Items where Division is "Film, Theatre & Television"

Reading Faculties, Schools and Departments (723)
- Arts, Humanities and Social Science (723)
  - School of Arts and Communication Design (723)
    - Film, Theatre & Television (723)

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Number of items at this level: 723.

Adamou, C. (2004) Karolos Koun's reading of Greek drama. Filologos, 117. pp. 425-432.

Angelaki, V. (2010) ‘Ethics take centre stage: Issues and representation for today's political theatre’. In: Meyer-Dinkgräfe , D. and Watt, D. (eds.) Ethical Encounters: Boundaries of Theatre, Performance and Philosophy. Cambridge Scholars Publishing, Cambridge, pp. 199-207. ISBN 9781443816953

Angelaki, V. (2017) Social and political theatre in 21st-century Britain: staging crisis. Methuen Drama Engage. Bloomsbury, London, pp288. ISBN 9781474213172

Angelaki, V. (2019) Theatre & environment. Theatre &. Palgrave Macmillan/Red Globe Press, pp90. ISBN 9781137609830

Angelaki, V. (2014) Witness or accomplice? Unsafe spectatorship in the work of Anthony Neilson and Simon Stephens. In: Aragay, M. and Monforte, E. (eds.) Ethical Speculations in Contemporary British Theatre. Palgrave Macmillan, Basingstoke, pp. 135-151. ISBN 9781137297563

Angelaki, V. (2014) "Alles Weitere kennen Sie aus dem Kino": Martin Crimp at the cutting edge of representation. Contemporary Theatre Review, 24 (3). pp. 315-330. ISSN 1477-2264 doi: https://doi.org/10.1080/10486801.2014.921050

Angelaki, V. (2009) Breaking down barriers high and low: the case of the United Kingdom’s National Theatre. In: Coelsch-Foisner, S. and Flothow, D. (eds.) High Culture and/versus Popular Culture. Winter, pp. 85-93.

Angelaki, V., ed. (2013) Contemporary British theatre: breaking new ground. Palgrave Macmillan. ISBN 9781137010124

Angelaki, V. (2015) From history to “Ourstories” in Martin Crimp’s metanarratives. Journal of Contemporary Drama in English, 3 (1). pp. 142-155. ISSN 2195-0156 doi: https://doi.org/10.1515/jcde-2015-0010

Angelaki, V. (2010) Grenzen hinausschieben, Zuschauer herausfordern: zur rezeption Howard Barkers. In: Mengel, E. and Weiss, R. (eds.) Weltbühne Wien/World Stage Vienna: Die Rezeption Anglophoner Dramen auf Wiener Bühnen des 20. Jahrhunderts. Wissenschaftlicher Verlag Trier, pp. 297-311.

Angelaki, V. (2013) Introduction. In: Angelaki, V. (ed.) Contemporary British Theatre: Breaking New Ground. Palgrave Macmillan, pp. 1-8. ISBN 9781137010124

Angelaki, V. (2014) Introduction: dealing with Martin Crimp. Contemporary Theatre Review, 24 (3). pp. 309-314. ISSN 1477-2264 doi: https://doi.org/10.1080/10486801.2014.921031

Angelaki, V. (2010) ‘Lessons from Harold Pinter’. Studies in Theatre and Performance, 30 (3). pp. 267-273. ISSN 2040-0616

Angelaki, V. (2011) ‘Martin Crimp and border crossing: The Australian turn’. Contemporary Theatre Review, 21 (4). pp. 544-546. ISSN 1477-2264 doi: https://doi.org/10.1080/10486801.2011.617521

Angelaki, V. (2007) Performing Phenomenology: the theatre of Martin Crimp. In: Meyer-Dinkgräfe, D. and Watt, D. (eds.) Theatres of Thought. Cambridge Scholars Publishing, pp. 6-12.

Angelaki, V. (2019) Performing migration in Vienna: the Volkstheater Trilogy. Performing Ethos, 9 (1). pp. 9-22. ISSN 1757-1987 doi: https://doi.org/10.1386/peet_00002_1

Angelaki, V. (2013) Politics for the middle classes: contemporary audiences and the violence of now. In: Angelaki, V. (ed.) Contemporary British Theatre: Breaking New Ground. Palgrave Macmillan, pp. 57-78. ISBN 9781137010124

Angelaki, V. (2007) Structuring consciousness through objects: fluctuating roles and selves in Crimp, Pinter and Ionesco. In: Meyer-Dinkgräfe, D. (ed.) Consciousness, Theatre, Literature and the Arts. Cambridge Scholars Publishing, pp. 126-133.

Angelaki, V. (2008) Subtractive forms and composite contents: Martin Crimp’s Fewer Emergencies. In: Schnierer, P. P. and Redling, E. (eds.) Contemporary Drama in English. Wissenschaftlicher Verlag Trier, pp. 31-46.

Angelaki, V. (2008) Taking a bite of the Big Apple: Martin Crimp’s The Treatment. In: Angel-Perez, E. and Poulain, A. (eds.) Hunger on the Stage. Cambridge Scholars Publishing, pp. 257-267.

Angelaki, V. (2015) (Up)setting the scene: 'Open Court' as staging and spectating intervention. Contemporary Theatre Review, 25 (4). pp. 472-487. ISSN 1477-2264 doi: https://doi.org/10.1080/10486801.2015.1078321

Angelaki, V. (2013) Whose voice? Tim Crouch’s 'The Author' and active listening on the contemporary stage. Sillages Critiques, 16. ISSN 1969-6302

Angelaki, V. (2012) The plays of Martin Crimp: making theatre strange. Palgrave Macmillan, Basingstoke, pp238. ISBN 9780230293717

Angelaki, V. (2016) The space and culture of translation: Ferdinand Bruckner’s 'Pains of Youth' by Martin Crimp and Katie Mitchell. Journal of Adaptation in Film & Performance, 9 (1). pp. 67-82. ISSN 1753-6421 doi: https://doi.org/10.1386/jafp.9.1.67_1

Angelaki, V. and Rebellato, D., eds. (2014) Dealing with Martin Crimp. Contemporary Theatre Review (special issue), 24 (3). Taylor and Francis. doi: https://doi.org/10.1080/10486801.2014.921031

Balló, J. and Elduque, A. (2018) Imperio y Estrellita, el ascenso por amor. In: Bou, N. and Pérez, X. (eds.) El cuerpo erótico de la actriz bajo los fascismos. Cátedra, Madrid, pp. 97-108. ISBN 9788437638416

Barreiro, M. S. and Elduque, A. (2017) La mirada y el peso. Iconografía de la clase obrera en 'Chircales' y 'Tierra Nueva'. Cinémas d’Amérique Latine, 25. pp. 144-155. ISSN 1267-4397

Bartley, S. (2019) Gendering welfare: acts of reproductive labour in applied performance practice. Contemporary Theatre Review, 29 (3). pp. 305-319. ISSN 1477-2264 doi: https://doi.org/10.1080/10486801.2019.1615901

Bartley, S. (2017) Hard labour and punitive welfare: the unemployed body at work in participatory performance. Research in Drama Education, 22 (1). pp. 62-75. ISSN 1356-9783 doi: https://doi.org/10.1080/13569783.2016.1263559

Bartley, S. (2022) 'How we open the doors to a community’: creative collaborations and aesthetic strategies in social isolation. In: Bissell, L. and Weir, L. (eds.) Performance in a Pandemic. Routledge, London, pp. 79-86. ISBN 9780367761349 doi: https://doi.org/10.4324/9781003165644-12

Bartley, S. (2022) Peopling the theatre in a time of crisis. In: Wallace, C., Escoda, C., Monforte, E. and Ramón Prado-Pérez, J. (eds.) Crisis, Representation and Resilience: Perspectives on Contemporary British Theatre. Methuen Drama Engage. Bloomsbury, London, 256. ISBN 9781350180857

Bartley, S. (2020) Performing Welfare Applied Theatre, Unemployment, and Economies of Participation. Contemporary Performance InterActions. Palgrave Macmillan. ISBN 9783030448530 doi: https://doi.org/10.1007/978-3-030-44854-7

Bartley, S. (2021) UK people’s theatres: performing civic functions in a time of austerity. Research in Drama Education: The Journal of Applied Theatre and Performance, 26 (1). pp. 171-186. ISSN 1470-112X doi: https://doi.org/10.1080/13569783.2020.1853516

Beauchamp, A. (2012) A double-decker bus, an elephant and 300 Girl Guides: analyzing 'space' and 'place' in Blue Peter. Journal of Media Practice, 12 (3). pp. 235-244. ISSN 1468-2753 doi: https://doi.org/10.1386/jmpr.12.3.235_1

Bennett, J. and Brown, T., eds. (2008) Film and television after DVD. Routledge research in cultural and media studies (15). Routledge, New York, pp202. ISBN 9780415962414

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2023) Adaptation and convergence: Beckett on film. In: Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601, McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 and Verhulst, P. (eds.) Beckett’s Afterlives: Adaptation, Remediation, Appropriation. Manchester University Press, Manchester, pp. 34-49. ISBN 9781526153791

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2021) Adventures between TV and film, and between Britain and America. Ecrans, 15 (1). pp. 27-42. ISSN 2267 4357 doi: https://doi.org/10.48611/isbn.978-2-406-12259-3.p.0027 (Special issue "Mémoire et réécritures dans les séries télévisées")

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2022) Alien or familiar: sounds and images in The Twilight Zone, ‘The Invaders’. In: Cardwell, S., Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 and Donaldson, L. F. (eds.) Moments in Television: Sound/image. The Television Series. Manchester University Press, Manchester, pp. 15-37, 248 pages. ISBN 9781526149190

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2005) And the rest is history: Lew Grade, the creation myth and television historiography. In: Turnock, R. and Johnson, C. (eds.) ITV Cultures: Independent Television Over Fifty Years. Open University Press, Buckingham, pp. 57-70. ISBN 9780335217298

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2004) Another time, another space: modernity, subjectivity and the time machine. In: Redmond, S. (ed.) Liquid Metal: The Science Fiction Reader. Wallflower, London, pp. 136-144. ISBN 9781903364888

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2011) ‘Anything can happen in the next half-hour’: Gerry Anderson’s transnational science fiction. In: Hochscherf, T. and Leggott, J. (eds.) British Science Fiction Film and Television: Critical Essays. Critical Explorations in Science Fiction and Fantasy (29). McFarland, Jefferson (North Carolina) & London, pp. 73-84. ISBN 9780786446216

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2021) Articulations of voice and medium in Beckett’s screen work. In: De Vos, L., Hori Tanaka, M. and Johnson, N. (eds.) Beckett’s Voices / Voicing Beckett. Themes in Theatre, 12. Brill, Leiden, pp. 280-294. ISBN 9789004468382 doi: https://doi.org/10.1163/9789004468382_021

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2016) Authenticity and performance of class in British factual TV series. In: Cloarec, N., Haigron, D. and Letort, D. (eds.) Social Class on British and American Screens: Essays on Cinema and Television. McFarland, Jefferson, USA, pp. 58-73. ISBN 9781476662343

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2021) Beckett and television: anachronism as innovation. In: Kiryushina, G., Adar, E. and Nixon, M. ORCID: https://orcid.org/0000-0002-3730-1785 (eds.) Samuel Beckett and Technology. Edinburgh University Press, Edinburgh. ISBN 9781474463287

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2025) Beckett and televisual ecosystems: dramas of the vast wasteland. In: Johnson, N. E., McTighe, T. and Thobois-Gupta, C. (eds.) Samuel Beckett and Ecology. Bloomsbury, London. ISBN 9781350366022 (In Press)

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2009) Beckett on screen: the television plays. Manchester University Press, Manchester, pp230. ISBN 9780719064203

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2005) Big brother: reality TV in the twenty-first century. Palgrave Macmillan, Basingstoke, pp256. ISBN 9781403916846

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2022) Black screens: Beckett and television technologies. In: Rapcsak, B., Nixon, M. ORCID: https://orcid.org/0000-0002-3730-1785 and Schweighauser, P. (eds.) Beckett and Media. Manchester University Press, Manchester, pp. 177-194, 248. ISBN 9781526145833 doi: https://doi.org/10.7765/9781526145840.00018

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2017) Broadcasting children's music. InFormation: Nordic Journal of Art and Research, 6 (2). pp. 1-16. ISSN 1893-2479 doi: https://doi.org/10.7577/information.v6i2.2275 (Special issue: Children's Music)

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2016) Cars, places and spaces in police drama. In: McElroy, R. (ed.) Contemporary British Television Crime Drama: Cops on the Box. Routledge Advances in Television Studies. Routledge, London, pp. 123-136. ISBN 9781472454935

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2018) Children of the world on British television: national and transnational representations. Strenae, 13. ISSN 2109-9081 doi: https://doi.org/10.4000/strenae.1966 (Special issue: Le '68 des enfants / The Children's 68)

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2017) Children’s television and public service in contemporary Britain. In: Dinter, S. and Schneider, R. (eds.) Transdisciplinary Perspectives on Childhood in Contemporary Britain. Studies in Childhood, 1700 to the Present. Routledge, London, UK, pp. 87-102. ISBN 9781138232105

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2020) Children’s television and radio. In: Fournier, G. (ed.) La BBC et le service public de l'audiovisuel, 1922-1995. Agregation Anglais. Editions Ellipses, Paris, pp. 111-128. ISBN 9782340041127

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2007) Citing the classics: constructing British television drama history in publishing and pedagogy. In: Wheatley, H. (ed.) Re-viewing Television History: Critical Issues in Television Historiography. I B Tauris, London, pp. 27-39. ISBN 9781845111885

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2021) Cringe histories: Harold Pinter and the Steptoes. Humanities, 10 (2). 83. ISSN 2076-0787 doi: https://doi.org/10.3390/h10020083

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2019) “Do you really enjoy the modern play?”: Beckett on commercial television. In: Stewart, P. and Pattie, D. (eds.) Pop Beckett: Intersections with Popular Culture. Samuel Beckett in Company, 7. Ibidem, Stuttgart, pp. 63-84. ISBN 9783838211930

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2010) Docudrama performance: realism, recognition and representation. In: Cornea, C. (ed.) Genre and performance: film and television. Manchester University Press, Manchester, UK, pp. 59-75. ISBN 9780719079801

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2011) Docudramatizing the real: developments in British TV docudrama since 1990. Studies in Documentary Film, 4 (3). pp. 195-208. ISSN 1750-3280 doi: https://doi.org/10.1386/sdf.4.3.195_1

