[1]
Belton, John, American cinema/American culture, 4th ed. International edition. London: McGraw-Hill Higher Education, 2013.
[2]
Barsam, Richard Meran, Monahan, Dave, and Gocsik, Karen M., Looking at movies: an introduction to film, 3rd ed. New York, N.Y.: W.W. Norton, 2010.
[3]
Benshoff, Harry M. and Griffin, Sean, America on film: representing race, class, gender, and sexuality at the movies, 2nd ed. Oxford: Wiley-Blackwell, 2009.
[4]
Hill, John and 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]
C. A. B. Lucia, R. Grundmann, and A. Simon, Eds., American film history: selected readings. 1960 to the present. Hoboken, New Jersey: John Wiley & Sons, 2015 [Online]. Available: https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=4180234
[7]
C. Lucia, R. Grundmann, and A. Simon, American Film History: Selected Readings, Origins To 1960, 1st ed. Hoboken: John Wiley & Sons, Incorporated, 2015 [Online]. Available: 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]
J. Lewis and E. L. Smoodin, Eds., The American film history reader. Abingdon, Oxon: Routledge, 2015.
[11]
D. Bordwell, K. Thompson, and J. Smith, Film art: an introduction, Eleventh edition. New York, NY: McGraw-Hill Education, 2017 [Online]. Available: https://www.vlebooks.com/vleweb/product/openreader?id=LeicesterU&isbn=9780077188917
[12]
G. R. Edgerton, The Columbia history of American television. New York, N.Y.: Columbia University Press, 2007.
[13]
L. McCarey, H. Roach, C. Chase, K. Grant, O. Hardy, and J. Parrott, ‘His Wooden Wedding, The Charley Chase collection: Vol. 2’, The Charley Chase collection: Vol. 2, vol. Slapstick symposium. Kino on Video, New York, 2005.
[14]
B. Keaton, ‘Buster Keaton: the complete short films 1917-1923, Accompanying book’, One Week, vol. Masters of cinema. Eureka Video, [S.l.], 2006.
[15]
B. Keaton, J. G. Blystone, N. Talmadge, and K. McGuire, ‘Our hospitality; directed by Buster Keaton and John G. Blystone. Sherlock Jnr.; directed by Buster Keaton’. signature, Ipswich, 2007.
[16]
D. Crafton, ‘Pie and Chase: Gag, Spectacle and Narrative in Slapstick Comedy: Chapter of Cinema of Attractions Reloaded’, in The Cinema of Attractions Reloaded, vol. Film Culture in Transition, Amsterdam: Amsterdam University Press, 2006, pp. 285–293 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665909210002746&institutionId=2746&customerId=2745
[17]
J. Belton, ‘American Comedy: Chapter’, in American cinema/American culture, 4th ed. International edition., New York, N.Y.: McGraw-Hill Higher Education, 2013, pp. 163–194.
[18]
J. Belton, ‘The Emergence of Cinema as an Institution in American cinema/American culture’, in American cinema/American culture, 4th ed. International edition., London: McGraw-Hill [distributor], 2013.
[19]
Koszarski, Richard, An evening’s entertainment: the age of the silent feature picture, 1915-1928, vol. History of the American cinema. New York: Charles Scribner’s Sons, 1990 [Online]. Available: 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]
A. Bilton, Silent film comedy and American culture. Basingstoke: Palgrave Macmillan, 2013 [Online]. Available: https://login.ezproxy3.lib.le.ac.uk/login?qurl=http://www.palgraveconnect.com/doifinder/10.1057/9781137020253
[22]
T. Paulus and R. King, Slapstick Comedy, vol. AFI Film Readers. Hoboken: Taylor and Francis, 2010.
[23]
B. Keaton, R. Dwyer, and E. Cline, ‘Seven chances’, vol. Art of Buster Keaton. Kino Video, [S.l.], 2005.
[24]
L. McCarey, R. Ceder, C. Chase, M. Sleeper, and O. Hardy, ‘The Charley Chase collection: [Vol. 1]’, vol. Slapstick Symposium. Kino on Video, New York, 2004.
[25]
K. Brownlow, D. Gill, B. Keaton, and L. Anderson, ‘Buster Keaton, a hard act to follow’. An Academy Video release from the British Film Institute, [London], 1987.
