[1]
G. Barefoot, ‘The Serial and the Cliffhanger: Definitions and Origins: Chapter’, in The lost jungle: cliffhanger action and Hollywood serials of the 1930s and 1940s, vol. Exeter Studies in Film History, Exeter: University of Exeter Press, 2016, pp. 11–39.
[2]
U. Eco, ‘Interpreting Serials: Chapter’, in The limits of interpretation, vol. Advances in semiotics, Bloomington, Ind: Indiana University Press, 1990, pp. 83–100.
[3]
U. Eco, ‘The Myth of Superman, Chapter’, in The role of the reader: explorations in the semiotics of texts, vol. Advances in semiotics, London: Indiana U.P., 1979, pp. 107–124.
[4]
R. Hagedorn, ‘Doubtless to be Continued: A Brief History of Serial Narrative: Chapter’, in To be continued: soap operas around the world, London: Routledge, 1995, pp. 27–48 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665573550002746&institutionId=2746&customerId=2745
[5]
L. T. Poot, ‘On Cliffhangers’, Narrative, vol. 24, no. 1, pp. 50–67, 2016, doi: 10.1353/nar.2016.0001.
[6]
J. Chadwick et al., ‘First episode’, Bleak House. BBC, [S.l.], 2006.
[7]
C. Geraghty, ‘The Continuous Serial: A Defintion’, Coronation Street. BFI, London, pp. 9–26, 1981 [Online]. Available: https://core.ac.uk/download/files/42/1393833.pdf
[8]
R. Giddings, ‘Soft Soaping Dickens: Andres Davies, BBC-1 and “Bleak House”’. [Online]. Available: http://charlesdickenspage.com/Soft_Soaping_Dickens.html
[9]
‘Dickens Journals Online’. [Online]. Available: http://www.djo.org.uk/
[10]
R. Giddings and K. Selby, The classic serial on television and radio. Basingstoke: Palgrave, 2001.
[11]
C. Dickens, Bleak house. London: Electric Book Co, 2001 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10015080
[12]
J. Hayward, ‘Introduction: Chapter’, in Consuming pleasures: active audiences and serial fictions from Dickens to the soap opera, Lexington, Ky: University Press of Kentucky, 1997, pp. 1–20 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665538550002746&institutionId=2746&customerId=2745
[13]
C. Geraghty, Bleak house, vol. BFI TV classics. London: BFI, 2012.
[14]
C. Geraghty, Women and soap opera: a study of prime time soaps. Oxford: Polity Press, 1990.
[15]
G. Law, Serializing fiction in the Victorian press. Basingstoke: Palgrave, 2000.
[16]
S. Moffat, ‘“A Scandal in Belgravia”’, Sherlock: Series 1-3, vol. 2, no. 1. .
[17]
Ed Wiltse, ‘“So Constant an Expectation”: Sherlock Holmes and Seriality’, Narrative, vol. 6, no. 2, pp. 105–122, 1998 [Online]. Available: http://www.jstor.org/stable/20107142?seq=1#page_scan_tab_contents
[18]
R. Mayer, Serial Fu Manchu: the Chinese supervillain and the spread of Yellow Peril ideology, vol. Asian American History and Culture. Philadelphia, Pa: Temple University Press, 2013.
[19]
L. E. Stein and K. Busse, Sherlock and Transmedia Fandom: Essays on the BBC Series. Jefferson: McFarland & Company, Inc., Publishers, 2012 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664613360002746&institutionId=2746&customerId=2745
[20]
Lynnette R. Porter, Sherlock Holmes for the 21st century. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2012 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://leicester.eblib.com/patron/FullRecord.aspx?p=995801
[21]
S. Holmes, Adventure of Sherlock Holmes. Delhi: Global Media, 2006 [Online]. Available: https://ebookcentral-proquest-com.ezproxy3.lib.le.ac.uk/lib/leicester/detail.action?docID=3011077
[22]
G. Ritchie, R. Downey, J. Law, R. McAdams, M. Strong, and A. C. Doyle, ‘Sherlock Holmes’. Warner Bros. Home Entertainment, [S.l.], 2010.
