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Liu, L., 2015. Occult Anxieties and the Recessionary Imainary in theParanormal ActivityFranchise, Camera Obscura, 90 (30.3), p. 61–91.
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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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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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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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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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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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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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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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