Anon. n.d.-a. ‘A Trip to the Moon (1902) - YouTube’.
Anon. n.d.-b. ‘All That Heaven Allows [DVD]’.
Anon. n.d.-c. ‘Battleship Potemkin (1925) - Full Movie; English - YouTube’.
Anon. n.d.-d. ‘Bicycle Thieves (1948)’.
Anon. n.d.-e. ‘Bicycle Thieves (1948)’.
Anon. n.d.-f. ‘Broken Blossoms | 1919, Silent, Full Film - YouTube’.
Anon. n.d.-g. ‘Citizen Kane (1941)’.
Anon. n.d.-h. ‘Der Blaue Engel (1930)’.
Anon. n.d.-i. ‘La Camera Stylo - Alexandre Astruc’. Retrieved (http://www.newwavefilm.com/about/camera-stylo-astruc.shtml).
Anon. n.d.-j. ‘Man with a Movie Camera (Alloy Orchestra) 1929 - Человек с Киноаппаратом - YouTube’.
Anon. n.d.-k. ‘Mother 1926 - YouTube’.
Anon. n.d.-l. ‘Nosferatu | 1922, Silent, Full Film, High Quality - YouTube’.
Anon. n.d.-m. ‘Psycho (1960)’.
Anon. n.d.-n. ‘The Great Train Robbery - YouTube’.
Anon. n.d.-o. ‘The Last Laugh (F.W. Murnau, 1924) - YouTube’.
Anon. n.d.-p. ‘The Seashell and the Clergyman 1928 (Restored Full Movie) - YouTube’.
Anon. n.d.-q. ‘To Have and Have Not’.
Anon. n.d.-r. ‘Turn-of-the-Century Surgery (1900) - ALICE GUY BLACHE - Chirurgie Fin de Siecle - YouTube’.
Anon. n.d.-s. ‘Un Chien Andalou with New Original Orchestral Soundtrack - YouTube’.
Anon. n.d.-t. ‘Workers Leaving The Lumiere Factory - Lumiere Brothers 1895 - YouTube’.
Bartolini, Luigi, and Vittorio De Sica. 2006. ‘Ladri Di Biciclette’.
Bazin, André, Hugh Gray, and 1945- Andrew, Dudley. 2005. What Is Cinema?: Vol. 1. [New edition]. Berkeley, California: University of California Press.
Bloch, Robert, and Alfred Hitchcock. 2005. ‘Psycho’.
Bordwell, David. 1972. ‘The Idea of Montage in Soviet Art and Film’. Cinema Journal 11(2). doi: 10.2307/1225046.
Bordwell, David. 1985. Narration in the Fiction Film. London: Methuen.
Bordwell, David and American Council of Learned Societies. 2005. Figures Traced in Light: On Cinematic Staging. Berkeley: University of California Press.
Bordwell, David, Janet Staiger, and Kristin Thompson. 1985. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge & Kegan Paul.
Bordwell, David, and Kristin Thompson. 1980. Film Art: An Introduction. Vol. Addison-Wesley series in speech, drama, and film. Reading, Mass: Addison-Wesley.
Chion, Michel, and Claudia Gorbman. 1994. Audio-Vision: Sound on Screen. New York: Columbia University Press.
Creed, Barbara. 1993a. The Monstrous Feminine: Film, Feminism, Psychoanalysis. Vol. Popular fiction series. London: Routledge.
Creed, Barbara. 1993b. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. London: Routledge.
Dibbets, Karel. n.d. ‘The Introduction of Sound’.
Eisenstein, Sergei. 1991. Selected Works: Volume II: Towards a Theory of Montage. edited by M. Glenny and R. Taylor. London, [England]: I.B. Tauris.
Eisner, Lotte H. 2008. The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt. 2nd pbk. ed. Berkeley: University of California Press.
Eĭzenshteĭn, Sergeĭ, Michael Glenny, Richard Taylor, and British Film Institute. 1994. Selected Works S. M. Eisenstein. Vol.2, Towards a Theory of Montage. London: British Film Institute.