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2023) Entanglements of intermediality: Polanski, Pinter, Steptoe and Son. In: Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 and Solomon, S. (eds.) The Moving Form of Film: Historicising the Medium through Other Media. Oxford University Press, Oxford, pp. 267-280. ISBN 9780197621707 doi: https://doi.org/10.1093/oso/9780197621707.003.0017

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2005) Exemplarity, pedagogy and television history. New Review of Film and Television Studies, 3 (1). pp. 15-32. ISSN 1740-7923 doi: https://doi.org/10.1080/17400300500037324

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2005) Familiar aliens: 'Teletubbies' and postmodern childhood. Screen, 46 (3). pp. 373-388. ISSN 1460-2474 doi: https://doi.org/10.1093/screen/46.3.373

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2005) From detail to meaning: 'Badlands' (Terence Malick, 1973) and cinematic articulation. In: Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D. (eds.) Style and Meaning: Studies in the Detailed Analysis of Film. Manchester University Press, Manchester, pp. 42-52. ISBN 9780719065248

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2022) Grand designs: television, style and substance in The Time Tunnel. In: Cardwell, S., Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 and Donaldson, L. F. (eds.) Moments in Television: Substance/style. The Television Series. Manchester University Press, Manchester, pp. 202-224, 258 pages. ISBN 9781526148780

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2005) How to watch television? Pedagogy and paedocracy in Beckett’s television plays. Samuel Beckett Today / Aujourd'hui, 15. pp. 281-293. ISSN 0927-3131 (Historicising Beckett / Issues of Performance)

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2010) Into the void: Beckett's television plays and the idea of broadcasting. In: Caselli, D. (ed.) Beckett and nothing: trying to understand Beckett. Manchester University Press, Manchester, UK, pp. 125-142. ISBN 9780719080197

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2018) James Bond’s forgotten beginnings: television adaptations. In: Strong, J. (ed.) James Bond Uncovered. Palgrave Studies in Adaptation and Visual Culture. Palgrave Macmillan, Basingstoke, pp. 41-60. ISBN 9783319761220 doi: https://doi.org/10.1007/978-3-319-76123-7_3

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2002) John McGrath and the dialogues of television studies. International Journal of Scottish Theatre, 3 (2). ISSN 1471-5198

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (1993) Lost messages: The Handmaid’s Tale, novel and film. British Journal of Canadian Studies, 8 (1). pp. 71-84. ISSN 1757-8078

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2007) Masculinité, musique et politique dans 'Excalibur'. In: Sipiere, D. and Cohen, A. J.-J. (eds.) Les autres arts dans l'art du cinéma. Le Spectaculaire Cinéma. University of Rennes Press, Rennes, pp. 141-152. ISBN 9782753503885

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2019) Meta-commentary and mythology: "Episodes" as a performance of transatlantic TV. In: Hills, M., Hilmes, M. and Pearson, R. (eds.) Transatlantic Television Drama: Industries, Programs and Fans. Oxford University Press, Oxford, pp. 163-180. ISBN 9780190663124

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (1996) Method Westerns: The Left-Handed Gun and One Eyed Jacks. In: Cameron, I. and Pye, D. (eds.) The Movie Book of the Western. Movie Books. Studio Vista (Cassell), London, pp. 99-110. ISBN 9780289801680

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2017) Myth. In: Ouellette, L. and Gray, J. (eds.) Keywords for Media Studies. New York University Press, New York, pp. 123-125. ISBN 9781479859610

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2015) Performing right: legal constraints and Beckett’s plays on BBC television. Samuel Beckett Today / Aujourd'hui, 27. 129- 142. ISSN 0927-3131 doi: https://doi.org/10.1163/9789004309937_011

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2018) Performing television history. Critical Studies in Television: The International Journal of Television Studies, 13 (3). pp. 262-279. ISSN 1749-6039 doi: https://doi.org/10.1177/1749602018782860

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2019) Performing the identity of the medium: adaptation and television historiography. Adaptation, 12 (2). pp. 149-164. ISSN 1755-0645 doi: https://doi.org/10.1093/adaptation/apz017

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2020) Pinter, authorship and entrepreneurship in 1960s British cinema: the economics of "The Quiller Memorandum". Historical Journal of Film, Radio & Television, 40 (3). pp. 533-550. ISSN 1465-3451 doi: https://doi.org/10.1080/01439685.2020.1778316

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2000) Postmodern media culture. Edinburgh University Press, Edinburgh, pp248. ISBN 9780748609888

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2020) “Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas. In: Rakoczy, A., Hori Tanaka, M. and Johnson, N. (eds.) Influencing Beckett / Beckett Influencing. Collection Karoli. L'Harmattan, Budapest & Paris, pp. 61-74. ISBN 9782343219110

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2013) Realism and reality formats. In: Ouellette, L. (ed.) A companion to reality television. Wiley-Blackwell, Chichester; Hoboken, NJ, pp. 97-115. ISBN 9780470659274

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2016) Representing violence, playing control: warring constructions of masculinity in Action Man toys. In: Wesseling, E. (ed.) The Child Savage, 1890–2010. From Comics to Games. Ashgate Studies in Childhood, 1700 to the Present. Routledge, London, pp. 189-202. ISBN 9781409455981

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2024) Samuel Beckett’s television plays. In: Bennett, M. Y. (ed.) The Routledge Companion to Absurdist Literature. Routledge Literature Companions. Routledge, London. ISBN 9781032188126

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2022) Screen and stage space in Beckett’s theatre plays on television. In: Wrigley, A. and Wyver, J. (eds.) Screen Plays: Theatre Plays on British Television. Manchester University Press, Manchester, pp. 226-245. ISBN 9780719097928

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2007) Seeing and knowing: reflexivity and quality. In: Mccabe, J. and Akass, K. (eds.) Quality TV: contemporary American television and beyond. Reading Contemporary Television. I B Tauris, London, pp. 145-157. ISBN 9781845115104 doi: https://doi.org/10.5040/9780755696376.ch-012

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2003) Sex, confession and witness. In: Akass, K. and Mccabe, J. (eds.) Reading 'Sex and the City',. I B Tauris, London & New York, pp. 161-176. ISBN 9781850434238

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2005) Space for "quality": negotiating with the Daleks. In: Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 and Lacey, S. (eds.) Popular television drama: critical perspectives. Manchester University Press, Manchester, pp. 76-92. ISBN 9780719069321

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2020) Specially for television? Eh Joe, intermediality and Beckett’s drama. Samuel Beckett Today/Aujourd’hui, 32 (1). pp. 41-54. ISSN 1875-7405 doi: https://doi.org/10.1163/18757405-03201004

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2010) Spies, style and the Cold War: James Bond in the sixties and seventies. In: Ahrens, R., Stierstorfer, K. and Dickason, R. (eds.) Symbolism: an international annual of critical aesthetics. Special focus: propaganda. AMS Press, New York, USA, pp. 81-92. ISBN 9780404635701

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2010) Star Wars (1977): back and forth in time and space. In: Brown, T. and Walters, J. (eds.) Film moments: criticism, history, theory. British Film Institute and Palgrave, London, UK, pp. 111-115. ISBN 9781844573363

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2024) Technology. In: Nixon, M. ORCID: https://orcid.org/0000-0002-3730-1785 and Van Hulle, D. (eds.) The Oxford Handbook of Samuel Beckett. Oxford Handbooks. Oxford University Press, Oxford. (In Press)

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2010) Television and the popular: viewing from the British perspective. Journal of Literary Theory, 4 (2). pp. 181-198. ISSN 1862-5290 doi: https://doi.org/10.1515/JLT.2010.012

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2020) Television biopics: Questions of genre, nation, and medium. In: Cartmell, D. and Polasek, A. D. (eds.) A Companion to the Biopic. Wiley Blackwell, Hoboken, New Jersey, USA, pp. 45-60. ISBN 9781119554813 doi: https://doi.org/10.1002/9781119554783.ch4

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2011) Television for children: problems of national specificity and globalisation. In: Lesnik-Oberstein, K. ORCID: https://orcid.org/0000-0002-4970-0556 (ed.) Children in Culture, Revisited: Further Approaches to Childhood. Palgrave Macmillan, Basingstoke, pp. 167-185. ISBN 9780230275546

Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2024) Television: from pre-production to programme making and dissemination. In: Beloborodova, O. and Van Hulle, D. (eds.) Toward a Comparative History of the Literary Draft in Europe. John Benjamins, Amsterdam, pp. 473-486. ISBN 9789027215260

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Courage, T. V. (2017) Contemporary Chinese independent cinema: urban spaces, mobility, memory. PhD thesis, University of Reading.

Cox-Stanton, T. and Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2021) Audiovisual scholarship and experiments in non-linear film history. The Cine-Files (15). ISSN 2156-9096

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Daou, M. (2024) Film editing: knowledge, practice, and scholarship. PhD thesis, University of Reading. doi: https://doi.org/10.48683/1926.00119550

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Donaldson, L. F. (2014) Texture in film. Palgrave Close Readings in Film and Television. Palgrave Macmillan, pp256. ISBN 9781137034786

Donaldson, L. F. (2010) “There’s something very familiar about all this”: generic play and performance in the Back to the Future trilogy (Robert Zemeckis, 1985, 1989, 1990). In: Ni Fhlainn, S. (ed.) The Worlds of Back to the Future. McFarland, Jefferson, pp. 73-90. ISBN 9780786444002

Donaldson, L. F. (2010) Access and excess in The Texas Chain Saw Massacre. Movie: a journal of film criticism (1). ISSN 2047-1661

Donaldson, L. F. (2013) Camera and performer: energetic engagement with the shield. In: Jacobs, J. and Peacock, S. (eds.) Television Aesthetics and Style. Bloomsbury, London, pp. 209-218. ISBN 9781441157515

Donaldson, L. F. (2011) “Normality is threatened by the Monster”: Robin Wood, Romero and zombies. CineAction (84). pp. 24-31. ISSN 0826-9866

Donaldson, L. F. (2011) “The suffering black male body and the threatened white female body": ambiguous bodies in Candyman. Irish Journal of Gothic and Horror Studies (9). ISSN 2009-0374

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Duane, C. (2024) The stage and beyond: scenography and audience experience in post-millennial stagings of Samuel Beckett’s works. PhD thesis, University of Reading. doi: https://doi.org/10.48683/1926.00119549

Dunsby, J. (2006) Making words sing: nineteenth- and twentieth-century song. Cambridge University Press, Cambridge. ISBN 9780511207181

Dunsby, J. (2004) Music-analytical trends of the twentieth century. In: Dejans, P. (ed.) Order and Disorder: music-theoretical strategies in 20th Century Music. Leuven University Press, Leuven, pp. 11-28. ISBN 9789058673695

Dunsby, J. (2004) The battle of Chronos and Orpheus: essays in applied semiology. Oxford University Press, Oxford.

Dunsby, J. M. (2003) All the dancers know it and it is valid for all times: Goehr, Kafka and 'The Law of the Quadrille'. In: Latham, A. (ed.) Sing, Ariel: Essays and Thoughts for Alexander Goehr's Seventieth Birthday. Ashgate, Aldershot, pp. 171-179. ISBN 9780754634973

Durgnat, R. (2014) The Essential Raymond Durgnat. British Film Institute. ISBN 9781844574520

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Elduque Busquets, A. (2019) Between film and photography: the bubble of blood in 'The Family of Disorder'. Screen, 60 (1). pp. 148-159. ISSN 1460-2474 doi: https://doi.org/10.1093/screen/hjy069

Elduque Busquets, A. (2016) El vuelo del buitre: Ruy Guerra y la historia de las repeticiones. La Furia Umana, 30. ISSN 2037-0431

Elduque Busquets, A. (2017) Primer Plano: the popular face of censorship. L'Atalante. Revista de Estudios Cinematograficos, 23. pp. 49-62. ISSN 2340-6992

Elduque Busquets, A. and Salvadó, A. (2016) Aesthetical and narrative uses of the trench in the Hollywood cinema of 1918-1930. L'Atalante. Revista de Estudios Cinematográficos, 21. pp. 93-103. ISSN 2340-6992

Elduque I Busquets, A. (2013) La nina i el ninot al cinema de Marco Ferreri. Quaderns de Cine, 8. pp. 55-62. ISSN 1888-4571 doi: https://doi.org/10.14198/QdCINE.2013.8.07

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Elduque, A. (2018) Flesh and costumes: the watermelon in 'Vereda Tropical'. In: Baltar, M. (ed.) E pornô, tem pornô? A Panorama of Brazilian Porn. Mimesis International, Milan, pp. 115-137. ISBN 9788869770234

Elduque, A. (2018) Géneros fluidos: familias, amores, sueños. In: Montero, J. F. (ed.) John Cassavetes. Interior noche. Shangrila Textos Aparte, Santander, pp. 310-332. ISBN 9788494761690

Elduque, A. (2016) La comida en familia. In: Balló, J. and Bergala, A. (eds.) Motivos visuales del cine. Galaxia Gutenberg, Barcelona, pp. 77-81. ISBN 9788416495504

Elduque, A. (2017) Outskirts of reason: the dream in Días de papel and Chircales. In: Forrest, D., Harper, G. and Rayner, J. (eds.) Filmurbia: Screening the Suburbs. Palgrave Macmillan, Basingstoke, pp. 149-168. ISBN 9781137531759

Elduque, A. and Araújo, M. (2018) Ecos de revueltas lejanas: Fassbinder, Glauber Rocha y 'El viaje a Niklashausen' (1970). In: Rodrigo García, J. (ed.) Rainer Werner Fassbinder. Solo quiero que me amen. Shangrila Textos Aparte, Santander, pp. 174-195. ISBN 9788494875052

Elduque, A. and Garin, M. (2013) El que cree que saltar significa. In: Benavente, F. and Salvadó Corretger, G. (eds.) Poéticas del gesto en el cine europeo contemporáneo. Intermedio / Grup CINEMA, Barcelona, pp. 417-438. ISBN 9788461620784

Elduque, A. (2017) As Belair went by: an interview with Helena Ignez. In: Solomon, S. (ed.) Tropicália and Beyond: Dialogues in Brazilian Film History. Archive Books, Berlin, pp. 123-135. ISBN 9783943620726

Elduque, A., ed. (2017) Contemporary Brazilian music film. University of Reading, Reading, pp115. ISBN 9780704915855

