Abrahams, Lynn (2010) Oral History Theory, Abingdon and New York: Routledge Oral History Theory Google Scholar

Aust, Michael P. and Daniel Kothenschulte (2011) The Art of Pop Video, Koln: Distanz The Art of Pop Video Google Scholar

Barker, Hugh and Yuval Taylor (2007) Faking It: The Quest for Authenticity in Popular Music, London: Faber & Faber Faking It: The Quest for Authenticity in Popular Music Google Scholar

Bechky, Beth A. (2006) ‘Gaffers, Gofers, and Grips: Role-Based Coordination in Temporary Organizations’, Organization Science, 17:1: 3–12 Gaffers, Gofers, and Grips: Role-Based Coordination in Temporary Organizations Organization Science 17 3 12 Google Scholar

Bernstein, Matthew (2008) ‘The producer as auteur’ in Barry K. Grant (ed.) Auteurs and Authorship: A Film Reader, Malden, MA: Blackwell, pp. 180–9 The producer as auteur Auteurs and Authorship: A Film Reader 180 9 Google Scholar

Caldwell, John T. (2009) ‘“Both Sides of the Fence”: Blurred Distinctions in Scholarship and Production (a Portfolio of Interviews)’ in Vicki Mayer, Miranda Banks, and John T. Caldwell (eds) Production Studies: Cultural Studies of Media Industries, New York and London: Routledge, pp. 214–29 “Both Sides of the Fence”: Blurred Distinctions in Scholarship and Production (a Portfolio of Interviews) Production Studies: Cultural Studies of Media Industries 214 29 Google Scholar

Caldwell, John T. (2013) ‘Authorship Below-The-Line’, in Jonathan Gray and Derek Johnson (eds) A Companion to Media Authorship, Chichester: Wiley-Blackwell, pp. 349–69 Authorship Below-The-Line A Companion to Media Authorship 349 69 Google Scholar

Caston, Emily (2012) ‘“Kick, Bollocks and Scramble”: An Examination of Power and Creative Decision-Making in the Production Process During the Golden Era of British Music Videos 1995–2001’, Journal of British Cinema and Television, 9:1: 96–110 “Kick, Bollocks and Scramble”: An Examination of Power and Creative Decision-Making in the Production Process During the Golden Era of British Music Videos 1995–2001 Journal of British Cinema and Television 9 96 110 Google Scholar

Caston, Emily (2014) ‘The Fine Art of Commercial Freedom: British Music Videos and Film Culture’, Scope: An Online Journal of Film and Television Studies, 26: 1–18, https://www.nottingham.ac.uk/scope/documents/2014/february/caston1.pdf Google Scholar

Chapman, Ian (2015) ‘Authorship, Agency and Visual Analysis’ in Eion Devereux, Aileen Dillane, and Martin Power (eds), David Bowie: Critical Perspectives, New York and London: Routledge, pp. 196–214 Authorship, Agency and Visual Analysis David Bowie: Critical Perspectives 196 214 Google Scholar

Cobb, Shelley (2012) ‘Film Authorship and Adaptation’, in Deborah Cartnell (ed.) A Companion to Literature, Film and Adaptation, New York and Chichester: John Wiley & Sons, pp. 105–21 Film Authorship and Adaptation A Companion to Literature, Film and Adaptation 105 21 Google Scholar

Donnelly, K. J. (2007) ‘Experimental Music Video and Television’ in Laura Mulvey and Jamie Sexton (eds) Experimental British Television, Manchester: Manchester University Press, pp. 166–79 Experimental Music Video and Television Experimental British Television 166 79 Google Scholar

Eastwood, Joel (2014) ‘Recording Industry Earns More From Fan Videos than from Official Music Videos’, The Star, http://www.thestar.com, accessed 15 December 2014 Google Scholar

Foege, Alec (1995) ‘Out of Crass Commerce Arises the New Auteur’, The New York Times, http://www.nytimes.com, accessed 14 March 2007 Google Scholar

Fuchs, Christian (2013) ‘Class and Exploitation on the Internet’ in Trebor Scholz (ed.) Digital Labor: The Internet as Playground and Factory, New York and London: Routledge, pp. 211–24 Class and Exploitation on the Internet Digital Labor: The Internet as Playground and Factory 211 24 Google Scholar

Gambetta, Diego (ed.) (1990) Trust: Making and Breaking Cooperative Relations, Oxford: Basil Blackwell Trust: Making and Breaking Cooperative Relations Google Scholar

Gambetta, Diego and Heather Hamill (2005) Streetwise: How Taxi Drivers Establish Customers’ Trustworthiness, New York: Russell Sage Foundation Streetwise: How Taxi Drivers Establish Customers’ Trustworthiness Google Scholar

Gaut, Berys (1997) ‘Film Authorship and Collaboration’ in Richard Allen and Murray Smith (eds) Film Theory and Philosophy, Oxford: Oxford University Press, pp. 149–73 Film Authorship and Collaboration Film Theory and Philosophy 149 73 Google Scholar

Geertz, Clifford (1973) The Interpretation of Cultures, New York: Basic Books The Interpretation of Cultures Google Scholar

