segunda-feira, 25 de novembro de 2013

Lista de Livros oferecidos à Biblioteca do ar.co pelo Professor António Manuel Morais



Categoria Actores
“Gary Cooper. Le Cavalier de l’Ouest”; Lucienne Escoube; Paris; Les Éditions du Cerf; 1965; “7e Art”
“Hulot. Parmi Nous”; Geneviève Agel; Paris; Les Éditions du Cerf; 1955; “7e Art”
“Michel Simon”; Jacques Fansten; Paris; Editions Seghers; 1970; “Cinema D’Aujourd’hui”
“Broads”; Ian & Elisabeth Cameron; London; Studio Vista; 1969; “Movie Paperbacks”
“The Heavies”;  Ian & Elisabeth Cameron; London; Studio Vista; 1968; “Movie Paperbacks”
“Ustinov in Focus”; Tony Thomas; London/ New York; A. Zwemmer/ A.S.Barnes & Co.; 1971; “The International Film Guide Series”
“Crónica Negra de Hollywood”; Juan Pando; Madrid; Editorial Espasa Calpe; 1999
“Humphrey Bogart”; Premier Plan, nº 20
“Humphrey Bogart”; Bernard Eisenschitz; Paris; Le Terrain Vague; 1967
“Marilyn Revisitada”; Barcelona; Editorial Anagrama; 1971; “Cuadernos Anagrama- Serie: Cine dirigida por Joaquin Jordá”
“La Feks”; Premier Plan, nº 54

Categoria Crítica
“Os melhores filmes de todos os tempos. Filmes a não perder”; Composição e redação de Alan Smithee; França; SARL Film Data Marmande; 1995
“Tempo de Cinema”; Armindo Blanco; Lisboa; Edições Cosmos; 1956
“O Cinema na Polémica do tempo”; Baptista-Bastos; Lisboa; Gomes & Rodrigues Lda; 1959
“O Cinema, entre nós. Um ano de cinema em Portugal (1966)”; Lauro António;  Cronos; “Caderno Anual do Cinema”
“Private Screenings”; John Simon; Berkley; Berkley Medallion Edition; 1971; “Views of the Cinema of the Sixties”
“The Filmogoer’s Companion”; Alfred Hitchcock; London; Macgibbon and Kee; 1965
“Film Review 1968-1969”; Edited by F. Maurice Speed; London; W.H. Allen; 1968
“Film Review 1969-1970”; Edited by F. Maurice Speed; London; W.H. Allen; 1969
“Film Review 1970-71”; Edited by F. Maurice Speed; London; W.H. Allen; 1970

Categoria  Argumentos
“Hiroshima Mon Amour”; Marguerite Duras; Barcelona; Editorial Seix Barral; 1969; “Biblioteca Breve de Bolsillo”
“Nueve cartas a Berta”; Basilio Martin Patino; Madrid; Editorial Ciencia Nueva; 1968; “Los Complementarios”
“El Niño Salvaje”; François Truffault; Madrid; Editorial Fundamentos; 1970; “Colección Arte- Série Cine”
“O Sheik Branco”; Federico Fellini; Rio de Janeiro; Editora Civilização Brasileira; 1970
“Argumento e Roteiro. Ciema”; Umberto Barbaro; s.l.; Editorial Andes Limitada; 1957
“Michelangelo Antonioni: La noche. El eclipse. El desierto rojo”; s.n.; Madrid; Alianza Editorial; 1970
“Pierrot le Fou. A film by Jean-Luc Godard”; English translation and description by Peter Whitehead; London; Lorrimer Publishing; 1969; “Modern Film Scripts”
“Michelangelo Antonioni: Las amigas. El grito. La aventura. Blow-up”; s.n.; Madrid; Alianza Editorial; 1970
“Le jornal d’une femme de chambre”; Luis Bunuel; Paris; Seuil/Avant-Scène; 1971: “Points”
“Nazarin. Film chrétien ou terrible blaspheme”; Paris; L’Avant-Scène Cinema, nº 89, Février 1969
“Viridiana”; Luis Bunuel; Paris; Domaine Cinéma 2; 1962
“Carl Th. Dreyer: Juana de Arco. Dies Irae. Algunos apuntes sobre el estilo cinematográfico”; s.n.; Madrid; Alianza Editorial; 1969
“Le procès”; Orson Wells; Paris; Seuil/Avant-Scène; 1971; “Points”
“Scénario et dialogues de La Poupée. Mise em scène et realisation Jacques Baratier”; Jacques Audiberto; Paris; Gallimard; 1962
“Cinema e refilmagens”; Roberto Bandeira; Rio de Janeiro; Editora Pongetti; 1964
“Trente ans au cinema. De Rossellini à Greenaway”; Alberto Moravia; Paris; Flammarion; 1990

Categoria Antologia
“Anthologie du Cinéma- Tome I”; Paris; L’Avant Scene; 1966
“Anthologie du Cinéma- Tome II”; Paris; L’Avant Scene; 1967
“Anthologie du Cinéma- Tome III”; Paris; L’Avant Scene; 1968
“Anthologie du Cinéma- Tome IV”; Paris; L’Avant Scene; 1968
“Anthologie du Cinéma- Tome V”; Paris; L’Avant Scene; 1969
“Anthologie du Cinéma- Tome VI”; Paris; L’Avant Scene; 1971
“Anthologie du Cinéma- Tome VII”; Paris; L’Avant Scene; 1973
“Dicionário Biografico del Cine”; Antonio Barbero; Madrid; Xáfaro; 1955
