1
Belton, John. American cinema/American culture. 4th ed. International edition. London: : McGraw-Hill Higher Education 2013.
2
Barsam, Richard Meran, Monahan, Dave, Gocsik, Karen M. Looking at movies: an introduction to film. 3rd ed. New York, N.Y.: : W.W. Norton 2010.
3
Benshoff, Harry M., Griffin, Sean. America on film: representing race, class, gender, and sexuality at the movies. 2nd ed. Oxford: : Wiley-Blackwell 2009.
4
Hill, John, Gibson, Pamela Church. American cinema and Hollywood: critical approaches. Oxford: : Oxford University Press 2000.
5
Lewis, Jon. American film: a history. New York: : W.W. Norton 2008.
6
Lucia CAB, Grundmann R, Simon A, editors. American film history: selected readings. 1960 to the present. Hoboken, New Jersey: : John Wiley & Sons 2015. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=4180234
7
Lucia C, Grundmann R, Simon A. American Film History: Selected Readings, Origins To 1960. 1st ed. Hoboken: : John Wiley & Sons, Incorporated 2015. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=2072524
8
Maltby, Richard. Hollywood cinema: an introduction. 2nd ed. Oxford: : Blackwell Publishers 2003.
9
Sklar, Robert. Movie-made America: a cultural history of American movies. London: : Chappell 1978.
10
Lewis J, Smoodin EL, editors. The American film history reader. Abingdon, Oxon: : Routledge 2015.
11
Bordwell D, Thompson K, Smith J. Film art: an introduction. Eleventh edition. New York, NY: : McGraw-Hill Education 2017. https://www.vlebooks.com/vleweb/product/openreader?id=LeicesterU&isbn=9780077188917
12
Edgerton GR. The Columbia history of American television. New York, N.Y.: : Columbia University Press 2007.
13
McCarey L, Roach H, Chase C, et al. His Wooden Wedding, The Charley Chase collection: Vol. 2. The Charley Chase collection: Vol. 2. 2005;Slapstick symposium.
14
Keaton B. Buster Keaton: the complete short films 1917-1923, Accompanying book. One Week. 2006;Masters of cinema.
15
Keaton B, Blystone JG, Talmadge N, et al. Our hospitality; directed by Buster Keaton and John G. Blystone. Sherlock Jnr.; directed by Buster Keaton. 2007.
16
Crafton D. Pie and Chase: Gag, Spectacle and Narrative in Slapstick Comedy: Chapter of Cinema of Attractions Reloaded. In: The Cinema of Attractions Reloaded. Amsterdam: : Amsterdam University Press 2006. 285–93.http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665909210002746&institutionId=2746&customerId=2745
17
Belton J. American Comedy: Chapter. In: American cinema/American culture. New York, N.Y.: : McGraw-Hill Higher Education 2013. 163–94.
18
Belton J. The Emergence of Cinema as an Institution in American cinema/American culture. In: American cinema/American culture. London: : McGraw-Hill [distributor] 2013.
19
Koszarski, Richard. An evening’s entertainment: the age of the silent feature picture, 1915-1928. New York: : Charles Scribner’s Sons 1990. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5661323260002746&institutionId=2746&customerId=2745
20
May, Lary. Screening out the past: the birth of mass culture and the motion picture industry. New York: : Oxford University Press 1980.
21
Bilton A. Silent film comedy and American culture. Basingstoke: : Palgrave Macmillan 2013. https://login.ezproxy3.lib.le.ac.uk/login?qurl=http://www.palgraveconnect.com/doifinder/10.1057/9781137020253
22
Paulus T, King R. Slapstick Comedy. Hoboken: : Taylor and Francis 2010.
23
Keaton B, Dwyer R, Cline E. Seven chances. 2005;Art of Buster Keaton.
24
McCarey L, Ceder R, Chase C, et al. The Charley Chase collection: [Vol. 1]. 2004;Slapstick Symposium.
25
Brownlow K, Gill D, Keaton B, et al. Buster Keaton, a hard act to follow. 1987.
26
Keaton B, McGuire K, Talmadge N, et al. Our hospitality. 2009;BK series.
