1.
Whale J, Karloff B, Shelley MW. Frankenstein [Internet]. [London]: Universal Studios (UK); 1931. Available from: 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, Britton C, O’Hare DP, Lange J, et al. American Horror Story: The Complete First Season. [U.K.]: 20th Century Fox Home Entertainment; 2012.
3.
Carroll N. Why Horror? In: The philosophy of horror or paradoxes of the heart. London: Routledge; 1990. p. 158–95.
4.
Gledhill C. The Horror Film. In: The cinema book. 2nd ed. London: British Film Institute; 1999. p. 194–204.
5.
Hills M. TV Horror. In: The pleasures of horror. New York: Continuum; 2005. p. 111–28.
6.
Dixon WW. A History of Horror [Internet]. New Brunswick, N.J.: Rutgers University Press; 2010. Available from: 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. p. 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 [Internet]. Vol. New accents. London: Methuen; 1986. Available from: 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. Vol. Short cuts. 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. Vol. New approaches to film genre. Malden, MA: Blackwell Pub; 2007.
20.
Reilly K, Fassbender M, Colson C, Holmes R, Watkins J, O’Connell J, et al. Eden Lake [Internet]. [London]: ITV4; 2008. Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/01268C4D?bcast=120784128
21.
Sasdy P, Young A, Lee C, Keen G, Hayden L, Watford G, et al. Taste the Blood of Dracula. Widescreen ed. Burbank, CA: Warner Home Video; 1970.
22.
Hutchings P. Horror and the Family. In: Hammer and beyond: the British horror film. Manchester: Manchester University Press; 1993. p. 159–85.
23.
Walker J. Heartless Hoodies. In: Contemporary British horror cinema: industry, genre and society [Internet]. Edinburgh: Edinburgh University Press; 2016. p. 85–108. Available from: 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 [Internet]. Manchester: Manchester University Press; 2008. Available from: http://ebookcentral.proquest.com/lib/warw/detail.action?docID=1069592
25.
Chibnall S, Petley J. British Horror Cinema. Vol. British popular cinema. London: Routledge; 2002.
26.
Murphy R, British Film Institute. The British cinema book [Internet]. 3rd ed. London: BFI; 2009. Available from: 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 [Internet]. Vol. Palgrave gothic series. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan; 2013. Available from: 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. Rev. and expanded ed. Princeton, N.J.: Princeton University Press; 2004. p. 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 [Internet]. Thousand Oaks, Calif: Sage Publications; 1994. Available from: https://go.exlibris.link/h6Zk07Vv
36.
Leach J. British Film [Internet]. Vol. National film traditions. Cambridge, UK: Cambridge University Press; 2004. Available from: https://go.exlibris.link/02xVf8WL
37.
Leggott J. Contemporary British Cinema: From Heritage to Horror. Vol. Short cuts series. London: Wallflower; 2008.
38.
Lennard D. Bad Seeds and Holy Terrors: The Child Villains of Horror Film [Internet]. Vol. SUNY series, horizons of cinema. Albany: State University of New York Press; 2014. Available from: 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 [Internet]. London: British Film Institute; 1992. Available from: 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 [Internet]. Vol. Directory of world cinema. Bristol: Intellect; 2012. Available from: 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 [Internet]. 1997;11(3):443–63. Available from: http://0-doi.org.pugwash.lib.warwick.ac.uk/10.1080/095023897335691
53.
Jancovich M. Horror: The Film Reader. Vol. In focus. London: Routledge; 2002.
54.
Tyler I. Revolting Subjects: Social Abjection and Resistance in Neoliberal Britain [Internet]. London: Zed Books Ltd; 2013. Available from: 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. Vol. Studying films. Leighton Buzzard: Auteur; 2016.
57.
