1
Hallam, Julia, Marshment, Margaret. Realism and popular cinema. Manchester: : Manchester University Press 2000.
2
Hayward S. Realism: Chapter. In: Cinema studies: the key concepts. London: : Routledge 2000. 334–334.
3
Lapsley R, Westlake M. Realism: Chapter. In: Film theory: an introduction. Manchester: : Manchester University Press 1988. 156–80.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;13:27–36. doi:10.1093/screen/13.1.27
5
Williams R. Realism: Chapter. In: Keywords: a vocabulary of culture and society. London: : Fontana 1988. 216–21.
6
Williams, Christopher. Realism and the cinema: a reader. London: : Routledge and Kegan Paul [for] British Film Institute 1980.
7
Rodrigues A, Hora LF da, Meirelles F, et al. Cidade de Deus =: City of God. 2003.
8
Armstrong R. What is Realism?: Chapter. In: Understanding realism. London: : BFI 2005. 1–10.
9
Hart SM. Latin American cinema. London: : Reaktion Books 2014. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5663029690002746&institutionId=2746&customerId=2745
10
Shary T, Seibel A. Youth culture in global cinema. 1st ed. Austin: : 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. London: : 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. London: : 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. Woodbridge, Suffolk: : Tamesis 2013. http://site.ebrary.com/lib/leicester/Doc?id=10748380
14
Nagib L. World cinema and the ethics of realism. London: : Continuum International Pub. Group 2011.
15
Maggiorani, Lamberto, De Sica, Vittorio. Ladri di biciclette =: Bicycle thieves. 1948;Arrow films world.
16
Zavattini C. Some Ideas on the Cinema: Chapter. In: Vittorio De Sica: contemporary perspectives. Toronto: : University of Toronto Press 2000. 50–61.
17
Bazin, André, Cardullo, Bert. André Bazin and Italian neorealism. New York: : Continuum 2011. http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com/detail.asp?id=330775
18
Bondanella, Peter. The films of Roberto Rossellini. Cambridge: : Cambridge University Press 1993.
19
Cardullo, Bert. Vittorio De Sica: director, actor, screenwriter. Jefferson, N.C.: : McFarland 2002.
20
Celli, Carlo, Cottino-Jones, Marga. A new guide to Italian cinema. 1st ed. New York: : 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. Berkeley, Calif: : University of California Press 2004. 99–119.
22
Forgacs, David. Rome open city (Roma città aperta). London: : British Film Institute 2000.
23
Giovacchini, Saverio, Sklar, Robert. Global neorealism: the transnational history of a film style. Jackson: : University Press of Mississippi 2011. http://site.ebrary.com/lib/leicester/Doc?id=10508856
24
Gordon, Robert Samuel Clive. Bicycle thieves. London: : BFI 2008.
25
Gottlieb, Sidney. Roberto Rossellini’s Rome open city. Cambridge: : Cambridge University Press 2004.
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. London: : I.B.Tauris & Co Ltd 30AD. 121–33.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. Cambridge, Mass: : Harvard University Press 1985.
28
Landy, Marcia. Italian film. Cambridge: : Cambridge University Press 2000.
29
Marcus, Millicent. Italian film in the light of neorealism. Princeton, N.J.: : Princeton University Press 1986.
30
Nowell-Smith G. Bicycle Thieves: Chapter. In: Film Analysis. New York: : WW Norton & Co 13AD. 422–38.
31
Snyder, Stephen J., Curle, Howard. Vittorio De Sica: contemporary perspectives. Toronto: : University of Toronto Press 2000.
32
Overbey, David. Springtime in Italy: a reader on neo-realism. London: : Talisman Books 1978.
33
Shiel, Mark. Italian neorealism: rebuilding the cinematic city. London: : Wallflower 2006.
34
Thompson K. Realism in the Cinema: Bicycle Thieves, Chapter. In: Breaking the glass armor: neoformalist film analysis. Princeton, N.J.: : Princeton University Press 1988. 197–217.
35
Wagstaff, Christopher. Italian neorealist cinema: an aesthetic approach. Toronto: : 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: : 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. New York: : Columbia University Press 1990.
38
Andrew, Dudley, Joubert-Laurencin, Hervé. Opening Bazin: postwar film theory and its afterlife. Oxford: : Oxford University Press 2011.
