1.
Whale, J., Karloff, B., Shelley, M.W.: Frankenstein, 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, (1931).
2.
Murphy, R., Falchuk, B., McDermott, D., Britton, C., O’Hare, D.P., Lange, J., Farmiga, T., Peters, E., Rabe, L., FX Networks, LLC, Brad Falchuk Teley-Vision, Ryan Murphy Productions, Twentieth Century-Fox Film Corporation, Twentieth Century Fox Home Entertainment, Inc, Twentieth Century-Fox Television, Inc: American Horror Story: The Complete First Season, (2012).
3.
Carroll, N.: Why Horror? In: The philosophy of horror or paradoxes of the heart. pp. 158–195. Routledge, London (1990).
4.
Gledhill, C.: The Horror Film. In: The cinema book. pp. 194–204. British Film Institute, London (1999).
5.
Hills, M.: TV Horror. In: The pleasures of horror. pp. 111–128. Continuum, New York (2005).
6.
Dixon, W.W.: A History of Horror. Rutgers University Press, New Brunswick, N.J. (2010).
7.
Hammond, M., Mazdon, L.: The Contemporary Television Series. Edinburgh University Press, Edinburgh (2005).
8.
Jowett, L.: TV as horror. In: TV Horror: Investigating the Dark Side of the Small Screen. pp. 179–200. I.B. Tauris, London (2013).
9.
King, S.: Danse Macabre. Gallery, New York (2010).
10.
Magistrale, T.: Abject Terrors: Surveying the Modern and Postmodern Horror Film. Peter Lang, New York (2005).
11.
Odell, C., Le Blanc, M.: Horror Films. Kamera, Harpenden (2007).
12.
Humm, P., Stigant, P., Widdowson, P.: Popular Fictions: Essays in Literature and History. Methuen, London (1986).
13.
Prawer, S.S.: Caligari’s Children: The Film as Tale of Terror. Oxford University Press, Oxford (etc.) (1980).
14.
Waller, G.A.: American Horrors: Essays on the Modern American Horror Film. University of Illinois Press, Urbana (1987).
15.
Wells, P.: The Horror Genre: From Beezlebub to Blair Witch. Wallflower, London (2000).
16.
Wheatley, H.: Gothic Television. Manchester University Press, Manchester (2006).
17.
Nichols, B.: Movies and Methods: Vol.2: An Anthology. University of California Press, Berkeley, Calif (1985).
18.
Worland, R.: The Horror Film: An Introduction. Blackwell Pub, Malden, MA (2007).
19.
Reilly, K., Fassbender, M., Colson, C., Holmes, R., Watkins, J., O’Connell, J., Julyan, D., Rollercoaster Films (Firm), Aramid Entertainment (Firm), ITV (Firm): Eden Lake, https://learningonscreen.ac.uk/ondemand/index.php/prog/01268C4D?bcast=120784128, (2008).
20.
Sasdy, P., Young, A., Lee, C., Keen, G., Hayden, L., Watford, G., Bates, R., Higgins, A., Sallis, P., Carson, J., Jarvis, M., Blair, I., Stoker, B., Warner Bros, Hammer Film Productions, Warner Home Video (Firm): Taste the Blood of Dracula, (1970).
21.
Hutchings, P.: Horror and the Family. In: Hammer and beyond: the British horror film. pp. 159–185. Manchester University Press, Manchester (1993).
22.
Walker, J.: Heartless Hoodies. In: Contemporary British horror cinema: industry, genre and society. pp. 85–108. Edinburgh University Press, Edinburgh (2016).
23.
Chibnall, S., Petley, J.: British Horror Cinema. Routledge, London (2002).
24.
Murphy, R., British Film Institute: The British cinema book. BFI, London (2009).
25.
Conrich, I.: Horror Zone: The Cultural Experience of Contemporary Horror Cinema. I. B. Tauris, London (2010).
27.
Donald, J.: Fantasy and the Cinema. British Film Institute, London (1989).
28.
Forshaw, B.: British Gothic Cinema. Palgrave Macmillan, Houndmills, Basingstoke, Hampshire (2013).
29.
Barta, T.: Screening the Past: Film and the Representation of History. Praeger, Westport, Conn (1998).
