Bibliography
Abbott, H. Porter. The Cambridge Companion to Narrative (Second Edition).
Cambridge: Cambridge University Press, 2008.
Adorno, Theodor, Max Horkheimer. Dialectic of Enlightenment:
Philosophical Fragments. London: Verso Press, 1997.
‘AFI’s 100 Years, 100 Passions’. 2002. AFI.com.
http://connect.afi.com/site/DocServer/passions100.pdf?docID=248. Accessed:
Jan, 2008.
Affron, Charles. 1980. ‘Performing Performing: Irony and Affect’, Cinema
Journal 20.1: 42-52.
Alcorn, Marshall W., Jr. ‘Rhetoric, Projection, and the Authority of the
Signifier’. College English 49 (1987): 137-57.
Allen, Robert C. Film History: Theory and Practice. New York: Knopf, 1985.
Alleyne, Richard. ‘Romantic comedies make us unrealistic about
relationships, claim scientists’. The Telegraph. 2008.
http://www.telegraph.co.uk/culture/film/3776923/Romantic-comedies-makeus-unrealistic-about-relationships-claim-scientists.html. Accessed: October,
2009.
Althusser, Louis. Reading Capital. London: New Left Books, 1970.
Althusser, Louis. Lenin and Philosophy and Other Essays. Trans. Ben
Brewster. New York: Monthly Review Press, 1971.
Altman, Rick. Genre: The Musical. London: Routledge, 1981.
Altman, Rick. The American Film Musical. Bloomington: Indiana University
Press, 1987.
Altman, Rick. ‘Dickens, Griffith and Film Theory Today’. Classical
Hollywood Narrative: The Paradigm Wars. Ed. Jane Gaines. London: Duke
University Press, 1992. 9-47.
Altman, Rick. Film/Genre, London: BFI Publishing, 1999.
Altman, Rick. A Theory of Narrative. New York: Columbia University Press,
2008.
Armes, Roy. Action and Image: Dramatic Structure in Cinema. Manchester:
Manchester University Press, 1994.
307
Ansen, David. ‘Endless Summer’. Newsweek. 2008.
http://www.newsweek.com/2008/04/19/endless-summer.html. Accessed:
September, 2009.
Azcona, Maria del Mar. ‘Precarious Teleologies: New Endings for a New
Genre’. Happy Endings and Films. Eds. Armelle Parey, Isabelle Roblin &
Dominque Sipière. Paris: Michel Houdiard, 2010. 151-159.
Aumont, Jaques. ‘Griffith, le Cadre, la Figure’. Le Cinema Americain. Ed.
Raymond Bellour. Paris: Flammarion, 1980. 51-67.
Babbington, Bruce & Peter Evans. Affairs to Remember: The Hollywood
Comedy of the Sexes. Manchester: Manchester University Press, 1989.
Babbington, Bruce & Peter Evans. ‘All That Heaven Allowed: Another Look
at Sirkian Irony’, Movie 34/5 (1990): 48-58.
Babbington, Bruce. ‘Time Trips and Other Tropes: Peggy Sue Got Married
and the Metaphysics of Romantic Comedy’. Terms of Endearment:
Hollywood Romantic Comedies of the 80s and 90s. Eds. Deleyto, Celestino &
Peter Williams Evans, Edinburgh: Edinburgh University Press, 1998. 93-110.
Bachmann, Holger. ‘The Production and Contemporary Reception of
Metropolis’. Fritz Lang’s Metropolis: Cinematic Visions of Technology and
Fear. Eds. Michael Minden, Holger Bachmann. New York: Camden House,
2000. 3-46.
Bagchi, Jayeeta. ‘Looking for Reality in Romance’. Social Scientist 28.3/4
(2000): 30-39.
Baker, M. Joyce. Images of Women in Film: The War Years, 1941-1945.
Michigan: Umi Research Press, 1980.
Bakhtin, Mikhail. Problems of Dostoevsky’s Poetics. Ed. & trans. Caryl
Emerson. Minneapolis: University of Minnesota Press, 1984.
Bandura, A. Social Foundations of Thought and Action: A Social Cognitive
Theory. Englewood Cliffs, NJ: Prentice-Hall, 1986.
Barker, Martin. ‘The Pleasures of Watching an “Off-beat” Film: the Case of
Being John Malkovich’. 2008. Scope, Issue 11.
http://www.scope.nottingham.ac.uk/article.php?issue=11&id=1020 Accessed:
March, 2009.
Barthes, Roland. S/Z: An Essay. Trans. Richard Miller. New York: Hill and
Wang, 1970.
308
Barthes, Roland. ‘Introduction to the Structural Analysis of Narratives’.
Image – Music – Text. Trans. Stephen Heath. Galsgow: Fontana, 1977. 79124.
Baudry, Jean-Louis. ‘Ideological Effects of the Basic Cinematographic
Apparatus’. In Narrative, Apparatus, Ideology: A Film Theory Reader. Ed.
Philip Rosen. New York: Columbia University Press, 1986. 286-298.
Bazin, André. ‘William Wyler, or the Jansenist of Directing’. Bazin at Work:
Major Essays & Reviews From the Forties & Fifties. Trans. Alain Piette
& Bert Cardullo. London: Routledge, 1997. 1-22.
Beach, Christopher. Class, Language, and American Film Comedy.
Cambridge: Cambridge University Press, 2002.
Belton, John. American Cinema/American Culture. New York: Mcgraw-Hill,
1994.
Bellour, Raymond. ‘Alternation, Segmentation, Hypnosis: an Interview with
Raymond Bellour. Conducted by Janet Bergstrom. Camera Obscura 3/4
(1979): 71-103.
Benshoff, Harry M., Sean Griffin. Queer Cinema: The Film Reader. London:
Routledge, 2004.
Benshoff, Harry M., Sean Griffin. American Film: Representing Race, Class,
Gender and Sexuality at the Movies, Oxford: Blackwell, 2004.
Benshoff, Harry M., Sean Griffin. Queer Images: A History of Gay and
Lesbian Film in America. Lanham: Rowman & Littlefield, 2005.
Best, Steven & Douglas Kellner. The Postmodern Turn. New York: Guildford
Press, 1997.
Blair, Lindsay. Joseph Cornell’s Vision of Spiritual Order. London: Reaktion
Books, 1998.
Booker, M. Keith. Postmodern Hollywood: What’s New in Film and Why it
Makes us Feel so Strange. London: Praeger, 2007.
Boone, Joseph Allen. Tradition, Counter-Tradition Tradition Counter
Tradition: Love and the Form of Fiction, London: University of Chicago
Press, 1987.
Booth, Alison. ‘Introduction: The Sense of Few Endings’. Famous Last
Words: Changes in Gender and Narrative Closure. Ed. Alison Booth.
University Press of Virginia, 1993. 1-32.
Booth, Wayne. The Rhetoric of Fiction. London: University of Chicago Press,
1983.
309
Booth, Wayne. The Company We Keep: an Ethics of Fiction, Los Angeles:
University of California Press, 1988.
Bordwell, David. ‘Happily Ever After, Part Two’. Velvet Light Trap, No. 19
(1982): 2-7.
Bordwell, David, Janet Staiger, Kristin Thompson. The Classical Hollywood
Cinema: Film Style and Mode of Production to 1960, London: Routledge,
1985.
Bordwell, David. ‘Classical Hollywood Cinema: Narrational Principles and
Procedures’. Narrative, Apparatus, Ideology. Ed. Philip Rosen. New York:
Columbia University Press, 1986. 17-34.
Bordwell, David. Narration in the Fiction Film. London: Methuen, 1986.
Bordwell, David. Making Meaning: Inference and Rhetoric in the
Interpretation of Cinema. Cambridge, Mass.: Harvard University Press, 1989.
Bordwell, David. ‘A Case For Cognitivism’. Iris 9 (1989b): 11-41.
Bordwell, David. ‘Contemporary Film Studies and the Vicissitudes of Grand
Theory’. Post-Theory: Reconstructing Film Studies. Eds. David Bordwell &
Noël Carroll. Madison: University of Wisconsin Press, 1996. 1-36.
Bordwell, David. The Way Hollywood Tells It: Story and Style in Modern
Movies, Los Angeles: University of California Press, 2006.
Bourget, Jean-Loup. ‘Romantic Dramas of the Forties: An Analysis’. Film
Comment, 10.1 (1974): 46-51.
Bratu-Hansen, Miriam. ‘Schindler’s List is not Shoah: Second
Commandment, Popular Modernism and Public Memory’. Spielberg’s
Holocaust: Critical Perspectives on Schindler’s List. Ed. Yosefa Loshitzky.
Bloomington: Indiana University Press, 1997. 77-103.
Braudy, Leo. The World in a Frame: What we see in Films, New York:
Anchor Press, 1976.
Brecht, Bertolt. Brecht on Theatre. Ed. John Willett. London: Methuen, 1964.
Britton, Andrew. ‘The Lady From Shanghai : Betrayed by Rita Hayworth’.
The Movie Book of Film Noir. Ed. Ian Cameron. New York: Continuum,
1993. 213-21.
Britton, Andrew. Katharine Hepburn: Star as Feminist. New York: Columbia
University Press, 2003.
Britton, Andrew. Britton on Film: The Complete Film Criticism of Andrew
310
Britton. Ed. Barry Keith Grant. London: Wayne State University Press, 2009.
