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>
Aldgate, Anthony, Censorship and the Permissive Society: British Cinema and Theatre, 1955-1965 (Oxford: Clarendon Press, 1995)
Aldgate, Anthony and Richards, Jeffrey, Best of British: Cinema and Society from 1930 to the Present, New ed (London: I.B.Tauris, 2009), Cinema and society series <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10424556>
Allen, Michael, ‘Fixing It in Digital: Chapter’, in Contemporary US Cinema (Harlow: Longman, 2003), Inside film, 201–23
Altman, Rick, Cinema/Sound (New Haven, Conn: Yale French Studies, 1980), Yale french studies
———, Sound Theory, Sound Practice (New York, N.Y.: Routledge, 1992), AFI film readers
Anderson, Lindsay, Owen, Alun, and Ford Motor Company, ‘Every Day except Christmas’ ([S.l.]: Duke Video, 1957)
Anderson, Lindsay, Storey, David, Harris, Richard, and Roberts, Rachel, ‘This Sporting Life’ ([S.l.]: Network, 1963)
Andrew, Dudley, André Bazin (New York: Columbia University Press, 1990)
———, What Cinema Is!: Bazin’s Quest and Its Charge (Oxford: Wiley-Blackwell, 2010), Blackwell manifestos
Andrew, Dudley and Joubert-Laurencin, Hervé, Opening Bazin: Postwar Film Theory and Its Afterlife (Oxford: Oxford University Press, 2011)
Andrews, Dudley, ‘Pursuing Cinema in the Twenty-First Century: Chapter’, in What Cinema Is!: Bazin’s Quest and Its Charge (Oxford: Wiley-Blackwell, 2010), Blackwell manifestos, 48–65
Antonioni, Michelangelo, Bosé, Lucia, and Girotti, Massimo, ‘Cronaca Di Un Amore =: The Story of a Love Affair’ (S.l]: Mr Bongo films, 1950)
Armstrong, Richard, ‘What Is Realism?: Chapter’, in Understanding Realism (London: BFI, 2005), Understanding the moving image, 1–10
Arnold, Andrea, Dickie, Kate, and Curran, Tony, ‘Red Road’ ([S.l.]: Verve Pictures, 2006)
Austin, Thomas, Watching the World: Screen Documentary and Audiences (Manchester: Manchester University Press, 2007) <http://site.ebrary.com/lib/leicester/Doc?id=10627215>
Badley, Linda, ‘Danish Dogma: “Truth” and Cultural Politics: Chapter’, in Traditions in World Cinema (Edinburgh: Edinburgh University Press, 2006), Traditions in world cinema, 80–94 <https://blackboard.le.ac.uk/bbcswebdav/pid-235254-dt-content-rid-713308_5/library/eReserves/HA1114/HA1114%20-%20Doc%2018.pdf>
Badley, Linda, Lars von Trier (Urbana, Ill: University of Illinois Press, 2011), Contemporary film directors <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5663774820002746&institutionId=2746&customerId=2745>
Bainbridge, Caroline, The Cinema of Lars von Trier: Authenticity and Artifice (London: Wallflower, 2007), Directors’ cuts
Baker, Maxine, ‘Errol Morris, American Iconoclast: Chapter’, in Documentary in the Digital Age (Oxford: Elsevier Focal, 2006), pp. 1–26
Barr, Charles and British Film Institute, All Our Yesterdays: 90 Years of British Cinema (London: BFI Publishing, 1986)
Barsam, Richard, and Dave Monahan, ‘Sound: Chapter’, in Looking at Movies (New York: WW Norton & Co, 11AD), pp. 387–430
Bay, Michael, ‘Pearl Harbor’, 2001
Bazin, Andre, ‘Evolution of the Language of Cinema’, in Film Theory and Criticism (Oxford: Oxford University Press, 2008), pp. 41–53 <https://blackboard.le.ac.uk/bbcswebdav/pid-1025237-dt-content-rid-2561166_5/library/eReserves/HA1114/HA1114_34955.pdf>
Bazin, André, What Is Cinema?: Volume 2 (Berkeley, Calif: University of California Press, 1992)
Bazin, André and 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>
———, Bazin at Work: Major Essays and Reviews from the Forties and Fifties (London: Routledge, 1997)
Bazin, André and Gray, Hugh, What Is Cinema?: Volume 1 (Berkeley, Calif: University of California Press, 1992)
Beattie, Keith, D. A. Pennebaker (Urbana: University of Illinois Press, 2011), Contemporary film directors <http://site.ebrary.com/lib/leicester/Doc?id=10532354>
Beck, Jay, ‘Citing the Sound’, Journal of Popular Film and Television, 29.4 (2002), 156–63 <https://doi.org/10.1080/01956050209601021>
Belton, John, ‘Technology and Aesthetics of Film Sound: Chapter’, in Film Sound: Theory and Practice (New York, N.Y.: Columbia University Press, 1985), pp. 63–72 <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, Reality Fictions: The Films of Frederick Wiseman, 2nd ed (Carbondale, Ill: Southern Illinois University Press, 2002)
Berthelsen, Anders W., Hjejle, Iben, Kragh-Jacobsen, Søren, and Jensen, Anders Thomas, ‘Mifunes Sidste Sang’ (S.l.]: Sony pictures classics, 1999)
Bier, Susanne, Mikkelsen, Mads, and Richter, Sonja, ‘Elsker Dig for Evigt =: Open Hearts’ ([S.l.]: ICON, 2002)
Bondanella, Peter, The Films of Roberto Rossellini (Cambridge: Cambridge University Press, 1993), Cambridge film classics
Bordwell, David, ‘Against the Seventh Art: André Bazin and the Dialectical Program: Chapter’, in On the History of Film Style (Cambridge, Mass: Harvard University Press, 1997), pp. 46–82
Bordwell, David, and Kristin Thompson, ‘Function of Film Sound: A Man Escaped: Chapter’, in Film Art: An Introduction, 7th edn (McGraw-Hill, 2004), pp. 377–85