[26]
B. Keaton, K. McGuire, N. Talmadge, and J. G. Blystone, ‘Our hospitality’, vol. BK series. Starlite digital, [S.l.], 2009.
[27]
M. Mack, B. Keaton, E. Cline, and C. Bruckman, ‘The General’, vol. Art of Buster Keaton. Kino Video, [S.l.], 2005.
[28]
F. Newmeyer et al., ‘Harold Lloyd: the definitive collection, Disc 1’. Optimum, [S.l.], 2007.
[29]
M. Kennedy and C. Chaplin, ‘The circus’, vol. Chaplin collection. mk2/Warner Brothers Home Video, [S.l.], 2003.
[30]
H. Hawks, C. Grant, R. Russell, and C. Lederer, ‘His girl Friday’. UCA, [S.l.], 2011.
[31]
D. Bordwell, ‘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, pp. 3–12 [Online]. Available: https://blackboard.le.ac.uk/bbcswebdav/pid-522062-dt-content-rid-641026_5/library/eReserves/HA2224/HA2224%20-%20Doc%2013.pdf
[32]
D. Bordwell and K. Thompson, ‘The Development of the Classical Hollywood Cinema: Chapter’, in Film art: an introduction, 10th ed., International ed., New York, N.Y.: McGraw-Hill, 2013, pp. 466–469.
[33]
J. Belton, ‘Classical Hollywood Cinema: Narration in American cinema/American culture’, in American cinema/American culture, 4th ed. International edition., London: McGraw-Hill [distributor], 2013.
[34]
D. Bordwell and K. Thompson, ‘Narrative as a Formal System in Film art: an introduction’, in Film art: an introduction, 7th ed., Boston, Mass: McGraw-Hill, 2004.
[35]
D. Bordwell, ‘Classical Narration: the Hollywood example: Chapter’, in Narration in the fiction film, London: Methuen, 1985, pp. 156–166 [Online]. Available: http://site.ebrary.com/lib/leicester/Doc?id=10769162
[36]
E. Cowie, ‘Storytelling: Classical Hollywood Cinema and Classical Narrative: Contemporary Hollywood cinema’, in Contemporary Hollywood cinema, London: Routledge, 1998, pp. 178–190 [Online]. Available: http://site.ebrary.com/lib/leicester/Doc?id=10688216
[37]
A. Kuhn, ‘Classical Hollywood Narrative in The cinema book’, in The cinema book, 3rd ed., London: British Film Institute, 2007, pp. 45–48.
[38]
R. Maltby, ‘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]
R. Ray, ‘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, pp. 25–69.
[41]
K. Thompson, ‘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, pp. 1–49 [Online]. Available: https://blackboard.le.ac.uk/bbcswebdav/pid-419032-dt-content-rid-583738_5/library/eReserves/HA2224/HA2224%20-%20Doc%2016.pdf
[42]
W. D. Gehring, Romantic vs. screwball comedy: charting the difference, vol. Studies in film genres. Lanham: Scarecrow Press, 2002.
[43]
D. R. Shumway, ‘Screwball Comedies: Constructing Romance, Mystifying Marriage: Chapter’, in Film Genre Reader IV, Austin: University of Texas Press, 2014 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665768790002746&institutionId=2746&customerId=2745
[44]
L. Grindon, ‘His Girl Friday (1940): Jailbreak!: Chapter’, in The Hollywood Romantic Comedy: Conventions, History and Controversies, vol. New approaches to film genre The Hollywood romantic comedy, Hoboken: Wiley, 2011, pp. 96–105 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665208880002746&institutionId=2746&customerId=2745
[45]
J. Hillier, P. Wollen, and British Film Institute, Howard Hawks, American artist. London: British Film Institute, 1996.
[46]
T. J. McDonald, Romantic comedy: boy meets girl meets genre, vol. Short cuts. London: Wallflower, 2007 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://ebookcentral.proquest.com/lib/leicester/detail.action?docID=927990
[47]
R. Wood, Howard Hawks, New ed., vol. Contemporary approaches to film and television series. Detroit, Mich: Wayne State University Press, 2006 [Online]. Available: 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, vol. 63, no. 3, 2011, doi: 10.5406/jfilmvideo.63.3.0045.
