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Redmond, C. (2009). Sherlock Holmes handbook (2nd ed.). Toronto, Canada: Dundurn Press. Richardson, I. (2007). Foreword. In D. S. Davies, Starring Sherlock Holmes: A century of the master detective on screen (pp. 6-7). London, England: Titan Books. Ruddock, A. (2001). Understanding audiences: Theory and method. London, England: SAGE Publications. Saler, M. (2003). Clap if you believe Sherlock Holmes: Mass culture and the re- enchantment of modernity, c. 1890 – c. 1940. The Historical Journal, 46, 599- 622. doi:10.1017/S0018246X03003170 Sandvoss, C. (2005). Fans: The mirror of consumption. Cambridge, England: Polity Press. Sandvoss, C. (2007). The death of the reader: Literary theory and the study of texts in popular culture. In J. Gray, C. Sandvoss, & C. L. Harrington (Eds.), Fandom: Identities and communities in a mediated world (pp. 19-32). New York, NY: New York University Press. Shanahan, J., & Morgan, M. (1999). Television and its viewers: Cultivation theory and research. Cambridge, England: Cambridge University Press. SherlockAholic. (2009, June 1). The veiled detective [Video file]. Retrieved from http://www.youtube.com/watch?v=F94WGWRSHfc Shreffler, P. A. (2007). The tempestuous Holmes. In C. D. Humphrey (Ed.), Sir Hugo’s literary companion: A compendium of the writings of Hugo’s companions, Chicago on the subject of Sherlock Holmes (pp. 81-84). Lincoln, NE: iUniverse. Siegel, J. M. (2007). The first citizen of Baker Street. In C. D. Humphrey (Ed.), Sir Hugo’s literary companion: A compendium of the writings of Hugo’s companions, Chicago on the subject of Sherlock Holmes (pp. 47-54). Lincoln, NE: iUniverse. 100
Signorielli, N., & Morgan, M. (1990). Cultivation analysis: Conceptualisation and Methodology. In N. Signorielli & M. Morgan (Eds.), Cultivation analysis: New directions in media effects research (pp. 13-34). Newbury Park, CA: Sage Publications. Silver, J. (Producer), & McTiernan, J. (Director). (1988). Die hard [Motion Picture]. Burbank, CA: Silver Pictures. Silver, J. (Producer), & Ritchie, G. (Director). (2008). Rocknrolla [Motion Picture]. Burbank, CA: Dark Castle Entertainment. Silver, J. (Producer), & Ritchie, G. (Director). (2009). Sherlock Holmes [Motion Picture]. Burbank, CA: Warner Bros Studios. Smedegaard, P. B. (2007). What is a Sherlockian?. In C. D. Humphrey (Ed.), Sir Hugo’s literary companion: A compendium of the writings of Hugo’s companions, Chicago on the subject of Sherlock Holmes (pp. 137-140). Lincoln, NE: iUniverse. Starmoviesasia. (2010, January 17). VIP access face to face - Sherlock Holmes: Jude Law & Robert Downey Jr [Video file]. Retrieved from http://www.youtube. com/watch?v=7ui6Wvatgiw&feature=related Starrett, V. (2007). 221B. In C. D. Humphrey (Ed.), Sir Hugo’s literary companion: A compendium of the writings of Hugo’s companions, Chicago on the subject of Sherlock Holmes (pp. 1-2). Lincoln, NE: iUniverse. Starrett, V. (2008). The private life of Sherlock Holmes: 75 th Anniversary Edition. Indianapolis, IN: Gasogene Books. TributeMovies. (2009, December 24). Sherlock Holmes Robert Downey Jr and Jude Law interview [Video file]. Retrieved from http://www.youtube.com/watch?v= VAIHw55aeWM 101
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The Case Study of Sherlock Holmes (
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Table of Contents Attestation of Au
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List of Figures Figure 1. Abercromb
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Attestation of Authorship I hereby
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Abstract This study investigates a
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Abercrombie and Longhurst‟s audie
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and Morgan‟s (1990) and Shanahan
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two and turn them into action” (G
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Jenkins (1992), however, would disa
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that to be a secondary phase, a res
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they designed their continuum, were
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economistic theory, alongside Aberc
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informs us that we take our communi
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Methodology This chapter explains t
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albeit in Sherlock Holmes for Dummi
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Figure 2. Original model from Maste
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and like many, have a stereotypical
Page 35 and 36:
Drawing from Shanahan and Morgan (1
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Model My research advocates the the
Page 39 and 40:
Creative component Critiques Regard
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ethnographic position is made on tw
Page 43 and 44:
Table 2. Ethnographic order of prod
Page 45 and 46:
Good Doctor to placate any qualms t
Page 47 and 48:
preconception was derived from its
Page 49 and 50:
and Watson in defeating Lord Blackw
Page 51 and 52:
The common picture of Holmes is of
Page 53 and 54:
“embrace of fiction” (p. 606) a
Page 55 and 56: was lost. Therefore, Doyle‟s orig
Page 57 and 58: this was the only Holmes novel the
Page 59 and 60: 9). While the tale and its quick pu
Page 61 and 62: his feet with a cry of pleasure.
Page 63 and 64: Cultivation analysis: Official seco
Page 65 and 66: their flaws and their frailties, in
Page 67 and 68: may suggest, this film is not a dir
Page 69 and 70: Holmes in the role of supporting ac
Page 71 and 72: have endeavoured to intertwine and
Page 73 and 74: Official secondary products: The Pr
Page 75 and 76: 245). Redmond‟s (2009) statement,
Page 77 and 78: “shocking affair of the Dutch ste
Page 79 and 80: cited in Jenkins, 1992, p. 32). In
Page 81 and 82: The fan Sandvoss (2005) believes th
Page 83 and 84: emotional, or cognitive); they tres
Page 85 and 86: knowledgeable fans [who] may . . .
Page 87 and 88: negative connotation, for it no lon
Page 89 and 90: Figure 6, the consumer-to-fan culti
Page 91 and 92: Creative Component Introduction Fan
Page 93 and 94: esponsible, Lord Blackwood, played
Page 95 and 96: short and are exposed as fraudulent
Page 97 and 98: Conclusion We take our communicatio
Page 99 and 100: References Abercrombie, N., & Longh
Page 101 and 102: Davies, D. S. (2009). The further a
Page 103 and 104: Doyle, A. C. (2005k). The case-book
Page 105: Jenkins, H. (2007). Afterword: The
Page 109 and 110: Bibliography Ackroyd, P. (2001). In
Page 111: Miller, P. V. (1994). Made-to-order
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