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2.
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3.
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4.
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5.
David Bordwell, On the History of Film Style (Cambridge, MA: Harvard University Press, 1997).
6.
Roger Caillois, L'Homme et le sacré (Paris: Gallimard , 1950).
7.
Elizabeth Ezra, Georges Méliès: The Birth of the Auteur (Manchester : Manchester University Press, 2000).
8.
Michel Foucault, 'Of Other Spaces', trans. Jay Miskowiec, in Diacritics 16:1 (Spring 1986), 22-7.
9.
Miriam Hansen, 'Early Cinema, Late Cinema: Transformations of the Public Sphere', in Linda Williams (ed.), Viewing Positions (New Brunswick, NJ: Rutgers University Press, 1995).
10.
Graeme Hayes, 'Representation, Masculinity, Nation: The Crises of Les Amants du Pont-Neuf , in Phil Powrie (ed.), French Cinema in the 1990s: Continuity and Difference (pp. 199-210). ( Oxford: Oxford University Press, 1999).
11.
Fredric Jameson, Signatures of the Visible (London: Routledge, 1990).
12.
Colin Nettelbeck, 'Layering Culture: Léos Carax and Les Amants du Pont-Neuf', in Australian Journal of French Studies32: 1 (January-April 1995), 109-24.
13.
Pierre Nora, 'The Era of Commemoration', in Realms of Memory, Vol. III, ed. Lawrence D. Kritzman, trans. Arthur Goldhammer ( New York: Columbia University Press, 1998).
14.
Phil Powrie, 'Heritage, History, and "New Realism": French Cinema in the 1990s' , in Phil Powrie (ed.), French Cinema in the 1990s: Continuity and Difference ( Oxford: Oxford University Press, 1999), 1-21.
15.
Keith Reader, 'Cinematic Representations of Paris: Vigo/Truffaut/Carax', in Modern and Contemporary France, NS 1/4 (1993), 409-15.
16.
David Thompson, 'Interview with Léos Carax', in Sight and Sound, 2/5 (September 1992), 10-11.
17.
Alan Williams, Republic of Images: A History of French Filmmaking ( Cambridge, MA: Harvard University Press, 1992 ).
