Adams, Jeffrey and ProQuest (Firm). 2015. ‘O Brother, Where Art Thou? The Hayseed Epic’. Pp. 148–61 in The cinema of the Coen brothers: hard-boiled entertainments. Vol. Directors’ Cuts. London, [England]: Wallflower Press.
Allen, Robert Clyde, and Douglas Gomery. 1985. Film History: Theory and Practice. Boston, Mass: McGraw-Hill.
Altman, Rick and British Film Institute. 1999. Film/Genre. London: BFI.
Anon. n.d.-a. ‘All That Mise En Scène Allows: Douglas Sirk’s Expressive Use of Gesture’. BFI Sight & Sound. Retrieved (http://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/bradlands/all-heaven-allows-douglas-sirk-mise-en-scene).
Anon. n.d.-b. ‘Filmsite Move Review: Citizen Kane’. Retrieved (https://www.filmsite.org/citi.html).
Babington, Bruce, and Peter William Evans. 1985. Blue Skies and Silver Linings: Aspects of the Hollywood Musical. Manchester: Manchester University Press.
Baker, Simon, Shoair Mavlian, Newell Harbin, Elton John, and Tate Modern (Gallery). 2016. The Radical Eye: Modernist Photography from the Sir Elton John Collection. London: Tate Publishing.
Balio, Tino. 1995. Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939. Vol. History of the American cinema. Berkeley: University of California Press.
Balio, Tino and ebrary, Inc. 1985. The American Film Industry. Rev. ed. Madison, Wis: University of Wisconsin Press.
Barsam, Richard Meran, and Dave Monahan. 2015. Looking at Movies: An Introduction to Film. 5th ed. New York: W.W. Norton & Company.
Belton, John. 1992. Widescreen Cinema. Cambridge, Mass: Harvard University Press.
Benjamin, Walter, Esther Leslie, and ProQuest (Firm). 2015. On Photography. London, England: Reaktion Books.
Bordwell, David. 1988. Narration in the Fiction Film. London: Routledge.
Bordwell, David. n.d. ‘Three Dimensions of Film Narrative’. Pp. 1–56 in Poetics of Cinema.
Bordwell, David, Janet Staiger, and Kristin Thompson. 1988a. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge.
Bordwell, David, Janet Staiger, and Kristin Thompson. 1988b. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge.
Bordwell, David, Kristin Thompson, and Jeff Smith. 2017. Film Art: An Introduction. 11th ed. New York: McGraw-Hill Education.
Brookes, Ian. 2009. ‘The Eye of Power: POSTWAR FORDISM AND THE PANOPTIC CORPORATION IN’. Journal of Popular Film and Television 37(4):150–60. doi: 10.1080/01956050903227928.
Brothers, Caroline. 1997. War and Photography: A Cultural History. London: Routledge.
Brown, Martin, Baz Luhrmann, Fred Baron, Craig Pearce, Bazmark Design (Firm), and Twentieth Century-Fox Film Corporation. 2002. ‘Moulin Rouge!’
Butler, Jeremy G. 2012. Television: Critical Methods and Applications. 4th ed. London: Routledge.
Byars, Jackie. 1991. All That Hollywood Allows: Re-Reading Gender in 1950s Melodrama. London: Routledge.
Coen, Joel and Universal Pictures (Firm). 2001. ‘O Brother, Where Art Thou?’
Cohan, Steven. 2002. Hollywood Musicals: The Film Reader. Vol. In focus--Routledge film readers. London: Routledge.
Cook, David A. 2016a. A History of Narrative Film. 5th ed. New York: W.W. Norton & Company.
Cook, David A. 2016b. A History of Narrative Film. 5th ed. New York: W.W. Norton & Company.
Du Maurier, Daphne. 2003. Rebecca. Vol. Virago modern classics. London: Virago.
Dunleavy, Trisha. 2009. Television Drama: Form, Agency, Innovation. Basingstoke: Palgrave Macmillan.
Eisenstein, Sergei, Grigoriĭ Vasilʹevich Aleksandrov, Aleksandr Pavlovich Antonov, Dmitriĭ Dmitrievich Shostakovich, Vladmir Barskiĭ, Mikhail Gomorov, and Soviet Union. Gosudarstvennyĭ komitet po kinematografii. 2000. ‘The Battleship Potemkin’.
Fabe, Marilyn. 2004. ‘The Art of Montage: Sergei Eisenstein’s Battleship Potemkin’. in Closely watched films: an introduction to the art of narrative film technique. Oakland, California: University of California Press.
Fabe, Marilyn and ebrary. 2004. Closely Watched Films: An Introduction to the Art of Narrative Film Technique. Oakland, California: University of California Press.
Fauer, Jon. 2008. Cinematographer Style: The Complete Interviews. Hollywood, Calif: American Society of Cinematographers.
