Abbott, Stacey. 2016. Undead Apocalypse: Vampires and Zombies in the Twenty-First Century. Edinburgh: 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. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/23360281?seq=1#page_scan_tab_contents.
Arnold, Sarah. 2013. Maternal Horror Film: Melodrama and Motherhood. Houndmills, Basingstoke, Hampshire: 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. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/30219292?seq=1#page_scan_tab_contents.
Balmain, Colette. 2008. Introduction to Japanese Horror Film. Edinburgh: Edinburgh University Press. https://go.exlibris.link/HXLg9ZJ4.
Barr, Charles and British Film Institute. 1986. All Our Yesterdays: 90 Years of British Cinema. London: BFI Publishing.
Barta, Tony. 1998. Screening the Past: Film and the Representation of History. Westport, Conn: Praeger.
Bell, Emma, and Neil Mitchell. 2012. Britain. Vol. Directory of world cinema. Bristol: Intellect. https://go.exlibris.link/9RqBqxcy.
Bell, James and British Film Institute. 2013. Gothic: The Dark Heart of Film. London: BFI.
Berenstein, Rhona J. 1996. Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema. Vol. Film and culture. New York: Columbia University Press.
Bettelheim, Bruno. 1991. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Harmondsworth: Penguin.
Bingham, Adam. 2015. Contemporary Japanese Cinema since Hana-Bi. Vol. Traditions in world cinema. Edinburgh: 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. Jefferson, N.C.: 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. Jefferson, N.C.: McFarland. https://go.exlibris.link/3VcXlLDm.
Bosma, Peter. 2015. Film Programming: Curating for Cinemas, Festivals, Archives. Vol. Short cuts series. New York: 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. Vol. New critical idiom. London: 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.:205–20. London: I. B. Tauris.
Browning, Mark. 2007. David Cronenberg: Author or Film-Maker? Bristol: Intellect Books.
Buckingham, David. 1996. Moving Images: Understanding Children’s Emotional Responses to Television. Manchester: Manchester University Press.
Carol J. Clover. 1987. ‘Her Body, Himself: Gender in the Slasher Film’. Representations, no. 20: 187–228. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/2928507?seq=1#page_scan_tab_contents.
Carpenter, John, David Foster, Lawrence Turman, Bill Lancaster, Kurt Russell, Wilford Brimley, T. K. Carter, David Clennon, John W. Campbell, and Universal Pictures (Firm). 1982. ‘The Thing’. [London]: Universal Pictures. https://learningonscreen.ac.uk/ondemand/index.php/prog/00005ABF?bcast=95561559.
Carpenter, John, Debra Hill, Moustapha Akkad, Donald Pleasence, Jamie Lee Curtis, Nancy Loomis, P. J. Soles, Compass International Pictures, Anchor Bay Entertainment, Inc, and BBC One (Television station : London, England). 1979. ‘Halloween’. Videorecording. [U.K.]: BBC1.
Carroll, Noel. 1990. ‘Why Horror?’ In The Philosophy of Horror or Paradoxes of the Heart, 158–95. London: Routledge.
Ceyton, Kristina, Essie Davis, Daniel Henshall, Jennifer Kent, Jed Kurzel, Radek Ladczuk, Hayley McElhinney, et al. n.d. ‘The Babadook’. [London]: Icon Film Distribution.
Chibnall, Steve, and Julian Petley. 2002a. British Horror Cinema. Vol. British popular cinema. London: Routledge.
———. 2002b. British Horror Cinema. Vol. British popular cinema. London: Routledge.
Christie, Deborah, and Sarah Juliet Lauro. 2011. Better off Dead: The Evolution of the Zombie as Post-Human. 1st ed. New York: 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. London: I. B. Tauris.
———. 2010b. Horror Zone: The Cultural Experience of Contemporary Horror Cinema. London: I. B. Tauris.
Crane, Jonathan Lake. 1994a. Terror and Everyday Life: Singular Moments in the History of the Horror Film. Thousand Oaks, Calif: Sage Publications. https://go.exlibris.link/h6Zk07Vv.
———. 1994b. Terror and Everyday Life: Singular Moments in the History of the Horror Film. Thousand Oaks, Calif: Sage Publications. https://go.exlibris.link/h6Zk07Vv.
