‘20,000 Days on Earth (2014)’. FilmFour, n.d. https://learningonscreen.ac.uk/ondemand/index.php/prog/0896092C.
Altman, Rick. Film/Genre. London: British Film Institute, 1999.
Ashuri, Tamar ; ‘I Witness: Re-Presenting Trauma in and by Cinema.’, n.d. 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. Watching the World: Screen Documentary and Audiences. Manchester: Manchester University Press, 2007. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1069741.
———. Watching the World: Screen Documentary and Audiences. Manchester: Manchester University Press, 2007.
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, 40:6–19, 2012. 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. Documentary: A History of the Non-Fiction Film. 2nd rev.ed. New York: Oxford University Press, 1993.
Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge, 1985.
Bordwell, David, Kristin Thompson, and Jeff Smith. Film Art: An Introduction. Twelfth edition. New York, NY: McGraw-Hill Education, 2020.
Bruzzi, Stella. New Documentary. 2nd ed. London: Routledge, 2006.
Cawelti, John G. ‘Chinatown and Generic Transformation in Recent American Films’. In Chinatown and Generic Transformation in Recent American Films, 279–97, 2012. 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. ‘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.
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.
Corner, John. The Art of Record: A Critical Introduction to Documentary. Manchester: Manchester University Press, 1996.
———. The Art of Record: A Critical Introduction to Documentary. Manchester: Manchester University Press, 1996.
———. The Art of Record: A Critical Introduction to Documentary. Manchester: Manchester University Press, 1996.
Corner, John, and Alan Rosenthal. New Challenges for Documentary. 2nd ed. Manchester: Manchester University Press, 2005.
Curry, Renee R. ‘Errol Morris’ Construction of Innocence in “The Thin Blue Line”’. Rocky Mountain Review of Language and Literature 49, no. 2 (1995). https://doi.org/10.2307/1347983.
De Jong, Wilma, Thomas Austin, and Wilma De Jong. Rethinking Documentary: New Perspectives and Practices. Buckingham: Open University, 2008. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=361578.
Dixon, Wheeler W., ed. Film Genre 2000: New Critical Essays. Vol. The SUNY series, cultural studies in cinema/video. Albany: State University of New York Press, 2000.
Edgar-Hunt, Robert, Kirsty Fairclough-Isaacs, and Benjamin Halligan, eds. The Music Documentary: Acid Rock to Electropop. Vol. Routledge music and screen media series. New York: Routledge, 2013.
Forsyth, Iain, and Jane Pollard. ‘20,000 Days on Earth’. [U.K.?]: Channel 4 DVD, 2014.
Gledhill, Christine, and Linda Williams. Reinventing Film Studies. London: Arnold, 2000.
Grant, Barry Keith. Film Genre: From Iconography to Ideology. Vol. Short cuts. London: Wallflower, 2007.
———. Film Genre Reader IV. Austin, Tex: University of Texas Press, 2012.
Grant, Barry Keith, and Jeannette Sloniowski. Documenting the Documentary: Close Readings of Documentary Film and Video. New and Expanded. Detroit, MI: Wayne State University Press, 2014.
Guynn, William Howard. Unspeakable Histories: Film and the Experience of Catastrophe. Vol. Film and culture. New York: Columbia University Press, 2016.
———. Unspeakable Histories: Film and the Experience of Catastrophe. Vol. Film and Culture. New York: Columbia University Press, 2016. http://ebookcentral.proquest.com/lib/bham/detail.action?docID=4588269.
Hight, Craig. Television Mockumentary: Reflexivity, Satire and a Call to Play. Manchester: Manchester University Press, 2010.
Hoskins, Janet, and Viola Lasmana. ‘The Act of Killing’. Visual Anthropology 28, no. 3 (27 May 2015): 262–65. https://doi.org/10.1080/08949468.2015.996532.
Juhasz, Alexandra, Alexandra Juhasz, and Jesse Lerner. F Is for Phony: Fake Documentary and Truth’s Undoing. Vol. v. 17. Minneapolis: University of Minnesota Press, 2006. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=310755.
Juhasz, Alexandra, and Jesse Lerner, eds. F Is for Phony: Fake Documentary and Truth’s Undoing. Vol. Visible evidence. Minneapolis: University of Minnesota Press, 2006.
