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Stam R. Film theory: an introduction. Oxford: : Blackwell 2000.
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Aleksandrov G, Eisenstein S. October: ten days that shook the world. 1927.https://bristol.kanopy.com/video/october-ten-days-shook-world
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Bohlinger V. Engrossing? Exciting! Incomprehensible? Boring! Audience survey responses to Eisenstein’s October. Studies in Russian and Soviet Cinema;14:5–27.https://www.tandfonline.com/doi/abs/10.1386/srsc.5.1.5_1
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Battleship Potemkin (Eisenstein, 1925). https://bristol.kanopy.com/video/battleship-potemkin-1
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Vertov D. Man with a Movie Camera (1929) movie. 1929.https://www.youtube.com/watch?v=cGYZ5847FiI
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The End of St Petersburg. https://bristol.kanopy.com/video/end-st-petersburg-1927
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Taylor R, British Film Institute. October. London: : BFI Pub 2002.
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Un chien andalou (Luis Buñuel & Salvador Dalí, 1929). https://www.youtube.com/watch?v=79h05vqezJ0
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Stone R, Gutiérrez-Albilla JD. A Companion to Luis Buñuel. Chicester: : Wiley 2013.
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Hammond P, Buñuel L, Dalí S. L’Âge d’or. London: : British Film Institute 1997.
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Adamowicz E. Un chien andalou: (Luis Buñuel and Salvador Dali, 1929). London: : I.B. Tauris 2010.
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Drummond P. Un chien Andalou: Luis Buñuel and Salvador Dali. London: : Faber and Faber 1994.
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Frank A, Thomas E, Stanovnik J. Reframing reality: the aesthetics of the surrealist object in French and Czech cinema. Bristol, England: : Intellect 2013.
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Mary Corliss. BuñUel’s l’Age d’Or. MoMA Published Online First: 19750401.https://bris.on.worldcat.org/search?databaseList=638&queryString=buñuel l’age d’or#/oclc/5544123066
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Lyndy Saville. Discovering Luis Buñuel Part of the Series: Discovering The Arts. 2013.https://bristol.kanopy.com/video/discovering-luis-bunuel
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Levy S. Surrealism: surrealist visuality. Keele, Straffordshire: : Keele University Press 1996.
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Williams L. Figures of desire: a theory and analysis of surrealist film. Berkeley: : University of California Press 1992.
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Breton A, Seaver R, Lane HR. Manifestoes of surrealism. Ann Arbor: : University of Michigan Press 1972.
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Aleksandrov G. The Circus. 1936.https://www.youtube.com/watch?v=FVAN0A6OWE4
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Ratchford M. Circus of 1936: Ideology and entertainment under the big top. In: Inside Soviet Film Satire. Cambridge: : Cambridge University Press 1993. 83–93.https://www-cambridge-org.bris.idm.oclc.org/core/services/aop-cambridge-core/content/view/A2A665CFBE0256C4DD98DD497035B38F/9780511527135c8_p83-93_CBO.pdf/circus_of_1936_ideology_and_entertainment_under_the_big_top.pdf
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Beth Holmgren. ‘The Blue Angel’ and Blackface: Redeeming Entertainment in Aleksandrov’s ‘Circus’. The Russian Review 2007;66.https://www.jstor.org/stable/20620475?seq=1#metadata_info_tab_contents
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Dyer R. Entertainment and Utopia. In: Only entertainment. Routledge 2002. 19–35.https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=237341&ppg=28
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Kenez P. Socialist Realism, 1933-41. In: Cinema and Soviet society, 1917-1953. Cambridge [England]: : Cambridge University Press 1992. 143–64.
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Aleksandrov G. Jolly Fellows. 1934.https://www.youtube.com/watch?v=chDRXQ77IgA
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Taylor R. The Illusion of Happiness and the Happiness of Illusion: Grigorii Aleksandrov’s ‘The Circus’. The Slavonic and East European Review 1996;74.https://www.jstor.org/stable/4212234?seq=1#metadata_info_tab_contents
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Salys R. Art Deco Aesthetics in Grigorii Aleksandrov’s ‘The Circus’. The Russian Review 2007;66.https://www.jstor.org/stable/20620476?seq=1#metadata_info_tab_contents
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Acevedo-Muñoz E. Los Olvidados and the Crisis of Mexican Cinema. In: Buñuel and Mexico: the Crisis of National Cinema. Berkeley: : University of California Press 2003. 57–79.https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=222995&ppg=70
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Mraz J. Looking for Mexico: modern visual culture and national identity. Durham, [N.C.]: : Duke University Press 2009.
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Polizzotti M. Los olvidados. London: : BFI Publishing 2006.
