[Bal, Mieke. 1999. Quoting Caravaggio: Contemporary Art, Preposterous History. Chicago: University of Chicago Press.]Search in Google Scholar
[Baucom, Caitlin. 2014. Performative Models. http://incidentmag.com/issue-1/critical-essays/performative-models/. Last accessed at 15. 07. 2014.]Search in Google Scholar
[Bradshaw, Peter. 2007. Taxidermia. The Guardian. http://www.theguardian.com/film/2007/jul/13/comedy.drama. Last accessed at 15. 07. 2014.]Search in Google Scholar
[Brewster, Ben and Lea Jacobs. 1998. Theatre to Cinema: Stage Pictorialism and the Early Feature Film. Oxford: Oxford University Press.]Search in Google Scholar
[Dánél, Mónika. 2012. Surrogate Nature, Culture, Women - Inner Colonies. Postcolonial Readings of Contemporary Hungarian Films. Acta Universitatis Sapientiae: Film and Media Studies vol. 5: 107‒129.]Search in Google Scholar
[Debray, Régis. 1992. Vie et mort de l’image, une histoire du regard en Occident [translation]. Paris: Bibliothèque des Idées, Gallimard. ]Search in Google Scholar
[Halle, Randall. 2010. Offering Tales They Want to Hear: Transnational European Film Funding as Neo-Orientalism. In Global Art Cinema. New Theories and Histories, eds. Rosalind Galt and Karl Schoonover, 303-320. Oxford: Oxford University Press. ]Search in Google Scholar
[Huber, Irmtraud. 2014. Literature after Postmodernism. London: Palgrave Macmillan.10.1057/9781137429919]Search in Google Scholar
[Jameson, Frederic. 1986. Third-World Literature in the Era of Multinational Capitalism. Social Text no. 15 (Autumn): 65-88.10.2307/466493]Search in Google Scholar
[Király, Hajnal: 2014. Playing Dead: Pictorial Representations of Melancholia in Contemporary Hungarian Cinema. Manuscript. Forthcoming in Studies in Eastern European Cinema. ]Search in Google Scholar
[Kovács, András Bálint. 2013. The Cinema of Béla Tarr. The Circle Closes. London and New York: Wallflower Press. 10.7312/kova16530]Search in Google Scholar
[Lyotard, Jean-François. 1978. Acinéma. Wide Angle vol. 2: 52-59.]Search in Google Scholar
[Paech, Joachim. 2014. Intermediate Images. Acta Universitatis Sapientiae: Film and Media Studies, Volume 9. Perniola, Mario, 1995. Enigmas. The Egyptian Moment in Society and Art. London, Verso.10.1515/ausfm-2015-0002]Search in Google Scholar
[Perniola, Mario. 2004a. The Sex Appeal of the Inorganic: Philosophies of Desire in the Modern World. London, New Delhi, New York, Sydney: Bloomsbury Publishing.]Search in Google Scholar
[Perniola, Mario. 2004b. Art and its Shadow. London: Continuum.]Search in Google Scholar
[Peucker, Brigitte. 2007. The Material Image. Art and the Real in Film. Stanford, Stanford University Press.10.1515/9781503626072]Search in Google Scholar
[Rudaitytė, Regina (ed.). 2008. Postmodernism and After. Visions and Revisions. Newcastle upon Tyne, Cambridge Scholars Publishing.]Search in Google Scholar
[Satz, Aura. 2009. Tableaux Vivants: Inside the Statue. In Articulate Objects: Voice, Sculpture and Performance, eds. Aura Satz and Jon Wood, 157-183. Oxford, New York: Peter Lang. ]Search in Google Scholar
[Shaviro, Steven. 2012a. Body Horror and Post-Socialist Cinema: György Pálfi’s Taxidermia. In A Companion to Eastern European Cinemas, ed. Anikó Imre, 25-41. Chichester, West Sussex: Wiley-Blackwell.10.1002/9781118294376.ch2]Search in Google Scholar
[Shaviro, Steven. 2012b. Melancholia, or, the Romantic Anti-Sublime. Sequence. 10.20919/sequence1.1(2012)]Search in Google Scholar
[http://reframe.sussex.ac.uk/sequence1/1-1-melancholia-or-the-romantic-antisublime/. Last accessed at 15. 07. 2014.]Search in Google Scholar
[Xavier, Ismail. 2007. Historical Allegory. In A Companion to Film Theory, eds. Toby Miller and Robert Stam, 333-362. Oxford: Blackwell Publishing. 10.1002/9780470998410.ch18]Search in Google Scholar