‘A ciambra’ (2018). [New York, New York]: IFC Films.
Anthony Kaufman (1998) ‘Sentimental Journey as National Allegory: An Interview with Walter Salles’, Cineaste, 24(1), pp. 19–21. Available at: https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.41689102&site=eds-live&scope=site.
Beumers, B. (2009) A history of Russian cinema. English ed. Oxford: Berg.
Bird, R. (2008) Andrei Tarkovsky: elements of cinema. London: Reaktion. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991015337379707446&context=L&vid=44UOEX_INST:default.
Bordwell, D., Thompson, K. and Smith, J. (2016a) ‘Chapter 3. Narrative Form [in] Film art: an introduction’, in Film art: an introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default.
Bordwell, D., Thompson, K. and Smith, J. (2016b) ‘Chapter 4. Mise-en-scene’, in Film art: an introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default.
Bordwell, D., Thompson, K. and Smith, J. (2016c) ‘Chapter 5.The shot: cinematography [in] Film art: an introduction’, in Film art: an introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default.
Bordwell, D., Thompson, K. and Smith, J. (2016d) ‘Chapter 6. The relation of shot-to-shot: editing [in] Film art: an introduction’, in Film art: an introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default.
Bordwell, D., Thompson, K. and Smith, J. (2016e) ‘Chapter 7. Sound in the cinema [in] Film art: an introduction’, in Film art: an introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default.
Bordwell, D., Thompson, K. and Smith, J. (2016f) ‘Chapter 9. Film genres [in] Film art: an introduction’, in Film art: an introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default.
Bordwell, D., Thompson, K. and Smith, J. (2016g) Film art: an introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education. Available at: http://www.vlebooks.com/vleweb/product/openreader?id=Exeter&isbn=9780077188917.
Buckland, W. (1998) ‘Film Aesthetics: Formalism And Realism’, in Teach Yourself Film Studies. London: Hodder & Stoughton, pp. 7–30. Available at: https://contentstore.cla.co.uk/secure/link?id=3906d6d8-4e04-e911-80cd-005056af4099.
Buckland, W. (2008) Film studies. New ed. London: Teach Yourself. Available at: https://archive.org/details/filmstudiesintro0000buck/mode/2up.
Danielle Hipkins et al. (2018) ‘Oral Memories of Cinema-going in Rural Italy of the 1950s’, in D. Treveri Gennari, D.E. Hipkins, and C. O’Rawe (eds) Rural cinema exhibition and audiences in a global context. Basingstoke, Hampshire: Palgrave Macmillan, pp. 117–133. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008534819707446&context=L&vid=44UOEX_INST:default.
Donald, S., Wilson, E. and Wright, S. (eds) (2017) ‘Introduction’, in Childhood and nation in contemporary world cinema: borders and encounters. London: Bloomsbury Academic, pp. 1–11. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991004749409707446&context=L&vid=44UOEX_INST:default.
Felix Rebolledo (2005) ‘In the Wake of Cinema Nôvo: Central do Brasil (Central Station): Coconut Milk with Coca-Cola Aftertaste’, Off Screen, 9(6). Available at: https://offscreen.com/issues/view/brazilian_special.
Galt, R. (2013) ‘The Prettiness of Italian Cinema’, in Louis Bayman and Sergio Rigoletto (eds) Popular Italian cinema. Basingstoke: Palgrave Macmillan, pp. 61–68. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991003236369707446&context=L&vid=44UOEX_INST:default.
Gillain, A. (2000) ‘The Script of Delinquency: François Truffaut’s Les 400 coups (1959)’, in S. Hayward and G. Vincendeau (eds) French film: texts and contexts. 2nd ed. London: Routledge, pp. 142–157. Available at: https://contentstore.cla.co.uk/secure/link?id=19294bd3-261f-e911-80cd-005056af4099.
Hayward, S. (2013) Cinema studies: the key concepts. 4th ed. Abingdon: Routledge.
Hayward, S. (2018) Cinema studies: the key concepts. Fifth edition. London: Routledge. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008769929707446&context=L&vid=44UOEX_INST:default.
Holmes, D. and Ingram, R. (1998) François Truffaut. Manchester: Manchester University Press. Available at: https://contentstore.cla.co.uk/secure/link?id=8a36d741-e01f-e911-80cd-005056af4099.
Kerstin Vogel (2005) ‘Walter Salles’ Central Station and Cinema Nôvo’, Offscreen, 9(6). Available at: https://offscreen.com/issues/view/brazilian_special.
Lawrence, M. and Smith, S. (2012) ‘Child Performance Dossier Introduction [in] Screen’, Screen, 53(4), pp. 436–439. Available at: https://uoelibrary.idm.oclc.org/login?url=http://academic.oup.com/screen/article/53/4/436/1644181.
Lebeau, V. and ProQuest (Firm) (2008) ‘Child, Sexuality, Image [in] Childhood and cinema’, in Childhood and cinema. London: Reaktion, pp. 86–134. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991007629639707446&context=L&vid=44UOEX_INST:default.
Lúcia Nagib (2007) ‘The zero, the centre and the empty utopia – From Rossellini to Walter Salles’, Studies in European Cinema, 3(3), pp. 223–233. Available at: https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsovi&AN=edsovi.01244594.200703030.00006&site=eds-live&scope=site.
Lury, K. (2010a) The child in film: tears, fears and fairytales. London: I. B. Tauris. Available at: http://www.vlebooks.com/vleweb/product/openreader?id=Exeter&isbn=9780857711281.
