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Everyday Strangeness: Robert Ripley's International Oddities as Documentary Attractions
16 references·7 citing·30 second hop
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References

  • 2013FROM THE GERMAN IDEOLOGY3,200 cited
  • 1968The visible and the invisible2,449 cited
  • 1992Representing reality: issues and concepts in documentary1,609 cited
  • 1964Brecht on Theatre: The Development of an Aesthetic1,552 cited
  • 1991Critique of everyday life1,113 cited
  • 2000Reinventing film studies635 cited
  • 2001Change Mummified: Cinema, Historicity, Theory517 cited
  • 1996The Third Eye505 cited
  • 2000New Documentary: A Critical Introduction476 cited
  • 2013The Threshold of the Visible World459 cited
  • 1995Viewing positions: ways of seeing film438 cited
  • 1964Brecht on Theatre408 cited
  • 1998The talkies: American cinema's transition to sound, 1926-1931375 cited
  • 1993Freak Show: Presenting Human Oddities for Amusement and Profit.273 cited
  • 2002Sideshow U.S.A: freaks and the American cultural imagination242 cited
  • 1992Early Cinema: Space-Frame-Narrative214 cited

Cited by

  • 2007

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Art House or House of Exorcism? The Changing Distribution and Reception Contexts of Mario Bava’s Lisa and the Devil
18 cited
  • 2006The Cinema of Attractions Reloaded17 cited
  • 2007The Sleazy Pedigree of Todd Haynes16 cited
  • 2007Para-Paracinema13 cited
  • 2007Representing (Repressed) Homosexuality in the Pre-Stonewall Hollywood Homo-Military Film9 cited
  • 2019Gestões sensacionalistas7 cited
  • 2007Pure Quidditas or Geek Chic?2 cited