1
Whale J, Karloff B, Shelley MW. Frankenstein. 1931.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
2
Murphy R, Falchuk B, McDermott D, et al. American Horror Story: The Complete First Season. 2012.
3
Carroll N. Why Horror? In: The philosophy of horror or paradoxes of the heart. London: : Routledge 1990. 158–95.
4
Gledhill C. The Horror Film. In: The cinema book. London: : British Film Institute 1999. 194–204.
5
Hills M. TV Horror. In: The pleasures of horror. New York: : Continuum 2005. 111–28.
6
Dixon WW. A History of Horror. New Brunswick, N.J.: : Rutgers University Press 2010. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2963660
7
Hammond M, Mazdon L. The Contemporary Television Series. Edinburgh: : Edinburgh University Press 2005.
8
Janicker R, editor. Reading American horror story: essays on the television franchise. Jefferson, North Carolina: : McFarland & Company, Inc., Publishers 2017.
9
Jowett L. TV as horror. In: TV Horror: Investigating the Dark Side of the Small Screen. London: : I.B. Tauris 2013. 179–200.
10
King S. Danse Macabre. Gallery Books trade pbk. ed. New York: : Gallery 2010.
11
Magistrale T. Abject Terrors: Surveying the Modern and Postmodern Horror Film. New York: : Peter Lang 2005.
12
Odell C, Le Blanc M. Horror Films. Harpenden: : Kamera 2007.
13
Humm P, Stigant P, Widdowson P. Popular Fictions: Essays in Literature and History. London: : Methuen 1986. https://go.exlibris.link/3j3pRTHt
14
Prawer SS. Caligari’s Children: The Film as Tale of Terror. Oxford (etc.): : Oxford University Press 1980.
15
Waller GA. American Horrors: Essays on the Modern American Horror Film. Urbana: : University of Illinois Press 1987.
16
Wells P. The Horror Genre: From Beezlebub to Blair Witch. London: : Wallflower 2000.
17
Wheatley H. Gothic Television. Manchester: : Manchester University Press 2006.
18
Nichols B. Movies and Methods: Vol.2: An Anthology. Berkeley, Calif: : University of California Press 1985.
19
Worland R. The Horror Film: An Introduction. Malden, MA: : Blackwell Pub 2007.
20
Reilly K, Fassbender M, Colson C, et al. Eden Lake. 2008.https://learningonscreen.ac.uk/ondemand/index.php/prog/01268C4D?bcast=120784128
21
Sasdy P, Young A, Lee C, et al. Taste the Blood of Dracula. 1970.
22
Hutchings P. Horror and the Family. In: Hammer and beyond: the British horror film. Manchester: : Manchester University Press 1993. 159–85.
23
Walker J. Heartless Hoodies. In: Contemporary British horror cinema: industry, genre and society. Edinburgh: : Edinburgh University Press 2016. 85–108.http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3021554
24
Blake L. The wounds of nations: horror cinema, historical trauma and national identity. Manchester: : Manchester University Press 2008. http://ebookcentral.proquest.com/lib/warw/detail.action?docID=1069592
25
Chibnall S, Petley J. British Horror Cinema. London: : Routledge 2002.
26
Murphy R, British Film Institute. The British cinema book. 3rd ed. London: : BFI 2009. https://go.exlibris.link/tMbvpRrv
27
Conrich I. Horror Zone: The Cultural Experience of Contemporary Horror Cinema. London: : I. B. Tauris 2010.
29
Donald J. Fantasy and the Cinema. London: : British Film Institute 1989.
30
Forshaw B. British Gothic Cinema. Houndmills, Basingstoke, Hampshire: : Palgrave Macmillan 2013. https://go.exlibris.link/xfscgBK1
31
Barta T. Screening the Past: Film and the Representation of History. Westport, Conn: : Praeger 1998.
32
Jones O. Chavs: The Demonization of the Working Class. London: : Verso 2011.
33
Kracauer S. Procession of Tyrants. In: From Caligari to Hitler: a psychological history of the German film. Princeton, N.J.: : Princeton University Press 2004. 77–87.
