[1]
D. Bordwell, ‘The Art Cinema as a Mode of Film Practice’, in The European cinema reader, London: Routledge, 2002, pp. 94–102 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=96e2cdf8-1e2c-4017-9e8b-32f58832b41f
[2]
M. Chanan, ‘Enter the Talkies’, in Repeated takes: a short history of recording and its effects on music, London: Verso, 1995, pp. 71–79 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=c679e131-3cae-4830-a3b6-58c5c7dacd92
[3]
K. Egan, ‘A “real horror show”: the video nasty press campaign’, in Trash or treasure?: censorship and the changing meanings of the video nasties, Manchester: Manchester University Press, 2007, pp. 78–101 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=6e1ff398-7b3e-4d6b-9e4f-5f7fd3dd7478
[4]
P. Grainge, M. Janchovich, and S. Monteith, ‘The Emergence of Cinema’, in Film histories: an introduction and reader, Edinburgh: Edinburgh University Press, 2007, pp. 3–20 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=04318996-308f-45e5-bb36-4ad4bc48e356
[5]
H. Jenkins, ‘Historical Poetics’, in Approaches to popular film, vol. Inside popular film, Manchester: Manchester University Press, 1995, pp. 99–122 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=00c533e6-53df-4386-aa0d-b52168f9dd2c
[6]
L. Manovich, ‘What New Media Is Not’, in The language of new media, vol. Leonardo, Cambridge, Mass: MIT Press, 2001, pp. 49–61 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=ee1c9777-b496-4336-b297-e1cffe3f71b9
[7]
S. Neale, ‘Widescreen composition in the age of television’, in Contemporary Hollywood cinema, London: Routledge, 1998, pp. 130–141 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=6efd1fa9-d0bc-499b-9c46-c489eaf45efc
[8]
V. I. Pudovkin, ‘The Peculiarities of Film Material (extract) and Types Instead of Actors (extract)’, in Film technique and film acting: the cinema writings of V.I. Pudovkin, New York: Bonanza Books, 2008, pp. 59-61-139–141 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=224479cb-519c-4ce9-ab8d-7d451d5572cb
[9]
‘David Bordwell “Doing Film History”’. [Online]. Available: http://www.davidbordwell.net/essays/doing.php
[10]
Gunning, T., ‘The Cinema of Attractions’, in Early cinema: space, frame, narrative, London: BFI Publishing, 1990, pp. 56–62 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=0e9b7f4c-47b1-4126-8727-222a190da0d4
[11]
T. Gunning, ‘Weaving a narrative: Style and economic background in Griffith’s biograph films’, Quarterly Review of Film Studies, vol. 6, no. 1, pp. 11–25, Jan. 1981, doi: 10.1080/10509208109361076.
[12]
Gunning, T., ‘Crazy Machines in the Garden of Forking Paths: Mischief Gags and The Origins of American Film Comedy’, in Classical Hollywood comedy, vol. AFI film readers, London: Routledge, 1995, pp. 87–105 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=ff9d762a-43a5-4101-8f8f-886132cfe54e
[13]
Fabe,M., ‘“The Art of Montage: Sergei Eisnstein’s Battleship Potemkin”’, in Closely watched films: an introduction to the art of narrative film technique, Berkeley: University of California Press, 2004, pp. 19–36.
[14]
Y. Barna, L. Hunter, and O. Stallybrass, Eisenstein, English-Language ed., vol. Cinema two. London: Secker and Warburg, 1973.
[15]
Ron Briley, ‘Sergei Eisenstein: The Artist in Service of the Revolution’, The History Teacher, vol. 29, no. 4, pp. 525–536, 1996 [Online]. Available: http://www.jstor.org/stable/494802
[16]
S. Eisenstein, ‘The Dramaturgy of Film Form (The Dialectical Approach to Film Form)’, in The Eisenstein reader, London: British Film Institute, 1998, pp. 93–110 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=5ea7039b-cf4b-4d49-a075-d2a604b15a1d
[17]
Bordwell,D. and Thompson,K., ‘France in the 1920s’, in Film history: an introduction, 2nd ed., International ed., Boston, [Mass.]: McGraw Hill, 2003, pp. 85–100 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=7a1bcf81-f0b8-4114-a046-fd3a207e4fc1
[18]
S. Keller, ‘Jean Epstein’s documentary cinephilia’, Studies in French Cinema, vol. 12, no. 2, pp. 91–105, May 2012, doi: 10.1386/sfc.12.2.91_1. [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=75062742&site=ehost-live
[19]
R. Abel, French cinema: the first wave, 1915-1929. Princeton: Princeton University Press, 1984.
[20]
D. A. Cook, A history of narrative film, 4th ed. New York: W. W. Norton, 2004.
[21]
Skal,D., ‘“The English Widow and the German Count”’, in Hollywood gothic: the tangled web of Dracula from novel to stage to screen, Rev. ed., New York: Faber and Faber, 2004, pp. 76–101 [Online]. Available: http://www.loc.gov/catdir/bios/hol058/2004046959.html
[22]
L. H. Eisner, The haunted screen: expressionism in the German cinema and the influence of Max Reinhardt, vol. Cinema two. London: Secker & Warburg, 1973.
