Bibliography - Cadair Home

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Bibliography
Books (Single author)
Adams, Michael. Slayer Slang: A Buffy the Vampire Slayer Lexicon. Oxford: Oxford
University Press, 2003.
Aitchison, John, and Harold Carter. Language, Economy and Society: The Changing
Fortunes of the Welsh Language in the Twentieth Century. Cardiff: University of
Wales Press, 2000.
Altman, Rick. Film/Genre. London: British Film Institute, 1999.
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of
Nationalism. London: Verso, 1991.
Appel, René, and Pieter Muysken. Language Contact and Bilingualism. London:
Edward Arnold, 1987.
Austen, Jane. Emma. Oxford: Oxford University Press, 2003.
Baker, Colin. Key issues in Bilingualism and Bilingual Education. Clevedon;
Philadelphia: Multilingual Matters Ltd, 1988.
Bakhtin, Mikhail. Rabelais and His World. Bloomington: Indiana University Press,
1984.
Barthes, Roland. Image Music Text. London: Fontana Press, 1977.
Bauman, Zygmunt. Identity: Conversations with Benedetto Vecchi. Cambridge, UK:
Polity Press, 2004 (2006 edition).
Beaver, Frank. Oliver Stone: Wakeup Cinema. New York: Twayne Publishers;
Toronto: Maxwell Macmillan Canada; New York: Maxwell Macmillan International,
1994.
Bennett, Tony; Emmison, Michael, and John Frow. Accounting for Tastes: Australian
Everyday Culture. Cambridge: Cambridge University Press, 1999.
Bernstein, Jonathan. Pretty in Pink: The Golden Age of Teenage Movies. New York:
St. Martin’s Griffin, 1997.
Bhabha, Homi K. The Location of Culture. London; New York: Routledge Classics,
2004.
Bohata, Kirsti. Postcolonialism Revisited. Cardiff: University of Wales Press, 2004.
Bould, Mark. Film Noir: From Berlin to Sin City. London; New York: Wallflower,
2005.
282
Brottman, Mikita. High Theory/ Low Culture. New York; Basingstoke: Palgrave
Macmillan, 2005.
Buckingham, David. Children Talking Television: The Making of Television Literacy.
London: The Falmer Press, 1993.
Burgess, Anthony. A Clockwork Orange. London: Penguin, 1998.
Chandler, Daniel. Semiotics: The Basics. London; New York: Routledge, 2002.
Chandler, Raymond. The Big Sleep and other novels. London: Penguin, 2000.
Chion, Michael. The Voice in Cinema. New York: Columbia University Press, 1999.
Clark, Katerina, and Michael Holquist. Mikhail Bakhtin. Cambridge, Mass: Belknap
Press of Harvard University Press, 1984.
Collins, Felicity, and Therese Davis. Australian Cinema after Mabo. Cambridge:
Cambridge University Press, 2004.
Couldry, Nick. Inside Culture: Re-imagining the Method of Cultural Studies. London:
Sage, 2000.
Crystal, David. English as a Global Language (Second Edition). Cambridge; New
York: Cambridge University Press, 2003.
Danesi, Marcel. Cool: The Signs and Meanings of Adolescence. Toronto; London:
University of Toronto Press, 1994.
Daniel, Lisa, and Claire Jackson. The Bent Lens: A World Guide to Gay and Lesbian
Film. Northam: Roundhouse, 2003.
de Saussure, Ferdinand. Course in General Linguistics. New York; London:
McGraw-Hill Book Company, 1966.
Dick, Bernard F. Anatomy of Film (3rd Edition). New York: St.Martin’s Press, 1998.
Doherty, Thomas. Teenagers and Teenpics: The Juvenilization of the American
Movies in the 1950s (Revised and Expanded Edition). Philadelphia: Temple
University Press, 2002.
Dyer, Richard. Stars. London: British Film Institute, 1979.
Eco, Umberto. Mouse or Rat?: Translation as Negotiation. London: Weidenfeld &
Nicolson, 2003.
Edwards, John. Talk Tidy: The Art of Speaking Wenglish. Cowbridge: D. Brown,
1985.
Eisenstein, Sergei. The Film Sense. 1943. London; Boston: Faber and Faber, 1986.
283
Fairclough, Norman. Analysing Discourse: Textual Analysis for Social Research.
London; New York: Routledge, 2003.
Fanon, Frantz. Black Skin, White Masks. London: Pluto Press, 1986.
Gadet, Françoise. Saussure and Contemporary Culture. Translated by Gregory Elliott.
London: Hutchinson Radius, 1989.
Gillespie, Marie. Television, Ethnicity and Cultural Change. London; New York:
Routledge, 1995.
Gilroy, Paul. There ain’t No Black in the Union Jack: The Cultural Politics of Race
and Nation. London; New York: Routledge, 2002.
Hallam, Julia, and Margaret Marshment. Realism and Popular Cinema. Manchester;
New York: Manchester University Press, 2000.
Halliday, M.A.K. Language as Social Semiotic: The Social Interpretation of
Language and Meaning. London: Edward Arnold, 1978.
Hammett, Dashiell. The Maltese Falcon. London: Pan Books Ltd, 1975.
Hammett, Dashiell. The Thin Man. London: Penguin, 1999.
Hayward, Susan. French National Cinema (2nd edition). London; New York:
Routledge, 2005.
Hentges, Sarah. Pictures of Girlhood: Modern Female Adolescence on Film.
