Cohen, R. D. (1997) ’The delinquents: censorship and youth culture in recent U.S. history’, History of Education Quarterly, 37(3): 251-70.
Columpar, С. (2002) «Til death do us parf: identity and friendship in Heavenly Creatures’, in F. Gateward and M. Pomerance (eds), Sugar, Spice and Everything Nice: Cinemas of Girlhood. Detroit: Wayne State University Press.
Considine, D. M. (1985) The Cinema of Adolescence. Jefferson, NC: McFarland. Cowie, P. (1989) Coppola, London: Deutsch.
Daggett, С. (2013) ’UK youth television: moral panic and the process of US adaptation in Skins’, MFA dissertation, Boston University.
Dave, P. (2011) ’Tragedy, ethics and history in contemporary British social realist film’, in D. Tucker (ed.), British Social Realism in the Arts Since 1940. Edinburgh: Edinburgh University Press.
Davis, F. (1977) ’Nostalgia, identity and the current nostalgia wave’, Journal of Popular Culture, 11(2): 414-24.
Davis, G., and Dickinson, K. (eds) (2004) Teen TV: Genre, Consumption and Identity. London: British Film Institute.
Davis, J. (1990) Youth and the Condition of Britain: Images of Adolescent Conflict. London: Athlone Press.
Del Mar Grandio, M., and Bonaut, J. (2012) Transmedia audiences and television fiction’, Participations, 9(2): 558-74.
Dickinson, G. (2006) ’The Pleasantville effect: nostalgia and the visual framing of (white) suburbia’, Western Journal of Communication, 70(3): 212-33.
Dika, V. (2003) Recycled Culture in Contemporary Art and Film: The Uses of Nostalgia. London: Routledge.
Doherty, T. (2002) Teenagers and Teenpics: The Juvenilization of American Movies in the 1950s. 2nd edn, Philadelphia: Temple University Press.
Donnelly, K. J. (1998) ’The perpetual busman’s holiday: Sir Cliff Richard and British pop musicals’, Journal of Popular Film and Television, 25(4): 146-54.
Driscoll, С. (2011) Teen Film: A Critical Introduction. Oxford: Berg.
Duffett, M. (2013) Understanding Fandom. London: Bloomsbury.
Edmunds, J., and Turner, B. (2002) Generations, Culture and Society. Buckingham: Open University Press.
Ehrenreich, В., Hess, E., and Jacobs, G. ([1992] 1997) ’Beatlemania: a sexually defiant subculture?’, in K. Gelder and S. Thornton (eds), The Subcultures Reader. London: Routledge.
Elliott, P. (2014) Studying the British Crime Film. Leighton Buzzard: Auteur.
Forrest, D. (2013) ’Twenty-first century social realism: Shane Meadows and New British Realism’, in M. Fradley, S. Godfrey and M. Williams (eds), Shane Meadows: Critical Essays. Edinburgh: Edinburgh University Press.
Forster, D. (2013) One big happy family? Subverting Reaganism in Peggy Sue Got Married’, Proceedings of the Asian Conference on Film and Documentary, Osaka, Japan.
Fradley, M., and Kingston, S. (2013) ’«What do you think makes a bad dad?» Shane Meadows and fatherhood’, in M. Fradley, S. Godfrey and M. Williams (eds), Shane Meadows: Critical Essays. Edinburgh: Edinburgh University Press.
Fuller, G. (2011) ’Misery loves company’, FilmComment, 37 (November – December).
Gilbert, J. (1986) A Cycle of Outrage: America’s Reaction to the Juvenile Delinquent in the 1950s. Oxford: Oxford University Press.
Glynn, S. (2005) A Hard Day’s Night. London: I. B. Tauris.
Glynn, S. (2013) The British Pop Music Film: The Beatles and Beyond. Basingstoke: Palgrave.
Grainge, P. (2000) ’Nostalgia and style in retro America: moods, modes, and media recycling’, Journal of American and Comparative Cultures, 23(1): 27-34.
Grainge, P. (ed.) (2003a) Memory and Popular Film. Manchester: Manchester University Press.
Grainge, P. (2003b) ’Colouring the past: Pleasantville and the textuality of media memory’, in P. Grainge (ed.), Memory and Popular Film. Manchester: Manchester University Press.
Griffin, С (1993) Representations of Youth. Cambridge: Polity.
Hajdu, D. (2008) The Ten-Cent Plague: The Great Comic-Book Scare and How it Changed America. New York: Farrar, Strauss & Giroux.
Hall, G. S. (1906) Youth: Its Education, Regimen and Hygiene. New York: Appleton.
Hall, S. (2006) ’Shane Meadows’, www.screenonline.org.uk/people/id/461763/index.html.
Hall, S., and Jefferson, T. (eds) (1976) Resistance through Rituals. London: Hutchinson.
Handyside, F. (2017) Sofia Coppola: A Cinema of Girlhood. London: I. B. Tauris.
Harrod, M. (2010) ’The aesthetics of pastiche in the work of Richard Linklater’, Screen, 51(1): 21-37.
Hebdige, D. (1979) Subculture: The Meaning of Style. London: Methuen.
Higson, A. (2013) ’Nostalgia is not what it used to be: heritage films, nostalgia websites and contemporary consumers’, Consumption, Markets and Culture, 17(2): 120-42.
