| |
Altman, R. (1995). A semantic/syntactic approach
to film genre. In B. K. Grant (Ed.), Film Genre Reader II (pp. 26–40).
Austin: University of Texas Press. |
Ang, I. (1985). Watching “Dallas”:
Television and the melodramatic imagination. New York: Routledge.
|
Bennett, T., & Woollacott, J. (1987). Bond and
beyond: The political career of a popular hero. New York: Methuen.
|
Brooks, R. (2001). Sport. In G. Creeber (Ed.),
The television genre book (pp. 87–89). London: British Film
Institute.
|
Brown, M. E. (1994). Soap opera and women’s
talk. Thousand Oaks, CA: Sage.
|
Creeber, G., ed (2001). The television genre book.
London: British Film Institute.
|
Dayan, D., & Katz, E. (1992). Media events: The
live broadcasting of history. Cambridge, MA: Harvard University
Press.
|
Desser, D. (2000). The martial arts film in the
1990s. In W. Dixon (ed), Film genre 2000: New critical essays (pp.
77–110) Albany, NY: SUNY Press.
|
Dovey, J. (2001). Reality TV. In In G. Creeber
(Ed.), The television genre book (pp. 134–137). London: British
Film Institute.
|
Fiske, J. (1994). Audiencing: Cultural practice
and cultural studies. In N. Denzin & Y. Lincoln (Eds.), The
handbook of qualitative research(189-198). Thousand Oaks, CA:
Sage.
|
Giroux, H. (2001). The mouse that roared: Disney
and the end of innocence. New York: Rowman & Littlefield.
|
Giroux, H. (1996). Fugitive cultures: Race, violence
& youth. New York: Routledge.
|
Graff, K. (2003, February 1). References
on the Web: Graphic novels.
Booklist.
|
Grant, B. K. (1995). Experience and meaning in
genre films. In In B. K. Grant (Ed.), Film Genre Reader II (pp.
114–127). Austin: University of Texas Press.
|
Hartley, J. (2001). Situation comedy. In G. Creeber
(Ed.), The television genre book (pp. 65–67). London: British
Film Institute.
|
Jenkins, H. (1992). Textual poachers: Television
fans and participatory culture. New York: Routledge. ever
|
Jenkins, H. (1997). “Never trust a snake!”:
WWF wrestling as masculine melodrama. In A. Barker & T, Boyd (Eds.),
Out of Bounds: Sports, Media and the Politics of Identity, Bloonington,
IN: Indiana University Press.
|
Kellner, D. (2000). Beavis and Butt-Head: No future
for postmodern youth. In H. Newcomb (Ed)., Television: The Critical
View(pp. 319–329). New York: Oxford University Press.
|
McKinley, E. G. (1997). “Beverly Hills 90210”:
Television, gender, and identity. Philadelphia: University of Pennsylvania
Press.
|
Miller, T. (2001). The action series. In G. Creeber
(Ed.), The television genre book (pp. 17–19). London: British
Film Institute.
|
Peck, J. (1995). TV talk shows as therapeutic
discourse: The ideological labor of the televised talking cure.
Communication Theory, 5(1).
|
Pungente, J. J., & O’Malley, M. (1999).
More than meets the eye: Watching television watching us. Toronto:
McClelland & Stewart.
|
Reinertsen, C. (1993). Wednesday night is girls’
night. Unpublished paper. Minneapolis: University of Minnesota.
|
Schatz, T. (1995). The structural influence: New
directions in film genre study. In B. K. Grant (Ed.), Film genre
reader II (pp. 26–40). Austin: University of Texas Press.
|
Scott, A. O. (2002, June 16). A hunger for fantasy,
A movie empire to feed it. The New York Times. 1, 26.
|
Shattuc, J. (2001). The confessional talk show.
In G. Creeber (Ed.), The television genre book (pp. 84-87). London:
British Film Institute.
|
Skovmand, M. (2000). Barbarous TV International:
Syndicated Wheels of Fortune. In H. Newcomb (Ed.), Television: The
critical view (pp. 367–383). New York: Oxford University Press.
|
Sontag, S. (1969). Against interpretation.
New York: Dell.
|
Tannen, D. (1999). The argument culture: Stopping
America’s war of words. New York: Ballentine.
|
The White House Project. (2002). Women’s
Presence on Political Talk Shows Before and After Sept. 11.
|
Welsh, J. (2000). Action films: The serious, the
ironic, the postmodern. In W. Dixon (ed), Film genre 2000: New critical
essays (pp. 161–176) Albany, NY: SUNY Press.
|
Tulloch, J. (2001). Soap operas and their audiences.
In In G. Creeber (Ed.), The television genre book (pp. 55–57).
London: British Film Institute |