Bibliography for FM24420 Art Cinema | Aberystwyth University

‘16:9 - November 2008 - In English: Towards an Aesthetic of Slow in Contemporary Cinema’. N.p., n.d. Web. <http://www.16-9.dk/2008-11/side11_inenglish.htm>.

Aaron, Michele. ‘New Queer Cinema: An Introduction’. New Queer Cinema: A Critical Reader. Edinburgh: Edinburgh University Press, 2004. 3–14. Print.

Akerman, Chantal et al. ‘Chantal Akerman Collection: Les Années 70, de Jaren ’70’. 2007 : n. pag. Print.

Andrew, Dudley. What Cinema Is!: Bazin’s Quest and Its Charge. Chichester: Wiley-Blackwell, 2010. Print.

Andrews, David. Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond. Austin: University of Texas Press, 2013. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039316430002418&institutionId=2418&customerId=2415>.

Antonioni, Michelangelo. ‘L’avventura’. 2008 : n. pag. Print.

Babuscio, Jack. ‘Camp and the Gay Sensibility’. Queer Cinema: The Film Reader. In focus--Routledge film readers. New York: Routledge, 2004. 121–136. Print.

Badley, Linda, R. Barton Palmer, and Steven Jay Schneider. Traditions in World Cinema. Edinburgh: Edinburgh University Press, 2006. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3869813690002418&institutionId=2418&customerId=2415>.

---. Traditions in World Cinema. Traditions in world cinema. Edinburgh: Edinburgh University Press, 2006. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039450800002418&institutionId=2418&customerId=2415>.

Barnard, Clio et al. ‘The Arbor’. 2011 : n. pag. Print.

Baumann, Shyon. Hollywood Highbrow: From Entertainment to Art. Princeton studies in cultural sociology. Princeton: Princeton University Press, 2007. Print.

Betz, Mark. Beyond the Subtitle: Remapping European Art Cinema. Minneapolis: University of Minnesota Press, 2009. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361177810002418&institutionId=2418&customerId=2415>.

---. Beyond the Subtitle: Remapping European Art Cinema. Minneapolis: University of Minnesota Press, 2009. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039362380002418&institutionId=2418&customerId=2415>.

Beugnet, Martine. Cinema and Sensation: French Film and the Art of Transgression. Edinburgh: Edinburgh University Press, 2007. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361179520002418&institutionId=2418&customerId=2415>.

---. Cinema and Sensation: French Film and the Art of Transgression. Edinburgh: Edinburgh University Press, 2007. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3037304280002418&institutionId=2418&customerId=2415>.

Bird, Robert. Andrei Tarkovsky: Elements of Cinema. London: Reaktion Books, 2008. Print.

‘Borders and Checkpoints’. Place Memory And Myth In Contemporary Israeli Cinema. Mitchell Vallentine & Company, 2012. 41–55. Print.

Bordun, Troy. Genre Trouble and Extreme Cinema: Film Theory at the Fringes of Contemporary Art Cinema. Cham, Switzerland: Palgrave Macmillan, 2017. Web. <http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9783319658940>.

Bordwell, David. Narration in the Fiction Film. Madison: University of Wisconsin Press, 1985. Print.

---. Poetics of Cinema. New York: Routledge, 2008. Print.

---. ‘The Art Cinema as a Mode of Film Practice’. Film Theory and Criticism: Introductory Readings. Ed. Leo Braudy and Marshall Cohen. Eighth edition. Oxford: Oxford University Press, 2016. 580–588. Print.

Bordwell, David, Kristin Thompson, and Jeff Smith. Film Art: An Introduction. Twelfth edition. New York, NY: McGraw-Hill Education, 2019. Web. <https://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9781260568585>.

Bould, Mark. Solaris. Basingstoke, Hampshire: Palgrave Macmillan on behalf of the British Film Institute, 2014. Print.

Breillat, Catherine. Fat Girl. Special ed. Vol. 259. [U.S.]: Criterion collection, 2004. Print.

