[1]
Adam, K. and Frayling, C. 2008. Ken Adam Designs the Movies: James Bond and Beyond. Thames & Hudson.
[2]
Adler, T. 2004. The Producers: Money, Movies and Who Really Calls the Shots. Methuen.
[3]
Alberstat, P. 2004. The Insider’s Guide to Film Finance. Focal.
[4]
Alberstat, P. 2004. The Insider’s Guide to Film Finance. Focal Press.
[5]
Altman, R. and Thompson, D. 2006. Altman on Altman. Faber and Faber.
[6]
Altman, R. and Thompson, D. 2006. Altman on Altman. Faber and Faber.
[7]
Anderson, G.H. 1984. Video Editing and Post-Production: A Professional Guide. Knowledge Industry Publications Inc.
[8]
Arijon, D. 1976. Grammar of the Film Language. Silman-James.
[9]
Aronson, L. 2001. Screenwriting Updated: New (And Conventional) Ways of Writing for the Screen. Silman-James Press.
[10]
Arundale, S. and Trieu, T. 2014. Modern Post: Postproduction Workflows and Techniques for Digital Filmmakers. Focal Press.
[11]
Arundale, S. and Trieu, T. 2014. Modern Post: Postproduction Workflows and Techniques for Digital Filmmakers. Focal Press.
[12]
Ascher, S. and Pincus, E. 2007. The Filmmaker’s Handbook: A Comprehensive Guide for the Digital Age. Plume.
[13]
Atchity, K.J. and Wong, C.-L. 2003. Writing Treatments That Sell: How to Create and Market Your Story Ideas to the Motion Picture and TV Industry. Henry Holt.
[14]
Aumont, J. 1987. Montage Eisenstein. BFI Publishing.
[15]
Bach, S. 1996. Final Cut: Dreams and Disaster in the Making of Heaven’s Gate. Pimlico.
[16]
Bach, S. 1996. Final Cut: Dreams and Disaster in the Making of Heaven’s Gate. Pimlico.
[17]
Badal, S. 2008. Swimming Upstream: A Lifesaving Guide to Short Film Distribution. Focal Press.
[18]
Bainbridge, D.I. 2012. Intellectual Property. Pearson.
[19]
Bainbridge, D.I. 2012. Intellectual Property. Pearson.
[20]
Baker, R. 1997. Media Law: A User’s Guide for Film and Programme Makers. Routledge.
[21]
Baker, R. 1997. Media Law: A User’s Guide for Film and Programme Makers. Routledge.
[22]
Barnwell, J. 2004. Production Design: Architects of the Screen. Wallflower.
[23]
Baumgarten, P.A. et al. 1992. Producing, Financing and Distributing Film. Limelight Editions.
[24]
Bazin, A. 2005. What Is Cinema?: Vol. I. University of California Press.
[25]
Bazin, A. 2005. What Is Cinema?: Vol. I. University of California Press.
[26]
Benedetti, R. 2003. Creative Postproduction: Editing, Sound, Visual Effects, and Music for Film and Video. Pearson.
[27]
Berg, A.S. 2013. Goldwyn: a Biography. Simon & Schuster.
[28]
Berger, J. 2008. Ways of Seeing. Penguin.
[29]
Bernstein, S. 1994. Film Production. Focal.
[30]
Bignell, J. et al. 2005. The Television Handbook. Routledge.
[31]
Bignell, J. et al. 2005. The Television Handbook. Routledge.
[32]
Biskind, P. 1998. Easy Riders, Raging Bulls: How the Sex-Drugs-and Rock ‘N’ Roll Generation Changed Hollywood. Bloomsbury.
[33]
Biskind, P. 1998. Easy Riders, Raging Bulls: How the Sex-Drugs-and Rock ‘N’ Roll Generation Changed Hollywood. Bloomsbury.
[34]
Block, B. 2008. The Visual Story: Creating the Visual Structure of Film, TV and Digital Media. Focal.
[35]
Boal, A. 2008. Theatre of the Oppressed. Pluto Press.
[36]
Boal, A. et al. 2008. Theatre of the Oppressed. Pluto Press.
[37]
Bolter, J.D. and Grusin, R. 1999. Remediation: Understanding New Media. MIT.
