Akerman, C. (1975a). Je Tu Il Elle: Vol. Eclipse from the Criterion Collection, series 19, Chantal Akerman in the seventies. Criterion Collection.
Akerman, C. (1975b). Jeanne Dielman: 23, Quai Du Commerce, 1080 Bruxelles. Criterion.
Akerman, C. (2009). News From Home: Vol. eclipse series 19. Paradise Films.
Akerman, C., & 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), 115–121. https://doi.org/10.1215/02705346-1-2_2-115
Antonioni, M. (1959). L’Avventura. Mr Bongo.
Antonioni, M. (1960). L’Avventura | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000959DA
Antonioni, M. (1961). La Notte: Vol. The Masters of cinema series. Eureka.
Antonioni, M. (1962). L’eclisse. Criterion Collection.
Antonioni, M. (1963a). The Event and the Image. Sight and Sound, 33(1). https://search.proquest.com/docview/1305505778/49B04220CB984A6APQ/6?accountid=11455
Antonioni, M. (1963b). The Event and the Image. Sight and Sound, 33(1). http://search.proquest.com/docview/1305505778?accountid=11455
Antonioni, M. (1964a). Red Desert. BFI.
Antonioni, M. (1964b). The Red Desert | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/0206AE5D
Antonioni, M., Di Carlo, C., Tinazzi, G., & Cottino-Jones, M. (2007). The Architecture of Vision: Writings and Interviews on Cinema (University of Chicago Press ed). 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 (pp. 182–191). Routledge & Kegan Paul in association with the British Film Institute.
Bazin, A. (1967a). An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation. In What Is Cinema? (pp. 16–40). University of California Press.
Bazin, A. (1967b). In Defense of Rossellini. In What Is Cinema? (pp. 93–101). University of California Press.
Bazin, A. (2005a). An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation. In What Is Cinema? (Vol. 2, pp. 16–40). 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? (Vol. 2, pp. 93–101). 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, 37–52. 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), 26–28. http://search.proquest.com/docview/1305504342?accountid=11455
Bickerton, E. (2011). 1966-1968: Politicization. In A Short History of Cahiers Du Cinéma (pp. 51–69). Verso.
Bird, R. (2008). Andrei Tarkovsky: Elements of Cinema. Reaktion. 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 (pp. 64–82). Cambridge University Press.
Bondanella, P. (2001). The Masters of NeoReaslism: Rossellini, De Sica, and Visconti. In Italian Cinema: From Neorealism to the Present (3rd ed, pp. 31–73). Continuum.
Bordwell, D. (1985). Parametric Narration. In Narration in the Fiction Film (pp. 274–310). Routledge.
Bordwell, D. (1997). Parametric Narration. In Narration in the Fiction Film (pp. 274–310). Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315002163
Bresson, R. (n.d.). A Man Escaped. Artificial Eye.
Bresson, R. (1951). Diary of a Country Priest | Journal D’un Curé De Campagne. Optimum Releasing.
Bresson, R. (1959). Pickpocket. Artificial Eye.
Bresson, R. (2017). Notes on the Cinematograph. New York Review.
Brunette, P. (1987a). Paisan. In Roberto Rossellini (pp. 61–75). Oxford University Press.
Brunette, P. (1987b). Voyage to Italy. In Roberto Rossellini (pp. 155–171). Oxford University Press.
Brunette, P. (1998a). L’eclisse. In The Films of Michelangelo Antonioni: Vol. Cambridge film classics (pp. 73–89). Cambridge University Press. 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: Vol. Cambridge film classics (pp. 73–89). Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07597
Cameron, I. (1967). The Films of Jean-Luc Godard. Studio Vista.
Cameron, I. (1969). The Films of Robert Bresson. Studio Vista.
Celine and Julie Co Boating ‘(Céline Et Julie Vont en Bateau: Phantom Ladies Over Paris)’. (1976). Monthly Film Bulletin, 43(4), 191–194. https://search.proquest.com/docview/1305844794/D47E893626BA4E88PQ/38?accountid=11455
Clarens, C., & Cozarinsky, E. (1974). Jacques Rivette Interviewed. Sight and Sound, 43(3).
