1
Altman R. Film/genre. London: : British Film Institute 1999.
2
Grant BK. Film genre reader IV. Austin, Tex: : University of Texas Press 2012.
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Grant BK. Film genre reader IV. Austin, Tex: : University of Texas Press 2012.
4
Wright W. Six guns and society: a structural study of the Western. Berkeley: : University of California Press 1977.
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Bordwell D, Thompson K, Smith J. Film art: an introduction. Eleventh edition. New York, NY: : McGraw-Hill Education 2017.
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Cook P, editor. The cinema book. Third edition. London: : BFI 2007.
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Geiger J, Rutsky RL. Film analysis: a Norton reader. Second edition. New York: : W.W. Norton & Company 2013.
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Keller S. Frustrated Climaxes: On Maya Deren’s Meshes of the Afternoon and Witch’s Cradle. Cinema Journal 2013;52:75–98. doi:10.1353/cj.2013.0018
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Sitney PA. Visionary film: the American avant-garde, 1943-2000. Third edition. Oxford: : 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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Stone R, Gutiérrez-Albilla JD, editors. A companion to Luis Buñuel. Oxford: : Wiley-Blackwell 2013.
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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. Berkeley, Calif: : University of California Press 2001.
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Carroll, Noel. Avant-Garde Film and Film Theory. Avant-Garde Film and Film Theory 1979;:135–43.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. London: : Routledge 2002.
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Hatfield J, Littman S, editors. Experimental film and video: an anthology. New Bernet, Herts, [England]: : John Libbey Publishing 2015. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=2042367
17
Littman S, Hatfield J. Experimental Film and Video: An Anthology. Bloomington, IN: : John Libbey Pub 2006. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=2042367
18
CARROLL N. Movies, the Moral Emotions, and Sympathy. Midwest Studies In Philosophy 2010;34:1–19. doi:10.1111/j.1475-4975.2010.00197.x
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Radley E. Terrible Pleasures or Pleasurable Terrors? The Psychotic Act of Horror Film Spectatorship. Nottingham French Studies 2007;46:92–108. doi:10.3366/nfs.2007-3.008
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Allen R. Projecting illusion: film spectatorship and the impression of reality. Cambridge: : Cambridge University Press 1995.
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DADLEZ EM. Seeing and Imagination: Emotional Response to Fictional Film. Midwest Studies In Philosophy 2010;34:120–35. doi:10.1111/j.1475-4975.2010.00194.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;14:409–39. doi:10.1080/17400309.2016.1172858
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GAUT B. Empathy and Identification in Cinema. Midwest Studies In Philosophy 2010;34:136–57. doi:10.1111/j.1475-4975.2010.00211.x
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SH-Coding.pdf. http://faculty.georgetown.edu/irvinem/theory/SH-Coding.pdf
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Pribram ED. Female spectators: looking at film and television. London: : Verso 1988.
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Grossberg L, Nelson C, Treichler PA. Cultural studies. New York: : Routledge 1992.
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Grossberg L, Grossberg L, Nelson C, et al. Cultural studies. New York: : Routledge 1992. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1122888
28
Fernando Solanas and Octavio Getino. TOWARD A THIRD CINEMA. Cinéaste 1970;4:1–10.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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Outsiders_-The-Battle-of-Algiers-and-political-cinema.pdf. http://www.cronistas.org/wp-content/uploads/2014/02/Outsiders_-The-Battle-of-Algiers-and-political-cinema.pdf
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For an imperfect cinema by Julio García Espinosa, trans. by Julianne Burton. http://www.ejumpcut.org/archive/onlinessays/JC20folder/ImperfectCinema.html
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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. doi:10.4314/eia.v35i2.42858
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Hill L, Olsson GH. Concerning violence: nine scenes from the anti-imperialistic self-defense. 2015.
33
Galt, Rosalind. Pretty: Film and the Decorative Image. Published Online First: 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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Cine-Tracts 2: Vol. 1, No. 2, Summer 1977 - CT02.pdf. https://library.brown.edu/cds/cinetracts/CT02.pdf
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Grant BK. Film genre reader IV. Austin, Tex: : University of Texas Press 2012.
