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), pp. 115–21, doi:10.1215/02705346-1-2_2-115
Akerman, Chantal, Je Tu Il Elle, Criterion Collection, 1975, Eclipse from the Criterion Collection, series 19, Chantal Akerman in the seventies
——, Jeanne Dielman: 23, Quai Du Commerce, 1080 Bruxelles, Criterion, 1975
——, News From Home, Paradise Films, 2009, eclipse series 19
Antonioni, Michelangelo, La Notte, Eureka, 1961, The Masters of cinema series
——, L’Avventura, Mr Bongo, 1959
——, L’Avventura | Box of Broadcasts, FilmFour, 1960 <https://learningonscreen.ac.uk/ondemand/index.php/prog/000959DA>
——, L’eclisse, Criterion Collection, 1962
——, Red Desert, BFI, 1964
——, and others, The Architecture of Vision: Writings and Interviews on Cinema, University of Chicago Press ed (University of Chicago Press, 2007)
——, ‘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>
Ayfre, Amédée, ‘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, 1985), pp. 182–91
Bazin, Andre, ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’, in What Is Cinema? (2005), ii, pp. 16–40 <https://www.fulcrum.org/epubs/t722h9385?locale=en#/6/50[xhtml00000025]!/4/1:0>
Bazin, André, ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’, in What Is Cinema? (University of California Press, 1967), pp. 16–40
Bazin, Andre, ‘In Defense of Rossellini’, in What Is Cinema? (2005), ii, pp. 93–101 <https://www.fulcrum.org/epubs/t722h9385?locale=en#/6/206[xhtml00000103]!/4/1:0>
Bazin, André, ‘In Defense of Rossellini’, in What Is Cinema? (University of California Press, 1967), pp. 93–101
Beasley-Murray, Jon, ‘Whatever Happened to Neorealism? Bazin, Deleuze, and Tarkovsky’s Long Take’, Iris, 23 (1997), pp. 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), pp. 26–28 <http://search.proquest.com/docview/1305504342?accountid=11455>
Bickerton, Emilie, ‘1966-1968: Politicization’, in A Short History of Cahiers Du Cinéma (Verso, 2011), pp. 51–69
Bird, Robert, Andrei Tarkovsky: Elements of Cinema (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 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 (Continuum, 2001), pp. 31–73
Bordwell, David, ‘Parametric Narration’, in Narration in the Fiction Film (Routledge, 1985), pp. 274–310
——, ‘Parametric Narration’, in Narration in the Fiction Film (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, Artificial Eye, n.d.
——, Diary of a Country Priest | Journal D’un Curé De Campagne, 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 University Press, 1998), Cambridge film classics, pp. 73–89 <http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&amp;package_service_id=13399200210002671&amp;institutionId=2671&amp;customerId=2670>
——, ‘L’eclisse’, in The Films of Michelangelo Antonioni (Cambridge University Press, 1998), Cambridge film classics, pp. 73–89 <http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07597>
——, ‘Paisan’, in Roberto Rossellini (Oxford University Press, 1987), pp. 61–75
——, ‘Voyage to Italy’, in Roberto Rossellini (Oxford University Press, 1987), pp. 155–71
Cameron, Ian, The Films of Jean-Luc Godard (Studio Vista, 1967)
——, The Films of Robert Bresson (Studio Vista, 1969)
‘Celine and Julie Co Boating “(Céline Et Julie Vont En Bateau: Phantom Ladies Over Paris)”’, Monthly Film Bulletin, 43.4 (1976), pp. 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), pp. 145–55, doi:10.1093/screen/12.2.145
Cunneen, Joseph E., Robert Bresson: A Spiritual Style in Film (Continuum, 2003) <https://muse.jhu.edu/article/30837>
De Sica, Vittorio, Umberto D., CultFilms, 1952
Dempsey, Michael, ‘Lost Harmony: Tarkovsky’s “The Mirror” and “The Stalker”’, Film Quarterly, 35.1 (1981), pp. 12–17, doi:10.2307/1212075
