[1]
K. Thompson and D. Bordwell, Film History: An Introduction, Fourth edition. New York, NY: McGraw-Hill Education, 2019.
[2]
M. Lister, J. Dovey, S. Giddings, I. Grant, and K. Kelly, New Media: A Critical Introduction, 2nd ed. London: Routledge, 2009.
[3]
M. Lister, J. Dovey, S. Giddings, I. Grant, and K. Kelly, New Media : A Critical Introduction. Routledge, 2009 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=370928
[4]
C. Marvin, ‘Introduction’, in When Old Technologies Were New: Thinking About Electric Communication in the Late Nineteenth Century, New York: Oxford University Press, 1990, pp. 3–9.
[5]
C. Marvin, ‘Introduction’, in When Old Technologies Were New: Thinking About Electric Communication in the Late Nineteenth Century, New York: Oxford University Press, 1990, pp. 3–9 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=273386
[6]
T. Gunning, ‘“Now You See It, Now You Don’t”: The Temporality of the Cinema of Attractions’, The Velvet Light Trap, vol. 32, pp. 3–12, 1993 [Online]. Available: http://search.proquest.com/fiaf/docview/1306635666/D4FD361BCB3E42F6PQ/5?accountid=11455
[7]
J. Bennett, ‘“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, vol. 14, no. 2, pp. 161–182, 2008, doi: 10.1177/1354856507087942.
[8]
G. Thibault, ‘Streaming: A Media Hydrogrophy of Televisual Flows’, VIEW Journal of European Television History and Culture, vol. 4, no. 7, pp. 110–119, 2015 [Online]. Available: https://doaj.org/article/349ad7e21d8b477582e6be7aaced943e
[9]
W. Boddy, New Media and Popular Imagination: Launching Radio, Television, and Digital Media in the United States, vol. Oxford television studies. Oxford: Oxford University Press, 2004.
[10]
T. Gunning, ‘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, 2004, pp. 39–60.
[11]
T. Brown, ‘The DVD of Attractions?: The Lion King and the Digital Theme Park’, in Film and Television After DVD, vol. 15, New York, NY: Routledge, 2008, pp. 81–100.
[12]
T. Brown, ‘The DVD of Attractions?: The Lion King and the Digital Theme Park’, in Film and Television After DVD, vol. 15, New York, NY: Routledge, 2008, pp. 81–100 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=348471
[13]
L. Spigel, Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press, 1992.
[14]
L. Spigel, Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press, 1992 [Online]. Available: http://hdl.handle.net/2027/heb.08240
[15]
W. Uricchio, ‘Old Media as New Media: Television’, in The New Media Book, London: British Film Institute, 2002, pp. 219–230.
[16]
J. MacDowell, ‘Notes on Quirky’. 2010 [Online]. Available: https://warwick.ac.uk/fac/arts/film/movie/contents/notes_on_quirky.pdf
[17]
T. Elsässer and A. Barker, Early Cinema: Space, Frame, Narrative. London: BFI, 1990.
[18]
J. L. Fell, Film Before Griffith. Berkeley: University of California Press, 1983.
[19]
C. Musser, Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company. University of California Press, 1992.
[20]
C. Musser, Before the Nickelodeon : Edwin S. Porter and the Edison Manufacturing Company. [Place of publication not identified]: University of California Press, 1991 [Online]. Available: http://ark.cdlib.org/ark:/13030/ft3q2nb2gw/
[21]
E. S. Porter, ‘Before the Nickelodeon: The Early Cinema of Edwin S. Porter’. BFI, London, 1982.
[22]
R. Abel, Silent Film. London: Athlone, 1996.
[23]
W. K. Everson, American Silent Film. New York: Da Capo, 1998.
[24]
L. Grieveson and P. Kramer, The Silent Cinema Reader. London: Routledge, 2004.
[25]
L. Fischer, Sunrise: A Song of Two Humans. London: BFI Publishing, 1998 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=6265636
[26]
R. Koszarski, An Evening’s Entertainment: The Age of the Silent Feature Picture, 1915-1928, vol. History of the American cinema. New York: Scribner, 1990.