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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;26:1–33. doi:10.1215/02705346-1415416
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Cameron I, Pye D. The Movie book of the western. London: : Studio Vista 1996.
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Galt R. Pretty: film and the decorative image. New York: : Columbia University Press 2011. https://www.vlebooks.com/vleweb/Product/Index/792191?page=0
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Rich BR. New queer cinema: the director’s cut. Durham: : Duke University Press 2013.
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Rich BR. New queer cinema: the director’s cut. Durham: : Duke University Press 2013. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1173623
41
QUEER AND PRESENT DANGER. Sight and Sound;10.https://search-proquest-com.ezproxyd.bham.ac.uk/docview/1305510453/fulltextPDF/C3BAD7840B704099PQ/1?accountid=8630
42
Dyer R, Pidduck J. Now you see it: studies on lesbian and gay film. 2nd ed. London: : Routledge 2003.
43
Dyer R, Pidduck J. Now you see it: studies in lesbian and gay film. 2nd ed. London: : Routledge 2003.
44
Aaron M. New queer cinema: a critical reader. Edinburgh: : Edinburgh University Press 2004.
45
Rich BR. New queer cinema: the director’s cut. Durham: : Duke University Press 2013. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1173623
46
Eng DL, Halberstam J, Muñoz JE. What’s queer about queer studies now? Durham, N.C.: : Duke University Press 2005.
47
Vol 11, No 2 (2007). http://www.film-philosophy.com/index.php/f-p/issue/view/13
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Downing L, Saxton L. Film and ethics: foreclosed encounters. London: : Routledge 2010.
49
Downing L, Saxton L. Film and ethics: foreclosed encounters. New York, NY: : Routledge 2009. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=449453
50
Cooper S, Modern Humanities Research Association. Selfless cinema?: ethics and French documentary. London: : Legenda 2005.
51
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;34:34–51. doi:10.1111/j.1475-4975.2010.00204.x
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Aaron M. Spectatorship: the power of looking on. London: : Wallflower 2007.
53
Davis LJ, editor. The disability studies reader. Fifth edition. New York, NY: : Routledge, an imprint of the Taylor & Francis Group 2017.
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Davis LJ. The disability studies reader. Fifth edition. New York, New York: : Routledge 2017. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=4741427
55
McRuer R. AS GOOD AS IT GETS: Queer Theory and Critical Disability. GLQ: A Journal of Lesbian and Gay Studies 2003;9:79–105. doi:10.1215/10642684-9-1-2-79
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Davis LJ. Enforcing normalcy: disability, deafness, and the body. London: : 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: : New York University Press 2006.
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McRuer R, Bérubé MF. Crip theory: cultural signs of queerness and disability. New York: : New York University Press 2006.
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Elsaesser T, Hagener M. Film theory: an introduction through the senses. 2. ed. New York: : Routledge 2015.
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Elsaesser T, Hagener M. Film theory: an introduction through the senses. 2nd ed. New York, New York: : Routledge 2015.
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Klinger B. The art film, affect and the female viewer: The Piano revisited. Screen 2006;47:19–41. doi:10.1093/screen/hjl002
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Laine T. Feeling cinema: emotional dynamics in film studies. Paperback ed. New York: : Bloomsbury 2013.
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Sinnerbrink R. Stimmung: exploring the aesthetics of mood. Screen 2012;53:148–63. doi:10.1093/screen/hjs007
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French S, Shacklock Z. The affective sublime in Lars von Trier’s and Terrence Malick’s. New Review of Film and Television Studies 2014;12:339–56. doi:10.1080/17400309.2014.942555
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Marks LU. The skin of the film: intercultural cinema, embodiment, and the senses. Durham, N.C.: : Duke University Press 2000.
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Marks LU. The skin of the film: intercultural cinema, embodiment, and the senses. Durham: : Duke University Press 2000. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1167652
68
Barker JM. The tactile eye: touch and the cinematic experience. Berkeley, CA: : University of California Press
69
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. New York: : Berghahn Books 2015.
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Laine T. Bodies in pain: emotion and the cinema of Darren Aronofsky. New York, New York: : berghahn 2015. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1707815
