1.
Belton, John. American cinema/American culture. (McGraw-Hill Higher Education, 2013).
2.
Barsam, Richard Meran, Monahan, Dave, & Gocsik, Karen M. Looking at movies: an introduction to film. (W.W. Norton, 2010).
3.
Bordwell, David & Thompson, Kristin. Film art: an introduction. (McGraw-Hill, 2010).
4.
Hill, John & Gibson, Pamela Church. American cinema and Hollywood: critical approaches. (Oxford University Press, 2000).
5.
Maltby, Richard. Hollywood cinema: an introduction. (Blackwell Publishers, 2003).
6.
Hill, John & Gibson, Pamela Church. The Oxford guide to film studies. (Oxford University Press, 1998).
7.
Sklar, Robert. Movie-made America: a cultural history of American movies. (Chappell, 1978).
8.
Benshoff, Harry M. & Griffin, Sean. America on film: representing race, class, gender, and sexuality at the movies. (Wiley-Blackwell, 2009).
9.
Rawlinson, Mark. American visual culture. (Berg, 2009).
10.
Lewis, Jon. American film: a history. (W.W. Norton, 2008).
11.
Musser, Charles. The emergence of cinema: the American screen to 1907. vol. History of the American cinema (Charles Scribner’s Sons, 1990).
12.
Bowser, Eileen. The transformation of cinema, 1907-1915. vol. History of the American cinema (Macmillan, 1990).
13.
Gaudreault, André. American cinema, 1890-1909: themes and variations. vol. Screen decades: American culture / American cinema (Rutgers University Press, 2009).
14.
Whalan, Mark. American culture in the 1910s. vol. Twentieth-century American culture (Edinburgh University Press, 2010).
15.
Film Studies For Free. http://filmstudiesforfree.blogspot.co.uk/.
16.
Griffith, D. W. Musketeers of Pig Alley: Audio-visual document. Biograph shorts vol. Griffith masterworks (1912).
17.
Chase, C. His Wooden Wedding: Audio-visual document. The Charley Chase collection: Vol. 2 vol. Slapstick symposium (1925).
18.
Keaton, Buster. Sherlock Jr. vol. Art of Buster Keaton (1924).
19.
Bordwell, D. & Thompson, K. The Development of the Classical Hollywood Cinema: Chapter. in Film art: an introduction 466–469 (McGraw-Hill, 2013).
20.
Agee, James. Comedy’s Greatest Era (1949) in Agee on film: [Vol.1]: [Criticism]. in Agee on film: [Vol.1]: [Criticism] (P. Owen, 1963).
21.
Belton, J. The Emergence of Cinema as an Institution in American cinema/American culture. in American cinema/American culture (McGraw-Hill [distributor], 2013).
22.
Brownlow, K. Buster Keaton in The parade’s gone by. in The parade’s gone by (Secker & Warburg, 1968).
23.
Crafton, D. Pie and Chase: Gag, Spectacle and Narrative in Slapstick Comedy in Classical Hollywood comedy. in Classical Hollywood comedy vol. AFI film readers 106–119 (Routledge, 1995).
24.
Crafton, Donald. The talkies: American cinema’s transition to sound, 1926-1931. vol. History of the American cinema (Charles Scribner’s Sons, 1997).
25.
Currell, Susan. American culture in the 1920s. vol. Twentieth-century American culture (Edinburgh University Press, 2009).
26.
Currell, Susan. American culture in the 1920s. vol. Twentieth-century American culture (Edinburgh University Press, 2009).
27.
Dale, Alan S. Comedy is a man in trouble: slapstick in American movies. (University of Minnesota Press, 2000).
28.
Dardis, Tom. Keaton: the man who wouldn’t lie down. (Deutsch, 1979).
29.
Elsaesser, Thomas & Barker, Adam. Early cinema: space, frame, narrative. (BFI Publishing, 1990).
30.
Gladfelder, H. Sherlock Jr.: The Screen and the Mirror: Chapter. in Film analysis: a Norton reader 138–157 (W.W. Norton, 2005).
31.
Grieveson, Lee & Krämer, Peter. The silent cinema reader. (Routledge, 2004).
32.
Gunning, Tom. D.W. Griffith and the origins of American narrative film: the early years at Biograph. (University of Illinois Press, 1994).
33.
Gunning, T. Early American Film in The Oxford guide to film studies. in The Oxford guide to film studies (Oxford University Press, 1998).
34.
Tom Gunning. Buster Keaton or the work of comedy in the age of mechanical reproduction. Cineaste 21, (1995).
35.
Henderson, Robert M. D.W. Griffith: the years at Biograph. (Secker and Warburg, 1971).
36.
Horton, Andrew. Buster Keaton’s Sherlock Jr. vol. Cambridge film handbooks (Cambridge University Press, 1997).
37.
Horton, Andrew. Comedy/cinema/theory. (University of California Press, 1991).
38.
Keil, Charlie & Singer, Ben. American cinema of the 1910s: themes and variations. vol. Screen decades: American culture / American cinema (Rutgers University Press, 2009).
39.
Paulus, Tom & King, Rob. Slapstick comedy. vol. AFI film readers (Routledge, 2010).
40.
Koszarski, Richard. An evening’s entertainment: the age of the silent feature picture, 1915-1928. vol. History of the American cinema (Charles Scribner’s Sons, 1990).
41.
Krutnik, Frank. Hollywood comedians, the film reader. vol. Film readers (Routledge, 2002).
42.
May, Lary. Screening out the past: the birth of mass culture and the motion picture industry. (Oxford University Press, 1980).
43.
Moews, Daniel. Keaton: the silent features close up. (University of California Press, 1977).
44.
North, Michael. Machine-age comedy. vol. Modernist literature and culture (Oxford University Press, 2009).
45.
Rickman, Gregg. The film comedy reader. (Limelight Editions, 2001).
46.
Schickel, Richard. D.W. Griffith: an American life. (Limelight Editions, 1996).
47.
Sklar, R. Chaos, Magic, Physical Genius and the Art of Silent Comedy in Movie-made America: a cultural history of American movies. in Movie-made America: a cultural history of American movies 104–121 (Chappell, 1978).
48.
Trahair, Lisa. The comedy of philosophy: sense and nonsense in early cinematic slapstick. vol. SUNY series, insituations : philosophy, psychoanalysis, literature (State University of New York Press, 2007).
49.
Griffith, D. W., Israel, Robert, Merritt, Russell, Booth, Elmer, & Gish, Lillian. D.W. Griffith: years of discovery 1909-1913. (2002).
50.
Griffith, D. W. et al. The birth of a nation. (1915).
51.
Griffith, D. W. & Gish, Lillian. Intolerance. (1916).
52.
Brownlow, Kevin, Gill, David, & Anderson, Lindsay. D.W. Griffith: father of film. (1994).
53.
Marks, Martin, Simmon, Scott, & National Film Preservation Foundation (United States). More treasures from American film archives 1894-1931: Program 1 /[ curated by Scott Simmon, music curated by Martin Marks]. (2004).
54.
Marks, Martin, Simmon, Scott, & National Film Preservation Foundation (United States). More treasures from American film archives 1894-1931: Program 2 /[ curated by Scott Simmon, music curated by Martin Marks]. (2004).
55.
Marks, Martin, Simmon, Scott, & National Film Preservation Foundation (United States). More treasures from American film archives 1894-1931: Program 3 /[ curated by Scott Simmon, music curated by Martin Marks]. (2004).
56.
Marks, Martin, Simmon, Scott, & National Film Preservation Foundation (United States). More treasures from American film archives 1894-1931: fifty films, film notes by Scott Simmon, music notes by Martin Marks: Program notes. (National Film Preservation Foundation, 2004).
57.
Keaton, Buster, Blystone, John G., Talmadge, Natalie, & McGuire, Kathryn. Our hospitality; directed by Buster Keaton and John G. Blystone. Our hospitality; directed by Buster Keaton and John G. Blystone. Sherlock Jnr.; directed by Buster Keaton (1922).
58.
Keaton, Buster & Cline, Edward. Buster Keaton: the complete short films 1917-1923, Disc 4. vol. Masters of cinema (2006).
59.
Keaton, Buster. Buster Keaton: the complete short films 1917-1923, Accompanying book. vol. Masters of cinema (2006).
60.
Keaton, Buster, Cline, Edward, & St. Clair, Mal. Buster Keaton: the complete short films 1917-1923, Disc 3. vol. Masters of cinema (2006).
61.
Arbuckle, Roscoe, Keaton, Buster, & Cline, Edward. Buster Keaton: the complete short films 1917-1923, Disc 2. vol. Masters of cinema (2006).
62.
Arbuckle, Roscoe & Keaton, Buster. Buster Keaton: the complete short films 1917-1923, Disc 1. vol. Masters of cinema (2006).
63.
Keaton, Buster, Bruckman, Clyde, Mack, Marion, Cavender, Glen, & Hisaishi, Joe. The General. (1926).
64.
Keaton, Buster, Cline, Eddie, & O’Neil, Sally. Battling Butler. vol. Art of Buster Keaton (1926).
65.
Keaton, Buster, Blaché, Herbert, Cline, Eddie, & Crane, Walter H. The saphead. vol. Art of Buster Keaton (1920).
66.
Keaton, Buster, Myers, Kathleen, & Cline, Eddie. Go west. vol. Art of Buster Keaton (1925).
