Altman, Rick. 1999. ‘What Is Generally Understood by the Notion of Film Genre? [In] Film/Genre’. In Film/Genre. London: British Film Institute.
Arliss, Leslie and Rank Film Distributors. 2003. ‘The Wicked Lady’. Videorecording. [London]: Carlton Visual Entertainment Limited.
Ashby, Justine, and Andrew Higson. 2000. British Cinema, Past and Present. London: 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. Vol. BFI dossier. London: 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. Middletown, Conn: Wesleyan University Press.
Boggs, Carl, and Tom Pollard. 2007. The Hollywood War Machine: U.S. Militarism and Popular Culture. Boulder, Colo: 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. London: 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: 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. Vol. Gender&American culture. Chapel Hill: University of North Carolina Press.
Capra, Frank. 2004. ‘Prelude to War: Directed by Frank Capra’. Videorecording. [s.l.]: Elstree Hill.
Carroll, Hamilton. 2011. ‘Chapter Six of Affirmative Reaction New Formations Of White Masculinity’. Electronic resource. In Affirmative Reaction: New Formations of White Masculinity. Vol. New Americanists. Durham, NC: Duke University Press. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1172241.
Cook, Pam. 2005. Screening the Past: Memory and Nostalgia in Cinema. London: 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. Vol. Film and culture. New York: 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. New Brunswick: Rutgers University Press. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=4789878.
Eberwein, Robert T. 2010. The Hollywood War Film. Electronic resource. Vol. 5. Oxford: Wiley-Blackwell. 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. Vol. Rutgers depth of field series. New Brunswick, N.J.: 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. 20AD. ‘The Perils of Pauline’. Videorecording. Phoenix, AZ: Grapevine Video.
‘“Genre and Hollywood” in The Oxford Guide to Film Studies’. 1998. In . Oxford: Oxford University Press.
Gibbs, John. 2002. Mise-En-Scène: Film Style and Interpretation. Vol. Short cuts. London: 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: 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’. In . London: British Film Institute.
———. 1987b. Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. London: 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. London: 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’. In . Manchester: Manchester University Press.
Griffith, D. W., and David Shepard. 2001. ‘Way down East’. Videorecording. [s.l.]: Eureka Video.
Harper, Sue and British Film Institute. 1994. Picturing the Past: The Rise and Fall of the British Costume Film. London: BFI Publishing.
‘Hell Is For Heroes’. 2003.
Howard, Leslie. 2016. ‘Gentle Sex’. Videorecording. [United Kingdom]: Strawberry Media Limited.
Jacobs, Lea. n.d. ‘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.
Kelly, Andrew, and Andrew Kelly. 1997. Cinema and the Great War. Vol. Cinema and society. London: Routledge.
Klinger, Barbara. 1994. ‘Chapter 2’. In Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk. Bloomington: 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, N.J.: Princeton University Press.
Lant, Antonia. 1991. Blackout: Reinventing Women for Wartime British Cinema. Princeton, N.J.: Princeton University Press. http://ebookcentral.proquest.com/lib/uea/detail.action?docID=3030785.
Launder, Frank, and Sidney Gilliat. 2010. ‘Millions like Us’. Videorecording. [United Kingdom]: Simply Home Entertainment.
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)’. Videorecording. [s.l.]: Twentieth Century Fox Home Entertainment.
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, John Cusack, Nick Nolte, Woody Harrelson, Hans Zimmer, and James Jones. 2000. ‘The Thin Red Line’. Videorecording. [London?]: Twentieth Century Fox Home Entertainment.
Murphy, Robert. 1989. Realism and Tinsel: Cinema and Society in Britain, 1939-1949. London: Routledge. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=179234.
Neale, Stephen. 2000. ‘Chapter 5’. In Genre and Hollywood. Vol. Sightlines. London: Routledge. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=240335.
Neale, Stephen and British Film Institute. 2002. Genre and Contemporary Hollywood. London: 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. Vol. Directors’ cuts. London: Wallflower. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=939936.
Powell, Michael, Emeric Pressburger, David Niven, Kim Hunter, Roger Livesey, Raymond Massey, Abraham Sofaer, et al. 2005. ‘A Matter of Life and Death’. Videorecording. [S.l.]: Granada.
Singer, Ben. 2001. Chapter Two of Melodrama and Modernity: Early Sensational Cinema and Its Contexts. Vol. Film and culture. New York: Columbia University Press.
Sirk, Douglas. 2007. ‘Written on the Wind’. Videorecording. Universal Studios.
Tasker, Yvonne. 2011. Soldiers’ Stories: Military Women in Cinema and Television since World War II. Durham, NC: Duke University Press. https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1172299.
———. 2015. The Hollywood Action and Adventure Film. Vol. New Approaches to Film Genre. Chichester, West Sussex, UK: 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’. Videorecording. [s.l: s.n.].
Weber, Cynthia. 2005. Imagining America at War: Morality, Politics and Film. Oxfordshire: Routledge. http://www.loc.gov/catdir/toc/ecip0512/2005012064.html.
Weber, Lois. 2003. ‘The Blot’. Videorecording. [s.l.]: Image Entertainment.
Wellman, William A., Clara Bow, Charles Rogers, Richard Arlen, Gary Cooper, and Paramount Famous Lasky Corporation. 2003. ‘Wings’. Videorecording. [s.l: s.n.].
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’. In . Princeton, N.J.: Princeton University Press.
