1
Bordwell D, Thompson K. Film art: an introduction. 10th international ed. New York, N.Y.: McGraw-Hill 2013.
2
Bordwell D, Thompson K. Film art: an introduction. 10th international ed. New York, N.Y.: McGraw-Hill 2013.
3
Lury K. Interpreting television. London: Hodder Arnold 2005.
4
Mellencamp P, NetLibrary, Inc. Logics of television: essays in cultural criticism. Bloomington, Ind: Indiana University Press 1990.
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;9:28–41. doi: 10.1080/17400309.2011.521716
6
Donnelly KJ. Tracking British Television: Pop Music as Stock Soundtrack to the Small Screen. Popular Music. 2002;21:331–43.
7
Lury K. Interpreting television. London: Hodder Arnold 2005.
8
Berridge S. Serialised sexual violence in teen television drama series. 2010.
9
Deamer D, Ebooks Corporation Limited. Deleuze, Japanese cinema, and the atom bomb: the spectre of impossibility. New York: Bloomsbury 2014.
10
Klinger B. Film history terminable and interminable: recovering the past in reception studies. Screen. 1997;38:107–28. 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;19:9–50. doi: 10.1093/screen/19.3.9
12
Higson A. The Concept of National Cinema. Screen. 1989;30:36–47. doi: 10.1093/screen/30.4.36
13
Jacobs J, Peacock S, Ebooks Corporation Limited. Television aesthetics and style. New York, NY: Bloomsbury Academic 2013.
14
Jacobs J, Peacock S, Ebooks Corporation Limited. Television aesthetics and style. New York, NY: Bloomsbury Academic 2013.
15
Newman MZ, Levine E, Ebooks Corporation Limited. Legitimating television: media convergence and cultural status. London: Routledge 2012.
16
Jacobs J. Issues of judgement and value in television studies. International Journal of Cultural Studies. 2001;4:427–47. doi: 10.1177/136787790100400404
17
Brunson C. Problems with quality. Screen. 1990;31:67–90. 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;7:325–39. doi: 10.1177/1367549404044786
19
Couldry N, McCarthy A, Dawson Books. MediaSpace: place, scale, and culture in a media age. London: Routledge 2004.
20
Journal of British Cinema and Television - Special issue: ‘Good television’. 2006;3.
21
Mulgan G. The question of quality. London: BFI Publishing 1990.
22
Geraghty C. Aesthetics and Quality in Popular Television Drama. International Journal of Cultural Studies. 2003;6:25–45. doi: 10.1177/1367877903006001002
23
McCabe J, Akass K. Quality TV: contemporary american television and beyond. London: I.B. Tauris 2007.
24
Nelson R. State of play: contemporary ‘high-end’ TV drama. Manchester: Manchester University Press 2007.
25
Valck M de, Teurlings J. After the Break: Television Theory Today. Amsterdam University Press 2013.
26
McLoone M, Hill J. Big picture, small screen: the relations between film and television. Luton: University of Luton Press 1996.
27
Andrews H, Dawson Books. Television and British cinema: convergence and divergence since 1990. Basingstoke, Hampshire: Palgrave Macmillan 2014.
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;12:229–33. 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.
30
Lotz AD. Postfeminist Television Criticism: Rehabilitating Critical Terms and Identifying Postfeminist Attributes. Feminist Media Studies. 2001;1:105–21. doi: 10.1080/14680770120042891
31
Curran J, Gurevitch M. Mass media and society. 4th ed. London: Hodder Arnold 2005.
32
Rowe KK. Roseanne: unruly woman as domestic goddess. Screen. 1990;31:408–19. doi: 10.1093/screen/31.4.408
33
Silva K, Mendes K. Editorial: HBO’s Girls. Feminist Media Studies. 2013;13:355–355. doi: 10.1080/14680777.2013.771874
34
Grdešić M. "I’m Not the Ladies!”: Metatextual commentary in Girls.’. Feminist Media Studies. 2013;13:355–8. 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;13:359–62. 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;13:363–6. doi: 10.1080/14680777.2013.771886
37
DeCarvalho LJ. Hannah and Her Entitled Sisters: (Post)feminism, (post)recession, and. Feminist Media Studies. 2013;13:367–70. 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;13:370–4. doi: 10.1080/14680777.2013.771891
39
Caldwell JT, Dawson Books. Production culture: industrial reflexivity and critical practice in film and television. Durham, NC: Duke University Press 2008.
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;7:45–69.
41
Archibald D. ‘The Angels’ Share at the Cannes Film Festival. NECSUS: European Journal of Media Studies. Published Online First: 2012.
