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World Cinema

Books in English Published Since 1989

General Works

• Higson, Andrew, and Richard Maltby. “Film Europe” and “Film America”: Cinema, Commerce, and Cultural Exchange, 1920-1939. Exeter: Exeter University, 1999.
• Hjort, Mette, and Scott MacKenzie, eds. Cinema and Nation. London: Routledge, 2000.
• Kindem, Gorham. The International Movie Industry. Carbondale: Southern Illinois University, 2000.
• Nowell-Smith, Geoffrey, and Steven Ricci. Hollywood and Europe: Economics, Culture, and National Identity, 1945-95. London: BFI Publishing, 1998.
• Puttnam, David. Movies and Money. New York: Knopf, 1998.

African Film

• Bakari, Imruh and Mbye B. Cham. African Experiences of Cinema. London: BFI, 1996.
• Boughedir, Ferid. African Cinema from A to Z. Brussels: OCIC, 1992.
• Davis, Peter. In Darkest Hollywood: Exploring the Jungles of Cinema's South Africa. Athens: Ohio University, 1996.
• Diawara, Manthia. African Cinema: Politics and Culture. Bloomington: Indiana, 1992.
• Ekwuazi, Hyginus. Film in Nigeria. 2nd ed. Jos: Nigerian Film Corp., 1991.
• Givanni, June, ed. Symbolic Narrative/African Cinema: Audiences, Theory, and the Moving Image. London: British Film Institute, 2000.
• Gray, John. Blacks in Film and Television: A Pan-African Bibliography. New York: Greenwood, 1990.
• Malkmus, Lizbeth and Roy Armes. Arab and African Film Making. London: Atlantic Highlands, 1991.
• Martin, Michael T. Cinemas of the Black Diaspora. Detroit: Wayne State, 1995.
• Russell, Sharon A. Guide to African Cinema. Westport: Greenwood, 1990.
• Schmidt, Nancy J. Sub-Saharan African Films and Filmmakers, 1987-1992: An Annotated Bibliography. London: Hans Zell, 1994.
• Shiri, Keith, Directory of African Film-makers and Films. Trowbridge: Flicks, 1992.
• Ukadike, Nwachukwu Frank. Black African Cinema. Berkeley: California, 1994./P>
• Vieler-Porter, Chris. Black and Third Cinema: A Film and Television Bibliography. London: BFI, 1991.

Arab Films

• Arasoughly, Alia. Screens of Life: Critical Film Writing form the Arab World. St-Hyacinthe, Quebec: World Heritage Press, 1996.
• Malkmus, Lizbeth and Roy Armes. Arab and African Filmmaking. London: Atlantic Highlands, 1991.
• Asian Film
• Dissanayake, Wimal. Colonialism and Nationalism in Asian Cinema. Bloomington: Indiana, 1994.
• Dissanayake, Wimal. Melodrama and Asian Cinema. Cambridge: Cambridge, 1993.
• Server, Lee. Asian Pop Cinema: Bombay to Tokyo.San Francisco: Chronicle, 1999.

Australian Film

• Craven, Ian, ed. Australian Cinema in the 1990s. London: Frank Cass, 2000.
• Jennings, Karen. Sites of Difference: Cinematic Representations of Aboriginality and Gender. South Melbourne, Vic.: Australian Film Institute, 1993.
• McFarlane, Brian and Geoff Mayer. New Australian Cinema. Cambridge: Cambridge, 1992.
• Molloy, Bruce. Before the Interval: Australian Mythology and Feature Films. St. Lucia, Qld: Queensland, 1990.
• Murray, Scott. Australian Film. St. Leonards, NSW: Allen & Unwin, 1994.
• O'Regan, Tom. Australian National Cinema. London: Routledge, 1996.
• Rattigan, Neil. Images of Australia. Dallas: SMU, 1991.
• Sabine, James. A Century of Australian Cinema. Port Melborne, Vic.: Heinemann Australia, 1995.
• Turner, Graeme. National Fictions: Literature, Film, and the Construction of Australian Narrative. 2nd ed. St. Leonards, NSW: Allen & Unwin, 1993.

Bolivian Film

• Sanchez-H, Jose. The Art and Politics of Bolivian Cinema. Lanham, Md.: Scarecrow Press, 1999.

British Film

Catalogs and Indices

• Gifford, Denis, ed. The British Film Catalog. 3rd edition. London: Fitzroy Dearborn, 1999.
• Goble, Alan, ed. The Complete Index to British Sound Film Since 1928. London: Bowker Saur, 1999.
• Document Collections
• Street, Sarah. British Cinema in Documents. London: Routledge, 2000.