Elduque, A. (2017) Cut it like a tambourine beat: Ricardo Miranda on the editing of 'The Age of the Earth'. In: Solomon, S. (ed.) Tropicália and Beyond: Dialogues in Brazilian Film History. Archive Books, Berlin, pp. 193-209. ISBN 9783943620726

Elduque, A. (2015) El hambre y los sueños de los conquistadores: 'Aguirre, la cólera de Dios' ('Aguirre, der Zorn Gottes', 1972). In: Higueras Flores, R. (ed.) Werner Herzog. Espejismos de sueños olvidados. Shangrila Textos Aparte, Santander, pp. 244-250. ISBN 9788494367236

Elduque, A. (2015) El tránsito del murciélago: irrupciones de lo fantástico en el cine de Werner Herzog. In: Higueras Flores, R. (ed.) Werner Herzog. Espejismos de sueños olvidados. Shangrila Textos Aparte, Santander, pp. 184-191. ISBN 9788494367236

Elduque, A. (2017) Hungry gazes, digesting closeups: Pasolini, 'Porcile' and the politics of consumption. Screen, 58 (2). pp. 119-140. ISSN 1460-2474 doi: https://doi.org/10.1093/screen/hjx014

Elduque, A. (2017) Introduction. In: Elduque, A. (ed.) Contemporary Brazilian Music Film. University of Reading, Reading, pp. 5-15. ISBN 9780704915855

Elduque, A. (2017) Making it visible: an interview with Sérgio Roizenblit about 'The Miracle of Santa Luzia'. In: Elduque, A. (ed.) Contemporary Brazilian Music Film. University of Reading, Reading, pp. 103-109. ISBN 9780704915855

Elduque, A. (2015) O touro fica: anotações sobre 'O Testamento de Dom Quixote'. Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual, 4 (7). pp. 455-465. ISSN 2316-9230

Elduque, A. (2016) Pasolini and Third World hunger: an approach to Cinema Novo through 'La ricotta'. Journal of Italian Cinema and Media Studies, 4 (3). pp. 369-385. ISSN 20477368 doi: https://doi.org/10.1386/jicms.4.3.335_7

Elduque, A. (2012) Sangue e carne no cinema de Joaquim Pedro de Andrade. Revista Movimento, 2. pp. 1-24. ISSN 2238-8699

Elduque, A. (2018) Suspiros de España: la censura del sexo en el primer franquismo. In: Bou, N. and Pérez, X. (eds.) El cuerpo erótico de la actriz bajo los fascismos. Cátedra, Madrid, pp. 13-23. ISBN 9788437638416

Elduque, A. (2017) Vindicating the composer: an interview with Márcia Derraik about 'Where the Owl Sleeps'. In: Elduque, A. (ed.) Contemporary Brazilian Music Film. University of Reading, Reading, pp. 87-89. ISBN 9780704915855

Elduque, A. (2017) What about the end of the history? An interview with Hernani Heffner. In: Elduque, A. (ed.) Contemporary Brazilian Music Film. University of Reading, Reading, pp. 17-21. ISBN 9780704915855

Elduque, A. (2016) The necessary amateur. Cinema, education and politics. Interview with Cezar Migliorin. Cinema Comparat/ive Cinema, 4 (9). pp. 36-42. ISSN 2014-8933

Fife Donaldson, L. and Purse, L., eds. (2022) Issue 10. Movie: A Journal of Film Criticism, 10. University of Warwick. (ISSN 2047-1661)

Fife, L. (2008) Human monstrosity: rape, ambiguity and performance in Rosemary’s Baby (Roman Polanski, 1968). In: Baumgartner, H. and Davis, R. (eds.) Hosting the Monster. At the Interface/Probing the Boundaries (52). Rodopi, Amsterdam / New York, pp. 43-62. ISBN 9042024860

Frost, E. and McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2003) The Blue Angel Beckett on film project : questions of adaptation, aesthetics and audience in filming Beckett’s theatrical canon. In: Ben-Zvi, L. (ed.) Drawing on Beckett : portraits, performances, and cultural contexts. Assaph Books. Tel Aviv University, Tel Aviv, pp. 215-238. ISBN 9789659062508

Fuller, S. (2003) Essays. In: Schleifer , M. F. and Glickman , S. (eds.) Women Composers: Music Through The Ages. G. K. Hall, Boston.

Garin, M. and Elduque, A. (2018) Playing the holes. Notes on the Ozuesque gag. In: Choi, J. (ed.) Reorienting Ozu: A Master and His Influence. Oxford University Press, Oxford, pp. 197-214. ISBN 9780190254988

Garin, M. and Elduque, A. (2016) Quantitative meta-analysis of visual motifs throughout film history. El profesional de la información, 25 (6). pp. 883-892. ISSN 1699-2407

Ghosh, S. (2021) We Make Film: Filmmaking and Creative Expression by People with Disabilities in Contemporary, Urban India. PhD thesis, University of Reading. doi: https://doi.org/10.48683/1926.00105309

Ghosh, S. (2021) The disability and film-making community in film practice-as-research: the case of we make film. In: Ullah, F., Monteiro, A. and Jayasankar, K. P. (eds.) Many Voices, Many Worlds : Critical Perspectives on Community Media in India. SAGE Publications India Pvt. Ltd., pp. 143-156. ISBN 9789391138479

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2012) Balancing act: exploring the tone of The Life Aquatic with Steve Zissou. New Review of Film and Television Studies, 10 (1). pp. 132-151. ISSN 1740-0309 doi: https://doi.org/10.1080/17400309.2011.635035 (special issue: Wes Anderson and Co.)

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2023) Creative geography, creative connections: Candyman. Movie: a journal of film criticism, 11. pp. 19-21. ISSN 2047-1661

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2010) 'Everything is connected, and everything matters': relationships in I ♥ Huckabees. In: Brown, T. and Walters, J. (eds.) Film Moments. BFI / Palgrave Macmillan, London, pp. 57-60. ISBN 9781844573356

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2006) Filmmakers' choices. In: Close-Up 01. Wallflower Press, London, pp. 1-87. ISBN 1904764665

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2015) Filmmakers' choices. Movie: A Journal of Film Criticism, Warwick, UK. (Republication in e-form)

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2019) Interviews: Ian Cameron, V.F. Perkins, Charles Barr, Alan Lovell. Movie: A Journal of Film Criticism (8). pp. 38-71. ISSN 2047-1661

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2002) Mise-en-scène: film style and interpretation. Short Cuts. Wallflower Press, London, pp128. ISBN 190336406X

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2019) New approaches to film history. [Project] (Collection)

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2016) Opening movements in Ophuls: Caught (and Madame de …)(audiovisual essay). [in]Transition, 3 (2). ISSN 2469-4312

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2017) Opening movements in Ophuls: long takes, leading characters and luxuries. In: Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D. (eds.) The long take: critical approaches. Palgrave Close Readings in Film and Television. Palgrave Macmillan, London, UK, pp. 89-102. ISBN 9781137585721

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2017) Ophuls and film style. [Project] (Collection)

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2018) Reevaluating The Phantom Carriage. [Project] (Collection)

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2019) ‘Say, have you seen the Carioca?’: an experiment in non-linear, non-hierarchical approaches to film history. Movie: A Journal of Film Criticism, 8. ISSN 2047-1661

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2001) Sequence and the archaeology of British film criticism. Journal of Popular British Cinema (4). pp. 14-29. ISSN 1461-104X

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2010) Sleeping with half open eyes: dreams and realities in The Cry of the Owl. Movie: A Journal of Film Criticism (1). pp. 1-17.

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2024) Video essay: choosing death row songs. Music, Sound and the Moving Image, 18 (1). pp. 3-5. ISSN 1753-0776 doi: https://doi.org/10.3828/msmi.2024.2

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2011) The cry of the owl: investigating decision-making in a contemporary feature film. Movie: a Journal of Film Criticism (3). pp. 80-93. ISSN 2047-1661

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 (2013) The life of mise-en-scène: visual style and British film criticism, 1946–78. Manchester University Press, Manchester, pp288. ISBN 9780719088667

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D., eds. (2006) Close-Up 01: Filmmakers’ choices / The pop song in narrative film / reading Buffy. Wallflower Press, London, pp256. ISBN 9781904764571

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D., eds. (2007) Close-Up 02: movies and tone / reading Rohmer / voices in film. Wallflower Press, London, pp256. ISBN 9781905674060

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D., eds. (2009) Close-up 03 : the police series ; Weimar cinema ; Men's cinema. Close-up, 3. Wallflower Press, London, pp224. ISBN 9781905674770

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D. (2022) Le Plaisir: voices and viewpoints. NECSUS, Spring '22. ISSN 2213-0217

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D. (2017) Opening choices: Notorious (audiovisual essay). Movie: a journal of film criticism (7). ISSN 2047-1661

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D. (2018) The Phantom Carriage (Körkarlen) (1921). In: Silent Features. Exeter University Press, Exeter, pp. 73-90.

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D. (2017) The Phantom Carriage: a revaluation (audiovisual essay). Movie: a journal of film criticism (7). ISSN 2047-1661

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D. (2010) Preminger and Peckinpah: seeing and shaping widescreen worlds. In: Belton, J., Hall, S. and Neale, S. (eds.) Widescreen Worldwide. John Libbey, London, pp. 71-90. ISBN 9780861966943

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D. (2005) Revisiting Preminger: 'Bonjour Tristesse' (1958) and close reading. In: Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D. (eds.) Style and Meaning: Studies in the Detailed Analysis of Film. Manchester University Press, Manchester, pp. 108-126. ISBN 9780719065248

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D., eds. (2005) Style and meaning: studies in the detailed analysis of film. Manchester University Press, Manchester. ISBN 9780719065248

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D., eds. (2017) The long take: critical approaches. Palgrave Close Readings in Film and Television. Palgrave Macmillan, London, UK. ISBN 9781137585721

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Reck Miranda, S. (2018) Playing at the margins. [in]Transition, 5 (2). ISSN 2469-4312

Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798, Glitre, K. and Pye, D. (2023) The Miracle of Morgan’s Creek (1944): three perspectives on Preston Sturges and the Production Code. Quarterly Review of Film and Video. ISSN 1543-5326 (In Press) (Part of Special Issue: Hollywood Film Style and the Production Code: Criticism and History)

Gonzalez Ortiz, C. ORCID: https://orcid.org/0000-0002-1420-8756 (2017) “Teatro Chileno y política: de macro y micropolíticas hacia un Giro Ciudadano". In: Cottin, G., González, M. and Mella, C. (eds.) Ideas desde el Reino Unido: críticas y propuestas para el desarrollo de Chile. Independent, London, pp. 37-52. ISBN 9789563687712

Gonzalez Ortiz, C. ORCID: https://orcid.org/0000-0002-1420-8756 (2020) “Theatre and democracy in Chile: La Re-sentida’s La imaginación del futuro, or the failure of Utopias”. In: Aragay, M., Botham, P. and Prado-Pérez, J. R. (eds.) World Political Theatre and Performance. Themes in Theatre, 11. Brill, Leiden, pp. 181-197. ISBN 9789004425804 doi: https://doi.org/10.1163/9789004430990

Gonzalez Ortiz, C. ORCID: https://orcid.org/0000-0002-1420-8756 (2018) Theatre, performance and politics in Chile: the citizens’ turn. PhD thesis, King's College London. doi: https://doi.org/10.48683/1926.00095596

Greene, A.‐m. ORCID: https://orcid.org/0000-0002-0695-3182, Dean, D., Bartley, S. and McAvinchey, C. (2022) Locked up and down: incarceration, care, and art in a pandemic. Gender, Work & Organization, 29 (4). pp. 1346-1359. ISSN 1468-0432 doi: https://doi.org/10.1111/gwao.12801

Guan, C. and O'Brien, A. ORCID: https://orcid.org/0000-0002-9527-4076 (2020) Natural aesthetics: environments and perspectives in contemporary film theory. Screen, 61 (2). pp. 331-333. ISSN 1460-2474 doi: https://doi.org/10.1093/screen/hjaa020

Hegarty Lovett, J. (2021) Staging Beckett’s Prose: A Practice As Research Analysis of Staging How It Is. PhD thesis, University of Reading. doi: https://doi.org/10.48683/1926.00100315

Hellmich, C. and Purse, L. (2016) Knowing war: moving images and the politics of erasure in the post 9/11 world. E-international relations.

Hellmich, C. and Purse, L., eds. (2017) Disappearing war: interdisciplinary perspectives on cinema and erasure in the post-9/11 world. Edinburgh University Press, Edinburgh, pp216. ISBN 9781474416566

Hellmich, C. and Purse, L. (2017) Introduction: film and the epistemology of war. In: Hellmich, C. and Purse, L. (eds.) Disappearing War: Interdisciplinary Perspectives on Cinema and Erasure in the Post-9/11 World. Edinburgh University Press, Edinburgh, UK. ISBN 9781474416566

Hillier, J. M. (2005) Swimming and sinking: form and meaning in an avant-garde film. In: Gibbs, J. ORCID: https://orcid.org/0000-0003-0876-1798 and Pye, D. (eds.) Style and Meaning: Studies in the Detailed Analysis of Film. Manchester University Press, Manchester, pp. 155-166. ISBN 9780719065248

Hobden, F. and Wrigley, A., eds. (2018) Ancient Greece on British television. Screening Antiquity. Edinburgh University Press, Edinburgh, pp272. ISBN 9781474412599

Hobden, F. and Wrigley, A. (2018) Broadcasting Greece: an introduction to Greek Antiquity on the small screen. In: Hobden, F. and Wrigley, A. (eds.) Ancient Greece on British Television. Screening Antiquity. Edinburgh University Press, Edinburgh, pp. 1-23. ISBN 9781474412599

Hsieh, H. ORCID: https://orcid.org/0009-0000-5316-0727 (2023) Creative infidelity in the process of adaptation: Peter Shaffer from stage to screen. PhD thesis, University of Reading. doi: https://doi.org/10.48683/1926.00118933

Husanovic, E. (2017) Dis-Orient Express: belly dancing, hybrid identities and female oriental ‘other’. PhD thesis, University of Reading.

Jeffery, L. (2018) Beckett: art, music and the creative process. PhD thesis, University of Reading.

Kazakopoulou de Senna, A. (2015) Women’s Popular Cinema in Greece: the case of Olga Malea. PhD thesis, University of Reading.

