Adams, Jeffrey and ProQuest (Firm). 2015. ‘O Brother, Where Art Thou? The Hayseed Epic’. In The Cinema of the Coen Brothers: Hard-Boiled Entertainments, Directors’ Cuts:148–61. London, [England]: Wallflower Press. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1980197.
‘All That Mise En Scène Allows: Douglas Sirk’s Expressive Use of Gesture’. n.d. BFI Sight & Sound. http://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/bradlands/all-heaven-allows-douglas-sirk-mise-en-scene.
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.
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. Electronic resource. Rev. ed. Madison, Wis: University of Wisconsin Press. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=3445105.
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. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=4438926.
Bordwell, David. 1988. Narration in the Fiction Film. London: Routledge.
———. n.d. ‘Three Dimensions of Film Narrative’. In Poetics of Cinema, 1–56. http://www.davidbordwell.net/books/poetics_03narrative.pdf.
Bordwell, David, Janet Staiger, and Kristin Thompson. 1988a. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge.
———. 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. https://doi.org/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!’ Videorecording. [Los Angeles, Calif.]: Twentieth Century Fox. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp.nottingham.ac.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F0162EB0B%3Fbcast%3D50745328.
Butler, Jeremy G. 2012. Television: Critical Methods and Applications. Electronic resource. 4th ed. London: Routledge. http://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=957900.
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?’ Videorecording. [London?]: Momentum Pictures. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp.nottingham.ac.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F001FF6A5%3Fbcast%3D3018768.
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.
———. 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’. Videorecording. [London?]: Eureka Video. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp.nottingham.ac.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F01FCF8C0%3Fbcast%3D99885053.
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. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1711019.
Fabe, Marilyn and ebrary. 2004. Closely Watched Films: An Introduction to the Art of Narrative Film Technique. Oakland, California: University of California Press. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1711019.
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.
‘Filmsite Move Review: Citizen Kane’. n.d. https://www.filmsite.org/citi.html.
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. Electronic resource. Austin, Tex: University of Texas Press. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=3443619.
Gray, Hugh. 1960. ‘The Ontology of the Photographic Image’. Film Quarterly 13 (4): 4–9. https://doi.org/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.
———. 2007b. ‘Narrative Journeys of the Female Gothic Heroine’. In Hollywood Heroines : Women in Film Noir and the Female Gothic Film, 63–96. I.B.Tauris.
Hitchcock, Alfred, David O. Selznick, Daphne Du Maurier, and FremantleMedia. 2007. ‘Rebecca’. Videorecording. [S.l.]: FremantleMedia. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp.nottingham.ac.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F000B52ED%3Fbcast%3D131653129.
Hopkins, Lisa and ebrary, Inc. 2005. Screening the Gothic. Electronic resource. 1st ed. Austin, TX: University of Texas Press. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=3443053.
Hubbert, Julie. 2011. ‘The Recession Soundtrack: From Albums to Auteurs, Songs to Serialism (1960-1977)’. In Celluloid Symphonies: Texts and Contexts in Film Music History, 1st ed, 289–314. Berkeley: University of California Press. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=646810.
Jelavich, Peter and ebrary, Inc. 1996. Berlin Cabaret. Electronic resource. 1st Harvard Univeristy Press pbk. ed. Vol. Studies in cultural history. Cambridge, MA: Harvard University Press. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=3300725.
Kael, Pauline. n.d. ‘Raising Kane—I | The New Yorker’. 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.
———, 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. https://doi.org/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’. Videorecording. London: 2 entertain Video. https://learningonscreen.ac.uk/ondemand/playlists/349429.
Kirkegaard, Jonas Varsted. 2004. ‘Preston Sturges • Great Director Profile • Senses of Cinema’. 2004. 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’. In Post-Classical Hollywood: Film Industry, Style and Ideology since 1945, 1st ed, xi–xviii. Edinburgh: Edinburgh University Press. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=615832.
———. 2010b. ‘Part 1: Hollywood in Transition’. In Post-Classical Hollywood: Film Industry, Style and Ideology since 1945, 1st ed, 1–95. Edinburgh: Edinburgh University Press. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=615832.
Le Fanu, Mark. 1998. ‘On Editing’. POV 6: 5–19. http://pov.imv.au.dk/Issue_06/section_1/artc1A.html.
Liman, Doug, Patrick Crowley, Richard N. Gladstein, Tony Gilroy, William Blake Herron, Matt Damon, and Universal Pictures (Firm). 2004. ‘The Bourne Identity’. Videorecording. Universal City, Calif: Universal. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp.nottingham.ac.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F004CB0E1%3Fbcast%3D135977631.
Lisa Kernan. 2004. Coming Attractions : Reading American Movie Trailers. University of Texas Press. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=3443122.
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. http://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=240335.
———. 2002. Genre and Contemporary Hollywood. London: British Film Institute.
Neale, Stephen and MyiLibrary. 2012. The Classical Hollywood Reader. Electronic resource. London: Routledge. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1075077.
Neale, Steve. 2015. ‘Gestures, Movements and Actions in Rio Bravo’. In Howard Hawks: New Perspectives, 110–21. London: BFI.
Netburn, Stephen, Frederick Greene, Michael Shapiro, and Andrew J. Kuehn Jr. Foundation. 2005. ‘Coming Attractions: A History of the Movie Trailer’. Videorecording. Laguna Beach, Calif: Andrew J. Kuehn Jr. Foundation.
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. http://www.rouge.com.au/9/moments_choice.html.
Philip Booth. 2007. ‘Hemingway’s “The Killers” and Heroic Fatalism: From Page to Screen (Thrice)’. Literature/Film Quarterly 35 (1). https://bit.ly/2B4WC0l.
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’. Videorecording. [London]: Warner Home Video. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp.nottingham.ac.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F000C8F9C%3Fbcast%3D46695138.
Ryall, Tom. 2015. ‘Hawks and the Western’. In Howard Hawks: New Perspectives, 97–109. 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. 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.
———. 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. https://doi.org/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’. Videorecording. [London?]: Warner Home Video. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp.nottingham.ac.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F0002E219%3Fbcast%3D55376018.
Sirk, Douglas. 2007. ‘Directed by Douglas Sirk’. Videorecording. [London]: Universal Studios.
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’. Videorecording. Directed by Douglas Sirk. [London]: Universal Studios. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp.nottingham.ac.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F00199901%3Fbcast%3D98655032.
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’. Videorecording. Universal City, Calif: Universal Studios Home Video.
Taylor, Richard. 2014. ‘Production History’. In Battleship Potemkin : The Film Companion, 1st ed., 1–13. 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’. Videorecording. [London]: Universal Pictures (U.K.). https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp.nottingham.ac.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F01787544%3Fbcast%3D120790147.
Wells, Liz and MyiLibrary. 2015. Photography: A Critical Introduction. Electronic resource. 5th ed. London: Routledge. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1968918.
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’. Videorecording. [London?]: MGM Home Entertainment.
