1.
All That Heaven Allows (1955) [Internet]. FilmFour; Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/0001483A?bcast=95712924
2.
Wyman J, Hudson R, Moorehead A, Nagel C, Grey V, Talbott G, et al. All that heaven allows. [London?]: Universal Pictures Video; 2007.
3.
Fassbinder RW, Mira B, Ben Salem EH, Valentin B, Hermann I, Karlowa E, et al. Ali, fear eats the soul. Vol. Criterion collection. [United States]: Criterion Collection; 2003.
4.
Far from Heaven (2002) [Internet]. FilmFour; Available from: 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 [Internet]. Bloomington: Indiana University Press; 1994. p. 11–20. Available from: https://contentstore.cla.co.uk/secure/link?id=8f1afd4b-f599-e711-80cb-005056af4099
6.
Gibbs JE. Mise-en-scène: film style and interpretation [Internet]. Vol. Short cuts. London: Wallflower; 2002. Available from: 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 [Internet]. 1988 Jan 1;6(1 16):9–46. Available from: http://cameraobscura.dukejournals.org/content/6/1_16/9.citation
8.
Sontang S. Against Interpretation. In: Against interpretation, and other essays [Internet]. London: Eyre & Spottiswoode; 1967. p. 3–14. Available from: 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 [Internet]. Cahiers du cinéma; 1997. Available from: 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. Vol. Language, discourse, society. 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. Vol. Perspectives. Bloomington: Indiana University Press; 1994.
14.
Landy M. Imitations of life: a reader on film & television melodrama. Vol. Contemporary film and television series. 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 [Internet]. Available from: http://issue4.thecine-files.com/
19.
Buonanno M. The age of television: experiences and theories [Internet]. Bristol: Intellect; 2008. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2684701
20.
Corner J. Critical ideas in television studies. Vol. Oxford television studies. Oxford: Clarendon Press; 1999.
21.
Ellis J. Visible fictions: cinema, television, video [Internet]. Rev. ed. London: Routledge; 1992. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2882155
22.
Hartley J. Uses of television [Internet]. London: Routledge; 1999. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2881799
23.
Morley D. Family television: cultural power and domestic leisure. Vol. Comedia. London: Routledge; 1988.
24.
Nixon S. Life in the kitchen: Television advertising, the housewife and domestic modernity in Britain, 1955–1969. Contemporary British History [Internet]. 2017 Jan 2;31(1):69–90. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/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 [Internet]. London: Routledge; 2013. Available from: 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 [Internet]. 2009 Jun;23(3):367–82. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/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 [Internet]. London: Routledge; 1994. Available from: 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 [Internet]. Chicago: University of Chicago Press; 1992. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2756011
31.
Tichi C. Electronic hearth: creating an American television culture [Internet]. New York: Oxford University Press; 1991. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2905968
32.
Andrews H. Television and British cinema: convergence and divergence since 1990 [Internet]. Basingstoke: Palgrave Macmillan; 2014. Available from: 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 [Internet]. 2011 Jul;12(2):203–18. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/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. Vol. Acamedia research monograph. Luton: University of Luton Press; 1996.
37.
Klinger B. Beyond the multiplex: cinema, new technologies, and the home [Internet]. Berkeley: University of California Press; 2006. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668425
38.
Niessen N. Lives of cinema: against its ‘death’. Screen [Internet]. 2011 Sep 1;52(3):307–26. Available from: https://0-academic-oup-com.pugwash.lib.warwick.ac.uk/screen/article-lookup/doi/10.1093/screen/hjr023
39.
Rodowick DN. The virtual life of film [Internet]. Cambridge, Mass: Harvard University Press; 2007. Available from: 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 [Internet]. Vol. Comedia. Abingdon, Oxon: Routledge; 2012. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2807202
43.
Ahmed S. Making Feminist Points [Internet]. Available from: 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 [Internet]. 2011;47(3):38–41. Available from: 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 [Internet]. 1991 Dec 1;32(4):364–81. Available from: https://0-academic-oup-com.pugwash.lib.warwick.ac.uk/screen/article/32/4/364/1679919/Pedagogies-of-the-feminine-feminist-teaching-and
46.
Gumbrecht HU, Pfeiffer KL. Materialities of communication. Vol. Writing science. Stanford, Calif: Stanford University Press; 1994.
47.
Sedgwick EK. Touching feeling: affect, pedagogy, performativity. Vol. Series Q. Durham, N.C.: Duke University Press; 2003.
48.
Scarlet Street (1945) [Internet]. BBC2 England; Available from: 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 [Internet]. Penguin. Harmondsworth: Penguin; 1972. p. 116–33. Available from: 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 [Internet]. 2012;3. Available from: 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. Vol. Palgrave close readings in film and television. 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. Vol. Short cuts. 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 [Internet]. Rev. ed. Vol. Contemporary approaches to film and television series. Detroit: Wayne State University Press; 2006. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2999423
58.
