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Keller S. Frustrated Climaxes: On Maya Deren’s Meshes of the Afternoon and Witch’s Cradle. Cinema Journal. 2013;52(3):75-98. doi:10.1353/cj.2013.0018
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Sitney PA. Visionary Film: The American Avant-Garde, 1943-2000. Third edition. Oxford University Press; 2002.
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P. Adams Sitney. Visionary Film : The American Avant-Garde, 1943-2000. Oxford University Press; 2002. https://ebookcentral.proquest.com/lib/bham/reader.action?docID=241285&ppg=11
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Rob Stone, , Juli?n Daniel Guti?rrez-Albilla, , and Julian Daniel Gutierrez-Albilla. A Companion to Luis Buñuel. John Wiley & Sons, Incorporated; 2013. https://ebookcentral.proquest.com/lib/bham/reader.action?docID=1129776&ppg=5
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Deren M, Nichols B. Maya Deren and the American Avant-Garde. University of California Press; 2001.
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Carroll, Noel. Avant-Garde Film and Film Theory. Avant-Garde Film and Film Theory. 1979;(4):135-143. http://bham-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_proquest1295098707&indx=1&recIds=TN_proquest1295098707&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%2844BIR_PDA1_DS%29%2Cscope%3A%2844BIR_ETH1_DS%29%2Cscope%3A%2844BIR_LGUI_DS%29%2Cscope%3A%2844BIR_PURE_FT%29%2Cscope%3A%2844BIR_ALEPH_DS%29%2Cscope%3A%2844BIR_MIM_DS+%29%2Cscope%3A%2844BIR_RLIST_DS%29%2Cscope%3A%2844BIR_ML_DS%29%2Cscope%3A%2844BIR_SFX_DS%29%2Cscope%3A%2844BIR_DR1_DS%29%2Cscope%3A%2844BIR_DR2_DS%29%2C44BIR_Ebsco_1%2Cprimo_central_multiple_fe&mode=Basic&vid=44BIR_VU1&srt=rank&tab=local&vl(freeText0)=Avant-Garde%20Film%20and%20Film%20Theory%20Carroll&dum=true&dstmp=1513740032538
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Dixon WW, Foster GA. Experimental Cinema, the Film Reader. Routledge; 2002.
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Littman S, Hatfield J. Experimental Film and Video: An Anthology. John Libbey Pub; 2006. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=2042367
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CARROLL N. Movies, the Moral Emotions, and Sympathy. Midwest Studies In Philosophy. 2010;34(1):1-19. doi:10.1111/j.1475-4975.2010.00197.x
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Lee S. Wes Anderson’s ambivalent film style: the relation between - - and emotion. New Review of Film and Television Studies. 2016;14(4):409-439. doi:10.1080/17400309.2016.1172858
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Fernando Solanas and Octavio Getino. TOWARD A THIRD CINEMA. Cinéaste. 1970;4(3):1-10. http://www.jstor.org/stable/41685716?Search=yes&resultItemClick=true&searchText=third&searchText=cinema&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dthird%2Bcinema%26amp%3Bacc%3Don%26amp%3Bwc%3Don%26amp%3Bfc%3Doff&seq=1#page_scan_tab_contents
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Eid H, Ghazel K. Footprints of Fanon in Gillo Pontecorvo’s The Battle of Algiers and Sembene Ousamne’s Xala. English in Africa. 2009;35(2). doi:10.4314/eia.v35i2.42858
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Hill L, Olsson GH. Concerning violence: nine scenes from the anti-imperialistic self-defense. Published online 2015.
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Galt, Rosalind. Pretty: Film and the Decorative Image. Published online 2011. http://findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_mla2011031545&indx=1&recIds=TN_mla2011031545&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%2844BIR_PDA1_DS%29%2Cscope%3A%2844BIR_ETH1_DS%29%2Cscope%3A%2844BIR_LGUI_DS%29%2Cscope%3A%2844BIR_PURE_FT%29%2Cscope%3A%2844BIR_ALEPH_DS%29%2Cscope%3A%2844BIR_MIM_DS+%29%2Cscope%3A%2844BIR_RLIST_DS%29%2Cscope%3A%2844BIR_ML_DS%29%2Cscope%3A%2844BIR_SFX_DS%29%2Cscope%3A%2844BIR_DR1_DS%29%2Cscope%3A%2844BIR_DR2_DS%29%2C44BIR_Ebsco_1%2Cprimo_central_multiple_fe&mode=Basic&vid=44BIR_VU1&srt=rank&tab=local&vl(freeText0)=pretty%20rosalind%20galt&dum=true&dstmp=1504605725877
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Brevik-Zender H. Let Them Wear Manolos: Fashion, Walter Benjamin, and Sofia Coppola’s Marie Antoinette. Camera Obscura: Feminism, Culture, and Media Studies. 2011;26(3 78):1-33. doi:10.1215/02705346-1415416
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Rich BR. New Queer Cinema: The Director’s Cut. Duke University Press; 2013.
