[1]
V. Fleming et al., ‘Blonde bombshell’. Channel 4, [London], 1996.
[2]
T. W. Adorno and M. Horkheimer, Dialectic of enlightenment, vol. Verso classics. London: Verso, 1997.
[3]
T. W. Adorno, The culture industry: selected essays on mass culture. London: Routledge, 1991 [Online]. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2578964
[4]
T. W. Adorno, The culture industry: selected essays on mass culture. London: Routledge, 1991 [Online]. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2578964
[5]
A. Britton and B. K. Grant, Britton on film: the complete film criticism of Andrew Britton, vol. Contemporary approaches to film and television series. Detroit: Wayne State University Press, 2009 [Online]. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2988759
[6]
J. Collins, Uncommon cultures: popular culture and post-modernism. New York: Routledge, 1989.
[7]
‘Gilda (1946)’. BBC2 England [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/001964F6?bcast=57324757
[8]
C. Vidor et al., ‘Gilda’, vol. Columbia classics. Columbia Tristar Home Video, London, 1999.
[9]
D. Bordwell, J. Staiger, and K. Thompson, The classical Hollywood cinema: film style & mode of production to 1960. London: Routledge & Kegan Paul, 1985 [Online]. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2525747__SThe%20classical%20Hollywood%20cinema%3A%20film%20style%20%26%20mode%20of%20production%20to%201960__Orightresult__U__X4?lang=eng&suite=cobalt
[10]
D. Bordwell, J. Staiger, and K. Thompson, The classical Hollywood cinema: film style & mode of production to 1960. London: Routledge & Kegan Paul, 1985 [Online]. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2525747
[11]
A. Britton, ‘The Philosophy of the pigeonhole: Wisconsin formalism and “The Classical Style”’, CineAction!, no. 15, pp. 47–63, 1988 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=179732f0-8543-e611-80bd-0cc47a6bddeb
[12]
R. Dyer, The culture of queers. London: Routledge, 2002.
[13]
D. Gomery, The Hollywood studio system: a history. London: BFI, 2005.
[14]
R. Maltby, Hollywood cinema, 2nd ed. Oxford: Blackwell, 2003.
[15]
D. Pye, ‘Bordwell and Hollywood’, Movie, vol. 33, pp. 46–52, 1989.
[16]
T. Schatz, The genius of the system: Hollywood filmmaking in the studio era. London: Simon & Schuster, 1989.
[17]
‘Bonnie and Clyde (1967)’. ITV London [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/000C1B87?bcast=93033052
[18]
A. Penn et al., ‘Bonnie and Clyde’. Warner Home Video, [U.K.], 1998.
[19]
G. King, ‘New Hollywood, Version I: The Hollywood Renaissance’, in New Hollywood Cinema: An Introduction, 2001, pp. 11–48 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=cf60cd3b-a643-e611-80bd-0cc47a6bddeb
[20]
S. A. Carr, ‘“From ‘Fucking Cops’ to ‘Fucking Media’: Bonnie and Clyde for a Sixties America”’, in Arthur Penn’s ‘Bonnie and Clyde’, vol. Cambridge film handbooks series, Cambridge: Cambridge University Press, 2000, pp. 70–100 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=a925eebe-b197-e711-80cb-005056af4099
[21]
P. Biskind, Easy riders, raging bulls: how the sex ‘n’ drugs ‘n’ rock ‘n’ roll generation saved Hollywood. London: Bloomsbury, 1998.
[22]
D. A. Cook, Lost illusions: American cinema in the shadow of Watergate and Vietnam, 1970-1979, vol. History of the American cinema. Berkeley: University of California Press, 2002.
[23]
J. Hillier, The new Hollywood. London: Studio Vista, 1993.
[24]
P. Krämer, The new Hollywood: from Bonnie and Clyde to Star Wars, vol. Short cuts. London: Wallflower, 2005 [Online]. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3004258
[25]
M. Pye and L. Myles, The movie brats: how the film generation took over Hollywood. London: Faber, 1979.
[26]
