Bibliography for HA1114 Realism and the Cinema BETA

Aitken, Ian. Realist Film Theory and Cinema: The Nineteenth-Century Lukácsian and Intuitionist Realist Traditions. Manchester: Manchester University Press, 2006. Web. <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. Print.

Aldgate, Anthony and Richards, Jeffrey. Best of British: Cinema and Society from 1930 to the Present. New ed. Cinema and society series. London: I.B.Tauris, 2009. Web. <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10424556>.

Allen, Michael. ‘Fixing It in Digital: Chapter’. Contemporary US Cinema. Inside film. Harlow: Longman, 2003. 201–223. Print.

Altman, Rick. Cinema/Sound. Yale french studies. New Haven, Conn: Yale French Studies, 1980. Print.

---. Sound Theory, Sound Practice. AFI film readers. New York, N.Y.: Routledge, 1992. Print.

Anderson, Lindsay et al. ‘This Sporting Life’. 1963 : n. pag. Print.

Anderson, Lindsay, Owen, Alun, and Ford Motor Company. ‘Every Day except Christmas’. 1957 : n. pag. Print.

Andrew, Dudley. André Bazin. New York: Columbia University Press, 1990. Print.

---. What Cinema Is!: Bazin’s Quest and Its Charge. Blackwell manifestos. Oxford: Wiley-Blackwell, 2010. Print.

Andrew, Dudley and Joubert-Laurencin, Hervé. Opening Bazin: Postwar Film Theory and Its Afterlife. Oxford: Oxford University Press, 2011. Print.

Andrews, Dudley. ‘Pursuing Cinema in the Twenty-First Century: Chapter’. What Cinema Is!: Bazin’s Quest and Its Charge. Blackwell manifestos. Oxford: Wiley-Blackwell, 2010. 48–65. Print.

Antonioni, Michelangelo, Bosé, Lucia, and Girotti, Massimo. ‘Cronaca Di Un Amore =: The Story of a Love Affair’. 1950 : n. pag. Print.

Armstrong, Richard. ‘What Is Realism?: Chapter’. Understanding Realism. Understanding the moving image. London: BFI, 2005. 1–10. Print.

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Austin, Thomas. Watching the World: Screen Documentary and Audiences. Manchester: Manchester University Press, 2007. Web. <http://site.ebrary.com/lib/leicester/Doc?id=10627215>.

Badley, Linda. ‘Danish Dogma: “Truth” and Cultural Politics: Chapter’. Traditions in World Cinema. Traditions in world cinema. Edinburgh: Edinburgh University Press, 2006. 80–94. Web. <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. Contemporary film directors. Urbana, Ill: University of Illinois Press, 2011. Web. <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. Directors’ cuts. London: Wallflower, 2007. Print.

Baker, Maxine. ‘Errol Morris, American Iconoclast: Chapter’. Documentary in the Digital Age. Oxford: Elsevier Focal, 2006. 1–26. Print.

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Bay, Michael. ‘Pearl Harbor’. 2001 : n. pag. Print.

Bazin, Andre. ‘Evolution of the Language of Cinema’. Film Theory and Criticism. Oxford: Oxford University Press, 2008. 41–53. Web. <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. Print.

Bazin, André and Cardullo, Bert. André Bazin and Italian Neorealism. New York: Continuum, 2011. Web. <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. Print.

Bazin, André and Gray, Hugh. What Is Cinema?: Volume 1. Berkeley, Calif: University of California Press, 1992. Print.

Beattie, Keith. D. A. Pennebaker. Contemporary film directors. Urbana: University of Illinois Press, 2011. Web. <http://site.ebrary.com/lib/leicester/Doc?id=10532354>.

Beck, Jay. ‘Citing the Sound’. Journal of Popular Film and Television 29.4 (2002): 156–163. Web.