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Rich BR. New Queer Cinema: The Director’s Cut. Duke University Press; 2013. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1173623
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QUEER AND PRESENT DANGER. Sight and Sound. 10. https://search-proquest-com.ezproxyd.bham.ac.uk/docview/1305510453/fulltextPDF/C3BAD7840B704099PQ/1?accountid=8630
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Dyer R, Pidduck J. Now You See It: Studies on Lesbian and Gay Film. 2nd ed. Routledge; 2003.
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Dyer R, Pidduck J. Now You See It: Studies in Lesbian and Gay Film. 2nd ed. Routledge; 2003.
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Aaron M. New Queer Cinema: A Critical Reader. Edinburgh University Press; 2004.
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Rich BR. New Queer Cinema: The Director’s Cut. Duke University Press; 2013. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1173623
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Eng DL, Halberstam J, Muñoz JE. What’s Queer about Queer Studies Now? Vol 84-85. Duke University Press; 2005.
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Cooper S, Modern Humanities Research Association. Selfless Cinema?: Ethics and French Documentary. Vol No. 20. Legenda; 2005.
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PLANTINGA C. "I Followed the Rules, and They All Loved You More”: Moral Judgment and Attitudes toward Fictional Characters in Film. Midwest Studies In Philosophy. 2010;34(1):34-51. doi:10.1111/j.1475-4975.2010.00204.x
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Aaron M. Spectatorship: The Power of Looking On. Vol 35. Wallflower; 2007.
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Davis LJ, ed. The Disability Studies Reader. Fifth edition. Routledge, an imprint of the Taylor & Francis Group; 2017.
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Davis LJ. The Disability Studies Reader. Fifth edition. Routledge; 2017. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=4741427
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McRuer R. AS GOOD AS IT GETS: Queer Theory and Critical Disability. GLQ: A Journal of Lesbian and Gay Studies. 2003;9(1-2):79-105. doi:10.1215/10642684-9-1-2-79
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Davis LJ. Enforcing Normalcy: Disability, Deafness, and the Body. Verso; 1995.
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Davis, Lennard J., 1949-. Enforcing Normalcy: Disability, Deafness, and the Body. Verso; 1995. https://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb02823.0001.001
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McRuer R, Bérubé M. Crip Theory: Cultural Signs of Queerness and Disability. New York University Press; 2006.
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McRuer R, Bérubé MF. Crip Theory: Cultural Signs of Queerness and Disability. New York University Press; 2006.
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Elsaesser T, Hagener M. Film Theory: An Introduction through the Senses. 2nd ed. Routledge; 2015.
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Klinger B. The art film, affect and the female viewer: The Piano revisited. Screen. 2006;47(1):19-41. doi:10.1093/screen/hjl002
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Laine T. Feeling Cinema: Emotional Dynamics in Film Studies. Paperback ed. Bloomsbury; 2013.
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Sinnerbrink R. Stimmung: exploring the aesthetics of mood. Screen. 2012;53(2):148-163. doi:10.1093/screen/hjs007
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Marks LU. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Duke University Press; 2000.
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Marks LU. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Duke University Press; 2000. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1167652
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Barker JM. The Tactile Eye: Touch and the Cinematic Experience. University of California Press
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Barker, Jennifer M., 1969-. The Tactile Eye: Touch and the Cinematic Experience. University of California Press; 2009. https://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb08197.0001.001
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Laine T. Bodies in Pain: Emotion and the Cinema of Darren Aronofsky. Berghahn Books; 2015.
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Laine T. Bodies in Pain: Emotion and the Cinema of Darren Aronofsky. berghahn; 2015. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1707815