Jefferson, North Carolina: London: McFarland & Company, Inc, 2006.
Herman, Vimala. Dramatic Discourse: Dialogue as Interaction in Plays. London;
Routledge, 1995.
Higson, Andrew. Waving the Flag: Constructing a National Cinema in Britain.
Oxford: Clarendon Press, 1997.
Holquist, Michael. Dialogism: Bakhtin and His World. London; New York:
Routledge, 2002.
Kaveney, Roz. Teen Dreams: Reading Teen Film and Television from Heathers to
Veronica Mars. London; New York: I. B. Tauris, 2006.
Kimmel, Michael. Manhood in America: A Cultural History. New York: The Free
Press, 1996.
Kozloff, Sarah. Overhearing Film Dialogue. Berkeley; London: University of
California Press, 2000.
284
Krutnik, Frank. In a Lonely Street: Film Noir, Genre, Masculinity. London; New
York: Routledge, 1991.
Lang, Robert. Masculine Interests: Homoerotics in Hollywood Films. New York:
Columbia University Press, 2002.
Lebeau, Vicky. Lost Angels: Psychoanalysis and Cinema. Abingdon, Oxon:
Routledge, 1995.
Lee, Christina. Screening Generation X: the Politics and Popular Memory of Youth in
Contemporary Cinema. Farnham, Surrey: Ashgate, 2010.
Levithan, David. Boy Meets Boy. New York: Alfred A. Knopf, 2003.
Lewis, Jon. The Road to Romance and Ruin: Teen Films and Youth Culture. New
York; London: Routledge, 1992.
Lewis, Robert. Wenglish: the Dialect of the South Wales Valleys. Talybont: Y Lolfa,
2008.
Lury, Karen. British Youth Television: Cynicism and Enchantment. Oxford:
Clarendon Press, 2001.
MacCabe, Colin. Theoretical Essays: Film, Linguistics, Literature. Manchester:
Manchester University Press, 1985.
MacCabe, Colin. The Eloquence of the Vulgar. London: British Film Institute, 1999.
Marchetta, Melina. Looking for Alibrandi. Ringwood, Victoria: Puffin, 1992.
McFarlane, Brian, and Geoff Mayer. New Australian Cinema: Sources and Parallels
in American and British Film. Cambridge; New York; Oakleigh, Victoria: Cambridge
University Press, 1992.
McKee, Alan. Textual Analysis: A Beginner’s Guide. London: Sage, 2003.
McKinley, E. Graham. Beverly Hills 90210: Television, Gender and Identity.
Philadelphia: University of Philadelphia Press, 1997.
Metz, Christian. Film Language: A Semiotics of the Cinema. Chicago: University of
Chicago Press, 1991.
Morrissette, Bruce. Novel and Film: Essays in Two Genres. Chicago; London:
University of Chicago Press, 1985.
Neale, Steve. Genre and Hollywood. London: Routledge, 2000.
O’Regan, Tom. Australian National Cinema. London; New York: Routledge, 1996.
Osgerby, Bill. Youth Media. London; New York: Routledge, 2004.
285
Petrie, Duncan. Screening Scotland. London: BFI Publishing, 2000.
Pickering, Michael. Stereotyping: The Politics of Representation. Basingstoke; New
York: Palgrave, 2001.
Plain, Gill. Twentieth-Century Crime Fiction: Gender, Sexuality and the Body.
Edinburgh: Edinburgh University Press, 2001.
Pujolar, Joan. Gender, Heteroglossia and Power: A Sociolinguistic Study of Youth
Culture. New York: Mouten de Gruyter, 2001.
Rayner, Jonathan. Contemporary Australian Cinema: An Introduction. Manchester;
New York: Manchester University Press, 2000.
Schaefer, Eric. “BOLD! DARING! SHOCKING! TRUE!”: A History of Exploitation
Films, 1919-1959. Durham; London: Duke University Press, 1999.
Shary, Timothy. Generation Multiplex: The Image of Youth in Contemporary
American Cinema. Austin: University of Texas Press, 2002.
Shary, Timothy. Teen Movies: American Youth on Screen. London; New York:
Wallflower, 2005.
Simmel, Georg. Conflict and The Web of Group Affiliations. Glencoe, Illinois: The
Free Press, 1955.
Sobchack, Vivian. Screening Space: The American Science Fiction Film. New
Brunswick, N.J.; London: Rutgers University Press, 1997.
Stam, Robert. Subversive Pleasures: Bakhtin, Cultural Criticism and Film. Baltimore;
London: The Johns Hopkins University Press, 1989.
Stone, Oliver, and Richard Boyle. Platoon, Salvador: The Screenplays. London:
Ebury Press, 1987.
Thompson, Robert J. Television’s Second Golden Age: From Hill Street Blues to ER.
New York: Syracuse University Press, 1996.
Thornton, Sarah. Club Cultures: Music, Media, and Subcultural Capital. Cambridge:
Polity Press, 2001.
Todorov, Tzvetan. Mikhail Bakhtin: The Dialogical Principle. Manchester:
Manchester University Press, 1984.
Tropiano, Stephen. Rebels and Chicks: A History of the Hollywood Teen Movie. New
York: Back Stage Books, 2006.
Tsiolkas, Christos. Loaded. London: Vintage, 1997.
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Turner, Graeme. National Fictions: Literature, Film and the Construction of
Australian Narrative (Second edition). St. Leonards (NSW): Allen & Unwin, 1993.
