[1]
J. Campion, ‘The Piano’. Optimum, [S.l.], 2005.
[2]
B. Nichols, ‘Movies and methods: an anthology, Vol.2’, in Movies and methods: an anthology, Vol.2, Berkeley, CA: University of California Press, 1985 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=2d450649-0b94-e811-80cd-005056af4099
[3]
J. Hill and P. C. Gibson, ‘The Oxford guide to film studies’, in The Oxford guide to film studies, Oxford: Oxford University Press, 1998 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=ff8f52d2-aa94-e811-80cd-005056af4099
[4]
R. W. Fassbinder and Rainer Werner Fassbinder Foundation, ‘Fear eats the soul’, vol. Vol. 2. ARROW, 2006.
[5]
T. Elsaesser, ‘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, London: BFI Pub, 1987, pp. 43–69 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=0c9be3ed-2b3c-e911-80cd-005056af4099
[6]
M. Satrapi, ‘Persepolis’. 2007 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/01184EA9?bcast=70067317
[7]
K. A. McHugh, ‘“Sounds that creep inside you”: female narration and voiceover in the films of Jane Campion’, Style, vol. 35, no. 2, pp. 193–218, 2001 [Online]. Available: https://literature.proquest.com/searchFulltext.do?id=R01614768&divLevel=0&area=abell&forward=critref_ft
[8]
M. Pramaggiore and T. Wallis, ‘Film: a critical introduction’, in Film: a critical introduction, 3rd ed., London: Laurence King, 2011.
[9]
M. Ryan et al., ‘In the cut’. Pathé, [s.l.], 2004.
[10]
J. Campion, ‘The Piano’. Optimum, [S.l.], 2005.
[11]
J. Campion, H. James, and PolyGram Filmed Entertainment (Firm), ‘The portrait of a lady’. Universal Studies, 2001.
[12]
K. Bigelow, ‘Point Break’. 1991 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/001ABF96?bcast=59350159
[13]
K. Bigelow, ‘Zero Dark Thirty’. 2012 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/03781430?bcast=116830794
[14]
‘The hurt locker’. [S.l.], 2010.
[15]
K. Bigelow, ‘Blue Steel’. Lions Gate Home Entertainment, 2006.
[16]
D. Sirk and F. Hurst, ‘Imitation of life’. Universal Studios, 2008.
[17]
D. Sirk, ‘All that heaven allows’. Sky Home Video, 2004.
[18]
R. W. Fassbinder and Rainer Werner Fassbinder Foundation, ‘Fear eats the soul’, vol. Vol. 2. ARROW, 2006.
[19]
R. W. Fassbinder et al., ‘Die Sehnsucht der Veronika Voss’. Artificial Eye, [Place of publication not identified], 2007.
[20]
T. Haynes, ‘Far from heaven’. Universal Studios, [Universal City, CA], 2003.
[21]
P. Almodâovar, ‘All about my mother’. Patheworld, 1999.
[22]
J. Berger, Ways of seeing. London: Penguin, 2008.
[23]
C. Penley, Feminism and film theory. New York: Routledge, 1988 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=504573&entityid=https://idp.brunel.ac.uk/entity
[24]
S. Cobb and Y. Tasker, ‘Feminist Film Criticism in the 21st Century’, Film Criticism, vol. 40, no. 1, Dec. 2015, doi: 10.3998/fc.13761232.0040.107. [Online]. Available: https://search.proquest.com/docview/1810345180/fulltext/F5A0636955EB46F4PQ/1?accountid=14494
[25]
P. Erens, Issues in feminist film criticism. Bloomington: Indiana University Press, 1990.
[26]
J. Caughie and British Film Institute, Theories of authorship: a reader. London: Routledge & Kegan Paul in association with the British Film Institute, 1981 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=528924&entityid=https://idp.brunel.ac.uk/entity
[27]
M. Haskell and M. Dargis, From reverence to rape: the treatment of women in the movies, Third edition. Chicago: The University of Chicago Press, 2016.
