Bibliography for Film & TV Studies: Core Course BETA

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 [Internet]. Bloomington, Ind: Indiana University Press; 1990. Available from: 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 Mar;9(1):28–41.

6.

Donnelly KJ. Tracking British Television: Pop Music as Stock Soundtrack to the Small Screen. Popular Music [Internet]. 2002;21(3):331–343. Available from: http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/853722

7.

Lury K. Interpreting television. London: Hodder Arnold; 2005.

8.

Berridge S. Serialised sexual violence in teen television drama series [Internet]. 2010. Available from: http://theses.gla.ac.uk/2326/

9.

Deamer D, Ebooks Corporation Limited. Deleuze, Japanese cinema, and the atom bomb: the spectre of impossibility [Internet]. New York: Bloomsbury; 2014. Available from: 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 June 1;38(2):107–128.

11.

Ellis J. Art, Culture and Quality Terms for a Cinema in the Forties and Seventies. Screen. 1978 Sept 1;19(3):9–50.

12.

Higson A. The Concept of National Cinema. Screen. 1989 Dec 1;30(4):36–47.

13.

Jacobs J, Peacock S, Ebooks Corporation Limited. Television aesthetics and style [Internet]. New York, NY: Bloomsbury Academic; 2013. Available from: http://www.GLA.eblib.com/patron/FullRecord.aspx?p=1224263

14.

Jacobs J, Peacock S, Ebooks Corporation Limited. Television aesthetics and style [Internet]. New York, NY: Bloomsbury Academic; 2013. Available from: 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 [Internet]. London: Routledge; 2012. Available from: 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 Dec 1;4(4):427–447.

17.

Brunson C. Problems with quality. Screen. 1990 Mar 1;31(1):67–90.

18.

Wheatley H. The Limits of Television?: Natural History Programming and the Transformation of Public Service Broadcasting. European Journal of Cultural Studies. 2004 Aug 1;7(3):325–339.

19.

Couldry N, McCarthy A, Dawson Books. MediaSpace: place, scale, and culture in a media age [Internet]. London: Routledge; 2004. Available from: 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’. Edinburgh University Press; 2006;3(1). Available from: http://www.euppublishing.com.ezproxy.lib.gla.ac.uk/toc/jbctv/3/1

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 Mar 1;6(1):25–45.

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 [Internet]. Manchester: Manchester University Press; 2007. Available from: 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 [Internet]. Amsterdam University Press; 2013. Available from: 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. Luton: University of Luton Press; 1996.

27.

Andrews H, Dawson Books. Television and British cinema: convergence and divergence since 1990 [Internet]. Basingstoke, Hampshire: Palgrave Macmillan; 2014. Available from: 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 July 3;12(3):229–233.

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 [Internet]. University of Nottingham; (12). Available from: 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 Jan;1(1):105–121.

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 Dec 1;31(4):408–419.

33.

Silva K, Mendes K. Editorial: HBO’s Girls. Feminist Media Studies. 2013 May;13(2):355–355.

34.

Grdešić M. "I’m Not the Ladies!”: Metatextual commentary in Girls.’. Feminist Media Studies. 2013 May;13(2):355–358.

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 May;13(2):359–362.

36.

Bell K. "Obvie, We’re the Ladies!”Postfeminism, privilege and HBO’s newest Girls. Feminist Media Studies. 2013 May;13(2):363–366.

37.

DeCarvalho LJ. Hannah and Her Entitled Sisters: (Post)feminism, (post)recession, and. Feminist Media Studies. 2013 May;13(2):367–370.

38.

Nygaard T. Girls Just Want to be "Quality”: HBO, Lena Dunham and Girls’ conflicting brand identity.’. Feminist Media Studies. 2013 May;13(2):370–374.

39.

Caldwell JT, Dawson Books. Production culture: industrial reflexivity and critical practice in film and television [Internet]. Durham, NC: Duke University Press; 2008. Available from: 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 [Internet]. 2014;7(1):45–69. Available from: 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 [Internet]. 2012;(Autumn). Available from: http://www.necsus-ejms.org/angelsshare2012cannes_1339/

42.

Lovink G, Tkacz N, de Vries P. MoneyLab Reader: An Intervention in Digital Economy [Internet]. Institute of Network Cultures; 2015. Available from: 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 Sept 1;34(6):726–743.

44.

