Bibliography for European Cinema - Semester 1 BETA

Agnes, V. (1962) ‘Cléo de 5 á 7’. Paris: Gallimard. Available at: http://www.worldcat.org/title/cleo-de-5-a-7/oclc/3634733&referer=brief_results.

Alexander Kluge, Tamara Evans and Stuart Liebman (1990) ‘The Assault of the Present on the Rest of Time’, New German Critique, (49), pp. 11–22. Available at: http://www.jstor.org/stable/488371.

Alexander Kluge, Thomas Y. Levin and Miriam B. Hansen (1982) ‘On Film and the Public Sphere’, New German Critique, (24), pp. 206–220. Available at: http://www.jstor.org/stable/10.2307/488051?origin=crossref.

Allinson, M. (2001) A Spanish labyrinth: the films of Pedro Almodóvar. London: I.B. Tauris. Available at: https://www.dawsonera.com/Shibboleth.sso/Login?entityID=https://idp.goldsmiths.ac.uk/idp/shibboleth&target=https://www.dawsonera.com/depp/shibboleth/ShibbolethLogin.html?dest=https://www.dawsonera.com/abstract/9786000006693.

Almodóvar, P. (1983) ‘Dark habits’. Tesauro.

Almodóvar, P. (1987) ‘The law of desire’. Lauren Films.

Almodóvar, P. (1988) ‘Women on the verge of a nervous breakdown’. El Deseo/Lauren Film/Orion.

Almodóvar, P. (1991) ‘High heels’. El Deseo-Ciby 2000. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0B215C23.

Almodóvar, P. (1999) ‘All about my mother’. El Deseo/ Renn Productions/ France 2 Cinema. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/00104F91.

Almodóvar, P. (2006) ‘Volver’. El Deseo / Canal + España ; Ministerio de Cultura ; Televisión Española. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0061CD6D.

Almodovar, P. (2013) ‘I’m so excited’. Available at: http://encore.ulrls.lon.ac.uk/iii/encore/record/C__Rb3290741.

Almodóvar, P., Strauss, F. and Baignères, Y. (1996) Almodóvar on Almodóvar. London: Faber and Faber.

Almodóvar, Pedro (1980) ‘Pepi, Luci, Bom and other Women on the Heap / Pepi, Luci, Bom y otras chicas del montón’. Figaro Films.

Andersson, R. (2000) ‘Songs from the second floor: [REGION 1 DVD]’. Roy Andersson Filmproduktion.

Andrew Bowie (1986) ‘Alexander Kluge: An Introduction’, Cultural Critique, (4), pp. 111–118. Available at: http://www.jstor.org/stable/10.2307/1354336?origin=crossref.

Anne Gillain (1989) ‘The Script of Delinquency: Truffaut’s Les 400 cents coups’, in French film: texts and contexts. London: Routledge.

Arcand, D. et al. (2006) ‘Jesus of Montreal’. Arrow Films.

August, B. (1988) ‘Pelle the conqueror’. Per Holst Film.

Axel, G. (2004) ‘Babette’s feast’. MGM Home Entertainment. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/001432ED.

Bardem, J.A. (1955) ‘Death of a cyclist’. Guión Producciones Cinematográficas / Suevia Films S.A. / Trionfalcine.

Bazin, A., Gray, H. and Renoir, J. (1967) What is cinema?: [Vol. 1]. Berkeley: University of California Press, pp. 17–40.

Becker, W. and Lichtenberg, B. (2003) ‘Goodbye Lenin’. X-Filme Creative Pool / WDR.

Bergman, I. (1955) ‘Smiles of a summer night’. Svensk Filmindustri. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/001B743D.

Bergman, I. (1957a) ‘Det sjunde inseglet, (The Seventh Seal: [50th anniversay special edition]’. Svensk Filmindustri. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0005A5DC.

Bergman, I. (1957b) ‘The seventh seal: [50th anniversay special edition]’. Svensk Filmindustri.

Bergman, I. (1961) ‘Såsom i en spegel, (Through a Glass Darkly, 1961)’. Svensk Filmindustri. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/001BD831.

Bergman, I. (1962) ‘Nattvardsgästerna, (Winter Light, 1962)’. Svensk Filmindustri. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0005DC17.

Bergman, I. (1969) ‘The passion of Anna’. Svensk Filmindustri.

Bergman, I. (1972) ‘Cries and whispers’. Svensk Filmindustri. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/001BD519.

