Aguado, Virginia Luzon. n.d. ‘Film Genre and Its Vicissitudes: The Case of the Psychothriller’. Atlantis 24(1).
Anon. n.d. ‘The Cyborg Mystique: The Stepford Wives and Second Wave Feminism’. Women’s Studies Quarterly 30(1/2):60–77.
Botting, Fred. 2008. ‘Monsters of the Imagination - Dark Science’. Pp. 139–46 in Gothic romanced: consumption, gender and technology in contemporary fictions. London: Routledge.
Bronfen, Elisabeth. 2004. Home in Hollywood: The Imaginary Geography of Cinema. Vol. Film and culture. New York: Columbia University Press.
Copjec, Joan. 1993. Shades of Noir: A Reader. London: Verso.
Creed, Barbara. 1993. ‘Horror and the Archaic Mother: Alien’. Pp. 16–30 in The monstrous-feminine: film, feminism, psychoanalysis. Vol. Popular fictions series. London: Routledge.
Delgado, Maria. 2008. ‘The Young and the Damned.’ Sight & Sound 18(4).
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.
Doane, Mary Ann. 1988. ‘Female Spectatorship and Machines of Projection: Caught and Rebecca’. Pp. 155–75 in The desire to desire: the woman`s film of the 1940s. Vol. Language, discourse, society. Basingstoke: Macmillan.
Dresner, Lisa M. 2007. The Female Investigator in Literature, Film, and Popular Culture. Jefferson, N.C.: McFarland & Co.
Du Maurier, Daphne, Dame. 2003. Rebecca. Vol. Virago modern classics. London: Virago.
Elsaesser, Thomas. 1987. ‘Tales of Sound and Fury: Observations on the Family Melodrama’,. Pp. 43–69 in Home is where the heart is: studies in melodrama and the woman’s film. London: BFI Pub.
Fletcher, John. 1995. ‘Primal Scenes and the Female Gothic: Rebecca and Gaslight’. Screen 36(4):341–70. doi: 10.1093/screen/36.4.341.
Freud, Sigmund, McLintock, David, and Haughton, Hugh. 2003. The Uncanny. Vol. Penguin classics. London: Penguin Books.
Gaines, Jane. 1990. ‘Costume and Narrative: How Dress Tells the Woman’s Story’. Pp. 180–211 in Fabrications: costume and the female body. Vol. AFI film readers. New York: Routledge.
Gallardo C., Ximena and Smith, C. Jason. 2004. Alien Woman: The Making of Lt. Ellen Ripley. New York: Continuum.
Garcia, Maria. 2009. ‘Coraline’s Journey.’ Film Journal International 112(2):8–51.
Gibbs, John. 2002. Mise-En-Scène: Film Style and Interpretation. Vol. Short Cuts. London: Wallflower.
Gilbert, Sandra M. and Gubar, Susan. 2000. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. 2nd ed. New Haven: Yale University Press.
Gilman, Charlotte Perkins and Bauer, Dale M. 1998. The Yellow Wallpaper. Vol. Bedford cultural editions. Boston: Bedford Books.
Gooding, Richard. 2008. ‘“Something Very Old and Very Slow”: Coraline, Uncanniness, and Narrative Form.’ Children’s Literature Association Quarterly 33(4).
Greenberg, Harvey R. n.d. ‘FEMBO: “Aliens’” Intentions’. Journal of Popular Film and TelevisionJournal of Popular Film (1972-1978);Journal of Popular Film and Television 15(4):164–71.
Gunning, Tom. 1991. ‘Heard over the Phone: The Lonely Villa and the de Lorde Tradition of the Terrors of Technology’. Screen 32(2):184–96. doi: 10.1093/screen/32.2.184.
Hall, Sheldon. 2004. ‘Dial M for Murder.’ Film History 16(3):243–55.
Hanson, Helen. 2007. Hollywood Heroines: Women in Film Noir and the Female Gothic Film. London: I.B. Tauris.