Vice, Sue. Introducing Bakhtin. Manchester: Manchester University Press, 1997.
Wilcox, Rhonda. Why Buffy Matters: The Art of Buffy the Vampire Slayer. London;
New York: I.B. Tauris, 2005.
Williams, Colin H. Called unto Liberty!: On Language and Nationalism. Clevedon;
Philadelphia; Adelaide: Multilingual Matters Ltd, 1994.
Wiltshire, John. Recreating Jane Austen. Cambridge: Cambridge University Press,
2001.
Wojcik-Andrews, Ian. Children's films : history, ideology, pedagogy, theory. New
York; London: Garland Publishing, 2000.
Wood, Robin. Hollywood from Vietnam to Reagan… and Beyond (Expanded and
Revised Edition). New York: Columbia University Press, 2003.
Edited collections
Bakhtin, M.M., Michael Holquist, ed. The Dialogic Imagination: Four Essays by
M.M Bakhtin. 1981. Austin: University of Texas Press, 2004.
Bakhtin, M.M., Caryl Emerson and Michael Holquist, eds. Speech Genres & Other
Late Essays. 1986. Austin: University of Texas Press, 2002.
Fuller, David, ed. William Blake: Selected Poetry and Prose. Harlow: Longman,
2000.
Hirschkop, Ken, and David Shepherd, eds. Bakhtin and Cultural Theory.. Manchester;
New York: Manchester University Press, 2001.
Gramsci, Antonio, David Forgacs and Geoffrey Nowell-Smith, eds. Selections from
Cultural Writings. London: Lawrence and Wishart, 1985.
Kroskrity, Paul V. ed. Regimes of Language: Ideologies, Politics and Identities. Santa
Fe, N.M: School of American Research Press; Oxford: James Currey, 2000.
Hall, Stuart, and Tony Jefferson, eds. Resistance through Rituals: Youth Subcultures
in Post-war Britain. London: Hutchinson [for] the Centre for Contemporary Cultural
Studies, University of Birmingham, 1976.
Page, Frederick, ed. Byron: Poetical Works. Oxford; New York: Oxford University
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Sontag, Susan, ed. A Roland Barthes Reader. London: Vintage, 2000.
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Chapters in edited collections
Aeron, Heulwen. “Grŵp Meirionydd”. Iaith Ifanc: Hyrwyddo a Chadw’r Defnydd o’r
Gymraeg Ymhlith Pobl Ifainc. Ed Bobi Jones. Aberystwyth: CYD, 1992. 17-20.
Almond, Steve. “John Hughes Goes Deep: The Unexpected Heaviosity of Ferris
Bueller’s Day Off”. Don’t You Forget About Me: Contemporary Writers on the Films
of John Hughes. Ed Jaime Clarke. New York; London; Toronto; Sydney: Simon
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Bailey, Steve, and James Hay. “Cinema and the Premises of Youth: ‘Teen Films’ and
Their Sites in the 1980s and 1990s”. Genre and Contemporary Hollywood. Ed Steve
Neale. London: British Film Institute, 2002. 218-235.
Berry, Dave. “Unearthing the Present: Television Drama in Wales”. Wales on Screen.
Ed Steve Blandford. Bridgend: Seren, 2000. 128-151.
Birchall, Claire. ‘‘Feels Like Home: Dawson’s Creek, Nostalgia and the Young Adult
Viewer’. Teen TV: Genre, Consumption and Identity. Eds Glyn Davis and Kay
Dickinson. London: BFI publishing, 2004. 176-189.
Brackett, Leigh. “From The Big Sleep to The Long Goodbye”. The Big Book of Noir.
Eds Ed Gorman, Lee Server and Martin H. Greenberg. New York: Carrol & Graf
Publishers, Inc., 1998. 137-141.
Brown, Ruth. “Crocodile Dundee and the Revival of American Virtue”. Australian
Popular Culture. Eds Ian Craven with Martin Gray and Geraldine Stoneham.
Cambridge; New York; Melbourne: Press Syndicate of the University of Cambridge,
1994. 79-86.
Butterss, Philip. “Becoming a Man in Australian Film in the Early 1990s: The Big
Steal, Death in Brunswick, Strictly Ballroom and The Heartbreak Kid”. Australian
Cinema in the 1990s. Ed Ian Craver. London: Frank Cass, 2001. 79-94.
Callahan, David. “His Natural Whiteness: Modes of Ethnic Presence and Absence in
Some Recent Australian Films”. Australian Cinema in the 1990s. Ed Ian Craven.
London; Portland, OR: Frank Cass Publishers, 2001.95-114.
Campbell, Cefin. “Cymdeithasu yn y Gymraeg Ymhlith Oedolion Ifanc: Ydy’r
Peuoedd Cymraeg wedi cael eu Chips?”. Iaith Ifanc: Hyrwyddo a Chadw’r Defnydd
o’r Gymraeg Ymhlith Pobl Ifainc. Ed Bobi Jones. Aberystwyth: CYD, 1992. 33-45.
Carson, Bruce. “Cultural Hybridity, Masculinity and Nostalgia in the TV Adaptation
of The Buddha of Suburbia”. Frames and Fictions on Television: The Politics of
Identity Within Drama. Eds Bruce Carson and Margaret Llewellyn-Jones. Exeter:
Intellect Books, 2000. 113-125.
