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Boyle, K., & Berridge, S. (2014). I love you, man. Feminist Media Studies, 14(3), 353–368. https://doi.org/10.1080/14680777.2012.740494
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Creed, Barbara. (n.d.). HORROR AND THE MONSTROUS-FEMININE: AN IMAGINARY ABJECTION. Screen; Jan/Feb86, Vol, 27(Issue 1, p44-70, 27p), 44–70. http://search.ebscohost.com/login.aspx?direct=true&db=edb&AN=31426388&authtype=sso&custid=s8993828&site=ehost-live
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Edwards, T. (2006b). Cultures of masculinity. Routledge. http://lib.myilibrary.com/browse/open.asp?id=29157&entityid=https://login.uea.ac.uk/entity
Edwards, T. (2006c). Cultures of masculinity. Routledge. http://lib.myilibrary.com/browse/open.asp?id=29157&entityid=https://login.uea.ac.uk/entity
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Garrett, R. (2007). Postmodern chick flicks: the return of the woman’s film. Palgrave Macmillan.
Genz, S., & Brabon, B. A. (2009). Postfeminism: cultural texts and theories. Edinburgh University Press. http://uea.eblib.com/patron/FullRecord.aspx?p=448738
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Gill, R. (2016). Post-postfeminism?: new feminist visibilities in postfeminist times. Feminist Media Studies, 16(4), 610–630. https://doi.org/10.1080/14680777.2016.1193293
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Hills, E. (1999). From "figurative males” to action heroines: further thoughts on active women in the cinema. Screen, 40(1), 38–50. http://screen.oxfordjournals.org/content/40/1.toc
Hobbs, Alex: Romancing the Crone: Hollywood’s Recent Mature Love Stories. (2013). Journal of American Culture, 36(1), 42–51. https://uea.idm.oclc.org/login?url=http://gateway.proquest.com/openurl?ctx_ver=Z39.88-2003&xri:pqil:res_ver=0.2&res_id=xri:lion&rft_id=xri:lion:ft:abell:R05097315:0&rft.accountid=10637
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Jeffrey A. Brown. (1996). Gender and the Action Heroine: Hardbodies and the ‘Point of No Return’. Cinema Journal, 35(3), 52–71. https://uea.idm.oclc.org/login?url=http://www.jstor.org/stable/1225765?seq=1#page_scan_tab_contents
Jermyn, D. (n.d.). Rereading the Bitches from Hell: A Feminist Appropriation of the Female Psychopath. Screen, 37(3), 251–267. http://screen.oxfordjournals.org/content/37/3.toc
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Jones, K., Cross, S., Hach, H., Murkoff, H. E., Diaz, C., Kendrick, A., Lopez, J., Morrison, M., Banks, E., Quaid, D., Crawford, C., Rock, C., Decker, B., Santoro, R., & Lions Gate Entertainment (Firm). (2012). What to expect when you’re expecting. Lionsgate Home Entertainment.
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McRobbie, A. (2009b). The aftermath of feminism: gender, culture and social change. SAGE. http://lib.myilibrary.com/browse/open.asp?id=496970&entityid=https://login.uea.ac.uk/entity
Mendible, M. (2007). From bananas to buttocks: the Latina body in popular film and culture. University of Texas Press.
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Mottola, G. (2007). Superbad. Sony Pictures Home Entertainment.
Neale, S. (1983). Masculinity as Spectacle. Screen, 24(6), 2–17. https://doi.org/10.1093/screen/24.6.2
Negra, D. (2009). What a girl wants: fantasizing the reclamation of self in postfeminism. Routledge. http://www.uea.eblib.com/EBLWeb/patron?target=patron&extendedid=P_432807_0&
Neroni, H. (2005). The violent woman: femininity, narrative, and violence in contemporary American cinema: Vol. SUNY series in feminist criticism and theory. State University of New York Press.
Nolan, C. (2010). Inception. Distributed by Warner Home Video.
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O’Haver, T. (2004). Ella enchanted. Miramax.
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Pfeil, F. (1995b). White guys: studies in postmodern domination and difference: Vol. The Haymarket series. Verso.
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Pomerance, M., & Gateward, F. K. (2004). Where the boys are: cinemas of masculinity and youth: Vol. Contemporary approaches to film and television series. Wayne State University Press.
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Poul, A. (2011b). The back-up plan. Sony Pictures Home Entertainment.
Powrie, P., Davies, A., & Babington, B. (2004a). The trouble with men: masculinities in European and Hollywood cinema. Wallflower.