[23]
S. Lanfield, R. Greene, B. Rathbone, W. Barrie, N. Bruce, and A. C. Doyle, ‘The hound of the Baskervilles’, vol. Sherlock Holmes : the definitive collection. Optimum Home Entertainment, [S.l.], 2005.
[24]
L. Daniels, ‘Empire: Season 1 [DVD]’. 2015.
[25]
M. Z. Newman, ‘“From Beats to Arcs: Towards a Poetics of Television Narrative”’, 2006 [Online]. Available: http://muse.jhu.edu.ezproxy3.lib.le.ac.uk/journals/the_velvet_light_trap/v058/58.1newman.html
[26]
P. Booth, ‘“Memories, Temporalities, Fictions:  Temporal displacement in Contemporary Television”’, 2011 [Online]. Available: http://tvn.sagepub.com.ezproxy3.lib.le.ac.uk/content/12/4/370
[27]
C. Geraghty, ‘“Aesthetics and quality in popular television drama” International Journal of Cultural Studies 6,’ pp. 25–45, 2003 [Online]. Available: http://ics.sagepub.com.ezproxy4.lib.le.ac.uk/content/6/1/25.full.pdf+html
[28]
J. Mittell, Genre and television: from cop shows to cartoons in American culture. New York: Routledge, 2004 [Online]. Available: https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=200862
[29]
J. Mittell, ‘“Previously On: Prime Time Serials and the Mechanics of Memory”’, 2009 [Online]. Available: https://justtv.wordpress.com/2009/07/03/previously-on-prime-time-serials-and-the-mechanics-of-memory/
[30]
G. Creeber, ‘‘"Taking our personal lives seriously”: intimacy, continuity and memory in the television drama serial’’, 2001 [Online]. Available: http://mcs.sagepub.com.ezproxy3.lib.le.ac.uk/content/23/4/439
[31]
C. Johnson, ‘“Tele-branding in TVIII: the network as brand and the programme as brand”’, 2007 [Online]. Available: http://www.tandfonline.com.ezproxy3.lib.le.ac.uk/doi/pdf/10.1080/17400300601140126
[32]
J. Corner, ‘“Narrative” in Critical ideas in television studies’, vol. Oxford television studies, Oxford: Oxford University Press, 1998.
[33]
G. Creeber, ‘Analysing Television: Issues and Methods in Textual Analysis’ in Tele-visions: an introduction to studying television. London: BFI, 2006.
[34]
J. Reiner, K. Chandler, C. Britton, T. Kitsch, P. Berg, and H. G. Bissinger, ‘Friday night lights: Season 1’. Universal Pictures, [S.l.], 2012.
[35]
J. Campion, ‘Top of the Lake’. 2013 [Online]. Available: http://www.moviemail.com/film/dvd/Top-of-the-Lake/
[36]
M. Hills, ‘“From the box in the corner to the box set on the shelf”: TVIII and the cultural/textual valorisations of the DVD’’, 2007 [Online]. Available: http://www.tandfonline.com.ezproxy3.lib.le.ac.uk/doi/pdf/10.1080/17400300601140167
[37]
M. Hills, ‘“Television Aesthetics: A Pre-structuralist Danger?”’, 2011 [Online]. Available: http://www.euppublishing.com/doi/pdfplus/10.3366/jbctv.2011.0008
[38]
L. Spigel and J. Olsson, Television After TV: Essays on a Medium in Transition. Duke University Press., 2004 [Online]. Available: http://site.ebrary.com/lib/leicester/detail.action?docID=10207685
[39]
D. Kompare, ‘“Publishing flow: DVD box sets and the reconception of television”’, 2006 [Online]. Available: http://tvn.sagepub.com.ezproxy3.lib.le.ac.uk/content/7/4/335
[40]
A. Holdsworth, ‘“Televisual Memory”’, Screen (London), vol. Vol.51 (2), 2010 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=https://academic.oup.com/screen/article/51/2/129/1684514
[41]
M. Kackman, ‘“Quality Television, Melodrama, and Cultural Complexity”’, 2008 [Online]. Available: http://flowtv.org/?p=2101
[42]
J. Mittell, ‘“Authorship, intentionality and intelligent design”’, 2009 [Online]. Available: http://justtv.wordpress.com/2009/03/26/authorship-and-intentionality/#more-334
[43]
J. Walters, ‘“Repeat Viewings: Television Analysis in the DVD Age”’, in Film and Television After DVD, J. Bennett, Ed. Routledge, 2008.
