Online Bibliographic References on

(Digital) TV Series

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Allrath, Gaby & Marion Gymnich (eds.) 2005. Narrative Strategies in Television Series. New York: Palgrave Macmillan.

Arias-Badia, Blanca & Jenny Brumme. 2014. Subtitling stereotyped discourse in the crime TV series Dexter (2006) and Castle (2009). The Journal of Specialised Translation 22, pp. 110-131.

Arias-Badia, Blanca. 2015. Towards a Methodology for the Analysis of Neutralisation in Spanish Subtitling. In Corpas, Gloria; Seghiri, Miriam; Gutiérrez, Rut; Urbano, Miriam (eds.) New Horizons in Translation and Interpreting Studies. Proceedings of the 7th AIETI Conference. Geneva: Tradulex, pp. 513-526.

Arias-Badia, Blanca. 2020. Subtitling Television Series: A Corpus-Driven Study of Police Procedurals. Oxford: Peter Lang.


Barlow, David M. and Mills, Brett (2009) Reading Media Theory: Thinkers, Approaches, Concepts. Pearson Education, Harlow.

Bednarek, Monika. 2008. ‘What the hell is wrong with you?’ A corpus perspective on evaluation and emotion in contemporary American pop culture. In: Ahmar Mahboob & Naomi Knight (eds). Questioning Linguistics. Newcastle: Cambridge Scholars Press, 95-126.

Bednarek, Monika. 2011. Expressivity and televisual characterization. Language and Literature, 20(1), 3-21.

Bednarek, Monika. 2011. The language of fictional television: a case study of the ‘dramedy’ Gilmore Girls. English Text Construction 4(1), 54-84.

Bednarek, Monika. 2011. The stability of the televisual character: A corpus stylistic case study. In: Roberta Piazza, Monika Bednarek & Fabio Rossi (eds). Telecinematic Discourse: Approaches to the Language of Films and Television Series. Amsterdam/Philadelphia: John Benjamins, 185-204.

Bednarek, Monika. 2012. ‘Get us the hell out of here’: Key words and trigrams in fictional television series. International Journal of Corpus Linguistics 17(1): 35-63.

Bednarek, Monika. 2014. The television title sequence: A visual analysis of Flight of the Conchords. In: Emilia Djonov & Sumin Zhao (eds). Critical Multimodal Studies of Popular Culture. London/New York: Routledge, 36-54.

Bednarek, Monika. 2014. ‘An astonishing season of destiny!’ Evaluation in blurbs used for advertising TV series. In: Geoff Thompson and Laura Alba-Juez (eds). Evaluation in Context. Amsterdam/Philadelphia: John Benjamins, 197-220.

Bednarek, Monika. 2015. ‘Wicked’ women in contemporary pop culture: ‘Bad’ language and gender in Weeds, Nurse Jackie and Saving Grace. Text & Talk 35(4): 431-451.

Bednarek, Monika. 2017. (Re-)circulating popular television: Audience engagement and corporate practices. In: Janus Mortensen, Nikolas Coupland & Jacob Thøgersen (eds). Style, Mediation and Change: Sociolinguistic Perspectives on Talking Media. Oxford: Oxford University Press, 115-140.

Bednarek, Monika. 2017. The role of dialogue in fiction. In: Miriam Locher & Andreas H. Jucker (eds). Pragmatics of Fiction. Berlin: De Gruyter, 129-158.

Bednarek, Monika. 2017. Fandom. In Christian R. Hoffmann and Wolfram Bublitz (eds). Pragmatics of Social Media. Berlin/New York: De Gruyter, 545-572.

Bednarek, Monika. 2019. The multifunctionality of swear/taboo words in television series. In: J. Lachlan Mackenzie & Laura Alba-Juez (eds). Emotion in Discourse. Amsterdam/Philadelphia: John Benjamins, 29-54.

Bednarek, Monika. 2019. ‘Don’t say crap. Don’t use swear words.’  Negotiating the use of swear/taboo words in the narrative mass media. Discourse, Context & Media, 29: 1-14.

Bubel, Claudia. 2006. The Linguistic Construction of Character Relations in TV Drama: Doing Friendship in Sex and the City. Doctoral Dissertation. Saarbrücken: Universität des Saarlandes.

