Author  |
Title |
Year |
Publication |
Keywords |
Volume |
Pages |
| Hilmes, Michele |
The Bad Object: Television in the American Academy |
2005 |
Cinema Journal |
TV; TV Studies; |
45.1 |
111-116 |
| Henderson, Felicia D. |
The Culture Behind Closed Doors: Issues of Gender and Race in the Writer's Room |
2011 |
Cinema Journal |
TV; Gender studies; Race; |
50.2 |
145-152 |
| 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 |
| Hay, James |
Outside Media: Toward a Study of Watching Ourselves through Mobile Media |
2008 |
The Velvet Light Trap |
Mobile Media; |
62 |
66-68 |
| Havens, Timothy |
Teaching the Lone Television Studies Graduate Seminar |
2011 |
Cinema Journal |
TV; Teaching TV; |
50.4 |
172-177 |
| Hartley, John |
Is Screen Studies a Load of Old Cobblers? And If So, Is That Good? |
2005 |
Cinema Journal |
TV; TV Studies; |
45.1 |
101-106 |
| 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 |
| Hagener, Malte |
Where Is Cinema (Today)? The Cinema in the Age of Media Immanence |
2008 |
Cinéma & Cie. |
Cinema; Media immanence; |
11 |
15-22 |
| Govil, Nitin |
Where Did the Televisions Go? |
2008 |
The Velvet Light Trap |
TV; Convergence; |
62 |
65-66 |
| Garrison, Lindsay H. |
Defining Television Excellence “On Its Own Terms”. The Peabody Award and Negotiating Doscourses of Quality |
2011 |
Cinema Journal |
TV; Quality TV; |
50.2 |
160-165 |
| Feuer, Jane |
“Quality” Reality and the Bravo Media Reality Series |
2015 |
Camera Obscura |
Reality TV; Quality TV; |
88 (30.1) |
185-195 |
| Fan, Victor |
The Poetics of Addiction: Stardom, “Feminized” Spectatorship, and Interregional Business Relations in theTwilightSeries |
2012 |
Camera Obscura |
Twilight; Stardom; Spectatroship; |
79 (27.1) |
31-67 |
| Dusi, Nicola |
Remaking as a Practice: Some Problems of Transmediality |
2012 |
Cinéma & Cie. |
Remake; Transmediality; |
XII/18 |
115-130 |
| 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 |
| 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 |
| De Rosa, Miriam |
To Look, To Wander: Cinema in Installations |
2008 |
Cinéma & Cie. |
Installations; |
11 |
31-40 |
| D'Aloia, Adriano |
Virtual Screens. The Relocation of Cinema inSecond Life |
2008 |
Cinéma & Cie. |
Second Life; Relocation; |
11 |
49-56 |
| Castonguay, James |
Fictions of Terror: Complexity, Complicity and Insecurity inHomeland |
2015 |
Cinema Journal |
Homeland; Terror TV; |
54.4 |
139-145 |
| Casetti, Francesco |
The Last Supperin Piazza della Scala |
2008 |
Cinéma & Cie. |
Devices; Relocation; 2000- |
11 |
lug-14 |
| Caldwell, John Thornton |
Welcome to the Viral Future of Cinema (Television) |
2005 |
Cinema Journal |
TV; TV Studies; |
45.1 |
90-97 |
