[62] Peter Brooks. Ibid. p. 4.

[63] Peter Brooks. Ibid. p. 20.

[64] Peter Brooks. Ibid. p. 31.

[65] Peter Brooks. Ibid. p. 56.

[66] Christopher Simpson. Ibid. p. 38.

[67] Christopher Simpson. Ibid. p. 44.

[68] Simiko Higashi. 'Melodrama, Realism, and Race: World War II Newsreels and Propaganda Film.' Cinema Journal. 37:3 (Spring 1998). pp. 38-61.

[69] Rick Worland. 'OW1 Meets the Monsters: Hollywood Horror Films and War Propaganda, 1942-1945.' Cinema Journal. 37:1 (Fall 1997). pp. 47-65.

[70] David Bordwell, Janet Staiger and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. London: Routledge & Kegan Paul, 1985. pp. 170-71.

[71] Jacques Ellul. Ibid. p. 47.

[72] Jacques Ellul. Ibid. p. 31.

[73] David Bordwell, Janet Staiger and Kristin Thompson. Ibid. p. 71.

[74] David Bordwell, Janet Staiger and Kristin Thompson. Ibid. p. 58.

[75] Jacques Ellul. Ibid. 63.

[76] Joseph Natoli. Ibid. p. 51.

[77] Dana Polan. Ibid. p. 48.

[78] Jacques Ellul. Ibid. p. 31.

[79] Dana Polan. Ibid. p. 46.

[80] Jacques Ellul. Ibid. p. 208.

[81] Jacques Ellul. Ibid. p. 74.

[82] David Bordwell, Janet Staiger and Kristin Thompson. Ibid. p. 384.

[83] Joseph Natoli. Ibid. p. 192.

[84] Dana Polan. Ibid. p. 54.

[85] Joseph Natoli. Ibid. p. 152.

[86] Karen Horney. Neurosis and Human Growth: The Struggle Toward Self-Realization. New York: Norton, 1991 [1950]. Pp. 45-46, 52.

[87] Peter Brooks. Ibid. p. 54.

[88] Peter Brooks. Ibid. p. 35.

[89] Peter Brooks. Ibid. p. 12.

[90] Peter Brooks. Ibid. p. 9.

[91] Peter Brooks. Ibid. p. 1.

[92] Peter Brooks. Ibid. p. 27.

[93] Peter Brooks. Ibid. p. 3.

[94] Peter Brooks. Ibid. p. 9.

[95] Peter Brooks. Ibid. p. 40.

[96] Dana Polan. Ibid. p. 54.

[97] Scott MacDonald. 'The Filmmaker as Global Circumnavigator: Peter Watkins's The Journey and Media Critique.' Quarterly Review of Film and Video. 14:4 (1993). p. 31.

[98] Scott MacDonald. Ibid. p. 45.

[99] Jacques Ellul. Ibid. p. 197.

[100] Alexander Cockburn. 'John and Oliver's Bogus Adventure.' Sight + Sound. 1.10 (February 1992). p. 23.

[101] Alexander Cockburn. Ibid. p. 22.

[102] Alexander Cockburn. Ibid. p. 23.

[103] Jacques Ellul. Ibid. p. 194.

[104] Alexander Cockburn. Ibid. p. 24.

[105] Larry Gross. Ibid. p. 8.

[106] Larry Gross. Ibid. p. 8.

[107] Adam Barker. 'Cries and Whispers.' Sight + Sound. 1.10 (February 1992). p. 24.

[108] Adam Barker. Ibid. p. 24.

[109] Adam Barker. Ibid. p. 25.

[110] Dennis Turner. 'The Subject of The Conversation.' Cinema Journal. 24:4 (Summer 1985). pp. 4.

[111] Dennis Turner. Ibid. p. 6.

[112] Adam Barker. Ibid. p. 25.

[113] Adam Barker. Ibid. p. 25.

[114] D.N. Rodowick. Ibid. pp. 41-42.

[115] D.N. Rodowick. Ibid. p. 43.

[116] David Bordwell, Janet Staiger and Kristin Thompson. Ibid. p. 72.

[117] D.N. Rodowick. Ibid. p. 43.

[118] Jacques Ellul. Ibid. p. 15.

[119] Roger D. McNiven. '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 (Summer 1983). p. 55.

[120] Peter Brooks. Ibid. p. 35.

[121] Roger D. McNiven. Ibid. p. 55.

[122] Robert Heilman. Ibid. p. 58.