1
Balio T. The American film industry. The American film industry. Madison: University of Wisconsin Press 1985.
2
Elsaesser T, Barker A. Early cinema: space, frame, narrative. Early cinema: space, frame, narrative. London: BFI Publishing 1990:56–75.
3
Hill J, Gibson PC. The Oxford guide to film studies. The Oxford guide to film studies. Oxford: Oxford University Press 1998:255–71.
4
Thompson K, Bordwell D. Film history: an introduction. Film history: an introduction. New York, NY: McGraw-Hill Education 2019.
5
Balio T. The American film industry. The American film industry. Madison: University of Wisconsin Press 1985.
6
Elsaesser T, Barker A. Early cinema: space, frame, narrative. London: BFI Publishing 1990.
7
Izod J. Hollywood and the box office 1895-1986. Hollywood and the box office 1895-1986. New York: Columbia University Press 1988:1–6.
8
Gomery D. Shared pleasures: a history of movie presentation in the United States. Shared pleasures: a history of movie presentation in the United States. Madison, Wis: University of Wisconsin Press 1992:3–17.
9
Musser C. The emergence of cinema: the American screen to 1907. Berkeley: University of California Press 1994.
10
Chanan M. The dream that kicks: the prehistory and early years of cinema in Britain. 2nd ed. London: Routledge 1996.
11
Griffith DW. Broken blossoms. 2000.
12
Bordwell D, Staiger J, Thompson K. The classical Hollywood cinema: film style & mode of production to 1960. The classical Hollywood cinema: film style & mode of production to 1960. London: Routledge 1988.
13
Staiger J. Interpreting films: studies in the historical reception of American cinema. Interpreting films: studies in the historical reception of American cinema. Princeton, NJ: Princeton University Press 1992:101–23.
14
Thompson K, Bordwell D. Film history: an introduction. Film history: an introduction. New York, NY: McGraw-Hill Education 2019.
15
Gomery D. Shared pleasures: a history of movie presentation in the United States. Shared pleasures: a history of movie presentation in the United States. Madison, Wis: University of Wisconsin Press 1992:18–33.
16
Crosland A. The jazz singer. 2007.
17
Allen RC, Gomery D. Film history: theory and practice. Film history: theory and practice. New York: McGraw-Hill 1985:109–30.
18
Neale S. Cinema and technology: image, sound, colour. Cinema and technology: image, sound, colour. London: Macmillan Education 1985:61–76.
19
Neale S. Cinema and technology: image, sound, colour. London: Macmillan Education 1985.
20
Winston B. Technologies of seeing: photography, cinematography and television. London: British Film Institute 1996.
21
Altman R. Sound theory, sound practice. Sound theory, sound practice. New York: Routledge 1992:46–64.
22
Bordwell D, Staiger J, Thompson K. The classical Hollywood cinema: film style & mode of production to 1960. London: Routledge 1988.
23
Nichols B. Movies and methods: an anthology, Vol.2. Movies and methods: an anthology, Vol.2. Berkeley, CA: University of California Press 1985:83–92.
24
Balio T. The American film industry. The American film industry. Madison: University of Wisconsin Press 1985.
25
Nichols B. Movies and methods: an anthology, Vol.2. Movies and methods: an anthology, Vol.2. Berkeley, CA: University of California Press 1985:109–20.
26
Bordwell D, Staiger J, Thompson K. The classical Hollywood cinema: film style & mode of production to 1960. The classical Hollywood cinema: film style & mode of production to 1960. London: Routledge 1988.
27
Maltby R, Craven I. Hollywood cinema: an introduction. Hollywood cinema: an introduction. Oxford: Blackwell Publishers 1995:59–106.
28
King G. New Hollywood cinema: an introduction. London: I. B. Tauris 2002.
29
Neale S, Smith M. Contemporary Hollywood cinema. London: Routledge 1998.
30
Neale S, Smith M. Contemporary Hollywood cinema. Contemporary Hollywood cinema. London: Routledge 1998:21–44.
31
Cook P, Bernink M. The cinema book. The cinema book. London: British Film Institute 1999:19–22.
32
Gomery D. The Hollywood studio system: a history. The Hollywood studio system: a history. London: BFI 2005:11–26.
33
Schatz T. The genius of the system: Hollywood filmmaking in the studio era. London: Faber and Faber 1998.