Lury, K. (2010b) ‘The Impropriety of Performance [in] The child in film: tears, fears and fairytales’, in The child in film: tears, fears and fairytales. London: I. B. Tauris. Available at: https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991015540819707446&context=L&vid=44UOEX_INST:default.
Marcus, M. (2002) ‘Giuseppe Tornatore’s Cinema Paradiso and the Art of Nostalgia’, in After Fellini: national cinema in the postmodern age. Baltimore: Johns Hopkins University Press, pp. 199–213. Available at: https://contentstore.cla.co.uk/secure/link?id=eb6e04ef-5804-e911-80cd-005056af4099.
Martel, L. et al. (2005) ‘La ñina santa’. Artificial Eye.
Martin, Deborah (2011) ‘Wholly Ambivalent Demon-Girl: Horror, the Uncanny and the Representation of Feminine Adolescence in Lucrecia Martel’s La niña santa [in] Journal of Iberian and Latin American Studies’, Tesserae: Journal of Iberian and Latin American Studies (Abingdon, Oxfordshire), (1), pp. 59–76. Available at: https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsmzh&AN=2017321957&site=eds-live&scope=site.
Maya Turovskaya (1989) ‘Chapter 3: Ivan’s Childhood’, in Tarkovsky: cinema as poetry. London: Faber, pp. 29–35. Available at: https://contentstore.cla.co.uk/secure/link?id=6c5583ee-dd1f-e911-80cd-005056af4099.
Modern Languages - LibGuides at University of Exeter (no date). Available at: https://libguides.exeter.ac.uk/ModernLanguagesHomePage.
Monaco, J. (2009) How to read a film: movies, media, and beyond : art, technology, language, history, theory. 4th ed., completely rev. and expanded. Oxford: Oxford University Press.
Nina Caplan (1999) ‘Central Station/Central do Brasil’, SIGHT AND SOUND, 9(3), pp. 38–39. Available at: https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edswah&AN=000078864900028&site=eds-live&scope=site.
O’Rawe, C. (no date) The Non-Professional in the Reception of Italian Cinema Abroad – International Circulation of Italian Cinema. Available at: https://www.italiancinema.it/the-non-professional-in-the-reception-of-italian-cinema-abroad/.
Pat Aufderheide (1998) ‘CENTRAL STATION Walter Salles, Brazil, 1997’, Film Comment, 34(6). Available at: https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/43454635.
Pomerance, M. (2001) Ladies and gentlemen, boys and girls: gender in film at the end of the twentieth century. Albany: State Univ. of New York Pr.
Radstone, S. (1995) ‘Cinema/memory/history’, Screen, 36(1), pp. 34–47. Available at: https://uoelibrary.idm.oclc.org/login?url=http://academic.oup.com/screen/article/36/1/34/1680963.
Reimer, R.C. and Reimer, C.J. (1992) ‘The Tin Drum [in] Nazi-retro film: how German narrative cinema remembers the past’, in Nazi-retro film: how German narrative cinema remembers the past. New York: Twayne. Available at: https://contentstore.cla.co.uk/secure/link?id=77e22ad5-f21f-e911-80cd-005056af4099.
Roberts, G. and Wallis, H. (2010) Introducing film. London: Bloomsbury Academic. Available at: https://archive.org/details/introducingfilm0000robe.
Salles, W., Montenegro, F. and de Oliveira, V. (2002) ‘Central Station’. Buena Vista home entertainment.
Schlöndorff, V. et al. (2012) ‘The tin drum’. [U.K.]: Arrow Academy.
Sinyard, N. (1990) ‘Introduction’, in Children in the movies. London: Batsford, pp. 7–15. Available at: https://contentstore.cla.co.uk/secure/link?id=89f0d22a-5804-e911-80cd-005056af4099.
Stewart, K. (2015) ‘Establishing the female gaze: narrative subversion in Lucrecia Martel’s “La Nina” (2004) and ’La Cienaga (2001) [in Journal of Iberian and Latin American Studies’, Journal of Iberian and Latin American Studies, 21(3), pp. 205–219. Available at: https://uoelibrary.idm.oclc.org/login?url=http://www.tandfonline.com/doi/full/10.1080/14701847.2015.1179850.
Tarkovskiĭ, A.A. et al. (2016) ‘Ivan’s childhood’. [London]: Curzon Artificial Eye.
Tornatore, G. et al. (2007) ‘Cinema Paradiso’. Arrow Films. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/000AA0B6?bcast=13090545.
Truffaut, F. et al. (2006) ‘The 400 blows’. 2 Entertain Video Limited CCD30496.
Vincendeau, G. (2000) ‘Issues in European Cinema’, in World cinema: critical approaches. Oxford: Oxford University Press, pp. 56–64. Available at: https://contentstore.cla.co.uk/secure/link?id=2d0cb283-8320-e911-80cd-005056af4099.
Wilson, E. (2005) ‘Children, emotion and viewing in contemporary European film’, Screen, 46(3), pp. 329–340. Available at: https://uoelibrary.idm.oclc.org/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=edsmzh&AN=2005441852&site=eds-live&scope=site.
Wood, M.P. (2005) ‘Children [in] Italian cinema’, in Italian cinema. Oxford: Berg, pp. 177–178. Available at: https://contentstore.cla.co.uk/secure/link?id=b17b9582-5904-e911-80cd-005056af4099.
Youngblood, Denise J. (1994) ‘Post-Stalinist cinema and the myth of World War II: Tarkovskii’s `Ivan’s Childhood’ (1962) and Klimov’s “Come and See” (1985) [in] Historical Journal of Film, Radio and Television’, Historical Journal of Film, Radio & Television., 14(4). Available at: https://doi.org/10.1080/01439689400260301.