[1]
Altman, Robert et al. 2003. McCabe and Mrs. Miller. Warner Home Video.
[2]
Andrew, G. 2004. The films of Nicholas Ray: the poet of nightfall. BFI.
[3]
Ashby, H. et al. 1973. The last detail. Columbia Tri-Star Home Entertainment.
[4]
Barr, C. 1963. CinemaScope: Before and After. Film Quarterly. 16, 4 (Jul. 1963), 4–24. DOI:https://doi.org/10.2307/3185949.
[5]
Barsam, Richard Meran et al. 2010. Looking at movies: an introduction to film. W.W. Norton.
[6]
Belton, J. 2013. American Comedy: Chapter. American cinema/American culture. McGraw-Hill Higher Education. 163–194.
[7]
Belton, J. 2013. Classical Hollywood Cinema: Narration in American cinema/American culture. American cinema/American culture. McGraw-Hill [distributor].
[8]
Belton, J. 1990. Glorious Technicolor, Breathtaking CinemaScope and Stereophonic Sound: Hollywood in the age of television. Hollywood in the age of television. Unwin Hyman. 185–211.
[9]
Belton, J. 2013. The Emergence of Cinema as an Institution in American cinema/American culture. American cinema/American culture. McGraw-Hill [distributor].
[10]
Belton, John 2013. American cinema/American culture. McGraw-Hill Higher Education.
[11]
Belton, John 1992. Widescreen cinema. Harvard University Press.
[12]
Benshoff, Harry M. and Griffin, Sean 2009. America on film: representing race, class, gender, and sexuality at the movies. Wiley-Blackwell.
[13]
Benshoff, Harry M. and Griffin, Sean 2009. America on film: representing race, class, gender, and sexuality at the movies. Wiley-Blackwell.
[14]
Bergfelder, T. and Street, S. 2013. Introduction: Mildred Pierce, pedagogy and the canon. Screen. 54, 3 (Sep. 2013), 371–377. DOI:https://doi.org/10.1093/screen/hjt030.
[15]
Bernardi, Daniel 2008. The persistence of whiteness: race and contemporary Hollywood cinema. Routledge.
[16]
Biesen, Sheri Chinen 2005. Blackout: World War II and the origins of film noir. Johns Hopkins University Press.
[17]
Bilton, A. 2013. Silent film comedy and American culture. Palgrave Macmillan.
[18]
Biskind, Peter 1998. Easy riders, raging bulls: how the sex ‘n’ drugs ‘n’ rock ‘n’ roll generation saved Hollywood. Bloomsbury.
[19]
Biskind, Peter 1984. Seeing is believing: how Hollywood taught us to stop worrying and love the fifties. Pluto Press.
[20]
Bordwell, D. 1985. An Excessively Obvious Cinema in The classical Hollywood cinema: film style & mode of production to 1960. The classical Hollywood cinema: film style & mode of production to 1960. Routledge & Kegan Paul. 3–12.
[21]
Bordwell, D. 1985. Classical Narration: the Hollywood example: Chapter. Narration in the fiction film. Methuen. 156–166.
[22]
Bordwell, D. et al. 2017. Film art: an introduction. McGraw-Hill Education.
[23]
Bordwell, D. 1985. Since 1960: the Persistence of a Mode of Film Practice: Chapter. The classical Hollywood cinema: film style & mode of production to 1960. Routledge & Kegan Paul. 367–377.
[24]
Bordwell, D. and Thompson, K. 2004. Narrative as a Formal System in Film art: an introduction. Film art: an introduction. McGraw-Hill.
[25]
Bordwell, D. and Thompson, K. 2013. The Development of the Classical Hollywood Cinema: Chapter. Film art: an introduction. McGraw-Hill. 466–469.
[26]
Bowser, Kenneth et al. 2006. Easy riders, raging bulls: how the sex ‘n’ drugs ‘n’ rock ‘n’ roll generation saved Hollywood. in2film.
[27]
Braunstein, Peter and Doyle, Michael W. 2002. Imagine nation: the American counterculture of the 1960s and ’70s. Routledge.
[28]
Britton, A. and Grant, B.K. 2008. Britton on film: the complete film criticism of Andrew Britton. Wayne State University Press.
