Indiana University Press, Bloomington
1992
Citizen Kane, Film Classics Series, BFI, London
1996
Fetishism and Curiosity, BFI, London; Indiana University Press, Bloomington USA
Articles in Collections and Journals
1970s/80s
Articles on film, feminism and art collected into 1989 publication Visual and Other Pleasures including:
1974
"Visual Pleasure and Narrative Cinema", Screen, BFI, London. Translated into French, Italian, German, Dutch, Spanish, Portuguese (Brazil), Chinese (People's Republic), Danish, Lithuanian and Japanese
1990
"British Feminist Film Theory's Female Spectators", Camera Obscura pp. 20-21
1991
"Xala Freud and Marx in a film by Sembene Ousmane", Third Text, 16/17 London
"Cindy Sherman: the Lure of the Masquerade", New Left Review, July/August, London
1992
"The Hole and the Zero: the Janus face of Femininity". in Godard: Son + Image, Raymond Bellour, (ed). MOMA, New York
1994
"Pandora: topographies of the mask, the box and curiosity", in Space and Sexuality Beatriz Colemana (ed), Princeton University Press
"Peeping Tom", a critical commentary for laser disc, Criterion Collection, Voyager Company, Los Angeles
"Angela Carter's Cinema: Magic and Metamorphoses" in The Flame and the Mirror. Essays in the Honour of Angela Carter, L. Sage (ed.), Virago, London
1996
"The Pre-Oedipal Father; The Gothicism of Blue Velvet", in Modern Gothic; A Reader, V. Sage & A. Lloyd (eds.), Manchester University Press
"Cinematic Space: Desiring and Deciphering", in Desiring Practices: Architecture, Gender and the Interdisciplinary, McCorquodale, Ruedi, Wigglesworth (eds.), Black Dog Productions, London
"Changing Objects, Preserving Time", in Jimmie Durham, Phaidon Press, London
1997
"Gentlemen Prefer Blondes: Anita Loos/Howard Hawks/Marylin Monroe" in Howard Hawks: American Artist, Jim Hillier & Peter Wollen (eds.), BFI, London
1998
"Notes on Citizen Kane", in Reading Melanie Klein, John Phillips and Lyndsey Stonebridge, Routledge, London
1999
"Reflections on Disgraced Monuments", in Architecture and Revolution, Neil Leach (ed.), Routledge, London
2000
"Death Drives: Hitchcock's Psycho", Film Studies 2
"The Index and the Uncanny", in Time and the Image", C.Gill & T. Matthews (eds.), Manchester University Press
"Vesuvian Topographies: the Eruption of the Past in Journey to Italy", Roberto Rossellini: One Hundred Years, G. Nowell-Smith & D. Forgacs (eds.), BFI
"Death 24 Times a Second", Coil 9/10
2002
"Afterword", in R. Tapper (ed.): The New Iranian Cinema. Politics, Representation and Identity, IB Tauris, London pp. 238-254
"Detail, Digression and Death: the movies in Chris Petit's film Negative Space", in Afterall 05, London, pp. 98-105
2003
"Cinema, Synch Sound and Europe 1929: Reflections on Coincidence" in L. Sider (ed) Soundscapes. The School of Sound Lectures 1998-2001, Wallflower Press, London, pp. 15-27
"Death Twenty-four Times a Second: The Inorganic Body and the Cinema", in Paul Sheenan (ed.), Becoming Human. New Perspectives on the Inhuman Condition, Praeger, Westport, pp. 98-102
"Foreword:, in A. Sabbadini (ed.): The Couch and the Silver Screen. Psychoanalytic Reflection on European Cinema, Brunner Boutledge, London, xv-xiix
"Jill Forbes", Les Enfants du Paradis in French Cultural Studies Vol 14, Part 3, No 42
"Then and now: Cinema as History in the Light of New Media and New Technologies", in L. Nagib (ed.), The New Brazilian Cinema, I.B. Tauris, London, pp. 261-271
"The 'Pensive Spectator' Revisited: Time and its Passing in the Still and Moving Image", in D. Green (ed.), Where is the Photograph? Photoforum, Brighton, pp. 113-132 (also published in T. Leighton and P.Buchler (eds.): Saving the Image: Art after Film, Centre for Contemporary Arts, Glasgow)
2004
"Death Drives", in R. Allen & S. Ishi-Gonzales: Past and Future Hitchcock, Routledge, London, pp. 231-242
Articles in Magazines etc.
1995
"Trying to Kiss the Moon", an essay on Steve Dwoskin's film, Arts Council of Great Britain
"Silences of the Palace", Review article and interview with Moufida Tlatli, Sight and Sound, December
1997
"Interview with Laura Mulvey by Ilona Halberstadt", in PIX 2
"His Girl Friday", Review article in Sight and Sound, August
1998
"Kiarostami's Uncertainty Principle", Review article in Sight and Sound, February
"Written on the Wind", Review article in Sight and Sound, August
1999
"The Warner Brother Who Died for Sound", Sight and Sound, May
2000
"Samira Makmalbaf's Blackboards", Sight and Sound, December
"Abbas Kiarostami's The Wind Will Carry Us", Sight and Sound, August
Journals
1982-7
Associate Editor, Framework
1985
Associate Editor, Camera Obscura, University of California, USA
1987-94
Associate Editor, October, MIT Press, New York
1989-96
Editorial Board, History Workshop Journal
1990-
Advisory Editor, Altantica
1998-
Editorial Board, Framework
Editorial Board, Film Studies
Panels and Juries
1975-8
Board of Management, The Other Cinema, London
1976-9
Artists' Film Sub-Committee, Arts Council of England
1978
Jury member, Toamina Film Festival, Italy
1986
Jury member, Oberhausen Film Festival, Germany
1983-7
Advisory Board, John Logie Baird Centre for Film and Television, Strathclyde University, Glasgow
1986-9
Film Production Committee, Arts Council of Great Britain
1989-92
Research Advisory Committee, British Film Institute
1990-2
Council for National Academic Awards, London
1991
Jury member, Jay Leyda Book Award, Anthology Archive, New York
1997-
Advisory Panel for Artists' Film and Video, Arts Council of England
PETER WOLLEN BIBLIOGRAPHY
BOOKS AUTHORED
1969
Signs and Meaning in the Cinema, Secker and Warburg, London. Viking, New York.
