A ciambra. (2018). IFC Films.
Anthony Kaufman. (1998). Sentimental Journey as National Allegory: An Interview with Walter Salles. Cineaste, 24(1), 19–21. 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). Berg.
Bird, R. (2008). Andrei Tarkovsky: elements of cinema. Reaktion. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991015337379707446&context=L&vid=44UOEX_INST:default
Bordwell, D., Thompson, K., & Smith, J. (2016a). Chapter 3. Narrative Form [in] Film art: an introduction. In Film art: an introduction (Eleventh edition). McGraw-Hill Education. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default
Bordwell, D., Thompson, K., & Smith, J. (2016b). Chapter 4. Mise-en-scene. In Film art: an introduction (Eleventh edition). McGraw-Hill Education. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default
Bordwell, D., Thompson, K., & Smith, J. (2016c). Chapter 5.The shot: cinematography [in] Film art: an introduction. In Film art: an introduction (Eleventh edition). McGraw-Hill Education. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default
Bordwell, D., Thompson, K., & Smith, J. (2016d). Chapter 6. The relation of shot-to-shot: editing [in] Film art: an introduction. In Film art: an introduction (Eleventh edition). McGraw-Hill Education. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default
Bordwell, D., Thompson, K., & Smith, J. (2016e). Chapter 7. Sound in the cinema [in] Film art: an introduction. In Film art: an introduction (Eleventh edition). McGraw-Hill Education. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default
Bordwell, D., Thompson, K., & Smith, J. (2016f). Chapter 9. Film genres [in] Film art: an introduction. In Film art: an introduction (Eleventh edition). McGraw-Hill Education. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default
Bordwell, D., Thompson, K., & Smith, J. (2016g). Film art: an introduction (Eleventh edition). McGraw-Hill Education. http://www.vlebooks.com/vleweb/product/openreader?id=Exeter&isbn=9780077188917
Buckland, W. (1998). Film Aesthetics: Formalism And Realism. In Teach Yourself Film Studies (pp. 7–30). Hodder & Stoughton. https://contentstore.cla.co.uk/secure/link?id=3906d6d8-4e04-e911-80cd-005056af4099
Buckland, W. (2008). Film studies (New ed). Teach Yourself. https://archive.org/details/filmstudiesintro0000buck/mode/2up
Danielle Hipkins, Daniela Treveri Gennari, Catherine O’Rawe, Silvia Dibeltulo, & Sarah Culhane. (2018). Oral Memories of Cinema-going in Rural Italy of the 1950s. In D. Treveri Gennari, D. E. Hipkins, & C. O’Rawe (Eds.), Rural cinema exhibition and audiences in a global context (pp. 117–133). Palgrave Macmillan. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008534819707446&context=L&vid=44UOEX_INST:default
Donald, S., Wilson, E., & Wright, S. (Eds.). (2017). Introduction. In Childhood and nation in contemporary world cinema: borders and encounters (pp. 1–11). Bloomsbury Academic. 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). https://offscreen.com/issues/view/brazilian_special
Galt, R. (2013). The Prettiness of Italian Cinema. In Louis Bayman & Sergio Rigoletto (Eds.), Popular Italian cinema (pp. 61–68). Palgrave Macmillan. 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 & G. Vincendeau (Eds.), French film: texts and contexts (2nd ed, pp. 142–157). Routledge. https://contentstore.cla.co.uk/secure/link?id=19294bd3-261f-e911-80cd-005056af4099
Hayward, S. (2013). Cinema studies: the key concepts (4th ed). Routledge.
Hayward, S. (2018). Cinema studies: the key concepts (Fifth edition). Routledge. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008769929707446&context=L&vid=44UOEX_INST:default
Holmes, D., & Ingram, R. (1998). François Truffaut. Manchester University Press. 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). https://offscreen.com/issues/view/brazilian_special
Lawrence, M., & Smith, S. (2012). Child Performance Dossier Introduction [in] Screen. Screen, 53(4), 436–439. https://uoelibrary.idm.oclc.org/login?url=http://academic.oup.com/screen/article/53/4/436/1644181
Lebeau, V. & ProQuest (Firm). (2008). Child, Sexuality, Image [in] Childhood and cinema. In Childhood and cinema (pp. 86–134). Reaktion. 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), 223–233. 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. I. B. Tauris. 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. I. B. Tauris. 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 (pp. 199–213). Johns Hopkins University Press. https://contentstore.cla.co.uk/secure/link?id=eb6e04ef-5804-e911-80cd-005056af4099
Martel, L., Morán, M., Belloso, C., Urdapilleta, A., & Alche, M. (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, 59–76. 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 (pp. 29–35). Faber. https://contentstore.cla.co.uk/secure/link?id=6c5583ee-dd1f-e911-80cd-005056af4099
Modern Languages - LibGuides at University of Exeter. (n.d.). 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 University Press.
Nina Caplan. (1999). Central Station/Central do Brasil. SIGHT AND SOUND, 9(3), 38–39. 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. (n.d.). The Non-Professional in the Reception of Italian Cinema Abroad – International Circulation of Italian Cinema. 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). 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. State Univ. of New York Pr.
Radstone, S. (1995). Cinema/memory/history. Screen, 36(1), 34–47. https://uoelibrary.idm.oclc.org/login?url=http://academic.oup.com/screen/article/36/1/34/1680963
Reimer, R. C., & 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. Twayne. https://contentstore.cla.co.uk/secure/link?id=77e22ad5-f21f-e911-80cd-005056af4099
Roberts, G., & Wallis, H. (2010). Introducing film. Bloomsbury Academic. https://archive.org/details/introducingfilm0000robe
Salles, W., Montenegro, F., & de Oliveira, V. (2002). Central Station. Buena Vista home entertainment.
Schlöndorff, V., Carrière, J.-C., Grass, G., Adorf, M., Seitz, F., Winkler, A., Bennet, D., Olbrychski, D., Aznavour, C., Hakl, F., & Arrow Academy. (2012). The tin drum. Arrow Academy.
Sinyard, N. (1990). Introduction. In Children in the movies (pp. 7–15). Batsford. 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), 205–219. https://uoelibrary.idm.oclc.org/login?url=http://www.tandfonline.com/doi/full/10.1080/14701847.2015.1179850
Tarkovskiĭ, A. A., Ovchinnikov, V., Burlyaev, N., & Bogomolov, V. (2016). Ivan’s childhood. Curzon Artificial Eye.
Tornatore, G., Noiret, P., Perrin, J., & Attili, A. (2007). Cinema Paradiso (Deluxe edition). Arrow Films. https://learningonscreen.ac.uk/ondemand/index.php/prog/000AA0B6?bcast=13090545
Truffaut, F., Léaud, J.-P., Maurier, C., & Rémy, A. (2006). The 400 blows. 2 Entertain Video Limited CCD30496.
Vincendeau, G. (2000). Issues in European Cinema. In World cinema: critical approaches (pp. 56–64). Oxford University Press. 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), 329–340. 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 (pp. 177–178). Berg. 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). https://doi.org/10.1080/01439689400260301