09/30/21 2712GFS | Griffith University

2712GFS View Online

Alexander Street Press. (2009). Asian film online. Alexander Street Press. https://intranet.secure.griffith.edu.au/secure/jump-page/asian-film-online/

Anne. (n.d.-a). Garin Nugroho: Didong, cinema and the embodiment of politics in cultural form. http://www.screeningthepast.com/2014/12/garin-nugroho-didong-cinema-and-the-embodi ment-of-politics-in-cultural-form/

Aruna Vasudev. (1986). The new Indian cinema. Macmillan India.

Asian film online. (n.d.). Alexander Street Press. http://libraryproxy.griffith.edu.au/login?url=https://video.alexanderstreet.com/channel/asia n-film-online

Ataman, K., Kent, R., & Museum of Contemporary Art (Sydney, N.S.W.). (2005). Film stills from Kutlug Ataman: perfect strangers. In Kutlug Ataman: perfect strangers (pp. 34–39). Museum of Contemporary Art.

Ball, A. (2008). Between a Postcolonial Nation and Fantasies of the Feminine: The Contested Visions of Palestinian Cinema. Camera Obscura: Feminism, Culture, and Media Studies, 23(3 69), 1–33. https://doi.org/10.1215/02705346-2008-006

Barendrecht, W. (2001). Thai Films in the Foreign Market. In K. Ji-Seok & M. Sohn (Eds.), Bangkok Express: Close Encounters of New Thai Cinema - 6th Pusan International Film Festival (pp. 34–39). Keunsaram Co., Ltd.

Baumgärtel, T. (2012a). Southeast Asian independent cinema: essays, documents, interviews. Hong Kong University Press. http://libraryproxy.griffith.edu.au/login?url=https://ebookcentral.proquest.com/lib/griffith/d etail.action?docID=877741

Baumgärtel, T. (2012b). Southeast Asian independent cinema: essays, documents, interviews. Hong Kong University Press. http://libraryproxy.griffith.edu.au/login?url=https://ebookcentral.proquest.com/lib/griffith/d etail.action?docID=877741

Baumgärtel, T. (2012c). Southeast Asian independent cinema: essays, documents, interviews. Hong Kong University Press. http://libraryproxy.griffith.edu.au/login?url=https://ebookcentral.proquest.com/lib/griffith/d etail.action?docID=877741

1/9 09/30/21 2712GFS | Griffith University

Baumgärtel, T. (2012d). Southeast Asian independent cinema: essays, documents, interviews. Hong Kong University Press. http://libraryproxy.griffith.edu.au/login?url=https://ebookcentral.proquest.com/lib/griffith/d etail.action?docID=877741

Baumgärtel, T. (2012e). Southeast Asian independent cinema: essays, documents, interviews. Hong Kong University Press. http://libraryproxy.griffith.edu.au/login?url=https://ebookcentral.proquest.com/lib/griffith/d etail.action?docID=877741

Bekerman, A., & Mendel, N. (2012). Producers. In A decade in motion : the new voice of Israeli cinema (pp. 94–101). The Israel Film Council.

Berry, C. (2010). Now You See it, Now You Don’t. In Asian film journeys: selections from Cinemaya (pp. 48–58). Wisdom Tree.

Bronner, E. (2012). Ajami : One conflict, many vies, no actors. In A decade in motion : the new voice of Israeli cinema (pp. 46–48). The Israel Film Council.

Cai, M., Pesery, B., Yang, P.-Y., Li, K., Chen, X., Lu, Y., SBS-TV, Arena Films (Firm), Arte France cinéma (Firm), & Homegreen Films. (2016). Ni neibian jidian =: What time is it there? http://libraryproxy.griffith.edu.au/login?url=https://base.ess.griffith.edu.au:8443/ess/echo/p resentation/5036a72d-4d69-4131-9ac7-f8b6b4efa9e2

Ceylan, N. B., Özdemir, M., Toprak, M. E., NBC Ajans (Firm), & SBS-TV. (2016). Uzak =: Distant. http://libraryproxy.griffith.edu.au/login?url=https://base.ess.griffith.edu.au:8443/ess/echo/p resentation/43b45aec-4932-4b31-adbe-62a4686c7a70

Cheah, P. (2004). And the moon dances: the films of Garin (First ed). Bentang Pustaka in cooperation with SET Film Workshop and BigO.

