‘20,000 Days on Earth (2014)’ (no date). FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0896092C.
Altman, R. (1999) Film/genre. London: British Film Institute.
Ashuri, Tamar ; (no date) ‘I Witness: Re-presenting Trauma in and by Cinema.’ Available at: http://www.findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_buh_53299992&indx=1&recIds=TN_buh_53299992&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&vl(98300999UI3)=all_items&&vl(1UI0)=contains&dscnt=0&vl(1UI2)=contains&mode=Advanced&vid=44BIR_VU1&vl(98301002UI0)=creator&vl(boolOperator1)=AND&vl(98300998UI2)=any&tab=local&vl(drEndMonth5)=00&vl(freeText1)=I+Witness&vl(drEndDay5)=00&dstmp=1510673430749&vl(drEndYear5)=YYYY&frbg=&vl(D98301001UI4)=all_items&vl(drStartMonth5)=00&vl(98300997UI1)=title&vl(1UI1)=contains&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&srt=rank&vl(boolOperator0)=AND&Submit=Search&vl(freeText2)=&vl(boolOperator2)=AND&vl(drStartYear5)=YYYY&dum=true&vl(freeText0)=ashuri&vl(drStartDay5)=00.
Austin, T. (2007a) Watching the world: screen documentary and audiences. Manchester: Manchester University Press. Available at: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1069741.
Austin, T. (2007b) Watching the world: screen documentary and audiences. Manchester: Manchester University Press.
Ayres, Jackson (2012) ‘Orson Welles’s: "Complicitous Critique: Postmodern Paradox in F for Fake’, in Orson Welles’s: "Complicitous Critique: Postmodern Paradox in F for Fake, pp. 6–19. Available at: http://findit.bham.ac.uk/primo_library/libweb/action/display.do?frbrVersion=6&tabs=detailsTab&ct=display&fn=search&doc=TN_proquest923757028&indx=13&recIds=TN_proquest923757028&recIdxs=12&elementId=12&renderMode=poppedOut&displayMode=full&frbrVersion=6&frbg=&frbrVersion=2&dscnt=0&viewAllItemsClicked=false&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&dum=true&selectedLocation=&vl(freeText0)=%22f%20for%20fake%22&dstmp=1484555389208.
Barnouw, E. (1993) Documentary: a history of the non-fiction film. 2nd rev.ed. New York: Oxford University Press.
Bordwell, D., Staiger, J. and Thompson, K. (1985) The classical Hollywood cinema: film style & mode of production to 1960. London: Routledge.
Bordwell, D., Thompson, K. and Smith, J. (2020) Film art: an introduction. Twelfth edition. New York, NY: McGraw-Hill Education.
Bruzzi, S. (2006) New documentary. 2nd ed. London: Routledge.
Cawelti, John G. (2012) ‘Chinatown and Generic Transformation in Recent American Films’, in Chinatown and Generic Transformation in Recent American Films, pp. 279–297. Available at: http://findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_mla2015130459&indx=1&recIds=TN_mla2015130459&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)=chinatown%20and%20generic%20transformation&dum=true&dstmp=1488282300310.
Chai, Barbara (2014) ‘Arts & Entertainment: A Rocker’s Battle With the Creative Process’, in Arts & Entertainment: A Rocker’s Battle With the Creative Process. Available at: http://findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_proquest1562069110&indx=4&recIds=TN_proquest1562069110&recIdxs=3&elementId=3&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)=20%2C000%20days%20on%20earth&dum=true&dstmp=1505160603684.
Combs, Richard (1994) ‘Orson Welles’ “F for Fake”’, in Orson Welles’ ‘F for Fake’. Available at: http://findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_proquest1300465711&indx=13&recIds=TN_proquest1300465711&recIdxs=12&elementId=12&renderMode=poppedOut&displayMode=full&frbrVersion=5&frbg=&rfnGrpCounter=1&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&vid=44BIR_VU1&mode=Basic&srt=rank&tab=local&dum=true&vl(freeText0)=%22F%20for%20Fake%22&dstmp=1496763556848.
