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Abel, R. (2005) ‘Audiences: surveys and debates’, in Encyclopedia of early cinema. London: Routledge, pp. 45–48.
About Mosireen (no date). Available at: https://vimeo.com/37895234.
Alan Rosenthal, Albert Maysles, and Charlotte Zwerin (1971) ‘Salesman’, in The new documentary in action: a casebook in film making. Berkeley: University of California Press, pp. 76–91.
Andre Bazin and Hugh Gray (translator) (1960) ‘The ontology of the photographic image’, Film Quarterly, 13(4), pp. 4–9. Available at: https://www.jstor.org/stable/1210183.
Barry Langford (2010a) ‘New wave Hollywood’, in Post-Classical Hollywood: Film Industry, Style and Ideology since 1945, pp. 133–153. Available at: https://www.dawsonera.com/readonline/9780748643219/startPage/6/1.
Barry Langford (2010b) ‘The changing of the guard’, in Post-classical Hollywoood: film industry style and ideology since 1945, pp. 107–132. Available at: https://www.dawsonera.com/readonline/9780748643219/startPage/6/1.
Barsam, Richard M. (2001) ‘The nonfiction film’, in The sixties, 1960-1969. New York: Charles Scribner’s Sons, pp. 198–230.
Barsam, Richard Meran (2001) ‘The nonfiction film’, in The sixties, 1960-1969. New York: Charles Scribner’s Sons.
Baudrillard, J. (2001) ‘Simulacra and simulations’, in Jean Baudrillard : Selected writings. 2nd ed. revised and expanded. Cambridge: Polity, pp. 169–187.
Benyon, G.W. (2002) ‘Musical presentation of motion pictures (1921)’, in Moviegoing in America: a sourcebook in the history of film exhibition. Malden, MA: Blackwell, pp. 140–143. Available at: https://contentstore.cla.co.uk//secure/link?id=4f0a2c3a-5f36-e711-80c9-005056af4099.
Binkley, T. (1988a) ‘Camera fantasia : computed visions of virtual realities’, Millennium film journal, (20–21), pp. 6–43.
Binkley, T. (1988b) ‘Camera fantasia : computed visions of virtual realities’, Millennium film journal, (20–21), pp. 6–43.
Bolter, J.D. and Grusin, R. (1999) ‘Introduction : The double logic of remediation’, in Remediation: understanding new media. Cambridge, Mass: MIT Press, pp. 2–15. Available at: https://contentstore.cla.co.uk/secure/link?id=0817ebf3-4e36-e711-80c9-005056af4099.
Bolter, J.D. and Grusin, R. (no date) ‘Introduction: The double logic of remediation’.
Bordwell, D. (1993) ‘[’Battleship Potemkin’ extract from] Chapter 2: Monumental heroics : the silent films’, in The cinema of Eisenstein. Cambridge, Mass: Harvard University Press, pp. 61–79.
Bowser, E. (1994) ‘The feature film’, in The transformation of cinema, 1907-1915. Berkeley: University of California Press, pp. 191–215, 288–289.
Bruzzi, S. (2006) ‘The legacy of “direct cinema”’, in New documentary. 2nd ed. Abingdon: Routledge, pp. 67–74.
Burch, N. (1990a) ‘Charles Baudelaire versus Doctor Frankenstein’, in Life to those shadows. London: BFI Publishing, pp. 6–22.
Burch, N. (1990b) ‘Life to those shadows’, in Life to those shadows. London: BFI Publishing, pp. 23–42.
Burch, N. (1990c) ‘Passions and chases - A certain linearisation’, in Life to those shadows. London: BFI Publishing, pp. 143–161.
Burton, J. (1997a) ‘Film artisans and film industries in Latin America, 1956-1980’, in New Latin American cinema. Vol. 1: Theory, practices and transcontinental articulations. Detroit: Wayne State University Press, pp. 157–184.
Burton, J. (1997b) ‘Film artisans and film industries in Latin America, 1956-1980 : theoretical and critical implications of variations in modes of filmic production and consumption’, in M.T. Martin (ed.) New Latin American cinema (Vol. 1: Theory, practices and transcontinental articulations). Detroit: Wayne State University Press, pp. 157–184.