Powrie, P., Davies, A., & Babington, B. (2004b). The trouble with men: masculinities in European and Hollywood cinema. Wallflower.
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Purse, L. (2011). Contemporary action cinema. Edinburgh University Press.
Radner, H. (2011). Something’s Gotta Give (2003): Nancy Meyers, Neo-Feminist Auteur [in] Neo-feminist cinema: girly films, chick flicks and consumer culture. In Neo-feminist cinema: girly films, chick flicks and consumer culture. Routledge. http://lib.myilibrary.com/browse/open.asp?id=304494&entityid=https://login.uea.ac.uk/entity
Radner, H., & Stringer, R. (2011). Introduction: "Re-Vision?”: feminist film criticism in the twenty-first century [in] Feminism at the movies: understanding gender in contemporary popular cinema. In Feminism at the movies: understanding gender in contemporary popular cinema. Routledge. http://lib.myilibrary.com/browse/open.asp?id=344197&entityid=https://login.uea.ac.uk/entity
Rahman, M., & Jackson, S. (2010a). Gender and sexuality: sociological approaches. Polity.
Rahman, M., & Jackson, S. (2010b). Gender and sexuality: sociological approaches. Polity.
Rahman, M., & Jackson, S. (2010c). Gender and sexuality: sociological approaches. Polity.
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Redfern, C., & Aune, K. (2010). Reclaiming the F word: the new feminist movement. Zed Books. http://lib.myilibrary.com/browse/open.asp?id=273866&entityid=https://login.uea.ac.uk/entity
Reitman, I. (2011). No Strings Attached. Paramount Home Entertainment.
Reitman, J. (2008a). Juno. 20th Century Fox Home Entertainment.
Reitman, J. (2008b). Juno. 20th Century Fox Home Entertainment.
Richardson, M. (2004). Where can the others meet? Gender, race and film comedy. http://sensesofcinema.com/2004/comedy-and-perception/where_can_others_meet/
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Ross, G. (2012). The Hunger Games. https://learningonscreen.ac.uk/ondemand/index.php/prog/02E3193E?bcast=123285655
Ross, K. (2012). Save the Cheerleader, Save the Male: Resurgent Protective Paternalism in Popular Film and Television After 9/11 [in] The handbook of gender, sex, and media. In The handbook of gender, sex, and media: Vol. Handbooks in communication and media. Wiley-Blackwell. http://lib.myilibrary.com/browse/open.asp?id=422805&entityid=https://login.uea.ac.uk/entity
Rubinfeld, M. D., & Rubinfield, M. D. (2001). Bound to bond: gender, genre, and the Hollywood romantic comedy. Praeger.
Schaap, R. (2011). No Country for Old Women: Gendering Cinema in Conglomerate Hollywood [in] Feminism at the movies: understanding gender in contemporary popular cinema. In Feminism at the movies: understanding gender in contemporary popular cinema. Routledge. http://lib.myilibrary.com/browse/open.asp?id=344197&entityid=https://login.uea.ac.uk/entity
Schubart, R. (2007). High Trash Heroines: Lara, Beatrix and Three Angels [in] Super bitches and action babes: the female hero in popular cinema, 1970-2006. In Super bitches and action babes: the female hero in popular cinema, 1970-2006. McFarland & Co. http://uea.eblib.com/patron/FullRecord.aspx?p=1771629
Schumacher, J. (1993). Falling down: a tale of urban reality. Warner Home Video.
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Scott, R. (1979). Alien. Twentieth Century Fox Home Entertainment.
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Scott, R., Cameron, J., Fincher, D., & Jeunet, J.-P. (2010). Alien quadrilogy. Twentieth Century Fox Home Entertainment.
Segal, L. (1999). Why feminism?: gender, psychology, politics: Vol. Gender and culture. Columbia University Press.
Shankman, A. (2003). Bringing down the house. Touchstone Home Video.
Shapiro, L. (2009a). Labor pains. Momentum Pictures.
Shapiro, L. (2009b). Labor pains. Momentum Pictures.
Shiftman, L., & Lemish, D. (2012). Virtually blonde : blonde jokes in the global age and post–feminist discourse [in] The handbook of gender, sex, and media. In The handbook of gender, sex, and media: Vol. Handbooks in communication and media. Wiley-Blackwell. http://lib.myilibrary.com/browse/open.asp?id=422805&entityid=https://login.uea.ac.uk/entity
Shyamalan, M. N. (2002). Signs. Buena Vista Home Entertainment, Inc.
