Aldrich, Robert et al. ‘The Big Knife’. 14 AD : n. pag. Print.
Aldrich, Robert, Meeker, Ralph, and Dekker, Albert. ‘Kiss Me Deadly’. : n. pag. Print.
Allen, Woody, Farrow, Mia, and Daniels, Jeff. ‘The Purple Rose of Cairo’. : n. pag. Print.
Allen, Woody and Keaton, Diane. ‘Annie Hall’. : n. pag. Print.
Almodovar, Pedro, Camara, Javier, and Watling, Leonor. ‘Hable Con Ella’. : n. pag. Print.
Antonioni, Michelangelo et al. ‘Blow-Up’. 2009 : n. pag. Print.
Astruc, Alexandre. ‘The Birth of a New Avant-Garde: La Camera-Stylo [IN] The New Wave: Critical Landmarks’. The New Wave: Critical Landmarks. London: Secker/B F I., 1968. 17–23. Print.
Barbara Klinger. ‘Digressions at the Cinema: Reception and Mass Culture’. Cinema Journal 28.4 (1989): 3–19. Web. <http://www.jstor.org.ezproxy.falmouth.ac.uk/stable/1225392>.
Baudry, Jean-Louis. ‘Ideological Effects of the Basic Cinematographic Apparatus [IN] Movies and Methods: Vol.2: An Anthology’. Movies and Methods: Vol.2: An Anthology. Berkeley: University of California Press, 1985. 531–542. Print.
Bazin, Andre. ‘The Evolution of the Western [IN] The Western Reader’. The Western Reader. New York: Limelight Editions, 1998. 49–56. Print.
Benshoff, Harry M. and Griffin, Sean. America on Film: Representing Race, Class, Gender, and Sexuality at the Movies. 2nd ed. Chichester: Wiley-Blackwell, 2009. Print.
Bignall, Jonathan. ‘From Detail to Meaning; “Badlands” (Terence Malick, 1973) and Cinematic Articulation [IN] Style and Meaning: Studies in the Detailed Analysis of Film’. Style and Meaning: Studies in the Detailed Analysis of Film. Manchester: Manchester University Press, 2005. 42–52. Print.
Bordwell, David, Staiger, Janet, and Thompson, Kristin. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge, 1988. Web. <https://www.dawsonera.com/guard/protected/dawson.jsp?name=University College Falmouth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203358818>.
Bordwell, David and Thompson, Kristin. ‘The Shot: Mise-En-Scene’. Film Art: An Introduction. 10th ed., McGraw-Hill international ed. New York: McGraw-Hill, 2013. 112–159. Print.
Bordwell, David, Kristin Thompson, and Jeff Smith. Film Art: An Introduction. Twelfth edition. New York, NY: McGraw-Hill Education, 2019. Print.
Brooker, Peter. A Glossary of Cultural Theory. 2nd ed. London: Arnold, 2003. Print.
Browne, Nick. ‘The Spectator-in-the-Text: The Rhetoric of “Stagecoach” [IN] Film Theory and Criticism: Introductory Readings’. Film Theory and Criticism: Introductory Readings. 7th ed. New York: Oxford University Press, 2009. 125–140. Print.
Buscombe, Edward. ‘The Idea of Genre in American Cinema’. Film Genre Reader IV. N.p. 12–26. Web. <http://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=3443619&ppg=35>.
Buscombe, Edward. Unforgiven. BFI modern classics. London: BFI, 2004. Print.
Cammell, Donald et al. ‘Performance’. : n. pag. Print.
Comolli, Jean-Luc, and Jean Narboni. ‘Cinema / Ideology / Criticism [IN] Film Theory and Criticism: Introductory Readings’. Film Theory and Criticism: Introductory Readings. 7th ed. New York: Oxford University Press, 2009. 686–693. Print.
Cook, David A. ‘Soviet Cinema and the Theory of Montage, 1917-1931’. A History of Narrative Film. 4th ed. London: W.W. Norton, 2003. 126–148. Print.
Cook, Pam. ‘Paert 6: Authorship and Cinema’. The Cinema Book. 3rd ed. London: BFI, 2007. 235–314. Print.
---. The Cinema Book. 3rd ed. London: BFI, 2007. Print.
Cooper, Brenda, and Edward Pease. ‘Framing Brokeback Mountain: How the Popular Press Corralled the "Gay Cowboy Movie”’. Critical Studies in Media Communication 25.3 (2008): 249–273. Web. <http://search.ebscohost.com.ezproxy.falmouth.ac.uk/login.aspx?direct=true&db=ufh&AN=33158196&site=ehost-live>.
