Bibliography for FM24420 Art Cinema | Aberystwyth University

1.
Reichardt K, Reichardt K, Williams M, Raymond J. Wendy and Lucy. [U.K.]: Soda; 2009.

2.
Neale S. Art Cinema as Institution. Screen. 1981 May 1;22(1):11–40.

3.
Bordwell D. The Art Cinema as a Mode of Film Practice. In: Braudy L, Cohen M, editors. Film theory and criticism: introductory readings. Eighth edition. Oxford: Oxford University Press; 2016. p. 580–588.

4.
Galt R, Schoonover K. Introduction: The Impurity of Art Cinema. Global art cinema: new theories and histories [Internet]. Oxford: Oxford University Press; 2010. p. 3–30. Available from: 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. Minneapolis: University of Minnesota Press; 2001.

6.
Betz M. Beyond the subtitle: remapping European art cinema [Internet]. Minneapolis: University of Minnesota Press; 2009. Available from: 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. New York: Oxford University Press; 2013.

8.
Nowell-Smith G. Art Cinema. The Oxford history of world cinema [Internet]. Oxford: Oxford University Press; 1996. p. 567–575. Available from: 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. The sociology of art: ways of seeing. Basingstoke: Palgrave Macmillan; 2005. p. 125–138.

10.
King G. Positioning art cinema: film and cultural value [Internet]. London: I.B. Tauris; 2019. Available from: http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9781786735560

11.
Meek M, editor. Independent female filmmakers: a chronicle through interviews, profiles, and manifestos. New York: Routledge; 2019.

12.
Fusco K, Seymour N. Kelly Reichardt [Internet]. Champaign: University of Illinois Press; 2017. Available from: http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780252050107

13.
Hall ED. The films of Kelly Reichardt. Edinburgh: Edinburgh University Press; 2019.

14.
Tarkovskiĭ AA, Misharin A, Danilʹt͡sev I, Terekhova M. Mirror: a film. [U.K.]: Artificial Eye; 2002.

15.
Time and the Film Aesthetics of Andrei Tarkovsky | Canadian Journal of Film Studies. Available from: https://utpjournals.press/doi/10.3138/cjfs.2.1.21

16.
Petric V. Tarkovsky’s Dream Imagery. Film Quarterly. 1989 Dec;43(2):28–34.

17.
Skakov N. The cinema of Tarkovsky: labyrinths of space and time [Internet]. London: I.B. Tauris; 2012. Available from: http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780857721198

18.
Deleuze G. Cinema 2: the time-image. London: Continuum; 2005.

19.
Koepnick LP. The long take: art cinema and the wondrous. Minneapolis: University of Minnesota Press; 2017.

20.
Doane MA. The emergence of cinematic time: modernity, contingency, the archive. Cambridge, Mass: Harvard University Press; 2002.

21.
Kilbourn RJA. Cinema, memory, modernity: the representation of memory from the art film to transnational cinema. New York: Routledge; 2011.

22.
Tarkovskiĭ AA. Sculpting in time: reflections on the cinema. 6th University of Texas Press ed. Austin, TX: University of Texas Press; 1986.

23.
Bird R. Andrei Tarkovsky: elements of cinema. London: Reaktion Books; 2008.

24.
Le Fanu M. The cinema of Andrei Tarkovsky. London: BFI Pub; 1987.

25.
Mroz M. Temporality and film analysis. Edinburgh: Edinburgh University Press; 2012.

26.
Bould M. Solaris. Basingstoke, Hampshire: 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 Mar 1;52(1):13–29.

28.
Soderbergh S, Clooney G, McElhone N, Davies J, Davis V, Tukur U, Skelton S, Kimball D, Ensign M, Carrillo E, Cho J. Solaris. Los Angeles: 20th Century Fox; 2003.

