Abel, Richard, ‘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
———, Silent Film (London: Athlone, 1996)
Aldgate, Anthony, and Jeffrey Richards, ‘Why We Fight: A Canterbury Tale’, in Best of British: Cinema and Society From 1930 to the Present, New ed (London: Tauris, 1999), Cinema and society, 79–94
———, ‘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 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=676510>
Ang, Ien, ‘Dallas and the Melodramatic Imagination’, in Watching Dallas: Soap Opera and the Melodramatic Imagination (London: Routledge, 2005), pp. 51–86
———, ‘Dallas and the Melodramatic Imagination’, in Watching Dallas: Soap Opera and the Melodramatic Imagination (London: Routledge, 2005), pp. 51–84 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=1395429>
Anthony, Aimee Dixon, ‘Early African-American Filmmakers’, in Silent Women: Pioneers of Cinema, ed. by Melody Bridges and Cheryl Robson (Twickenham: Supernova Books, 2016)
Antoine-Dunne, Jean, and Paula Quigley, The Montage Principle: Eisenstein in New Cultural and Critical Contexts (Amsterdam: Rodopi, 2004), Critical studies
Badley, Linda, and R. Barton Palmer, Traditions in World Cinema (New Brunswick, NJ: Rutgers University Press, 2006)
———, Traditions in World Cinema (Edinburgh: Edinburgh University Press, 2006) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=275802>
Bennett, James, ‘“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), 161–82 <https://doi.org/10.1177/1354856507087942>
Bennett, James, and Tom Brown, Film and Television After DVD (New York: Routledge, 2009)
———, Film and Television After DVD (New York, NY: Routledge, 2008) <http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=145741>
Berghahn, Daniela, ‘No Place Like Home? Or Impossible Homecomings in the Films of Fatih Akin’, New Cinemas: Journal of Contemporary Film, 4.3 (2007), 141–57 <https://doi.org/10.1386/ncin.4.3.141_1>
Berghahn, Daniela, and Claudia Sternberg, European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe (Basingstoke: Palgrave Macmillan, 2010)
———, European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe (Basingstoke: Palgrave Macmillan, 2010) <http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=299864>
Berry, Chris, and Mary Ann Farquhar, China on Screen: Cinema and Nation (New York: Columbia University Press, 2006) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=895220>
———, China on Screen: Cinema and Nation (Aberdeen, Hong Kong: Hong Kong University Press, 2006) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677267>
Berwanger, Dietrich, ‘The Third World’, in Television: An International History (Oxford: Oxford University Press, 1995), pp. 309–30
———, ‘The Third World’, in Television: An International History (Oxford: Oxford University Press, 1995), pp. 309–30
Boddy, William, New Media and Popular Imagination: Launching Radio, Television, and Digital Media in the United States (Oxford: Oxford University Press, 2004), Oxford television studies
Brown, Tom, ‘The DVD of Attractions?: The Lion King and the Digital Theme Park’, in Film and Television After DVD (New York, NY: Routledge, 2008), xv, 81–100
———, ‘The DVD of Attractions?: The Lion King and the Digital Theme Park’, in Film and Television After DVD (New York, NY: Routledge, 2008), xv, 81–100 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=348471>
Caldwell, John, ‘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), Console-ing passions, 41–74
———, ‘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 <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1168060>
Casper, Drew, Postwar Hollywood, 1946-1962 (Malden, Mass: Blackwell, 2007)
Chapman, Jane, ‘Definitions: Issues and Influences’, in Issues in Contemporary Documentary (Cambridge: Polity, 2009), pp. 8–28
Cooke, Lez, British Television Drama: A History, 2nd Edition (London: BFI Publishing, 2015) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=5400892>
———, ‘Popular Drama and Social Realism, 1955-61’, in British Television Drama: A History (London: BFI Publishing, 2003), pp. 29–55
Desai, Jigna, Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film (New York: Routledge, 2004)
———, Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film (New York: Routledge, 2004) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=200847>
