1
Bordwell D, Thompson K. The Shot: Cinematography. In: Film Art: an Introduction. New York: : McGraw-Hill 2008. 162–217.https://contentstore.cla.co.uk/secure/link?id=c4708d7a-36c3-e911-80cd-005056af4099
2
Gibbs J. Mise-en-scène: Film Style and Interpretation. London: : Wallflower 2002. https://go.exlibris.link/mRKMv93t
3
Gibbs J. Mise-en-scène: Film Style and Interpretation. 2002. http://WARW.eblib.com/patron/Read.aspx?p=927987&pg=1
4
Perkins VF. Film as Film: Understanding and Judging Movies. Harmondsworth: : Penguin 1972.
5
Corrigan T, White P. The Film Experience: an Introduction. Fourth edition. Boston: : Bedford/St. Martins 2015.
6
Cook P. The Cinema Book. 3rd ed. London: : BFI 2007.
7
Kelly G, Donen S, Freed A, et al. Singin’ in the Rain. 2000.https://learningonscreen.ac.uk/ondemand/index.php/prog/0018C80D?bcast=123188027
8
Wong K, Leung TCW. In the Mood for Love. 2003.https://learningonscreen.ac.uk/ondemand/index.php/prog/001596F2?bcast=115284419
9
Lloyd A, Robinson D. Movies of the Fifties. London: : Orbis 1982.
10
Perkins VF. Moments of Choice. In: Movies of the fifties. London: : Orbis 1982. 209–13.
11
Bordwell D, Thompson K. The Shot: Cinematography. In: Film Art: an Introduction. New York: : McGraw-Hill 2008. 162–217.https://contentstore.cla.co.uk/secure/link?id=c4708d7a-36c3-e911-80cd-005056af4099
12
Teo S. Wong Kar-wai’s In the Mood for Love: Like a Ritual in Transfigured Time. Published Online First: 2001.http://sensesofcinema.com/2001/wong-kar-wai/mood/
13
Bordwell D, Thompson K. The Shot: Mise-en-scene. In: Film art: an introduction. New York: : McGraw-Hill Higher Education 2008. 112–61.https://contentstore.cla.co.uk/secure/link?id=672e9160-1f50-e611-80c6-005056af4099
14
Gibbs J. Mise-en-scène: Film Style and Interpretation. London: : Wallflower 2002. https://go.exlibris.link/mRKMv93t
15
Gibbs J. Mise-en-scène: Film Style and Interpretation. 2002. http://WARW.eblib.com/patron/Read.aspx?p=927987&pg=1
16
Cook P. Screening the Past: Memory and Nostalgia in Cinema. London: : Routledge 2005.
17
Marcantonio C. In the Mood for Love. 2010.http://sensesofcinema.com/2010/cteq/in-the-mood-for-love/
18
Teo S. Wong Kar-Wai. London: : BFI 2005.
19
Weine R, Pommer E, Krauss W, et al. The Cabinet of Dr. Caligari. 1991.
20
Hitchcock A, Hayes JM, Stewart J, et al. Rear Window. 2005.https://learningonscreen.ac.uk/ondemand/index.php/prog/0000329A?bcast=124479046
21
Wyman J, Hudson R, Moorehead A, et al. All That Heaven Allows. 2007.https://learningonscreen.ac.uk/ondemand/index.php/prog/0001483A?bcast=124401766
22
Glazer J, Kidman N, Bacall L, et al. Birth. 2008.https://learningonscreen.ac.uk/ondemand/index.php/prog/00570D86?bcast=104260940
23
Bordwell D, Thompson K. The Shot: Cinematography. In: Film Art: an Introduction. New York: : McGraw-Hill 2008. 162–217.https://contentstore.cla.co.uk/secure/link?id=c4708d7a-36c3-e911-80cd-005056af4099
24
Thomson D. Nicole Kidman. London: : Bloomsbury 2007.
25
Thomson D. Birth. https://contentstore.cla.co.uk/secure/link?id=5137bebe-d943-e611-80bd-0cc47a6bddeb
26
Balasz B. The Close-Up. In: Film Theory and Criticism: Introductory Readings. New York: : Oxford University Press 1945. 288–98.https://contentstore.cla.co.uk/secure/link?id=374b520e-9f82-e711-80cb-005056af4099
27
Henderson, Brian. The Long Take. Film Comment 1971;7:6–11.http://0-search.proquest.com.pugwash.lib.warwick.ac.uk/docview/210282759/fulltext/624C400050354250PQ/1?accountid=14888
28
Schatz T. The Genius of the System: Hollywood Film-Making in the Studio Era. London: : Faber and Faber 1998.
