Derek Kompare. Remapping Media and Media Studies. The Velvet Light Trap, 62: 70-71, 2008.
@article{kompare2008remapping,
title={Remapping Media and Media Studies},
author={Kompare, Derek},
journal={The Velvet Light Trap},
year={2008},
volume={62},
pages={70-71}
}James Hay. Outside Media: Toward a Study of Watching Ourselves through Mobile Media. The Velvet Light Trap, 62: 66-68, 2008.
@article{hay2008outside,
title={Outside Media: Toward a Study of Watching Ourselves through Mobile Media},
author={Hay, James},
journal={The Velvet Light Trap},
year={2008},
volume={62},
pages={66-68}
}Nitin Govil. Where Did the Televisions Go?. The Velvet Light Trap, 62: 65-66, 2008.
@article{govil2008televisions,
title={Where Did the Televisions Go?},
author={Govil, Nitin},
journal={The Velvet Light Trap},
year={2008},
volume={62},
pages={65-66}
}Ethan Thompson. Comedy Verité? The Observational Documentary Meets the Televisual Sitcom. The Velvet Light Trap, 60: 63-72, 2007.
@article{thompson2007comedy,
title={Comedy Verité? The Observational Documentary Meets the Televisual Sitcom},
author={Thompson, Ethan},
journal={The Velvet Light Trap},
year={2007},
volume={60},
pages={63-72}
}Jason Mittel. Narrative Complexity in Contemporary American Television. The Velvet Light Trap, 58: 29-40, 2006.
@article{mittel2006narrative,
title={Narrative Complexity in Contemporary American Television},
author={Mittel, Jason},
journal={The Velvet Light Trap},
year={2006},
volume={58},
pages={29-40}
}Michael Z. Newman. From Beats to Arcs: Toward a Poetics of Television Narrative. The Velvet Light Trap, 58: 16-28, 2006.
@article{newman2006beats,
title={From Beats to Arcs: Toward a Poetics of Television Narrative},
author={Newman, Michael Z.},
journal={The Velvet Light Trap},
year={2006},
volume={58},
pages={16-28}
}Stephen Shapiro. Homeland's Crisis of Middle-Class Transformation. Cinema Journal, 54.4: 152-158, 2015.
@article{shapiro2015homeland's,
title={Homeland's Crisis of Middle-Class Transformation},
author={Shapiro, Stephen},
journal={Cinema Journal},
year={2015},
volume={54.4},
pages={152-158}
}Alex Bevan. The National Body, Women, and Mental Health in Homeland. Cinema Journal, 54.4: 145-151, 2015.
@article{bevan2015national,
title={The National Body, Women, and Mental Health in Homeland},
author={Bevan, Alex},
journal={Cinema Journal},
year={2015},
volume={54.4},
pages={145-151}
}James Castonguay. Fictions of Terror: Complexity, Complicity and Insecurity in Homeland. Cinema Journal, 54.4: 139-145, 2015.
@article{castonguay2015fictions,
title={Fictions of Terror: Complexity, Complicity and Insecurity in Homeland},
author={Castonguay, James},
journal={Cinema Journal},
year={2015},
volume={54.4},
pages={139-145}
}Jeremy Butler. Statistical Analysis of Television Style: What Can Numbers Tell Us about TV Editing?. Cinema Journal, 54.1: 25-44, 2014.
@article{butler2014statistical,
title={Statistical Analysis of Television Style: What Can Numbers Tell Us about TV Editing?},
author={Butler, Jeremy},
journal={Cinema Journal},
year={2014},
volume={54.1},
pages={25-44}
}Diane Negra, Jorie Lagerwey. analyzing Homeland: Introduction. Cinema Journal, 54.4: 126-131, 2015.
@article{negra2015analyzing,
title={analyzing Homeland: Introduction},
author={Negra, Diane and Lagerwey, Jorie},
journal={Cinema Journal},
year={2015},
volume={54.4},
pages={126-131}
}Lindsay Steenberg, Yvonne Tasker. ’Pledge Allegiance’: Gendered Surveillance, Crime Television, and Homeland. Cinema Journal, 54.4: 132-138, 2015.
@article{steenberg2015’pledge,
title={’Pledge Allegiance’: Gendered Surveillance, Crime Television, and Homeland},
author={Steenberg, Lindsay and Tasker, Yvonne},
journal={Cinema Journal},
year={2015},
volume={54.4},
pages={132-138}
}Kyra Hunting. Furiously Franchised: Clueless, Convergence Culture, and the Female-Focused Franchise. Cinema Journal, 53.3: 145-151, 2014.