———, ‘Sound in the Cinema: Chapter’, in Film Art: An Introduction, 10th ed., international ed (New York, N.Y.: McGraw-Hill, 2013)
———, ‘The Thin Blue Line: Chapter’, in Film Art: An Introduction, 7th ed (Boston, Mass: McGraw-Hill, 2004), pp. 446–52
Brando, Marlon, Sheen, Martin, Coppola, Francis Ford, and Conrad, Joseph, ‘Apocalypse Now Redux’ ([S.l.]: Studiocanal, 1979)
Bresson, Robert, ‘The Devil, Probably’, 1977
Bresson, Robert, Humbert Balsan, and Luc Simon, ‘Lancelot Du Lac’ ([S.l.]: Artificial eye)
Bresson, Robert, Georges Bernanos, Nadine Nortier, Jean-Claude Guilbert, and Marie Cardinal, ‘Mouchette’ ([S.l.]: Nouveaux Pictures, 2004)
Bresson, Robert, Martin LaSalle, Marika Green, Pierre Leymarie, and Fyodor Dostoyevsky, ‘Pickpocket’ ([S.l.]: Artificial Eye, 2005)
Bresson, Robert, François Leterrier, Charles Le Clainche, and André Devigny, ‘Un Condamné à Mort s’est Échappé, Ou, Le Vent Souffle Où Il Vent =: A Man Escaped’ ([S.l.]: Artificial Eye, 2008)
British Film Institute, ‘Free Cinema One, Free Cinema Three’ (London]: British Film Institute, 1953)
———, ‘Free Cinema Six’ (London]: British Film Institute, 1959)
Broomfield, Nicholas, ‘Chicken Ranch’ (S.l.]: Metrodome)
———, ‘His Big White Self’ (More4: Documentary, broadcast 21:00, 27/02/2006)
———, ‘Monster in a Box’ ([S.l.]: Metrodome, 1991)
———, ‘Proud to Be British’ ([S.l.]: Metrodome, 2006)
———, ‘The Leader, His Driver, and the Driver’s Wife’ (S.l.]: Metrodome, 1991)
———, ‘Tracking down Maggie’ (S.l.]: Metrodome)
Broomfield, Nicholas and Churchill, Joan, ‘Aileen: Life and Death of a Serial Killer’ (Channel 4: Documentary, broadcast 22:00, 11/05/2004)
———, ‘Juvenile Liaison’ ([S.l.]: Metrodome, 2006)
———, ‘Soldier Girls’ ([S.l.]: Metrodome, 1981)
———, ‘Tattooed Tears’ ([S.l.]: Metrodome, 2006)
Broomfield, Nicholas and Wood, Jason, Nick Broomfield: Documenting Icons (London: Faber and Faber, 2005)
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>
Caouette, Jonathan, Van Sant, Gus, and Mitchell, John Cameron, ‘Tarnation’ ([S.l.]: Optimum Home Entertainment, 2003)
Cardullo, Bert, Cinematic Illusions: Realism, Subjectivity, and the Avant-Garde (Newcastle: Cambridge Scholars, 2008)
Cardullo, Bert, Five French Filmmakers: Renoir, Bresson, Tati, Truffaut, Rohmer : Essays and Interviews (Newcastle: Cambridge Scholars, 2008)
———, ‘New Romanian Cinema: Chapter’, in European Directors and Their Films: Essays on Cinema (Lanham: Scarecrow Press, Inc, 2012), pp. 327–38 <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664781010002746&institutionId=2746&customerId=2745>
Cardullo, Bert, Soundings on Cinema: Speaking to Film and Film Artists (Albany, N.Y.: State University of New York Press, 2008), SUNY series, horizons of cinema
———, Vittorio De Sica: Director, Actor, Screenwriter (Jefferson, N.C.: McFarland, 2002)
Casetti, Francesco, ‘Cinema and Reality: Chapter’, in Theories of Cinema, 1945-1995 (Austin, Tex: University of Texas Press, 1999), pp. 21–42
Celli, Carlo and Cottino-Jones, Marga, A New Guide to Italian Cinema, 1st ed (New York: Palgrave Macmillan, 2007), Italian and Italian American studies <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10167438>
Chaudhuri, Shohini, ‘Dogme Brothers: Lars von Trier and Thomas Vinterberg: Chapter’, in New Punk Cinema (Edinburgh: Edinburgh University Press, 2005), Traditions in world cinema, 153–67 <https://blackboard.le.ac.uk/bbcswebdav/pid-529725-dt-content-rid-641597_5/library/eReserves/HA1114/HA1114%20-%20Doc%2015.pdf>
———, ‘Scandinavian Cinema: Chapter’, in Contemporary World Cinema: Europe, the Middle East, East Asia and South Asia (Edinburgh: Edinburgh University Press, 2005), pp. 34–53
Chion, Michel and Gorbman, Claudia, Audio-Vision: Sound on Screen (New York, N.Y.: Columbia University Press, 1994)
Clayton, Jack, Braine, John, Signoret, Simone, Harvey, Laurence, Sears, Heather, and Sinyard, Neil, ‘Room at the Top’ ([S.l.]: Network, 1959)
Coppola, Francis Ford, ‘Apocalypse Now’, 1979
Corbijn, Anton, Riley, Sam, and Morton, Samantha, ‘Control’ ([S.l.]: Momentum Pictures, 2007)
Corner, John, The Art of Record: A Critical Introduction to Documentary (Manchester: Manchester University Press, 1996)
Cousins, Mark and Macdonald, Kevin, Imagining Reality: The Faber Book of Documentary, Rev. ed (London: Faber, 2006)
Cruise, Tom, Foxx, Jamie, and Mann, Michael, ‘Collateral’ (S.l.]: Paramount / Dreamworks Home Entertainment, 2004)
Cuarón, Alfonso, George Clooney, and Sandra Bullock, ‘Gravity’ ([S.l.]: Warner Home Video, 2014)
Cuarón, Alfonso, Owen, Clive, Moore, Julianne, and Caine, Michael, ‘Children of Men’ ([S.l.]: Universal Pictures, 2006)
Cunneen, Joseph E., Robert Bresson: A Spiritual Style in Film (New York: Continuum International Pub. Group, 2003)
Cunningham, Megan, The Art of the Documentary: Ten Conversations with Leading Directors, Cinematographers, Editors, and Producers (Berkeley, Calif: New Riders, 2005), Voices that matter
