1
All That Heaven Allows (1955). https://learningonscreen.ac.uk/ondemand/index.php/prog/0001483A?bcast=95712924
2
Wyman J, Hudson R, Moorehead A, et al. All that heaven allows. 2007.
3
Fassbinder RW, Mira B, Ben Salem EH, et al. Ali, fear eats the soul. [United States]: : Criterion Collection 2003.
4
Far from Heaven (2002). https://learningonscreen.ac.uk/ondemand/index.php/prog/0054E252?bcast=74586582
5
Klinger B. The Many Faces of Melodrama. In: Melodrama and meaning: history, culture, and the films of Douglas  Sirk. Bloomington: : Indiana University Press 1994. 11–20.https://contentstore.cla.co.uk/secure/link?id=8f1afd4b-f599-e711-80cb-005056af4099
6
Gibbs JE. Mise-en-scène: film style and interpretation. London: : Wallflower 2002. http://WARW.eblib.com/patron/FullRecord.aspx?p=927987
7
Lynn Spigel. Installing the Television Set: Popular Discourses on Television and Domestic Space, 1948–1955. Camera Obscura 1988;6:9–46. doi:10.1215/02705346-6-1_16-9                                  10.1215/02705346-6-1_16-9
8
Sontang S. Against Interpretation. In: Against interpretation, and other essays. London: : Eyre & Spottiswoode 1967. 3–14.https://contentstore.cla.co.uk/secure/link?id=1d2e7487-799c-e711-80cb-005056af4099
9
Evans VL. Douglas Sirk, aesthetic modernism and the culture of modernity. Edinburgh: : Edinburgh University Press 2017.
10
Halliday J. Conversations with Jon Halliday. 1997.https://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=halliday++Conversations+with+Jon+Halliday&rh=n%3A266239%2Ck%3Ahalliday++Conversations+with+Jon+Halliday
11
Mulvey L. Visual and other pleasures. 2nd ed. Basingstoke: : Palgrave Macmillan 2008.
12
Mulvey L. Death 24x a second: stillness and the moving image. London: : Reaktion Books 2006.
13
Willemen P, British Film Institute. Looks and frictions: essays in cultural studies and film theory. Bloomington: : Indiana University Press 1994.
14
Landy M. Imitations of life: a reader on film & television melodrama. Detroit: : Wayne State University Press 1991.
15
Gibbs J, Pye D. Style and meaning: studies in the detailed analysis of film. Manchester: : Manchester University Press 2005.
16
Lehman P. Close viewings: an anthology of new film criticism. Tallahassee, Fla: : Florida State University Press 1990.
17
Gibbs J, Pye D. Style and meaning: studies in the detailed analysis of film. Manchester: : Manchester University Press 2005.
18
The Cine-Files. http://issue4.thecine-files.com/
19
Buonanno M. The age of television: experiences and theories. Bristol: : Intellect 2008. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2684701
20
Corner J. Critical ideas in television studies. Oxford: : Clarendon Press 1999.
21
Ellis J. Visible fictions: cinema, television, video. Rev. ed. London: : Routledge 1992. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2882155
22
Hartley J. Uses of television. London: : Routledge 1999. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2881799
23
Morley D. Family television: cultural power and domestic leisure. London: : Routledge 1988.
24
Nixon S. Life in the kitchen: Television advertising, the housewife and domestic modernity in Britain, 1955–1969. Contemporary British History 2017;31:69–90. doi:10.1080/13619462.2016.1245619
25
Corner J. Popular television in Britain: studies in cultural history. London: : BFI Publishing 1991.
26
Pertierra AC, Turner G. Locating television: zones of consumption. London: : Routledge 2013. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2724171
27
Rodan D. Large, sleek, slim, stylish flat screens: Privatized space and the televisual experience. Continuum 2009;23:367–82. doi:10.1080/10304310902884050
28
Geller M, New Museum of Contemporary Art (New York, N.Y.). From receiver to remote control: the TV set. New York: : New Museum of Contemporary Art
29
Silverstone R. Television and everyday life. London: : Routledge 1994. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2698500
30
Spigel L. Make room for TV: television and the family ideal in postwar America. Chicago: : University of Chicago Press 1992. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2756011
31
Tichi C. Electronic hearth: creating an American television culture. New York: : Oxford University Press 1991. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2905968
32
Andrews H. Television and British cinema: convergence and divergence since 1990. Basingstoke: : Palgrave Macmillan 2014. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2722218
33
Andrews H. On the Grey Box: Broadcasting Experimental Film and Video on Channel 4’s. Visual Culture in Britain 2011;12:203–18. doi:10.1080/14714787.2011.575262
34
Barr C, British Film Institute. All our yesterdays: 90 years of British cinema. London: : BFI Publishing 1986.
