| 期刊論文| 1. | Denison, Rayna(2011)。Anime fandom and the liminal spaces between fan creativity and piracy。International Journal of Cultural Studies，14(5)，449-466。   | | 2. | Meng, B. C.、Wu, F.(2013)。Commons/commodity peer production caught in the web of the commercial market。Information Communication & Society，16(1)，125-145。 | | 3. | 胡綺珍(20091000)。中國字幕組與新自由主義的工作倫理。新聞學研究，101，177-214。 延伸查詢 | | 4. | Lee, H. K.(2011)。Participatory media fandom: A case study of anime fansubbing。Media, Culture & Society，33(8)，1131-1147。 | | 5. | 江凌青(20150600)。從雕塑電影邁向論文電影：論動態影像藝術的敘事傾向。藝術學研究，16，169-210。 延伸查詢 | | 6. | Beneito-Montagut, R.(2011)。Ethnography goes online: towards a user-centred methodology to research interpersonal communication on the internet。Qualitative Research，11(6)，716-735。 | | 7. | Denison, R.(2015)。Redistributing Japanese television dorama: The shadow economies and communities around online fan distribution of Japanese media。The Velevt Light Trap，75，58-72。 | | 8. | Hu, K.(2014)。Competition and collaboration: Chinese video websites, subtitle Groups, state regulation and market。International Journal of Cultural Studies，17(5)，437-451。 | | 9. | Kim, S.(1998)。Cine-mania or cinephilia: Film festivals and the identity question。UTS Review，4(2)，174-187。 | | 10. | Li, J.(2012)。From d-buffs to the d-generation: Piracy, cinema, and an alternative public sphere in urban China。International Journal of Communication，6，542-563。 | | 11. | Mattelart, T.(2016)。The changing geographies of pirate transnational audiovisual flows。International Journal of Communication，10，3503-3521。 | | 12. | Lobato, R.、Tang, L.(2014)。The cyberlocker gold rush: Tracking the rise of file-hosting sites as media distribution platforms。International Journal of Cultural Studies，17(5)，423-435。 | | 13. | Meng, B.(2012)。Underdetermined globalization: Media consumption via P2P Networks。International Journal of Communication，6，467-483。 | | 14. | Mendes Moreira de Sa, V.(2015)。From Orkut to Facebook: How Brazilian pirate audiences utilize social media to create sharing subcultures。International Journal of Communication，9，852-869。 | | 15. | Pertierra, A. C.(2012)。If they show prison break in the United States on a Wednesday, by Thursday it is here: Mobile media networks in twenty-first-century Cuba。Television and New Media，13(5)，399-414。 | | 16. | Vandresen, M.(2012)。'Free culture' lost in translation。International Journal of Communication，6，626-642。 | | 17. | Wang, Shujen、Zhu, Jonathan J. H.(2003)。Mapping Film Piracy in China。Theory, Culture and Society，20(4)，97-125。 | 會議論文| 1. | Ito, M.(2010)。Amateur media production in a networked ecology。ACM Conference on Computer Supported Cooperative Work。Savannah, GE。 | | 2. | Lee, H. K.(2010)。Cultural consumer and copyright: A case study of anime fansubbing。ESA Research Network Sociology of Culture Midterm Conference: Culture and the Making of Worlds。 | 學位論文| 1. | 陳琬尹(2015)。論述機器：高重黎的電影（1984-2010）(碩士論文)。國立臺南藝術大學。 延伸查詢 | 圖書| 1. | Wong, Cindy Hing-Yuk(2011)。Film Festivals: Culture, People, and Power on the Global Screen。Rutgers University Press。 | | 2. | Rubin, H. J.、Rubin, I. S.(2005)。Qualitative interviewing: The art of hearing data。Sage。 | | 3. | Hine, Christine(2000)。Virtual Ethnography。Sage。 | | 4. | Hesse-Biber, Sharlene Nagy、Leavy, Patricia(2011)。The Practice of Qualitative Research。Sage。 | | 5. | Horst, Heather A.、Miller, Daniel(2012)。Digital Anthropology。London：Bloomsbury。 | | 6. | de Valck, Marijke(2008)。Film Festivals: From European Geopolitics to Global Cinephilia。