34
Schatz T. Hollywood genres: formulas, filmmaking, and the studio system. New York: McGraw-Hill 1981.
35
Moran A. Film policy: international, national and regional perspectives. London: Routledge 1996.
36
Stringer J. Movie blockbusters. Movie blockbusters. London: Routledge 2003.
37
Lewis J. The new American cinema. The new American cinema. Durham: Duke University Press 1998:87–121.
38
Stringer J. Movie blockbusters. Movie blockbusters. London: Routledge 2003.
39
Prince S. A new pot of gold: Hollywood under the electronic rainbow, 1980-1989. A new pot of gold: Hollywood under the electronic rainbow, 1980-1989. Berkeley: University of California Press 2002:40–89.
40
Prince S. A new pot of gold: Hollywood under the electronic rainbow, 1980-1989. A new pot of gold: Hollywood under the electronic rainbow, 1980-1989. Berkeley: University of California Press 2002.
41
Wasko J. Hollywood in the information age: beyond the silver screen. Cambridge: Polity 1994.
42
Miller T. Global Hollywood. London: British Film Institute 2001.
43
De Santis G, Mangano S, Gassman V, et al. Riso amaro: Bitter rice. 2003.
44
Rossellini R, Amidei S, Fellini F, et al. Roma, cittá aperta. 2005.
45
Sica VD, Bartolini L. The bicycle thieves. 2009.
46
Visconti L, Cain JM. Ossessione. 2003.
47
De Sica V. Umberto D. 2004.
48
Bondanella PE, editor. The Italian cinema book. The Italian cinema book. London: BFI 2014:77–83.
49
Thompson K, Bordwell D. Film history: an introduction. Film history: an introduction. New York, NY: McGraw-Hill Education 2019.
50
Shiel M. Italian neorealism: rebuilding the cinematic city. London: Wallflower Press 2006.
51
Cook P. The cinema book. 3rd ed. London: British Film Institute 2007.
52
Bondanella PE. Italian cinema: from neorealism to the present. Italian cinema: from neorealism to the present. London: Continuum 2001:31–73.
53
Bondanella PE. Italian cinema: from neorealism to the present. Italian cinema: from neorealism to the present. London: Continuum 2001.
54
Marcus M. Italian film in the light of neorealism. Princeton, N.J.: Princeton University Press 1986.
55
Cardullo B. After neorealism: Italian filmmakers and their films : essays and interviews. Newcastle: Cambridge Scholars 2009.
56
Ruberto LE, Wilson KM. Italian neorealism and global cinema. Detroit: Wayne State University Press 2007.
57
Bazin A, Cardullo B. André Bazin and Italian neorealism. New York: Continuum 2011.
58
Geiger J, Rutsky RL. Film analysis: a Norton reader. Film analysis: a Norton reader. New York, N.Y.: W.W. Norton 2005:422–38.
59
Haggard P, Potter D, Trodd K, et al. Pennies from heaven. 2004.
60
Goodwin A, Whannel G. Understanding television. Understanding television. London: Routledge 1990:11–29.
61
Miller T. Television studies: the basics. Television studies: the basics. London: Routledge 2010:50–79.
62
Miller T. Television studies: the basics. London: Routledge 2010.
63
Caughie J. Television drama: realism, modernism, and British culture. Oxford: Oxford University Press 2000.
64
Geraghty C, Lusted D. The television studies book. London: Arnold 1998.
65
Hill J, British Film Institute. Ken Loach: the politics of film and television. London: Palgrave Macmillan 2011.
66
Holland P. The television handbook. The television handbook. London: Routledge 2000:9–26.
67
Allen RC. Channels of discourse, reassembled: television and contemporary criticism. Channels of discourse, reassembled: television and contemporary criticism. London: Routledge 1992:1–30.
68
Garnham N. Public Service versus the Market. Screen. 1983;24:6–27. doi: 10.1093/screen/24.1.6
69
Corner J. Critical ideas in television studies. Critical ideas in television studies. Oxford: Clarendon Press 1999:13–23.
70
Allen RC, Hill A. The television studies reader. The television studies reader. London: Routledge 2004:275–92.
71
Ellis J. Visible fictions: cinema, television, video. Rev. ed. London: Routledge 1992.
72
Taylor L, Willis A. Media studies: texts, institutions, and audiences. Oxford: Blackwell Publishers 1999.
