1.
Reichardt K, Reichardt K, Williams M, Raymond J. Wendy and Lucy. 2009;086.
2.
Neale S. Art Cinema as Institution. Screen. 1981;22(1):11-40. doi:10.1093/screen/22.1.11
3.
Bordwell D. The Art Cinema as a Mode of Film Practice. In: Braudy L, Cohen M, eds. Film Theory and Criticism: Introductory Readings. Eighth edition. Oxford University Press; 2016:580-588.
4.
Galt R, Schoonover K. Introduction: The Impurity of Art Cinema. In: Global Art Cinema: New Theories and Histories. Oxford University Press; 2010:3-30. https://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5829099090002418&institutionId=2418&customerId=2415
5.
Wilinsky B. Sure Seaters: The Emergence of Art House Cinema. University of Minnesota Press; 2001.
6.
Betz M. Beyond the Subtitle: Remapping European Art Cinema. University of Minnesota Press; 2009. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361177810002418&institutionId=2418&customerId=2415
7.
Tweedie J. The Age of New Waves: Art Cinema and the Staging of Globalization. Oxford University Press; 2013.
8.
Nowell-Smith G. Art Cinema. In: The Oxford History of World Cinema. Oxford University Press; 1996:567-575. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361179570002418&institutionId=2418&customerId=2415
9.
Tutor A. The Rise and Fall of the Art (House) Movie. In: The Sociology of Art: Ways of Seeing. Palgrave Macmillan; 2005:125-138.
10.
King G. Positioning Art Cinema: Film and Cultural Value. Vol 58. I.B. Tauris; 2019. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9781786735560
11.
Meek M, ed. Independent Female Filmmakers: A Chronicle through Interviews, Profiles, and Manifestos. Routledge; 2019.
12.
Fusco K, Seymour N. Kelly Reichardt. Vol 152. University of Illinois Press; 2017. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780252050107
13.
Hall ED. The Films of Kelly Reichardt. Edinburgh University Press; 2019.
14.
Tarkovskiĭ AA, Misharin A, Danilʹt͡sev I, Terekhova M. Mirror: a film. Published online 2002.
15.
Time and the Film Aesthetics of Andrei Tarkovsky | Canadian Journal of Film Studies. https://utpjournals.press/doi/10.3138/cjfs.2.1.21
16.
Petric V. Tarkovsky’s Dream Imagery. Film Quarterly. 1989;43(2):28-34. doi:10.2307/1212806
17.
Skakov N. The Cinema of Tarkovsky: Labyrinths of Space and Time. I.B. Tauris; 2012. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780857721198
18.
Deleuze G. Cinema 2: The Time-Image. Continuum; 2005.
19.
Koepnick LP. The Long Take: Art Cinema and the Wondrous. University of Minnesota Press; 2017.
20.
Doane MA. The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Harvard University Press; 2002.
21.
Kilbourn RJA. Cinema, Memory, Modernity: The Representation of Memory from the Art Film to Transnational Cinema. Vol Routledge advances in film studies. Routledge; 2011.
22.
Tarkovskiĭ AA. Sculpting in Time: Reflections on the Cinema. 6th University of Texas Press ed. University of Texas Press; 1986.
23.
Bird R. Andrei Tarkovsky: Elements of Cinema. Reaktion Books; 2008.
24.
Le Fanu M. The Cinema of Andrei Tarkovsky. BFI Pub; 1987.
25.
Mroz M. Temporality and Film Analysis. Edinburgh University Press; 2012.
26.
Bould M. Solaris. Palgrave Macmillan on behalf of the British Film Institute; 2014.
27.
Carruthers L. M. Bazin et le temps: reclaiming the timeliness of cinematic time. Screen. 2011;52(1):13-29. doi:10.1093/screen/hjq053
28.
Soderbergh S, Clooney G, McElhone N, et al. Solaris. Published online 2003.
29.
Tarkovskiĭ AA, Bondarchuk N, Banionis D, I͡Arvet I. Solaris. Published online 2001.
30.
Antonioni M. L’avventura. Published online 2008.
31.
Tarkovskiĭ AA, Strugat︠s︡kiĭ A, Strugat︠s︡kiĭ B, Kaĭdanovskiĭ A. Stalker: a film. Published online 2002.
32.