[38]
Bondanella, P.E. 2002. The Films of Federico Fellini. Cambridge University Press.
[39]
Bondanella, P.E. 2002. The Films of Federico Fellini. Cambridge University Press.
[40]
Boozer, J. 2008. Authorship in Film Adaptation. University of Texas Press.
[41]
Bordwell, D. et al. 2017. Film Art: An Introduction. McGraw-Hill Education.
[42]
Bordwell, D. 2017. Film Art: An Introduction. McGraw-Hill Education.
[43]
Bordwell, D. 1993. The Cinema of Eisenstein. Harvard University Press.
[44]
Bordwell, D. et al. 1985. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. Routledge & Kegan Paul.
[45]
Bordwell, D. et al. 1988. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. Routledge.
[46]
Bordwell, D. 1985. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. Routledge & Kegan Paul.
[47]
Bordwell, D. 1988. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. Routledge.
[48]
Braudy, L. and Cohen, M. 2009. Film Theory and Criticism: Introductory Readings. Oxford University Press.
[49]
Brook, P. 1996. The Empty Space. Simon & Schuster.
[50]
Broughton, I. 1986. Producers on Producing: The Making of Film and Television. McFarland.
[51]
Browne, S.E. 2007. High Definition Postproduction: Editing and Delivering HD Video. Focal.
[52]
Browne, S.E. 2007. High Definition Postproduction: Editing and Delivering HD Video. Focal.
[53]
Bruzzi, S. 1997. Undressing Cinema: Clothing and Identity in the Movies. Routledge.
[54]
Bruzzi, S. 1997. Undressing Cinema: Clothing and Identity in the Movies. Routledge.
[55]
Burch, N. and Lane, H.R. 1973. Theory of Film Practice. Secker and Warburg.
[56]
Burch, N. and Michelson, A. 1979. To the Distant Observer: Form and Meaning in the Japanese Cinema. Scolar.
[57]
Burder, J. 1988. Technique of Editing 16mm Film, The (Library of Communication Techniques). Focal P.
[58]
Burstein, N. and Morgen, B. 2003. The Kid Stays in the Picture. Momentum Pictures.
[59]
Burstein, N. and Morgen, B. 2003. The Kid Stays in the Picture. Momentum Pictures.
[60]
Cardullo, B. 1998. Playing to the Camera: Film Actors Discuss Their Craft. Yale University Press.
[61]
Carney, R. 1994. The Films of John Cassavetes: Pragmatism, Modernism, and the Movies. Cambridge University Press.
[62]
Carrière, J.-C. 1994. The Secret Language of Film. Pantheon Books.
[63]
Carringer, R.L. 1996. The Making of Citizen Kane. University of California Press.
[64]
Carringer, R.L. 1996. The Making of Citizen Kane. University of California Press.
[65]
Chandler, G. 2012. Cut by Cut: Editing Your Film or Video. Michael Wiese.
[66]
Chandler, G. 2009. Film Editing: Great Cuts Every Filmmaker and Movie Lover Must Know. Michael Wiese.
[67]
Christie, I. 2009. The Art of Film: John Box and Production Design. Wallflower.
[68]
Christie, I. and Taylor, R. 1993. Eisenstein Rediscovered. Routledge.
[69]
Christie, I. and Taylor, R. 1993. Eisenstein Rediscovered. Routledge.
[70]
Ciecko, A.T. 2006. Contemporary Asian Cinema: Popular Culture in a Global Frame. Berg.
[71]
Clapperton, G. 2009. This Is Social Media: How to Tweet, Post, Link and Blog Your Way to Business Success. Capstone.
[72]
Clapperton, G. 2009. This Is Social Media: How to Tweet, Post, Link and Blog Your Way to Business Success. Capstone.
[73]
Clark, B. and Spohr, S.J. 2002. Guide to Postproduction for TV and Film: Managing the Process. Focal Press.
[74]
Clark, B. and Spohr, S.J. 2002. Guide to Postproduction for TV and Film: Managing the Process. Focal Press.
[75]
Clark, B. and Spohr, S.J. 2002. Guide to Postproduction for TV and Film: Managing the Process. Focal Press.
[76]
Clark, B. and Spohr, S.J. 2002. Guide to Postproduction for TV and Film: Managing the Process. Focal Press.