History and Interpretations

• Aldgate, Anthony and Jeffrey Richards. Britain Can Take It: The British Cinema in the Second World War. 2nd ed. Edinburgh: Edinburgh, 1994.
• Ashby, Justine, and Andrew Higson, eds. British Cinema, Past and Present. London: Routledge, 2000.
• Barnes, John. The Beginnings of the Cinema in England. Rev. ed. Exeter: Exeter, 1998.
• Barnes, John. Filming the Boer War. London: Bishopsgatge, 1990.
• Barr, Charles. Ealing Studios. 3rd ed. London: Studio Vista, 1998.
• Berry, David. Wales and Cinema: The First Hundred Years. Cardiff: Wales, 1994.
• Bourne, Stephen. Black in the British Frame: Black People in British Film and Television, 1896-1996. London: Cassell, 1998.
• Bourne, Stephen. Brief Encounters: Lesbians and Gays in British Cinema. London: Cassell, 1996.
• Brooks, Xan. Choose Life: Ewan McGregor and the British Film Revivial. London: Chameleon Books, 1998.
• Burton, Alan, Tim O’Sullivan, and Paul Wells, eds. The Family Way: The Boulting Brothers and Postwar British Film Culture. Trowbridge: Flicks Books, 2000.
• Caughie, John. The Companion to British and Irish Cinema. London: Cassell, 1996.
• Chanan, Michael. The Dream that Kicks: The Prehistory and Early Years of Cinema in Britain. 2nd ed. London: Routledge, 1996.
• Chapman, James. The British at War: Cinema, State, and Propaganda, 1939-1945. London: I.B. Tauris, 1998.
• Cook, Pam. Fashioning the Nation: Costume and Identity in British Cinema. London: BFI, 1996.
• Dickinson, Margaret, ed.Rogue Reels: Oppositional Film in Britain, 1945-90. London: British Film Institute, 1999.
• Dixon, Wheeler Winston. Re-Viewing British Cinema, 1900-1992: Essays and Interviews. Albany: SUNY, 1994.
• Drazin, Charles. The Finest Years: British Cinema of the 1940s. London: Andre Deutsch, 1998.
• Eyles, Allen. Gaumon British Cinemas. Burgess Hill: Cinema Theatre Association, 1996.
• Friedman, Lester. British Cinema and Thatcherism. London: UCL, 1993.
• Geraghty, Christine. British Cinema in the Fifties: Gender, Genre and the ‘New Look’. London: Routledge, 2000.
• Gillliam, Terry, and Bob McCabe. Dark Knights & Holy Fools. London: Orion Media, 1999.
• Gilmore, Michael T. Differences in the Dark: American Movies and English Theater. New York: Columbia, 1998.
• Glancy, H. Mark.When Hollywood Loved Britain: The Hollywood “British” Film, 1939-45. Manchester: Manchester University, 1999.
• Gledhill, Christine and Gillian Swanson. Nationalising Femininity: Culture, Sexuality, and the British Cinema in the Second World War. Manchester: Manchester, 1996.
• Harding, Colin. In the Kingdom of Shadows: A Companion to Early Cinema. Madison, N.J.: Fairleigh Dickinson, 1996.
• Harper, Sue. Picturing the Past: The Rise and Fall of the British Costume Film. London: BFI, 1994.
• Higson, Andrew. Dissolving Views: Key Writings on British Cinema. London: Cassell, 1996.
• Higson, Andrew. Waving the Flag: Constructing a National Cinema in Britain. Oxford: Clarendon, 1995.
• Hill, John. British Cinema in the 1980's. New York: Oxford, 1999.
• Landy, Marcia. British Genres: Cinema and Society, 1930-1960. Princeton: Princeton, 1991.
• Lant, Antonia. Blackout: Reinventing Women for Wartime British Cinema. Princeton: Princeton, 1991.
• Low, Rachel. Rachel Low's History of British Cinema. New York: Routledge, 1997.
• Macnab, Geoffrey. Searching for Stars: Stardom and Screen Acting in British Cinema. New York: Cassell, 2000.
• Murphy, Robert. British Cinema Book. London: BFI, 1997.
• Murphy, Robert, ed. British Cinema of the 90s. London: BFI, 2000.
• Murphy, Robert. Sixties British Cinema. London: BFI, 1992.
• Park, James. British Cinema: The Lights that Failed. London: B.T. Batsford, 1990.
• Petrie, Duncan J. Creativity and Constraint in the British Film Industry. London: Macmillan, 1991.
• Rattigan, Neil.This is England: British Film and the People’s War, 1939-1945. Madison, N.J.: Fairleigh Dickinson University, 2001.
• Richards, Jeffrey, ed.The Unknown 1930s: An Alternative History of the British Cinema, 1929-1939. London: I.B. Tauris, 1998.
• Ryall, Tom. Alfred Hitchcock and the British Cinema. 2nd ed. London: Atlantic Highlands, 1996.
• Scrivens, Kevin.The Travelling Cinematograph Show. Tweedale: New Era, 1999.
• Sedgwick, John. Popular Filmgoing in 1930s Britain: A Choice of Pleasures. Exeter: Exeter University, 2000.
• Shafer, Stephen C. British Popular films, 1929-1939: The Cinema of Reassurance. London: Routledge, 1997.
• Street, Sarah. British National Cinema. London: Routledge, 1997.
• Warren, Patricia. British Cinema in Pictures. London: Batsford, 1993.
• Warren, Patricia. British Film Studios: An Illustrated History. London: Batsford, 1995.
• Williams, D.R. Cinema in Leicester, 1896-1931. Loughborough: Heart of Albion, 1993.
• Williams, Tony. Structures of Desire: British Cinema, 1939-1955. Albany: State University of New York, 2000.

