Akerman, C., and Janet Bergstrom, ‘Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles’ and ’Chantal Akerman on Jeanne Dielman’, Camera Obscura: Feminism, Culture, and Media Studies, 1.2 2 (1977), 115–21 <https://doi.org/10.1215/02705346-1-2_2-115>
Akerman, Chantal, ‘Je Tu Il Elle’ ([Irvington, N.Y.]: Criterion Collection, 1975)
———, ‘Jeanne Dielman: 23, Quai Du Commerce, 1080 Bruxelles’ (Criterion, 1975)
———, ‘News From Home’ ([S.l.]: Paradise Films, 2009)
Antonioni, Michelangelo, ‘La Notte’ ([S.l.]: Eureka, 1961)
———, ‘L’Avventura’ ([S.I.]: Mr Bongo, 1959)
———, ‘L’Avventura | Box of Broadcasts’ (FilmFour, 1960) <https://learningonscreen.ac.uk/ondemand/index.php/prog/000959DA>
———, ‘L’eclisse’ (S.l.: Criterion Collection, 1962)
———, ‘Red Desert’ ([S.l.]: BFI, 1964)
———, ‘The Event and the Image’, Sight and Sound, 33.1 (1963) <https://search.proquest.com/docview/1305505778/49B04220CB984A6APQ/6?accountid=11455>
———, ‘The Event and the Image’, Sight and Sound, 33.1 (1963) <http://search.proquest.com/docview/1305505778?accountid=11455>
———, ‘The Red Desert | Box of Broadcasts’ (FilmFour, 1964) <https://learningonscreen.ac.uk/ondemand/index.php/prog/0206AE5D>
Antonioni, Michelangelo, Carlo Di Carlo, Giorgio Tinazzi, and Marga Cottino-Jones, The Architecture of Vision: Writings and Interviews on Cinema, University of Chicago Press ed (Chicago: University of Chicago Press, 2007)
Ayfre, Amédée, ‘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. 182–91
Bazin, André, ‘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
Bazin, Andre, ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’, in What Is Cinema?, 2005, ii, 16–40 <https://www.fulcrum.org/epubs/t722h9385?locale=en#/6/50[xhtml00000025]!/4/1:0>
Bazin, André, ‘In Defense of Rossellini’, in What Is Cinema? (Berkeley, Calif: University of California Press, 1967), pp. 93–101
Bazin, Andre, ‘In Defense of Rossellini’, in What Is Cinema?, 2005, ii, 93–101 <https://www.fulcrum.org/epubs/t722h9385?locale=en#/6/206[xhtml00000103]!/4/1:0>
Beasley-Murray, Jon, ‘Whatever Happened to Neorealism? Bazin, Deleuze, and Tarkovsky’s Long Take’, Iris, 23 (1997), 37–52 <http://www.academia.edu/842648/Whatever_Happened_to_Neorealism_-Bazin_Deleuze_and_Tarkovskys_Long_Take>
Bergstrom, Janet, ‘Keeping a Distance’, Sight and Sound, 9.11 (1999), 26–28 <http://search.proquest.com/docview/1305504342?accountid=11455>
Bickerton, Emilie, ‘1966-1968: Politicization’, in A Short History of Cahiers Du Cinéma (London: Verso, 2011), pp. 51–69
Bird, Robert, Andrei Tarkovsky: Elements of Cinema (London: Reaktion, 2008) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=449393>
Bondanella, Peter, ‘Paisà and the Rejection of Traditional Narrative Cinema’, in The Films of Roberto Rossellini (Cambridge: Cambridge University Press, 1993), pp. 64–82
———, ‘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
Bordwell, David, ‘Parametric Narration’, in Narration in the Fiction Film (London: Routledge, 1985), pp. 274–310
———, ‘Parametric Narration’, in Narration in the Fiction Film (London: Routledge, 1997), pp. 274–310 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315002163>
Bresson, Robert, ‘A Man Escaped’ (S.l: Artificial Eye)
———, ‘Diary of a Country Priest | Journal D’un Curé De Campagne’ (S.l: Optimum Releasing, 1951)
———, Notes on the Cinematograph (New York Review, 2017)
———, ‘Pickpocket’ (Artificial Eye, 1959)
