Ahmed, Sara. n.d. ‘Making Feminist Points’. Retrieved (https://feministkilljoys.com/2013/09/11/making-feminist-points/).
Amy Holdsworth. 2008. ‘“Television Resurrections”: Television and Memory’. Cinema Journal 47(3):137–44.
Andrews, Hannah. 2011. ‘On the Grey Box: Broadcasting Experimental Film and Video on Channel 4’s’. Visual Culture in Britain 12(2):203–18. doi: 10.1080/14714787.2011.575262.
Andrews, Hannah. 2014. Television and British Cinema: Convergence and Divergence since 1990. Basingstoke: Palgrave Macmillan.
Anon. 1990. ‘Please Read: V.F. Perkins, “Must We Say What They Mean? Film Criticism and Interpretation”’. Movie 34:1–6.
Anon. n.d.-a. ‘All That Heaven Allows (1955)’.
Anon. n.d.-b. ‘Far from Heaven (2002)’.
Anon. n.d.-c. ‘Grayson Perry: Divided Britain’.
Anon. n.d.-d. ‘Late Spring (1949)’.
Anon. n.d.-e. ‘Scarlet Street (1945)’.
Anon. n.d.-f. ‘Senses of Cinema’.
Anon. n.d.-g. ‘The Cine-Files’. Retrieved (http://issue4.thecine-files.com/).
Barr, Charles and British Film Institute. 1986a. All Our Yesterdays: 90 Years of British Cinema. London: BFI Publishing.
Barr, Charles and British Film Institute. 1986b. All Our Yesterdays: 90 Years of British Cinema. London: BFI Publishing.
Bazin, André, and Hugh Gray. 2005. What Is Cinema? Berkeley: University of California Press.
Bennett, James, and Niki Strange. 2011a. Television as Digital Media. Vol. Console-ing passions. Durham, NC: Duke University Press.
Bennett, James, and Niki Strange. 2011b. Television as Digital Media. Vol. Console-ing passions. Durham, NC: Duke University Press.
Bennett, James, and Niki Strange. 2011c. Television as Digital Media. Vol. Console-ing passions. Durham, NC: Duke University Press.
Bignell, Jonathan, and Stephen Lacey. 2005. Popular Television Drama: Critical Perspectives. Manchester: Manchester University Press.
Bordwell, D. 1988. ‘Towards Intrinsic Norms’. Pp. 73–88 in Ozu and the poetics of cinema. London: BFI Publishing.
Bordwell, David. 2013. ‘“Watch Again! Look Well! Look! (For Ozu)”’. Retrieved (http://www.davidbordwell.net/blog/2013/12/12/watch-again-look-well-look-for-ozu/).
Brinkema, Eugenie. 2014. The Forms of the Affects. Durham: Duke University Press.
Britton, Andrew, and Barry Keith Grant. 2009. Britton on Film: The Complete Film Criticism of Andrew Britton. Vol. Contemporary approaches to film and television series. Detroit: Wayne State University Press.
Browne, Nick. 1984. ‘The Political Economy of the Television (Super) Text’. Quarterly Review of Film Studies 9(3):174–82. doi: 10.1080/10509208409361210.
Bruno, Giuliana. 2007. Atlas of Emotion: Journeys in Art, Architecture and Film. New York: Verso.
Brunsdon, C. 1991. ‘Pedagogies of the Feminine: Feminist Teaching and Women’s Genres’. Screen 32(4):364–81. doi: 10.1093/screen/32.4.364.
Buckland, Warren, ed. 2014. Hollywood Puzzle Films. Vol. AFI film readers. New York: Routledge.
Buonanno, Milly. 2008a. The Age of Television: Experiences and Theories. Bristol: Intellect.
Buonanno, Milly. 2008b. The Age of Television: Experiences and Theories. Bristol: Intellect.
Burch, N. 1979. ‘Ozu Yasujiro’. Pp. 154–85 in To the distant observer: form and meaning in the Japanese cinema. London: Scolar Press.
Caldwell, J.T. 1995. ‘Excessive Style: The Crisis of Network Television’. Pp. 3–31 in Televisuality: style, crisis, and authority in American television. Vol. Communication, media, and culture. New Brunswick, N.J.: Rutgers University Press.
Caldwell, John Thornton. 1995. Televisuality: Style, Crisis, and Authority in American Television. Vol. Communication, media, and culture. New Brunswick, N.J.: Rutgers University Press.
