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Alberti, John, and P. Andrew Miller, eds. 2018. Transforming Harry: The Adaptation of Harry Potter in the Transmedia Age. Detroit: Wayne State University Press.
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Badley, Linda, Claire Perkins, and Michele Schreiber, eds. 2016. ‘Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema’. In Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema, 138–53. Edinburgh: Edinburgh University Press. https://contentstore.cla.co.uk/secure/link?id=a360c8fb-8712-e911-80cd-005056af4099.
Balio, Tino. 1985a. The American Film Industry. Rev. ed. Madison: University of Wisconsin Press. http://lib.myilibrary.com/browse/open.asp?id=278814&entityid=https://idp.brunel.ac.uk/entity.
———. 1985b. The American Film Industry. Rev. ed. Madison: University of Wisconsin Press. http://lib.myilibrary.com/browse/open.asp?id=278814&entityid=https://idp.brunel.ac.uk/entity.
———. 1985c. The American Film Industry. Rev. ed. Madison: University of Wisconsin Press. http://lib.myilibrary.com/browse/open.asp?id=278814&entityid=https://idp.brunel.ac.uk/entity.
———. 1985d. The American Film Industry. Rev. ed. Madison: University of Wisconsin Press. http://lib.myilibrary.com/browse/open.asp?id=278814&entityid=https://idp.brunel.ac.uk/entity.
———. 1990a. Hollywood in the Age of Television. Boston, Mass: Unwin Hyman. http://lib.myilibrary.com/browse/open.asp?id=553100&entityid=https://idp.brunel.ac.uk/entity.
———. 1990b. Hollywood in the Age of Television. Boston, Mass: Unwin Hyman. http://lib.myilibrary.com/browse/open.asp?id=553100&entityid=https://idp.brunel.ac.uk/entity.
Banet-Weiser, Sarah, Cynthia Chris, and Anthony Freitas. 2007a. Cable Visions: Television beyond Broadcasting. New York: New York University Press.
———. 2007b. Cable Visions: Television beyond Broadcasting. New York: New York University Press.
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Bazin, Andrâe, and Bert Cardullo. 2011. Andrâe Bazin and Italian Neorealism. New York: Continuum. http://lib.myilibrary.com/browse/open.asp?id=330775&entityid=https://idp.brunel.ac.uk/entity.
Bekmambetov, Timur. 2008. ‘Wanted’. https://learningonscreen.ac.uk/ondemand/index.php/prog/00F368E3?bcast=120592240.
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———. 2012. ‘Digital 3D Cinema: Digital Cinema’s Missing Novelty Phase’. Film History 24 (2). https://doi.org/10.2979/filmhistory.24.2.187.
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Benkler, Yochai. 2006. The Wealth of Networks: How Social Production Transforms Markets and Freedom. New Haven [Conn.]: Yale University Press. http://lib.myilibrary.com/browse/open.asp?id=174080&entityid=https://idp.brunel.ac.uk/entity.
Bennett, James, and Niki Strange. 2011. Television as Digital Media. Durham, NC: Duke University Press. https://login.ezproxy.brunel.ac.uk/login?url=http://dx.doi.org/10.1215/9780822393658.
Berliner, Todd. 2010. Hollywood Incoherent: Narration in Seventies Cinema. Austin, TX.: University of Texas Press.
Biressi, Anita, and Heather Nunn. 2005. Reality TV: Realism and Revelation. London: Wallflower. http://lib.myilibrary.com/browse/open.asp?id=574418&entityid=https://idp.brunel.ac.uk/entity.
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Bondanella, Peter E. 2001a. ‘Italian Cinema: From Neorealism to the Present’. In Italian Cinema: From Neorealism to the Present, 3rd ed, 31–73. London: Continuum. https://contentstore.cla.co.uk/secure/link?id=138069fc-2814-e911-80cd-005056af4099.
———. 2001b. Italian Cinema: From Neorealism to the Present. 3rd ed. London: Continuum.
———, ed. 2014. ‘The Italian Cinema Book’. In The Italian Cinema Book, 77–83. London: BFI. https://contentstore.cla.co.uk/secure/link?id=3416b676-1510-e911-80cd-005056af4099.
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———. 2006a. The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley, Calif: University of California Press. http://lib.myilibrary.com/browse/open.asp?id=275942&entityid=https://idp.brunel.ac.uk/entity.
