‘A Maternal Heart: Angelina Jolie, Choices of Maternity, and Hegemonic Femininity in People Magazine: Feminist Media Studies: Vol 15, No 4’. n.d. http://www.tandfonline.com/doi/full/10.1080/14680777.2015.1009929.
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Alberti, John. 2013. ‘"I Love You, Man”: Bromances, the Construction of Masculinity, and the Continuing Evolution of the Romantic Comedy’. Quarterly Review of Film and Video 30 (2): 159–72. https://uea.idm.oclc.org/login?url=http://ejournals.ebsco.com/Issue.asp?IssueID=1614966.
Anders, Sean, Brian Burns, John Morris, Mark Wahlberg, Will Ferrell, and Paramount Home Entertainment (Firm). 2016. ‘Daddy’s Home’. [s.l.]: Paramount Home Entertainment.
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———. 2009b. Inclusive Masculinity: The Changing Nature of Masculinities. Vol. Routledge research in gender and society. Hoboken: Taylor & Francis. http://www.UEA.eblib.com/EBLWeb/patron?target=patron&extendedid=P_439168_0&
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———. 2007a. ‘Knocked Up’. [s.l.]: Universal Pictures.
———. 2007b. ‘Knocked Up’. [s.l.]: Universal Pictures.
———. 2007c. ‘Knocked Up’. [s.l.]: Universal Pictures.
———. 2012a. ‘This Is 40’. https://learningonscreen.ac.uk/ondemand/index.php/prog/05F34BF4?bcast=122012834.
———. 2012b. ‘This Is 40’. https://learningonscreen.ac.uk/ondemand/index.php/prog/05F34BF4?bcast=122012834.
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———. 2006b. Masculinity in Fiction and Film: Representing Men in Popular Genres, 1945-2000. Vol. Continuum literary studies. London: Continuum. http://lib.myilibrary.com/browse/open.asp?id=129499&entityid=https://login.uea.ac.uk/entity.
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Benshoff, Harry M., and Sean Griffin. 2009. America on Film: Representing Race, Class, Gender, and Sexuality at the Movies. 2nd ed. Malden, MA, USA: Wiley-Blackwell. http://www.uea.eblib.com/patron/FullRecord.aspx?p=819377.
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———. 1999b. ‘Gentleman or Beast? The Double Bind of Masculinity [in] The Male Body: A New Look at Men in Public and in Private’. In The Male Body: A New Look at Men in Public and in Private, 1st ed. New York: Farrar, Straus and Giroux.
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———. 2006b. ‘“Monstrous-Feminine” [in] Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed’. In Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Vol. Routledge critical thinkers. London: Routledge. http://UEA.eblib.com/patron/FullRecord.aspx?p=274415.
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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.
Cuarón, Alfonso. 2014. ‘Gravity’. [Place of publication not identified]: Warner Bros. Entertainment Inc.
Davies, Jude, Carol R. Smith, and British Association for American Studies. 1997. Gender, Ethnicity and Sexuality in Contemporary American Film. Vol. BAAS paperbacks. Keele: Keele University Press [in association with the British Association for American Studies].
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———. 2010b. ‘Motherhood’. [S.l.]: Metrodome.
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———. 2006b. Cultures of Masculinity. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=29157&entityid=https://login.uea.ac.uk/entity.
———. 2006c. Cultures of Masculinity. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=29157&entityid=https://login.uea.ac.uk/entity.
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———. 2004. ‘The Day after Tomorrow’. [s.l.]: Twentieth Century Fox Home Entertainment.
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———. 2007a. ‘The Return of Superman [in] The Terror Dream: Fear and Fantasy in Post-9/11 America’. In The Terror Dream: Fear and Fantasy in Post-9/11 America, 1st ed, 46–64. New York: Metropolitan Books.
———. 2007b. The Terror Dream: Fear and Fantasy in Post-9/11 America. 1st ed. New York: Metropolitan Books.
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———. 2008b. ‘27 Dresses’. [London?]: 20th Century Fox Home Entertainment.
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———. 2008. ‘Quantum of Solace’.
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Gallagher, Mark. 2006. Action Figures: Men, Action Films, and Contemporary Adventure Narratives. 1st ed. New York: Palgrave Macmillan. http://lib.myilibrary.com/browse/open.asp?id=136360&entityid=https://login.uea.ac.uk/entity.
Garrett, Roberta. 2007. Postmodern Chick Flicks: The Return of the Woman’s Film. Basingstoke: Palgrave Macmillan.
Genz, Stéphanie, and Benjamin A. Brabon. 2009. Postfeminism: Cultural Texts and Theories. Edinburgh: Edinburgh University Press. http://uea.eblib.com/patron/FullRecord.aspx?p=448738.
