30 Sources
Comprehensive Examination
Mél Hogan
Joint PhD in Communication
**** media work
*** book
** chapter
* journal article
(1)****Act Up Oral History Project. Online: http://www.actuporalhistory.org [Accessed December 22, 2006].
(2)*Arondekar, Anjali. “Without a Trace: Sexuality and the Colonial Archive, Journal of the History of Sexuality, Vol. 14, Nos. 1/2, January/April 2005(b).
(3)****Atlas Group Archives. Online: http://www.theatlasgroup.org/ [Accessed June 3, 2006].
(4)*Beckman , Karen (2007) "The Archive, the Phallus, and the Future" An Archive for the Future: Camera Obscura, 2007; 22: 186 - 193.
(5)***Benjamin Walter (1936) “The Work of Art in the Age of Mechanical Reproduction” In: The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media. Belknap Press.
(6)***Benkler, Yochai. (2006) Wealth of Networks Yale University Press.
(7)***Biemann, Ursula. (2003) Stuff It: the video essay in the digital age Springer-Verlag Wien New York.
(8)*Bradley, Dale. “The Divergent Anarcho-utopian Discourses of the Open Source Software Movement” Brock University” In: Canadian Journal of Communication Vol. 30, No. 4, 20
(9)*Castells, Manuel “Communication, Power and Counter-power in the Network Society” In International Journal of Communication 1 (2007), 238–266
(10)*Cvetkovich, Ann. "In the Archives of Lesbian Feelings: Documentary and Popular Culture"In: Camera Obscura, 2002; 17: 107 - 147.
(11) de Lauretis, Teresa "Film and the Visible" In: How Do I Look? (ed. How Do I Look? Queer Film and Video by Bad Object-Choice Collective, 1991) University of California Press.
(12)****Dempsey, Shawna and Lorri Millan (2002) “Lesbian National Parks and Services: Field Guide to North America” Review Online: http://criticalspatialpractice.blogspot.com/2007/12/lesbian-national-par... [Accessed May 20, 2008]
(13)*Desjardins , Mary "Archive of the Future/Archive of Everyday Practices: Feminism, Materiality, Temporality" An Archive for the Future: Camera Obscura, 2006; 21: 33 – 37.
(14)***Elwes, Catherine. (2005) “Chapter 2: Disrupting the Content: Feminism” and “Chapter 3: Masculinities: Class, Gay and Racial Interferences” and “Chapter 9: The 1990s and the New Millennium” Video Art, A Guided Tour I.B.Tauris & Co. Ltd. Press.
(15)*Gaines, Jane M. "Sad Songs of Nitrate: Women's Work in the Silent Film Archive" An Archive for the Future: Camera Obscura, 2007; 22: 171 – 178.
(16)***Gale, Peggy. (1995) Videotexts The Power Plant – Contemporary Art Gallery, Toronto, Canada, 154 pp.
(17)**Gever, Martha. (1990) “The Feminism Factor: Video and its relation to Feminism” In: Hall, Doug and Sally Jo Fifer. (1990) Illuminating Video: An Essential Guide to Video Art Published by Aperture/Bay Area Video Coalition, pp 226–241
(18)*Hastie , Amelie "Breathing in the Archives" An Archive for the Future: Camera Obscura, 2007; 22: 181 – 185.
(19)*Joyrich Lynne "Closet Archives" An Archive for the Future: Camera Obscura, 2006; 21: 137 – 143.
(20) *Juhasz, Alexandra. (2006) “Video Remains: Nostalgia, Technology, and Queer Archive Activism” In Gay Lesbian Queer (GLQ) 12:2 Duke University Press
(21)***Lessig, Lawrence. (2004) Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. London: Penguin.
(22)***Lovink, Geert and Ned Rossiter (eds) (2007) MyCreativity Reader: A Critique of Creative Industries Institute of Network Cultures, Amsterdam 139 pp.
(23)*Manoff, Marlene. “Theories of the Archive from Across the Disciplines” In Libraries and the Academy, Vol. 4, No. 1(2004), pp. 9–25. John Hopkins University Press, Baltimore.
(24)****Mitchell, Allyson “Deep Lez” Online: http://www.allysonmitchell.com/action/deeplez.cfm [Accessed May 20, 2008] (See also: filmography online http://www.allysonmitchell.com/film/filmography.cfm)
(25)*moore, jake (2006) “Brief: Matricules (parts 1 and 2) Database and archive project: Studio XX the first 10 year” DPI Online: http://dpi.studioxx.org/demo/?q=fr/no/07/brief-matricules-database-and-a...
(26)*Murray, Laura J. “Protecting ourselves to death: Canada, copyright, and the Internet”
First Monday, volume 9, number 10 (October 2004), Online: http://firstmonday.org/issues/issue9_10/murray/index.html [Accessed May 9, 2008]
(27)****Passiflora (1986) Director: Fernand Bélanger and Dagmar Gueissaz-Teufel National Film Board of Canada - Production Company, 85 mins.
(28)**Pidduck, Julianne (2004) “New Queer Cinema and Experimental Video” In: New Critical Cinema: A Critical Reader (ed) Aaron, Michele. Rutgers University Press, New Brunswick, New Jersey. (80-99)
(29)**Pidduck, Julianne (1990:2003) “After 1980: Margins and Mainstreams” In: Dyer, Richard. Now Your See It: Studies on Lesbian and Gay Film (second edition) (London: Routledge)
(30)**Stalder, Felix. (2005) Open Cultures and the Nature of Networks New Media Center_ kuda.org (eds) Futura publikacije Novi Sad, Serbia and Montenegro 49 pp.
(31)*Takahashi , Tess L. "The Imaginary Archive: Current Practice"An Archive for the Future: Camera Obscura, 2007; 22: 179 – 184.
(32)*Tasker , Yvonne and Diane Negra "Postfeminism and the Archive for the Future" An Archive for the Future: Camera Obscura, 2006; 21: 170 - 176.
(33)***Terranova, Tiziana. (2004) Network Culture: Politics for the Internet Age. Pluto Press, London.
(34)****UbuWeb Online ubu.com [Accessed April 11, 2008]
(35)*van Schijndel, Marieke & Joost Smiers “The market and temporary protection a better alternative for artists and the public domain” Online: debalie dossiers http://www.debalie.nl/subdossierartikel.jsp?dossierid=208416&subdossieri... [Accessed April 16, 2008]
(36)***Waugh, Thomas (2006) “Forbidden Love, or Queering the National Film Board of Canada” in The Romance of Transgression in Canada: Queering Sexualities, Nations, Cinemas McGill-Queen's University Press, pp146–179
(37)***White, Patricia (1999) Uninvited. Indiana University Press
(38)***Willis, Hollis. (2005) New Digital Cinema: Reinventing the Moving Image. Wallflower Press, London.