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Shots in the Dark

Abrams, Jerold J. 2009. ‘"A Homespun Murder Story”: Film Noir and the Problem of Modernity in Fargo.’ In The Philosophy of the Coen Brothers, edited by Mark T. Conard, The philosophy of popular culture:211–24. Lexington: University Press of Kentucky. http://encore.exeter.ac.uk/iii/encore/record/C__Rb3355862?lang=eng.

Allen, Robert C., and Douglas Gomery. 1993. ‘The Formation of the US Film Industry.’ In Film History: Theory and Practice, 143–52. New York: McGraw-Hill. https://contentstore.cla.co.uk/secure/link?id=6bb8df93-3066-e611-80c6-005056af4099.

Allen, Woody, Diane Keaton, Tony Roberts, and Carol Kane. 2006. ‘Annie Hall.’ Metro-Goldwyn-Mayer.

Anderson, Robert. 1985. ‘The Motion Picture Patents Company: A Reevaluation.’ In The American Film Industry, Revised ed, 133–52. Madison: University of Wisconsin Press. https://contentstore.cla.co.uk/secure/link?id=51078ffc-2266-e611-80c6-005056af4099.

Anderson, Wes. 2014. ‘The Grand Budapest Hotel.’ https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/id p/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/07CA 758B?bcast=130244766.

Anderson, Wes, Ralph Fiennes, F. Murray Abraham, Tony Revolori, Adrien Brody, Tilda Swinton, Bill Murray, et al. 2014. ‘The Grand Budapest Hotel.’ Twentieth Century Fox Home Entertainemnt F1-SGB5758001000.

Anger, Kenneth. 2009. ‘“Scorpio Rising” [part Of] Magick Lantern Cycle/ Anger Me’. British Film Institute.

Apfel, Oscar. 1912. ‘The Passer-By.’ https://www.youtube.com/watch?v=kF6Xr8GuF0o.

Balio, Tina. 1990. ‘“Introduction to Part 1” [in] Hollywood in the Age of Television’. In Hollywood in the Age of Television, 185–211. Boston, [Mass.]: Unwin Hyman. http://encore.exeter.ac.uk/iii/encore/record/C__Rb4169397?lang=eng.

Balio, Tino. 2010. The Foreign Film Renaissance on American Screens, 1946-1973. Vol. Wisconsin film studies. Madison, Wis: University of Wisconsin Press. http://encore.exeter.ac.uk/iii/encore/record/C__Rb3958243?lang=eng.

Bansak, Edmund G. 1995. Fearing the Dark: The Val Lewton Career. Jefferson, N.C.: McFarland.

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Barr, Charles. 1968. Laurel & Hardy. Vol. Movie paperbacks. Berkeley: University of California Press.

Bean, Jennifer M. 2001. ‘Technologies of Early Stardom and the Extraordinary Body.’ Camera Obscura 16 (3): 8–57. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edspmu&AN=edspmu.S1529151001300094&site=eds-live&sc ope=site.

Belton, John. 1990. ‘Glorious Technicolor, Breathtaking CinemaScope and Stereophonic Sound.’ In Hollywood in the Age of Television, 185–211. Boston, [Mass.]: Unwin Hyman. https://contentstore.cla.co.uk/secure/link?id=a7825dce-5d6c-e611-80c6-005056af4099.

———. 1993. Widescreen Cinema. Vol. Harvard film studies. Cambridge, Mass: Harvard U. P.

Berliner, Todd. 2010. ‘Narrative Incongruity in Seventies Cinema.’ In Hollywood Incoherent: Narration in Seventies Cinema, 25–52. Austin: University of Texas Press. https://contentstore.cla.co.uk/secure/link?id=8069c8fe-f96d-e611-80c6-005056af4099.

Bernstein, Matthew. 2000. ‘Perfecting the New Gangster: Writing “Bonnie and Clyde”.’ Film Quarterly 53 (4): 16–31. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsjsr&AN=edsjsr.10.2307.1213748&site=eds-live&scope=sit e.

Bigelow, Kathryn. 2012. ‘Zero Dark Thirty.’ https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/id p/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/03781 430?bcast=122248602.

Bigelow, Kathryn, Mark Boal, Jessica Chastain, Jason Clarke, Joel Edgerton, Jennifer Ehle, Mark Strong, et al. 2012. ‘Zero Dark Thirty.’ [S.l.]: Universal Studios.

Bont, Jan De. 1994. ‘Speed.’ FilmFour. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/id p/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/001C3 A73?bcast=122032458.

Bont, Jan De, Keanu Reeves, Dennis Hopper, and Sandra Bullock. 1994. ‘Speed.’ Twentieth Century Fox Home Entertainment.

Bordwell, David. 2002. ‘Intensified Continuity Visual Style in Contemporary American Film.’ Film Quarterly 55 (3): 16–28. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsjsr&AN=edsjsr.10.1525.fq.2002.55.3.16&site=eds-live&sc ope=site.

———. 2006. ‘Subjective Stories and Network Narratives.’ In The Way Hollywood Tells It: Story and Style in Modern Movies, 72–103. Berkeley: University of California Press. http://encore.exeter.ac.uk/iii/encore/record/C__Rb1825466?lang=eng.

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———. 2014. ‘The Grand Budapest Hotel: Wes Anderson Takes the 4:3 Challenge.’ Observations on Film Art. http://www.davidbordwell.net/blog/2014/03/26/the-grand-budapest-hotel-wes-anderson-tak es-the-43-challenge/.

