Bibliography for MA2065: Modern European Cinema BETA

Akerman, C. (1975a) ‘Je Tu Il Elle’. [Irvington, N.Y.]: Criterion Collection.

Akerman, C. (1975b) ‘Jeanne Dielman: 23, Quai Du Commerce, 1080 Bruxelles’. Criterion.

Akerman, C. (2009) ‘News From Home’. [S.l.]: Paradise Films.

Akerman, C. and Bergstrom, J. (1977) ‘Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’ and ’Chantal Akerman on Jeanne Dielman’, Camera Obscura: Feminism, Culture, and Media Studies, 1(2 2), pp. 115–121. Available at: https://doi.org/10.1215/02705346-1-2_2-115.

Antonioni, M. (1959) ‘L’Avventura’. [S.I.]: Mr Bongo.

Antonioni, M. (1960) ‘L’Avventura | Box of Broadcasts’. FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/000959DA.

Antonioni, M. (1961) ‘La Notte’. [S.l.]: Eureka.

Antonioni, M. (1962) ‘L’eclisse’. S.l.: Criterion Collection.

Antonioni, M. (1963a) ‘The Event and the Image’, Sight and Sound, 33(1). Available at: https://search.proquest.com/docview/1305505778/49B04220CB984A6APQ/6?accountid=11455.

Antonioni, M. (1963b) ‘The Event and the Image’, Sight and Sound, 33(1). Available at: http://search.proquest.com/docview/1305505778?accountid=11455.

Antonioni, M. (1964a) ‘Red Desert’. [S.l.]: BFI.

Antonioni, M. (1964b) ‘The Red Desert | Box of Broadcasts’. FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0206AE5D.

Antonioni, M. et al. (2007) The Architecture of Vision: Writings and Interviews on Cinema. University of Chicago Press ed. Chicago: University of Chicago Press.

Ayfre, A. (1985) ‘Neorealism and Phenomenology’, in Cahiers Du Cinéma: Neo-Realism, Hollywood, New Wave / Edited by Jim Hillier, Vol. 1: The 1950s. London: Routledge & Kegan Paul in association with the British Film Institute, pp. 182–191.

Bazin, A. (1967a) ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’, in What Is Cinema? Berkeley, Calif: University of California Press, pp. 16–40.

Bazin, A. (1967b) ‘In Defense of Rossellini’, in What Is Cinema? Berkeley, Calif: University of California Press, pp. 93–101.

Bazin, A. (2005a) ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’, in What Is Cinema?, pp. 16–40. Available at: https://www.fulcrum.org/epubs/t722h9385?locale=en#/6/50[xhtml00000025]!/4/1:0.

Bazin, A. (2005b) ‘In Defense of Rossellini’, in What Is Cinema?, pp. 93–101. Available at: https://www.fulcrum.org/epubs/t722h9385?locale=en#/6/206[xhtml00000103]!/4/1:0.

Beasley-Murray, J. (1997) ‘Whatever Happened to Neorealism? Bazin, Deleuze, and Tarkovsky’s Long Take’, Iris, 23, pp. 37–52. Available at: http://www.academia.edu/842648/Whatever_Happened_to_Neorealism_-Bazin_Deleuze_and_Tarkovskys_Long_Take.

Bergstrom, J. (1999) ‘Keeping a Distance’, Sight and Sound, 9(11), pp. 26–28. Available at: http://search.proquest.com/docview/1305504342?accountid=11455.

Bickerton, E. (2011) ‘1966-1968: Politicization’, in A Short History of Cahiers Du Cinéma. London: Verso, pp. 51–69.

Bird, R. (2008) Andrei Tarkovsky: Elements of Cinema. London: Reaktion. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=449393.

Bondanella, P. (1993) ‘Paisà and the Rejection of Traditional Narrative Cinema’, in The Films of Roberto Rossellini. Cambridge: Cambridge University Press, pp. 64–82.

Bondanella, P. (2001) ‘The Masters of NeoReaslism: Rossellini, De Sica, and Visconti’, in Italian Cinema: From Neorealism to the Present. 3rd ed. New York: Continuum, pp. 31–73.

Bordwell, D. (1985) ‘Parametric Narration’, in Narration in the Fiction Film. London: Routledge, pp. 274–310.