35
Barr C, British Film Institute. All our yesterdays: 90 years of British cinema. London: : BFI Publishing 1986.
36
McLoone M, Hill J. Big picture, small screen: the relations between film and television. Luton: : University of Luton Press 1996.
37
Klinger B. Beyond the multiplex: cinema, new technologies, and the home. Berkeley: : University of California Press 2006. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668425
38
Niessen N. Lives of cinema: against its ‘death’. Screen 2011;52:307–26. doi:10.1093/screen/hjr023
39
Rodowick DN. The virtual life of film. Cambridge, Mass: : Harvard University Press 2007. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2667173
40
Stokes JC. On screen rivals: cinema and television in the United States and  Britain. Basingstoke: : Macmillan 1999.
41
Grainge P. Ephemeral media: transitory screen culture from television to YouTube. London: : BFI 2011.
42
Johnson C. Branding television. Abingdon, Oxon: : Routledge 2012. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2807202
43
Ahmed S. Making Feminist Points. https://feministkilljoys.com/2013/09/11/making-feminist-points/
44
DAVID BORDWELL. NEVER THE TWAIN Why can’t cinephiles and academics just get along? SHALL MEET. Film Comment 2011;47:38–41.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/43459668?refreqid=search%3A350b5d35038cc5cd230d7262e379c3dc
45
Brunsdon C. Pedagogies of the feminine: feminist teaching and women’s genres. Screen 1991;32:364–81. doi:10.1093/screen/32.4.364
46
Gumbrecht HU, Pfeiffer KL. Materialities of communication. Stanford, Calif: : Stanford University Press 1994.
47
Sedgwick EK. Touching feeling: affect, pedagogy, performativity. Durham, N.C.: : Duke University Press 2003.
48
Scarlet Street (1945). https://learningonscreen.ac.uk/ondemand/index.php/prog/00017964?bcast=76007713
49
Perkins VF. "How” is "What”. In: Film as film: understanding and judging movies. Harmondsworth: : Penguin 1972. 116–33.https://contentstore.cla.co.uk/secure/link?id=16d966f4-3d99-e711-80cb-005056af4099
50
Martin A. Guess-Work: Scarlet Street. Movie: A Journal of Film Criticism 2012;3.http://www2.warwick.ac.uk/fac/arts/film/movie/contents/scarlet_st._final.2.pdf
51
Cameron I. The Movie book of film noir. London: : Studio Vista 1992.
52
Gibbs J, Pye D. Style and meaning: studies in the detailed analysis of film. Manchester: : Manchester University Press 2005.
53
Martin A. Mise en scène and film style: from classical Hollywood to new media art. Houndmills, Basingstoke, Hampshire: : Palgrave Macmillan 2014.
54
Pye D, Leigh J, Smith S. Close-up 02. London: : Wallflower 2007.
55
Thomas D. Reading Hollywood: spaces and meanings in American film. London: : Wallflower 2001.
56
Wilson GM. Narration in light: studies in cinematic point of view. Baltimore: : Johns Hopkins University Press 1986.
57
Wood R. Personal views: explorations in film. Rev. ed. Detroit: : Wayne State University Press 2006. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2999423
58
Coen J, Coen E, Macy WH, et al. Fargo. 2004.