[77]
Cleve, B. 2006. Film Production Management. Focal.
[78]
Cleve, B. 2012. Film Production Management. Taylor and Francis.
[79]
Cleve, B. 2006. Film Production Management. Focal.
[80]
Cleve, B. 2012. Film Production Management. Taylor and Francis.
[81]
Coleman, L.J. and Friedberg, D. 2010. Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV. Focal.
[82]
Coleman, L.J. and Friedberg, D. 2010. Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV. Focal.
[83]
Compesi, R.J. 2017. Video Field Production and Editing. Focal Press.
[84]
Compesi, R.J. 2007. Video Field Production and Editing. Pearson Allyn and Bacon.
[85]
Cones, J.W. 2008. 43 Ways to Finance Your Feature Film: A Comprehensive Analysis of Film Finance. Southern Illinois University Press.
[86]
Cones, J.W. 2008. 43 Ways to Finance Your Feature Film: A Comprehensive Analysis of Film Finance. Southern Illinois University Press.
[87]
Cooper, D. 2000. The Cinema of Satyajit Ray: Between Tradition and Modernity. Cambridge University Press.
[88]
Cowgill, L.J. 2005. Writing Short Films: Structure and Content for Screenwriters. Lone Eagle Pub.
[89]
Cowgill, L.J. 2005. Writing Short Films: Structure and Content for Screenwriters. Lone Eagle Pub.
[90]
Crary, J. 1990. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. MIT Press.
[91]
Crittenden, R. 1995. Film and Video Editing. Blueprint.
[92]
Crittenden, R. 2006. Fine cuts: the art of European film editing. Focal.
[93]
Crittenden, R. 2006. Fine Cuts: The Art of European Film Editing. Focal.
[94]
Culhane, S. 1989. Animation: From Script to Screen. Columbus.
[95]
Dancyger, K. 2011. The Technique of Film and Video Editing: History, Theory, and Practice. Focal.
[96]
Davies, A.P. et al. The film finance handbook: how to fund your film. Netribution.
[97]
Deadline | Hollywood Entertainment Breaking News: http://deadline.com/.
[98]
Deleuze, G. 1992. Cinema 1: The Movement-Image. Athlone.
[99]
Deleuze, G. 2005. Cinema 1: The Movement-Image. Continuum.
[100]
Deleuze, G. 1989. Cinema 2: The Time-Image. Athlone.
[101]
Deppman, H.-C. 2010. Adapted for the Screen: The Cultural Politics of Modern Chinese Fiction & Film. University of Hawaiʻi Press.
[102]
Dmytryk, E. 1984. On Film Editing: An Introduction to the Art of Film Construction. Focal Press.
[103]
Douin, J.-L. 1994. Jean-Luc Godard. Rivages.
[104]
Durie, J. et al. 2000. Marketing and Selling Your Film Around the World: Guide for Independent Filmmakers. Silman-James Press.
[105]
Eberts, J. and Ilott, T. 1990. My Indecision Is Final: The Rise and Fall of Goldcrest Films. Faber.
[106]
Eberts, J. and Ilott, T. 1990. My Indecision Is Final: The Rise and Fall of Goldcrest Films. Faber.
[107]
Eberts, J. and Ilott, T. 1990. My Indecision Is Final: The Rise and Fall of Goldcrest Films. Faber.
[108]
Egri, L. 1972. The Art of Dramatic Writing. Touchstone.
[109]
Egri, L. 1972. The Art of Dramatic Writing. Touchstone.
[110]
Egri, L. 2004. The Art of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives. Simon & Schuster.
[111]
Egri, L. 2004. The Art of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives. Simon & Schuster.
[112]
Eisenstein, S. 1998. The Eisenstein Reader. B.F.I.
[113]
Eisenstein, S. and Leyda, J. 1977. Film Form: Essays in Film Theory. Harvest.
[114]
Eisenstein, S. and Leyda, J. 1975. The Film Sense. Harcourt Brace Jovanovich.
[115]
Eisenstein, S. and Taylor, R. 1988. Selected Works: Vol. 1. BFI.
[116]
Eisenstein, S. and Taylor, R. 1991. Selected Works: Vol. 2: Towards a Theory of Montage / Edited by Michael Glenny and Richard Taylor. BFI.
