1.
Juhasz A, Lerner J, eds. F Is for Phony: Fake Documentary and Truth’s Undoing. Vol Visible evidence. University of Minnesota Press; 2006.
2.
Juhasz A, Juhasz A, Lerner J. F Is for Phony: Fake Documentary and Truth’s Undoing. Vol v. 17. University of Minnesota Press; 2006. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=310755
3.
Combs, Richard. Orson Welles’ ‘F for Fake’. In: Orson Welles’ ‘F for Fake’. Vol 30. ; 1994. 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
4.
Ayres, Jackson. Orson Welles’s: "Complicitous Critique: Postmodern Paradox in F for Fake. In: Orson Welles’s: "Complicitous Critique: Postmodern Paradox in F for Fake. Vol 40. ; 2012:6-19. 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
5.
Roscoe J, Hight C. Faking It: Mock-Documentary and the Subversion of Factuality. Manchester University Press; 2001.
6.
Meikle G. "Find Out Exactly What to Think—Next!”: Chris Morris, and Journalistic Authority. Popular Communication. 2012;10(1-2):14-26. doi:10.1080/15405702.2012.638569
7.
Hight C. Television Mockumentary: Reflexivity, Satire and a Call to Play. Manchester University Press; 2010.
8.
Nichols B. Introduction to Documentary. Third edition. Indiana University Press; 2017.
9.
Rosenthal A. The New Documentary in Action: A Casebook in Film Making. University of California Press; 1971.
10.
Lucia, Cynthia ; Wiseman, Frederick ; Wiseman, Fred. Revisiting High School: An Interview with Frederick Wiseman. In: Revisiting High School: An Interview with Frederick Wiseman. Vol 20. ; 1994:5-11. 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
11.
Mamber S. High School Frederick Wiseman. Film Quarterly. 1970;23(3):48-51. doi:10.2307/1210383
12.
Williams L. Mirrors without Memories: Truth, History, and the New Documentary. Film Quarterly. 1993;46(3):9-21. doi:10.2307/1212899
13.
Morris E. The Thin Blue Line. 2005;MGM DVD.
14.
The Thin Blue Line: Storyville. https://learningonscreen.ac.uk/ondemand/index.php/prog/0217A165
15.
Curry RR. Errol Morris’ Construction of Innocence in ‘The Thin Blue Line’. Rocky Mountain Review of Language and Literature. 1995;49(2). doi:10.2307/1347983
16.
Corner J. The Art of Record: A Critical Introduction to Documentary. Manchester University Press; 1996.
17.
Orvell M. Documentary Film and the Power of Interrogation: ‘American Dream’ & ‘Roger and Me’. Film Quarterly. 1994;48(2):10-18. doi:10.2307/1213092
18.
Rosenbaum J. Negotiating the Pleasure Principle: The Recent Work of Adam Curtis. Film Quarterly. 2008;62(1):70-75. doi:10.1525/fq.2008.62.1.70
19.
Corner J. The Art of Record: A Critical Introduction to Documentary. Manchester University Press; 1996.
20.
Pritchard, Tiffany. Q&A: ‘Cameraperson’, Kirsten Johnson. In: Q&A: ‘Cameraperson’, Kirsten Johnson. ; 2016. 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
21.
Weinberg R. Cameraperson. The Oral History Review. 2017;44(2):368-371. doi:10.1093/ohr/ohx057
22.
Mcgill, Hannah. Cameraperson. In: Cameraperson. Vol 27. ; 2017. 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
23.
Roberts, M. ‘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). Vol 37. ; 1998:62-82. 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
24.
Stewart G. Screen Memory in Waltz with Bashir. Film Quarterly. 2010;63(3):58-62. doi:10.1525/fq.2010.63.3.58
25.
Ashuri, Tamar ; I Witness: Re-presenting Trauma in and by Cinema. 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
26.
Oppenheimer J. The Act of Killing. Published online 2013.
27.
The Act of Killing (2012). https://learningonscreen.ac.uk/ondemand/index.php/prog/059705F6?bcast=108795473
28.
Hoskins J, Lasmana V. The Act of Killing. Visual Anthropology. 2015;28(3):262-265. doi:10.1080/08949468.2015.996532
29.
Guynn WH. Unspeakable Histories: Film and the Experience of Catastrophe. Vol Film and culture. Columbia University Press; 2016.