Comolli, J.-L., & Narboni, J. (1971). Cinema/Ideology/Criticism. Screen, 12(2), 145–155. https://doi.org/10.1093/screen/12.2.145
Cunneen, J. E. (2003). Robert Bresson: A Spiritual Style in Film. Continuum. https://muse.jhu.edu/article/30837
de Sica, V. (1948). The Bicycle Thieves. Arrow Films.
De Sica, V. (1952). Umberto D. CultFilms.
Dempsey, M. (1981a). Lost Harmony: Tarkovsky’s ‘The Mirror’ and ‘The Stalker’. Film Quarterly, 35(1), 12–17. https://doi.org/10.2307/1212075
Dempsey, M. (1981b). Lost Harmony: Tarkovsky’s ‘The Mirror’ and ‘The Stalker’. Film Quarterly, 35(1), 12–17. https://doi.org/10.2307/1212075
Donen, S. (1952). Singin’ in the Rain | Box of Broadcasts. Channel 5. https://learningonscreen.ac.uk/ondemand/index.php/prog/0018C80D
Douchet, J. (1998). French New Wave. DAP.
Dunne, N. (2008). Tarkovsky. Black Dog.
Dyer, G. (2012). Zona: A Book about a Film about a Journey to a Room. Canongate.
Ferretter, L. (2006a). Louis Althusser. Routledge.
Ferretter, L. (2006b). Louis Althusser. Routledge. 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 (pp. 871–878). Secker & Warburg.
Foster, G. A. (1999). Identity and Memory: The Films of Chantal Akerman: Vol. Cinema voices. Flicks Books.
Gallagher, T. (1998a). The Adventures of Roberto Rossellini. Da Capo Press.
Gallagher, T. (1998b). The Adventures of Roberto Rossellini. Da Capo Press.
Gelley, O. (2012a). Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy (Vol. 15). Routledge.
Gelley, O. (2012b). Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy (Vol. 15). Routledge. 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. https://learningonscreen.ac.uk/ondemand/index.php/prog/00020428?bcast=5333460
Godard, J.-L. (1961). Une Femme Est Une Femme: Vol. Criterion collection. Criterion.
Godard, J.-L. (1963). Le Mépris. Studio Canal.
Godard, J.-L. (1965). Alphaville. Optimum World.
Godard, J.-L. (1967). Weekend. Artificial Eye.
Godard, J.-L. (1968). Sympathy for the Devil: a.k.a. One Plus One. Fabulous Films.
Godard, J.-L. (1972). Interview with Jean-Luc Godard. In Godard on Godard: Critical Writings. Secker and Warburg.
Godard, J.-L. (2006a). Pierrot Le Fou. Studio Canal.
Godard, J.-L. (2006b). Vivre Sa Vie. Nouveaux Pictures.
Godard, J.-L. (2012). La Chinoise. Gaumont Video.
Godard, J.-L., & Gorin, J.-P. (1972). Tout Va Bien. Arrow Films.
Godard, J.-L., & Milne, T. (1972a). Let’s Talk About Pierrot. In Godard on Godard: Critical Writings by Jean-Luc Godard (pp. 215–234). Da Capo Press.
Godard, J.-L., & Milne, T. (1972b). Pierrot my Friend. In Godard on Godard: Critical Writings by Jean-Luc Godard (pp. 213–215). Da Capo Press.
Godard, J.-L., Nerboni, J., Milne, T., & Roud, R. (1972). Interview with Jean-Luc Godard. In Godard on Godard: Critical Writings by Jean-Luc Godard (pp. 171–196). Da Capo Press.
Godard, J.-L., & Sterritt, D. (1998). Jean-Luc Godard: Interviews: Vol. Conversations with filmmakers. University Press of Mississippi.
Godard, J.-L., & Vertov, D. (2012). British Sounds. Ripley’s Home Video.
Godard, J.-L., Volonte, G. M., Gorin, J.-P., & Wiazemsky, A. (2012). Le Vent d’Est. Gaumont Video.
Goddard, J.-L. (1962). Vivre Sa Vie | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000FEB85?bcast=126082788
Goddard, J.-L. (1964). Bande à Part. BFI.