Brunette, Peter. Michael Haneke. Urbana: University of Illinois Press, 2010. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3869802650002418&institutionId=2418&customerId=2415>.

Bruzzi, Stella. ‘Chapter 6 - The Performative Documentary’. New Documentary: A Critical Introduction. 2nd ed. Abingdon: Routledge, 2006. 185–218. Web. <http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780203967386>.

Caglayan, Emre. Poetics of Slow Cinema: Nostalgia, Absurdism, Boredom. Basingstoke, Hampshire: Palgrave Macmillan, 2018. Print.

Carl Plantinga. ‘Disgusted at the Movies’. Film Studies 8.1 81–92. Web. <https://www.manchesterhive.com/view/journals/fs/8/1/article-p81.xml>.

Carruthers, L. ‘M. Bazin et Le Temps: Reclaiming the Timeliness of Cinematic Time’. Screen 52.1 (2011): 13–29. Web.

Cleto, Fabio. Camp: Queer Aesthetics and the Performing Subject : A Reader. Edinburgh: Edinburgh University Press, 1999. Print.

Cowie, Elizabeth. Recording Reality, Desiring the Real. Visible Evidence. Minneapolis: University of Minnesota Press, 2011. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039449080002418&institutionId=2418&customerId=2415>.

Davis, Nick. The Desiring-Image: Gilles Deleuze and Contemporary Queer Cinema. Oxford: Oxford University Press, 2013. Print.

De Jong, Wilma, Thomas Austin, and Wilma De Jong. Rethinking Documentary: New Perspectives and Practices. Buckingham: Open University, 2008. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361180560002418&institutionId=2418&customerId=2415>.

De Luca, Tiago, and Nuno Barradas Jorge. ‘Introduction’. Slow Cinema. Ed. Tiago De Luca and Nuno Barradas Jorge. Traditions in world cinema. Edinburgh: Edinburgh University Press, 2016. 1–21. Print.

Deleuze, Gilles. Cinema 2: The Time-Image. London: Continuum, 2005. Print.

Deleuze, Gilles, Hugh Tomlinson, and Robert Galeta. Cinema 2: The Time Image. London: Athlone Press, 1989. Print.

---. Cinema 2: The Time Image. London: Athlone Press, 1989. Print.

Denis, Claire. ‘Trouble Every Day’. 2005 : n. pag. Print.

Doane, Mary Ann. The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Cambridge, Mass: Harvard University Press, 2002. Print.

Dolan, Xavier et al. ‘Heartbeats: Amours Imaginaires’. 2011 : n. pag. Print.

Dumont, Bruno. ‘La Vie de Jésus =: The Life of Jesus’. 2008 : n. pag. Print.

---. ‘L’humanité’. : n. pag. Print.

---. ‘Twentynine Palms’. 2005 : n. pag. Print.

Dunye, Cheryl et al. ‘The Watermelon Woman’. 2003 : n. pag. Print.

Duval, James et al. ‘Nowhere’. 2003 : n. pag. Print.

Elsaesser, Thomas. European Cinema: Face to Face with Hollywood. Film Culture in Transition. Amsterdam: Amsterdam University Press, 2005. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039389060002418&institutionId=2418&customerId=2415>.

---. ‘Sight and Sound’. 4.4 22–27. Print.

Ezra, Elizabeth. European Cinema. Oxford: Oxford University Press, 2004. Print.

---. European Cinema. Oxford: Oxford University Press, 2004. Print.

Forbes, Jill, and Sarah Street. European Cinema: An Introduction. Basingstoke: Palgrave, 2000. Print.

Fowler, Catherine. The European Cinema Reader. London: Routledge, 2002. Print.

---. The European Cinema Reader. London: Routledge, 2002. Print.

Frey, Mattias. Extreme Cinema: The Transgressive Rhetoric of Today’s Art Film Culture. New Brunswick, New Jersey: Rutgers University Press, 2016. Print.

Fusco, Katherine, and Nicole Seymour. Kelly Reichardt. Vol. 152. Champaign: University of Illinois Press, 2017. Web. <http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780252050107>.

