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Anthony Kaufman. ‘Sentimental Journey as National Allegory: An Interview with Walter Salles’. Cineaste 24.1 (1998): 19–21. Web. <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. A History of Russian Cinema. English ed. Oxford: Berg, 2009. Print.
Bird, Robert. Andrei Tarkovsky: Elements of Cinema. London: Reaktion, 2008. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991015337379707446&context=L&vid=44UOEX_INST:default>.
Bordwell, David, Kristin Thompson, and Jeff Smith. ‘Chapter 3. Narrative Form [in] Film Art: An Introduction’. Film Art: An Introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education, 2016. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default>.
---. ‘Chapter 4. Mise-En-Scene’. Film Art: An Introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education, 2016. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default>.
---. ‘Chapter 5.The Shot: Cinematography [in] Film Art: An Introduction’. Film Art: An Introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education, 2016. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default>.
---. ‘Chapter 6. The Relation of Shot-to-Shot: Editing [in] Film Art: An Introduction’. Film Art: An Introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education, 2016. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default>.
---. ‘Chapter 7. Sound in the Cinema [in] Film Art: An Introduction’. Film Art: An Introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education, 2016. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default>.
---. ‘Chapter 9. Film Genres [in] Film Art: An Introduction’. Film Art: An Introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education, 2016. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008218569707446&context=L&vid=44UOEX_INST:default>.
---. Film Art: An Introduction. Eleventh edition. [Place of publication not identified]: McGraw-Hill Education, 2016. Web. <http://www.vlebooks.com/vleweb/product/openreader?id=Exeter&isbn=9780077188917>.
Buckland, Warren. ‘Film Aesthetics: Formalism And Realism’. Teach Yourself Film Studies. London: Hodder & Stoughton, 1998. 7–30. Web. <https://contentstore.cla.co.uk/secure/link?id=3906d6d8-4e04-e911-80cd-005056af4099>.
---. Film Studies. New ed. London: Teach Yourself, 2008. Web. <https://archive.org/details/filmstudiesintro0000buck/mode/2up>.
Danielle Hipkins et al. ‘Oral Memories of Cinema-Going in Rural Italy of the 1950s’. Rural Cinema Exhibition and Audiences in a Global Context. Ed. Daniela Treveri Gennari, Danielle E. Hipkins, and Catherine O’Rawe. Basingstoke, Hampshire: Palgrave Macmillan, 2018. 117–133. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008534819707446&context=L&vid=44UOEX_INST:default>.
Donald, Stephanie, Emma Wilson, and Sarah Wright, eds. ‘Introduction’. Childhood and Nation in Contemporary World Cinema: Borders and Encounters. London: Bloomsbury Academic, 2017. 1–11. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991004749409707446&context=L&vid=44UOEX_INST:default>.
Felix Rebolledo. ‘In the Wake of Cinema Nôvo: Central Do Brasil (Central Station): Coconut Milk with Coca-Cola Aftertaste’. Off Screen 9.6 (2005): n. pag. Web. <https://offscreen.com/issues/view/brazilian_special>.
Galt, Rosalind. ‘The Prettiness of Italian Cinema’. Popular Italian Cinema. Ed. Louis Bayman and Sergio Rigoletto. Basingstoke: Palgrave Macmillan, 2013. 61–68. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991003236369707446&context=L&vid=44UOEX_INST:default>.
Gillain, Anne. ‘The Script of Delinquency: François Truffaut’s Les 400 Coups (1959)’. French Film: Texts and Contexts. Ed. Susan Hayward and Ginette Vincendeau. 2nd ed. London: Routledge, 2000. 142–157. Web. <https://contentstore.cla.co.uk/secure/link?id=19294bd3-261f-e911-80cd-005056af4099>.
Hayward, Susan. Cinema Studies: The Key Concepts. Fifth edition. London: Routledge, 2018. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008769929707446&context=L&vid=44UOEX_INST:default>.
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Holmes, Diana, and Robert Ingram. François Truffaut. Manchester: Manchester University Press, 1998. Web. <https://contentstore.cla.co.uk/secure/link?id=8a36d741-e01f-e911-80cd-005056af4099>.
Kerstin Vogel. ‘Walter Salles’ Central Station and Cinema Nôvo’. Offscreen 9.6 (2005): n. pag. Web. <https://offscreen.com/issues/view/brazilian_special>.
Lawrence, M., and S. Smith. ‘Child Performance Dossier Introduction [in] Screen’. Screen 53.4 (2012): 436–439. Web. <https://uoelibrary.idm.oclc.org/login?url=http://academic.oup.com/screen/article/53/4/436/1644181>.
