REFERENCES
- Acland, Charles. 1994. ‘National Dreams, International Encounters: The Formation of Canadian Film Culture in the 1930s.’ Canadian Journal of Film Studies3 (1): 3–26.
- Ackland, Rodney. 1946. ‘New London Film Society: Annual Report, Year Ended 30 June.’ (Author's Own Collection).
- Ackland, Rodney, and ElspethGrant. 1954. The Celluloid Mistress; or, the Custard Pie of Dr. Caligari. London: Allan Wingate.
- Allen, Robert C., and DouglasGomery. 1985. Film History: Theory and Practice. New York: Knopf.
- Andrew, Dudley. 2010. ‘Time Zones and Jetlag: The Flows and Phases of World Cinema.’ In World Cinemas, Transnational Perspectives, edited by NatašaDurovicová, and KathleenNewman, 59–89. London: Routledge.
- Barr, Mischa. 2009. ‘Sex, Art and Sophistication: The Meanings of ‘Continental’ Cinema.’ Journal of Australian Studies33 (1): 1–18.
- Betz, Mark. 2003. ‘Art, Exploitation, Underground.’ In Defining Cult Movies: The Cultural Politics of Oppositional Taste, edited by MarkJancovich, 202–222. Manchester: University of Manchester Press.
- Birmingham Film Society. 1948. Flashback: A Hundred Shows of the Birmingham Film Society 1931–1948. Birmingham: Journal Printing Office.
- Bolas, Terry. 2009. Screen Education: From Film Appreciation to Media Studies. Bristol: Intellect Books.
- Bordwell, David. 2002. ‘The Art Cinema as a Mode of Film Practice.’ In The European Cinema Reader, edited by CatherineFowler, 94–102. London: Routledge, Originally published in 1979. Film Criticism 4, no 1: 56–64.
- Committee of the Federation of Film Societies. 1961. Forming and Running a Film Society, edited by J. R.Cottrill. rev. by Margaret Hancock. 3rd edLeicester: Federation of Film Societies.
- D.P.1973. ‘Olwen Vaughan: Film Society Pioneer.’ Obituaries, The Times, August 23, 16.
- Drazin, Charles. 1999. ‘Olwen Vaughan and the French Club.’ London Magazine, March, 67–76.
- Dupin, Christophe. 2006. ‘The Postwar Transformation of the British Film Institute and Its Impact on the Development of A National Film Culture in Britain.’ Screen47 (4): 443–451.
- Dyer, Ernest. 1938. ‘What Do They Like?” Sight and Sound7 (26): 78–79.
- Ellis, John. 1996. ‘The Quality Film Adventure: British Critics and the Cinema 1942–1948.’ In Dissolving Views: Key Writings on British Cinema, edited by AndrewHigson. Revised ed., 66–93. London: Cassell.
- Fowler, Roy. 1946. The Film in France. London: Pendulum.
- Fuller-Seeley, Kathryn, ed. 2008. Hollywood in the Neighborhood: Historical Case Studies of Local Moviegoing. Berkeley: University of California Press.
- Gomery, Douglas. 1992. Shared Pleasures: A History of Movie Presentation in the United States. Madison: University of Wisconsin Press.
- Grieveson, Lee, and HaideeWasson, eds. 2008. Inventing Film Studies. Durham, NC: Duke University Press.
- Hackett, Hazel. 1946a. ‘The French Cinema During the Occupation.’ Sight and Sound15 (57): 1–3.
- Hackett, Hazel. 1946b. ‘The French Cinema Since the Liberation.’ Sight and Sound15 (56): 48–52.
- Hagener, Malte. 2007. Moving Forward, Looking Back: The European Avant-Garde and the Invention of Film Culture 1919–1939. Amsterdam: Amsterdam University Press.
- Harris, Elizabeth. 1948. ‘The Function of the Specialized Cinema.’ Penguin Film Review, 6: 80–86.
- Hogenkamp, Bert. 1986. Deadly Parallels: Film and the Left in Britain 1929–1939. London: Lawrence and Wishart.