Kenward, J. ORCID: https://orcid.org/0000-0002-3513-9585 (2021) The right to be forgotten: confronting the past in post-millennial cinema. In: Carranza, A. J. (ed.) Our Fears Made Manifest: Essays on Terror, Trauma and Loss in Film, 1998-2019. McFarland, Jefferson, North Carolina, pp. 182-195. ISBN 9781476679310

Kenward-Abdollahyan, J. ORCID: https://orcid.org/0000-0002-3513-9585 (2022) Politics and realism in the films of Jafar Panahi and Abbas Kiarostami. PhD thesis, University of Reading. doi: https://doi.org/10.48683/1926.00116788

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2020) Bringing the battle to Britain: Band of Brothers and television runaway production in the UK. Journal of British Cinema and Television, 17 (3). pp. 313-333. ISSN 1755-1714 doi: https://doi.org/10.3366/jbctv.2020.0531

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2018) Crossing broadcasters: the transatlantic exchange between Sylvester ‘Pat’ Weaver and Sir Ian Jacob, 1955-1956. Historical Journal of Film, Radio and Television, 38 (4). pp. 843-862. ISSN 1465-3451 doi: https://doi.org/10.1080/01439685.2017.1412920

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2018) Exploring the casting of British and Irish actors in contemporary US film and television. In: Cantrell, T. and Hogg, C. (eds.) Exploring television acting. Bloomsbury, London, pp. 154-170. ISBN 9781474248594

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2013) Eye candy for the blind: re-introducing Lyotard's Acinema into discourses on excess, motion and spectacle in contemporary Hollywood. New Review of Film and Television Studies, 11 (3). pp. 374-389. ISSN 1740-7923 doi: https://doi.org/10.1080/17400309.2013.803906

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2007) Five's finest: the import of 'CSI' to British television. In: Allen, M. (ed.) Reading 'CSI': Crime TV Under the Microscope. I B Tauris, London, pp. 183-197.

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2012) Masterpiece Theatre and British drama imports on US television: discourses of tension. Critical Studies in Television, 7 (1). pp. 29-48. ISSN 1749-6020 doi: https://doi.org/10.7227/CST.7.1.5

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2008) "Muito boa qualidade, de facto": Shooting the Past e o caso das séries dramáticas de qualidade da televisão britânica na era da televisão de qualidade americana. ["Rather good quality, in fact": Shooting the Past and the case of British Quality Television Drama in the age of AQTV]. In: Discursos e Práticas de Qualidade Na Televisão. Livros Horizonte, Lisboa, pp. 271-286.

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2010) Reading 'The Truman Show' inside out. Film Criticism, XXXV (1). pp. 1-23. ISSN 0163-5069

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2006) Reading the ungraspable double-codedness of: the Simpsons. Journal of Popular Film and Television, 34 (2). pp. 73-81. ISSN 1930-6458 doi: https://doi.org/10.3200/JPFT.34.2.73-81

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2013) Reflection iii: Transnationalisation, Television Formats and the Universal. Critical Studies in Television, 8 (2). pp. 104-106. ISSN 1749-6020

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2019) Representations of British Chinese identities and British television drama: mapping the field. Journal of British Cinema and Television, 16 (2). pp. 125-145. ISSN 1755-1714 doi: https://doi.org/10.3366/jbctv.2019.0465

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2018) Shameless, the push-pull of transatlantic fiction format adaptation, and star casting. New Review of Film and Television Studies, 16 (3). pp. 295-323. ISSN 1740-7923 doi: https://doi.org/10.1080/17400309.2018.1487130

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2013) The transatlantic dimensions of the time lord: Doctor Who and the relationships between British and North American television. In: O'Day, A. (ed.) Doctor Who: the eleventh hour: a critical celebration of the Matt Smith and Steven Moffat era. I. B. Tauris, London, pp. 106-120. ISBN 9781780760186

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2019) The unwitting pioneer of transatlantic format adaptation: Beryl Vertue. Historical Journal of Film, Radio and Television, 39 (2). pp. 341-365. ISSN 0143-9685 doi: https://doi.org/10.1080/01439685.2018.1522790

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 and Adamou, C. (2010) Live and kicking: a meta-critical discourse on television and television studies. Science Fiction Film and Television, 3 (2). pp. 271-286. ISSN 1754-3770 doi: https://doi.org/10.3828/sfftv.2010.18

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 and Adamou, C. (2011) Transforming television drama through dubbing and subtitling: sex and the cities. Critical Studies in Television, 6 (1). pp. 1-21. ISSN 1749-6020

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 and Cassidy, G. (2019) Game of Thrones: investigating British acting. In: Hills, M., Hilmes, M. and Pearson, R. (eds.) Transatlantic Television Drama: Industries, Programs and Fans. Oxford University Press, Oxford, pp. 181-202. ISBN 9780190663124

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 and Derhy Kurtz, B. W. L. (2017) Texture, realism, performance: exploring the intersection of transtexts and the contemporary sitcom. In: Derhy Kurtz, B. W. L. and Bourdaa, M. (eds.) The Rise of Transtexts: Challenges and Opportunities. Routledge Research in Cultural and Media Studies. Routledge, pp. 49-67. ISBN 9781138944671

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 and Lacey, S., eds. (2018) Acting on television: analytical methods and approaches. Critical Studies in Television, 13 (3). SAGE.

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 and Schwind, K. H. (2019) Friends: a reading of the sitcom. Palgrave Macmillan. ISBN 9783030254285 doi: https://doi.org/10.1007/978-3-030-25429-2

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 and Weissmann, E., eds. (2018) European cultures of production. Critical Studies in Television, 13 (2). SAGE.

Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 and Weissmann, E. (2018) European cultures of production. Critical Studies in Television, 13 (2). pp. 133-136. ISSN 1749-6020 doi: https://doi.org/10.1177/1749602018763202

Lacey, S. and Knox, S. ORCID: https://orcid.org/0000-0002-5094-6203 (2018) Acting on television: analytical methods and approaches. Critical Studies in Television, 13 (3). pp. 257-261. ISSN 1749-6020 doi: https://doi.org/10.1177/1749602018782046

Latto, A. (2017) The fragmented text/the fragmented self: exploring the limits of storytelling practice. PhD thesis, University of Reading.

Leavitt, C. (2018) Notes on the end of 'Rome Open City'. Journal of Italian Cinema and Media Studies, 6 (3). pp. 359-372. ISSN 20477368 doi: https://doi.org/10.1386/jicms.6.3.359_1

Lees, D. ORCID: https://orcid.org/0000-0002-3787-3740 (2022) The Burning. [Video] (Sightlines: Filmmaking in the Academy Issue 4 2022)

Lees, D. ORCID: https://orcid.org/0000-0002-3787-3740 (2023) Cinema Ex Machina. Sight and Sound.

Lees, D. ORCID: https://orcid.org/0000-0002-3787-3740 (2023) Deepfakes in documentary film production: images of deception in the representation of the real. Studies in Documentary Film. ISSN 1750-3280 doi: https://doi.org/10.1080/17503280.2023.2284680

Lees, D. ORCID: https://orcid.org/0000-0002-3787-3740, (2022) Evidence to the inquiry of the Communications and Digital Committee of the House of Lords, ‘A Creative Future’. A Creative Future. CRF0008. Report. UK Parliament, London.

Lees, D. ORCID: https://orcid.org/0000-0002-3787-3740 (2019) Improvisation as a research methodology: Exploring links between filmmakers’ practice and traditions of enquiry across the academy. Media Practice and Education, 20 (2). pp. 134-146. ISSN 2574-1136 doi: https://doi.org/10.1080/25741136.2019.1605675

Lees, D. ORCID: https://orcid.org/0000-0002-3787-3740 (2019) Many ways of directing a film: teaching the ‘modes of creative practice’. In: Mourao, M. D., Semerdjiev, S., Mello, C. and Taylor, A. (eds.) The 21st Century Film, TV and Media School Book – Volume 2: Directing the future. CILECT - the International Association of Film and Television Schools, Sofia, pp. 28-39. ISBN 9786197358087

Lees, D. ORCID: https://orcid.org/0000-0002-3787-3740 (2019) Modes of Creative Practice in the directing of independent fiction films. PhD thesis, University of Reading. doi: https://doi.org/10.48683/1926.00104350

Lees, D. ORCID: https://orcid.org/0000-0002-3787-3740, (2024) Synthetic Media Research Network — written evidence (ACT0011) to the House of Lords Communications and Digital Select Committee inquiry: Scaling Up: AI and creative tech. Scaling Up - AI and Creative Tech. Report. UK Parliament, Westminster. pp7.

Lees, D. ORCID: https://orcid.org/0000-0002-3787-3740, Bashford-Rogers, T. and Keppel-Palmer, M. (2021) The digital resurrection of Margaret Thatcher: creative, technological and legal dilemmas in the use of deepfakes in screen drama. Convergence: The International Journal of Research into New Media Technologies, 27 (4). pp. 954-973. ISSN 1354-8565 doi: https://doi.org/10.1177/13548565211030452 (Special Issue: 'The Digital Face and Deepfakes on Screen')

Lodhi, A. and Wrigley, A. (2018) Introduction: radio modernisms: features, cultures and the BBC. Media History, 24 (2). pp. 159-165. ISSN 1469-9729 doi: https://doi.org/10.1080/13688804.2018.1473134

Lodhi, A. and Wrigley, A. (2018) Radio modernisms: features, cultures and the BBC. Taylor & Francis, London. doi: https://doi.org/10.1080/13688804.2018.1473134

MacMurraugh-Kavanagh, M. (1999) Bearing witness: Tony Garnett on 'Cops', the community, and the TV audience. Vertigo (9). pp. 21-22.

MacMurraugh-Kavanagh, M. (1998) "Kicking Over the Traces": An interview with Tony Garnett. Media Education Journal (24). pp. 23-30.

MacMurraugh-Kavanagh, M. (1998) The BBC Wednesday Play, 1964-1970: researching and interpreting a formative moment in British television drama. Media Education Journal, 23. pp. 10-14.

MacMurraugh-Kavanagh, M. (1997) The BBC and the birth of "The Wednesday Play" (1962-1966): institutional containment versus "Agitational Contemporaneity". Historical Journal of Film, Radio and Television, 17 (3). pp. 367-381. ISSN 0143-9685

MacMurraugh-Kavanagh, M. (1999) Boys on top: gender and authorship on 'The Wednesday Play', 1964-1970. Media, Culture & Society, 21 (3). pp. 409-425. ISSN 1460-3675

MacMurraugh-Kavanagh, M. (1997) "Drama" into "News": strategies of intervention in 'The Wednesday Play'. Screen, 38 (3). pp. 247-259. ISSN 1460-2474

MacMurraugh-Kavanagh, M. (2000) Too secret for words: circulating and receiving coded dissent in female-authored drama of 'The Wednesday Play', 1964-1970. In: Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601, Lacey, S. and MacMurraugh-Kavanagh, M. (eds.) British Television Drama: Past, Present and Future. Macmillan, Basingstoke. ISBN 9780333774953

MacMurraugh-Kavanagh, M. (1999) Who framed Theatre? The moment of change in television drama. New Theatre Quarterly, XV (57). pp. 58-74. ISSN 0266-464X

MacMurraugh-Kavanagh, M. K. (2000) What's all this then? The ideology of identity in 'The Cops'. In: Llewellyn-Jones, M. and Carson, B. (eds.) Frames and Fiction on Television: The Politics of Identity Within Drama. Intellect Books, Exeter. ISBN 9781841500096

Marman, D. T. (2017) Empowering communities through theatre: an applied theatre model for Botswana. PhD thesis, University of Reading.

McFrederick, M. ORCID: https://orcid.org/0000-0002-4816-8465 (2017) Beckett at the Young Vic. Samuel Beckett Today / Aujourd'hui, 29 (2). pp. 243-255. ISSN 0927-3131 doi: https://doi.org/10.1163/18757405-02902003

McFrederick, M. ORCID: https://orcid.org/0000-0002-4816-8465 (2016) Feckham, Peckham, Fulham, Clapham…Hammersmith: Beckett at Riverside Studios. In: Tucker, D. and McTighe, T. (eds.) Staging Beckett in Great Britain. Bloomsbury, Methuen Drama, London, pp. 37-55. ISBN 9781474240178

McFrederick, M. ORCID: https://orcid.org/0000-0002-4816-8465 (2017) Staging Beckett: a production history of Samuel Beckett’s drama in London (1955 – 2010). PhD thesis, University of Reading.

McFrederick, M. ORCID: https://orcid.org/0000-0002-4816-8465 (2020) ‘The air is full of our cries’: staging Godot during apartheid South Africa. In: Beckett and Politics. Palgrave MacMillan, pp. 195-211. ISBN 9783030471095 doi: https://doi.org/10.1007/978-3-030-47110-1

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2022) Barthes, Beckett and the theatre: three dialogues. Paragraph, 45 (2). pp. 172-186. ISSN 0264-8334 doi: https://doi.org/10.3366/para.2022.0395

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2007) Beckett’s theatre: embodying alterity. In: Ben-Zvi, L. and Moorjani, A. (eds.) Beckett at 100: Revolving it All. Oxford University Press, pp. 166-176. ISBN 9780195325485

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2013) Dancing in translation: Irina Brook’s mise en scène of 'Danser à Lughnasa', Jean-Marie Besset’s translation of Brian Friel’s 'Dancing at Lughnasa'. Studies in Theatre & Performance, 33 (2). pp. 211-223. ISSN 2040-0616 doi: https://doi.org/10.1386/stap.33.2.211_1

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2014) Designing Beckett: Jocelyn Herbert's contribution to Samuel Beckett's theatrical aesthetics. In: Gontarski, S. E. (ed.) The Edinburgh companion to Samuel Beckett and the arts. Edinburgh University Press, Edinburgh, pp. 409-422. ISBN 9780748675685

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2007) From matron to matrix: gender, authority and (dis)embodiment in Beckett’s Theatre. In: Sihra, M. (ed.) Women in Irish Drama: A Century of Authorship and Representation. Performance Interventions. Palgrave Macmillan, Basingstoke, pp. 97-108. ISBN 9780230006478

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2014) Historical legacies and unhomely cultural memories in Brian Friel’s The home place. Nordic Irish Studies, 13 (1). pp. 189-203. ISSN 1602-124X

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2008) History in tatters: bodies and things in Samuel Beckett’s theatre. Etudes Britanniques Contemporaines, 35. pp. 27-37. ISSN 1168-4917

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2009) 'The Home Place': unhomely inheritances. Irish Theatre International, 2 (1). pp. 62-68. ISSN 2009-0870

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2004) Irish/postcolonial Beckett. In: Oppenheim, L. (ed.) Palgrave Advances in Samuel Beckett Studies. Palgrave Advances. Palgrave Macmillan, pp. 89-109. ISBN 9781403903525

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2007) Mutated bodies: stage performances of Beckett's late prose texts by Mabou Mines (1984) and Gare St. Lazare Players, Ireland (2005). Performance Research, 12 (1). pp. 57-65. ISSN 1469-9990 doi: https://doi.org/10.1080/1352816070138081

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2006) Performativity, unruly bodies and gender in Brian Friel’s drama. In: Roche, A. (ed.) Cambridge Companion to Brian Friel. Cambridge Companions to Literature. Cambridge University Press, Cambridge, pp. 142-153. ISBN 9780521853996

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2010) Performing embodiment in Samuel Beckett's drama. Routledge Advances in Theatre and Performance Studies, 12. Routledge, pp186. ISBN 9780415385985

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2020) Samuel Beckett and intermedial performance: passing between. Samuel Beckett Today / Aujourd'hui, 32 (1). pp. 71-85. ISSN 0927-3131 doi: https://doi.org/10.1163/18757405-03201006

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2021) Samuel Beckett's intermedial ecosystems: closed space environments across the stage, prose and media works. Cambridge University Press, Cambridge, pp67. ISBN 9781108959056 doi: https://doi.org/10.1017/9781108938990

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2012) Samuel Beckett's scenographic collaboration with Jocelyn Herbert. Degrés, 149-150. pp. 1-17. ISSN 0770-8378

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2007) Samuel Beckett’s theatre: liminal subjects and the politics of perception. The Princeton University Library Chronicle, 68 (1/2). pp. 450-464.

