Abbott, Stacey. 2016. Undead Apocalypse: Vampires and Zombies in the Twenty-First Century. Edinburgh Univiversity Press. https://go.exlibris.link/vSRfbZqP.
Allan Cameron. 2012. ‘Zombie Media: Transmission, Reproduction, and the Digital Dead’. Cinema Journal 52 (1): 66–89. https://www.jstor.org/stable/23360281?seq=1#page_scan_tab_contents.
Arnold, Sarah. 2013. Maternal Horror Film: Melodrama and Motherhood. Palgrave Macmillan. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2753968.
Aviva Briefel. 2009. ‘What Some Ghosts Don’t Know: Spectral Incognizance and the Horror Film’. Narrative 17 (1): 95–110. https://www.jstor.org/stable/30219292?seq=1#page_scan_tab_contents.
Balmain, Colette. 2008. Introduction to Japanese Horror Film. Edinburgh University Press. https://go.exlibris.link/HXLg9ZJ4.
Barr, Charles and British Film Institute. 1986. All Our Yesterdays: 90 Years of British Cinema. BFI Publishing.
Barta, Tony. 1998. Screening the Past: Film and the Representation of History. Praeger.
Bell, Emma, and Neil Mitchell. 2012. Britain. Directory of world cinema. Intellect. https://go.exlibris.link/9RqBqxcy.
Bell, James and British Film Institute. 2013. Gothic: The Dark Heart of Film. BFI.
Berenstein, Rhona J. 1996. Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema. Film and Culture. Columbia University Press.
Bettelheim, Bruno. 1991. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Penguin.
Bingham, Adam. 2015. Contemporary Japanese Cinema since Hana-Bi. Traditions in world cinema. Edinburgh University Press. https://go.exlibris.link/T6jJvwy8.
Bishop, Kyle William. 2010. American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture. McFarland & Co.
Bitel, Anton. n.d. ‘The Best of FrightFest 2015’. Sight and Sound September 30, 2015. http://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/festivals/best-frightfest-2015.
Boluk, Stephanie, and Wylie Lenz. 2011. Generation Zombie: Essays on the Living Dead in Modern Culture. McFarland. https://go.exlibris.link/3VcXlLDm.
Bosma, Peter. 2015. Film Programming: Curating for Cinemas, Festivals, Archives. Short cuts series. Wallflower, an imprint of Columbia University Press. https://go.exlibris.link/dz6Jxw9l.
Boss, P. 1986. ‘Vile Bodies and Bad Medicine’. Screen 27 (1): 14–25. https://doi.org/10.1093/screen/27.1.14.
Botting, Fred. 1996. Gothic. New critical idiom. Routledge.
Brown, Simon, and Stacy Abbott. 2010. ‘The Art of Splatter: Dexter, CSI, Bones and Body Horror’. In Dexter: Investigating Cutting Edge Television, Investigating cult TV. I. B. Tauris.
Browning, Mark. 2007. David Cronenberg: Author or Film-Maker? Intellect Books.
Buckingham, David. 1996. Moving Images: Understanding Children’s Emotional Responses to Television. Manchester University Press.
Carol J. Clover. 1987. ‘Her Body, Himself: Gender in the Slasher Film’. Representations, no. 20: 187–228. https://www.jstor.org/stable/2928507?seq=1#page_scan_tab_contents.
Carpenter, John, David Foster, Lawrence Turman, et al. 1982. The Thing. Universal Pictures. https://learningonscreen.ac.uk/ondemand/index.php/prog/00005ABF?bcast=95561559.
Carpenter, John, Debra Hill, Moustapha Akkad, et al. 1979. Halloween. BBC1. Videorecording.
Carroll, Noel. 1990. ‘Why Horror?’ In The Philosophy of Horror or Paradoxes of the Heart. Routledge.
Ceyton, Kristina, Essie Davis, Daniel Henshall, et al. n.d. The Babadook. Icon Film Distribution.
Chibnall, Steve, and Julian Petley. 2002a. British Horror Cinema. British popular cinema. Routledge.
Chibnall, Steve, and Julian Petley. 2002b. British Horror Cinema. British popular cinema. Routledge.
Christie, Deborah, and Sarah Juliet Lauro. 2011. Better off Dead: The Evolution of the Zombie as Post-Human. 1st ed. Fordham University Press. https://warwick.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwfV3bSgMxEB16eRFfKipWq-wPVNckZjdQhFZdRQSpCvpWsrlUEEtZuxT_3pkQFxT0NZcJSYZMzmTmBICz43T460wQNlUuR3yb4Q1bCKeV4N5I6UtUGWYJNxaP8vYhv3vJpy24bpxMFGZp3byqP1eRMXVZz9f64zXE76x1RR-Ox7QrQkXEGEuPR0zRn9VtaAuFkKw7Hj9PJ996JjLEGCzNAh1kbMoiGU_TNfJxorn_KTIk94RRN-m4joao6EHXUXbCFrTcYhsGo3ddvZ1PQkpOcu99colbNjoJpTuQFFdPFzfDKGgWPTWzkmdnUiE-5LvQQfTv9iDxxhhi5EmFsYjFrJYq55x54-RpiealD_0_xez_U3cAG4wi-YM3YQCdVVW7w2ZuR3HJvgBgvHfd.
