Bibliography for FI908: Screen Cultures and Methods BETA

Ahmed, S. (no date) Making Feminist Points. Available at: https://feministkilljoys.com/2013/09/11/making-feminist-points/.

‘All That Heaven Allows (1955)’ (no date). FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0001483A?bcast=95712924.

Amy Holdsworth (2008) ‘“Television Resurrections”: Television and Memory’, Cinema Journal, 47(3), pp. 137–144. Available at: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/30136121.

Andrews, H. (2011) ‘On the Grey Box: Broadcasting Experimental Film and Video on Channel 4’s’, Visual Culture in Britain, 12(2), pp. 203–218. Available at: https://doi.org/10.1080/14714787.2011.575262.

Andrews, H. (2014) Television and British cinema: convergence and divergence since 1990. Basingstoke: Palgrave Macmillan. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2722218.

Barr, C. and British Film Institute (1986a) All our yesterdays: 90 years of British cinema. London: BFI Publishing.

Barr, C. and British Film Institute (1986b) All our yesterdays: 90 years of British cinema. London: BFI Publishing.

Bazin, A. and Gray, H. (2005) What is cinema? Berkeley: University of California Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2756261.

Bennett, J. and Strange, N. (2011a) Television as digital media. Durham, NC: Duke University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2680993.

Bennett, J. and Strange, N. (2011b) Television as digital media. Durham, NC: Duke University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2680993.

Bennett, J. and Strange, N. (2011c) Television as digital media. Durham, NC: Duke University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2680993.

Bignell, J. and Lacey, S. (2005) Popular television drama: critical perspectives. Manchester: Manchester University Press.

Bordwell, D. (1988) ‘Towards Intrinsic Norms’, in Ozu and the poetics of cinema. London: BFI Publishing, pp. 73–88. Available at: https://contentstore.cla.co.uk/secure/link?id=18aa4f69-049b-e811-80cd-005056af4099.

Bordwell, D. (2013) ‘Watch Again! Look well! Look! (For Ozu)’. Observations on Film Art. Available at: http://www.davidbordwell.net/blog/2013/12/12/watch-again-look-well-look-for-ozu/.

Brinkema, E. (2014) The forms of the affects. Durham: Duke University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2750546.

Britton, A. and Grant, B.K. (2009) Britton on film: the complete film criticism of Andrew Britton. Detroit: Wayne State University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2988759.

Browne, N. (1984) ‘The political economy of the television (super) text’, Quarterly Review of Film Studies, 9(3), pp. 174–182. Available at: https://doi.org/10.1080/10509208409361210.

Bruno, G. (2007) Atlas of emotion: journeys in art, architecture and film. New York: Verso.

Brunsdon, C. (1991) ‘Pedagogies of the feminine: feminist teaching and women’s genres’, Screen, 32(4), pp. 364–381. Available at: https://doi.org/10.1093/screen/32.4.364.

Buckland, W. (ed.) (2014) Hollywood puzzle films. New York: Routledge.

Buonanno, M. (2008a) The age of television: experiences and theories. Bristol: Intellect. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2684701.

Buonanno, M. (2008b) The age of television: experiences and theories. Bristol: Intellect. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2684701.

Burch, N. (1979) ‘Ozu Yasujiro’, in To the distant observer: form and meaning in the Japanese cinema. London: Scolar Press, pp. 154–185. Available at: https://contentstore.cla.co.uk/secure/link?id=76e8cecb-5720-e711-80c9-005056af4099.

Caldwell, J.T. (1995) ‘Excessive Style: The Crisis of Network Television’, in Televisuality: style, crisis, and authority in American television. New Brunswick, N.J.: Rutgers University Press, pp. 3–31. Available at: https://contentstore.cla.co.uk/secure/link?id=8327195d-5720-e711-80c9-005056af4099.

Caldwell, John Thornton (1995) Televisuality: style, crisis, and authority in American television. New Brunswick, N.J.: Rutgers University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2848118.

