1 Cell Phone is directed by Yan Shen and Lei Wang; screenplay by Fang-jin Song; produced by Jun Wang and Xiao Zhang.
Adolf, M. (2011) Clarifying Mediatization: Sorting through a current debate. Empedocles: European Journal for the Philosophy of Communication, 3(2): 153-175.
Ahmed, S. (2010) Happy Objects, pp. 29-51 in M. Gregg and G.J. Seigworth (eds.) The Affect Theory Reader. Durham: Duke University Press.
Athique, A. and Hill, D. (2010) The Multiplex in India. New York: Routledge.
Bai, R. and Song, G. (eds.) (2014) Chinese Television in the Twenty-First Century: Entertaining the Nation. London: Routledge.
Bentes, I. (2003) The sertao and the favela in Contemporary Brazilian Film, pp. 121-137 in L. Nagib (ed.) Brazilian Cinema. London: I. B. Tauris.
Brzeski, P. (2016) China Cracks Down on International Formats. Hollywood Reporter,
June 20. Available at www.hollywoodreporter.com/news/china-cracks-down-international-formats-904345
Caughie, J. (2000) Television Drama: Realism, Modernism, British Culture. Oxford: Oxford University Press.
Demetriou, D. (2001) Connell’s Concept of Hegemonic Masculinity: A critique. Theory and Society, 30: 337-361.
Graham, S. (2008) Taking Stock of our Stocktaking, Kinokultura, Available at www. kinokultura.com/2008/21-graham.shtml
Hassid, J. (2011) Four Models of the Fourth Estate: A typology of contemporary Chinese journalists. The China Quarterly, 208: 813-832.
Hu, Z. (2007) The Chinese model of and paradigm of media studies. Global Media and Communication, 3(3): 335—339.
Jameson, F. (1990) Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press.
Keane, M. (2001) Television Drama in China: Engineering souls for the market, pp. 176-202 in R. King and T. Craig (eds.) Global Goes Local: Popular Culture in Asia. Vancouver: University of British Columbia Press.
Kivinen, M. (2015) OnkoVenajan Keskiluokka Vastavoima, pp. 133-145 in M. Kivinen and L.Vahakyla (eds.) Undjdn Palatseissa ja Kaduilla. Helsinki: University of Helsinki Press.
Laukkanen,T. (2017) Contemporary BRIC Cinema and the Politics of Change, PhD dissertation, Hong Kong. Hong Kong University.
Lee, H. and Cho, Y. (2012) Introduction: Colonial modernity and beyond in East Asian contexts. Cultural Studies, 26(5): 601-616.
Lu, S. H. (2000) Soap opera in China: The transnational politics of visuality, sexuality, and masculinity. Cinema Journal, 40(1): 25-47.
McGrath, J. (2012) Meta-cinema for the Masses. Modem Chinese Literature and Culture, 17(2): 90-132.
Ng, H. W. (2014) Rethinking Censorship in China: The case of Snail House, pp. 87-103 in R. Bai and G. Song (eds.) Chinese Television in the Twenty-First Century: Entertaining the Nation. London: Routledge.
Nordenstreng, K. andThussu, D. K. (eds.) (2015) Mapping BRICS Media. London: Routledge.
Norris, S. (2012) Blockbuster History in the New Russia, Movies, Memory and Patriotism. Bloomington: Indiana University Press.
Pendakur, M. (2012) Digital Pleasure Palaces: Bollywood seduces the global Indian at the multiplex. Jump Cut, No. 54. Available at www.ejumpcut.org/archive/jc54.2012/ PendakurlndiaMultiplex/text.html
Rofel, L. (2007) Desiring China. Experiments in Neoliberalism, Sexuality, and Public Culture. Durham: Duke University Press.
Shackleton, L. (2018) China Box Office Grows by S2Bn.To reach $8.6Bn, in 2018. Screen Daily, January 2. Available at www.screendaily.com/news/china-box-office-grows-by-2bn-to-reach-86bn-in-2017/5125239.article
Song, G. (2010) Chinese Masculinities Revisited: Male images in contemporary television drama serials. Modern China, 36(4): 404-434.
Sparks, C. (2010) Chinas media in comparative perspective. International Journal of Communication, 4: 552-566.
Straubhaar, J. (2015) The BRICS as emerging cultural and media powers, pp. 87-103 in K. Nordenstreng and D. K.Thussu (eds.) Mapping BRICS Media. London: Routledge.
Strukov,V. (2015) Contemporary Russian Cinema, Symbols of a New Era. Edinburgh: Edinburgh University Press.
Varma, P. K. (2007) The Great Indian Middle Class. New Delhi: Penguin.
Walsh, N. P. (2002) Russian Cinema Holds Out for a New Type of Hero. The Guardian, September 28.
Wang, H. (1998) Contemporary Chinese thought and the question of modernity. Social Text, 55: 9-44.
Xiao, H. F. (2010) Love is a capacity: The narrative of gendered self-development in Chinese-style divorce. Journal of Contemporary China, 66(19): 735-753.
Xu, J. H. (2008) Family Saga Serial Dramas and reinterpretation of cultural tradition, pp. 33-46 in Y. Zhu, M. Keane and R. Bai (eds.) TV Drama in China. Hong Kong: Hong Kong University Press.
Yu, H. (2009) Mediation Journalism in Chinese Television. Double-time narrations of SAKS, pp. 129-149 in Y. Zhu and C. Berry (eds.) TV China. Bloomington: Indiana University Press.
Yuval-Davis, N. (2006) Belonging and the politics of belonging. Patterns of Prejudice, 40(3): 197-214.
Zhao, Y. (2008) Communication in China. Political Economy, Power, and Conflict. London: Rowman and Littlefield.
Zhao,Y. (2012) Your Show’s been cut: The politics of intellectual publicity in Chinas brave new media world.Javnost, 19(2): 101—118.
Zhong, X. (2007) Mr. Zhao and off the screen. Male desire and its discontent, pp. 295-315 in Z. Zhang (ed.) The Urban Generation. Chinese Cinema and Society at the Turn of Twenty-first Century. Durham: Duke University Press.
Zhong, X. (2010) Mainstream Cultural Refocused: Television Drama, Society, and the Production of Meaning in Reform-Era China. Honolulu: University of Hawaii'i Press.
Zhu. Y. (2012) Two Billion Eyes: The Story of China Central Television. New York: The New Press.
Zhu.Y, Keane, M. and Bai, R. (2008) Introduction, pp. 1-17 inY. Zhu, M. Keane and R. Bai (eds.) TV Drama in China. Hong Kong: Hong Kong University Press.