Bibliography for MA3071: Contemporary British Cinema: Issues and Themes (2016-17) BETA

Ashby, J. and Higson, A. (2000) British Cinema: Past and Present. London: Routledge.

Auty, M. and Roddick, N. (1985) British Cinema Now. London: British Film Institute.

Barr, C. (1986) All Our Yesterdays: 90 Years of British Cinema. London: BFI Pub.

Barrow, S. and White, J. (2008) Fifty Key British Films. London: Routledge.

Bell, M. and Williams, M. (2009) British Women’s Cinema [electronic book]. London: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203872000.

Bell, M. and Williams, M. (2010) British Women’s Cinema. London: Routledge.

Bordwell, D. (1979) ‘The Art Cinema as a Mode of Film Practice’, Film Criticism, 4(1), pp. 56–64. Available at: http://www.jstor.org/stable/44018650.

Brown, M. (2007) A Licence to Be Different: The Story of Channel 4. London: BFI.

Chapman, J. (2005) Past and Present: National Identity and the British Historical Film [electronic book]. London: I. B. Tauris. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9786000009908.

Chibnall, S. and Murphy, R. (1999) British Crime Cinema. Routledge.

Chibnall, S. and Murphy, R. (2005) British Crime Cinema [electronic book]. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=237304.

Chibnall, S. and Petley, J. (2001) British Horror Cinema. London: Routledge.

Curran, J. and Porter, V. (1983) British Cinema History. London: Weidenfeld and Nicolson.

Dave, P. (2006) Visions of England: Class and Culture in Contemporary Cinema. Oxford: Berg.

Dave, P. (2011) ‘Tragedy, Ethics and History in Contemporary British Social Realist Film’, in British Social Realism in the Arts Since 1940. Basingstoke: Palgrave Macmillan, pp. 17–56. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780230306387.

Dyja, E. (2010) Studying British Cinema: The 1990s. Leighton Buzzard: Auteur.

Eley, G. (1995) ‘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, N.J.: Princeton University Press, pp. 17–43.

Elliott, P. (2014) Studying the British Crime Film. Leighton Buzzard: Auteur Publishing.

Everett, W. (2004) Terence Davies. Manchester: Manchester University Press.

Farley, P. (2006) Distant Voices, Still Lives. London: British Film Institute.

Fitzgerald, J. (2010) Studying British Cinema, 1999-2009. Leighton Buzzard: Auteur.

Forrest, D. (2010) ‘Better Things (Duane Hopkins, 2008) and New British Realism’, New Cinemas: Journal of Contemporary Film, 8(1), pp. 31–43. Available at: https://doi.org/10.1386/ncin.8.1.31_1.

Friedman, L.D. (2006) Fires Were Started: British Cinema and Thatcherism. 2nd ed. London: Wallflower.

Hacker, J. and Price, D. (1991) Take Ten: Contemporary British Film Directors. Oxford: Clarendon.

Hallam, J. (2000) ‘Film, Class and National Identity: Re-imagining Communities’, in British Cinema: Past and Present. London: Routledge, pp. 261–273.

Higson, A. (1996) Dissolving Views: Key Writings on British Cinema. London: Cassell.

Higson, A. (2003) English Heritage, English Cinema: Costume Drama Since 1980. Oxford: Oxford University Press.

Higson, A. (2011) Film England [electronic book]. London: I.B. Tauris. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780857718976.

Hill, J. (1999) British Cinema in the 1980s: Issues and Themes. Oxford: Clarendon Press.

Hill, J. (2009) ‘Politics, Realism and Ken Loach’, in Cinema and Politics: Turkish Cinema and New Europe. New Castle upon Tyne: Cambridge Scholars, pp. 70–81. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781443804158.

Hill, J. (2011) Ken Loach: The Politics of Film and Television. London: BFI/Palgrave MacMillan.

Hunter, I.Q. and Porter, L. (2012) British Comedy Cinema. New York: Routledge.

Hunter, I. Q. and Porter, L. (2012) British Comedy Cinema [electronic book]. London: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203146330.

Knight, D. (1997a) ‘Naturalism, Narration and Critical Perspective: Ken Loach and the Experimental Method’, in Agent of Challenge and Defiance: The Films of Ken Loach. Trowbridge: Flick, pp. 60–81.

Knight, D. (1997b) ‘"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. Trowbridge: Flick.

Lawrence, A. (1997) The Films of Peter Greenaway. Cambridge: Cambridge University Press.

Lay, S. (2002a) British Social Realism: From Documentary to Brit Grit. London: Wallflower.

Lay, S. (2002b) British Social Realism: From Documentary to Brit Grit. London: Wallflower.

Leach, J. (2004) British Film. Cambridge: Cambridge University Press.

Leggott, J. (2008a) Contemporary British Cinema: From Heritage to Horror. London: Wallflower Press.