27
Mack M, Keaton B, Cline E, et al. The General. 2005;Art of Buster Keaton.
28
Newmeyer F, Taylor S, Roach H, et al. Harold Lloyd: the definitive collection, Disc 1. 2007.
29
Kennedy M, Chaplin C. The circus. 2003;Chaplin collection.
30
Hawks H, Grant C, Russell R, et al. His girl Friday. 2011.
31
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. London: : Routledge & Kegan Paul 1985. 3–12.https://blackboard.le.ac.uk/bbcswebdav/pid-522062-dt-content-rid-641026_5/library/eReserves/HA2224/HA2224%20-%20Doc%2013.pdf
32
Bordwell D, Thompson K. The Development of the Classical Hollywood Cinema: Chapter. In: Film art: an introduction. New York, N.Y.: : McGraw-Hill 2013. 466–9.
33
Belton J. Classical Hollywood Cinema: Narration in American cinema/American culture. In: American cinema/American culture. London: : McGraw-Hill [distributor] 2013.
34
Bordwell D, Thompson K. Narrative as a Formal System in Film art: an introduction. In: Film art: an introduction. Boston, Mass: : McGraw-Hill 2004.
35
Bordwell D. Classical Narration: the Hollywood example: Chapter. In: Narration in the fiction film. London: : Methuen 1985. 156–66.http://site.ebrary.com/lib/leicester/Doc?id=10769162
36
Cowie E. Storytelling: Classical Hollywood Cinema and Classical Narrative: Contemporary Hollywood cinema. In: Contemporary Hollywood cinema. London: : Routledge 1998. 178–90.http://site.ebrary.com/lib/leicester/Doc?id=10688216
37
Kuhn A. Classical Hollywood Narrative in The cinema book. In: The cinema book. London: : British Film Institute 2007. 45–8.
38
Maltby R. Narrative in Hollywood cinema: an introduction. In: Hollywood cinema: an introduction. Oxford: : Blackwell Publishers 1995.
39
Neale, Stephen. The classical Hollywood reader. London: : Routledge 2012.
40
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. Chichester: : Princeton University Press 1985. 25–69.
41
Thompson K. Modern Classicism in Storytelling in the new Hollywood: understanding classical narrative technique. In: Storytelling in the new Hollywood: understanding classical narrative technique. Cambridge, Mass: : Harvard University Press 1999. 1–49.https://blackboard.le.ac.uk/bbcswebdav/pid-419032-dt-content-rid-583738_5/library/eReserves/HA2224/HA2224%20-%20Doc%2016.pdf
42
Gehring WD. Romantic vs. screwball comedy: charting the difference. Lanham: : Scarecrow Press 2002.
43
Shumway DR. Screwball Comedies: Constructing Romance, Mystifying Marriage: Chapter. In: Film Genre Reader IV. Austin: : University of Texas Press 2014. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665768790002746&institutionId=2746&customerId=2745
44
Grindon L. His Girl Friday (1940): Jailbreak!: Chapter. In: The Hollywood Romantic Comedy: Conventions, History and Controversies. Hoboken: : Wiley 2011. 96–105.http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665208880002746&institutionId=2746&customerId=2745
45
Hillier J, Wollen P, British Film Institute. Howard Hawks, American artist. London: : British Film Institute 1996.
46
McDonald TJ. Romantic comedy: boy meets girl meets genre. London: : Wallflower 2007. http://ezproxy.lib.le.ac.uk/login?url=http://ebookcentral.proquest.com/lib/leicester/detail.action?docID=927990
47
Wood R. Howard Hawks. New ed. Detroit, Mich: : Wayne State University Press 2006. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3042431280002746&institutionId=2746&customerId=2745
48
A Proper Dash of Spice: Screwball Comedy and the Production Code. Journal of Film and Video 2011;63. doi:10.5406/jfilmvideo.63.3.0045
49
Maltby R. Hollywood cinema: an introduction. 2nd ed. Oxford: : Blackwell Publishers 2003.
50
Capra, Frank, Adams, Samuel Hopkins, Gable, Clark, et al. It happened one night. 1934;Columbia classics.
51
La Cava, Gregory, Powell, William, Lombard, Carole, et al. My man Godfrey. 1936.