[29]
Brownlow, K. et al. 1987. Buster Keaton, a hard act to follow. An Academy Video release from the British Film Institute.
[30]
Cagin, Seth et al. 1994. Born to be wild: Hollywood and the sixties generation. Coyote Books.
[31]
Capra, Frank et al. 1934. It happened one night. Columbia Tristar Home Video.
[32]
Casper, Drew 2011. Hollywood film 1963-1976: years of revolution and reaction. Wiley-Blackwell.
[33]
Cook, David A. 2002. Lost illusions: American cinema in the shadow of Watergate and Vietnam, 1970-1979. University of California Press.
[34]
Cook, P. 1998. ‘Duplicity in Mildred Pierce’: Chapter. Women in film noir. British Film Institute. 69–80.
[35]
Cowie, E. 1998. Storytelling: Classical Hollywood Cinema and Classical Narrative: Contemporary Hollywood cinema. Contemporary Hollywood cinema. Routledge. 178–190.
[36]
Crafton, D. 2006. Pie and Chase: Gag, Spectacle and Narrative in Slapstick Comedy: Chapter of Cinema of Attractions Reloaded. The Cinema of Attractions Reloaded. Amsterdam University Press. 285–293.
[37]
Cukor, G. et al. 2005. The Philadelphia story. Warner Home Video.
[38]
Curtiz, M. et al. 2005. Mildred Pierce [1945]. Warner Home Video.
[39]
DeMille, C.B. et al. 2001. The ten commandments. Paramount.
[40]
Demme, Ted and LaGravenese, Richard 2004. A decade under the influence: the 70’s films that changed everything. Video Collection International.
[41]
Denzin, N.K. 2002. The Cinematic Racial Order: Reading race: Hollywood and the cinema of racial violence. Reading race: Hollywood and the cinema of racial violence. SAGE. 17–45.
[42]
Dixon, Wheeler Winston 2006. American cinema of the 1940’s: themes and variations. Berg.
[43]
Doherty, T.P. 2002. Teenagers and teenpics: the juvenilization of American movies in the 1950s. Temple University Press.
[44]
Edgerton, Gary R. and Jones, Jeffrey P. 2008. The essential HBO reader. University Press of Kentucky.
[45]
Edgerton, G.R. 2007. The Columbia history of American television. Columbia University Press.
[46]
Eisenschitz, B. 2011. Nicholas Ray: an American journey. University of Minnesota Press.
[47]
Elsaesser, T. 2004. The Pathos of Failure: American Film in the 1970s: Notes on the Unmotivated Hero’. The last great American picture show: new Hollywood cinema in the 1970s. Amsterdam University Press. 279–292.
[48]
Foertsch, Jacqueline and EBSCO ebook 2008. American culture in the 1940s. Edinburgh University Press.
[49]
Fonda, Peter et al. 1999. Easy rider. Columbia Tristar Home Video.
[50]
Fonda, Peter et al. 2004. The trip. MGM Home Entertainment.
[51]
Friedman, Lester D. 2007. American cinema of the 1970s: themes and variations. Rutgers University Press.
[52]
Gair, Christopher 2007. The American counterculture. Edinburgh University Press.
[53]
Gehring, W.D. 2002. Romantic vs. screwball comedy: charting the difference. Scarecrow Press.
[54]
Grindon, L. 2011. His Girl Friday (1940): Jailbreak!: Chapter. The Hollywood Romantic Comedy: Conventions, History and Controversies. Wiley. 96–105.
[55]
Gripsrud, Jostein 2010. Lavik, Erlend Forward to the Past: The Strange Case of The Wire in Relocating television: television in the digital context. Relocating television: television in the digital context. Routledge.
[56]
Grist, L. 2013. The films of Martin Scorsese, 1978-99: authorship and context II. Palgrave Macmillan.
[57]
Halliwell, M. 2007. American culture in the 1950s. Edinburgh University Press.
[58]
Hammond, M. 2006. New Black Cinema. Contemporary American Cinema. McGraw-Hill Education. 389–397.
[59]
Hathaway, H. et al. 2008. How the West was won. Warner Home Video.
