Agnès Varda. (2000). The Gleaners and I Les Glaneurs et la Glaneuse. Potential Films. https://vuw.kanopy.com/video/glaneurs-et-la-glaneuse
Andrew, Dudley. ‘Amélie, or Le Fabuleux Destin du Cinéma Français’. (n.d.). https://www.jstor.org/stable/pdf/10.1525/fq.2004.57.3.34.pdf
Anne E. Duggan. (2000). Queer Enchantments : Gender, Sexuality, and Class in the Fairy-Tale Cinema of Jacques Demy. Wayne State University Press. https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=3416608&query=
Assayas, O., Debord, A., Österreichisches Filmmuseum, & SYNEMA-Gesellschaft für Film und Media. (2012). A post-May adolescence: letter to Alice Debord and two essays on Guy Debord (Vol. 17). Österreichisches Filmmuseum.
Assayas, O., Gautier, R., Creton, L., Melayer, C., & Armand, F. (2013). Something in the air (L. Barnier, Ed.). Artificial Eye.
Auffay, P., Constantin, J., Decae, H., Léaud, J.-P., Maurier, C., Moussy, M., Rémy, A., Truffaut, F., & Umbrella Entertainment (Firm). (2003). Les quatre cents coups: The 400 blows. Les mistons. Umbrella Entertainment.
Banlieue chronicles: a ‘demigrantising’, historical look at cinematic representations of the ill-famed French suburbs. (n.d.). https://www.tandfonline.com/doi/pdf/10.1080/17411548.2017.1376858?needAccess=true
Bardot, B., Léaud, J.-P., Duport, C.-I., Guillemont, A., Godard, J. L., Goya, C., Maupassant, G. de, Maupassant, G. de, Svensk filmindustri, Argos Films, Anouchka Films, & Rialto Pictures LLC. (2005). Masculin féminin: 15 faits précis = Masculine feminine : 15 specific items (Vol. 308). Rialto Pictures.
Barry Keith Grant , and Jeannette Sloniowski. (2013). Massood, Paula J. "The Gleaners and ”Us": the Radical Modesty of Agnès Varda’s Les glaneurs et la glaneuse”. Documenting the Documentary : Close Readings of Documentary Film and Video. Wayne State University Press. https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=3416586&ppg=526
Bazgan, Nicoleta. "Female bodies in Paris: icon urban femininity and Parisian journeys.”. (n.d.). https://www.tandfonline.com/doi/pdf/10.1386/sfc.10.2.95_1?needAccess=true
Beugnet, M. (2007). Cinema and sensation: French film and the art of transgression. Edinburgh University Press. http://www.jstor.org/stable/10.3366/j.ctt1r2d8p
Beugnet, Martine and Jane Sillars. "Beau Travail: time, space and myths of identity”. (n.d.). https://www.tandfonline.com/doi/pdf/10.1386/sfci.1.3.166?needAccess=true
British Film Institute. (2018). Paris in the cinema: beyond the Flâneur : locations, characters, history (A. Phillips & G. Vincendeau, Eds.). Published by Palgrave on behalf of the British Film Institute.
Caché: Or what the past hides. (n.d.). https://www.tandfonline.com/doi/pdf/10.1080/10304310903362767?needAccess=true
Chapter 1: 1-70 ‘La Belle Americaine’ ‘Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture’. (n.d.). http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=49174&site=ehost-live
Claire Mouflard ""Il y a des règles:” Gender, Surveillance, and Circulation in Céline Sciamma’s Bande de Filles ". (n.d.). https://muse.jhu.edu/article/643838/pdf
Corless, Kieron. (n.d.). CATCH THE WIND. Sight and Sound, 23, 46–49. https://search.proquest.com/docview/1366043426/fulltextPDF/99559D7C62374591PQ/1?accountid=14782
Dauman, A., Rouch, J., Morin, E., Loridan, M., Parolini, M. L., Morillère, R., Coutard, R., Tarbès, J.-J., Brault, M., Barbaud, P., Janus Films, Cineteca comunale (Bologna, Italy), Argos Films, & Criterion Collection (Firm). (2013). Chronique d’un été (Paris 1960) =: Chronicle of a Summer (Paris 1960) (Vol. 648). Criterion Collection.
Demy, J., Legrand, M., Bodard, M., Deneuve, C., Castelnuovo, N., Vernon, A., Michel, M., Rabier, J., Cotret, A.-M., Ciné Tamaris (Firm), Parc Film (Firm), Madeleine Films, Beta Film GmbH., France. Ministère de l’éducation nationale et de la culture, & Centre national de la cinématographie (France). (2004). Les parapluies de Cherbourg: The umbrellas of Cherbourg (Widescreen). Koch Lorber Films.