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2016) Staging Beckett in Ireland: scenographic remains. In: McTighe, T. and Tucker, D. (eds.) Staging Beckett in Ireland and Northern Ireland. Bloomsbury Methuen, London, pp. 103-119. ISBN 9781474240550

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2017) Staging Ireland's Dispossessed: Sarah Jane Scaife's Beckett in the City Project. Samuel Beckett Today / Aujourd'hui, 29 (2). pp. 361-374. ISSN 0927-3131 doi: https://doi.org/10.1163/18757405-02902012

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (2021) Technology and the voices of the more than human in Samuel Beckett’s All That Fall. In: de Vos, L., Tanaka, M. H. and Johnson, N. (eds.) Beckett's Voices / Voicing Beckett. Brill, Netherlands, pp. 158-174. ISBN 9789004468399 doi: https://doi.org/10.1163/9789004468382_013

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 (1993) Theatre on trial: the later drama of Samuel Beckett. Routledge, London, pp168. ISBN 9780415052023

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 and Leeney, C., eds. (2003) The Theatre of Marina Carr: “before rules was made”. Carysfort Press, Dublin. ISBN 9780953425778

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 and McTighe, T. (2014) Samuel Beckett, the Gate Theatre Dublin, and the contemporary Irish independent theater sector: fragments of performance history. Breac: A Digital Journal of Irish Studies, July. ISSN 2372-2231

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 and Nixon, M. ORCID: https://orcid.org/0000-0002-3730-1785 (2020) Pedagogies of place: Reading. Journal of Beckett Studies, 29 (1). pp. 74-82. ISSN 0309-5207 doi: https://doi.org/10.3366/jobs.2020.0285

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 and Pattie, D. (2017) Introduction: staging Beckett at the margins. Samuel Beckett Today / Aujourd'hui, 29 (2). pp. 227-230. ISSN 0927-3131 doi: https://doi.org/10.1163/18757405-02902001

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 and Saunders, G., eds. (2018) Special issue on staging Beckett and contemporary theatre and performance cultures. Contemporary Theatre Review, 28 (1). Taylor and Francis. doi: https://doi.org/10.1080/10486801.2017.1405393

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 and Singleton, B., eds. (2003) Special issue of Australasian Drama Studies on Performing Ireland. Australasian Drama Studies.

(2002) Contemporary women playwrights. In: McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 and Williams, C. (eds.) Field Day Anthology of Irish Writing. Cork University Press in association with Field Day, Cork, pp. 1234-1289.

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746 and Wilmer, S. E., eds. (2009) Reflections on Beckett: a centenary celebration. Theater: theory/text/performance. University of Michigan Press, Ann Arbor, pp256. ISBN 9780472116645

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746, McTighe, T., Pattie, D. and Tucker, D. (2014) Staging Beckett: constructing histories of performance. Journal of Beckett Studies, 23 (1). pp. 11-33. ISSN 0309-5207 doi: https://doi.org/10.3366/jobs.2014.0084

McMullan, A. ORCID: https://orcid.org/0000-0002-2531-3746, Pattie, D. and Nixon, M. ORCID: https://orcid.org/0000-0002-3730-1785, eds. (2017) Staging Beckett at the Margins / Autres scènes beckettiennes. Samuel Beckett Today / Aujourd'hui, 29 (2). Brill, Leiden.

McTighe, T. (2013) Acts of estrangement: reading the psoriatic-skin. Nyx, A Noctournal, 8. pp. 6-15.

McTighe, T. (2013) ‘Getting known’: Beckett, Ireland and the creative industries. In: Walsh, F. (ed.) That was us: Contemporary Irish Theatre and Performance. Oberon, London, pp. 157-172. ISBN 9781783190355

McTighe, T. (2013) The Haptic Aesthetic in Samuel Beckett's Drama. New Interpretations of Beckett in the 21st Century. Palgrave Macmillan, New York, pp224. ISBN 9781137276988

McTighe, T. (2010) Haptic interfaces: the live and the recorded body in Beckett's Eh Joe on stage and screen. Samuel Beckett Today / Aujourd'hui, 22. pp. 463-475. ISSN 0927-3131

Medioli, F. (2015) Una biografia per immagini. In: Medioli, F. and Mancini, R. (eds.) Il costruttore di immagini: Enrico Medioli sceneggiatore. Aska, Florence, pp. 27-42. ISBN 97888775422448

Medioli, F. and Mancini, R., eds. (2015) Il costruttore di immagini. Aska, Florence, pp144. ISBN 9788875422448

Miller, H. K. ORCID: https://orcid.org/0000-0001-5255-3764 (2017) Cinema 66–8: the original London film-makers. The Moving Image Review & Art Journal (MIRAJ), 6 (1). pp. 8-23. ISSN 2045-6298 doi: https://doi.org/10.1386/miraj.6.1-2.8_1

Miller, H. K. ORCID: https://orcid.org/0000-0001-5255-3764 (2016) Film studies before film studies: Derek Jarman at the Slade. Screen, 57 (3). pp. 371-378. ISSN 1460-2474 doi: https://doi.org/10.1093/screen/hjw032

Miller, H. K. ORCID: https://orcid.org/0000-0001-5255-3764 (2020) Hitchcock’s spy films. In: Gottlieb, S. (ed.) Hitchcock Annual. Columbia University Press, pp. 117-127. ISBN 9780231199575 doi: https://doi.org/10.1353/hit.2020.0005

Miller, H. K. ORCID: https://orcid.org/0000-0001-5255-3764 (2018) Nobody walks: Hitchcock's first impressions of Hollywood. In: Gottlieb, S. (ed.) Hitchcock Annual. Columbia University Press, pp. 74-81. ISBN 9780231190459 doi: https://doi.org/10.1353/hit.2018.0002

Miller, H. K. ORCID: https://orcid.org/0000-0001-5255-3764 (2014) Return to the lost continent. New review of film and television studies, 12 (4). pp. 412-428. ISSN 1740-0309 doi: https://doi.org/10.1080/17400309.2014.940802

Miller, H. K. ORCID: https://orcid.org/0000-0001-5255-3764 (2007) The Slade School and cinema: part two. Vertigo.

Miller, H. K. ORCID: https://orcid.org/0000-0001-5255-3764 (2015) Sympathetic Guidance: Hitchcock and C.A. Lejeune. In: Hitchcock Annual. Columbia University Press, Fairfield, p. 33. ISBN 9780231176194

Miller, H. K. ORCID: https://orcid.org/0000-0001-5255-3764 (2017) Vent d'est. Critical Quarterly, 59 (1). pp. 7-28. ISSN 0011-1562 doi: https://doi.org/10.1111/criq.12319

Miller, H. K. ORCID: https://orcid.org/0000-0001-5255-3764 (2016) The documentary version of film history. In: Aitken, I. (ed.) The Major Realist Film Theorists. Edinburgh University Press, pp. 172-186. ISBN 9781474421959 doi: https://doi.org/10.3366/edinburgh/9781474402217.003.0011

Miller, H. K. ORCID: https://orcid.org/0000-0001-5255-3764 (2016) The lonely crowd: Dwoskin, Durgnat and the London Film-Makers’ Co-op. Screen, 57 (1). pp. 87-94. ISSN 1460-2474 doi: https://doi.org/10.1093/screen/hjw011

Monks, A., (2004) First funny Medea: Deborah Warner's Medea. In: Weitz, E. (ed.) The Power of Laughter. Carysfort Press, Dublin. ISBN 9781904505051

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2010) Ashanti. [Performance]

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2019) Between. [Performance]

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2020) 'The Biscuit Town': digital practice, spatiality and discoverability in Reading's heritage sector. Body, Space & Technology, 19 (1). pp. 153-173. ISSN 1470-9120 doi: https://doi.org/10.16995/bst.337

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2004) Bloomers ignite: Zolaesque zealotry in British productions of Miss Julie. Studies in Theatre and Performance, 24 (2). pp. 113-128. ISSN 2040-0616 doi: https://doi.org/10.1386/stap.24.2.113/0

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2004) Bring me the head of a greenfinch: Miss Julie in Britain. Studies in Theatre and Performance, 24 (1). pp. 37-54. ISSN 2040-0616 doi: https://doi.org/10.1386/stap.24.1.37/0

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2006) 'Four of Them' by Gabriela Zapolska. Translated and directed by Teresa Murjas. [Performance]

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2011) ‘I suggest a night at the theatre, Mr.Cameron’: memory, history and responsibility in our class (Nasza Klasa, 2009). Contemporary Theatre Review, 21 (4). pp. 487-510. ISSN 1477-2264 doi: https://doi.org/10.1080/10486801.2011.610307 (special issue 'Forum: Tim Crouch, the author, and the audience')

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2019) I, Sheep. [Show/Exhibition]

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2003) Introduction. In: Woolland, B. (ed.) Double Tongue. Border Crossings Publications, London. ISBN 9781904718017

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149, ed. (2013) Invisible country: four Polish plays. Intellect, Bristol, pp200. ISBN 9781841504148

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2008) 'The Mistress'(or 'Miss Maliczewska') by Gabriela Zapolska. Translated, designed and directed by Teresa Murjas. [Performance]

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2003) 'The Morality of Mrs Dulska' by Gabriela Zapolska. Translated and directed by Teresa Murjas. [Performance]

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2019) Peeling onions with Granny: on being moved to collaborate. Performing Ethos, 9 (1). pp. 37-53. ISSN 1757-1987 doi: https://doi.org/10.1386/peet_00004_1

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2005) Strindberg i England. Fallet Fröken Julie. Strindbergiana, 20. pp. 93-115.

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2012) Surviving Objects. [Performance]

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2010) Translating Zapolska: research through practice. In: Baines, R., Marinetti, C. and Perteghella, M. (eds.) Staging and performing translation: text and theatre practice. Palgrave Macmillan, pp. 249-266. ISBN 9780230228191

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2003) Translating and directing Mrożek’s 'The Turkey' in London. Slavic and East European Performance, 23 (3). ISSN 1047-0018

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2021) Unsweetened: Ode to Biscuits. [Video]

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149, (2016) War Child: Meditating on an Archive. University of Reading (https://www.rluk.ac.uk/war-child-archive/)

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2009) Zapolska's women: three plays. Playtest. Intellect Books, Bristol, pp192. ISBN 9781841502366

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149 (2005) The man. [Performance]

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149, ed. (2007) The morality of Mrs Dulska: a play by Gabriela Zapolska. Intellect Books, Bristol, pp192. ISBN 9781841501666

Murjas, T. ORCID: https://orcid.org/0000-0002-1280-7149, Rattee, J. and Thacker, J. (2020) I, Sheep (A Filmpoem). [Video]

Murphet, J. and Solomon, S., eds. (2015) William Faulkner in the media ecology. Louisiana State University Press, Baton Rouge, pp276. ISBN 9780807159484

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2017) Academy visual history with Carlos Diegues. [Video]

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2012) Além da diferença: a mulher no Cinema da Retomada. Devires, 9 (1). pp. 14-29. ISSN 2179-6483

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2017) Antropofagia e intermidialidade: o caso de como era gostoso o meu francês. Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual, 6 (1). ISSN 2316-9230 doi: https://doi.org/10.22475/rebeca.v6n1.479 (REBECA 11)

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2010) Back to the margins in search of the core: "Foreign Land"'s geography of exclusion. In: Iordanova, D., Martin-Jones, D. and Vidal, B. (eds.) Cinema at the periphery. Wayne State University Press, Detroit, pp. 190-210. ISBN 9780814333884

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2013) Back to the margins in search of the core: foreign land's geography of exclusion. In: Brandellero, S. (ed.) The Brazilian road movie: journeys of (self) discovery. Iberian and Latin American Studies. University of Wales Press, Cardiff, pp. 162-183. ISBN 9780708325988

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2017) Bernardet visto de longe. In: Pinto, I. and Margarido, O. (eds.) Bernardet 80: impacto e influência no cinema brasileiro. Paco Editorial/Abraccine, Jundiaí, pp. 21-32. ISBN 9788546207886

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2011) Beto Brant: realismo, género y obra de arte en proceso. In: Vargas Maldonado, J. C. (ed.) Tendencias del cine iberoamericano en el nuevo milenio: Agentina, Brasil, España y Mexico. CUCSH: Universidad de Guadalajara, Mexico, pp. 273-302. ISBN 9786074503753

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2017) Beyond difference: female participation in the Brazilian film revival of the 1990s. In: Shaw, D. and Martin, D. (eds.) Latin American Women Filmmakers. I.B. Tauris, London/New York, pp. 31-47. ISBN 9781784537111

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2007) Brazil on screen: Cinema Novo, new cinema and utopia. Tauris World Cinema Series. I.B. Tauris, London, pp200. ISBN 9781845113285

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2005) Cinema Novo, Glauber, Herzog. In: Silva, M. A. (ed.) Glauber par Glauber. Magic Cinema, Paris, pp. 88-90.