@article{hunting2014furiously,
title={Furiously Franchised: Clueless, Convergence Culture, and the Female-Focused Franchise},
author={Hunting, Kyra},
journal={Cinema Journal},
year={2014},
volume={53.3},
pages={145-151}
}Jennifer O'Meara. ’We've Got to Work on Your Accent and Vocabulary’: Characterization through Verbal Style in Clueless. Cinema Journal, 53.3: 138-145, 2014.
@article{o'meara2014’we've,
title={’We've Got to Work on Your Accent and Vocabulary’: Characterization through Verbal Style in Clueless},
author={O'Meara, Jennifer},
journal={Cinema Journal},
year={2014},
volume={53.3},
pages={138-145}
}Alice Ieppert. Can I Please Give You Some Advice? Cluelessand the Teen Makeover. Cinema Journal, 53.3: 131-137, 2014.
@article{ieppert2014can,
title={Can I Please Give You Some Advice? Cluelessand the Teen Makeover},
author={Ieppert, Alice},
journal={Cinema Journal},
year={2014},
volume={53.3},
pages={131-137}
}Ben Aslinger. Clueless about Listening Formations?. Cinema Journal, 53.3: 126-131, 2014.
@article{aslinger2014clueless,
title={Clueless about Listening Formations?},
author={Aslinger, Ben},
journal={Cinema Journal},
year={2014},
volume={53.3},
pages={126-131}
}Melissa Lenos. Introduction: Clueless. Cinema Journal, 53.3: 123-126, 2014.
@article{lenos2014introduction,
title={Introduction: Clueless},
author={Lenos, Melissa},
journal={Cinema Journal},
year={2014},
volume={53.3},
pages={123-126}
}Lynne Joyrich. Queer Television Studies: Currents, Flows, and (Main)streams. Cinema Journal, 53.2: 133-139, 2014.
@article{joyrich2014queer,
title={Queer Television Studies: Currents, Flows, and (Main)streams},
author={Joyrich, Lynne},
journal={Cinema Journal},
year={2014},
volume={53.2},
pages={133-139}
}Derek Johnson. Cinematic Destiny: Marvel Studios and the Trade Stories of Industrial Convergence. Cinema Journal, 52.1: 1-24, 2012.
@article{johnson2012cinematic,
title={Cinematic Destiny: Marvel Studios and the Trade Stories of Industrial Convergence},
author={Johnson, Derek},
journal={Cinema Journal},
year={2012},
volume={52.1},
pages={1-24}
}Yvonne Tasker. Television Crime Drama and Homeland Security: From Law & Order to ‘Terror TV’. Cinema Journal, 51.4: 44-65, 2012.
@article{tasker2012television,
title={Television Crime Drama and Homeland Security: From Law \& Order to ‘Terror TV’},
author={Tasker, Yvonne},
journal={Cinema Journal},
year={2012},
volume={51.4},
pages={44-65}
}Elana Levine. Teaching the Politics of Television Culture in a ‘Post-Television’ Era. Cinema Journal, 50.4: 177-182, 2011.
@article{levine2011teaching,
title={Teaching the Politics of Television Culture in a ‘Post-Television’ Era},
author={Levine, Elana},
journal={Cinema Journal},
year={2011},
volume={50.4},
pages={177-182}
}Jonathan Nichols-Pethick. Going with the Flow: On the Value of Randomness, Flexibility, and Getting Students In on the Conversation, or What I learned from Antoine Dodson. Cinema Journal, 50.4: 182-187, 2011.
@article{nichols-pethick2011going,
title={Going with the Flow: On the Value of Randomness, Flexibility, and Getting Students In on the Conversation, or What I learned from Antoine Dodson},
author={Nichols-Pethick, Jonathan},
journal={Cinema Journal},
year={2011},
volume={50.4},
pages={182-187}
}Timothy Havens. Teaching the Lone Television Studies Graduate Seminar. Cinema Journal, 50.4: 172-177, 2011.
@article{havens2011teaching,
title={Teaching the Lone Television Studies Graduate Seminar},
author={Havens, Timothy},
journal={Cinema Journal},
year={2011},
volume={50.4},
pages={172-177}
}Jon Kraszewski. Hybridity, History, and the Identity of the Television Studies Teacher. Cinema Journal, 50.4: 166-172, 2011.