Brunette, Peter, ‘L’eclisse’, in The Films of Michelangelo Antonioni (Cambridge: Cambridge University Press, 1998), Cambridge film classics, 73–89 <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13399200210002671&institutionId=2671&customerId=2670>
———, ‘L’eclisse’, in The Films of Michelangelo Antonioni (Cambridge, U.K.: Cambridge University Press, 1998), Cambridge film classics, 73–89 <http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07597>
———, ‘Paisan’, in Roberto Rossellini (New York: Oxford University Press, 1987), pp. 61–75
———, ‘Voyage to Italy’, in Roberto Rossellini (New York: Oxford University Press, 1987), pp. 155–71
Cameron, Ian, The Films of Jean-Luc Godard (London: Studio Vista, 1967)
———, The Films of Robert Bresson (London: Studio Vista, 1969)
‘Celine and Julie Co Boating “(Céline Et Julie Vont En Bateau: Phantom Ladies Over Paris)”’, Monthly Film Bulletin, 43.4 (1976), 191–94 <https://search.proquest.com/docview/1305844794/D47E893626BA4E88PQ/38?accountid=11455>
Clarens, Carlos, and Edgardo Cozarinsky, ‘Jacques Rivette Interviewed’, Sight and Sound, 43.3 (1974)
Comolli, J.-L., and J. Narboni, ‘Cinema/Ideology/Criticism’, Screen, 12.2 (1971), 145–55 <https://doi.org/10.1093/screen/12.2.145>
Cunneen, Joseph E., Robert Bresson: A Spiritual Style in Film (New York: Continuum, 2003) <https://muse.jhu.edu/article/30837>
De Sica, Vittorio, ‘Umberto D.’ (UK: CultFilms, 1952)
Dempsey, Michael, ‘Lost Harmony: Tarkovsky’s “The Mirror” and “The Stalker”’, Film Quarterly, 35.1 (1981), 12–17 <https://doi.org/10.2307/1212075>
———, ‘Lost Harmony: Tarkovsky’s “The Mirror” and “The Stalker”’, Film Quarterly, 35.1 (1981), 12–17 <https://doi.org/10.2307/1212075>
Donen, Stanley, ‘Singin’ in the Rain | Box of Broadcasts’ (Channel 5, 1952) <https://learningonscreen.ac.uk/ondemand/index.php/prog/0018C80D>
Douchet, Jean, French New Wave (DAP, 1998)
Dunne, Nathan, Tarkovsky (London: Black Dog, 2008)
Dyer, Geoff, Zona: A Book about a Film about a Journey to a Room (Edinburgh: Canongate, 2012)
Ferretter, Luke, Louis Althusser (London: Routledge, 2006)
———, Louis Althusser (London: Routledge, 2006) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=308507>
Fieschi, Jean- André, ‘Jacques Rivette’, in Cinema: A Critical Dictionary : The Major Film-Makers (London: Secker & Warburg, 1980), pp. 871–78
Foster, Gwendolyn Audrey, Identity and Memory: The Films of Chantal Akerman (Trowbridge: Flicks Books, 1999), Cinema voices
Gallagher, Tag, The Adventures of Roberto Rossellini (New York: Da Capo Press, 1998)
———, The Adventures of Roberto Rossellini (New York: Da Capo Press, 1998)
Gelley, Ora, Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy (New York: Routledge, 2012), xv
———, Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy (New York: Routledge, 2012), xv <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203120712>
Godard, Jean-Luc, ‘A Bout de Souffle’ (Optimum Releasing, 1959)
———, ‘A Bout de Souffle (Breathless) | Box of Broadcasts’ (BBC2 England, 1959) <https://learningonscreen.ac.uk/ondemand/index.php/prog/00020428?bcast=5333460>
———, ‘Alphaville’ (S.l.: Optimum World, 1965)
———, ‘Interview with Jean-Luc Godard’, in Godard on Godard: Critical Writings (London: Secker and Warburg, 1972)
———, ‘La Chinoise’ (S.l.: Gaumont Video, 2012)
———, ‘Le Mépris’ (S.l.: Studio Canal, 1963)
———, ‘Pierrot Le Fou’ (Studio Canal, 2006)
———, ‘Sympathy for the Devil: A.k.a. One Plus One’ (S.l.: Fabulous Films, 1968)
———, ‘Une Femme Est Une Femme’ (S.l.: Criterion, 1961)
———, ‘Vivre Sa Vie’ (S.l.: Nouveaux Pictures, 2006)