Greenberg, I. (1998). Cahiers de Rossellini. Cineaction, 42–46. https://search.proquest.com/docview/216881706/9C8CD357D3BE412DPQ/7?accountid=11455
Gunnlaugur A. Jónsson, Ottarsson, T. A., & Ottarsson, T. A. (2006). Through the Mirror. Cambridge Scholars Publisher. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4949895
Halligan, B. (2016). Desires for Reality: Radicalism and Revolution in Western European Film. Berghahn Books.
Hoveyda, F., Rivette, J., & Hillier, J. (1985). Interview with Roberto Rossellini. In Cahiers Du Cinéma: Neo-Realism, Hollywood, New Wave / Edited by Jim Hillier, Vol. 1: The 1950s (Vol. 1, pp. 212–217). Routledge & Kegan Paul in association with the British Film Institute.
Johnson, V. T., & Petrie, G. (1994). Tarkovsky. In Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev (pp. 1–49). Indiana University Press.
Jonsson, G. A., & Óttarsson, Þ. Á. (2006). Through the Mirror: Reflections on the Films of Andrei Tarkovsky. Cambridge Scholars Press.
Kelly, G., & Donen, S. (1952). Singin’ in the Rain. Warner.
Kinder, M. (1977). Reflections on ‘Jeanne Dielman’. Film Quarterly, 30(4), 2–8. https://doi.org/10.2307/1211576
King, P. (2008). Memory and Exile: Time and Place in Tarkovsky’s. Housing, Theory and Society, 25(1), 66–78. 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), 217–224. 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 (pp. 253–271). University of Chicago Press.
Kovács, A. B. (2007b). An Alternative to the Classical Form: Neorealism and Modernism. In Screening Modernism: European Art Cinema, 1950-1980 (pp. 253–271). University of Chicago Press. 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. BFI.
Lesage, J. (n.d.). Celine and Julia Go Boating. http://www.ejumpcut.org/archive/onlinessays/JC24-25folder/CelineJulie.html
Levinson, J. (1991). Céline and Julie Go Story Telling. The French Review, 65(2). 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. University of California Press.
Macbean, J. R. (1970). ‘See You at Mao’: Godard’s Revolutionary British Sounds. Film Quarterly, 24(2), 15–23. https://doi.org/10.2307/1211216
MacBean, J. R. (1972). Godard and the Dziga Vertov Group: Film and Dialectics. Film Quarterly, 26(1), 30–44. https://doi.org/10.2307/1211409
MacCabe, C. (2003). Student Revolution: Wiazemsky and Gorin. In Godard: A Portrait of the Artist at 70 (pp. 179–238). Bloomsbury.
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 (pp. 97–178). Bloomsbury.
Marchessault, J. (1986). Inventing Paradox: Céline and Julie Go Boating. CineAction, 3(4), 84–90.
Marguilies, I. (2016). Dossier: Chantal Akerman. Film Quarterly, 70(1), 11–84. http://fq.ucpress.edu/content/70/1
Margulies, I. (1996). Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Duke University Press.
Marie, M. (2003a). The French New Wave: An Artistic School. Blackwell.
Marie, M. (2003b). The French New Wave: An Artistic School. Blackwell. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=351546
Martin, A., & Akerman, C. (1979a). Chantal Akerman’s Films: A Dossier. Feminist Review, 3. https://doi.org/10.2307/1394708
Martin, A., & Akerman, C. (1979b). Chantal Akerman’s Films: A Dossier. Feminist Review, 3. 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). Harbor.
Monaco, J. (2004). The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette (30th ed). Harbor.
Morrey, D. (2005). Jean-Luc Godard: Vol. French film directors. Manchester University Press.
Morrey, D., & Smith, A. (2009). Jacques Rivette. 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. British Film Institute.
Mulvey, L. (2000). Vesuvian Topographies: The Eruption of the Past in Journey to Italy. In Roberto Rossellini: Magician of the Real (pp. 95–111). BFI Publishing.
Neupert, R. (2002). A History of the French New Wave Cinema. University of Wisconsin Press.
Neupert, R. J. (2007). A History of the French New Wave Cinema. University of Wisconsin Press. 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), 15–20. 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). 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. University of California Press.
