1.
Malick, Terrence, Sheen, Martin, Spacek, Sissy: Badlands.
2.
Corrigan, Timothy: Writing about the movies. In: A short guide to writing about film. pp. 1–17. Pearson, Boston, [Mass.] (2012).
3.
Bignall, J.: From detail to meaning; ‘Badlands’ (Terence Malick, 1973) and cinematic articulation [IN] Style and meaning: studies in the detailed analysis of film. In: Style and meaning: studies in the detailed analysis of film. pp. 42–52. Manchester University Press, Manchester (2005).
4.
Ebert, R.: Badlands Movie Review & Film Summary (1973), http://www.rogerebert.com/reviews/badlands-1973.
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Fourie, P.J. ed: Media studies: Volume 3: Media content and audiences. Juta, Cape Town (2012).
6.
Sirk, Douglas, Turner, Lana, Gavin, John: Imitation of Life.
7.
Dix, Andrew: Seeing Fim: Mise en scene analysis. In: Beginning film studies. pp. 9–39. Manchester University Press, Manchester (2008).
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Gibbs, John: Case study: ‘Imitation of Life’ [IN] Mise-en-scene: film style and interpretation. In: Mise-en-scene: film style and interpretation. pp. 83–96. Wallflower, London (2001).
9.
Bordwell, David, Thompson, Kristin: The shot: mise-en-scene. In: Film art: an introduction. pp. 112–159. McGraw-Hill, New York (2013).
10.
Ford, John, Wayne, John, Trevor, Claire: Stagecoach, (2005).
11.
Roberts, Graham, Wallis, Heather: The development of narrative. In: Introducing film. pp. 52–70. Arnold, London (2001).
12.
Pramaggiore, Maria, Wallis, Tom: Narrative form. In: Film: a critical introduction. pp. 65–90. Laurence King, London (2011).
13.
Browne, N.: The spectator-in-the-text: the rhetoric of ‘Stagecoach’ [IN] Film theory and criticism: introductory readings. In: Film theory and criticism: introductory readings. pp. 125–140. Oxford University Press, New York (2009).
14.
Eisenstein, Sergei, Antonov, Aleksandr, Alexandrov, Grigori: Battleship Potemkin [Bronenosets Potyomkin], 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.
15.
Joyce, Mark: The Soviet montage cinema of the 1920s. In: Introduction to film studies. pp. 445–479. Routledge, London (2012).
16.
Cook, David A.: Soviet cinema and the theory of montage, 1917-1931. In: A history of narrative film. pp. 126–148. W.W. Norton, London (2003).
17.
Eisenstein, Sergei, Leyda, Jay: A dialectical approach to film form. In: Film form: essays in film theory ; and The film sense. pp. 45–63. Meridian, Cleveland (1957).
18.
Curtiz, Michael, Bogart, Humphrey, Bergman, Ingrid: Casablanca, 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.
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Eco, U.: ‘Casablanca’, or, the cliches are having a ball. In: On signs. pp. 35–38. Johns Hopkins University Press, Baltimore (1985).
20.
Ray, Robert B.: The culmination of classic Hollywood: ‘Casablanca’. In: A certain tendency of the Hollywood cinema, 1930-1980. pp. 89–112. Princeton University Press, Princeton (1985).
21.
Nowell-Smith, G.: How films mean, or, from aesthetics to semiotics and half-way back again. In: Reinventing film studies. pp. 8–17. Arnold, London (1999).
22.
Stam, Robert, Burgoyne, Robert, Flitterman-Lewis, Sandy: Cine-semiology. In: New vocabularies in film semiotics: structuralism, post-structuralism and beyond. pp. 28–68. Routledge (1992).
23.
Truffaut, Francois, Leaud, Jean-Pierre, Maurier, Claire: Les Quatre Cents Coups.
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Astruc, A.: The birth of a new avant-garde: La Camera-Stylo [IN] The New wave: critical landmarks. In: The New wave: critical landmarks. pp. 17–23. Secker/B F I., London (1968).