Bergman, I. (1978) ‘Autumn sonata’. Personafilm. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/001B7F05.

Bergman, I. (1988) The magic lantern: an autobiography. London: Penguin.

Bergman, I. (1994) Images: my life in film. New York: Arcade.

Bergman, I. et al. (2001) The silence. AB Svensk Filmindustri / Tartan Video.

Bergman, I. et al. (2003) ‘Scenes from a marriage’. Tartan. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/00204CA6.

Bergman, I. (2007) ‘Jungfrukällen, (The Virgin Spring 1960)’. Tartan Video. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/001D27C6.

Bergman, I. (2009) ‘Fanny and Alexander’. Palisades Tartan. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/000D94C8.

Bergman, I. (2012) ‘Sawdust and tinsel’. Artificial Eye. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/006E0B62.

Bergman, I. and Bergman, I. (1972) Persona and Shame: the screenplays of Ingmar Bergman. London: Calder and Boyars.

Bergman, I., Malmström, L. and Kushner, D. (1970) Wild strawberries: a film [screenplay]. London: Lorrimer Publishing Ltd.

Bergman, Ingmar (1957) ‘Wild strawberries / Smultronstället’. Svensk Filmindustri. Available at: http://bobnational.net/record/25898.

Bergman, Ingmar (1966) ‘Persona’. Tartan. Available at: http://bobnational.net/record/63336.

Bersani, L. and Dutoit, U. (1993) Arts of impoverishment: Beckett, Rothko, Resnais. Cambridge, Mass: Harvard University Press.

Bertolucci, B. and Moravia, A. (1970) ‘Il conformista (The conformist)’. Mars Film. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/00527B1E.

Besas, P. (1985a) Behind the Spanish lens: Spanish cinema under fascism and democracy. Denver: Arden Press.

Besas, P. (1985b) Behind the Spanish lens: Spanish cinema under fascism and democracy. Denver: Arden Press.

Blackwell, M.J. (1997) Gender and representation in the films of Ingmar Bergman. Columbia, SC, USA: Camden House.

Blakeway, C. (1990) Jacques Prevert: popular French theatre and cinema. London: Fairleigh Dickinson University Press.

Blank, L., Gosling, M. and Goodwin, M. (1982) ‘Burden of dreams’. Flower Films.

Bondanella, P.E. (2001) Italian cinema: from neorealism to the present. 3rd ed. New York: Continuum.

Borau, J.L. (1975) ‘Furtivos (Poachers)’.

Bordwell, D., Staiger, J. and Thompson, K. (1988) The classical Hollywood cinema: film style & mode of production to 1960. London: Routledge.

Bresson, R. et al. (2008) ‘Diary of a country priest’. Optimum Releasing.

Bresson, R. (no date) ‘Les dames du Bois de Boulogne’. Available at: http://encore.ulrls.lon.ac.uk/iii/encore/record/C__Rb3301248__S%28bresson%20les%20dames%29__Orightresult__X2?lang=eng&suite=cobalt.

Brigitte Rollet (2008) ‘Paris Nous Appartient: Flânerie in Paris and Film’, Film Quarterly, 61(3), pp. 46–51. Available at: http://www.jstor.org/stable/10.1525/fq.2008.61.3.46.

Brynych, Z. (1965) ...‘a páty jezdec je Strach (...and the Fifth Horseman Is Fear)’.

Buchar, R. (2004) Czech new wave filmmakers in interviews. Jefferson: McFarland.

Buñuel, L. et al. (1928) ‘Un chien andalou; L’age d’or’.

Buñuel, L. (1932) ‘Terre sans pain’.

Buñuel, L. et al. (1951) ‘Mexican bus ride’. Producciones Cinematograficas Isla.

Buñuel, L. (1965) ‘Simón del desierto’. Mexico: Gustavo Alatriste.

Buñuel, L. (2000) An unspeakable betrayal: selected writings of Luis Buänuel. Berkeley, Calif: University of California Press.

Buñuel, L., Alcoriza, L. and Danciger, O. (1950) ‘Los olvidados’. Ultramar Films.

Buñuel, L. and Alejandro, J. (1970) ‘Tristana’. Epoca/Talia/Selenia Cinematografica/Les Films Corona.

Buñuel, L., Alejandro, J. and Bozzetti, P. (1996) Viridiana. Portsmouth, N.H.: Heinemann.

Buñuel, L. and Carrière, J.-C. (1967) ‘Belle de jour’. Paris Film/ Five Film.