[28]
bell hooks, Feminist theory: from margin to center. New York: Routledge, 2015 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1811030
[29]
E. A. Kaplan, Women and film: both sides of the camera. London: Routledge, 1988 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=32849&entityid=https://idp.brunel.ac.uk/entity
[30]
T. Modleski, The women who knew too much: Hitchcock and feminist theory, 3rd ed. New York: Routledge, 2016 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=821344&entityid=https://idp.brunel.ac.uk/entity
[31]
J. Nelmes, ‘An Introduction to Film Studies’, in An introduction to film studies, 2nd ed., London: Routledge, 1999, pp. 268–305 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=ce744dfb-d594-e811-80cd-005056af4099
[32]
Jennifer P. Nesbitt, ‘Deactivating Feminism: Sigourney Weaver, James Cameron, and Avatar’, Film & History: An Interdisciplinary Journal, vol. 46, no. 1, pp. 21–32, 2016 [Online]. Available: https://muse.jhu.edu/article/626142
[33]
C. Penley, Feminism and film theory. New York: Routledge, 1988 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=504573&entityid=https://idp.brunel.ac.uk/entity
[34]
R. Epstein and V. Russo, ‘The celluloid closet: Part 1’. Channel Four, London, 1995.
[35]
M. Pramaggiore and T. Wallis, ‘Film: a critical introduction’, in Film: a critical introduction, 3rd ed., London: Laurence King, 2011, pp. 309–342 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=87a1f045-213c-e911-80cd-005056af4099
[36]
T. Chalamet, A. Hammer, L. Guadagnino, and A. Aciman, ‘Call me by your name’. Sony Pictures Home Entertainment Inc, London, 2018.
[37]
R. Dyer, The matter of images: essays on representation, 2nd ed. London: Routledge, 2002 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=479261&entityid=https://idp.brunel.ac.uk/entity
[38]
J. Genet, T. Haynes, E. Meeks, Zeitgeist Films, and Bronze Eye Productions, ‘Poison’. Fox Lorber Home Video, New York, 1992.
[39]
G. Araki and Desperate Pictures, ‘The living end: an irresponsible film’. Fox Lorber Home Video, New York, N.Y., 2008.
[40]
T. Kalin, ‘Swoon’. Palisades Tartan Video, [S.l.], 2009.
[41]
A. Kechiche, ‘Blue Is the Warmest Colour’. 2013 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/07C5B5D0?bcast=127161125
[42]
T. Haynes, ‘Carol’. 2015 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0BB503A9?bcast=126240284
[43]
M. Ali, N. Harris, T. Rhodes, A. Holland, and B. Jenkins, ‘Moonlight’. Altitude Film Distribution Limited, Place of publication not identified, 2017.
[44]
J. O’Connor, A. Secareanu, I. Hart, and G. Jones, ‘God’s own country’. Lionsgate, London, 2018.
[45]
M. Aaron, The body’s perilous pleasures: dangerous desires and contemporary culture. Edinburgh: Edinburgh University Press, 1998 [Online]. Available: http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&db=nlebk&db=nlabk&site=ehost-live&scope=site&AN=9640
[46]
P. Barry, ‘Beginning theory: an introduction to literary and cultural theory’, in Beginning theory: an introduction to literary and cultural theory, Fourth edition., Manchester, UK: Manchester University Press, 2017, pp. 141–158 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=1a7061ba-5c8b-e811-80cd-005056af4099
[47]
H. M. Benshoff and S. Griffin, Queer cinema: the film reader. New York; London: Routledge, 2004.
[48]
S. Bourne, Brief encounters: lesbians and gays in British cinema 1930-1971. London: Bloomsbury, 2016 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4659886
[49]
J. Butler, Gender trouble: feminism and the subversion of identity, 2nd edition. New York: Routledge Classics, 2006 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=344208&entityid=https://idp.brunel.ac.uk/entity
[50]
J. Butler, Bodies that matter: on the discursive limits of ‘sex’. New York: Routledge, 1993 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=310371&entityid=https://idp.brunel.ac.uk/entity
[51]
R. J. Corber, In the name of national security: Hitchcock, homophobia and the political construction of gender in postwar America. Durham (N. Carolina): Duke University Press, 1993 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=306262&entityid=https://idp.brunel.ac.uk/entity
[52]
R. Dyer and J. Pidduck, Now you see it: studies in lesbian and gay film, 2nd ed. London: Routledge, 2003 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=761924&entityid=https://idp.brunel.ac.uk/entity
[53]
R. Dyer, The matter of images: essays on representation, 2nd ed. London: Routledge, 2002 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=479261&entityid=https://idp.brunel.ac.uk/entity
[54]
D. Gauntlett, Media, gender and identity: an introduction, 2nd ed. Abingdon: Routledge, 2008 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=119793&entityid=https://idp.brunel.ac.uk/entity
[55]
D. A. Miller, ‘Inside/out: lesbian theories, gay theories’, in Inside/out: lesbian theories, gay theories, London: Routledge, 1991, pp. 119–141 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=6e62eb66-568e-e811-80cd-005056af4099
[56]
J. Phillips, Transgender on screen. Basingstoke [England]: Palgrave Macmillan, 2006 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=318413&entityid=https://idp.brunel.ac.uk/entity
[57]
N. Richardson, Transgressive bodies: representations in film and popular culture. Farnham, Surrey, England: Ashgate, 2010 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=277412&entityid=https://idp.brunel.ac.uk/entity
[58]
