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M. Powell et al., ‘A matter of life and death’. Granada, [S.l.], 2005.
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‘“Genre and Hollywood” in The Oxford guide to Film Studies’, Oxford: Oxford University Press, 1998.
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R. Altman, ‘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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L. J. Gasnier, D. MacKenzie, C. Goddard, G. B. Seitz, P. White, and Eclectic Film Company, ‘The perils of Pauline’. Grapevine Video, Phoenix, AZ, 20AD.
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L. Weber, ‘The blot’. Image Entertainment, [s.l.], 2003.
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C. Gledhill, C. Gledhill, and 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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B. Singer, Chapter Two of Melodrama and modernity: early sensational cinema and its contexts, vol. Film and culture. New York: Columbia University Press, 2001.
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S. Neale, ‘Chapter 5’, in Genre and Hollywood, vol. Sightlines, London: Routledge, 2000 [Online]. Available: 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, 1999 [Online]. Available: 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. [Online]. Available: http://www.ucpress.edu/book.php?isbn=9780520284463
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D. W. Griffith and D. Shepard, ‘Way down East’. Eureka Video, [s.l.], 2001.
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L. Williams, ‘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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S. Flitterman-Lewis, ‘The Blossom and the Bole: Narrative and Visual Spectacle in Early Film Melodrama’, Cinema Journal, vol. 33, no. 3, Spring 1994, doi: 10.2307/1225585.
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R. Lang, American film melodrama: Griffith, Vidor, Minnelli. Princeton, N.J.: Princeton University Press, 1989.
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J. S. Bratton, J. Cook, C. Gledhill, and British Film Institute, Melodrama: stage, picture, screen. London: British Film Institute, 1994.
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L. Arliss and Rank Film Distributors, ‘The wicked lady’. Carlton Visual Entertainment Limited, [London], 2003.
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C. Gledhill, C. Gledhill, and 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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P. Cook, Screening the past: memory and nostalgia in cinema. London: Routledge, 2005 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=199353
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S. Harper and British Film Institute, Picturing the past: the rise and fall of the British costume film. London: BFI Publishing, 1994.
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S. Aspinall, R. Murphy, and British Film Institute, Gainsborough melodrama, vol. BFI dossier. London: BFI Publishing, 1983.
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R. Murphy, Realism and tinsel: cinema and society in Britain, 1939-1949. London: Routledge, 1989 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=179234
[22]
D. Sirk, ‘Written on the wind’. Universal Studios, 2007.
[23]
B. Klinger, ‘Chapter 2’, in Melodrama and meaning: history, culture, and the films of Douglas Sirk, Bloomington: Indiana University Press, 1994 [Online]. Available: 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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J. Byars, ‘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, 1991.
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C. Gledhill, C. Gledhill, and 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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J. Gibbs, Mise-en-scène: film style and interpretation, vol. Short cuts. London: Wallflower, 2002 [Online]. Available: http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1880199
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J. Wells, ‘Company men’. .
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‘Neoliberal frames and genres of inequality: Recession-era chick flicks and ...: EBSCOhost’ [Online]. Available: 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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H. Carroll, ‘Chapter Six of Affirmative Reaction New Formations Of White Masculinity’, in Affirmative reaction: new formations of white masculinity, vol. New Americanists, Durham, NC: Duke University Press, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1172241
[30]
S. Bruzzi, Men’s cinema: masculinity and mise-en-scène in Hollywood. Edinburgh: Edinburgh University Press, 2013.
[31]
W. A. Wellman, C. Bow, C. Rogers, R. Arlen, G. Cooper, and Paramount Famous Lasky Corporation, ‘Wings’. s.n.], [s.l, 2003.
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K. Vidor, L. Stallings, J. Gilbert, R. Adorée, and Metro-Goldwyn-Mayer, ‘El Gran Desfile’, vol. Joyas del cine (Círculo Media Direct). s.n.], [s.l, 2014.