34
Kracauer S. From Caligari to Hitler: A Psychological History of the German Film. Princeton,New Jersey: : Princeton University Press 1947.
35
Crane JL. Terror and Everyday Life: Singular Moments in the History of the Horror Film. Thousand Oaks, Calif: : Sage Publications 1994. https://go.exlibris.link/h6Zk07Vv
36
Leach J. British Film. Cambridge, UK: : Cambridge University Press 2004. https://go.exlibris.link/02xVf8WL
37
Leggott J. Contemporary British Cinema: From Heritage to Horror. London: : Wallflower 2008.
38
Lennard D. Bad Seeds and Holy Terrors: The Child Villains of Horror Film. Albany: : State University of New York Press 2014. 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
39
Murphy R, British Film Institute. Sixties British Cinema. London: : British Film Institute 1992. https://go.exlibris.link/LXpjJ0KQ
40
Newman K, British Film Institute. The BFI companion to horror. London: : Cassell 1996.
41
Barr C, British Film Institute. All Our Yesterdays: 90 Years of British Cinema. London: : BFI Publishing 1986.
42
Pirie D. A Heritage of Horror: The English Gothic Cinema, 1946-1972. London: : Gordon Fraser Gallery Ltd 1973.
43
Pirie D. A New Heritage of Horror: The English Gothic Cinema. [New ed.]. London: : I.B. Tauris 2008.
44
Curran J, Porter V. British Cinema History. London: : Weidenfeld and Nicolson 1983.
45
Rose J. Beyond Hammer: British Horror Cinema since 1970. Leighton Buzzard: : Auteur 2009.
46
Bell E, Mitchell N. Britain. Bristol: : Intellect 2012. https://go.exlibris.link/9RqBqxcy
47
Dixon WW. Re-Viewing British Cinema, 1900-1992: Essays and Interviews. Albany: : State University of New York Press 1994.
48
Simpson MJ. Urban terrors: new British horror cinema, 1997-2008. Hemlock Books, 2012:
49
Skal DJ. The Monster Show: A Cultural History of Horror. Revised edition. New York: : Faber and Faber 2001.
50
Tudor A. Image and influence: studies in the sociology of film. London: : Allen and Unwin 1974.
51
Tudor A. Monsters and Mad Scientists: A Cultural History of the Horror Movie. Oxford: : Basil Blackwell 1989.
52
Tudor A. Why Horror? The Peculiar Pleasures of a Popular Genre. Cultural Studies 1997;11:443–63. doi:10.1080/095023897335691
53
Jancovich M. Horror: The Film Reader. London: : Routledge 2002.
54
Tyler I. Revolting Subjects: Social Abjection and Resistance in Neoliberal Britain. London: : Zed Books Ltd 2013. https://go.exlibris.link/PrTffdYw
55
Vincendeau G, British Film Institute. Film/Literature/Heritage: A Sight and Sound Reader. London: : British Film Institute 2001.
56
Walden VG. Studying Hammer horror. Leighton Buzzard: : Auteur 2016.
57
A Wilderness of Horrors? British Horror Cinema in the New Millennium’. Journal of British Cinema and Television 2012;9.http://0-www.euppublishing.com.pugwash.lib.warwick.ac.uk/doi/pdfplus/10.3366/jbctv.2012.0099
58
Selznick DO, Sherwood RE, Harrison J, et al. Rebecca. 2008.
59
Nakata H, Ichise T, Kuroki H, et al. Dark water. 2007.
60
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. London: : I. B. Tauris 2007. 33–62.https://contentstore.cla.co.uk/secure/link?id=d32206bf-9a43-e611-80bd-0cc47a6bddeb
61
Milbank A. Female Gothic. In: The Handbook to Gothic literature. Basingstoke: : Macmillan 1998. 53–7.
62
Arnold S. Maternal horror film: melodrama and motherhood. Houndmills, Basingstoke, Hampshire: : Palgrave Macmillan 2013. https://go.exlibris.link/5wCgXxWP
63
Bell J, British Film Institute. Gothic: The Dark Heart of Film. London: : BFI 2013.