V. Russo, The celluloid closet: homosexuality in the movies, Rev. ed. New York: Harper & Row, 1987.
[59]
E. K. Sedgwick and W. Koestenbaum, Between men: English literature and male homosocial desire, Thirthieth anniversary edition. New York: Columbia University Press, 2016 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=850560&entityid=https://idp.brunel.ac.uk/entity
[60]
A. Smelik, ‘The Oxford guide to film studies’, in The Oxford guide to film studies, Oxford: Oxford University Press, 1998, pp. 135–147 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=713f5241-ab94-e811-80cd-005056af4099
[61]
P. Tyler, Screening the sexes: homosexuality in the movies. New York: Da Capo Press, 1993.
[62]
A. Weiss, ‘Vampires & violets: lesbians in film’, in Vampires & violets: lesbians in film, New York, N.Y., U.S.A.: Penguin Books, 1993, pp. 30–50 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=b4779f1f-698b-e811-80cd-005056af4099
[63]
A. Clayton, A. Klevan, and ProQuest (Firm), The language and style of film criticism. New York: Routledge, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=684088
[64]
A. Hughes and A. Hughes, ‘Menace II society: this is the truth, this is what’s real’. New Line Home Entertainment, [New York], 1997.
[65]
D. W. Griffith and T. Dixon, ‘The birth of a nation’. Eureka Video, [S.I.], 2000.
[66]
S. Kramer, ‘Guess Who’s Coming to Dinner’. 1967 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0008FA5A?bcast=33231868
[67]
M. Van Peebles, ‘Sweet Sweetback’s baadasssss song’. British Film Institute, [S.l.], 2005.
[68]
G. Parks, ‘Shaft’. Turner Entertainment, 2009.
[69]
J. Singleton, ‘Boyz n the hood’. Sony Pictures Home Entertainment, London, 2006.
[70]
M. Van Peebles, ‘New Jack City’. Warner Home Video, Burbank, CA, 1991.
[71]
J. Dash and Geechee Girls Productions, ‘Daughters of the dust’. Kino on Video, New York (NY), 2000.
[72]
M. Ali, N. Harris, T. Rhodes, A. Holland, and B. Jenkins, ‘Moonlight’. Altitude Film Distribution Limited, Place of publication not identified, 2017.
[73]
D. Kaluuya et al., ‘Get out’. Universal Studios, Place of publication not identified, 2017.
[74]
J. Nelmes, Introduction to film studies, 5th ed. Abingdon: Routledge, 2012 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=761269&entityid=https://idp.brunel.ac.uk/entity
[75]
L. Young, Fear of the dark: ‘race’, gender and sexuality in the cinema. London: Routledge, 1996 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=165023
[76]
B. M. Casey and ProQuest (Firm), Television studies: the key concepts. London: Routledge, 2002 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=308532
[77]
D. Bogle, Toms, coons, mulattoes, mammies, and bucks: an interpretive history of blacks in American films, Updated and Expanded 5th edition. New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc, 2016.
[78]
J. Hill and P. C. Gibson, ‘The Oxford guide to film studies’, in The Oxford guide to film studies, Oxford: Oxford University Press, 1998.
[79]
E. Guerrero, Framing Blackness: the African American image in film. Philadelphia: Temple University Press, 1993 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=547426
[80]
J. A. Rhines, Black film/white money. New Brunswick, N.J.: Rutgers University Press, 1996.
[81]
J. A. Snead, C. MacCabe, and C. West, White screens, black images: Hollywood from the dark side. New York: Routledge, 1994.
[82]
M. A. Reid, Redefining black film. Berkeley: University of California Press, 1993 [Online]. Available: http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&db=nlebk&db=nlabk&site=ehost-live&scope=site&AN=42273
[83]
G. Yearwood, Black film as a signifying practice: cinema, narration and the African-American aesthetic experience. Trenton, N.J.: Africa World Press, 2000.