[49]
R. Maltby, Hollywood cinema: an introduction, 2nd ed. Oxford: Blackwell Publishers, 2003.
[50]
Capra, Frank, Adams, Samuel Hopkins, Gable, Clark, and Colbert, Claudette, ‘It happened one night’, vol. Columbia classics. Columbia Tristar Home Video, [S.l.], 1934.
[51]
La Cava, Gregory, Powell, William, Lombard, Carole, and Hatch, Eric, ‘My man Godfrey’. Elstree Hill Entertainment, [S.l.], 1936.
[52]
G. Cukor, C. Grant, K. Hepburn, and J. Stewart, ‘The Philadelphia story’, vol. TCM greatest classic films collection. Romantic comedies. Warner Home Video, [S.l.], 2005.
[53]
H. Hawks, ‘Twentieth Century (1934) - Columbia Essential Classics Region 2 PAL’. [Online]. Available: 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]
L. McCarey, I. Dunne, and C. Grant, ‘The awful truth’. Columbia Tristar Home Entertainment, [S.l.], 2003.
[55]
P. Sturges, B. Stanwyck, H. Fonda, C. Coburn, and M. Hoffe, ‘The lady Eve’, vol. Written and directed by Preston Sturges. Universal Studios, [S.l.], 2005.
[56]
P. Sturges, J. McCrea, and V. Lake, ‘Sullivan’s travels’. Universal Studios, [S.l.], 2005.
[57]
H. Hawks, K. Hepburn, C. Grant, and H. Wilde, ‘Bringing up Baby’. Universal, [S.l.], 2007.
[58]
M. Curtiz et al., ‘Mildred Pierce [1945]’. Warner Home Video, [S.l.], 2005.
[59]
A. Spicer, ‘Noir Style: Chapter’, in Film noir, vol. Inside film, Harlow: Longman, 2002, pp. 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, vol. Screen decades: American culture / American cinema. Oxford: Berg, 2006.
[62]
Foertsch, Jacqueline and EBSCO ebook, American culture in the 1940s, vol. Twentieth-century American culture. Edinburgh: Edinburgh University Press, 2008.
[63]
P. Cook, ‘“Duplicity in Mildred Pierce”: Chapter’, in Women in film noir, Rev. and Expanded ed., London: British Film Institute, 1998, pp. 69–80.
[64]
Richard Maltby, ‘“Film Noir”: The Politics of the Maladjusted Text’, Journal of American Studies, vol. 18, no. 1, pp. 49–71.
[65]
Naremore, James, More than night: film noir in its contexts, Updated and Expanded ed. Berkeley, Calif: University of California Press, 2008 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=235939
[66]
J. A. Place and L. Peterson, ‘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, pp. 325–338 [Online]. Available: 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, vol. History of the American cinema. Berkeley, Calif: University of California Press, 1997.
[69]
Silver, Alain and 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]
T. Bergfelder and S. Street, ‘Introduction: Mildred Pierce, pedagogy and the canon’, Screen, vol. 54, no. 3, pp. 371–377, Sep. 2013, doi: 10.1093/screen/hjt030.
[72]
L. Williams, ‘Feminist Film Theory: Mildred Pierce and the Second World War: Chapter’, in Female spectators: looking at film and television, London: Verso, 1988, pp. 12–30.
[73]
Hawks, Howard et al., ‘The big sleep’, vol. Bogie and Bacall : the signature collection. Warner Home Video, S.l.].
[74]
E. G. Ulmer, M. Goldsmith, T. Neal, A. Savage, and C. Drake, ‘Detour’, vol. Film noir thrillers. Siren, [S.l.], 2003.
[75]
Wilder, Billy, Cain, James M., MacMurray, Fred, Stanwyck, Barbara, Robinson, Edward G., and Chandler, Raymond, ‘Double indemnity’. Universal Home Video, [S.l.], 2005.
[76]
Hayworth, Rita, King, Sherwood, Welles, Orson, Sloane, Everett, and Bogdanovich, Peter, ‘The lady from Shanghai’, vol. Columbia classics. Tristar Home Entertainment, S.l.], 1948.
[77]
Powell, Dick, Trevor, Claire, Dmytryk, Edward, and Chandler, Raymond, ‘Murder my sweet’, vol. Universal cinema classics. Universal, [S.l.], 2008.
