Bibliography for FM1619 - Technology, Industry and Form BETA

Akudinobi, Jude. ‘Nollywood: Prisms and Paradigms.’ Cinema Journal, vol. 54, no. Issue 2, 2015, pp. 133–40, https://doi.org/10.1353/cj.2015.0008.

Alberti, John, and P. Andrew Miller, editors. Transforming Harry: The Adaptation of Harry Potter in the Transmedia Age. Wayne State University Press, 2018.

Allen, Robert Clyde. ‘Channels of Discourse, Reassembled: Television and Contemporary Criticism’. Channels of Discourse, Reassembled: Television and Contemporary Criticism, 2nd ed, Routledge, 1992, pp. 1–30, https://contentstore.cla.co.uk/secure/link?id=0e1974a8-0ee5-e911-80cd-005056af4099.

Allen, Robert Clyde, and Douglas Gomery. ‘Film History: Theory and Practice’. Film History: Theory and Practice, McGraw-Hill, 1985, pp. 109–30, https://contentstore.cla.co.uk/secure/link?id=4b140412-720f-e911-80cd-005056af4099.

Allen, Robert Clyde, and Annette Hill. ‘The Television Studies Reader’. The Television Studies Reader, Routledge, 2004, pp. 275–92, https://contentstore.cla.co.uk/secure/link?id=466d7ab2-0510-e911-80cd-005056af4099.

Altman, Rick. ‘Sound Theory, Sound Practice’. Sound Theory, Sound Practice, Routledge, 1992, pp. 46–64, https://contentstore.cla.co.uk/secure/link?id=990e8cc5-5f12-e911-80cd-005056af4099.

Anatomy of the Action Picture. http://www.davidbordwell.net/essays/anatomy.php.

Anderson, Aaron. ‘Violent Dances in Martial Arts Films’. Jump Cut, https://www.ejumpcut.org/archive/jc44.2001/aarona/aaron1.html.

Andrejevic, Mark. Reality TV: The Work of Being Watched. Rowman & Littlefield, 2004, http://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1318905.

Badley, Linda, et al., editors. ‘Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema’. Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema, Edinburgh University Press, 2016, pp. 138–53, https://contentstore.cla.co.uk/secure/link?id=a360c8fb-8712-e911-80cd-005056af4099.

Balio, Tino. ‘Hollywood in the Age of Television’. Hollywood in the Age of Television, Unwin Hyman, 1990, http://lib.myilibrary.com/browse/open.asp?id=553100&entityid=https://idp.brunel.ac.uk/entity.

———. ‘Hollywood in the Age of Television’. Hollywood in the Age of Television, Unwin Hyman, 1990, pp. 3–40, https://contentstore.cla.co.uk/secure/link?id=f01d4c91-5fe4-e911-80cd-005056af4099.

———. ‘The American Film Industry’. The American Film Industry, Rev. ed, University of Wisconsin Press, 1985, http://lib.myilibrary.com/browse/open.asp?id=278814&entityid=https://idp.brunel.ac.uk/entity.

———. ‘The American Film Industry’. The American Film Industry, Rev. ed, University of Wisconsin Press, 1985, http://lib.myilibrary.com/browse/open.asp?id=278814&entityid=https://idp.brunel.ac.uk/entity.

———. ‘The American Film Industry’. The American Film Industry, Rev. ed, University of Wisconsin Press, 1985, http://lib.myilibrary.com/browse/open.asp?id=278814&entityid=https://idp.brunel.ac.uk/entity.

———. ‘The American Film Industry’. The American Film Industry, Rev. ed, University of Wisconsin Press, 1985, http://lib.myilibrary.com/browse/open.asp?id=278814&entityid=https://idp.brunel.ac.uk/entity.

Banet-Weiser, Sarah, et al. ‘Cable Visions: Television beyond Broadcasting’. Cable Visions: Television beyond Broadcasting, New York University Press, 2007, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=865538.

———. ‘Cable Visions: Television beyond Broadcasting’. Cable Visions: Television beyond Broadcasting, New York University Press, 2007, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=865538.

———. Cable Visions: Television beyond Broadcasting. New York University Press, 2007, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=865538.

Bazin, André, and Bert Cardullo. André Bazin and Italian Neorealism. Continuum, 2011, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=795461. Electronic resource.

Belton, John. ‘Digital 3D Cinema: Digital Cinema’s Missing Novelty Phase’. Film History, vol. 24, no. 2, 2012, https://doi.org/10.2979/filmhistory.24.2.187.

———. Widescreen Cinema. Harvard University Press, 1992.

Benefits Street. https://learningonscreen.ac.uk/ondemand/search.php/prog?q%5B0%5D%5Bv%5D=Benefits+Street+&search_type=1&is_available=&q%5B0%5D%5Bindex%5D=title&source=T&date_type=0&date=1952-01-01-00-00&date_start%5B1%5D=01&date_start%5B2%5D=01&date_start%5B0%5D=1952&date_start%5B3%5D=00&date_start%5B4%5D=00&date_end%5B1%5D=12&date_end%5B2%5D=04&date_end%5B0%5D=2018&date_end%5B3%5D=00&date_end%5B4%5D=00&institution=&sort=relevance.

Benkler, Yochai. The Wealth of Networks: How Social Production Transforms Markets and Freedom. Yale University Press, 2006, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3419996.

Bennett, James, and Niki Strange. Television as Digital Media. Duke University Press, 2011, https://login.ezproxy.brunel.ac.uk/login?url=http://dx.doi.org/10.1215/9780822393658. Electronic resource.

Berliner, Todd. Hollywood Incoherent: Narration in Seventies Cinema. University of Texas Press, 2010, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3571747.

Biressi, Anita, and Heather Nunn. Reality TV: Realism and Revelation. Wallflower, 2005, http://lib.myilibrary.com/browse/open.asp?id=574418&entityid=https://idp.brunel.ac.uk/entity.

Boddy, William. New Media and Popular Imagination: Launching Radio, Television, and Digital Media in the United States. Oxford University Press, 2004.

Bolter, J. David, and Richard A. Grusin. Remediation: Understanding New Media. MIT Press, 1999, http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&defaultdb=nlebk&AN=9351&site=ehost-live&scope=site.