64
Botting F. Gothic. London: : Routledge 1996.
65
Thornham S. Feminist film theory: a reader. Edinburgh: : Edinburgh University Press 1999.
66
Gledhill C, British Film Institute. Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. London: : British Film Institute 1987.
67
Eco U. The Role of the Reader: Explorations in the Semiotics of Texts. Bloomington: : Indiana University Press 1979.
68
Eco U. Six Walks in the Fictional Woods. Cambridge, Massachusetts: : Harvard University Press 1995.
69
Ellis KF. The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology. Urbana: : University of Illinois Press 1989.
70
Gallafent E. Black Satin: Fantasy, Murder and the Couple in ‘Gaslight’ and ‘Rebecca’. Screen 1988;29:84–105. doi:10.1093/screen/29.3.84
71
Hanson H. Hollywood Heroines: Women in Film Noir and the Female Gothic Film. London: : I. B. Tauris 2007. https://go.exlibris.link/YW0LtYHg
72
Heller T. Dead secrets: Wilkie Collins and the Female Gothic. New Haven: : Yale University Press 1992.
73
Hollinger K. The Female Oedipal Drama of Rebecca from Novel to Film. Quarterly Review of Film and Video 1993;14:17–30. doi:10.1080/10509209309361414
74
Hopkins L. Screening the gothic. 1st ed. Austin, TX: : University of Texas Press 2005. https://go.exlibris.link/8jrT3pfS
75
Hughes W, Punter D, Smith A. The Encyclopedia of the Gothic. Chichester, West Sussex, UK: : Wiley-Blackwell 2013.
76
Spigel L, Mann D. Private Screenings: Television and the Female Consumer. Minneapolis: : University of Minnesota Press 1992. https://go.exlibris.link/nnNtKGh1
77
Taylor JB. The Cambridge companion to Wilkie Collins. Cambridge, UK: : Cambridge University Press 2006. https://go.exlibris.link/0zBysvPN
78
Milbank A. Daughters of the House: Modes of the Gothic in Victorian Fiction. Basingstoke: : Macmillan 1992. https://go.exlibris.link/9pGwBlJw
79
Miles R. Introduction to Special Number: Female Gothic. Women’s Writing 1994;1:131–42. doi:10.1080/0969908940010201
80
Modleski T. Loving with a Vengeance: Mass-Produced Fantasies for Women. Hamden, Conn: : Archon Books 1982.
82
MacCabe C. High theory/low culture: analysing popular television and film. Manchester: : Manchester University Press 1986.
83
Fleenor JE. The Female Gothic. Montreal: : Eden Press 1983.
84
Journal of Neo-Victorian Studies. http://www.neovictorianstudies.com/
85
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 1984;23:29–40.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1225123?seq=1#page_scan_tab_contents
86
Wheatley H. Gothic Television. Manchester: : Manchester University Press 2006.
87
Balmain C. Introduction to Japanese horror film. Edinburgh: : Edinburgh University Press 2008. https://go.exlibris.link/HXLg9ZJ4
88
Bingham A. Contemporary Japanese cinema since Hana-bi. Edinburgh: : Edinburgh University Press 2015. https://go.exlibris.link/T6jJvwy8
89
Grant BK, Sharrett C. Planks of reason: essays on the horror film. Rev. ed. Lanham, Md: : Scarecrow Press 2004.
90
Jack Hunter. Eros In Hell. Creation Books International, 1998:
91
Lury K. The child in film: tears, fears and fairytales. London: : I.B. Tauris 2010.
92
McRoy J. Japanese horror cinema. Edinburgh: : Edinburgh University Press 2005.
93
McRoy J. Nightmare Japan: contemporary Japanese horror cinema. Amsterdam: : Rodopi 2008. https://go.exlibris.link/G794cJwN
94
Wee V. Japanese horror films and their American remakes: translating fear, adapting culture. New York: : Routledge/Taylor & Francis Group 2014. https://go.exlibris.link/JNlPdmqk
95
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
96
Remember Me. https://learningonscreen.ac.uk/ondemand/index.php/prog/083487E3?bcast=114574508
97
Remember Me. https://learningonscreen.ac.uk/ondemand/index.php/prog/083E226E?bcast=114616461
98
Remember Me. https://learningonscreen.ac.uk/ondemand/index.php/prog/084457F0?bcast=114657181
99
Ceyton K, Davis E, Henshall D, et al. The Babadook.