A Wilderness of Horrors? British Horror Cinema in the New Millennium’. Journal of British Cinema and Television [Internet]. 2012;9(3). Available from: http://0-www.euppublishing.com.pugwash.lib.warwick.ac.uk/doi/pdfplus/10.3366/jbctv.2012.0099
58.
Selznick DO, Sherwood RE, Harrison J, Hitchcock A, Olivier L, Fontaine J, et al. Rebecca. [U.K.]: BBC2; 2008.
59.
Nakata H, Ichise T, Kuroki H, Kadokawa Shoten, Tartan Video (Firm). Dark water. [USA]: Tartan Video; 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 [Internet]. London: I. B. Tauris; 2007. p. 33–62. Available from: 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. p. 53–7.
62.
Arnold S. Maternal horror film: melodrama and motherhood [Internet]. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan; 2013. Available from: https://go.exlibris.link/5wCgXxWP
63.
Bell J, British Film Institute. Gothic: The Dark Heart of Film. London: BFI; 2013.
64.
Botting F. Gothic. Vol. New critical idiom. 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. Vol. Advances in semiotics. Bloomington: Indiana University Press; 1979.
68.
Eco U. Six Walks in the Fictional Woods. Vol. The Charles Eliot Norton lectures. 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 [Internet]. 1988;29(3):84–105. Available from: https://academic.oup.com/screen/article-abstract/29/3/84/1728435/Black-Satin-Fantasy-Murder-and-the-Couple-in?redirectedFrom=fulltext
71.
Hanson H. Hollywood Heroines: Women in Film Noir and the Female Gothic Film [Internet]. London: I. B. Tauris; 2007. Available from: 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 [Internet]. 1993;14(4):17–30. Available from: https://0-www-tandfonline-com.pugwash.lib.warwick.ac.uk/doi/abs/10.1080/10509209309361414
74.
Hopkins L. Screening the gothic [Internet]. 1st ed. Austin, TX: University of Texas Press; 2005. Available from: https://go.exlibris.link/8jrT3pfS
75.
Hughes W, Punter D, Smith A. The Encyclopedia of the Gothic. Vol. The Wiley-Blackwell encyclopedia of literature. Chichester, West Sussex, UK: Wiley-Blackwell; 2013.
76.
Spigel L, Mann D. Private Screenings: Television and the Female Consumer [Internet]. Vol. A Camera obscura book. Minneapolis: University of Minnesota Press; 1992. Available from: https://go.exlibris.link/nnNtKGh1
77.
Taylor JB. The Cambridge companion to Wilkie Collins [Internet]. Cambridge, UK: Cambridge University Press; 2006. Available from: https://go.exlibris.link/0zBysvPN
78.
Milbank A. Daughters of the House: Modes of the Gothic in Victorian Fiction [Internet]. Basingstoke: Macmillan; 1992. Available from: https://go.exlibris.link/9pGwBlJw
79.
Miles R. Introduction to Special Number: Female Gothic. Women’s Writing [Internet]. 1994;1(2):131–42. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/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. Vol. Images of culture. Manchester: Manchester University Press; 1986.
83.
Fleenor JE. The Female Gothic. Montreal: Eden Press; 1983.
84.
Journal of Neo-Victorian Studies [Internet]. Available from: 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 [Internet]. 1984;23(2):29–40. Available from: 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 [Internet]. Edinburgh: Edinburgh University Press; 2008. Available from: https://go.exlibris.link/HXLg9ZJ4
88.
Bingham A. Contemporary Japanese cinema since Hana-bi [Internet]. Vol. Traditions in world cinema. Edinburgh: Edinburgh University Press; 2015. Available from: 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. Vol. Traditions in world cinema. Edinburgh: Edinburgh University Press; 2005.
93.
McRoy J. Nightmare Japan: contemporary Japanese horror cinema [Internet]. Vol. Contemporary cinema. Amsterdam: Rodopi; 2008. Available from: https://go.exlibris.link/G794cJwN
94.
