1
Welles, Orson, Cotton, Joseph, Moorhead, Agnes. Citizen Kane. 13AD.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%2F000A6D70%3Fbcast%3D38970013
2
Benyahia, Sarah Casey., Mortimer, Claire, 1964-. The History of the Canon [IN] Doing film studies: a subject guide for students. In: Doing film studies: a subject guide for students. London: : Routledge 2013. 27–39.
3
Cartmell, Deborah, ebrary, Inc. Classics in film and fiction. London: : Pluto Press 2000.
4
Crowther, Paul. Defining art, creating the canon: artistic value in an era of doubt. Oxford: : Clarendon 2011.
5
Gillett P. Movie greats: a critical study of classic cinema. Oxford: : Berg 2008.
6
Rosenbaum J. Introduction [IN] Essential cinema: on the necessity of film canons. In: Essential cinema: on the necessity of film canons. Baltimore, Md: : Johns Hopkins University Press 2008. xi–xxi.http://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?ppg=12&docID=3318521&tm=1497952617295
7
Schrader, Paul. Canon Fodder: As the sun finally sets on the century of cinema, by what criteria do we determine its masterworks? Film Comment 2006;Sept-Oct:33–49.http://paulschrader.org/articles/pdf/2006-FilmComment_Schrader.pdf
8
Virginia Wright Wexman. The Critic as Consumer: Film Study in the University, ‘Vertigo’, and the Film Canon. Film Quarterly;Vol. 39:32–41.
9
Renoir, Jean, Fresnay, Pierre, Von Stroheim, Erich. La Grande Illusion. 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%2F001DA462%3Fbcast%3D106995379
10
Younger P. Film as art [IN] The Routledge companion to film history. In: The Routledge companion to film history. London: : Routledge 2011. 27–38.https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://shibboleth.falmouth.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203841532
11
Faulkner, Christopher. The social cinema of Jean Renoir. Guildford: : Princeton University Press 1986.
12
Fowler C. The European cinema reader. London: : Routledge 2002.
13
O’Shaughnessy M. Jean Renoir. Manchester, UK: : Manchester University Press 2000.
14
O’Shaughnessy, Martin. Reception [IN] La grande illusion: (Jean Renoir, 1937). In: La grande illusion: (Jean Renoir, 1937). London: : Distributed in the United States and Canada exclusively by Palgrave Macmillan 2009. 99–110.http://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?ppg=108&docID=676960&tm=1497953105554
15
Renoir, Jean. Jean Renoir: Part I: From La Belle Epoque to World War II. 4AD;OMNIBUS.
16
Renoir, Jean. Jean Renoir: Part II: Hollywood and beyond. 11AD;OMNIBUS.
17
Shelton B. Chapter on Renoir [IN] A cultural study of the art film: book 1. In: A cultural study of the art film: book 1. Lewiston: : Edwin Mellen Press 2003. 143–55.
18
Jean Renoir on Technology and Art : The New Yorker.
19
Hawks H, Grant C, Russell R. His girl friday. 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%2F00002B64%3Fbcast%3D33277449
20
Dyer R. Sections "Stars as Images; Stars and ‘Character’; Living Stars” [IN] The film studies reader. In: The film studies reader. London: : Arnold 2000. 121–34.
21
Decherney P. Hollywood and the culture elite: how the movies became American. New York: : Columbia University Press 2005. http://ezproxy.falmouth.ac.uk/login?url=http://site.ebrary.com/lib/falmouth/Doc?id=10183538
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Fischer L, Landy M. Stars: the film reader. London: : Routledge 2004.
23
Gledhill C. Stardom: industry of desire. London: : Routledge 1991. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://shibboleth.falmouth.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203400425
24
Dyer, Richard. Stars [IN] Film theory and criticism: introductory readings. In: Film theory and criticism: introductory readings. New York: : Oxford University Press 2009. 480–5.
25
Ellis J. Stars as a Cinematic Phenomenon [IN] Film theory and criticism: introductory readings. In: Film theory and criticism: introductory readings. New York: : Oxford University Press 2004.
26
Hill, John, Gibson, Pamela Church. American cinema and Hollywood: critical approaches. Oxford: : Oxford University Press 2000.
27
Kerr, Paul. The Hollywood film industry: a reader. London: : Routledge & Kegan Paul in association with the British Film Institute 1986.
28
Fraser, George MacDonald, Kobal Collection. The Hollywood history of the world: from One million years B.C. to Apocalypse now. 1st Ballatine Books ed. New York: : Fawcett Columbine 1989.
