Agnès Varda. The Gleaners and I Les Glaneurs et La Glaneuse. Potential Films, 2000, https://vuw.kanopy.com/video/glaneurs-et-la-glaneuse.
Andrew, Dudley. ‘Amélie, or Le Fabuleux Destin Du Cinéma Français’. https://www.jstor.org/stable/pdf/10.1525/fq.2004.57.3.34.pdf.
Anne E. Duggan. Queer Enchantments : Gender, Sexuality, and Class in the Fairy-Tale Cinema of Jacques Demy. Wayne State University Press, 2000, https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=3416608&query=.
Assayas, Olivier, Alice Debord, et al. A Post-May Adolescence: Letter to Alice Debord and Two Essays on Guy Debord. Österreichisches Filmmuseum, 2012.
Assayas, Olivier, Ric Gautier, et al. Something in the Air. Edited by Luc Barnier, Artificial Eye, 2013.
Auffay, Patrick, et al. Les Quatre Cents Coups: The 400 Blows. Les Mistons. Umbrella Entertainment, 2003.
Banlieue Chronicles: A ‘Demigrantising’, Historical Look at Cinematic Representations of the Ill-Famed French Suburbs. https://www.tandfonline.com/doi/pdf/10.1080/17411548.2017.1376858?needAccess=true.
Bardot, Brigitte, et al. Masculin Féminin: 15 Faits Précis = Masculine Feminine : 15 Specific Items. Rialto Pictures, 2005.
Barry Keith Grant , and Jeannette Sloniowski. 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, 2013, https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=3416586&ppg=526.
Bazgan, Nicoleta. "Female Bodies in Paris: Icon Urban Femininity and Parisian Journeys.”. https://www.tandfonline.com/doi/pdf/10.1386/sfc.10.2.95_1?needAccess=true.
Beugnet, Martine. Cinema and Sensation: French Film and the Art of Transgression. Edinburgh University Press, 2007, http://www.jstor.org/stable/10.3366/j.ctt1r2d8p.
Beugnet, Martine and Jane Sillars. "Beau Travail: Time, Space and Myths of Identity”. https://www.tandfonline.com/doi/pdf/10.1386/sfci.1.3.166?needAccess=true.
British Film Institute. Paris in the Cinema: Beyond the Flâneur : Locations, Characters, History. Edited by Alastair Phillips and Ginette Vincendeau, Published by Palgrave on behalf of the British Film Institute, 2018.
Caché: Or What the Past Hides. 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’. 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 ". https://muse.jhu.edu/article/643838/pdf.
Corless, Kieron. ‘CATCH THE WIND’. Sight and Sound, vol. 23, pp. 46–49, https://search.proquest.com/docview/1366043426/fulltextPDF/99559D7C62374591PQ/1?accountid=14782.
Dauman, Anatole, et al. Chronique d’un Été (Paris 1960) =: Chronicle of a Summer (Paris 1960). Criterion Collection, 2013.
Demy, Jacques, et al. Les Parapluies de Cherbourg: The Umbrellas of Cherbourg. Widescreen, Koch Lorber Films, 2004.
‘European Cinema and the Postheroic Narrative: Jean-Luc Nancy, Claire Denis, and Beau Travail’. 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. https://www.jstor.org/stable/pdf/41337086.pdf.
Fevry, Sébastien. "Sepia Cinema in Nicolas Sarkozy’s France: Nostalgia and National Identity”. 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. https://www.tandfonline.com/doi/pdf/10.1386/sfci.2.2.83?needAccess=true.
Forsyth, Scott. ‘The Sixties Redux’. Cineaction, 2013, pp. 59–61, https://search.proquest.com/docview/1370867155/fulltextPDF/ECE6B9017CA74799PQ/1?accountid=14782.
Godard, Jean Luc. Weekend. Artificial Eye, 2004.
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. https://link.springer.com/content/pdf/10.1057/9781137388926_10.pdf.
Haneke, Michael, et al. Caché: Hidden. Sony Pictures Home Entertainment, 2006.
Hayward, Susan. French National Cinema ‘Introduction: Defining the “National” of a Country’s Cinematographic Production’. 2nd ed, Routledge, 2005.
Hayward, Susan. "Claire Denis’ Films and the Post-Colonial Body—with Special Reference to Beau Travail (1999)”. 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. 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’. 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”. https://www.jstor.org/stable/pdf/j.ctv3hvc45.14.pdf.
Hip Hop Cinema in France. https://muse.jhu.edu/article/7962/pdf.
Introduction ‘Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture’. http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=49174&site=ehost-live.
Kristin Ross. May ’68 and Its Afterlives. University of Chicago Press, 2008, https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=496636&query=.
Lefebvre, Henri. The Urban Revolution. University of Minnesota Press, 2014, http://www.jstor.org/stable/10.5749/j.ctt5vkbkv.
Marker, Chris, et al. Le Joli Mai. 2nd-disc DVD deluxe edition ed., Icarus Films, 2013.
