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Colberg, J. & Askews & Holts Library Services. (2017). Understanding photobooks: the form and content of the photographic book. Routledge. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781317484721
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Deranty, J.-P. & ProQuest (Firm). (2010). Jacques Rancière: key concepts. Acumen. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1886882
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Evans, D. (2009). Appropriation: Vol. Documents of contemporary art. Whitechapel Gallery.
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Höch, H., Burmeister, R., Berlinische Galerie, & Museum Jean Tinguely Basel. (2007). Hannah Höch: aller Anfang ist DADA! Hatje Cantz.
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Lavin, M., & Höch, H. (1993). Cut with the kitchen knife: the Weimar photomontages of Hannah Höch. Yale University Press.
Long, J. J. (2008). Paratextual Profusion: Photography and Text in Bertolt Brecht’s War Primer. Poetics Today, 29(1), 197–224. https://doi.org/10.1215/03335372-2007-023
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Mitchell, W. J. T. (1994). Picture theory: essays on verbal and visual representation. University of Chicago Press.
Mukařovský, J. (1979). Aesthetic function, norm and value as social facts: Vol. Michigan Slavic contributions. Dept. of Slavic Languages and Literature, University of Michigan.
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Rancière, J., & Elliott, G. (2011). The emancipated spectator. Verso. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=5177140
Rubin, W. S., Varnedoe, K., Zelevansky, L., & Museum of Modern Art (New York, N.Y.). (1992). Picasso and Braque: a symposium. Museum of Modern Art.
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Smith, S., & Watson, J. (2005b). Interfaces: women, autobiography, image, performance. University of Michigan Press.
Tanke, J. J. (2011). Jacques Rancière: an introduction. Continuum. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=686947
The ‘Photobook’: What’s in a name? - David Campany. (n.d.). http://davidcampany.com/the-photobook-whats-in-a-name/
Töpffer, R., & Töpffer, R. (1996a). Monsieur Crépin: Monsieur Pencil : deux égarements de la science. Seuil.
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