Caldwell, John Thornton, and Anna Everett. 2003. New Media: Theories and Practices of Digitextuality. Vol. AFI film readers. New York: Routledge.
Cameron, Ian. 1992. The Movie Book of Film Noir. London: Studio Vista.
Cannadine, David and University of London. Institute of Historical Research. 2004. History and the Media. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
Carroll, Noël. 2009. On Criticism. Vol. Thinking in action. New York: Routledge.
Clayton, Alex, and Andrew Klevan. 2011a. ‘Introduction: The Language and Style of Film Criticism’. in The language and style of film criticism. Abingdon, Oxon: Routledge.
Clayton, Alex, and Andrew Klevan. 2011b. The Language and Style of Film Criticism. Abingdon, Oxon: Routledge.
Coen, Joel, Ethan Coen, William H. Macy, and Frances McDormand. 2004. ‘Fargo’.
Corner, John. 1991a. Popular Television in Britain: Studies in Cultural History. London: BFI Publishing.
Corner, John. 1991b. Popular Television in Britain: Studies in Cultural History. London: BFI Publishing.
Corner, John. 1999a. Critical Ideas in Television Studies. Vol. Oxford television studies. Oxford: Clarendon Press.
Corner, John. 1999b. Critical Ideas in Television Studies. Vol. Oxford television studies. Oxford: Clarendon Press.
Corner, John. 2003. ‘Finding Data, Reading Patterns, Telling Stories: Issues in the Historiography of Television.’ Media, Culture & Society; 25(2).
Couldry, Nick, and Anna McCarthy. 2004. MediaSpace: Place, Scale, and Culture in a Media Age. Vol. Comedia. London: Routledge.
Crary, Jonathan. 1990. Techniques of the Observer: On Vision and Modernity in the  Nineteenth Century. Vol. October books. Cambridge, Mass: MIT Press.
Creeber, Glen. 2006. Tele-Visions: An Introduction to Studying Television. London: BFI.
DAVID BORDWELL. 2011. ‘NEVER THE TWAIN Why Can’t Cinephiles and Academics Just Get along? SHALL MEET’. Film Comment 47(3):38–41.
De Luca, Tiago, and Nuno Barradas Jorge, eds. 2016a. Slow Cinema. Vol. Traditions in world cinema. Edinburgh: Edinburgh University Press.
De Luca, Tiago, and Nuno Barradas Jorge, eds. 2016b. Slow Cinema. Vol. Traditions in world cinema. Edinburgh: Edinburgh University Press.
Denis, Claire, Bruno Pesery, Jean-Pol Fargeau, Alex Descas, Mati Diop, Nicole Dogué, Grégoire Colin, Ingrid Caven, Soudaine compagnie, Arte France cinéma (Firm), Pandora Film (Firm), and Tindersticks (Musical group). 2008. ‘35 Rhums: 35 Shots of Rum’.
Desser, David. 1997. Ozu’s Tokyo Story. Vol. Cambridge film handbooks series. Cambridge: Cambridge University Press.
Eleftheriotis, Dimitris, and Gary Needham. 2006. Asian Cinemas: A Reader and Guide. Edinburgh: Edinburgh University Press.
Ellis, John. 1992a. Visible Fictions: Cinema, Television, Video. Rev. ed. London: Routledge.
Ellis, John. 1992b. Visible Fictions: Cinema, Television, Video. Rev. ed. London: Routledge.
Elsaesser, Thomas. 2016. Film History as Media Archaeology: Tracking Digital Cinema. Vol. Film culture in transition. Amsterdam: Amsterdam University Press.
Elsaesser, Thomas, and Malte Hagener. 2010a. Film Theory: An Introduction through the Senses. New York: Routledge.
Elsaesser, Thomas, and Malte Hagener. 2010b. Film Theory: An Introduction through the Senses. New York: Routledge.
Evans, Victoria L. 2017. Douglas Sirk, Aesthetic Modernism and the Culture of Modernity. Edinburgh: Edinburgh University Press.
Fassbinder, Rainer Werner, Brigitte Mira, El Hedi Ben Salem, Barbara Valentin, Irm Hermann, Elma Karlowa, Anita Bucher, Gusti Kreissl, Doris Mattes, Margit Symo, Jürgen Jürges, Thea Eymèsz, Rainer Werner Fassbinder Foundation, Tango Film Produktion, Criterion Collection (Firm), and Wellspring Media. 2003. Ali, Fear Eats the Soul. Vol. Criterion collection. [United States]: Criterion Collection.