29
Dreyer CT. The Passion of Joan of Arc. 1999.
30
Chaplin C, Crocker H, Bergman H, et al. City Lights. 2003;The Chaplin Collection.
31
Glazer J, Campbell W, Faber M, et al. Under the Skin. 2014.https://learningonscreen.ac.uk/ondemand/index.php/prog/085C33A2?bcast=120745173
32
Curtiz M, Bogart H. Casablanca. 1999.https://learningonscreen.ac.uk/ondemand/index.php/prog/001C11A0?bcast=114467368
33
Bordwell D, Thompson K. The Shot: Cinematography. In: Film Art: an Introduction. New York: : McGraw-Hill 2008. 162–217.https://contentstore.cla.co.uk/secure/link?id=c4708d7a-36c3-e911-80cd-005056af4099
34
Ray RB. A Certain Tendency of the Hollywood Cinema, 1930-1980. Princeton, N.J.: : Princeton University Press 1985.
35
Ray RB. The Culmination of Classic Hollywood: Casablanca. https://contentstore.cla.co.uk/secure/link?id=0ad5cd66-c443-e611-80bd-0cc47a6bddeb
36
Burch N, Lane HR. Theory of Film Practice. London: : Secker and Warburg 1973.
37
Zborowski J. Classical Hollywood Cinema: Point of View and Communication. Manchester, England: : Manchester University Press 2016. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3102821
38
Maltby R. Hollywood Cinema. 2nd ed. Oxford: : Blackwell 2003.
39
Orpen V. Film Editing: the Art of the Expressive. London: : Wallflower 2003.
40
Thomson D. The Whole Equation: a Hstory of Hollywood. London: : Little, Brown 2005.
41
Cukor G, Hepburn K, Grant C, et al. Holiday. 2005;Columbia classics.https://learningonscreen.ac.uk/ondemand/index.php/prog/00799133?bcast=65988187
42
Mankiewicz JL. The Ghost and Mrs. Muir. 1994.https://learningonscreen.ac.uk/ondemand/index.php/prog/0072B92C?bcast=63279565
43
Hawks H. Only Angels Have Wings. 1981.https://learningonscreen.ac.uk/ondemand/index.php/prog/0008EB32?bcast=29103113
44
Kurosawa A. Yojimbo (Akira Kurosawa, Japan, 1961). 2000.https://learningonscreen.ac.uk/ondemand/index.php/prog/000F3A16?bcast=116007029
45
Bazin A, Gray H. What is Cinema? Berkeley: : University of California Press 2005. http://0-quod.lib.umich.edu.pugwash.lib.warwick.ac.uk/cgi/t/text/text-idx?c=acls;idno=heb08209.0001.001
46
Andre Bazin. What is Cinema? University of California Press 2005. http://0-quod.lib.umich.edu.pugwash.lib.warwick.ac.uk/cgi/t/text/text-idx?c=acls;idno=heb08209.0001.001
47
Zborowski J. Classical Hollywood Cinema: Point of View and Communication. Manchester, England: : Manchester University Press 2016. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3102821
48
Richie D. Yojimbo. In: The Films of Akira Kurosawa. Berkeley, Calif: : University of California Press 1998. 147–55.https://contentstore.cla.co.uk/secure/link?id=a61314ec-0c84-e711-80cb-005056af4099
49
Cowie P. Akira Kurosawa: Master of Cinema. New York: : Rizzoli 2010.
50
Geuens J-P. The Depth of the Field. Quarterly Review of Film and Video 2014;31:572–85. doi:10.1080/10509208.2012.686812
51
Literature/Film Quarterly.
52
Sim G. Cinematic Expressions of Rakugo in Akira Kurosawa’s Comedies Yojimbo and Sanjuro. Asian Cinema 2011;22:253–68.https://arlir.iii.com/nonret~S0&atitle=Cinematic+Expressions+of+Rakugo+in+Akira+Kurosawa%99s+Comedies+Yojimbo+and+Sanjuro&title=Asian+Cinema&aufirst=Gerald&auinit=&aulast=Sim&issn=1059440X&eissn=20496710&coden=&volume=22&issue=2&spage=253&epage=268&quarter=&ssn=&date=2011&sid=&reqtype3
53
Citizen Kane (Dir. Orson Welles, USA, 1941). https://learningonscreen.ac.uk/ondemand/index.php/prog/000A6D70?bcast=38970013
54
Renoir J, Koch C, Renoir C, et al. La règle du jeu: The rules of the game. 2003.https://learningonscreen.ac.uk/ondemand/index.php/prog/004E41D5?bcast=124145491
55
Wyler W, Andrews D, Loy M, et al. The Best Years of Our Lives. 2004.