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McNeil, Isabelle. ‘Shine Bright Like a Diamond’: Music, Performance and Digitextuality in Céline Sciamma’s Bande de Filles (2014). https://www.tandfonline.com/doi/pdf/10.1080/14715880.2017.1345187?needAccess=true.
Melville, Jean-Pierre, et al. Le Samouraï: The Samurai. Criterion Collection, 2005.
Memory, Trauma, and the French-Algerian War: Michael Haneke’s Caché (2005). 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’. 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. https://www.tandfonline.com/doi/pdf/10.1386/sfc.8.2.99_1?needAccess=true.
Naomi Vogt. ‘DIVINE GIRLHOODS: FILMING YOUNG WOMEN IN FRANCE’S “BANLIEUES”’. Cinéaste, vol. 42, no. 3, 2017, https://www.jstor.org/stable/26356952?seq=1#metadata_info_tab_contents.
Nicholls, David. ‘Godard’s Weekend: Totem, Taboo and the Fifth Republic’. Monthly Film Bulletin, vol. 49, pp. 22–24, https://search.proquest.com/docview/740624161/fulltextPDF/A2D2A90838534626PQ/1?accountid=14782.
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‘Once Upon a Time That Never Was: Jean-Pierre Jeunet’s Le Fabuleux Destin d’Amelie Poulain (2001)’. https://www.jstor.org/stable/pdf/25800167.pdf.
Ossard, Claudie, et al. Paris, Je t’aime. Madman Entertainment, 2007.
"Post-1995 French Cinema: Return of the Social, Return of the Political?”. 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’. https://muse.jhu.edu/article/548419/pdf.
Robert Philip Kolker. Altering Eye : Contemporary International Cinema Pages 121-152. Open Book Publishers, 2009, 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. 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. 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. 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), et al. Les Maitres Fous. Interama Video Classics, 1986.
Rouch, Jean, Pierre Braunberger, Ronin Films, et al. Petit a Petit. Ronin Films [distributor], 2012.
‘Scenes of Hurt and Rapture: Céline Sciamma’s Girlhood.’ http://fq.ucpress.edu/content/ucpfq/70/3/10.full.pdf.
Sciamma, Céline, et al. Girlhood. Madman Entertainment, 2015.
Singkhra, Sutanya. ‘Dreams of Lost Time: A Study of Cinephilia and Time Realism in Bertolucci’s The Dreamers’. https://www.jstor.org/stable/pdf/j.ctt45kd32.6.pdf.
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Spohrer, Jennifer1. ‘Consumption and the Construction of Community in Jacques Tati’s Mon Oncle.’ disClosure, no. 19, pp. 61–72, http://search.ebscohost.com/login.aspx?direct=true&db=a2h&AN=73795073&site=ehost-live.
Sterritt, David. The Films of Jean-Luc Godard: Seeing the Invisible. Cambridge University Press, 1999.
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. https://www.tandfonline.com/doi/pdf/10.1080/14715880.2014.987517?needAccess=true.
Tati, Jacques, Jacques Tati, and Madman Entertainment. Jour de Fete. Madman [distributor], 2004.
Tati, Jacques, Fred Orain, Henri Marquet, et al. Les Vacances de Monsieur Hulot: M. Hulot’s Holiday. Criterion Collection, 2001.
Tati, Jacques, Fred Orain, Jacques Lagrange, et al. Mon Oncle. Criterion Collection, 2001.
Tati, Jacques, Bernard Maurice, Specta Films, et al. Playtime. Madman Cinema/Potential Films/The AV Channel [distributor], 2004.
Tati, Jacques, Jacques Lagrange, et al. Trafic. Special ed, vol. 439, Criterion Collection, 2008.
Tension, Transition and Tone in Michael Haneke’s Caché. 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”. https://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780199858286.001.0001/acprof-9780199858286-chapter-02?print=pdf.
Tweedie, James. ‘Walking in the City’. The Age of New Waves, Oxford University Press, 2013, pp. 83–128, https://doi.org/10.1093/acprof:oso/9780199858286.003.0003.
Ungar, Steven. ‘In the Thick of Things: Rouch and Morin’s Chronique d’un Été Reconsidered’. French Cultural Studies, vol. 14, no. 1, Feb. 2003, pp. 5–22, https://doi.org/10.1177/0097155803014001001.
Varda, Agnès, Corinne Marchand, et al. Cleo from 5 to 7. Artificial Eye, 2010.
Varda, Agnès, Zeitgeist Video (Firm), et al. Les Glaneurs et La Glaneuse. Zeitgeist Video, 2002.
Vincendeau, Ginette. La Haine: (Mathieu Kassovitz, 1995). I. B. Tauris, 2005.
Vincendeau, Ginette and British Film Institute. Jean-Pierre Melville: An American in Paris. BFI Pub, 2003.
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. 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.”. https://www.tandfonline.com/doi/pdf/10.1080/14715880.2016.1241585?needAccess=true.
Williams, James S. Space and Being in Contemporary French Cinema. Manchester University Press, 2013, http://www.jstor.org/stable/10.2307/j.ctt18mvmfc.
