Akerman, C., and Janet Bergstrom. 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): 115–21. https://doi.org/10.1215/02705346-1-2_2-115.
Akerman, Chantal. 1975a. ‘Je Tu Il Elle’. [Irvington, N.Y.]: Criterion Collection.
———. 1975b. ‘Jeanne Dielman: 23, Quai Du Commerce, 1080 Bruxelles’. Criterion.
———. 2009. ‘News From Home’. [S.l.]: Paradise Films.
Antonioni, Michelangelo. 1959. ‘L’Avventura’. [S.I.]: Mr Bongo.
———. 1960. ‘L’Avventura | Box of Broadcasts’. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000959DA.
———. 1961. ‘La Notte’. [S.l.]: Eureka.
———. 1962. ‘L’eclisse’. S.l.: Criterion Collection.
———. 1963a. ‘The Event and the Image’. Sight and Sound 33 (1). https://search.proquest.com/docview/1305505778/49B04220CB984A6APQ/6?accountid=11455.
———. 1963b. ‘The Event and the Image’. Sight and Sound 33 (1). http://search.proquest.com/docview/1305505778?accountid=11455.
———. 1964a. ‘Red Desert’. [S.l.]: BFI.
———. 1964b. ‘The Red Desert | Box of Broadcasts’. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/0206AE5D.
Antonioni, Michelangelo, Carlo Di Carlo, Giorgio Tinazzi, and Marga Cottino-Jones. 2007. The Architecture of Vision: Writings and Interviews on Cinema. University of Chicago Press ed. Chicago: University of Chicago Press.
Ayfre, Amédée. 1985. ‘Neorealism and Phenomenology’. In Cahiers Du Cinéma: Neo-Realism, Hollywood, New Wave / Edited by Jim Hillier, Vol. 1: The 1950s, 182–91. London: Routledge & Kegan Paul in association with the British Film Institute.
Bazin, André. 1967a. ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’. In What Is Cinema?, 16–40. Berkeley, Calif: University of California Press.
———. 1967b. ‘In Defense of Rossellini’. In What Is Cinema?, 93–101. Berkeley, Calif: University of California Press.
Bazin, Andre. 2005a. ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’. In What Is Cinema?, 2:16–40. https://www.fulcrum.org/epubs/t722h9385?locale=en#/6/50[xhtml00000025]!/4/1:0.
———. 2005b. ‘In Defense of Rossellini’. In What Is Cinema?, 2:93–101. https://www.fulcrum.org/epubs/t722h9385?locale=en#/6/206[xhtml00000103]!/4/1:0.
Beasley-Murray, Jon. 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, Janet. 1999. ‘Keeping a Distance’. Sight and Sound 9 (11): 26–28. http://search.proquest.com/docview/1305504342?accountid=11455.
Bickerton, Emilie. 2011. ‘1966-1968: Politicization’. In A Short History of Cahiers Du Cinéma, 51–69. London: Verso.
Bird, Robert. 2008. Andrei Tarkovsky: Elements of Cinema. London: Reaktion. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=449393.
Bondanella, Peter. 1993. ‘Paisà and the Rejection of Traditional Narrative Cinema’. In The Films of Roberto Rossellini, 64–82. Cambridge: Cambridge University Press.
———. 2001. ‘The Masters of NeoReaslism: Rossellini, De Sica, and Visconti’. In Italian Cinema: From Neorealism to the Present, 3rd ed, 31–73. New York: Continuum.
Bordwell, David. 1985. ‘Parametric Narration’. In Narration in the Fiction Film, 274–310. London: Routledge.
———. 1997. ‘Parametric Narration’. In Narration in the Fiction Film, 274–310. London: Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315002163.
Bresson, Robert. 1951. ‘Diary of a Country Priest | Journal D’un Curé De Campagne’. S.l: Optimum Releasing.
———. 1959. ‘Pickpocket’. Artificial Eye.
———. 2017. Notes on the Cinematograph. New York Review.
———. n.d. ‘A Man Escaped’. S.l: Artificial Eye.
