Acevedo-Muñoz, E. (2003) ‘Los Olvidados and the Crisis of Mexican Cinema’, in Buñuel and Mexico: the Crisis of National Cinema. Berkeley: University of California Press, pp. 57–79. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=222995&ppg=70.
Adamowicz, E. (2010) Un chien andalou: (Luis Buñuel and Salvador Dali, 1929). London: I.B. Tauris.
Aleksandrov, G. (1934) ‘Jolly Fellows’. Available at: https://www.youtube.com/watch?v=chDRXQ77IgA.
Aleksandrov, G. (1936) ‘The Circus’. Available at: https://www.youtube.com/watch?v=FVAN0A6OWE4.
Aleksandrov, G. and Eisenstein, S. (1927) ‘October: ten days that shook the world’. Ruscico - Russian Cinema Council. Available at: https://bristol.kanopy.com/video/october-ten-days-shook-world.
Baer, H. (2012) Dismantling the dream factory: gender, German cinema, and the postwar quest for a new film language. First paperback edition. New York: Berghahn Books.
‘Battleship Potemkin (Eisenstein, 1925)’ (no date). Available at: https://bristol.kanopy.com/video/battleship-potemkin-1.
Bayman, L., Gundle, S. and Schoonover, K. (2018) ‘Rome, Open City: Rupture and return’, Journal of Italian Cinema & Media Studies, 6(3), pp. 295–300. Available at: 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). Available at: https://www.jstor.org/stable/20620475?seq=1#metadata_info_tab_contents.
Bohlinger, V. (no date) ‘Engrossing? Exciting! Incomprehensible? Boring! Audience survey responses to Eisenstein’s October’, Studies in Russian and Soviet Cinema, 14(1), pp. 5–27. Available at: https://www.tandfonline.com/doi/abs/10.1386/srsc.5.1.5_1.
Bordwell, D. and Thompson, K. (2013) Film art: an introduction. Tenth edition, McGraw-Hill international edition. New York: McGraw-Hill. Available at: https://bibliu.com/users/saml/samlUniversityOfBristol?RelayState=eyJjdXN0b21fbGF1bmNoX3VybCI6IiMvdmlldy9ib29rcy85NzgxMjYwNTY4NTg1L2VwdWIvT1BTL3M5bWwvZnJvbnRfbWF0dGVyL2JyaWVmX2NvbnRlbnRzLmh0bWwifQ%3D%3D.
Breton, A., Seaver, R. and Lane, H.R. (1972) Manifestoes of surrealism. Ann Arbor: University of Michigan Press.
Brockmann, S. (2010) A critical history of German film. Rochester, N.Y.: Camden House.
Brunette, P. (19851001) ‘Rossellini and Cinematic Realism’, Cinema Journal, 25(1). Available at: https://bris.on.worldcat.org/search?databaseList=638&queryString=rossellini#/oclc/5547908970.
Brunette, P. (no date) Roberto Rossellini. Berkeley: University of California Press.
Buñuel, L. and García Tsao, L. (1980) Los olvidados. México: Era.
Cavendish, P. (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, M. (no date) Cuban cinema. Minneapolis: University of Minnesota Press.
Corrigan, T. (2015) A short guide to writing about film. Ninth edition, global edition. Boston: Pearson Education Ltd.
Drummond, P. (1994) Un chien Andalou: Luis Buñuel and Salvador Dali. London: Faber and Faber.
Dyer, R. (2002) ‘Entertainment and Utopia’, in Only entertainment. 2nd edn. Routledge, pp. 19–35. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=237341&ppg=28.
Elsaesser, T., Hagener, M., and dawsonera (2010) Film theory: an introduction through the senses [electronic resource]. New York: Routledge. Available at: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=465357.
Evans, P.W. (no date) The films of Luis Buñuel: subjectivity and desire. Oxford: Clarendon Press.
Forgacs, D. et al. (2000) Roberto Rossellini: magician of the real. London: British Film Institute.
Forgacs D. (2018) ‘Rome, Open City: Before and after neorealism’, Journal of Italian Cinema and Media Studies, 6(3). Available at: https://doi.org/10.1386/jicms.6.3.301_1.
Forgacs, D. and British Film Institute (2000) Rome open city (Roma città aperta). London: BFI Pub.