Brontë, Charlotte. Villette. Stilwell: Digireads, 2008.
Brooks, Peter. The Melodramatic Imagination. New York: Columbia
University Press, 1976.
Brooks, Peter. Reading for the Plot: Design and Intention in Narrative.
London: Harvard University Press, 1984.
Brownlow, Kevin. ‘Hungry Hearts: A Hollywood Social Problem Film of the
1920s’. Film History 1.2 (1987): 113-125.
Bruner, Jerome. ‘The Narrative Construction of Reality’. Piaget’s Theory:
Prospects and Possibilities. Eds. Harry Beilin & Peter B. Pufall. Hillside:
Lawrence Erlbaum Publishers, 1992. 229-248.
Bruns, John. ‘The Polyphonic Film’, New Review of Film and Television
Studies 6.2 (2008): 189-212.
Brunsdon, Charlotte. ‘Text and Audience’. Remote Control: Television,
Audiences & Cultural Power. Eds. Ellen Seiter, Hans Borchers, Gabrielle
Kreutzner, Eva-Maria Warth. London: Routledge, 1989. 116-129.
Buckland, Warren. Directed by Steven Spielberg: the Poetics of the
Hollywood Blockbuster. London: Continuum, 2006.
Burch, Noel. Life to Those Shadows. London: BFI Publishing, 1990.
‘Bureau of Motion Pictures Report: Casablanca’. 1942.
http://www.digitalhistory.uh.edu/learning_history/casablanca/bmp_report_cas
ablanca.cfm, Accessed: February, 2007.
Burke, Peter. History and Social Theory (Second Edition). Ithica: Cornell
University Press, 2005.
Burnstein, Matthew. ‘Movies and the Reassessment of America’. American
Cinema of the 1940s: Themes and Variations. Ed. Wheeler Winston Dixon.
New York: Rutgers State University Press, 2006. 22-47.
Buscombe, Edward. ‘The Idea of Genre in the American Cinema’. Film
Genre Reader III. Ed. Barry Keith Grant. Austin: University of Texas Press,
2003. 12-26.
Butler, Alison. Women’s Cinema: The Contested Screen. London:
Wallflower, 2002.
Byars, Jackie. All That Hollywood Allows: Re-Reading Gender in 1950s
Melodrama, University of North Carolina Press, 1991.
311
Cagle, Chris. ‘Two Modes of Prestige Film’ Screen 48.3 (2007): 291-31.
Cahiers du Cinema, ‘John Ford’s Young Mr Lincoln: A Collective Text by the
Editors of Cahiers du Cinéma’, Screen 13.3 (1972): 5-44.
Cameron, Ian. ‘Hitchcock and the Mechanics of Suspense’. The Movie
Reader. Ed. Ian Cameron, London: November Books, 1972. 26-29.
Camper, Fred. ‘The Films of Douglas Sirk: The Epistemologist of Despair’.
1971. Fred Camper, http://www.fredcamper.com/Film/Sirk.html. Accessed:
March, 2008.
Carroll, Noël. ‘The Moral Ecology of Melodrama: The Family Plot and
Magnificent Obsession’. New York Literary Forum 7 (1980): 183-191.
Carroll, Noël. Book Review: Pursuits of Happiness: The Hollywood Comedy
of Remarriage. Journal of Aesthetics and Art Criticism 41.1 (1982): 103-106.
Carroll, Noël. Mystifying Movies: Fads and Fallacies in Contemporary Film
Theory, New York: Columbia University Press, 1988.
Carroll, Noël. ‘The Paradox of Junk Fiction’, Philosophy and Literature 18 .1
(1994): 225-241.
Carroll, Noël. Theorizing the Moving Image, Cambridge: Cambridge
University Press, 1996.
Carroll, Noël. ‘Narrative Closure’, Philosophical Studies, 135.1 (2007): 1-15.
Cavell, Stanley. Pursuits of Happiness: The Hollywood Comedy of
Remarriage, Cambridge, Mass: Harvard University Press, 1981.
Cavell, Stanley. ‘Postscript (1989): To Whom it May Concern’. Critical
Inquiry 16.2 (1990): 248-289.
Cavell, Stanley. Contesting Tears: The Hollywood Melodrama of the
Unknown
Woman. Chicago: University of Chicago Press, 1996.
Cavell, Stanley. ‘Falling in Love Again’. Film Comment 41.5 (2005): 50-54.
Cawelti, John G. Adventure, Mystery and Romance: Formula Stories as Art
and Popular Culture. London: University of Chicago Press, 1976.
Cawelti, John G. ‘The Evolution of Social Melodrama’. Imitations of Life: a
Reader on Film & Television Melodrama. Ed. Marcia Landy. Detroit: Wayne
State University Press, 1991. 33-49
Chatman, Seymour. Story and Discourse: Narrative Structure in Fiction and
Film, New York: Cornell University Press, 1980.
312
Chauvin, Serge. ‘“And They Lived Happily Ever After... Or Did They?”:
Matrimony as False Ending in (Post-)Classical Hollywood Fictions of
Re/Marriage’. Happy Endings and Films. Eds. Armelle Parey, Isabelle Roblin
& Dominque Sipière. Paris: Michel Houdiard, 2010. 40-54.
Clark, Elizabeth A. History, Theory, Text: Historians and the Linguistic Turn.
Cambridge, Mass.: Harvard University press, 2004.
Clayton, Alex. The Body in Hollywood Slapstick. London: McFarland & Co,
2007.
Colwell, C. Carter. ‘Where is Happiness? A Study in Film Closure’. Journal
of the University Film Association, 33.1 (1981): 39-48.
Comolli, Jean-Louis & Jean Narboni. ‘Cinema/Ideology/Criticism’, Screen
12.1 (1971): 27-36.
Conard, Mark T. ‘The Indifferent Universe: Crimes and Misdemeanors’.
Movies and the Meaning of Life: Philosophers Take on Hollywood. Eds.
Kimberly Ann Blessing, Paul J. Tudico. Illinois: Carus Publishing, 2005.
Conrad, Joseph. Notes on Life and Letters. New York: Biblio Bazaar, 2006.
Cook, Pam. The Cinema Book. 2nd ed. London: BFI Publishing, 1999.
Cossar, Harper. ‘“Wait, How Did I Miss That?:” Understanding the “Twist”
in Fritz Lang's The Woman in the Window’, Quarterly Review of Film and
Video 26.1 (2009): 10–19.
Courtney, Susan. Hollywood Fantasies of Miscegenation: Spectacular
Narratives of Gender and Race, 1903 – 1967. Princeton: Princeton University
Press, 2005.
Couvares, Francis G. Movie Censorship and American Culture, London:
Smithsonian Institution Press, 1996.
Cowie, Elizabeth. ‘Fantasia’, M/f no. 9 (1976): 71-105.
Creed, Barbara. ‘Horror and the Carnivalesque’. Fields of Vision: Essays in
Film Studies, Visual Anthropology, and Photography. Ed. Leslie Devereaux,
Roger Hillman. Los Angeles: University of California Press, 1995. 127-159.
Crusie, Jennifer. ‘Romancing Reality: The Power of Romance Fiction to
Reinforce and Re-Vision the Real’. Paradoxa: Studies in World Literary
Genres 1.2 (1997): 81-93
De Lauretis, Teresa. Alice Doesn’t: Feminism, Semiotics, Cinema.
Bloomington: Indiana University Press, 1984.
313
Deleyto, Celestino. ‘The “Dupes” Strike Back: Comedy, Melodrama and
Point of View in The Apartment’. Atlantis 16.1-2 (1992): 37-61.
Deleyto, Celestino. ‘They Lived Happily Ever After: Ending Contemporary
Romantic Comedy’, Misceleana: A Journal of English and American Studies,
19 (1998): 39-55.
Deleyto, Celestino. ‘Between Friends: Love and Friendship in Contemporary
Hollywood Romantic Comedy’. Screen 44.2 (2003): 167-182.
Deleyto, Celestino. The Secret Life of Romantic Comedy, Manchester:
Manchester University Press, 2009.
Deleyto, Celestino. ‘Tales of the Millennium (Park): The Happy Ending and
the Magic Cityscape of Contemporary Romantic Comedy’. Happy Endings
and Films. Eds. Armelle Parey, Isabelle Roblin & Dominque Sipière. Paris:
Michel Houdiard, 2010. 103-112.
Deleyto, Celestino & Peter Williams Evans. ‘Introduction: Surviving Love’.
Terms of Endearment: Hollywood Romantic Comedies of the 80s and 90s.
Eds. Celestino Deleyto & Peter Williams Evans Edinburgh: Edinburgh
University Press, 1998. 1–14.
Denisoff, Serge & William D. Romanowski. Risky Business: Rock in Film,
Volume 1990, New Brunswick: Transaction Publishers, 1991.
Diffrient, David Scott. ‘Stories that Objects Might Live to Tell: The “HandMe-Down Narrative” in Film’. 2007. Other Voices 3.1.
http://www.othervoices.org/3.1/sdiffrient/index.php, Accessed: January, 2008.
Dix, Andrew. Beginning Film Studies, Manchester: Manchester University
Press, 2008.
Doane, Mary Ann. The Desire to Desire: The Woman’s Film of the 1940s.
London: MacMillan Press, 1987.
Dolar, Mladen. ‘Hitchcock’s Objects’. Everything You Always Wanted to
Know About Lacan but Were Afraid to Ask Hitchcock. Ed. Slavoj Žižek. New
York: Verso, 1991. 31-46.