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Gill, Rosalind. 2016. ‘Post-Postfeminism?: New Feminist Visibilities in Postfeminist Times’. Feminist Media Studies 16 (4): 610–30. https://doi.org/10.1080/14680777.2016.1193293.
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———. 2011b. ‘Friends with Benefits’. London: Sony Pictures Home Entertainment.
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———. 2009b. Manhood in Hollywood from Bush to Bush. Austin, Tex: University of Texas Press.
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———. 2010. ‘Just Wright’.
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———. 2005b. ‘In Her Shoes’. [s.l.]: Twentieth Century Fox Home Entertainment.
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Heartfield, James. 2002a. ‘There Is No Masculinity Crisis [in] Genders OnLine Journal’. Genders OnLine Journal - There Is No Masculinity Crisis, no. 35. https://web.archive.org/web/20141021210202/http://www.genders.org/g35/g35_heartfield.html.
———. 2002b. ‘There Is No Masculinity Crisis [in] Genders OnLine Journal’. Genders OnLine Journal - There Is No Masculinity Crisis, no. 35. https://web.archive.org/web/20141021210202/http://www.genders.org/g35/g35_heartfield.html.
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Hills, Elizabeth. 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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———. 2005b. ‘Confessions of a Shopaholic’. [s.l.]: Touchstone Home Entertainment.
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hooks, bell. 1999. ‘The Oppositional Gaze: Black Female Spectators’ [in] Feminist Film Theory: A Reader. Feminist Film Theory: A Reader. Edinburgh: Edinburgh University Press.
Hooks, Bell. 1999. ‘The Oppositional Gaze: Black Female Spectators [in] Feminist Film Theory: A Reader’. In Feminist Film Theory: A Reader. Edinburgh: Edinburgh University Press.
Horeck, Tanya. 2003. Public Rape: Representing Violation in Fiction and Film. Vol. Sussex studies in culture and communication. London: Routledge. http://uea.eblib.com/patron/FullRecord.aspx?p=1144705.
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Hunter, Latham. 2003. ‘The Celluloid Cubicle: Regressive Constructions of Masculinity in 1990s Office Movies [in] Journal of American Culture’. Journal of American Culture 26 (1): 71–86. https://uea.idm.oclc.org/login?url=http://web.a.ebscohost.com/ehost/detail/detail?vid=4&sid=8caeb0d3-0583-4d03-92ed-11d5227e24a6@sessionmgr4003&hid=4109&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ==#db=a9h&AN=9648771.
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———. 2004. Action Chicks: New Images of Tough Women in Popular Culture. 1st ed. Basingstoke: Palgrave Macmillan. http://lib.myilibrary.com/browse/open.asp?id=136484&entityid=https://login.uea.ac.uk/entity.
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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, Deborah. n.d. ‘Rereading the Bitches from Hell: A Feminist Appropriation of the Female Psychopath’. Screen 37 (3): 251–67. http://screen.oxfordjournals.org/content/37/3.toc.
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———. 2012b. ‘What to Expect When You’re Expecting’. [S.l.]: Lionsgate Home Entertainment.
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———. 2013b. ‘The Baby Crazed Rom-Com [in] Genre, Gender and the Effects of Neoliberalism: The New Millennium Hollywood Rom Com’. In Genre, Gender and the Effects of Neoliberalism: The New Millennium Hollywood Rom Com. Vol. Popular culture and world politics. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=459206&entityid=https://login.uea.ac.uk/entity.
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———. 2011. Unruly Girls, Unrepentant Mothers: Redefining Feminism on Screen. 1st ed. Austin: University of Texas Press. http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=351591&authtype=sso&custid=s8993828&site=ehost-live&scope=site.
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———. 2011b. ‘Bad Teacher’. Sony Pictures Home Entertainment.
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———. 2012b. Manhood in America: A Cultural History. Third edition. New York: Oxford University Press.
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———. 2002b. ‘Regressions and Transgressions [in] Film Comedy’. In Film Comedy. London: Wallflower.
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———. 2006. ‘Gender and Humor: The State of the Art’. Journal of Pragmatics 38 (1): 4–25. https://doi.org/10.1016/j.pragma.2005.06.003.
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———. 2005. ‘Mr & Mrs Smith’. Film4. https://learningonscreen.ac.uk/ondemand/index.php/prog/02F3DA70?bcast=122879028.
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———. 2005. ‘Monster-in-Law’. [s.l.]: Entertainment in Video.
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———. 2005. ‘Princess Diaries 2: Royal Engagement’. [s.l.]: Walt Disney Home Video.
