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R. Rossellini and M. Michi, ‘Paisà’. Off-air, S.l., 1946.
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A. Bazin, ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’, in What Is Cinema?, Berkeley, Calif: University of California Press, 1967, pp. 16–40.
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A. Bazin, ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’, in What Is Cinema?, vol. 2, 2005, pp. 16–40 [Online]. Available: https://www.fulcrum.org/epubs/t722h9385?locale=en#/6/50[xhtml00000025]!/4/1:0
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R. Rossellini and A. Fabrizi, ‘Rome, Open City’. Criterion, S.l., 1945.
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R. Rossellini and E. Moeschke, ‘Germany, Year Zero’. Criterion, S.l., 1948.
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V. de Sica, ‘The Bicycle Thieves’. Arrow Films, 1948.
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L. Visconti, ‘La Terra Trema’. BFI., 1948.
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V. De Sica, ‘Umberto D.’ CultFilms, UK, 1952.
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A. Ayfre, ‘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, 1985, pp. 182–191.
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P. Bondanella, ‘Paisà and the Rejection of Traditional Narrative Cinema’, in The Films of Roberto Rossellini, Cambridge: Cambridge University Press, 1993, pp. 64–82.
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P. Bondanella, ‘The Masters of NeoReaslism: Rossellini, De Sica, and Visconti’, in Italian Cinema: From Neorealism to the Present, 3rd ed., New York: Continuum, 2001, pp. 31–73.
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P. Brunette, ‘Paisan’, in Roberto Rossellini, New York: Oxford University Press, 1987, pp. 61–75.
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T. Gallagher, The Adventures of Roberto Rossellini. New York: Da Capo Press, 1998.
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C. Wagstaff, ‘Paisà’, in Italian Neorealist Cinema: An Aesthetic Approach, Toronto: University of Toronto Press, 2007, pp. 185–290 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4634682
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C. Zavattini, ‘A Thesis on Neorealism’, in Springtime in Italy: A Reader on Neo-Realism, London: Talisman Books, 1978, pp. 67–78.
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R. Rossellini, ‘Viaggio in Italia | Journey to Italy’. Criterion Collection, 1954.
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A. Bazin, ‘In Defense of Rossellini’, in What Is Cinema?, Berkeley, Calif: University of California Press, 1967, pp. 93–101.
[18]
A. Bazin, ‘In Defense of Rossellini’, in What Is Cinema?, vol. 2, 2005, pp. 93–101 [Online]. Available: https://www.fulcrum.org/epubs/t722h9385?locale=en#/6/206[xhtml00000103]!/4/1:0
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A. B. Kovács, ‘An Alternative to the Classical Form: Neorealism and Modernism’, in Screening Modernism: European Art Cinema, 1950-1980, Chicago: University of Chicago Press, 2007, pp. 253–271.
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A. B. Kovács, ‘An Alternative to the Classical Form: Neorealism and Modernism’, in Screening Modernism: European Art Cinema, 1950-1980, Chicago: University of Chicago Press, 2007, pp. 253–271 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780226451664
[21]
R. Rossellini, ‘Stromboli’, vol. 672. Criterion Collection, 1949.
[22]
R. Rossellini, ‘Stromboli | Box of Broadcasts’. BBC2 England, 1950 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/001A5B9E?bcast=101314809
[23]
R. Rossellini, ‘Europa 51’. s.n, S.l, 1952.
[24]
P. Brunette, ‘Voyage to Italy’, in Roberto Rossellini, New York: Oxford University Press, 1987, pp. 155–171.
[25]
T. Gallagher, The Adventures of Roberto Rossellini. New York: Da Capo Press, 1998.
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I. Greenberg, ‘Cahiers de Rossellini’, Cineaction, pp. 42–46, 1998 [Online]. Available: https://search.proquest.com/docview/216881706/9C8CD357D3BE412DPQ/7?accountid=11455
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F. Hoveyda, J. Rivette, and J. Hillier, ‘Interview with Roberto Rossellini’, in Cahiers Du Cinéma: Neo-Realism, Hollywood, New Wave / Edited by Jim Hillier, Vol. 1: The 1950s, vol. 1, London: Routledge & Kegan Paul in association with the British Film Institute, 1985, pp. 212–217.