Hill, J. (1985) ’The British «social problem» film: Violent Playground and Sapphire’, Screen, 26(1): 34-48.
Holland, P. (1992) What is a Child? Popular Images of Childhood. London: Virago.
Hunn, D. (2012) «The dark side of Naomily»: Skins, fan texts and contested genres’, Continuum, 26(1): 89-100.
Isserman, M., and Kazin, M. (2021) America Divided: The Civil War of the 1960s. New York: Oxford University Press.
Jameson, F. (1985) ’Postmodernism and consumer society’, in H. Foster (ed.), Postmodern Culture. London: Pluto Press.
Jenkins, H. (2019) Participatory Culture: Interviews. Cambridge: Polity.
Johnson, B. (2017) ’This is England: authorship, emotion and class telly’, in D. Forrest and B. Johnson (eds), Social Class and Television Drama in Contemporary Britain. London: Palgrave Macmillan.
Johnson, D. T. (2012) Richard Linklater. Urbana: University of Illinois Press.
Kaveney, R. (2006) Teen Dreams: Reading Teen Film and Television from ’Heathers’ to ’Veronica Mars’. London: I. B. Tauris.
Keesey, D. (1998) ’Weir(d) Australia: Picnic at Hanging Rock and The Last Wave’, Lit: Literature Interpretation Theory, 8(3-4): 331-46.
Kennedy, T. (2010) Off with Hollywood’s head: Sofia Coppola as feminine auteur’, Film Criticism, 35(1): 37-59.
Kermode, M. (2016) Review of Everybody Wants Some!!www.youtube.com/watch?v=Va8ykgqV8P8.
Kinder, M. (1989) ’Back to the future in the 80s with fathers and sons, supermen and Рее-Wees, gorillas and toons’, Film Quarterly, 42(4): 2-11.
Koehler, С. (2017) ’Sweet sick teens: Gothic narratives of American adolescent sexuality’, European Journal of American Culture, 36(2): 137-57.
Laurie, A. (2002) ’Heavenly images’, Journal of New Zealand Studies, 1: 131-50.
Lay, S. (2007) ’Good intentions, high hopes and low budgets: contemporary social realist film-making in Britain’, New Cinemas: Journal of Contemporary Film, 5(3): 231-44.
Lebeau, V. (2013) ’«Stick that knife in me»: Shane Meadows’ children’, Journal of British Cinema and Television, 10(4): 878-89.
Lee, С. (2016) Screening Generation X. London: Routledge.
Lesko, N. (2001) Act Your Age! A Cultural Construction of Adolescence. New York: Routledge.
Lewis, J. (1992) The Road to Romance and Ruin: Teen Films and Youth Culture. London: Routledge.
Lury, K. (2001) British Youth Television: Cynicism and Enchantment. Oxford: Oxford University Press.
McDaniel, R. (2002) Pleasantville (Ross, 1988)’, Film and History, 31(1): 85-6 [review].
McDonnell, B. (2007) The physician who assumed his patient’s fever: Peter Jackson’s narrative strategy in Heavenly Creatures’, Studies in Australasian Cinema, 1(2): 161-73.
McGee, M. T., and Robertson, R. J. (1982) The J. D. Films: Juvenile Delinquency in the Movies. Jefferson, NC: McFarland.
Marsh, H. (2010) ’Adaptation of a murder/murder as adaptation: the Parker Hulme case in Angela Carter’s «The Christchurch Murder» and Peter Jackson’s «Heavenly Creatures’», Adaptation, 4(2): 167-79.
Masanet, M.-J. and Buckingham, D. (2015) Advice on life? Online fan forums as a space for peer-to-peer sex and relationships education’, Sex Education, 15(5): 486-99.
Medhurst, A. (1995) ’It sort of happened here: the strange life of the British pop film’, in J. Romney and A. Wootton (eds), Celluloid Jukebox: Popular Music and the Movies since the 1950s. London: British Film Institute.
Mills, P. (2016) The Monkees, Head and the 60s. London: Jawbone Press. Monden, M. (2013) ’Contemplating in a dream-like room: The Virgin Suicides and the aesthetic imagination of girlhood’, Film, Fashion and Consumption, 2(2): 139-58.
Morley, С. (2015) ’Mass hysteria is a powerful group activity’, The Guardian, 29 March, www.theguardian.com/film/2015/mar/29/carol-morley-the-falling-mass-hysteria-is-a-powerful-group-activity. Muncie, J. (2000) ’The Beatles and the spectacle of youth’, in I. Inglis (ed.), The Beatles, Popular Music and Society. New York: St Martin’s Press.
Muncie, J. (2009) Youth and Crime. 3rd edn, London: Sage.
Murphy, R. (2013) ’After laughter comes tears: passion and redemption in This is England ’88’, in M. Fradley, S. Godfrey and M. Williams (eds), Shane Meadows: Critical Essays. Edinburgh: Edinburgh University Press.
Muzzio, D., and Halper, T. (2002) ’Pleasantville? The suburb and its representation in American Movies’, Urban Affairs Review, 37(4): 543-74.
Neaverson, B. (2000) ’Tell me what you see; the influence and impact of the Beatles’ movies’, in I. Inglis (ed.), The Beatles, Popular Music and Society.