73
Taylor L, Willis A. Media studies: texts, institutions, and audiences. Media studies: texts, institutions, and audiences. Oxford: Blackwell Publishers 1999:91–106.
74
Gandolfini J, Bracco L, Falco E, et al. The Sopranos: Complete HBO Season 1. 2007.
75
Butler JG. Television: critical methods and applications. Television: critical methods and applications. Mahwah, N.J.: Lawrence Erlbaum Associates 2007:3–19.
76
Turner G, Tay J. Television studies after TV: understanding television in the post-broadcast era. Television studies after TV: understanding television in the post-broadcast era. London: Routledge 2009:9–19.
77
Banet-Weiser S, Chris C, Freitas A. Cable visions: television beyond broadcasting. Cable visions: television beyond broadcasting. New York: New York University Press 2007.
78
Banet-Weiser S, Chris C, Freitas A. Cable visions: television beyond broadcasting. Cable visions: television beyond broadcasting. New York: New York University Press 2007.
79
Edgerton GR, Rose BG. Thinking outside the box: a contemporary television genre reader. Thinking outside the box: a contemporary television genre reader. Lexington, Ky: University Press of Kentucky 2005:226–46.
80
Bennett J, Strange N. Television as digital media. Durham, NC: Duke University Press 2011.
81
Caldwell JT. Televisuality: style, crisis, and authority in American television. New Jersey: Rutgers University Press 1995.
82
Banet-Weiser S, Chris C, Freitas A. Cable visions: television beyond broadcasting. New York: New York University Press 2007.
83
Bolter JD, Grusin RA. Remediation: understanding new media. Cambridge, Mass: MIT Press 1999.
84
Burgess J, Green J. YouTube: online video and participatory culture. Cambridge: Polity 2009.
85
Castells M. The rise of the network society. 2nd ed. Oxford: Blackwell Publishers 2000.
86
Christian AJ. The Problem of YouTube. Flow.
87
Gillespie T. The politics of ‘platforms’. New Media & Society. 2010;12:347–64. doi: 10.1177/1461444809342738
88
Boddy W. New media and popular imagination: launching radio, television, and digital media in the United States. Oxford: Oxford University Press 2004.
89
Gerbarg D, editor. Television goes digital. New York, NY, USA: Springer 2010.
90
Lotz AD. Beyond prime time: television programming in the post-network era. New York: Routledge 2009.
91
Trevorrow C. Jurassic World. 2015.
92
King G. Spectacular narratives: Hollywood in the age of the blockbuster. London: I.B. Tauris 2000.
93
King G. New Hollywood cinema: an introduction. New Hollywood cinema: an introduction. London: I. B. Tauris 2002.
94
Lewis J. The new American cinema. Durham: Duke University Press 1998.
95
Bordwell D. The way Hollywood tells it: story and style in modern movies. Berkeley, Calif: University of California Press 2006.
96
Whissel K, Duke University Press. Spectacular digital effects: CGI and contemporary cinema. Durham: Duke University Press 2014.
97
Purse L. Digital imaging in popular cinema. Digital imaging in popular cinema. Edinburgh: Edinburgh University Press 2013.
98
Purse L. Contemporary action cinema. Contemporary action cinema. Edinburgh: Edinburgh University Press 2011:21–36.
99
Prince S. Digital visual effects in cinema: the seduction of reality. New Brunswick, N.J.: Rutgers University Press 2012.
100
Anatomy of the Action Picture.
101
Langford B. Post-classical Hollywood: film industry, style and ideology since 1945. Post-classical Hollywood: film industry, style and ideology since 1945. Edinburgh: Edinburgh University Press 2010:244–54.
102
Keane S. CineTech: film, convergence and new media. CineTech: film, convergence and new media. Basingstoke [England]: Palgrave Macmillan 2007:56–75.
103
Elsaesser T, Buckland W. Studying contemporary American film: a guide to movie analysis. Studying contemporary American film: a guide to movie analysis. London: Hodder Education 2002:26–79.
104
Keating P. Emotional Curves and Linear Narratives. The velvet light trap. 2006;58. doi: 10.1353/vlt.2006.0029
105
Neale S, Smith M. Contemporary Hollywood cinema. Contemporary Hollywood cinema. London: Routledge 1998.