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2017) Colonialism as fantastic realism in 'Tabu'. In: Liz, M. (ed.) Portuguese Cinema: Globalizing the Nation. I.B. Tauris, London/New York.

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2003) Death on the beach: the recycled utopia of Midnight. In: Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (ed.) The new Brazilian cinema. I.B. Tauris, London, pp. 157-174. ISBN 9781860649288

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2020) El cine como inestética, la vida como no-cine: um estudio sobre la trilogía prohibida de Jafar Panahi. In: Campo, J., Crowder-Taraborrelli, T., Garavelli, C., Piedras, P. and Wilson, K. (eds.) El cine documental Una encrucijada estética y política Inquisiciones contemporáneas al sistema audiovisual de Javier Campo, Tomás Crowder-Ta. Prometeo, Buenos Aires, pp. 155-173. ISBN 9789878331287

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2000) El nuevo cine bajo el espectro del cinema novo. Cuadernos hispanoamericanos, 601-602. pp. 39-51. ISSN 0011-250X

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2013) Film as literature, or the Truffaldian Malaise. In: Andrew, D. and Gillain, A. (eds.) A companion to François Truffaut. Wiley-Blackwell, Oxford, pp. 530-545. ISBN 9781405198479

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2009) Filmmaking as the production of reality: a study of Hara and Kobayashi's documentaries. In: Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 and Mello, C. (eds.) Realism and the audiovisual media. Palgrave Macmillan, Basingstoke, pp. 193-209. ISBN 9780230246973

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2007) Going global: the Brazilian scripted film. In: Harvey, S. (ed.) Trading cultures: global traffic and local cultures in film and television. John Libbey, Eastleigh, pp. 95-103. ISBN 9780861966691

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2023) Historicising the story through film and music: an intermedial reading of Heimat 2. In: Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 and Solomon, S. (eds.) The Moving Form of Film: Historicising the Medium Through Other Media. Oxford University Press, New York, pp. 202-221. ISBN 9780197621707 doi: https://doi.org/10.1093/oso/9780197621707.003.0014

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2022) Imagens do Mar. Visões do Paraíso no Cinema Brasileiro Atual. In: Lusvarghi, L., Alvim, L. B. and Lopes, D. C. (eds.) Estudos de Cinema: Retrospectiva e Perspectivas. Polytheama, São Paulo, pp. 16-36. ISBN 9786599619304

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (1996) In the realm of the individual: an analysis of Nagisa Oshima's "In the realm of the senses". In: Dakovic, N., Derman, D. and Ross, K. (eds.) Gender & Media. Med-Campus Project, Turkey, pp. 156-174. ISBN 9789759612009

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2017) Kuarup, o filme. La Furia Umana, 30. ISSN 2037-0431

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (1996) L'empire de l'individu: L'empire des sens de Nagisa Oshima. Cinémathèque, spring. pp. 62-73.

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2017) Le Parricide, le cinéma d’auteur et le Vigo de Salles Gomes. Archives, 109 (111). pp. 48-52.

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748, ed. (1990) Mestre Mizoguchi: uma lição de cinema. Navegar, São Paulo, pp289.

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2019) Multimedia identities: an analysis of How Tasty Was My Little Frenchman. Screen, 60 (1). pp. 160-171. ISSN 1460-2474 doi: https://doi.org/10.1093/screen/hjy067

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2017) Mysteries of Lisbon and intermedial history-telling. Aniki: Portuguese Journal of the Moving Image, 4 (2). pp. 375-391. ISSN 2183-1750

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (1995) Nascido das cinzas: autor e sujeito nos filmes de Oshima. Edusp, São Paulo, pp344. ISBN 8531403138

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (1998) Neues Kino besucht das Cinema Novo. Film Bulletin, 98 (4). pp. 41-52.

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2001) The New Cinema meets Cinema Novo: new trends in Brazilian cinema. Framework, 42. ISSN 0306-7661

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2016) Non-cinema: the location of politics in film. Film-Philosophy, 20 (1). pp. 131-148. ISSN 1466-4615 doi: https://doi.org/10.3366/film.2016.0007

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2002) O cinema da retomada: depoimentos de 90 cineastas dos anos 90. Editora 34, São Paulo, pp528. ISBN 8573262540

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2012) Oshima, corporeal realism and the eroticized apparatus. In: Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748, Perriam, C. and Dudrah, R. (eds.) Theorizing world cinema. I.B. Tauris, London, pp. 161-182. ISBN 9781848854932

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2001) Ouédraogo and the aesthetics of silence. In: Kashula, R. H. (ed.) African oral literature: functions in contemporary contexts. New Africa Books, South Africa, pp. 100-111. ISBN 9781919876073

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748, ed. (1990) Ozu: o extraordinario cineasta do cotidiano. Marco Zero, São Paulo, pp190. ISBN 8527981021

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2009) Panaméricas Utópicas: entranced and transient nations in 'I Am Cuba' and 'Land in Trance'. In: Gladston, P. (ed.) China and other spaces. Critical, Cultural and Communications Press, Nottingham, pp. 71-87. ISBN 9781905510221

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2007) Paraméricas Utópicas: entranced and transient nations in "I Am Cuba" (1964) and "Land in Anguish" (1967). Hispanic Research Journal, 8 (1). pp. 79-90. ISSN 1745-820X doi: https://doi.org/10.1179/174582007X164357

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2020) Passages of Brazilian cinema. [Project] (Collection)

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2020) Passages to reality: the case of Brazilian cinema. In: Realist Cinema as World Cinema: Non-Cinema, Intermedial Passages. Film Culture in Transition. Amsterdam University Press, Amsterdam, pp. 173-198. ISBN 9789048539215 doi: https://doi.org/10.5117/9789462987517_ch07

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2020) Passages to reality: the case of Brazilian cinema. Translocal, 3. pp. 47-65. ISSN 2184-1519

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2018) Passages: travelling in and out of film through Brazilian geography. Rumores: Revista Online de Comunicação, Linguagem e Mídias, 12 (24). pp. 19-40. ISSN 1982-677X doi: https://doi.org/10.11606/issn.1982-677X.rum.2018.148836

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2012) Physicality, difference, and the challenge of representation: Werner Herzog in the Light of the new waves. In: Prager, B. (ed.) A companion to Werner Herzog. Wiley-Blackwell, Oxford, pp. 58-79. ISBN 978-1-4051-9440-2

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2020) Preface to the second enlarged edition. In: Pethő, Á., Cinema and Intermediality : The Passion for the In-Between. Cambridge Scholars Publishing, Newcastle upon Tyne, ix-xi. ISBN 9781527552067

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2017) Realist cinema as world cinema. In: Stone, R. and Cooke, P. (eds.) The Routledge Companion to World Cinema. Routledge, Abingdon-on-Thames, pp. 310-322. ISBN 9781138918801

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2020) Realist cinema as world cinema: non-cinema, intermedial passages, total cinema. Film Culture in Transition (670). Amsterdam University Press, Amsterdam. ISBN 9789462987517 doi: https://doi.org/10.5117/9789462987517

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2014) Reflexive stasis, scale reversal and the myth of modern cinema. In: Lindner, C. and Donald, S. H. (eds.) Inert cities: globalization, mobility and suspension in visual culture. I.B. Tauris, London, pp. 187-201. ISBN 9781780769721

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2016) Regurgitated bodies: presenting and representing trauma in 'The Act of Killing'. In: Tzioumakis, Y. and Molloy, C. (eds.) The Routledge Companion to Film & Politics. Routledge, Abingdon, pp. 218-230. ISBN 9780415717397

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2009) Rumo a uma definição positiva de world cinema. In: Santana, G. (ed.) Cinema, comunicação e audiovisual. Alameda Editorial, São Paulo. ISBN 9788598325859

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2004) Talking bullets: the language of violence in "City of God". Third Text, 18 (3). pp. 239-250. ISSN 1475-5297 doi: https://doi.org/10.1080/0952882042000227946

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2006) Talking bullets: the language of violence in "City of God". In: Vieira, E. R. P. (ed.) "City of God" in several voices: Brazilian social cinema as action. Critical, Cultural and Communications Press, Nottingham, pp. 32-43. ISBN 9781905510009

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2014) Tempo, magnitude e o mito do cinema moderno. Aniki: Portuguese Journal of the Moving Image, 1 (1). pp. 8-21. ISSN 2183-1750

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2013) Tempo, magnitude e o mito do cinema moderno. In: Dennison, S. (ed.) World Cinema: As novas cartografias do cinema mundial. Papirus, Campinas, pp. 219-233. ISBN 9788530810603

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (1999) Tendências do cinema brasileiro atual. Studies in Latin American Popular Culture, 18. pp. 19-32. ISSN 0730-9139

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2006) Teoria experimental do realismo corpóreo baseada nos filmes de Nagisa Oshima e da nouvelle vague japonesa. In: Greiner, C. and Amorim, C. (eds.) Leituras do Sexo. Annablume, São Paulo, pp. 127-140. ISBN 857419610X

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2013) Terra, Utopia e Mito Fundador: de Glauber Rocha a Walter Salles. In: Starling, H. and Borges, A. (eds.) Imaginação da Terra: Memória e utopia no cinema brasileiro. Editora UFMG, Belo Horizonte, pp. 13-39. ISBN 9788542300079

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2017) Tierra, utopía y mito fundador. De Glauber Rocha a Walter Salles. Enfoco (52). pp. 22-33.

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2006) Towards a positive definition of World Cinema. In: Dennison, S. and Lim, S. H. (eds.) Remapping world cinema: identity, culture and politics in film. Wallflower Press, London, pp. 30-37. ISBN 9781904764632

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2015) Utopia in Brazilian cinema: from Black God, White Devil to Foreign land. In: Bethencourt, F. (ed.) Utopia in Portugal, Brazil and Lusophone African Countries. Reconfiguring Identities in the Portuguese-Speaking World (4). Peter Lang, Oxford, pp. 121-140. ISBN 9783034318716

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2013) Utopía e imágenes marinas en el cine Brasileño: Papel fundamental de Glauber Rocha. Brazil Cultural (12). pp. 12-16.

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (1991) Werner Herzog: o cinema como realidade. Estação Liberdade, São Paulo, pp288. ISBN 8585865733

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2011) World cinema and the ethics of realism. Continuum, London, pp312. ISBN 9781441165831

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2024) World cinema and the ethics of realism. In: Vaysman, M. and Bowers, K. (eds.) The Oxford Handbook of Global Realisms. Oxford Handbooks. Oxford University Press, Oxford. ISBN 9780197610640 doi: https://doi.org/10.1093/oxfordhb/9780197610640.013.22

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2017) Yaaba, cinefilia e realismo sem fronteiras. Revista África(s), 4 (7). pp. 61-70. ISSN 2446-7375

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2020) The blind spot of history: colonialism in Tabu. Observatorio (OBS*), 2020. pp. 27-38. ISSN 1646-5954 doi: https://doi.org/10.15847/obsOBS0001812

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2021) The elusive form of film. NECSUS. ISSN 2213-0217

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2017) The horizontal spread of a vertical malady: cosmopolitanism and history in Pernambuco’s recent cinematic sensation. In: Delgado, M. M., Hart, S. M. and Johnson, R. (eds.) A Companion to Latin American Cinema. Wiley Blackwell Companions to National Cinemas. Wiley-Blackwell, Hoboken, New Jersey, pp. 343-355. ISBN 9781118552889

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2022) An intermedial reading of Glauber Rocha's Cosmogony. In: Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748, Corrêa de Araújo, L. and De Luca, T. (eds.) Towards an Intermedial History of Brazilian Cinema. Edinburgh Studies in Film and Intermediality. Edinburgh University Press, Edinburgh, pp. 323-344. ISBN 9781474452984

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748, ed. (2003) The new Brazilian cinema. I.B. Tauris, London, pp320. ISBN 9781860649288

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2013) The politics of impurity. In: Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 and Jerslev, A. (eds.) Impure cinema: intermedial and intercultural approaches to film. Tauris World Cinema Series. I.B. Tauris, London, pp. 21-40. ISBN 9781780765105

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2015) The politics of slowness and the traps of modernity. In: De Luca, T. and Barradas Jorge, N. (eds.) Slow Cinema. Traditions in World Cinema. Edinburgh University Press, Edinburgh, pp. 25-46. ISBN 9780748696024

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2022) The reality of art: an intermedial analysis of Ossessione. In: Blos-Jáni, M., Király, H., Lakatos, M., Pieldner, J. and Sándor, K. (eds.) Intermedial Encounters: Studies in Honour of Ágnes Pethő. Scientia Publishing House, Cluj-Napoca, pp. 359-372.