S. Neale and British Film Institute, Genre and contemporary Hollywood. London: British Film Institute, 2002.
[27]
‘Mission: Impossible (1996)’. ITV London [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0009C76E?bcast=124223565
[28]
T. Schatz, ‘The New Hollywood’, in Film theory goes to the movies, vol. AFI film readers, London: Routledge, 1993, pp. 8–36 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=1eae201c-c897-e711-80cb-005056af4099
[29]
J. Arroyo, ‘Mission Sublime’, in Action/spectacle cinema: a sight and sound reader, London: British Film Institute, 2000, pp. 21–25 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=005c9dbd-6298-e711-80cb-005056af4099
[30]
D. Bordwell, The way Hollywood tells it: story and style in modern movies. Berkeley: University of California Press, 2006 [Online]. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668420
[31]
S. Neale and M. Smith, Contemporary Hollywood cinema. London: Routledge, 1998.
[32]
S. Prince, A new pot of gold: Hollywood under the electronic rainbow, 1980-1989, vol. History of the American cinema. Berkeley: University of California Press, 2002.
[33]
J. Wyatt, High concept: movies and marketing in Hollywood, vol. Texas film studies series. Austin: University of Texas Press, 1994 [Online]. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3009426
[34]
T. Bevan et al., ‘Hail, Caesar!’ Universal Pictures (UK) Ltd, [London], 2016.
[35]
C. Constable, Postmodernism and film: rethinking Hollywood’s aesthetics, vol. Short cuts: introductions to film studies. London: Wallflower Press, 2015 [Online]. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3013083
[36]
J.-F. Lyotard, ‘Notes on the Meaning of "Post-”’, in The postmodern explained to children: correspondence 1982-1985, Sydney: Power Publications, 1992, pp. 87–93 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=0eb78b90-5e98-e711-80cb-005056af4099
[37]
P. Brooker and W. Brooker, Postmodern after-images: a reader in film, television and video. London: Arnold, 1997.
[38]
M. K. Booker, Postmodern Hollywood: what’s new in film and why it makes us feel so strange. Westport, Conn: Praeger, 2007.
[39]
N. Carroll, ‘The Future of Allusion: Hollywood in the Seventies (And beyond)’, October, vol. 20, Spring 1982, doi: 10.2307/778606. [Online]. Available: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/778606?seq=1#page_scan_tab_contents
[40]
C. Degli-Esposti, Postmodernism in the cinema. New York: Berghahn, 1998.
[41]
R. Garrett, Postmodern chick flicks: the return of the woman’s film. Basingstoke: Palgrave Macmillan, 2007 [Online]. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2526302
[42]
V. Minnelli, F. Astaire, C. Charisse, O. Levant, N. Fabray, and J. Buchanan, ‘The band wagon’. Turner Entertainment, Co, [S.l.], 2005 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/00039578?bcast=92106116
[43]
V. Minnelli, F. Astaire, C. Charisse, O. Levant, N. Fabray, and J. Buchanan, ‘The band wagon’. Turner Entertainment, Co, [S.l.], 2005.
[44]
C. Brunsdon, ‘Genre’, in The women’s companion to international film, Berkeley: University of California Press, 1994, pp. 172–173 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=8d759f16-5da7-e711-80cb-005056af4099
[45]
R. Dyer, ‘Entertainment and utopia’, in Genre: the musical : a reader, vol. British Film Institute readers in film studies, London: Routledge & Kegan Paul in association with the British Film Institute, 1981, pp. 175–189 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=0dfe4529-61a7-e711-80cb-005056af4099
[46]
C. F. Altman, ‘Towards a Historiography of American Film’, Cinema Journal, vol. 16, no. 2, Spring 1977, doi: 10.2307/1225381. [Online]. Available: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1225381?seq=1#page_scan_tab_contents
[47]
R. Altman, ‘Chapter 2: “What is generally understood by the notion of film genre”’, in Film/genre, London: British Film Institute, 1999, pp. 13–28 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=496dd74e-5ca7-e711-80cb-005056af4099
[48]
S. Cohan, ‘Introduction: musicals of the Studio Era’, in The Hollywood musicals: the film reader, vol. In focus, London: Routledge, 2002, pp. 1–17.
[49]
H. Fordin, H. Fordin, and Metro-Goldwyn-Mayer, M-G-M’s greatest musicals: the Arthur Freed unit. New York: Da Capo Press, 1996.