Creeber, Glen. 2004. Serial Television: Big Drama on the Small Screen. London: 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. Vol. Popular fiction series. London: Routledge. https://go.exlibris.link/470q8WS7.
———. 2005. Phallic Panic: Film, Horror and the Primal Uncanny. Carlton, Vic., Australia: Melbourne University Press.
Curran, James, and Vincent Porter. 1983. British Cinema History. London: Weidenfeld and Nicolson.
Dante, Joe, FilmFour (Firm), Bold Films, and Benderspink (Firm). 2013. ‘The Hole’. Videorecording. [United Kingdom]: Film4. 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. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/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. Rutherford, (etc.): Fairleigh Dickinson University Press.
Dixon, Wheeler W. 1994. Re-Viewing British Cinema, 1900-1992: Essays and Interviews. Albany: State University of New York Press.
———. 2010. A History of Horror. New Brunswick, N.J.: Rutgers University Press. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2963660.
Donald, James. 1989. Fantasy and the Cinema. London: 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. Vol. Advances in semiotics. Bloomington: Indiana University Press.
———. 1995. Six Walks in the Fictional Woods. Vol. The Charles Eliot Norton lectures. Cambridge, Massachusetts: Harvard University Press.
Eggers, Robert, Jay Van Hoy, Lars Knudsen, Jodi Redmond, Daniel Bekerman, Rodrigo Teixeira, Anya Taylor-Joy, et al. 2015. ‘The Witch: A New England Folktale’. [United States]: Witch Movie.
Ellis, Kate Ferguson. 1989. The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology. Urbana: University of Illinois Press.
Elsaesser, Thomas. 2013. ‘Film Festival Networks: The New Topographies of Cinema in Europe’. In The Film Festival Reader, 69–96. St Andrews, Scotland: St Andrews Film Studies. https://0-www-degruyter-com.pugwash.lib.warwick.ac.uk/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. Vol. Films need festivals, festivals need films. St Andrews: St Andrews Film Studies.
Fleenor, Juliann E. 1983. The Female Gothic. Montreal: Eden Press.
Forshaw, Barry. 2013. British Gothic Cinema. Vol. Palgrave gothic series. Houndmills, Basingstoke, Hampshire: 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, 194–204. London: British Film Institute.
Gledhill, Christine and British Film Institute. 1987. Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. London: 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, 370–86. Lanham, Md: 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. Vol. Texas film studies series. Austin: University of Texas Press.
———. 1996b. The Dread of Difference: Gender and the Horror Film. Vol. Texas film studies series. Austin: University of Texas Press.
Grant, Barry Keith, and Christopher Sharrett. 2004. Planks of Reason: Essays on the Horror Film. Rev. ed. Lanham, Md: Scarecrow Press.
Halberstam, J. 1995. ‘Bodies That Splatter: Queers and Chainsaws’. In Skin Shows: Gothic Horror and the Technology of Monsters, 138–60. Durham: 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: Edinburgh University Press.
———. 2005b. The Contemporary Television Series. Edinburgh: Edinburgh University Press. https://go.exlibris.link/8yfbzK0D.
Hanson, Helen. 2007. Hollywood Heroines: Women in Film Noir and the Female Gothic Film. London: I. B. Tauris. https://go.exlibris.link/YW0LtYHg.
Hark, Ina Rae. 2002. Exhibition: The Film Reader. Vol. In focus. London: Routledge.
Hayward, Philip, ed. 2009. Terror Tracks: Music, Sound and Horror Cinema. Vol. Genre, music and sound. London, England: 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, 33–62. London: 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. New Haven: Yale University Press.
Hills, M. 2005. ‘TV Horror’. In The Pleasures of Horror, 111–28. New York: Continuum.
Hills, Matt. 2005. ‘TV Horror’. In The Pleasures of Horror, 111–28. New York: 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’. Videorecording. [U.K.]: Universal Pictures (UK).
Hopkins, Lisa. 2005. Screening the Gothic. 1st ed. Austin, TX: University of Texas Press. https://go.exlibris.link/8jrT3pfS.
Hughes, William, David Punter, and Andrew Smith. 2013. The Encyclopedia of the Gothic. Vol. The Wiley-Blackwell encyclopedia of literature. Chichester, West Sussex, UK: Wiley-Blackwell.