[44]
J. Jacobs, ‘“Issues of Judgement and Value in Television Studies” International Journal of Cultural Studies’, 2001. [Online]. Available: http://ics.sagepub.com.ezproxy4.lib.le.ac.uk/content/4/4/427.full.pdf+html
[45]
D. Simon, D. West, and J. Doman, ‘The Target, pilot episode of The wire: Season one’, The wire: Season one: Listen carefully. HBO Video, [S.l.], 2005.
[46]
J. Mittell, ‘The Wire, Serial Storytelling and Procedural Logic: Chapter’, in Third person: authoring and exploring vast narratives, Cambridge, Mass: MIT Press, 2009, pp. 429–437.
[47]
F. Kelleter, Serial agencies: The wire and its readers. Winchester: Zero Books, 2014.
[48]
J. Mittell, Complex TV: the poetics of contemporary television storytelling. New York: New York University Press, 2015 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://leicester.eblib.com/patron/FullRecord.aspx?p=1991882
[49]
L. Kennedy and S. Shapiro, The wire: race, class, and genre, vol. Class : culture. Ann Arbor, Mich: University of Michigan Press, 2012.
[50]
T. Potter and C. W. Marshall, The wire: urban decay and American television. New York: Continuum, 2009 [Online]. Available: http://site.ebrary.com/lib/leicester/Doc?id=10427308
[51]
S. Turnbull, The TV crime drama. Edinburgh: Edinburgh University Press, 2014.
[52]
J. Whitfield, ‘Beginnings and Endings in Films, Film and Film Studies. University of Warwick, 13 June 2008’, Screen, vol. 49, no. 4, pp. 471–476, Dec. 2008, doi: 10.1093/screen/hjn069.
[53]
L. Williams, On the Wire. Durham: Duke University Press, 2014 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com?id=634245
[54]
S. Corkin, Connecting The wire: race, space, and postindustrial Baltimore, First edition., vol. Texas film and media studies series. Austin: University of Texas Press, 2017.
[55]
D. Simon, D. West, and J. Doman, ‘The wire: Season two: A new case begins’. HBO Video, [S.l.], 2004.
[56]
D. Simon, D. West, and J. Doman, ‘The wire: Season three’. HBO Video, [S.l.], 2005.
[57]
D. Simon, D. West, and J. Doman, ‘The wire: Season four’. HBO Video, [S.l.], 2005.
[58]
D. Simon, D. West, and J. Doman, ‘The wire: Season five: Read between the lines’. HBO Video, [S.l.], 2005.
[59]
L. Feuillade, É. Mathé, and Musidora, ‘Les vampires: Disc 1: Episodes 1-5’, vol. Artificial eye. Artificial Eye, [S.l.].
[60]
M. Marks, S. Simmon, and National Film Preservation Foundation (United States), ‘The Hazards of Helen, #26: Audio-visual document’, More treasures from American film archives 1894-1931: Program 1 /[ curated by Scott Simmon, music curated by Martin Marks]. National Film Preservation Foundation, [S.l.], 2004.
