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Widescreen Cinema

Belton, John

1, 1992

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The uncanny nature of the cinematic image

New review of film and television studies, 2017-10, Vol.15 (4), p.400-404

Belton, John

2017

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If film is dead, what is cinema?

Screen (London), 2014-12, Vol.55 (4), p.460-470

Belton, John

2014

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Barriers to adoption of biogenic carbonates in the food, pharmaceutical & supplement sectors

NFS journal, 2019-09, Vol.16, p.1-8

2019

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The Commodification of Romanticism: Lola Montès

Camera obscura (Durham, NC), 2015-01, Vol.30 (3), p.1-25

Belton, John

2015

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Psychology of the photographic, cinematic, televisual, and digital image

New review of film and television studies, 2014-07, Vol.12 (3), p.234-246

Belton, John

2014

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A Case for Close Analysis

Film Criticism, 2016-01, Vol.40 (1), p.E1

Belton, John

2016

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Digital 3D Cinema: Digital Cinema's Missing Novelty Phase

Film history (New York, N.Y.), 2012-01, Vol.24 (2), p.187-195

Belton, John

2012

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Taking the color out of color: Two-Colour Technicolor, The Black Pirate, and Blackened Dyes

The Colour Fantastic, 2018, p.97-108

2018

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Hitchcock's Romantic Irony

1, 2007

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Hollywood and the Culture Elite: How the Movies Became American.

1, 2005

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Introduction: Digital Cinema

Film history (New York, N.Y.), 2012-01, Vol.24 (2), p.131-134

Belton, John

2012

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Special Effects on the Screen: Faking the View from Méliès to Motion Capture

1, 2022

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Obituary: Andrew Sarris (1928-–2012)

Film History: An International Journal, 2012-01, Vol.24 (3), p.357-358

Belton, John

2012

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Hearst Over Hollywood: Power, Passion, and Propaganda in the Movies.

1, 2002

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Sound Technology and the American Cinema: Perception, Representation, Modernity

1, 2000

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The Story of 50mm Film

The Velvet light trap, 2009-10 (64), p.84

Belton, John

2009

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The Story of 50mm Film

The Velvet light trap, 2009, Vol.64 (1), p.84-86

Belton, John

2009

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Re-Imagining American Communities: Hollywood, Hawks, and Ford in 1939

MLN, 2007-12, Vol.122 (5), p.1166-1179

Belton, John

2007

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Images as Visual Effects

Special Effects on the Screen, 2022, p.89

2022

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Introduction: Film and Copyright

Film history (New York, N.Y.), 2007-01, Vol.19 (2), p.107-108

Belton, John

2007

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Images as Visual Effects

Special Effects on the Screen, 2022, p.89-112

2022

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Documentary Filmmakers' Statement of Best Practices in Fair Use

Film history (New York, N.Y.), 2007-01, Vol.19 (2), p.144-151

Belton, John

2007

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Hitchcock and the Classical Paradigm

After Hitchcock, 2021, p.235-248

2021

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The utopia of film: cinema and its futures in Godard, Kluge, and Tahimik

Pavsek, Christopher

1, 2013

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Widescreen Cinema

The uncanny nature of the cinematic image

If film is dead, what is cinema?

Barriers to adoption of biogenic carbonates in the food, pharmaceutical & supplement sectors

The Commodification of Romanticism: Lola Montès

Psychology of the photographic, cinematic, televisual, and digital image

A Case for Close Analysis

Digital 3D Cinema: Digital Cinema's Missing Novelty Phase

Taking the color out of color: Two-Colour Technicolor, The Black Pirate, and Blackened Dyes

Hitchcock's Romantic Irony

Hollywood and the Culture Elite: How the Movies Became American.

Introduction: Digital Cinema

Special Effects on the Screen: Faking the View from Méliès to Motion Capture

Obituary: Andrew Sarris (1928-–2012)

Hearst Over Hollywood: Power, Passion, and Propaganda in the Movies.

Sound Technology and the American Cinema: Perception, Representation, Modernity

The Story of 50mm Film

The Story of 50mm Film

Re-Imagining American Communities: Hollywood, Hawks, and Ford in 1939

Images as Visual Effects

Introduction: Film and Copyright

Images as Visual Effects

Documentary Filmmakers' Statement of Best Practices in Fair Use

Hitchcock and the Classical Paradigm

The utopia of film: cinema and its futures in Godard, Kluge, and Tahimik

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