Adams, Jeffrey and ProQuest (Firm). 2015. ‘O Brother, Where Art Thou? The Hayseed Epic’, in The Cinema of the Coen Brothers: Hard-Boiled Entertainments (Wallflower Press), Directors’ Cuts, pp. 148–61 <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 (McGraw-Hill)
Altman, Rick and British Film Institute. 1999. Film/Genre (BFI)
Babington, Bruce, and Peter William Evans. 1985. Blue Skies and Silver Linings: Aspects of the Hollywood Musical (Manchester University Press)
Baker, Simon, and others. 2016. The Radical Eye: Modernist Photography from the Sir Elton John Collection (Tate Publishing)
Balio, Tino. 1995. Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939 (University of California Press), History of the American cinema
—— and ebrary, Inc. 1985. The American Film Industry, Rev. ed (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 (W.W. Norton & Company)
Belton, John. 1992. Widescreen Cinema (Harvard University Press)
Benjamin, Walter, Esther Leslie, and ProQuest (Firm). 2015. On Photography (Reaktion Books) <https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=4438926>
Bordwell, David. 1988. Narration in the Fiction Film (Routledge)
——. n.d. ‘Three Dimensions of Film Narrative’, in Poetics of Cinema, pp. 1–56 <http://www.davidbordwell.net/books/poetics_03narrative.pdf>
——, Janet Staiger, and Kristin Thompson. 1988a. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 (Routledge)
——, Janet Staiger, and Kristin Thompson. 1988b. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 (Routledge)
——, Kristin Thompson, and Jeff Smith. 2017. Film Art: An Introduction, 11th ed (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, pp. 150–60, doi:10.1080/01956050903227928
Brothers, Caroline. 1997. War and Photography: A Cultural History (Routledge)
Brown, Martin, and others. 2002. Moulin Rouge!, Twentieth Century Fox, videorecording <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, 4th ed (Routledge) <http://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=957900>
Byars, Jackie. 1991. All That Hollywood Allows: Re-Reading Gender in 1950s Melodrama (Routledge)
Coen, Joel and Universal Pictures (Firm). 2001. O Brother, Where Art Thou?, Special ed, Momentum Pictures, videorecording <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 (Routledge), In focus--Routledge film readers
Cook, David A. 2016a. A History of Narrative Film, 5th ed (W.W. Norton & Company)
——. 2016b. A History of Narrative Film, 5th ed (W.W. Norton & Company)
Du Maurier, Daphne. 2003. Rebecca (Virago), Virago modern classics
Dunleavy, Trisha. 2009. Television Drama: Form, Agency, Innovation (Palgrave Macmillan)
Eisenstein, Sergei, and others. 2000. The Battleship Potemkin, Eureka Video, videorecording <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 (University of California Press) <https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1711019>
—— and ebrary. 2004. Closely Watched Films: An Introduction to the Art of Narrative Film Technique (University of California Press) <https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1711019>
Fauer, Jon. 2008. Cinematographer Style: The Complete Interviews (American Society of Cinematographers)
Feuer, Jane. 1993. The Hollywood Musical, 2nd ed (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 (W.W. Norton)
Gledhill, Christine and British Film Institute. 1987. Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film (British Film Institute)
Gomery, Douglas and British Film Institute. 2005. The Hollywood Studio System: A History (BFI Publishing)
Grant, Barry Keith. 2008. Auteurs and Authorship: A Film Reader (Blackwell Publishing)
—— and ebrary, Inc. 2012. Film Genre Reader IV (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, pp. 4–9, doi:10.2307/1210183
Gunning, Tom. 1991. D.W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph (University of Illinois Press)
Hanson, Helen. 2007a. Hollywood Heroines: Women in Film Noir and the Female Gothic Film (I.B. Tauris)
——. 2007b. ‘Narrative Journeys of the Female Gothic Heroine’, in Hollywood Heroines : Women in Film Noir and the Female Gothic Film (I.B.Tauris), pp. 63–96
Hitchcock, Alfred, and others. 2007. Rebecca, Digitally remastered ed, FremantleMedia, videorecording <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, 1st ed (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 (University of California Press), pp. 289–314 <https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=646810>
Jelavich, Peter and ebrary, Inc. 1996. Berlin Cabaret, 1st Harvard Univeristy Press pbk. ed (Harvard University Press), Studies in cultural history <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>
—— and British Film Institute. 2002. Raising Kane (Methuen Publishing)
Kawin, Bruce F. 1992. How Movies Work (University of California Press)
