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Literaturverzeichnis Abbott, H Literaturverzeichnis Abbott, H. Porter (2007): Story, Plot, and Narration. In: David Herman (Hrsg.): The Cambridge Companion to Narrative. Cambridge, S. 39-51. Abbott, H. Porter (2008): The Cambridge Introduction to Narrative. 2. Aufl. Cambridge. Abbott, H. Porter (2014): Narrativity. In: Peter Hühn et al. (Hrsg.): Handbook of Narratology. 2. Aufl. Berlin/Boston, S. 587-607. Ahrens, Jörn (Hrsg.) (2014): The Wire: Analysen zur Kulturdiagnostik populärer Medien. Wiesbaden. Allen, Robert C. (1995): Introduction. In: Ders. (Hrsg.): To Be Continued…: Soap Operas Around the World. London/New York, S. 1-26. Allrath, Gaby u. Marion Gymnich (2005): Introduction. In: Dies. (Hrsg.): Narra- tive Strategies in Television Series. London, S. 1-43. Altman, Rick (1984): A Semantic/Syntactic Approach to Film Genre. In: Cinema Journal, 23, Nr. 3, S. 6-18. Altman, Rick (2008): A Theory of Narrative. New York. Ambrosino, Brendan (2014): The Leftovers, Episode 6: Please Shoot Me. In: Vox. http://www.vox.com/2014/8/4/5966569/the-leftovers-episode-6-please- shoot-me (12.11.2017). Anderson, Christopher (2005): Television Networks and the Uses of Drama. In: Gary R. Edgerton u. Brian Geoffrey Rose (Hrsg.): Thinking Outside the Box. A Contemporary Television Genre Reader. Lexington, S. 65-89. Aristoteles (1994): Poetik. Stuttgart. Armbrust, Sebastian (2012a): Analyzing Storytelling Strategies in Serial Televi- sion Drama: Hybrid Structure and Functional Polyvalence in House M.D. In: Amsterdam International Electronic Journal for Cultural Narratology, Nr. 6. Armbrust, Sebastian (2012b): Konflikte in Serie. Aushandlungen zwischen Indi- viduum und Gesellschaft in The Wire und Mad Men. In: Rabbit Eye – Zeit- schrift für Filmforschung, Nr. 4, S. 71-88. Armbrust, Sebastian (2013): House vs. The Wire. Procedure and Complexity in Contemporary US Serial Television Drama. In: Diegesis, 2, Nr. 1. Asmuth, Bernhard (2004): Einführung in die Dramenanalyse. 6. Aufl. Stuttgart. Bal, Mieke (2009): Narratology. Introduction to the Theory of Narrative. 3. Aufl. Toronto/ London. Baroni, Raphaël (2007): La tension narrative. Suspense, curiosité et surprise. Paris. Baroni, Raphaël (2014): Tellability. In: Peter Hühn et al. (Hrsg.): Handbook of Narratology. 2. Aufl. Berlin/Boston, S. 836-845. Baroni, Raphaël (2015): Plots in Life and Fiction. A Cognitive Reconceptualiza- tion. In: Knjizevna Istorija, Nr. 155, S. 41-56. © Springer Fachmedien Wiesbaden GmbH, ein Teil von Springer Nature 2018 G. Mohr, Slow-Burn-Narration, https://doi.org/10.1007/978-3-658-22675-6 334 Literaturverzeichnis Baroni, Raphaël (2016a): Virtualities of Plot and the Dynamics of Rereading. In: Ders. u. Françoise Revaz (Hrsg.): Narrative Sequence in Contemporary Nar- ratology, S. 87-103. Baroni, Raphaël (2016b): Dramatized Analepsis and Fading in Verbal Narra- tives. In: Narrative, 24, Nr. 3, S. 311-329. Baroni, Raphaël (2017): The Garden of Forking Paths: Virtualities and Chal- lenges for Contemporary Narratology. In: Peter Krogh Hansen et al. (Hrsg.): Emerging Vectors of Narratology. Berlin/Boston, S. 247-264. Barthes, Roland (1988): Einführung in die strukturale Analyse von Erzählungen. In: Ders. (Hrsg.): Das semiologische Abenteuer. Frankfurt am Main, S. 102- 143. Barthes, Roland (2012): S/Z. 6. Aufl. Frankfurt a.M. Bath, Claudia et al. (Hrsg.) (2017): Wie die Sopranos gemacht sind. Wiesbaden. Bellwoar, Rachel M. (2014): Narrative Rising. In: The Compass, 1, Nr. 1, http://scholarworks.arcadia.edu/thecompass/vol1/iss1/4 (28.05.2017). Benveniste, Emile (1966): Problèmes de linguistique générale. Paris. Bergmoser, Gabriel (2016): Better Call Saul Season 2 Episode 9 Review: Nailed. In: Den of Geek. http://www.denofgeek.com/tv/better-call-saul/39847/better- call-saul-season-2-episode-9-review-nailed (19.08.2017). Bilandzic, Helena et al. (2015): Medienrezeptionsforschung. Konstanz/München. Biskind, Peter (2007): The Family that Preys Together. In: Vanity Fair. www .vanityfair.com/news/2007/03/chase200703 (17.06.2017). Blanchet, Robert u. Margarethe Bruun Vaage (2012): Don, Peggy, and Other Fictional Friends? Engaging with Characters in Television Series. In: Projec- tions, 6, Nr. 2, S. 18-41. Bleicher, Joan Kristin (2010): Vorwort. In: Dies. et al. (Hrsg.): Fernsehstil. Ge- schichte und Konzepte. Berlin, S. 7-12. Blumenberg, Hans (2007): Theorie der Unbegrifflichkeit. Frankfurt am Main. Bordwell, David (1985a): Narration in the Fiction Film. Madison. Bordwell, David (1985b): The Classical Hollywood Style, 1917-60. In: Ders. et al. (Hrsg.): The Classical Hollywood Cinema. Film Style and Mode of Pro- duction to 1960. New York, S. 1-83. Bordwell, David (1989): Historical Poetics of Cinema. In: R. Barton Palmer (Hrsg.): The Cinematic Text. Methods and Approaches. New York, S. 369- 398. Bordwell, David (1991): Making Meaning. Inference and Rhetoric in the Inter- pretation of Cinema. Cambridge/London. Bordwell, David (1992): Kognition und Verstehen. Sehen und Vergessen in Mildred Pierce. In: Montage AV, 1, Nr. 1, S. 5-24. 335 Bordwell, David (2005): Figures Traced in Light. On Cinematic Staging. Berke- ley [u.a.]. Bordwell, David (2006): The Way Hollywood Tells It. Story and Style in Mod- ern Movies. Berkeley. Bordwell, David (2007): Poetics of Cinema. New York/London. Bordwell, David u. Kristin Thompson (2008): Film Art. An Introduction. 8. Aufl. Boston [u.a.]. Bordwell, David (2011): This Is Your Brain on Movies, Maybe. In: Ders. u. Kristin Thompson (Hrsg.): Minding Movies. Observations on the Art, Craft, and Business of Filmmaking. Chicago, S. 96-102. Bordwell, David (2014): Visual Storytelling: Is That All? In: Observations on Film Art. www.davidbordwell.net/blog/2014/12/07/visual-storytelling-is-that -all (28.07.2017). Borstnar, Nils et al. (2008): Einführung in die Film- und Fernsehwissenschaft. 2. Aufl. Konstanz. Bourdaa, Melanie (2011): Quality Television: Construction and De-Construction of Seriality. In: Miguel Perez-Gomez (Hrsg.): Interdisciplinary Studies on TV Series in the Third Golden Age of Television. Sevilla, S. 33-43. Bowman, Donna (2016a): Better Call Saul’s Showmanship Has One Simple Secret. In: AV Club.https://tv.avclub.com/better-call-saul-s-showmanship- has-one-simple-secret-798186778 (21.04.2017). Bowman, Donna (2016b): Kim Wexler Gets Her Star Turn on a Devastating Better Call Saul. In: AV Club. https://www.avclub.com/tvclub/kim-wexler- gets-her-star-turn-devastating-better-c-233716. (30.07.2017). Bowman, Donna (2016c): Kim and Jimmy Make Their Separate Moves Togeth- er. In: AV Club. https://tv.avclub.com/kim-and-jimmy-make-their-separate- moves-together-1798187171 (17.08.2017). Braffet, Kelly (2014): The Leftovers Recap: More Perfect Strangers. In: Vulture. http://www.vulture.com/2014/08/leftovers-recap-season-1-national-geogra phic magazine.html (19.11.2017). Branigan, Edward (1992): Narrative Comprehension and Film. London [u.a.]. Bremond, Claude (2014): The Logic of Narrative Possibilities. In: José Angel García Landa u. Susana Onega (Hrsg.): Narratology. An Introduction. Lon- don/New York, S. 61-75. Brooks, Peter (1984): Reading for the Plot. Design and Intention in Narrative. Cambridge. Bruce, Bertram (1978): What Makes a Good Story? In: Language Arts, 55, Nr. 4, S. 460-466. Bruun Vaage, Margrethe (2016): The Antihero in American Television. New York. 336 Literaturverzeichnis Bower, Gordon H. u. Mike Rinck (1999): Goals as Generators of Activation in Narrative Understanding. In: Susan R. Goldman et al. (Hrsg.): Narrative Comprehension, Causality, and Coherence. Essays in Honor of Tom Trabas- so. Mahwah/London, S. 111-134. Buckland, Warren (2009): Introduction: Puzzle Plots. In: Ders. (Hrsg.): Puzzle Films. Complex Storytelling in Contemporary Cinema. Malden, S. 1-12. Butler, Jeremy G. (2010): Television Style. New York/London. Caglayan, Orhan Emre (2014): Screening Boredom. The History and Aesthetics of Slow Cinema. Kent. Caldwell, John T. (2003): Second-Shift Media Aesthetics. Programming, Inter- activity, and User Flows. In: Anna Everett u. ders. (Hrsg.): New Media: The- ories and Practices of Digitextuality. New York/London, S. 127-144. Cantor, Muriel G. u. Suzanne Pingree (1983): The Soap Opera. London. Cardwell, Sarah (2006): Television Aesthetics. In: New Media & Society, 1, Nr. 1, S. 72-80. Carroll, Noel (1996): Theorizing the Moving Image. Cambridge/New York. Chase, David (2002): The Sopranos: Selected Scripts from Three Seasons. New York. Chatman, Seymour B. (1978): Story and Discourse. Narrative Structure in Fic- tion and Film. Ithaca/London. Chung, Donghun et al. (2007): Influence of Avatar Creation on Attitude, Empa- thy, Presence, and Para-Social Interaction. In: Julie A. Jacko (Hrsg.): Human- Computer Interaction. Interaction Design and Usability. Berlin/Heidelberg, S. 711-720. Clarke, M.J. (2010): Lost and Mastermind Narration. In: Television & New Media, 11, Nr. 2, S. 123-142. Collins Dictionary: http://www.collinsdictionary.com/de/worterbuch/englisch/ slow-burning (25.11.2016). Collins, John T. (2016): Revisiting Boardwalk Empire, the Most Underappreci- ated Drama of Its Time. In: Vulture. http://www.vulture.com/2016/02/ board- walk-empire-is-the-most-underrated-drama-of-its-time.html. (29.11.2016). Cook, Martie (2014): Write to TV: Out of Your Head and onto the Screen. 2. Aufl. New York/London. Copeland, Gary A. (2007): A History of Television Style. In: Jeremy G. Butler (Hrsg.): Television Style. Critical Methods and Applications. 3. Aufl. Mah- wah, S. 253-284. Creeber, Glen (2004): Serial Television. Big Drama on the Small Screen. Lon- don. 337 Cromb, Brenda
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