Dowd, James J. & Nicole R. Pallotta. ‘Demystification of Love in the
Postmodern Age’, Sociological Perspectives 43.4 (2000): 549-580.
Dowling, William C. Jameson, Althusser, Marx: An Introduction to the
Political Unconscious. Ithica: Cornell University Press, 1984.
Dubino, Jeanne. ‘The Cinderella Complex: Romance Fiction, Patriarchy, and
Capitalism’. Journal of Popular Culture 27:3 (1993): 103-118.
314
DuCille, Ann. The Coupling Convention: Sex, Text, and Tradition in Black
Women’s Fiction. Oxford: Oxford University Press, 1993.
Dunn, Francis M. Tragedy’s End: Closure and Innovation in Euripedean
Drama, Oxford: Oxford University Press, 1996.
Dunn, Francis M, Deborah H. Roberts, Don Fowler. Classical Closure, New
Jersey: Princeton University Press, 1997.
Dunne, Michael. American Film Musical: Themes and Forms, Jefferson:
McFarland & Co., 2004.
Durgnat, Raymond. The Crazy Mirror: Hollywood Comedy and the American
Image. London: Faber & Faber, 1969.
Dyer, Richard. Only Entertainment (Second edition), London: Routlegde,
2002.
Dyer, Richard. Pastiche, London: Routledge, 2007.
Eagleton, Terry. Walter Benjamin, or Towards a Revolutionary Criticism.
London: Verso Press, 1981.
Earley, Annie. What Was I Thinking?: How Not to Date, Eynon: Tribute
Books, 2007.
Ebert, Roger. ‘The Day After Tomorrow’. 2004. Chicago Sun-Times.
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040528/REVIE
WS/405280303/1023. Accessed: April, 2007.
Eco, Umberto. Reflections on the Name of the Rose, London: Secker &
Warburg. 1983.
Edelstein, David. ‘Forget Me Not’. Slate. 2004.
http://www.slate.com/id/2097362/, Accessed: March, 2007.
Edwards, Mike. Key Ideas in Media. Cheltenham: Nelson Thornes, 2003.
Eliot, George. Middlemarch. Ed. Rosemary Ashton. London: Penguin Books,
1994.
Eliot, George. George Eliot’s Life as Related in Her Letters and Journals,
Vol. 2. Ed. John Walter Cross. London: Elibron Classics, 2005.
Elsaesser, Thomas. ‘Tales of Sound and Fury: Observations on the Family
Melodrama’. Home is Where the Heart is: Studies in Melodrama and the
Woman’s Film. Ed. Christine Gledhill. London: BFI Publishing, 1987. 43-69.
Felperin, Leslie. ‘Into the Sunset’, IFC Rant. Issue 25, (May/June, 2004): 4-7
315
Felski, Rita. Literature After Feminism. London: University of Chicago Press,
2003.
Feuer, Jane. The Hollywood Musical, Bloomington: Indiana University Press,
1993.
Fish, Stanley. Is There a Text in This Class? The Authority of Interpretive
Communities. Cambridge, Mass.: Harvard University Press, 1980.
Fiske, John. ‘Gendered Television: Femininity’. Gender, Race, and Class in
Media: A Text-Reader. Eds. Gail Dines & Jean McMahon Humez. London:
Sage Publications, 2003. 469-475.
Firestone, Shulamith. The Dialectic of Sex: The Case For Feminist
Revolution. New York: Bantam, 1971.
Forster, E. M. Aspects of the Novel. Harmondsworth: Penguin Books, 1962.
Forster, E. M. Maurice, Toronto: Macmillan, 1971.
Fowler, Alastair. Kinds of Literature: An Introduction to the Theory of Genres
and Modes. Oxford: Clarendon Press, 1982.
Freeman, Elizabeth. The Wedding Complex: Forms of Belonging in Modern
America, London: Duke University Press, 2002.
Freud, Sigmund. ‘Humor’. The Future of an Illusion: Civilization and Its
Discontents. and Other Works, Standard Edition, Vol. 21. London: The
Hogarth Press, 1961. 159–66.
Friedman, Ellen G., Miriam Fuchs. ‘Contexts and Continuities: An
Introduction to Women’s Experimental Fiction in English’. Breaking the
Sequence: Women’s Experimental Fiction. Eds. Ellen G. Friedman, Miriam
Fuchs. Princeton: Princeton University Press, 1989. 3-51.
Friedman, Susan Stanford. Mappings: Feminism and the Cultural
Geographies of Encounter. Princeton: Princeton University Press, 1998.
Frye, Northrop. Fables of Identity: Studies in Poetic Mythology. New York:
Harcourt, 1963.
Frye, Northrop. ‘Old and New Comedy’. Shakespeare Survey: Aspects of
Shakespearian Comedy. Ed. Kenneth Muir. Cambridge: Cambridge
University Press, 1969. 1-6.
Frye, Northrop. Northrop Frye on Literature and Society, 1936-1989:
Unpublished Papers. Ed. Robert B. Denham. London: University of Toronto
Press, 2002.
316
Galcian, Mary-Lou. Sex, Love & Romance in the Mass Media: Analysis and
Criticism of Unrealistic Portrayals and their Influence, Mahwah: Lawrence
Erlbaum Associates, 2004.
Galcian, Mary-Lou, Debra L. Merskin. Critical Thinking About Sex, Love &
Romance in the Mass Media. Mahwah: Lawrence Erlbaum Associates, 2007.
Gallagher, Tag. ‘Shoot-Out at the Genre Corral: Problems in the “Evolution”
of the Western’. Film Genre Reader III. Ed. Barry Keith Grant. Austin:
University of Texas Press, 2003 (1986)
Gallop, Jane. The Daughter’s Seduction: Feminism and Psychoanalysis,
Ithica: Cornell University Press, 1982.
Garrett, Peter K. The Multiplot Novel: Studies in Dialogic Form, New Haven:
Yale University Press, 1980.
Garrett, Roberta. Postmodern Chick Flicks: the Return of the Woman’s Film,
New York: Palgrave MacMillan, 2007.
Garrett Cooper, Mark. Love Rules: Silent Hollywood and the Rise of the
Managerial Class. Minneapolis: University of Minnesota Press, 2003.
Geertz, Clifford. The Interpretation of Cultures, New York: Basic Books,
1973.
Geraghty, Christine. ‘Foregrounding the Media: Atonement (2007) as an
Adaptation, Adaptation 2.2 (2009): 91-109.
Gerber, David A. Disabled Veterans in History. Michigan: University of
Michigan Press, 2000.
Gibson, Pamela Church. ‘New Stars, New Fashions and the Female
Audience’. Fashion’s World Cities. Eds. Christopher Breward & David
Gilbert. Oxford: Berg, 2006.
Giddens, Anthony. The Transformation of Intimacy: Sexuality, Love &
Eroticism in Modern Societies. Stanford: Stanford University Press, 1992.
Gianos, Phillip L. Politics and Politicians in American Film. Westport:
Praeger Publishers, 1998.
Gilbert, Sandra M. & Susan Gubar. The Madwoman in the Attic: The Woman
Writer and the Nineteenth-Century Literary Imagination. New Haven: Yale
University Press, 1979.
Gill, Rosalind. Gender and the Media, Cambridge: Polity Press, 2007.
317
Gledhill, Christine. ‘The Melodramatic Field: an Investigation’ in Home is
Where the Heart Is. Ed. Christine Gledhill. London: BFI Publishing, 1987. 539.
Gledhill, Christine. ‘Pleasurable Negotiations’. Cultural Theory and Popular
Culture: A Reader (Third Edition). Ed. John Storey. Essex: Pearson
Education, 2006. 111-123.
Glitre, Kathrina. The Romantic Comedy: States of the Union, 1934-65.
Manchester: Manchester University Press, 2006.
Grant, Barry Keith. Film Genre: From Iconography to Ideology, London:
Wallflower Press, 2007.
Greer, Germaine. The Female Eunuch. London: Paladin, 1971.
Grist, Leighton. ‘Out of the Past aka Build my Gallows High’. The Movie
Book of Film Noir. Ed. Ian Cameron, London: Studio Vista, 1992. 203-212.
Halkes, Petra. Aspiring to the Landscape: On Painting and the Subject of
Nature. London: Toronto University Press, 2006.
Hall, Mordaunt. ‘The Skin Game’. The New York Times. 1931.
http://movies.nytimes.com/movie/review?_r=2&res=9D01E0DD123BE433A
25753C2A9609C946094D6CF. Accessed: January, 2010.
Hall, Stuart. ‘Encoding/Decoding’. Culture, Media, Language. Eds. Stuart
Hall, Dorothy Hobson, Andrew Lowe, Paul Willis. London: Hutchinson,
1980. 128-138.
Hall, Stuart. ‘Recent Developments in Theories of Language and Ideology: A
Critical Note’. Culture, Media, Language. Eds. Stuart Hall, Dorothy Hobson,
Andrew Lowe, Paul Willis. London: Hutchinson, 1980. 157-162.
Hallam, Julia & Margaret Marshment. Realism and Popular Cinema.
Manchester: Manchester University Press, 2000.
Halliday, John. Sirk on Sirk. London: Faber & Faber, 1997.