39
Andrew, Dudley. What cinema is!: Bazin’s quest and its charge. Oxford: : Wiley-Blackwell 2010.
40
Bazin, André, Cardullo, Bert. Bazin at work: major essays and reviews from the forties and fifties. London: : Routledge 1997.
41
Bazin A. Evolution of the Language of Cinema. In: Film Theory and Criticism. Oxford: : Oxford University Press 2008. 41–53.https://blackboard.le.ac.uk/bbcswebdav/pid-1025237-dt-content-rid-2561166_5/library/eReserves/HA1114/HA1114_34955.pdf
42
Bazin, André, Gray, Hugh. What is cinema?: Volume 1. Berkeley, Calif: : University of California Press 1992.
43
Bazin, André. What is cinema?: Volume 2. Berkeley, Calif: : 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. Cambridge, Mass: : Harvard University Press 1997. 46–82.
45
Cardullo, Bert. Cinematic illusions: realism, subjectivity, and the avant-garde. Newcastle: : Cambridge Scholars 2008.
46
Cardullo, Bert. Soundings on cinema: speaking to film and film artists. Albany, N.Y.: : State University of New York Press 2008.
47
Deleuze, Gilles. Cinema: 2: The time-image. London: : The Athlone Press 1989.
48
Kracauer, Siegfried. Theory of film: the redemption of physical reality. Princeton, N.J.: : Princeton University Press 1997.
49
De Sica, Vittorio, Cigoli, Emilio, De Ambrosis, Luciano, et al. 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, et al. Germania anno zero =: Germany year zero. Special edition. [S.l.]: : Criterion 1948.
52
De Sica, Vittorio, Barnabò, Guglielmo, Gramatica, Emma, et al. Miracolo a Milano =: Miracle in Milan. 1951.
53
Visconti, Luchino, Girotti, Massimo, Calamai, Clara. Ossessione. 1942.
54
Sazio, Carmela, Rossellini, Roberto, Aprà, Adriano, et al. Paisà =: Paisan. Special edition. [S.l.]: : 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, et al. Roma, citta aperta =: Rome, open city. Special edition. [S.l.]: : 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. 1948.
61
De Sica, Vittorio, Zavattini, Cesare, Battisti, Carlo, et al. Umberto D. 1952.
62
Bresson R, Leterrier F, Le Clainche C, et al. 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. McGraw-Hill 2004. 377–85.
64
Price B. Neither god nor master: Robert Bresson and radical politics. Minneapolis [Minn.]: : 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. Newcastle: : Cambridge Scholars 2008.
66
Cunneen JE. Robert Bresson: a spiritual style in film. New York: : Continuum International Pub. Group 2003.
67
Reader K. Robert Bresson. Manchester: : Manchester University Press 2000.
68
Altman, Rick. Cinema/sound. New Haven, Conn: : Yale French Studies 1980.
69
Altman, Rick. Sound theory, sound practice. New York, N.Y.: : Routledge 1992.
70
Barsam R, Monahan D. Sound: Chapter. In: Looking at Movies. New York: : WW Norton & Co 11AD. 387–430.
71
Beck J. Citing the Sound. Journal of Popular Film and Television 2002;29:156–63. doi:10.1080/01956050209601021
72
Belton J. Technology and Aesthetics of Film Sound: Chapter. In: Film sound: theory and practice. New York, N.Y.: : 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. New York, N.Y.: : McGraw-Hill 2013.
74
Casetti F. Cinema and Reality: Chapter. In: Theories of cinema, 1945-1995. Austin, Tex: : University of Texas Press 1999. 21–42.
75
Chion, Michel, Gorbman, Claudia. Audio-vision: sound on screen. New York, N.Y.: : Columbia University Press 1994.
76
Eisenstein S, Pudovkin V, Alexandrov G. Statement on Sound: Chapter. In: Film theory and criticism: introductory readings. Oxford: : Oxford University Press 2008. 315–7.
77
Farnell, Andy. Designing sound. Cambridge, Mass: : MIT Press 2010. http://site.ebrary.com/lib/leicester/Doc?id=10562043
78
Geuens J-P. Sound: Chapter. In: Film production theory. Albany: : 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. New York: : 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. Bloomington: : 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. Bloomington: : 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. Manchester: : Manchester University Press 2004.