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Truffaut, F.: A certain tendency of the French cinema [IN] The film studies reader. In: The film studies reader. pp. 58–63. Arnold, London (2000).
26.
Cook, Pam: Paert 6: Authorship and cinema. In: The cinema book. pp. 235–314. BFI, London (2007).
27.
Wollen, Peter, British Film Institute: Auteur theory. In: Signs and meaning in the cinema. pp. 50–78.
28.
Stam, Robert: The cult of the auteur. In: Film theory: an introduction. Blackwell, Malden, Mass (2000).
29.
Stam, Robert: The Americanization of auteur theory [IN] Film theory: an introduction. In: Film theory: an introduction. Blackwell, Malden, Mass (2000).
30.
Roberts, Graham, Wallis, Heather: Auteur. In: Introducing film. pp. 127–139. Arnold, London (2001).
31.
Shelton, Bob: The films of Francois Truffaut [IN] A cultural study of the art film: book 1. In: A cultural study of the art film: book 1. Edwin Mellen Press, Lewiston (2003).
32.
Eastwood, Clint, Hackman, Gene, Freeman, Morgan: Unforgiven.
33.
Schatz, Thomas: Film genres and the genre film. In: Hollywood genres: formulas, filmmaking, and the studio system. pp. 14–42. McGraw-Hill, Boston, Mass (1981).
34.
Buscombe, E.: The idea of genre in American cinema. In: Film genre reader IV. pp. 12–26.
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Schatz, Thomas: The Western [IN] Hollywood genres: formulas, filmmaking, and the studio system. In: Hollywood genres: formulas, filmmaking, and the studio system. pp. 43–80. McGraw-Hill, Boston, Mass (1981).
36.
Tudor, A.: Genre. In: Film genre reader III. pp. 3–11. University of Texas Press, Austin (2003).
37.
Warshow, R.: Movie chronicle: The Westerner [IN] The western reader. In: The western reader. pp. 35–48. Limelight Editions, New York (1998).
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Bazin, A.: The evolution of the Western [IN] The western reader. In: The western reader. pp. 49–56. Limelight Editions, New York (1998).
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Neale, S.: Question of genre. Screen. 31, 45–66 (1990). https://doi.org/10.1093/screen/31.1.45.
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Buscombe, Edward: Unforgiven. BFI, London (2004).
41.
Spielberg, Steven, Scheider, Roy, Dreyfuss, Richard: Jaws.
42.
Comolli, J.-L., Narboni, J.: Cinema / ideology / criticism [IN] Film theory and criticism: introductory readings. In: Film theory and criticism: introductory readings. pp. 686–693. Oxford University Press, New York (2009).
43.
Heath, S.: Jaws, ideology and film theory [IN] Movies and methods: Vol.2: An anthology. In: Movies and methods: Vol.2: An anthology. pp. 509–514. University of California Press, Berkeley (1985).
44.
Ryan, Michael, Kellner, Douglas: Camera politica: the politics and ideology of contemporary Hollywood film. Indiana University Press, Bloomington, Ind (1990).
45.
Baudry, J.-L.: Ideological effects of the basic cinematographic apparatus [IN] Movies and methods: Vol.2: An anthology. In: Movies and methods: Vol.2: An anthology. pp. 531–542. University of California Press, Berkeley (1985).
46.
Benshoff, Harry M., Griffin, Sean: America on film: representing race, class, gender, and sexuality at the movies. Wiley-Blackwell, Chichester (2009).
47.
Brooker, Peter: A glossary of cultural theory. Arnold, London (2003).
48.
Dix, Andrew: Beginning film studies. Manchester University Press, Manchester (2008).
49.
Powell, Michael, Bohm, Karlheinz, Massey, Anna, Shearer, Moira, Scorsese, Martin, Gilbey, Ryan: Peeping Tom.
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Creed, B.: Film and psychoanalysis [IN] The Oxford guide to film studies. In: The Oxford guide to film studies. pp. 77–90. Oxford University Press, Oxford (1998).
51.
Mulvey, L.: Visual Please and Narrative Cinema. In: Media and cultural studies: keyworks. pp. 342–352. Blackwell, Malden, Mass (2006).
