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Powell M, Pressburger E, Niven D, et al. A matter of life and death. 2005.
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‘Genre and Hollywood’ in The Oxford guide to Film Studies. Oxford: : 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. London: : British Film Institute 1999.
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Gasnier LJ, MacKenzie D, Goddard C, et al. The perils of Pauline. 20AD.
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Weber L. The blot. 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. London: : British Film Institute 1987.
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Singer B. Chapter Two of Melodrama and modernity: early sensational cinema and its contexts. New York: : Columbia University Press 2001.
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Neale S. Chapter 5. In: Genre and Hollywood. London: : 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 First: 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. 2001.
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Williams L. Chapter One of Playing the race card: melodramas of black and white from Uncle Tom to O.J. Simpson. Princeton, N.J.: : 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. doi:10.2307/1225585
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Lang R. American film melodrama: Griffith, Vidor, Minnelli. Princeton, N.J.: : Princeton University Press 1989.
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Bratton JS, Cook J, Gledhill C, et al. Melodrama: stage, picture, screen. London: : British Film Institute 1994.
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Arliss L, Rank Film Distributors. The wicked lady. 2003.
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Gledhill C, Gledhill C, British Film Institute. ‘Historical Pleasures’ in Home is where the heart is: studies in melodrama and the woman’s film. London: : British Film Institute 1987.
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Cook P. Screening the past: memory and nostalgia in cinema. London: : Routledge 2005. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=199353
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Harper S, British Film Institute. Picturing the past: the rise and fall of the British costume film. London: : BFI Publishing 1994.
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Aspinall S, Murphy R, British Film Institute. Gainsborough melodrama. London: : BFI Publishing 1983.
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Murphy R. Realism and tinsel: cinema and society in Britain, 1939-1949. London: : Routledge 1989. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=179234
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Sirk D. Written on the wind. 2007.
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Klinger B. Chapter 2. In: Melodrama and meaning: history, culture, and the films of Douglas Sirk. Bloomington: : 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. Chapel Hill: : 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. London: : British Film Institute 1987.
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Gibbs J. Mise-en-scène: film style and interpretation. London: : Wallflower 2002. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1880199
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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. Durham, NC: : Duke University Press 2011. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1172241
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Bruzzi S. Men’s cinema: masculinity and mise-en-scène in Hollywood. Edinburgh: : Edinburgh University Press 2013.
31
Wellman WA, Bow C, Rogers C, et al. Wings. 2003.
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Vidor K, Stallings L, Gilbert J, et al. El Gran Desfile. 2014;Joyas del cine (Círculo Media Direct).
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Eberwein RT. The Hollywood war film. Oxford: : Wiley-Blackwell 2010. https://uea.idm.oclc.org/login?url=https://onlinelibrary.wiley.com/doi/book/10.1002/9781444315103
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Jacobs L. Chapter Four - The Male Adventure Story. In: The decline of sentiment: American film in the 1920s. Berkeley: : University of California Press https://ebookcentral.proquest.com/lib/uea/reader.action?docID=470861&ppg=115
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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. New Brunswick: : Rutgers University Press 2017. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=4789878
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Neale S, British Film Institute. Genre and contemporary Hollywood. London: : BFI 2002. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=240335
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Kelly A, Kelly A. Cinema and the Great War. London: : Routledge 1997.
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Capra F. Prelude to war: directed by Frank Capra. 2004;Why we fight.
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Hell is For Heroes. 2003.
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Basinger J, Arnold J. Chapter One: ‘Definition’. In: The World War II combat film: anatomy of a genre. Middletown, Conn: : Wesleyan University Press 2003.
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Tasker Y. The Hollywood action and adventure film. Chichester, West Sussex, UK: : Wiley Blackwell 2015. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=4040532
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Weber C. Imagining America at war: morality, politics and film. Oxfordshire: : Routledge 2005. http://www.loc.gov/catdir/toc/ecip0512/2005012064.html
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Doherty TP. Projections of war: Hollywood, American culture, and World War II. New York: : Columbia University Press 1999.
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Litvak A, Sherriff RC, Power T, et al. Sé fiel a ti mismo (This above all). 2010.
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Launder F, Gilliat S. Millions like us. 2010.
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Howard L. Gentle sex. 2016;World War II collection.
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Gledhill C, Swanson G, Gledhill C. Chapter Thirteen of Nationalising femininity: culture, sexuality, and British cinema in the Second World War. Manchester: : Manchester University Press 1996.
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Glancy HM. When Hollywood loved Britain: the Hollywood ‘British’ film, 1939-1945. Manchester: : Manchester University Press 1999.
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Lant A. Blackout: reinventing women for wartime British cinema. Princeton, N.J.: : Princeton University Press 1991. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=3030785
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Tasker Y. Soldiers’ stories: military women in cinema and television since World War II. Durham, NC: : Duke University Press 2011. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1172299
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Ashby J, Higson A. British cinema, past and present. London: : Routledge 2000. https://uea.idm.oclc.org/login?url=https://www.taylorfrancis.com/books/9780203354865
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Malick T, Penn S, Clooney G, et al. The thin red line. 2000.
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Patterson H. Chapter 13. In: The cinema of Terrence Malick: poetic visions of America. London: : Wallflower 2007. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=939936
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Leigh, Jacob. Unanswered questions: vision and experience in Terrence Malick’s The Thin Red Line. CineAction Published Online First: 2003.http://search.ebscohost.com/login.aspx?direct=true&db=edsglr&AN=edsgcl.112720629&site=ehost-live
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Eberwein RT, Eberwein RT. The war film. New Brunswick, N.J.: : Rutgers University Press 2005.
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Boggs C, Pollard T. The Hollywood war machine: U.S. militarism and popular culture. Boulder, Colo: : Paradigm 2007. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=4906791
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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/
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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/
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Brislin T. Time, Ethics, and the Films of Christopher Nolan. Visual Communication Quarterly 2016;23:199–209. doi:10.1080/15551393.2016.1252655
