Aguado, V.L. (no date) ‘Film Genre and its vicissitudes: The case of the Psychothriller’, Atlantis, 24(1). Available at: http://www.atlantisjournal.org/HTML%2520Files/Tables%2520of%2520contents/24.1%2520(2002).htm.
Botting, F. (2008) ‘Monsters of the Imagination - Dark Science’, in Gothic romanced: consumption, gender and technology in contemporary fictions. London: Routledge, pp. 139–146.
Bronfen, Elisabeth (2004) Home in Hollywood: the imaginary geography of cinema. New York: Columbia University Press. Available at: http://www.loc.gov/catdir/toc/fy051/2004045530.html.
Copjec, Joan (1993) Shades of noir: a reader, Film Noir and Women. London: Verso.
Creed, B. (1993) ‘Horror and the Archaic Mother: Alien’, in The monstrous-feminine: film, feminism, psychoanalysis. London: Routledge, pp. 16–30.
Delgado, Maria (2008) ‘The young and the damned.’, Sight & Sound, 18(4). Available at: http://search.ebscohost.com/login.aspx?direct=true&db=ibh&AN=31907020&site=ehost-live.
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), pp. 29–40. Available at: http://www.jstor.org.chain.kent.ac.uk/stable/1225123.
Doane, M.A. (1988) ‘Female spectatorship and machines of projection: Caught and Rebecca’, in The desire to desire: the woman`s film of the 1940s. Basingstoke: Macmillan, pp. 155–175.
Dresner, Lisa M. (2007) The female investigator in literature, film, and popular culture. Jefferson, N.C.: McFarland & Co.
Du Maurier, Daphne, Dame (2003) Rebecca. London: Virago.
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Garcia, Maria (2009) ‘Coraline’s Journey.’, Film Journal International, 112(2), pp. 8–51. Available at: http://search.ebscohost.com/login.aspx?direct=true&db=ibh&AN=36492901&site=ehost-live.
Gibbs, John (2002) Mise-en-scène: film style and interpretation. 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. Boston: Bedford Books.
Gooding, Richard. (2008) ‘“Something very old and very slow”: Coraline, uncanniness, and narrative form.’, Children’s Literature Association Quarterly, 33(4). Available at: http://lion.chadwyck.co.uk.chain.kent.ac.uk/searchFullrec.do?id=R04117312&area=abell&forward=critref_fr.
Greenberg, Harvey R (no date) ‘FEMBO: “Aliens’” Intentions’, Journal of Popular Film and TelevisionJournal of Popular Film (1972-1978);Journal of Popular Film and Television, 15(4), pp. 164–171. Available at: http://search.proquest.com.chain.kent.ac.uk/pao/docview/1295933706/140AB37DA3066EDBC2B/5?accountid=7408.
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Hall, Sheldon (2004) ‘Dial M for Murder.’, Film History, 16(3), pp. 243–255. Available at: http://search.ebscohost.com/login.aspx?direct=true&db=ibh&AN=14787315&site=ehost-live.
Hanson, Helen (2007) Hollywood heroines: women in film noir and the female gothic film. London: I.B. Tauris.
Helford, E.R. (2006) ‘The Stepford Wives and the Gaze’, Feminist Media Studies, 6(2), pp. 145–156. Available at: https://doi.org/10.1080/14680770600645119.
Hollinger, K. (1998) ‘Film Noir, Voice Over, and the Femme Fatale’, in Film noir reader. 4th Limelight ed. New York: Limelight Editions.
Janice Radway (1981) ‘The Utopian Impulse in Popular Literature: Gothic Romances and “Feminist” Protest’, American Quarterly, 33(2), pp. 140–162. Available at: http://www.jstor.org.chain.kent.ac.uk/stable/2712313.
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, J. (no date) ‘Return to the graveyard: Notes on the spiritual horror film’, in American Horror Film: The Genre at the Turn of the Millennium [Paperback]. University Press of Mississippi (7 Mar 2013), pp. 142–158. Available at: http://www.amazon.co.uk/American-Horror-Film-Genre-Millennium/dp/161703830X/ref=tmm_pap_title_0?ie=UTF8&qid=1379855033&sr=8-1.
Kozloff, Sarah (1988) Invisible storytellers: voice-over narration in American fiction film. Berkeley, Calif: University of California Press.
Labanyi, J. (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 [Preprint], (1). Available at: https://www.libraries.rutgers.edu/rul/projects/arachne/vol1_1labanyi.html.
Laing, Heather (2007) The gendered score: music in 1940s melodrama and the woman’s film. Aldershot: Ashgate. Available at: http://www.loc.gov/catdir/toc/ecip073/2006032406.html.
Lane, A. (2008) ‘Gone Missing’, The New Yorker [Preprint]. Available at: http://www.newyorker.com/arts/critics/cinema/2008/01/14/080114crci_cinema_lane?printable=true&currentPage=all#ixzz0zQPvokfO.
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, P. (2004) ‘Why Study Film Acting?’, in More than a method: trends and traditions in contemporary film performance. Detroit: Wayne State University Press, pp. 23–41. Available at: http://www.loc.gov/catdir/toc/ecip0413/2004000534.html.
Modleski, Tania (2008) Loving with a vengeance: mass-produced fantasies for women. 2nd ed. New York: Routledge. Available at: http://www.loc.gov/catdir/toc/ecip0716/2007017254.html.
Mussell, Kay J (no date) ‘Beautiful and Damned: The Sexual Woman in Gothic Fiction’, Journal of Popular CultureJournal of Popular Culture, 9(1), pp. 84–89. Available at: http://search.proquest.com.chain.kent.ac.uk/pao/docview/1297346693/140AB9E25CE64CFCC3/15?accountid=7408.
Place, J. and Peterson, L. (1998) ‘Some Visual Motifs of Film Noir’, in Film noir reader. 4th Limelight ed. New York: Limelight Editions, pp. 65–75.
Rhodes, John David (no date) ‘“Concentrated Ground”: “Grey Gardens” and the Cinema of the Domestic’, Framework, 47(1), pp. 83–105. Available at: http://search.proquest.com.chain.kent.ac.uk/docview/2143332/140ABBCACCC3EC6A154/5?accountid=7408.
Russ, J. (1995) ‘“Someone’s trying to kill me and I think it’s my husband”: The Modern Gothic’, in To write like a woman: essays in feminism and science fiction. Bloomington: Indiana University Press, pp. 94–119.
Smith, A. and Wallace, D. (no date) ‘The Female gothic. Then and now’, Gothic Studies, 6(1), pp. 1–8. Available at: http://lion.chadwyck.co.uk.chain.kent.ac.uk/searchFulltext.do?id=R03554229&divLevel=0&area=abell&forward=critref_ft.
Snelson, T. (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), pp. 173–188. Available at: https://doi.org/10.1080/17400300902816952.
Tatar, Maria (2004) Secrets beyond the door: the story of Bluebeard and his wives. Princeton, N.J.: Princeton University Press. Available at: http://www.loc.gov/catdir/enhancements/fy0654/2004040045-t.html.
‘The cyborg mystique: The Stepford Wives and second wave feminism’ (no date) Women’s Studies Quarterly, 30(1/2), pp. 60–77. Available at: http://lion.chadwyck.co.uk.chain.kent.ac.uk/searchFulltext.do?id=R04239649&divLevel=0&area=abell&forward=critref_ft.
Turim, M. (1990) ‘Designing Women: The Emergence of The New Sweetheart Line’, in Fabrications: costume and the female body. New York: Routledge, pp. 212–228.
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). Available at: http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=8930844&site=ehost-live.