Journals

• Journal of Popular British Cinema

Canadian Film

• Donohoe, Joseph I., Jr. Essays on Quebec Cinema. East Lansing: Michigan State, 1991.
• Dorland, Michael. So Close to the State/s: The Emergence of Canadian Feature Film Policy. Toronto: University of Toronto, 1998.
• Evans, Gary. In the National Interest: A Chronicle of the National Film Board of Canada. Toronto: Toronto, 1991.
• Magder, Ted. Canada's Hollywood: The Canadian State and Feature Films. Toronto: Toronto, 1993.
• Marshall, Bill. Quebec National Cinema. Montreal: McGill-Queen’s University, 2001.
• Cinema of Quebec. Madison: Fairleigh Dickinson, 1995.

Central European Film

• The Development of the Audiovisual Landscape in Central Europe Since 1989 Rev. ed. Luton: ULP/John Libby Media, 1998.

Chinese Film

• Berry, Chris. Perspectives on Chinese Cinema. 2nd ed. London: BFI, 1991.
• Browne, Nick. New Chinese Cinemas. Cambridge: Cambridge, 1994.
• Chang, Hsu-tung. Chinese Modernism in the Era of Reforms. Durham: Duke, 1997.
• Chow, Rey. Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. New York: Columbia. 1995.
• Donald, Stephanie. Public Secrets, Public Spaces: Cinema and Civility in China. Lanham, Md.: Rowman & Littlefield, 2000.
• Kuoshu, Harry H.Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theater. New York: Peter Lang, 1999.
• Lu, Sheldon Hsiao-peng. Transitional Chinese Cinemas. Honolulu: Hawaii, 1997.
• Semsel, George S. et al. Chinese Film Theory. New York: Praeger, 1990.
• Semsel, George S. et al. Film in Contemporary China. Westport: Praeger, 1993.
• Silbertgeld, Jerome. China into Film: Frames of Reference in Contemporary Chinese Cinema. London: Reaktion Books, 1999.
• Tam, Kwok-kan and Wimal Dissanayake. New Chinese Cinema. New York: Oxford, 1998.
• Yeh, Wen-hsin, ed.Cross Cultural Readings of Chineseness: Narratives, Images, and Interpretations of the 1990s. Berkeley: Institute of East Asian Studies, 2000.
• Zhang, Yingjin. The City in Modern Chinese Literature and Film. Stanford: Stanford, 1996.
• Zhang, Yingjin and Zhiwei Xiao. Encyclopidia of Chinese Film. New York: Routledge, 1998.

Developing Countries

• Marks, Laura U. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham, NC : Duke University Press, 2000.

Egyptian Film

• Culhane, Hind Rassam. East/West, An Ambiguous State of Being: The Construction and Representation of Egyptian Cultural Identity in Egyptian Film. New York: P. Lang, 1995.

European Film

Dyer, Richard and Ginette Vincendeau. Popular European Cinema. London: Routledge, 1992.

