Bibliography

Literature:

Beil, B., Engell, L., Schröter, J., Schwaab, H., & Wentz, D. (2012). Die Serie – Einleitung in den Schwerpunkt. Zeitschrift für Medienwissenschaft, 2, 10-16.

Bolter, J.D., & Grusin, R. (2000). Remediation – Understanding New Media. US: The MIT Press.

Brian, M. (2015, September 28). Netflix actually made a Netflix and Chill button, and you can too. Engadget. Retrieved from: http://www.engadget.com/2015/09/28/netflix-and-chill-button/ [2016, March 31].

Carr, D. (2013, July 21). TV Foresees Its Future. Netflix Is There. The New York Times. Retrievef from: http://www.nytimes.com/2013/07/22/business/media/tv-foresees-its-future-netflix-is-there.html?_r=0 [2016, June13].

Cox, N.B., & Proffitt, J.M. (2012). The Housewives’ Guide to Better Living: Promoting Consumption on Bravo’s The Real Housewives. Communication, Culture & Critique, 5(2), 295-312.

Culler, J. (2004). Narrative Theory. London Routledge.

Evans, E. (2011). Transmedia Television – Audiences, New Media and Daily Life. London: Routledge.

Fludernik, Monika (2009). An Introduction to Narratology. London: Routledge.

Gershon, I., & Bell, J.A. (2013). Introduction: The Newness of New Media. Culture, Theory and Critique, 54(3), 259-264.

Gillespie, T. (2006). Engineering a principle: ‘End to End’ in the Design of the Internet. Social Studies of Science, 36(3), 427-457.

Gillespie, T. (2010). The politics of ‘platforms’. New Media & Society, 12(3), 347-364.

Gillespie, T. (2014) The Relevance of Algorithms. In Gillespie, T., Boczkowski, P.  J., & K. A. Foot (Eds.), Media Technologies: Essays of Communication, Materiality, and Society (167-194). US: The MIT Press.

Gitelman, L. (2006). Always Already New – Media, History, and the Data of Culture. UK/US: The MIT Press.

GLAAD (2015). Where We Are Now On TV. Retrieved from: http://www.glaad.org/whereweareontv15 [2016, June 13].

Gunning, T. (1986). The cinema of attraction. Wide Angle3(4), 1986.

Hallinan, B., & Striphas, T. (2016). Recommended for you: The Netflix Prize and the production of algorithmic culture. New media & society, 18(1), 117-137.

Hayden, E. (2015, October 8). New York Times Hires James Poniewozik as Chief TV Critic. The Hollywood Reporter. Retrieved from: http://www.hollywoodreporter.com/news/new-york-times-hires-james-814215 [2016, May 4].

Helft, M. (2007, January 7). Netflix to Deliver Movies to the PC. The New York Times. Retrieved from: http://www.nytimes.com/2007/01/16/technology/16netflix.html?pagewanted&_r=0 [2016, March 29].

Jenkins, H. (2002). Hop on Pop: The Politics and Pleasures of Popular Culture. Durham: Duke University Press.

Jenkins, H. (2004). The cultural logic of media convergence. International Journal of Cultural Studies, 7(1), 33-43.

Jenkins, H., Ford, S. & Green, J. (2013). Spreadable Media. Creating Value and Meaning in Networked Culture. New York & London: New York University Press, pp. 1-46.

Kilson, Kashann (2016, February 4). How Netflix Shows Are Leading Hollywood’s Diversity Charge. Inverse. Retrieved from: https://www.inverse.com/article/11044-how-netflix-shows-are-leading-hollywood-s-diversity-charge [2016, May 24].

Kindt, T., & Müller, H. (2003). What Is Narratology? Question and Answers Regarding the Status of a Theory. Berlin: Walter de Gruyter.

Koesch, S. (2016, March 3). House of Cards Staffel 4: Heute nicht auf Netflix sondern Sky (ab jetzt). Engadget.de. Retrieved from: http://de.engadget.com/2016/03/04/house-of-cards-staffel-4-heute-nicht-auf-netflix-sondern-sky/ [2016, May 8].

