| |
Author |
Title  |
Year |
Publication |
Keywords |
Volume |
Pages |
Links |
|
|
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 |
|
|
|
Steenberg, Lindsay; Tasker, Yvonne; |
“Pledge Allegiance”: Gendered Surveillance, Crime Television, andHomeland |
2015 |
Cinema Journal |
Homeland; Crime TV; Gender Studies; |
54.4 |
132-138 |
|
|
|
Feuer, Jane |
“Quality” Reality and the Bravo Media Reality Series |
2015 |
Camera Obscura |
Reality TV; Quality TV; |
88 (30.1) |
185-195 |
|
|
|
Holdsworth, Amy |
"Television Resurrections: Television and Memory |
2008 |
Cinema Journal |
TV; TV Studies; |
47.3 |
137-144 |
|
|
|
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 |
|
|
|
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 |
|
|
|
Mittell, Jason |
A Cultural Approach to Television Genre Theory |
2001 |
Cinema Journal |
TV; Genre; Cultural Studies; |
40.3 |
mar-24 |
|
|
|
Negra, Diane; Lagerwey, Jorie; |
AnalyzingHomeland: Introduction |
2015 |
Cinema Journal |
Homeland; |
54.4 |
126-131 |
|
|
|
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 |
|
|
|
Ieppert, Alice |
Can I Please Give You Some Advice?Cluelessand the Teen Makeover |
2014 |
Cinema Journal |
Clueless; Teen Studies; |
53.3 |
131-137 |
|
|
|
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 |
|
|
|
Johnson, Derek |
Cinematic Destiny: Marvel Studios and the Trade Stories of Industrial Convergence |
2012 |
Cinema Journal |
Marvel; Cinema; |
52.1 |
gen-24 |
|
|
|
Aslinger, Ben |
Clueless about Listening Formations? |
2014 |
Cinema Journal |
Clueless; Audience; |
53.3 |
126-131 |
|
|
|
Thompson, Ethan |
Comedy Verit_? The Observational Documentary Meets the Televisual Sitcom |
2007 |
The Velvet Light Trap |
Television Comedies; Arrested Development; Curb Your Enthusiasm; |
60 |
63-72 |
|
|
|
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 |
|
|
|
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 |
|
|
|
Wood, Helen; Taylor, Lisa; |
Feeling Sentimental about Television and Audiences |
2008 |
Cinema Journal |
TV; TV Studies; |
47.3 |
144-151 |
|
|
|
Castonguay, James |
Fictions of Terror: Complexity, Complicity and Insecurity inHomeland |
2015 |
Cinema Journal |
Homeland; Terror TV; |
54.4 |
139-145 |
|
|
|
Kompare, Derek |
Filling the Box: Television in Higher Education |
2011 |
Cinema Journal |
TV; Teaching TV; |
50.4 |
161-165 |
|
