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Ezra E, Rowden T. General Introduction : What is Transnational Cinema? pp.1-12; Chapter 1: The Limiting Imagination of National Cinema pp. 15-23. In: Transnational Cinema : The Film Reader. Vol In focus--Routledge film readers. Routledge; 2006:1-12-15-23.
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Dissanayake, Wimal. Ch 18 : Issues in World Cinema. In: World Cinema: Critical Approaches. Oxford University Press; 2000:143-150.
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Crofts, Stephen. Theoretical perspectives. Reconceptualising national cinemas. In: Film and Nationalism. Vol Rutgers depth of field series. Rutgers University Press; 2002:25-51.
4.
Ryan, Mark David. Chapter 5: From Aussiewood Movie to Guerrilla Filmmaking : Independent Filmmaking and Contemporary Australian Cinema. In: Baltruschat D, Erickson M, eds Independent Filmmaking around the Globe. University of Toronto Press; 2015:71-89. https://www.jstor.org/stable/10.3138/j.ctvg254pb.9?refreqid=excelsior%3A69663ce40c26d0759a2998f915e3d0ba&seq=1#metadata_info_tab_contents
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Collins, Felicity. Kenny: The Return of the Decent Aussie Bloke in Australian Film Comedy. Metro Magazine: Media & Education Magazine. 2007;(154):84-90. https://search.informit.com.au/documentSummary;dn=003384921792023;res=IELAPA
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Groves D. Year zero for Australian cinema. Inside Film: If. 2015;(163):9-10. https://search.informit.com.au/documentSummary;dn=979545115183778;res=IELAPA
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Craven I. Chapter 1: Australian Cinema Towards the Millennium pp. 5-13 Chapter 8: Romance and Sensation in the ‘Glitter’ Cylcle pp. 133-140; pp. 142-148. In: Australian Cinema in the 1990s. Frank Cass; 2001.
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Jill Forbes. La haine. In: European Cinema: An Introduction. Palgrave; 2000:170-180.
9.
Vincendeau, Ginette. Chapter 22 : Designs on the Banlieue: Mathieu Kassivitz’s La Haine (1995). In: French Film: Texts and Contexts. 2nd ed. Routledge; 2000:310-327.
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Greene, Naomi. Chapter 19 : Representation: Parisian Images and National Transformations. In: The French Cinema Book. BFI Pub; 2004:247-255.
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Tarr, Carrie. Ethnicity and identity in Mathieu Kassovitz’s Metisse and La Haine. In: Reframing Difference: Beur and Banlieue Filmmaking in France. Manchester University Press; 2005:62-72. https://www.jstor.org/stable/jj.21996381.8
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Vincendeau, Ginette. Cafe society. Sight and Sound. 2001;11(August):22-25.
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Waskiewicz, S. Le Fabuleux Destin d’ Amelie Poulain. French Politics, Culture and Society. 2002;20(1):152-156.
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Nettelbeck C. Is there a ‘European’ cinema? The ‘French’ films of Krzysztof Kieslowksi as case-study. Australian Journal of French Studies. 1999;36(1):136-151. https://search.informit.com.au/fullText;dn=991010675;res=IELAPA
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Stafford, Roy. Chapter 4: National Cinemas in Europe: Contrasting Experiences. In: The Global Film Book. Taylor and Francis; 2014:261-308. https://ebookcentral.proquest.com/lib/qut/reader.action?docID=1596973&ppg=261
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Matthews K. Running in circles: Form in ‘Run Lola Run’. Screen Education. 2007;45(45):153-158. http://search.informit.com.au/fullText;dn=805260525613133;res=IELAPA
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Staunton D. Berlin, ten years on from The Wall. The Guardian. Published online 1999. https://www.theguardian.com/film/1999/jun/20/2
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Yoshimoto, Mitsuhiro. Chapter 12 : Rashomon. In: Kurosawa: Film Studies and Japanese Cinema. Vol Asia-Pacific : culture, politics, and society. Duke University Press; 2000:182-189.
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Martinez D. Chapter 4: Remaking Rashomon: From subjectivity to ‘the’ truth. In: Remaking Kurosawa : Translations and Permutations in Global Cinema. Palgrave Macmillan; 2012:43-64.