Belton, John. ‘Technology and Aesthetics of Film Sound: Chapter’. Film Sound: Theory and Practice. New York, N.Y.: Columbia University Press, 1985. 63–72. Web. <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. Print.

Berthelsen, Anders W. et al. ‘Mifunes Sidste Sang’. 1999 : n. pag. Print.

Bier, Susanne, Mikkelsen, Mads, and Richter, Sonja. ‘Elsker Dig for Evigt =: Open Hearts’. 2002 : n. pag. Print.

Bondanella, Peter. The Films of Roberto Rossellini. Cambridge film classics. Cambridge: Cambridge University Press, 1993. Print.

Bordwell, David. ‘Against the Seventh Art: André Bazin and the Dialectical Program: Chapter’. On the History of Film Style. Cambridge, Mass: Harvard University Press, 1997. 46–82. Print.

Bordwell, David, and Kristin Thompson. ‘Function of Film Sound: A Man Escaped: Chapter’. Film Art: An Introduction. 7th ed. McGraw-Hill, 2004. 377–385. Print.

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Bresson, Robert, Martin LaSalle, et al. ‘Pickpocket’. 2005 : n. pag. Print.

Bresson, Robert. ‘The Devil, Probably’. 1977 : n. pag. Print.

Bresson, Robert, François Leterrier, et al. ‘Un Condamné à Mort s’est Échappé, Ou, Le Vent Souffle Où Il Vent =: A Man Escaped’. 2008 : n. pag. Print.

Bresson, Robert, Humbert Balsan, and Luc Simon. ‘Lancelot Du Lac’. : n. pag. Print.

British Film Institute. ‘Free Cinema One, Free Cinema Three’. 1953 : n. pag. Print.

---. ‘Free Cinema Six’. 1959 : n. pag. Print.

Broomfield, Nicholas. ‘Chicken Ranch’. : n. pag. Print.

---. ‘His Big White Self’. : n. pag. Print.

---. ‘Monster in a Box’. 1991 : n. pag. Print.

---. ‘Proud to Be British’. 2006 : n. pag. Print.

---. ‘The Leader, His Driver, and the Driver’s Wife’. 1991 : n. pag. Print.

---. ‘Tracking down Maggie’. : n. pag. Print.

Broomfield, Nicholas and Churchill, Joan. ‘Aileen: Life and Death of a Serial Killer’. : n. pag. Print.

---. ‘Juvenile Liaison’. 2006 : n. pag. Print.

---. ‘Soldier Girls’. 1981 : n. pag. Print.

---. ‘Tattooed Tears’. 2006 : n. pag. Print.

Broomfield, Nicholas and Wood, Jason. Nick Broomfield: Documenting Icons. London: Faber and Faber, 2005. Print.

Bruzzi, Stella. New Documentary: A Critical Introduction. 2nd ed. Abingdon: Routledge, 2006. Web. <http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=55327>.

Caouette, Jonathan, Van Sant, Gus, and Mitchell, John Cameron. ‘Tarnation’. 2003 : n. pag. Print.

Cardullo, Bert. Cinematic Illusions: Realism, Subjectivity, and the Avant-Garde. Newcastle: Cambridge Scholars, 2008. Print.

Cardullo, Bert. Five French Filmmakers: Renoir, Bresson, Tati, Truffaut, Rohmer : Essays and Interviews. Newcastle: Cambridge Scholars, 2008. Print.

---. ‘New Romanian Cinema: Chapter’. European Directors and Their Films: Essays on Cinema. Lanham: Scarecrow Press, Inc, 2012. 327–338. Web. <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. SUNY series, horizons of cinema. Albany, N.Y.: State University of New York Press, 2008. Print.

---. Vittorio De Sica: Director, Actor, Screenwriter. Jefferson, N.C.: McFarland, 2002. Print.

Casetti, Francesco. ‘Cinema and Reality: Chapter’. Theories of Cinema, 1945-1995. Austin, Tex: University of Texas Press, 1999. 21–42. Print.