Buñuel, L. and Carrière, J.-C. (1972) ‘The discreet charm of the bourgeoisie’. Greenwich.

Buñuel, L. and Israel, A. (1994) My last breath. London: Vintage.

Buñuel, Luis (1961) ‘Viridiana’. Mexico/Spain: Films 59.

Cain, J.M. et al. (1942) ‘Ossessione’. Industria Cinematografica Italiana.

Carné, M. and Prévert, J. (1938) ‘Quai des brumes’. France: Ciné Alliance / Pathé.

Carné, Marcel and Prévert, Jacques (1939) ‘Le jour se lève / Daybreak’. Sigma/VOG.

‘Caryatids of Time: Temporality in the Cinema of Agnes Varda’ (1997) PAJ: A Journal of Performance and Art, 19(3), pp. 1–10. Available at: http://muse.jhu.edu/journals/performing_arts_journal/v019/19.3biro.html.

Cesare, Z. (no date) ‘Some Ideas on the Cinema’, pp. 64–9. Available at: http://fiaf.chadwyck.com/fulltext/pageimage.do?id=005/p209-1953-023-02-000011&area=index&fromToC=yes&jid=006/0000306.

Chabrol, C. (1959a) ‘Le beau serge’. Available at: http://collections-search.bfi.org.uk/web/Details/ChoiceFilmWorks/150026118.

Chabrol, C. (1959b) ‘Les cousins’. France: AJYM Films.

Chabrol, C. and Gegauff, P. (1968) ‘Les biches’. Films La Boetie/Alexandra Film.

Chabrol, C., Gegauff, P. and Blake, N. (1969) ‘Que la bete meure’. Films La Boetie/ Rizzoli Films. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0014331B.

Chytilova, V. (1963) ‘O necem jinem (Something Different)’. Available at: http://www.imdb.com/title/tt0057374/.

Chytilova, Vera, Krumbachova, Ester, and Juracek, Pavel (1966) ‘Daisies / Sedmikrásky’. Second Run.

Cohen, H.I. (1993) Ingmar Bergman: the art of confession. New York: Twayne.

Costa-Gavras (200AD) ‘Z’. United States: Umbrella.

Cottingham, L. (2005) Fear eats the soul. London: BFI.

Cowie, P. and Scandinavian Films (1992) Scandinavian cinema: a survey of the films and film-makers of Denmark, Finland, Iceland, Norway, and Sweden. London: Tantivy Press on behalf of ‘Scandinavian Films’.

Cua Lim, B. (no date) ‘Dolls in Fragments: Daisies as Feminist Allegory’, 16: 2(47), pp. 37–77. Available at: http://cameraobscura.dukejournals.org/content/16/2_47/37.short.

Dalí, S. and Buñuel, L. (2005) ‘Un chien andalou’. Les Grands Films Classiques / Transflux Films.

David Wills (1986) ‘Carmen: Sound/Effect’, Cinema Journal, 25(4), pp. 33–43. Available at: http://www.jstor.org/stable/10.2307/1225081?origin=crossref.

De Sica, V. et al. (1946) ‘Shoeshine =: Sciuscià’. Societa Cooperativa Alfa Cinematografica.

De Sica, V., Biancoli, O. and Bartolini, L. (1994) Bicycle thieves: a film. London: Faber and Faber.

De Sica, V. and Zavattini, C. (2004) ‘Umberto D’. Nouveaux Pictures.

Demy, J. (1960) ‘Lola’. Rome-Paris Films/ Euro-International.

Demy, J., Legrand, M. and Reichenbach, F. (2005) ‘The umbrellas of Cherbourg’. Beta Film / Madeleine Film / Parc Film. Available at: https://vimeo.com/87040956.

D’Lugo, M. (1991) The films of Carlos Saura: the practice of seeing. Princeton: Princeton University Press.

Don Allen (1985) Finally Truffaut. London: Secker & Warburg. Available at: http://encore.ulrls.lon.ac.uk/iii/encore/record/C__Rb1076129.

Dreyer, C.T. et al. (2006a) ‘Ordet’. London: BFI. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/005076AE.

Dreyer, C.T. et al. (2006b) ‘Ordet’. London: BFI. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/005076AE.

Dreyer, C.T. (2012) ‘The passion of Joan of Arc’. Eureka Entertainment.

Dreyer, C.T., Delteil, J. and Einhorn, R. (1928) ‘The passion of Joan of Arc: [REGION 1 DVD]’. Societe Generale des Films.

