Acevedo-Muñoz, Ernesto. ‘Los Olvidados and the Crisis of Mexican Cinema’. Buñuel and Mexico: The Crisis of National Cinema. Berkeley: University of California Press, 2003. 57–79. Web. <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=222995&amp;ppg=70>.
Adamowicz, Elza. Un Chien Andalou: (Luis Buñuel and Salvador Dali, 1929). London: I.B. Tauris, 2010. Print.
Aleksandrov, Grigori. ‘Jolly Fellows’. 1934. Web. <https://www.youtube.com/watch?v=chDRXQ77IgA>.
---. ‘The Circus’. 1936. Web. <https://www.youtube.com/watch?v=FVAN0A6OWE4>.
Aleksandrov, Grigori, and Sergei Eisenstein. ‘October: Ten Days That Shook the World’. 1927. Web. <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. Vol. 9. New York: Berghahn Books, 2012. Print.
‘Battleship Potemkin (Eisenstein, 1925)’. Web. <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. Web.
Beth Holmgren. ‘“The Blue Angel” and Blackface: Redeeming Entertainment in Aleksandrov’s “Circus”’. The Russian Review 66.1 (2007): n. pag. Web. <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. Web. <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. Web. <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. Print.
Brockmann, Stephen. A Critical History of German Film. Rochester, N.Y.: Camden House, 2010. Print.
Brunette, Peter. Roberto Rossellini. Berkeley: University of California Press. Print.
---. ‘Rossellini and Cinematic Realism’. Cinema Journal 25.1 (19851001): n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=rossellini#/oclc/5547908970>.
Buñuel, Luis, and Leonardo García Tsao. Los Olvidados. México: Era, 1980. Print.
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. Print.
Chanan, Michael. Cuban Cinema. Vol. 14. Minneapolis: University of Minnesota Press. Print.
Corrigan, Timothy. A Short Guide to Writing about Film. Ninth edition, global edition. Boston: Pearson Education Ltd, 2015. Print.
Drummond, Phillip. Un Chien Andalou: Luis Buñuel and Salvador Dali. London: Faber and Faber, 1994. Print.
Dyer, Richard. ‘Entertainment and Utopia’. Only Entertainment. 2nd ed. Routledge, 2002. 19–35. Web. <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=237341&amp;ppg=28>.
Elsaesser, Thomas, Malte Hagener, and dawsonera. Film Theory: An Introduction through the Senses. New York: Routledge, 2010. Web. <https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=465357>.
Evans, Peter William. The Films of Luis Buñuel: Subjectivity and Desire. Oxford: Clarendon Press. Print.
Forgacs D. ‘Rome, Open City: Before and after Neorealism’. Journal of Italian Cinema and Media Studies 6.3 (2018): n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=rome open city#/oclc/7844733781>.
Forgacs, David et al. Roberto Rossellini: Magician of the Real. London: British Film Institute, 2000. Print.
Forgacs, David and British Film Institute. Rome Open City (Roma Città Aperta). London: BFI Pub, 2000. Print.
Frank, Alison, Ellen Thomas, and Jelena Stanovnik. Reframing Reality: The Aesthetics of the Surrealist Object in French and Czech Cinema. Bristol, England: Intellect, 2013. Print.
Getino, Octavio. ‘The Cinema as Political Fact’. Third Text 25.1 n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=solanas getino#/oclc/4839414275>.
Giovacchini, Saverio, and Robert Sklar. Global Neorealism: The Transnational History of a Film Style. Jackson: University Press of Mississippi. Print.
Gottlieb, Sidney. Roberto Rossellini’s Rome Open City. Cambridge: Cambridge University Press. Print.
Hammond, Paul. The Shadow and Its Shadow: Surrealist Writings on the Cinema. 2nd ed. Vol. 11. Edinburgh: Polygon, 1991. Print.
Hammond, Paul, Luis Buñuel, and Salvador Dalí. L’Âge d’or. London: British Film Institute, 1997. Print.
Kenez, Peter. ‘Socialist Realism, 1933-41’. Cinema and Soviet Society, 1917-1953. Cambridge [England]: Cambridge University Press, 1992. 143–164. Print.
Kernan, Margot. ‘Cuban Cinema: Tomas Guiterrez Alea’. Film Quarterly 29.2 (19751201): n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=cuban cinema#/oclc/5972253000>.
King, John. Magical Reels: A History of Cinema in Latin America. New ed. London: Verso, 2000. Print.
---. Magical Reels: A History of Cinema in Latin America. New ed. London: Verso, 2000. Print.
Lamprecht, Gerhard. ‘Somewhere in Berlin’. 1946. Web. <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): n. pag. Web.
Levy, Silvano. Surrealism: Surrealist Visuality. Keele, Straffordshire: Keele University Press, 1996. Print.
Lyndy Saville. ‘Discovering Luis Buñuel                                                                                                                                                                                                Part of the Series: Discovering The Arts’. 2013. Web. <https://bristol.kanopy.com/video/discovering-luis-bunuel>.
Martin, Michael T. New Latin American Cinema. Detroit: Wayne State University Press. Print.
Mary Corliss. ‘BuñUel’s l’Age d’Or’. MoMA 3 (19750401): n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;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): 337–352. Web.
