1.
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2.
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3.
Lapsley R, Westlake M. Realism: Chapter. In: Film Theory: An Introduction. Vol Images of culture. Manchester University Press; 1988:156-180. https://blackboard.le.ac.uk/bbcswebdav/pid-727207-dt-content-rid-1815038_5/library/eReserves/HA1114/HA1114_24151.pdf
4.
Tudor A. The Many Mythologies of Realism. Screen. 1972;13(1):27-36. doi:10.1093/screen/13.1.27
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6.
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7.
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8.
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9.
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10.
Shary T, Seibel A. Youth Culture in Global Cinema. 1st ed. University of Texas Press; 2007. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10245828
11.
Nagib L. Brazil on Screen: Cinema Novo, New Cinema, Utopia. Vol Tauris world cinema series. I. B. Tauris; 2007. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10217783
12.
Nagib L, University of Oxford. Centre for Brazilian Studies. The New Brazilian Cinema. I.B. Tauris in Association with the Centre for Brazilian Studies, University of Oxford; 2003.
13.
Kantaris G, O’Bryen R. Latin American Popular Culture: Politics, Media, Affect. Vol Colección Támesis. Tamesis; 2013. http://site.ebrary.com/lib/leicester/Doc?id=10748380
14.
Nagib L. World Cinema and the Ethics of Realism. Continuum International Pub. Group; 2011.
15.
Maggiorani, Lamberto, De Sica, Vittorio. Ladri di biciclette =: Bicycle thieves. 1948;Arrow films world.
16.
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17.
Bazin, André, Cardullo, Bert. André Bazin and Italian Neorealism. Continuum; 2011. http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com/detail.asp?id=330775
18.
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19.
Cardullo, Bert. Vittorio De Sica: Director, Actor, Screenwriter. McFarland; 2002.
20.
Celli, Carlo, Cottino-Jones, Marga. A New Guide to Italian Cinema. Vol Italian and Italian American studies. 1st ed. Palgrave Macmillan; 2007. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10167438
21.
Fabe M. Italian Neorealism: De Sica’s The Bicycle Thief: Chapter. In: Closely Watched Films: An Introduction to the Art of Narrative Film Technique. University of California Press; 2004:99-119.
22.
Forgacs, David. Rome Open City (Roma Città Aperta). Vol BFI film classics. British Film Institute; 2000.
23.
Giovacchini, Saverio, Sklar, Robert. Global Neorealism: The Transnational History of a Film Style. University Press of Mississippi; 2011. http://site.ebrary.com/lib/leicester/Doc?id=10508856
24.
Gordon, Robert Samuel Clive. Bicycle Thieves. Vol BFI film classics. BFI; 2008.
25.
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26.
Harper M. Adaptation by Degree: A Study of Vittorio de Sica’s Bicycle Theives: Chapter of Impure Cinema. In: Impure Cinema: Intermedial and Intercultural Approaches to Film. I.B.Tauris & Co Ltd; 30AD:121-133. http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com?id=548399
27.
Hillier, Jim. Cahiers Du Cinéma: The 1950s : Neo-Realism, Hollywood, New Wave. Vol Harvard film studies. Harvard University Press; 1985.
28.
Landy, Marcia. Italian Film. Vol National film traditions. Cambridge University Press; 2000.
29.
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30.
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31.
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32.
Overbey, David. Springtime in Italy: A Reader on Neo-Realism. Talisman Books; 1978.
33.
Shiel, Mark. Italian Neorealism: Rebuilding the Cinematic City. Vol Short cuts. Wallflower; 2006.
34.
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35.
Wagstaff, Christopher. Italian Neorealist Cinema: An Aesthetic Approach. Vol Toronto Italian studies. University of Toronto Press; 2007. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10295298
36.
Aitken, Ian. Realist Film Theory and Cinema: The Nineteenth-Century Lukácsian and Intuitionist Realist Traditions. Manchester University Press; 2006. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5662274370002746&institutionId=2746&customerId=2745
37.
Andrew, Dudley. André Bazin. Columbia University Press; 1990.
38.
Andrew, Dudley, Joubert-Laurencin, Hervé. Opening Bazin: Postwar Film Theory and Its Afterlife. Oxford University Press; 2011.
39.
Andrew, Dudley. What Cinema Is!: Bazin’s Quest and Its Charge. Vol Blackwell manifestos. Wiley-Blackwell; 2010.
40.
Bazin, André, Cardullo, Bert. Bazin at Work: Major Essays and Reviews from the Forties and Fifties. Routledge; 1997.
41.
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42.
Bazin, André, Gray, Hugh. What Is Cinema?: Volume 1. University of California Press; 1992.
43.
Bazin, André. What Is Cinema?: Volume 2. University of California Press; 1992.
44.
Bordwell D. Against the Seventh Art: André Bazin and the Dialectical Program: Chapter. In: On the History of Film Style. Harvard University Press; 1997:46-82.
45.
Cardullo, Bert. Cinematic Illusions: Realism, Subjectivity, and the Avant-Garde. Cambridge Scholars; 2008.
46.
Cardullo, Bert. Soundings on Cinema: Speaking to Film and Film Artists. Vol SUNY series, horizons of cinema. State University of New York Press; 2008.
47.
Deleuze, Gilles. Cinema: 2: The Time-Image. The Athlone Press; 1989.
48.
Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. Princeton University Press; 1997.
49.
De Sica, Vittorio, Cigoli, Emilio, De Ambrosis, Luciano, Pola, Isa, Zavattini, Cesare. I bambini ci guardano =: The children are watching us. 1944;Criterion collection.
50.
Antonioni, Michelangelo, Bosé, Lucia, Girotti, Massimo. Cronaca di un amore =: The story of a love affair. 1950;Tribute to Antonioni series.
51.
Rossellini, Roberto, Meschke, Edmund, Hinzf, Ingetraud, Grüger, Franz, Aprà, Adriano. Germania Anno Zero =: Germany Year Zero. Vol Roberto Rossellini’s war trilogy. Special edition. Criterion; 1948.