Tarkovskiĭ AA, Guerra T, Casati F, Radiotelevisione italiana, Sovinfil, Opera Film Produzione. Nostalgia. Published online 2002.
33.
Jia Z, Zhao T, Han S. Still life. 2008;753.
34.
De Luca T, Jorge NB. Introduction. In: De Luca T, Jorge NB, eds. Slow Cinema. Vol Traditions in world cinema. Edinburgh University Press; 2016:1-21.
35.
Mello C. If These Walls Could Speak: From Slowness to Stillness in the Cineam of Jia Zhangke. In: De Luca T, Jorge NB, eds. Slow Cinema. Vol Traditions in world cinema. Edinburgh University Press; 2016:137-149.
36.
Gibbs J, Pye D. The Long Take - Critical Approaches. In: LONG TAKE : CRITICAL APPROACHES; ED. BY JOHN GIBBS. PALGRAVE MACMILLAN; 2017:1-26. https://www.vlebooks.com/Product/Index/1003393?page=1
37.
Caglayan E. Poetics of Slow Cinema: Nostalgia, Absurdism, Boredom. Palgrave Macmillan; 2018.
38.
Parkins W, Craig G. Slow Living. Berg; 2006. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361182260002418&institutionId=2418&customerId=2415
39.
Koepnick LP. On Slowness: Toward an Aesthetic of the Contemporary. Columbia University Press; 2014. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3476934040002418&institutionId=2418&customerId=2415
40.
Jaffe I. Slow Movies: Countering the Cinema of Action. Columbia University Press; 2014. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361182250002418&institutionId=2418&customerId=2415
41.
Ma J. Melancholy Drift: Marking Time in Chinese Cinema. Hong Kong University Press; 2010. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361170660002418&institutionId=2418&customerId=2415
42.
16:9 - November 2008 - In English: Towards an Aesthetic of Slow in Contemporary Cinema. http://www.16-9.dk/2008-11/side11_inenglish.htm
43.
Jansuda J, Apichatpong Weerasethakul, Kanokporn Tongaram, Min Oo. Blissfully yours. Published online 2006.
44.
Akerman C, Wauthion C, Arestrup N, et al. Chantal Akerman collection: les années 70, de jaren ’70. Published online 2007.
45.
Haneke M, Auteuil D, Binoche J, Bénichou M, Artificial Eye (Firm). Hidden: (Caché). Published online 2005.
46.
Libby Saxton. Secrets and revelations: Off-screen space in Michael Haneke’s Caché (2005). Studies in French Cinema. 19(1):5-17. https://www.tandfonline.com/doi/abs/10.1386/sfci.7.1.5_1
47.
Speck OC. Funny Frames: The Filmic Concepts of Michael Haneke. Continuum; 2010. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3869790080002418&institutionId=2418&customerId=2415
48.
Brunette P. Michael Haneke. University of Illinois Press; 2010. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3869802650002418&institutionId=2418&customerId=2415
49.
Grundmann R. A Companion to Michael Haneke. Vol 1. Wiley-Blackwell; 2010.
50.
Wheatley C. Michael Haneke’s Cinema: The Ethic of the Image. Vol v. 7. Berghahn; 2009.
51.
McCann B, Sorfa D. The Cinema of Michael Haneke: Europe Utopia. Columbia University Press; 2012. https://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=4978564170002418&institutionId=2418&customerId=2415
52.
Grønstad A. Film and the Ethical Imagination. Palgrave Macmillan; 2016.
53.
Haneke M, Doll B, Berner D, Tanzer L, Fenz S, Samel U. The seventh continent. Published online 2006.
54.
Haneke M. Benny’s video. Published online 2006.
55.
Haneke M, Heiduschka V, Berger C, Wega Film (Firm), Camera Film, Kino International Corporation. 71 fragments of a chronology of chance. Published online 2006.
56.
Barnard C, Virk M, Dudgeon N, Dolan M, Webb D, Bottomley C. The arbor. Published online 2011.
57.
Johnson B. Art Cinema and : Tape-recorded Testimony, Film Art and Feminism. Journal of British Cinema and Television. 2016;13(2):278-291. doi:10.3366/jbctv.2016.0313
58.
Cowie E. Recording Reality, Desiring the Real. Vol Visible Evidence. University of Minnesota Press; 2011. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039449080002418&institutionId=2418&customerId=2415
59.