Mestman, Mariano. ‘The Hour of the Furnaces’. The Cinema of Latin America. London: Wallflower, 2003. Web. <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=909593&amp;ppg=136>.
Mraz, John. Looking for Mexico: Modern Visual Culture and National Identity. Durham, [N.C.]: Duke University Press, 2009. Print.
Myerson, Michael. Memories of Underdevelopment: The Revolutionary Films of Cuba. New York: Grossman Publishers, 1973. Print.
Nagib, Lúcia. World Cinema and the Ethics of Realism. New York, NY: Continuum. Print.
O’Mahony, Mike. Sergei Eisenstein. London: Reaktion Books, 2008. Print.
Pick, Zuzana M. The New Latin American Cinema: A Continental Project. 1st ed. Austin: University of Texas Press, 1993. Print.
Pinkert, Anke. ‘Flashbacks and Psyche’. Film and Memory in East Germany. Bloomington: Indiana University Press. 27–42. Print.
---. ‘Grieving Dead Soldiers’. Film and Memory in East Germany. Bloomington: Indiana University Press. 43–58. Print.
Polizzotti, Mark. Los Olvidados. London: BFI Publishing, 2006. Print.
Ratchford, Moira. ‘Circus of 1936: Ideology and Entertainment under the Big Top’. Inside Soviet Film Satire. Cambridge: Cambridge University Press, 1993. 83–93. Web. <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. Print.
Roberts, Graham. The Man with the Movie Camera. Vol. 2. London: I.B. Tauris, 2000. Print.
‘Rome Open City  (1945, Roberto Rossellini)’. Web. <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): n. pag. Web. <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): n. pag. Web.
Schroeder, Paul A. Latin American Cinema: A Comparative History. Oakland, California: University of California Press, 2016. Print.
---. Tomas Gutierrez Alea: The Dialectics of a Filmmaker. Hoboken: Taylor and Francis, 2014. Print.
Shandley, Robert R. Rubble Films: German Cinema in the Shadow of the Third Reich. Philadelphia, PA: Temple University Press. Print.
Shrayer, Maxim D. ‘Why Are the Cranes Still Flying?’ Russian Review 56.3 (1997): n. pag. Web.
Solanas, Fernando, and Octavio Getino. ‘Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World’. Film Manifestos and Global Cinema Cultures: A Critical Anthology. Berkeley: University of California Press, 2014. Web. <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1650802&amp;ppg=342>.
Stam, Robert. Film Theory: An Introduction. Oxford: Blackwell, 2000. Print.
Staudte, Wolfgang. ‘The Murderers Are Among Us                                                                                                                                                                        Die Mörder Sind Unter Uns                                                                            Part of the Series: Reel Women in East German Film’. 1946. Web. <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. Print.
Stone, Rob, and Juli?n Daniel Gutiérrez-Albilla. A Companion to Luis Buñuel. Chicester: Wiley, 2013. Print.
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): n. pag. Web. <https://www.jstor.org/stable/4212234?seq=1#metadata_info_tab_contents>.
Taylor, Richard and British Film Institute. October. London: BFI Pub, 2002. Print.
Taylor, Richard, and Ian Christie. The Film Factory: Russian and Soviet Cinema in Documents 1896-1939. London: Routledge, 1994. Print.
‘The Cranes Are Flying’. 1957 : n. pag. Print.
‘The End of St Petersburg’. Web. <https://bristol.kanopy.com/video/end-st-petersburg-1927>.
‘The Hour of the Furnaces (1968) Part 1: Neocolonialism and Violence’. Web. <https://youtu.be/jQOXKoMHOE0>.
‘The Hour of the Furnaces (1968) Part 2: Act for Liberation’. Web. <https://www.youtube.com/watch?v=OqaHNU03aag>.
‘The Hour of the Furnaces (1968) Part 3: Violence & Liberation’. Web. <https://www.youtube.com/watch?v=ePJpI3_sV_Y>.
‘Un Chien Andalou (Luis Buñuel & Salvador Dalí, 1929)’. Web. <https://www.youtube.com/watch?v=79h05vqezJ0>.
Vertov, Dziga. ‘Man with a Movie Camera (1929) Movie’. 1929. Web. <https://www.youtube.com/watch?v=cGYZ5847FiI>.
Villarejo, Amy. Film Studies. 2nd ed. Basics. London: Routledge, Taylor & Francis Group, 2013. Web. <https://www-taylorfrancis-com.bris.idm.oclc.org/books/9780203747544>.
Williams, C. ‘Bazin on Neo-Realism’. Screen 14.4 (1973): 61–68. Web.
Williams, Linda. Figures of Desire: A Theory and Analysis of Surrealist Film. Berkeley: University of California Press, 1992. Print.
Woll, Josephine. ‘The Best Years of Our Lives’. Real Images: Soviet Cinema and the Thaw. London: I.B. Tauris, 2000. 66–82. Print.
---. The Cranes Are Flying. Vol. 7. London: I.B. Tauris, 2003. Print.
WOOD, DAVID. ‘Tomás Gutiérrez Alea and the Art of Revolutionary Cinema’. Bulletin of Latin American Research 28.4 (2009): n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=gutierrez alea#/oclc/435648026>.