1
Modern Languages - LibGuides at University of Exeter. https://libguides.exeter.ac.uk/ModernLanguagesHomePage
2
Buckland W. Film Aesthetics: Formalism And Realism. In: Teach Yourself Film Studies. London: : Hodder & Stoughton 1998. 7–30.https://contentstore.cla.co.uk/secure/link?id=3906d6d8-4e04-e911-80cd-005056af4099
3
Donald S, Wilson E, Wright S, editors. Introduction. In: Childhood and nation in contemporary world cinema: borders and encounters. London: : Bloomsbury Academic 2017. 1–11.https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991004749409707446&context=L&vid=44UOEX_INST:default
4
Pomerance M. Ladies and gentlemen, boys and girls: gender in film at the end of the twentieth century. Albany: : State Univ. of New York Pr 2001.
5
Sinyard N. Introduction. In: Children in the movies. London: : Batsford 1990. 7–15.https://contentstore.cla.co.uk/secure/link?id=89f0d22a-5804-e911-80cd-005056af4099
6
Wilson E. Children, emotion and viewing in contemporary European film. Screen 2005;46:329–40.https://uoelibrary.idm.oclc.org/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=edsmzh&AN=2005441852&site=eds-live&scope=site
7
Tornatore G, Noiret P, Perrin J, et al. Cinema Paradiso. 2007.https://learningonscreen.ac.uk/ondemand/index.php/prog/000AA0B6?bcast=13090545
8
Bordwell D, Thompson K, Smith J. Chapter 4. Mise-en-scene. In: Film art: an introduction. [Place of publication not identified]: : McGraw-Hill Education 2016. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default
9
Galt R. The Prettiness of Italian Cinema. In: Louis Bayman, Sergio Rigoletto, eds. Popular Italian cinema. Basingstoke: : Palgrave Macmillan 2013. 61–8.https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991003236369707446&context=L&vid=44UOEX_INST:default
10
Danielle Hipkins, Daniela Treveri Gennari, Catherine O’Rawe, et al. Oral Memories of Cinema-going in Rural Italy of the 1950s. In: Treveri Gennari D, Hipkins DE, O’Rawe C, eds. Rural cinema exhibition and audiences in a global context. Basingstoke, Hampshire: : Palgrave Macmillan 2018. 117–33.https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008534819707446&context=L&vid=44UOEX_INST:default
11
Marcus M. Giuseppe Tornatore’s Cinema Paradiso and the Art of Nostalgia. In: After Fellini: national cinema in the postmodern age. Baltimore: : Johns Hopkins University Press 2002. 199–213.https://contentstore.cla.co.uk/secure/link?id=eb6e04ef-5804-e911-80cd-005056af4099
12
Radstone S. Cinema/memory/history. Screen 1995;36:34–47.https://uoelibrary.idm.oclc.org/login?url=http://academic.oup.com/screen/article/36/1/34/1680963
13
Wood MP. Children [in] Italian cinema. In: Italian cinema. Oxford: : Berg 2005. 177–8.https://contentstore.cla.co.uk/secure/link?id=b17b9582-5904-e911-80cd-005056af4099
14
Truffaut F, Léaud J-P, Maurier C, et al. The 400 blows. 2006.
15
Bordwell D, Thompson K, Smith J. Chapter 3. Narrative Form [in] Film art: an introduction. In: Film art: an introduction. [Place of publication not identified]: : McGraw-Hill Education 2016. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default
16
Gillain A. The Script of Delinquency: François Truffaut’s Les 400 coups (1959). In: Hayward S, Vincendeau G, eds. French film: texts and contexts. London: : Routledge 2000. 142–57.https://contentstore.cla.co.uk/secure/link?id=19294bd3-261f-e911-80cd-005056af4099
17
Holmes D, Ingram R. François Truffaut. Manchester: : Manchester University Press 1998. https://contentstore.cla.co.uk/secure/link?id=8a36d741-e01f-e911-80cd-005056af4099
18
Tarkovskiĭ AA, Ovchinnikov V, Burlyaev N, et al. Ivan’s childhood. 2016.
19
Bordwell D, Thompson K, Smith J. Chapter 5.The shot: cinematography [in] Film art: an introduction. In: Film art: an introduction. [Place of publication not identified]: : McGraw-Hill Education 2016. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default
20
Beumers B. A history of Russian cinema. English ed. Oxford: : Berg 2009.
