http://moodle.arts.ac.uk/mod/book/view.php?id=94914&chapterid=7477
Appropriation:
- Evans, D. (ed.) (2009) Appropriation. London: Whitechapel.
- Hoy, A. H. (1987) Fabrications: staged, altered, and appropriated photographs. New York: Abbeville Press.
- Marincola, P. (1982) Image scavengers: photography. Philadelphia: Institute of Contemporary Art.
- http://site.ebrary.com/lib/arts/detail.action?docID=10648686
Authorship:
- Barthes, R. (1977) ‘The Death of the Author’ in Image Music Text. London: Flamingo.
- Burke, S. (1992) The Death and Return of the Author. Edinburgh: Edinburgh University Press
- Foucault, M. (1995) ‘What is an Author?’ in Authorship. Edinburgh: Edinburgh University Press.
- http://www.authorship.ugent.be/journals/index.php?journal=authorship&page=index
Body:
- Schilder, P. (1950) The image and appearance of the human body. New York: International Universities Press.
Drawing:
- Duff, L. and Davies, J. (eds.) (2005) Drawing: the process. Bristol: Intellect Books.
- Kingston, A. (ed.) (2003) What is drawing? London: Black Dog.
Film:
- De Lauretis, T. (1984) Alice doesn’t: feminism, semiotics, cinema. Bloomington: Indiana University Press
- Campany, D. (ed.) (2007) The cinematic. London: Whitechapel.
- Ferguson, R. (1996) Art and film since 1945: hall of mirrors. Los Angeles: Museum of Contemporary Art.
- Mulvey, L. (2006) Death 24x a second: stillness and the moving image. London: Reaktion.
- Sitney, P. A. (1990) Modernist montage: the obscurity of vision in cinema and literature. New York: Columbia University Press.
The Gaze:
- Fried, M. (1990) Absorption and theatricality: painting and beholder in the age of Diderot
Image:
- Mitchell, W.J.T. (ed.) (1980) The language of images. Chicago: University of Chicago Press.
The Object:
- Hudek, A. (ed.) (2014) The object. London: Whitechapel.
Perspective:
- Damisch, H. (1994) The origin of perspective. Cambridge, MA: MIT
Photography:
- Bourdieu, P. (1996) Photography: a middle-brow art. Cambridge: Polity.
- Fried, M. (2008) Why photography matters as art as never before. New Haven: Yale University Press.
- Iversen, M. (1994) ‘What is a photograph?’, Art History, 17(3), pp. 450-463.
- http://web.b.ebscohost.com.arts.idm.oclc.org/ehost/detail/detail?sid=89359b9d-9bcb-4ccc-a2dc-8e3e856c7ba1%40sessionmgr112&vid=0&hid=106&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=463717&db=nlebk
Spectatorship:
- Fried, M. (1988) Absorption and theatricality: painting and beholder in the age of Diderot. Chicago: University of Chicago Press.
- Wollheim, R. (1980) ‘Seeing-as, seeing-in and pictorial representation’, in Art and its objects. Cambridge: Cambridge University Press.
Technology:
- Groys, B. (2008) ‘From Image to Image File and Back Again: Art in the Age of Digitalisation’, in Art Power. Cambridge, MA: MIT Press.
- Krauss, R. (1999) A voyage on the North Sea: art in the age of the post-medium condition. London: Thames and Hudson.
- Kittler, F. (1999) Gramophone, Film, Typewriter. Stanford: Stanford University Press.
Voyeurism:
- Mulvey, L. (1975) ‘Visual pleasure and narrative cinema’, Screen, 16(3), pp. 6-18
- Pearson, R. and Stam, R. (1983) ‘Hitchock’s Rear Window: reflexivity and the critique of voyeurism’, Enclitic, 7(1), pp. 136-145
The Online Search Engine is also another important tool that I always use when starting a new topic/strand in my practise, which allows me to gather my thoughts and generate ideas that will lend to my studio practise.
Using a number of keywords that are directly linked to my work, I looked up a number of titles housed in the schools library (as well as in other colleges) that will allow me to form a starting point for my work. This is then used alongside a comprehensive web search in order to fulfil the critical stance within my work. I this way I feel more confident in then delving into the practical side of work knowing that I have significant theoretical knowledge to back up my ideas.