83
Utterson, Andrew. Technology and culture, the film reader. London: : Routledge 2005.
84
Robert B. L’Argent. 1983.
85
Bresson R. The Devil, Probably. 1977.
86
Bresson R, Balsan H, Simon L. Lancelot du Lac. ;Artificial eye.
87
Bresson R, Bernanos G, Nortier N, et al. Mouchette. 2004.
88
Bresson R, LaSalle M, Green M, et al. Pickpocket. 2005;Artificial eye.
89
Eisenstein, Sergei, Vassiliev, Dmitri, Cherkasov, Nikolaĭ. Aleksandr Nevsky =: Alexander Nevsky. 1938.
90
Brando, Marlon, Sheen, Martin, Coppola, Francis Ford, et al. Apocalypse now redux. 1979.
91
Coppola FF. Apocalypse Now. 1979.
92
Mamoulian R. Applause. 1929.
93
Strickland P. Berberian Sound Studio. 2012.
94
Hitchcock, Alfred, Ondra, Anny, Longden, John, et al. Blackmail. 1929.
95
De Palma B. Blow Out. 1980.
96
Fauchois, René, Renoir, Jean, Simon, Michel. Boudu sauvé des eaux =: Boudu saved from drowning. 1932.
97
Nichols, Mike, Bancroft, Anne, Hoffman, Dustin, et al. The graduate. 1967.
98
Jennings H. Listen to Britain. Humphrey Jennings collection: Listen to Britain, Diary for Timothy, I was a fireman. 1942.
99
Scorsese, Martin, De Niro, Robert, Keitel, Harvey. Mean streets. 1973.
100
Welles, Orson, Heston, Charlton, Leigh, Janet, et al. Touch of evil. 1958.
101
Cuarón, Alfonso, Owen, Clive, Moore, Julianne, et al. Children of men. 2006.
102
Prince S. Painting with Digital Light: Chapter. In: Digital visual effects in cinema: the seduction of reality. New Brunswick, N.J.: : 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. Harlow: : Longman 2003. 201–23.
104
Dixon, Wheeler W., Foster, Gwendolyn Audrey. 21st century Hollywood: movies in the era of transformation. New Brunswick, N.J.: : 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. London: : Arnold 2000. 438–52.
106
Gunning T. Moving away from the Index: Cinema and the Impression of Reality: Chapter. In: The film theory reader: debates and arguments. London: : Routledge 2010. 255–69.
107
Hanson, Matt. The end of celluloid: film futures in the digital age. Mies, Switzerland: : RotoVision 2004.
108
Manovich L. Old Media as New Media: Chapter. In: The new media book. London: : British Film Institute 2002. 209–18.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. Malden, Mass: : Blackwell 1999. 234–61.
110
Lister, Martin. New media: a critical introduction. 2nd ed. London: : 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. London: : Routledge 2010. 245–54.
112
Manovich, Lev. The language of new media. Cambridge, Mass: : MIT 2001.
113
Purse, Lisa. Digital imaging in popular cinema. Edinburgh: : Edinburgh University Press 2013.
114
Rodowick, David Norman. The virtual life of film. Cambridge, Mass: : 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. London: : Wallflower 2009.
116
Utterson, Andrew. From IBM to MGM: cinema at the dawn of the digital age. London: : Palgrave Macmillan 2011.
117
Vernallis, Carol, Herzog, Amy, Richardson, John, editors. The Oxford handbook of sound and image in digital media. Oxford: : Oxford University Press 2013.
118
Willis, Holly. New digital cinema: reinventing the moving image. London: : Wallflower Press 2005.
119
Stephen Prince. The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Era. Film Quarterly 2004;57:24–33.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;49:27–37.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. 2004.
122
Eastwood, Clint, Phillippe, Ryan, Bradford, Jesse, et al. Flags of our fathers. 2007;Battle for Iwo Jima.
123
Zemeckis, Robert, Groom, Winston, Hanks, Tom, et al. Forrest Gump. 1994;Widescreen collection.
124
Cuarón A, Clooney G, Bullock S. Gravity. 2014.
125
Nolan C. Inception DVD. 2010.
