1.
Bordwell D, Thompson K. Film Art: An Introduction. 10th international ed. McGraw-Hill; 2013.
2.
Bordwell D, Thompson K. Film Art: An Introduction. 10th international ed. McGraw-Hill; 2013.
3.
Lury K. Interpreting Television. Hodder Arnold; 2005.
4.
Mellencamp P, NetLibrary, Inc. Logics of Television: Essays in Cultural Criticism. Vol Theories of contemporary culture. Indiana University Press; 1990. http://ezproxy.lib.gla.ac.uk/login?url=http://www.netlibrary.com/urlapi.asp?action=summary&v=1&bookid=599
5.
Hills M. Listening from behind the sofa? The (un)earthly roles of sound in BBC Wales’. New Review of Film and Television Studies. 2011;9(1):28-41. doi:10.1080/17400309.2011.521716
6.
Donnelly KJ. Tracking British Television: Pop Music as Stock Soundtrack to the Small Screen. Popular Music. 2002;21(3):331-343. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/853722
7.
Lury K. Interpreting Television. Hodder Arnold; 2005.
8.
Berridge S. Serialised Sexual Violence in Teen Television Drama Series. 2010. http://theses.gla.ac.uk/2326/
9.
Deamer D, Ebooks Corporation Limited. Deleuze, Japanese Cinema, and the Atom Bomb: The Spectre of Impossibility. Vol Thinking cinema. Bloomsbury; 2014. http://gla.eblib.com/patron/FullRecord.aspx?p=1718523
10.
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
11.
Ellis J. Art, Culture and Quality Terms for a Cinema in the Forties and Seventies. Screen. 1978;19(3):9-50. doi:10.1093/screen/19.3.9
12.
Higson A. The Concept of National Cinema. Screen. 1989;30(4):36-47. doi:10.1093/screen/30.4.36
13.
Jacobs J, Peacock S, Ebooks Corporation Limited. Television Aesthetics and Style. Bloomsbury Academic; 2013. http://www.GLA.eblib.com/patron/FullRecord.aspx?p=1224263
14.
Jacobs J, Peacock S, Ebooks Corporation Limited. Television Aesthetics and Style. Bloomsbury Academic; 2013. http://www.GLA.eblib.com/patron/FullRecord.aspx?p=1224263
15.
Newman MZ, Levine E, Ebooks Corporation Limited. Legitimating Television: Media Convergence and Cultural Status. Routledge; 2012. http://www.gla.eblib.com/patron/FullRecord.aspx?p=817212
16.
Jacobs J. Issues of judgement and value in television studies. International Journal of Cultural Studies. 2001;4(4):427-447. doi:10.1177/136787790100400404
17.
Brunson C. Problems with quality. Screen. 1990;31(1):67-90. doi:10.1093/screen/31.1.67
18.
Wheatley H. The Limits of Television?: Natural History Programming and the Transformation of Public Service Broadcasting. European Journal of Cultural Studies. 2004;7(3):325-339. doi:10.1177/1367549404044786
19.
Couldry N, McCarthy A, Dawson Books. MediaSpace: Place, Scale, and Culture in a Media Age. Vol Comedia. Routledge; 2004. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.gla.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203010228
20.
Journal of British Cinema and Television - Special issue: ‘Good television’. 2006;3(1). http://www.euppublishing.com.ezproxy.lib.gla.ac.uk/toc/jbctv/3/1
21.
Mulgan G. The Question of Quality. Vol The Broadcasting debate. BFI Publishing; 1990.
22.
Geraghty C. Aesthetics and Quality in Popular Television Drama. International Journal of Cultural Studies. 2003;6(1):25-45. doi:10.1177/1367877903006001002
23.
McCabe J, Akass K. Quality TV: Contemporary American Television and Beyond. I.B. Tauris; 2007.
24.
Nelson R. State of Play: Contemporary ‘High-End’ TV Drama. Manchester University Press; 2007. http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.7228/manchester/9780719073106.001.0001
25.
Valck M de, Teurlings J. After the Break: Television Theory Today. Amsterdam University Press; 2013. https://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CCUQFjAAahUKEwjnwsaOp_nHAhUMoYAKHcj_D3k&url=http%3A%2F%2Fwww.oapen.org%2Fdownload%3Ftype%3Ddocument%26docid%3D445119&usg=AFQjCNHFD7M7wny5y9KGL4mNuUIQ7XLRRA&sig2=hKBtidVL8FckqqN1VImYTA&cad=rja
26.
