1.
Balio T. 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
2.
Elsaesser T, Barker A. Early cinema: space, frame, narrative. In: Early Cinema: Space, Frame, Narrative. BFI Publishing; 1990:56-75. https://contentstore.cla.co.uk/secure/link?id=d6bcce09-0110-e911-80cd-005056af4099
3.
Hill J, Gibson PC. The Oxford guide to film studies. In: The Oxford Guide to Film Studies. Oxford University Press; 1998:255-271. https://contentstore.cla.co.uk/secure/link?id=b0609736-4d13-e911-80cd-005056af4099
4.
Thompson K, Bordwell D. Film History: An Introduction. Fourth edition. McGraw-Hill Education; 2019.
5.
Balio T. 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
6.
Elsaesser T, Barker A. Early Cinema: Space, Frame, Narrative. BFI Publishing; 1990.
7.
Izod J. Hollywood and the box office 1895-1986. In: Hollywood and the Box Office 1895-1986. Columbia University Press; 1988:1-6. https://contentstore.cla.co.uk/secure/link?id=bbb19b17-7e15-e911-80cd-005056af4099
8.
Gomery D. Shared pleasures: a history of movie presentation in the United States. In: Shared Pleasures: A History of Movie Presentation in the United States. University of Wisconsin Press; 1992:3-17. https://contentstore.cla.co.uk/secure/link?id=e8278966-3b10-e911-80cd-005056af4099
9.
Musser C. The Emergence of Cinema: The American Screen to 1907. Vol 1. University of California Press; 1994.
10.
Chanan M. The Dream That Kicks: The Prehistory and Early Years of Cinema in Britain. 2nd ed. Routledge; 1996. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.brunel.ac.uk/entity&dest=http://www.dawsonera.com/abstract/9780203360101
11.
Griffith DW. Broken blossoms. Published online 2000.
12.
Bordwell D, Staiger J, Thompson K. 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
13.
Staiger J. Interpreting films: studies in the historical reception of American cinema. In: Interpreting Films: Studies in the Historical Reception of American Cinema. Princeton University Press; 1992:101-123. https://contentstore.cla.co.uk/secure/link?id=82e0e2ee-2a14-e911-80cd-005056af4099
14.
Thompson K, Bordwell D. Film History: An Introduction. Fourth edition. McGraw-Hill Education; 2019.
15.
Gomery D. Shared pleasures: a history of movie presentation in the United States. In: Shared Pleasures: A History of Movie Presentation in the United States. University of Wisconsin Press; 1992:18-33. https://contentstore.cla.co.uk/secure/link?id=8beb2b00-5113-e911-80cd-005056af4099
16.
Crosland A. The jazz singer. Published online 2007.
17.
Allen RC, Gomery D. Film history: theory and practice. In: Film History: Theory and Practice. McGraw-Hill; 1985:109-130. https://contentstore.cla.co.uk/secure/link?id=4b140412-720f-e911-80cd-005056af4099
18.
Neale S. Cinema and technology: image, sound, colour. In: Cinema and Technology: Image, Sound, Colour. Macmillan Education; 1985:61-76. https://contentstore.cla.co.uk/secure/link?id=342eb3e2-2413-e911-80cd-005056af4099
19.
Neale S. Cinema and Technology: Image, Sound, Colour. Macmillan Education; 1985.
20.
Winston B. Technologies of Seeing: Photography, Cinematography and Television. British Film Institute; 1996.
21.
Altman R. Sound theory, sound practice. In: Sound Theory, Sound Practice. Routledge; 1992:46-64. https://contentstore.cla.co.uk/secure/link?id=990e8cc5-5f12-e911-80cd-005056af4099
22.
Bordwell D, Staiger J, Thompson K. 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
23.
Nichols B. Movies and Methods: An Anthology, Vol.2. University of California Press; 1985.
24.
Balio T. 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
25.
Nichols B. Movies and Methods: An Anthology, Vol.2. University of California Press; 1985.
26.
Bordwell D, Staiger J, Thompson K. 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
27.
Maltby R, Craven I. Hollywood cinema: an introduction. In: Hollywood Cinema: An Introduction. Blackwell Publishers; 1995:59-106. https://contentstore.cla.co.uk/secure/link?id=97e74340-7f12-e911-80cd-005056af4099
28.
King G. 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
29.
Neale S, Smith M. Contemporary Hollywood Cinema. Routledge; 1998.
30.
Neale S, Smith M. Contemporary Hollywood cinema. In: Contemporary Hollywood Cinema. Routledge; 1998:21-44. https://contentstore.cla.co.uk/secure/link?id=96611653-5613-e911-80cd-005056af4099
31.
Cook P, Bernink M. The cinema book. In: The Cinema Book. 2nd ed. British Film Institute; 1999:19-22. https://contentstore.cla.co.uk/secure/link?id=ca63bb8a-e018-e911-80cd-005056af4099
32.
Gomery D. The Hollywood studio system: a history. In: The Hollywood Studio System: A History. BFI; 2005:11-26. https://contentstore.cla.co.uk/secure/link?id=426988b3-2613-e911-80cd-005056af4099
33.
