Abel, R. (1993). Cinégraphie and the Search for Specificity. In French Film Theory and Criticism: Volume 1, 1907-1939 (pp. 195–223). Princeton University Press.
Abel, R. (1996). Silent Film. Athlone.
Aldgate, A., & Richards, J. (1999a). Why We Fight: A Canterbury Tale. In Best of British: Cinema and Society From 1930 to the Present: Vol. Cinema and society (New ed, pp. 79–94). Tauris.
Aldgate, A., & Richards, J. (1999b). Why We Fight: A Canterbury Tale. In Best of British: Cinema and Society From 1930 to the Present (pp. 79–94). I. B. Tauris. 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 (pp. 51–86). Routledge.
Ang, I. (2005b). Dallas and the Melodramatic Imagination. In Watching Dallas: Soap Opera and the Melodramatic Imagination (pp. 51–84). Routledge. 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 & C. Robson (Eds.), Silent women: pioneers of cinema. Supernova Books.
Antoine-Dunne, J., & Quigley, P. (2004). The Montage Principle: Eisenstein in New Cultural and Critical Contexts: Vol. Critical studies. Rodopi.
Badley, L., & Palmer, R. B. (2006a). Traditions in World Cinema. Rutgers University Press.
Badley, L., & Palmer, R. B. (2006b). Traditions in World Cinema. Edinburgh University Press. 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), 161–182. https://doi.org/10.1177/1354856507087942
Bennett, J., & Brown, T. (2008). Film and Television After DVD. Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=145741
Bennett, J., & Brown, T. (2009). Film and Television After DVD. 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), 141–157. https://doi.org/10.1386/ncin.4.3.141_1
Berghahn, D., & Sternberg, C. (2010a). European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Palgrave Macmillan.
Berghahn, D., & Sternberg, C. (2010b). European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Palgrave Macmillan. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=299864
Berry, C., & Farquhar, M. A. (2006a). China on Screen: Cinema and Nation. Columbia University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=895220
Berry, C., & Farquhar, M. A. (2006b). China on Screen: Cinema and Nation. Hong Kong University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677267
Berwanger, D. (1995a). The Third World. In Television: An International History (pp. 309–330). Oxford University Press.
Berwanger, D. (1995b). The Third World. In Television: An International History (pp. 309–330). Oxford University Press.
Boddy, W. (2004). New Media and Popular Imagination: Launching Radio, Television, and Digital Media in the United States: Vol. Oxford television studies. Oxford University Press.
Brown, T. (2008a). The DVD of Attractions?: The Lion King and the Digital Theme Park. In Film and Television After DVD (Vol. 15, pp. 81–100). Routledge.
Brown, T. (2008b). The DVD of Attractions?: The Lion King and the Digital Theme Park. In Film and Television After DVD (Vol. 15, pp. 81–100). Routledge. 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: Vol. Console-ing passions (pp. 41–74). Duke University Press.
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 (pp. 41–74). Duke University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1168060
Casper, D. (2007). Postwar Hollywood, 1946-1962. Blackwell.
Chapman, J. (2009). Definitions: Issues and Influences. In Issues in Contemporary Documentary (pp. 8–28). Polity.
Cooke, L. (2003). Popular Drama and Social Realism, 1955-61. In British Television Drama: A History (pp. 29–55). BFI Publishing.
Cooke, L. (2015). British Television Drama: A History (2nd Edition). BFI Publishing. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=5400892
Desai, J. (2004a). Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. Routledge.
Desai, J. (2004b). Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. Routledge. 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), 128–152. https://doi.org/10.1215/10407391-2006-025
Durovicová, N., & Newman, K. E. (2010a). World Cinemas, Transnational Perspectives (1st ed). Routledge.
Durovicová, N., & Newman, K. E. (2010b). World Cinemas, Transnational Perspectives. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=449452
Eamon, C. (2005). Anthony McCall: The Solid Light Films and Related Works. Northwestern University Press.
Ellis, J. (2000). Seeing Things: Television in the Age of Uncertainty. 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 (pp. 15–26). I. B. Tauris.
Ellis, J. (2007b). Is it Possible to Construct a Canon of Television Programmes? In Re-Viewing Television History: Critical Issues in Television Historiography (pp. 15–26). I. B. Tauris. 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. I B Tauris.
Ellis, J. (2007d). TV FAQ: Uncommon Answers to Common Questions About TV. I.B. Tauris. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=676714
Ellis, J. (2012a). Documentary: Witness and Self-Revelation. Routledge.
Ellis, J. (2012b). Documentary: Witness and Self-Revelation. Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203808467
Elsässer, T., & Barker, A. (1990). Early Cinema: Space, Frame, Narrative. BFI.