1982
Readings and Writings: Semiotic Counter Strategies, Verso, London.
1992
Singin' In The Rain, British Film Institute, London.
1993
Raiding The Icebox, Reflections on Twentieth Century Culture, Verso, London, 1993; Indiana University Press, Bloomington.
1995
‘Cantando Na Chuva (Singin' In The Rain)’, Visual Display: Culture Beyond Appearances, Lynne Cook, editor, Bay Press, Seattle, 1995
1996
Howard Hawks, American Artist (edited, with Jim Hillier), British Film Institute, London.
1997
Who Is Andy Warhol? (edited with Colin MacCabe and Mark Francis), British Film Institute, London.
1998
Raiding The Icebox: Reflections on Twentieth Century Culture, Korean edition, DRT International, Seoul.
Signs and Meaning in the Cinema, New expanded and revised edition, British Film Institute, London.
2002
Paris Hollywood: Writings on Film, Verso, London.
Paris Manhattan: Writings on Art, Verso, London.
MONOGRAPHS
1969
Orson Welles Study Unit, British Film Institute, London.
1991
“Friendship’s Death,” in Close Encounters, Constance Penley and others (eds.), Minnesota University Press, Minneapolis.
BOOKS AND CATALOGS EDITED
1969
Working Papers in the Cinema: Sociology and Semiology, British Film Institute, London.
Samuel Fuller (with David Will), Edinburgh Film Festival, in association with Scottish International Review, Edinburgh.
1981
Chris Welsby: Films, Photographs, Writings, Arts Council of Great Britain, London.
1982
Frida Kahlo and Tina Modotti (with Laura Mulvey), Whitechapel Gallery, London.
1985
Komar and Melamid (with Mark Francis), The Fruitmarket Gallery, Edinburgh, Scotland.
1998
Addressing The Century, Hayward Gallery, London.
2002
Autopia: Cars and Culture, co-edited with Joe Kerr, Reaktion Books, London.
ARTICLES/CHAPTERS IN BOOKS AND JOURNALS
1968
‘Cinema and Semiology,’ Form, Vol. 7, March. Reprinted: Movies and Methods 1, Bill Nichols (ed.), University of California Press, Berkeley, 1976.
‘Eisenstein: Cinema and the Avant Garde’, Art International, Vol. 12, No. 9, November.
‘The Semiology of Umberto Eco,’ in Cinemantics, Vol. 1, No.1.
1969
‘Introduction, and essays on Verboten and The Naked Kiss’, Edinburgh Film Festival, in association with Scottish International Review, Samuel Fuller, David Will and Peter Wollen (eds.).
‘A Structural Analysis of the Finns of Samuel Fuller,’ Cinema, Vol. 1, No. 1. Reprinted: Samuel Fuller, David Will and Peter Wollen (eds.), Edinburgh.
‘Hitchcock's Vision,’ Cinema, Vol. 1, No. 3.
1971
‘Art in Revolution’ Studio International, April. Reprinted in: Readings and Writings.
‘Two Mayakovsky Scenarios’, Screen, Vol. 12, No. 4, Winter.
‘Some Thoughts on Stanley Mitchell's article,’ (on Marinetti and Mayakovsky), Screen, Vol. 12, No. 4, Winter.
1972
‘Afterword,’ (to 'John Ford's Young Mr. Lincoln,' a collective text by the editors of Cahiers du Cinema), Screen, Vol. 13, No. 3, Autumn
‘Counter Cinema: Vent d'Est’, Afterimage, Vol. 4, Autumn. Reprinted: Vastaelokuva: itaetulli Fihnihullu (Helsinki), Vol. 5, 1973 and: Contra cinema: Vent de Pest (sic),” Skrien (Amsterdam), Vol. 40/41, 1974 and: Movies and Methods 2, Bill Nichols (ed.), University of California Press, Berkeley,1985 and: Readings and Writings.
1974
‘“Marcel Duchamp,’ New Art Examiner.
1975
‘Introduction to Citizen Kane,’ Film Reader, Vol. 1,. Reprinted: Readings and Writings.
‘The Two Avant Gardes,’ Studio International, Vol. 190, Nov Dec. Reprinted: Edinburgh Magazine, Vol. 1,1976 and: ‘Le 2 Avanguardie,’ Filmcritica (Rome), Vol. 29, Oct 1978 and: Readings and Writings.
1976
'Ontology' and 'Materialism' in Film,’ Screen, Vol. 17, No. 1, Spring. Reprinted: Readings and Writings
‘Film Studies: A Contribution,’ Screen Education, Vol. 19, Summer.
‘North by Northwest: A Morphological Analysis,’ Form, Vol. 1. Reprinted: Readings and Writings
1977
‘Letter,’ (in reply to article by John Ellis), Screen, Vol. 18, No. 1, Spring.
1978
‘Photography and Aesthetics,’ Screen, Vol. 19, No. 4, Winter. Reprinted: Readings and Writings
1979
‘Five Artists Working with Photographs,’ in Hayward Annual, Richard Francis (ed.), Hayward Gallery, Arts Council of Great Britain, London.