[50]
B. Grant, ‘Genre Films and Cultural Myth’, Film International, no. 1, pp. 27–35, 2003 [Online]. Available: http://filmint.nu/?p=1689
[51]
S. Harvey, ‘Chapter 3: Musicals’, in Directed by Vincente Minnelli, New York: Museum of Modern Art, 1989, pp. 37–157 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=00bd1fbb-79a7-e711-80cb-005056af4099
[52]
R. MacMillan, ‘Hollywood in the 1930s: a discussion with Pauline Kael’’, Historical Journal of Film, Radio and Television, vol. 1, no. 2, pp. 151–159, Jan. 1981, doi: 10.1080/01439688100260131. [Online]. Available: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1080/01439688100260131?journalCode=chjf20
[53]
T. Schatz, ‘Chapter 7 – The Musical’, in Hollywood genres: formulas, film making, and the studio system, 1st ed., New York, N.Y.: McGraw-Hill, 1981, pp. 186–218 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=a3be9925-85a7-e711-80cb-005056af4099
[54]
Arturo Silva, ‘Vincente Minnelli’s Dream of Tony Hunter’s “Band Wagon’s” “Girl Hunt”’, Film Criticism, vol. 30, no. 1, pp. 2–20, 2005 [Online]. Available: https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/200951181/B13B50D183924192PQ/3?accountid=14888
[55]
V. Minnelli, J. Garland, S. Benson, and Louisiana Purchase Exposition, ‘Meet me in St. Louis’. Turner Entertainment Co, [United States], 2004 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0004459F?bcast=114714690
[56]
‘An American in Paris (1951)’. Channel 5 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0007FF03?bcast=120763403
[57]
G. Kelly et al., ‘Singin’ in the rain’. Turner Entertainment Co, [United Kingdom], 2000 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0018C80D?bcast=123188027
[58]
C. Walters, ‘Summer stock: If you feel like singing’. [s.n.], [U.K.], 1990.
[59]
R. Thorpe and M. Lanza, ‘The great Caruso’. BBC2, [London], 2001 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0014C5DD?bcast=124513050
[60]
L. Bacon and B. Berkeley, ‘Footlight parade’. [s.n.], [U.K.], 1997.
[61]
N. Armour, ‘The Machine Art of Dziga Vertov and Busby Berkeley’ [Online]. Available: http://www.imagesjournal.com/issue05/features/berkeley-vertov.htm
[62]
M. Roth, ‘Some Warners Musicals and the Spirit of the New Deal’, in Genre: the musical : a reader, vol. British Film Institute readers in film studies, London: Routledge & Kegan Paul in association with the British Film Institute, 1981, pp. 41–57 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=5c392183-36a8-e711-80cb-005056af4099
[63]
J. Feuer, ‘Hollywood Musicals: Mass Art as Folk Art’, in Jump cut: Hollywood, politics and counter cinema, Toronto: Between The Lines, 1985, pp. 52–63 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=aff8f715-76a7-e711-80cb-005056af4099
[64]
M. Hansen, ‘The Mass Production of the Senses: Classical Cinema as Vernacular Modernism’, in Reinventing film studies, London: Arnold, 2000, pp. 332–350.
[65]
N. Roddick, ‘Chapter 2: Warner Brothers and the Studio System’, in A new deal in entertainment: Warner Brothers in the 1930s, London: British Film Institute, 1983, pp. 16–28 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=821325c1-39a8-e711-80cb-005056af4099
[66]
T. Schatz, The genius of the system: Hollywood filmmaking in the studio era. London: Simon & Schuster, 1989.
[67]
C. Shindler, Hollywood in crisis: cinema and American society, 1929-1939, vol. Cinema and society. London: Routledge, 1996 [Online]. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2900295
[68]
L. Bacon et al., ‘42nd Street’. Warner Bros. Entertainment, Turner Entertainment Co, Burbank, CA, 2005.
[69]
M. LeRoy et al., ‘Gold diggers of 1933’. BBC2, [London], 1993.
[70]
The Smiling Lieutenant. Allied Vaughn, 2015.
[71]
The Merry Widow. Warner Bros. Digital Dist, 2013.
