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Ali, Mahershala, Naomie Harris, Trevante Rhodes, Andrâe Holland, and Barry Jenkins. 2017a. ‘Moonlight’. Place of publication not identified: Altitude Film Distribution Limited.
———. 2017b. ‘Moonlight’. Place of publication not identified: Altitude Film Distribution Limited.
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———. 2000b. British Cinema, Past and Present. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=420027&entityid=https://idp.brunel.ac.uk/entity.
Bakari, Imruh, Mbye B. Cham, and British Film Institute. 1996. African Experiences of Cinema. London: BFI Pub.
Barlet, Olivier. 2000. African Cinemas: Decolonizing the Gaze. London: Zed Books. https://contentstore.cla.co.uk/secure/link?id=53d1262d-4a3b-e911-80cd-005056af4099.
Barry, Peter. 2017. ‘Beginning Theory: An Introduction to Literary and Cultural Theory’. In Beginning Theory: An Introduction to Literary and Cultural Theory, Fourth edition, 141–58. Manchester, UK: Manchester University Press. https://contentstore.cla.co.uk/secure/link?id=1a7061ba-5c8b-e811-80cd-005056af4099.
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Bourne, Stephen. 2016. Brief Encounters: Lesbians and Gays in British Cinema 1930-1971. London: Bloomsbury. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4659886.
Butler, Judith. 1993. Bodies That Matter: On the Discursive Limits of ‘Sex’. New York: Routledge. http://lib.myilibrary.com/browse/open.asp?id=310371&entityid=https://idp.brunel.ac.uk/entity.
———. 2006. Gender Trouble: Feminism and the Subversion of Identity. 2nd edition. New York: Routledge Classics. http://lib.myilibrary.com/browse/open.asp?id=344208&entityid=https://idp.brunel.ac.uk/entity.
Campion, Jane. 2005a. ‘The Piano’. [S.l.]: Optimum.
———. 2005b. ‘The Piano’. [S.l.]: Optimum.
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Casey, Bernadette Marie and ProQuest (Firm). 2002. Television Studies: The Key Concepts. London: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=308532.
Caughie, John and British Film Institute. 1981. Theories of Authorship: A Reader. London: Routledge & Kegan Paul in association with the British Film Institute. http://lib.myilibrary.com/browse/open.asp?id=528924&entityid=https://idp.brunel.ac.uk/entity.
Chalamet, Timothée, Armie Hammer, Luca Guadagnino, and André Aciman. 2018. ‘Call Me by Your Name’. London: Sony Pictures Home Entertainment Inc.
Cham, Mbye B., Claire Andrade-Watkins, and Celebration of Black Cinema, Inc. 1988. Blackframes: Critical Perspectives on Black Independent Cinema. Cambridge, Mass: MIT Press. https://contentstore.cla.co.uk/secure/link?id=c4638dde-9d3a-e911-80cd-005056af4099.
Chanda, Gurinda, and Meera Syal. 2003. ‘Bhaji on the Beach’. London: Cinema Club.
Childs, Peter, and Patrick Williams. 1997a. An Introduction to Post-Colonial Theory. Harlow: Longman. http://lib.myilibrary.com/browse/open.asp?id=618251&entityid=https://idp.brunel.ac.uk/entity.
———. 1997b. An Introduction to Post-Colonial Theory. Harlow: Longman. http://lib.myilibrary.com/browse/open.asp?id=618251&entityid=https://idp.brunel.ac.uk/entity.
Clayton, Alex, Andrew Klevan, and ProQuest (Firm). 2011. The Language and Style of Film Criticism. New York: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=684088.
Cobb, Shelley, and Yvonne Tasker. 2015. ‘Feminist Film Criticism in the 21st Century’. Film Criticism 40 (1). https://doi.org/10.3998/fc.13761232.0040.107.
Corber, Robert J. 1993. In the Name of National Security: Hitchcock, Homophobia and the Political Construction of Gender in Postwar America. Durham (N. Carolina): Duke University Press. http://lib.myilibrary.com/browse/open.asp?id=306262&entityid=https://idp.brunel.ac.uk/entity.
