Attenborough, R., Bogarde, D., & Calvert, P. (n.d.). Oh! What a Lovely War. Paramount DVD.
Attenborough, R., Bogarde, D., & Calvert, P. (1969). Oh! What a Lovely War. FilmFour. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Felibrary.exeter.ac.uk%2Fidp%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F0001DAC9%3Fbcast%3D127907327
Basham, V. M. (2016). Gender, Race, Militarism and Remembrance: The Everyday Geopolitics of the Poppy. http://encore.exeter.ac.uk/iii/encore/record/C__Rx1032042?lang=eng
Berlin, N. (2006). Traffic of Our Stage: Boxing as Theater. Massachusetts Review, 47(1), 22–32. https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/25091051
Bogart, A., & Bogart, T. (2005). Chapters 1-3. In The viewpoints book: a practical guide to viewpoints and composition (pp. 3–20). Theatre Communications Group. https://contentstore.cla.co.uk/secure/link?id=e8f10323-360c-e911-80cd-005056af4099
Borowski, M., & Sugiera, M. (2013). Chapter 3: Political Fictions and Fictionalisations: History as Material for Postdramatic Theatre. In J. Carroll, S. Giles, & K. Jürs-Munby (Eds.), Postdramatic theatre and the political: international perspectives on contemporary performance (pp. 67–86). Bloomsbury Publishing. https://contentstore.cla.co.uk/secure/link?id=c8ca174d-390c-e911-80cd-005056af4099
Cockin, K. (2004). Inventing the Suffragettes: Anachronism, Gnosticism and Corporeality in Contemporary Fiction. Critical Survey, 16(3), 17–32. https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/41557286
Davis, T. C. (2004). The Context Problem. Theatre Survey, 45(2), 203–209. https://uoelibrary.idm.oclc.org/login?url=http://doi.org/10.1017/S0040557404000158
Dolan, J. (2012). Chapter 1: The Discourse of Feminisms: The Spectator and the Representation. In The Feminist Spectator as Critic (pp. 1–18). University of Michigan Press. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991004293539707446&context=L&vid=44UOEX_INST:default
Drama - LibGuides at University of Exeter. (n.d.). http://libguides.exeter.ac.uk/DramaHomePage
Dreadnought South West. (n.d.). http://dreadnoughtsouthwest.org.uk/
Hall, S. (1997). Extract from Chapter 1: The Work of Representation. In Representation: Cultural Representations and Signifying Practices (pp. 36–74). Sage in association with the Open University. https://contentstore.cla.co.uk/secure/link?id=b919569a-5a9e-e911-80cd-005056af4099
Heddon, D., & Milling, J. (2015). Chapter 6: Contemporary Devising and Physical Performance. In Devising performance: a critical history (Revised edition, pp. 157–189). Palgrave Macmillan. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008030009707446&context=L&vid=44UOEX_INST:default
Hytner, N., Griffiths, R., De La Tour, F., Tovey, R., & Cooper, D. (n.d.). The History Boys. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Felibrary.exeter.ac.uk%2Fidp%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F030E2761%3Fbcast%3D128227797
Iles, J. (2008). In remembrance: The Flanders poppy. Mortality, 13(3), 201–221. https://uoelibrary.idm.oclc.org/login?url=http://www.tandfonline.com/doi/full/10.1080/13576270802181640
Kean, H. (2005). Public history and popular memory: issues in the commemoration of the british militant suffrage campaign. Women’s History Review, 14(3–4), 581–602. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edswah&AN=000233412200014&site=eds-live&scope=site
Kidd, J., & Sayner, J. (2018). Unthinking remembrance? Blood Swept Lands and Seas of Red and the significance of centenaries. Cultural Trends, 27(2), 68–82. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=129571391&site=eds-live&scope=site
Kirkwood, L. (2012). NSFW. Nick Hern Books Limited.