Curry, Renee R., ‘Errol Morris’ Construction of Innocence in “The Thin Blue Line”’, Rocky Mountain Review of Language and Literature, 49.2 (1995) <https://doi.org/10.2307/1347983>
Daldrey, Stephen, ‘Billy Elliot (Special Edition)’, 2000
Dave, Paul, Visions of England: Class and Culture in Contemporary Cinema (Oxford: Berg, 2006), Talking images series <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, 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>
———, 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>
De Palma, Brian, ‘Blow Out’, 1980
De Santis, Giuseppe, Dowling, Doris, and Gassman, Vittorio, ‘Riso Amaro =: Bitter Rice’ ([S.l.]: 20th Century Fox Home Entertainment, 1949)
De Sica, Vittorio, Barnabò, Guglielmo, Gramatica, Emma, Bovo, Brunella, De Sica, Manuel, and Zavattini, Cesare, ‘Miracolo a Milano =: Miracle in Milan’ ([S.l]: Arrow films, 1951)
De Sica, Vittorio, Cigoli, Emilio, De Ambrosis, Luciano, Pola, Isa, and Zavattini, Cesare, ‘I Bambini Ci Guardano =: The Children Are Watching Us’ ([S.l.]: Criterion, 1944)
De Sica, Vittorio, Zavattini, Cesare, Battisti, Carlo, Casilio, Maria Pia, and Gennari, Lina, ‘Umberto D.’ (S.l.]: Nouveaux Pictures, 1952)
Deleuze, Gilles, Cinema: 2: The Time-Image (London: The Athlone Press, 1989)
Dixon, Wheeler W. and 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>
Drew, Robert, Leacock, Richard, Humphrey, Hubert H., Kennedy, John F., and Onassis, Jacqueline Kennedy, Primary ([S.l.]: Docurama, 1960), Robert Drew collection
Druick, Z., ‘The Courtroom and the Closet in The Thin Blue Line and Capturing the Friedmans’, Screen, 49.4 (2008), 440–49 <https://doi.org/10.1093/screen/hjn054>
Durgnat, Raymond, A Mirror for England: British Movies from Austerity to Affluence, 2nd ed (London: BFI, 2011), BFI silver
Dylan, Bob, Pennebaker, D. A., and Neuwirth, Bob, ‘Don’t Look Back’ ([S.l.]: Columbia, 1967)
Eastwood, Clint, Phillippe, Ryan, Bradford, Jesse, and Beach, Adam, ‘Flags of Our Fathers’ ([S.l.]: Warner Bros. Home Entertainment, 2007)
Eaton, Michael, Anthropology, Reality, Cinema: The Films of Jean Rouch (London: British Film Institute, 1979)
Eisenstein, Sergei, Vsevolod Pudovkin, and Grigori Alexandrov, ‘Statement on Sound: Chapter’, in Film Theory and Criticism: Introductory Readings, 7th ed (Oxford: Oxford University Press, 2008), pp. 315–17
Eisenstein, Sergei, Vassiliev, Dmitri, and Cherkasov, Nikolaĭ, ‘Aleksandr Nevsky =: Alexander Nevsky’ ([S.l.]: Eureka Video, 1938)
Eltringham, Bille, ‘This Is Not A Love Song’, 2003
Fabe, Marilyn, ‘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), pp. 99–119
Fabrizi, Aldo and Rossellini, Roberto, ‘Roma, Citta Aperta =: Rome, Open City’ ([S.l.]: Arrow, 1945)
Fabrizi, Aldo, Rossellini, Roberto, Bondanella, Peter, Aprà, Adriano, and Shiel, Mark, Roma, Citta Aperta =: Rome, Open City, Special edition ([S.l.]: Criterion, 1945), Roberto Rossellini’s war trilogy
Fallon, Chris, ‘Several Sides of Errol Morris’, Film Quarterly, 65.4 (2012), 48–52 <https://doi.org/10.1525/FQ.2012.65.4.48>
Farnell, Andy, Designing Sound (Cambridge, Mass: MIT Press, 2010) <http://site.ebrary.com/lib/leicester/Doc?id=10562043>
Fassbender, Michael, Katie Jarvis, and Andrea Arnold, ‘Fish Tank’ ([S.l.]: Artificial Eye, 2010)
Fauchois, René, Renoir, Jean, and Simon, Michel, ‘Boudu Sauvé Des Eaux =: Boudu Saved from Drowning’ ([S.l.]: Optimum Releasing, 1932)
Fincher, David, Gyllenhaal, Jake, and Downey, Robert, ‘Zodiac’ ([S.l.]: Warner Home Video, 2007)
Forbes, Bryan, Caron, Leslie, Bell, Tom, and Banks, Lynne Reid, ‘The L-Shaped Room’ ([S.l.]: Optimum, 1962)
Forgacs, David, Rome Open City (Roma Città Aperta) (London: British Film Institute, 2000), BFI film classics
Forrest, David, ‘Twenty First Century Social Realism: Shane Meadows and New British Realism: Chapter’, in Shane Meadows: Critical Essays, ed. by Martin Fradley, Sarah Godfrey, and Melanie Williams (Edinburgh: Edinburgh University Press, 2013), pp. 35–49 <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665222270002746&institutionId=2746&customerId=2745>
Friedberg, Anne, ‘The End of Cinema: Multimedia and Technological Change: Chapter’, in Reinventing Film Studies (London: Arnold, 2000), pp. 438–52
Fuller, Graham, ‘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, Karel Reisz (Manchester: Manchester University Press, 2006), British film makers
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>
Geuens, Jean‐Pierre, ‘Dogma 95: A Manifesto for Our Times’, Quarterly Review of Film and Video, 18.2 (2001), 191–202 <https://doi.org/10.1080/10509200109361523>
Geuens, Jean-Pierre, ‘Sound: Chapter’, in Film Production Theory (Albany: State University of New York Press, 2000), SUNY series, cultural studies in cinema/video, 197–224 <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664950710002746&institutionId=2746&customerId=2745>
Giovacchini, Saverio and 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>
