Allen, Robert C. 2006. ‘Relocating American Film History: The “Problem” of the Empirical’’. Cultural Studies 20(1):48–88. doi:10.1080/09502380500492590.
Allen, Robert Clyde, and Douglas Gomery. 1985. Film History: Theory and Practice. Boston, MA: McGraw-Hill.
Andrews, Hannah and Dawson Books. 2014. Television and British Cinema: Convergence and Divergence since 1990. Basingstoke, Hampshire: Palgrave Macmillan.
Archibald, David. 2012. ‘“The Angels” Share at the Cannes Film Festival’. NECSUS: European Journal of Media Studies (Autumn). http://www.necsus-ejms.org/angelsshare2012cannes_1339/.
Barratt, J. 2010. ‘On Sustainability: UK Film Policy after the UK Film Council | Bigger Picture Research’. http://www.biggerpictureresearch.net/2010/12/on-sustainability-uk-film-policy-after-the-uk-film-council.html.
Basu, Paul. 2007. Highland Homecomings: Genealogy and Heritage Tourism in the Scottish Diaspora. London: Routledge.
Bell, Katherine. 2013. ‘"Obvie, We’re the Ladies!”Postfeminism, Privilege and HBO’s Newest Girls.’ Feminist Media Studies 13(2):363–66. doi:10.1080/14680777.2013.771886.
Berlant, L. 2007. ‘Nearly Utopian, Nearly Normal: Post-Fordist Affect in La Promesse and Rosetta’. Public Culture 19(2):273–301. doi:10.1215/08992363-2006-036.
Berridge, Susan. 2010. ‘Serialised Sexual Violence in Teen Television Drama Series’.
Bordwell, David, and Kristin Thompson. 2013a. Film Art: An Introduction. 10th international ed. New York, N.Y.: McGraw-Hill.
Bordwell, David, and Kristin Thompson. 2013b. Film Art: An Introduction. 10th international ed. New York, N.Y.: McGraw-Hill.
Boym, Svetlana. 2001. The Future of Nostalgia. New York, N.Y.: Basic Books.
Brunson, C. 1990. ‘Problems with Quality’. Screen 31(1):67–90. doi:10.1093/screen/31.1.67.
Caldwell, John Thornton and Dawson Books. 2008. Production Culture: Industrial Reflexivity and Critical Practice in Film and Television. Vol. Console-ing passions. Durham, NC: Duke University Press.
Chambers, Jamie. 2014. ‘“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 7(1):45–69. http://journals.qmu.ac.uk/index.php/IJOSTS/article/view/184/pdf_18.
Christie, Ian, ed. 2012. Audiences: Defining and Researching Screen Entertainment Reception. Vol. The key debates : mutations and appropriations in European film studies. Amsterdam: Amsterdam University Press.
Cooper, Sarah. 2007. ‘Mortal Ethics: Reading Levinas with the Dardenne Brothers’. Film-Philosophy 11(2). http://www.film-philosophy.com/index.php/f-p/article/view/88/73.
Couldry, Nick, Anna McCarthy, and Dawson Books. 2004. MediaSpace: Place, Scale, and Culture in a Media Age. Vol. Comedia. London: Routledge.
Creekmur, Corey K. n.d. ‘Compilation and Found-Footage Traditions’. [In]Transition. http://mediacommons.futureofthebook.org/intransition/2014/06/28/compilation-and-found-footage-traditions.
Curran, James, and Michael Gurevitch. 2005. Mass Media and Society. 4th ed. London: Hodder Arnold.
Daalmans, Serena. 2013. ‘"I’m Busy Trying to Become Who I Am”: Self-Entitlement and the City in HBO’s Girls.’’. Feminist Media Studies 13(2):359–62. doi:10.1080/14680777.2013.771881.
Deamer, David and Ebooks Corporation Limited. 2014. Deleuze, Japanese Cinema, and the Atom Bomb: The Spectre of Impossibility. Vol. Thinking cinema. New York: Bloomsbury.