Bordwell, D. (1997) ‘Parametric Narration’, in Narration in the Fiction Film. London: Routledge, pp. 274–310. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315002163.

Bresson, R. (1951) ‘Diary of a Country Priest | Journal D’un Curé De Campagne’. S.l: Optimum Releasing.

Bresson, R. (1959) ‘Pickpocket’. Artificial Eye.

Bresson, R. (2017) Notes on the Cinematograph. New York Review.

Bresson, R. (no date) ‘A Man Escaped’. S.l: Artificial Eye.

Brunette, P. (1987a) ‘Paisan’, in Roberto Rossellini. New York: Oxford University Press, pp. 61–75.

Brunette, P. (1987b) ‘Voyage to Italy’, in Roberto Rossellini. New York: Oxford University Press, pp. 155–171.

Brunette, P. (1998a) ‘L’eclisse’, in The Films of Michelangelo Antonioni. Cambridge: Cambridge University Press, pp. 73–89. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13399200210002671&institutionId=2671&customerId=2670.

Brunette, P. (1998b) ‘L’eclisse’, in The Films of Michelangelo Antonioni. Cambridge, U.K.: Cambridge University Press, pp. 73–89. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07597.

Cameron, I. (1967) The Films of Jean-Luc Godard. London: Studio Vista.

Cameron, I. (1969) The Films of Robert Bresson. London: Studio Vista.

‘Celine and Julie Co Boating “(Céline Et Julie Vont en Bateau: Phantom Ladies Over Paris)”’ (1976) Monthly Film Bulletin, 43(4), pp. 191–194. Available at: https://search.proquest.com/docview/1305844794/D47E893626BA4E88PQ/38?accountid=11455.

Clarens, C. and Cozarinsky, E. (1974) ‘Jacques Rivette Interviewed’, Sight and Sound, 43(3).

Comolli, J.-L. and Narboni, J. (1971) ‘Cinema/Ideology/Criticism’, Screen, 12(2), pp. 145–155. Available at: https://doi.org/10.1093/screen/12.2.145.

Cunneen, J.E. (2003) Robert Bresson: A Spiritual Style in Film. New York: Continuum. Available at: https://muse.jhu.edu/article/30837.

De Sica, V. (1952) ‘Umberto D.’ UK: CultFilms.

Dempsey, M. (1981a) ‘Lost Harmony: Tarkovsky’s “The Mirror” and “The Stalker”’, Film Quarterly, 35(1), pp. 12–17. Available at: https://doi.org/10.2307/1212075.

Dempsey, M. (1981b) ‘Lost Harmony: Tarkovsky’s “The Mirror” and “The Stalker”’, Film Quarterly, 35(1), pp. 12–17. Available at: https://doi.org/10.2307/1212075.

Donen, S. (1952) ‘Singin’ in the Rain | Box of Broadcasts’. Channel 5. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0018C80D.

Douchet, J. (1998) French New Wave. DAP.

Dunne, N. (2008) Tarkovsky. London: Black Dog.

Dyer, G. (2012) Zona: A Book about a Film about a Journey to a Room. Edinburgh: Canongate.

Ferretter, L. (2006a) Louis Althusser. London: Routledge.

Ferretter, L. (2006b) Louis Althusser. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=308507.

Fieschi, J.-A. (1980) ‘Jacques Rivette’, in Cinema: A Critical Dictionary : The Major Film-Makers. London: Secker & Warburg, pp. 871–878.

Foster, G.A. (1999) Identity and Memory: The Films of Chantal Akerman. Trowbridge: Flicks Books.

Gallagher, T. (1998a) The Adventures of Roberto Rossellini. New York: Da Capo Press.

Gallagher, T. (1998b) The Adventures of Roberto Rossellini. New York: Da Capo Press.

Gelley, O. (2012a) Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy. New York: Routledge.

Gelley, O. (2012b) Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy. New York: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203120712.

Godard, J.-L. (1959a) ‘A Bout de Souffle’. Optimum Releasing.

Godard, J.-L. (1959b) ‘A Bout de Souffle (Breathless) | Box of Broadcasts’. BBC2 England. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/00020428?bcast=5333460.

Godard, J.-L. (1961) ‘Une Femme Est Une Femme’. S.l.: Criterion.

Godard, J.-L. (1963) ‘Le Mépris’. S.l.: Studio Canal.