52.
De Sica, Vittorio, Barnabò, Guglielmo, Gramatica, Emma, Bovo, Brunella, De Sica, Manuel, Zavattini, Cesare. Miracolo a Milano =: Miracle in Milan. Published online 1951.
53.
Visconti, Luchino, Girotti, Massimo, Calamai, Clara. Ossessione. Published online 1942.
54.
Sazio, Carmela, Rossellini, Roberto, Aprà, Adriano, Gallagher, Tag. Paisà =: Paisan. Vol Roberto Rossellini’s war trilogy. Special edition. Criterion; 1946.
55.
Sazio, Carmela, Rossellini, Roberto. Paisà. 1946;Roberto Rossellini’s war trilogy.
56.
De Santis, Giuseppe, Dowling, Doris, Gassman, Vittorio. Riso amaro =: Bitter rice. 1949;Grande cinema Italiano.
57.
Fabrizi, Aldo, Rossellini, Roberto, Bondanella, Peter, Aprà, Adriano, Shiel, Mark. Roma, Citta Aperta =: Rome, Open City. Vol Roberto Rossellini’s war trilogy. Special edition. Criterion; 1945.
58.
Fabrizi, Aldo, Rossellini, Roberto. Roma, citta aperta =: Rome, open city. 1945;Roberto Rossellini’s war trilogy.
59.
Smordoni, Rinaldo, Interlenghi, Franco, De Sica, Vittorio. Sciuscià =: Shoeshine. 1946;Master of cinema.
60.
Visconti, Luchino. La terra trema =: The earth trembles. Published online 1948.
61.
De Sica, Vittorio, Zavattini, Cesare, Battisti, Carlo, Casilio, Maria Pia, Gennari, Lina. Umberto D. Published online 1952.
62.
Bresson R, Leterrier F, Le Clainche C, Devigny A. Un condamné à mort s’est échappé, ou, Le vent souffle où il vent =: A man escaped. 2008;Artificial eye.
63.
Bordwell D, Thompson K. Function of Film Sound: A Man Escaped: Chapter. In: Film Art: An Introduction. 7th ed. McGraw-Hill; 2004:377-385.
64.
Price B. Neither God nor Master: Robert Bresson and Radical Politics. University of Minnesota Press; 2011. http://site.ebrary.com/lib/leicester/Doc?id=10460997
65.
Cardullo B. Five French Filmmakers: Renoir, Bresson, Tati, Truffaut, Rohmer : Essays and Interviews. Cambridge Scholars; 2008.
66.
Cunneen JE. Robert Bresson: A Spiritual Style in Film. Continuum International Pub. Group; 2003.
67.
Reader K. Robert Bresson. Vol French film directors. Manchester University Press; 2000.
68.
Altman, Rick. Cinema/Sound. Vol Yale french studies. Yale French Studies; 1980.
69.
Altman, Rick. Sound Theory, Sound Practice. Vol AFI film readers. Routledge; 1992.
70.
Barsam R, Monahan D. Sound: Chapter. In: Looking at Movies. WW Norton & Co; 11AD:387-430.
71.
Beck J. Citing the Sound. Journal of Popular Film and Television. 2002;29(4):156-163. doi:10.1080/01956050209601021
72.
Belton J. Technology and Aesthetics of Film Sound: Chapter. In: Film Sound: Theory and Practice. Columbia University Press; 1985:63-72. https://blackboard.le.ac.uk/bbcswebdav/pid-1025238-dt-content-rid-2557301_5/library/eReserves/HA1114/HA1114_34957.pdf
73.
Bordwell D, Thompson K. Sound in the Cinema: Chapter. In: Film Art: An Introduction. 10th ed., international ed. McGraw-Hill; 2013.
74.
Casetti F. Cinema and Reality: Chapter. In: Theories of Cinema, 1945-1995. University of Texas Press; 1999:21-42.
75.
Chion, Michel, Gorbman, Claudia. Audio-Vision: Sound on Screen. Columbia University Press; 1994.
76.
Eisenstein S, Pudovkin V, Alexandrov G. Statement on Sound: Chapter. In: Film Theory and Criticism: Introductory Readings. 7th ed. Oxford University Press; 2008:315-317.
77.
Farnell, Andy. Designing Sound. MIT Press; 2010. http://site.ebrary.com/lib/leicester/Doc?id=10562043
78.
Geuens JP. Sound: Chapter. In: Film Production Theory. Vol SUNY series, cultural studies in cinema/video. State University of New York Press; 2000:197-224. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664950710002746&institutionId=2746&customerId=2745
79.
Gomery, Douglas. The Coming of Sound: A History. Routledge; 2005. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664089160002746&institutionId=2746&customerId=2745
80.
Kerins, Mark. Beyond Dolby (Stereo): Cinema in the Digital Sound Age. Indiana University Press; 2010. http://site.ebrary.com/lib/leicester/Doc?id=10437995
81.
O’Brien, Charles. Cinema’s Conversion to Sound: Technology and Film Style in France and the U.S. Indiana University Press; 2005. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10118516
82.
Sergi, Gianluca. The Dolby Era: Film Sound in Contemporary Hollywood. Vol Inside popular film. Manchester University Press; 2004.
83.
Utterson, Andrew. Technology and Culture, the Film Reader. Vol In focus: Routledge film readers. Routledge; 2005.
84.
Robert B. L’Argent. Published online 1983.
85.
Bresson R. The Devil, Probably. Published online 1977.
86.
Bresson R, Balsan H, Simon L. Lancelot du Lac. Artificial eye.
87.
Bresson R, Bernanos G, Nortier N, Guilbert JC, Cardinal M. Mouchette. Published online 2004.
88.
Bresson R, LaSalle M, Green M, Leymarie P, Dostoyevsky F. Pickpocket. 2005;Artificial eye.
89.