Nowell-Smith, G. (2013). Making Waves: New Cinemas of the 1960s (Revised and expanded edition). Bloomsbury.
Perez, G. (1991). The Point of View of a Stranger: An Essay on Antonioni’s ‘Eclipse’. The Hudson Review, 44(2). https://doi.org/10.2307/3851918
Perez, G. (1998). The Signifiers of Tenderness. In The Material Ghost: Films and Their Medium. 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), 125–133. https://doi.org/10.1080/10509207909360986
Petrie, G., & Johnson, V. T. (1994a). Mirror. In The Films of Andrei Tarkovsky: A Visual Fugue (pp. 111–136). Indiana University Press.
Petrie, G., & Johnson, V. T. (1994b). Stalker. In The films of Andrei Tarkovsky: a visual fugue (pp. 137–155). Indiana University Press.
Pickpocket (1959) | BoB. (1996). Channel 4. https://learningonscreen.ac.uk/ondemand/index.php/prog/buf620fb4?bcast=130438481
Pierrot Le Fou (1965) | BoB. (2019). Arte. https://learningonscreen.ac.uk/ondemand/index.php/prog/000184D5?bcast=130947503
Pipolo, T. (2010a). Robert Bresson: A Passion for Film. Oxford University Press.
Pipolo, T. (2010b). Robert Bresson: A Passion for Film. Oxford University Press. 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 University Press.
Rivette, J. (1971). Out 1: Noli Me Tangere. Medien.
Rivette, J. (2006). Celine and Julie Go Boating. BFI.
Rivette, J., & Berto, J. (1976). Duelle. Aventi.
Robert Bresson. (2016). Bresson on Bresson.
Rosenbaum, J. (1974a). Phantom Interviewers Over Rivette. Film Comment, 10(5), 18–24. 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. University of California Press. 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. University of California Press.
Rossellini, R. (1949). Stromboli (Vol. 672). Criterion Collection.
Rossellini, R. (1950). Stromboli | Box of Broadcasts. BBC2 England. https://learningonscreen.ac.uk/ondemand/index.php/prog/001A5B9E?bcast=101314809
Rossellini, R. (1952). Europa 51. s.n.
Rossellini, R. (1954). Viaggio in Italia | Journey to Italy. Criterion Collection.
Rossellini, R., & Apra, A. (1987). My Method : Writings and Interviews. Marsilio Editori SPA.
Rossellini, R., & Fabrizi, A. (1945). Rome, Open City. Criterion.
Rossellini, R., & Michi, M. (1946). Paisà. Off-air.
Rossellini, R., & Moeschke, E. (1948). Germany, Year Zero. Criterion.
Roud, R. (2010a). Godard: Vol. BFI silver (3rd ed). Palgrave Macmillan.
Roud, R. (2010b). Reality and Abstraction. In Godard (3rd ed, pp. 65–90). Palgrave Macmillan.
Roud, R. (2010c). Reality and Abstraction. In Godard (3rd ed, pp. 65–90). Palgrave Macmillan. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781844575619
Skakov, N. (2012a). Memories of a Mirror. In The Cinema of Tarkovsky: Labyrinths of Space and Time (pp. 100–139). I.B. Tauris.
Skakov, N. (2012b). Memories of Mirror. In The Cinema of Tarkovsky: Labyrinths of Space and Time (pp. 100–139). I.B.Tauris & Co Ltd. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780857721198
Skakov, N. (2012c). Revelations of Stalker. In The Cinema of Tarkovsky: Labyrinths of Space and Time (pp. 140–166). I.B. Tauris.
Skakov, N. (2012d). Revelations of Stalker. In The Cinema of Tarkovsky: Labyrinths of Space and Time (pp. 140–166). I.B.Tauris & Co Ltd. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780857721198
Skakov, N. (2012e). The Cinema of Tarkovsky: Labyrinths of Space and Time: Vol. KINO. I.B. Tauris.
Sontag, S. (1983). Against Interpretation. In A Susan Sontag Reader (pp. 95–104). Vintage.
Sontag, S. (2009). Spiritual Style in the Films of Robert Bresson. In Against Interpretation: And Other Essays (pp. 177–195). Penguin.
