Bibliography

Reference Works

British Film Yearbook, London: 1949-1950, p. 520
Maurice Bessy; Jean-Louis Chardans. Dictionnaire du cinéma et de la television. Paris: Pauvert, 1966, Tome 2 p. 21 [Attention, CONFUSION with Will Day]
J. Johnson; A. Greutzner. The Dictionary of British Artists 1880-1940. Woodbridge: Antique Collectors Club, 1976, p. 139
Royal Academy Exhibitions 1905-1970. A Dictionary of Artists and their Work in the Summer Exhibitions of the Royal Academy of Arts. London: E. P. Publishing, 1977, vol. II, p. 138
Susan Day. “Walter Percy Day”.Allegemeines Künstlerlexikon. Munich; Leipzig: K.G. Saur Vg., 2000, vol. 24, pp. 581-582
Brian McFarlane. The Encyclopedia of British Film. London: Methuen, 2003, p. 166

University theses (unpublished)

Réjane Hamus-Vallée. Peindre comme un cinéaste. Pour une estéthique du matte painting. Evry (Val d’Essonne): Université de Paris III Sorbonne Nouvelle. Mémoire d'habilitation à diriger des recherches... sous la direction de Madame la Professeure Giusy Pisano, n. d.

Monographs

Linda d'Agostino Clinger. The Garden Within. The Art of Peter Ellenshaw. Venice: Mill Pond Press, 1996
British Film Institute presents... Napoléon vu par Abel Gance. Presentation programme, Festival Hall, London, 2000
Kenneth Brownlow. Napoléon, Abel Gance's Classic Film. London, 1983, p. 118-119
Ivan Butler, Cinema in Britain. An Illustrated History. London, 1973, p. 75, 153
Jack Cardiff, Magic Hour. London: Faber & Faber, 1996
The Chess Player (Le Joueur d’échecs). Thames Television and National Film Archive Presentation Programme, London, 1990
Ian Christie, Arrows of Desire. The Films of Michael Powell and Emeric Pressburger. London, 1985
Mark Cotta Vaz; Craig Barron, The Invisible Art. The Legends of Movie Matte Painting. San Francisco: Chronicle Books, 2002, p. 27
John Culhane, Special Effects in the Movies. How they do it. New York: Ballantine Books, 1981, p. 45, 50-52, 155-156
Maurice Culot, Le temps des boutiques. De l’échoppe à eBay. Brussels: A.A.M., s.d., p. 10-11
Max Douy; Jacques Douy, Décors de Cinéma. Les Studios français de Méliès à nos jours. Paris, 1993,p. 45
Charles Drazin, In Search of the Third Man. London: Methuen, 1999
Peter Ellenshaw, Ellenshaw under Glass. Going to the Matte for Disney. Santa Clarita: Camphor Tree Publishers, 2003
Christopher Finch, Special Effects. Creating Movie Magic. New York: Abbeville Press, 1984, p. 68
Rolf Giesen, Special Effects. King Kong, Orphée und die Reise zum Mond Ebersberg: Edition Achteinhalb, 1985, p. 159
Réjane Hamus-Vallée. Peindre pour le cinéma. Une histoire du matte painting. Evry (Val d’Essonne): Université d’Evry; Lille: Presses universitaires du Septentrion, 2016
Philip Leibfried; Malcolm Willits; Jim Danforth, Alexander Korda's The Thief of Bagdad. An Arabian Fantasy. Pasadena: Castle Press, 2003
Rachel Low, Film Making in 1930’s Britain. London: Allen & Unwin, 1985, p. 250
Alan McKenzie; Derek Ware, Hollywood Tricks of the Trade. London: Multimedia Publications, 1986, pp. 19-20
Michael Powell, A Life in Movies: An Autobiography. London : Mandarin, 1986
Michael Powell, Million-Dollar Movie. New York: Random House, 1995
Michael Powell, Million-Dollar Movie. New York: Random House, 1995
John Walsh, The Third Man. The Official Story of the Film. London: Titan Books, 2024, p. 117

Articles

J.-Nicolas Gung’L, « Chronique artistique. Percy Day, peintre de portraits », La Tunisie Illustrée, April, 1910
« Picture with a Story. Mr. Percy Day Explains his Academic Painting ». Daily Chronicle, 12 May, 1919
Georges Baye, « À propos du film Les Opprimés. Une révolution dans le décor cinématographique », Ciné Miroir, 15 March 1923
« En marge du Joueur d’échecs », Cinémagazine, n° 2, 14 January 1927, special issue
La Petite Illustration Cinématographique, n° 8, 5 February, 1927, special issue
« La prise de vues », Le courrier cinématographique, 29 June 1929, p. 18-19
« Special Effects Teams Save Time and Money », Kinematograph Weekly, 2 October 1947
Kinematograph Weekly, 24 October, 1946, p. 15
Walter Percy Day, “The Origin and Development of the Matte Shot”. Fourth Newman Memorial Lecture, The Photographic Journal, October 1948
Egon Larsen, “Here is the Inside Story of the Magician of British Films”, Cavalcade, 21 May,1949
Douglas Hague, “Painted Matte Shots”, British Kinematographic Society Magazine, vol. 19, n° 6, 1951, p. 166
“Pop Day, 75, goes back to college”. Kent Messenger, 30 April 1954
“Trauner au naturel”, Libération, 13 March 1984, p. 24
Edouard Waintrop, “Blimp, Blimp, Hourrah”, Libération, 2 April 1992, p. 42
Gilbert Adair, ”The Other Side of Harry Lime”, Evening Standard, 23 August 1999, p. 42
James Christopher, “Britain’s Best Bar Nun?”, The Times, 4 August 2005, p. T2
Geoffrey MacNab, “He Made Monsters”, The Independent, 20 June 2008
Susan Day; Réjane Hamus-Vallée, “Walter Percy Day (1878 - 1965), pionnier britannique des effets spéciaux français des 1920”, 1895. Revue d'histoire du cinéma, no. 80, winter 2016, pp. 108 - 127