[117]
Eisenstein, S. and Taylor, R. 1996. Selected Works: Vol. 3: Writings, 1934-47. BFI.
[118]
Elsässer, T. and Barker, A. 1990. Early Cinema: Space, Frame, Narrative. BFI.
[119]
Erickson, G. et al. 2005. The Independent Film Producer’s Survival Guide: A Business and Legal Sourcebook. Schirmer Trade Books.
[120]
Ettedgui, P. 1999. Production Design & Art Direction. RotoVision.
[121]
Evans, R. 2004. The Kid Stays in the Picture. Faber.
[122]
Evans, R. 2004. The Kid Stays in the Picture. Faber.
[123]
Fairservice, D. 2001. Film Editing: History, Theory, and Practice - Looking at the Invisible. Manchester University Press.
[124]
Field, S. 1984. The Screenwriter’s Workbook. Dell.
[125]
Finney, A. 2010. The International Film Business: A Market Guide Beyond Hollywood. Routledge.
[126]
Finney, A. 2010. The International Film Business: A Market Guide Beyond Hollywood. Routledge.
[127]
Finney, A. and Triana, E. 2015. The International Film Business: A Market Guide Beyond Hollywood. Routledge.
[128]
Finney, A. and Triana, E. 2015. The International Film Business: A Market Guide Beyond Hollywood. Routledge.
[129]
Fowler, J. 2001. Editing Digital Film: Integrating Final Cut Pro, Avid, and Media 100. Focal Press.
[130]
Gates, R. 1999. Production Management for Film and Video. Focal.
[131]
Giorgianni, E.J. and Madden, T.E. 2008. Digital color management: encoding solutions. Wiley.
[132]
Goldman, W. 1984. Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting. Grand Central Publishing.
[133]
Goldman, W. 1984. Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting. Grand Central Publishing.
[134]
Goldman, W. 2000. Which Lie Did I Tell?: More Adventures in the Screen Trade. Bloomsbury.
[135]
Goldman, W. 2000. Which Lie Did I Tell?: More Adventures in the Screen Trade. Bloomsbury.
[136]
Goodell, G. 1998. Independent Feature Film Production: A Complete Guide From Concept Through Distribution. St. Martin’s Griffin.
[137]
Gopalan, L. 2010. The Cinema of India (24 Frames). Columbia University Press.
[138]
Gore, C. 2004. The Ultimate Film Festival Survival Guide. Lone Eagle Pub.
[139]
Grant, B.K. 2008. Auteurs and Authorship: A Film Reader. Blackwell.
[140]
Gripsrud, J. 2002. Understanding Media Culture. Arnold.
[141]
Grotowski, J. and Barba, E. 2002. Towards a Poor Theatre. Routledge.
[142]
Grove, E. 2013. Raindance Producers’ Lab: Lo-to-No Budget Filmmaking. Focal.
[143]
Grove, E. 2014. Raindance Producers’ Lab: Lo-to-No Budget Filmmaking. Focal Press.
[144]
Halligan, B. and Shah, D. 2010. Inbound Marketing: Get Found Using Google, Social Media, and Blogs. Wiley.
[145]
Halperin, M. 2002. Writing the Killer Treatment: Selling Your Story Without a Script. Michael Wiese.
[146]
Hanson, M. 2014. The End of Celluloid: Film Futures in the Digital Age. RotoVision.
[147]
Harmon, R. and Lawrence, J. 1997. The Beginning Filmmaker’s Guide to a Successful First Film. Walker and Co.
[148]
Harrison, S. 2005. Adaptations: From Short Story to Big Screen : 35 Great Stories That Have Inspired Great Films. Three Rivers Press.
[149]
Harrison, S. 2005. Adaptations: From Short Story to Big Screen : 35 Great Stories That Have Inspired Great Films. Three Rivers Press.
[150]
Hollyn, N. 2009. The Film Editing Room Handbook: How to Tame the Chaos of the Editing Room. Peachpit Press.
[151]
Hullfish, S. 2012. The Art and Technique of Digital Color Correction. Focal.
[152]
Indick, W. 2004. Psychology for Screenwriters: Building Conflict in Your Script. Michael Wiese Productions.
