1. Sergei Eisenstein, Film Form: Essays in Film Theory (New York: Harcourt, Brace and Company, 1949), 195-255.
2. A. Nicholas Vardac, Stage to Screen (Cambridge: Harvard University Press, 1949), 1-88.
3. Robert C. Allen, "The Movies in Vaudeville," in The American Film Industry, Tino Balio, ed. (Madison: University of Wisconsin Press, 1976), 57-82.
4. Russell Merritt, "Nickolodeon Theaters, 1905-1914: Building an Audience for the Movies," in Balia, The American Film Industry, 83-102.
5. The logical conclusion of the approach is the play filmed entirely in a single shot. Hitchcock attempted this in Rope (1948). He moved the camera to avoid editing.
6. R. L. Carringer, The Making of Citizen Kane (Berkeley: University of California Press, 1985), 100-101.
7. See the full discussion of the film's narrative structure in David Bordwell and Kristin Thompson, Film Art: An Introduction, 3d ed. (New York: McGraw-Hill, 1990), 72-84.
8. David Bordwell, "Citizen Kane," in B. Nichols, ed., Movies and Methods: An Anthology (Berkeley: University of California Press, 1976), 284.
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