Alvarado, Manuel and Stewart, John (eds) (1985), Made for Television: Euston Films
Limited, London: BFI, in association with Thames Television.
Andrews, Hannah (2012), ‘Public Service Cinema’, unpublished PhD thesis, University
of Warwick.
Arthurs, Jane (2003), ‘Sex and the City and consumer culture: remediating postfeminist
drama’, Feminist Media Studies, 3: 1, pp. 83–98.
Auty, Martyn and Roddick, Nick (eds) (1985), British Cinema Now, London: BFI.
Ball, Vicky (2012, forthcoming), ‘The “femininization’’ of British television and the retraditionalization
of gender’, Feminist Media Studies, 12: 2.
Ball, Vicky (2013, forthcoming), Heroine Television: The Case of the British Female Ensemble
Drama, Manchester: Manchester University Press.
Barr, Charles (ed.) (1986), All Our Yesterdays, London: BFI.
Bennett, James and Brown, Tom (eds) (2008), Film and Television After DVD, London:
Routledge.
Bennett, James and Strange, Niki (eds) (2011), Television as Digital Media, Durham, NC:
Duke University Press.
Betz, Mark (ed.) (2010), ‘In focus: cinephilia’, Cinema Journal, 49: 2, pp. 130–66.
Bolter, Jay David and Grusin, Richard (2000), Remediation: Understanding New Media,
Cambridge, MA: MIT Press.
Brandt, George W. (ed.) (1981), British Television Drama, Cambridge: Cambridge
University Press.
Brandt, George W. (ed.) (1993), British Television Drama in the 1980s, Cambridge:
Cambridge University Press.
Brunsdon, Charlotte (2000), ‘Not having it all: women and film in the 1990s’, in Robert
Murphy (ed.), British Cinema of the 90s, London: BFI, pp. 167–77.
Brunsdon, Charlotte (2008), ‘Is television studies history?’, Cinema Journal, 47: 3,
pp. 127–37.
Brunsdon, Charlotte (2010), ‘Bingeing on box-sets: the national and the digital in
television crime drama’, in Jostein Gripsrud (ed.), Relocating Television, London:
Routledge, pp. 63–75.
Carroll, Noel (2003), Engaging the Moving Image, New Haven, CT: Yale University Press,
pp. 265–80.
Caughie, John (1986), ‘Broadcasting and cinema 1: converging histories’, in Charles
Barr (ed.), All Our Yesterdays, London: BFI, pp. 189–205.
Caughie, John (2000), British Television Drama: Realism, Modernism and British Culture,
Oxford: Clarendon Press.
Chibnall, Steve and Murphy, Robert (1999), ‘Parole overdue: releasing the British crime
film into the critical community’, in Steve Chibnall and Robert Murphy (eds), British
Crime Cinema, London: Routledge, pp. 1–15.
Cook, Pam (1996), Fashioning the Nation: Costume and Identity in British Cinema, London:
BFI.
Cooke, Lez (2003), British Television Drama, London: BFI.
Cooke, Lez (2012), A Sense of Place: Regional British Television Drama, Manchester:
Manchester University Press.
de Valck, Marijke and Hagener, Malte (eds) (2005), Cinephilia: Movies, Love and Memory,
Amsterdam: Amsterdam University Press.
Fiske, John (1987), Television Culture, London: Routledge.
Galt, Rosalind (2006), The New European Cinema, New York: Columbia University Press.
Geraghty, Christine (2005), My Beautiful Laundrette, London: I. B. Tauris.
Geraghty, Christine (2008), Now a Major Motion Picture, Lanham, MD: Rowman &
Littlefield.
Geraghty, Christine and Lusted, David (eds) (1998), The Television Studies Book, London:
Edward Arnold.
Gray, Ann (1992), Video Playtime: The Gendering of a Leisure Technology, London:
Routledge.
Higson, Andrew (2003), English Heritage, English Cinema, Oxford: Oxford University
Press.
Higson, Andrew (2010), Film England: Culturally English Filmmaking Since the 1990s,
London: I. B. Tauris.
Hill, John (1999), British Cinema in the 1980s, Oxford: Clarendon Press.
Hill, John (2011), Ken Loach: The Politics of Film and Television, London: BFI/Palgrave
Macmillan.
Hill, John and McLoone, Martin (eds) (1996), Big Picture, Small Screen: The Relations
Between Film and Television, Luton: John Libbey Media.
Hjort, Mette (2010), ‘Affinitive and milieu-building transnationalism: the Advance Party
initiative’, in Dina Iordanova, David Martin-Jones and Belén Vidal (eds), Cinema at
the Periphery, Detroit, MI: Wayne State University Press, pp. 46–66.