Caldwell, J.T. and Everett, A. (2003) New media: theories and practices of digitextuality. New York: Routledge.

Cameron, I. (1992) The Movie book of film noir. London: Studio Vista.

Cannadine, D. and University of London. Institute of Historical Research (2004) History and the media. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Carroll, N. (2009) On criticism. New York: Routledge.

Clayton, A. and Klevan, A. (2011a) ‘Introduction: The language and style of film criticism’, in The language and style of film criticism. Abingdon, Oxon: Routledge. Available at: https://contentstore.cla.co.uk/secure/link?id=ceb19b4d-5920-e711-80c9-005056af4099.

Clayton, A. and Klevan, A. (2011b) The language and style of film criticism. Abingdon, Oxon: Routledge. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2585945.

Coen, J. et al. (2004) ‘Fargo’. Santa Monica, CA: MGM Home Entertainment.

Corner, J. (1991a) Popular television in Britain: studies in cultural history. London: BFI Publishing.

Corner, J. (1991b) Popular television in Britain: studies in cultural history. London: BFI Publishing.

Corner, J. (1999a) Critical ideas in television studies. Oxford: Clarendon Press.

Corner, J. (1999b) Critical ideas in television studies. Oxford: Clarendon Press.

Corner, John (2003) ‘Finding data, reading patterns, telling stories: issues in the historiography of television.’, Media, Culture & Society;, 25(2). Available at: http://0-journals.sagepub.com.pugwash.lib.warwick.ac.uk/doi/pdf/10.1177/01634437030252006.

Couldry, N. and McCarthy, A. (2004) MediaSpace: place, scale, and culture in a media age. London: Routledge.

Crary, J. (1990) Techniques of the observer: on vision and modernity in the  nineteenth century. Cambridge, Mass: MIT Press.

Creeber, G. (2006) Tele-visions: an introduction to studying television. London: BFI.

DAVID BORDWELL (2011) ‘NEVER THE TWAIN Why can’t cinephiles and academics just get along? SHALL MEET’, Film Comment, 47(3), pp. 38–41. Available at: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/43459668?refreqid=search%3A350b5d35038cc5cd230d7262e379c3dc.

De Luca, T. and Jorge, N.B. (eds) (2016a) Slow cinema. Edinburgh: Edinburgh University Press.

De Luca, T. and Jorge, N.B. (eds) (2016b) Slow cinema. Edinburgh: Edinburgh University Press.

Denis, C. et al. (2008) ‘35 rhums: 35 shots of rum’. [London]: New Wave Films. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/01407544?bcast=89004719.

Desser, D. (1997) Ozu’s Tokyo story. Cambridge: Cambridge University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668747.

Eleftheriotis, D. and Needham, G. (2006) Asian cinemas: a reader and guide. Edinburgh: Edinburgh University Press.

Ellis, J. (1992a) Visible fictions: cinema, television, video. Rev. ed. London: Routledge. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2882155.

Ellis, J. (1992b) Visible fictions: cinema, television, video. Rev. ed. London: Routledge. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2882155.

Elsaesser, T. (2016) Film history as media archaeology: tracking digital cinema. Amsterdam: Amsterdam University Press.

Elsaesser, T. and Hagener, M. (2010a) Film theory: an introduction through the senses. New York: Routledge. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3076220.

Elsaesser, T. and Hagener, M. (2010b) Film theory: an introduction through the senses. New York: Routledge. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3076220.

Evans, V.L. (2017) Douglas Sirk, aesthetic modernism and the culture of modernity. Edinburgh: Edinburgh University Press.

‘Far from Heaven (2002)’ (no date). FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0054E252?bcast=74586582.

Fassbinder, R.W. et al. (2003) Ali, fear eats the soul. [United States]: Criterion Collection.

Fiske, J. (2011) Television culture. 2nd ed. London: Routledge. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2586371.

Friedberg, A. (2006) The virtual window: from Alberti to Microsoft. Cambridge, Mass: MIT Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2756081.

