Vera Brunner-Sung A CINEMA OF TOUCH: THE WORK OF BETZY BROMBERG – Notes and Citations
- Luce Irigaray, “The Invisible of the Flesh: A Reading of Merleau-Ponty, The Visible and the Invisible, “The Intertwining—The Chiasm,” in An Ethics of Sexual Difference (Ithaca: Cornell University Press, 1993), 165.
- J. Hoberman, “Betzy Bromberg: Collective for Living Cinema,” Artforum, February 1981.
- Paul Arthur, “The Western Edge” in A Line of Sight: American Avant-Garde Film Since 1965 (Minneapolis: University of Minnesota Press, 2004).
- James Peterson, Dreams of Chaos, Visions of Order (Detroit: Wayne State University Press, 1994), 53.
- Holly Willis, “Short Form: Betzy Bromberg Soothes the Bruise,” iFilm.com, March 2000. Accessed via PDF.
- David E. James, The Most Typical Avant-Garde (Berkeley: University of California Press, 2005), 356-357.
- Scott MacDonald, Avant-Doc: Intersections of Documentary and Avant-garde Cinema (Oxford: Oxford University Press, 2014), 324.
- Marasmus is Bromberg’s only co-authored film to date, though she has sustained collaborations with musicians, composers, and particularly the sound designer Dane Davis, whom she met while in graduate school at CalArts.
- Holly Willis, “Filmforum—Betzy Bromberg Retrospective,” LA Weekly, October 15-21, 1999.
- Laura U. Marks, Touch: Sensuous Theory and Multisensory Media (Minneapolis: University of Minnesota Press, 2002), xvi.
- Marks, 17.
- Michel Chion, Sound: An Acoulogical Treatise (Durham: Duke University Press, 2016), 161.