Fiske, John. 2011. Television Culture. 2nd ed. London: Routledge.
Friedberg, Anne. 2006. The Virtual Window: From Alberti to Microsoft. Cambridge, Mass: MIT Press.
Fuller, Bryan, Michael Green, Neil Gaiman, Ricky Whittle, Emily Browning, Pablo Schreiber, FremantleMedia North America, and StudioCanal Limited. 2017. ‘American Gods: Complete Season One’.
Geller, Matthew and New Museum of Contemporary Art (New York, N.Y.). n.d. From Receiver to Remote Control: The TV Set. New York: New Museum of Contemporary Art.
Geraghty, Christine, and David Lusted. 1998. The Television Studies Book. London: Arnold.
Gibbs, John Edward. 2002. Mise-En-Scène: Film Style and Interpretation. Vol. Short cuts. London: Wallflower.
Gibbs, John, and Douglas Pye. 2005a. Style and Meaning: Studies in the Detailed Analysis of Film. Manchester: Manchester University Press.
Gibbs, John, and Douglas Pye. 2005b. Style and Meaning: Studies in the Detailed Analysis of Film. Manchester: Manchester University Press.
Gibbs, John, and Douglas Pye. 2005c. Style and Meaning: Studies in the Detailed Analysis of Film. Manchester: Manchester University Press.
Gillis, Stacy, and Joanne Hollows. 2008. Feminism, Domesticity and Popular Culture. Vol. Routledge advances in sociology. London: Routledge.
Goerge Toles. 1999. ‘Obvious Mysteries in Fargo’. Michigan Quarterly Review 38(4).
Gorton, Kristyn. 2009. Media Audiences: Television, Meaning and Emotion. Vol. Media topics. Edinburgh: Edinburgh University Press.
Gott, Michael, Thibaut Schilt, and Laura Rascaroli. 2013. Open Roads, Closed Borders: The Contemporary French-Language Road Movie. Bristol, UK: Intellect.
Graf, Alexander. 2002. The Cinema of Wim Wenders: The Celluloid Highway. Vol. Directors’ cuts. London: Wallflower Press.
Grainge, Paul. 2011. Ephemeral Media: Transitory Screen Culture from Television to YouTube. London: BFI.
Gregg, Melissa, and Gregory J. Seigworth. 2010. The Affect Theory Reader. Durham, NC: Duke University Press.
Gumbrecht, Hans Ulrich, and Karl Ludwig Pfeiffer. 1994. Materialities of Communication. Vol. Writing science. Stanford, Calif: Stanford University Press.
Gunning, T. 2007. ‘Moving Away from the Index: Cinema and the Impression of Reality’. Differences 18(1):29–52. doi: 10.1215/10407391-2006-022.
Halliday, Jon. 1997. ‘Conversations with Jon Halliday’. Retrieved (https://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=halliday++Conversations+with+Jon+Halliday&rh=n%3A266239%2Ck%3Ahalliday++Conversations+with+Jon+Halliday).
Hartley, John. 1999. Uses of Television. London: Routledge.
Hemmings, Clare. 2005. ‘INVOKING AFFECT’. Cultural Studies 19(5):548–67. doi: 10.1080/09502380500365473.
Hills, Matt. 2007. ‘FROM THE BOX IN THE CORNER TO THE BOX SET ON THE SHELF’. New Review of Film and Television Studies 5(1):41–60. doi: 10.1080/17400300601140167.
Hilmes, Michele. 2003. The Television History Book. London: British Film Institute.
Hitoto, Yo, Hou Hsiao-hsien, Chu T’ien-Wen, Hideji Miyajima, Tadanobu Asano, Masato Hagiwara, Shōchiku Kabushiki Kaisha, Asahi Shimbunsha, Sumitomo Corporation, Eisei Gekijo Co, and Imagica Corp. n.d. ‘Café Lumière’.
Jacobs, Jason. 2000. The Intimate Screen: Early British Television Drama. Vol. Oxford television studies. Oxford: Oxford University Press.
Jacobs, Jason. 2001. ‘Issues of Judgement and Value in Television Studies’. International Journal of Cultural Studies 4(4):427–47. doi: 10.1177/136787790100400404.
Jarmusch, Jim, Youki Koduh, Masatoshi Nagase, Screamin’ Jay Hawkins, and Channel Four (Great Britain). 1993. ‘Mystery Train’.
Johnson, Catherine. 2012. Branding Television. Vol. Comedia. Abingdon, Oxon: Routledge.