Conrich, Ian. 2010a. Horror Zone: The Cultural Experience of Contemporary Horror Cinema. I. B. Tauris.
Conrich, Ian. 2010b. Horror Zone: The Cultural Experience of Contemporary Horror Cinema. I. B. Tauris.
Crane, Jonathan Lake. 1994a. Terror and Everyday Life: Singular Moments in the History of the Horror Film. Sage Publications. https://go.exlibris.link/h6Zk07Vv.
Crane, Jonathan Lake. 1994b. Terror and Everyday Life: Singular Moments in the History of the Horror Film. Sage Publications. https://go.exlibris.link/h6Zk07Vv.
Creeber, Glen. 2004. Serial Television: Big Drama on the Small Screen. BFI.
Creed, B. 1986. ‘Horror and the Monstrous-Feminine: An Imaginary Abjection’. Screen 27 (1): 44–71. https://doi.org/10.1093/screen/27.1.44.
Creed, Barbara. 1993. The Monstrous Feminine: Film, Feminism, Psychoanalysis. Popular fiction series. Routledge. https://go.exlibris.link/470q8WS7.
Creed, Barbara. 2005. Phallic Panic: Film, Horror and the Primal Uncanny. Melbourne University Press.
Curran, James, and Vincent Porter. 1983. British Cinema History. Weidenfeld and Nicolson.
Dante, Joe, FilmFour (Firm), Bold Films, and Benderspink (Firm). 2013. The Hole. Film4. Videorecording. https://learningonscreen.ac.uk/ondemand/index.php/prog/025D7277?bcast=121917926.
Diane Waldman. 1984. ‘“At Last I Can Tell It to Someone!”: Feminine Point of View and Subjectivity in the Gothic Romance Film of the 1940s’. Cinema Journal 23 (2): 29–40. https://www.jstor.org/stable/1225123?seq=1#page_scan_tab_contents.
Dika, Vera. 1990. Games of Terror: Halloween, Friday the 13th, and the Films of the Stalker Cycle. Fairleigh Dickinson University Press.
Dixon, Wheeler W. 1994. Re-Viewing British Cinema, 1900-1992: Essays and Interviews. State University of New York Press.
Dixon, Wheeler W. 2010. A History of Horror. Rutgers University Press. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2963660.
Donald, James. 1989. Fantasy and the Cinema. British Film Institute.
Dyer, R. 1988. ‘White’. Screen 29 (4): 44–65. https://doi.org/10.1093/screen/29.4.44.
Eco, Umberto. 1979. The Role of the Reader: Explorations in the Semiotics of Texts. Advances in semiotics. Indiana University Press.
Eco, Umberto. 1995. Six Walks in the Fictional Woods. The Charles Eliot Norton lectures. Harvard University Press.
Eggers, Robert, Jay Van Hoy, Lars Knudsen, et al. 2015. The Witch: A New England Folktale. Witch Movie.
Ellis, Kate Ferguson. 1989. The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology. University of Illinois Press.
Elsaesser, Thomas. 2013. ‘Film Festival Networks: The New Topographies of Cinema in Europe’. In The Film Festival Reader. St Andrews Film Studies. https://www.degruyter.com/view/book/9789048505173/10.1515/9789048505173-005.xml.
Filipa Antunes. 2014. ‘Children and Horror after PG-13: The Case of The Gate’. Networking Knowledge: Journal of the MeCCSA Postgraduate Network 6 (4). http://ojs.meccsa.org.uk/index.php/netknow/article/view/313/147.
Fischer, Alex. 2013. Sustainable Projections: Concepts in Film Festival Management. Films need festivals, Festivals need films. St Andrews Film Studies.
Fleenor, Juliann E. 1983. The Female Gothic. Eden Press.
Forshaw, Barry. 2013. British Gothic Cinema. Palgrave gothic series. Palgrave Macmillan. https://go.exlibris.link/xfscgBK1.
Freud, Sigmund. n.d. The Uncanny. http://web.mit.edu/allanmc/www/freud1.pdf.
Gallafent, E. 1988. ‘Black Satin: Fantasy, Murder and the Couple in “Gaslight” and “Rebecca”’. Screen 29 (3): 84–105. https://doi.org/10.1093/screen/29.3.84.
