Bibliography for FM1619 - Technology, Industry and Form BETA

Akudinobi, Jude. 2015. ‘Nollywood: Prisms and Paradigms.’ Cinema Journal 54 (Issue 2): 133–40. https://doi.org/10.1353/cj.2015.0008.

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

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

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

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

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

‘Anatomy of the Action Picture’. n.d. http://www.davidbordwell.net/essays/anatomy.php.

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

———. 1990b. ‘Hollywood in the Age of Television’. In 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’. In Cable Visions: Television beyond Broadcasting. New York: New York University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=865538.

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

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

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

Belton, John. 1992. Widescreen Cinema. Cambridge, Mass: Harvard University Press.

———. 2012. ‘Digital 3D Cinema: Digital Cinema’s Missing Novelty Phase’. Film History 24 (2). https://doi.org/10.2979/filmhistory.24.2.187.

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

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. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3571747.

Bignell, Jonathan. 2013a. ‘An Introduction to Television Studies’. In An Introduction to Television Studies, 3rd ed. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=417490&entityid=https://idp.brunel.ac.uk/entity.

———. 2013b. ‘An Introduction to Television Studies’. In An Introduction to Television Studies, 3rd ed. London: Routledge. http://lib.myilibrary.com/browse/open.asp?id=417490&entityid=https://idp.brunel.ac.uk/entity.

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

Bolter, J. David, and Richard A. Grusin. 1999. Remediation: Understanding New Media. Cambridge, Mass: MIT Press. 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. 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’. In 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.

Boni, Marta, ed. 2017. World Building: Transmedia, Fans, Industries. Vol. 2. Amsterdam: Amsterdam University Press.

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

———. 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’. In 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’. In 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’. In 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’. In 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’. In 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. 2020. Film Art: An Introduction. Twelfth edition. New York, NY: McGraw-Hill Education.

Bostrom, Nick. 2005. ‘A History of Transhumanist Thought’. Journal of Evolution and Technology 14 (1). https://jetpress.org/volume14/bostrom.html.

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

Brereton, Pat. 2016. Environmental Ethics and Film. Milton, Abingdon, Oxon: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4015143.

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

Buckland, Warren. 2009. ‘Film Theory and Contemporary Hollywood Movies’. In 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.

Budd, Mike, Steve Craig, and Clayton M. Steinman. 1999. Consuming Environments: Television and Commercial Culture. New Brunswick, N.J.: Rutgers University Press.

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 Ciné-Tracts’. In Explorations in Film Theory: Selected Essays from Ciné-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.

Casey, Bernadette. 2008. ‘Television Studies: The Key Concepts’. In Television Studies: The Key Concepts, 2nd ed, 286–88. London: Routledge. https://contentstore.cla.co.uk/secure/link?id=4176d1c5-bfcd-ea11-80cd-005056af4099.

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. http://www.vlebooks.com/vleweb/product/openreader?id=Brunel&isbn=9780203360101.

Christian, Aymar Jean. 2011. ‘Joe Swanberg, Intimacy, and the Digital Aesthetic’. Cinema Journal 50 (4). https://doi.org/10.1353/cj.2011.0049.

———. 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.

Cook, Pam. 2007. ‘The Cinema Book’. In The Cinema Book, 3rd ed, 233–37. London: British Film Institute. https://contentstore.cla.co.uk/secure/link?id=764ce19b-1ed0-ea11-80cd-005056af4099.

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.

Crafton, Donald. 1993. Before Mickey: The Animated Film, 1898-1928. University of Chicago Press ed. Chicago: University of Chicago Press.

Crosland, Alan. 2007. ‘The Jazz Singer’. Turner Entertainment.

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

Cuarón, Alfonso, Sandra Bullock, and George Clooney. 2014. ‘Gravity’. [London]: Warner Bros entertainment Inc.

Cubitt, Sean. 2017. Finite Media: Environmental Implications of Digital Technologies. Durham, [England]: Duke University Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4753360.

———. n.d. EcoMedia. Amsterdam: Rodopi.

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.

