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09/25/21 FT2PTG: Popular Television | University of Reading

FT2PTG: Popular Television Genres View Online

Agger, G., 2013a: The Killing: Urban topographies of a crime. Journal of Popular Television, 1.

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Allen, R. C., 1992: Channels of discourse reassembled: television and contemporary criticism. 2nd ed. Routledge,.

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Amore, L. M. D’, ed., 2014a: Smart chicks on screen: representing women’s intellect in film and television. Rowman & Littlefield,.

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Arvas, P., and A. Nestingen, 2011: Scandinavian crime fiction. University of Wales Press,.

Bennett, T., and Open University, 1981: Popular television and film: a reader. BFI Publishing in association with the Open University Press,.

Bentham, J., 1986: Doctor Who: the early years. W.H. Allen,.

Bernardi, D., 1998: Star trek and history: race-ing toward a white future. Rutgers University Press,.

Bignell, J., and A. O’Day, 2004: Terry Nation. Manchester University Press,.

——, and S. Lacey, 2005a: Popular television drama: critical perspectives. Manchester University Press, 76–92.

——, and ——, 2005b: Popular television drama: critical perspectives. Manchester University Press,.

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Booker, M. K., 2004: Science fiction television. Praeger,.

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Bould, M., 2009a: The Routledge companion to science fiction. Routledge,.

——, 2009b: The Routledge companion to science fiction. Routledge.

——, 2009c: The Routledge companion to science fiction. Routledge.

——, 2009d: The Routledge companion to science fiction. Routledge.

Britton, P. D., and S. J. Barker, 2003: Reading between designs: visual imagery and the generation of meaning in The avengers, The prisoner, and Doctor Who. University of Texas Press,.

Brunsdon, C., 2010: Bingeing on box-sets: the national and the digital in television crime drama. Relocating television: television in the digital context, Vol. Comedia of, Routledge, 63–75.

——, and L. Spigel, 2008: Feminist : a reader. 2nd ed. Open University Press,.

Burke, S., 1995: Authorship: from Plato to the postmodern : a reader. Edinburgh University Press,.

Butler, D., 2007a: Time and relative dissertations in space: critical perspectives on Doctor Who. Manchester University Press.

——, 2007b: Time and relative dissertations in space: critical perspectives on Doctor Who. Manchester University Press,.

Butler, J. G., 2010: Television style. Routledge,.

Caldwell, J. T., 2008: Production culture: industrial reflexivity and critical practice in film and television. Duke University Press,.

Carson, B., and M. Llewellyn-Jones, 2000: Frames and fictions on television: the politics of identity within drama. Intellect,.

Caughie, J., 1981: Theories of authorship: a reader. Routledge & Kegan Paul in association with the British Film Institute,.

Chapman, J., 2006: Inside the Tardis: the worlds of Doctor Who : a cultural history. I.B. Tauris,.

Clarke, M., and British Film Institute, 1987: Teaching popular television. Heinemann Educational in association with the British Film Institute,.

Cook, J., 1982: Television . BFI,.

Cook, J. R., and P. Wright, 2006a: British science fiction television: a hitchhiker’s guide. I.B. Tauris,.

——, and ——, 2006b: British science fiction television: a hitchhiker’s guide. I.B. Tauris.

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——, and ——, 2006c: British science fiction television: a hitchhiker’s guide. I.B. Tauris.

Corner, J., and S. Harvey, 1996: Television times: a reader. Arnold,.

Coward, R., 1987: Dennis Potter and the question of the television author.

Creeber, G., 2004: Serial killers: murder, masculinity and the reinvention of the crime genre. Serial television: big drama on the small screen, BFI, 78–112.

——, 2015: Killing us softly: Investigating the aesthetics, philosophy and influence of Nordic Noir television. The Journal of Popular Television, 3, 21–35, https://doi.org/10.1386/jptv.3.1.21_1.

——, and British Film Institute, 2006: Tele-visions: an introduction to studying television. BFI,.

——, T. Miller, and J. Tulloch, 2001a: The television genre book. British Film Institute,.