[28]
O. Gelley, Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy, vol. 15. New York: Routledge, 2012.
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O. Gelley, Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy, vol. 15. New York: Routledge, 2012 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203120712
[30]
L. Mulvey, ‘Vesuvian Topographies: The Eruption of the Past in Journey to Italy’, in Roberto Rossellini: Magician of the Real, London: BFI Publishing, 2000, pp. 95–111.
[31]
R. Rossellini and A. Apra, My Method : Writings and Interviews. Venice: Marsilio Editori SPA, 1987.
[32]
R. Bresson, ‘Pickpocket’. Artificial Eye, 1959.
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‘Pickpocket (1959) | BoB’. Channel 4, 1996 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/buf620fb4?bcast=130438481
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S. Sontag, ‘Spiritual Style in the Films of Robert Bresson’, in Against Interpretation: And Other Essays, London: Penguin, 2009, pp. 177–195.
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R. Bresson, ‘Diary of a Country Priest | Journal D’un Curé De Campagne’. Optimum Releasing, S.l, 1951.
[36]
R. Bresson, ‘A Man Escaped’. Artificial Eye, S.l.
[37]
D. Bordwell, ‘Parametric Narration’, in Narration in the Fiction Film, London: Routledge, 1985, pp. 274–310.
[38]
D. Bordwell, ‘Parametric Narration’, in Narration in the Fiction Film, London: Routledge, 1997, pp. 274–310 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315002163
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R. Bresson, Notes on the Cinematograph. New York Review, 2017.
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Robert Bresson, Bresson on Bresson. 2016.
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I. Cameron, The Films of Robert Bresson. London: Studio Vista, 1969.
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J. E. Cunneen, Robert Bresson: A Spiritual Style in Film. New York: Continuum, 2003 [Online]. Available: https://muse.jhu.edu/article/30837
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T. Pipolo, Robert Bresson: A Passion for Film. New York: Oxford University Press, 2010.
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T. Pipolo, Robert Bresson: A Passion for Film. New York: Oxford University Press, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=472343
[45]
J. Quandt, Robert Bresson Revised. Indiana University Press, 2011.
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K. Reader, Robert Bresson. Manchester: Manchester University Press, 2000.
[47]
M. Antonioni, ‘L’eclisse’. Criterion Collection, S.l., 1962.
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M. Antonioni, ‘The Event and the Image’, Sight and Sound, vol. 33, no. 1, 1963 [Online]. Available: https://search.proquest.com/docview/1305505778/49B04220CB984A6APQ/6?accountid=11455
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G. Nowell-Smith, ‘Shape around a Black Point’, Sight and Sound, vol. 33, no. 1, pp. 15–20, 1963 [Online]. Available: https://search.proquest.com/docview/1305505794/49B04220CB984A6APQ/7?accountid=11455
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M. Antonioni, ‘L’Avventura’. Mr Bongo, [S.I.], 1959.
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M. Antonioni, ‘L’Avventura | Box of Broadcasts’. FilmFour, 1960 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/000959DA
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M. Antonioni, ‘La Notte’, vol. The Masters of cinema series. Eureka, [S.l.], 1961.
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M. Antonioni, ‘Red Desert’. BFI, [S.l.], 1964.
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M. Antonioni, ‘The Red Desert | Box of Broadcasts’. FilmFour, 1964 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0206AE5D
[55]
M. Antonioni, ‘The Event and the Image’, Sight and Sound, vol. 33, no. 1, 1963 [Online]. Available: http://search.proquest.com/docview/1305505778?accountid=11455
[56]
M. Antonioni, C. Di Carlo, G. Tinazzi, and M. Cottino-Jones, The Architecture of Vision: Writings and Interviews on Cinema, University of Chicago Press ed. Chicago: University of Chicago Press, 2007.