@article{kraszewski2011hybridity,,
title={Hybridity, History, and the Identity of the Television Studies Teacher},
author={Kraszewski, Jon},
journal={Cinema Journal},
year={2011},
volume={50.4},
pages={166-172}
}Derek Kompare. Filling the Box: Television in Higher Education. Cinema Journal, 50.4: 161-165, 2011.
@article{kompare2011filling,
title={Filling the Box: Television in Higher Education},
author={Kompare, Derek},
journal={Cinema Journal},
year={2011},
volume={50.4},
pages={161-165}
}Serra Tinic. Introduction: Teaching Television in a Postnetwork Era. Cinema Journal, 50.4: 157-160, 2011.
@article{tinic2011introduction,
title={Introduction: Teaching Television in a Postnetwork Era},
author={Tinic, Serra},
journal={Cinema Journal},
year={2011},
volume={50.4},
pages={157-160}
}Lindsay H. Garrison. Defining Television Excellence ‘On Its Own Terms’. The Peabody Award and Negotiating Discourses of Quality. Cinema Journal, 50.2: 160-165, 2011.
@article{garrison2011defining,
title={Defining Television Excellence ‘On Its Own Terms’. The Peabody Award and Negotiating Discourses of Quality},
author={Garrison, Lindsay H.},
journal={Cinema Journal},
year={2011},
volume={50.2},
pages={160-165}
}Jonathan Nichols-Pethick. Nobody with a Good Script Needs to Be Justified. Cinema Journal, 50.2: 153-159, 2011.
@article{nichols-pethick2011nobody,
title={Nobody with a Good Script Needs to Be Justified},
author={Nichols-Pethick, Jonathan},
journal={Cinema Journal},
year={2011},
volume={50.2},
pages={153-159}
}Felicia D. Henderson. The Culture Behind Closed Doors: Issues of Gender and Race in the Writer's Room. Cinema Journal, 50.2: 145-152, 2011.
@article{henderson2011culture,
title={The Culture Behind Closed Doors: Issues of Gender and Race in the Writer's Room},
author={Henderson, Felicia D.},
journal={Cinema Journal},
year={2011},
volume={50.2},
pages={145-152}
}Kelly Kessler. They Should Suffer Like the Rest of Us: Queer Equality in Narrative Mediocrity. Cinema Journal, 50.2: 139-144, 2011.
@article{kessler2011suffer,
title={They Should Suffer Like the Rest of Us: Queer Equality in Narrative Mediocrity},
author={Kessler, Kelly},
journal={Cinema Journal},
year={2011},
volume={50.2},
pages={139-144}
}Alisa Perren. In Conversation: Creativity in the Contemporary Cable Industry. Cinema Journal, 50.2: 132-138, 2011.
@article{perren2011conversation,
title={In Conversation: Creativity in the Contemporary Cable Industry},
author={Perren, Alisa},
journal={Cinema Journal},
year={2011},
volume={50.2},
pages={132-138}
}Sharon Marie Ross. Introduction: Writing and Producing TV in the Post-Network Era. Cinema Journal, 50.2: 128-131, 2011.
@article{ross2011introduction,
title={Introduction: Writing and Producing TV in the Post-Network Era},
author={Ross, Sharon Marie},
journal={Cinema Journal},
year={2011},
volume={50.2},
pages={128-131}
}James Bennett. Television Studies Goes Digital. Cinema Journal, 47.3: 158-165, 2008.
@article{bennett2008television,
title={Television Studies Goes Digital},
author={Bennett, James},
journal={Cinema Journal},
year={2008},
volume={47.3},
pages={158-165}
}Rachel Moseley, Helen Wheatley. Is Archiving a Feminist Issue? Historical Research and the Past, Present, and Future of Television Studies. Cinema Journal, 47.3: 152-158, 2008.
@article{moseley2008archiving,
title={Is Archiving a Feminist Issue? Historical Research and the Past, Present, and Future of Television Studies},
author={Moseley, Rachel and Wheatley, Helen},
journal={Cinema Journal},
year={2008},
volume={47.3},
pages={152-158}
}Helen Wood, Lisa Taylor. Feeling Sentimental about Television and Audiences. Cinema Journal, 47.3: 144-151, 2008.