Coen J, Coen E, Macy WH, McDormand F. Fargo. Special ed. Santa Monica, CA: MGM Home Entertainment; 2004.
59.
Clayton A, Klevan A. Introduction: The language and style of film criticism. In: The language and style of film criticism [Internet]. Abingdon, Oxon: Routledge; 2011. Available from: https://contentstore.cla.co.uk/secure/link?id=ceb19b4d-5920-e711-80c9-005056af4099
60.
Goerge Toles. Obvious mysteries in Fargo. Michigan Quarterly Review [Internet]. 1999;38(4). Available from: 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 [Internet]. Vol. Contemporary approaches to film and television series. Detroit: Wayne State University Press; 2009. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2988759
62.
Carroll N. On criticism. Vol. Thinking in action. New York: Routledge; 2009.
63.
Luhr W. The Coen brothers’ Fargo [Internet]. Vol. The Cambridge University Press film handbooks series. Cambridge, U.K.: Cambridge University Press; 2004. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668201
64.
Clayton A, Klevan A. The language and style of film criticism [Internet]. Abingdon, Oxon: Routledge; 2011. Available from: 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 [Internet]. 1990;34:1–6. Available from: https://contentstore.cla.co.uk/secure/link?id=565b4837-7a9c-e711-80cb-005056af4099
66.
Perkins VF. Film as film: understanding and judging movies. Vol. A Pelican original. Harmondsworth: Penguin; 1972.
67.
Stam R. Film theory: an introduction. Malden, Mass: Blackwell; 2000.
68.
Grayson Perry: Divided Britain [Internet]. Channel 4; Available from: 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 [Internet]. 2nd ed. London: Routledge; 1990. p. 78–118. Available from: https://contentstore.cla.co.uk/secure/link?id=4c8eb77a-c497-e711-80cb-005056af4099
71.
Ellis J. Visible fictions: cinema, television, video [Internet]. Rev. ed. London: Routledge; 1992. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2882155
72.
Mittell J. Complex TV: the poetics of contemporary television storytelling [Internet]. New York: New York University Press; 2015. Available from: 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 [Internet]. 1983 Jun;8(3):45–55. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1080/10509208309361170
74.
Caldwell JT. Excessive Style: The Crisis of Network Television. In: Televisuality: style, crisis, and authority in American television [Internet]. New Brunswick, N.J.: Rutgers University Press; 1995. p. 3–31. Available from: https://contentstore.cla.co.uk/secure/link?id=8327195d-5720-e711-80c9-005056af4099
75.
Bennett J, Strange N. Television as digital media [Internet]. Vol. Console-ing passions. Durham, NC: Duke University Press; 2011. Available from: 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 [Internet]. 1984 Jun;9(3):174–82. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1080/10509208409361210?journalCode=gqrf19
77.
Buonanno M. The age of television: experiences and theories [Internet]. Bristol: Intellect; 2008. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2684701
78.
Caldwell JT, Everett A. New media: theories and practices of digitextuality. Vol. AFI film readers. New York: Routledge; 2003.
79.
Corner J. Critical ideas in television studies. Vol. Oxford television studies. Oxford: Clarendon Press; 1999.
80.
Bennett J, Strange N. Television as digital media [Internet]. Vol. Console-ing passions. Durham, NC: Duke University Press; 2011. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2680993
81.
Kaplan EA. Regarding television: critical approaches : an anthology. Vol. The American Film Institute monograph series. Frederick, MD.: University Publications of America; 1983.
82.
Fiske J. Television culture [Internet]. 2nd ed. London: Routledge; 2011. Available from: 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 [Internet]. 2007 Apr;5(1):41–60. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1080/17400300601140167
85.
Jacobs J. Issues of judgement and value in television studies. International Journal of Cultural Studies [Internet]. 2001 Dec;4(4):427–47. Available from: http://0-journals.sagepub.com.pugwash.lib.warwick.ac.uk/doi/10.1177/136787790100400404
86.
Bennett J, Strange N. Television as digital media [Internet]. Vol. Console-ing passions. Durham, NC: Duke University Press; 2011. Available from: 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 [Internet]. New York, NY: Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc; 2016. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3030558
89.
Mellencamp P. Logics of television: essays in cultural criticism. Vol. Theories of contemporary culture. Bloomington: Indiana University Press; 1990.
90.