Coppola, Francis Ford, Brando, Marlon, and Pacino, Al. ‘The Godfather’. : n. pag. Print.
Corrigan, Timothy. ‘Writing about the Movies’. A Short Guide to Writing about Film. 8th ed., [International ed.]. Boston, [Mass.]: Pearson, 2012. 1–17. Print.
Corrigan, Timothy and White, Patricia. The Film Experience: An Introduction. 3rd ed. Boston, Mass: Bedford/St. Martins, 2012. Print.
Creed, Barbara. ‘Film and Psychoanalysis [IN] The Oxford Guide to Film Studies’. The Oxford Guide to Film Studies. Oxford: Oxford University Press, 1998. 77–90. Print.
Cukor, George et al. ‘The Philadelphia Story: Disc I’. : n. pag. Print.
Curtiz, Michael, Bogart, Humphrey, and Bergman, Ingrid. ‘Casablanca’. Web. <https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fshibboleth.falmouth.ac.uk%2Fidp%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F001C11A0%3Fbcast%3D114467368>.
---. ‘Casablanca’. : n. pag. Print.
Demme, Jonathan et al. The Silence of the Lambs. MGM DVD. Print.
Dix, Andrew. Beginning Film Studies. Manchester: Manchester University Press, 2008. Print.
---. Beginning Film Studies. Manchester: Manchester University Press, 2008. Print.
---. ‘Seeing Fim: Mise En Scene Analysis’. Beginning Film Studies. Manchester: Manchester University Press, 2008. 9–39. Print.
Eastwood, Clint, Hackman, Gene, and Freeman, Morgan. ‘Unforgiven’. : n. pag. Print.
---. ‘Unforgiven’. : n. pag. Print.
Ebert, Roger. ‘Badlands Movie Review & Film Summary (1973)’. N.p., n.d. Web. <http://www.rogerebert.com/reviews/badlands-1973>.
Eco, Umberto. ‘“Casablanca”, or, the Cliches Are Having a Ball’. On Signs. Baltimore: Johns Hopkins University Press, 1985. 35–38. Print.
Eisenstein, Sergei, Antonov, Aleksandr, and Alexandrov, Grigori. ‘Battleship Potemkin [Bronenosets Potyomkin]’. Web. <https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fshibboleth.falmouth.ac.uk%2Fidp%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F01FCF8C0%3Fbcast%3D99885053>.
---. ‘Bronenosets Potyomkin’. : n. pag. Print.
Eisenstein, Sergei and Leyda, Jay. ‘A Dialectical Approach to Film Form’. Film Form: Essays in Film Theory ; and The Film Sense. Cleveland: Meridian, 1957. 45–63. Print.
Eisenstein, Sergei, Shtraukh, Maxim, and Alexandrov, Grigori. ‘Stachka’. : n. pag. Print.
Fassbinder, Rainer Werner, Mira, Brigitte, and Salem, El Hedi Ben. ‘Angst Essen Seele Auf: Disc I’. : n. pag. Print.
Fleming, Victor, Garland, Judy, and Morgan, Frank. ‘The Wizard of Oz’. : n. pag. Print.
Ford, John, Wayne, John, and Trevor, Claire. ‘Stagecoach’. 2005 : n. pag. Print.
---. ‘Stagecoach’. 2005 : n. pag. Print.
Fourie, Pieter J., ed. Media Studies: Volume 3: Media Content and Audiences. Cape Town: Juta, 2012. Print.
Friedkin, William et al. ‘The Exorcist’. : n. pag. Print.
Gibbs, John. ‘Case Study: “Imitation of Life” [IN] Mise-En-Scene: Film Style and Interpretation’. Mise-En-Scene: Film Style and Interpretation. Short cuts. London: Wallflower, 2001. 83–96. Print.
Godard, Jean-Luc, Belmondo, Jean-Paul, and Seberg, Jean. ‘A Bout de Souffle’. : n. pag. Print.
Hayward, Susan. Cinema Studies: The Key Concepts. Fourth edition. Routledge key guides. London: Routledge, 2013. Print.
Heath, Stephen. ‘Jaws, Ideology and Film Theory [IN] Movies and Methods: Vol.2: An Anthology’. Movies and Methods: Vol.2: An Anthology. Berkeley: University of California Press, 1985. 509–514. Print.
Hill, John and Gibson, Pamela Church. Film Studies: Critical Approaches. Oxford: Oxford University Press, 2000. Print.
