Acevedo-Muñoz, Ernesto. 2003. ‘Los Olvidados and the Crisis of Mexican Cinema’. In Buñuel and Mexico: The Crisis of National Cinema, 57–79. Berkeley: University of California Press. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=222995&ppg=70.
Adamowicz, Elza. 2010. Un Chien Andalou: (Luis Buñuel and Salvador Dali, 1929). London: I.B. Tauris.
Aleksandrov, Grigori. 1934. ‘Jolly Fellows’. https://www.youtube.com/watch?v=chDRXQ77IgA.
———. 1936. ‘The Circus’. https://www.youtube.com/watch?v=FVAN0A6OWE4.
Aleksandrov, Grigori, and Sergei Eisenstein. 1927. ‘October: Ten Days That Shook the World’. Ruscico - Russian Cinema Council. https://bristol.kanopy.com/video/october-ten-days-shook-world.
Baer, Hester. 2012. Dismantling the Dream Factory: Gender, German Cinema, and the Postwar Quest for a New Film Language. First paperback edition. Vol. 9. New York: Berghahn Books.
‘Battleship Potemkin (Eisenstein, 1925)’. n.d. https://bristol.kanopy.com/video/battleship-potemkin-1.
Bayman, Louis, Stephen Gundle, and Karl Schoonover. 2018. ‘Rome, Open City: Rupture and Return’. Journal of Italian Cinema & Media Studies 6 (3): 295–300. https://doi.org/10.1386/jicms.6.3.295_2.
Beth Holmgren. 2007. ‘“The Blue Angel” and Blackface: Redeeming Entertainment in Aleksandrov’s “Circus”’. The Russian Review 66 (1). https://www.jstor.org/stable/20620475?seq=1#metadata_info_tab_contents.
Bohlinger, Vincent. n.d. ‘Engrossing? Exciting! Incomprehensible? Boring! Audience Survey Responses to Eisenstein’s October’. Studies in Russian and Soviet Cinema 14 (1): 5–27. https://www.tandfonline.com/doi/abs/10.1386/srsc.5.1.5_1.
Bordwell, David, and Kristin Thompson. 2013. Film Art: An Introduction. Tenth edition, McGraw-Hill international edition. New York: McGraw-Hill. https://bibliu.com/users/saml/samlUniversityOfBristol?RelayState=eyJjdXN0b21fbGF1bmNoX3VybCI6IiMvdmlldy9ib29rcy85NzgxMjYwNTY4NTg1L2VwdWIvT1BTL3M5bWwvZnJvbnRfbWF0dGVyL2JyaWVmX2NvbnRlbnRzLmh0bWwifQ%3D%3D.
Breton, André, Richard Seaver, and Helen R. Lane. 1972. Manifestoes of Surrealism. Ann Arbor: University of Michigan Press.
Brockmann, Stephen. 2010. A Critical History of German Film. Rochester, N.Y.: Camden House.
Brunette, Peter. 19851001. ‘Rossellini and Cinematic Realism’. Cinema Journal 25 (1). https://bris.on.worldcat.org/search?databaseList=638&queryString=rossellini#/oclc/5547908970.
———. n.d. Roberto Rossellini. Berkeley: University of California Press.
Buñuel, Luis, and Leonardo García Tsao. 1980. Los Olvidados. México: Era.
Cavendish, Philip. 2013. The Men With The Movie Camera: The Poetics of Visual Style in Soviet Avant-Garde Cinema of the 1920s. New York: Berghahn Books.
Chanan, Michael. n.d. Cuban Cinema. Vol. 14. Minneapolis: University of Minnesota Press.
Corrigan, Timothy. 2015. A Short Guide to Writing about Film. Ninth edition, Global edition. Boston: Pearson Education Ltd.
Drummond, Phillip. 1994. Un Chien Andalou: Luis Buñuel and Salvador Dali. London: Faber and Faber.