106
Neale S, Smith M. Contemporary Hollywood cinema. Contemporary Hollywood cinema. London: Routledge 1998.
107
Thompson K. Storytelling in the new Hollywood: understanding classical narrative technique. Cambridge, Mass: Harvard University Press 1999.
108
McClean ST. Digital storytelling: the narrative power of visual effects in film. Cambridge, Mass: MIT 2007.
109
Buckland W, editor. Hollywood puzzle films. Hollywood puzzle films. New York: Routledge 2014.
110
King G. Quality Hollywood: markers of distinction in contemporary studio film. Quality Hollywood: markers of distinction in contemporary studio film. London: I.B. Tauris 2016:81–124.
111
Elsaesser T, Barker A. Early cinema: space, frame, narrative. London: BFI Publishing 1990.
112
Miller MC. Seeing through movies. Seeing through movies. New York: Pantheon Books 1990.
113
Burnett R. Explorations in film theory: selected essays from Ciné-tracts. Explorations in film theory: selected essays from Ciné-tracts. Bloomington, IN: Indiana University Press 1991:3–14.
114
Ndalianis A. Neo-Baroque aesthetics and contemporary entertainment. London: MIT 2004.
115
Sobchack V. Meta-morphing: visual transformation and the culture of quick-change. Meta-morphing: visual transformation and the culture of quick-change. Minneapolis: University of Minnesota Press 2000:251–71.
116
Strauven W. The cinema of attractions reloaded. Amsterdam: Amsterdam University Press 2006.
117
Bordwell D, Staiger J, Thompson K. The classical Hollywood cinema: film style & mode of production to 1960. The classical Hollywood cinema: film style & mode of production to 1960. London: Routledge 1988.
118
Lichtenfeld E. Action speaks louder: violence, spectacle, and the American action movie. Revised&expanded ed. Middletown, Conn: Wesleyan University Press 2007.
119
Maltby R, Craven I. Hollywood cinema: an introduction. Hollywood cinema: an introduction. Oxford: Blackwell Publishers 1995.
120
Hammond M, Williams LR. Contemporary American cinema. Maidenhead: Open University Press 2006.
121
Stringer J. Movie blockbusters. Movie blockbusters. London: Routledge 2003.
122
Cuarón A, Bullock S, Clooney G. Gravity. 2014.
123
Balio T. The American film industry. The American film industry. Madison: University of Wisconsin Press 1985.
124
Balio T. Hollywood in the age of television. Hollywood in the age of television. Boston, Mass: Unwin Hyman 1990:3–40.
125
Balio T. Hollywood in the age of television. Hollywood in the age of television. Boston, Mass: Unwin Hyman 1990.
126
Mast G, Cohen M. Film theory and criticism: introductory readings. Film theory and criticism: introductory readings. New York, N.Y.: Oxford University Press 1974:120–46.
127
Belton J. Widescreen cinema. Cambridge, Mass: Harvard University Press 1992.
128
Collins J, Radner H, Collins AP, et al. Film theory goes to the movies. Film theory goes to the movies. New York: Routledge 1993:8–36.
129
Winston B. Technologies of seeing: photography, cinematography and television. Technologies of seeing: photography, cinematography and television. London: British Film Institute 1996:109–18.
130
Paul W. The Aesthetics of Emergence. Film history. 1993;5.
131
Belton J. Digital 3D Cinema: Digital Cinema’s Missing Novelty Phase. Film History. 2012;24. doi: 10.2979/filmhistory.24.2.187
132
Prince S. Digital visual effects in cinema: the seduction of reality. Digital visual effects in cinema: the seduction of reality. New Brunswick, N.J.: Rutgers University Press 2012.
133
Purse L. Digital imaging in popular cinema. Digital imaging in popular cinema. Edinburgh: Edinburgh University Press 2013.
134
Ross M. 3D cinema: optical illusions and tactile experiences. Houndmills, Basingstoke: Palgrave Macmillan 2015.
135
Ross S. Invitation to the Voyage: The Flight Sequence in Contemporary 3D Cinema. Film History. 2012;24. doi: 10.2979/filmhistory.24.2.210
136
Ross M. Stereoscopic visuality. Convergence: The International Journal of Research into New Media Technologies. 2013;19:406–14. doi: 10.1177/1354856513494178
137
Whissel K. Parallax Effects: Epistemology, Affect and Digital 3D Cinema. Journal of Visual Culture. 2016;15:233–49. doi: 10.1177/1470412916654512
138
Thompson K, Bordwell D. Has 3D Already Failed? The sequel, part one: RealDlighted  Print.