21
Bird R. Andrei Tarkovsky: elements of cinema. London: : Reaktion 2008. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991015337379707446&context=L&vid=44UOEX_INST:default
22
Maya Turovskaya. Chapter 3: Ivan’s Childhood. In: Tarkovsky: cinema as poetry. London: : Faber 1989. 29–35.https://contentstore.cla.co.uk/secure/link?id=6c5583ee-dd1f-e911-80cd-005056af4099
23
Youngblood, Denise J. 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 1994;14. doi:10.1080/01439689400260301
24
Schlöndorff V, Carrière J-C, Grass G, et al. The tin drum. 2012.
25
Bordwell D, Thompson K, Smith J. Chapter 6. The relation of shot-to-shot: editing [in] Film art: an introduction. In: Film art: an introduction. [Place of publication not identified]: : McGraw-Hill Education 2016. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default
26
Lury K. The child in film: tears, fears and fairytales. London: : I. B. Tauris 2010. http://www.vlebooks.com/vleweb/product/openreader?id=Exeter&isbn=9780857711281
27
Reimer RC, Reimer CJ. 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 1992. https://contentstore.cla.co.uk/secure/link?id=77e22ad5-f21f-e911-80cd-005056af4099
28
Salles W, Montenegro F, de Oliveira V. Central Station. 2002.
29
Pat Aufderheide. CENTRAL STATION Walter Salles, Brazil, 1997. Film Comment 1998;34.https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/43454635
30
Bordwell D, Thompson K, Smith J. Chapter 9. Film genres [in] Film art: an introduction. In: Film art: an introduction. [Place of publication not identified]: : McGraw-Hill Education 2016. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default
31
Nina Caplan. Central Station/Central do Brasil. SIGHT AND SOUND 1999;9:38–9.https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edswah&AN=000078864900028&site=eds-live&scope=site
32
Anthony Kaufman. Sentimental Journey as National Allegory: An Interview with Walter Salles. Cineaste 1998;24:19–21.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
33
Lúcia Nagib. The zero, the centre and the empty utopia – From Rossellini to Walter Salles. Studies in European Cinema 2007;3:223–33.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
34
Felix Rebolledo. In the Wake of Cinema Nôvo: Central do Brasil (Central Station): Coconut Milk with Coca-Cola Aftertaste. Off Screen 2005;9.https://offscreen.com/issues/view/brazilian_special
35
Kerstin Vogel. Walter Salles’ Central Station and Cinema Nôvo. Offscreen 2005;9.https://offscreen.com/issues/view/brazilian_special
36
Martel L, Morán M, Belloso C, et al. La ñina santa. 2005.
37
Bordwell D, Thompson K, Smith J. Chapter 7. Sound in the cinema [in] Film art: an introduction. In: Film art: an introduction. [Place of publication not identified]: : McGraw-Hill Education 2016. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default
38
Lebeau V, ProQuest (Firm). Child, Sexuality, Image [in] Childhood and cinema. In: Childhood and cinema. London: : Reaktion 2008. 86–134.https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991007629639707446&context=L&vid=44UOEX_INST:default
39
Martin, Deborah. 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) 2011;: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
40
Stewart K. 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 2015;21:205–19.https://uoelibrary.idm.oclc.org/login?url=http://www.tandfonline.com/doi/full/10.1080/14701847.2015.1179850
42
Lawrence M, Smith S. Child Performance Dossier Introduction [in] Screen. Screen 2012;53:436–9.https://uoelibrary.idm.oclc.org/login?url=http://academic.oup.com/screen/article/53/4/436/1644181
43
Lury K. 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 2010. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991015540819707446&context=L&vid=44UOEX_INST:default
44
O’Rawe C. 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/
45
Bordwell D, Thompson K, Smith J. Film art: an introduction. Eleventh edition. [Place of publication not identified]: : McGraw-Hill Education 2016. http://www.vlebooks.com/vleweb/product/openreader?id=Exeter&isbn=9780077188917
46
Buckland W. Film studies. New ed. London: : Teach Yourself 2008. https://archive.org/details/filmstudiesintro0000buck/mode/2up
47
Hayward S. Cinema studies: the key concepts. Fifth edition. London: : Routledge 2018. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008769929707446&context=L&vid=44UOEX_INST:default
48
Hayward S. Cinema studies: the key concepts. 4th ed. Abingdon: : Routledge 2013.
49
Monaco J. How to read a film: movies, media, and beyond : art, technology, language, history, theory. 4th ed., completely rev. and expanded. Oxford: : Oxford University Press 2009.
50
Roberts G, Wallis H. Introducing film. London: : Bloomsbury Academic 2010. https://archive.org/details/introducingfilm0000robe
51
Vincendeau G. Issues in European Cinema. In: World cinema: critical approaches. Oxford: : Oxford University Press 2000. 56–64.https://contentstore.cla.co.uk/secure/link?id=2d0cb283-8320-e911-80cd-005056af4099