Dyer, Richard. 2002. ‘Entertainment and Utopia’. In Only Entertainment, 2nd ed., 19–35. Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=237341&ppg=28.
Elsaesser, Thomas, Malte Hagener, and dawsonera. 2010. Film Theory: An Introduction through the Senses. Electronic resource. New York: Routledge. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=465357.
Evans, Peter William. n.d. The Films of Luis Buñuel: Subjectivity and Desire. Oxford: Clarendon Press.
Forgacs D. 2018. ‘Rome, Open City: Before and after Neorealism’. Journal of Italian Cinema and Media Studies 6 (3). https://doi.org/10.1386/jicms.6.3.301_1.
Forgacs, David and British Film Institute. 2000. Rome Open City (Roma Città Aperta). London: BFI Pub.
Forgacs, David, Sarah Lutton, Geoffrey Nowell-Smith, and British Film Institute. 2000. Roberto Rossellini: Magician of the Real. London: British Film Institute.
Frank, Alison, Ellen Thomas, and Jelena Stanovnik. 2013. Reframing Reality: The Aesthetics of the Surrealist Object in French and Czech Cinema. Bristol, England: Intellect.
Getino, Octavio. n.d. ‘The Cinema as Political Fact’. Third Text 25 (1). https://doi.org/10.1080/09528822.2011.545613.
Giovacchini, Saverio, and Robert Sklar. n.d. Global Neorealism: The Transnational History of a Film Style. Jackson: University Press of Mississippi.
Gottlieb, Sidney. n.d. Roberto Rossellini’s Rome Open City. Cambridge: Cambridge University Press.
Hammond, Paul. 1991. The Shadow and Its Shadow: Surrealist Writings on the Cinema. 2nd ed. Vol. 11. Edinburgh: Polygon.
Hammond, Paul, Luis Buñuel, and Salvador Dalí. 1997. L’Âge d’or. London: British Film Institute.
Kenez, Peter. 1992. ‘Socialist Realism, 1933-41’. In Cinema and Soviet Society, 1917-1953, 143–64. Cambridge [England]: Cambridge University Press.
Kernan, Margot. 19751201. ‘Cuban Cinema: Tomas Guiterrez Alea’. Film Quarterly 29 (2). https://bris.on.worldcat.org/search?databaseList=638&queryString=cuban cinema#/oclc/5972253000.
King, John. 2000a. Magical Reels: A History of Cinema in Latin America. New ed. London: Verso.
———. 2000b. Magical Reels: A History of Cinema in Latin America. New ed. London: Verso.
Lamprecht, Gerhard. 1946. ‘Somewhere in Berlin’. DEFA Film Library. https://bristol.kanopy.com/video/somewhere-berlin.
Lawton, Anna. 1978. ‘Rhythmic Montage in the Films of Dziga Vertov: A Poetic Use of the Language of Cinema’. Pacific Coast Philology 13. https://doi.org/10.2307/1316363.
Levy, Silvano. 1996. Surrealism: Surrealist Visuality. Keele, Straffordshire: Keele University Press.
Lyndy Saville. 2013. ‘Discovering Luis Buñuel Part of the Series: Discovering The Arts’. 3DD Group. https://bristol.kanopy.com/video/discovering-luis-bunuel.
Martin, Michael T. n.d. New Latin American Cinema. Detroit: Wayne State University Press.
Mary Corliss. 19750401. ‘BuñUel’s l’Age d’Or’. MoMA, no. 3. https://bris.on.worldcat.org/search?databaseList=638&queryString=buñuel l’age d’or#/oclc/5544123066.
Merchant, Paul. 2016. ‘Melodramatic Materials: The Roof and The Man Next Door’. Journal of Italian Cinema & Media Studies 4 (3): 337–52. https://doi.org/10.1386/jicms.4.3.337_1.
Mestman, Mariano. 2003. ‘The Hour of the Furnaces’. In The Cinema of Latin America. London: Wallflower. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=909593&ppg=136.