- Jancovich, Mark, LucyFaire, and SarahStubbings. 2003. The Place of the Audience: Cultural Geographies of Film Consumption. London: British Film Institute.
- Kracauer, Siegfried. 1947. From Caligari to Hitler: A Pychological History of the German Film. Princeton, NJ: Princeton University Press.
- MacDonald, Richard. 2012. ‘The Vanguard of Film Appreciation: The Film Society Movement and Film Culture, 1945–1965.’ In The British Film Institute: The Government and Film Culture 1933–2007, edited by GeoffreyNowell-Smith, and ChristopheDupin, 87–101. Manchester: Manchester University Press.
- Manvell, Roger. 1944. Film. Harmondsworth: Penguin.
- Manvell, Roger. 1946. ‘Marcel Carné.’ Sight and Sound15 (57): 4–6.
- Marcus, Laura. 2007. The Tenth Muse: Writing about Cinema in the Modernist Period. Oxford: Oxford University Press.
- Mazdon, Lucy. 2010. ‘Vulgar, Nasty and French: French Cinema in Britain in the 1950s.’ Journal of British Cinema and Television7 (3): 421–438.
- Munro, Emily. 2006. ‘The Language Problem in European Cinema: Discourses on “Foreign-Language Films” in Criticism, Theory and Practice.’ PhD diss., University of Glasgow.
- N&DFS (Nottingham and District Film Society). 1945–1959., Administrative Records. Held at Nottinghamshire County Archive. File numbers M12, 334–94.
- N&DFS. 1945–1959., Programme Notes and Ephemera. Held at Nottingham Local Studies Collection, Nottingham City Library.
- Novik, William. 1947. ‘Four Years in a Bottle: A Critical Study of French Film Production Under the Occupation.’ Penguin Film Review, 2: 45–53.
- Polan, Dana B.2007. Scenes of Instruction: The Beginnings of the U.S. Study of Film. Berkeley: University of California Press.
- Porter, Vincent. 2010. ‘The Exhibition, Distribution and Reception of French Films in Great Britain During the 1930s.’ In Je t'aime… moi non plus: Franco-British Cinematic Relations, edited by LucyMazdon, and CatherineWheatley, 19–36. New York: Berghahn.
- Rose, Felix. 1937. ‘The Cinema in France 1936.’ Sight and Sound6 (22): 71–74.
- Selfe, Melanie. 2007. ‘‘Doing the Work of the NFT in Nottingham’ – or How to Use the BFI to Beat the Communist Threat in Your Local Film Society.’ Journal of British Cinema and Televsion4 (1): 80–101.
- Selfe, Melanie. 2012. ‘The View from Outside London: The Centre and the Regions 1960–1980.’ In The British Film Institute: The Government and Film Culture 1933–2007, edited by GeoffreyNowell-Smith, and ChristopheDupin, 116–132. Manchester: Manchester University Press.
- Sexton, Jamie. 2008. Alternative Film Culture in Inter-war Britain. Exeter: University of Exeter Press.
- Sight and Sound. 1950. ‘Film Society Notes.’ 19 (6): 263.
- Staiger, Janet. 1992. Interpreting Films: Studies in the Historical Reception of American Cinema. Princeton, NJ: Princeton University Press.
- Street, Sarah. 2002. Transatlantic Crossings: British Feature Films in the USA. New York: Continuum.
- Vedrès, Nicole. 1946. ‘The French Cinema Since 1944.’ Penguin Film Review, 1: 74–79.
- Vedrès, Nicole. 1948. ‘It's Typically French.’ Penguin Film Review, 5: 73–76.
- Waller, Gregory A.1995. Main Street Amusements: Movies and Commercial Entertainment in a Southern City, 1896–1930. Washington, DC: Smithsonian Books.
- Wasson, Haidee. 2005. Museum Movies: the Museum of Modern Art and the Birth of Art Cinema. Los Angeles: University of California Press.
- Wilinsky, Barbara. 2001. Sure Seaters: The Emergence of Art House Cinema. Minneapolis: University of Minnesota Press.
- Wimmer, Leila. 2009. Cross-channel Perspectives: The French Reception of British Cinema. Oxford: Peter Berg.