‘European Cinema and the Postheroic Narrative: Jean-Luc Nancy, Claire Denis, and Beau Travail’. (n.d.). https://muse.jhu.edu/article/497942/pdf
Ezra, Elisabeth. ‘Cléo’s Masks: Regimes of Objectification in the French New Wave’. Yale French Studies,118/119. Noeuds de mémoire: Multidirectional Memory in Postwar French and Francophone Culture (2010): 177-190. (n.d.). https://www.jstor.org/stable/pdf/41337086.pdf
Fevry, Sébastien. "Sepia cinema in Nicolas Sarkozy’s France: nostalgia and national identity”. (n.d.). https://www.tandfonline.com/doi/pdf/10.1080/14715880.2016.1249208?needAccess=true
Forbes, Jill. ‘Gender and Space in Cléo de 5 à 7’. Studies in French Cinema, 2:2 (2002), 83-89. (n.d.). https://www.tandfonline.com/doi/pdf/10.1386/sfci.2.2.83?needAccess=true
Forsyth, Scott. (2013). The Sixties Redux. Cineaction, 59–61. https://search.proquest.com/docview/1370867155/fulltextPDF/ECE6B9017CA74799PQ/1?accountid=14782
Godard, J. L. (2004). Weekend. Artificial Eye.
Handyside, Fiona. 2015. "Emotion, Girlhood, and Music in Naissance des pieuvres (Céline Sciamma, 2007) and Un amour de jeunesse (Mia Hansen-Løve, 2011).” In International Cinema and the Girl: Local Issues, Transnational Contexts. (n.d.). https://link.springer.com/content/pdf/10.1057/9781137388926_10.pdf
Haneke, M., Auteuil, D., Binoche, J., & Bénichou, M. (2006). Caché: Hidden. Sony Pictures Home Entertainment.
Hayward, S. (2005). French national cinema ‘Introduction: Defining the “national” of a country’s cinematographic production’ (2nd ed). Routledge.
Hayward, Susan. "Claire Denis’ Films and the Post-colonial Body—with special reference to Beau travail (1999)”. (n.d.). https://www.tandfonline.com/doi/pdf/10.1386/sfci.1.3.159?needAccess=true
Hensman, Ravi. "Oracles of Suburbia: French Cinema and Portrayals of Paris Banlieues, 1958 – 1968” Modern & Contemporary France2013 21. 4 (2013): 435–451. (n.d.). https://www.tandfonline.com/doi/pdf/10.1080/09639489.2013.802681?needAccess=true
Hensman, Ravi. ‘Oracles of Suburbia: French Cinema and Portrayals of Paris Banlieues, 1958–1968’. (n.d.). https://www.tandfonline.com/doi/pdf/10.1080/09639489.2013.802681?needAccess=true
Higbee, Will. "‘Beyond Ethnicity’ or a Return to Type?: Bande de filles/Girlhood and the Politics of Blackness in Contemporary French Cinema”. (n.d.). https://www.jstor.org/stable/pdf/j.ctv3hvc45.14.pdf
Hip Hop Cinema in France. (n.d.). https://muse.jhu.edu/article/7962/pdf
Introduction ‘Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture’. (n.d.). http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=49174&site=ehost-live
Kristin Ross. (2008). May ’68 and Its Afterlives. University of Chicago Press. https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=496636&query=
Lefebvre, H. (2014). The Urban Revolution. University of Minnesota Press. http://www.jstor.org/stable/10.5749/j.ctt5vkbkv
Marker, C., L’Homme, P., Varlin, C., Signoret, S., Montand, Y., Becker, E., Clerval, D., Villemain, P., Zora, E., Meunier, A., Lecompère, M., Legrand, M., Ravel, J., Sofracima (Firm), & Icarus Films. (2013a). Le joli mai (2nd-disc DVD deluxe edition ed.). Icarus Films.
Marker, C., L’Homme, P., Varlin, C., Signoret, S., Montand, Y., Becker, E., Clerval, D., Villemain, P., Zora, E., Meunier, A., Lecompère, M., Legrand, M., Ravel, J., Sofracima (Firm), & Icarus Films. (2013b). Le joli mai (2nd-disc DVD deluxe edition ed.). Icarus Films.