67.
McGuire, Kathryn, Crisp, Donald, Keaton, Buster, & Cline, Eddie. The navigator. vol. Art of Buster Keaton (1924).
68.
Keaton, Buster, Torrence, Ernest, Reisner, Charles F., & Cline, Eddie. Steamboat Bill Jr. vol. Art of Buster Keaton (1928).
69.
Keaton, Buster, Horne, James W., St. Clair, Mal, Cornwall, Anne, & Cline, Eddie. College. vol. Art of Buster Keaton (1927).
70.
Keaton, Buster, Dwyer, Ruth, & Cline, Eddie. Seven chances. vol. Art of Buster Keaton (1925).
71.
Keaton, Buster, Leahy, Margaret, Cline, Eddie, & St. Clair, Mal. Three ages. vol. Art of Buster Keaton (1923).
72.
Brownlow, Kevin, Gill, David, Keaton, Buster, & Anderson, Lindsay. Buster Keaton, a hard act to follow. (1987).
73.
Kennedy, Merna & Chaplin, Charles. The circus. vol. Chaplin collection (1928).
74.
Coogan, Jackie & Chaplin, Charles. The kid. vol. Chaplin collection (1921).
75.
Chaplin, Charles & Swain, Mack. The gold rush. vol. Chaplin collection (1925).
76.
Chaplin, C. The Mutual Films (Vol 2). (1916).
77.
Chaplin, C. The Mutual Films (Vol 1). (1916).
78.
Chaplin, C. Chaplin at Keystone. (1914).
79.
Chaplin, C. Charlie Chaplin - The Essanay Films (Vol 1). (1915).
80.
Chaplin, C. Charlie Chaplin - The Essanay Films (Vol 2). (1915).
81.
Newmeyer, Fred et al. Harold Lloyd: the definitive collection, Disc 7. (1920).
82.
Bruckman, Clyde et al. Harold Lloyd: the definitive collection, Disc 8. (1929).
83.
Walker, H. M. et al. Harold Lloyd: the definitive collection, Disc 9. (1913).
84.
Wilde, Ted et al. Harold Lloyd: the definitive collection, Disc 6. (1921).
85.
Newmeyer, Fred et al. Harold Lloyd: the definitive collection, Disc 5. (1920).
86.
Newmeyer, Fred et al. Harold Lloyd: the definitive collection, Disc 1. (1920).
87.
Newmeyer, Fred et al. Harold Lloyd: the definitive collection, Disc 3. (1922).
88.
Capra, Frank, Langdon, Harry, Bonner, Priscilla, & Astor, Gertrude. The strong man. vol. Harry Langdon ... the forgotten clown (1926).
89.
Capra, Frank, Langdon, Harry, Brockwell, Gladys, & Roscoe, Albert. Long pants. vol. Harry Langdon ... the forgotten clown (1927).
90.
Edwards, Harry, Langdon, Harry, Crawford, Joan, & Davis, Edwards. Tramp, tramp, tramp. vol. Harry Langdon ... the forgotten clown (1926).
91.
McCarey, Leo, Ceder, Ralph, Chase, Charley, Sleeper, Martha, & Hardy, Oliver. The Charley Chase collection: [Vol. 1]. vol. Slapstick Symposium (1924).
92.
Roach, Hal & Münchner Stadtmuseum. Female comedy teams. vol. Hal Roach (2010).
93.
British Film Institute. Early cinema: primitives and pioneers.
94.
LeRoy, Mervyn et al. Gold diggers of 1933. vol. The Busby Berkeley collection (2006).
95.
Eldridge, D. Film and Photography, Chapter. in American culture in the 1930s vol. Twentieth-century American culture 61–92 (Edinburgh University Press, 2008).
96.
Altman, Rick. The American film musical. (Indiana University Press, 1987).
97.
Balio, Tino. The American film industry. (University of Wisconsin Press, 1985).
98.
Balio, Tino. Grand design: Hollywood as a modern business enterprise, 1930-1939. vol. History of the American cinema (Charles Scribners’ Sons, 1993).
99.
Balio, Tino. Grand design: Hollywood as a modern business enterprise, 1930-1939. vol. History of the American cinema (Charles Scribners’ Sons, 1993).
100.
Belton, J. The Musical in American cinema/American culture. in American cinema/American culture (McGraw-Hill, 2009).
101.
Belton, J. The Studio System in American cinema/American culture. in American cinema/American culture (McGraw-Hill, 2009).
102.
Bergman, Andrew. We’re in the money: depression America and its films. vol. Harper colophon books (Harper and Row, 1972).
103.
Cohan, Steven. Hollywood musicals, the film reader. vol. In focus: Routledge film readers (Routledge, 2002).
104.
Dyer, R. Entertainment and Utopia in Movies and methods II: an anthology. in Movies and methods: an anthology 220–232 (University of California Press, 1976).
105.
Feuer, Jane & British Film Institute. The Hollywood musical. vol. BFI cinema series (Macmillan, 1993).
106.
Gomery, D. The classic studio era: The Hollywood studio system: a history. in The Hollywood studio system: a history 71–80 (BFI, 2005).
107.
Grant, Barry Keith. The Hollywood film musical. vol. New approaches to film genre (Wiley-Blackwell, 2012).
108.
Hark, Ina Rae & ebrary, Inc. American cinema of the 1930s: themes and variations. vol. Screen decades (Rutgers University Press, 2007).
109.
Hove, Arthur. Gold diggers of 1933. vol. Wisconsin/Warner Bros. screenplay series (Published for the Wisconsin Center for Film and Theater Research by the University of Wisconsin Press, 1980).
110.
Lorence, J. L. Making It in Depression America: The Street or the Stage in The Gold Diggers of 1933 in Screening America: United States history through film since 1900. in Screening America: United States history through film since 1900 (Pearson Longman, 2006).
111.
Maltby, R. Entertainment I in Hollywood cinema: an introduction. in Hollywood cinema: an introduction 33–53 (Blackwell Publishers, 2003).
112.
Roddick, N. Warner Brothers and the Studio System in A new deal in entertainment: Warner Brothers in the 1930s. in A new deal in entertainment: Warner Brothers in the 1930s 16–28 (British Film Institute, 1983).
113.
Schatz, T. The whole equation of pictures: The genius of the system: Hollywood filmmaking in the studio era. in The genius of the system: Hollywood filmmaking in the studio era 3–12 (Faber and Faber, 1998).
114.
Schatz, T. The Musical in Hollywood genres: formulas, filmmaking, and the studio system. in Hollywood genres: formulas, filmmaking, and the studio system 186–220 (McGraw-Hill, 1981).
115.
Shindler, Colin. Hollywood in crisis: cinema and American society, 1929-1939. vol. Cinema and society (Routledge, 1996).
116.
Staiger, Janet. The studio system. (Rutgers University Press, 1995).
117.
Staiger, J. The Hollywood Mode of Production, 1930-1960 in The classical Hollywood cinema: film style & mode of production to 1960. in The classical Hollywood cinema: film style & mode of production to 1960 (Routledge & Kegan Paul, 1985).
118.
Shindler, Colin. Hollywood in crisis: cinema and American society, 1929-1939. vol. Cinema and society (Routledge, 1996).
119.
Spivak, Jeffrey. Buzz: the life and art of Busby Berkeley. vol. Screen classics (University Press of Kentucky, 2010).
120.
Becker, Karin E. & Lange, Dorothea. Dorothea Lange and the documentary tradition. (Louisiana State University Press, 1980).
121.
Curtis, James. Mind’s eye, minds’s truth: FSA photography reconsidered. (Temple University Press, 1989).
122.
Daniel, Pete. Official images: New Deal photography. (Smithsonian Institution Press, 1987).
123.
Davidov, Judith Fryer. Women’s camera work: self/body/other in American visual culture. vol. New Americanists (Duke University Press, 1998).
124.
Harris, Jonathan. Federal art and national culture: the politics of identity in New Deal America. vol. Cambridge studies in American visual culture (Cambridge University Press, 1995).
125.
Evans, Walker, Hambourg, Maria Morris, Metropolitan Museum of Art, San Francisco Museum of Modern Art, & Museum of Fine Arts, Houston. Walker Evans. (Metropolitan Museum of Art in association with Princeton University Press, Princeton, 2000).
126.
Lesy, Michael & United States. Long time coming: a photographic portrait of America, 1935-1943. (Norton, 2002).
127.
Trachtenberg, Alan. Reading American photographs: images as history : Mathew Brady to Walker Evans. (Noonday Press, 1989).
128.
Gordon, Colin. Responding to the Crash in Major problems in American history, 1920-1945: documents and essays. in Major problems in American history, 1920-1945: documents and essays vol. Major problems in American history (Houghton Mifflin, 1999).
129.
Vials, Chris. Realism for the masses: aesthetics, popular front pluralism, and U.S. culture, 1935-1947. (University Press of Mississippi, 2009).
130.
Bacon, Lloyd et al. 42nd Street. vol. The Busby Berkeley collection (2006).
131.
Enright, Ray et al. Dames. vol. The Busby Berkeley collection (2006).
132.
Bacon, Lloyd et al. Footlight parade. vol. The Busby Berkeley collection (2006).
133.
Berkeley, Busby et al. Gold diggers of 1935. vol. The Busby Berkeley collection (2006).
