[1]
V. L. Aguado, ‘Film Genre and its vicissitudes: The case of the Psychothriller’, Atlantis, vol. 24, no. 1 [Online]. Available: http://www.atlantisjournal.org/HTML%2520Files/Tables%2520of%2520contents/24.1%2520(2002).htm
[2]
F. Botting, ‘Monsters of the Imagination - Dark Science’, in Gothic romanced: consumption, gender and technology in contemporary fictions, London: Routledge, 2008, pp. 139–146.
[3]
Copjec, Joan, Shades of noir: a reader. London: Verso, 1993.
[4]
Bronfen, Elisabeth, Home in Hollywood: the imaginary geography of cinema, vol. Film and culture. New York: Columbia University Press, 2004 [Online]. Available: http://www.loc.gov/catdir/toc/fy051/2004045530.html
[5]
B. Creed, ‘Horror and the Archaic Mother: Alien’, in The monstrous-feminine: film, feminism, psychoanalysis, vol. Popular fictions series, London: Routledge, 1993, pp. 16–30.
[6]
Delgado, Maria, ‘The young and the damned.’, Sight & Sound, vol. 18, no. 4, 2008 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=ibh&AN=31907020&site=ehost-live
[7]
T. Elsaesser, ‘Tales of Sound and Fury: Observations on the Family Melodrama’, in Home is where the heart is: studies in melodrama and the woman’s film, London: BFI Pub, 1987, pp. 43–69 [Online]. Available: http://www.loc.gov/catdir/bios/ucal052/88158900.html
[8]
J. Fletcher, ‘Primal scenes and the female gothic: Rebecca and Gaslight’, Screen, vol. 36, no. 4, pp. 341–370, Dec. 1995, doi: 10.1093/screen/36.4.341.
[9]
Freud, Sigmund, McLintock, David, and Haughton, Hugh, The uncanny, vol. Penguin classics. London: Penguin Books, 2003.
[10]
J. Gaines, ‘Costume and narrative: How dress tells the woman’s story’, in Fabrications: costume and the female body, vol. AFI film readers, New York: Routledge, 1990, pp. 180–211.
[11]
Garcia, Maria, ‘Coraline’s Journey.’, Film Journal International, vol. 112, no. 2, pp. 8–51, 2009 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=ibh&AN=36492901&site=ehost-live
[12]
Gooding, Richard., ‘“Something very old and very slow”: Coraline, uncanniness, and narrative form.’, Children’s Literature Association Quarterly, vol. 33, no. 4, 2008 [Online]. Available: http://lion.chadwyck.co.uk.chain.kent.ac.uk/searchFullrec.do?id=R04117312&area=abell&forward=critref_fr
[13]
Greenberg, Harvey R, ‘FEMBO: “Aliens’” Intentions’, Journal of Popular Film and TelevisionJournal of Popular Film (1972-1978);Journal of Popular Film and Television, vol. 15, no. 4, pp. 164–171 [Online]. Available: http://search.proquest.com.chain.kent.ac.uk/pao/docview/1295933706/140AB37DA3066EDBC2B/5?accountid=7408
[14]
T. Gunning, ‘Heard over the phone: The Lonely Villa and the de Lorde tradition of the terrors of technology’, Screen, vol. 32, no. 2, pp. 184–196, Jun. 1991, doi: 10.1093/screen/32.2.184.
[15]
Hall, Sheldon, ‘Dial M for Murder.’, Film History, vol. 16, no. 3, pp. 243–255, 2004 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=ibh&AN=14787315&site=ehost-live
[16]
Hanson, Helen, Hollywood heroines: women in film noir and the female gothic film. London: I.B. Tauris, 2007.
[17]
E. R. Helford, ‘The Stepford Wives and the Gaze’, Feminist Media Studies, vol. 6, no. 2, pp. 145–156, Jun. 2006, doi: 10.1080/14680770600645119.
[18]
K. Hollinger, ‘Film Noir, Voice Over, and the Femme Fatale’, in Film noir reader, 4th Limelight ed., New York: Limelight Editions, 1998.
[19]
Kaveney, Roz, From Alien to The matrix: reading science fiction film. London: I. B. Tauris, 2005.
[20]
J. Kendrick, ‘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 [Online]. Available: http://www.amazon.co.uk/American-Horror-Film-Genre-Millennium/dp/161703830X/ref=tmm_pap_title_0?ie=UTF8&qid=1379855033&sr=8-1
[21]
Kozloff, Sarah, Invisible storytellers: voice-over narration in American fiction film. Berkeley, Calif: University of California Press, 1988.