30.
Jones, O.: Chavs: The Demonization of the Working Class. Verso, London (2011).
31.
Kracauer, S.: Procession of Tyrants. In: From Caligari to Hitler: a psychological history of the German film. pp. 77–87. Princeton University Press, Princeton, N.J. (2004).
32.
Kracauer, S.: From Caligari to Hitler: A Psychological History of the German Film. Princeton University Press, Princeton,New Jersey (1947).
33.
Crane, J.L.: Terror and Everyday Life: Singular Moments in the History of the Horror Film. Sage Publications, Thousand Oaks, Calif (1994).
34.
Leach, J.: British Film. Cambridge University Press, Cambridge, UK (2004).
35.
Leggott, J.: Contemporary British Cinema: From Heritage to Horror. Wallflower, London (2008).
36.
Lennard, D.: Bad Seeds and Holy Terrors: The Child Villains of Horror Film. State University of New York Press, Albany (2014).
37.
Murphy, R., British Film Institute: Sixties British Cinema. British Film Institute, London (1992).
38.
Newman, K., British Film Institute: The BFI companion to horror. Cassell, London (1996).
39.
Barr, C., British Film Institute: All Our Yesterdays: 90 Years of British Cinema. BFI Publishing, London (1986).
40.
Pirie, D.: A Heritage of Horror: The English Gothic Cinema, 1946-1972. Gordon Fraser Gallery Ltd, London (1973).
41.
Pirie, D.: A New Heritage of Horror: The English Gothic Cinema. I.B. Tauris, London (2008).
42.
Curran, J., Porter, V.: British Cinema History. Weidenfeld and Nicolson, London (1983).
43.
Rose, J.: Beyond Hammer: British Horror Cinema since 1970. Auteur, Leighton Buzzard (2009).
44.
Bell, E., Mitchell, N.: Britain. Intellect, Bristol (2012).
45.
Dixon, W.W.: Re-Viewing British Cinema, 1900-1992: Essays and Interviews. State University of New York Press, Albany (1994).
46.
Simpson, M.J.: Urban terrors: new British horror cinema, 1997-2008. , Hemlock Books, 2012.
47.
Skal, D.J.: The Monster Show: A Cultural History of Horror. Faber and Faber, New York (2001).
48.
Tudor, A.: Monsters and Mad Scientists: A Cultural History of the Horror Movie. Basil Blackwell, Oxford (1989).
49.
Tudor, A.: Why Horror? The Peculiar Pleasures of a Popular Genre. Cultural Studies. 11, 443–463 (1997). https://doi.org/10.1080/095023897335691.
50.
Jancovich, M.: Horror: The Film Reader. Routledge, London (2002).
51.
Tyler, I.: Revolting Subjects: Social Abjection and Resistance in Neoliberal Britain. Zed Books Ltd, London (2013).
52.
Vincendeau, G., British Film Institute: Film/Literature/Heritage: A Sight and Sound Reader. British Film Institute, London (2001).
53.
Iordanova, D., Cheung, R.: Film Festivals and East Asia. St Andrews Film Studies, St. Andrews, Scotland (2011).
54.
Dante, J., FilmFour (Firm), Bold Films, Benderspink (Firm): The Hole, https://learningonscreen.ac.uk/ondemand/index.php/prog/025D7277?bcast=121917926, (2013).
55.
Lester, C.: The Children’s Horror Film: Characterizing an ‘Impossible’ Subgenre. The Velvet Light Trap. 78, 22–37 (2016).
56.
Short, S.: Misfit sisters: screen horror as female rites of passage. Palgrave Macmillan, Basingstoke [England] (2006).
57.
Filipa Antunes: Children and Horror after PG-13: The Case of The Gate. Networking Knowledge: Journal of the MeCCSA Postgraduate Network. 6, (2014).
58.
Bettelheim, B.: The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Penguin, Harmondsworth (1991).
59.
Reynolds, K., Brennan, G., McCarron, K.: Frightening Fiction. Continuum, London (2001).
60.
Buckingham, D.: Moving Images: Understanding Children’s Emotional Responses to Television. Manchester University Press, Manchester (1996).
61.