Lalwani, M. (2015, September 9). Netflix knows the episodes that make you binge-watch the series. Engadget. Retrieved from: http://www.engadget.com/2015/09/23/netflix-knows-the-episodes-that-make-you-binge-watch/ [2016, March 31].

Lima, C. A., Moreira, D. G., & Calazans, J. C. (2015). Netflix and the maintenance of television genres out of the flow. Matriz, 9(2), 237-255.

Livingstone, S. (2004). Media Literacy and the Challenge of New Information and Communication Technology. The Communication Review, 7(1), 3-14.

Livingstone, S. (2004a). The Challenge of Changing Audiences. Or, what is the Audience Researcher to do in the Age of the Internet? European Journal of Communication, 19(1), 75-86.

Martinez, F., & Reyes, J. (2014, June 11). Yes, the Netflix-Verizon Feud Is About Net Neutrality. Fusion. Retrieved from: http://fusion.net/story/5924/yes-the-netflix-verizon-feud-is-about-net-neutrality/ [2016, March 31].

Meinhof, U.H., & Smith, J. (2012). The media and their audience: intertextuality as paradigm. In Meinhof, U.H., & Smith, J. (Eds.). Intertextuality and the media. From genre to everyday life. Manchester: Manchester University Press.

Meinhof, U.H., & Smith, J. (2012a). Spitting Image: TV Genre and intertextuality. In Meinhof, U.H., & Smith, J. (Eds.). Intertextuality and the media. From genre to everyday life. Manchester: Manchester University Press.

Meisel, J.B., & Sullivan, T.S. (2002). The impact of the Internet on the law and economics of the music industry. Info, 4(2), 16-22.

Miller, L. S. (2015, June 6). ‘Sense8’ Co-Creator J. Michal Straczynski on How Netflix’s Show Changed Him, and Could Change Television. Indiewire. Retrieved from: http://www.indiewire.com/article/sense8-co-creator-j-michael-straczynski-interview-netflix-season-2-20150605 [2016, May 13].

Mohapatra, S. & Lokhande, L. (2014). Cloud Computing and Social Commerce. In Mohapatra, S. & Lokhande, L. (Eds.). Cloud Computing and ROI. Switzerland: Springer Publishing.

Newman, N. (2015, November 24). John Toll Talks Adjusting for the Small Screen, ‘Sense8’, the Wachowskis & More. The Film Stage. Retrieved from: https://thefilmstage.com/features/john-toll-talks-adjusting-for-the-small-screen-sense8-the-wachowskis-more/ [2016, May 11].

O’Neill, L. (2015, November 6). Somebody tagged a sign at Netflix headquarters with ‘and chill’. CBC News. Retrieved from: http://www.cbc.ca/news/trending/netflix-headquarters-sign-gets-tagged-with-and-chill-1.3308180 [2016, March 31].

Orley, E. (2015, May 7). Everything You Need To Know About The Eight Main Characters In “Sense8”. Buzzfeed. Retrieved from: https://www.buzzfeed.com/emilyorley/everything-you-need-to-know-about-the-eight-main-characters?utm_term=.coYnnQN9W#.voj99plew [2016, June 13].

Poniewozik, J. (2015, December 16). Streaming TV Isn’t Just a New Way to Watch. It’s a New Genre. The New York Times. Retrieved from: http://www.nytimes.com/2015/12/20/arts/television/streaming-tv-isnt-just-a-new-way-to-watch-its-a-new-genre.html?_r=0 [2016, March 31].

Rackl, L. (2015, June 23). Where in the world: Pinning down the 108 scenes in ‘Sense8’ intro. TV Trippin. Retrieved from: http://tvtrippin.com/travel/where-in-the-world-pinning-down-sense8-openers-108-scenes/ [2016, May 12].

Richardson, B. (2000). Linearity and Its Discontents: Rethinking Narrative Form and Ideological Valence. College English, 62(6), 685-695.

Ricket, O. (2015, September 29). How ‘Netflix and chill’ became code for casual sex. The Guardian. Retrieved from: http://www.theguardian.com/media/shortcuts/2015/sep/29/how-netflix-and-chill-became-code-for-casual-sex [2016, March 31].

