1.
Baudry JL, Williams A. Ideological Effects of the Basic Cinematographic Apparatus. Film Quarterly. 1974;28(2):39-47. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1211632
2.
Rosen PT. Narrative, Apparatus, Ideology: A Film Theory Reader. Columbia University Press; 1986.
3.
Klinger B. ‘Cinema/Ideology/Crititicism’ Revisited: The Progressive Text. Screen. 1984;25(1):30-44. doi:10.1093/screen/25.1.30
4.
Elsaesser T, Barker A. Early Cinema: Space-Frame-Narrative. BFI Publishing; 1990. https://contentstore.cla.co.uk//secure/link?id=7d69365d-cb40-e911-80cd-005056af4099
5.
Allen RC. From exhibition to reception: reflections on the audience in film history. Screen. 1990;31(4):347-356. doi:10.1093/screen/31.4.347
6.
Hansen M, American Council of Learned Societies. Babel and Babylon: Spectatorship in American Silent Film. Harvard University Press; 1991. https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08219
7.
Hansen M. Early cinema, late cinema: permutations of the public sphere. Screen. 1993;34(3):197-210. doi:10.1093/screen/34.3.197
8.
Klinger B. Film history terminable and interminable: recovering the past in reception studies. Screen. 1997;38(2):107-128. doi:10.1093/screen/38.2.107
9.
Manovich L, American Council of Learned Societies. The Language of New Media. Vol Leonardo. 1st MIT Press pbk. ed. MIT Press; 2002. http://ezproxy.lib.gla.ac.uk/login?url=http://hdl.handle.net/2027/heb.31966
10.
Acland CR, Ebooks Corporation Limited. Screen Traffic: Movies, Multiplexes, and Global Culture. Duke University Press; 2003. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1167926
11.
BEFORE THE NICKELODEON. Published online 28AD. https://www.youtube.com/watch?v=CMKPiUj4s20
12.
Paul RW, Christie I, Millar C, Horne S, British Film Institute. R.W. Paul: the collected films, 1895-1908. Published online 2006.
13.
Electric Edwardians The Films of Mitchell & Kenyon. Published online 26AD. https://www.youtube.com/watch?v=oTf9o_mIE4I
14.
During S. The Cultural Studies Reader. 3rd ed. Routledge; 2007. https://contentstore.cla.co.uk//secure/link?id=9535c964-cb40-e911-80cd-005056af4099
15.
Morley D. Television, Audiences and Cultural Studies. Routledge; 1992. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780203398357
16.
Ang I, Dawson Books. Living Room Wars: Rethinking Media Audiences for a Postmodern World. Routledge; 1996. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780203129432
17.
Brooker W, Jermyn D. The Audience Studies Reader. Routledge; 2002.
18.
Ellis J, Ebooks Corporation Limited. Visible Fictions: Cinema : Television : Video. Revised edition. Routledge & Kegan Paul; 1992. http://gla.eblib.com/patron/FullRecord.aspx?p=178323
19.
Morley D. Television, Audiences and Cultural Studies. Routledge; 1992. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780203398357
20.
Seiter E, Universität Tübingen. Abteilung für Amerikanistik. Remote Control: Television, Audiences, and Cultural Power. Routledge; 1989.
21.
Tulloch J. Watching Television Audiences: Cultural Theories and Methods. Arnold; 2000.
22.
Johnson D. INVITING AUDIENCES IN. New Review of Film and Television Studies. 2007;5(1):61-80. doi:10.1080/17400300601140183
23.
Ebooks Corporation Limited. Introduction: Why still study fans? In: Gray J, Sandvoss C, Harrington CL, eds. Fandom: Identities and Communities in a Mediated World. Second edition. New York University Press; 2017. http://ebookcentral.proquest.com/lib/gla/detail.action?docID=4834267
24.
Jenkins H. Fans, Bloggers, and Gamers: Exploring Participatory Culture. New York University Press; 2006. https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08235
25.
Jenkins H. Textual Poachers: Television Fans and Participatory Culture. Updated twentieh anniversary edition. Routledge; 2015. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1097854
26.
Ebooks Corporation Limited. Fandom: Identities and Communities in a Mediated World. Second edition. (Gray J, Sandvoss C, Harrington CL, eds.). New York University Press; 2017. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=4834267
27.
Duffett M. Understanding Fandom: An Introduction to the Study of Media Fan Culture. Bloomsbury Academic; 2013.
28.
Murray S. ‘Celebrating the story the way it is’: cultural studies, corporate media and the contested utility of fandom. Continuum. 2004;18(1):7-25. doi:10.1080/1030431032000180978
29.
Hills M, ProQuest (Firm). Fan Cultures. Routledge; 2002. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=180483
30.