Haralovich, Mary Beth. ‘All That Heaven Allows: Color, Narrative Space, and
Melodrama’. Close Viewings. Ed. Peter Lehman. Gainsville: Florida
University Press, 1990. 57-72.
Harbidge, Lesley. ‘A New Direction in Comedian Comedy? Eternal Sunshine
of the Spotless Mind, Punch-Drunk Love and the Post-Comedian Rom-Com’.
Falling in Love Again: Romantic Comedy in Contemporary Cinema. Eds.
Stacey Abbott, Deborah Jermyn. London: I. B. Tauris, 2009. 176-189.
Hardy, Thomas. The Return of the Native. London: MacMillan, 1962.
318
Haskell, Molly. From Reverence to Rape: The Treatment of Women in the
Movies. New York: Holt, 1987.
Haskell, Molly. Holding My Own in No Man’s Land: Women and Men and
Film and Feminists. Oxford: Oxford University Press, 1997.
Harvey, James. Movie Love in the Fifties. New York: Da Capo Press, 2002.
Hayward, Susan. Cinema Studies: The Key Concepts (3rd Edition), London:
Routledge, 2006.
Henderson, Brian. ‘Harvard Film Studies: A Review’. Film Quarterly 35. 4
(Summer, 1982): 22-34.
Henke, Richard. ‘Imitation of Life: Imitation World of Vaudeville’, Jump Cut,
no. 39 (1994): 31-39.
Hess Wright, Judith. ‘Genre Films and the Status Quo’. Film Genre Reader II.
Ed. Barry Keith Grant, Austin: University of. Texas Press, 1995. 41-49.
Hirsch, E.D. Validity in Interpretation. Yale University Press, 1967
Hoesterey, Ingeborg. Pastiche: Cultural Memory in Art, Film, Literature.
Bloomington: Indiana University Press, 2001.
Homans, Margaret. ‘Feminist Fictions and Feminist Theories of Narrative’,
Narrative 2.1 (1994): 3-16.
Hume, David. ‘Of Tragedy’. Selected Essays. Eds. Stephen Copley, Andrew
Edgar. Oxford: Oxford University Press, 1998.
Hunter, Tim. ‘The Graduate’, The Harvard Crimson. 1968.
http://www.thecrimson.com/article/1968/1/19/the-graduate-pmike-nicholsithe-graduatei/. Accessed: January, 2009.
Ingraham, Chrys. White Weddings: Romancing Heterosexuality in Popular
Culture. New York: Routledge, 2008.
Iser, Wolfgang. The Act of Reading: A Theory of Aesthetic Response,
Baltimore: John Hopkins University Press, 1980.
Jackson, Stevi. ‘Women and Heterosexual Love: Complicity, Resistance and
Change’. Romance Revisited. Eds. Lynne Pearce, Jackie Stacey. New York:
New York University Press, 1995. 49-62.
Jackson, Stevi. Heterosexuality in Question. London: Sage Publishing, 1999.
Jacobs, Lea. The Wages of Sin: Censorship and the Fallen Woman Film 19281942. Madison: University Wisconsin Press, 1991.
319
Jagendorf, Zvi. The Happy End of Comedy: Jonson, Moliere and
Shakespeare. London: Assoiated University Press, 1984.
James, Henry. The Art of the Novel. Ed. R. P. Blackmur, 1934.
Jameson, Fredric. The Political Unconscious. London: Methuen & Co., 1981.
Jameson, Fredric. Postmodernism, or, The Cultural Logic of Late Capitalism.
London: Duke University Press, 1991
Jameson, Frederic. Signatures of the Visible. London: Routledge, 1992.
James, Henry. The House of Fiction. Ed. Leon Edel. London: Hart-Davis,
1957.
Jeffreys, Sheila. Anticlimax: A Feminist Perspective on the Sexual Revolution.
London: The Women's Press, 1993.
Jerslev, Anne. Realism and ‘Reality’ in Film and Media, Copenhagan:
Museum Tusculanum Press, 2002.
Johnson, Kimberly R., & Holmes, Bjarne. ‘Contradictory Messages: A
Content Analysis of Hollywood-Produced Romantic Comedy Feature Films’.
Communication Quarterly, 57. 3 (2009): 352-373.
Jollimore, Troy. ‘Miserably Ever After: Forgetting, Repeating and Affirming
Love in Eternal Sunshine of the Spotless Mind’. Eternal Sunshine of Spotless
Mind. Ed. Christopher Grau. New York: Routledge, 2009. 31-61.
Juhasz, Suzanne. ‘Texts to Grow On: Reading Women’s Romance Fiction’.
Tulsa Studies in Women’s Literature 7:2 (1988): 239-259.
Kaplan, Ann E. ‘Theories of Melodrama: A Feminist Perspective’, Women
and Performance 1.1 (1983): 40-48.
Kapsis, Robert E. Hitchcock: the Making of a Reputation, New York:
University of Chicago Press, 1990.
Kermode, Frank. The Sense of an Ending: Studies in the Theory of Fiction,
Oxford: Oxford University Press, 1967.
Kermode, Frank. ‘Endings, Continued’. Languages Of The Unsayable: The
Play of Negativity in Literature and Literary Theory. Eds. Sanford Budick &
Wolfgang Iser. Stanford: Stanford University Press. 1996. 71-94.
Keating, Patrick: ‘Emotional Curves and Linear Narratives’, Velvet Light
Trap 58.1 (2006): 4-15.
Kerr, Walter. Silent Clowns. London: Alfred A. Knopf, 1975.
320
Kinder, Marsha. ‘Life and Death in the Cinema of Outrage, or, The Bouffe
and the Barf’, Film Quarterly 28. 1 (1974-5): 4-10.
King, Geoff. New Hollywood Cinema: an Introduction, London: I. B. Tauris,
2002.
King, Geoff. Film Comedy. London: Wallflower Press, 2002 b.
King, Geoff. Indiewood, USA: Where Hollywood Meets Independent Cinema.
London: I.B. Tauris, 2009.
Kipnis, Laura. Against Love: A Polemic, New York: Pantheon Books, 2003.
Kirkland, Ewan. ‘Romantic Comedy and the Construction of Heterosexuality’
2007. Scope, Issue 9.
http://www.scope.nottingham.ac.uk/article.php?issue=9&id=957. Accessed:
December, 2007.
Klinger, Barbara. Melodrama and Meaning: History, Culture and the films of
Douglas Sirk, Bloomington: Indiana University Press, 1984.
Klinger, Barbara. ‘“Cinema/Ideology/Criticism” Revisited: The Progressive
Text, Screen 25.1 (1984 b): 30-44.
Klinger, Barbara. ‘The Art Film, Affect and the Female Viewer: The Piano
Revisited’. Screen 47.1 (2006): 19-41.
Kolker, Robert. Film, Form & Culture 3rd Edition, Mcgraw-Hill, 2006.
Kuhn, Annette & Susannah Radstone. The Women's Companion to
International Film. Los Angeles: University of California Press, 1990.
Kuhn, Annette. Women’s Pictures: Feminism and Cinema, 2nd Edition, Verso:
London, 1994.
Kuhn, Annette. ‘Women’s Genres’. The Film Cultures Reader. Ed. Graeme
Turner, London: Routledge, 2002. 20-27.
Knight, Deborah. ‘Aristotelians on Speed: Paradoxes of Genre in the Context
of Cinema’, Deborah Knight, Film Theory and Philosophy, Eds. Richard
Allen, Murray Smith. Oxford: Oxford University Press, 1997. 343- 363.
Kotsopoulos, Aspasia. ‘“Reading Against the Grain” Revisited’. 2001. Jump
Cut 44.
http://www.ejumpcut.org/archive/jc44.2001/aspasia/againstgrain1.html
Accessed: January, 2010.
Kracauer, Siegfried. Theory of Film, Oxford: Oxford University Press, 1960.
321
Krämer, Peter. The New Hollywood: From Bonnie and Clyde to Star Wars.
London: Wallflower, 2005.
Krentz, Jayne Ann (Ed.). Dangerous Men & Adventurous Women: Romance
Writers on the Appeal of the Romance. Philadelphia: University of
Pennsylvania Press, 1992.
Kristeva, Julia. Desire in Language: a Semiotic Approach to Literature and
Art, Oxford: Basil Blackwell, 1980.
Krutnik, Frank. ‘Love Lies: Romantic Fabrication in Contemporary Romantic
Comedy’. Terms of Endearment: Hollywood Romantic Comedies of the 80s
and 90s. Eds. Deleyto, Celestino & Peter Williams Evans, Edinburgh:
Edinburgh University Press, 1998. 15-36.
Lang, Fritz. ‘Happily Ever After’, in Penguin Film Review 5. Ed. Roger
Manvell, 1948. 22-29.
Lang, Robert. The American Film Melodrama. Guildford: Princeton
University Press, 1989.
Lapsley, Robert and Robert Westlake. ‘From Casablanca to Pretty Woman:
the Politics of Romance’. Screen 33.1 (1992): 27-49.
Larkin, Philip. Collected Poems. Ed. Anthony Thwaite, London: Marvell
Press, 1988.
Leff, Leonard J. & Jerold L. Simmons, The Dame in the Kimono: Hollywood,
Censorship, and the Production Code from the 1920s to the 1960s, New
York: Anchor Books, 1990.
Lent, Tina Olsen. ‘Romantic Love and Friendship: The Redefinition of
Gender Relations in Screwball Comedy’. Classical Hollywood Comedy. Eds.