Kaplan, E. Ann. 1983. Regarding Television: Critical Approaches : An Anthology. Vol. The American Film Institute monograph series. Frederick, MD.: University Publications of America.
Kar Wai Wong. n.d. ‘Grandmaster [Videorecording]’.
Kiarostami, Abbas. 2003. ‘Five Dedicated to Ozu’.
Klinger, B. 1994. ‘The Many Faces of Melodrama’. Pp. 11–20 in Melodrama and meaning: history, culture, and the films of Douglas  Sirk. Bloomington: Indiana University Press.
Klinger, Barbara. 2006. Beyond the Multiplex: Cinema, New Technologies, and the Home. Berkeley: University of California Press.
Kore-eda, Hirokazu, Hiroshi Abe, Yui Natsukawa, Kirin Kiki, Yoshio Harada, You, and New Wave Films. 2008. ‘Still Walking’.
Kracauer, Siegfried. 1965. Theory of Film: The Redemption of Physical Reality. New York: Oxford University Press.
Lacey, Stephen. 2006. ‘Some Thoughts on Television History and Historiography: A British Perspective’. Critical Studies in Television: The International Journal of Television Studies 1(1):3–12. doi: 10.7227/CST.1.1.3.
Landy, Marcia. 1991. Imitations of Life: A Reader on Film & Television Melodrama. Vol. Contemporary film and television series. Detroit: Wayne State University Press.
Lee, Vivian P. Y. 2011. East Asian Cinemas: Regional Flows and Global Transformations. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
Lehman, Peter. 1990. Close Viewings: An Anthology of New Film Criticism. Tallahassee, Fla: Florida State University Press.
Luhr, William. 2004. The Coen Brothers’ Fargo. Vol. The Cambridge University Press film handbooks series. Cambridge, U.K.: Cambridge University Press.
Lury, Karen. 2005. Interpreting Television. London: Hodder Arnold.
Lynn Spigel. 1988a. ‘Installing the Television Set: Popular Discourses on Television and Domestic Space, 1948–1955’. Camera Obscura 6(1 16):9–46. doi: 10.1215/02705346-6-1_16-9                                  10.1215/02705346-6-1_16-9.
Lynn Spigel. 1988b. ‘Installing the Television Set: Popular Discourses on Television and Domestic Space, 1948–1955’. Camera Obscura 6(1 16):9–46. doi: 10.1215/02705346-6-1_16-9                                  10.1215/02705346-6-1_16-9.
Manovich, Lev. 2001. The Language of New Media. Vol. Leonardo series. Cambridge, Mass: MIT Press.
Marks, Laura U. 2000. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham, NC: Duke University Press.
Martin, Adrian. 2012. ‘Guess-Work: Scarlet Street’. Movie: A Journal of Film Criticism 3.
Martin, Adrian. 2014. Mise En Scène and Film Style: From Classical Hollywood to New Media Art. Vol. Palgrave close readings in film and television. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
McDonald, Kevin, and Daniel Smith-Rowsey, eds. 2016. The Netflix Effect: Technology and Entertainment in the 21st Century. New York, NY: Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc.
McLoone, Martin, and John Hill. 1996. Big Picture, Small Screen: The Relations between Film and Television. Vol. Acamedia research monograph. Luton: University of Luton Press.
Mellencamp, Patricia. 1990. Logics of Television: Essays in Cultural Criticism. Vol. Theories of contemporary culture. Bloomington: Indiana University Press.
Metz, Christian. 1974. ‘On the Impression of Reality in the Cinema’. Pp. 3–15 in Film language: a semiotics of the cinema. New York: Oxford University Press.
Mittell, Jason. 2015. Complex TV: The Poetics of Contemporary Television Storytelling. New York: New York University Press.
Moran, Joe. 2013. Armchair Nation: An Intimate History of Britain in Front of the TV. London: Profile Books.
Morley, David. 1988. Family Television: Cultural Power and Domestic Leisure. Vol. Comedia. London: Routledge.
Mulvey, Laura. 2006a. Death 24x a Second: Stillness and the Moving Image. London: Reaktion Books.
Mulvey, Laura. 2006b. Death 24x a Second: Stillness and the Moving Image. London: Reaktion Books.
Mulvey, Laura. 2008. Visual and Other Pleasures. Vol. Language, discourse, society. 2nd ed. Basingstoke: Palgrave Macmillan.