Gledhill, C. 1999. ‘The Horror Film’. In The Cinema Book, 2nd ed. British Film Institute.
Gledhill, Christine and British Film Institute. 1987. Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. British Film Institute.
Goldberg, Ruth. 2004. ‘Demons in the Family: Tracking the Japanese "Uncanny Mother” Film from A Page of Madness to Ringu’’. In Planks of Reason: Essays on the Horror Film, Rev. ed. Scarecrow Press. https://contentstore.cla.co.uk/secure/link?id=44d3a41b-5920-e711-80c9-005056af4099.
Grant, Barry Keith. 1996a. The Dread of Difference: Gender and the Horror Film. Texas film studies series. University of Texas Press.
Grant, Barry Keith. 1996b. The Dread of Difference: Gender and the Horror Film. Texas film studies series. University of Texas Press.
Grant, Barry Keith, and Christopher Sharrett. 2004. Planks of Reason: Essays on the Horror Film. Rev. ed. Scarecrow Press.
Halberstam, J. 1995. ‘Bodies That Splatter: Queers and Chainsaws’. In Skin Shows: Gothic Horror and the Technology of Monsters. Duke University Press. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2748427.
Hammond, Michael, and Lucy Mazdon. 2005a. The Contemporary Television Series. Edinburgh University Press.
Hammond, Michael, and Lucy Mazdon. 2005b. The Contemporary Television Series. Edinburgh University Press. https://go.exlibris.link/8yfbzK0D.
Hanson, Helen. 2007. Hollywood Heroines: Women in Film Noir and the Female Gothic Film. I. B. Tauris. https://go.exlibris.link/YW0LtYHg.
Hark, Ina Rae. 2002. Exhibition: The Film Reader. In focus. Routledge.
Hayward, Philip, ed. 2009. Terror Tracks: Music, Sound and Horror Cinema. Genre, Music and Sound. Equinox.
Helen, H. 2007. ‘Reviewing the Female Gothic Heroine: Agency, Identification and Feminist Film Critism’. In Hollywood Heroines: Women in Film Noir and the Female Gothic Film. I. B. Tauris. https://contentstore.cla.co.uk/secure/link?id=d32206bf-9a43-e611-80bd-0cc47a6bddeb.
Heller, Tamar. 1992. Dead Secrets: Wilkie Collins and the Female Gothic. Yale University Press.
Hills, M. 2005. ‘TV Horror’. In The Pleasures of Horror. Continuum.
Hills, Matt. 2005. ‘TV Horror’. In The Pleasures of Horror. Continuum.
Hollinger, Karen. 1993. ‘The Female Oedipal Drama of Rebecca from Novel to Film’. Quarterly Review of Film and Video 14 (4): 17–30. https://doi.org/10.1080/10509209309361414.
Hooper, Tobe, Kim Henkel, Marilyn Burns, Gunnar Hansen, Allen Danziger, and Paul A. Partain. 1974. The Texas Chainsaw Massacre. Original uncut version. Universal Pictures (UK). Videorecording.
Hopkins, Lisa. 2005. Screening the Gothic. 1st ed. University of Texas Press. https://go.exlibris.link/8jrT3pfS.
Hughes, William, David Punter, and Andrew Smith. 2013. The Encyclopedia of the Gothic. The Wiley-Blackwell encyclopedia of literature. Wiley-Blackwell.
Humm, Peter, Paul Stigant, and Peter Widdowson. 1986. Popular Fictions: Essays in Literature and History. New accents. Methuen. https://go.exlibris.link/3j3pRTHt.
Hunt, Leon. 2002. ‘Necromancy in the UK: Witchcraft & the Occult in British Horror’. In British Horror Cinema, British popular cinema. Routledge. https://contentstore.cla.co.uk/secure/link?id=376238c4-5720-e711-80c9-005056af4099.
Hunt, Leon, Sharon Lockyer, and Milly Williamson, eds. 2014. Screening the Undead: Vampires and Zombies in Film and Television. I.B. Tauris.
Hutchings, P. 1993. ‘Horror and the Family’. In Hammer and beyond: The British Horror Film. Manchester University Press.
Iordanova, Dina. 2009. Film Festival Yearbook 1:The Festival Circuit. Edited by Dina Iordanova and Ragan Rhyne. Film festival yearbook. St. Andrews Film Studies in collaboration with College Gate Press.
Iordanova, Dina. 2013. The Film Festival Reader. St Andrews Film Studies.
Iordanova, Dina, and Ruby Cheung. 2010. Film Festival Yearbook 2: Film Festivals and Imagined Communities. Edited by Dina Iordanova and Ruby Chong. Film festival yearbook. St Andrews Film Studies.
