Aitken, Ian (2006) Realist film theory and cinema: the nineteenth-century Lukácsian and intuitionist realist traditions. Manchester: Manchester University Press. Available at: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5662274370002746&institutionId=2746&customerId=2745.
Aldgate, Anthony (1995) Censorship and the permissive society: British cinema and theatre, 1955-1965. Oxford: Clarendon Press.
Aldgate, Anthony and Richards, Jeffrey (2009) Best of British: cinema and society from 1930 to the present. New ed. London: I.B.Tauris. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10424556.
Allen, M. (2003) ‘Fixing it in Digital: Chapter’, in Contemporary US cinema. Harlow: Longman, pp. 201–223.
Altman, Rick (1980) Cinema/sound. New Haven, Conn: Yale French Studies.
Altman, Rick (1992) Sound theory, sound practice. New York, N.Y.: Routledge.
Anderson, Lindsay et al. (1963) ‘This sporting life’. [S.l.]: Network.
Anderson, Lindsay, Owen, Alun, and Ford Motor Company (1957) ‘Every day except Christmas’. [S.l.]: Duke Video.
Andrew, Dudley (1990) André Bazin. New York: Columbia University Press.
Andrew, Dudley (2010) What cinema is!: Bazin’s quest and its charge. Oxford: Wiley-Blackwell.
Andrew, Dudley and Joubert-Laurencin, Hervé (2011) Opening Bazin: postwar film theory and its afterlife. Oxford: Oxford University Press.
Andrews, D. (2010) ‘Pursuing Cinema in the Twenty-First Century: Chapter’, in What cinema is!: Bazin’s quest and its charge. Oxford: Wiley-Blackwell, pp. 48–65.
Antonioni, Michelangelo, Bosé, Lucia, and Girotti, Massimo (1950) ‘Cronaca di un amore =: The story of a love affair’. S.l]: Mr Bongo films.
Armstrong, R. (2005) ‘What is Realism?: Chapter’, in Understanding realism. London: BFI, pp. 1–10.
Arnold, Andrea, Dickie, Kate, and Curran, Tony (2006) ‘Red road’. [S.l.]: Verve Pictures.
Austin, Thomas (2007) Watching the world: screen documentary and audiences. Manchester: Manchester University Press. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10627215.
Badley, L. (2006) ‘Danish Dogma: “Truth” and Cultural Politics: Chapter’, in Traditions in world cinema. Edinburgh: Edinburgh University Press, pp. 80–94. Available at: https://blackboard.le.ac.uk/bbcswebdav/pid-235254-dt-content-rid-713308_5/library/eReserves/HA1114/HA1114%20-%20Doc%2018.pdf.
Badley, Linda (2011) Lars von Trier. Urbana, Ill: University of Illinois Press. Available at: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5663774820002746&institutionId=2746&customerId=2745.
Bainbridge, Caroline (2007) The cinema of Lars von Trier: authenticity and artifice. London: Wallflower.
Baker, M. (2006) ‘Errol Morris, American Iconoclast: Chapter’, in Documentary in the digital age. Oxford: Elsevier Focal, pp. 1–26.
Barr, Charles and British Film Institute (1986) All our yesterdays: 90 years of British cinema. London: BFI Publishing.
Barsam, R. and Monahan, D. (11AD) ‘Sound: Chapter’, in Looking at Movies. New York: WW Norton & Co, pp. 387–430.
Bay, M. (2001) ‘Pearl Harbor’.
Bazin, A. (2008) ‘Evolution of the Language of Cinema’, in Film Theory and Criticism. Oxford: Oxford University Press, pp. 41–53. Available at: https://blackboard.le.ac.uk/bbcswebdav/pid-1025237-dt-content-rid-2561166_5/library/eReserves/HA1114/HA1114_34955.pdf.
Bazin, André (1992) What is cinema?: Volume 2. Berkeley, Calif: University of California Press.
Bazin, André and Cardullo, Bert (1997) Bazin at work: major essays and reviews from the forties and fifties. London: Routledge.
Bazin, André and Cardullo, Bert (2011) André Bazin and Italian neorealism. New York: Continuum. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com/detail.asp?id=330775.
Bazin, André and Gray, Hugh (1992) What is cinema?: Volume 1. Berkeley, Calif: University of California Press.
Beattie, Keith (2011) D. A. Pennebaker. Urbana: University of Illinois Press. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10532354.
Beck, J. (2002) ‘Citing the Sound’, Journal of Popular Film and Television, 29(4), pp. 156–163. Available at: https://doi.org/10.1080/01956050209601021.
Belton, J. (1985) ‘Technology and Aesthetics of Film Sound: Chapter’, in Film sound: theory and practice. New York, N.Y.: Columbia University Press, pp. 63–72. Available at: https://blackboard.le.ac.uk/bbcswebdav/pid-1025238-dt-content-rid-2557301_5/library/eReserves/HA1114/HA1114_34957.pdf.
Benson, Thomas W. and Anderson, Carolyn (2002) Reality fictions: the films of Frederick Wiseman. 2nd ed. Carbondale, Ill: Southern Illinois University Press.
Berthelsen, Anders W. et al. (1999) ‘Mifunes sidste sang’. S.l.]: Sony pictures classics.
Bier, Susanne, Mikkelsen, Mads, and Richter, Sonja (2002) ‘Elsker dig for evigt =: Open hearts’. [S.l.]: ICON.
Bondanella, Peter (1993) The films of Roberto Rossellini. Cambridge: Cambridge University Press.
Bordwell, D. (1997) ‘Against the Seventh Art: André Bazin and the Dialectical Program: Chapter’, in On the history of film style. Cambridge, Mass: Harvard University Press, pp. 46–82.
Bordwell, D. and Thompson, K. (2004a) ‘Function of Film Sound: A Man Escaped: Chapter’, in Film art: an introduction. 7th edn. McGraw-Hill, pp. 377–385.
