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Butler, J., 2014. Statistical Analysis of Television Style: What Can Numbers Tell Us about TV Editing?, Cinema Journal, 54.1, p. 25–44.
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Negra, D., Lagerwey, J. &, 2015. AnalyzingHomeland: Introduction, Cinema Journal, 54.4, p. 126–131.
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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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Hunting, K., 2014. Furiously Franchised:Clueless, Convergence Culture, and the Female-Focused Franchise, Cinema Journal, 53.3, p. 145–151.
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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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Ieppert, A., 2014. Can I Please Give You Some Advice?Cluelessand the Teen Makeover, Cinema Journal, 53.3, p. 131–137.
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Aslinger, B., 2014. Clueless about Listening Formations?, Cinema Journal, 53.3, p. 126–131.
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Lenos, M., 2014. Introduction:Clueless, Cinema Journal, 53.3, p. 123–126.
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Joyrich, L., 2014. Queer Television Studies: Currents, Flows, and (Main)streams, Cinema Journal, 53.2, p. 133–139.
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Johnson, D., 2012. Cinematic Destiny: Marvel Studios and the Trade Stories of Industrial Convergence, Cinema Journal, 52.1, gen-24.
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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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Levine, E., 2011. Teaching the Politics of Television Culture in a “Post-Television” Era, Cinema Journal, 50.4, p. 177–182.
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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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Havens, T., 2011. Teaching the Lone Television Studies Graduate Seminar, Cinema Journal, 50.4, p. 172–177.
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Kraszewski, J., 2011. Hybridity, History, and the Identity of the Television Studies Teacher, Cinema Journal, 50.4, p. 166–172.
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Kompare, D., 2011. Filling the Box: Television in Higher Education, Cinema Journal, 50.4, p. 161–165.
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Tinic, S., 2011. Introduction: Teaching Television in a Postnetwork Era, Cinema Journal, 50.4, p. 157–160.
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Garrison, L.H., 2011. Defining Television Excellence “On Its Own Terms”. The Peabody Award and Negotiating Doscourses of Quality, Cinema Journal, 50.2, p. 160–165.
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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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Henderson, F.D., 2011. The Culture Behind Closed Doors: Issues of Gender and Race in the Writer's Room, Cinema Journal, 50.2, p. 145–152.
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