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. Eclipse from the Criterion Collection, Series 19, Chantal Akerman in the seventies. Criterion Collection.
Akerman, Chantal. 1975b. Jeanne Dielman: 23, Quai Du Commerce, 1080 Bruxelles. Criterion.
Akerman, Chantal. 2009. News From Home. Eclipse series 19. Paradise Films.
Antonioni, Michelangelo. 1959. L’Avventura. Mr Bongo.
Antonioni, Michelangelo. 1960. L’Avventura | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000959DA.
Antonioni, Michelangelo. 1961. La Notte. The Masters of cinema series. Eureka.
Antonioni, Michelangelo. 1962. L’eclisse. Criterion Collection.
Antonioni, Michelangelo. 1963a. ‘The Event and the Image’. Sight and Sound 33 (1). https://search.proquest.com/docview/1305505778/49B04220CB984A6APQ/6?accountid=11455.
Antonioni, Michelangelo. 1963b. ‘The Event and the Image’. Sight and Sound 33 (1). http://search.proquest.com/docview/1305505778?accountid=11455.
Antonioni, Michelangelo. 1964a. Red Desert. BFI.
Antonioni, Michelangelo. 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. 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. 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? University of California Press.
Bazin, André. 1967b. ‘In Defense of Rossellini’. In What Is Cinema? University of California Press.
Bazin, Andre. 2005a. ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’. In What Is Cinema?, vol. 2. https://www.fulcrum.org/epubs/t722h9385?locale=en#/6/50[xhtml00000025]!/4/1:0.
Bazin, Andre. 2005b. ‘In Defense of Rossellini’. In What Is Cinema?, vol. 2. 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. Verso.
Bird, Robert. 2008. Andrei Tarkovsky: Elements of Cinema. 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. Cambridge University Press.
Bondanella, Peter. 2001. ‘The Masters of NeoReaslism: Rossellini, De Sica, and Visconti’. In Italian Cinema: From Neorealism to the Present, 3rd ed. Continuum.
Bordwell, David. 1985. ‘Parametric Narration’. In Narration in the Fiction Film. Routledge.
Bordwell, David. 1997. ‘Parametric Narration’. In Narration in the Fiction Film. Routledge. Electronic book. 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. Optimum Releasing.
Bresson, Robert. 1959. Pickpocket. Artificial Eye.
Bresson, Robert. 2017. Notes on the Cinematograph. New York Review.
Bresson, Robert. n.d. A Man Escaped. Artificial Eye.
Brunette, Peter. 1987a. ‘Paisan’. In Roberto Rossellini. Oxford University Press.
Brunette, Peter. 1987b. ‘Voyage to Italy’. In Roberto Rossellini. Oxford University Press.
Brunette, Peter. 1998a. ‘L’eclisse’. In The Films of Michelangelo Antonioni, Cambridge film classics. Cambridge University Press. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13399200210002671&institutionId=2671&customerId=2670.
Brunette, Peter. 1998b. ‘L’eclisse’. In The Films of Michelangelo Antonioni, Cambridge film classics. Cambridge University Press. Electronic book. http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07597.
Cameron, Ian. 1967. The Films of Jean-Luc Godard. Studio Vista.
Cameron, Ian. 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): 191–94. 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. Continuum. https://muse.jhu.edu/article/30837.
De Sica, Vittorio. 1952. Umberto D. 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.
Dempsey, Michael. 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. Black Dog.
Dyer, Geoff. 2012. Zona: A Book about a Film about a Journey to a Room. Canongate.
Ferretter, Luke. 2006a. Louis Althusser. Routledge.
Ferretter, Luke. 2006b. Louis Althusser. Routledge. Electronic book. 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. Secker & Warburg.
Foster, Gwendolyn Audrey. 1999. Identity and Memory: The Films of Chantal Akerman. Cinema voices. Flicks Books.
Gallagher, Tag. 1998a. The Adventures of Roberto Rossellini. Da Capo Press.
Gallagher, Tag. 1998b. The Adventures of Roberto Rossellini. Da Capo Press.
Gelley, Ora. 2012a. Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy. Vol. 15. Routledge.
Gelley, Ora. 2012b. Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy. Vol. 15. Routledge. Electronic book. 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.
Godard, Jean-Luc. 1959b. A Bout de Souffle (Breathless) | Box of Broadcasts. BBC2 England. https://learningonscreen.ac.uk/ondemand/index.php/prog/00020428?bcast=5333460.
Godard, Jean-Luc. 1961. Une Femme Est Une Femme. Criterion collection. Criterion.
Godard, Jean-Luc. 1963. Le Mépris. Studio Canal.
Godard, Jean-Luc. 1965. Alphaville. Optimum World.
Godard, Jean-Luc. 1967. Weekend. Artificial Eye.
Godard, Jean-Luc. 1968. Sympathy for the Devil: A.k.a. One Plus One. Fabulous Films.
Godard, Jean-Luc. 1972. ‘Interview with Jean-Luc Godard’. In Godard on Godard: Critical Writings. Secker and Warburg.