Schatz T. The Genius of the System: Hollywood Filmmaking in the Studio Era. Faber and Faber; 1998.
34.
Schatz T. Hollywood Genres: Formulas, Filmmaking, and the Studio System. McGraw-Hill; 1981.
35.
Moran A. 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
36.
Stringer J. Movie Blockbusters. Routledge; 2003. http://lib.myilibrary.com/browse/open.asp?id=536184&entityid=https://idp.brunel.ac.uk/entity
37.
Lewis J. The new American cinema. In: The New American Cinema. Duke University Press; 1998:87-121. https://contentstore.cla.co.uk/secure/link?id=f3651f15-6412-e911-80cd-005056af4099
38.
Stringer J. Movie Blockbusters. Routledge; 2003. http://lib.myilibrary.com/browse/open.asp?id=536184&entityid=https://idp.brunel.ac.uk/entity
39.
Prince S. A new pot of gold: Hollywood under the electronic rainbow, 1980-1989. In: A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989. Vol v. 10. University of California Press; 2002:40-89. https://contentstore.cla.co.uk/secure/link?id=bb5770d6-8912-e911-80cd-005056af4099
40.
Prince S. A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989. Vol v. 10. University of California Press; 2002.
41.
Wasko J. Hollywood in the Information Age: Beyond the Silver Screen. Polity; 1994. http://lib.myilibrary.com/browse/open.asp?id=770240&entityid=https://idp.brunel.ac.uk/entity
42.
Miller T. Global Hollywood. British Film Institute; 2001.
43.
De Santis G, Mangano S, Gassman V, Vallone R, Dowling D. Riso amaro: Bitter rice. Published online 2003.
44.
Rossellini R, Amidei S, Fellini F, et al. Roma, cittá aperta. Published online 2005.
45.
Sica VD, Bartolini L. The Bicycle Thieves. Arrow; 2009.
46.
Visconti L, Cain JM. Ossessione. Published online 2003.
47.
De Sica V. Umberto D. Published online 2004.
48.
Bondanella PE, ed. The Italian cinema book. In: The Italian Cinema Book. BFI; 2014:77-83. https://contentstore.cla.co.uk/secure/link?id=3416b676-1510-e911-80cd-005056af4099
49.
Thompson K, Bordwell D. Film History: An Introduction. Fourth edition. McGraw-Hill Education; 2019.
50.
Shiel M. Italian Neorealism: Rebuilding the Cinematic City. Vol 31. Wallflower Press; 2006. http://lib.myilibrary.com/browse/open.asp?id=608590&entityid=https://idp.brunel.ac.uk/entity
51.
Cook P. The Cinema Book. 3rd ed. British Film Institute; 2007.
52.
Bondanella PE. Italian cinema: from neorealism to the present. In: Italian Cinema: From Neorealism to the Present. 3rd ed. Continuum; 2001:31-73. https://contentstore.cla.co.uk/secure/link?id=138069fc-2814-e911-80cd-005056af4099
53.
Bondanella PE. Italian Cinema: From Neorealism to the Present. 3rd ed. Continuum; 2001.
54.
Marcus M. Italian Film in the Light of Neorealism. Princeton University Press; 1986.
55.
Cardullo B. 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
56.
Ruberto LE, Wilson KM. Italian Neorealism and Global Cinema. Wayne State University Press; 2007.
57.
Bazin A, Cardullo B. Andrâe Bazin and Italian Neorealism. Continuum; 2011. http://lib.myilibrary.com/browse/open.asp?id=330775&entityid=https://idp.brunel.ac.uk/entity
58.
Geiger J, Rutsky RL. Film analysis: a Norton reader. In: Film Analysis: A Norton Reader. 1st ed. W.W. Norton; 2005:422-438. https://contentstore.cla.co.uk/secure/link?id=3f6fb3e7-af18-e911-80cd-005056af4099
59.
Haggard P, Potter D, Trodd K, et al. Pennies from heaven. Published online 2004.
60.
Goodwin A, Whannel G. Understanding Television. Routledge; 1990. http://lib.myilibrary.com/browse/open.asp?id=14659&entityid=https://idp.brunel.ac.uk/entity
61.
Miller T. Television Studies: The Basics. Routledge; 2010. http://lib.myilibrary.com/browse/open.asp?id=244349&entityid=https://idp.brunel.ac.uk/entity
62.
Miller T. Television Studies: The Basics. Routledge; 2010. http://lib.myilibrary.com/browse/open.asp?id=244349&entityid=https://idp.brunel.ac.uk/entity
63.
Caughie J. 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
64.
Geraghty C, Lusted D. The Television Studies Book. Arnold; 1998.
65.
Hill J, British Film Institute. Ken Loach: The Politics of Film and Television. Palgrave Macmillan; 2011.
66.
Holland P. The television handbook. In: The Television Handbook. 2nd ed. Routledge; 2000:9-26. https://contentstore.cla.co.uk/secure/link?id=8152bf62-480f-e911-80cd-005056af4099
67.
