Twórca wyzwalający rzeczywistość przeciwko dyktatowi „mise en scène”? „Five” Abbasa Kiarostamiego

Bachelard, G. (1982). Chwila poetycka i chwila metafizyczna (tłum. M. Goszczyńska). Literatura na Świecie, (3-4), ss. 56-63.
DOI: https://doi.org/10.2307/40138367   Google Scholar

Brown, W. (2014). Complexity and Simplicity in „Inception” and „Five Dedicated to Ozu”. W: W. Buckland (red.), Hollywood Puzzle Films (ss. 125-139). New York – London: Routledge.
  Google Scholar

Burch, N. (1979). To the Distant Observer: Form and Meaning in the Japanese Cinema. Berkeley – Los Angeles: University of California Press.
  Google Scholar

Cartier-Bresson, H. (2005). Decydujący moment (tłum. K. Łyczywek). Format. Pismo Artystyczne, (1-2), ss. 2-4.
  Google Scholar

Cronin, P. (red.) (2015). Lessons with Kiarostami. New York: Sticking Place Books.
  Google Scholar

D’Arcy, D. (2015, 12 grudnia). Abbas Kiarostami on His Fixation with Doors, the Still Image and Carpentry. TheArtNewspaper.com. https://www.theartnewspaper.com/2015/12/12/abbas-kiarostami-on-his-fixation-with-doors-the-still-image-and-carpentry
  Google Scholar

Ebert, R. (2003, 11 kwietnia). Ten. RogerEbert.com. https://www.rogerebert. com/reviews/ten-2003
  Google Scholar

Elena, A. (2005). The Cinema of Abbas Kiarostami. London: SAQI in association with Iran Heritage Foundation.
  Google Scholar

Flanagan, M. (2012). „Slow Cinema”: Temporality and Style in Contemporary Art and Experimental Film. Exeter: University of Exeter.
  Google Scholar

Goudet, S. (2004). „Five” d’Abbas Kiarostami. Ciné-poèmes. Positif, (519), ss. 55-57.
  Google Scholar

Haridas, B. (2013, 6 kwietnia). „Five” by Abbas Kiarostami. Harianddas.weebly.com. https://harianddas.weebly.com/blog/five-by-abbas-kiarostami
  Google Scholar

Hassannia, T. (2015, 19 listopada). Behind Closed Doors with Abbas Kiarostami. TheGlobeandMail.com. https://www.theglobeandmail.com/arts/film/behind-closeddoors-with director-abbas-kiarostami/article27372496
  Google Scholar

Honarpisheh, D. (2018). Waves of Stasis: Photographic Tendency and a Cinema of Kindness in Kiarostami’s „Five (Dedicated to Ozu)”. Iran Namag, 2 (4), ss. XXXVIII– LVII.
  Google Scholar

Jeffries, S. (2005, 16 kwietnia). Landscapes of the Mind. TheGuardian.com. https:// www.theguardian.com/film/2005/apr/16/art
  Google Scholar

Kara, S. (2013). The Sonic Summons: Meditations on Nature and Anempathetics Sound in Digital Documentaries. W: C. Vernallis, A. Herzog, J. Richardson (red.), Oxford Handbook of Sound and Image in Digital Media (ss. 582-598). New York: Oxford University Press.
DOI: https://doi.org/10.1093/oxfordhb/9780199757640.013.034   Google Scholar

Krause, B. (2015). Człowiek w orkiestrze świata. W poszukiwaniu źródeł muzyki (tłum. K. Kijowska, M. Bogdańska). Glissando, (26), ss. 46-51.
  Google Scholar

Krause, B. (2015). Voices of the Wild: Animal Songs, Human Din, and the Call to Save Natural Soundscapes. New Haven – London: Yale University Press.
  Google Scholar

Oliveros, P. (2005). Deep Listening: A Composer’s Sound Practice. New York: iUniverse.
  Google Scholar

Remes, J. (2015). Motion(less) Picture: The Cinema of Stasis. New York: Columbia University Press.
DOI: https://doi.org/10.7312/columbia/9780231169639.001.0001   Google Scholar

Sani, M. R. (2019). Cinematic Lessons from Abbas Kiarostami. Middletown: IMOFIS.
  Google Scholar

Schafer, R. M. (1993). Soundscape: Our Sonic Environment and the Tuning of the World. Rochester: Destiny Books.
  Google Scholar

Tarkowski, A. (1991). Czas utrwalony (tłum. S. Kuśmierczyk). Warszawa: Wydawnictwo Pelikan.
  Google Scholar

Zylinska, J. (2017). Nonhuman Photography. Cambridge – London: The MIT Press.
DOI: https://doi.org/10.7551/mitpress/10938.001.0001   Google Scholar