[61]
B. Singer, ‘Power and Peril in the Serial-Queen Melodrama: Chapter’, in Melodrama and modernity: early sensational cinema and its contexts, vol. Film and culture, New York: Columbia University Press, 2001, pp. 221–262.
[62]
J. Gardner, ‘Serial Pleasures, 1907-1938’ Chapter’, in Projections: comics and the history of twenty-first-century storytelling, vol. Post 45, Stanford, Calif: Stanford University Press, 2012, pp. 29–67 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665221460002746&institutionId=2746&customerId=2745
[63]
M. Dahlquist, Exporting Perilous Pauline: Pearl White and the serial film craze, vol. Women and film history international. Urbana, Ill: University of Illinois Press, 2013 [Online]. Available: http://site.ebrary.com/lib/leicester/Doc?id=10722961
[64]
S. Stamp, Movie-struck girls: women and motion picture culture after the nickelodeon. Princeton, N.J.: Princeton University Press, 2000.
[65]
R. Canjels, Distributing silent film serials: local practices, changing forms, cultural transformation, vol. Routledge advances in film studies. London: Routledge, 2010.
[66]
Lambert, Josh, ‘"Wait for the Next Pictures”: Intertextuality and Cliffhanger Continuity in Early Cinema and Comic Strips.’, Cinema Journal; Winter, vol. 48, no. 2, pp. 3–25, 2009, doi: 10.1353/cj.0.0076. [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=505281867&site=ehost-live
[67]
B. Singer, ‘Serials, Chapter’, in The Oxford history of world cinema, Oxford: Oxford University Press, 1996, pp. 105–111 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665538530002746&institutionId=2746&customerId=2745
[68]
D. Bordwell, ‘Feuillade, or Storytelling: Chapter’, in Figures traced in light: on cinematic staging, Berkeley: University of California Press, 2005, pp. 43–82.
[69]
I. Brasch and R. Mayer, ‘Modernity management: 1920s cinema, mass culture and the film serial’, Screen, vol. 57, no. 3, pp. 302–315, Sep. 2016, doi: 10.1093/screen/hjw031.
[70]
K. J. Butler, ‘Irma Vep: Vamp in the City: Mapping the Criminal Feminine in Early French Serials: Chapter’, in A feminist reader in early cinema, vol. Camera obscura book, Durham, N.C.: Duke University Press, 2002, pp. 195–220.
[71]
V. Callahan, Zones of anxiety: movement, Musidora, and the crime serials of Louis Feuillade, vol. Contemporary approaches to film and television series. Detroit, Mich: Wayne State University Press, 2005 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664737070002746&institutionId=2746&customerId=2745
[72]
A. Marlow-Mann, ‘British Series and Serials in the Silent Era: Chapter’, in Young and innocent?: the cinema in Britain, 1896-1930, vol. Exeter studies in film history, Exeter: University of Exeter Press, 2002, pp. 147–161.
[73]
S. Stamp, ‘An Awful Struggle Between Love and Ambition: Serial Heroines, Serial Stars and Their Female Fans: Chapter’, in The silent cinema reader, London: Routledge, 2004, pp. 210–225.
[74]
P. White, L. J. Gasnier, and D. MacKenzie, ‘The perils of Pauline’. Grapevine Video, [S.l.], 1914.
[75]
J. Vincent, ‘A Woman in Grey’. 1919.
[76]
L. Feuillade, E. Breon, R. Navarre, M. Allain, and P. Souvestre, ‘Fantômas’, vol. Artificial eye. [Artificial eye], [S.l.].
[77]
B. Eason, O. Brower, G. Autry, and F. Darro, ‘The phantom empire’. VCI entertainment, [S.l.], 2935.
[78]
S. Higgins, ‘The Inevitability of Chance: Time in the Sound Serial: Chapter’, in Media of Serial Narrative, Ohio State University Press, 2017, pp. 93–107 [Online]. Available: https://ebookcentral-proquest-com.ezproxy4.lib.le.ac.uk/lib/leicester/detail.action?docID=4854569
[79]
J. P. Telotte, ‘A Charming Interlude: Of Serials and Hollow Men, Chapter’, in Replications: a robotic history of the science fiction film, Urbana, Ill: University of Illinois Press, 1995, pp. 91–110.