Bordwell, D. and Thompson, K. (2004b) ‘The Thin Blue Line: Chapter’, in Film art: an introduction. 7th ed. Boston, Mass: McGraw-Hill, pp. 446–452.
Bordwell, D. and Thompson, K. (2013) ‘Sound in the Cinema: Chapter’, in Film art: an introduction. 10th ed., international ed. New York, N.Y.: McGraw-Hill.
Brando, Marlon et al. (1979) ‘Apocalypse now redux’. [S.l.]: Studiocanal.
Bresson, R. (1977) ‘The Devil, Probably’.
Bresson, R. et al. (2004) ‘Mouchette’. [S.l.]: Nouveaux Pictures.
Bresson, R. et al. (2005) ‘Pickpocket’. [S.l.]: Artificial Eye.
Bresson, R. et al. (2008) ‘Un condamné à mort s’est échappé, ou, Le vent souffle où il vent =: A man escaped’. [S.l.]: Artificial Eye.
Bresson, R., Balsan, H. and Simon, L. (no date) ‘Lancelot du Lac’. [S.l.]: Artificial eye.
British Film Institute (1953) ‘Free cinema one, Free cinema three’. London]: British Film Institute.
British Film Institute (1959) ‘Free cinema six’. London]: British Film Institute.
Broomfield, Nicholas (1991a) ‘Monster in a box’. [S.l.]: Metrodome.
Broomfield, Nicholas (1991b) ‘The leader, his driver, and the driver’s wife’. S.l.]: Metrodome.
Broomfield, Nicholas (2006) ‘Proud to be British’. [S.l.]: Metrodome.
Broomfield, Nicholas (no date a) ‘Chicken ranch’. S.l.]: Metrodome.
Broomfield, Nicholas (no date b) ‘His big white self’. More4: Documentary, broadcast 21:00, 27/02/2006.
Broomfield, Nicholas (no date c) ‘Tracking down Maggie’. S.l.]: Metrodome.
Broomfield, Nicholas and Churchill, Joan (1981) ‘Soldier girls’. [S.l.]: Metrodome.
Broomfield, Nicholas and Churchill, Joan (2006a) ‘Juvenile liaison’. [S.l.]: Metrodome.
Broomfield, Nicholas and Churchill, Joan (2006b) ‘Tattooed tears’. [S.l.]: Metrodome.
Broomfield, Nicholas and Churchill, Joan (no date) ‘Aileen: life and death of a serial killer’. Channel 4: Documentary, broadcast 22:00, 11/05/2004.
Broomfield, Nicholas and Wood, Jason (2005) Nick Broomfield: documenting icons. London: Faber and Faber.
Bruzzi, Stella (2006) New documentary: a critical introduction. 2nd ed. Abingdon: Routledge. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=55327.
Caouette, Jonathan, Van Sant, Gus, and Mitchell, John Cameron (2003) ‘Tarnation’. [S.l.]: Optimum Home Entertainment.
Cardullo, B. (2008) Five French filmmakers: Renoir, Bresson, Tati, Truffaut, Rohmer : essays and interviews. Newcastle: Cambridge Scholars.
Cardullo, B. (2012) ‘New Romanian Cinema: Chapter’, in European directors and their films: essays on cinema. Lanham: Scarecrow Press, Inc, pp. 327–338. Available at: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664781010002746&institutionId=2746&customerId=2745.
Cardullo, Bert (2002) Vittorio De Sica: director, actor, screenwriter. Jefferson, N.C.: McFarland.
Cardullo, Bert (2008a) Cinematic illusions: realism, subjectivity, and the avant-garde. Newcastle: Cambridge Scholars.
Cardullo, Bert (2008b) Soundings on cinema: speaking to film and film artists. Albany, N.Y.: State University of New York Press.
Casetti, F. (1999) ‘Cinema and Reality: Chapter’, in Theories of cinema, 1945-1995. Austin, Tex: University of Texas Press, pp. 21–42.
Celli, Carlo and Cottino-Jones, Marga (2007) A new guide to Italian cinema. 1st ed. New York: Palgrave Macmillan. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10167438.
Chaudhuri, S. (2005a) ‘Dogme Brothers: Lars von Trier and Thomas Vinterberg: Chapter’, in New punk cinema. Edinburgh: Edinburgh University Press, pp. 153–167. Available at: https://blackboard.le.ac.uk/bbcswebdav/pid-529725-dt-content-rid-641597_5/library/eReserves/HA1114/HA1114%20-%20Doc%2015.pdf.
Chaudhuri, S. (2005b) ‘Scandinavian Cinema: Chapter’, in Contemporary world cinema: Europe, the Middle East, East Asia and South Asia. Edinburgh: Edinburgh University Press, pp. 34–53.
Chion, Michel and Gorbman, Claudia (1994) Audio-vision: sound on screen. New York, N.Y.: Columbia University Press.
Clayton, Jack et al. (1959) ‘Room at the top’. [S.l.]: Network.
Coppola, F.F. (1979) ‘Apocalypse Now’.
Corbijn, Anton, Riley, Sam, and Morton, Samantha (2007) ‘Control’. [S.l.]: Momentum Pictures.
Corner, John (1996) The art of record: a critical introduction to documentary. Manchester: Manchester University Press.
Cousins, Mark and Macdonald, Kevin (2006) Imagining reality: the Faber book of documentary. Rev. ed. London: Faber.
Cruise, Tom, Foxx, Jamie, and Mann, Michael (2004) ‘Collateral’. S.l.]: Paramount / Dreamworks Home Entertainment.
Cuarón, A., Clooney, G. and Bullock, S. (2014) ‘Gravity’. [S.l.]: Warner Home Video.
Cuarón, Alfonso et al. (2006) ‘Children of men’. [S.l.]: Universal Pictures.