100
The Babadook (2014). https://learningonscreen.ac.uk/ondemand/index.php/prog/083C1235?bcast=122959503
101
Freud S. The Uncanny. http://web.mit.edu/allanmc/www/freud1.pdf
102
Wheatley H. Showing Less, Suggesting More: the Ghost Story On British Television. In: Gothic television. Manchester: : Manchester University Press 2006. 26–56.http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3362214
103
Quigley, Paula. When good mothers go bad: genre and gender in The Babadook. Published Online First: 2016.https://0-www-proquest-com.pugwash.lib.warwick.ac.uk/lion/docview/1842820591/fulltextPDF/A5020BDB7B4746E7PQ/1?accountid=14888
104
García AN, editor. Emotions in contemporary TV series. Houndmills, Basingstoke, Hampshire: : Palgrave Macmillan 2016. https://go.exlibris.link/9Lx8SfK3
105
Buerger S. The beak that grips: maternal indifference, ambivalence and the abject in. Studies in Australasian Cinema 2017;11:33–44. doi:10.1080/17503175.2017.1308903
106
Aviva Briefel. What Some Ghosts Don’t Know: Spectral Incognizance and the Horror Film. Narrative 2009;17:95–110.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/30219292?seq=1#page_scan_tab_contents
107
Aviva Briefel. Parenting through Horror: Reassurance in Jennifer Kent’s The Babadook. Camera Obscura: Feminism, Culture, and Media Studies 2017;32:1–27.https://0-read-dukeupress-edu.pugwash.lib.warwick.ac.uk/camera-obscura/article/32/2%20(95)/1/129326/Parenting-through-Horror-Reassurance-in-Jennifer
108
Creeber G. Serial Television: Big Drama on the Small Screen. London: : BFI 2004.
109
Johnston D. Haunted seasons: television ghost stories for Christmas and horror for Halloween. Houndmills, Basingstoke, Hampshire: : Palgrave Macmillan 2015. https://go.exlibris.link/6FBKxTtT
110
Kovacs L. The Haunted Screen: Ghosts in Literature and Film. Jefferson, N.C.: : McFarland & Co 2005.
111
Peacock S. Two Kingdoms Two Kings. Critical Studies in Television: The International Journal of Television Studies 2009;4:24–36. doi:10.7227/CST.4.2.4
112
Punter D. A Companion to the Gothic. Oxford: : Blackwell Publishers 2000.
113
Risker P. Confronting Uncertainty: Jennifer Kent Discusses. Quarterly Review of Film and Video 2017;34:13–7. doi:10.1080/10509208.2016.1222568
114
Schneider SJ. Horror Film and Psychoanalysis: Freud’s Worst Nightmare. Cambridge: : Cambridge University Press 2004. 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
115
Spooner C, McEvoy E. The Routledge Companion to Gothic. London: : Routledge 2007. https://go.exlibris.link/Pff4rYGF
116
Spadoni R. Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre. Berkeley: : University of California Press 2007. https://go.exlibris.link/BYD0rD4t
117
Tangherlini TR. Ghost in the Machine: Supernatural Threat and the State in Lars von Trier’s Riget. Published Online First: 2001.http://0-literature.proquest.com.pugwash.lib.warwick.ac.uk/searchFulltext.do?id=R01620147&divLevel=0&area=abell&forward=critref_ft
118
A Girl Walks Home Alone at Night (2014). https://learningonscreen.ac.uk/ondemand/index.php/prog/0A862C97?bcast=124113693
119
Amirpour AL, Begnaud J, Sayyah S, et al. A girl walks home alone at night. 2015.
