[1]
P. T. Rosen, Narrative, apparatus, ideology: a film theory reader. New York, N.Y.: Columbia University Press, 1986.
[2]
P. T. Rosen, Narrative, apparatus, ideology: a film theory reader. New York, N.Y.: Columbia University Press, 1986.
[3]
B. Klinger, ‘“Cinema/Ideology/Crititicism” Revisited: The Progressive Text’, Screen, vol. 25, no. 1, pp. 30–44, Jan. 1984, doi: 10.1093/screen/25.1.30.
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S. During, The cultural studies reader, 3rd ed. London: Routledge, 2007.
[5]
D. Morley, Television, audiences and cultural studies. London: Routledge, 1992 [Online]. Available: https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780203398357
[6]
I. Ang and Dawson Books, Living room wars: rethinking media audiences for a postmodern world. London: Routledge, 1996 [Online]. Available: https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780203129432
[7]
W. Brooker and D. Jermyn, The audience studies reader. London: Routledge, 2002.
[8]
J. Ellis and Ebooks Corporation Limited, Visible fictions: cinema : television : video, Revised edition. London: Routledge & Kegan Paul, 1992 [Online]. Available: http://gla.eblib.com/patron/FullRecord.aspx?p=178323
[9]
D. Morley, Television, audiences and cultural studies. London: Routledge, 1992 [Online]. Available: https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780203398357
[10]
E. Seiter and Universität Tübingen. Abteilung für Amerikanistik, Remote control: television, audiences, and cultural power. London: Routledge, 1989.
[11]
J. Tulloch, Watching television audiences: cultural theories and methods. London: Arnold, 2000.
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L. Mulvey, ‘Visual Pleasure and Narrative Cinema’, Screen, vol. 16, no. 3, pp. 6–18, Sep. 1975, doi: 10.1093/screen/16.3.6.
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J. Nelmes, Introduction to film studies, 5th ed. London: Routledge, 2012.
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R. Buikema and A. Smelik, Women’s studies and culture: a feminist introduction. London: Zed Books, 1995.
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R. Dyer, ‘Don’t Look Now’, Screen, vol. 23, no. 3–4, pp. 61–73, Sep. 1982, doi: 10.1093/screen/23.3-4.61.
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S. Neale, ‘Masculinity as Spectacle’, Screen, vol. 24, no. 6, pp. 2–17, Nov. 1983, doi: 10.1093/screen/24.6.2.
[17]
J. Stacey, Star gazing: Hollywood cinema and female spectatorship. London: Routledge, 1994 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1539525
[18]
‘Visual Pleasures at 40’ Dossier’, Screen, vol. 56, no. 4, pp. 485–471, Dec. 2015, doi: 10.1093/screen/hjv056.
[19]
E. Heffelfinger and L. Wright, Visual difference: postcolonial studies and intercultural cinema, vol. Framing film. New York, NY: Peter Lang, 2011.
[20]
R. Stam and L. Spence, ‘Colonialism, Racism and Representation’, Screen, vol. 24, no. 2, pp. 2–20, Mar. 1983, doi: 10.1093/screen/24.2.2.
[21]
S. Ponzanesi and M. R. Waller, Postcolonial cinema studies. Abingdon, Oxon: Routledge, 2012.
[22]
B. Ashcroft, G. Griffiths, and H. Tiffin, Key concepts in post-colonial studies, vol. Key concepts series (Routledge). London: Routledge, 1998.
[23]
A. G. Hargreaves and M. McKinney, Post-colonial cultures in France. London: Routledge, 1997.
[24]
T. Elsaesser and A. Barker, Early cinema: space-frame-narrative. London: BFI Publishing, 1990.
[25]
R. C. Allen, ‘From exhibition to reception: reflections on the audience in film history’, Screen, vol. 31, no. 4, pp. 347–356, Dec. 1990, doi: 10.1093/screen/31.4.347.