• Ellwood, David W. and Rob Kroes. Hollywood in Europe: Experiences of a Cultural Hegemony. Amsterdam: VU University, 1994.
• Everett, Wendy. European Identity in Cinema. Exeter: Intellect, 1996.
• Finney, Angus. Developing Feature Films in Europe. London: Routledge, 1996.
• Finney, Angus. The State of European Cinema. London: Cassell, 1996.
• Hill, John et al. Border Crossing: Film in Ireland, Britain and Europe. Belfast: Institute of Irish Studies, 1994.
• Ilott, Terry. Budgets and Markets: A Study of the Budgeting of European Film. London: Routledge, 1996.
• Lev, Peter. The Euro-American Cinema. Austin: Texas, 1993.
• Petrie, Duncan. Screening Europe: Image and Identity in Contemporary European Cinema. London: BFI, 1992.
• Reeves, Nicholas. The Power of Film Propaganda: Myth or Reality? London: Cassell, 1999.
• Segrave, Kerry. The Continental Actress: European Film Stars of the Postwar Era. Jefferson, N.C.: McFarland, 1990.
• Sieglohr, Ulrike, ed. Heroines Without Heroes: Reconstructing Female and National Identities in European Cinema, 1945-51.New York : Cassell, 2000.
• Snyder, Stephen. The Transparent I: Self/Subject in European Cinema. New York: P. Lang, 1994.
• Stollery, Martin. Alternative Empires: European Modernist Cinemas and the Cultures of Imperialism. Exeter : University of Exeter Press, 2000.
• Vincendeau, Ginette. Encyclopedia of European Cinema. London: Cassell, 1995.
• Waldman, Harry. Beyond Hollywood's Grasp: American Filmmakers Abroad, 1914-1945. Metuchen: Scarcrow, 1994.

French Film

• Abel, Richard. Cine Goes to Town: French Cinema, 1896-1914. Updated and expanded ed. Berkeley: University of California, 1998.
• Andrew, James Dudley. Mists of Regret: Culture and Sensibility in Classic French Film. Princeton: Princeton, 1995.
• Austin, Guy.Contemporary French Cinema. Manchester: Manchester, 1996.
• Biggs, Melissa E. French Films, 1945-1993. Jefferson, N.C.: McFarland, 1996.
• Colombat, Andre Pierre. The Holocaust in French Film. Metuchen: Scarecrow, 1993.
• Crisp, C.G.The Classic French Cinema, 1930-1960. Bloomington: Indiana, 1993.
• Dine, Philid D. Images of the Algerian War. Oxford: Clarendon, 1994.
• Durham, Carolyn A. Double Takes: Culture and Gender in French Films and their American Remakes. Hanover: University Press of New England, 1998.
• Flitterman-Lewis, Sandy. To Desire Differently: Feminism and the French Cinema. Expanded ed. New York: Columbia, 1996.
• Forbes, Jill. The Cinema in France: After the New Wave. Bloomington: Indiana, 1993.
• Greene, Naomi.Landscapes of Loss: The National Past in Postwar French Cinema. Princeton, N.J.: Princeton University Press, c1999.
• Hayward, Susan, and Ginette Vincendeau, eds. French Film: Texts and Contexts. 2nd ed. London ; New York : Routledge, 2000.
• Hayward, Susan. French National Cinema. London: Routledge, 1993.
• Higgins, Lynn A. New Novel, New Wave, New Politics: Fiction and the Representation of History in Postwar France. Lincoln: Nebraska, 1996.
• Kline, T. Jefferson. Screening the Text: Intertextuality in New Wave French Cinema. Baltimore: Johns Hopkins, 1992.
• Mazdon, Lucy. Encore Hollywood: Remaking French Cinema. London: British Film Institute, 2000.
• Pauly, Rebecca M.The Transparent Illusion: Image and Ideology in French Text and Film. New York: P. Lang, 1993.
• Powrie, Phil, ed.  French Cinema in the 1990s: Continuity and Difference.  Oxford ; New York : Oxford University Press, 1999.
• Spaas, Lieve.  The Francophone Film: A Struggle for Identity. Manchester : Manchester University Press, 2000.
• Vincendeau, Ginette. Companion to French Cinema. London: Cassell, 1996.
• Williams, Alan Larson. Republic of Images: A History of French Filmmaking. Cambridge: Harvard, 1992.