Cunneen, J.E. (2003) Robert Bresson: a spiritual style in film. New York: Continuum International Pub. Group.
Cunningham, Megan (2005) The art of the documentary: ten conversations with leading directors, cinematographers, editors, and producers. Berkeley, Calif: New Riders.
Curry, R.R. (1995) ‘Errol Morris’ Construction of Innocence in “The Thin Blue Line”’, Rocky Mountain Review of Language and Literature, 49(2). Available at: https://doi.org/10.2307/1347983.
Daldrey, S. (2000) ‘Billy Elliot (Special Edition)’.
Dave, Paul (2006) Visions of England: class and culture in contemporary cinema. Oxford: Berg. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10375890.
De Jong, Wilma, Austin, Thomas, and De Jong, Wilma (2008a) Rethinking documentary: new perspectives and practices. Buckingham: Open University. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10246334.
De Jong, Wilma, Austin, Thomas, and De Jong, Wilma (2008b) Rethinking documentary: new perspectives and practices. Buckingham: Open University. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10246334.
De Palma, B. (1980) ‘Blow Out’.
De Santis, Giuseppe, Dowling, Doris, and Gassman, Vittorio (1949) ‘Riso amaro =: Bitter rice’. [S.l.]: 20th Century Fox Home Entertainment.
De Sica, Vittorio et al. (1944) ‘I bambini ci guardano =: The children are watching us’. [S.l.]: Criterion.
De Sica, Vittorio et al. (1951) ‘Miracolo a Milano =: Miracle in Milan’. [S.l]: Arrow films.
De Sica, Vittorio et al. (1952) ‘Umberto D.’ S.l.]: Nouveaux Pictures.
Deleuze, Gilles (1989) Cinema: 2: The time-image. London: The Athlone Press.
Dixon, Wheeler W. and Foster, Gwendolyn Audrey (2011) 21st century Hollywood: movies in the era of transformation. New Brunswick, N.J.: Rutgers University Press. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10535582.
Drew, Robert et al. (1960) Primary. [S.l.]: Docurama.
Druick, Z. (2008) ‘The courtroom and the closet in The Thin Blue Line and Capturing the Friedmans’, Screen, 49(4), pp. 440–449. Available at: https://doi.org/10.1093/screen/hjn054.
Durgnat, Raymond (2011) A mirror for England: British movies from austerity to affluence. 2nd ed. London: BFI.
Dylan, Bob, Pennebaker, D. A., and Neuwirth, Bob (1967) ‘Don’t look back’. [S.l.]: Columbia.
Eastwood, Clint et al. (2007) ‘Flags of our fathers’. [S.l.]: Warner Bros. Home Entertainment.
Eaton, Michael (1979) Anthropology, reality, cinema: the films of Jean Rouch. London: British Film Institute.
Eisenstein, S., Pudovkin, V. and Alexandrov, G. (2008) ‘Statement on Sound: Chapter’, in Film theory and criticism: introductory readings. 7th ed. Oxford: Oxford University Press, pp. 315–317.
Eisenstein, Sergei, Vassiliev, Dmitri, and Cherkasov, Nikolaĭ (1938) ‘Aleksandr Nevsky =: Alexander Nevsky’. [S.l.]: Eureka Video.
Eltringham, B. (2003) ‘This Is Not A Love Song’.
Fabe, M. (2004) ‘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, pp. 99–119.
Fabrizi, Aldo et al. (1945) Roma, citta aperta =: Rome, open city. Special edition. [S.l.]: Criterion.
Fabrizi, Aldo and Rossellini, Roberto (1945) ‘Roma, citta aperta =: Rome, open city’. [S.l.]: Arrow.
Fallon, C. (2012) ‘Several Sides of Errol Morris’, Film Quarterly, 65(4), pp. 48–52. Available at: https://doi.org/10.1525/FQ.2012.65.4.48.
Farnell, Andy (2010) Designing sound. Cambridge, Mass: MIT Press. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10562043.
Fassbender, M., Jarvis, K. and Arnold, A. (2010) ‘Fish tank’. [S.l.]: Artificial Eye.
Fauchois, René, Renoir, Jean, and Simon, Michel (1932) ‘Boudu sauvé des eaux =: Boudu saved from drowning’. [S.l.]: Optimum Releasing.
Fincher, David, Gyllenhaal, Jake, and Downey, Robert (2007) ‘Zodiac’. [S.l.]: Warner Home Video.
Forbes, Bryan et al. (1962) ‘The L-shaped room’. [S.l.]: Optimum.
Forgacs, David (2000) Rome open city (Roma città aperta). London: British Film Institute.
Forrest, D. (2013) ‘Twenty First Century Social Realism: Shane Meadows and New British Realism: Chapter’, in M. Fradley, S. Godfrey, and M. Williams (eds) Shane Meadows: critical essays. Edinburgh: Edinburgh University Press, pp. 35–49. Available at: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665222270002746&institutionId=2746&customerId=2745.
Friedberg, A. (2000) ‘The End of Cinema: Multimedia and Technological Change: Chapter’, in Reinventing film studies. London: Arnold, pp. 438–452.
Fuller, G. (no date) ‘Boys to Men: Shane Meadows Caps His 10-Year Exploration of Working-Class Masculinity in Crisis with This is England’, Film Comment, 43(4).
Gardner, Colin (2006) Karel Reisz. Manchester: Manchester University Press.
Geiger, Jeffrey (2011) American documentary film: projecting the nation. Edinburgh: Edinburgh University Press. Available at: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5663962600002746&institutionId=2746&customerId=2745.
Geuens, J. (2001) ‘Dogma 95: A manifesto for our times’, Quarterly Review of Film and Video, 18(2), pp. 191–202. Available at: https://doi.org/10.1080/10509200109361523.
Geuens, J.-P. (2000) ‘Sound: Chapter’, in Film production theory. Albany: State University of New York Press, pp. 197–224. Available at: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664950710002746&institutionId=2746&customerId=2745.