“Dictionnaire du Cinéma”; Raymond Bellour, Jean-Jacques Brochier, Gérard Guégan, Claude-Jean Philippe; Paris; Editions Universitaires; 1966
“Dictionnaire des cineastes contemporains de 1945 à nos jours”; Charles Ford; Verviers (Belgique); Marabout Université; 1974
“L’Encyplopédie du Cinéma- Tome I”; Roger Boussinot; Paris/ Montréal; Bordas; 1967
“L’Encyplopédie du Cinéma- Tome II”; Roger Boussinot; Paris/Montréal; Bordas; 1970
“Dictionnaire du Cinéma”; Jean Mitry; Paris; Librairie Larousse; 1963; “Dictionnaire de L’Homme du XXe Siècle”
A Dictionary of the Cinema”; Peter Graham; London/New York; A. Zwemmer Limited/ A.S. Barnes & Co. Inc.; 1968
“Dictionnaire du Cinéma suivi d’un repertoire des principaux films”; s.n., Paris; Editions Seghers; 1962; “Seghers”
“Dizionario del Cinema Italiano 1945-1969”; Gianno Randolino; Torino; Giulio Einaudi Editore; 1969; “Piccola Biblioteca Einaudi”

Categoria Filmes
“Dossiers du Cinéma- Films 1”; Sous la direction de Jean-Louis Bory et Claude Michel Cluny; Tournai (Belgique); Casterman; 1971
“Dossiers du Cinéma- Films 2”; Sous la direction de Jean-Louis Bory et Claude Michel Cluny; Tournai (Belgique); Casterman; 1972
“IF….”; Lindsay Anderson and David Sherwin; London; Lorrimer Publishing; 1969; “Modern Film Scripts”

Categoria Estética/ Semiologia
“Cinéma d’hier, cinema d’aujourd’hui”; René Clair; Paris; Gallimard; 1970; “Collection Idées”
“La mort du cinema. Film/ Révolution”; G. Lenne; France; Éditions du Cerf; 1971; “7e Art”
A casebook on film”; Charles Thomas Samuels; New York/Cincinnati/Toronto/London/Melbourne; Van Nostrand Reinhold Company; 1970
“L’Écran de la Mémoire. Essai de lecture cinématographique”; Marie-Claire Ropars-Wuilleumier; Paris; Éditions du Seuil; 1970; “Esprit”
“L’Ecran Démoniaque. Influence de Max Reinhardt et de l’Expressionnisme”; Lotte H. Eisner; Paris; Éditions André Bonne; 1952; “Collection Encyclopédie du Cinéma”
“Vamos a hablar de cine”; José Maria Garcia Escudero; Madrid; Salvat Editores, S.A. com la colaboración de Alianza Editorial, S.A.; 1970; “Biblioteca Basica Salvat de Libros RTV”
“Horizontes de Cinema. Ensaios”; Roberto Nobre; Lisboa; Guimarães Editores; 1971
“Cinema e Ideologia”; Jean-Patrick Lebel; Lisboa; Editorial Estampa; 1972; “Teoria”
“Langage et Cinéma”; Christian Metz; Paris; Librairie Larousse; 1971; “Langue et Langage”
“Revision critica del cine brasileño”; Glauber Rocha; Madrid; Editorial Fundamento; 1971; “Colección Arte. Serie Cine”
“Beaux-Arts et Cinéma”; Henri Lemaitre; Paris; Les Éditions du Cerf”; 1956; “7e  Art”
“Cinema Sueco”;  Ingmar Bergman, Vilgot Sjoman, B.I.-Almquist,  R. Waldekranz, J. Donner, J. Béranger, P. Cowie; Lisboa; Publicações Dom Quixote;  1969; “Cadernos de Cinema- nº 4”
“Alain Resnais”; A. Resnais, A. Robbe-Grillet, G. Aristarco, B. Pingaud, J. Semprum, M. Martin, H. Colpi; Lisboa; Publicações Dom Quixote; 1969; “Cadernos de Cinema- nº 5”
“Cinema Americano 1960-1968”; Gideon Bachman, Marcel Martin e Roger Tailleur; Lisboa; Publicações Dom Quixote; 1969; “Cadernos de Cinema- nº 6”
“Censura e Cinema”; Joseph Losey, Marcel Martin, Guido Aristarco e Neville Hunnings; Lisboa; Publicações Dom Quixote; 1969; “Cadernos de Cinema- nº 7”
“Elementos de Estética Cinematográfica”; Umberto Barbaro; Rio de Janeiro; Editora Civilização Brasileira S.A.; 1965; “BBC”
“La sintaxis de la imagen. Introducción al alfabeto visual”; D.A. Dondis; Barcelona; Editorial Gustavo Gili, S.A.; 1976; “Colección Comunicación Visual”
“A ideia do Cinema”; José Lino Grunnewald, Walter Benjamin, Serguei Eisenstein, Jean-Luc Godard, Susanne K. Langer, Maurice Merleau-Ponty, Herbert Read, Alain Resnais; Rio de Janeiro; Editora Civilização Brasileira; 1969
“Comida y cine: pláceres unidos”; Marta Belluscio; Valencia; Editorial La Máscara; 1997
“Le cinema moderne”; Gilles Jacob; Lyon; Serdoc; 1964; “Panoramique”
“El cine, quinto poder”; Luigi Chiarini; Madrid; Taurus Ediciones; 1963; “Ser y Tiempo”
“Le Cinema expressioniste Allemand: um langage métaphorique”; Michael Henry; Fribourg; Éditions du Signe; 1971; “Sous Presse”