Bubel, Claudia. 2011. Relationship impression formation: How viewers know people on the screen are friends. In: Roberta Piazza, Monika Bednarek & Fabio Rossi (eds). Telecinematic Discourse: Approaches to the Language of Films and Television Series. Amsterdam/Philadelphia: John Benjamins, 225-247.



Cassidy, Angela and Mills, Brett. 2013. ‘Fox Tots Attack Shock: Urban Foxes, Mass Media and Boundary Breaching’, Environmental Communication, 6 (4) 494-511.

Chierichetti, Luisa. 2017. “‘El criado pesado’: La caracterización en la serie Águila Roja”. Quaderns de Filologia: Estudis Lingüístics, 22: 57-78.

Corner, John & Kay Richardson. 2008. Political culture and television fiction: The Amazing Mrs Pritchard. European Journal of Cultural Studies 11(4):387-403



Dose, Stephanie. 2013. Flipping the script: A Corpus of American Television Series (CATS) for corpus-based language learning and teaching. In: Magnus Huber & Joybrato Mukherjee (eds). Corpus Linguistics and Variation in English: Focus on Non-Native Englishes (Studies in Variation, Contacts and Change in English 13). Helsinki: VARIENG.



Fedele, M., Masanet, M.-J., & Ventura, R. (2019). Negotiating Love and Gender Stereotypes among Young People: Prevalence of “Amor Ludens” and Television Preferences Rooted in Hegemonic Masculinity. Masculinities & Social Change, 8(1), 1–43.

Feixa, C., Masanet, M.-J., & Sánchez-García, J. (2019). The Wire: más allá de policías y bandas. In L. Pásara (Ed.), La justicia en la pantalla: un reflejo de jueces y tribunales en cine y TV (pp. 255–286). Lima, Perú: Pontificia Universidad Católica del Perú.

Friedman, Sam, Mills, Brett and Phillips, Tom. 2011. ‘Comedy and Audiences’, special edition of Participations: Journal of Audience and Reception Studies, 8 (2).

Friedman, Sam, Mills, Brett and Phillips, Tom. 2011. ‘Foregrounding the Comedy Audience’, Participations: Journal of Audience and Reception Studies, 8 (2),


García Martínez Alberto N “Zombie Blues. 2017. The Depressing Rise of the Living Dead in Contemporary Television”. Cristina Artenie and Ashley Szanter (eds.), Monsters and Monstrosity in 21st-Century Film and Television. Universitas Press, pp. 178-198.

García Martínez Alberto N & Pablo Echart. 2015. “<<Round the Decay of That Colossal Wreck»: Pride and Guilt in Breaking Bad”. In Blevins, Jacob and Dafydd Wood (eds.) The Methods of Breaking Bad: Essays on Narrative, Character, and Ethics. McFarland Publishers: North Carolina, 79-83.

García Martínez Alberto N. (ed.) 2016. Emotions in Contemporary TV Series, Basingstoke: Palgrave McMillan.

García Martínez Alberto N. 2016. “«Todas las piezas importan»: La complejidad narrativa en The Wire” [“«All the Pieces Matter»: Narrative Complexity in The Wire], in The Wire University. Ficción y sociedad desde las esquinas, Javier Cigüela y Jorge Martínez Lucena (eds.), Editorial UOC, 2016, pp. 41-50.

García Martínez Alberto N. 2016. “A Storytelling Machine: The Complexity and Revolution of Narrative Television”. Between [Online], 6.11, n. pp.

García Martínez Alberto N. 2016. “Moral Emotions, Antiheroes and the Limits of Allegiance”+. García, Alberto N. (ed.) Emotions in Contemporary TV Series. Basingstoke Palgrave McMillan, 52-70.

García Martínez Alberto N. 2016. “Prozac para zombies. La sentimentalización contemporánea del muerto viviente en la televisión”. Brumal. Revista de investigación sobre lo Fantástico 4,(1) 13-34.

García Martínez Alberto N. 2017. “El paisaje en el policíaco de la tercera edad dorada de la televisión”. In Ficciones cercanas. Televisión, narración y espíritu de los tiempos, Giancarlo Cappello (ed.). Universidad de Lima-Fondo Editorial, Lima, 2017, pp. 257-271.

García Martínez Alberto N. 2017.“The Asphalt Jungle. The Urban Landscape in The Shield and The Wire”. Series. International Journal of TV Serial Narratives, vol. 3, nº 1, Spring 2017, pp. 51-60.

