@book {walsh_narrating_2018,
	title = {Narrating Complexity},
	year = {2018},
	note = {Google-Books-ID: Fm_gswEACAAJ},
	publisher = {Springer International Publishing},
	organization = {Springer International Publishing},
	abstract = {<p>This book stages a dialogue between international researchers from the broad fields of complexity science and narrative studies. It presents an edited collection of chapters on aspects of how narrative theory from the humanities may be exploited to understand, explain, describe, and communicate aspects of complex systems, such as their emergent properties, feedbacks, and downwards causation; and how ideas from complexity science can inform narrative theory, and help explain, understand, and construct new, more complex models of narrative as a cognitive faculty and as a pervasive cultural form in new and old media. The book is suitable for academics, practitioners, and professionals, and postgraduates in complex systems, narrative theory, literary and film studies, new media and game studies, and science communication.</p>},
	keywords = {Computers / Desktop Applications / Design \& Graphics, Computers / Intelligence (AI) \& Semantics, Computers / Interactive \& Multimedia, Computers / Software Development \& Engineering / General, Computers / User Interfaces, Language Arts \& Disciplines / Composition \& Creative Writing, Performing Arts / General, Social Science / Media Studies},
	isbn = {978-3-319-64712-8},
	author = {Walsh, Richard and Stepney, Susan}
}
@book {stewart_closed_2015,
	title = {Closed Circuits: Screening Narrative Surveillance},
	year = {2015},
	note = {Google-Books-ID: vBsjBgAAQBAJ},
	publisher = {University of Chicago Press},
	organization = {University of Chicago Press},
	address = {Chicago},
	abstract = {The recent uproar over NSA dataveillance can obscure the fact that surveillance has been part of our lives for decades. And cinema has long been aware of its power{\textemdash}and potential for abuse. In Closed Circuits, Garrett Stewart analyzes a broad spectrum of films, from M and Rear Window through The Conversation to D{\'e}j{\`a} Vu, Source Code, and The Bourne Legacy, in which cinema has articulated{\textemdash}and performed{\textemdash}the drama of inspection{\textquoteright}s unreturned look. While mainstays of the thriller, both the act and the technology of surveillance, Stewart argues, speak to something more foundational in the very work of cinema. The shared axis of montage and espionage{\textemdash}with editing designed to draw us in and make us forget the omnipresence of the narrative camera{\textemdash}extends to larger questions about the politics of an oversight regime that is increasingly remote and robotic. To such a global technopticon, one telltale response is a proliferating mode of digitally enhanced {\textquotedblleft}surveillancinema.{\textquotedblright}},
	keywords = {Art / Film \& Video, Literary Criticism / General, Performing Arts / Film \& Video / History \& Criticism, Performing Arts / General},
	isbn = {978-0-226-20135-1},
	author = {Stewart, Garrett}
}