Celli, Carlo and Cottino-Jones, Marga. A New Guide to Italian Cinema. 1st ed. Italian and Italian American studies. New York: Palgrave Macmillan, 2007. Web. <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’. New Punk Cinema. Traditions in world cinema. Edinburgh: Edinburgh University Press, 2005. 153–167. Web. <https://blackboard.le.ac.uk/bbcswebdav/pid-529725-dt-content-rid-641597_5/library/eReserves/HA1114/HA1114%20-%20Doc%2015.pdf>.

---. ‘Scandinavian Cinema: Chapter’. Contemporary World Cinema: Europe, the Middle East, East Asia and South Asia. Edinburgh: Edinburgh University Press, 2005. 34–53. Print.

Chion, Michel and Gorbman, Claudia. Audio-Vision: Sound on Screen. New York, N.Y.: Columbia University Press, 1994. Print.

Clayton, Jack et al. ‘Room at the Top’. 1959 : n. pag. Print.

Coppola, Francis Ford. ‘Apocalypse Now’. 1979 : n. pag. Print.

Corbijn, Anton, Riley, Sam, and Morton, Samantha. ‘Control’. 2007 : n. pag. Print.

Corner, John. The Art of Record: A Critical Introduction to Documentary. Manchester: Manchester University Press, 1996. Print.

Cousins, Mark and Macdonald, Kevin. Imagining Reality: The Faber Book of Documentary. Rev. ed. London: Faber, 2006. Print.

Cruise, Tom, Foxx, Jamie, and Mann, Michael. ‘Collateral’. 2004 : n. pag. Print.

Cuarón, Alfonso et al. ‘Children of Men’. 2006 : n. pag. Print.

Cuarón, Alfonso, George Clooney, and Sandra Bullock. ‘Gravity’. 2014 : n. pag. Print.

Cunneen, Joseph E. Robert Bresson: A Spiritual Style in Film. New York: Continuum International Pub. Group, 2003. Print.

Cunningham, Megan. The Art of the Documentary: Ten Conversations with Leading Directors, Cinematographers, Editors, and Producers. Voices that matter. Berkeley, Calif: New Riders, 2005. Print.

Curry, Renee R. ‘Errol Morris’ Construction of Innocence in “The Thin Blue Line”’. Rocky Mountain Review of Language and Literature 49.2 (1995): n. pag. Web.

Daldrey, Stephen. ‘Billy Elliot (Special Edition)’. 2000 : n. pag. Print.

Dave, Paul. Visions of England: Class and Culture in Contemporary Cinema. Talking images series. Oxford: Berg, 2006. Web. <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. Web. <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. Web. <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10246334>.

De Palma, Brian. ‘Blow Out’. 1980 : n. pag. Print.

De Santis, Giuseppe, Dowling, Doris, and Gassman, Vittorio. ‘Riso Amaro =: Bitter Rice’. 1949 : n. pag. Print.

De Sica, Vittorio, Cigoli, Emilio, et al. ‘I Bambini Ci Guardano =: The Children Are Watching Us’. 1944 : n. pag. Print.

De Sica, Vittorio, Barnabò, Guglielmo, et al. ‘Miracolo a Milano =: Miracle in Milan’. 1951 : n. pag. Print.

De Sica, Vittorio, Zavattini, Cesare, et al. ‘Umberto D.’ 1952 : n. pag. Print.

Deleuze, Gilles. Cinema: 2: The Time-Image. London: The Athlone Press, 1989. Print.

Dixon, Wheeler W. and Foster, Gwendolyn Audrey. 21st Century Hollywood: Movies in the Era of Transformation. New Brunswick, N.J.: Rutgers University Press, 2011. Web. <http://site.ebrary.com/lib/leicester/Doc?id=10535582>.

Drew, Robert et al. Primary. Robert Drew collection. [S.l.]: Docurama, 1960. Print.

