Abbas, Ackbar. 1997. ‘Chapter 3 : Wong Kar-Wai : Hong Kong Filmmaker’. In Hong Kong: Culture and the Politics of Disappearance, Public worlds. 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): 167–82. 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, no. 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, no. 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. Newmarket Press.
Badt, Karin Luisa. 2009. ‘Cache (Hidden): Michael Haneke’. In Action!: Interviews with Directors from Classical Hollywood to Contemporary Iran. Anthem Press.
Barlet, Olivier. 2008. ‘Chapter 10 : The New Paradoxes of Black Africa’s Cinemas’. In World Cinemas, Transnational Perspective (AFI Film Readers). Routledge. Hardcover.
Berry, Michael. 2005. ‘Zhang Yimou: Flying Colours’. In Speaking in Images: Interviews with Contemporary Chinese Filmmakers, Global Chinese culture. Columbia University Press.
Bersani, L., and U. Dutoit. 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, David, Kristin Thompson, and Jeff Smith. 2017. ‘Glossary’. In Film Art: An Introduction, Twelfth edition. McGraw-Hill Education. https://ebookcentral.proquest.com/lib/qut/reader.action?docID=5972660&ppg=514.
Capp, Rose. 2001. ‘Delhi Deluge of Colour and Movement in Mira Nair’s Monsoon Wedding’. Senses of Cinema, no. December. http://sensesofcinema.com/2001/feature-articles/monsoon_wedding/.
Chaudhuri, S and Finn, H. 2003. ‘The Open Image : Poetic Realism and the New Iranian Cinema’. Screen 44 (1): 38–57.
Chaudhuri, Shohini and Finn, Howard. 2006. ‘Ch 10 : The Open Image : Poetic Realism and the New Iranian Cinema’. In Screening World Cinema: A Screen Reader, Screen readers. Routledge.
Clark, Paul. 1987. ‘Chapter’. In Chinese Cinema : Culture and Politics since 1949. Cambridge University Press.
Collins, Felicity. 2007. ‘Kenny: The Return of the Decent Aussie Bloke in Australian Film Comedy’. Metro Magazine: Media & Education Magazine, no. 154: 84–90. https://search.informit.com.au/documentSummary;dn=003384921792023;res=IELAPA.
Craven, Ian. 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, Rutgers depth of field series. Rutgers University Press.
Davis, Glyn, Kay Dickinson, Lisa Patti, and Amy Villarejo. 2015. ‘Film and Politics’. In Film Studies: A Global Introduction. Routledge.
Di Gregorio, L. 2010. ‘Fate, Chance and Fabulous Destiny : Amelie in the Classroom’. Screen Education, no. 59: 102–9. 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): 121–35. 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. Oxford University Press.
D’Lugo, M. 2006. ‘All about My Mother’. In Pedro Almodóvar, Contemporary film directors. 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, Elizabeth, and Terry Rowden. 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, In focus--Routledge film readers. 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. Routledge.
Greene, Naomi. 2004. ‘Chapter 19 : Representation: Parisian Images and National Transformations’. In The French Cinema Book. BFI Pub.
Groves, Don. 2015. ‘Year Zero for Australian Cinema’. Inside Film: If, no. 163: 9–10. https://search.informit.com.au/documentSummary;dn=979545115183778;res=IELAPA.
Holman, Rosa. 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, no. 149: 142–47. 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. Miramax Books.
Jill Forbes. 2000. ‘La Haine’. In European Cinema: An Introduction. 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, Thomas Y. 2010. ‘Five Tapes, Four Halls, Two Dreams: Vicissitudes of Surveillant Narration in Michael Haneke’s Cache’. In A Companion to Michael Haneke, Wiley-Blackwell companions to film directors. Wiley-Blackwell. Electronic resource. 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): 183–99. https://doi.org/10.1093/screen/44.2.183.
Marcantonio, Carla. 2010. ‘In the Mood for Love’. Senses of Cinema 56 (October). http://sensesofcinema.com/2010/cteq/in-the-mood-for-love/.
Martinez, Dolores. 2012. ‘Chapter 4: Remaking Rashomon: From Subjectivity to “the” Truth’. In Remaking Kurosawa : Translations and Permutations in Global Cinema. Palgrave Macmillan. Paperback.
Matthews, Kate. 2007. ‘Running in Circles: Form in “Run Lola Run”’. Screen Education 45 (45): 153–58. 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, no. 42: 111–15.