[60]
Hawks, H. et al. 2007. Bringing up Baby. Universal.
[61]
Hawks, H. et al. 2011. His girl Friday. UCA.
[62]
Hawks, H. Twentieth Century (1934) - Columbia Essential Classics Region 2 PAL.
[63]
Hawks, Howard et al. The big sleep. Warner Home Video.
[64]
Hayworth, Rita et al. 1948. The lady from Shanghai. Tristar Home Entertainment.
[65]
Hellman, M. 1971. Two-Lane Blacktop (1971). Criterion.
[66]
Hill, John and Gibson, Pamela Church 2000. American cinema and Hollywood: critical approaches. Oxford University Press.
[67]
Hillier, J. et al. 1996. Howard Hawks, American artist. British Film Institute.
[68]
Hills, M. 2004. Quality Teen TV’ and ‘Mainstream Cult. Teen TV: genre, consumption and identity. British Film Institute. 54–70.
[69]
Jeffords, S. 1994. Hard bodies: Hollywood masculinity in the Reagan era. Rutgers University Press.
[70]
Johnson, C. 2012. It’s Not TV, It’s HBO!” Branding US Pay TV in Branding television. Branding television. Routledge.
[71]
Jonze, S. et al. 2003. Being John Malkovich. Universal.
[72]
Kaufman, Will 2009. American culture in the 1970s. Edinburgh University Press.
[73]
Keaton, B. 2006. Buster Keaton: the complete short films 1917-1923, Accompanying book. One Week. Eureka Video.
[74]
Keaton, B. et al. 2009. Our hospitality. Starlite digital.
[75]
Keaton, B. et al. 2007. Our hospitality; directed by Buster Keaton and John G. Blystone. Sherlock Jnr.; directed by Buster Keaton. signature.
[76]
Keaton, B. et al. 2005. Seven chances. Kino Video.
[77]
Kennedy, M. and Chaplin, C. 2003. The circus. mk2/Warner Brothers Home Video.
[78]
King, G. 2009. Being Charlie Kaufman. Indiewood, USA: where Hollywood meets independent cinema. I.B. Tauris. 47–92.
[79]
King, Geoff 2005. Narrative. American Independent Cinema. I.B. Tauris. 59–104.
[80]
King, N. 2007. New Hollywood in The cinema book. The cinema book. British Film Institute.
[81]
Koster, H. et al. 2002. The robe. 20th Century Fox Home Entertainment.
[82]
Koszarski, Richard 1990. An evening’s entertainment: the age of the silent feature picture, 1915-1928. Charles Scribner’s Sons.
[83]
Krämer, Peter 2005. New Hollywood: from Bonnie and Clyde to Star Wars. Wallflower.
[84]
Kuhn, A. 2007. Classical Hollywood Narrative in The cinema book. The cinema book. British Film Institute. 45–48.
[85]
La Cava, Gregory et al. 1936. My man Godfrey. Elstree Hill Entertainment.
[86]
Lang, Fritz et al. 2008. The woman in the window. Optimum Classic.
[87]
Lev, Peter 2003. Transforming the screen, 1950-1959. University of California Press.
[88]
Lewis, J. and Smoodin, E.L. eds. 2015. The American film history reader. Routledge.
[89]
Lewis, Jon 2008. American film: a history. W.W. Norton.
[90]
Lorence, J.J. 2006. Unfinished Business: Do the Right Thing (1989) and the Escalation of Social Tension in Screening America: United States history through film since 1900. Screening America: United States history through film since 1900. Pearson Longman. 182–194.
[91]
Lucas, G. et al. 1973. American graffiti. Columbia Tri-Star Home Video.
[92]
Lucia, C. et al. 2015. American Film History: Selected Readings, Origins To 1960. John Wiley & Sons, Incorporated.
[93]
Lucia, C.A.B. et al. eds. 2015. American film history: selected readings. 1960 to the present. John Wiley & Sons.
[94]
Mack, M. et al. 2005. The General. Kino Video.
[95]
Maltby, R. 2003. Hollywood cinema: an introduction. Blackwell Publishers.
[96]
Maltby, R. 1995. Narrative in Hollywood cinema: an introduction. Hollywood cinema: an introduction. Blackwell Publishers.