DeCarvalho, Lauren J. 2013. ‘Hannah and Her Entitled Sisters: (Post)Feminism, (Post)Recession, And’. Feminist Media Studies 13(2):367–70. doi:10.1080/14680777.2013.771889.
Dickinson, Margaret, and Sylvia Harvey. 2005. ‘Film Policy in the United Kingdom: New Labour at the Movies’. The Political Quarterly 76(3):420–29. doi:10.1111/j.1467-923X.2005.00701.x.
Donnelly, K. J. 2002. ‘Tracking British Television: Pop Music as Stock Soundtrack to the Small Screen’. Popular Music 21(3):331–43. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/853722.
Easthope, Antony. 1988. British Post-Structuralism since 1968. London: Routledge.
Ebooks Corporation Limited. 2008. International Business and Tourism: Global Issues, Contemporary Interactions. Vol. Routledge International Series in Tourism, Business and Management. edited by T. Coles and C. M. Hall. Abingdon, Oxon: Routledge.
Ellis, J. 1978. ‘Art, Culture and Quality Terms for a Cinema in the Forties and Seventies’. Screen 19(3):9–50. doi:10.1093/screen/19.3.9.
Fuller-Seeley, Kathryn H. and American Council of Learned Societies. 2008. Hollywood in the Neighborhood: Historical Case Studies of Local Moviegoing. Berkeley: University of California Press.
Galt, Rosalind, Karl Schoonover, and Dawson Books. 2010. Global Art Cinema: New Theories and Histories. Oxford: Oxford University Press.
Gauthier, Philippe. 2014. ‘What Will Film Studies Be? Film Caught between the Television Revolution and the Digital Revolution’. New Review of Film and Television Studies 12(3):229–33. doi:10.1080/17400309.2014.942065.
Geraghty, Christine. 2003. ‘Aesthetics and Quality in Popular Television Drama’. International Journal of Cultural Studies 6(1):25–45. doi:10.1177/1367877903006001002.
Grant, Catherine. n.d.-a. ‘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.
Grant, Catherine. n.d.-b. ‘Video Essays on Films: A Multiprotagonist Manifesto (Film Studies For Free)’. http://filmstudiesforfree.blogspot.co.uk/2009/07/video-essays-on-films-multiprotagonist.html.
Grant, Catherine, and Christian Keathley. n.d. ‘The Use of an Illusion : Childhood Cinephilia, Object Relations, and Videographic Film Studies’. Photogénie. http://www.photogenie.be/photogenie_blog/article/use-illusion.
Grdešić, Maša. 2013. ‘"I’m Not the Ladies!”: Metatextual Commentary in Girls.’’. Feminist Media Studies 13(2):355–58. doi:10.1080/14680777.2013.771878.
Griffiths, Trevor and Ebooks Corporation Limited. 2012. The Cinema and Cinema-Going in Scotland, 1896-1950. Edinburgh: Edinburgh University Press.
Hallam, Julia. 2010. ‘Film, Space and Place: Researching a City in Film’. New Review of Film and Television Studies 8(3):277–96. doi:10.1080/17400309.2010.499768.
Higson, A. 1989. ‘The Concept of National Cinema’. Screen 30(4):36–47. doi:10.1093/screen/30.4.36.
Hill, John. 2012. ‘“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 9(3):333–56. doi:10.3366/jbctv.2012.0094.
Hills, Matt. 2011. ‘Listening from behind the Sofa? The (Un)Earthly Roles of Sound in BBC Wales’’. New Review of Film and Television Studies 9(1):28–41. doi:10.1080/17400309.2011.521716.
Hinck, Ashley. n.d. ‘Framing the Video Essay as Argument’. http://www.teachingmedia.org/framing-the-video-essay-as-argument/.
Ince, Kate. 2008. Five Directors: Auteurism from Assayas to Ozon. Vol. French film directors. Manchester: Manchester University Press.
Indiegogo: Crowdfund to make your Film idea a reality. n.d. 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.