Fuller, B. et al. (2017) ‘American gods: Complete season one’. [London]: StudioCanal.

Geller, M. and New Museum of Contemporary Art (New York, N.Y.) (no date) From receiver to remote control: the TV set. New York: New Museum of Contemporary Art.

Geraghty, C. and Lusted, D. (1998) The television studies book. London: Arnold.

Gibbs, J. and Pye, D. (2005a) Style and meaning: studies in the detailed analysis of film. Manchester: Manchester University Press.

Gibbs, J. and Pye, D. (2005b) Style and meaning: studies in the detailed analysis of film. Manchester: Manchester University Press.

Gibbs, J. and Pye, D. (2005c) Style and meaning: studies in the detailed analysis of film. Manchester: Manchester University Press.

Gibbs, J.E. (2002) Mise-en-scène: film style and interpretation. London: Wallflower. Available at: http://WARW.eblib.com/patron/FullRecord.aspx?p=927987.

Gillis, S. and Hollows, J. (2008) Feminism, domesticity and popular culture. London: Routledge.

Goerge Toles (1999) ‘Obvious mysteries in Fargo’, Michigan Quarterly Review, 38(4). Available at: https://0-literature-proquest-com.pugwash.lib.warwick.ac.uk/searchFulltext.do?id=R01593801&divLevel=0&queryId=3010753398631&trailId=15DE4F2BB9B&area=abell&forward=critref_ft.

Gorton, K. (2009) Media audiences: television, meaning and emotion. Edinburgh: Edinburgh University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2796985.

Gott, M., Schilt, T. and Rascaroli, L. (2013) Open roads, closed borders: the contemporary French-language road movie. Bristol, UK: Intellect. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2659958.

Graf, A. (2002) The cinema of Wim Wenders: the celluloid highway. London: Wallflower Press.

Grainge, P. (2011) Ephemeral media: transitory screen culture from television to YouTube. London: BFI.

‘Grayson Perry: Divided Britain’ (no date). Channel 4. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0F03831C?bcast=124243314.

Gregg, M. and Seigworth, G.J. (2010) The affect theory reader. Durham, NC: Duke University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2747774.

Gumbrecht, H.U. and Pfeiffer, K.L. (1994) Materialities of communication. Stanford, Calif: Stanford University Press.

Gunning, T. (2007) ‘Moving Away from the Index: Cinema and the Impression of Reality’, differences, 18(1), pp. 29–52. Available at: https://doi.org/10.1215/10407391-2006-022.

Halliday, J. (1997) Conversations with Jon Halliday. Cahiers du cinéma. Available at: https://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=halliday++Conversations+with+Jon+Halliday&rh=n%3A266239%2Ck%3Ahalliday++Conversations+with+Jon+Halliday.

Hartley, J. (1999) Uses of television. London: Routledge. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2881799.

Hemmings, C. (2005) ‘INVOKING AFFECT’, Cultural Studies, 19(5), pp. 548–567. Available at: https://doi.org/10.1080/09502380500365473.

Hills, M. (2007) ‘FROM THE BOX IN THE CORNER TO THE BOX SET ON THE SHELF’, New Review of Film and Television Studies, 5(1), pp. 41–60. Available at: https://doi.org/10.1080/17400300601140167.

Hilmes, M. (2003) The television history book. London: British Film Institute.

Hitoto, Y. et al. (no date) ‘Café Lumière’. [England]: ICA Projects.

Jacobs, J. (2000) The intimate screen: early British television drama. Oxford: Oxford University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2664100.

Jacobs, J. (2001) ‘Issues of judgement and value in television studies’, International Journal of Cultural Studies, 4(4), pp. 427–447. Available at: https://doi.org/10.1177/136787790100400404.

Jarmusch, J. et al. (1993) ‘Mystery train’. [London]: Channel 4.

Johnson, C. (2012) Branding television. Abingdon, Oxon: Routledge. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2807202.

Kaplan, E.A. (1983) Regarding television: critical approaches : an anthology. Frederick, MD.: University Publications of America.