[97]
Maltby, Richard 2003. Hollywood cinema: an introduction. Blackwell Publishers.
[98]
Mann, Glenn 1994. Radical visions : American film renaissance, 1967-1976: No. 41. Greenwood Pr.
[99]
May, Lary 1980. Screening out the past: the birth of mass culture and the motion picture industry. Oxford University Press.
[100]
Mazursky, Paul et al. 2006. Bob and Carol and Ted and Alice. Sony Pictures Home Entertainment.
[101]
McCarey, L. et al. 2005. His Wooden Wedding, The Charley Chase collection: Vol. 2. The Charley Chase collection: Vol. 2. Kino on Video.
[102]
McCarey, L. et al. 2003. The awful truth. Columbia Tristar Home Entertainment.
[103]
McCarey, L. et al. 2004. The Charley Chase collection: [Vol. 1]. Kino on Video.
[104]
McDonald, T.J. 2007. Romantic comedy: boy meets girl meets genre. Wallflower.
[105]
Minnelli, V. et al. 2008. Some came running. Warner Home Video.
[106]
Mittell, J. 2006. Narrative Complexity in Contemporary American Television. The Velvet Light Trap. 58, 1 (2006), 29–40. DOI:https://doi.org/10.1353/vlt.2006.0032.
[107]
Morgen, Brett et al. 2003. The kid stays in the picture. Momentum Pictures.
[108]
Moseley, R. 2002. Glamorous witchcraft: gender and magic in teen film and television. Screen. 43, 4 (Dec. 2002), 403–422. DOI:https://doi.org/10.1093/screen/43.4.403.
[109]
Naremore, James 2008. More than night: film noir in its contexts. University of California Press.
[110]
Neale, S. 2006. ”The Last Good Time We Ever Had?” Revising the Hollywood Renaissance in Contemporary American cinema. Contemporary American cinema. Open University Press.
[111]
Neale, Stephen 2012. The classical Hollywood reader. Routledge.
[112]
Newmeyer, F. et al. 2007. Harold Lloyd: the definitive collection, Disc 1. Optimum.
[113]
Paulus, T. and King, R. 2010. Slapstick Comedy. Taylor and Francis.
[114]
Penn, A. et al. 1967. Bonnie and Clyde. Warner Bros. Home Video.
[115]
Penn, Arthur et al. 2004. Alice’s Restaurant. MGM.
[116]
Place, J.A. and Peterson, L. 1976. Some Visual Motifs in Film Noir in Movies and methods: an anthology. Movies and methods: an anthology. University of California Press. 325–338.
[117]
Polan, Dana B. 1986. Power and paranoia: history, narrative and the American cinema, 1940-1950. Columbia University Press.
[118]
Pomerance, Murray 2005. American cinema of the 1950s: themes and variations. Berg.
[119]
Powell, Dick et al. 2008. Murder my sweet. Universal.
[120]
Rafelson, B. et al. 1970. Five easy pieces. Criterion collection.
[121]
Ray, N. et al. 2007. Bigger than life. British Film Institute/Twentieth Century Fox Home Entertainment.
[122]
Ray, N. et al. 2005. Rebel without a cause. Warner Home Video.
[123]
Ray, R. 1985. A Certain Tendency of the American Cinema: Hollywood’s Formal and Thematic Paradigms in A certain tendency of the Hollywood cinema, 1930-1980. A certain tendency of the Hollywood cinema, 1930-1980. Princeton University Press. 25–69.
[124]
Ray, R. 1985. ‘The Godfather and Taxi Driver’: Chapter. A certain tendency of the Hollywood cinema, 1930-1980. Princeton University Press. 326–360.
[125]
Richard Maltby ‘Film Noir’: The Politics of the Maladjusted Text. Journal of American Studies. 18, 1, 49–71.
[126]
Schatz, Thomas 1997. Boom and bust: American cinema in the 1940s. University of California Press.
[127]
Scorsese, M. et al. 2001. Mean streets. Universal.
[128]
Scorsese, M. et al. 2007. Taxi driver. Sony.
[129]
Shail, A. et al. 2010. Back to the future. BFI.