52
Cukor G, Grant C, Hepburn K, et al. The Philadelphia story. 2005;TCM greatest classic films collection. Romantic comedies.
53
Hawks H. Twentieth Century (1934) - Columbia Essential Classics Region 2 PAL. https://www.amazon.co.uk/d/fi1/Twentieth-Century-Columbia-Essential-Classics-Region-PAL/B005ZCFD8M/ref=sr_1_1?s=dvd&ie=UTF8&qid=1481732184&sr=1-1&keywords=twentieth+century
54
McCarey L, Dunne I, Grant C. The awful truth. 2003.
55
Sturges P, Stanwyck B, Fonda H, et al. The lady Eve. 2005;Written and directed by Preston Sturges.
56
Sturges P, McCrea J, Lake V. Sullivan’s travels. 2005.
57
Hawks H, Hepburn K, Grant C, et al. Bringing up Baby. 2007.
58
Curtiz M, Cain JM, MacDougall R, et al. Mildred Pierce [1945]. 2005.
59
Spicer A. Noir Style: Chapter. In: Film noir. Harlow: : Longman 2002. 45–63.
60
Biesen, Sheri Chinen. Blackout: World War II and the origins of film noir. Baltimore, Md: : Johns Hopkins University Press 2005.
61
Dixon, Wheeler Winston. American cinema of the 1940’s: themes and variations. Oxford: : Berg 2006.
62
Foertsch, Jacqueline, EBSCO ebook. American culture in the 1940s. Edinburgh: : Edinburgh University Press 2008.
63
Cook P. ‘Duplicity in Mildred Pierce’: Chapter. In: Women in film noir. London: : British Film Institute 1998. 69–80.
64
Richard Maltby. ‘Film Noir’: The Politics of the Maladjusted Text. Journal of American Studies;18:49–71.
65
Naremore, James. More than night: film noir in its contexts. Updated and expanded ed. Berkeley, Calif: : University of California Press 2008. http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=235939
66
Place JA, Peterson L. Some Visual Motifs in Film Noir in Movies and methods: an anthology. In: Movies and methods: an anthology. Berkeley, Calif: : University of California Press 1976. 325–38.https://blackboard.le.ac.uk/bbcswebdav/pid-672713-dt-content-rid-870973_5/library/eReserves/HA2224/HA2224%20-%20Doc%2020456.pdf
67
Polan, Dana B. Power and paranoia: history, narrative and the American cinema, 1940-1950. New York, N.Y.: : Columbia University Press 1986.
68
Schatz, Thomas. Boom and bust: American cinema in the 1940s. Berkeley, Calif: : University of California Press 1997.
69
Silver, Alain, Ursini, James. Film noir reader 4: the crucial films and themes. New York: : Limelight Editions 2004.
70
Telotte, J. P. Voices in the dark: the narrative patterns of film noir. Urbana, Ill: : University of Illinois Press 1989.
71
Bergfelder T, Street S. Introduction: Mildred Pierce, pedagogy and the canon. Screen 2013;54:371–7. doi:10.1093/screen/hjt030
72
Williams L. Feminist Film Theory: Mildred Pierce and the Second World War: Chapter. In: Female spectators: looking at film and television. London: : Verso 1988. 12–30.
73
Hawks, Howard, Chandler, Raymond, Faulkner, William, et al. The big sleep. ;Bogie and Bacall : the signature collection.
74
Ulmer EG, Goldsmith M, Neal T, et al. Detour. 2003;Film noir thrillers.
75
Wilder, Billy, Cain, James M., MacMurray, Fred, et al. Double indemnity. 2005.
76
Hayworth, Rita, King, Sherwood, Welles, Orson, et al. The lady from Shanghai. 1948;Columbia classics.
77
Powell, Dick, Trevor, Claire, Dmytryk, Edward, et al. Murder my sweet. 2008;Universal cinema classics.
78
Tourneur, Jacques, Homes, Geoffrey, Mitchum, Robert, et al. Out of the past. 2007.
79
Lang, Fritz, Robinson, Edward G., Bennett, Joan, et al. The woman in the window. 2008.