Casetti, F. (2011) ‘Back to the Motherland: the film theatre in the postmedia age’, Screen, 52(1), pp. 1–12. Available at: https://doi.org/10.1093/screen/hjq049.
Charles Musser (1996) ‘Documentary’, in The Oxford history of world cinema. Oxford: Oxford University Press, pp. 86–94. Available at: https://search.proquest.com/docview/1745508668/E258569371824945PQ/17?accountid=14511.
Clark, J. and School of Communication, American University (2009) Public media 2.0: Dynamic, engaged publics. Center for Media & Social Impact. Available at: https://cmsimpact.org/resource/public-media-2-0-dynamic-engaged-publics/.
Collier, J. (2002) ‘Cheap amusements (1908)’, in Moviegoing in America: a sourcebook in the history of film exhibition. Malden, MA: Blackwell, pp. 46–48. Available at: https://contentstore.cla.co.uk//secure/link?id=500a2c3a-5f36-e711-80c9-005056af4099.
Cousins, M. and Macdonald, K. (2006) ‘Richard Leacock remembers the origins of “Direct Cinema”’, in Imagining reality: the Faber book of documentary. Rev. ed. London: Faber, pp. 251–254.
Crafton, D. (1996) ‘The jazz singer’s reception in the media and at the box office’, in Post-theory: reconstructing film studies. Madison, Wis: University of Wisconsin Press.
Crafton, D. (1997a) ‘Introduction: the uncertainty of sound’, in The talkies: American cinema’s transition to sound, 1926-1931. New York: Charles Scribner’s Sons, pp. 1–18. Available at: https://contentstore.cla.co.uk//secure/link?id=ac0f9dc4-6036-e711-80c9-005056af4099.
Crafton, D. (1997b) ‘Introduction : the uncertainty of sound’, in The talkies : American cinema’s transition to sound, 1926-1931. New York: Charles Scribner’s Sons, pp. 1–18. Available at: https://contentstore.cla.co.uk//secure/link?id=ac0f9dc4-6036-e711-80c9-005056af4099.
Curtis, A. (no date) BBC - Blogs - Adam Curtis. Available at: http://www.bbc.co.uk/blogs/adamcurtis/.
D. A. Pennebaker and Chris Hegedus (1998) ‘The burning question [extract]’, in Imagining reality: the Faber book of documentary. London: Faber and Faber. Available at: https://contentstore.cla.co.uk/secure/link?id=d4c0e99f-af26-e811-80cd-005056af4099.
David Bordwell (1993) ‘[’Strike’ extract from] Chapter 2: Monumental heroics : the silent films’, in The cinema of Eisenstein. Cambridge, Mass: Harvard University Press, pp. 50–61.
David Bordwell (2004) ‘Monumental heroics : form and style in Eisenstein’s silent films’, in The silent cinema reader. London: Routledge, pp. 368–388. Available at: https://contentstore.cla.co.uk/secure/link?id=22080e33-9a4d-ee11-8457-0050f2f0d45d.
Douchet, J. (1999a) ‘Light and camera’, in French new wave. New York: D.A.P., pp. 204–215.
Douchet, J. (1999b) ‘Sound’, in French new wave. New York: D.A.P., pp. 222–231.
Douglas Gomery (1996) ‘The Hollywood studio system’, in The Oxford history of world cinema. Oxford: Oxford University Press, pp. 43–52.
Eaves, H. and Marlow, J. (2006) ‘Adam Curtis: “I’m a modern journalist”’, in Imagining reality: the Faber book of documentary. Rev. ed. London: Faber, pp. 407–412.
Eisenstein, S., Pudovkin, V. and Alexandrov, G. (1994) ‘Statement on sound’, in The film factory: Russian and Soviet cinema in documents. London: Routledge, pp. 234–235.
Eisenstein, Sergei (1988) ‘The problem of the materialist approach to form’, in Selected works. London: B.F.I., pp. 59–64.
Ettedgui, P. (1998) ‘Raoul Coutard’, in Cinematography. Boston: Focal Press, pp. 60–71.
