Acevedo-Muñoz, Ernesto, ‘Los Olvidados and the Crisis of Mexican Cinema’, in Buñuel and Mexico: The Crisis of National Cinema (Berkeley: University of California Press, 2003), pp. 57–79 <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=222995&ppg=70>
Adamowicz, Elza, Un Chien Andalou: (Luis Buñuel and Salvador Dali, 1929) (London: I.B. Tauris, 2010)
Aleksandrov, Grigori, ‘Jolly Fellows’, 1934 <https://www.youtube.com/watch?v=chDRXQ77IgA>
———, ‘The Circus’, 1936 <https://www.youtube.com/watch?v=FVAN0A6OWE4>
Aleksandrov, Grigori, and Sergei Eisenstein, ‘October: Ten Days That Shook the World’ (Ruscico - Russian Cinema Council, 1927) <https://bristol.kanopy.com/video/october-ten-days-shook-world>
Baer, Hester, Dismantling the Dream Factory: Gender, German Cinema, and the Postwar Quest for a New Film Language, First paperback edition (New York: Berghahn Books, 2012), ix
‘Battleship Potemkin (Eisenstein, 1925)’ <https://bristol.kanopy.com/video/battleship-potemkin-1>
Bayman, Louis, Stephen Gundle, and Karl Schoonover, ‘Rome, Open City: Rupture and Return’, Journal of Italian Cinema & Media Studies, 6.3 (2018), 295–300 <https://doi.org/10.1386/jicms.6.3.295_2>
Beth Holmgren, ‘“The Blue Angel” and Blackface: Redeeming Entertainment in Aleksandrov’s “Circus”’, The Russian Review, 66.1 (2007) <https://www.jstor.org/stable/20620475?seq=1#metadata_info_tab_contents>
Bohlinger, Vincent, ‘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, Film Art: An Introduction, Tenth edition, McGraw-Hill international edition (New York: McGraw-Hill, 2013) <https://bibliu.com/users/saml/samlUniversityOfBristol?RelayState=eyJjdXN0b21fbGF1bmNoX3VybCI6IiMvdmlldy9ib29rcy85NzgxMjYwNTY4NTg1L2VwdWIvT1BTL3M5bWwvZnJvbnRfbWF0dGVyL2JyaWVmX2NvbnRlbnRzLmh0bWwifQ%3D%3D>
Breton, André, Richard Seaver, and Helen R. Lane, Manifestoes of Surrealism (Ann Arbor: University of Michigan Press, 1972)
Brockmann, Stephen, A Critical History of German Film (Rochester, N.Y.: Camden House, 2010)
Brunette, Peter, Roberto Rossellini (Berkeley: University of California Press)
———, ‘Rossellini and Cinematic Realism’, Cinema Journal, 25.1 (19851001) <https://bris.on.worldcat.org/search?databaseList=638&queryString=rossellini#/oclc/5547908970>
Buñuel, Luis, and Leonardo García Tsao, Los Olvidados (México: Era, 1980)
Cavendish, Philip, The Men With The Movie Camera: The Poetics of Visual Style in Soviet Avant-Garde Cinema of the 1920s (New York: Berghahn Books, 2013)
Chanan, Michael, Cuban Cinema (Minneapolis: University of Minnesota Press), xiv
Corrigan, Timothy, A Short Guide to Writing about Film, Ninth edition, global edition (Boston: Pearson Education Ltd, 2015)
Drummond, Phillip, Un Chien Andalou: Luis Buñuel and Salvador Dali (London: Faber and Faber, 1994)
Dyer, Richard, ‘Entertainment and Utopia’, in Only Entertainment, 2nd edn (Routledge, 2002), pp. 19–35 <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=237341&ppg=28>
Elsaesser, Thomas, Malte Hagener, and dawsonera, Film Theory: An Introduction through the Senses (New York: Routledge, 2010) <https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=465357>
Evans, Peter William, The Films of Luis Buñuel: Subjectivity and Desire (Oxford: Clarendon Press)
Forgacs D., ‘Rome, Open City: Before and after Neorealism’, Journal of Italian Cinema and Media Studies, 6.3 (2018) <https://doi.org/10.1386/jicms.6.3.301_1>
Forgacs, David and British Film Institute, Rome Open City (Roma Città Aperta) (London: BFI Pub, 2000)
