Bibliography for MA1051: Film and Television Histories BETA

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

---. Silent Film. London: Athlone, 1996. Print.

Aldgate, Anthony, and Jeffrey Richards. ‘Why We Fight: A Canterbury Tale’. Best of British: Cinema and Society From 1930 to the Present. New ed. Cinema and society. London: Tauris, 1999. 79–94. Print.

---. ‘Why We Fight: A Canterbury Tale’. Best of British: Cinema and Society From 1930 to the Present. London: I. B. Tauris, 1999. 79–94. Web. <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=676510>.

Ang, Ien. ‘Dallas and the Melodramatic Imagination’. Watching Dallas: Soap Opera and the Melodramatic Imagination. London: Routledge, 2005. 51–86. Print.

---. ‘Dallas and the Melodramatic Imagination’. Watching Dallas: Soap Opera and the Melodramatic Imagination. London: Routledge, 2005. 51–84. Web. <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=1395429>.

Anthony, Aimee Dixon. ‘Early African-American Filmmakers’. Silent Women: Pioneers of Cinema. Ed. Melody Bridges and Cheryl Robson. Twickenham: Supernova Books, 2016. Print.

Antoine-Dunne, Jean, and Paula Quigley. The Montage Principle: Eisenstein in New Cultural and Critical Contexts. Critical studies. Amsterdam: Rodopi, 2004. Print.

Badley, Linda, and R. Barton Palmer. Traditions in World Cinema. New Brunswick, NJ: Rutgers University Press, 2006. Print.

---. Traditions in World Cinema. Edinburgh: Edinburgh University Press, 2006. Web. <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): 161–182. Web.

Bennett, James, and Tom Brown. Film and Television After DVD. New York: Routledge, 2009. Print.

---. Film and Television After DVD. New York, NY: Routledge, 2008. Web. <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): 141–157. Web.

Berghahn, Daniela, and Claudia Sternberg. European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Basingstoke: Palgrave Macmillan, 2010. Print.

---. European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Basingstoke: Palgrave Macmillan, 2010. Web. <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. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=895220>.

---. China on Screen: Cinema and Nation. Aberdeen, Hong Kong: Hong Kong University Press, 2006. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677267>.

Berwanger, Dietrich. ‘The Third World’. Television: An International History. Oxford: Oxford University Press, 1995. 309–330. Print.

---. ‘The Third World’. Television: An International History. Oxford: Oxford University Press, 1995. 309–330. Print.

Boddy, William. New Media and Popular Imagination: Launching Radio, Television, and Digital Media in the United States. Oxford television studies. Oxford: Oxford University Press, 2004. Print.

Brown, Tom. ‘The DVD of Attractions?: The Lion King and the Digital Theme Park’. Film and Television After DVD. Vol. 15. New York, NY: Routledge, 2008. 81–100. Print.

---. ‘The DVD of Attractions?: The Lion King and the Digital Theme Park’. Film and Television After DVD. Vol. 15. New York, NY: Routledge, 2008. 81–100. Web. <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’. Television After TV: Essays on a Medium in Transition. Console-ing passions. Durham: Duke University Press, 2004. 41–74. Print.

---. ‘Convergence Television: Aggregating Form and Repurposing Content in the Culture of Conglomeration’. Television After TV: Essays on a Medium in Transition. Durham: Duke University Press, 2004. 41–74. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1168060>.

Casper, Drew. Postwar Hollywood, 1946-1962. Malden, Mass: Blackwell, 2007. Print.

Chapman, Jane. ‘Definitions: Issues and Influences’. Issues in Contemporary Documentary. Cambridge: Polity, 2009. 8–28. Print.

Cooke, Lez. British Television Drama: A History. 2nd Edition. London: BFI Publishing, 2015. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=5400892>.

---. ‘Popular Drama and Social Realism, 1955-61’. British Television Drama: A History. London: BFI Publishing, 2003. 29–55. Print.

Desai, Jigna. Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. New York: Routledge, 2004. Print.

---. Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. New York: Routledge, 2004. Web. <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): 128–152. Web.

Durovicová, Nataša, and Kathleen E. Newman. World Cinemas, Transnational Perspectives. 1st ed. New York: Routledge, 2010. Print.

---. World Cinemas, Transnational Perspectives. New York: Routledge, 2010. Web. <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. Print.

Ellis, John. Documentary: Witness and Self-Revelation. London: Routledge, 2012. Print.

---. Documentary: Witness and Self-Revelation. London: Routledge, 2012. Web. <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?’ Re-Viewing Television History: Critical Issues in Television Historiography. London: I. B. Tauris, 2007. 15–26. Print.

---. ‘Is It Possible to Construct a Canon of Television Programmes?’ Re-Viewing Television History: Critical Issues in Television Historiography. London: I. B. Tauris, 2007. 15–26. Web. <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. Print.

---. TV FAQ: Uncommon Answers to Common Questions About TV. London: I B Tauris, 2007. Print.