Corner, J. (1996a) The art of record: A critical introduction to documentary. Manchester: Manchester University Press.
Corner, J. (1996b) The art of record: a critical introduction to documentary. Manchester: Manchester University Press.
Corner, J. (1996c) The art of record: a critical introduction to documentary. Manchester: Manchester University Press.
Corner, J. and Rosenthal, A. (2005) New challenges for documentary. 2nd ed. Manchester: Manchester University Press.
Curry, R.R. (1995) ‘Errol Morris’ Construction of Innocence in “The Thin Blue Line”’, Rocky Mountain Review of Language and Literature, 49(2). Available at: https://doi.org/10.2307/1347983.
De Jong, W., Austin, T. and De Jong, W. (2008) Rethinking documentary: new perspectives and practices. Buckingham: Open University. Available at: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=361578.
Dixon, W.W. (ed.) (2000) Film genre 2000: new critical essays. Albany: State University of New York Press.
Edgar-Hunt, R., Fairclough-Isaacs, K. and Halligan, B. (eds) (2013) The music documentary: acid rock to electropop. New York: Routledge.
Forsyth, I. and Pollard, J. (2014) ‘20,000 days on earth’. [U.K.?]: Channel 4 DVD.
Gledhill, C. and Williams, L. (2000) Reinventing film studies. London: Arnold.
Grant, B.K. (2007) Film genre: from iconography to ideology. London: Wallflower.
Grant, B.K. (2012) Film Genre Reader IV. Austin, Tex: University of Texas Press.
Grant, B.K. and Sloniowski, J. (2014) Documenting the documentary: close readings of documentary film and video. New and Expanded. Detroit, MI: Wayne State University Press.
Guynn, W.H. (2016a) Unspeakable histories: film and the experience of catastrophe. New York: Columbia University Press.
Guynn, W.H. (2016b) Unspeakable histories: film and the experience of catastrophe. New York: Columbia University Press. Available at: http://ebookcentral.proquest.com/lib/bham/detail.action?docID=4588269.
Hight, C. (2010) Television mockumentary: reflexivity, satire and a call to play. Manchester: Manchester University Press.
Hoskins, J. and Lasmana, V. (2015) ‘The Act of Killing’, Visual Anthropology, 28(3), pp. 262–265. Available at: https://doi.org/10.1080/08949468.2015.996532.
Juhasz, A., Juhasz, A. and Lerner, J. (2006) F is for phony: fake documentary and truth’s undoing. Minneapolis: University of Minnesota Press. Available at: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=310755.
Juhasz, A. and Lerner, J. (eds) (2006) F is for phony: fake documentary and truth’s undoing. Minneapolis: University of Minnesota Press.
King, G. (2000) Spectacular narratives: Hollywood in the age of the blockbuster. London: I.B. Tauris.
Lucia, Cynthia ; Wiseman, Frederick ; Wiseman, Fred (1994) ‘Revisiting High School: An Interview with Frederick Wiseman’, in Revisiting High School: An Interview with Frederick Wiseman, pp. 5–11. Available at: http://findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_jstor_archive_1141687348&indx=1&recIds=TN_jstor_archive_1141687348&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)=interview%20with%20fred%20wiseman&dum=true&dstmp=1502993389800.
Macdonald, K. and Cousins, M. (1996) Imagining reality: the Faber book of the documentary. London: Faber.
Maltby, R. (1983) Harmless entertainment: Hollywood and the ideology of consensus. Metuchen: Scarecrow.
Maltby, R. (1995) Hollywood cinema: an introduction. Oxford: Blackwell.
Mamber, S. (1970) ‘High School Frederick Wiseman’, Film Quarterly, 23(3), pp. 48–51. Available at: https://doi.org/10.2307/1210383.
Mcgill, Hannah (2017) ‘Cameraperson’, in Cameraperson. Available at: http://findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_proquest1866536744&indx=2&recIds=TN_proquest1866536744&recIdxs=1&elementId=1&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)=%22cameraperson%22&dum=true&dstmp=1519900644359.