56
Hitchcock A, Coppel A, Taylor S, et al. Vertigo. 2008.https://learningonscreen.ac.uk/ondemand/index.php/prog/0000E85A?bcast=123569267
57
Spoto D. The Art of Alfred Hitchcock: Fifty Years of his Motion Pictures. London: : W.H. Allen 1977.
58
Spoto D. Vertigo. https://contentstore.cla.co.uk/secure/link?id=46d16418-d443-e611-80bd-0cc47a6bddeb
59
Wood R. Hitchcock’s Films Revisited. Rev. ed. New York: : Columbia University Press 2002.
60
Wood R. Vertigo. https://contentstore.cla.co.uk/secure/link?id=34e1c816-e743-e611-80bd-0cc47a6bddeb
61
Perkins VF. Film as Film: Understanding and Judging Movies. Harmondsworth: : Penguin 1972.
62
Gottlieb S, Brookhouse C. Framing Hitchcock: Selected Essays from the Hitchcock Annual. Detroit: : Wayne State University Press 2002.
63
Barr C, British Film Institute. Vertigo. 2nd ed. London: : BFI 2012.
64
Gibbs J, Pye D. Style and Meaning: Studies in the Detailed Analysis of Film. Manchester: : Manchester University Press 2005.
65
Costuming and the Color System of Leave her to Heaven. Film Criticism 1987;XI:11–20.http://0-fiaf.chadwyck.com.pugwash.lib.warwick.ac.uk/fulltext/indexFullText.do?id=004/0094251&area=index&fromToC=yes&jid=006/0000129
66
Zanuck DF, Stahl JM, Bacher WA, et al. Leave Her to Heaven. 2004.
67
A Matter of Life and Death (Dir. Michael Powell & Emeric Pressburger, UK, 1946). https://learningonscreen.ac.uk/ondemand/index.php/prog/00C8C204?bcast=120690185
68
Ramsay L, Kinnear RS, Roeg L, et al. We Need to Talk About Kevin. 2014.https://learningonscreen.ac.uk/ondemand/index.php/prog/02A76758?bcast=115715399
69
Scott R, Scott T, Costigan M, et al. Stoker. 2013.
70
Bordwell D, Thompson K. The Shot: Cinematography. In: Film Art: an Introduction. New York: : McGraw-Hill 2008. 162–217.https://contentstore.cla.co.uk/secure/link?id=c4708d7a-36c3-e911-80cd-005056af4099
71
O’Meara J. Inside the Outsider’s Ear - Hyperacousia and Marginalized Character Indentification. https://contentstore.cla.co.uk/secure/link?id=1f7056d1-ba43-e611-80bd-0cc47a6bddeb
72
Balasz B. The Close-Up. In: Film Theory and Criticism: Introductory Readings. New York: : Oxford University Press 1945. 288–98.https://contentstore.cla.co.uk/secure/link?id=374b520e-9f82-e711-80cb-005056af4099
73
Reay P. Music in Film: Soundtracks and Synergy. London: : Wallflower 2004.
74
Hanson H. Hollywood Heroines: Women in Film Noir and the Female Gothic Film. London: : I. B. Tauris 2007.
75
Weetch O, 2013. Stoker: Alternate Take. http://www.alternatetakes.co.uk/?2013,4,484
76
Caughie J, British Film Institute. Theories of Authorship: a Reader. London: : Routledge & Kegan Paul in association with the British Film Institute 1981.
78
Coppola FF, Hackman G, Cazale J, et al. The Conversation. 2011.https://learningonscreen.ac.uk/ondemand/index.php/prog/000191F3?bcast=82899187
79
Cuarón A, Cuarón J, Heyman D, et al. Gravity. 2014.https://learningonscreen.ac.uk/ondemand/index.php/prog/068A7B49?bcast=124554628
80
Keaton B, Cline E. One Week. 1995.
81
Keaton B, Mack M, Pittenger W, et al. The General. 2005.
82
Strauven W. The Cinema of Attractions Reloaded. Amsterdam: : Amsterdam University Press 2006. http://lib.myilibrary.com/Open.aspx?id=95844&src=0
83
Strauven W. The cinema of attractions reloaded. Amsterdam: : Amsterdam University Press https://0-www-jstor-org.pugwash.lib.warwick.ac.uk/stable/10.2307/j.ctt46n09s
84
Clayton A. The Body in Hollywood Slapstick. Jefferson, N.C.: : McFarland & Co 2007.
85
David Bordwell. Intensified Continuity Visual Style in Contemporary American Film. Film Quarterly 2002;55:16–28.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/10.1525/fq.2002.55.3.16?seq=1#page_scan_tab_contents
86
Carroll N. Comedy Incarnate: Buster Keaton, Physical Humour and Bodily Coping. Oxford: : Blackwell 2006.