Giovacchini, Saverio and Sklar, Robert (2011) Global neorealism: the transnational history of a film style. Jackson: University Press of Mississippi. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10508856.
Godeanu-Kenworthy, O. and Popescu-Sandu, O. (2014) ‘From minimalist representation to excessive interpretation: Contextualizing 4 Months, 3 Weeks and 2 Days’, Journal of European Studies, 44(3), pp. 225–248. Available at: https://doi.org/10.1177/0047244114524148.
Gomery, D. and Allen, R.C. (1985) ‘Case Study: The Beginnings of American Cinema Verité: Chapter’, in Film history: theory and practice. Boston, Mass: McGraw-Hill, pp. 215–241.
Gomery, Douglas (2005) The coming of sound: a history. New York: Routledge. Available at: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664089160002746&institutionId=2746&customerId=2745.
Gordon, Robert Samuel Clive (2008) Bicycle thieves. London: BFI.
Gottlieb, Sidney (2004) Roberto Rossellini’s Rome open city. Cambridge: Cambridge University Press.
Grierson, John (1979) ‘First Principles of Documentary’, in Grierson on documentary. Abridged ed. London: Faber.
Gunning, T. (2010) ‘Moving away from the Index: Cinema and the Impression of Reality: Chapter’, in The film theory reader: debates and arguments. London: Routledge, pp. 255–269.
Hall, J. (1991) ‘Realism as a Style in Cinema Verite: A Critical Analysis of “Primary”’, Cinema Journal, 30(4). Available at: https://doi.org/10.2307/1224885.
Hall, S. (no date) BFI Screenonline: Meadows, Shane (1973-) Biography. Available at: http://www.screenonline.org.uk/people/id/461763/.
Hallam, J. (2000) ‘Film, Class and National Identity: Re-Imagining communities in the Age of Devolution: Chapter’, in British cinema: past and present. London: Routledge, pp. 261–273.
Hallam, Julia and Marshment, Margaret (2000) Realism and popular cinema. Manchester: Manchester University Press.
Hanson, Matt (2004) The end of celluloid: film futures in the digital age. Mies, Switzerland: RotoVision.
Harper, M. (30AD) ‘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, pp. 121–133. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com?id=548399.
Harper, Sue and Porter, Vincent (2007) British cinema of the 1950s: the decline of deference. Oxford: Oxford University Press.
Hart, S.M. (2014) Latin American cinema. London: Reaktion Books. Available at: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5663029690002746&institutionId=2746&customerId=2745.
Hayward, S. (2000) ‘Realism: Chapter’, in Cinema studies: the key concepts. 2nd ed. London: Routledge, pp. 334–334.
Henckel von Donnersmarck, F., Mühe, U. and Koch, S. (2006) ‘Das leben der anderen =: The lives of others’. [S.l.]: Lionsgate.
Higson, A. (1996) ‘Space, Place, Spectacle: Landscape and Townscape in the “Kitchen Sink” Film: Chapter’, in Dissolving views: key writings in British cinema. London: Cassell, pp. 133–156.
Hill, J. (1986) ‘Working Class Realism I: Chapter’, in Sex, class and realism: British cinema 1956-1963. London: British Film Institute, pp. 127–144. Available at: https://blackboard.le.ac.uk/bbcswebdav/pid-529674-dt-content-rid-641595_5/library/eReserves/HA1114/HA1114%20-%20Doc%2012.pdf.
Hill, J. (2000) ‘From the New Wave to “Brit-Grit”: Continuity and Difference in Working Class Realism: Chapter’, in British cinema: past and present. London: Routledge, pp. 249–259.
Hillier, Jim (1985) Cahiers du cinéma: the 1950s : neo-realism, Hollywood, new wave. Cambridge, Mass: Harvard University Press.
Hitchcock, Alfred et al. (1929) ‘Blackmail’. S.l.]: Kinowelt Home Entertainment.
Hjort, Mette (2005) Small nation, global cinema: the new Danish cinema. Minneapolis: University of Minnesota Press. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10151328.
Hjort, Mette (2008) On The five obstructions. London: Wallflower.
Hjort, Mette (2010) Lone Scherfig’s ‘Italian for beginners’. Seattle, Wash: University of Washington Press.
Hjort, Mette and Bondebjerg, Ib (2001) The Danish directors: dialogues on a contemporary national cinema. Bristol, UK: Intellect. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10120745.
Hjort, Mette and MacKenzie, Scott (2003) Purity and provocation: Dogma 95. London: British Film Institute.
Hovde, Ellen et al. (1975) ‘Grey Gardens [1975]’. [S.l.]: Eureka!
Howe, J. (2004) ‘Shorts and the real world’, Journal of Media Practice, 4(3), pp. 177–180.
Imre, Anikó (2012) A companion to Eastern European cinemas. Chichester, U.K.: Wiley-Blackwell. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10593125.
Iordanova, Dina (2003) Cinema of the other Europe: the industry and artistry of East Central European film. London: Wallflower Press.
Iordanova, Dina (2006) The cinema of the Balkans. London: Wallflower.
Iordanova, Dina and British Film Institute (2001) Cinema of flames: Balkan film, culture and the media. London: British Film Institute.
Jarecki, Andrew (2003) ‘Capturing the Friedmans’. [S.l.]: Tartan Video.
Jenkins, H. (1999) ‘The Work of Theory in the Age of Digital Transformation: Chapter’, in A companion to film theory. Malden, Mass: Blackwell, pp. 234–261.
Jennings, H. (1942) ‘Listen to Britain’, Humphrey Jennings collection: Listen to Britain, Diary for Timothy, I was a fireman. [United Kingdom]: Film First.
Jerslev, Anne (2002) Realism and ‘reality’ in film and media. Copenhagen: Museum Tusculanum Press, University of Copenhagen.