Brunette, Peter. 1987a. ‘Paisan’. In Roberto Rossellini, 61–75. New York: Oxford University Press.
———. 1987b. ‘Voyage to Italy’. In Roberto Rossellini, 155–71. New York: Oxford University Press.
———. 1998a. ‘L’eclisse’. In The Films of Michelangelo Antonioni, Cambridge film classics:73–89. Cambridge: Cambridge University Press. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13399200210002671&institutionId=2671&customerId=2670.
———. 1998b. ‘L’eclisse’. In The Films of Michelangelo Antonioni, Cambridge film classics:73–89. Cambridge, U.K.: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07597.
Cameron, Ian. 1967. The Films of Jean-Luc Godard. London: Studio Vista.
———. 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): 191–94. https://search.proquest.com/docview/1305844794/D47E893626BA4E88PQ/38?accountid=11455.
Clarens, Carlos, and Edgardo Cozarinsky. 1974. ‘Jacques Rivette Interviewed’. Sight and Sound 43 (3).
Comolli, J.-L., and J. Narboni. 1971. ‘Cinema/Ideology/Criticism’. Screen 12 (2): 145–55. https://doi.org/10.1093/screen/12.2.145.
Cunneen, Joseph E. 2003. Robert Bresson: A Spiritual Style in Film. New York: Continuum. https://muse.jhu.edu/article/30837.
De Sica, Vittorio. 1952. ‘Umberto D.’ UK: CultFilms.
Dempsey, Michael. 1981a. ‘Lost Harmony: Tarkovsky’s “The Mirror” and “The Stalker”’. Film Quarterly 35 (1): 12–17. https://doi.org/10.2307/1212075.
———. 1981b. ‘Lost Harmony: Tarkovsky’s “The Mirror” and “The Stalker”’. Film Quarterly 35 (1): 12–17. https://doi.org/10.2307/1212075.
Donen, Stanley. 1952. ‘Singin’ in the Rain | Box of Broadcasts’. Channel 5. https://learningonscreen.ac.uk/ondemand/index.php/prog/0018C80D.
Douchet, Jean. 1998. French New Wave. DAP.
Dunne, Nathan. 2008. Tarkovsky. London: Black Dog.
Dyer, Geoff. 2012. Zona: A Book about a Film about a Journey to a Room. Edinburgh: Canongate.
Ferretter, Luke. 2006a. Louis Althusser. London: Routledge.
———. 2006b. Louis Althusser. London: Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=308507.
Fieschi, Jean- André. 1980. ‘Jacques Rivette’. In Cinema: A Critical Dictionary : The Major Film-Makers, 871–78. London: Secker & Warburg.
Foster, Gwendolyn Audrey. 1999. Identity and Memory: The Films of Chantal Akerman. Vol. Cinema voices. Trowbridge: Flicks Books.
Gallagher, Tag. 1998a. The Adventures of Roberto Rossellini. New York: Da Capo Press.
———. 1998b. The Adventures of Roberto Rossellini. New York: Da Capo Press.
Gelley, Ora. 2012a. Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy. Vol. 15. New York: Routledge.
———. 2012b. Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy. Vol. 15. New York: Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203120712.
Godard, Jean-Luc. 1959a. ‘A Bout de Souffle’. Optimum Releasing.
———. 1959b. ‘A Bout de Souffle (Breathless) | Box of Broadcasts’. BBC2 England. https://learningonscreen.ac.uk/ondemand/index.php/prog/00020428?bcast=5333460.
———. 1961. ‘Une Femme Est Une Femme’. S.l.: Criterion.
———. 1963. ‘Le Mépris’. S.l.: Studio Canal.
———. 1965. ‘Alphaville’. S.l.: Optimum World.
———. 1967. ‘Weekend’. Artificial Eye.
———. 1968. ‘Sympathy for the Devil: A.k.a. One Plus One’. S.l.: Fabulous Films.
———. 1972. ‘Interview with Jean-Luc Godard’. In Godard on Godard: Critical Writings. London: Secker and Warburg.
———. 2006a. ‘Pierrot Le Fou’. Studio Canal.
