‘20,000 Days on Earth (2014)’. n.d. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/0896092C.
Altman, Rick. 1999. Film/Genre. London: British Film Institute.
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, Thomas. 2007a. Watching the World: Screen Documentary and Audiences. Manchester: Manchester University Press. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1069741.
———. 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, 40:6–19. 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, Erik. 1993. Documentary: A History of the Non-Fiction Film. 2nd rev.ed. New York: Oxford University Press.
Bordwell, David, Janet Staiger, and Kristin Thompson. 1985. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge.
Bordwell, David, Kristin Thompson, and Jeff Smith. 2020. Film Art: An Introduction. Twelfth edition. New York, NY: McGraw-Hill Education.
Bruzzi, Stella. 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, 279–97. 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. 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, John. 1996a. The Art of Record: A Critical Introduction to Documentary. Manchester: Manchester University Press.
———. 1996b. The Art of Record: A Critical Introduction to Documentary. Manchester: Manchester University Press.
———. 1996c. The Art of Record: A Critical Introduction to Documentary. Manchester: Manchester University Press.
Corner, John, and Alan Rosenthal. 2005. New Challenges for Documentary. 2nd ed. Manchester: Manchester University Press.
Curry, Renee 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, Wilma, Thomas Austin, and Wilma De Jong. 2008. Rethinking Documentary: New Perspectives and Practices. Buckingham: Open University. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=361578.
Dixon, Wheeler W., ed. 2000. Film Genre 2000: New Critical Essays. Vol. The SUNY series, cultural studies in cinema/video. Albany: State University of New York Press.
Edgar-Hunt, Robert, Kirsty Fairclough-Isaacs, and Benjamin Halligan, eds. 2013. The Music Documentary: Acid Rock to Electropop. Vol. Routledge music and screen media series. New York: Routledge.
Forsyth, Iain, and Jane Pollard. 2014. ‘20,000 Days on Earth’. [U.K.?]: Channel 4 DVD.
Gledhill, Christine, and Linda Williams. 2000. Reinventing Film Studies. London: Arnold.
Grant, Barry Keith. 2007. Film Genre: From Iconography to Ideology. Vol. Short cuts. London: Wallflower.
———. 2012. Film Genre Reader IV. Austin, Tex: University of Texas Press.
Grant, Barry Keith, and Jeannette Sloniowski. 2014. Documenting the Documentary: Close Readings of Documentary Film and Video. New and Expanded. Detroit, MI: Wayne State University Press.
Guynn, William Howard. 2016a. Unspeakable Histories: Film and the Experience of Catastrophe. Vol. Film and culture. New York: Columbia University Press.
———. 2016b. Unspeakable Histories: Film and the Experience of Catastrophe. Vol. Film and Culture. New York: Columbia University Press. http://ebookcentral.proquest.com/lib/bham/detail.action?docID=4588269.
Hight, Craig. 2010. Television Mockumentary: Reflexivity, Satire and a Call to Play. Manchester: Manchester University Press.
Hoskins, Janet, and Viola Lasmana. 2015. ‘The Act of Killing’. Visual Anthropology 28 (3): 262–65. https://doi.org/10.1080/08949468.2015.996532.
Juhasz, Alexandra, Alexandra Juhasz, and Jesse Lerner. 2006. F Is for Phony: Fake Documentary and Truth’s Undoing. Vol. v. 17. Minneapolis: University of Minnesota Press. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=310755.
Juhasz, Alexandra, and Jesse Lerner, eds. 2006. F Is for Phony: Fake Documentary and Truth’s Undoing. Vol. Visible evidence. Minneapolis: University of Minnesota Press.
King, Geoff. 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, 20:5–11. 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, Kevin, and Mark Cousins. 1996. Imagining Reality: The Faber Book of the Documentary. London: Faber.
Maltby, Richard. 1983. Harmless Entertainment: Hollywood and the Ideology of Consensus. Metuchen: Scarecrow.
———. 1995. Hollywood Cinema: An Introduction. Oxford: Blackwell.
Mamber, Stephen. 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. 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, Graham. 2012. ‘"Find Out Exactly What to Think—Next!”: Chris Morris, and Journalistic Authority’. Popular Communication 10 (1–2): 14–26. https://doi.org/10.1080/15405702.2012.638569.
Morris, Errol. 2005. ‘The Thin Blue Line’. Santa Monica, Calif: MGM Home Entertainment.
Nichols, Bill. 1991. Representing Reality: Issues and Concepts in Documentary. Bloomington: Indiana University Press.
———. 1994. Blurred Boundaries: Questions of Meaning in Contemporary Culture. Bloomington: Indiana University Press.
———. 2017a. Introduction to Documentary. Third edition. Bloomington, Indiana: Indiana University Press.
———. 2017b. Introduction to Documentary. Third edition. Bloomington, Indiana: Indiana University Press.
———. 2017c. Introduction to Documentary, Third Edition. Third edition. Bloomington: Indiana University Press. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=4813367.
Oppenheimer, Joshua. 2013. ‘The Act of Killing’. [U.K.]: Dogwoof DVD.
Orvell, Miles. 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.
Renov, Michael. 2004. The Subject of Documentary. Vol. Visible evidence. Minneapolis: University of Minnesota Press.
Renov, Michael and American Film Institute. 1993. Theorizing Documentary. Vol. AFI film readers. 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), 37:62–82. 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.
Rogers, Holly, ed. 2015. Music and Sound in Documentary Film. Vol. Routledge music and screen media series. New York, NY: Routledge.
Roscoe, Jane, and Craig Hight. 2001. Faking It: Mock-Documentary and the Subversion of Factuality. Manchester: Manchester University Press.
Rosenbaum, Jonathan. 2008. ‘Negotiating the Pleasure Principle: The Recent Work of Adam Curtis’. Film Quarterly 62 (1): 70–75. https://doi.org/10.1525/fq.2008.62.1.70.
Rosenthal, Alan. 1971. The New Documentary in Action: A Casebook in Film Making. Berkeley: University of California Press.
Stewart, Garrett. 2010. ‘Screen Memory in Waltz with Bashir’. Film Quarterly 63 (3): 58–62. https://doi.org/10.1525/fq.2010.63.3.58.
‘The Act of Killing (2012)’. n.d. Arte. https://learningonscreen.ac.uk/ondemand/index.php/prog/059705F6?bcast=108795473.
‘The Thin Blue Line: Storyville’. n.d. BBC4. https://learningonscreen.ac.uk/ondemand/index.php/prog/0217A165.
Weinberg, Robin. 2017. ‘Cameraperson’. The Oral History Review 44 (2): 368–71. https://doi.org/10.1093/ohr/ohx057.
Williams, Linda. 1993. ‘Mirrors without Memories: Truth, History, and the New Documentary’. Film Quarterly 46 (3): 9–21. https://doi.org/10.2307/1212899.
Winston, Brian. 2008. Claiming the Real: 2: Documentary : Grierson and Beyond. 2nd ed. London: BFI.
Winston, Brian and British Film Institute. 1995. Claiming the Real: The Griersonian Documentary and Its Legitimations. London: British Film Institute.