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Lawrenson, Edward. Pup Fiction. Sight and Sound. 2001;11(May):28-30. https://www.proquest.com/docview/1816786?accountid=13380
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Arriaga, Guillermo. Chapter 19 : Amores Perros. In: Screenwriters’ Masterclass: Screenwriters Talk about Their Greatest Movies. 1st ed. Newmarket Press; 2006:373-389.
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Podalsky L. Affecting legacies: historical memory and contemporary structures of feeling in Madagascar and Amores perrros. Screen. 2003;44(3):277-294. doi:10.1093/screen/44.3.277
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Tierney D. Alejandro Gonzlez Irritu: Director without borders. New Cinemas: Journal of Contemporary Film. 2009;7(2):101-117. doi:10.1386/ncin.7.2.101/1
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Stam, Robert. Third Cinema Revisited. In: Film Theory: An Introduction. Blackwell; 2000:281-291. https://ebookcentral.proquest.com/lib/qut/reader.action?docID=5155748&ppg=203&c=UERG
25.
Solanas, Fernando, Gettino, Octavio. Chapter 16 : Towards a Third Cinema. In: Film and Theory: An Anthology. Blackwell Publishing; 2000:265-286.
26.
Capp R. Delhi deluge of colour and movement in Mira Nair’s Monsoon Wedding. Senses of Cinema. 2001;(December). http://sensesofcinema.com/2001/feature-articles/monsoon_wedding/
27.
Geoffrey Macnab. Henna And Cellphones. Sight and Sound. 2012;12(1):18-21. https://www.proquest.com/docview/1813178?pq-origsite=primo&accountid=13380
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Gopalan, Lalitha. Indian Cinema. In: Introduction to Film Studies. 3rd ed. Routledge; 2003:359-388.
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McKibbins, A. Meeting Mehta. A conversation with the director of Water. Metro. 2006;(149):148-152. https://search.informit.com.au/documentSummary;dn=183999998387890;res=IELAPA
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Hopgood, Fincina. The Politics of Melodrama in Deepa Mehta’s ‘Water’. Metro Magazine: Media & Education Magazine. 2006;(149):142-147. https://search.informit.com.au/documentSummary;dn=183981365416632;res=IELAPA
31.
Teo, Stephen. Chapter 8: Betrayed by Maggie Cheung: In the Mood for Love. In: Wong Kar-Wai. British Film Institute; 2005:114-133.
32.
Teo S. Wong Kar-wai’s In the Mood for Love: Like a ritual in transfigured time. Senses of Cinema. 2001;13(April). http://sensesofcinema.com/2001/wong-kar-wai/mood/
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Davis G, Dickinson K, Patti L, Villarejo A. Film and Politics. In: Film Studies: A Global Introduction. Routledge; 2015:95-119.
34.
Marcantonio C. In the Mood for Love. Senses of Cinema. 2010;56(October). http://sensesofcinema.com/2010/cteq/in-the-mood-for-love/
35.
Wright E. Great Directors: Wong Kar-wai. Senses of Cinema. 2002;20(May). http://sensesofcinema.com/2002/great-directors/wong/
36.
Dipio, Dominica. Gender wars around religion and tradition in Ousmane Sembéne’s Moolaadé. Journal of African Cinemas. 2010;2(2):121-135. http://www.ingentaconnect.com/content/intellect/jac/2010/00000002/00000002/art00003
37.
Barlet O. Chapter 10 : The New Paradoxes of Black Africa’s Cinemas. In: World Cinemas, Transnational Perspective (AFI Film Readers). Routledge; 2008:217-225.
38.
Julian Graffy. The Circle. Sight and Sound. 2001;11(10):44-46. https://www.proquest.com/docview/237105578/45B1BD75F51C481CPQ/4?accountid=13380
39.
Jonathon Romney. Blackboards. Sight & Sound. 2011;11(1):41-42,3. http://old.bfi.org.uk/sightandsound/review/2202
40.
Naficy, H. Poetics and Politics of Veil, Voice and Vision in Iranian post-revolutionary cinema. In: Veil: Veiling, Representation and Contemporary Art. 1st MIT Press ed. MIT Press; 2003:136-159.
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Chaudhuri, S, Finn, H. The open image : poetic realism and the New Iranian Cinema. Screen. 2003;44(1):38-57.
42.