Cubitt, Sean. 2005. EcoMedia. Amsterdam: Rodopi.
Daldry, Stephen, Working Title Films, BBC Films, Arts Council of England, Universal Studios Canada, and Universal Home Video. 2005. ‘Billy Elliot’. Universal Studios.
Dash, Julie and Geechee Girls Productions. 2000. ‘Daughters of the Dust’. New York (NY): Kino on Video.
Dave, Paul. 2006. ‘Visions of England: Class and Culture in Contemporary Cinema’. In Visions of England: Class and Culture in Contemporary Cinema, 61–81. Oxford: Berg. https://contentstore.cla.co.uk/secure/link?id=bedcb011-2c2a-e911-80cd-005056af4099.
Demange, Yann, and Ashley Walters. 2013a. ‘Top Boy: The Complete First Season’. [UK]: Roadshow Entertainment.
———. 2013b. ‘Top Boy: The Complete Second Season’. [UK]: Roadshow Entertainment.
Diawara, Manthia. 1992a. African Cinema: Politics & Culture. Bloomington: Indiana University Press.
———. 1992b. African Cinema: Politics & Culture. Bloomington: Indiana University Press.
Dyer, Richard. 2002a. The Matter of Images: Essays on Representation. 2nd ed. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=479261&entityid=https://idp.brunel.ac.uk/entity.
———. 2002b. The Matter of Images: Essays on Representation. 2nd ed. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=479261&entityid=https://idp.brunel.ac.uk/entity.
Dyer, Richard, and Julianne Pidduck. 2003. Now You See It: Studies in Lesbian and Gay Film. 2nd ed. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=761924&entityid=https://idp.brunel.ac.uk/entity.
Ekaragha, Destiny. 2013. ‘Gone Too Far (2013)’. https://learningonscreen.ac.uk/ondemand/index.php/prog/0A58E4E3?bcast=125096604.
Elsaesser, Thomas. 1987. ‘Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film’. In Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film, 43–69. London: BFI Pub. https://contentstore.cla.co.uk/secure/link?id=0c9be3ed-2b3c-e911-80cd-005056af4099.
Epstein, Robert, and Vito Russo. 1995. ‘The Celluloid Closet: Part 1’. London: Channel Four.
Erens, Patricia. 1990. Issues in Feminist Film Criticism. Bloomington: Indiana University Press.
Fassbinder, Rainer Werner, Peter Märthesheimer, Pea Fröhlich, Thomas Schühly, Rosel Zech, Hilmar Thate, Cornelia Froboess, et al. 2007. ‘Die Sehnsucht Der Veronika Voss’. [Place of publication not identified]: Artificial Eye.
Fassbinder, Rainer Werner and Rainer Werner Fassbinder Foundation. 2006a. ‘Fear Eats the Soul’. ARROW.
———. 2006b. ‘Fear Eats the Soul’. ARROW.
Frears, Stephen, and Hanif Kureishi. 1999. ‘My Beautiful Laundrette’. [S.l.]: Film Four.
Garrard, Greg and ProQuest (Firm). 2012. Ecocriticism. 2nd ed. Abingdon, Oxon: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=738705.
Gauntlett, David. 2008. Media, Gender and Identity: An Introduction. 2nd ed. Abingdon: Routledge. http://lib.myilibrary.com/browse/open.asp?id=119793&entityid=https://idp.brunel.ac.uk/entity.
Genet, Jean, Todd Haynes, Edith Meeks, Zeitgeist Films, and Bronze Eye Productions. 1992. ‘Poison’. New York: Fox Lorber Home Video.
Geraghty, Christine. 2005. My Beautiful Laundrette. London: I. B. Tauris. http://lib.myilibrary.com/browse/open.asp?id=252756&entityid=https://idp.brunel.ac.uk/entity.