288
Collins, Felicity. “Wogboy Comedies and the Australian National Type”. Diasporas
of Australian Cinema. Eds Catherine Simpson, Renata Murawska and Anthony
Lambert. Bristol, UK; Chicago, USA: Intellect, 2009. 73-82.
Conomos, John. “Other Shorelines, or the Greek-Australian Cinema”. Diasporas of
Australian Cinema. Eds Catherine Simpson, Renata Murawska and Anthony Lambert.
Bristol, UK; Chicago, USA: Intellect, 2009. 115-124.
Craven, Ian. “Introduction: Australian Culture as Popular Culture”. Australian
Popular Culture. Eds Ian Craven with Martin Gray and Geraldine Stoneham.
Cambridge; New York; Melbourne: Press Syndicate of the University of Cambridge,
1994. 1-14.
Craven, Ian. “Australian Cinema towards the Millenium”. Australian Cinema in the
1990s. Ed Ian Craven. London; Portland, OR: Frank Cass Publishers, 2001. 1-14.
Creeber, Glen. “Analysing Television: Issues and Methods in Textual Analysis”.
Tele-visions: An Introduction to Studying Television. Ed Glen Creeber. London: BFI
publishing, 2006, 26-43.
Crofts, Stephen. “Reconceptualising National Cinema/s”. Theorising National
Cinema. Eds Valentina Vitali and Paul Willemen. London: BFI, 2006. 44-58.
Davies, Charlotte Aull. “Language and National Identity”. One Step Forward?: South
and West Wales Towards the Year 2000. Eds Richard Jenkins and Arwel Edwards.
Llandysul: Gomer Press in collaboration with the Social Science Research Institute,
1990. 35-46.
Davies, Elen. “Grŵp y de-orllewin”. Iaith Ifanc: Hyrwyddo a Chadw’r Defnydd o’r
Gymraeg Ymhlith Pobl Ifainc. Ed Bobi Jones. Aberystwyth: CYD, 1992. 21-26.
Deitchman, Elizabeth A. “From the Cinema to the Classroom: Hollywood Teaches
Hamlet”. Spectacular Shakespeare: Critical Theory and Popular Cinema. Eds
Courtney Lehmann and Lisa S. Starkes. Madison: Fairleigh Dickinson UP, 2002. 172186.
Dickinson, Kay. “‘My generation’: Popular Music, Age and Influence in Teen Drama
of the 1990s”. Teen TV: Genre Consumption and Identity. Eds Glyn Davis and Kay
Dickinson. London: BFI publishing, 2004. 99-111.
Dole, Carol M. “Austen, Class, and the American Market”. Jane Austen in Hollywood
(2nd edition). Eds Linda Troost and Sayre Greenfield. Lexington: University Press of
Kentucky, 1998. 58-78.
Douglas, Kate, and Kelly McWilliam. ‘‘We Don’t Need No Education’: Adolescents
and the School in Contemporary Australian TV’. Teen TV: Genre, Consumption and
Identity. Eds Glyn Davis and Kay Dickinson. London: BFI publishing, 2004. 151165.
289
Durgnat, Raymond. “Introduction: Paint it Black: The Family Tree of the Film Noir”.
The Big Book of Noir. Eds Ed Gorman, Lee Server and Martin H. Greenberg. New
York: Carrol & Graf Publishers, Inc., 1998. 1-13.
Ferriss, Suzanne. “Emma Becomes Clueless”. Jane Austen in Hollywood (2nd edition).
Eds Linda Troost and Sayre Greenfield. Lexington: University Press of Kentucky,
1998. 122-129.
Hall, Stuart. “Encoding/decoding”. Culture, Media, Language: Working Papers in
Cultural Studies, 1972-79. Eds Stuart Hall, Dorothy Hobson, Andrew Lowe and Paul
Willis. London: Hutchinson, 1980. 128-138.
Harris, Jocelyn. “‘Such a Transformation!’: Translation, Imitation, and Intertextuality
in Jane Austen on Screen”. Jane Austen on Screen. Eds Gina Macdonald and Andrew
F. Macdonald. Cambridge: Cambridge University Press, 2003. 44-67.
Hill, John. “British Cinema as National Cinema”. Theorising National Cinema. Eds
Valentina Vitali and Paul Willemen. London: BFI, 2006. 100-113.
Hills, Matt. “Dawson’s Creek: ‘Quality Teen TV’ and ‘Mainstream Cult’?”. Teen TV:
Genre, Consumption and Identity. Eds Glyn Davis and Kay Dickinson. London: BFI
publishing, 2004. 54-67.
Jennings, Ros, and Loykie Lominé. “Nationality and New Queer Cinema: Australian
Film”. New Queer Cinema: A Critical Reader. Ed Michele Aaron. Edinburgh:
Edinburgh University Press, 2004. 144-154.
Mayer, Geoff, and Keith Beattie. “Introduction”. The Cinema of Australia and New
Zealand. Eds Geoff Mayer and Keith Beattie. London: Wallflower Press, 2007. 1-9.
McDougal, Stuart Y. “Introduction: ‘What’s it Going to be Then, Eh?’: Questioning
Kubrick’s Clockwork”. Stanley Kubrick’s A Clockwork Orange. Ed Stuart Y.
McDougal. Cambridge: Cambridge University Press, 2003. 1-18.
Meredith, Siôn. “Rhagymadrodd” (Introduction). Iaith Ifanc: Hyrwyddo a Chadw’r
Defnydd o’r Gymraeg Ymhlith Pobl Ifainc. Ed Bobi Jones. Aberystwyth: CYD, 1992.