——, ‘Lost Harmony: Tarkovsky’s “The Mirror” and “The Stalker”’, Film Quarterly, 35.1 (1981), pp. 12–17, doi: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 (Black Dog, 2008)
Dyer, Geoff, Zona: A Book about a Film about a Journey to a Room (Canongate, 2012)
Ferretter, Luke, Louis Althusser (Routledge, 2006)
——, Louis Althusser (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 (Secker & Warburg, 1980), pp. 871–78
Foster, Gwendolyn Audrey, Identity and Memory: The Films of Chantal Akerman (Flicks Books, 1999), Cinema voices
Gallagher, Tag, The Adventures of Roberto Rossellini (Da Capo Press, 1998)
——, The Adventures of Roberto Rossellini (Da Capo Press, 1998)
Gelley, Ora, Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy (Routledge, 2012), xv
——, Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini’s Italy (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, Optimum World, 1965
——, ‘Interview with Jean-Luc Godard’, in Godard on Godard: Critical Writings (Secker and Warburg, 1972)
——, and others, ‘Interview with Jean-Luc Godard’, in Godard on Godard: Critical Writings by Jean-Luc Godard (Da Capo Press, 1972), pp. 171–96
——, La Chinoise, Gaumont Video, 2012
——, Le Mépris, Studio Canal, 1963
——, and others, Le Vent d’Est, Gaumont Video, 2012
——, Pierrot Le Fou, Studio Canal, 2006
——, Sympathy for the Devil: A.k.a. One Plus One, Fabulous Films, 1968
——, Une Femme Est Une Femme, Criterion, 1961, Criterion collection
——, Vivre Sa Vie, Nouveaux Pictures, 2006
——, Weekend, Artificial Eye, 1967
——, and Jean-Pierre Gorin, Tout Va Bien, Arrow Films, 1972
——, and Tom Milne, ‘Let’s Talk About Pierrot’, in Godard on Godard: Critical Writings by Jean-Luc Godard (Da Capo Press, 1972), pp. 215–34
——, and Tom Milne, ‘Pierrot My Friend’, in Godard on Godard: Critical Writings by Jean-Luc Godard (Da Capo Press, 1972), pp. 213–15
——, and David Sterritt, Jean-Luc Godard: Interviews (University Press of Mississippi, 1998), Conversations with filmmakers
——, and Dziga Vertov, British Sounds, Ripley’s Home Video, 2012
Goddard, Jean-Luc, Bande à Part, 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, pp. 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 (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 (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 (Routledge & Kegan Paul in association with the British Film Institute, 1985), i, pp. 212–17
Johnson, Vida T, and Graham Petrie, ‘Tarkovsky’, in Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev (Indiana University Press, 1994), pp. 1–49
Jonsson, Gunnlaugur A., and Þorkell Ágúst Óttarsson, Through the Mirror: Reflections on the Films of Andrei Tarkovsky (Cambridge Scholars Press, 2006)
Kelly, Gene, and Stanley Donen, Singin’ in the Rain, Warner, 1952
Kinder, Marsha, ‘Reflections on “Jeanne Dielman”’, Film Quarterly, 30.4 (1977), pp. 2–8, doi:10.2307/1211576
King, Peter, ‘Memory and Exile: Time and Place in Tarkovsky’s’, Housing, Theory and Society, 25.1 (2008), pp. 66–78, doi: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), pp. 217–24, doi:10.1080/10509200500486304
Kovács, András Bálint, ‘An Alternative to the Classical Form: Neorealism and Modernism’, in Screening Modernism: European Art Cinema, 1950-1980 (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 (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 (BFI, 1987)
Lesage, Julia, ‘Celine and Julia Go Boating’, n.d. <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 (University of California Press, 1985)
MacBean, James Roy, ‘Godard and the Dziga Vertov Group: Film and Dialectics’, Film Quarterly, 26.1 (1972), pp. 30–44, doi:10.2307/1211409