Holman R. ‘Caught Between Poetry and Censorship’: The Influence of State Regulation and Sufi Poeticism on Contemporary Iranian Cinema. Senses of Cinema. 2006;41(November). http://sensesofcinema.com/2006/film-history-conference-papers/poetry-censorship-iran/
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Clark P. Chapter. In: Chinese Cinema : Culture and Politics since 1949. Cambridge University Press; 1987:1-3-4-27.
44.
McFarlane, B. Women beware women: Zhang Yimou’s Raise the Red Lantern. Screen Education. 2006;(42):111-115.
45.
Armstrong, R. The Living Image: French cinema from the lumieres to the banlieux. Screen Education. 2005;(41 Summer):11-16. https://www.proquest.com/docview/236639615?accountid=13380
46.
Sofair, Michael. All about my mother. Film Quarterly. 2001;55(2):40-47. https://www.proquest.com/docview/212274151/fulltextPDF/13CBBC0D8105B3070EB/7?accountid=13380
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Rayns, Tony, Bell, James. Before the deluge. Sight and Sound. 2008;18(2):10-10. https://www.proquest.com/docview/237121485/fulltext/5B0936440A864612PQ/7?accountid=13380
48.
Ma N. Signs of angst and hope: history and melodrama in Chinese fifth-generation cinema. Screen. 2003;44(2):183-199. doi:10.1093/screen/44.2.183
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Aldea, Elena Oliete. Gurinder Chadha’s Bride and Prejudice: A transnational journey through time and space. International Journal of English Studies. 2012;12(1):167-182. https://search.ebscohost.com/login.aspx?direct=true&AuthType=sso&custid=qut&db=eue&AN=77949747&site=ehost-live&scope=site
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Moran A. As Australia decolonizes: Indigenizing settler nationalism and the challenges of settler/indigenous relations. Ethnic and Racial Studies. 2002;25(6):1013-1042. doi:10.1080/0141987022000009412
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Di Gregorio, L. Fate, chance and fabulous destiny : Amelie in the classroom. Screen Education. 2010;(59):102-109. https://search.informit.org/documentSummary;dn=406069324243973;res=IELHSS
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Zhang, Yingjin, et al. Chinese cinema in the new century : prospects and problems. World Literature Today. 2007;81(4):36-41. https://www.proquest.com/docview/209414605/fulltextPDF/5730CC8D88CA4F48PQ/15?accountid=13380
53.
Williams L. Melancholy melodrama: Almodóvarian grief and lost homosexual attachments*. Journal of Spanish Cultural Studies. 2004;5(3):273-286. doi:10.1080/146362004000282127
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Szeto, Kin-Yan. A moist heart : Love, politics, and China’s neo-liberalism in the films of Jia Zhangke. Visual Anthropology. 2009;22(2-3):95-107. https://search.ebscohost.com/login.aspx?direct=true&AuthType=sso&custid=qut&db=vth&AN=37184960&site=ehost-live&scope=site
55.
Evans, Georgina. ‘Synaesthesia in Kieslowski’s Trois Couleurs: Bleu’. Studies in French Cinema. 2005;5(2):77-86. https://www.tandfonline.com/doi/abs/10.1386/sfci.5.2.7/1
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Saxton, Libby. Secrets and revelations: off-screen space in Michael Haneke’s Caché (2005). Studies in French Cinema. 2007;7(1):5-17. https://www.tandfonline.com/doi/abs/10.1386/sfci.7.1.5_1
57.
Yacavone, Daniel. Space, theme, and movement in Trois couleurs: Rouge. Studies in French Cinema. 2006;6(2):83-94. https://www.tandfonline.com/doi/abs/10.1386/sfci.6.2.83/1
58.
Mecchia, Giuseppina. The children are still watching us, caché/hidden in the folds of time. Studies in French Cinema. 2007;7(2):131-141. http://www-tandfonline-com.ezp01.library.qut.edu.au/doi/abs/10.1386/sfci.7.2.131_1
59.
Armstrong, R. Dreams which wake the sleeper : pity and the polity in Michael Haneke’s hidden. Metro. 2006;(149):65-67. https://search.informit.com.au/documentSummary;dn=183590073020210;res=IELAPA
60.
Paul Coates. Kieslowski, Politica and the Anti-politics of Colour: From the 1970s to the Three Colours Trilogy. In: The Red and the White: The Cinema of People’s Poland. Wallflower; 2005:188-226.
61.