[153]
Irving, D.K. and Rea, P.W. 2013. Producing and Directing the Short Film and Video. Taylor and Francis.
[154]
Irving, D.K. and Rea, P.W. 2013. Producing and Directing the Short Film and Video. Taylor and Francis.
[155]
Izod, J. 2006. Screen, Culture, Psyche: A Post-Jungian Approach to Working With the Audience. Routledge.
[156]
Izod, J. 2016. Screen, Culture, Psyche: A Post-Jungian Approach to Working With the Audience. Routledge.
[157]
James, J. 2016. Digital Intermediates for Film and Video. Focal Press.
[158]
James, J. 2009. Fix It in Post: Solutions for Post Production Problems. Focal.
[159]
James, J. 2009. Fix It in Post: Solutions for Post Production Problems. Focal.
[160]
Johnstone, K. 1999. Impro for Storytellers: Theatresports and the Art of Making Things Happen. Faber.
[161]
Jones, C. and Jolliffe, G. 2006. The Guerilla Film Makers Handbook. Continuum.
[162]
Keating, P. 2010. Hollywood Lighting From the Silent Era to Film Noir. Columbia University Press.
[163]
Kellison, C. et al. 2015. Producing for TV and New Media. Focal Press.
[164]
Kennel, G. 2006. Color and Mastering for Digital Cinema. Focal.
[165]
Kerner, M. 1989. The Art of the Sound Effects Editor. Focal Press.
[166]
Kerrigan, F. et al. 2004. Arts Marketing. Elsevier Butterworth-Heinemann.
[167]
Kerrigan, F. et al. 2004. Arts Marketing. Elsevier Butterworth-Heinemann.
[168]
Kerrigan, F. 2010. Film Marketing. Elsevier/Butterworth-Heinemann.
[169]
Kerrigan, F. 2010. Film Marketing. Butterworth-Heinemann.
[170]
Kerrigan, F. 2010. Film Marketing. Elsevier/Butterworth-Heinemann.
[171]
Kerrigan, F. 2010. Film Marketing. Butterworth-Heinemann.
[172]
Kezich, T. and Levantesi, A. 2004. Dino: The Life and Films of Dino De Laurentiis. Miramax Books/Hyperion.
[173]
King, V. 1988. How to Write a Movie in 21 Days: The Inner Movie Method. Harper.
[174]
Koster, R. 1997. The On Production Budget Book. Focal.
[175]
Krevolin, R.W. 1998. Screenwriting From the Soul: Letters to an Aspiring Screenwriter. Renaissance Books.
[176]
Landis, D.N. 2007. Dressed: A Century of Hollywood Costume Design. Collins.
[177]
Langer, A. 2000. The film festival guide: for filmmakers, film buffs, and industry professionals. Chicago Review Press.
[178]
LaValley, A.J. 2001. Eisenstein at 100: A Reconsideration. Rutgers University Press.
[179]
Lee, J.J. 2000. The Producer’s Business Handbook. Focal.
[180]
Lee, J.J. and Gillen, A.M. 2011. The Producer’s Business Handbook. Focal.
[181]
Levin, C.M. 2002. Post: The Theory and Technique of Digital Nonlinear Motion Picture Editing. Pearson.
[182]
Levison, L. 2007. Filmmakers and Financing: Business Plans for Independents. Focal Press.
[183]
Levison, L. 2016. Filmmakers and Financing: Business Plans for Independents. Focal Press.
[184]
Linson, A. 1993. A Pound of Flesh: Perilous Tales of How to Produce Movies in Hollywood. Grove Press.
[185]
LoBrutto, V. 1991. Selected Takes: Film Editors on Editing. Praeger.
[186]
Lowenstein, S. 2000. My First Movie. Faber and Faber.
[187]
Lukk, T. 1997. Movie Marketing: Opening the Picture and Giving It Legs. Silman-James Press.
[188]
Lustig, M. 1980. Music Editing for Motion Pictures. Communication Arts Books.
[189]
Mamet, D. 1992. On Directing Film. Penguin.
[190]
Mamet, D. 1992. On Directing Film. Penguin.
[191]
Manovich, L. 2001. The Language of New Media. MIT Press.
[192]
Manovich, L. 2002. The Language of New Media. MIT Press.