29.
Tarkovskiĭ AA, Bondarchuk N, Banionis D, I͡Arvet I. Solaris. [U.K.]: Artificial Eye; 2001.

30.
Antonioni M. L’avventura. [s.l.]: Mr Bongo Films; 2008.

31.
Tarkovskiĭ AA, Strugat︠s︡kiĭ A, Strugat︠s︡kiĭ B, Kaĭdanovskiĭ A. Stalker: a film. [U.K.]: Artificial Eye; 2002.

32.
Tarkovskiĭ AA, Guerra T, Casati F, Radiotelevisione italiana, Sovinfil, Opera Film Produzione. Nostalgia. Special ed. [S.l.]: Artificial Eye; 2002.

33.
Jia Z, Zhao T, Han S. Still life. [U.K.]: BFI; 2008.

34.
De Luca T, Jorge NB. Introduction. In: De Luca T, Jorge NB, editors. Slow cinema. Edinburgh: Edinburgh University Press; 2016. p. 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, editors. Slow cinema. Edinburgh: Edinburgh University Press; 2016. p. 137–149.

36.
Gibbs J, Pye D. The Long Take - Critical Approaches. LONG TAKE : CRITICAL APPROACHES; ED BY JOHN GIBBS [Internet]. LONDON: PALGRAVE MACMILLAN; 2017. p. 1–26. Available from: https://www.vlebooks.com/Product/Index/1003393?page=1

37.
Caglayan E. Poetics of slow cinema: nostalgia, absurdism, boredom. Basingstoke, Hampshire: Palgrave Macmillan; 2018.

38.
Parkins W, Craig G. Slow living [Internet]. Oxford: Berg; 2006. Available from: 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 [Internet]. New York: Columbia University Press; 2014. Available from: 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 [Internet]. New York: Columbia University Press; 2014. Available from: 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 [Internet]. Hong Kong: Hong Kong University Press; 2010. Available from: 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 [Internet]. Available from: http://www.16-9.dk/2008-11/side11_inenglish.htm

43.
Jansuda J, Apichatpong Weerasethakul, Kanokporn Tongaram, Min Oo. Blissfully yours. Widescreen. [U.K.]: Second Run; 2006.

44.
Akerman C, Wauthion C, Arestrup N, Seyrig D, Decorte J, Storck H, Clément A, Griem H, Noel M, Carlotta Films, Paradise Films, Helene Films. Unité Trois, Institut national de l’audiovisuel (France), Zweites Deutsches Fernsehen, Cine Art Productions. Chantal Akerman collection: les années 70, de jaren ’70. [Belgium]: Cinéart; 2007.

45.
Haneke M, Auteuil D, Binoche J, Bénichou M, Artificial Eye (Firm). Hidden: (Caché). [S.l.]: Artificial Eye; 2005.

46.
Libby Saxton. Secrets and revelations: Off-screen space in Michael Haneke’s Caché (2005). Studies in French Cinema [Internet]. Routledge; 19(1):5–17. Available from: https://www.tandfonline.com/doi/abs/10.1386/sfci.7.1.5_1

47.
Speck OC. Funny frames: the filmic concepts of Michael Haneke [Internet]. New York: Continuum; 2010. Available from: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3869790080002418&institutionId=2418&customerId=2415

48.
Brunette P. Michael Haneke [Internet]. Urbana: University of Illinois Press; 2010. Available from: 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. Chichester: Wiley-Blackwell; 2010.

50.
Wheatley C. Michael Haneke’s cinema: the ethic of the image. New York: Berghahn; 2009.

51.
McCann B, Sorfa D. The Cinema of Michael Haneke: Europe Utopia [Internet]. New York: Columbia University Press; 2012. Available from: 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. London, United Kingdom: Palgrave Macmillan; 2016.

53.
Haneke M, Doll B, Berner D, Tanzer L, Fenz S, Samel U. The seventh continent. New York: Kino International Corp; 2006.

54.
Haneke M. Benny’s video. New York: Kino Video; 2006.

55.
Haneke M, Heiduschka V, Berger C, Wega Film (Firm), Camera Film, Kino International Corporation. 71 fragments of a chronology of chance. New York, N.Y.: Kino Internation Corp; 2006.