29
Bergman, Ingmar, Sydow, Max von, Bjornstrand, Gunnar, et al. The Seventh seal [Det Sjunde inseglet]. 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%2F0005A5DC%3Fbcast%3D67338783
30
Betz, M. Recovering European Art Cinema [IN] Beyond the subtitle: remapping European art cinema. In: Beyond the subtitle: remapping European art cinema. Minneapolis: : University of Minnesota Press 2009. 1–20.http://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?ppg=12&docID=445623&tm=1497954388872
31
Gazetas A. Symbolist Traditions in the Cinema: 1950s-1970s [IN] An introduction to world cinema. In: An introduction to world cinema. Jefferson, N.C.: : McFarland 2008. 190–201.
32
Macnab, Geoffrey, ebrary, Inc. Ingmar Bergman: the life and films of the last great European director. London: : Distributed in the United States and Canada Exclusively by Palgrave Macmillan 2009.
33
Singer I. Ingmar Bergman, cinematic philosopher: reflections on his creativity. Cambridge, Mass: : MIT Press 2007. https://ebookcentral.proquest.com/lib/falmouth-ebooks/detail.action?docID=3338746
34
Wood, Robin. Ingmar Bergman. London: : Studio Vista 1969. http://ezproxy.falmouth.ac.uk/login?url=http://site.ebrary.com/lib/falmouth/Doc?id=10715470
35
Wexman, Virginia Wright. Film and authorship. London: : Rutgers University Press 2003.
36
Kovács AB. Screening modernism: European art cinema, 1950-1980. Chicago, Ill: : University of Chicago Press 2007. http://ezproxy.falmouth.ac.uk/login?url=http://site.ebrary.com/lib/falmouth/Doc?id=10266077
37
Kurosawa, Akira, Mifune, Toshiro, Kyo, Machiko. Rashomon. 2008.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%2F001F9C90%3Fbcast%3D105813089
38
Yoshimoto M. Japanese Cinema in Search of a discipline [IN] Kurosawa: film studies and Japanese cinema. In: Kurosawa: film studies and Japanese cinema. Durham, NC: : Duke University Press 2000. 7–49.
39
Andrew, Geoff. Film: the critics’ choice. ; 150 masterpieces of world cinema selected and defined by the experts. London: : Aurum 2001.
40
Gibbs MH, ebrary, Inc. Film and political culture in postwar Japan. New York: : Peter Lang 2012. http://ezproxy.falmouth.ac.uk/login?url=http://site.ebrary.com/lib/falmouth/Doc?id=10562707
41
Phillips, Alastair, Stringer, Julian. Japanese cinema: texts and contexts. London: : Routledge 2007.
42
Richie D. Japanese cinema: an introduction. Hong Kong: : Oxford University Press 1990.
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Russell, Catherine. Classical Japanese cinema revisited. London: : Continuum 2011.
44
Standish, Isolde. A new history of Japanese cinema: a century of narrative film. London: : Continuum International Publishing Group - Academi 2006. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://shibboleth.falmouth.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781441161543
45
Oshima, Nagisa. The Century of Cinema: 100 years of Japanese cinema. 13AD.http://trlibdocs.fxplus.ac.uk/KalturaWeb/kaltura.php?vid=0_wi1xksdj
46
Richardson T, Tushingham R, Bryan D. A Taste of honey.
47
Lay, Samantha. Social Realism in the British Context [IN] British social realism: from documentary to Brit-grit. In: British social realism: from documentary to Brit-grit. London and New York: : Wallflower 2002. 5–23.
48
Higson A. Space, Place, Spectacle. Screen 1984;25:2–21. doi:10.1093/screen/25.4-5.2
49
Hill, John. Sex, class and realism: British cinema 1956-1963. London: : British Film Institute 1986.
50
Hutchens P. Beyond the New Wave: Realism in British Cinema, 1959-63 [IN] The British cinema book. In: The British cinema book. Basingstoke: : Palgrave Macmillan 2009. 304–12.
51
Arthur Marwick. Room at the Top, Saturday Night and Sunday Morning, and the ‘Cultural Revolution’ in Britain. Journal of Contemporary History 1984;19:127–52.https://www.jstor.org/stable/260428
52
Orr J. Romantics and modernists in British cinema. Edinburgh: : Edinburgh University Press 2010. http://falmouth.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=1144283410005136&institutionId=5136&customerId=5135
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Street S. British national cinema. 2nd ed. London: : Routledge 2009. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://shibboleth.falmouth.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203868997
54
Varda A, Marchand C, Bourseiller A. Cléo de 5 à 7.
55
Flitterman-Lewis, Sandy. Varda in Context: French Film Production in the  Early Sixties – the New Wave [IN] To desire differently: feminism and the French cinema. In: To desire differently: feminism and the French cinema. New York: : Columbia University Press 1996. 248–67.
