1.
Maltby R. Chapter 1: Taking Hollywood Seriously. In: Hollywood cinema. 2nd ed. Malden, Mass: Blackwell; 2003. p. 5–32.
2.
Gomery D. ‘The Rise of Hollywood: The Hollywood Studio System’ in The Oxford History of World Cinema, pp. 43-53. In: The Oxford history of world cinema [Internet]. Oxford: Oxford University Press; 1996. p. 43–53. Available from: http://UEA.eblib.com/patron/FullRecord.aspx?p=431159
3.
Gomery D. ‘The Coming of Sound: Technological Change in the American Film Industry’ from The American Film Industry, pp.229-251. In: The American film industry [Internet]. Rev. ed. Madison, Wis: University of Wisconsin; 1985. p. 229–51. Available from: http://lib.myilibrary.com/Open.aspx?id=278814&src=0
4.
Schatz TS. Warner Bros.: Talking Their Way to the Top. In: The genius of the system: Hollywood filmmaking in the studio era. London: Faber; 1998. p. 58–66.
5.
Staiger J. ‘Mass-produced Photoplays: Economic and Signifying Practices in the First Years of Hollywood’ from Movies and Methods: An Anthology (Vol 2), pp.144-161. In: Movies and methods: an anthology. Berkeley: University of California Press; 1985. p. 144–61.
6.
Bordwell D, Bordwell D. ‘Classical Narration: The Hollywood Example’ from Narration in the Fiction Film, pp.156-166 (extract). In: Narration in the fiction film. Madison, WI: University of Wisconsin Press; 1985. p. 156–66.
7.
Street S. Citizen Kane [in] History Today. History Today [Internet]. 1996;46(3):48–52. Available from: http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9603114648&authtype=sso&custid=s8993828&site=ehost-live
8.
Kuhn A, Schatz T. ‘The Classic Studio System’ and ‘Classic Hollywood Narrative’ from The Cinema Book, pp.19-44;45-48. In: The cinema book. 3rd ed. London: BFI; 2007. p. 19–48.
9.
Maltby R. ‘Narrative 1’ from Hollywood Cinema, Chapter 15, pp.452-470. In: Hollywood cinema. 2nd ed. Malden, Mass: Blackwell; 2003. p. 452–70.
10.
Allen RC, Gomery D. The role of the star in film history in Film History: Theory and Practice, pp.172-189. In: Film History: Theory and Practice. 1st ed. New York: Knopf; 1985. p. 172–89.
11.
Ohmer S. Chapter 10: Like, dislike, like very much. In: George Gallup in Hollywood [Internet]. New York: Columbia University Press; 2006. p. 215–29. Available from: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=908469
12.
Cook P. ‘Part 2: The Star System’ from The Cinema Book, pp.110-125. In: The cinema book. 3rd ed. London: BFI; 2007. p. 110–25.
13.
Dyer R. ‘Monroe and Sexuality’ from Heavenly Bodies: Film Stars and Society, pp.17-63. In: 2nd ed. London: Routledge; 2004. p. 17–63. Available from: http://lib.myilibrary.com/browse/open.asp?id=419648&entityid=https://login.uea.ac.uk/entity
14.
McDonald P. ‘The Symbolic Commerce of Hollywood Stardom’ from Hollywood Stardom, pp.11-40. In: Hollywood stardom. Malden, MA: Wiley-Blackwell; 2013. p. 11–40.
15.
Maltby R. Censorship and Self-Regulation. In: The Oxford history of world cinema [Internet]. Oxford: Oxford University Press; 1996. p. 235–48. Available from: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=431159
16.
Bordwell D. The Way Hollywood Tells It: Story and Style in Modern Movies [Internet]. The way Hollywood tells it: story and style in modern movies. Berkeley: University of California Press; 2006. Available from: http://www.UEA.eblib.com/EBLWeb/patron/?target=patron&extendedid=E_414750_0
17.
Wyatt J. Chapter 1. In: High Concept: Movies and Marketing in Hollywood [Internet]. 1st ed. Austin, Tex: University of Texas Press; 1994. p. 1–23. Available from: https://uea.idm.oclc.org/login?url=https://www.jstor.org/stable/10.7560/790902
18.
Gomery D. ‘The New Hollywood’ from The Oxford History of World Cinema, pp.475-482. In: The Oxford history of world cinema [Internet]. Oxford: Oxford University Press; 1996. p. 475–82. Available from: http://UEA.eblib.com/patron/FullRecord.aspx?p=431159
19.
Schatz T. ‘The New Hollywood’ from Film Theory Goes to the Movies, pp.8-36. In: Film theory goes to the movies. New York: Routledge; 1993. p. 8–36.
20.