Everson, W. K. (1998). American Silent Film. Da Capo.
Fell, J. L. (1983). Film Before Griffith. University of California Press.
Fischer, L. (1998). Sunrise: A Song of Two Humans. BFI Publishing. 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 (pp. 75–87). British Film Institute.
Gomery, D. (2005). The Hollywood Studio System: A History. BFI.
Goriunova, O. (2012a). Art platforms and cultural production on the Internet (Vol. 35). Routledge.
Goriunova, O. (2012b). Art Platforms and Cultural Production on the Internet: Vol. Routledge research in cultural and media studies. Routledge.
Goriunova, O., & Shulgin, A. (2008). Glitch. In Software Studies: A Lexicon (pp. 110–119). MIT.
Graham, P., & Vincendeau, G. (2009). The French New Wave: Critical Landmarks (New and expanded ed). British Film Institue/Palgrave Macmillan.
Grieveson, L., & Kramer, P. (2004). The Silent Cinema Reader. Routledge.
Gunning, T. (1993). ‘Now You See It, Now You Don’t’: The Temporality of the Cinema of Attractions. The Velvet Light Trap, 32, 3–12. 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 (pp. 39–60). MIT Press.
Hall, J. (1998). ‘Don’t You Ever Just Watch?’: American Cinema Verité and Don’t Look Back. In Documenting the Documentary: Vol. Contemporary film and television series (pp. 223–237). Wayne State University Press.
Hauser, K. (2007a). A Tale of Two Cities. In Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955: Vol. Oxford historical monographs (pp. 255–279). Oxford University Press.
Hauser, K. (2007b). A Tale of Two Cities. In Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955 (pp. 255–279). Oxford University Press. 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), 41–60. 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. 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 (pp. 14–43). Walther König.
Kato, H. (1995a). Japan. In Television: An International History. Oxford University Press.
Kato, H. (1995b). Japan. In Television: An International History. Oxford University Press.
Kompare, D. (2006). Publishing Flow: DVD Box sets and the Reconception of Television. Television & New Media, 7(4), 335–360. https://doi.org/10.1177/1527476404270609
Korte, B., & Sternberg, C. (2004). Bidding for the Mainstream?: Black and Asian British Film Since the 1990s: Vol. Internationale Forschungen zur allgemeinen und vergleichenden Literaturwissenschaft. Rodopi.
Koszarski, R. (1990). An Evening’s Entertainment: The Age of the Silent Feature Picture, 1915-1928: Vol. History of the American cinema. Scribner.
Krapp, P. (2011). Noise Channels: Glitch and Error in Digital Culture: Vol. v. 37. University of Minnesota Press. 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 (pp. 15–33). Manchester University Press.
Langford, B. (2010a). Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh University Press.
Langford, B. (2010b). Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=615832
Langford, B. (2010c). Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh University Press.
Langford, B. (2010d). Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=615832
Lev, P. (2000). American Films of the ’70s: Conflicting Visions. University of Texas Press.
Lister, M., Dovey, J., Giddings, S., Grant, I., & Kelly, K. (2009a). New Media: A Critical Introduction (2nd ed). Routledge.
Lister, M., Dovey, J., Giddings, S., Grant, I., & Kelly, K. (2009b). New Media : A Critical Introduction. Routledge. 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 University Press. http://hdl.handle.net/2027/heb.08239
Lotz, A. D. (2014). The Television Will Be Revolutionized (Second edition). New York University Press.
MacDowell, J. (2010). Notes on Quirky. 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 (pp. 135–156). Berg.
Man, G. (2007b). 1975 Movies and Conflicting Ideologies. In American Cinema of the 1970s: Themes and Variations (pp. 135–156). Rutgers University Press. http://hdl.handle.net/2027/heb.08007
Manovich, L. (2008). The Practice of Everyday (Media) Life. In G. Lovink & S. Niederer (Eds.), Video Vortex Reader: Responses to YouTube: Vol. #4 (Third edition, pp. 33–43). Institute of Network Cultures.
Marvin, C. (1990a). Introduction. In When Old Technologies Were New: Thinking About Electric Communication in the Late Nineteenth Century (pp. 3–9). Oxford University Press.
Marvin, C. (1990b). Introduction. In When Old Technologies Were New: Thinking About Electric Communication in the Late Nineteenth Century (pp. 3–9). Oxford University Press. 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 University Press.
McDonald, K., & Smith-Rowsey, D. (2016). The Netflix Effect: Technology and Entertainment in the 21st Century. Bloomsbury Academic. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4542879
McDonald, K., & Smith-Rowsey, D. (2018). The Netflix Effect: Technology and Entertainment in the 21st Century. Bloomsbury Academic.