Synessios, N. (n.d.). Mirror (Vol. 6). http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9786000006327
Synessios, N. (2001). Mirror (Vol. 6). I.B. Tauris.
Tarkovskiĭ, A. A. (1989). Sculpting in Time: Reflections on the Cinema. University of Texas Press.
Tarkovskiĭ, A. A. (2016). Nostalghia (Nostalgia). Artificial Eye.
Tarkovsky, A. (1962). Ivan’s Childhood. Artificial Eye.
Tarkovsky, A. (1963). Ivan’s Childhood | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/001D2A1D?bcast=125872069
Tarkovsky, A. (1966a). Andrei Rublev. Artificial Eye.
Tarkovsky, A. (1966b). Andrei Rublev | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000FD4EC?bcast=123867685
Tarkovsky, A. (1972a). Solaris. Artificial Eye.
Tarkovsky, A. (1972b). Solaris | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/00114161
Tarkovsky, A. (1975a). Mirror. Artificial Eye.
Tarkovsky, A. (1975b). Mirror | Box of Broadcasts. http://bobnational.net/record/15563
Tarkovsky, A. (1979a). Stalker. Artifical Eye.
Tarkovsky, A. (1979b). Stalker | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/004EDE5B?bcast=124002923
Tarkovsky, A. (1983). Nostalgia | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/0EE35F0B?bcast=126665335
Tarkovsky, A. (1986a). Sacrifice | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000DBC26?bcast=124153170
Tarkovsky, A. (1986b). The Sacrifice. Artificial Eye.
Tarkovsky, A. (1989). Time, Rhythm and Editing. In Sculpting in Time: Reflections on the Cinema (pp. 113–124). University of Texas Press.
Tarkovsky, A. (1994). Time Within Time: The Diaries, 1970-1986. Faber & Faber.
Tarkovsky, A., & Christie, I. (1981). Against Interpretation: An Interview With Andrei Tarkovsky. Framework: The Journal of Cinema and Media, 14. https://www.jstor.org/stable/44111800
Tarkovsky, A., & Gianvito, J. (2006). Andrei Tarkovsky: Interviews. University Press of Mississippi.
Tarkovsky, A., & Gill, S. (2008). Bright, Bright Day: Andrey Tarkovsky’s Polaroids. White Space Gallery.
Turovskai︠a︡, M. (1989). Tarkovsky: Cinema as Poetry (Rev. ed.). Faber and Faber.
Visconti, L. (1948). La Terra Trema. BFI.
Wagstaff, C. (2007). Paisà. In Italian Neorealist Cinema: An Aesthetic Approach (pp. 185–290). University of Toronto Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4634682
Weis, D. (2011). I Love Melvin (Remastered ed). Turner Entertainment Co.
Wiles, M. M. (2012). Jacques Rivette. University of Illinois Press.
Wills, D. (2000a). Jean-Luc Godard’s Pierrot Le Fou. Cambridge University Press.
Wills, D. (2000b). Jean-Luc Godard’s Pierrot Le Fou. Cambridge University Press. http://hdl.handle.net/2027/heb.07621
Wollen, P. (1982). Godard and Counter Cinema: Vent d’Est. In Readings and Writings: Semiotic Counter-Strategies (pp. 79–91). Verso.
Wood, R. (1981). Narrative Pleasure: Two Films of Jacques Rivette. Film Quarterly, 35(1), 2–12. https://www.jstor.org/stable/1212074?seq=1#metadata_info_tab_contents
Yervasi, C. (2000). Dislocating the Domestic in Chantal Akerman’s Jeanne Dielman. Sites: Journal of Contemporary French Studies, 4(2). http://www.tandfonline.com/doi/abs/10.1080/10260210008456039
Youngblood, G. (1998). Jean-Luc Godard: No Difference Between Life and Cinema. In D. Sterritt (Ed.), Jean-Luc Godard: Interviews (pp. 9–49). University Press of Mississippi.
Zavattini, C. (1978). A Thesis on Neorealism. In Springtime in Italy: A Reader on Neo-Realism (pp. 67–78). Talisman Books.