87
Carroll N, Wiley InterScience (Online service). Comedy incarnate: Buster Keaton, physical humor, and bodily coping. Malden, MA, USA: : Blackwell Pub 2007. http://0-onlinelibrary.wiley.com.pugwash.lib.warwick.ac.uk/book/10.1002/9780470754931
88
Jenkins H, Karnick KB, American Film Institute. Classical Hollywood Comedy. New York: : Routledge 1995.
89
Perez G. The Material Ghost: Films and their Medium. Baltimore, Md: : Johns Hopkins University Press 1998.
90
Paulus T, King R. Slapstick Comedy. New York: : Routledge 2010.
91
Lloyd H, Maltin L, Correll R, et al. The Harold Lloyd comedy collection: Vol. 1. 2005.
92
Chaplin C, Morgan I, Totheroh RH, et al. Modern Times. 2010.https://learningonscreen.ac.uk/ondemand/index.php/prog/00002449?bcast=123248395
93
Verbinski G, Depp J. The Lone Ranger [DVD]. http://www.amazon.co.uk/Lone-Ranger-DVD-Johnny-Depp/dp/B00ECCRNG6/ref=sr_1_2?ie=UTF8&qid=1455639448&sr=8-2&keywords=the+lone+ranger
94
David Bordwell. Intensified Continuity Visual Style in Contemporary American Film. Film Quarterly 2002;55:16–28.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/10.1525/fq.2002.55.3.16?seq=1#page_scan_tab_contents
95
Purse L. Contemporary Action Cinema. Edinburgh: : Edinburgh University Press 2011. http://pugwash.lib.warwick.ac.uk/record=b2954621
96
Lisa Purse. Contemporary Action Cinema. 2011. http://0-universitypublishingonline.org.pugwash.lib.warwick.ac.uk/edinburgh/ebook.jsf?bid=CBO9780748646128
97
Bonny Cassidy. Stanza and deliver – the Filmic Poetry of Mad Max: Fury Road. The Conversation Published Online First: 2015.http://theconversation.com/stanza-and-deliver-the-filmic-poetry-of-mad-max-fury-road-42750
98
Arroyo J. Action/Spectacle Cinema: a Sight and Sound Reader. London: : British Film Institute 2000.
99
Lester C. Apocalypse and Optimism in Mad Max: Fury Road and Tomorrowland: Alternate Take. http://www.alternatetakes.co.uk/?2015,6,644
100
Jones N. Hollywood Action Films and Spatial Theory. New York: : Routledge 2015.
101
Martin A. The Mad Max Movies. Strawberry Hills, NSW: : Currency Press and ScreenSound Australia, National Screen and Sound Archives 2003.
102
Greengrass P, Damon M. The Bourne Ultimatum [DVD]. 2007.http://www.amazon.co.uk/Bourne-Ultimatum-DVD-Matt-Damon/dp/B000IOM98Y/ref=sr_1_1?s=dvd&ie=UTF8&qid=1455640786&sr=1-1&keywords=bourne+ultimatum
103
Abrams JJ, Cruise T. Mission Impossible 3 [DVD]. http://www.amazon.co.uk/Mission-Impossible-Single-Disc-DVD/dp/B000HWXS0K/ref=sr_1_1?s=dvd&ie=UTF8&qid=1455640884&sr=1-1&keywords=mission+impossible+3
104
Spielberg S, Ford H. Indiana Jones and the Kingdom of the Crystal Skull [DVD]. http://www.amazon.co.uk/Indiana-Kingdom-Crystal-2-Disc-Special/dp/B0011905MW/ref=sr_1_1?s=dvd&ie=UTF8&qid=1455641020&sr=1-1&keywords=indiana+jones+and+the+crystal+skull
105
Resnais A, Riva E, Okada E. Hiroshima mon amour. 2004.https://learningonscreen.ac.uk/ondemand/index.php/prog/00122A71?bcast=108804037
106
Greene N. The French New Wave: a New Look. London: : Wallflower 2007.
107
Farmer R. Marker, Resnais, Varda: Remembering the Left Bank Group. Published Online First: 2009.http://sensesofcinema.com/2009/feature-articles/marker-resnais-varda-remembering-the-left-bank-group/
108
Vincendeau G, Graham P. The French new wave: critical landmarks. [New ed.]. London: : BFI/Palgrave Macmillan 2009.
109
Wilson E. Alain Resnais. Manchester: : Manchester University Press 2006.
110
Monaco J. Alain Resnais. New York: : Oxford University Press 1979.