8-13.
Millard Daugherty, Anne. “Just a Girl: Buffy as Icon”. Reading the Vampire Slayer:
An Unofficial Critical Companion to Buffy and Angel. Ed Roz Kaveney. London;
New York: I.B. Tauris, 2003. 148-165.
Milroy, Lesley, and Pieter Muysken. “Introduction: Code-switching and Bilingual
Research” One Speaker, Two Languages: Cross-disciplinary Perspectives on CodeSwitching. Eds Lesley Milroy and Pieter Muysken. Cambridge, UK; New York:
Cambridge University Press, 1995. 1-14.
Moore-Gilbert, Bart. “Hanif Kureishi and the Politics of Cultural Hybridity”. The
Media in Britain: Current Debates and Developments. Eds Jane Stokes and Anna
Reading. Basingstoke: Macmillan, 1999. 273-281.
290
Mosier, John. “Clues for the Clueless”. Jane Austen on Screen. Eds Gina Macdonald
and Andrew F. Macdonald. Cambridge: Cambridge University Press, 2003. 228-253.
Nachumi, Nora. “‘As If!’: Translating Austen’s Ironic Narrator to Film”. Jane Austen
in Hollywood (2nd edition). Eds Linda Troost and Sayre Greenfield. Lexington:
University Press of Kentucky, 1998. 130-139.
Neale, Steve. “Studying Genre”. The Television Genre Book. Ed Glen Creeber.
London: BFI publishing, 2004. 1-3.
Neely, Sarah. “Cool Intentions: The Literary Classic, the Teenpic and the ‘Chick
Flick’”. Retrovisions: Reinventing the Past in Film and Fiction. Eds Deborah
Cartmell, I.Q. Hunter and Imelda Whelehan. London; Stirling, Virginia: Pluto Press,
2001. 74-86.
Place, Janey. “Women in Film Noir”. Women in Film Noir: New Edition. Ed E. Ann
Kaplan. London: British Film Institute, 1998. 47-68.
Projansky, Sarah. “Gender, Race, Feminism, and the International Girl Hero: The
Unremarkable U.S Popular Press Reception of Bend it Like Beckham and Whale
Rider”. Youth Culture in Global Cinema. Eds Timothy Shary and Alexandra Seibel.
Austin: University of Texas Press, 2007. 189-206.
Qreshi, Karen, and Shaun Moores. “Identity, Tradition and Translation”. Media and
Everyday Life in Modern Society. Ed Shaun Moores. Edinburgh: Edinburgh
University Press, 2000. 117-134.
Roberts, Randy, and David Welky. “A Sacred Mission: Oliver Stone and Vietnam”.
Oliver Stone’s USA: Film, History, and Controversy. Ed Robert Brent Toplin.
Lawrence: University Press of Kansas, 2000. 66-90.
Sheil, Trish. “Gadael Lenin/ Leaving Lenin (1992)”. Fifty Key British Films. Eds
Sarah Barrow and John White. London; New York: Routledge, 2008.
Simpson, Catherine; Murawska, Renata, and Anthony Lambert. “Introduction:
Rethinking Diaspora – Australian Cinema History and Society”. Diasporas of
Australian Cinema. Eds Catherine Simpson, Renata Murawska and Anthony Lambert.
Bristol, UK; Chicago, USA: Intellect, 2009. 15-27.
Sonnet, Esther. “From Emma to Clueless: Taste, Pleasure and the Scene of History”.
Adaptations: From Text to Screen, Screen to Text. Eds Deborah Cartmell and Imelda
Whelehan. London: New York: Routledge, 1999. 51-62.
Stam, Robert. “Bakhtin, Polyphony, and Ethnic/ Racial Representation”. Unspeakable
Images: Ethnicity and the American Cinema. Ed Lester D. Friedman. Urbana;
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291
Stanfield, Peter. “‘Film Noir Like You’ve Never Seen’: Jim Thompson Adaptations
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Thomas, Beth. “The Riches of the Past? Recording Welsh Dialects”. ‘Let’s do our
Best for the Ancient Tongue’: The Welsh Language in the Twentieth Century. Eds
Geraint H. Jenkins and Mari A. Williams. Cardiff: University of Wales Press, 2000.
421-437.
Turner, Graeme. “The Uses and Limitations of Genre”. The Television Genre Book.
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Wee, Valerie. “Selling Teen Culture: How American Multimedia Conglomeration
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Williams, Colin H. “Linguistic Minorities: West European and Canadian
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Journal articles
Aftab, Kaleem. “Brown: The New Black! Bollywood in Britain”. Critical Quarterly,
44:3 (October 2002): 88-98.
Allen, Irwin Lewis. “Talking About Media Experiences: Everyday Life as Popular
Culture”. Journal of Popular Culture, 16:3 (1982): 106-115.
Altman, Rick. “A Semantic/Syntactic Approach to Film Genre”. Cinema Journal,
23:3 (Spring 1984): 6-18.
Ashby, Justine. “Postfeminism in the British Frame”. Cinema Journal, 44:2 (Winter
2005): 127-132.
Bennett, Andy. “Hip Hop am Main: The Localising of Rap Music and Hip Hop
Culture”. Media, Culture & Society, 21:1 (1999): 77-91.
Bennett, James. “Head On: Multicultural Representations of Australian Identity in
1990s National Cinema”. Studies in Australasian Cinema. 1:1 (2007): 61-78.
