Ashby, Justine, and Andrew Higson, British Cinema: Past and Present (London: Routledge, 2000)
Auty, Martyn, and Nick Roddick, British Cinema Now (London: British Film Institute, 1985)
Barr, Charles, All Our Yesterdays: 90 Years of British Cinema (London: BFI Pub, 1986)
Barrow, Sarah, and John White, Fifty Key British Films (London: Routledge, 2008), Routledge key guides
Bell, Melanie, and Melanie Williams, British Women’s Cinema (London: Routledge, 2010), British popular cinema
———, British Women’s Cinema (London: Routledge, 2009) <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203872000>
Bordwell, David, ‘The Art Cinema as a Mode of Film Practice’, Film Criticism, 4.1 (1979), 56–64 <http://www.jstor.org/stable/44018650>
Brown, Maggie, A Licence to Be Different: The Story of Channel 4 (London: BFI, 2007)
Chapman, James, Past and Present: National Identity and the British Historical Film (London: I. B. Tauris, 2005), Cinema and society <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9786000009908>
Chibnall, Steve, and Robert Murphy, British Crime Cinema (Routledge, 1999), British Popular Cinema series
———, British Crime Cinema (London: Routledge, 2005) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=237304>
Chibnall, Steve, and Julian Petley, British Horror Cinema (London: Routledge, 2001)
Curran, James, and Vincent Porter, British Cinema History (London: Weidenfeld and Nicolson, 1983)
Dave, Paul, ‘Tragedy, Ethics and History in Contemporary British Social Realist Film’, in British Social Realism in the Arts Since 1940 (Basingstoke: Palgrave Macmillan, 2011), pp. 17–56 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780230306387>
———, Visions of England: Class and Culture in Contemporary Cinema (Oxford: Berg, 2006), Talking images series
Dyja, Eddie, Studying British Cinema: The 1990s (Leighton Buzzard: Auteur, 2010)
Eley, Geoff, ‘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, 1995), pp. 17–43
Elliott, Paul, Studying the British Crime Film (Leighton Buzzard: Auteur Publishing, 2014), Studying british cinema series
Everett, Wendy, Terence Davies (Manchester: Manchester University Press, 2004)
Farley, Paul, Distant Voices, Still Lives (London: British Film Institute, 2006)
Fitzgerald, John, Studying British Cinema, 1999-2009 (Leighton Buzzard: Auteur, 2010)
Forrest, David, ‘Better Things (Duane Hopkins, 2008) and New British Realism’, New Cinemas: Journal of Contemporary Film, 8.1 (2010), 31–43 <https://doi.org/10.1386/ncin.8.1.31_1>
Friedman, Lester D., Fires Were Started: British Cinema and Thatcherism, 2nd ed (London: Wallflower, 2006)
Hacker, Jonathan, and David Price, Take Ten: Contemporary British Film Directors (Oxford: Clarendon, 1991)
Hallam, Julia, ‘Film, Class and National Identity: Re-Imagining Communities’, in British Cinema: Past and Present (London: Routledge, 2000), pp. 261–73
Higson, Andrew, Dissolving Views: Key Writings on British Cinema (London: Cassell, 1996), Rethinking British cinema
———, English Heritage, English Cinema: Costume Drama Since 1980 (Oxford: Oxford University Press, 2003)
———, Film England (London: I.B. Tauris, 2011) <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780857718976>
Hill, John, British Cinema in the 1980s: Issues and Themes (Oxford: Clarendon Press, 1999)
———, Ken Loach: The Politics of Film and Television (London: BFI/Palgrave MacMillan, 2011)
———, ‘Politics, Realism and Ken Loach’, in Cinema and Politics: Turkish Cinema and New Europe (New Castle upon Tyne: Cambridge Scholars, 2009), pp. 70–81 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781443804158>
Hunter, I. Q., and Laraine Porter, British Comedy Cinema (London: Routledge, 2012), British popular cinema <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203146330>
Hunter, I.Q., and Laraine Porter, British Comedy Cinema (New York: Routledge, 2012), British popular cinema
Knight, Deborah, ‘Naturalism, Narration and Critical Perspective: Ken Loach and the Experimental Method’, in Agent of Challenge and Defiance: The Films of Ken Loach (Trowbridge: Flick, 1997), Cinema voices, 60–81
———, ‘"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, 1997), Cinema voices
Lawrence, Amy, The Films of Peter Greenaway (Cambridge: Cambridge University Press, 1997), Cambridge film classics
Lay, Samantha, British Social Realism: From Documentary to Brit Grit (London: Wallflower, 2002), Short cuts
———, British Social Realism: From Documentary to Brit Grit (London: Wallflower, 2002), Short cuts
Leach, Jim, British Film (Cambridge: Cambridge University Press, 2004), National film traditions
Leggott, James, Contemporary British Cinema: From Heritage to Horror (London: Wallflower Press, 2008), Short cuts