Boughn, M. 2013. ‘The War on Art and Zero Dark Thirty.’ Cineaction 91: 19–26. https://contentstore.cla.co.uk/secure/link?id=38593783-cf7c-e611-80c6-005056af4099.

Brewster, Ben. 2004. ‘Traffic in Souls (1913): An Experiment in Feature-Length Narrative Construction.’ In The Silent Cinema Reader, 226–41. London: Routledge. https://contentstore.cla.co.uk/secure/link?id=0e426167-2766-e611-80c6-005056af4099.

Brook, Vincent. 2006. ‘Puce Modern Moment: Camp, Postmodernism, and the Films of Kenneth Anger.’ Journal of Film and Video 58 (4): 3–15. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsjsr&AN=edsjsr.20688535&site=eds-live&scope=site.

Bruckman, Clyde, Buster Keaton, and Marion Mack. 1927. ‘The General.’ Eureka EKA 40028.

Buckland, Warren. 2006. ‘Duel with a Shark: Jaws (1975).’ In Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster, 86–110. New York: Continuum. https://contentstore.cla.co.uk/secure/link?id=56ac7d55-e76d-e611-80c6-005056af4099.

Calavita, Marco. 2007. ‘“MTV Aesthetics” at the Movies: Interrogating a Film Criticism Fallacy’. Journal of Film and Video 59 (3): 15–31. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsjsr&AN=edsjsr.20688566&site=eds-live&scope=site.

Cameron, Allan. 2007. ‘Jaws: Searching the Depths.’ In The Cinema of Steven Spielberg: Empire of Light, Directors’ cuts:43–61. London: Wallflower. https://contentstore.cla.co.uk/secure/link?id=2d91f0d7-e86d-e611-80c6-005056af4099.

Capra, Frank. n.d. ‘It Happened One Night (1934).’ https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/id p/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/009A6 306?bcast=44504925.

Capra, Frank, Clark Gable, and Claudette Colbert. 1934. ‘It Happened One Night.’ Columbia CDR10627.

Carney, Raymond. 1986. ‘A World Elsewhere.’ In American Vision: The Films of Frank Capra, 225–61. Cambridge: Cambridge University Press. https://contentstore.cla.co.uk/secure/link?id=50e1b95a-9e6b-e611-80c6-005056af4099.

Carroll, Noel. 1990. ‘Buster Keaton, The General and Visible Intelligibility.’ In Close Viewings: An Anthology of New Film Criticism, 125–40. Tallahassee: Florida State University Press. http://encore.exeter.ac.uk/iii/encore/record/C__Rb1818129?lang=eng.

———. 2009. Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Chichester: Wiley-Blackwell. http://encore.exeter.ac.uk/iii/encore/record/C__Rb1834849?lang=eng.

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Carruthers, Susan L. n.d. ‘Zero Dark Thirty.’ Cineaste 38 (2): 50–52. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edswah&AN=000337716000015&site=eds-live&scope=site. Carter, Steven. 1999. ‘“Flare to White”: Fargo and the Postmodern Turn’. Literature/Film Quarterly 27 (4): 238–44. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsjsr&AN=edsjsr.43796900&site=eds-live&scope=site.

Chang, Justin. n.d. ‘“Knight Rises” and Shines’. Variety 427 (10). https://uoelibrary.idm.oclc.org/login?url=http://search.proquest.com/fiaf/docview/1030729 716/FB424985FCF94C9EPQ/1?accountid=10792.

Chaplin, Charlie. 1917. ‘Easy Street.’ https://www.youtube.com/watch?v=eLF-aLPwfrg.

Coen, Joel, Ethan Coen, Frances McDormand, William H. Macy, Steve Buscemi, Harve Presnell, and Peter Stormare. 1996. ‘Fargo.’ Metro-Goldwyn-Mayer.

Cook, Roger F. 2011. ‘Hollywood Narrative and the Play of Fantasy: David Lynch’s Mulholland Drive.’ Quarterly Review of Film and Video 28 (5): 369–81. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsbl&AN=RN298585673&site=eds-live&scope=site.

Cowie, Peter, Woody Allen, and British Film Institute. 1996. Annie Hall. Vol. BFI film classics. London: British Film Institute.

Cripps, Thomas. 1977. ‘“The Black Underground” [in] Slow Fade to Black: The Negro in American Film, 1900-1942’. In Slow Fade to Black: The Negro in American Film, 1900-1942, A galaxy book:349–89. London: Oxford University Press. https://contentstore.cla.co.uk/secure/link?id=70e5a480-656c-e611-80c6-005056af4099.

———. 1993a. Making Movies Black: The Hollywood Message Movie from World War II to the Civil Rights Era. New York: Oxford University Press. http://encore.exeter.ac.uk/iii/encore/record/C__Rb1019580?lang=eng.

———. 1993b. Slow Fade to Black: The Negro in American Film, 1900-1942. New York: Oxford University Press. http://encore.exeter.ac.uk/iii/encore/record/C__Rb3458077?lang=eng.

Crosland, Alan, Al Jolson, May McAvoy, Warner Oland, and Cantor Rosenblatt. 2007. ‘The Dawn Of Sound: How Movies Learned To Talk.’ Turner Entertainment.