———. 2006b. The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley, Calif: University of California Press. http://lib.myilibrary.com/browse/open.asp?id=275942&entityid=https://idp.brunel.ac.uk/entity.
Bordwell, David, Janet Staiger, and Kristin Thompson. 1988a. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=5910&entityid=https://idp.brunel.ac.uk/entity.
———. 1988b. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=5910&entityid=https://idp.brunel.ac.uk/entity.
———. 1988c. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=5910&entityid=https://idp.brunel.ac.uk/entity.
———. 1988d. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=5910&entityid=https://idp.brunel.ac.uk/entity.
———. 1988e. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=5910&entityid=https://idp.brunel.ac.uk/entity.
Bordwell, David, Kristin Thompson, and Jeff Smith. 2017. Film Art: An Introduction. Eleventh edition. New York, NY: McGraw-Hill Education.
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Bruzzi, Stella. 2013. Men’s Cinema: Masculinity and Mise En Scáene in Hollywood. Edinburgh: Edinburgh University Press. http://lib.myilibrary.com/browse/open.asp?id=906989&entityid=https://idp.brunel.ac.uk/entity.
Buckland, Warren. 2009. Film Theory and Contemporary Hollywood Movies. New York: Routledge. http://lib.myilibrary.com/browse/open.asp?id=212452&entityid=https://idp.brunel.ac.uk/entity.
———, ed. 2014. ‘Hollywood Puzzle Films’. In Hollywood Puzzle Films. New York: Routledge. http://lib.myilibrary.com/browse/open.asp?id=614075&entityid=https://idp.brunel.ac.uk/entity.
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Buonanno, Milly. 2012. Italian TV Drama and beyond: Stories from the Soil, Stories from the Sea. Bristol: Intellect. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=914258.
Burgess, Jean, and Joshua Green. 2009. YouTube: Online Video and Participatory Culture. Cambridge: Polity. http://lib.myilibrary.com/browse/open.asp?id=484691&entityid=https://idp.brunel.ac.uk/entity.
Burnett, Ron. 1991. ‘Explorations in Film Theory: Selected Essays from Cinâe-Tracts’. In Explorations in Film Theory: Selected Essays from Cinâe-Tracts, 612:3–14. Bloomington, IN: Indiana University Press. https://contentstore.cla.co.uk/secure/link?id=dc4efb2e-4f13-e911-80cd-005056af4099.
Butler, Jeremy G. 2007. ‘Television: Critical Methods and Applications’. In Television: Critical Methods and Applications, 3rd ed, 3–19. Mahwah, N.J.: Lawrence Erlbaum Associates. https://contentstore.cla.co.uk/secure/link?id=b844422b-5a12-e911-80cd-005056af4099.
Caldwell, John Thornton. 1995. Televisuality: Style, Crisis, and Authority in American Television. New Jersey: Rutgers University Press.
Cardullo, Bert. 2009. After Neorealism: Italian Filmmakers and Their Films : Essays and Interviews. Newcastle: Cambridge Scholars. 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, Verena Paravel, and Cinema Guild. 2013. ‘Leviathan’. Dogwoof Ltd.
Castells, Manuel. 2000. The Rise of the Network Society. 2nd ed. Vol. v. 1. Oxford: Blackwell Publishers. http://lib.myilibrary.com/browse/open.asp?id=320466&entityid=https://idp.brunel.ac.uk/entity.
Caughie, John. 2000. Television Drama: Realism, Modernism, and British Culture. Oxford: Oxford University Press. http://lib.myilibrary.com/browse/open.asp?id=90673&entityid=https://idp.brunel.ac.uk/entity.
Chanan, Michael. 1996. The Dream That Kicks: The Prehistory and Early Years of Cinema in Britain. 2nd ed. London: Routledge. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.brunel.ac.uk/entity&dest=http://www.dawsonera.com/abstract/9780203360101.
Christian, Aymar Jean. 2011. ‘Joe Swanberg, Intimacy, and the Digital Aesthetic’. Cinema Journal 50 (4). https://www.jstor.org/stable/41240738?pq-origsite=summon&seq=1#metadata_info_tab_contents.
———. n.d. ‘The Problem of YouTube’. Flow. http://www.flowjournal.org/2011/02/the-problem-of-youtube./.