‘Journal of British Cinema and Television’ (no date a), 11(2–3). Available at: http://www.euppublishing.com/toc/jbctv/11/2-3.
‘Journal of British Cinema and Television’ (no date b), 10(4). Available at: http://www.euppublishing.com/toc/jbctv/10/4.
Kael, P. (1961) ‘Britain: Commitment and the Strait-Jacket’, Film Quarterly, 15(1), pp. 4–13. Available at: https://doi.org/10.2307/1210560.
Kantaris, G. and O’Bryen, R. (2013) Latin American popular culture: politics, media, affect. Woodbridge, Suffolk: Tamesis. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10748380.
Kelly, Richard (2000) The name of this book is Dogme95. London: Faber and Faber.
Kelly, R.T. (2007) ‘Danish Cinema: Chapter’, in The cinema book. 3rd ed. London: British Film Institute, pp. 196–198.
Kerins, Mark (2010) Beyond Dolby (stereo): cinema in the digital sound age. Bloomington: Indiana University Press. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10437995.
Kopple, Barbara, Arthur, Paul, and Weisberger, Jon (1976) ‘Harlan County U.S.A’. [S.l.]: Criterion Collection.
Korine, Harmony, Herzog, Werner, and Bremner, Ewen (1999) ‘Julien donkey-boy’. [S.l.]: Tartan Video.
Kracauer, Siegfried (1997) Theory of film: the redemption of physical reality. Princeton, N.J.: Princeton University Press.
Lacey, Stephen (1995) British realist theatre: the new wave in its context 1956-1965. London: Routledge. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10057538.
Laing, Stuart (1986) Representations of working-class life 1957-1964. London: Macmillan.
Landy, Marcia (2000) Italian film. Cambridge: Cambridge University Press.
Lanzmann, Claude (1985) ‘Shoah: a film’. [S.l.]: Eureka!
Lapsley, R. and Westlake, M. (1988) ‘Realism: Chapter’, in Film theory: an introduction. Manchester: Manchester University Press, pp. 156–180. Available at: https://blackboard.le.ac.uk/bbcswebdav/pid-727207-dt-content-rid-1815038_5/library/eReserves/HA1114/HA1114_24151.pdf.
Lay, S. (2007) ‘Good intentions, high hopes and low budgets: Contemporary social realist film-making in Britain’, New Cinemas: Journal of Contemporary Film, 5(3), pp. 231–244.
Lay, Samantha (2002) British social realism: from documentary to Brit grit. London: Wallflower.
Layton, Bart, O’Brian, Adam, and Bourdin, Frédéric (2012) ‘The imposter’. London: Revolver Entertainment.
Leggott, James (2008) Contemporary British cinema: from heritage to horror. London: Wallflower.
Leth, Jørgen and Trier, Lars von (2004) ‘De fem benspænd =: The five obstructions’. [S.l.]: ICA projects.
Levring, Kristian, Bohringer, Romane, and Anderson, Miles (2000) ‘The King is alive’. [S.l.]: Pathé.
Lister, Martin (2009) New media: a critical introduction. 2nd ed. London: Routledge. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=190114.
Livingston, Jennie and Dangerous to know (1994) ‘Paris is burning’. London: Dangerous To Know.
LoBrutto, V. (2005) ‘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, pp. 305–311.
MacDougall, D. (1985) ‘Beyond Observational Cinema: Chapter’, in Movies and methods: an anthology. Berkeley, Calif: University of California Press, pp. 274–285.
MacKillop, I. D. and Sinyard, Neil (2003) British cinema of the 1950s: a celebration. Manchester: Manchester University Press. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10074858.
Maggiorani, Lamberto and De Sica, Vittorio (1948) ‘Ladri di biciclette =: Bicycle thieves’. S.l.]: Arrow Films.
Mamber, Stephen (no date) Cinéma vérité in America: studies in uncontrolled documentary. Milton Keynes: Lightning Source.
Mamoulian, R. (1929) ‘Applause’.
Manovich, L. (2002) ‘Old Media as New Media: Chapter’, in The new media book. London: British Film Institute, pp. 209–218. Available at: https://blackboard.le.ac.uk/bbcswebdav/pid-354313-dt-content-rid-514951_5/library/eReserves/HA1114/HA1114%20-%20Doc%207.pdf.
Manovich, L. (2010) ‘Digital Cinema and the History of a Moving Image: Chapter’, in The film theory reader: debates and arguments. London: Routledge, pp. 245–254.
Manovich, Lev (2001) The language of new media. Cambridge, Mass: MIT.
Marcus, Millicent (1986) Italian film in the light of neorealism. Princeton, N.J.: Princeton University Press.
Marwick, A. (1984) ‘Room at the Top, Saturday Night and Sunday Morning, and the “Cultural Revolution” in Britain’, Journal of Contemporary History, 19(1), pp. 127–152. Available at: http://www.jstor.org/stable/260428.
Maysles, Albert, Maysles, David, and Zwerin, Charlotte (1969) ‘Salesman’. [London]: Eureka!
McKoen, J. (2005) ‘Frozen DVD’.
McNab, G. (1999) ‘The Big Tease: Article’, Sight and sound: international film magazine, 9(2), pp. 16–18.
Meadows, S. (1996) ‘Small Time / Where’s the Money Ronnie!’
Meadows, S. (1997) ‘24 7: Twenty Four Seven’.
Meadows, S. (2004a) ‘A Room For Romeo Brass’.
Meadows, S. (2004b) ‘Dead Man’s Shoes’.
Meadows, S. (2006) ‘This is England’.
Meadows, S. (2008) ‘Somers Town’.
Meadows, Shane et al. (2002) ‘Once upon a time in the Midlands’. [S.l.]: Cinema Club/FilmFour DVD.
Monk, C. (1999) ‘From Underworld to Underclass: Crime and British Cinema in the 1990s: Chapter’, in British crime cinema. London: Routledge, pp. 172–188. Available at: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664950400002746&institutionId=2746&customerId=2745.