Godeanu-Kenworthy, O., and O. Popescu-Sandu, ‘From Minimalist Representation to Excessive Interpretation: Contextualizing 4 Months, 3 Weeks and 2 Days’, Journal of European Studies, 44.3 (2014), 225–48 <https://doi.org/10.1177/0047244114524148>
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>
Gomery, Douglas, and Robert C. Allen, ‘Case Study: The Beginnings of American Cinema Verité: Chapter’, in Film History: Theory and Practice (Boston, Mass: McGraw-Hill, 1985), pp. 215–41
Gordon, Robert Samuel Clive, Bicycle Thieves (London: BFI, 2008), BFI film classics
Gottlieb, Sidney, Roberto Rossellini’s Rome Open City (Cambridge: Cambridge University Press, 2004), Cambridge film handbooks
Grierson, John, ‘First Principles of Documentary’, in Grierson on Documentary, Abridged ed (London: Faber, 1979)
Gunning, Tom, ‘Moving Away from the Index: Cinema and the Impression of Reality: Chapter’, in The Film Theory Reader: Debates and Arguments (London: Routledge, 2010), pp. 255–69
Hall, Jeanne, ‘Realism as a Style in Cinema Verite: A Critical Analysis of “Primary”’, Cinema Journal, 30.4 (1991) <https://doi.org/10.2307/1224885>
Hall, Sheldon, ‘BFI Screenonline: Meadows, Shane (1973-) Biography’ <http://www.screenonline.org.uk/people/id/461763/>
Hallam, Julia, ‘Film, Class and National Identity: Re-Imagining Communities in the Age of Devolution: Chapter’, in British Cinema: Past and Present (London: Routledge, 2000), pp. 261–73
Hallam, Julia and Marshment, Margaret, Realism and Popular Cinema (Manchester: Manchester University Press, 2000), Inside popular film
Hanson, Matt, The End of Celluloid: Film Futures in the Digital Age (Mies, Switzerland: RotoVision, 2004)
Harper, Matthew, ‘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), pp. 121–33 <http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com?id=548399>
Harper, Sue and Porter, Vincent, British Cinema of the 1950s: The Decline of Deference (Oxford: Oxford University Press, 2007)
Hart, Stephen M., 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>
Hayward, Susan, ‘Realism: Chapter’, in Cinema Studies: The Key Concepts, 2nd ed (London: Routledge, 2000), Key concepts series, 334–334
Henckel von Donnersmarck, Florian, Ulrich Mühe, and Sebastian Koch, ‘Das Leben Der Anderen =: The Lives of Others’ ([S.l.]: Lionsgate, 2006)
Higson, Andrew, ‘Space, Place, Spectacle: Landscape and Townscape in the “Kitchen Sink” Film: Chapter’, in Dissolving Views: Key Writings in British Cinema (London: Cassell, 1996), Rethinking British cinema, 133–56
Hill, John, ‘From the New Wave to “Brit-Grit”: Continuity and Difference in Working Class Realism: Chapter’, in British Cinema: Past and Present (London: Routledge, 2000), pp. 249–59
———, ‘Working Class Realism I: Chapter’, in Sex, Class and Realism: British Cinema 1956-1963 (London: British Film Institute, 1986), bfi books, 127–44 <https://blackboard.le.ac.uk/bbcswebdav/pid-529674-dt-content-rid-641595_5/library/eReserves/HA1114/HA1114%20-%20Doc%2012.pdf>
Hillier, Jim, Cahiers Du Cinéma: The 1950s : Neo-Realism, Hollywood, New Wave (Cambridge, Mass: Harvard University Press, 1985), Harvard film studies
Hitchcock, Alfred, Ondra, Anny, Longden, John, and Bennett, Charles, ‘Blackmail’ (S.l.]: Kinowelt Home Entertainment, 1929)
Hjort, Mette, Lone Scherfig’s ‘Italian for Beginners’ (Seattle, Wash: University of Washington Press, 2010), Nordic film classics
———, On The Five Obstructions (London: Wallflower, 2008), Dekalog
———, Small Nation, Global Cinema: The New Danish Cinema (Minneapolis: University of Minnesota Press, 2005), Public worlds <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10151328>
Hjort, Mette and 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>
Hjort, Mette and MacKenzie, Scott, Purity and Provocation: Dogma 95 (London: British Film Institute, 2003)
Hovde, Ellen, Maysles, Albert, Maysles, David, Bouvier Beale, Edith, and Bouvier Beale, Edith ‘Little Edie’, ‘Grey Gardens [1975]’ ([S.l.]: Eureka!, 1975)
Howe, Jeremy, ‘Shorts and the Real World’, Journal of Media Practice, 4.3 (2004), 177–80
Imre, Anikó, A Companion to Eastern European Cinemas (Chichester, U.K.: Wiley-Blackwell, 2012), The Wiley-Blackwell companions to national cinemas <http://site.ebrary.com/lib/leicester/Doc?id=10593125>
Iordanova, Dina, Cinema of the Other Europe: The Industry and Artistry of East Central European Film (London: Wallflower Press, 2003)
———, The Cinema of the Balkans (London: Wallflower, 2006), 24 frames
Iordanova, Dina and British Film Institute, Cinema of Flames: Balkan Film, Culture and the Media (London: British Film Institute, 2001)
Jarecki, Andrew, ‘Capturing the Friedmans’ ([S.l.]: Tartan Video, 2003)
Jenkins, Henry, ‘The Work of Theory in the Age of Digital Transformation: Chapter’, in A Companion to Film Theory (Malden, Mass: Blackwell, 1999), Blackwell companions in cultural studies, 234–61
Jennings, Humprey, ‘Listen to Britain’, Humphrey Jennings Collection: Listen to Britain, Diary for Timothy, I Was a Fireman ([United Kingdom]: Film First, 1942)
