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Sandars, Diana. “It’s More Than Just Another Silly Love Song: Ally McBeal Brings theHollywood Musical to Television.” Searching the Soul of Ally McBeal: Critical Essays.Ed. Elwood Watson. Jefferson, North Carolina and London: McFarland & Company,2006. 198-218.

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Butler, Judith. “Critically Queer.” The Routledge Queer Studies Reader. Eds. Donald E. Hall, etal. London and New York: Routledge, 2013. 18-31.

Genz, Stéphanie, and Benjamin A. Brabon. “Postfeminist Contexts.” Postfeminism: CulturalTexts and Theories. Edinburgh: Edinburgh University Press, 2009. 1-50.

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Sullivan, Nikki. “Queering Popular Culture.” A Critical Introduction to Queer Theory. NewYork: New York University Press, 2003. 189-206.

Faludi, Susan. “Blame It on Feminism.” Backlask: The Undeclared War Against AmericanWomen. New York: Three Rivers Press, 1991. 1-15.

Faludi, Susan. “Fatal and Fetal Visions: The Backlash in the Movies.” Backlash: TheUndeclared War Against American Women. New York: Three Rivers Press, 1991.125-152.

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Stansell, Christine. “Democratic Homemaking and Its Discontents: Feminism in the Lost Years.”The Feminist Promise: 1792 to the Present. New York: The Modern Library,

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Stansell, Christine. “The Revolt of the Daughters.” The Feminist Promise: 1792 to the Present.New York: The Modern Library, 2011. 219-272.

Mainardi, Pat. “The Politics of Housework.” The Essential Feminist Reader. Ed. Estelle B.Freedman. New York: The Modern Library, 2007.

Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. 2nd ed. New York:Routledge, 1990.

Friedan, Betty. The Feminine Mystique. New York: Penguin, 1963. 5-59.

Friedan, Betty. “Television and the Feminine Mystique.” It Changed My Life: Writings on theWomen’s Movement. New York: Random House, 1976.

Menand, Louis. “Books as Bombs: Why the Women’s Movement Needed The FeminineMystique.” The New Yorker 24 Jan. 2011.

Sontag, Susan. On Photography. New York: Penguin, 1971.

Strinati, Dominic. An Introduction to Theories of Popular Culture. 2nd ed. London and NewYork: Routledge, 2004.

Erll, Astrid. Memory in Culture. Trans. Sara B. Young. Hamsphire, England: PalgraveMacmillan, 2011.

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Cook, Pam. “Rethinking Nostalgia: In the Mood for Love and Far From Heaven.” Screening thePast: Memory and Nostalgia in Cinema. London and New York: Routledge,

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Caruth, Cathy. Unclaimed Experience: Trauma, Narrative, and History. Baltimore, Maryland:The Johns Hopkins University Press, 1996.

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Caruth, Cathy, ed. Trauma: Explorations in Memory. Baltimore, Maryland: The Johns HopkinsUniversity Press. 1995.

¶ “Trauma and Experience.” 3-12.¶ “Recapturing the Past.” 151-157.

Cullen, Jim. “Small Screens: Popular Culture in the Age of Television and Beyond, 1945-2000.”The Art of Democracy: A Concise History of Popular Culture in the United

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Jenkins, Henry. “Democratizing Television?: The Politics of Participation.” ConvergenceCulture: Where Old and New Media Collide. New York and London: New Yor

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Jenkins, Henry. “Star Trek Rerun, Reread, Rewritten: Fan Writing and Textual Poaching.” Critical Studies in Mass Communication 5.2 (1988): 85-107.

Alexander, Victoria D. Sociology of the Arts: Exploring Fine and Popular Forms. Malden,Massachusetts: Blackwell, 2003.

¶ “What is Art?” 1-18.¶ “Businesses and Industries.” 89-107.

¶ “Globalization.” 157-172.¶ “Reception Approaches.” 181-198.

¶ “The Art Itself.” 251-272.

McQuail, Denis. McQuail’s Mass Communication Theory. 6th ed. Thousand Oaks, California:Sage, 2010.

Lacey, Nick. Image and Representation: Key Concepts in Media Studies. 2nd ed. Hampshire,England: Palgrave Macmillan, 2009.

Chapman, Jane. Comparative Media History: An Introduction: 1789 to the Present. Cambridge,England: Polity Press, 2005.

Hall, Stuart. “The Work of Representation.” Representation: Cultural Representations and Signifying Practices. Ed. Stuart Hall. London: Sage, 1997. 13-64.

Nixon, Sean. “Exhibiting Masculinity.” Representation: Cultural Representations andSignifying Practices. Ed. Stuart Hall. London: Sage, 1997. 291-330.

Gledhill, Christine. “Gender and Genre: The Case of the Soap Opera.” Representation: CulturalRepresentations and Signifying Practices. Ed. Stuart Hall. London, Sage: 1997.

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Ariano, Tara, and Sara D. Bunting. Television Without Pity: 752 Things We Love to Hate (andHate to Love about TV). Philadelphia, Pennsylvania: Quirk Books, 2006.

Miller, Toby. Television Studies: The Basics. London and New York: Routledge, 2010.

Williams, Raymond. Television: Technology and Cultural Form. 1974. 2nd ed. London and NewYork: Routledge, 1990.

Newcomb, Horace, and Paul M. Hirsch. “Television as a Cultural Forum.” Television: TheCritical View. 6th ed. Ed. Horace Newcomb. Oxford: Oxford University Press,

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Littlefield, Warren. Top of the Rock: Inside the Rise and Fall of Must See TV. New York: AnchorBooks, 2013.

Sepinwall, Alan. The Revolution Was Televised: The Cops, Crooks, Slingers, and Slayers WhoChanged TV Drama Forever. New York: Touchstone, 2012.