1980
‘Manet Modernism and Avant Garde,’ Screen, Vol. 21, No. 2, Summer. (Article in response to T.J. Clarke's essay on Manet's Olympia in the previous issue. Clarke's “A Note in Reply to Peter Wollen” is in the subsequent issue.)
‘Place in the Cinema,’ Framework, Vol. 3, Autumn.
‘Hybrid Plots in Psycho,’ Framework, Vol. 13, Autumn.
1981
‘The Avant Gardes: Europe and America,’ Framework, Vol. 14, Spring.
‘The Field of Language in Film,’ October, Vol. 17.
‘Shadow of a Journey,’ Undercut, Vol. 2, August.
1983
‘Godard's Passion,’ Framework, Vol. 21, Summer.
1984
‘Avantgardni film i postmodernizmen,’ Ekran (Ljubljana), Vol. 9.
‘From Russia with love: Eisenstein's Immoral Memories,’ American Film, Vol. 9, No. 7.
‘Feu et Glace,’ Photographies (Paris), Vol. 4, March. [Reprinted: ‘Fire and Ice,’ (English language version) Other Than Itself: Writing Photography, John X. Berger and Olivier Richon (ed.), Cornerhouse Gallery, Manchester, Great Britain, 1989].
‘Baubo,’ Subject/Object, Spring.
1985
‘Counter Cinema and Sexual Difference,’ Difference: On Representation and Sexuality, Jane Weinstock (ed.), The New Museum, New York.
‘Popular Culture and Avant Garde,’ Wide Angle, Vol. 7.
1986
‘Ways of Thinking about Music Video (and Post Modernism),’ Critica/Quarterly, Vol. 28, No. 1 2, (Reprinted: High Theory/Low Culture, Colin MacCabe (ed.), Manchester University Press, 1989).
1987
‘Landscape, Meteorology and Chris Wellsby,’ Millennium Film Journal, Vol. 15, Reprinted from Chris Welsby, Arts Council of Great Britain, London, 1980.
1988
‘Fashion/ Orientalism/The Body,’ New Formations, London, Vol. 1, No.1.
‘Article, in Some Uncertain Signs’, Mark Lewis (ed.), Electromedia, Toronto.
‘Le cinema, l'americanisme, et le robot,’ Communications, Paris, Vol. 48.
‘Thinking Theory,’ Film Comment, Vol. 24, No. 4, July August.
1989
‘Five Points on American Independent Film,’ United States Film Festival Catalog, Tony Safford (ed.), Park City, Utah.
‘Messenger of Mortality: Jose Guadalupe Posada’, Messenger of Mortality: Jose Guadalupe Posada, Redstone Press, London.
‘Bitter Victory: The Art and Politics of the Situationist International,’ (revised), An endless adventure ...an
endless passion...an endless banquet, Iwona Blaznick (ed.), ICA, London, with Verso, London.
‘Raiding The Icebox: Andy Warhol,’ Andy Warhol/Film Factory, Michael O'Pray (ed.), BFI Publishing, London.
‘Bitter Victory: The Art and Politics of the Situationist International,’ On the passage of a few people through a rather brief moment in time: the Situationist International 1957 1972, ICA, Boston, with MIT Press, Cambridge.
‘Cinema/Americanism/The Robot,’ New Formations, London, May.
1990
‘Scenes from the Future: Komar & Melamid,’ Between Spring and Summer, Tacoma Art Museum, Tacoma, Washington.
‘Regarder, raconter et au dela,’ Passages de 1'Image, Raymond Bellour, Catherine David, Christine Van Assche (eds.), MNAM, Paris.
‘Alternative Sounds and Images,’ Between Imagination and Reality, Biennial of Independent Film and Video, Institute of Contemporary Art, London.
‘Tourism, Language and Art, New Formations, Vol. 12, Winter.
1991
‘Ritwik Ghattak,’ Sight & Sound, Autumn
‘Cinema/Americanism/the Robot,’ Modernity and Mass Culture, James Naremore and Patrick Brantlinger (eds.), Indiana University Press.
1992
‘L'Eternel Retour,’ Jean Luc Godard, Raymond Bellour and Colin MacCabe (eds.), Museum of Modern Art, New York.
‘Frida Kahlo and Tina Modotti,’ [co-author, Laura Mulvey] Art In Modern Culture: An Anthology of Critical Texts. Ed. Francis Frascina & Jonathan Harris, Phaidon Press, London.
‘Black & White in Fashion,’ [Exhibition Catalog]; Black and White: Dress from the 1920s to Today, Wexner Center, The Ohio State University, Columbus, Ohio.
‘Arrows of Desire,’ [Exhibition Catalog]; essay on film and video works selected for exhibition at the Institute of Contemporary Arts, London, England.
‘The Last New Wave: Modernism in British Films of the Thatcher Era,’ Fires Were Started: British Cinema and Thatcherism, Lester Friedman (ed.), Minnesota University Press, Minneapolis.
‘Delirious Projections,’ Sight & Sound, 2,3, London, July.
‘Conquistadors' Cinema: Ridley Scott's 1492,’ Sight & Sound, 2,7, November
‘The Top Ten Films,’ Sight & Sound, 2,8, London, December
1993
‘The Meeting: Tony Bevan,’ The Meeting, by Tony Bevan, Whitechapel Gallery, London,
‘Notes From The Underground,’ The Wild Palms Reader, Roger Trilling (ed.), St. Martin's Press, New York, March.
‘Baroque and Neo Baroque in the Age of the Spectacle,’ Point of Contact/ Punto de Contacto, 3,3, April.