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M. Hansen and American Council of Learned Societies, Babel and Babylon: spectatorship in American silent film. Cambridge, Mass: Harvard University Press, 1991 [Online]. Available: http://ezproxy.lib.gla.ac.uk/login?url=http://hdl.handle.net/2027/heb.08219
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M. Hansen, ‘Early cinema, late cinema: permutations of the public sphere’, Screen, vol. 34, no. 3, pp. 197–210, Sep. 1993, doi: 10.1093/screen/34.3.197.
[28]
B. Klinger, ‘Film history terminable and interminable: recovering the past in reception studies’, Screen, vol. 38, no. 2, pp. 107–128, Jun. 1997, doi: 10.1093/screen/38.2.107.
[29]
L. Manovich and American Council of Learned Societies, The language of new media, 1st MIT Press pbk. ed., vol. Leonardo. Cambridge, Mass: MIT Press, 2002 [Online]. Available: http://ezproxy.lib.gla.ac.uk/login?url=http://hdl.handle.net/2027/heb.31966
[30]
C. R. Acland and Ebooks Corporation Limited, Screen traffic: movies, multiplexes, and global culture. Durham, North Carolina: Duke University Press, 2003 [Online]. Available: http://gla.eblib.com/patron/FullRecord.aspx?p=1167926
[31]
‘BEFORE THE NICKELODEON’. 28AD [Online]. Available: https://www.youtube.com/watch?v=CMKPiUj4s20
[32]
R. W. Paul and British Film Institute, ‘R.W. Paul: the collected films 1895-1908’, vol. Early British Studios. BFI.
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‘Silent Feminists, The: America’s First Women Directors DVD - School Media Associates’. .
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‘Electric Edwardians The Films of Mitchell & Kenyon’. 26AD [Online]. Available: https://www.youtube.com/watch?v=oTf9o_mIE4I
[35]
I. Santaolalla, The cinema of Iciar Bollaín, vol. Spanish and Latin American filmmakers. Manchester: Manchester University Press, 2012.
[36]
N. Ďurovičová and K. Newman, World cinemas, transnational perspectives. New York, NY: Routledge, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=449452
[37]
B. Oria, E. Oliete-Aldea, and J. A. Tarancón, Eds., Global genres, local films: the transnational dimension of Spanish cinema. London: Bloomsbury, 2016.
[38]
Ebooks Corporation Limited, Cinema and nation. London: Routledge, 2000 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=240252
[39]
S. Dennison, Ed., Contemporary Hispanic cinema: interrogating the transnational in Spanish and Latin American film, vol. Colección Támesis. Serie A: Monografias. Woodbridge: Tamesis, 2013.
[40]
Will Higbee, ‘Concepts of transnational cinema: towards a critical transnationalism in film studies’, Transnational Cinemas [Online]. Available: http://ezproxy.lib.gla.ac.uk/login?url=http://www.tandfonline.com/doi/abs/10.1386/trac.1.1.7/1
[41]
E. Ezra and T. Rowden, Transnational cinema: the film reader, vol. In focus--Routledge film readers. London: Routledge, 2006.
[42]
P. Hill Collins and S. Bilge, Intersectionality, vol. Key concepts series. Cambridge, UK: Polity Press, 2016 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=4698012
[43]
E. Torricelli, ‘Multicultural Glasgow: Imagining Scotland as a Space of Cultural Intersection in Scots-Asian Films of the 2000s’, Alphaville, vol. 13, 2017 [Online]. Available: http://www.alphavillejournal.com/Issue13/13_5Article_Torricelli.pdf
[44]
J. Hill and British Film Institute, Ken Loach: the politics of film and television. London: BFI, 2011.
[45]
P. Hill Collins and S. Bilge, Intersectionality, vol. Key concepts series. Cambridge, UK: Polity Press, 2016 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=4698012
[46]
bell hooks, Reel to real: race, sex, and class at the movies. London: Routledge, 2008.
[47]
J.-A. Sutherland and K. M. Feltey, ‘Here’s looking at her: an intersectional analysis of women, power and feminism in film’, Journal of Gender Studies, pp. 1–14, Mar. 2016, doi: 10.1080/09589236.2016.1152956.