---. TV FAQ: Uncommon Answers to Common Questions About TV. London: I.B. Tauris, 2007. Web. <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. Print.

Everson, William K. American Silent Film. New York: Da Capo, 1998. Print.

Fell, John L. Film Before Griffith. Berkeley: University of California Press, 1983. Print.

Fischer, Lucy. Sunrise: A Song of Two Humans. London: BFI Publishing, 1998. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=6265636>.

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

Gomery, Douglas. The Hollywood Studio System: A History. London: BFI, 2005. Print.

Goriunova, Olga. Art Platforms and Cultural Production on the Internet. Routledge research in cultural and media studies. New York: Routledge, 2012. Print.

---. Art Platforms and Cultural Production on the Internet. Vol. 35. New York: Routledge, 2012. Print.

Goriunova, Olga, and Alexei Shulgin. ‘Glitch’. Software Studies: A Lexicon. Cambridge, Mass: MIT, 2008. 110–119. Print.

Graham, Peter, and Ginette Vincendeau. The French New Wave: Critical Landmarks. New and expanded ed. London: British Film Institue/Palgrave Macmillan, 2009. Print.

Grieveson, Lee, and Peter Kramer. The Silent Cinema Reader. London: Routledge, 2004. Print.

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. Web. <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’. Rethinking Media Change: The Aesthetics of Transition. Cambridge, Mass: MIT Press, 2004. 39–60. Print.

Hall, Jeanne. ‘“Don’t You Ever Just Watch?”: American Cinema Verité and Don’t Look Back’. Documenting the Documentary. Contemporary film and television series. Detroit: Wayne State University Press, 1998. 223–237. Print.

Hauser, Kitty. ‘A Tale of Two Cities’. Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955. Oxford historical monographs. Oxford: Oxford University Press, 2007. 255–279. Print.

---. ‘A Tale of Two Cities’. Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955. Oxford: Oxford University Press, 2007. 255–279. Web. <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. Web.

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

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

Kato, Hidetoshi. ‘Japan’. Television: An International History. Oxford: Oxford University Press, 1995. Print.

---. ‘Japan’. Television: An International History. Oxford: Oxford University Press, 1995. Print.

Kompare, Derek. ‘Publishing Flow: DVD Box Sets and the Reconception of Television’. Television & New Media 7.4 (2006): 335–360. Web.

Korte, Barbara, and Claudia Sternberg. Bidding for the Mainstream?: Black and Asian British Film Since the 1990s. Internationale Forschungen zur allgemeinen und vergleichenden Literaturwissenschaft. Amsterdam: Rodopi, 2004. Print.

Koszarski, Richard. An Evening’s Entertainment: The Age of the Silent Feature Picture, 1915-1928. History of the American cinema. New York: Scribner, 1990. Print.

Krapp, Peter. Noise Channels: Glitch and Error in Digital Culture. v. 37. Minneapolis: University of Minnesota Press, 2011. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=819530>.

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

---. Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh: Edinburgh University Press, 2010. Print.

---. Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh: Edinburgh University Press, 2010. Web. <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. Print.

---. Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh: Edinburgh University Press, 2010. Web. <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. Print.

Lister, Martin et al. New Media: A Critical Introduction. 2nd ed. London: Routledge, 2009. Print.

---. New Media : A Critical Introduction. Routledge, 2009. Web. <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. Print.

---. The Television Will Be Revolutionized. New York: New York University Press, 2007. Web. <http://hdl.handle.net/2027/heb.08239>.

MacDowell, James. ‘Notes on Quirky’. 2010. Web. <https://warwick.ac.uk/fac/arts/film/movie/contents/notes_on_quirky.pdf>.

Man, Glenn. ‘1975 Movies and Conflicting Ideologies’. American Cinema of the 1970s: Themes and Variations. Oxford: Berg, 2007. 135–156. Print.

---. ‘1975 Movies and Conflicting Ideologies’. American Cinema of the 1970s: Themes and Variations. New Brunswick, N.J.: Rutgers University Press, 2007. 135–156. Web. <http://hdl.handle.net/2027/heb.08007>.

Manovich, Lev. ‘The Practice of Everyday (Media) Life’. Video Vortex Reader: Responses to YouTube. Ed. Geert Lovink and Sabinet Niederer. Third edition. #4. Amsterdam: Institute of Network Cultures, 2008. 33–43. Print.

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

---. ‘Introduction’. When Old Technologies Were New: Thinking About Electric Communication in the Late Nineteenth Century. New York: Oxford University Press, 1990. 3–9. Web. <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. Print.

McDonald, Kevin, and Daniel Smith-Rowsey. The Netflix Effect: Technology and Entertainment in the 21st Century. New York: Bloomsbury Academic, 2018. Print.

---. The Netflix Effect: Technology and Entertainment in the 21st Century. New York: Bloomsbury Academic, 2016. Web. <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4542879>.