[27]
P. C. Usai, Silent Cinema: An Introduction. London: BFI, 2000.
[28]
K. Whissel, Picturing American Modernity: Traffic, Technology, and the Silent Cinema. Durham, N.C.: Duke University Press, 2008.
[29]
K. Whissel, Picturing American Modernity: Traffic, Technology, and the Silent Cinema. Durham: Duke University Press, 2008 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1170630
[30]
T. Schatz, The Genius of the System: Hollywood Film-Making in the Studio Era. London: Simon & Schuster, 1989.
[31]
D. Gomery, The Hollywood Studio System: A History. London: BFI, 2005.
[32]
P. Robertson, Guilty Pleasures: Feminist Camp From Mae West to Madonna. London: I.B.Tauris, 1996.
[33]
B. Langford, Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh: Edinburgh University Press, 2010.
[34]
B. Langford, Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh: Edinburgh University Press, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=615832
[35]
D. Casper, Postwar Hollywood, 1946-1962. Malden, Mass: Blackwell, 2007.
[36]
T. Shaw, Hollywood’s Cold War. Amherst, Mass: University of Massachusetts Press, 2007.
[37]
T. Shaw, Hollywood’s Cold War. Edinburgh: Edinburgh University Press, 2007 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=320443
[38]
G. Man, ‘1975 Movies and Conflicting Ideologies’, in American Cinema of the 1970s: Themes and Variations, Oxford: Berg, 2007, pp. 135–156.
[39]
G. Man, ‘1975 Movies and Conflicting Ideologies’, in American Cinema of the 1970s: Themes and Variations, New Brunswick, N.J.: Rutgers University Press, 2007, pp. 135–156 [Online]. Available: http://hdl.handle.net/2027/heb.08007
[40]
B. Langford, Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh: Edinburgh University Press, 2010.
[41]
B. Langford, Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh: Edinburgh University Press, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=615832
[42]
P. Lev, American Films of the ’70s: Conflicting Visions. Austin, TX: University of Texas Press, 2000.
[43]
T. J. Slater, ‘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, Lubbock, Tex: Texas Tech University Press, 1988.
[44]
J. Ellis, Seeing Things: Television in the Age of Uncertainty. London: I. B. Tauris, 2000.
[45]
D. Berwanger, ‘The Third World’, in Television: An International History, Oxford: Oxford University Press, 1995, pp. 309–330.
[46]
D. Berwanger, ‘The Third World’, in Television: An International History, Oxford: Oxford University Press, 1995, pp. 309–330.
[47]
H. Kato, ‘Japan’, in Television: An International History, Oxford: Oxford University Press, 1995.
[48]
H. Kato, ‘Japan’, in Television: An International History, Oxford: Oxford University Press, 1995.
[49]
R. Pearson, ‘Cult Television as Digital Television’s Cutting Edge’, in Television as Digital Media, vol. Console-ing passions, Durham, [N.C.]: Duke University Press, 2011, pp. 105–131.
[50]
R. Pearson, ‘Cult Television as Digital Television’s Cutting Edge’, in Television as Digital Media, vol. Console-ing passions, Durham, [N.C.]: Duke University Press, 2011, pp. 105–131 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1172303
[51]
P. Goddard, ‘Hancock’s Half Hour: A Watershed in British Television Comedy’, in Popular Television in Britain: Studies in Cultural History, London: British Film Institute, 1991, pp. 75–87.
[52]
B. Langford, ‘“Our Usual Impasse”: The Episodic Situation Comedy Revisited’, in Popular Television Drama: Critical Perspectives, Manchester: Manchester University Press, 2005, pp. 15–33.