Kristine Karnick and Henry Jenkins. New York & London: Routledge, 1995.
314-331.
Leitch, Thomas. ‘Twice-Told Tales: Disavowal and the Rhetoric of the
Remake’. Dead Ringers: The Remake in Theory and Practice. Eds. Jennifer
Forrest & Leonard R. Koos. Albanny: State University of New York Press,
2002.
Leitch, Thomas. ‘Sequel-Ready Fiction: After Austen’s Happily Ever After’.
Second Takes: Critical Approaches to the Film Sequel. Eds. Carolyn JessCooke, Constantine Verevis. Albanny: State University of New York Press,
2010. 45-64.
Leonard, Suzanne. ‘“I Hate My Job, I Hate Everybody Here”: Adultery,
Boredom, and the “Working Girl” in Twenty-First-Century American
Cinema’. Interrogating Postfeminism: Gender and the Politics of Popular
322
Culture. Eds. Yvonne Tasker & Diane Negra. London: Duke University Press,
2007.
Levi-Strauss, Claude. ‘The Structural Study of Myth’. Journal of American
Folklore 68. 270 (1955): 428-444.
Lévi-Strauss, Claude. The Savage Mind, University of Chicago Press, 1966.
Levin, Harry. The Gate of Horn: A Study of Five French Realists, Oxford:
Oxford University Press, 1966.
Lewis, Jon. ‘Real Sex: Aesthetics and Economics of Art-House porn’. 2009.
Jump Cut, http://www.ejumpcut.org/archive/jc51.2009/LewisRealsex/3.html
(Accessed: October, 2009.
Liebes, Tamar, Elihu Katz. The Export of Meaning: Cross-Cultural Readings
of Dallas. Cambridge: Polity Press, 1993
Lodge, David. Working with Structuralism. London: Routledge, 1982.
Lodge, David. After Bakhtin: Essays on Fiction and Criticism. London:
Routledge, 1990.
Ludot-Vlazak, Ronan. ‘Woody allen’s Impossible Tragedy: Tragic
Expectations and Happy Ending in Match Point’. Happy Endings and Films.
Eds. Armelle Parey, Isabelle Roblin & Dominque Sipière. Paris: Michel
Houdiard, 2010. 64-76.
Luhmann, Niklas. Love as Passion: The Codfication of Intimacy. Trans.
Jeremy Gaines & Doris L. Jones. Cambridge, Mass.: Harvard University
Press, 1986.
Luzón, Vicky. ‘Raving About Things That Won’t Solve: Marylee Hadley in
Written on the Wind. Miscelena 22 (2000): 83-100.
Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge.
Minneapolis: University of Minnesota Press, 1984.
MacCabe, Colin. ‘Realism and the Cinema: Notes on Some Brechtian
Theses’. Screen 15.2 (1974): 7-27.
Macarthur, Elizabeth J. Extravagant Narratives: Closure and Dynamics in the
Epistolary Form, New Jersey: Princeton University Press, 1990.
McDonald, Tamar Jeffers. Romantic Comedy: Boy Meets Girl Meets Genre.
London: Wallflower, 2007.
McDonald, Tamar-Jeffers. ‘Homme-Com: Engendering Change in
Contemporary Romantic Comedies’. Falling in Love Again: Romantic
Comedy in Contemporary Cinema. Eds. Stacey Abbot & Deborah Jermyn.
323
London: I.B.Tauris, 2009. 146-160.
MacDowell, James. ‘Does the Hollywood Happy Ending Exist?’ Happy
Endings and Films. Eds. Armelle Parey, Isabelle Roblin & Dominque Sipière.
Paris: Michel Houdiard, 2010. 15-27.
Maddox, Donald. ‘Triadic Structure in the Lais of Marie de France’. Assays 3
(1985): 22-29.
Maltby, Richard. Hollywood Cinema (Second Edition), Oxford: Blackwell
Publishing, 2003.
Maltby, Richard. ‘“A Brief Romantic Interlude”: Dick and Jane go to 3 ½
Seconds of the Classical Hollywood Cinema’. Post-Theory: Reconstructing
Film Studies. Eds. David Bordwell & Noël Carroll. Madison: University of
Wisconsin Press, 1996. 434-459.
Marchetti, Gina. ‘Contradiction and Viewing Pleasure: The Articulation of
Racial, Class, and Gender Differences in Sayonara’. Multiple Voices in
Feminist Film Criticism. Diane Carson, Linda Dittmar, Janice R. Welsch.
Minneapolis: University of Minnesota Press, 1994.
Massai, Sonia. ‘Nahum Tate’s Revision of Shakespeare’s King Lears’. Studies
in English Literature 1500-1900 40.3 (2000): 435-450.
Massie, Brenda. ‘Stylistic Melodrama: The Medium is the Message in
Douglas Sirk’s All that Heaven Allows’, Psychology Review 4.2 (1980): 267282.
May, Elaine Tyler. Great Expectations: Marriage and Divorce in PostVictorian America. Chicago: University of Chicago Press, 1980.
Mayne, Judith. ‘Fassbinder’s Ali: Fear Eats the Soul and Spectatorship’, in
Close Viewings: An Anthology of New Film Criticism. Peter Lehman (ed.),
Florida: Florida University Press, 1990. 353-369.
Mayne, Judith. ‘Paradoxes of Spectatorship’, The Film Cultures Reader. Ed.
Graeme Turner. London: Routledge, 2002. 28-45
McCabe, Janet. ‘Lost in Transition: Problems of Modern (Heterosexual)
Romance and the Catatonic Male Hero in the Post-Feminist Age’. Falling in
Love Again: Romantic Comedy in Contemporary Cinema. Eds. Stacey Abbott
and Deborah Jermyn. London: I. B. Tauris, 2009. 160-175.
McLaren, Peter. ‘Post-Colonial Pedagogy, Desire and Decolonized
Community’. Postmodernism, Post-Colonialism and Pedagogy. Ed. Peter
McLaren. Somerville: High Press Acdemic, 1995. 227-250.
324
McNiven, Roger D. ‘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 (1985): 38-57.
Mellencamp, Patricia. A Fine Romance: Five Ages of Feminism. Philadelphia:
Temple University Press, 1995.
Mercer, John, Martin Shingler. Melodrama: Genre, Style, Sensibility. London:
Wallflower Press, 2004.
Mernit, Billy. Writing the Romantic Comedy, New York: Harpur Collins,
2000.
Metz. Christian. Film Language: A Semiotics of Cinema, New York: Oxford
University Press, 1968
Meyer, Leonard B. Emotion and Meaning in Music. London: University of
Chicago Press, 1956.
Meyer, Michael J. ‘Reflections on Comic Reconciliations: Ethics, Memory,
and Anxious Happy Endings’, Journal of Aesthetics and Art Criticism, 66.1
(2008): 77-87.
Mill, John Stuart. The Basic Writings of John Stuart Mill : On Liberty, The
Subjection of Women and Utilitarianism, New York : Modern Library, 2002.
Miller, D. A. Narrative and its Discontents, New Jersey: Princeton University
Press, 1981.
Moddelmog, Debra A. ‘Can Romantic Comedy Be Gay?: Hollywood,
Citizenship, and Same-Sex Marriage Panic’, The Journal of Popular Film and
Television. 36: 4 (2009): 162-173.
Modleski, Tania. ‘Notes on a Feminine Narrative Form: The Search for
Tomorrow in Today’s Soap Operas’, Film Quarterly, 33:1 (1979): 12–21.
Modlski, Tania. Loving With a Vengeance: Mass-produced Fantasies for
Women. Hamden: Archon Books, 1982.
Modleski, Tania. ‘Time and Desire in the Women’s Film’. Home is Where the
Heart Is: Studies in Melodrama and the Woman’s Film. Ed. Christine
Gledhill. London: BFI Publishing, 1987. 326-338.
Modleski, Tania. The Women Who Knew Too Much: Hitchcock and Feminist
Theory London: Methuen, 1988.
Modleski, Tania. ‘Some Functions of Feminist Criticism, or The Scandal of
the Mute Body’, October 49 (1989): 3-24.
Morley, Dave. ‘Texts, Readers, Subjects’. Culture, Media, Language. Eds.
325
Stuart Hall, Dorothy Hobson, Andrew Lowe, Paul Willis. London:
Hutchinson, 1980. 163-173.
Mortimer, Armine Kotin. La Cloture Narrative. Paris: José Corti, 1985.
Mortimer, Claire. Romantic Comedy. London: Routledge, 2010.
Mortola, Peter. ‘Narrative Formation and Gestalt Closure: Helping Clients
Make Sense of “Disequilibrium” Through Stories in the Therapeutic Setting’,
Gestalt Review, 3.4 (1999): 308–320.
Muller, Kathrin. ‘Formulas and Formulaic Pictures: Elements of Oral
Literature in the Thousand and One Nights’. The Arabian Nights and
Orientalism: Perspectives From East & West. Eds. Yuriko Yamanaka &
Tetsuo Nishio. London: I. B. Tauris, 2006.
Mulvey, Laura. ‘Visual Pleasure and Narrative Cinema’, Screen 16.3 (1975):
6-18
Mulvey, Laura. ‘Notes on Sirk and Melodrama’, Movie 25 (1977/78): 53-6.