56.
Barnard C, Virk M, Dudgeon N, Dolan M, Webb D, Bottomley C. The arbor. [S.l.]: Verve Pictures; 2011.

57.
Johnson B. Art Cinema and : Tape-recorded Testimony, Film Art and Feminism. Journal of British Cinema and Television. 2016 Apr;13(2):278–291.

58.
Cowie E. Recording Reality, Desiring the Real [Internet]. Minneapolis: University of Minnesota Press; 2011. Available from: 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. Rethinking Documentary: New Perspectives And Practices [Internet]. Maidenhead: McGraw-Hill Education; 2008. p. 39–50. Available from: 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: Manchester University Press; 2005.

61.
Sayad C. The Author in the World: Trance, Presence and Documentary Filmmaking. Performing Authorship: Self-Inscription and Corporeality in the Cinema. London: I.B.Tauris; 2013. p. 71–106.

62.
Bruzzi S. Chapter 6 - The Performative Documentary. New documentary: a critical introduction [Internet]. 2nd ed. Abingdon: Routledge; 2006. p. 185–218. Available from: 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 [Internet]. Buckingham: Open University; 2008. Available from: 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 [Internet]. Third edition. Bloomington, Indiana: Indiana University Press; 2017. Available from: 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, Khondji D, Vaney V, Vaney A, Sigurjón Sighvatsson, Mogwai (Musical group), Palomar Pictures (1992- ), Anna Lena Films, Arte France cinéma (Firm), Love Streams Agnès B. Productions. Zidane, a 21st century portrait. [S.l.]: Artificial Eye; 2006.

66.
Turner SE, Walter M, Mayer S, Newland P, Cowie E, LUX (Organization). Perestroika: Perestroika : reconstructed. London: LUX; 2013.

67.
Dolan X, Chokri M, Schneider N, Weber-Biron SA, IFC Films, MPI Media Group. Heartbeats: Amours imaginaires. [S.l.]: Network Releasing; 2011.

68.
Aaron M. New Queer Cinema: an introduction. New queer cinema: a critical reader. Edinburgh: Edinburgh University Press; 2004. p. 3–14.

69.
Stacey J. Queer Theory and New Queer Cinema. The cinema book. 3rd ed. London: British Film Institute Publishing; 2007. p. 505–507.

70.
Rich BR. New queer cinema: the director’s cut. Durham, [North Carolina]: Duke University Press; 2013.

71.
Davis N. The desiring-image: Gilles Deleuze and contemporary queer cinema. Oxford: Oxford University Press; 2013.

72.
Griffiths R. New Queer Cinema. Routledge international encyclopedia of queer culture. Pbk. ed. New York: Routledge; 2011. p. 424–426.

73.
ReFocus: The Films of Xavier Dolan [Internet]. Edinburgh University Press; Available from: 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. [U.K.]: Pathé; 2003.

75.
Jarman D, Marlowe C. Edward II. Remastered edition. [London]: Second Sight Films Ltd; 2010.

76.
Dunye C, Shapiro P, Turner G, Walker V, Bronson LM. The watermelon woman. 20th anniversary restoration. [London]: Peccadillo; 2003.

77.
Van Sant G. Gus Van Sant: Milk, Paranoid Park, Last Days, Elephant, Mala Noche. Amsterdam: A Film; 2009.

78.
Haynes T. Poison [Videorecording]. New York: Fox Lorber; 1999.

79.
Van Sant G. My own private Idaho. U.K.: Warner Home Video; 2008.

80.
Waters J. Pink flamingos/Female trouble. New Line; 2001.

81.
Babuscio J. Camp and the Gay Sensibility. Queer cinema: the film reader. New York: Routledge; 2004. p. 121–136.

82.
Sontag S. 2. Notes on ‘Camp’. Camp: queer aesthetics and the performing subject : a reader. Edinburgh: Edinburgh University Press; 1999. p. 53–65.