[80]
R. Kinnard, T. Crnkovich, and R. J. Vitone, The Flash Gordon serials, 1936-1940: a heavily illustrated guide. Jefferson, N.C.: McFarland, 2011.
[81]
G. Barefoot, ‘Who Watched that Masked Man? Hollywood’s Serial Audiences in the 1930S’, Historical Journal of Film, Radio and Television, vol. 31, no. 2, pp. 167–190, Jun. 2011, doi: 10.1080/01439685.2011.572604.
[82]
A. Kuhn, ‘Jam Jars and Cliffhangers: Chapter’, in An everyday magic: cinema and cultural memory, vol. Cinema and society, London: I.B. Tauris, 2002, pp. 38–65.
[83]
R. M. Hurst, Republic Studios: between poverty row and the majors, Updated ed. Lanham, Md: Scarecrow Press, 2007.
[84]
S. Higgins, ‘Seriality’s Ludic Promise: Film Serials and the Pre-History of Digital Gaming’, Eludamos. Journal for Computer Game Culture, vol. 8, no. 1, 2014 [Online]. Available: http://www.eludamos.org/index.php/eludamos/article/viewArticle/vol8no1-7
[85]
S. Higgins, Matinee Melodrama. New Brunswick, NJ: Rutgers University Press, 2016 [Online]. Available: http://web.b.ebscohost.com/ehost/detail/detail?vid=0&sid=f5e891e2-df1e-4fcc-b00d-bfcfb20c48a8%40sessionmgr101&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#AN=1163236&db=nlebk
[86]
S. Higgins, ‘Suspenseful Situations: Melodramatic Narrative and the Contemporary Action Film’, Cinema Journal, vol. 47, no. 2, pp. 74–96, 2007, doi: 10.1353/cj.2008.0010.
[87]
G. Mayer, Encyclopedia of american film serials. Jefferson, North Carolina: McFarland & Company, Inc., Publishers, 2017 [Online]. Available: http://ebookcentral.proquest.com/lib/leicester/detail.action?docID=4801111
[88]
J. Tuska, The vanishing legion: a history of Mascot Pictures, 1927-1935, vol. McFarland classics. Jefferson, N.C.: McFarland, 2000.
[89]
G. Barefoot, The lost jungle: cliffhanger action and Hollywood serials of the 1930s and 1940s, vol. Exeter Studies in Film History. Exeter: University of Exeter Press, 2016.
[90]
F. Beebe, S. A. Goodkind, and B. Crabbe, ‘Buck Rogers’. VCI Entertainment, [S.l.], 2003.
[91]
F. Stephani, B. Crabbe, J. Rogers, and C. Middleton, ‘Flash Gordon’, vol. Flash Gordon. Image Entertainment, Chatsworth, Calif, 1999.
[92]
F. Beebe, B. Crabbe, J. Rogers, and C. Middleton, ‘Flash Gordon’s trip to Mars’, vol. Flash Gordon. Image Entertainment, Chatsworth, Calif, 2000.
[93]
F. Beebe, R. Taylor, B. Crabbe, C. Hughes, and C. Middleton, ‘Flash Gordon conquers the universe’, vol. Flash Gordon. Image Entertainment, Chatsworth, Calif, 2000.
[94]
O. Brower et al., ‘The science fiction cliffhanger collection’. Passport Video, [California], 2006.
[95]
A. Schaeffer and J. P. McGowan, ‘The Hurricane Express, The John Wayne cliffhanger collection’, The John Wayne cliffhanger collection. Passport Video, [S.l.], 1932.