56
Cook, D. A. The French New Wave and its Native Context [IN] A history of narrative film. In: A history of narrative film. London: : W.W. Norton 2003.
57
Cowie, Peter. Revolution!: the explosion of world cinema in the 60s. London: : Faber 2004.
58
Hayward S, Vincendeau G. French film: texts and contexts. 2nd ed. London and New York: : Routledge 2000.
59
Hillier J, British Film Institute. Cahiers du cinema: neo-realism, Hollywood, new wave, The 1950s. Cambridge, Mass: : Harvard University Press 1985.
60
Neupert, Richard John, ebrary, Inc. A history of the French new wave cinema. 2nd ed. Madison: : University of Wisconsin Press 2007.
61
Ostrowska D. Reading the French new wave: critics, writers and art cinema in France. London: : Wallflower 2008.
62
Smith A. Agnes Varda. Manchester: : Manchester University Press 1998.
63
Coppola FF, Hackman G, Cazale J. The Conversation. 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%2F000191F3%3Fbcast%3D82899187
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Arnold, Gordon B. Scandal and Skepticism [IN] Conspiracy theory in film, television, and politics. In: Conspiracy theory in film, television, and politics. Westport, Conn: : Praeger 2008. 89–111.https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://shibboleth.falmouth.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781567207224
65
Field D. American Cold War culture. Edinburgh: : Edinburgh University Press 2005.
66
Ryan, Michael, Kellner, Douglas. Camera politica: the politics and ideology of contemporary Hollywood film. Bloomington, Ind: : Indiana University Press 1990.
67
Lefait S. Surveillance on screen: monitoring contemporary films and television programs. Lanham, Md: : Scarecrow Press 2013. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://shibboleth.falmouth.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780810885912
68
Maland C. Dr. Strangelove (1964): Nightmare Comedy and the Ideology of Liberal Consensus. American Quarterly 1979;31. doi:10.2307/2712432
69
Pratt R. You May Think You Know What’s Going On Here [IN] Projecting paranoia. In: Projecting paranoia: conspiratorial visions in American film. [Great Britain]: : University Press of Kansas 2001. 87–112.
70
Cukor, George, Tracy, Spencer, Hepburn, Katharine. Adam’s Rib.
71
Herzog W, Kinski K, Guerra R. Aguirre, Wrath of God [Aguirre, der Zorn Gottes].
72
Pakula, Alan J, Redford, Robert, Hoffman, Dustin. All the President’s men.
73
Fellini F, Maggio P, Noel M. Amarcord.
74
Godard J-L, Karin A, Frey S. Bande a part.
75
Kubrick S, O’Neal R, Berenson M. Barry Lyndon.
76
Pontecorvo, Gillo, Hadjadj, Brahim, Martin, Jean, et al. The Battle of Algiers [La Battaglia di Alger]i: Disc I.
77
Sica, Vittorio de, Maggiorani, Lamberto, Carell, Lianella. Bicycle Thieves [Ladri di Biciclette].
78
Powell M, Pressburger E, Kerr D, et al. Black narcissus.
79
Scott R, Ford H, Hauer R. Blade Runner.
80
Antonioni, Michelangelo, Hemmings, David, Redgrave, Vanessa, et al. Blow-up. 2009.
81
Lynch D, MacLachlan K, Rossellini I, et al. Blue Velvet.
82
Godard, Jean-Luc, Belmondo, Jean-Paul, Seberg, Jean. Breathless [A Bout de souffle].
83
Cukor, George, Garbo, Greta, Taylor, Robert. Camille. 12AD.
84
Fellini, Federico, Mastroianni, Marcello, Ekberg, Anita. La Dolce Vita.
85
Wilder B, Stanwyck B, MacMurray F. Double Indemnity.
86
Fellini, Federico, Mastroianni, Marcello, Cardinale, Claudia. 8 1/2.
87
Carne M, Barrault J-L, Arletty. Les Enfants du Paradis.
88
Bunuel L, Rambel E, Gallardo L. The Exterminating angel [El Angel exterminador].
89
Truffaut, Francois, Leaud, Jean-Pierre, Maurier, Claire. The 400 Blows [Les Quatre Cents Coups].
90
Coppola, Francis Ford, Brando, Marlon, Pacino, Al. The Godfather.
91
Coppola, Francis Ford, Pacino, Al, Duvall, Robert. The Godfather Part II: Disc I.
92
Lupino I, Lovejoy F, O’Brien E. The Hitch Hiker.
93
Kurosawa, Akira, Shimura, Takashi, Kaneko, Nobuo. Ikiru. 26AD.