120
Abdi S, Calafell BM. Queer utopias and a (Feminist) Iranian vampire: a critical analysis of resistive monstrosity. http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/pdf/10.1080/15295036.2017.1302092?needAccess=true
121
Elsaesser T. Film festival networks: the new topographies of cinema in Europe. In: The film festival reader. St Andrews, Scotland: : St Andrews Film Studies 2013. 69–96.https://0-www-degruyter-com.pugwash.lib.warwick.ac.uk/view/book/9789048505173/10.1515/9789048505173-005.xml
122
Hills M. Attending horror film festivals and conventions: liveness, subcultural capital and "flesh-and-blood genre communities. Horror zone: the cultural experience of contemporary horror cinema 2010;:87–101.
123
Vivar R. A film bacchanal: Playfulness and audience sovereignty in San Sebastian Horror and Fantasy Film Festival’. Participations 2016;13.https://www.participations.org/13-01-12-vivar.pdf
124
Bitel A. 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
125
Bosma P. Film programming: curating for cinemas, festivals, archives. New York: : Wallflower, an imprint of Columbia University Press 2015. https://go.exlibris.link/dz6Jxw9l
126
Chibnall S, Petley J. British Horror Cinema. London: : Routledge 2002.
127
Valck M de. Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam: : Amsterdam University Press 2007. 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
128
Fischer A. Sustainable projections: concepts in film festival management. St Andrews: : St Andrews Film Studies 2013.
129
Hark IR. Exhibition: The Film Reader. London: : Routledge 2002.
130
Joan Hawkins. Sleaze Mania, Euro-Trash, and High Art: The Place of European Art Films in American Low Culture. Film Quarterly 2000;53:14–29.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1213717?seq=1#page_scan_tab_contents
131
Iordanova D. The Film Festival Reader. St Andrews, Scotland: : St Andrews Film Studies 2013.
132
Iordanova D. Film Festival Yearbook 1:The Festival Circuit. St. Andrews, Scotland: : St. Andrews Film Studies in collaboration with College Gate Press 2009.
133
Iordanova D, Cheung R. Film Festival Yearbook 2: Film Festivals and Imagined Communities. St. Andrews, Scotland: : St Andrews Film Studies 2010.
134
Iordanova D, Cheung R, editors. Film festivals and East Asia. St. Andrews, Scotland: : St Andrews Film Studies 2011.
135
Iordanova D, Torchin L. Film Festival Yearbook 4: Film Festivals and Activism. St Andrews: : St Andrews Film Studies 2012.
136
Marlow-Mann A, editor. Archival film festivals. St Andrews: : St Andrews Film Studies 2013.
137
Iordanova D, Van de Peer S, editors. Film festivals and the Middle East. St Andrews: : St Andrews Film Studies 2014.
138
Hayward P, editor. Terror tracks: music, sound and horror cinema. London, England: : Equinox 2009.
139
Porton R. Dekalog: 03: On Film Festivals. London: : Wallflower 2009.
140
Rose J. Beyond Hammer: British horror cinema since 1970. Leighton Buzzard: : Auteur 2009.
141
Ruoff J. Coming Soon to a Festival Near You: Programming Film Festivals. Scotland: : St Andrews Film Studies 2012.
142
Wong CH. Film Festivals: Culture, People, and Power on the Global Screen. New Brunswick, New Jersey: : Rutgers University Press 2011.
143
Carpenter J, Foster D, Turman L, et al. The Thing. 1982.https://learningonscreen.ac.uk/ondemand/index.php/prog/00005ABF?bcast=95561559
144
Tudor A. Unruly Bodies, Unquiet Minds. Body & Society 1995;1:25–41. doi:10.1177/1357034X95001001003
145
Kristeva J. Approaching Abjection. The Oxford literary review 1982;5.
146
Boss P. Vile Bodies and Bad Medicine. Screen 1986;27:14–25. doi: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. London: : I. B. Tauris 2010. 205–20.
