Talk:Multiplicity (film)

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The following references may be useful when improving this article in the future:

Robley, Les Paul (November 1996). "Multiplicity". Cinefantastique. pp. 122–123, 125. Retrieved May 5, 2021.
Johnson, Kim Howard (August 1996). "Splitting Images". Starlog. pp. 27–31. Retrieved May 5, 2021.
McMahan, Alison. "The effect of multiform narrative on subjectivity". Screen. 40 (2): 146–157. Retrieved May 5, 2021. Discusses the film on page 151 to 152 as an example of distributed subjectivity in Hollywood films. Also describes Multiplicity as an example of apply an "evolutionary paradigm" far more suited for interactive narratives for the liner ones most Hollywood films have.
Interview with an effects artist about the film in this book, The Art of Visual Effects, Retrieved May 5, 2021
Strauss, Bob (February 24, 2014). "Harold Ramis on the meaning of masculinity in 1996 'Multiplicity' interview". Los Angeles Daily News. Retrieved May 5, 2021.
Wuntch, Philip (July 17, 1996). "Cloning Comedy In 'Multiplicity' Michael Keaton Plays Four 'Dougs,' Each With An Entirely Different Persona". The Dallas Morning News. Archived from the original on December 18, 2017. Retrieved May 5, 2021.
Schonfeld, Zach (February 27, 2014). "Groundhog Day Star Andie MacDowell on Harold Ramis: 'There Was Not an Arrogant Bone in his Body'". Newsweek. Archived from the original on February 5, 2019. Retrieved May 5, 2021.
MacDowell, Andie (February 27, 2014). "Andie MacDowell Remembers Harold Ramis: 'He Was Like a Great Big Teddy Bear'". The Hollywood Reporter. Retrieved May 5, 2021.
Eberl, Jason T. (2010). "I Clone – How Cloning is (Mis)portrayed in Contemporary Cinema" (PDF). Film & History. 40 (2): 1–21. Retrieved May 5, 2021.

References to use

Please add to the list references that can be used for the film article.

Jollimore, Troy; White, Becky Cox (2009). "Multiplicity: A Study of Cloning and Personal Identity". In Shapshay, Sandra (ed.). Bioethics at the Movies. Johns Hopkins University Press. pp. 102–120. ISBN 0801890772.

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