Nagib, Lúcia. 2016. ‘The Politics of Slowness and the Traps of Modernity’. Pp. 25–46 in Slow cinema. Vol. Traditions in world cinema, edited by T. De Luca and N. B. Jorge. Edinburgh: Edinburgh University Press.
Ndalianis, Angela. 2015. ‘A Disturbing Feast for the Senses’. Journal of Visual Culture 14(3):279–84. doi: 10.1177/1470412915607928.
Newcomb, Horace M., and Paul M. Hirsch. 1983. ‘Television as a Cultural Forum: Implications for Research∗’. Quarterly Review of Film Studies 8(3):45–55. doi: 10.1080/10509208309361170.
Niessen, N. 2011. ‘Lives of Cinema: Against Its “Death”’. Screen 52(3):307–26. doi: 10.1093/screen/hjr023.
Nixon, Sean. 2017. ‘Life in the Kitchen: Television Advertising, the Housewife and Domestic Modernity in Britain, 1955–1969’. Contemporary British History 31(1):69–90. doi: 10.1080/13619462.2016.1245619.
Ozu, Yasujiro, and Kogo Noda. 2003. Tokyo Story: The Ozu/Noda Screenplay.
Ozu, Yasujirō, Kōgo Noda, Yūharu Atsuta, Chishū Ryū, Setsuko Hara, and Haruko Sugimura. 2004. ‘The Noriko Trilogy’.
Ozu, Yasujirō, Kōgo Noda, Setsuko Hara, Yōko Tsukasa, Mariko Okada, Ton Satomi, and Shōchiku Kabushiki Kaisha. 2006. ‘Late Autumn’.
Perkins, V. F. 1972a. Film as Film: Understanding and Judging Movies. Vol. A Pelican original. Harmondsworth: Penguin.
Perkins, V. F. 1972b. ‘"How” Is "What”’. Pp. 116–33 in Film as film: understanding and judging movies. Harmondsworth: Penguin.
Pertierra, Anna Cristina, and Graeme Turner. 2013. Locating Television: Zones of Consumption. London: Routledge.
Phillips, Alastair, and Julian Stringer. 2007. Japanese Cinema: Texts and Contexts. London: Routledge.
Plantinga, Carl R. 2009. Moving Viewers: American Film and the Spectator’s Experience. Berkeley: University of California Press.
Pye, Douglas, Jacob Leigh, and Susan Smith. 2007. Close-up 02. London: Wallflower.
Rachel Moseley and Helen Wheatley. 2008. ‘Is Archiving a Feminist Issue? Historical Research and the Past, Present, and Future of Television Studies’. Cinema Journal 47(3):152–58.
Richie, Donald. 1974. Ozu. Berkeley: University of California Press.
Rodan, Debbie. 2009. ‘Large, Sleek, Slim, Stylish Flat Screens: Privatized Space and the Televisual Experience’. Continuum 23(3):367–82. doi: 10.1080/10304310902884050.
Rodowick, David Norman. 2007. The Virtual Life of Film. Cambridge, Mass: Harvard University Press.
Rosenbaum, Jonathan. 2000. ‘Is Ozu Slow?’ (4). Retrieved (http://sensesofcinema.com/2000/feature-articles/ozu-2/).
Russell, Catherine. 2011. Classical Japanese Cinema Revisited. New York: Continuum.
Schrader, Paul. 1988. Transcendental Style in Film: Ozu, Bresson, Dreyer. New York: Da Capo.
Sedgwick, Eve Kosofsky. 2003. Touching Feeling: Affect, Pedagogy, Performativity. Vol. Series Q. Durham, N.C.: Duke University Press.
Shaviro, Steven. 1993. The Cinematic Body. Vol. Theory out of bounds. Minneapolis: University of Minnesota Press.
Shouse, Eric. 2005. ‘Feeling, Emotion, Affect’. M/C Journal 8(6).
Silverstone, Roger. 1994. Television and Everyday Life. London: Routledge.
Smit, Alexia. 2013. ‘Visual Effects and Visceral Affect: “Tele-Affectivity” and the Intensified Intimacy of Contemporary Television’. Critical Studies in Television: The International Journal of Television Studies 8(3):92–107. doi: 10.7227/CST.8.3.8.
Sobchack, Vivian Carol. 2004. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley: University of California Press.
Song Hwee LIM. 2016. ‘Domesticating Time: Gendered Temporalities in Hou Hsiao-Hsien’s Café Lumière’. Frontiers of Literary Studies in China 10(1):36–57. doi: 10.3868/s010-005-016-0003-4.