Godard, J.-L. (1965) ‘Alphaville’. S.l.: Optimum World.

Godard, J.-L. (1967) ‘Weekend’. Artificial Eye.

Godard, J.-L. (1968) ‘Sympathy for the Devil: a.k.a. One Plus One’. S.l.: Fabulous Films.

Godard, J.-L. et al. (1972) ‘Interview with Jean-Luc Godard’, in Godard on Godard: Critical Writings by Jean-Luc Godard. New York, N.Y.: Da Capo Press, pp. 171–196.

Godard, J.-L. (1972) ‘Interview with Jean-Luc Godard’, in Godard on Godard: Critical Writings. London: Secker and Warburg.

Godard, J.-L. (2006a) ‘Pierrot Le Fou’. Studio Canal.

Godard, J.-L. (2006b) ‘Vivre Sa Vie’. S.l.: Nouveaux Pictures.

Godard, J.-L. (2012) ‘La Chinoise’. S.l.: Gaumont Video.

Godard, J.-L. et al. (2012) ‘Le Vent d’Est’. S.l.: Gaumont Video.

Godard, J.-L. and Gorin, J.-P. (1972) ‘Tout Va Bien’. S.l.: Arrow Films.

Godard, J.-L. and Milne, T. (1972a) ‘Let’s Talk About Pierrot’, in Godard on Godard: Critical Writings by Jean-Luc Godard. New York, N.Y.: Da Capo Press, pp. 215–234.

Godard, J.-L. and Milne, T. (1972b) ‘Pierrot my Friend’, in Godard on Godard: Critical Writings by Jean-Luc Godard. New York, N.Y.: Da Capo Press, pp. 213–215.

Godard, J.-L. and Sterritt, D. (1998) Jean-Luc Godard: Interviews. Jackson: University Press of Mississippi.

Godard, J.-L. and Vertov, D. (2012) ‘British Sounds’. Ripley’s Home Video.

Goddard, J.-L. (1962) ‘Vivre Sa Vie | Box of Broadcasts’. FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/000FEB85?bcast=126082788.

Goddard, J.-L. (1964) ‘Bande à Part’. London: BFI.

Greenberg, I. (1998) ‘Cahiers de Rossellini’, Cineaction, pp. 42–46. Available at: https://search.proquest.com/docview/216881706/9C8CD357D3BE412DPQ/7?accountid=11455.

Gunnlaugur A. Jónsson, Ottarsson, T.A. and Ottarsson, T.A. (2006) Through the Mirror. Newcastle upon Tyne: Cambridge Scholars Publisher. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4949895.

Halligan, B. (2016) Desires for Reality: Radicalism and Revolution in Western European Film. New York: Berghahn Books.

Hoveyda, F., Rivette, J. and Hillier, J. (1985) ‘Interview with Roberto Rossellini’, in Cahiers Du Cinéma: Neo-Realism, Hollywood, New Wave / Edited by Jim Hillier, Vol. 1: The 1950s. London: Routledge & Kegan Paul in association with the British Film Institute, pp. 212–217.

Johnson, V.T. and Petrie, G. (1994) ‘Tarkovsky’, in Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev. Bloomington: Indiana University Press, pp. 1–49.

Jonsson, G.A. and Óttarsson, Þ.Á. (2006) Through the Mirror: Reflections on the Films of Andrei Tarkovsky. Newcastle: Cambridge Scholars Press.

Kelly, G. and Donen, S. (1952) ‘Singin’ in the Rain’. S.l.: Warner.

Kinder, M. (1977) ‘Reflections on “Jeanne Dielman”’, Film Quarterly, 30(4), pp. 2–8. Available at: https://doi.org/10.2307/1211576.

King, P. (2008) ‘Memory and Exile: Time and Place in Tarkovsky’s’, Housing, Theory and Society, 25(1), pp. 66–78. Available at: https://doi.org/10.1080/14036090601151269.

Kinsman, R.P. (2007) ‘She’s Come Undone: Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles and Countercinema’, Quarterly Review of Film and Video, 24(3), pp. 217–224. Available at: https://doi.org/10.1080/10509200500486304.

Kovács, A.B. (2007a) ‘An Alternative to the Classical Form: Neorealism and Modernism’, in Screening Modernism: European Art Cinema, 1950-1980. Chicago: University of Chicago Press, pp. 253–271.