German Film

• Byg, Barton. Landscapes of Resistance: The German Films of Daniele Huillet and Jean-Marie Straub. Berkeley: California, 1995.
• Corrigan, Timothy. New German Film. Rev. ed. Bloomington: Indiana, 1994.
• Davidson, John E. Deterritorializing the New German Cinema. Minneapolis: Minnesota, 1999.
• Elsaesser, Thomas. Fassbinder's Germany: History, Identity, Subject. Amsterdam: Amsterdam, 1996.
• Fehrenbach, Heide. Cinema in Democratizing Germany: Reconstructing National Identity After Hitler. Chapel Hill: North Carolina, 1995.
• Fox, Jo. Filming Women in the Third Reich.  Oxford: Berg, 2000.
• Frieden, Sandra. Gender and German Cinema. Providence: Berg, 1993.
• Gisberg, Terri and Kirsten Thompson. Perspectives on German Cinema. New York G.K. Hall, 1996.
• Helt, Richard C. and Marie E. Helt. West German Cinema: A Reference Handbook. Metuchen: Scarecrow, 1992.
• Hoffmann, Hilmar. The Triumph of Propaganda: Film and National Socialism. Providence: Berghahn, 1996.
• Knight, Julia.Women and the New German Cinema. London: Verso, 1992.
• Kreimeier, Klaus The UFA Story: A History of Germany’s Greatest Film Company, 1918-1945. Berkeley: University of California, 1999.
• Kuzniar, Alice A. The Queer German Cinema. Stanford, Calif.: Stanford University Press, 2000.
• Linville, Susan E. Feminism, Film, Fascism: Women's Auto/Biographical Film in Postwar German. Austin: Texas, 1998.
• Murray, Bruce Arthur. Film and the German Left in the Weimar Republic. Austin: Texas, 1990.
• Murray, Bruce A. and Christopher J. Wickham. Framing the Past: The Historiography of German Cinema and Television. Carbondale: South Illinois, 1992.
• Pflaum, Hans Gunther. Germany on Film. Detroit: Wayne State, 1990.
• Reimer, Robert C., ed. Cultural History Through a Nazi Lens: Essays on the Cinema of the Third Reich.Rochester, NY : Camden House, 2000.
• Reimer, Robert C. and Carol J. Reimer. Nazi-Retro Film: How German Narrative Cinema Remembers the Past. New York: Twayne, 1992.
• Rentschler, Eric. The Ministry of Illusion: Nazi Cinema and its Afterlife. Cambridge: Harvard, 1996.
• Romani, Cinzia. Tainted Goddesses: Female Film Stars of the Third Reich. New York: Sarpendon, 1992.
• Santner, Eric L. Stranded Objects: Mourning, Memory, and Film in Postwar Germany. Ithaca: Cornell, 1990.
• Saunders, Thomas J. Hollywood in Berlin: American Cinema and Weimar Germany. Berkeley: California, 1994.
• Silberman, Marc. German Cinema: Texts in Context. Detroit: Wayne State, 1995.
• Weinberger, Gabriele. Nazi Germany and Its Aftermath in Women Directors' Autobiographical Films. San Francisco: Mellen, 1992.

Greek Film

• Koliodimos, Dimitris. The Greek Filmography, 1914 through 1996. Jefferson, N.C.: McFarland, 1999.

Hong Kong Film

• Hammond, Stefan and Mike Wilkins. Sex and Zen & a Bullet in the Head. New York: Simon & Schuster, 1996.
• Logan, Bey. Hong Kong Action Cinema. London: Titan, 1995.
• Teo, Stephen. Hong Kong Cinema. London: BFI, 1997.

Indian Film

• Agnihotri, Ram Awatar. Film Stars in Indian Politics.  New Delhi: Commonwealth Publishers, 1998.
• Chakravarty, Sumita S. National Identity in Indian Popular Cinema, 1947-1989. Austin: Texas, 1993.
• Das, Santi, ed. Satyajit Ray, An Intimate Master. New Delhi: Allied, 1998.
• Derne, Steve. Movies, Masculinity, and Modernity: An Ethnography of Men’s Filmgoing in India. Westport: Greenwood, 2000.
• Dickey, Sara. Cinema and the Urban Poor in South India. Cambridge: Cambridge, 1993.
• Indian Cinema: A Visual Voyage. New Delhi: Publication Division, Ministry of Information, 1998.
• Kaul, Gautam. Cinema and the Indian Freedom Struggle. New Delhi: Sterling Publishers, 1998.
• Kazmi, Fareed. The Politics of India’s Conventional Cinema: Imaging a Universe, Subverting a Multiverse. New Delhi: Sage Publications, 1999.
• Kazmi, Nikhat. The Dream Merchants of Bollywood. New Delhi: UBS Publishers’ Distributors, 1998.
• Kazmi, Nikhat. Ire in the Soul: Bollywood's Angry Years. New Delhi: HarperCollins, 1996.
• Manto, Saadat Hasan. Stars from Another Sky: The Bombay Film World in the 1940s. New Delhi: Penguin Books, 1998.
• Nandy, Ashis. The Secret Politics of Our Desires: Nation, Culture, and Gender in Indian Popular Cinema. New York: St. Martin's Press, 1998.
• Prasad, M. Madhava. Ideology of the Hindi Film: A Historical Construction. Delhi: Oxford University Press, 1998.
• Rajadhyaksha, Ashish and Paul Willemen. Encyclopedia of Indian Cinema. New revised edition. London: BFI, 1999.
• Roberge, Gaston. Communication, Cinema, Development: From Morosity to Hope. New Delhi: Manohar, 1998.
• Indonesian Film
• Heider, Karl G. Indonesian Cinema: National Culture on Screen. Honolulu: Hawaii, 1991.
• Sen, Krishna. Indonesian Cinema. London: Zed, 1994.