‘Films: Why Do Some Survive and Some Disappear?,’ Sight & Sound, 3,5, London, May.
‘Theme Parks and Variations,’ Sight & Sound, 3,7, July.
‘Our Post Communism: The Legacy of Karl Kautsky,’ New Left Review, Vol. 202, November December.
‘Faxview – Arrows of Desire,’ Pix, Winter.
1994
‘The Cosmopolitan Ideal in The Arts,’ Travellers' Tales, George Robertson (editor), Routledge, London.
‘The Artist That Couldn't,’ Frank Tashlin, Roger Garcia (ed.), Editions Yellow Now, Paris; BFI Publications, London.
‘Brooks and the Bob: Louise Brooks,’ Sight & Sound, 4,2, February.
‘Diary: In The Tunnel,’ London Review of Books, Vol. 16, No. 8, April 28. Reprinted in The Observer national newspaper, London, Sunday, 1 May, 1994.
‘Little Stabs At Happiness,’ Frieze, 16, May.
‘Never At Home,’ (on the career of Nicholas Ray), Sight & Sound, 4,3, May.
‘The Western and the Bather: Art into Film,’ Sight & Sound (with the Arts Council of England and the Tate Gallery, London, July.
‘Early Modernism,’ London Review of Books, September.
‘Hacia El Futuro: Turismo, Lengua & Arte,’ Debats, Barcelona, December.
‘Dying for Art: Michael Powell's Peeping Tom,’ Sight & Sound, 4,12, London, December.
1995
‘Fashion and Film: Strike A Pose,’ Sight & Sound, March.
‘Strike A Pose,’ Sight and Sound, BFI, London, March.
‘Wild Hearts: Virginia Woolf,’ London Review of Books, March.
‘Virginia Woolf,’ London Review of Books, April.
‘Possession: Dandyism, Decadence and Death,’ Sight and Sound, 5, 9, BFI, London, September.
‘Salome, Imagenes de Pasion y Poder (‘Salome: Images of Passion and Empowerment’),’ Salome: Un Mito Contemporaneo, (Catalog), Museo Nacional Centro de Arte Reina Sofia, Fetival de Otono, Madrid.
‘Viking Eggeling, filxnen och konsten,’ Aura, Filmvetenskaphg tidskrift, Vol. 1, No.1.
‘The Clear Exposition of Bodily Form,’ London Review of Books, October.
‘Mannerkunst: Sigueiros and Pollock,’ Siqueiros/Pollock, Pollock/ Siqueiros (Catalog), Kunsthalle, Dusseldorf.
Script of ‘Riddles and the Sphinx,’ in Screen Writings: Scripts and Texts by Independent Film-Makers. Ed. Scott MacDonald, U. of California Press, Fall.
‘Frida Kahlo and Tina Modotti,’[co-written with Laura Mulvey], Art in Modern Culture: an Anthology of Critical
Texts. Ed. Francis Frascina and Jonathan Harris, Phaidon.
‘Cricket and Modernity,’ in Emergences, 7/8: Ashis Nandy and the Post-Columbian Future.
1996
‘Terry Gilliam,’ in Spellbound: Art and Film (Catalog), Hayward Gallery, London.
‘The Life and Work of Gene Kelly,’ Sight and Sound, BFI, London, March.
‘Paintings at the Pictures,’ The Economist, London, May.
‘The Same Old Solotaire,’ (on the life and work of Aubrey Beardsley), London Review of Books, July.
‘Together: Hitchcock and Len Lye,’ Sight & Sound, 6, 7, BFI, London, July.
‘D For Dance,’ Sight & Sound, 6, 9, BFI, London, September.
‘Welles and Touch of Evil,’ Sight & Sound, 6,10, BFI, London, October.
‘Howard Hawks and Modernity,’ Howard Hawks, American Artist, BFI, London, December.
‘The Two Avant Gardes’ The Last New Wave: Modernism in British Films of the Thatcher Era, in Avant Garde Film, The British Avant Garde, 1926 to 1995, Michael O'Pray (ed.), The Arts Council of Great Britain, London, December.
1997
‘Viking Eggeling: Lund's Dada Child,’ Pix 2, London, January.
‘Thirteen Pans,’ Social Process/ Collaborative Action: Mary Kelly, Judith Mastai (ed.), Emily Carr Institute of Art and Design, Vancouver, February.
‘Compulsion: Hitchcock's Vertigo,’ Sight and Sound, 7, 4, London, April.
‘Vectors of Melancholy,’ Scene of the Crime, Ralph Rugoff (ed.), Armand Hammer Museum, Los Angeles, June.
‘Andy Warhol: Renaissance Man,’ in Andy Warhol, Colin MacCabe, Mark Francis, and Peter Wollen (eds.), BFI, London, June.
‘Plastics,’ The Warhol Look, Mark Francis and Margery King (eds.), Bulfinch, New York, September.
‘Thatcher's Artists, on the “Sensation” show’, London Review of Books, London, October.
‘An Alphabet of Cinema: 26 Responses to a Self-Interview,’ Point of Contact, New York, Winter/Spring.
‘Twelve Important Things I Know About Ski Ing,’ Snowflake 2, Smart Art Press, Santa Monica.
1998
‘On Kathy Acker,’ London Review of Books, London, February
‘An Interview with Steve Fagin,’ Talkin' With Your Mouth Full, Steve Fagin (ed.), Duke University Press, Durham, March.
‘Eisenstein,’ The Economist, London, April.
Biographical material in article on ‘Patrick Bauchau’ by Beverly Walker, published in Film Comment, New York, Vol. 34 No. 4., July-August.
‘Budd Boetticher,’ The Western Reader, Jim Kitses & Gregg Rickman (eds.), Limelight Editions, New York, July.