Jowett, L.: TV as horror. In: TV Horror: Investigating the Dark Side of the Small Screen. pp. 179–200. I.B. Tauris, London (2013).
62.
Propp, V.I., Wagner, L.A.: Morphology of the Folktale. University of Texas Press, Austin (1968).
63.
Tatar, M.: Enchanted Hunters: The Power of Stories in Childhood. W.W. Norton, New York (2009).
64.
Warner, M.: No go the Bogeyman: Scaring, Lulling, and Making Mock. Chatto & Windus, London (1998).
65.
Weetch, O.: Reading Parallax: 3D Meaning Construction in ‘The Hole’. CineAction. 14–21 (2012).
66.
Wheatley, H.: Uncanny Children, Haunted Houses, Hidden Rooms: Children’s Gothic Televisio... Visual Culture in Britain. 13, 383–397 (2012).
67.
Selznick, D.O., Sherwood, R.E., Harrison, J., Hitchcock, A., Olivier, L., Fontaine, J., Sanders, G., Anderson, J., Du Maurier, D.: Rebecca, (2008).
68.
Helen, H.: Reviewing the Female Gothic Heroine: Agency, Identification and Feminist Film Critism. In: Hollywood heroines: women in film noir and the female gothic film. pp. 33–62. I. B. Tauris, London (2007).
69.
Milbank, A.: Female Gothic. In: The Handbook to Gothic literature. pp. 53–57. Macmillan, Basingstoke (1998).
70.
Goldberg, R.: 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. pp. 370–386. Scarecrow Press, Lanham, Md (2004).
71.
Bell, J., British Film Institute: Gothic: The Dark Heart of Film. BFI, London (2013).
72.
Botting, F.: Gothic. Routledge, London (1996).
73.
Thornham, S.: Feminist film theory: a reader. Edinburgh University Press, Edinburgh (1999).
74.
Gledhill, C., British Film Institute: Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. British Film Institute, London (1987).
75.
Eco, U.: The Role of the Reader: Explorations in the Semiotics of Texts. Indiana University Press, Bloomington (1979).
76.
Eco, U.: Six Walks in the Fictional Woods. Harvard University Press, Cambridge, Massachusetts (1995).
77.
Ellis, K.F.: The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology. University of Illinois Press, Urbana (1989).
78.
Gallafent, E.: Black Satin: Fantasy, Murder and the Couple in ‘Gaslight’ and ‘Rebecca’. Screen. 29, 84–105 (1988). https://doi.org/10.1093/screen/29.3.84.
79.
Hanson, H.: Hollywood Heroines: Women in Film Noir and the Female Gothic Film. I. B. Tauris, London (2007).
80.
Heller, T.: Dead secrets: Wilkie Collins and the Female Gothic. Yale University Press, New Haven (1992).
81.
Hollinger, K.: The Female Oedipal Drama of Rebecca from Novel to Film. Quarterly Review of Film and Video. 14, 17–30 (1993). https://doi.org/10.1080/10509209309361414.
82.
Hopkins, L.: Screening the gothic. University of Texas Press, Austin, TX (2005).
83.
Hughes, W., Punter, D., Smith, A.: The Encyclopedia of the Gothic. Wiley-Blackwell, Chichester, West Sussex, UK (2013).
84.
Spigel, L., Mann, D.: Private Screenings: Television and the Female Consumer. University of Minnesota Press, Minneapolis (1992).
85.
Taylor, J.B.: The Cambridge companion to Wilkie Collins. Cambridge University Press, Cambridge, UK (2006).
86.
Milbank, A.: Daughters of the House: Modes of the Gothic in Victorian Fiction. Macmillan, Basingstoke (1992).
87.
Miles, R.: Introduction to Special Number: Female Gothic. Women’s Writing. 1, 131–142 (1994). https://doi.org/10.1080/0969908940010201.
88.
Modleski, T.: Loving with a Vengeance: Mass-Produced Fantasies for Women. Archon Books, Hamden, Conn (1982).
90.
MacCabe, C.: High theory/low culture: analysing popular television and film. Manchester University Press, Manchester (1986).
91.
Fleenor, J.E.: The Female Gothic. Eden Press, Montreal (1983).
92.
