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1

Linder, Ralf A. Von Citizen Kane bis The Social Network: Die Darstellung der Wirtschaft im US-amerikanischen Spielfilm : eine Analyse. Stuttgart: Ibidem-Verlag, 2011.

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2

Universität Bremen. Zentrum für Medien-, Kommunikations- und Informationsforschung, ed. Filmerfahrung und Zuschauer: Zwischen Kino, Museum und sozialen Netzwerken. Berlin: Bertz + Fischer, 2014.

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3

Garófano, R. Crónica social del cine en Cádiz. Cádiz: Quorum Libros Editores, 1996.

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4

Said, Salim. Shadows on the silver screen: A social history of Indonesian film. Edited by McGlynn John H and Boileau Janet P. Jakarta: Lontar Foundation, 1991.

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5

1941-, Schenk Irmbert, and Bremer Symposium zum Film (4th : 1999?), eds. Erlebnisort Kino. Marburg: Schüren, 2000.

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6

Nanci, Fernandes, ed. Cinema: Arte & industria. São Paolo: Editora Perspectiva, 2002.

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7

Pires, Vieira Else Ribeiro, ed. City of God in several voices: Brazilian social cinema as action. Nottingham, Eng: Critical, Cultural and Communication Press, 2005.

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8

Macmillan, Peter. Explaining post-war cinema attendance in Great Britain. St. Andrews: St. Salvator's College, Dept. of Economics, 2000.

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9

Agnihotri, Ram Awatar. Artistes and their films of modern Hindi cinema: Cultural and sociopolitical impact on society, 1931-1991. New Delhi: Commonwealth Publishers, 1992.

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10

Zhan, Qingsheng. Yu wang yu jin ji: Dian ying yu le de she hui kong zhi = Desires vs. taboos : a study on the social control of film entertainment. 8th ed. Beijing: Qing hua da xue chu ban she, 2011.

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11

(Russia), Nauchno-issledovatelʹskiĭ institut kinoiskusstva, ed. Полюса кинопроцесса: Priti͡azhenie i ottalkivanie. Moskva: Belyĭ bereg, 2007.

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12

Université d'Avignon et des pays de Vaucluse, ed. Le cinéma et ses publics: Comment le cinéma nous aide à nous comprendre et à comprendre les autres. Avignon: Éditions universitaires d'Avignon, 2015.

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13

I, Zhabskiĭ M., and Nauchno-issledovatelʹskiĭ institut kinoiskusstva (Russia), eds. Kinoprot︠s︡ess v kommunikativnoĭ perspektive. Moskva: Belyĭ bereg, 2008.

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14

Africa, Statistics South. Census of social, recreational and personal services, 1995: Motion picture projection services. Pretoria: Statistics South Africa, 2000.

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15

Tremblay, George Cameron. Break at nine!: Presenting those wonderful movies. [North Bay, Ont: Ontario Film Laboratories, 2000.

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16

Diamond, Bonnie. Equality and access: A new social contract. Montreal, Quebec, Canada: National Film Board of Canada, 1987.

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17

Hauff, Reinhard. Ten days in Calcutta: A portrait of Mrinal Sen. Calcutta: Seagull Books, 1987.

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18

Jon, Barraclough, and Johnson Terry 1955-, eds. Insignificance: The book. London: Sidgwick & Jackson, 1985.

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19

Carvalho, Vladimir. O país de São Saruê: Um filme. Brasília, DF: Embrafilme, Universidade de Brasília, 1986.

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20

Carvalho, Vladimir. O país de São Saruê: Um filme de Vladimir Carvalho. Brasília, Distrito Federal: Embrafilme, 1986.

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21

Archer, Neil. Social Network. Taylor & Francis Group, 2022.

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22

Social Network: Youth Film 2.0. Routledge, 2022.

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23

Archer, Neil. Social Network: Disruption in the 21st Century. Taylor & Francis Group, 2022.

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24

Archer, Neil. Social Network: Disruption in the 21st Century. Taylor & Francis Group, 2022.

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25

Social Network: Disruption in the 21st Century. Taylor & Francis Group, 2022.

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26

Networked Bollywood: How Star Power Globalized Hindi Cinema. Cambridge University Press, 2024.

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27

Mukherjee, Madhuja, and Monika Mehta. Industrial Networks and Cinemas of India. Taylor & Francis Group, 2020.

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28

Mukherjee, Madhuja, and Monika Mehta. Industrial Networks and Cinemas of India: Shooting Stars, Shifting Geographies and Multiplying Media. Taylor & Francis Group, 2020.

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29

Industrial Networks and Cinemas of India: Shooting Stars, Shifting Geographies and Multiplying Media. Taylor & Francis Group, 2020.

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30

Mukherjee, Madhuja, and Monika Mehta. Industrial Networks and Cinemas of India: Shooting Stars, Shifting Geographies and Multiplying Media. Taylor & Francis Group, 2020.

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31

Wayne, Mike, Steve Presence, and Jack Newsinger. Contemporary Radical Film Culture: Networks, Organisations and Activists. Taylor & Francis Group, 2020.

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32

Wayne, Mike, Steve Presence, and Jack Newsinger. Contemporary Radical Film Culture: Networks, Organisations and Activists. Taylor & Francis Group, 2020.

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33

Wayne, Mike, Steve Presence, and Jack Newsinger. Contemporary Radical Film Culture: Networks, Organisations and Activists. Taylor & Francis Group, 2020.

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34

Wayne, Mike, Steve Presence, and Jack Newsinger. Contemporary Radical Film Culture: Networks, Organisations and Activists. Taylor & Francis Group, 2020.

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35

Wayne, Mike, Steve Presence, and Jack Newsinger. Contemporary Radical Film Culture: Networks, Organisations and Activists. Taylor & Francis Group, 2020.

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36

Contemporary Radical Film Culture: Networks, Organisations and Activists. Taylor & Francis Group, 2020.

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37

Duick, Patricia Cucura. Toughlove: A naturalistic study of a self-help group. 1994.

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38

Williams, Tami, Dudley Andrew, and Elena Gorfinkel. Global Cinema Networks. Rutgers University Press, 2018.

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39

Williams, Tami, Dudley Andrew, and Elena Gorfinkel. Global Cinema Networks. Rutgers University Press, 2018.

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40

Global Cinema Networks. Rutgers University Press, 2018.

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41

Wenders, Wim. Buena Vista Social Club (motion picture). c1999, 2002.

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42

Beyond the Screen: Institutions, Networks and Publics of Early Cinema. Libbey & Company, Limited, John, 2012.

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43

Beyond the Screen: Institutions, Networks, and Publics of Early Cinema. Libbey & Company, Limited, John, 2012.

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44

Millard, Kathryn. Screenwriting in a Digital Era. Palgrave Macmillan Limited, 2014.

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45

Millard, Kathryn. Screenwriting in a Digital Era. Palgrave Macmillan, 2014.

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46

Picture Cycle. Semiotexte/Smart Art, 2019.

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47

Tupitsyn, Masha, and Kevin Killian. Picture Cycle. Semiotexte/Smart Art, 2019.

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48

Hal Leonard Publishing Corporation (COR). Buena Vista Social Club (Pvg). Hal Leonard Corporation, 2000.

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49

Crick, Matthew. Power, Surveillance, and Culture in YouTube(tm)'s Digital Sphere. IGI Global, 2016.

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50

Crowdsourcing for Filmmakers. Routledge, 2017.

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