Frank, A., Thomas, E. and Stanovnik, J. (2013) Reframing reality: the aesthetics of the surrealist object in French and Czech cinema. Bristol, England: Intellect.
Getino, O. (no date) ‘The Cinema as Political Fact’, Third Text, 25(1). Available at: https://doi.org/10.1080/09528822.2011.545613.
Giovacchini, S. and Sklar, R. (no date) Global neorealism: the transnational history of a film style. Jackson: University Press of Mississippi.
Gottlieb, S. (no date) Roberto Rossellini’s Rome open city. Cambridge: Cambridge University Press.
Hammond, P. (1991) The Shadow and its shadow: surrealist writings on the cinema. 2nd ed. Edinburgh: Polygon.
Hammond, P., Buñuel, L. and Dalí, S. (1997) L’Âge d’or. London: British Film Institute.
Kenez, P. (1992) ‘Socialist Realism, 1933-41’, in Cinema and Soviet society, 1917-1953. Cambridge [England]: Cambridge University Press, pp. 143–164.
Kernan, M. (19751201) ‘Cuban Cinema: Tomas Guiterrez Alea’, Film Quarterly, 29(2). Available at: https://bris.on.worldcat.org/search?databaseList=638&queryString=cuban cinema#/oclc/5972253000.
King, J. (2000a) Magical reels: a history of cinema in Latin America. New ed. London: Verso.
King, J. (2000b) Magical reels: a history of cinema in Latin America. New ed. London: Verso.
Lamprecht, G. (1946) ‘Somewhere in Berlin’. DEFA Film Library. Available at: https://bristol.kanopy.com/video/somewhere-berlin.
Lawton, A. (1978) ‘Rhythmic Montage in the Films of Dziga Vertov: A Poetic Use of the Language of Cinema’, Pacific Coast Philology, 13. Available at: https://doi.org/10.2307/1316363.
Levy, S. (1996) Surrealism: surrealist visuality. Keele, Straffordshire: Keele University Press.
Lyndy Saville (2013) ‘Discovering Luis Buñuel Part of the Series: Discovering The Arts’. 3DD Group. Available at: https://bristol.kanopy.com/video/discovering-luis-bunuel.
Martin, M.T. (no date) New Latin American cinema. Detroit: Wayne State University Press.
Mary Corliss (19750401) ‘BuñUel’s l’Age d’Or’, MoMA [Preprint], (3). Available at: https://bris.on.worldcat.org/search?databaseList=638&queryString=buñuel l’age d’or#/oclc/5544123066.
Merchant, P. (2016) ‘Melodramatic materials: The Roof and The Man Next Door’, Journal of Italian Cinema & Media Studies, 4(3), pp. 337–352. Available at: https://doi.org/10.1386/jicms.4.3.337_1.
Mestman, M. (2003) ‘The Hour of the Furnaces’, in The cinema of Latin America. London: Wallflower. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=909593&ppg=136.
Mraz, J. (2009) Looking for Mexico: modern visual culture and national identity. Durham, [N.C.]: Duke University Press.
Myerson, M. (1973) Memories of underdevelopment: the revolutionary films of Cuba. New York: Grossman Publishers.
Nagib, L. (no date) World cinema and the ethics of realism. New York, NY: Continuum.
O’Mahony, M. (2008) Sergei Eisenstein. London: Reaktion Books.
Pick, Z.M. (1993) The new Latin American cinema: a continental project. 1st ed. Austin: University of Texas Press.
Pinkert, A. (no date a) ‘Flashbacks and Psyche’, in Film and memory in East Germany. Bloomington: Indiana University Press, pp. 27–42.
Pinkert, A. (no date b) ‘Grieving Dead Soldiers’, in Film and memory in East Germany. Bloomington: Indiana University Press, pp. 43–58.
Polizzotti, M. (2006) Los olvidados. London: BFI Publishing.
Ratchford, M. (1993) ‘Circus of 1936: Ideology and entertainment under the big top’, in Inside Soviet Film Satire. Cambridge: Cambridge University Press, pp. 83–93. Available at: 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, M. (2006) Surrealism and cinema. Oxford: Berg.
Roberts, G. (2000) The man with the movie camera. London: I.B. Tauris.
