[1]
Adamowicz, E. 2010. Un chien andalou: (Luis Buñuel and Salvador Dali, 1929). I.B. Tauris.
[2]
Aranda, F. and Robinson, D. 1975. Luis Buñuel: a critical biography. Secker and Warburg.
[3]
Bordwell, D. and Thompson, K. 2012. Film art: an introduction. McGraw-Hill.
[4]
Buñuel, L. et al. 2000. Las Hurdes - Tierra sin pan. Kino International.
[5]
Buñuel, L. et al. 2010. Los olvidados. Fremantle Media Enterprises.
[6]
Buñuel, L. 1983. My last sigh. Knopf.
[7]
Buñuel, L. et al. 2004. Un chien andalou. Transflux Films.
[8]
Buñuel, L. et al. 2004. Un chien andalou: L’âge d’or. BFI.
[9]
Buñuel, L. and Aub, M. 1985. Conversaciones con Buñuel. Aguilar.
[10]
Candace Yang 2002. Looking at the Surreal with Eyes Slit by Terror: Luis Buñuel’s ‘Un Chien andalou’ and September 11. Philosophy of Music Education Review. 10, 2 (2002), 132–135.
[11]
Carola Moresche 2011. Haptic close-ups and montage : surrealist desire in Erich von Stroheim’s Greed and Luis Buñuel’s Un chien andalou. SPELL : Swiss papers in English language and literature. 26, (2011). DOI:https://doi.org/10.5169/seals-283970.
[12]
Dolors Marín 2000. Luis Buñuel: entre el surrealismo y la etnografía. Filmhistoria online. 1 (2000).
[13]
Donnell, S. 1999. Quixotic Desire and the Avoidance of Closure in Luis Bunuel’s The Criminal Life of Archibaldo de la Cruz. MLN. 114, 2 (1999), 269–296. DOI:https://doi.org/10.1353/mln.1999.0028.
[14]
E. Rubinstein 1983. Visit to a Familiar Planet: Buñuel among the Hurdanos. Cinema Journal. 22, 4 (1983), 3–17.
[15]
Edwards, G. 2005. A companion to Luis Buñuel. Tamesis.
[16]
Ernesto R. Acevedo-Muñoz 2003. Buñuel and Mexico: the crisis of national cinema. University of California Press.
[17]
Gutiérrez-Albilla, J.D. 2008. Queering Buñuel: sexual dissidence and psychoanalysis in his Mexican and Spanish cinema. Tauris Academic Studies.
[18]
Hammond, P. and British Film Institute 1997. L’Âge d’or. British Film Institute.
[19]
Hayward, S. 2006. Cinema studies: the key concepts. Routledge.
[20]
Herrera, J. 2006. Estudios sobre Las Hurdes de Buñuel: (evidencia fílmica, estética y recepción). Renacimiento.
[21]
Ian Gibson, 2013. Luis Buñuel: la forja de un cineasta universal, 1900-1938. Aguilar.
[22]
Jenaro Taléns 2010. El ojo tachado : lectura de Un chien andalou, de Luis Buñuel / Jenaro Talens. Catedra.
[23]
Lapsley, R. and Westlake, M. 2006. Film theory: an introduction. Manchester University Press.
[24]
Mendelson, J. 2000. Centennial revisions: Luis Buñuel’s Las Hurdes: Tierra sin pan. Journal of Spanish Cultural Studies. 1, 2 (Sep. 2000), 215–223. DOI:https://doi.org/10.1080/713683443.
[25]
Monaco, James 2009. How to read a film: movies, media, and beyond : art, technology, language, history, theory. Oxford University Press.
[26]
Nadal-Melsió, S. 2013. Buñuel’s Eschatological Avant-Garde: Las Hurdes and Indexical Realism. Revista Hispánica Moderna. 66, 2 (2013), 183–203. DOI:https://doi.org/10.1353/rhm.2013.0010.
[27]
OSWALD, L. 1981. Figure/discourse: Configurations of desire in Un Chien andalou. Semiotica. 33, 1–2 (1981). DOI:https://doi.org/10.1515/semi.1981.33.1-2.105.
[28]
P. Evans 1995. Los olvidados and the "Uncanny”. The films of Luis Buñuel: subjectivity and desire. Clarendon Press. 72–89.
[29]
Pavlović, T. et al. 2008. 100 Years of Spanish Cinema. Wiley-Blackwell.
[30]
Polizzotti, M. 2006. Los olvidados. British Film Institute.
[31]
Seguín, B. 2014. Trotsky, Eisenstein y Las Hurdes: Dialécticas políticas en el cine de Luis Buñuel. Hispania. 97, 4 (2014), 600–611. DOI:https://doi.org/10.1353/hpn.2014.0121.
[32]
Stone, R. and Gutiérrez-Albilla, J.D. 2013. A Companion to Luis Buñuel. Blackwell Publishing Ltd.
[33]
Williams, L. 1981. Figures of desire: a theory and analysis of surrealist film. University of Illinois Press.
[34]
Wolfenzon, Carolyn LOS DOS ENSAYO(S) DE UN CRIMEN: BUÑUEL Y USIGLI. Chasqui. 35, 1, 35–53.