134.
Berkeley, Busby, Warren, Harry, Dubin, Al, Fain, Sammy, & Kahal, Irving. The Busby Berkeley disc. vol. The Busby Berkeley collection (2006).
135.
Curtiz, Michael et al. The adventures of Robin Hood [1938]. (1938).
136.
Curtiz, Michael et al. Angels with dirty faces. (2005).
137.
Green, Alfred E., Stanwyck, Barbara, & Brent, George. Baby face. vol. Forbidden Hollywood collection (1933).
138.
Farrell, Glenda, Muni, Paul, & LeRoy, Mervyn. I am a fugitive from a chain gang.
139.
Wellman, William A., Cagney, James, Harlow, Jean, Blondell, Joan, & Sklar, Robert. The public enemy. (Warner Home Video, 2005).
140.
Ford, John, Steinbeck, John, Fonda, Henry, & Darwell, Jane. The grapes of wrath. vol. Ford at Fox (2007).
141.
Capra, Frank, Adams, Samuel Hopkins, Gable, Clark, & Colbert, Claudette. It happened one night. vol. Columbia classics (1934).
142.
Capra, Frank, Stewart, James, Arthur, Jean, & Rains, Claude. Mr Smith goes to Washington. (1939).
143.
Lorentz, Pare, Ivens, Joris, & McClure, H. B. New Deal documentaries. (1999).
144.
Vidor, King, Mankiewicz, Joseph L., Morley, Karen, & Keene, Tom. Our daily bread. (1934).
145.
La Cava, Gregory, Powell, William, Lombard, Carole, & Hatch, Eric. My man Godfrey. (1936).
146.
Siodmak, Robert, Hemingway, Ernest, Lancaster, Burt, & Gardner, Ava. The killers. vol. Universal Cinema Classics (1946).
147.
Bordwell, D. Classical Narration: the Hollywood example: Chapter. in Narration in the fiction film 156–166 (Methuen, 1985).
148.
Baker, M. Joyce. Images of women in film: the war years, 1941-1945. vol. Studies in American history and culture (UMI Research Press, 1980).
149.
Dixon, Wheeler Winston. American cinema of the 1940’s: themes and variations. vol. Screen decades: American culture / American cinema (Berg, 2006).
150.
Foertsch, Jacqueline & EBSCO ebook. American culture in the 1940s. vol. Twentieth-century American culture (Edinburgh University Press, 2008).
151.
Foertsch, Jacqueline. American culture in the 1940s. vol. Twentieth-century American culture (Edinburgh University Press, 2008).
152.
Polan, Dana B. Power and paranoia: history, narrative and the American cinema, 1940-1950. (Columbia University Press, 1986).
153.
Schatz, Thomas. Boom and bust: American cinema in the 1940s. vol. History of the American cinema (University of California Press, 1997).
154.
Bordwell, D. An Excessively Obvious Cinema in The classical Hollywood cinema: film style & mode of production to 1960. in The classical Hollywood cinema: film style & mode of production to 1960 3–12 (Routledge & Kegan Paul, 1985).
155.
Bordwell, D. & Thompson, K. Narrative as a Formal System in Film art: an introduction. in Film art: an introduction (McGraw-Hill, 2004).
156.
Belton, J. Classical Hollywood Cinema: Narration in American cinema/American culture. in American cinema/American culture (McGraw-Hill [distributor], 2013).
157.
Cowie, E. Storytelling: Classical Hollywood Cinema and Classical Narrative: Contemporary Hollywood cinema. in Contemporary Hollywood cinema 178–190 (Routledge, 1998).
158.
Kuhn, A. Classical Hollywood Narrative in The cinema book. in The cinema book 45–48 (British Film Institute, 2007).
159.
Maltby, R. Narrative in Hollywood cinema: an introduction. in Hollywood cinema: an introduction (Blackwell Publishers, 1995).
160.
Neale, Stephen. The classical Hollywood reader. (Routledge, 2012).
161.
Ray, R. A Certain Tendency of the American Cinema: Hollywood’s Formal and Thematic Paradigms in A certain tendency of the Hollywood cinema, 1930-1980. in A certain tendency of the Hollywood cinema, 1930-1980 25–69 (Princeton University Press, 1985).
162.
Thompson, K. Modern Classicism in Storytelling in the new Hollywood: understanding classical narrative technique. in Storytelling in the new Hollywood: understanding classical narrative technique 1–49 (Harvard University Press, 1999).
163.
Belton, J. Film Noir: Something in the Night in American cinema/American culture. in American cinema/American culture (McGraw-Hill, 2009).
164.
Biesen, Sheri Chinen. Blackout: World War II and the origins of film noir. (Johns Hopkins University Press, 2005).
165.
Bould, Mark. Film noir: from Berlin to Sin City. vol. Short cuts (Wallflower, 2005).
166.
Brook, Vincent. Driven to darkness: Jewish émigré directors and the rise of film noir. (Rutgers University Press, 2009).
167.
Cameron, Ian. The movie book of film noir. (Studio Vista, 1992).
168.
Cochran, David. America noir: underground writers and filmmakers of the postwar era. (Smithsonian Institution Press, 2000).
169.
Copjec, Joan. Shades of noir: a reader. (Verso, 1993).
170.
Dimendberg, Edward. Film noir and the spaces of modernity. (Harvard University Press, 2004).
171.
Fay, Jennifer & Nieland, Justus. Film noir: hard-boiled modernity and the cultures of globalization. vol. Routledge film guidebooks (Routledge, 2010).
172.
Hillis, K. Film Noir and the American Dream: The Dark Side of Enlightenment. The Velvet Light Trap 55, 3–18 (2005).
173.
Jarvie, I. Knowledge, Morality and Tragedy in The Killers and Out of the Past: The philosophy of film noir. in The philosophy of film noir 163–185 (University Press of Kentucky, 2006).
174.
Kaplan, E. Ann. Women in film noir. (British Film Institute, 1998).
175.
Siegfried Kracauer. Hollywood’s Terror Films: Do They Reflect an American State of Mind? New German Critique 105–111 (2003).
176.
Lutz Koepnick. Doubling the Double: Robert Siodmak in Hollywood. New German Critique 81–104 (2003).
177.
McArthur, Colin & British Film Institute. Underworld U.S.A. vol. Cinema one (Secker and Warburg [for] the British Film Institute, 1972).
178.
Richard Maltby. ‘Film Noir’: The Politics of the Maladjusted Text. Journal of American Studies 18, 49–71.
179.
Naremore, James. More than night: film noir in its contexts. (University of California Press, 2008).
180.
Palmer, R. Barton. Hollywood’s dark cinema: the American film noir. vol. Twayne’s filmmakers series (Twayne Publishers/Prentice Hall International, 1994).
181.
Palmer, R. Barton. Perspectives on film noir. vol. Perspectives on film (Prentice Hall International, 1996).
182.
Place, J. A. & Peterson, L. Some Visual Motifs in Film Noir in Movies and methods: an anthology. in Movies and methods: an anthology 325–338 (University of California Press, 1976).
183.
Silver, Alain & Ursini, James. Film noir reader. (Limelight Editions, 1996).
184.
Silver, Alain & Ursini, James. Film noir reader 2. (Limelight Editions, 2003).
185.
Silver, Alain, Ursini, James, & Porfirio, Robert. Film noir reader 3: interviews with filmmakers of the classic noir period. (Limelight, 2001).
186.
Silver, Alain & Ursini, James. Film noir reader 4: the crucial films and themes. (Limelight Editions, 2004).
187.
Spicer, Andrew. Film noir. vol. Inside film (Longman, 2002).
188.
Silver, Alain & Ward, Elizabeth. Film noir: an encyclopedic reference to the American style. (Overlook Press, 1979).
189.
Telotte, J. P. Voices in the dark: the narrative patterns of film noir. (University of Illinois Press, 1989).
190.
Tuska, Jon. Dark cinema: American ‘film noir’ in cultural perspective. vol. Contributions to the study of popular culture (Greenwood Press, 1984).
191.
Wager, Jans B. Dames in the driver’s seat: rereading film noir. (University of Texas Press, 2005).
192.
Curtiz, Michael et al. Casablanca. (1942).
193.
Hawks, Howard, Grant, Cary, Russell, Rosalind, & Lederer, Charles. His girl Friday. (1940).
194.
Ford, John et al. Stagecoach. (1939).
195.
Hawks, Howard et al. The big sleep. vol. Bogie and Bacall : the signature collection.
196.
Rossen, Robert, Garfield, John, & Palmer, Lilli. Body and soul.
197.
Dmytryk, Edward et al. Crossfire. (Turner Home Entertainment, 2005).
198.
Ulmer, Edgar G., Goldsmith, Martin, Neal, Tom, Savage, Ann, & Drake, Claudia. Detour. vol. Film noir thrillers (1945).
199.
Wilder, Billy et al. Double indemnity. (2005).
200.
Polonsky, Abraham, Wolfert, Ira, Garfield, John, Pearson, Beatrice, & Gomez, Thomas. Force of evil.
201.
Hayworth, Rita, King, Sherwood, Welles, Orson, Sloane, Everett, & Bogdanovich, Peter. The lady from Shanghai. vol. Columbia classics (1948).
202.
Curtiz, Michael et al. Mildred Pierce [1945]. vol. Joan Crawford : the signature collection (1945).