Deshpande, Shekhar A., and Meta Mazaj. 2018. ‘World Cinema: A Critical Introduction’. In World Cinema: A Critical Introduction. London, [England]: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5220292.

Dobson, Nichola, Annabelle Honess Roe, Amy Ratelle, and Caroline Ruddell, eds. 2019a. ‘The Animation Studies Reader’. In The Animation Studies Reader. New York: Bloomsbury Academic.

———, eds. 2019b. The Animation Studies Reader. New York: Bloomsbury Academic.

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

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://doi.org/10.7213/1980-5934.31.054.TD01.

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.

Freedman, Des. 2008. The Politics of Media Policy. Cambridge, UK: Polity. http://lib.myilibrary.com/browse/open.asp?id=504452&entityid=https://idp.brunel.ac.uk/entity.

———. 2018. ‘Populism and Media Policy Failure’. European Journal of Communication 33 (6): 604–18. https://doi.org/10.1177/0267323118790156.

Furniss, Maureen, ed. 2012. Animation: Art & Industry. Herts: JL. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1977963.

———. 2017. History of Animation. Newly Published Works. Port Melbourne, Australia: Thames & Hudson Australia Pty, Limited.

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

———. 2010. ‘The Politics of “Platforms”’. New Media & Society 12 (3): 347–64. https://doi.org/10.1177/1461444809342738.

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.

———. 2005a. The Hollywood Studio System: A History. London: BFI.

———. 2005b. ‘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’. In Understanding Television, 11–29. London: Routledge. https://contentstore.cla.co.uk/secure/link?id=18e2a167-48e4-e911-80cd-005056af4099.

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. https://learningonscreen.ac.uk/ondemand/index.php/prog/RT3CB597?bcast=119438677.

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

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

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’. In The Palgrave Handbook of Posthumanism in Film and Television, 99–108. Basingstoke, Hampshire: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4001366.

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

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.

Hesmondhalgh, David. 2019. The Cultural Industries. Fourth edition. Los Angeles: SAGE.

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.

Hye-Kyung  Lee. n.d. ‘Introduction: Animation Industry at a Crossroads’. Creative Industries Journal, no. 3: 183–87. https://doi.org/10.1386/cij.3.3.183_1.

Ingram, David. 2000. Green Screen: Environmentalism and Hollywood Cinema. Exeter: University of Exeter Press.

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. 1988a. ‘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.

———. 1988b. ‘Hollywood and the Box Office 1895-1986’. In Hollywood and the Box Office 1895-1986, 7–15. New York: Columbia University Press. https://contentstore.cla.co.uk/secure/link?id=18b46531-becd-ea11-80cd-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://doi.org/10.1353/vlt.2006.0029.

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

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

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

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

———. 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’. In 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’. In A Companion to American Indie Film, 279–99. Chichester, West Sussex, UK: Wiley Blackwell. https://contentstore.cla.co.uk/secure/link?id=6668cc34-b7f0-e911-80cd-005056af4099.

———, ed. 2017b. ‘A Companion to American Indie Film’. In A Companion to American Indie Film, 433–51. Chichester, West Sussex, UK: Wiley Blackwell. https://contentstore.cla.co.uk/secure/link?id=492a658f-b7f0-e911-80cd-005056af4099.

———, ed. 2017c. ‘A Companion to American Indie Film’. In 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.

Kirsner, Scott. 2009. Fans, Friends & Followers. [Cambridge, Mass.]: Scott Kirsner.

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

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

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

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

Law, John. 1992. ‘Notes on the Theory of the Actor-Network: Ordering, Strategy, and Heterogeneity’. Systems Practice 5 (4): 379–93. https://doi.org/10.1007/BF01059830.

Leimbacher, Irina. n.d. ‘The World Made Flesh’. Film Comment 50: 36–39. https://search.proquest.com/docview/1523427232?pq-origsite=summon.

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

———. 1998b. ‘The New American Cinema’. In The New American Cinema. Durham: Duke University Press.

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

Lobato, Ramon. 2010. ‘Creative Industries and Informal Economies’. International Journal of Cultural Studies 13 (4): 337–54. https://doi.org/10.1177/1367877910369971.

———. 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.