Bondanella, Peter E. ‘Italian Cinema: From Neorealism to the Present’. Italian Cinema: From Neorealism to the Present, 3rd ed, Continuum, 2001.

———. ‘Italian Cinema: From Neorealism to the Present’. Italian Cinema: From Neorealism to the Present, 3rd ed, Continuum, 2001, pp. 31–73, https://contentstore.cla.co.uk/secure/link?id=138069fc-2814-e911-80cd-005056af4099.

Bondanella, Peter E., editor. ‘The Italian Cinema Book’. The Italian Cinema Book, BFI, 2014, pp. 77–83, https://contentstore.cla.co.uk/secure/link?id=3416b676-1510-e911-80cd-005056af4099.

Boni, Marta, editor. World Building: Transmedia, Fans, Industries. vol. 2, Amsterdam University Press, 2017.

Bordwell, David, Kristin Thompson, et al. Film Art: An Introduction. Eleventh edition, McGraw-Hill Education, 2017.

Bordwell, David. ‘Planet Hong Kong: Popular Cinema and the Art of Entertainment’. Planet Hong Kong: Popular Cinema and the Art of Entertainment, Harvard University Press, 2000, pp. 199–247, https://contentstore.cla.co.uk/secure/link?id=f37c101e-1114-e911-80cd-005056af4099.

Bordwell, David, Janet Staiger, et al. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. Routledge, 1988, http://lib.myilibrary.com/browse/open.asp?id=5910&entityid=https://idp.brunel.ac.uk/entity.

———. ‘The Classical Hollywood Cinema: Film Style & Mode of Production to 1960’. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960, Routledge, 1988, http://lib.myilibrary.com/browse/open.asp?id=5910&entityid=https://idp.brunel.ac.uk/entity.

———. ‘The Classical Hollywood Cinema: Film Style & Mode of Production to 1960’. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960, Routledge, 1988, http://lib.myilibrary.com/browse/open.asp?id=5910&entityid=https://idp.brunel.ac.uk/entity.

———. ‘The Classical Hollywood Cinema: Film Style & Mode of Production to 1960’. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960, Routledge, 1988, http://lib.myilibrary.com/browse/open.asp?id=5910&entityid=https://idp.brunel.ac.uk/entity.

———. ‘The Classical Hollywood Cinema: Film Style & Mode of Production to 1960’. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960, Routledge, 1988, http://lib.myilibrary.com/browse/open.asp?id=5910&entityid=https://idp.brunel.ac.uk/entity.

Bordwell, David. The Way Hollywood Tells It: Story and Style in Modern Movies. University of California Press, 2006, http://lib.myilibrary.com/browse/open.asp?id=275942&entityid=https://idp.brunel.ac.uk/entity.

———. The Way Hollywood Tells It: Story and Style in Modern Movies. University of California Press, 2006, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=254879.

Bostrom, Nick. ‘A History of Transhumanist Thought’. Journal of Evolution and Technology, vol. 14, no. 1, Apr. 2005, https://jetpress.org/volume14/bostrom.html.

Bozak, Nadia. The Cinematic Footprint: Lights, Camera, Natural Resources. Rutgers University Press, 2012, http://lib.myilibrary.com/browse/open.asp?id=417721&entityid=https://idp.brunel.ac.uk/entity. Electronic resource.

Bruzzi, Stella. Men’s Cinema: Masculinity and Mise En Scène in Hollywood. Edinburgh University Press, 2013, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1835368.

Buckland, Warren. Film Theory and Contemporary Hollywood Movies. Routledge, 2009, http://lib.myilibrary.com/browse/open.asp?id=212452&entityid=https://idp.brunel.ac.uk/entity.

Buckland, Warren, editor. ‘Hollywood Puzzle Films’. Hollywood Puzzle Films, Routledge, 2014, http://lib.myilibrary.com/browse/open.asp?id=614075&entityid=https://idp.brunel.ac.uk/entity. Electronic resource.

Budd, Mike, et al. Consuming Environments: Television and Commercial Culture. Rutgers University Press, 1999.

Buonanno, Milly. Italian TV Drama and beyond: Stories from the Soil, Stories from the Sea. Intellect, 2012, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=914258.

Burgess, Jean, and Joshua Green. YouTube: Online Video and Participatory Culture. Polity, 2009, http://lib.myilibrary.com/browse/open.asp?id=484691&entityid=https://idp.brunel.ac.uk/entity. Electronic resource.

Burnett, Ron. ‘Explorations in Film Theory: Selected Essays from Ciné-Tracts’. Explorations in Film Theory: Selected Essays from Ciné-Tracts, vol. 612, Indiana University Press, 1991, pp. 3–14, https://contentstore.cla.co.uk/secure/link?id=dc4efb2e-4f13-e911-80cd-005056af4099.

Butler, Jeremy G. ‘Television: Critical Methods and Applications’. Television: Critical Methods and Applications, 3rd ed, Lawrence Erlbaum Associates, 2007, pp. 3–19, https://contentstore.cla.co.uk/secure/link?id=b844422b-5a12-e911-80cd-005056af4099.

Caldwell, John Thornton. Televisuality: Style, Crisis, and Authority in American Television. Rutgers University Press, 1995.

Cardullo, Bert. After Neorealism: Italian Filmmakers and Their Films : Essays and Interviews. Cambridge Scholars, 2009, http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&defaultdb=nlebk&AN=522871&site=ehost-live&scope=site.

Castaing-Taylor, Lucien, et al. Leviathan. Dogwoof Ltd, 2013. Videorecording.

Castells, Manuel. The Rise of the Network Society. 2nd ed, v. 1, Blackwell Publishers, 2000, http://lib.myilibrary.com/browse/open.asp?id=320466&entityid=https://idp.brunel.ac.uk/entity.

Caughie, John. Television Drama: Realism, Modernism, and British Culture. Oxford University Press, 2000, http://lib.myilibrary.com/browse/open.asp?id=90673&entityid=https://idp.brunel.ac.uk/entity.

Chanan, Michael. The Dream That Kicks: The Prehistory and Early Years of Cinema in Britain. 2nd ed, Routledge, 1996, http://www.vlebooks.com/vleweb/product/openreader?id=Brunel&isbn=9780203360101.