——, ——, and ——, 2001b: The television genre book. British Film Institute,.

——, ——, and ——, 2008: The television genre book. 2nd ed. BFI/Palgrave Macmillan,.

Dalton, M. M., and L. R. Linder, 2005: The sitcom reader: America viewed and skewed. State University of New York Press,.

Dima, V., ‘I Am Not Insane. My Mother Had Me Tested’: The Mothers of the Big Bang - Bright Lights Film Journal. http://brightlightsfilm.com/i-am-not-insane-my-mother-had-me-tested-the-mothers-of-the-b ig-bang/#.VaultNZGzwc.

Dines, G., and J. M. Humez, 1995: Gender, race, and class in media: a text-reader. Sage,. Duguid, M., BFI Screenonline: Race and the Sitcom. http://www.screenonline.org.uk/tv/id/1108234/index.html.

Edgerton, G. R., and B. G. Rose, 2005a: Thinking outside the box: a contemporary television genre reader. University Press of Kentucky,.

——, and ——, 2005b: Thinking outside the box: a contemporary television genre reader. University Press of Kentucky,.

Esposito, J., 2009: What Does Race Have to Do with Ugly Betty?: An Analysis of Privilege and Postracial(?) Representations on a Television Sitcom. Television & New Media, 10, 521–535, https://doi.org/10.1177/1527476409340906.

Farghaly, N., and E. Leone, eds., 2015: The sexy science of : essays on gender in the series. McFarland & Company, Inc., Publishers,.

Feasey, R., 2008: Police and crime drama: investigating male authority. Masculinity and popular television, Edinburgh University Press, 80–93.

Finney, G., 1994: Look who’s laughing: gender and comedy. Gordon and Breach,.

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Free, M., 2015: ‘Don’t Tell Me I’m Still on that Feckin' Island': Migration, Masculinity, British Television and Irish Identity in the Work of . Critical Studies in Television: An International Journal of Television Studies, 10, 4–20, https://doi.org/10.7227/CST.10.2.2.

Gibbs, J., 2012: Balancing act: exploring the tone of. New Review of Film and Television Studies, 10, 132–151, https://doi.org/10.1080/17400309.2011.635035.

Goodwin, A., and G. Whannel, 1990: Understanding television. Routledge,.

Hark, I. R., 2008: Star Trek. BFI,.

Harrison, T., 1996: Enterprise zones: critical positions on Star trek. Westview Press,.

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Hilmes, M., 2014: Transnational TV: What Do We Mean by "Coproduction” Anymore? Media Industries, 1.

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Hunt, L., 2013: Cult British TV comedy: from Reeves and Mortimer to Psychoville. Manchester University Press,.

I, B., and R. EN, 2015: Breaking Borders: The International Success of Danish Television Drama. European Cinema and Television: Cultural Policy and Everyday Life, Palgrave Macmillan (Digital), 214–238.

James McDowell, Notes on Quirky.

Jensen, P. M., and A. M. Waade, 2013: Nordic Noir challenging ‘the language of advantage’: Setting, light and language as production values in Danish television series. The Journal of Popular Television, 1, 259–265, https://doi.org/10.1386/jptv.1.2.259_1.

Jermyn, D., 2003: Women with a mission: Lynda La Plante, DCI Jane Tennison and the reconfiguration of TV crime drama. International Journal of Cultural Studies, 6.

Johnson, C., 2005a: Telefantasy. BFI,.

——, 2005b: Telefantasy. BFI.

Johnson-Smith, J., 2005: American science fiction tv: Star Trek, Stargate and beyond. I.B. Tauris,.

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Karlyn, K. R., 1995: The unruly woman: gender and the genres of laughter. University of Texas Press,.

Klein, K. G., 1995: The woman detective: gender & genre. 2nd ed., Illini Books ed. University of Illinois Press,.

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Mastro, D. E., and B. S. Greenberg, 2000: The Portrayal of Racial Minorities on Prime Time Television. Journal of Broadcasting & Electronic Media, 44, 690–703, https://doi.org/10.1207/s15506878jobem4404_10.

