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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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Nichols-Pethick, J., 2011. Going with the Flow: On the Value of Randomness, Flexibility, and Getting Students In on the Conversation, or What I learned from Antoine Dodson, Cinema Journal, 50.4, p. 182–187.
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Nichols-Pethick, J., 2011. Nobody with a Good Script Needs to Be Justified, Cinema Journal, 50.2, p. 153–159.
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O'Meara, J., 2014. “We've Got to Work on Your Accent and Vocabulary”: Characterization throguh Verbal Style inClueless, Cinema Journal, 53.3, p. 138–145.
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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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Papin, B., 2012. Nicolas Le Floch, un bon produit <<ö l'export>>? Rflections sur la diffusion et la rception internationale d'une s_rie historique (très) française..., Cinéma & Cie., XII/19, p. 15–24.
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Pekman, C., Tüzün, S. &, 2012. Turkish Television Dramas: The Economy and Beyond, Cinéma & Cie., XII/19, p. 93–104.
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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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Richards, J., 2013. Berlin Alexanderplatz's Serial Women, Camera Obscura, 84 (28.3), mar-84.
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Ross, S.M., 2011. Introduction: Writing and Producing TV in the Post-Network Era, Cinema Journal, 50.2, p. 128–131.
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Ryan, M.L., 2012. Transmedial Storytelling and Transfictionality, Poetics Today, 34:03:00, p. 361–388.
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Schneider, A., 2008. The Cinema Is the Theater, the School and the Newspaper of Tomorrow>>: Writing the History of Cinema's Mobility, Cinéma & Cie., 11, p. 57–64.
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Scolari, C.A., 2009. Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production, International Journal of Communication, 3, p. 586–606.
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Shapiro, S., 2015. Homeland's Crisis of Middle-Class Transformation, Cinema Journal, 54.4, p. 152–158.
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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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Spigel, L., 2005. TV's Next Season?, Cinema Journal, 45.1, p. 83–90.
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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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Stenger, J., 2006. The Clothes Make the Fan: Fashion and Online Fandom whenBufy the Vampire SlayerGoes to eBay, Cinema Journal, 45.4, p. 26–44.
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Szostak, S., 2012. Imitation, Borrowing, Recycling. American Models and Polish Domestic Drama, Cinéma & Cie., XII/19, p. 73–92.
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Tasker, Y., 2012. Television Crime Drama and Homeland Security: FromLaw & Orderto “Terror TV”, Cinema Journal, 51.4, p. 44–65.
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