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2005) The trilogy of John of God. In: Mira, A. (ed.) The cinema of Spain and Portugal. Wallflower, London, pp. 188-197. ISBN 9781904764441

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2006) A utopia no Cinema Brasileiro: matrizes, nostalgia, distopias. Coleção Ensaios. CosacNaify, São Paulo, pp216. ISBN 8575035576

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 (2006) The zero, the centre and the empty utopia: from Rossellini to Walter Salles. Studies in European Cinema, 3 (3). pp. 223-233. ISSN 2040-0594 doi: https://doi.org/10.1386/seci.3.3.223_1

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 and Jerslev, A., eds. (2013) Impure cinema: intermedial and intercultural approaches to film. Tauris World Cinema Series. I.B. Tauris, London, pp288. ISBN 9781780765112

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 and Mello, C., eds. (2009) Realism and the audiovisual media. Palgrave Macmillan, Basingstoke, pp288. ISBN 9780230246973

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 and Paiva, S. (2019) Passages - travelling in and out of film through Brazilian geography. [Video]

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 and Solomon, S., eds. (2023) The moving form of film: historicising the medium through other media. Oxford University Press, New York, pp340. ISBN 9780197621707 doi: https://doi.org/10.1093/oso/9780197621707.001.0001

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748 and Solomon, S., eds. (2019) Intermediality in Brazilian cinema: the case of Tropicália. Screen, 60 (1). Oxford Academic. doi: https://doi.org/10.1093/screen/hjy064

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748, Corrêa de Araújo, L. and De Luca, T. (2022) Introduction. In: Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748, Corrêa de Araújo, L. and De Luca, T. (eds.) Towards an Intermedial History of Brazilian Cinema. Edinburgh Studies in Film and Intermediality. Edinburgh University Press, pp. 1-14. ISBN 9781474452984

Nagib, L. ORCID: https://orcid.org/0000-0001-8808-9748, Corrêa de Araújo, L. and De Luca, T., eds. (2022) Towards an intermedial history of Brazilian cinema. Edinburgh Studies in Film and Intermediality. Edinburgh University Press, pp304. ISBN 9781474452984

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Panos, L. (2010) Realism and politics in alienated space: Trevor Griffiths's plays of the 1970s in the television studio. New Theatre Quarterly, 26 (3). pp. 273-286. ISSN 0266-464X doi: https://doi.org/10.1017/S0266464X10000461

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Phillips, A. (2003) City of darkness, city of light: emigré filmmakers in Paris 1929-1939. University of Amsterdam Press, Amsterdam, pp256. ISBN 9789053566336

Phillips, A. (2004) Migration and exile in the classical period. In: Temple, M. and Witt, M. (eds.) The French Cinema Book. British Film Institute, London, pp. 103-117. ISBN 9781844570126

Phillips, A. (2006) Pictures of the past in the present: modernity, femininity and stardom in the postwar films of Ozu Yasujiro. In: Grant, C. and Kuhn, G. E. (eds.) Screening World Cinema. The Screen Readers. Routledge, London, New York. ISBN 9780415384285

Phillips, A. (2003) Pictures of the past in the present: modernity, femininity and stardom in the postwar films of Ozu Yasujiro. Screen, 44 (2). pp. 154-166. ISSN 1460-2474 doi: https://doi.org/10.1093/screen/44.2.154

Phillips, A. and Vincendeau, G., eds. (2006) Journeys of desire: European actors in Hollywood. British Film Institute, pp350. ISBN 9781844571246

Player, M. ORCID: https://orcid.org/0000-0002-8785-488X (2021) Japanese film production during the punk era: independence, intermediality and mediascapes. PhD thesis, University of Reading. doi: https://doi.org/10.48683/1926.00109805

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Pope, L. (2020) Suiting the action to the word: examining genre film remediations of Shakespeare’s plays. PhD thesis, University of Reading. doi: https://doi.org/10.48683/1926.00088955

Purse, L. (2011) Contemporary action cinema. Edinburgh University Press, Edinburgh, pp232. ISBN 9780748638178

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Purse, L. (2011) Return of the 'Angry Woman': authenticating female physical action in contemporary cinema. In: Waters, M. (ed.) Women on Screen: Feminism and Femininity in Visual Culture. Palgrave Macmillan, pp. 185-198. ISBN 9780230229655

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Purse, L. (2005) The new spatial dynamics of the bullet-time effect. In: King, G. (ed.) The Spectacle of the Real: From Hollywood to Reality TV and Beyond. Intellect, Exeter, pp. 151-160. ISBN 9781841501208

Purse, L. (2016) Affective trajectories: locating diegetic velocity in the cinema experience. Cinema Journal, 55 (2). pp. 151-157. ISSN 0009-7101 (IN FOCUS: Speed)

Purse, L. (2017) Ambiguity, ambivalence and absence in Zero Dark Thirty. In: Purse, L. and Hellmich, C. (eds.) Disappearing War Interdisciplinary Perspectives on Cinema and Erasure in the Post-9/11 World. Edinburgh University Press, Edinburgh, pp. 131-148. ISBN 9781474416566

Purse, L. (2017) Between phonographic perfection and resistance: Titãs – life even looks like a party. In: Elduque Busquets, A. (ed.) Contemporary Brazilian Music Film. University of Reading, Reading, pp. 91-98. ISBN 9780704915855

Purse, L. (2017) Confronting the impossibility of impossible bodies: Tom Cruise and the ageing male action hero movie. In: Yu, S. Q. and Austin, G. (eds.) Revisiting Star Studies: Cultures, Themes and Methods. Edinburgh University Press, Edinburgh, pp. 162-184, 320 pages. ISBN 9781474404310

Purse, L. (2017) Digital visceral: textural play and the flamboyant gesture in digital screen violence. Journal of Popular Film & Television, 45 (1). pp. 16-25. ISSN 0195-6051 doi: https://doi.org/10.1080/01956051.2017.1270137

Purse, L. (2018) Layered encounters: mainstream cinema and the disaggregate digital composite. Film-Philosophy, 22 (2). pp. 148-167. ISSN 1466-4615 doi: https://doi.org/10.3366/film.2018.0070

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Purse, L. (2019) Square-jawed strength: gender and resilience in the female astronaut film. Science Fiction Film and Television, 12 (1). pp. 53-72. ISSN 1754-3770

Purse, L. (2011) Transformers. In: Geraghty, L. (ed.) American Hollywood. Directory of World Cinema (5). Intellect Books, Bristol and Chicago, IL, pp. 279-281. ISBN 9781841504155

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Purse, L. and Wölfel, U., eds. (2020) Mediating War and Identity: Figures of Transgression in 20th- and 21st-century War Representation. Edinburgh University Press, Edinburgh, pp. 1-13. ISBN 9781474446266

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Saunders, G. (2008) From resistance to witness: changing spectatorship in the theatre of Sarah Kane. In: Hunkeler, T., Fournier Kiss, C. and Luthi, A. (eds.) Place au public: les spectateurs du theatre contemporain. MétisPresses, Geneva, pp. 153-165. ISBN 9782940406050

Saunders, G. (2002) 'Love me or kill me’: Sarah Kane & the theatre of extremes. Theory Practice & Performance . Manchester University Press , Manchester , pp224. ISBN 9780719059568

Saunders, G. (2008) Patrick Marber’s 'Closer'. Continuum Modern Theatre Guides. Continuum, London, pp118. ISBN 9780826492487

Saunders, G. (2007) 'Under Redevelopment’: Barrie Keeffe’s and Caryl Churchill’s New City Comedies. In: Henke, C. and Middeke, M. (eds.) Drama and/after postmodernism. Contemporary Drama in English (14). Wissenschaftlicher Verlag Trier, Trier, pp. 19-30. ISBN 9783884769362

Saunders, G. (2002) The apocalyptic theatre of Sarah Kane. In: Reitz, B. and Berninger, M. (eds.) British Drama of the 1990s. University of Heidelberg, Heidelberg. ISBN 9783825313753

Saunders, G. (2010) ‘The great Chinese takeaway’: the strange case of absent Orientalism in contemporary British playwriting. In: Huber, W., Rubik, M. and Novak, J. (eds.) Staging interculturality: contemporary drama in English. Wissenschaftlicher Verlag Trier, Germany, pp. 65-74. ISBN 9783868212327

Saunders, G. (2010) The Beckettian world of Sarah Kane. In: de Vos, L. and Saunders, G. (eds.) Sarah Kane in context. University of Manchester Press, Manchester, UK, pp. 68-79. ISBN 9780719077395

Saunders, G. (2004) Edward Bond & the celebrity of exile. Theatre Research International, 29 (3). pp. 256-266. ISSN 1474-0672 doi: https://doi.org/10.1017/S0307883304000665

Saunders, G. (2013) Foco Novo: the Icarus of British small scale touring theatre. In: Duggan, P. and Ukaegbu, V. (eds.) Reverberations across Small-Scale British Theatre. Intellect, Bristol. ISBN 9781783202973

Saunders, G. (2008) Getting closer: Patrick Marber’s excursions into the Pinteresque. Critical Engagements, 2 (2). pp. 150-164. ISSN 1754-0984

Saunders, G. (2010) Howard Barker’s ‘monstrous assaults’: eroticism, death and the antique text. In: Gritzner, K. (ed.) Eroticism and death in theatre and performance. University of Hertfordshire Press, UK, pp. 144-159. ISBN 9781902806921

Saunders, G. (2003) 'Just a Word on a Page & there is the Drama': Sarah Kane’s theatrical legacy. Contemporary Theatre Review, 13 (1). pp. 97-110. ISSN 1477-2264 doi: https://doi.org/10.1080/1048680031000077816

Saunders, G. (1999) Missing mothers & absent fathers: Howard Barker’s 'Seven Lears' & Elaine Feinstein's 'Lear's Daughters'. Modern Drama, 43 (3). pp. 401-410. ISSN 1712-5286

Saunders, G. (2004) 'Out Vile Jelly': Sarah Kane's 'Blasted' & Shakespeare's 'King Lear'. New Theatre Quarterly, 20 (1). pp. 69-77. ISSN 0266-464X doi: https://doi.org/10.1017/S0266464X03000344

Saunders, G. (2012) Prizes for modernity in the provinces: The Arts Council’s 1950-1951 regional playwriting competition. History Research, 2 (6). pp. 391-397. ISSN 2159-550X

Saunders, G. (2010) Sarah Kane: Cool Britannia's reluctant feminist. In: Hadley, L. and Ho, E. (eds.) Thatcher and after: Margaret Thatcher and her afterlife in contemporary culture. Palgrave Macmillan, Basingstoke, UK, pp. 199-220. ISBN 9780230233317 doi: https://doi.org/10.1057/9780230283169_10

Saunders, G. (2011) Tickets, critics and censorship: the Royal Court, The Spectator and the Arts Council of Great Britain 1969-1970. Theatre Notebook, 64 (3). pp. 160-173. ISSN 0040-5523

Saunders, G. (2012) The freaks roll call: live art and the Arts Council 1968-1973. Contemporary Theatre Review, 22 (1). pp. 32-45. ISSN 1477-2264 doi: https://doi.org/10.1080/10486801.2011.645229

Saunders, G. (2008) The persistence of the 'well made play'. In: Redling, E. and Schnierer, P. P. (eds.) Non-standard forms of contemporary drama and theatre. Contemporary Drama in English (15). Wissenschaftlicher Verlag Trier, Trier, pp. 11-21. ISBN 9783868210408

Saunders, G. J. (2012) Mark Ravenhill. In: Sierz, A. (ed.) Modern British playwriting: the 1990s: voices, documents, new interpretations. Methuen Drama, London, UK. ISBN 9781408129265

Segal, N. (2003) "Then some had rather it were she than I": sexing the textual body. In: Segal, N., Taylor, L. and Cook, R. J. R. (eds.) Indeterminate bodies. Palgrave Macmillan, Basingstoke, pp. 93-110. ISBN 9780333949696

Segal, N., Taylor, L. and Cook, R. (2003) Introduction. In: Segal, N., Taylor, L. and Cook, R. (eds.) Indeterminate Bodies. Palgrave Macmillan, Basingstoke, pp. 1-13. ISBN 9780333949696

Segal, N., Taylor, L. and Cook, R. J. R. (2003) Indeterminate bodies. Palgrave Macmillan, Basingstoke, pp256. ISBN 9780333949696

Sexton, M. and Lees, D. ORCID: https://orcid.org/0000-0002-3787-3740 (2019) Fargo: seeing the significance of style in television poetics? Critical Studies in Television: The International Journal of Television Studies, 14 (3). pp. 343-361. ISSN 1749-6020 doi: https://doi.org/10.1177/1749602019853792

Sexton, M. and Lees, D. ORCID: https://orcid.org/0000-0002-3787-3740 (2021) Seeing it on television: televisuality in the contemporary U.S. 'High-End' series. Bloomsbury Academic, London, pp192. ISBN 9781501359422

Smart, B. (2012) Brechtian television: theatricality and adaptation of the stage play. In: Loiselle, A. and Maron, J. (eds.) Stages of reality: theatricality in cinema. University of Toronto Press, Toronto, pp. 30-52. ISBN 9781442643529

Smart, B. (2014) The BBC Television Audience Research Reports, 1957-1979: recorded opinions and invisible expectations. Historical Journal of Film, Radio and Television, 34 (3). pp. 452-462. ISSN 0143-9685 doi: https://doi.org/10.1080/01439685.2014.937187

Smart, B. (2012) Cosmic effects on the intimate screen: J. B. Priestley, Ralph Richardson and 'Johnson over Jordan' (1965). Critical Studies in Television, 7 (1). pp. 49-63. ISSN 1749-6020 doi: https://doi.org/10.7227/CST.7.1.6

Smart, B. (2017) ‘Drama for people ‘in the know’: Television World Theatre (BBC 1957-59) and Festival (BBC 1963-64). Historical Journal of Film, Radio and Television, 37 (1). pp. 34-48. ISSN 0143-9685 doi: https://doi.org/10.1080/01439685.2016.1272810

Smart, B. (2013) The Life of Galileo and Brechtian television drama. Journal of British Cinema and Television, 10 (1). pp. 112-129. ISSN 1755-1714 doi: https://doi.org/10.3366/jbctv.2013.0125

Smart, B. (2016) ‘Nats go home’: modernism, television and three BBC productions of Ibsen (1971-1974). Ibsen Studies, 16 (1). pp. 37-70. ISSN 1502-1866 doi: https://doi.org/10.1080/15021866.2016.1180869

Smart, B. (2014) Plot inflation in Greater Weatherfield: Coronation Street in the 1990s. In: Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 and Lacey, S. (eds.) British Television Drama: Past, Present and Future, 2nd edition. Palgrave Macmillan, Houndsmills, Basingstoke, pp. 70-83. ISBN 9781137327567

Smart, B. (2015) Producing classics on outside broadcast in the 1970s: The Little Minister (1975), As You Like It (1978) and Henry VIII (1979). Critical Studies in Television, 10 (3). pp. 67-82. ISSN 1749-6020 doi: https://doi.org/10.7227/CST.10.3.6

Smart, B. (2008) Simon Gray, 1936–2008: In other words. Contemporary Theatre Review, 18 (4). pp. 542-544. ISSN 1477-2264 doi: https://doi.org/10.1080/10486800802492855

Smart, B. (2014) Three different Cherry Orchards, three different worlds: Chekhov at the BBC, 1962-1981. Critical Studies in Television, 9 (3). pp. 65-76. ISSN 1749-6020 doi: https://doi.org/10.7227/CST.9.3.7

Smart, W. and Wrigley, A. (2016) Television history: archives, excavation and the future. A discussion. Critical Studies in Television: The International Journal of Television Studies, 11 (1). pp. 96-109. ISSN 1749-6020 doi: https://doi.org/10.1177/1749602015618634

Solomon, S. (2017) William Faulkner in Hollywood: screenwriting for the studios. The South on Screen. University of Georgia Press, Athens, GA, pp320. ISBN 9780820351131

Solomon, S. (2017) Introduction. In: Solomon, S. (ed.) Tropicália and Beyond: Dialogues in Brazilian Film History. Archive Books and University of Reading, Berlin, pp. 7-31. ISBN 9783943620726

