[1]
Abel, R. 1993. Cinégraphie and the Search for Specificity. French Film Theory and Criticism: Volume 1, 1907-1939. Princeton University Press. 195–223.
[2]
Abel, R. 1996. Silent Film. Athlone.
[3]
Aldgate, A. and Richards, J. 1999. Why We Fight: A Canterbury Tale. Best of British: Cinema and Society From 1930 to the Present. Tauris. 79–94.
[4]
Aldgate, A. and Richards, J. 1999. Why We Fight: A Canterbury Tale. Best of British: Cinema and Society From 1930 to the Present. I. B. Tauris. 79–94.
[5]
Ang, I. 2005. Dallas and the Melodramatic Imagination. Watching Dallas: Soap Opera and the Melodramatic Imagination. Routledge. 51–86.
[6]
Ang, I. 2005. Dallas and the Melodramatic Imagination. Watching Dallas: Soap Opera and the Melodramatic Imagination. Routledge. 51–84.
[7]
Anthony, A.D. 2016. Early African-American Filmmakers. Silent women: pioneers of cinema. M. Bridges and C. Robson, eds. Supernova Books.
[8]
Antoine-Dunne, J. and Quigley, P. 2004. The Montage Principle: Eisenstein in New Cultural and Critical Contexts. Rodopi.
[9]
Badley, L. and Palmer, R.B. 2006. Traditions in World Cinema. Rutgers University Press.
[10]
Badley, L. and Palmer, R.B. 2006. Traditions in World Cinema. Edinburgh University Press.
[11]
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 (2008), 161–182. DOI:https://doi.org/10.1177/1354856507087942.
[12]
Bennett, J. and Brown, T. 2009. Film and Television After DVD. Routledge.
[13]
Bennett, J. and Brown, T. 2008. Film and Television After DVD. Routledge.
[14]
Berghahn, D. 2007. No Place Like Home? or Impossible Homecomings in the Films of Fatih Akin. New Cinemas: Journal of Contemporary Film. 4, 3 (2007), 141–157. DOI:https://doi.org/10.1386/ncin.4.3.141_1.
[15]
Berghahn, D. and Sternberg, C. 2010. European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Palgrave Macmillan.
[16]
Berghahn, D. and Sternberg, C. 2010. European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Palgrave Macmillan.
[17]
Berry, C. and Farquhar, M.A. 2006. China on Screen: Cinema and Nation. Columbia University Press.
[18]
Berry, C. and Farquhar, M.A. 2006. China on Screen: Cinema and Nation. Hong Kong University Press.
[19]
Berwanger, D. 1995. The Third World. Television: An International History. Oxford University Press. 309–330.
[20]
Berwanger, D. 1995. The Third World. Television: An International History. Oxford University Press. 309–330.
[21]
Boddy, W. 2004. New Media and Popular Imagination: Launching Radio, Television, and Digital Media in the United States. Oxford University Press.
[22]
Brown, T. 2008. The DVD of Attractions?: The Lion King and the Digital Theme Park. Film and Television After DVD. Routledge. 81–100.
[23]
Brown, T. 2008. The DVD of Attractions?: The Lion King and the Digital Theme Park. Film and Television After DVD. Routledge. 81–100.
[24]
Caldwell, J. 2004. Convergence Television: Aggregating Form and Repurposing Content in the Culture of Conglomeration. Television After TV: Essays on a Medium in Transition. Duke University Press. 41–74.
[25]
Caldwell, J. 2004. Convergence Television: Aggregating Form and Repurposing Content in the Culture of Conglomeration. Television After TV: Essays on a Medium in Transition. Duke University Press. 41–74.
[26]
Casper, D. 2007. Postwar Hollywood, 1946-1962. Blackwell.
[27]
Chapman, J. 2009. Definitions: Issues and Influences. Issues in Contemporary Documentary. Polity. 8–28.
[28]
Cooke, L. 2015. British Television Drama: A History. BFI Publishing.
[29]
Cooke, L. 2003. Popular Drama and Social Realism, 1955-61. British Television Drama: A History. BFI Publishing. 29–55.
[30]
Desai, J. 2004. Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. Routledge.
[31]
Desai, J. 2004. Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. Routledge.