59
Clayton A, Klevan A. Introduction: The language and style of film criticism. In: The language and style of film criticism. Abingdon, Oxon: : Routledge 2011. https://contentstore.cla.co.uk/secure/link?id=ceb19b4d-5920-e711-80c9-005056af4099
60
Goerge Toles. Obvious mysteries in Fargo. Michigan Quarterly Review 1999;38.https://0-literature-proquest-com.pugwash.lib.warwick.ac.uk/searchFulltext.do?id=R01593801&divLevel=0&queryId=3010753398631&trailId=15DE4F2BB9B&area=abell&forward=critref_ft
61
Britton A, Grant BK. Britton on film: the complete film criticism of Andrew Britton. Detroit: : Wayne State University Press 2009. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2988759
62
Carroll N. On criticism. New York: : Routledge 2009.
63
Luhr W. The Coen brothers’ Fargo. Cambridge, U.K.: : Cambridge University Press 2004. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668201
64
Clayton A, Klevan A. The language and style of film criticism. Abingdon, Oxon: : Routledge 2011. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2585945
65
Please read: V.F. Perkins, ‘Must We Say What They Mean? Film Criticism and Interpretation’. Movie 1990;34:1–6.https://contentstore.cla.co.uk/secure/link?id=565b4837-7a9c-e711-80cb-005056af4099
66
Perkins VF. Film as film: understanding and judging movies. Harmondsworth: : Penguin 1972.
67
Stam R. Film theory: an introduction. Malden, Mass: : Blackwell 2000.
68
Grayson Perry: Divided Britain. https://learningonscreen.ac.uk/ondemand/index.php/prog/0F03831C?bcast=124243314
69
Spacey K. House of cards [videorecording].
70
Williams R. Chapter 4: ‘Programming: distribution and flow’. In: Television: technology and cultural form. London: : Routledge 1990. 78–118.https://contentstore.cla.co.uk/secure/link?id=4c8eb77a-c497-e711-80cb-005056af4099
71
Ellis J. Visible fictions: cinema, television, video. Rev. ed. London: : Routledge 1992. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2882155
72
Mittell J. Complex TV: the poetics of contemporary television storytelling. New York: : New York University Press 2015. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3087566
73
Newcomb HM, Hirsch PM. Television as a cultural forum: Implications for research∗. Quarterly Review of Film Studies 1983;8:45–55. doi:10.1080/10509208309361170
74
Caldwell JT. Excessive Style: The Crisis of Network Television. In: Televisuality: style, crisis, and authority in American television. New Brunswick, N.J.: : Rutgers University Press 1995. 3–31.https://contentstore.cla.co.uk/secure/link?id=8327195d-5720-e711-80c9-005056af4099
75
Bennett J, Strange N. Television as digital media. Durham, NC: : Duke University Press 2011. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2680993
76
Browne N. The political economy of the television (super) text. Quarterly Review of Film Studies 1984;9:174–82. doi:10.1080/10509208409361210
77
Buonanno M. The age of television: experiences and theories. Bristol: : Intellect 2008. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2684701
78
Caldwell JT, Everett A. New media: theories and practices of digitextuality. New York: : Routledge 2003.
79
Corner J. Critical ideas in television studies. Oxford: : Clarendon Press 1999.
80
Bennett J, Strange N. Television as digital media. Durham, NC: : Duke University Press 2011. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2680993
81
Kaplan EA. Regarding television: critical approaches : an anthology. Frederick, MD.: : University Publications of America 1983.
82
Fiske J. Television culture. 2nd ed. London: : Routledge 2011. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2586371
83
Geraghty C, Lusted D. The television studies book. London: : Arnold 1998.
84
Hills M. FROM THE BOX IN THE CORNER TO THE BOX SET ON THE SHELF. New Review of Film and Television Studies 2007;5:41–60. doi:10.1080/17400300601140167
85
Jacobs J. Issues of judgement and value in television studies. International Journal of Cultural Studies 2001;4:427–47. doi:10.1177/136787790100400404
86
Bennett J, Strange N. Television as digital media. Durham, NC: : Duke University Press 2011. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2680993
87
Lury K. Interpreting television. London: : Hodder Arnold 2005.
88
McDonald K, Smith-Rowsey D, editors. The Netflix effect: technology and entertainment in the 21st century. New York, NY: : Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc 2016. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3030558
89
Mellencamp P. Logics of television: essays in cultural criticism. Bloomington: : Indiana University Press 1990.