Jensen KB. A handbook of media and communication research: qualitative and quantitative methodologies. 2nd ed. London: Routledge; 2012.

45.

Spanner Films [Internet]. Available from: http://www.spannerfilms.net/

46.

Kickstarter - Discover Project Film & Video / Documentary [Internet]. Available from: https://www.kickstarter.com/discover/categories/documentary

47.

Indiegogo: Crowdfund to make your Film idea a reality [Internet]. Available from: 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 [Internet]. (1). Available from: http://framescinemajournal.com/article/the-video-essay-the-future/

55.

Lee KB. Video essay: The essay film - some thoughts of discontent | Sight & Sound | BFI [Internet]. Available from: 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 [Internet]. Available from: 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.’ [Internet]. Available from: http://wayward-cloud.blogspot.de/2014/04/instruments-of-vision.html

58.

Sampson B. Layers of paradox in F For Fake. [in]Transition [Internet]. Available from: http://mediacommons.futureofthebook.org/intransition/2014/02/27/layers-paradox-f-fake-benjamin-sampson

59.

Creekmur CK. Compilation and Found-Footage Traditions. [in]Transition [Internet]. Available from: http://mediacommons.futureofthebook.org/intransition/2014/06/28/compilation-and-found-footage-traditions

60.

Hinck A. Framing the Video Essay as Argument [Internet]. Available from: 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 [Internet]. (1). Available from: 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 [Internet]. Available from: http://www.photogenie.be/photogenie_blog/article/use-illusion

63.

Grant C. Video Essays on Films: A Multiprotagonist Manifesto (Film Studies For Free) [Internet]. Available from: 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) [Internet]. Available from: 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 [Internet]. Harlow: Longman/Pearson; 2006. Available from: 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 [Internet]. Berkeley: University of California Press; 2008. Available from: http://ezproxy.lib.gla.ac.uk/login?url=http://hdl.handle.net/2027/heb.08082

69.

Christie I, editor. Audiences: defining and researching screen entertainment reception [Internet]. Amsterdam: Amsterdam University Press; 2012. Available from: http://oapen.org/search?identifier=433954

70.

Griffiths T, Ebooks Corporation Limited. The cinema and cinema-going in Scotland, 1896-1950 [Internet]. Edinburgh: Edinburgh University Press; 2012. Available from: 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. 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 Sept 1;51(3):272–280.

73.

Hallam J. Film, space and place: researching a city in film. New Review of Film and Television Studies. 2010 Sept;8(3):277–296.

74.

Toulmin V, Loiperdinger M. Is It You? Recognition, Representation and Response in Relation to the Local Film. Film History [Internet]. 2005;17(1):7–18. Available from: 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 Jan;20(1):48–88.

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 [Internet]. 2007;11(2). Available from: 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. 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 Apr 1;19(2):273–301.

82.

Galt R, Schoonover K, Dawson Books. Global art cinema: new theories and histories [Internet]. Oxford: Oxford University Press; 2010. Available from: 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. London: Routledge; 2007.

84.

Ebooks Corporation Limited. International business and tourism: global issues, contemporary interactions [Internet]. Coles T, Hall CM, editors. Abingdon, Oxon: Routledge; 2008. Available from: http://GLA.eblib.com/patron/FullRecord.aspx?p=327292

85.

Urry J, Larsen J. The tourist gaze 3.0 [Internet]. 3rd ed. Los Angeles, Calif: SAGE; 2011. Available from: 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 [Internet]. London: Routledge; 2007. Available from: 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 Sept 1;50(3):299–317.

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 July;9(3):333–356.

89.

Kelly LW. Professionalising the British film industry: the UK Film Council and public support for film production. International Journal of Cultural Policy. 2015 Feb 27;1–16.

90.

Petley J. From Brit-flicks to Shit-flicks: The Cost of Public Subsidy. Journal of popular British cinema. Trowbridge: Flicks Books; 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 July;76(3):420–429.

92.

Barratt J. On sustainability: UK film policy after the UK Film Council | Bigger Picture Research [Internet]. 2010. Available from: http://www.biggerpictureresearch.net/2010/12/on-sustainability-uk-film-policy-after-the-uk-film-council.html

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94.

Musser C. The Early Cinema of Edwin Porter. Cinema Journal [Internet]. 1979 Autumn;19(1). Available from: http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/1225418

95.

Easthope A. British post-structuralism since 1968. London: Routledge; 1988.