[32]
Doane, M.A. 2007. The Indexical and the Concept of Medium Specificity. differences. 18, 1 (2007), 128–152. DOI:https://doi.org/10.1215/10407391-2006-025.
[33]
Durovicová, N. and Newman, K.E. 2010. World Cinemas, Transnational Perspectives. Routledge.
[34]
Durovicová, N. and Newman, K.E. 2010. World Cinemas, Transnational Perspectives. Routledge.
[35]
Eamon, C. 2005. Anthony McCall: The Solid Light Films and Related Works. Northwestern University Press.
[36]
Ellis, J. 2012. Documentary: Witness and Self-Revelation. Routledge.
[37]
Ellis, J. 2012. Documentary: Witness and Self-Revelation. Routledge.
[38]
Ellis, J. 2007. Is it Possible to Construct a Canon of Television Programmes? Re-Viewing Television History: Critical Issues in Television Historiography. I. B. Tauris. 15–26.
[39]
Ellis, J. 2007. Is it Possible to Construct a Canon of Television Programmes? Re-Viewing Television History: Critical Issues in Television Historiography. I. B. Tauris. 15–26.
[40]
Ellis, J. 2000. Seeing Things: Television in the Age of Uncertainty. I. B. Tauris.
[41]
Ellis, J. 2007. TV FAQ: Uncommon Answers to Common Questions About TV. I B Tauris.
[42]
Ellis, J. 2007. TV FAQ: Uncommon Answers to Common Questions About TV. I.B. Tauris.
[43]
Elsässer, T. and Barker, A. 1990. Early Cinema: Space, Frame, Narrative. BFI.
[44]
Everson, W.K. 1998. American Silent Film. Da Capo.
[45]
Fell, J.L. 1983. Film Before Griffith. University of California Press.
[46]
Fischer, L. 1998. Sunrise: A Song of Two Humans. BFI Publishing.
[47]
Goddard, P. 1991. Hancock’s Half Hour: A Watershed in British Television Comedy. Popular Television in Britain: Studies in Cultural History. British Film Institute. 75–87.
[48]
Gomery, D. 2005. The Hollywood Studio System: A History. BFI.
[49]
Goriunova, O. 2012. Art Platforms and Cultural Production on the Internet. Routledge.
[50]
Goriunova, O. 2012. Art platforms and cultural production on the Internet. Routledge.
[51]
Goriunova, O. and Shulgin, A. 2008. Glitch. Software Studies: A Lexicon. MIT. 110–119.
[52]
Graham, P. and Vincendeau, G. 2009. The French New Wave: Critical Landmarks. British Film Institue/Palgrave Macmillan.
[53]
Grieveson, L. and Kramer, P. 2004. The Silent Cinema Reader. Routledge.
[54]
Gunning, T. 1993. ‘Now You See It, Now You Don’t’: The Temporality of the Cinema of Attractions. The Velvet Light Trap. 32, (1993), 3–12.
[55]
Gunning, T. 2004. Re-Newing Old Technologies: Astonishment, Second Nature and the Uncanny in Technology from the Previous Turn of the Century. Rethinking Media Change: The Aesthetics of Transition. MIT Press. 39–60.
[56]
Hall, J. 1998. ‘Don’t You Ever Just Watch?’: American Cinema Verité and Don’t Look Back. Documenting the Documentary. Wayne State University Press. 223–237.
[57]
Hauser, K. 2007. A Tale of Two Cities. Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955. Oxford University Press. 255–279.
[58]
Hauser, K. 2007. A Tale of Two Cities. Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955. Oxford University Press. 255–279.
[59]
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 (2007), 41–60. DOI:https://doi.org/10.1080/17400300601140167.
[60]
Iles, C. 2001. Between the Still and Moving Image. Into the Light: The Projected Image in American Art, 1964-1977. Whitney Museum of American Art.
[61]
Joseph, B.W. 2004. ‘My Mind Split Open’: Andy Warhol’s Exploding Plastic Inevitable. X-Screen: Film Installations and Actions in the 1960s and 1970s. Walther König. 14–43.
[62]
Kato, H. 1995. Japan. Television: An International History. Oxford University Press.
[63]
Kato, H. 1995. Japan. Television: An International History. Oxford University Press.