Jerslev, Anne, Realism and ‘Reality’ in Film and Media (Copenhagen: Museum Tusculanum Press, University of Copenhagen, 2002), Northern lights film and media studies yearbook
‘Journal of British Cinema and Television’, 11.2–3 <http://www.euppublishing.com/toc/jbctv/11/2-3>
‘———’, 10.4 <http://www.euppublishing.com/toc/jbctv/10/4>
Kael, Pauline, ‘Britain: Commitment and the Strait-Jacket’, Film Quarterly, 15.1 (1961), 4–13 <https://doi.org/10.2307/1210560>
Kantaris, Geoffrey, and Rory O’Bryen, Latin American Popular Culture: Politics, Media, Affect (Woodbridge, Suffolk: Tamesis, 2013), Colección Támesis <http://site.ebrary.com/lib/leicester/Doc?id=10748380>
Kelly, Richard, The Name of This Book Is Dogme95 (London: Faber and Faber, 2000)
Kelly, Richard T., ‘Danish Cinema: Chapter’, in The Cinema Book, 3rd ed (London: British Film Institute, 2007), pp. 196–98
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>
Kopple, Barbara, Arthur, Paul, and Weisberger, Jon, ‘Harlan County U.S.A’ ([S.l.]: Criterion Collection, 1976)
Korine, Harmony, Herzog, Werner, and Bremner, Ewen, ‘Julien Donkey-Boy’ ([S.l.]: Tartan Video, 1999)
Kracauer, Siegfried, Theory of Film: The Redemption of Physical Reality (Princeton, N.J.: Princeton University Press, 1997)
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>
Laing, Stuart, Representations of Working-Class Life 1957-1964 (London: Macmillan, 1986)
Landy, Marcia, Italian Film (Cambridge: Cambridge University Press, 2000), National film traditions
Lanzmann, Claude, ‘Shoah: A Film’ ([S.l.]: Eureka!, 1985)
Lapsley, Robert, and Michael Westlake, ‘Realism: Chapter’, in Film Theory: An Introduction (Manchester: Manchester University Press, 1988), Images of culture, 156–80 <https://blackboard.le.ac.uk/bbcswebdav/pid-727207-dt-content-rid-1815038_5/library/eReserves/HA1114/HA1114_24151.pdf>
Lay, Samantha, British Social Realism: From Documentary to Brit Grit (London: Wallflower, 2002)
Lay, Samantha, ‘Good Intentions, High Hopes and Low Budgets: Contemporary Social Realist Film-Making in Britain’, New Cinemas: Journal of Contemporary Film, 5.3 (2007), 231–44
Layton, Bart, O’Brian, Adam, and Bourdin, Frédéric, ‘The Imposter’ (London: Revolver Entertainment, 2012)
Leggott, James, Contemporary British Cinema: From Heritage to Horror (London: Wallflower, 2008), Short cuts
Leth, Jørgen and Trier, Lars von, ‘De Fem Benspænd =: The Five Obstructions’ ([S.l.]: ICA projects, 2004)
Levring, Kristian, Bohringer, Romane, and Anderson, Miles, ‘The King Is Alive’ ([S.l.]: Pathé, 2000)
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>
Livingston, Jennie and Dangerous to know, ‘Paris Is Burning’ (London: Dangerous To Know, 1994)
LoBrutto, Vincent, ‘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), pp. 305–11
MacDougall, David, ‘Beyond Observational Cinema: Chapter’, in Movies and Methods: An Anthology (Berkeley, Calif: University of California Press, 1985), ii, 274–85
MacKillop, I. D. and 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>
Maggiorani, Lamberto and De Sica, Vittorio, ‘Ladri Di Biciclette =: Bicycle Thieves’ (S.l.]: Arrow Films, 1948)
Mamber, Stephen, Cinéma Vérité in America: Studies in Uncontrolled Documentary (Milton Keynes: Lightning Source), MIT press classic
Mamoulian, Rouben, ‘Applause’, 1929
Manovich, Lev, ‘Digital Cinema and the History of a Moving Image: Chapter’, in The Film Theory Reader: Debates and Arguments (London: Routledge, 2010), pp. 245–54
———, ‘Old Media as New Media: Chapter’, in The New Media Book (London: British Film Institute, 2002), pp. 209–18 <https://blackboard.le.ac.uk/bbcswebdav/pid-354313-dt-content-rid-514951_5/library/eReserves/HA1114/HA1114%20-%20Doc%207.pdf>
Manovich, Lev, The Language of New Media (Cambridge, Mass: MIT, 2001)
Marcus, Millicent, Italian Film in the Light of Neorealism (Princeton, N.J.: Princeton University Press, 1986)
Marwick, Arthur, ‘Room at the Top, Saturday Night and Sunday Morning, and the “Cultural Revolution” in Britain’, Journal of Contemporary History, 19.1 (1984), 127–52 <http://www.jstor.org/stable/260428>
Maysles, Albert, Maysles, David, and Zwerin, Charlotte, ‘Salesman’ ([London]: Eureka!, 1969)
McKoen, Juliet, ‘Frozen DVD’, 2005
McNab, Geoff, ‘The Big Tease: Article’, Sight and Sound: International Film Magazine, 9.2 (1999), 16–18
Meadows, Shane, ‘24 7: Twenty Four Seven’, 1997
———, ‘A Room For Romeo Brass’, 2004
———, ‘Dead Man’s Shoes’, 2004
———, ‘Small Time / Where’s the Money Ronnie!’, 1996
———, ‘Somers Town’, 2008
———, ‘This Is England’, 2006
Meadows, Shane, Carlyle, Robert, Ifans, Rhys, Burke, Kathy, and Tomlinson, Ricky, ‘Once upon a Time in the Midlands’ ([S.l.]: Cinema Club/FilmFour DVD, 2002)
Monk, Claire, ‘From Underworld to Underclass: Crime and British Cinema in the 1990s: Chapter’, in British Crime Cinema (London: Routledge, 1999), British popular cinema, 172–88 <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664950400002746&institutionId=2746&customerId=2745>
Moore, Michael, ‘Bowling for Columbine’ ([S.l.]: Momentum pictures, 2002)