Diane Waldman: ‘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, 29–40 (1984).
93.
Wheatley, H.: Gothic Television. Manchester University Press, Manchester (2006).
94.
Arnold, S.: Maternal horror film: melodrama and motherhood. Palgrave Macmillan, Houndmills, Basingstoke, Hampshire (2013).
95.
Balmain, C.: Introduction to Japanese horror film. Edinburgh University Press, Edinburgh (2008).
96.
Bingham, A.: Contemporary Japanese cinema since Hana-bi. Edinburgh University Press, Edinburgh (2015).
97.
Lury, K.: The child in film: tears, fears and fairytales. I.B. Tauris, London (2010).
98.
McRoy, J.: Japanese horror cinema. Edinburgh University Press, Edinburgh (2005).
99.
McRoy, J.: Nightmare Japan: contemporary Japanese horror cinema. Rodopi, Amsterdam (2008).
100.
Wee, V.: Japanese horror films and their American remakes: translating fear, adapting culture. Routledge/Taylor & Francis Group, New York (2014).
101.
Eggers, R., Van Hoy, J., Knudsen, L., Redmond, J., Bekerman, D., Teixeira, R., Taylor-Joy, A., Ineson, R., Dickie, K., Scrimshaw, H., Grainger, E., Dawson, L., Korven, M., Ford, L., Blaschke, J., Parts and Labor (Firm), RT Features (Firm), Rooks Nest Entertainment (Firm), Maiden Voyage Pictures (Firm), Mott Street Pictures (Firm), Code Red Productions (Firm), Scythia Films (Firm), Pulse Films, Special Projects (Firm), A24 (Firm): The witch: a New England folktale, (2015).
102.
Elsaesser, T.: Film festival networks: the new topographies of cinema in Europe. In: The film festival reader. pp. 69–96. St Andrews Film Studies, St Andrews, Scotland (2013).
103.
Hunt, L.: Necromancy in the UK: witchcraft & the occult in British horror. In: British horror cinema. pp. 82–98. Routledge, London (2002).
104.
Bitel, A.: The Best of FrightFest 2015. Sight and Sound. September 30, 2015,.
105.
Bosma, P.: Film programming: curating for cinemas, festivals, archives. Wallflower, an imprint of Columbia University Press, New York (2015).
106.
Chibnall, S., Petley, J.: British Horror Cinema. Routledge, London (2002).
107.
Valck, M. de: Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam University Press, Amsterdam (2007).
108.
Fischer, A.: Sustainable projections: concepts in film festival management. St Andrews Film Studies, St Andrews (2013).
109.
Hark, I.R.: Exhibition: The Film Reader. Routledge, London (2002).
110.
Joan Hawkins: Sleaze Mania, Euro-Trash, and High Art: The Place of European Art Films in American Low Culture. Film Quarterly. 53, 14–29 (2000).
111.
Iordanova, D.: The Film Festival Reader. St Andrews Film Studies, St Andrews, Scotland (2013).
112.
Iordanova, D.: Film Festival Yearbook 1:The Festival Circuit. St. Andrews Film Studies in collaboration with College Gate Press, St. Andrews, Scotland (2009).
113.
Iordanova, D., Cheung, R.: Film Festival Yearbook 2: Film Festivals and Imagined Communities. St Andrews Film Studies, St. Andrews, Scotland (2010).
114.
Iordanova, D., Cheung, R. eds: Film festivals and East Asia. St Andrews Film Studies, St. Andrews, Scotland (2011).
115.
Iordanova, D., Torchin, L.: Film Festival Yearbook 4: Film Festivals and Activism. St Andrews Film Studies, St Andrews (2012).
116.
Marlow-Mann, A. ed: Archival film festivals. St Andrews Film Studies, St Andrews (2013).
117.
Iordanova, D., Van de Peer, S. eds: Film festivals and the Middle East. St Andrews Film Studies, St Andrews (2014).
118.
Hayward, P. ed: Terror tracks: music, sound and horror cinema. Equinox, London, England (2009).
119.
Porton, R.: Dekalog: 03: On Film Festivals. Wallflower, London (2009).
120.
Rose, J.: Beyond Hammer: British horror cinema since 1970. Auteur, Leighton Buzzard (2009).
