Ashby, Justine, and Andrew Higson, British Cinema: Past and Present (Routledge, 2000)
Auty, Martyn, and Nick Roddick, British Cinema Now (British Film Institute, 1985)
Barr, Charles, All Our Yesterdays: 90 Years of British Cinema (BFI Pub, 1986)
Barrow, Sarah, and John White, Fifty Key British Films (Routledge, 2008), Routledge key guides
Bell, Melanie, and Melanie Williams, British Women’s Cinema (Routledge, 2010), British popular cinema
——, and Melanie Williams, British Women’s Cinema (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), pp. 56–64 <http://www.jstor.org/stable/44018650>
Brown, Maggie, A Licence to Be Different: The Story of Channel 4 (BFI, 2007)
Chapman, James, Past and Present: National Identity and the British Historical Film (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
——, and Robert Murphy, British Crime Cinema (Routledge, 2005) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=237304>
——, and Julian Petley, British Horror Cinema (Routledge, 2001)
Curran, James, and Vincent Porter, British Cinema History (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 (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 (Berg, 2006), Talking images series
Dyja, Eddie, Studying British Cinema: The 1990s (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 University Press, 1995), pp. 17–43
Elliott, Paul, Studying the British Crime Film (Auteur Publishing, 2014), Studying british cinema series
Everett, Wendy, Terence Davies (Manchester University Press, 2004)
Farley, Paul, Distant Voices, Still Lives (British Film Institute, 2006)
Fitzgerald, John, Studying British Cinema, 1999-2009 (Auteur, 2010)
Forrest, David, ‘Better Things (Duane Hopkins, 2008) and New British Realism’, New Cinemas: Journal of Contemporary Film, 8.1 (2010), pp. 31–43, doi:10.1386/ncin.8.1.31_1
Friedman, Lester D., Fires Were Started: British Cinema and Thatcherism, 2nd ed (Wallflower, 2006)
Hacker, Jonathan, and David Price, Take Ten: Contemporary British Film Directors (Clarendon, 1991)
Hallam, Julia, ‘Film, Class and National Identity: Re-Imagining Communities’, in British Cinema: Past and Present (Routledge, 2000), pp. 261–73
Higson, Andrew, Dissolving Views: Key Writings on British Cinema (Cassell, 1996), Rethinking British cinema
——, English Heritage, English Cinema: Costume Drama Since 1980 (Oxford University Press, 2003)
——, Film England (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 (Clarendon Press, 1999)
——, Ken Loach: The Politics of Film and Television (BFI/Palgrave MacMillan, 2011)
——, ‘Politics, Realism and Ken Loach’, in Cinema and Politics: Turkish Cinema and New Europe (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 (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 (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 (Flick, 1997), Cinema voices, pp. 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 (Flick, 1997), Cinema voices
Lawrence, Amy, The Films of Peter Greenaway (Cambridge University Press, 1997), Cambridge film classics
Lay, Samantha, British Social Realism: From Documentary to Brit Grit (Wallflower, 2002), Short cuts
——, British Social Realism: From Documentary to Brit Grit (Wallflower, 2002), Short cuts
Leach, Jim, British Film (Cambridge University Press, 2004), National film traditions
Leggott, James, Contemporary British Cinema: From Heritage to Horror (Wallflower Press, 2008), Short cuts
——, Contemporary British Cinema: From Heritage to Horror (Wallflower Press, 2008), Short cuts
Leigh, Jacob, The Cinema of Ken Loach: Art in the Service of the People (Wallflower Press, 2002), Directors’ cuts
——, The Cinema of Ken Loach: Art in the Service of the People (Wallflower Press, 2002), Directors’ cuts
Loach, Ken, and Graham Fuller, Loach on Loach (Faber, 1998)
Mather, Nigel, Tears of Laughter: Comedy-Drama in 1990s British Cinema (Manchester University Press, 2006)
McFarlane, Brian, The Cinema of Britain and Ireland (Wallflower, 2005)
McKnight, George, Agent of Challenge and Defiance: The Films of Ken Loach (Flick, 1997), Cinema voices
Monk, Claire, 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>
—— and 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>
——, and Amy Sargeant, British Historical Cinema: The History, Heritage and Costume Film (Routledge, 2002), British popular cinema
Murphy, Robert, British Cinema of the 90s (British Film Institute, 2000)
——, British Cinema of the 90s (British Film Institute, 2000)
——, The British Cinema Book, 2nd ed (BFI, 2001)
Neale, Steve, ‘Art Cinema as Institution’, Screen, 22.1 (1981), pp. 11–40, doi: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 (Cassell, 1996), Rethinking British cinema, pp. 178–90
Orr, John, Romantics and Modernists in British Cinema (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 (Routledge, 2000), pp. 327–38
Pally, Marcia, ‘Order vs. Chaos: The Films of Peter Greenaway’, Cinéaste, 18.3 (1991), pp. 3–37 <http://www.jstor.org/stable/41687085>
Pidduck, Julianne, Contemporary Costume Film: Space, Place and the Past (BFI, 2004)
Pirie, David, A New Heritage of Horror: The English Gothic Cinema, [New ed.] (I. B. Tauris, 2008)
Rose, James, Beyond Hammer: British Horror Cinema Since 1970 (Auteur, 2009)
Sargeant, Amy, British Cinema: A Critical History (British Film Institute, 2005)
Simpson, M. J., Urban Terrors: New British Horror Cinema, 1997-2008 (Hemlock Books, 2012)
Smith, Justin, Withnail and Us: Cult Films and Film Cults in British Cinema (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 University Press, 1998), pp. 395–412
Street, Sarah, British National Cinema, 2nd ed (Routledge, 2009)
——, British National Cinema (Routledge, 2009) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=432836>
Vidal, Belen, Heritage Film: Nation, Genre and Representation (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 (UCL Press, 1993), pp. 255–77
Wayne, Mike, The Politics of Contemporary European Cinema (Intellect, 2002)
——, 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>
Williams, Raymond, ‘A Lecture on Realism’, Screen, 18.1 (1977), pp. 61–74, doi: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 (UCL Press, 1993)
Wollen, Tana, ‘Over Our Shoulders: Nostalgic Screen Fictions for the 1980s’, in Enterprise and Heritage: Crosscurrents of National Culture (Routledge, 1991), pp. 178–93
——, ‘Over Our Shoulders: Nostalgic Screen Fictions for the 1980s’, in Enterprise and Heritage: Crosscurrents of National Culture (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 University Press, 1996)