“Problemas del nuevo cine”; Manuel Pérez Estremera, Pio Baldelli, Galvano Della Volpe, Umberto Eco, José Garcia Espinosa, Emilio Garroni, Christian Metz, Pier Paolo Pasolini, Glauber Rocha, Gianni Toti; Madrid; Alianza Editorial; 1971; “El Libro de Bolsillo”
“Panoramique sur 7me Art”; Robert Claude, Victor Bachy, Bernard Taufour; Paris; Editions Universitares; 1968
“Le Western. Évolution et renouveau du western (1962-1968); Henri Agel, Jean A. Gili; Paris; Lettres Modernes; 1961; “Études Cinématographiques”
“Surréalisme et Cinéma (I)”; Yves Kovacs; Paris; Lettres Modernes; 1965; “Études Cinématographiques”
“Le Lyrisme. Nicholas Ray”; Jean Onimus, Jean-Pierre Bastid, Christian Ledieu, Alain Jomy, Henry Agel, Barthélemy Amengual, Claude Beylie; Paris; Lettres Modernes; 1961; “Études Cinématographiques”
“Cine de poesia contra cine de prosa. Pier Paolo Pasolini contra Eric Rohmer”; Barcelona; Editorial Anagrama; 1970; “Cuadernos Anagrama- Serie Cine”
“El pos del cinema”; Autores vários; Barcelona; Editorial Anagrama; 1974; “Cuadernos Anagrama- Serie Cine”
“Clefs pour le Cinéma”; Barthélemy Amengual; Paris; Editions Seghers; 1971; “Collection Clefs”
“O Cinema Contemporâneo”; Penelope Houston; Lisboa; Editora Ulisseia; 1963; “Um Livro Pelicano”
“Qu’est-ce que le Cinéma? IV Une esthétique de la realité: le neo-réalisme”; André Bazin; Paris; Les Éditions du Cerf; 1962; “7e Art”
“Les fondements de l’Art cinematographique. I Arte t rélitá au Cinéma”; Jean R. Debrix; Paris; Les Éditions du Cerf; 1960; “7e Art”
“Sex psyche etcetera in the film”; Parker Tyler; Middlesex; Pelican Books; 1971; “A Pelican Book”
“The Cinema as Art”; Ralph Stephenson, Jean R. Debrix; Middlesex; Penguin Books; 1965; “Pelican Book”
“Cine y lenguaje”; Viktor Sklovski; Barcelona; Editorial Anagrama; 1971; “Cinemateca Anagrama- nº5”
“Regardes neufs sur le cinema”; Autores vários; Paris; Éditions du Seuil; 1965; “Peuple et Culture”
“Comunication 1. Ideologia y Lenguage cinematografico”; Pier Paolo Pasolini, Vittorio Saltini, Christian Metz, Umberto Eco, Roland Barthes, Gianni Toti, Pio Baldelli, Antonin Sychre, Jerzy Kossak, Jiri Struska, Eva Struska, Galvano della Volpe; Madris; Alberto Corazon Editor; 1969
“Esthétique et Psychologie du Cinéma. 1- Les Structures”; Jean Mitry; Paris; Editions Universitaires; 1963; “Encyclopédie Universitaire”
“Esthétique et Psychologie du Cinéma. 2- Les Formes”; Jean Mitry; Paris; Editions Universitaires; 1965; “Encyclopédie Universitaire”
“Emotion Pictures”; Wim Wenders; Lisboa; Edições 70; 1989; “Arte & Comunicação”
“Design e Comunicação Visual”; Bruno Munari; Lisboa; Edições 70; 2001; “Arte & Comunicação”

Categoria Técnica
“As máquinas e o estúdio”; Manuel Ruas; Lisboa; Sequência; [19--?]; “Colecção Imagem e Som”
“A grammar of the film. An analysis of film technique”; Raymond Spottiswood; Berkeley/Los Angeles; University od«f California Press; 1959
“Défense du court métrage français”; François Porcile; Paris; Les Éditions du Cerf; 1965; “7e  Art”
“Présence de la musique à l’écran”; F. Porcile; Paris; Éditions du Cerf; 1969; “7e Art”
“Toda la cinematografia en un solo libro”; Paul Petzold; Barcelona; Ediciones Omega, S.A.; 1970; “Foto Biblioteca”
“The making of feature films. A Guide”; Ivan Butler; Middlesex; Penguin Books; 1971; “A Pelican Original”
“Le décor de Film”; Léon Barsacq; Paris; Éditions Seghers; 1970; “Cinéma Club”
“Le dessin animé après Walt Disney”; Robert Benayoun; Suisse; J.-J. Pauvert Editeur; 1961
“Initiation au Cinema. Étudier, connaitre, aimer le cinema”; Yveline Baticle, Alain Rouge; Paris; Éditions Magnard; 1968
“Tecnica del Montaje”; Karel Reisz; Madrid; Taurus Ediciones; 1966; “Secuencia”
“O desenho animado”; Marie-Thérese Poncet; Lisboa; Editorial Estúdios Cor; [19--]; “Diagramas”
“A evolução estética do cinema- 1”; António de Macedo; Lisboa; Clube Bibliográfico Editex; 1959
“A evolução estética do cinema- 2”; António de Macedo; Lisboa; Clube Bibliográfico Editex; 1960
“Technique du Cinema”; Lo Duca; Paris; Presses Universitaires de France; 1963; “Que Sais-Je?”