Deleyto, Celestino. 1995. ‘“The Narrator and the Narrative: The Evolution of Woody Allen”s Film Comedies’ [in] Film Criticism’. Film Criticism 19 (2): 40–54. https://uoelibrary.idm.oclc.org/login?url=http://search.proquest.com/fiaf/docview/2227224 92/25E8DAD4BBB9425BPQ/1?accountid=10792.

Doherty, Thomas. 2002. ‘American Movies as a Less-than-Mass Medium.’ In Teenagers and Teenpics: The Juvenilization of American Movies in the 1950s, Revised and expanded edition, 1–12. Philadelphia, Pa: Temple University Press. https://contentstore.cla.co.uk/secure/link?id=3847be8d-676c-e611-80c6-005056af4099.

Eaton, Michael, Roman Polanski, and British Film Institute. 1997. Chinatown. Vol. BFI film

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classics. London: British Film Institute.

Fabe, Marilyn. 2004a. ‘“Film and Postmodernism: Woody Allen’s Annie Hall” [in] Closely Watched Films: An Introduction to the Art of Narrative Film Technique’. In Closely Watched Films: An Introduction to the Art of Narrative Film Technique, 173–90. University of California Press. https://uoelibrary.idm.oclc.org/login?url=http://quod.lib.umich.edu/cgi/t/text/text-idx?c=acl s;idno=heb08041.

———. 2004b. ‘Political Cinema: Spike Lee’s Do the Right Thing.’ In Closely Watched Films: An Introduction to the Art of Narrative Film Technique, 191–206. University of California Press. http://encore.exeter.ac.uk/iii/encore/record/C__Rb3836315?lang=eng.

Flory, Dan. 2006. ‘Spike Lee and the Sympathetic Racist.’ The Journal of Aesthetics and Art Criticism 64 (1): 67–79. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=phl&AN=PHL2086319&site=eds-live&scope=site.

Foundas, Scott. n.d. ‘Cinematic Faith.’ Film Comment, 7–12. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsjsr&AN=edsjsr.43459098&site=eds-live&scope=site.

Fradley, Martin. 2013. ‘What Do You Believe in? Film Scholarship and the Cultural Politics of the Dark Knight Franchise.’ Film Quarterly 66 (3): 15–27. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsbl&AN=RN340558659&site=eds-live&scope=site.

Friedman, Lester D., Arthur Penn, and British Film Institute. 2000. Bonnie and Clyde. Vol. BFI film classics. London: British Film Institute. https://www.screenstudies.com/monograph?docid=b-9781838712587&st=bonnie+an d+clyde.

Fujiwara, Chris. 1998. ‘Cat People (1942).’ In Jacques Tourneur: The Cinema of Nightfall, 84–72. Baltimore: Johns Hopkins University Press. https://contentstore.cla.co.uk/secure/link?id=1c70fa1e-446c-e611-80c6-005056af4099.

Gibbs, John. 2002. ‘Case Study: Imitation of Life.’ In Mise-En-Scene: Film Style and Interpretation, 83–96. London: Wallflower. https://contentstore.cla.co.uk/secure/link?id=e26f129d-5f6c-e611-80c6-005056af4099.

Goldman, Michael. n.d. ‘The World’s Most Wanted Man.’ American Cinematographer 94 (2): 32–36. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edo&AN=86247948&site=eds-live&scope=site.

Gomery, Douglas. 1985. ‘The Coming of Sound: Technological Change in the American Film Industry.’ In The American Film Industry, Rev. ed, 229–51. Madison: University of Wisconsin Press. https://contentstore.cla.co.uk/secure/link?id=dd891381-f16a-e611-80c6-005056af4099.

Greene, Jane M. 2011. ‘A Proper Dash of Spice: Screwball Comedy and the Production Code.’ Journal of Film and Video 63 (3): 45–63.

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Grieveson, Lee. 2005. ‘Gangsters and Governance in the Silent Era.’ In Mob Culture: Hidden Histories of the American Gangster Film, 13–40. Oxford: Berg. https://contentstore.cla.co.uk/secure/link?id=bedfa69f-2a66-e611-80c6-005056af4099.

Griffith, D. W. 1909. ‘The Lonely Villa.’ https://www.youtube.com/watch?v=D7vbLTDV57E.

Griffith, D.W. 1912. ‘The Musketeers of Pig Alley.’ https://www.youtube.com/watch?v=ZxCBvgnjmPU.

Grindon, Leger. 2011. ‘“The Trials of Partnership: Annie Hall (1977)” [in] The Hollywood Romantic Comedy: Conventions, History, Controversies’. In The Hollywood Romantic Comedy: Conventions, History, Controversies, 150–59. Oxford: Wiley-Blackwell. https://contentstore.cla.co.uk/secure/link?id=f6f25294-fe6d-e611-80c6-005056af4099.

Guerrero, Ed, and British Film Institute. 2001. Do the Right Thing. Vol. BFI modern classics. London: British Film Institute. https://www.screenstudies.com/monograph?docid=b-9781838712761&st=Do+The+R ight+Thing.

Gunning, Tom. 2003. ‘Buster Keaton, or the Work of Comedy in the Age of Mechanical Reproduction.’ In Hollywood Comedians: The Film Reader, In focus:73–77. London: Routledge. https://contentstore.cla.co.uk/secure/link?id=f2975dab-e66a-e611-80c6-005056af4099.