———, ‘Weekend’ (Artificial Eye, 1967)
Godard, Jean-Luc, and Jean-Pierre Gorin, ‘Tout Va Bien’ (S.l.: Arrow Films, 1972)
Godard, Jean-Luc, and Tom 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. 215–34
———, ‘Pierrot My Friend’, in Godard on Godard: Critical Writings by Jean-Luc Godard (New York, N.Y.: Da Capo Press, 1972), pp. 213–15
Godard, Jean-Luc, Jean Nerboni, Tom Milne, and Richard 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. 171–96
Godard, Jean-Luc, and David Sterritt, Jean-Luc Godard: Interviews (Jackson: University Press of Mississippi, 1998), Conversations with filmmakers
Godard, Jean-Luc, and Dziga Vertov, ‘British Sounds’ (Ripley’s Home Video, 2012)
Godard, Jean-Luc, Gian Maria Volonte, Jean-Pierre Gorin, and Anne Wiazemsky, ‘Le Vent d’Est’ (S.l.: Gaumont Video, 2012)
Goddard, Jean-Luc, ‘Bande à Part’ (London: BFI, 1964)
———, ‘Vivre Sa Vie | Box of Broadcasts’ (FilmFour, 1962) <https://learningonscreen.ac.uk/ondemand/index.php/prog/000FEB85?bcast=126082788>
Greenberg, Izzy, ‘Cahiers de Rossellini’, Cineaction, 1998, 42–46 <https://search.proquest.com/docview/216881706/9C8CD357D3BE412DPQ/7?accountid=11455>
Gunnlaugur A. Jónsson, Thorkell A. Ottarsson, and Thorkell A. Ottarsson, Through the Mirror (Newcastle upon Tyne: Cambridge Scholars Publisher, 2006) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4949895>
Halligan, Benjamin, Desires for Reality: Radicalism and Revolution in Western European Film (New York: Berghahn Books, 2016)
Hoveyda, Fereydoun, Jacques Rivette, and Jim Hillier, ‘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, 1985), i, 212–17
Johnson, Vida T, and Graham Petrie, ‘Tarkovsky’, in Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev (Bloomington: Indiana University Press, 1994), pp. 1–49
Jonsson, Gunnlaugur A., and Þorkell Ágúst Óttarsson, Through the Mirror: Reflections on the Films of Andrei Tarkovsky (Newcastle: Cambridge Scholars Press, 2006)
Kelly, Gene, and Stanley Donen, ‘Singin’ in the Rain’ (S.l.: Warner, 1952)
Kinder, Marsha, ‘Reflections on “Jeanne Dielman”’, Film Quarterly, 30.4 (1977), 2–8 <https://doi.org/10.2307/1211576>
King, Peter, ‘Memory and Exile: Time and Place in Tarkovsky’s’, Housing, Theory and Society, 25.1 (2008), 66–78 <https://doi.org/10.1080/14036090601151269>
Kinsman, R. Patrick, ‘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 (2007), 217–24 <https://doi.org/10.1080/10509200500486304>
Kovács, András Bálint, ‘An Alternative to the Classical Form: Neorealism and Modernism’, in Screening Modernism: European Art Cinema, 1950-1980 (Chicago: University of Chicago Press, 2007), pp. 253–71
———, ‘An Alternative to the Classical Form: Neorealism and Modernism’, in Screening Modernism: European Art Cinema, 1950-1980 (Chicago: University of Chicago Press, 2007), pp. 253–71 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780226451664>
Le Fanu, Mark, The Cinema of Andrei Tarkovsky (London: BFI, 1987)
Lesage, Julia, ‘Celine and Julia Go Boating’ <http://www.ejumpcut.org/archive/onlinessays/JC24-25folder/CelineJulie.html>
Levinson, Julie, ‘Céline and Julie Go Story Telling’, The French Review, 65.2 (1991) <https://www.jstor.org/stable/395593?seq=1#metadata_info_tab_contents>
Loader, Jayne, ‘Jeanne Dielman: Death in Instalments’, in Movies and Methods: An Anthology (Berkeley, Calif: University of California Press, 1985)
MacBean, James Roy, ‘Godard and the Dziga Vertov Group: Film and Dialectics’, Film Quarterly, 26.1 (1972), 30–44 <https://doi.org/10.2307/1211409>