Duras, M., Resnais, A. and Seaver, R. (2000) Hiroshima mon amour: [screenplay]. New York: Grove Press.

Duvivier, J. and Jeanson, H. (1937) ‘Pépé le moko’. France: Paris Film.

Edwards, G. (1995a) Indecent exposures: Bunuel, Saura, Erice & Almodovar. London: Boyars.

Edwards, G. (1995b) Indecent exposures: Bunuel, Saura, Erice & Almodovar. London: Boyars.

Elsaesser, T. (1989) New German cinema: a history. [London]: British Film Institute.

Elsaesser, T. (1996) Fassbinder’s Germany: history, identity, subject. Amsterdam: Amsterdam University Press. Available at: https://www.dawsonera.com/abstract/9789048503506.

Enquist, P.O., Bergman, I. and Sjostrom, V. (no date) ‘The phantom carriage; The image makers’.

Eric Rentschler (1984) ‘Kluge, Film History, and Eigensinn: A Taking of Stock from the Distance’, New German Critique, (31), pp. 109–124. Available at: http://www.jstor.org/stable/10.2307/487891?origin=crossref.

Erice, V. and Santos, A.F. (1973) ‘The spirit of the beehive’. Elias Querejeta. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/004F414C.

Evans, P.W. (1999) Spanish cinema: the auteurist tradition. Oxford: Oxford University Press.

Ezra, E. and Harris, S. (2000) France in focus: film and national identity. Oxford: Berg.

Fassbinder, Rainer Werner (1973) ‘Fear eats the soul / Angst essen Seele auf’. Tango Film.

Fassbinder, R.W. (1971) ‘The merchant of four seasons’. Tango Film.

Fassbinder, R.W. (1972) ‘The bitter tears of Petra von Kant’. Tango.

Fassbinder, R.W. (1975) ‘Fox and his friends’. Tango.

Fassbinder, R.W. (2003) ‘Love is colder than death’. Antitheater-X-Film.

Fassbinder, R.W. and Döblin, A. (1979) ‘Berlin Alexanderplatz: [complete series]’. WDR.

Fassbinder, R.W. and Fengler, M. (1969) ‘Why does Herr R. run amok ?’ Anti-Teater for Maran-Film (SDR).

Fassbinder, R.W. and Fontane, T. (1974) ‘Effi Briest’. Tango Film/Filmverlag der Autoren.

Fassbinder, R.W., Frohlich, P. and Martesheimer, P. (1982) ‘Lola’. Tobis.

Fassbinder, R.W., Märthesheimer, P. and Frohlich, P. (1978) ‘The marriage of Maria Braun’. Albatros / Trio Film / Filmlag der Autoren.

Fassbinder, R.W., Märthesheimer, P. and Frohlich, P. (1981) ‘Veronika Voss’. Laura-Film/ Tango-Film.

Fassbinder, R.W., Stoppard, T. and Nabokov, V.V. (1978) ‘Despair’. Geria Films.

Flinn, C. (2004) The new German cinema: music, history, and the matter of style. Berkeley, Calif: University of California Press. Available at: http://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb08191.

Flitterman-Lewis, S. (1990) To desire differently: feminism and the French cinema. Urbana: University of Illinois Press.

Forgacs, D. et al. (2000) Roberto Rossellini: magician of the real. London: bfi Publishing.

Forgacs, D. (2000) Rome open city =: Roma citta aperta. London: BFI Pub.

Forman, M. (1964) ‘Cerný Petr (Black Peter)’.

Forman, M. et al. (2011) ‘Blonde in love = Lásky jedné plavovlásky’. Second Run.

Forman, Milos, Passer, Ivan, and Papousek, Jaroslav (1967) ‘The firemen’s ball / Hori, má penenko’. Ceskoslovensky Film / Barandov.

François Truffaut (1969) The 400 blows. Edited by D. Denby. New York: Grove Press.

Frank P. Tomasulo (1982) ‘“Bicycle Thieves”: A Re-Reading’, Cinema Journal, 21(2), pp. 2–13. Available at: http://www.jstor.org/stable/1225033.

Frantisek, D. (1968) ‘The Czechoslovakian Academy of Arts 20.1 (1968): 11-14.’, 20(1), pp. 11–14.

Fred Simeral (1978) ‘The child-centered films of Truffaut’, The French Review, 51(5), pp. 761–762. Available at: http://www.jstor.org/stable/389153.

