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Ashby J, Higson A. British Cinema: Past and Present. Routledge; 2000.
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Barr C. All Our Yesterdays: 90 Years of British Cinema. BFI Pub; 1986.
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Barrow S, White J. Fifty Key British Films. Vol Routledge key guides. Routledge; 2008.
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Curran J, Porter V. British Cinema History. Weidenfeld and Nicolson; 1983.
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Higson A. Dissolving Views: Key Writings on British Cinema. Vol Rethinking British cinema. Cassell; 1996.
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Leach J. British Film. Vol National film traditions. Cambridge University Press; 2004.
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McFarlane B. The Cinema of Britain and Ireland. Wallflower; 2005.
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Murphy R. The British Cinema Book. 2nd ed. BFI; 2001.
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Sargeant A. British Cinema: A Critical History. British Film Institute; 2005.
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Street S. British National Cinema. 2nd ed. Routledge; 2009.
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Street S. British National Cinema. Routledge; 2009. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=432836
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Auty M, Roddick N. British Cinema Now. British Film Institute; 1985.
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Brown M. A Licence to Be Different: The Story of Channel 4. BFI; 2007.
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Dyja E. Studying British Cinema: The 1990s. Auteur; 2010.
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Fitzgerald J. Studying British Cinema, 1999-2009. Auteur; 2010.
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Friedman LD. Fires Were Started: British Cinema and Thatcherism. 2nd ed. Wallflower; 2006.
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Hacker J, Price D. Take Ten: Contemporary British Film Directors. Clarendon; 1991.
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Murphy R. British Cinema of the 90s. British Film Institute; 2000.
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Hill J. British Cinema in the 1980s: Issues and Themes. Clarendon Press; 1999.
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Leggott J. Contemporary British Cinema: From Heritage to Horror. Vol Short cuts. Wallflower Press; 2008.
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Leggott J. Contemporary British Cinema: From Heritage to Horror. Vol Short cuts. Wallflower Press; 2008.
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Murphy R. British Cinema of the 90s. British Film Institute; 2000.
23.
Chapman J. Past and Present: National Identity and the British Historical Film. Vol Cinema and society. I. B. Tauris; 2005. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9786000009908
24.
Higson A. English Heritage, English Cinema: Costume Drama Since 1980. Oxford University Press; 2003.
25.
Higson A. Film England. I.B. Tauris; 2011. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780857718976
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Monk C, Dawsonera. Heritage Film Audiences: Period Films and Contemporary Audiences in the UK. Edinburgh University Press; 2011. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780748647040
27.
Monk C. Heritage Film Audiences: Period Films and Contemporary Audiences in the UK. Edinburgh University Press; 2011. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=6721486270002671&institutionId=2671&customerId=2670
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Monk C, Sargeant A. British Historical Cinema: The History, Heritage and Costume Film. Vol British popular cinema. Routledge; 2002.
29.
Pidduck J. Contemporary Costume Film: Space, Place and the Past. BFI; 2004.
30.
Vidal B. Heritage Film: Nation, Genre and Representation. Vol Short cuts series. Wallflower; 2012. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=909598
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Wollen T. Over Our Shoulders: Nostalgic Screen Fictions for the 1980s. In: Enterprise and Heritage: Crosscurrents of National Culture. Routledge; 1991:178-193.
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Wollen T. Over Our Shoulders: Nostalgic Screen Fictions for the 1980s. In: Enterprise and Heritage: Crosscurrents of National Culture. Routledge; 1991:178-193. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203991947
33.
Dave P. Visions of England: Class and Culture in Contemporary Cinema. Vol Talking images series. Berg; 2006.
34.
Dave P. Tragedy, Ethics and History in Contemporary British Social Realist Film. In: British Social Realism in the Arts Since 1940. Palgrave Macmillan; 2011:17-56. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780230306387
35.
Forrest D. Better Things (Duane Hopkins, 2008) and New British Realism. New Cinemas: Journal of Contemporary Film. 2010;8(1):31-43. doi:10.1386/ncin.8.1.31_1
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Loach K, Fuller G. Loach on Loach. Faber; 1998.
37.
Hallam J. Film, Class and National Identity: Re-imagining Communities. In: British Cinema: Past and Present. Routledge; 2000:261-273.
38.
Hill J. Politics, Realism and Ken Loach. In: Cinema and Politics: Turkish Cinema and New Europe. Cambridge Scholars; 2009:70-81. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781443804158
39.
Hill J. Ken Loach: The Politics of Film and Television. BFI/Palgrave MacMillan; 2011.
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Knight D. Naturalism, Narration and Critical Perspective: Ken Loach and the Experimental Method. In: Agent of Challenge and Defiance: The Films of Ken Loach. Vol Cinema voices. Flick; 1997:60-81.
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Lay S. British Social Realism: From Documentary to Brit Grit. Vol Short cuts. Wallflower; 2002.