203.
Powell, Dick, Trevor, Claire, Dmytryk, Edward, & Chandler, Raymond. Murder my sweet. vol. Universal cinema classics (2008).
204.
Fitzgerald, Barry, Duff, Howard, & Dassin, Jules. The naked city. vol. Criterion collection (2007).
205.
Tourneur, Jacques et al. Out of the past. (2007).
206.
Siodmak, R. Phantom Lady. (1944).
207.
Garnett, Tay, Turner, Lana, Garfield, John, & Cain, James M. The postman always rings twice. (2009).
208.
Lang, Fritz, Robinson, Edward G., & Bennett, Joan. Scarlet Street.
209.
Ray, Nicholas, O’Donnell, Cathy, Granger, Farley, & Da Silva, Howard. They live by night, and Side street. vol. Film noir classic collection (1948).
210.
Dassin, Jules, Bezzerides, A. I., Conte, Richard, Cobb, Lee J., & Dassin, Jules. Thieves’ highway. (2012).
211.
Lang, Fritz, Robinson, Edward G., Bennett, Joan, & Massey, Raymond. The woman in the window. (2008).
212.
Sirk, Douglas et al. Written on the wind. vol. Criterion collection (1956).
213.
Connelly, Joe & Mathers, Jerry. The Black Eye, episode. Leave it to Beaver: the complete first season (2005).
214.
Schatz, T. The Family Melodrama: Chapter. in Hollywood genres: formulas, filmmaking, and the studio system 221–260 (McGraw-Hill, 1981).
215.
Anderson, Christopher. Hollywood TV: the studio system in the fifies. vol. Texas film studies series (University of Texas Press, 1994).
216.
Biskind, Peter. Seeing is believing: how Hollywood taught us to stop worrying and love the fifties. (Pluto Press, 1984).
217.
Boddy, W. The Studios Move into Prime Time: Hollywood and the Television Industry in the 1950s: Hollywood: critical concepts in media and cultural studies, Volume 1: Historical dimensions: the development of the American film industry. in Hollywood: critical concepts in media and cultural studies, Volume 1: Historical dimensions: the development of the American film industry vol. Critical concepts in media and cultural studies 255–269 (Routledge, 2004).
218.
Bruzzi, Stella. Bringing up daddy: fatherhood and masculinity in post-war Hollywood. (bfi publishing, 2005).
219.
Chopra-Gant, Mike. Hollywood genres and postwar America: masculinity, family and nation in popular movies and film noir. vol. Cinema and society (I.B. Tauris, 2006).
220.
Halliwell, M. American culture in the 1950s. (Edinburgh University Press, 2007).
221.
Lev, Peter. Transforming the screen, 1950-1959. vol. History of the American cinema (University of California Press, 2003).
222.
Pomerance, Murray. American cinema of the 1950s: themes and variations. (Berg, 2005).
223.
Pomerance, Murray. A family affair: cinema calls home. (Wallflower, 2008).
224.
Spigel, Lynn. Make room for TV: television and the family ideal in postwar America. (Chicago University Press, 1992).
225.
Spigel, Lynn. Welcome to the dreamhouse: popular media and postwar suburbs. vol. Console-ing passions (Duke University Press, 2001).
226.
Thumim, Janet. Small screens, big ideas: television in the 1950s. (I.B. Tauris, 2002).
227.
Bratton, J. S., Cook, Jim, & Gledhill, Christine. Melodrama: stage, picture, screen. (British Film Institute, 1994).
228.
Byars, Jackie. All that Hollywood allows: re-reading gender in 1950s melodrama. (Routledge, 1991).
229.
Cook, Pam & British Film Institute. The cinema book. (British Film Institute, 2007).
230.
Cossar, H. Emerging Stylistic Norms in CinemaScope: Genre and Authorship in the Films of Otto Preminger, Nicholas Ray, Frank Tashlin and Douglas Sirk: Chapter. in Letterboxed: the evolution of widescreen cinema 95–84 (University Press of Kentucky, 2011).
231.
Elsaesser, T. Tales of sound and fury: Some observations on the family melodrama: Chapter. in Home is Where the Heart Is: Studies in Melodrama and the Woman’s Film 43–69 (BFI Publishing, 1987).
232.
Evans, Peter William. Written on the wind. vol. BFI film classics (A BFI book published by Palgrave Macmillan, 2013).
233.
Fischer, Lucy. Imitation of life: Douglas Sirk, director. vol. Rutgers films in print (Rutgers University Press, 1991).
234.
Gledhill, Christine & British Film Institute. Home is where the heart is: studies in melodrama and the woman’s film. (BFI Publishing, 1987).
235.
Kelleter, Frank, Krah, Barbara, & Mayer, Ruth. Melodrama!: the mode of excess from early America to Hollywood. vol. American studies monograph series (Winter, 2007).
236.
Klinger, Barbara. Melodrama and meaning: history, culture, and the films of Douglas Sirk. (Indiana University Press, 1994).
237.
Landy, Marcia. Imitations of life: a reader on film & television melodrama. vol. Contemporary film and television series (Wayne State University Press, 1991).
238.
Lang, Robert. American film melodrama: Griffith, Vidor, Minnelli. (Princeton University Press, 1989).
239.
Mercer, John & Shingler, Martin. Melodrama: genre, style sensibility. vol. Short cuts (Wallflower, 2004).
240.
Sirk, Douglas & Halliday, Jon. Sirk on Sirk: conversations with Jon Halliday. (Faber and Faber, 1997).
241.
Belton, J. Glorious Technicolor, Breathtaking CinemaScope and Stereophonic Sound: Hollywood in the age of television. in Hollywood in the age of television 185–211 (Unwin Hyman, 1990).
242.
Belton, John. Widescreen cinema. (Harvard University Press, 1992).
243.
Marling, Karal Ann. As seen on TV: the visual culture of everyday life in the 1950s. (Harvard University Press, 1994).
244.
Sirk, Douglas et al. All I desire. vol. Directed by Douglas Sirk (1953).
245.
Sirk, Douglas, Fenwick, Peg, Wyman, Jane, Hudson, Rock, & Moorehead, Agnes. All that heaven allows. vol. Directed by Douglas Sirk (1955).
246.
Sirk, Douglas et al. Imitation of life [1959]. vol. Cinema classics (1959).
247.
Sirk, Douglas et al. Magnificent obsession [1954]. vol. Criterion collection (Universal, 1954).
248.
Sirk, Douglas et al. The tarnished angels. vol. Directed by Douglas Sirk (1958).
249.
Sirk, Douglas, Stanwyck, Barbara, MacMurray, Fred, Bennett, Joan, & Parrott, Ursula. There’s always tomorrow. vol. Masters of cinema (1956).
250.
Ray, Nicholas et al. Bigger than life. (1956).
251.
Minnelli, Vincente et al. The cobweb. (1955).
252.
Minnelli, Vincente, Humphrey, William, Mitchum, Robert, Parker, Eleanor, & Peppard, George. Home from the hill. (Warner Home Video, 1960).
253.
Ritt, Martin, Newman, Paul, Woodward, Joanne, & Franciosa, Anthony. The long hot summer. (1958).
254.
Logan, Joshua et al. Picnic. vol. Columbia classics (Columbia Pictures, 1955).
255.
Robson, Mark, Turner, Lana, Nolan, Lloyd, & Metalious, Grace. Peyton Place. vol. Studio classics (1957).
256.
Ray, Nicholas, Dean, James, & Wood, Natalie. Rebel without a cause. (1955).
257.
Mann, Delbert et al. The golden age of television: Disc 1: Marty (Delbert Mann), Patterns (Fielder Cook), No time for sergeants (Alex Segal). (2009).
258.
Frankenheimer, John, Rooney, Mickey, Hunter, Kim, Robertson, Cliff, & Laurie, Piper. The golden age of television: Disc 3: The comedian, Days of wine and roses. (2009).
259.
Petrie, Daniel et al. The golden age of television: Disc 2: A wind from the south (Daniel Petrie), Bang the drum slowly (Daniel Petrie), Requiem for a heavyweight (Ralph Nelson). (2009).
260.
Randolph, Joyce, Gleason, Jackie, Carney, Art, Meadows, Audrey, & Satenstein, Frank. The honeymooners [TV Series 1955-1956]: ‘classic 39’ episodes. (1955).
261.
Daniels, Marc, Levy, Ralph, Ball, Lucille, & Arnaz, Desi. I love Lucy: the complete first season, Discs 1 and 2. (1951).
262.
Daniels, Marc, Asher, William, Ball, Lucille, & Arnaz, Desi. I love Lucy: the complete first season, Discs 3 and 4. (1951).
263.
Daniels, Marc, Ball, Lucille, & Arnaz, Desi. I love Lucy: the complete first season, Discs 5 and 6. (1952).
264.
Daniels, Marc, Ball, Lucille, & Arnaz, Desi. I love Lucy: the complete first season, Disc 7. (1952).
265.
Webb, Jack & Soule, Olan. Dragnet [1951-1954]. (1951).
266.
Penn, Arthur et al. Bonnie and Clyde. (1998).
267.
Ray, R. The 1960s: Frontier Metaphors, Developing Self-Consciousness, and New Waves in A certain tendency of the Hollywood cinema, 1930-1980. in A certain tendency of the Hollywood cinema, 1930-1980 (Princeton University Press, 1985).