Druick, Z. ‘The Courtroom and the Closet in The Thin Blue Line and Capturing the Friedmans’. Screen 49.4 (2008): 440–449. Web.

Durgnat, Raymond. A Mirror for England: British Movies from Austerity to Affluence. 2nd ed. BFI silver. London: BFI, 2011. Print.

Dylan, Bob, Pennebaker, D. A., and Neuwirth, Bob. ‘Don’t Look Back’. 1967 : n. pag. Print.

Eastwood, Clint et al. ‘Flags of Our Fathers’. 2007 : n. pag. Print.

Eaton, Michael. Anthropology, Reality, Cinema: The Films of Jean Rouch. London: British Film Institute, 1979. Print.

Eisenstein, Sergei, Vsevolod Pudovkin, and Grigori Alexandrov. ‘Statement on Sound: Chapter’. Film Theory and Criticism: Introductory Readings. 7th ed. Oxford: Oxford University Press, 2008. 315–317. Print.

Eisenstein, Sergei, Vassiliev, Dmitri, and Cherkasov, Nikolaĭ. ‘Aleksandr Nevsky =: Alexander Nevsky’. 1938 : n. pag. Print.

Eltringham, Bille. ‘This Is Not A Love Song’. 2003 : n. pag. Print.

Fabe, Marilyn. ‘Italian Neorealism: De Sica’s The Bicycle Thief: Chapter’. Closely Watched Films: An Introduction to the Art of Narrative Film Technique. Berkeley, Calif: University of California Press, 2004. 99–119. Print.

Fabrizi, Aldo et al. Roma, Citta Aperta =: Rome, Open City. Special edition. Roberto Rossellini’s war trilogy. [S.l.]: Criterion, 1945. Print.

Fabrizi, Aldo and Rossellini, Roberto. ‘Roma, Citta Aperta =: Rome, Open City’. 1945 : n. pag. Print.

Fallon, Chris. ‘Several Sides of Errol Morris’. Film Quarterly 65.4 (2012): 48–52. Web.

Farnell, Andy. Designing Sound. Cambridge, Mass: MIT Press, 2010. Web. <http://site.ebrary.com/lib/leicester/Doc?id=10562043>.

Fassbender, Michael, Katie Jarvis, and Andrea Arnold. ‘Fish Tank’. 2010 : n. pag. Print.

Fauchois, René, Renoir, Jean, and Simon, Michel. ‘Boudu Sauvé Des Eaux =: Boudu Saved from Drowning’. 1932 : n. pag. Print.

Fincher, David, Gyllenhaal, Jake, and Downey, Robert. ‘Zodiac’. 2007 : n. pag. Print.

Forbes, Bryan et al. ‘The L-Shaped Room’. 1962 : n. pag. Print.

Forgacs, David. Rome Open City (Roma Città Aperta). BFI film classics. London: British Film Institute, 2000. Print.

Forrest, David. ‘Twenty First Century Social Realism: Shane Meadows and New British Realism: Chapter’. Shane Meadows: Critical Essays. Ed. Martin Fradley, Sarah Godfrey, and Melanie Williams. Edinburgh: Edinburgh University Press, 2013. 35–49. Web. <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’. Reinventing Film Studies. London: Arnold, 2000. 438–452. Print.

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 n. pag. Print.

Gardner, Colin. Karel Reisz. British film makers. Manchester: Manchester University Press, 2006. Print.

Geiger, Jeffrey. American Documentary Film: Projecting the Nation. Edinburgh: Edinburgh University Press, 2011. Web. <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. Web.

Geuens, Jean-Pierre. ‘Sound: Chapter’. Film Production Theory. SUNY series, cultural studies in cinema/video. Albany: State University of New York Press, 2000. 197–224. Web. <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. Web. <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): 225–248. Web.

Gomery, Douglas. The Coming of Sound: A History. New York: Routledge, 2005. Web. <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’. Film History: Theory and Practice. Boston, Mass: McGraw-Hill, 1985. 215–241. Print.