[193]
McAlister, M.J. 1993. The Language of Visual Effects. Lone Eagle Publishing Co.
[194]
McGrath, D. 2001. Editing & Post-Production. Focal Press.
[195]
McKee, R. 1999. Story: Substance, Structure, Style, and the Principles of Screenwriting. Methuen.
[196]
Miller, P. 1998. Media Law for Producers. Focal Press.
[197]
Miller, P.P. 1999. Script Supervising and Film Continuity. Focal.
[198]
Miller, P.P. 1999. Script Supervising and Film Continuity. Focal Press.
[199]
Miller, P.P. 1999. Script Supervising and Film Continuity. Focal.
[200]
Miller, P.P. 1999. Script Supervising and Film Continuity. Focal Press.
[201]
Millerson, G. 1991. Lighting for Television and Film. Focal.
[202]
Millerson, G. and Owens, J. 2009. Television Production. Focal.
[203]
Mottram, J. 2006. The Sundance Kids: How the Mavericks Took Back Hollywood. Faber and Faber.
[204]
Mottram, J. 2006. The Sundance Kids: How the Mavericks Took Back Hollywood. Faber and Faber.
[205]
Movshovitz, H. 2000. Mike Leigh, Interviews. University Press of Mississippi.
[206]
Mulvey, L. 1990. Visual Pleasure and Narrative Cinema. Issues in Feminist Film Criticism. Indiana University Press.
[207]
Murch, W. 2001. In the Blink of an Eye: A Perspective on Film Editing. Silman-James.
[208]
Newton, D. and Gaspard, J. 2001. Digital filmmaking 101. Michael Wiese.
[209]
Nizhnii, V. 1979. Lessons with Eisenstein. Da Capo Press.
[210]
Obst, L.R. 1997. Hello, He Lied: And Other Truths From the Hollywood Trenches. Broadway Books.
[211]
Obst, L.R. 1997. Hello, He Lied: And Other Truths From the Hollywood Trenches. Broadway Books.
[212]
Ohanian, T.A. 1993. Digital Nonlinear Editing: New Approaches to Editing Film and Video. Focal.
[213]
Oldham, G. 2012. First Cut 2: More Conversations With Film Editors. University of California Press.
[214]
Oldham, G. 1992. First cut: conversations with film editors. University of California Press.
[215]
Ondaatje, M. 2002. The Conversations: Walter Murch and the Art of Editing Film. Bloomsbury.
[216]
Ondaatje, M. 2002. The Conversations: Walter Murch and the Art of Editing Film. Bloomsbury.
[217]
Ondaatje, M. 2002. The Conversations: Walter Murch and the Art of Editing Film. Bloomsbury.
[218]
Orlebar, J. 2002. Digital Television Production: A Handbook. Arnold.
[219]
Orlebar, J. 2003. The Practical Media Dictionary. Arnold.
[220]
Orwell, G. 2004. Why I Write. Penguin.
[221]
Parks, S. 2012. The Insider’s Guide to Independent Film Distribution. Elsevier/Focal Press.
[222]
Parks, S. 2012. The Insider’s Guide to Independent Film Distribution. Taylor and Francis.
[223]
Parks, S. 2012. The Insider’s Guide to Independent Film Distribution. Elsevier/Focal Press.
[224]
Parks, S. 2012. The Insider’s Guide to Independent Film Distribution. Taylor and Francis.
[225]
Patz, D.S. 2010. Film Production Management 101: Management and Coordination in a Digital Age. Michael Wiese Productions.
[226]
Pearlman, K. 2009. Cutting Rhythms: Shaping the Film Edit. Focal.
[227]
Pearlman, K. 2009. Cutting Rhythms: Shaping the Film Edit. Focal.
[228]
Phillips, J. 1992. You’ll Never Eat Lunch in This Town Again. Mandarin.
[229]
Phillips, J. 1992. You’ll Never Eat Lunch in This Town Again. Mandarin.
[230]
Pierson, J. 1996. Spike, Mike, Slackers & Dykes: A Guided Tour Across a Decade of American Independent Cinema. Faber.
[231]
Pierson, J. 1996. Spike, Mike, Slackers & Dykes: A Guided Tour Across a Decade of American Independent Cinema. Faber.
[232]
Priggé, S. 2004. Movie Moguls Speak: Interviews With Top Film Producers. McFarland & Co.