[84]
E. Levy, Cinema of outsiders: the rise of American independent film. New York: New York University Press, 1999 [Online]. Available: http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&db=nlebk&db=nlabk&site=ehost-live&scope=site&AN=74304
[85]
G. Merritt, Celluloid mavericks: the history of American independent film. New York, NY: Thunder’s Mouth Press, 2000.
[86]
J. Hillier, ‘American independent cinema’, in American independent cinema, London: British Film Institute Publishing, 2001, pp. 32–73 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=8c5f3686-9845-e911-80cd-005056af4099
[87]
J. Hillier, The new Hollywood. London: Studio Vista, 1993.
[88]
M. Smith, Engaging characters: fiction, emotion, and the cinema. Oxford: Clarendon Press, 1995.
[89]
A. P. Shimamura, Psychocinematics: exploring cognition at the movies. Oxford: Oxford University Press, 2013 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3055687
[90]
J. Hallam and M. Marshment, ‘Realism and popular cinema’, in Realism and popular cinema, Manchester: Manchester University Press, 2000, pp. 122–142 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=ef54bd97-b936-e911-80cd-005056af4099
[91]
N. Carroll, ‘Theorizing the moving image’, in Theorizing the moving image, Cambridge: Cambridge University Press, 1996, pp. 78–93 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=9d3e5334-653b-e911-80cd-005056af4099
[92]
G. M. Smith, ‘Passionate views: film, cognition, and emotion’, in Passionate views: film, cognition, and emotion, Baltimore: Johns Hopkins University Press, 1999, pp. 103–129 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=4b7c61f0-523b-e911-80cd-005056af4099
[93]
N. Carroll, Mystifying movies: fads & fallacies in contemporary film theory. New York: Columbia University Press, 1988.
[94]
A. Sissako, ‘Timbuktu’. 2014 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/089D49EB?bcast=124203671
[95]
O. Sembáene, ‘Black Girl: [and] Borom Sarret’. New Yorker Video, New York, USA, 2005.
[96]
O. Sembáene, ‘Xala: The curse’. New Yorker Films Artwork, New York, 2005.
[97]
D. Mambety, Djibril, ‘Touki Bouki: The hyena’s voyage’. Kino Video, New York, 2005.
[98]
O. Barlet, African cinemas: decolonizing the gaze. London: Zed Books, 2000 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=53d1262d-4a3b-e911-80cd-005056af4099
[99]
M. Landy, ‘Political Allegory and “Engaged Cinema”: Sembene’s “Xala”’, Cinema Journal, vol. 23, no. 3, Spring 1984, doi: 10.2307/1225095.
[100]
M. Diawara, African cinema: politics & culture. Bloomington: Indiana University Press, 1992.
[101]
M. B. Cham, C. Andrade-Watkins, and Celebration of Black Cinema, Inc, Blackframes: critical perspectives on black independent cinema. Cambridge, Mass: MIT Press, 1988 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=c4638dde-9d3a-e911-80cd-005056af4099
[102]
P. Childs and P. Williams, An introduction to post-colonial theory. Harlow: Longman, 1997 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=618251&entityid=https://idp.brunel.ac.uk/entity
[103]
H. Snell, ‘Toward “a giving and a receiving”: teaching Djibril Diop Mambéty’s’, Journal of African Cultural Studies, vol. 26, no. 2, pp. 127–139, May 2014, doi: 10.1080/13696815.2013.849194.
[104]
P. Childs and P. Williams, An introduction to post-colonial theory. Harlow: Longman, 1997 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=618251&entityid=https://idp.brunel.ac.uk/entity
[105]
M. Thackway, Africa shoots back: alternative perspectives in Sub-Saharan Francophone African film. Bloomington: Indiana University Press, 2003.
