| Author |
Title |
Year |
Publication |
Keywords  |
Volume |
Pages |
| Bevan, Alex |
The National Body, Women, and Mental Health in Homeland |
2015 |
Cinema Journal |
Homeland; Gender Studies |
54.4 |
145-151 |
| Castonguay, James |
Fictions of Terror: Complexity, Complicity and Insecurity inHomeland |
2015 |
Cinema Journal |
Homeland; Terror TV; |
54.4 |
139-145 |
| De Rosa, Miriam |
To Look, To Wander: Cinema in Installations |
2008 |
Cinéma & Cie. |
Installations; |
11 |
31-40 |
| Johnson, Derek |
Cinematic Destiny: Marvel Studios and the Trade Stories of Industrial Convergence |
2012 |
Cinema Journal |
Marvel; Cinema; |
52.1 |
gen-24 |
| Kompare, Derek |
Remapping Media and Media Studies |
2008 |
The Velvet Light Trap |
Media; |
62 |
70-71 |
| Hay, James |
Outside Media: Toward a Study of Watching Ourselves through Mobile Media |
2008 |
The Velvet Light Trap |
Mobile Media; |
62 |
66-68 |
| 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 |
| Mittell, Jason |
Narrative Complexity in Contemporary American Television |
2006 |
The Velvet Light Trap |
Narrative; Complexity; TV Series; |
58 |
29-40 |
| 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 |
| Agger, Gunhild |
Nordic Noir on Television:The Killing I-III |
2012 |
Cinéma & Cie. |
Nordic Noir; Production; Scandinavia; 2000- |
XII/19 |
39-50 |
| 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 |
| Liu, Linda |
Occult Anxieties and the Recessionary Imainary in theParanormal ActivityFranchise |
2015 |
Camera Obscura |
Paranormal Activity; Economy; Anxiety; |
90 (30.3) |
61-91 |
| Boisvert, Stéfany |
La Notion de qualité télévisuelle dans la production fictionelle britannique |
2012 |
Cinéma & Cie. |
Quality TV; UK |
XII/19 |
51-60 |
| Valentini, Paola |
Whodonit? Rai TV Fiction Production Between Detection andGiallo |
2012 |
Cinéma & Cie. |
Rai Fiction; Genre; Production; Italy; |
XII/19 |
25-38 |
| Joyrich, Lynne; Kavka, Misha; Weber, Brenda R. |
Project Reality TV: Preshow Special |
2015 |
Camera Obscura |
Reality TV; Feminist Theory; |
88 (30.1) |
01-set |
| 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 |
| Kavka, Misha |
Sex on the Shore: Care and the Ethics of License in Jersey Shore |
2015 |
Camera Obscura |
Reality TV; Jersey Shore; Ethics; Sexuality; |
88 (30.1) |
101-127 |
| Litwack, Michael |
Making Television Live: Mediating Biopolitics in Obesity Programming |
2015 |
Camera Obscura |
Reality TV; Obesity programming; Biopolitic; |
88 (30.1) |
41-69 |
| 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 |
| Feuer, Jane |
“Quality” Reality and the Bravo Media Reality Series |
2015 |
Camera Obscura |
Reality TV; Quality TV; |
88 (30.1) |
185-195 |