Fereydoun Hoveyda (1985) ‘Fereydoun Hoveyda: Cinema verite, or fantastic realism.’, in Cahiers du cinéma. Vol. 2: 1960-1968. Cambridge, Mass: Harvard University Press, pp. 248–256.
Garcia Espinosa, J. (1983) ‘For an imperfect cinema’, in Twenty-five years of the new Latin American cinema. London: BFI, pp. 28–33. Available at: https://contentstore.cla.co.uk//secure/link?id=122bc518-7136-e711-80c9-005056af4099.
‘General bibliography’ (no date).
‘General reading list’ (no date).
Gorky, M. (1983) ‘Appendix 2 : A review of the Lumière programme at the Nizhni-Novgorod Fair’, in Kino: a history of the Russian and Soviet film. 3rd ed. London: Allen & Unwin, pp. 407–409. Available at: https://contentstore.cla.co.uk//secure/link?id=fbe59f96-4b36-e711-80c9-005056af4099.
Grierson, J. (2006) ‘First principles of documentary’, in Imagining reality: the Faber book of documentary. Rev. ed. London: Faber, pp. 97–102. Available at: https://contentstore.cla.co.uk//secure/link?id=47a8ae4b-5d36-e711-80c9-005056af4099.
Grieveson, L. (2004) ‘Chapter 5: Judging cinema, 1913-1914’, in Policing cinema: movies and censorship in early-twentieth-century America. Berkeley: University of California Press, pp. 151–192.
Grieveson, L. (no date) Empire Marketing Board, Colonial Film. Available at: http://www.colonialfilm.org.uk/production-company/empire-marketing-board.
Grusin, R. (2007) ‘DVDs, video games, and the cinema of interactions’, in Multimedia histories: from the magic lantern to the Internet. Exeter: University of Exeter Press, pp. 209–221.
Gunning, T. (2004) ‘“Now you see it, now you don’t” : The temporality of the cinema of attractions’, in The silent cinema reader. London: Routledge, pp. 41–50.
Heaton Vorse, M. (2002) ‘Some picture show audiences (1911)’, in Moviegoing in America: a sourcebook in the history of film exhibition. Malden, MA: Blackwell, pp. 49–53. Available at: https://contentstore.cla.co.uk//secure/link?id=10a85730-5f36-e711-80c9-005056af4099.
Hillier, J. (1985) ‘Introduction : re-thinking the function of cinema and criticism’, in Cahiers du cinéma. Vol. 2 : 1960-1968. Cambridge, Mass: Harvard University Press, pp. 223–235.
I. Christie (2006) ‘Neobychainye prikliucheniia Mistera Vesta v strane bol’shevikov / The extraordinary adventures of Mr. West in the Land of the Bolsheviks’, in The Cinema of Russia and the Former Soviet Union. London: Wallflower Press, pp. 25–34.
J. Goodwin (1993) ‘’Strike’ : the beginnings of revolution’, in Eisenstein, cinema, and history. Urbana: University of Illinois Press, pp. 37–56, 225–6 [notes].
Jacobs, Lewis (1979) The documentary tradition. 2nd ed. New York: W.W. Norton.
Jay David Bolter and Richard Grusin (1999a) ‘Mediation and remediation’, in Remediation: understanding new media. Cambridge, Mass: MIT Press, pp. 52–63.
Jay David Bolter and Richard Grusin (1999b) ‘Networks of remediation’, in Remediation: understanding new media. Cambridge, Mass: MIT Press, pp. 64–87.
Jonathan Kahana (2008) ‘Voice-over, allegory, and the pastoral in new deal documentary’, in Intelligence work : the politics of American documentary. New York: Columbia University Press, pp. 89–122. Available at: https://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=nlebk&AN=2444949&site=ehost-live&scope=site&custid=s8454451&ebv=EB&ppid=pp_89.
Kanfer, S. (1971) ‘The shock of freedom in films’, in The movies : an American idiom : readings in the social history of the American motion picture. Rutherford: Fairleigh Dickinson University Press, pp. 322–323.