[96]
B. Lugosi, A. Herman, and C. Clark, ‘The whispering shadow’, vol. Classic movie serials. Alpha Video, [S.l.], 2004.
[97]
J. English, W. Witney, and R. Hadley, ‘Zorro’s fighting legion’. Studio Roan, [S.l.], 2004.
[98]
B. Douglas, ‘Bill Douglas Trilogy [DVD  Blu-ray]’. BFI.
[99]
D. Perkins, Claire, D. Verevis, Constantine, and SpringerLink (Online service), Film Trilogies: New Critical Approaches. London: Palgrave Macmillan UK, 2012 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=4393835600002746&institutionId=2746&customerId=2745
[100]
Kate Webb, ‘Bill Douglas among the Philestines: From the Trilogy to Comrades’, Cinéaste, vol. 37, no. 3, pp. 28–32, 2012 [Online]. Available: http://www.jstor.org/stable/41691154?seq=1#page_scan_tab_contents
[101]
Guy Barefoot, ‘Autobiography and the autobiographical in the Bill Douglas trilogy’, Author(s):Guy BarefootDocument types:CommentaryDocument features:References,  PhotographsPublication title:Biography. Honolulu: Winter 2006. Vol. 29, Iss.  1;  pg. 14, 18 pgsSource type:Periodical Text Word Count6448, vol. 29, no. 1, 2006 [Online]. Available: https://literature.proquest.com/searchFulltext.do?id=R03843266&divLevel=0&queryId=3001292647300&trailId=15CCAFEECC7&area=abell&forward=critref_ft
[102]
Bill Douglas: a lanternist’s account. London: BFI in association with the Scottish Film Council, 1993.
[103]
A. Kuhn, ‘Memory texts and memory work: Performances of memory in and with visual media’, Memory Studies, vol. 3, no. 4, pp. 298–313, Oct. 2010, doi: 10.1177/1750698010370034.
[104]
Claire. Perkins, ‘Remaking and the Film Trilogy: Whit Stillman’s Authorial Triptych’, The Velvet Light Trap, vol. 61, no. 1, pp. 14–25, 2008, doi: 10.1353/vlt.2008.0010.
[105]
S. Bruzzi, Seven up, vol. BFI tv classics. London: BFI, 2007.
[106]
K. Kieślowski and J. Binoche, ‘Trois couleurs: bleu =’, vol. Artificial eye. Artificial Eye, [S.l.].
[107]
K. Bannerjee, K. Bannerjee, and S. Ray, ‘Pather panchali =: Song of the road’, vol. Apu trilogy. Artificial eye, [S.l.].
[108]
A. Fabrizi and R. Rossellini, ‘Roma, citta aperta =: Rome, open city’, vol. Roberto Rossellini’s war trilogy. Arrow, [S.l.], 2005.
[109]
P. Jackson et al., ‘The lord of the rings: the fellowship of the ring’. Entertainment in Video, [S.l.], 2002.
[110]
R. Linklater, P. Arquette, E. Coltrane, L. Linklater, and E. Hawke, ‘Boyhood’. Universal Pictures, [S.l.], 2014.
[111]
F. Truffaut, J.-P. Léaud, C. Maurier, and A. Rémy, ‘Les quatre cents coups =: The 400 blows’, vol. François Truffaut-the films. 2 Entertain, London, 2006.
[112]
T. Miller, ‘Deadpool [DVD] [2016]’. 20th Century Fox Home Entertainment, 2016.
[113]
H. Jenkins, ‘Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling: Chapter’, in Convergence culture: where old and new media collide, New York: New York University Press, 2006, pp. 95–134.