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R. T. Eberwein, The Hollywood war film, vol. 5. Oxford: Wiley-Blackwell, 2010 [Online]. Available: https://uea.idm.oclc.org/login?url=https://onlinelibrary.wiley.com/doi/book/10.1002/9781444315103
[34]
L. Jacobs, ‘Chapter Four - The Male Adventure Story’, in The decline of sentiment: American film in the 1920s, Berkeley: University of California Press [Online]. Available: https://ebookcentral.proquest.com/lib/uea/reader.action?docID=470861&ppg=115
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J. Eagle, ‘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 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=4789878
[36]
S. Neale and British Film Institute, Genre and contemporary Hollywood. London: BFI, 2002 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=240335
[37]
A. Kelly and A. Kelly, Cinema and the Great War, vol. Cinema and society. London: Routledge, 1997.
[38]
F. Capra, ‘Prelude to war: directed by Frank Capra’, vol. Why we fight. Elstree Hill, [s.l.], 2004.
[39]
‘Hell is For Heroes’. 2003.
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J. Basinger and J. Arnold, ‘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, 2003.
[41]
Y. Tasker, The Hollywood action and adventure film, vol. New Approaches to Film Genre. Chichester, West Sussex, UK: Wiley Blackwell, 2015 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=4040532
[42]
C. Weber, Imagining America at war: morality, politics and film. Oxfordshire: Routledge, 2005 [Online]. Available: http://www.loc.gov/catdir/toc/ecip0512/2005012064.html
[43]
T. P. Doherty, Projections of war: Hollywood, American culture, and World War II, vol. Film and culture. New York: Columbia University Press, 1999.
[44]
A. Litvak, R. C. Sherriff, T. Power, J. Fontaine, E. Knight, and Twentieth Century-Fox Film Corporation, ‘Sé fiel a ti mismo (This above all)’. Twentieth Century Fox Home Entertainment, [s.l.], 2010.
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F. Launder and S. Gilliat, ‘Millions like us’. Simply Home Entertainment, [United Kingdom], 2010.
[46]
L. Howard, ‘Gentle sex’, vol. World War II collection. Strawberry Media Limited, [United Kingdom], 2016.
[47]
C. Gledhill, G. Swanson, and C. Gledhill, ‘Chapter Thirteen of Nationalising femininity: culture, sexuality, and British cinema in the Second World War’, Manchester: Manchester University Press, 1996.
[48]
H. M. Glancy, When Hollywood loved Britain: the Hollywood ‘British’ film, 1939-1945. Manchester: Manchester University Press, 1999.
[49]
A. Lant, Blackout: reinventing women for wartime British cinema. Princeton, N.J.: Princeton University Press, 1991 [Online]. Available: http://ebookcentral.proquest.com/lib/uea/detail.action?docID=3030785
[50]
Y. Tasker, Soldiers’ stories: military women in cinema and television since World War II. Durham, NC: Duke University Press, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1172299
[51]
J. Ashby and A. Higson, British cinema, past and present. London: Routledge, 2000 [Online]. Available: https://uea.idm.oclc.org/login?url=https://www.taylorfrancis.com/books/9780203354865
[52]
T. Malick et al., ‘The thin red line’. Twentieth Century Fox Home Entertainment, [London?], 2000.
[53]
H. Patterson, ‘Chapter 13’, in The cinema of Terrence Malick: poetic visions of America, 2nd ed., vol. Directors’ cuts, London: Wallflower, 2007 [Online]. Available: 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., no. 62, 2003 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=edsglr&AN=edsgcl.112720629&site=ehost-live
[55]
R. T. Eberwein and R. T. Eberwein, The war film, vol. Rutgers depth of field series. New Brunswick, N.J.: Rutgers University Press, 2005.
[56]
C. Boggs and T. Pollard, The Hollywood war machine: U.S. militarism and popular culture. Boulder, Colo: Paradigm, 2007 [Online]. Available: http://ebookcentral.proquest.com/lib/uea/detail.action?docID=4906791
[57]
‘Observations on film art : DUNKIRK Part 1: Straight to the good stuff’. [Online]. Available: 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’. [Online]. Available: http://www.davidbordwell.net/blog/2017/08/09/dunkirk-part-2-the-art-film-as-event-movie/
[59]
T. Brislin, ‘Time, Ethics, and the Films of Christopher Nolan’, Visual Communication Quarterly, vol. 23, no. 4, pp. 199–209, Oct. 2016, doi: 10.1080/15551393.2016.1252655.