Allen RC. Channels of Discourse, Reassembled: Television and Contemporary Criticism. 2nd ed. University of North Carolina Press; 1992.
68.
Garnham N. Public Service versus the Market. Screen. 1983;24(1):6-27. doi:10.1093/screen/24.1.6
69.
Corner J. Critical ideas in television studies. In: Critical Ideas in Television Studies. Clarendon Press; 1999:13-23. https://contentstore.cla.co.uk/secure/link?id=6645edfc-b015-e911-80cd-005056af4099
70.
Allen RC, Hill A. The television studies reader. In: The Television Studies Reader. Routledge; 2004:275-292. https://contentstore.cla.co.uk/secure/link?id=466d7ab2-0510-e911-80cd-005056af4099
71.
Ellis J. 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
72.
Taylor L, Willis A. Media studies: texts, institutions, and audiences. In: Media Studies: Texts, Institutions, and Audiences. Blackwell Publishers; 1999:91-106. https://contentstore.cla.co.uk/secure/link?id=87d66318-5e0f-e911-80cd-005056af4099
73.
Taylor L, Willis A. Media studies: texts, institutions, and audiences. In: Media Studies: Texts, Institutions, and Audiences. Blackwell Publishers; 1999:91-106. https://contentstore.cla.co.uk/secure/link?id=87d66318-5e0f-e911-80cd-005056af4099
74.
Gandolfini J, Bracco L, Falco E, et al. The Sopranos: Complete HBO Season 1. Published online 2007.
75.
Butler JG. Television: critical methods and applications. In: Television: Critical Methods and Applications. 3rd ed. Lawrence Erlbaum Associates; 2007:3-19. https://contentstore.cla.co.uk/secure/link?id=b844422b-5a12-e911-80cd-005056af4099
76.
Turner G, Tay J. Television studies after TV: understanding television in the post-broadcast era. In: Television Studies after TV: Understanding Television in the Post-Broadcast Era. Routledge; 2009:9-19. https://contentstore.cla.co.uk/secure/link?id=4978e404-fe0f-e911-80cd-005056af4099
77.
Banet-Weiser S, Chris C, Freitas A. Cable Visions: Television beyond Broadcasting. New York University Press; 2007.
78.
Banet-Weiser S, Chris C, Freitas A. Cable Visions: Television beyond Broadcasting. New York University Press; 2007.
79.
Edgerton GR, Rose BG. Thinking outside the box: a contemporary television genre reader. In: Thinking Outside the Box: A Contemporary Television Genre Reader. University Press of Kentucky; 2005:226-246. https://contentstore.cla.co.uk/secure/link?id=4127e178-730f-e911-80cd-005056af4099
80.
Bennett J, Strange N. Television as Digital Media. Duke University Press; 2011. https://login.ezproxy.brunel.ac.uk/login?url=http://dx.doi.org/10.1215/9780822393658
81.
Caldwell JT. Televisuality: Style, Crisis, and Authority in American Television. Rutgers University Press; 1995.
82.
Banet-Weiser S, Chris C, Freitas A. Cable Visions: Television beyond Broadcasting. New York University Press; 2007.
83.
Bolter JD, Grusin RA. 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
84.
Burgess J, Green J. YouTube: Online Video and Participatory Culture. Polity; 2009. http://lib.myilibrary.com/browse/open.asp?id=484691&entityid=https://idp.brunel.ac.uk/entity
85.
Castells M. The Rise of the Network Society. Vol v. 1. 2nd ed. Blackwell Publishers; 2000. http://lib.myilibrary.com/browse/open.asp?id=320466&entityid=https://idp.brunel.ac.uk/entity
86.
Christian AJ. The Problem of YouTube. Flow. http://www.flowjournal.org/2011/02/the-problem-of-youtube./
87.
Gillespie T. The politics of ‘platforms’. New Media & Society. 2010;12(3):347-364. doi:10.1177/1461444809342738
88.
Boddy W. New Media and Popular Imagination: Launching Radio, Television, and Digital Media in the United States. Oxford University Press; 2004.
89.
Gerbarg D, ed. Television Goes Digital. Springer; 2010. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=417813
90.
Lotz AD. Beyond Prime Time: Television Programming in the Post-Network Era. Routledge; 2009. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=435636
91.
Trevorrow C. Jurassic World. Published online 2015. https://learningonscreen.ac.uk/ondemand/index.php/prog/0A83D549?bcast=127388626
92.
King G. Spectacular Narratives: Hollywood in the Age of the Blockbuster. I.B. Tauris; 2000. http://lib.myilibrary.com/browse/open.asp?id=252940&entityid=https://idp.brunel.ac.uk/entity
93.
King G. 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
94.
Lewis J. The New American Cinema. Duke University Press; 1998.
95.
Bordwell D. 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
96.
Whissel K, Duke University Press. Spectacular Digital Effects: CGI and Contemporary Cinema. Duke University Press; 2014.
97.