Clarke, M. J. 2013. Transmedia Television: New Trends in Network Serial Production. New York: Bloomsbury. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1099529.
Collins, Jim, Hilary Radner, Ava Preacher Collins, and American Film Institute. 1993. Film Theory Goes to the Movies. New York: Routledge. http://lib.myilibrary.com/browse/open.asp?id=395546&entityid=https://idp.brunel.ac.uk/entity.
Cook, Pam. 2007. The Cinema Book. 3rd ed. London: British Film Institute.
Cook, Pam, and Mieke Bernink. 1999. ‘The Cinema Book’. In The Cinema Book, 2nd ed, 19–22. London: British Film Institute. https://contentstore.cla.co.uk/secure/link?id=ca63bb8a-e018-e911-80cd-005056af4099.
Corner, John. 1999. ‘Critical Ideas in Television Studies’. In Critical Ideas in Television Studies, 13–23. Oxford: Clarendon Press. https://contentstore.cla.co.uk/secure/link?id=6645edfc-b015-e911-80cd-005056af4099.
Crosland, Alan. 2007. ‘The Jazz Singer’. Turner Entertainment.
Crumley, Arin, and Susan Buice. 2008. ‘Four Eyed Monsters’. Dogwoof.
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Cunningham, Stuart, and Jon Silver. 2013. Screen Distribution and the New King Kongs of the Online World. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1318147.
Dancer, Greg. 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/.
De Santis, Giuseppe, Silvana Mangano, Vittorio Gassman, Raf Vallone, and Doris Dowling. 2003. ‘Riso Amaro: Bitter Rice’. [Italy]: Cristaldifilm.
De Sica, Vittorio. 2004. ‘Umberto D’. [S.l.]: Nouveaux Pictures.
Edgerton, Gary R., and Brian Geoffrey Rose. 2005. ‘Thinking Outside the Box: A Contemporary Television Genre Reader’. In Thinking Outside the Box: A Contemporary Television Genre Reader, 226–46. Lexington, Ky: University Press of Kentucky. https://contentstore.cla.co.uk/secure/link?id=4127e178-730f-e911-80cd-005056af4099.
Ellis, John. 1992a. Visible Fictions: Cinema, Television, Video. Rev. ed. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=47863&entityid=https://idp.brunel.ac.uk/entity.
———. 1992b. Visible Fictions: Cinema, Television, Video. Rev. ed. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=47863&entityid=https://idp.brunel.ac.uk/entity.
———. 1992c. Visible Fictions: Cinema, Television, Video. Rev. ed. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=47863&entityid=https://idp.brunel.ac.uk/entity.
Elsaesser, Thomas, and Adam Barker. 1990a. ‘Early Cinema: Space, Frame, Narrative’. In Early Cinema: Space, Frame, Narrative, 56–75. London: BFI Publishing. https://contentstore.cla.co.uk/secure/link?id=d6bcce09-0110-e911-80cd-005056af4099.
———. 1990b. Early Cinema: Space, Frame, Narrative. London: BFI Publishing.
———. 1990c. Early Cinema: Space, Frame, Narrative. London: BFI Publishing.
Elsaesser, Thomas, and Warren Buckland. 2002. ‘Studying Contemporary American Film: A Guide to Movie Analysis’. In Studying Contemporary American Film: A Guide to Movie Analysis, 26–79. London: Hodder Education. https://contentstore.cla.co.uk/secure/link?id=60559fa8-5413-e911-80cd-005056af4099.
Ferrando, Francesca. 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, Barry. 2012. Death in a Cold Climate: A Guide to Scandinavian Crime Fiction. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=832165.
———. 2013. Nordic Noir: The Pocket Essential Guide to Scandinavian Crime Fiction, Film & TV. Harpenden, Herts: Pocket Essentials.
———. 2014. Euro Noir: The Pocket Essential Guide to European Crime Fiction, Film & TV. Harpenden, Herts: Pocket Essentials. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1712149.
Fu, Poshek, and David Desser. 2000a. ‘The Cinema of Hong Kong: History, Arts, Identity’. In The Cinema of Hong Kong: History, Arts, Identity, 113–36. Cambridge, UK: Cambridge University Press. https://contentstore.cla.co.uk/secure/link?id=6cd7fb07-3d10-e911-80cd-005056af4099.