Doane, Mary Ann, ‘The Indexical and the Concept of Medium Specificity’, Differences, 18.1 (2007), 128–52 <https://doi.org/10.1215/10407391-2006-025>
Durovicová, Nataša, and Kathleen E. Newman, World Cinemas, Transnational Perspectives, 1st ed (New York: Routledge, 2010)
———, World Cinemas, Transnational Perspectives (New York: Routledge, 2010) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=449452>
Eamon, Christopher, Anthony McCall: The Solid Light Films and Related Works (Evanston, IL: Northwestern University Press, 2005)
Ellis, John, Documentary: Witness and Self-Revelation (London: Routledge, 2012)
———, Documentary: Witness and Self-Revelation (London: Routledge, 2012) <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203808467>
———, ‘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
———, ‘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 <https://www-vlebooks-com.ezproxy01.rhul.ac.uk/Vleweb/Product/Index/2040080?page=0>
———, Seeing Things: Television in the Age of Uncertainty (London: I. B. Tauris, 2000)
———, TV FAQ: Uncommon Answers to Common Questions About TV (London: I B Tauris, 2007)
———, TV FAQ: Uncommon Answers to Common Questions About TV (London: I.B. Tauris, 2007) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=676714>
Elsässer, Thomas, and Adam Barker, Early Cinema: Space, Frame, Narrative (London: BFI, 1990)
Everson, William K., American Silent Film (New York: Da Capo, 1998)
Fell, John L., Film Before Griffith (Berkeley: University of California Press, 1983)
Fischer, Lucy, Sunrise: A Song of Two Humans (London: BFI Publishing, 1998) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=6265636>
Goddard, Peter, ‘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
Gomery, Douglas, The Hollywood Studio System: A History (London: BFI, 2005)
Goriunova, Olga, Art Platforms and Cultural Production on the Internet (New York: Routledge, 2012), Routledge research in cultural and media studies
———, Art Platforms and Cultural Production on the Internet (New York: Routledge, 2012), xxxv
Goriunova, Olga, and Alexei Shulgin, ‘Glitch’, in Software Studies: A Lexicon (Cambridge, Mass: MIT, 2008), pp. 110–19
Graham, Peter, and Ginette Vincendeau, The French New Wave: Critical Landmarks, New and expanded ed (London: British Film Institue/Palgrave Macmillan, 2009)
Grieveson, Lee, and Peter Kramer, The Silent Cinema Reader (London: Routledge, 2004)
Gunning, Tom, ‘“Now You See It, Now You Don’t”: The Temporality of the Cinema of Attractions’, The Velvet Light Trap, 32 (1993), 3–12 <http://search.proquest.com/fiaf/docview/1306635666/D4FD361BCB3E42F6PQ/5?accountid=11455>
———, ‘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
Hall, Jeanne, ‘“Don’t You Ever Just Watch?”: American Cinema Verité and Don’t Look Back’, in Documenting the Documentary (Detroit: Wayne State University Press, 1998), Contemporary film and television series, 223–37
Hauser, Kitty, ‘A Tale of Two Cities’, in Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955 (Oxford: Oxford University Press, 2007), Oxford historical monographs, 255–79
———, ‘A Tale of Two Cities’, in Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955 (Oxford: Oxford University Press, 2007), pp. 255–79 <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=415760>
Hills, Matt, ‘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 <https://doi.org/10.1080/17400300601140167>
Iles, Chrissie, ‘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)
Joseph, Branden W., ‘“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
Kato, Hidetoshi, ‘Japan’, in Television: An International History (Oxford: Oxford University Press, 1995)
———, ‘Japan’, in Television: An International History (Oxford: Oxford University Press, 1995)
Kompare, Derek, ‘Publishing Flow: DVD Box Sets and the Reconception of Television’, Television & New Media, 7.4 (2006), 335–60 <https://doi.org/10.1177/1527476404270609>
Korte, Barbara, and Claudia Sternberg, Bidding for the Mainstream?: Black and Asian British Film Since the 1990s (Amsterdam: Rodopi, 2004), Internationale Forschungen zur allgemeinen und vergleichenden Literaturwissenschaft
Koszarski, Richard, An Evening’s Entertainment: The Age of the Silent Feature Picture, 1915-1928 (New York: Scribner, 1990), History of the American cinema