Iranian Film

• Issa, Rose, and Sheila Whitaker, eds. Life and Art: The New Iranian Cinema. London: National Film Theatre, 1999.

Irish Film

• Burns-Bisogno, Louisa. Censoring Irish Nationalism. Jefferson, N.C.: McFarland, 1997.
• Byrne, Terry. Power in the Eye: An Introduction to Contemporary Irish Film. Lanham: Scarecrow, 1997.
• Caughie, John and Kevin Rockett. The Companion to British and Irish Cinema. London: Cassell, 1996.
• Gray, Michael. Stills, Reels, and Rushes: Ireland and the Irish in 20^th Century Cinema. Dublin: Ashfield, 1999.
• Hill, John et al. Border Crossing: Film in Ireland, Britain and Europe. Belfast: Institute of Irish Studies, 1994.
• MacKillop, ed. Contemporary Irish Cinema: From The Quiet Man to Dancing at Lughnasa. Syracuse: Syracuse University, 1999.
• Monks, Robert. Cinema Ireland: A Database of Irish Films and Filmmakers. Dublin: National Library of Ireland, 1996.
• Pettitt, Lance. Screening Ireland: Film and Television Representation. Manchester: Manchester University, 2000.
• Rockett, Kevin. The Irish Filmography. Dublin: Red Mountain, 1996.

Israeli Film

• Ben-Shaul, Nitzan S. Mythical Expressions of Siege in Israeli Films. Lewiston: Edwin Mellen, 1997.
• Kronish, Amy. World Cinema: Israel. Madison, N.J.: Fairleigh Dickinson, 1996.
• Tryster, Hillel. Israel Before Israel: Silent Cinema in the Holy Land. Jerusalem: Steven Spielberg Jewish Film Archive, 1995.

Italian Film

• Bruno, Giuliana. Streetwalking on a Ruined Map: Cultural Theory and the City Films of Elvira Notari. Princeton: Princeton, 1993.
• Cardullo, Bert. What is Neorealism?: A Critical English-Language Bibliography of Italian Cinematic Neorealism. London: University Press of America, 1991.
• Dalle Vacche, Angela. The Body in the Mirror: Shapes of History in Italian Cinema. Princeton: Princeton, 1991.
• Gieri, Manuela. Contemporary Italian Filmmaking. Toronto: Toronto, 1995.
• Landy, Marcia. The Folklore of Consensus: Theatricality int he Italian Cinema, 1930-1943. Albany: SUNY, 1998.
• Landy, Marcia. Italian Film. Cambridge: Cambridge University Press, 2000.
• Marcus, Millicent Joy. Filmmaking by the Book: Italian Cinema and Literary Adaptation. Baltimore: Johns Hopkins, 1993.
• Nowell-Smith, Geoffrey. Companion to Italian Cinema. London: Cassell, 1996.
• Rocchio, Vincent F. Cinema of Anxiety: A Psychoanalysis of Italian Realism. Austin: University of Texas, 1999.
• Sitney, P. Adams. Vital Crises in Italian Cinema: Iconography, Stylistics, Politics. Austin: Texas, 1995.
• Sorlin, Pierre. Italian National Cinema, 1896-1996. New York: Routledge, 1996.
• Vermilye, Jerry. The Great Italian Films. Secaucus: Carol, 1994.