Macbean, James Roy, ‘“See You at Mao”: Godard’s Revolutionary British Sounds’, Film Quarterly, 24.2 (1970), 15–23 <https://doi.org/10.2307/1211216>
MacCabe, Colin, ‘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
———, ‘Student Revolution: Wiazemsky and Gorin’, in Godard: A Portrait of the Artist at 70 (London: Bloomsbury, 2003), pp. 179–238
Marchessault, Janine, ‘Inventing Paradox: Céline and Julie Go Boating’, CineAction, 3.4 (1986), 84–90
Marguilies, Ivone, ‘Dossier: Chantal Akerman’, Film Quarterly, 70.1 (2016), 11–84 <http://fq.ucpress.edu/content/70/1>
Margulies, Ivone, Nothing Happens: Chantal Akerman’s Hyperrealist Everyday (Durham: Duke University Press, 1996)
Marie, Michel, The French New Wave: An Artistic School (Oxford: Blackwell, 2003)
———, The French New Wave: An Artistic School (Oxford: Blackwell, 2003) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=351546>
Martin, Angela, and Chantal Akerman, ‘Chantal Akerman’s Films: A Dossier’, Feminist Review, 3, 1979 <https://doi.org/10.2307/1394708>
———, ‘Chantal Akerman’s Films: A Dossier’, Feminist Review, 3, 1979 <https://doi.org/10.2307/1394708>
Monaco, James, ‘Rivette: The Process of Narrative’, in The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette, 30th ed (New York: Harbor, 1976)
———, The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette, 30th ed (New York: Harbor, 2004)
Morrey, Douglas, Jean-Luc Godard (Manchester: Manchester University Press, 2005), French film directors
Morrey, Douglas, and Alison Smith, Jacques Rivette (Manchester: Manchester University Press, 2009)
Mulvey, Laura, ‘‘"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)
———, ‘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
Neupert, Richard, A History of the French New Wave Cinema (Madison, Wis: University of Wisconsin Press, 2002)
Neupert, Richard John, A History of the French New Wave Cinema (Madison: University of Wisconsin Press, 2007) <http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=259471>
Nowell-Smith, Geoffrey, Making Waves: New Cinemas of the 1960s, Revised and expanded edition (New York: Bloomsbury, 2013)
———, ‘Shape around a Black Point’, Sight and Sound, 33.1 (1963), 15–20 <https://search.proquest.com/docview/1305505794/49B04220CB984A6APQ/7?accountid=11455>
———, ‘Shape Around a Black Point (On L’eclisse)’, Sight and Sound, 33.1 (1963) <http://search.proquest.com/docview/1305505794?accountid=11455>
———, ‘Shape Around a Black Point (On L’eclisse)’, in Movies and Methods: An Anthology, Vol. 1 (Berkeley: University of California Press, 1976)
Perez, Gilberto, ‘The Point of View of a Stranger: An Essay on Antonioni’s “Eclipse”’, The Hudson Review, 44.2 (1991) <https://doi.org/10.2307/3851918>
———, ‘The Signifiers of Tenderness’, in The Material Ghost: Films and Their Medium (Baltimore: Johns Hopkins University Press, 1998)
Perlmutter, Ruth, ‘Feminine Absence: A Political Aesthetic in Chantal Ackerman’s Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles’, Quarterly Review of Film Studies, 4.2 (1979), 125–33 <https://doi.org/10.1080/10509207909360986>
Petrie, Graham, and Vida T. Johnson, ‘Mirror’, in The Films of Andrei Tarkovsky: A Visual Fugue (Bloomington: Indiana University Press, 1994), pp. 111–36
———, ‘Stalker’, in The Films of Andrei Tarkovsky: A Visual Fugue (Bloomington: Indiana University Press, 1994), pp. 137–55
‘Pickpocket (1959) | BoB’ (Channel 4, 1996) <https://learningonscreen.ac.uk/ondemand/index.php/prog/buf620fb4?bcast=130438481>