“Précis d’initiation au cinema. Classes de 3e, 2e, 1re et classes supérieures”; Henri et Geneviève Agel; Paris; Les Éditions  de L’École; 1967
“Hollywood Cameramen: sources of light”; Charles Higham; London; Thames and Hudson/British Film Institute; 1970
“Le langage cinématographique”; Marcel Martin; Paris; Les éditions du Cerf; 1962; “7e Art”
“Film World. A guide to cinema”; Ivor Montagu; Middlesex; Penguin Books; 1964; “A Pelican Original”
“Charles Pathe”;  Premier Paln, nº 55, 1970
“El Cinema como Lenguaje”; Antonio Del Amo; Madrid; Antonio Del Amo; 1948
“A realização cinematográfica”; Ernesto de Sousa, Adelino Cardoso e Fonseca e Costa; Lisboa; Sequencia; [19--]; “Colecção Imagem e Som”
“The technique of film music”; Roger Manvell e John Huntley; London/New York; Focal Press; 1957
“As maravilhas do cinema”; Georges Sadoul; Lisboa; Publicações Europa-America; 1959; “Colecção Estudos e Documentos”
“Hommes et métiers de cinema”; Pierre Leprohon; Paris; André Bonne Éditeurs; 1968; “Collection Documentaire Illustré”
“Montaje cinematográfico arte de movimento”; Rafael C. Sanchez; Madrid/Barcelona; Ediciones Nueva Universidad- Universidad Catolica de Chile/ Pomaire; 1971
“Truques cinematográficos”; Julien Cauntier; Lisboa; Prelo; 1966; “Colecção Diafragma”
“Come nasce- un film”Fernaldo di Giammatteo; Itália; Edizione Radio Italiana; 1957; “Classe única”
“A técnica do cinema”; Faria de Almeida; Lisboa; Edição do autor; 1970
“le cinema d’amateur”; Georges Régnier; Paris; Publications Montel; 1969; “Librairie Larousse”

Categoria Cineastas
“Val Lewton: the reality of Terror”; Joel E. Siegel; London; Secker and Warburg/ British Film Institute; 1972; “The Cinema One Series”
“Jean-Marie Straub”; Richard Roud; London; Secker and Warburg/ British Film Institute; 1971; “The Cinema One Series”
“Melville on Melville”; Rui Nogueira- ed.; London; Secker and Warburg/ British Film Institute; 1971; “The Cinema One Series”
“Samuel Fuller”; Nicholas Garnham; London; Secker and Warburg/ British Film Institute; 1971; “The Cinema One Series”
“Robert Bresson”; Robert Droguet; France; Premier Plan- Revue Mensuelle de Cinéma, nº 42, 1966
“Alexandre Vovjenko”; Marcel Oms; France; Premier Plan- Revue Mensuelle de Cinéma, nº 48, 1968
“Harold Lloyd”; Raymond Borde; France; Premier Plan- Revue Mensuelle de Cinéma, nº 49, 1968
“Vincente Minnelli”; Catherine de la Roche; France; Premier Plan- Revue Mensuelle de Cinéma, nº 40, 1966
“Julien Duvivier”; Raymond Chirat; France; Premier Plan- Revue Mensuelle de Cinéma, nº 50, 1968
“John Huston”; Collectif+ Freddy Buache; France; Premier Plan- Revue Mensuelle de Cinéma, nº 41, 1966
“Jerry Lewis”; Jean-Louis Leutrat + Paul Simonci; France; Premier Plan- Revue Mensuelle de Cinéma, nº 36, 1965
“Alberto Lattuada”; F.M. de Sanctis; France; Premier Plan- Revue Mensuelle de Cinéma, nº 37, 1965
“Vsevolod Poudovkine”; Barthélémy Amengual; France; Premier Plan- Revue Mensuelle de Cinéma, nº 47, 1968
“Ernst Lubitsch”; Mario Verdone; France; Premier Plan- Revue Mensuelle de Cinéma, nº 32, 1964
“Buster Keaton- vol. 2”; Marcel Oms; Barcelona; Tusquets Editor;1969; “Cuadernos Infimos 2”
“Marcel Carné”; Jean Queval; Paris; Les Éditions du Cerf; 1952; “7e Art”
“4 Great comedians. Chaplin, Lloyd, Keaton, Langdon”; Donald W. McCaffrey; London/ New York; A. Zwemmer Limited/A.S. Barnes & Co.; 1968; “International Film Guide Series”
“Claude Lelouch”; Guylaine Guidez; Paris; Editions Seghers; 1972; “Cinema D’Aujourd’hui”
“Alain Robbe-Grillet”; André Gardies; Paris; Editions Seghers; 1972; “Cinema D’Aujourd’hui”