Kovács, A.B. (2007b) ‘An Alternative to the Classical Form: Neorealism and Modernism’, in Screening Modernism: European Art Cinema, 1950-1980. Chicago: University of Chicago Press, pp. 253–271. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780226451664.

Le Fanu, M. (1987) The Cinema of Andrei Tarkovsky. London: BFI.

Lesage, J. (no date) Celine and Julia Go Boating. Available at: http://www.ejumpcut.org/archive/onlinessays/JC24-25folder/CelineJulie.html.

Levinson, J. (1991) ‘Céline and Julie Go Story Telling’, The French Review, 65(2). Available at: https://www.jstor.org/stable/395593?seq=1#metadata_info_tab_contents.

Loader, J. (1985) ‘Jeanne Dielman: Death in Instalments’, in Movies and Methods: An Anthology. Berkeley, Calif: University of California Press.

Macbean, J.R. (1970) ‘“See You at Mao”: Godard’s Revolutionary British Sounds’, Film Quarterly, 24(2), pp. 15–23. Available at: https://doi.org/10.2307/1211216.

MacBean, J.R. (1972) ‘Godard and the Dziga Vertov Group: Film and Dialectics’, Film Quarterly, 26(1), pp. 30–44. Available at: https://doi.org/10.2307/1211409.

MacCabe, C. (2003) ‘Student Revolution: Wiazemsky and Gorin’, in Godard: A Portrait of the Artist at 70. London: Bloomsbury, pp. 179–238.

MacCabe, C. (2004) ‘A Certain Tendency of French Film Production: The New Wave of Karina and Coutard’, in Godard: A Portrait of the Artist at 70. London: Bloomsbury, pp. 97–178.

Marchessault, J. (1986) ‘Inventing Paradox: Céline and Julie Go Boating’, CineAction, 3(4), pp. 84–90.

Marguilies, I. (2016) ‘Dossier: Chantal Akerman’, Film Quarterly, 70(1), pp. 11–84. Available at: http://fq.ucpress.edu/content/70/1.

Margulies, I. (1996) Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Durham: Duke University Press.

Marie, M. (2003a) The French New Wave: An Artistic School. Oxford: Blackwell.

Marie, M. (2003b) The French New Wave: An Artistic School. Oxford: Blackwell. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=351546.

Martin, A. and Akerman, C. (1979a) ‘Chantal Akerman’s Films: A Dossier’, Feminist Review [Preprint], (3). Available at: https://doi.org/10.2307/1394708.

Martin, A. and Akerman, C. (1979b) ‘Chantal Akerman’s Films: A Dossier’, Feminist Review [Preprint], (3). Available at: https://doi.org/10.2307/1394708.

Monaco, J. (1976) ‘Rivette: The Process of Narrative’, in The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette. 30th ed. New York: Harbor.

Monaco, J. (2004) The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette. 30th ed. New York: Harbor.

Morrey, D. (2005) Jean-Luc Godard. Manchester: Manchester University Press.

Morrey, D. and Smith, A. (2009) Jacques Rivette. Manchester: Manchester University Press.

Mulvey, L. (1998) ‘‘"New Wave” Interchanges: Céline and Julie and Desperately Seeking Susan’, in Hollywood and Europe: economics, culture, national identity 1945-95. London: British Film Institute.

Mulvey, L. (2000) ‘Vesuvian Topographies: The Eruption of the Past in Journey to Italy’, in Roberto Rossellini: Magician of the Real. London: BFI Publishing, pp. 95–111.

Neupert, R. (2002) A History of the French New Wave Cinema. Madison, Wis: University of Wisconsin Press.

Neupert, R.J. (2007) A History of the French New Wave Cinema. Madison: University of Wisconsin Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=259471.

Nowell-Smith, G. (1963a) ‘Shape around a Black Point’, Sight and Sound, 33(1), pp. 15–20. Available at: https://search.proquest.com/docview/1305505794/49B04220CB984A6APQ/7?accountid=11455.

Nowell-Smith, G. (1963b) ‘Shape Around a Black Point (On L’eclisse)’, Sight and Sound, 33(1). Available at: http://search.proquest.com/docview/1305505794?accountid=11455.