———. 2000b. ‘The Cinema of Hong Kong: History, Arts, Identity’. In The Cinema of Hong Kong: History, Arts, Identity, 113–36. Cambridge, UK: Cambridge University Press. https://contentstore.cla.co.uk/secure/link?id=6cd7fb07-3d10-e911-80cd-005056af4099.
Gandolfini, James, Lorraine Bracco, Edie Falco, Michael Imperioli, Dominic Chianese, Dan Kaplow, Omneya ‘Nini’ Mazen, and David Chase. 2007. ‘The Sopranos: Complete HBO Season 1’. Burbank, CA: Warner Home Video.
Garnham, Nicholas. 1983. ‘Public Service versus the Market’. Screen 24 (1): 6–27. https://doi.org/10.1093/screen/24.1.6.
Gaylor, Brett. 2009. ‘RiP!: A Remix Manifesto’. Place of publication not identified: Artefact Films.
Geiger, Jeffrey. 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, Jeffrey, and R. L. Rutsky. 2005. ‘Film Analysis: A Norton Reader’. In Film Analysis: A Norton Reader, 1st ed, 422–38. New York, N.Y.: W.W. Norton. https://contentstore.cla.co.uk/secure/link?id=3f6fb3e7-af18-e911-80cd-005056af4099.
Geraghty, Christine, and David Lusted. 1998. The Television Studies Book. London: Arnold.
Gerbarg, Darcy, ed. 2010. Television Goes Digital. New York, NY, USA: Springer. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=417813.
Gillespie, Tarleton. 2010. ‘The Politics of “Platforms”’. New Media & Society 12 (3): 347–64. https://doi.org/10.1177/1461444809342738.
Gillespie, Tarleton and ProQuest (Firm). 2007. Wired Shut: Copyright and the Shape of Digital Culture. Cambridge, Mass: MIT Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3338717.
Gomery, Douglas. 1992a. ‘Shared Pleasures: A History of Movie Presentation in the United States’. In Shared Pleasures: A History of Movie Presentation in the United States, 3–17. Madison, Wis: University of Wisconsin Press. https://contentstore.cla.co.uk/secure/link?id=e8278966-3b10-e911-80cd-005056af4099.
———. 1992b. ‘Shared Pleasures: A History of Movie Presentation in the United States’. In Shared Pleasures: A History of Movie Presentation in the United States, 18–33. Madison, Wis: University of Wisconsin Press. https://contentstore.cla.co.uk/secure/link?id=8beb2b00-5113-e911-80cd-005056af4099.
———. 2005. ‘The Hollywood Studio System: A History’. In The Hollywood Studio System: A History, 11–26. London: BFI. https://contentstore.cla.co.uk/secure/link?id=426988b3-2613-e911-80cd-005056af4099.
Goodwin, Andrew, and Garry Whannel. 1990. Understanding Television. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=14659&entityid=https://idp.brunel.ac.uk/entity.
Greengrass, Paul. 2004. ‘The Bourne Supremacy’. Universal Pictures.
Griffith, D. W. 2000. ‘Broken Blossoms’. Eureka Video.
Gündüz Özdemirci, Ekin. 2016. ‘Greening the Screen: An Environmental Challenge’. Humanities 5 (2). https://doi.org/10.3390/h5020035.
Guynes, Sean A., and Dan Hassler-Forest, eds. 2018. Star Wars and the History of Transmedia Storytelling. Amsterdam: Amsterdam University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5261322.
Haggard, Piers, Dennis Potter, Kenith Trodd, Bob Hoskins, Gemma Craven, Kenneth Colley, Hywel Bennett, and British Broadcasting Corporation. Television Service. 2004. ‘Pennies from Heaven’. [London]: BBC Worldwide.
Hansen, Kim Toft, and Anne Marit Waade. 2017. Locating Nordic Noir: From Beck to The Bridge. Cham, Switzerland: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5106086.
Hauskeller, Michael, Thomas Drew Philbeck, and Curtis D. Carbonell, eds. 2018. The Palgrave Handbook of Posthumanism in Film and Television. Basingstoke, Hampshire: Palgrave Macmillan.
Haynes, Jonathan. 2016. Nollywood: The Creation of Nigerian Film Genres. Chicago: The University of Chicago Press. http://lib.myilibrary.com/browse/open.asp?id=952469&entityid=https://idp.brunel.ac.uk/entity.