Singh, A. (2008). Scarlett Johansson: Women actresses are victims of Hollywood ageism - Telegraph. http://www.telegraph.co.uk/news/celebritynews/2547469/Scarlett-Johansson-Women-actresses-are-victims-of-Hollywood-ageism.html
Siri, F. E. (2005). Hostage. https://learningonscreen.ac.uk/ondemand/index.php/prog/00588617?bcast=114808689
Slade, D. (2005). Hard Candy. https://learningonscreen.ac.uk/ondemand/index.php/prog/012804D0?bcast=111954177
Soderbergh, S. (1998). Out of Sight. https://learningonscreen.ac.uk/ondemand/index.php/prog/004BD3E0?bcast=116810639
Spielberg, S. (2005). War of the worlds. Paramount Pictures.
Staiger, J. (2011). The First Bond Who Bleeds, Literally and Metaphorically: Gendered Spectatorship for "Pretty Boy” Action Movies [in] Feminism at the movies: understanding gender in contemporary popular cinema. In Feminism at the movies: understanding gender in contemporary popular cinema. Routledge. http://lib.myilibrary.com/browse/open.asp?id=344197&entityid=https://login.uea.ac.uk/entity
Stallone, S. (2006). Rocky Balboa.
Stasia, C. L. (2007). ”My Guns are in the Fendi!” The postfeminist Female Action Hero [in] Third wave feminism: a critical exploration. In Third wave feminism: a critical exploration (Expanded 2nd ed). Palgrave Macmillan.
Stern, M. (2010). Dudes, Bros, Boyfriends and Bugarrones: Redistributing the Stigma of Same-Sex Desire [in] Sprinkle: A Journal of Sexual Diversity Studies. Sprinkle : A Journal of Sexual Diversity Studies, 144–153. http://freireproject.org/wp-content/journals/sprinkle/Sprinkle_vol3.pdf
Stone, A. (2007). An introduction to feminist philosophy. Polity.
Stone, A. (2012). Feminism, psychoanalysis, and maternal subjectivity: Vol. Routledge studies in contemporary philosophy. Routledge. http://lib.myilibrary.com/browse/open.asp?id=346198&entityid=https://login.uea.ac.uk/entity
Stone, O. (2010). Wall Street. Twentieth Century Fox Home Entertainment.
Story, T. (2004). Taxi. 20th Century Fox.
Stott, A. (2005). Comedy: Vol. The new critical idiom. Routledge.
Stringer, R. (2011). From Victim to Vigilante: Gender, Violence and Revenge in The Brave One (2007) and Hard Candy (2005) [in] Feminism at the movies: understanding gender in contemporary popular cinema. In Feminism at the movies: understanding gender in contemporary popular cinema. Routledge. http://lib.myilibrary.com/browse/open.asp?id=344197&entityid=https://login.uea.ac.uk/entity
Stromberg, R. (2004). Maleficent. Walt Disney Studios Home Entertainment Z1A BUA0218201. http://copac.jisc.ac.uk/search?title=maleficent&rn=4
Stromberg, R. (2014). Maleficent: Vol. Disney DVD. Disney.
Stuller, J. K. (2010). Ink-stained amazons and cinematic warriors: superwomen in modern mythology. I. B. Tauris. http://lib.myilibrary.com/browse/open.asp?id=288131&entityid=https://login.uea.ac.uk/entity
Tally, M. (2008). Something’s gotta give : Hollywood, female sexuality, and the older bird chick flick [in] Chick flicks: contemporary women at the movies. In Chick flicks: contemporary women at the movies. Routledge. http://lib.myilibrary.com/browse/open.asp?id=125986&entityid=https://login.uea.ac.uk/entity
Tarantino, Q. (2004a). Kill Bill: Volume 1. Buena Vista Home Entertainment.
Tarantino, Q. (2004b). Kill Bill: Volume 2. Buena Vista Home Entertainment.
Tasker, Y. (1993a). Dumb Movies for Dumb People [in] Screening the male: exploring masculinities in Hollywood cinema. In Screening the male: exploring masculinities in Hollywood cinema. Routledge. http://www.uea.eblib.com/patron/FullRecord.aspx?p=179867
Tasker, Y. (1993b). Spectacular bodies: gender, genre, and the action cinema: Vol. Comedia. Routledge. http://www.uea.eblib.com/patron/FullRecord.aspx?p=179873
Tasker, Y. (2004). Action and adventure cinema. Routledge. http://lib.myilibrary.com/browse/open.asp?id=10275&entityid=https://login.uea.ac.uk/entity
Tasker, Y. (2006a). Chapter 21 - Fantasizing Gender and Race: Women in Contemporary US Action [in] Contemporary American cinema. In Contemporary American cinema (pp. 410–428). Open University Press. http://www.uea.eblib.com/patron/FullRecord.aspx?p=295533
Tasker, Y. (2006b). Fantasizing Gender and Race: Women in Contemporary US Action [in] Contemporary American cinema. In Contemporary American cinema. Open University Press. http://www.uea.eblib.com/patron/FullRecord.aspx?p=295533
Tasker, Y. (2007). Violence, Duty and Choice: the Military Woman in Contemporary Hollywood Cinema [in] Women willing to fight: the fighting woman in film. In Women willing to fight: the fighting woman in film (pp. 78–94). Cambridge Scholars Pub.
