bell hooks. 2014. ‘Black Looks : Race and Representation’. In . Routledge. https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=1813137&ppg=179.
Cook, Pam. 1985. The Cinema Book. London: BFI.
Doane, M. A. 1982. ‘Film and the Masquerade: Theorising the Female Spectator’. Screen 23 (3–4): 74–88. https://doi.org/10.1093/screen/23.3-4.74.
Halberstam, J. 2001. ‘The Boys Don’t Cry Debate: The Transgender Gaze in Boys Don’t Cry’. Screen 42 (3): 294–98. https://doi.org/10.1007/.
Hollinger, Karen. 1998. ‘Theorizing Mainstream Female Spectatorship: The Case of the Popular Lesbian Film’. Cinema Journal 37 (2). https://doi.org/10.2307/1225639.
Karl Schoonover , and  Rosalind Galt. 2016. ‘Queer Cinema in the World (Introduction: “Queer, World, Cinema”’. In . Duke University Press. https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=4742062&ppg=14.
Keegan, Cael M. n.d. ‘Moving Bodies: Sympathetic Migrations in Transgender Narrativity’. Genders. https://tewaharoa.victoria.ac.nz/primo-explore/fulldisplay?docid=TN_gale_ofa324981029&context=PC&vid=VUWNUI〈=en_NZ&search_scope=64VUW_ALL&adaptor=primo_central_multiple_fe&tab=all&query=any,contains,Moving%20Bodies:%20Sympathetic%20Migrations%20in%20Transgender%20Narrativity&sortby=rank&offset=0.
Keeling, K., J. DeClue, Y. Welbon, J. Stewart, and R. Rastegar. 2015. ‘Pariah and Black Independent Cinema Today: A Roundtable Discussion’. GLQ: A Journal of Lesbian and Gay Studies 21 (2–3): 423–39. https://doi.org/10.1215/10642684-2843251.
Kristin Lené Hole, , Jelač, ,  E. Ann Kaplan, , and  Patrice Petro. 2016. ‘‘African "First Films”’. In . Routledge. https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=4741929&ppg=254.
Mulvey, Laura. 1975. ‘Visual Pleasure and Narrative Cinema’. Screen 16 (3): 6–18. https://doi.org/10.1093/screen/16.3.6.
‘“Queering the Globe: A Conversation with Rosalind Galt and Karl Schoonover...”’ n.d. https://fq.ucpress.edu/content/ucpfq/70/2/94.full.pdf.
Smelik, Anneke. 2001. ‘“In Pursuit of the Author: On Cinematic Directorship”’. In . Basingstoke: Palgrave.
White, Patricia. 2001. ‘Girls Still Cry.’ Screen, 217–21. https://doi.org/10.1093/.
———. 2016. ‘“Pink Material”’. In . Routledge. https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=4741929&ppg=232.
Wilson, E. 2017. ‘SCENES OF HURT AND RAPTURE: CELINE SCIAMMA’S GIRLHOOD’. Film Quarterly 70 (3): 10–22. https://tewaharoa.victoria.ac.nz/primo-explore/fulldisplay?docid=TN_wos000394920900002&context=PC&vid=VUWNUI&lang=en_US&search_scope=64VUW_ALL&adaptor=primo_central_multiple_fe&tab=all&query=any,contains,Scenes%20of%20Hurt%20and%20Rapture:%20C%C3%A9line%20Sciamma%27s%20Girlhood&offset=0.
‘“Womanliness as a Masquerade”’. n.d. http://mariabuszek.com/mariabuszek/kcai/DadaSurrealism/DadaSurrReadings/RiviereMask.pdf.
‘Women’s Cinema as Counter-Cinema’. n.d. In . https://www.jstor.org/stable/pdf/10.1525/j.ctt5vk01n.106.pdf?refreqid=excelsior%3Aaf966544fc09fe60e6d844ba95a97b6a.
Woodward, Suzanne. 2015. ‘Being Both: Gender and Indigeneity in Two Pacific Documentary Films’. Pacific Journalism Review 21 (2). https://doi.org/10.24135/pjr.v21i2.117.
Yue, Audrey. 2000. ‘What’s so Queer about Happy Together? A.k.a. Queer (N) Asian: Interface, Community, Belonging’. Inter-Asia Cultural Studies 1 (2): 251–64. https://doi.org/10.1080/14649370050141131.