Heise, Ursula K. 2008. Sense of Place and Sense of Planet: The Environmental Imagination of the Global. New York: Oxford University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3053055.
Hilderbrand, Lucas. 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, Charles 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, John and British Film Institute. 2011. Ken Loach: The Politics of Film and Television. London: Palgrave Macmillan.
Hill, John, and Pamela Church Gibson. 1998. ‘The Oxford Guide to Film Studies’. In The Oxford Guide to Film Studies, 255–71. Oxford: Oxford University Press. https://contentstore.cla.co.uk/secure/link?id=b0609736-4d13-e911-80cd-005056af4099.
Hills, Matt, ed. 2013. New Dimensions of Doctor Who: Adventures in Space, Time and Television. London: I.B. Tauris. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1511071.
Holland, Patricia. 2000. ‘The Television Handbook’. In The Television Handbook, 2nd ed., 9–26. London: Routledge. https://contentstore.cla.co.uk/secure/link?id=8152bf62-480f-e911-80cd-005056af4099.
Hunt, Leon. 2003. ‘Kung Fu Cult Masters’. In Kung Fu Cult Masters, 21–47. London: Wallflower Press. https://contentstore.cla.co.uk/secure/link?id=e7e97c84-4813-e911-80cd-005056af4099.
Iordanova, Dina, Stuart Cunningham, and University of St Andrews. Film Studies. 2012a. Digital Disruption: Cinema Moves on-Line. St Andrews: St Andrews Film Studies.
———. 2012b. Digital Disruption: Cinema Moves on-Line. St Andrews: St Andrews Film Studies.
———. 2012c. ‘Digital Disruption: Cinema Moves on-Line’. In Digital Disruption: Cinema Moves on-Line, 67–100. St Andrews: St Andrews Film Studies. https://contentstore.cla.co.uk/secure/link?id=700a1c74-0f10-e911-80cd-005056af4099.
Izod, John. 1988. ‘Hollywood and the Box Office 1895-1986’. In Hollywood and the Box Office 1895-1986, 1–6. New York: Columbia University Press. https://contentstore.cla.co.uk/secure/link?id=bbb19b17-7e15-e911-80cd-005056af4099.
Jancovich, Mark, and James Lyons. 2003. Quality Popular Television: Cult TV, the Industry and Fans. London: British Film Institute.
Jenkins, Henry. 2006. Convergence Culture: Where Old and New Media Collide. Updated ed. New York: New York University Press.
Jenkins, Henry, Sam Ford, and Joshua Green. 2013. Spreadable Media: Creating Value and Meaning in a Networked Culture. New York: 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, Michael. 2010. Flow TV: Television in the Age of Media Convergence. New York, NY: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=574457.
Kaplan, E. Ann. 1987. Rocking around the Clock: Music Television, Postmodernism, and Consumer Culture. New York: Methuen.
Keane, Stephen. 2007. ‘CineTech: Film, Convergence and New Media’. In CineTech: Film, Convergence and New Media, 56–75. Basingstoke [England]: Palgrave Macmillan. https://contentstore.cla.co.uk/secure/link?id=50bde8ab-5b12-e911-80cd-005056af4099.
Keating, Patrick. 2006. ‘Emotional Curves and Linear Narratives’. The Velvet Light Trap 58. https://search.proquest.com/docview/222829442?pq-origsite=360link.
King, Geoff. 2000. Spectacular Narratives: Hollywood in the Age of the Blockbuster. London: I.B. Tauris. http://lib.myilibrary.com/browse/open.asp?id=252940&entityid=https://idp.brunel.ac.uk/entity.
———. 2002a. New Hollywood Cinema: An Introduction. London: 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.
———. 2002b. New Hollywood Cinema: An Introduction. London: 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.
———. 2002c. New Hollywood Cinema: An Introduction. London: 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.
———. 2002d. New Hollywood Cinema: An Introduction. London: 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.
———. 2014a. ‘Indie 2.0: Change and Continuity in Contemporary American Indie Film’. In Indie 2.0: Change and Continuity in Contemporary American Indie Film, 10:77–121. London: I.B. Tauris. https://contentstore.cla.co.uk/secure/link?id=8ce33d9e-7112-e911-80cd-005056af4099.
———. 2014b. Indie 2.0: Change and Continuity in Contemporary American Indie Film. Vol. 10. London: I.B. Tauris.
