MANUAL PARA EL USO Y APLICACIÓN DEL PROGRAMA DE ASISTENCIA A VÍCTIMAS

Allen, Michael. Contemporary U.S. Cinema.London: Longman, 2003.

American Graffiti. Dir. George Lucas. Universal Pictures, 1974.

An American in Paris. Dir. Vincente Minnelli. Metro Goldwyn Mayer, 1951.

Around the World in Eighty Days. Dir. Michael Anderson. United Artists, 1956.

Badlands. Dir. Terrence Malick. Warner Bros Pictures, 1973.

Balio, Tino. “Introduction to Part II.” Hollywood in the Age of Television. Ed. Tino Balio. Boston: Unwin Hyman, 1990. 259-60.

---. “A Mature Oligopoly, 1930-1948.” The American Film Industry.Ed. Tino Balio. Madison: University of Winsconsin Press, 1985. 253-84.

Battleground. Dir. William A. Wellman. Metro Goldwyn Mayer, 1949.

Battleship Potemkin (Or. titl. Bronenosets Potyomkin). Dir. Sergei Eisenstein. Goskino, 1925.

Bazin, André. “The Evolution of the Language of Cinema.” What Is Cinema, Vol. I & II.Trans. Hugh Gray. Berkeley: University of California Press, 1951-1967. 28-31.

Ben Hur. Dir. William Wyler. Metro Goldwyn Mayer, 1959.

Berman, Marshall. “Jacket Review of J. Hoberman’s The Dream Life: Movies, Media and the Mythology of the Sixties.” New York: The New Press, 2003. n. p.

Bernardoni, James. The New Hollywood: What the Movies Did with the Freedoms of the Seventies.Jefferson: McFarland, 1991.

The Best Years of Our Lives. Dir. William Wyler. RKO Radio Pictures, 1946.

The Bicycle Thief. (Or. titl.Ladri di biaclette). Dir. Vittorio de Sica. ENIC, 1948.

Billy Jack. Dir. Tom Laughlin. Warner Bros Pictures, 1971.

The Birth of a Nation. Dir. David W. Griffith. Epoch Producing Corporation, 1915. Biskind, Peter. Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock ’n Roll

Generation Saved Hollywood.New York: Simon and Schuster, 1998.

Bob & Carol & Ted & Alice. Dir. Paul Mazursky. Columbia Pictures, 1969.

Bonnie and Clyde. Dir. Arthur Penn. Warner Bros/Seven Arts, 1967.

Bordwell, David, Janet Staiger, and Kristin Thompson, eds. The Classical Hollywood Cinema: Film Style and the Mode of Production to 1960. London: Routledge, 1985.

Breathless (Or. titl. A bout de souffle). Dir. Jean-Luc Godard. Les films Imperia, 1960.

The Bridge on the River Kwai. Dir. David Lean. Columpia Pictures, 1957.

Butch Cassidy and the Sundance Kid. Dir. George Roy Hill. Twentieth Century-Fox Film Corporation, 1969.

The Caine Mutiny. Dir. Edward Dmytryk. Columbia Pictures, 1954.

Carnal Knowledge. Dir. Mike Nichols. Avco Embassy Pictures, 1971.

Casablanca. Dir. Michael Curtiz. Warner Bros. Pictures, 1942.

Citizen Kane. Dir. Orson Welles. RKO Radio Pictures, 1941.

Cleopatra. Dir. Joseph L. Mankiewicz. Twentieth Century-Fox Film Corporation, 1963.

A Cloakwork Orange. Dir. Stanley Kubrick. Warner Bros Pictures, 1971.

Cook, David. Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979.New York: Scribner’s, 2000.

Corrigan, Timothy. A Cinema Without Walls: Movies and Culture After Vietnam. London: Routledge, 1991.

Deliverance. Dir. John Boorman. Warner Bros Pictures, 1972.

The Dirty Dozen. Dir. Robert Aldrich. Metro Goldwyn Mayer, 1967.

Dog Day Afternoon. Dir. Sidney Lumet. Warner Bros Pictures, 1975.

Dr. Dolittle. Dir. Richard Fleischer. Twentieth Century-Fox Film Corporation, 1967.

Dr. Zhivago. Dir. David Lean. Metro Goldwyn Mayer, 1965.

Duel in the Sun. Dir. King Vidor. Selznick Releasing Organization, 1946.

Easy Rider. Dir. Dennis Hopper. Columbia Pictures, 1969.

Easter Parade. Dir. Charles Walters. Metro Goldwyn Mayer, 1948.

Elsaesser, Thomas, Alexander Horwarth, and Noel King, eds. The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Amsterdam: Amsterdam University Press, 2004.

Elsaesser, Thomas. “The Pathos of Failure: American Films in the 1970s: Notes on the Unmotivated Hero.” The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Eds. Thomas Elsaesser, Alexander Horwath, and Noel King. Amsterdam: Amsterdam University Press, 2004. 279-92.

---. “American Auteur Cinema: The Last—or First—Picture Show?” The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Eds. Thomas Elsaesser, Alexander Horwath, and Noel King. Amsterdam: Amsterdam University Press, 2004. 37-69.