McLoone M, Hill J. Big Picture, Small Screen: The Relations between Film and Television. Vol Acamedia research monograph. University of Luton Press; 1996.
27.
Andrews H, Dawson Books. Television and British Cinema: Convergence and Divergence since 1990. Palgrave Macmillan; 2014. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.gla.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137311177
28.
Gauthier P. What will film studies be? Film caught between the television revolution and the digital revolution. New Review of Film and Television Studies. 2014;12(3):229-233. doi:10.1080/17400309.2014.942065
29.
Schlotterbeck J. What Happens When Real People Start Getting Cinematic: Laguna Beach and Contemporary T.V. Aesthetics. Scope : An online journal of film and television studies. (12). http://www.nottingham.ac.uk/scope/documents/2008/october-2008/schlotterbeck.pdf
30.
Lotz AD. Postfeminist Television Criticism: Rehabilitating Critical Terms and Identifying Postfeminist Attributes. Feminist Media Studies. 2001;1(1):105-121. doi:10.1080/14680770120042891
31.
Curran J, Gurevitch M. Mass Media and Society. 4th ed. Hodder Arnold; 2005.
32.
Rowe KK. Roseanne: unruly woman as domestic goddess. Screen. 1990;31(4):408-419. doi:10.1093/screen/31.4.408
33.
Silva K, Mendes K. Editorial: HBO’s Girls. Feminist Media Studies. 2013;13(2):355-355. doi:10.1080/14680777.2013.771874
34.
Grdešić M. "I’m Not the Ladies!”: Metatextual commentary in Girls.’. Feminist Media Studies. 2013;13(2):355-358. doi:10.1080/14680777.2013.771878
35.
Daalmans S. "I’m Busy Trying to Become Who I Am”: Self-entitlement and the city in HBO’s Girls.’. Feminist Media Studies. 2013;13(2):359-362. doi:10.1080/14680777.2013.771881
36.
Bell K. "Obvie, We’re the Ladies!”Postfeminism, privilege and HBO’s newest Girls. Feminist Media Studies. 2013;13(2):363-366. doi:10.1080/14680777.2013.771886
37.
DeCarvalho LJ. Hannah and Her Entitled Sisters: (Post)feminism, (post)recession, and. Feminist Media Studies. 2013;13(2):367-370. doi:10.1080/14680777.2013.771889
38.
Nygaard T. Girls Just Want to be "Quality”: HBO, Lena Dunham and Girls’ conflicting brand identity.’. Feminist Media Studies. 2013;13(2):370-374. doi:10.1080/14680777.2013.771891
39.
Caldwell JT, Dawson Books. Production Culture: Industrial Reflexivity and Critical Practice in Film and Television. Vol Console-ing passions. Duke University Press; 2008. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.gla.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780822388968
40.
Chambers J. ‘On the Side of the Angels?’: Ken Loach, The Angels’ Share, and the pursuit of new forms of politically-engaged cinema. International Journal of Scottish Theatre and Screen. 2014;7(1):45-69. http://journals.qmu.ac.uk/index.php/IJOSTS/article/view/184/pdf_18
41.
Archibald D. ‘The Angels’ Share at the Cannes Film Festival. NECSUS: European Journal of Media Studies. 2012;(Autumn). http://www.necsus-ejms.org/angelsshare2012cannes_1339/
42.
Lovink G, Tkacz N, de Vries P. MoneyLab Reader: An Intervention in Digital Economy. Institute of Network Cultures; 2015. http://networkcultures.org/blog/publication/moneylab-reader-an-intervention-in-digital-economy/
43.
Sørensen IE. Crowdsourcing and outsourcing: the impact of online funding and distribution on the documentary film industry in the UK. Media, Culture & Society. 2012;34(6):726-743. doi:10.1177/0163443712449499
44.
Jensen KB. A Handbook of Media and Communication Research: Qualitative and Quantitative Methodologies. 2nd ed. Routledge; 2012.
45.
Spanner Films. http://www.spannerfilms.net/
46.
Kickstarter - Discover Project Film & Video / Documentary. https://www.kickstarter.com/discover/categories/documentary
47.