[57]
P. Brunette, ‘L’eclisse’, in The Films of Michelangelo Antonioni, vol. Cambridge film classics, Cambridge: Cambridge University Press, 1998, pp. 73–89 [Online]. Available: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13399200210002671&institutionId=2671&customerId=2670
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P. Brunette, ‘L’eclisse’, in The Films of Michelangelo Antonioni, vol. Cambridge film classics, Cambridge, U.K.: Cambridge University Press, 1998, pp. 73–89 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07597
[59]
G. Nowell-Smith, ‘Shape Around a Black Point (On L’eclisse)’, Sight and Sound, vol. 33, no. 1, 1963 [Online]. Available: http://search.proquest.com/docview/1305505794?accountid=11455
[60]
G. Nowell-Smith, ‘Shape Around a Black Point (On L’eclisse)’, in Movies and Methods: An Anthology, Vol. 1, Berkeley: University of California Press, 1976.
[61]
G. Perez, ‘The Point of View of a Stranger: An Essay on Antonioni’s “Eclipse”’, The Hudson Review, vol. 44, no. 2, 1991, doi: 10.2307/3851918.
[62]
J. Rosenbaum, ‘A Cinema of Uncertainty: Films by Michelangelo Antonioni’, in Placing Movies: The Practice of Film Criticism, Berkeley: University of California Press, 1995.
[63]
J.-L. Godard, ‘Une Femme Est Une Femme’, vol. Criterion collection. Criterion, S.l., 1961.
[64]
R. Roud, ‘Reality and Abstraction’, in Godard, 3rd ed., London: Palgrave Macmillan, 2010, pp. 65–90.
[65]
R. Roud, ‘Reality and Abstraction’, in Godard, 3rd ed., Basingstoke: Palgrave Macmillan, 2010, pp. 65–90 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781844575619
[66]
J.-L. Godard, J. Nerboni, T. Milne, and R. Roud, ‘Interview with Jean-Luc Godard’, in Godard on Godard: Critical Writings by Jean-Luc Godard, New York, N.Y.: Da Capo Press, 1972, pp. 171–196.
[67]
G. Kelly and S. Donen, ‘Singin’ in the Rain’. Warner, S.l., 1952.
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S. Donen, ‘Singin’ in the Rain | Box of Broadcasts’. Channel 5, 1952 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0018C80D
[69]
D. Weis, ‘I Love Melvin’. Turner Entertainment Co, United States, 2011.
[70]
J.-L. Godard, ‘A Bout de Souffle’. Optimum Releasing, 1959.
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J.-L. Godard, ‘A Bout de Souffle (Breathless) | Box of Broadcasts’. BBC2 England, 1959 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/00020428?bcast=5333460
[72]
J.-L. Godard, ‘Vivre Sa Vie’. Nouveaux Pictures, S.l., 2006.
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J.-L. Goddard, ‘Vivre Sa Vie | Box of Broadcasts’. FilmFour, 1962 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/000FEB85?bcast=126082788
[74]
J.-L. Godard, ‘Le Mépris’. Studio Canal, S.l., 1963.
[75]
J.-L. Goddard, ‘Bande à Part’. BFI, London, 1964.
[76]
J.-L. Godard, ‘Alphaville’. Optimum World, S.l., 1965.
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I. Cameron, The Films of Jean-Luc Godard. London: Studio Vista, 1967.
[78]
J. Douchet, French New Wave. DAP, 1998.
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J.-L. Godard, ‘Interview with Jean-Luc Godard’, in Godard on Godard: Critical Writings, London: Secker and Warburg, 1972.
[80]
C. MacCabe, ‘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, 2004, pp. 97–178.
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M. Marie, The French New Wave: An Artistic School. Oxford: Blackwell, 2003.
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M. Marie, The French New Wave: An Artistic School. Oxford: Blackwell, 2003 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=351546
[83]
J. Monaco, The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette, 30th ed. New York: Harbor, 2004.
[84]
D. Morrey, Jean-Luc Godard, vol. French film directors. Manchester: Manchester University Press, 2005.
[85]
R. Neupert, A History of the French New Wave Cinema. Madison, Wis: University of Wisconsin Press, 2002.
[86]
R. J. Neupert, A History of the French New Wave Cinema. Madison: University of Wisconsin Press, 2007 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=259471
[87]
G. Nowell-Smith, Making Waves: New Cinemas of the 1960s, Revised and Expanded edition. New York: Bloomsbury, 2013.
[88]
G. Perez, ‘The Signifiers of Tenderness’, in The Material Ghost: Films and Their Medium, Baltimore: Johns Hopkins University Press, 1998.
