Bibliography for MA1051: Film and Television Histories BETA

Abel, R. (1993) ‘Cinégraphie and the Search for Specificity’, in French Film Theory and Criticism: Volume 1, 1907-1939. Princeton, N.J.: Princeton University Press, pp. 195–223.

Abel, R. (1996) Silent Film. London: Athlone.

Aldgate, A. and Richards, J. (1999a) ‘Why We Fight: A Canterbury Tale’, in Best of British: Cinema and Society From 1930 to the Present. New ed. London: Tauris, pp. 79–94.

Aldgate, A. and Richards, J. (1999b) ‘Why We Fight: A Canterbury Tale’, in Best of British: Cinema and Society From 1930 to the Present. London: I. B. Tauris, pp. 79–94. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=676510.

Ang, I. (2005a) ‘Dallas and the Melodramatic Imagination’, in Watching Dallas: Soap Opera and the Melodramatic Imagination. London: Routledge, pp. 51–86.

Ang, I. (2005b) ‘Dallas and the Melodramatic Imagination’, in Watching Dallas: Soap Opera and the Melodramatic Imagination. London: Routledge, pp. 51–84. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=1395429.

Anthony, A.D. (2016) ‘Early African-American Filmmakers’, in M. Bridges and C. Robson (eds) Silent women: pioneers of cinema. Twickenham: Supernova Books.

Antoine-Dunne, J. and Quigley, P. (2004) The Montage Principle: Eisenstein in New Cultural and Critical Contexts. Amsterdam: Rodopi.

Badley, L. and Palmer, R.B. (2006a) Traditions in World Cinema. New Brunswick, NJ: Rutgers University Press.

Badley, L. and Palmer, R.B. (2006b) Traditions in World Cinema. Edinburgh: Edinburgh University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=275802.

Bennett, J. (2008) ‘“Your Window-on-the-World”: The Emergence of Red-Button Interactive Television in the UK’, Convergence: The International Journal of Research into New Media Technologies, 14(2), pp. 161–182. Available at: https://doi.org/10.1177/1354856507087942.

Bennett, J. and Brown, T. (2008) Film and Television After DVD. New York, NY: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=145741.

Bennett, J. and Brown, T. (2009) Film and Television After DVD. New York: Routledge.

Berghahn, D. (2007) ‘No Place Like Home? or Impossible Homecomings in the Films of Fatih Akin’, New Cinemas: Journal of Contemporary Film, 4(3), pp. 141–157. Available at: https://doi.org/10.1386/ncin.4.3.141_1.

Berghahn, D. and Sternberg, C. (2010a) European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Basingstoke: Palgrave Macmillan.

Berghahn, D. and Sternberg, C. (2010b) European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Basingstoke: Palgrave Macmillan. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=299864.

Berry, C. and Farquhar, M.A. (2006a) China on Screen: Cinema and Nation. New York: Columbia University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=895220.

Berry, C. and Farquhar, M.A. (2006b) China on Screen: Cinema and Nation. Aberdeen, Hong Kong: Hong Kong University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677267.

Berwanger, D. (1995a) ‘The Third World’, in Television: An International History. Oxford: Oxford University Press, pp. 309–330.

Berwanger, D. (1995b) ‘The Third World’, in Television: An International History. Oxford: Oxford University Press, pp. 309–330.

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

Brown, T. (2008a) ‘The DVD of Attractions?: The Lion King and the Digital Theme Park’, in Film and Television After DVD. New York, NY: Routledge, pp. 81–100.

Brown, T. (2008b) ‘The DVD of Attractions?: The Lion King and the Digital Theme Park’, in Film and Television After DVD. New York, NY: Routledge, pp. 81–100. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=348471.

Caldwell, J. (2004a) ‘Convergence Television: Aggregating Form and Repurposing Content in the Culture of Conglomeration’, in Television After TV: Essays on a Medium in Transition. Durham: Duke University Press, pp. 41–74.

Caldwell, J. (2004b) ‘Convergence Television: Aggregating Form and Repurposing Content in the Culture of Conglomeration’, in Television After TV: Essays on a Medium in Transition. Durham: Duke University Press, pp. 41–74. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1168060.

Casper, D. (2007) Postwar Hollywood, 1946-1962. Malden, Mass: Blackwell.

Chapman, J. (2009) ‘Definitions: Issues and Influences’, in Issues in Contemporary Documentary. Cambridge: Polity, pp. 8–28.

Cooke, L. (2003) ‘Popular Drama and Social Realism, 1955-61’, in British Television Drama: A History. London: BFI Publishing, pp. 29–55.

Cooke, L. (2015) British Television Drama: A History. 2nd Edition. London: BFI Publishing. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=5400892.

Desai, J. (2004a) Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. New York: Routledge.

Desai, J. (2004b) Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. New York: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=200847.