Christian, Aymar Jean. ‘Joe Swanberg, Intimacy, and the Digital Aesthetic’. Cinema Journal, vol. 50, no. 4, 2011, https://doi.org/10.1353/cj.2011.0049.

———. ‘The Problem of YouTube’. Flow, http://www.flowjournal.org/2011/02/the-problem-of-youtube./.

Clarke, M. J. Transmedia Television: New Trends in Network Serial Production. Bloomsbury, 2013, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1099529.

Collins, Jim, et al. ‘Film Theory Goes to the Movies’. Film Theory Goes to the Movies, Routledge, 1993, pp. 8–36, https://contentstore.cla.co.uk/secure/link?id=55fac7a6-1ae5-e911-80cd-005056af4099.

Cook, Pam. The Cinema Book. 3rd ed, British Film Institute, 2007.

Cook, Pam, and Mieke Bernink. ‘The Cinema Book’. The Cinema Book, 2nd ed, British Film Institute, 1999, pp. 19–22, https://contentstore.cla.co.uk/secure/link?id=ca63bb8a-e018-e911-80cd-005056af4099.

Corner, John. ‘Critical Ideas in Television Studies’. Critical Ideas in Television Studies, Clarendon Press, 1999, pp. 13–23, https://contentstore.cla.co.uk/secure/link?id=6645edfc-b015-e911-80cd-005056af4099.

Crosland, Alan. The Jazz Singer. Turner Entertainment, 2007. Videorecording.

Crumley, Arin, and Susan Buice. Four Eyed Monsters. Dogwoof, 2008. Videorecording.

Cuarón, Alfonso, et al. Gravity. Warner Bros entertainment Inc, 2014. Videorecording.

Cubitt, Sean. EcoMedia. Rodopi, 2005.

Cunningham, Stuart, and Jon Silver. Screen Distribution and the New King Kongs of the Online World. Palgrave Macmillan, 2013, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1318147.

Dancer, Greg. ‘Film Style and Performance: Comedy and Kung Fu From Hong’. Asian Cinema, vol. 10, no. 1, 1998, pp. 42–50, https://doi.org/10.1386/ac.10.1.42_1.

De Santis, Giuseppe, et al. Riso Amaro: Bitter Rice. Cristaldifilm, 2003. Videorecording =.

De Sica, Vittorio. Umberto D. Nouveaux Pictures, 2004. Videorecording.

Edgerton, Gary R., and Brian Geoffrey Rose. ‘Thinking Outside the Box: A Contemporary Television Genre Reader’. Thinking Outside the Box: A Contemporary Television Genre Reader, University Press of Kentucky, 2005, pp. 226–46, https://contentstore.cla.co.uk/secure/link?id=4127e178-730f-e911-80cd-005056af4099.

Ellis, John. Visible Fictions: Cinema, Television, Video. Rev. ed, Routledge, 1992, http://lib.myilibrary.com/browse/open.asp?id=47863&entityid=https://idp.brunel.ac.uk/entity.

———. Visible Fictions: Cinema, Television, Video. Rev. ed, Routledge, 1992, http://lib.myilibrary.com/browse/open.asp?id=47863&entityid=https://idp.brunel.ac.uk/entity.

———. Visible Fictions: Cinema, Television, Video. Rev. ed, Routledge, 1992, http://lib.myilibrary.com/browse/open.asp?id=47863&entityid=https://idp.brunel.ac.uk/entity.

Elsaesser, Thomas, and Adam Barker. Early Cinema: Space, Frame, Narrative. BFI Publishing, 1990.

———. Early Cinema: Space, Frame, Narrative. BFI Publishing, 1990.

———. ‘Early Cinema: Space, Frame, Narrative’. Early Cinema: Space, Frame, Narrative, BFI Publishing, 1990, pp. 56–75, https://contentstore.cla.co.uk/secure/link?id=d6bcce09-0110-e911-80cd-005056af4099.

Elsaesser, Thomas, and Warren Buckland. ‘Studying Contemporary American Film: A Guide to Movie Analysis’. Studying Contemporary American Film: A Guide to Movie Analysis, Hodder Education, 2002, pp. 26–79, https://contentstore.cla.co.uk/secure/link?id=60559fa8-5413-e911-80cd-005056af4099.

Ferrando, Francesca. ‘Posthumanism, Transhumanism, Antihumanism, Metahumanism, and New Materialisms Differences and Relations’. Existenz, vol. 8, no. 2, 2013, pp. 26–32, https://existenz.us/volumes/Vol.8-2Ferrando.pdf.

Forshaw, Barry. Death in a Cold Climate: A Guide to Scandinavian Crime Fiction. Palgrave Macmillan, 2012, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=832165.

———. Euro Noir: The Pocket Essential Guide to European Crime Fiction, Film & TV. Pocket Essentials, 2014, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1712149.

———. Nordic Noir: The Pocket Essential Guide to Scandinavian Crime Fiction, Film & TV. Pocket Essentials, 2013.

Fu, Poshek, and David Desser. ‘The Cinema of Hong Kong: History, Arts, Identity’. The Cinema of Hong Kong: History, Arts, Identity, Cambridge University Press, 2000, pp. 113–36, https://contentstore.cla.co.uk/secure/link?id=6cd7fb07-3d10-e911-80cd-005056af4099.

Gandolfini, James, et al. The Sopranos: Complete HBO Season 1. Standard Edition, Warner Home Video, 2007. Videorecording.

Garnham, Nicholas. ‘Public Service versus the Market’. Screen, vol. 24, no. 1, Jan. 1983, pp. 6–27, https://doi.org/10.1093/screen/24.1.6.

Gaylor, Brett. RiP!: A Remix Manifesto. Artefact Films, 2009. Videorecording.

Geiger, Jeffrey. ‘Nollywood Style: Nigerian Movies and “Shifting Perceptions of Worth”’. Film International, vol. 10, no. 6, Dec. 2012, pp. 58–72, https://doi.org/10.1386/fiin.10.6.58_1.

Geiger, Jeffrey, and R. L. Rutsky. ‘Film Analysis: A Norton Reader’. Film Analysis: A Norton Reader, 1st ed, W.W. Norton, 2005, pp. 422–38, https://contentstore.cla.co.uk/secure/link?id=3f6fb3e7-af18-e911-80cd-005056af4099.

Geraghty, Christine, and David Lusted. The Television Studies Book. Arnold, 1998.