Moore, Michael (2002) ‘Bowling for Columbine’. [S.l.]: Momentum pictures.
Moore, Michael (2004) ‘Fahrenheit 9/11’. [S.l.]: Optimum Home Entertainment.
Moore, Michael (2010) ‘Capitalism: a love story’. [S.l.]: Paramount Home Entertainment.
Moore, Michael (no date) ‘Roger and me’. Sky Cinema 2 television: Motion picture.
Moore, Michael, Cervantes, Reggie, and Bush, George W. (2007) ‘Sicko’. [S.l.]: Optimum.
Moritzen, Henning, Thomsen, Ulrich, and Vinterberg, Thomas (1998) ‘Festen =: The celebration’. [S.l.]: Metrodome Video.
Morris, E. (2013) ‘The Unknown Known’.
Morris, Errol (1981) ‘Vernon, Florida’. [S.l.]: Optimum.
Morris, Errol (1986) ‘Gates of heaven’. [S.l.]: Optimum.
Morris, Errol (1988) ‘The thin blue line’. [S.l.]: Optimum.
Morris, Errol (2008) ‘Standard operating procedure’. [S.l.]: Sony.
Morris, Errol, Leutcher, Fred, and Pelt, R. J. van (1999) ‘Mr. Death: the rise and fall of Fred A. Leuchter’. [S.l.]: Artefact Media.
Morris, Errol and McNamara, Robert S (2003) ‘The fog of war’. S.l.]: Columbia Tristar Home Entertainment.
Mungiu, C. (2012) ‘Beyond the Hills DVD’.
Mungiu, Cristian et al. (2007) ‘4 luni, 3 saptamâni si 2 zile =: 4 months, 3 weeks and 2 days’. S.l.]: Artificial Eye.
Murphy, R. (1992) ‘A Savage Story of Lust and Ambition: Chapter’, in Sixties British cinema. London: BFI Publishing, pp. 10–33. Available at: https://blackboard.le.ac.uk/bbcswebdav/pid-529723-dt-content-rid-654814_5/library/eReserves/HA1114/HA1114%20-%20Doc%2014.PDF.
Murphy, Robert (2009) The British cinema book. 3rd ed. London: Palgrave Macmillan on behalf of the British Film Institute.
Nagib, L. (2007) Brazil on screen: cinema novo, new cinema, utopia. London: I. B. Tauris. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10217783.
Nagib, L. (2011) World cinema and the ethics of realism. London: Continuum International Pub. Group.
Nagib, L. and University of Oxford. Centre for Brazilian Studies (2003) The new Brazilian cinema. London: I.B. Tauris in Association with the Centre for Brazilian Studies, University of Oxford.
Newsinger, J. (31AD) ‘Structure and Agency: Shane Meadows and the New Regional Production Sectors: Chapter’, in Shane Meadows. Edinburgh: Edinburgh University Press. Available at: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665215520002746&institutionId=2746&customerId=2745.
Nichols, B. (1988) ‘The Voice of Documentary: Chapter’, in New challenges for documentary. Berkeley, Calif: University of California Press, pp. 48–63.
Nichols, B. (2007) ‘Documentary: Chapter’, in The cinema book. 3rd ed. London: British Film Institute, pp. 81–83.
Nichols, B. (2010) ‘How Can We Describe the Observational, Participatory, Reflexive and Performative Modes of Documentary Film: Chapter’, in Introduction to documentary. 2nd ed. Bloomington: Indiana University Press, pp. 172–211. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10437993.
Nichols, Mike et al. (1967) ‘The graduate’. [S.l.]: Optimum Classic.
Nolan, C. (2010) ‘Inception DVD’.
Nowell-Smith, G. (13AD) ‘Bicycle Thieves: Chapter’, in Film Analysis. New York: WW Norton & Co, pp. 422–438.
O’Brien, Charles (2005) Cinema’s conversion to sound: technology and film style in France and the U.S. Bloomington: Indiana University Press. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10118516.
O’Connell, P. J. (2010) Robert Drew and the development of cinema verite in America. Carbondale, Ill: Southern Illinois University Press. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10575417.
Ogborn, K. (2000) ‘Pathways into the Industry: Chapter’, in British cinema of the 90s. London: BFI Publishing.
Oleszcyk, M. (2008) ‘Living in a goldfish bowl’, Sight and sound: international film magazine, 18(1), pp. 12–12. Available at: http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=505263447&site=ehost-live.
Orr, J. (2004) ‘New Directions in European Cinema: Chapter’, in European cinema. Oxford: Oxford University Press, pp. 299–317.
Overbey, David (1978) Springtime in Italy: a reader on neo-realism. London: Talisman Books.
Pennebaker, D. A. et al. (1993) ‘The war room’. [S.l.]: Criterion Collection.
Plantinga, C. (2000) ‘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, pp. 370–389. Available at: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665230250002746&institutionId=2746&customerId=2745.
Price, B. (2011) Neither god nor master: Robert Bresson and radical politics. Minneapolis [Minn.]: University of Minnesota Press. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10460997.
Prince, S. (2012) ‘Painting with Digital Light: Chapter’, in Digital visual effects in cinema: the seduction of reality. New Brunswick, N.J.: Rutgers University Press, pp. 56–98. Available at: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664951060002746&institutionId=2746&customerId=2745.
Puiu, Christi, Fiscuteanu, Ion, and Gheorghiu, Luminita (2005) ‘Moartea domnului Lazarescu =: The death of Mr Lazarescu’. [S.l.]: Tartan Video.
Purse, Lisa (2013) Digital imaging in popular cinema. Edinburgh: Edinburgh University Press.