Iordanova, Dina, and Ruby Cheung, eds. 2011a. Film Festivals and East Asia. Film festival yearbook. St Andrews Film Studies.
Iordanova, Dina, and Ruby Cheung. 2011b. Film Festivals and East Asia. Edited by Dina Iordanova and Ruby Cheung. Film festival Yearbook 3: Film Festivals and East Asia. St Andrews Film Studies.
Iordanova, Dina, and Leshu Torchin. 2012. Film Festival Yearbook 4: Film Festivals and Activism. Edited by Dina Iordanova and Leshu Torchin. Film festival yearbook. St Andrews Film Studies.
Iordanova, Dina, and Stefanie Van de Peer, eds. 2014. Film Festivals and the Middle East. Film festival yearbook. St Andrews Film Studies.
Jancovich, Mark. 2002. Horror: The Film Reader. In focus. Routledge.
Joan Hawkins. 2000. ‘Sleaze Mania, Euro-Trash, and High Art: The Place of European Art Films in American Low Culture’. Film Quarterly 53 (2): 14–29. https://www.jstor.org/stable/1213717?seq=1#page_scan_tab_contents.
Johnston, Derek. 2015. Haunted Seasons: Television Ghost Stories for Christmas and Horror for Halloween. The Palgrave gothic series. Palgrave Macmillan. https://go.exlibris.link/6FBKxTtT.
Jones, Owen. 2011. Chavs: The Demonization of the Working Class. Verso.
Joshi, S. T. 2006. Icons of Horror and the Supernatural: An Encyclopedia of Our Worst Nightmares [Two Volumes]. Greenwood Press. Hardcover.
Jowett, L. 2013. ‘TV as Horror’. In TV Horror: Investigating the Dark Side of the Small Screen, Investigating cult TV. I.B. Tauris. https://contentstore.cla.co.uk/secure/link?id=a7fb10af-a343-e611-80bd-0cc47a6bddeb.
Jowett, Lorna. 2013a. ‘TV as Horror’. In TV Horror: Investigating the Dark Side of the Small Screen, Investigating cult TV. I.B. Tauris.
Jowett, Lorna. 2013b. ‘TV as Horror’. In TV Horror: Investigating the Dark Side of the Small Screen, Investigating cult TV. I.B. Tauris.
Jungerkes, Sven, and Christiane Wienand. 2012. ‘A Past That Refuses to Die: Nazi Zombie Film and the Legacy of Occupation’. In Nazisploitation!: The Nazi Image in Low-Brow Cinema and Culture, edited by Daniel H. Magilow, Elizabeth Bridges, and Kristin T. Vander Lugt. Continuum. https://contentstore.cla.co.uk/secure/link?id=ecb221c3-a343-e611-80bd-0cc47a6bddeb.
Kackman, Michael. 2011. Flow TV: Television in the Age of Media Convergence. Routledge. https://go.exlibris.link/cCyG9c0j.
King, Stephen. 2010a. Danse Macabre. Gallery Books trade pbk. ed. Gallery.
King, Stephen. 2010b. Danse Macabre. Gallery Books trade pbk. ed. Gallery.
Kovacs, Lee. 2005. The Haunted Screen: Ghosts in Literature and Film. McFarland & Co.
Kracauer, S. 2004. ‘Procession of Tyrants’. In From Caligari to Hitler: A Psychological History of the German Film, Rev. and expanded ed. Princeton University Press.
Kracauer, Siegfried. 1947. From Caligari to Hitler: A Psychological History of the German Film. Princeton University Press.
Kristeva, Julia. 1982. ‘Approaching Abjection’. The Oxford Literary Review (Oxford) 5.
Leach, Jim. 2004. British Film. National film traditions. Cambridge University Press. https://go.exlibris.link/02xVf8WL.
Leggott, James. 2008. Contemporary British Cinema: From Heritage to Horror. Short cuts series. Wallflower.
Lennard, Dominic. 2014. Bad Seeds and Holy Terrors: The Child Villains of Horror Film. SUNY series, Horizons of cinema. State University of New York Press. http://encore.lib.warwick.ac.uk/iii/encore/search/C__SBad%20Seeds%20and%20Holy%20Terrors%3A%20The%20Child%20Villains%20of%20Horror%20Film__Orightresult/StabSwitch?lang=eng&suite=cobalt.
Lester, Catherine. 2016. ‘The Children’s Horror Film: Characterizing an “Impossible” Subgenre’. The Velvet Light Trap 78 (1): 22–37. http://0-muse.jhu.edu.pugwash.lib.warwick.ac.uk/article/628733.
Linda Williams. 1991. ‘Film Bodies: Gender, Genre, and Excess’. Film Quarterly 44 (4): 2–13.
