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Hark IR. General Introduction, of: Exhibition, the film reader. In: Exhibition: The Film Reader. Vol In focus--Routledge film readers. Routledge; 2002:16-1. https://contentstore.cla.co.uk/secure/link?id=e50ec56d-251c-e611-80bd-0cc47a6bddeb
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Thompson E, Mittel J. An Owner’s Manual For Television. In: How to Watch Television. New York University; 2013. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1336355
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Grieveson L. Chapter 5, Why the Audience Mattered in Chicago in 1907, of: American movie audiences: from the turn of the century to the early sound era. In: American Movie Audiences: From the Turn of the Century to the Early Sound Era. British Film Institute; 1999:79-91. https://contentstore.cla.co.uk/secure/link?id=2b6d6880-251c-e611-80bd-0cc47a6bddeb
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Gomery D. Chapter 5, The Age of the Dream Palace and the Rise of the Star System, of: Film histories: an introduction and reader. In: Film Histories: An Introduction and Reader. Edinburgh University Press; 2007:93-119. https://contentstore.cla.co.uk/secure/link?id=4f6dfd79-251c-e611-80bd-0cc47a6bddeb
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Gripsrud J. ‘Television, Broadcasting and Flow: Key Metaphors in TV Theory’. In: The Television Studies Book. Arnold; 1998:17-32.
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Hilmes, Michele, Jacobs, Jason. ‘Institutions: From Origins to Stability’. In: The Television History Book. British Film Institute; 2003:22-44.
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Hill A, Gauntlett D. ‘Television and Everyday Life’. In: TV Living: Television, Culture, and Everyday Life. Routledge in association with the British Film Institute; 2001:21-51. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=165172
8.
Ellis J. Chapter 10, ‘The Broadcast TV Viewer’. In: Visible Fictions: Cinema, Television, Video. Rev. ed. Routledge; 1992:160-172. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=178323
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Jancovich M. Cinema comes to life at the Cornerhouse, Nottingham. In: Going to the Movies: Hollywood and the Social Experience of Cinema. Vol Exeter studies in film history. University of Exeter Press; 2007:383-393. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1611495
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Naremore J. American Film Noir: The History of an Idea, of: The film studies reader. In: The Film Studies Reader. Arnold; 2000:106-113. https://contentstore.cla.co.uk/secure/link?id=958ec767-251c-e611-80bd-0cc47a6bddeb
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Neupert R. ‘Cultural Contexts: Where Did the Wave Begin?’ In: A History of the French New Wave Cinema. Vol Wisconsin studies in film. 2nd ed. University of Wisconsin Press; 2007:3-44. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=3444956
12.
Klinger B. Chapter 3, Tastemaking: Reviews, Popular Canons, and Soap Operas, of: Melodrama and meaning: history, culture, and the films of Douglas Sirk. In: Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk. Indiana University Press; 1994:69-96. https://contentstore.cla.co.uk/secure/link?id=8a0168f1-e29d-e611-80c7-005056af4099
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Tryon C. ‘Toppling the Gates: Blogging as Networked Film Criticism’, chapter. In: Reinventing Cinema: Movies in the Age of Media Convergence. Rutgers University Press; 2009:125-148. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=892357
14.
Tryon C, MyiLibrary. ‘The Twitter Effect: Social Media and Digital Delivery’, Chapter. In: On-Demand Culture: Digital Delivery and the Future of Movies. Rutgers University Press; 2013:117-135. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1184490
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Acland C. Cinemagoing as ’Felt Internationalism. In: Screen Traffic: Movies, Multiplexes, and Global Culture. Duke University Press; 2003. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1167926