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