126
Bay M. Pearl Harbor. 2001.
127
Ross, Gary, Maguire, Tobey, Macy, William H., et al. Pleasantville. 1998.
128
Fincher, David, Gyllenhaal, Jake, Downey, Robert. Zodiac. 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. Bloomington: : Indiana University Press 2010. 172–211.http://site.ebrary.com/lib/leicester/Doc?id=10437993
131
Beattie, Keith. D. A. Pennebaker. Urbana: : 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. Carbondale, Ill: : Southern Illinois University Press 2002.
133
Broomfield, Nicholas, Wood, Jason. Nick Broomfield: documenting icons. London: : Faber and Faber 2005.
134
Corner, John. The art of record: a critical introduction to documentary. Manchester: : Manchester University Press 1996.
135
Cousins, Mark, Macdonald, Kevin. Imagining reality: the Faber book of documentary. Rev. ed. London: : Faber 2006.
136
Gomery D, Allen RC. Case Study: The Beginnings of American Cinema Verité: Chapter. In: Film history: theory and practice. Boston, Mass: : McGraw-Hill 1985. 215–41.
137
Eaton, Michael. Anthropology, reality, cinema: the films of Jean Rouch. London: : British Film Institute 1979.
138
Geiger, Jeffrey. American documentary film: projecting the nation. Edinburgh: : 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. London: : Faber 1979.
140
Hall J. Realism as a Style in Cinema Verite: A Critical Analysis of ‘Primary’. Cinema Journal 1991;30. doi:10.2307/1224885
141
MacDougall D. Beyond Observational Cinema: Chapter. In: Movies and methods: an anthology. Berkeley, Calif: : University of California Press 1985. 274–85.
142
Mamber, Stephen. Cinéma vérité in America: studies in uncontrolled documentary. Milton Keynes: : Lightning Source
143
Nichols B. The Voice of Documentary: Chapter. In: New challenges for documentary. Berkeley, Calif: : University of California Press 1988. 48–63.
144
O’Connell, P. J. Robert Drew and the development of cinema verite in America. Carbondale, Ill: : Southern Illinois University Press 2010. http://site.ebrary.com/lib/leicester/Doc?id=10575417
145
Rouch, Jean, Feld, Steven. Ciné-ethnography. Minneapolis: : 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. London: : Wallflower 2007.
147
Wiseman, Frederick, Grant, Barry Keith. Five films by Frederick Wiseman: Titicut follies, High school, Welfare, High school II, Public housing. Berkeley, Calif: : University of California Press 2006.
148
Tinkcom, Matthew, British Film Institute. Grey Gardens. London: : Palgrave Macmillan on behalf of the British Film Institute 2011.
149
Tyree, J. M. Salesman. London: : BFI 2012.
150
Vogels, Jonathan B. The direct cinema of David and Albert Maysles. Carbondale [Ill.]: : Southern Illinois University Press 2005. http://site.ebrary.com/lib/leicester/Doc?id=10469367
151
Ward, Paul. Documentary: the margins of reality. London: : Wallflower 2005.
152
Winston B. The documentary film book. Basingstoke, United Kingdom: : 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. 2006.
163
Rouch, Jean, Morin, Edgar. Chronique d’un été (Paris 1960) =: Chronicle of a summer. 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, et al. Crisis. [S.l.]: : DocuRama 1963.
168
Dylan, Bob, Pennebaker, D. A., Neuwirth, Bob. Don’t look back. 1967.
169
Sucsy, Michael, Barrymore, Drew, Lange, Jessica, et al. Grey Gardens [2009]. [S.l.]: : HBO 2009.
170
Hovde, Ellen, Maysles, Albert, Maysles, David, et al. 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., et al. Primary. [S.l.]: : Docurama 1960.
173
Maysles, Albert, Maysles, David, Zwerin, Charlotte. Salesman. 1969;Masters of cinema.
174
Pennebaker, D. A., Hegedus, Chris, Stephanopoulos, George, et al. 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;46:9–21. doi:10.2307/1212899
177
Austin, Thomas. Watching the world: screen documentary and audiences. Manchester: : 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. Oxford: : Elsevier Focal 2006. 1–26.
179
Bordwell D, Thompson K. The Thin Blue Line: Chapter. In: Film art: an introduction. Boston, Mass: : McGraw-Hill 2004. 446–52.
