Agee, J. (2001) ‘Comedy’s Greatest Era’, The Film Comedy Reader. Edited by G. Rickman, pp. 14–28.
Andrew Klevan (1999) ‘The Resonance of Repetition’, in Disclosure of the Everyday: Undramatic Achievement in Narrative Film. Wiltshire: Flicks Books, pp. 135–169.
Andrew Klevan (2016) ‘What is Evaluative Criticism?’, Film Criticism, 40(1). Available at: https://quod.lib.umich.edu/f/fc/13761232.0040.118?view=text;rgn=main.
Biles, J. (no date) ‘Holy Motors’, Journal of Religion and Film, 17(1).
Buckland, W. (2008) Puzzle Films: Complex Storytelling in Contemporary Cinema. Chicester: John Wiley and Sons Ltd.
Clayton, A. (2017) ‘The Mystery of Green’, New Review of Film and Television Studies, 15(1), pp. 48–57. Available at: https://doi.org/10.1080/17400309.2017.1265425.
Daly, F. and Dowd, G. (2003) Leos Carax. Manchester: Manchester University Press.
Hanlon, L. (1985) ‘Sound in Bresson’s Mouchette’, in W. Elisabeth and B. John (eds) Film Sound: Theory and Practice. Columbia University Press, pp. 323–331.
Jacob Leigh (2012) ‘Le rayon vert’, in The Cinema of Eric Rohmer: Irony, Imagination and The Social World. New York, NY: Continuum International Pub. Group Inc, pp. 127–138.
Jacobowitz, F. (1987) ‘Power and The Masquerade: The Devil Is a Woman’, Cineaction, (8), pp. 33–41.
Johnson, V.T. and Petrie, G. (1994) The films of Andrei Tarkovsky: a visual fugue. Bloomington, Ind: Indiana University Press.
Lynch, D. and Rodley, C. (1997) Lynch on Lynch. London: Faber.
Macaulay, S. (no date) Director Leos Carax on Holy Motors. Available at: http://filmmakermagazine.com/54957-leos-carax-holy-motors/#.WbkOntOGO9Z.
Martin, A. (2014) ‘Where do cinematic ideas come from?’, Journal of Screenwriting, 5(1), pp. 9–26. Available at: https://doi.org/10.1386/josc.5.1.9_1.
Minnis, S. (2008) ‘Roughened Form of Time, Space, and Character in Andrei Tarkovsky’s’, Quarterly Review of Film and Video, 25(3), pp. 241–250. Available at: https://doi.org/10.1080/10509200601091524.
Nieland, J. (2012) David Lynch. Urbana: University of Illinois Press.
Perkins, V.F. (1993) Film as Film: Understanding and Judging Movies. [Cambridge, MA]: Da Capo.
Perkins, V.F. (2017) ‘“Letter From an Unknown Woman”’, Movie: A Journal of Film Criticism [Preprint], (7). Available at: http://www2.warwick.ac.uk/fac/arts/film/movie/contents/perkins._letter_from_an_unknown_woman.pdf.
Rothman, W. (2006) ‘Notes on Ozu’s Cinematic Style’, Film International, 4(4), pp. 33–42. Available at: https://www-ingentaconnect-com.bris.idm.oclc.org/content/intellect/fint/2006/00000004/00000004/art00005.
Rothman, W. (2012) ‘The Ending of City Lights’, in The ‘I’ of the Camera: Essays in Film Criticism, History, and Aesthetics. 2nd Revised edition. Cambridge University Press (Virtual Publishing), pp. 44–54. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=256661&ppg=80.
Sheen, E., Sheen, E. and Davison, A. (2005) The cinema of David Lynch: American dreams, nightmare visions. London: Wallflower Press.
Sontag, S. (1982) ‘Spiritual Style in the Films of Robert Bresson’, in A Susan Sontag Reader. London: Penguin Books Ltd.
Synessios, N. (2001) Mirror. London: I.B. Tauris.
Tarkovskiĭ, A.A., Powell, W. and Synessios, N. (1999) Collected screenplays. London: Faber.
Toles, G. (2011) ‘Writing About Performance: The Film Critic as Actor’, in A. Clayton and A. Klevan (eds) The language and style of film criticism. London: Routledge, pp. 87–106. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=684088&ppg=100.
Toles, G. (no date) ‘Auditioning Betty in Mulholland Drive’, Film Quarterly, 58(1), pp. 2–13. Available at: http://www.jstor.org/stable/10.1525/fq.2004.58.1.2.
Walton, S. (no date) ‘The beauty of the act: Figuring film and the delirious baroque in “Holy Motors”’, NECSUS [Preprint]. Available at: http://www.necsus-ejms.org/beauty-act-figuring-film-delirious-baroque-holy-motors/.
Wilson, G. (1992) ‘Josef von Sternberg’s The Devil is a Woman’, in Narration in light: studies in cinematic point of view. Baltimore, Md: Johns Hopkins University Press, pp. 145–165.
Wright, J. (2017) ‘Objects in the Mirror: Micro-Narrative and Biomorphic Representation in Tarkovsky’s Zerkalo’, Trans-Humanities, 10(1), pp. 129–153. Available at: http://www.trans-humanities.org/.
Yoshida, Y. (2003) Ozu’s anti-cinema. Ann Arbor: Center for Japanese Studies, University of Michigan.