Forgacs, David, Sarah Lutton, Geoffrey Nowell-Smith, and British Film Institute, Roberto Rossellini: Magician of the Real (London: British Film Institute, 2000)
Frank, Alison, Ellen Thomas, and Jelena Stanovnik, Reframing Reality: The Aesthetics of the Surrealist Object in French and Czech Cinema (Bristol, England: Intellect, 2013)
Getino, Octavio, ‘The Cinema as Political Fact’, Third Text, 25.1 <https://doi.org/10.1080/09528822.2011.545613>
Giovacchini, Saverio, and Robert Sklar, Global Neorealism: The Transnational History of a Film Style (Jackson: University Press of Mississippi)
Gottlieb, Sidney, Roberto Rossellini’s Rome Open City (Cambridge: Cambridge University Press)
Hammond, Paul, The Shadow and Its Shadow: Surrealist Writings on the Cinema, 2nd ed (Edinburgh: Polygon, 1991), xi
Hammond, Paul, Luis Buñuel, and Salvador Dalí, L’Âge d’or (London: British Film Institute, 1997)
Kenez, Peter, ‘Socialist Realism, 1933-41’, in Cinema and Soviet Society, 1917-1953 (Cambridge [England]: Cambridge University Press, 1992), pp. 143–64
Kernan, Margot, ‘Cuban Cinema: Tomas Guiterrez Alea’, Film Quarterly, 29.2 (19751201) <https://bris.on.worldcat.org/search?databaseList=638&queryString=cuban cinema#/oclc/5972253000>
King, John, Magical Reels: A History of Cinema in Latin America, New ed (London: Verso, 2000)
———, Magical Reels: A History of Cinema in Latin America, New ed (London: Verso, 2000)
Lamprecht, Gerhard, ‘Somewhere in Berlin’ (DEFA Film Library, 1946) <https://bristol.kanopy.com/video/somewhere-berlin>
Lawton, Anna, ‘Rhythmic Montage in the Films of Dziga Vertov: A Poetic Use of the Language of Cinema’, Pacific Coast Philology, 13 (1978) <https://doi.org/10.2307/1316363>
Levy, Silvano, Surrealism: Surrealist Visuality (Keele, Straffordshire: Keele University Press, 1996)
Lyndy Saville, ‘Discovering Luis Buñuel Part of the Series: Discovering The Arts’ (3DD Group, 2013) <https://bristol.kanopy.com/video/discovering-luis-bunuel>
Martin, Michael T., New Latin American Cinema (Detroit: Wayne State University Press)
Mary Corliss, ‘BuñUel’s l’Age d’Or’, MoMA, 3, 19750401 <https://bris.on.worldcat.org/search?databaseList=638&queryString=buñuel l’age d’or#/oclc/5544123066>
Merchant, Paul, ‘Melodramatic Materials: The Roof and The Man Next Door’, Journal of Italian Cinema & Media Studies, 4.3 (2016), 337–52 <https://doi.org/10.1386/jicms.4.3.337_1>
Mestman, Mariano, ‘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>
Mraz, John, Looking for Mexico: Modern Visual Culture and National Identity (Durham, [N.C.]: Duke University Press, 2009)
Myerson, Michael, Memories of Underdevelopment: The Revolutionary Films of Cuba (New York: Grossman Publishers, 1973)
Nagib, Lúcia, World Cinema and the Ethics of Realism (New York, NY: Continuum)
O’Mahony, Mike, Sergei Eisenstein (London: Reaktion Books, 2008)
Pick, Zuzana M., The New Latin American Cinema: A Continental Project, 1st ed (Austin: University of Texas Press, 1993)
Pinkert, Anke, ‘Flashbacks and Psyche’, in Film and Memory in East Germany (Bloomington: Indiana University Press), pp. 27–42
———, ‘Grieving Dead Soldiers’, in Film and Memory in East Germany (Bloomington: Indiana University Press), pp. 43–58
Polizzotti, Mark, Los Olvidados (London: BFI Publishing, 2006)
Ratchford, Moira, ‘Circus of 1936: Ideology and Entertainment under the Big Top’, in Inside Soviet Film Satire (Cambridge: Cambridge University Press, 1993), pp. 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>