Gordon, Robert Samuel Clive. Bicycle Thieves. BFI film classics. London: BFI, 2008. Print.

Gottlieb, Sidney. Roberto Rossellini’s Rome Open City. Cambridge film handbooks. Cambridge: Cambridge University Press, 2004. Print.

Grierson, John. ‘First Principles of Documentary’. Grierson on Documentary. Abridged ed. London: Faber, 1979. Print.

Gunning, Tom. ‘Moving Away from the Index: Cinema and the Impression of Reality: Chapter’. The Film Theory Reader: Debates and Arguments. London: Routledge, 2010. 255–269. Print.

Hall, Jeanne. ‘Realism as a Style in Cinema Verite: A Critical Analysis of “Primary”’. Cinema Journal 30.4 (1991): n. pag. Web.

Hall, Sheldon. ‘BFI Screenonline: Meadows, Shane (1973-) Biography’. N.p., n.d. Web. <http://www.screenonline.org.uk/people/id/461763/>.

Hallam, Julia. ‘Film, Class and National Identity: Re-Imagining Communities in the Age of Devolution: Chapter’. British Cinema: Past and Present. London: Routledge, 2000. 261–273. Print.

Hallam, Julia and Marshment, Margaret. Realism and Popular Cinema. Inside popular film. Manchester: Manchester University Press, 2000. Print.

Hanson, Matt. The End of Celluloid: Film Futures in the Digital Age. Mies, Switzerland: RotoVision, 2004. Print.

Harper, Matthew. ‘Adaptation by Degree: A Study of Vittorio de Sica’s Bicycle Theives: Chapter of Impure Cinema’. Impure Cinema: Intermedial and Intercultural Approaches to Film. London: I.B.Tauris & Co Ltd, 30AD. 121–133. Web. <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. Print.

Hart, Stephen M. Latin American Cinema. London: Reaktion Books, 2014. Web. <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5663029690002746&institutionId=2746&customerId=2745>.

Hayward, Susan. ‘Realism: Chapter’. Cinema Studies: The Key Concepts. 2nd ed. Key concepts series. London: Routledge, 2000. 334–334. Print.

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Higson, Andrew. ‘Space, Place, Spectacle: Landscape and Townscape in the “Kitchen Sink” Film: Chapter’. Dissolving Views: Key Writings in British Cinema. Rethinking British cinema. London: Cassell, 1996. 133–156. Print.

Hill, John. ‘From the New Wave to “Brit-Grit”: Continuity and Difference in Working Class Realism: Chapter’. British Cinema: Past and Present. London: Routledge, 2000. 249–259. Print.

---. ‘Working Class Realism I: Chapter’. Sex, Class and Realism: British Cinema 1956-1963. bfi books. London: British Film Institute, 1986. 127–144. Web. <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. Harvard film studies. Cambridge, Mass: Harvard University Press, 1985. Print.

Hitchcock, Alfred et al. ‘Blackmail’. 1929 : n. pag. Print.

Hjort, Mette. Lone Scherfig’s ‘Italian for Beginners’. Nordic film classics. Seattle, Wash: University of Washington Press, 2010. Print.

---. On The Five Obstructions. Dekalog. London: Wallflower, 2008. Print.

---. Small Nation, Global Cinema: The New Danish Cinema. Public worlds. Minneapolis: University of Minnesota Press, 2005. Web. <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. Web. <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. Print.

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Imre, Anikó. A Companion to Eastern European Cinemas. The Wiley-Blackwell companions to national cinemas. Chichester, U.K.: Wiley-Blackwell, 2012. Web. <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. Print.

---. The Cinema of the Balkans. 24 frames. London: Wallflower, 2006. Print.

Iordanova, Dina and British Film Institute. Cinema of Flames: Balkan Film, Culture and the Media. London: British Film Institute, 2001. Print.