Sontang, Susan. 1967. ‘Against Interpretation’. Pp. 3–14 in Against interpretation, and other essays. London: Eyre & Spottiswoode.
Spacey, K. n.d. ‘House of Cards [Videorecording]’.
Spigel, Lynn. 1992. Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press.
Spigel, Lynn. 2009. ‘My TV Studies . . . Now Playing on a You Tube Site Near You’. Television & New Media 10(1):149–53. doi: 10.1177/1527476408325895.
Spigel, Lynn, and Jan Olsson. 2004a. Television after TV: Essays on a Medium in Transition. Vol. Console-ing passions. Durham: Duke University Press.
Spigel, Lynn, and Jan Olsson. 2004b. Television after TV: Essays on a Medium in Transition. Vol. Console-ing passions. Durham: Duke University Press.
Stam, Robert. 2000a. Film Theory: An Introduction. Malden, Mass: Blackwell.
Stam, Robert. 2000b. Film Theory: An Introduction. Malden, Mass: Blackwell.
Stein, Wayne, and Marc Di Paolo, eds. 2015a. Ozu International: Essays on the Global Influences of a Japanese Auteur. New York: Bloomsbury, An imprint of Bloombury Publishing Inc.
Stein, Wayne, and Marc Di Paolo, eds. 2015b. Ozu International: Essays on the Global Influences of a Japanese Auteur. New York: Bloomsbury, An imprint of Bloombury Publishing Inc.
Stokes, Jane C. 1999. On Screen Rivals: Cinema and Television in the United States and  Britain. Basingstoke: Macmillan.
Thomas, Deborah. 2001. Reading Hollywood: Spaces and Meanings in American Film. Vol. Short cuts. London: Wallflower.
Tichi, Cecelia. 1991. Electronic Hearth: Creating an American Television Culture. New York: Oxford University Press.
Turner, Graeme, and Jinna Tay. 2009. Television Studies after Tv: Understanding Television in the Post-Broadcast Era. London: Routledge.
Udden, James. 2009. No Man an Island: The Cinema of Hou Hsiao-Hsien. Hong Kong: Hong Kong University Press.
Visual Studies Workshop. n.d. ‘Afterimage’.
Wallace, Richard. 2016. ‘John Cura: Pioneer of the Television Archive.’ Journal of British Cinema & Television; 13(1):99–120.
Wenders, Wim. 1985. ‘Tokyo-Ga’. Retrieved (https://www.amazon.co.uk/Tokyo-Ga-Chishu-Ryu/dp/B00ESQBU6A/ref=sr_1_1?s=books&ie=UTF8&qid=1505207424&sr=8-1&keywords=Tokyo-Ga+wim+Wenders%2C+1985).
Wheatley, Helen. 2007. Re-Viewing Television History: Critical Issues in Television Historiography. London: I. B. Tauris.
Willemen, Paul and British Film Institute. 1994. Looks and Frictions: Essays in Cultural Studies and Film Theory. Vol. Perspectives. Bloomington: Indiana University Press.
Williams, Linda. n.d. ‘Film Bodies: Gender, Genre, and Excess’. Film Quarterly (ARCHIVE) 44(4).
Williams, Raymond. 1990. ‘Chapter 4: “Programming: Distribution and Flow”’. Pp. 78–118 in Television: technology and cultural form. London: Routledge.
Williams, Raymond, and Ederyn Williams. 1990. Television: Technology and Cultural Form. 2nd ed. London: Routledge.
Wilson, George M. 1986. Narration in Light: Studies in Cinematic Point of View. Baltimore: Johns Hopkins University Press.
Wood, Helen. 2007. ‘Television Is Happening’. European Journal of Cultural Studies 10(4):485–506. doi: 10.1177/1367549407081956.
Wood, Robin. 2006. Personal Views: Explorations in Film. Vol. Contemporary approaches to film and television series. Rev. ed. Detroit: Wayne State University Press.
Wu, I-fen. 2008. ‘Remapping Ozu’s Tokyo? The Interplay between History and Memory in Hou Hsiao-Hsien’s Café Lumière’. Asian Cinema 19(1):172–81. doi: 10.1386/ac.19.1.172_1.
Wyman, Jane, Rock Hudson, Agnes Moorehead, Conrad Nagel, Virginia Grey, Gloria Talbott, Douglas Sirk, Edna Lee, Peg Fenwick, Ross Hunter, Russell Metty, Frank Gross, Frank Skinner, and Universal-International (Firm). 2007. ‘All That Heaven Allows’.