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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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Joyrich, L., Kavka, M. & Weber, B.R., 2015. Project Reality TV: Preshow Special, Camera Obscura, 88 (30.1), 01-set.
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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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Richards, J., 2013. Berlin Alexanderplatz's Serial Women, Camera Obscura, 84 (28.3), mar-84.
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Kustritz, A., 2012. Breeding Unity:Battlestar Galactica's Biracial Reproductive Futurity, Camera Obscura, 81 (27.3), gen-37.
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Fan, V., 2012. The Poetics of Addiction: Stardom, “Feminized” Spectatorship, and Interregional Business Relations in theTwilightSeries, Camera Obscura, 79 (27.1), p. 31–67.
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Ryan, M.L., 2012. Transmedial Storytelling and Transfictionality, Poetics Today, 34:03:00, p. 361–388.
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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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Klastrup, L., Tosca, S. &, 2004. Transmedial Worlds: Rethinking Cyberworld Design, Proceedings CW '04, p. 409–416.
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Burns, C.L., 2000. Erasure: Alienation, Paranoia, and the Loss of Memory inThe X-Files, Camera Obscura, 45 (15.3), p. 194–219.
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Wlodarz, J., 2005. Maximum Insecurity: Genre Trouble and Closet Erotics in and out of HBO'sOz, Camera Obscura, 58 (20.1), p. 59–105.
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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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Nakamura, L., 2009. Interfaces of Identity: Oriental Traitors and Telematic Profiling in24, Camera Obscura, 70 (24.1), p. 109–133.
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Maitra, A., 2010. Why Isn't Michelle Lopez onJudge Judy? Citizenship and Televisuality in Hima B.'sAnd I Do Survive, Camera Obscura, 74 (25.2), p. 183–195.
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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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Szostak, S., 2012. Imitation, Borrowing, Recycling. American Models and Polish Domestic Drama, Cinéma & Cie., XII/19, p. 73–92.
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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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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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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.
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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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