BBC’s Dynasties: References
Arias, E.B. 2001. Comedy in music. UK: Greenwood Press.
BBC (British Broadcasting Company). 2019. iPlayer: Dynasties [Online]. Available from: https://www.bbc.co.uk/iplayer/episodes/p06mvmmr/dynasties Accessed: 11.6.19
Borkfelt, S. 2011. What’s in a name? Consequences of naming non-human animals. Animals, 1 (1), 116-125.
Brennan, M. 2018. Musical manipulation: the power of background music in wildlife documentaries [Online]. Available from: http://www.wildfocus.org/blog2/2018/8/23/musical-manipulation Accessed: 19.6.19
Buckler, C. 2017. On seeing and being seen: a critical analysis of “April the Giraffe”. Exeter University Masters Paper: The Animal Mirror.
Chambers, C.N. 2007. “Well its remote, I suppose, innit?” The Relational Politics of Bird-Watching Through the CCTV Lens. Scottish Geographical Journal, 123 (2), 122-134
Cooke, D. 1959.The language of music. UK: Oxford University Press.
Crowther, B. 1999. The birds and the bees: Narratives of sexuality in television natural history programs. In: Epstein, D. and Sears, J (eds.): A dangerous knowing: Sexuality, pedagogy and popular culture, 43–58. London: Continuum.
Dovberg, N. 2014. Silence a form of reverence [Online]. Available from: timesunion.com/local/article/Silence-a-form-of-reverence-5691661.php Accessed: 21.6.19
Elder, G., Wolch, J. and Emel, J. 1998. Race, place and the bounds of humanity. UK: The White Horse Press.
Franzen, J. 2018. The radical otherness of birds [Online]. Available from: https://www.theguardian.com/environment/2018/mar/23/the-radical-otherness-of-birds-jonathan-franzen-on-why-they-matter Accessed: 30.6.19
Gehl, P.F. 1987. Competens silentium: Varieties of Monastic Silence in the Medieval West. Viator, 18, 125-160.
Harriot, M. 2017. Silence and why it’s important in film [Online]. Available from: https://www.ecgprod.com/silence-and-why-its-important-in-film/ Accessed: 21.6.19
Hearne, V. 2007. Adam’s task: calling animals by name. USA: Skyhorse Publishing.
Hosey, G., Melfi, V. and Pankhurst, S. 2013. Zoo animals: Behaviour, management and welfare. UK: Oxford University Press.
Ingold, T. 1994. What is an animal? London and New York: Routledge.
Knapp, C.E. and Smith, T.E. 2005. Exploring the power of solo, silence and solitude. Canada: Association for Experimental Education.
Kress, G. and Van Leeuwen, T. 1996. Reading images: the grammar of visual design. London: Routledge.
Latour, B. 1993. We have never been modern. Cambridge, Mass: Harvard University Press.
Mills, B. 2010. Television wildlife documentaries and animals’ right to privacy. Journal of Media & Cultural Studies, 24 (2), 193-202
Nosal A.P., Keenan E.A., Hastings P.A. and Gneezy, A. 2016. The effect of background music in shark documentaries on viewers’ perceptions of sharks. PLoS ONE 11 (8); e0159279
Poyntz, S. 2002. Visual storytelling and the grammar of filmmaking. Canada: Open Learning Agency.
Sealey, A. and Oakley, L. 2013. Anthropomorphic grammar? Some linguistic patterns in the wildlife documentary series Life. Text & Talk, 33 (3), 399-420
Woodward, W. 2006. Lions, leopards and liminal spaces: Representations of biosociality in writings of Katy Payne, Linda tucker and Gillian van Houten. Current Writing, 18 (1), 28-41