Krapp, Peter, Noise Channels: Glitch and Error in Digital Culture (Minneapolis: University of Minnesota Press, 2011), v. 37 <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=819530>
Langford, Barry, ‘“Our Usual Impasse”: The Episodic Situation Comedy Revisited’, in Popular Television Drama: Critical Perspectives (Manchester: Manchester University Press, 2005), pp. 15–33
———, Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945 (Edinburgh: Edinburgh University Press, 2010)
———, Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945 (Edinburgh: Edinburgh University Press, 2010) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=615832>
———, Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945 (Edinburgh: Edinburgh University Press, 2010)
———, Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945 (Edinburgh: Edinburgh University Press, 2010) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=615832>
Lev, Peter, American Films of the ’70s: Conflicting Visions (Austin, TX: University of Texas Press, 2000)
Lister, Martin, Jon Dovey, Seth Giddings, Iain Grant, and Kieran Kelly, New Media: A Critical Introduction, 2nd ed (London: Routledge, 2009)
———, New Media : A Critical Introduction (Routledge, 2009) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=370928>
Lotz, Amanda D., The Television Will Be Revolutionized, Second edition (New York: New York University Press, 2014)
———, The Television Will Be Revolutionized (New York: New York University Press, 2007) <http://hdl.handle.net/2027/heb.08239>
MacDowell, James, ‘Notes on Quirky’, 2010 <https://warwick.ac.uk/fac/arts/film/movie/contents/notes_on_quirky.pdf>
Man, Glenn, ‘1975 Movies and Conflicting Ideologies’, in American Cinema of the 1970s: Themes and Variations (Oxford: Berg, 2007), pp. 135–56
———, ‘1975 Movies and Conflicting Ideologies’, in American Cinema of the 1970s: Themes and Variations (New Brunswick, N.J.: Rutgers University Press, 2007), pp. 135–56 <http://hdl.handle.net/2027/heb.08007>
Manovich, Lev, ‘The Practice of Everyday (Media) Life’, in Video Vortex Reader: Responses to YouTube, ed. by Geert Lovink and Sabinet Niederer, Third edition (Amsterdam: Institute of Network Cultures, 2008), #4, 33–43
Marvin, Carolyn, ‘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
———, ‘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 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=273386>
Marwick, Arthur, The Sixties: Cultural Revolution in Britain, France, Italy, and the United States, C. 1958-C. 1974 (Oxford [England]: Oxford University Press, 1998)
McDonald, Kevin, and Daniel Smith-Rowsey, The Netflix Effect: Technology and Entertainment in the 21st Century (New York: Bloomsbury Academic, 2018)
———, The Netflix Effect: Technology and Entertainment in the 21st Century (New York: Bloomsbury Academic, 2016) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4542879>
Menkman, Rosa, ‘The Glitch Moment(Um)’ (Amsterdam: Institute of Network Cultures, 2011) <http://networkcultures.org/_uploads/NN%234_RosaMenkman.pdf>
———, ‘The Glitch Studies Manifesto’, in Video Vortex Reader II: Moving Images Beyond Youtube, 2011, pp. 336–46
Michalka, Matthias, ‘“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
Morris, Nigel, ‘Jurassic Park: Another Monster Hit’, in The Cinema of Steven Spielberg: Empire of Light (London: Wallflower, 2007), Directors cuts
Murphy, Robert, Realism and Tinsel: Cinema and Society in Britain, 1939-1948 (London: Routledge, 1989), Cinema and society
———, Realism and Tinsel: Cinema and Society in Britain 1939-1949 (London: Routledge, 1989) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179234>
Musser, Charles, Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company (University of California Press, 1992)
———, Before the Nickelodeon : Edwin S. Porter and the Edison Manufacturing Company ([Place of publication not identified]: University of California Press, 1991) <http://ark.cdlib.org/ark:/13030/ft3q2nb2gw/>
Napper, Lawrence, British Cinema and Middlebrow Culture in the Interwar Years (Exeter, UK: University of Exeter Press, 2009), Exeter studies in film history
———, British Cinema and Middlebrow Culture in the Interwar Years, 1st Edition (Exeter: University of Exeter Press, 2015) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1982372>