Mraz, John. 2009. Looking for Mexico: Modern Visual Culture and National Identity. Durham, [N.C.]: Duke University Press.
Myerson, Michael. 1973. Memories of Underdevelopment: The Revolutionary Films of Cuba. New York: Grossman Publishers.
Nagib, Lúcia. n.d. World Cinema and the Ethics of Realism. New York, NY: Continuum.
O’Mahony, Mike. 2008. Sergei Eisenstein. London: Reaktion Books.
Pick, Zuzana M. 1993. The New Latin American Cinema: A Continental Project. 1st ed. Austin: University of Texas Press.
Pinkert, Anke. n.d. ‘Flashbacks and Psyche’. In Film and Memory in East Germany, 27–42. Bloomington: Indiana University Press.
———. n.d. ‘Grieving Dead Soldiers’. In Film and Memory in East Germany, 43–58. Bloomington: Indiana University Press.
Polizzotti, Mark. 2006. Los Olvidados. London: BFI Publishing.
Ratchford, Moira. 1993. ‘Circus of 1936: Ideology and Entertainment under the Big Top’. In Inside Soviet Film Satire, 83–93. Cambridge: Cambridge University Press. 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.
Richardson, Michael. 2006. Surrealism and Cinema. Oxford: Berg.
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‘Rome Open City (1945, Roberto Rossellini)’. n.d. https://www.youtube.com/watch?v=Sf0eAmM-OW0.
Salys, Rimgaila. 2007. ‘Art Deco Aesthetics in Grigorii Aleksandrov’s “The Circus”’. The Russian Review 66 (1). https://www.jstor.org/stable/20620476?seq=1#metadata_info_tab_contents.
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———. 2016. Latin American Cinema: A Comparative History. Oakland, California: University of California Press.
Shandley, Robert R. n.d. Rubble Films: German Cinema in the Shadow of the Third Reich. Philadelphia, PA: Temple University Press.
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Solanas, Fernando, and Octavio Getino. 2014. ‘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. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1650802&ppg=342.
Stam, Robert. 2000. Film Theory: An Introduction. Oxford: Blackwell.
Staudte, Wolfgang. 1946. ‘The Murderers Are Among Us Die Mörder Sind Unter Uns Part of the Series: Reel Women in East German Film’. DEFA Film Library. https://bristol.kanopy.com/video/murderers-are-among-us.
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Taylor, Richard. 1996. ‘The Illusion of Happiness and the Happiness of Illusion: Grigorii Aleksandrov’s “The Circus”’. The Slavonic and East European Review 74 (4). https://www.jstor.org/stable/4212234?seq=1#metadata_info_tab_contents.
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‘The Hour of the Furnaces (1968) Part 1: Neocolonialism and Violence’. n.d. https://youtu.be/jQOXKoMHOE0.
‘The Hour of the Furnaces (1968) Part 2: Act for Liberation’. n.d. https://www.youtube.com/watch?v=OqaHNU03aag.
‘The Hour of the Furnaces (1968) Part 3: Violence & Liberation’. n.d. https://www.youtube.com/watch?v=ePJpI3_sV_Y.
‘Un Chien Andalou (Luis Buñuel & Salvador Dalí, 1929)’. n.d. https://www.youtube.com/watch?v=79h05vqezJ0.
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Williams, Linda. 1992. Figures of Desire: A Theory and Analysis of Surrealist Film. Berkeley: University of California Press.
Woll, Josephine. 2000. ‘The Best Years of Our Lives’. In Real Images: Soviet Cinema and the Thaw, 66–82. London: I.B. Tauris.
———. 2003. The Cranes Are Flying. Vol. 7. London: I.B. Tauris.
WOOD, DAVID. 2009. ‘Tomás Gutiérrez Alea and the Art of Revolutionary Cinema’. Bulletin of Latin American Research 28 (4). https://bris.on.worldcat.org/search?databaseList=638&queryString=gutierrez alea#/oclc/435648026.