[64]
Kompare, D. 2006. Publishing Flow: DVD Box sets and the Reconception of Television. Television & New Media. 7, 4 (2006), 335–360. DOI:https://doi.org/10.1177/1527476404270609.
[65]
Korte, B. and Sternberg, C. 2004. Bidding for the Mainstream?: Black and Asian British Film Since the 1990s. Rodopi.
[66]
Koszarski, R. 1990. An Evening’s Entertainment: The Age of the Silent Feature Picture, 1915-1928. Scribner.
[67]
Krapp, P. 2011. Noise Channels: Glitch and Error in Digital Culture. University of Minnesota Press.
[68]
Langford, B. 2005. ‘Our Usual Impasse’: The Episodic Situation Comedy Revisited. Popular Television Drama: Critical Perspectives. Manchester University Press. 15–33.
[69]
Langford, B. 2010. Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh University Press.
[70]
Langford, B. 2010. Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh University Press.
[71]
Langford, B. 2010. Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh University Press.
[72]
Langford, B. 2010. Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh University Press.
[73]
Lev, P. 2000. American Films of the ’70s: Conflicting Visions. University of Texas Press.
[74]
Lister, M. et al. 2009. New Media: A Critical Introduction. Routledge.
[75]
Lister, M. et al. 2009. New Media : A Critical Introduction. Routledge.
[76]
Lotz, A.D. 2014. The Television Will Be Revolutionized. New York University Press.
[77]
Lotz, A.D. 2007. The Television Will Be Revolutionized. New York University Press.
[78]
MacDowell, J. 2010. Notes on Quirky.
[79]
Man, G. 2007. 1975 Movies and Conflicting Ideologies. American Cinema of the 1970s: Themes and Variations. Berg. 135–156.
[80]
Man, G. 2007. 1975 Movies and Conflicting Ideologies. American Cinema of the 1970s: Themes and Variations. Rutgers University Press. 135–156.
[81]
Manovich, L. 2008. The Practice of Everyday (Media) Life. Video Vortex Reader: Responses to YouTube. G. Lovink and S. Niederer, eds. Institute of Network Cultures. 33–43.
[82]
Marvin, C. 1990. Introduction. When Old Technologies Were New: Thinking About Electric Communication in the Late Nineteenth Century. Oxford University Press. 3–9.
[83]
Marvin, C. 1990. Introduction. When Old Technologies Were New: Thinking About Electric Communication in the Late Nineteenth Century. Oxford University Press. 3–9.
[84]
Marwick, A. 1998. The Sixties: Cultural Revolution in Britain, France, Italy, and the United States, C. 1958-C. 1974. Oxford University Press.
[85]
McDonald, K. and Smith-Rowsey, D. 2018. The Netflix Effect: Technology and Entertainment in the 21st Century. Bloomsbury Academic.
[86]
McDonald, K. and Smith-Rowsey, D. 2016. The Netflix Effect: Technology and Entertainment in the 21st Century. Bloomsbury Academic.
[87]
Menkman, R. 2011. The Glitch Moment(um). Institute of Network Cultures.
[88]
Menkman, R. 2011. The Glitch Studies Manifesto. Video Vortex Reader II: Moving Images Beyond Youtube. 336–346.
[89]
Michalka, M. 2004. ‘Shoot at the Audience!’: Projection and Participation in the late 1960s. X-Screen: Film Installations and Actions in the 1960s and 1970s. Walther König. 90–117.
[90]
Morris, N. 2007. Jurassic Park: Another Monster Hit. The Cinema of Steven Spielberg: Empire of Light. Wallflower.
[91]
Murphy, R. 1989. Realism and Tinsel: Cinema and Society in Britain, 1939-1948. Routledge.
[92]
Murphy, R. 1989. Realism and Tinsel: Cinema and Society in Britain 1939-1949. Routledge.
[93]
Musser, C. 1992. Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company. University of California Press.
[94]
Musser, C. 1991. Before the Nickelodeon : Edwin S. Porter and the Edison Manufacturing Company. University of California Press.
[95]
Napper, L. 2009. British Cinema and Middlebrow Culture in the Interwar Years. University of Exeter Press.