McNeil, Isabelle. ‘Shine Bright Like a Diamond’: music, performance and digitextuality in Céline Sciamma’s Bande de filles (2014). (n.d.). https://www.tandfonline.com/doi/pdf/10.1080/14715880.2017.1345187?needAccess=true
Melville, J.-P., Borderie, R., Lépicier, E., Delon, A., Périer, F., & Delon, N. (2005). Le samouraï: The samurai. Criterion Collection.
Memory, Trauma, and the French-Algerian War: Michael Haneke’s Caché (2005). (n.d.). https://www.tandfonline.com/doi/pdf/10.1080/09639489.2011.588792?needAccess=true
Morissey, Jim. ‘Paris and voyages of self-discovery in Cléo de 5 à 7 and Le Fabuleux destin d’Amélie Poulain’. (n.d.). https://www.tandfonline.com/doi/pdf/10.1386/sfc.8.2.99_1?needAccess=true
Morissey, Jim. ‘Paris and voyages of self-discovery in Cléo de 5 à 7 and Le Fabuleux destin d’Amélie Poulain’. Studies in French Cinema 8:2 (2014): 99-110. (n.d.). https://www.tandfonline.com/doi/pdf/10.1386/sfc.8.2.99_1?needAccess=true
Naomi Vogt. (2017). DIVINE GIRLHOODS: FILMING YOUNG WOMEN IN FRANCE’S ‘BANLIEUES’. Cinéaste, 42(3). https://www.jstor.org/stable/26356952?seq=1#metadata_info_tab_contents
Nicholls, David. (n.d.-a). Godard’s Weekend: Totem, Taboo and the Fifth Republic. Monthly Film Bulletin, 49, 22–24. https://search.proquest.com/docview/740624161/fulltextPDF/A2D2A90838534626PQ/1?accountid=14782
Nicholls, David. (n.d.-b). Godard’s Weekend: Totem, Taboo and the Fifth Republic. Monthly Film Bulletin, 49, 22–24. https://search.proquest.com/docview/740624161/fulltextPDF/C77FF5F041444244PQ/1?accountid=14782
‘Once Upon a Time that Never Was: Jean-Pierre Jeunet’s Le Fabuleux Destin d’Amelie Poulain (2001)’. (n.d.). https://www.jstor.org/stable/pdf/25800167.pdf
Ossard, C., Benbihy, E., Von Schenk, B., Assayas, O., Ardant, F., Bekhti, L., Beslon, M., Binoche, J., Boro, S., Buscemi, S., Castellitto, S., Dafoe, W., Depardieu, G., Descours, C., Faithfull, M., Gazzara, B., Gyllenhaal, M., Hoskins, B., Kurylenko, O., … Payne, A. (2007). Paris, je t’aime. Madman Entertainment.
"Post-1995 French cinema: Return of the social, return of the political?”. (n.d.). https://www.tandfonline.com/doi/pdf/10.1080/09639480306933?needAccess=true
Reid, Donald. ‘We Have a Situation Here: Coming After May 1968 With Olivier Assayas’. (n.d.). https://muse.jhu.edu/article/548419/pdf
Robert Philip Kolker. (2009). Altering Eye : Contemporary International Cinema pages 121-152. Open Book Publishers. https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=3384113&ppg=110
Rollet, Brigitte. ‘Paris Nous Appartient: Flânerie in Paris and Film’. Film Quarterly 68.3 (2008): 46-51. (n.d.). https://www.jstor.org/stable/pdf/10.1525/fq.2008.61.3.46.pdf
Ross, Kristin. ‘Hygiene and Modernization’. Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture. Cambridge: MIT Press, 1995. 71-122. (n.d.). http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=49174&site=ehost-live
Ross, Kristin. ‘New Men’. Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture. Cambridge: MIT Press, 1995. 157-196. (n.d.-a). http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=49174&site=ehost-live
Ross, Kristin. ‘New Men’. Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture. Cambridge: MIT Press, 1995. 157-196. (n.d.-b). http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=49174&site=ehost-live
Rouch, J., Braunberger, P., Centre national de la recherche scientifique (France), & Institut française d’Afrique noire. (1986). Les Maitres fous. Interama Video Classics.
Rouch, J., Braunberger, P., Ronin Films, & Les Films de la Pleiade. (2012). Petit a petit. Ronin Films [distributor].
‘Scenes of hurt and rapture: Céline Sciamma’s Girlhood.’ (n.d.). http://fq.ucpress.edu/content/ucpfq/70/3/10.full.pdf
Sciamma, C., Couvreur, B., Toure, K., Sylla, A., Karamoh, L., Toure, M., Fournier, C., & Para One. (2015). Girlhood. Madman Entertainment.
