Paul Arthur
Books by Paul Arthur
| Paul Arthur A line of sight, American avant-garde film since 1965 Minneapolis, 2005 |
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| Michele Pierson, David E. James, and Paul Arthur (eds.) Optic antics, The amazing cinema of Ken Jacobs New York, 2011 |
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Articles by Paul Arthur
| Lord of the ring, in: Filmcomment, nr. 1, 2002 pp. 32-34 |
| Cotton candy, in: Filmcomment, nr. 1, 2002 pp. 74-75 |
| Man with the movie camera, in: Filmcomment, nr. 2, 2002 pp. 47-50 |
| Making history, in: Filmcomment, nr. 3, 2002 pp. 33-34 |
| Listening at hyper-speed, in: Filmcomment, nr. 4, 2002 pp. 30 |
| Naqoyqatsi, in: Filmcomment, nr. 5, 2002 pp. 73-74 |
| Essay questions, From Alain Resnais to Michael Moore: Paul Arthur gives a crash course in nonfiction cinema's most rapidly evolving genre, in: Filmcomment, nr. 1, 2003 pp. 58-62 |
| Kino-Eye, in: Filmcomment, nr. 4, 2003 pp. 32-34 |
| La commune (Paris, 1871), in: Filmcomment, nr. 4, 2003 pp. 72-73 |
| The fog of war, in: Filmcomment, nr. 6, 2003 pp. 73-74 |
| (), in: Filmcomment, nr. 1, 2004 pp. 75 |
| Mayor of the Sunset Strip, in: Filmcomment, nr. 2, 2004 pp. 71-72 |
| The troublemaker, in: Filmcomment, nr. 3, 2004 pp. 58-65 |
| (In)dispensable cinema, in: Filmcomment, nr. 4, 2004 pp. 38-42 |
| Los Angeles plays itself, in: Filmcomment, nr. 4, 2004 pp. 72-73 |
| feel the pain, in: Filmcomment, nr. 5, 2004 pp. 47-50 |
| Poughkeepsie powwow, in: Filmcomment, nr. 5, 2004 pp. 67-68 |
| Overnight, in: Filmcomment, nr. 6, 2004 pp. 75 |
| Gunner Palace, in: Filmcomment, nr. 2, 2005 pp. 72-73 |
| Writer of O, in: Filmcomment, nr. 3, 2005 pp. 74 |
| Beyond the Limits, in: Filmcomment, nr. 4, 2005 pp. 42-47 |
| The 3 Rooms of Melancholia, in: Filmcomment, nr. 4, 2005 pp. 74 |
| Joker at Play in a Sea of Holes, in: Filmcomment, nr. 5, 2005 pp. 42-44 |
| Metropolitan, in: Filmcomment, nr. 6, 2005 pp. 17 |
| Endgame, in: Filmcomment, nr. 6, 2005 pp. 24-28 |
| Unknown White Male, in: Filmcomment, nr. 1, 2006 pp. 73-74 |
| Reality Check, The Year in Documentary, in: Filmcomment, nr. 2, 2006 pp. 58-59 |
| The Devil and Daniel Johnston, in: Filmcomment, nr. 2, 2006 pp. 75 |
| Habeas Corpus, A Meditation on the Death of Mr. Lazarescu and Corporal Cinema, in: Filmcomment, nr. 3, 2006 pp. 44-49 |
| The Road to Guantanamo, in: Filmcomment, nr. 3, 2006 pp. 71-72 |
| But Enough About You, in: Filmcomment, nr. 4, 2006 pp. 24-25 |
| Iraq in No Particular Order, in: Filmcomment, nr. 5, 2006 pp. 19-22 |
| Plucky Number Seven, in: Filmcomment, nr. 6, 2006 pp. 13-14 |
| In a Nutshell, in: Filmcomment, nr. 1, 2007 pp. 19-20 |
| Standard & Practices, in: Filmcomment, nr. 2, 2007 pp. 23-25 |
| Portrait of the Artist, in: Filmcomment, nr. 3, 2007 pp. 11-12 |
| On the War Path, in: Filmcomment, nr. 4, 2007 pp. 12-13 |
| State Legislature, in: Filmcomment, nr. 4, 2007 pp. 71-72 |
| The Living Dead, in: Filmcomment, nr. 5, 2007 pp. 18-20 |
| Public Interest, in: Filmcomment, nr. 6, 2007 pp. 20-21 |
| Atrocity Exhibitions, in: Filmcomment, nr. 6, 2007 pp. 52-55 |
| Hidden in Plain Sight, in: Filmcomment, nr. 1, 2008 pp. 14-15 |
| Chicago 10, in: Filmcomment, nr. 1, 2008 pp. 72-73 |
| He Said, She Said, in: Filmcomment, nr. 2, 2008 pp. 20-21 |
| Please allow me to reproduce myself, in: Filmcomment, nr. 2, 2008 pp. 46-51 |
| The Gun in the Briefcase, Or, the Inscription of Class in Film Noir, in: Cynthia Lucia, Roy Grundmann, and Art Simon (eds.), The Wiley-Blackwell History of American Film, Malden, MA, Oxford, Chichester, 2012 |
Articles on Paul Arthur
| Amy Taubin, A Vigorous Mind, A Passionate Voice, in: Filmcomment, nr. 3, 2008 pp. 12 |
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