‘When The Beam Of Light Has Gone,’ (on Jean Luc Godard), London Review on Books, September.
‘Blade Runner and Los Angeles,’ Enclitic, Vol 12. No. 1, Issue 25, Santa Monica.
‘Addressing The Century,’ Addressing The Century, Peter Wollen (ed.), Hayward Gallery, London, October.
“The Crowd Roars Suspense and Cinema,’ Speed Visions of an Accelerated Age, Jeremy Millar and Michiel Schwarz (eds.), The Photographers' Gallery, London.
‘Tinsel and Realism,’ Hollywood & Europe, Geoffrey Nowell Smith & Steve Ricci (eds.), BFI.
1999
‘Die Leute tragen Autos’ (Interview), Die Tageszeitung, Berlin, March 13-14.
‘Perhaps....,’ October 88, MIT Press, March.
‘Plastics: The Magical and The Prosaic,’ The Warhol Look, Mark Francis and Margery King (eds.), Little Brown, Boston, New York, Toronto, London, Spring.
‘The World City and the Global Village,’ Emergences, Vol. 9, No. 1, Journal for the Study of Media and Composite Cultures, Los Angeles, May.
‘The Vienna Project,’ Sight and Sound, 9, 7, BFI, London, July.
‘Two Los Angeles Gardens,’ X TRA, Vol. II, No. 2, Los Angeles, Winter.
‘Tacita Dean;’ Afterall, London.
‘Stalin At The Movies,’ London Review of Books.
‘Fashion Notes,’ Framework, vol. 41, London.
‘Mappings: Situationists and/or Conceptualists,’ Rewriting Conceptual Art, Michael Newman and Jon Bird (eds.),Reaktion Books, London.
‘Rope: Three Hypotheses,’ Alfred Hitchcock: Centenary Essays, Richard Allen and S. Ishii Gonzales (eds.), BFI Publishing, London,.
‘Freud as Adventurer,’ Endless Night: Cinema and Psychoanalysis, Parallel Histories, Janet Bergstrom (ed.), University of California Press.
‘Global Conceptualism in North American Conceptual Art,’ Global Conceptualism: Points of Origin, 1950’s – 1980’s, Queens Museum of Art, New York.
‘Time Capsule: Ten Objects from my Workspace,’ The Redstone Diary, Messages To A Future, Julian Tothenstein and Mel Gooding (eds.), Redstone Press, London.
‘The Auteur Theory,” and “Godard and Counter Cinema,’ Film Theory & Criticism, Leo Braudy & Marshall Cohen (eds.), Oxford University Press.
2000
‘The Players: A Film Comment Poll,’ Film Comment, New York, January.
‘How Art Becomes Kitsch,’ London Review of Books, January.
‘Breaking the Waves,’ and ‘Alfred Hitchcock,’ member of blue-ribbon panel of critics, filmmakers, and authors, in Film Comment, January/February.
‘Magritte and the Bowler Hat,’ New Left Review I, (Series Two), London, January – February.
‘An Introduction to Howard Hawks,’ Legend of Hollywood, National Film Center/National Museum of Modern Art, Tokyo, March.
‘Time in Film and Video Art,’ Making Time, Palm Beach Institute of Contemporary Art, Lake Worth, Florida, March.
‘The Archipelage of Metaphors,’ in Emergences, 10, 2, November, Carfax Publishing, Oxford and Los Angeles, November.
‘Who the Hell is Howard Hawks?,’ Rethinking Howard Hawks, National Museum of Modern Art, Tokyo, December.
‘Time, Image and Terror,’ Time And The Image, ed. Carolyn Gill, Manchester University Press.
‘Theme Park and Variations,’ Action/Spectacle Cinema, ed. José Arroyo, BFI, London.
‘The Auteur Theory,’ The Film Studies Reader, ed. Joanne Hollows, Peter Hutchings, Mark Jancovich. Reprinted by Hodder Headline.
‘Feuer und Eis’ German language translation, Theorie der Fotografie IV, 1980-1995, Ed. Hubertus von Amelunxen, Schirmer/Mosel, Munchen.
‘Fotografie und Asthetik,’ Theorie Der Fotografie IV , eds. Hubertus v. Amelunxen, Munchen: Schirmer/Mosel.
‘Theme Park and Variations,’ Action/Spectacle Cinema, A Sight and Sound Reader, ed. José Arroyo, London: BFI.
‘Time, Image and Terror,’ Time and the Image, ed. Carolyn Bailey Gill, Manchester: Manchester University Press.
‘Cricket and Modernity,’ Dissenting Knowledges and Open Futures: The Multiple Selves and Strange Destinations of Ashis Nandy (ed. Vinay Lal). New Delhi: Oxford University Press.
‘The Auteur Theory,’ The Film Studies Reader, eds. Joanne Hollows, Peter Hutchings and Mark Janowitz, London: Arnold/Hodder Headline, and New York: Oxford University Press.
‘Theme Park and Variations,’ Action/Spectacle Cinema, ed. José Arroyo, BFI Publishing, London.
‘Government by Appearances,’ New Left Review, 3, London, May/June.
‘Visual Metaphor - Mosaic Image,’ George Hadjimichalis: Works 1985-2000, National Museum of Contemporary Art, Athens, Greece, May.
‘Cut Chemist/The Analysis of Film,’ by Raymond Bellour, Bookforum: The Book Review for Art, Fiction & Culture, New York, Summer.
‘The Archipelago of Metaphors,’ Emergences, 10, 2, Los Angeles, November.
‘Tank: The Progress of a Monstrous War Machine,’ London Review of Books, 22, 22, November.