Macbean, James Roy, ‘“See You at Mao”: Godard’s Revolutionary British Sounds’, Film Quarterly, 24.2 (1970), pp. 15–23, doi: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 (Bloomsbury, 2004), pp. 97–178
——, ‘Student Revolution: Wiazemsky and Gorin’, in Godard: A Portrait of the Artist at 70 (Bloomsbury, 2003), pp. 179–238
Marchessault, Janine, ‘Inventing Paradox: Céline and Julie Go Boating’, CineAction, 3.4 (1986), pp. 84–90
Marguilies, Ivone, ‘Dossier: Chantal Akerman’, Film Quarterly, 70.1 (2016), pp. 11–84 <http://fq.ucpress.edu/content/70/1>
Margulies, Ivone, Nothing Happens: Chantal Akerman’s Hyperrealist Everyday (Duke University Press, 1996)
Marie, Michel, The French New Wave: An Artistic School (Blackwell, 2003)
——, The French New Wave: An Artistic School (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, no. 3 (1979), doi:10.2307/1394708
——, and Chantal Akerman, ‘Chantal Akerman’s Films: A Dossier’, Feminist Review, no. 3 (1979), doi:10.2307/1394708
Monaco, James, ‘Rivette: The Process of Narrative’, in The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette, 30th ed (Harbor, 1976)
——, The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette, 30th ed (Harbor, 2004)
Morrey, Douglas, Jean-Luc Godard (Manchester University Press, 2005), French film directors
——, and Alison Smith, Jacques Rivette (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 (British Film Institute, 1998)
——, ‘Vesuvian Topographies: The Eruption of the Past in Journey to Italy’, in Roberto Rossellini: Magician of the Real (BFI Publishing, 2000), pp. 95–111
Neupert, Richard, A History of the French New Wave Cinema (University of Wisconsin Press, 2002)
Neupert, Richard John, A History of the French New Wave Cinema (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 (Bloomsbury, 2013)
——, ‘Shape around a Black Point’, Sight and Sound, 33.1 (1963), pp. 15–20 <https://search.proquest.com/docview/1305505794/49B04220CB984A6APQ/7?accountid=11455>
——, ‘Shape Around a Black Point (On L’eclisse)’, in Movies and Methods: An Anthology, Vol. 1 (University of California Press, 1976)
——, ‘Shape Around a Black Point (On L’eclisse)’, Sight and Sound, 33.1 (1963) <http://search.proquest.com/docview/1305505794?accountid=11455>
Perez, Gilberto, ‘The Point of View of a Stranger: An Essay on Antonioni’s “Eclipse”’, The Hudson Review, 44.2 (1991), doi:10.2307/3851918
——, ‘The Signifiers of Tenderness’, in The Material Ghost: Films and Their Medium (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), pp. 125–33, doi:10.1080/10509207909360986
Petrie, Graham, and Vida T. Johnson, ‘Mirror’, in The Films of Andrei Tarkovsky: A Visual Fugue (Indiana University Press, 1994), pp. 111–36
——, and Vida T. Johnson, ‘Stalker’, in The Films of Andrei Tarkovsky: A Visual Fugue (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 (Oxford University Press, 2010)
——, Robert Bresson: A Passion for Film (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 University Press, 2000)
Rivette, Jacques, Celine and Julie Go Boating, BFI, 2006
——, Out 1: Noli Me Tangere (Medien, 1971)
——, and Juliet Berto, Duelle, 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 (University of California Press, 1995)
——, ‘Phantom Interviewers Over Rivette’, Film Comment, 10.5 (1974), pp. 18–24 <https://www.jstor.org/stable/43450770>
——, ‘Work and Play in the House of Fiction’’, in Placing Movies: The Practice of Film Criticism (University of California Press, 1974) <http://hdl.handle.net/2027/heb.08129>
Rossellini, Roberto, Europa 51, s.n, 1952
——, Stromboli, Criterion Collection, 1949, dclxxii
——, 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
——, and Adriano Apra, My Method : Writings and Interviews (Marsilio Editori SPA, 1987)
——, and Aldo Fabrizi, Rome, Open City, Criterion, 1945