———. 2006b. ‘Vivre Sa Vie’. S.l.: Nouveaux Pictures.
———. 2012. ‘La Chinoise’. S.l.: Gaumont Video.
Godard, Jean-Luc, and Jean-Pierre Gorin. 1972. ‘Tout Va Bien’. S.l.: Arrow Films.
Godard, Jean-Luc, and Tom Milne. 1972a. ‘Let’s Talk About Pierrot’. In Godard on Godard: Critical Writings by Jean-Luc Godard, 215–34. New York, N.Y.: Da Capo Press.
———. 1972b. ‘Pierrot My Friend’. In Godard on Godard: Critical Writings by Jean-Luc Godard, 213–15. New York, N.Y.: Da Capo Press.
Godard, Jean-Luc, Jean Nerboni, Tom Milne, and Richard Roud. 1972. ‘Interview with Jean-Luc Godard’. In Godard on Godard: Critical Writings by Jean-Luc Godard, 171–96. New York, N.Y.: Da Capo Press.
Godard, Jean-Luc, and David Sterritt. 1998. Jean-Luc Godard: Interviews. Vol. Conversations with filmmakers. Jackson: University Press of Mississippi.
Godard, Jean-Luc, and Dziga Vertov. 2012. ‘British Sounds’. Ripley’s Home Video.
Godard, Jean-Luc, Gian Maria Volonte, Jean-Pierre Gorin, and Anne Wiazemsky. 2012. ‘Le Vent d’Est’. S.l.: Gaumont Video.
Goddard, Jean-Luc. 1962. ‘Vivre Sa Vie | Box of Broadcasts’. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000FEB85?bcast=126082788.
———. 1964. ‘Bande à Part’. London: BFI.
Greenberg, Izzy. 1998. ‘Cahiers de Rossellini’. Cineaction, 42–46. https://search.proquest.com/docview/216881706/9C8CD357D3BE412DPQ/7?accountid=11455.
Gunnlaugur A. Jónsson, Thorkell A. Ottarsson, and Thorkell A. Ottarsson. 2006. Through the Mirror. Newcastle upon Tyne: Cambridge Scholars Publisher. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4949895.
Halligan, Benjamin. 2016. Desires for Reality: Radicalism and Revolution in Western European Film. New York: Berghahn Books.
Hoveyda, Fereydoun, Jacques Rivette, and Jim Hillier. 1985. ‘Interview with Roberto Rossellini’. In Cahiers Du Cinéma: Neo-Realism, Hollywood, New Wave / Edited by Jim Hillier, Vol. 1: The 1950s, 1:212–17. London: Routledge & Kegan Paul in association with the British Film Institute.
Johnson, Vida T, and Graham Petrie. 1994. ‘Tarkovsky’. In Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev, 1–49. Bloomington: Indiana University Press.
Jonsson, Gunnlaugur A., and Þorkell Ágúst Óttarsson. 2006. Through the Mirror: Reflections on the Films of Andrei Tarkovsky. Newcastle: Cambridge Scholars Press.
Kelly, Gene, and Stanley Donen. 1952. ‘Singin’ in the Rain’. S.l.: Warner.
Kinder, Marsha. 1977. ‘Reflections on “Jeanne Dielman”’. Film Quarterly 30 (4): 2–8. https://doi.org/10.2307/1211576.
King, Peter. 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. Patrick. 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): 217–24. https://doi.org/10.1080/10509200500486304.
Kovács, András Bálint. 2007a. ‘An Alternative to the Classical Form: Neorealism and Modernism’. In Screening Modernism: European Art Cinema, 1950-1980, 253–71. Chicago: University of Chicago Press.
———. 2007b. ‘An Alternative to the Classical Form: Neorealism and Modernism’. In Screening Modernism: European Art Cinema, 1950-1980, 253–71. Chicago: University of Chicago Press. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780226451664.
Le Fanu, Mark. 1987. The Cinema of Andrei Tarkovsky. London: BFI.