‘Pierrot Le Fou (1965) | BoB’ (Arte, 2019) <https://learningonscreen.ac.uk/ondemand/index.php/prog/000184D5?bcast=130947503>
Pipolo, Tony, Robert Bresson: A Passion for Film (New York: Oxford University Press, 2010)
———, Robert Bresson: A Passion for Film (New York: Oxford University Press, 2010) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=472343>
Quandt, James, Robert Bresson Revised (Indiana University Press, 2011)
Reader, Keith, Robert Bresson (Manchester: Manchester University Press, 2000)
Rivette, Jacques, ‘Celine and Julie Go Boating’ (S.l.: BFI, 2006)
———, Out 1: Noli Me Tangere (Berlin: Medien, 1971)
Rivette, Jacques, and Juliet Berto, ‘Duelle’ (S.l.: Aventi, 1976)
Robert Bresson, Bresson on Bresson, 2016
Rosenbaum, Jonathan, ‘A Cinema of Uncertainty: Films by Michelangelo Antonioni’, in Placing Movies: The Practice of Film Criticism (Berkeley: University of California Press, 1995)
———, ‘Phantom Interviewers Over Rivette’, Film Comment, 10.5 (1974), 18–24 <https://www.jstor.org/stable/43450770>
———, ‘Work and Play in the House of Fiction’’, in Placing Movies: The Practice of Film Criticism (Berkeley: University of California Press, 1974) <http://hdl.handle.net/2027/heb.08129>
Rossellini, Roberto, ‘Europa 51’ (S.l: s.n, 1952)
———, ‘Stromboli’ (Criterion Collection, 1949)
———, ‘Stromboli | Box of Broadcasts’ (BBC2 England, 1950) <https://learningonscreen.ac.uk/ondemand/index.php/prog/001A5B9E?bcast=101314809>
———, ‘Viaggio in Italia | Journey to Italy’ (Criterion Collection, 1954)
Rossellini, Roberto, and Adriano Apra, My Method : Writings and Interviews (Venice: Marsilio Editori SPA, 1987)
Rossellini, Roberto, and Aldo Fabrizi, ‘Rome, Open City’ (S.l.: Criterion, 1945)
Rossellini, Roberto, and Maria Michi, ‘Paisà’ (S.l.: Off-air, 1946)
Rossellini, Roberto, and Edmund Moeschke, ‘Germany, Year Zero’ (S.l.: Criterion, 1948)
Roud, Richard, Godard, 3rd ed (London: Palgrave Macmillan, 2010), BFI silver
———, ‘Reality and Abstraction’, in Godard, 3rd ed (London: Palgrave Macmillan, 2010), pp. 65–90
———, ‘Reality and Abstraction’, in Godard, 3rd ed (Basingstoke: Palgrave Macmillan, 2010), pp. 65–90 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781844575619>
de Sica, Vittorio, ‘The Bicycle Thieves’ (Arrow Films, 1948)
Skakov, Naiman, ‘Revelations of Stalker’, in The Cinema of Tarkovsky: Labyrinths of Space and Time (London: I.B. Tauris, 2012), pp. 140–66
Skakov, Nariman, ‘Memories of a Mirror’, in The Cinema of Tarkovsky: Labyrinths of Space and Time (London: I.B. Tauris, 2012), pp. 100–139
———, ‘Memories of Mirror’, in The Cinema of Tarkovsky: Labyrinths of Space and Time (London: I.B.Tauris & Co Ltd, 2012), pp. 100–139 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780857721198>
———, ‘Revelations of Stalker’, in The Cinema of Tarkovsky: Labyrinths of Space and Time (London: I.B.Tauris & Co Ltd, 2012), pp. 140–66 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780857721198>
———, The Cinema of Tarkovsky: Labyrinths of Space and Time (London: I.B. Tauris, 2012), KINO
Sontag, Susan, ‘Against Interpretation’, in A Susan Sontag Reader (Vintage, 1983), pp. 95–104
———, ‘Spiritual Style in the Films of Robert Bresson’, in Against Interpretation: And Other Essays (London: Penguin, 2009), pp. 177–95
Synessios, Natasha, Mirror (London: I.B. Tauris, 2001), vi
———, Mirror, vi <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9786000006327>
Tarkovskiĭ, Andreĭ Arsenʹevich, ‘Nostalghia (Nostalgia)’ (London: Artificial Eye, 2016)