Nowell-Smith, G. (1976) ‘Shape Around a Black Point (On L’eclisse)’, in Movies and Methods: An Anthology, Vol. 1. Berkeley: University of California Press.

Nowell-Smith, G. (2013) Making Waves: New Cinemas of the 1960s. Revised and expanded edition. New York: Bloomsbury.

Perez, G. (1991) ‘The Point of View of a Stranger: An Essay on Antonioni’s “Eclipse”’, The Hudson Review, 44(2). Available at: https://doi.org/10.2307/3851918.

Perez, G. (1998) ‘The Signifiers of Tenderness’, in The Material Ghost: Films and Their Medium. Baltimore: Johns Hopkins University Press.

Perlmutter, R. (1979) ‘Feminine Absence: A Political Aesthetic in Chantal Ackerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’, Quarterly Review of Film Studies, 4(2), pp. 125–133. Available at: https://doi.org/10.1080/10509207909360986.

Petrie, G. and Johnson, V.T. (1994a) ‘Mirror’, in The Films of Andrei Tarkovsky: A Visual Fugue. Bloomington: Indiana University Press, pp. 111–136.

Petrie, G. and Johnson, V.T. (1994b) ‘Stalker’, in The films of Andrei Tarkovsky: a visual fugue. Bloomington: Indiana University Press, pp. 137–155.

‘Pickpocket (1959) | BoB’ (1996). Channel 4. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/buf620fb4?bcast=130438481.

‘Pierrot Le Fou (1965) | BoB’ (2019). Arte. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/000184D5?bcast=130947503.

Pipolo, T. (2010a) Robert Bresson: A Passion for Film. New York: Oxford University Press.

Pipolo, T. (2010b) Robert Bresson: A Passion for Film. New York: Oxford University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=472343.

Quandt, J. (2011) Robert Bresson Revised. Indiana University Press.

Reader, K. (2000) Robert Bresson. Manchester: Manchester University Press.

Rivette, J. (1971) Out 1: Noli Me Tangere. Berlin: Medien.

Rivette, J. (2006) ‘Celine and Julie Go Boating’. S.l.: BFI.

Rivette, J. and Berto, J. (1976) ‘Duelle’. S.l.: Aventi.

Robert Bresson (2016) Bresson on Bresson.

Rosenbaum, J. (1974a) ‘Phantom Interviewers Over Rivette’, Film Comment, 10(5), pp. 18–24. Available at: https://www.jstor.org/stable/43450770.

Rosenbaum, J. (1974b) ‘Work and Play in the House of Fiction’’, in Placing movies: the practice of film criticism. Berkeley: University of California Press. Available at: http://hdl.handle.net/2027/heb.08129.

Rosenbaum, J. (1995) ‘A Cinema of Uncertainty: Films by Michelangelo Antonioni’, in Placing Movies: The Practice of Film Criticism. Berkeley: University of California Press.

Rossellini, R. (1949) ‘Stromboli’. Criterion Collection.

Rossellini, R. (1950) ‘Stromboli | Box of Broadcasts’. BBC2 England. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/001A5B9E?bcast=101314809.

Rossellini, R. (1952) ‘Europa 51’. S.l: s.n.

Rossellini, R. (1954) ‘Viaggio in Italia | Journey to Italy’. Criterion Collection.

Rossellini, R. and Apra, A. (1987) My Method : Writings and Interviews. Venice: Marsilio Editori SPA.

Rossellini, R. and Fabrizi, A. (1945) ‘Rome, Open City’. S.l.: Criterion.

Rossellini, R. and Michi, M. (1946) ‘Paisà’. S.l.: Off-air.

Rossellini, R. and Moeschke, E. (1948) ‘Germany, Year Zero’. S.l.: Criterion.

Roud, R. (2010a) Godard. 3rd ed. London: Palgrave Macmillan.

Roud, R. (2010b) ‘Reality and Abstraction’, in Godard. 3rd ed. London: Palgrave Macmillan, pp. 65–90.

Roud, R. (2010c) ‘Reality and Abstraction’, in Godard. 3rd ed. Basingstoke: Palgrave Macmillan, pp. 65–90. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781844575619.

de Sica, V. (1948) ‘The Bicycle Thieves’. Arrow Films.

Skakov, Nariman (2012a) ‘Memories of a Mirror’, in The Cinema of Tarkovsky: Labyrinths of Space and Time. London: I.B. Tauris, pp. 100–139.