Menkman, Rosa. ‘The Glitch Moment(Um)’. 2011. Web. <http://networkcultures.org/_uploads/NN%234_RosaMenkman.pdf>.

---. ‘The Glitch Studies Manifesto’. Video Vortex Reader II: Moving Images Beyond Youtube. N.p., 2011. 336–346. Print.

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

Morris, Nigel. ‘Jurassic Park: Another Monster Hit’. The Cinema of Steven Spielberg: Empire of Light. Directors cuts. London: Wallflower, 2007. Print.

Murphy, Robert. Realism and Tinsel: Cinema and Society in Britain, 1939-1948. Cinema and society. London: Routledge, 1989. Print.

---. Realism and Tinsel: Cinema and Society in Britain 1939-1949. London: Routledge, 1989. Web. <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. Print.

---. Before the Nickelodeon : Edwin S. Porter and the Edison Manufacturing Company. [Place of publication not identified]: University of California Press, 1991. Web. <http://ark.cdlib.org/ark:/13030/ft3q2nb2gw/>.

Napper, Lawrence. British Cinema and Middlebrow Culture in the Interwar Years. Exeter studies in film history. Exeter, UK: University of Exeter Press, 2009. Print.

---. British Cinema and Middlebrow Culture in the Interwar Years. 1st Edition. Exeter: University of Exeter Press, 2015. Web. <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): 735–743. Web. <http://www.jstor.org/stable/390912>.

Nowell-Smith, Geoffrey. Making Waves: New Cinemas of the 1960s. New York: Continuum, 2008. Print.

Pearson, Roberta. ‘Cult Television as Digital Television’s Cutting Edge’. Television as Digital Media. Console-ing passions. Durham, [N.C.]: Duke University Press, 2011. 105–131. Print.

---. ‘Cult Television as Digital Television’s Cutting Edge’. Television as Digital Media. Console-ing passions. Durham, [N.C.]: Duke University Press, 2011. 105–131. Web. <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. Web.

Porter, Edwin S. ‘Before the Nickelodeon: The Early Cinema of Edwin S. Porter’. 1982 : n. pag. Print.

Rheingold, Howard. The Virtual Community: Homesteading on the Electronic Frontier. Rev. ed. Cambridge, Mass: MIT Press, 2000. Print.

Richards, Jeffrey. The Unknown Thirties: An Alternative History of the British Cinema, 1929-1939. Cinema and society. London: Tauris, 1998. Print.

Robertson, Pamela. Guilty Pleasures: Feminist Camp From Mae West to Madonna. London: I.B.Tauris, 1996. Print.

Rohdie, Sam. Montage. Cinema aesthetics. Manchester: Manchester University Press, 2006. Print.

Rothman, William. ‘Cinema-Verité in America’. Documentary Film Classics. Cambridge studies in film. Cambridge: Cambridge University Press, 1997. Print.

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

Shaw, Tony. Hollywood’s Cold War. Amherst, Mass: University of Massachusetts Press, 2007. Print.

---. Hollywood’s Cold War. Edinburgh: Edinburgh University Press, 2007. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=320443>.

Silj, Alessandro. East of Dallas: The European Challenge to American Television. London: BFI, 1988. Print.

Slater, Thomas J. ‘One Flew Over the Cuckoo’s Nest: A Tale of Two Decades’. Film and Literature: A Comparative Approach to Adaptation. Studies in comparative literature. Lubbock, Tex: Texas Tech University Press, 1988. Print.

Snickars, Pelle, and Patrick Vonderau. The YouTube Reader. Mediehistoriskt. National Library of Sweden, 2009. Print.

Spigel, Lynn. Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press, 1992. Print.

---. Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press, 1992. Web. <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. Print.

---. Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press, 1992. Web. <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): 110–119. Web. <https://doaj.org/article/349ad7e21d8b477582e6be7aaced943e>.

Thompson, Kristin, and David Bordwell. Film History: An Introduction. Fourth edition. New York, NY: McGraw-Hill Education, 2019. Print.

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): 281–296. Web.

Tryon, Chuck. On-Demand Culture: Digital Delivery and the Future of Movies. New Brunswick, New Jersey: Rutgers University Press, 2013. Print.

---. On-Demand Culture: Digital Delivery and the Future of Movies. New Brunswick: Rutgers University Press, 2013. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1184490>.

Uricchio, William. ‘Old Media as New Media: Television’. The New Media Book. London: British Film Institute, 2002. 219–230. Print.

---. ‘The Algorithmic Turn: Photosynth, Augmented Reality and the Changing Implications of the Image’. Visual Studies 26.1 (2011): 25–35. Web.

Usai, Paolo Cherchi. Silent Cinema: An Introduction. London: BFI, 2000. Print.

Whissel, Kristen. Picturing American Modernity: Traffic, Technology, and the Silent Cinema. Durham, N.C.: Duke University Press, 2008. Print.

---. Picturing American Modernity: Traffic, Technology, and the Silent Cinema. Durham: Duke University Press, 2008. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1170630>.