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Powell M, Pressburger E, Niven D, Hunter K, Livesey R, Massey R, Sofaer A, Goring M, Coote R, Attenborough R, Rank Organisation, Archers (Firm). A matter of life and death. [S.l.]: Granada; 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. Film/genre. London: 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. [European ed.]. Phoenix, AZ: Grapevine Video; 20AD.
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Weber L. The blot. [s.l.]: Image Entertainment; 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.
8.
Neale S. Chapter 5. Genre and Hollywood [Internet]. London: Routledge; 2000. Available from: 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 [Internet]. 1999; Available from: 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 [Internet]. Available from: http://www.ucpress.edu/book.php?isbn=9780520284463
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Griffith DW, Shepard D. Way down East. [s.l.]: Eureka Video; 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 Spring;33(3).
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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, British Film Institute. Melodrama: stage, picture, screen. London: British Film Institute; 1994.
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Arliss L, Rank Film Distributors. The wicked lady. [London]: Carlton Visual Entertainment Limited; 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 [Internet]. London: Routledge; 2005. Available from: 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 [Internet]. London: Routledge; 1989. Available from: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=179234
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Sirk D. Written on the wind. Universal Studios; 2007.
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Klinger B. Chapter 2. Melodrama and meaning: history, culture, and the films of Douglas Sirk [Internet]. Bloomington: Indiana University Press; 1994. Available from: 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. 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 [Internet]. London: Wallflower; 2002. Available from: http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1880199
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Wells J. Company men.
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Neoliberal frames and genres of inequality: Recession-era chick flicks and ...: EBSCOhost. Available from: 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. Affirmative reaction: new formations of white masculinity [Internet]. Durham, NC: Duke University Press; 2011. Available from: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1172241
30.
Bruzzi S. Men’s cinema: masculinity and mise-en-scène in Hollywood. Edinburgh: Edinburgh University Press; 2013.
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Wellman WA, Bow C, Rogers C, Arlen R, Cooper G, Paramount Famous Lasky Corporation. Wings. [s.l: s.n.]; 2003.
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Vidor K, Stallings L, Gilbert J, Adorée R, Metro-Goldwyn-Mayer. El Gran Desfile. [s.l: s.n.]; 2014.
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Eberwein RT. The Hollywood war film [Internet]. Oxford: Wiley-Blackwell; 2010. Available from: 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. The decline of sentiment: American film in the 1920s [Internet]. Berkeley: University of California Press; Available from: 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). Imperial affects: sensational melodrama and the attractions of American cinema [Internet]. New Brunswick: Rutgers University Press; 2017. Available from: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=4789878
36.
Neale S, British Film Institute. Genre and contemporary Hollywood [Internet]. London: BFI; 2002. Available from: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=240335
37.
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. [s.l.]: Elstree Hill; 2004.
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Hell is For Heroes. 2003.
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Basinger J, Arnold J. Chapter One: ‘Definition’. The World War II combat film: anatomy of a genre. 1st Wesleyan University Press pbk. ed. Middletown, Conn: Wesleyan University Press; 2003.
41.
Tasker Y. The Hollywood action and adventure film [Internet]. Chichester, West Sussex, UK: Wiley Blackwell; 2015. Available from: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=4040532
42.
Weber C. Imagining America at war: morality, politics and film [Internet]. Oxfordshire: Routledge; 2005. Available from: 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, Fontaine J, Knight E, Twentieth Century-Fox Film Corporation. Sé fiel a ti mismo (This above all). [s.l.]: Twentieth Century Fox Home Entertainment; 2010.
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Launder F, Gilliat S. Millions like us. [United Kingdom]: Simply Home Entertainment; 2010.
46.
Howard L. Gentle sex. [United Kingdom]: Strawberry Media Limited; 2016.
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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.
49.
Lant A. Blackout: reinventing women for wartime British cinema [Internet]. Princeton, N.J.: Princeton University Press; 1991. Available from: 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 [Internet]. Durham, NC: Duke University Press; 2011. Available from: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1172299
51.
Ashby J, Higson A. British cinema, past and present [Internet]. London: Routledge; 2000. Available from: https://uea.idm.oclc.org/login?url=https://www.taylorfrancis.com/books/9780203354865
52.
Malick T, Penn S, Clooney G, Cusack J, Nolte N, Harrelson W, Zimmer H, Jones J. The thin red line. [London?]: Twentieth Century Fox Home Entertainment; 2000.
53.
Patterson H. Chapter 13. The cinema of Terrence Malick: poetic visions of America [Internet]. 2nd ed. London: Wallflower; 2007. Available from: 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 [Internet]. 2003;(62). Available from: http://search.ebscohost.com/login.aspx?direct=true&db=edsglr&AN=edsgcl.112720629&site=ehost-live
55.
Eberwein RT, Eberwein RT. The war film. New Brunswick, N.J.: Rutgers University Press; 2005.
56.
Boggs C, Pollard T. The Hollywood war machine: U.S. militarism and popular culture [Internet]. Boulder, Colo: Paradigm; 2007. Available from: http://ebookcentral.proquest.com/lib/uea/detail.action?docID=4906791
57.
Observations on film art : DUNKIRK Part 1: Straight to the good stuff [Internet]. Available from: 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 [Internet]. Available from: 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 Oct;23(4):199–209.