French, P. and French, K. (1995) Wild strawberries. London: BFI Publishing.

García Ballester, L. and Bardem, J.A. (1952) ‘Bienvenido Mister Marshall’. Spain: UNINCI.

Garrone, M. et al. (2008) ‘Gomorrah’. Fandango.

George, F. (no date) ‘Le sang des bêtes (1949, short); Hotêl des invalides (1952, short); Le Grand Méliès (1952, short)’.

Gibson, A. (1993) The rite of redemption in the films of Ingmar Bergman: the Rite, the Virgin spring, Hour of the wolf, Shame, Passion of Anna, the Touch, Cries and whispers. Lewiston: E. Mellen Pr.

Godard, Jean-Luc and Truffaut, François (1959) ‘A bout de souffle’. De Beauregard/SNC.

Godard, J.-L. (1961) ‘Une femme est une femme’. Rome-Paris Films.

Godard, J.-L. (1963) ‘Le petit soldat’. Les Productions Georges de Beauregard / SNC.

Godard, J.-L. (1966) ‘Two or three things I know about her’. Anouchka/Argos/Les Films du Carrosse/Parc Film.

Godard, J.L. et al. (1972) Weekend; and, Wind from the East: two films : [screenplays]. London (47 Dean St., W.1): Lorrimer Publishing Ltd.

Godard, J.-L. et al. (1986) Godard on Godard: critical writings. New York: Da Capo Press.

Godard, J.-L. (1996) ‘For ever Mozart : 36 personnages en quête d’histoire’.

Godard, J.L. et al. (2007) ‘First name Carmen’. Universal Studios.

Godard, J.-L. and Sacotte, M. (1962) ‘Vivre sa vie’. Films de la Pleiade.

Gordon, R.S.C. (2008) Bicycle thieves =: Ladri di biciclette. Basingstoke: Palgrave Macmillan.

Gottlieb, S. (2004) Roberto Rossellini’s Rome open city. Cambridge: Cambridge University Press. Available at: http://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb07655.

Greene, N. (2007) The French New Wave: a new look. London: Wallflower.

H. Marshall Leicester, Jr. (1994) ‘Discourse and the Film Text: Four Readings of “Carmen”’, Cambridge Opera Journal, 6(3), pp. 245–282. Available at: http://www.jstor.org/stable/823734.

Hallström, L. and Jönsson, R. (1985) ‘My life as a dog’. Svensk Filmindustri. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0006F372.

Hamer, B. and Bergmark, J. (2004) ‘Kitchen stories’. BulBul Film. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/005436DC.

Hames, P. (2005) The Czechoslovak new wave. 2nd ed. London: Wallflower.

Hauff, R. (1986) ‘Stammheim: die Baader-Meinhof-Gruppe vor Gericht’. Germany: Bioskop Film / Thalia Theater.

Hayward, S. (2006) Cinema studies: the key concepts. 3rd ed. London: Routledge. Available at: https://www.dawsonera.com/Shibboleth.sso/Login?entityID=https://idp.goldsmiths.ac.uk/idp/shibboleth&target=https://www.dawsonera.com/depp/shibboleth/ShibbolethLogin.html?dest=https://www.dawsonera.com/abstract/9780203075555.

Herzog, W. (1967) ‘Lebenszeichen (Signs of Life)’. Available at: http://www.amazon.co.uk/Signs-Life-DVD-Region-NTSC/dp/B0009KA7D6/ref=sr_1_3?s=dvd&ie=UTF8&qid=1406289161&sr=1-3&keywords=herzog+signs+of+life.

Herzog, W. (1973) ‘Aguirre: wrath of God’. Germany: Werner Herzog Filmproduktion / Hessicher Rundfunk.

Herzog, W. (1982) ‘Fitzcarraldo’. Werner Herzog Filmproduktion etc.

Higginbotham, V. (1988) Spanish film under Franco. 1st ed. Austin: University of Texas Press.

Higgins, L.A. (1996) New novel, new wave, new politics: fiction and the representation of history in postwar France. Lincoln: University of Nebraska Press.

Hopewell, J. and British Film Institute (1986) Out of the past: Spanish cinema after Franco. London: British Film Institute.

Hubner, L. (2007) The films of Ingmar Bergman: illusions of light and darkness [electronic resource]. Basingstoke: Palgrave Macmillan. Available at: https://www.dawsonera.com/Shibboleth.sso/Login?entityID=https://idp.goldsmiths.ac.uk/idp/shibboleth&target=https://www.dawsonera.com/depp/shibboleth/ShibbolethLogin.html?dest=https://www.dawsonera.com/abstract/9780230801387.