[53]
L. Spigel, Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press, 1992.
[54]
L. Spigel, Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press, 1992 [Online]. Available: http://hdl.handle.net/2027/heb.08240
[55]
J. Ellis, Documentary: Witness and Self-Revelation. London: Routledge, 2012.
[56]
J. Ellis, Documentary: Witness and Self-Revelation. London: Routledge, 2012 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203808467
[57]
J. Hall, ‘“Don’t You Ever Just Watch?”: American Cinema Verité and Don’t Look Back’, in Documenting the Documentary, vol. Contemporary film and television series, Detroit: Wayne State University Press, 1998, pp. 223–237.
[58]
J. Chapman, ‘Definitions: Issues and Influences’, in Issues in Contemporary Documentary, Cambridge: Polity, 2009, pp. 8–28.
[59]
W. Rothman, ‘Cinema-Verité in America’, in Documentary Film Classics, vol. Cambridge studies in film, Cambridge: Cambridge University Press, 1997.
[60]
L. Cooke, ‘Popular Drama and Social Realism, 1955-61’, in British Television Drama: A History, London: BFI Publishing, 2003, pp. 29–55.
[61]
L. Cooke, British Television Drama: A History, 2nd Edition. London: BFI Publishing, 2015 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=5400892
[62]
J. Ellis, ‘Is it Possible to Construct a Canon of Television Programmes?’, in Re-Viewing Television History: Critical Issues in Television Historiography, London: I. B. Tauris, 2007, pp. 15–26.
[63]
J. Ellis, ‘Is it Possible to Construct a Canon of Television Programmes?’, in Re-Viewing Television History: Critical Issues in Television Historiography, London: I. B. Tauris, 2007, pp. 15–26 [Online]. Available: https://www-vlebooks-com.ezproxy01.rhul.ac.uk/Vleweb/Product/Index/2040080?page=0
[64]
A. Marwick, The Sixties: Cultural Revolution in Britain, France, Italy, and the United States, C. 1958-C. 1974. Oxford [England]: Oxford University Press, 1998.
[65]
I. Ang, ‘Dallas and the Melodramatic Imagination’, in Watching Dallas: Soap Opera and the Melodramatic Imagination, London: Routledge, 2005, pp. 51–86.
[66]
I. Ang, ‘Dallas and the Melodramatic Imagination’, in Watching Dallas: Soap Opera and the Melodramatic Imagination, London: Routledge, 2005, pp. 51–84 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=1395429
[67]
A. Silj, East of Dallas: The European Challenge to American Television. London: BFI, 1988.
[68]
R. Abel, ‘Cinégraphie and the Search for Specificity’, in French Film Theory and Criticism: Volume 1, 1907-1939, Princeton, N.J.: Princeton University Press, 1993, pp. 195–223.
[69]
J. Antoine-Dunne and P. Quigley, The Montage Principle: Eisenstein in New Cultural and Critical Contexts, vol. Critical studies. Amsterdam: Rodopi, 2004.
[70]
S. Rohdie, Montage, vol. Cinema aesthetics. Manchester: Manchester University Press, 2006.
[71]
C. Townsend, ‘“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, vol. 18, no. 3, pp. 281–296, 2009, doi: 10.1080/09505430903123040.
[72]
R. J. Nelson, ‘Reflections in a Broken Mirror: Varda’s Cléo de 5 à 7’, The French Review, vol. 56, no. 5, pp. 735–743, 1983 [Online]. Available: http://www.jstor.org/stable/390912
[73]
G. Nowell-Smith, Making Waves: New Cinemas of the 1960s. New York: Continuum, 2008.
[74]
P. Graham and G. Vincendeau, The French New Wave: Critical Landmarks, New and Expanded ed. London: British Film Institue/Palgrave Macmillan, 2009.
