[1]
Altman, R. et al. 2005. Gosford Park. Channel 4.
[2]
Appignanesi, L. et al. 1986. Postmodernism: ICA Documents. Institute of Contemporary Arts.
[3]
Arroyo, J. 2000. Mission: Sublime. Action/spectacle cinema: a sight and sound reader. British Film Institute. 21–25.
[4]
Baron, C. 1998. The Player’s Parody of Hollywood. Postmodernism in the cinema. Berghahn. 20–43.
[5]
Barry, P. 1995. Beginning Theory: an Introduction to Literary and Cultural Theory. Manchester University Press.
[6]
Baudrillard, J. 1988. America. Verso.
[7]
Baudrillard, J. 1988. America. Verso.
[8]
Baudrillard, J. 1994. Simulacra and Simulation. University of Michigan Press.
[9]
Baudrillard, J. 1983. Simulations. Semiotext[e].
[10]
Best, S. and Kellner, D. 1991. Postmodern Theory: Critical Interrogations. Macmillan.
[11]
Blomkamp, N. et al. 2009. District 9. Sony Pictures Home Entertainment.
[12]
Bobin, J. et al. 2012. The Muppets. Walt Disney Studios Home Entertainment.
[13]
Boggs, C. 2003. Ludic Postmodernism and Beyond. A world in chaos: social crisis and the rise of postmodern cinema. Rowman & Littlefield Publishers. 174–185.
[14]
Boggs, C. and Pollard, T. 2003. A World in Chaos: Social Crisis and the Rise of Postmodern Cinema. Rowman & Littlefield Publishers.
[15]
Booker, K. 2007. Like Something from a Movie. Postmodern Hollywood: what’s new in film and why it makes us feel so strange. Praeger. 89–150.
[16]
Bordwell, D. et al. 1985. The Classical Hollywood Cinema: film style & mode of production to 1960. Routledge & Kegan Paul.
[17]
Bordwell, D. et al. 1988. The Classical Hollywood Cinema: film style & mode of production to 1960. Routledge.
[18]
Brooker, P. 1997. Pulpmodernism : Tarantino’s affirmative action. Postmodern after-images: a reader in film, television and video. Arnold. 89–100.
[19]
Brooker, P. and Brooker, W. 1997. Postmodern After-Images: a Reader in Film, Television and Video. Arnold.
[20]
Brooker, W. 2012. The Never-Ending War: Deconstruction and the Dark Knight. Hunting the Dark Knight: twenty-first century Batman. I.B. Tauris. 178–210.
[21]
Bruzzi, S. and Gibson, P.C. 2000. Fashion Cultures: Theories, Explorations, and Analysis. Routledge.
[22]
Bukatman, S. 1993. Terminal Identity: the Virtual Subject in Postmodern Science Fiction. Duke University Press.
[23]
Butler, J. 2006. From Interiority to gender performatives. Gender trouble: feminism and the subversion of identity. Routledge. 183–193.
[24]
Butler, J. 2006. Gender Trouble: Feminism and the Subversion of Identity. Routledge.
[25]
Butler, J. 2006. Gender Trouble: Feminism and the Subversion of Identity. Routledge.
[26]
Cahoone, L.E. 2003. From Modernism to Postmodernism: an Anthology. Blackwell Pub.
[27]
Connor, S. 1997. Postmodernist Culture: an Introduction to Theories of the Contemporary. Blackwell.
[28]
Connor, S. 1997. Postmodernist Culture: an Introduction to Theories of the Contemporary. Blackwell.
[29]
Connor, S. 2004. The Cambridge Companion to Postmodernism. Cambridge University Press.
[30]
Connor, S. ed. 2004. The Cambridge Companion to Postmodernism. Cambridge University Press.
[31]
Connor, S. 2004. The Cambridge Companion to Postmodernism. Cambridge University Press.
[32]
Connor, S. ed. 2004. The Cambridge Companion to Postmodernism. Cambridge University Press.
[33]
Constable, C. 2009. Adapting Philosophy: Jean Baudrillard and The Matrix Trilogy. Manchester University Press.
[34]
Constable, C. 2006. Baudrillard Reloaded: Interrelating Philosophy and Film via The Matrix Trilogy. Screen. 47, 2 (2006), 233–249. https://doi.org/10.1093/screen/hjl018.
[35]
Constable, C. 2005. Thinking in Images: Film Theory, Feminist Philosophy and Marlene Dietrich. BFI.
[36]
De Palma, B. 1998. Mission Impossible. SKY.
[37]
Degli-Esposti, C. 1998. Introduction: Postmodernism(s). Postmodernism in the Cinema. Berghahn.
[38]
Degli-Esposti, C. 1998. Postmodernism in the Cinema. Berghahn.
[39]
Denzin, N.K. 1991. Images of Postmodern Society: Social Theory and Contemporary Cinema. Sage.
[40]
Denzin, N.K. 1995. The Cinematic Society: the Voyeur’s Gaze. Sage.
[41]
Doane, M.A. 1991. Femmes Fatales: Feminism, Film Theory, Psychoanalysis. Routledge.
[42]
Docherty, T. 1993. Postmodernism: a Reader. Harvester Wheatsheaf.
[43]
Durham, M.G. and Kellner, D. 2012. Media and Cultural Studies: Keyworks. Wiley-Blackwell.
[44]
Dyer, R. 2007. Pastiche. Routledge.
