1. Writing
1.1. Dictee, 1982
1.1.1. Clio History
1.2. Apparatus, 1981
1.3. Exilée | Temp Morts, 1980
1.3.1. Surplus Novel, 1980
1.3.2. Audience Distant Relative, 1977-78
1.4. Hotel
1.4.1. Untitled (étang), 1978
1.4.2. Mot Caché, 1978
1.4.3. Chronology, 1977
1.4.4. Father/Mother, 1977
1.4.5. Faire Part, 1976
1.4.6. Journeé, 1976
1.4.7. Markings, 1976
1.4.8. Amer, ca. 1976
1.4.9. Presence/Absence, 1975
1.4.10. Pomegranate Offering, 1975
1.4.11. Earth, 1973
2. Influences
2.1. Gilles Deleuze
2.2. Jaques Derrida
2.3. Greek Mythology
2.4. Sappho
2.5. Film Theories
2.5.1. Apparatus Theory
2.5.1.1. Jean-Louis Baudry
2.5.1.2. Christian Metz
2.5.2. Nouvelle Vague
2.5.2.1. Jean-Luc Goddard
2.5.3. Montage Theory
2.5.3.1. Sergei Eisenstein
2.5.3.2. Dziga Vertov
2.6. Poetry
2.6.1. Stéphane Mallarmé
2.6.2. Gertrude Stein
3. Film
3.1. White Dust From Mongolia, 1980
3.2. It Is Almost That, 1977
3.3. Mouth to Mouth, 1975
3.4. Other
3.4.1. Pause Still, 1979
3.4.2. Passages Paysages, 1978
3.4.3. Other Things Seen, Other Things Heard (Ailleurs), 1978
3.4.4. Reveillé dans La Brume, 1977
3.4.5. Re Dis Appearing, 1977
3.4.6. Vidéoème, 1976
3.4.7. A Ble Wall, 1975
3.4.8. Aveugle Voix, 1975
4. Reception
4.1. Elaine Kim et al
4.1.1. Writing Self, Writing Nation, 1994
4.2. Timothy Yu
4.2.1. Race and the Avant-Garde, 2009
4.3. Naoki Sakai
4.3.1. Translation & Subjectivity, 1997
4.4. Kun Jong Lee
4.4.1. Rewriting Hesiod, 2006
4.5. Constance M. Lewallan
4.5.1. The Dream of the Audience, 2001
4.6. Mayumo Inoue
4.6.1. Theresa Hak Kyung Cha’s "Phantomnation": Cinematic Specters and Spectral Collectivity in Dictée and Apparatus
4.7. Stephen Joyce
4.7.1. THE Link and the Chain: The Individual and Communal Self in Theresa Hak Kyung Cha's Dictée