“André Malraux”; Denis Marion; Paris; Editions Seghers; 1970; “Cinema D’Aujourd’hui”
“Raoul Walsh”;  Michel Marmin; Paris; Editions Seghers; 1970; “Cinema D’Aujourd’hui”
“Jerry Lewis”; Gérard Recasens; Paris; Editions Seghers; 1970; “Cinema D’Aujourd’hui”
“André Cayatte”; Guy Braucourt; Paris; Editions Seghers; 1969; “Cinema D’Aujourd’hui”
“Henri Georges Clouzot”; Philippe Pilard; Paris; Editions Seghers; 1969; “Cinema D’Aujourd’hui”
“Georges Franju”; Gabriel Vialle; Paris; Editions Seghers; 1968; “Cinema D’Aujourd’hui”
“Gerard Philipe”; Georges Sadoul; Paris; Editions Seghers; 1967; “Cinema D’Aujourd’hui”
“Jean Vigo”; Pierre Lherminier; Paris; Editions Seghers; 1967; “Cinema D’Aujourd’hui”
“Les Prévert”; Gérard Guillot; Paris; Editions Seghers; 1966; “Cinema D’Aujourd’hui”
“Rouben Mamoulian”; Tom Milne; London; Thames and Hudson/ British Film Institute; 1969; “Cinema One”
“Pasolini on Pasolini”; Interviews with Oswald Stack; Thames and Hudson/ British Film Institute; 1969; “Cinema One”
“Billy Wilder”; Axel Madsen; London; Secker & Warburg/ British Film Institute; 1968; “Cinema One”
“Howard Hawks”; Robin Wood; London; Secker & Warburg/ British Film Institute; 1968; “Cinema One”
“The cinema of Josef von Sternberg”; John Baxter; London/New York; A. Zwemmer/A.S.Barnes & Co.; 1971; “The International Film Guide Series”
“Laurel & Hardy”; Charles Barr; London; Studio Vista; 1967; “Movie Paperbacks”
“Arthur Penn”; Robin Wood; London; Studio Vista; 1967; “Movie Paperbacks”
“Robert Flaherty”; Henri Agel; Paris; Editions Seghers; 1965; “Cinema D’Aujourd’hui”
“Jean Epstein”; Pierre Leprohon; Paris; Editions Seghers; 1964; “Cinema D’Aujourd’hui”
“Louis Malle”; Henry Chapier; Paris; Editions Seghers; 1964; “Cinema D’Aujourd’hui”
“Luchino Visconti”; Giuseppe Ferrara; Paris; Editions Seghers; 1964; “Cinema D’Aujourd’hui”
“Joris Ivens”; Georges Sadoul; Paris; Editions Seghers; 1963; “Cinema D’Aujourd’hui”
“Abel Gance”; René Jeanne et Charles Ford; Paris; Editions Seghers; 1963; “Cinema D’Aujourd’hui”
“Federico Fellini”; Gilbert Salachas; Paris; Editions Seghers; 1970; “Cinema D’Aujourd’hui”
“Roger Vadim”; Maurice Frydland; Paris; Editions Seghers; 1962; “Cinema D’Aujourd’hui”

“Robert Bresson”;Michel Estéve; Paris; Editions Seghers; 1962; “Cinema D’Aujourd’hui”
“Fritz Lang”; Luc Moullet; Paris; Editions Seghers; 1963; “Cinema D’Aujourd’hui”
“Luis Bunuel; Ado Kyrou; Paris; Editions Seghers; 1970; “Cinema D’Aujourd’hui”
“Jacques Becker”; Jean Queval; Paris; Editions Seghers; 1962; “Cinema D’Aujourd’hui”
“Michelangelo Antonioni”; Pierre Leprohon; Paris; Editions Seghers; 1969; “Cinema D’Aujourd’hui”
“Georges Méliès”; Georges Sadoul; Paris; Editions Seghers; 1970; “Cinema D’Aujourd’hui”
“Walt Disney”; Maurice Bessy; Paris; Editions Seghers; 1970; “Cinema D’Aujourd’hui”
“Josef von Sternberg”; Herman G. Weinberg; Paris; Editions Seghers; 1966; “Cinema D’Aujourd’hui”
“John Huston”; Robert Benayoun; Paris; Editions Seghers; 1966; “Cinema D’Aujourd’hui”
“Vittorio De Sica”; Pierre Leprohon; Paris; Editions Seghers; 1966; “Cinema D’Aujourd’hui”
“Elia Kazan; Roger Tailleur; Paris; Editions Seghers; 1966; “Cinema D’Aujourd’hui”
“George Cukor”; Jean Domarchi; Paris; Editions Seghers; 1965; “Cinema D’Aujourd’hui”
“Alain Resnais, or the theme of time”; John Ward ; London;  Secker & Warburg/ British Film Institute; 1968; “Cinema One”
“Losey  on Losey”; Tom Milne; London;  Secker & Warburg/ British Film Institute; 1967; “Cinema One”