Purse L. 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
98.
Purse L. Contemporary Action Cinema. Edinburgh University Press; 2011. http://lib.myilibrary.com/browse/open.asp?id=313319&entityid=https://idp.brunel.ac.uk/entity
99.
Prince S. 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
100.
Anatomy of the Action Picture. http://www.davidbordwell.net/essays/anatomy.php
101.
Langford B. Post-Classical Hollywood: Film Industry, Style and Ideology since 1945. Edinburgh University Press; 2010. http://lib.myilibrary.com/browse/open.asp?id=289978&entityid=https://idp.brunel.ac.uk/entity
102.
Keane S. CineTech: film, convergence and new media. In: CineTech: Film, Convergence and New Media. Palgrave Macmillan; 2007:56-75. https://contentstore.cla.co.uk/secure/link?id=50bde8ab-5b12-e911-80cd-005056af4099
103.
Elsaesser T, Buckland W. Studying contemporary American film: a guide to movie analysis. In: Studying Contemporary American Film: A Guide to Movie Analysis. Hodder Education; 2002:26-79. https://contentstore.cla.co.uk/secure/link?id=60559fa8-5413-e911-80cd-005056af4099
104.
Keating P. Emotional Curves and Linear Narratives. The velvet light trap. 2006;58. https://search.proquest.com/docview/222829442?pq-origsite=360link
105.
Neale S, Smith M. Contemporary Hollywood cinema. In: Contemporary Hollywood Cinema. Routledge; 1998.
106.
Neale S, Smith M. Contemporary Hollywood cinema. In: Contemporary Hollywood Cinema. Routledge; 1998.
107.
Thompson K. Storytelling in the New Hollywood: Understanding Classical Narrative Technique. Harvard University Press; 1999.
108.
McClean ST. Digital Storytelling: The Narrative Power of Visual Effects in Film. MIT; 2007.
109.
Buckland W, ed. Hollywood puzzle films. In: Hollywood Puzzle Films. Routledge; 2014. http://lib.myilibrary.com/browse/open.asp?id=614075&entityid=https://idp.brunel.ac.uk/entity
110.
King G. Quality Hollywood: markers of distinction in contemporary studio film. In: Quality Hollywood: Markers of Distinction in Contemporary Studio Film. Vol 28. I.B. Tauris; 2016:81-124. https://contentstore.cla.co.uk/secure/link?id=a8ea312a-bb15-e911-80cd-005056af4099
111.
Elsaesser T, Barker A. Early Cinema: Space, Frame, Narrative. BFI Publishing; 1990.
112.
Miller MC. Seeing through Movies. Pantheon Books; 1990.
113.
Burnett R. Explorations in film theory: selected essays from Cinâe-tracts. In: Explorations in Film Theory: Selected Essays from Cinâe-Tracts. Vol 612. Indiana University Press; 1991:3-14. https://contentstore.cla.co.uk/secure/link?id=dc4efb2e-4f13-e911-80cd-005056af4099
114.
Ndalianis A. Neo-Baroque Aesthetics and Contemporary Entertainment. MIT; 2004.
115.
Sobchack V. Meta-morphing: visual transformation and the culture of quick-change. In: Meta-Morphing: Visual Transformation and the Culture of Quick-Change. University of Minnesota Press; 2000:251-271. https://contentstore.cla.co.uk/secure/link?id=9f4a408a-2313-e911-80cd-005056af4099
116.
Strauven W. The Cinema of Attractions Reloaded. Amsterdam University Press; 2006. http://oapen.org/download?type=document&docid=340138
117.
Bordwell D, Staiger J, Thompson K. 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
118.
Lichtenfeld E. Action Speaks Louder: Violence, Spectacle, and the American Action Movie. Revised&expanded ed. Wesleyan University Press; 2007.
119.
Maltby R, Craven I. Hollywood cinema: an introduction. In: Hollywood Cinema: An Introduction. Blackwell Publishers; 1995:59-106. https://contentstore.cla.co.uk/secure/link?id=97e74340-7f12-e911-80cd-005056af4099
120.
Williams LR, Hammond M. Contemporary American Cinema. Open University Press; 2006. http://lib.myilibrary.com/browse/open.asp?id=333788&entityid=https://idp.brunel.ac.uk/entity
121.
Stringer J. Movie Blockbusters. Routledge; 2003. http://lib.myilibrary.com/browse/open.asp?id=536184&entityid=https://idp.brunel.ac.uk/entity
122.
Cuaron A. Gravity [DVD] [2013]. Published online 2013.
123.
Balio T. 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
124.
Balio T. 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
125.
Balio T. 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
126.
Mast G, Cohen M. Film theory and criticism: introductory readings. In: Film Theory and Criticism: Introductory Readings. Oxford University Press; 1974:120-146. https://contentstore.cla.co.uk/secure/link?id=9ed5a00a-e218-e911-80cd-005056af4099
127.
Belton J. Widescreen Cinema. Harvard University Press; 1992.
128.