Roose, K. (2015, August 28). ‘Netflix and chill’: the complete history of a viral sex catchphrase. Fusion. Retrieved from: http://fusion.net/story/190020/netflix-and-chill/ [2016, March 28].

Rose, L. (2013, May 22). Netflix’s Ted Sarandos Reveals His ‘Phase 2’ for Hollywood. The Hollywood Reporter. Retrieved from: http://www.hollywoodreporter.com/news/netflixs-ted-sarandos-reveals-his-526323 [2016, May 13].

Ryan, M. (2004). Introduction. In Marie-Laure Ryan (ed.), Narrative across Media. Lincoln: University of Nebraska Press.

Schmidt, J.N. (2009). Narration in Film. In Hühn, P., Pier, J., Schmid, W., & Schönert, J. (Eds.) Handbook of Narratology. Berlin: Walter de Gruyter.

Snarker, D. (2016, March 21). Bury Your Gays: Why ‘The 100’, ‘Walking Dead’ Deaths Are Problematic (Guest Column). The Hollywood Reporter. Retrieved from: http://www.hollywoodreporter.com/live-feed/bury-your-gays-why-100-877176 [2016, June 9].

Spangler, T. (2015, September 23). Netflix Data Reveals Exactly When TV Shows Hook Viewers — And It’s Not the Pilot. Variety. Retrieved from: https://variety.com/2015/digital/news/netflix-tv-show-data-viewer-episode-study-1201600746/ [2016, June 9].

Thompson, K. (2003). Storytelling in Film and Television. Cambridge: Harvard University Press.

Thorburn, D., Jenkins, H., & Seawell, B. (2003). Rethinking media change: The aesthetics of transition (Media in transition; Media in transition). Cambridge, Mass.: MIT Press.

Verstraten, Peter (2009). Film Narratology. Toronto: University of Toronto Press.

Warner K. J. (2015). The Politics of Colorblind TV Casting. London: Routledge.

Wood, H. (2007). Television is happening. Methodological considerations for capturing digital television reception. European Journal of Cultural Studies, 10(4), 485-506.

Wyatt, S. (2003). Non-Users Also Matter: The Construction of Users and Non-Users of the Internet. In Nelly Oudshoorn & Trevor Pinch (eds.), How Users Matter. Cambridge, MA: MIT Press, pp. 67-80.

Wyatt, S. (2004) ‘Danger! Metaphors at Work in Economics, Geophysiology, and the Internet’, Science, Technology, & Human Values, 29(2), 242–61.

Sense8:

Wachowski, L., Wachowski, L., McTeigue, R., Tykwer, T., & Glass, D. (Directors). (2015). Sense8 [Netflix series]. Los Gatos, CA: Netflix.

Image Reference:

All gifs are taken from giphy.com

Glossary:

Fröhlich, V. (2015). Der Cliffhanger und die serielle Narration: Analyse einer transmedialen Erzähltechnik (Edition Medienwissenschaft, 18). Bielefeld: transcript.

Grace, M. (2015). The Stages of Committing to a New Netflix Series. Her Campus At Molloy. Retrieved from: http://www.hercampus.com/school/molloy/stages-committing-new-netflix-series [2016, June 13].

Lynch, D. (2014). TV’s 10 Worst Time Slots: Can Any Show Survive? Tick tock, Gracepoint. Adweek. Retrieved from: http://www.adweek.com/news-gallery/television/tv-s-10-worst-time-slots-160896 [2016, June 13].

Mackenzie, (2012, April 22). TV Hiatus explained: Why your favorite shows take breaks during the season. zap2it. Retrieved from: http://zap2it.com/2012/04/tv-hiatus-explained-why-your-favorite-shows-take-breaks-during-the-season/ [2016, June 13].

Ricket, O. (2015, September 29). How ‘Netflix and chill’ became code for casual sex. The Guardian. Retrieved from: http://www.theguardian.com/media/shortcuts/2015/sep/29/how-netflix-and-chill-became-code-for-casual-sex [2016, March 31].

If not references otherwise, taken from Urban Dictionary.

Advertisements