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Metz, C.: From ‘The Imaginary Signifier’ [IN] Film theory and criticism: introductory readings. In: Film theory and criticism: introductory readings. pp. 694–710. Oxford University Press, New York (2009).
53.
Kaplan, E. Ann: Feminism and film. Oxford University Press, Oxford (2000).
54.
Thornham, Sue: Passionate detachments: an introduction to feminist film theory. Edward Arnold, London (1997).
55.
Lee, Ang, Ledger, Heath, Gyllenhaal, Jake: Brokeback mountain, 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.
56.
Rich, B.R.: Brokering Brokeback : Jokes, Backlashes, and Other Anxieties. Film Quarterly. 60, 44–48 (2007). https://doi.org/10.1525/fq.2007.60.3.44.
57.
Willis, A.: Cultural studies and popular film. In: Approaches to popular film. pp. 173–191. Manchester University Press, Manchester (1995).
58.
Cooper, B., Pease, E.: Framing Brokeback Mountain: How the Popular Press Corralled the "Gay Cowboy Movie”. Critical Studies in Media Communication. 25, 249–273 (2008). https://doi.org/10.1080/15295030802192020.
59.
Barbara Klinger: Digressions at the Cinema: Reception and Mass Culture. Cinema Journal. 28, 3–19 (1989).
60.
Corrigan, Timothy, White, Patricia: The film experience: an introduction. Bedford/St. Martins, Boston, Mass (2012).
61.
Hayward, Susan: Cinema studies: the key concepts. Routledge, London (2013).
62.
Hill, John, Gibson, Pamela Church: Film studies: critical approaches. Oxford University Press, Oxford (2000).
63.
Hollows, Joanne, Hutchings, Peter, Jancovich, Mark: The film studies reader. Arnold, London (2000).
64.
Shaw, Jeffrey, Weibel, Peter, Zentrum für Kunst und Medientechnologie Karlsruhe: Future cinema: the cinematic imaginary after film. MIT, Cambridge, Mass (2003).
65.
Stam, Robert: Film theory: an introduction. Blackwell, Malden, Mass (2000).
66.
Bordwell, David, Staiger, Janet, Thompson, Kristin: The classical Hollywood cinema: film style & mode of production to 1960. Routledge, London (1988).
67.
Cook, Pam: The cinema book. BFI, London (2007).
68.
Wollen, Peter, British Film Institute: Signs and meaning in the cinema.
69.
Hollows, Joanne, Hutchings, Peter, Jancovich, Mark: The film studies reader. Arnold, London (2000).
70.
Bordwell, D., Thompson, K., Smith, J.: Film art: an introduction. McGraw-Hill Education, New York, NY (2019).
71.
Dix, Andrew: Beginning film studies. Manchester University Press, Manchester (2008).
72.
Aldrich, Robert, Palance, Jack, Lupino, Ida, Steiger, Rod: The Big Knife, (14) AD.
73.
Allen, Woody, Keaton, Diane: Annie Hall.
74.
Allen, Woody, Farrow, Mia, Daniels, Jeff: The Purple rose of Cairo.
75.
Almodovar, Pedro, Camara, Javier, Watling, Leonor: Hable con ella.
76.
Aldrich, Robert, Meeker, Ralph, Dekker, Albert: Kiss Me Deadly.
77.
Antonioni, Michelangelo, Hemmings, David, Redgrave, Vanessa, Miles, Sarah: Blow-up, (2009).
78.
Coppola, Francis Ford, Brando, Marlon, Pacino, Al: The Godfather.
79.
Cukor, George, Stewart, James, Hepburn, Katharine, Grant, Cary: The Philadelphia story: Disc I.
80.
Curtiz, Michael, Bogart, Humphrey, Bergman, Ingrid: Casablanca.
81.
Demme, Jonathan, Foster, Jodie, Hopkins, Anthony, Scott, Glenn, Levine, Ted: The silence of the lambs. MGM DVD.
82.