Gilroy, Paul. 2002. There Ain’t No Black in the Union Jack: The Cultural Politics of Race and Nation. [New ed.]. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=536182&entityid=https://idp.brunel.ac.uk/entity.
Griffith, D. W., and Thomas Dixon. 2000. ‘The Birth of a Nation’. [S.I.]: Eureka Video.
Guerrero, Ed. 1993. Framing Blackness: The African American Image in Film. Philadelphia: Temple University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=547426.
Guneratne, Anthony, Wimal Dissanayake, and Sumita S. Chakravarty. 2003. Rethinking Third Cinema. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=7963&entityid=https://idp.brunel.ac.uk/entity.
Hallam, Julia, and Margaret Marshment. 2000a. ‘Realism and Popular Cinema’. In Realism and Popular Cinema, 122–42. Manchester: Manchester University Press. https://contentstore.cla.co.uk/secure/link?id=ef54bd97-b936-e911-80cd-005056af4099.
———. 2000b. Realism and Popular Cinema. Manchester: Manchester University Press.
Harrow, Kenneth W. 1999. African Cinema: Postcolonial and Feminist Readings. Trenton, NJ: Africa World Press.
Haskell, Molly, and Manohla Dargis. 2016. From Reverence to Rape: The Treatment of Women in the Movies. Third edition. Chicago: The University of Chicago Press.
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———. 2015. ‘Carol’. https://learningonscreen.ac.uk/ondemand/index.php/prog/0BB503A9?bcast=126240284.
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Herzog, Werner. 2006. ‘Grizzly Man’. London: Revolver entertainment.
Higson, Andrew. 1996. ‘Dissolving Views: Key Writings on British Cinema’. In Dissolving Views: Key Writings on British Cinema, 133–56. London: Cassell. https://contentstore.cla.co.uk/secure/link?id=c1caf143-ba2b-e911-80cd-005056af4099.
Hill, John, and Pamela Church Gibson. 1998a. ‘The Oxford Guide to Film Studies’. In The Oxford Guide to Film Studies. Oxford: Oxford University Press. https://contentstore.cla.co.uk/secure/link?id=ff8f52d2-aa94-e811-80cd-005056af4099.
———. 1998b. ‘The Oxford Guide to Film Studies’. In The Oxford Guide to Film Studies. Oxford: Oxford University Press.
Hillier, Jim. 1993. The New Hollywood. London: Studio Vista.
———. 2001. ‘American Independent Cinema’. In American Independent Cinema, 32–73. London: British Film Institute Publishing. https://contentstore.cla.co.uk/secure/link?id=8c5f3686-9845-e911-80cd-005056af4099.
hooks, bell. 2015. Feminist Theory: From Margin to Center. New York: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1811030.
Huda, Menhaj, and Aml Ameen. 2008. ‘Kidulthood’. London: Revolver Entertainment.
Hughes, Albert, and Allen Hughes. 1997. ‘Menace II Society: This Is the Truth, This Is What’s Real’. [New York]: New Line Home Entertainment.
Jennifer P. Nesbitt. 2016. ‘Deactivating Feminism: Sigourney Weaver, James Cameron, and Avatar’. Film & History: An Interdisciplinary Journal 46 (1): 21–32. https://muse.jhu.edu/article/626142.
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Kaplan, E. Ann. 1988. Women and Film: Both Sides of the Camera. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=32849&entityid=https://idp.brunel.ac.uk/entity.
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Landy, Marcia. 1984. ‘Political Allegory and “Engaged Cinema”: Sembene’s “Xala”’. Cinema Journal 23 (3). https://doi.org/10.2307/1225095.
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Levy, Emanuel. 1999. Cinema of Outsiders: The Rise of American Independent Film. New York: New York University Press. http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&db=nlebk&db=nlabk&site=ehost-live&scope=site&AN=74304.
Luckett, Moya. 1999. ‘British Cinema of the 90s’. In British Cinema of the 90s, 88–99. London: British Film Institute. https://contentstore.cla.co.uk/secure/link?id=4756a093-e22e-e911-80cd-005056af4099.
