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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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Steenberg, L., Tasker, Y. &, 2015. “Pledge Allegiance”: Gendered Surveillance, Crime Television, andHomeland, Cinema Journal, 54.4, p. 132–138.
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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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Holdsworth, A., 2008. "Television Resurrections: Television and Memory, Cinema Journal, 47.3, p. 137–144.
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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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Mittell, J., 2001. A Cultural Approach to Television Genre Theory, Cinema Journal, 40.3, mar-24.
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Negra, D., Lagerwey, J. &, 2015. AnalyzingHomeland: Introduction, Cinema Journal, 54.4, p. 126–131.
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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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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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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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Johnson, D., 2012. Cinematic Destiny: Marvel Studios and the Trade Stories of Industrial Convergence, Cinema Journal, 52.1, gen-24.
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Aslinger, B., 2014. Clueless about Listening Formations?, Cinema Journal, 53.3, p. 126–131.
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Thompson, E., 2007. Comedy Verit_? The Observational Documentary Meets the Televisual Sitcom, The Velvet Light Trap, 60, p. 63–72.
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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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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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Wood, H., Taylor, L. &, 2008. Feeling Sentimental about Television and Audiences, Cinema Journal, 47.3, p. 144–151.
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Castonguay, J., 2015. Fictions of Terror: Complexity, Complicity and Insecurity inHomeland, Cinema Journal, 54.4, p. 139–145.
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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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