[106]
R. Armes, African filmmaking: north and south of the Sahara. Bloomington: Indiana University Press, 2006 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=55395&entityid=https://idp.brunel.ac.uk/entity
[107]
F. T. Rony, The third eye: race, cinema and ethnographic spectacle. Durham, N.C: Duke University Press, 1996 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3007838
[108]
A. Guneratne, W. Dissanayake, and S. S. Chakravarty, Rethinking third cinema. London: Routledge, 2003 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=7963&entityid=https://idp.brunel.ac.uk/entity
[109]
M. Wayne, Political film: the dialectics of third cinema. London: Pluto, 2001 [Online]. Available: http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&defaultdb=nlebk&AN=72460&site=ehost-live&scope=site
[110]
J. Pines and P. Willemen, Questions of third cinema. London: British Film Institute, 1989.
[111]
M. Diawara, African cinema: politics & culture. Bloomington: Indiana University Press, 1992.
[112]
K. W. Harrow, African cinema: postcolonial and feminist readings. Trenton, NJ: Africa World Press, 1999.
[113]
I. Bakari, M. B. Cham, and British Film Institute, African experiences of cinema. London: BFI Pub, 1996.
[114]
G. Chanda and M. Syal, ‘Bhaji on the beach’. Cinema Club, London, 2003.
[115]
S. Frears and H. Kureishi, ‘My beautiful laundrette’. Film Four, [S.l.], 1999.
[116]
A. Walters, L. Fraser, C. Perkins, L. Black, and S. Dibbs, ‘Bullet boy’. Verve Pictures, London, 2008.
[117]
M. Huda and A. Ameen, ‘Kidulthood’. Revolver Entertainment, London, 2008.
[118]
Y. Demange and A. Walters, ‘Top boy: The complete first season’. Roadshow Entertainment, [UK], 2013.
[119]
Y. Demange and A. Walters, ‘Top boy: The complete second season’. Roadshow Entertainment, [UK], 2013.
[120]
D. Ekaragha, ‘Gone Too Far (2013)’. 2013 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0A58E4E3?bcast=125096604
[121]
A. director Asante, ‘Belle’. 20th Century Fox Home Entertainment, [S.l.], 2014.
[122]
J. Pines, ‘Black British cultural studies: a reader’, in Black British cultural studies: a reader, Chicago, IL: University of Chicago Press, 1996, pp. 183–193 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=d9314b41-933a-e911-80cd-005056af4099
[123]
M. Wayne, The politics of contemporary European cinema: histories, borders, diasporas. Bristol: Intellect, 2002 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=47661&entityid=https://idp.brunel.ac.uk/entity
[124]
S. Malik and C. James Nwonka, ‘Top Boy: Cultural Verisimilitude and the Allure of Black Criminality for UK Public Service Broadcasting Drama’, Journal of British Cinema and Television, vol. 14, no. 4, pp. 423–444, Oct. 2017, doi: 10.3366/jbctv.2017.0387.
[125]
K. Mercer and Institute of Contemporary Arts, Black film, British cinema, vol. 7. London: ICA, 1988.
[126]
P. Gilroy, There ain’t no black in the Union Jack: the cultural politics of race and nation, [New ed.]. London: Routledge, 2002 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=536182&entityid=https://idp.brunel.ac.uk/entity
[127]
C. Geraghty, My beautiful laundrette. London: I. B. Tauris, 2005 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=252756&entityid=https://idp.brunel.ac.uk/entity
[128]
M. Pascual, ‘My Beautiful Laundrette: Hybrid "Identity” or the paradox of conflicting identifications in “Third Space” Asian-British Cinema of the 1980s’, Miscelanea: Journal of English and American Studies, vol. 26, pp. 59–70, 2002 [Online]. Available: https://www.researchgate.net/publication/28145362_My_Beautiful_Laundrette_Hybrid_Identity_or_the_Paradox_of_Conflicting_Identifications_in_Third_Space_Asian-British_Cinema_of_the_1980s
[129]
L. Ramsey, ‘Ratcatcher’. BBC, London, 2003.
[130]
A. Sillitoe, ‘Saturday night and Sunday morning’. Flamingo, London, 1993.
[131]
M. Herman, ‘Brassed Off’. 1996 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/000A7739?bcast=114045787
[132]
R. Carlyle, T. Wilkinson, P. Cattaneo, Twentieth Century Fox Home Entertainment, Inc, and Fox Searchlight Pictures, ‘The full monty’. Twentieth Century Fox Home Entertainment, [s.l.], 2006.
[133]
G. Oldman, ‘Nil by mouth’. Sky Moviemax, [S.l.], 2000.
[134]
S. Daldry, Working Title Films, BBC Films, Arts Council of England, Universal Studios Canada, and Universal Home Video, ‘Billy Elliot’. Universal Studios, 2005.