Tasker, Y. (2010). Vision and Visibility: Women Filmmakers, Contemporary Authorship and Feminist Film Studies [in] Reclaiming the archive: feminism and film history. In Reclaiming the archive: feminism and film history: Vol. Contemporary approaches to film and television series. Wayne State University Press.
Tasker, Y. (2011). Enchanted (2007) by postfeminism : gender, irony and the new romantic comedy [in] Feminism at the movies: understanding gender in contemporary popular cinema. In Feminism at the movies: understanding gender in contemporary popular cinema. Routledge. http://lib.myilibrary.com/Open.aspx?id=344197&src=0
Tasker, Y., & Negra, D. (2007a). Bridget Jones and the new gender regime [in] Interrogating postfeminism: gender and the politics of popular culture. In Interrogating postfeminism: gender and the politics of popular culture: Vol. Console-ing passions : television and cultural power. Duke University Press. http://UEA.eblib.com/patron/FullRecord.aspx?p=1170497
Tasker, Y., & Negra, D. (2007b). Interrogating postfeminism: gender and the politics of popular culture: Vol. Console-ing passions : television and cultural power. Duke University Press. http://uea.eblib.com/patron/FullRecord.aspx?p=1170497
Taylor, J. S., Layne, L. L., & Wozniak, D. F. (2004). Consuming motherhood. Rutgers University Press.
Taylor, T. & Dreamworks Pictures. (2011). The help. Dreamworks II Distribution.
Tennant, A. (2005). Hitch. Sony Pictures Home Entertainment.
‘The more you look, the less you really know’: the redemption of white masculinity in contemporary American and French cinema. (2008a). Cinema Journal, XLVII(3), 29–47. https://uea.idm.oclc.org/login?url=http://fiaf.chadwyck.com/fulltext/indexFullText.do?id=004/0349097&area=index&fromToC=yes&jid=006/0000069
‘The more you look, the less you really know’: the redemption of white masculinity in contemporary American and French cinema. (2008b). Cinema Journal, XLVII(3), 29–47. https://uea.idm.oclc.org/login?url=http://fiaf.chadwyck.com/fulltext/indexFullText.do?id=004/0349097&area=index&fromToC=yes&jid=006/0000069
Thomas, B. (2007). John Tucker must die. Twentieth Century Fox Home Entertainment.
Thornham, S. (2007). ‘Narrating Femininity’ [in] Women, feminism and media. In Women, feminism and media: Vol. Media topics. Edinburgh University Press. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1962331
Thornham, S. (2012). What if I had been the hero?: investigating women’s cinema. Palgrave Macmillan on behalf of the British Film Institute.
Thurber, R. M. (2005). Dodgeball: grab life by the balls. 20th Century Fox Home Entertainment.
Troyer, J., & Marchiselli, C. (2002). Slack, Slacker, Slackest: Homosocial Bomding in Contemporary Dude Cinema [in] The trouble with men: masculinities in European and Hollywood cinema. In The trouble with men: masculinities in European and Hollywood cinema. Wallflower.
Tyler, I., Coleman, R., & Ferreday, D. (2008). Commentary and criticism. Feminist Media Studies, 8(1), 85–99. https://doi.org/10.1080/14680770801899226
Vares, T. (2002). Framing ‘Killer Women’ Films: Audience Use of Genre. Feminist Media Studies, 2(2), 213–229. https://doi.org/10.1080/14680770220150872
Wain, D. (2008). Role Models. Universal Pictures UK.
Walby, S. (2011a). Chapter 8: Alternative Futures [in] The future of feminism. In The future of feminism. Polity. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1175963
Walby, S. (2011b). The future of feminism. Polity. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1175963
Walter, N. (2011). Living dolls: the return of sexism. Virago.
Wang, W. (2002). Maid in Manhattan. Columbia.
