[Abramson, Albert. 2003. The History of Television, 1942 to 2000. Jefferson: McFarland & Company.]Search in Google Scholar
[Arnheim, Rudolf. 1957. Film as Art. Los Angeles: University of California Press.]Search in Google Scholar
[Atkins, Albert. 2005. Peirce on the Index and Indexical Reference. Transactions of the Charles S Peirce Society vol. 41. no. 1: 161–188.]Search in Google Scholar
[Bazin, André. 1960. The Ontology of the Photographic Image. Film Quarterly vol. 13. no. 4: 4–9.10.1525/fq.1960.13.4.04a00030]Search in Google Scholar
[Brady, David Jones. 2009. Optical Imaging and Spectroscopy. Hoboken: John Wiley & Sons and The Optical Society of America.10.1002/9780470443736]Search in Google Scholar
[Burks, Arthur W. 1949. Icon, Index and Symbol. Philosophy and Phenomenological Research vol. 9. no. 4: 673–689.]Search in Google Scholar
[Case, Dominic. 2001. Film Technology in Post Production. Burlington: Elsevier.]Search in Google Scholar
[Cavell, Stanley. 1979. The World Viewed: Reflections on the Ontology of Film. Cambridge: Harvard University Press.]Search in Google Scholar
[Cubitt, Sean. 1998. Digital Aesthetics. London, Thousand Oaks, New Delhi: SAGE Publications.]Search in Google Scholar
[Elsaesser, Thomas. 2009. Ingmar Bergman in the Museum? Thresholds, Limits, Conditions of Possibility. Journal of Aesthetics and Culture (online) vol. 1. http://www.aestheticsandculture.net/index.php/jac/article/view/2123. Last accessed 05.06.2016.]Search in Google Scholar
[Gaut, Berys. 2009. Digital Cinema. In The Routledge Companion to Philosophy and Film, eds. Paisley Livingston and Carl Plantinga, 75–85. Abingdon: Routledge.]Search in Google Scholar
[Gaut, Berys. 2010. A Philosophy of Cinematic Art. Cambridge: Cambridge University Press.10.1017/CBO9780511674716]Search in Google Scholar
[Goudge, Thomas A. 1965. Peirce’s Index. Transactions of the Charles S Peirce Society vol. 1. no. 2: 52–70.]Search in Google Scholar
[Gunning, Tom. 2007. Moving Away from the Index: Cinema and the Impression of Reality. Differences: A Journal of Feminist Cultural Studies vol. 18 no. 1: 29–52.10.1215/10407391-2006-022]Search in Google Scholar
[Harward, Tristan. 2007. Shadow mask vs aperture grille. http://commons.wikimedia.org/wiki/File:Shadowmask_vs_aperture_grille.jpg. Last accessed 07.01.2016.]Search in Google Scholar
[Hoopes, James, ed. 1991. Peirce on Signs: Writings on Semiotic by Charles Sanders Peirce. Chapel Hill: The University of North Carolina Press.]Search in Google Scholar
[Jähne, Bernd. 2005. Digital Image Processing. Heidelberg: Springer.]Search in Google Scholar
[Kracauer, Siegfried. 1997 [1960]. Theory of Film: The Redemption of Physical Reality. Princeton: Princeton University Press.]Search in Google Scholar
[Kuhn, Annette. 2009. ‘Screen’ and Screen Theorising Today. Screen vol. 50. no. 1: 1–12.10.1093/screen/hjp001]Search in Google Scholar
[Manovich, Lev. 1999. What is Digital Cinema? In The Digital Dialectic: New Essays on New Media, ed. Peter Lunenfeld, 172–197. Cambridge: The MIT Press.]Search in Google Scholar
[Manovich, Lev. 2001. The Language of New Media. Cambridge: The MIT Press.10.22230/cjc.2002v27n1a1280]Search in Google Scholar
[Mitchell, William John. 1992. The Reconfigured Eye: Visual Truth in the Post-Photographic Era. Cambridge: The MIT Press.]Search in Google Scholar
[Mulvey, Laura. 2004. Passing Time: Reflections on Cinema from a New Technological Age. Screen vol. 45. no. 2: 142–155.10.1093/screen/45.2.142]Search in Google Scholar
[Mulvey, Laura. 2006. Death 24x a Second: Stillness and the Moving Image. London: Reaktion Books.]Search in Google Scholar
[O’Quinn, Donnie and Matt LeClair. 1996. Digital Prepress Complete. Indianapolis: Hayden Books.]Search in Google Scholar
[Panofsky, Erwin. 1997. Style and Medium in the Motion Pictures. In Three Essays on Style, ed. Irving Lavin, 93–127. Cambridge: The MIT Press.]Search in Google Scholar
[Poynton, Charles. 2003. Digital Video and HDTV: Algorithms and Interfaces. San Francisco: Morgan Kaufmann Publishers.]Search in Google Scholar
[Rodowick, David Norman. 2007. The Virtual Life of Film. Cambridge: Harvard University Press.10.4159/9780674042834]Search in Google Scholar
[Santina, M. S. and A. R. Stubberud. 2005. Basics of Sampling and Quantization. In Handbook of Networked and Embedded Control Systems, ed. Dimitrios Hristu-Varsakelis and William S. Levine, 45–69. Boston: Birkhäuser.10.1007/0-8176-4404-0_3]Search in Google Scholar
[Short, T. L. 2007. Peirce’s Theory of Signs. Cambridge: Cambridge University Press.10.1017/CBO9780511498350]Search in Google Scholar
[Society of Motion Picture and Television Engineers. 1998. For Television: Three-Channel RGB Analog Video Interface. New York: Society of Motion Picture and Television Engineers.]Search in Google Scholar
[Society of Motion Picture and Television Engineers. 2004. For Television: Composite Analog Video Signal – NTSC for Studio Applications. New York: Society of Motion Picture and Television Engineers.]Search in Google Scholar
[Society of Motion Picture and Television Engineers. 2006. For Television: Analog Recording: 1/2-in Type M-2 – Electrical Parameters of Video, Audio, Time and Control Code and Tracking Control. New York: Society of Motion Picture and Television Engineers.]Search in Google Scholar
[Spielmann, Yvonne. 2008 [2005]. Video: The Reflexive Medium. Cambridge: The MIT Press.]Search in Google Scholar
[Stewart, Garrett. 2007. Framed Time: Toward a Postfilmic Cinema. Chicago: University of Chicago Press.10.7208/chicago/9780226774572.001.0001]Search in Google Scholar
[Watkinson, John. 2008. The Art of Digital Video. Burlington: Elsevier.10.1016/B978-0-240-52005-6.50009-7]Search in Google Scholar
[Weiss, Paul and Arthur W Burks. 1945. Peirce’s Sixty-Six Signs. The Journal of Philosophy vol. 42. no. 14: 383–388.10.2307/2019195]Search in Google Scholar
[Williams, Raymond. 1990. Television: Technology and Cultural Form. London: Routledge.]Search in Google Scholar