‘Rome Open City (1945, Roberto Rossellini)’ (no date). Available at: https://www.youtube.com/watch?v=Sf0eAmM-OW0.
Salys, R. (2007) ‘Art Deco Aesthetics in Grigorii Aleksandrov’s “The Circus”’, The Russian Review, 66(1). Available at: https://www.jstor.org/stable/20620476?seq=1#metadata_info_tab_contents.
Sarto, A. del (2005) ‘Cinema Novo and New/Third Cinema Revisited: Aesthetics, Culture and Politics’, Chasqui, 34. Available at: https://doi.org/10.2307/29742031.
Schroeder, P.A. (2014) Tomas Gutierrez Alea: the Dialectics of a Filmmaker. Hoboken: Taylor and Francis.
Schroeder, P.A. (2016) Latin American cinema: a comparative history. Oakland, California: University of California Press.
Shandley, R.R. (no date) Rubble films: German cinema in the shadow of the Third Reich. Philadelphia, PA: Temple University Press.
Shrayer, M.D. (1997) ‘Why Are the Cranes Still Flying?’, Russian Review, 56(3). Available at: https://doi.org/10.2307/131752.
Solanas, F. and Getino, O. (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. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1650802&ppg=342.
Stam, R. (2000) Film theory: an introduction. Oxford: Blackwell.
Staudte, W. (1946) ‘The Murderers are Among Us Die Mörder sind unter uns Part of the Series: Reel Women in East German Film’. DEFA Film Library. Available at: https://bristol.kanopy.com/video/murderers-are-among-us.
Stites Mor, J. (2012) Transition cinema: political filmmaking and the Argentine left since 1968. Pittsburgh: University of Pittsburgh Press.
Stone, R. and Gutiérrez-Albilla, J.D. (2013) A Companion to Luis Buñuel. Chicester: Wiley.
Taylor, R. (1996) ‘The Illusion of Happiness and the Happiness of Illusion: Grigorii Aleksandrov’s “The Circus”’, The Slavonic and East European Review, 74(4). Available at: https://www.jstor.org/stable/4212234?seq=1#metadata_info_tab_contents.
Taylor, R. and British Film Institute (2002) October. London: BFI Pub.
Taylor, R. and Christie, I. (1994) The Film factory: Russian and Soviet cinema in documents 1896-1939. London: Routledge.
‘The Cranes are Flying’ (1957).
‘The End of St Petersburg’ (no date). Available at: https://bristol.kanopy.com/video/end-st-petersburg-1927.
‘The Hour of the Furnaces (1968) Part 1: Neocolonialism and Violence’ (no date). Available at: https://youtu.be/jQOXKoMHOE0.
‘The Hour of the Furnaces (1968) Part 2: Act for Liberation’ (no date). Available at: https://www.youtube.com/watch?v=OqaHNU03aag.
‘The Hour of the Furnaces (1968) Part 3: Violence & Liberation’ (no date). Available at: https://www.youtube.com/watch?v=ePJpI3_sV_Y.
‘Un chien andalou (Luis Buñuel & Salvador Dalí, 1929)’ (no date). Available at: https://www.youtube.com/watch?v=79h05vqezJ0.
Vertov, D. (1929) ‘Man with a Movie Camera (1929) movie’. Available at: https://www.youtube.com/watch?v=cGYZ5847FiI.
Villarejo, A. (2013) Film studies. 2nd ed. London: Routledge, Taylor & Francis Group. Available at: https://www-taylorfrancis-com.bris.idm.oclc.org/books/9780203747544.
Williams, C. (1973) ‘Bazin on Neo-Realism’, Screen, 14(4), pp. 61–68. Available at: https://doi.org/10.1093/screen/14.4.61.
Williams, L. (1992) Figures of desire: a theory and analysis of surrealist film. Berkeley: University of California Press.
Woll, J. (2000) ‘The Best Years of Our Lives’, in Real images: Soviet cinema and the thaw. London: I.B. Tauris, pp. 66–82.
Woll, J. (2003) The cranes are flying. London: I.B. Tauris.
WOOD, D. (2009) ‘Tomás Gutiérrez Alea and the Art of Revolutionary Cinema’, Bulletin of Latin American Research, 28(4). Available at: https://bris.on.worldcat.org/search?databaseList=638&queryString=gutierrez alea#/oclc/435648026.