———, ‘Capitalism: A Love Story’ ([S.l.]: Paramount Home Entertainment, 2010)
———, ‘Fahrenheit 9/11’ ([S.l.]: Optimum Home Entertainment, 2004)
———, ‘Roger and Me’ (Sky Cinema 2 television: Motion picture)
Moore, Michael, Cervantes, Reggie, and Bush, George W., ‘Sicko’ ([S.l.]: Optimum, 2007)
Moritzen, Henning, Thomsen, Ulrich, and Vinterberg, Thomas, ‘Festen =: The Celebration’ ([S.l.]: Metrodome Video, 1998)
Morris, Errol, ‘Gates of Heaven’ ([S.l.]: Optimum, 1986)
———, ‘Standard Operating Procedure’ ([S.l.]: Sony, 2008)
———, ‘The Thin Blue Line’ ([S.l.]: Optimum, 1988)
Morris, Errol, ‘The Unknown Known’, 2013
Morris, Errol, ‘Vernon, Florida’ ([S.l.]: Optimum, 1981)
Morris, Errol, Leutcher, Fred, and Pelt, R. J. van, ‘Mr. Death: The Rise and Fall of Fred A. Leuchter’ ([S.l.]: Artefact Media, 1999)
Morris, Errol and McNamara, Robert S, ‘The Fog of War’ (S.l.]: Columbia Tristar Home Entertainment, 2003)
Mungiu, Cristian, ‘Beyond the Hills DVD’, 2012
Mungiu, Cristian, Marinca, Anamaria, Vasiliu, Laura, and Ivanov, Vlad, ‘4 Luni, 3 Saptamâni Si 2 Zile =: 4 Months, 3 Weeks and 2 Days’ (S.l.]: Artificial Eye, 2007)
Murphy, Robert, ‘A Savage Story of Lust and Ambition: Chapter’, in Sixties British Cinema (London: BFI Publishing, 1992), The history of the British film, 10–33 <https://blackboard.le.ac.uk/bbcswebdav/pid-529723-dt-content-rid-654814_5/library/eReserves/HA1114/HA1114%20-%20Doc%2014.PDF>
Murphy, Robert, The British Cinema Book, 3rd ed (London: Palgrave Macmillan on behalf of the British Film Institute, 2009)
Nagib, Lúcia, Brazil on Screen: Cinema Novo, New Cinema, Utopia (London: I. B. Tauris, 2007), Tauris world cinema series <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10217783>
———, World Cinema and the Ethics of Realism (London: Continuum International Pub. Group, 2011)
Nagib, Lúcia and 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)
Newsinger, Jack, ‘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>
Nichols, Bill, ‘Documentary: Chapter’, in The Cinema Book, 3rd ed (London: British Film Institute, 2007), pp. 81–83
———, ‘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, 2010), pp. 172–211 <http://site.ebrary.com/lib/leicester/Doc?id=10437993>
———, ‘The Voice of Documentary: Chapter’, in New Challenges for Documentary (Berkeley, Calif: University of California Press, 1988), pp. 48–63
Nichols, Mike, Bancroft, Anne, Hoffman, Dustin, Ross, Katharine, Webb, Charles Richard, Willingham, Calder, and others, ‘The Graduate’ ([S.l.]: Optimum Classic, 1967)
Nolan, Christopher, ‘Inception DVD’, 2010
Nowell-Smith, Geoffrey, ‘Bicycle Thieves: Chapter’, in Film Analysis (New York: WW Norton & Co, 13AD), pp. 422–38
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>
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>
Ogborn, Kate, ‘Pathways into the Industry: Chapter’, in British Cinema of the 90s (London: BFI Publishing, 2000)
Oleszcyk, Michael, ‘Living in a Goldfish Bowl’, Sight and Sound: International Film Magazine, 18.1 (2008), 12–12 <http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=505263447&site=ehost-live>
Orr, John, ‘New Directions in European Cinema: Chapter’, in European Cinema (Oxford: Oxford University Press, 2004), pp. 299–317
Overbey, David, Springtime in Italy: A Reader on Neo-Realism (London: Talisman Books, 1978)
Pennebaker, D. A., Hegedus, Chris, Stephanopoulos, George, and Carville, James, ‘The War Room’ ([S.l.]: Criterion Collection, 1993)
Plantinga, Carl, ‘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), History of the American cinema, 370–89 <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665230250002746&institutionId=2746&customerId=2745>
Price, Brian, 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>
Prince, Stephen, ‘Painting with Digital Light: Chapter’, in Digital Visual Effects in Cinema: The Seduction of Reality (New Brunswick, N.J.: Rutgers University Press, 2012), pp. 56–98 <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, ‘Moartea Domnului Lazarescu =: The Death of Mr Lazarescu’ ([S.l.]: Tartan Video, 2005)
Purse, Lisa, Digital Imaging in Popular Cinema (Edinburgh: Edinburgh University Press, 2013)
Rafferty, Terence, ‘The Thin Blue Line: Chapter’, in Imagining Reality: The Faber Book of Documentary, Rev. ed (London: Faber, 2006) <https://blackboard.le.ac.uk/bbcswebdav/pid-1025239-dt-content-rid-2569442_5/library/eReserves/HA1114/HA1114_35111.pdf>
Ratner, Megan, ‘Stunted Lives : On 4 Months, 3 Weeks and 2 Days’, Bright Lights Film Journal, 59, 2008 <http://brightlightsfilm.com/59/594months.php>
Reader, Keith, Robert Bresson (Manchester: Manchester University Press, 2000), French film directors
Reisz, Karel, Sillitoe, Alan, Finney, Albert, and Murphy, Robert, ‘Saturday Night and Sunday Morning’ ([S.l.]: British Film Institute, 1960)
Renov, Michael, ‘New Subjectivities: Documentary and Self-Representation in the Post-Vérité Age: Chapter’, in The Subject of Documentary (Minneapolis, Minn: University of Minnesota Press, 2004), Visible evidence, 171–81