Japanese Film

• Bennardi, Joanne. Writing in Light: The Silent Scenario and the Japanese Pure Film Movement. Detroit: Wayne State University, 2001.
• Buehrer, Beverley Bare. Japanese Films: A Filmography and Commentary. Jefferson, N.C.: McFarland, 1990.
• Davis, Darrell William. Picturing Japaneseness: Monumental Style, National Identity, Japanese Film. New York: Columbia, 1996.
• Hirano, Kyoko. Mr. Smith Goes to Tokyo: The Japanese Cinema Under the American Occupation. Washington: Smithsonian, 1992.
• Galbraith, Stuart. Japanese Filmography. Jefferson, N.C.: McFarland, 1996.
• Kirihara, Donald. Patterns of Time: Mizoguchi and the 1930s. Madison: Wisconsin, 1992.
• McDonald, Keiko I. From Book to Screen: Modern Japanese Literature in Films. Armonk, NY: M.E. Sharpe, 2000.
• McDonald, Keiko I. Japanese Classical Theater in Film. Rutherford: Fairleigh Dickinson, 1994.
• Nolletti, Arthur, Jr. and David Desser. Reframing Japanese Cinema: Authorship, Genre, History. Bloomington: Indiana, 1992.
• Richie, Donald. Japanese Cinema: An Introduction. New York: Oxford, 1990.
• Schilling, Mark. Contemporary Japanese Film. New York: Weatherhill, 1999.
• Standish, Isolde. Myth and Masculinity in the Japanese Cinema. Richmond, Surry: Curzon, 2000.
• Washburn, Dennis and Carole Cavanaugh, eds. Word and Image in Japanese Cinema. Cambridge: Cambridge University, 2001.

Latin American and Caribbean Film

• Bernard, Timothy and Peter Rist. South American Cinema: A Critical Filmography, 1915-1994. New York: Garland, 1996.
• Burton, Julianne. Social Documentary in Latin America. Pittsburgh: Pittsburgh, 1990.
• Cham, Mbye B. Ex-iles: Essays on Caribbean Cinema. Trenton, N.J.: Africa World Press, 1992.
• Foster, David William. Contemporary Argentine Cinema. Columbia: Missouri, 1992.
• Balderston, Daniel and Donna J. Guy. Sex and Sexuality in Latin America. New York: NYU, 1997.
• Johnson, Randal and Robert Stam. Brazilian Cinema. Expanded ed. New York: Columbia, 1995.
• King, John. Magical Reels: A History of Cinema in Latin America. London: Verso, 1990.
• King, John et al. Mediating Two Worlds: Cinematic Encounters in the Americas. London: BFI, 1993.
• Martin, Michael T.  New Latin American Cinema. Detroit: Wayne State University, 1997.
• Noriega, Chon A., ed. Visible Nations: Latin American Cinema and Video. Minneapolis: University of Minnesota, 2000.
• Pick, Zuzana M. The New Latin American Cinema. Austin: Texas, 1993.
• Ranucci, Karen and Julie Feldman. A Guide to Latin American, Caribbean, and U.S. Latino-Made Film and Video. Lanham, Md.: Scarecrow, 1998.
• Schwartz, Ronald. Latin American Films, 1932-1994: A Critical Filmography. Jefferson, N.C.: McFarland, 1997.
• Stam, Robert. Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture. Durham: Duke, 1997.
• Stevens, Donald F. Based on a True Story: Latin American History at the Movies. Wilmington: SR, 1997.

Mexican Film

• Berg, Charles Ramirez. Cinema of Solitude: A Critical Study of Mexican Film, 1967-1983. Austin: Texas, 1992.
• Maciel, David. El Norte: The U.S.-Mexican Border in Contemporary Cinema. San Diego: Institute for Regional Studies, 1990.
• Noriega, Chon A. and Steven Ricci. Mexican Cinema Project. Los Angeles: UCLA Film and Television Archive, 1994.
• Paranagua, Paulo Antonio. Mexican Cinema. London: BFI, 1995.
• Rashkin, Elissa J. Women Filmmakers in Mexico. Austin: University of Texas, 2001.

New Zealand Film

• Churchman, Geoffrey B. Celluloid Dreams: A Century of Film in New Zealand. Wellington: IPL, 1997.
• Martin, Helen. New Zealand Film, 1912-1996. New York: Oxford, 1997.
• Pakistani Film
• Gazdar, Mushtaq. Pakistan Cinema, 1947-1997. New York: Oxford, 1997.

Philippine Film

• David, Joel. Fields of Vision: Critical Applications in Recent Philippine Cinema. Quezon City: Ateneo de Manila, 1995.
• David, Joel. The National Pastime: Contemporary Philippine Cinema. Pasig: Anvil, 1990.
• David, Joel. Wages of Cinema: Film in Philippine Perspective. Quezon City: [s.n.], 1998.
• Del Mundo, Clodualdo. Native Resistance: Philippine Cinema and Colonialism, 1898-1941. Malate: De La Salle University, 1998.
• Infante, J. Eddie. Inside Philippine Movies, 1970-1990. Manila: Ateneo de Manila, 1991.