Galt, Rosalind, and Karl Schoonover. Global Art Cinema: New Theories and Histories. New York: Oxford University Press, 2010. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039389080002418&institutionId=2418&customerId=2415>.

---. Global Art Cinema: New Theories and Histories. New York: Oxford University Press, 2010. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3037230960002418&institutionId=2418&customerId=2415>.

---. ‘Introduction: The Impurity of Art Cinema’. Global Art Cinema: New Theories and Histories. Oxford: Oxford University Press, 2010. 3–30. Web. <https://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5829099090002418&institutionId=2418&customerId=2415>.

Gibbs, John, and Douglas Pye. ‘The Long Take - Critical Approaches’. LONG TAKE : CRITICAL APPROACHES; ED. BY JOHN GIBBS. LONDON: PALGRAVE MACMILLAN, 2017. 1–26. Web. <https://www.vlebooks.com/Product/Index/1003393?page=1>.

Grant, Catherine, and Annette Kuhn. Screening World Cinema. London: Routledge, 2006. Print.

---. Screening World Cinema. London: Routledge, 2006. Print.

Griffiths, R. ‘New Queer Cinema’. Routledge International Encyclopedia of Queer Culture. Pbk. ed. New York: Routledge, 2011. 424–426. Print.

Gronstad, Asbjorn. ‘Against Commodification: Unwatchable Cinema and the Question of Ethics’. Screening the Unwatchable: Spaces of Negation in Post-Millennial Art Cinema. Basingstoke: Palgrave Macmillan, 2012. 15–42. Web. <http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780230355859>.

Grønstad, Asbjørn. Film and the Ethical Imagination. London, United Kingdom: Palgrave Macmillan, 2016. Print.

Grundmann, Roy. A Companion to Michael Haneke. Vol. 1. Chichester: Wiley-Blackwell, 2010. Print.

Hall, E. Dawn. The Films of Kelly Reichardt. Edinburgh: Edinburgh University Press, 2019. Print.

Haneke, Michael, Veit Heiduschka, et al. ‘71 Fragments of a Chronology of Chance’. 2006 : n. pag. Print.

Haneke, Michael. ‘Benny’s Video’. 2006 : n. pag. Print.

Haneke, Michael, Daniel Auteuil, et al. ‘Hidden: (Caché)’. 2005 : n. pag. Print.

Haneke, Michael, Birgit Doll, et al. ‘The Seventh Continent’. 2006 : n. pag. Print.

Hanich, Julian. ‘Dis/Liking Disgust: The Revulsion Experience at the Movies’. New Review of Film and Television Studies 7.3 (2009): 293–309. Web.

Haynes, Todd. ‘Poison [Videorecording]’. 1999 : n. pag. Print.

Hill, John, and Pamela Church Gibson. World Cinema: Critical Approaches. Oxford: Oxford University Press, 2000. Print.

Hjort, Mette. Small Nation, Global Cinema: The New Danish Cinema. v. 15. Minneapolis: University of Minnesota Press, 2005. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361179340002418&institutionId=2418&customerId=2415>.

Hjort, Mette, and Scott MacKenzie. Purity and Provocation: Dogma 95. London: BFI Pub, 2003. Print.

Horeck, Tanya, and Tina Kendall. The New Extremism in Cinema: From France to Europe. Edinburgh: Edinburgh University Press, 2011. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361180650002418&institutionId=2418&customerId=2415>.

Inglis, David, and John Hughson. The Sociology of Art: Ways of Seeing. Basingstoke: Palgrave Macmillan, 2005. Print.

Jaffe, Ira. Slow Movies: Countering the Cinema of Action. New York: Columbia University Press, 2014. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361182250002418&institutionId=2418&customerId=2415>.

Jansuda, Jenjira et al. ‘Blissfully Yours’. 2006 : n. pag. Print.

Jarman, Derek, and Christopher Marlowe. ‘Edward II’. 2010 : n. pag. Print.