Lury, Karen. 2010. The Child in Film: Tears, Fears and Fairytales. I.B. Tauris.
MacCabe, Colin. 1986. High Theory/Low Culture: Analysing Popular Television and Film. Images of culture. Manchester University Press.
Magistrale, Tony. 2005a. Abject Terrors: Surveying the Modern and Postmodern Horror Film. Peter Lang.
Magistrale, Tony. 2005b. Abject Terrors: Surveying the Modern and Postmodern Horror Film. Peter Lang.
Marlow-Mann, Alex, ed. 2013. Archival Film Festivals. Film festival yearbook. St Andrews Film Studies.
Mathijs, Ernest. 2008. The Cinema of David Cronenberg: From Baron of Blood to Cultural Hero. Directors’ cuts. Wallflower.
McIntosh, Shawn, and Marc Leverette. 2008. Zombie Culture: Autopsies of the Living Dead. Scarecrow Press.
McRoy, Jay. 2005. Japanese Horror Cinema. Traditions in world cinema. Edinburgh University Press.
McRoy, Jay. 2008. Nightmare Japan: Contemporary Japanese Horror Cinema. Contemporary cinema. Rodopi. https://go.exlibris.link/G794cJwN.
Milbank, A. 1998. ‘Female Gothic’. In The Handbook to Gothic Literature. Macmillan.
Milbank, Alison. 1992. Daughters of the House: Modes of the Gothic in Victorian Fiction. Macmillan. https://go.exlibris.link/9pGwBlJw.
Miles, Robert. 1994. ‘Introduction to Special Number: Female Gothic’. Women’s Writing 1 (2): 131–42. https://doi.org/10.1080/0969908940010201.
Modleski, Tania. 1982. Loving with a Vengeance: Mass-Produced Fantasies for Women. Archon Books.
Moreman, Christopher M., and Cory Rushton. 2011a. Race, Oppression and the Zombie: Essays on Cross-Cultural Appropriations of the Caribbean Tradition. McFarland.
Moreman, Christopher M., and Cory Rushton. 2011b. Zombies Are Us: Essays on the Humanity of the Walking Dead. McFarland.
Murphy, Robert and British Film Institute. 1992. Sixties British Cinema. British Film Institute. https://go.exlibris.link/LXpjJ0KQ.
Murphy, Robert and British Film Institute. 2009. The British Cinema Book. 3rd ed. BFI. https://go.exlibris.link/tMbvpRrv.
Murphy, Ryan, Brad Falchuk, Dylan McDermott, et al. 2012. American Horror Story: The Complete First Season. 20th Century Fox Home Entertainment.
‘Mysterious Bodies’. 2007. http://intensitiescultmedia.com/2012/12/11/intensities-the-journal-of-cult-media-4-mysterious-bodies/.
Newman, Kim and British Film Institute. 1996. The BFI Companion to Horror. Cassell.
Nichols, Bill. 1985. Movies and Methods: Vol.2: An Anthology. University of California Press.
Night of the Living Dead (1968). n.d. BBC2 England. https://learningonscreen.ac.uk/ondemand/index.php/prog/001A9F70?bcast=91796119.
Nowell, Richard. 2011. Blood Money: A History of the First Teen Slasher Film Cycle. Continuum. Electronic resource. http://ebookcentral.proquest.com/lib/warw/detail.action?docID=634569.
Odell, Colin, and Michelle Le Blanc. 2007. Horror Films. Kamera.
Palin, Michael. n.d. Remember Me. [DVD] [2014]. http://webcat.warwick.ac.uk/search~S15?/tremember+Me/tremember+me/1%2C6%2C9%2CB/frameset&FF=tremember+me+videorecording&1%2C1%2C.
Peacock, Steven. 2009. ‘Two Kingdoms Two Kings’. Critical Studies in Television: The International Journal of Television Studies 4 (2): 24–36. https://doi.org/10.7227/CST.4.2.4.
Pinedo, Isabel Cristina. 1997. Recreational Terror: Women and the Pleasures of Horror Film Viewing. SUNY series, Interruptions--Border testimony(ies) and Critical discourse/s. State University of New York Press.
Pirie, David. 1973. A Heritage of Horror: The English Gothic Cinema, 1946-1972. Gordon Fraser Gallery Ltd.
Pirie, David. 2008. A New Heritage of Horror: The English Gothic Cinema. [New ed.]. I.B. Tauris.
Porton, Richard. 2009. Dekalog: 03: On Film Festivals. Dekalog. Wallflower.
Prawer, S. S. 1980. Caligari’s Children: The Film as Tale of Terror. Oxford University Press.
Propp, V. I︠A︡, and Louis A. Wagner. 1968. Morphology of the Folktale. 2nd ed. American Folklore Society bibliographical and Special series. University of Texas Press.