[89]
R. Roud, Godard, 3rd ed., vol. BFI silver. London: Palgrave Macmillan, 2010.
[90]
J.-L. Godard and D. Sterritt, Jean-Luc Godard: Interviews, vol. Conversations with filmmakers. Jackson: University Press of Mississippi, 1998.
[91]
J.-L. Godard, ‘Pierrot Le Fou’. Studio Canal, 2006.
[92]
‘Pierrot Le Fou (1965) | BoB’. Arte, 2019 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/000184D5?bcast=130947503
[93]
J.-L. Godard and D. Vertov, ‘British Sounds’. Ripley’s Home Video, 2012.
[94]
L. Ferretter, Louis Althusser. London: Routledge, 2006.
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L. Ferretter, Louis Althusser. London: Routledge, 2006 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=308507
[96]
E. Bickerton, ‘1966-1968: Politicization’, in A Short History of Cahiers Du Cinéma, London: Verso, 2011, pp. 51–69.
[97]
J.-L. Comolli and J. Narboni, ‘Cinema/Ideology/Criticism’, Screen, vol. 12, no. 2, pp. 145–155, 1971, doi: 10.1093/screen/12.2.145.
[98]
J.-L. Godard, ‘La Chinoise’. Gaumont Video, S.l., 2012.
[99]
J.-L. Godard, ‘Weekend’. Artificial Eye, 1967.
[100]
J.-L. Godard, ‘Sympathy for the Devil: a.k.a. One Plus One’. Fabulous Films, S.l., 1968.
[101]
J.-L. Godard, G. M. Volonte, J.-P. Gorin, and A. Wiazemsky, ‘Le Vent d’Est’. Gaumont Video, S.l., 2012.
[102]
J.-L. Godard and J.-P. Gorin, ‘Tout Va Bien’. Arrow Films, S.l., 1972.
[103]
J.-L. Godard and T. Milne, ‘Pierrot my Friend’, in Godard on Godard: Critical Writings by Jean-Luc Godard, New York, N.Y.: Da Capo Press, 1972, pp. 213–215.
[104]
J.-L. Godard and T. Milne, ‘Let’s Talk About Pierrot’, in Godard on Godard: Critical Writings by Jean-Luc Godard, New York, N.Y.: Da Capo Press, 1972, pp. 215–234.
[105]
D. Wills, Jean-Luc Godard’s Pierrot Le Fou. Cambridge: Cambridge University Press, 2000.
[106]
D. Wills, Jean-Luc Godard’s Pierrot Le Fou. Cambridge, U.K.: Cambridge University Press, 2000 [Online]. Available: http://hdl.handle.net/2027/heb.07621
[107]
B. Halligan, Desires for Reality: Radicalism and Revolution in Western European Film. New York: Berghahn Books, 2016.
[108]
J. R. Macbean, ‘“See You at Mao”: Godard’s Revolutionary British Sounds’, Film Quarterly, vol. 24, no. 2, pp. 15–23, 1970, doi: 10.2307/1211216.
[109]
J. R. MacBean, ‘Godard and the Dziga Vertov Group: Film and Dialectics’, Film Quarterly, vol. 26, no. 1, pp. 30–44, 1972, doi: 10.2307/1211409.
[110]
C. MacCabe, ‘Student Revolution: Wiazemsky and Gorin’, in Godard: A Portrait of the Artist at 70, London: Bloomsbury, 2003, pp. 179–238.
[111]
P. Wollen, ‘Godard and Counter Cinema: Vent d’Est’, in Readings and Writings: Semiotic Counter-Strategies, London: Verso, 1982, pp. 79–91.
[112]
G. Youngblood, ‘Jean-Luc Godard: No Difference Between Life and Cinema’, in Jean-Luc Godard: Interviews, D. Sterritt, Ed. Jackson: University Press of Mississippi, 1998, pp. 9–49.