268.
Belton, J. The 1960s: The Counterculture Strikes Back in American cinema/American culture. in American cinema/American culture (McGraw-Hill, 2009).
269.
Biskind, Peter. Easy riders, raging bulls: how the sex ‘n’ drugs ‘n’ rock ‘n’ roll generation saved Hollywood. (Bloomsbury, 1998).
270.
Braunstein, Peter & Doyle, Michael W. Imagine nation: the American counterculture of the 1960s and ’70s. (Routledge, 2002).
271.
Cagin, Seth, Dray, Philip, & Cagin, Seth. Born to be wild: Hollywood and the sixties generation. (Coyote Books, 1994).
272.
Casper, Drew. Hollywood film 1963-1976: years of revolution and reaction. (Wiley-Blackwell, 2011).
273.
Cohan, Steven & Hark, Ina Rae. The road movie book. (Routledge, 1997).
274.
Cook, D. The New American Cinema in A history of narrative film. in A history of narrative film (W.W. Norton, 1996).
275.
Corrigan, T. Genre, Gender and Hysteria: The Road Movie in Outer Space in A cinema without walls: movies and culture after Vietnam. in A cinema without walls: movies and culture after Vietnam (Routledge, 1991).
276.
Friedman, Lester D. & Penn, Arthur. Arthur Penn’s ‘Bonnie and Clyde’. vol. Cambridge film handbooks (Cambridge University Press, 2000).
277.
Friedman, Lester D. Bonnie and Clyde. vol. BFI film classics (BFI Publishing, 2000).
278.
Gair, Christopher. The American counterculture. (Edinburgh University Press, 2007).
279.
Grant, Barry Keith. American cinema of the 1960s: themes and variations. vol. Screen decades: American culture / American cinema (Rutgers University Press, 2008).
280.
Hammond, Michael & Williams, Linda Ruth. Contemporary American cinema. (Open University Press, 2006).
281.
King, N. New Hollywood in The cinema book. in The cinema book (British Film Institute, 2007).
282.
Kolker, Robert Phillip. A cinema of loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman. (Oxford University Press, 2000).
283.
Krämer, Peter. New Hollywood: from Bonnie and Clyde to Star Wars. vol. Short cuts (Wallflower, 2005).
284.
Laderman, David. Driving visions: exploring the road movie. (University of Texas Press, 2002).
285.
Laderman, David. Driving visions: exploring the road movie. (Combined Academic, 2002).
286.
Mann, Glenn. Radical visions : American film renaissance, 1967-1976: No. 41. (Greenwood Pr, 1994).
287.
Monaco, Paul. The sixties, 1960-1969. vol. History of the American cinema (Charles Scribner’s Sons / University of California, 2001).
288.
Monteith, Sharon. American culture in the 1960s. vol. Twentieth-century American culture (Edinburgh University Press, 2008).
289.
Neale, S. ”The Last Good Time We Ever Had?” Revising the Hollywood Renaissance in Contemporary American cinema. in Contemporary American cinema (Open University Press, 2006).
290.
Neale, S. ”The Last Good Time We Ever Had?” Revising the Hollywood Renaissance in Contemporary American cinema. in Contemporary American cinema (Open University Press, 2006).
291.
Prince, Stephen. Classical film violence: designing and regulating brutality in Hollywood cinema, 1930-1968. (Rutgers University Press, 2003).
292.
Rosenbaum, J. New Hollywood and the Sixties Melting Pot in The last great American picture show: new Hollywood cinema in the 1970s. in The last great American picture show: new Hollywood cinema in the 1970s (Amsterdam University Press, 2004).
293.
Rosenbaum, J. New Hollywood and the Sixties Melting Pot in The last great American picture show: new Hollywood cinema in the 1970s. in The last great American picture show: new Hollywood cinema in the 1970s (Amsterdam University Press, 2003).
294.
Peiss, Kathy Lee. Sexual Revolution(s) in Major problems in the history of American sexuality: documents and essays. in Major problems in the history of American sexuality: documents and essays vol. Major problems in American history (Houghton Mifflin Co, 2002).
295.
Sklar, Robert. Hollywood’s Collapse in Movie-made America: a cultural history of American movies. in Movie-made America: a cultural history of American movies (Chappell, 1978).
296.
Swingrover, E. A. The counterculture reader. vol. Longman topics (Pearson/Longman, 2004).
297.
Tasker, Y. Approaches to the New Hollywood in Cultural studies and communications. in Cultural studies and communications (Arnold, 1996).
298.
Williams, Linda Ruth & Hammond, Michael. Contemporary American cinema. (Open University Press, 2006).
299.
Mankiewicz, Joseph L., Franzero, Carlo Maria, Taylor, Elizabeth, Burton, Richard, & Harrison, Rex. Cleopatra. (2002).
300.
Wise, Robert, Rodgers, Richard, Hammerstein, Oscar, Andrews, Julie, & Plummer, Christopher. The sound of music. (2001).
301.
Nichols, Mike et al. The graduate. (2008).
302.
Fonda, Peter, Hopper, Dennis, Southern, Terry, & Nicholson, Jack. Easy rider. (1999).
303.
Penn, Arthur et al. The chase. (2004).
304.
Dexter, Maury et al. The wild angels. ‘The wild angels’ and ‘Hell’s belles’ vol. Midnite movies (2004).
305.
Fonda, Peter et al. The trip. (2004).
306.
Rafelson, Bob et al. Head. vol. America lost and found : the BBS story.
307.
Schlesinger, John, Hoffman, Dustin, Voight, Jon, & Herlihy, James Leo. Midnight cowboy. (2001).
308.
Peckinpah, Sam, Holden, William, Borgnine, Ernest, Ryan, Robert, & O’Brien, Edmond. The wild bunch. (2006).
309.
Hill, George Roy, Newman, Paul, & Redford, Robert. Butch Cassidy and the Sundance Kid.
310.
Mazursky, Paul, Wood, Natalie, Culp, Robert, Gould, Elliott, & Cannon, Dyan. Bob and Carol and Ted and Alice. (2006).
311.
Penn, Arthur, Guthrie, Arlo, Quinn, Patricia, & Broderick, James. Alice’s Restaurant. (2004).
312.
Demme, Ted & LaGravenese, Richard. A decade under the influence: the 70’s films that changed everything. (2004).
313.
Bowser, Kenneth, Biskind, Peter, & Macy, William H. Easy riders, raging bulls: how the sex ‘n’ drugs ‘n’ rock ‘n’ roll generation saved Hollywood. (2006).
314.
Morgen, Brett, Burstein, Nanette, & Evans, Robert. The kid stays in the picture. (2003).
315.
Spielberg, Steven, Scheider, Roy, Shaw, Robert, Dreyfuss, Richard, & Benchley, Peter. Jaws. (1975).
316.
Schatz, T. The New Hollywood in Film theory goes to the movies. in Film theory goes to the movies vol. AFI film readers (Routledge, 1993).
317.
Belton, J. The Film School Generation in American cinema/American culture. in American cinema/American culture (McGraw-Hill, 2009).
318.
Biskind, P. Jaws Between the teeth. Jump Cut: a review of contemporary media 1–26 (1975).
319.
Bruzzi, S. Revolution and Feminist Unrest: Fatherhood Under Attack in the 1960s and 1970s in Bringing up daddy: fatherhood and masculinity in post-war Hollywood. in Bringing up daddy: fatherhood and masculinity in post-war Hollywood (bfi publishing, 2005).
320.
Buckland, Warren. Directed by Steven Spielberg: poetics of the contemporary Hollywood blockbuster. (Continuum, 2006).
321.
Cook, David A. Lost illusions: American cinema in the shadow of Watergate and Vietnam, 1970-1979. vol. History of the American cinema (University of California Press, 2002).
322.
Friedman, Lester D. American cinema of the 1970s: themes and variations. vol. Screen decades (Rutgers University Press, 2007).
323.
Friedman, Lester D. American cinema of the 1970s: themes and variations. (Berg, 2007).
324.
Hillier, Jim. The new Hollywood. (Continuum, 1992).
325.
Hoberman, J. Nashville contra Jaws, or "The Imagination of Disaster” Revisited in The last great American picture show: new Hollywood cinema in the 1970s. in The last great American picture show: new Hollywood cinema in the 1970s (Amsterdam University Press, 2004).
326.
Hoberman, J. Nashville contra Jaws, or "The Imagination of Disaster” Revisited in The last great American picture show: new Hollywood cinema in the 1970s. in The last great American picture show: new Hollywood cinema in the 1970s (Amsterdam University Press, 2003).
327.
Kaufman, Will. American culture in the 1970s. vol. Twentieth-century American culture (Edinburgh University Press, 2009).
328.
King, Geoff. New Hollywood cinema: an introduction. (I.B. Tauris, 2002).
329.
King, Geoff. New Hollywood cinema: an introduction. (I.B. Tauris, 2002).
330.
King, Geoff. Spectacular narratives: Hollywood in the age of the blockbuster. (I.B. Tauris, 2000).
331.
King, Geoff. Spectacular narratives: Hollywood in the age of the blockbuster. vol. Cinema and society series (I.B. Tauris, 2000).
332.
King, N. New Hollywood in The cinema book. in The cinema book (British Film Institute, 2007).