[135]
S. Meadows et al., ‘This is England’. Optimum Home, [s.l.], 2007.
[136]
A. Arnold, ‘Fish tank’. Artificial Eye, [s.l.], 2010.
[137]
D. Johns, H. Squires, and K. Loach, ‘I, Daniel Blake’. Entertainment One UK Limited, United Kingdom, 2017.
[138]
J. Ashby and A. Higson, British cinema, past and present. London: Routledge, 2000 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=420027&entityid=https://idp.brunel.ac.uk/entity
[139]
S. Lay, British social realism: from documentary to Brit-grit, vol. 15. London: Wallflower, 2002.
[140]
L. Nagib and C. Mello, ‘Realism and the audiovisual media’, in Realism and the audiovisual media, Basingstoke: Palgrave Macmillan, 2009 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=555396
[141]
J. Hallam and M. Marshment, Realism and popular cinema. Manchester: Manchester University Press, 2000.
[142]
J. Ashby and A. Higson, British cinema, past and present. London: Routledge, 2000 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=420027&entityid=https://idp.brunel.ac.uk/entity
[143]
R. Murphy, ‘British cinema of the 90s’, in British cinema of the 90s, London: British Film Institute, 1999.
[144]
P. Dave, ‘Visions of England: class and culture in contemporary cinema’, in Visions of England: class and culture in contemporary cinema, Oxford: Berg, 2006, pp. 61–81 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=bedcb011-2c2a-e911-80cd-005056af4099
[145]
M. Luckett, ‘British cinema of the 90s’, in British cinema of the 90s, London: British Film Institute, 1999, pp. 88–99 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=4756a093-e22e-e911-80cd-005056af4099
[146]
A. Higson, ‘Dissolving views: key writings on British cinema’, in Dissolving views: key writings on British cinema, London: Cassell, 1996, pp. 133–156 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=c1caf143-ba2b-e911-80cd-005056af4099
[147]
Leigh, Danny, ‘The class ceiling’, Sight and Sound, vol. 28, pp. 22–26 [Online]. Available: https://search.proquest.com/docview/2112529193/765BC32F577C4892PQ/13?accountid=14494
[148]
L. Psihoyos, ‘The cove’. Vertigo Films, [U.K.], 2009.
[149]
W. Herzog, ‘Grizzly man’. Revolver entertainment, London, 2006.
[150]
‘Blue Planet II’. BBC, 2017 [Online]. Available: https://learningonscreen.ac.uk/ondemand/search.php?q=&q[0][v]=%22blue+planet+II%22&q[0][index]=title&q[0][oper]=and&date_start=1952-01-01-00-00&date_end=2018-11-25-00-00&date_type=0&search_type=1&source=T&sort=relevance&page=1
[151]
‘Springwatch’. 2005 [Online]. Available: https://www.brunel.ac.uk/life/library/FindingInformation/Databases
[152]
S. Cubitt, EcoMedia. Amsterdam: Rodopi, 2005.
[153]
R. L. Murray and J. K. Heumann, Film & everyday eco-disasters. Lincoln: University of Nebraska Press, 2014 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1676467
[154]
S. Rust, S. Monani, and S. Cubitt, ‘Ecocinema theory and practice’, in Ecocinema theory and practice, New York: Routledge, 2013 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=391901&entityid=https://idp.brunel.ac.uk/entity
[155]
J. Parham, Green media and popular culture: an introduction. London: Macmillan Education/Palgrave, 2016.
[156]
A. Weik von Mossner and Canadian Electronic Library (Firm), ‘Moving environments: affect, emotion, ecology, and film’, in Moving environments: affect, emotion, ecology, and film, Waterloo, Ontario: Wilfrid Laurier University Press, 2014 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3295350
[157]
A. Weik von Mossner and Canadian Electronic Library (Firm), ‘Moving environments: affect, emotion, ecology, and film’, in Moving environments: affect, emotion, ecology, and film, Waterloo, Ontario: Wilfrid Laurier University Press, 2014 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3295350
[158]
A. Weik von Mossner and Canadian Electronic Library (Firm), ‘Moving environments: affect, emotion, ecology, and film’, in Moving environments: affect, emotion, ecology, and film, Waterloo, Ontario: Wilfrid Laurier University Press, 2014 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3295350
[159]
A. Weik von Mossner, Affective ecologies: empathy, emotion, and environmental narrative. Columbus, Ohio: Ohio State University Press, 2017 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4851932
[160]
G. Garrard and ProQuest (Firm), Ecocriticism, 2nd ed. Abingdon, Oxon: Routledge, 2012 [Online]. Available: https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=738705