[23]
M. Silberman, ‘Industry, Text, and Ideology in Expressionist Film’, in Passion and rebellion: the Expressionist heritage, London: Croom Helm, 1983, pp. 374–383 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=60181d48-5b7d-4f10-b593-4a4f9a999905
[24]
Doherty, T., ‘“Vice Rewarded: The Wages of Cinematic Sin”’, in Pre-code Hollywood: sex, immorality, and insurrection in American cinema, 1930-1934, vol. Film and culture, Chichester: Columbia University Press, 1999, pp. 103–136 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=9244041b-0a5d-4ca0-bd79-32932784cd8e
[25]
Maltby, Richard, ‘Baby Face, or How Joe Breen Made Barbara Stanwyck Atone for Causing the Wall Street Crash’, Screen, vol. 27, no. 2, pp. 22–46, 1986 [Online]. Available: http://www.jiscjournalarchives.ac.uk/openurl.html?ref=oup/screen/screen_27_2.pdf/27-2-22.pdf
[26]
M. Haskell, From reverence to rape: the treatment of women in the movies, 2nd ed. Chicago: University of Chicago Press, 1987.
[27]
L. Jacobs, The wages of sin: censorship and the fallen woman film, 1928-1942. Berkeley: University of California Press, 1997.
[28]
T. M. Leitch and ebrary, Inc, Crime films, vol. Genres in American cinema. Cambridge: Cambridge University Press, 2002 [Online]. Available: http://site.ebrary.com/lib/roehampton/Doc?id=10030923
[29]
Place,J. and Peterson, L., ‘“Some Visual Motifs of Film Noir”’, in Film noir reader, New York: Limelight Editions, 1997, pp. 64–75.
[30]
James Naremore, ‘American Film Noir: The History of an Idea’, Film Quarterly, vol. 49, no. 2, pp. 1995–28, 1996 [Online]. Available: http://www.jstor.org/stable/1213310
[31]
F. Krutnik and ebrary, Inc, In a lonely street: film noir, genre, masculinity. London: Routledge, 1991 [Online]. Available: http://site.ebrary.com/lib/roehampton/Doc?id=10017740
[32]
A. Bazin, D. Andrew, H. Gray, and J. Renoir, What is cinema?: Volume 1. Berkeley: University of California Press, 2005 [Online]. Available: https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=1513946
[33]
P. Bondanella, Italian cinema: from neorealism to the present, vol. Ungar film library. New York: Ungar, 1983.
[34]
D. A. Cook, A history of narrative film, 4th ed. New York: W. W. Norton, 2004.
[35]
K. Thompson and D. Bordwell, Film history: an introduction, 3rd ed., International ed. Boston, [Mass.]: McGraw-Hill Higher Education, 2010.
[36]
Napier, S. J., ‘“Panic Sites: The Japanese Imagination of Disaster from Godzilla to Akira”’, Journal of Japanese Studies, vol. 19, no. 2, pp. 327–351, 1993 [Online]. Available: http://www.jstor.org/stable/132643
[37]
Chon Noriega, ‘Godzilla and the Japanese Nightmare: When “Them!” Is U.S.’, Cinema Journal, vol. 27, no. 1, pp. 63–77, 1987 [Online]. Available: http://www.jstor.org/stable/1225324
[38]
J. KWOK. LAU, Multiple modernities : cinemas andpopular media in transcultural East Asia. Philadelphia, PA: Temple University Press, 2002.
[39]
Asian Cinema Studies Society, ‘Asian Cinema’.
[40]
Varia, Kush, Bollywood: gods, glamour and gossip, vol. Short cuts. London: Wallflower, 2009.