Cheah, P. (2012). My Travels in the Post-Colonial Film Festival World. In When Strangers Meet: Visions of Asia & Europe in Film (pp. 33–29). Asia-Europe Foundation.

Cheah, P. (2014). Incubating Film Studios in Film Schools. Showcase Cinema, Korea, 1–2.

Cheah, P., & Demy-Geroe, A. (2015). Introduction and The Philippines Now! Showcase Cinema: The Philippines Now!

Cheong, W. T. (2007). Malaysia’s Alternative Cinema. In M. Oak (Ed.), Three Colors of New Malaysian Cinema - 12th Pusan International Film Festival (pp. 8–15). Keunsaram Co., Ltd.

Chhetry, S. (2015). From Devdas to Dev D: A study of the re-incarnation of Sarat Chandra Chattopadhyay‘s classic ’Devdas” into Anurag Kashyap’s popular "Dev-D”. International Journal of Research (IJR), 2(3), 450–454.

Chris, B. (2003). What’s Big about the Big Film? De-Westernizing the Blockbuster in Korea and China. In Movie blockbusters (pp. 129–127). Routledge.

2/9 09/30/21 2712GFS | Griffith University

Dabashi, H., & Said, E. W. (2006). Dreams of a nation. Verso.

Dadak, Z. (2011). Regenerating Cinema in Turkey. In G. Onaran & F. Yucel (Eds.), Cinema Turkey : new times, new tendencies (pp. 6–21). Altyazı Project Office.

Delos Santos Cabagnot, E. (2008). My Favourite Superhero Wears a Bikini. In Superheroes in Asia (pp. 16–25). Pusan International Film Festival.

Dissanayake, W. (1993). Introduction in Melodrama and Asian Cinema. In Melodrama and Asian cinema: Vol. Cambridge studies in film (pp. 1–8). Cambridge University Press.

Dissanayake, W. (1994). Nationhood, History, and Cinema: Reflections on the Asian Scene. In Colonialism and nationalism in Asian cinema (pp. ix – xxix). Indiana University Press.

Dönmez-Colin, G. (2004). Chapter 3 Islamist Cinema as a Genre. In Women, Islam and cinema (pp. 87–102). Reaktion Books. https://ebookcentral-proquest-com.libraryproxy.griffith.edu.au/lib/griffith/reader.action?doc ID=449407&ppg=89

Dönmez-Colin, G. (2007). Introduction. In The cinema of North Africa and the Middle East: Vol. 24 frames (pp. 1–11). Wallflower Press.

Dönmez-Colin, G., ebrary, Inc, & ProQuest Ebooks. (2008). Turkish cinema: identity, distance and belonging. Reaktion Books. http://libraryproxy.griffith.edu.au/login?url=https://ebookcentral.proquest.com/lib/griffith/d etail.action?docID=618754

Do ̈ nmez-Colin, Go ̈ nu ̈ l. (n.d.). Selection from Routledge Dictionary of Turkish Cinema. In The Routledge dictionary of Turkish cinema (pp. 86–98).

Doraiswamy, R., & Padgaonkar, L. (2010a). Japan - Readings from Asian film Journeys. In Asian film journeys: selections from Cinemaya (pp. 237–272). Wisdom Tree.

Doraiswamy, R., & Padgaonkar, L. (2010b). South Korea - Readings from Asian Film Journeys. In Asian film journeys: selections from Cinemaya (pp. 352–370). Wisdom Tree.