Kevin Robins (1992) ‘The virtual unconscious in post‐photography’, Science as Culture, 3(1), pp. 99–115. Available at: https://doi.org/10.1080/09505439209526337.
Klinger, B. (2006) ‘Introduction: What is cinema today?’, in Beyond the multiplex: cinema, new technologies, and the home. Berkeley: University of California Press, pp. 1–16.
Kramer, P. (2005a) ‘From the roadshow era to the new Hollywood’, in The new Hollywood: from Bonnie and Clyde to Star Wars. London: Wallflower, pp. 38–66. Available at: https://contentstore.cla.co.uk//secure/link?id=e231eebb-9136-e711-80c9-005056af4099.
Kramer, P. (2005b) ‘Introduction: 1967 and beyond’, in The new Hollywood: from Bonnie and Clyde to Star Wars. London: Wallflower, pp. 1–5.
Kristin Thompson (2004) ‘The international exploration of cinematic expressivity’, in The silent cinema reader. London: Routledge, pp. 254–270.
Lack, R.-F. (2008) ‘Vivre sa vie: an introduction and A to Z’, Senses of cinema [Preprint], (48). Available at: http://sensesofcinema.com/2008/48/vivre-sa-vie-a-to-z/.
Laura Mulvey (2006) ‘Passing time’, in Death 24x a second: stillness and the moving image. London: Reaktion, pp. 17–32. Available at: https://contentstore.cla.co.uk//secure/link?id=24604280-8d36-e711-80c9-005056af4099.
Lev Kuleshov (1988a) ‘Americanism’, in The Film factory: Russian and Soviet cinema in documents 1896-1939. London: Routledge & Kegan Paul, pp. 72–73. Available at: https://doi.org/10.4324/9780203059920.
Lev Kuleshov (1988b) ‘The tasks of the artist in cinema’, in The Film factory: Russian and Soviet cinema in documents 1896-1939. London: Routledge & Kegan Paul, pp. 41–43.
Lev Manovich (2001) ‘What is cinema?’, in The language of new media. Cambridge, Mass: MIT Press, pp. 286–333.
Lev, P. (2003a) ‘Technology and spectacle’, in Transforming the screen, 1950-1959. New York: Charles Scribner’s Sons, pp. 107–125.
Lev, P. (2003b) Technology and spectacle, Transforming the screen, 1950-1959. New York: Charles Scribner’s Sons, pp. 107–125.
Levaco, R. (no date) ‘Kuleshov’, Sight and sound, 40(2), pp. 86–91, 109. Available at: https://search.proquest.com/docview/1305508016/fulltext/ED6F61E9DDF7424DPQ/1?accountid=14511.
Levin, G. Roy (1971) Documentary explorations: 15 interviews with film-makers. [1st ed.]. Garden City, N.Y: Doubleday.
Linda Williams (2004) ‘Race, melodrama, and “The Birth of a Nation” (1915)’, in The silent cinema reader. London: Routledge, pp. 242–253. Available at: https://contentstore.cla.co.uk/secure/link?id=2ffaa74c-e0a5-ec11-a99b-0050f2f01d9b.
Louis Marcorelles (1985) ‘Louis Marcorelles: The Leacock experiment’, in Cahiers du cinéma. Vol. 2: 1960-1968. Cambridge, Mass: Harvard University Press, pp. 264–270.
Maltby, R. (2003a) ‘The effects of divorcement ’, in Hollywood cinema. 2nd ed. Malden, Mass: Blackwell, pp. 161–173.
Maltby, R. (2003b) ‘“Widescreen” [extract from Chapter 8: Technology]’, in Hollywood cinema. 2nd ed. Malden, Mass: Blackwell, pp. 251–255.
Mamber, S. (1972a) ‘Cinema-Verite in America, Part I’, Screen, 13(2), pp. 79–108. Available at: https://doi.org/10.1093/screen/13.2.79.
Mamber, S. (1972b) ‘Cinema-Verite in America: Part II -- Direct cinema and the crisis structure’, Screen, 13(3), pp. 114–136. Available at: https://doi.org/10.1093/screen/13.3.114.