Godard, Jean-Luc. 2006a. Pierrot Le Fou. Studio Canal.
Godard, Jean-Luc. 2006b. Vivre Sa Vie. Nouveaux Pictures.
Godard, Jean-Luc. 2012. La Chinoise. Gaumont Video.
Godard, Jean-Luc, and Jean-Pierre Gorin. 1972. Tout Va Bien. Arrow Films.
Godard, Jean-Luc, and Tom Milne. 1972a. ‘Let’s Talk About Pierrot’. In Godard on Godard: Critical Writings by Jean-Luc Godard. Da Capo Press.
Godard, Jean-Luc, and Tom Milne. 1972b. ‘Pierrot My Friend’. In Godard on Godard: Critical Writings by Jean-Luc Godard. 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. Da Capo Press.
Godard, Jean-Luc, and David Sterritt. 1998. Jean-Luc Godard: Interviews. Conversations with filmmakers. 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. Gaumont Video.
Goddard, Jean-Luc. 1962. Vivre Sa Vie | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000FEB85?bcast=126082788.
Goddard, Jean-Luc. 1964. Bande à Part. 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. 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. 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, vol. 1. 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. Indiana University Press.
Jonsson, Gunnlaugur A., and Þorkell Ágúst Óttarsson. 2006. Through the Mirror: Reflections on the Films of Andrei Tarkovsky. Cambridge Scholars Press.
Kelly, Gene, and Stanley Donen. 1952. Singin’ in the Rain. 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. University of Chicago Press.
Kovács, András Bálint. 2007b. ‘An Alternative to the Classical Form: Neorealism and Modernism’. In Screening Modernism: European Art Cinema, 1950-1980. University of Chicago Press. Electronic book. 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. 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. 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. Bloomsbury.
MacCabe, Colin. 2004. ‘A Certain Tendency of French Film Production: The New Wave of Karina and Coutard’. In Godard: A Portrait of the Artist at 70. 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. Duke University Press.
Marie, Michel. 2003a. The French New Wave: An Artistic School. Blackwell.
Marie, Michel. 2003b. The French New Wave: An Artistic School. Blackwell. Electronic book. 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.
Martin, Angela, and Chantal Akerman. 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. Harbor.
Monaco, James. 2004. The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette. 30th ed. Harbor.
Morrey, Douglas. 2005. Jean-Luc Godard. French film directors. Manchester University Press.
Morrey, Douglas, and Alison Smith. 2009. Jacques Rivette. 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. British Film Institute.
Mulvey, Laura. 2000. ‘Vesuvian Topographies: The Eruption of the Past in Journey to Italy’. In Roberto Rossellini: Magician of the Real. BFI Publishing.
Neupert, Richard. 2002. A History of the French New Wave Cinema. University of Wisconsin Press.
Neupert, Richard John. 2007. A History of the French New Wave Cinema. University of Wisconsin Press. Electronic book. 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.
Nowell-Smith, Geoffrey. 1963b. ‘Shape Around a Black Point (On L’eclisse)’. Sight and Sound 33 (1). http://search.proquest.com/docview/1305505794?accountid=11455.
Nowell-Smith, Geoffrey. 1976. ‘Shape Around a Black Point (On L’eclisse)’. In Movies and Methods: An Anthology, Vol. 1. University of California Press.
Nowell-Smith, Geoffrey. 2013. Making Waves: New Cinemas of the 1960s. Revised and Expanded edition. 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.
Perez, Gilberto. 1998. ‘The Signifiers of Tenderness’. In The Material Ghost: Films and Their Medium. 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. Indiana University Press.
Petrie, Graham, and Vida T. Johnson. 1994b. ‘Stalker’. In The Films of Andrei Tarkovsky: A Visual Fugue. 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. Oxford University Press.
Pipolo, Tony. 2010b. Robert Bresson: A Passion for Film. Oxford University Press. Electronic resource. 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 University Press.
Rivette, Jacques. 1971. Out 1: Noli Me Tangere. Medien.
Rivette, Jacques. 2006. Celine and Julie Go Boating. BFI.
Rivette, Jacques, and Juliet Berto. 1976. Duelle. 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.
Rosenbaum, Jonathan. 1974b. ‘Work and Play in the House of Fiction’’. In Placing Movies: The Practice of Film Criticism. University of California Press. Electronic resource. http://hdl.handle.net/2027/heb.08129.
Rosenbaum, Jonathan. 1995. ‘A Cinema of Uncertainty: Films by Michelangelo Antonioni’. In Placing Movies: The Practice of Film Criticism. University of California Press.
Rossellini, Roberto. 1949. Stromboli. Vol. 672. Criterion Collection.
Rossellini, Roberto. 1950. Stromboli | Box of Broadcasts. BBC2 England. https://learningonscreen.ac.uk/ondemand/index.php/prog/001A5B9E?bcast=101314809.
Rossellini, Roberto. 1952. Europa 51. S.n.
Rossellini, Roberto. 1954. Viaggio in Italia | Journey to Italy. Criterion Collection.