111
Higgins LA. New Novel, New Wave, New Politics: Fiction and the Representation of History in Postwar France. Lincoln: : University of Nebraska Press 1996.
112
Rascaroli L, Rhodes JD, British Film Institute. Antonioni: Centenary Essays. London: : Palgrave Macmillan 2011.
113
Alain Resnais. Nuit et Brouillard/Night and Fog [videorecording]. http://webcat.warwick.ac.uk/search~S15?/Xnuit+et+brouillard&searchscope=15&SORT=DZ/Xnuit+et+brouillard&searchscope=15&SORT=DZ&extended=0&SUBKEY=nuit+et+brouillard/1%2C11%2C11%2CB/frameset&FF=Xnuit+et+brouillard&searchscope=15&SORT=DZ&3%2C3%2C
114
Jean-Luc Godard. A Bout de Souffle/Breathless [videorecording]. http://webcat.warwick.ac.uk/search~S15?/Xa+bout+de+souffle&searchscope=15&SORT=DZ/Xa+bout+de+souffle&searchscope=15&SORT=DZ&extended=0&SUBKEY=a+bout+de+souffle/1%2C12%2C12%2CB/frameset&FF=Xa+bout+de+souffle&searchscope=15&SORT=DZ&2%2C2%2C
115
Courau P, Froment R, Robbe-Grillet A, et al. L’Année dernière a Marienbad/Last Year at Marienbad. 2009;The Criterion collection.
116
Agnes Varda. Cléo de 5 à 7/Cleo from 5 to 7 [videorecording]. http://webcat.warwick.ac.uk/search~S15?/Xcleo+de+5+a+7&searchscope=15&SORT=DZ/Xcleo+de+5+a+7&searchscope=15&SORT=DZ&extended=0&SUBKEY=cleo+de+5+a+7/1%2C9%2C9%2CB/frameset&FF=Xcleo+de+5+a+7&searchscope=15&SORT=DZ&1%2C1%2C
117
François Truffaut. Les Quatre Cents Coups/The 400 Blows [videorecording]. http://webcat.warwick.ac.uk/search~S15?/Xles+quatre+cents+coups&searchscope=15&SORT=DZ/Xles+quatre+cents+coups&searchscope=15&SORT=DZ&extended=0&SUBKEY=les+quatre+cents+coups/1%2C5%2C5%2CB/frameset&FF=Xles+quatre+cents+coups&searchscope=15&SORT=DZ&1%2C1%2C
118
Antonioni M, Antonioni M. L’eclisse. 1962.
119
Bordwell D. The Art Cinema as a Mode of Film Practice. Film Criticism 1979;IV:56–64.https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/fiaf/docview/222728459/fulltext/DC65F094D99E4564PQ/1?accountid=14888
120
Fowler C. The European Cinema Reader. London: : Routledge 2002.
121
Perez G. The Material Ghost: Films and their Medium. Baltimore, Md: : Johns Hopkins University Press 1998.
122
Brunette P. The Films of Michelangelo Antonioni. Cambridge: : Cambridge University Press 1998.
123
Thomson D. The Big Screen: the Story of the Movies. 1st ed. New York: : Farrar, Straus and Giroux 2012.
124
Michelangelo Antonioni. L’Avventura [videorecording]. http://webcat.warwick.ac.uk/search~S15?/Xl%27avventura&searchscope=15&SORT=DZ/Xl%27avventura&searchscope=15&SORT=DZ&extended=0&SUBKEY=l%27avventura/1%2C41%2C41%2CB/frameset&FF=Xl%27avventura&searchscope=15&SORT=DZ&1%2C1%2C
125
Antonioni, Michelangelo. La Notte/The Night [videorecording]. http://webcat.warwick.ac.uk/search~S15?/Xla+notte&searchscope=15&SORT=DZ/Xla+notte&searchscope=15&SORT=DZ&extended=0&SUBKEY=la+notte/1%2C28%2C28%2CB/frameset&FF=Xla+notte&searchscope=15&SORT=DZ&1%2C1%2C
126
Rafelson B. Five Easy Pieces. 1983.https://learningonscreen.ac.uk/ondemand/index.php/prog/0000B5A7?bcast=31133366
127
King G. New Hollywood Cinema: an Introduction. London: : I. B. Tauris 2001.
128
King G. New Hollywood, Version 1: The Hollywood Renaissance. http://www2.warwick.ac.uk/services/library/search/extracts/fi/fi101/king_g_2001_3.pdf
129
Elsässer T. The Persistence of Hollywood. New York, NY: : Routledge 2012. http://0-www.tandfebooks.com.pugwash.lib.warwick.ac.uk/isbn/9780203152508
130
Elsaesser T. The Persistence of Hollywood. 2012. http://0-www.tandfebooks.com.pugwash.lib.warwick.ac.uk/isbn/9780203152508
131
Krämer P. The New Hollywood: from Bonnie and Clyde to Star Wars. London: : Wallflower 2005.