[48]
J. M. Barker and American Council of Learned Societies, The tactile eye: touch and the cinematic experience. Berkeley: University of California Press, 2009 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08197
[49]
G. J. Seigworth, The affect theory reader. Durham, NC: Duke University Press, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1172305
[50]
L. U. Marks, The skin of the film: intercultural cinema, embodiment, and the senses. Durham, NC: Duke University Press, 2000 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1167652
[51]
V. C. Sobchack and American Council of Learned Societies, Carnal thoughts: embodiment and moving image culture. Berkeley: University of California Press, 2004 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08034
[52]
D. N. Rodowick, The virtual life of film. Cambridge, Mass: Harvard University Press, 2007 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08243
[53]
S. Shaviro, Post cinematic affect. Ropley: Zero Books, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=664329
[54]
S. Shaviro, Post cinematic affect. Ropley: Zero Books, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=664329
[55]
L. Manovich and American Council of Learned Societies, The language of new media, 1st MIT Press pbk. ed., vol. Leonardo. Cambridge, Mass: MIT Press, 2002 [Online]. Available: http://ezproxy.lib.gla.ac.uk/login?url=http://hdl.handle.net/2027/heb.31966
[56]
M. J. P. Wolf and B. Perron, The video game theory reader. New York, NY: Routledge, 2003 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1461087
[57]
T. Donovan, Replay: the history of video games. Lewes, East Sussex: Yellow Ant, 2010.
[58]
M. J. P. Wolf, The medium of the video game, 1st ed. Austin, TX: University of Texas Press, 2001.
[59]
F. Mäyrä, An introduction to game studies: games in culture. London: SAGE, 2008.
[60]
J. Juul, The art of failure: an essay on the pain of playing video games, vol. Playful thinking. Cambridge, Massachusetts: MIT Press, 2013 [Online]. Available: https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780262313124
[61]
D. Johnson, ‘INVITING AUDIENCES IN’, New Review of Film and Television Studies, vol. 5, no. 1, pp. 61–80, Apr. 2007, doi: 10.1080/17400300601140183.
[62]
H. Jenkins, Fans, bloggers, and gamers: exploring participatory culture. New York: New York University Press, 2006 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08235
[63]
H. Jenkins, Textual poachers: television fans and participatory culture, Updated twentieh anniversary edition. London: Routledge, 2015 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1097854
[64]
S. Murray, ‘“Celebrating the story the way it is”: cultural studies, corporate media and the contested utility of fandom’, Continuum, vol. 18, no. 1, pp. 7–25, Mar. 2004, doi: 10.1080/1030431032000180978.
[65]
M. Hills and ProQuest (Firm), Fan cultures. London: Routledge, 2002 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=180483
[66]
Ebooks Corporation Limited, Television as digital media, vol. Console-ing Passions. Durham, NC: Duke University Press, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1172303
[67]
M. Aaron, Spectatorship: the power of looking on, vol. Short cuts (London, England). London: Wallflower, 2006.
[68]
A. Easthope, Contemporary film theory, vol. Longman critical readers. London: Longman, 1993.
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P. T. Rosen, Narrative, apparatus, ideology: a film theory reader. New York, N.Y.: Columbia University Press, 1986.
[70]
R. Stam, Film theory: an introduction. Malden, Mass: Blackwell, 2000.
[71]
R. Stam and T. Miller, Film and theory: an anthology. Malden, Mass: Blackwell, 2000.
[72]
L. Braudy and M. Cohen, Film theory and criticism: introductory readings, 7th ed. New York: Oxford University Press, 2009.
[73]
P. Cook, M. Bernink, and British Film Institute, The cinema book, 2nd ed. London: British Film Institute Publishing, 1999.
[74]
J. Hill and P. C. Gibson, The Oxford guide to film studies. New York, N.Y.: Oxford University Press, 1998.
[75]
J. Nelmes, Introduction to film studies, 5th ed. London: Routledge, 2012.
[76]
J. Hollows, P. Hutchings, and M. Jancovich, The film studies reader. London: Arnold, 2000.
[77]
D. Bogle, Toms, coons, mulattoes, mammies, & bucks: an interpretive history of Blacks in American films, 4th ed. New York, N.Y.: Continuum, 2003.