Warner, H. (2013). A New Feminist Revolution in Hollywood Comedy’?:Postfeminist Discourses and the Critical Reception of Bridesmaids [in] Postfeminism and contemporary Hollywood cinema. In J. Gwynne & N. Müller (Eds.), Postfeminism and contemporary Hollywood cinema (pp. 222–237). Palgrave Macmillan. http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=622495&authtype=sso&custid=s8993828&site=ehost-live&scope=site
Warner, J. (2006). Perfect madness: motherhood in the age of anxiety. Vermilion.
Waters, M. S. (2003). Freaky Friday. Disney DVD.
Waters, M. S. (2004). Mean girls (Special collector’s ed). Paramount.
Wearing, S. (2007). Subjects of rejuvenation: Aging in Postfeminist Culture [in] Interrogating postfeminism: gender and the politics of popular culture. In Interrogating postfeminism: gender and the politics of popular culture: Vol. Console-ing passions : television and cultural power. Duke University Press. http://uea.eblib.com/patron/FullRecord.aspx?p=1170497
Weiland, P. (2008). Made of honour. Sony Pictures Home Entertainment.
Weitz, P. (1999). American pie. Columbia Tristar Home Video.
Weitz, P. (2013a). Admission. Universal.
Weitz, P. (2013b). Admission. Universal.
Wells, J. (2010). The company men.
Wells, J. (2013). August: Osage County. https://learningonscreen.ac.uk/ondemand/index.php/prog/068B75AE?bcast=123137895
West, S. (2001). Lara Croft, tomb raider. Paramount.
Westfeldt, J. (2012a). Friends with kids. Lionsgate Home Entertainment.
Westfeldt, J. (2012b). Friends with kids. Lionsgate Home Entertainment.
Whelehan, I. (2000). Overloaded: popular culture and the future of feminism. Women’s Press.
Whelehan, I. (2010). Not to be Looked at: Older Women in Recent British Cinema [in] British women’s cinema. In British women’s cinema: Vol. British popular cinema. Routledge. http://lib.myilibrary.com/browse/open.asp?id=231531&entityid=https://login.uea.ac.uk/entity
White, R. (2013). Women are angry! : Lizzie and Sarah as feminist critique. Feminist Media Studies, 13(3), 415–426. https://doi.org/10.1080/14680777.2011.651732
Williams, L. (1999). Film Bodies: Gender, Genre and Excess [in] Feminist film theory: a reader. In Feminist film theory: a reader. Edinburgh University Press.
Williams, L. R. (2004). Ready for Action: G.I. Jane, Demi Moore’s Body and the Female Combat Movie [in] Action and adventure cinema. In Action and adventure cinema. Routledge. http://lib.myilibrary.com/browse/open.asp?id=10275&entityid=https://login.uea.ac.uk/entity
Willis, S. (1997). High contrast: race and gender in contemporary Hollywood film. Duke University Press.
Winch, A. (2012). We can have it all: the girlfriend flick. Feminist Media Studies, 12(1), 69–82. https://doi.org/10.1080/14680777.2011.558349
Winick, G. (2004a). 13 going on 30. Columbia.
Winick, G. (2004b). 13 going on 30. Columbia.
Winick, G. (2009a). Bride Wars. 20th Century Fox.
Winick, G. (2009b). Bride Wars. 20th Century Fox.
Wiseman, L. (2007). Die hard 4.0.
Wolf, F. (2009). House bunny. Sony Pictures Home Entertainment.
Wolf, N. (1991). The beauty myth: how images of beauty are used against women. Vintage.
Wolf, N., & Wolf, N. (1991). The beauty myth: how images of beauty are used against women. Vintage.
Woo, J. (2000). Mission: Impossible II. https://learningonscreen.ac.uk/ondemand/index.php/prog/001266DC?bcast=122248021
Woodruff, B. (2005). Beauty shop. Metro-Goldwyn-Mayer.
Woodward, K. M. (1991). Aging and its discontents: Freud and other fictions: Vol. Theories of contemporary culture. Indiana University Press.
Wu, A. (2004). Saving face. Sony Pictures.
Zackham, J. (2013). The big wedding. Lionsgate Home Entertainment UK.
Zemeckis, R. (2008). Beowulf. Warner Home Video.
Ziarek, E. P. (2011). Kinship and Racist Violence in Gina Prince-Blythewood’s The Secret Life of Bees (2008 [in] Feminism at the movies: understanding gender in contemporary popular cinema. In Feminism at the movies: understanding gender in contemporary popular cinema. Routledge. http://lib.myilibrary.com/browse/open.asp?id=344197&entityid=https://login.uea.ac.uk/entity
Zwick, J. (2002). My big fat Greek wedding. Entertainment in Video.