Collins J, Radner H, Collins AP, American Film Institute. Film Theory Goes to the Movies. Routledge; 1993. http://lib.myilibrary.com/browse/open.asp?id=395546&entityid=https://idp.brunel.ac.uk/entity
129.
Winston B. Technologies of seeing: photography, cinematography and television. In: Technologies of Seeing: Photography, Cinematography and Television. British Film Institute; 1996:109-118. https://contentstore.cla.co.uk/secure/link?id=259b02d6-0a10-e911-80cd-005056af4099
130.
Paul W. The Aesthetics of Emergence. Film history. 1993;5. https://www.jstor.org/stable/3815145?pq-origsite=360link&seq=1#metadata_info_tab_contents
131.
Belton J. Digital 3D Cinema: Digital Cinema’s Missing Novelty Phase. Film History. 2012;24(2). doi:10.2979/filmhistory.24.2.187
132.
Prince S. 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
133.
Purse L. 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
134.
Ross M. 3D Cinema: Optical Illusions and Tactile Experiences. Palgrave Macmillan; 2015. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=2006615
135.
Ross S. Invitation to the Voyage: The Flight Sequence in Contemporary 3D Cinema. Film History. 2012;24(2). doi:10.2979/filmhistory.24.2.210
136.
Ross M. Stereoscopic visuality. Convergence: The International Journal of Research into New Media Technologies. 2013;19(4):406-414. doi:10.1177/1354856513494178
137.
Whissel K. Parallax Effects: Epistemology, Affect and Digital 3D Cinema. Journal of Visual Culture. 2016;15(2):233-249. doi:10.1177/1470412916654512
138.
Thompson K, Bordwell D. 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/
139.
Zone R. 3-D Revolution: The History of Modern Stereoscopic Cinema. University Press of Kentucky; 2012. http://lib.myilibrary.com/browse/open.asp?id=369178&entityid=https://idp.brunel.ac.uk/entity
140.
Greengrass P. The Bourne supremacy. Published online 2004.
141.
Bordwell D. 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
142.
Bordwell D, Staiger J, Thompson K. 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
143.
Bordwell D, Thompson K, Smith J. Film Art: An Introduction. Eleventh edition. McGraw-Hill Education; 2017.
144.
Langford B. Post-Classical Hollywood: Film Industry, Style and Ideology since 1945. Edinburgh University Press; 2010. http://lib.myilibrary.com/browse/open.asp?id=289978&entityid=https://idp.brunel.ac.uk/entity
145.
King G. 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
146.
Thanouli E. Post-Classical Cinema: An International Poetics of Film Narration. Wallflower Press; 2009.
147.
Prince S. 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
148.
Purse L. 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
149.
Morton D. Panel to the Screen: Style, American Film, and Comic Books during the Blockbuster Era. University Press of Mississippi; 2017.
150.
Wyatt J. High concept: movies and marketing in Hollywood. In: High Concept: Movies and Marketing in Hollywood. 1st ed. University of Texas Press; 1994:23-64. https://contentstore.cla.co.uk/secure/link?id=6aa5740b-8612-e911-80cd-005056af4099
151.
Berliner T. Hollywood Incoherent: Narration in Seventies Cinema. University of Texas Press; 2010.
152.
Buckland W. Film Theory and Contemporary Hollywood Movies. Routledge; 2009. http://lib.myilibrary.com/browse/open.asp?id=212452&entityid=https://idp.brunel.ac.uk/entity
153.
Bruzzi S. Men’s Cinema: Masculinity and Mise En Scáene in Hollywood. Edinburgh University Press; 2013. http://lib.myilibrary.com/browse/open.asp?id=906989&entityid=https://idp.brunel.ac.uk/entity
154.
McDonald P. Video and DVD industries. In: Video and DVD Industries. British Film Institute; 2007:107-142. https://contentstore.cla.co.uk/secure/link?id=6eef2501-5c0f-e911-80cd-005056af4099
155.
McDonald P. Video and DVD Industries. British Film Institute; 2007.
156.
McLoone M, Hill J. Big picture, small screen: the relations between film and television. In: Big Picture, Small Screen: The Relations between Film and Television. Vol 16. University of Luton Press; 1996:9-46. https://contentstore.cla.co.uk/secure/link?id=e905ffbb-d318-e911-80cd-005056af4099
157.
Ellis J. 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
158.
Prince S. A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989. Vol v. 10. University of California Press; 2002.
159.
Miller MC. Seeing through Movies. Pantheon Books; 1990.
160.
Bekmambetov T. Wanted. Published online 2008. https://learningonscreen.ac.uk/ondemand/index.php/prog/00F368E3?bcast=120592240
161.
Cunningham S, Silver J. Screen Distribution and the New King Kongs of the Online World. Palgrave Macmillan; 2013. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1318147
162.
Iordanova D, Cunningham S, University of St Andrews. Film Studies. Digital Disruption: Cinema Moves on-Line. St Andrews Film Studies; 2012.
163.
Tryon C. 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
164.
King G. 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
165.