[41]
Schatz,T., ‘The Family Melodrama’, in Hollywood genres: formulas, filmmaking, and the studio system, Boston, Mass: McGraw-Hill, 1981, pp. 221-228-245–260 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=294a2f94-78b8-44c5-acd9-d7319572363f
[42]
Marie,M., ‘“‘It really makes you sick’”: Jean-Luc Godard’s A bout de souffle’, in French film: texts and contexts, 2nd ed., London: Routledge, 1960, pp. 158–173 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=cbcc7c99-4c7c-4f55-a86f-5cdad9721790
[43]
M. Chanan, ‘Truth Games’, in The politics of documentary, London: BFI, 2007, pp. 166–183 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=97c3b650-e121-4f62-9d5b-45771253e179
[44]
Allen,M., ‘The Background’, in Contemporary US cinema, Harlow: Longman, 2002, pp. 1–34 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=df89a0ce-3952-4996-9a62-8d2dd62bbb00
[45]
M. Betz and ebrary, Inc, Beyond the subtitle: remapping European art cinema. Minneapolis: University of Minnesota Press, 2009 [Online]. Available: http://site.ebrary.com/lib/roehampton/Doc?id=10318097
[46]
J. Petley, ‘"Are We Insane ?”. The "Video Nasty” Moral Panic’, Recherches sociologiques et anthropologiques, no. 43–1, pp. 35–57, Jun. 2012, doi: 10.4000/rsa.839.
[47]
Prince, S., ‘True Lies: Perceptual Realism, Digital Images, and Film Theory’, Film Quarterly, vol. 49, no. 3, pp. 27–37, 1996 [Online]. Available: http://www.jstor.org/stable/1213468
[48]
H. Willis, New digital cinema: reinventing the moving image, vol. Short cuts : introductions to film studies. London: Wallflower, 2005.
[49]
Ray, Satyajit, My years with Apu. London: Faber, 1997.
[50]
Bandyopādhyāya, Bibhūtibhūshana, ‘The Apu Trilogy’. Artificial Eye, [U.K.], 2003.
[51]
Abel, Richard, French cinema: the first wave, 1915-1929. Guildford: Princeton University Press, 1984.
[52]
Cook, Pam, The cinema book, 3rd ed. London: BFI, 2007.
[53]
Salt, Barry and British Film Institute, ‘Early cinema: primitives and pioneers’. British Film Institute, London, 2005.
[54]
Griffith, D. W., ‘Broken blossoms’. Eureka Video, [U.K.], 2001.
[55]
Keaton, Buster, ‘Buster Keaton: Vol.1’. Stonevision, Salford, 2001.
[56]
Wiene, Robert, ‘Das cabinet des Dr Caligari: The cabinet of Dr Caligari’. Eureka Video, London, 2000.
[57]
S. Kracauer, ‘Caligari’, in From Caligari to Hitler: a psychological history of the German film, Rev. and exp. Ed., Oxford: Princeton University Press, 2004, pp. 61–76 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=b758d328-24a2-4101-999c-26a60d37df1e
[58]
Rohauer, Raymond, ‘Avant-garde: experimental cinema of the 1920s and ’30s : films from the Raymond Rohauer collection’. Kino on Video, New York, 2005.
[59]
Buñuel, Luis and Dali, Salvador, ‘Un chien Andalou: L’age d’or’. BFI, London.
[60]
‘Out of The Past Aka Build My Gallows High [DVD]’. .
[61]
J. Naremore and ebrary, Inc, More than night: film noir in its contexts, Updated and Expanded ed. Berkeley: University of California Press, 2008 [Online]. Available: http://site.ebrary.com/lib/roehampton/Doc?id=10676231
[62]
Kurosawa, Akira and Akutagawa, Ryunosuke, ‘Rashomon’. BFI Video, London, 2001.
[63]
Jackson, Peter, ‘Forgotten Silver’. .
[64]
‘Will Success Spoil Rock Hunter? Masters of Cinema DVD’. .
[65]
C. Anderson, ‘Hollywood in the Home: TV and the End of the Studio Stystem’, in Modernity and mass culture, Bloomington: Indiana University Press, 1991, pp. 80–102 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=f961416f-49d9-4461-abc7-37db47b715d7
[66]
Erice, Victor, ‘The spirit of the beehive’. Optimum Releasing, [London], 2003.
[67]
‘Easy Rider [DVD]’. .
[68]
‘The American Nightmare [DVD]’. .
[69]
R. Wood, ‘The American Nightmare: HORROR IN THE 70s’, in Hollywood from Vietnam to Reagan - and beyond, Rev. ed., Chichester: Columbia University, 2003, pp. 63–84 [Online]. Available: http://core.roehampton.ac.uk/repository2/search/dbm.pl?guid=68a033da-66a9-4822-ac45-550e3a7b4757
[70]
‘Video nasties - the definitive guide’. Nucleus Films, 2010.
[72]
Guru DuttWaheeda Rehman, ‘Pyaasa [DVD] [1957]’. [Online]. Available: http://www.amazon.co.uk/Pyaasa-DVD-Guru-Dutt/dp/B000GIWLNA/ref=sr_1_1?ie=UTF8&qid=1417614260&sr=8-1&keywords=Pyaasa
