| Mass producing european cinema: studiocanal and its works C Meir Bloomsbury Publishing USA, 2019 | 44 | 2019 |
| Beyond the Bottom Line A Spicer, C Meir, A McKenna Bloomsbury Publishing, 2014 | 33 | 2014 |
| Studiocanal and the changing industrial landscape of European cinema and television C Meir Media Industries Journal 3 (1), 2016 | 17 | 2016 |
| The producer as salesman: Jeremy Thomas, film promotion and contemporary transnational independent cinema C Meir Historical Journal of Film, Radio and Television 29 (4), 467-481, 2009 | 14 | 2009 |
| European Conglomerates and the Contemporary European Audiovisual Industries: Transforming the Industrial Landscape Amid the Arrival of SVOD Platforms, a High-End Television … C Meir European Commission, 2021 | 10 | 2021 |
| European cinema in an era of studio-building: Some artistic and industrial tendencies in Studiocanal’s output, 2006-present C Meir Studies in European Cinema 16 (1), 5-21, 2019 | 10 | 2019 |
| Scottish cinema: Texts and contexts C Meir Scottish cinema, 2016 | 8 | 2016 |
| Chasing crossover: Selling Scottish cinema abroad C Meir Scottish cinema now, 188-205, 2009 | 8 | 2009 |
| On the Art of ‘Making Movies Happen’: An Interview with Andrea Calderwood C Meir International Journal of Scottish Theatre and Screen 4 (2), 51-65, 2011 | 5 | 2011 |
| Global service, transnational stories: Streaming privileged and precarious mobility in Netflix's original films 1 C Meir Border crossings and mobilities on screen, 75-88, 2022 | 4 | 2022 |
| Estudiar cine en Cuba: la importancia de la Escuela Internacional de Cine y Televisión (EICTV) en el cine español y latinoamericano de los 90 M Fernández Labayen, C Meir Cine y Cultura Popular en los 90: España-Latinoamérica, 83-102, 2020 | 4 | 2020 |
| Icarus in RED: Understanding EuropaCorp's Failed American Experiment C Meir Cahiers de champs visuels 18, 107-140, 2020 | 4 | 2020 |
| Becoming a Global Producer: Creative and Industrial Change at Post-Studiocanal RED C Meir Journal of British Cinema and Television 16 (3), 305-326, 2019 | 4 | 2019 |
| Transnational production, international policy, and South African cinema C Meir Black Camera 9 (2), 216-234, 2018 | 4 | 2018 |
| " The Heads and Tails of the Kingdom": Mrs. Brown and Devolutionary Scotland CT Meir International Review of Scottish Studies 35, 2010 | 4 | 2010 |
| Depuis que le Streaming Existe?: Gaumont and French Cinema in the Streaming Era C Meir Is it French? Popular Postnational Screen Fiction from France, 237-255, 2024 | 3 | 2024 |
| SVOD Original Film Commissioning C Meir Streaming Video, 280-296, 2023 | 3 | 2023 |
| Remakes and Globally-Oriented European Cinema: Contemporary Industrial Practices and Shifting Hierarchies.” C Meir European Film Remakes, 225-239, 2021 | 3 | 2021 |
| The emergence of Pan-European film studios and its implications for co-production studies and policy C Meir European Film and Television Co-production: Policy and Practice, 121-136, 2019 | 3 | 2019 |
| Post-imperial co-producers: Emile Sherman, Iain Canning and contemporary Anglo-Australian cinema C Meir Beyond the bottom line: The producer in film and television studies, 265-281, 2014 | 3 | 2014 |
