Barlow, Judith E., Plays by American Women, 1900-1930 (New York, N.Y.: Applause Theatre Book Publishers, 1985)
Crucifixion
‘Dirty Harry (1971)’ (ITV4) <https://learningonscreen.ac.uk/ondemand/index.php/prog/00EB3D15?bcast=121086592>
Dmytryk, Edward, Dick Powell, Claire Trevor, and Anne Shirley, ‘(Farewell, My Lovely) Orginial Title: Murder My Sweet’ ([S.l.]: Universal Pictures, 2008)
‘Double Indemnity (1944)’ (FilmFour) <https://learningonscreen.ac.uk/ondemand/index.php/prog/00088910?bcast=122723402>
Eisner, Lotte H., The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt (Berkeley, Calif: University of California Press, 2008)
———, The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt (Berkeley, Calif: University of California Press, 2008)
———, The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt (Berkeley, Calif: University of California Press, 2008)
Gordon, Mel, Expressionist Texts (New York: PAJ Publications, 1986)
———, ‘German Expressionist Acting’, The Drama Review: TDR, 19.3 (1975) <https://doi.org/10.2307/1144991>
Hayman, Ronald, The German Theatre: A Symposium (London: Wolff, 1975)
Innes, Christopher, Avant Garde Theatre, 1892-1992 (London: Routledge, 1993)
Innes, Christopher, and C. D. Innes, Avant Garde Theatre, 1892-1992 (London: Routledge, 1993) <http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=2091>
J. A. Place and L. S. Peterson, ‘SOME VISUAL MOTIFS OF FILM NOIR’, Film Comment, 10.1 (1974), 30–35 <http://www.jstor.org/stable/43451251?seq=1#page_scan_tab_contents>
Jameson, Fredric, The Geopolitical Aesthetic: Cinema and Space in the World System (Bloomington: Indiana University Press, 1992)
Kaplan, E. Ann, Women and Film: Both Sides of the Camera (London: Routledge, 1988)
———, Women and Film: Both Sides of the Camera (New York: Routledge, 1988) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3060342>
———, Women in Film Noir, New ed (London: B.F.I., 1998)
Lang, Fritz, Alfred Abel, and Brigitte Helm, ‘Metropolis’ ([S.l.]: Kino, 2010)
———, ‘Metropolis’ ([S.l.]: Kino, 2010)
Lang, Fritz, Glenn Ford, Gloria Grahame, and Lee Marvin, ‘The Big Heat’ ([S.l.]: Columbia Pictures, 2001)
Lang, Fritz, and Rudolf Klein-Rogge, ‘Spione = Spies’ ([S.l.]: Eureka, 2005)
Lang, Fritz, and Peter Lorre, ‘M’ ([S.l.]: Criterion, 2004)
Lang, Fritz, Otto Wernicke, and Rudolf Klein-Rogge, ‘The Testament of Dr Mabuse = Das Testament Des Dr Mabuse’ ([S.l.]: Eureka)
Laughton, Charles, Robert Mitchum, and Shelley Winters, ‘The Night of the Hunter’ ([S.l.]: MGM.)
‘Metropolis (1927)’ (FilmFour) <https://learningonscreen.ac.uk/ondemand/index.php/prog/000FC741?bcast=116788570>
‘———’ (FilmFour) <https://learningonscreen.ac.uk/ondemand/index.php/prog/000FC741?bcast=116788570>
Murnau, F. W., and Emil Jannings, ‘Faust’ ([S.l.]: Eureka)
Murnau, Friedrich Wilhelm, and Max Schreck, ‘Nosferatu’ ([S.l.]: Eureka Video, 2000)
Neale, S., ‘Masculinity as Spectacle’, Screen, 24.6 (1983), 2–17 <https://doi.org/10.1093/screen/24.6.2>
O’Neill, Eugene, The Hairy Ape: And Other Plays (London: Cape, 1923)
Pabst, G. W., and Louise Brooks, ‘Pandora’s Box’ ([S.l.]: Second Sight, 2002)
Pabst, G. W., Louise Brooks, Fritz Rasp, and Edith Meinhard, ‘Diary of a Lost Girl = Das Tagebuch Einer Verlorenen’ ([S.l.]: Eureka / Masters of Cinema)
Pabst, G. W, and Greta Garbo, ‘The Joyless Street’ ([S.l.]: Timeless Multimedia, 1995)
‘Paint It Black: The Family Tree of Film Noir’ <https://atomicanxietyblog.files.wordpress.com/2012/09/51818818-raymond-durgnat-the-family-tree-of-the-film-noir.pdf>
Pakula, Alan J, and Warren Beatty, ‘The Parallax View’ (Paramount Pictures, 2004)
Paul Schrader, ‘Notes on Film Noir’, Film Comment, 8.1 (1972), 8–13 <http://www.jstor.org/stable/43752885?seq=1#page_scan_tab_contents>
———, ‘Notes on Film Noir’, Film Comment, 8.1 (1972), 8–13 <http://www.jstor.org/stable/43752885?seq=1#page_scan_tab_contents>
Pollack, Sydney, Robert Redford, and Faye Dunaway, ‘3 Days of the Condor’ ([S.l.]: Universal, 2006)
Ritchie, J. M., and H. F. Garten, Seven Expressionist Plays: Kokoschka to Barlach (London: Calder and Boyars, 1968), German expressionist drama
Scorsese, Martin, and Robert De Niro, ‘Taxi Driver’ ([S.l.]: Columbia Tristar, 2004)
Siodmak, Robert, Anthony Veiller, Ernest Hemingway, Burt Lancaster, and Ava Gardner, ‘The Killers’ ([S.l.]: Universal Pictures, 2008)
‘Taxi Driver (1976)’ (FilmFour) <https://learningonscreen.ac.uk/ondemand/index.php/prog/004F3045?bcast=123286416>
‘The Big Heat (1953)’ (BBC2 England) <https://learningonscreen.ac.uk/ondemand/index.php/prog/0001FCA3?bcast=75883854>
‘The Cabinet of Dr Caligari (1920)’ (Arte) <https://learningonscreen.ac.uk/ondemand/index.php/prog/004D7890?bcast=106840826>
‘The Lady from Shanghai (1948)’ (BBC4) <https://learningonscreen.ac.uk/ondemand/index.php/prog/000C44D3?bcast=33174758>
‘The Manchurian Candidate (1962)’ (ITV4) <https://learningonscreen.ac.uk/ondemand/index.php/prog/0050576F?bcast=114256435>
Toller, Ernst, and Hermann Kesten, Seven Plays (London: John Lane, 1935)
Watkins, Peter, ‘Punishment Park’ ([S.l.]: Doriane, 2009)
Welles, Orson, Rita Hayworth, Orson Welles, and Everett Sloane, ‘The Lady from Shanghai’ ([S.l.]: Columbia Tri-Star)
Welles, Orson, and Charlton Heston, ‘Touch of Evil’ (Universal, 2008)
Wiene, Robert, and Werner Krauss, ‘The Cabinet of Dr Caligari’ ([S.l.]: Eureka, 2000)
Wilder, Billy, Fred MacMurray, Barbara Stanwyck, and Edward G Robinson, ‘Double Indemnity’ ([S.l.]: Universal, 2007)
