|
|
Levine, E., 2011. Teaching the Politics of Television Culture in a “Post-Television” Era, Cinema Journal, 50.4, p. 177–182.
|
|
|
|
Kraszewski, J., 2011. Hybridity, History, and the Identity of the Television Studies Teacher, Cinema Journal, 50.4, p. 166–172.
|
|
|
|
Kompare, D., 2011. Filling the Box: Television in Higher Education, Cinema Journal, 50.4, p. 161–165.
|
|
|
|
Kessler, K., 2011. They Should Suffer Like the Rest of Us: Queer Equality in Narrative Mediocrity, Cinema Journal, 50.2, p. 139–144.
|
|
|
|
Kavka, M., 2015. Sex on the Shore: Care and the Ethics of License in Jersey Shore, Camera Obscura, 88 (30.1), p. 101–127.
|
|
|
|
Joyrich, L., Kavka, M. & Weber, B.R., 2015. Project Reality TV: Preshow Special, Camera Obscura, 88 (30.1), 01-set.
|
|
|
|
Joyrich, L., 2014. Queer Television Studies: Currents, Flows, and (Main)streams, Cinema Journal, 53.2, p. 133–139.
|
|
|
|
Innocenti, V., 2012. Introduction, Cinéma & Cie., XII/19, p. 9–14.
|
|
|
|
Holdsworth, A., 2008. "Television Resurrections: Television and Memory, Cinema Journal, 47.3, p. 137–144.
|
|
|
|
Hilmes, M., 2005. The Bad Object: Television in the American Academy, Cinema Journal, 45.1, p. 111–116.
|
|
|
|
Henderson, F.D., 2011. The Culture Behind Closed Doors: Issues of Gender and Race in the Writer's Room, Cinema Journal, 50.2, p. 145–152.
|
|
|
|
Hendershot, H., 2006. The Good, the Bad, and the Ugly: FromBuffy the Vampire SlayertoDr. 90210, Camera Obscura, 61 (21.1), p. 47–51.
|
|
|
|
Havens, T., 2011. Teaching the Lone Television Studies Graduate Seminar, Cinema Journal, 50.4, p. 172–177.
|
|
|
|
Hartley, J., 2005. Is Screen Studies a Load of Old Cobblers? And If So, Is That Good?, Cinema Journal, 45.1, p. 101–106.
|
|
|
|
Hargraves, H., 2015. (TV) Junkies in Need of anIntervention: On Addictive Spectatorship and Recovery Television, Camera Obscura, 88 (30.1), p. 71–99.
|
|
|
|
Govil, N., 2008. Where Did the Televisions Go?, The Velvet Light Trap, 62, p. 65–66.
|
|
|
|
Garrison, L.H., 2011. Defining Television Excellence “On Its Own Terms”. The Peabody Award and Negotiating Doscourses of Quality, Cinema Journal, 50.2, p. 160–165.
|
|
|
|
Feuer, J., 2015. “Quality” Reality and the Bravo Media Reality Series, Camera Obscura, 88 (30.1), p. 185–195.
|
|
|
|
Dominguez, P., 2015. “I'm Very Rich, Bitch!”: The Melodramatic Money Shot and the Excess of Racialized Gendered Affect in theReal HousewivesDocusoaps, Camera Obscura, 88 (30.1), p. 155–183.
|
|
|
|
Diego, P., del Mar Grandío, M. &, 2012. The Production of TV Fiction Adaptations in Spain (1950-2012), Cinéma & Cie., XII/19, p. 105–116.
|
|