Feuer, Jane. 1993. The Hollywood Musical. 2nd ed. Bloomington: Indiana University Press.
Geiger, Jeffrey, and R. L. Rutsky. 2013. Film Analysis: A Norton Reader. 2nd ed. New York: W.W. Norton.
Gledhill, Christine and British Film Institute. 1987. Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. London: British Film Institute.
Gomery, Douglas and British Film Institute. 2005. The Hollywood Studio System: A History. London: BFI Publishing.
Grant, Barry Keith. 2008. Auteurs and Authorship: A Film Reader. Malden, Mass: Blackwell Publishing.
Grant, Barry Keith and ebrary, Inc. 2012. Film Genre Reader IV. Austin, Tex: University of Texas Press.
Gray, Hugh. 1960. ‘The Ontology of the Photographic Image’. Film Quarterly 13(4):4–9. doi: 10.2307/1210183.
Gunning, Tom. 1991. D.W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph. Urbana: University of Illinois Press.
Hanson, Helen. 2007a. Hollywood Heroines: Women in Film Noir and the Female Gothic Film. London: I.B. Tauris.
Hanson, Helen. 2007b. ‘Narrative Journeys of the Female Gothic Heroine’. Pp. 63–96 in Hollywood Heroines : Women in Film Noir and the Female Gothic Film. I.B.Tauris.
Hitchcock, Alfred, David O. Selznick, Daphne Du Maurier, and FremantleMedia. 2007. ‘Rebecca’.
Hopkins, Lisa and ebrary, Inc. 2005. Screening the Gothic. 1st ed. Austin, TX: University of Texas Press.
Hubbert, Julie. 2011. ‘The Recession Soundtrack: From Albums to Auteurs, Songs to Serialism (1960-1977)’. Pp. 289–314 in Celluloid Symphonies: Texts and Contexts in Film Music History. Berkeley: University of California Press.
Jelavich, Peter and ebrary, Inc. 1996. Berlin Cabaret. Vol. Studies in cultural history. 1st Harvard Univeristy Press pbk. ed. Cambridge, MA: Harvard University Press.
Kael, Pauline. n.d. ‘Raising Kane—I | The New Yorker’. Retrieved (https://www.newyorker.com/magazine/1971/02/20/raising-kane-i).
Kael, Pauline and British Film Institute. 2002. Raising Kane. London: Methuen Publishing.
Kawin, Bruce F. 1992. How Movies Work. Berkeley: University of California Press.
Keating, Patrick. 2010. Hollywood Lighting from the Silent Era to Film Noir. Vol. Film and culture. New York: Columbia University Press.
Keating, Patrick, ed. 2014. Cinematography. Vol. 3. New Brunswick, New Jersey: Rutgers University Press.
Kessler, Kelly. 2010. Destabilizing the Hollywood Musical: Music, Masculinity and Mayhem. Basingstoke, Hampshire: Palgrave Macmillan.
Kinder, Marsha. 2002. ‘Moulin Rouge’. Film Quarterly 55(3):52–59. doi: 10.1525/fq.2002.55.3.52.
Kirby, Tim, Chris Rodley, Deborah Lee, 2 Entertain Video (Firm), and British Broadcasting Corporation. 2009. ‘The Genius of Photography’.
Kirkegaard, Jonas Varsted. 2004. ‘Preston Sturges • Great Director Profile • Senses of Cinema’. Retrieved (http://sensesofcinema.com/2004/great-directors/sturges/).
Klinger, Barbara. 1994. Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk. Bloomington: Indiana University Press.
Landy, Marcia. 1991. Imitations of Life: A Reader on Film and Television Melodrama. Vol. Contemporary film and television series. Detroit: Wayne State University Press.
Langford, Barry. 2010a. ‘Introduction’. Pp. xi–xviii in Post-Classical Hollywood: Film Industry, Style and Ideology since 1945. Edinburgh: Edinburgh University Press.
Langford, Barry. 2010b. ‘Part 1: Hollywood in Transition’. Pp. 1–95 in Post-Classical Hollywood: Film Industry, Style and Ideology since 1945. Edinburgh: Edinburgh University Press.
Le Fanu, Mark. 1998. ‘On Editing’. POV 6:5–19.
Liman, Doug, Patrick Crowley, Richard N. Gladstein, Tony Gilroy, William Blake Herron, Matt Damon, and Universal Pictures (Firm). 2004. ‘The Bourne Identity’.
Lisa Kernan. 2004. Coming Attractions : Reading American Movie Trailers. University of Texas Press.
Maltby, Richard. 2003. Hollywood Cinema. 2nd ed. Malden, Mass: Blackwell Publishing.
Marshall, Bill, and Robynn Jeananne Stilwell. 2000. Musicals: Hollywood and Beyond. Exeter: Intellect.