Russian, Soviet, and Eastern European Film

• Brashinsky, Michael and Andrew Horton. Russian Critics on the Cinema of Glastnost. Cambridge: Cambridge, 1994.
• Faraday, George. Revolt of the Filmmakers: The Struggle for Artistic Autonomy and the Fall of the Soviet Film Industry. University Park: Pennsylvania State University, 2000.
• Goodwin, James. Eisenstein, Cinema, and History. Urbana: Illinois, 1993.Kenez, Peter. Cinema and Soviet Society. Cambridge: Cambridge, 1992.
• Lawton, Anna. Red Screen: Politics, Society, and Art in Soviet Cinema. London: Routledge, 1992.
• Petrie, Graham and Ruth Dwyer. Before the Wall Came Down: Soviet and East European Filmmakers Working in the West. Lanham: Univeristy Press of America, 1990.
• Shlapentokh, Dmitry and Vladimir Shapentokh. Soviet Cinematography, 1918-1991: Ideological Conflict and Social Reality. New York: A. de Gruyter, 1993.
• Slater, Thomas J. Handbook of Soviet and Eastern European Films and Filmmakers. New York: Greenwood, 1992.
• Taylor, Richard, ed. The BFI Companion to Eastern European and Russian Cinema. London : BFI Publishing, 2000.
• Taylor, Richard. Film Propaganda: Soviet Russia and Nazi Germany. 2nd rev. ed. London ; New York : I.B.Tauris, 1998.
• Taylor, Richard and Ian Christie. Inside the Film Factory: New Approaches to Russian and Soviet Cinema. New York: Routledge, 1991.
• Taylor, Richard and Derek Spring. Stalinism and Soviet Cinema. London: Routledge, 1993.
• Tsivian, Yuri. Early Cinema in Russia and Its Cultural Reception. London: Routledge, 1994.
• Woll, Josephine. Real Images: Soviet Cinema and the Thaw. London: I.B. Tauris, 2000.
• Youngblood, Denise J. The Magic Mirror: Moviemaking in Russia, 1908-1918. Madison: University of Wisconsin, 1999.
• Youngblood, Denise J. Movies of the Masses: Popular Cinema and Soviet Society in the 1920s. Cambridge: Cambridge, 1992.

Scandinavian Film

• Cowie, Peter. Scandinavian Cinema. London: Tantivy Press, 1992.
• Qvist, Per Olov, and Peter von Bagh. Guide to the Cinema of Sweden and Finland. Westport, CT : Greenwood Press, 2000.

Scottish Film

• Bruce, David. Scotland the Movie. Edinburgh: Polygon, 1996.
• Dick, Eddie. From Limelight to Satellite: A Scottish Film Book. London: BFI, 1990.
• Petrie, Duncan J. Screening Scotland. London: BFI, 2000.

Spanish Film

• Deveny, Thomas G. Cain on Screen: Contemporary Spanish Cinema. Metuchen: Scarecrow, 1993.
• Deveny, Thomas G. Contemporary Spanish Film from Fiction. Lanham, MD: Scarecrow Press, 1999.
• D'Lugo, Marvin. Guide to the Cinema of Spain. Westport: Greenwood, 1997.
• Evans, Peter William, ed. Spanish Cinema: The Auteurist Tradition. Oxford: Oxford University, 1999.
• Kinder, Marsha. Refiguring Spain: Cinema, Media, Representation. Durham: Duke, 1997.
• Smith, Paul Julian. Laws of Desire: Questions of Homosexuality in Spanish Writing and Film, 1960-1990. Oxford: Clarendon, 1992.
• Smith, Paul Julian. Vision Machines: Cinema, Literature, and Sexuality in Spain and Cuba, 1983-93. London: Verso, 1996.
• Talens, Jenaro, and Santos Zunzunegui, eds. Modes of Representation in Spanish Cinema. Minneapolis: University of Minnesota, 1998.
• Vernon, Kathleen. The Spanish Civil War and the Visual Arts. Ithaca: Center for International Studies, Cornell, 1990.

Swedish Film

• Blackwell, Marilyn Johns. Gender and Representation in the Films of Ingmar Bergman. Columbia: Camden, 1997.
• Qvist, Per Olov, and Peter von Bagh. Guide to the Cinema of Sweden and Finland. Westport, CT: Greenwood Press, 2000.
• Wright, Rochelle. The Visible Wall: Jews and Other Ethnic Outsiders in Swedish Film. Carbondale: Southern Illinois, 1998.

This site was updated on 07-May-25.