@article{wood2008feeling,
title={Feeling Sentimental about Television and Audiences},
author={Wood, Helen and Taylor, Lisa},
journal={Cinema Journal},
year={2008},
volume={47.3},
pages={144-151}
}Charlotte Brundson. Is Television Studies History?. Cinema Journal, 47.3: 127-137, 2008.
@article{brundson2008television,
title={Is Television Studies History?},
author={Brundson, Charlotte},
journal={Cinema Journal},
year={2008},
volume={47.3},
pages={127-137}
}Charlotte Brundson. Introduction - In Focus: The Place of Television Studies: A View from the British Midlands. Cinema Journal, 47.3: 122-127, 2008.
@article{brundson2008introduction,
title={Introduction - In Focus: The Place of Television Studies: A View from the British Midlands},
author={Brundson, Charlotte},
journal={Cinema Journal},
year={2008},
volume={47.3},
pages={122-127}
}Amy Holdsworth. Television Resurrections: Television and Memory. Cinema Journal, 47.3: 137-144, 2008.
@article{holdsworth2008television,
title={Television Resurrections: Television and Memory},
author={Holdsworth, Amy},
journal={Cinema Journal},
year={2008},
volume={47.3},
pages={137-144}
}Candace Moore. Having It All Ways: The Tourist, the Traveler, and the Local in The L Word. Cinema Journal, 46.4: 3-22, 2007.
@article{moore2007ways,
title={Having It All Ways: The Tourist, the Traveler, and the Local in The L Word},
author={Moore, Candace},
journal={Cinema Journal},
year={2007},
volume={46.4},
pages={3-22}
}Josh Stenger. The Clothes Make the Fan: Fashion and Online Fandom when Buffy the Vampire Slayer Goes to eBay. Cinema Journal, 45.4: 26-44, 2006.
@article{stenger2006clothes,
title={The Clothes Make the Fan: Fashion and Online Fandom when Buffy the Vampire Slayer Goes to eBay},
author={Stenger, Josh},
journal={Cinema Journal},
year={2006},
volume={45.4},
pages={26-44}
}Michele Hilmes. The Bad Object: Television in the American Academy. Cinema Journal, 45.1: 111-116, 2005.
@article{hilmes2005bad,
title={The Bad Object: Television in the American Academy},
author={Hilmes, Michele},
journal={Cinema Journal},
year={2005},
volume={45.1},
pages={111-116}
}Horace Newcomb. Studying Television: Same Questions, Different Contexts. Cinema Journal, 45.1: 107-111, 2005.
@article{newcomb2005studying,
title={Studying Television: Same Questions, Different Contexts},
author={Newcomb, Horace},
journal={Cinema Journal},
year={2005},
volume={45.1},
pages={107-111}
}John Hartley. Is Screen Studies a Load of Old Cobblers? And If So, Is That Good?. Cinema Journal, 45.1: 101-106, 2005.
@article{hartley2005screen,
title={Is Screen Studies a Load of Old Cobblers? And If So, Is That Good?},
author={Hartley, John},
journal={Cinema Journal},
year={2005},
volume={45.1},
pages={101-106}
}Toby Miller. Turn Off TV Studies!. Cinema Journal, 45.1: 98-101, 2005.
@article{miller2005turn,
title={Turn Off TV Studies!},
author={Miller, Toby},
journal={Cinema Journal},
year={2005},
volume={45.1},
pages={98-101}
}John Thornton Caldwell. Welcome to the Viral Future of Cinema (Television). Cinema Journal, 45.1: 90-97, 2005.
@article{caldwell2005welcome,
title={Welcome to the Viral Future of Cinema (Television)},
author={Caldwell, John Thornton},
journal={Cinema Journal},
year={2005},
volume={45.1},
pages={90-97}
}Lynn Spigel. TV's Next Season?. Cinema Journal, 45.1: 83-90, 2005.
@article{spigel2005tv's,
title={TV's Next Season?},
author={Spigel, Lynn},
journal={Cinema Journal},
year={2005},
volume={45.1},
pages={83-90}
}William Boddy. In Focus: The Place of Television Studies. Cinema Journal, 45.1: 79-82, 2005.
@article{boddy2005focus,
title={In Focus: The Place of Television Studies},
author={Boddy, William},
journal={Cinema Journal},
year={2005},
volume={45.1},
pages={79-82}
}Shujen Wang. Recontextualizing Copyright: Piracy, Hollywood, the State, and Globalization. Cinema Journal, 43.1: 25-43, 2003.
