[1]
V. F. Perkins, ‘“Letter From an Unknown Woman”’, Movie: A Journal of Film Criticism, no. 7, 2017 [Online]. Available: http://www2.warwick.ac.uk/fac/arts/film/movie/contents/perkins._letter_from_an_unknown_woman.pdf
[2]
Andrew Klevan, ‘What is Evaluative Criticism?’, Film Criticism, vol. 40, no. 1, 2016 [Online]. Available: https://quod.lib.umich.edu/f/fc/13761232.0040.118?view=text;rgn=main
[3]
V. F. Perkins, Film as Film: Understanding and Judging Movies. [Cambridge, MA]: Da Capo, 1993.
[4]
Andrew Klevan, ‘The Resonance of Repetition’, in Disclosure of the Everyday: Undramatic Achievement in Narrative Film, Wiltshire: Flicks Books, 1999, pp. 135–169.
[5]
Y. Yoshida, Ozu’s anti-cinema, vol. Michigan monograph series in Japanese studies. Ann Arbor: Center for Japanese Studies, University of Michigan, 2003.
[6]
W. Rothman, ‘Notes on Ozu’s Cinematic Style’, Film International, vol. 4, no. 4, pp. 33–42, 2006 [Online]. Available: https://www-ingentaconnect-com.bris.idm.oclc.org/content/intellect/fint/2006/00000004/00000004/art00005
[7]
F. Jacobowitz, ‘Power and The Masquerade: The Devil Is a Woman’, Cineaction, no. 8, pp. 33–41, 1987.
[8]
G. Wilson, ‘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, 1992, pp. 145–165.
[9]
J. Wright, ‘Objects in the Mirror: Micro-Narrative and Biomorphic Representation in Tarkovsky’s Zerkalo’, Trans-Humanities, vol. 10, no. 1, pp. 129–153, 2017 [Online]. Available: http://www.trans-humanities.org/
[10]
V. T. Johnson and G. Petrie, The films of Andrei Tarkovsky: a visual fugue. Bloomington, Ind: Indiana University Press, 1994.
[11]
S. Minnis, ‘Roughened Form of Time, Space, and Character in Andrei Tarkovsky’s’, Quarterly Review of Film and Video, vol. 25, no. 3, pp. 241–250, Apr. 2008, doi: 10.1080/10509200601091524.
[12]
N. Synessios, Mirror, vol. KINOfiles film companion. London: I.B. Tauris, 2001.
[13]
A. A. Tarkovskiĭ, W. Powell, and N. Synessios, Collected screenplays. London: Faber, 1999.
[14]
G. Toles, ‘Auditioning Betty in Mulholland Drive’, Film Quarterly, vol. 58, no. 1, pp. 2–13 [Online]. Available: http://www.jstor.org/stable/10.1525/fq.2004.58.1.2
[15]
E. Sheen, E. Sheen, and A. Davison, The cinema of David Lynch: American dreams, nightmare visions, vol. Directors’ cuts. London: Wallflower Press, 2005.
[16]
D. Lynch and C. Rodley, Lynch on Lynch. London: Faber, 1997.
[17]
J. Nieland, David Lynch, vol. Contemporary film directors. Urbana: University of Illinois Press, 2012.
[18]
W. Buckland, Puzzle Films: Complex Storytelling in Contemporary Cinema. Chicester: John Wiley and Sons Ltd, 2008.
[19]
A. Martin, ‘Where do cinematic ideas come from?’, Journal of Screenwriting, vol. 5, no. 1, pp. 9–26, 2014, doi: 10.1386/josc.5.1.9_1.
[20]
J. Biles, ‘Holy Motors’, Journal of Religion and Film, vol. 17, no. 1.
[21]
S. Macaulay, ‘Director Leos Carax on Holy Motors’. [Online]. Available: http://filmmakermagazine.com/54957-leos-carax-holy-motors/#.WbkOntOGO9Z
[22]
S. Walton, ‘The beauty of the act: Figuring film and the delirious baroque in “Holy Motors”’, NECSUS [Online]. Available: http://www.necsus-ejms.org/beauty-act-figuring-film-delirious-baroque-holy-motors/
[23]
F. Daly and G. Dowd, Leos Carax, vol. French film directors. Manchester: Manchester University Press, 2003.
[24]
G. Toles, ‘Writing About Performance: The Film Critic as Actor’, in The language and style of film criticism, A. Clayton and A. Klevan, Eds. London: Routledge, 2011, pp. 87–106 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=684088&ppg=100
[25]
J. Agee, ‘Comedy’s Greatest Era’, The Film Comedy Reader, pp. 14–28, 2001.
[26]
W. Rothman, ‘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), 2012, pp. 44–54 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=256661&ppg=80
[27]
Jacob Leigh, ‘Le rayon vert’, in The Cinema of Eric Rohmer: Irony, Imagination and The Social World, New York, NY: Continuum International Pub. Group Inc, 2012, pp. 127–138.
[28]
A. Clayton, ‘The Mystery of Green’, New Review of Film and Television Studies, vol. 15, no. 1, pp. 48–57, 2017, doi: 10.1080/17400309.2017.1265425.
[29]
L. Hanlon, ‘Sound in Bresson’s Mouchette’, in Film Sound: Theory and Practice, W. Elisabeth and B. John, Eds. Columbia University Press, 1985, pp. 323–331.
[30]
S. Sontag, ‘Spiritual Style in the Films of Robert Bresson’, in A Susan Sontag Reader, London: Penguin Books Ltd, 1982.