Gerbarg, Darcy, editor. Television Goes Digital. Springer, 2010, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=417813.

Gillespie, Tarleton. ‘The Politics of “Platforms”’. New Media & Society, vol. 12, no. 3, May 2010, pp. 347–64, https://doi.org/10.1177/1461444809342738.

———. Wired Shut: Copyright and the Shape of Digital Culture. MIT Press, 2007, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3338717. Electronic resource.

Gomery, Douglas. ‘Shared Pleasures: A History of Movie Presentation in the United States’. Shared Pleasures: A History of Movie Presentation in the United States, University of Wisconsin Press, 1992, pp. 3–17, https://contentstore.cla.co.uk/secure/link?id=e8278966-3b10-e911-80cd-005056af4099.

———. ‘Shared Pleasures: A History of Movie Presentation in the United States’. Shared Pleasures: A History of Movie Presentation in the United States, University of Wisconsin Press, 1992, pp. 18–33, https://contentstore.cla.co.uk/secure/link?id=8beb2b00-5113-e911-80cd-005056af4099.

———. ‘The Hollywood Studio System: A History’. The Hollywood Studio System: A History, BFI, 2005, pp. 11–26, https://contentstore.cla.co.uk/secure/link?id=426988b3-2613-e911-80cd-005056af4099.

Goodwin, Andrew, and Garry Whannel. ‘Understanding Television’. Understanding Television, Routledge, 1990, pp. 11–29, https://contentstore.cla.co.uk/secure/link?id=18e2a167-48e4-e911-80cd-005056af4099.

Greengrass, Paul. The Bourne Supremacy. Universal Pictures, 2004. Videorecording.

Griffith, D. W. Broken Blossoms. Eureka Video, 2000. Videorecording.

Gündüz Özdemirci, Ekin. ‘Greening the Screen: An Environmental Challenge’. Humanities, vol. 5, no. 2, June 2016, https://doi.org/10.3390/h5020035.

Guynes, Sean A., and Dan Hassler-Forest, editors. Star Wars and the History of Transmedia Storytelling. Amsterdam University Press, 2018, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5261322.

Haggard, Piers, et al. Pennies from Heaven. BBC Worldwide, 2004. Videorecording.

Hammond, Michael, and Linda Ruth Williams. ‘Contemporary American Cinema’. Contemporary American Cinema, Open University Press, 2006, http://lib.myilibrary.com/browse/open.asp?id=333788&entityid=https://idp.brunel.ac.uk/entity.

———. Contemporary American Cinema. Open University Press, 2006, http://lib.myilibrary.com/browse/open.asp?id=333788&entityid=https://idp.brunel.ac.uk/entity.

Hansen, Kim Toft, and Anne Marit Waade. Locating Nordic Noir: From Beck to The Bridge. Palgrave Macmillan, 2017, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5106086.

Hauskeller, Michael, et al., editors. The Palgrave Handbook of Posthumanism in Film and Television. Palgrave Macmillan, 2018, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4001366.

Haynes, Jonathan. Nollywood: The Creation of Nigerian Film Genres. The University of Chicago Press, 2016, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4504550. Electronic resource.

Heise, Ursula K. Sense of Place and Sense of Planet: The Environmental Imagination of the Global. Oxford University Press, 2008, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3053055.

Hilderbrand, Lucas. ‘Youtube: Where Cultural Memory and Copyright Converge’. Film Quarterly, vol. 61, no. 1, Sept. 2007, pp. 48–57, https://doi.org/10.1525/fq.2007.61.1.48.

Hill, Charles W. L. ‘Digital Piracy: Causes, Consequences, and Strategic Responses’. Asia Pacific Journal of Management, vol. 24, no. 1, Feb. 2007, pp. 9–25, https://doi.org/10.1007/s10490-006-9025-0.

Hill, John and British Film Institute. Ken Loach: The Politics of Film and Television. Palgrave Macmillan, 2011.

Hill, John, and Pamela Church Gibson. ‘The Oxford Guide to Film Studies’. The Oxford Guide to Film Studies, Oxford University Press, 1998, pp. 255–71, https://contentstore.cla.co.uk/secure/link?id=b0609736-4d13-e911-80cd-005056af4099.

Hills, Matt, editor. New Dimensions of Doctor Who: Adventures in Space, Time and Television. I.B. Tauris, 2013, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1511071.

Holland, Patricia. ‘The Television Handbook’. The Television Handbook, 2nd edn, Routledge, 2000, pp. 9–26, https://contentstore.cla.co.uk/secure/link?id=8152bf62-480f-e911-80cd-005056af4099.

Hunt, Leon. ‘Kung Fu Cult Masters’. Kung Fu Cult Masters, Wallflower Press, 2003, pp. 21–47, https://contentstore.cla.co.uk/secure/link?id=e7e97c84-4813-e911-80cd-005056af4099.

Iordanova, Dina, et al. ‘Digital Disruption: Cinema Moves on-Line’. Digital Disruption: Cinema Moves on-Line, St Andrews Film Studies, 2012, pp. 67–100, https://contentstore.cla.co.uk/secure/link?id=700a1c74-0f10-e911-80cd-005056af4099.

———. Digital Disruption: Cinema Moves on-Line. St Andrews Film Studies, 2012.

———. Digital Disruption: Cinema Moves on-Line. St Andrews Film Studies, 2012.

Izod, John. ‘Hollywood and the Box Office 1895-1986’. Hollywood and the Box Office 1895-1986, Columbia University Press, 1988, pp. 1–6, https://contentstore.cla.co.uk/secure/link?id=bbb19b17-7e15-e911-80cd-005056af4099.

Jancovich, Mark, and James Lyons. Quality Popular Television: Cult TV, the Industry and Fans. British Film Institute, 2003.

Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. Updated ed, New York University Press, 2006.

———. Spreadable Media: Creating Value and Meaning in a Networked Culture. New York University Press, 2013, http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&db=nlebk&db=nlabk&site=ehost-live&scope=site&AN=529617. Electronic resource.

Kackman, Michael. Flow TV: Television in the Age of Media Convergence. Routledge, 2010, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=574457.

Kaplan, E. Ann. Rocking around the Clock: Music Television, Postmodernism, and Consumer Culture. Methuen, 1987.