121.
Ruoff, J.: Coming Soon to a Festival Near You: Programming Film Festivals. St Andrews Film Studies, Scotland (2012).
122.
Shail, R.: Seventies British cinema. Palgrave Macmillan, Houndmills, Basingstoke, Hampshire (2008).
123.
Walker, J.: Contemporary British Horror Cinema: Industry, Genre and Society. Edinburgh University Press, Edinburgh (2016).
124.
Wong, C.H.: Film Festivals: Culture, People, and Power on the Global Screen. Rutgers University Press, New Brunswick, New Jersey (2011).
125.
Palin, Michael.: 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.
126.
Remember Me, https://learningonscreen.ac.uk/ondemand/index.php/prog/083487E3?bcast=114574508.
127.
Remember Me, https://learningonscreen.ac.uk/ondemand/index.php/prog/083E226E?bcast=114616461.
128.
Remember Me, https://learningonscreen.ac.uk/ondemand/index.php/prog/084457F0?bcast=114657181.
129.
Ceyton, K., Davis, E., Henshall, D., Kent, J., Kurzel, J., Ladczuk, R., McElhinney, H., Moliere, K., Njoo, S., West, B., Winspear, B., Wiseman, N., Causeway Films, Entertainment One (Firm : Canada), Screen Australia, Smoking Gun Productions (Firm), South Australian Film Corporation: The Babadook.
130.
The Babadook (2014), https://learningonscreen.ac.uk/ondemand/index.php/prog/083C1235?bcast=122959503.
131.
Freud, S.: The Uncanny.
132.
Wheatley, H.: Showing Less, Suggesting More: the Ghost Story On British Television. In: Gothic television. pp. 26–56. Manchester University Press, Manchester (2006).
133.
Aviva Briefel: What Some Ghosts Don’t Know: Spectral Incognizance and the Horror Film. Narrative. 17, 95–110 (2009).
134.
Creeber, G.: Serial Television: Big Drama on the Small Screen. BFI, London (2004).
135.
Johnston, D.: Haunted seasons: television ghost stories for Christmas and horror for Halloween. Palgrave Macmillan, Houndmills, Basingstoke, Hampshire (2015).
136.
Kovacs, L.: The Haunted Screen: Ghosts in Literature and Film. McFarland & Co, Jefferson, N.C. (2005).
137.
Peacock, S.: Two Kingdoms Two Kings. Critical Studies in Television: The International Journal of Television Studies. 4, 24–36 (2009). https://doi.org/10.7227/CST.4.2.4.
138.
Punter, D.: A Companion to the Gothic. Blackwell Publishers, Oxford (2000).
139.
Schneider, S.J.: Horror Film and Psychoanalysis: Freud’s Worst Nightmare. Cambridge University Press, Cambridge (2004).
140.
Spooner, C., McEvoy, E.: The Routledge Companion to Gothic. Routledge, London (2007).
141.
Spadoni, R.: Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre. University of California Press, Berkeley (2007).
142.
Tangherlini, T.R.: Ghost in the Machine: Supernatural Threat and the State in Lars von Trier’s Riget. (2001).
143.
Carpenter, J., Foster, D., Turman, L., Lancaster, B., Russell, K., Brimley, W., Carter, T.K., Clennon, D., Campbell, J.W., Universal Pictures (Firm): The Thing, https://learningonscreen.ac.uk/ondemand/index.php/prog/00005ABF?bcast=95561559, (1982).
144.
Tudor, A.: Unruly Bodies, Unquiet Minds. Body & Society. 1, 25–41 (1995). https://doi.org/10.1177/1357034X95001001003.
145.
Kristeva, J.: Approaching Abjection. The Oxford literary review. 5, (1982).
146.
Boss, P.: Vile Bodies and Bad Medicine. Screen. 27, 14–25 (1986). https://doi.org/10.1093/screen/27.1.14.
147.
Brown, S., Abbott, S.: The art of splatter: Dexter, CSI, Bones and body horror. In: Dexter: investigating cutting edge television. pp. 205–220. I. B. Tauris, London (2010).
148.