Doyle, C., Li, P., Galasso, M., Shigeru, U., Chang, W., Lai, C., Pan, D., Siu, P., Wong, K., Leung, T. C. W., Zhang, M., Chun guang ying hua (Firm), Paradis film (Firm), & Jet Tone Production Company. (2016). Hua yang nian hua =: In the mood for love. http://libraryproxy.griffith.edu.au/login?url=https://base.ess.griffith.edu.au:8443/ess/echo/p resentation/b92dca15-ccf1-41c6-bb63-82b3e37b928b

Fainaru, D. (2012). Ten years later. In A decade in motion : the new voice of Israeli cinema (pp. 6–9). The Israel Film Council.

3/9 09/30/21 2712GFS | Griffith University

Farhādī, A., Jafarian, H., Razavi, S. M., Farāhānī, G., Alidousti, T., Hosseini, S., Hi Gloss Entertainment, Axiom Films, DreamLab Films, World Movies Channel (Firm), & Internationale Filmfestspiele Berlin. (2016). Darbareye Elly =: About Elly. http://libraryproxy.griffith.edu.au/login?url=https://base.ess.griffith.edu.au:8443/ess/echo/p resentation/80aed920-b915-41f5-9be2-91d3e5dd8f86

FC Director’s Choice | Black Friday | Anurag Kashyap In Conversation With Vikramaditya Motwane. (8 C.E.). https://www.youtube.com/watch?v=Tk_Y6reLlVU

Flanagan, M. (2008). 16:9 in English: Towards an Aesthetic of Slow in Contemporary Cinema. http://www.16-9.dk/2008-11/side11_inenglish.htm

Gertz, N., & Khleifi, G. (2005). Palestinian ‘Roadblock Movies’. Geopolitics, 10(2), 316–334. https://doi.org/10.1080/14650040590946601

Gertz, N., Khleifi, G., & Ebooks Corporation. (2008). Between exile and homeland : the films of Elia Suleiman. In Palestinian cinema: landscape, trauma and memory (pp. 171–187). Edinburgh University Press. http://libraryproxy.griffith.edu.au/login?url=http://www.Griffith.eblib.com.au/EBLWeb/patro n/LoginAction.do?userid=û&target=patron&extendedid=P_332614_0&

Get started - Screen Media - Library guides at Griffith University. (n.d.). http://libraryguides.griffith.edu.au/cinema-research

Gunawan, A. (2004). An Urgent Call for Reform of Indonesia’s Film Regulations. In Garin and the Next Generation: New Possibility of Indonesian Cinema (pp. 52–61). 9th Pusan International Film Festival: Keunsaram Co., Ltd.

Hanan, D. (2008). Moments of renewal - alternative ways of viewing Indonesian cinema. Jurnal Skrin Malaysia / Fakulti Seni Persembahan. - Version Details - Trove, 5, 119–138. http://trove.nla.gov.au/work/34677409?q=1823-1020&l-format=Periodical&c=ar ticle&versionId=46545617

Harmayn, S. (2004). Representing Indonesia: from ethnography to democracy. In Garin and the Next Generation: New Possibility of Indonesian Cinema (pp. 42–50). 9th Pusan International Film Festival: Keunsaram Co., Ltd.

Huei-Yin Chen. (n.d.-b). Interview: Tsai Ming-liang - Film Comment. http://www.filmcomment.com/blog/interview-tsai-ming-liang/

Ichyama, S. (2008). Superheroes in Japan. In Superheroes in Asia (pp. 8–13). Pusan International Film Festival.

Janke, T. (n.d.). Pathways & Protocols: A Filmmaker’s Guide to Working with Indigenous People, Culture and Concepts. Screen Australia. http://www.screenaustralia.gov.au/about-us/doing-business-with-us/indigenous-content/ind igenous-protocols

Jennings, K. (1993). Theorising race and representation. In Sites of difference: cinematic representations of Aboriginality and gender: Vol. Moving image: no.1 (pp. 9–23). Australian Film Institute, Research and Information Centre.

