Ashby, Justine, and Andrew Higson. British Cinema: Past and Present. London: Routledge, 2000. Print.
Auty, Martyn, and Nick Roddick. British Cinema Now. London: British Film Institute, 1985. Print.
Barr, Charles. All Our Yesterdays: 90 Years of British Cinema. London: BFI Pub, 1986. Print.
Barrow, Sarah, and John White. Fifty Key British Films. Routledge key guides. London: Routledge, 2008. Print.
Bell, Melanie, and Melanie Williams. British Women’s Cinema. British popular cinema. London: Routledge, 2010. Print.
---. British Women’s Cinema. London: Routledge, 2009. Web. <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. Web. <http://www.jstor.org/stable/44018650>.
Brown, Maggie. A Licence to Be Different: The Story of Channel 4. London: BFI, 2007. Print.
Chapman, James. Past and Present: National Identity and the British Historical Film. Cinema and society. London: I. B. Tauris, 2005. Web. <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. British Popular Cinema series. Routledge, 1999. Print.
---. British Crime Cinema. London: Routledge, 2005. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=237304>.
Chibnall, Steve, and Julian Petley. British Horror Cinema. London: Routledge, 2001. Print.
Curran, James, and Vincent Porter. British Cinema History. London: Weidenfeld and Nicolson, 1983. Print.
Dave, Paul. ‘Tragedy, Ethics and History in Contemporary British Social Realist Film’. British Social Realism in the Arts Since 1940. Basingstoke: Palgrave Macmillan, 2011. 17–56. Web. <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. Talking images series. Oxford: Berg, 2006. Print.
Dyja, Eddie. Studying British Cinema: The 1990s. Leighton Buzzard: Auteur, 2010. Print.
Eley, Geoff. ‘Distant Voices, Still Lives The Family Is a Dangerous Place: Memory Gender, and the Image of the Working Class’. Revisioning History: Film and the Construction of a New Past. Princeton, N.J.: Princeton University Press, 1995. 17–43. Print.
Elliott, Paul. Studying the British Crime Film. Studying british cinema series. Leighton Buzzard: Auteur Publishing, 2014. Print.
Everett, Wendy. Terence Davies. Manchester: Manchester University Press, 2004. Print.
Farley, Paul. Distant Voices, Still Lives. London: British Film Institute, 2006. Print.
Fitzgerald, John. Studying British Cinema, 1999-2009. Leighton Buzzard: Auteur, 2010. Print.
Forrest, David. ‘Better Things (Duane Hopkins, 2008) and New British Realism’. New Cinemas: Journal of Contemporary Film 8.1 (2010): 31–43. Web.
Friedman, Lester D. Fires Were Started: British Cinema and Thatcherism. 2nd ed. London: Wallflower, 2006. Print.
Hacker, Jonathan, and David Price. Take Ten: Contemporary British Film Directors. Oxford: Clarendon, 1991. Print.
Hallam, Julia. ‘Film, Class and National Identity: Re-Imagining Communities’. British Cinema: Past and Present. London: Routledge, 2000. 261–273. Print.
Higson, Andrew. Dissolving Views: Key Writings on British Cinema. Rethinking British cinema. London: Cassell, 1996. Print.
---. English Heritage, English Cinema: Costume Drama Since 1980. Oxford: Oxford University Press, 2003. Print.
---. Film England. London: I.B. Tauris, 2011. Web. <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. Print.
---. Ken Loach: The Politics of Film and Television. London: BFI/Palgrave MacMillan, 2011. Print.
---. ‘Politics, Realism and Ken Loach’. Cinema and Politics: Turkish Cinema and New Europe. New Castle upon Tyne: Cambridge Scholars, 2009. 70–81. Web. <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. British popular cinema. London: Routledge, 2012. Web. <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. British popular cinema. New York: Routledge, 2012. Print.
Knight, Deborah. ‘Naturalism, Narration and Critical Perspective: Ken Loach and the Experimental Method’. Agent of Challenge and Defiance: The Films of Ken Loach. Cinema voices. Trowbridge: Flick, 1997. 60–81. Print.
---. ‘"Naturalism, Narration and Critical Perspective: Ken Loach and the Experimental Method” in Agent of Challenge and Defiance: The Films of Ken Loach’. Agent of Challenge and Defiance: The Films of Ken Loach. Cinema voices. Trowbridge: Flick, 1997. Print.
Lawrence, Amy. The Films of Peter Greenaway. Cambridge film classics. Cambridge: Cambridge University Press, 1997. Print.
Lay, Samantha. British Social Realism: From Documentary to Brit Grit. Short cuts. London: Wallflower, 2002. Print.
---. British Social Realism: From Documentary to Brit Grit. Short cuts. London: Wallflower, 2002. Print.