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———. 2009b. The Aftermath of Feminism: Gender, Culture and Social Change. London: SAGE. http://lib.myilibrary.com/browse/open.asp?id=496970&entityid=https://login.uea.ac.uk/entity.
Mendible, Myra. 2007. From Bananas to Buttocks: The Latina Body in Popular Film and Culture. Austin, Tex: University of Texas Press.
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———. 2001. ‘What Women Want’. [s.l.]: Icon Home Entertainment.
———. 2004. ‘Something’s Gotta Give’. [s.l.]: Warner Home Video.
———. 2007. ‘The Holiday’. [s.l.]: Universal.
———. 2009. ‘It’s Complicated’.
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———. 2005b. Making Sense of Motherhood: A Narrative Approach. Cambridge: Cambridge University Press.
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———. 1991b. Feminism without Women: Culture and Criticism in a Postfeminist Age. New York: Routledge.
———. 1999. ‘Cinema and the Dark Continent: Race and Gender in Popular Film [in] Feminist Film Theory: A Reader’. In Feminist Film Theory: A Reader. Edinburgh: Edinburgh University Press.
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Neroni, Hilary. 2005. The Violent Woman: Femininity, Narrative, and Violence in Contemporary American Cinema. Vol. SUNY series in feminist criticism and theory. Albany, N.Y.: State University of New York Press.
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Pfeil, Fred. 1995a. White Guys: Studies in Postmodern Domination and Difference. Vol. The Haymarket series. London: Verso.
———. 1995b. White Guys: Studies in Postmodern Domination and Difference. Vol. The Haymarket series. London: Verso.
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———. 2011b. ‘The Back-up Plan’. [S.l.]: Sony Pictures Home Entertainment.
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———. 2004b. The Trouble with Men: Masculinities in European and Hollywood Cinema. London: Wallflower.
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———. 2010c. Gender and Sexuality: Sociological Approaches. Cambridge: Polity.
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———. 2008b. ‘Juno’. [S.l.]: 20th Century Fox Home Entertainment.
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Schubart, Rikke. 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. Jefferson, N.C.: McFarland & Co. http://uea.eblib.com/patron/FullRecord.aspx?p=1771629.
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———. 2004. ‘Thelma & Louise’. [s.l.]: MGM Home Entertainment.
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———. 2009b. ‘Labor Pains’. [S.l.]: Momentum Pictures.
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Shyamalan, M. Night. 2002. ‘Signs’. Buena Vista Home Entertainment, Inc.
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Stallone, Sylvester. 2006. ‘Rocky Balboa’.
Stasia, Christina Lucia. 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. Basingstoke: Palgrave Macmillan.
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———. 2012. Feminism, Psychoanalysis, and Maternal Subjectivity. Vol. Routledge studies in contemporary philosophy. New York: Routledge. http://lib.myilibrary.com/browse/open.asp?id=346198&entityid=https://login.uea.ac.uk/entity.
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———. 2014. Maleficent. Vol. Disney DVD. [Place of publication not identified]: Disney.
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———. 2004b. ‘Kill Bill: Volume 2’. [s.l.]: Buena Vista Home Entertainment.
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———. 1993b. Spectacular Bodies: Gender, Genre, and the Action Cinema. Vol. Comedia. London: Routledge. http://www.uea.eblib.com/patron/FullRecord.aspx?p=179873.
———. 2004. Action and Adventure Cinema. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=10275&entityid=https://login.uea.ac.uk/entity.
———. 2006a. ‘Chapter 21 - Fantasizing Gender and Race: Women in Contemporary US Action [in] Contemporary American Cinema’. In Contemporary American Cinema, 410–28. London: Open University Press. http://www.uea.eblib.com/patron/FullRecord.aspx?p=295533.
———. 2006b. ‘Fantasizing Gender and Race: Women in Contemporary US Action [in] Contemporary American Cinema’. In Contemporary American Cinema. London: Open University Press. http://www.uea.eblib.com/patron/FullRecord.aspx?p=295533.
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———. 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. Oxon: Routledge. http://lib.myilibrary.com/Open.aspx?id=344197&src=0.
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‘———’. 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.
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———. 2012. What If I Had Been the Hero?: Investigating Women’s Cinema. London: Palgrave Macmillan on behalf of the British Film Institute.
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———. 2011b. The Future of Feminism. Cambridge: Polity. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1175963.
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Willis, Sharon. 1997. High Contrast: Race and Gender in Contemporary Hollywood Film. Durham, N.C.: Duke University Press.
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Zwick, Joel. 2002. ‘My Big Fat Greek Wedding’. [s.l.]: Entertainment in Video.