[75]
L. Badley and R. B. Palmer, Traditions in World Cinema. New Brunswick, NJ: Rutgers University Press, 2006.
[76]
L. Badley and R. B. Palmer, Traditions in World Cinema. Edinburgh: Edinburgh University Press, 2006 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=275802
[77]
C. Berry and M. A. Farquhar, China on Screen: Cinema and Nation. New York: Columbia University Press, 2006 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=895220
[78]
C. Berry and M. A. Farquhar, China on Screen: Cinema and Nation. Aberdeen, Hong Kong: Hong Kong University Press, 2006 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677267
[79]
D. Berghahn, ‘No Place Like Home? or Impossible Homecomings in the Films of Fatih Akin’, New Cinemas: Journal of Contemporary Film, vol. 4, no. 3, pp. 141–157, 2007, doi: 10.1386/ncin.4.3.141_1.
[80]
D. Berghahn and C. Sternberg, European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Basingstoke: Palgrave Macmillan, 2010.
[81]
D. Berghahn and C. Sternberg, European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Basingstoke: Palgrave Macmillan, 2010 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=299864
[82]
J. Desai, Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. New York: Routledge, 2004.
[83]
J. Desai, Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. New York: Routledge, 2004 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=200847
[84]
N. Durovicová and K. E. Newman, World Cinemas, Transnational Perspectives, 1st ed. New York: Routledge, 2010.
[85]
N. Durovicová and K. E. Newman, World Cinemas, Transnational Perspectives. New York: Routledge, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=449452
[86]
B. Korte and C. Sternberg, Bidding for the Mainstream?: Black and Asian British Film Since the 1990s, vol. Internationale Forschungen zur allgemeinen und vergleichenden Literaturwissenschaft. Amsterdam: Rodopi, 2004.
[87]
K. Hauser, ‘A Tale of Two Cities’, in Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955, vol. Oxford historical monographs, Oxford: Oxford University Press, 2007, pp. 255–279.
[88]
K. Hauser, ‘A Tale of Two Cities’, in Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955, Oxford: Oxford University Press, 2007, pp. 255–279 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=415760
[89]
A. Aldgate and J. Richards, ‘Why We Fight: A Canterbury Tale’, in Best of British: Cinema and Society From 1930 to the Present, New ed., vol. Cinema and society, London: Tauris, 1999, pp. 79–94.
[90]
A. Aldgate and J. Richards, ‘Why We Fight: A Canterbury Tale’, in Best of British: Cinema and Society From 1930 to the Present, London: I. B. Tauris, 1999, pp. 79–94 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=676510
[91]
R. Murphy, Realism and Tinsel: Cinema and Society in Britain, 1939-1948, vol. Cinema and society. London: Routledge, 1989.
[92]
R. Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-1949. London: Routledge, 1989 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179234
[93]
J. Richards, The Unknown Thirties: An Alternative History of the British Cinema, 1929-1939, vol. Cinema and society. London: Tauris, 1998.
[94]
L. Napper, British Cinema and Middlebrow Culture in the Interwar Years, vol. Exeter studies in film history. Exeter, UK: University of Exeter Press, 2009.
[95]
L. Napper, British Cinema and Middlebrow Culture in the Interwar Years, 1st Edition. Exeter: University of Exeter Press, 2015 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1982372
[96]
N. Morris, ‘Jurassic Park: Another Monster Hit’, in The Cinema of Steven Spielberg: Empire of Light, vol. Directors cuts, London: Wallflower, 2007.
[97]
M. Hills, ‘From the Box in the Corner to the Box Set on the Shelf’, New Review of Film and Television Studies, vol. 5, no. 1, pp. 41–60, 2007, doi: 10.1080/17400300601140167.
[98]
J. Bennett and T. Brown, Film and Television After DVD. New York: Routledge, 2009.
[99]
J. Bennett and T. Brown, Film and Television After DVD. New York, NY: Routledge, 2008 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=145741
[100]
J. Caldwell, ‘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, Durham: Duke University Press, 2004, pp. 41–74.
[101]
J. Caldwell, ‘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, 2004, pp. 41–74 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1168060
[102]
J. Ellis, TV FAQ: Uncommon Answers to Common Questions About TV. London: I B Tauris, 2007.
[103]
J. Ellis, TV FAQ: Uncommon Answers to Common Questions About TV. London: I.B. Tauris, 2007 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=676714
[104]
D. Kompare, ‘Publishing Flow: DVD Box sets and the Reconception of Television’, Television & New Media, vol. 7, no. 4, pp. 335–360, 2006, doi: 10.1177/1527476404270609.