Renov M. First-person films: Some theses on self-inscription. In: Rethinking Documentary: New Perspectives And Practices. McGraw-Hill Education; 2008:39-50. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039443510002418&institutionId=2418&customerId=2415
60.
Rosenthal A, Corner J. New Challenges for Documentary. 2nd ed. Manchester University Press; 2005.
61.
Sayad C. The Author in the World: Trance, Presence and Documentary Filmmaking. In: Performing Authorship: Self-Inscription and Corporeality in the Cinema. Vol Tauris world cinema series Performing authorship. I.B.Tauris; 2013:71-106.
62.
Bruzzi S. Chapter 6 - The Performative Documentary. In: New Documentary: A Critical Introduction. 2nd ed. Routledge; 2006:185-218. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780203967386
63.
De Jong W, Austin T, De Jong W. Rethinking Documentary: New Perspectives and Practices. Open University; 2008. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361180560002418&institutionId=2418&customerId=2415
64.
Nichols B. Introduction to Documentary. Third edition. Indiana University Press; 2017. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3923488730002418&institutionId=2418&customerId=2415
65.
Zidane Z, Gordon D, Parreno P, et al. Zidane, a 21st century portrait. Published online 2006.
66.
Turner SE, Walter M, Mayer S, Newland P, Cowie E, LUX (Organization). Perestroika: Perestroika : Reconstructed. LUX; 2013.
67.
Dolan X, Chokri M, Schneider N, Weber-Biron SA, IFC Films, MPI Media Group. Heartbeats: Amours imaginaires. Published online 2011.
68.
Aaron M. New Queer Cinema: an introduction. In: New Queer Cinema: A Critical Reader. Edinburgh University Press; 2004:3-14.
69.
Stacey J. Queer Theory and New Queer Cinema. In: The Cinema Book. 3rd ed. British Film Institute Publishing; 2007:505-507.
70.
Rich BR. New Queer Cinema: The Director’s Cut. Duke University Press; 2013.
71.
Davis N. The Desiring-Image: Gilles Deleuze and Contemporary Queer Cinema. Oxford University Press; 2013.
72.
Griffiths R. New Queer Cinema. In: Routledge International Encyclopedia of Queer Culture. Pbk. ed. Routledge; 2011:424-426.
73.
ReFocus: The Films of Xavier Dolan. Edinburgh University Press http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3965828230002418&institutionId=2418&customerId=2415
74.
Duval J, True R, Bexton N, Mastrolanni C, Mazar D, Araki G. Nowhere. Published online 2003.
75.
Jarman D, Marlowe C. Edward II. Published online 2010.
76.
Dunye C, Shapiro P, Turner G, Walker V, Bronson LM. The watermelon woman. Published online 2003.
77.
Van Sant G. Gus Van Sant: Milk, Paranoid Park, Last Days, Elephant, Mala Noche. A Film; 2009.
78.
Haynes T. Poison [Videorecording]. Published online 1999.
79.
Van Sant G. My own private Idaho. Published online 2008.
80.
Waters J. Pink flamingos/Female trouble. 2001;Vol.3.
81.
Babuscio J. Camp and the Gay Sensibility. In: Queer Cinema: The Film Reader. Vol In focus--Routledge film readers. Routledge; 2004:121-136.
82.
Sontag S. 2. Notes on ‘Camp’. In: Camp: Queer Aesthetics and the Performing Subject : A Reader. Edinburgh University Press; 1999:53-65.
83.
Meyer M. Reclaiming the Discourse of Camp. In: Queer Cinema: The Film Reader. Vol In focus--Routledge film readers. Routledge; 2004:137-150.
84.
Cleto F. Camp: Queer Aesthetics and the Performing Subject : A Reader. Edinburgh University Press; 1999.
85.
Self Made (Boreg) - Cineuropa. https://cineuropa.org/en/film/347450/
86.
Borders and Checkpoints. In: Place Memory And Myth In Contemporary Israeli Cinema. Mitchell Vallentine & Company; 2012:41-55.
87.
Yosef R. The Politics of Loss and Trauma in Contemporary Israeli Cinema. Vol 9. Routledge; 2011. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3869813700002418&institutionId=2418&customerId=2415
88.