[78]
Tourneur, Jacques, Homes, Geoffrey, Mitchum, Robert, Douglas, Kirk, Greer, Jane, and Fleming, Rhonda, ‘Out of the past’. Universal Studios, [S.l.], 2007.
[79]
Lang, Fritz, Robinson, Edward G., Bennett, Joan, and Massey, Raymond, ‘The woman in the window’. Optimum Classic, [S.l.], 2008.
[80]
R. Siodmak, E. Hemingway, B. Lancaster, and A. Gardner, ‘The killers’, vol. Universal Cinema Classics. Universal, [S.l.], 2008.
[81]
N. Ray, J. Dean, and N. Wood, ‘Rebel without a cause’. Warner Home Video, [S.l.], 2005.
[82]
C. Barr, ‘CinemaScope: Before and After’, Film Quarterly, vol. 16, no. 4, pp. 4–24, Jul. 1963, doi: 10.2307/3185949.
[83]
J. Belton, ‘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, pp. 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]
M. Halliwell, American culture in the 1950s. Edinburgh: Edinburgh University Press, 2007 [Online]. Available: https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=292360
[87]
Lev, Peter, Transforming the screen, 1950-1959, vol. History of the American cinema. Berkeley, Calif: University of California Press, 2003.
[88]
Pomerance, Murray, American cinema of the 1950s: themes and variations. Oxford: Berg, 2005.
[89]
J. D. Slocum, Rebel without a cause: approaches to a maverick masterwork, vol. Suny series horizons of cinema. New York, N.Y.: State University of New York Press, 2005 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3042412220002746&institutionId=2746&customerId=2745
[90]
B. Eisenschitz, Nicholas Ray: an American journey. Minneapolis, Minn: University of Minnesota Press, 2011.
[91]
G. Andrew, The films of Nicholas Ray: the poet of nightfall, [2nd ed.]. London: BFI, 2004.
[92]
T. P. Doherty, Teenagers and teenpics: the juvenilization of American movies in the 1950s, Rev. and Expanded ed. Philadelphia, Pa: Temple University Press, 2002 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3042497730002746&institutionId=2746&customerId=2745
[93]
N. Ray, C. Hume, R. Maibaum, J. Mason, B. Rush, and W. Matthau, ‘Bigger than life’. British Film Institute/Twentieth Century Fox Home Entertainment, [S.l.], 2007.
[94]
J. Steinbeck, E. Kazan, J. Dean, and R. Massey, ‘East of Eden’. Warner Bros. Home Video, [s.l.], 2005.
[95]
G. Stevens, R. Hudson, E. Taylor, J. Dean, and E. Ferber, ‘Giant’. Warner Home Video, [S.l.], 2003.
[96]
H. Hathaway et al., ‘How the West was won’. Warner Home Video, [S.l.], 2008.
[97]
H. Koster, L. C. Douglas, R. Burton, J. Simmons, V. Mature, and M. Rennie, ‘The robe’. 20th Century Fox Home Entertainment, [S.l.], 2002.
[98]
C. B. DeMille, C. Heston, Y. Brynner, A. Baxter, and E. G. Robinson, ‘The ten commandments’, vol. Widescreen collection. Paramount, [S.l.], 2001.
[99]
V. Minnelli, F. Sinatra, D. Martin, S. MacLaine, and J. Jones, Some came running, vol. Frank Sinatra collection. [S.l.]: Warner Home Video, 2008.
[100]
D. Sirk et al., ‘Written on the wind’, vol. Directed by Douglas Sirk. Universal, [S.l.], 2007.
[101]
M. Scorsese, P. Schrader, R. De Niro, J. Foster, A. Brooks, and H. Keitel, ‘Taxi driver’. Sony, [S.l.], 2007.
[102]
R. Ray, ‘“The Godfather and Taxi Driver”: Chapter’, in A certain tendency of the Hollywood cinema, 1930-1980, Princeton, N.J.: Princeton University Press, 1985, pp. 326–360.
[103]
D. Bordwell, ‘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, pp. 367–377.
[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 and Doyle, Michael W., Imagine nation: the American counterculture of the 1960s and ’70s. New York: Routledge, 2002.