139
Zone R. 3-D revolution: the history of modern stereoscopic cinema. Lexington: University Press of Kentucky 2012.
140
Greengrass P. The Bourne supremacy. 2004.
141
Bordwell D. The way Hollywood tells it: story and style in modern movies. Berkeley, Calif: University of California Press 2006.
142
Bordwell D, Staiger J, Thompson K. The classical Hollywood cinema: film style & mode of production to 1960. The classical Hollywood cinema: film style & mode of production to 1960. London: Routledge 1988.
143
Bordwell D, Thompson K, Smith J. Film art: an introduction. Eleventh edition. New York, NY: McGraw-Hill Education 2017.
144
Langford B. Post-classical Hollywood: film industry, style and ideology since 1945. Post-classical Hollywood: film industry, style and ideology since 1945. Edinburgh: Edinburgh University Press 2010:244–54.
145
King G. New Hollywood cinema: an introduction. New Hollywood cinema: an introduction. London: I. B. Tauris 2002:224–56.
146
Thanouli E. Post-classical cinema: an international poetics of film narration. London: Wallflower Press 2009.
147
Prince S. Digital visual effects in cinema: the seduction of reality. New Brunswick, N.J.: Rutgers University Press 2012.
148
Purse L. Digital imaging in popular cinema. Edinburgh: Edinburgh University Press 2013.
149
Morton D. Panel to the screen: style, American film, and comic books during the blockbuster era. Jackson: University Press of Mississippi 2017.
150
Wyatt J. High concept: movies and marketing in Hollywood. High concept: movies and marketing in Hollywood. Austin, TX: University of Texas Press 1994:23–64.
151
Berliner T. Hollywood incoherent: narration in seventies cinema. Austin, TX.: University of Texas Press 2010.
152
Buckland W. Film theory and contemporary Hollywood movies. New York: Routledge 2009.
153
Bruzzi S. Men’s cinema: masculinity and Mise en Scène in Hollywood. Edinburgh: Edinburgh University Press 2013.
154
McDonald P. Video and DVD industries. Video and DVD industries. London: British Film Institute 2007:107–42.
155
McDonald P. Video and DVD industries. London: British Film Institute 2007.
156
McLoone M, Hill J. Big picture, small screen: the relations between film and television. Big picture, small screen: the relations between film and television. Luton: University of Luton Press 1996:9–46.
157
Ellis J. Visible fictions: cinema, television, video. Rev. ed. London: Routledge 1992.
158
Prince S. A new pot of gold: Hollywood under the electronic rainbow, 1980-1989. A new pot of gold: Hollywood under the electronic rainbow, 1980-1989. Berkeley: University of California Press 2002.
159
Miller MC. Seeing through movies. Seeing through movies. New York: Pantheon Books 1990.
160
Noyce P, Bekmambetov T, Jolie A, et al. Wanted. 2011.
161
Cunningham S, Silver J. Screen distribution and the new King Kongs of the online world. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan 2013.
162
Iordanova D, Cunningham S, University of St Andrews. Film Studies. Digital disruption: cinema moves on-line. St Andrews: St Andrews Film Studies 2012.
163
Tryon C. On-demand culture: digital delivery and the future of movies. New Brunswick, N.J.: Rutgers University Press 2013.
164
King G. New Hollywood cinema: an introduction. New Hollywood cinema: an introduction. London: I. B. Tauris 2002:224–56.
165
Hammond M, Williams LR. Contemporary American cinema. Contemporary American cinema. Maidenhead: Open University Press 2006.
166
Lotz AD. Portals: a treatise on internet-distributed television. United States of America: Maize Books, an imprint of Michigan Publishing 2017.
167
Strangelove M. Post-TV: piracy, cord-cutting, and the future of television. Toronto: University of Toronto Press 2015.
168
Klinger B. Beyond the multiplex: cinema, new technologies, and the home. Berkeley, Calif: University of California Press 2006.
169
McDonald P, Wasko J. The contemporary Hollywood film industry. The contemporary Hollywood film industry. Oxford: Blackwell Publishing 2008:106–19.
