1 Allan Sekula, 「The Body and the Archive」, in October 39 (Winter 1986); John Tagg,The Burden of Representation: Essays on Photographies and Histories (Minneapolis andLondon: University of Minnesota Press, 1993); and Suren Lalvani, Photography, Vision, and the Production of Modern Bodies (Albany: State University of New York Press, 1996).
2 Christian Parenti, The Soft Cage: Surveillance in America from Slavery to the War on Terror (New York: Basic Books, 2003), 37.
3 Thomas Levin, 「Rhetoric of the Temporal Index: Surveillant Narration and theCinema of 『Real Time,』」 in CTRL[SPACE]: Rhetorics of Surveillance from Benthamto Big Brother, ed. Thomas Levin, Ursula Frohne, and Peter Weibel (Cambridge, MA:MIT Press, 2002), 578-593; 581.
4 「Inside an American Factory: Films of the Westinghouse Works, 1904」, 15 April 1999, on Library of Congress: American Memory , available at http://lcweb2.loc.gov/papr/west/westhome.html (accessed 7/23/2009).
5 Tom Gunning, 「Tracing the Individual Body: Photography, Detectives, and EarlyCinema」, in Cinema and the Invention of Modern Life , ed. Leo Charney and Vanessa R.Schwartz (Berkeley and Los Angeles: University of California Press, 1995), 35.
6 Gunning, 「Tracing the Individual Body: Photography, Detectives, and EarlyCinema」, 35.
7 Dietmar Kammerer, 「Video-Surveillance in Hollywood Movies」, in Surveillance andSociety CCTV specialissue [eds. Norris, McCahill, and Wood] vol. 2 no. 2/3 [2004]:473.
8 John S. Turner, 「Collapsing the Interior/Exterior Distinction: Surveillance，Spectacle, andSuspense in Popular Cinema」, in Wide Angle vol. 20 no. 4 (October 1998): 93-123; 101.
9 Kammerer, 「Video Surveillance」, 473.
10對這部影片的重要討論，見Susan Courtney. Hollywood Fantasies of Miscegenation: Spectacular Narratives of Gender and Race, 1903-1967 (Princeton, NJ: PrincetonUniversity Press, 2005) 和 Jacqueline Najuma Stewart. Migrating to the Movies: Cinemaand Black Urban Modernity(Berkeley: University of California Press (2005).
11, 12 Levin, 「Rhetoric of the Temporal Index」, 581, 592.
13 Sébastien Lefait, Surveillance on Screen: Monitoring Contemporary Films and Televsion (Lanham, MD: Scarecrow Press, 2012): xviii.
14 Turner, 「Collapsing the Interior/Exterior Distinction」, 96.
15 當然，如果出現窺視癖不是電影監控論述的主導原則的情況，那全景敞視主義不可避免地會取代其位置，因此公平地說，關於電影監控的討論同樣也為全景敞視主義理論模型的無處不在所困。
16 Norman Denzin, The Cinematic Society: The Voyeur’s Gaze (London: Sage Publications,1995), 9.
17 David Lyon, 「9/11, Synopticon, and Scopophilia」, in The New Politics of Surveillance and Visibility, ed. Kevin D. Haggerty and Richard V. Ericson [Toronto, Buffalo, andLondon: University of Toronto Press, 2006], 35-54; 49.
18 Robert J. Corber, 「Resisting History: Rear Window and the Limits of the PostwarSettlement」, in boundary 2 vol. 19 no.1 [Spring 1992]: 121-148.
19 Kevin D. Haggerty and Richard V. Ericson, eds., The New Politics of Surveillance andVisibility (Toronto: University of Toronto Press, 2006), 4.
20 Haggerty and Ericson. 「The Surveillant Assemblage」, in British Journal of Sociologyvol. 51 (2000): 605-622; Bogard, 「Surveillance Assemblages and Lines of Flight」, inTheorizing Surveillance: The Panopticon and Beyond, ed. David Lyon (Devon, UK, andPortland, OR: Willan Publishing, 2006), 97-122.
21 早期論述見David Denby, 「Stolen Privacy: Coppola’s The Conversation」, in Sight andSound vol. 43 no. 3 (Summer 1974): 131-133, and Lawrence Shaffer, 「The Conversation,」in Film Quarterly vol. 28 no. 1 (Autumn 1974): 54-60. 更晚近的論述則見W. Russel Gray.「Tuning in to The Conversation : Twenty-Five Years Later」, in Journal of Popular Culturevol. 33 no. 2 (Fall 1999): 123-130.
22 Carolyn Anderson, 「The Conversation as Exemplar and Critique of SoundTechnology」, in Post Script vol. 6 no. 3 (Spring/Summer 1987): 13-30; 15.
23 參見:Rick Altman, 「The Evolution of Sound Technology」 in Film Sound, ed. ElisabethWeis and John Belton (New York: Columbia University Press, 1985), 44-53.
24 Mary Ann Doane, 「Ideology and the Practice of Sound Editing」, in Film Sound, ed.Weis and Belton, 54.
25 Dörte Zbikowski, 「The Listening Ear: Phenomena of Acoustic Surveillance」 in CTRL[SPACE], ed. Levin, Frohne, and Weibel: 33-41; 41.
26 Zbikowski, 「The Listening Ear」, 34.