———, Sculpting in Time: Reflections on the Cinema (Austin: University of Texas Press, 1989)
Tarkovsky, Andrei, ‘Andrei Rublev’ (S.l.: Artificial Eye, 1966)
———, ‘Andrei Rublev | Box of Broadcasts’ (FilmFour, 1966) <https://learningonscreen.ac.uk/ondemand/index.php/prog/000FD4EC?bcast=123867685>
———, ‘Ivan’s Childhood’ (S.l.: Artificial Eye, 1962)
———, ‘Ivan’s Childhood | Box of Broadcasts’ (FilmFour, 1963) <https://learningonscreen.ac.uk/ondemand/index.php/prog/001D2A1D?bcast=125872069>
———, ‘Mirror’ (S.l.: Artificial Eye, 1975)
———, ‘Mirror | Box of Broadcasts’, 1975 <http://bobnational.net/record/15563>
———, ‘Nostalgia | Box of Broadcasts’ (FilmFour, 1983) <https://learningonscreen.ac.uk/ondemand/index.php/prog/0EE35F0B?bcast=126665335>
———, ‘Sacrifice | Box of Broadcasts’ (FilmFour, 1986) <https://learningonscreen.ac.uk/ondemand/index.php/prog/000DBC26?bcast=124153170>
———, ‘Solaris’ ([S.l.]: Artificial Eye, 1972)
———, ‘Solaris | Box of Broadcasts’ (FilmFour, 1972) <https://learningonscreen.ac.uk/ondemand/index.php/prog/00114161>
———, ‘Stalker’ (S.l.: Artifical Eye, 1979)
———, ‘Stalker | Box of Broadcasts’ (FilmFour, 1979) <https://learningonscreen.ac.uk/ondemand/index.php/prog/004EDE5B?bcast=124002923>
———, ‘The Sacrifice’ (S.l.: Artificial Eye, 1986)
———, ‘Time, Rhythm and Editing’, in Sculpting in Time: Reflections on the Cinema (Austin: University of Texas Press, 1989), pp. 113–24
———, Time Within Time: The Diaries, 1970-1986 (London: Faber & Faber, 1994)
Tarkovsky, Andrei, and Ian Christie, ‘Against Interpretation: An Interview With Andrei Tarkovsky’, Framework: The Journal of Cinema and Media, 14, 1981 <https://www.jstor.org/stable/44111800>
Tarkovsky, Andrei, and John Gianvito, Andrei Tarkovsky: Interviews (Jackson: University Press of Mississippi, 2006)
Tarkovsky, Andrei, and Stephen Gill, Bright, Bright Day: Andrey Tarkovsky’s Polaroids (London: White Space Gallery, 2008)
Turovskai︠a︡, Maĭi︠a︡, Tarkovsky: Cinema as Poetry, Rev. ed. (London: Faber and Faber, 1989)
Visconti, Luchino, ‘La Terra Trema’ (BFI., 1948)
Wagstaff, Christopher, ‘Paisà’, in Italian Neorealist Cinema: An Aesthetic Approach (Toronto: University of Toronto Press, 2007), pp. 185–290 <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4634682>
Weis, Don, ‘I Love Melvin’ (United States: Turner Entertainment Co, 2011)
Wiles, Mary M., Jacques Rivette (Urbana, [Ill.]: University of Illinois Press, 2012)
Wills, David, Jean-Luc Godard’s Pierrot Le Fou (Cambridge: Cambridge University Press, 2000)
———, Jean-Luc Godard’s Pierrot Le Fou (Cambridge, U.K.: Cambridge University Press, 2000) <http://hdl.handle.net/2027/heb.07621>
Wollen, Peter, ‘Godard and Counter Cinema: Vent d’Est’, in Readings and Writings: Semiotic Counter-Strategies (London: Verso, 1982), pp. 79–91
Wood, Robin, ‘Narrative Pleasure: Two Films of Jacques Rivette’, Film Quarterly, 35.1 (1981), 2–12 <https://www.jstor.org/stable/1212074?seq=1#metadata_info_tab_contents>
Yervasi, Carina, ‘Dislocating the Domestic in Chantal Akerman’s Jeanne Dielman’, Sites: Journal of Contemporary French Studies, 4.2 (2000) <http://www.tandfonline.com/doi/abs/10.1080/10260210008456039>
Youngblood, Gene, ‘Jean-Luc Godard: No Difference Between Life and Cinema’, in Jean-Luc Godard: Interviews, ed. by David Sterritt (Jackson: University Press of Mississippi, 1998), pp. 9–49
Zavattini, Cesare, ‘A Thesis on Neorealism’, in Springtime in Italy: A Reader on Neo-Realism (London: Talisman Books, 1978), pp. 67–78