Punter, David. 2000. A Companion to the Gothic. Blackwell companions to literature and Culture series. Blackwell Publishers.
Reilly, Kelly, Michael Fassbender, Christian Colson, et al. 2008. Eden Lake. ITV4. https://learningonscreen.ac.uk/ondemand/index.php/prog/01268C4D?bcast=120784128.
Remember Me. n.d.-a. BBC1 London. https://learningonscreen.ac.uk/ondemand/index.php/prog/083487E3?bcast=114574508.
Remember Me. n.d.-b. BBC1 London. https://learningonscreen.ac.uk/ondemand/index.php/prog/083E226E?bcast=114616461.
Remember Me. n.d.-c. BBC1 London. https://learningonscreen.ac.uk/ondemand/index.php/prog/084457F0?bcast=114657181.
Reynolds, Kimberley, Geraldine Brennan, and Kevin McCarron. 2001. Frightening Fiction. Contemporary classics of children’s literature. Continuum. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3021318.
Rose, James. 2009a. Beyond Hammer: British Horror Cinema since 1970. Auteur.
Rose, James. 2009b. Beyond Hammer: British Horror Cinema since 1970. Auteur.
Ruoff, Jeffrey. 2012. Coming Soon to a Festival Near You: Programming Film Festivals. Edited by Jeffrey Ruoff. St Andrews Film Studies.
Sargeant, Jack, and Stephanie Watson. 1999. Lost Highways: An Illustrated History of Road Movies. Creation.
Sasdy, Peter, Aida Young, Christopher Lee, et al. 1970. Taste the Blood of Dracula. Widescreen ed. Warner Home Video.
Schneider, Steven Jay. 2004. Horror Film and Psychoanalysis: Freud’s Worst Nightmare. Cambridge studies in film. Cambridge University Press. https://warwick.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwfV3dS8MwED-0e_HNT5yb0nfp7HdTGMI2LEMEmQr6NtIuc6JrITrmn-9dmm6toI-_JhzN5cjdJblfADy3Z1u_1oQw5X5GZHQc_QOaiDP3cHXG6IJlzixWjzckj-HtA7t7YZMtw5BtNfkG8B9f1_xzoS7vrLmk18Z1zZVK4hci7dHREl3XIjJOKuza9WNMylqDwfNkWFmaj36Z2Zq1pSSaQkuPAlXMihEIhlFBVAEHQ5ZNC7m7LYjQhjXwKZBydDUspl2YSml-n0ogq2GS2cDYP6zjUnKFlXC3wlq-r09diQF7NLxvdFUlSEo9NW-Z7ENLUAnFAeyI_BCM5O1jeQSX_SWX79fjQspCmnP8ZqLCzbIKjGtqlP6V6nQMZnLzNBpbWvpUbzJNU3T0DEf17Z2AkRe5OAXT9WYZd0WGMRvOfuoxN4oZ8e0FMWokC9vQ_lPM2T9tHdgr78_QRkgXjC-5EuebAV_ouf4BAxKbJg.
Scott, Niall. 2007a. Monsters and the Monstrous: Myths and Metaphors of Enduring Evil. At the interfaces, Probing the boundaries. Rodopi. https://warwick.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwY2AwNtIz0EUrE8ySEk2SQYfRJQLrB2ASMUwzBpbOwNaFRbJhiiX48ga3YDOvIAufCItAJgZX2NYY8IwhdJmiHqyshM-llicWlUOXWupBtgHYp4CLZlNgM8UIWDAzm1gCO2Ssjo7hgU4oTUh2kNbM5GykusRNkIE1FbTBQIiBKTVPmIEH6aaCShEGdZvcxKJsO19Qqw3YMFMA9vMVgE00hVyQQBGwl26jD1YgyqDg5hri7KELtSEeOgwTnwSsWC0szIDVoxgDC7BrnyrBoGCabGaYkmxgCawyTExSUywtEo2SLC2TTRNB59SlmJpLMijC3BwPjHbQWH5iXirQsngjQ9CRnsC-FlCNJE6rpPDISTNwQcYpQcMJMgwsJUWlqbLwgJGDhhqQ9vEM9PcDAN-nh00.