The Excorcist. Dir. William Friedkin. Warner Bros Pictures, 1973.

The French Connection. Dir. William Friedkin. Twentieth Century-Fox Film Corporation, 1971.

The Getaway. Dir. Sam Peckinpah. National General Pictures, 1972.

Gilbey, Ryan. It Don’t Worry Me: Nashville, Jaws, Star Wars and Beyond.London: Faber and Faber, 2003.

Goldfinger. Dir. Guy Hamilton. United Artists Corporation, 1964.

Gomery, Douglas. “The American Film Industry of the 1970s: Stasis in the ‘New Hollywood.’ ” Wide Angle5. 4 (1983): 52-59.

---.The Hollywood Studio System. Basingstoke: McMillan, 1986. ---.Movie History: A Survey. Belmont, California: Wadsworth, 1991.

Gone with the Wind. Dir. Victor Fleming. Lowes’/Metro Goldwyn Mayer, 1939.

The Godfather, I. Dir. Francis Ford Coppola. Paramount Pictures, 1972.

The Godfather, II. Dir. Francis Ford Coppola. Paramount Pictures, 1974.

The Graduate.Dir. Mike Nichols. Embassy Pictures Corporation, 1967.

The Grapes of Wrath. Dir. John Ford. Twentieth Century-Fox Film Corporation, 1940.

GuessWho Is Coming to Dinner. Dir. Stanley Kramer. Columbia Pictures, 1967. Haines, Richard W. The Moviegoing Experience, 1968-2001. Jefferson: McFarland,

2003.

Hello Dolly. Dir. Gene Kelly. Twentieth Century-Fox Film Corporation, 1969. Hilmes, Michelle. Hollywood and Broadcasting: From Radio to Cable. Urbana:

University of Illinois Press, 1990.

Hoberman, J. The Dream Life: Movies, Media, and the Mythology of the Sixties.New York: New Press, 2003.

Horwath, Alexander. “A Walking Contradiction (Partly Truth and Partly Fiction).” The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Eds. Thomas Elsaesser, Alexander Horwath, and Noel King. Amsterdam: Amsterdam University Press, 2004. 83-105.

How to Marry a Millionaire. Dir. Jean Negulesco. Twentieth Century-Fox Film Corporation, 1953.

I Was a Male War Bride. Dir. Howard Hawks. Twentieth Century-Fox Film Corporation, 1949.

Jacobs, Diane. Hollywood Renaissance. South Brunswick: Barnes, 1977.

Johnny Guitar. Dir. Nicholas Ray. Republic Pictures I, 1954.

Jolson Sings Again.Dir. Henry Levin. Columbia Pictures, 1949.

Jules et Jim. Dir. François Truffaut. Cinedis, 1962.

Kael, Pauline. I Lost It at the Movies.Boston: Little Brown, 1965.

Kanfer, Stefan. “The Shock of Freedom in Films.” The Movies: An American Idiom.Ed. Arthur F. McClure. 1967. Rutherford: Farleigh Dickinson University Press, 1971. 322-33.

King, Geoff. New Hollywood Cinema: An Introduction.London: I. B. Tauris, 2002. King, Noel. “ ‘The Last Good Time We Ever Had’: Remembering the New Hollywood

Cinema.” The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Eds. Thomas Elsaesser, Alexander Horwath, and Noel King. Amsterdam: Amsterdam University Press, 2004. 18-36.

Kokler, Robert. A Cinema of Loneliness: Penn, Kubrick, Copolla, Scorsese, Altman.

Krämer, Peter. The New Hollywood: From Bonnie and Clyde to Star Wars.London and New York: Wallflower Press, 2005.

The Last Picture Show. Dir. Peter Bogdanovich. Columbia Pictures, 1971.

Lehman, Peter, Gen. Ed.The New Hollywood. Spec. issue of Wide Angle5. 4 (1983): 2-86.

Lev, Peter. American Films of the 70s: Conflicting Visions.Austin: University of Texas Press, 2000.

Lewis, Jon, ed. The New American Cinema.Durham: Duke University Press, 1998.

Little Big Man. Dir. Arthur Penn. National General Pictures, 1970.

The Long Goodbye. Dir. Robert Altman. United Artists, 1973. Madsen, Axel. The New Hollywood.New York: Crowell, 1975.

Maltby, Richard. “ ‘Nobody knows everything’: post-classical historiographies and consolidated entertainment.” Neale and Smith. 21-45.

Mary Poppins. Dir. Robert Stevenson. Buena Vista Distribution Company, 1964.

M*A*S*H.Dir. Robert Altman. Twentieth Century-Fox Film Corporation, 1970.

McCabe and Mrs. Miller. Dir. Robert Altman. Warner Bros. Pictures, 1971.

McDonagh, Maitland. “The Exploitation Generation. Or: How Marginal Movies Came in from the Cold.” The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Eds. Thomas Elsaesser, Alexander Horwath, and Noel King. Amsterdam: Amsterdam University Press, 2004. 107-30.

Midnight Cowboy.Dir. John Schlesinger. United Artists, 1969.

Miller, Stephen Paul. The Seventies Now: Culture as Surveillance. Durham: Duke University Press, 1999.