@article{wang2003recontextualizing,
title={Recontextualizing Copyright: Piracy, Hollywood, the State, and Globalization},
author={Wang, Shujen},
journal={Cinema Journal},
year={2003},
volume={43.1},
pages={25-43}
}Jason Mittell. A Cultural Approach to Television Genre Theory. Cinema Journal, 40.3: 3-24, 2001.
@article{mittell2001cultural,
title={A Cultural Approach to Television Genre Theory},
author={Mittell, Jason},
journal={Cinema Journal},
year={2001},
volume={40.3},
pages={3-24}
}Sheldon Lu. Soap Opera in China: The Transnational Politics of Visuality, Sexuality, and Masculinity. Cinema Journal, 40.1: 25-47, 2000.
@article{lu2000soap,
title={Soap Opera in China: The Transnational Politics of Visuality, Sexuality, and Masculinity},
author={Lu, Sheldon},
journal={Cinema Journal},
year={2000},
volume={40.1},
pages={25-47}
}Linda Liu. Occult Anxieties and the Recessionary Imaginary in the Paranormal Activity Franchise. Camera Obscura, 90 (30.3): 61-91, 2015.
@article{liu2015occult,
title={Occult Anxieties and the Recessionary Imaginary in the Paranormal Activity Franchise},
author={Liu, Linda},
journal={Camera Obscura},
year={2015},
volume={90 (30.3)},
pages={61-91}
}Pier Dominguez. ’I'm Very Rich, Bitch!’: The Melodramatic Money Shot and the Excess of Racialized Gendered Affect in the Real Housewives Docusoaps. Camera Obscura, 88 (30.1): 155-183, 2015.
@article{dominguez2015’i'm,
title={’I'm Very Rich, Bitch!’: The Melodramatic Money Shot and the Excess of Racialized Gendered Affect in the Real Housewives Docusoaps},
author={Dominguez, Pier},
journal={Camera Obscura},
year={2015},
volume={88 (30.1)},
pages={155-183}
}Jane Feuer. ’Quality’ Reality and the Bravo Media Reality Series. Camera Obscura, 88 (30.1): 185-195, 2015.
@article{feuer2015’quality’,
title={’Quality’ Reality and the Bravo Media Reality Series},
author={Feuer, Jane},
journal={Camera Obscura},
year={2015},
volume={88 (30.1)},
pages={185-195}
}Kristen J. Warner. The Gon' Think You Loud Regardless: Ratchetness, Reality Television, and Black Womanhood. Camera Obscura, 88 (30.1): 129-153, 2015.
@article{warner2015gon',
title={The Gon' Think You Loud Regardless: Ratchetness, Reality Television, and Black Womanhood},
author={Warner, Kristen J.},
journal={Camera Obscura},
year={2015},
volume={88 (30.1)},
pages={129-153}
}Misha Kavka. Sex on the Shore: Care and the Ethics of License in Jersey Shore. Camera Obscura, 88 (30.1): 101-127, 2015.
@article{kavka2015sex,
title={Sex on the Shore: Care and the Ethics of License in Jersey Shore},
author={Kavka, Misha},
journal={Camera Obscura},
year={2015},
volume={88 (30.1)},
pages={101-127}
}Hunter Hargraves. (TV) Junkies in Need of an Intervention: On Addictive Spectatorship and Recovery Television. Camera Obscura, 88 (30.1): 71-99, 2015.
@article{hargraves2015(tv),
title={(TV) Junkies in Need of an Intervention: On Addictive Spectatorship and Recovery Television},
author={Hargraves, Hunter},
journal={Camera Obscura},
year={2015},
volume={88 (30.1)},
pages={71-99}
}Jennifer Lynn Jones, Brenda R. Weber. Reality Moms, Real Monsters: Transmediated Continuity, Reality Celebrity, and the Female Grotesque. Camera Obscura, 88 (30.1): 11-39, 2015.
@article{lynn jones2015reality,
title={Reality Moms, Real Monsters: Transmediated Continuity, Reality Celebrity, and the Female Grotesque},
author={Lynn Jones, Jennifer and Weber, Brenda R.},
journal={Camera Obscura},
year={2015},
volume={88 (30.1)},
pages={11-39}
}Michael Litwack. Making Television Live: Mediating Biopolitics in Obesity Programming. Camera Obscura, 88 (30.1): 41-69, 2015.
