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D. A. Cook, A history of narrative film, 5th ed. New York: W.W. Norton & Company, 2016.
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T. Dunleavy, Television drama: form, agency, innovation. Basingstoke: Palgrave Macmillan, 2009.
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T. Balio, Grand design: Hollywood as a modern business enterprise, 1930-1939, vol. History of the American cinema. Berkeley: University of California Press, 1995.
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D. Bordwell, J. Staiger, and K. Thompson, The classical Hollywood cinema: film style & mode of production to 1960. London: Routledge, 1988.
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T. Schatz, Boom and bust: the American cinema in the 1940s, vol. History of the American cinema. New York: Charles Scribner’s Sons, 1997.
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T. Schatz, The genius of the system: Hollywood filmmaking in the studio era. London: Faber and Faber, 1998.
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C. Brothers, War and photography: a cultural history. London: Routledge, 1997.
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D. McCullin and S. Sontag, Don McCullin. London: Jonathan Cape, 2003.
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L. Wells and MyiLibrary, Photography: a critical introduction, 5th ed. London: Routledge, 2015 [Online]. Available: https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1968918
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T. Kirby, C. Rodley, D. Lee, 2 Entertain Video (Firm), and British Broadcasting Corporation, ‘The genius of photography’. 2 entertain Video, London, 2009 [Online]. Available: https://learningonscreen.ac.uk/ondemand/playlists/349429
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V. F. Perkins, ‘Moments of Choice’, Rouge 9, 2006 [Online]. Available: http://www.rouge.com.au/9/moments_choice.html
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J. Belton, Widescreen cinema. Cambridge, Mass: Harvard University Press, 1992.
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J. Fauer, Cinematographer style: the complete interviews. Hollywood, Calif: American Society of Cinematographers, 2008.
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P. Keating, Ed., Cinematography, vol. 3. New Brunswick, New Jersey: Rutgers University Press, 2014.
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P. Keating, Hollywood lighting from the silent era to film noir, vol. Film and culture. New York: Columbia University Press, 2010.
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D. Liman et al., ‘The Bourne identity’. Universal, Universal City, Calif, 2004 [Online]. Available: 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
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D. Bordwell, ‘Three Dimensions of Film Narrative’, in Poetics of Cinema, pp. 1–56 [Online]. Available: http://www.davidbordwell.net/books/poetics_03narrative.pdf
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D. Bordwell, Narration in the fiction film. London: Routledge, 1988.
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D. A. Cook, A history of narrative film, 5th ed. New York: W.W. Norton & Company, 2016.
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M. Fabe and ebrary, Closely watched films: an introduction to the art of narrative film technique. Oakland, California: University of California Press, 2004 [Online]. Available: https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1711019
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T. Gunning, D.W. Griffith and the origins of American narrative film: the early years at Biograph. Urbana: University of Illinois Press, 1991.
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D. Sirk and Universal Pictures Company, ‘All that heaven allows’, Directed by Douglas Sirk. Universal Studios, [London], 2007 [Online]. Available: 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
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‘All that mise en scène allows: Douglas Sirk’s expressive use of gesture’, BFI Sight & Sound. [Online]. Available: http://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/bradlands/all-heaven-allows-douglas-sirk-mise-en-scene
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R. Altman and British Film Institute, Film/genre. London: BFI, 1999.
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B. K. Grant and ebrary, Inc, Film genre reader IV. Austin, Tex: University of Texas Press, 2012 [Online]. Available: https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=3443619
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S. Neale, Genre and contemporary Hollywood. London: British Film Institute, 2002.
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S. Neale, Genre and Hollywood. London: Routledge, 2000 [Online]. Available: http://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=240335
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J. Byars, All that Hollywood allows: re-reading gender in 1950s melodrama. London: Routledge, 1991.
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C. Gledhill and British Film Institute, Home is where the heart is: studies in melodrama and the woman’s film. London: British Film Institute, 1987.
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B. Klinger, Melodrama and meaning: history, culture, and the films of Douglas Sirk. Bloomington: Indiana University Press, 1994.
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M. Landy, Imitations of life: a reader on film and television melodrama, vol. Contemporary film and television series. Detroit: Wayne State University Press, 1991.
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J. Mercer and M. Shingler, Melodrama: genre, style, sensibility, vol. Short cuts. London: Wallflower, 2004.
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D. Sirk and J. Halliday, Sirk on Sirk: interviews with Jon Halliday, vol. Cinema one. London: Secker and Warburg in association with the British Film Institute, 1971.
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D. Sirk, ‘Directed by Douglas Sirk’. Universal Studios, [London], 2007.
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M. Brown, B. Luhrmann, F. Baron, C. Pearce, Bazmark Design (Firm), and Twentieth Century-Fox Film Corporation, ‘Moulin Rouge!’ Twentieth Century Fox, [Los Angeles, Calif.], 2002 [Online]. Available: 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
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M. Kinder, ‘Moulin Rouge’, Film Quarterly, vol. 55, no. 3, pp. 52–59, Mar. 2002, doi: 10.1525/fq.2002.55.3.52.
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S. Cohan, Hollywood musicals: the film reader, vol. In focus--Routledge film readers. London: Routledge, 2002.
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J. Feuer, The Hollywood musical, 2nd ed. Bloomington: Indiana University Press, 1993.
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P. Jelavich and ebrary, Inc, Berlin cabaret, 1st Harvard Univeristy Press pbk. ed., vol. Studies in cultural history. Cambridge, MA: Harvard University Press, 1996 [Online]. Available: https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=3300725
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K. Kessler, Destabilizing the Hollywood musical: music, masculinity and mayhem. Basingstoke, Hampshire: Palgrave Macmillan, 2010.