Creed, B.: Horror and the Monstrous-Feminine: An Imaginary Abjection. Screen. 27, 44–71 (1986). https://doi.org/10.1093/screen/27.1.44.
149.
Creed, B.: The Monstrous Feminine: Film, Feminism, Psychoanalysis. Routledge, London (1993).
150.
Browning, M.: David Cronenberg: Author or Film-Maker? Intellect Books, Bristol (2007).
151.
Creed, B.: Phallic Panic: Film, Horror and the Primal Uncanny. Melbourne University Press, Carlton, Vic., Australia (2005).
152.
Mysterious Bodies, http://intensitiescultmedia.com/2012/12/11/intensities-the-journal-of-cult-media-4-mysterious-bodies/.
153.
Hammond, M., Mazdon, L.: The Contemporary Television Series. Edinburgh University Press, Edinburgh (2005).
154.
Hills, M.: TV Horror. In: The Pleasures of Horror. pp. 111–128. Continuum, New York (2005).
155.
King, S.: Danse Macabre. Gallery, New York (2010).
156.
Crane, J.L.: Terror and Everyday Life: Singular Moments in the History of the Horror Film. Sage Publications, Thousand Oaks, Calif (1994).
157.
Mathijs, E.: The Cinema of David Cronenberg: From Baron of Blood to Cultural Hero. Wallflower, London (2008).
158.
Kackman, M.: Flow TV: Television in the Age of Media Convergence. Routledge, New York (2011).
159.
Waller, G.A.: American Horrors: Essays on the Modern American Horror Film. University of Illinois Press, Urbana (1987).
160.
Wheatley, H.: Spectacular television: exploring televisual pleasure. I.B. Tauris, London (2016).
161.
Williams, L.: Hard core: power, pleasure, and the ‘frenzy of the visible’. University of California Press, Berkeley (1999).
162.
Linda Williams: Film Bodies: Gender, Genre, and Excess. Film Quarterly. 44, 2–13 (1991).
163.
Carpenter, J., Hill, D., Akkad, M., Pleasence, D., Curtis, J.L., Loomis, N., Soles, P.J., Compass International Pictures, Anchor Bay Entertainment, Inc, BBC One (Television station : London, England): Halloween, (1979).
164.
Hooper, T., Henkel, K., Burns, M., Hansen, G., Danziger, A., Partain, P.A.: The Texas Chainsaw Massacre, (1974).
165.
Carol J. Clover: Her Body, Himself: Gender in the Slasher Film. Representations. 187–228 (1987).
166.
Halberstam, J.: Bodies that splatter: queers and chainsaws. In: Skin shows: gothic horror and the technology of monsters. pp. 138–160. Duke University Press, Durham (1995).
167.
Berenstein, R.J.: Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema. Columbia University Press, New York (1996).
168.
Stokes, M., Maltby, R.: Identifying Hollywood’s Audiences: Cultural Identity and the Movies. British Film Institute, London (1999).
169.
Dika, V.: Games of Terror: Halloween, Friday the 13th, and the Films of the Stalker Cycle. Fairleigh Dickinson University Press, Rutherford, (etc.) (1990).
170.
Conrich, I.: Horror Zone: The Cultural Experience of Contemporary Horror Cinema. I. B. Tauris, London (2010).
171.
Magistrale, T.: Abject Terrors: Surveying the Modern and Postmodern Horror Film. Peter Lang, New York (2005).
172.
Sargeant, J., Watson, S.: Lost Highways: An Illustrated History of Road Movies. Creation, London (1999).
173.
Grant, B.K., Sharrett, C.: Planks of Reason: Essays on the Horror Film. Scarecrow Press, Lanham, Md (2004).
174.
Nowell, R.: Blood money: a history of the first teen slasher film cycle. Continuum, New York (2011).
175.
Pinedo, I.C.: Recreational terror: women and the pleasures of horror film viewing. State University of New York Press, Albany, N.Y. (1997).
176.
Short, S.: Misfit Sisters: Screen Horror as Female Rites of Passage. Palgrave Macmillan, Basingstoke [England] (2006).
177.
Grant, B.K.: The Dread of Difference: Gender and the Horror Film. University of Texas Press, Austin (1996).
178.