Eastwood, Clint, Hackman, Gene, Freeman, Morgan: Unforgiven.
83.
Eisenstein, Sergei, Antonov, Aleksandr, Alexandrov, Grigori: Bronenosets Potyomkin.
84.
Eisenstein, Sergei, Shtraukh, Maxim, Alexandrov, Grigori: Stachka.
85.
Fassbinder, Rainer Werner, Mira, Brigitte, Salem, El Hedi Ben: Angst essen seele auf: Disc I.
86.
Fleming, Victor, Garland, Judy, Morgan, Frank: The Wizard of Oz.
87.
Ford, John, Wayne, John, Trevor, Claire: Stagecoach, (2005).
88.
Jordan, Neil, Rea, Stephen, Richardson, Miranda, Whitaker, Forest: The Crying game.
89.
Friedkin, William, Burstyn, Ellen, Sydow, Carl Adolf von, Blair, Linda: The Exorcist.
90.
Godard, Jean-Luc, Belmondo, Jean-Paul, Seberg, Jean: A Bout de souffle.
91.
Hitchcock, Alfred, Wright, Teresa, Cotten, Joseph: Shadow of a doubt, (1997).
92.
Hitchcock, Alfred, Stewart, James, Dall, John: Rope, (1997).
93.
Hitchcock, Alfred, Granger, Farley, Walker, Robert: Strangers on a train, (2006).
94.
Hitchcock, Alfred, Stewart, James, Kelly, Grace: Rear window.
95.
Hitchcock, Alfred, Stewart, James, Novak, Kim: Vertigo.
96.
Hitchcock, Alfred, Perkins, Anthony, Leigh, Janet: Psycho.
97.
Kieslowski, Krzysztof, Jacob, Irene, Trintignant, Jean-Louis: Trois couleurs rouge.
98.
Kubrick, Stanley, Dullea, Keir, Lockwood, Gary: 2001 : A Space Odyssey, http://voyager.falmouth.ac.uk/vwebv/holdingsInfo?bibId=217026.
99.
Laughton, Charles, Mitchum, Robert, Winters, Shelley: The Night of the hunter.
100.
Lean, David, Howard, Trevor, Johnson, Celia, Coward, Noel: Brief Encounter.
101.
Lee, Ang, Ledger, Heath, Gyllenhaal, Jake: Brokeback mountain.
102.
Leigh, Davis, Davis, Philip, Sheen, Ruth: High hopes.
103.
LeRoy, Mervyn, Robinson, Edward G, Fairbanks, Douglas: Little Caesar, (2002).
104.
Litvak, Anatole, Havilland, Olivia de, Stevens, Mark: The Snake pit, (1999).
105.
Lioret, Philippe, Lindon, Vincent, Ayverdi, Firat, Dana, Audrey: Welcome.
106.
Lynch, David, Nance, John, Stewart, Charlotte: Eraserhead.
107.
Lynch, David, Theroux, Justin, Watts, Naomi: Mulholland Drive.
108.
Malick, Terrence, Sheen, Martin, Spacek, Sissy: Badlands.
109.
Mankiewicz, Joseph L., Davis, Bette, Sanders, George: All About Eve.
110.
Peckinpah, Sam, Holden, William, Borgnine, Ernest: The Wild Bunch.
111.
Pontecorvo, Gillo, Hadjadj, Brahim, Martin, Jean, Saadi, Yacef: La Battaglia di Algeri: Disc I.
112.
Potter, Sally, Swinton, Tilda, Zane, Billy: Orlando.
113.
Powell, Michael, Bohm, Karlheinz, Massey, Anna, Shearer, Moira, Scorsese, Martin, Gilbey, Ryan: Peeping Tom.
114.
Rocha, Glauber, Del Ray, Geraldo, Magalhaes, Yona, Bastos, Othon: Deus e o Diabo na Terra do Sol.
115.
Cammell, Donald, Roeg, Nicolas, Fox, James, Jagger, Mick, Pallenberg, Anita: Performance.
116.
Scott, Ridley, Skerritt, Tom, Weaver, Sigourney: Alien.