333.
Wyatt, Justin. Marketing the Image: High Concept and the Development of Marketing in High concept: movies and marketing in Hollywood. in High concept: movies and marketing in Hollywood vol. Texas film and media studies series (University of Texas Press, 1994).
334.
Kolker, Robert Phillip. A cinema of loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman. (Oxford University Press, 2000).
335.
Lewis, Jon. The new American cinema. (Duke University Press, 1998).
336.
Morris, Nigel. The cinema of Steven Spielberg: empire of light. vol. Directors’ cuts (Wallflower, 2007).
337.
Quirke, Antonia. Jaws. vol. BFI modern classics (British Film Institute, 2002).
338.
Ryan, Michael & Kellner, Douglas. Camera politica: the politics and ideology of contemporary Hollywood film. (Indiana University Press, 1988).
339.
Shiel, M. American Cinema, 1970-75 in Contemporary American cinema. in Contemporary American cinema (Open University Press, 2006).
340.
Shiel, M. American Cinema, 1970-75 in Contemporary American cinema. in Contemporary American cinema (Open University Press, 2006).
341.
Spielberg, Steven, Friedman, Lester D., & Notbohm, Brent. Steven Spielberg: interviews. vol. Conversations with filmmakers series (University Press of Mississippi, 2000).
342.
Wyatt, J. Marketing the Image: High Concept and the Development of Marketing: High concept: movies and marketing in Hollywood. in High concept: movies and marketing in Hollywood vol. Texas film and media studies series 110–154 (University of Texas Press, 1994).
343.
Pakula, Alan J. et al. All the President’s men. (1998).
344.
Spielberg, Steven, Dreyfuss, Richard, Garr, Teri, & Truffaut, François. Close encounters of the third kind. (2001).
345.
Coppola, Francis Ford, Brando, Marlon, Pacino, Al, Caan, James, & Puzo, Mario. The Godfather. vol. The Godfather DVD collection (2001).
346.
Coppola, Francis Ford et al. The Godfather: Part II. vol. The Godfather DVD collection (2001).
347.
Lucas, George, Hamill, Mark, Ford, Harrison, & Fisher, Carrie. Star wars. vol. Star wars trilogy (2004).
348.
Badham, John, Wexler, Norman, Cohn, Nik, Travolta, John, & Gorney, Karen Lynn. Saturday night fever. vol. Widescreen collection (2002).
349.
Avildsen, John G., Stallone, Sylvester, Shire, Talia, & Young, Burt. Rocky. (1976).
350.
Nicholson, Jack, Tepper, William, Black, Karen, & Margotta, Michael. Drive, he said. vol. America lost and found : the BBS story.
351.
Rafelson, Bob, Nicholson, Jack, Black, Karen, & Anspach, Susan. Five easy pieces. (2004).
352.
Rafelson, Bob, Nicholson, Jack, Dern, Bruce, & Burstyn, Ellen. The king of Marvin Gardens. vol. America lost and found : the BBS story.
353.
Bogdanovich, Peter et al. The last picture show. vol. America lost and found : the BBS story (2010).
354.
Altman, Robert, Carradine, Keith, Chaplin, Geraldine, & Black, Karen. Nashville. (Paramount, 2000).
355.
Altman, Robert, Naughton, Edmund, & Foster, David. McCabe and Mrs. Miller. (2003).
356.
Scorsese, Martin et al. Taxi driver. (1999).
357.
Lucas, George, Duvall, Robert, & Pleasence, Donald. THX 1138. (2004).
358.
Davis, Peter. Hearts and minds. (1974).
359.
Lee, Spike, Aiello, Danny, Turturro, John, & Perez, Rosie. Do the right thing. vol. 3 Spike Lee joints (2001).
360.
Denzin, N. K. The Cinematic Racial Order: Reading race: Hollywood and the cinema of racial violence. in Reading race: Hollywood and the cinema of racial violence vol. Theory, culture&society (Unnumbered) 17–45 (SAGE, 2002).
361.
Benshoff, Harry M. & Griffin, Sean. America on film: representing race, class, gender, and sexuality at the movies. (Wiley-Blackwell, 2009).
362.
Bernardi, Daniel. The persistence of whiteness: race and contemporary Hollywood cinema. (Routledge, 2008).
363.
Cripps, Thomas. Making movies black: the Hollywood message movie from World War Two to the civil rights era. (Oxford University Press, 1993).
364.
Davies, Jude. Gender, ethnicity and sexuality in contemporary American film. vol. British Association for American Studies paperbacks (Keele University Press, 1997).
365.
Denzin, Norman K. Do the Right Thing: Race in the USA in Images of postmodern society: social theory and contemporary cinema. in Images of postmodern society: social theory and contemporary cinema vol. Theory, culture&society (Sage Publications, 1991).
366.
Mirzoeff, Nicholas. DuBois, W.E.B. Double Consciousness [1903] in The visual culture reader. in The visual culture reader (Routledge, 1998).
367.
Diawara, Manthia. Black American cinema. vol. AFI film readers (Routledge, 1993).
368.
Donalson, Melvin Burke. Black directors in Hollywood. (University of Texas Press, 2003).
369.
Dyson, Michael Eric. Reflecting black: African-American cultural criticism. vol. American culture (University of Minnesota Press, 1993).
370.
Dyson, Michael Eric. Reflecting black: African-American cultural criticism. vol. American culture (University of Minnesota Press, 1993).
371.
Friedman, Lester D. Unspeakable images: ethnicity and the American cinema. (University of Illinois Press, 1991).
372.
Gabbard, Krin. Black magic: white Hollywood and African American culture. (Rutgers University Press, 2004).
373.
Guerrero, E. A Circus of Dreams and Lies: The Black Film Wave at Middle Age in The new American cinema. in The new American cinema (Duke University Press, 1998).
374.
Guerrero, Ed & Lee, Spike. Do the right thing. vol. British Film Institute (British Film Institute, 2001).
375.
hooks, bell. Reel to real: race, sex, and class at the movies. (Routledge, 1996).
376.
Lawrence, Novotny. Blaxploitation films of the 1970s: blackness and genre. vol. Studies in African American history and culture (Routledge, 2008).
377.
Leab, Daniel J. From sambo to superspade: the black experience in motion pictures. (Secker and Warburg, 1975).
378.
Lorence, J. J. Unfinished Business: Do the Right Thing (1989) and the Escalation of Social Tension in Screening America: United States history through film since 1900. in Screening America: United States history through film since 1900 182–194 (Pearson Longman, 2006).
379.
Lott, T. L. Hollywood and Independent Black Cinema in Contemporary Hollywood cinema. in Contemporary Hollywood cinema (Routledge, 1998).
380.
Massood, Paula J. Black city cinema: African American urban experiences in film. vol. Culture and the moving image (Temple University Press, 2003).
381.
Massood, Paula J. The Spike Lee reader. (Temple University Press, 2008).
382.
Pines, J. The Black Presence in American Cinema in The Oxford history of world cinema. in The Oxford history of world cinema (Oxford University Press, 1996).
383.
Pines, J. The Black Presence in American Cinema in The Oxford history of world cinema. in The Oxford history of world cinema (Oxford University Press, 1996).
384.
Powell, Richard J. Black art and culture in the 20th century. vol. World of art (Thames & Hudson, 1997).
385.
Prince, Stephen. A new pot of gold: Hollywood under the electronic rainbow, 1980-1989. vol. History of the American cinema (University of California Press).
386.
Reid, Mark. Redefining Black film. (University of California Press, 1993).
387.
Reid, Mark. Spike Lee’s ‘Do the right thing’. vol. Cambridge film handbooks (Cambridge University Press, 1997).
388.
Thompson, Graham. American culture in the 1980s. vol. Twentieth-century American culture (Edinburgh University Press, 2007).
389.
Thompson, Graham. American culture in the 1980s. vol. Twentieth-century American culture (Edinburgh University Press, 2007).
390.
Watkins, C. S. Producing the Spike Lee Joint in Representing: hip hop culture and the production of black cinema. in Representing: hip hop culture and the production of black cinema (University of Chicago Press, 1998).
391.
Willis, S. Do the Right Thing (1989): A Theatre of Interruptions in Film analysis: a Norton reader. in Film analysis: a Norton reader (W.W. Norton, 2005).
392.
Lee, Spike, Wayans, Damon, & Glover, Savion. Bamboozled.
393.
Lee, Spike et al. Jungle fever. vol. 3 Spike Lee joints (2001).
394.
Lee, Spike, Haley, Alex, X, Malcolm, Washington, Denzel, & Bassett, Angela. Malcom X. (2001).
395.
Lee, Spike & Johns, Tracy Camilla. She’s gotta have it. (2006).
396.
Lee, Spike, Fishburne, Laurence, & Esposito, Giancarlo. School daze. (1988).
397.
Lee, Spike, Washington, Denzel, Snipes, Wesley, & Esposito, Giancarlo. Mo’ better blues. (1990).
398.
Singleton, John, Ice Cube, Gooding, Cuba, Chestnut, Morris, & Fishburne, Laurence. Boyz n the hood: increase the peace. (1991).
399.
Burnett, C. Killer of sheep. ‘Killer of sheep’ and ‘My brother’s wedding’ (1979).
400.
