Altman, Rick. 1999. ‘What Is Generally Understood by the Notion of Film Genre? [In] Film/Genre’. In Film/Genre. British Film Institute.
Arliss, Leslie and Rank Film Distributors. 2003. The Wicked Lady. Carlton Visual Entertainment Limited. Videorecording.
Ashby, Justine, and Andrew Higson. 2000. British Cinema, Past and Present. Routledge. https://uea.idm.oclc.org/login?url=https://www.taylorfrancis.com/books/9780203354865.
Aspinall, Sue, Robert Murphy, and British Film Institute. 1983. Gainsborough Melodrama. BFI dossier. BFI Publishing.
Basinger, Jeanine, and Jeremy Arnold. 2003. ‘Chapter One: “Definition”’. In The World War II Combat Film: Anatomy of a Genre, 1st Wesleyan University Press pbk. ed. Wesleyan University Press.
Boggs, Carl, and Tom Pollard. 2007. The Hollywood War Machine: U.S. Militarism and Popular Culture. Paradigm. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=4906791.
Bratton, J. S., Jim Cook, Christine Gledhill, and British Film Institute. 1994. Melodrama: Stage, Picture, Screen. British Film Institute.
Brislin, Tom. 2016. ‘Time, Ethics, and the Films of Christopher Nolan’. Visual Communication Quarterly 23 (4): 199–209. https://doi.org/10.1080/15551393.2016.1252655.
Bruzzi, Stella. 2013. Men’s Cinema: Masculinity and Mise-En-Scène in Hollywood. Edinburgh University Press.
Byars, Jackie. 1991. ‘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, Gender&American culture. University of North Carolina Press.
Capra, Frank. 2004. Prelude to War: Directed by Frank Capra. Why we fight. Elstree Hill. Videorecording.
Carroll, Hamilton. 2011. ‘Chapter Six of Affirmative Reaction New Formations Of White Masculinity’. In Affirmative Reaction: New Formations of White Masculinity, New Americanists. Duke University Press. Electronic resource. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1172241.
Cook, Pam. 2005. Screening the Past: Memory and Nostalgia in Cinema. Routledge. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=199353.
Doherty, Thomas Patrick. 1999. Projections of War: Hollywood, American Culture, and World War II. Film and Culture. Columbia University Press.
Eagle, Jonna. 2017. ‘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. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=4789878.
Eberwein, Robert T. 2010. The Hollywood War Film. Vol. 5. Wiley-Blackwell. Electronic resource. https://uea.idm.oclc.org/login?url=https://onlinelibrary.wiley.com/doi/book/10.1002/9781444315103.
Eberwein, Robert T., and Robert T. Eberwein. 2005. The War Film. Rutgers depth of field series. Rutgers University Press.
Flitterman-Lewis, Sandy. 1994. ‘The Blossom and the Bole: Narrative and Visual Spectacle in Early Film Melodrama’. Cinema Journal 33 (3). https://doi.org/10.2307/1225585.
Gasnier, Louis J., Donald MacKenzie, Charles Goddard, George B. Seitz, Pearl White, and Eclectic Film Company. 20 AD. The Perils of Pauline. [European ed.]. Grapevine Video. Videorecording.
‘Genre and Hollywood’ in The Oxford Guide to Film Studies. 1998. Oxford University Press.
Gibbs, John. 2002. Mise-En-Scène: Film Style and Interpretation. Short cuts. Wallflower. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1880199.
Glancy, H. Mark. 1999. When Hollywood Loved Britain: The Hollywood ‘British’ Film, 1939-1945. Manchester University Press.
Gledhill, Christine, Christine Gledhill, and British Film Institute. 1987a. ‘Historical Pleasures’ in Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. British Film Institute.
Gledhill, Christine, Christine Gledhill, and British Film Institute. 1987b. Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. British Film Institute.
Gledhill, Christine, Christine Gledhill, and British Film Institute. 1987c. 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.
Gledhill, Christine, Gillian Swanson, and Christine Gledhill. 1996. Chapter Thirteen of Nationalising Femininity: Culture, Sexuality, and British Cinema in the Second World War. Manchester University Press.
Griffith, D. W., and David Shepard. 2001. Way down East. Eureka Video. Videorecording.
Harper, Sue and British Film Institute. 1994. Picturing the Past: The Rise and Fall of the British Costume Film. BFI Publishing.
Hell Is For Heroes. 2003.
Howard, Leslie. 2016. Gentle Sex. World War II collection. Strawberry Media Limited. Videorecording.