García Martínez Alberto N. 2018. “The Rise of ‘Bright Noir’. Redemption and Moral Optimism in American Contemporary TV Noir”. In Toft Hansen, Steven Peacock, and Sue Turnbull in European Television Crime Drama and Beyond (eds). Basingstoke: Palgrave, pp. 41-60.

García Martínez Alberto N. 2018. Cine y series. La promiscuidad infinita, Alberto Nahum García Martínez y María J. Ortiz (eds.) Comunicación Social. Sevilla.

García Martínez Alberto N. 2018. La estética del asco. Lo repugnante en la serialidad contemporánea”, in La estética televisiva en las series contemporáneas, Miguel A. Huerta y Pedro Sangro (eds.), Tirant lo Blanch, Valencia, pp. 86-101.

García Martínez Alberto N. 2018. Relato narrativo frente a relato serial. Los casos de Fargo y Hannibal. In Alberto Nahum García Martínez y María J. Ortiz (eds.) Cine y series. La promiscuidad infinita, Comunicación Social, pp. 55-76.

García Martínez Alberto N. 2018.“Respuestas ambivalentes ante la moralidad ambigua del antihéroe: Tony Soprano y Walter White como casos de estudio” (co-author: Fernando Canet). Palabra Clave, vol. 21 (2), 364-386.

García Martínez Alberto N. 2019. Hannibal and the paradox of disgust. Continuum, 1-11.

García Martínez Alberto N. 2019. Moral sympathy and the “Lucifer effect.” Evil and redemption in Breaking Bad. Revista Latina de Comunicación Social, vol. 74, 2019, pp.383-402.

García Martínez Alberto N. 2019. Placer estético y repugnancia en Hannibal: identificación dramática, prolongación temporal y puesta en escena., vol. 44, 209-224.

Gregori-Signes, Carmen & María Alcantud-Díaz. 2012. Handy Manny: The pragmatic function of code-switching in the interaction of cartoon characters. In: María Dolores García-Pastor (ed). Teaching English as a Foreign Language: Proposals for the Language Classroom. València: Perifèric, 61-81.[Available at]

Gregori-Signes, Carmen, Barry Pennock-Speck & Patricia Bou-Franch. 1998. Humour in American sitcoms. In Beatriz Penas (ed). The Pragmatics of Understanding and Misunderstanding. Zaragoza: Universidad de Zaragoza, 73-82. [Available at]

Gregori-Signes, Carmen. 2005. Impoliteness in the TV series South Park/ Descortesía en el discurso televisivo de los dibujos animados: la serie South Park. In: María Luisa Carrió Pastor (ed). Perspectivas interdisciplinares de la lingüística aplicada, Vol. 2. València: Universitat Politècnica de València, 117-126. [Available at]

Gregori-Signes, Carmen. 2012. Magnifying the ordinary: Genre mixture and humor in the TV series Chuck. Communication and Culture Online, 3(3): 157-167.[Available at]

Gregori-Signes, Carmen. 2017. “Apparently, women don’t know how to operate doors”: A corpus-based analysis of women stereotypes in the TV series 3rd Rock from the Sun. International Journal of English Studies, 17(2): 21-43.[Available at]


Hartwig, Marcel. 2013. The allure of the supernatural: Twin Peaks and the transformation of the detective story. In: Cecile Sandten, Gunter Süß & Melanie Graichen (eds). Detective Fiction and Popular Visual Culture. Trier: WVT.



Jucker, Andreas H., & Locher, Miriam A. (2017). Introducing Pragmatics of Fiction: Approaches, trends and developments. In Miriam A. Locher & Andreas H.


Kozloff, Sarah. 2010. Narrative theory and television. In: Robert C. Allen (ed). Channels of Discourse, Reassembled. North Carolina: University of North Carolina Press.

Kozloff, Sarah. 2000. Overhearing Film Dialogue. Berkeley: University of California Press.


Ledford-Miller, Linda. 2014. Robert Downey, Jr. as Detective: Sherlock Holmes Redux. Robert Downey, Jr., from Brat to Icon. Essays on the Film Career. Ed. Erin E. MacDonald. Jefferson, N.C.: McFarland. 244-254.