“Jean-Luc Godard”; London; Thames and Hudson/ British Film Institute; 1970; “Cinema One”
“Glauber Rocha y “Cabezas cortadas”; Introducción, diário de rodaje y selección de textos de Glauber Rocha a cargo de Augusto M. Torres; Guión de Glauber Rocha; Barcelona; Editorial Anagrama; 1970; “Cuadernos Anagrama- Serie Cine”
“Nuevos directores norteamericanos”; Augusto M. Torres; Barcelona; Editorial Anagrama; 1973; “Cuadernos Anagrama- Serie Cine”
“Godard polemico”; Román Gubern; Barcelona; Tusquets Editor; 1969; “”Cuadernos Infimos”
“The Cinema of Joseph Losey”; James Leahy; London/New York; A. Zwemmer Limited/A.S. Barnes & Co.; 1967; “International Film Guide Series”
“Anthony Mann”; Jean-Claude Missiaen; Paris; EditionsUniversitaires; 1964; “Classiques du Cinéma”
“Le monde de Jerry Lewis”; Noel Simsolo; Paris; Éditions du Cerf; 1969; “7e Art”
“Samuel Fuller”; Phil Hardy; London; Studio Vista; 1970; “Movie Paperbacks”
“The Cinema of John Frankenheimer”; Gerald Pratley; London/New York; A. Zwemmer Limited/A.S.Barnes & Co.; 1969; “The International Film Guide Series”
“The cinema of John Ford”; John Baxter; London/New York; A. Zwemmer Limited/A.S.Barnes & Co.; 1971; “The International Film Guide Series”
“Lindsay Anderson”; Elizabeth Sussex; London; Studio Vista; 1969; “Movie Paperbacks”
“Ingmar Bergman”; Jacques Siclier; Lisboa; Editorial Presença; 1963; “Colecção Biografia de Bolso”
“Dictionnaire des Cineastes”; Georges Sadoul; Paris; Éditions du Seuil; 1965; “Microcosme”
“Tous en Scene. Autobiographie”; Vincente Minnelli; France; Editions J.-C. Lattès; 1985; “Ramsay Poche Cinema”
“Nicholas Ray”; François Truchaud; Paris; Editions Universitaires; 1965; “Classiques du Cinéma”
“Film makers on Film making. Statements on their art by thirty directors”; Harry M. Geduld- ed.; Middlessex; Penguin Books; 1967; “A Pelican Book”
“Orson Welles”; Lyon; Premier Plan- nº 16, 1961
“Jean Renoir”; Lyon; Premier Plan, nº 22-23-24, 1962
“Luis Buñuel”; Ado Kyrou; Rio de Janeiro; Editora Civilização Brasileira, S.A.; 1966; “Biblioteca Básica de Cinema”
“Eric von Stroheim. Génio insubmisso de Hollywood”; Henrique Alves Costa; Porto; Edições Afrontamento; 1981; “Colecção Imsgem-Som-3”
“Defense et illustration de la musique dans le film”; Henri Colpi; Lyon; Serdoc- Société d’Édition, de Recherches et de Documentation Cinématographiques; 1963; “Panoramique”
“Dossier di Cinéma. Cinéastes 1”; Tournai (Belgique); Casterman; 1971
“Dossier di Cinéma. Cinéastes 2”; Tournai (Belgique); Casterman; 1971

Categoria Géneros/ Tipos
“Suspense in the Cinema”; Gordon Gow; New York; Paperback  Library Edition; 1971; “International Film Guide Series”
“Aspectos del Cine Frances”; Manuel Michel; Mexico; Universidad Nacional Autónoma de Mexico; 1964; “Cuadernos de Cine”

“Second wave. Never than new wave names in world cinema”; Ian Cameron, Jean Chabot, Mochel Ciment, Robert Daudelin, Andi Engel, Michael Walker e Robin Wood; London; Studio Vista; 1970; “Movie Paperbacks”
“Cine Español em la encrucijada”; Cesar Santos Fontenla; Madrid; Editorial Ciencia Nueva; 1966; “Los Complementarios”
“Outline of Czechoslovakian Cinema”; Langdon Dewey; London; Informatics; 1971
“El cine Checoslovaco”; Emilio Garcia Riera; Mexico; Universidad Nacional Autónoma de Mexico; 1963; “Cuadernos de Cine”
“Horizons West. Anthony Mann, Budd Boetticher, Sam Peckinpah: stidies of authorship within western”; Jim Kitses; London; Thames and Hudson/British Film Institute; 1969; “Cinema One”
“Cinema Tchecoslovaco”; Rudá Andrade; São Paulo; Cinemateca Brasileira/Gráfica Editora Hamburgo; [19--]?