Amsterdam University Press。 | | 7. | Cooper, S.(2008)。Chris Marker。Manchester：Manchester University Press。 | | 8. | Crisp, V.(2015)。Film distribution in the digital age。London：Palgrave Macmillan。 | | 9. | Lobato, R.、Thomas, J.(2015)。The informal media economy。Cambridge：Polity Press。 | | 10. | Lobato, R.(2012)。Shadow economies of cinema: Mapping informal film distribution。London：British Film Institute。 | | 11. | Nomes, A. M.(2013)。The pink book: The Japanese eroduction and its contexts。 | | 12. | Schwarz, A. J.(2014)。Online file sharing。Abingdon：Routledge。 | | 13. | Pang, L.(2006)。Cultural control and globalization in Asia--copyright, piracy, and cinema。Abingdon：Routledge。 | | 14. | Jenkins, Henry、Ford, Sam、Green, Joshua(2013)。Spreadable Media: Creating Value and Meaning in a Networked Culture。New York University Press。 | 其他| 1. | 賴玉釵(20160700)。跨媒介敘事與數位傳散策略：評析[Henry Jenkins, Sam Ford, and Joshua Green]，《擴散媒介：網絡文化、創建價值及新義》(Spreadable Media: Creating Value and Meaning in a Networked Culture)(New York: New York University Press, 2013年)。 延伸查詢 | | 2. | 人民網(20141225)。「字幕組」時代終結視頻網站轉型路在何方？，http://ip.people.com.cn/n/2014/1225/c136655-26273180.html。 延伸查詢 | | 3. | Mono貓弄(20161106)。深度|粉紅電影史與百年「日活」羅曼情色類型的回歸，http://mmmono.com/g/meow/830514/。 延伸查詢 | | 4. | Jack(20160704)。一碟一故事之《賴奇克》：感謝遠方代購的朋友，https://www.douban.com/note/568232420/。 延伸查詢 | | 5. | Jack(20141019)。且看5共中字是如何製成（附第31話字幕），https://site.douban.com/120470/widget/notes/9458401/note/434886380/。 延伸查詢 | | 6. | 時光網(20141123)。字幕組時代謝幕了嗎？，http://news.mtime.com/2014/11/23/1534335.html。 延伸查詢 | | 7. | 郭詠昕(20161219)。法網陰影下的內地字幕組，http://ubeat.com.cuhk.edu.hk/127_subtitle/。 延伸查詢 | | 8. | 魏晨(20161018)。糾結的字幕組：「隱身英雄」遊走法律邊緣，https://theinitium.com/article/20161018-international-Fansub/。 延伸查詢 | | 9. | 張無忌(20170821)。中國「字幕組」：一個神秘的存在，http://www.ftchinese.com/story/001073820?full=y&archive。 延伸查詢 | | 10. | Jenkins, H.(20040810)。When piracy becomes promotion，https://www.technologyreview.com/s/402969/when-piracy-becomes-promotion/。 | 圖書論文| 1. | Behilil, M.(2005)。Ravenous cinephiles-cinephilia, internet, and online film communities。Cinephilia: Movies, love and memory。Amsterdam, NL：Amsterdam University Press。 | | 2. | de Valck, M.、Hagener, M.(2005)。Down with cinephilia? Long live cinephilia? And other videosyncratic pleasures。Cinephilia: Movies, love and memory。Amsterdam, NL：Amsterdam University Press。 | | 3. | Hayashi, S.(2010)。The fantastic trajectory of pink art cinema from Stalin to Bush。Global art cinema: New theories and histories。New York, NY：Oxford University Press。 | | 4. | Hu, K.(2016)。Between informal and formal cultural economy--Chinese subtitle groups and flexible accumulation in the age of online viewing。Routledge handbook of East Asian popular culture。Abingdon：Routledge。 | | 5. | Li, D.(2017)。A netnographic approach to amateur subtitling networks。Non-professional subtitling。Newcastle：Cambridge Scholars Publishing。 | | 6. | Kokas, A.(2014)。American media and china's blended public sphere。Connected viewing。Abingdon：Routledge。 | | 7. | Lobato, R.(2015)。The paradoxes of piracy。Postcolonial piracy: Media distribution and cultural production in the global south。London：Bloomsbury。 | | 8. | Mendes Moreira de Sa, V.(2014)。The collaborative productive of amateur subtitles for pirated TV shows in Brazil。Piracy: Leakages from modernity。Sacramento, CA：Ltwin Books。 | | 9. | Petersens, M.、Blazwick, I.(2014)。[Chris Marker--A grin without a cat] Forward。Chris Marker--A grin without a cat。London：Whitechapel Gallery。 | |