4/9 09/30/21 2712GFS | Griffith University

Ji-Seok, K. (2001a). A Crusader of Experimental Films: An Interview with Apichatpong Weerasethakil. In K. Ji-Seok & M. Sohn (Eds.), Bangkok Express: Close Encounters of New Thai Cinema - 6th Pusan International Film Festival (pp. 52–56). Keunsaram Co., Ltd.

Ji-Seok, K. (2001b). Interview with Duangkamol Limcharoen. In K. Ji-Seok & M. Sohn (Eds.), Bangkok Express: Close Encounters of New Thai Cinema - 6th Pusan International Film Festival (pp. 40–44). Keunsaram Co., Ltd.

Ji-Seok, K. (2001c). Interview with Nonzee Nimibutr. In K. Ji-Seok & M. Sohn (Eds.), Bangkok Express: Close Encounters of New Thai Cinema - 6th Pusan International Film Festival (pp. 45–51). Keunsaram Co., Ltd.

Ji-Seok, K. (2001d). Thai Films Today: What is happening to the Thai Cinema. In K. Ji-Seok & M. Sohn (Eds.), Bangkok Express: Close Encounters of New Thai Cinema - 6th Pusan International Film Festival (pp. 6–11). Keunsaram Co., Ltd.

Ji-Seok, K. (2002). A Flower in the Desert: Twenty Years of Taiwan New Wave Cinema, a True Surviving Act. In K. Ji-Seok & J. Thomas (Eds.), Taiwanese Cinema 1982-2002: From New Wave to independent - 20th Pusan International Film Festival (pp. 7–11). Keunsaram Co., Ltd.

Ji-Seok, K. (2015). Asian Cinema 100. In Asian Cinema 100 - Busan International Film Festival 2015 (pp. 12–244). Busan International Film Festival.

Ji-Seok, K., & Thomas, J. (Eds.). (2002). Filmography - 20th Pusan International Film Festival. In Taiwanese Cinema 1982-2002: From New Wave to independent - 20th Pusan International Film Festival (pp. 75–92). Keunsaram Co., Ltd.

Kashyap, A., Mehta, D., Screwvala, R., & Hamilton, D. (2009). Dev D. UTV.

Khalili Mahani, N. (2006). Women of Iranian Popular Cinema: Projection of Progress, Beyond Tradition and Taboo. Offscreen, 10(7). http://offscreen.com/view/women_of_iran

Khoo, G. C. (2007). Malaysian Independents: Cinema of the Everyday. In M. Oak (Ed.), Three Colors of New Malaysian Cinema - 12th Pusan International Film Festival (pp. 18–25). Keunsaram Co., Ltd.

Knopf, K. (2013). Kangaroos, petrol, joints and sacred rocks: Australian cinema decolonized. Studies in Australasian Cinema, 7(2), 189–200. https://doi.org/10.1386/sac.7.2-3.189_1

Kore-eda, H., Abe, H., Natsukawa, Y., Kiki, K., Harada, Y., You, & New Wave Films. (2008). Still walking. New Wave Films.

Kraicer, S. (n.d.). Shelly on Film: The Use and Abuse of Chinese Cinema. http://dgeneratefilms.com/critical-essays/shelly-on-film-the-use-and-abuse-of-chinese-cine ma-part-one

Lan, T.-W. (2002). The Role of Government in the Development of the Taiwanese New Wave. In K. Ji-Seok & J. Thomas (Eds.), Taiwanese Cinema 1982-2002: From New Wave to independent - 20th Pusan International Film Festival (pp. 41–47). Keunsaram Co., Ltd.