132
Derek Nystrom. Hard Hats and Movie Brats: Auteurism and the Class Politics of the New Hollywood. Cinema Journal 2004;43:18–41.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3661107?seq=1#page_scan_tab_contents
133
Cinema Journal. http://webcat.warwick.ac.uk/search~S15?/Xcinema+journal&searchscope=15&SORT=DZ/Xcinema+journal&searchscope=15&SORT=DZ&SUBKEY=cinema+journal/1%2C39%2C39%2CB/frameset&FF=Xcinema+journal&searchscope=15&SORT=DZ&2%2C2%2C
134
Biskind P. Easy Riders, Raging Bulls: How the Sex ‘n’ Drugs ‘n’ Rock ‘n’ Roll Generation Saved Hollywood. London: : Bloomsbury 1998.
135
Thomson D. The Big Screen: the Story of the Movies. 1st ed. New York: : Farrar, Straus and Giroux 2012.
136
Arthur Penn. Bonnie and Clyde [videorecording]. http://webcat.warwick.ac.uk/search~S15?/Xbonnie+and+clyde&searchscope=15&SORT=DZ/Xbonnie+and+clyde&searchscope=15&SORT=DZ&extended=0&SUBKEY=bonnie+and+clyde/1%2C19%2C19%2CB/frameset&FF=Xbonnie+and+clyde&searchscope=15&SORT=DZ&5%2C5%2C
137
Mike Nichols. The Graduate [videorecording]. http://webcat.warwick.ac.uk/search~S15/?searchtype=X&searcharg=the+graduate+mike+nichols&searchscope=15&sortdropdown=-&SORT=DZ&extended=0&SUBMIT=Search&searchlimits=&searchorigarg=Xthe+graduate%26SORT%3DDZ
138
Fonda P, Hopper D, Southern T, et al. Easy rider. 35th anniversary special ed. [London]: : Columbia TriStar Home Entertainment 2004.
139
Peter Bogdanovich. The Last Picture Show [videorecording]. http://webcat.warwick.ac.uk/search~S15?/Xlast+picture+show&searchscope=15&SORT=DZ/Xlast+picture+show&searchscope=15&SORT=DZ&extended=0&SUBKEY=last+picture+show/1%2C22%2C22%2CB/frameset&FF=Xlast+picture+show&searchscope=15&SORT=DZ&1%2C1%2C
140
Furthman J, Brackett L, Hawks H, et al. Rio bravo. 2009.https://learningonscreen.ac.uk/ondemand/index.php/prog/0168F1BD?bcast=123561863
141
Mulvey L. Visual and Other Pleasures. 2nd ed. Basingstoke: : Palgrave Macmillan 2008.
142
Mulvey L. Visual Pleasure and Narrative Cinema. 2008. https://contentstore.cla.co.uk/secure/link?id=abcfc280-b643-e611-80bd-0cc47a6bddeb
143
Wood R, British Film Institute. Rio Bravo. London: : British Film Institute 2003.
144
Cook P, Dodd P. Women and Film: a ‘Sight and Sound’ Reader. London: : Scarlet Press 1993.
145
Doty A. Making Things Perfectly Queer: Interpreting Mass Culture. Minneapolis: : University of Minnesota Press 1993.
146
Alexander Doty. Making Things Perfectly Queer: Interpreting Mass Culture. http://lib.myilibrary.com/Open.aspx?id=523274&src=0
147
Hill J, Gibson PC. The Oxford Guide to Film Studies. Oxford: : Oxford University Press 1998.
148
Wilder B, Diamond IAL, Thoeren R, et al. Some Like it Hot. 2007;Cinema reserve.https://learningonscreen.ac.uk/ondemand/index.php/prog/001AAE13?bcast=123176062
149
Douglas K, Duff W, Fleming R, et al. Build my Gallows High. 2008.https://learningonscreen.ac.uk/ondemand/index.php/prog/000BCE03?bcast=123085974
150
Hawks H. To Have and Have Not. 1997.https://learningonscreen.ac.uk/ondemand/index.php/prog/000EBF54?bcast=27336832
151
Lederer C, Hawks H, Monroe M, et al. Gentlemen Prefer Blondes. 2006.https://learningonscreen.ac.uk/ondemand/index.php/prog/001CB98F?bcast=58837918
152
Martel L, Onetto M, Cantero C, et al. The Headless Woman. 2010.