180
Bruzzi, Stella. New documentary: a critical introduction. 2nd ed. Abingdon: : 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. Berkeley, Calif: : 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. doi:10.2307/1347983
183
Druick Z. The courtroom and the closet in The Thin Blue Line and Capturing the Friedmans. Screen 2008;49:440–9. doi:10.1093/screen/hjn054
184
De Jong, Wilma, Austin, Thomas, De Jong, Wilma. Rethinking documentary: new perspectives and practices. Buckingham: : 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. Buckingham: : 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;65:48–52. 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. Westport, Conn: : Praeger 2005. 305–11.
188
Nichols B. Documentary: Chapter. In: The cinema book. London: : British Film Institute 2007. 81–3.
189
Plantinga C. American Documentary in the 1980s: Chapter. In: A new pot of gold: Hollywood under the electronic rainbow, 1980-1989. New York, N.Y.: : Charles Scribner’s Sons 2000. 370–89.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. London: : 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. Minneapolis, Minn: : University of Minnesota Press 2004. 171–81.
192
Rothman, William. Three documentary filmmakers: Errol Morris, Ross McElwee, Jean Rouch. Albany, N.Y.: : State University of New York Press 2009.
193
Rothman, William. Three documentary filmmakers: Errol Morris, Ross McElwee, Jean Rouch. Albany, N.Y.: : 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. New Brunswick, N.J.: : Rutgers University Press 2001. 316–30.
195
Vice, Sue. Shoah. London: : BFI 2011.
196
Morris, Errol, McNamara, Robert S. The fog of war. 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. 1999.
199
Morris, Errol. Standard operating procedure. 2008.
200
Morris E. The Unknown Known. 2013.
201
Morris, Errol. Vernon, Florida. 1981;Errol Morris collection.
202
Moore, Michael. Bowling for Columbine. 2002.
203
Moore, Michael. Capitalism: a love story. 2010.
204
Moore, Michael. Fahrenheit 9/11. 2004.
205
Moore, Michael. Roger and me.
206
Moore, Michael, Cervantes, Reggie, Bush, George W. Sicko. 2007.
207
Jarecki, Andrew. Capturing the Friedmans. 2003.
208
Varda, Agnès. Les Glaneurs et la glaneuse =: The gleaners and I. 2002.
209
Treadwell, Timothy, Herzog, Werner. Grizzly Man. 2005.
210
Layton, Bart, O’Brian, Adam, Bourdin, Frédéric. The imposter. 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. 2005.
214
Caouette, Jonathan, Van Sant, Gus, Mitchell, John Cameron. Tarnation. 2003.
215
Wexler, Mark S. Tell them who you are. 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, et al. Saturday night and Sunday morning. 1960.
218
Marwick A. Room at the Top, Saturday Night and Sunday Morning, and the ‘Cultural Revolution’ in Britain. Journal of Contemporary History 1984;19:127–52.http://www.jstor.org/stable/260428
219
Aldgate, Anthony. Censorship and the permissive society: British cinema and theatre, 1955-1965. Oxford: : Clarendon Press 1995.
220
Aldgate, Anthony, Richards, Jeffrey. Best of British: cinema and society from 1930 to the present. New ed. London: : 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. London: : BFI Publishing 1986.
222
Durgnat, Raymond. A mirror for England: British movies from austerity to affluence. 2nd ed. London: : BFI 2011.
223
Gardner, Colin. Karel Reisz. Manchester: : Manchester University Press 2006.
224
Harper, Sue, Porter, Vincent. British cinema of the 1950s: the decline of deference. Oxford: : 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. London: : Cassell 1996. 133–56.
226
Hill J. Working Class Realism I: Chapter. In: Sex, class and realism: British cinema 1956-1963. London: : British Film Institute 1986. 127–44.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.http://www.euppublishing.com/toc/jbctv/11/2-3
228
Kael P. Britain: Commitment and the Strait-Jacket. Film Quarterly 1961;15:4–13. doi:10.2307/1210560
229
Lacey, Stephen. British realist theatre: the new wave in its context 1956-1965. London: : Routledge 1995. http://site.ebrary.com/lib/leicester/Doc?id=10057538
230
Laing, Stuart. Representations of working-class life 1957-1964. London: : Macmillan 1986.
