| |
Author |
Title |
Year  |
Publication |
Keywords |
Volume |
Pages |
Links |
|
|
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 |
|
|
|
Nakamura, Lisa |
Interfaces of Identity: Oriental Traitors and Telematic Profiling in24 |
2009 |
Camera Obscura |
24; Identity; Race; US; 2001-2014 |
70 (24.1) |
109-133 |
|
|
|
Thompson, Ethan |
Comedy Verit_? The Observational Documentary Meets the Televisual Sitcom |
2007 |
The Velvet Light Trap |
Television Comedies; Arrested Development; Curb Your Enthusiasm; |
60 |
63-72 |
|
|
|
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 |
|
|
|
Wlodarz, Jow |
Maximum Insecurity: Genre Trouble and Closet Erotics in and out of HBO'sOz |
2005 |
Camera Obscura |
Oz; Genre; Closet Erotics; US; 1997-2003 |
58 (20.1) |
59-105 |
|
|
|
Burns, Christy L. |
Erasure: Alienation, Paranoia, and the Loss of Memory inThe X-Files |
2000 |
Camera Obscura |
X-Files; Memory; Paranoia; US; 1993-2002. 2016- |
45 (15.3) |
194-219 |
|