Menkman, R. (2011a). The Glitch Moment(um). Institute of Network Cultures. 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 (pp. 90–117). Walther König.
Morris, N. (2007). Jurassic Park: Another Monster Hit. In The Cinema of Steven Spielberg: Empire of Light: Vol. Directors cuts. Wallflower.
Murphy, R. (1989a). Realism and Tinsel: Cinema and Society in Britain, 1939-1948: Vol. Cinema and society. Routledge.
Murphy, R. (1989b). Realism and Tinsel: Cinema and Society in Britain 1939-1949. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179234
Musser, C. (1991). Before the Nickelodeon : Edwin S. Porter and the Edison Manufacturing Company. University of California Press. 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: Vol. Exeter studies in film history. University of Exeter Press.
Napper, L. (2015). British Cinema and Middlebrow Culture in the Interwar Years (1st Edition). University of Exeter Press. 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), 735–743. http://www.jstor.org/stable/390912
Nowell-Smith, G. (2008). Making Waves: New Cinemas of the 1960s. Continuum.
Pearson, R. (2011a). Cult Television as Digital Television’s Cutting Edge. In Television as Digital Media: Vol. Console-ing passions (pp. 105–131). Duke University Press.
Pearson, R. (2011b). Cult Television as Digital Television’s Cutting Edge. In Television as Digital Media: Vol. Console-ing passions (pp. 105–131). Duke University Press. 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), 4–13. https://doi.org/10.1080/1472586X.2011.548484
Porter, E. S. (1982). Before the Nickelodeon: The Early Cinema of Edwin S. Porter. BFI.
Rheingold, H. (2000). The Virtual Community: Homesteading on the Electronic Frontier (Rev. ed). MIT Press.
Richards, J. (1998). The Unknown Thirties: An Alternative History of the British Cinema, 1929-1939: Vol. Cinema and society. Tauris.
Robertson, P. (1996). Guilty Pleasures: Feminist Camp From Mae West to Madonna. I.B.Tauris.
Rohdie, S. (2006). Montage: Vol. Cinema aesthetics. Manchester University Press.
Rothman, W. (1997). Cinema-Verité in America. In Documentary Film Classics: Vol. Cambridge studies in film. Cambridge University Press.
Schatz, T. (1989). The Genius of the System: Hollywood Film-Making in the Studio Era. Simon & Schuster.
Shaw, T. (2007a). Hollywood’s Cold War. University of Massachusetts Press.
Shaw, T. (2007b). Hollywood’s Cold War. Edinburgh University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=320443
Silj, A. (1988). East of Dallas: The European Challenge to American Television. 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: Vol. Studies in comparative literature. Texas Tech University Press.
Snickars, P., & Vonderau, P. (2009). The YouTube Reader: Vol. Mediehistoriskt. National Library of Sweden.
Spigel, L. (1992a). Make Room for TV: Television and the Family Ideal in Postwar America. University of Chicago Press.
Spigel, L. (1992b). Make Room for TV: Television and the Family Ideal in Postwar America. University of Chicago Press. http://hdl.handle.net/2027/heb.08240
Spigel, L. (1992c). Make Room for TV: Television and the Family Ideal in Postwar America. University of Chicago Press.
Spigel, L. (1992d). Make Room for TV: Television and the Family Ideal in Postwar America. University of Chicago Press. 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), 110–119. https://doaj.org/article/349ad7e21d8b477582e6be7aaced943e
Thompson, K., & Bordwell, D. (2019). Film History: An Introduction (Fourth edition). 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), 281–296. https://doi.org/10.1080/09505430903123040
Tryon, C. (2013a). On-Demand Culture: Digital Delivery and the Future of Movies. Rutgers University Press.
Tryon, C. (2013b). On-Demand Culture: Digital Delivery and the Future of Movies. Rutgers University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1184490
Uricchio, W. (2002). Old Media as New Media: Television. In The New Media Book (pp. 219–230). British Film Institute.
Uricchio, W. (2011). The Algorithmic Turn: Photosynth, Augmented Reality and the Changing Implications of the Image. Visual Studies, 26(1), 25–35. https://doi.org/10.1080/1472586X.2011.548486
Usai, P. C. (2000). Silent Cinema: An Introduction. BFI.
Whissel, K. (2008a). Picturing American Modernity: Traffic, Technology, and the Silent Cinema. Duke University Press.
Whissel, K. (2008b). Picturing American Modernity: Traffic, Technology, and the Silent Cinema. Duke University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1170630