McCullin, Don, and Susan Sontag. 2003. Don McCullin. London: Jonathan Cape.
Mercer, John, and Martin Shingler. 2004. Melodrama: Genre, Style, Sensibility. Vol. Short cuts. London: Wallflower.
Monaco, James. 2009. How to Read a Film: Movies, Media, and beyond : Art, Technology, Language, History, Theory. 4th ed., completely rev. and expanded. New York: Oxford University Press.
Mundy, John. 1999. Popular Music on Screen: From the Hollywood Musical to Music Video. Vol. Music and society. Manchester: Manchester University Press.
Neale, Stephen. 2000. Genre and Hollywood. London: Routledge.
Neale, Stephen. 2002. Genre and Contemporary Hollywood. London: British Film Institute.
Neale, Stephen and MyiLibrary. 2012. The Classical Hollywood Reader. London: Routledge.
Neale, Steve. 2015. ‘Gestures, Movements and Actions in Rio Bravo’. Pp. 110–21 in Howard Hawks: new perspectives. London: BFI.
Netburn, Stephen, Frederick Greene, Michael Shapiro, and Andrew J. Kuehn Jr. Foundation. 2005. ‘Coming Attractions: A History of the Movie Trailer’.
Perkins, V. F. 1972. Film as Film: Understanding and Judging Movies. Vol. Pelican original. Harmondsworth: Penguin.
Perkins, V. F. 2006. ‘Moments of Choice’. Rouge 9.
Philip Booth. 2007. ‘Hemingway’s “The Killers” and Heroic Fatalism: From Page to Screen (Thrice)’. Literature/Film Quarterly 35(1).
Ray, Nicholas, David Weisbart, Stewart Stern, James Dean, Natalie Wood, Warner Bros. Pictures (1923-1967), and Warner Home Video (Firm). 2000. ‘Rebel without a Cause’.
Ryall, Tom. 2015. ‘Hawks and the Western’. Pp. 97–109 in Howard Hawks: new perspectives. London: BFI.
Ryan, David C. n.d. ‘Dreams of Postmodernism and Thoughts of Mortality: A Twenty-Fifth Anniversary Retrospective of Blade Runner’. Senses of Cinema (43). Retrieved (http://sensesofcinema.com/2007/feature-articles/blade-runner/).
Salt, Barry. 2009. Film Style and Technology: History and Analysis. 3rd ed. London: Starword.
Schatz, Thomas. 1997. Boom and Bust: The American Cinema in the 1940s. Vol. History of the American cinema. New York: Charles Scribner’s Sons.
Schatz, Thomas. 1998. The Genius of the System: Hollywood Filmmaking in the Studio Era. London: Faber and Faber.
Scheibel, Will. 2016. ‘Rebel Masculinities of Star/Director/Text: James Dean, Nicholas Ray, And’. Journal of Gender Studies 25(2):125–40. doi: 10.1080/09589236.2014.916203.
Scott, Ridley, Hampton Fancher, David Webb Peoples, Jerry Perenchio, Harrison Ford, Philip K. Dick, Ladd Company, Warner Bros, Warner Home Video (UK), and Blade Runner Partnership (firm). 2007. ‘Blade Runner: The Final Cut’.
Sirk, Douglas. 2007. ‘Directed by Douglas Sirk’.
Sirk, Douglas, and Jon Halliday. 1971. Sirk on Sirk: Interviews with Jon Halliday. Vol. Cinema one. London: Secker and Warburg in association with the British Film Institute.
Sirk, Douglas and Universal Pictures Company. 2007. ‘All That Heaven Allows’. Directed by Douglas Sirk.
Sontag, Susan. 1979. On Photography. Harmondsworth: Penguin.
Staiger, Janet. 1995. The Studio System. Vol. Rutgers depth of field series. New Brunswick, N.J.: Rutgers University Press.
Sturges, Preston, Paramount Publix Corporation, and Universal Studios Home Video (Firm). 2005. ‘Sullivan’s Travels’.
Taylor, Richard. 2014. ‘Production History’. Pp. 1–13 in Battleship Potemkin : The Film Companion. I.B.Tauris.
Thompson, Kristin, and David Bordwell. 2010. Film History: An Introduction. 3rd ed., International ed. Boston, N.Y.: McGraw-Hill Higher Education.
Welles, Orson, Universal Pictures (UK) Ltd, and RKO Radio Pictures. 2003. ‘Citizen Kane’.
Wells, Liz and MyiLibrary. 2015. Photography: A Critical Introduction. 5th ed. London: Routledge.
Wilder, Billy, I. A. L. Diamond, Adolph Deutsch, Jack Lemmon, Shirley MacLaine, Fred MacMurray, Metro-Goldwyn-Mayer, United Artists Corporation, Mirisch Company, and MGM Home Entertainment Inc. 2001. ‘The Apartment’.