Lesage, Julia. n.d. ‘Celine and Julia Go Boating’. http://www.ejumpcut.org/archive/onlinessays/JC24-25folder/CelineJulie.html.
Levinson, Julie. 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, Jayne. 1985. ‘Jeanne Dielman: Death in Instalments’. In Movies and Methods: An Anthology. Berkeley, Calif: University of California Press.
Macbean, James Roy. 1970. ‘“See You at Mao”: Godard’s Revolutionary British Sounds’. Film Quarterly 24 (2): 15–23. https://doi.org/10.2307/1211216.
MacBean, James Roy. 1972. ‘Godard and the Dziga Vertov Group: Film and Dialectics’. Film Quarterly 26 (1): 30–44. https://doi.org/10.2307/1211409.
MacCabe, Colin. 2003. ‘Student Revolution: Wiazemsky and Gorin’. In Godard: A Portrait of the Artist at 70, 179–238. London: Bloomsbury.
———. 2004. ‘A Certain Tendency of French Film Production: The New Wave of Karina and Coutard’. In Godard: A Portrait of the Artist at 70, 97–178. London: Bloomsbury.
Marchessault, Janine. 1986. ‘Inventing Paradox: Céline and Julie Go Boating’. CineAction 3 (4): 84–90.
Marguilies, Ivone. 2016. ‘Dossier: Chantal Akerman’. Film Quarterly 70 (1): 11–84. http://fq.ucpress.edu/content/70/1.
Margulies, Ivone. 1996. Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Durham: Duke University Press.
Marie, Michel. 2003a. The French New Wave: An Artistic School. Oxford: Blackwell.
———. 2003b. The French New Wave: An Artistic School. Oxford: Blackwell. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=351546.
Martin, Angela, and Chantal Akerman. 1979a. ‘Chantal Akerman’s Films: A Dossier’. Feminist Review, no. 3. https://doi.org/10.2307/1394708.
———. 1979b. ‘Chantal Akerman’s Films: A Dossier’. Feminist Review, no. 3. https://doi.org/10.2307/1394708.
Monaco, James. 1976. ‘Rivette: The Process of Narrative’. In The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette, 30th ed. New York: Harbor.
———. 2004. The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette. 30th ed. New York: Harbor.
Morrey, Douglas. 2005. Jean-Luc Godard. Vol. French film directors. Manchester: Manchester University Press.
Morrey, Douglas, and Alison Smith. 2009. Jacques Rivette. Manchester: Manchester University Press.
Mulvey, Laura. 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.
———. 2000. ‘Vesuvian Topographies: The Eruption of the Past in Journey to Italy’. In Roberto Rossellini: Magician of the Real, 95–111. London: BFI Publishing.
Neupert, Richard. 2002. A History of the French New Wave Cinema. Madison, Wis: University of Wisconsin Press.
Neupert, Richard John. 2007. A History of the French New Wave Cinema. Madison: University of Wisconsin Press. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=259471.
Nowell-Smith, Geoffrey. 1963a. ‘Shape around a Black Point’. Sight and Sound 33 (1): 15–20. https://search.proquest.com/docview/1305505794/49B04220CB984A6APQ/7?accountid=11455.
———. 1963b. ‘Shape Around a Black Point (On L’eclisse)’. Sight and Sound 33 (1). http://search.proquest.com/docview/1305505794?accountid=11455.
———. 1976. ‘Shape Around a Black Point (On L’eclisse)’. In Movies and Methods: An Anthology, Vol. 1. Berkeley: University of California Press.
———. 2013. Making Waves: New Cinemas of the 1960s. Revised and Expanded edition. New York: Bloomsbury.
Perez, Gilberto. 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.
———. 1998. ‘The Signifiers of Tenderness’. In The Material Ghost: Films and Their Medium. Baltimore: Johns Hopkins University Press.
Perlmutter, Ruth. 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): 125–33. https://doi.org/10.1080/10509207909360986.
Petrie, Graham, and Vida T. Johnson. 1994a. ‘Mirror’. In The Films of Andrei Tarkovsky: A Visual Fugue, 111–36. Bloomington: Indiana University Press.