Mayer, V., M. J. Banks, and J. T. Caldwell, 2009: Production studies: cultural studies of media industries. Routledge,.

McCabe, J., 2015: Appreciating Wallander at the BBC: producing culture and performing the glocal in the UK and Swedish Wallanders for British public service television. Journal of Media and Cultural Studies,.

——, D. Hélène, L. Recayte, S. Deeks, and L. Mazdon, 2012: Exporting French Crime: The Engrenages/Spiral Dossier. Critical Studies in Television: An International Journal of Television Studies, 7, 101–118, https://doi.org/10.7227/CST.7.2.12.

McCutcheon, M. A., 2009: Downloading dopplegèangers: new media anxieties and transnational in Battlestar Galactica.

McIntosh, H., 2014: Representations of Female Scientists in The Big Bang Theory. Journal of Popular Film and Television, 42, 195–204, https://doi.org/10.1080/01956051.2014.896779.

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Mills, B., 2004: Comedy verite: contemporary sitcom form. Screen, 45, 63–78, https://doi.org/10.1093/screen/45.1.63.

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Mills, B., 2008: ‘Paranoia, paranoia, everybody’s coming to get me’: Peep Show, sitcom, and the surveillance society. Screen, 49, 51–64, https://doi.org/10.1093/screen/hjn004.

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Mittell, J., 2004: Genre and television: from cop shows to cartoons in American culture. Routledge,.

——, 2015: Complex TV: the poetics of contemporary television storytelling. New York University Press,.

Mizejewski, L., 2004: Hardboiled & high heeled: the woman detective in . Routledge,.

Morreale, J., 2003: Critiquing the sitcom: a reader. Syracuse University Press,.

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Newcomb, H., and Museum of Broadcast Communications, 2004a: Encyclopedia of television. 2nd ed. Fitzroy Dearborn,.

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——, and E. Levine, 2012a: Legitimating television: media convergence and cultural status. Routledge,.

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——, and ——, 2012c: Legitimating television: media convergence and cultural status. Routledge,.

Nunn, H., and A. Biressi, 2003: Silent Witness: Detection, Femininity, and the Postmortem Body. Feminist Media Studies, 3.

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Peacock, S., 2011: The Impossibility of Isolation in Wallander. Critical Studies in Television, 6.

Piper, H., 2015a: The TV detective: voices of dissent in contemporary television. I.B. Tauris,.

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——, 2015b: The TV detective: voices of dissent in contemporary television. I.B. Tauris,.

Potter, T., and C. W. Marshall, 2008: Cylons in America: critical studies in Battlestar Galactica. Continuum,.

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Redvall, E. N., 2013: ‘Dogmas’ for television drama: The ideas of ‘one vision’, ‘double storytelling’, ‘’ and ‘producer’s choice’ in drama series from the Danish public service broadcaster DR. The Journal of Popular Television, 1, 227–234, https://doi.org/10.1386/jptv.1.2.227_1.

Robin Nelson, 2008: Locating Poliakoff: an Auteur in Contemporary TV Drama. Journal of British Cinema and Television, 3, 122–127, https://doi.org/JBCTV.2006.3.1.122.

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Sepinwall, A. G., 2013: The revolution was televised: the cops, crooks, slingers, and slayers who changed TV drama forever. Simon & Schuster,.

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Smith, J., 2005: The Frenzy of the Audible: Pleasure, Authenticity, and Recorded Laughter. Television & New Media, 6, 23–47, https://doi.org/10.1177/1527476404268114.

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Telotte, J. P., 2008a: The essential science fiction television reader. University Press of Kentucky,.

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Ward, S., 2013: Finding ‘public purpose’ in ‘subtitled oddities’: Framing BBC Four’s Danish imports as public service broadcasting. The Journal of Popular Television, 1, 251–257, https://doi.org/10.1386/jptv.1.2.251_1.

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Weitekamp, M. A., 2015: ‘We’re physicists’: Gender, genre and the image of scientists in The Big Bang Theory. The Journal of Popular Television, 3, 75–92, https://doi.org/10.1386/jptv.3.1.75_1.

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