Keating, Patrick. 2010. Hollywood Lighting from the Silent Era to Film Noir (Columbia University Press), Film and culture
—— (ed.). 2014. Cinematography (Rutgers University Press), iii
Kessler, Kelly. 2010. Destabilizing the Hollywood Musical: Music, Masculinity and Mayhem (Palgrave Macmillan)
Kinder, Marsha. 2002. ‘Moulin Rouge’, Film Quarterly, 55.3, pp. 52–59, doi:10.1525/fq.2002.55.3.52
Kirby, Tim, and others. 2009. The Genius of Photography, 2 entertain Video, videorecording <https://learningonscreen.ac.uk/ondemand/playlists/349429>
Kirkegaard, Jonas Varsted. 2004. ‘Preston Sturges • Great Director Profile • Senses of Cinema’ <http://sensesofcinema.com/2004/great-directors/sturges/>
Klinger, Barbara. 1994. Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk (Indiana University Press)
Landy, Marcia. 1991. Imitations of Life: A Reader on Film and Television Melodrama (Wayne State University Press), Contemporary film and television series
Langford, Barry. 2010a. ‘Introduction’, in Post-Classical Hollywood: Film Industry, Style and Ideology since 1945, 1st ed (Edinburgh University Press), pp. xi–xviii <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 (Edinburgh University Press), pp. 1–95 <https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=615832>
Le Fanu, Mark. 1998. ‘On Editing’, POV, 6, pp. 5–19 <http://pov.imv.au.dk/Issue_06/section_1/artc1A.html>
Liman, Doug, and others. 2004. The Bourne Identity, Special ed, Universal, videorecording <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 (Blackwell Publishing)
Marshall, Bill, and Robynn Jeananne Stilwell. 2000. Musicals: Hollywood and Beyond (Intellect)
McCullin, Don, and Susan Sontag. 2003. Don McCullin (Jonathan Cape)
Mercer, John, and Martin Shingler. 2004. Melodrama: Genre, Style, Sensibility (Wallflower), Short cuts
Monaco, James. 2009. How to Read a Film: Movies, Media, and beyond : Art, Technology, Language, History, Theory, 4th ed., completely rev. and expanded (Oxford University Press)
Mundy, John. 1999. Popular Music on Screen: From the Hollywood Musical to Music Video (Manchester University Press), Music and society
Neale, Stephen. 2000. Genre and Hollywood (Routledge) <http://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=240335>
——. 2002. Genre and Contemporary Hollywood (British Film Institute)
—— and MyiLibrary. 2012. The Classical Hollywood Reader (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 (BFI), pp. 110–21
Netburn, Stephen, and others. 2005. Coming Attractions: A History of the Movie Trailer, Andrew J. Kuehn Jr. Foundation, videorecording
Perkins, V. F. 1972. Film as Film: Understanding and Judging Movies (Penguin), Pelican original
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, and others. 2000. Rebel without a Cause, Warner Home Video, videorecording <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 (BFI), pp. 97–109
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 (Starword)
Schatz, Thomas. 1997. Boom and Bust: The American Cinema in the 1940s (Charles Scribner’s Sons), History of the American cinema
——. 1998. The Genius of the System: Hollywood Filmmaking in the Studio Era (Faber and Faber)
Scheibel, Will. 2016. ‘Rebel Masculinities of Star/Director/Text: James Dean, Nicholas Ray, And’, Journal of Gender Studies, 25.2, pp. 125–40, doi:10.1080/09589236.2014.916203
Scott, Ridley, and others. 2007. Blade Runner: The Final Cut, Ultimate collector’s ed, Warner Home Video, videorecording <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, Universal Studios, videorecording
——, and Jon Halliday. 1971. Sirk on Sirk: Interviews with Jon Halliday (Secker and Warburg in association with the British Film Institute), Cinema one
—— and Universal Pictures Company. 2007. ‘All That Heaven Allows’, in Directed by Douglas Sirk, Universal Studios, videorecording <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 (Penguin)
Staiger, Janet. 1995. The Studio System (Rutgers University Press), Rutgers depth of field series
Sturges, Preston, Paramount Publix Corporation, and Universal Studios Home Video (Firm). 2005. Sullivan’s Travels, Universal Studios Home Video, videorecording
Taylor, Richard. 2014. ‘Production History’, in Battleship Potemkin : The Film Companion, 1st edn (I.B.Tauris), pp. 1–13
Thompson, Kristin, and David Bordwell. 2010. Film History: An Introduction, 3rd ed., International ed (McGraw-Hill Higher Education)
Welles, Orson, Universal Pictures (UK) Ltd, and RKO Radio Pictures. 2003. Citizen Kane, Special ed, Universal Pictures (U.K.), videorecording <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, 5th ed (Routledge) <https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1968918>
Wilder, Billy, and others. 2001. The Apartment, MGM Home Entertainment, videorecording