Iordanova, Dina, and Ruby Cheung. 2010a. Film Festivals and Imagined Communities. Vol. Film festival yearbook. St. Andrews: St Andrews Film Studies.
Iordanova, Dina, and Ruby Cheung. 2010b. Film Festivals and Imagined Communities. Vol. Film festival yearbook. St. Andrews: St Andrews Film Studies.
Jacobs, J. 2001. ‘Issues of Judgement and Value in Television Studies’. International Journal of Cultural Studies 4(4):427–47. doi:10.1177/136787790100400404.
Jacobs, Jason, Steven Peacock, and Ebooks Corporation Limited. 2013a. Television Aesthetics and Style. New York, NY: Bloomsbury Academic.
Jacobs, Jason, Steven Peacock, and Ebooks Corporation Limited. 2013b. Television Aesthetics and Style. New York, NY: Bloomsbury Academic.
Jelin, Elizabeth. 2003. State Repression and the Struggles for Memory. London: Latin America Bureau.
Jensen, Klaus Bruhn. 2012. A Handbook of Media and Communication Research: Qualitative and Quantitative Methodologies. 2nd ed. London: Routledge.
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.
Kelly, Lisa W. 2015. ‘Professionalising the British Film Industry: The UK Film Council and Public Support for Film Production’. International Journal of Cultural Policy 1–16. doi:10.1080/10286632.2015.1015532.
Kickstarter - Discover Project Film & Video / Documentary. n.d. https://www.kickstarter.com/discover/categories/documentary.
Klevan, Andrew, and Alex Clayton. 2011. The Language and Style of Film Criticism. Abingdon, Oxon: Routledge.
Klinger, Barbara. 1997. ‘Film History Terminable and Interminable: Recovering the Past in Reception Studies’. Screen 38(2):107–28. doi:10.1093/screen/38.2.107.
Lavik, Erlend. n.d. ‘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/.
Lee, Kevin B. n.d.-a. ‘Elements of the Essay Film’.
Lee, Kevin B. n.d.-b. ‘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.
Lotz, Amanda D. 2001. ‘Postfeminist Television Criticism: Rehabilitating Critical Terms and Identifying Postfeminist Attributes’. Feminist Media Studies 1(1):105–21. doi:10.1080/14680770120042891.
Lovink, Geert, Nathaniel Tkacz, and Patricia de Vries. 2015. MoneyLab Reader: An Intervention in Digital Economy. Institute of Network Cultures.
Lury, Karen. 2005a. Interpreting Television. London: Hodder Arnold.
Lury, Karen. 2005b. Interpreting Television. London: Hodder Arnold.
Magor, M., and P. Schlesinger. 2009. ‘“For This Relief Much Thanks.” Taxation, Film Policy and the UK Government’. Screen 50(3):299–317. doi:10.1093/screen/hjp017.
Mai, Joseph. 2010. Jean-Pierre and Luc Dardenne. Vol. Contemporary film directors. Urbana, IL: University of Illinois Press.
Maltby, Richard. 2006. ‘On the Prospect of Writing Cinema History from Below’. Tijdschrift Voor Mediageschiedenis 9(2):74–96.
Maltby, Richard, Daniël Biltereyst, and Philippe Meers. 2011. Explorations in New Cinema History: Approaches and Case Studies. Chichester, West Sussex: Wiley-Blackwell.
Marlow-Mann, Alex. 2013. Archival Film Festivals. Vol. Film Festival Yearbook. St Andrews: St Andrews Film Studies.
McCabe, Janet, and Kim Akass. 2007. Quality TV: Contemporary American Television and Beyond. London: I.B. Tauris.
McLoone, Martin, and John Hill. 1996. Big Picture, Small Screen: The Relations between Film and Television. Vol. Acamedia research monograph. Luton: University of Luton Press.
Meers, P., D. Biltereyst, and L. Van De Vijver. 2010. ‘Metropolitan vs Rural Cinemagoing in Flanders, 1925-75’. Screen 51(3):272–80. doi:10.1093/screen/hjq023.