Jia, Zhangke, Tao Zhao, and Sanming Han. ‘Still Life’. 2008 : n. pag. Print.

Johnson, Beth. ‘Art Cinema and : Tape-Recorded Testimony, Film Art and Feminism’. Journal of British Cinema and Television 13.2 (2016): 278–291. Web.

Kelly, Richard. The Name of This Book Is Dogme95. London: Faber and Faber, 2000. Print.

Kilbourn, Russell J. A. Cinema, Memory, Modernity: The Representation of Memory from the Art Film to Transnational Cinema. Routledge advances in film studies. New York: Routledge, 2011. Print.

King, Geoff. Positioning Art Cinema: Film and Cultural Value. Vol. 58. London: I.B. Tauris, 2019. Web. <http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9781786735560>.

Koepnick, Lutz P. On Slowness: Toward an Aesthetic of the Contemporary. New York: Columbia University Press, 2014. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3476934040002418&institutionId=2418&customerId=2415>.

---. The Long Take: Art Cinema and the Wondrous. Minneapolis: University of Minnesota Press, 2017. Print.

Korine, Harmony. ‘Julien Donkey-Boy’. 2001 : n. pag. Print.

Kovács, András Bálint. Screening Modernism: European Art Cinema, 1950-1980. Cinema and Modernity. Chicago: University of Chicago Press, 2008. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039389050002418&institutionId=2418&customerId=2415>.

Le Fanu, Mark. The Cinema of Andrei Tarkovsky. London: BFI Pub, 1987. Print.

Libby Saxton. ‘Secrets and Revelations: Off-Screen Space in Michael Haneke’s Caché (2005)’. Studies in French Cinema 19.1 5–17. Web. <https://www.tandfonline.com/doi/abs/10.1386/sfci.7.1.5_1>.

Lübecker, Nikolaj d’Origny. The Feel-Bad Film. Edinburgh, Scotland: Edinburgh University Press, 2015. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361170730002418&institutionId=2418&customerId=2415>.

Ma, Jean. Melancholy Drift: Marking Time in Chinese Cinema. Hong Kong: Hong Kong University Press, 2010. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361170660002418&institutionId=2418&customerId=2415>.

McCann, Ben, and David Sorfa. The Cinema of Michael Haneke: Europe Utopia. New York: Columbia University Press, 2012. Web. <https://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=4978564170002418&institutionId=2418&customerId=2415>.

Meek, Michele, ed. Independent Female Filmmakers: A Chronicle through Interviews, Profiles, and Manifestos. New York: Routledge, 2019. Print.

Mello, Cecilia. ‘If These Walls Could Speak: From Slowness to Stillness in the Cineam of Jia Zhangke’. Slow Cinema. Ed. Tiago De Luca and Nuno Barradas Jorge. Traditions in world cinema. Edinburgh: Edinburgh University Press, 2016. 137–149. Print.

Menninghaus, Winfried. Disgust: The Theory and History of a Strong Sensation. Albany: State University of New York Press, 2003. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3369193050002418&institutionId=2418&customerId=2415>.

Meyer, Moe. ‘Reclaiming the Discourse of Camp’. Queer Cinema: The Film Reader. In focus--Routledge film readers. New York: Routledge, 2004. 137–150. Print.

Mroz, Matilda. Temporality and Film Analysis. Edinburgh: Edinburgh University Press, 2012. Print.

Nagib, Lúcia, Chris Perriam, and Rajinder Kumar Dudrah. Theorizing World Cinema. Tauris world cinema series. London: I.B. Tauris, 2012. Web. <http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780857721044>.

Neale, S. ‘Art Cinema as Institution’. Screen 22.1 (1981): 11–40. Web.

Nichols, Bill. Introduction to Documentary. Third edition. Bloomington, Indiana: Indiana University Press, 2017. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3923488730002418&institutionId=2418&customerId=2415>.

Noé, Gaspar. ‘Irreversible’. 2003 : n. pag. Print.