Ebooks Corporation Limited. Television as Digital Media. Vol Console-ing Passions. (Bennett J, Strange N, eds.). Duke University Press; 2011. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1172303
31.
Mulvey L. Visual Pleasure and Narrative Cinema. Screen. 1975;16(3):6-18. doi:10.1093/screen/16.3.6
32.
Nelmes J. Introduction to Film Studies. 5th ed. Routledge; 2012.
33.
Buikema R, Smelik A. Women’s Studies and Culture: A Feminist Introduction. Zed Books; 1995.
34.
Dyer R. Don’t Look Now. Screen. 1982;23(3-4):61-73. doi:10.1093/screen/23.3-4.61
35.
Neale S. Masculinity as Spectacle. Screen. 1983;24(6):2-17. doi:10.1093/screen/24.6.2
36.
Stacey J. Star Gazing: Hollywood Cinema and Female Spectatorship. Routledge; 1994. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1539525
37.
Visual Pleasures at 40’ Dossier. Screen. 2015;56(4):485-471. doi:10.1093/screen/hjv056
38.
Santaolalla I. The Cinema of Iciar Bollaín. Vol Spanish and Latin American filmmakers. Manchester University Press; 2012. https://contentstore.cla.co.uk//secure/link?id=7e69365d-cb40-e911-80cd-005056af4099
39.
Ďurovičová N, Newman K. World Cinemas, Transnational Perspectives. Routledge; 2010. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=449452
40.
Oria B, Oliete-Aldea E, Tarancón JA, eds. Global Genres, Local Films: The Transnational Dimension of Spanish Cinema. Bloomsbury; 2016.
41.
Ebooks Corporation Limited. Cinema and Nation. (Hjort M, MacKenzie S, eds.). Routledge; 2000. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=240252
42.
Dennison S, ed. Contemporary Hispanic Cinema: Interrogating the Transnational in Spanish and Latin American Film. Vol Colección Támesis. Serie A: Monografias. Tamesis; 2013.
43.
Will Higbee. Concepts of transnational cinema: towards a critical transnationalism in film studies. Transnational Cinemas. http://ezproxy.lib.gla.ac.uk/login?url=http://www.tandfonline.com/doi/abs/10.1386/trac.1.1.7/1
44.
Ezra E, Rowden T. Transnational Cinema: The Film Reader. Vol In focus--Routledge film readers. Routledge; 2006.
45.
Hill Collins P, Bilge S. Intersectionality. Vol Key concepts series. Polity Press; 2016. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=4698012
46.
Hill Collins P, Bilge S. Intersectionality. Vol Key concepts series. Polity Press; 2016. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=4698012
47.
hooks bell. Reel to Real: Race, Sex, and Class at the Movies. Routledge; 2008.
48.
Sutherland JA, Feltey KM. Here’s looking at her: an intersectional analysis of women, power and feminism in film. Journal of Gender Studies. Published online 4 March 2016:1-14. doi:10.1080/09589236.2016.1152956
49.
Heffelfinger E, Wright L. Visual Difference: Postcolonial Studies and Intercultural Cinema. Vol Framing film. Peter Lang; 2011. https://contentstore.cla.co.uk//secure/link?id=7f69365d-cb40-e911-80cd-005056af4099
50.
Stam R, Spence L. Colonialism, Racism and Representation. Screen. 1983;24(2):2-20. doi:10.1093/screen/24.2.2
51.
Ponzanesi S, Waller MR. Postcolonial Cinema Studies. Routledge; 2012.
52.
Ashcroft B, Griffiths G, Tiffin H. Key Concepts in Post-Colonial Studies. Vol Key concepts series (Routledge). Routledge; 1998.
53.
Hargreaves AG, McKinney M. Post-Colonial Cultures in France. Routledge; 1997.
54.
Said EW. Orientalism. Penguin Books; 2003.
55.
Subeshini Moodley. Postcolonial Feminisms Speaking through an ‘Accented’ Cinema: The Construction of Indian Women in the Films of Mira Nair and Deepa Mehta. Agenda: Empowering Women for Gender Equity. 2003;(58). https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/4548098
56.
Sharpe J. Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le Jayenge. Meridians: feminism, race, transnationalism. 2005;6(1):58-81. doi:10.1353/mer.2005.0032
57.
Roy S. Beyond Crossover Films: Bride and Prejudice and the Problems of Representing Postcolonial India in a Neoliberal World. The Journal of Popular Culture. 2016;49(5):984-1002. doi:10.1111/jpcu.12466
58.
Barker JM, American Council of Learned Societies. The Tactile Eye: Touch and the Cinematic Experience. University of California Press; 2009. https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08197
59.
Seigworth GJ. The Affect Theory Reader. (Gregg M, ed.). Duke University Press; 2010. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1172305
60.