Cantor, Muriel G., and Joel M. Cantor. Prime-Time Television: Content and Control. 2nd ed.Newbury Park, California: Sage, 1992.

Fiske, John. Television Culture. 1987. 2nd ed. London and New York: Routledge, 2011.

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Kaplan, Ann E. “A Post-Modern Play of the Signifier? Advertising, Pastiche and Schizophreniain Music Television.” Television in Transition: Papers from the First International

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Kaplan, Ann E. “Feminist Criticism and Television.” Channels of Discourse, Reassembled:Television and Contemporary Criticism. 2nd ed. Ed. Robert C. Allen. Chapel Hill, North Carolina: The University of North Carolina Press, 1992. 247-283.

Deming, Caren J. “For Television-Centred Television Criticism: Lessons from Feminism.”Television and Women’s Culture: The Politics of the Popular. Ed. Mary Ellen

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Ang, Ien. “The Battle Between Television and its Audiences: The Politics of WatchingTelevision.” Television in Transition: Papers from the First International

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Mayer, Martin. About Television. New York: Harper & Row, 1972.

Wedell, George, and Bryan Luckham. Television at the Crossroads. Hampshire, England:Palgrave, 2001.

O’Donnell, Victoria. Television Criticism. Thousand Oaks, California: Sage, 2007.

Gillan, Jennifer. Television and New Media: Must-Click TV. New York: Routledge, 2011. 1-25.

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Newman, Michael Z., and Elana Levine. Legitimating Television: Media Convergence andCultural Status. New York and London: Routledge, 2012.

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¶ “Not a Soap Opera.” 80-99.¶ “Television Scholarship and/as Legitimation.”

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Gray, Jonathan, and Amanda D. Lotz. Television Studies. Malden, Massachusetts: Polity Press,2012.

Lotz. Amanda D. “Female-Centered Dramas after the Network Era.” Redesigning Women afterthe Network Era. Urbana and Chicago: Illinois University Press, 2006. 1-36.

Lotz, Amanda D. “Postfeminist Television Criticism: Rehabilitating Critical Terms and Identifying Postfeminist Attributes.” Feminist Media Studies 1.1 (2001): 105-121.

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D’Acci, Julie. “Television, Representation and Gender.” The Television Studies Reader. Eds.Robert C. Allen, and Annette Hill. London and New York: Routledge, 2004. 373-

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Tasker, Yvonne, and Diane Negra. “Feminist Politics and Postfeminist Culture.” InterrogatingPostfeminism: Gender and the Politics of Popular Culture. Durham, North

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Nash, Jennifer C. “Re-Thinking Intersectionality.” Feminist Review 89 (2008): 1-15.

McCall, Leslie. “The Complexity of Intersectionality.” Signs 30.3 (2005): 1771-1800.

Papathanassopoulos, Stylianos. European Television in the Digital Age: Issues, Dynamics andRealities. Cambridge, England: Polity Press, 2002.

Curtin, Michael, and Jane Shattuc. The American Television Industry. London: British FilmInstitute, 2009.

Spigel, Lynn. “Introduction.” Television After TV: Essays on a Medium in Transition. Durham,North Carolina: Duke University Press, 2004. 1-34.

Spigel, Lynn. “Entertainment Wars: Television Culture after 9/11.” American Quarterly 56.2(2004): 235-270.

Sconce, Jeffrey. “What If?: Charting Television’s New Textual Boundaries.” Television AfterTV: Essays on a Medium in Transition. Durham, North Carolina: Duke University

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Dahlgren, Peter. “Key Trends in European Television.” Television Across Europe: AComparative Perspective. Eds. Jan Wieten, Graham Murdock, and Peter

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Edgerton, Gary R. The Columbia History of American Television. New York: ColumbiaUniversity Press, 2007.

¶ “A Great Awakening: Prime Time for Network Television – 1964-1975.” 237-284. ¶ “The Sky’s the Limit: Satellites, Cable, and the Reinvention of Television – 1976- 1991.” 285-322.

¶ “The Business of America is Show Business: U.S. TV in Global Context – 1992- Present.” 349-389

¶ “Tune in Locally, Watch Globally: The Future of Television in the Age of the Internet.” 410-425.

Traube, Elizabeth G. “‘The Popular’ in American Popular Culture.” Annual ReviewAnthropology 25 (1996): 127-151.

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Nussbaum, Emily. “Shedding Her Skin: The Good Wife’s Thrilling Transformation.” The NewYorker 13 Oct. 2014. Web. 20 Oct. 2014.

Bercovici, Jeff. “Can Twitter Save TV? (And Can TV Save Twitter?)” Forbes 10 July 2013.Web. 20 Oct. 2014.

Watercutter, Angela. “Twitter TV Ratings Are Here, But No One Knows What They ReallyMean.” Wired 15 Oct. 2013. Web. 20 Oct. 2014.

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Dillman, Joanne Clarke. “Twelve Characters in Search of a Televisual Text: MagnoliaMasquerading as Soap Opera.” Journal of Popular Film & Television 33.3

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Spangler, Lynn C. “Class on Television: Stuck in The Middle.” The Journal of Popular Culture47.3 (2014): 470-488.

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Akner-Brodesser, Taffy. “Can Jill Soloway Do Justice to the Trans Movement?” The New YorkTimes 29 Aug. 2014. Web. 20 Oct. 2014.

Larson, Sarah. “The Emmys 2014: Television Is Still in Its Awkward Stage.” The New Yorker 26Aug. 2014. Web. 20 Oct. 2014.

Beck, Julie, Emma Green, and Olga Khazan. “Outlander: False Feminism?” The Atlantic 16Aug. 2014. Web. 20 Oct. 2014.

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