A report for the Centre National de la Cinématographie showed that in the 1980s, four prints constituted a wide release for a French-language film; but in 2007, nine French-language films were distributed on more than 40 prints. Caroline Dequet, Rapport Sur La Distribution Et L’exportation Du Film Français En Europe (Paris: CNC, 1991), 44;
Cécile Renaud, Selling French Cinema to British Audiences: 2001–2009 (unpublished thesis, University of Southampton, 2012), Appendix A.
Mark Betz, Beyond the Subtitle: Remapping European Art Cinema (Minneapolis: University of Minnesota Press, 2009), 28.
Barbara Klinger, Beyond the Multiplex: Cinema, New Technologies and the Home (Berkeley: University of California Press, 2006);
Barbara Klinger, ‘The DVD Cinephile’, in Film and Television After DVD, eds. James Bennett and Tom Brown (New York: London: Routledge. 2008), 19–44;
Paul McDonald, Video and DVD Industries (London: British Film Institute, 2007).
Paul McDonald, ‘What’s on? Film Programming, Structured Choice and the Production of Cinema Culture in Contemporary Britain’, Journal of British Cinema and Television 7, no. 2 (2010), 264–298.
KPMG, Specialised Exhibition and Distribution Strategy (London: UK Film Council, 2002), Appendix A1.
UK Film Council, Group and Lottery Annual Report and Financial Statements 2008/2009 (London: Crown Copyright, 2009), 11, https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/248139/0904.pdf.
Mark Cousins, ‘After the End: Word of Mouth and Caché’, Screen 48, no. 2 (2007), 225.
UK Film Council, The Prints & Advertising Fund Guidelines For Applicants (London: UK Film Council, 2010), 5.
Mark Betz. ‘Art, Exploitation, Underground’, in Defining Cult Movies: The Cultural Politics of Oppositional Taste, ed. Mark Jancovich (Manchester: Manchester University Press, 2003), 202–222.
Lucy Mazdon, ‘Vulgar, Nasty and French: French cinema in Britain in the 1950s’, Journal of British Cinema and Television 7, no. 3 (2010), 421–438.
Bradley Schauer, ‘The Criterion Collection in the New Home Video Market: An Interview with Susan Arosteguy’, Velvet Light Trap 56 (2005), 33.
UK Film Council, UK Audience Development Scheme: Context, Strategic Fit, and Audience Issues (London: UKFC, 2006).
Catherine Grant, ‘Auteur Machines? Auteurism and the DVD’, in Film and Television after DVD, eds. James Bennett and Tom Brown (London: Taylor & Francis, 2008), 101–115.
On the association between French cinema and the thriller genre, see Jill Forbes, The Cinema in France after the New Wave (London: British Film Institute, 1992), 53.
Ben McCann and David Sorfa, The Cinema of Michael Haneke (Europe Utopia: Wallflower Press, 2009); McDonald, Video and DVD Industries, 61.