Wee V. Japanese horror films and their American remakes: translating fear, adapting culture [Internet]. Vol. Routledge advances in film studies. New York: Routledge/Taylor & Francis Group; 2014. Available from: https://go.exlibris.link/JNlPdmqk
95.
Palin, Michael. Remember Me. [DVD] [2014] [Internet]. Available from: 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 [Internet]. BBC1 London; Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/083487E3?bcast=114574508
97.
Remember Me [Internet]. BBC1 London; Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/083E226E?bcast=114616461
98.
Remember Me [Internet]. BBC1 London; Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/084457F0?bcast=114657181
99.
Ceyton K, Davis E, Henshall D, Kent J, Kurzel J, Ladczuk R, et al. The Babadook. [London]: Icon Film Distribution;
100.
The Babadook (2014) [Internet]. FilmFour; Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/083C1235?bcast=122959503
101.
Freud S. The Uncanny. Available from: http://web.mit.edu/allanmc/www/freud1.pdf
102.
Wheatley H. Showing Less, Suggesting More: the Ghost Story On British Television. In: Gothic television [Internet]. Manchester: Manchester University Press; 2006. p. 26–56. Available from: 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. 2016; Available from: 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 [Internet]. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan; 2016. Available from: https://go.exlibris.link/9Lx8SfK3
105.
Buerger S. The beak that grips: maternal indifference, ambivalence and the abject in. Studies in Australasian Cinema [Internet]. 2017 Jan 2;11(1):33–44. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1080/17503175.2017.1308903
106.
Aviva Briefel. What Some Ghosts Don’t Know: Spectral Incognizance and the Horror Film. Narrative [Internet]. 2009;17(1):95–110. Available from: 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 [Internet]. 2017 Jan 1;32(2 95):1–27. Available from: 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 [Internet]. Vol. The Palgrave gothic series. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan; 2015. Available from: 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 [Internet]. 2009;4(2):24–36. Available from: http://0-journals.sagepub.com.pugwash.lib.warwick.ac.uk/doi/abs/10.7227/CST.4.2.4
112.
Punter D. A Companion to the Gothic. Vol. Blackwell companions to literature and culture series. Oxford: Blackwell Publishers; 2000.
113.
Risker P. Confronting Uncertainty: Jennifer Kent Discusses. Quarterly Review of Film and Video [Internet]. 2017 Jan 2;34(1):13–7. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1080/10509208.2016.1222568
114.
Schneider SJ. Horror Film and Psychoanalysis: Freud’s Worst Nightmare [Internet]. Vol. Cambridge studies in film. Cambridge: Cambridge University Press; 2004. Available from: 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 [Internet]. London: Routledge; 2007. Available from: https://go.exlibris.link/Pff4rYGF
116.
Spadoni R. Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre [Internet]. Berkeley: University of California Press; 2007. Available from: https://go.exlibris.link/BYD0rD4t
117.
Tangherlini TR. Ghost in the Machine: Supernatural Threat and the State in Lars von Trier’s Riget. 2001; Available from: 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) [Internet]. FilmFour; Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/0A862C97?bcast=124113693
119.
Amirpour AL, Begnaud J, Sayyah S, Vand S, Marno M, Manesh M, et al. A girl walks home alone at night. [United Kingdom]: Studiocanal Limited; 2015.
120.
Abdi S, Calafell BM. Queer utopias and a (Feminist) Iranian vampire: a critical analysis of resistive monstrosity. Available from: 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 [Internet]. St Andrews, Scotland: St Andrews Film Studies; 2013. p. 69–96. Available from: 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 [Internet]. 2016;13(1). Available from: https://www.participations.org/13-01-12-vivar.pdf
124.
Bitel A. The Best of FrightFest 2015. Sight and Sound [Internet]. September 30, 2015. Available from: 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 [Internet]. Vol. Short cuts series. New York: Wallflower, an imprint of Columbia University Press; 2015. Available from: https://go.exlibris.link/dz6Jxw9l
126.