Scott, Niall. 2007b. Monsters and the Monstrous: Myths and Metaphors of Enduring Evil. At the interfaces, Probing the boundaries. Rodopi. https://warwick.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwY2AwNtIz0EUrE8ySEk2SQYfRJQLrB2ASMUwzBpbOwNaFRbJhiiX48ga3YDOvIAufCItAJgZX2NYY8IwhdJmiHqyshM-llicWlUOXWupBtgHYp4CLZlNgM8UIWDAzm1gCO2Ssjo7hgU4oTUh2kNbM5GykusRNkIE1FbTBQIiBKTVPmIEH6aaCShEGdZvcxKJsO19Qqw3YMFMA9vMVgE00hVyQQBGwl26jD1YgyqDg5hri7KELtSEeOgwTnwSsWC0szIDVoxgDC7BrnyrBoGCabGaYkmxgCawyTExSUywtEo2SLC2TTRNB59SlmJpLMijC3BwPjHbQWH5iXirQsngjQ9CRnsC-FlCNJE6rpPDISTNwQcYpQcMJMgwsJUWlqbLwgJGDhhqQ9vEM9PcDAN-nh00.
Selznick, David O., Robert E. Sherwood, Joan Harrison, et al. 2008. Rebecca. BBC2. Videorecording.
Shail, Robert. 2008. Seventies British Cinema. Palgrave Macmillan.
Short, Sue. 2006a. Misfit Sisters: Screen Horror as Female Rites of Passage. Palgrave Macmillan. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2520086.
Short, Sue. 2006b. Misfit Sisters: Screen Horror as Female Rites of Passage. Palgrave Macmillan. https://go.exlibris.link/DPFrSMt3.
Siddique, Sophia, and Raphael Raphael, eds. 2016. Transnational Horror Cinema: Bodies of Excess and the Global Grotesque. Palgrave Macmillan.
Simon, Adam. 2002. The American Nightmare. FilmFour. Videorecording.
Simpson, M. J. n.d. Urban Terrors: New British Horror Cinema, 1997-2008. Hemlock Books, 2012.
Skal, David J. 2001. The Monster Show: A Cultural History of Horror. Revised edition. Faber and Faber.
Spadoni, Robert. 2007. Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre. University of California Press. https://go.exlibris.link/BYD0rD4t.
Spigel, Lynn, and Denise Mann. 1992. Private Screenings: Television and the Female Consumer. A Camera obscura book. University of Minnesota Press. https://go.exlibris.link/nnNtKGh1.
Spooner, Catherine, and Emma McEvoy. 2007. The Routledge Companion to Gothic. Routledge. https://go.exlibris.link/Pff4rYGF.
Stokes, Melvyn, and Richard Maltby. 1999. Identifying Hollywood’s Audiences: Cultural Identity and the Movies. British Film Institute.
Stratton, J. 2011. ‘Zombie Trouble: Zombie Texts, Bare Life and Displaced People’. European Journal of Cultural Studies 14 (3): 265–81. https://doi.org/10.1177/1367549411400103.
Tangherlini, Timothy R. 2001. Ghost in the Machine: Supernatural Threat and the State in Lars von Trier’s Riget. https://literature.proquest.com/searchFulltext.do?id=R01620147&divLevel=0&area=abell&forward=critref_ft.
Tatar, Maria. 2009. Enchanted Hunters: The Power of Stories in Childhood. 1st ed. W.W. Norton.
Taylor, Jenny Bourne. 2006. The Cambridge Companion to Wilkie Collins. Cambridge University Press. https://go.exlibris.link/0zBysvPN.
The Babadook (2014). n.d. FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/083C1235?bcast=122959503.
Thornham, Sue. 1999. Feminist Film Theory: A Reader. Edinburgh University Press.
Tudor, A. 1974. ‘Cinema and Society: Film Movements’. In Image and Influence: Studies in the Sociology of Film. Allen and Unwin. https://contentstore.cla.co.uk/secure/link?id=6684dccd-db43-e611-80bd-0cc47a6bddeb.
Tudor, Andrew. 1989. Monsters and Mad Scientists: A Cultural History of the Horror Movie. Basil Blackwell.
Tudor, Andrew. 1995. ‘Unruly Bodies, Unquiet Minds’. Body & Society 1 (1): 25–41. https://doi.org/10.1177/1357034X95001001003.
Tudor, Andrew. 1997. ‘Why Horror? The Peculiar Pleasures of a Popular Genre’. Cultural Studies 11 (3): 443–63. https://doi.org/10.1080/095023897335691.
Tyler, Imogen. 2013. Revolting Subjects: Social Abjection and Resistance in Neoliberal Britain. Zed Books Ltd. https://go.exlibris.link/PrTffdYw.