[105]
A. D. Lotz, The Television Will Be Revolutionized, Second edition. New York: New York University Press, 2014.
[106]
A. D. Lotz, The Television Will Be Revolutionized. New York: New York University Press, 2007 [Online]. Available: http://hdl.handle.net/2027/heb.08239
[107]
K. McDonald and D. Smith-Rowsey, The Netflix Effect: Technology and Entertainment in the 21st Century. New York: Bloomsbury Academic, 2018.
[108]
K. McDonald and D. Smith-Rowsey, The Netflix Effect: Technology and Entertainment in the 21st Century. New York: Bloomsbury Academic, 2016 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4542879
[109]
C. Tryon, On-Demand Culture: Digital Delivery and the Future of Movies. New Brunswick, New Jersey: Rutgers University Press, 2013.
[110]
C. Tryon, On-Demand Culture: Digital Delivery and the Future of Movies. New Brunswick: Rutgers University Press, 2013 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1184490
[111]
C. Iles, ‘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, 2001.
[112]
C. Eamon, Anthony McCall: The Solid Light Films and Related Works. Evanston, IL: Northwestern University Press, 2005.
[113]
B. W. Joseph, ‘“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, 2004, pp. 14–43.
[114]
M. Michalka, ‘“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, 2004, pp. 90–117.
[115]
P. Snickars and P. Vonderau, The YouTube Reader, vol. Mediehistoriskt. National Library of Sweden, 2009.
[116]
L. Manovich, ‘The Practice of Everyday (Media) Life’, in Video Vortex Reader: Responses to YouTube, Third edition., vol. #4, G. Lovink and S. Niederer, Eds. Amsterdam: Institute of Network Cultures, 2008, pp. 33–43.
[117]
O. Goriunova, Art Platforms and Cultural Production on the Internet, vol. Routledge research in cultural and media studies. New York: Routledge, 2012.
[118]
O. Goriunova, Art platforms and cultural production on the Internet, vol. 35. New York: Routledge, 2012.
[119]
H. Rheingold, The Virtual Community: Homesteading on the Electronic Frontier, Rev. ed. Cambridge, Mass: MIT Press, 2000.
[120]
O. Goriunova and A. Shulgin, ‘Glitch’, in Software Studies: A Lexicon, Cambridge, Mass: MIT, 2008, pp. 110–119.
[121]
R. Menkman, ‘The Glitch Moment(um)’. Institute of Network Cultures, Amsterdam, 2011 [Online]. Available: http://networkcultures.org/_uploads/NN%234_RosaMenkman.pdf
[122]
R. Menkman, ‘The Glitch Studies Manifesto’, in Video Vortex Reader II: Moving Images Beyond Youtube, 2011, pp. 336–346.
[123]
M. A. Doane, ‘The Indexical and the Concept of Medium Specificity’, differences, vol. 18, no. 1, pp. 128–152, 2007, doi: 10.1215/10407391-2006-025.
[124]
P. Krapp, Noise Channels: Glitch and Error in Digital Culture, vol. v. 37. Minneapolis: University of Minnesota Press, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=819530
[125]
W. Uricchio, ‘The Algorithmic Turn: Photosynth, Augmented Reality and the Changing Implications of the Image’, Visual Studies, vol. 26, no. 1, pp. 25–35, 2011, doi: 10.1080/1472586X.2011.548486.
[126]
S. Pink, ‘Sensory Digital Photography: Re-Thinking “Moving” and the Image’, Visual Studies, vol. 26, no. 1, pp. 4–13, 2011, doi: 10.1080/1472586X.2011.548484.
[127]
A. D. Anthony, ‘Early African-American Filmmakers’, in Silent women: pioneers of cinema, M. Bridges and C. Robson, Eds. Twickenham: Supernova Books, 2016.