170
McDonald P, Wasko J. The contemporary Hollywood film industry. The contemporary Hollywood film industry. Oxford: Blackwell Publishing 2008:120–31.
171
Jeff Ulin. The Business of Media Distribution, 2nd Edition. Focal Press 2013.
172
Neale S, Smith M. Contemporary Hollywood cinema. Contemporary Hollywood cinema. London: Routledge 1998.
173
Ellis J. Visible fictions: cinema, television, video. Rev. ed. London: Routledge 1992.
174
Kaplan EA. Rocking around the clock: music television, postmodernism, and consumer culture. New York: Methuen 1987.
175
Jenkins H. Convergence culture: where old and new media collide. Updated ed. New York: New York University Press 2006.
176
Mittell J. Complex TV: the poetics of contemporary television storytelling. Complex TV: the poetics of contemporary television storytelling. New York: New York University Press 2015:292–318.
177
Hills M, editor. New dimensions of Doctor Who: adventures in space, time and television. London: I.B. Tauris 2013.
178
Tryon C. Reinventing cinema: movies in the age of media convergence. New Brunswick, N.J.: Rutgers University Press 2009.
179
Kackman M. Flow TV: television in the age of media convergence. New York, NY: Routledge 2010.
180
Boni M, editor. World building: transmedia, fans, industries. Amsterdam: Amsterdam University Press 2017.
181
Clarke MJ. Transmedia television: new trends in network serial production. New York: Bloomsbury 2013.
182
Stein LE, Busse K. Sherlock and transmedia fandom: essays on the BBC series. Jefferson, N.C.: McFarland 2012.
183
Guynes SA, Hassler-Forest D, editors. Star Wars and the history of transmedia storytelling. Amsterdam: Amsterdam University Press 2018.
184
Stein LE. Millennial fandom: television audiences in the transmedia age. Iowa City: University of Iowa Press 2015.
185
Alberti J, Miller PA, editors. Transforming Harry: the adaptation of Harry Potter in the transmedia age. Detroit: Wayne State University Press 2018.
186
Crumley A, Buice S. Four eyed monsters. 2008.
187
King G. Indie 2.0: change and continuity in contemporary American indie film. Indie 2.0: change and continuity in contemporary American indie film. London: I.B. Tauris 2014:77–121.
188
King G. Indie 2.0: change and continuity in contemporary American indie film. Indie 2.0: change and continuity in contemporary American indie film. London: I.B. Tauris 2014.
189
Christian AJ. Joe Swanberg, Intimacy, and the Digital Aesthetic. Cinema Journal. 2011;50. doi: 10.1353/cj.2011.0049
190
Willis H. New digital cinema: reinventing the moving image. London: Wallflower Press 2005.
191
Tryon C. Reinventing cinema: movies in the age of media convergence. Reinventing cinema: movies in the age of media convergence. New Brunswick, N.J.: Rutgers University Press 2009:93–124.
192
Tryon C. On-demand culture: digital delivery and the future of movies. New Brunswick, N.J.: Rutgers University Press 2013.
193
Iordanova D, Cunningham S, University of St Andrews. Film Studies. Digital disruption: cinema moves on-line. St Andrews: St Andrews Film Studies 2012.
194
Iordanova D, Cunningham S, University of St Andrews. Film Studies. Digital disruption: cinema moves on-line. Digital disruption: cinema moves on-line. St Andrews: St Andrews Film Studies 2012:67–100.
195
King G, editor. A companion to American indie film. A companion to American indie film. Chichester, West Sussex, UK: Wiley Blackwell 2017:279–99.
196
Badley L, Perkins C, Schreiber M, editors. Indie reframed: women’s filmmaking and contemporary American independent cinema. Indie reframed: women’s filmmaking and contemporary American independent cinema. Edinburgh: Edinburgh University Press 2016:138–53.
197
King G, editor. A companion to American indie film. A companion to American indie film. Chichester, West Sussex, UK: Wiley Blackwell 2017:433–51.
198
King G, editor. A companion to American indie film. A companion to American indie film. Chichester, West Sussex, UK: Wiley Blackwell 2017.
199
Jenkins H, Ford S, Green J. Spreadable media: creating value and meaning in a networked culture. New York: New York University Press 2013.
200
Kirsner S. Fans, friends & followers. [Cambridge, Mass.]: Scott Kirsner 2009.