Keane, Stephen. ‘CineTech: Film, Convergence and New Media’. CineTech: Film, Convergence and New Media, Palgrave Macmillan, 2007, pp. 56–75, https://contentstore.cla.co.uk/secure/link?id=50bde8ab-5b12-e911-80cd-005056af4099.

Keating, Patrick. ‘Emotional Curves and Linear Narratives’. The Velvet Light Trap [Austin], vol. 58, 2006, https://doi.org/10.1353/vlt.2006.0029.

King, Geoff, editor. ‘A Companion to American Indie Film’. A Companion to American Indie Film, Wiley Blackwell, 2017, http://lib.myilibrary.com/browse/open.asp?id=965329&entityid=https://idp.brunel.ac.uk/entity.

King, Geoff, editor. ‘A Companion to American Indie Film’. A Companion to American Indie Film, Wiley Blackwell, 2017, pp. 279–99, https://contentstore.cla.co.uk/secure/link?id=6668cc34-b7f0-e911-80cd-005056af4099.

King, Geoff, editor. ‘A Companion to American Indie Film’. A Companion to American Indie Film, Wiley Blackwell, 2017, pp. 433–51, https://contentstore.cla.co.uk/secure/link?id=492a658f-b7f0-e911-80cd-005056af4099.

King, Geoff. ‘Indie 2.0: Change and Continuity in Contemporary American Indie Film’. Indie 2.0: Change and Continuity in Contemporary American Indie Film, vol. 10, I.B. Tauris, 2014.

———. ‘Indie 2.0: Change and Continuity in Contemporary American Indie Film’. Indie 2.0: Change and Continuity in Contemporary American Indie Film, vol. 10, I.B. Tauris, 2014, pp. 77–121, https://contentstore.cla.co.uk/secure/link?id=8ce33d9e-7112-e911-80cd-005056af4099.

———. New Hollywood Cinema: An Introduction. I. B. Tauris, 2002, https://www.vlebooks.com/vleweb/product/openreader?id=Brunel&isbn=9786000006914.

———. ‘New Hollywood Cinema: An Introduction’. New Hollywood Cinema: An Introduction, I. B. Tauris, 2002, http://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.brunel.ac.uk/entity&dest=http://www.dawsonera.com/abstract/9786000006914.

———. ‘New Hollywood Cinema: An Introduction’. New Hollywood Cinema: An Introduction, I. B. Tauris, 2002, pp. 224–56, https://contentstore.cla.co.uk/secure/link?id=6d1b278d-11e5-e911-80cd-005056af4099.

———. ‘New Hollywood Cinema: An Introduction’. New Hollywood Cinema: An Introduction, I. B. Tauris, 2002, pp. 224–56, https://contentstore.cla.co.uk/secure/link?id=6d1b278d-11e5-e911-80cd-005056af4099.

———. ‘Quality Hollywood: Markers of Distinction in Contemporary Studio Film’. Quality Hollywood: Markers of Distinction in Contemporary Studio Film, vol. 28, I.B. Tauris, 2016, pp. 81–124, https://contentstore.cla.co.uk/secure/link?id=a8ea312a-bb15-e911-80cd-005056af4099.

———. Spectacular Narratives: Hollywood in the Age of the Blockbuster. I.B. Tauris, 2000, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=676862.

Kirsner, Scott. Fans, Friends & Followers. Scott Kirsner, 2009.

Klinger, Barbara. Beyond the Multiplex: Cinema, New Technologies, and the Home. University of California Press, 2006, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=254875.

———. ‘Contraband Cinema: Piracy, Titanic, and Central Asia’. Cinema Journal, vol. 49, pp. 106–24, https://doi.org/10.1353/cj.0.0180.

Langford, Barry. ‘Post-Classical Hollywood: Film Industry, Style and Ideology since 1945’. Post-Classical Hollywood: Film Industry, Style and Ideology since 1945, Edinburgh University Press, 2010, pp. 244–54, https://contentstore.cla.co.uk/secure/link?id=9a12e048-17e5-e911-80cd-005056af4099.

———. ‘Post-Classical Hollywood: Film Industry, Style and Ideology since 1945’. Post-Classical Hollywood: Film Industry, Style and Ideology since 1945, Edinburgh University Press, 2010, pp. 244–54, https://contentstore.cla.co.uk/secure/link?id=9a12e048-17e5-e911-80cd-005056af4099.

Law, John. ‘Notes on the Theory of the Actor-Network: Ordering, Strategy, and Heterogeneity’. Systems Practice, vol. 5, no. 4, 1992, pp. 379–93, https://doi.org/10.1007/BF01059830.

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Lewis, Jon. The New American Cinema. Duke University Press, 1998.

———. ‘The New American Cinema’. The New American Cinema, Duke University Press, 1998, pp. 87–121, https://contentstore.cla.co.uk/secure/link?id=f3651f15-6412-e911-80cd-005056af4099.

Lichtenfeld, Eric. Action Speaks Louder: Violence, Spectacle, and the American Action Movie. Revised&Expanded ed, Wesleyan University Press, 2007.

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———. Shadow Economies of Cinema: Mapping Informal Film Distribution. Palgrave Macmillan [on behalf of the] BFI, 2012, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5400915.

López, Antonio. The Media Ecosystem: What Ecology Can Teach Us about Responsible Media Practice. Evolver Editions, 2012.

Lotz, Amanda D. Beyond Prime Time: Television Programming in the Post-Network Era. Routledge, 2009, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=435636.

———. Portals: A Treatise on Internet-Distributed Television. Maize Books, an imprint of Michigan Publishing, 2017.

Maltby, Richard, and Ian Craven. ‘Hollywood Cinema: An Introduction’. Hollywood Cinema: An Introduction, Blackwell Publishers, 1995.

———. ‘Hollywood Cinema: An Introduction’. Hollywood Cinema: An Introduction, Blackwell Publishers, 1995, pp. 59–106, https://contentstore.cla.co.uk/secure/link?id=97e74340-7f12-e911-80cd-005056af4099.

Marcus, Millicent. Italian Film in the Light of Neorealism. Princeton University Press, 1986.