Berliner, Todd. “Hollywood Movie Dialogue and the “Real Realism” of John
Cassavetes”. Film Quarterly, 52:3 (Spring 1999): 2-16.
Brooker, Will. “Living on Dawson’s Creek: Teen Viewers, Cultural Convergence,
and Television overflow”. International Journal of Cultural Studies, 4:4 (2001): 456472.
292
Brutt-Griffler, Janina. ““Globalisation” and Applied Linguistics: Post-imperial
Questions of Identity and the construction of Applied Linguistics Discourse”.
International Journal of Applied Linguistics, 15:1 (2005): 113-118.
Buckingham, David, and Issy Harvey. “Imagining the Audience: Language,
Creativity and Communication in Youth Media Production”. Journal of Educational
Media, 26:3 (2001): 173-184.
Burr, Vivian, and Christine Jarvis. “Friends are the Family We Choose for Ourselves:
Young People and Families in Buffy the Vampire Slayer”. Young: Nordic Journal of
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Clift, Rebecca. “Irony in Conversation”. Language in Society 28 (1999): 523-553.
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Cormack, Mike. “Minority Languages, Nationalism and Broadcasting: The British
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Davis, Hugh H. “I Was a Teenage Classic: Literary Adaptation in Turn-of-theMillenium Teen Films”. The Journal of American Culture, 29:1 (March 2006): 52-60.
Doherty, Thomas. “Full Metal Genre: Stanley Kubrick’s Vietnam Combat Movie”.
Film Quarterly, 42:2 (Winter1988-1989): 24-30.
Doherty, Tom. “Clueless Kids”. Cineaste 21:4 (1995): 14-16.
Donnelly, K.J. “Tracking British Television: Pop Music as Stock Soundtrack to the
Small Screen”. Popular Music, 21:3 (2002): 331-343.
Drotner, Kirsten. “Differences and Diversity: Trends in Young Danes’ Media Uses”.
Media, Culture & Society, 22:2 (March 2000): 149-166.
Dubois, Sylvie, and Barbara Horvath. “When the Music Changes, You Change Too:
Gender and Language Change in Cajun English”. Language Variation and Change,
11 (2000): 287-313.
Durham, Meenakshi Gigi. “Constructing the “New Ethnicities”: Media, Sexuality,
and Diaspora Identities in the Lives of South Asian Immigrant Girls”. Critical Studies
in Media Communication, 21:2 (June 2004): 140-161.
Fluck, Winfried. “Fiction and Fictionality in Popular Culture: Some Observations on
the Aesthetics of Popular Culture”. Journal of Popular Culture, 21:4 (Spring 1988):
49-62.
Gavin, Jeff. “Television Teen Drama and HIV/AIDS: The Role of Genre in Audience
Understandings of Safe Sex”. Continuum: Journal of Media and Cultural Studies,
15:1 (2001): 77-96.
293
Giardina, Michael D. “‘Bending it Like Beckham’ in the Global Popular: Stylish
Hybridity, Performativity, and the Politics of Representation”. Journal of Sport &
Social Issues, 27:1 (February 2003): 65-82.
Gray, Jonathan. “New Audiences, New Textualities: Anti-fans and Non-fans”.
International Journal of Cultural Studies, 6:1 (2003): 64-81.
Jordan, Amy. “The Portrayal of Children on Prime-time Situation Comedies”. Journal
of Popular Culture, 29:3 (Winter 1995): 139-147.
Juluri, Vamsee. “Music Television and the Invention of Youth Culture in India”.
Television and New Media, 3:4 (November 2002): 367-386.
Lindemann, Stephanie. “Who Speaks ‘Broken English?’ US Undergraduates’
Perceptions of Non-native English”. International Journal of Applied Linguistics,
15:2 (2005): 187-212.
Llewellyn, Meic. “Popular Music in the Welsh Language and the Affirmation of
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Press Pack
Brick: Press Pack. Optimum Releasing (Received via e-mail 31/05/2006).