‘Derek Jarman’s Blue,’ New Left Review, 6, London, November/December.
‘Who the Hell is Howard Hawks?,’ Rethinking Howard Hawks, eds. Hasishi Okajima, Fumiko Tsuneishi,
Tokyo: National Film Center/National Museum of Modern Art, Tokyo, December.
‘Temps – Image – Terreur,’ Trafic, 36, Paris, Winter 2000.
2001
‘Conférence de Rotterdam,’ Trafic, 37, Paris, Spring.
‘Crowds,’ Subject Plural, Contemporary Arts Museum, Houston, pp.14-19, March.
‘Situationists and Architecture,’ New Left Review, 8, London, April.
‘Leave-Taking,’ On Gerhard Richter, London Review of Books, April.
‘Visual Metaphor-Mosaic Image,’ George Hadjimichalis, EMET, Athens, May.
‘Thought Experiments,’ On Liam Gillick, Parkett, 61, Zurich, New York, May.
‘Darren Almond: Night as Day,’ Catalogue for Tate Britain, London, August.
‘East With Mary Kelly,’ Catalogue for Norwich Gallery, Norwich, August.
Anonymous review, “Drinking Deep” in The Economist, London, August.
‘Silence,’ Point of Contact, 5, 2, Syracuse, NY, Fall/Winter.
‘The Man Who Wasn’t There,’ Allen Smithee, Sight and Sound, 11,11, November.
‘An Alphabet of Cinema,’ New Left Review, 12, November/December.
Cited in ‘Adapting the Literary Canon: Immortal Longing-Walter Donohue Talks with Sally Potter,’ Film/ Literature/Heritage, ed. Ginette Vincendeau, London: British Film Institute, A Sight and Sound Reader.
‘British Cinema,’ Film: the Critic’s Choice, ed. Geoff Andrew. Lewes: Ivy Press and New York: Billboard Books.
‘The Cinema of William Burroughs,’ Pix, 3, London.
‘Caro Antonioni,’ AfterAll III, London.
2002
‘Hitch: Histoires de Deux Villes,’ Trafic, Paris, Spring.
‘Who the Hell is Howard Hawks,’ Framework, The Journal of Cinema and Media, Vol. 43, no. 1, Wayne State University Press, Detroit, Michigan, Spring.
‘Hitch: L’histoire de deux villes (Londres et Los Angeles),’ Trafic 41, Paris, Spring.
‘Hare’s Blood,’ on selected essays of John Berger, London Review of Books, 24, 7, April 4.
‘Kim: The More Things Change the More They Stay the Same,’ Emergences, 12,1, March.
‘Government by Appearances,’ London: New Left Review, 15, May/June.
‘Speed and the Cinema,’ in London: New Left Review, 16, July/August.
‘The Last Hundred Days - Documenta 11,’ London Review of Books, Vol. 24, no. 19, Oct.
‘Kim: The More Things Change the More They Stay the Same,’ Emergences, vol. 12, no. 1.
‘Introduction: ‘Cars and Culture’ and ‘Automobiles and Art,’ Autopia, London: Reaktion Books. Eds. Peter Wollen and Joe Kerr.
‘Dying For Art,’ Science Fiction/Horror, A Sight and Sound Reader, London, BFI, ed. Kim Newman.
‘Airports: A Personal Memoir,’ Here There Elsewhere, London: Open Editions.
‘Blade Runner and Ridleyville,’ The Hieroglyphics of Space, London: Routledge.
‘Love and Hate,’ Point of Contact, Vol. 6, special issue ‘On Love’, Syracuse University Press.
2003
‘The Concept of Fashion in the Arcades Project,’ in Boundary, 2, Volume 30, No. 1, Duke University Press. Special issue co-edited by Kevin McLaughlin and Philip Rosen, Spring.
‘Fridamania,’ New Left Review, 22, London, July/August.
‘Vera Lutter,’ Bomb: Art and Culture, 85, New York, Fall.
‘Shooting Wars: Regarding the Pain of Others,’ and ‘Shooting Wars: Between the Eyes: Essays on Photography,’ The Nation, Vol. 277, no. 109, October 6.
‘Fire and Ice,’ Art and Photography, ed. David Campany, Phaidon Press, London.
‘Singin’ In The Rain,’ Film Classics, Volume 2, British Film Institute, London, and Fitzroy Dearborn, New York, eds. Edward Buscombe and Rob White.
‘24 Mismatches of Sound and Image,’ Soundscape 2003, London, Wallflower Press, eds. Larry Sider, Diane Freeman and Jerry Sider.
‘Knight’s Moves,’ Camera Obscura, Camera Lucida, Essays In Honour of Annette Michelson, eds. Richard Allen and Malcolm Turvey.
‘The auteur theory: Michael Curtiz and Casablanca,’ Authorship and Film, An American Film Institute Reader, New York, Routledge. eds. David Gerstner and Janet Staiger.
‘Fire and Ice,’ The Photography Reader, London, Routledge. Ed. Liz Wells.
RADIO AND TELEVISION INTERVIEWS/BROADCASTS
2001
Career Interview on camera, Simon Fraser University, Vancouver, January 13.
Television interview on Frida Kahlo at the Whitechapel Gallery, London, site of the Frida Kahlo exhibition originally curated in 1982, June 18, 2002. See article on ‘Frida Kahlo and Tina Modotti’ in The Whitechapel Art Gallery Centenary Review, London.
2002
BBC Radio broadcast for Nightwaves on the films of D.W.Griffith, July 4.
BBC Radio broadcast on Walt Disney’s film Bambi: “Where were you when Bambi’s mother was shot?,” radio/telephone link from Los Angeles; Broadcasting House, London, July 15.