Skakov, Nariman (2012b) ‘Memories of Mirror’, in The Cinema of Tarkovsky: Labyrinths of Space and Time. London: I.B.Tauris & Co Ltd, pp. 100–139. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780857721198.

Skakov, Naiman (2012) ‘Revelations of Stalker’, in The Cinema of Tarkovsky: Labyrinths of Space and Time. London: I.B. Tauris, pp. 140–166.

Skakov, Nariman (2012c) ‘Revelations of Stalker’, in The Cinema of Tarkovsky: Labyrinths of Space and Time. London: I.B.Tauris & Co Ltd, pp. 140–166. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780857721198.

Skakov, Nariman (2012d) The Cinema of Tarkovsky: Labyrinths of Space and Time. London: I.B. Tauris.

Sontag, S. (1983) ‘Against Interpretation’, in A Susan Sontag Reader. Vintage, pp. 95–104.

Sontag, S. (2009) ‘Spiritual Style in the Films of Robert Bresson’, in Against Interpretation: And Other Essays. London: Penguin, pp. 177–195.

Synessios, N. (2001) Mirror. London: I.B. Tauris.

Synessios, N. (no date) Mirror. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9786000006327.

Tarkovskiĭ, A.A. (1989) Sculpting in Time: Reflections on the Cinema. Austin: University of Texas Press.

Tarkovskiĭ, A.A. (2016) ‘Nostalghia (Nostalgia)’. London: Artificial Eye.

Tarkovsky, A. (1962) ‘Ivan’s Childhood’. S.l.: Artificial Eye.

Tarkovsky, A. (1963) ‘Ivan’s Childhood | Box of Broadcasts’. FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/001D2A1D?bcast=125872069.

Tarkovsky, A. (1966a) ‘Andrei Rublev’. S.l.: Artificial Eye.

Tarkovsky, A. (1966b) ‘Andrei Rublev | Box of Broadcasts’. FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/000FD4EC?bcast=123867685.

Tarkovsky, A. (1972a) ‘Solaris’. [S.l.]: Artificial Eye.

Tarkovsky, A. (1972b) ‘Solaris | Box of Broadcasts’. FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/00114161.

Tarkovsky, A. (1975a) ‘Mirror’. S.l.: Artificial Eye.

Tarkovsky, A. (1975b) Mirror | Box of Broadcasts. Available at: http://bobnational.net/record/15563.

Tarkovsky, A. (1979a) ‘Stalker’. S.l.: Artifical Eye.

Tarkovsky, A. (1979b) ‘Stalker | Box of Broadcasts’. FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/004EDE5B?bcast=124002923.

Tarkovsky, A. (1983) ‘Nostalgia | Box of Broadcasts’. FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0EE35F0B?bcast=126665335.

Tarkovsky, A. (1986a) ‘Sacrifice | Box of Broadcasts’. FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/000DBC26?bcast=124153170.

Tarkovsky, A. (1986b) ‘The Sacrifice’. S.l.: Artificial Eye.

Tarkovsky, A. (1989) ‘Time, Rhythm and Editing’, in Sculpting in Time: Reflections on the Cinema. Austin: University of Texas Press, pp. 113–124.

Tarkovsky, A. (1994) Time Within Time: The Diaries, 1970-1986. London: Faber & Faber.

Tarkovsky, A. and Christie, I. (1981) ‘Against Interpretation: An Interview With Andrei Tarkovsky’, Framework: The Journal of Cinema and Media [Preprint], (14). Available at: https://www.jstor.org/stable/44111800.

Tarkovsky, A. and Gianvito, J. (2006) Andrei Tarkovsky: Interviews. Jackson: University Press of Mississippi.

Tarkovsky, A. and Gill, S. (2008) Bright, Bright Day: Andrey Tarkovsky’s Polaroids. London: White Space Gallery.

Turovskai︠a︡, M. (1989) Tarkovsky: Cinema as Poetry. Rev. ed. London: Faber and Faber.

Visconti, L. (1948) ‘La Terra Trema’. BFI.

Wagstaff, C. (2007) ‘Paisà’, in Italian Neorealist Cinema: An Aesthetic Approach. Toronto: University of Toronto Press, pp. 185–290. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4634682.

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