Humm, Peter, Paul Stigant, and Peter Widdowson. 1986. Popular Fictions: Essays in Literature and History. Vol. New accents. London: 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:82–98. London: 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. London: I.B. Tauris.
Hutchings, P. 1993. ‘Horror and the Family’. In Hammer and beyond: The British Horror Film, 159–85. Manchester: Manchester University Press.
Iordanova, Dina. 2009. Film Festival Yearbook 1:The Festival Circuit. Edited by Dina Iordanova and Ragan Rhyne. Vol. Film festival yearbook. St. Andrews, Scotland: St. Andrews Film Studies in collaboration with College Gate Press.
———. 2013. The Film Festival Reader. St Andrews, Scotland: 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. Vol. Film festival yearbook. St. Andrews, Scotland: St Andrews Film Studies.
———. 2011a. Film Festivals and East Asia. Edited by Dina Iordanova and Ruby Cheung. Vol. Film festival Yearbook 3: Film Festivals and East Asia. St. Andrews, Scotland: St Andrews Film Studies.
———, eds. 2011b. Film Festivals and East Asia. Vol. Film festival yearbook. St. Andrews, Scotland: 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. Vol. Film festival yearbook. St Andrews: St Andrews Film Studies.
Iordanova, Dina, and Stefanie Van de Peer, eds. 2014. Film Festivals and the Middle East. Vol. Film festival yearbook. St Andrews: St Andrews Film Studies.
Jancovich, Mark. 2002. Horror: The Film Reader. Vol. In focus. London: 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. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1213717?seq=1#page_scan_tab_contents.
Johnston, Derek. 2015. Haunted Seasons: Television Ghost Stories for Christmas and Horror for Halloween. Vol. The Palgrave gothic series. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. https://go.exlibris.link/6FBKxTtT.
Jones, Owen. 2011. Chavs: The Demonization of the Working Class. London: Verso.
Joshi, S. T. 2006. Icons of Horror and the Supernatural: An Encyclopedia of Our Worst Nightmares [Two Volumes]. Hardcover. Greenwood Press.
Jowett, L. 2013. ‘TV as Horror’. In TV Horror: Investigating the Dark Side of the Small Screen, Investigating cult TV.:179–200. London: 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.:179–200. London: I.B. Tauris.
———. 2013b. ‘TV as Horror’. In TV Horror: Investigating the Dark Side of the Small Screen, Investigating cult TV.:179–200. London: 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, 238–57. New York: 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. New York: Routledge. https://go.exlibris.link/cCyG9c0j.
King, Stephen. 2010a. Danse Macabre. Gallery Books trade pbk. ed. New York: Gallery.
———. 2010b. Danse Macabre. Gallery Books trade pbk. ed. New York: Gallery.
Kovacs, Lee. 2005. The Haunted Screen: Ghosts in Literature and Film. Jefferson, N.C.: McFarland & Co.
Kracauer, S. 2004. ‘Procession of Tyrants’. In From Caligari to Hitler: A Psychological History of the German Film, Rev. and expanded ed, 77–87. Princeton, N.J.: Princeton University Press.
Kracauer, Siegfried. 1947. From Caligari to Hitler: A Psychological History of the German Film. Princeton,New Jersey: Princeton University Press.
Kristeva, Julia. 1982. ‘Approaching Abjection’. The Oxford Literary Review 5.
Leach, Jim. 2004. British Film. Vol. National film traditions. Cambridge, UK: Cambridge University Press. https://go.exlibris.link/02xVf8WL.
Leggott, James. 2008. Contemporary British Cinema: From Heritage to Horror. Vol. Short cuts series. London: Wallflower.
Lennard, Dominic. 2014. Bad Seeds and Holy Terrors: The Child Villains of Horror Film. Vol. SUNY series, horizons of cinema. Albany: 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. London: I.B. Tauris.
MacCabe, Colin. 1986. High Theory/Low Culture: Analysing Popular Television and Film. Vol. Images of culture. Manchester: Manchester University Press.
Magistrale, Tony. 2005a. Abject Terrors: Surveying the Modern and Postmodern Horror Film. New York: Peter Lang.
———. 2005b. Abject Terrors: Surveying the Modern and Postmodern Horror Film. New York: Peter Lang.
Marlow-Mann, Alex, ed. 2013. Archival Film Festivals. Vol. Film festival yearbook. St Andrews: St Andrews Film Studies.