201
Reiss J. Think outside the box office: the ultimate guide to film distribution in the digital era. [Los Angeles, California]: Hybrid Cinema Publishing 2010.
202
Varda A. The gleaners and I.
203
Bozak N. The cinematic footprint: lights, camera, natural resources. New Brunswick, N.J.: Rutgers University Press 2012.
204
Gündüz Özdemirci E. Greening the Screen: An Environmental Challenge. Humanities. 2016;5. doi: 10.3390/h5020035
205
Murray RL, Heumann JK. Ecology and popular film: cinema on the edge. Albany: SUNY Press 2009.
206
Murray RL, Heumann JK. Film & everyday eco-disasters. Lincoln: University of Nebraska Press 2014.
207
Heise UK. Sense of place and sense of planet: the environmental imagination of the global. New York: Oxford University Press 2008.
208
Cubitt S. EcoMedia. Amsterdam: Rodopi 2005.
209
Rust S, Monani S, Cubitt S. Ecocinema theory and practice. New York: Routledge 2013.
210
Murphy PD. The media commons: globalization and environmental discourses. Urbana: University of Illinois Press 2017.
211
López A. The media ecosystem: what ecology can teach us about responsible media practice. Berkeley, California: Evolver Editions 2012.
212
Parham J. Green media and popular culture: an introduction. London: Macmillan Education/Palgrave 2016.
213
Budd M, Craig S, Steinman CM. Consuming environments: television and commercial culture. New Brunswick, N.J.: Rutgers University Press 1999.
214
Gaylor B. RiP!: a remix manifesto. 2009.
215
Benkler Y. The wealth of networks: how social production transforms markets and freedom. New Haven [Conn.]: Yale University Press 2006.
216
Gillespie T. Wired shut: copyright and the shape of digital culture. Cambridge, Mass: MIT Press 2007.
217
Hilderbrand L. Youtube: Where Cultural Memory and Copyright Converge. Film Quarterly. 2007;61:48–57. doi: 10.1525/fq.2007.61.1.48
218
Hill CWL. Digital piracy: Causes, consequences, and strategic responses. Asia Pacific Journal of Management. 2007;24:9–25. doi: 10.1007/s10490-006-9025-0
219
Klinger B. Contraband Cinema: Piracy, Titanic, and Central Asia. Cinema Journal. ;49:106–24. doi: 10.1353/cj.0.0180
220
Wang S. Recontextualizing Copyright: Piracy, Hollywood, the State, and Globalization. Cinema Journal. 2003;43. doi: 10.1353/cj.2003.0027
221
Benefits Street.
222
Andrejevic M. Reality TV: the work of being watched. Lanham, Md: Rowman & Littlefield 2004.
223
Biressi A, Nunn H. Reality TV: realism and revelation. London: Wallflower 2005.
224
Taylor I. "Being Poor is Not Entertainment”: Class Struggles against Poverty Porn | The Social Action & Research Foundation. http://www.the-sarf.org.uk/being-poor-is-not-entertainment-class-struggles-against-poverty-porn-by-imogen-tyler/
225
Wood H, Skeggs B, British Film Institute. Reality television and class. London: Palgrave Macmillan 2011.
226
O’Neill D, Wayne M, editors. Considering class: theory, culture and the media in the 21st century. Considering class: theory, culture and the media in the 21st century. Leiden, The Netherlands: Brill 2018.
227
Saviano R, Sillima S, Cupellini C, et al. Gomorrah: The complete season one. 2018.
228
Saviano R, Sillima S, Cupellini C, et al. Gomorrah: The complete season two. 2018.
229
Saviano R, Sillima S, Cupellini C, et al. Gomorrah: The complete season three. 2018.
230
Turnbull S. The TV crime drama. Edinburgh: Edinburgh University Press 2014.
231
Jancovich M, Lyons J. Quality popular television: cult TV, the industry and fans. London: British Film Institute 2003.
232
Buonanno M. Italian TV drama and beyond: stories from the soil, stories from the sea. Bristol: Intellect 2012.
233
Hansen KT, Waade AM. Locating Nordic Noir: from Beck to The bridge. Cham, Switzerland: Palgrave Macmillan 2017.
234
Forshaw B. Euro noir: the pocket essential guide to European crime fiction, film & TV. Harpenden, Herts: Pocket Essentials 2014.