[113]
C. Akerman, ‘Jeanne Dielman: 23, Quai Du Commerce, 1080 Bruxelles’. Criterion, 1975.
[114]
J. Bergstrom, ‘Keeping a Distance’, Sight and Sound, vol. 9, no. 11, pp. 26–28, 1999 [Online]. Available: http://search.proquest.com/docview/1305504342?accountid=11455
[115]
R. P. Kinsman, ‘She’s Come Undone: Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles and Countercinema’, Quarterly Review of Film and Video, vol. 24, no. 3, pp. 217–224, 2007, doi: 10.1080/10509200500486304.
[116]
C. Akerman, ‘Je Tu Il Elle’, vol. Eclipse from the Criterion Collection, series 19, Chantal Akerman in the seventies. Criterion Collection, [Irvington, N.Y.], 1975.
[117]
C. Akerman, ‘News From Home’, vol. eclipse series 19. Paradise Films, [S.l.], 2009.
[118]
C. Akerman and J. Bergstrom, ‘Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’ and ’Chantal Akerman on Jeanne Dielman’, Camera Obscura: Feminism, Culture, and Media Studies, vol. 1, no. 2 2, pp. 115–121, 1977, doi: 10.1215/02705346-1-2_2-115.
[119]
G. A. Foster, Identity and Memory: The Films of Chantal Akerman, vol. Cinema voices. Trowbridge: Flicks Books, 1999.
[120]
M. Kinder, ‘Reflections on “Jeanne Dielman”’, Film Quarterly, vol. 30, no. 4, pp. 2–8, 1977, doi: 10.2307/1211576.
[121]
J. Loader, ‘Jeanne Dielman: Death in Instalments’, in Movies and Methods: An Anthology, Berkeley, Calif: University of California Press, 1985.
[122]
I. Margulies, Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Durham: Duke University Press, 1996.
[123]
A. Martin and C. Akerman, ‘Chantal Akerman’s Films: A Dossier’, Feminist Review, no. 3, 1979, doi: 10.2307/1394708.
[124]
I. Marguilies, ‘Dossier: Chantal Akerman’, Film Quarterly, vol. 70, no. 1, pp. 11–84, 2016 [Online]. Available: http://fq.ucpress.edu/content/70/1
[125]
A. Martin and C. Akerman, ‘Chantal Akerman’s Films: A Dossier’, Feminist Review, no. 3, 1979, doi: 10.2307/1394708.
[126]
R. Perlmutter, ‘Feminine Absence: A Political Aesthetic in Chantal Ackerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’, Quarterly Review of Film Studies, vol. 4, no. 2, pp. 125–133, 1979, doi: 10.1080/10509207909360986.
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C. Yervasi, ‘Dislocating the Domestic in Chantal Akerman’s Jeanne Dielman’, Sites: Journal of Contemporary French Studies, vol. 4, no. 2, 2000 [Online]. Available: http://www.tandfonline.com/doi/abs/10.1080/10260210008456039
[128]
J. Rivette, ‘Celine and Julie Go Boating’. BFI, S.l., 2006.
[129]
R. Wood, ‘Narrative Pleasure: Two Films of Jacques Rivette’, Film Quarterly, vol. 35, no. 1, pp. 2–12, 1981 [Online]. Available: https://www.jstor.org/stable/1212074?seq=1#metadata_info_tab_contents
[130]
J. Rosenbaum, ‘Phantom Interviewers Over Rivette’, Film Comment, vol. 10, no. 5, pp. 18–24, 1974 [Online]. Available: https://www.jstor.org/stable/43450770
[131]
J. Rivette, Out 1: Noli Me Tangere. Berlin: Medien, 1971.
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J. Rivette and J. Berto, ‘Duelle’. Aventi, S.l., 1976.
[133]
C. Clarens and E. Cozarinsky, ‘Jacques Rivette Interviewed’, Sight and Sound, vol. 43, no. 3, 1974.
[134]
J.-A. Fieschi, ‘Jacques Rivette’, in Cinema: A Critical Dictionary : The Major Film-Makers, London: Secker & Warburg, 1980, pp. 871–878.