Mathijs, Ernest. 2008. The Cinema of David Cronenberg: From Baron of Blood to Cultural Hero. Vol. Directors’ cuts. London: Wallflower.
McIntosh, Shawn, and Marc Leverette. 2008. Zombie Culture: Autopsies of the Living Dead. Lanham, Md: Scarecrow Press.
McRoy, Jay. 2005. Japanese Horror Cinema. Vol. Traditions in world cinema. Edinburgh: Edinburgh University Press.
———. 2008. Nightmare Japan: Contemporary Japanese Horror Cinema. Vol. Contemporary cinema. Amsterdam: Rodopi. https://go.exlibris.link/G794cJwN.
Milbank, A. 1998. ‘Female Gothic’. In The Handbook to Gothic Literature, 53–57. Basingstoke: Macmillan.
Milbank, Alison. 1992. Daughters of the House: Modes of the Gothic in Victorian Fiction. Basingstoke: 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. Hamden, Conn: Archon Books.
Moreman, Christopher M., and Cory Rushton. 2011a. Race, Oppression and the Zombie: Essays on Cross-Cultural Appropriations of the Caribbean Tradition. Jefferson, N.C.: McFarland.
———. 2011b. Zombies Are Us: Essays on the Humanity of the Walking Dead. Jefferson, N.C.: McFarland.
Murphy, Robert and British Film Institute. 1992. Sixties British Cinema. London: British Film Institute. https://go.exlibris.link/LXpjJ0KQ.
———. 2009. The British Cinema Book. 3rd ed. London: BFI. https://go.exlibris.link/tMbvpRrv.
Murphy, Ryan, Brad Falchuk, Dylan McDermott, Connie Britton, Denis P. O’Hare, Jessica Lange, Taissa Farmiga, et al. 2012. ‘American Horror Story: The Complete First Season’. [U.K.]: 20th Century Fox Home Entertainment.
‘Mysterious Bodies’. 2007. 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. London: Cassell.
Nichols, Bill. 1985. Movies and Methods: Vol.2: An Anthology. Berkeley, Calif: 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. Electronic resource. New York: Continuum. http://ebookcentral.proquest.com/lib/warw/detail.action?docID=634569.
Odell, Colin, and Michelle Le Blanc. 2007. Horror Films. Harpenden: 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. Vol. SUNY series, interruptions--border testimony(ies) and critical discourse/s. Albany, N.Y.: State University of New York Press.
Pirie, David. 1973. A Heritage of Horror: The English Gothic Cinema, 1946-1972. London: Gordon Fraser Gallery Ltd.
———. 2008. A New Heritage of Horror: The English Gothic Cinema. [New ed.]. London: I.B. Tauris.
Porton, Richard. 2009. Dekalog: 03: On Film Festivals. Vol. Dekalog. London: Wallflower.
Prawer, S. S. 1980. Caligari’s Children: The Film as Tale of Terror. Oxford (etc.): Oxford University Press.
Propp, V. I︠A︡, and Louis A. Wagner. 1968. Morphology of the Folktale. 2nd ed. Vol. American Folklore Society bibliographical and special series. Austin: University of Texas Press.
Punter, David. 2000. A Companion to the Gothic. Vol. Blackwell companions to literature and culture series. Oxford: Blackwell Publishers.
Reilly, Kelly, Michael Fassbender, Christian Colson, Richard Holmes, James Watkins, Jack O’Connell, David Julyan, Rollercoaster Films (Firm), Aramid Entertainment (Firm), and ITV (Firm). 2008. ‘Eden Lake’. [London]: ITV4. https://learningonscreen.ac.uk/ondemand/index.php/prog/01268C4D?bcast=120784128.
‘Remember Me’. n.d. BBC1 London. https://learningonscreen.ac.uk/ondemand/index.php/prog/083487E3?bcast=114574508.
‘———’. n.d. BBC1 London. https://learningonscreen.ac.uk/ondemand/index.php/prog/083E226E?bcast=114616461.
‘———’. n.d. BBC1 London. https://learningonscreen.ac.uk/ondemand/index.php/prog/084457F0?bcast=114657181.
Reynolds, Kimberley, Geraldine Brennan, and Kevin McCarron. 2001. Frightening Fiction. Vol. Contemporary classics of children’s literature. London: Continuum. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3021318.