Meikle, G. (2012) ‘"Find Out Exactly What to Think—Next!”: Chris Morris, and Journalistic Authority’, Popular Communication, 10(1–2), pp. 14–26. Available at: https://doi.org/10.1080/15405702.2012.638569.
Morris, E. (2005) ‘The Thin Blue Line’. Santa Monica, Calif: MGM Home Entertainment.
Nichols, B. (1991) Representing reality: issues and concepts in documentary. Bloomington: Indiana University Press.
Nichols, B. (1994) Blurred boundaries: questions of meaning in contemporary culture. Bloomington: Indiana University Press.
Nichols, B. (2017a) Introduction to documentary. Third edition. Bloomington, Indiana: Indiana University Press.
Nichols, B. (2017b) Introduction to documentary. Third edition. Bloomington, Indiana: Indiana University Press.
Nichols, B. (2017c) Introduction to Documentary, Third Edition. Third edition. Bloomington: Indiana University Press. Available at: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=4813367.
Oppenheimer, J. (2013) ‘The Act of Killing’. [U.K.]: Dogwoof DVD.
Orvell, M. (1994) ‘Documentary Film and the Power of Interrogation: “American Dream” & “Roger and Me”’, Film Quarterly, 48(2), pp. 10–18. Available at: https://doi.org/10.2307/1213092.
Pritchard, Tiffany (2016) ‘Q&A: “Cameraperson”, Kirsten Johnson’, in Q&A: ‘Cameraperson’, Kirsten Johnson. Available at: http://findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_proquest1907374699&indx=4&recIds=TN_proquest1907374699&recIdxs=3&elementId=3&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)=%22cameraperson%22&dum=true&dstmp=1519900215467.
Renov, M. (2004) The subject of documentary. Minneapolis: University of Minnesota Press.
Renov, M. and American Film Institute (1993) Theorizing documentary. New York: Routledge.
Roberts, M (1998) ‘“Baraka”: World cinema and the global culture industry (Global documentary by Ron Fricke)’, in ‘Baraka’: World cinema and the global culture industry (Global documentary by Ron Fricke), pp. 62–82. Available at: http://findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_wos000074482800004&indx=13&recIds=TN_wos000074482800004&recIdxs=12&elementId=12&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)=baraka%20global%20culture&dum=true&dstmp=1505125939347.
Rogers, H. (ed.) (2015) Music and sound in documentary film. New York, NY: Routledge.
Roscoe, J. and Hight, C. (2001) Faking it: mock-documentary and the subversion of factuality. Manchester: Manchester University Press.
Rosenbaum, J. (2008) ‘Negotiating the Pleasure Principle: The Recent Work of Adam Curtis’, Film Quarterly, 62(1), pp. 70–75. Available at: https://doi.org/10.1525/fq.2008.62.1.70.
Rosenthal, A. (1971) The new documentary in action: a casebook in film making. Berkeley: University of California Press.
Stewart, G. (2010) ‘Screen Memory in Waltz with Bashir’, Film Quarterly, 63(3), pp. 58–62. Available at: https://doi.org/10.1525/fq.2010.63.3.58.
‘The Act of Killing (2012)’ (no date). Arte. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/059705F6?bcast=108795473.
‘The Thin Blue Line: Storyville’ (no date). BBC4. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0217A165.
Weinberg, R. (2017) ‘Cameraperson’, The Oral History Review, 44(2), pp. 368–371. Available at: https://doi.org/10.1093/ohr/ohx057.
Williams, L. (1993) ‘Mirrors without Memories: Truth, History, and the New Documentary’, Film Quarterly, 46(3), pp. 9–21. Available at: https://doi.org/10.2307/1212899.
Winston, B. (2008) Claiming the real: 2: Documentary : Grierson and beyond. 2nd ed. London: BFI.
Winston, B. and British Film Institute (1995) Claiming the real: the Griersonian documentary and its legitimations. London: British Film Institute.