Indiegogo: Crowdfund to make your Film idea a reality. https://www.indiegogo.com/explore#/browse/film?quick_filter=trending&location=everywhere&project_type=all&percent_funded=all&goal_type=all&more_options=false&status=all
48.
Iordanova D, Cheung R. Film Festivals and Imagined Communities. Vol Film festival yearbook. St Andrews Film Studies; 2010.
49.
Marlow-Mann A. Archival Film Festivals. Vol Film Festival Yearbook. St Andrews Film Studies; 2013.
50.
Ruoff J. Coming Soon to a Festival near You: Programming Film Festivals. St Andrews Film Studies; 2012.
51.
Iordanova D, Cheung R. Film Festivals and Imagined Communities. Vol Film festival yearbook. St Andrews Film Studies; 2010.
52.
Ruoff J. Coming Soon to a Festival near You: Programming Film Festivals. St Andrews Film Studies; 2012.
53.
Klevan A, Clayton A. The Language and Style of Film Criticism. Routledge; 2011.
54.
Lavik E. The Video Essay: The Future of Academic Film and Television Criticism? | Frames Cinema Journal. Frames cinema journal. (1). http://framescinemajournal.com/article/the-video-essay-the-future/
55.
Lee KB. Video essay: The essay film - some thoughts of discontent | Sight & Sound | BFI. http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/deep-focus/video-essay-essay-film-some-thoughts
56.
Lee KB. Elements of the Essay Film. https://vimeo.com/90150897
57.
Pantenburg V. The Wayward Cloud: Instruments of Vision. Pantenburg, Volker. 2014. ‘Instruments of Vision [An interview with Cristina Álvarez López (Spain) and Adrian Martin (Australia) on Audiovisual Essay Work.’ http://wayward-cloud.blogspot.de/2014/04/instruments-of-vision.html
58.
Sampson B. Layers of paradox in F For Fake. [in]Transition. http://mediacommons.futureofthebook.org/intransition/2014/02/27/layers-paradox-f-fake-benjamin-sampson
59.
Creekmur CK. Compilation and Found-Footage Traditions. [in]Transition. http://mediacommons.futureofthebook.org/intransition/2014/06/28/compilation-and-found-footage-traditions
60.
Hinck A. Framing the Video Essay as Argument. http://www.teachingmedia.org/framing-the-video-essay-as-argument/
61.
Stork M. In Touch with the Film Object: Cinephilia, the Video Essay, and Chaos Cinema | Frames Cinema Journal. Frames Cinema Journal. (1). http://framescinemajournal.com/article/in-touch-with-the-film-object/
62.
Grant C, Keathley C. The Use of an Illusion : Childhood cinephilia, object relations, and videographic film studies. Photogénie. http://www.photogenie.be/photogenie_blog/article/use-illusion
63.
Grant C. Video Essays on Films: A Multiprotagonist Manifesto (Film Studies For Free). http://filmstudiesforfree.blogspot.co.uk/2009/07/video-essays-on-films-multiprotagonist.html
64.
Grant C. Video Essays and Scholarly Remix: Film Scholarship’s Emergent Forms - Audiovisual Film Studies, Pt 2 (Film Studies For Free). http://filmstudiesforfree.blogspot.co.uk/2012/03/video-essays-and-scholarly-remix-film.html
65.
Jelin E. State Repression and the Struggles for Memory. Latin America Bureau; 2003.
66.
Boym S. The Future of Nostalgia. Basic Books; 2001.
67.
Rosenstone RA, Dawson Books. History on Film/Film and History. Vol History : concepts, theories and practice. Longman/Pearson; 2006. http://www.dawsonera.com/guard/protected/dawson.jsp?name=University%20of%20Glasgow&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781405898690
68.
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
69.
Christie I, ed. Audiences: Defining and Researching Screen Entertainment Reception. Vol The key debates : mutations and appropriations in European film studies. Amsterdam University Press; 2012. http://oapen.org/search?identifier=433954
70.
Griffiths T, Ebooks Corporation Limited. The Cinema and Cinema-Going in Scotland, 1896-1950. Edinburgh University Press; 2012. http://GLA.eblib.com/patron/FullRecord.aspx?p=1126577
71.
Maltby R, Biltereyst D, Meers P. Explorations in New Cinema History: Approaches and Case Studies. Wiley-Blackwell; 2011.
72.
