City Research Online

A

Are, C. (2020). A “Chosen” Hope with a “Gingerbread” Outcome: Democratization of (Media) Power in Buffy The Vampire Slayer as a Metaphor of Online Abuse on High-Profile Criminal Cases. Slayage, 18.2(Summer), pp. 1-33.

B

Baden-Fuller, C. ORCID: 0000-0002-0230-1144, Ferriani, S. ORCID: 0000-0001-9669-3486 & Cattani, G. (2007). Fitness determinants in creative industries: a longitudinal study of the Hollywood film-making industry 1992-2003. In: Cantner, U. & Malerba, F. (Eds.), Innovation, Industrial Dynamics and Structural Transformation. (pp. 209-237). Berlin, UK: Springer Verlag.

Benetos, E., Siatras, S., Kotropoulos, C. , Nikolaidis, N. & Pitas, I.view all authors (2008). Movie analysis with emphasis to dialogue and action scene detection. In: Maragos, P., Potamianos, A. & Gros, P. (Eds.), Multimodal Processing and Interaction: Audio, Video, Text. (pp. 157-177). Springer. doi: 10.1007/978-0-387-76316-3_7

C

Cattani, G. & Ferriani, S. (2008). A Core/Periphery Perspective on Individual Creative Performance: Social Networks and Cinematic Achievements in the Hollywood Film Industry. Organization Science, 19(6), pp. 824-844. doi: 10.1287/orsc.1070.0350

F

Findlay, R. ORCID: 0000-0001-8596-6880 (2023). A Double in Different Clothes: Marie Kreutzer's 'Corsage' (2022). MAI: Feminism and Visual Culture, Spring,

Frey, M. ORCID: 0000-0002-3388-0353 (2020). The Ends of (German) Film Criticism: On Recurring Doomsday Scenarios and the New Algorithmic Culture. New German Critique, 47(3), pp. 45-57. doi: 10.1215/0094033x-8607577

Frey, M. ORCID: 0000-0002-3388-0353 (2022). The International Reception of Downfall (Der Untergang, 2004). Historical Journal of Film, Radio and Television, 43(2), pp. 438-459. doi: 10.1080/01439685.2022.2116862

H

Hondros, J. ORCID: 0000-0002-4776-9939 (2020). Interactive documentary as relational media: exploring an actor-network theory approach. Studies in Documentary Film, 15(3), pp. 256-270. doi: 10.1080/17503280.2020.1815126

J

Jia, X. ORCID: 0000-0002-3595-8302 (2023). Book Review: Catherine McDermott, Feel-Bad Postfeminism: Impasse, Resilience and Female Subjectivity in Popular Culture. European Journal of Cultural Studies, 26(4), pp. 616-619. doi: 10.1177/13675494231166524

Jilani, S. ORCID: 0000-0002-0024-4801 (2022). Civic Interaction, Urban Memory, and the Istanbul International Film Festival. In: Schwan, A. & Thomson, T. (Eds.), The Palgrave Handbook of Digital and Public Humanities. (pp. 441-458). Cham, Switzerland: Palgrave Macmillan. doi: 10.1007/978-3-031-11886-9_23

Jilani, S. ORCID: 0000-0002-0024-4801 (2015). 'Black' Spaces: Othello and the Cinematic Language of Othering. Literature-Film Quarterly, 43(2), pp. 104-115.

Jilani, S. ORCID: 0000-0002-0024-4801 (2021). “They Drew an Entire People after Them”. Interventions, 24(4), pp. 586-602. doi: 10.1080/1369801x.2021.1892515

M

McCann, E. ORCID: 0000-0003-3548-4204 & Huntley-Moore, S. (2016). Madness in the movies: An evaluation of the use of cinema to explore mental health issues in nurse education. Nurse Education in Practice, 21, pp. 37-43. doi: 10.1016/j.nepr.2016.09.009

Mera, M. ORCID: 0000-0002-0031-0629 (2023). The Audiovisual Architecture of Musical Pauses, Punchlines, and Jablines: Paddington’s Punctuation. In: Audissino, E. & Wennekes, E. (Eds.), The Palgrave Handbook of Music in Comedy Cinema. . Basingstoke, UK: Palgrave Macmillan. doi: 10.1007/978-3-031-33422-1_5

Mera, M. (2013). Inglo(u)rious Basterdization: Tarantino and the War Movie Mashup. In: Vernallis, C., Herzog,, A. & Richardson, J. (Eds.), The Oxford Handbook of Sound and Image in Digital Media. (pp. 437-461). New York: Oxford University Press. doi: 10.1093/oxfordhb/9780199757640.013.030

Mera, M. ORCID: 0000-0002-0031-0629 (2021). Listening–Feeling–Becoming: Cinema Surveillance. In: Cenciarelli, C. (Ed.), The Oxford Handbook of Cinematic Listening. (pp. 407-426). Oxford, UK: Oxford University Press. doi: 10.1093/oxfordhb/9780190853617.013.23

Mera, M. ORCID: 0000-0002-0031-0629 (2020). Music Maketh Man: Meritocracy in Kingsman: The Secret Service. In: Peddie, I. (Ed.), The Bloomsbury Handbook of Popular Music and Social Class. . London, UK: Bloomsbury Academic.

Mera, M. & Winters, B. (2009). Film and Television Music Sources in the UK and Ireland. Brio: Journal of the International Association of Music Libraries, Archives and Documentation Centres., 46(2), pp. 37-65.

Meziani, N. & Cabantous, L. ORCID: 0000-0003-3533-1208 (2020). Acting Intuition into Sense: How Film Crews Make Sense with Embodied Ways of Knowing. Journal of Management Studies, 57(7), pp. 1384-1419. doi: 10.1111/joms.12619

N

Nooshin, L. ORCID: 0000-0001-8737-5224 (2019). Windows onto Other Worlds: Music and the Negotiation of Otherness in Iranian Cinema. Music and the Moving Image, 12(3), pp. 25-57. doi: 10.5406/musimoviimag.12.3.0025

Nooshin, L. (2017). Windows onto other Worlds. Musical Exoticism in Iranian Cinema: Between National Imaginary and Global Circulation. Keynote Paper presented at the Exoticism in Contemporary Transnational Cinema: Music and Spectacle, 16 Jun 2017, London, UK.

P

Pratt, A. C. ORCID: 0000-0003-2215-9648 (2023). Film Making as a Creative Ecosystem: The Case of Soho in London. In: Global Creative Ecosystems. (pp. 21-38). Springer International Publishing. doi: 10.1007/978-3-031-33961-5_2