Richardson, Tony, Burton, Richard, Bloom, Claire, Ure, Mary, and Osborne, John, ‘Look Back in Anger’ ([S.l.]: Optimum Classic, 1958)
Richardson, Tony, Courtenay, Tom, and Sillitoe, Alan, ‘The Loneliness of the Long Distance Runner’ ([S.l.]: British Film Institute, 1962)
Robert, Bresson, ‘L’Argent’, 1983
Rockwell, John and British Film Institute, The Idiots (London: BFI Pub, 2003), British Film Institute
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>
Rodrigues, Alexandre, Leandro Firmino da Hora, Fernando Meirelles, and Kátia Lund, ‘Cidade de Deus =: City of God’ ([S.l: Buena Vista Home Entertainment, 2003)
Rombes, Nicholas, Cinema in the Digital Age (London: Wallflower, 2009)
Rosenheim, Shaun, ‘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), Rutgers depth of field series, 316–30
Ross, Gary, Maguire, Tobey, Macy, William H., and Witherspoon, Reese, ‘Pleasantville’ (S.l.]: New Line Home Video, 1998)
Rossellini, Roberto, Meschke, Edmund, Hinzf, Ingetraud, Grüger, Franz, and Aprà, Adriano, Germania Anno Zero =: Germany Year Zero, Special edition ([S.l.]: Criterion, 1948), Roberto Rossellini’s war trilogy
Rothman, William, Three Documentary Filmmakers: Errol Morris, Ross McElwee, Jean Rouch (Albany, N.Y.: State University of New York Press, 2009), Suny series horizons of cinema
———, Three Documentary Filmmakers: Errol Morris, Ross McElwee, Jean Rouch (Albany, N.Y.: State University of New York Press, 2009), Suny series horizons of cinema
Rouch, Jean, ‘Jean Rouch, Ciné-Rencontre’ ([S.l.]: Editions Montparnasse, 2005)
———, ‘Jean Rouch, Ciné-Rouch’ ([S.l.]: Editions Montparnasse, 2005)
———, ‘Jean Rouch, Ciné-Transe, Ciné-Conte’ ([S.l.]: Editions Montparnasse, 2005)
Rouch, Jean and Feld, Steven, Ciné-Ethnography (Minneapolis: University of Minnesota Press, 2003), Visible evidence <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10151154>
Rouch, Jean and Morin, Edgar, ‘Chronique d’un Été (Paris 1960) =: Chronicle of a Summer’ ([S.l.]: Argos Films, 2005)
Russell, Dave, Looking North: Northern England and the National Imagination (Manchester: Manchester University Press, 2004), Studies in popular culture
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)
Sazio, Carmela and Rossellini, Roberto, ‘Paisà’ (S.l.]: Cine Città, 1946)
Sazio, Carmela, Rossellini, Roberto, Aprà, Adriano, and Gallagher, Tag, Paisà =: Paisan, Special edition ([S.l.]: Criterion, 1946), Roberto Rossellini’s war trilogy
Scherfig, Lone, Støvelbæk, Anette, and Berthelsen, Anders W., ‘Italiensk for Begyndere =: Italian for Beginners’ ([S.l.]: Pathé, 2000)
Schlesinger, John, Barstow, Stan, Bates, Alan, Ritchie, June, and Hird, Thora, ‘A Kind of Loving’ ([S.l.]: Momentum Pictures, 1962)
Schlesinger, John, Courtenay, Tom, Waterhouse, Keith, and Christie, Julie, ‘Billy Liar’ ([S.l.]: Warner Home Video, 1963)
Scorsese, Martin, De Niro, Robert, and Keitel, Harvey, ‘Mean Streets’ ([S.l.]: Universal, 1973)
Sergi, Gianluca, The Dolby Era: Film Sound in Contemporary Hollywood (Manchester: Manchester University Press, 2004), Inside popular film
Shail, Robert, Tony Richardson (Manchester: Manchester University Press, 2012)
Shary, Timothy, and Alexandra Seibel, Youth Culture in Global Cinema, Birds That Cannot Fly: Childhood and Youth in City of God, 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>
Shiel, Mark, Italian Neorealism: Rebuilding the Cinematic City (London: Wallflower, 2006), Short cuts
Shuker, Gregory, Leacock, Richard, Lipscomb, James, Pennebaker, D. A., and Ryden, Hope, Crisis ([S.l.]: DocuRama, 1963), The Robert Drew collection
Simons, Jan, Playing the Waves: Lars Von Trier’s Game Cinema (Amsterdam: Amsterdam University Press, 2007), Film culture in transition <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10281440>
———, Playing the Waves: Lars Von Trier’s Game Cinema (Amsterdam: Amsterdam University Press, 2007), Film culture in transition <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, ‘Sciuscià =: Shoeshine’ ([S.l.]: Eureka video, 1946)
Snyder, Stephen J. and Curle, Howard, Vittorio De Sica: Contemporary Perspectives (Toronto: University of Toronto Press, 2000), Toronto Italian studies
Spicer, Andrew, Typical Men: The Representation of Masculinity in Popular British Cinema (London: I.B. Tauris Publishers, 2001), Cinema and society <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10133040>
Spurlock, Morgan, ‘Super Size Me’ ([S.l.]: Tartan video, 2005)
Stephen Prince, ‘The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Era’, Film Quarterly, 57.3 (2004), 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>
———, ‘True Lies: Perceptual Realism, Digital Images, and Film Theory’, Film Quarterly, 49.3 (1996), 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>
Stevenson, Jack, Lars von Trier (London: British Film Institute, 2002), World directors / British Film Institute
Street, Sarah, British National Cinema, 2nd ed (London: Routledge, 2009), National cinemas series <http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=212501>