Film
10 Things I Hate About You (Gil Junger, 1999)
The Adventures of Barry McKenzie (Bruce Beresford, 1972)
The Adventures of Priscilla, Queen of the Desert (Stephan Elliott, 1994)
Age of Consent (Michael Powell, 1969)
American Graffiti (George Lucas, 1973)
American Pie (Paul Weitz, 1999)
Angels with Dirty Faces (Michael Curtiz, 1938)
Another Gay Movie (Todd Stephens, 2006)
Apocalypse Now (Francis Ford Coppola, 1979)
Babe (Chris Noonan, 1995)
Back to the Future (Robert Zemeckis, 1985)
The Basketball Diaries (Scott Kalvert, 1995)
Battle Royale (Kinji Fukasaku, 2000)
The Belles of St. Trinian’s (Frank Launder, 1954)
Bend it Like Beckham (Gurinder Chadha, 2002)
The Big Sleep (Howard Hawks, 1946)
Bill and Ted’s Bogus Journey (Peter Hewitt, 1991)
Bill and Ted’s Excellent Adventure (Stephen Herek, 1989)
298
Blackboard Jungle (Richard Brooks, 1955)
The Black Dahlia (Brian De Palma, 2006)
Black Narcissus (Michael Powell and Emeric Pressburger, 1947)
Boyz n the Hood (John Singleton, 1991)
The Breakfast Club (John Hughes, 1985)
Brick (Rian Johnson, 2005)
Bring it On (Peyton Reed, 2000)
Buffy the Vampire Slayer (Fran Rubel Kuzui, 1992)
But I’m a Cheerleader (Jamie Babbit, 1999)
California Man (Les Mayfield, 1992)
Candleshoe (Norman Tokar, 1977)
Can’t Hardly Wait (Harry Elfont and Deborah Kaplan, 1998)
Captain Courageous (Victor Fleming, 1937)
The Cars That Ate Paris (Peter Weir, 1974)
Chinatown (Roman Polanski, 1974)
A Clockwork Orange (Stanley Kubrick, 1971)
Clueless (Amy Heckerling, 1995)
Crime and Punishment in Suburbia (Rob Schmidt, 2000)
Crocodile Dundee (Peter Faiman, 1986)
Crocodile Dundee II (John Cornell, 1988)
Crocodile Dundee in Los Angeles (Simon Wincer, 2001)
Cruel Intentions (Roger Kumble, 1999)
Cry Baby (John Waters, 1990)
The Day After Tomorrow (Roland Emmerich, 2004)
Dazed and Confused (Richard Linklater, 1993)
The Deer Hunter (Michael Cimino, 1978)
Dick (Andrew Fleming, 1999)
Dirty Dancing (Emile Ardolino, 1987)
Disturbing Behaviour (David Nutter, 1998)
Donnie Darko (Richard Kelly, 2001)
East of Eden (Elia Kazan, 1955)
Edward Scissorhands (Tim Burton, 1990)
Election (Alexander Payne, 1999)
Empire Records (Allan Moyle, 1995)
E.T.: The Extra-Terrestrial (Steven Spielberg, 1982)
The Faculty (Robert Rodriguez, 1998)
Fast Times at Ridgemont High (Amy Heckerling, 1982)
Ferris Bueller’s Day Off (John Hughes, 1986)
Final Destination (James Wong, 2000)
Flirting (John Duigan, 1991)
Freaky Friday (Gary Nelson, 1976)
Freaky Friday (Mark Waters, 2003)
Full Metal Jacket (Stanley Kubrick, 1987)
Gadael Lenin (Endaf Emlyn, 1993)
Gallipoli (Peter Weir, 1981)
Get Over It (Tommy O’Haver, 2001)
Get Real (Simon Shore, 1998)
Ghost World (Terry Zwigoff, 2001)
Gidget (Paul Wendkos, 1959)
Go (Doug Liman, 1999)
299
Gossip (Davis Guggenheim, 2000)
Grease (Randal Kleiser, 1978)
Gregory’s Girl (Bill Forsyth, 1981)
The Grifters (Stephen Frears, 1990)
Grosse Pointe Blank (George Armitage, 1997)
The Guinea Pig (Roy Boulting, 1948)
Hackers (Iain Softley, 1995)
Halloween (John Carpenter, 1978)
Halloween H20: 20 Years Later (Steve Miner, 1998)
Hamlet (Franco Zeffirelli, 1990)
Harry Potter and the Goblet of Fire (Mike Newell, 2005)
Harry Potter and the Prisoner of Azkaban (Alfonso Cuarón, 2004)
Head On (Ana Kokkinos, 1998)
The Heartbreak Kid (Michael Jenkins, 1993)
Heathers (Michael Lehmann, 1989)
The Hole (Nick Hamm, 2001)
House of America (Marc Evans, 1997)
If.... (Lindsay Anderson, 1968)
Igby Goes Down (Burr Steers, 2002)
Independence Day (Roland Emmerich, 1996)
Invasion of the Body Snatchers (Philip Kaufman, 1978)
I was a Teenage Frankenstein (Herbert L. Strock, 1957)
I was a Teenage Werewolf (Gene Fowler Jr., 1957)
Josie and the Pussycats (Harry Elfont and Deborah Kaplan, 2001)
Juno (Jason Reitman, 2007)
Just Ask for Diamond (Stephen Bayly, 1988)
The Karate Kid (John G. Avildsen, 1984)
Kidulthood (Menhaj Huda, 2006)
Kids (Larry Clark, 1995)
Kim (Victor Saville, 1950)
LA Confidential (Curtis Hanson, 1997)
La Spagnola (Steve Jacobs, 2001)
The Last King of Scotland (Kevin Macdonald, 2006)
The Last of the High Kings (David Keating, 1996)
Little Fish (Rowan Woods, 2005)
The Long Goodbye (Robert Altman, 1973)
Looking for Alibrandi (Kate Woods, 2000)
Loser (Amy Heckerling, 2000)
The Lost Boys (Joel Schumacher, 1987)
Mad Max (George Miller, 1979)
The Maltese Falcon (John Huston, 1941)