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

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.

Maltby, Richard, and Ian Craven. 1995a. ‘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.

———. 1995b. ‘Hollywood Cinema: An Introduction’. In Hollywood Cinema: An Introduction. Oxford: Blackwell Publishers.

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

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

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

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

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

———. 2007b. Video and DVD Industries. London: British Film Institute. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=6265661.

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

———. 2007d. ‘Video and DVD Industries’. In Video and DVD Industries. London: British Film Institute.

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

———. 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.

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

McLuhan, Marshall, and W. Terrence Gordon. n.d. Understanding Media: The Extensions of Man. Critical ed. Corte Madera, CA: Gingko Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1222206.

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

Mike Wayne. 2007. ‘Failing the Public: The BBC, The War Game and Revisionist History A Reply to James Chapman’. Journal of Contemporary History 42 (4). https://doi.org/10.1177/0022009407081490.

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

Miller, Mark Crispin. 1990a. ‘Seeing through Movies’. In Seeing through Movies. New York: Pantheon Books.

———. 1990b. ‘Seeing through Movies’. In Seeing through Movies. New York: Pantheon Books.

Miller, Toby. 2005. Global Hollywood 2. [2nd ed.]. London: BFI Publishing.

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

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

Moran, Albert. 1996. ‘Film Policy: International, National and Regional Perspectives’. In 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.

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

Mosco, Vincent, and Vincent Mosco. 2009. The Political Economy of Communication. 2nd ed. Los Angeles, [Calif.]: SAGE. http://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=743695.

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

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

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

Musser, Charles. 1994. The Emergence of Cinema: The American Screen to 1907. Vol. 1. Berkeley: University of California Press.

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

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

———. 1985b. ‘Cinema and Technology: Image, Sound, Colour’. In Cinema and Technology: Image, Sound, Colour. London: Macmillan Education. https://contentstore.cla.co.uk/secure/link?id=342eb3e2-2413-e911-80cd-005056af4099.

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

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

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

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

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

Nelmes, Jill. 2012. Introduction to Film Studies. 5th ed. Abingdon: Routledge. http://lib.myilibrary.com/browse/open.asp?id=761269&entityid=https://idp.brunel.ac.uk/entity.

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

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

Noyce, Phillip, Timur Bekmambetov, Angelina Jolie, Liev Schreiber, Chiwetel Ejiofor, Zoe Lister-Jones, Yara Shahidi, James McAvoy, and Morgan Freeman. 2011. ‘Wanted’. [United Kingdom] :bUniversal Pictures: Sony Pictures. https://learningonscreen.ac.uk/ondemand/index.php/prog/00F368E3?bcast=120592240.

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.

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

Pavsek, Christopher. 2015. ‘Leviathan and the Experience of Sensory Ethnography’. Visual Anthropology Review 31 (1): 4–11. https://doi.org/10.1111/var.12056.

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’. In 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’. In 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’. In 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. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=861454.

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

———. 2013a. ‘Digital Imaging in Popular Cinema’. In 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.

———. 2013b. ‘Digital Imaging in Popular Cinema’. In 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. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1126596.

Rapu, Chris Obi. 1992. ‘Living in Bondage’. https://www.youtube.com/channel/UCCPN35XwRi1duxqq3aj6JFQ.

Reiss, Jon. 2010. Think Outside the Box Office: The Ultimate Guide to Film Distribution in the Digital Era. [Los Angeles, California]: Hybrid Cinema Publishing. 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. 2013. ‘Stereoscopic Visuality: Where Is the Screen, Where Is the Film?’ Convergence: The International Journal of Research into New Media Technologies 19 (4): 406–14. https://doi.org/10.1177/1354856513494178.

———. 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. https://learningonscreen.ac.uk/ondemand/index.php/prog/001B00A0?bcast=4048008.

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

Rust, Stephen, Salma Monani, and Sean Cubitt. 2013. Ecocinema Theory and Practice. New York: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1024590.

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.

———. 2018b. ‘Gomorrah: The Complete Season Three’. [Great Britain]: Arrow Films.