[135]
J. Lesage, ‘Celine and Julia Go Boating’. [Online]. Available: http://www.ejumpcut.org/archive/onlinessays/JC24-25folder/CelineJulie.html
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J. Levinson, ‘Céline and Julie Go Story Telling’, The French Review, vol. 65, no. 2, 1991 [Online]. Available: https://www.jstor.org/stable/395593?seq=1#metadata_info_tab_contents
[137]
J. Marchessault, ‘Inventing Paradox: Céline and Julie Go Boating’, CineAction, vol. 3, no. 4, pp. 84–90, 1986.
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‘Celine and Julie Co Boating “(Céline Et Julie Vont en Bateau: Phantom Ladies Over Paris)”’, Monthly Film Bulletin, vol. 43, no. 4, pp. 191–194, 1976 [Online]. Available: https://search.proquest.com/docview/1305844794/D47E893626BA4E88PQ/38?accountid=11455
[139]
J. Monaco, ‘Rivette: The Process of Narrative’, in The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette, 30th ed., New York: Harbor, 1976.
[140]
D. Morrey and A. Smith, Jacques Rivette. Manchester: Manchester University Press, 2009.
[141]
L. Mulvey, ‘‘"New Wave” Interchanges: Céline and Julie and Desperately Seeking Susan’, in Hollywood and Europe: economics, culture, national identity 1945-95, London: British Film Institute, 1998.
[142]
J. Rosenbaum, ‘Work and Play in the House of Fiction’’, in Placing movies: the practice of film criticism, Berkeley: University of California Press, 1974 [Online]. Available: http://hdl.handle.net/2027/heb.08129
[143]
M. M. Wiles, Jacques Rivette. Urbana, [Ill.]: University of Illinois Press, 2012.
[144]
A. Tarkovsky, ‘Mirror’. Artificial Eye, S.l., 1975.
[145]
A. Tarkovsky, ‘Mirror | Box of Broadcasts’, 1975. [Online]. Available: http://bobnational.net/record/15563
[146]
A. A. Tarkovskiĭ, Sculpting in Time: Reflections on the Cinema. Austin: University of Texas Press, 1989.
[147]
A. Tarkovsky, ‘Time, Rhythm and Editing’, in Sculpting in Time: Reflections on the Cinema, Austin: University of Texas Press, 1989, pp. 113–124.
[148]
N. Synessios, Mirror, vol. 6. London: I.B. Tauris, 2001.
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[150]
A. Tarkovsky, ‘Ivan’s Childhood’. Artificial Eye, S.l., 1962.
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A. Tarkovsky, ‘Ivan’s Childhood | Box of Broadcasts’. FilmFour, 1963 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/001D2A1D?bcast=125872069
[152]
A. Tarkovsky, ‘Andrei Rublev’. Artificial Eye, S.l., 1966.
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A. Tarkovsky, ‘Andrei Rublev | Box of Broadcasts’. FilmFour, 1966 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/000FD4EC?bcast=123867685
[154]
A. Tarkovsky, ‘Solaris’. Artificial Eye, [S.l.], 1972.
[155]
A. Tarkovsky, ‘Solaris | Box of Broadcasts’. FilmFour, 1972 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/00114161
[156]
J. Beasley-Murray, ‘Whatever Happened to Neorealism? Bazin, Deleuze, and Tarkovsky’s Long Take’, Iris, vol. 23, pp. 37–52, 1997 [Online]. Available: http://www.academia.edu/842648/Whatever_Happened_to_Neorealism_-Bazin_Deleuze_and_Tarkovskys_Long_Take
[157]
R. Bird, Andrei Tarkovsky: Elements of Cinema. London: Reaktion, 2008 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=449393
[158]
N. Dunne, Tarkovsky. London: Black Dog, 2008.
[159]
A. Tarkovsky and J. Gianvito, Andrei Tarkovsky: Interviews. Jackson: University Press of Mississippi, 2006.
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V. T. Johnson and G. Petrie, ‘Tarkovsky’, in Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev, Bloomington: Indiana University Press, 1994, pp. 1–49.
[161]
G. A. Jonsson and Þ. Á. Óttarsson, Through the Mirror: Reflections on the Films of Andrei Tarkovsky. Newcastle: Cambridge Scholars Press, 2006.
[162]
Gunnlaugur A. Jónsson, T. A. Ottarsson, and T. A. Ottarsson, Through the Mirror. Newcastle upon Tyne: Cambridge Scholars Publisher, 2006 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4949895
[163]
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