“Essai sur le jeune cinema français”; André S. Labarthe; Paris; Le Terrain Vague; 1960
“Comment peut-on être Martien?”; André S. Labarthe; Paris; Le Terrain Vague; 1960
“Vingt ans de cinema soviétique II”; Luda et Jean Schnitzer; Paris; Editions C.I.B; 1963
“El cine Italiano”; José de la Colina; Mexico; Universidad Nacional Autónoma de Mexico; 1962; “Cuadernos de Cine”
“Cinema de Animação. Arte Nova/Arte Livre”; Rio de Janeiro; Editora Vozes Ltda; 1971; “Vozes do Mundo Moderno”
“O gangster no cinema”; Salvyano Cavalcanti de Paiva; Rio de Janeiro; Editorial Andes; [19--]; “Na Seara das Artes”
“A mirror for England: british movies from austerity to affluence”; Raymond Durgnat; London; Faber & Faber; 1970
“Le cinema italien. Histoire, chronologie, biographies, filmographies, documents, images”; Pierre Leprohon; Paris; Éditions Seghers; 1966; “Cinema Club”
“El cine de arte y ensayo en España”; Juan Munsó Cabús; Barcelona; Ediciones Picazo; 1971; “Impacto Literário”
“Le cinema français (1890-1962)”; Georges Sadoul; Paris; Flammarion; 1962
“Le cinema fantastique”; Paris; Editions Seghers; 1970; “Cinéma Club”
“A la découverte du Cinema”; Hubert Arnault, Claude Cobast, Jacqueline Lejeunesse; France; Ligue Française de l’Enseignement; 1964; “Ufoleis”
“Sex in the movies. The celluloid sacrifice”; Alexander Walker; Middlesex; Penguin Books; 1968; “A Pelican Book”
“Le Western”; s.n.; Paris; Union Générale d’Éditions; 1966; “Le Monde en 10/18”
“Images de la science-fiction”; Jacques Siclier, André S.-Labarthe; Paris; Les Éditions du Cerf; 1958; “7e Art”
“Miroirs de l’insolite dans le cinema français”; Henri Agel; Paris; Les Éditions du Cerf; 1958; “7e Art”
“Le Gac”; François Mars; Paris; Les Éditions du Cerf; 1964; “7e Art”
“Le mythe de la femme dans le cinema américain”; Jacques Siclier; Paris; Les Éditions du Cerf; 1956; “7e Art”
Le film criminal et le film policier”; Armand-Jean Cauliez; Paris; Les Éditions du Cerf; 1956; “7e Art”
“Cinquante ans de cinema français (1895-1945)”; Pierre Leprohon; Paris; Les Éditions du Cerf; 1954; “7e Art”
“Cinéma pour enfants. L’expérience britanique”; Mary Field; Paris; Les Éditions du Cerf; 1958; “7e Art”
“Frankenstein”; Jean-Pierre Bouyxou; France; Premier Plan, nº 51, 1969
“Jeune cinema Hongrois”; Claude B. Levenson; France; Premier Plan, nº 43, 1966
“Jeune cinema Canadien”; René Prédal; France; Premier Plan, nº 45, 1967
“Jeune cinema Tchecoslovaque”; Marie-Magdeleine Brumagne; France; Premier Plan, nº 52, 1969
“Jeune cinema anglais”;  Jacques Belmans; France; Premier Plan, nº 44, 1967
“Jeune cinema Americain”; Paul Leutrat + Jean-Louis Leutrat; France; Premier Plan, nº 46, 1967
“The American Cinema. Directors and Directions 1929-1968”; Andrew Sarris; New York; E.P. Dutton & Co; 1968; “A Dutton Paperback”
“Regards sur le cinema indien”; P. Parrain; Paris; Éditions du Cerf; 1969; “7e Art”
“Underworld U.S.A.”; Colin McArthur; London; Secker & Warburg/British Film Institute; 1972, “Cinema One”
“French Cinema since 1946. Volume One: the great tradition”; Roy Armes; London/New Jersey; A. Zwemmer Limited/A.S.Barbes & Co.; 1966
“French Cinema since 1946. Volume Two: the personal style”; Roy Armes; London/New Jersey; A. Zwemmer Limited/A.S.Barbes & Co.; 1970
“British Cinema”; Denis Gifford; London/New York; A. Zwemmer Limited/A.S.Barnes & Co.; 1968; “International Film Guide Series”
“Early American Cinema”; Anthony Slide; London/New York; A. Zwemmer Limited/A.S.Barnes & Co.; 1970; “International Film Guide Series”

Categoria História do Cinema
“Pequena introdução à História do Cinema”; Octávio de Faria; [Rio de Janeiro]; Edições de Ouro; 1968; “Biblioteca Mentor Cultural”
“Histoire illustrée du cinema. 1- Le cinema muet, 1895-1930”; René Jeanne, Charles Ford; Paris; Editions Gérard & Co.; 1966; “Marabout Université”