Valck, Marijke de. 2007. Film Festivals: From European Geopolitics to Global Cinephilia. Film culture in transition. Amsterdam University Press. https://warwick.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwnZ1dS8MwFIYPc7vxzk_UqewPdKZJmtPBEEQsU7zxg-FdSZYERLdJ1f_vOemYH5feBJJQSk9L8r6n5DkASg5F9mdNwJmMufFSo8odI1oCKX2nAi2VWoXImYLqwdzcl7dP5V0H5O9MxnBpydun__ote4As-7AQjEYwZOgVQ8Q2oGcUjth_XeD1Os3CEgFLruYwYpIJ2wVsuTvrftmiN0l5JN7s9zjXQOIb_9hwqi3oBT6FsA2dsNiBbvX8Ot-F_nhum5dz7gwqpmPQV_I-PkuDezCtrh4vJ9mquEFmcxJNOqMmoHfRyYDKezGzwmEcuegNypCrwhvaKQpEwVuwMnqGwpKdpPkYpSrUPnQXy0U4gEHhAwnlqHTUubZobCmiI22BLggnrT4Ekx6kfmsJFjUzpVexrdsZim0tRU1BrVNQ6xTUo_9e2IfNNgnKuYpj6H40n-GEj0U1XCD-NL0jaqf55AvZCJFo.
Vincendeau, Ginette and British Film Institute. 2001. Film/Literature/Heritage: A Sight and Sound Reader. British Film Institute.
Walker, J. 2014. ‘Low Budgets, No Budgets, and Digital-Video Nasties: Recent British Horror and Informal Distribution’. In Merchants of Menace: The Business of Horror Cinema, edited by Richard Nowell. Bloomsbury, an imprint of Bloomsbury Publishing Inc. https://contentstore.cla.co.uk/secure/link?id=c5951dff-de43-e611-80bd-0cc47a6bddeb.
Walker, J. 2016. ‘Heartless Hoodies’. In Contemporary British Horror Cinema: Industry, Genre and Society. Edinburgh University Press. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3021554.
Walker, Johnny. 2016. Contemporary British Horror Cinema: Industry, Genre and Society. Edinburgh University Press.
Waller, Gregory A. 1985. The Living and the Undead: From Stoker’s Dracula to Romero’s Dawn of the Dead. University of Illinois Press.
Waller, Gregory A. 1987a. American Horrors: Essays on the Modern American Horror Film. University of Illinois Press.
Waller, Gregory A. 1987b. American Horrors: Essays on the Modern American Horror Film. University of Illinois Press.
Waller, Gregory A. 1987c. American Horrors: Essays on the Modern American Horror Film. University of Illinois Press.
Warner, Marina. 1998. No Go the Bogeyman: Scaring, Lulling, and Making Mock. Chatto & Windus.
Wee, Valerie. 2014. Japanese Horror Films and Their American Remakes: Translating Fear, Adapting Culture. Routledge advances in film studies. Routledge/Taylor & Francis Group. https://go.exlibris.link/JNlPdmqk.
Weetch, Owen. 2012. ‘Reading Parallax: 3D Meaning Construction in “The Hole”’. CineAction (Canada), no. 89: 14–21. http://0-search.proquest.com.pugwash.lib.warwick.ac.uk/docview/1326199468/7D1847A829E34CD0PQ/5?accountid=14888.
Wells, Paul. 2000. The Horror Genre: From Beezlebub to Blair Witch. Short cuts. Wallflower.
Whale, James, Boris Karloff, and Mary Wollstonecraft Shelley. 1931. Frankenstein. Universal Studios (UK). Videorecording. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp.warwick.ac.uk%2Fidp%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F000791DC%3Fbcast%3D132984342.
Wheatley, H. 2006. ‘Showing Less, Suggesting More: The Ghost Story On British Television’. In Gothic Television. Manchester University Press. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3362214.
Wheatley, Helen. 2006a. Gothic Television. Manchester University Press.
Wheatley, Helen. 2006b. Gothic Television. Manchester University Press.
Wheatley, Helen. 2012. ‘Uncanny Children, Haunted Houses, Hidden Rooms: Children’s Gothic Televisio...’ Visual Culture in Britain 13 (3): 383–97. http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=aft&AN=83380745&site=ehost-live.
Wheatley, Helen. 2016. Spectacular Television: Exploring Televisual Pleasure. I.B. Tauris. https://go.exlibris.link/qkX3ZThD.
Wide Angle. n.d.-a. (Baltimore).
Wide Angle. n.d.-b. (Baltimore).
Williams, Linda. 1999. Hard Core: Power, Pleasure, and the ‘Frenzy of the Visible’. Expanded pbk. ed. University of California Press. https://hdl.handle.net/2027/heb.08072.0001.001.
Williams, Tony. 1996. Hearths of Darkness: The Family in the American Horror Film. Fairleigh Dickinson University Press.
Wong, Cindy H. 2011. Film Festivals: Culture, People, and Power on the Global Screen. Rutgers University Press.
Wood, Robin. 1986. ‘Normality and Monsters: The Films of Larry Cohen and George Romero’. In Hollywood from Vietnam to Reagan. Columbia University Press.
Worland, Rick. 2007. The Horror Film: An Introduction. New approaches to film genre. Blackwell Pub.
