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Burgess, J., & Green, J. (2009). YouTube: online video and participatory culture. Polity. http://lib.myilibrary.com/browse/open.asp?id=484691&entityid=https://idp.brunel.ac.uk/entity
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Butler, J. G. (2007). Television: critical methods and applications. In Television: critical methods and applications (3rd ed, pp. 3–19). Lawrence Erlbaum Associates. https://contentstore.cla.co.uk/secure/link?id=b844422b-5a12-e911-80cd-005056af4099
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Dancer, G. (1998). Film Style and Performance: Comedy and Kung Fu From Hong. Asian Cinema, 10(1), 42–50. https://www.intellectbooks.co.uk/journals/view-Article,id=13974/
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Ellis, J. (1992a). Visible fictions: cinema, television, video (Rev. ed). Routledge. http://lib.myilibrary.com/browse/open.asp?id=47863&entityid=https://idp.brunel.ac.uk/entity
Ellis, J. (1992b). Visible fictions: cinema, television, video (Rev. ed). Routledge. http://lib.myilibrary.com/browse/open.asp?id=47863&entityid=https://idp.brunel.ac.uk/entity
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Elsaesser, T., & Barker, A. (1990a). Early cinema: space, frame, narrative. In Early cinema: space, frame, narrative (pp. 56–75). BFI Publishing. https://contentstore.cla.co.uk/secure/link?id=d6bcce09-0110-e911-80cd-005056af4099
Elsaesser, T., & Barker, A. (1990b). Early cinema: space, frame, narrative. BFI Publishing.
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Elsaesser, T., & Buckland, W. (2002). Studying contemporary American film: a guide to movie analysis. In Studying contemporary American film: a guide to movie analysis (pp. 26–79). Hodder Education. https://contentstore.cla.co.uk/secure/link?id=60559fa8-5413-e911-80cd-005056af4099
Ferrando, F. (2013). Posthumanism, Transhumanism, Antihumanism, Metahumanism, and New Materialisms Differences and Relations. Existenz, 8(2), 26–32. https://existenz.us/volumes/Vol.8-2Ferrando.pdf
Forshaw, B. (2012). Death in a cold climate: a guide to Scandinavian crime fiction. Palgrave Macmillan. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=832165
Forshaw, B. (2013). Nordic noir: the pocket essential guide to Scandinavian crime fiction, film & TV. Pocket Essentials.
Forshaw, B. (2014). Euro noir: the pocket essential guide to European crime fiction, film & TV. Pocket Essentials. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1712149
Fu, P., & Desser, D. (2000a). The Cinema of Hong Kong: history, arts, identity. In The Cinema of Hong Kong: history, arts, identity (pp. 113–136). Cambridge University Press. https://contentstore.cla.co.uk/secure/link?id=6cd7fb07-3d10-e911-80cd-005056af4099
Fu, P., & Desser, D. (2000b). The Cinema of Hong Kong: history, arts, identity. In The Cinema of Hong Kong: history, arts, identity (pp. 113–136). Cambridge University Press. https://contentstore.cla.co.uk/secure/link?id=6cd7fb07-3d10-e911-80cd-005056af4099
Gandolfini, J., Bracco, L., Falco, E., Imperioli, M., Chianese, D., Kaplow, D., Mazen, O. ‘Nini’, & Chase, D. (2007). The Sopranos: Complete HBO Season 1 (Standard Edition). Warner Home Video.
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Geiger, J. (2012). Nollywood Style: Nigerian movies and ‘shifting perceptions of worth’. Film International, 10(6), 58–72. https://doi.org/10.1386/fiin.10.6.58_1
Geiger, J., & Rutsky, R. L. (2005). Film analysis: a Norton reader. In Film analysis: a Norton reader (1st ed, pp. 422–438). W.W. Norton. https://contentstore.cla.co.uk/secure/link?id=3f6fb3e7-af18-e911-80cd-005056af4099
Geraghty, C., & Lusted, D. (1998). The television studies book. Arnold.