The Man from Snowy River (George Miller, 1982)
The Man Who Wasn’t There (Joel Coen, 2001)
The Mask (Chuck Russell, 1994)
Mean Girls (Mark Waters, 2004)
Menace II Society (Albert Hughes and Allen Hughes, 1993)
Men in Black (Barry Sonnenfeld, 1997)
Miller’s Crossing (Joel Coen, 1990)
Muriel’s Wedding (P.J. Hogan, 1994)
My Beautiful Laundrette (Stephen Frears, 1985)
300
Mysterious Skin (Gregg Araki, 2004)
New Port South (Kyle Cooper, 2001)
O (Tim Blake Nelson, 2001)
On the Waterfront (Elia Kazan, 1954)
Picnic at Hanging Rock (Peter Weir, 1975)
Platoon (Oliver Stone, 1986)
Pleasantville (Gary Ross, 1998)
Please Sir! (Mark Stuart, 1971)
Pretty in Pink (Howard Deutch, 1986)
The Princess Diaries (Garry Marshall, 2001)
Pump Up the Volume (Allan Moyle, 1990)
Ran (Akira Kurosawa, 1985)
Rebel without a Cause (Nicholas Ray, 1955)
Rules of Attraction (Roger Avary, 2002)
Rumble Fish (Francis Ford Coppola, 1983)
Rushmore (Wes Anderson, 1998)
Samson and Delilah (Warwick Thornton, 2009)
Save the Last Dance (Thomas Carter, 2001)
Say Anything (Cameron Crowe, 1989)
Scream (Wes Craven, 1996)
Scream 2 (Wes Craven, 1997)
She’s All That (Robert Iscove, 1999)
She’s the Man (Andy Fickman, 2006)
Shine (Scott Hicks, 1996)
Sixteen Candles (John Hughes, 1984)
The Skulls (Rob Cohen, 2000)
Small Soldiers (Joe Dante, 1998)
Solomon and Gaenor (Paul Morrison, 1999)
Some Kind of Wonderful (Howard Deutch, 1987)
Some Like it Hot (Billy Wilder, 1959)
Spartacus (Stanley Kubrick, 1960)
Spiderman (Sam Raimi, 2002)
State of Play (Kevin Macdonald, 2009)
St. Elmo’s Fire (Joel Schumacher, 1985)
Stormbreaker (Geoffrey Sax, 2006)
Streetlife (Karl Francis, 1995)
Strictly Ballroom (Baz Luhrmann, 1992)
Superbad (Greg Mottola, 2007)
Swingers (Doug Liman, 1996)
Teaching Mrs. Tingle (Kevin Williamson, 1999)
Thirteen (Catherine Hardwicke, 2003)
Throne of Blood (Akira Kurosawa, 1957)
Top Gun (Tony Scott, 1986)
Touching the Void (Kevin Macdonald, 2003)
Twelve Angry Men (Sidney Lumet, 1957)
Twin Town (Kevin Allen, 1997)
Urban Legend (Jamie Blanks, 1998)
Varsity Blues (Brian Robbins, 1999)
The Virgin Suicides (Sofia Coppola, 1999)
Virtual Sexuality (Nick Hurran, 1999)
301
Volcano (Mick Jackson, 1997)
Walkabout (Nicolas Roeg, 1971)
Weird Science (John Hughes, 1985)
West Side Story (Jerome Robbins and Robert Wise, 1961)
What a Girl Wants (Dennie Gordon, 2003)
What’s Eating Gilbert Grape? (Lasse Hallström, 1993)
William Shakespeare’s Romeo + Juliet (Baz Luhrmann, 1996)
Young Sherlock Holmes (Barry Levinson, 1985)
Y Tu Mamá También (Alfonso Cuarón, 2001)
Television
21 Jump Street (Stephen J.Cannell and Patrick Hasburgh, 1987-1991)
90210 (Gabe Sachs, Jeff Judah, Darren Star, Rob Thomas, 2008- present)
Beverly Hills 90210 (Darren Star, 1990-2000)
The Buddha of Suburbia (Hanif Kureishi and Roger Michell, 1993)
Buffy the Vampire Slayer (Joss Whedon, 1997-2003)
Dark Season (Russell T. Davies and Colin Cant, 1991)
Dawson’s Creek (Kevin Williamson, 1998-2003)
Dead Like Me (Bryan Fuller, 2003-2004)
Def II (Janet Street Porter, 1988-1994)
Demons (Johnny Capps, Julian Murphy and Peter Tabern, 2009)
E.R. (Michael Crichton, 1994-2009)
Eurotrash (Peter Stuart1993-1999)
Grange Hill (Phil Redmond, 1978-2008)
Growing Pains (Neal Marlens, 1985-1992)
Happy Days (Garry Marshall, 1974-1984)
Harry Enfield’s Television Programme (Geoffrey Perkins, 1990-1992)
Heartbreak High (Ben Gannon, 1994-1999)
Little Britain (Matt Lucas and David Walliams, 2003-2006)
Misfits (Howard Overman, 2009- present)
My So-Called Life (Winnie Holzman, 1994)
Pam Fi, Duw? (John Owen, 1997-2002)
Popular (Gina Matthews and Ryan Murphy, 1999-2001)
Press Gang (Bill Moffat, 1989-1993)
Queer as Folk (Russell T. Davies, 1998-2000)
Rapido (Antoine de Caunes,1988-1992)
Ready, Steady, Go! (Elkan Allan, 1963-1966)
The Ren & Stimpy Show (John Kricfalusi, 1991-1998)
Roswell High/Roswell (Jason Katims, 1999-2002)
Rough Guide to Europe (Janet Street Porter, 1988-1989)
Rownd a Rownd (Susan Waters, 1995- present)
The Sarah Jane Adventures (Russell T. Davies, 2007- present)
Saved By the Bell (Sam Bobrick, 1989-1993)
Smallville (Alfred Gough and Miles Millar, 2001- 201l)
Skins (Jamie Brittain and Bryan Elsley, 2007- present)
Top of the Pops (Johnnie Stewart, 1964-2006)
Veronica Mars (Rob Thomas, 2004-2007)
The Word (Charlie Parsons, 1990-1995)
302
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