Monaco, James. How to Read a Film. Oxford: Oxford University Press, 1981.

My Fair Lady.Dir. George Cukor. Warner Bros. Pictures, 1964.

Nashville. Dir. Robert Altman. Paramount Pictures, 1975.

Monaco, Paul. The Sixties, 1960-1969.New York: Scribner’s, 2001.

Neale, Steve, and Murray Smith, eds. Contemporary Hollywood Cinema. London: Routledge, 1998.

On the Warterfront. Dir. Elia Kazan. Columbia Pictures, 1954.

Open City (Or. titl.Roma, città aperta). Dir. Roberto Rosselini. Minerva Film SpA, 1945.

The Owl and the Pussycat. Dir. Herbert Ross. Columbia Pictures, 1970.

Paisà.Dir. Roberto Rossellini. Organizzazione Film Internazionali, 1975.

Play It Again Sam. Dir. Herbert Ross. Paramount Pictures, 1972.

Rancho Notorious. Dir. Fritz Lang. RKO Radio Pictures, 1952.

Ray, Robert. A Certain Tendency of the Hollywood Cinema, 1930-1980.Princeton, NJ: Princeton University Press, 1985.

The Robe.Dir. Henry Koster. Twentieth Century-Fox Film Corporation, 1953. Ryan, Michael, and Douglas Kellner, eds. Camera Politica: The Politics and Ideology

of Contemporary Hollywood Film.Bloomington: Indiana University Press, 1998.

Sampson and Delilah. Dir. Cecil B. DeMille. Paramount Pictures, 1949.

Sands of Iwo-Jima. Dir. Allan Dwan. Republic Pictures I, 1949.

Sarris, Andrew. “The Future of Film: A Symposium.” Film 67/68. Eds. Richard Schickel and John Simon. New York: Simon and Schuster, 1968. 282-305. Schatz, Thomas. “The New Hollywood.” Film Theory Goes to the Movies. Eds. Jim

Schickel, Richard, and John Simon, eds. Film 67/68.New York: Simon and Schuster, 1968.

Seldes, Gilbert. The Great Audience. New York: Viking, 1950.

Shane.Dir.George Stevens. Paramount Pictures, 1953.

Shoeshine (Or. titl. Sciuscià). Dir. Vittorio de Sica. Societa Cooperativa Alfa Cinematografica, 1946.

Shoot the Piano Player (Or. titl. Tirez sur le pianiste). Dir. François Truffaut. Cocinor, 1960.

Smith, Murray. “Theses on the Philosophy of Hollywood Cinema.” Contemporary Hollywood Cinema.Eds. Steve Neale and Murray Smith. London: Routledge, 1998. 3-20.

Snow White and the Seven Dwarfs.Dir. David Hand. RKO Radio Pictures, 1937.

The Sound of Music.Dir. Robert Wise. Twentieth Century-Fox Film Corporation, 1965.

South Pacific. Dir. Joshua Logan. 20th Century Fox, 1958.

Stempel. Tom. American Audiences on Movies and Moviegoing. Lexington: University of Kentucky Press, 2001.

Star!Dir. Robert Wise. Twentieth Century-Fox Film Corporation, 1968.

Sting, The. Dir. George Roy HU1. Universal Pictures, 1974.

Storper, Michael. “The Transition to Flexible Specialization in the U.S. Film Industry: External Economies, the Division of Labour and the Crossing of Individual Divides.” Post-Fordism: A Reader.Ed. Ash Amin. Oxford: Blackwell, 1994. 195-226.

Straw Dogs. Dir. Sam Peckinpah. Cinerama Releasing Corporation, 1971.

The Sugarland Express. Dir. Steven Spielberg. Universal Pictures, 1974.

Sunset Boulevard. Dir. Billy Wilder. Paramount Pictures, 1950.

Taxi Driver.Dir. Martin Scorsese. Columbia Pictures, 1976.

The Ten Commandments. Dir. Cecil B. DeMille. Paramount Pictures, 1956.

The Third Man. Dir. Carol Reed. British Lion Film Corporation, 1949.

Thunderball. Dir. Terence Young. United Artists Corporation, 1965.

The Trip. Dir. Roger Corman. American International Pictures, 1967.

Two-Lane Blacktop. Dir. Monte Hellman. Universal Pictures, 1971.

Welles, Orson. “But Where Are We Going?” Look(November 3, 1970): 32-35.

West Side Story. Dir. Jerome Robbins, Robert Wise. United Artists, 1961.

The Wild Bunch. Dir. Sam Peckinpah. Warner Bros/Seven Arts, 1969.

The Wild One. Dir. Lazlo Benedek. Columbia Pictures, 1953.

Wood, Robin. Hollywood from Vietnam to Reagan.New York: Columbia University Press, 2003.

Woodstock. Dir. Michael Wadleigh. Warner Bros. Pictures, 1970.

Wyatt, Justin. “The Formation of the ‘Major Independent’: Miramax, New Line and the New Hollywood.” Contemporary Hollywood Cinema. Eds. Steve Neale and Murray Smith. London: Routledge, 1998. 74-105.