Nowell-Smith, Geoffrey. ‘Art Cinema’. The Oxford History of World Cinema. Oxford: Oxford University Press, 1996. 567–575. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361179570002418&institutionId=2418&customerId=2415>.

Papenburg, Bettina, and Marta Zarzycka, eds. Carnal Aesthetics: Transgressive Imagery and Feminist Politics. International library of visual culture. London: I.B. Tauris, 2013. Print.

Parkins, Wendy, and Geoffrey Craig. Slow Living. Oxford: Berg, 2006. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361182260002418&institutionId=2418&customerId=2415>.

Petric, Vlada. ‘Tarkovsky’s Dream Imagery’. Film Quarterly 43.2 (1989): 28–34. Web.

Quandt, James. ‘Flesh and Blood: Sex and Violence in Recent French Cinema’. The New Extremism in Cinema: From France to Europe. Edinburgh: Edinburgh University Press, 2011. 15–18. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039831380002418&institutionId=2418&customerId=2415>.

ReFocus: The Films of Xavier Dolan. Edinburgh University Press. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3965828230002418&institutionId=2418&customerId=2415>.

Reichardt, Kelly et al. ‘Wendy and Lucy’. 2009 : n. pag. Print.

Renov, Michael. ‘First-Person Films: Some Theses on Self-Inscription’. Rethinking Documentary: New Perspectives And Practices. Maidenhead: McGraw-Hill Education, 2008. 39–50. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039443510002418&institutionId=2418&customerId=2415>.

Rich, B. Ruby. New Queer Cinema: The Director’s Cut. Durham, [North Carolina]: Duke University Press, 2013. Print.

Roman, Shari. Digital Babylon: Hollywood, Indiewood & Dogme 95. Los Angeles: IFILM, 2001. Print.

Rosenthal, Alan, and John Corner. New Challenges for Documentary. 2nd ed. Manchester: Manchester University Press, 2005. Print.

Russell, Dominique. Rape in Art Cinema. New York: Continuum, 2010. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3361169640002418&institutionId=2418&customerId=2415>.

Sayad, Cecilia. ‘The Author in the World: Trance, Presence and Documentary Filmmaking’. Performing Authorship: Self-Inscription and Corporeality in the Cinema. Tauris world cinema series Performing authorship. London: I.B.Tauris, 2013. 71–106. Print.

‘Self Made (Boreg) - Cineuropa’. N.p., n.d. Web. <https://cineuropa.org/en/film/347450/>.

Skakov, Nariman. The Cinema of Tarkovsky: Labyrinths of Space and Time. London: I.B. Tauris, 2012. Web. <http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780857721198>.

Society for Education in Film and Television, and Steve Neale. ‘Screen: The Journal of the Society for Education in Film and Television’. Screen 22.1 n. pag. Print.

Soderbergh, Steven et al. ‘Solaris’. 2003 : n. pag. Print.

Sontag, Susan. ‘2. Notes on “Camp”’. Camp: Queer Aesthetics and the Performing Subject : A Reader. Edinburgh: Edinburgh University Press, 1999. 53–65. Print.

Speck, Oliver C. Funny Frames: The Filmic Concepts of Michael Haneke. New York: Continuum, 2010. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3869790080002418&institutionId=2418&customerId=2415>.

Stacey, J. ‘Queer Theory and New Queer Cinema’. The Cinema Book. 3rd ed. London: British Film Institute Publishing, 2007. 505–507. Print.

Stevenson, Jack. Dogme Uncut: Lars von Trier, Thomas Vinterburg, and the Gang That Took on Hollywood. Santa Monica, CA: Santa Monica Press, 2003. Print.

Tarkovskiĭ, Andreĭ Arsenʹevich, Aleksandr Misharin, et al. ‘Mirror: A Film’. 2002 : n. pag. Print.

Tarkovskiĭ, Andreĭ Arsenʹevich, Tonino Guerra, et al. ‘Nostalgia’. 2002 : n. pag. Print.

Tarkovskiĭ, Andreĭ Arsenʹevich. Sculpting in Time: Reflections on the Cinema. 6th University of Texas Press ed. Austin, TX: University of Texas Press, 1986. Print.