83.
Meyer M. Reclaiming the Discourse of Camp. Queer cinema: the film reader. New York: Routledge; 2004. p. 137–150.

84.
Cleto F. Camp: queer aesthetics and the performing subject : a reader. Edinburgh: Edinburgh University Press; 1999.

85.
Self Made (Boreg) - Cineuropa [Internet]. Available from: https://cineuropa.org/en/film/347450/

86.
Borders and Checkpoints. Place Memory And Myth In Contemporary Israeli Cinema. Mitchell Vallentine & Company; 2012. p. 41–55.

87.
Yosef R. The politics of loss and trauma in contemporary Israeli cinema [Internet]. New York: Routledge; 2011. Available from: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3869813700002418&institutionId=2418&customerId=2415

88.
Vinterberg T. Festen. 10th anniversary ed. [U.K.]: Metrodome; 2008.

89.
Gronstad A. Against Commodification: Unwatchable Cinema and the Question of Ethics. Screening the unwatchable: spaces of negation in post-millennial art cinema [Internet]. Basingstoke: Palgrave Macmillan; 2012. p. 15–42. Available from: http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780230355859

90.
Badley L, Palmer RB, Schneider SJ. Traditions in world cinema [Internet]. Edinburgh: Edinburgh University Press; 2006. Available from: 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. Film Manifestos and Global Cinema Cultures: A Critical Anthology [Internet]. Berkeley: University of California Press; 2014. p. 201–203. Available from: 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 [Internet]. Edinburgh: Edinburgh University Press; 2011. Available from: 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, CA: Santa Monica Press; 2003.

94.
Hjort M, MacKenzie S. Purity and provocation: Dogma 95. London: BFI Pub; 2003.

95.
Kelly R. The Name of this book is Dogme95. London: Faber and Faber; 2000.

96.
Hjort M. Small nation, global cinema: the new Danish cinema [Internet]. Minneapolis: University of Minnesota Press; 2005. Available from: 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). Seattle: University of Washington Press; 2014.

98.
Roman S. Digital Babylon: Hollywood, Indiewood & Dogme 95. Los Angeles: IFILM; 2001.

99.
Trier L von, Bjork. Dancer in the dark. London: Film 4; 2002.

100.
Korine H. Julien donkey-boy. London: Tartan Video; 2001.

101.
Trier L von. The idiots. London: Tartan; 2000.

102.
Denis C. Trouble every day. [U.K.]: Tartan; 2005.

103.
Quandt J. Flesh and Blood: Sex and Violence in Recent French Cinema. The New Extremism in Cinema: From France to Europe [Internet]. Edinburgh: Edinburgh University Press; 2011. p. 15–18. Available from: 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 [Internet]. University of Illinois PressUniversity Film & Video AssociationUniversity of Illinois Press; 2006;58(3):22–32. Available from: http://www.jstor.org/stable/20688527?seq=1#page_scan_tab_contents

105.
Lübecker N d’Origny. The feel-bad film [Internet]. Edinburgh, Scotland: Edinburgh University Press; 2015. Available from: 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. New Brunswick, New Jersey: Rutgers University Press; 2016.

107.
Beugnet M. Cinema and sensation: French film and the art of transgression [Internet]. Edinburgh: Edinburgh University Press; 2007. Available from: 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 [Internet]. New York: Continuum; 2010. Available from: 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 [Internet]. Cham, Switzerland: Palgrave Macmillan; 2017. Available from: http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9783319658940

110.
The New Extremisms: Rethinking Extreme Cinema [Internet]. Available from: https://core.ac.uk/download/pdf/77282461.pdf

111.
Menninghaus W. Disgust: the theory and history of a strong sensation [Internet]. Albany: State University of New York Press; 2003. Available from: 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 [Internet]. 8(1):81–92. Available from: https://www.manchesterhive.com/view/journals/fs/8/1/article-p81.xml

113.
Hanich J. Dis/liking disgust: the revulsion experience at the movies. New Review of Film and Television Studies. 2009 Sep;7(3):293–309.

