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Steenberg, L., Tasker, Y. &, 2015. “Pledge Allegiance”: Gendered Surveillance, Crime Television, andHomeland, Cinema Journal, 54.4, p. 132–138.
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Castonguay, J., 2015. Fictions of Terror: Complexity, Complicity and Insecurity inHomeland, Cinema Journal, 54.4, p. 139–145.
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Newman, M.Z., 2006. From Beats to Arcs: Toward a Poetics of Television Narrative, The Velvet Light Trap, 58, p. 16–28.
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Mittell, J., 2006. Narrative Complexity in Contemporary American Television, The Velvet Light Trap, 58, p. 29–40.
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Boisvert, S., 2012. La Notion de qualité télévisuelle dans la production fictionelle britannique, Cinéma & Cie., XII/19, p. 51–60.
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Joyrich, L., Kavka, M. & Weber, B.R., 2015. Project Reality TV: Preshow Special, Camera Obscura, 88 (30.1), 01-set.
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Lynn Jones, J., Weber, B.R. &, 2015. Reality Moms, Real Monsters: Transmediated Continuity, Reality Celebrity, and the Female Grotesque, Camera Obscura, 88 (30.1), nov-39.
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Kavka, M., 2015. Sex on the Shore: Care and the Ethics of License in Jersey Shore, Camera Obscura, 88 (30.1), p. 101–127.
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Litwack, M., 2015. Making Television Live: Mediating Biopolitics in Obesity Programming, Camera Obscura, 88 (30.1), p. 41–69.
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Smit, A., 2014. Care, Shame, and Intimacy: Reconsidering the Pleasures of Plastic Surgery Reality Television, Camera Obscura, 86 (29.2), p. 59–83.
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Feuer, J., 2015. “Quality” Reality and the Bravo Media Reality Series, Camera Obscura, 88 (30.1), p. 185–195.
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Warner, K.J., 2015. The Gon' Think You Loud Regardless: Ratchetness, Reality Television, and Black Womanhood, Camera Obscura, 88 (30.1), p. 129–153.
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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.
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Hargraves, H., 2015. (TV) Junkies in Need of anIntervention: On Addictive Spectatorship and Recovery Television, Camera Obscura, 88 (30.1), p. 71–99.
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Orr Vered, K., McConchie, J. &, 2011. The Politics of Third Way TV:Supernannyand the Commercialization of Public Service TV, Camera Obscura, 77 (26.2), p. 33–63.
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Diego, P., del Mar Grandío, M. &, 2012. The Production of TV Fiction Adaptations in Spain (1950-2012), Cinéma & Cie., XII/19, p. 105–116.
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Innocenti, V., 2012. Introduction, Cinéma & Cie., XII/19, p. 9–14.
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Hendershot, H., 2006. The Good, the Bad, and the Ugly: FromBuffy the Vampire SlayertoDr. 90210, Camera Obscura, 61 (21.1), p. 47–51.
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Govil, N., 2008. Where Did the Televisions Go?, The Velvet Light Trap, 62, p. 65–66.
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Perren, A., 2011. In Conversation: Creativity in the Contemporary Cable Industry, Cinema Journal, 50.2, p. 132–138.
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