Tarkovskiĭ, Andreĭ Arsenʹevich, Natalʹi︠a︡ Bondarchuk, et al. ‘Solaris’. 2001 : n. pag. Print.

Tarkovskiĭ, Andreĭ Arsenʹevich, Arkadiĭ Strugat︠s︡kiĭ, et al. ‘Stalker: A Film’. 2002 : n. pag. Print.

Taxidou, Olga, and John Orr. Post-War Cinema and Modernity: A Film Reader. Edinburgh: Edinburgh University Press, 2000. Print.

---. Post-War Cinema and Modernity: A Film Reader. Edinburgh: Edinburgh University Press, 2000. Print.

‘The New Extremisms: Rethinking Extreme Cinema’. Web. <https://core.ac.uk/download/pdf/77282461.pdf>.

Thomson, C. Claire. Thomas Vinterberg’s Festen (The Celebration). Seattle: University of Washington Press, 2014. Print.

TIM PALMER. ‘Style and Sensation in the Contemporary French Cinema of the Body’. Journal of Film and Video 58.3 (2006): 22–32. Web. <http://www.jstor.org/stable/20688527?seq=1#page_scan_tab_contents>.

‘Time and the Film Aesthetics of Andrei Tarkovsky | Canadian Journal of Film Studies’. n. pag. Web. <https://utpjournals.press/doi/10.3138/cjfs.2.1.21>.

Trier, Lars von. ‘The Idiots’. 2000 : n. pag. Print.

Trier, Lars von and Bjork. ‘Dancer in the Dark’. 2002 : n. pag. Print.

Turner, Sarah E. et al. Perestroika: Perestroika : Reconstructed. London: LUX, 2013. Print.

Tutor, Andrew. ‘The Rise and Fall of the Art (House) Movie’. The Sociology of Art: Ways of Seeing. Basingstoke: Palgrave Macmillan, 2005. 125–138. Print.

Tweedie, James. The Age of New Waves: Art Cinema and the Staging of Globalization. New York: Oxford University Press, 2013. Print.

Valck, Marijke de. Film Festivals: From European Geopolitics to Global Cinephilia. Film culture in transition. Amsterdam: Amsterdam University Press, 2007. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3037230940002418&institutionId=2418&customerId=2415>.

Van Sant, Gus. Gus Van Sant: Milk, Paranoid Park, Last Days, Elephant, Mala Noche. Amsterdam: A Film, 2009. Print.

---. ‘My Own Private Idaho’. 2008 : n. pag. Print.

Vidal, Belen et al. Cinema at the Periphery. Wayne State University Press. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039372460002418&institutionId=2418&customerId=2415>.

Vinterberg, Thomas. ‘Festen’. 2008 : n. pag. Print.

von Trier, Lars, and Thomas Vinterberg. ‘DOGME 95 AND VOW OF CHASTITY’. Film Manifestos and Global Cinema Cultures: A Critical Anthology. Berkeley: University of California Press, 2014. 201–203. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039443520002418&institutionId=2418&customerId=2415>.

Waters, John. ‘Pink Flamingos/Female Trouble’. 2001 : n. pag. Print.

Western Association for German Studies and German Studies Association. ‘German Studies Review’. 30.1 (1978): 121–140. Print.

Wheatley, Catherine. Michael Haneke’s Cinema: The Ethic of the Image. v. 7. New York: Berghahn, 2009. Print.

Wilinsky, Barbara. Sure Seaters: The Emergence of Art House Cinema. Minneapolis: University of Minnesota Press, 2001. Print.

Yosef, Raz. The Politics of Loss and Trauma in Contemporary Israeli Cinema. Vol. 9. New York: Routledge, 2011. Web. <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3869813700002418&institutionId=2418&customerId=2415>.

Zidane, Zinédine et al. ‘Zidane, a 21st Century Portrait’. 2006 : n. pag. Print.

Bibliography for FM24420 Art Cinema BETA