Solomon, S., ed. (2017) Tropicália and beyond: dialogues in Brazilian film history. Archive Books and University of Reading, Berlin, pp304. ISBN 9783943620726

Solomon, S. (2015) Words and silk: Gerald Murnane at the cinema. Antipodes, 29 (2). pp. 309-320. ISSN 0893-5580 doi: https://doi.org/10.13110/antipodes.29.2.0309

Stevenson, M. (2004) A conversation between Brecht and Buñuel. In: Santaolalla, I. (ed.) Bunuel Siglo XXI. Imagen y Comunicación (6). Prensas Universitarias de Zaragoza, Zaragoza, pp. 511-521. ISBN 9788477336945

Taylor, L. (2000) Backtracks: a devised performance. [Performance]

Taylor, L. (2010) Counting Her Dresses and other plays. [Performance]

Taylor, L. (2005) 'Eden Cinema' by Marguerite Duras. [Performance]

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Taylor, L. (2001) Iris Murdoch. In: Bull, J. (ed.) British and Irish Dramatists Since World War II. 2nd Series. British and Irish Dramatists Since World War II. Gale Group, Detroit, MI; London:, pp. 210-216, A Bruccoli Clark Layman Book. ISBN 9780787646509

Taylor, L. (2018) Negotiating theatrical space in performances of Marguerite Duras's later plays. In: Noonan, M. and Pagès-Pindon, J. (eds.) Marguerite Duras: Un Théâtre de Voix/A Theatre of Voices. Études de Langue et Littérature Françaises (420). Brill, Leiden/Boston, pp. 118-134. ISBN 9789004360969

Taylor, L. (2007) 'Savannah Bay' by Marguerite Duras. [Performance]

Taylor, L. (2009) A dialogue: mnemonic present, un-folding #6. In: Cologni, E. (ed.) Mnemonic Present: Shifting Meaning. Edizioni Mercurio, Vercelli, pp. 106-118. ISBN 9788895522258

Taylor, L. (2007) In opposition: Hare's response to Thatcherism. In: Boon, R. (ed.) The Cambridge Companion to David Hare. Cambridge Companions to Literature . Cambridge University Press, Cambridge, pp. 49-63. ISBN 9780521615570

Taylor, L. (2007) Performed disembodiment in Duras's fictional spaces. Body, Space & Technology Journal, 7 (1). ISSN 1470-9120

Taylor, L. (2003) Shape-shifting and role-splitting: theatre, body and identity. In: Segal, N., Taylor, L. and Cook, R. (eds.) Indeterminate Bodies. Palgrave Macmillan, Basingstoke, pp. 164-180. ISBN 9780333949696

Taylor, L. (2013) Voice, body and the transmission of the real in documentary theatre. Contemporary Theatre Review, 23 (3). pp. 368-379. ISSN 1477-2264 doi: https://doi.org/10.1080/10486801.2013.806318

Taylor, L. (2011) The experience of immediacy: emotion and enlistment in fact-based theatre. Studies in Theatre and Performance, 31 (2). pp. 223-237. ISSN 1468-2761 doi: https://doi.org/10.1386/stap.31.2.223_1

Taylor, L. (2010) The hanging man: death, indeterminacy and the event. Performance Research, 15 (1). pp. 4-13. ISSN 1352-8165 doi: https://doi.org/10.1080/13528165.2010.485757

Taylor, L. (2006) The 'unhomely' stage. Studies in Theatre & Performance, 26 (3). pp. 205-220. ISSN 2040-0616 doi: https://doi.org/10.1386/stap.26.3.205/1

Thorpe, A. (2011) Lady Precious Stream. [Performance]

Thorpe, A. (2007) The role of the chou ('clown') in traditional Chinese drama: comedy, criticism and cosmology on the Chinese stage. Edwin Mellen Press. ISBN 9780773453036

Thorpe, A. (2011) "Modern theatre for the twenty-first century"? Shanghai Conservatory of Music's staging of 'The White Goddess' (2009). Asian Theatre Journal, 28 (2). pp. 483-504. ISSN 1527-2109

Thorpe, A. (2005) Only joking? The relationship between the clown and percussion in Jingju. Asian Theatre Journal, 22 (2). pp. 269-292. ISSN 1527-2109 doi: https://doi.org/10.1353/atj.2005.0034

Thorpe, A. (2010) Postmodern Chinese opera: re-citing China in 'Monkey, journey to the West'. Contemporary Theatre Review, 20 (1). pp. 68-86. ISSN 1477-2264 doi: https://doi.org/10.1080/10486800903453046

Thorpe, A. (2011) Style, experimentation and Jingju (Beijing Opera) as a decentered multiplicity. Studies in Theatre & Performance, 31 (3). pp. 275-291. ISSN 2040-0616

Thorpe, A. (2011) Transforming tradition: performances of Jingju ('Beijing Opera') in the UK. Theatre Research International, 36 (01). pp. 33-46. ISSN 1474-0672 doi: https://doi.org/10.1017/S0307883310000702

Thorpe, A. (2009) The long and the short of it: negotiating the right space for Asian theatre in the university drama curriculum. Studies in Theatre & Performance, 29 (2). pp. 133-147. ISSN 2040-0616 doi: https://doi.org/10.1386/stap.29.2.133_1

Thorpe, A. and Daboo, J. (2009) Editorial. Studies in Theatre and Performance, 29 (2). pp. 117-120. ISSN 2040-0616 doi: https://doi.org/10.1386/stap.29.2.117_2

Tunbridge, L. (2003) Schumann's 'Manfred' in the mental theatre. Cambridge Opera Journal, 15 (2). pp. 153-183. ISSN 1474-0621 doi: https://doi.org/10.1017/S0954586703001678

Tweed, Z. (2024) Matrix of shame: a feminist reading of shame, the body and radical disruption in the performance works of Marina Abramović, Samuel Beckett and Ana Mendieta. PhD thesis, University of Reading. doi: https://doi.org/10.48683/1926.00117065

Tyler, L. (2020) "Almost, but Not Quite': reading debbie tucker green's dramaturgy inside British playwriting studies. In: Adiseshiah, S. and Bolton, J. (eds.) debbie tucker green: Critical Perspectives. Palgrave Macmillan, pp. 129-150. ISBN 9783030345815

Tyler, L. (2024) Commodity trailing contemporary performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt. Contemporary Theatre Review, 34 (2). pp. 133-151. ISSN 1477-2264 doi: https://doi.org/10.1080/10486801.2024.2334246

Tyler, L. (2019) “Responding to the thing that it is”: a study of new play development in English theatres. Studies in Theatre and Performance, 39 (1). pp. 38-53. ISSN 1468-2761 doi: https://doi.org/10.1080/14682761.2017.1348682

Varadi, A. J. (2021) Reconstructing the 1980s on contemporary American television. PhD thesis, University of Reading. doi: https://doi.org/10.48683/1926.00101660

Wallers, C. ORCID: https://orcid.org/0000-0002-9843-7897 (2020) Star and Shadow Cinema and before : radical screening culture in Newcastle upon Tyne’. In: Newsinger, J., Presence, S. and Wayne, M. (eds.) Contemporary Radical Film Culture : Networks, Organisations and Activists. Routledge, London, pp. 203-212, 272. ISBN 9781138543614 doi: https://doi.org/10.4324/9781351006385-17

Weissmann, E. (2007) The victim's suffering translated: CSI: Crime Scene Investigation and the crime genre. Intensities, 4.

Weissmann, E. and Boyle, K. (2007) Evidence of things unseen: the pornographic aesthetic and the search for truth in CSI. In: Allen, M. (ed.) Reading 'CSI': Crime TV Under the Microscope. I B Tauris, London, pp. 90-103.

Wheatley, H. (2005) Haunted houses, hidden rooms: women, domesticity and the female Gothic adaptation on television. In: Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 and Lacey, S. (eds.) Popular television drama: critical perspectives. Manchester University Press, Manchester, pp. 149-165. ISBN 9780719069321

Wheatley, H. (2004) Lifestyle television. In: Mcgown, A. (ed.) The BFI Television Handbook. BFI Publishing, pp. 142-143. ISBN 9781844570270

Wheatley, H. (2004) Putting the mystery back into armchair theatre. Journal of British Cinema and Television, 1 (2). pp. 197-201. ISSN 1755-1714 doi: https://doi.org/10.3366/JBCTV.2004.1.2.197

Wheatley, H. (2005) Rooms within rooms: ITV and the studio heritage drama of the 1970s. In: Turnock, R. and Johnson, C. (eds.) ITV Cultures: Independent Television Over Fifty Years. Open University Press, Buckingham, pp. 143-158. ISBN 9780335217298

Wheatley, H. (2003) Swojskość marginalizacja I telewizyjne adaptacje gotyckich powieści dla kobiet ("I am to presume that your wife's room is a prison?" Domesticity and the female Gothic television adaptation). In: Gazdy, G., Izdebskiej, A. and Pluciennika, J. (eds.) Gotycyzm i groza w kulturze (The Gothic and Horror in Culture). University of Lodz Press, Lodz, Poland, pp. 167-180. ISBN 9788371716492

Wheatley, H. (2003) The history of ITV programming 1955-1989. In: Hilmes, M. and Jacobs, J. (eds.) The Television History Book. BFI, London. ISBN 9780851709888

Wheatley, H. (2004) The limits of television? Natural history programming and the transformation of public service broadcasting. European Journal of Cultural Studies, 7 (3). pp. 325-339. ISSN 1460-3551 doi: https://doi.org/10.1177/1367549404044786

Wheatley, H. (2004) The talk show. In: Mcgown, A. (ed.) The BFI Television Handbook. BFI Publishing, pp. 148-149. ISBN 9781844570270

Wilson, C. R. (2003) A new way of making fowre parts in counterpoint by Thomas Campion and rules how to compose by Giovanni Coprario. Music Theory in Britain, 1500–1700: Critical Editions . Ashgate, Aldershot, pp132. ISBN 9780754605157

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Woods, F. ORCID: https://orcid.org/0000-0001-8901-6524 (2014) Classed femininity, performativity, and camp in British structured reality programming. Television and New Media, 15 (3). pp. 197-214. ISSN 1552-8316 doi: https://doi.org/10.1177/1527476412462246

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Woods, F. ORCID: https://orcid.org/0000-0001-8901-6524 (2022) Period drama. Edinburgh University Press, Edinburgh, pp187. ISBN 9781474462815

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Woods, F. ORCID: https://orcid.org/0000-0001-8901-6524 (2015) Telefantasy tower blocks: space, place and social realism shake-ups in Misfits. Journal of British Cinema and Television, 12 (2). pp. 229-244. ISSN 1755-1714 doi: https://doi.org/10.3366/jbctv.2015.0259

Woods, F. ORCID: https://orcid.org/0000-0001-8901-6524 (2019) Too close for comfort: direct address and the affective pull of the confessional comic woman in Chewing Gum and Fleabag. Communication, Culture and Critique, 12 (2). pp. 194-212. ISSN 1753-9129 doi: https://doi.org/10.1093/ccc/tcz014

Woods, F. ORCID: https://orcid.org/0000-0001-8901-6524 (2019) Wainwright’s West Yorkshire: affect and landscape in the television drama of Sally Wainwright. Journal of British Cinema and Television, 16 (3). pp. 346-366. ISSN 1755-1714 doi: https://doi.org/10.3366/jbctv.2019.0481

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Woolland, B. (2004) Dark attractions: the theatre of Peter Barnes. Methuen, pp192. ISBN 9780413774422

Woolland, B. (2003) Double tongue. Border Crossings Publications, London. ISBN 9781904718017

Woolland, B. (2003) His very own Ben: Peter Barnes and Ben Jonson. In: Woolland, B. (ed.) Jonsonians: Living Traditions. Studies in Performance and Early Modern Drama. Ashgate, Aldershot, England & Burlington, USA, pp. 153-166. ISBN 9780754606109

Woolland, B. (2003) Introduction. In: Woolland, B. (ed.) Jonsonians: Living Traditions. Studies in Performance and Early Modern Drama. Ashgate, Aldershot, England & Burlington, USA, pp. 1-10. ISBN 9780754606109

Woolland, B., ed. (2003) Jonsonians: living traditions. Ashgate, Aldershot, England and Burlington, USA, pp246. ISBN 9780754606109

Woolland, B. (2003) Sejanus his fall: does Arruntius cry at night. In: Woolland, B. (ed.) Jonsonians: Living Traditions. Studies in Performance and Early Modern Drama. Ashgate, Aldershot, England & Burlington, USA, pp. 27-41. ISBN 9780754606109

Woolland, B. (2003) Tricksters, hucksters and suckers: Jonsonian cinema. In: Woolland, B. (ed.) Jonsonians: Living Traditions. Studies in Performance and Early Modern Drama. Ashgate, Aldershot, England & Burlington, USA, pp. 203-228. ISBN 9780754606109

Woynarski, L. ORCID: https://orcid.org/0000-0003-2516-0046 (2020) Ecodramaturgies: theatre, performance and climate change. New Dramaturgies. Palgrave. ISBN 9783030558529 doi: https://doi.org/10.1007/978-3-030-55853-6

Woynarski, L. ORCID: https://orcid.org/0000-0003-2516-0046 (2015) Locating an indigenous ethos in ecological performance. Performing Ethos, 5 (1 & 2). pp. 17-30. ISSN 1757-1987 doi: https://doi.org/10.1386/peet.5.1-2.17_1

Woynarski, L. ORCID: https://orcid.org/0000-0003-2516-0046 (2020) Performing the bio-urban in Bonnie Ora Sherk’s The Farm and Mierle Laderman Ukeles’s Flow City. Performance Research, 25 (2). pp. 124-131. ISSN 1469-9990 doi: https://doi.org/10.1080/13528165.2020.1752585

Woynarski, L. ORCID: https://orcid.org/0000-0003-2516-0046 (2015) A house of weather and a polar bear costume: ecological anthropomorphism in the work of fevered sleep. Performance Research, 20 (2). pp. 24-32. ISSN 1469-9990 doi: https://doi.org/10.1080/13528165.2015.1026722

Woynarski, L. ORCID: https://orcid.org/0000-0003-2516-0046, Ong, A., Beer, T., Beaupark, S., Winn-Lenetsky, J., Tangen, R. and Nicholson-Sanz, M. (2020) Dossier: climate change and the decolonized future of theatre. Theatre Research International, 45 (2). pp. 179-208. ISSN 1474-0672 doi: https://doi.org/10.1017/S0307883320000085