[45]
Edwards, B. et al. 2002. Victor/Victoria. Warner Home Video.
[46]
Florence, P. and Foster, N. 2000. Differential Aesthetics: Art Practices, Philosophy and Feminist  Understandings. Ashgate.
[47]
Foster, H. 1985. Postmodern Culture. Pluto.
[48]
Friedberg, A. 1993. Window Shopping: Cinema and the Postmodern. University of California Press.
[49]
Friedberg, Anne. 1993. Window Shopping: Cinema and the Postmodern. University of California Press.
[50]
Fuss, D. 1991. Inside/Out: Lesbian Theories, Gay Theories. Routledge.
[51]
Garrett, R. 2007. Postmodern Chick Flicks: the Return of the Woman’s Film. Palgrave Macmillan.
[52]
Gillis, S. 2005. The Matrix Trilogy: Cyberpunk Reloaded. Wallflower.
[53]
Gledhill, C. and Williams, L. 2000. Reinventing Film Studies. Arnold.
[54]
Gray, C.H. 1995. The Cyborg Handbook. Routledge.
[55]
Haraway, D. 1991. A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century. Simians, cyborgs and women: the reinvention of nature. Free Association. 149–181.
[56]
Haraway, D.J. 1991. Simians, Cyborgs and Women: the Reinvention of Nature. Free Association.
[57]
Haraway, D.J. 1991. Simians, Cyborgs, and Women: the Reinvention of Nature. Routledge.
[58]
Hill, J. and Gibson, P.C. 1998. The Oxford Guide to Film Studies. Oxford University Press.
[59]
Hutcheon, L. 1988. A Poetics of Postmodernism: History, Theory, Fiction. Routledge.
[60]
Hutcheon, L. 1988. A Poetics of Postmodernism: History, Theory, Fiction. Routledge.
[61]
Hutcheon, L. 2002. The Politics of Parody. The politics of postmodernism. Routledge. 89–113.
[62]
Jameson, F. 1991. Nostalgia for the Present. Postmodernism: or, The cultural logic of late capitalism. Verso. 279–296.
[63]
Jameson, F. 1991. Postmodernism: or, The Cultural Logic of Late Capitalism. Verso.
[64]
Jameson, F. 1991. Postmodernism: or, The Cultural Logic of Late Capitalism. Verso.
[65]
Jencks, C. et al. 2011. The Post-Modern Reader. Wiley.
[66]
Jencks, C. et al. 2011. The Post-Modern Reader. Wiley.
[67]
Joseph P. Natoli 2001. Postmodern Journeys: Film and Culture 1996-1998. State University of New York Press.
[68]
King, G. 2000. Spectacular Narratives: Hollywood in the Age of the Blockbuster. I.B. Tauris Publishers.
[69]
Kuhn, A. 1990. Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema. Verso.
[70]
Lucy, N. 1997. Postmodern literary theory: an introduction. Blackwell.
[71]
Lucy, N. 1997. Postmodern literary theory: an introduction. Blackwell.
[72]
Lyotard, J.-F. 1992. Note on the meaning of ‘post-’. The postmodern explained to children: correspondence 1982-1985. Power Publications. 87–93.
[73]
Lyotard, J.-F. 1984. The Postmodern Condition: a Report on Knowledge. Manchester University Press.
[74]
Malpas, S. 2005. The Postmodern. Routledge.
[75]
Marris, P. and Thornham, S. 1996. Media Studies: a Reader. Edinburgh University Press.
[76]
McRobbie, A. 1994. Postmodernism and Popular Culture. Routledge.
[77]
McRobbie, A. 1994. Postmodernism and Popular Culture. Routledge.
[78]
Merrin, W. 2005. Baudrillard and the Media: a Critical Introduction. Polity.
[79]
Merrin, W. 2003. Did You Ever Eat Tasty Wheat? (2003).
[80]
Nietzsche, F.W. and Breazeale, D. 1979. Philosophy and Truth: selections from Nietzsche’s notebooks of the early 1870’s. Humanities Press.
[81]
Nietzsche, F.W. and Kaufmann, W.A. 1971. The Portable Nietzsche. Chatto and Windus.
[82]
Roberta Garrett Postmodern Chick Flicks : The Return of the Woman’s Film.
[83]
Rovira, J. Subverting the Mechanisms of Control: Baudrillard, The Matrix Trilogy, and the Future of Religion.
[84]
Schatz, T. 1993. The New Hollywood. Film theory goes to the movies. Routledge. 8–36.
[85]
Scott, R. et al. 2007. Bladerunner: the final cut. Warner Bros.
[86]
Silver, J. et al. 2004. Matrix Reloaded. Warner Home Video (UK).
[87]
Simon Malpas The Postmodern.
[88]
Stam, R. 2000. Film Theory: An Introduction. Blackwell.
[89]
Stam, R. and Raengo, A. 2005. Literature and Film: a Guide to the Theory and Practice of Film Adaptation. Blackwell.
[90]
Tarantino, Q. et al. 2010. Reservoir Dogs. Lions Gate Home Entertainment.
[91]
Travers, M. 1998. An Introduction to Modern European Literature: from Romanticism to Postmodernism. Macmillan.
[92]
Verevis, C. 2006. Film Remakes. Edinburgh University Press.
[93]
Gender as Performance, An Interview with Judith Butler.