[78]
M. Haskell, From reverence to rape: the treatment of women in the movies, 2nd ed. Chicago: University of Chicago Press, 1987.
[79]
M. F. Norden, The cinema of isolation: a history of physical disability in the movies. New Brunswick, N.J.: Rutgers University Press, 1994.
[80]
M. Barrett and British Sociological Association, Ideology and cultural production, vol. Explorations in sociology. London: Croom Helm, 1979.
[81]
V. Russo, The celluloid closet: homosexuality in the movies, Rev. ed. New York: Perennial Library, 1987.
[82]
D. Carson, L. Dittmar, and J. R. Welsch, Multiple voices in feminist film criticism. Minneapolis, Minn: University of Minnesota Press, 1994.
[83]
E. A. Kaplan, Feminism and film, vol. Oxford readings in feminism. Oxford: Oxford University Press, 2000.
[84]
C. Penley and British Film Institute, Feminism and film theory. London: Methuen in association with the British Film Institute, 1988.
[85]
H. Radner and R. Stringer, Feminism at the movies: understanding gender in contemporary popular cinema. New York, NY: Routledge, 2011.
[86]
S. Thornham, Passionate detachments: an introduction to feminist film theory. London: Arnold, 1997.
[87]
S. Thornham, Feminist film theory: a reader. Edinburgh: Edinburgh University Press, 1999.
[88]
Duke University Press, Project MUSE., and Thomson Gale (Firm), ‘Camera obscura’.
[89]
S. Cohan, I. R. Hark, and Ebooks Corporation Limited, Screening the male: exploring masculinities in Hollywood cinema. London: Routledge, 1992 [Online]. Available: http://www.GLA.eblib.com/EBLWeb/patron/?target=patron&extendedid=E_338076_0
[90]
R. Dyer, White. London: Routledge, 1997.
[91]
A. Easthope and ebrary, Inc, What a man’s gotta do: the masculine myth in popular culture. New York: Routledge, 1990.
[92]
B. K. Grant, Shadows of doubt: negotiations of masculinity in American genre films. Detroit: Wayne State University Press, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3416510
[93]
S. Jeffords, Hard bodies: Hollywood masculinity in the Reagan era. New Brunswick, N.J.: Rutgers University Press, 1994.
[94]
D. Peberdy, Masculinity and film performance: Male angst in contemporary American cinema. Basingstoke: Palgrave Macmillan, 2011 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9780230308701
[95]
P. Powrie, A. Davies, and B. Babington, The trouble with men: masculinities in European and Hollywood cinema. London: Wallflower, 2004.
[96]
N. Rehling, Extra-ordinary men: white heterosexual masculinity in contemporary popular cinema. Lanham, MD: Lexington Books, 2009.
[97]
Y. Tasker, Spectacular bodies: gender, genre, and the action cinema, vol. A Comedia book. London: Routledge, 1993.
[98]
R. Dyer, White. London: Routledge, 1997.
[99]
bell hooks, Reel to real: race, sex, and class at the movies. London: Routledge, 2008.
[100]
E. Shohat and R. Stam, Unthinking Eurocentrism: multiculturalism and the media, Second edition., vol. Sightlines. London: Routledge, 2014 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1707455
[101]
R. Stam and L. Spence, ‘Colonialism, Racism and Representation’, Screen, vol. 24, no. 2, pp. 2–20, Mar. 1983, doi: 10.1093/screen/24.2.2.
[102]
M. Aaron, New queer cinema: a critical reader. Edinburgh: Edinburgh University Press, 2004.
[103]
H. M. Benshoff and S. Griffin, Queer cinema: the film reader, vol. In focus--Routledge film readers. New York: Routledge, 2004.