114.
Noé G. Irreversible. Tartan Video; 2003.

115.
Dumont B. La vie de Jésus =: The life of Jesus. UK: Eureka Video; 2008.

116.
Dumont B. Twentynine palms. London: Tartan Video; 2005.

117.
Dumont B. L’humanité. U.K.: Artificial Eye, [1999?];

118.
Breillat C. Fat girl. Special ed. [U.S.]: Criterion collection; 2004.

119.
Inglis D, Hughson J. The sociology of art: ways of seeing. Basingstoke: Palgrave Macmillan; 2005.

120.
Galt R, Schoonover K. Global art cinema: new theories and histories [Internet]. New York: Oxford University Press; 2010. Available from: 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. London: British Film Institute; 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. London: Society for Education in Film and Television; 22(1).

123.
Andrew D. What cinema is!: Bazin’s quest and its charge. Chichester: Wiley-Blackwell; 2010.

124.
Deleuze G, Tomlinson H, Galeta R. Cinema 2: the time image. London: Athlone Press; 1989.

125.
Ezra E. European cinema. Oxford: Oxford University Press; 2004.

126.
Fowler C. The European cinema reader. London: Routledge; 2002.

127.
Galt R, Schoonover K. Global art cinema: new theories and histories [Internet]. New York: Oxford University Press; 2010. Available from: 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: Edinburgh University Press; 2000.

129.
Beugnet M. Cinema and sensation: French film and the art of transgression [Internet]. Edinburgh: Edinburgh University Press; 2007. Available from: 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 [Internet]. Amsterdam: Amsterdam University Press; 2007. Available from: 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. London: Routledge; 2006.

132.
Papenburg B, Zarzycka M, editors. Carnal aesthetics: transgressive imagery and feminist politics. London: I.B. Tauris; 2013.

133.
Western Association for German Studies, German Studies Association. German studies review. Tempe, Ariz: Western Association for German Studies at Arizona State University; 1978;30(1):121–140.

134.
Andrews D. Theorizing art cinemas: foreign, cult, avant-garde, and beyond [Internet]. Austin: University of Texas Press; 2013. Available from: 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 [Internet]. Edinburgh: Edinburgh University Press; 2006. Available from: 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. Princeton: Princeton University Press; 2007.

137.
Betz M. Beyond the subtitle: remapping European art cinema [Internet]. Minneapolis: University of Minnesota Press; 2009. Available from: 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. Madison: University of Wisconsin Press; 1985.

139.
Bordwell D. Poetics of cinema. New York: Routledge; 2008.

140.
Bordwell D, Thompson K, Smith J. Film art: an introduction [Internet]. Twelfth edition. New York, NY: McGraw-Hill Education; 2019. Available from: https://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9781260568585

141.
Deleuze G, Tomlinson H, Galeta R. Cinema 2: the time image. London: Athlone Press; 1989.

142.
Elsaesser T. European Cinema: Face to Face with Hollywood [Internet]. Amsterdam: Amsterdam University Press; 2005. Available from: 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: Oxford University Press; 2004.

144.
Forbes J, Street S. European cinema: an introduction. Basingstoke: Palgrave; 2000.

145.
Fowler C. The European cinema reader. London: Routledge; 2002.

146.
Grant C, Kuhn A. Screening world cinema. London: Routledge; 2006.

147.
Hill J, Gibson PC. World cinema: critical approaches. Oxford: Oxford University Press; 2000.

148.
Vidal B, Iordanova D, Martin-Jones D, Vidal B. Cinema at the Periphery [Internet]. Wayne State University Press; Available from: 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 [Internet]. Chicago: University of Chicago Press; 2008. Available from: 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 [Internet]. London: I.B. Tauris; 2012. Available from: 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: Edinburgh University Press; 2000.

Bibliography for FM24420 Art Cinema BETA