Kar Wai Wong (no date) ‘Grandmaster [videorecording]’.

Kiarostami, A. (2003) ‘Five Dedicated to Ozu’. Available at: https://www.amazon.co.uk/Five-Dedicated-Ozu-Region-NTSC/dp/B000QCU520/ref=sr_1_1?s=books&ie=UTF8&qid=1505207321&sr=8-1&keywords=Five+Dedicated+to+Ozu.

Klinger, B. (1994) ‘The Many Faces of Melodrama’, in Melodrama and meaning: history, culture, and the films of Douglas  Sirk. Bloomington: Indiana University Press, pp. 11–20. Available at: https://contentstore.cla.co.uk/secure/link?id=8f1afd4b-f599-e711-80cb-005056af4099.

Klinger, B. (2006) Beyond the multiplex: cinema, new technologies, and the home. Berkeley: University of California Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668425.

Kore-eda, H. et al. (2008) ‘Still walking’. [London]: New Wave Films.

Kracauer, S. (1965) Theory of film: the redemption of physical reality. New York: Oxford University Press.

Lacey, S. (2006) ‘Some Thoughts on Television History and Historiography: A British Perspective’, Critical Studies in Television: The International Journal of Television Studies, 1(1), pp. 3–12. Available at: https://doi.org/10.7227/CST.1.1.3.

Landy, M. (1991) Imitations of life: a reader on film & television melodrama. Detroit: Wayne State University Press.

‘Late Spring (1949)’ (no date). FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/01BC3002?bcast=90546390.

Lee, V.P.Y. (2011) East Asian cinemas: regional flows and global transformations. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2702797.

Lehman, P. (1990) Close viewings: an anthology of new film criticism. Tallahassee, Fla: Florida State University Press.

Luhr, W. (2004) The Coen brothers’ Fargo. Cambridge, U.K.: Cambridge University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668201.

Lury, K. (2005) Interpreting television. London: Hodder Arnold.

Lynn Spigel (1988a) ‘Installing the Television Set: Popular Discourses on Television and Domestic Space, 1948–1955’, Camera Obscura, 6(1 16), pp. 9–46. Available at: https://doi.org/10.1215/02705346-6-1_16-9                                  10.1215/02705346-6-1_16-9.

Lynn Spigel (1988b) ‘Installing the Television Set: Popular Discourses on Television and Domestic Space, 1948–1955’, Camera Obscura, 6(1 16), pp. 9–46. Available at: https://doi.org/10.1215/02705346-6-1_16-9                                  10.1215/02705346-6-1_16-9.

Manovich, L. (2001) The language of new media. Cambridge, Mass: MIT Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2851616.

Marks, L.U. (2000) The skin of the film: intercultural cinema, embodiment, and the senses. Durham, NC: Duke University Press.

Martin, A. (2012) ‘Guess-Work: Scarlet Street’, Movie: A Journal of Film Criticism, 3. Available at: http://www2.warwick.ac.uk/fac/arts/film/movie/contents/scarlet_st._final.2.pdf.

Martin, A. (2014) Mise en scène and film style: from classical Hollywood to new media art. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

McDonald, K. and Smith-Rowsey, D. (eds) (2016) The Netflix effect: technology and entertainment in the 21st century. New York, NY: Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3030558.

McLoone, M. and Hill, J. (1996) Big picture, small screen: the relations between film and television. Luton: University of Luton Press.

Mellencamp, P. (1990) Logics of television: essays in cultural criticism. Bloomington: Indiana University Press.

Metz, C. (1974) ‘On the Impression of Reality in the Cinema’, in Film language: a semiotics of the cinema. New York: Oxford University Press, pp. 3–15. Available at: https://contentstore.cla.co.uk/secure/link?id=e12e9083-4f99-e711-80cb-005056af4099.

Mittell, J. (2015) Complex TV: the poetics of contemporary television storytelling. New York: New York University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3087566.

Moran, J. (2013) Armchair nation: an intimate history of Britain in front of the TV. London: Profile Books. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2876349.