Lebeau, Vicky and ProQuest (Firm). ‘Child, Sexuality, Image [in] Childhood and Cinema’. Childhood and Cinema. London: Reaktion, 2008. 86–134. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991007629639707446&context=L&vid=44UOEX_INST:default>.
Lúcia Nagib. ‘The Zero, the Centre and the Empty Utopia – From Rossellini to Walter Salles’. Studies in European Cinema 3.3 (2007): 223–233. Web. <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. The Child in Film: Tears, Fears and Fairytales. London: I. B. Tauris, 2010. Web. <http://www.vlebooks.com/vleweb/product/openreader?id=Exeter&isbn=9780857711281>.
---. ‘The Impropriety of Performance [in] The Child in Film: Tears, Fears and Fairytales’. The Child in Film: Tears, Fears and Fairytales. London: I. B. Tauris, 2010. Web. <https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991015540819707446&context=L&vid=44UOEX_INST:default>.
Marcus, Millicent. ‘Giuseppe Tornatore’s Cinema Paradiso and the Art of Nostalgia’. After Fellini: National Cinema in the Postmodern Age. Baltimore: Johns Hopkins University Press, 2002. 199–213. Web. <https://contentstore.cla.co.uk/secure/link?id=eb6e04ef-5804-e911-80cd-005056af4099>.
Martel, Lucrecia et al. ‘La Ñina Santa’. 2005 : n. pag. Print.
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) 1 (2011): 59–76. Web. <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. ‘Chapter 3: Ivan’s Childhood’. Tarkovsky: Cinema as Poetry. London: Faber, 1989. 29–35. Web. <https://contentstore.cla.co.uk/secure/link?id=6c5583ee-dd1f-e911-80cd-005056af4099>.
‘Modern Languages - LibGuides at University of Exeter’. N.p., n.d. Web. <https://libguides.exeter.ac.uk/ModernLanguagesHomePage>.
Monaco, James. 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. Print.
Nina Caplan. ‘Central Station/Central Do Brasil’. SIGHT AND SOUND 9.3 (1999): 38–39. Web. <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. ‘The Non-Professional in the Reception of Italian Cinema Abroad – International Circulation of Italian Cinema’. N.p., n.d. Web. <https://www.italiancinema.it/the-non-professional-in-the-reception-of-italian-cinema-abroad/>.
Pat Aufderheide. ‘CENTRAL STATION Walter Salles, Brazil, 1997’. Film Comment 34.6 (1998): n. pag. Web. <https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/43454635>.
Pomerance, Murray. Ladies and Gentlemen, Boys and Girls: Gender in Film at the End of the Twentieth Century. Albany: State Univ. of New York Pr, 2001. Print.
Radstone, Susannah. ‘Cinema/Memory/History’. Screen 36.1 (1995): 34–47. Web. <https://uoelibrary.idm.oclc.org/login?url=http://academic.oup.com/screen/article/36/1/34/1680963>.
Reimer, Robert C., and Carol J. Reimer. ‘The Tin Drum [in] Nazi-Retro Film: How German Narrative Cinema Remembers the Past’. Nazi-Retro Film: How German Narrative Cinema Remembers the Past. New York: Twayne, 1992. Web. <https://contentstore.cla.co.uk/secure/link?id=77e22ad5-f21f-e911-80cd-005056af4099>.
Roberts, Graham, and Heather Wallis. Introducing Film. London: Bloomsbury Academic, 2010. Web. <https://archive.org/details/introducingfilm0000robe>.
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Sinyard, Neil. ‘Introduction’. Children in the Movies. London: Batsford, 1990. 7–15. Web. <https://contentstore.cla.co.uk/secure/link?id=89f0d22a-5804-e911-80cd-005056af4099>.
Stewart, Katy. ‘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 (2015): 205–219. Web. <https://uoelibrary.idm.oclc.org/login?url=http://www.tandfonline.com/doi/full/10.1080/14701847.2015.1179850>.
Tarkovskiĭ, Andreĭ Arsenʹevich et al. ‘Ivan’s Childhood’. 2016 : n. pag. Print.
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Vincendeau, Ginette. ‘Issues in European Cinema’. World Cinema: Critical Approaches. Oxford: Oxford University Press, 2000. 56–64. Web. <https://contentstore.cla.co.uk/secure/link?id=2d0cb283-8320-e911-80cd-005056af4099>.
Wilson, E. ‘Children, Emotion and Viewing in Contemporary European Film’. Screen 46.3 (2005): 329–340. Web. <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. ‘Children [in] Italian Cinema’. Italian Cinema. Oxford: Berg, 2005. 177–178. Web. <https://contentstore.cla.co.uk/secure/link?id=b17b9582-5904-e911-80cd-005056af4099>.
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. 14.4 (1994): n. pag. Web. <https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=9411303462&site=eds-live&scope=site>.