Geertz, Clifford (1983) Local Knowledge: Further Essays in Interpretive Sociology, New York: Basic Books Local Knowledge: Further Essays in Interpretive Sociology Google Scholar

Gilbey, Ryan (2011) ‘Jamie Thraves: Life is Bittersweet’, The Guardian, http:// www.theguardian.com, accessed 14 January 2014 Google Scholar

Goodwin, Andrew (1992) Dancing in the Distribution Factory: Music Television and Popular Culture, Minneapolis: University of Minnesota Press Dancing in the Distribution Factory: Music Television and Popular Culture Google Scholar

Gray, Jonathan and Derek Johnson (eds) (2013) A Companion to Media Authorship, Somerset, NJ: John Wiley & Sons A Companion to Media Authorship Google Scholar

Greenfield, Steve and Guy Osborn (1998) Contract and Control in the Entertainment Industry: Dancing on the Edge of Heaven, Aldershot: Dartmouth Publishing Contract and Control in the Entertainment Industry: Dancing on the Edge of Heaven Google Scholar

Grice, Jeremy (2013) Sorrow Might Come in the End: Legal Cases in the Music and Entertainment Industries, CreateSpace Independent Publishing Sorrow Might Come in the End: Legal Cases in the Music and Entertainment Industries Google Scholar

Gunkel, David J. (2012) ‘What Does it Matter Who is Speaking? Authorship, Authority, and the Mashup’, Popular Music and Society, 35:1: 71–91 What Does it Matter Who is Speaking? Authorship, Authority, and the Mashup Popular Music and Society 35 71 91 Google Scholar

Hanson, Matt (2006) Reinventing Music Video: Next-generation Directors, their Inspiration and Work, Houston: Gulf Professional Publishing Reinventing Music Video: Next-generation Directors, their Inspiration and Work Google Scholar

Hatcher, Jordan S. (2006) ‘Are Auteurs Really All That Special? An Argument Against the Special Position of Film/Video Directors under UK Law’, Boston College Intellectual Property and Technology Forum, 4, http://bciptf.org/?p=204, accessed 10 November 2011 Google Scholar

Kael, Pauline (1963) ‘Circles and Squares’, Film Quarterly, 16:3: 12–26 Circles and Squares Film Quarterly 16 12 26 Google Scholar

Karpovich, Angelina I. (2007) ‘Reframing Fan Videos’ in Jamie Sexton (ed.) Music, Sound and Multimedia: From the Live to the Virtual, Edinburgh: Edinburgh University Press, pp. 17–28 Reframing Fan Videos Music, Sound and Multimedia: From the Live to the Virtual 17 28 Google Scholar

Kaufman, Gil (2003) ‘Lens Recap: The Story Behind Coldplay’s “The Scientist”’ MTV News, http://www.mtv.com, accessed 12 January 2014 Google Scholar

Klein, Amanda Ann (2012) American Film Cycles: Reframing Genres, Screening Social Problems, and Defining Subcultures, Austin: University of Texas Press American Film Cycles: Reframing Genres, Screening Social Problems, and Defining Subcultures Google Scholar

Knight, David (1995) ‘Director’s Ownership rights … a Preliminary Guide’, Promo, 10–11: 7–8 Director’s Ownership rights … a Preliminary Guide Promo 10 11 7 8 Google Scholar

Knight, David (2013) ‘Chris Sweeney on making Lily Allen’s Hard Out Here video’, Promo News, http://www.promonews.tv, accessed 14 March 2014 Google Scholar

Kuhn, Thomas S. (1962) The Structure of Scientific Revolutions, Chicago: University of Chicago Press The Structure of Scientific Revolutions Google Scholar

Larthe, Juliette (2000) ‘The Director’s Lot’, Televisual, 32 The Director’s Lot Televisual 32 Google Scholar

Livingston, Paisley (1997) ‘Cinematic Authorship’ in Richard Allen and Murray Smith (eds) Film Theory and Philosophy, Oxford: Oxford University Press, pp. 132–48 Cinematic Authorship Film Theory and Philosophy 132 48 Google Scholar

Martin, Angela (2003) ‘Refocusing authorship in women’s filmmaking’ in Jacqueline Levitin, Judith Plessis, and Valerie Raoul (eds) Women Filmmakers: Refocusing, Vancouver: University of British Columbia Press, pp. 29–37 Refocusing authorship in women’s filmmaking Women Filmmakers: Refocusing 29 37 Google Scholar

Miller, Zara (2010) ‘Interview with Hammer & Tongs’, Little White Lies, http:// www.littlewhitelies.co.uk, accessed 12 January 2014 Google Scholar

Moy, Ron (2015) Authorship Roles in Popular Music: Issues and Debates, New York: Routledge Authorship Roles in Popular Music: Issues and Debates Google Scholar

Murray, Virginia S. (2014) ‘Collaborative Authorship in Film Production: Walter Murch and Film Editing’, International Journal of New Media, Technology and the Arts, 8:2: 9–19 Collaborative Authorship in Film Production: Walter Murch and Film Editing International Journal of New Media 8 9 19 Google Scholar