Hall, Sheldon. 2002. ‘Tall Revenue Features: The Genealogy of the Modern Blockbuster.’ In Genre and Contemporary Hollywood, 11–26. London: British Film Institute. https://contentstore.cla.co.uk/secure/link?id=69816855-1771-e611-80c6-005056af4099.

———. 2012. ‘Ozoners, Roadshows and Blitz Exhibitionism: Postwar Developments in Distribution and Exhibition.’ In The Classical Hollywood Reader, 343–54. Abingdon, Oxon: Routledge. http://encore.exeter.ac.uk/iii/encore/record/C__Rb3275010?lang=eng.

Hammond, Michael, and Ruth Williams. 2005. Contemporary American Cinema. Maidenhead: Open University Press. http://encore.exeter.ac.uk/iii/encore/record/C__Rb1811194?lang=eng.

Hanson, Helen. 2007. ‘Sound Affects: Post-Production Sound, Soundscapes and Sound Design in Hollywood’s Studio Era.’ Music, Sound, and the Moving Image 1 (1): 27–49. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsmzh&AN=2011444321&site=eds-live&scope=site.

Heuttig, Mae D. 1985. ‘Economic Control of the Motion Picture Industry.’ In The American Film Industry, Revised ed, 285–310. Madison: University of Wisconsin Press. https://contentstore.cla.co.uk/secure/link?id=38abc56f-466c-e611-80c6-005056af4099.

Higgins, Scott. 2008. ‘Suspenseful Situations: Melodramatic Narrative and the Contemporary Action Film.’ Cinema Journal 47 (2): 74–96.

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Hillier, Jim. 1993. The New Hollywood. London: Studio Vista.

Holmes, Helen, and Leo Maloney. 1915. ‘The Hazards of Helen: Episode 26, “The Wild Engine”.’ https://www.youtube.com/watch?v=Y7tRPevyuYQ.

Horak, L. 2010. ‘“Would You Like to Sin with Elinor Glyn?” Film as a Vehicle of Sensual Education’. Camera Obscura: Feminism, Culture, and Media Studies 25 (2 74): 75–117. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsmzh&AN=2010442959&site=eds-live&scope=site.

Horwath, Alexander, Noel King, and Thomas Elsaesser. 2004. The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Amsterdam: Amsterdam University Press. http://encore.exeter.ac.uk/iii/encore/record/C__Rb3512393?lang=eng.

Hudson, Jennifer A. 2004. ‘“No Hay Banda, and yet We Hear a Band”: David Lynch’s Reversal of Coherence in Mulholland Drive’. Journal of Film and Video 56 (1): 17–24. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsjsr&AN=edsjsr.20688440&site=eds-live&scope=site.

Jacobs, Lea. 1992. ‘The B Film and the Problem of Cultural Distinction.’ Screen 33 (1): 1–13. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsmzh&AN=1992071290&site=eds-live&scope=site.

James, David E. 1989. Allegories of Cinema: American Film in the Sixties. Princeton: Princeton University Press.

Keil, Charlie. 2001. ‘The Demands of Narrative.’ In Early American Cinema in Transition: Story, Style, and Filmmaking, 1907-1913, Wisconsin studies in film:52–80. Madison, Wis: University of Wisconsin Press. https://contentstore.cla.co.uk/secure/link?id=aa703668-2b66-e611-80c6-005056af4099.

Kellner, Douglas. 1997. ‘Aesthetics, Ethics, Politics in the Films of Spike Lee.’ In Spike Lee’s Do the Right Thing, Cambridge film handbooks:73–106. Cambridge: Cambridge University Press. https://contentstore.cla.co.uk/secure/link?id=97901cf3-0f6e-e611-80c6-005056af4099.

Kendall, Elizabeth. 2002. ‘Capra and Colbert: It Happened One Night.’ In The Runaway Bride: Hollywood Romantic Comedy of the 1930s, 26–49. New York: Cooper Square Press. https://contentstore.cla.co.uk/secure/link?id=a6e0cd3f-a36b-e611-80c6-005056af4099.

King, Geoff. 2000. ‘Pages 11-12, 91-99, 106-116.’ In Spectacular Narratives: Hollywood in the Age of the Blockbuster. London: I. B. Tauris. https://contentstore.cla.co.uk/secure/link?id=913105ab-1b71-e611-80c6-005056af4099.

———. 2002. New Hollywood Cinema: An Introduction. London: I.B. Tauris. http://encore.exeter.ac.uk/iii/encore/record/C__Rb1682735?lang=eng.

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———. 2009. Indiewood, USA: Where Hollywood Meets Independent Cinema. London: I. B. Tauris. http://encore.exeter.ac.uk/iii/encore/record/C__Rb4245831.

Knopf, Robert. 1999. ‘From Stage to Film: The Transformation of Keaton’s Vaudeville.’ In The Theater and Cinema of Buster Keaton, 36–75. Princeton, N.J.: Princeton University Press. https://contentstore.cla.co.uk/secure/link?id=f1fb9050-e76a-e611-80c6-005056af4099.

Kramer, Peter. n.d. ‘“It’s Aimed at Kids – the Kid in Everybody”: George Lucas, Star Wars and Children’s Entertainment’. Scope: An Online Journal of Film and Television Studies. http://www.nottingham.ac.uk/scope/issues/2001/december.aspx.