King, Geoff. Spectacular Narratives: Hollywood in the Age of the Blockbuster. London: I.B. Tauris, 2000.
Lucia, Cynthia ; Wiseman, Frederick ; Wiseman, Fred. ‘Revisiting High School: An Interview with Frederick Wiseman’. In Revisiting High School: An Interview with Frederick Wiseman, 20:5–11, 1994. 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. Imagining Reality: The Faber Book of the Documentary. London: Faber, 1996.
Maltby, Richard. Harmless Entertainment: Hollywood and the Ideology of Consensus. Metuchen: Scarecrow, 1983.
———. Hollywood Cinema: An Introduction. Oxford: Blackwell, 1995.
Mamber, Stephen. ‘High School Frederick Wiseman’. Film Quarterly 23, no. 3 (April 1970): 48–51. https://doi.org/10.2307/1210383.
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.
Meikle, Graham. ‘"Find Out Exactly What to Think—Next!”: Chris Morris, and Journalistic Authority’. Popular Communication 10, no. 1–2 (2012): 14–26. https://doi.org/10.1080/15405702.2012.638569.
Morris, Errol. ‘The Thin Blue Line’. Santa Monica, Calif: MGM Home Entertainment, 2005.
Nichols, Bill. Blurred Boundaries: Questions of Meaning in Contemporary Culture. Bloomington: Indiana University Press, 1994.
———. Introduction to Documentary. Third edition. Bloomington, Indiana: Indiana University Press, 2017.
———. Introduction to Documentary. Third edition. Bloomington, Indiana: Indiana University Press, 2017.
———. Introduction to Documentary, Third Edition. Third edition. Bloomington: Indiana University Press, 2017. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=4813367.
———. Representing Reality: Issues and Concepts in Documentary. Bloomington: Indiana University Press, 1991.
Oppenheimer, Joshua. ‘The Act of Killing’. [U.K.]: Dogwoof DVD, 2013.
Orvell, Miles. ‘Documentary Film and the Power of Interrogation: “American Dream” & “Roger and Me”’. Film Quarterly 48, no. 2 (December 1994): 10–18. https://doi.org/10.2307/1213092.
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.
Renov, Michael. The Subject of Documentary. Vol. Visible evidence. Minneapolis: University of Minnesota Press, 2004.
Renov, Michael and American Film Institute. Theorizing Documentary. Vol. AFI film readers. New York: Routledge, 1993.
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), 37:62–82, 1998. 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. Music and Sound in Documentary Film. Vol. Routledge music and screen media series. New York, NY: Routledge, 2015.
Roscoe, Jane, and Craig Hight. Faking It: Mock-Documentary and the Subversion of Factuality. Manchester: Manchester University Press, 2001.
Rosenbaum, Jonathan. ‘Negotiating the Pleasure Principle: The Recent Work of Adam Curtis’. Film Quarterly 62, no. 1 (September 2008): 70–75. https://doi.org/10.1525/fq.2008.62.1.70.
Rosenthal, Alan. The New Documentary in Action: A Casebook in Film Making. Berkeley: University of California Press, 1971.
Stewart, Garrett. ‘Screen Memory in Waltz with Bashir’. Film Quarterly 63, no. 3 (March 2010): 58–62. https://doi.org/10.1525/fq.2010.63.3.58.
‘The Act of Killing (2012)’. Arte, n.d. https://learningonscreen.ac.uk/ondemand/index.php/prog/059705F6?bcast=108795473.
‘The Thin Blue Line: Storyville’. BBC4, n.d. https://learningonscreen.ac.uk/ondemand/index.php/prog/0217A165.
Weinberg, Robin. ‘Cameraperson’. The Oral History Review 44, no. 2 (2017): 368–71. https://doi.org/10.1093/ohr/ohx057.
Williams, Linda. ‘Mirrors without Memories: Truth, History, and the New Documentary’. Film Quarterly 46, no. 3 (April 1993): 9–21. https://doi.org/10.2307/1212899.
Winston, Brian. Claiming the Real: 2: Documentary : Grierson and Beyond. 2nd ed. London: BFI, 2008.
Winston, Brian and British Film Institute. Claiming the Real: The Griersonian Documentary and Its Legitimations. London: British Film Institute, 1995.