Marks LU. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Duke University Press; 2000. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1167652
61.
Sobchack VC, American Council of Learned Societies. Carnal Thoughts: Embodiment and Moving Image Culture. University of California Press; 2004. https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08034
62.
Rodowick DN. The Virtual Life of Film. Harvard University Press; 2007. https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08243
63.
Shaviro S. Post Cinematic Affect. Zero Books; 2010. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=664329
64.
Shaviro S. Post Cinematic Affect. Zero Books; 2010. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=664329
65.
Manovich L, American Council of Learned Societies. The Language of New Media. Vol Leonardo. 1st MIT Press pbk. ed. MIT Press; 2002. http://ezproxy.lib.gla.ac.uk/login?url=http://hdl.handle.net/2027/heb.31966
66.
Wolf MJP, Perron B. The Video Game Theory Reader. Routledge; 2003. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1461087
67.
Donovan T. Replay: The History of Video Games. Yellow Ant; 2010.
68.
Wolf MJP. The Medium of the Video Game. 1st ed. University of Texas Press; 2001.
69.
Mäyrä F. An Introduction to Game Studies: Games in Culture. SAGE; 2008.
70.
Juul J. The Art of Failure: An Essay on the Pain of Playing Video Games. Vol Playful thinking. MIT Press; 2013. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780262313124
71.
Aaron M. Spectatorship: The Power of Looking On. Vol Short cuts (London, England). Wallflower; 2006.
72.
Easthope A. Contemporary Film Theory. Vol Longman critical readers. Longman; 1993.
73.
Rosen PT. Narrative, Apparatus, Ideology: A Film Theory Reader. Columbia University Press; 1986.
74.
Stam R. Film Theory: An Introduction. Blackwell; 2000.
75.
Stam R, Miller T. Film and Theory: An Anthology. Blackwell; 2000.
76.
Braudy L, Cohen M. Film Theory and Criticism: Introductory Readings. 7th ed. Oxford University Press; 2009.
77.
Cook P, Bernink M, British Film Institute. The Cinema Book. 2nd ed. British Film Institute Publishing; 1999.
78.
Hill J, Gibson PC. The Oxford Guide to Film Studies. Oxford University Press; 1998.
79.
Nelmes J. Introduction to Film Studies. 5th ed. Routledge; 2012.
80.
Hollows J, Hutchings P, Jancovich M. The Film Studies Reader. Arnold; 2000.
81.
Bogle D. Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films. 4th ed. Continuum; 2003.
82.
Haskell M. From Reverence to Rape: The Treatment of Women in the Movies. 2nd ed. University of Chicago Press; 1987.
83.
Norden MF. The Cinema of Isolation: A History of Physical Disability in the Movies. Rutgers University Press; 1994.
84.
Barrett M, British Sociological Association. Ideology and Cultural Production. Vol Explorations in sociology. Croom Helm; 1979.
85.
Russo V. The Celluloid Closet: Homosexuality in the Movies. Rev. ed. Perennial Library; 1987.
86.
Carson D, Dittmar L, Welsch JR. Multiple Voices in Feminist Film Criticism. University of Minnesota Press; 1994.
87.
Kaplan EA. Feminism and Film. Vol Oxford readings in feminism. Oxford University Press; 2000.
88.
Penley C, British Film Institute. Feminism and Film Theory. Methuen in association with the British Film Institute; 1988.
89.
Radner H, Stringer R. Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema. Routledge; 2011.
90.
Thornham S. Passionate Detachments: An Introduction to Feminist Film Theory. Arnold; 1997.
91.
Thornham S. Feminist Film Theory: A Reader. Edinburgh University Press; 1999.
92.
Duke University Press, Project MUSE., Thomson Gale (Firm). Camera obscura.
93.
Cohan S, Hark IR, Ebooks Corporation Limited. Screening the Male: Exploring Masculinities in Hollywood Cinema. Routledge; 1992. http://www.GLA.eblib.com/EBLWeb/patron/?target=patron&extendedid=E_338076_0
94.
Dyer R. White. Routledge; 1997.
95.
Easthope A, ebrary, Inc. What a Man’s Gotta Do: The Masculine Myth in Popular Culture. Routledge; 1990.
96.
Grant BK. Shadows of Doubt: Negotiations of Masculinity in American Genre Films. Wayne State University Press; 2011. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3416510
97.
Jeffords S. Hard Bodies: Hollywood Masculinity in the Reagan Era. Rutgers University Press; 1994.
98.
Peberdy D. Masculinity and Film Performance: Male Angst in Contemporary American Cinema. Palgrave Macmillan; 2011. https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9780230308701
99.
Powrie P, Davies A, Babington B. The Trouble with Men: Masculinities in European and Hollywood Cinema. Wallflower; 2004.
100.