Jacobs, Lea. n.d. ‘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.
Kelly, Andrew, and Andrew Kelly. 1997. Cinema and the Great War. Cinema and Society. Routledge.
Klinger, Barbara. 1994. ‘Chapter 2’. In Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk. Indiana University Press. http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=619&authtype=sso&custid=s8993828&site=ehost-live&scope=site.
Lang, Robert. 1989. American Film Melodrama: Griffith, Vidor, Minnelli. Princeton University Press.
Lant, Antonia. 1991. Blackout: Reinventing Women for Wartime British Cinema. Princeton University Press. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=3030785.
Launder, Frank, and Sidney Gilliat. 2010. Millions like Us. Simply Home Entertainment. Videorecording.
Leigh, Jacob. 2003. ‘Unanswered Questions: Vision and Experience in Terrence Malick’s The Thin Red Line’. CineAction., no. 62. http://search.ebscohost.com/login.aspx?direct=true&db=edsglr&AN=edsgcl.112720629&site=ehost-live.
Litvak, Anatole, R. C. Sherriff, Tyrone Power, Joan Fontaine, Eric Knight, and Twentieth Century-Fox Film Corporation. 2010. Sé Fiel a Ti Mismo (This above All). Twentieth Century Fox Home Entertainment. Videorecording.
Lois Weber in Early Hollywood - Shelley Stamp - Paperback - University of California Press. n.d. http://www.ucpress.edu/book.php?isbn=9780520284463.
‘Lois Weber’s “The Blot”: Rewriting Melodrama, Reproducing the Middle Class’. 1999. Cinema Journal. http://search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.1225797&site=ehost-live.
Malick, Terrence, Sean Penn, George Clooney, et al. 2000. The Thin Red Line. Twentieth Century Fox Home Entertainment. Videorecording.
Murphy, Robert. 1989. Realism and Tinsel: Cinema and Society in Britain, 1939-1949. Routledge. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=179234.
Neale, Stephen. 2000. ‘Chapter 5’. In Genre and Hollywood, Sightlines. Routledge. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=240335.
Neale, Stephen and British Film Institute. 2002. Genre and Contemporary Hollywood. BFI. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=240335.
Neoliberal Frames and Genres of Inequality: Recession-Era Chick Flicks and ...: EBSCOhost. n.d. 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.
‘Observations on Film Art : DUNKIRK Part 1: Straight to the Good Stuff’. n.d. http://www.davidbordwell.net/blog/2017/08/02/dunkirk-part-1-straight-to-the-good-stuff/.
‘Observations on Film Art : DUNKIRK Part 2: The Art Film as Event Movie’. n.d. http://www.davidbordwell.net/blog/2017/08/09/dunkirk-part-2-the-art-film-as-event-movie/.
Patterson, Hannah. 2007. ‘Chapter 13’. In The Cinema of Terrence Malick: Poetic Visions of America, 2nd ed, Directors’ cuts. Wallflower. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=939936.
Powell, Michael, Emeric Pressburger, David Niven, et al. 2005. A Matter of Life and Death. Granada. Videorecording.
Singer, Ben. 2001. Chapter Two of Melodrama and Modernity: Early Sensational Cinema and Its Contexts. Film and Culture. Columbia University Press.
Sirk, Douglas. 2007. Written on the Wind. Universal Studios. Videorecording.
Tasker, Yvonne. 2011. Soldiers’ Stories: Military Women in Cinema and Television since World War II. Duke University Press. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1172299.
Tasker, Yvonne. 2015. The Hollywood Action and Adventure Film. New Approaches to Film Genre. Wiley Blackwell. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=4040532.
Vidor, King, Laurence Stallings, John Gilbert, Renée Adorée, and Metro-Goldwyn-Mayer. 2014. El Gran Desfile. Joyas del cine (Círculo Media Direct). S.n.]. Videorecording.
Weber, Cynthia. 2005. Imagining America at War: Morality, Politics and Film. Routledge. http://www.loc.gov/catdir/toc/ecip0512/2005012064.html.
Weber, Lois. 2003. The Blot. Image Entertainment. Videorecording.
Wellman, William A., Clara Bow, Charles Rogers, Richard Arlen, Gary Cooper, and Paramount Famous Lasky Corporation. 2003. Wings. S.n.]. Videorecording.
Wells, John. n.d. Company Men.
Williams, Linda. 2001. Chapter One of Playing the Race Card: Melodramas of Black and White from Uncle Tom to O.J. Simpson. Princeton University Press.