Doane, M.A. (2007) ‘The Indexical and the Concept of Medium Specificity’, differences, 18(1), pp. 128–152. Available at: https://doi.org/10.1215/10407391-2006-025.

Durovicová, N. and Newman, K.E. (2010a) World Cinemas, Transnational Perspectives. 1st ed. New York: Routledge.

Durovicová, N. and Newman, K.E. (2010b) World Cinemas, Transnational Perspectives. New York: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=449452.

Eamon, C. (2005) Anthony McCall: The Solid Light Films and Related Works. Evanston, IL: Northwestern University Press.

Ellis, J. (2000) Seeing Things: Television in the Age of Uncertainty. London: I. B. Tauris.

Ellis, J. (2007a) ‘Is it Possible to Construct a Canon of Television Programmes?’, in Re-Viewing Television History: Critical Issues in Television Historiography. London: I. B. Tauris, pp. 15–26.

Ellis, J. (2007b) ‘Is it Possible to Construct a Canon of Television Programmes?’, in Re-Viewing Television History: Critical Issues in Television Historiography. London: I. B. Tauris, pp. 15–26. Available at: https://www-vlebooks-com.ezproxy01.rhul.ac.uk/Vleweb/Product/Index/2040080?page=0.

Ellis, J. (2007c) TV FAQ: Uncommon Answers to Common Questions About TV. London: I B Tauris.

Ellis, J. (2007d) TV FAQ: Uncommon Answers to Common Questions About TV. London: I.B. Tauris. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=676714.

Ellis, J. (2012a) Documentary: Witness and Self-Revelation. London: Routledge.

Ellis, J. (2012b) Documentary: Witness and Self-Revelation. London: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203808467.

Elsässer, T. and Barker, A. (1990) Early Cinema: Space, Frame, Narrative. London: BFI.

Everson, W.K. (1998) American Silent Film. New York: Da Capo.

Fell, J.L. (1983) Film Before Griffith. Berkeley: University of California Press.

Fischer, L. (1998) Sunrise: A Song of Two Humans. London: BFI Publishing. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=6265636.

Goddard, P. (1991) ‘Hancock’s Half Hour: A Watershed in British Television Comedy’, in Popular Television in Britain: Studies in Cultural History. London: British Film Institute, pp. 75–87.

Gomery, D. (2005) The Hollywood Studio System: A History. London: BFI.

Goriunova, O. (2012a) Art Platforms and Cultural Production on the Internet. New York: Routledge.

Goriunova, O. (2012b) Art platforms and cultural production on the Internet. New York: Routledge.

Goriunova, O. and Shulgin, A. (2008) ‘Glitch’, in Software Studies: A Lexicon. Cambridge, Mass: MIT, pp. 110–119.

Graham, P. and Vincendeau, G. (2009) The French New Wave: Critical Landmarks. New and expanded ed. London: British Film Institue/Palgrave Macmillan.

Grieveson, L. and Kramer, P. (2004) The Silent Cinema Reader. London: Routledge.

Gunning, T. (1993) ‘“Now You See It, Now You Don’t”: The Temporality of the Cinema of Attractions’, The Velvet Light Trap, 32, pp. 3–12. Available at: http://search.proquest.com/fiaf/docview/1306635666/D4FD361BCB3E42F6PQ/5?accountid=11455.

Gunning, T. (2004) ‘Re-Newing Old Technologies: Astonishment, Second Nature and the Uncanny in Technology from the Previous Turn of the Century’, in Rethinking Media Change: The Aesthetics of Transition. Cambridge, Mass: MIT Press, pp. 39–60.

Hall, J. (1998) ‘“Don’t You Ever Just Watch?”: American Cinema Verité and Don’t Look Back’, in Documenting the Documentary. Detroit: Wayne State University Press, pp. 223–237.

Hauser, K. (2007a) ‘A Tale of Two Cities’, in Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955. Oxford: Oxford University Press, pp. 255–279.

Hauser, K. (2007b) ‘A Tale of Two Cities’, in Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955. Oxford: Oxford University Press, pp. 255–279. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=415760.

Hills, M. (2007) ‘From the Box in the Corner to the Box Set on the Shelf’, New Review of Film and Television Studies, 5(1), pp. 41–60. Available at: https://doi.org/10.1080/17400300601140167.

Iles, C. (2001) ‘Between the Still and Moving Image’, in Into the Light: The Projected Image in American Art, 1964-1977. New York: Whitney Museum of American Art.

Joseph, B.W. (2004) ‘“My Mind Split Open”: Andy Warhol’s Exploding Plastic Inevitable’, in X-Screen: Film Installations and Actions in the 1960s and 1970s. Köln: Walther König, pp. 14–43.

Kato, H. (1995a) ‘Japan’, in Television: An International History. Oxford: Oxford University Press.