Hitchcock, Alfred, Granger, Farley, and Walker, Robert. ‘Strangers on a Train’. 2006 : n. pag. Print.
Hitchcock, Alfred, Perkins, Anthony, and Leigh, Janet. ‘Psycho’. : n. pag. Print.
Hitchcock, Alfred, Stewart, James, and Dall, John. ‘Rope’. 1997 : n. pag. Print.
Hitchcock, Alfred, Stewart, James, and Kelly, Grace. ‘Rear Window’. : n. pag. Print.
Hitchcock, Alfred, Stewart, James, and Novak, Kim. ‘Vertigo’. : n. pag. Print.
Hitchcock, Alfred, Wright, Teresa, and Cotten, Joseph. ‘Shadow of a Doubt’. 1997 : n. pag. Print.
Hollows, Joanne, Hutchings, Peter, and Jancovich, Mark. The Film Studies Reader. London: Arnold, 2000. Print.
---. The Film Studies Reader. London: Arnold, 2000. Print.
Jordan, Neil et al. ‘The Crying Game’. : n. pag. Print.
Joyce, Mark. ‘The Soviet Montage Cinema of the 1920s’. Introduction to Film Studies. 5th ed. London: Routledge, 2012. 445–479. Print.
Kaplan, E. Ann. Feminism and Film. Oxford readings in feminism. Oxford: Oxford University Press, 2000. Print.
Kieslowski, Krzysztof, Jacob, Irene, and Trintignant, Jean-Louis. ‘Trois Couleurs Rouge’. : n. pag. Print.
Kubrick, Stanley, Dullea, Keir, and Lockwood, Gary. ‘2001 : A Space Odyssey’. Web. <http://voyager.falmouth.ac.uk/vwebv/holdingsInfo?bibId=217026>.
Laughton, Charles, Mitchum, Robert, and Winters, Shelley. ‘The Night of the Hunter’. : n. pag. Print.
Lean, David et al. ‘Brief Encounter’. : n. pag. Print.
Lee, Ang, Ledger, Heath, and Gyllenhaal, Jake. ‘Brokeback Mountain’. Web. <https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fshibboleth.falmouth.ac.uk%2Fidp%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F005FE0B3%3Fbcast%3D94769595>.
---. ‘Brokeback Mountain’. : n. pag. Print.
Leigh, Davis, Davis, Philip, and Sheen, Ruth. ‘High Hopes’. : n. pag. Print.
LeRoy, Mervyn, Robinson, Edward G, and Fairbanks, Douglas. ‘Little Caesar’. 2002 : n. pag. Print.
Lioret, Philippe et al. ‘Welcome’. : n. pag. Print.
Litvak, Anatole, Havilland, Olivia de, and Stevens, Mark. ‘The Snake Pit’. 1999 : n. pag. Print.
Lynch, David, Nance, John, and Stewart, Charlotte. ‘Eraserhead’. : n. pag. Print.
Lynch, David, Theroux, Justin, and Watts, Naomi. ‘Mulholland Drive’. : n. pag. Print.
Malick, Terrence, Sheen, Martin, and Spacek, Sissy. ‘Badlands’. : n. pag. Print.
---. ‘Badlands’. : n. pag. Print.
Mankiewicz, Joseph L., Davis, Bette, and Sanders, George. ‘All About Eve’. : n. pag. Print.
Metz, Christian. ‘From “The Imaginary Signifier” [IN] Film Theory and Criticism: Introductory Readings’. Film Theory and Criticism: Introductory Readings. 7th ed. New York: Oxford University Press, 2009. 694–710. Print.
Mulvey, Laura. ‘Visual Please and Narrative Cinema’. Media and Cultural Studies: Keyworks. Rev. ed. Keyworks in cultural studies. Malden, Mass: Blackwell, 2006. 342–352. Print.
Neale, S. ‘Question of Genre’. Screen 31.1 (1990): 45–66. Web.
Nowell-Smith, Geoffrey. ‘How Films Mean, or, from Aesthetics to Semiotics and Half-Way Back Again’. Reinventing Film Studies. London: Arnold, 1999. 8–17. Print.
Peckinpah, Sam, Holden, William, and Borgnine, Ernest. ‘The Wild Bunch’. : n. pag. Print.
Pontecorvo, Gillo et al. ‘La Battaglia Di Algeri: Disc I’. : n. pag. Print.
Potter, Sally, Swinton, Tilda, and Zane, Billy. ‘Orlando’. : n. pag. Print.
Powell, Michael et al. ‘Peeping Tom’. : n. pag. Print.