80
Siodmak R, Hemingway E, Lancaster B, et al. The killers. 2008;Universal Cinema Classics.
81
Ray N, Dean J, Wood N. Rebel without a cause. 2005.
82
Barr C. CinemaScope: Before and After. Film Quarterly 1963;16:4–24. doi:10.2307/3185949
83
Belton J. Glorious Technicolor, Breathtaking CinemaScope and Stereophonic Sound: Hollywood in the age of television. In: Hollywood in the age of television. Boston, Mass: : Unwin Hyman 1990. 185–211.
84
Belton, John. Widescreen cinema. Cambridge, Mass: : Harvard University Press 1992.
85
Biskind, Peter. Seeing is believing: how Hollywood taught us to stop worrying and love the fifties. London: : Pluto Press 1984.
86
Halliwell M. American culture in the 1950s. Edinburgh: : Edinburgh University Press 2007. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=292360
87
Lev, Peter. Transforming the screen, 1950-1959. Berkeley, Calif: : University of California Press 2003.
88
Pomerance, Murray. American cinema of the 1950s: themes and variations. Oxford: : Berg 2005.
89
Slocum JD. Rebel without a cause: approaches to a maverick masterwork. New York, N.Y.: : State University of New York Press 2005. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3042412220002746&institutionId=2746&customerId=2745
90
Eisenschitz B. Nicholas Ray: an American journey. Minneapolis, Minn: : University of Minnesota Press 2011.
91
Andrew G. The films of Nicholas Ray: the poet of nightfall. [2nd ed.]. London: : BFI 2004.
92
Doherty TP. Teenagers and teenpics: the juvenilization of American movies in the 1950s. Rev. and expanded ed. Philadelphia, Pa: : Temple University Press 2002. http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3042497730002746&institutionId=2746&customerId=2745
93
Ray N, Hume C, Maibaum R, et al. Bigger than life. 2007.
94
Steinbeck J, Kazan E, Dean J, et al. East of Eden. 2005.
95
Stevens G, Hudson R, Taylor E, et al. Giant. 2003.
96
Hathaway H, Ford J, Marshall G, et al. How the West was won. 2008.
97
Koster H, Douglas LC, Burton R, et al. The robe. 2002.
98
DeMille CB, Heston C, Brynner Y, et al. The ten commandments. 2001;Widescreen collection.
99
Minnelli V, Sinatra F, Martin D, et al. Some came running. [S.l.]: : Warner Home Video 2008.
100
Sirk D, Zuckerman G, Wilder R, et al. Written on the wind. 2007;Directed by Douglas Sirk.
101
Scorsese M, Schrader P, De Niro R, et al. Taxi driver. 2007.
102
Ray R. ‘The Godfather and Taxi Driver’: Chapter. In: A certain tendency of the Hollywood cinema, 1930-1980. Princeton, N.J.: : Princeton University Press 1985. 326–60.
103
Bordwell D. Since 1960: the Persistence of a Mode of Film Practice: Chapter. In: The classical Hollywood cinema: film style & mode of production to 1960. London: : Routledge & Kegan Paul 1985. 367–77.
104
Biskind, Peter. Easy riders, raging bulls: how the sex ‘n’ drugs ‘n’ rock ‘n’ roll generation saved Hollywood. London: : Bloomsbury 1998.
105
Braunstein, Peter, Doyle, Michael W. Imagine nation: the American counterculture of the 1960s and ’70s. New York: : Routledge 2002.
106
Elsaesser T. The Pathos of Failure: American Film in the 1970s: Notes on the Unmotivated Hero’. In: The last great American picture show: new Hollywood cinema in the 1970s. Amsterdam: : Amsterdam University Press 2004. 279–92.http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665206790002746&institutionId=2746&customerId=2745
107
Cagin, Seth, Dray, Philip, Cagin, Seth. Born to be wild: Hollywood and the sixties generation. 2nd ed. Boca Raton, Fla: : Coyote Books 1994.
108
Casper, Drew. Hollywood film 1963-1976: years of revolution and reaction. Oxford: : Wiley-Blackwell 2011. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=675252
109
Cook, David A. Lost illusions: American cinema in the shadow of Watergate and Vietnam, 1970-1979. Berkeley, Calif: : University of California Press 2002.