Nelson, Roy Jay, ‘Reflections in a Broken Mirror: Varda’s Cléo de 5 à 7’, The French Review, 56.5 (1983), 735–43 <http://www.jstor.org/stable/390912>
Nowell-Smith, Geoffrey, Making Waves: New Cinemas of the 1960s (New York: Continuum, 2008)
Pearson, Roberta, ‘Cult Television as Digital Television’s Cutting Edge’, in Television as Digital Media (Durham, [N.C.]: Duke University Press, 2011), Console-ing passions, 105–31
———, ‘Cult Television as Digital Television’s Cutting Edge’, in Television as Digital Media (Durham, [N.C.]: Duke University Press, 2011), Console-ing passions, 105–31 <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1172303>
Pink, Sarah, ‘Sensory Digital Photography: Re-Thinking “Moving” and the Image’, Visual Studies, 26.1 (2011), 4–13 <https://doi.org/10.1080/1472586X.2011.548484>
Porter, Edwin S., ‘Before the Nickelodeon: The Early Cinema of Edwin S. Porter’ (London: BFI, 1982)
Rheingold, Howard, The Virtual Community: Homesteading on the Electronic Frontier, Rev. ed (Cambridge, Mass: MIT Press, 2000)
Richards, Jeffrey, The Unknown Thirties: An Alternative History of the British Cinema, 1929-1939 (London: Tauris, 1998), Cinema and society
Robertson, Pamela, Guilty Pleasures: Feminist Camp From Mae West to Madonna (London: I.B.Tauris, 1996)
Rohdie, Sam, Montage (Manchester: Manchester University Press, 2006), Cinema aesthetics
Rothman, William, ‘Cinema-Verité in America’, in Documentary Film Classics (Cambridge: Cambridge University Press, 1997), Cambridge studies in film
Schatz, Thomas, The Genius of the System: Hollywood Film-Making in the Studio Era (London: Simon & Schuster, 1989)
Shaw, Tony, Hollywood’s Cold War (Amherst, Mass: University of Massachusetts Press, 2007)
———, Hollywood’s Cold War (Edinburgh: Edinburgh University Press, 2007) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=320443>
Silj, Alessandro, East of Dallas: The European Challenge to American Television (London: BFI, 1988)
Slater, Thomas J., ‘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, 1988), Studies in comparative literature
Snickars, Pelle, and Patrick Vonderau, The YouTube Reader (National Library of Sweden, 2009), Mediehistoriskt
Spigel, Lynn, Make Room for TV: Television and the Family Ideal in Postwar America (Chicago: University of Chicago Press, 1992)
———, Make Room for TV: Television and the Family Ideal in Postwar America (Chicago: University of Chicago Press, 1992) <http://hdl.handle.net/2027/heb.08240>
———, Make Room for TV: Television and the Family Ideal in Postwar America (Chicago: University of Chicago Press, 1992)
———, Make Room for TV: Television and the Family Ideal in Postwar America (Chicago: University of Chicago Press, 1992) <http://hdl.handle.net/2027/heb.08240>
Thibault, Ghislain, ‘Streaming: A Media Hydrogrophy of Televisual Flows’, VIEW Journal of European Television History and Culture, 4.7 (2015), 110–19 <https://doaj.org/article/349ad7e21d8b477582e6be7aaced943e>
Thompson, Kristin, and David Bordwell, Film History: An Introduction, Fourth edition (New York, NY: McGraw-Hill Education, 2019)
Townsend, Christopher, ‘“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), 281–96 <https://doi.org/10.1080/09505430903123040>
Tryon, Chuck, On-Demand Culture: Digital Delivery and the Future of Movies (New Brunswick, New Jersey: Rutgers University Press, 2013)
———, On-Demand Culture: Digital Delivery and the Future of Movies (New Brunswick: Rutgers University Press, 2013) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1184490>
Uricchio, William, ‘Old Media as New Media: Television’, in The New Media Book (London: British Film Institute, 2002), pp. 219–30
———, ‘The Algorithmic Turn: Photosynth, Augmented Reality and the Changing Implications of the Image’, Visual Studies, 26.1 (2011), 25–35 <https://doi.org/10.1080/1472586X.2011.548486>
Usai, Paolo Cherchi, Silent Cinema: An Introduction (London: BFI, 2000)
Whissel, Kristen, Picturing American Modernity: Traffic, Technology, and the Silent Cinema (Durham, N.C.: Duke University Press, 2008)
———, Picturing American Modernity: Traffic, Technology, and the Silent Cinema (Durham: Duke University Press, 2008) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1170630>
