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  1. Keith M. Harris (2006). Boys, Boyz, Bois: An Ethics of Black Masculinity in Film and Popular Media. Routledge.
    Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gansta rap and hip-hop and black star persona: texts ranging from Blaxploitation and New Black (...)
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  2. Thomas S. Hibbs (2011). Shows About Nothing: Nihilism in Popular Culture. Baylor University Press.
    Nihilism, American style -- The quest for evil -- The negative zone : suburban familial malaise in American beauty, Revolutionary road, and Mad men -- Normal nihilism as comic : Seinfeld, Trainspotting, and Pulp fiction -- Romanticism and nihilism -- Defense against the dark arts : from Se7en to the Dark knight and Harry Potter -- God got involved : sacred quests and overcoming nihilism -- Feels like the movies.
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  3. Judith Keilbach (2007). Witnessing, Credibility, and Female Perpetrators : Eyewitnesses in Television Documentaries About National Socialism. In Vera Apfelthaler & Julia Köhne (eds.), Gendered Memories: Transgressions in German and Israeli Film and Theatre. Turia + Kant.
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  4. Amy Kind (2010). The Vampire with a Soul: Angel and the Quest for Identity. In Thomas Richard Fahy (ed.), The Philosophy of Horror. University Press of Kentucky. 86.
  5. William J. Mccarthy (2010). Qvo Vadis (R.) Scodel, (A.) Bettenworth Whither Quo Vadis? Sienkiewicz's Novel in Film and Television. Pp. X + 292, Ills. Malden, MA and Oxford: Wiley–Blackwell, 2009. Cased, £50, €67.50. ISBN: 978-1-4051-8385-. [REVIEW] The Classical Review 60 (02):591-593.
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  6. Hamid Naficy (ed.) (1999). Home, Exile, Homeland: Film, Media, and the Politics of Place. Routledge.
    Global changes in capital, power, technology and the media have caused massive shifts in how we define home and community, leaving redrawn territories and globalized contexts. This interdisciplinary study of the media brings together essays by accomplished critics to discuss the way film, television, music, and computer and electronic media are shaping identities and cultures in an increasingly globalized world. Ranging from intensely personal to highly theoretical, the contributors explore our complex negotiation of "home" and homeland" in a postmodern world. (...)
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  7. Ted Nannicelli (2012). Ontology, Intentionality, and Television Aesthetics. Screen 53 (2):164-179.
    This essay suggests that television aesthetics, as a research project, would benefit from attending to relevant theoretical debates in philosophical aesthetics. One reason for this is that assumptions about the ontology of television artworks are already embedded in our critical practices. We ought to be more aware of what these assumptions are and state them more explicitly. Moreover, I argue, for debates in television aesthetics to get off the ground, we need to ensure we bring the largely the same ontological (...)
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  8. Jessica O'Hara (2010). Making Their Presence Known: Tv's Ghost-Hunter Phenomenon in a "Post-" World. In Thomas Richard Fahy (ed.), The Philosophy of Horror. University Press of Kentucky. 72.
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  9. Brendan Shea (2013). What Makes Jeopardy! A Good Game? In Shaun P. Young (ed.), Jeopardy! and Philosophy: What is Knowledge in the Form of a Question? Open Court. 27-39.
    Competitive quiz shows, and Jeopardy! in particular, occupy a unique place among TV game shows. The most successful Jeopardy! contestants—Ken Jennings, Brad Rutter, Frank Sparenberg, and so on—have appeared on late night talk shows, been given book contracts, and been interviewed by major newspapers. This sort of treatment is substantially different than, say, the treatment that the winners of The Price is Right or Deal or No Deal are afforded. The distinctive status of quiz shows is evidenced in other ways (...)
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  10. Meghan Sutherland (2011). On the Grounds of Television. In John David Rhodes & Elena Gorfinkel (eds.), Taking Place: Location and the Moving Image. University of Minnesota Press.
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