[233]
Priggé, S. 2004. Movie Moguls Speak: Interviews With Top Film Producers. McFarland & Co.
[234]
Pudovkin, V.I. 1975. Film Technique and Film Acting. Richard West.
[235]
Purcell, J. 2007. Dialogue Editing for Motion Pictures: A Guide to the Invisible Art. Focal.
[236]
Purcell, J. 2007. Dialogue Editing for Motion Pictures: A Guide to the Invisible Art. Focal.
[237]
Pye, M. and Myles, L. 1979. The Movie Brats: How the Film Generation Took Over Hollywood. Faber and Faber.
[238]
Pye, M. and Myles, L. 1979. The Movie Brats: How the Film Generation Took Over Hollywood. Faber and Faber.
[239]
Quandt, J. 2009. Apichatpong Weerasethakul. SYNEMA - Gesellschaft fr Film und Medien.
[240]
Rabiger, M. 1998. Developing Story Ideas. Focal.
[241]
Ratcliff, J.D. 1999. Timecode: a user’s guide. Focal Press.
[242]
Ratcliff, J.D. 1999. Timecode: a user’s guide. Focal Press.
[243]
Rea, P.W. and Irving, D.K. 2015. Producing and Directing the Short Film and Video. Focal Press.
[244]
Rea, P.W. and Irving, D.K. 2015. Producing and Directing the Short Film and Video. Focal Press.
[245]
Reiss, J. 2010. Think Outside the Box Office: The Ultimate Guide to Film Distribution in the Digital Era. Hybrid Cinema.
[246]
Reisz, K. and Millar, G. 1999. The Technique of Film Editing. Focal Press.
[247]
Reza, R.S. 2006. Iranian Cinema: A Political History. I.B.Tauris.
[248]
Rizzo, M. 2015. The Art Direction Handbook for Film & Television. Focal Press.
[249]
Rizzo, M. 2015. The Art Direction Handbook for Film & Television. Focal Press.
[250]
Rose, J. and Rose, J. 2009. Audio Postproduction for Film and Video. Focal.
[251]
Rosenblum, R. and Karen, R. 1986. When the Shooting Stops, the Cutting Begins: A Film Editor’s Story. Da Capo.
[252]
Rotcop, K. 2009. The Perfect Pitch: How to Sell Yourself and Your Movie Idea to Hollywood. Michael Wiese Productions.
[253]
Rowlands, A. 1989. Continuity in Film and Video: A Handbook for Directors, Script Supervisors and PAs. Focal Press.
[254]
Rowse, D. and Garrett, C. Problogger: Secrets for Blogging Your Way to a Six-Figure Income. Wiley.
[255]
Rubin, M. and Diamond, R. 2000. Nonlinear: a field guide to digital video and film editing. Triad.
[256]
Russo, J. 1989. Making Movies: The Inside Guide to Independent Movie Production. Dell.
[257]
Ryan, M.A. 2010. Producer to Producer: A Step-by-Step Guide to Low-Budget Independent Film Producing. Michael Wiese Productions.
[258]
Ryan, R.T. 1977. History of Motion Picture Colour Technology. Focal Press.
[259]
Ṣadr, H.R. 2006. Iranian Cinema: A Political History. I.B. Tauris.
[260]
Salt, B. 2009. Film Style and Technology: History and Analysis. Starword.
[261]
Schneider, A. 1989. Electronic Post-Production and Videotape Editing. Focal Press.
[262]
Schreibman, M.A. 2001. The Indie Producers Handbook: Creative Producing From A to Z. Lone Eagle.
[263]
Seger, L. 1999. Making a Good Writer Great: A Creativity Workbook for Screenwriters. Silman-James Press.
[264]
Seger, L. 1992. The Art of Adaptation: Turning Fact and Fiction Into Film. H. Holt.
[265]
Selznick, D.O. and Behlmer, R. 1973. Memo from David O. Selznick. Macmillan.
[266]
Selznick, D.O. and Behlmer, R. 1973. Memo from David O. Selznick. Macmillan.
[267]
Shone, T. 2005. Blockbuster: How the Jaws and Jedi Generation Turned Hollywood Into a Boom-Town. Scribner.