———. 2016. ‘Quality Hollywood: Markers of Distinction in Contemporary Studio Film’. In Quality Hollywood: Markers of Distinction in Contemporary Studio Film, 28:81–124. London: I.B. Tauris. https://contentstore.cla.co.uk/secure/link?id=a8ea312a-bb15-e911-80cd-005056af4099.
———, ed. 2017a. A Companion to American Indie Film. Chichester, West Sussex, UK: Wiley Blackwell. http://lib.myilibrary.com/browse/open.asp?id=965329&entityid=https://idp.brunel.ac.uk/entity.
———, ed. 2017b. A Companion to American Indie Film. Chichester, West Sussex, UK: Wiley Blackwell. http://lib.myilibrary.com/browse/open.asp?id=965329&entityid=https://idp.brunel.ac.uk/entity.
———, ed. 2017c. A Companion to American Indie Film. Chichester, West Sussex, UK: Wiley Blackwell. http://lib.myilibrary.com/browse/open.asp?id=965329&entityid=https://idp.brunel.ac.uk/entity.
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Klinger, Barbara. n.d. ‘Contraband Cinema: Piracy, Titanic, and Central Asia’. Cinema Journal 49: 106–24. https://search.proquest.com/docview/222306812?pq-origsite=summon.
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———. 2010b. Post-Classical Hollywood: Film Industry, Style and Ideology since 1945. Edinburgh: Edinburgh University Press. http://lib.myilibrary.com/browse/open.asp?id=289978&entityid=https://idp.brunel.ac.uk/entity.
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———. 1998b. The New American Cinema. Durham: Duke University Press.
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———. 2012. Shadow Economies of Cinema: Mapping Informal Film Distribution. London: Palgrave Macmillan [on behalf of the] BFI. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5400915.
Lotz, Amanda D. 2009. Beyond Prime Time: Television Programming in the Post-Network Era. New York: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=435636.
———. 2017. Portals: A Treatise on Internet-Distributed Television. United States of America: Maize Books, an imprint of Michigan Publishing.
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———. 1995b. ‘Hollywood Cinema: An Introduction’. In Hollywood Cinema: An Introduction, 59–106. Oxford: Blackwell Publishers. https://contentstore.cla.co.uk/secure/link?id=97e74340-7f12-e911-80cd-005056af4099.
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———. 2007b. Video and DVD Industries. London: British Film Institute.
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———. 2008b. ‘The Contemporary Hollywood Film Industry’. In The Contemporary Hollywood Film Industry, 120–31. Oxford: Blackwell Publishing. https://contentstore.cla.co.uk/secure/link?id=cd3f1fea-1210-e911-80cd-005056af4099.
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———. 1990b. Seeing through Movies. New York: Pantheon Books.
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———. 2010b. Television Studies: The Basics. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=244349&entityid=https://idp.brunel.ac.uk/entity.
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Moran, Albert. 1996. Film Policy: International, National and Regional Perspectives. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=13838&entityid=https://idp.brunel.ac.uk/entity.
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———. 2014. Film & Everyday Eco-Disasters. Lincoln: University of Nebraska Press.
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———. 1985b. Cinema and Technology: Image, Sound, Colour. London: Macmillan Education.
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———. 1998c. ‘Contemporary Hollywood Cinema’. In Contemporary Hollywood Cinema. London: Routledge.
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———. 1998e. Contemporary Hollywood Cinema. London: Routledge.
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———. 1985b. Movies and Methods: An Anthology, Vol.2. Berkeley, CA: University of California Press.
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Parham, John. 2016. Green Media and Popular Culture: An Introduction. London: Macmillan Education/Palgrave.
Paul, William. 1993. ‘The Aesthetics of Emergence’. Film History 5. https://www.jstor.org/stable/3815145?pq-origsite=360link&seq=1#metadata_info_tab_contents.
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Peacock, Steven. 2014. Swedish Crime Fiction: Novel, Film, Television. Manchester: Manchester University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4706720.
Pezzotti, Barbara. 2016. Investigating Italy’s Past through Historical Crime Fiction, Films, and TV Series: Murder in the Age of Chaos. New York: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4716385.
Prince, Stephen. 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, v. 10:40–89. Berkeley: University of California Press. https://contentstore.cla.co.uk/secure/link?id=bb5770d6-8912-e911-80cd-005056af4099.