Williams LR, Hammond M. Contemporary American Cinema. Open University Press; 2006. http://lib.myilibrary.com/browse/open.asp?id=333788&entityid=https://idp.brunel.ac.uk/entity
166.
Lotz AD. Portals: A Treatise on Internet-Distributed Television. Maize Books, an imprint of Michigan Publishing; 2017.
167.
Strangelove M. 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
168.
Klinger B. Beyond the Multiplex: Cinema, New Technologies, and the Home. University of California Press; 2006. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=254875
169.
McDonald P, Wasko J. The contemporary Hollywood film industry. In: The Contemporary Hollywood Film Industry. Blackwell Publishing; 2008:106-119. https://contentstore.cla.co.uk/secure/link?id=70ba6558-3810-e911-80cd-005056af4099
170.
McDonald P, Wasko J. The contemporary Hollywood film industry. In: The Contemporary Hollywood Film Industry. Blackwell Publishing; 2008:120-131. https://contentstore.cla.co.uk/secure/link?id=cd3f1fea-1210-e911-80cd-005056af4099
171.
Ulin J. The Business of Media Distribution: Monetizing Film, TV, and Video Content. Focal Press/Elsevier; 2010. http://lib.myilibrary.com/browse/open.asp?id=234516&entityid=https://idp.brunel.ac.uk/entity
172.
Neale S, Smith M. Contemporary Hollywood Cinema. Routledge; 1998.
173.
Ellis J. 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
174.
Kaplan EA. Rocking around the Clock: Music Television, Postmodernism, and Consumer Culture. Methuen; 1987.
175.
Jenkins H. Convergence Culture: Where Old and New Media Collide. Updated ed. New York University Press; 2006.
176.
Mittell J. Complex TV: The Poetics of Contemporary Television Storytelling. New York University Press; 2015. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1991882
177.
Hills M, ed. 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
178.
Tryon C. Reinventing Cinema: Movies in the Age of Media Convergence. Rutgers University Press; 2009.
179.
Kackman M. Flow TV: Television in the Age of Media Convergence. Routledge; 2010. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=574457
180.
Boni M, ed. World Building: Transmedia, Fans, Industries. Vol 2. Amsterdam University Press; 2017.
181.
Clarke MJ. Transmedia Television: New Trends in Network Serial Production. Bloomsbury; 2013. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1099529
182.
Stein LE, Busse K. 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
183.
Guynes SA, Hassler-Forest D, eds. Star Wars and the History of Transmedia Storytelling. Amsterdam University Press; 2018. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5261322
184.
Stein LE. Millennial Fandom: Television Audiences in the Transmedia Age. University of Iowa Press; 2015. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3570587
185.
Alberti J, Miller PA, eds. Transforming Harry: The Adaptation of Harry Potter in the Transmedia Age. Wayne State University Press; 2018.
186.
Crumley A, Buice S. Four eyed monsters. Published online 2008.
187.
King G. Indie 2.0: change and continuity in contemporary American indie film. In: Indie 2.0: Change and Continuity in Contemporary American Indie Film. Vol 10. I.B. Tauris; 2014:77-121. https://contentstore.cla.co.uk/secure/link?id=8ce33d9e-7112-e911-80cd-005056af4099
188.
King G. Indie 2.0: Change and Continuity in Contemporary American Indie Film. Vol 10. I.B. Tauris; 2014.
189.
Christian AJ. Joe Swanberg, Intimacy, and the Digital Aesthetic. Cinema Journal. 2011;50(4). https://www.jstor.org/stable/41240738?pq-origsite=summon&seq=1#metadata_info_tab_contents
190.
Willis H. New Digital Cinema: Reinventing the Moving Image. Wallflower Press; 2005.
191.
Tryon C. Reinventing cinema: movies in the age of media convergence. In: Reinventing Cinema: Movies in the Age of Media Convergence. Rutgers University Press; 2009:93-124. https://contentstore.cla.co.uk/secure/link?id=fa504901-610f-e911-80cd-005056af4099
192.
Tryon C. 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
193.
Iordanova D, Cunningham S, University of St Andrews. Film Studies. Digital Disruption: Cinema Moves on-Line. St Andrews Film Studies; 2012.
194.
Iordanova D, Cunningham S, University of St Andrews. Film Studies. Digital disruption: cinema moves on-line. In: Digital Disruption: Cinema Moves on-Line. St Andrews Film Studies; 2012:67-100. https://contentstore.cla.co.uk/secure/link?id=700a1c74-0f10-e911-80cd-005056af4099
195.
King G, ed. 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
196.
Badley L, Perkins C, Schreiber M, eds. Indie reframed: women’s filmmaking and contemporary American independent cinema. In: Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema. Edinburgh University Press; 2016:138-153. https://contentstore.cla.co.uk/secure/link?id=a360c8fb-8712-e911-80cd-005056af4099
197.
King G, ed. 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
198.
King G, ed. 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
199.
Jenkins H, Ford S, Green J. 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
200.
Kirsner S. Fans, Friends & Followers. Scott Kirsner; 2009.
201.