Insdorf, A. (1994) François Truffaut. Rev. and updated ed. Cambridge: Cambridge University Press.

Jack Zipes (1977) ‘The Political Dimensions of The Lost Honor of Katharina Blum’, New German Critique, (12), pp. 75–84. Available at: http://www.jstor.org/stable/487757.

Jakubisko, J. (1968) ‘Deserters and pilgrims’. Available at: http://www.jakubiskofilm.com/en/movies/15-deserters-and-pilgrims/.

Jasny, V. (1969) ‘Vsichni dobri rodachi (All My Compatriots)’.

Kadar, J. and Klos, E. (1965) ‘Obchod na kortze (The Shop On Main Street)’.

Kalin, J. (2003) The films of Ingmar Bergman. Cambridge: Cambridge University Press. Available at: http://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb07675.

Kardish, L., Lorenz, J., and Museum of Modern Art (New York, N.Y) (1997) Rainer Werner Fassbinder. New York: Museum of Modern Art.

Kieslowski, K. and Piesiewicz, K. (1988a) ‘Ten commandments: parts 1-5’. Tor Film Group.

Kieslowski, K. and Piesiewicz, K. (1988b) ‘Ten commandments: parts 6-10’. Tor Film Group.

Kinder, M. (1993) Blood cinema: the reconstruction of national identity in Spain. Berkeley: University of California Press. Available at: http://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb08027.

Kluge, A. (1967) ‘Wilder Reiter GmbH’.

Kluge, A. (2007) ‘Abschied von gestern; Gelegenheitsarbeit einer Sklavin’. Film & kunst GmbH.

Kluge, Alexander (1967) ‘Die Artisten in der Zirkuskuppel: ratlos / Artists in the Circus Tent : Clueless’. Film & kunst GmbH.

Knight, J. (1992) Women and the new German cinema. London: Verso.

Knight, J. (2004) New German cinema: images of a generation. London: Wallflower.

‘La femme d’ à côté’ (2011). Available at: http://encore.ulrls.lon.ac.uk/iii/encore/record/C__Rb3303192__Sthe%20woman%20next%20door__P0%2C4__Orightresult__X1?lang=eng&suite=cobalt.

Malle, L. (1971) ‘Le souffle au coeur’. France: Nouvelles Editions / Marianne / Vides Cinematografica.

Malle, L. (1987) ‘Au revoir les enfants’. France: Nouvelles Editions de Films / MK2 / Stella Film / NEF.

Malle, L. et al. (2008) ‘Atlantic City’. Network.

Malle, L., Calef, N. and Nimier, R. (1957) ‘Ascenseur pour l’échafaud’. France: Nouvelles Éditions de Films.

Malle, L. and Rappeneau, J.-P. (1960) ‘Zazie dans le metro’. Nouvelles Editions.

Malle, L., Vilmorin, L. de and Vivant, D. (1958) ‘Les amants’. France: Lux Compagnie Cinématographique de France / Nouvelles Éditions.

Marcel Carné and Jacques, P. (1970) Le jour se lève [Unknown Binding]. Lorrimer Publishing.

Marcus, M.J. (1986) Italian film in the light of neorealism. Princeton, N.J.: Princeton University Press.

Marie, M. (2002) The French new wave: an artistic school. Oxford: Blackwell.

Marker, C. (1962a) ‘La jetée; Sans soleil’. Argos Films.

Marker, C. (1962b) ‘La jetée; Sans soleil’. Argos Films.

Marker, C. (1973) ‘Le train en marche [The train rolls on]’.

Marker, C. et al. (2013) ‘Le joli mai’. Brooklyn: Icarus Films.

Mazierska, E. (2008a) Masculinities in Polish, Czech and Slovak cinema: Black Peters and men of marble. New York: Berghahn Books.

Mazierska, E. (2008b) Masculinities in Polish, Czech and Slovak cinema: Black Peters and men of marble. New York: Berghahn Books.

Melville, J.-P. and Le Breton, A. (1955) ‘Bob le flambeur’. Productions Cyme/ Play Art/ OGC.

Melville, J.-P. and Lesou, P. (1962) ‘Le doulos’. Rome-Paris Films/CCC.

Menzel, J. and Hrabal, B. (1966) ‘Closely observed trains’. Ceskoslovensky Film / Barrandov Studio.

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