———. 2002b. A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989. Vol. v. 10. Berkeley: University of California Press.
———. 2002c. A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989. Vol. v. 10. Berkeley: University of California Press.
———. 2012a. Digital Visual Effects in Cinema: The Seduction of Reality. New Brunswick, N.J.: Rutgers University Press. http://lib.myilibrary.com/browse/open.asp?id=417704&entityid=https://idp.brunel.ac.uk/entity.
———. 2012b. Digital Visual Effects in Cinema: The Seduction of Reality. New Brunswick, N.J.: Rutgers University Press. http://lib.myilibrary.com/browse/open.asp?id=417704&entityid=https://idp.brunel.ac.uk/entity.
———. 2012c. Digital Visual Effects in Cinema: The Seduction of Reality. New Brunswick, N.J.: Rutgers University Press. http://lib.myilibrary.com/browse/open.asp?id=417704&entityid=https://idp.brunel.ac.uk/entity.
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———. 2013b. Digital Imaging in Popular Cinema. Edinburgh: Edinburgh University Press. http://lib.myilibrary.com/browse/open.asp?id=441828&entityid=https://idp.brunel.ac.uk/entity.
———. 2013c. Digital Imaging in Popular Cinema. Edinburgh: Edinburgh University Press. http://lib.myilibrary.com/browse/open.asp?id=441828&entityid=https://idp.brunel.ac.uk/entity.
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———. 2015. 3D Cinema: Optical Illusions and Tactile Experiences. Houndmills, Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=2006615.
Ross, Sarah. 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, Roberto, Sergio Amidei, Federico Fellini, Aldo Fabrizi, Anna Magnani, Marcello Pagliero, Vito Annichiarico, et al. 2005. ‘Roma, Cittá Aperta’. [S.l.]: Arrow Films.
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Saviano, Roberto, Stefano Sillima, Claudio Cupellini, Francesca Comencini, Arrow Films (Firm), Sky (Firm : Italy), and Fandango (Firm). 2018a. ‘Gomorrah: The Complete Season One’. [Great Britain]: Arrow Films.
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———. 2018c. ‘Gomorrah: The Complete Season Two’. [Great Britain]: Arrow Films.
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Sobchack, Vivian Carol. 1992. The Address of the Eye: A Phenomenology of Film Experience. Princeton, N.J.: Princeton University Press.
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Stein, Louisa Ellen. 2015. Millennial Fandom: Television Audiences in the Transmedia Age. Iowa City: University of Iowa Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3570587.
Stein, Louisa Ellen, and Kristina Busse. 2012. Sherlock and Transmedia Fandom: Essays on the BBC Series. Jefferson, N.C.: McFarland. http://search.ebscohost.com/login.aspx?authtype=ip,shib&custid=s1123049&direct=true&db=nlebk&db=nlabk&site=ehost-live&scope=site&AN=462577.
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Strauven, Wanda. 2006. The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press. http://oapen.org/download?type=document&docid=340138.
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———. 2003c. Movie Blockbusters. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=536184&entityid=https://idp.brunel.ac.uk/entity.
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———. 1999b. ‘Media Studies: Texts, Institutions, and Audiences’. In Media Studies: Texts, Institutions, and Audiences, 91–106. Oxford: Blackwell Publishers. https://contentstore.cla.co.uk/secure/link?id=87d66318-5e0f-e911-80cd-005056af4099.
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———. 2013a. On-Demand Culture: Digital Delivery and the Future of Movies. New Brunswick, N.J.: Rutgers University Press. http://lib.myilibrary.com/browse/open.asp?id=486972&entityid=https://idp.brunel.ac.uk/entity.
———. 2013b. On-Demand Culture: Digital Delivery and the Future of Movies. New Brunswick, N.J.: Rutgers University Press. http://lib.myilibrary.com/browse/open.asp?id=486972&entityid=https://idp.brunel.ac.uk/entity.
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———. 1996b. ‘Technologies of Seeing: Photography, Cinematography and Television’. In Technologies of Seeing: Photography, Cinematography and Television, 109–18. London: British Film Institute. https://contentstore.cla.co.uk/secure/link?id=259b02d6-0a10-e911-80cd-005056af4099.
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Yau, Ching-Mei Esther. 2001. At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press. http://lib.myilibrary.com/browse/open.asp?id=522675&entityid=https://idp.brunel.ac.uk/entity.
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