Mast, Gerald, and Marshall Cohen. ‘Film Theory and Criticism: Introductory Readings’. Film Theory and Criticism: Introductory Readings, Oxford University Press, 1974, pp. 120–46, https://contentstore.cla.co.uk/secure/link?id=9ed5a00a-e218-e911-80cd-005056af4099.

McCabe, Janet, and Kim Akass. Quality TV: Contemporary American Television and Beyond. I. B. Tauris, 2007.

McClean, Shilo T. Digital Storytelling: The Narrative Power of Visual Effects in Film. MIT, 2007, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3339423.

McDonald, Paul. Video and DVD Industries. British Film Institute, 2007.

———. ‘Video and DVD Industries’. Video and DVD Industries, British Film Institute, 2007, pp. 107–42, https://contentstore.cla.co.uk/secure/link?id=6eef2501-5c0f-e911-80cd-005056af4099.

McDonald, Paul, and Janet Wasko. ‘The Contemporary Hollywood Film Industry’. The Contemporary Hollywood Film Industry, Blackwell Publishing, 2008, pp. 106–19, https://contentstore.cla.co.uk/secure/link?id=70ba6558-3810-e911-80cd-005056af4099.

———. ‘The Contemporary Hollywood Film Industry’. The Contemporary Hollywood Film Industry, Blackwell Publishing, 2008, pp. 120–31, https://contentstore.cla.co.uk/secure/link?id=cd3f1fea-1210-e911-80cd-005056af4099.

McLoone, Martin, and John Hill. ‘Big Picture, Small Screen: The Relations between Film and Television’. Big Picture, Small Screen: The Relations between Film and Television, vol. 16, University of Luton Press, 1996, pp. 9–46, https://contentstore.cla.co.uk/secure/link?id=e905ffbb-d318-e911-80cd-005056af4099.

Merleau-Ponty, Maurice, and Claude Lefort. The Visible and the Invisible: Followed by Working Notes. Northwestern University Press, 1968.

Miller, Jade L. Nollywood Central. BFI, 2016.

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———. ‘Seeing through Movies’. Seeing through Movies, Pantheon Books, 1990.

Miller, Toby. Global Hollywood. British Film Institute, 2001.

———. Television Studies: The Basics. Routledge, 2010, http://lib.myilibrary.com/browse/open.asp?id=244349&entityid=https://idp.brunel.ac.uk/entity.

———. ‘Television Studies: The Basics’. Television Studies: The Basics, Routledge, 2010, pp. 50–79, https://contentstore.cla.co.uk/secure/link?id=6c456770-36e4-e911-80cd-005056af4099.

Mittell, Jason. ‘Complex TV: The Poetics of Contemporary Television Storytelling’. Complex TV: The Poetics of Contemporary Television Storytelling, New York University Press, 2015, pp. 292–318, https://contentstore.cla.co.uk/secure/link?id=d16a15d7-f9e4-e911-80cd-005056af4099.

Moran, Albert. Film Policy: International, National and Regional Perspectives. Routledge, 1996, http://lib.myilibrary.com/browse/open.asp?id=13838&entityid=https://idp.brunel.ac.uk/entity.

Morris, Meaghan, et al. Hong Kong Connections: Transnational Imagination in Action Cinema. Durham, 2006, http://lib.myilibrary.com/browse/open.asp?id=270444&entityid=https://idp.brunel.ac.uk/entity.

Morton, Drew. Panel to the Screen: Style, American Film, and Comic Books during the Blockbuster Era. University Press of Mississippi, 2017, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4745701.

Murphy, Patrick D. The Media Commons: Globalization and Environmental Discourses. University of Illinois Press, 2017.

Murray, Robin L., and Joseph K. Heumann. Ecology and Popular Film: Cinema on the Edge. SUNY Press, 2009.

———. Film & Everyday Eco-Disasters. University of Nebraska Press, 2014, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1676467.

Musser, Charles. The Emergence of Cinema: The American Screen to 1907. University of California Press, 1994.

Ndalianis, Angela. Neo-Baroque Aesthetics and Contemporary Entertainment. MIT, 2004.

Neale, Stephen. Cinema and Technology: Image, Sound, Colour. Macmillan Education, 1985.

Neale, Stephen, and Murray Smith. ‘Contemporary Hollywood Cinema’. Contemporary Hollywood Cinema, Routledge, 1998, http://lib.myilibrary.com/browse/open.asp?id=763369&entityid=https://idp.brunel.ac.uk/entity.

———. ‘Contemporary Hollywood Cinema’. Contemporary Hollywood Cinema, Routledge, 1998, http://lib.myilibrary.com/browse/open.asp?id=763369&entityid=https://idp.brunel.ac.uk/entity.

———. ‘Contemporary Hollywood Cinema’. Contemporary Hollywood Cinema, Routledge, 1998, http://lib.myilibrary.com/browse/open.asp?id=763369&entityid=https://idp.brunel.ac.uk/entity.

———. ‘Contemporary Hollywood Cinema’. Contemporary Hollywood Cinema, Routledge, 1998, pp. 21–44, https://contentstore.cla.co.uk/secure/link?id=96611653-5613-e911-80cd-005056af4099.

———. Contemporary Hollywood Cinema. Routledge, 1998, http://lib.myilibrary.com/browse/open.asp?id=763369&entityid=https://idp.brunel.ac.uk/entity.

Neale, Steve. ‘Cinema and Technology: Image, Sound, Colour’. Cinema and Technology: Image, Sound, Colour, Macmillan Education, 1985, pp. 61–76, https://contentstore.cla.co.uk/secure/link?id=342eb3e2-2413-e911-80cd-005056af4099.

Nichols, Bill. ‘Movies and Methods: An Anthology, Vol.2’. Movies and Methods: An Anthology, Vol.2, University of California Press, 1985, pp. 83–92, https://contentstore.cla.co.uk/secure/link?id=88beb029-21e5-e911-80cd-005056af4099.

———. ‘Movies and Methods: An Anthology, Vol.2’. Movies and Methods: An Anthology, Vol.2, University of California Press, 1985, pp. 109–20, https://contentstore.cla.co.uk/secure/link?id=d30e05e5-21e5-e911-80cd-005056af4099.

Noyce, Phillip, et al. Wanted. Widescreen, Sony Pictures, 2011, https://learningonscreen.ac.uk/ondemand/index.php/prog/00F368E3?bcast=120592240. Videorecording.