Rafferty, T. (2006) ‘The Thin Blue Line: Chapter’, in Imagining reality: the Faber book of documentary. Rev. ed. London: Faber. Available at: https://blackboard.le.ac.uk/bbcswebdav/pid-1025239-dt-content-rid-2569442_5/library/eReserves/HA1114/HA1114_35111.pdf.
Ratner, M. (2008) ‘Stunted lives : on 4 months, 3 weeks and 2 days’, Bright lights film journal [Preprint], (59). Available at: http://brightlightsfilm.com/59/594months.php.
Reader, K. (2000) Robert Bresson. Manchester: Manchester University Press.
Reisz, Karel et al. (1960) ‘Saturday night and Sunday morning’. [S.l.]: British Film Institute.
Renov, M. (2004) ‘New Subjectivities: Documentary and Self-Representation in the Post-Vérité Age: Chapter’, in The subject of documentary. Minneapolis, Minn: University of Minnesota Press, pp. 171–181.
Richardson, Tony et al. (1958) ‘Look back in anger’. [S.l.]: Optimum Classic.
Richardson, Tony, Courtenay, Tom, and Sillitoe, Alan (1962) ‘The loneliness of the long distance runner’. [S.l.]: British Film Institute.
Robert, B. (1983) ‘L’Argent’.
Rockwell, John and British Film Institute (2003) The idiots. London: BFI Pub.
Rodowick, David Norman (2007) The virtual life of film. Cambridge, Mass: Harvard University Press. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10318536.
Rodrigues, A. et al. (2003) ‘Cidade de Deus =: City of God’. [S.l: Buena Vista Home Entertainment.
Rombes, Nicholas (2009) Cinema in the digital age. London: Wallflower.
Rosenheim, S. (2001) ‘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, pp. 316–330.
Ross, Gary et al. (1998) ‘Pleasantville’. S.l.]: New Line Home Video.
Rossellini, Roberto et al. (1948) Germania anno zero =: Germany year zero. Special edition. [S.l.]: Criterion.
Rothman, William (2009a) Three documentary filmmakers: Errol Morris, Ross McElwee, Jean Rouch. Albany, N.Y.: State University of New York Press.
Rothman, William (2009b) Three documentary filmmakers: Errol Morris, Ross McElwee, Jean Rouch. Albany, N.Y.: State University of New York Press.
Rouch, Jean (2005a) ‘Jean Rouch, Ciné-Rencontre’. [S.l.]: Editions Montparnasse.
Rouch, Jean (2005b) ‘Jean Rouch, Ciné-Rouch’. [S.l.]: Editions Montparnasse.
Rouch, Jean (2005c) ‘Jean Rouch, Ciné-Transe, Ciné-Conte’. [S.l.]: Editions Montparnasse.
Rouch, Jean and Feld, Steven (2003) Ciné-ethnography. Minneapolis: University of Minnesota Press. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10151154.
Rouch, Jean and Morin, Edgar (2005) ‘Chronique d’un été (Paris 1960) =: Chronicle of a summer’. [S.l.]: Argos Films.
Russell, Dave (2004) Looking north: northern England and the national imagination. Manchester: Manchester University Press.
Saunders, Dave, Visiting tutor in film studies at Royal Holloway, University of London [2007] (2007) Direct cinema: observational documentary and the politics of the sixties. London: Wallflower.
Sazio, Carmela et al. (1946) Paisà =: Paisan. Special edition. [S.l.]: Criterion.
Sazio, Carmela and Rossellini, Roberto (1946) ‘Paisà’. S.l.]: Cine Città.
Scherfig, Lone, Støvelbæk, Anette, and Berthelsen, Anders W. (2000) ‘Italiensk for begyndere =: Italian for beginners’. [S.l.]: Pathé.
Schlesinger, John et al. (1962) ‘A kind of loving’. [S.l.]: Momentum Pictures.
Schlesinger, John et al. (1963) ‘Billy Liar’. [S.l.]: Warner Home Video.
Scorsese, Martin, De Niro, Robert, and Keitel, Harvey (1973) ‘Mean streets’. [S.l.]: Universal.
Sergi, Gianluca (2004) The Dolby era: film sound in contemporary Hollywood. Manchester: Manchester University Press.
Shail, Robert (2012) Tony Richardson. Manchester: Manchester University Press.
Shary, T. and Seibel, A. (2007) Youth culture in global cinema. 1st ed, Birds that cannot fly: Childhood and youth in City of God. 1st ed. Austin: University of Texas Press. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10245828.
Shiel, Mark (2006) Italian neorealism: rebuilding the cinematic city. London: Wallflower.
Shuker, Gregory et al. (1963) Crisis. [S.l.]: DocuRama.
Simons, Jan (2007a) Playing the waves: Lars Von Trier’s game cinema. Amsterdam: Amsterdam University Press. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10281440.
Simons, Jan (2007b) Playing the waves: Lars Von Trier’s game cinema. Amsterdam: Amsterdam University Press. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10281440.
Smordoni, Rinaldo, Interlenghi, Franco, and De Sica, Vittorio (1946) ‘Sciuscià =: Shoeshine’. [S.l.]: Eureka video.
Snyder, Stephen J. and Curle, Howard (2000) Vittorio De Sica: contemporary perspectives. Toronto: University of Toronto Press.
Spicer, Andrew (2001) Typical men: the representation of masculinity in popular British cinema. London: I.B. Tauris Publishers. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10133040.
Spurlock, Morgan (2005) ‘Super size me’. [S.l.]: Tartan video.
Stephen Prince (1996) ‘True Lies: Perceptual Realism, Digital Images, and Film Theory’, Film Quarterly, 49(3), pp. 27–37. Available at: 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.
Stephen Prince (2004) ‘The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Era’, Film Quarterly, 57(3), pp. 24–33. Available at: 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.
Stevenson, Jack (2002) Lars von Trier. London: British Film Institute.
Street, Sarah (2009) British national cinema. 2nd ed. London: Routledge. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=212501.