Leggott, J. (2008b) Contemporary British Cinema: From Heritage to Horror. London: Wallflower Press.

Leigh, J. (2002a) The Cinema of Ken Loach: Art in the Service of the People. London: Wallflower Press.

Leigh, J. (2002b) The Cinema of Ken Loach: Art in the Service of the People. London: Wallflower Press.

Loach, K. and Fuller, G. (1998) Loach on Loach. London: Faber.

Mather, N. (2006) Tears of Laughter: Comedy-Drama in 1990s British Cinema. Manchester: Manchester University Press.

McFarlane, B. (2005) The Cinema of Britain and Ireland. London: Wallflower.

McKnight, G. (1997) Agent of Challenge and Defiance: The Films of Ken Loach. Trowbridge: Flick.

Monk, C. (2011) Heritage Film Audiences: Period Films and Contemporary Audiences in the UK [electronic resource]. Edinburgh: Edinburgh University Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=6721486270002671&institutionId=2671&customerId=2670.

Monk, C. and Dawsonera (2011) Heritage film audiences: period films and contemporary audiences in the UK [electronic book]. Edinburgh: Edinburgh University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780748647040.

Monk, C. and Sargeant, A. (2002) British Historical Cinema: The History, Heritage and Costume Film. London: Routledge.

Murphy, R. (2000a) British Cinema of the 90s. London: British Film Institute.

Murphy, R. (2000b) British Cinema of the 90s. London: British Film Institute.

Murphy, R. (2001) The British Cinema Book. 2nd ed. London: BFI.

Neale, S. (1981) ‘Art Cinema as Institution’, Screen, 22(1), pp. 11–40. Available at: https://doi.org/10.1093/screen/22.1.11.

O’Pray, M. (1996) ‘The British Avant-Garde and Art Cinema from the 1970s to the 1990s’, in Dissolving Views: Key Writings on British Cinema. London: Cassell, pp. 178–190.

Orr, J. (2000) ‘The Art of National Identity: Peter Greenaway and Derek Jarman’, in British Cinema: Past and Present. London: Routledge, pp. 327–338.

Orr, J. (2012) Romantics and Modernists in British Cinema. Edinburgh: Edinburgh University Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=6716971420002671&institutionId=2671&customerId=2670.

Pally, M. (1991) ‘Order vs. Chaos: The Films of Peter Greenaway’, Cinéaste, 18(3), pp. 3–37. Available at: http://www.jstor.org/stable/41687085.

Pidduck, J. (2004) Contemporary Costume Film: Space, Place and the Past. London: BFI.

Pirie, D. (2008) A New Heritage of Horror: The English Gothic Cinema. [New ed.]. London: I. B. Tauris.

Rose, J. (2009) Beyond Hammer: British Horror Cinema Since 1970. Leighton Buzzard: Auteur.

Sargeant, A. (2005) British Cinema: A Critical History. London: British Film Institute.

Simpson, M.J. (2012) Urban Terrors: New British Horror Cinema, 1997-2008. Bristol: Hemlock Books.

Smith, J. (2010) Withnail and Us: Cult Films and Film Cults in British Cinema. London: I. B. Tauris. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=6726528780002671&institutionId=2671&customerId=2670.

Smith, M. (1998) ‘Modernism and the Avant-Gardes’, in The Oxford Guide to Film Studies. Oxford: Oxford University Press, pp. 395–412.

Street, S. (2009a) British National Cinema. 2nd ed. London: Routledge.

Street, S. (2009b) British National Cinema [electronic book]. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=432836.

Vidal, B. (2012) Heritage Film: Nation, Genre and Representation. London: Wallflower. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=909598.

Walsh, M. (1993) ‘Allegories of Thatcherism: The Films of Peter Greenaway’, in British Cinema and Thatcherism. London: UCL Press, pp. 255–277.

Wayne, M. (2002a) The Politics of Contemporary European Cinema. Bristol: Intellect.

Wayne, M. (2002b) The Politics of Contemporary European Cinema: Histories, Borders, Diasporas [electronic book]. Bristol, UK: Intellect Books. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=47661.

Williams, R. (1977) ‘A Lecture on Realism’, Screen, 18(1), pp. 61–74. Available at: https://doi.org/10.1093/screen/18.1.61.

Wollen, P. (1993) ‘“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. London: UCL Press.

Wollen, T. (1991a) ‘Over Our Shoulders: Nostalgic Screen Fictions for the 1980s’, in Enterprise and Heritage: Crosscurrents of National Culture. London: Routledge, pp. 178–193.

Wollen, T. (1991b) ‘Over Our Shoulders: Nostalgic Screen Fictions for the 1980s’, in Enterprise and Heritage: Crosscurrents of National Culture. London: Routledge, pp. 178–193. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203991947.

Woods, A. (1996) Being Naked, Playing Dead: The Art of Peter Greenaway. Manchester: Manchester University Press.