Locher, Miriam A., & Jucker, Andreas H. (Eds.). (2017). Pragmatics of Fiction. Berlin / Boston: de Gruyter Mouton.

Lockyer, Sharon, Mills, Brett and Peacock, Louise (2011) ‘Analysing Stand-Up Comedy’, special edition of Comedy Studies, 2 (2).

López García, Guillermo.2015. Los spin doctors en las arenas de la comunicación política: The Thick of It”. En Tous, Anna (ed.). La política en las series de televisión. Entre el cinismo y la utopía. Barcelona: Editorial UOC. pp. 173-188.


Mallett, Rebecca & Mills, Brett (2015) ‘Television and Disability’, special edition of Journal of Popular Television, 3 (2).

Masanet, M.-J. (2015). Representació mediàtica i interpretació adolescent de la sexualitat i la relació amorosa en la ficció seriada. PhD. Universitat Pompeu Fabra. Retrieved from

Masanet, M.-J., & Buckingham, D. (2015). Advice on life? Online fan forums as a space for peer-to-peer sex and relationships education. Sex Education. Sexuality, Society and Learning, 15(5), 486–499.

Masanet, M.-J., & Dhaenens, F. (2019). Representing gender-based violence in teen series: young people’s discourses on the Spanish series Física o Química. Journal of Youth Studies, 22(9), 1202–1217.

Masanet, M.-J., & Fedele, M. (2019). El “chico malote” y la “chica responsable”: modelos aspiracionales y representaciones juveniles en las teen series españolas. Palabra Clave, 22(2), 1–27.

Masanet, M.-J., Medina-Bravo, P., & Aran-Ramspott, S. (2016). The Survival of the Forbidden Love in Television Fiction: “Romeo and Juliet” in Contemporary Spanish Series for Youth. In A. Hetsroni (Ed.), Television and Romance: Studies, Observations and Interpretations (pp. 19–38). New York: Nova Science Publishers.

Masanet, M.-J., Medina-Bravo, P., & Ferrés, J. (2018). Myths of Romantic Love and Gender-based Violence in the Fan Forum of the Spanish Teen Series Los Protegidos. Young, 26(4S), 1–17.

Masanet, M.-J., Medina, P., & Ferrés, J. (2012). Representación mediática de la sexualidad en la ficción seriada dirigida a los jóvenes. Estudio de caso de Los Protegidos y Física o Química. Revista Comunicación, 10(1), 1537–1548.

Matthees, Janine. 2005. ‘She’s filled with secrets’: Hidden worlds, embedded narratives and character doubling in Twin Peaks. In: Gaby Allrath & Marion Gymnich (eds). Narrative Strategies in Television Series. New York: Palgrave Macmillan, 99-113.

Menti, Archontoula. (2019). The Representation of Crime and Criminals in the TV Series Sherlock and Elementary: A Corpus Study. In: Akrivos D., Antoniou A. (eds) Crime, Deviance and Popular Culture: International and Multidisciplinary Perspectives. Palgrave Studies in Crime, Media and Culture. Palgrave Macmillan, pp. 41-71 (ISBN 978-3-030-04911-9).

Messerli, Thomas C. 2017. Sitcom humour as ventriloquism. Lingua, 197, 16–33.

Messerli, Thomas C. 2017. Participation structure in fictional discourse: Authors, scriptwriters, audiences and characters. In: Miriam Locher & Andreas H. Jucker, (eds). Pragmatics of Fiction. Berlin, Boston: De Gruyter, 25-54.

Messerli, Thomas C. 2016. Extradiegetic and character laughter as markers of humorous intentions in the sitcom 2 Broke Girls. Journal of Pragmatics, 95, 79–92.

Messerli, Thomas C., & Yu Di (2018): Multimodal construction of soccer-related humor on Twitter and Instagram. In Askin, R., Diederich C., & Bieri, A. (Eds.), The Aesthetics, Poetics, and Rhetoric of Soccer (pp. 227–255). London: Routledge.

Messerli, Thomas C. (forthc.). Subtitles and cinematic meaning-making: Interlingual subtitles as textual agents. Multilingua, 38(5).

Mills, Brett (2017) Animals on Television: The Cultural Making of the Non-Human, Basingstoke: Palgrave Macmillan.

Mills, Brett with Horton, Erica (2017) Creativity in the British Television Comedy Industry, London: Routledge.