Strickland, P. (2012) ‘Berberian Sound Studio’.
Sucsy, Michael et al. (2009) Grey Gardens [2009]. [S.l.]: HBO.
Thompson, K. (1988) ‘Realism in the Cinema: Bicycle Thieves, Chapter’, in Breaking the glass armor: neoformalist film analysis. Princeton, N.J.: Princeton University Press, pp. 197–217.
Tinkcom, Matthew and British Film Institute (2011) Grey Gardens. London: Palgrave Macmillan on behalf of the British Film Institute.
Treadwell, Timothy and Herzog, Werner (2005) ‘Grizzly Man’. [S.l.]: Revolver Entertainment.
Trier, Lars Von et al. (1996) ‘Breaking the waves’. [S.l.]: Pathé.
Trier, Lars von et al. (1998) ‘Idioterne =: The idiots’. [S.l.]: Tartan Video.
Trier, Lars von and Björkman, Stig (2003) Trier on von Trier. London: Faber and Faber.
Tucker, David (2011) British social realism in the arts since 1940. Basingstoke: Palgrave Macmillan. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9780230306387.
Tudor, A. (1972) ‘The Many Mythologies of Realism’, Screen, 13(1), pp. 27–36. Available at: https://doi.org/10.1093/screen/13.1.27.
Tushingham, Rita, Richardson, Tony, and Delaney, Shelagh (1961) ‘A taste of honey’. [S.l.]: Optimum Classic.
Tyree, J. M. (2012) Salesman. London: BFI.
Uricaru, I. (2008) ‘4 Months, 3 Weeks, 2 Days: The Corruption of Intimacy’, Film Quarterly, 61(4), pp. 12–17. Available at: https://doi.org/10.1525/fq.2008.61.4.12.
Uricaru, Ioana et al. (2009) ‘Amintiri din epoca de aur =: Tales from the golden age’. [S.l.]: Trinity.
Utterson, Andrew (2005) Technology and culture, the film reader. London: Routledge.
Utterson, Andrew (2011) From IBM to MGM: cinema at the dawn of the digital age. London: Palgrave Macmillan.
Varda, Agnès (2002) ‘Les Glaneurs et la glaneuse =: The gleaners and I’. [S.l.]: Zeitgeist Video.
Vernallis, Carol, Herzog, Amy, and Richardson, John (eds) (2013) The Oxford handbook of sound and image in digital media. Oxford: Oxford University Press.
Vice, Sue (2011) Shoah. London: BFI.
Visconti, Luchino (1948) ‘La terra trema =: The earth trembles’. London: BFI.
Visconti, Luchino, Girotti, Massimo, and Calamai, Clara (1942) ‘Ossessione’. London]: British Film Institute.
Vogels, Jonathan B. (2005) The direct cinema of David and Albert Maysles. Carbondale [Ill.]: Southern Illinois University Press. Available at: http://site.ebrary.com/lib/leicester/Doc?id=10469367.
Wagstaff, Christopher (2007) Italian neorealist cinema: an aesthetic approach. Toronto: University of Toronto Press. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10295298.
Walker, Alexander (2005) Hollywood, England: the British film industry in the sixties. London: Orion.
Walters, B. (2008) ‘Heartbreak Hotel’, Sight and sound: international film magazine, 18(1), pp. 54–55. Available at: http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=505263471&site=ehost-live.
Ward, Paul (2005) Documentary: the margins of reality. London: Wallflower.
Wayne, M. (2006) ‘The Performing Northern Working Class in British Cinema: Cultural Representation and its Political Economy’, Quarterly Review of Film and Video, 23(4), pp. 287–297. Available at: https://doi.org/10.1080/10509200690897572.
Wayne, Mike (2002) The politics of contemporary European cinema: histories, borders, diasporas. Bristol: Intellect. Available at: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10015830.
Welles, Orson et al. (1958) ‘Touch of evil’. [S.l.]: Universal.
Wexler, Mark S. (2004) ‘Tell them who you are’. [S.l.]: Metrodome.
Williams, Christopher (1980) Realism and the cinema: a reader. London: Routledge and Kegan Paul [for] British Film Institute.
Williams, L. (1993) ‘Mirrors without Memories: Truth, History, and the New Documentary’, Film Quarterly, 46(3), pp. 9–21. Available at: https://doi.org/10.2307/1212899.
Williams, P.A. (2006) ‘London to Brighton’.
Williams, R. (1988) ‘Realism: Chapter’, in Keywords: a vocabulary of culture and society. Rev. and expanded ed. London: Fontana, pp. 216–221.
Willis, Holly (2005) New digital cinema: reinventing the moving image. London: Wallflower Press.
Wilson, E. (2008) ‘4 Months, 3 Weeks, 2 Days: An "Abortion Movie”?’, Film Quarterly, 61(4), pp. 18–23. Available at: https://doi.org/10.1525/fq.2008.61.4.18.
Winston, B. (2013) The documentary film book. Basingstoke, United Kingdom: Palgrave Macmillan.
Wintonick, Peter (2006) ‘Cinéma vérité: defining the moment, the story of non-fiction filmmaking’. Ramsey, Isle of Man: Beckmann Visual Publishing.
Wiseman, Frederick and Grant, Barry Keith (2006) Five films by Frederick Wiseman: Titicut follies, High school, Welfare, High school II, Public housing. Berkeley, Calif: University of California Press.
Zavattini, C. (2000) ‘Some Ideas on the Cinema: Chapter’, in Vittorio De Sica: contemporary perspectives. Toronto: University of Toronto Press, pp. 50–61.
Zemeckis, Robert et al. (1994) ‘Forrest Gump’. [S.l.]: Paramount.
Zidane, Zinédine, Gordon, Douglas, and Parreno, Philippe (2006) ‘Zidane un portrait du 21e siècle =: Zidane a 21st century portrait’. [S.l.]: Artificial eye.