Kra ̈ mer, Peter. 2005. The New Hollywood: From Bonnie and Clyde to Star Wars. Vol. Short cuts (London, England). London: Wallflower. http://encore.exeter.ac.uk/iii/encore/record/C__Rb4256927.

Kroeber, Karl. 2006. ‘Magnifying Criminality: Fargo, Film Noir, and A Perfect World.’ In Make Believe in Film and Fiction: Visual vs. Verbal Storytelling, 179–93. New York, N.Y.: Palgrave Macmillan. http://encore.exeter.ac.uk/iii/encore/record/C__Rb4196269?lang=eng.

Landay, Lori. 2002. ‘The Flapper Film: Comedy, Dance and Jazz Age Kinaesthetics.’ In A Feminist Reader in Early Cinema, 2002:221–48. Durham, NC: Duke University Press. http://encore.exeter.ac.uk/iii/encore/record/C__Rb2490214?lang=eng.

Lee, Spike, Danny Aiello, Ossie Davis, Martin Lawrence, Samuel L. Jackson, Rosie Perez, and John Turturro. 1989. ‘Do the Right Thing.’ Universal Studios.

Lehrman, Henry. 1913. ‘The Bangville Police.’ https://www.youtube.com/watch?v=rHXIlXsCxT8.

Leitch, Thomas. 2002. ‘Fargo and the Crime Comedy.’ In Crime Films, 265–88. http://encore.exeter.ac.uk/iii/encore/record/C__Rb3442226?lang=eng.

Lent, Tina Olsin. 1995. ‘Romantic Love and Friendship: The Redefinition of Gender Relations in Screwball Comedy.’ In Classical Hollywood Comedy, AFI film readers:314–31. New York: Routledge. https://contentstore.cla.co.uk/secure/link?id=a0d34c4f-f56a-e611-80c6-005056af4099.

Lewis, Jon. 2007. ‘Early Cinema.’ In American Film: A History, 1–41. W. W. Norton. https://contentstore.cla.co.uk/secure/link?id=a41a4ac4-1866-e611-80c6-005056af4099.

———. 2008. ‘Auteur Filmmakers.’ In American Film: A History, 372–87. New York: W.W. Norton. https://contentstore.cla.co.uk/secure/link?id=3ffd368b-3a70-e611-80c6-005056af4099.

Luhr, William. 2004. The Coen Brothers’ ‘Fargo’. Vol. Cambridge University Press film handbooks series. Cambridge, UK: Cambridge University Press. http://encore.exeter.ac.uk/iii/encore/record/C__Rb3443864?lang=eng.

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Lynch, David, Naomi Watts, Laura Elena Harring, and Justin Theroux. 2001. ‘Mulholland Drive.’ Universal 9028839.

Maland, Charles J. 2004. ‘A Star Is Born: American Culture and the Dynamics of Charlie Chaplin’s Star Image, 1913--1916.’ In The Silent Cinema Reader, 197–209. London: Routledge. https://contentstore.cla.co.uk/secure/link?id=67a4afb7-1d66-e611-80c6-005056af4099.

Maltby, Richard. 1995. ‘The Production Code and the Hays Office.’ In Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939, History of the American cinema:37–72. New York: Scribner. https://contentstore.cla.co.uk/secure/link?id=64a67f25-986b-e611-80c6-005056af4099.

———. 2001. ‘The Spectacle of Criminality.’ In Violence and American Cinema, AFI film readers:117–52. New York: Routledge. https://contentstore.cla.co.uk/secure/link?id=24436094-a46b-e611-80c6-005056af4099.

———. 2003a. ‘Industry 3: Since 1980.’ In Hollywood Cinema, 2nd ed, 189–226. Malden, Mass: Blackwell Publishing. https://contentstore.cla.co.uk/secure/link?id=681244c5-6470-e611-80c6-005056af4099.

———. 2003b. ‘Industry 3: Since 1980.’ In Hollywood Cinema, 2nd ed, 189–226. Malden, Mass: Blackwell Publishing. https://contentstore.cla.co.uk/secure/link?id=681244c5-6470-e611-80c6-005056af4099.

———. 2003c. ‘Pages 114-127 (Distribution and Exhibition).’ In Hollywood Cinema, 2nd ed, 114–27. Malden, Mass: Blackwell Publishing. https://contentstore.cla.co.uk/secure/link?id=0b0cdb51-476c-e611-80c6-005056af4099.

———. 2003d. ‘Pages 173-188.’ In Hollywood Cinema, 2nd ed, 173–88. Malden, Mass: Blackwell Publishing. https://contentstore.cla.co.uk/secure/link?id=cade6e95-016e-e611-80c6-005056af4099.

———. 2005a. ‘It Happened One Night.’ In Film Analysis: A Norton Reader, 216–37. New York: W.W. Norton. https://contentstore.cla.co.uk/secure/link?id=d705d3ba-a66b-e611-80c6-005056af4099.

———. 2005b. ‘Why Boys Go Wrong: Gangsters, Hoodlums and Natural History of Delinquent Careers.’ In Mob Culture: Hidden Histories of the American Gangster Film, 41–66. Oxford: Berg. https://contentstore.cla.co.uk/secure/link?id=947cc27a-9b6b-e611-80c6-005056af4099.

Maltin, Leonard, and Jerry Beck. 1980a. Of Mice and Magic: A History of American Animated Cartoons. New York: New American Library.

———. 1980b. Of Mice and Magic: A History of American Animated Cartoons. New York: New American Library.

