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