---. ‘Peeping Tom’. : n. pag. Print.
Pramaggiore, Maria, and Wallis, Tom. ‘Narrative Form’. Film: A Critical Introduction. 3rd ed. London: Laurence King, 2011. 65–90. Print.
Ray, Robert B. ‘The Culmination of Classic Hollywood: “Casablanca”’. A Certain Tendency of the Hollywood Cinema, 1930-1980. Princeton: Princeton University Press, 1985. 89–112. Print.
Rich, B. Ruby. ‘Brokering Brokeback : Jokes, Backlashes, and Other Anxieties’. Film Quarterly 60.3 (2007): 44–48. Web. <https://go.openathens.net/redirector/falmouth.ac.uk?url=http://www.jstor.org/stable/10.1525/fq.2007.60.3.44>.
Roberts, Graham and Wallis, Heather. ‘Auteur’. Introducing Film. London: Arnold, 2001. 127–139. Print.
---. ‘The Development of Narrative’. Introducing Film. London: Arnold, 2001. 52–70. Print.
Rocha, Glauber et al. ‘Deus e o Diabo Na Terra Do Sol’. : n. pag. Print.
Ryan, Michael and Kellner, Douglas. Camera Politica: The Politics and Ideology of Contemporary Hollywood Film. Bloomington, Ind: Indiana University Press, 1990. Print.
Schatz, Thomas. ‘Film Genres and the Genre Film’. Hollywood Genres: Formulas, Filmmaking, and the Studio System. Boston, Mass: McGraw-Hill, 1981. 14–42. Print.
---. ‘The Western [IN] Hollywood Genres: Formulas, Filmmaking, and the Studio System’. Hollywood Genres: Formulas, Filmmaking, and the Studio System. Boston, Mass: McGraw-Hill, 1981. 43–80. Print.
Scott, Ridley, Skerritt, Tom, and Weaver, Sigourney. ‘Alien’. : n. pag. Print.
Shaw, Jeffrey, Weibel, Peter, and Zentrum für Kunst und Medientechnologie Karlsruhe. Future Cinema: The Cinematic Imaginary after Film. Electronic culture. Cambridge, Mass: MIT, 2003. Print.
Shelton, Bob. ‘The Films of Francois Truffaut [IN] A Cultural Study of the Art Film: Book 1’. A Cultural Study of the Art Film: Book 1. Lewiston: Edwin Mellen Press, 2003. Print.
Sirk, Douglas, Turner, Lana, and Gavin, John. ‘Imitation of Life’. : n. pag. Print.
Spielberg, Steven, Scheider, Roy, and Dreyfuss, Richard. ‘Jaws’. : n. pag. Print.
Stam, Robert. Film Theory: An Introduction. Malden, Mass: Blackwell, 2000. Print.
---. ‘The Americanization of Auteur Theory [IN] Film Theory: An Introduction’. Film Theory: An Introduction. Malden, Mass: Blackwell, 2000. Print.
---. ‘The Cult of the Auteur’. Film Theory: An Introduction. Malden, Mass: Blackwell, 2000. Print.
Stam, Robert, Burgoyne, Robert, and Flitterman-Lewis, Sandy. ‘Cine-Semiology’. New Vocabularies in Film Semiotics: Structuralism, Post-Structuralism and Beyond. Routledge, 1992. 28–68. Print.
Thornham, Sue. Passionate Detachments: An Introduction to Feminist Film Theory. London: Edward Arnold, 1997. Print.
Truffaut, Francois. ‘A Certain Tendency of the French Cinema [IN] The Film Studies Reader’. The Film Studies Reader. London: Arnold, 2000. 58–63. Print.
Truffaut, Francois, Leaud, Jean-Pierre, and Maurier, Claire. ‘Les Quatre Cents Coups’. : n. pag. Print.
Tudor, Andrew. ‘Genre’. Film Genre Reader III. Austin: University of Texas Press, 2003. 3–11. Print.
Warshow, Robert. ‘Movie Chronicle: The Westerner [IN] The Western Reader’. The Western Reader. New York: Limelight Editions, 1998. 35–48. Print.
Willis, Andy. ‘Cultural Studies and Popular Film’. Approaches to Popular Film. Inside popular film. Manchester: Manchester University Press, 1995. 173–191. Print.
Wollen, Peter and British Film Institute. ‘Auteur Theory’. Signs and Meaning in the Cinema. 5th edition. N.p. 50–78. Print.
---. Signs and Meaning in the Cinema. 5th edition. N.p. Print.