Ahmed, Sara (2004), The Cultural Politics of Emotion, Edinburgh: Edinburgh University Press.
Ahmed, Sara (2007), Queer Phenomenology: Orientations, Objects, Others, Durham: Duke University Press.
Ahmed, Sara (2014), Willful Subjects, Durham: Duke University Press.
Backman Rogers, Anna (2019), Sofia Coppola: The Politics of Visual Pleasure, New York: Berghahn Books (British Library digital collection).
Berlant, Lauren (2008), The Female Complaint: the Unfinished Business of Sentimentality in American Culture, Durham, NC: Duke University Press.
Bersani, Leo (1995), Homos, Cambridge, MA: Harvard University Press.
Bloom, Harold (1997), The Anxiety of Influence, Oxford: Oxford University Press.
Bordwell, David (1991), Making Meaning: Inference and Rhetoric in the Interpretation of Cinema, Boston, MA: Harvard University Press.
Bukatman, Scott (2003), Matters of Gravity: Special Effects and Supermen in the 20th Century, Durham: Duke University Press.
Citron, Michelle (1988), ‘Women’s Film Production: Going Mainstream,’ in E. Deidre Pribram (ed.), The Female Spectator: Looking at Film and TV, London and Routledge: Verso Press, pp. 45–63.
Citron, Michelle, Julia Lesage, Judith Mayne, B. Ruby Rich and Anna Marie Taylor (1978), ‘Women and Film: A Discussion of Feminist Aesthetics,’ New German Critique 13, Special Feminist Issue (Winter): 82–107.
Cobb, Shelley (2015), Adaptation, Authorship, and Contemporary Women Filmmakers, London: Palgrave Macmillan.
Colling, Samantha (2017), The Aesthetic Pleasures of Girl Teen Film, New York and London: Bloomsbury.
Cowie, Elizabeth (1997), Representing the Woman: Cinema and Psychoanalysis, Minneapolis, University of Minnesota Press.
Cubitt, Sean (1998), Digital Aesthetics, New York: Sage.
Dyer, Richard (2007), Pastiche, London and New York: Routledge.
Ferriss, Suzanne (2021), The Cinema of Sofia Coppola: Fashion, Culture, Celebrity, London: Bloomsbury.
Grodal, Torben (1999), Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition, Oxford: Oxford University Press.
Grodal, Torben (2009), Embodied Visions: Evolution, Emotion, Culture, and Film, Oxford: Oxford University Press.
Guest, Katy (2019), ‘Fleishman Is in Trouble by Taffy Brodesser-Akner,’ The Guardian, 29 June. https://www.theguardian.com/books/2019/jun/29/fleishman-is-in-trouble-taffy-brodesser-akner-review.
Halberstam, Jack (2005), In a Queer Time and Place: Transgender Bodies, Subcultural Lives, New York: New York University Press.
Harrod, Mary and Katarzyna Paszkiewicz (eds) (2017), Women Do Genre in Film and Television, London and New York: Routledge.
Herbert, Daniel (2018), Film Remakes and Franchises, New Brunswick, New Jersey: Rutgers University Press.
Higbee, Will (2016), ‘Counter-heritage, Middlebrow and the fiction patrimoniale: Reframing “Middleness” in the Contemporary French Historical Film,’ in Sally Faulkner (ed.), Middlebrow Cinema, London and New York: Routledge, pp. 139–155.
Hill, Annette and Joke Hermes (2020), ‘Television’s Undoing of Social Distancing,’ European Journal of Cultural Studies (May). https://journals.sagepub.com/doi/full/10.1177/1367549420927724.
Jermyn, Deborah (2017), Nancy Meyers, London: Bloomsbury.
Johnston, Claire (2000), ‘Women’s Cinema as Counter Cinema,’ in E. Ann Kaplan (ed.), Feminism and Film, Oxford: Oxford University Press, pp. 22–33.
Lane, Christina (2000), Feminist Hollywood: From Born in Flames to Point Break, Detroit: Wayne State University Press.
