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Carl Plantinga (no date) ‘Disgusted at the Movies’, Film Studies, 8(1), pp. 81–92. Available at: https://doi.org/https://doi.org/10.7227/FS.8.9.
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Cleto, F. (1999) Camp: queer aesthetics and the performing subject : a reader. Edinburgh: Edinburgh University Press.
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Davis, N. (2013) The desiring-image: Gilles Deleuze and contemporary queer cinema. Oxford: Oxford University Press.
De Jong, W., Austin, T. and De Jong, W. (2008) Rethinking documentary: new perspectives and practices. Buckingham: Open University. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361180560002418&institutionId=2418&customerId=2415.
De Luca, T. and Jorge, N.B. (2016) ‘Introduction’, in T. De Luca and N.B. Jorge (eds) Slow cinema. Edinburgh: Edinburgh University Press, pp. 1–21.
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Denis, C. (2005) ‘Trouble every day’. [U.K.]: Tartan.
Doane, M.A. (2002) The emergence of cinematic time: modernity, contingency, the archive. Cambridge, Mass: Harvard University Press.
Dolan, X. et al. (2011) ‘Heartbeats: Amours imaginaires’. [S.l.]: Network Releasing.
Dumont, B. (2005) ‘Twentynine palms’. London: Tartan Video.
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Dumont, B. (no date) ‘L’humanité’. U.K.: Artificial Eye, [1999?].
Dunye, C. et al. (2003) ‘The watermelon woman’. [London]: Peccadillo.
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Ezra, E. (2004a) European cinema. Oxford: Oxford University Press.
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Fowler, C. (2002a) The European cinema reader. London: Routledge.
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Frey, M. (2016) Extreme cinema: the transgressive rhetoric of today’s art film culture. New Brunswick, New Jersey: Rutgers University Press.
Fusco, K. and Seymour, N. (2017) Kelly Reichardt. Champaign: University of Illinois Press. Available at: http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780252050107.
Galt, R. and Schoonover, K. (2010a) Global art cinema: new theories and histories. New York: Oxford University Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039389080002418&institutionId=2418&customerId=2415.
Galt, R. and Schoonover, K. (2010b) Global art cinema: new theories and histories. New York: Oxford University Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3037230960002418&institutionId=2418&customerId=2415.
Galt, R. and Schoonover, K. (2010c) ‘Introduction: The Impurity of Art Cinema’, in Global art cinema: new theories and histories. Oxford: Oxford University Press, pp. 3–30. Available at: https://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5829099090002418&institutionId=2418&customerId=2415.
Gibbs, J. and Pye, D. (2017) ‘The Long Take - Critical Approaches’, in LONG TAKE : CRITICAL APPROACHES; ED. BY JOHN GIBBS. LONDON: PALGRAVE MACMILLAN, pp. 1–26. Available at: https://www.vlebooks.com/Product/Index/1003393?page=1.
Grant, C. and Kuhn, A. (2006a) Screening world cinema. London: Routledge.
Grant, C. and Kuhn, A. (2006b) Screening world cinema. London: Routledge.
Griffiths, R. (2011) ‘New Queer Cinema’, in Routledge international encyclopedia of queer culture. Pbk. ed. New York: Routledge, pp. 424–426.
Gronstad, A. (2012) ‘Against Commodification: Unwatchable Cinema and the Question of Ethics’, in Screening the unwatchable: spaces of negation in post-millennial art cinema. Basingstoke: Palgrave Macmillan, pp. 15–42. Available at: http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780230355859.
Grønstad, A. (2016) Film and the ethical imagination. London, United Kingdom: Palgrave Macmillan.
Grundmann, R. (2010) A companion to Michael Haneke. Chichester: Wiley-Blackwell.
Hall, E.D. (2019) The films of Kelly Reichardt. Edinburgh: Edinburgh University Press.
Haneke, M. et al. (2005) ‘Hidden: (Caché)’. [S.l.]: Artificial Eye.
Haneke, M., Heiduschka, V., et al. (2006) ‘71 fragments of a chronology of chance’. New York, N.Y.: Kino Internation Corp.
Haneke, M. (2006) ‘Benny’s video’. New York: Kino Video.
Haneke, M., Doll, B., et al. (2006) ‘The seventh continent’. New York: Kino International Corp.
Hanich, J. (2009) ‘Dis/liking disgust: the revulsion experience at the movies’, New Review of Film and Television Studies, 7(3), pp. 293–309. Available at: https://doi.org/10.1080/17400300903047052.
Haynes, T. (1999) ‘Poison [Videorecording]’. New York: Fox Lorber.
Hill, J. and Gibson, P.C. (2000) World cinema: critical approaches. Oxford: Oxford University Press.
Hjort, M. (2005) Small nation, global cinema: the new Danish cinema. Minneapolis: University of Minnesota Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361179340002418&institutionId=2418&customerId=2415.
Hjort, M. and MacKenzie, S. (2003) Purity and provocation: Dogma 95. London: BFI Pub.
Horeck, T. and Kendall, T. (2011) The new extremism in cinema: from France to Europe. Edinburgh: Edinburgh University Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361180650002418&institutionId=2418&customerId=2415.
Inglis, D. and Hughson, J. (2005) The sociology of art: ways of seeing. Basingstoke: Palgrave Macmillan.
Jaffe, I. (2014) Slow Movies: Countering the Cinema of Action. New York: Columbia University Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361182250002418&institutionId=2418&customerId=2415.
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Johnson, B. (2016) ‘Art Cinema and                              : Tape-recorded Testimony, Film Art and Feminism’, Journal of British Cinema and Television, 13(2), pp. 278–291. Available at: https://doi.org/10.3366/jbctv.2016.0313.
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Kovács, A.B. (2008) Screening Modernism: European Art Cinema, 1950-1980. Chicago: University of Chicago Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039389050002418&institutionId=2418&customerId=2415.
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Libby  Saxton (no date) ‘Secrets and revelations: Off-screen space in Michael Haneke’s Caché (2005)’, Studies in French Cinema, 19(1), pp. 5–17. Available at: https://www.tandfonline.com/doi/abs/10.1386/sfci.7.1.5_1.
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Ma, J. (2010) Melancholy drift: marking time in Chinese cinema. Hong Kong: Hong Kong University Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361170660002418&institutionId=2418&customerId=2415.
McCann, B. and Sorfa, D. (2012) The Cinema of Michael Haneke: Europe Utopia. New York: Columbia University Press. Available at: https://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=4978564170002418&institutionId=2418&customerId=2415.
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