Mulvey, Laura. ‘Afterthoughts on “Visual Pleasure and Narrative Cinema”
Inspired by King Vidor’s Duel in the Sun [1946]’, Visual and Other
Pleasures, London: Palgrave Macmillan, 1989. 31-40.
Mulvey, Laura. ‘All That Heaven Allows’. 2001. Criterion Collection
http://www.criterion.com/current/posts/96-all-that-heaven-allows. Accessed
January, 2010.
Murdoch, Iris. ‘Against Dryness’. The Novel Today. Ed. Malcolm Bradbury.
London: Fontana/Collins, 1977.
Musser, Charles. ‘Divorce, DeMille, and the Comedy of Remarriage.
Classical Hollywood Comedy. Eds. Kristine Brunovska Karnick and Henry
Jenkins. New York: Routledge, 1995. 282-313.
Nash, Cristopher. The Unravelling of the Postmodern Mind. Edinburgh:
Edinburgh University Press, 2001.
Natharius, David. ‘Gender Equity Stereotypes or Prescriptions? Subtexts of
the Stairway Scenes in the Romantic Films of Helen Hunt’. Critical Thinking
About Sex, Love & Romance in the Mass Media. Ed. Galcian, Mary-Lou,
Debra L. Merskin. Mahwah: Lawrence Erlbaum Associates, 2007: 177-187.
Neale, Steve. ‘Melodrama and Tears’, Screen 27. 6 (1986): 6-23.
Neale, Steve, Frank Krutnik. Popular Film and Television Comedy. London:
Routledge, 1990.
Neale, Steve. ‘The Big Romance or Something Wild? Romantic Comedy
326
Today, Screen 33.3 (1992): 284-299.
Neale, Steve. Genre and Hollywood. London: Routledge, 2000.
Neupert, Richard. The End: Narration and Closure in the Cinema. Detroit:
Wayne State University Press, 1995.
Nochimson, Martha P. No End to Her: Soap Opera and the Female Subject,
Los Angeles: University of California Press, 1992.
Nochimson, Martha P. Screen Couple Chemistry: The Power of 2. Austin:
University of Texas Press, 2002.
Nowell-Smith, Geoffrey. ‘Minnelli and Melodrama’, Screen 18.2 (1977): 113118.
Nünning, Vera. ‘Beyond Indifference: New departures in British Fiction at the
Turn of the 21st Century’. Beyond Postmodernism: Reassessments in
Literature, Theory, and Culture. Ed. Klaus Stierstorfer. Berlin: Walter de
Gruyter, 2003. 235-254
Orr, Christopher. ‘Closure and Containment: Marylee Hadley in Written on
the Wind’. Imitations of Life: a Reader on Film & Television Melodrama. Ed.
Marcia Landy. Detroit: Wayne State University Press, 1991. 380-387.
Oudart, Jean-Pierre. ‘L’idéologie moderniste dans quelques films récents: Un
Discours en Défaut’, Cahiers du Cinéma 232 (1971): 4-12.
Pardos, Manuela Ruiz. ‘“Not Quite the End”: The Boundaries of Narrative
Closure in Hollywood Romantic Comedy’. Happy Endings and Films. Eds.
Armelle Parey, Isabelle Roblin & Dominque Sipière. Paris: Michel Houdiard,
2010. 113-123.
Parey, Armelle, Isabelle Roblin & Dominque Sipière (eds.). Happy Endings
and Films. Paris: Michel Houdiard, 2010.
Pearce, Lynne. ‘Popular Romance and its Readers’. A Companion to
Romance: From Classical to Contemporary. Ed. Corrine Saunders. Oxford:
Blackwell Publishing, 2004. 521-538.
Penley, Constance. Feminism and Film Theory. London: BFI Publishing,
1988.
Perez, Gilberto. The Material Ghost: Films and Their Medium. London: John
Hopkins University Press, 1998.
Perkins, V. F. ‘Hawks’ Comedies’. The Movie Reader. Ed. Ian Cameron,
London: November Books, 1972. 57-8.
327
Perkins, V. F. ‘Must We Say What They Mean?: Film Criticism and
Interpretation’. Movie 34 (Winter, 1990): 1-6.
Perkins, V. F. Film as Film: Understanding and Judging Movies (Second
edition), New York: Da Capo Press, 1993.
Perkins, V. F. The Magnificent Ambersons. London: BFI Publishing, 1999.
Pi Lara, Maria. Moral Textures: Feminist Narratives in the Public Sphere.
Berkely: University of California Press, 1988.
Pinedo, Isabel Cristina. Recreational Terror: Women and the Pleasures of
Horror Film Viewing. Albany: State University of New York Press, 1997.
Pirolini, Alessandro. The Cinema of Preston Sturges: A Critical Study.
Jefferson: McFarland & Company, 2010.
Plantinga, Carl. ‘Movie Pleasures and the Spectator’s Experience: Toward a
Cognitive Approach, Film and Philosophy, Vol. 2 (1994): 3-19.
Plantinga, Carl. ‘Spectator Emotion and Ideological Film Criticism’. The
Philosophy of Film: Introductory Texts and Readings. Eds. Thomas E.
Wartenberg, Angela Curran. Oxford: Blackwell Publishing, 2005. 148-159.
Plantinga, Carl. Moving Viewers: American Film and the Spectator’s
Experience. Los Angeles: University of California Press, 2009.
Poe, Edgar Allan. The New Short Story Theories. Athens: Ohio University
Press, 1994
Polan, Dana. ‘The Felicity of Ideology: Speech-acts and the Happy Ending in
American Films of the 1940s’, Iris 3.1 (1985): 35-45.
Polan, Dana. ‘The Light Side of Genius: Hitchcock’s Mr. and Mrs. Smith in
the Screwball Tradition’. Comedy/Cinema/Theory. Ed. Andrew S. Horton.
Oxford: University of California Press, 1991. 131-52.
Pollock, Griselda. ‘Dossier on Melodrama: Report on the Weekend School’,
Screen 18.2 (1977): 105-113.
Preis, Eran. ‘Not Such a Happy Ending: the Ideology of the Open Ending’,
Journal of Film and Video 42.3 (1990): 18-23.
Preston, Catherine L. ‘Hanging on a Star: the Resurrection of the Romance
Film in the 1990s’. Film Genre 2000: New Critical Essays. Ed. Wheeler W.
Dixon. 2000. 227-244.
Pye, Douglas. ‘Genre and Movies’. Movie 20 (1975): 29-43.
Pye, Douglas. ‘Movies and Point of View’. Movie 36 (2000): 2-34
328
Pye, Douglas. ‘Movies and Tone’. Close-Up 02. Eds. John Gibbs, Douglas
Pye. London: Wallflower Press, 2007. 1-80.
Quart, Alissa. ‘Networked’, Film Comment 41. 4 (2005): 48–5.
Radway, Janice. Reading the Romance: Women, Patriarchy and Popular
Literature, University of North Carolina Press, 1991.
Rausch, Andrew J. Fifty Filmmakers: Conversations with Directors from
Roger Avary to Steven Zaillian, North Carolina: McFarland & Company,
2008.
Ray, Robert B. A Certain Tendency of the Hollywood Cinema, 1930-1980.
New Jersey: Princeton University Press, 1985.
Raymond, Claire. The Posthumous Voice in Women’s Writing From Mary
Shelley to Sylvia Plath, Aldershot: Ashgate Publishing, 2006.
‘Regain Your Dating Optimist!’, Match.com
www.match.com/magazine/article0.aspx?articleid=11590. Accessed: January,
2010.
Redman, Jessica H.E. ‘The American Happy Family That Never Was:
Ambivalence in the Hollywood Family Melodrama’. European Journal of
American Culture 22.1 (2003): 49-69.
Reising, Russell. Loose Ends: Closure and Crisis in the American Social Text,
London: Duke University Press, 1996.
Ricoeur, Paul. Time and Narrative Vol. 2. Trans. Kathleen MacLaughlin &
David Pellauer. Chicago: University of Chicago Press, 1984.
Rich, Adrienne. ‘Compulsory Heterosexuality and Lesbian Existence’. The
Lesbian and Gay Studies Reader. Eds. Henry Abelove, Michèle Aina Barale
and David M Halperin. London: Routledge, 1993. 227-54.
Richardson, Samuel. Clarissa. London: Harrison and Co., 1784.
Rickman, Gregg. ‘Philip K. Dick on Blade Runner: “They Did Sight
Simulation on my Brain”’. Retrofitting Blade Runner: Issues in Ridley Scott’s
Blade Runner and Philip K. Dick’s Do Androids Dream of Electric Sheep. Ed.
Judith B. Kerman. Madison: University of Wisconsin Press, 1997.
Rios, Diana I., Xae Alicia Reyes. ‘Jennifer Lopez and a Hollywood Latina
Romance Film: Mythic Motifs in Maid in Manhattan’. Critical Thinking
About Sex, Love & Romance in the Mass Media. Ed. Galcian, Mary-Lou,
Debra L. Merskin. Mahwah: Lawrence Erlbaum Associates, 2007. 107-120.
Rodowick, David N. ‘Madness, Authority and Ideology in the Domestic
329
Melodrama of the 1950s. Home is Where the Heart is: Studies in Melodrama
and the Woman’s Film. Ed. Christine Gledhill. London: BFI Publishing, 1987.
237-247.
Roffman, Peter & Jim Purdy. The Social Problem Film: Madness, Despair
and Politics From the Depression to the Fifties. Bloomington: Indiana
University Press, 1981.