Tam, Kwok-kan, Dissanayake, Wimal. Zhang Yimou: Dramas of Desire and the Power of the Image. In: New Chinese Cinema. Vol Images of Asia. Oxford University Press; 1998:23-34.
62.
Insdorf, Annette. Chapter 8 : Three Colors: Red. In: Double Lives, Second Chances: The Cinema of Krzysztof Kieślowski. 1st ed. Miramax Books; 1999:166-182.
63.
Walker, Leslie Heins. What did I do to deserve this? The Mother in the films of Pedro Almodovar. In: Modes of Representation in Spanish Cinema. Vol Hispanic issues. University of Minnesota Press; 1998:273-288.
64.
Zhen, Ni. Chapter 3 : First Steps. In: Memoirs from the Beijing Film Academy: The Genesis of China’s Fifth Generation. Vol Asia-Pacific. Duke University Press; 2002:113-145.
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O’Regan, Tom. Chapter 3 : A National Cinema. In: Australian National Cinema. Vol National cinemas series. Routledge; 1996:45-76.
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de Valck M. Drowning in popcorn at the International film festival Rotterdam. the festival as a multiplex of cinephilia. In: Cinephilia: Movies, Love and Memory. Leiden University Press [Imprint]; 2005:97-109. https://www.jstor.org/stable/j.ctt45kd32.10?refreqid=excelsior%3A35b93a4935732e79d41da4dfbba3bc7c&seq=1#metadata_info_tab_contents
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Abbas, Ackbar. Chapter 3 : Wong Kar-Wai : Hong Kong Filmmaker. In: Hong Kong: Culture and the Politics of Disappearance. Vol Public worlds. University of Minnesota Press; 1997:48-62.
68.
D’Lugo, M. All about my mother. In: Pedro Almodóvar. Vol Contemporary film directors. University of Illinois Press; 2006:99-104.
69.
Shaw, Deborah. Seducing the public: images of Mexico in Like Water From Chocolate and Amores Perros. In: Contemporary Cinema of Latin America: Ten Key Films. Continuum; 2003:36-70.
70.
Badt, Karin Luisa. Cache (Hidden): Michael Haneke. In: Action!: Interviews with Directors from Classical Hollywood to Contemporary Iran. Anthem Press; 2009:131-137.
71.
Levin TY. Five tapes, four halls, two dreams: Vicissitudes of surveillant narration in Michael Haneke’s Cache. In: A Companion to Michael Haneke. Vol Wiley-Blackwell companions to film directors. Wiley-Blackwell; 2010:75-90. https://ebookcentral.proquest.com/lib/qut/reader.action?docID=485672&ppg=95&c=UERG
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Richie, Donald. Rashomon. In: Focus on Rashomon. Prentice-Hall; 1972:71-94.
73.
van Es, Robert. Persistent ambiguity and moral responsibility in Rashomon. In: Film and Knowledge: Essays on the Integration of Images and Ideas. McFarland; 2002:102-119.
74.
Naficy, Hamid. Theorizing ’ third world ’ Film Spectatorship : The Case of Iran and Iranian Cinema. In: Rethinking Third Cinema. Routledge; 2003:183-201.
75.
Munoz, Ernesto. The body and Spain: Pedro Almodovar’s All about my Mother. In: Genre, Gender, Race, and World Cinema. Blackwell Pub; 2007:38-55.
76.
Berry, Michael. Zhang Yimou: flying colours. In: Speaking in Images: Interviews with Contemporary Chinese Filmmakers. Vol Global Chinese culture. Columbia University Press; 2005:108-140.
77.
Chaudhuri, Shohini, Finn, Howard. Ch 10 : The Open Image : Poetic Realism and the New Iranian Cinema. In: Screening World Cinema: A Screen Reader. Vol Screen readers. Routledge; 2006:163-181.
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Bersani L, Dutoit U. Chapter 9: Almodovar’s girls. In: All about Almodóvar: A Passion for Cinema. University of Minnesota Press; 2009. http://gateway.library.qut.edu.au/login?url=http://www.jstor.org/stable/10.5749/j.ctttv7w7
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Bordwell D, Thompson K, Smith J. Glossary. In: Film Art: An Introduction. Twelfth edition. McGraw-Hill Education; 2017:G-1-G-6. https://ebookcentral.proquest.com/lib/qut/reader.action?docID=5972660&ppg=514