Malik, Sarita, and Clive James Nwonka. 2017. ‘Top Boy: Cultural Verisimilitude and the Allure of Black Criminality for UK Public Service Broadcasting Drama’. Journal of British Cinema and Television 14 (4): 423–44. https://doi.org/10.3366/jbctv.2017.0387.
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Mercer, Kobena and Institute of Contemporary Arts. 1988. Black Film, British Cinema. Vol. 7. London: ICA.
Merritt, Greg. 2000. Celluloid Mavericks: The History of American Independent Film. New York, NY: Thunder’s Mouth Press.
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Modleski, Tania. 2016. The Women Who Knew Too Much: Hitchcock and Feminist Theory. 3rd ed. New York: Routledge. http://lib.myilibrary.com/browse/open.asp?id=821344&entityid=https://idp.brunel.ac.uk/entity.
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Murray, Robin L., and Joseph K. Heumann. 2014. Film & Everyday Eco-Disasters. Lincoln: University of Nebraska Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1676467.
Nagib, Lâucia, and Cecâilia Mello. 2009. ‘Realism and the Audiovisual Media’. In Realism and the Audiovisual Media. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=555396.
Nelmes, Jill. 1999. ‘An Introduction to Film Studies’. In An Introduction to Film Studies, 2nd ed, 268–305. London: Routledge. https://contentstore.cla.co.uk/secure/link?id=ce744dfb-d594-e811-80cd-005056af4099.
———. 2012. Introduction to Film Studies. 5th ed. Abingdon: Routledge. http://lib.myilibrary.com/browse/open.asp?id=761269&entityid=https://idp.brunel.ac.uk/entity.
Nichols, Bill. 1985. ‘Movies and Methods: An Anthology, Vol.2’. In Movies and Methods: An Anthology, Vol.2. Berkeley, CA: University of California Press. https://contentstore.cla.co.uk/secure/link?id=2d450649-0b94-e811-80cd-005056af4099.
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Penley, Constance. 1988a. Feminism and Film Theory. New York: Routledge. http://lib.myilibrary.com/browse/open.asp?id=504573&entityid=https://idp.brunel.ac.uk/entity.
———. 1988b. Feminism and Film Theory. New York: Routledge. http://lib.myilibrary.com/browse/open.asp?id=504573&entityid=https://idp.brunel.ac.uk/entity.
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Pines, Jim. 1996. ‘Black British Cultural Studies: A Reader’. In Black British Cultural Studies: A Reader, 183–93. Chicago, IL: University of Chicago Press. https://contentstore.cla.co.uk/secure/link?id=d9314b41-933a-e911-80cd-005056af4099.
Pines, Jim, and Paul Willemen. 1989. Questions of Third Cinema. London: British Film Institute.
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Rhines, Jesse Algeron. 1996. Black Film/White Money. New Brunswick, N.J.: Rutgers University Press.
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Rony, Fatimah Tobing. 1996. The Third Eye: Race, Cinema and Ethnographic Spectacle. Durham, N.C: Duke University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3007838.
Russo, Vito. 1987. The Celluloid Closet: Homosexuality in the Movies. Rev. ed. New York: Harper & Row.
Rust, Stephen, Salma Monani, and Sean Cubitt. 2013. ‘Ecocinema Theory and Practice’. In Ecocinema Theory and Practice. New York: Routledge. http://lib.myilibrary.com/browse/open.asp?id=391901&entityid=https://idp.brunel.ac.uk/entity.
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Sembáene, Ousmane. 2005a. ‘Black Girl: [And] Borom Sarret’. New York, USA: New Yorker Video.
———. 2005b. ‘Xala: The Curse’. New York: New Yorker Films Artwork.
Shimamura, Arthur P. 2013. Psychocinematics: Exploring Cognition at the Movies. Oxford: Oxford University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3055687.
Sillitoe, Alan. 1993. ‘Saturday Night and Sunday Morning’. London: Flamingo.