Chibnall S, Petley J. British Horror Cinema. Vol. British popular cinema. London: Routledge; 2002.
127.
Valck M de. Film Festivals: From European Geopolitics to Global Cinephilia [Internet]. Vol. Film culture in transition. Amsterdam: Amsterdam University Press; 2007. Available from: 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. Vol. Films need festivals, festivals need films. St Andrews: St Andrews Film Studies; 2013.
129.
Hark IR. Exhibition: The Film Reader. Vol. In focus. 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 [Internet]. 2000;53(2):14–29. Available from: 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. Iordanova D, Rhyne R, editors. Vol. Film festival yearbook. 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. Iordanova D, Chong R, editors. Vol. Film festival yearbook. St. Andrews, Scotland: St Andrews Film Studies; 2010.
134.
Iordanova D, Cheung R, editors. Film festivals and East Asia. Vol. Film festival yearbook. St. Andrews, Scotland: St Andrews Film Studies; 2011.
135.
Iordanova D, Torchin L. Film Festival Yearbook 4: Film Festivals and Activism. Iordanova D, Torchin L, editors. Vol. Film festival yearbook. St Andrews: St Andrews Film Studies; 2012.
136.
Marlow-Mann A, editor. Archival film festivals. Vol. Film festival yearbook. St Andrews: St Andrews Film Studies; 2013.
137.
Iordanova D, Van de Peer S, editors. Film festivals and the Middle East. Vol. Film festival yearbook. St Andrews: St Andrews Film Studies; 2014.
138.
Hayward P, editor. Terror tracks: music, sound and horror cinema. Vol. Genre, music and sound. London, England: Equinox; 2009.
139.
Porton R. Dekalog: 03: On Film Festivals. Vol. Dekalog. 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. Ruoff J, editor. 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, Lancaster B, Russell K, Brimley W, et al. The Thing [Internet]. [London]: Universal Pictures; 1982. Available from: https://learningonscreen.ac.uk/ondemand/index.php/prog/00005ABF?bcast=95561559
144.
Tudor A. Unruly Bodies, Unquiet Minds. Body & Society [Internet]. 1995;1(1):25–41. Available from: https://0-journals-sagepub-com.pugwash.lib.warwick.ac.uk/doi/10.1177/1357034X95001001003
145.
Kristeva J. Approaching Abjection. The Oxford literary review. 1982;5.
146.
Boss P. Vile Bodies and Bad Medicine. Screen [Internet]. 1986;27(1):14–25. Available from: https://academic.oup.com/screen/article-abstract/27/1/14/1630462/Vile-Bodies-and-Bad-Medicine?redirectedFrom=fulltext
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. p. 205–20.
148.
Creed B. Horror and the Monstrous-Feminine: An Imaginary Abjection. Screen [Internet]. 1986;27(1):44–71. Available from: https://academic.oup.com/screen/article-abstract/27/1/44/1630470/Horror-and-the-Monstrous-Feminine-An-Imaginary?redirectedFrom=fulltext
149.
Creed B. The Monstrous Feminine: Film, Feminism, Psychoanalysis [Internet]. Vol. Popular fiction series. London: Routledge; 1993. Available from: 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 [Internet]. 2007. Available from: http://intensitiescultmedia.com/2012/12/11/intensities-the-journal-of-cult-media-4-mysterious-bodies/
153.
Hammond M, Mazdon L. The Contemporary Television Series [Internet]. Edinburgh: Edinburgh University Press; 2005. Available from: https://go.exlibris.link/8yfbzK0D
154.
Hills M. TV Horror. In: The Pleasures of Horror. New York: Continuum; 2005. p. 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 [Internet]. Thousand Oaks, Calif: Sage Publications; 1994. Available from: https://go.exlibris.link/h6Zk07Vv
157.