BBC Radio broadcast on “Car Culture” international link-up from L.A. home marking the publication of Autopia, co-edited for Reaktion Books, London, November 15.
FICTIONS
1975
‘Friendship's Death,’ Bananas, Spring. Reprinted: Bananas, An Anthology, Emma Tennant (ed.), Blond and Briggs, London 1977 and: Readings and Writings (original story of film Friendship's Death).
‘The Real Projective Plane,’ Bananas, Summer. Reprinted: Readings and Writings
1976
‘The Mystery of Landau,’ Bananas, Winter. Reprinted: Readings and Writings
‘Monuments of the Future,’ Bananas, Autumn. Reprinted: Readings and Writings
1979
‘Mexico/ Women/ Art,’ The Saturday Night Reader, Emma Tennant (ed.), London. Reprinted: Readings and Writings
1985
‘The Murgatroyds: An Original Treatment,’ New Observations, Vol. 31.
1996
‘Pikaia, The Last Human,’ Critical Quarterly, Edited by Colin MacCabe, Vol. 38, No. 1, London, Spring.
INTERVIEWS WITH PETER WOLLEN
1974
‘Structuralism Implies a Certain Kind of Methodology,’ by G. Peary and S. Kaminsky, in Film Heritage 9 (4), Fall.
‘Penthesilea, Queen of the Amazons,’ by C. Johnston and P. Willemen, in Screen 15 (3), Autumn.
1976
‘Written Discussion,’ with Laura Mulvey, in Afterimage 6, Summer.
1977
“Interview,” (on Riddles of the Sphinx), Tony Rayns, Time Out, May. Reprinted in On Film 7, Winter
“Riddles of the Sphinx,” by Fabrice Ziolkowski, On Film 7, Winter
1978
“Riddles of the Avant Garde,” by Don Ranvaud, Framework 9, Winter. Reprinted: Filmcritica (Rome) 29, August-September 1978.
1982
“Crystals Gazing,” by Don Ranvaud and Felicity Oppe, Framework 19, Summer.
1983
“We Used to Know: conversazione con Peter Wollen,” by G. Graziani, Filmcritica (Rome) 34, July-August.
1984
“The Moving Front,” by Anne Friedberg, Idiolect, Spring
1985
“Scenes of the Crime,” by Wanda Bershen, Afterimage 12, February
INTERVIEWS WITH OTHER PEOPLE
1967
“Interview with Roberto Rossellini,” BBC Television, London.
1969
“Linguistics and Politics: Interviews with Noam Chomsky,” (with Robin Blackburn and Gareth Stedman Jones), New Left Review, Vol. 57, Sept. Oct. Reprinted as: “Linguistics a Politics,” and as: “Linguistik and Politik,” Sprache and Geist, Suhrkamp, Frankfurt/ Main, 1970, and as a book: Sobre Politica y Linguistica, Anagrama, Barcelona, 1971.
1972
“Interview with Ivor Montagu,” Screen, Vol. 13, No. 3, Autumn
1976
“Discussion,” with Ken Loach and others, Jump Cut, Vol. 10/11, Summer
1982
“Interview with Jean Luc Godard,” filmed by Jon Jost,
1986
“In Conversation with Kathy Acker,” Institute of Contemporary Arts, London, (taped)
“In Conversation with Victor Burgin,” Institute of Contemporary Arts, London, (taped)
1987
“An Interview with Steve Fagin,” October, Vol. 41, Summer
ANTHOLOGIES AND CONFERENCE PROCEEDINGS
1974
“The Auteur Theory,” Film Theory and Criticism, Gerald Mast and Marshall Cohen (eds.), Oxford University Press, New York.
1976
“The Auteur Theory,” “Cinema and Semiology,” Movies and Methods 1, Bill Nichols (ed.), University of California Press, Berkeley.
1977
“Afterword,” (to 'John Ford's Young Mr. Lincoln'), “Some Thoughts on Stanley Mitchell's Article,” “Two Mayakovsky Scenarios,” Screen Reader 1: Cinema/Ideology/Politics, Screen Editorial Board (eds.), Society for Education in Film and Television, London.
1980
“The Avant Garde: Results and Prospects,” translated transcript of paper at conference, 'Festival of Independent Film,' Genoa. 11 Gergo Inquieto, Ester de Miro (ed.), Genoa.
“Cinema and Technology,” The Cinematic Apparatus, Teresa de Lauretis and Stephen Heath (eds.), St. Martin's Press, New York.
1981
“Alfred, Hitchcock and V.1. Propp,” translated transcript of paper at conference, ‘Aprile Hitchcock’ Rome, Per Alfred Hitchcock, Eduardo Bruno (ed.), Editori del Grifo, Montepulciano.
1985
“Godard and Counter cinema: Vent d'Est,” Movies and Methods 2, Bill Nichols (ed.), University of California, Berkeley.
1986
“Ways of thinking about Music Video (and Post Modernism),” High Theory,/Low Culture: Analyzing Popular Television and Film, Colin McCabe (ed.), Manchester University Press, Manchester.
“The Two Avant Gardes,” Narrative, Apparatus, Ideology: A Film Theory Reader, Phil Rosen (ed.), Columbia University Press, New York.
1989
“Frida Kahlo and Tina Modotti,” (co written with Laura Mulvey), Visual and Other Pleasures, Laura Mulvey, Macmillan, London.
ART EXHIBITIONS (Curator)
1969
Samuel Fuller, retrospective at Edinburgh Film Festival, curated with David Will.
1976
Festival of Avant-Garde Film Edinburgh Film Festival event, with international conference on avant-garde film (curated with Simon Field).
