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Burns, C.L., 2000. Erasure: Alienation, Paranoia, and the Loss of Memory inThe X-Files, Camera Obscura, 45 (15.3), p. 194–219.
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Dominguez, P., 2015. “I'm Very Rich, Bitch!”: The Melodramatic Money Shot and the Excess of Racialized Gendered Affect in theReal HousewivesDocusoaps, Camera Obscura, 88 (30.1), p. 155–183.
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Hendershot, H., 2006. The Good, the Bad, and the Ugly: FromBuffy the Vampire SlayertoDr. 90210, Camera Obscura, 61 (21.1), p. 47–51.
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Nakamura, L., 2009. Interfaces of Identity: Oriental Traitors and Telematic Profiling in24, Camera Obscura, 70 (24.1), p. 109–133.
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Thompson, E., 2007. Comedy Verit_? The Observational Documentary Meets the Televisual Sitcom, The Velvet Light Trap, 60, p. 63–72.
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Wlodarz, J., 2005. Maximum Insecurity: Genre Trouble and Closet Erotics in and out of HBO'sOz, Camera Obscura, 58 (20.1), p. 59–105.
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