Kato, H. (1995b) ‘Japan’, in Television: An International History. Oxford: Oxford University Press.

Kompare, D. (2006) ‘Publishing Flow: DVD Box sets and the Reconception of Television’, Television & New Media, 7(4), pp. 335–360. Available at: https://doi.org/10.1177/1527476404270609.

Korte, B. and Sternberg, C. (2004) Bidding for the Mainstream?: Black and Asian British Film Since the 1990s. Amsterdam: Rodopi.

Koszarski, R. (1990) An Evening’s Entertainment: The Age of the Silent Feature Picture, 1915-1928. New York: Scribner.

Krapp, P. (2011) Noise Channels: Glitch and Error in Digital Culture. Minneapolis: University of Minnesota Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=819530.

Langford, B. (2005) ‘“Our Usual Impasse”: The Episodic Situation Comedy Revisited’, in Popular Television Drama: Critical Perspectives. Manchester: Manchester University Press, pp. 15–33.

Langford, B. (2010a) Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh: Edinburgh University Press.

Langford, B. (2010b) Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh: Edinburgh University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=615832.

Langford, B. (2010c) Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh: Edinburgh University Press.

Langford, B. (2010d) Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh: Edinburgh University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=615832.

Lev, P. (2000) American Films of the ’70s: Conflicting Visions. Austin, TX: University of Texas Press.

Lister, M. et al. (2009a) New Media: A Critical Introduction. 2nd ed. London: Routledge.

Lister, M. et al. (2009b) New Media : A Critical Introduction. Routledge. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=370928.

Lotz, A.D. (2007) The Television Will Be Revolutionized. New York: New York University Press. Available at: http://hdl.handle.net/2027/heb.08239.

Lotz, A.D. (2014) The Television Will Be Revolutionized. Second edition. New York: New York University Press.

MacDowell, J. (2010) ‘Notes on Quirky’. Available at: https://warwick.ac.uk/fac/arts/film/movie/contents/notes_on_quirky.pdf.

Man, G. (2007a) ‘1975 Movies and Conflicting Ideologies’, in American Cinema of the 1970s: Themes and Variations. Oxford: Berg, pp. 135–156.

Man, G. (2007b) ‘1975 Movies and Conflicting Ideologies’, in American Cinema of the 1970s: Themes and Variations. New Brunswick, N.J.: Rutgers University Press, pp. 135–156. Available at: http://hdl.handle.net/2027/heb.08007.

Manovich, L. (2008) ‘The Practice of Everyday (Media) Life’, in G. Lovink and S. Niederer (eds) Video Vortex Reader: Responses to YouTube. Third edition. Amsterdam: Institute of Network Cultures, pp. 33–43.

Marvin, C. (1990a) ‘Introduction’, in When Old Technologies Were New: Thinking About Electric Communication in the Late Nineteenth Century. New York: Oxford University Press, pp. 3–9.

Marvin, C. (1990b) ‘Introduction’, in When Old Technologies Were New: Thinking About Electric Communication in the Late Nineteenth Century. New York: Oxford University Press, pp. 3–9. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=273386.

Marwick, A. (1998) The Sixties: Cultural Revolution in Britain, France, Italy, and the United States, C. 1958-C. 1974. Oxford [England]: Oxford University Press.

McDonald, K. and Smith-Rowsey, D. (2016) The Netflix Effect: Technology and Entertainment in the 21st Century. New York: Bloomsbury Academic. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4542879.

McDonald, K. and Smith-Rowsey, D. (2018) The Netflix Effect: Technology and Entertainment in the 21st Century. New York: Bloomsbury Academic.

Menkman, R. (2011a) ‘The Glitch Moment(um)’. Amsterdam: Institute of Network Cultures. Available at: http://networkcultures.org/_uploads/NN%234_RosaMenkman.pdf.

Menkman, R. (2011b) ‘The Glitch Studies Manifesto’, in Video Vortex Reader II: Moving Images Beyond Youtube, pp. 336–346.

Michalka, M. (2004) ‘“Shoot at the Audience!”: Projection and Participation in the late 1960s’, in X-Screen: Film Installations and Actions in the 1960s and 1970s. Köln: Walther König, pp. 90–117.

Morris, N. (2007) ‘Jurassic Park: Another Monster Hit’, in The Cinema of Steven Spielberg: Empire of Light. London: Wallflower.

Murphy, R. (1989a) Realism and Tinsel: Cinema and Society in Britain, 1939-1948. London: Routledge.

Murphy, R. (1989b) Realism and Tinsel: Cinema and Society in Britain 1939-1949. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179234.

Musser, C. (1991) Before the Nickelodeon : Edwin S. Porter and the Edison Manufacturing Company. [Place of publication not identified]: University of California Press. Available at: http://ark.cdlib.org/ark:/13030/ft3q2nb2gw/.