148
Creed B. Horror and the Monstrous-Feminine: An Imaginary Abjection. Screen 1986;27:44–71. doi:10.1093/screen/27.1.44
149
Creed B. The Monstrous Feminine: Film, Feminism, Psychoanalysis. London: : Routledge 1993. https://go.exlibris.link/470q8WS7
150
Browning M. David Cronenberg: Author or Film-Maker? Bristol: : Intellect Books 2007.
151
Creed B. Phallic Panic: Film, Horror and the Primal Uncanny. Carlton, Vic., Australia: : Melbourne University Press 2005.
152
Mysterious Bodies. 2007.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: : Edinburgh University Press 2005. https://go.exlibris.link/8yfbzK0D
154
Hills M. TV Horror. In: The Pleasures of Horror. New York: : Continuum 2005. 111–28.
155
King S. Danse Macabre. Gallery Books trade pbk. ed. New York: : Gallery 2010.
156
Crane JL. Terror and Everyday Life: Singular Moments in the History of the Horror Film. Thousand Oaks, Calif: : Sage Publications 1994. https://go.exlibris.link/h6Zk07Vv
157
Mathijs E. The Cinema of David Cronenberg: From Baron of Blood to Cultural Hero. London: : Wallflower 2008.
158
Kackman M. Flow TV: Television in the Age of Media Convergence. New York: : Routledge 2011. https://go.exlibris.link/cCyG9c0j
159
Waller GA. American Horrors: Essays on the Modern American Horror Film. Urbana: : University of Illinois Press 1987.
160
Wheatley H. Spectacular television: exploring televisual pleasure. London: : I.B. Tauris 2016. https://go.exlibris.link/qkX3ZThD
161
Williams L. Hard core: power, pleasure, and the ‘frenzy of the visible’. Expanded pbk. ed. Berkeley: : University of California Press 1999. http://0-hdl.handle.net.pugwash.lib.warwick.ac.uk/2027/heb.08072.0001.001
162
Linda Williams. Film Bodies: Gender, Genre, and Excess. Film Quarterly 1991;44:2–13.
163
Carpenter J, Hill D, Akkad M, et al. Halloween. 1979.
164
Hooper T, Henkel K, Burns M, et al. The Texas Chainsaw Massacre. 1974.
165
Carol J. Clover. Her Body, Himself: Gender in the Slasher Film. Representations 1987;:187–228.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/2928507?seq=1#page_scan_tab_contents
166
Halberstam J. Bodies that splatter: queers and chainsaws. In: Skin shows: gothic horror and the technology of monsters. Durham: : Duke University Press 1995. 138–60.http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2748427
167
Berenstein RJ. Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema. New York: : Columbia University Press 1996.
168
Stokes M, Maltby R. Identifying Hollywood’s Audiences: Cultural Identity and the Movies. London: : British Film Institute 1999.
169
Dika V. Games of Terror: Halloween, Friday the 13th, and the Films of the Stalker Cycle. Rutherford, (etc.): : Fairleigh Dickinson University Press 1990.
170
Conrich I. Horror Zone: The Cultural Experience of Contemporary Horror Cinema. London: : I. B. Tauris 2010.
171
Magistrale T. Abject Terrors: Surveying the Modern and Postmodern Horror Film. New York: : Peter Lang 2005.
172
Sargeant J, Watson S. Lost Highways: An Illustrated History of Road Movies. London: : Creation 1999.
173
Grant BK, Sharrett C. Planks of Reason: Essays on the Horror Film. Rev. ed. Lanham, Md: : Scarecrow Press 2004.
174
Nowell R. Blood money: a history of the first teen slasher film cycle. New York: : Continuum 2011. http://ebookcentral.proquest.com/lib/warw/detail.action?docID=634569
175
Pinedo IC. Recreational terror: women and the pleasures of horror film viewing. Albany, N.Y.: : State University of New York Press 1997.
176
Grant BK, Sharrett C. Planks of reason: essays on the horror film. Rev. ed. Lanham, Md: : Scarecrow Press 2004.
177
Short S. Misfit Sisters: Screen Horror as Female Rites of Passage. Basingstoke [England]: : Palgrave Macmillan 2006. https://go.exlibris.link/DPFrSMt3
178
Grant BK. The Dread of Difference: Gender and the Horror Film. Austin: : University of Texas Press 1996.