[104]
C. K. Creekmur and A. Doty, Out in culture: gay, lesbian, and queer essays on popular culture. London: Cassell, 1995.
[105]
T. Waugh, The fruit machine: twenty years of writings on queer cinema. Durham: Duke University Press, 2000.
[106]
C. R. Acland and Ebooks Corporation Limited, Screen traffic: movies, multiplexes, and global culture. Durham, North Carolina: Duke University Press, 2003 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1167926
[107]
I. Ang and Dawson Books, Living room wars: rethinking media audiences for a postmodern world. London: Routledge, 1996 [Online]. Available: https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780203129432
[108]
T. Austin, Hollywood, hype and audiences: selling and watching popular film in the 1990s, vol. Inside popular film. Manchester: Manchester University Press, 2002.
[109]
J. Bobo, Black women as cultural readers, vol. Film and culture. New York, N.Y.: Columbia University Press, 1995.
[110]
G. Branston, Cinema and cultural modernity, vol. Issues in cultural and media studies. Buckingham: Open University Press, 2000.
[111]
I. Breakwell and P. Hammond, Seeing in the dark: a compendium of cinemagoing. London: Serpent’s Tail, 1990.
[112]
W. Brooker and D. Jermyn, The audience studies reader. London: Routledge, 2002.
[113]
K. H. Fuller-Seeley and American Council of Learned Societies, Hollywood in the neighborhood: historical case studies of local moviegoing. Berkeley: University of California Press, 2008 [Online]. Available: http://ezproxy.lib.gla.ac.uk/login?url=http://hdl.handle.net/2027/heb.08082
[114]
M. Gillespie, Television, ethnicity and cultural change, vol. Comedia (Routledge). London: Routledge, 1995.
[115]
M. Hansen and American Council of Learned Societies, Babel and Babylon: spectatorship in American silent film. Cambridge, Mass: Harvard University Press, 1991 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08219
[116]
M. Jancovich, L. Faire, and S. Stubbings, The place of the audience: cultural geographies of film consumption. London: British Film Institute, 2003.
[117]
D. Morley, Television, audiences and cultural studies. London: Routledge, 1992 [Online]. Available: https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780203398357
[118]
D. Morley, Family television: cultural power and domestic leisure. London: Comedia, 1986.
[119]
C. Musser, The emergence of cinema: the American screen to 1907, vol. v. 1. New York, N.Y.: Charles Scribner’s Sons, 1990 [Online]. Available: https://link.gale.com/apps/pub/5FED/GVRL?sid=gale_marc&u=glasuni
[120]
V. Nightingale and K. Ross, Critical readings: media and audiences, vol. Issues in cultural and media studies. Maidenhead: Open University Press, 2003.
[121]
K. Ross and V. Nightingale, Media and audiences: new perspectives, vol. Issues in cultural and media studies. Buckingham: Open University Press, 2003.
[122]
E. Seiter and Universität Tübingen. Abteilung für Amerikanistik, Remote control: television, audiences, and cultural power. London: Routledge, 1989.
[123]
J. Stacey, Star gazing: Hollywood cinema and female spectatorship. London: Routledge, 1994 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1539525
[124]
J. Tulloch, Watching television audiences: cultural theories and methods. London: Arnold, 2000.
[125]
J. Caughie, ‘Telephilia and Distraction: Terms of Engagement’, Journal of British Cinema and Television, vol. 3, no. 1, pp. 5–18, May 2006, doi: 10.3366/JBCTV.2006.3.1.5.
[126]
C. Hemmings, ‘INVOKING AFFECT’, Cultural Studies, vol. 19, no. 5, pp. 548–567, Sep. 2005, doi: 10.1080/09502380500365473.
[127]
L. U. Marks, The skin of the film: intercultural cinema, embodiment, and the senses. Durham, NC: Duke University Press, 2000 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1167652
[128]
A. Smit, Broadcasting the body: affect, embodiment and bodily excess on contemporary television. 2010 [Online]. Available: https://theses.gla.ac.uk/2278/
[129]
I. Tyler, R. Coleman, and D. Ferreday, ‘Commentary And Criticism’, Feminist Media Studies, vol. 8, no. 1, pp. 85–99, Mar. 2008, doi: 10.1080/14680770801899226.