Eisenstein, Sergei, Vassiliev, Dmitri, Cherkasov, Nikolaĭ. Aleksandr Nevsky =: Alexander Nevsky. Published online 1938.
90.
Brando, Marlon, Sheen, Martin, Coppola, Francis Ford, Conrad, Joseph. Apocalypse now redux. Published online 1979.
91.
Coppola FF. Apocalypse Now. Published online 1979.
92.
Mamoulian R. Applause. Published online 1929.
93.
Strickland P. Berberian Sound Studio. Published online 2012.
94.
Hitchcock, Alfred, Ondra, Anny, Longden, John, Bennett, Charles. Blackmail. Published online 1929.
95.
De Palma B. Blow Out. Published online 1980.
96.
Fauchois, René, Renoir, Jean, Simon, Michel. Boudu sauvé des eaux =: Boudu saved from drowning. Published online 1932.
97.
Nichols, Mike, Bancroft, Anne, Hoffman, Dustin, et al. The graduate. Published online 1967.
98.
Jennings H. Listen to Britain. Humphrey Jennings collection: Listen to Britain, Diary for Timothy, I was a fireman. Published online 1942.
99.
Scorsese, Martin, De Niro, Robert, Keitel, Harvey. Mean streets. Published online 1973.
100.
Welles, Orson, Heston, Charlton, Leigh, Janet, Masterson, Whit. Touch of evil. Published online 1958.
101.
Cuarón, Alfonso, Owen, Clive, Moore, Julianne, Caine, Michael. Children of men. Published online 2006.
102.
Prince S. Painting with Digital Light: Chapter. In: Digital Visual Effects in Cinema: The Seduction of Reality. Rutgers University Press; 2012:56-98. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664951060002746&institutionId=2746&customerId=2745
103.
Allen M. Fixing it in Digital: Chapter. In: Contemporary US Cinema. Vol Inside film. Longman; 2003:201-223.
104.
Dixon, Wheeler W., Foster, Gwendolyn Audrey. 21st Century Hollywood: Movies in the Era of Transformation. Rutgers University Press; 2011. http://site.ebrary.com/lib/leicester/Doc?id=10535582
105.
Friedberg A. The End of Cinema: Multimedia and Technological Change: Chapter. In: Reinventing Film Studies. Arnold; 2000:438-452.
106.
Gunning T. Moving away from the Index: Cinema and the Impression of Reality: Chapter. In: The Film Theory Reader: Debates and Arguments. Routledge; 2010:255-269.
107.
Hanson, Matt. The End of Celluloid: Film Futures in the Digital Age. RotoVision; 2004.
108.
Manovich L. Old Media as New Media: Chapter. In: The New Media Book. British Film Institute; 2002:209-218. https://blackboard.le.ac.uk/bbcswebdav/pid-354313-dt-content-rid-514951_5/library/eReserves/HA1114/HA1114%20-%20Doc%207.pdf
109.
Jenkins H. The Work of Theory in the Age of Digital Transformation: Chapter. In: A Companion to Film Theory. Vol Blackwell companions in cultural studies. Blackwell; 1999:234-261.
110.
Lister, Martin. New Media: A Critical Introduction. 2nd ed. Routledge; 2009. http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=190114
111.
Manovich L. Digital Cinema and the History of a Moving Image: Chapter. In: The Film Theory Reader: Debates and Arguments. Routledge; 2010:245-254.
112.
Manovich, Lev. The Language of New Media. MIT; 2001.
113.
Purse, Lisa. Digital Imaging in Popular Cinema. Edinburgh University Press; 2013.
114.
Rodowick, David Norman. The Virtual Life of Film. Harvard University Press; 2007. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10318536
115.
Rombes, Nicholas. Cinema in the Digital Age. Wallflower; 2009.
116.
Utterson, Andrew. From IBM to MGM: Cinema at the Dawn of the Digital Age. Palgrave Macmillan; 2011.
117.
Vernallis, Carol, Herzog, Amy, Richardson, John, eds. The Oxford Handbook of Sound and Image in Digital Media. Vol Oxford handbooks in music. Oxford University Press; 2013.
118.
Willis, Holly. New Digital Cinema: Reinventing the Moving Image. Vol Short cuts series. Wallflower Press; 2005.
119.
Stephen Prince. The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Era. Film Quarterly. 2004;57(3):24-33. http://www.jstor.org/stable/10.1525/fq.2004.57.3.24?Search=yes&resultItemClick=true&searchText="stephen prince"&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3D%2522stephen%2Bprince%2522%26amp%3Bfilter%3Djid%253A10.2307%252Fj100159%26amp%3BSearch%3DSearch%26amp%3Bwc%3Don%26amp%3Bfc%3Doff%26amp%3BglobalSearch%3D%26amp%3BsbbBox%3D%26amp%3BsbjBox%3D%26amp%3BsbpBox%3D
120.
Stephen Prince. True Lies: Perceptual Realism, Digital Images, and Film Theory. Film Quarterly. 1996;49(3):27-37. http://www.jstor.org/stable/10.2307/1213468?Search=yes&resultItemClick=true&searchText="stephen prince"&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3D%2522stephen%2Bprince%2522%26amp%3Bfilter%3Djid%253A10.2307%252Fj100159%26amp%3BSearch%3DSearch%26amp%3Bwc%3Don%26amp%3Bfc%3Doff%26amp%3BglobalSearch%3D%26amp%3BsbbBox%3D%26amp%3BsbjBox%3D%26amp%3BsbpBox%3D
121.
Cruise, Tom, Foxx, Jamie, Mann, Michael. Collateral. Published online 2004.
122.
Eastwood, Clint, Phillippe, Ryan, Bradford, Jesse, Beach, Adam. Flags of our fathers. 2007;Battle for Iwo Jima.
123.
Zemeckis, Robert, Groom, Winston, Hanks, Tom, Wright, Robin, Sinise, Gary, Field, Sally. Forrest Gump. 1994;Widescreen collection.
124.