Reiss J. 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
202.
Varda A. The gleaners and I.
203.
Bozak N. 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
204.
Gündüz Özdemirci E. Greening the Screen: An Environmental Challenge. Humanities. 2016;5(2). doi:10.3390/h5020035
205.
Murray RL, Heumann JK. Ecology and Popular Film: Cinema on the Edge. SUNY Press; 2009.
206.
Murray RL, Heumann JK. Film & Everyday Eco-Disasters. University of Nebraska Press; 2014.
207.
Heise UK. 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
208.
Cubitt S. EcoMedia. Rodopi; 2005.
209.
Rust S, Monani S, Cubitt S. Ecocinema Theory and Practice. Routledge; 2013. http://lib.myilibrary.com/browse/open.asp?id=391901&entityid=https://idp.brunel.ac.uk/entity
210.
Murphy PD. The Media Commons: Globalization and Environmental Discourses. University of Illinois Press; 2017.
211.
Lâopez A. The Media Ecosystem: What Ecology Can Teach Us about Responsible Media Practice. Evolver Editions; 2012.
212.
Parham J. Green Media and Popular Culture: An Introduction. Macmillan Education/Palgrave; 2016.
213.
Budd M, Craig S, Steinman CM. Consuming Environments: Television and Commercial Culture. Rutgers University Press; 1999.
214.
Gaylor B. RiP!: a remix manifesto. Published online 2009.
215.
Benkler Y. The Wealth of Networks: How Social Production Transforms Markets and Freedom. Yale University Press; 2006. http://lib.myilibrary.com/browse/open.asp?id=174080&entityid=https://idp.brunel.ac.uk/entity
216.
Gillespie T, ProQuest (Firm). Wired Shut: Copyright and the Shape of Digital Culture. MIT Press; 2007. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3338717
217.
Hilderbrand L. Youtube: Where Cultural Memory and Copyright Converge. Film Quarterly. 2007;61(1):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(1):9-25. doi:10.1007/s10490-006-9025-0
219.
Klinger, Barbara. Contraband Cinema: Piracy, Titanic, and Central Asia. Cinema Journal. 49:106-124. https://search.proquest.com/docview/222306812?pq-origsite=summon
220.
Shujen Wang. Recontextualizing Copyright: Piracy, Hollywood, the State, and Globalization. Cinema Journal. 2003;43(1). https://www.jstor.org/stable/1225929?Search=yes&resultItemClick=true&searchText=Recontextualizing&searchText=Copyright:&searchText=Piracy,&searchText=Hollywood,&searchText=the&searchText=State,&searchText=and&searchText=Globalization&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DRecontextualizing%2BCopyright%253A%2BPiracy%252C%2BHollywood%252C%2Bthe%2BState%252C%2Band%2BGlobalization%26amp%3Bfilter%3Djid%253A10.2307%252Fj100121%26amp%3BSearch%3DSearch%26amp%3Bwc%3Don%26amp%3Bfc%3Doff%26amp%3BglobalSearch%3D%26amp%3BsbbBox%3D%26amp%3BsbjBox%3D%26amp%3BsbpBox%3D&seq=1#metadata_info_tab_contents
221.
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
222.
Andrejevic M. Reality TV: The Work of Being Watched. Rowman & Littlefield; 2004. http://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1318905
223.
Biressi A, Nunn H. Reality TV: Realism and Revelation. Wallflower; 2005. http://lib.myilibrary.com/browse/open.asp?id=574418&entityid=https://idp.brunel.ac.uk/entity
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. Palgrave Macmillan; 2011.
226.
O’Neill D, Wayne M, eds. Considering Class: Theory, Culture and the Media in the 21st Century. Vol Volume 113. Brill; 2018. http://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5151482
227.
Saviano R, Sillima S, Cupellini C, et al. Gomorrah: The complete season one. Published online 2018.
228.
Saviano R, Sillima S, Cupellini C, et al. Gomorrah: The complete season two. Published online 2018.
229.
Saviano R, Sillima S, Cupellini C, et al. Gomorrah: The complete season three. Published online 2018.
230.
Turnbull S. The TV Crime Drama. Edinburgh University Press; 2014. http://lib.myilibrary.com/browse/open.asp?id=637218&entityid=https://idp.brunel.ac.uk/entity
231.
Jancovich M, Lyons J. Quality Popular Television: Cult TV, the Industry and Fans. British Film Institute; 2003.
232.
Buonanno M. 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
233.
Hansen KT, Waade AM. Locating Nordic Noir: From Beck to The Bridge. Palgrave Macmillan; 2017. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5106086
234.
Forshaw B. 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
235.
Pezzotti B. 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
236.
Forshaw B. Death in a Cold Climate: A Guide to Scandinavian Crime Fiction. Palgrave Macmillan; 2012. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=832165
237.
McCabe J, Akass K. Quality TV: Contemporary American Television and Beyond. I. B. Tauris; 2007.
238.
Peacock S. Swedish Crime Fiction: Novel, Film, Television. Manchester University Press; 2014. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4706720
239.