———, Contemporary British Cinema: From Heritage to Horror (London: Wallflower Press, 2008), Short cuts
Leigh, Jacob, The Cinema of Ken Loach: Art in the Service of the People (London: Wallflower Press, 2002), Directors’ cuts
———, The Cinema of Ken Loach: Art in the Service of the People (London: Wallflower Press, 2002), Directors’ cuts
Loach, Ken, and Graham Fuller, Loach on Loach (London: Faber, 1998)
Mather, Nigel, Tears of Laughter: Comedy-Drama in 1990s British Cinema (Manchester: Manchester University Press, 2006)
McFarlane, Brian, The Cinema of Britain and Ireland (London: Wallflower, 2005)
McKnight, George, Agent of Challenge and Defiance: The Films of Ken Loach (Trowbridge: Flick, 1997), Cinema voices
Monk, Claire, Heritage Film Audiences: Period Films and Contemporary Audiences in the UK (Edinburgh: Edinburgh University Press, 2011) <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=6721486270002671&institutionId=2671&customerId=2670>
Monk, Claire and Dawsonera, Heritage Film Audiences: Period Films and Contemporary Audiences in the UK (Edinburgh: Edinburgh University Press, 2011) <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780748647040>
Monk, Claire, and Amy Sargeant, British Historical Cinema: The History, Heritage and Costume Film (London: Routledge, 2002), British popular cinema
Murphy, Robert, British Cinema of the 90s (London: British Film Institute, 2000)
———, British Cinema of the 90s (London: British Film Institute, 2000)
———, The British Cinema Book, 2nd ed (London: BFI, 2001)
Neale, Steve, ‘Art Cinema as Institution’, Screen, 22.1 (1981), 11–40 <https://doi.org/10.1093/screen/22.1.11>
O’Pray, Michael, ‘The British Avant-Garde and Art Cinema from the 1970s to the 1990s’, in Dissolving Views: Key Writings on British Cinema (London: Cassell, 1996), Rethinking British cinema, 178–90
Orr, John, Romantics and Modernists in British Cinema (Edinburgh: Edinburgh University Press, 2012), Edinburgh studies in film <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=6716971420002671&institutionId=2671&customerId=2670>
———, ‘The Art of National Identity: Peter Greenaway and Derek Jarman’, in British Cinema: Past and Present (London: Routledge, 2000), pp. 327–38
Pally, Marcia, ‘Order vs. Chaos: The Films of Peter Greenaway’, Cinéaste, 18.3 (1991), 3–37 <http://www.jstor.org/stable/41687085>
Pidduck, Julianne, Contemporary Costume Film: Space, Place and the Past (London: BFI, 2004)
Pirie, David, A New Heritage of Horror: The English Gothic Cinema, [New ed.] (London: I. B. Tauris, 2008)
Rose, James, Beyond Hammer: British Horror Cinema Since 1970 (Leighton Buzzard: Auteur, 2009)
Sargeant, Amy, British Cinema: A Critical History (London: British Film Institute, 2005)
Simpson, M. J., Urban Terrors: New British Horror Cinema, 1997-2008 (Bristol: Hemlock Books, 2012)
Smith, Justin, Withnail and Us: Cult Films and Film Cults in British Cinema (London: I. B. Tauris, 2010), Cinema and society <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=6726528780002671&institutionId=2671&customerId=2670>
Smith, Murray, ‘Modernism and the Avant-Gardes’, in The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp. 395–412
Street, Sarah, British National Cinema, 2nd ed (London: Routledge, 2009)
———, British National Cinema (London: Routledge, 2009) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=432836>
Vidal, Belen, Heritage Film: Nation, Genre and Representation (London: Wallflower, 2012), Short cuts series <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=909598>
Walsh, Michael, ‘Allegories of Thatcherism: The Films of Peter Greenaway’, in British Cinema and Thatcherism (London: UCL Press, 1993), pp. 255–77
Wayne, Mike, The Politics of Contemporary European Cinema (Bristol: Intellect, 2002)
———, The Politics of Contemporary European Cinema: Histories, Borders, Diasporas (Bristol, UK: Intellect Books, 2002) <http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=47661>
Williams, Raymond, ‘A Lecture on Realism’, Screen, 18.1 (1977), 61–74 <https://doi.org/10.1093/screen/18.1.61>
Wollen, Peter, ‘“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, 1993)
Wollen, Tana, ‘Over Our Shoulders: Nostalgic Screen Fictions for the 1980s’, in Enterprise and Heritage: Crosscurrents of National Culture (London: Routledge, 1991), pp. 178–93
———, ‘Over Our Shoulders: Nostalgic Screen Fictions for the 1980s’, in Enterprise and Heritage: Crosscurrents of National Culture (London: Routledge, 1991), pp. 178–93 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203991947>
Woods, Alan, Being Naked, Playing Dead: The Art of Peter Greenaway (Manchester: Manchester University Press, 1996)