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King J. Magical reels: a history of cinema in Latin America. New ed. London: : Verso 2000.
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Staudte W. The Murderers are Among Us Die Mörder sind unter uns Part of the Series: Reel Women in East German Film. 1946.https://bristol.kanopy.com/video/murderers-are-among-us
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Pinkert A. Flashbacks and Psyche. In: Film and memory in East Germany. Bloomington: : Indiana University Press 27–42.
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Baer H. Dismantling the dream factory: gender, German cinema, and the postwar quest for a new film language. First paperback edition. New York: : Berghahn Books 2012.
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Lamprecht G. Somewhere in Berlin. 1946.https://bristol.kanopy.com/video/somewhere-berlin
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Pinkert A. Grieving Dead Soldiers. In: Film and memory in East Germany. Bloomington: : Indiana University Press 43–58.
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Brockmann S. A critical history of German film. Rochester, N.Y.: : Camden House 2010.
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Rome Open City (1945, Roberto Rossellini). https://www.youtube.com/watch?v=Sf0eAmM-OW0
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Gottlieb S. Roberto Rossellini’s Rome open city. Cambridge: : Cambridge University Press
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Forgacs D. Rome, Open City: Before and after neorealism. Journal of Italian Cinema and Media Studies 2018;6. doi:10.1386/jicms.6.3.301_1
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Brunette P. Roberto Rossellini. Berkeley: : University of California Press
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Giovacchini S, Sklar R. Global neorealism: the transnational history of a film style. Jackson: : University Press of Mississippi
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Brunette P. Rossellini and Cinematic Realism. Cinema Journal 19851001;25.https://bris.on.worldcat.org/search?databaseList=638&queryString=rossellini#/oclc/5547908970
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Forgacs D, Lutton S, Nowell-Smith G, et al. Roberto Rossellini: magician of the real. London: : British Film Institute 2000.
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Forgacs D, British Film Institute. Rome open city (Roma città aperta). London: : BFI Pub 2000.
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Bayman L, Gundle S, Schoonover K. Rome, Open City: Rupture and return. Journal of Italian Cinema & Media Studies 2018;6:295–300. doi:10.1386/jicms.6.3.295_2
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Williams C. Bazin on Neo-Realism. Screen 1973;14:61–8. doi:10.1093/screen/14.4.61
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Merchant P. Melodramatic materials: The Roof and The Man Next Door. Journal of Italian Cinema & Media Studies 2016;4:337–52. doi:10.1386/jicms.4.3.337_1
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The Cranes are Flying. 1957.
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Woll J. The Best Years of Our Lives. In: Real images: Soviet cinema and the thaw. London: : I.B. Tauris 2000. 66–82.
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Woll J. The cranes are flying. London: : I.B. Tauris 2003.
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The Hour of the Furnaces (1968) Part 1: Neocolonialism and Violence. https://youtu.be/jQOXKoMHOE0
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Solanas F, Getino O. Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World. In: Film manifestos and global cinema cultures: a critical anthology. Berkeley: : University of California Press 2014. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1650802&ppg=342
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Mestman M. The Hour of the Furnaces. In: The cinema of Latin America. London: : Wallflower 2003. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=909593&ppg=136
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The Hour of the Furnaces (1968) Part 2: Act for Liberation. https://www.youtube.com/watch?v=OqaHNU03aag
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The Hour of the Furnaces (1968) Part 3: Violence & Liberation. https://www.youtube.com/watch?v=ePJpI3_sV_Y
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Getino O. The Cinema as Political Fact. Third Text;25. doi:10.1080/09528822.2011.545613
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Nagib L. World cinema and the ethics of realism. New York, NY: : Continuum
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Pick ZM. The new Latin American cinema: a continental project. 1st ed. Austin: : University of Texas Press 1993.
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King J. Magical reels: a history of cinema in Latin America. New ed. London: : Verso 2000.
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Stites Mor J. Transition cinema: political filmmaking and the Argentine left since 1968. Pittsburgh: : University of Pittsburgh Press 2012.
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WOOD D. Tomás Gutiérrez Alea and the Art of Revolutionary Cinema. Bulletin of Latin American Research 2009;28.https://bris.on.worldcat.org/search?databaseList=638&queryString=gutierrez alea#/oclc/435648026
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Myerson M. Memories of underdevelopment: the revolutionary films of Cuba. New York: : Grossman Publishers 1973.
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Chanan M. Cuban cinema. Minneapolis: : University of Minnesota Press
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Kernan M. Cuban Cinema: Tomas Guiterrez Alea. Film Quarterly 19751201;29.https://bris.on.worldcat.org/search?databaseList=638&queryString=cuban cinema#/oclc/5972253000