Gomery D. The Hollywood Blockbuster: Industrial Analysis and Practice. In: Movie blockbusters [Internet]. London: Routledge; 2003. p. 72–83. Available from: http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1487013
21.
Jones K. The Summer of Our Malcontent [in] Film Comment. Film Comment [Internet]. 1996;XXXII(5):3–4. Available from: http://fiaf.chadwyck.com/fulltext/indexFullText.do?id=004/0092921&area=index&resultNum=155&queryId=../session/1451922128_28126&extra_SOURCE=config.cfg&QueryIndex=index&fromHistory=search&jid=006/0000127
22.
King G. ‘Frontier Narrative and Spectacle in Twister and Independence Day’ from Spectacular Narratives: Hollywood in the Age of the Blockbuster, pp.17-40. In: Spectacular narratives: Hollywood in the age of the blockbuster [Internet]. London: I.B. Tauris; 2000. p. 17–40. Available from: http://www.myilibrary.com/browse/open.asp?id=252940&entityid=https://login.uea.ac.uk/entity
23.
Bordwell D. ’ ‘A Certain Amount of Plot: Tentpoles, Locomotives, Blockbusters, Megapictures and the Action Movie’ from The Way Hollywood Tells It: Story and Style in Modern Movies, pp.104-114. In: The way Hollywood tells it: story and style in modern movies [Internet]. Berkeley: University of California Press; 2006. p. 104–14. Available from: http://www.UEA.eblib.com/EBLWeb/patron/?target=patron&extendedid=E_414750_0
24.
King G. ‘Narrative vs Spectacle in the Contemporary Blockbuster’ from New Hollywood Cinema: an Introduction, pp.178-223. In: New Hollywood cinema: an introduction [Internet]. New York: Columbia University Press; 2002. p. 178–223. Available from: http://UEA.eblib.com/patron/FullRecord.aspx?p=676374
25.
Schatz T. The Studio System and Conglomerate Hollywood. In: The contemporary Hollywood film industry. Malden, Mass: Blackwell Pub; 2007. p. 29–42.
26.
Wyatt J. ‘The Formation of the Major Independents’ from Contemporary Hollywood Cinema, pp.74-90. In: Contemporary Hollywood cinema. London: Routledge; 1998. p. 74–90.
27.
King G. ‘The Major Independents’ from The Cinema Book, pp.54-59. In: The cinema book. 3rd ed. London: BFI; 2007. p. 54–9.
28.
Maltby R. ‘Industry Since 1980’ from Hollywood Cinema, Chapter 7, pp.189-226. In: Hollywood cinema. 2nd ed. Malden, Mass: Blackwell; 2003.
29.
Johnson D. ‘Imagining the Franchise: Structures, Social Relations and Cultural Work’ from Media Franchising: Creative License and Collaboration in the Culture Industries, pp.27-46. In: Media franchising: creative license and collaboration in the culture industries [Internet]. New York: New York University Press; 2013. p. 27–46. Available from: http://UEA.eblib.com/patron/FullRecord.aspx?p=1137509
30.
Meehan E. ‘Holy Commodity Fetish, Batman!’ [in] The Many More Lives of the Batman. In: The Many More Lives of the Batman. 2nd ed. British Film Institute; 2015. p. 69–87.
31.
Drake P. ‘Distribution and Marketing in Contemporary Hollywood’ from The Contemporary Hollywood Film Industry, pp.63-82. In: The contemporary Hollywood film industry. Malden, Mass: Blackwell Pub; 2007. p. 63–82.
32.
Miller T, British Film Institute. ‘The New International Division of Cultural Labour’ from Global Hollywood 2, pp.111-123; 149-151. In: Global Hollywood 2. London: BFI; 2005. p. 111–51.
33.
Trumpboar J. ‘Hollywood and the World: Export or Die’ from The Contemporary Hollywood Film Industry, pp.209-219. In: The contemporary Hollywood film industry [Internet]. Malden, Mass: Blackwell Pub; 2007. p. 209–19. Available from: http://www.loc.gov/catdir/toc/ecip0715/2007014550.html
34.
Lent JA. East Asia: For Better or Worse. In: The contemporary Hollywood film industry. Malden, Mass: Blackwell Pub; 2007. p. 275–84.
35.
Balio T. ‘A Major Presence in all of the World’s Important Markets: The Globalisation of Hollywood in the 1990s’ from Contemporary Hollywood Cinema, pp.58-73. In: Contemporary Hollywood cinema. London: Routledge; 1998. p. 58–73.
36.
Hesmondhalgh D. ‘Neither Globalisation nor Cultural Imperialism’; ‘The International Film Industry: Hollywood Power’; ‘Other Film Industries, Other Texts: India and Hong Kong’ from The Cultural Industries, pp.270-277; 293-301. In: The cultural industries. 3rd ed. London: SAGE; 2013. p. 270–301.