Vinterberg T. Festen. Published online 2008.
89.
Gronstad A. Against Commodification: Unwatchable Cinema and the Question of Ethics. In: Screening the Unwatchable: Spaces of Negation in Post-Millennial Art Cinema. Palgrave Macmillan; 2012:15-42. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780230355859
90.
Badley L, Palmer RB, Schneider SJ. Traditions in World Cinema. Edinburgh University Press; 2006. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3869813690002418&institutionId=2418&customerId=2415
91.
von Trier L, Vinterberg T. DOGME 95 AND VOW OF CHASTITY. In: Film Manifestos and Global Cinema Cultures: A Critical Anthology. University of California Press; 2014:201-203. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039443520002418&institutionId=2418&customerId=2415
92.
Horeck T, Kendall T. The New Extremism in Cinema: From France to Europe. Edinburgh University Press; 2011. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361180650002418&institutionId=2418&customerId=2415
93.
Stevenson J. Dogme Uncut: Lars von Trier, Thomas Vinterburg, and the Gang That Took on Hollywood. Santa Monica Press; 2003.
94.
Hjort M, MacKenzie S. Purity and Provocation: Dogma 95. BFI Pub; 2003.
95.
Kelly R. The Name of This Book Is Dogme95. Faber and Faber; 2000.
96.
Hjort M. Small Nation, Global Cinema: The New Danish Cinema. Vol v. 15. University of Minnesota Press; 2005. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361179340002418&institutionId=2418&customerId=2415
97.
Thomson CC. Thomas Vinterberg’s Festen (The Celebration). University of Washington Press; 2014.
98.
Roman S. Digital Babylon: Hollywood, Indiewood & Dogme 95. IFILM; 2001.
99.
Trier L von, Bjork. Dancer in the dark. Published online 2002.
100.
Korine H. Julien donkey-boy. Published online 2001.
101.
Trier L von. The idiots. Published online 2000.
102.
Denis C. Trouble every day. Published online 2005.
103.
Quandt J. Flesh and Blood: Sex and Violence in Recent French Cinema. In: The New Extremism in Cinema: From France to Europe. Edinburgh University Press; 2011:15-18. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039831380002418&institutionId=2418&customerId=2415
104.
TIM PALMER. Style and Sensation in the Contemporary French Cinema of the Body. Journal of Film and Video. 2006;58(3):22-32. http://www.jstor.org/stable/20688527?seq=1#page_scan_tab_contents
105.
Lübecker N d’Origny. The Feel-Bad Film. Edinburgh University Press; 2015. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361170730002418&institutionId=2418&customerId=2415
106.
Frey M. Extreme Cinema: The Transgressive Rhetoric of Today’s Art Film Culture. Rutgers University Press; 2016.
107.
Beugnet M. Cinema and Sensation: French Film and the Art of Transgression. Edinburgh University Press; 2007. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361179520002418&institutionId=2418&customerId=2415
108.
Russell D. Rape in Art Cinema. Continuum; 2010. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361169640002418&institutionId=2418&customerId=2415
109.
Bordun T. Genre Trouble and Extreme Cinema: Film Theory at the Fringes of Contemporary Art Cinema. Palgrave Macmillan; 2017. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9783319658940
110.
The New Extremisms: Rethinking Extreme Cinema. https://core.ac.uk/download/pdf/77282461.pdf
111.
Menninghaus W. Disgust: The Theory and History of a Strong Sensation. State University of New York Press; 2003. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3369193050002418&institutionId=2418&customerId=2415
112.
Carl Plantinga. Disgusted at the Movies. Film Studies. 8(1):81-92. doi:https://doi.org/10.7227/FS.8.9
113.
Hanich J. Dis/liking disgust: the revulsion experience at the movies. New Review of Film and Television Studies. 2009;7(3):293-309. doi:10.1080/17400300903047052
114.
Noé G. Irreversible. Published online 2003.
115.
Dumont B. La vie de Jésus =: The life of Jesus. 2008;60.
116.
Dumont B. Twentynine palms. Published online 2005.
117.
Dumont B. L’humanité.
118.
Breillat C. Fat Girl. Vol 259. Special ed. Criterion collection; 2004.
119.
Inglis D, Hughson J. The Sociology of Art: Ways of Seeing. Palgrave Macmillan; 2005.