Rohdie, Sam. ‘Editorial’. Screen 12.2 (1971): 4-6.
Roiphe, Katie. ‘Why We All Want a Happy Ending’. 2001. The Guardian
http://www.guardian.co.uk/world/2001/mar/27/gender.uk. Accessed: January,
2010.
‘Rom Coms Spoil Your Love Life’. BBC. 2008.
http://news.bbc.co.uk/1/hi/scotland/edinburgh_and_east/7784366.stm
Accessed: February, 2009.
Rowe, Allen, Paul Wells. ‘Film Form & Narrative’. An Introduction to Film
Studies (Third Edition). Ed. Jill Nelmes. London: Routledge, 2003. 54-90.
Rowe, Kathleen. The Unruly Woman: Gender and the Genres of Laughter.
Austin: University of Texas Press, 1995.
Rowe, Kathleen. ‘Comedy, Melodrama and Gender: Theorizing the Genres of
Laughter’. Eds. Kristine Brunovska Karnick and Henry Jenkins. New York:
Routledge, 1995 b. 39-59.
Russell, Catherine. Narrative Mortality: Death, Closure, and New Wave
Cinemas, Minneapolis: University of Minnesota Press, 1995.
Russo, Vito. The Celluloid Closet: Homosexuality in the Movies. New York:
Harper & Row, 1981.
Ryan, Christopher, Cacilda Jetha. Sex at Dawn: The Prehistoric Origins of
Modern Sexuality, New York: Harper Publishing, 2010.
Sarris, Andrew. ‘The Graduate: Better Than the Book! (There Was a Book?
Who Knew?)’. 1967. Village Voice (Online)
http://blogs.villagevoice.com/runninscared/2010/04/the_graduate_be.php.
Accessed: March, 2009.
Sarris, Andrew. ‘The Sex Comedy Without Sex’. American Film 3.5 (1978):
8-15.
Sarris, Andrew. You Ain’t Heard Nothin’ Yet: The American Talking Film –
History and Memory, 1927-1949. Oxford: Oxford University Press, 1998.
330
Saunders, Corrine. ‘Epilogue: Into the Twenty-First Century’. A Companion
to Romance: From Classical to Contemporary. Ed. Corrine Saunders. Oxford:
Blackwell Publishing, 2004. 539-541.
Saussure, Ferdinand de. Course in General Linguistics. Eds. Charles Bally
and Albert Sechehaye. Trans. Roy Harris. La Salle, Illinois: Open Court,
1983.
Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking, and the Studio
System. New York: Random House, 1981.
Schatz, Thomas. Old Hollywood / New Hollywood: Ritual, Art, and Industry.
Ann Arbor: UMI Research Press, 1983.
Schatz, Thomas. The Genius of the System, New York: Pantheon Books,
1988.
Schatz, Thomas. ‘The Family Melodrama’. Imitations of Life: A Reader on
Film and Television Melodrama. Ed. Marcia Landy. Detroit: Wayne State
University Press, 1991. 148-167.
Scholes, Robert, Robert Kellogg. The Nature of Narrative, New York: Oxford
University Press, 1966.
Schneider, Steven Jay. ‘Suck... don’t suck’: Framing Ideology in Kathryn
Bigelow’s Near Dark’. The Cinema of Kathryn Bigelow: Hollywood
Transgressor. Eds. Deborah Jermyn, Sean Redmond. London: Wallflower
Press, 2003. 72-91
Sconce, Jeffrey. ‘Indecipherable Films: Teaching Gummo’, Cinema Journal
47.1 (2007): 112-115
Scott, A. O. ‘Charlie Kaufman’s Critique of Pure Comedy’, New York Times.
2004. http://www.nytimes.com/2004/04/04/arts/film-charlie-kaufman-scritique-of-pure-comedy.html?pagewanted=2, Accessed: March, 2007.
Seiter, Ellen. ‘Men, Sex, and Money in Recent Family Melodramas’.
Imitations of Life: A Reader on Film and Television Melodrama. Ed.
Marcia Landy. Detroit: Wayne State University Press, 1991. 525-538.
Shakespeare, William. The Oxford Shakespeare, the Complete Works, second
edition. Eds. Stanley W. Wells, Gary Taylor. Oxford: Clarendon Press, 2005.
Shapiro, Paul. ‘Somewhere Over the Rainbow Dorothy Got Totaled:
Postmodernity and Modern Film’. Postmodern Representations: Truth,
Power, and Mimesis in the Human Sciences and Public Culture. Ed. Richard
Harvey Brown. Chicago: University of Illinois Press, 1995. 197-215.
Sharrett, Christopher. ‘Home from the Hill, Minnelli and the Crisis of PostWar Patriarchy,’ Film International 5.5 (2007): 54-62.
331
Sharrett, Christopher. ‘Douglas Sirk’s There’s Always Tomorrow’. 2010.
Cineaste, http://www.cineaste.com/articles/douglas-sirks-emtheres-alwaystomorrowem-web-eclusive Accessed: January, 2010.
Shaw, George Bernard. Pygmalion. Harmondsworth: Penguin, 1958.
Shumway, David R. ‘Screwball Comedies: Constructing Romance,
Mystifying Marriage’, Cinema Journal 30.4 (1991): 7-23.
Shumway, David R. Modern Love: Romance, Intimacy and the Marriage
Crisis, London: New York University Press, 2003.
Silbergleid, Robin. ‘Women, Utopia, and Narrative: Toward a Postmodern
Feminist Citizenship’, Hypatia 12.4 (1997): 156–177.
Sikov, Ed. Screwball: Hollywood’s Madcap Romantic Comedies, New York:
Crown Publishers, 1989.
Singer, Irving. The Nature of Love, Volume 3: The Modern World, Chicago:
University of Chicago Press, 1987.
Sloan, Kay. ‘A Cinema in Search of Itself: Ideology of the Social Problem
Film During the Silent Era’. Cineaste 14.2 (1985): 34-56.
Slocum, J. David, ‘Cinema and the Civilizing Process: Rethinking Violence in
the World War II Combat Film’, Cinema Journal 44.3 (2005): 35-63.
Smith, Barbara Herrnstein. Poetic Closure, University of Chicago Press:
Chicago, 1968.
Smith, Murray. Engaging Characters. Oxford: Clarendon Press, 1995.
Smith, Murray. ‘(Dis)engaging Characters: a Response to Lynne Pearce’s
Review’, Screen 40.3 (1999): 358-362.
Smith, Robert E. ‘Love Affairs That Always Fade’. 1977. Bright Lights.
http://www.brightlightsfilm.com/48/sirkloveaffairs.htm. Accessed: December,
2009.
Sontag, Susan. ‘Notes on Camp’. Against Interpretation (Second Edition).
New York: Dell Publishing, 1969. 277-293.
Springer, Claudia. ‘Black Female Filmmakers’. 1984. Jump Cut,
http://www.ejumpcut.org/archive/onlinessays/JC29folder/BlackWomenFilmkr
s.html. Accessed: March, 2008.
Stacey, Jackie. ‘“If You Don’t Play You Can’t Win”: Desert Hearts and the
Lesbian Romance Film’. Immortal, Invisible: Lesbians and the Moving
Image. Ed. Tamsin Wilton, London: Routledge, 1995. 92-114.
332
Staiger, Janet. Perverse Spectators: The Practices of Film Reception. London:
New York University Press, 2000.
Stam, Robert, Robert Burgoyne & Sandy Flitterman-Lewis. New
Vocabularies in Film Semiotics: Structuralism, Post-Structuralism and
Beyond. London: Routledge, 2002.
Stern, Michael. ‘Two Weeks in Another Town: An Interview with Douglas
Sirk’. 1977. Bright Lights Film Journal,
http://www.brightlightsfilm.com/48/sirkinterview.php Accessed: August,
2009.
Stern, Michael. Douglas Sirk. Boston: Twayne Publishers, 1979.
Sterrit, David. The Films of Alfred Hitchcock New York: Cambridge
University Press, 1993.
Stilwell, Robynn J. ‘Music, Ritual, and Genre in Edward Burns’s Indie
Romantic Comedies’. Falling in Love Again: Romantic Comedy in
Contemporary Cinema. Ed. Deborah Jermyn and Stacey Abbott. London: I.
B. Tauris, 2008. 25-37.
Straumann, Barbara. Figurations of Exile in Hitchcock and Nabokov.
Edinburgh: Edinburgh University Press, 2008.
Strinati, Dominic. An Introduction to Studying Popular Culture, London,
Routledge: London, 2000.
‘Study: Romantic Comedies Can Ruin Your Life’. Fox News. 2008.
http://www.foxnews.com/story/0,2933,468868,00.html. Accessed: Jan, 2009.
Sutton, Paul. ‘Après le Coup de Foudre: Narrative, Love and Spectatorship in
Groundhog Day’. Falling in Love Again: Romantic Comedy in Contemporary
Cinema. Eds. Stacey Abbott and Deborah Jermyn. London: I. B. Tauris, 2009.
38-51.
Swidler, Anne. Talk of Love: How Culture Matters, London: University of
Chicago Press, 2003.
Tallis, Raymond. In Defence of Realism, Nebraska: University of Nebraska
Press, 1988.
Tally, Margaret. ‘Something’s Gotta Give: Hollywood, Female Sexuality and
the “Older Bird” Chick Flick’. Chick Flicks: Contemporary Women at the
Movies. Eds. Suzanne Ferriss and Mallory Young, Routledge: London, 2007.