Hughes, Albert, Hughes, Allen, Turner, Tyrin, Smith, Jada Pinkett, & Tate, Larenz. Menace II society. (1993).
401.
Thurman, Tom. Movies of color: black southern cinema. (2002).
402.
Parks, Gordon, Tidyman, Ernest, & Roundtree, Richard. Shaft. (1971).
403.
Van Peebles, Melvin & Chuckster, Simon. Sweet Sweetback’s baadasssss song. (1971).
404.
Burnett, Charles, Glover, Danny, Butler, Paul, & Alice, Mary. To sleep with anger. (1990).
405.
Wang, Wayne, Hayashi, Marc, & Moy, Wood. Chan is missing. (1981).
406.
Nava, Gregory, Gutiérrez, Zaide Silvia, & Villalpando, David. El norte =: The north. vol. Criterion collection (1983).
407.
Avilés, Angel & Anders, Allison. Mi vida loca =: My crazy life. vol. Tartan video USA.
408.
Wang, W. Dim Sum DVD. (1985).
409.
Wang, Wayne, Stone, Oliver, Tan, Amy, & Chinh, Kieu. The Joy Luck Club. (1993).
410.
Verhoeven, Paul & Van Dien, Casper. Starship troopers. (1997).
411.
J. P. Telotte. Verhoeven, Virilio, and ‘Cinematic Derealization’. Film Quarterly 53, 30–38 (1999).
412.
Allen, Michael. Contemporary US cinema. vol. Inside film (Longman, 2003).
413.
Baudrillard, Jean. The Gulf War did not take place. (Power Publishers, 1995).
414.
Buckland, Warren. Film theory and contemporary Hollywood movies. (Routledge, 2009).
415.
‘A World That Works’: Fascism and Media Globalization in Starship Troopers. Film & History: An Interdisciplinary Journal of Film and Television Studies 39, 17–25 (2009).
416.
Chapman, James. War and film. vol. Locations (Reaktion, 2007).
417.
Collins, J. Genericity in the Nineties: Eclectic Irony and the New Sincerity: Chapter. in Film theory goes to the movies vol. AFI film readers 242–263 (Routledge, 1993).
418.
Cornea, Christine. Science fiction cinema: between fantasy and reality. (Edinburgh University Press, 2007).
419.
Cornea, Christine. Science fiction cinema: between fantasy and reality. (Edinburgh University Press, 2007).
420.
Geraghty, Lincoln. American science fiction film and television. (Berg, 2009).
421.
Geraghty, Lincoln. American science fiction film and television. (Berg, 2009).
422.
Hansen, L. Feminism in the Fascist Utopia: gender and world order in Starship Troopers. International Feminist Journal of Politics 3, 275–283 (2001).
423.
Harrison, Colin. American culture in the 1990s. vol. Twentieth-century American culture (Edinburgh University Press, 2010).
424.
Holmlund, Chris. American cinema of the 1990s: themes and variations. vol. Screen decades (Rutgers University Press, 2008).
425.
Holmlund, Chris. American cinema of the 1990s: themes and variations. (Rutgers University Press, 2008).
426.
Jaffe, Ira. Hollywood hybrids: mixing genres in contemporary films. vol. Genre and beyond (Rowman and Littlefield, 2008).
427.
Kaveney, R. The Director as Parodist: Paul Verhoeven’s Starship Troopers in From Alien to The matrix: reading science fiction film. in From Alien to The matrix: reading science fiction film (I.B. Tauris, 2005).
428.
King, Geoff. Spectacular narratives: Hollywood in the age of the blockbuster. (I.B. Tauris, 2000).
429.
King, Geoff. Spectacular narratives: Hollywood in the age of the blockbuster. vol. Cinema and society series (I.B. Tauris, 2000).
430.
King, Geoff. Spectacle of the real: from Hollywood to reality TV and beyond. (Intellect Books, 2005).
431.
Kuhn, Annette. Alien zone: cultural theory and contemporary science fiction cinema. (Verso, 1990).
432.
Kuhn, Annette. Alien zone two: the spaces of science-fiction cinema. (Verso, 1999).
433.
Lewis, Jon. The end of cinema as we know it: American film in the nineties. (Pluto, 2001).
434.
Neale, Stephen. Genre and contemporary Hollywood. (BFI Publishing).
435.
Neale, Stephen. Genre and Hollywood. vol. Sightlines (Routledge, 2000).
436.
Prince, Stephen. Digital visual effects in cinema: (the seduction of reality). (Rutgers University Press, 2012).
437.
Purse, Lisa. Contemporary action cinema. (Edinburgh University Press, 2011).
438.
Shary, Timothy. Millennial masculinity: men in contemporary American cinema. vol. Contemporary approaches to film and media series (Wayne State University Press, 2013).
439.
Slocum, J. David. Hollywood and war: the film reader. (Routledge, 2006).
440.
Sobchack, Vivian Carol & Sobchack, Vivian Carol. Screening space: the American science fiction film. (Rutgers University Press).
441.
Strzelczyk, F. Our Future—Our Past: Fascism, Postmodernism, and Starship Troopers (1997). Modernism/modernity 15, 87–99 (2008).
442.
Telotte, J. P. Heinlein, Verhoeven, and the problem of the real: Starship Troopers. Literature/Film Quarterly 29, 196–202 (2001).
443.
Telotte, J. P. Science fiction film. vol. Genres in American cinema (Cambridge University Press, 2001).
444.
Virilio, Paul. War and cinema: the logistics of perception. (Verso, 1989).
445.
Scheers, Rob van. Paul Verhoeven: the authorized biography. (Faber, 1998).
446.
Riefenstahl, Leni. Triumph des willens: = Triumph of the will. (2001).
447.
Capra, Frank. Why we fight: Divide and conquer and The Battle of Britain. vol. Why we fight : World War II (2000).
448.
Capra, Frank. Why we fight: Prelude to war and The Nazis strike. vol. Why we fight : World War II (2000).
449.
Capra, Frank. Why we fight: The Battle of China and War comes to America. vol. Why we fight : World War II (2000).
450.
Capra, Frank. Why we fight: the Battle of Russia. vol. Why we fight : World War II (2000).
451.
Verhoeven, Paul, Weller, Peter, & Allen, Nancy. Robocop. (2004).
452.
Verhoeven, Paul, Schwarzenegger, Arnold, Ticotin, Rachel, Stone, Sharon, & Dick, Philip K. Total recall. (2012).
453.
Cameron, James, Weaver, Sigourney, Biehn, Michael, Henriksen, Lance, & Paxton, Bill. Aliens. (2000).
454.
Ford, Harrison, Hauer, Rutger, Scott, Ridley, & Dick, Philip K. Blade runner: the final cut. (1982).
455.
Carter, Helena, Hunt, Jimmy, & Menzies, William Cameron. Invaders from Mars. vol. Science fiction collection (1953).
456.
Burton, Tim et al. Mars attacks! (1998).
457.
Wachowski, Andy et al. The matrix. vol. Ultimate Matrix collection (1999).
458.
Bigelow, Kathryn et al. Strange days. (1995).
459.
Cameron, James, Hamilton, Linda, & Schwarzenegger, Arnold. The terminator. (1984).
460.
Cameron, James, Schwarzenegger, Arnold, Hamilton, Linda, Furlong, Edward, & Patrick, Robert. Terminator 2: judgment day. (1991).
461.
Cronenberg, David, Harry, Deborah, & Woods, James. Videodrome. (1983).
462.
Cruise, Tom, Fanning, Dakota, Spielberg, Steven, & Wells, H. G. War of the worlds [2005].
463.
Ball, Alan, Krause, Peter, Hall, Michael C., Conroy, Frances, & Ambrose, Lauren. Six feet under: the complete first series. (2003).
464.
Simon, David, West, Dominic, & Doman, John. The wire: Season one: Listen carefully. (2001).
465.
Mittell, J. Narrative Complexity in Contemporary American Television. The Velvet Light Trap 58, 29–40 (2006).
466.
Akass, Kim & McCabe, Janet. Reading Six feet under: TV to die for. (I.B. Tauris, 2005).
467.
Allen, Robert Clyde. Channels of discourse, reassembled: television and contemporary criticism. (Routledge, 1992).
468.
Chambers, S. A. Telepistemology of the Closet; or, The Queer Politics of Six Feet Under. The Journal of American Culture 26, 24–41 (2003).
469.
Creeber, Glen. Serial television: big drama on the small screen. (BFI Publishing, 2004).
470.
Creeber, Glen. Small screen aesthetics: from tv to the internet. (British Film Institute book published by Palgrave Macmillan, 2013).
471.
Creeber, Glen, Miller, Toby, Tulloch, John, & British Film Institute. The television genre book. (British Film Institute, 2001).
472.
Curtin, Michael & Shattuc, Jane. The American television industry. vol. International screen industries (BFI, 2009).
473.
Edgerton, Gary R. & Jones, Jeffrey P. The essential HBO reader. vol. Essential readers in contemporary media and culture (University Press of Kentucky, 2008).
474.
Film Quarterly - special issue on The Wire. 62, (2008).
475.
Fiske, John. Television culture. (Routledge, 2011).
476.
Fiske, John. Television culture. (Routledge, 2011).
477.
Gillan, Jennifer. Television and new media: must-click TV. (Routledge, 2011).
478.
Gomery, Douglas & Hockley, Luke. Television industries. (BFI/British Film Institute, 2006).