@article{litwack2015making,
title={Making Television Live: Mediating Biopolitics in Obesity Programming},
author={Litwack, Michael},
journal={Camera Obscura},
year={2015},
volume={88 (30.1)},
pages={41-69}
}Lynne Joyrich, Misha Kavka, Brenda R. Weber. Project Reality TV: Preshow Special. Camera Obscura, 88 (30.1): 45536, 2015.
@article{joyrich2015project,
title={Project Reality TV: Preshow Special},
author={Joyrich, Lynne and Kavka, Misha and Weber, Brenda R.},
journal={Camera Obscura},
year={2015},
volume={88 (30.1)},
pages={45536}
}Alexia Smit. Care, Shame, and Intimacy: Reconsidering the Pleasures of Plastic Surgery Reality Television. Camera Obscura, 86 (29.2): 59-83, 2014.
@article{smit2014care,,
title={Care, Shame, and Intimacy: Reconsidering the Pleasures of Plastic Surgery Reality Television},
author={Smit, Alexia},
journal={Camera Obscura},
year={2014},
volume={86 (29.2)},
pages={59-83}
}Jill Richards. Berlin Alexanderplatz's Serial Women. Camera Obscura, 84 (28.3): 67-101, 2013.
@article{richards2013berlin,
title={Berlin Alexanderplatz's Serial Women},
author={Richards, Jill},
journal={Camera Obscura},
year={2013},
volume={84 (28.3)},
pages={67-101}
}Anne Kustritz. Breeding Unity: Battlestar Galactica's Biracial Reproductive Futurity. Camera Obscura, 81 (27.3): 1-37, 2012.
@article{kustritz2012breeding,
title={Breeding Unity: Battlestar Galactica's Biracial Reproductive Futurity},
author={Kustritz, Anne},
journal={Camera Obscura},
year={2012},
volume={81 (27.3)},
pages={1-37}
}Victor Fan. The Poetics of Addiction: Stardom, ‘Feminized’ Spectatorship, and Interregional Business Relations in the Twilight Series. Camera Obscura, 79 (27.1): 31-67, 2012.
@article{fan2012poetics,
title={The Poetics of Addiction: Stardom, ‘Feminized’ Spectatorship, and Interregional Business Relations in the Twilight Series},
author={Fan, Victor},
journal={Camera Obscura},
year={2012},
volume={79 (27.1)},
pages={31-67}
}Marie Laurie Ryan. Transmedial Storytelling and Transfictionality. Poetics Today, 1.41875: 361-388, 2012.
@article{ryan2012transmedial,
title={Transmedial Storytelling and Transfictionality},
author={Ryan, Marie Laurie},
journal={Poetics Today},
year={2012},
volume={1.41875},
pages={361-388}
}Carlos A. Scolari. Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production. International Journal of Communication, 3: 586-606, 2009.
@article{scolari2009transmedia,
title={Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production},
author={Scolari, Carlos A.},
journal={International Journal of Communication},
year={2009},
volume={3},
pages={586-606}
}Lisbeth Klastrup, Susana Tosca. Transmedial Worlds: Rethinking Cyberworld Design. Proceedings CW '04, nan: 409-416, 2004.
@article{klastrup2004transmedial,
title={Transmedial Worlds: Rethinking Cyberworld Design},
author={Klastrup, Lisbeth and Tosca, Susana},
journal={Proceedings CW '04},
year={2004},
volume={nan},
pages={409-416}
}Christy L. Burns. Erasure: Alienation, Paranoia, and the Loss of Memory in The X-Files. Camera Obscura, 45 (15.3): 194-219, 2000.
@article{burns2000erasure,
title={Erasure: Alienation, Paranoia, and the Loss of Memory in The X-Files},
author={Burns, Christy L.},
journal={Camera Obscura},
year={2000},
volume={45 (15.3)},
pages={194-219}
}Jow Wlodarz. Maximum Insecurity: Genre Trouble and Closet Erotics in and out of HBO's Oz. Camera Obscura, 58 (20.1): 59-105, 2005.
@article{wlodarz2005maximum,
title={Maximum Insecurity: Genre Trouble and Closet Erotics in and out of HBO's Oz},
author={Wlodarz, Jow},
journal={Camera Obscura},
year={2005},
volume={58 (20.1)},
pages={59-105}
}Heather Hendershot. The Good, the Bad, and the Ugly: from Buffy the Vampire Slayer to Dr. 90210. Camera Obscura, 61 (21.1): 47-51, 2006.
