Agee, James. 2001. ‘Comedy’s Greatest Era’. Edited by Gregg Rickman. The Film Comedy Reader, 14–28.
Andrew Klevan. 1999. ‘The Resonance of Repetition’. In Disclosure of the Everyday: Undramatic Achievement in Narrative Film, 135–69. Wiltshire: Flicks Books.
———. 2016. ‘What Is Evaluative Criticism?’ Film Criticism 40 (1). https://quod.lib.umich.edu/f/fc/13761232.0040.118?view=text;rgn=main.
Biles, Jeremy. n.d. ‘Holy Motors’. Journal of Religion and Film 17 (1).
Buckland, Warren. 2008. Puzzle Films: Complex Storytelling in Contemporary Cinema. Chicester: John Wiley and Sons Ltd.
Clayton, Alex. 2017. ‘The Mystery of Green’. New Review of Film and Television Studies 15 (1): 48–57. https://doi.org/10.1080/17400309.2017.1265425.
Daly, Fergus, and Garin Dowd. 2003. Leos Carax. Vol. French film directors. Manchester: Manchester University Press.
Hanlon, Lindley. 1985. ‘Sound in Bresson’s Mouchette’. In Film Sound: Theory and Practice, edited by Weis Elisabeth and Belton John, 323–31. Columbia University Press.
Jacob Leigh. 2012. ‘Le Rayon Vert’. In The Cinema of Eric Rohmer: Irony, Imagination and The Social World, 127–38. New York, NY: Continuum International Pub. Group Inc.
Jacobowitz, Florence. 1987. ‘Power and The Masquerade: The Devil Is a Woman’. Cineaction, no. 8: 33–41.
Johnson, Vida T., and Graham Petrie. 1994. The Films of Andrei Tarkovsky: A Visual Fugue. Bloomington, Ind: Indiana University Press.
Lynch, David, and Chris Rodley. 1997. Lynch on Lynch. London: Faber.
Macaulay, Scott. n.d. ‘Director Leos Carax on Holy Motors’. http://filmmakermagazine.com/54957-leos-carax-holy-motors/#.WbkOntOGO9Z.
Martin, Adrian. 2014. ‘Where Do Cinematic Ideas Come From?’ Journal of Screenwriting 5 (1): 9–26. https://doi.org/10.1386/josc.5.1.9_1.
Minnis, Stuart. 2008. ‘Roughened Form of Time, Space, and Character in Andrei Tarkovsky’s’. Quarterly Review of Film and Video 25 (3): 241–50. https://doi.org/10.1080/10509200601091524.
Nieland, Justus. 2012. David Lynch. Vol. Contemporary film directors. 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, no. 7. http://www2.warwick.ac.uk/fac/arts/film/movie/contents/perkins._letter_from_an_unknown_woman.pdf.
Rothman, William. 2006. ‘Notes on Ozu’s Cinematic Style’. Film International 4 (4): 33–42. https://www-ingentaconnect-com.bris.idm.oclc.org/content/intellect/fint/2006/00000004/00000004/art00005.
———. 2012. ‘The Ending of City Lights’. In The ‘I’ of the Camera: Essays in Film Criticism, History, and Aesthetics, 2nd Revised edition, 44–54. Cambridge University Press (Virtual Publishing). https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=256661&ppg=80.
Sheen, Erica, Erica Sheen, and Annette Davison. 2005. The Cinema of David Lynch: American Dreams, Nightmare Visions. Vol. Directors’ cuts. London: Wallflower Press.
Sontag, Susan. 1982. ‘Spiritual Style in the Films of Robert Bresson’. In A Susan Sontag Reader. London: Penguin Books Ltd.
Synessios, Natasha. 2001. Mirror. Vol. KINOfiles film companion. London: I.B. Tauris.
Tarkovskiĭ, Andreĭ Arsen’evich, William Powell, and Natasha Synessios. 1999. Collected Screenplays. London: Faber.
Toles, George. 2011. ‘Writing About Performance: The Film Critic as Actor’. In The Language and Style of Film Criticism, edited by Alex Clayton and Andrew Klevan, 87–106. London: Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=684088&ppg=100.
———. n.d. ‘Auditioning Betty in Mulholland Drive’. Film Quarterly 58 (1): 2–13. http://www.jstor.org/stable/10.1525/fq.2004.58.1.2.
Walton, Saige. n.d. ‘The Beauty of the Act: Figuring Film and the Delirious Baroque in “Holy Motors”’. NECSUS. http://www.necsus-ejms.org/beauty-act-figuring-film-delirious-baroque-holy-motors/.
Wilson, George. 1992. ‘Josef von Sternberg’s The Devil Is a Woman’. In Narration in Light: Studies in Cinematic Point of View, 145–65. Baltimore, Md: Johns Hopkins University Press.
Wright, Jonathan. 2017. ‘Objects in the Mirror: Micro-Narrative and Biomorphic Representation in Tarkovsky’s Zerkalo’. Trans-Humanities 10 (1): 129–53. http://www.trans-humanities.org/.
Yoshida, Yoshishige. 2003. Ozu’s Anti-Cinema. Vol. Michigan monograph series in Japanese studies. Ann Arbor: Center for Japanese Studies, University of Michigan.