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Agger, G., 2012. Nordic Noir on Television:The Killing I-III, Cinéma & Cie., XII/19, p. 39–50.
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Boisvert, S., 2012. La Notion de qualité télévisuelle dans la production fictionelle britannique, Cinéma & Cie., XII/19, p. 51–60.
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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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Dusi, N., 2012. Remaking as a Practice: Some Problems of Transmediality, Cinéma & Cie., XII/18, p. 115–130.
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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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Innocenti, V., 2012. Introduction, Cinéma & Cie., XII/19, p. 9–14.
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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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Kustritz, A., 2012. Breeding Unity:Battlestar Galactica's Biracial Reproductive Futurity, Camera Obscura, 81 (27.3), gen-37.
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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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Pekman, C., Tüzün, S. &, 2012. Turkish Television Dramas: The Economy and Beyond, Cinéma & Cie., XII/19, p. 93–104.
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Ryan, M.L., 2012. Transmedial Storytelling and Transfictionality, Poetics Today, 34:03:00, p. 361–388.
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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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Tasker, Y., 2012. Television Crime Drama and Homeland Security: FromLaw & Orderto “Terror TV”, Cinema Journal, 51.4, p. 44–65.
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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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Valentini, P., 2012. Whodonit? Rai TV Fiction Production Between Detection andGiallo, Cinéma & Cie., XII/19, p. 25–38.
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