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, Olivier, Alice Debord, Österreichisches Filmmuseum, and SYNEMA-Gesellschaft für Film und Media. 2012. A Post-May Adolescence: Letter to Alice Debord and Two Essays on Guy Debord. Vol. 17. [Vienna]: Österreichisches Filmmuseum.
Assayas, Olivier, Ric Gautier, Lola Creton, Clement Melayer, and F. Armand. 2013. ‘Something in the Air’. Edited by Luc Barnier. [London]: Artificial Eye.
Auffay, Patrick, Jean Constantin, Henri Decae, Jean-Pierre Léaud, Claire Maurier, Marcel Moussy, A. Rémy, François Truffaut, and Umbrella Entertainment (Firm). 2003. ‘Les Quatre Cents Coups: The 400 Blows. Les Mistons’. [Sydney?]: 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, Brigitte, Jean-Pierre Léaud, Catherine-Isabelle Duport, Agnes Guillemont, Jean Luc Godard, Chantal Goya, Guy de Maupassant, et al. 2005. Masculin Féminin: 15 Faits Précis = Masculine Feminine : 15 Specific Items. Vol. 308. [U.S.A.]: 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’. In . 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, Martine. 2007. Cinema and Sensation: French Film and the Art of Transgression. Edinburgh: 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. Edited by Alastair Phillips and Ginette Vincendeau. London: 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, Anatole, Jean Rouch, Edgar Morin, Marceline Loridan, Maria Ludovica Parolini, Roger Morillère, Raoul Coutard, et al. 2013. ‘Chronique d’un Été (Paris 1960) =: Chronicle of a Summer (Paris 1960)’. [New York]: Criterion Collection.
Demy, Jacques, Michel Legrand, Mag Bodard, Catherine Deneuve, Nino Castelnuovo, Anne Vernon, Marc Michel, et al. 2004. ‘Les Parapluies de Cherbourg: The Umbrellas of Cherbourg’. [United States]: 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, Jean Luc. 2004. ‘Weekend’. London: 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. In . https://link.springer.com/content/pdf/10.1057/9781137388926_10.pdf.
Haneke, Michael, Daniel Auteuil, Juliette Binoche, and Maurice Bénichou. 2006. ‘Caché: Hidden’. Culver City, Calif: Sony Pictures Home Entertainment.
Hayward, Susan. 2005. French National Cinema ‘Introduction: Defining the “National” of a Country’s Cinematographic Production’. 2nd ed. Abingdon, Oxon [England]: 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, Henri. 2014. The Urban Revolution. Minneapolis: University of Minnesota Press. http://www.jstor.org/stable/10.5749/j.ctt5vkbkv.
Marker, Chris, Pierre L’Homme, Catherine Varlin, Simone Signoret, Yves Montand, Étienne Becker, Denys Clerval, et al. 2013a. ‘Le Joli Mai’. Brooklyn, NY: Icarus Films.
———. 2013b. ‘Le Joli Mai’. Brooklyn, NY: 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, Jean-Pierre, R. Borderie, Eugène Lépicier, Alain Delon, François Périer, and Nathalie Delon. 2005. ‘Le Samouraï: The Samurai’. [S.l.]: 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. ‘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.
———. n.d. ‘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, Claudie, Emmanuel Benbihy, Burkhard Von Schenk, Olivier Assayas, Fanny Ardant, Leila Bekhti, Melchior Beslon, et al. 2007. ‘Paris, Je t’aime’. [Australia]: 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. http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=49174&site=ehost-live.
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Rouch, Jean, Pierre Braunberger, Centre national de la recherche scientifique (France), and Institut française d’Afrique noire. 1986. ‘Les Maitres Fous’. [New York, N.Y.?]: Interama Video Classics.
Rouch, Jean, Pierre Braunberger, Ronin Films, and Les Films de la Pleiade. 2012. ‘Petit a Petit’. Mitchell, ACT: 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, Céline, Benedicte Couvreur, Karidja Toure, Assa Sylla, Lindsay Karamoh, Marietou Toure, Crystel Fournier, and Para One. 2015. ‘Girlhood’. [Australia]: Madman Entertainment.
‘Singkhra, Sutanya. “Dreams of Lost Time: A Study of Cinephilia and Time Realism in Bertolucci’s The Dreamers”’. n.d. In . https://www.jstor.org/stable/pdf/j.ctt45kd32.6.pdf.
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Spohrer, Jennifer1. n.d. ‘Consumption and the Construction of Community in Jacques Tati’s Mon Oncle.’ disClosure, no. 19: 61–72. http://search.ebscohost.com/login.aspx?direct=true&db=a2h&AN=73795073&site=ehost-live.
Sterritt, David. 1999. The Films of Jean-Luc Godard: Seeing the Invisible. Cambridge: 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, Jacques, Jacques Lagrange, Bert Haanstra, Robert Dorfmann, Marcel Fraval, Honoré Bostel, Maria Kimberly, et al. 2008. ‘Trafic’. [New York?]: Criterion Collection.
Tati, Jacques, Bernard Maurice, Specta Films, Potential Films, Madman Cinema, and AV Channel (Firm). 2004. ‘Playtime’. [Australia]: Madman Cinema/Potential Films/The AV Channel [distributor].
Tati, Jacques, Fred Orain, Jacques Lagrange, Jean L’Hôte, Jean-Pierre Zola, Adrienne Servantie, Alain Bécourt, et al. 2001. ‘Mon Oncle’. [United States]: Criterion Collection.
Tati, Jacques, Fred Orain, Henri Marquet, Pierre Aubert, Jacques Lagrange, Nathalie Pascaud, Michèle Rolla, et al. 2001. ‘Les Vacances de Monsieur Hulot: M. Hulot’s Holiday’. [Irvington, NY]: Criterion Collection.
Tati, Jacques, Jacques Tati, and Madman Entertainment. 2004. ‘Jour de Fete’. Australia: 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. In . https://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780199858286.001.0001/acprof-9780199858286-chapter-02?print=pdf.
Tweedie, James. 2013. ‘Walking in the City’. In The Age of New Waves, 83–128. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199858286.003.0003.
Ungar, Steven. 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, Agnès, Corinne Marchand, Antoine Bourseiller, Jean Rabier, and Michel Legrand. 2010. ‘Cleo from 5 to 7’. [S.l.]: Artificial Eye.
Varda, Agnès, Zeitgeist Video (Firm), and Ciné Tamaris (Firm). 2002. ‘Les Glaneurs et La Glaneuse’. [New York, N.Y.]: Zeitgeist Video.
Vincendeau, Ginette. 2005. La Haine: (Mathieu Kassovitz, 1995). London: I. B. Tauris.
Vincendeau, Ginette and British Film Institute. 2003. Jean-Pierre Melville: An American in Paris. London: 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, James S. 2013. Space and Being in Contemporary French Cinema. Manchester: Manchester University Press. http://www.jstor.org/stable/10.2307/j.ctt18mvmfc.