———. 1980c. Of Mice and Magic: A History of American Animated Cartoons. New York: New American Library.

———. 1980d. Of Mice and Magic: A History of American Animated Cartoons. New York:

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New American Library.

Mann, Denise. 2008. ‘Two Emergent Cinemas: Art and Blockbuster.’ In Hollywood Independents: The Postwar Talent Takeover, Commerce and mass culture series:121–44. Minneapolis, Minn: University of Minnesota Press. http://encore.exeter.ac.uk/iii/encore/record/C__Rb3508263?lang=eng.

Massood, Paula J. 2003. ‘Bed-Stuy, Do or Die: Do The Right Thing and the Contested Terrain of the Cityscape.’ In Black City Cinema: African American Urban Experiences in Film, Culture and the moving image:130–43. Philadelphia: Temple University Press. https://contentstore.cla.co.uk/secure/link?id=e39c8586-6570-e611-80c6-005056af4099.

McDonald, Tamar Jeffers. 2007. ‘Screwball Comedies.’ In Romantic Comedy: Boy Meets Girl Meets Genre, Short cuts:18–37. London: Wallflower. https://contentstore.cla.co.uk/secure/link?id=c5ce86e0-aa6b-e611-80c6-005056af4099.

McGowan, Todd. 2004. ‘Lost on Mulholland Drive: Navigating David Lynch’s Panegyric to Hollywood.’ Cinema Journal 43 (2): 67–89. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edspmu&AN=edspmu.S1527208704200670&site=eds-live&sc ope=site.

Merritt, Russell. 2002. ‘The Musketeers of Pig Alley.’ In The Griffith Project: Vol. 6: Films Produced in 1912, 158–65. London: BFI Publishing. https://contentstore.cla.co.uk/secure/link?id=6caf375b-2166-e611-80c6-005056af4099.

Mizejewski, Linda. 2009. It Happened One Night. Vol. Wiley-Blackwell studies in film and television. Oxford: Wiley-Blackwell. http://encore.exeter.ac.uk/iii/encore/record/C__Rb2506594?lang=eng.

Monaco, Paul. 2001. ‘The Waning Production Code and the Rise of the Ratings System.’ In The Sixties: 1960-1969, History of the American cinema:56–66. Berkeley: University of California Press. https://contentstore.cla.co.uk/secure/link?id=fe062545-736c-e611-80c6-005056af4099.

———. 2003. ‘1967: The Watershed Year.’ In The Sixties: 1960-1969, History of the American cinema:182–86. Berkeley: University of California Press. https://contentstore.cla.co.uk/secure/link?id=2d1afeb6-e26d-e611-80c6-005056af4099.

Mulvey, Laura. 2005. ‘Repetition and Return: Textual Analysis and Douglas Sirk in the Twenty-First Century.’ In Style and Meaning: Studies in the Detailed Analysis of Film, 228–43. Manchester: Manchester University Press. https://contentstore.cla.co.uk/secure/link?id=cc0d9467-6d6c-e611-80c6-005056af4099.

Murphy, J.J. 2007. ‘Dream Logic and Mulholland Drive.’ In Me and You and Memento and Fargo: How Independent Screenplays Work, 201–19. New York: Continuum. https://contentstore.cla.co.uk/secure/link?id=ee48d21a-c371-e611-80c6-005056af4099.

Neale, Steve. 2005. ‘“Chinatown” [in] Film Analysis: A Norton Reader’. In Film Analysis: A Norton Reader, 660–77. New York: W.W. Norton. https://contentstore.cla.co.uk/secure/link?id=526bccb6-b16b-e611-80c6-005056af4099.

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Neale, Steve, and Murray Smith. 1998. Contemporary Hollywood Cinema. London: Routledge. https://contentstore.cla.co.uk/secure/link?id=cd750af9-5f70-e611-80c6-005056af4099.

Newman, Kim, and British Film Institute. 2013. Cat People. 2nd ed. Vol. BFI film classics. London: Palgrave Macmillan on behalf of the British Film Institute.

Nolan, Christopher. 2008. ‘The Dark Knight.’ https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/id p/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/0108A E48?bcast=120923330.

Nolan, Christopher, Christian Bale, Heath Ledger, Gary Oldman, Michael Caine, Maggie Gyllenhaal, and Aaron Eckhart. 2008. ‘The Dark Knight.’ Warner Bros Entertainment.

O’Brien, Geoffrey. n.d. ‘Lost Continent.’ Film Comment 50 (2): 20–24. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsjsr&AN=edsjsr.43460007&site=eds-live&scope=site.

Orgeron, Marsha. 2003. ‘Making “It” in Hollywood: Clara Bow, Fandom and Consumer Culture’. Cinema Journal 42 (4): 76–97. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsmzh&AN=2003361301&site=eds-live&scope=site.

Palmer, R Barton. n.d. ‘“Chinatown and the Detective Story” [in] Literature/Film Quarterly’. Literature/Film Quarterly 5 (2): 112–17. https://uoelibrary.idm.oclc.org/login?url=http://search.proquest.com/fiaf/docview/2269751 60/fulltextPDF/797BCA355B14820PQ/5?accountid=10792.

Peary, Danny, and Gerald Peary. 1980. The American Animated Cartoon: A Critical Anthology. Vol. A Dutton paperback. New York: Dutton.