———. 1994b. ‘Stalker’. In The Films of Andrei Tarkovsky: A Visual Fugue, 137–55. Bloomington: 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, Tony. 2010a. Robert Bresson: A Passion for Film. New York: Oxford University Press.
———. 2010b. Robert Bresson: A Passion for Film. New York: Oxford University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=472343.
Quandt, James. 2011. Robert Bresson Revised. Indiana University Press.
Reader, Keith. 2000. Robert Bresson. Manchester: Manchester University Press.
Rivette, Jacques. 1971. Out 1: Noli Me Tangere. Berlin: Medien.
———. 2006. ‘Celine and Julie Go Boating’. S.l.: BFI.
Rivette, Jacques, and Juliet Berto. 1976. ‘Duelle’. S.l.: Aventi.
Robert Bresson. 2016. Bresson on Bresson.
Rosenbaum, Jonathan. 1974a. ‘Phantom Interviewers Over Rivette’. Film Comment 10 (5): 18–24. https://www.jstor.org/stable/43450770.
———. 1974b. ‘Work and Play in the House of Fiction’’. In Placing Movies: The Practice of Film Criticism. Berkeley: University of California Press. http://hdl.handle.net/2027/heb.08129.
———. 1995. ‘A Cinema of Uncertainty: Films by Michelangelo Antonioni’. In Placing Movies: The Practice of Film Criticism. Berkeley: University of California Press.
Rossellini, Roberto. 1949. ‘Stromboli’. Criterion Collection.
———. 1950. ‘Stromboli | Box of Broadcasts’. BBC2 England. https://learningonscreen.ac.uk/ondemand/index.php/prog/001A5B9E?bcast=101314809.
———. 1952. ‘Europa 51’. S.l: s.n.
———. 1954. ‘Viaggio in Italia | Journey to Italy’. Criterion Collection.
Rossellini, Roberto, and Adriano Apra. 1987. My Method : Writings and Interviews. Venice: Marsilio Editori SPA.
Rossellini, Roberto, and Aldo Fabrizi. 1945. ‘Rome, Open City’. S.l.: Criterion.
Rossellini, Roberto, and Maria Michi. 1946. ‘Paisà’. S.l.: Off-air.
Rossellini, Roberto, and Edmund Moeschke. 1948. ‘Germany, Year Zero’. S.l.: Criterion.
Roud, Richard. 2010a. Godard. 3rd ed. Vol. BFI silver. London: Palgrave Macmillan.
———. 2010b. ‘Reality and Abstraction’. In Godard, 3rd ed, 65–90. London: Palgrave Macmillan.
———. 2010c. ‘Reality and Abstraction’. In Godard, 3rd ed, 65–90. Basingstoke: Palgrave Macmillan. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781844575619.
Sica, Vittorio de. 1948. ‘The Bicycle Thieves’. Arrow Films.
Skakov, Naiman. 2012. ‘Revelations of Stalker’. In The Cinema of Tarkovsky: Labyrinths of Space and Time, 140–66. London: I.B. Tauris.
Skakov, Nariman. 2012a. ‘Memories of a Mirror’. In The Cinema of Tarkovsky: Labyrinths of Space and Time, 100–139. London: I.B. Tauris.
———. 2012b. ‘Memories of Mirror’. In The Cinema of Tarkovsky: Labyrinths of Space and Time, 100–139. London: I.B.Tauris & Co Ltd. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780857721198.
———. 2012c. ‘Revelations of Stalker’. In The Cinema of Tarkovsky: Labyrinths of Space and Time, 140–66. London: I.B.Tauris & Co Ltd. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780857721198.
———. 2012d. The Cinema of Tarkovsky: Labyrinths of Space and Time. Vol. KINO. London: I.B. Tauris.
Sontag, Susan. 1983. ‘Against Interpretation’. In A Susan Sontag Reader, 95–104. Vintage.
———. 2009. ‘Spiritual Style in the Films of Robert Bresson’. In Against Interpretation: And Other Essays, 177–95. London: Penguin.