[106]
T. Elsaesser, ‘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, pp. 279–292 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665206790002746&institutionId=2746&customerId=2745
[107]
Cagin, Seth, Dray, Philip, and 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 [Online]. Available: 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, vol. History of the American cinema. Berkeley, Calif: University of California Press, 2002.
[110]
Friedman, Lester D., American cinema of the 1970s: themes and variations, vol. Screen decades. New Brunswick, N.J.: Rutgers University Press, 2007.
[111]
Gair, Christopher, The American counterculture. Edinburgh: Edinburgh University Press, 2007 [Online]. Available: https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=286991
[112]
Kaufman, Will, American culture in the 1970s, vol. Twentieth-century American culture. Edinburgh: Edinburgh University Press, 2009.
[113]
N. King, ‘New Hollywood in The cinema book’, in The cinema book, 3rd ed., London: British Film Institute, 2007.
[114]
Krämer, Peter, New Hollywood: from Bonnie and Clyde to Star Wars, vol. Short cuts. London: Wallflower, 2005 [Online]. Available: 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]
S. Neale, ‘”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]
M. Shiel, ‘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, vol. Longman topics. New York: Pearson/Longman, 2004.
[120]
Y. Tasker, ‘Approaches to the New Hollywood in Cultural studies and communications’, in Cultural studies and communications, London: Arnold, 1996 [Online]. Available: https://blackboard.le.ac.uk/bbcswebdav/pid-522067-dt-content-rid-641036_5/library/eReserves/HA2224/HA2224%20-%20Doc%2024.pdf
[121]
A. Taubin and British Film Institute, Taxi driver, 2nd edition. London: Palgrave Macmillan on behalf of the British Film Institute, 2012.
[122]
L. Stern, The Scorsese connection. Bloomington, Ind: Indiana University Press, 1995.
[123]
L. Grist, The films of Martin Scorsese, 1978-99: authorship and context II. Basingstoke: Palgrave Macmillan, 2013.
[124]
Penn, Arthur, Guthrie, Arlo, Quinn, Patricia, and Broderick, James, ‘Alice’s Restaurant’. MGM, [S.l.], 2004.
[125]
G. Lucas, F. F. Coppola, R. Dreyfuss, and R. Howard, ‘American graffiti’. Columbia Tri-Star Home Video, [S.l.], 1973.
[126]
B. Rafelson, J. Nicholson, and K. Black, ‘Five easy pieces’, vol. America lost and found : the BBS story. Criterion collection, [S.l.], 1970 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0000B5A7?bcast=31133366
[127]
Mazursky, Paul, Wood, Natalie, Culp, Robert, Gould, Elliott, and Cannon, Dyan, ‘Bob and Carol and Ted and Alice’. Sony Pictures Home Entertainment, [S.l.], 2006.
[128]
A. Penn, W. Beatty, F. Dunaway, M. J. Pollard, G. Hackman, and E. Parsons, ‘Bonnie and Clyde’. Warner Bros. Home Video, [S.l.], 1967.
[129]
Fonda, Peter, Hopper, Dennis, Southern, Terry, and Nicholson, Jack, ‘Easy rider’. Columbia Tristar Home Video, [S.l.], 1999.
[130]
H. Ashby, R. Towne, J. Nicholson, O. Young, and R. Quaid, ‘The last detail’. Columbia Tri-Star Home Entertainment, [S.l.], 1973.
[131]
Altman, Robert, Naughton, Edmund, and Foster, David, ‘McCabe and Mrs. Miller’. Warner Home Video, [S.l.], 2003.
[132]
Fonda, Peter, Strasberg, Susan, Dern, Bruce, Hopper, Dennis, Nicholson, Jack, and Corman, Roger, ‘The trip’. MGM Home Entertainment, [S.l.], 2004.
[133]
M. Scorsese, R. De Niro, and H. Keitel, ‘Mean streets’. Universal, [S.l.], 2001.
[134]
M. Hellman, ‘Two-Lane Blacktop (1971)’. Criterion, 1971.
[135]
Demme, Ted and LaGravenese, Richard, ‘A decade under the influence: the 70’s films that changed everything’. Video Collection International, London, 2004.