Penn, Arthur. 1967. ‘Bonnie and Clyde.’ https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/id p/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/000C1 B87?bcast=93033052.

Penn, Arthur, Faye Dunaway, and Warren Beatty. 2006. ‘Bonnie and Clyde.’ Warner Home Video Z114423.

Polanski, Roman. n.d. ‘Chinatown [on] BoB.’ https://learningonscreen.ac.uk/ondemand/index.php/prog/0000EA1A?bcast=121646534.

Polanski, Roman, Jack Nicholson, Faye Dunaway, and John Huston. 2011. ‘Chinatown.’ Paramount PHE9324.

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———. 1903. ‘The Great Train Robbery.’ https://www.youtube.com/watch?v=zuto7qWrplc.

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———. 1906. ‘Dream Of A Rarebit Fiend.’ https://www.youtube.com/watch?v=g98eVbp0zic.

Prince, Stephen. 1999. ‘The Haemorrhaging of American Film: Bonnie and Clyde’s Legacy of Cinematic Violence.’ In Arthur Penn’s Bonnie and Clyde, Cambridge film handbooks:127–47. New York: Cambridge University Press. https://contentstore.cla.co.uk/secure/link?id=fd6dc57a-746c-e611-80c6-005056af4099.

———. 2002. ‘Genres and Production Cycles.’ In A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980-1989, History of the American cinema:287–340. Berkeley: University of California Press. https://contentstore.cla.co.uk/secure/link?id=ac38cadb-6870-e611-80c6-005056af4099.

Probst, Christopher. 1996. ‘Cold-Blooded Scheming.’ American Cinematographer: International Journal of Motion Picture Photography and Production Techniques 77 (3): 28–34. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsbl&AN=RN004168320&site=eds-live&scope=site.

Quirke, Antonia. 2002. Jaws. Vol. BFI modern classics. London: British Film Institute.

Rabinovitz, Lauren. 1999. ‘Experimental and Avant-Garde Cinema in the 1940s.’ In Boom and Bust: American Cinema in the 1940s, History of the American cinema:445–60. Berkeley, Calif: University of California Press. https://contentstore.cla.co.uk/secure/link?id=3f4857bc-4b6c-e611-80c6-005056af4099.

Radner, Hillary. 1998. ‘New Hollywood’s New Women, Murder in Mind- Sarah and Margie.’ In Contemporary Hollywood Cinema, 247–62. London: Routledge. http://encore.exeter.ac.uk/iii/encore/record/C__Rb1065402?lang=eng.

Ray, Nicholas. 1955. ‘Rebel without a Cause.’ https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/id p/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/000C8 F9C?bcast=46695138.

Ray, Nicholas, James Dean, and Natalie Wood. 2005. ‘Rebel Without a Cause.’ Warner Home Video Z1 68323.

‘Relocating Lewton: Cultural Distinctions, Critical Reception, and the Val Lewton Horror Films.’ 2012. Journal of Film and Video 64 (3): 21–37. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsjsr&AN=edsjsr.10.5406.jfilmvideo.64.3.0021&site=eds-live&am p;scope=site.

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Quarterly’. Literature/Film Quarterly 10 (3): 180–87. https://uoelibrary.idm.oclc.org/login?url=http://search.proquest.com/fiaf/docview/2269798 18/94A7C664C42E44B1PQ/8?accountid=10792.

———. 1983. Old Hollywood/New Hollywood: Ritual, Art and Industry. Vol. Studies in cinema. Ann Arbor: UMI Research Press.

———. 1997. ‘Hollywood: The Triumph of the Studio System.’ In The Oxford History of World Cinema, 220–29. Oxford: Oxford University Press. https://contentstore.cla.co.uk/secure/link?id=98a6138e-ae6b-e611-80c6-005056af4099.

———. 1999a. ‘The Motion Picture Industry During World War II.’ In Boom and Bust: American Cinema in the 1940s, History of the American cinema:131–68. Berkeley, Calif: University of California Press. https://contentstore.cla.co.uk/secure/link?id=88dbefa9-486c-e611-80c6-005056af4099.

———. 1999b. ‘The Postwar Motion Picture Industry.’ In Boom and Bust: American Cinema in the 1940s, History of the American cinema:285–328. Berkeley, Calif: University of California Press.

———. 2008. ‘The Studio System and Comglomerate Hollywood.’ In The Contemporary Hollywood Film Industry, 13–42. Malden, MA: Blackwell Pub. https://contentstore.cla.co.uk/secure/link?id=932e12ba-ec6d-e611-80c6-005056af4099.

———. 2009. ‘New Hollywood, New Millennium.’ In Film Theory and Contemporary Hollywood Movies, AFI film readers:19–47. London: Routledge. http://encore.exeter.ac.uk/iii/encore/record/C__Rb3422070?lang=eng.

Schatz, Tom. 2008a. ‘The Studio System and Conglomerate Hollywood.’ In The Contemporary Hollywood Film Industry, 13–42. Malden, MA: Blackwell Pub. https://contentstore.cla.co.uk/secure/link?id=932e12ba-ec6d-e611-80c6-005056af4099.

———. 2008b. ‘The Studio System and Conglomerate Hollywood.’ In The Contemporary Hollywood Film Industry, 22–25. Malden, MA: Blackwell Pub. https://contentstore.cla.co.uk/secure/link?id=932e12ba-ec6d-e611-80c6-005056af4099.