179
Simon A. The American Nightmare. 2002.
180
Night of the Living Dead (1968). https://learningonscreen.ac.uk/ondemand/index.php/prog/001A9F70?bcast=91796119
181
Waller GA. American horrors: essays on the modern American horror film. Urbana: : University of Illinois Press 1987.
182
García AN, editor. Emotions in contemporary TV series. Houndmills, Basingstoke, Hampshire: : Palgrave Macmillan 2016. https://go.exlibris.link/9Lx8SfK3
183
Jowett L. TV as horror. In: TV horror: investigating the dark side of the small screen. London: : I.B. Tauris 2013. 179–200.https://contentstore.cla.co.uk/secure/link?id=a7fb10af-a343-e611-80bd-0cc47a6bddeb
184
Abbott S. Undead apocalypse: vampires and zombies in the twenty-first century. Edinburgh: : Edinburgh Univiversity Press 2016. https://go.exlibris.link/vSRfbZqP
185
Bishop KW. American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture. Jefferson, N.C.: : McFarland & Co 2010.
186
Boluk S, Lenz W. Generation zombie: essays on the living dead in modern culture. Jefferson, N.C.: : McFarland 2011. https://go.exlibris.link/3VcXlLDm
187
Scott N. Monsters and the monstrous: myths and metaphors of enduring evil. Amsterdam: : Rodopi 2007. https://warwick.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwY2AwNtIz0EUrE8ySEk2SQYfRJQLrB2ASMUwzBpbOwNaFRbJhiiX48ga3YDOvIAufCItAJgZX2NYY8IwhdJmiHqyshM-llicWlUOXWupBtgHYp4CLZlNgM8UIWDAzm1gCO2Ssjo7hgU4oTUh2kNbM5GykusRNkIE1FbTBQIiBKTVPmIEH6aaCShEGdZvcxKJsO19Qqw3YMFMA9vMVgE00hVyQQBGwl26jD1YgyqDg5hri7KELtSEeOgwTnwSsWC0szIDVoxgDC7BrnyrBoGCabGaYkmxgCawyTExSUywtEo2SLC2TTRNB59SlmJpLMijC3BwPjHbQWH5iXirQsngjQ9CRnsC-FlCNJE6rpPDISTNwQcYpQcMJMgwsJUWlqbLwgJGDhhqQ9vEM9PcDAN-nh00
188
Allan Cameron. Zombie Media: Transmission, Reproduction, and the Digital Dead. Cinema Journal 2012;52:66–89.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/23360281?seq=1#page_scan_tab_contents
189
Christie D, Lauro SJ. Better off Dead: The Evolution of the Zombie as Post-Human. 1st ed. New York: : Fordham University Press 2011. https://warwick.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwfV3bSgMxEB16eRFfKipWq-wPVNckZjdQhFZdRQSpCvpWsrlUEEtZuxT_3pkQFxT0NZcJSYZMzmTmBICz43T460wQNlUuR3yb4Q1bCKeV4N5I6UtUGWYJNxaP8vYhv3vJpy24bpxMFGZp3byqP1eRMXVZz9f64zXE76x1RR-Ox7QrQkXEGEuPR0zRn9VtaAuFkKw7Hj9PJ996JjLEGCzNAh1kbMoiGU_TNfJxorn_KTIk94RRN-m4joao6EHXUXbCFrTcYhsGo3ddvZ1PQkpOcu99colbNjoJpTuQFFdPFzfDKGgWPTWzkmdnUiE-5LvQQfTv9iDxxhhi5EmFsYjFrJYq55x54-RpiealD_0_xez_U3cAG4wi-YM3YQCdVVW7w2ZuR3HJvgBgvHfd
190
Dyer R. White. Screen 1988;29:44–65. doi:10.1093/screen/29.4.44
191
Scott N. Monsters and the monstrous: myths and metaphors of enduring evil. Amsterdam: : Rodopi 2007. https://warwick.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwY2AwNtIz0EUrE8ySEk2SQYfRJQLrB2ASMUwzBpbOwNaFRbJhiiX48ga3YDOvIAufCItAJgZX2NYY8IwhdJmiHqyshM-llicWlUOXWupBtgHYp4CLZlNgM8UIWDAzm1gCO2Ssjo7hgU4oTUh2kNbM5GykusRNkIE1FbTBQIiBKTVPmIEH6aaCShEGdZvcxKJsO19Qqw3YMFMA9vMVgE00hVyQQBGwl26jD1YgyqDg5hri7KELtSEeOgwTnwSsWC0szIDVoxgDC7BrnyrBoGCabGaYkmxgCawyTExSUywtEo2SLC2TTRNB59SlmJpLMijC3BwPjHbQWH5iXirQsngjQ9CRnsC-FlCNJE6rpPDISTNwQcYpQcMJMgwsJUWlqbLwgJGDhhqQ9vEM9PcDAN-nh00
192
Grant BK. The Dread of Difference: Gender and the Horror Film. Austin: : University of Texas Press 1996.