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B. Marshall and R. J. Stilwell, Musicals: Hollywood and beyond. Exeter: Intellect, 2000.
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J. Mundy, Popular music on screen: from the Hollywood musical to music video, vol. Music and society. Manchester: Manchester University Press, 1999.
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A. Hitchcock, D. O. Selznick, D. Du Maurier, and FremantleMedia, ‘Rebecca’. FremantleMedia, [S.l.], 2007 [Online]. Available: 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
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H. Hanson, ‘Narrative Journeys of the Female Gothic Heroine’, in Hollywood Heroines : Women in Film Noir and the Female Gothic Film, I.B.Tauris, 2007, pp. 63–96.
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D. Du Maurier, Rebecca, vol. Virago modern classics. London: Virago, 2003.
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H. Hanson, Hollywood heroines: women in film noir and the female gothic film. London: I.B. Tauris, 2007.
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L. Hopkins and ebrary, Inc, Screening the gothic, 1st ed. Austin, TX: University of Texas Press, 2005 [Online]. Available: https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=3443053
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S. Netburn, F. Greene, M. Shapiro, and Andrew J. Kuehn Jr. Foundation, ‘Coming attractions: a history of the movie trailer’. Andrew J. Kuehn Jr. Foundation, Laguna Beach, Calif, 2005.
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Lisa Kernan, Coming Attractions : Reading American Movie Trailers. University of Texas Press, 2004 [Online]. Available: https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=3443122
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B. Wilder et al., ‘The apartment’. MGM Home Entertainment, [London?], 2001.
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B. Langford, ‘Introduction’, in Post-Classical Hollywood: Film Industry, Style and Ideology since 1945, 1st ed., Edinburgh: Edinburgh University Press, 2010, pp. xi–xviii [Online]. Available: https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=615832
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B. Langford, ‘Part 1: Hollywood in Transition’, in Post-Classical Hollywood: Film Industry, Style and Ideology since 1945, 1st ed., Edinburgh: Edinburgh University Press, 2010, pp. 1–95 [Online]. Available: https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=615832
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I. Brookes, ‘The Eye of Power: POSTWAR FORDISM AND THE PANOPTIC CORPORATION IN’, Journal of Popular Film and Television, vol. 37, no. 4, pp. 150–160, Nov. 2009, doi: 10.1080/01956050903227928.
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S. Eisenstein et al., ‘The Battleship Potemkin’. Eureka Video, [London?], 2000 [Online]. Available: 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
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M. Le Fanu, ‘On Editing’, POV, vol. 6, pp. 5–19, 1998 [Online]. Available: http://pov.imv.au.dk/Issue_06/section_1/artc1A.html
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M. Fabe, ‘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, 2004 [Online]. Available: https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1711019
[80]
R. Taylor, ‘Production History’, in Battleship Potemkin : The Film Companion, 1st ed., I.B.Tauris, 2014, pp. 1–13.
[81]
R. Scott et al., ‘Blade runner: the final cut’. Warner Home Video, [London?], 2007 [Online]. Available: 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
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D. C. Ryan, ‘Dreams of Postmodernism and Thoughts of Mortality: A Twenty-Fifth Anniversary Retrospective of Blade Runner’, Senses of Cinema. [Online]. Available: http://sensesofcinema.com/2007/feature-articles/blade-runner/
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N. Ray et al., ‘Rebel without a cause’. Warner Home Video, [London], 2000 [Online]. Available: 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
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W. Scheibel, ‘Rebel masculinities of star/director/text: James Dean, Nicholas Ray, and’, Journal of Gender Studies, vol. 25, no. 2, pp. 125–140, Mar. 2016, doi: 10.1080/09589236.2014.916203.
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J. Hubbert, ‘The Recession Soundtrack: From Albums to Auteurs, Songs to Serialism (1960-1977)’, in Celluloid Symphonies: Texts and Contexts in Film Music History, 1st ed., Berkeley: University of California Press, 2011, pp. 289–314 [Online]. Available: https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=646810
[86]
J. Coen and Universal Pictures (Firm), ‘O brother, where art thou?’ Momentum Pictures, [London?], 2001 [Online]. Available: 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
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J. Adams and ProQuest (Firm), ‘O Brother, Where Art Thou? The Hayseed Epic’, in The cinema of the Coen brothers: hard-boiled entertainments, vol. Directors’ Cuts, London, [England]: Wallflower Press, 2015, pp. 148–161 [Online]. Available: https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1980197
[88]
Philip Booth, ‘Hemingway’s “The Killers” and Heroic Fatalism: From Page to Screen (Thrice)’, Literature/Film Quarterly, vol. 35, no. 1, 2007 [Online]. Available: https://bit.ly/2B4WC0l
[89]
S. Neale, ‘Gestures, Movements and Actions in Rio Bravo’, in Howard Hawks: new perspectives, London: BFI, 2015, pp. 110–121.
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T. Ryall, ‘Hawks and the Western’, in Howard Hawks: new perspectives, London: BFI, 2015, pp. 97–109.
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O. Welles, Universal Pictures (UK) Ltd, and RKO Radio Pictures, ‘Citizen Kane’. Universal Pictures (U.K.), [London], 2003 [Online]. Available: 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
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‘Filmsite Move Review: Citizen Kane’. [Online]. Available: https://www.filmsite.org/citi.html
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P. Kael, ‘Raising Kane—I | The New Yorker’. [Online]. Available: https://www.newyorker.com/magazine/1971/02/20/raising-kane-i
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P. Kael and British Film Institute, Raising Kane. London: Methuen Publishing, 2002.
[95]
B. K. Grant, Auteurs and authorship: a film reader. Malden, Mass: Blackwell Publishing, 2008.