@article{hendershot2006good,,
title={The Good, the Bad, and the Ugly: from Buffy the Vampire Slayer to Dr. 90210},
author={Hendershot, Heather},
journal={Camera Obscura},
year={2006},
volume={61 (21.1)},
pages={47-51}
}Lisa Nakamura. Interfaces of Identity: Oriental Traitors and Telematic Profiling in24. Camera Obscura, 70 (24.1): 109-133, 2009.
@article{nakamura2009interfaces,
title={Interfaces of Identity: Oriental Traitors and Telematic Profiling in24},
author={Nakamura, Lisa},
journal={Camera Obscura},
year={2009},
volume={70 (24.1)},
pages={109-133}
}Ani Maitra. Why Isn't Michelle Lopez on Judge Judy? Citizenship and Televisuality in Hima B.'s And I Do Survive. Camera Obscura, 74 (25.2): 183-195, 2010.
@article{maitra2010michelle,
title={Why Isn't Michelle Lopez on Judge Judy? Citizenship and Televisuality in Hima B.'s And I Do Survive},
author={Maitra, Ani},
journal={Camera Obscura},
year={2010},
volume={74 (25.2)},
pages={183-195}
}Karen Orr Vered, John McConchie. The Politics of Third Way TV: Supernanny and the Commercialization of Public Service TV. Camera Obscura, 77 (26.2): 33-63, 2011.
@article{orr vered2011politics,
title={The Politics of Third Way TV: Supernanny and the Commercialization of Public Service TV},
author={Orr Vered, Karen and McConchie, John},
journal={Camera Obscura},
year={2011},
volume={77 (26.2)},
pages={33-63}
}Sylwia Szostak. Imitation, Borrowing, Recycling. American Models and Polish Domestic Drama. Cinéma & Cie., XII/19: 73-92, 2012.
@article{szostak2012imitation,,
title={Imitation, Borrowing, Recycling. American Models and Polish Domestic Drama},
author={Szostak, Sylwia},
journal={Cinéma \& Cie.},
year={2012},
volume={XII/19},
pages={73-92}
}Cem Pekman, Selin Tüzün. Turkish Television Dramas: The Economy and Beyond. Cinéma & Cie., XII/19: 93-104, 2012.
@article{pekman2012turkish,
title={Turkish Television Dramas: The Economy and Beyond},
author={Pekman, Cem and Tüzün, Selin},
journal={Cinéma \& Cie.},
year={2012},
volume={XII/19},
pages={93-104}
}Patricia Diego, María del Mar Grandío. The Production of TV Fiction Adaptations in Spain (1950-2012). Cinéma & Cie., XII/19: 105-116, 2012.
@article{diego2012production,
title={The Production of TV Fiction Adaptations in Spain (1950-2012)},
author={Diego, Patricia and del Mar Grandío, María},
journal={Cinéma \& Cie.},
year={2012},
volume={XII/19},
pages={105-116}
}Stéfany Boisvert. La Notion de qualité télévisuelle dans la production fictionelle britannique. Cinéma & Cie., XII/19: 51-60, 2012.
@article{boisvert2012la,
title={La Notion de qualité télévisuelle dans la production fictionelle britannique},
author={Boisvert, Stéfany},
journal={Cinéma \& Cie.},
year={2012},
volume={XII/19},
pages={51-60}
}Lucia Tralli. There's Nothing Like an English Summer, Is There? Except and English Winter. Downton Abbey, A British Cult TV Series, and Its Fandom. Cinéma & Cie., XII/19: 61-72, 2012.
@article{tralli2012nothing,
title={There's Nothing Like an English Summer, Is There? Except and English Winter. Downton Abbey, A British Cult TV Series, and Its Fandom},
author={Tralli, Lucia},
journal={Cinéma \& Cie.},
year={2012},
volume={XII/19},
pages={61-72}
}Gunhild Agger. Nordic Noir on Television: The Killing I-III. Cinéma & Cie., XII/19: 39-50, 2012.
@article{agger2012nordic,
title={Nordic Noir on Television: The Killing I-III},
author={Agger, Gunhild},
journal={Cinéma \& Cie.},
year={2012},
volume={XII/19},
pages={39-50}
}Veronica Innocenti. Introduction. Cinéma & Cie., XII/19: 9-14, 2012.