Mamber, S. (1974) ‘Titicut follies: [Extract from chapter on] Frederick Wiseman’, in Cinema verite in America: studies in uncontrolled documentary. Cambridge, Mass: M.I.T. Press, pp. 217–219.
Mamber, Stephen (1974) ‘Direct cinema and the crisis structure’, in Cinema verite in America: studies in uncontrolled documentary. Cambridge, Mass: M.I.T. Press, pp. 115–140.
Marie, M. (2003) ‘A technical practice, an aesthetic’, in The French new wave: an artistic school. Malden, Mass: Blackwell, pp. 70–97. Available at: https://doi.org/10.1002/9780470775851.ch4.
Masha Salazkina (2012) ‘Moscow-Rome-Havana: A Film-Theory Road Map’, October, 139, pp. 97–116. Available at: https://www.jstor.org/stable/41417921.
Michel Marie (2003) ‘A mode of production and distribution’, in The French new wave: an artistic school. Malden, Mass: Blackwell, pp. 48–69. Available at: https://doi.org/10.1002/9780470775851.ch3.
Monaco, James (2004) ‘Godard : Modes of discourse’, in The new wave: Truffaut, Godard, Chabrol, Rohmer, Rivette. 30th anniversary ed. New York: Harbor Electronic Publishing, pp. 126–152.
Mosireen: Independent Media Collective in Cairo. Indiegogo (no date). Available at: http://www.indiegogo.com/projects/mosireen-independent-media-collective-in-cairo.
Mulvey, L. (2006a) ‘Preface [to Death 24x a second: stillness and the moving image]’, in Death 24x a second: stillness and the moving image. London: Reaktion, pp. 7–16.
Mulvey, L. (2006b) ‘The possessive spectator’, in Stillness and time: photography and the moving image. Brighton: Photoforum, pp. 151–163.
Musser, C. (2004a) ‘At the beginning: Motion picture production, representation and ideology at the Edison and Lumiere Companies’, in The silent cinema reader. London: Routledge, pp. 15–30.
Musser, C. (2004b) ‘Moving towards fictional narratives’, in The silent cinema reader. London: Routledge, pp. 87–102. Available at: https://contentstore.cla.co.uk//secure/link?id=b8be3ccd-5336-e711-80c9-005056af4099.
Nichols, B. (1991) ‘Documentary modes of representation’, in Representing reality: issues and concepts in documentary. Bloomington, Ind: Indiana University Press, pp. 32–75.
‘Notes on this course’ (no date).
Paul Monaco (2001a) ‘1967: The Watershed Year’, in The sixties, 1960-1969. New York: Charles Scribner’s Sons, pp. 182–186.
Paul Monaco (2001b) ‘The waning production code and the rise of the ratings system’, in The sixties, 1960-1969. New York: Charles Scribner’s Sons, pp. 56–66.
Philip Rosen (2001) ‘Old and new : image, indexicality, and historicity in the digital utopia’, in Change mummified : cinema, historicity, theory. Minneapolis, MN ; London: University of Minnesota Press, pp. 301–349.
Richard John Neupert (2007a) ‘Cultural contexts : where did the wave begin ?’, in A history of the French new wave cinema. 2nd ed. Madison, Wis: University of Wisconsin Press, pp. 3–44.
Richard John Neupert (2007b) ‘Jean-Luc Godard, Le petit soldat’, in A history of the French new wave cinema. 2nd ed. Madison, Wis: University of Wisconsin Press, pp. 207–246.
Richard Maltby (2003) ‘Performance 2 [extract]’, in Hollywood cinema. 2nd ed. Malden, Mass: Blackwell, pp. 393–401.
Richard, Taylor (1998) ‘The montage of film attractions’, in The Eisenstein reader. London: BFI, pp. 33–52.
Robert L. Snyder (1994) ‘The roots of the films of merit’, in Pare Lorentz and the documentary film. Reno: University of Nevada Press, pp. 3–20.
Roberta Pearson (1996) ‘Early cinema’, in The Oxford history of world cinema. Oxford: Oxford University Press, pp. 13–23.
Roberta Pearson (2005) ‘Transitional cinema’, in Encyclopedia of early cinema. London: Routledge, pp. 23–42.