Cuarón A, Clooney G, Bullock S. Gravity. Published online 2014.
125.
Nolan C. Inception DVD. Published online 2010.
126.
Bay M. Pearl Harbor. Published online 2001.
127.
Ross, Gary, Maguire, Tobey, Macy, William H., Witherspoon, Reese. Pleasantville. Published online 1998.
128.
Fincher, David, Gyllenhaal, Jake, Downey, Robert. Zodiac. Published online 2007.
129.
Broomfield, Nicholas, Churchill, Joan. Soldier girls. 1981;Documenting icons.
130.
Nichols B. How Can We Describe the Observational, Participatory, Reflexive and Performative Modes of Documentary Film: Chapter. In: Introduction to Documentary. 2nd ed. Indiana University Press; 2010:172-211. http://site.ebrary.com/lib/leicester/Doc?id=10437993
131.
Beattie, Keith. D. A. Pennebaker. Vol Contemporary film directors. University of Illinois Press; 2011. http://site.ebrary.com/lib/leicester/Doc?id=10532354
132.
Benson, Thomas W., Anderson, Carolyn. Reality Fictions: The Films of Frederick Wiseman. 2nd ed. Southern Illinois University Press; 2002.
133.
Broomfield, Nicholas, Wood, Jason. Nick Broomfield: Documenting Icons. Faber and Faber; 2005.
134.
Corner, John. The Art of Record: A Critical Introduction to Documentary. Manchester University Press; 1996.
135.
Cousins, Mark, Macdonald, Kevin. Imagining Reality: The Faber Book of Documentary. Rev. ed. Faber; 2006.
136.
Gomery D, Allen RC. Case Study: The Beginnings of American Cinema Verité: Chapter. In: Film History: Theory and Practice. McGraw-Hill; 1985:215-241.
137.
Eaton, Michael. Anthropology, Reality, Cinema: The Films of Jean Rouch. British Film Institute; 1979.
138.
Geiger, Jeffrey. American Documentary Film: Projecting the Nation. Edinburgh University Press; 2011. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5663962600002746&institutionId=2746&customerId=2745
139.
Grierson, John. First Principles of Documentary. In: Grierson on Documentary. Abridged ed. Faber; 1979.
140.
Hall J. Realism as a Style in Cinema Verite: A Critical Analysis of ‘Primary’. Cinema Journal. 1991;30(4). doi:10.2307/1224885
141.
MacDougall D. Beyond Observational Cinema: Chapter. In: Movies and Methods: An Anthology. Vol 2. University of California Press; 1985:274-285.
142.
Mamber, Stephen. Cinéma Vérité in America: Studies in Uncontrolled Documentary. Vol MIT press classic. Lightning Source
143.
Nichols B. The Voice of Documentary: Chapter. In: New Challenges for Documentary. University of California Press; 1988:48-63.
144.
O’Connell, P. J. Robert Drew and the Development of Cinema Verite in America. Southern Illinois University Press; 2010. http://site.ebrary.com/lib/leicester/Doc?id=10575417
145.
Rouch, Jean, Feld, Steven. Ciné-Ethnography. Vol Visible evidence. University of Minnesota Press; 2003. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10151154
146.
Saunders, Dave, Visiting tutor in film studies at Royal Holloway, University of London [2007]. Direct Cinema: Observational Documentary and the Politics of the Sixties. Wallflower; 2007.
147.
Wiseman, Frederick, Grant, Barry Keith. Five Films by Frederick Wiseman: Titicut Follies, High School, Welfare, High School II, Public Housing. University of California Press; 2006.
148.
Tinkcom, Matthew, British Film Institute. Grey Gardens. Palgrave Macmillan on behalf of the British Film Institute; 2011.
149.
Tyree, J. M. Salesman. Vol BFI film classics. BFI; 2012.
150.
Vogels, Jonathan B. The Direct Cinema of David and Albert Maysles. Southern Illinois University Press; 2005. http://site.ebrary.com/lib/leicester/Doc?id=10469367
151.
Ward, Paul. Documentary: The Margins of Reality. Vol Short cuts. Wallflower; 2005.
152.
Winston B. The Documentary Film Book. Palgrave Macmillan; 2013.
153.
Broomfield, Nicholas, Churchill, Joan. Aileen: life and death of a serial killer.
154.
Broomfield, Nicholas. Chicken ranch. Documenting icons.
155.
Broomfield, Nicholas. His big white self.
156.
Broomfield, Nicholas, Churchill, Joan. Juvenile liaison. 2006;Nick Broomfield : the early works.
157.
Broomfield, Nicholas. Monster in a box. 1991;Nick Broomfield : the early works.
158.
Broomfield, Nicholas. Proud to be British. 2006;Nick Broomfield : the early works.
159.
Broomfield, Nicholas, Churchill, Joan. Tattooed tears. 2006;Nick Broomfield : the early works.
160.
Broomfield, Nicholas. Tracking down Maggie. Documenting icons.
161.
Broomfield, Nicholas. The leader, his driver, and the driver’s wife. 1991;Documenting icons.
162.
Wintonick, Peter. Cinéma vérité: defining the moment, the story of non-fiction filmmaking. Published online 2006.
163.
Rouch, Jean, Morin, Edgar. Chronique d’un été (Paris 1960) =: Chronicle of a summer. Published online 2005.
164.
Rouch, Jean. Jean Rouch, Ciné-Rencontre. 2005;Geste cinématographique.
165.
Rouch, Jean. Jean Rouch, Ciné-Rouch. 2005;Geste cinématographique.
166.
Rouch, Jean. Jean Rouch, Ciné-Transe, Ciné-Conte. 2005;Geste cinématographique.
167.
Shuker, Gregory, Leacock, Richard, Lipscomb, James, Pennebaker, D. A., Ryden, Hope. Crisis. Vol The Robert Drew collection. DocuRama; 1963.
168.
Dylan, Bob, Pennebaker, D. A., Neuwirth, Bob. Don’t look back. Published online 1967.
