(1)
Perkins, V. F. ‘Letter From an Unknown Woman’. Movie: A Journal of Film Criticism 2017, No. 7.
(2)
Andrew Klevan. What Is Evaluative Criticism? Film Criticism 2016, 40 (1).
(3)
Perkins, V. F. Film as Film: Understanding and Judging Movies; Da Capo: [Cambridge, MA], 1993.
(4)
Andrew Klevan. The Resonance of Repetition. In Disclosure of the Everyday: Undramatic Achievement in Narrative Film; Flicks Books: Wiltshire, 1999; pp 135–169.
(5)
Yoshida, Y. Ozu’s Anti-Cinema; Center for Japanese Studies, University of Michigan: Ann Arbor, 2003; Vol. Michigan monograph series in Japanese studies.
(6)
Rothman, W. Notes on Ozu’s Cinematic Style. Film International 2006, 4 (4), 33–42.
(7)
Jacobowitz, F. Power and The Masquerade: The Devil Is a Woman. Cineaction 1987, No. 8, 33–41.
(8)
Wilson, G. Josef von Sternberg’s The Devil Is a Woman. In Narration in light: studies in cinematic point of view; Johns Hopkins University Press: Baltimore, Md, 1992; pp 145–165.
(9)
Wright, J. Objects in the Mirror: Micro-Narrative and Biomorphic Representation in Tarkovsky’s Zerkalo. Trans-Humanities 2017, 10 (1), 129–153.
(10)
Johnson, V. T.; Petrie, G. The Films of Andrei Tarkovsky: A Visual Fugue; Indiana University Press: Bloomington, Ind, 1994.
(11)
Minnis, S. Roughened Form of Time, Space, and Character in Andrei Tarkovsky’s. Quarterly Review of Film and Video 2008, 25 (3), 241–250. https://doi.org/10.1080/10509200601091524.
(12)
Synessios, N. Mirror; I.B. Tauris: London, 2001; Vol. KINOfiles film companion.
(13)
Tarkovskiĭ, A. A.; Powell, W.; Synessios, N. Collected Screenplays; Faber: London, 1999.
(14)
Toles, G. Auditioning Betty in Mulholland Drive. Film Quarterly 58 (1), 2–13.
(15)
Sheen, E.; Sheen, E.; Davison, A. The Cinema of David Lynch: American Dreams, Nightmare Visions; Wallflower Press: London, 2005; Vol. Directors’ cuts.
(16)
Lynch, D.; Rodley, C. Lynch on Lynch; Faber: London, 1997.
(17)
Nieland, J. David Lynch; University of Illinois Press: Urbana, 2012; Vol. Contemporary film directors.
(18)
Buckland, W. Puzzle Films: Complex Storytelling in Contemporary Cinema; John Wiley and Sons Ltd: Chicester, 2008.
(19)
Martin, A. Where Do Cinematic Ideas Come From? Journal of Screenwriting 2014, 5 (1), 9–26. https://doi.org/10.1386/josc.5.1.9_1.
(20)
Biles, J. Holy Motors. Journal of Religion and Film 17 (1).
(21)
Macaulay, S. Director Leos Carax on Holy Motors. http://filmmakermagazine.com/54957-leos-carax-holy-motors/#.WbkOntOGO9Z.
(22)
Walton, S. The Beauty of the Act: Figuring Film and the Delirious Baroque in ‘Holy Motors’. NECSUS.
(23)
Daly, F.; Dowd, G. Leos Carax; Manchester University Press: Manchester, 2003; Vol. French film directors.
(24)
Toles, G. Writing About Performance: The Film Critic as Actor. In The language and style of film criticism; Clayton, A., Klevan, A., Eds.; Routledge: London, 2011; pp 87–106.
(25)
Agee, J. Comedy’s Greatest Era. The Film Comedy Reader 2001, 14–28.
(26)
Rothman, W. The Ending of City Lights. In The ‘I’ of the Camera: Essays in Film Criticism, History, and Aesthetics; Cambridge University Press (Virtual Publishing), 2012; pp 44–54.
(27)
Jacob Leigh. Le Rayon Vert. In The Cinema of Eric Rohmer: Irony, Imagination and The Social World; Continuum International Pub. Group Inc: New York, NY, 2012; pp 127–138.
(28)
Clayton, A. The Mystery of Green. New Review of Film and Television Studies 2017, 15 (1), 48–57. https://doi.org/10.1080/17400309.2017.1265425.
(29)
Hanlon, L. Sound in Bresson’s Mouchette. In Film Sound: Theory and Practice; Elisabeth, W., John, B., Eds.; Columbia University Press, 1985; pp 323–331.
(30)
Sontag, S. Spiritual Style in the Films of Robert Bresson. In A Susan Sontag Reader; Penguin Books Ltd: London, 1982.