153
Adorno TW, Horkheimer M. Dialectic of Enlightenment. London: : Verso 1997. https://contentstore.cla.co.uk/secure/link?id=90f4e5dc-8143-e611-80bd-0cc47a6bddeb
154
Adorno T. The Culture Industry: Enlightenment as Mass Destruction. 1997. https://contentstore.cla.co.uk/secure/link?id=90f4e5dc-8143-e611-80bd-0cc47a6bddeb
155
Delgado MM, Fiddian RW. La Mujer sin cabeza / The Headless Woman: (Lucrecia Martel, 2008): silence, historical memory and metapho. Manchester: : Manchester University Press 2013. https://contentstore.cla.co.uk/secure/link?id=200a1bb5-8c43-e611-80bd-0cc47a6bddeb
156
Delgado MM. La mujer sin cabeza/The Headless Woman: Silence, historical memory and metaphor. 2013. http://www2.warwick.ac.uk/services/library/search/extracts/fi/fi101/delgado_m_2013.pdf
157
Slobodian J. Analyzing the Woman Auteur: The Female/Feminist Gazes of Isabel Coixet and Lucrecia Martel. The Comparatist 2012;36:160–77. doi:10.1353/com.2012.0006
158
Sosa C. A Counter-Narrative of Argentine Mourning: The Headless Woman (2008), directed by Lucrecia Martel. Theory, Culture & Society 2009;26:250–62. doi:10.1177/0263276409349279
159
Andermann J. New Argentine Cinema. London: : I.B. Tauris 2012.
160
Martel L. La Cienaga (The Swamp) [DVD]. http://www.amazon.co.uk/Cienaga-Swamp-DVD-Mercedes-Mor%C3%A1n/dp/B0042PG274/ref=sr_1_1?s=dvd&ie=UTF8&qid=1455714788&sr=1-1&keywords=la+cienaga
161
Giorgelli P, Silva G de, Duarte H, et al. Las Acacias. 2012.https://learningonscreen.ac.uk/ondemand/index.php/prog/02CDBADA?bcast=122924679
162
Campanella JJ, Besuievsky M, Sacheri EA, et al. The Secret in their Eyes. 2013.https://learningonscreen.ac.uk/ondemand/index.php/prog/01E33111?bcast=121146745
163
Nichols B. Introduction to Documentary. 2nd ed. Bloomington: : Indiana University Press 2010.
164
Nichols B. How Can We Define Documentary Film? In: Introduction to documentary. Bloomington: : Indiana University Press 2010. 1–41.https://contentstore.cla.co.uk/secure/link?id=80a9a1c0-b843-e611-80bd-0cc47a6bddeb
165
Atkinson M. Line in the Sand. Sight & Sound 2015;25:40–4.http://0-search.proquest.com.pugwash.lib.warwick.ac.uk/docview/1727441649?accountid=14888
166
Stella Bruzzi. New Documentary. http://lib.myilibrary.com/Open.aspx?id=55327&src=0
167
Bruzzi S. New Documentary. 2nd ed. London: : Routledge 2006.
168
Winston B, British Film Institute. The Documentary Film Book. Basingstoke, United Kingdom: : Palgrave Macmillan 2013.
169
McLane BA. A New History of Documentary Film. Second edition. New York: : Bloomsbury Academic, an imprint of Bloomsbury Publishing, Inc 2013.
170
Brennan P, McDevitt C, Baker J, et al. Salesman. 2006.
171
Oppenheimer J, Congo A, Koto H, et al. The Act of Killing. https://learningonscreen.ac.uk/ondemand/index.php/prog/059705F6?bcast=108795473
172
Ruiz B, PBS Distribution (Firm), Public Broadcasting Service (U.S.). Reportero.
173
Schwarz S. Narco Cultura [DVD]. 2013.http://www.amazon.co.uk/Narco-Cultura-DVD-Region-NTSC/dp/B00GHH9HJA/ref=sr_1_1?s=dvd&ie=UTF8&qid=1455716500&sr=1-1&keywords=narco+cultura
174
Villeneuve D. Sicario [DVD]. 2015.http://www.amazon.co.uk/Sicario-DVD-Emily-Blunt/dp/B016AN4EMK/ref=sr_1_1?s=dvd&ie=UTF8&qid=1455716594&sr=1-1&keywords=sicario
175
Bregman A, Holofcener N, Aniston J, et al. Friends with Money. https://learningonscreen.ac.uk/ondemand/index.php/prog/BUF4DE721?bcast=123305061
176
Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema. Oxon: : Routledge 2011.