Rehling N. Extra-Ordinary Men: White Heterosexual Masculinity in Contemporary Popular Cinema. Lexington Books; 2009.
101.
Tasker Y. Spectacular Bodies: Gender, Genre, and the Action Cinema. Vol A Comedia book. Routledge; 1993.
102.
Dyer R. White. Routledge; 1997.
103.
hooks bell. Reel to Real: Race, Sex, and Class at the Movies. Routledge; 2008.
104.
Shohat E, Stam R. Unthinking Eurocentrism: Multiculturalism and the Media. Vol Sightlines. Second edition. Routledge; 2014. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1707455
105.
Stam R, Spence L. Colonialism, Racism and Representation. Screen. 1983;24(2):2-20. doi:10.1093/screen/24.2.2
106.
Aaron M. New Queer Cinema: A Critical Reader. Edinburgh University Press; 2004.
107.
Benshoff HM, Griffin S. Queer Cinema: The Film Reader. Vol In focus--Routledge film readers. Routledge; 2004.
108.
Creekmur CK, Doty A. Out in Culture: Gay, Lesbian, and Queer Essays on Popular Culture. Cassell; 1995.
109.
Waugh T. The Fruit Machine: Twenty Years of Writings on Queer Cinema. Duke University Press; 2000.
110.
Acland CR, Ebooks Corporation Limited. Screen Traffic: Movies, Multiplexes, and Global Culture. Duke University Press; 2003. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1167926
111.
Ang I, Dawson Books. Living Room Wars: Rethinking Media Audiences for a Postmodern World. Routledge; 1996. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780203129432
112.
Austin T. Hollywood, Hype and Audiences: Selling and Watching Popular Film in the 1990s. Vol Inside popular film. Manchester University Press; 2002.
113.
Bobo J. Black Women as Cultural Readers. Vol Film and culture. Columbia University Press; 1995.
114.
Branston G. Cinema and Cultural Modernity. Vol Issues in cultural and media studies. Open University Press; 2000.
115.
Breakwell I, Hammond P. Seeing in the Dark: A Compendium of Cinemagoing. Serpent’s Tail; 1990.
116.
Brooker W, Jermyn D. The Audience Studies Reader. Routledge; 2002.
117.
Fuller-Seeley KH, American Council of Learned Societies. Hollywood in the Neighborhood: Historical Case Studies of Local Moviegoing. University of California Press; 2008. http://ezproxy.lib.gla.ac.uk/login?url=http://hdl.handle.net/2027/heb.08082
118.
Gillespie M. Television, Ethnicity and Cultural Change. Vol Comedia (Routledge). Routledge; 1995.
119.
Hansen M, American Council of Learned Societies. Babel and Babylon: Spectatorship in American Silent Film. Harvard University Press; 1991. https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08219
120.
Jancovich M, Faire L, Stubbings S. The Place of the Audience: Cultural Geographies of Film Consumption. British Film Institute; 2003.
121.
Morley D. Television, Audiences and Cultural Studies. Routledge; 1992. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780203398357
122.
Morley D. Family Television: Cultural Power and Domestic Leisure. Comedia; 1986.
123.
Musser C. The Emergence of Cinema: The American Screen to 1907. Vol v. 1. Charles Scribner’s Sons; 1990. https://link.gale.com/apps/pub/5FED/GVRL?sid=gale_marc&u=glasuni
124.
Nightingale V, Ross K. Critical Readings: Media and Audiences. Vol Issues in cultural and media studies. Open University Press; 2003.
125.
Ross K, Nightingale V. Media and Audiences: New Perspectives. Vol Issues in cultural and media studies. Open University Press; 2003.
126.
Seiter E, Universität Tübingen. Abteilung für Amerikanistik. Remote Control: Television, Audiences, and Cultural Power. Routledge; 1989.
127.
Stacey J. Star Gazing: Hollywood Cinema and Female Spectatorship. Routledge; 1994. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1539525
128.
Tulloch J. Watching Television Audiences: Cultural Theories and Methods. Arnold; 2000.
129.
Caughie J. Telephilia and Distraction: Terms of Engagement. Journal of British Cinema and Television. 2006;3(1):5-18. doi:10.3366/JBCTV.2006.3.1.5
130.
Hemmings C. Invoking Affect. Cultural Studies. 2005;19(5):548-567. doi:10.1080/09502380500365473
131.
Marks LU. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Duke University Press; 2000. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1167652
132.
Smit A. Broadcasting the Body: Affect, Embodiment and Bodily Excess on Contemporary Television.; 2010. https://theses.gla.ac.uk/2278/
133.
Tyler I, Coleman R, Ferreday D. Commentary And Criticism. Feminist Media Studies. 2008;8(1):85-99. doi:10.1080/14680770801899226