42.
Leigh J. The Cinema of Ken Loach: Art in the Service of the People. Vol Directors’ cuts. Wallflower Press; 2002.
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Knight D. "Naturalism, Narration and Critical Perspective: Ken Loach and the Experimental Method” in Agent of Challenge and Defiance: The Films of Ken Loach. In: Agent of Challenge and Defiance: The Films of Ken Loach. Vol Cinema voices. Flick; 1997.
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Lay S. British Social Realism: From Documentary to Brit Grit. Vol Short cuts. Wallflower; 2002.
45.
Leigh J. The Cinema of Ken Loach: Art in the Service of the People. Vol Directors’ cuts. Wallflower Press; 2002.
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McKnight G. Agent of Challenge and Defiance: The Films of Ken Loach. Vol Cinema voices. Flick; 1997.
47.
Williams R. A Lecture on Realism. Screen. 1977;18(1):61-74. doi:10.1093/screen/18.1.61
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Bordwell D. The Art Cinema as a Mode of Film Practice. Film Criticism. 1979;4(1):56-64. http://www.jstor.org/stable/44018650
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Eley G. Distant Voices, Still Lives The Family is a Dangerous Place: Memory Gender, and the Image of the Working Class. In: Revisioning History: Film and the Construction of a New Past. Princeton University Press; 1995:17-43.
50.
Everett W. Terence Davies. Manchester University Press; 2004.
51.
Farley P. Distant Voices, Still Lives. British Film Institute; 2006.
52.
Lawrence A. The Films of Peter Greenaway. Vol Cambridge film classics. Cambridge University Press; 1997.
53.
Neale S. Art Cinema as Institution. Screen. 1981;22(1):11-40. doi:10.1093/screen/22.1.11
54.
O’Pray M. The British Avant-Garde and Art Cinema from the 1970s to the 1990s. In: Dissolving Views: Key Writings on British Cinema. Vol Rethinking British cinema. Cassell; 1996:178-190.
55.
Orr J. The Art of National Identity: Peter Greenaway and Derek Jarman. In: British Cinema: Past and Present. Routledge; 2000:327-338.
56.
Orr J. Romantics and Modernists in British Cinema. Vol Edinburgh studies in film. Edinburgh University Press; 2012. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=6716971420002671&institutionId=2671&customerId=2670
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Pally M. Order vs. Chaos: The Films of Peter Greenaway. Cinéaste. 1991;18(3):3-37. http://www.jstor.org/stable/41687085
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Smith M. Modernism and the Avant-Gardes. In: The Oxford Guide to Film Studies. Oxford University Press; 1998:395-412.
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Walsh M. Allegories of Thatcherism: The Films of Peter Greenaway. In: British Cinema and Thatcherism. UCL Press; 1993:255-277.
60.
Wayne M. The Politics of Contemporary European Cinema. Intellect; 2002.
61.
Wayne M. The Politics of Contemporary European Cinema: Histories, Borders, Diasporas. Intellect Books; 2002. http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=47661
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Wollen P. ‘The Last New Wave: Modernism in the British Films of the Thatcher Era’, in British Cinema and Thatcherism: Fires Were Started. In: British Cinema and Thatcherism: Fires Were Started. UCL Press; 1993.
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Woods A. Being Naked, Playing Dead: The Art of Peter Greenaway. Manchester University Press; 1996.
64.
Bell M, Williams M. British Women’s Cinema. Vol British popular cinema. Routledge; 2010.
65.
Bell M, Williams M. British Women’s Cinema. Routledge; 2009. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203872000
66.
Chibnall S, Petley J. British Horror Cinema. Routledge; 2001.
67.
Chibnall S, Murphy R. British Crime Cinema. Vol British Popular Cinema series. Routledge; 1999.
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Chibnall S, Murphy R. British Crime Cinema. Routledge; 2005. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=237304
69.
Elliott P. Studying the British Crime Film. Vol Studying british cinema series. Auteur Publishing; 2014.
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Hunter IQ, Porter L. British Comedy Cinema. Vol British popular cinema. Routledge; 2012.
71.
Hunter IQ, Porter L. British Comedy Cinema. Vol British popular cinema. Routledge; 2012. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203146330
72.
Mather N. Tears of Laughter: Comedy-Drama in 1990s British Cinema. Manchester University Press; 2006.
73.
Pirie D. A New Heritage of Horror: The English Gothic Cinema. [New ed.]. I. B. Tauris; 2008.
74.
Rose J. Beyond Hammer: British Horror Cinema Since 1970. Auteur; 2009.
75.
Simpson MJ. Urban Terrors: New British Horror Cinema, 1997-2008. Hemlock Books; 2012.
76.
Smith J. Withnail and Us: Cult Films and Film Cults in British Cinema. Vol Cinema and society. I. B. Tauris; 2010. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=6726528780002671&institutionId=2671&customerId=2670