Rose, James. 2009a. Beyond Hammer: British Horror Cinema since 1970. Leighton Buzzard: Auteur.
———. 2009b. Beyond Hammer: British Horror Cinema since 1970. Leighton Buzzard: Auteur.
Ruoff, Jeffrey. 2012. Coming Soon to a Festival Near You: Programming Film Festivals. Edited by Jeffrey Ruoff. Scotland: St Andrews Film Studies.
Sargeant, Jack, and Stephanie Watson. 1999. Lost Highways: An Illustrated History of Road Movies. London: Creation.
Sasdy, Peter, Aida Young, Christopher Lee, Geoffrey Keen, Linda Hayden, Gwen Watford, Ralph Bates, et al. 1970. ‘Taste the Blood of Dracula’. Burbank, CA: Warner Home Video.
Schneider, Steven Jay. 2004. Horror Film and Psychoanalysis: Freud’s Worst Nightmare. Vol. Cambridge studies in film. Cambridge: 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. Vol. At the interfaces, probing the boundaries. Amsterdam: Rodopi. https://warwick.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwY2AwNtIz0EUrE8ySEk2SQYfRJQLrB2ASMUwzBpbOwNaFRbJhiiX48ga3YDOvIAufCItAJgZX2NYY8IwhdJmiHqyshM-llicWlUOXWupBtgHYp4CLZlNgM8UIWDAzm1gCO2Ssjo7hgU4oTUh2kNbM5GykusRNkIE1FbTBQIiBKTVPmIEH6aaCShEGdZvcxKJsO19Qqw3YMFMA9vMVgE00hVyQQBGwl26jD1YgyqDg5hri7KELtSEeOgwTnwSsWC0szIDVoxgDC7BrnyrBoGCabGaYkmxgCawyTExSUywtEo2SLC2TTRNB59SlmJpLMijC3BwPjHbQWH5iXirQsngjQ9CRnsC-FlCNJE6rpPDISTNwQcYpQcMJMgwsJUWlqbLwgJGDhhqQ9vEM9PcDAN-nh00.
———. 2007b. Monsters and the Monstrous: Myths and Metaphors of Enduring Evil. Vol. At the interfaces, probing the boundaries. Amsterdam: Rodopi. https://warwick.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwY2AwNtIz0EUrE8ySEk2SQYfRJQLrB2ASMUwzBpbOwNaFRbJhiiX48ga3YDOvIAufCItAJgZX2NYY8IwhdJmiHqyshM-llicWlUOXWupBtgHYp4CLZlNgM8UIWDAzm1gCO2Ssjo7hgU4oTUh2kNbM5GykusRNkIE1FbTBQIiBKTVPmIEH6aaCShEGdZvcxKJsO19Qqw3YMFMA9vMVgE00hVyQQBGwl26jD1YgyqDg5hri7KELtSEeOgwTnwSsWC0szIDVoxgDC7BrnyrBoGCabGaYkmxgCawyTExSUywtEo2SLC2TTRNB59SlmJpLMijC3BwPjHbQWH5iXirQsngjQ9CRnsC-FlCNJE6rpPDISTNwQcYpQcMJMgwsJUWlqbLwgJGDhhqQ9vEM9PcDAN-nh00.
Selznick, David O., Robert E. Sherwood, Joan Harrison, Alfred Hitchcock, Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson, and Daphne Du Maurier. 2008. ‘Rebecca’. Videorecording. [U.K.]: BBC2.
Shail, Robert. 2008. Seventies British Cinema. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
Short, Sue. 2006a. Misfit Sisters: Screen Horror as Female Rites of Passage. Basingstoke [England]: Palgrave Macmillan. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2520086.
———. 2006b. Misfit Sisters: Screen Horror as Female Rites of Passage. Basingstoke [England]: Palgrave Macmillan. https://go.exlibris.link/DPFrSMt3.
Siddique, Sophia, and Raphael Raphael, eds. 2016. Transnational Horror Cinema: Bodies of Excess and the Global Grotesque. London, United Kingdom: Palgrave Macmillan.
Simon, Adam. 2002. ‘The American Nightmare’. Videorecording. [U.K.]: FilmFour.
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. New York: Faber and Faber.
Spadoni, Robert. 2007. Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre. Berkeley: University of California Press. https://go.exlibris.link/BYD0rD4t.