Meers P, Biltereyst D, Van De Vijver L. Metropolitan vs rural cinemagoing in Flanders, 1925-75. Screen. 2010;51(3):272-280. doi:10.1093/screen/hjq023
73.
Hallam J. Film, space and place: researching a city in film. New Review of Film and Television Studies. 2010;8(3):277-296. doi:10.1080/17400309.2010.499768
74.
Toulmin V, Loiperdinger M. Is It You? Recognition, Representation and Response in Relation to the Local Film. Film History. 2005;17(1):7-18. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/3815465
75.
Allen RC. Relocating American film history: The ‘problem’ of the empirical’. Cultural Studies. 2006;20(1):48-88. doi:10.1080/09502380500492590
76.
Maltby R. On the Prospect of Writing Cinema History from Below. Tijdschrift voor Mediageschiedenis. 2006;9(2):74-96.
77.
Cooper S. Mortal Ethics: Reading Levinas with the Dardenne Brothers. Film-Philosophy. 2007;11(2). http://www.film-philosophy.com/index.php/f-p/article/view/88/73
78.
Monteiro MC, Giucci G, Besner N, Universidade do Estado do Rio de Janeiro. Além Dos Limites : Ensaios Para o Século XXI. EdUERJ; 2013.
79.
Mai J. Jean-Pierre and Luc Dardenne. Vol Contemporary film directors. University of Illinois Press; 2010.
80.
Ince K. Five Directors: Auteurism from Assayas to Ozon. Vol French film directors. Manchester University Press; 2008.
81.
Berlant L. Nearly Utopian, Nearly Normal: Post-Fordist Affect in La Promesse and Rosetta. Public Culture. 2007;19(2):273-301. doi:10.1215/08992363-2006-036
82.
Galt R, Schoonover K, Dawson Books. Global Art Cinema: New Theories and Histories. Oxford University Press; 2010. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.gla.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780199726295
83.
Basu P. Highland Homecomings: Genealogy and Heritage Tourism in the Scottish Diaspora. Routledge; 2007.
84.
Ebooks Corporation Limited. International Business and Tourism: Global Issues, Contemporary Interactions. Vol Routledge International Series in Tourism, Business and Management. (Coles T, Hall CM, eds). Routledge; 2008. http://GLA.eblib.com/patron/FullRecord.aspx?p=327292
85.
Urry J, Larsen J. The Tourist Gaze 3.0. 3rd ed. SAGE; 2011. http://ezproxy.lib.gla.ac.uk/login?url=http://knowledge.sagepub.com/view/the-tourist-gaze-3-0-3e/SAGE.xml
86.
Tzanelli R, Dawson Books. The Cinematic Tourist: Explorations in Globalization, Culture and Resistance. Vol International library of sociology. Routledge; 2007. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.gla.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203940105
87.
Magor M, Schlesinger P. ‘For this relief much thanks.’ Taxation, film policy and the UK government. Screen. 2009;50(3):299-317. doi:10.1093/screen/hjp017
88.
Hill J. ‘This is for the Batmans as well as the Vera Drakes’ : Economics, Culture and UK Government Film Production Policy in the 2000s. Journal of British Cinema and Television. 2012;9(3):333-356. doi:10.3366/jbctv.2012.0094
89.
Kelly LW. Professionalising the British film industry: the UK Film Council and public support for film production. International Journal of Cultural Policy. Published online 27 February 2015:1-16. doi:10.1080/10286632.2015.1015532
90.
Petley J. From Brit-flicks to Shit-flicks: The Cost of Public Subsidy. Journal of popular British cinema. 1998;5(1):37-52.
91.
Dickinson M, Harvey S. Film Policy in the United Kingdom: New Labour at the Movies. The Political Quarterly. 2005;76(3):420-429. doi:10.1111/j.1467-923X.2005.00701.x
92.
Barratt J. On sustainability: UK film policy after the UK Film Council | Bigger Picture Research. 2010. http://www.biggerpictureresearch.net/2010/12/on-sustainability-uk-film-policy-after-the-uk-film-council.html
93.
Allen RC, Gomery D. Film History: Theory and Practice. McGraw-Hill; 1985.
94.
Musser C. The Early Cinema of Edwin Porter. Cinema Journal. 1979;19(1). http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/1225418
95.
Easthope A. British Post-Structuralism since 1968. Routledge; 1988.