[22]
J. Labanyi, ‘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, no. 1, 2001 [Online]. Available: https://www.libraries.rutgers.edu/rul/projects/arachne/vol1_1labanyi.html
[23]
A. Lane, ‘Gone Missing’, The New Yorker, 2008 [Online]. Available: http://www.newyorker.com/arts/critics/cinema/2008/01/14/080114crci_cinema_lane?printable=true&currentPage=all#ixzz0zQPvokfO
[24]
Modleski, Tania, Loving with a vengeance: mass-produced fantasies for women, 2nd ed. New York: Routledge, 2008 [Online]. Available: http://www.loc.gov/catdir/toc/ecip0716/2007017254.html
[25]
Mussell, Kay J, ‘Beautiful and Damned: The Sexual Woman in Gothic Fiction’, Journal of Popular CultureJournal of Popular Culture, vol. 9, no. 1, pp. 84–89 [Online]. Available: http://search.proquest.com.chain.kent.ac.uk/pao/docview/1297346693/140AB9E25CE64CFCC3/15?accountid=7408
[26]
Janice Radway, ‘The Utopian Impulse in Popular Literature: Gothic Romances and “Feminist” Protest’, American Quarterly, vol. 33, no. 2, pp. 140–162, 1981 [Online]. Available: http://www.jstor.org.chain.kent.ac.uk/stable/2712313
[27]
J. Russ, ‘“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, 1995, pp. 94–119.
[28]
‘The cyborg mystique: The Stepford Wives and second wave feminism’, Women’s Studies Quarterly, vol. 30, no. 1/2, pp. 60–77 [Online]. Available: http://lion.chadwyck.co.uk.chain.kent.ac.uk/searchFulltext.do?id=R04239649&divLevel=0&area=abell&forward=critref_ft
[29]
A. Smith and D. Wallace, ‘The Female gothic. Then and now’, Gothic Studies, vol. 6, no. 1, pp. 1–8 [Online]. Available: http://lion.chadwyck.co.uk.chain.kent.ac.uk/searchFulltext.do?id=R03554229&divLevel=0&area=abell&forward=critref_ft
[30]
T. Snelson, ‘“From grade B thrillers to deluxe chillers”: prestige horror, female audiences, and allegories of spectatorship in                              (1946)’, New Review of Film and Television Studies, vol. 7, no. 2, pp. 173–188, Jun. 2009, doi: 10.1080/17400300902816952.
[31]
Tatar, Maria, Secrets beyond the door: the story of Bluebeard and his wives. Princeton, N.J.: Princeton University Press, 2004 [Online]. Available: http://www.loc.gov/catdir/enhancements/fy0654/2004040045-t.html
[32]
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, vol. 23, no. 2, pp. 29–40, 1984 [Online]. Available: http://www.jstor.org.chain.kent.ac.uk/stable/1225123
[33]
Wheatley, Kim, ‘Gender Politics and the Gothic in Alfred Hitchcock’s Rebecca.’, Gender Politics and the Gothic in Alfred Hitchcock’s Rebecca., vol. 4, no. 2, 2002 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=8930844&site=ehost-live
[34]
Mays, Sas and Matheson, Neil, Eds., The Machine and the Ghost: Technology and Spiritualism in Nineteenth- to Twenty-first-century Art and Culture. Manchester: Manchester University Press, 2013.
[35]
Gallardo C., Ximena and Smith, C. Jason, Alien woman: the making of Lt. Ellen Ripley. New York: Continuum, 2004 [Online]. Available: http://www.loc.gov/catdir/toc/ecip0414/2004001216.html
[36]
M. A. Doane, ‘Female spectatorship and machines of projection: Caught and Rebecca’, in The desire to desire: the woman`s film of the 1940s, vol. Language, discourse, society, Basingstoke: Macmillan, 1988, pp. 155–175.
[37]
Du Maurier, Daphne, Dame, Rebecca, vol. Virago modern classics. London: Virago, 2003.
[38]
Gibbs, John, Mise-en-scène: film style and interpretation, vol. Short Cuts. London: Wallflower, 2002.
[39]
Gilbert, Sandra M. and Gubar, Susan, The madwoman in the attic: the woman writer and the nineteenth-century literary imagination, 2nd ed. New Haven: Yale University Press, 2000.
[40]
Gilman, Charlotte Perkins and Bauer, Dale M., The yellow wallpaper, vol. Bedford cultural editions. Boston: Bedford Books, 1998.
[41]
Kaplan, E. Ann, Women in film noir, Rev. ed. London: BFI Publishing, 1980.
[42]
Laing, Heather, The gendered score: music in 1940s melodrama and the woman’s film, vol. Ashgate popular and folk music series. Aldershot: Ashgate, 2007 [Online]. Available: http://www.loc.gov/catdir/toc/ecip073/2006032406.html
[43]
Levin, Ira, The Stepford wives. London: Bloomsbury, for Sight & Sound Magazine, 2000.
[44]
P. McDonald, ‘Why Study Film Acting?’, 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, 2004, pp. 23–41 [Online]. Available: http://www.loc.gov/catdir/toc/ecip0413/2004000534.html
[45]
J. Place and L. Peterson, ‘Some Visual Motifs of Film Noir’, in Film noir reader, 4th Limelight ed., New York: Limelight Editions, 1998, pp. 65–75.
[46]
Rhodes, John David, ‘“Concentrated Ground”: “Grey Gardens” and the Cinema of the Domestic’, Framework, vol. 47, no. 1, pp. 83–105 [Online]. Available: http://search.proquest.com.chain.kent.ac.uk/docview/2143332/140ABBCACCC3EC6A154/5?accountid=7408
[47]
M. Turim, ‘Designing Women: The Emergence of The New Sweetheart Line’, in Fabrications: costume and the female body, vol. AFI film readers, New York: Routledge, 1990, pp. 212–228.
[48]
Dresner, Lisa M., The female investigator in literature, film, and popular culture. Jefferson, N.C.: McFarland & Co, 2007.