Singkhra, Sutanya. ‘Dreams of Lost Time: A Study of Cinephilia and Time Realism in Bertolucci’s The Dreamers’. (n.d.-a). https://www.jstor.org/stable/pdf/j.ctt45kd32.6.pdf
Singkhra, Sutanya. ‘Dreams of Lost Time: A Study of Cinephilia and Time Realism in Bertolucci’s The Dreamers’. (n.d.-b). https://www.jstor.org/stable/pdf/j.ctt45kd32.6.pdf
Spohrer, Jennifer1. (n.d.). Consumption and the Construction of Community in Jacques Tati’s Mon Oncle. disClosure, 19, 61–72. http://search.ebscohost.com/login.aspx?direct=true&db=a2h&AN=73795073&site=ehost-live
Sterritt, D. (1999). The films of Jean-Luc Godard: seeing the invisible. Cambridge University Press.
Süner, Ahmet. ‘Reinventing the everyday in the age of spectacle: Jean-Luc Godard’s artistic and political response to modernity in his early works’. Studies in French Cinema 15:2 (2015): 123-137. (n.d.). https://www.tandfonline.com/doi/pdf/10.1080/14715880.2014.987517?needAccess=true
Tati, J., Lagrange, J., Haanstra, B., Dorfmann, R., Fraval, M., Bostel, H., Kimberly, M., Films Corona, Films Gibé, Selenia Cinematografica (Firm), & Criterion Collection (Firm). (2008). Trafic (Special ed, Vol. 439). Criterion Collection.
Tati, J., Maurice, B., Specta Films, Potential Films, Madman Cinema, & AV Channel (Firm). (2004). Playtime. Madman Cinema/Potential Films/The AV Channel [distributor].
Tati, J., Orain, F., Lagrange, J., L’Hôte, J., Zola, J.-P., Servantie, A., Bécourt, A., Janus Films, Panoramic Films (Firm), Specta Films, Gray-Film (Firm), & Alter Films (Firm). (2001). Mon oncle (Vol. 111). Criterion Collection.
Tati, J., Orain, F., Marquet, H., Aubert, P., Lagrange, J., Pascaud, N., Rolla, M., Carl, R., Fregis, L., Romans, A., Cady-Films (Firm), Janus Films, Panoramic Films (Firm), & Criterion Collection (Firm). (2001). Les vacances de Monsieur Hulot: M. Hulot’s holiday (Vol. 110). Criterion Collection.
Tati, J., Tati, J., & Madman Entertainment. (2004). Jour de Fete. Madman [distributor].
Tension, transition and tone in Michael Haneke’s Caché. (n.d.). https://www.tandfonline.com/doi/pdf/10.1386/seci.9.2-3.99_1?needAccess=true
"The Mise-en-Scène of Modernity: The French New Wave, Paris, and the Global 1960s”. (n.d.). https://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780199858286.001.0001/acprof-9780199858286-chapter-02?print=pdf
Tweedie, J. (2013). Walking in the City. In The Age of New Waves (pp. 83–128). Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199858286.003.0003
Ungar, S. (2003). In the Thick of Things: Rouch and Morin’s Chronique d’un été Reconsidered. French Cultural Studies, 14(1), 5–22. https://doi.org/10.1177/0097155803014001001
Varda, A., Marchand, C., Bourseiller, A., Rabier, J., & Legrand, M. (2010). Cleo from 5 to 7. Artificial Eye.
Varda, A., Zeitgeist Video (Firm), & Ciné Tamaris (Firm). (2002). Les glaneurs et la glaneuse. Zeitgeist Video.
Vincendeau, G. (2005). La Haine: (Mathieu Kassovitz, 1995). I. B. Tauris.
Vincendeau, G. & British Film Institute. (2003). Jean-Pierre Melville: an American in Paris. BFI Pub.
Virtue, Nancy.” Jacques Demy’s Les Parapluies de Cherbourg: A national allegory of the French-Algerian war”. Studies in French Cinema, 13:2 (2013): 127-140. (n.d.). https://www.tandfonline.com/doi/pdf/10.1386/sfc.13.2.127_1?needAccess=true
"White paranoia: Michael Haneke’s Caché reflected through Alain Robbe-Grillet’s novel La Jalousie.”. (n.d.). https://www.tandfonline.com/doi/pdf/10.1080/14715880.2016.1241585?needAccess=true
Williams, J. S. (2013). Space and being in contemporary French cinema. Manchester University Press. http://www.jstor.org/stable/10.2307/j.ctt18mvmfc