169.
Sucsy, Michael, Barrymore, Drew, Lange, Jessica, Rozema, Patricia. Grey Gardens [2009]. HBO; 2009.
170.
Hovde, Ellen, Maysles, Albert, Maysles, David, Bouvier Beale, Edith, Bouvier Beale, Edith ‘Little Edie’. Grey Gardens [1975]. 1975;Masters of cinema.
171.
Kopple, Barbara, Arthur, Paul, Weisberger, Jon. Harlan County U.S.A. 1976;Criterion collection.
172.
Drew, Robert, Leacock, Richard, Humphrey, Hubert H., Kennedy, John F., Onassis, Jacqueline Kennedy. Primary. Vol Robert Drew collection. Docurama; 1960.
173.
Maysles, Albert, Maysles, David, Zwerin, Charlotte. Salesman. 1969;Masters of cinema.
174.
Pennebaker, D. A., Hegedus, Chris, Stephanopoulos, George, Carville, James. The war room. 1993;Criterion collection.
175.
Morris, Errol. The thin blue line. 1988;Errol Morris collection.
176.
Williams L. Mirrors without Memories: Truth, History, and the New Documentary. Film Quarterly. 1993;46(3):9-21. doi:10.2307/1212899
177.
Austin, Thomas. Watching the World: Screen Documentary and Audiences. Manchester University Press; 2007. http://site.ebrary.com/lib/leicester/Doc?id=10627215
178.
Baker M. Errol Morris, American Iconoclast: Chapter. In: Documentary in the Digital Age. Elsevier Focal; 2006:1-26.
179.
Bordwell D, Thompson K. The Thin Blue Line: Chapter. In: Film Art: An Introduction. 7th ed. McGraw-Hill; 2004:446-452.
180.
Bruzzi, Stella. New Documentary: A Critical Introduction. 2nd ed. Routledge; 2006. http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=55327
181.
Cunningham, Megan. The Art of the Documentary: Ten Conversations with Leading Directors, Cinematographers, Editors, and Producers. Vol Voices that matter. New Riders; 2005.
182.
Curry RR. Errol Morris’ Construction of Innocence in ‘The Thin Blue Line’. Rocky Mountain Review of Language and Literature. 1995;49(2). doi:10.2307/1347983
183.
Druick Z. The courtroom and the closet in The Thin Blue Line and Capturing the Friedmans. Screen. 2008;49(4):440-449. doi:10.1093/screen/hjn054
184.
De Jong, Wilma, Austin, Thomas, De Jong, Wilma. Rethinking Documentary: New Perspectives and Practices. Open University; 2008. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10246334
185.
De Jong, Wilma, Austin, Thomas, De Jong, Wilma. Rethinking Documentary: New Perspectives and Practices. Open University; 2008. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10246334
186.
Fallon C. Several Sides of Errol Morris. Film Quarterly. 2012;65(4):48-52. doi:10.1525/FQ.2012.65.4.48
187.
LoBrutto V. Birth of a Non-Fiction Style: The Thin Blue Line: Chapter. In: Becoming Film Literate: The Art and Craft of Motion Pictures. Praeger; 2005:305-311.
188.
Nichols B. Documentary: Chapter. In: The Cinema Book. 3rd ed. British Film Institute; 2007:81-83.
189.
Plantinga C. American Documentary in the 1980s: Chapter. In: A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989. Vol History of the American cinema. Charles Scribner’s Sons; 2000:370-389. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665230250002746&institutionId=2746&customerId=2745
190.
Rafferty T. The Thin Blue Line: Chapter. In: Imagining Reality: The Faber Book of Documentary. Rev. ed. Faber; 2006. https://blackboard.le.ac.uk/bbcswebdav/pid-1025239-dt-content-rid-2569442_5/library/eReserves/HA1114/HA1114_35111.pdf
191.
Renov M. New Subjectivities: Documentary and Self-Representation in the Post-Vérité Age: Chapter. In: The Subject of Documentary. Vol Visible evidence. University of Minnesota Press; 2004:171-181.
192.
Rothman, William. Three Documentary Filmmakers: Errol Morris, Ross McElwee, Jean Rouch. Vol Suny series horizons of cinema. State University of New York Press; 2009.
193.
Rothman, William. Three Documentary Filmmakers: Errol Morris, Ross McElwee, Jean Rouch. Vol Suny series horizons of cinema. State University of New York Press; 2009.
194.
Rosenheim S. Interrotroning History: Errol Morris and the Documentary of the Future: Chapter. In: The Historical Film: History and Memory in Media. Vol Rutgers depth of field series. Rutgers University Press; 2001:316-330.
195.
Vice, Sue. Shoah. Vol BFI film classics. BFI; 2011.
196.
Morris, Errol, McNamara, Robert S. The fog of war. Published online 2003.
197.
Morris, Errol. Gates of heaven. 1986;Errol Morris collection.
198.
Morris, Errol, Leutcher, Fred, Pelt, R. J. van. Mr. Death: the rise and fall of Fred A. Leuchter. Published online 1999.
199.
Morris, Errol. Standard operating procedure. Published online 2008.
200.
Morris E. The Unknown Known. Published online 2013.
201.
Morris, Errol. Vernon, Florida. 1981;Errol Morris collection.
202.
Moore, Michael. Bowling for Columbine. Published online 2002.
203.
Moore, Michael. Capitalism: a love story. Published online 2010.
204.
Moore, Michael. Fahrenheit 9/11. Published online 2004.
205.
Moore, Michael. Roger and me.
206.
Moore, Michael, Cervantes, Reggie, Bush, George W. Sicko. Published online 2007.
207.
Jarecki, Andrew. Capturing the Friedmans. Published online 2003.
208.
Varda, Agnès. Les Glaneurs et la glaneuse =: The gleaners and I. Published online 2002.
209.
Treadwell, Timothy, Herzog, Werner. Grizzly Man. Published online 2005.