Mathijs E. The Cinema of David Cronenberg: From Baron of Blood to Cultural Hero. Vol. Directors’ cuts. London: Wallflower; 2008.
158.
Kackman M. Flow TV: Television in the Age of Media Convergence [Internet]. New York: Routledge; 2011. Available from: 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 [Internet]. London: I.B. Tauris; 2016. Available from: https://go.exlibris.link/qkX3ZThD
161.
Williams L. Hard core: power, pleasure, and the ‘frenzy of the visible’ [Internet]. Expanded pbk. ed. Berkeley: University of California Press; 1999. Available from: 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(4):2–13.
163.
Carpenter J, Hill D, Akkad M, Pleasence D, Curtis JL, Loomis N, et al. Halloween. [U.K.]: BBC1; 1979.
164.
Hooper T, Henkel K, Burns M, Hansen G, Danziger A, Partain PA. The Texas Chainsaw Massacre. Original uncut version. [U.K.]: Universal Pictures (UK); 1974.
165.
Carol J. Clover. Her Body, Himself: Gender in the Slasher Film. Representations [Internet]. 1987;(20):187–228. Available from: 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 [Internet]. Durham: Duke University Press; 1995. p. 138–60. Available from: 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. Vol. Film and culture. 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 [Internet]. New York: Continuum; 2011. Available from: http://ebookcentral.proquest.com/lib/warw/detail.action?docID=634569
175.
Pinedo IC. 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; 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 [Internet]. Basingstoke [England]: Palgrave Macmillan; 2006. Available from: https://go.exlibris.link/DPFrSMt3
178.
Grant BK. The Dread of Difference: Gender and the Horror Film. Vol. Texas film studies series. Austin: University of Texas Press; 1996.
179.
Simon A. The American Nightmare. [U.K.]: FilmFour; 2002.
180.
Night of the Living Dead (1968) [Internet]. BBC2 England; Available from: 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 [Internet]. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan; 2016. Available from: https://go.exlibris.link/9Lx8SfK3
183.
Jowett L. TV as horror. In: TV horror: investigating the dark side of the small screen [Internet]. London: I.B. Tauris; 2013. p. 179–200. Available from: 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 [Internet]. Edinburgh: Edinburgh Univiversity Press; 2016. Available from: 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 [Internet]. Jefferson, N.C.: McFarland; 2011. Available from: https://go.exlibris.link/3VcXlLDm
187.
Scott N. Monsters and the monstrous: myths and metaphors of enduring evil [Internet]. Vol. At the interfaces, probing the boundaries. Amsterdam: Rodopi; 2007. Available from: 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 [Internet]. 2012;52(1):66–89. Available from: 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 [Internet]. 1st ed. New York: Fordham University Press; 2011. Available from: 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 [Internet]. 1988;29(4):44–65. Available from: https://academic.oup.com/screen/article-abstract/29/4/44/1646277/White?redirectedFrom=fulltext
191.
Scott N. Monsters and the monstrous: myths and metaphors of enduring evil [Internet]. Vol. At the interfaces, probing the boundaries. Amsterdam: Rodopi; 2007. Available from: 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. Vol. Texas film studies series. 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, editors. Nazisploitation!: the Nazi image in low-brow cinema and culture [Internet]. New York: Continuum; 2012. p. 238–57. Available from: 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 [Internet]. 2011;14(3):265–81. Available from: https://0-journals-sagepub-com.pugwash.lib.warwick.ac.uk/doi/abs/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. p. 95–134.
203.
Tudor A. Cinema and Society: Film Movements. In: Image and influence: studies in the sociology of film [Internet]. London: Allen and Unwin; 1974. p. 152–79. Available from: 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, editor. Merchants of menace: the business of horror cinema [Internet]. New York: Bloomsbury, an imprint of Bloomsbury Publishing Inc; 2014. p. 215–28. Available from: 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 [Internet]. London, United Kingdom: Palgrave Macmillan; 2016. Available from: 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.