Synessios, Natasha. 2001. Mirror. Vol. 6. London: I.B. Tauris.
———. n.d. Mirror. Vol. 6. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9786000006327.
Tarkovskiĭ, Andreĭ Arsenʹevich. 1989. Sculpting in Time: Reflections on the Cinema. Austin: University of Texas Press.
———. 2016. ‘Nostalghia (Nostalgia)’. London: Artificial Eye.
Tarkovsky, Andrei. 1962. ‘Ivan’s Childhood’. S.l.: Artificial Eye.
———. 1963. ‘Ivan’s Childhood | Box of Broadcasts’. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/001D2A1D?bcast=125872069.
———. 1966a. ‘Andrei Rublev’. S.l.: Artificial Eye.
———. 1966b. ‘Andrei Rublev | Box of Broadcasts’. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000FD4EC?bcast=123867685.
———. 1972a. ‘Solaris’. [S.l.]: Artificial Eye.
———. 1972b. ‘Solaris | Box of Broadcasts’. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/00114161.
———. 1975a. ‘Mirror’. S.l.: Artificial Eye.
———. 1975b. ‘Mirror | Box of Broadcasts’. 1975. http://bobnational.net/record/15563.
———. 1979a. ‘Stalker’. S.l.: Artifical Eye.
———. 1979b. ‘Stalker | Box of Broadcasts’. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/004EDE5B?bcast=124002923.
———. 1983. ‘Nostalgia | Box of Broadcasts’. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/0EE35F0B?bcast=126665335.
———. 1986a. ‘Sacrifice | Box of Broadcasts’. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000DBC26?bcast=124153170.
———. 1986b. ‘The Sacrifice’. S.l.: Artificial Eye.
———. 1989. ‘Time, Rhythm and Editing’. In Sculpting in Time: Reflections on the Cinema, 113–24. Austin: University of Texas Press.
———. 1994. Time Within Time: The Diaries, 1970-1986. London: Faber & Faber.
Tarkovsky, Andrei, and Ian Christie. 1981. ‘Against Interpretation: An Interview With Andrei Tarkovsky’. Framework: The Journal of Cinema and Media, no. 14. https://www.jstor.org/stable/44111800.
Tarkovsky, Andrei, and John Gianvito. 2006. Andrei Tarkovsky: Interviews. Jackson: University Press of Mississippi.
Tarkovsky, Andrei, and Stephen Gill. 2008. Bright, Bright Day: Andrey Tarkovsky’s Polaroids. London: White Space Gallery.
Turovskai︠a︡, Maĭi︠a︡. 1989. Tarkovsky: Cinema as Poetry. Rev. ed. London: Faber and Faber.
Visconti, Luchino. 1948. ‘La Terra Trema’. BFI.
Wagstaff, Christopher. 2007. ‘Paisà’. In Italian Neorealist Cinema: An Aesthetic Approach, 185–290. Toronto: University of Toronto Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4634682.
Weis, Don. 2011. ‘I Love Melvin’. United States: Turner Entertainment Co.
Wiles, Mary M. 2012. Jacques Rivette. Urbana, [Ill.]: University of Illinois Press.
Wills, David. 2000a. Jean-Luc Godard’s Pierrot Le Fou. Cambridge: Cambridge University Press.
———. 2000b. Jean-Luc Godard’s Pierrot Le Fou. Cambridge, U.K.: Cambridge University Press. http://hdl.handle.net/2027/heb.07621.
Wollen, Peter. 1982. ‘Godard and Counter Cinema: Vent d’Est’. In Readings and Writings: Semiotic Counter-Strategies, 79–91. London: Verso.
Wood, Robin. 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, Carina. 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, Gene. 1998. ‘Jean-Luc Godard: No Difference Between Life and Cinema’. In Jean-Luc Godard: Interviews, edited by David Sterritt, 9–49. Jackson: University Press of Mississippi.
Zavattini, Cesare. 1978. ‘A Thesis on Neorealism’. In Springtime in Italy: A Reader on Neo-Realism, 67–78. London: Talisman Books.