Lane, Christina and Nicole Richter (2011), ‘The Feminist Poetics of Sofia Coppola: Spectacle and Self-Consciousness in Marie Antoinette (2006),’ in Hilary Radner and Rebecca Stringer (eds), Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema, New York and Abingdon: Routledge, pp. 189–202.
Lang, Brent (2017), ‘Number of Female Directors Falls Despite Diversity Debate, Says Study,’ Variety, January 12. https://variety.com/2017/film/news/female-directors-hollywood-diversity-1201958694/.
Lewis, Helen (2020), ‘The Pandemic Has Revealed the Weakness of Strongmen,’ The Atlantic, 6 May. https://www.theatlantic.com/international/archive/2020/05/new-zealand-germany-women-leadership-strongmen-coronavirus/611161/.
Mayne, Judith (1990), The Woman at the Keyhole: Feminism and Women’s Cinema, Bloomington and Indianapolis: Indiana University Press.
McRobbie, Angela (2007), ‘Postfeminism and Popular Culture: Bridget Jones and The New Gender Regime,’ in Yvonne Tasker and Diane Negra (eds), Interrogating Postfeminism: Gender and The Politics of Popular Culture, Durham: Duke University Press, pp. 27–39.
Modleski, Tania (1991), Loving With a Vengeance: Mass Produced Fantasies for Women, New York and London: Routledge.
Naficy, Hamid (2001), An Accented Cinema: Exilic and Diasporic Cinema, Princeton: Princeton University Press.
Ndalianis, Angela (2012), The Horror Sensorium: Media and the Senses, Jefferson and London: McFarland and Co.
Negra, Diane (2009), What a Girl Wants?: Fantasizing the Reclamation of the Self in Postfeminism, London and New York: Routledge.
Plantinga, Carl (2009), Moving Viewers: American Film and the Spectator’s Experience, Berkeley and Los Angeles: University of California Press.
Pye, Douglas (2007) ‘Movies and Tone’, in John Gibbs & Douglas Pye (eds), Close-Up 02: Movies and Tone/Reading Rohmer/Voices in Film, London: Wallflower Press, pp. 1–80.
Rich, B. Ruby (1990), ‘In the Name of Feminist Film Criticism,’ in Patricia Erens (ed.), Issues in Feminist Film Criticism, Bloomington: Indiana University Press, pp. 268–287.
Silverstein, Melissa (2017), ‘2017 – The Year That Could Change Everything or Nothing,’ Medium, 22 December. https://medium.com/women-and-hollywood/2017-the-year-that-could-change-everything-or-nothing-1072a670bc72.
Sinnerbrink, Robert (2012), ‘Stimmung: exploring the aesthetics of mood,’ Screen 53 (2) (Summer): 148–163.
Smith, Ellie (2020), “Des plafonds dans les yeux”: Representing the New Town in Naissance des pieuvres, unpublished Master’s essay, University of Warwick.
Tally, Margaret and Betty Kaklamanidou (2018), ‘Does it really matter? Female-driven and created TV shows in the era of Trump and Weinstein,’ Paper delivered at Doing Women’s Film and Television History IV: Calling the Shots – Then, Now and Next Conference, 23–25 May, University of Southampton.
Tasker, Yvonne (2010), ‘Vision and Visibility: Women Filmmakers, Contemporary Authorship, and Feminist Film Studies,’ in Vicky Callahan (ed.), Reclaiming the Archive: Feminism and Film History, Detroit: Wayne State University Press.
Thanouli, Eleftheria (2009), Post-classical Cinema: an International Poetics of Film Narration, London: Wallflower.
Thomson, David (2002), The Whole Equation: A History of Hollywood, London: Little, Brown.
Tuana, Nancy (2008), ‘Viscous Porosity: Witnessing Katrina,’ in Stacy Alaimo and Susan Hekman (eds), Material Feminisms, Bloomington and Indianapolis: Indiana University Press, pp. 188–213.