Vera Brunner-Sung A CINEMA OF TOUCH: THE WORK OF BETZY BROMBERG – Notes and Citations

  1. 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.
  2. J. Hoberman, “Betzy Bromberg: Collective for Living Cinema,” Artforum, February 1981.
  3. Paul Arthur, “The Western Edge” in A Line of Sight: American Avant-Garde Film Since 1965 (Minneapolis: University of Minnesota Press, 2004).
  4. James Peterson, Dreams of Chaos, Visions of Order (Detroit: Wayne State University Press, 1994), 53.
  5. Holly Willis, “Short Form: Betzy Bromberg Soothes the Bruise,” iFilm.com, March 2000. Accessed via PDF.
  6. David E. James, The Most Typical Avant-Garde (Berkeley: University of California Press, 2005), 356-357.
  7. Scott MacDonald, Avant-Doc: Intersections of Documentary and Avant-garde Cinema (Oxford: Oxford University Press, 2014), 324.
  8. 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.
  9. Holly Willis, “Filmforum—Betzy Bromberg Retrospective,” LA Weekly, October 15-21, 1999.
  10. Laura U. Marks, Touch: Sensuous Theory and Multisensory Media (Minneapolis: University of Minnesota Press, 2002), xvi.
  11. Marks, 17.
  12. Michel Chion, Sound: An Acoulogical Treatise (Durham: Duke University Press, 2016), 161.