30.
Guynn WH. Unspeakable Histories: Film and the Experience of Catastrophe. Vol Film and Culture. Columbia University Press; 2016. http://ebookcentral.proquest.com/lib/bham/detail.action?docID=4588269
31.
Forsyth I, Pollard J. 20,000 days on earth. Published online 2014.
32.
20,000 Days on Earth (2014). https://learningonscreen.ac.uk/ondemand/index.php/prog/0896092C
33.
Chai, Barbara. Arts & Entertainment: A Rocker’s Battle With the Creative Process. In: Arts & Entertainment: A Rocker’s Battle With the Creative Process. ; 2014. 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
34.
Edgar-Hunt R, Fairclough-Isaacs K, Halligan B, eds. The Music Documentary: Acid Rock to Electropop. Vol Routledge music and screen media series. Routledge; 2013.
35.
Bordwell D, Thompson K, Smith J. Film Art: An Introduction. Twelfth edition. McGraw-Hill Education; 2020.
36.
Gledhill C, Williams L. Reinventing Film Studies. Arnold; 2000.
37.
Rogers H, ed. Music and Sound in Documentary Film. Vol Routledge music and screen media series. Routledge; 2015.
38.
Grant BK, Sloniowski J. Documenting the Documentary: Close Readings of Documentary Film and Video. New and Expanded. Wayne State University Press; 2014.
39.
Austin T. Watching the World: Screen Documentary and Audiences. Manchester University Press; 2007. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1069741
40.
Winston B. Claiming the Real: 2: Documentary : Grierson and Beyond. 2nd ed. BFI; 2008.
41.
Austin T. Watching the World: Screen Documentary and Audiences. Manchester University Press; 2007.
42.
De Jong W, Austin T, De Jong W. Rethinking Documentary: New Perspectives and Practices. Open University; 2008. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=361578
43.
Bruzzi S. New Documentary. 2nd ed. Routledge; 2006.
44.
Corner J, Rosenthal A. New Challenges for Documentary. 2nd ed. Manchester University Press; 2005.
45.
Renov M. The Subject of Documentary. Vol Visible evidence. University of Minnesota Press; 2004.
46.
Winston B, British Film Institute. Claiming the Real: The Griersonian Documentary and Its Legitimations. British Film Institute; 1995.
47.
Corner J. The Art of Record: A Critical Introduction to Documentary. Manchester University Press; 1996.
48.
Macdonald K, Cousins M. Imagining Reality: The Faber Book of the Documentary. Faber; 1996.
49.
Renov M, American Film Institute. Theorizing Documentary. Vol AFI film readers. Routledge; 1993.
50.
Barnouw E. Documentary: A History of the Non-Fiction Film. 2nd rev.ed. Oxford University Press; 1993.
51.
Nichols B. Representing Reality: Issues and Concepts in Documentary. Indiana University Press; 1991.
52.
Nichols B. Blurred Boundaries: Questions of Meaning in Contemporary Culture. Indiana University Press; 1994.
53.
Nichols B. Introduction to Documentary. Third edition. Indiana University Press; 2017.
54.
Nichols B. Introduction to Documentary, Third Edition. Third edition. Indiana University Press; 2017. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=4813367
55.
Grant BK. Film Genre Reader IV. University of Texas Press; 2012.
56.
Grant BK. Film Genre: From Iconography to Ideology. Vol Short cuts. Wallflower; 2007.
57.
Dixon WW, ed. Film Genre 2000: New Critical Essays. Vol The SUNY series, cultural studies in cinema/video. State University of New York Press; 2000.
58.
Altman R. Film/Genre. British Film Institute; 1999.
59.
Cawelti, John G. Chinatown and Generic Transformation in Recent American Films. In: Chinatown and Generic Transformation in Recent American Films. ; 2012:279-297. 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
60.
Maltby R. Harmless Entertainment: Hollywood and the Ideology of Consensus. Scarecrow; 1983.
61.
Bordwell D, Staiger J, Thompson K. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. Routledge; 1985.
62.
Maltby R. Hollywood Cinema: An Introduction. Blackwell; 1995.
63.
King G. Spectacular Narratives: Hollywood in the Age of the Blockbuster. I.B. Tauris; 2000.