O’Neill, Deirdre, and Mike Wayne, editors. ‘Considering Class: Theory, Culture and the Media in the 21st Century’. Considering Class: Theory, Culture and the Media in the 21st Century, Volume 113, Brill, 2018, http://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5151482. Electronic resource.

Parham, John. Green Media and Popular Culture: An Introduction. Macmillan Education/Palgrave, 2016.

Paul, William. ‘The Aesthetics of Emergence’. Film History [Bloomington - IN], vol. 5, 1993, https://www.jstor.org/stable/3815145?pq-origsite=360link&seq=1#metadata_info_tab_contents.

Paumgarten, Nick. ‘We Are a Camera: Experience and Memory in the Age of GoPro’. The New Yorker, 22 AD, https://www.newyorker.com/magazine/2014/09/22/camera.

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Peacock, Steven. Swedish Crime Fiction: Novel, Film, Television. Manchester University Press, 2014, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4706720.

Pezzotti, Barbara. Investigating Italy’s Past through Historical Crime Fiction, Films, and TV Series: Murder in the Age of Chaos. Palgrave Macmillan, 2016, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4716385.

Prince, Stephen. ‘A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989’. A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989, v. 10, University of California Press, 2002.

———. ‘A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989’. A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989, v. 10, University of California Press, 2002.

———. ‘A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989’. A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989, v. 10, University of California Press, 2002, pp. 40–89, https://contentstore.cla.co.uk/secure/link?id=bb5770d6-8912-e911-80cd-005056af4099.

———. ‘Digital Visual Effects in Cinema: The Seduction of Reality’. Digital Visual Effects in Cinema: The Seduction of Reality, Rutgers University Press, 2012, http://lib.myilibrary.com/browse/open.asp?id=417704&entityid=https://idp.brunel.ac.uk/entity. Electronic resource.

———. Digital Visual Effects in Cinema: The Seduction of Reality. Rutgers University Press, 2012, http://lib.myilibrary.com/browse/open.asp?id=417704&entityid=https://idp.brunel.ac.uk/entity. Electronic resource.

———. Digital Visual Effects in Cinema: The Seduction of Reality. Rutgers University Press, 2012, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=861454. Electronic resource.

Purse, Lisa. ‘Contemporary Action Cinema’. Contemporary Action Cinema, Edinburgh University Press, 2011, pp. 21–36, https://contentstore.cla.co.uk/secure/link?id=077b1b22-62e4-e911-80cd-005056af4099.

———. ‘Digital Imaging in Popular Cinema’. Digital Imaging in Popular Cinema, Edinburgh University Press, 2013, http://lib.myilibrary.com/browse/open.asp?id=441828&entityid=https://idp.brunel.ac.uk/entity. Electronic resource.

———. ‘Digital Imaging in Popular Cinema’. Digital Imaging in Popular Cinema, Edinburgh University Press, 2013, http://lib.myilibrary.com/browse/open.asp?id=441828&entityid=https://idp.brunel.ac.uk/entity. Electronic resource.

———. Digital Imaging in Popular Cinema. Edinburgh University Press, 2013, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1126596. Electronic resource.

Rapu, Chris Obi. Living in Bondage. 1992, https://www.youtube.com/watch?v=oGXs6Cd1jfA.

Reiss, Jon. Think Outside the Box Office: The Ultimate Guide to Film Distribution in the Digital Era. Hybrid Cinema Publishing, 2010, http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&db=nlebk&db=nlabk&site=ehost-live&scope=site&AN=550794.

Ross, Miriam. 3D Cinema: Optical Illusions and Tactile Experiences. Palgrave Macmillan, 2015, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=2006615.

———. ‘Stereoscopic Visuality’. Convergence: The International Journal of Research into New Media Technologies, vol. 19, no. 4, Nov. 2013, pp. 406–14, https://doi.org/10.1177/1354856513494178.

Ross, Sarah. ‘Invitation to the Voyage: The Flight Sequence in Contemporary 3D Cinema’. Film History, vol. 24, no. 2, 2012, https://doi.org/10.2979/filmhistory.24.2.210.

Rossellini, Roberto, et al. Roma, Cittá Aperta. Arrow Films, 2005. Videorecording.

Ruberto, Laura E., and Kristi M. Wilson. Italian Neorealism and Global Cinema. Wayne State University Press, 2007.

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Saviano, Roberto, et al. Gomorrah: The Complete Season One. Arrow Films, 2018. Videorecording.

———. Gomorrah: The Complete Season Three. Arrow Films, 2018. Videorecording.

———. Gomorrah: The Complete Season Two. Arrow Films, 2018. Videorecording.

Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking, and the Studio System. McGraw-Hill, 1981.

———. The Genius of the System: Hollywood Filmmaking in the Studio Era. Faber and Faber, 1998.

Shiel, Mark. Italian Neorealism: Rebuilding the Cinematic City. Wallflower Press, 2006, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=909624.

Sica, Vittorio De, and Luigi Bartolini. The Bicycle Thieves. Arrow, 2009. Videorecording.

Sobchack, Vivian. ‘Meta-Morphing: Visual Transformation and the Culture of Quick-Change’. Meta-Morphing: Visual Transformation and the Culture of Quick-Change, University of Minnesota Press, 2000, pp. 251–71, https://contentstore.cla.co.uk/secure/link?id=9f4a408a-2313-e911-80cd-005056af4099.

Sobchack, Vivian Carol. The Address of the Eye: A Phenomenology of Film Experience. Princeton University Press, 1992.

Staiger, Janet. ‘Interpreting Films: Studies in the Historical Reception of American Cinema’. Interpreting Films: Studies in the Historical Reception of American Cinema, Princeton University Press, 1992, pp. 101–23, https://contentstore.cla.co.uk/secure/link?id=82e0e2ee-2a14-e911-80cd-005056af4099.

Stein, Louisa Ellen. Millennial Fandom: Television Audiences in the Transmedia Age. University of Iowa Press, 2015, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3570587.

Stein, Louisa Ellen, and Kristina Busse. Sherlock and Transmedia Fandom: Essays on the BBC Series. McFarland, 2012, http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&db=nlebk&db=nlabk&site=ehost-live&scope=site&AN=462577. Electronic resource.