90
Spigel L, Olsson J. Television after TV: essays on a medium in transition. Durham: : Duke University Press 2004. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2876268
91
Spigel L. My TV Studies . . . Now Playing on a You Tube Site Near You. Television & New Media 2009;10:149–53. doi:10.1177/1527476408325895
92
Spigel L, Olsson J. Television after TV: essays on a medium in transition. Durham: : Duke University Press 2004. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2876268
93
Couldry N, McCarthy A. MediaSpace: place, scale, and culture in a media age. London: : Routledge 2004.
94
Williams R, Williams E. Television: technology and cultural form. 2nd ed. London: : Routledge 1990.
95
Wood H. Television is happening. European Journal of Cultural Studies 2007;10:485–506. doi:10.1177/1367549407081956
96
Turner G, Tay J. Television studies after tv: understanding television in the post-broadcast era. London: : Routledge 2009. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2876267
97
Corner, John. Finding data, reading patterns, telling stories: issues in the historiography of television. Media, Culture & Society; 2003;25.http://0-journals.sagepub.com.pugwash.lib.warwick.ac.uk/doi/pdf/10.1177/01634437030252006
98
Wheatley H. Re-viewing television history: critical issues in television historiography. London: : I. B. Tauris 2007. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2876271
99
Lynn Spigel. Installing the Television Set: Popular Discourses on Television and Domestic Space, 1948–1955. Camera Obscura 1988;6:9–46. doi:10.1215/02705346-6-1_16-9                                  10.1215/02705346-6-1_16-9
100
Bignell J, Lacey S. Popular television drama: critical perspectives. Manchester: : Manchester University Press 2005.
101
Hilmes M. The television history book. London: : British Film Institute 2003.
102
Amy Holdsworth. ‘Television Resurrections’: Television and Memory. Cinema Journal 2008;47:137–44.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/30136121
103
Jacobs J. The intimate screen: early British television drama. Oxford: : Oxford University Press 2000. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2664100
104
Creeber G. Tele-visions: an introduction to studying television. London: : BFI 2006.
105
Lacey S. Some Thoughts on Television History and Historiography: A British Perspective. Critical Studies in Television: The International Journal of Television Studies 2006;1:3–12. doi:10.7227/CST.1.1.3
106
Moran J. Armchair nation: an intimate history of Britain in front of the TV. London: : Profile Books 2013. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2876349
107
Gillis S, Hollows J. Feminism, domesticity and popular culture. London: : Routledge 2008.
108
Rachel Moseley and Helen Wheatley. Is Archiving a Feminist Issue? Historical Research and the Past, Present, and Future of Television Studies. Cinema Journal 2008;47:152–8.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/30136123
109
Corner J. Popular television in Britain: studies in cultural history. London: : BFI Publishing 1991.
110
Cannadine D, University of London. Institute of Historical Research. History and the media. Houndmills, Basingstoke, Hampshire: : Palgrave Macmillan 2004.
111
Wallace, Richard. John Cura: Pioneer of the Television Archive. Journal of British Cinema & Television; 2016;13:99–120.http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=edb&AN=112339087&site=eds-live&group=trial
112
Bruno G. Atlas of emotion: journeys in art, architecture and film. New York: : Verso 2007.
113
Kar Wai Wong. Grandmaster [videorecording].
114
Gunning T. Moving Away from the Index: Cinema and the Impression of Reality. differences 2007;18:29–52. doi:10.1215/10407391-2006-022
115
Metz C. On the Impression of Reality in the Cinema. In: Film language: a semiotics of the cinema. New York: : Oxford University Press 1974. 3–15.https://contentstore.cla.co.uk/secure/link?id=e12e9083-4f99-e711-80cb-005056af4099
116
Bazin A, Gray H. What is cinema? Berkeley: : University of California Press 2005. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2756261
117
Crary J. Techniques of the observer: on vision and modernity in the  nineteenth century. Cambridge, Mass: : MIT Press 1990.
118
Visual Studies Workshop. Afterimage.
119
Elsaesser T. Film history as media archaeology: tracking digital cinema. Amsterdam: : Amsterdam University Press 2016.
