| |
Author  |
Title |
Year |
Publication |
Keywords |
Volume |
Pages |
Links |
|
|
Ross, Sharon Marie |
Introduction: Writing and Producing TV in the Post-Network Era |
2011 |
Cinema Journal |
TV; Production; |
50.2 |
128-131 |
|
|
|
Richards, Jill |
Berlin Alexanderplatz's Serial Women |
2013 |
Camera Obscura |
Berlin Alexanderplatz; Female Characters; |
84 (28.3) |
mar-84 |
|
|
|
Perren, Alisa |
In Conversation: Creativity in the Contemporary Cable Industry |
2011 |
Cinema Journal |
TV; Creativity; |
50.2 |
132-138 |
|
|
|
Pekman, Cem; Tüzün, Selin; |
Turkish Television Dramas: The Economy and Beyond |
2012 |
Cinéma & Cie. |
Television Drama; Economy; Turkey; |
XII/19 |
93-104 |
|
|
|
Papin, Bernard |
Nicolas Le Floch, un bon produit <<ö l'export>>? Rflections sur la diffusion et la rception internationale d'une s_rie historique (très) française... |
2012 |
Cinéma & Cie. |
Nicolas Le Floch; Production; France; |
XII/19 |
15-24 |
|
|
|
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 |
|
|
|
O'Meara, Jennifer |
“We've Got to Work on Your Accent and Vocabulary”: Characterization throguh Verbal Style inClueless |
2014 |
Cinema Journal |
Clueless; Verbal Style; |
53.3 |
138-145 |
|
|
|
Nichols-Pethick, Jonathan |
Going with the Flow: On the Value of Randomness, Flexibility, and Getting Students In on the Conversation, or What I learned from Antoine Dodson |
2011 |
Cinema Journal |
TV; Teaching TV; |
50.4 |
182-187 |
|
|
|
Nichols-Pethick, Jonathan |
Nobody with a Good Script Needs to Be Justified |
2011 |
Cinema Journal |
TV; Writing; |
50.2 |
153-159 |
|
|
|
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 |
|
|
|
Newcomb, Horace |
Studying Television: Same Questions, Different Contexts |
2005 |
Cinema Journal |
TV; TV Studies; |
45.1 |
107-111 |
|
|
|
Negra, Diane; Lagerwey, Jorie; |
AnalyzingHomeland: Introduction |
2015 |
Cinema Journal |
Homeland; |
54.4 |
126-131 |
|
|
|
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 |
|
|
|
Moseley, Rachel; Wheatley, Helen; |
Is Archiving a Feminist Issue? Historical Research and the Past, Present, and Future of Television Studies |
2008 |
Cinema Journal |
TV; TV Studies; |
47.3 |
152-158 |
|
|
|
Moore, Candace |
Having It All Ways: The Tourist, the Traveler, and the Local inThe L Word |
2007 |
Cinema Journal |
The L Word; Gender studies; Lesbian studies; |
46.4 |
mar-22 |
|
|
|
Mittell, Jason |
Narrative Complexity in Contemporary American Television |
2006 |
The Velvet Light Trap |
Narrative; Complexity; TV Series; |
58 |
29-40 |
|
|
|
Mittell, Jason |
A Cultural Approach to Television Genre Theory |
2001 |
Cinema Journal |
TV; Genre; Cultural Studies; |
40.3 |
mar-24 |
|
|
|
Miller, Toby |
Turn Off TV Studies! |
2005 |
Cinema Journal |
TV; TV Studies; |
45.1 |
98-101 |
|
|
|
Maitra, Ani |
Why Isn't Michelle Lopez onJudge Judy? Citizenship and Televisuality in Hima B.'sAnd I Do Survive |
2010 |
Camera Obscura |
And I Do Survive; Citizenship; |
74 (25.2) |
183-195 |
|
|
|
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 |
|