Richardson, Michael, Surrealism and Cinema (Oxford: Berg, 2006)
Roberts, Graham, The Man with the Movie Camera (London: I.B. Tauris, 2000), ii
‘Rome Open City (1945, Roberto Rossellini)’ <https://www.youtube.com/watch?v=Sf0eAmM-OW0>
Salys, Rimgaila, ‘Art Deco Aesthetics in Grigorii Aleksandrov’s “The Circus”’, The Russian Review, 66.1 (2007) <https://www.jstor.org/stable/20620476?seq=1#metadata_info_tab_contents>
Sarto, Ana del, ‘Cinema Novo and New/Third Cinema Revisited: Aesthetics, Culture and Politics’, Chasqui, 34 (2005) <https://doi.org/10.2307/29742031>
Schroeder, Paul A., Latin American Cinema: A Comparative History (Oakland, California: University of California Press, 2016)
———, Tomas Gutierrez Alea: The Dialectics of a Filmmaker (Hoboken: Taylor and Francis, 2014)
Shandley, Robert R., Rubble Films: German Cinema in the Shadow of the Third Reich (Philadelphia, PA: Temple University Press)
Shrayer, Maxim D., ‘Why Are the Cranes Still Flying?’, Russian Review, 56.3 (1997) <https://doi.org/10.2307/131752>
Solanas, Fernando, and Octavio Getino, ‘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>
Stam, Robert, Film Theory: An Introduction (Oxford: Blackwell, 2000)
Staudte, Wolfgang, ‘The Murderers Are Among Us Die Mörder Sind Unter Uns Part of the Series: Reel Women in East German Film’ (DEFA Film Library, 1946) <https://bristol.kanopy.com/video/murderers-are-among-us>
Stites Mor, Jessica, Transition Cinema: Political Filmmaking and the Argentine Left since 1968 (Pittsburgh: University of Pittsburgh Press, 2012)
Stone, Rob, and Juli?n Daniel Gutiérrez-Albilla, A Companion to Luis Buñuel (Chicester: Wiley, 2013)
Taylor, Richard, ‘The Illusion of Happiness and the Happiness of Illusion: Grigorii Aleksandrov’s “The Circus”’, The Slavonic and East European Review, 74.4 (1996) <https://www.jstor.org/stable/4212234?seq=1#metadata_info_tab_contents>
Taylor, Richard and British Film Institute, October (London: BFI Pub, 2002)
Taylor, Richard, and Ian Christie, The Film Factory: Russian and Soviet Cinema in Documents 1896-1939 (London: Routledge, 1994)
‘The Cranes Are Flying’, 1957
‘The End of St Petersburg’ <https://bristol.kanopy.com/video/end-st-petersburg-1927>
‘The Hour of the Furnaces (1968) Part 1: Neocolonialism and Violence’ <https://youtu.be/jQOXKoMHOE0>
‘The Hour of the Furnaces (1968) Part 2: Act for Liberation’ <https://www.youtube.com/watch?v=OqaHNU03aag>
‘The Hour of the Furnaces (1968) Part 3: Violence & Liberation’ <https://www.youtube.com/watch?v=ePJpI3_sV_Y>
‘Un Chien Andalou (Luis Buñuel & Salvador Dalí, 1929)’ <https://www.youtube.com/watch?v=79h05vqezJ0>
Vertov, Dziga, ‘Man with a Movie Camera (1929) Movie’, 1929 <https://www.youtube.com/watch?v=cGYZ5847FiI>
Villarejo, Amy, Film Studies, 2nd ed (London: Routledge, Taylor & Francis Group, 2013), Basics <https://www-taylorfrancis-com.bris.idm.oclc.org/books/9780203747544>
Williams, C., ‘Bazin on Neo-Realism’, Screen, 14.4 (1973), 61–68 <https://doi.org/10.1093/screen/14.4.61>
Williams, Linda, Figures of Desire: A Theory and Analysis of Surrealist Film (Berkeley: University of California Press, 1992)
Woll, Josephine, ‘The Best Years of Our Lives’, in Real Images: Soviet Cinema and the Thaw (London: I.B. Tauris, 2000), pp. 66–82
———, The Cranes Are Flying (London: I.B. Tauris, 2003), vii
WOOD, DAVID, ‘Tomás Gutiérrez Alea and the Art of Revolutionary Cinema’, Bulletin of Latin American Research, 28.4 (2009) <https://bris.on.worldcat.org/search?databaseList=638&queryString=gutierrez alea#/oclc/435648026>