Morley, D. (1988) Family television: cultural power and domestic leisure. London: Routledge.

Mulvey, L. (2006a) Death 24x a second: stillness and the moving image. London: Reaktion Books.

Mulvey, L. (2006b) Death 24x a second: stillness and the moving image. London: Reaktion Books.

Mulvey, L. (2008) Visual and other pleasures. 2nd ed. Basingstoke: Palgrave Macmillan.

Nagib, L. (2016) ‘The Politics of Slowness and the Traps of Modernity’, in T. De Luca and N.B. Jorge (eds) Slow cinema. Edinburgh: Edinburgh University Press, pp. 25–46. Available at: https://contentstore.cla.co.uk/secure/link?id=8835f723-6e98-e711-80cb-005056af4099.

Ndalianis, A. (2015) ‘A Disturbing Feast for the Senses’, Journal of Visual Culture, 14(3), pp. 279–284. Available at: https://doi.org/10.1177/1470412915607928.

Newcomb, H.M. and Hirsch, P.M. (1983) ‘Television as a cultural forum: Implications for research∗’, Quarterly Review of Film Studies, 8(3), pp. 45–55. Available at: https://doi.org/10.1080/10509208309361170.

Niessen, N. (2011) ‘Lives of cinema: against its “death”’, Screen, 52(3), pp. 307–326. Available at: https://doi.org/10.1093/screen/hjr023.

Nixon, S. (2017) ‘Life in the kitchen: Television advertising, the housewife and domestic modernity in Britain, 1955–1969’, Contemporary British History, 31(1), pp. 69–90. Available at: https://doi.org/10.1080/13619462.2016.1245619.

Ozu, Y. et al. (2004) ‘The Noriko trilogy’. London: Tartan Video.

Ozu, Y. et al. (2006) ‘Late autumn’. [S.I.]: Tartan Video.

Ozu, Y. and Noda, K. (2003) Tokyo Story: The Ozu/Noda Screenplay. Available at: https://www.amazon.co.uk/Tokyo-Story-Screenplay-16-Oct-2003-Paperback/dp/B013PREW8K/ref=sr_1_1?ie=UTF8&qid=1505207011&sr=8-1&keywords=Tokyo+Story%3A+The+Ozu%2FNoda+Screenplay.

Perkins, V.F. (1972a) Film as film: understanding and judging movies. Harmondsworth: Penguin.

Perkins, V.F. (1972b) ‘"How” is "What”’, in Film as film: understanding and judging movies. Penguin. Harmondsworth: Penguin, pp. 116–133. Available at: https://contentstore.cla.co.uk/secure/link?id=16d966f4-3d99-e711-80cb-005056af4099.

Pertierra, A.C. and Turner, G. (2013) Locating television: zones of consumption. London: Routledge. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2724171.

Phillips, A. and Stringer, J. (2007) Japanese cinema: texts and contexts. London: Routledge.

Plantinga, C.R. (2009) Moving viewers: American film and the spectator’s experience. Berkeley: University of California Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668563.

‘Please read: V.F. Perkins, “Must We Say What They Mean? Film Criticism and Interpretation”’ (1990) Movie, 34, pp. 1–6. Available at: https://contentstore.cla.co.uk/secure/link?id=565b4837-7a9c-e711-80cb-005056af4099.

Pye, D., Leigh, J. and Smith, S. (2007) Close-up 02. London: Wallflower.

Rachel Moseley and Helen Wheatley (2008) ‘Is Archiving a Feminist Issue? Historical Research and the Past, Present, and Future of Television Studies’, Cinema Journal, 47(3), pp. 152–158. Available at: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/30136123.

Richie, D. (1974) Ozu. Berkeley: University of California Press.

Rodan, D. (2009) ‘Large, sleek, slim, stylish flat screens: Privatized space and the televisual experience’, Continuum, 23(3), pp. 367–382. Available at: https://doi.org/10.1080/10304310902884050.