Simon, A.: The American Nightmare, (2002).
179.
Night of the Living Dead (1968), https://learningonscreen.ac.uk/ondemand/index.php/prog/001A9F70?bcast=91796119.
180.
Waller, G.A.: American horrors: essays on the modern American horror film. University of Illinois Press, Urbana (1987).
181.
Jowett, L.: TV as horror. In: TV horror: investigating the dark side of the small screen. pp. 179–200. I.B. Tauris, London (2013).
182.
Allan Cameron: Zombie Media: Transmission, Reproduction, and the Digital Dead. Cinema Journal. 52, 66–89 (2012).
183.
Siddique, S., Raphael, R. eds: Transnational horror cinema: bodies of excess and the global grotesque. Palgrave Macmillan, London, United Kingdom (2016).
184.
Abbott, S.: Undead apocalypse: vampires and zombies in the twenty-first century. Edinburgh Univiversity Press, Edinburgh (2016).
185.
Bishop, K.W.: American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture. McFarland & Co, Jefferson, N.C. (2010).
186.
Boluk, S., Lenz, W.: Generation zombie: essays on the living dead in modern culture. McFarland, Jefferson, N.C. (2011).
187.
Christie, D., Lauro, S.J.: Better off Dead: The Evolution of the Zombie as Post-Human. Fordham University Press, New York (2011).
188.
Scott, N.: Monsters and the monstrous: myths and metaphors of enduring evil. Rodopi, Amsterdam (2007).
189.
Dyer, R.: White. Screen. 29, 44–65 (1988). https://doi.org/10.1093/screen/29.4.44.
190.
Scott, N.: Monsters and the monstrous: myths and metaphors of enduring evil. Rodopi, Amsterdam (2007).
191.
Grant, B.K.: The Dread of Difference: Gender and the Horror Film. University of Texas Press, Austin (1996).
192.
Hunt, L., Lockyer, S., Williamson, M. eds: Screening the Undead: Vampires and Zombies in Film and Television. I.B. Tauris, London (2014).
193.
Jungerkes, S., Wienand, C.: A past that refuses to die: Nazi zombie film and the legacy of occupation. In: Magilow, D.H., Bridges, E., and Vander Lugt, K.T. (eds.) Nazisploitation!: the Nazi image in low-brow cinema and culture. pp. 238–257. Continuum, New York (2012).
194.
McIntosh, S., Leverette, M.: Zombie culture: autopsies of the living dead. Scarecrow Press, Lanham, Md (2008).
195.
Moreman, C.M., Rushton, C.: Race, oppression and the zombie: essays on cross-cultural appropriations of the Caribbean tradition. McFarland, Jefferson, N.C. (2011).
196.
Moreman, C.M., Rushton, C.: Zombies are us: essays on the humanity of the walking dead. McFarland, Jefferson, N.C. (2011).
197.
Joshi, S.T.: Icons of Horror and the Supernatural: An Encyclopedia of Our Worst Nightmares [Two Volumes]. Greenwood Press (2006).
198.
Stratton, J.: Zombie Trouble: Zombie Texts, Bare Life and Displaced People. European Journal of Cultural Studies. 14, 265–281 (2011). https://doi.org/10.1177/1367549411400103.
199.
Waller, G.A.: The Living and the Undead: From Stoker’s Dracula to Romero’s Dawn of the Dead. University of Illinois Press, Urbana (1985).
200.
Williams, T.: Hearths of Darkness: The Family in the American Horror Film. Fairleigh Dickinson University Press, Madison N.J. (1996).
201.
Wood, R.: Normality and monsters: The films of Larry Cohen and George Romero. In: Hollywood from Vietnam to Reagan. pp. 95–134. Columbia University Press, New York (1986).
202.
Tudor, A.: Cinema and Society: Film Movements. In: Image and influence: studies in the sociology of film. pp. 152–179. Allen and Unwin, London (1974).
203.
Walker, J.: Low Budgets, No Budgets, and Digital-video Nasties: Recent British Horror and Informal Distribution. In: Nowell, R. (ed.) Merchants of menace: the business of horror cinema. pp. 215–228. Bloomsbury, an imprint of Bloomsbury Publishing Inc, New York (2014).