231
Lay, Samantha. British social realism: from documentary to Brit grit. London: : Wallflower 2002.
232
MacKillop, I. D., Sinyard, Neil. British cinema of the 1950s: a celebration. Manchester: : 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. London: : 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. London: : 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: : Manchester University Press 2012.
236
Spicer, Andrew. Typical men: the representation of masculinity in popular British cinema. London: : 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. 2nd ed. London: : 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. Basingstoke: : 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. London: : Orion 2005.
240
Schlesinger, John, Courtenay, Tom, Waterhouse, Keith, et al. Billy Liar. 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. 1953.
243
British Film Institute. Free cinema six. 1959.
244
Schlesinger, John, Barstow, Stan, Bates, Alan, et al. A kind of loving. 1962;Vintage collection.
245
Forbes, Bryan, Caron, Leslie, Bell, Tom, et al. The L-shaped room. 1962.
246
Richardson, Tony, Courtenay, Tom, Sillitoe, Alan. The loneliness of the long distance runner. 1962.
247
Richardson, Tony, Burton, Richard, Bloom, Claire, et al. Look back in anger. 1958.
248
Clayton, Jack, Braine, John, Signoret, Simone, et al. Room at the top. 1959.
249
Tushingham, Rita, Richardson, Tony, Delaney, Shelagh. A taste of honey. 1961.
250
Anderson, Lindsay, Storey, David, Harris, Richard, et al. This sporting life. 1963.
251
Meadows S. Dead Man’s Shoes. 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: : 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. Oxford: : 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.
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. London: : Routledge 2000. 261–73.
257
Hill J. From the New Wave to ‘Brit-Grit’: Continuity and Difference in Working Class Realism: Chapter. In: British cinema: past and present. London: : Routledge 2000. 249–59.
258
Howe J. Shorts and the real world. Journal of Media Practice 2004;4:177–80.
259
Journal of British Cinema and Television. ;10.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;5:231–44.
261
Leggott, James. Contemporary British cinema: from heritage to horror. London: : Wallflower 2008.
262
Monk C. From Underworld to Underclass: Crime and British Cinema in the 1990s: Chapter. In: British crime cinema. London: : Routledge 1999. 172–88.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: : 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. London: : BFI Publishing 2000.
265
Russell, Dave. Looking north: northern England and the national imagination. Manchester: : 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;23:287–97. doi:10.1080/10509200690897572
267
Meadows, Shane, Carlyle, Robert, Ifans, Rhys, et al. Once upon a time in the Midlands. 2002.
268
Meadows S. A Room For Romeo Brass. 2004.
269
Meadows S. Small Time / Where’s the Money Ronnie! 1996.
270
Meadows S. Somers Town. 2008.
271
Meadows S. This is England. 2006.
272
Meadows S. 24 7: Twenty Four Seven. 1997.
273
Arnold, Andrea, Dickie, Kate, Curran, Tony. Red road. 2006.
274
Daldrey S. Billy Elliot (Special Edition). 2000.
275
Corbijn, Anton, Riley, Sam, Morton, Samantha. Control. 2007.
276
Fassbender M, Jarvis K, Arnold A. Fish tank. 2010;Artificial eye.
277
McKoen J. Frozen DVD. 2005.
278
Williams PA. London to Brighton. 2006.
279
Eltringham B. This Is Not A Love Song. 2003.
280
Moritzen, Henning, Thomsen, Ulrich, Vinterberg, Thomas. Festen =: The celebration. 1998.
281
Geuens J. Dogma 95: A manifesto for our times. Quarterly Review of Film and Video 2001;18:191–202. doi:10.1080/10509200109361523
282
Badley L. Danish Dogma: ‘Truth’ and Cultural Politics: Chapter. In: Traditions in world cinema. Edinburgh: : 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. Urbana, Ill: : 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. London: : Wallflower 2007.
285
Chaudhuri S. Dogme Brothers: Lars von Trier and Thomas Vinterberg: Chapter. In: New punk cinema. Edinburgh: : Edinburgh University Press 2005. 153–67.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: : Edinburgh University Press 2005. 34–53.