Lane, D. (2010). Chapter 3: Writing and Devising – The Call for Collaboration. In Contemporary British drama (pp. 82–107). Edinburgh University Press. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991000785299707446&context=L&vid=44UOEX_INST:default
Liddington, J. (2005). Era of Commemoration: Celebrating the Suffrage Centenary. History Workshop Journal, 59, 194–218. https://uoelibrary.idm.oclc.org/login?url=http://doi.org/10.1093/hwj/dbi015
Logie, L. (1995). Developing a Physical Vocabulary for the Contemporary Actor. New Theatre Quarterly, 11(43), 230–240. https://uoelibrary.idm.oclc.org/login?url=http://doi.org/10.1017/S0266464X00009118
Loukes, R. (2013). Chapter 5: Making Movement: The Psychophysical in ‘Embodied’ Practices. In Acting: psychophysical phenomenon and process (pp. 194–223). Palgrave Macmillan. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008569919707446&context=L&vid=44UOEX_INST:default
Mangan, M. (2003). Chapter 7: Contemporary Masculinities. In Staging Masculinities: History, Gender, Performance (pp. 207–216). Palgrave Macmillan. https://contentstore.cla.co.uk/secure/link?id=2ca9e055-a6fa-e711-80cd-005056af4099
Mary Poppins - Sister Suffragette - YouTube. (n.d.). https://www.youtube.com/watch?v=Ds8cKgPdE6M
Mayhall, L. E. N. (1999). Domesticating Emmeline: Representing the Suffragette, 1930-1993. NWSA Journal, 11(2), 1–24. https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/4316653
Mulvey, L. (2010). Chapter 9: Visual Pleasure and Narrative Cinema. In The Feminism and Visual Culture Reader (2nd ed, pp. 57–65). Routledge. https://contentstore.cla.co.uk/secure/link?id=90edc23f-a7fa-e711-80cd-005056af4099
Overlie, M. (2016). Standing in space: the six viewpoints theory and practice. The Author.
Parker-Starbuck, J., & Mock, R. (2011). Chapter 9: Researching the Body in/as Performance. In Research methods in theatre and performance (pp. 210–235). Edinburgh University Press. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991001377909707446&context=L&vid=44UOEX_INST:default
Poore, B. (2011). Heritage, Nostalgia and Modern British Theatre: Staging the Victorians. Palgrave Macmillan. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991001086309707446&context=L&vid=44UOEX_INST:default
Postlewait, T. (2009). The Cambridge Introduction to Theatre Historiography. Cambridge University Press.
Purvis, J., & Stanley Holton, S. (2000). Introduction: The campaigns for votes for women. In Votes for women (pp. 1–12). Routledge. https://contentstore.cla.co.uk/secure/link?id=80bb01d9-550c-e911-80cd-005056af4099
Quinault, R. (1998). The Cult of the Centenary, c.1784-1914. Historical Research, 71(176), 303–323. https://uoelibrary.idm.oclc.org/login?url=http://onlinelibrary.wiley.com/doi/10.1111/1468-2281.00066
Remembrance poppy: Controversies and how to wear it - BBC Newsbeat. (2015). http://www.bbc.co.uk/newsbeat/article/29848595/remembrance-poppy-controversies-and-how-to-wear-it?intc_type=singletheme&intc_location=allvirtualsites&intc_campaign=remembranceday&intc_linkname=article_newsbeat_contentcard1
Rokem, F. (2000a). Introduction: The Notions of ‘Performing History’. In Performing history: theatrical representations of the past in contemporary theatre (pp. 1–25). University of Iowa Press. https://contentstore.cla.co.uk/secure/link?id=f32c1769-389e-e911-80cd-005056af4099
Rokem, F. (2000b). Performing History: Theatrical Representations of the Past in Contemporary Theatre. University of Iowa Press.
Roper, M. (2018). Family Legacies in the Centenary: Motives for First World War Commemoration among British and German Descendants. History and Memory, 30(1), 76–115. https://uoelibrary.idm.oclc.org/login?url=http://doi.org/10.2979/histmemo.30.1.04
Smith, H. L. (2013). This year, I will wear a poppy for the last time. The Guardian. https://www.theguardian.com/commentisfree/2013/nov/08/poppy-last-time-remembrance-harry-leslie-smith?CMP=Share_iOSApp_Other
Sullivan, N. (2003). Chapter 5: Performance, Performativity, Parody and Politics. In A Critical Introduction to Queer Theory (pp. 81–98). Edinburgh University Press. https://contentstore.cla.co.uk/secure/link?id=d6339b97-a5fa-e711-80cd-005056af4099
Taylor, D. (2007). The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991015079999707446&context=L&vid=44UOEX_INST:default
The Complete London 2012 Opening Ceremony - YouTube. (n.d.). https://www.youtube.com/watch?v=4As0e4de-rI
we’re here because we’re here. (n.d.). https://becausewearehere.co.uk/we-are-here-gallery/
‘we’re here because we’re here’ performance compilation. (n.d.). https://www.youtube.com/watch?time_continue=147&v=1pd1XYx27_U
‘we’re here because we’re here’ project overview. (n.d.). https://www.nationaltheatre.org.uk/content/we%E2%80%99re-here-because-we%E2%80%99re-here
Wonder Women Festival Manchester 2018 - Creative Tourist. (n.d.). https://www.creativetourist.com/event/wonder-women/
Zarrilli, P. B. (2013). Chapter 1: Introduction: Acting as Psychophysical Phenomenon and Process. In Acting: psychophysical phenomenon and process (pp. 1–50). Palgrave Macmillan. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008569919707446&context=L&vid=44UOEX_INST:default