Forshaw B. Nordic Noir: The Pocket Essential Guide to Scandinavian Crime Fiction, Film & TV. Pocket Essentials; 2013.
240.
Yen D, Hung S, Yam S. Kill zone. Published online 2010.
241.
Bordwell D. Planet Hong Kong: popular cinema and the art of entertainment. In: Planet Hong Kong: Popular Cinema and the Art of Entertainment. Harvard University Press; 2000:199-247. https://contentstore.cla.co.uk/secure/link?id=f37c101e-1114-e911-80cd-005056af4099
242.
Yau CME. 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
243.
Hunt L. Kung Fu cult masters. In: Kung Fu Cult Masters. Wallflower Press; 2003:21-47. https://contentstore.cla.co.uk/secure/link?id=e7e97c84-4813-e911-80cd-005056af4099
244.
Anderson A. Violent dances in martial arts films. Jump Cut. https://www.ejumpcut.org/archive/jc44.2001/aarona/aaron1.html
245.
Dancer G. Film Style and Performance: Comedy and Kung Fu From Hong. Asian Cinema. 1998;10(1):42-50. https://www.intellectbooks.co.uk/journals/view-Article,id=13974/
246.
Fu P, Desser D. The Cinema of Hong Kong: history, arts, identity. In: The Cinema of Hong Kong: History, Arts, Identity. Cambridge University Press; 2000:113-136. https://contentstore.cla.co.uk/secure/link?id=6cd7fb07-3d10-e911-80cd-005056af4099
247.
Fu P, Desser D. The Cinema of Hong Kong: history, arts, identity. In: The Cinema of Hong Kong: History, Arts, Identity. Cambridge University Press; 2000:113-136. https://contentstore.cla.co.uk/secure/link?id=6cd7fb07-3d10-e911-80cd-005056af4099
248.
Morris M, Li SL, Chan SC kiu. Hong Kong Connections: Transnational Imagination in Action Cinema.; 2006. http://lib.myilibrary.com/browse/open.asp?id=270444&entityid=https://idp.brunel.ac.uk/entity
249.
Stokes LO, Hoover M. City on Fire: Hong Kong Cinema. Verso; 1999.
250.
Teo S. Hong Kong Cinema: The Extra Dimensions. BFI; 1997.
251.
Rapu CO. Living in Bondage. Published online 1992. https://www.youtube.com/watch?v=oGXs6Cd1jfA
252.
Lobato R. 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
253.
Miller JL. Nollywood Central. BFI; 2016.
254.
Haynes J. Nollywood: The Creation of Nigerian Film Genres. The University of Chicago Press; 2016. http://lib.myilibrary.com/browse/open.asp?id=952469&entityid=https://idp.brunel.ac.uk/entity
255.
Geiger J. Nollywood Style: Nigerian movies and ‘shifting perceptions of worth’. Film International. 2012;10(6):58-72. doi:10.1386/fiin.10.6.58_1
256.
Stone R, Cooke P, Dennison S, Marlow-Mann A, eds. 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
257.
Lobato R. Creative industries and informal economies. International Journal of Cultural Studies. 2010;13(4):337-354. doi:10.1177/1367877910369971
258.
Akudinobi J. Nollywood: Prisms and Paradigms. Cinema Journal. 2015;54(Issue 2):133-140. https://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=a9h&AN=100840157&site=ehost-live&scope=site&custid=s1123049
259.
Castaing-Taylor L, Paravel V, Cinema Guild. Leviathan. Published online 2013.
260.
Pavsek C. Leviathan and the Experience of Sensory Ethnography. Visual Anthropology Review. 2015;31(1):4-11. doi:10.1111/var.12056
261.
Leimbacher I. The World Made Flesh. Film Comment. 50:36-39. https://search.proquest.com/docview/1523427232?pq-origsite=summon
262.
Ferrando F. Posthumanism, Transhumanism, Antihumanism, Metahumanism, and New Materialisms Differences and Relations. Existenz. 2013;8(2):26-32. https://existenz.us/volumes/Vol.8-2Ferrando.pdf
263.
Bostrom N. A History of Transhumanist Thought. Journal of evolution and technology. 2005;14(1). https://jetpress.org/volume14/bostrom.html
264.
Paumgarten N. We Are a Camera: Experience and memory in the age of GoPro. The New Yorker. Published online 22AD. https://www.newyorker.com/magazine/2014/09/22/camera
265.
Law J. Notes on the theory of the actor-network: Ordering, strategy, and heterogeneity. Systems Practice. 1992;5(4):379-393. doi:10.1007/BF01059830
266.
Hauskeller M, Philbeck TD, Carbonell CD, eds. The Palgrave Handbook of Posthumanism in Film and Television. Palgrave Macmillan; 2018.
267.
Sobchack VC. The Address of the Eye: A Phenomenology of Film Experience. Princeton University Press; 1992.
268.
Merleau-Ponty M, Lefort C. The Visible and the Invisible: Followed by Working Notes. Northwestern University Press; 1968.
