|
Author |
Title |
Year |
Publication |
Keywords |
Volume |
Pages |
Links |
|
Steenberg, Lindsay; Tasker, Yvonne; |
“Pledge Allegiance”: Gendered Surveillance, Crime Television, andHomeland |
2015 |
Cinema Journal |
Homeland; Crime TV; Gender Studies; |
54.4 |
132-138 |
|
|
Castonguay, James |
Fictions of Terror: Complexity, Complicity and Insecurity inHomeland |
2015 |
Cinema Journal |
Homeland; Terror TV; |
54.4 |
139-145 |
|
|
Newman, Michael Z. |
From Beats to Arcs: Toward a Poetics of Television Narrative |
2006 |
The Velvet Light Trap |
Narrative; Arcs; TV Series; |
58 |
16-28 |
|
|
Mittell, Jason |
Narrative Complexity in Contemporary American Television |
2006 |
The Velvet Light Trap |
Narrative; Complexity; TV Series; |
58 |
29-40 |
|
|
Boisvert, Stéfany |
La Notion de qualité télévisuelle dans la production fictionelle britannique |
2012 |
Cinéma & Cie. |
Quality TV; UK |
XII/19 |
51-60 |
|
|
Joyrich, Lynne; Kavka, Misha; Weber, Brenda R. |
Project Reality TV: Preshow Special |
2015 |
Camera Obscura |
Reality TV; Feminist Theory; |
88 (30.1) |
01-set |
|
|
Lynn Jones, Jennifer; Weber, Brenda R.; |
Reality Moms, Real Monsters: Transmediated Continuity, Reality Celebrity, and the Female Grotesque |
2015 |
Camera Obscura |
Reality TV; Grotesque; Motherhood; |
88 (30.1) |
nov-39 |
|
|
Kavka, Misha |
Sex on the Shore: Care and the Ethics of License in Jersey Shore |
2015 |
Camera Obscura |
Reality TV; Jersey Shore; Ethics; Sexuality; |
88 (30.1) |
101-127 |
|
|
Litwack, Michael |
Making Television Live: Mediating Biopolitics in Obesity Programming |
2015 |
Camera Obscura |
Reality TV; Obesity programming; Biopolitic; |
88 (30.1) |
41-69 |
|
|
Smit, Alexia |
Care, Shame, and Intimacy: Reconsidering the Pleasures of Plastic Surgery Reality Television |
2014 |
Camera Obscura |
Reality TV; Pleasure; Intimacy; |
86 (29.2) |
59-83 |
|
|
Feuer, Jane |
“Quality” Reality and the Bravo Media Reality Series |
2015 |
Camera Obscura |
Reality TV; Quality TV; |
88 (30.1) |
185-195 |
|
|
Warner, Kristen J. |
The Gon' Think You Loud Regardless: Ratchetness, Reality Television, and Black Womanhood |
2015 |
Camera Obscura |
Reality TV; Race; |
88 (30.1) |
129-153 |
|
|
Dominguez, Pier |
“I'm Very Rich, Bitch!”: The Melodramatic Money Shot and the Excess of Racialized Gendered Affect in theReal HousewivesDocusoaps |
2015 |
Camera Obscura |
Reality TV; Real Housewives; Race; Affect; |
88 (30.1) |
155-183 |
|
|
Hargraves, Hunter |
(TV) Junkies in Need of anIntervention: On Addictive Spectatorship and Recovery Television |
2015 |
Camera Obscura |
Reality TV; Recovery Television; Specatorship; |
88 (30.1) |
71-99 |
|
|
Orr Vered, Karen; McConchie, John; |
The Politics of Third Way TV:Supernannyand the Commercialization of Public Service TV |
2011 |
Camera Obscura |
Supernanny; Public Service TV; |
77 (26.2) |
33-63 |
|
|
Diego, Patricia; del Mar Grandío, María; |
The Production of TV Fiction Adaptations in Spain (1950-2012) |
2012 |
Cinéma & Cie. |
TV Fiction; Adaptations; Spain; '1950-2012 |
XII/19 |
105-116 |
|
|
Innocenti, Veronica |
Introduction |
2012 |
Cinéma & Cie. |
TV series; Europe; 2000- |
XII/19 |
9-14 |
|
|
Hendershot, Heather |
The Good, the Bad, and the Ugly: FromBuffy the Vampire SlayertoDr. 90210 |
2006 |
Camera Obscura |
TV series; Gender studies; US; |
61 (21.1) |
47-51 |
|
|
Govil, Nitin |
Where Did the Televisions Go? |
2008 |
The Velvet Light Trap |
TV; Convergence; |
62 |
65-66 |
|
|
Perren, Alisa |
In Conversation: Creativity in the Contemporary Cable Industry |
2011 |
Cinema Journal |
TV; Creativity; |
50.2 |
132-138 |
|