[96]
Napper, L. 2015. British Cinema and Middlebrow Culture in the Interwar Years. University of Exeter Press.
[97]
Nelson, R.J. 1983. Reflections in a Broken Mirror: Varda’s Cléo de 5 à 7. The French Review. 56, 5 (1983), 735–743.
[98]
Nowell-Smith, G. 2008. Making Waves: New Cinemas of the 1960s. Continuum.
[99]
Pearson, R. 2011. Cult Television as Digital Television’s Cutting Edge. Television as Digital Media. Duke University Press. 105–131.
[100]
Pearson, R. 2011. Cult Television as Digital Television’s Cutting Edge. Television as Digital Media. Duke University Press. 105–131.
[101]
Pink, S. 2011. Sensory Digital Photography: Re-Thinking ‘Moving’ and the Image. Visual Studies. 26, 1 (2011), 4–13. DOI:https://doi.org/10.1080/1472586X.2011.548484.
[102]
Porter, E.S. 1982. Before the Nickelodeon: The Early Cinema of Edwin S. Porter. BFI.
[103]
Rheingold, H. 2000. The Virtual Community: Homesteading on the Electronic Frontier. MIT Press.
[104]
Richards, J. 1998. The Unknown Thirties: An Alternative History of the British Cinema, 1929-1939. Tauris.
[105]
Robertson, P. 1996. Guilty Pleasures: Feminist Camp From Mae West to Madonna. I.B.Tauris.
[106]
Rohdie, S. 2006. Montage. Manchester University Press.
[107]
Rothman, W. 1997. Cinema-Verité in America. Documentary Film Classics. Cambridge University Press.
[108]
Schatz, T. 1989. The Genius of the System: Hollywood Film-Making in the Studio Era. Simon & Schuster.
[109]
Shaw, T. 2007. Hollywood’s Cold War. University of Massachusetts Press.
[110]
Shaw, T. 2007. Hollywood’s Cold War. Edinburgh University Press.
[111]
Silj, A. 1988. East of Dallas: The European Challenge to American Television. BFI.
[112]
Slater, T.J. 1988. One Flew Over the Cuckoo’s Nest: A Tale of Two Decades. Film and Literature: A Comparative Approach to Adaptation. Texas Tech University Press.
[113]
Snickars, P. and Vonderau, P. 2009. The YouTube Reader. National Library of Sweden.
[114]
Spigel, L. 1992. Make Room for TV: Television and the Family Ideal in Postwar America. University of Chicago Press.
[115]
Spigel, L. 1992. Make Room for TV: Television and the Family Ideal in Postwar America. University of Chicago Press.
[116]
Spigel, L. 1992. Make Room for TV: Television and the Family Ideal in Postwar America. University of Chicago Press.
[117]
Spigel, L. 1992. Make Room for TV: Television and the Family Ideal in Postwar America. University of Chicago Press.
[118]
Thibault, G. 2015. Streaming: A Media Hydrogrophy of Televisual Flows. VIEW Journal of European Television History and Culture. 4, 7 (2015), 110–119.
[119]
Thompson, K. and Bordwell, D. 2019. Film History: An Introduction. McGraw-Hill Education.
[120]
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 (2009), 281–296. DOI:https://doi.org/10.1080/09505430903123040.
[121]
Tryon, C. 2013. On-Demand Culture: Digital Delivery and the Future of Movies. Rutgers University Press.
[122]
Tryon, C. 2013. On-Demand Culture: Digital Delivery and the Future of Movies. Rutgers University Press.
[123]
Uricchio, W. 2002. Old Media as New Media: Television. The New Media Book. British Film Institute. 219–230.
[124]
Uricchio, W. 2011. The Algorithmic Turn: Photosynth, Augmented Reality and the Changing Implications of the Image. Visual Studies. 26, 1 (2011), 25–35. DOI:https://doi.org/10.1080/1472586X.2011.548486.
[125]
Usai, P.C. 2000. Silent Cinema: An Introduction. BFI.
[126]
Whissel, K. 2008. Picturing American Modernity: Traffic, Technology, and the Silent Cinema. Duke University Press.
[127]
Whissel, K. 2008. Picturing American Modernity: Traffic, Technology, and the Silent Cinema. Duke University Press.