287
Hjort, Mette, Bondebjerg, Ib. The Danish directors: dialogues on a contemporary national cinema. Bristol, UK: : 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’. Seattle, Wash: : University of Washington Press 2010.
289
Hjort, Mette. On The five obstructions. London: : Wallflower 2008.
290
Hjort, Mette, MacKenzie, Scott. Purity and provocation: Dogma 95. London: : British Film Institute 2003.
291
Hjort, Mette. Small nation, global cinema: the new Danish cinema. Minneapolis: : 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. Copenhagen: : Museum Tusculanum Press, University of Copenhagen 2002.
293
Kelly RT. Danish Cinema: Chapter. In: The cinema book. London: : British Film Institute 2007. 196–8.
294
Kelly, Richard. The name of this book is Dogme95. London: : Faber and Faber 2000.
295
McNab G. The Big Tease: Article. Sight and sound: international film magazine 1999;9:16–8.
296
Orr J. New Directions in European Cinema: Chapter. In: European cinema. Oxford: : Oxford University Press 2004. 299–317.
297
Rockwell, John, British Film Institute. The idiots. London: : BFI Pub 2003.
298
Simons, Jan. Playing the waves: Lars Von Trier’s game cinema. Amsterdam: : 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. Amsterdam: : 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. London: : British Film Institute 2002.
301
Trier, Lars von, Björkman, Stig. Trier on von Trier. London: : Faber and Faber 2003.
302
Trier, Lars Von, Watson, Emily, Skarsgård, Stellan, et al. Breaking the waves. 1996.
303
Leth, Jørgen, Trier, Lars von. De fem benspænd =: The five obstructions. 2004.
304
Trier, Lars von, Jørgensen, Bodil, Albinus, Jens, et al. Idioterne =: The idiots. 1998.
305
Scherfig, Lone, Støvelbæk, Anette, Berthelsen, Anders W. Italiensk for begyndere =: Italian for beginners. 2000.
306
Korine, Harmony, Herzog, Werner, Bremner, Ewen. Julien donkey-boy. 1999.
307
Levring, Kristian, Bohringer, Romane, Anderson, Miles. The King is alive. 2000.
308
Berthelsen, Anders W., Hjejle, Iben, Kragh-Jacobsen, Søren, et al. Mifunes sidste sang. 1999.
309
Bier, Susanne, Mikkelsen, Mads, Richter, Sonja. Elsker dig for evigt =: Open hearts. 2002.
310
Mungiu, Cristian, Marinca, Anamaria, Vasiliu, Laura, et al. 4 luni, 3 saptamâni si 2 zile =: 4 months, 3 weeks and 2 days. 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;44:225–48. 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. Oxford: : Wiley-Blackwell 2010. 48–65.
313
Cardullo B. New Romanian Cinema: Chapter. In: European directors and their films: essays on cinema. Lanham: : Scarecrow Press, Inc 2012. 327–38.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. Chichester, U.K.: : 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. London: : British Film Institute 2001.
316
Iordanova, Dina. Cinema of the other Europe: the industry and artistry of East Central European film. London: : Wallflower Press 2003.
317
Iordanova, Dina. The cinema of the Balkans. London: : Wallflower 2006.
318
Oleszcyk M. Living in a goldfish bowl. Sight and sound: international film magazine 2008;18:12–12.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 Published Online First: 2008.http://brightlightsfilm.com/59/594months.php
320
Uricaru I. 4 Months, 3 Weeks, 2 Days: The Corruption of Intimacy. Film Quarterly 2008;61:12–7. doi:10.1525/fq.2008.61.4.12
321
Walters B. Heartbreak Hotel. Sight and sound: international film magazine 2008;18:54–5.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. Bristol: : 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;61:18–23. doi:10.1525/fq.2008.61.4.18
324
Mungiu C. Beyond the Hills DVD. 2012.
325
Puiu, Christi, Fiscuteanu, Ion, Gheorghiu, Luminita. Moartea domnului Lazarescu =: The death of Mr Lazarescu. 2005.
326
Uricaru, Ioana, Höfer, Hanno, Marculescu, Razvan, et al. Amintiri din epoca de aur =: Tales from the golden age. 2009.
327
Henckel von Donnersmarck F, Mühe U, Koch S. Das leben der anderen =: The lives of others. 2006.