[136]
Bowser, Kenneth, Biskind, Peter, and Macy, William H., ‘Easy riders, raging bulls: how the sex “n” drugs “n” rock “n” roll generation saved Hollywood’. in2film, [S.l.], 2006.
[137]
Morgen, Brett, Burstein, Nanette, and Evans, Robert, ‘The kid stays in the picture’. Momentum Pictures, [S.l.], 2003.
[138]
‘Back to the Future Trilogy [DVD] [1985]’. [Online]. Available: https://learningonscreen.ac.uk/ondemand/playlists/301806
[139]
S. Jeffords, ‘Hard bodies: Hollywood masculinity in the Reagan era’, New Brunswick, N.J.: Rutgers University Press, 1994.
[140]
A. Shail, R. Stoate, and British Film Institute, Back to the future, vol. BFI film classics. London: BFI, 2010.
[141]
S. Thomas, ‘The New Hollywood’, in Film theory goes to the movies, vol. AFI film readers, New York: Routledge, 1993, pp. 8–36 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com?id=395546
[142]
A. Britton and B. K. Grant, ‘Britton on film: the complete film criticism of Andrew Britton’, vol. Contemporary approaches to film and television series, Detroit, Mich: Wayne State University Press, 2008 [Online]. Available: 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]
J. Singleton, ‘Boyz n the Hood’. Columbia Tri-Star Home Video, [S.l.], 2004 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/00088E32?bcast=129101099
[144]
R. Walcott, ‘Keeping the Black Phallus Erect’, Cineaction, pp. 68–74.
[145]
N. K. Denzin, ‘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), London: SAGE, 2002, pp. 17–45 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665911760002746&institutionId=2746&customerId=2745
[146]
M. Hammond, ‘New Black Cinema’, in Contemporary American Cinema, McGraw-Hill Education, 2006, pp. 389–397 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665573360002746&institutionId=2746&customerId=2745
[147]
Benshoff, Harry M. and 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]
J. J. Lorence, ‘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, pp. 182–194.
[150]
‘Growing Pains: Season 1 [1985]’. .
[151]
‘Growing Pains: Season 7’. .
[152]
‘The OC - The Complete Season 1 [DVD] [2004]’. [Online]. Available: http://www.amazon.co.uk/OC-Complete-Season-DVD/dp/B004WBSZYG/ref=tmm_dvd_title_0?_encoding=UTF8&qid=1438870685&sr=8-3
[153]
V. Wee, ‘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, pp. 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, pp. 3–26 [Online]. Available: https://ebookcentral-proquest-com.ezproxy3.lib.le.ac.uk/lib/leicester/reader.action?docID=1874167&ppg=12
[155]
M. Hills, ‘Quality Teen TV’ and ‘Mainstream Cult’, in Teen TV: genre, consumption and identity, London: British Film Institute, 2004, pp. 54–70.
[156]
R. Moseley, ‘Glamorous witchcraft: gender and magic in teen film and television’, Screen, vol. 43, no. 4, pp. 403–422, Dec. 2002, doi: 10.1093/screen/43.4.403.
[157]
S. Jonze, C. Kaufman, J. Malkovich, J. Cusack, and C. Diaz, ‘Being John Malkovich’. Universal, [S.l.], 2003.
[158]
G. King, ‘Being Charlie Kaufman’, in Indiewood, USA: where Hollywood meets independent cinema, vol. International library of cultural studies, London: I.B. Tauris, 2009, pp. 47–92.
[159]
King, Geoff, ‘Narrative’, in American Independent Cinema, I.B. Tauris, 2005, pp. 59–104 [Online]. Available: 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, pp. 246–280 [Online]. Available: 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]’. [Online]. Available: 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]
J. Mittell, ‘Narrative Complexity in Contemporary American Television’, The Velvet Light Trap, vol. 58, no. 1, pp. 29–40, 2006, doi: 10.1353/vlt.2006.0032.
[164]
C. Johnson, ‘It’s Not TV, It’s HBO!” Branding US Pay TV in Branding television’, in Branding television, vol. Comedia, London: Routledge, 2012.
[165]
Edgerton, Gary R. and Jones, Jeffrey P., The essential HBO reader, vol. Essential readers in contemporary media and culture. Lexington, KY.: University Press of Kentucky, 2008 [Online]. Available: 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, vol. Comedia, London: Routledge, 2010.