5/9 09/30/21 2712GFS | Griffith University

Law, K. (2001). An Overview of Hong Kong’s New Wave Cinema. In At full speed: Hong Kong cinema in a borderless world (pp. 31–52.). University of Minnesota Press. http://libraryproxy.griffith.edu.au/login?url=http://www.griffith.eblib.com.AU/EBLWeb/patro n/?target=patron&extendedid=P_310538_0&

Limcharoen, D. (2001). Thai Film History - Would History Repeat Itself? In K. Ji-Seok & M. Sohn (Eds.), Bangkok Express: Close Encounters of New Thai Cinema - 6th Pusan International Film Festival (pp. 28–33). Keunsaram Co., Ltd.

Mark. (n.d.-c). INTERVIEW: Cities and Loneliness; Tsai Ming-Liang’s ‘What Time Is It There?’ http://www.indiewire.com/2002/01/interview-cities-and-loneliness-tsai-ming-liangs-what-ti me-is-it-there-80570/

Mark. (2011). Midnight Eye feature: Post-Human Nightmares - The World of Japanese Cyberpunk Cinema. http://www.midnighteye.com/features/post-human-nightmares-the-world-of-japanese-cybe rpunk-cinema/

Mary. (n.d.-d). Zhang Yimou. http://sensesofcinema.com/2002/great-directors/zhang/

McKay, B. (2012). Auteur-ing Malaysia: Yasmin Ahmad and Dreamed Communities. In M. A. Ingawanij & B. McKay (Eds.), Glimpses of freedom: independent cinema in Southeast Asia: Vol. Studies on Southeast Asia (pp. 107–120). Southeast Asia Program, Cornell University.

Meaux, C. de, Apichatpong Weerasethakul, Banlop Løåomnøåoi, Sakdåa Kåµobåuadåi, Anna Sanders Films (Firm), & Strand Releasing (Firm). (2005). Sud pralad =: Tropical malady (Director’s vision edition). Strand Releasing.

Mendoza, B. (2010). Service: Serbis. E1 Entertainment.

Mitsuyo Wada-Marciano. (n.d.). A dialogue through memories: Still Walking. Film Criticism, 35(2-3), 110–126. http://libraryproxy.griffith.edu.au/login?url=https://go.galegroup.com/ps/i.do?p=EAIM& ;u=griffith&id=GALE|A250577372&v=2.1&it=r&sid=summon&us erGroup=griffith&authCount=1

Muthalib, H. A. (2007). Landscapes and Mindscapes: In The Films of the Malaysian New Wave. In M. Oak (Ed.), Three Colors of New Malaysian Cinema - 12th Pusan International Film Festival (pp. 28–34). Keunsaram Co., Ltd.

Naficy, H. (2002). Islamizing Film Culture in Iran: A Post-Khatami Update. In The new Iranian cinema: politics, representation and identity (pp. 26–65). I.B. Tauris Publishers.

Ning, M. (2010). Is there such a thing as Asian cinema? In R. Doraiswamy & L. Padgaonkar (Eds.), Asian film journeys: selections from Cinemaya (pp. 557–588). NETPAC.

Notes on A Touch of Zen - From the Current - The Criterion Collection. (n.d.). https://www.criterion.com/current/posts/4157-notes-on-a-touch-of-zen

OAK, M. (2004). Filmography. In Garin and the Next Generation: New Possibility of Indonesian Cinema (pp. 62–68). 9th Pusan International Film Festival: Keunsaram Co., Ltd.

6/9 09/30/21 2712GFS | Griffith University

Oak, M. (Ed.). (2007). Film Introduction - 12th Pusan International Film Festival. In Three Colors of New Malaysian Cinema - 12th Pusan International Film Festival (pp. 36–44). Keunsaram Co., Ltd.

Onaran, G., & Yucel, F. (2011). Introduction from Cinema Turkey : new times, new tendencies. In G. Onaran & F. Yucel (Eds.), Cinema Turkey : new times, new tendencies (pp. 4–5). Altyazı Project Office.

Ozgen Tuncer, A. (2011). Probing (the) Province : New landscapes of New Cinema From Turkey. In G. Onaran & F. Yucel (Eds.), Cinema Turkey : new times, new tendencies (pp. 76–89). Altyazı Project Office.