——, and Maria Michi, Paisà, Off-air, 1946
——, and Edmund Moeschke, Germany, Year Zero, Criterion, 1948
Roud, Richard, Godard, 3rd ed (Palgrave Macmillan, 2010), BFI silver
——, ‘Reality and Abstraction’, in Godard, 3rd ed (Palgrave Macmillan, 2010), pp. 65–90
——, ‘Reality and Abstraction’, in Godard, 3rd ed (Palgrave Macmillan, 2010), pp. 65–90 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781844575619>
Sica, Vittorio de, The Bicycle Thieves, Arrow Films, 1948
Skakov, Naiman, ‘Revelations of Stalker’, in The Cinema of Tarkovsky: Labyrinths of Space and Time (I.B. Tauris, 2012), pp. 140–66
Skakov, Nariman, ‘Memories of a Mirror’, in The Cinema of Tarkovsky: Labyrinths of Space and Time (I.B. Tauris, 2012), pp. 100–39
——, ‘Memories of Mirror’, in The Cinema of Tarkovsky: Labyrinths of Space and Time (I.B.Tauris & Co Ltd, 2012), pp. 100–39 <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 (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 (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 (Penguin, 2009), pp. 177–95
Synessios, Natasha, Mirror (I.B. Tauris, 2001), vi
——, Mirror (n.d.), vi <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9786000006327>
Tarkovskiĭ, Andreĭ Arsenʹevich, Nostalghia (Nostalgia), Artificial Eye, 2016
——, Sculpting in Time: Reflections on the Cinema (University of Texas Press, 1989)
Tarkovsky, Andrei, Andrei Rublev, Artificial Eye, 1966
——, Andrei Rublev | Box of Broadcasts, FilmFour, 1966 <https://learningonscreen.ac.uk/ondemand/index.php/prog/000FD4EC?bcast=123867685>
——, Ivan’s Childhood, Artificial Eye, 1962
——, Ivan’s Childhood | Box of Broadcasts, FilmFour, 1963 <https://learningonscreen.ac.uk/ondemand/index.php/prog/001D2A1D?bcast=125872069>
——, Mirror, 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, Artificial Eye, 1972
——, Solaris | Box of Broadcasts, FilmFour, 1972 <https://learningonscreen.ac.uk/ondemand/index.php/prog/00114161>
——, Stalker, Artifical Eye, 1979
——, Stalker | Box of Broadcasts, FilmFour, 1979 <https://learningonscreen.ac.uk/ondemand/index.php/prog/004EDE5B?bcast=124002923>
——, The Sacrifice, Artificial Eye, 1986
——, ‘Time, Rhythm and Editing’, in Sculpting in Time: Reflections on the Cinema (University of Texas Press, 1989), pp. 113–24
——, Time Within Time: The Diaries, 1970-1986 (Faber & Faber, 1994)
——, and Ian Christie, ‘Against Interpretation: An Interview With Andrei Tarkovsky’, Framework: The Journal of Cinema and Media, no. 14 (1981) <https://www.jstor.org/stable/44111800>
——, and John Gianvito, Andrei Tarkovsky: Interviews (University Press of Mississippi, 2006)
——, and Stephen Gill, Bright, Bright Day: Andrey Tarkovsky’s Polaroids (White Space Gallery, 2008)
Turovskai︠a︡, Maĭi︠a︡, Tarkovsky: Cinema as Poetry, Rev. ed. (Faber and Faber, 1989)
Visconti, Luchino, La Terra Trema, BFI., 1948
Wagstaff, Christopher, ‘Paisà’, in Italian Neorealist Cinema: An Aesthetic Approach (University of Toronto Press, 2007), pp. 185–290 <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4634682>
Weis, Don, I Love Melvin, Remastered ed, Turner Entertainment Co, 2011
Wiles, Mary M., Jacques Rivette (University of Illinois Press, 2012)
Wills, David, Jean-Luc Godard’s Pierrot Le Fou (Cambridge University Press, 2000)
——, Jean-Luc Godard’s Pierrot Le Fou (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 (Verso, 1982), pp. 79–91
Wood, Robin, ‘Narrative Pleasure: Two Films of Jacques Rivette’, Film Quarterly, 35.1 (1981), pp. 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 (University Press of Mississippi, 1998), pp. 9–49
Zavattini, Cesare, ‘A Thesis on Neorealism’, in Springtime in Italy: A Reader on Neo-Realism (Talisman Books, 1978), pp. 67–78