Spigel L, Olsson J. Television after TV: essays on a medium in transition [Internet]. Vol. Console-ing passions. Durham: Duke University Press; 2004. Available from: 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 [Internet]. 2009 Jan;10(1):149–53. Available from: http://0-journals.sagepub.com.pugwash.lib.warwick.ac.uk/doi/10.1177/1527476408325895
92.
Spigel L, Olsson J. Television after TV: essays on a medium in transition [Internet]. Vol. Console-ing passions. Durham: Duke University Press; 2004. Available from: 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. Vol. Comedia. 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 [Internet]. 2007 Nov;10(4):485–506. Available from: http://0-journals.sagepub.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1177/1367549407081956
96.
Turner G, Tay J. Television studies after tv: understanding television in the post-broadcast era [Internet]. London: Routledge; 2009. Available from: 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; [Internet]. 2003;25(2). Available from: 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 [Internet]. London: I. B. Tauris; 2007. Available from: 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 [Internet]. 1988 Jan 1;6(1 16):9–46. Available from: http://cameraobscura.dukejournals.org/content/6/1_16/9.citation
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 [Internet]. 2008;47(3):137–44. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/30136121
103.
Jacobs J. The intimate screen: early British television drama [Internet]. Vol. Oxford television studies. Oxford: Oxford University Press; 2000. Available from: 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 [Internet]. 2006 Mar;1(1):3–12. Available from: http://0-journals.sagepub.com.pugwash.lib.warwick.ac.uk/doi/10.7227/CST.1.1.3
106.
Moran J. Armchair nation: an intimate history of Britain in front of the TV [Internet]. London: Profile Books; 2013. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2876349
107.
Gillis S, Hollows J. Feminism, domesticity and popular culture. Vol. Routledge advances in sociology. 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 [Internet]. 2008;47(3):152–8. Available from: 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; [Internet]. 2016;13(1):99–120. Available from: 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 [Internet]. 2007 Jan 1;18(1):29–52. Available from: https://plu.mx/a/?ebsco-client=&doi=10.1215%2F10407391-2006-022
115.
Metz C. On the Impression of Reality in the Cinema. In: Film language: a semiotics of the cinema [Internet]. New York: Oxford University Press; 1974. p. 3–15. Available from: https://contentstore.cla.co.uk/secure/link?id=e12e9083-4f99-e711-80cb-005056af4099
116.
Bazin A, Gray H. What is cinema? [Internet]. Berkeley: University of California Press; 2005. Available from: 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. Vol. October books. Cambridge, Mass: MIT Press; 1990.
118.
Visual Studies Workshop. Afterimage.
119.
Elsaesser T. Film history as media archaeology: tracking digital cinema. Vol. Film culture in transition. Amsterdam: Amsterdam University Press; 2016.
120.
Elsaesser T, Hagener M. Film theory: an introduction through the senses [Internet]. New York: Routledge; 2010. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3076220
121.
Friedberg A. The virtual window: from Alberti to Microsoft [Internet]. Cambridge, Mass: MIT Press; 2006. Available from: 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 [Internet]. Vol. Leonardo series. Cambridge, Mass: MIT Press; 2001. Available from: 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, Whittle R, Browning E, Schreiber P, et al. American gods: Complete season one. [London]: StudioCanal; 2017.
127.
Sobchack VC. Carnal thoughts: embodiment and moving image culture [Internet]. Berkeley: University of California Press; 2004. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668155
128.
Brinkema E. The forms of the affects [Internet]. Durham: Duke University Press; 2014. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2750546
129.
Caldwell JT. Televisuality: style, crisis, and authority in American television [Internet]. Vol. Communication, media, and culture. New Brunswick, N.J.: Rutgers University Press; 1995. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2848118
130.
Elsaesser T, Hagener M. Film theory: an introduction through the senses [Internet]. New York: Routledge; 2010. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3076220
131.
Gorton K. Media audiences: television, meaning and emotion [Internet]. Vol. Media topics. Edinburgh: Edinburgh University Press; 2009. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2796985
132.
Hemmings C. INVOKING AFFECT. Cultural Studies [Internet]. 2005 Sep;19(5):548–67. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/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 Dec;14(3):279–84.
135.
Plantinga CR. Moving viewers: American film and the spectator’s experience [Internet]. Berkeley: University of California Press; 2009. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668563
136.
Senses of cinema. Available from: http://sensesofcinema.com/issues/
137.
Shaviro S. The cinematic body [Internet]. Vol. Theory out of bounds. Minneapolis: University of Minnesota Press; 1993. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2914101
138.
Gregg M, Seigworth GJ. The affect theory reader [Internet]. Durham, NC: Duke University Press; 2010. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2747774
139.
Shouse E. Feeling, Emotion, Affect. M/C Journal [Internet]. 2005;8(6). Available from: 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 [Internet]. 2013 Nov;8(3):92–107. Available from: http://0-journals.sagepub.com.pugwash.lib.warwick.ac.uk/doi/10.7227/CST.8.3.8
141.