Rodowick, D.N. (2007) The virtual life of film. Cambridge, Mass: Harvard University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2667173.

Rosenbaum, J. (2000) Is Ozu Slow? Senses of Cinema. Available at: http://sensesofcinema.com/2000/feature-articles/ozu-2/.

Russell, C. (2011) Classical Japanese cinema revisited. New York: Continuum. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2824993.

‘Scarlet Street (1945)’ (no date). BBC2 England. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/00017964?bcast=76007713.

Schrader, P. (1988) Transcendental style in film: Ozu, Bresson, Dreyer. New York: Da Capo.

Sedgwick, E.K. (2003) Touching feeling: affect, pedagogy, performativity. Durham, N.C.: Duke University Press.

‘Senses of cinema’ (no date). Available at: http://sensesofcinema.com/issues/.

Shaviro, S. (1993) The cinematic body. Minneapolis: University of Minnesota Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2914101.

Shouse, E. (2005) ‘Feeling, Emotion, Affect’, M/C Journal, 8(6). Available at: http://www.journal.media-culture.org.au/0512/03-shouse.php.

Silverstone, R. (1994) Television and everyday life. London: Routledge. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2698500.

Smit, A. (2013) ‘Visual Effects and Visceral Affect: “Tele-Affectivity” and the Intensified Intimacy of Contemporary Television’, Critical Studies in Television: The International Journal of Television Studies, 8(3), pp. 92–107. Available at: https://doi.org/10.7227/CST.8.3.8.

Sobchack, V.C. (2004) Carnal thoughts: embodiment and moving image culture. Berkeley: University of California Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2668155.

Song Hwee LIM (2016) ‘Domesticating Time: Gendered Temporalities in Hou Hsiao-hsien’s Café Lumière’, Frontiers of Literary Studies in China, 10(1), pp. 36–57. Available at: https://doi.org/10.3868/s010-005-016-0003-4.

Sontang, S. (1967) ‘Against Interpretation’, in Against interpretation, and other essays. London: Eyre & Spottiswoode, pp. 3–14. Available at: https://contentstore.cla.co.uk/secure/link?id=1d2e7487-799c-e711-80cb-005056af4099.

Spacey, K. (no date) ‘House of cards [videorecording]’.

Spigel, L. (1992) Make room for TV: television and the family ideal in postwar America. Chicago: University of Chicago Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2756011.

Spigel, L. (2009) ‘My TV Studies . . . Now Playing on a You Tube Site Near You’, Television & New Media, 10(1), pp. 149–153. Available at: https://doi.org/10.1177/1527476408325895.

Spigel, L. and Olsson, J. (2004a) Television after TV: essays on a medium in transition. Durham: Duke University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2876268.

Spigel, L. and Olsson, J. (2004b) Television after TV: essays on a medium in transition. Durham: Duke University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2876268.

Stam, R. (2000a) Film theory: an introduction. Malden, Mass: Blackwell.

Stam, R. (2000b) Film theory: an introduction. Malden, Mass: Blackwell.

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The Cine-Files (no date). Available at: http://issue4.thecine-files.com/.

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Wheatley, H. (2007) Re-viewing television history: critical issues in television historiography. London: I. B. Tauris. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2876271.

Willemen, P. and British Film Institute (1994) Looks and frictions: essays in cultural studies and film theory. Bloomington: Indiana University Press.

Williams, Linda (no date) ‘Film Bodies: Gender, Genre, and Excess’, Film Quarterly (ARCHIVE), 44(4). Available at: https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/223102636?accountid=14888.

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Wood, R. (2006) Personal views: explorations in film. Rev. ed. Detroit: Wayne State University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2999423.

Wu, I. (2008) ‘Remapping Ozu’s Tokyo? The Interplay between History and Memory in Hou Hsiao-Hsien’s Café Lumière’, Asian Cinema, 19(1), pp. 172–181. Available at: https://doi.org/10.1386/ac.19.1.172_1.

Wyman, J. et al. (2007) ‘All that heaven allows’. [London?]: Universal Pictures Video.