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Powell M, Pressburger E, Niven D, et al. A matter of life and death. Published online 2005.
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‘Genre and Hollywood’ in The Oxford guide to Film Studies. In: Oxford University Press; 1998.
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Altman R. What is generally understood by the notion of film genre? [in] Film/genre. In: Film/Genre. British Film Institute; 1999.
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Gasnier LJ, MacKenzie D, Goddard C, Seitz GB, White P, Eclectic Film Company. The perils of Pauline. Published online 20AD.
5.
Weber L. The blot. Published online 2003.
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Gledhill C, Gledhill C, British Film Institute. Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. British Film Institute; 1987.
7.
Singer B. Chapter Two of Melodrama and Modernity: Early Sensational Cinema and Its Contexts. Vol Film and culture. Columbia University Press; 2001.
8.
Neale S. Chapter 5. In: Genre and Hollywood. Vol Sightlines. Routledge; 2000. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=240335
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Lois Weber’s ‘The Blot’: Rewriting Melodrama, Reproducing the Middle Class. Cinema Journal. Published online 1999. http://search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.1225797&site=ehost-live
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Lois Weber in Early Hollywood - Shelley Stamp - Paperback - University of California Press. http://www.ucpress.edu/book.php?isbn=9780520284463
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Griffith DW, Shepard D. Way down East. Published online 2001.
12.
Williams L. Chapter One of Playing the race card: melodramas of black and white from Uncle Tom to O.J. Simpson. In: Princeton University Press; 2001.
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Flitterman-Lewis S. The Blossom and the Bole: Narrative and Visual Spectacle in Early Film Melodrama. Cinema Journal. 1994;33(3). doi:10.2307/1225585
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Lang R. American Film Melodrama: Griffith, Vidor, Minnelli. Princeton University Press; 1989.
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Bratton JS, Cook J, Gledhill C, British Film Institute. Melodrama: Stage, Picture, Screen. British Film Institute; 1994.
16.
Arliss L, Rank Film Distributors. The wicked lady. Published online 2003.
17.
Gledhill C, Gledhill C, British Film Institute. ‘Historical Pleasures’ in Home is where the heart is: studies in melodrama and the woman’s film. In: British Film Institute; 1987.
18.
Cook P. Screening the Past: Memory and Nostalgia in Cinema. Routledge; 2005. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=199353
19.
Harper S, British Film Institute. Picturing the Past: The Rise and Fall of the British Costume Film. BFI Publishing; 1994.
20.
Aspinall S, Murphy R, British Film Institute. Gainsborough Melodrama. Vol BFI dossier. BFI Publishing; 1983.
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Murphy R. Realism and Tinsel: Cinema and Society in Britain, 1939-1949. Routledge; 1989. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=179234
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Sirk D. Written on the wind. Published online 2007.
23.
Klinger B. Chapter 2. In: Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk. Indiana University Press; 1994. http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=619&authtype=sso&custid=s8993828&site=ehost-live&scope=site
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Byars J. Chapter Five: ‘Race, Class, and Gender: Film Melodrama of the Late 1950s’ in All that Hollywood allows: re-reading gender in 1950s melodrama. In: All That Hollywood Allows: Re-Reading Gender in 1950s Melodrama. Vol Gender&American culture. University of North Carolina Press; 1991.
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Gledhill C, Gledhill C, British Film Institute. Laura Mulvey ‘Notes on Sirk and Melodrama’ in Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. British Film Institute; 1987.
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Gibbs J. Mise-En-Scène: Film Style and Interpretation. Vol Short cuts. Wallflower; 2002. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1880199
27.
Wells J. Company men.
28.
Neoliberal frames and genres of inequality: Recession-era chick flicks and ...: EBSCOhost. https://uea.idm.oclc.org/login?url=http://web.a.ebscohost.com/ehost/detail/detail?vid=13&sid=513fa34d-3ca1-4732-be42-371923a8bbfc%40sessionmgr4006&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#AN=30450990&db=eoah
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Carroll H. Chapter Six of Affirmative Reaction New Formations Of White Masculinity. In: Affirmative Reaction: New Formations of White Masculinity. Vol New Americanists. Duke University Press; 2011. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1172241
30.
Bruzzi S. Men’s Cinema: Masculinity and Mise-En-Scène in Hollywood. Edinburgh University Press; 2013.
31.
Wellman WA, Bow C, Rogers C, Arlen R, Cooper G, Paramount Famous Lasky Corporation. Wings. Published online 2003.