1982
Frida Kahlo and Tina Modotti, Whitechapel Gallery, London and tour to Germany, Sweden, USA, Mexico (Curated with Laura Mulvey).
1985
V. Komar and A. Melamid, Fruitmarket Gallery, Edinburgh (Edinburgh Festival) and tour in Britain and France (Edinburgh, Oxford, Paris, Belfast).
1989
Sur le passage de quelques personnes a travers une assez courte unite de temps: I'Internationale Situationniste, 1957 1972, Musee Nationale d'Art Modeme, Centre Pompidou, Paris; Institute of Contemporary Art, London; Institute of Contemporary Art, Boston.
Jose Guadalupe Posada: Messenger of Mortality, Museum of Modern Art, Oxford, and tour.
1992
Arrows of Desire, The Second ICA Biennial of Independent Film & Video, London, and world tour.
1996
Film and Fashion, National Film Theatre, London, March.
1998
Addressing the Century: Art and Fashion, Hayward Gallery, London, and Kunstmuseum, Wolfsburg, October.
The Bad Sister in Home Sweet Home, Witte De Witt Gallery, Rotterdam, June.
ART EXHIBITIONS (Artist)
1999
Global Conceptualism, Queens Museum, New York, Walker Art Gallery, Minneapolis, Miami.
2000
Riddles: Compression Piece, Digital Artwork, Exhibition at Kettle's Yard Gallery, Cambridge, England.
2001
East International, Selector, Norwich Gallery, Norwich, England.
PERSONAL FILM SCREENINGS and RETROSPECTIVES
1982
Selective Retrospective, Institute of Contemporary Art, London.
1983
Full Retrospective at Skrien, Amsterdam.
1989
Selective Retrospective at UCLA, Los Angeles including loan of The Passenger by Mr. Jack Nicholson, who had acquired the rights to the film from Mr. Ted Turner.
1997
Selective Retrospective at the Cinémathèque, Vancouver, with Q & A.
20th Anniversary Screening, Riddles of the Sphinx, at the Lux Cinema, London.
2000
Screenings, Friendship’s Death, Riddles of the Sphinx, National Film Theatre, London.
2001
Screenings, The Passenger, Riddles of the Sphinx,UBC, Vancouver, with Q&A.
Screenings, Riddles of the Sphinx, Los Angeles; Barcelona.
Screening, Friendship’s Death, Forum Des Halles, Paris.
2002
Screening, The Bad Sister, Syracuse University, NY with Q&A.
FILM AND TELEVISION PROGRAMS
Feature Films:
1974
Penthesilea, written and directed (with Laura Mulvey), produced by Laura Mulvey and Peter Wollen.
1977
Riddles of the Sphinx, written and directed (with Laura Mulvey), produced by the British Film Institute.
1982
Crystal Gazing, written and directed (with Laura Mulvey), produced by the British Film Institute.
1983
The Bad Sister, written and directed (with Laura Mulvey), produced by The Moving Picture Company for Channel 4 Television.
1987
Friendship's Death, written and directed; produced by the British Film Institute.
Short Films:
1980
AMY!, written and directed (with Laura Mulvey), produced by Modelmark Limited, for Southern Arts.
1983
Frida and Tina, written and directed (with Laura Mulvey), produced by Modelmark Limited, for the Arts Council of Great Britain.
Television:
1985
Reading the U.S. Press, devised (with Manuel De Landa) and directed; Cable TV for Paper Tiger Television.
1991
Full Cycle, Personal arts documentary on Komar & Melamid, devised and directed for Channel Four TV.
1992
Images of Atlantis, Personal art documentary on Milton Rogovin. Directed for Channel Four TV.
VIDEOTAPES, AND ELECTRONIC MEDIA
1985
Reading the U.S. Press, devised & directed by Peter Wollen for Paper Tiger, cable/satellite TV, New York.
Welcome Aboard Soyuz!, devised and directed multi-screen video installation, Palladium Club, New York.
1986
Some Uncertain Signs, devised and directed animated pixelboard for Electromedia, Toronto.
1991
Full Cycle by Peter Wollen on the art of Komar and Melamid; devised and directed by Peter Wollen (for Channel Four TV).
1992
Images of Atlantis on the photography of Milton Rogovin; devised and directed by Peter Wollen (for Channel Four TV).
2002
Auteurship and Beyond, Video-Interview by Peter Bloom, filmed in Vancouver.
Here and Elsewhere, 2-channel DVD projection work created and directed by Kerry Tribe. Series of unrehearsed questions directed by me (Offscreen voice) towards my 10 year old daughter, Audrey Wollen, who responds on camera with her replies.
Gene Kelly: Anatomy of a Dancer, video cassette containing interview with Peter Wollen, WNET, New York with Turner Entertainment.
Auteurship, Propp, North by Northwest, cassette: film and tape-recorded interview with Peter Wollen, March 22.
FEATURE SCRIPT
1975
The Passenger/ Professione: Reporter, written with Mark Peploe, directed by Michelangelo Antonioni, for Carlo Ponti/Bridge Films and MGM.
PUBLISHED SCRIPTS
1975
The Passenger, Grove, New York.
Professione: Reporter (The Passenger), Capelli, Bologna.
1977
Professia: Reporter (The Passenger), Iskusstvo King, Moscow, Vol. 1.
Riddles of the Sphinx, Screen, Vol. 18, No. 2.
1983
AMY!, Framework, Summer
1989
Friendship's Death, Science Fiction and Sexual Differences, Camera Obscura (ed.), Minnesota University Press, Minneapolis.
1990
Riddles of the Sphinx, Screen Writings, University of California Press, Berkeley, CA.
1995
Friendship’s Death, Science Fiction and Sexual Difference, Minnesota University Press, Minneapolis.