[114]
W. Brooker, Hunting the Dark Knight: twenty-first century Batman. London: I.B. Tauris, 2012 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664375810002746&institutionId=2746&customerId=2745
[115]
B. Beaty, ‘The Blockbuster Superhero: Chapter’, in American film history: selected readings, 1960 to the present, C. A. B. Lucia, R. Grundmann, and A. Simon, Eds. Hoboken, New Jersey: Wiley Blackwell, 2016, pp. 423–437 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665537880002746&institutionId=2746&customerId=2745
[116]
I. Gordon, M. Jancovich, and M. P. McAllister, Film and Comic Books. Jackson: University Press of Mississippi, 2007 [Online]. Available: http://ebookcentral.proquest.com/lib/leicester/detail.action?docID=840334
[117]
J. Kallay, ‘Narrative Architecture: Databases, Labyrinths and Stories That Won’t End: Chapter’, in Gaming film: How games are reshaping contemporary cinema, Basingstoke: Palgrave Macmillan, 2013, pp. 32–65 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665936340002746&institutionId=2746&customerId=2745
[118]
R. J. Gray and B. Kaklamanidou, The 21st Century Superhero: Essays on Gender, Genre and Globalization in Film. Jefferson: McFarland & Company, Inc., Publishers, 2011 [Online]. Available: https://ebookcentral-proquest-com.ezproxy3.lib.le.ac.uk/lib/leicester/detail.action?docID=768108
[119]
C. A. Scolari, P. Bertetti, M. Freeman, and SpringerLink (Online service), Transmedia Archaeology: Storytelling in the Borderlines of Science Fiction, Comics and Pulp Magazines. London: Palgrave Macmillan UK, 2014 [Online]. Available: http://dx.doi.org/10.1057/9781137434371
[120]
M. Flanagan, A. Livingstone, and M. McKenny, The Marvel Studios phenomenon: inside a transmedia universe. New York: Bloomsbury Academic, 2016 [Online]. Available: http://ebookcentral.proquest.com/lib/leicester/detail.action?docID=4460222
[121]
M. J. P. Wolf, ‘World-Building in Watchmen’, Cinema Journal, vol. 56, no. 2, pp. 119–125, 2017, doi: 10.1353/cj.2017.0006.
[122]
C. Nolan, ‘The Dark Knight Trilogy’. .
[123]
J. Favreau, R. Downey, T. Howard, J. Bridges, and G. Paltrow, ‘Iron Man’. Paramount, [S.l.], 2008.
[124]
J. Whedon et al., ‘Avengers assemble’. Paramount, [S.l.], 2012.
[125]
S. Denson, ‘»To be continued...«: Seriality and Serialization in Interdisciplinary Perspective [What Happens Next: The Mechanics of Serialization. Graduate Conference at the University of Amsterdam, March 25–26, 2011.]’, JLTonline Conference Proceedings, 2011 [Online]. Available: http://www.jltonline.de/index.php/conferences/article/view/346/1004
[126]
R. Allen and T. van den Berg, Serialization in popular culture, vol. Routledge research in cultural and media studies. London: Routledge, 2014.
[127]
G. Creeber, Serial television: big drama on the small screen. London: BFI Publishing, 2004.
[128]
M. Reimer, N. Ali, D. England, and M. D. Unrau, Eds., Seriality and texts for young people: the compulsion to repeat, vol. Critical approaches to children’s literature. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2014 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com?id=727927
[129]
‘Literatur in Wissenschaft und Unterricht’, vol. 47, no. 1/2, 2014.
[130]
F. Kelleter, Media of Serial Narrative. Ohio State University Press, 2017 [Online]. Available: http://ebookcentral.proquest.com.ezproxy4.lib.le.ac.uk/lib/leicester/detail.action?docID=4854569
[131]
‘The Velvet Light Trap-Number 79, Spring 2017’, no. 79 [Online]. Available: http://librarysearch.le.ac.uk/44UOLE_VU1:default_scope:44UOLE_ALMA51125487220002746
[132]
B. Palmer and A. A. Klein, Cycles, Sequels, Spin-offs, Remakes, and Reboots Multiplicities in Film and Television. University of Texas Press, 2016 [Online]. Available: http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664737140002746&institutionId=2746&customerId=2745