Robins, K. (1996) ‘The virtual unconscious in post-photography’, in Electronic culture: technology and visual representation. New York: Aperture, pp. 154–163.
Rocha, G. (1997) ‘An esthetic of hunger’, in New Latin American cinema. Vol. 1: Theory, practices and transcontinental articulations. Detroit: Wayne State University Press, pp. 59–61.
Rodowick, D.N. (2007) ‘The virtual life of film’, in The virtual life of film. Cambridge, Mass: Harvard University Press, pp. 2–24.
Rosenbaum, J. (2004a) ‘New Hollywood and the sixties melting pot’, in The last great American picture show: new Hollywood cinema in the 1970s. Amsterdam: Amsterdam University Press, pp. 131–152.
Rosenbaum, J. (2004b) ‘New Hollywood and the sixties melting pot’, in T. Elsaesser, A. Horwath, and N. King (eds) The last great American picture show : new Hollywood cinema in the 1970s. Amsterdam: Amsterdam University Press, pp. 131–152.
Rosin, P. (2001) ‘Old and new: image, indexicality, and historicity in the digital utopia’, in Change mummified: cinema, historicity, theory. London: University of Minnesota Press, pp. 301–349.
Rothafel, S.L. (2002) ‘What the public wants in the picture theater (1925)’, in Moviegoing in America: a sourcebook in the history of film exhibition. Malden, MA: Blackwell, pp. 100–103. Available at: https://contentstore.cla.co.uk//secure/link?id=11a85730-5f36-e711-80c9-005056af4099.
Saunders, D. (2007) ‘The beginnings of direct cinema’, in Direct cinema: observational documentary and the politics of the sixties. London: Wallflower, pp. 5–24. Available at: https://contentstore.cla.co.uk//secure/link?id=369d942f-9236-e711-80c9-005056af4099.
Sergei Eisenstein (1998) ‘The problem of the materialist approach to form. 1925’, in The Eisenstein reader. London: BFI, pp. 53–59. Available at: https://contentstore.cla.co.uk//secure/link?id=40c9ba34-7136-e711-80c9-005056af4099.
Sergei M. Eisenstein (1988) ‘The montage of film attractions. 1924.’, in Selected works. Volume 1. Writings 1922-1934. London: B.F.I., pp. 39–58. Available at: https://contentstore.cla.co.uk//secure/link?id=f9da8d1f-7136-e711-80c9-005056af4099.
Snyder, R.L. (1994a) ‘Chapter III: The River’, in Pare Lorentz and the documentary film. Reno: University of Nevada Press, pp. 50–78.
Snyder, R.L. (1994b) ‘The formation and financing of the United States film service’, in Pare Lorentz and the documentary film. Reno: University of Nevada Press, pp. 79–95.
Snyder, R.L. (1994c) ‘The River’, in Pare Lorentz and the documentary film. Reno ; London: :  University of Nevada Press,  ., pp. 50–78.
Sobchack, V. (1994) ‘The scene of the screen: Envisioning cinematic and electronic presence’, in Materialities of communication. Stanford, Calif: Stanford University Press, pp. 83–106. Available at: http://www.scribd.com/doc/154180861/Scene-of-the-Screen-Envisioning-Cinematic-and-Electronic-Presence.
Sobchack, V. (no date) ‘Towards a phenomenology of cinematic and electronic presence : The scene of the screen.’, Post script : essays in film and the humanities, 10(1), pp. 50–59.
Solanas, F. and Getino, O. (1997) ‘Towards a third cinema’, in New Latin American cinema. Detroit: Wayne State University Press, pp. 33–58.
Stamp, S. (2000) ‘Chapter 2: Is any girl safe?’, in Movie-struck girls: women and motion picture culture after the nickelodeon. Princeton, N.J.: Princeton University Press, pp. 41–101.
Stella Bruzzi (2006) ‘Introduction’, in New documentary. 2nd ed. Abingdon: Routledge, pp. 1–8.
Stephen Prince (1996) ‘True Lies: Perceptual Realism, Digital Images, and Film Theory’, Film Quarterly, 49(3), pp. 27–37. Available at: http://www.jstor.org/stable/1213468.