Palmer, A. (2002). Border Crossing: Three Chinese New Waves in Retrospect. In K. Ji-Seok & J. Thomas (Eds.), Taiwanese Cinema 1982-2002: From New Wave to independent - 20th Pusan International Film Festival (pp. 49–73). Keunsaram Co., Ltd.

Paquet, D. (2005). Chapter 2 The Korean Film Industry: 1992 to the Present. In New Korean cinema (pp. 32–50). Edinburgh University Press.

Plakosa, G. (2004). The diffusion of Indonesian short films: a global view of Indonesian film. In Garin and the next generation: new possibility of Indonesian cinema (pp. 30–40). 9th Pusan International Film Festival: Keunsaram Co., Ltd.

Quandt, J. (n.d.). Push And Pull: An Exchange With Apichatpong Weerasethakul. http://www.cine-fils.com/essays/joe-weerasethakul.html

Rahman, L. (2008). Saving Superheroes: Stories Around Indonesian Superhero Films. In Superheroes in Asia (pp. 28–33). Pusan International Film Festival.

Rayns, T. (2001). An Act of Reinvention: Thai Cinema Now. In K. Ji-Seok & M. Sohn (Eds.), Bangkok Express: Close Encounters of New Thai Cinema - 6th Pusan International Film Festival (pp. 19–27). Keunsaram Co., Ltd.

Rayns, T. (2002). Countdown: Steps towards Taiwan’s ‘New Wave’. In K. Ji-Seok & J. Thomas (Eds.), Taiwanese Cinema 1982-2002: From New Wave to independent - 20th Pusan International Film Festival (pp. 21–29). Keunsaram Co., Ltd.

Rayns, T. (2004). The Identity of Garin Nugroho. In Garin and the Next Generation: New Possibility of Indonesian Cinema (pp. 6–17). 9th Pusan International Film Festival: Keunsaram Co., Ltd.

Reclaiming Indigenous Australian identity: filmmakers. (n.d.). ACMI: Australian Centre for the Moving Image. http://generator.acmi.net.au/education-themes/indigenous-australian-voices/reclaiming-ind igenous-australian-identity-filmmakers

Richie, D. (2010). Narrative Traditions East and West. In Asian film journeys: selections from Cinemaya (pp. 536–539). Wisdom Tree.

Riyanto, G. N., Miroto, M., Devi, A. S., Supriyanto, E., Supanggah, R., Field, S., Griffiths, K.

7/9 09/30/21 2712GFS | Griffith University

M., Global Film Initiative, & First Run Features (Firm). (2006). Opera Jawa: Vol. Global Lens collection. First Run Features.

Sato, T. (2002). Tatami and the Sword. In Being & becoming, the cinemas of Asia (pp. 241–270). Macmillan.

Schoumann, H. (2012). Israeli Cinema comes out of the shadows. In A decade in motion : the new voice of Israeli cinema (pp. 108–109). The Israel Film Council.

Seno Gumira, A. (2004). The End of the Silent Period. In Garin and the Next Generation: New Possibility of Indonesian Cinema (pp. 18–28). 9th Pusan International Film Festival: Keunsaram Co., Ltd.

Shedde, M. (2008). Saving the World Is Too Banal for Superheroes in Indian Cinema. In Superheroes in Asia (pp. 36–44). Pusan International Film Festival.

Sng, Z. (2013). Syncretic Sunshine: Metaphor in the Cinema of Lee Chang-Dong. Diacritics, 41(2), 6–30. https://doi.org/10.1353/dia.2013.0006

Suleiman, E., Balsan, H., Khader, M., Daher, N. F., Ognon Pictures, Arte France cinéma (Firm), Gimages Films (Firm), 2M Soréad (Firm), Lichtblick (Firm), & Pyramide distribution (Firm). (2016). Yadon ilaheyya =: Divine intervention. http://libraryproxy.griffith.edu.au/login?url=https://base.ess.griffith.edu.au:8443/ess/echo/p resentation/2992fd22-362e-4c3b-a901-bdaf20f4ae5d

Sumarno, M., & Nan, A. (2002). In Two Worlds. In Being & becoming, the cinemas of Asia (pp. 153–170). Macmillan.