120.
Galt R, Schoonover K. Global Art Cinema: New Theories and Histories. Oxford University Press; 2010. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039389080002418&institutionId=2418&customerId=2415
121.
Elsaesser T. Sight and sound. 4(4):22-27.
122.
Society for Education in Film and Television, Neale S. Screen: the journal of the Society for Education in Film and Television. Screen. 22(1).
123.
Andrew D. What Cinema Is!: Bazin’s Quest and Its Charge. Wiley-Blackwell; 2010.
124.
Deleuze G, Tomlinson H, Galeta R. Cinema 2: The Time Image. Athlone Press; 1989.
125.
Ezra E. European Cinema. Oxford University Press; 2004.
126.
Fowler C. The European Cinema Reader. Routledge; 2002.
127.
Galt R, Schoonover K. Global Art Cinema: New Theories and Histories. Oxford University Press; 2010. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3037230960002418&institutionId=2418&customerId=2415
128.
Taxidou O, Orr J. Post-War Cinema and Modernity: A Film Reader. Edinburgh University Press; 2000.
129.
Beugnet M. Cinema and Sensation: French Film and the Art of Transgression. Edinburgh University Press; 2007. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3037304280002418&institutionId=2418&customerId=2415
130.
Valck M de. Film Festivals: From European Geopolitics to Global Cinephilia. Vol Film culture in transition. Amsterdam University Press; 2007. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3037230940002418&institutionId=2418&customerId=2415
131.
Grant C, Kuhn A. Screening World Cinema. Routledge; 2006.
132.
Papenburg B, Zarzycka M, eds. Carnal Aesthetics: Transgressive Imagery and Feminist Politics. Vol International library of visual culture. I.B. Tauris; 2013.
133.
Western Association for German Studies, German Studies Association. German studies review. 1978;30(1):121-140.
134.
Andrews D. Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond. University of Texas Press; 2013. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039316430002418&institutionId=2418&customerId=2415
135.
Badley L, Palmer RB, Schneider SJ. Traditions in World Cinema. Vol Traditions in world cinema. Edinburgh University Press; 2006. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039450800002418&institutionId=2418&customerId=2415
136.
Baumann S. Hollywood Highbrow: From Entertainment to Art. Vol Princeton studies in cultural sociology. Princeton University Press; 2007.
137.
Betz M. Beyond the Subtitle: Remapping European Art Cinema. University of Minnesota Press; 2009. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039362380002418&institutionId=2418&customerId=2415
138.
Bordwell D. Narration in the Fiction Film. University of Wisconsin Press; 1985.
139.
Bordwell D. Poetics of Cinema. Routledge; 2008.
140.
Bordwell D, Thompson K, Smith J. Film Art: An Introduction. Twelfth edition. McGraw-Hill Education; 2019. https://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9781260568585
141.
Deleuze G, Tomlinson H, Galeta R. Cinema 2: The Time Image. Athlone Press; 1989.
142.
Elsaesser T. European Cinema: Face to Face with Hollywood. Vol Film Culture in Transition. Amsterdam University Press; 2005. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039389060002418&institutionId=2418&customerId=2415
143.
Ezra E. European Cinema. Oxford University Press; 2004.
144.
Forbes J, Street S. European Cinema: An Introduction. Palgrave; 2000.
145.
Fowler C. The European Cinema Reader. Routledge; 2002.
146.
Grant C, Kuhn A. Screening World Cinema. Routledge; 2006.
147.
Hill J, Gibson PC. World Cinema: Critical Approaches. Oxford University Press; 2000.
148.
Vidal B, Iordanova D, Martin-Jones D, Vidal B. Cinema at the Periphery. Wayne State University Press http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039372460002418&institutionId=2418&customerId=2415
149.
Kovács AB. Screening Modernism: European Art Cinema, 1950-1980. Vol Cinema and Modernity. University of Chicago Press; 2008. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039389050002418&institutionId=2418&customerId=2415
150.
Nagib L, Perriam C, Dudrah RK. Theorizing World Cinema. Vol Tauris world cinema series. I.B. Tauris; 2012. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780857721044
151.
Taxidou O, Orr J. Post-War Cinema and Modernity: A Film Reader. Edinburgh University Press; 2000.