Gibbs, John. 2002. Mise-En-Scène: Film Style and Interpretation. Vol. Short cuts series. New York: Wallflower.
Gibson, Pamela Church, and John Hill. 1998. The Oxford Guide to Film Studies. Oxford: Oxford University Press.
Glassman, Arnold and British Film Institute. 2006. ‘Visions of Light: The Art of Cinematography’.
Graf, Alexander, and Dietrich Scheunemann. 2007. Avant-Garde Film. Amsterdam: Rodopi.
Graham, Peter John, and Ginette Vincendeau. 2009. The French New Wave: Critical Landmarks. [New and expanded ed.]. London: BFI.
Grant, Barry Keith. 2008a. Auteurs and Authorship: A Film Reader. Malden, Mass: Blackwell Publishing.
Grant, Barry Keith. 2008b. Auteurs and Authorship: A Film Reader. Malden, Mass: Blackwell Publishing.
Kuleshov, Lev, and Ronald Levaco. 1974. Kuleshov on Film: Writings by Lev Kuleshov. Berkeley (etc.): University of California Press.
Lastra, James. 2000. Sound Technology and the American Cinema: Perception, Representation, Modernity. Vol. Film and culture. New York: Columbia University Press.
Lieberman, EvanHegarty, Kerry. n.d. ‘Authors of the Image: Cinematographers Gabriel Figueroa and Gregg Toland’. Journal of Film and Video 62(1):31–51.
Lloyd, Jill. 1991. German Expressionism: Primitivism and Modernity. New Haven: Yale University Press.
Mann, Heinrich, and Josef Von Sternberg. 2002. ‘The Blue Angel’.
Mulvey, L. 1975. ‘Visual Pleasure and Narrative Cinema’. Screen 16(3):6–18. doi: 10.1093/screen/16.3.6.
Mulvey, Laura and British Film Institute. 1992. Citizen Kane. Vol. BFI film classics. London: B.F.I. Publishing.
O’Pray, Michael. 2003. Avant-Garde Film: Forms, Themes and Passions. Vol. Short cuts series. London: Wallflower.
Popple, Simon, and Joe Kember. 2004. Early Cinema: From Factory Gate to Dream Factory. Vol. Short cuts. London: Wallflower.
Roberts, Graham. 2000. The Man with the Movie Camera. Vol. KINOfiles. London: I. B. Tauris.
Ruberto, Laura E., and Kristi M. Wilson. 2007. Italian Neorealism and Global Cinema. Vol. Contemporary approaches to film and television series. Detroit, Mich: Wayne State University Press.
Sanchez, Alejandra, and Tatjana Pavlovic. 2009. ‘Surrealism (1924-1930) and the Advent of Sound (the Second Republic: 1931-1936)’. Pp. 21–38 in 100 years of Spanish cinema. Malden, MA: Wiley-Blackwell.
Sargeant, Amy. 2000. Vsevolod Pudovkin: Classic Films of the Soviet Avant-Garde. Vol. KINOfiles. London: I.B.Tauris.
Shiel, Mark. 2006a. Italian Neorealism: Rebuilding the Cinematic City. Vol. Short cuts. London: Wallflower.
Shiel, Mark. 2006b. Italian Neorealism: Rebuilding the Cinematic City. London: Wallflower.
Silverman, Kaja. 1988. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Vol. Theories of representation and difference. Indianapolis, Ind: Indiana University Press.
Sinnerbrink, R. 2012. ‘Stimmung: Exploring the Aesthetics of Mood’. Screen 53(2):148–63. doi: 10.1093/screen/hjs007.
Turim, Maureen. 1973. ‘THE AESTHETIC BECOMES POLITICAL: A History of Film Criticism in Cahiers Du Cinema’. THE AESTHETIC BECOMES POLITICAL: A History of Film Criticism in Cahiers Du Cinema 9.
Welles, Orson. 2003. ‘Citizen Kane’.
Wiegand, Chris. 2001. French New Wave. Harpenden: Pocket Essentials.
Williams, Linda. 1992. Figures of Desire: A Theory and Analysis of Surrealist Film. Berkeley, Calif: University of California Press.