32.
Vidor K, Stallings L, Gilbert J, Adorée R, Metro-Goldwyn-Mayer. El Gran Desfile. 2014;Joyas del cine (Círculo Media Direct).
33.
Eberwein RT. The Hollywood War Film. Vol 5. Wiley-Blackwell; 2010. https://uea.idm.oclc.org/login?url=https://onlinelibrary.wiley.com/doi/book/10.1002/9781444315103
34.
Jacobs L. Chapter Four - The Male Adventure Story. In: The Decline of Sentiment: American Film in the 1920s. University of California Press. https://ebookcentral.proquest.com/lib/uea/reader.action?docID=470861&ppg=115
35.
Eagle J. Introduction to Imperial Affects: Sensational Melodrama and the Attractions of American Cinema (War Culture Series). In: Imperial Affects: Sensational Melodrama and the Attractions of American Cinema. Rutgers University Press; 2017. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=4789878
36.
Neale S, British Film Institute. Genre and Contemporary Hollywood. BFI; 2002. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=240335
37.
Kelly A, Kelly A. Cinema and the Great War. Vol Cinema and society. Routledge; 1997.
38.
Capra F. Prelude to war: directed by Frank Capra. 2004;Why we fight.
39.
Hell is For Heroes. Published online 2003.
40.
Basinger J, Arnold J. Chapter One: ‘Definition’. In: The World War II Combat Film: Anatomy of a Genre. 1st Wesleyan University Press pbk. ed. Wesleyan University Press; 2003.
41.
Tasker Y. The Hollywood Action and Adventure Film. Vol New Approaches to Film Genre. Wiley Blackwell; 2015. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=4040532
42.
Weber C. Imagining America at War: Morality, Politics and Film. Routledge; 2005. http://www.loc.gov/catdir/toc/ecip0512/2005012064.html
43.
Doherty TP. Projections of War: Hollywood, American Culture, and World War II. Vol Film and culture. Columbia University Press; 1999.
44.
Litvak A, Sherriff RC, Power T, Fontaine J, Knight E, Twentieth Century-Fox Film Corporation. Sé fiel a ti mismo (This above all). Published online 2010.
45.
Launder F, Gilliat S. Millions like us. Published online 2010.
46.
Howard L. Gentle sex. 2016;World War II collection.
47.
Gledhill C, Swanson G, Gledhill C. Chapter Thirteen of Nationalising femininity: culture, sexuality, and British cinema in the Second World War. In: Manchester University Press; 1996.
48.
Glancy HM. When Hollywood Loved Britain: The Hollywood ‘British’ Film, 1939-1945. Manchester University Press; 1999.
49.
Lant A. Blackout: Reinventing Women for Wartime British Cinema. Princeton University Press; 1991. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=3030785
50.
Tasker Y. Soldiers’ Stories: Military Women in Cinema and Television since World War II. Duke University Press; 2011. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1172299
51.
Ashby J, Higson A. British Cinema, Past and Present. Routledge; 2000. https://uea.idm.oclc.org/login?url=https://www.taylorfrancis.com/books/9780203354865
52.
Malick T, Penn S, Clooney G, et al. The thin red line. Published online 2000.
53.
Patterson H. Chapter 13. In: The Cinema of Terrence Malick: Poetic Visions of America. Vol Directors’ cuts. 2nd ed. Wallflower; 2007. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=939936
54.
Leigh, Jacob. Unanswered questions: vision and experience in Terrence Malick’s The Thin Red Line. CineAction. 2003;(62). http://search.ebscohost.com/login.aspx?direct=true&db=edsglr&AN=edsgcl.112720629&site=ehost-live
55.
Eberwein RT, Eberwein RT. The War Film. Vol Rutgers depth of field series. Rutgers University Press; 2005.
56.
Boggs C, Pollard T. The Hollywood War Machine: U.S. Militarism and Popular Culture. Paradigm; 2007. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=4906791
57.
Observations on film art : DUNKIRK Part 1: Straight to the good stuff. http://www.davidbordwell.net/blog/2017/08/02/dunkirk-part-1-straight-to-the-good-stuff/
58.
Observations on film art : DUNKIRK Part 2: The art film as event movie. http://www.davidbordwell.net/blog/2017/08/09/dunkirk-part-2-the-art-film-as-event-movie/
59.
Brislin T. Time, Ethics, and the Films of Christopher Nolan. Visual Communication Quarterly. 2016;23(4):199-209. doi:10.1080/15551393.2016.1252655