42
Lovink G, Tkacz N, de Vries P. MoneyLab Reader: An Intervention in Digital Economy. Institute of Network Cultures 2015.
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;34:726–43. doi: 10.1177/0163443712449499
44
Jensen KB. A handbook of media and communication research: qualitative and quantitative methodologies. 2nd ed. London: 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. St. Andrews: St Andrews Film Studies 2010.
49
Marlow-Mann A. Archival film festivals. St Andrews: St Andrews Film Studies 2013.
50
Ruoff J. Coming soon to a festival near you: programming film festivals. St. Andrews: St Andrews Film Studies 2012.
51
Iordanova D, Cheung R. Film festivals and imagined communities. St. Andrews: St Andrews Film Studies 2010.
52
Ruoff J. Coming soon to a festival near you: programming film festivals. St. Andrews: St Andrews Film Studies 2012.
53
Klevan A, Clayton A. The language and style of film criticism. Abingdon, Oxon: Routledge 2011.
54
Lavik E. The Video Essay: The Future of Academic Film and Television Criticism? | Frames Cinema Journal. Frames cinema journal.
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.
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.
59
Creekmur CK. Compilation and Found-Footage Traditions. [in]Transition.
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.
62
Grant C, Keathley C. The Use of an Illusion : Childhood cinephilia, object relations, and videographic film studies. Photogénie.
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. London: Latin America Bureau 2003.
66
Boym S. The future of nostalgia. New York, N.Y.: Basic Books 2001.
67
Rosenstone RA, Dawson Books. History on film/film and history. Harlow: Longman/Pearson 2006.
68
Fuller-Seeley KH, American Council of Learned Societies. Hollywood in the neighborhood: historical case studies of local moviegoing. Berkeley: University of California Press 2008.
69
Christie I, editor. Audiences: defining and researching screen entertainment reception. Amsterdam: Amsterdam University Press 2012.
70
Griffiths T, Ebooks Corporation Limited. The cinema and cinema-going in Scotland, 1896-1950. Edinburgh: Edinburgh University Press 2012.
71
Maltby R, Biltereyst D, Meers P. Explorations in new cinema history: approaches and case studies. Chichester, West Sussex: Wiley-Blackwell 2011.
72
Meers P, Biltereyst D, Van De Vijver L. Metropolitan vs rural cinemagoing in Flanders, 1925-75. Screen. 2010;51:272–80. 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;8:277–96. 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;17:7–18.
75
Allen RC. Relocating American film history: The ‘problem’ of the empirical’. Cultural Studies. 2006;20:48–88. doi: 10.1080/09502380500492590
76
Maltby R. On the Prospect of Writing Cinema History from Below. Tijdschrift voor Mediageschiedenis. 2006;9:74–96.
77
Cooper S. Mortal Ethics: Reading Levinas with the Dardenne Brothers. Film-Philosophy. 2007;11.
78
Monteiro MC, Giucci G, Besner N, et al. Além dos limites : ensaios para o século XXI. Rio de Janeiro: EdUERJ 2013.
79
Mai J. Jean-Pierre and Luc Dardenne. Urbana, IL: University of Illinois Press 2010.
80
Ince K. Five directors: auteurism from Assayas to Ozon. Manchester: Manchester University Press 2008.
81
Berlant L. Nearly Utopian, Nearly Normal: Post-Fordist Affect in La Promesse and Rosetta. Public Culture. 2007;19:273–301. doi: 10.1215/08992363-2006-036
82
Galt R, Schoonover K, Dawson Books. Global art cinema: new theories and histories. Oxford: Oxford University Press 2010.
83
Basu P. Highland homecomings: genealogy and heritage tourism in the Scottish diaspora. London: Routledge 2007.
84
Ebooks Corporation Limited. International business and tourism: global issues, contemporary interactions. Abingdon, Oxon: Routledge 2008.
85
Urry J, Larsen J. The tourist gaze 3.0. 3rd ed. Los Angeles, Calif: SAGE 2011.
86
Tzanelli R, Dawson Books. The cinematic tourist: explorations in globalization, culture and resistance. London: Routledge 2007.
87
Magor M, Schlesinger P. ‘For this relief much thanks.’ Taxation, film policy and the UK government. Screen. 2009;50:299–317. 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;9:333–56. 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. 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;5:37–52.
91
Dickinson M, Harvey S. Film Policy in the United Kingdom: New Labour at the Movies. The Political Quarterly. 2005;76:420–9. 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. Boston, MA: McGraw-Hill 1985.
94
Musser C. The Early Cinema of Edwin Porter. Cinema Journal. 1979;19.
95
Easthope A. British post-structuralism since 1968. London: Routledge 1988.