120
Elsaesser T, Hagener M. Film theory: an introduction through the senses. New York: : Routledge 2010. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3076220
121
Friedberg A. The virtual window: from Alberti to Microsoft. Cambridge, Mass: : MIT Press 2006. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2756081
122
Kracauer S. Theory of film: the redemption of physical reality. New York: : Oxford University Press 1965.
123
Manovich L. The language of new media. Cambridge, Mass: : MIT Press 2001. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2851616
124
Mulvey L. Death 24x a second: stillness and the moving image. London: : Reaktion Books 2006.
125
Stam R. Film theory: an introduction. Malden, Mass: : Blackwell 2000.
126
Fuller B, Green M, Gaiman N, et al. American gods: Complete season one. 2017.
127
Sobchack VC. Carnal thoughts: embodiment and moving image culture. Berkeley: : University of California Press 2004. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668155
128
Brinkema E. The forms of the affects. Durham: : Duke University Press 2014. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2750546
129
Caldwell JT. Televisuality: style, crisis, and authority in American television. New Brunswick, N.J.: : Rutgers University Press 1995. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2848118
130
Elsaesser T, Hagener M. Film theory: an introduction through the senses. New York: : Routledge 2010. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3076220
131
Gorton K. Media audiences: television, meaning and emotion. Edinburgh: : Edinburgh University Press 2009. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2796985
132
Hemmings C. INVOKING AFFECT. Cultural Studies 2005;19:548–67. doi:10.1080/09502380500365473
133
Marks LU. The skin of the film: intercultural cinema, embodiment, and the senses. Durham, NC: : Duke University Press 2000.
134
Ndalianis A. A Disturbing Feast for the Senses. Journal of Visual Culture 2015;14:279–84. doi:10.1177/1470412915607928
135
Plantinga CR. Moving viewers: American film and the spectator’s experience. Berkeley: : University of California Press 2009. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668563
136
Senses of cinema. http://sensesofcinema.com/issues/
137
Shaviro S. The cinematic body. Minneapolis: : University of Minnesota Press 1993. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2914101
138
Gregg M, Seigworth GJ. The affect theory reader. Durham, NC: : Duke University Press 2010. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2747774
139
Shouse E. Feeling, Emotion, Affect. M/C Journal 2005;8.http://www.journal.media-culture.org.au/0512/03-shouse.php
140
Smit A. Visual Effects and Visceral Affect: ‘Tele-Affectivity’ and the Intensified Intimacy of Contemporary Television. Critical Studies in Television: The International Journal of Television Studies 2013;8:92–107. doi:10.7227/CST.8.3.8
141
Williams, Linda. Film Bodies: Gender, Genre, and Excess. Film Quarterly (ARCHIVE);44.https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/223102636?accountid=14888
142
Ozu Y, Noda K, Atsuta Y, et al. The Noriko trilogy. 2004.
143
Late Spring (1949). https://learningonscreen.ac.uk/ondemand/index.php/prog/01BC3002?bcast=90546390
144
Ozu Y, Noda K, Hara S, et al. Late autumn. 2006.
145
Bordwell D. Towards Intrinsic Norms. In: Ozu and the poetics of cinema. London: : BFI Publishing 1988. 73–88.https://contentstore.cla.co.uk/secure/link?id=18aa4f69-049b-e811-80cd-005056af4099
146
Burch N. Ozu Yasujiro. In: To the distant observer: form and meaning in the Japanese cinema. London: : Scolar Press 1979. 154–85.https://contentstore.cla.co.uk/secure/link?id=76e8cecb-5720-e711-80c9-005056af4099
147
Schrader P. Transcendental style in film: Ozu, Bresson, Dreyer. New York: : Da Capo 1988.
148
Phillips A, Stringer J. Japanese cinema: texts and contexts. London: : Routledge 2007.
149
Russell C. Classical Japanese cinema revisited. New York: : Continuum 2011. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2824993
150
Desser D. Ozu’s Tokyo story. Cambridge: : Cambridge University Press 1997. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668747
151
Eleftheriotis D, Needham G. Asian cinemas: a reader and guide. Edinburgh: : Edinburgh University Press 2006.
152
Richie D. Ozu. Berkeley: : University of California Press 1974.