Strickland, Peter, ‘Berberian Sound Studio’, 2012
Sucsy, Michael, Barrymore, Drew, Lange, Jessica, and Rozema, Patricia, Grey Gardens [2009] ([S.l.]: HBO, 2009)
Thompson, Kristin, ‘Realism in the Cinema: Bicycle Thieves, Chapter’, in Breaking the Glass Armor: Neoformalist Film Analysis (Princeton, N.J.: Princeton University Press, 1988), pp. 197–217
Tinkcom, Matthew and British Film Institute, Grey Gardens (London: Palgrave Macmillan on behalf of the British Film Institute, 2011)
Treadwell, Timothy and Herzog, Werner, ‘Grizzly Man’ ([S.l.]: Revolver Entertainment, 2005)
Trier, Lars von and Björkman, Stig, Trier on von Trier (London: Faber and Faber, 2003)
Trier, Lars von, Jørgensen, Bodil, Albinus, Jens, and Hassing, Anne Louise, ‘Idioterne =: The Idiots’ ([S.l.]: Tartan Video, 1998)
Trier, Lars Von, Watson, Emily, Skarsgård, Stellan, and Cartlidge, Katrin, ‘Breaking the Waves’ ([S.l.]: Pathé, 1996)
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>
Tudor, A., ‘The Many Mythologies of Realism’, Screen, 13.1 (1972), 27–36 <https://doi.org/10.1093/screen/13.1.27>
Tushingham, Rita, Richardson, Tony, and Delaney, Shelagh, ‘A Taste of Honey’ ([S.l.]: Optimum Classic, 1961)
Tyree, J. M., Salesman (London: BFI, 2012), BFI film classics
Uricaru, Ioana, ‘4 Months, 3 Weeks, 2 Days: The Corruption of Intimacy’, Film Quarterly, 61.4 (2008), 12–17 <https://doi.org/10.1525/fq.2008.61.4.12>
Uricaru, Ioana, Höfer, Hanno, Marculescu, Razvan, Popescu, Constantin, and Mungiu, Cristian, ‘Amintiri Din Epoca de Aur =: Tales from the Golden Age’ ([S.l.]: Trinity, 2009)
Utterson, Andrew, From IBM to MGM: Cinema at the Dawn of the Digital Age (London: Palgrave Macmillan, 2011)
———, Technology and Culture, the Film Reader (London: Routledge, 2005), In focus: Routledge film readers
Varda, Agnès, ‘Les Glaneurs et La Glaneuse =: The Gleaners and I’ ([S.l.]: Zeitgeist Video, 2002)
Vernallis, Carol, Herzog, Amy, and Richardson, John, eds., The Oxford Handbook of Sound and Image in Digital Media (Oxford: Oxford University Press, 2013), Oxford handbooks in music
Vice, Sue, Shoah (London: BFI, 2011), BFI film classics
Visconti, Luchino, ‘La Terra Trema =: The Earth Trembles’ (London: BFI, 1948)
Visconti, Luchino, Girotti, Massimo, and Calamai, Clara, ‘Ossessione’ (London]: British Film Institute, 1942)
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>
Wagstaff, Christopher, Italian Neorealist Cinema: An Aesthetic Approach (Toronto: University of Toronto Press, 2007), Toronto Italian studies <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10295298>
Walker, Alexander, Hollywood, England: The British Film Industry in the Sixties (London: Orion, 2005)
Walters, Ben, ‘Heartbreak Hotel’, Sight and Sound: International Film Magazine, 18.1 (2008), 54–55 <http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=505263471&site=ehost-live>
Ward, Paul, Documentary: The Margins of Reality (London: Wallflower, 2005), Short cuts
Wayne, Mike, ‘The Performing Northern Working Class in British Cinema: Cultural Representation and Its Political Economy’, Quarterly Review of Film and Video, 23.4 (2006), 287–97 <https://doi.org/10.1080/10509200690897572>
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>
Welles, Orson, Heston, Charlton, Leigh, Janet, and Masterson, Whit, ‘Touch of Evil’ ([S.l.]: Universal, 1958)
Wexler, Mark S., ‘Tell Them Who You Are’ ([S.l.]: Metrodome, 2004)
Williams, Christopher, Realism and the Cinema: A Reader (London: Routledge and Kegan Paul [for] British Film Institute, 1980), BFI readers in film studies
Williams, Linda, ‘Mirrors without Memories: Truth, History, and the New Documentary’, Film Quarterly, 46.3 (1993), 9–21 <https://doi.org/10.2307/1212899>
Williams, Paul Andrew, ‘London to Brighton’, 2006
Williams, Raymond, ‘Realism: Chapter’, in Keywords: A Vocabulary of Culture and Society, Rev. and expanded ed (London: Fontana, 1988), pp. 216–21
Willis, Holly, New Digital Cinema: Reinventing the Moving Image (London: Wallflower Press, 2005), Short cuts series
Wilson, Emma, ‘4 Months, 3 Weeks, 2 Days: An "Abortion Movie”?’, Film Quarterly, 61.4 (2008), 18–23 <https://doi.org/10.1525/fq.2008.61.4.18>
Winston, Brian, The Documentary Film Book (Basingstoke, United Kingdom: Palgrave Macmillan, 2013)
Wintonick, Peter, ‘Cinéma Vérité: Defining the Moment, the Story of Non-Fiction Filmmaking’ (Ramsey, Isle of Man: Beckmann Visual Publishing, 2006)
Wiseman, Frederick and 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)
Zavattini, Cesare, ‘Some Ideas on the Cinema: Chapter’, in Vittorio De Sica: Contemporary Perspectives (Toronto: University of Toronto Press, 2000), Toronto Italian studies, 50–61
Zemeckis, Robert, Groom, Winston, Hanks, Tom, Wright, Robin, Sinise, Gary, and Field, Sally, ‘Forrest Gump’ ([S.l.]: Paramount, 1994)
Zidane, Zinédine, Gordon, Douglas, and Parreno, Philippe, ‘Zidane Un Portrait Du 21e Siècle =: Zidane a 21st Century Portrait’ ([S.l.]: Artificial eye, 2006)