[130]
Sharon Marie Ross , and Louisa Ellen Stein 2014. ‘Watching Teen TV’. Teen Television : Essays on Programming and Fandom. McFarland & Company, Incorporated Publishers. 3–26.
[131]
Shiel, M. 2006. American Cinema, 1970-75 in Contemporary American cinema. Contemporary American cinema. Open University Press.
[132]
Shumway, D.R. 2014. Screwball Comedies: Constructing Romance, Mystifying Marriage: Chapter. Film Genre Reader IV. University of Texas Press.
[133]
Silver, Alain and Ursini, James 2004. Film noir reader 4: the crucial films and themes. Limelight Editions.
[134]
Singleton, J. 2004. Boyz n the Hood. Columbia Tri-Star Home Video.
[135]
Siodmak, R. et al. 2008. The killers. Universal.
[136]
Sirk, D. et al. 2007. Written on the wind. Universal.
[137]
Sklar, Robert 1978. Hollywood’s Collapse in Movie-made America: a cultural history of American movies. Movie-made America: a cultural history of American movies. Chappell.
[138]
Sklar, Robert 1978. Movie-made America: a cultural history of American movies. Chappell.
[139]
Slocum, J.D. 2005. Rebel without a cause: approaches to a maverick masterwork. State University of New York Press.
[140]
Spicer, A. 2002. Noir Style: Chapter. Film noir. Longman. 45–63.
[141]
Steinbeck, J. et al. 2005. East of Eden. Warner Bros. Home Video.
[142]
Stern, L. 1995. The Scorsese connection. Indiana University Press.
[143]
Stevens, G. et al. 2003. Giant. Warner Home Video.
[144]
Sturges, P. et al. 2005. Sullivan’s travels. Universal Studios.
[145]
Sturges, P. et al. 2005. The lady Eve. Universal Studios.
[146]
Swingrover, E. A. 2004. The counterculture reader. Pearson/Longman.
[147]
Tasker, Y. 1996. Approaches to the New Hollywood in Cultural studies and communications. Cultural studies and communications. Arnold.
[148]
Taubin, A. and British Film Institute 2012. Taxi driver. Palgrave Macmillan on behalf of the British Film Institute.
[149]
Telotte, J. P. 1989. Voices in the dark: the narrative patterns of film noir. University of Illinois Press.
[150]
Thomas, S. 1993. The New Hollywood. Film theory goes to the movies. Routledge. 8–36.
[151]
Thompson, K. 1999. Modern Classicism in Storytelling in the new Hollywood: understanding classical narrative technique. Storytelling in the new Hollywood: understanding classical narrative technique. Harvard University Press. 1–49.
[152]
Tourneur, Jacques et al. 2007. Out of the past. Universal Studios.
[153]
Tzioumakis, Yannis 2006. The Institutionalisation of American Independent Cinema. American Independent Cinema : An Introduction. Edinburgh University Press. 246–280.
[154]
Ulmer, E.G. et al. 2003. Detour. Siren.
[155]
Walcott, R. Keeping the Black Phallus Erect. Cineaction. 68–74.
[156]
Wee, V. 2004. Selling Teen Culture: How American Multimedia Conglomeration Shaped Teen Television in the 1990s. Teen TV: genre, consumption and identity. British Film Institute. 87–98.
[157]
Wilder, Billy et al. 2005. Double indemnity. Universal Home Video.
[158]
Williams, L. 1988. Feminist Film Theory: Mildred Pierce and the Second World War: Chapter. Female spectators: looking at film and television. Verso. 12–30.
[159]
Wood, R. 2006. Howard Hawks. Wayne State University Press.
[160]
2011. A Proper Dash of Spice: Screwball Comedy and the Production Code. Journal of Film and Video. 63, 3 (2011). DOI:https://doi.org/10.5406/jfilmvideo.63.3.0045.
[161]
Back to the Future Trilogy [DVD] [1985].
[162]
Growing Pains: Season 1 [1985].
[163]
Growing Pains: Season 7.
[164]
The OC - The Complete Season 1 [DVD] [2004].
[165]
True Detective - Season 1 [DVD] [2014].
[166]
Westworld - Season 1 [includes Ultraviolet Digital Download] [DVD] [2016].