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Taylor, C. (no date) ‘Titicut follies’, Sight and sound, pp. 98–103. Available at: https://contentstore.cla.co.uk/secure/link?id=d42197b5-4a36-e711-80c9-005056af4099.
Taylor, R. (2006) ‘“Stachka / The Strike”’, in The Cinema of Russia and the Former Soviet Union. London: Wallflower Press, pp. 47–55.
‘The prospects for political cinema today.’ (2011) Cineaste, 37(1), pp. 6–17. Available at: https://www.jstor.org/stable/41691085.
Thomas Elsaesser and Malte Hagener (2010) ‘Conclusion : Digital cinema - the body and the senses refigured?’, in Film theory: an introduction through the senses. New York: Routledge, pp. 170–187. Available at: https://contentstore.cla.co.uk//secure/link?id=e6bfb423-5636-e711-80c9-005056af4099.
Thompson, K. (1985) ‘From primitive to classical’, in The classical Hollywood cinema: film style & mode of production to 1960. London: Routledge & Kegan Paul, pp. 157–173.
Thompson, K. (1998) ‘Narrative structure in early classical cinema’, in Celebrating 1895: the centenary of cinema. London: John Libbey & Company, pp. 225–238.
Tom Gunning (1994a) ‘Film form for a new audience: time, the narrator’s voice, and character psychology’, in D.W. Griffith and the origins of American narrative film: the early years at Biograph. Urbana: University of Illinois Press, pp. 85–129.
Tom Gunning (1994b) ‘The narrator system establishes itself’, in D.W. Griffith and the origins of American narrative film: the early years at Biograph. Urbana: University of Illinois Press, pp. 188–232.
Tom Gunning (1997) ‘From the kaleidoscope to the x-ray: Urban spectatorship, Poe, Benjamin, and Traffic in souls (1913)’, Wide angle, 19(4), pp. 25–61. Available at: http://muse.jhu.edu/journals/wide_angle/v019/19.4gunning.html.
Tom Gunning (2004) ‘From the opium den to the theatre of morality’, in The silent cinema reader. London: Routledge, pp. 145–154.
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Vlada Petric (1993) ‘A subtextual reading of Kuleshov’s satire: The extraordinary adventures of Mr. West in the land of the Bolsheviks’, in Inside Soviet film satire: laughter with a lash. Cambridge: Cambridge University Press, pp. 65–74.
Whissel, Kristen (2008) Picturing American modernity: traffic, technology, and the silent cinema. Durham, [N.C.]: Duke University Press. Available at: https://doi.org/10.1215/9780822391456.
Willemen, P. (1989) ‘The third cinema question : notes and reflections.’, in Questions of third cinema. London: British Film Institute, pp. 1–29. Available at: https://contentstore.cla.co.uk//secure/link?id=c8067c26-7136-e711-80c9-005056af4099.
Williams, L. (1996) ‘Sex and sensation’, in The Oxford history of world cinema. Oxford: Oxford University Press, pp. 490–496. Available at: https://search.proquest.com/docview/1745490470/D77A13822BB405CPQ/63?accountid=14511.
Wiseman, F. (2006) ‘Editing as a four-way conversation’, in Imagining reality: the Faber book of documentary. Rev. ed. London: Faber, pp. 278–282.
Yampolsky, M. (1994a) ‘Chapter 2: Kuleshov’s experiments and the new anthropology of the actor’, in Inside the film factory: new approaches to Russian and Soviet cinema. London: Routledge, pp. 31–50. Available at: http://ls-tlss.ucl.ac.uk/course-materials/FILMGG01_76224.pdf.
Yampolsky, M. (1994b) ‘Chapter 2: Kuleshov’s experiments and the new anthropology of the actor’, in Inside the film factory: new approaches to Russian and Soviet cinema. London: Routledge, pp. 31–50. Available at: http://www.tandfebooks.com/isbn/9780203992784.
Yampolsky, M. (1996) ‘Kuleshov’s experiments and the new anthropology of the actor’, in Silent film. London: Athlone Press, pp. 45–70.