235
Pezzotti B. Investigating Italy’s past through historical crime fiction, films, and TV series: murder in the age of chaos. New York: Palgrave Macmillan 2016.
236
Forshaw B. Death in a cold climate: a guide to Scandinavian crime fiction. Basingstoke: Palgrave Macmillan 2012.
237
McCabe J, Akass K. Quality TV: contemporary American television and beyond. London: I. B. Tauris 2007.
238
Peacock S. Swedish crime fiction: novel, film, television. Manchester: Manchester University Press 2014.
239
Forshaw B. Nordic noir: the pocket essential guide to Scandinavian crime fiction, film & TV. Harpenden, Herts: Pocket Essentials 2013.
240
Yen D, Hung S, Yam S. Kill zone. 2010.
241
Bordwell D. Planet Hong Kong: popular cinema and the art of entertainment. Planet Hong Kong: popular cinema and the art of entertainment. Cambridge, Mass: Harvard University Press 2000:199–247.
242
Yau C-ME. At full speed: Hong Kong cinema in a borderless world. Minneapolis: University of Minnesota Press 2001.
243
Hunt L. Kung Fu cult masters. Kung Fu cult masters. London: Wallflower Press 2003:21–47.
244
Anderson A. Violent dances in martial arts films. Jump Cut.
245
Dancer G. Film Style and Performance: Comedy and Kung Fu From Hong. Asian Cinema. 1998;10:42–50. doi: 10.1386/ac.10.1.42_1
246
Fu P, Desser D. The Cinema of Hong Kong: history, arts, identity. The Cinema of Hong Kong: history, arts, identity. Cambridge, UK: Cambridge University Press 2000:113–36.
247
Morris M, Li SL, Chan SC. Hong Kong connections: Transnational imagination in action cinema. Durham 2006.
248
Stokes LO, Hoover M. City on fire: Hong Kong cinema. New York: Verso 1999.
249
Teo S. Hong Kong cinema: the extra dimensions. London: BFI 1997.
250
Rapu CO. Living in Bondage. 1992.
251
Lobato R. Shadow economies of cinema: mapping informal film distribution. London: Palgrave Macmillan [on behalf of the] BFI 2012.
252
Miller JL. Nollywood central. London: BFI 2016.
253
Haynes J. Nollywood: the creation of Nigerian film genres. Chicago: The University of Chicago Press 2016.
254
Geiger J. Nollywood Style: Nigerian movies and ‘shifting perceptions of worth’. Film International. 2012;10:58–72. doi: 10.1386/fiin.10.6.58_1
255
Stone R, Cooke P, Dennison S, et al., editors. The Routledge companion to world cinema. London: Routledge, Taylor & Francis Group 2018.
256
Lobato R. Creative industries and informal economies. International Journal of Cultural Studies. 2010;13:337–54. doi: 10.1177/1367877910369971
257
Akudinobi J. Nollywood: Prisms and Paradigms. Cinema Journal. 2015;54:133–40. doi: 10.1353/cj.2015.0008
258
Castaing-Taylor L, Paravel V, Cinema Guild. Leviathan. 2013.
259
Pavsek C. Leviathan and the Experience of Sensory Ethnography. Visual Anthropology Review. 2015;31:4–11. doi: 10.1111/var.12056
260
Leimbacher I. The World Made Flesh. Film Comment. ;50:36–9.
261
Ferrando F. Posthumanism, Transhumanism, Antihumanism, Metahumanism, and New Materialisms Differences and Relations. Existenz. 2013;8:26–32.
262
Bostrom N. A History of Transhumanist Thought. Journal of evolution and technology. 2005;14.
263
Paumgarten N. We Are a Camera: Experience and memory in the age of GoPro. The New Yorker. Published Online First: 22 AD.
264
Law J. Notes on the theory of the actor-network: Ordering, strategy, and heterogeneity. Systems Practice. 1992;5:379–93. doi: 10.1007/BF01059830
265
Hauskeller M, Philbeck TD, Carbonell CD, editors. The Palgrave handbook of posthumanism in film and television. Basingstoke, Hampshire: Palgrave Macmillan 2018.
266
Sobchack VC. The address of the eye: a phenomenology of film experience. Princeton, N.J.: Princeton University Press 1992.
267
Merleau-Ponty M, Lefort C. The visible and the invisible: followed by working notes. Evanston [Ill.]: Northwestern University Press 1968.