479.
Hammond, Michael & Mazdon, Lucy. The contemporary television series. (Edinburgh University Press, 2005).
480.
Jacobs, Jason. Deadwood. vol. BFI tv classics (BFI, 2011).
481.
Jancovich, Mark, Lyons, James, & British Film Institute. Quality popular television: cult TV, the industry and fans. (BFI Publishing, 2003).
482.
Johnson, Catherine. Branding television. vol. Comedia (Routledge, 2012).
483.
Johnson, C. It’s Not TV, It’s HBO!” Branding US Pay TV in Branding television. in Branding television vol. Comedia (Routledge, 2012).
484.
Kelleter, F. Serial Agencies : The Wire and its Readers. (John Hunt Publishing, 2014).
485.
Kennedy, Liam & Shapiro, Stephen. The wire: race, class, and genre. vol. Class : culture (University of Michigan Press, 2012).
486.
Kompare, Derek. CSI. vol. Wiley-Blackwell studies in film and television (Wiley-Blackwell, 2010).
487.
Lavery, David. Reading the Sopranos: hit TV from HBO. vol. Reading contemporary television (I.B. Tauris, 2006).
488.
Gripsrud, Jostein. Lavik, Erlend Forward to the Past: The Strange Case of The Wire in Relocating television: television in the digital context. in Relocating television: television in the digital context vol. Comedia (Routledge, 2010).
489.
McCabe, Janet & Akass, Kim. Quality TV: contemporary American television and beyond. (I.B. Tauris, 2007).
490.
McCabe, Janet & Akass, Kim. Quality TV: contemporary American television and beyond. (I.B. Tauris, 2007).
491.
McCabe, Janet & Akass, Kim. Reading Desperate housewives: beyond the white picket fence. vol. Reading contemporary television (In the United States and Canada distributed by Palgrave Macmillan, 2006).
492.
Martin, Brett. Difficult men : from The Sopranos and The Wire to Mad Men and Breaking Bad. Brett Martin. (Faber and Faber, 2013).
493.
Miller, Toby. Television studies. (BFI Publishing, 2002).
494.
Mittell, J. All in the Game: The Wire, Serial Storytelling, and Procedural Logic: Chapter. in Third person: authoring and exploring vast narratives 429–438 (MIT Press, 2009).
495.
Mittell, Jason. Television and American culture. (Oxford University Press, 2010).
496.
Mullen, Megan Gwynne. The rise of cable programming in the United States: revolution or evolution? vol. Texas film and media studies series (University of Texas Press, 2003).
497.
Munt, S. A Queer Undertaking: Uncanny attachments in the HBO Television drama series, Six Feet Under, Chapter. in Queer attachments: the cultural politics of shame vol. Queer interventions 161–179 (Ashgate, 2008).
498.
Nichols-Pethick, Jonathan. TV cops: the contemporary American television police drama. (Routledge, 2012).
499.
Potter, Tiffany & Marshall, C. W. The wire: urban decay and American television. (Continuum, 2009).
500.
Potter, Tiffany & Marshall, C. W. The wire: urban decay and American television. (Continuum, 2009).
501.
Strinati, Dominic. Popular and cult television, postmodernism and Twin Peaks. vol. Discussion papers in sociology / University of Leicester, Department of Sociology (University of Leicester, Department of Sociology, 1996).
502.
Thompson, Kristin. Storytelling in film and television. (Harvard University Press, 2003).
503.
Thornham, Sue & Purvis, Tony. Television drama: theories and identities. (Palgrave Macmillan, 2005).
504.
Treviño, L. The Independent Film Channel: Creating a Genre and Brand Across Small Screens, Big Screens, and the Virtual World in The shifting definitions of genre: essays on labeling films, television shows and media. in The shifting definitions of genre: essays on labeling films, television shows and media (McFarland, 2008).
505.
Ball, Alan, Krause, Peter, Hall, Michael C., Conroy, Frances, & Ambrose, Lauren. Six feet under: the complete second series. (2004).
506.
Ball, Alan, Krause, Peter, Hall, Michael C., Conroy, Frances, & Ambrose, Lauren. Six feet under: the complete third series. (2005).
507.
Ball, Alan, Krause, Peter, Hall, Michael C., Conroy, Frances, & Ambrose, Lauren. Six feet under: the complete fourth series. (2005).
508.
Ball, Alan, Krause, Peter, Hall, Michael C., Conroy, Frances, & Ambrose, Lauren. Six feet under: the complete fifth series. (2006).
509.
Simon, David, West, Dominic, & Doman, John. The wire: Season two: A new case begins. (2004).
510.
Simon, David, West, Dominic, & Doman, John. The wire: Season three. (2005).
511.
Simon, David, West, Dominic, & Doman, John. The wire: Season four. (2005).
512.
Simon, David, West, Dominic, & Doman, John. The wire: Season five: Read between the lines. (2005).
513.
Weiner, Matthew et al. Mad men: Season 1. (2008).
514.
Weiner, Matthew et al. Mad men: Season 2. (2009).
515.
Weiner, Matthew et al. Mad men: Season 3. (2009).
516.
Ryan, Shawn, Dent, Catherine, & Chiklis, Michael. The shield: Season one. (2007).
517.
Chase, David, Gandolfini, James, & Bracco, Lorraine. The Sopranos: complete series 1. (2007).
518.
Lynch, David, Frost, Mark, MacLachlan, Kyle, & Ontkean, Michael. Twin peaks: season one and season two. (1990).
519.
Ball, Alan, Paquin, Anna, Moyer, Stephen, Skarsgård, Alexander, & Harris, Charlaine. True blood: the complete first season. (2008).
520.
Haynes, Todd, Winslet, Kate, Pearce, Guy, Leo, Melissa, & Cain, James M. Mildred Pierce [2011]. (2011).
521.
Tavinor, G. Videogames and Narrative, Chapter. in The art of videogames vol. New directions in aesthetics 110–129 (Wiley-Blackwell, 2009).
522.
Take Two Interactive & Irrational Games. Bioshock infinite. (2013).
523.
Naughty Dog Inc. The last of us. vol. PlayStation Network (2013).
524.
Valve (Firm). Portal 2. (2011).
525.
Rockstar Games (Firm). Red dead redemption. vol. PlayStation Network (2011).
526.
Bogost, Ian. Persuasive games: the expressive power of videogames. (MIT Press, 2007).
527.
Cassidy, S. B. The Videogame as Narrative. Quarterly Review of Film and Video 28, 292–306 (2011).
528.
Crogan, Patrick. Gameplay mode: war, simulation, and technoculture. vol. Electronic mediations (University of Minnesota Press, 2011).
529.
Darley, Andrew. Visual digital culture: surface play and spectacle in new media genres. vol. Sussex studies in culture and communication (Routledge, 2000).
530.
Donovan, Tristan. Replay: the history of video games. (Yellow Ant, 2010).
531.
Ebert, R. Okay, kids, play on my lawn | Roger Ebert’s Journal | Roger Ebert. http://www.rogerebert.com/rogers-journal/okay-kids-play-on-my-lawn (1AD).
532.
Video games can never be art | Roger Ebert’s Journal | Roger Ebert. http://www.rogerebert.com/rogers-journal/video-games-can-never-be-art (16AD).
533.
Galloway, Alexander R. Gaming: essays on algorithmic culture. vol. Electronic mediations (University of Minnesota Press, 2006).
534.
Mateas, M. A Preliminary Poetics for Interactive Drama and Games, Chapter. in FirstPerson: new media as story, performance, and game (MIT, 2004).
535.
Murray, Janet Horowitz. Hamlet on the holodeck: the future of narrative in cyberspace. (MIT Press, 1997).
536.
Rose, Frank. The art of immersion: how the digital generation is remaking Hollywood, Madison Avenue, and the way we tell stories. (W.W. Norton, 2012).
537.
Ruggill, Judd Ethan & McAllister, Ken S. Gaming matters: art, science, magic, and the computer game medium. (University of Alabama Press, 2011).
538.
Ryan, M.-L. Beyond Myth and Metaphor: The Case of Narrative in Digital Media. Game Studies vol. 1 http://www.gamestudies.org/0101/ryan/.
539.
Walkerdine, Valerie. Children, gender, video games: towards a relational approach to multimedia. (Palgrave Macmillan, 2007).
540.
Wardrip-Fruin, Noah & Harrigan, Pat. Second person: role playing and story in games and playable media. (MIT, 2007).
541.
Wolf, Mark J. P. Before the crash: early video game history. vol. Contemporary approaches to film and media series (Wayne State University Press, 2012).
542.
Elsaesser, T. The Mind-Game Film, Chapter. in Puzzle films: complex storytelling in contemporary cinema 13–41 (Wiley-Blackwell, 2009).
543.
Rawlinson, Mark. Introduction [inc. notes]. in American visual culture (Berg, 2009).
544.
Leverette, Ott & Buckley & MacCabe & Akass. It’s Not TV. in It’s not TV: watching HBO in the post-television era (Routledge, 2008).
545.
Jancovich & Lyons. Introduction. in Quality popular television: cult TV, the industry and fans (BFI Publishing, 2003).
546.
Sirk, Douglas & Jon Halliday. America II: 1950-1959. in Sirk on Sirk: conversations with Jon Halliday (Faber and Faber, 1997).
