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Ashuri, Tamar ; (n.d.). 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
Austin, T. (2007a). Watching the world: screen documentary and audiences. Manchester University Press. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1069741
Austin, T. (2007b). Watching the world: screen documentary and audiences. 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 (Vol. 40, Issue 1, pp. 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
Barnouw, E. (1993). Documentary: a history of the non-fiction film (2nd rev.ed). Oxford University Press.
Bordwell, D., Staiger, J., & Thompson, K. (1985). The classical Hollywood cinema: film style & mode of production to 1960. Routledge.
Bordwell, D., Thompson, K., & Smith, J. (2020). Film art: an introduction (Twelfth edition). McGraw-Hill Education.
Bruzzi, S. (2006). New documentary (2nd ed). 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). 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. 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’ (Vol. 30, Issue 1). 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 University Press.
Corner, J. (1996b). The art of record: a critical introduction to documentary. Manchester University Press.
Corner, J. (1996c). The art of record: a critical introduction to documentary. Manchester University Press.
Corner, J., & Rosenthal, A. (2005). New challenges for documentary (2nd ed). 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). https://doi.org/10.2307/1347983
De Jong, W., Austin, T., & De Jong, W. (2008). Rethinking documentary: new perspectives and practices. Open University. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=361578
Dixon, W. W. (Ed.). (2000). Film genre 2000: new critical essays: Vol. The SUNY series, cultural studies in cinema/video. State University of New York Press.
Edgar-Hunt, R., Fairclough-Isaacs, K., & Halligan, B. (Eds.). (2013). The music documentary: acid rock to electropop: Vol. Routledge music and screen media series. Routledge.
Forsyth, I., & Pollard, J. (2014). 20,000 days on earth. Channel 4 DVD.
Gledhill, C., & Williams, L. (2000). Reinventing film studies. Arnold.
Grant, B. K. (2007). Film genre: from iconography to ideology: Vol. Short cuts. Wallflower.
Grant, B. K. (2012). Film Genre Reader IV. University of Texas Press.
Grant, B. K., & Sloniowski, J. (2014). Documenting the documentary: close readings of documentary film and video (New and Expanded). Wayne State University Press.
Guynn, W. H. (2016a). Unspeakable histories: film and the experience of catastrophe: Vol. Film and culture. Columbia University Press.
Guynn, W. H. (2016b). Unspeakable histories: film and the experience of catastrophe: Vol. Film and Culture. Columbia University Press. http://ebookcentral.proquest.com/lib/bham/detail.action?docID=4588269
Hight, C. (2010). Television mockumentary: reflexivity, satire and a call to play. Manchester University Press.
Hoskins, J., & Lasmana, V. (2015). The Act of Killing. Visual Anthropology, 28(3), 262–265. https://doi.org/10.1080/08949468.2015.996532
Juhasz, A., Juhasz, A., & Lerner, J. (2006). F is for phony: fake documentary and truth’s undoing: Vol. v. 17. University of Minnesota Press. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=310755
Juhasz, A., & Lerner, J. (Eds.). (2006). F is for phony: fake documentary and truth’s undoing: Vol. Visible evidence. University of Minnesota Press.
King, G. (2000). Spectacular narratives: Hollywood in the age of the blockbuster. 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 (Vol. 20, Issue 4, pp. 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
Macdonald, K., & Cousins, M. (1996). Imagining reality: the Faber book of the documentary. Faber.
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Mamber, S. (1970). High School Frederick Wiseman. Film Quarterly, 23(3), 48–51. https://doi.org/10.2307/1210383
Mcgill, Hannah. (2017). Cameraperson. In Cameraperson (Vol. 27, Issue 2). 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
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Morris, E. (2005). The Thin Blue Line: Vol. MGM DVD. MGM Home Entertainment.
Nichols, B. (1991). Representing reality: issues and concepts in documentary. Indiana University Press.
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Nichols, B. (2017a). Introduction to documentary (Third edition). Indiana University Press.
Nichols, B. (2017b). Introduction to documentary (Third edition). Indiana University Press.
Nichols, B. (2017c). Introduction to Documentary, Third Edition (Third edition). Indiana University Press. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=4813367
Oppenheimer, J. (2013). The Act of Killing. Dogwoof DVD.
Orvell, M. (1994). Documentary Film and the Power of Interrogation: ‘American Dream’ & ‘Roger and Me’. Film Quarterly, 48(2), 10–18. https://doi.org/10.2307/1213092
Pritchard, Tiffany. (2016). Q&A: ‘Cameraperson’, Kirsten Johnson. In Q&A: ‘Cameraperson’, Kirsten Johnson. 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
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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) (Vol. 37, Issue 3, pp. 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
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Williams, L. (1993). Mirrors without Memories: Truth, History, and the New Documentary. Film Quarterly, 46(3), 9–21. https://doi.org/10.2307/1212899
Winston, B. (2008). Claiming the real: 2: Documentary : Grierson and beyond (2nd ed). BFI.
Winston, B. & British Film Institute. (1995). Claiming the real: the Griersonian documentary and its legitimations. British Film Institute.
