Filmhistoria 1950 till idag

Kursbok: Bordwell, David and Thompson, Kristin, Film History: An Introduction, 1994.

Dabashi, Hamid. “The Making of an Iranian Filmmaker: Abbas Kiarostami”, in Close Up: Iranian Cinema, Past, Present, and Future. 34-75. Verso Books.

Ezra, Elizabeth. 2007. ‘NATIONAL CINEMAS IN THE GLOBAL ERA’ (168-170)in The Cinema Book, edited by Pam Cook, Third. London: British Film Institute, Bloomsbury Publishing. (3 pages)

Ghorbankarimi, Maryam. 2015. A Colourful Presence: The Evolution of Women's Representation in Iranian Cinema. Cmbridge Scholars Publishing.

Iordanova, Dina. 2007. ‘TRANSNATIONAL FILM STUDIES’ (508-509) in The Cinema Book, edited by Pam Cook, Third. London: British Film Institute, Bloomsbury Publishing. (2 pages)

Manovich, Lev, “What is Digital Cinema?”, Shane Denson & Julia Leyda (ed.), Post Cinema: Theorizing 21st-Cen*tury Film, *2016, 20 –51. https://reframe.sussex.ac.uk/post

Langford, Barry. 2010. Post-Classical Hollywood: Film Industry, Style and Ideology since 1945. Edinburgh University Press. https://doi.org/10.1515/9780748643219.( “Chapter 5: New Wave Hollywood” (133-153) 20 pages)

Michalik Gratch, Lindsay. “Sweding Dirty Harry: Collages Confessions of a Cinemasochist.” In Adaptation OnlineL Creating Memes, Sweding Movies, and Other Digital Performances. 2017, Lexington Books.

Mulvey, Laura. The Whole and the Zero: Godard’s Visions of Femininity. In Fetishism and Curiosity. 1996

Naficy, Hamid. Chapter 2. Under Cover, On Screen. In A Social History of Iranian Cinema: The Globalizing Era: 1984-2010.

Naficy, Hamid. Chapter 6. A dissident cinema New-Wave Films and the End of an Era. In A Social History of Iranian Cinema: The Industrializing Years, 1941-1978. 325-433.

Neupert, Richard, “Introduction” and “Testing the Water: Alexandre Astruc, Agnès Varda, and Jean-Pierre Melville,” in A History of the French New Wave Cinema, Madison, 2007, xv–xxix and 45–72.

Shaviro, Steven, “Post-Cinematic Affect,” Shane Denson & Julia Leyda (ed.), Post Cinema: Theorizing 21st-Century Film, 2016, 841–879. https://reframe.sussex.ac.uk/post

Shaviro, Steven, “Post-Continuity: An Introduction,” Shane Denson & Julia Leyda (ed.), Post Cinema: Theorizing 21st-Century Film, 2016, 51–64. https://reframe.sussex.ac.uk/post

Shaw, Deborah. 2013. ‘3 Deconstructing and Reconstructing ‘Transnational Cinema’ (47-65) In Contemporary Hispanic Cinema, edited by Stephanie Dennison, Alessandra Meleiro, Catherine Leen, Deborah Shaw, Libia Villazana, Marvin D’Lugo, Núria Triana-Toribio, Sarah Barrow, Stephanie Dennison, and Tamara Falicov, 47–66. Boydell and Brewer. https://doi.org/10.1515/9781782041306-006. (19 pages)Shmid, Marion. 2019. Chapter Five. Still/Moving: Photography and Cinematic Ontology. In Intermedial Diologues: The French New Wave and the Other Arts. 163-203.

Thompson, Kristin & Bordwell, David, Film History: An Introduction, 4th edition, chapter 20 'New Waves and Young Cinema', 393–407.