Mills, Brett and Barlow, David M. (2012) Reading Media Theory: Thinkers, Approaches, Concepts, 2nd edition, Pearson Education, Harlow.

Mills, Brett (2009) The Sitcom, Edinburgh: Edinburgh University Press.

Mills, Brett (2005) Television Sitcom, London: British Film Institute.

Mills, Brett (2016) ‘Make Me Laugh: Creativity in the British Television Comedy Industry’, Humor: International Journal of Humor Research, 29 (2) 157-74.

Mills, Brett (2016) ‘“If This Was a Human…”: Pets, Vets and Medicine on Television’, Critical Studies in Television, 11 (2) 244-56.

Mills, Brett and Ralph, Sarah (2015) ‘“I Think Women are Possibly Judged More Harshly with Comedy”: Women and British Television Comedy Production’, Critical Studies in Television, 10 (2) 102-17.

Mills, Brett (2015) ‘Towards a Theory of Documentary Representation for Animals’, Screen, 56 (1) 102-7.

Mills, Brett (2013) ‘The Animals Went in Two by Two: Heteronormativity in Television Wildlife Documentaries’, European Journal of Cultural Studies, 16 (1) 100-14.

Mills, Brett (2013) ‘Invalid Animals: Finding the Non-Human Funny in Special Needs Pets’, Journal of Literary and Cultural Disability Studies, 7 (3) 321-35.

Mills, Brett (2011) ‘“A Pleasure Working with You”: Humour Theory and Joan Rivers’, Comedy Studies, 2 (2) 151-60.

Mills, Brett (2011) ‘The Guardians of the General Interest: Discourses of Knowledge in QI’, Television and New Media, 12 (2) 136-53.

Mills, Brett (2011) ‘Days of Future Past: Documenting the Future’, Journal of British Cinema and Television, 8 (1) 81-98.

Mills, Brett (2010) ‘Television Wildlife Documentaries and Animals’ Right to Privacy’, Continuum: Journal of Media and Cultural Studies, 24 (2) 193-202.

Mills, Brett (2010) ‘Those Pig-Men Things’, M/C Journal: A Journal of Media and Culture, 13 (5),

Mills, Brett (2010) ‘Being Rob Brydon: Performing the Self in Comedy’, Celebrity Studies, 1 (2) 190-202.

Mills, Brett (2009) ‘Welsh/From Wales: Representations of the Welsh in Contemporary Television Sitcom’, Cyfrwng: Media Wales Journal, 6 (1) 47-60.

Mills, Brett (2008) ‘“My House Was on Torchwood!”: Media, Place and Identity’, International Journal of Cultural Studies, 11 (4) 379-99.

Mills, Brett (2008) ‘Paranoia, Paranoia, Everybody’s Coming to Get Me: Peep Show, Sitcom and the Surveillance Society’, Screen, 49 (1) 51-64.

Mills, Brett (2007) ‘What Happens When Your Home is on Television?’, M/C Journal: A Journal of Media and Culture, 10 (4),

Mills, Brett (2004) ‘Comedy Verite: Contemporary Sitcom Form’, Screen, 45 (1) 63-78.

Mills, Brett (forthcoming, 2019) ‘The Parrot, the Albatross, and the Cat: Animals and Comedy in Monty Python’ in Kate Egan and Jeffrey Weinstock (eds) And Now For Something Completely Different: Critical Approaches to Monty Python, London: Routledge, pp unknown.

Mills, Brett (forthcoming, 2019) ‘Liveness and the Live Episode in Television Comedy’ in Jonathan Cohn, Jennifer Porst and Phil Scepanski (eds) Very Special Episodes: Event Television and Social Change, New Brunswick: Rutgers University Press, pp uknown.

Mills, Brett (forthcoming, 2019) ‘Comedy Form’ in Louise Peacock (ed) A Cultural History of Comedy – Volume 6, The Modern Age, London: Bloomsbury, pp unknown.

Mills, Brett (forthcoming, 2019) ‘Humour’ in Paul Atkinson, Sara Delamont, Melissa Hardy and Malcolm Williams (eds) The Sage Encyclopaedia of Social Research Methods, London: Sage, pp unknown.