McKibbins, A. 2006. ‘Meeting Mehta. A Conversation with the Director of Water’. Metro, no. 149: 148–52. 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): 131–41. http://www-tandfonline-com.ezp01.library.qut.edu.au/doi/abs/10.1386/sfci.7.2.131_1.
Moran, Anthony. 2002. ‘As Australia Decolonizes: Indigenizing Settler Nationalism and the Challenges of Settler/Indigenous Relations’. Ethnic and Racial Studies 25 (6): 1013–42. 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. 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. MIT Press.
Naficy, Hamid. 2003. ‘Theorizing ’ Third World ’ Film Spectatorship : The Case of Iran and Iranian Cinema’. In Rethinking Third Cinema. Routledge.
Nettelbeck, Colin. 1999. ‘Is There a “European” Cinema? The “French” Films of Krzysztof Kieslowksi as Case-Study’. Australian Journal of French Studies 36 (1): 136–51. https://search.informit.com.au/fullText;dn=991010675;res=IELAPA.
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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. Wallflower.
Podalsky, L. 2003. ‘Affecting Legacies: Historical Memory and Contemporary Structures of Feeling in Madagascar and Amores Perrros’. Screen 44 (3): 277–94. https://doi.org/10.1093/screen/44.3.277.
Rayns, Tony and 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. Prentice-Hall.
Ryan, Mark David. 2015. ‘Chapter 5: From Aussiewood Movie to Guerrilla Filmmaking : Independent Filmmaking and Contemporary Australian Cinema’. In Independent Filmmaking around the Globe, edited by Doris Baltruschat and Mary Erickson. 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. 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 and Gettino, Octavio. 2000. ‘Chapter 16 : Towards a Third Cinema’. In Film and Theory: An Anthology. Blackwell Publishing.
Stafford, Roy. 2014. ‘Chapter 4: National Cinemas in Europe: Contrasting Experiences’. In The Global Film Book. Taylor and Francis. Electronic resource. https://ebookcentral.proquest.com/lib/qut/reader.action?docID=1596973&ppg=261.
Stam, Robert. 2000. ‘Third Cinema Revisited’. In Film Theory: An Introduction. Blackwell. https://ebookcentral.proquest.com/lib/qut/reader.action?docID=5155748&ppg=203&c=UERG.
Staunton, Denis. 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 and Dissanayake, Wimal. 1998. ‘Zhang Yimou: Dramas of Desire and the Power of the Image’. In New Chinese Cinema, Images of Asia. 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. Manchester University Press. https://www.jstor.org/stable/jj.21996381.8.
Teo, Stephen. 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. British Film Institute.
Tierney, Dolores. 2009. ‘Alejandro Gonzlez Irritu: Director without Borders’. New Cinemas: Journal of Contemporary Film 7 (2): 101–17. https://doi.org/10.1386/ncin.7.2.101/1.
Valck, Marijke de. 2005. ‘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]. Electronic resource. https://www.jstor.org/stable/j.ctt45kd32.10?refreqid=excelsior%3A35b93a4935732e79d41da4dfbba3bc7c&seq=1#metadata_info_tab_contents.
van Es, Robert. 2002. ‘Persistent Ambiguity and Moral Responsibility in Rashomon’. In Film and Knowledge: Essays on the Integration of Images and Ideas. McFarland.
Vincendeau, Ginette. 2000. ‘Chapter 22 : Designs on the Banlieue: Mathieu Kassivitz’s La Haine (1995)’. In French Film: Texts and Contexts, 2nd ed. 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, Hispanic issues. University of Minnesota Press.
Waskiewicz, S. 2002. ‘Le Fabuleux Destin d’ Amelie Poulain’. French Politics, Culture and Society 20 (1): 152–56.
Williams, Linda. 2004. ‘Melancholy Melodrama: Almodóvarian Grief and Lost Homosexual Attachments*’. Journal of Spanish Cultural Studies 5 (3): 273–86. https://doi.org/10.1080/146362004000282127.
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Yoshimoto, Mitsuhiro. 2000. ‘Chapter 12 : Rashomon’. In Kurosawa: Film Studies and Japanese Cinema, Asia-Pacific : culture, politics, and society. Duke University Press.
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Zhen, Ni. 2002. ‘Chapter 3 : First Steps’. In Memoirs from the Beijing Film Academy: The Genesis of China’s Fifth Generation, Asia-Pacific. Duke University Press.