153
Ozu Y, Noda K. Tokyo Story: The Ozu/Noda Screenplay. 2003. https://www.amazon.co.uk/Tokyo-Story-Screenplay-16-Oct-2003-Paperback/dp/B013PREW8K/ref=sr_1_1?ie=UTF8&qid=1505207011&sr=8-1&keywords=Tokyo+Story%3A+The+Ozu%2FNoda+Screenplay
154
Hitoto Y, Hsiao-hsien H, T’ien-Wen C, et al. Café Lumière.
155
Kiarostami A. Five Dedicated to Ozu. 2003.https://www.amazon.co.uk/Five-Dedicated-Ozu-Region-NTSC/dp/B000QCU520/ref=sr_1_1?s=books&ie=UTF8&qid=1505207321&sr=8-1&keywords=Five+Dedicated+to+Ozu
156
Wenders W. Tokyo-Ga. 1985.https://www.amazon.co.uk/Tokyo-Ga-Chishu-Ryu/dp/B00ESQBU6A/ref=sr_1_1?s=books&ie=UTF8&qid=1505207424&sr=8-1&keywords=Tokyo-Ga+wim+Wenders%2C+1985
157
Jarmusch J, Koduh Y, Nagase M, et al. Mystery train. 1993.
158
Denis C, Pesery B, Fargeau J-P, et al. 35 rhums: 35 shots of rum. 2008.https://learningonscreen.ac.uk/ondemand/index.php/prog/01407544?bcast=89004719
159
Kore-eda H, Abe H, Natsukawa Y, et al. Still walking. 2008.
160
Bordwell D. ‘Watch Again! Look well! Look! (For Ozu)’. 2013.http://www.davidbordwell.net/blog/2013/12/12/watch-again-look-well-look-for-ozu/
161
Rosenbaum J. Is Ozu Slow? 2000.http://sensesofcinema.com/2000/feature-articles/ozu-2/
162
Nagib L. The Politics of Slowness and the Traps of Modernity. In: De Luca T, Jorge NB, eds. Slow cinema. Edinburgh: : Edinburgh University Press 2016. 25–46.https://contentstore.cla.co.uk/secure/link?id=8835f723-6e98-e711-80cb-005056af4099
163
Graf A. The cinema of Wim Wenders: the celluloid highway. London: : Wallflower Press 2002.
164
Udden J. No man an island: the cinema of Hou Hsiao-hsien. Hong Kong: : Hong Kong University Press 2009.
165
De Luca T, Jorge NB, editors. Slow cinema. Edinburgh: : Edinburgh University Press 2016.
166
Gott M, Schilt T, Rascaroli L. Open roads, closed borders: the contemporary French-language road movie. Bristol, UK: : Intellect 2013. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2659958
167
Song Hwee LIM. Domesticating Time: Gendered Temporalities in Hou Hsiao-hsien’s Café Lumière. Frontiers of Literary Studies in China 2016;10:36–57. doi:10.3868/s010-005-016-0003-4
168
Lee VPY. East Asian cinemas: regional flows and global transformations. Houndmills, Basingstoke, Hampshire: : Palgrave Macmillan 2011. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2702797
169
De Luca T, Jorge NB, editors. Slow cinema. Edinburgh: : Edinburgh University Press 2016.
170
Stein W, Di Paolo M, editors. Ozu international: essays on the global influences of a Japanese auteur. New York: : Bloomsbury, An imprint of Bloombury Publishing Inc 2015. http://lib.myilibrary.com/ProductDetail.aspx?id=752606&entityid=https://idp.warwick.ac.uk/idp/shibboleth
171
Buckland W, editor. Hollywood puzzle films. New York: : Routledge 2014.
172
Stein W, Di Paolo M, editors. Ozu international: essays on the global influences of a Japanese auteur. New York: : Bloomsbury, An imprint of Bloombury Publishing Inc 2015. http://lib.myilibrary.com/ProductDetail.aspx?id=752606&entityid=https://idp.warwick.ac.uk/idp/shibboleth
173
Wu I. Remapping Ozu’s Tokyo? The Interplay between History and Memory in Hou Hsiao-Hsien’s Café Lumière. Asian Cinema 2008;19:172–81. doi:10.1386/ac.19.1.172_1