———. 2018c. ‘Gomorrah: The Complete Season Two’. [Great Britain]: Arrow Films.

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

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

Schiller, Dan. 2001. ‘World Communications in Today’s Age of Capital’. Emergences: Journal for the Study of Media & Composite Cultures 11 (1): 51–68. https://doi.org/10.1080/10457220120044666.

Shiel, Mark. 2006. Italian Neorealism: Rebuilding the Cinematic City. Vol. 31. London: Wallflower Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=909624.

Sica, Vittorio De, and Luigi Bartolini. 2009. ‘The Bicycle Thieves’. [U.K.]: Arrow.

Sito, Tom and ProQuest (Firm). 2013. Moving Innovation: A History of Computer Animation. Cambridge, MA: MIT Press. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=3339617.

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

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

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

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.

Stone, Rob, Paul Cooke, Stephanie Dennison, and Alex Marlow-Mann, eds. 2018. ‘The Routledge Companion to World Cinema’. In The Routledge Companion to World Cinema, 59–72. London: Routledge, Taylor & Francis Group. http://lib.myilibrary.com/browse/open.asp?id=1038523&entityid=https://idp.brunel.ac.uk/entity.

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

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

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

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

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

Taylor, Lisa, and Andrew Willis. 1999a. ‘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.

———. 1999b. ‘Media Studies: Texts, Institutions, and Audiences’. In Media Studies: Texts, Institutions, and Audiences. Oxford: Blackwell Publishers.

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

‘The Bridge’. n.d. https://learningonscreen.ac.uk/ondemand/search.php?q=&q[0][v]=%22the+bridge%22&q[0][index]=title&q[0][oper]=and&date_start=2012-04-01-00-00&date_end=2012-05-31-01-00&date_type=1&search_type=1&source=T&sort=relevance&page=1.

Thompson, Kirsten, and David Bordwell. n.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/.

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

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

———. 2019b. ‘Film History: An Introduction’. In Film History: An Introduction, Fourth edition. New York, NY: McGraw-Hill Education.

———. 2019c. ‘Film History: An Introduction’. In Film History: An Introduction, Fourth edition. New York, NY: McGraw-Hill Education.

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

Tryon, Chuck. 2009a. Reinventing Cinema: Movies in the Age of Media Convergence. New Brunswick, N.J.: Rutgers University Press.

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

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

———. 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.

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

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

Tzioumakis, Yannis, and Claire Molloy, eds. 2016. ‘The Routledge Companion to Cinema and Politics’. In The Routledge Companion to Cinema and Politics. London: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4579017.

Ulin, Jeff. 2013. The Business of Media Distribution, 2nd Edition. Focal Press. https://go.oreilly.com/brunel-university?state=/library/view/~/9780240824239/?ar.

Varda, Agnes. n.d. ‘The Gleaners and I’.

Wang, Shujen. 2003. ‘Recontextualizing Copyright: Piracy, Hollywood, the State, and Globalization’. Cinema Journal 43 (1). https://doi.org/10.1353/cj.2003.0027.

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

Wayne, Mike. 2020. Marxism Goes to the Movies. London: Routledge, Taylor & Francis Group. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=5986891.

Weetch, Owen. 2016. Expressive Spaces in Digital 3D Cinema. London, [England]: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=4720331.

Wells, Paul. 1998a. ‘Understanding Animation’. In Understanding Animation. London: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1562841.

———. 1998b. ‘Understanding Animation’. In Understanding Animation. London: Routledge. https://ebookcentral.proquest.com/lib/brunelu/detail.action?docID=1562841.

Whissel, Kristen. 2016. ‘Parallax Effects: Epistemology, Affect and Digital 3D Cinema’. Journal of Visual Culture 15 (2): 233–49. https://doi.org/10.1177/1470412916654512.

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

Willis, Holly. 2005. New Digital Cinema: Reinventing the Moving Image. London: Wallflower Press.

Winston, Brian. 1996a. Technologies of Seeing: Photography, Cinematography and Television. London: British Film Institute.

———. 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.

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

Zemeckis, Robert. 2003. ‘Who Framed Roger Rabbit’. Buena Vista Home Entertainment.

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