Schickel, Richard, Billy Wilder, and British Film Institute. 1992. Double Indemnity. Vol. BFI film classics. London: BFI Publishing.

Shail, Andrew, Robin Stoate, and British Film Institute. 2010. Back to the Future. Vol. BFI film classics. London: Palgrave Macmillan for the BFI. https://www.screenstudies.com/monograph?docid=b-9781838713355&st=Back%20t o%20the%20Future.

Sheil, Mark. 2003. ‘A Nostalgia for Modernity: New York, Los Angeles and American Cinema in the 1970s.’ In Screening the City, 160–79. London: Verso. https://contentstore.cla.co.uk/secure/link?id=ec907528-036e-e611-80c6-005056af4099.

Sicinski, Michael. n.d. ‘The Grand Budapest Hotel.’ Cineaste 39 (3): 52–53. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=asx&AN=96517119&site=eds-live&scope=site.

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Simmons, Jerold. 1995. ‘The Censoring of Rebel Without a Cause.’ Journal of Popular Film and Television 23 (2): 56–63. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsmzh&AN=1995070295&site=eds-live&scope=site.

Simons, Jan. 2008. ‘Complex Narratives.’ New Review of Film and Television Studies 6 (2): 111–26. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edb&AN=32964794&site=eds-live&scope=site.

Sirk, Douglas. 1959. ‘Imitation of Life.’ https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/id p/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/0015C 089?bcast=121198249.

———. 1971. ‘Pages 129-135.’ In Sirk on Sirk: Interviews with Jon Halliday, Cinema one:129–35. London: Secker and Warburg [for] the British Film Institute. https://contentstore.cla.co.uk/secure/link?id=37ab7179-6c6c-e611-80c6-005056af4099.

Sirk, Douglas, Lana Turner, John Gavin, Sandra Dee, and Susan Kohner. 1959. ‘Imitation of Life.’ Universal Studios 823 4146.

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Spielberg, Steven. 1975. ‘Jaws.’ https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/id p/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/01695 B5D?bcast=92102752.

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Staiger, Janet. 1984. ‘Combination and Litigation: Structures of U.S. Film Distribution.’ Cinema Journal 23 (2): 41–72. https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/1225124?Search=yes &resultItemClick=true&searchText=Combination&searchText=and&s earchText=Litigation:&searchText=Structures&searchText=of&searchText =US&searchText=Film&searchText=Distribution&searchUri=%2Faction%2 FdoBasicSearch%3FQuery%3DCombination%2Band%2BLitigation%253A%2BStructures%2 Bof%2BUS%2BFilm%2BDistribution%26amp%3Bfilter%3Djid%253A10.2307%252Fj100121 &seq=1#page_scan_tab_contents.

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Stasukevich, Iain. n.d. ‘5-Star Service.’ American Cinematographer 95 (3): 30–41. https://uoelibrary.idm.oclc.org/login?url=http://search.proquest.com/fiaf/docview/1508072

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Taves, Brian. 1987. ‘1900-1928: Early Years - “Avant-Garde Filmmaker, 1927-29”.’ In Robert Florey: The French Expressionist, 79–103. BearManor Media. https://contentstore.cla.co.uk/secure/link?id=41d469ee-eb6a-e611-80c6-005056af4099.

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Toles, George. 2004. ‘Auditioning Betty in Mulholland Drive.’ Film Quarterly 58 (1): 2–13. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsjsr&AN=edsjsr.10.1525.fq.2004.58.1.2&site=eds-live&sco pe=site.

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Tourneur, Jacques, Simone Simon, Kent Smith, Tom Conway, Gunther Frisch, Robert Wise, and Jane Randolph. 1942. ‘Cat People.’ Warner Bros. T7244.

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Wagner, Kristen Anderson. 2011. ‘“Have Women a Sense of Humor?” Comedy and Femininity in Early Twentieth-Century Film’. The Velvet Light Trap 68 (1): 35–46. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=tr ue&db=edsmzh&AN=2011442627&site=eds-live&scope=site.

Watkins, S. Craig. 1998. ‘Producing the Spike Lee Joint.’ In Representing: Hip Hop Culture and the Production of Black Cinema, 107–36. Chicago: University of Chicago Press. https://contentstore.cla.co.uk/secure/link?id=563a0f60-6a70-e611-80c6-005056af4099.

Wees, William C. 1992. ‘Working in Light: Kenneth Anger.’ In Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film, 107–22. Berkeley: University of California Press. https://contentstore.cla.co.uk/secure/link?id=26220a56-e56d-e611-80c6-005056af4099.

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‘The Public Enemy.’

Wilder, Billy. 1944. ‘Double Indemnity.’ https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/id p/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/00088 910?bcast=116696025.

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———. 1979b. ‘“Forms of Coherence in the Woody Allen Comedies” [in] Wide Angle: A Film Quarterly of Theory, Criticism and Practice’. Wide Angle: A Film Quarterly of Theory, Criticism and Practice 3 (2): 34–41. http://encore.exeter.ac.uk/iii/encore/record/C__Rb1598261?lang=eng.

Zemeckis, Robert, Michael J. Fox, Christopher Lloyd, Lea Thompson, and Crispin Glover. 1985. ‘Back to the Future.’ Universal Studios.

Zemickis, Robert. 1985. ‘Back to the Future.’ https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/id p/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/001C3 8B8?bcast=121146659.

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