110
Friedman, Lester D. American cinema of the 1970s: themes and variations. New Brunswick, N.J.: : Rutgers University Press 2007.
111
Gair, Christopher. The American counterculture. Edinburgh: : Edinburgh University Press 2007. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=286991
112
Kaufman, Will. American culture in the 1970s. Edinburgh: : Edinburgh University Press 2009.
113
King N. New Hollywood in The cinema book. In: The cinema book. London: : British Film Institute 2007.
114
Krämer, Peter. New Hollywood: from Bonnie and Clyde to Star Wars. London: : Wallflower 2005. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=1763952
115
Mann, Glenn. Radical visions : American film renaissance, 1967-1976: No. 41. Westport: : Greenwood Pr 1994.
116
Neale S. ”The Last Good Time We Ever Had?” Revising the Hollywood Renaissance in Contemporary American cinema. In: Contemporary American cinema. Boston: : Open University Press 2006.
117
Shiel M. American Cinema, 1970-75 in Contemporary American cinema. In: Contemporary American cinema. Boston: : Open University Press 2006.
118
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. London: : Chappell 1978.
119
Swingrover, E. A. The counterculture reader. New York: : Pearson/Longman 2004.
120
Tasker Y. Approaches to the New Hollywood in Cultural studies and communications. In: Cultural studies and communications. London: : Arnold 1996. https://blackboard.le.ac.uk/bbcswebdav/pid-522067-dt-content-rid-641036_5/library/eReserves/HA2224/HA2224%20-%20Doc%2024.pdf
121
Taubin A, British Film Institute. Taxi driver. 2nd edition. London: : Palgrave Macmillan on behalf of the British Film Institute 2012.
122
Stern L. The Scorsese connection. Bloomington, Ind: : Indiana University Press 1995.
123
Grist L. The films of Martin Scorsese, 1978-99: authorship and context II. Basingstoke: : Palgrave Macmillan 2013.
124
Penn, Arthur, Guthrie, Arlo, Quinn, Patricia, et al. Alice’s Restaurant. 2004.
125
Lucas G, Coppola FF, Dreyfuss R, et al. American graffiti. 1973.
126
Rafelson B, Nicholson J, Black K. Five easy pieces. 1970;America lost and found : the BBS story.https://learningonscreen.ac.uk/ondemand/index.php/prog/0000B5A7?bcast=31133366
127
Mazursky, Paul, Wood, Natalie, Culp, Robert, et al. Bob and Carol and Ted and Alice. 2006.
128
Penn A, Beatty W, Dunaway F, et al. Bonnie and Clyde. 1967.
129
Fonda, Peter, Hopper, Dennis, Southern, Terry, et al. Easy rider. 1999.
130
Ashby H, Towne R, Nicholson J, et al. The last detail. 1973.
131
Altman, Robert, Naughton, Edmund, Foster, David. McCabe and Mrs. Miller. 2003.
132
Fonda, Peter, Strasberg, Susan, Dern, Bruce, et al. The trip. 2004.
133
Scorsese M, De Niro R, Keitel H. Mean streets. 2001.
134
Hellman M. Two-Lane Blacktop (1971). 1971.
135
Demme, Ted, LaGravenese, Richard. A decade under the influence: the 70’s films that changed everything. 2004.
136
Bowser, Kenneth, Biskind, Peter, Macy, William H. Easy riders, raging bulls: how the sex ‘n’ drugs ‘n’ rock ‘n’ roll generation saved Hollywood. 2006.
137
Morgen, Brett, Burstein, Nanette, Evans, Robert. The kid stays in the picture. 2003.
138
Back to the Future Trilogy [DVD] [1985]. https://learningonscreen.ac.uk/ondemand/playlists/301806
139
Jeffords S. Hard bodies: Hollywood masculinity in the Reagan era. New Brunswick, N.J.: : Rutgers University Press 1994.
140
Shail A, Stoate R, British Film Institute. Back to the future. London: : BFI 2010.