Stokes, Lisa Odham, and Michael Hoover. City on Fire: Hong Kong Cinema. Verso, 1999.

Stone, Rob, et al., editors. The Routledge Companion to World Cinema. Routledge, Taylor & Francis Group, 2018, http://lib.myilibrary.com/browse/open.asp?id=1038523&entityid=https://idp.brunel.ac.uk/entity. Electronic resource.

Strangelove, Michael. Post-TV: Piracy, Cord-Cutting, and the Future of Television. University of Toronto Press, 2015, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4669834.

Strauven, Wanda. The Cinema of Attractions Reloaded. Amsterdam University Press, 2006, http://oapen.org/download?type=document&docid=340138.

Stringer, Julian. ‘Movie Blockbusters’. Movie Blockbusters, Routledge, 2003, http://lib.myilibrary.com/browse/open.asp?id=536184&entityid=https://idp.brunel.ac.uk/entity.

———. ‘Movie Blockbusters’. Movie Blockbusters, Routledge, 2003, http://lib.myilibrary.com/browse/open.asp?id=536184&entityid=https://idp.brunel.ac.uk/entity.

———. ‘Movie Blockbusters’. Movie Blockbusters, Routledge, 2003, http://lib.myilibrary.com/browse/open.asp?id=536184&entityid=https://idp.brunel.ac.uk/entity.

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/.

Taylor, Lisa, and Andrew Willis. Media Studies: Texts, Institutions, and Audiences. Blackwell Publishers, 1999.

———. ‘Media Studies: Texts, Institutions, and Audiences’. Media Studies: Texts, Institutions, and Audiences, Blackwell Publishers, 1999, pp. 91–106, https://contentstore.cla.co.uk/secure/link?id=87d66318-5e0f-e911-80cd-005056af4099.

Teo, Stephen. Hong Kong Cinema: The Extra Dimensions. BFI, 1997.

Thanouli, Eleftheria. Post-Classical Cinema: An International Poetics of Film Narration. Wallflower Press, 2009.

Thompson, Kirsten, and David Bordwell. Has 3D Already Failed? The Sequel, Part One: RealDlighted  Print. http://www.davidbordwell.net/blog/2011/01/20/has-3d-already-failed-the-sequel-part-one-realdlighted/print/.

Thompson, Kristin. Storytelling in the New Hollywood: Understanding Classical Narrative Technique. Harvard University Press, 1999.

Thompson, Kristin, and David Bordwell. ‘Film History: An Introduction’. Film History: An Introduction, Fourth edition, McGraw-Hill Education, 2019.

———. ‘Film History: An Introduction’. Film History: An Introduction, Fourth edition, McGraw-Hill Education, 2019.

———. ‘Film History: An Introduction’. Film History: An Introduction, Fourth edition, McGraw-Hill Education, 2019.

Trevorrow, Colin. Jurassic World. 2015, https://learningonscreen.ac.uk/ondemand/index.php/prog/0A83D549?bcast=127388626.

Tryon, Chuck. On-Demand Culture: Digital Delivery and the Future of Movies. Rutgers University Press, 2013, http://lib.myilibrary.com/browse/open.asp?id=486972&entityid=https://idp.brunel.ac.uk/entity. Electronic resource.

———. On-Demand Culture: Digital Delivery and the Future of Movies. Rutgers University Press, 2013, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1184490. Electronic resource.

———. ‘Reinventing Cinema: Movies in the Age of Media Convergence’. Reinventing Cinema: Movies in the Age of Media Convergence, Rutgers University Press, 2009, pp. 93–124, https://contentstore.cla.co.uk/secure/link?id=fa504901-610f-e911-80cd-005056af4099.

———. Reinventing Cinema: Movies in the Age of Media Convergence. Rutgers University Press, 2009.

Turnbull, Sue. The TV Crime Drama. Edinburgh University Press, 2014, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1842870. Electronic resource.

Turner, Graeme, and Jinna Tay. ‘Television Studies after TV: Understanding Television in the Post-Broadcast Era’. Television Studies after TV: Understanding Television in the Post-Broadcast Era, Routledge, 2009, pp. 9–19, https://contentstore.cla.co.uk/secure/link?id=4978e404-fe0f-e911-80cd-005056af4099.

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Wang, Shujen. ‘Recontextualizing Copyright: Piracy, Hollywood, the State, and Globalization’. Cinema Journal, vol. 43, no. 1, 2003, https://doi.org/10.1353/cj.2003.0027.

Wasko, Janet. Hollywood in the Information Age: Beyond the Silver Screen. Polity, 1994, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1602912.

Whissel, Kristen. ‘Parallax Effects: Epistemology, Affect and Digital 3D Cinema’. Journal of Visual Culture, vol. 15, no. 2, Aug. 2016, pp. 233–49, https://doi.org/10.1177/1470412916654512.

Whissel, Kristen and Duke University Press. Spectacular Digital Effects: CGI and Contemporary Cinema. Duke University Press, 2014, https://login.ezproxy.brunel.ac.uk/login?url=http://dx.doi.org/10.1215/9780822377146. Electronic resource.

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———. ‘Technologies of Seeing: Photography, Cinematography and Television’. Technologies of Seeing: Photography, Cinematography and Television, British Film Institute, 1996, pp. 109–18, https://contentstore.cla.co.uk/secure/link?id=259b02d6-0a10-e911-80cd-005056af4099.

Wood, Helen, et al. Reality Television and Class. Palgrave Macmillan, 2011.

Wyatt, Justin. ‘High Concept: Movies and Marketing in Hollywood’. High Concept: Movies and Marketing in Hollywood, 1st ed, University of Texas Press, 1994, pp. 23–64, https://contentstore.cla.co.uk/secure/link?id=6aa5740b-8612-e911-80cd-005056af4099.

Yau, Ching-Mei Esther. At Full Speed: Hong Kong Cinema in a Borderless World. University of Minnesota Press, 2001, http://lib.myilibrary.com/browse/open.asp?id=522675&entityid=https://idp.brunel.ac.uk/entity.

Yen, Donnie, et al. Kill Zone. 2 disc ultimate ed, Showbox Media, 2010. Videorecording.

Zone, Ray. 3-D Revolution: The History of Modern Stereoscopic Cinema. University Press of Kentucky, 2012, https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=948469. Electronic resource.