[268]
Shone, T. 2005. Blockbuster: How the Jaws and Jedi Generation Turned Hollywood Into a Boom-Town. Scribner.
[269]
Singleton, R.S. et al. 1996. Film Budgeting: Or, How Much Will It Cost to Shoot Your Movie?. Lone Eagle.
[270]
Singleton, R.S. et al. 1996. Film Budgeting: Or, How Much Will It Cost to Shoot Your Movie?. Lone Eagle.
[271]
Smith, I.H. 2010. International Film Guide 2010: The Definitive Annual Review of World Cinema. Wallflower.
[272]
Solomons, T. 1999. The Avid Digital Editing Room Handbook. Silman-James Press.
[273]
Stanislavsky, K.S. 1980. An Actor Prepares. Methuen Drama.
[274]
Stanislavsky, K.S. 2003. An Actor Prepares. Routledge.
[275]
Stanislavsky, K.S. 1980. An Actor Prepares. Methuen Drama.
[276]
Stanislavsky, K.S. 2003. An Actor Prepares. Routledge.
[277]
Staten, G. 2008. The Avid Handbook: Advanced Techniques, Strategies, and Survival Information for Avid Editing Systems. Focal Press.
[278]
Tarkovskiĭ, A.A. 1989. Sculpting in Time: Reflections on the Cinema. Faber.
[279]
Tarkovskiĭ, A.A. 1989. Sculpting in time: reflections on the cinema. University of Texas Press.
[280]
Tharp, T. and Reiter, M. 2006. The Creative Habit: Learn It and Use It for Life. Simon & Schuster.
[281]
Tharp, T. and Reiter, M. 2006. The Creative Habit: Learn It and Use It for Life. Simon & Schuster.
[282]
Thompson, K. 1999. Storytelling in the New Hollywood: Understanding Classical Narrative Technique. Harvard University Press.
[283]
Thompson, R. 1993. Grammar of the Edit. Focal.
[284]
Thomson, D. 2006. The Whole Equation: A History of Hollywood. Abacus.
[285]
Tierno, M. 2002. Aristotle’s Poetics for Screenwriters: Storytelling Secrets From the Greatest Mind in Western Civilization. Hyperion.
[286]
Trottier, D. 1998. The Screenwriter’s Bible: A Complete Guide to Writing, Formatting and Selling Your Script. Silman-James.
[287]
Truffaut, F. and Scott, H. 1985. Hitchcock. Ramsay.
[288]
Truffaut, F. and Scott, H.G. 1984. Hitchcock. Simon & Schuster.
[289]
Truffaut, F. and Scott, H.G. 1984. Hitchcock. Simon & Schuster.
[290]
Ulin, J. 2014. The business of media distribution: monetizing film, TV, and video content in an online world. Focal Press.
[291]
Ulin, J. 2014. The Business of Media Distribution: Monetizing Film, TV, and Video Content in an Online World. Focal Press.
[292]
Vachon, C. and Bunn, A. 2007. A Killer Life: How an Independent Film Producer Survives Deals and Disasters in Hollywood and Beyond. Limelight Editions.
[293]
Vachon, C. and Bunn, A. 2007. A Killer Life: How an Independent Film Producer Survives Deals and Disasters in Hollywood and Beyond. Limelight Editions.
[294]
Vachon, C. and Edelstein, D. 2002. Shooting to Kill: How an Independent Producer Blasts Through the Barriers to Make Movies That Matter. Quill.
[295]
Vachon, C. and Edelstein, D. 2002. Shooting to Kill: How an Independent Producer Blasts Through the Barriers to Make Movies That Matter. Quill.
[296]
Van Sijll, J. 2005. Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know. Michael Wiese.
[297]
Vaughan, D. 1983. Portrait of an Invisible Man: Working Life of Stewart McAllister, Film Editor. BFI Publishing.
[298]
Vertov, D. and Michelson, A. 1984. Kino-Eye. California University Press.
[299]
Vogler, C. 2007. The Writer’s Journey: Mythic Structure for Writers. Michael Wiese Productions.
[300]
Von Sternberg, J. 1965. Fun in a Chinese Laundry. Macmillan.
[301]
Walter, E. 1982. The Technique of the Film Cutting Room. Focal Press.
[302]
Screen International.