Negus, Keith (2011) ‘Authorship and the Popular Song’, Music and Letters, 92:4: 607–29 Authorship and the Popular Song Music and Letters 92 607 29 Google Scholar

Negus, Keith and Michael J. Pickering (2004) Creativity, Communication and Cultural Value, London: Sage Creativity, Communication and Cultural Value Google Scholar

Pardo, Alejandro (2010) ‘The Film Producer as a Creative Force’, Wide Screen 2:2: 1–23 The Film Producer as a Creative Force Wide Screen 2 1 23 Google Scholar

Promo News TV (2015a) ‘Is Feminism Changing Music Videos? Part 1 July 2015’, http://www.promonews.tv, accessed 12 August 2015 Google Scholar

Promo News TV (2015b) ‘Feminism and Music Videos: Sexuality and Opportunity Part 2 July 2015’, http://www.promonews.tv, accessed 12 August 2015 Google Scholar

Railton, Diane and Paul Watson (2011) Music Video and the Politics of Representation, Edinburgh: Edinburgh University Press Music Video and the Politics of Representation Google Scholar

Reiss, Steven and Neil Feineman (2000) Thirty Frames Per Second: The Visionary Art of the Music Video, New York: Harry N. Abrams Thirty Frames Per Second: The Visionary Art of the Music Video Google Scholar

Richardson, John, Claudia Gorbman, and Carol Vernallis (eds) (2013) The Oxford Handbook of New Audiovisual Aesthetics, Oxford: Oxford University Press The Oxford Handbook of New Audiovisual Aesthetics Google Scholar

Sarris, Andrew (1962) ‘Auteur Theory and Film Evaluation’, Film Culture, 27:63: 1–8 Auteur Theory and Film Evaluation Film Culture 27 1 8 Google Scholar

Scholz, Trebor (ed) (2013) Digital Labor: The Internet as Playground and Factory, New York: Routledge Digital Labor: The Internet as Playground and Factory Google Scholar

Sellors, C. Paul (2010) Film Authorship: Auteurs and Other Myths, London: Wallflower Film Authorship: Auteurs and Other Myths Google Scholar

Terranova, Tiziana (2000) ‘Free Labor: Producing Culture for the Digital Economy’, Social Text, 63, 18:2: 33–58 Free Labor: Producing Culture for the Digital Economy Social Text 18 33 58 Google Scholar

Thraves, Jamie (2014) Interviewed by Emily Caston, 22 November 2014 Interviewed by Emily Caston Google Scholar

Vernallis, Carol (2001) ‘The Kindest Cut: Functions and Meanings of Music Video Editing’, Screen, 42:1: 21–48 The Kindest Cut: Functions and Meanings of Music Video Editing Screen 42 21 48 Google Scholar

Vernallis, Carol (2002) ‘The Functions of Lyrics in Music Video’, Journal of Popular Music Studies, 14:1: 11–31 The Functions of Lyrics in Music Video Journal of Popular Music Studies 14 11 31 Google Scholar

Vernallis, Carol (2004) Experiencing Music Video: Aesthetics and Cultural Context, New York: Columbia University Press Experiencing Music Video: Aesthetics and Cultural Context Google Scholar

Vernallis, Carol (2007) ‘Strange People, Weird Objects: The Nature of Narrativity, Character, and Editing in Music Videos’ in Roger Beebe and Jason Middleton (eds) Medium Cool: Music Videos From Soundies to Cellphones, Durham and London: Duke University Press, pp. 303–28 Strange People, Weird Objects: The Nature of Narrativity, Character, and Editing in Music Videos Medium Cool: Music Videos From Soundies to Cellphones 303 28 Google Scholar

Vernallis, Carol (2008) ‘Music Video, Songs, Sound: Experience, Technique and Emotion in Eternal Sunshine of the Spotless Mind’, Screen, 49:3: 277–97 Music Video, Songs, Sound: Experience, Technique and Emotion in Eternal Sunshine of the Spotless Mind Screen 49 277 97 Google Scholar

Vernallis, Carol (2013a) Unruly Media: YouTube, Music Video and the New Digital Cinema, Oxford: Oxford University Press Unruly Media: YouTube, Music Video and the New Digital Cinema Google Scholar

Vernallis, Carol (2013b) ‘Music Video’s Second Aesthetic?’ in John Richardson, Claudia Gorbman, and Carol Vernallis (eds) The Oxford Handbook of New Audiovisual Aesthetics, Oxford: Oxford University Press, pp. 437–65 Music Video The Oxford Handbook of New Audiovisual Aesthetics 437 65 Google Scholar

Vernallis, Carol and Hannah Ueno (2013) ‘Interview with Music Video Director and Auteur Floria Sigismondi’, Music, Sound, and the Moving Image, 7:2: 167–94 Interview with Music Video Director and Auteur Floria Sigismondi Music, Sound, and the Moving Image 7 167 94 Google Scholar

Young, Rob (2005) Warp: Labels Unlimited, London: Black Dog Warp: Labels Unlimited Google Scholar