Mills, Brett (2018) ‘Everything for Someone: For an Inclusive Definition of Public Servcie Broadcasting’ in Des Freedman and Vana Goblot (eds) A Future for Public Service Television, London: Goldsmiths Press, 161-4.

Mills, Brett (2018) ‘Will and Grace’ in Douglas Howard, David Lavery and David Bianculli (eds) The Finale: Considering the Ends of Television Series, Syracuse: Syracuse University Press, pp unknown.

Mills, Brett (2018) ‘Comedy and the Nation in The Trip’ in Nick Marx and Matt Sienkiewicz (eds) The Comedy Studies Reader, Austin: University of Texas Press, pp unknown.

Mills, Brett and Rimmer, Mark (2017) ‘Pure and Simple: Comedy and Music in Car Share’ in Liz Giuffre and Phil Hayward (eds) Music in Television Comedy: Notes on Laughs, London: Routledge, 170-85.

Mills, Brett (2016) ‘A Special Freedom’ in Chiara Bucaria and Luca Barra (eds) Taboo Comedy: Television and Controversial Humour, Basingstoke: Palgrave Macmillan, 209-26.

Mills, Brett (2016) ‘“Out There, in the World”: Representations of the Zoo and Other Spaces in the Madagascar Trilogy’ in Michael Lawrence and Karen Lury (eds) The Zoo: Images of Exhibition and Encounter, Basingstoke: Palgrave Macmillan, 137-52.

Mills, Brett (2016) ‘Old Jokes: One Foot in the Grave, Comedy and Age’ in Jürgen Kamm and Birgit Neumann (eds) British Television Comedy: Cultural Concepts and Contexts, London: Routledge, 265-80.

Mills, Brett (2015) ‘“Shoved Online”: BBC Three, British Television and the Marginalisation of Young Adult Audiences’ in Einar Thorsen, Heather Savigny, Jenny Alexander and Daniel Jackson (eds) Media, Margins and Popular Culture, Basingstoke: Palgrave Macmillan, 219-31.

Mills, Brett (2015) ‘The Panel Show’ and ‘Natural History Programming’ in Glen Creeber (ed) The Television Genre Book, 3rd edition, London: British Film Institute, 109-11 and 154-5.

Mills, Brett (2015) ‘The Television Sitcom’ in Martin Conboy and John Steel (eds) The Routledge Companion to British Media History, London: Routledge, 451-9.

Mills, Brett and Ralph, Sarah (2014) ‘“Trying to Ride a Naughty Horse”: British Television Comedy Producers’ in Andrew Spicer, Anthony McKenna and Christopher Meir (eds) Beyond the Bottom Line: The Producer in Film and Television Studies, London: Bloomsbury, 161-74.

Mills, Brett (2014) ‘Sitcoms’ and ‘Sketch Comedy Shows’ in Salvatore Attardo (ed) Encyclopedia of Humor Studies, Thousand Oaks: Sage, 695-8, 698-700.

Mills, Brett (2013) ‘What Does it Mean to Call Television “Cinematic”?’ in Jason Jacobs and Stephen Peacock (eds) Television Aesthetics and Style, London: Bloomsbury, 57-66.

Mills, Brett (2013) ‘“Complaints Were Received”: Morris, Comedy and Broadcasting in Context’ in James Leggott and Jamie Sexton (eds) No Known Cure: The Comedy of Chris Morris, London: British Film Institute, 98-110.

Mills, Brett (2013) ‘“Shane, Don’t Film This Bit”: Comedy and Performance in Le Donk and Scor-Zay-Zee’ in Martin Fradley, Sarah Godfrey and Melanie Williams (eds) Shane Meadows: Critical Essays, Edinburgh: Edinburgh University Press, 142-54.

Mills, Brett (2012) ‘“American Remake – Shudder”: Online Debates about Life on Mars’ in Stephen Lacey and Ruth McElroy (eds) Life on Mars: From Manchester to New York, Cardiff: University of Wales Press, 133-44.

Mills, Brett (2010) ‘“I’m Anti-Little Britain and I’m Worried I Might Start Laughing”: Audience Responses to Little Britain’ in Sharon Lockyer (ed) Reading Little Britain, London: IB Tauris, 147-70.

Mills, Brett (2010) ‘Contemporary Comedy Performance in British Sitcom’ in Christine Cornea (ed) Genre and Performance: Film and Television, Manchester: Manchester University Press, 130-47.