Rossellini, Roberto, and Adriano Apra. 1987. My Method : Writings and Interviews. Marsilio Editori SPA.
Rossellini, Roberto, and Aldo Fabrizi. 1945. Rome, Open City. Criterion.
Rossellini, Roberto, and Maria Michi. 1946. Paisà. Off-air.
Rossellini, Roberto, and Edmund Moeschke. 1948. Germany, Year Zero. Criterion.
Roud, Richard. 2010a. Godard. 3rd ed. BFI silver. Palgrave Macmillan.
Roud, Richard. 2010b. ‘Reality and Abstraction’. In Godard, 3rd ed. Palgrave Macmillan.
Roud, Richard. 2010c. ‘Reality and Abstraction’. In Godard, 3rd ed. Palgrave Macmillan. Electronic resource. 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. I.B. Tauris.
Skakov, Nariman. 2012a. ‘Memories of a Mirror’. In The Cinema of Tarkovsky: Labyrinths of Space and Time. I.B. Tauris.
Skakov, Nariman. 2012b. ‘Memories of Mirror’. In The Cinema of Tarkovsky: Labyrinths of Space and Time. I.B.Tauris & Co Ltd. Electronic Resource. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780857721198.
Skakov, Nariman. 2012c. ‘Revelations of Stalker’. In The Cinema of Tarkovsky: Labyrinths of Space and Time. I.B.Tauris & Co Ltd. Electronic resource. 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. KINO. I.B. Tauris.
Sontag, Susan. 1983. ‘Against Interpretation’. In A Susan Sontag Reader. Vintage.
Sontag, Susan. 2009. ‘Spiritual Style in the Films of Robert Bresson’. In Against Interpretation: And Other Essays. Penguin.
Synessios, Natasha. 2001. Mirror. Vol. 6. I.B. Tauris.
Synessios, Natasha. n.d. Mirror. Vol. 6. Electronic book. 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. University of Texas Press.
Tarkovskiĭ, Andreĭ Arsenʹevich. 2016. Nostalghia (Nostalgia). Artificial Eye.
Tarkovsky, Andrei. 1962. Ivan’s Childhood. Artificial Eye.
Tarkovsky, Andrei. 1963. Ivan’s Childhood | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/001D2A1D?bcast=125872069.
Tarkovsky, Andrei. 1966a. Andrei Rublev. Artificial Eye.
Tarkovsky, Andrei. 1966b. Andrei Rublev | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000FD4EC?bcast=123867685.
Tarkovsky, Andrei. 1972a. Solaris. Artificial Eye.
Tarkovsky, Andrei. 1972b. Solaris | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/00114161.
Tarkovsky, Andrei. 1975a. Mirror. Artificial Eye.
Tarkovsky, Andrei. 1975b. ‘Mirror | Box of Broadcasts’. http://bobnational.net/record/15563.
Tarkovsky, Andrei. 1979a. Stalker. Artifical Eye.
Tarkovsky, Andrei. 1979b. Stalker | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/004EDE5B?bcast=124002923.
Tarkovsky, Andrei. 1983. Nostalgia | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/0EE35F0B?bcast=126665335.
Tarkovsky, Andrei. 1986a. Sacrifice | Box of Broadcasts. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000DBC26?bcast=124153170.
Tarkovsky, Andrei. 1986b. The Sacrifice. Artificial Eye.
Tarkovsky, Andrei. 1989. ‘Time, Rhythm and Editing’. In Sculpting in Time: Reflections on the Cinema. University of Texas Press.
Tarkovsky, Andrei. 1994. Time Within Time: The Diaries, 1970-1986. 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. University Press of Mississippi.
Tarkovsky, Andrei, and Stephen Gill. 2008. Bright, Bright Day: Andrey Tarkovsky’s Polaroids. White Space Gallery.
Turovskai︠a︡, Maĭi︠a︡. 1989. Tarkovsky: Cinema as Poetry. Rev. ed. Faber and Faber.
Visconti, Luchino. 1948. La Terra Trema. BFI.
Wagstaff, Christopher. 2007. ‘Paisà’. In Italian Neorealist Cinema: An Aesthetic Approach. University of Toronto Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4634682.
Weis, Don. 2011. I Love Melvin. Remastered ed. Turner Entertainment Co.
Wiles, Mary M. 2012. Jacques Rivette. University of Illinois Press.
Wills, David. 2000a. Jean-Luc Godard’s Pierrot Le Fou. Cambridge University Press.
Wills, David. 2000b. Jean-Luc Godard’s Pierrot Le Fou. Cambridge University Press. Electronic resource. http://hdl.handle.net/2027/heb.07621.
Wollen, Peter. 1982. ‘Godard and Counter Cinema: Vent d’Est’. In Readings and Writings: Semiotic Counter-Strategies. 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. University Press of Mississippi.
Zavattini, Cesare. 1978. ‘A Thesis on Neorealism’. In Springtime in Italy: A Reader on Neo-Realism. Talisman Books.