‘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): 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, Birgit. 2009. A History of Russian Cinema. English ed. Oxford: Berg.
Bird, Robert. 2008. Andrei Tarkovsky: Elements of Cinema. London: Reaktion. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991015337379707446&context=L&vid=44UOEX_INST:default.
Bordwell, David, Kristin Thompson, and Jeff Smith. 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. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default.
———. 2016b. ‘Chapter 4. Mise-En-Scene’. In Film Art: An Introduction, Eleventh edition. [Place of publication not identified]: McGraw-Hill Education. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default.
———. 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. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default.
———. 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. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default.
———. 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. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default.
———. 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. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default.
———. 2016g. Film Art: An Introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education. http://www.vlebooks.com/vleweb/product/openreader?id=Exeter&isbn=9780077188917.
Buckland, Warren. 1998. ‘Film Aesthetics: Formalism And Realism’. In Teach Yourself Film Studies, 7–30. London: Hodder & Stoughton. https://contentstore.cla.co.uk/secure/link?id=3906d6d8-4e04-e911-80cd-005056af4099.
———. 2008. Film Studies. New ed. London: Teach Yourself. https://archive.org/details/filmstudiesintro0000buck/mode/2up.
Danielle Hipkins, Daniela Treveri Gennari, Catherine O’Rawe, Silvia Dibeltulo, and Sarah Culhane. 2018. ‘Oral Memories of Cinema-Going in Rural Italy of the 1950s’. In Rural Cinema Exhibition and Audiences in a Global Context, edited by Daniela Treveri Gennari, Danielle E. Hipkins, and Catherine O’Rawe, 117–33. Basingstoke, Hampshire: Palgrave Macmillan. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008534819707446&context=L&vid=44UOEX_INST:default.
Donald, Stephanie, Emma Wilson, and Sarah Wright, eds. 2017. ‘Introduction’. In Childhood and Nation in Contemporary World Cinema: Borders and Encounters, 1–11. London: 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, Rosalind. 2013. ‘The Prettiness of Italian Cinema’. In Popular Italian Cinema, edited by Louis Bayman and Sergio Rigoletto, 61–68. Basingstoke: Palgrave Macmillan. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991003236369707446&context=L&vid=44UOEX_INST:default.
Gillain, Anne. 2000. ‘The Script of Delinquency: François Truffaut’s Les 400 Coups (1959)’. In French Film: Texts and Contexts, edited by Susan Hayward and Ginette Vincendeau, 2nd ed, 142–57. London: Routledge. https://contentstore.cla.co.uk/secure/link?id=19294bd3-261f-e911-80cd-005056af4099.
Hayward, Susan. 2013. Cinema Studies: The Key Concepts. 4th ed. Abingdon: Routledge.
———. 2018. Cinema Studies: The Key Concepts. Fifth edition. London: Routledge. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008769929707446&context=L&vid=44UOEX_INST:default.
Holmes, Diana, and Robert Ingram. 1998. François Truffaut. Manchester: 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., and S. Smith. 2012. ‘Child Performance Dossier Introduction [in] Screen’. Screen 53 (4): 436–39. https://uoelibrary.idm.oclc.org/login?url=http://academic.oup.com/screen/article/53/4/436/1644181.
Lebeau, Vicky and ProQuest (Firm). 2008. ‘Child, Sexuality, Image [in] Childhood and Cinema’. In Childhood and Cinema, 86–134. London: 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): 223–33. 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.
Lury, Karen. 2010a. The Child in Film: Tears, Fears and Fairytales. London: I. B. Tauris. http://www.vlebooks.com/vleweb/product/openreader?id=Exeter&isbn=9780857711281.
———. 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. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991015540819707446&context=L&vid=44UOEX_INST:default.
Marcus, Millicent. 2002. ‘Giuseppe Tornatore’s Cinema Paradiso and the Art of Nostalgia’. In After Fellini: National Cinema in the Postmodern Age, 199–213. Baltimore: Johns Hopkins University Press. https://contentstore.cla.co.uk/secure/link?id=eb6e04ef-5804-e911-80cd-005056af4099.
Martel, Lucrecia, Mercedes Morán, Carlos Belloso, Alejandro Urdapilleta, and María Alche. 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), no. 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, 29–35. London: 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, James. 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): 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, Catherin. 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, Murray. 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, Susannah. 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, Robert C., and Carol J. Reimer. 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. https://contentstore.cla.co.uk/secure/link?id=77e22ad5-f21f-e911-80cd-005056af4099.
Roberts, Graham, and Heather Wallis. 2010. Introducing Film. London: Bloomsbury Academic. https://archive.org/details/introducingfilm0000robe.
Salles, Walter, Fernanda Montenegro, and Vinícius de Oliveira. 2002. ‘Central Station’. Buena Vista home entertainment.
Schlöndorff, Volker, Jean-Claude Carrière, Günter Grass, Mario Adorf, Franz Seitz, Angela Winkler, David Bennet, et al. 2012. ‘The Tin Drum’. [U.K.]: Arrow Academy.
Sinyard, Neil. 1990. ‘Introduction’. In Children in the Movies, 7–15. London: Batsford. https://contentstore.cla.co.uk/secure/link?id=89f0d22a-5804-e911-80cd-005056af4099.
Stewart, Katy. 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): 205–19. https://uoelibrary.idm.oclc.org/login?url=http://www.tandfonline.com/doi/full/10.1080/14701847.2015.1179850.
Tarkovskiĭ, Andreĭ Arsenʹevich, Vyacheslav Ovchinnikov, Nikolai Burlyaev, and Vladimir Bogomolov. 2016. ‘Ivan’s Childhood’. [London]: Curzon Artificial Eye.
Tornatore, Giuseppe, Philippe Noiret, Jacques Perrin, and Antonella Attili. 2007. ‘Cinema Paradiso’. Arrow Films. https://learningonscreen.ac.uk/ondemand/index.php/prog/000AA0B6?bcast=13090545.
Truffaut, François, Jean-Pierre Léaud, Claire Maurier, and Albert Rémy. 2006. ‘The 400 Blows’. 2 Entertain Video Limited CCD30496.
Vincendeau, Ginette. 2000. ‘Issues in European Cinema’. In World Cinema: Critical Approaches, 56–64. Oxford: 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): 329–40. https://uoelibrary.idm.oclc.org/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=edsmzh&AN=2005441852&site=eds-live&scope=site.
Wood, Mary P. 2005. ‘Children [in] Italian Cinema’. In Italian Cinema, 177–78. Oxford: 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.