210.
Layton, Bart, O’Brian, Adam, Bourdin, Frédéric. The imposter. Published online 2012.
211.
Livingston, Jennie, Dangerous to know. Paris is burning. 1994;DTK.
212.
Lanzmann, Claude. Shoah: a film. 1985;Masters of cinema.
213.
Spurlock, Morgan. Super size me. Published online 2005.
214.
Caouette, Jonathan, Van Sant, Gus, Mitchell, John Cameron. Tarnation. Published online 2003.
215.
Wexler, Mark S. Tell them who you are. Published online 2004.
216.
Zidane, Zinédine, Gordon, Douglas, Parreno, Philippe. Zidane un portrait du 21e siècle =: Zidane a 21st century portrait. 2006;Artificial eye.
217.
Reisz, Karel, Sillitoe, Alan, Finney, Albert, Murphy, Robert. Saturday night and Sunday morning. Published online 1960.
218.
Marwick A. Room at the Top, Saturday Night and Sunday Morning, and the ‘Cultural Revolution’ in Britain. Journal of Contemporary History. 1984;19(1):127-152. http://www.jstor.org/stable/260428
219.
Aldgate, Anthony. Censorship and the Permissive Society: British Cinema and Theatre, 1955-1965. Clarendon Press; 1995.
220.
Aldgate, Anthony, Richards, Jeffrey. Best of British: Cinema and Society from 1930 to the Present. Vol Cinema and society series. New ed. I.B.Tauris; 2009. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10424556
221.
Barr, Charles, British Film Institute. All Our Yesterdays: 90 Years of British Cinema. BFI Publishing; 1986.
222.
Durgnat, Raymond. A Mirror for England: British Movies from Austerity to Affluence. Vol BFI silver. 2nd ed. BFI; 2011.
223.
Gardner, Colin. Karel Reisz. Vol British film makers. Manchester University Press; 2006.
224.
Harper, Sue, Porter, Vincent. British Cinema of the 1950s: The Decline of Deference. Oxford University Press; 2007.
225.
Higson A. Space, Place, Spectacle: Landscape and Townscape in the ‘Kitchen Sink’ Film: Chapter. In: Dissolving Views: Key Writings in British Cinema. Vol Rethinking British cinema. Cassell; 1996:133-156.
226.
Hill J. Working Class Realism I: Chapter. In: Sex, Class and Realism: British Cinema 1956-1963. Vol bfi books. British Film Institute; 1986:127-144. https://blackboard.le.ac.uk/bbcswebdav/pid-529674-dt-content-rid-641595_5/library/eReserves/HA1114/HA1114%20-%20Doc%2012.pdf
227.
Journal of British Cinema and Television. 11(2-3). http://www.euppublishing.com/toc/jbctv/11/2-3
228.
Kael P. Britain: Commitment and the Strait-Jacket. Film Quarterly. 1961;15(1):4-13. doi:10.2307/1210560
229.
Lacey, Stephen. British Realist Theatre: The New Wave in Its Context 1956-1965. Routledge; 1995. http://site.ebrary.com/lib/leicester/Doc?id=10057538
230.
Laing, Stuart. Representations of Working-Class Life 1957-1964. Macmillan; 1986.
231.
Lay, Samantha. British Social Realism: From Documentary to Brit Grit. Wallflower; 2002.
232.
MacKillop, I. D., Sinyard, Neil. British Cinema of the 1950s: A Celebration. Manchester University Press; 2003. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10074858
233.
Murphy, Robert. The British Cinema Book. 3rd ed. Palgrave Macmillan on behalf of the British Film Institute; 2009.
234.
Murphy R. A Savage Story of Lust and Ambition: Chapter. In: Sixties British Cinema. Vol The history of the British film. BFI Publishing; 1992:10-33. https://blackboard.le.ac.uk/bbcswebdav/pid-529723-dt-content-rid-654814_5/library/eReserves/HA1114/HA1114%20-%20Doc%2014.PDF
235.
Shail, Robert. Tony Richardson. Manchester University Press; 2012.
236.
Spicer, Andrew. Typical Men: The Representation of Masculinity in Popular British Cinema. Vol Cinema and society. I.B. Tauris Publishers; 2001. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10133040
237.
Street, Sarah. British National Cinema. Vol National cinemas series. 2nd ed. Routledge; 2009. http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=212501
238.
Tucker, David. British Social Realism in the Arts since 1940. Palgrave Macmillan; 2011. http://ezproxy.lib.le.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9780230306387
239.
Walker, Alexander. Hollywood, England: The British Film Industry in the Sixties. Orion; 2005.
240.
Schlesinger, John, Courtenay, Tom, Waterhouse, Keith, Christie, Julie. Billy Liar. Published online 1963.
241.
Anderson, Lindsay, Owen, Alun, Ford Motor Company. Every day except Christmas. 1957;Look at Britain.
242.
British Film Institute. Free cinema one, Free cinema three. Published online 1953.
243.
British Film Institute. Free cinema six. Published online 1959.
244.
Schlesinger, John, Barstow, Stan, Bates, Alan, Ritchie, June, Hird, Thora. A kind of loving. 1962;Vintage collection.
245.
Forbes, Bryan, Caron, Leslie, Bell, Tom, Banks, Lynne Reid. The L-shaped room. Published online 1962.
246.
Richardson, Tony, Courtenay, Tom, Sillitoe, Alan. The loneliness of the long distance runner. Published online 1962.
247.
Richardson, Tony, Burton, Richard, Bloom, Claire, Ure, Mary, Osborne, John. Look back in anger. Published online 1958.
248.
Clayton, Jack, Braine, John, Signoret, Simone, Harvey, Laurence, Sears, Heather, Sinyard, Neil. Room at the top. Published online 1959.
249.
Tushingham, Rita, Richardson, Tony, Delaney, Shelagh. A taste of honey. Published online 1961.
250.