Williams, Linda. Film Bodies: Gender, Genre, and Excess. Film Quarterly (ARCHIVE) [Internet]. 44(4). Available from: https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/223102636?accountid=14888
142.
Ozu Y, Noda K, Atsuta Y, Ryū C, Hara S, Sugimura H. The Noriko trilogy. London: Tartan Video; 2004.
143.
Late Spring (1949) [Internet]. FilmFour; Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/01BC3002?bcast=90546390
144.
Ozu Y, Noda K, Hara S, Tsukasa Y, Okada M, Satomi T, et al. Late autumn. [S.I.]: Tartan Video; 2006.
145.
Bordwell D. Towards Intrinsic Norms. In: Ozu and the poetics of cinema [Internet]. London: BFI Publishing; 1988. p. 73–88. Available from: 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 [Internet]. London: Scolar Press; 1979. p. 154–85. Available from: 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 [Internet]. New York: Continuum; 2011. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2824993
150.
Desser D. Ozu’s Tokyo story [Internet]. Vol. Cambridge film handbooks series. Cambridge: Cambridge University Press; 1997. Available from: 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 [Internet]. 2003. Available from: 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, Miyajima H, Asano T, Hagiwara M, et al. Café Lumière. [England]: ICA Projects;
155.
Kiarostami A. Five Dedicated to Ozu [Internet]. 2003. Available from: 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 [Internet]. 1985. Available from: 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, Hawkins SJ, Channel Four (Great Britain). Mystery train. [London]: Channel 4; 1993.
158.
Denis C, Pesery B, Fargeau JP, Descas A, Diop M, Dogué N, et al. 35 rhums: 35 shots of rum [Internet]. [London]: New Wave Films; 2008. Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/01407544?bcast=89004719
159.
Kore-eda H, Abe H, Natsukawa Y, Kiki K, Harada Y, You, et al. Still walking. [London]: New Wave Films; 2008.
160.
Bordwell D. ‘Watch Again! Look well! Look! (For Ozu)’ [Internet]. Observations on Film Art; 2013. Available from: http://www.davidbordwell.net/blog/2013/12/12/watch-again-look-well-look-for-ozu/
161.
Rosenbaum J. Is Ozu Slow? [Internet]. Senses of Cinema; 2000. Available from: 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, editors. Slow cinema [Internet]. Edinburgh: Edinburgh University Press; 2016. p. 25–46. Available from: https://contentstore.cla.co.uk/secure/link?id=8835f723-6e98-e711-80cb-005056af4099
163.
Graf A. The cinema of Wim Wenders: the celluloid highway. Vol. Directors’ cuts. 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. Vol. Traditions in world cinema. Edinburgh: Edinburgh University Press; 2016.
166.
Gott M, Schilt T, Rascaroli L. Open roads, closed borders: the contemporary French-language road movie [Internet]. Bristol, UK: Intellect; 2013. Available from: 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 [Internet]. 2016;10(1):36–57. Available from: http://0-booksandjournals.brillonline.com.pugwash.lib.warwick.ac.uk/content/journals/10.3868/s010-005-016-0003-4
168.
Lee VPY. East Asian cinemas: regional flows and global transformations [Internet]. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan; 2011. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2702797
169.
De Luca T, Jorge NB, editors. Slow cinema. Vol. Traditions in world cinema. Edinburgh: Edinburgh University Press; 2016.
170.
Stein W, Di Paolo M, editors. Ozu international: essays on the global influences of a Japanese auteur [Internet]. New York: Bloomsbury, An imprint of Bloombury Publishing Inc; 2015. Available from: http://lib.myilibrary.com/ProductDetail.aspx?id=752606&entityid=https://idp.warwick.ac.uk/idp/shibboleth
171.
Buckland W, editor. Hollywood puzzle films. Vol. AFI film readers. New York: Routledge; 2014.
172.
Stein W, Di Paolo M, editors. Ozu international: essays on the global influences of a Japanese auteur [Internet]. New York: Bloomsbury, An imprint of Bloombury Publishing Inc; 2015. Available from: http://lib.myilibrary.com/ProductDetail.aspx?id=752606&entityid=https://idp.warwick.ac.uk/idp/shibboleth
173.
Wu I fen. Remapping Ozu’s Tokyo? The Interplay between History and Memory in Hou Hsiao-Hsien’s Café Lumière. Asian Cinema [Internet]. 2008 Mar 1;19(1):172–81. Available from: http://0-www.ingentaconnect.com.pugwash.lib.warwick.ac.uk/content/intellect/ac/2008/00000019/00000001/art00011