Musser, C. (1992) Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company. University of California Press.

Napper, L. (2009) British Cinema and Middlebrow Culture in the Interwar Years. Exeter, UK: University of Exeter Press.

Napper, L. (2015) British Cinema and Middlebrow Culture in the Interwar Years. 1st Edition. Exeter: University of Exeter Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1982372.

Nelson, R.J. (1983) ‘Reflections in a Broken Mirror: Varda’s Cléo de 5 à 7’, The French Review, 56(5), pp. 735–743. Available at: http://www.jstor.org/stable/390912.

Nowell-Smith, G. (2008) Making Waves: New Cinemas of the 1960s. New York: Continuum.

Pearson, R. (2011a) ‘Cult Television as Digital Television’s Cutting Edge’, in Television as Digital Media. Durham, [N.C.]: Duke University Press, pp. 105–131.

Pearson, R. (2011b) ‘Cult Television as Digital Television’s Cutting Edge’, in Television as Digital Media. Durham, [N.C.]: Duke University Press, pp. 105–131. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1172303.

Pink, S. (2011) ‘Sensory Digital Photography: Re-Thinking “Moving” and the Image’, Visual Studies, 26(1), pp. 4–13. Available at: https://doi.org/10.1080/1472586X.2011.548484.

Porter, E.S. (1982) ‘Before the Nickelodeon: The Early Cinema of Edwin S. Porter’. London: BFI.

Rheingold, H. (2000) The Virtual Community: Homesteading on the Electronic Frontier. Rev. ed. Cambridge, Mass: MIT Press.

Richards, J. (1998) The Unknown Thirties: An Alternative History of the British Cinema, 1929-1939. London: Tauris.

Robertson, P. (1996) Guilty Pleasures: Feminist Camp From Mae West to Madonna. London: I.B.Tauris.

Rohdie, S. (2006) Montage. Manchester: Manchester University Press.

Rothman, W. (1997) ‘Cinema-Verité in America’, in Documentary Film Classics. Cambridge: Cambridge University Press.

Schatz, T. (1989) The Genius of the System: Hollywood Film-Making in the Studio Era. London: Simon & Schuster.

Shaw, T. (2007a) Hollywood’s Cold War. Amherst, Mass: University of Massachusetts Press.

Shaw, T. (2007b) Hollywood’s Cold War. Edinburgh: Edinburgh University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=320443.

Silj, A. (1988) East of Dallas: The European Challenge to American Television. London: BFI.

Slater, T.J. (1988) ‘One Flew Over the Cuckoo’s Nest: A Tale of Two Decades’, in Film and Literature: A Comparative Approach to Adaptation. Lubbock, Tex: Texas Tech University Press.

Snickars, P. and Vonderau, P. (2009) The YouTube Reader. National Library of Sweden.

Spigel, L. (1992a) Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press.

Spigel, L. (1992b) Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press. Available at: http://hdl.handle.net/2027/heb.08240.

Spigel, L. (1992c) Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press.

Spigel, L. (1992d) Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press. Available at: http://hdl.handle.net/2027/heb.08240.

Thibault, G. (2015) ‘Streaming: A Media Hydrogrophy of Televisual Flows’, VIEW Journal of European Television History and Culture, 4(7), pp. 110–119. Available at: https://doaj.org/article/349ad7e21d8b477582e6be7aaced943e.

Thompson, K. and Bordwell, D. (2019) Film History: An Introduction. Fourth edition. New York, NY: McGraw-Hill Education.

Townsend, C. (2009) ‘“The Art I Love is the Art of Cowards” in ’Entr’acte and the Politics of Death and Remembrance in France after World War One’, Science as Culture, 18(3), pp. 281–296. Available at: https://doi.org/10.1080/09505430903123040.

Tryon, C. (2013a) On-Demand Culture: Digital Delivery and the Future of Movies. New Brunswick, New Jersey: Rutgers University Press.

Tryon, C. (2013b) On-Demand Culture: Digital Delivery and the Future of Movies. New Brunswick: Rutgers University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1184490.

Uricchio, W. (2002) ‘Old Media as New Media: Television’, in The New Media Book. London: British Film Institute, pp. 219–230.

Uricchio, W. (2011) ‘The Algorithmic Turn: Photosynth, Augmented Reality and the Changing Implications of the Image’, Visual Studies, 26(1), pp. 25–35. Available at: https://doi.org/10.1080/1472586X.2011.548486.

Usai, P.C. (2000) Silent Cinema: An Introduction. London: BFI.

Whissel, K. (2008a) Picturing American Modernity: Traffic, Technology, and the Silent Cinema. Durham, N.C.: Duke University Press.

Whissel, K. (2008b) Picturing American Modernity: Traffic, Technology, and the Silent Cinema. Durham: Duke University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1170630.