[1]
Akin, F. et al. 2005. Gegen die wand =: Head on. Soda Pictures.
[2]
Alfredson, T. et al. 2009. Låt den rätte komma in =: Let the right one in. Momentum Pictures.
[3]
Becker, W. et al. 2007. Goodbye Lenin! Pathè!
[4]
Berghahn, D. 2011. ‘Seeing everything with different eyes’: the diasporic optic of Fatih Akin’s Head On (2004). New Directions in German Cinema. I.B.Tauris.
[5]
Beugnet, M. 2011. The Wounded Screen. The New Extremism in Cinema : From France to Europe. Edinburgh University Press.
[6]
Dardenne, L. et al. La promesse. Artificial Eye.
[7]
Delanty, G. 1995. The Ambivalence of Europe: A Theoretical Introduction. Inventing Europe: Idea, Identity, Reality. Palgrave Macmillan. 1–15.
[8]
Denis, C. et al. Trouble every day. Tartan video.
[9]
Dominique Nasta 2013. Contemporary Romanian Cinema : The History of an Unexpected Miracle. Columbia University Press.
[10]
Elsaesser, T. 2005. Double Occupancy and Small Adjustments. European cinema: face to face with Hollywood. Amsterdam University Press.
[11]
‘Europe’s Other Self’ by Stuart Hall, Marxism Today, August 1991 - UNZ.org: http://www.unz.org/Pub/MarxismToday-1991aug-00018.
[12]
Galt, R. 2012. Back-Projecting Germany. The New European Cinema : Redrawing the Map. Columbia University Press.
[13]
Haneke, M. et al. 2005. Caché =: Hidden. Artificial eye.
[14]
Hodgin, N. 2013. Good Bye, Ostalgie? Screening the East : Heimat, Memory and Nostalgia in German Film since 1989. Berghahn Books, Incorporated.
[15]
Ira Jaffe 2014. Slow Movies : Countering the Cinema of Action. Columbia University Press.
[16]
Iversen, G. 2016. Between Art and Genre: New Nordic Horror Cinema. A companion to Nordic cinema. M. Hjort, ed. Wiley/Blackwell.
[17]
James, H. 2014. Europe Reborn: A History, 1914-2000. Taylor and Francis.
[18]
Kaplan, E.A. 2010. European Art Cinema, Affect and Postcolonialism: Herzog, Denis and the Dardenne Brothers. Global art cinema: new theories and histories. Oxford University Press. 285–302.
[19]
Karlsson, H. 2013. The Vampire and the Anxieties of a Globalizing Swedish Welfare State: Låt den rätte komma in (Let the Right One In) (2008). European Journal of Scandinavian Studies. 43, 2 (Jan. 2013). DOI:https://doi.org/10.1515/ejss-2013-0010.
[20]
Koutsourakis, A. 2012. ‘You Want to Wake up to Free Yourself of the Image of Europa. But It Is Not Possible’: Lars von Trier’s Critique of the European Narrative of Progress in His Europa Trilogy. Journal of Contemporary European Studies. 20, 4 (Dec. 2012), 517–535. DOI:https://doi.org/10.1080/14782804.2012.737666.
[21]
Lanthimos, Y. 2010. Dogtooth. Verve Pictures.
[22]
Liz, M. 2016. Euro-visions: Europe in contemporary cinema. Bloomsbury Academic.
[23]
Lykidis, A. Crisis of sovereignty in recent Greek Cinema.
[24]
Mazierska, E. 2011. Goodbye Lenin or Not: Cinematic Representations of the End of Communism. European Cinema and Intertextuality: History, Memory and Politics. Palgrave Macmillan UK. 174–206.
[25]
Mosley, P. 2012. Responsible Realists. The Cinema of the Dardenne Brothers : Responsible Realism. Columbia University Press.
[26]
Mungiu, C. et al. 2008. 4 luni, 3 saptamâni si 2 zile =: 4 months, 3 weeks and 2 days. Artificial Eye.
[27]
Nagib, L. 2015. The Politics of Slowness and the Traps of Modernity. Slow Cinema. Edinburgh University Press.
[28]
Nasta, D. 2013. The 4-3-2 Paradigm: Mungiu’s Large-Scale Phenomenon. Contemporary Romanian Cinema : The History of an Unexpected Miracle. Columbia University Press.
[29]
Psaras, M. 2016. Introduction: The Meaning of the Crisis or the Crisis of Meaning. The Queer Greek Weird Wave : Ethics, Politics and the Crisis of Meaning. Springer International Publishing.
[30]
Quandt, J. 2011. Flesh and Blood: Sex and Violence in Recent French Cinema. The New Extremism in Cinema : From France to Europe. Edinburgh University Press.
[31]
Von Trier, L. 2002. Europa. Tartan.
[32]
Wheatley, C. 2011. Caché. BFI.
[33]
Wheatley, C. 2009. Shame and Guilt: Caché. Michael Haneke’s cinema: the ethic of image. Berghahn Books.
[34]
2011. Colossal youth. Eureka.