Singleton, John. 2006. ‘Boyz n the Hood’. London: Sony Pictures Home Entertainment.
Sirk, Douglas. 2004. ‘All That Heaven Allows’. Sky Home Video.
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Sissako, Abderrahmane. 2014. ‘Timbuktu’. https://learningonscreen.ac.uk/ondemand/index.php/prog/089D49EB?bcast=124203671.
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Smith, Greg M. 1999. ‘Passionate Views: Film, Cognition, and Emotion’. In Passionate Views: Film, Cognition, and Emotion, 103–29. Baltimore: Johns Hopkins University Press. https://contentstore.cla.co.uk/secure/link?id=4b7c61f0-523b-e911-80cd-005056af4099.
Smith, Murray. 1995. Engaging Characters: Fiction, Emotion, and the Cinema. Oxford: Clarendon Press.
Snead, James A., Colin MacCabe, and Cornel West. 1994. White Screens, Black Images: Hollywood from the Dark Side. New York: Routledge.
Snell, Heather. 2014. ‘Toward “a Giving and a Receiving”: Teaching Djibril Diop Mambéty’s’. Journal of African Cultural Studies 26 (2): 127–39. https://doi.org/10.1080/13696815.2013.849194.
‘Springwatch’. 2005. https://www.brunel.ac.uk/life/library/FindingInformation/Databases.
Thackway, Melissa. 2003. Africa Shoots Back: Alternative Perspectives in Sub-Saharan Francophone African Film. Bloomington: Indiana University Press.
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Tyler, Parker. 1993. Screening the Sexes: Homosexuality in the Movies. New York: Da Capo Press.
Van Peebles, Mario. 1991. ‘New Jack City’. Burbank, CA: Warner Home Video.
Van Peebles, Melvin. 2005. ‘Sweet Sweetback’s Baadasssss Song’. [S.l.]: British Film Institute.
Walters, Ashley, Luke Fraser, Clare Perkins, Leon Black, and Saul Dibbs. 2008. ‘Bullet Boy’. London: Verve Pictures.
Wayne, Mike. 2001. Political Film: The Dialectics of Third Cinema. London: Pluto. http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&defaultdb=nlebk&AN=72460&site=ehost-live&scope=site.
———. 2002. The Politics of Contemporary European Cinema: Histories, Borders, Diasporas. Bristol: Intellect. http://lib.myilibrary.com/browse/open.asp?id=47661&entityid=https://idp.brunel.ac.uk/entity.
Weik von Mossner, Alexa. 2017. Affective Ecologies: Empathy, Emotion, and Environmental Narrative. Columbus, Ohio: Ohio State University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4851932.
Weik von Mossner, Alexa and Canadian Electronic Library (Firm). 2014a. ‘Moving Environments: Affect, Emotion, Ecology, and Film’. In Moving Environments: Affect, Emotion, Ecology, and Film. Waterloo, Ontario: Wilfrid Laurier University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3295350.
———. 2014b. ‘Moving Environments: Affect, Emotion, Ecology, and Film’. In Moving Environments: Affect, Emotion, Ecology, and Film. Waterloo, Ontario: Wilfrid Laurier University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3295350.
———. 2014c. ‘Moving Environments: Affect, Emotion, Ecology, and Film’. In Moving Environments: Affect, Emotion, Ecology, and Film. Waterloo, Ontario: Wilfrid Laurier University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3295350.
Weiss, Andrea. 1993. ‘Vampires & Violets: Lesbians in Film’. In Vampires & Violets: Lesbians in Film, 30–50. New York, N.Y., U.S.A.: Penguin Books. https://contentstore.cla.co.uk/secure/link?id=b4779f1f-698b-e811-80cd-005056af4099.
Yearwood, Gladstone. 2000. Black Film as a Signifying Practice: Cinema, Narration and the African-American Aesthetic Experience. Trenton, N.J.: Africa World Press.
Young, Lola. 1996. Fear of the Dark: ‘Race’, Gender and Sexuality in the Cinema. London: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=165023.