94
Wong KW, Cheung M, Leung TCW. In the mood for love [Fa yeung nin wa].
95
Akerman C, Arestrup N, Wauthion C. I, you, he, she [Je, tu, il, elle].
96
Akerman C, Seyrig D, Decorte J, et al. Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles: Disc I. 1975.
97
Ozu, Yasujiro, Ryu, Chishu, Hara, Setsuko. Late Spring [Banshun].
98
Antonioni, Michelangelo, Ferzetti, Gabriele, Vitti, Monica. L’Avventura. 2008.
99
Lean D, Guinness A, Quinn A. Lawrence of Arabia.
100
Kubrick, Stanley, Mason, James, Winters, Shelley, et al. Lolita.
101
Richardson, Tony, Courtenay, Tom, Redgrave, Michael. The Loneliness of the long distance runner.
102
Richardson, Tony, Burton, Richard, Bloom, Claire, et al. Look Back In Anger.
103
Welles, Orson, Cotten, Joseph, Costello, Dolores, et al. The magnificent Ambersons.
104
Powell M, Pressburger E, Niven D, et al. A Matter of life and death.
105
Scorsese, Martin, De Niro, Robert, Keitel, Harvey. Mean streets.
106
Godard J-L, Bardot B, Piccoli M. Le mepris.
107
Curtiz M, Crawford J, Carson J, et al. Mildred Pierce.
108
Lynch D, Theroux J, Watts N. Mulholland Drive.
109
Laughton C, Mitchum R, Winters S. The Night of the hunter.
110
Potter S, Swinton T, Zane B. Orlando.
111
Toro G del, López S, Verdú M, et al. Pan’s Labyrinth [El Laberinto del fauno]. ;The Guillermo del Toro collection.
112
Wenders, Wim 1945-, Stanton HD, Kinski N, et al. Paris, Texas.
113
Antonioni M, Nicholson J, Schneider M. The Passenger.
114
Ray S, Bannerjee K, Gupta UD. Pather Panchali.
115
Bergman, Ingmar, Andersson, Bibi, Ullmann, Liv, et al. Persona: uncensored director’s cut.
116
Campion J, Hunter H, Keitel H. The Piano.
117
Tati, Jacques. Playtime.
118
Hitchcock, Alfred, Perkins, Anthony, Leigh, Janet. Psycho.
119
Scorsese, Martin, De Niro, Robert, Pesci, Joe. Raging bull.
120
Renoir, Jean, Gregor, Nora, Dalio, Marcel. La Regle du jeu.
121
Kurosawa, Akira, Mifune, Toshiro, Nakadai, Tatsuya. Sanjuro.
122
Ford, John, Wayne, John, Hunter, Jeffrey. The Searchers.
123
Donen S, Kelly G, O’Connor D, et al. Singin’ in the rain.
124
Tarkovskii, Andrei Arsenevich, Bondarchuk, Natalya, Banionas, Donatas. Solaris: Disc I.
125
Wilder, Billy, Curtis, Tony, Lemmon, Jack, et al. Some like it hot: Disc I.
126
Anderson, Lindsay, Harris, Richard, Roberts, Rachel. This sporting life. 14AD.
127
Tarkovskii, Andrei Arsenevich, Kaidanovsky, Aleksandr, Solonitsyn, Anatoly. Stalker: Disc I: Part I.
128
Wilder B, Holden W, Swanson G. Sunset Boulevard.
129
Reed C, Cotten J, Welles O. The Third man.
130
Ozu, Yasujiro, Ryu, Chishu, Higashiyama, Chieko. Tokyo Story [Tokyo monogatari].
131
Welles, Orson, Perkins, Anthony, Moreau, Jeanne, et al. The Trial [Le proces].
132
Mizoguchi K, Mori M, Kyo M, et al. Ugetsu.
133
Sica V de, Battisti C, Casilio M. Umberto D.
134
Hitchcock, Alfred, Stewart, James, Novak, Kim. Vertigo.
135
Bunuel L, Pinal S, Rabal F. Viridiana.
136
Godard, Jean-Luc, Karina, Anna, Rebbot, Saddy. Vivre Sa Vie. 11AD.
137
Godard, Jean-Luc, Darc, Mireille, Yanne, Jean. Weekend.
138
Bergman, Ingmar, Sjostrom, Victor, Andersson, Bibi. Wild Strawberries [Smultronstället]. 19AD.
139
Wenders, Wim 1945-, Ganz B, Dommartin S, et al. Wings of Desire [Der Himmel über Berlin].
140
Kurosawa, Akira, Mifune, Toshiro, Tono, Eijiro. Yojimbo.