Helford, Elyce Rae. 2006. ‘The Stepford Wives and the Gaze’. Feminist Media Studies 6(2):145–56. doi: 10.1080/14680770600645119.
Hollinger, Karen. 1998. ‘Film Noir, Voice Over, and the Femme Fatale’. in Film noir reader. New York: Limelight Editions.
Janice Radway. 1981. ‘The Utopian Impulse in Popular Literature: Gothic Romances and “Feminist” Protest’. American Quarterly 33(2):140–62.
Kaplan, E. Ann. 1980. Women in Film Noir. Rev. ed. London: BFI Publishing.
Kaveney, Roz. 2005. From Alien to The Matrix: Reading Science Fiction Film. London: I. B. Tauris.
Kendrick, James. n.d. ‘Return to the Graveyard: Notes on the Spiritual Horror Film’. Pp. 142–58 in American Horror Film: The Genre at the Turn of the Millennium [Paperback]. University Press of Mississippi (7 Mar 2013).
Kozloff, Sarah. 1988. Invisible Storytellers: Voice-over Narration in American Fiction Film. Berkeley, Calif: University of California Press.
Labanyi, Jo. 2001. ‘Coming to Terms with the Ghosts of the Past: History and Spectrality in Contemporary Spanish Culture’. Arachne, A Journal of Iberian and Latin American Literary and Cultural Studies (1).
Laing, Heather. 2007. The Gendered Score: Music in 1940s Melodrama and the Woman’s Film. Vol. Ashgate popular and folk music series. Aldershot: Ashgate.
Lane, Anthony. 2008. ‘Gone Missing’. The New Yorker.
Levin, Ira. 2000. The Stepford Wives. London: Bloomsbury, for Sight & Sound Magazine.
Mays, Sas and Matheson, Neil, eds. 2013. The Machine and the Ghost: Technology and Spiritualism in Nineteenth- to Twenty-First-Century Art and Culture. Manchester: Manchester University Press.
McDonald, Paul. 2004. ‘Why Study Film Acting?’ Pp. 23–41 in More than a method: trends and traditions in contemporary film performance. Vol. Contemporary approaches to film and television series. Detroit: Wayne State University Press.
Modleski, Tania. 2008. Loving with a Vengeance: Mass-Produced Fantasies for Women. 2nd ed. New York: Routledge.
Mussell, Kay J. n.d. ‘Beautiful and Damned: The Sexual Woman in Gothic Fiction’. Journal of Popular CultureJournal of Popular Culture 9(1):84–89.
Place, Janey, and Lowell Peterson. 1998. ‘Some Visual Motifs of Film Noir’. Pp. 65–75 in Film noir reader. New York: Limelight Editions.
Rhodes, John David. n.d. ‘“Concentrated Ground”: “Grey Gardens” and the Cinema of the Domestic’. Framework 47(1):83–105.
Russ, Joanna. 1995. ‘“Someone’s Trying to Kill Me and I Think It’s My Husband”: The Modern Gothic’. Pp. 94–119 in To write like a woman: essays in feminism and science fiction. Bloomington: Indiana University Press.
Smith, Andrew, and Diana Wallace. n.d. ‘The Female Gothic. Then and Now’. Gothic Studies 6(1):1–8.
Snelson, Tim. 2009. ‘“From Grade B Thrillers to Deluxe Chillers”: Prestige Horror, Female Audiences, and Allegories of Spectatorship in                              (1946)’. New Review of Film and Television Studies 7(2):173–88. doi: 10.1080/17400300902816952.
Tatar, Maria. 2004. Secrets beyond the Door: The Story of Bluebeard and His Wives. Princeton, N.J.: Princeton University Press.
Turim, Maureen. 1990. ‘Designing Women: The Emergence of The New Sweetheart Line’. Pp. 212–28 in Fabrications: costume and the female body. Vol. AFI film readers. New York: Routledge.
Wheatley, Kim. 2002. ‘Gender Politics and the Gothic in Alfred Hitchcock’s Rebecca.’ Gender Politics and the Gothic in Alfred Hitchcock’s Rebecca. 4(2).