141
Thomas S. The New Hollywood. In: Film theory goes to the movies. New York: : Routledge 1993. 8–36.http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com?id=395546
142
Britton A, Grant BK. Britton on film: the complete film criticism of Andrew Britton. Detroit, Mich: : Wayne State University Press 2008. http://ezproxy.lib.le.ac.uk/login?url=http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=698602
143
Singleton J. Boyz n the Hood. 2004.https://learningonscreen.ac.uk/ondemand/index.php/prog/00088E32?bcast=129101099
144
Walcott R. Keeping the Black Phallus Erect. Cineaction;:68–74.
145
Denzin NK. The Cinematic Racial Order: Reading race: Hollywood and the cinema of racial violence. In: Reading race: Hollywood and the cinema of racial violence. London: : SAGE 2002. 17–45.http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665911760002746&institutionId=2746&customerId=2745
146
Hammond M. New Black Cinema. In: Contemporary American Cinema. McGraw-Hill Education 2006. 389–97.http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665573360002746&institutionId=2746&customerId=2745
147
Benshoff, Harry M., Griffin, Sean. America on film: representing race, class, gender, and sexuality at the movies. 2nd ed. Oxford: : Wiley-Blackwell 2009.
148
Bernardi, Daniel. The persistence of whiteness: race and contemporary Hollywood cinema. London: : Routledge 2008.
149
Lorence JJ. 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. New York: : Pearson Longman 2006. 182–94.
150
Growing Pains: Season 1 [1985].
151
Growing Pains: Season 7.
152
The OC - The Complete Season 1 [DVD] [2004]. http://www.amazon.co.uk/OC-Complete-Season-DVD/dp/B004WBSZYG/ref=tmm_dvd_title_0?_encoding=UTF8&qid=1438870685&sr=8-3
153
Wee V. Selling Teen Culture: How American Multimedia Conglomeration Shaped Teen Television in the 1990s. In: Teen TV: genre, consumption and identity. London: : British Film Institute 2004. 87–98.
154
Sharon Marie Ross , and Louisa Ellen Stein. ‘Watching Teen TV’. In: Teen Television : Essays on Programming and Fandom. McFarland & Company, Incorporated Publishers 2014. 3–26.https://ebookcentral-proquest-com.ezproxy3.lib.le.ac.uk/lib/leicester/reader.action?docID=1874167&ppg=12
155
Hills M. Quality Teen TV’ and ‘Mainstream Cult. In: Teen TV: genre, consumption and identity. London: : British Film Institute 2004. 54–70.
156
Moseley R. Glamorous witchcraft: gender and magic in teen film and television. Screen 2002;43:403–22. doi:10.1093/screen/43.4.403
157
Jonze S, Kaufman C, Malkovich J, et al. Being John Malkovich. 2003.
158
King G. Being Charlie Kaufman. In: Indiewood, USA: where Hollywood meets independent cinema. London: : I.B. Tauris 2009. 47–92.
159
King, Geoff. Narrative. In: American Independent Cinema. I.B. Tauris 2005. 59–104.http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665221280002746&institutionId=2746&customerId=2745
160
Tzioumakis, Yannis. The Institutionalisation of American Independent Cinema. In: American Independent Cinema : An Introduction. Edinburgh University Press 2006. 246–80.http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665221270002746&institutionId=2746&customerId=2745
161
Westworld - Season 1 [includes Ultraviolet Digital Download] [DVD] [2016].
162
True Detective - Season 1 [DVD] [2014]. http://www.amazon.co.uk/True-Detective-Season-1-DVD/dp/B00HYCNVKI/ref=sr_1_1_twi_1_dvd?ie=UTF8&qid=1438867893&sr=8-1&keywords=true+detective
163
Mittell J. Narrative Complexity in Contemporary American Television. The Velvet Light Trap 2006;58:29–40. doi:10.1353/vlt.2006.0032
164
Johnson C. It’s Not TV, It’s HBO!” Branding US Pay TV in Branding television. In: Branding television. London: : Routledge 2012.
165
Edgerton, Gary R., Jones, Jeffrey P. The essential HBO reader. Lexington, KY.: : University Press of Kentucky 2008. http://ebookcentral.proquest.com/lib/leicester/detail.action?docID=1250652
166
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. London: : Routledge 2010.