Montemurro, Beth. 2003. Not a laughing matter: Sexual harassment as “material” on workplace-based situation comedies. Sex Roles 48(9-10): 433-445.


Nelson, Robin. 2011. ‘Author(iz)ing Chase’ in Lavery, David, ed, The Essential Sopranos Reader. Lexington, Ky: Kentucky UP.

Nelson, Robin. 1996. TV Drama in Transition. Basingstoke: Macmillan.

Nelson, Robin. 2007. State of Play: Contemporary “high-end” TV drama. Manchester: Manchester University Press.

Nelson, Robin. 2009. ‘Life on Mars’. In The Essential Cult Television Reader. Lexington, Ky: Kentucky UP.

Nelson, Robin. 2012. “Life on Mars: Hybridity and innovation in a British television context”. In Lacey, S & McElroy, R. (eds.) Life on Mars. University of Wales Press.

Nelson, Robin. 2013. ‘Entwicklung der Geschichte vom Fernsehspiel zur Hypermedia TV Narrative: Contemporary Serial Culture: Quality TV Series in a New Media Environment’ In Eichner, Susanne, Mikos, Lothar & Winter, R. Transnationale Serienkultur: Theorie, Äesthetik, Naration und Rezeption neuer Fernsehen.Wiesbaden, Springer FachMedien. 21-44.

Nelson, Robin. 2016. ‘The Emergence of ‘Affect’ in Contemporary TV Fictions’ . In Garcia, A.N. (ed.) Emotions in Contemporary TV Series. Basingstoke:Palgrave Macmillan, pp 26-51.

Nelson, Robin. 2019. ‘Boundary collisions in HBO-BBC transnational coproduction: Rome and Parade’s End. In Pearson, R, Hilmes, M & Hills, M, eds, Transatlantic Television Drama. Oxford. OUP. pp.147-162.


Paltridge, Brian, Angela Thomas & Jianxin Liu. 2011. Genre, performance and Sex and the City. In Roberta Piazza, Monika Bednarek & Fabio Rossi (eds). Telecinematic Discourse: Approaches to the Language of Films and Television Series. Amsterdam/Philadelphia: John Benjamins, 249-262.

Percillier, Michael. 2016. Cunning linguistics: The semantics of word play in South Park. In: Kristy Beers Fägersten (ed). Watching TV with a Linguist. New York: Syracuse University Press.

Piazza, Roberta, Monika Bednarek & Fabio Rossi (eds). 2011. Telecinematic Discourse: Approaches to the Language of Films and Television Series. Amsterdam/Philadelphia: John Benjamins.

Piazza, Roberta, Louann Haarman & Anne Caborn (eds). 2015. Values and Choices in Television Discourse: A View from Both Sides of the Screen. Basingstoke/New York: Palgrave Macmillan.


Quaglio, Paulo 2009. Television Dialogue: The Sitcom Friends vs. Natural Conversation. Amsterdam/Philadelphia: John Benjamins.


Rey, Jennifer M. 2001. Changing gender roles in popular culture: Dialogue in Star Trek episodes from 1966 to 1993. In Susan Conrad & Douglas Biber (eds). Variation in English: Multi-Dimensional Studies. London: Longman, 138–156.

Richardson, Kay P. 2006. The dark arts of good people: How popular culture negotiates ‘spin’ in NBC’s The West Wing. Journal of Sociolinguistics 10(1), 52-69.

Richardson, Kay P. 2010. Multimodality and the study of popular drama. Language and Literature 19(4), 378-395.

Richardson, Kay P. 2010. Television Dramatic Dialogue: A Sociolinguistic Study. Oxford: Oxford University Press.

Richardson, Kay P. & John Corner. 2012. Assessing Television’s ‘Political Dramas’. Sociology Compass 6(12): 923-936.

Richardson, Kay P. 2016. Watching the detective: Sherlock and spoken television discourse. In: Kristy Beers Fägersten (ed). Watching TV with a Linguist. New York: Syracuse University Press, 14-39.

Richardson, Kay P. 2017. Dialogue and character in 21st century TV drama: The case of ‘Sherlock Holmes’. In: Jarmila Mildorf & Bronwen Thomas (eds). Dialogue across Media. Amsterdam/Philadelphia: John Benjamins, 37-54.