Gerbarg, D. (Ed.). (2010). Television goes digital. Springer. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=417813
Gillespie, T. (2010). The politics of ‘platforms’. New Media & Society, 12(3), 347–364. https://doi.org/10.1177/1461444809342738
Gillespie, T. & ProQuest (Firm). (2007). Wired shut: copyright and the shape of digital culture. MIT Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3338717
Gomery, D. (1992a). Shared pleasures: a history of movie presentation in the United States. In Shared pleasures: a history of movie presentation in the United States (pp. 3–17). University of Wisconsin Press. https://contentstore.cla.co.uk/secure/link?id=e8278966-3b10-e911-80cd-005056af4099
Gomery, D. (1992b). Shared pleasures: a history of movie presentation in the United States. In Shared pleasures: a history of movie presentation in the United States (pp. 18–33). University of Wisconsin Press. https://contentstore.cla.co.uk/secure/link?id=8beb2b00-5113-e911-80cd-005056af4099
Gomery, D. (2005). The Hollywood studio system: a history. In The Hollywood studio system: a history (pp. 11–26). BFI. https://contentstore.cla.co.uk/secure/link?id=426988b3-2613-e911-80cd-005056af4099
Goodwin, A., & Whannel, G. (1990). Understanding television. Routledge. http://lib.myilibrary.com/browse/open.asp?id=14659&entityid=https://idp.brunel.ac.uk/entity
Greengrass, P. (2004). The Bourne supremacy. Universal Pictures.
Griffith, D. W. (2000). Broken blossoms. Eureka Video.
Gündüz Özdemirci, E. (2016). Greening the Screen: An Environmental Challenge. Humanities, 5(2). https://doi.org/10.3390/h5020035
Guynes, S. A., & Hassler-Forest, D. (Eds.). (2018). Star Wars and the history of transmedia storytelling. Amsterdam University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5261322
Haggard, P., Potter, D., Trodd, K., Hoskins, B., Craven, G., Colley, K., Bennett, H., & British Broadcasting Corporation. Television Service. (2004). Pennies from heaven. BBC Worldwide.
Hansen, K. T., & Waade, A. M. (2017). Locating Nordic Noir: from Beck to The bridge. Palgrave Macmillan. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5106086
Hauskeller, M., Philbeck, T. D., & Carbonell, C. D. (Eds.). (2018). The Palgrave handbook of posthumanism in film and television. Palgrave Macmillan.
Haynes, J. (2016). Nollywood: the creation of Nigerian film genres. The University of Chicago Press. http://lib.myilibrary.com/browse/open.asp?id=952469&entityid=https://idp.brunel.ac.uk/entity
Heise, U. K. (2008). Sense of place and sense of planet: the environmental imagination of the global. Oxford University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3053055
Hilderbrand, L. (2007). Youtube: Where Cultural Memory and Copyright Converge. Film Quarterly, 61(1), 48–57. https://doi.org/10.1525/fq.2007.61.1.48
Hill, C. W. L. (2007). Digital piracy: Causes, consequences, and strategic responses. Asia Pacific Journal of Management, 24(1), 9–25. https://doi.org/10.1007/s10490-006-9025-0
Hill, J. & British Film Institute. (2011). Ken Loach: the politics of film and television. Palgrave Macmillan.
Hill, J., & Gibson, P. C. (1998). The Oxford guide to film studies. In The Oxford guide to film studies (pp. 255–271). Oxford University Press. https://contentstore.cla.co.uk/secure/link?id=b0609736-4d13-e911-80cd-005056af4099
Hills, M. (Ed.). (2013). New dimensions of Doctor Who: adventures in space, time and television. I.B. Tauris. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1511071
Holland, P. (2000). The television handbook. In The television handbook (2nd ed., pp. 9–26). Routledge. https://contentstore.cla.co.uk/secure/link?id=8152bf62-480f-e911-80cd-005056af4099
Hunt, L. (2003). Kung Fu cult masters. In Kung Fu cult masters (pp. 21–47). Wallflower Press. https://contentstore.cla.co.uk/secure/link?id=e7e97c84-4813-e911-80cd-005056af4099
Iordanova, D., Cunningham, S., & University of St Andrews. Film Studies. (2012a). Digital disruption: cinema moves on-line. St Andrews Film Studies.
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Iordanova, D., Cunningham, S., & University of St Andrews. Film Studies. (2012c). Digital disruption: cinema moves on-line. In Digital disruption: cinema moves on-line (pp. 67–100). St Andrews Film Studies. https://contentstore.cla.co.uk/secure/link?id=700a1c74-0f10-e911-80cd-005056af4099
Izod, J. (1988). Hollywood and the box office 1895-1986. In Hollywood and the box office 1895-1986 (pp. 1–6). Columbia University Press. https://contentstore.cla.co.uk/secure/link?id=bbb19b17-7e15-e911-80cd-005056af4099
Jancovich, M., & Lyons, J. (2003). Quality popular television: cult TV, the industry and fans. British Film Institute.