Jarecki, Andrew. ‘Capturing the Friedmans’. 2003 : n. pag. Print.

Jenkins, Henry. ‘The Work of Theory in the Age of Digital Transformation: Chapter’. A Companion to Film Theory. Blackwell companions in cultural studies. Malden, Mass: Blackwell, 1999. 234–261. Print.

Jennings, Humprey. ‘Listen to Britain’. Humphrey Jennings collection: Listen to Britain, Diary for Timothy, I was a fireman 1942 : n. pag. Print.

Jerslev, Anne. Realism and ‘Reality’ in Film and Media. Northern lights film and media studies yearbook. Copenhagen: Museum Tusculanum Press, University of Copenhagen, 2002. Print.

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Kael, Pauline. ‘Britain: Commitment and the Strait-Jacket’. Film Quarterly 15.1 (1961): 4–13. Web.

Kantaris, Geoffrey, and Rory O’Bryen. Latin American Popular Culture: Politics, Media, Affect. Colección Támesis. Woodbridge, Suffolk: Tamesis, 2013. Web. <http://site.ebrary.com/lib/leicester/Doc?id=10748380>.

Kelly, Richard. The Name of This Book Is Dogme95. London: Faber and Faber, 2000. Print.

Kelly, Richard T. ‘Danish Cinema: Chapter’. The Cinema Book. 3rd ed. London: British Film Institute, 2007. 196–198. Print.

Kerins, Mark. Beyond Dolby (Stereo): Cinema in the Digital Sound Age. Bloomington: Indiana University Press, 2010. Web. <http://site.ebrary.com/lib/leicester/Doc?id=10437995>.

Kopple, Barbara, Arthur, Paul, and Weisberger, Jon. ‘Harlan County U.S.A’. 1976 : n. pag. Print.

Korine, Harmony, Herzog, Werner, and Bremner, Ewen. ‘Julien Donkey-Boy’. 1999 : n. pag. Print.

Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. Princeton, N.J.: Princeton University Press, 1997. Print.

Lacey, Stephen. British Realist Theatre: The New Wave in Its Context 1956-1965. London: Routledge, 1995. Web. <http://site.ebrary.com/lib/leicester/Doc?id=10057538>.

Laing, Stuart. Representations of Working-Class Life 1957-1964. London: Macmillan, 1986. Print.

Landy, Marcia. Italian Film. National film traditions. Cambridge: Cambridge University Press, 2000. Print.

Lanzmann, Claude. ‘Shoah: A Film’. 1985 : n. pag. Print.

Lapsley, Robert, and Michael Westlake. ‘Realism: Chapter’. Film Theory: An Introduction. Images of culture. Manchester: Manchester University Press, 1988. 156–180. Web. <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. Print.

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): 231–244. Print.

Layton, Bart, O’Brian, Adam, and Bourdin, Frédéric. ‘The Imposter’. 2012 : n. pag. Print.

Leggott, James. Contemporary British Cinema: From Heritage to Horror. Short cuts. London: Wallflower, 2008. Print.

Leth, Jørgen and Trier, Lars von. ‘De Fem Benspænd =: The Five Obstructions’. 2004 : n. pag. Print.

Levring, Kristian, Bohringer, Romane, and Anderson, Miles. ‘The King Is Alive’. 2000 : n. pag. Print.

Lister, Martin. New Media: A Critical Introduction. 2nd ed. London: Routledge, 2009. Web. <http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=190114>.

Livingston, Jennie and Dangerous to know. ‘Paris Is Burning’. 1994 : n. pag. Print.

LoBrutto, Vincent. ‘Birth of a Non-Fiction Style: The Thin Blue Line: Chapter’. Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, Conn: Praeger, 2005. 305–311. Print.

MacDougall, David. ‘Beyond Observational Cinema: Chapter’. Movies and Methods: An Anthology. Vol. 2. Berkeley, Calif: University of California Press, 1985. 274–285. Print.

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