177
Schreiber M. Independence at What Cost? Economics and Desire in Nicole Holofcener’s Friends with Money (2006). 2011. https://contentstore.cla.co.uk/secure/link?id=183d905b-cd43-e611-80bd-0cc47a6bddeb
178
Perkins VF. Film as Film: Understanding and Judging Movies. Harmondsworth: : Penguin 1972.
179
Perkins VF. Direction and Authorship. 1993. https://contentstore.cla.co.uk/secure/link?id=5d058cd5-2050-e611-80c6-005056af4099
180
Brayton S. `Mexican’ labor in the Hollywood Imaginary. International Journal of Cultural Studies 2008;11:459–76. doi:10.1177/1367877908096054
181
Grant BK. Auteurs and Authorship: a Film Reader. Oxford: : Blackwell Pub 2008.
182
Wexman VW. Film and Authorship. New Brunswick, N.J.: : Rutgers University Press 2003.
183
Bregman A, D’Arbeloff E, Hope T, et al. Lovely and Amazing. 2007.https://learningonscreen.ac.uk/ondemand/index.php/prog/0057B0CD?bcast=50689291
184
Holofcener N. Walking And Talking [DVD]. 1996.http://www.amazon.co.uk/Walking-Talking-All-Region-Compatible/dp/B009R4GA72/ref=sr_1_16?s=dvd&ie=UTF8&qid=1455719341&sr=1-16&keywords=nicole+holofcener
185
Berg A. Every Secret Thing [DVD]. 2014.http://www.amazon.co.uk/Every-Secret-Thing-Region-1/dp/B00XIF8GF0/ref=sr_1_1?s=dvd&ie=UTF8&qid=1455719730&sr=1-1&keywords=every+secret+thing
186
Holofcener N, Bregman A, Peet A, et al. Please Give. 2011.
187
Perkins C. Beyond Indiewood: The Everyday Ethics of Nicole Holofcener. Camera Obscura: Feminism, Culture, and Media Studies 2014;29:137–59. doi:10.1215/02705346-2408543
188
King G, Molloy C, Tzioumakis Y. American Independent Cinema: Indie, Indiewood and Beyond. Abingdon, Oxon: : Routledge 2013.
189
King G. Indie 2.0: Change and Continuity in Contemporary American Indie Film. London: : I.B. Tauris 2014.
190
Biskind P, Miramax Films, Sundance Channel. Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film. London: : Bloomsbury 2004.
191
Sellors CP. Film Authorship: Auteurs and Other Myths. London: : Wallflower Press 2010.
192
Miller R, Syvan L, Hoffman S, et al. The Ballad of Jack & Rose. 2005.https://learningonscreen.ac.uk/ondemand/index.php/prog/0070A69A?bcast=109612521
193
Miller R. Personal Velocity [DVD]. 2003.http://www.amazon.co.uk/Personal-Velocity-DVD-Kyra-Sedgwick/dp/B0000A33QJ/ref=sr_1_1?s=dvd&ie=UTF8&qid=1455722133&sr=1-1&keywords=personal+velocity
194
Harron M. The Notorious Bettie Page [DVD]. 2005. http://www.amazon.co.uk/Notorious-Bettie-Page-DVD/dp/B000MX7YGI/ref=sr_1_1?s=dvd&ie=UTF8&qid=1455722307&sr=1-1&keywords=the+notorious+bettie+page
195
Grobet X, Frazen R, Bregman A, et al. Enough Said. https://learningonscreen.ac.uk/ondemand/index.php/prog/068B7EF6?bcast=121767131
196
Lister R. The Feature Film as Short Story: The "Little Disturbances” of Nicole Holofcener. Published Online First: 2012.http://www.nottingham.ac.uk/scope/issues/2012/october-issue-24.aspx
197
Holmlund C, Wyatt J. Contemporary American Independent Film: from the Margins to the Mainstream. London: : Routledge 2005. https://contentstore.cla.co.uk/secure/link?id=62f840e6-a843-e611-80bd-0cc47a6bddeb
198
Gregory A. Nicole Holofcener Nails It - The New Yorker. 2013.http://www.newyorker.com/culture/culture-desk/nicole-holofcener-nails-it
199
Scott AO. The Woman Who Knew Too Much - The New York Times. 2013.http://www.nytimes.com/2013/09/18/movies/enough-said-stars-james-gandolfini-and-julia-louis-dreyfus.html?_r=1
200
Vineyard J. How to Make a Movie: Nicole Holofcener on the Difference Between Directing Movies and TV’ -- Vulture. 2013.http://www.vulture.com/2013/10/nicole-holofcener-on-directing-tv-vs-movies.html#
201
Nicole Holofcener - IMDb. http://www.imdb.com/name/nm0392237/
202
Harron M, Turner G, Bale C, et al. American psycho. 2005.