Mellencamp, Patricia and NetLibrary, Inc. 1990. Logics of Television: Essays in Cultural Criticism. Vol. Theories of contemporary culture. Bloomington, Ind: Indiana University Press.
Monteiro, Maria Conceição, Guillermo Giucci, Neil Besner, and Universidade do Estado do Rio de Janeiro. 2013. Além Dos Limites : Ensaios Para o Século XXI. Rio de Janeiro: EdUERJ.
Mulgan, Geoff. 1990. The Question of Quality. Vol. The Broadcasting debate. London: BFI Publishing.
Musser, Charles. 1979. ‘The Early Cinema of Edwin Porter’. Cinema Journal 19(1). http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/1225418.
Nelson, Robin. 2007. State of Play: Contemporary ‘High-End’ TV Drama. Manchester: Manchester University Press.
Newman, Michael Z., Elana Levine, and Ebooks Corporation Limited. 2012. Legitimating Television: Media Convergence and Cultural Status. London: Routledge.
Nygaard, Taylor. 2013. ‘Girls Just Want to Be "Quality”: HBO, Lena Dunham and Girls’ Conflicting Brand Identity.’’. Feminist Media Studies 13(2):370–74. doi:10.1080/14680777.2013.771891.
Pantenburg, Volker. n.d. ‘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.
Petley, J. 1998. ‘From Brit-Flicks to Shit-Flicks: The Cost of Public Subsidy’. Journal of Popular British Cinema 5(1):37–52.
Rosenstone, Robert A. and Dawson Books. 2006. History on Film/Film and History. Vol. History : concepts, theories and practice. Harlow: Longman/Pearson.
Rowe, K. K. 1990. ‘Roseanne: Unruly Woman as Domestic Goddess’. Screen 31(4):408–19. doi:10.1093/screen/31.4.408.
Ruoff, Jeffrey. 2012a. Coming Soon to a Festival near You: Programming Film Festivals. St. Andrews: St Andrews Film Studies.
Ruoff, Jeffrey. 2012b. Coming Soon to a Festival near You: Programming Film Festivals. St. Andrews: St Andrews Film Studies.
Sampson, Benjamin. n.d. ‘Layers of Paradox in F For Fake’. [In]Transition. http://mediacommons.futureofthebook.org/intransition/2014/02/27/layers-paradox-f-fake-benjamin-sampson.
Schlotterbeck, Jesse. n.d. ‘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.
Silva, Kumarini, and Kaitlynn Mendes. 2013. ‘Editorial: HBO’s Girls’. Feminist Media Studies 13(2):355–355. doi:10.1080/14680777.2013.771874.
Sørensen, I. E. 2012. ‘Crowdsourcing and Outsourcing: The Impact of Online Funding and Distribution on the Documentary Film Industry in the UK’. Media, Culture & Society 34(6):726–43. doi:10.1177/0163443712449499.
Spanner Films. n.d. http://www.spannerfilms.net/.
Stork, Matthias. n.d. ‘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/.
Toulmin, Vanessa, and Martin Loiperdinger. 2005. ‘Is It You? Recognition, Representation and Response in Relation to the Local Film’. Film History 17(1):7–18. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/3815465.
Tzanelli, Rodanthi and Dawson Books. 2007. The Cinematic Tourist: Explorations in Globalization, Culture and Resistance. Vol. International library of sociology. London: Routledge.
Urry, John, and Jonas Larsen. 2011. The Tourist Gaze 3.0. 3rd ed. Los Angeles, Calif: SAGE.
Valck, Marijke de, and Jan Teurlings. 2013. After the Break: Television Theory Today. Amsterdam University Press.
Wheatley, H. 2004. ‘The Limits of Television?: Natural History Programming and the Transformation of Public Service Broadcasting’. European Journal of Cultural Studies 7(3):325–39. doi:10.1177/1367549404044786.