119-131.
Tambling, Jeremy. Narrative and Ideology. Milton Keynes: Open University
Press, 1991.
333
Tanner, Tony. Adultery in the Novel: Contract and Transgression, Baltimore:
Johns Hopkins University Press, 1979.
Tasker, Yyvonne. ‘Having it all: Feminism and the Pleasures of the Popular’.
Off-Centre: Feminism and Cultural Studies. Eds. Sarah Franklin, Celia Lury,
Jackie Stacey. London: Harper Collins, 85-96.
Tauchert, Ashley. Romancing Jane Austen: Narrative, Realism, and the
Possibility of a Happy Ending, New York: Palgrave MacMillan, 2005.
Taylor, Helen. Scarlett’s Women: Gone With the Wind and its Female Fans.
New York: Rutger’s University Press, 1989.
Tessitore, Aristide. Reading Aristotle’s Ethics: Virtue, Rhetoric, and Political
Philosophy. Albanny: State University of New York Press, 1996.
Thickstun, William R. Visionary Closure in the Modern Novel. Basingstoke:
Macmillan, 1988.
Thomas, Deborah. Beyond Genre: Melodrama, Comedy and Romance in
Hollywood Films. Dumfrieshire: Cameron and Hollis, 2000.
Thompson, Kristin. Breaking the Glass Armor: Neoformalist Film Analysis
New Jersey: Princeton University Press, 1988.
Thomson, David. ‘The Decade When Movies Mattered’. The Last Great
American Picture Show: New Hollywood Cinema in the 1970s. Thomas
Elsaesser, Alexander Horwath, & Noel King. Amsterdam: Amsterdam
University Press, 2004. 73-82.
Toles, George. A House Made of Light: Essays on the Art of Film, Detroit:
Wayne State University Press, 2001.
Torgovnick, Mariana. 1980. Closure in the Novel, New Jersey: Princeton
University Press.
Trahair, Lisa. The Comedy of Philosophy: Sense and Nonsense in Early
Cinematic Slapstick. Albanny: State University of New York Press, 2007.
Tudor, Andrew. ‘The Many Mythologies of Realism’, Screen 13.1 (1972): 2736.
Tuhkunen, Taina. ‘The Pursuit of Happiness in Contemporary American
RomComs: Ending in Bliss in Rob Reiner’s When Harry Met Sally (1989) and
Nancy Meyers’s The Holiday (2006)’. Happy Endings and Films. Eds.
Armelle Parey, Isabelle Roblin & Dominque Sipière. Paris: Michel Houdiard,
2010. 124-135.
334
Tunc, Tamfer Emin. ‘Casablanca: the Romance of Propaganda’. 2007. Bright
Lights Film Journal, http://www.brightlightsfilm.com/55/casablanca.php
Accessed: March, 2007.
Twain, Mark. The Works of Mark Twain, vol. 4, Berkley: University of
California Press, 1980.
Twomey, Rebecca. ‘Are You Really Ready For Marriage?’. 2008.
Cosmopolitan,
http://www.cosmopolitan.co.uk/love-&-sex/love-and-relationship-advice-areyou-really-ready-for-marriage/v1. Accessed: June, 2010.
Parker, Tyler. The Hollywood Hallucination. New York: Simon & Schuster,
1970.
Umphlett, Wiley Lee. From Television to the Internet: Postmodern Visions of
American Media Culture in the Twentieth Century. Cranbury: Rosemont
Publishing, 2006.
Updike, John. ‘More Love in the Western World’. Assorted Prose. New York:
Knopf, 1965.
Vaughn, Stephen. ‘Morality and Entertainment: The Origins of the Motion
Picture Production Code. Journal of American History 77.1 (1990): 39-65
Veronesi, Micaela. La Soglie del Film: Inizio e Fine nel Cinema. Torino:
Kaplan, 2005.
Vineberg, Steve. High Comedy in American Movies: Class and Humor From
the 1920s to the Present. Lanham: Rowman & Littlefield Publishers, 2005.
Walker, Michael. ‘The Rhetoric of an Ending: the Example of Steven
Spielberg’, Conference paper delivered at Beginnings and Endings in Films,
Film and Film Studies, University of Warwick, June 13th, 2008.
Walsh, Andrea S. Women’s Film and Female Experience, 1940-1950. New
York: Praeger Publishers, 1984.
Walters, James. Alternative Worlds in Hollywood Cinema: Resonance
Between Realms. Bristol: Intellect, 2008.
Warhol, Robyn R. Having a Good Cry: Effeminate Feelings and Pop-Culture
Forms, Ohio University Press, 2003.
Wartenberg, Thomas E. Unlikely Couples: Movie Romance as Social
Criticism. Oxford: Westview, 1999.
Waugh, Thomas. ‘Films by Gays for Gays’. 1977. Jump Cut,
http://www.ejumpcut.org/archive/onlinessays/JC16folder/gayFilmsforGays.ht
ml. Accessed: July, 2008.
335
Weeks, Jeffrey. ‘Necessary Fictions: Sexual Identities and the Politics of
Diversity’. Sexualities and Society: A Reader. Eds. Jeffrey Weeks, Janet
Holland & Matthew Waites. Cambridge: Polity Press, 2003. 122-131.
Wells-Lassagne, Shannon, ‘Heritage and Happy Endings: Adapting to
Audience Expectations’. Happy Endings and Films. Eds. Armelle Parey,
Isabelle Roblin & Dominque Sipière. Paris: Michel Houdiard, 2010. 89-100.
Wexmann, Virgina Wright. Creating the Couple: Love, Marriage and
Hollywood Performance. New Jersey: Princeton University Press, 1993.
White, Hayden. ‘The Value of Narrativity’. On Narrative. Ed. W. J. T.
Mitchell. London: University of Chicago Press, 1981. 1-23.
White, R. S. Shakespeare and the Romance Ending. Newcastle: Tyneside Free
Press, 1981.
Wilde, Oscar. The Importance of Being Ernest. Alexandria: Orchises Press,
1990.
Willemen, Paul. ‘Distanciation and Douglas Sirk’, Screen 12.2 (1971): 63-67.
Willemen, Paul. ‘Towards and Analysis of the Sirkian System’, Screen 13.4
(1972/3): 128-133.
Williams, Christopher. ‘After the Classic, the Classical and Ideology: The
Differences of Realism’, Screen 35: 3 (1994): 275-292.
Williams, Linda. ‘“Something Else Besides a Mother”: Stella Dallas and the
Maternal Melodrama’, Cinema Journal 24. 1 (1984): 2-27.
Williams, Linda. ‘Of Kisses and Ellipses: The Long Adolescence of American
Movies’, Critical Enquiry 32.2 (2006): 288-340.
Williams, Raymond, ‘A Lecture on Realism’, Screen 18.1 (1977): 61-74.
Wilson, George M. Narration in Light: Studies in Cinematic Point of View.
London: John Hopkins University Press, 1986.
Wittgenstein, Ludwig. Philosophical Investigations. Oxford: Blackwell, 1953.
Wollen, Peter. ‘Godard and Counter-Cinema: Vent D’Est’. Movies and
Methods Volume II. Ed. Bill Nichols. London: University of California Press,
1985.
Wollen, Peter. Signs and Meaning in the Cinema, Expanded Edition, London:
BFI, 1998.
336
Wood, Robin. Hollywood From Vietnam to Reagan. New York: Columbia
University Press, 1986.
Wood, Robin. ‘Symmetry, Closure, Disruption: The Ambiguity of Blackmail’
in Cineaction! 15 (1988/89): 13-25.
Wood, Robin. Hitchcock’s Films Revisited. New York: Columbia University
Press,
1989.
Wood, Robin. Sexual Politics and Narrative Film, Hollywood and Beyond.
New York: Columbia University Press, 1998.
Wood, Robin. Personal Views: Explorations in Film (Revised Edition),
Detroit: Wayne State University Press, 2006.
Wood, Robin. ‘Ideology, Genre, Auteur’. Film Genre Reader III. Ed. Barry
Keith Grant. Austin: University of Texas Press, 2003. 60-74.
Wood, Robin. Howard Hawks (New Edition), Detroit: Wayne State
University Press, 2006 b.
Wrathall, John. Review: Before Sunrise, Sight & Sound, April (1995): 39.
Yeager, Patricia. Honey-Mad Women: Emancipatory Strategies in Women’s
Writing. New York: Columbia University Press, 1988.
Yeazell, Ruth. ‘Fictional Heroines and Feminist Critics’, NOVEL: A Forum
on Fiction 8. 1 (1974): 29-38.
Žižek, Slavoj. ‘Alfred Hitchcock, or the Form and its Historical Mediation’.
Everything You Always Wanted to Know About Lacan but Were Afraid to Ask
Hitchcock. Ed. Slavoj Žižek. New York: Verso, 1991. 1-14.
Žižek, Slavoj. Enjoy Your Symptom!: Jacques Lacan in Hollywood and
out (Second Edition). London: Routledge, 2001.
Zipes, Jack. Fairy Tales and the Art of Subversion: The Classical Genre for
Children and the Process of Civilization, London: Routledge, 2006.
Zucker, Carole. ‘Review: The End: Narration and Closure in the Cinema,
Film Quarterly 50.2 (1996): 57–58.
337