@article{innocenti2012introduction,
title={Introduction},
author={Innocenti, Veronica},
journal={Cinéma \& Cie.},
year={2012},
volume={XII/19},
pages={9-14}
}Bernard Papin. Nicolas Le Floch, un bon produit <<ö l'export>>? Réflections sur la diffusion et la réception internationale d'une série historique (très) française.... Cinéma & Cie., XII/19: 15-24, 2012.
@article{papin2012nicolas,
title={Nicolas Le Floch, un bon produit \<\<ö l'export\>\>? Réflections sur la diffusion et la réception internationale d'une série historique (très) française...},
author={Papin, Bernard},
journal={Cinéma \& Cie.},
year={2012},
volume={XII/19},
pages={15-24}
}Paola Valentini. Whodonit? Rai TV Fiction Production Between Detection and Giallo. Cinéma & Cie., XII/19: 25-38, 2012.
@article{valentini2012whodonit?,
title={Whodonit? Rai TV Fiction Production Between Detection and Giallo},
author={Valentini, Paola},
journal={Cinéma \& Cie.},
year={2012},
volume={XII/19},
pages={25-38}
}Nicola Dusi. Remaking as a Practice: Some Problems of Transmediality. Cinéma & Cie., XII/18: 115-130, 2012.
@article{dusi2012remaking,
title={Remaking as a Practice: Some Problems of Transmediality},
author={Dusi, Nicola},
journal={Cinéma \& Cie.},
year={2012},
volume={XII/18},
pages={115-130}
} The Light Brigade. The Filmic Experience: A Map. Cinéma & Cie., 11: 65-68, 2008.
@article{the light brigade2008filmic,
title={The Filmic Experience: A Map},
author={The Light Brigade},
journal={Cinéma \& Cie.},
year={2008},
volume={11},
pages={65-68}
}Alexandra Schneider. The Cinema Is the Theater, the School and the Newspaper of Tomorrow>>: Writing the History of Cinema's Mobility. Cinéma & Cie., 11: 57-64, 2008.
@article{schneider2008cinema,
title={The Cinema Is the Theater, the School and the Newspaper of Tomorrow\>\>: Writing the History of Cinema's Mobility},
author={Schneider, Alexandra},
journal={Cinéma \& Cie.},
year={2008},
volume={11},
pages={57-64}
}Francesco Casetti. The Last Supperin Piazza della Scala. Cinéma & Cie., 11: 41821, 2008.
@article{casetti2008last,
title={The Last Supperin Piazza della Scala},
author={Casetti, Francesco},
journal={Cinéma \& Cie.},
year={2008},
volume={11},
pages={41821}
}Malte Hagener. Where Is Cinema (Today)? The Cinema in the Age of Media Immanence. Cinéma & Cie., 11: 15-22, 2008.
@article{hagener2008cinema,
title={Where Is Cinema (Today)? The Cinema in the Age of Media Immanence},
author={Hagener, Malte},
journal={Cinéma \& Cie.},
year={2008},
volume={11},
pages={15-22}
}Sandra Leschi. Site Specific, Placeless. Reflections on the Relocation of Cinema onto Video. Cinéma & Cie., 11: 23-30, 2008.
@article{leschi2008site,
title={Site Specific, Placeless. Reflections on the Relocation of Cinema onto Video},
author={Leschi, Sandra},
journal={Cinéma \& Cie.},
year={2008},
volume={11},
pages={23-30}
}Miriam De Rosa. To Look, To Wander: Cinema in Installations. Cinéma & Cie., 11: 31-40, 2008.
@article{de rosa2008look,,
title={To Look, To Wander: Cinema in Installations},
author={De Rosa, Miriam},
journal={Cinéma \& Cie.},
year={2008},
volume={11},
pages={31-40}
}Adriano D'Aloia. Virtual Screens. The Relocation of Cinema in Second Life. Cinéma & Cie., 11: 49-56, 2008.
@article{d'aloia2008virtual,
title={Virtual Screens. The Relocation of Cinema in Second Life},
author={D'Aloia, Adriano},
journal={Cinéma \& Cie.},
year={2008},
volume={11},
pages={49-56}
}Cristina Tosatto. Re-Spatialization of Filmic Representation: Connected Spaces. Cinéma & Cie., 11: 41-48, 2008.
@article{tosatto2008re,
title={Re-Spatialization of Filmic Representation: Connected Spaces},
author={Tosatto, Cristina},
journal={Cinéma \& Cie.},
year={2008},
volume={11},
pages={41-48}
}