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Jenkins, H., Ford, S., & Green, J. (2013). Spreadable media: creating value and meaning in a networked culture. New York University Press. http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&db=nlebk&db=nlabk&site=ehost-live&scope=site&AN=529617
Kackman, M. (2010). Flow TV: television in the age of media convergence. Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=574457
Kaplan, E. A. (1987). Rocking around the clock: music television, postmodernism, and consumer culture. Methuen.
Keane, S. (2007). CineTech: film, convergence and new media. In CineTech: film, convergence and new media (pp. 56–75). Palgrave Macmillan. https://contentstore.cla.co.uk/secure/link?id=50bde8ab-5b12-e911-80cd-005056af4099
Keating, P. (2006). Emotional Curves and Linear Narratives. The Velvet Light Trap, 58. https://search.proquest.com/docview/222829442?pq-origsite=360link
King, G. (2000). Spectacular narratives: Hollywood in the age of the blockbuster. I.B. Tauris. http://lib.myilibrary.com/browse/open.asp?id=252940&entityid=https://idp.brunel.ac.uk/entity
King, G. (2002a). New Hollywood cinema: an introduction. I. B. Tauris. http://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.brunel.ac.uk/entity&dest=http://www.dawsonera.com/abstract/9786000006914
King, G. (2002b). New Hollywood cinema: an introduction. I. B. Tauris. http://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.brunel.ac.uk/entity&dest=http://www.dawsonera.com/abstract/9786000006914
King, G. (2002c). New Hollywood cinema: an introduction. I. B. Tauris. http://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.brunel.ac.uk/entity&dest=http://www.dawsonera.com/abstract/9786000006914
King, G. (2002d). New Hollywood cinema: an introduction. I. B. Tauris. http://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.brunel.ac.uk/entity&dest=http://www.dawsonera.com/abstract/9786000006914
King, G. (2014a). 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, pp. 77–121). I.B. Tauris. https://contentstore.cla.co.uk/secure/link?id=8ce33d9e-7112-e911-80cd-005056af4099
King, G. (2014b). Indie 2.0: change and continuity in contemporary American indie film (Vol. 10). I.B. Tauris.
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King, G. (Ed.). (2017a). A companion to American indie film. Wiley Blackwell. http://lib.myilibrary.com/browse/open.asp?id=965329&entityid=https://idp.brunel.ac.uk/entity
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Pezzotti, B. (2016). Investigating Italy’s past through historical crime fiction, films, and TV series: murder in the age of chaos. Palgrave Macmillan. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4716385
Prince, S. (2002a). 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 (pp. 40–89). University of California Press. https://contentstore.cla.co.uk/secure/link?id=bb5770d6-8912-e911-80cd-005056af4099
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Prince, S. (2012b). Digital visual effects in cinema: the seduction of reality. Rutgers University Press. http://lib.myilibrary.com/browse/open.asp?id=417704&entityid=https://idp.brunel.ac.uk/entity
Prince, S. (2012c). Digital visual effects in cinema: the seduction of reality. Rutgers University Press. http://lib.myilibrary.com/browse/open.asp?id=417704&entityid=https://idp.brunel.ac.uk/entity
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Purse, L. (2013b). Digital imaging in popular cinema. Edinburgh University Press. http://lib.myilibrary.com/browse/open.asp?id=441828&entityid=https://idp.brunel.ac.uk/entity
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Ross, M. (2015). 3D cinema: optical illusions and tactile experiences. Palgrave Macmillan. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=2006615
Ross, S. (2012). Invitation to the Voyage: The Flight Sequence in Contemporary 3D Cinema. Film History, 24(2). https://doi.org/10.2979/filmhistory.24.2.210
Rossellini, R., Amidei, S., Fellini, F., Fabrizi, A., Magnani, A., Pagliero, M., Annichiarico, V., Bruno, N., Galletti, G., Rossellini, R., Arata, U., & Da Roma, E. (2005). Roma, cittá aperta. Arrow Films.
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