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Hark IR. General Introduction, of: Exhibition, the film reader. In: Exhibition: the film reader. London: : 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: : 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. London: : 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: : 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. London: : Arnold 1998. 17–32.
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Hilmes, Michele, Jacobs, Jason. ‘Institutions: From Origins to Stability’. In: The television history book. London: : 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. London: : Routledge in association with the British Film Institute 2001. 21–51.https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=165172
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Ellis J. Chapter 10, ‘The Broadcast TV Viewer’. In: Visible fictions: cinema, television, video. London: : Routledge 1992. 160–72.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. Exeter: : University of Exeter Press 2007. 383–93.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. London: : Arnold 2000. 106–13.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. Madison: : University of Wisconsin Press 2007. 3–44.https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=3444956
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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. Bloomington: : 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. New Brunswick, N.J.: : Rutgers University Press 2009. 125–48.https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=892357
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Tryon C, MyiLibrary. ‘The Twitter Effect: Social Media and Digital Delivery’, Chapter. In: On-demand culture: digital delivery and the future of movies. New Brunswick, N.J.: : Rutgers University Press 2013. 117–35.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. Durham: : Duke University Press 2003. https://ebookcentral.proquest.com/lib/nottingham/detail.action?docID=1167926