|
|
The Light Brigade, 2008. The Filmic Experience: A Map, Cinéma & Cie., 11, p. 65–68.
|
|
|
|
Thompson, E., 2007. Comedy Verit_? The Observational Documentary Meets the Televisual Sitcom, The Velvet Light Trap, 60, p. 63–72.
|
|
|
|
Tinic, S., 2011. Introduction: Teaching Television in a Postnetwork Era, Cinema Journal, 50.4, p. 157–160.
|
|
|
|
Tosatto, C., 2008. Re-Spatialization of Filmic Representation: Connected Spaces, Cinéma & Cie., 11, p. 41–48.
|
|
|
|
Tralli, L., 2012. There's Nothing Like an English Summer, Is There? Except and English Winter. Downton Abbey, A British Cult TV Series and Its Fandom, Cinéma & Cie., XII/19, p. 61–72.
|
|
|
|
Valentini, P., 2012. Whodonit? Rai TV Fiction Production Between Detection andGiallo, Cinéma & Cie., XII/19, p. 25–38.
|
|
|
|
Wang, S., 2003. Recontextualizing Copyright: Piracy, Hollywood, the State, and Globalization, Cinema Journal, 43.1, p. 25–43.
|
|
|
|
Warner, K.J., 2015. The Gon' Think You Loud Regardless: Ratchetness, Reality Television, and Black Womanhood, Camera Obscura, 88 (30.1), p. 129–153.
|
|
|
|
Wlodarz, J., 2005. Maximum Insecurity: Genre Trouble and Closet Erotics in and out of HBO'sOz, Camera Obscura, 58 (20.1), p. 59–105.
|
|
|
|
Wood, H., Taylor, L. &, 2008. Feeling Sentimental about Television and Audiences, Cinema Journal, 47.3, p. 144–151.
|
|