193
Hunt L, Lockyer S, Williamson M, editors. Screening the Undead: Vampires and Zombies in Film and Television. London: : I.B. Tauris 2014.
194
Jungerkes S, Wienand C. A past that refuses to die: Nazi zombie film and the legacy of occupation. In: Magilow DH, Bridges E, Vander Lugt KT, eds. Nazisploitation!: the Nazi image in low-brow cinema and culture. New York: : Continuum 2012. 238–57.https://contentstore.cla.co.uk/secure/link?id=ecb221c3-a343-e611-80bd-0cc47a6bddeb
195
McIntosh S, Leverette M. Zombie culture: autopsies of the living dead. Lanham, Md: : Scarecrow Press 2008.
196
Moreman CM, Rushton C. Race, oppression and the zombie: essays on cross-cultural appropriations of the Caribbean tradition. Jefferson, N.C.: : McFarland 2011.
197
Moreman CM, Rushton C. Zombies are us: essays on the humanity of the walking dead. Jefferson, N.C.: : McFarland 2011.
198
Joshi ST. Icons of Horror and the Supernatural: An Encyclopedia of Our Worst Nightmares [Two Volumes]. Greenwood Press 2006.
199
Stratton J. Zombie Trouble: Zombie Texts, Bare Life and Displaced People. European Journal of Cultural Studies 2011;14:265–81. doi:10.1177/1367549411400103
200
Waller GA. The Living and the Undead: From Stoker’s Dracula to Romero’s Dawn of the Dead. Urbana: : University of Illinois Press 1985.
201
Williams T. Hearths of Darkness: The Family in the American Horror Film. Madison N.J.: : Fairleigh Dickinson University Press 1996.
202
Wood R. Normality and monsters: The films of Larry Cohen and George Romero. In: Hollywood from Vietnam to Reagan. New York: : Columbia University Press 1986. 95–134.
203
Tudor A. Cinema and Society: Film Movements. In: Image and influence: studies in the sociology of film. London: : Allen and Unwin 1974. 152–79.https://contentstore.cla.co.uk/secure/link?id=6684dccd-db43-e611-80bd-0cc47a6bddeb
204
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. New York: : Bloomsbury, an imprint of Bloomsbury Publishing Inc 2014. 215–28.https://contentstore.cla.co.uk/secure/link?id=c5951dff-de43-e611-80bd-0cc47a6bddeb
205
Siddique S, Raphael R, editors. Transnational horror cinema: bodies of excess and the global grotesque. London, United Kingdom: : Palgrave Macmillan 2016. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3068891
206
Eggers, Robert, 1983- screenwriter, film director. The witch : a New England folktale / A24 ; written & directed by Robert Eggers ; Parts & Labor, RT Features, Rooks Nest Entertainment, Maiden Voyage Pictures, Mott Street Pictures present ; in association with Code Red Productions, Scythia Films, Pulse Films, Special Projects ; produced by Jay Van Hoy, Lars Knudsen ; produced by Jodi Redmond, Daniel Bekerman ; produced by Rodrigo Teixeira.