Spigel, Lynn, and Denise Mann. 1992. Private Screenings: Television and the Female Consumer. Vol. A Camera obscura book. Minneapolis: University of Minnesota Press. https://go.exlibris.link/nnNtKGh1.
Spooner, Catherine, and Emma McEvoy. 2007. The Routledge Companion to Gothic. London: Routledge. https://go.exlibris.link/Pff4rYGF.
Stokes, Melvyn, and Richard Maltby. 1999. Identifying Hollywood’s Audiences: Cultural Identity and the Movies. London: 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’. http://0-literature.proquest.com.pugwash.lib.warwick.ac.uk/searchFulltext.do?id=R01620147&divLevel=0&area=abell&forward=critref_ft.
Tatar, Maria. 2009. Enchanted Hunters: The Power of Stories in Childhood. 1st ed. New York: W.W. Norton.
Taylor, Jenny Bourne. 2006. The Cambridge Companion to Wilkie Collins. Cambridge, UK: 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: Edinburgh University Press.
Tudor, A. 1974. ‘Cinema and Society: Film Movements’. In Image and Influence: Studies in the Sociology of Film, 152–79. London: 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. Oxford: Basil Blackwell.
———. 1995. ‘Unruly Bodies, Unquiet Minds’. Body & Society 1 (1): 25–41. https://doi.org/10.1177/1357034X95001001003.
———. 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. London: Zed Books Ltd. https://go.exlibris.link/PrTffdYw.
Valck, Marijke de. 2007. Film Festivals: From European Geopolitics to Global Cinephilia. Vol. Film culture in transition. Amsterdam: 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. London: 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, 215–28. New York: 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, 85–108. Edinburgh: 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: Edinburgh University Press.
Waller, Gregory A. 1985. The Living and the Undead: From Stoker’s Dracula to Romero’s Dawn of the Dead. Urbana: University of Illinois Press.
———. 1987a. American Horrors: Essays on the Modern American Horror Film. Urbana: University of Illinois Press.
———. 1987b. American Horrors: Essays on the Modern American Horror Film. Urbana: University of Illinois Press.
———. 1987c. American Horrors: Essays on the Modern American Horror Film. Urbana: University of Illinois Press.
Warner, Marina. 1998. No Go the Bogeyman: Scaring, Lulling, and Making Mock. London: Chatto & Windus.
Wee, Valerie. 2014. Japanese Horror Films and Their American Remakes: Translating Fear, Adapting Culture. Vol. Routledge advances in film studies. New York: Routledge/Taylor & Francis Group. https://go.exlibris.link/JNlPdmqk.
Weetch, Owen. 2012. ‘Reading Parallax: 3D Meaning Construction in “The Hole”’. CineAction, 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. Vol. Short cuts. London: Wallflower.
Whale, James, Boris Karloff, and Mary Wollstonecraft Shelley. 1931. ‘Frankenstein’. Videorecording. [London]: Universal Studios (UK). 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, 26–56. Manchester: Manchester University Press. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3362214.
Wheatley, Helen. 2006a. Gothic Television. Manchester: Manchester University Press.
———. 2006b. Gothic Television. Manchester: Manchester University Press.
———. 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.
———. 2016. Spectacular Television: Exploring Televisual Pleasure. London: I.B. Tauris. https://go.exlibris.link/qkX3ZThD.
‘Wide Angle’. n.d.
‘———’. n.d.
Williams, Linda. 1999. Hard Core: Power, Pleasure, and the ‘Frenzy of the Visible’. Expanded pbk. ed. Berkeley: University of California Press. http://0-hdl.handle.net.pugwash.lib.warwick.ac.uk/2027/heb.08072.0001.001.
Williams, Tony. 1996. Hearths of Darkness: The Family in the American Horror Film. Madison N.J.: Fairleigh Dickinson University Press.
Wong, Cindy H. 2011. Film Festivals: Culture, People, and Power on the Global Screen. New Brunswick, New Jersey: Rutgers University Press.
Wood, Robin. 1986. ‘Normality and Monsters: The Films of Larry Cohen and George Romero’. In Hollywood from Vietnam to Reagan, 95–134. New York: Columbia University Press.
Worland, Rick. 2007. The Horror Film: An Introduction. Vol. New approaches to film genre. Malden, MA: Blackwell Pub.