|
Author |
Title |
Year |
Publication |
Keywords |
Volume |
Pages |
Links |
|
Richards, Jill |
Berlin Alexanderplatz's Serial Women |
2013 |
Camera Obscura |
Berlin Alexanderplatz; Female Characters; |
84 (28.3) |
mar-84 |
|
|
Kustritz, Anne |
Breeding Unity:Battlestar Galactica's Biracial Reproductive Futurity |
2012 |
Camera Obscura |
Battlestar Galactica; Race; Reproduction; |
81 (27.3) |
gen-37 |
|
|
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 |
|
|
Ryan, Marie Laurie |
Transmedial Storytelling and Transfictionality |
2012 |
Poetics Today |
Storytelling; Transmediality; |
34:03:00 |
361-388 |
|
|
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 |
|
|
Klastrup, Lisbeth; Tosca, Susana; |
Transmedial Worlds: Rethinking Cyberworld Design |
2004 |
Proceedings CW '04 |
Cyberworlds; Transmediality; |
|
409-416 |
|
|
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 |
|
|
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 |
|
|
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 |
|
|
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 |
|
|
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 |
|
|
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 |
|
|
Szostak, Sylwia |
Imitation, Borrowing, Recycling. American Models and Polish Domestic Drama |
2012 |
Cinéma & Cie. |
Transnationalism; Poland; |
XII/19 |
73-92 |
|
|
Pekman, Cem; Tüzün, Selin; |
Turkish Television Dramas: The Economy and Beyond |
2012 |
Cinéma & Cie. |
Television Drama; Economy; Turkey; |
XII/19 |
93-104 |
|
|
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 |
|
|
Boisvert, Stéfany |
La Notion de qualité télévisuelle dans la production fictionelle britannique |
2012 |
Cinéma & Cie. |
Quality TV; UK |
XII/19 |
51-60 |
|
|
Tralli, Lucia |
There's Nothing Like an English Summer, Is There? Except and English Winter. Downton Abbey, A British Cult TV Series and Its Fandom |
2012 |
Cinéma & Cie. |
Downton Abbey; Fandom Studies; |
XII/19 |
61-72 |
|
|
Agger, Gunhild |
Nordic Noir on Television:The Killing I-III |
2012 |
Cinéma & Cie. |
Nordic Noir; Production; Scandinavia; 2000- |
XII/19 |
39-50 |
|
|
Innocenti, Veronica |
Introduction |
2012 |
Cinéma & Cie. |
TV series; Europe; 2000- |
XII/19 |
9-14 |
|
|
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 |
|