Author  |
Title |
Year |
Publication |
Keywords |
Volume |
Pages |
| 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 |
| 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 |
| 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 |
| 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 |
| 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 |
| Pekman, Cem; Tüzün, Selin; |
Turkish Television Dramas: The Economy and Beyond |
2012 |
Cinéma & Cie. |
Television Drama; Economy; Turkey; |
XII/19 |
93-104 |
| Perren, Alisa |
In Conversation: Creativity in the Contemporary Cable Industry |
2011 |
Cinema Journal |
TV; Creativity; |
50.2 |
132-138 |
| Richards, Jill |
Berlin Alexanderplatz's Serial Women |
2013 |
Camera Obscura |
Berlin Alexanderplatz; Female Characters; |
84 (28.3) |
mar-84 |
| Ross, Sharon Marie |
Introduction: Writing and Producing TV in the Post-Network Era |
2011 |
Cinema Journal |
TV; Production; |
50.2 |
128-131 |
| Ryan, Marie Laurie |
Transmedial Storytelling and Transfictionality |
2012 |
Poetics Today |
Storytelling; Transmediality; |
34:03:00 |
361-388 |
| Schneider, Alexandra |
The Cinema Is the Theater, the School and the Newspaper of Tomorrow>>: Writing the History of Cinema's Mobility |
2008 |
Cinéma & Cie. |
Cinema; History; |
11 |
57-64 |
| Scolari, Carlos A. |
Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production |
2009 |
International Journal of Communication |
Storytelling; Transmediality; Branding; |
3 |
586-606 |
| Shapiro, Stephen |
Homeland's Crisis of Middle-Class Transformation |
2015 |
Cinema Journal |
Homeland; |
54.4 |
152-158 |
| 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 |
| Spigel, Lynn |
TV's Next Season? |
2005 |
Cinema Journal |
TV; TV Studies; |
45.1 |
83-90 |
| Steenberg, Lindsay; Tasker, Yvonne; |
“Pledge Allegiance”: Gendered Surveillance, Crime Television, andHomeland |
2015 |
Cinema Journal |
Homeland; Crime TV; Gender Studies; |
54.4 |
132-138 |
| Stenger, Josh |
The Clothes Make the Fan: Fashion and Online Fandom whenBufy the Vampire SlayerGoes to eBay |
2006 |
Cinema Journal |
Buffy the Vampire Slayer; Costumes; Fandom Studies; |
45.4 |
26-44 |
| Szostak, Sylwia |
Imitation, Borrowing, Recycling. American Models and Polish Domestic Drama |
2012 |
Cinéma & Cie. |
Transnationalism; Poland; |
XII/19 |
73-92 |
| Tasker, Yvonne |
Television Crime Drama and Homeland Security: FromLaw & Orderto “Terror TV” |
2012 |
Cinema Journal |
TV; Terror TV; |
51.4 |
44-65 |