Keathley, Christian (2006), Cinephilia and History, or the Wind in the Trees, Bloomington,
IN: Indiana University Press.
Krauss, Rosalind (1999), ‘A Voyage on the North Sea’: Art in the Age of the Post-Medium
Condition, London: Thames & Hudson.
Kuhn, Annette (2002), An Everyday Magic: Cinema-going and Cultural Memory, London:
I. B. Tauris.
Lake, Jessica (2010), ‘Red Road (2006) and emerging narratives of “sub-veillance’’’,
Continuum, 24: 2, pp. 231–40.
Leggott, James (2008), Contemporary British Cinema, London: Wallflower.
McGill, Hannah (2006), ‘Interview with Andrea Arnold’, Sight and Sound, 16: 11, p. 28.
McIlroy, Brian (1998), Shooting to Kill, Trowbridge: Flicks.
McLoone, Martin (1996), ‘Boxed in? The aesthetics of film and television’, in John Hill
and Martin McLoone (eds), Big Picture, Small Screen: The Relations Between Film and
Television, Luton: John Libbey Media.
Malik, Sarita (2002), Representing Black Britain, London: Sage.
Manovich, Lev (2001), The Language of New Media, Cambridge, MA: MIT Press.
Miller, Toby (2010), Television Studies: The Basics, Abingdon: Routledge.
Morley, David (1986), Family Television, London: Comedia.
Mulvey, Laura (2006), Death 24x a Second, London: Reaktion.
Mulvey, Laura and Sexton, Jamie (2007), Experimental British Television, Manchester:
Manchester University Press.
Murphy, Robert (1998), ‘Popular British cinema’, Journal of Popular British Cinema, 1,
pp. 6–12.
O’Sullivan, Sean (2006), ‘No such thing as society: television and the apocalypse’, in
Lester D. Friedman (ed.), Fires Were Started, second edition, London: Wallflower,
pp. 223–42.
Orr, John (2010), Romantics and Modernists in British Cinema, Edinburgh: Edinburgh
University Press.
Petley, Julian (1986), ‘The lost continent’, in Charles Barr (ed.), All Our Yesterdays,
London: BFI, pp. 98–119.
Petrie, Duncan (2000), Screening Scotland, London: British Film Institute.
Petrie, Duncan (2004), Contemporary Scottish Fictions, Edinburgh: Edinburgh University
Press.
Pettitt, Lance (2000), Screening Ireland: Film and Television Representation, Manchester:
Manchester University Press.
Rolinson, Dave (2005), Alan Clarke, Manchester: Manchester University Press.
Rolinson, Dave (2010), ‘The last studio system: the case for British television films’,
in Paul Newland (ed.), Don’t Look Now: British Cinema in the 1970s, Bristol: Intellect,
pp. 163–76.
Rolinson, Dave (2011), Viewing notes for Tales out of School: Four Films by David Leland,
Granada Ventures, Network DVD.
Russell, Dave (2004), Looking North, Manchester: Manchester University Press.
Sargeant, Amy (2005), British Cinema, London: BFI.
Sconce, Jeffrey (1995), ‘Trashing the academy: taste, excess and an emerging politics of
cinematic style’, Screen, 36: 4, pp. 371–93.
Smith, Justin (2008), ‘Glam, spam and Uncle Sam: funding diversity in 1970s
British cinema’, in Robert Shail (ed.), Seventies British Cinema, London: BFI/Palgrave
Macmillan, pp. 67–80.
Sontag, Susan (1996) ‘The decay of cinema’, New York Times Magazine, 25 February, pp.
60–1.
Spigel, Lynn and Olsson, Jan (eds) (2004), Television After TV, Durham, NC: Duke
University Press.
Street, Sarah (1996), ‘What is popular British cinema?’, Society for the Study of Popular
British Cinema Newsletter, 1, pp. 1–3.
Street, Sarah (2009), British National Cinema, second edition, Abingdon: Routledge.
Turner, Graeme (2009), ‘Television and the nation: does this matter any more?’, in
Graeme Turner and Jinna Tay (eds), Television Studies After TV, Abingdon: Routledge,
pp. 54–64.
Turner, Graeme and Tay, Jinna (eds) (2009), Television Studies After TV, Abingdon:
Routledge.
Wheatley, Helen (2004), ‘The limits of television? Natural history programming and the
transformation of public service broadcasting’, European Journal of Cultural Studies,
7: 3, pp. 325–39.
Willemen, Paul (1994), Looks and Frictions, London: British Film Institute.
Williams, Christopher (1996), Cinema: The Beginnings and the Future, London: University
of Westminster Press.