Ten questions with Garin Nugroho - Griffith University. (n.d.). https://www.griffith.edu.au/visual-creative-arts/queensland-college-art/studios/griffith-film- school/projects/showcase-cinema-indonesia/ten-questions-garin-nugroho

Tessier, M. (2012). The West Looks East/East-West Encounters. In When Strangers Meet: Visions of Asia & Europe in Film (pp. 9–13). Asia-Europe Foundation,.

Thoraval, Y. (2000). The cinemas of India. Macmillan India.

Thornton, W., Shelper, K., McNamara, R., Gibson, M., ABC-TV (Australia, Screen Australia, New South Wales. Film and Television Office, Australian Broadcasting Corporation, Scarlett Pictures Pty Ltd, CAAMA Productions, Adelaide Film Festival, & Northern Territory Film Office. (2016). Samson and Delilah. http://libraryproxy.griffith.edu.au/login?url=https://griffith.kanopy.com/video/samson-and-d elilah-1

Uabumrungjit, C. (2001a). Thai film and beyond: At the Very Beginning. In K. Ji-Seok & M. Sohn (Eds.), Bangkok Express: Close Encounters of New Thai Cinema - 6th Pusan International Film Festival (pp. 12–18). Keunsaram Co., Ltd.

Uabumrungjit, C. (2001b). Thailand : Cinema in Thailand : 1897 to 1970. In Film in South East Asia: views from the region : essays on film in ten South East Asia-Pacific countries (pp. 119–139). South East Asia-Pacific Audio Visual Archive Association in association with the Vietnam Film Institute and the National Screen and Sound Archive of Australia.

8/9 09/30/21 2712GFS | Griffith University

Vasudev, A., & Cheah, P. (2012). Introduction: How the East Kept a Steady Gaze. In When Strangers Meet: Visions of Asia & Europe in Film (pp. 5–7). Asia-Europe Foundation.

Wei, T. (2002). Reassessing New Taiwanese Cinema: From Local to Global. In K. Ji-Seok & J. Thomas (Eds.), Taiwanese Cinema 1982-2002: From New Wave to independent - 20th Pusan International Film Festival (pp. 31–39). Keunsaram Co., Ltd.

Wright Wexman, V. (2006). India : a people’s cinema : 1956-. In A history of film (6th ed., pp. 292–304). Pearson/A & B.

Yi, C., Chŏn, T., Song, K., SBS-TV, Pine House Film, Cinema Services Corp, & CJ Ent’ŏt'einmŏnt'ŭ (Firm). (2016). Milyang =: Secret sunshine. http://libraryproxy.griffith.edu.au/login?url=https://base.ess.griffith.edu.au:8443/ess/echo/p resentation/14f97696-c1b5-47fc-9529-29fab2351309

Yue, A. (2003). In The Mood for love: intersections of Hong Kong modernity. In Chinese films in focus: 25 new takes (pp. 128–136). BFI. https://minerva-access.unimelb.edu.au/bitstream/handle/11343/25674/67071_00002787_0 1_Yue003.pdf?sequence=5&isAllowed=y

Yu, J. H. C. (2002). From New Wave to Independent: Taiwan Cinema 1982-2002. In K. Ji-Seok & J. Thomas (Eds.), Taiwanese Cinema 1982-2002: From New Wave to independent - 20th Pusan International Film Festival (pp. 13–19). Keunsaram Co., Ltd.

Zuckermann, G. (2015). ENGAGING: A Guide to Interacting Respectfully and Reciprocally with Aboriginal and Torres Strait Islander People, and their Arts Practices and Intellectual Property. Indigenous Culture Support. http://www.zuckermann.org/guide.html

9/9