Select Bibliography:Adam Barker. 'Cries and Whispers.' Sight + Sound. 1.10 (February 1992).
David Bordwell, Janet Staiger and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. London: Routledge & Kegan Paul, 1985.
Peter Brooks, The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess. New Haven: Yale University Press, 1995.
Guido Convents. 'Documentary and Propaganda Before 1914.' Framework. 35 (1988). pp. 104-113.
Alexander Cockburn. 'John and Oliver's Bogus Adventure.' Sight + Sound. 1.10 (February 1992). pp. 22-24.
Michael Curtin. 'The Discourse of "Scientific Anti-Communism" in the "Golden Age" of Documentary.' Cinema Journal. 32:1 (Fall 1992). pp. 3-25.
Jacques Ellul. Propaganda: The Formation of Men's Attitudes. New York: Vintage Books, 1973.
Thomas Elsaesser. 'Portrait of the Artist as a Young Woman.' Sight + Sound. 3: 2 (February 1993). pp. 14-18.
Leif Furhammer and Folke Isaksson (Trans. Kersti French). Politics and Film. London: Studio Vista, 1971.
Larry Gross. 'Exploding Hollywood.' Sight + Sound. 5:3 (March 1995). pp. 8-19.
Robert Heilman. The Iceman, the Arsonist, and the Troubled Agent: Tragedy and Melodrama on the Modern Stage. Seattle: University of Washington Press, 1973.
Simiko Higashi. 'Melodrama, Realism, and Race: World War II Newsreels and Propaganda Film.' Cinema Journal. 37:3 (Spring 1998). pp. 38-61.
Karen Horney. Neurosis and Human Growth: The Struggle Toward Self-Realization. New York: Norton, 1991 [1950].
Beverly Merrill Kelley with John J. Pitney Jr., Craig R. Smith, and Herbert E. Gooch III. Reelpolitik: Political Ideologies in '30s and '40s Films. Westport, CN: Praeger, 1998.
Vance Keply, Jr. 'Eisenstein As Pedagogue.' Quarterly Review of Film and Video. 14:4. pp. 1-16.
Scott MacDonald. 'The Filmmaker as Global Circumnavigator: Peter Watkins's The Journey and Media Critique.' Quarterly Review of Film and Video. 14:4 (1993). pp. 31-54.
Roger D. McNiven. 'The Middle-Class American Home of the Fifties: The Use of Architecture in Nicholas Ray's Bigger Than Life and Douglas Sirk's All That Heaven Allows.' Cinema Journal. 22:4 (Summer 1983). pp. 38-57.
Joseph Natoli. Hauntings: Popular Film and American Culture: 1990-1992. Albany: State University of New York Press, 1994.
Steve Neale. 'Triumph of the Will: Notes on Documentary and Spectacle.' Screen. 20:1 (Spring 1979). pp. 63-86.
Massimo Piatielli-Palmarini. Inevitable Illusions: How Mistakes of Reason Rule Our Minds. New York: John Wiley & Sons, 1994.
Dana Polan. Power and Paranoia: History, Narrative and the American Cinema, 1940-1950. New York: Columbia University Press, 1986.
Richard Raskin. 'Casablanca and United States Foreign Policy.' Film History. 4:2 (1990). pp. 153-164.
D.N. Rodowick. 'Madness, Authority, and Identity in the Domestic Melodrama of the 1950's.' The Velvet Light Trap. 19 (1982). pp. 40-45.
Douglas Rushkoff. Coercion: Why We Listen To What "They" Say. New York: Riverhead Books, 1999.
Eric Schaeffer. 'Resisting Refinement: The Exploitation Film and Self-Censorship.' Film History. 6 (1994). pp. 293-313.
Christopher Simpson. Science of Coercion: Communication Research and Psychological Warfare, 1945-1960. New York: Oxford University Press, 1996.
James Spellerberg. 'CinemaScope and Ideology.' The Velvet Light Trap. 21 (Summer 1995). pp. 26-34.
Dennis Turner. 'The Subject of The Conversation.' Cinema Journal. 24:4 (Summer 1985). pp. 4-22.
Rick Worland. 'OW1 Meets the Monsters: Hollywood Horror Films and War Propaganda, 1942-1945.' Cinema Journal. 37:1 (Fall 1997). pp. 47-65.