Anderson, Lindsay, Storey, David, Harris, Richard, Roberts, Rachel. This sporting life. Published online 1963.
251.
Meadows S. Dead Man’s Shoes. Published online 2004.
252.
Forrest D. Twenty First Century Social Realism: Shane Meadows and New British Realism: Chapter. In: Fradley M, Godfrey S, Williams M, eds. Shane Meadows: Critical Essays. Edinburgh University Press; 2013:35-49. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665222270002746&institutionId=2746&customerId=2745
253.
Dave, Paul. Visions of England: Class and Culture in Contemporary Cinema. Vol Talking images series. Berg; 2006. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10375890
254.
Fuller G. Boys to Men: Shane Meadows Caps His 10-Year Exploration of Working-Class Masculinity in Crisis with This is England. Film Comment. 43(4).
255.
Hall S. BFI Screenonline: Meadows, Shane (1973-) Biography. http://www.screenonline.org.uk/people/id/461763/
256.
Hallam J. Film, Class and National Identity: Re-Imagining communities in the Age of Devolution: Chapter. In: British Cinema: Past and Present. Routledge; 2000:261-273.
257.
Hill J. From the New Wave to ‘Brit-Grit’: Continuity and Difference in Working Class Realism: Chapter. In: British Cinema: Past and Present. Routledge; 2000:249-259.
258.
Howe J. Shorts and the real world. Journal of Media Practice. 2004;4(3):177-180.
259.
Journal of British Cinema and Television. 10(4). http://www.euppublishing.com/toc/jbctv/10/4
260.
Lay S. Good intentions, high hopes and low budgets: Contemporary social realist film-making in Britain. New Cinemas: Journal of Contemporary Film. 2007;5(3):231-244.
261.
Leggott, James. Contemporary British Cinema: From Heritage to Horror. Vol Short cuts. Wallflower; 2008.
262.
Monk C. From Underworld to Underclass: Crime and British Cinema in the 1990s: Chapter. In: British Crime Cinema. Vol British popular cinema. Routledge; 1999:172-188. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664950400002746&institutionId=2746&customerId=2745
263.
Newsinger J. Structure and Agency: Shane Meadows and the New Regional Production Sectors: Chapter. In: Shane Meadows. Edinburgh University Press; 31AD. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665215520002746&institutionId=2746&customerId=2745
264.
Ogborn K. Pathways into the Industry: Chapter. In: British Cinema of the 90s. BFI Publishing; 2000.
265.
Russell, Dave. Looking North: Northern England and the National Imagination. Vol Studies in popular culture. Manchester University Press; 2004.
266.
Wayne M. The Performing Northern Working Class in British Cinema: Cultural Representation and its Political Economy. Quarterly Review of Film and Video. 2006;23(4):287-297. doi:10.1080/10509200690897572
267.
Meadows, Shane, Carlyle, Robert, Ifans, Rhys, Burke, Kathy, Tomlinson, Ricky. Once upon a time in the Midlands. Published online 2002.
268.
Meadows S. A Room For Romeo Brass. Published online 2004.
269.
Meadows S. Small Time / Where’s the Money Ronnie! Published online 1996.
270.
Meadows S. Somers Town. Published online 2008.
271.
Meadows S. This is England. Published online 2006.
272.
Meadows S. 24 7: Twenty Four Seven. Published online 1997.
273.
Arnold, Andrea, Dickie, Kate, Curran, Tony. Red road. Published online 2006.
274.
Daldrey S. Billy Elliot (Special Edition). Published online 2000.
275.
Corbijn, Anton, Riley, Sam, Morton, Samantha. Control. Published online 2007.
276.
Fassbender M, Jarvis K, Arnold A. Fish tank. 2010;Artificial eye.
277.
McKoen J. Frozen DVD. Published online 2005.
278.
Williams PA. London to Brighton. Published online 2006.
279.
Eltringham B. This Is Not A Love Song. Published online 2003.
280.
Moritzen, Henning, Thomsen, Ulrich, Vinterberg, Thomas. Festen =: The celebration. Published online 1998.
281.
Geuens J. Dogma 95: A manifesto for our times. Quarterly Review of Film and Video. 2001;18(2):191-202. doi:10.1080/10509200109361523
282.
Badley L. Danish Dogma: ‘Truth’ and Cultural Politics: Chapter. In: Traditions in World Cinema. Vol Traditions in world cinema. Edinburgh University Press; 2006:80-94. https://blackboard.le.ac.uk/bbcswebdav/pid-235254-dt-content-rid-713308_5/library/eReserves/HA1114/HA1114%20-%20Doc%2018.pdf
283.
Badley, Linda. Lars von Trier. Vol Contemporary film directors. University of Illinois Press; 2011. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5663774820002746&institutionId=2746&customerId=2745
284.
Bainbridge, Caroline. The Cinema of Lars von Trier: Authenticity and Artifice. Vol Directors’ cuts. Wallflower; 2007.
285.
Chaudhuri S. Dogme Brothers: Lars von Trier and Thomas Vinterberg: Chapter. In: New Punk Cinema. Vol Traditions in world cinema. Edinburgh University Press; 2005:153-167. https://blackboard.le.ac.uk/bbcswebdav/pid-529725-dt-content-rid-641597_5/library/eReserves/HA1114/HA1114%20-%20Doc%2015.pdf
286.
Chaudhuri S. Scandinavian Cinema: Chapter. In: Contemporary World Cinema: Europe, the Middle East, East Asia and South Asia. Edinburgh University Press; 2005:34-53.
287.
Hjort, Mette, Bondebjerg, Ib. The Danish Directors: Dialogues on a Contemporary National Cinema. Intellect; 2001. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10120745
288.
Hjort, Mette. Lone Scherfig’s ‘Italian for Beginners’. Vol Nordic film classics. University of Washington Press; 2010.
289.
Hjort, Mette. On The Five Obstructions. Vol Dekalog. Wallflower; 2008.
290.