[72]
G. Stevens et al., ‘Swing time’. Universal Pictures (UK), [U.K.], 2006.
[73]
E. Gallafent, ‘Chapter 2: The Argument of Time: The Later RKO Musicals’, in Astaire & Rogers, Moffat: Cameron & Hollis, 2000, pp. 52–100 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=3321ff75-1aa8-e711-80cb-005056af4099
[74]
J. Mueller, ‘Fred Astaire and the Integrated Musical’, Cinema Journal, vol. 24, no. 1, Autumn 1984, doi: 10.2307/1225307. [Online]. Available: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1225307
[75]
A. Croce, ‘Chapter on Swing Time’, in The Fred Astaire & Ginger Rogers book, New York: Vintage Books, 1977, pp. 99–117.
[76]
Celestino Deleyto, ‘Self-Consciousness and the Classical Text: An Analysis of “Swing Time”’, Film Criticism, vol. 16, no. 3, pp. 17–33, 1992 [Online]. Available: https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/222722630/3A186D0437864521PQ/5?accountid=14888
[77]
R. B. Jewell, ‘RKO Film Grosses, 1929-1951: The C.J. Tevlin ledger’, Historical Journal of Film, Radio and Television, vol. 14, no. 1, pp. 37–49, Jan. 1994, doi: 10.1080/01439689400260031. [Online]. Available: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1080/01439689400260031?journalCode=chjf20
[78]
A. Sarris, ‘Chapter 1: “The Hollywood Studios” & part of Chapter 2 : Genres:The Musical’, in You Ain’T Heard Nothing Yet" - The American Talking Film - History And Memory 1927-1949, Oxford University Press, 1998, pp. 22–67 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=eeca731c-d5a9-e711-80cb-005056af4099
[79]
J. Sedgwick, ‘Richard B. Jewell’s RKO Film Grosses, 1929-1951: The C.J. Trevlin Ledger: A comment’, Historical Journal of Film, Radio and Television, vol. 14, no. 1, pp. 51–58, Jan. 1994, doi: 10.1080/01439689400260041. [Online]. Available: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1080/01439689400260041?journalCode=chjf20
[80]
D. Taylor et al., ‘The Gay divorcee’. BBC, [U.K.], 2011.
[81]
P. S. Berman et al., ‘Top hat’. Sony Pictures Home Entertainment/Universal Studios, [United Kingdom], 2007 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/000228FB?bcast=114304759
[82]
M. Sandrich and I. Berlin, ‘Follow the fleet’. Channel 5, [London], 1999 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/001C37BD?bcast=114251543
[83]
D. Chazelle et al., ‘La La Land’. Lionsgate Home Entertainment, UK, [London], 2017.
[84]
B. Norofjoro, ‘The Post-modern Transnational Film Musical’, in The international film musical, vol. Traditions in world cinema, Edinburgh: Edinburgh University Press, 2012, pp. 241–257 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=e9b3c9b6-cdca-e711-80cd-005056af4099
[85]
J. Arroyo, ‘La La Land’. [Online]. Available: https://notesonfilm1.com/2017/01/26/la-la-land-damien-chazelle-usa-2016/
[86]
C. Gledhill, ‘Rethinking Genre’, in Reinventing film studies, London: Arnold, 2000, pp. 221–244 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=6cb35a1c-ba5d-e811-80cd-005056af4099
[87]
B. Fosse et al., ‘All that jazz’. 20th Century Fox Home Entertainmemt, [U.K.], 2003.
[88]
R. Marshall, ‘Chicago [videorecording]’. .
[89]
‘High School Musical (2006)’. BBC3 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/005BB71F?bcast=49998350
[90]
‘High School Musical 2 (2007)’. BBC3 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/00709AFD?bcast=86850075
[91]
‘Special: High School Musical 3: Senior Year (2008)’. Channel 5 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/01601539?bcast=82006237
[92]
T. Sie, ‘Step Up 1-5 [videorecording]’. .
[93]
‘Step Up: Miami Heat (2012)’. Channel 4 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/057AF235?bcast=124941128
[94]
‘Step Up 3 (2010)’. FilmFour [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/01CA3CD0?bcast=121108174
[95]
K. Lima, ‘Enchanted [videorecording]’. .
[96]
R. Wood, Hitchcock’s films revisited, Rev. ed. New York: Columbia University Press, 2002.
[97]
P. Smith and C. Wilde, A companion to art theory, vol. Blackwell companions in cultural studies. Oxford: Blackwell, 2002 [Online]. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2098592
[98]
M. Yockey, Ed., Make ours Marvel: media convergence and a comics universe, First edition. Austin: University of Texas Press, 2017.