“Histoire illustrée du cinema. 2- Le cinema parlant 1927-1945”; René Jeanne, Charles Ford; Paris; Editions Gérard & Co.; 1966; “Marabout Université”
“Histoire illustrée du cinema. 3- Le cinema d’aujourd’hui”; René Jeanne, Charles Ford; Paris; Editions Gérard & Co.; 1966; “Marabout Université”
“Cinéma 53 a travers le monde”; A. Bazin, J. Doniol-Valcroze, G. Lambert, Chris Marker, J. Queval, J.-L. Tallenay, Ulysse; Paris; Les Éditions du Cerf; 1954; “7e Art”
“Le monde du cinema”; Pierre Leprohon; Paris; Pierre Waleffe; 1967; “Figures/ Connaissances”
“Hollywood, glória e decadência”; John Howard Lawson, Hortebnse Powdermaker, Paul e Jean-Luc Leutrat, P. Mayersberg; Lisboa; Publicações Dom Quixote; 1970; “Cadernos de Cinema”
“Dez anos de cinema”; José-Augusto França; Lisboa; Sequência; [19--]
“La azarosa. Historia del cine Americano- vol. 1”; Lewis Jacobs; Barcelona; Editorial Lumen; 1971; “Palabra en el tiempo”
“Le Boulevard du cinema a l’époque de Georges Méliès”; Jacques Deslandes; Paris; Les Éditions du Cerf; 1963; “7e Art”
“Histoire du Cinema. 1- Vie et mort du cinématographe 1895-1930”; Pierre Leprohon; Paris; Les Éditions du Cerf; 1961; “7e Art”
“Panorama do cinema português”; Luis de Pina; Lisboa; Terra Livre; 1978; “Breviários da Cultura”
“Hollywood in the sixties”; John Baxter; London/ New York; The Tantivy Press/A.S.Barnes & Co.; 1972; “The International Film Guide Series”
“Hollywood in the forties”; Charles Higham and Joel Greenberg; London/ New York; A.Zwemmer Limited/A.S.Barnes & Co.; 1968; “The International Film Guide Series”
“Hollywood in the fifties”; Gordon Gow; London/ New York; A. Zwemmer Limited/A.S.Barnes & Co.; 1971; “The International Film Guide Series”
“Hollywood in the twenties”; David Robinson; London/ New York; A. Zwemmer Limited/A.S.Barnes & Co.; 1968; “The International Film Guide Series”
“Hollywood in the thirties”; John Baxter; London/ New York; A. Zwemmer Limited/A.S.Barnes & Co.; 1968; “The International Film Guide Series”
“Hollywood today”; Pat Billings and Allen Eyles; London/ New York; A. Zwemmer Limited/A.S.Barnes & Co.; 1971; “The International Film Guide Series”
“Tu e o Cinema”; Franz Weyergans; Porto; Livraria Civilização; [19--]; “Colecção Ponte”
“Trente ans de cinema americain”; Jean-Pierre Coursodon e Bertrand Tavernier; Paris; Editions C.I.B.; 1970
“História do Cinema Mundial. Vol 1”; Georges Sadoul; São Paulo; Livraria Martins Editora; 1963
“História do Cinema Mundial. Vol 2”; Georges Sadoul; São Paulo; Livraria Martins Editora; 1963
“Histórias do Cinema”; João Bénard da Costa; Lisboa; Imprensa Nacional-Casa da Moeda; 1991; “Síntese da Cultura Portuguesa Europália 91”
“A concise history of the cinema. Volume 1: Before 1940”; Peter Cowie- ed.; London/ New York; A. Zwemmer Limited/A.S.Barnes & Co.; 1971; “Screen Series”
“A concise history of the cinema. Volume 2: since 1940”; Peter Cowie- ed.; London/ New York; A. Zwemmer Limited/A.S.Barnes & Co.; 1971; “Screen Series”
“Ums História panoramic do cinema, a mais viva das artes”; Arthur Knight; Brasil; Editora Lidador Lda; 1970; “Colecção Mimesis”
“A discovery of Cinema”; Thorold Dickinson; London; Oxford University Press; 1971
“A maravilhosa história da arte das imagens”; Fernando Fragoso e Raul Faria da Fonseca; Lisboa; Edições Europa-América; 1956
“75 Ans de cinema”; ; Jean-Loup Passek; Paris: Fernand Nathan Editeur; 1969; “Panorama des Merveilles de L’Art”
“Historia Universal del Cine- Volumen 1”; Madrid; F. Planeta; 1982
“Historia Universal del Cine- Volumen 2”; Madrid; F. Planeta; 1982
“Historia Universal del Cine- Volumen 3”; Madrid; F. Planeta; 1982
“Historia Universal del Cine- Volumen 4”; Madrid; F. Planeta; 1982
“Historia Universal del Cine- Volumen 5”; Madrid; F. Planeta; 1982
“Historia Universal del Cine- Volumen 6”; Madrid; F. Planeta; 1982

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