Leach, Jim. British Film. National film traditions. Cambridge: Cambridge University Press, 2004. Print.
Leggott, James. Contemporary British Cinema: From Heritage to Horror. Short cuts. London: Wallflower Press, 2008. Print.
---. Contemporary British Cinema: From Heritage to Horror. Short cuts. London: Wallflower Press, 2008. Print.
Leigh, Jacob. The Cinema of Ken Loach: Art in the Service of the People. Directors’ cuts. London: Wallflower Press, 2002. Print.
---. The Cinema of Ken Loach: Art in the Service of the People. Directors’ cuts. London: Wallflower Press, 2002. Print.
Loach, Ken, and Graham Fuller. Loach on Loach. London: Faber, 1998. Print.
Mather, Nigel. Tears of Laughter: Comedy-Drama in 1990s British Cinema. Manchester: Manchester University Press, 2006. Print.
McFarlane, Brian. The Cinema of Britain and Ireland. London: Wallflower, 2005. Print.
McKnight, George. Agent of Challenge and Defiance: The Films of Ken Loach. Cinema voices. Trowbridge: Flick, 1997. Print.
Monk, Claire. Heritage Film Audiences: Period Films and Contemporary Audiences in the UK. Edinburgh: Edinburgh University Press, 2011. Web. <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. Web. <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. British popular cinema. London: Routledge, 2002. Print.
Murphy, Robert. British Cinema of the 90s. London: British Film Institute, 2000. Print.
---. British Cinema of the 90s. London: British Film Institute, 2000. Print.
---. The British Cinema Book. 2nd ed. London: BFI, 2001. Print.
Neale, Steve. ‘Art Cinema as Institution’. Screen 22.1 (1981): 11–40. Web.
O’Pray, Michael. ‘The British Avant-Garde and Art Cinema from the 1970s to the 1990s’. Dissolving Views: Key Writings on British Cinema. Rethinking British cinema. London: Cassell, 1996. 178–190. Print.
Orr, John. Romantics and Modernists in British Cinema. Edinburgh studies in film. Edinburgh: Edinburgh University Press, 2012. Web. <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’. British Cinema: Past and Present. London: Routledge, 2000. 327–338. Print.
Pally, Marcia. ‘Order vs. Chaos: The Films of Peter Greenaway’. Cinéaste 18.3 (1991): 3–37. Web. <http://www.jstor.org/stable/41687085>.
Pidduck, Julianne. Contemporary Costume Film: Space, Place and the Past. London: BFI, 2004. Print.
Pirie, David. A New Heritage of Horror: The English Gothic Cinema. [New ed.]. London: I. B. Tauris, 2008. Print.
Rose, James. Beyond Hammer: British Horror Cinema Since 1970. Leighton Buzzard: Auteur, 2009. Print.
Sargeant, Amy. British Cinema: A Critical History. London: British Film Institute, 2005. Print.
Simpson, M. J. Urban Terrors: New British Horror Cinema, 1997-2008. Bristol: Hemlock Books, 2012. Print.
Smith, Justin. Withnail and Us: Cult Films and Film Cults in British Cinema. Cinema and society. London: I. B. Tauris, 2010. Web. <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’. The Oxford Guide to Film Studies. Oxford: Oxford University Press, 1998. 395–412. Print.
Street, Sarah. British National Cinema. 2nd ed. London: Routledge, 2009. Print.
---. British National Cinema. London: Routledge, 2009. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=432836>.
Vidal, Belen. Heritage Film: Nation, Genre and Representation. Short cuts series. London: Wallflower, 2012. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=909598>.
Walsh, Michael. ‘Allegories of Thatcherism: The Films of Peter Greenaway’. British Cinema and Thatcherism. London: UCL Press, 1993. 255–277. Print.
Wayne, Mike. The Politics of Contemporary European Cinema. Bristol: Intellect, 2002. Print.
---. The Politics of Contemporary European Cinema: Histories, Borders, Diasporas. Bristol, UK: Intellect Books, 2002. Web. <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. Web.
Wollen, Peter. ‘“The Last New Wave: Modernism in the British Films of the Thatcher Era”, in British Cinema and Thatcherism: Fires Were Started’. British Cinema and Thatcherism: Fires Were Started. London: UCL Press, 1993. Print.
Wollen, Tana. ‘Over Our Shoulders: Nostalgic Screen Fictions for the 1980s’. Enterprise and Heritage: Crosscurrents of National Culture. London: Routledge, 1991. 178–193. Print.
---. ‘Over Our Shoulders: Nostalgic Screen Fictions for the 1980s’. Enterprise and Heritage: Crosscurrents of National Culture. London: Routledge, 1991. 178–193. Web. <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. Print.