Hjort, Mette, MacKenzie, Scott. Purity and Provocation: Dogma 95. British Film Institute; 2003.
291.
Hjort, Mette. Small Nation, Global Cinema: The New Danish Cinema. Vol Public worlds. University of Minnesota Press; 2005. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10151328
292.
Jerslev, Anne. Realism and ‘Reality’ in Film and Media. Vol Northern lights film and media studies yearbook. Museum Tusculanum Press, University of Copenhagen; 2002.
293.
Kelly RT. Danish Cinema: Chapter. In: The Cinema Book. 3rd ed. British Film Institute; 2007:196-198.
294.
Kelly, Richard. The Name of This Book Is Dogme95. Faber and Faber; 2000.
295.
McNab G. The Big Tease: Article. Sight and sound: international film magazine. 1999;9(2):16-18.
296.
Orr J. New Directions in European Cinema: Chapter. In: European Cinema. Oxford University Press; 2004:299-317.
297.
Rockwell, John, British Film Institute. The Idiots. Vol British Film Institute. BFI Pub; 2003.
298.
Simons, Jan. Playing the Waves: Lars Von Trier’s Game Cinema. Vol Film culture in transition. Amsterdam University Press; 2007. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10281440
299.
Simons, Jan. Playing the Waves: Lars Von Trier’s Game Cinema. Vol Film culture in transition. Amsterdam University Press; 2007. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10281440
300.
Stevenson, Jack. Lars von Trier. Vol World directors / British Film Institute. British Film Institute; 2002.
301.
Trier, Lars von, Björkman, Stig. Trier on von Trier. Faber and Faber; 2003.
302.
Trier, Lars Von, Watson, Emily, Skarsgård, Stellan, Cartlidge, Katrin. Breaking the waves. Published online 1996.
303.
Leth, Jørgen, Trier, Lars von. De fem benspænd =: The five obstructions. Published online 2004.
304.
Trier, Lars von, Jørgensen, Bodil, Albinus, Jens, Hassing, Anne Louise. Idioterne =: The idiots. Published online 1998.
305.
Scherfig, Lone, Støvelbæk, Anette, Berthelsen, Anders W. Italiensk for begyndere =: Italian for beginners. Published online 2000.
306.
Korine, Harmony, Herzog, Werner, Bremner, Ewen. Julien donkey-boy. Published online 1999.
307.
Levring, Kristian, Bohringer, Romane, Anderson, Miles. The King is alive. Published online 2000.
308.
Berthelsen, Anders W., Hjejle, Iben, Kragh-Jacobsen, Søren, Jensen, Anders Thomas. Mifunes sidste sang. Published online 1999.
309.
Bier, Susanne, Mikkelsen, Mads, Richter, Sonja. Elsker dig for evigt =: Open hearts. Published online 2002.
310.
Mungiu, Cristian, Marinca, Anamaria, Vasiliu, Laura, Ivanov, Vlad. 4 luni, 3 saptamâni si 2 zile =: 4 months, 3 weeks and 2 days. Published online 2007.
311.
Godeanu-Kenworthy O, Popescu-Sandu O. From minimalist representation to excessive interpretation: Contextualizing 4 Months, 3 Weeks and 2 Days. Journal of European Studies. 2014;44(3):225-248. doi:10.1177/0047244114524148
312.
Andrews D. Pursuing Cinema in the Twenty-First Century: Chapter. In: What Cinema Is!: Bazin’s Quest and Its Charge. Vol Blackwell manifestos. Wiley-Blackwell; 2010:48-65.
313.
Cardullo B. New Romanian Cinema: Chapter. In: European Directors and Their Films: Essays on Cinema. Scarecrow Press, Inc; 2012:327-338. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664781010002746&institutionId=2746&customerId=2745
314.
Imre, Anikó. A Companion to Eastern European Cinemas. Vol The Wiley-Blackwell companions to national cinemas. Wiley-Blackwell; 2012. http://site.ebrary.com/lib/leicester/Doc?id=10593125
315.
Iordanova, Dina, British Film Institute. Cinema of Flames: Balkan Film, Culture and the Media. British Film Institute; 2001.
316.
Iordanova, Dina. Cinema of the Other Europe: The Industry and Artistry of East Central European Film. Wallflower Press; 2003.
317.
Iordanova, Dina. The Cinema of the Balkans. Vol 24 frames. Wallflower; 2006.
318.
Oleszcyk M. Living in a goldfish bowl. Sight and sound: international film magazine. 2008;18(1):12-12. http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=505263447&site=ehost-live
319.
Ratner M. Stunted lives : on 4 months, 3 weeks and 2 days. Bright lights film journal. 2008;(59). http://brightlightsfilm.com/59/594months.php
320.
Uricaru I. 4 Months, 3 Weeks, 2 Days: The Corruption of Intimacy. Film Quarterly. 2008;61(4):12-17. doi:10.1525/fq.2008.61.4.12
321.
Walters B. Heartbreak Hotel. Sight and sound: international film magazine. 2008;18(1):54-55. http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=505263471&site=ehost-live
322.
Wayne, Mike. The Politics of Contemporary European Cinema: Histories, Borders, Diasporas. Intellect; 2002. http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10015830
323.
Wilson E. 4 Months, 3 Weeks, 2 Days: An "Abortion Movie”? Film Quarterly. 2008;61(4):18-23. doi:10.1525/fq.2008.61.4.18
324.
Mungiu C. Beyond the Hills DVD. Published online 2012.
325.
Puiu, Christi, Fiscuteanu, Ion, Gheorghiu, Luminita. Moartea domnului Lazarescu =: The death of Mr Lazarescu. Published online 2005.
326.
Uricaru, Ioana, Höfer, Hanno, Marculescu, Razvan, Popescu, Constantin, Mungiu, Cristian. Amintiri din epoca de aur =: Tales from the golden age. Published online 2009.
327.
Henckel von Donnersmarck F, Mühe U, Koch S. Das leben der anderen =: The lives of others. Published online 2006.
